A Selected Bibliography of Literary Journalism
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Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense. -
Retrospektive & Berlinale Classics
65. Internationale Filmfestspiele Berlin Retrospektive Glorious Technicolor Retrospektive: Glorious Technicolor Filme aus dem George Eastman House und weiteren Archiven The African Queen (African Queen) von John Huston mit Humphrey Bogart, Katharine Hepburn, Robert Morley, Großbritannien/USA 1951, 4K DCP: Park Circus (Digital restaurierte Fassung 2010), Englisch; Kopie: George Eastman House (35mm, Technicolor Druckverfahren/dye transfer print), Englisch An American Romance von King Vidor mit Brian Donlevy, Ann Richards, Walter Abel, USA 1944, Kopie: George Eastman House, Englisch Anne of the Indies (Die Piratenkönigin) von Jacques Tourneur mit Jean Peters, Louis Jourdan, Debra Paget, Herbert Marshall, USA 1951, Kopie: Twentieth Century Fox (Digital restaurierte Fassung), Englisch Black Narcissus (Die schwarze Narzisse) von Michael Powell und Emeric Pressburger mit Deborah Kerr, David Farrar, Jean Simmons, Großbritannien 1947, Kopie: British Film Institute (Digital restaurierte Fassung 2005), Englisch Blanche Fury (Unruhiges Blut) von Marc Allégret mit Stewart Granger, Valérie Hobson, Walter Fitzgerald, Michael Gough, Großbritannien 1947, Kopie: British Film Institute, Englisch Blood and Sand (König der Toreros) von Rouben Mamoulian mit Tyrone Power, Linda Darnell, Rita Hayworth, Anthony Quinn, USA 1941, Kopie: Twentieth Century Fox (Digital restaurierte Fassung), Englisch Broken Arrow (Der gebrochene Pfeil) von Delmer Daves mit James Stewart, Jeff Chandler, Debra Paget, Basil Ruysdael, USA 1950, Kopie: Twentieth Century Fox (Digital restaurierte -
George Eastman Museum Annual Report 2020
George Eastman Museum Annual Report 2020 Exhibitions 2 Traveling Exhibitions 3 Film Series at the Dryden Theatre 4 Programs and Events 5 Publishing and Online Projects 7 Books 7 Digitized Films Online 7 Silver Voices 7 Videos 8 Mobile Tour 9 Engagement and Attendance Statistics 10 Education 11 The L. Jeffrey Selznick School of Film Preservation 11 Photographic Preservation & Collections Management 11 Photography Workshops 12 Loans 13 Object Loans 13 Film Screenings 14 Acquisitions 15 Gifts to the Collections 15 Photography 15 Moving Image 19 Technology 19 George Eastman Legacy 22 Richard and Ronay Menschel Library 22 Purchases for the Collections 22 Photography 22 Moving Image 23 Technology 23 George Eastman Legacy 23 Richard and Ronay Menschel Library 23 Conservation and Preservation 24 Conservation 24 Film Preservation 27 Capital Projects 28 Financial 29 Treasurer’s Report 29 Statement of Financial Position 30 Statement of Activities and Change in Net Assets 31 Fundraising 32 Members 32 Corporate Members 34 Annual Campaign 34 Designated Giving 35 Planned Giving 36 Trustees and Staff 37 Board of Trustees 37 George Eastman Museum Staff 38 George Eastman Museum, 900 East Avenue, Rochester, NY 14607 Exhibitions Exhibitions on view in the museum’s galleries and mansion during 2020. MAIN GALLERIES POTTER PERISTYLE MANSION Anderson & Low: Voyages and Discoveries Penelope Umbrico: Everyone’s Photos Any 100 Years Ago: George Eastman in 1920 Curated by Lisa Hostetler, curator in charge, License (532 of 1,190,505 Full Moons on Flickr) Curated by Jesse Peers, archivist, Department of Photography Curated by Lisa Hostetler, curator in charge, George Eastman Legacy Collection October 19, 2019–January 5, 2020 Department of Photography February 14, 2020–January 3, 2021 July 20, 2019–January 5, 2020 Bea Nettles: Harvest of Memory Made possible by Stephen B. -
King Vidor at Museum
The Museum of Modern Art N0.97 11 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart FOR IMMEDIATE RELEASE RETROSPECTIVE TRIBUTE TO KING VIDOR AT MUSEUM A two-and-a-half month tribute to King Vidor, pioneer American film director, will begin September 1, 1972, at The Museum of Modern Art. The retrospective includes 39 films from 1920 to 1964, spanning more than 40 years of the director's career. It includes such eminent films as "The Big Parade," "The Crowd," and "Our Daily Bread." A new book by King Vidor will be published during the Museum retrospective. It is titled "King Vidor on Filmmaking," and will be published in October by David McKay Company, Inc. The 78-year-old director, who will come from Hollywood to be present at the Museum retrospective, will be introduced to the public and address the Museum audience at the Thursday evening performance, September 7, at 8:00 P.M., when "Show People," starring Marion Davies, is shown. The director plays himself in the picture, along with Charles Chaplin, John Gilbert, and Douglas Fairbanks, who also portray themselves. The Vidor retrospective was organized by Adrienne Mancia, Associate Curator of the Department of Film. The films come from many sources including the Museum's own archive and circulating library. Some films were contributed by the Cinematheque of Toulouse, the Czechoslovak Film Archive in Prague, the George Eastman House, the American Film Institute, and several major film companies. One film, "Peg 0' My Heart," starring Laurette Taylor, was considered lost until it was located in Spain at the Filmoteca Nacional de Espana (Madrid). -
Economic Effects of Vertical Disintegration: the American Motion Picture Industry, 1945 to 1955
Working Papers No. 149/10 Economic Effects of Vertical Disintegration: The American Motion Picture Industry, 1945 to 1955 . Gregory Mead Silver © Gregory Mead Silver, LSE November 2010 Department of Economic History London School of Economics Houghton Street London, WC2A 2AE Tel: +44 (0) 20 7955 7860 Fax: +44 (0) 20 7955 7730 Economic Effects of Vertical Disintegration: The American Motion Picture Industry, 1945 to 1955 Gregory Mead Silver Abstract In 1948, the United States Supreme Court declared the operations of eight of the nation’s largest motion picture studios in violation of the 1890 Sherman Antitrust Act.1The decision ordered them to disintegrate their producer-distributor roles from cinemas. The Court believed this would promote competitive practices in a hitherto uncompetitive industry. However, these desired benefits were not entirely reached. Instead, by leading the Hollywood studio system to collapse, the Court also distorted the supply- chain for motion pictures. This work utilizes Coasian analyses of transaction costs to show that institutional integration was an efficient structure for the motion picture industry. It explores the motives to integrate and the benefits it garnered. Having laid this groundwork, it then assesses the effects theatre divorcement had on the industry and offers plausible counterfactuals had the studios remained intact after 1948. 1 Introduction There has been much conjecture over the effects that government intervention can have on industry. The case examined here is the intervention of the United States Judiciary on the American motion picture industry in the late 1940s. Since 1890, the year Congress signed the Sherman Antitrust Act into law, the government has served as the self- imposed overseer that assures the proper functioning of competitive markets. -
Retrospektive King Vidor King Vidor King Vidor
Retrospektive King Vidor King Vidor King Vidor 13 King Vidor (Mitte) bei den Dreharbeiten zu LA BOHÈME mit Lillian Gish King Im November 1925 kam King Vidors THE BIG PARADE Der enorme Erfolg von THE BIG PARADE ermöglich- in die amerikanischen Kinos. Schon bei seinem ersten te es Vidor, auf dem Höhepunkt der Prosperität und des Einsatz spielte er mehr als das Zehnfache seiner Pro- Zukunftsglaubens einen Film über einen kleinen Ange- duktionskosten ein und machte die erst im Jahr zuvor stellten in New York zu drehen – einen Versager ge- gegründete MGM zu einer der mächtigsten Produkti- messen an den Erwartungen seines Vaters, seiner Um- onsfirmen Hollywoods. Seit D.W. Griffiths HEARTS OF gebung und den eigenen. THE CROWD (1928) ist einer THE WORLD (1918) hatte es keinen bedeutenden ame- der ungewöhnlichsten Hollywoodfilme der 1920er Jah- rikanischen Spielfilm über den Ersten Weltkrieg mehr re, ein Film ganz ohne die üblichen Zutaten eines Hol- gegeben, und THE BIG PARADE löste für die nächsten lywoodfilms: »Es gibt so gut wie keine Handlung; die zehn Jahre eine ganze Welle ähnlich angelegter Filme Liebesgeschichte kommt ohne Sex aus; es gibt keinen aus. Der Maler Andrew Wyeth sah ihn schon als Kind physischen Höhepunkt, keinen Kampf, keinen planmä- und hat später immer wieder betont, wie dieser Film ßigen Thrill. Die Figuren, allesamt Leute aus dem Alltag, sein Werk beeinflusst habe; in Vidors METAPHOR. KING verhalten sich nicht wie Figuren in einem Film, sondern VIDOR MEETS WITH ANDREW WYETH (1980) erzählt er, wirklich wie Menschen; es gibt keinen Schurken, keine dass er den Film 180mal gesehen habe. -
Retrospektive2020 Broschuere.Pdf
20191227_LogobalkenA5HF_148x17_RZ.indd 1 27.12.19 16:26 King Vidor Rainer Rother SMART Natalia Wörner FRECH Alina Levshin Der amerikanische Regisseur, Produzent und Drehbuchautor King Vidor (1894–1982) steht im Zentrum der Retrospektive der 70. Internationalen Filmfestspiele Berlin. Vidor nimmt einen zentralen Platz in der Geschichte des US-amerikanischen Kinos ein und entwickelte seine Kunst vom Ende der Stummfilmära bis zur Blütezeit Hollywoods – quer durch zahlreiche Genres und stets interessiert an filmtechnischen Innovationen. Tolle Frauen. Das Ausloten des Potenzials der Filmsprache und die Auseinandersetzung mit den sozi- alen Fragen seiner Zeit bilden den Kern seines Œuvres. Das Programm der Retrospektive Tolle Filme. umfasst 37 Filme aus sieben Jahrzehnten, die in bestmöglicher Qualität und vorwiegend als 35-mm-Filmkopien präsentiert werden, darunter seine sechs opulent leuchtenden Egal, wie sie sind, bei uns Farbfilme im Technicolor-Verfahren und seine beiden essayistischen Spätwerke. Bei sind Frauen immer richtig. dieser Retrospektive zu King Vidor handelt es sich erst um die dritte in Deutschland – ZDF zuletzt waren dem Regisseur hier 1962 und 2000 Werkschauen gewidmet. Allen Institutionen, die die Vorbereitung dieser Retrospektive durch Recherchen und die Ausleihe von Filmen unterstützt haben, sei an dieser Stelle herzlich gedankt: British Film Institute National Archive, London; Eye International/Heritage, Amsterdam; George Eastman Museum, Rochester/NY; Harvard Film Archive, Cambridge/MA; La Cinéma- thèque française, Paris; La Cinémathèque de Toulouse; Kansallinen audiovisuaalinen instituutti, Helsinki; Library of Congress, Washington/DC; Lobster Films, Paris; MoMA, New York; Park Circus, Glasgow; Photoplay Productions, London; Swedish Film Institute, TOUGH Stockholm; UCLA Film & Television Archive, Santa Clarita/CA; Universal Pictures, Felicitas Woll Frankfurt/Main und Universal City/CA; Warner Bros. -
Screening Race in American Nontheatrical Film with a FOREWORD by JACQUELINE NAJUMA STEWART Screening Race in American Nontheatrical
Screening Race in American Nontheatrical Film WITH A FOREWORD BY JACQUELINE NAJUMA STEWART Screening Race in American Nontheatrical Film ALLYSON NADIA FIELD MARSHA GORDON EDITORS Duke University Press Durham and London 2019 © 2019 Duke University Press Cover art: (Clockwise from All rights reserved top left) Untitled (Hayes Printed in the United States of Amer i ca on family, 1956–62), courtesy acid- free paper ∞ of the Wolfson Archives at Designed by Courtney Leigh Baker Miami Dade College; Day Typeset in Minion Pro, Clarendon, and Din by of the Dead (Charles and Westchester Publishing Ser vices Ray Eames, 1957); Easter 55 Xmas Party (1955), courtesy Library of Congress Cataloging- in- Publication Data of the University of Names: Field, Allyson Nadia, [date] editor. | Gordon, Chicago/Ghian Foreman; Marsha, [date] editor. | Stewart, Jacqueline Najuma, [date] Gee family home film, writer of the foreword. courtesy of Brian Gee and Title: Screening race in American nontheatrical film / Center for Asian American edited by Allyson Nadia Field and Marsha Gordon ; Media; The Challenge with a foreword by Jacqueline Najuma Stewart. (Claude V. Bache, 1957). Description: Durham : Duke University Press, 2019. | Includes bibliographical references and index. Identifiers: lccn 2019006361 (print) lccn 2019012085 (ebook) isbn 9781478005605 (ebook) isbn 9781478004141 (hardcover : alk. paper) isbn 9781478004769 (pbk. : alk. paper) Subjects: lcsh: Race in motion pictures. | Race awareness in motion pictures. | African Americans in motion pictures. | Minorities in motion pictures. | Motion pictures in education— United States. | Ethnographic films— United States. | Amateur films— United States. Classification: lcc pn1995.9.r22 (ebook) | lcc pn1995.9.r22 s374 2019 (print) | ddc 791.43/65529— dc23 lc rec ord available at https:// lccn . -
Identifying Classic Films by the TV Numbers Data of a Survey Spanning 2018-2020
Identifying Classic Films by the TV Numbers Data of a Survey Spanning 2018-2020 Each entry below consists of the name of a film, the year of its release, an abbreviation of the network(s) that presented it, and the number of its overall presentations. Networks and their respective abbreviations are: American Movie Classics (AMC) Paramount Television Network (PARA) BBC America (BBCA) Showtime (SHOW) FREE (FREE) STARZ (STARZ) FX Movie Channel (FXM) SYFY (SYFY) Home Box Office (HBO) Turner Broadcasting System (TBS) IFC (IFC) THIS TV (THIS) MOVIES! TV Network (MOVIES) TNT (TNT) Ovation TV (OVA) Turner Classic Movies (TCM) 1989 150 Films 4,958 Presentations 33,1 Average A Deadly Silence (1989) MOVIES 1 A Dry White Season (1989) TCM 4 A Nightmare on Elm Street 5: The Dream Child (1989) SYFY 7 All Dogs Go to Heaven (1989) THIS 7 Always (1989) STARZ 69 American Ninja 3: Blood Hunt (1989) STARZ 2 An Innocent Man (1989) HBO 5 Back to the Future Part II (1989) MAX/STARZ/SHOW/SYFY 272 Batman (1989) SYFY/TNT/AMC/IFC 24 Best of the Best (1989) STARZ 16 Bill & Ted’s Excellent Adventure (1989) STARZ 140 Black Rain (1989) SHOW/MOVIES/MAX 85 Blind Fury (1989) THIS 15 1 [email protected] Born on the Fourth of July (1989) MAX/BBCA/OVA/STARZ/HBO 201 Breaking In (1989) THIS 5 Brewster’s Millions (1989) STARZ 2 Bridge to Silence (1989) THIS 9 Cabin Fever (1989) MAX 2 Casualties of War (1989) SHOW 3 Chances Are (1989) MOVIES 9 Chattahoochi (1989) THIS 9 Cheetah (1989) TCM 1 Cinema Paradise (1989) MAX 3 Coal Miner’s Daughter (1989) STARZ 1 Collision -
REVIEW ESSAY American Workers, American Movies: Historiography
REVIEW ESSAY American Workers, American Movies: Historiography and Methodology Steven J. Ross University of Southern California Abstract “American Workers, American Movies: Historiography and Methodology” surveys the ways in which scholars have examined the relationship between workers and movies. For many years, scholarship about movies and workers took one of two ba- sic approaches: Cinema scholars wrote about images of workers in films, while labor historians wrote histories of union activity within the movie industry. The two schools were usually quite distinct. In the last twenty years, a burst of scholarship in both fields has broadened our understandings of the images that appeared on the screen and, in some cases, how those images were constructed in the first place. The goal of this essay is twofold: to review key themes and recent works in the field, and to suggest ways in which working-class historians might approach and incorporate studies of film into their own work. Indeed, the author calls upon scholars to go be- yond simply deconstructing images, and to explore more complicated questions in- volving the forces responsible for shaping the ideology and class focus on American cinema. Sometimes the worst interviews turn out to be the most illuminating. In July 1988, I traveled to Seattle to talk with former Teamster president Dave Beck about labor filmmaking during the silent era. Despite his incarceration for grand larceny in the 1950s, Beck had been a militant trade union organizer in the ear- ly 1920s, a period when Seattle unionists supplemented workplace activism by making feature films. After repeated queries by me about the union-backed Fed- eration Film Corporation, the feisty Beck finally shot back: “Movies? Who gives a fuck about the movies! . -
Un Grande Individualista a Hollywood. Il Cinema Di King Vidor. Berlinale 2020. 70° Internationale Filmfestspiele Berlin Cinzia Cattin*
Reviews Cinergie – Il cinema e le altre arti. N.17 (2020) https://doi.org/10.6092/issn.2280-9481/11107 ISSN 2280-9481 Un grande individualista a Hollywood. Il cinema di King Vidor. Berlinale 2020. 70° Internationale Filmfestspiele Berlin Cinzia Cattin* Pubblicato: 30 luglio 2020 ’…I’m a tipically American guy, therefore the subjects I worked on were good American subjects (Dowd and Shepard 1988: 293) La retrospettiva di quest’anno alla Berlinale, a differenza degli anni passati in cui presentava temi di ampio respiro, si concentra su un unico autore, un regista hollywoodiano: King Vidor. Grande nome del cinema americano, i cui i film hanno fatto la storia di Hollywood edegli Studios, iniziando a lavorare da giovane regista ancora nel periodo muto, e continuando fino agli anni Sessanta, Vidor è fra i pionieri che hanno saputo adattarsi via via alle evoluzioni tecniche avvenute nel corso della storia del cinema. Già nei suoi film muti esegue sperimentazioni sul ritmo con l’utilizzo di un metronomo per realizzare alcune scene chiavi. È tra i primi a utilizzare il sonoro, ma anche formati impegnativi come il 70 mm, e ha magistralmente realizzato film sia in bianco e nero, sia nei colori del Technicolor. Negli anni d’oro di Hollywood riesce a destreggiarsi fra produttori egocentrici e tiranni e attori più o meno capricciosi. Questa sua qualità camaleontica (Durgnat 1994), forse l’aspetto che meno è piaciuto alla critica europea, da sempre più legata alle teorie degli autori di quella americana, probabilmente gli permette di adattarsi a dirigere generi cinematografici fra loro molto diversi, nei quali si riesce a intravedere lo sforzo di mantenere uno stile personale, seppur a volte nascosto da scelte volute dalla produzione. -
Online Versions of the Goldenrod Handouts Have Color Images & Hot Links August 28, 2018 (XXXVII:1)
Online versions of the Goldenrod Handouts have color images & hot links August 28, 2018 (XXXVII:1) http://csac.buffalo.edu/goldenrodhandouts.html King Vidor, THE BIG PARADE (1925, 151 min) DIRECTED BY King Vidor, George W. Hill (uncredited) WRITTEN BY Laurence Stallings (story), Harry Behn (scenario), Joseph Farnham (titles) (as Joseph W. Farnham), Laurence Stallings (screenplay) (uncredited), King Vidor (uncredited) PRODUCED BY Kevin Brownlow (1988 Turner print), David Gill (1988 Turner print), Irving Thalberg (uncredited), King Vidor (uncredited) CINEMATOGRAPHY John Arnold (photography), Charles Van Enger (uncredited) FILM EDITOR Hugh Wynn VISUAL EFFECTS Max Fabian (uncredited) STUNTS Allen Pomeroy Selected for National Film Registry by the National Film Preservation Board, 1992 CAST John Gilbert...James Apperson Renée Adorée...Melisande (as Renée Adorée) Before releasing Peg ‘o My Heart in 1922 and securing Hobart Bosworth...Mr. Apperson a contract with Goldwyn Studios, Vidor would direct films such Claire McDowell...Mrs. Apperson as The Jack-Knife Man (1920), Love Never Dies (1921), The Sky Claire Adams...Justyn Reed Pilot (1921), Real Adventure (1922), Dusk to Dawn (1922), and Robert Ober...Harry Conquering the Woman (1922). The success of The Big Parade Tom O'Brien...Bull (1925) would establish Vidor as one of the premier directors at Karl Dane...Slim the newly-formed MGM. Building up to his career-defining work Rosita Marstini...French Mother in The Big Parade, Vidor would direct Happiness (1924) and Proud Flesh (1925). The latter half of the 1920s would see such KING VIDOR (b. King Wallis Vidor, 8 February 1894, films as La Bohème (1926), The Crowd (1928), The Patsy Galveston, TX, U.S.A.—d.