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Warner Baxter, Gloria Stuart) 3+ Lmf 533

r CINEMA PRESSBOOKS 1920-1940 f 521. The Prisoner of Shark Island (Twentieth 532. Rain (United Artists, 1932) . Century Fox, 1936) Directed by Lewis Milestone Directed l7y John Ford (Joan Crawford, Walter Huston) 3mf [ (Warner Baxter, Gloria Stuart) 3+ lmf 533. Rainbow's End (First Division, 1935) 522. The Prisoner of Zenda (David 0 . Selznick Directed by Norman Spencer [ (United Artists), 1937) (Hoot Gibson) 2mf Directed by John Cromwell (Ronald Colman, Douglas Fairbanks Jnr, Made- 534. The Rains Came (Twentieth Century Fox, [ leine Carroll) 6mf 1939) Directed by Clarence Brown 523. Private Detective 62 (Wamers, 1933) (Myrna Loy, George Brent) 2mf Directed by Michael Curtiz [ (William Powell, Margaret Lindsay) 3mf 535. Rango (Paramount, 1931) Directed by Ernest B. Schoedsack 524. Private Lives (MGM, 1931) (Oaude King) 2mf [ Directed by Sidney A Franklin (Norma Shearer, Robert Montgomery) 2mf 536. Reaching for the Moon (United Artists, 1931) [ 525. The Private Lives of Elizabeth and Essex Directed by Edmund Goulding (Wamers, 1939) (Douglas Fairbanks, Bebe Daniels) 2mf Directed by Michael Curtiz [ (Bette Davis, Errol Flynn) 1+2mf 537. Rebound (RKO, 1931) Directed by Edward H. Griffith r 526. Private Worlds (Paramount, 1935) (Ina Oaire, Robert Williams) 2mf Directed by Gregory La Cava (Claudette Colbert, Charles Boyer) 3mf 538. The Red Dance (Fox, 1928) Directed by Raoul Walsh [ 527. Quality Street (RKO, 1937) (Charles Farrell, Dolores Del Rio) 2mf Directed by George Stevens (Katharine Hepburn, Franchot Tone) 2mf 539. Red Wine (Fox, 1928) [ Directed by Raymond Cannon 528. Queen Christina (MGM, 1933) (June Collyer, Conrad Nagel) 2mf Directed by Rouben Mamoulian [ (Greta Garbo, John Gilbert) lmf 540. Remember the Night (Paramount, 1939) Directed by Mitchell Leisen 529. Quick Millions (Fox, 1931) (Barbara Stanwyck, Fred MacMurray) 4mf Directed by Rowland Brown [ (Spencer Tracy, Marguerite Churchill) 2mf 541. The Rescue (Samuel Goldwyn (United Artists), 1929) 530. Racing Blood (Conn Pictures, 1936) Directed by Herbert Brenon [ Directed by Rex Hale (Ronald Colman, Lily Damita) 3mf (Frankie Darro, Kane Richmond) lmf 542. Reunion in Vienna (MGM, 1933) [ 531. The Rage of Paris (Universal, 1938) Directed by Sidney A. Franklin Directed by Henry Koster (John Barrymore, Diana Wynyard) 2mf (Danielle Darrieux, Douglas Fairbanks Jnr) 3mf L [24] L L .

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Youth Clarence Brown Theatre Clarence Brown Theatre
YOUTH CLARENCE BROWN THEATRE CLARENCE BROWN THEATRE he Clarence Brown Theatre Company is a professional theatre company in residence at the University of Tennessee at Knoxville. Founded in 1974 by Sir Anthony Quayle and Dr. Ralph G. Allen, the company is a member Tof the League of Resident Theatres (LORT) and is the only professional LORT company within a 150-mile radius of Knoxville. The University of Tennessee is one of a select number of universities nationwide that are affiliated with a professional LORT theatre, allowing students regular opportunities to work alongside professional actors, directors, designers, dramaturgs, and production artists. The theatre was named in honor of Knoxville native and University of Tennessee graduate, Clarence Brown, the distinguished MGM director of such beloved films as “The Yearling” and “National Velvet”. In addition to the 575-seat proscenium theatre, the CBT’s facilities house the costume shop, electrics department, scene shop, property shop, actors’ dressing quarters, and a 100-seat Lab Theatre. The Clarence Brown Theatre Company also utilizes the Ula Love Doughty Carousel Theatre, an arena theatre with flexible seating for 350, located next to the CBT on the University of Tennessee campus. The Clarence Brown Theatre has a 19-member resident faculty, headed by Calvin MacLean, and 25 full-time management and production staff members. SEASON FOR YOUTH t the Clarence Brown Theatre, we recognize the positive impact that the performing arts have on young people. We are pleased to continue our commitment to providing high-quality theatre for young audiences Awith our 2013-2014 Season for Youth performances.
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A Propósito De La Filosofía Del Cine Como Educación De Adultos: La Lógica Del Matrimonio Frente Al Absurdo En La Filmografía De Gregory La Cava Hasta 1933
A PROPÓSITO DE LA FILOSOFÍA DEL CINE COMO EDUCACIÓN DE ADULTOS: LA LÓGICA DEL MATRIMONIO FRENTE AL ABSURDO EN LA FILMOGRAFÍA DE GREGORY LA CAVA HASTA 1933 José Alfredo Peris Cancioa Fechas de recepción y aceptación: 2 de junio de 2015, 8 de julio de 2015 Resumen: Desde una concepción de la filosofía del cine como educación de adultos, se puede proponer que la aportación más genuina de la filmografía de La Cava a la expresión de la interrelación entre matrimonio y crisis económica se encuentra en la figura de los antihéroes. Con estos personajes, La Cava plantea tanto la necesidad que experimenta el ser humano de las sociedades industriales de remediar la angustia que le produce su propia debilidad y vulnerabilidad, como la necesidad de entablar relaciones de ayuda. Desde su participación en el cine de animación, así como en sus películas de cine mudo y en sus películas habladas, los protagonistas superan sus propias limitaciones gracias a relaciones de confianza con los demás, de las que el matrimonio igualitario y de mutua ayuda entre el varón y la mujer es el modelo más pleno. Palabras clave: matrimonio, confianza, antihéroes, vulnerabilidad, igualdad y com- plementariedad entre varón y mujer, ayuda, filosofía del cine, educación de adultos. Abstract: From a conception of philosophy of films education of grownups, it can be proposed that the most genuine contribution of the films of La Cava to the expression of the interrelation between marriage and economic crisis is found in the figure of the anti-heroes. With these characters La Cava presents both the need experienced by peo- ple in industrial societies to remedy the distress caused by his own weakness and vulner- a Facultad de Filosofía, Antropología y Trabajo Social, Universidad Católica de Valencia San Vicente Mártir.
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Feel Films / Resen «Cine Clásico Exclusivamente En
JOAN CRAWFORD EN ASÍ AMA LA MUJER vamente. La gran mayoría de sus films en MGM (SADIE MCKEE) (V.O.S.). UNA PELÍCULA durante la década de 1930, que representan el DE CLARENCE BROWN cénit de su éxito, belleza y popularidad, ni Título: Así ama la mujer siquiera llegaron a estrenarse en España. Los Distribuidora: Feel Films / Resen «Cine motivos de esta omisión son diversos, pero po- Clásico Exclusivamente en V.O.S.» drían resumirse en uno: Crawford fue en esencia Zona: 2 una estrella y un fenómeno 100% norteameri- Contenido: Un disco cano. Formato de imagen: 4:3 / 1.33:1 Sadie McKee no es ninguna excepción a este Audio: Dolby Digital Mono inglés respecto, si bien se constituye como una de las Subtítulos: castellano, portugués cintas más significativas de la segunda parte de Contenido extra: tráiler original su filmografía, ya en la época sonora. La actriz Precio: 15,65 € ingresó en el celuloide, contratada por MGM, en 1925. Tras una serie de pequeñas apariciones, el estudio decidió lanzarla en 1928 como la quin- taesencia de la modernidad, interpretando a la flapper propia de los años 20. El hundimiento de la bolsa de Wall Street en 1929 sumió al país en el desempleo, la pobreza y el hambre, y tanto MGM como la estrella comprendieron que se había acabado la etapa de la «virgen moderna». Debía crearse para ella otro tipo de personalidad, acorde con los nuevos tiempos de la Depresión: la working girl (chica trabajadora), personaje inspirado en su biografía personal y orígenes sociales humildes. El film que inauguró esta ten- dencia fue Amor
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The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
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MGM Studio News (January 14, 1939)
. STUDIO NEWS Eddie Cantor Signed by M-G-M Star in Big Musical Comedy 'PIP ID -J Sf g W To Eddie Cantor will return to the screen under the banner of Metro- Goldwyn-Mayer. A contract just signed assures exhibitors at least Published In the Interests of Metro-Goldwyn-Mayer Pictures Studios one big Cantor musical comedy during 1939 with the star of “Kid VOL. V—CULVER CITY, CALIFORNIA, SATURDAY, JANUARY 14, 1939— No. 13 Boots,” “Whoopee,” “The Kid from Spain” and “Roman Scandals.” Although Cantor has not made a picture since “Ali Baba Goes to Town,” devoting Title Is Changed for all his time to radio, his activity on the New Nelson Eddy Film air has kept him closely associated with the As this issue of Studio News goes screen. to press, announcement is made His personal appear- that a new title has been chosen ances have been terrific for “Song of the West,’’ the Metro- successes in the Goldwyn-Mayer production star- and ring Nelson Eddy, with Virginia course of his radio work Bruce and Victor McLaglen. The he has constantly kept picture will be released as “The his audiences picture- Dusty Road.” minded with his screen discoveries. The latest is Cantor Terry Kilburn, the English boy actor who Wallace Beery scored in “Lord Jeff” and “Christmas Carol.” Cantor also was responsible to a Starts Work On great degree for the careers of Deanna Durbin and Bobby Breen. °Sergt. Madden' Detailed plans for Cantor’s first picture under his contract with M-G-M will be With “Stand Up and Fight” on its announced shortly.
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List of Restored Films
Restored Films by The Film Foundation Since 1996, the Hollywood Foreign Press Association has contributed over $4.5 million to film preservation. The following is a complete list of the 89 films restored/preserved through The Film Foundation with funding from the HFPA. Abraham Lincoln (1930, d. D.W. Griffith) Age of Consent, The (1932, d. Gregory La Cava) Almost a Lady (1926, d. E. Mason Hopper) America, America (1963, d. Elia Kazan) American Aristocracy (1916, d. Lloyd Ingraham) Aparjito [The Unvanquished] (1956, d. Satyajit Ray) Apur Sansar [The World of APU] (1959, d. Satyajit Ray) Arms and the Gringo (1914, d. Christy Carbanne) Ben Hur (1925, d. Fred Niblo) Bigamist, The (1953, d. Ida Lupino) Blackmail (1929, d. Alfred Hitchcock) – BFI Bonjour Tristesse (1958, d. Otto Preminger) Born in Flames (1983, d. Lizzie Borden) – Anthology Film Archives Born to Be Bad (1950, d. Nicholas Ray) Boy with the Green Hair, The (1948, d. Joseph Losey) Brandy in the Wilderness (1969, d. Stanton Kaye) Breaking Point, The (1950, d. Michael Curtiz) Broken Hearts of Broadway (1923, d. Irving Cummings) Brutto sogno di una sartina, Il [Alice’s Awful Dream] (1911) Charulata [The Lonely Wife] (1964, d. Satyajit Ray) Cheat, The (1915, d. Cecil B. deMille) Civilization (1916, dirs. Thomas Harper Ince, Raymond B. West, Reginald Barker) Conca D’oro, La [The Golden Shell of Palermo] (1910) Come Back To The Five and Dime, Jimmy Dean, Jimmy Dean (1982, d. Robert Altman) Corriere Dell’Imperatore, Il [The Emperor’s Message] (1910, d. Luigi Maggi) Death of a Salesman (1951, d. Laslo Benedek) Devi [The Godess] (1960, d.
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Alabama Story” to Play on the Clarence Brown Mainstage Jan
For immediate release: Contact: Robin Conklin [email protected] (865) 974-2497 For Immediate Release: “Alabama Story” to Play On the Clarence Brown Mainstage Jan. 31 – Feb. 18 The Clarence Brown Theatre kicks off the second half of the season with Kenneth Jones’ “Alabama Story,” January 31 – February 18, 2018 on the CBT mainstage. The production is sponsored by Schaad Companies with additional support from the City of Knoxville, Humanities Tennessee, the Knox County Public Library, and the Knoxville and Tennessee Valley YWCA. Media sponsors are WBIR, WUOT, WUTK, B97.5, the Daily Beacon, and the Knoxville News Sentinel. A Pay What You Wish Preview performance, where patrons can name their own price, will be Wednesday, January 31st. Tickets available for purchase from 4:00 to 7:30 pm at the theatre. A Talk Back with the actors will take place Sunday, February 11 following the matinee. The Open Captioned performance is Sunday, February 18 at 2:00 pm. In addition, several community engagement events will take place in conjunction with this production. On Sunday, Feb. 4th, a free panel discussion on this issue of censorship will take place from 2:00-4:00 pm at the Lawson McGhee Library. On Tuesday, Feb. 6th a reception with playwright Kenneth Jones will take place on the CBT Mainstage from 6:30 -7:00 pm, followed by a free staged reading of select censored children’s books. On Tuesday, February 13 from 6:00 – 7:00 pm, a CBT Family Feast will take place from 6:00-7:00 pm prior to the 7:30 production of “Alabama Story.” A gentle children’s book that stirs the passions of a segregationist senator and a no-nonsense state librarian in 1959 Montgomery, just as the Civil Rights Movement is flowering.
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Films from the THIRTIES: PART II 1935-39
t% The Museum of Modern Art 1] West 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart No. 83 FOR RELEASE: Friday, August 25, I968 Films from THE THIRTIES: PART II 1935-39 The Museum of Modern Art, will present a retrospective of films from the thirties beginning August 23, and running through October 6. The Thirties, according to Willard Van Dyke, Director of the Department of Film, will consist of 39 pictures, representing some of the richest creative talent in American cinema at a time that has been called "the dear, dead days not beyond recall." Two years ago the Museum presented The Thirties, U.S.A., Part I, covering the first half of the decade. The films being shown now as Part II were made from 1935 ^^ 193 '• Among the pictures to be shown are: Frank Capra's "Lost Horizon"; Paul Muni in "The Life of Emile Zola," the Story of a Northern Jew's lynching in the South; the great thriller "Night Must Fall," an adaptation of the Emlyn Williams play starring Robert Montgomery; and "The Good Earth," a spectacle film in black and white, from Pearl Buck's popular novel, for which Luise Rainer won her second Academy Award, with Paul Muni in the starring role. The latter part of the thirties was characterized by further achievements in the musical film, largely due to the talents of Fred Astaire, who with Ginger Rogers starred in "Top Hat," and "Shall We Dance," both of which are in the retrospective. The most important contributions to the annals of films made in the thirties was the series of "snowball" comedies Hollywood turned out at a time of grim, economic hardships.
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Red and White on the Silver Screen: the Shifting Meaning and Use of American Indians in Hollywood Films from the 1930S to the 1970S
RED AND WHITE ON THE SILVER SCREEN: THE SHIFTING MEANING AND USE OF AMERICAN INDIANS IN HOLLYWOOD FILMS FROM THE 1930s TO THE 1970s a dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Bryan W. Kvet May, 2016 (c) Copyright All rights reserved Except for previously published materials Dissertation Written by Bryan W. Kvet B.A., Grove City College, 1994 M.A., Kent State University, 1998 Ph.D., Kent State University, 2015 Approved by ___Kenneth Bindas_______________, Chair, Doctoral Dissertation Committee Dr. Kenneth Bindas ___Clarence Wunderlin ___________, Members, Doctoral Dissertation Committee Dr. Clarence Wunderlin ___James Seelye_________________, Dr. James Seelye ___Bob Batchelor________________, Dr. Bob Batchelor ___Paul Haridakis________________, Dr. Paul Haridakis Accepted by ___Kenneth Bindas_______________, Chair, Department of History Dr. Kenneth Bindas ___James L. Blank________________, Dean, College of Arts and Sciences Dr. James L. Blank TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES………………………………………………………………………v ACKNOWLEDGEMENTS……………………………………………………………...vii CHAPTERS Introduction………………………………………………………………………1 Part I: 1930 - 1945 1. "You Haven't Seen Any Indians Yet:" Hollywood's Bloodthirsty Savages……………………………………….26 2. "Don't You Realize this Is a New Empire?" Hollywood's Noble Savages……………………………………………...72 Epilogue for Part I………………………………………………………………..121 Part II: 1945 - 1960 3. "Small Warrior Should Have Father:" The Cold War Family in American Indian Films………………………...136 4. "In a Hundred Years it Might've Worked:" American Indian Films and Civil Rights………………………………....185 Epilogue for Part II……………………………………………………………….244 Part III, 1960 - 1970 5. "If Things Keep Trying to Live, the White Man Will Rub Them Out:" The American Indian Film and the Counterculture………………………260 6.
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Restitution's Outlaws
Chicago-Kent Law Review Volume 78 Issue 1 Symposium: Private Law, Punishment, Article 3 and Disgorgement April 2003 Restitution's Outlaws Andrew Kull Follow this and additional works at: https://scholarship.kentlaw.iit.edu/cklawreview Part of the Law Commons Recommended Citation Andrew Kull, Restitution's Outlaws, 78 Chi.-Kent L. Rev. 17 (2003). Available at: https://scholarship.kentlaw.iit.edu/cklawreview/vol78/iss1/3 This Article is brought to you for free and open access by Scholarly Commons @ IIT Chicago-Kent College of Law. It has been accepted for inclusion in Chicago-Kent Law Review by an authorized editor of Scholarly Commons @ IIT Chicago-Kent College of Law. For more information, please contact [email protected], [email protected]. RESTITUTION'S OUTLAWS ANDREW KULL* INTRODUCTION Restitution, meaning the law of unjust enrichment, is not sup- posed to be punitive in purpose or effect., The first Restatement of Restitution treats this proposition as axiomatic: Actions for restitution have for their primary purpose taking from the defendant and restoring to the plaintiff something to which the plaintiff is entitled, or if this is not done, causing the de- fendant to pay the plaintiff an amount which will restore the plain- tiff to the position in which he was before the defendant received the benefit. If the value of what was received and what was lost were always equal, there would be no substantial problem as to the amount of recovery, since actions of restitution are not punitive.2 As an observation this is much more true than false, and in the contexts where it is typically repeated it conveys a useful reminder.
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Film and Politics Winter 2018
Political Science 410 Film and Politics Winter 2018 Professor Richard Davis 754 SWKT x2-7503 [email protected] Office Hours: Tuesdays 9-10: 45 am or by appointment Course Description This course explores the use of a mass medium - film - as a vehicle for communicating messages about political institutions and processes and the elites (primarily politicians) who are associated with them. Film is a new medium in the history of the world. One hundred years ago, film was a newly created vehicle for communicating with the mass audience. Today, mass market films reach hundreds of millions of people worldwide. This class is designed to analyze how directors use film to affect or reinforce political views or how they intentionally or unconsciously reflect certain ideas about politics in their films. We will address film’s portrayal of politicians, political institutions, political organizations, and political processes. The films we will survey primarily are feature films designed for a mass market. All have been released for theatre viewing. The questions we will answer over the semester center on the political motives of the film's director and then the ways these motives are transmitted through plot line, dialogue, music, visual images, camera angles, and various other cinematic techniques. Some questions we will continually ask throughout the semester include: What are the unstated assumptions of the film? What is the purpose of the film? From whose perspective is the story told? What other perspectives are not shown? Who is the hero (heroes) of the film? What political points does the director make? What is the historical and political context shaping the film? To what extent did the film affect the larger political environment? Course Objectives Students will be able to discern the existence of political messages of film, both intentional and unintentional.
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MY MAN GODFREY (1936) 94 Min
September 7, 2004 (IX:2) GREGORY LA CAVA (10 March 1892, Towanda, Pennsylvania—1 March 1952, Malibu, California, heart attack) directed 169 films, the last of which was an uncredited directing job on One Touch of Venus 1948. Some of the others were Stage Door 1937, She Married Her Boss 1935, Gabriel Over the White House 1933, The Half Naked Truth 1932, The Life of Reilly 1923, and A Quiet Day in the Country. TED TETZLAFF (3 June 1903, Los Angeles—7 January 1995, Fort Baker, California) shot 114 films beginning with Atta Boy 1926 and ending with Hitchcock’s Notorious 1946. Some of the others were Those Endearing Young Charms 1945, Cafe Society 1939, Tom Sawyer, Detective 1938, Soldiers of the Storm 1933, Tol'able David 1930, and The Flying Marine 1929. He directed World Premiere in 1941, then from 1947 on directed 13 more features, among which were Son of Sinbad 1955, Johnny Allegro 1949, Fighting Father Dunne 1948 and Riffraff 1947. WILLIAM POWELL (29 July 1892, Pittsburgh—5 March 1984, Palm Springs, California, cardiac arrest) acted in six Thin Man films, beginning with The Thin Man 1934. He played George Wilson in the first film made of Fitzgerald's The Great Gatsby 1926. His first film was When Knighthood Was in Flower 1922; the last was Mister Roberts 1955. There were 98 in all, among them How to Marry a Millionaire 1953, Mr. Peabody and the Mermaid 1948, The Senator Was Indiscreet 1947, Life with Father 1947, Ziegfeld Follies 1946, The Great Ziegfeld 1936, Manhattan Melodrama 1934, and The Four Feathers 1929.
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