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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. -
Two-Color Technicolor, the Black Pirate, and Blackened Dyes in 1923
Two-Color Technicolor, The Black Pirate, and Blackened Dyes In 1923 Cecil B. DeMille had complained that “color movies diverted interest from narrative and action, offended the color sensitivities of many, and cost too much.”1 For DeMille, color—even “natural” color processes like Technicolor—was a veil that concealed the all-important expressions on an actor’s face. Yet DeMille was attracted to color and repeatedly employed it in his films of the 1920s, combining tinting and toning with footage either in Technicolor or in the Handshiegl process. Douglas Fairbanks voiced a similar objection to color, likening its use to putting “rouge on the lips of Venus de Milo.”2 Fairbanks argued that color took “the mind of the spectator away from the picture itself, making him conscious of the mechanics—the artificiality—of the whole thing, so that he no longer lived in the story with the characters.”3 At the same time, color motion pictures were said, by their critics, to cause retinal fatigue.4 Fairbanks had once written that color “would tire and distract the eye,” serving more as a distraction than an attraction.5 Indeed, a few years later, before deciding to make The Black Pirate (1926) in two-color Technicolor, Fairbanks hired two USC professors, Drs. A. Ray Irvine and M. F. Weyman, to conduct a series of tests to ascertain the relative amount of eye fatigue (as well as nausea and headaches) generated by viewing black and white vs. color films. Fatigue was calculated in terms of the decline in the viewer’s visual acuity as a result of these screenings. -
New Concert Console Organ by Wurlitzer Here Is the Or~An That Offers a Full O Utl~T for Your Talent, Hances One-Finger Melodies with Automatic Chords
SHOWCASEYOURTALENT New Concert Console Organ by Wurlitzer Here is the_or~an that offers a full o_utl~t for your talent, hances one-finger melodies with automatic chords. ~or~ ~.us1c or your money. This console of the Dancing Fingers"' plays in many modes of automatic eighties has pl~y today fea!ur~s that enh_ar:i<?~your arpeggiation on upper or lower keyboard enlarged by performance, with almost limitless poss1b1l1t1es. theatre, orchestral, classic, jazz, rock and disco. You'll variable and independent sustain for all voices. feel proud and in command seated at this console with Vari Voice"' lets you create solo voicings with variable its multitude of beautifully styled controls. sustain and repeating possibilities while a special "wow" The heart of the new 0-170, the Wurlitzer Digital Music attack provides even more versatility. System, brinJJSnew meaning to playability. The Orbit All of these features and more are combined in elegant Synthesizer ' has a multi-note capability. It can be cabinetry of Traditional and Mediterranean designs. coupled with the upper keyboard or through the two- Each one features controls color coordinated with speed Leslie speaker system. today's natural decorating hues. String Ensemble pre-sets produce the orchestral opu- Send for full information on the new Wurlitzer D-170 lence of Violins, Violas and Cellos. An independent Concert Console Organ. Celeste enhances other orchestral voices. There is a full range of Tibia pitches as well as a coupler system for both upper and lower keyboards. Polyphonic pedals for classical works. An extraordinary Solo Piano can be played throughout the upper keyboard. -
40 Years of American Film Comedy to Be Shown
40n8 - 4?' THE MUSEUM OF MODERN ART tl WEST 53RD STREET, NEW YORK •fgLEPHONE: CIRCLE 5-8900 FOR IMMEDIATE RELEASE FORTY YEARS OF AMERICAN FIM COMEDY FROM FLORA FINCH AND JOHN BUNNY TO CHAPLIN, FIELDS, BENCHLEY AND THE MARX BROTHERS TO BE SHOWN AT THE MUSEUM OF MODERN ART That movies are the proper study of mankind has been estab lished at the Museum of Modern Art, where eight comprehensive series and four smaller groups of the outstanding films through which the great popular art of the cinema has evolved since 1895, have already been shown to Museum visitors. The Museum now announces a new series of fifteen programs in the art of the motion picture under the general title: Forty Years of American Film Comedy, Part i; Beginning Thursday, August 1, the series will be presented dally at 4 P.M. and on Sundays at 3 P.M. and 4 P.M. in the Museum1s auditorium at 11 West 53 Street. Instruction will thus be provided from the screen by Professors Mack Sennett, Frank Capra, W. C. Fields, Harpo and Groucho Marx, Robert Benchley and Charlie Chaplin in a new appraisal of screen comedy reviewed in the light of history. "It is very evident," states Iris Barry, Curator of the Museum's Film Library, "that the great farce-comedies, as well as the cowboy and gangster films, rank among this country1s most original contributions to the screen. We are grateful indeed to the film industry for cooperating with the Museum in providing this unique opportunity for tracing screen comedy to its sources in this group of classics now restored to view for the amateurs of the twentieth century's liveliest art. -
Howe Collection of Musical Instrument Literature ARS.0167
http://oac.cdlib.org/findaid/ark:/13030/c8cc1668 No online items Guide to the Howe Collection of Musical Instrument Literature ARS.0167 Jonathan Manton; Gurudarshan Khalsa Archive of Recorded Sound 2018 [email protected] URL: http://library.stanford.edu/ars Guide to the Howe Collection of ARS.0167 1 Musical Instrument Literature ARS.0167 Language of Material: Multiple languages Contributing Institution: Archive of Recorded Sound Title: Howe Collection of Musical Instrument Literature Identifier/Call Number: ARS.0167 Physical Description: 438 box(es)352 linear feet Date (inclusive): 1838-2002 Abstract: The Howe Collection of Musical Instrument Literature documents the development of the music industry, mainly in the United States. The largest known collection of its kind, it contains material about the manufacture of pianos, organs, and mechanical musical instruments. The materials include catalogs, books, magazines, correspondence, photographs, broadsides, advertisements, and price lists. The collection was created, and originally donated to the University of Maryland, by Richard J. Howe. It was transferred to the Stanford Archive of Recorded Sound in 2015 to support the Player Piano Project. Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, California 94305-3076”. Language of Material: The collection is primarily in English. There are additionally some materials in German, French, Italian, and Dutch. Arrangement The collection is divided into the following six separate series: Series 1: Piano literature. Series 2: Organ literature. Series 3: Mechanical musical instruments literature. Series 4: Jukebox literature. Series 5: Phonographic literature. Series 6: General music literature. Scope and Contents The Howe Musical Instrument Literature Collection consists of over 352 linear feet of publications and documents comprising more than 14,000 items. -
Silent Film Music and the Theatre Organ Thomas J. Mathiesen
Silent Film Music and the Theatre Organ Thomas J. Mathiesen Introduction Until the 1980s, the community of musical scholars in general regarded film music-and especially music for the silent films-as insignificant and uninteresting. Film music, it seemed, was utili tarian, commercial, trite, and manipulative. Moreover, because it was film music rather than film music, it could not claim the musical integrity required of artworks worthy of study. If film music in general was denigrated, the theatre organ was regarded in serious musical circles as a particular aberration, not only because of the type of music it was intended to play but also because it represented the exact opposite of the characteristics espoused by the Orgelbewegung of the twentieth century. To make matters worse, many of the grand old motion picture theatres were torn down in the fifties and sixties, their music libraries and theatre organs sold off piecemeal or destroyed. With a few obvious exceptions (such as the installation at Radio City Music Hall in New (c) 1991 Indiana Theory Review 82 Indiana Theory Review Vol. 11 York Cityl), it became increasingly difficult to hear a theatre organ in anything like its original acoustic setting. The theatre organ might have disappeared altogether under the depredations of time and changing taste had it not been for groups of amateurs that restored and maintained some of the instruments in theatres or purchased and installed them in other locations. The American Association of Theatre Organ Enthusiasts (now American Theatre Organ Society [ATOS]) was established on 8 February 1955,2 and by 1962, there were thirteen chapters spread across the country. -
August 1-9, 2009
www.oeta.tv KETA-TV 13 Oklahoma City KOED-TV 11 Tulsa KOET-TV 3 Eufaula KWET-TV 12 Cheyenne August 2009 Volume 36 Number 2 A Publication of the Oklahoma Educational Television Authority Foundation, Inc. AUGUST 1-9, 2009 AUGUST At a Glance AUGUSTFEST LOCAL FOCUS HISTORY & CULTURE SCIENCE & NATURE Tony Bennett: An Oklahoma Horizon Time Team NOVAscienceNow American Classic Sundays at 3 p.m. America Special Tuesdays @ 8 p.m. August 2 at 7 p.m. August 19 at 7 p.m. page 2 9 10 11 2 TONY BENNETT AN AMERICAN CLASSIC f Sunday August 2 at 7 p.m. The ground-breaking television event features breath- taking stage productions that take the viewer on an emotional musical journey of this legendary entertain- f er’s life, re-creating the seminal venues of his career. Saturday August 1 at 7 p.m. Tony performs duets of his greatest hits with some of Hosted by Mary Lou today’s greatest artists – “The Best Is Yet to Come” Metzger, this all-new with Diana Krall, “Rags to Riches” with Elton John and special highlights “For Once in My Life” with Stevie Wonder, to name outstanding musical a few. Woven throughout the special are narratives production numbers by special guests such as Billy Crystal, John Travolta from the past ten and Robert De Niro. The special ends with Tony’s solo years. Members of the performance of his signature song “I Left My Heart in Welk Musical Fam- San Francisco.” ily are spotlighted in short biographies, illustrated by their own personal collection of photographs. -
We're All Familiar with Charlie Chaplin, One of the Towering Icons
We’re all familiar with Charlie Chaplin, one of the towering icons of film history, central to the field of film as a producer, director, and actor, instantly recognizable to people around the world for his signature character The Tramp. In 1999 the American Film Institute placed him on its list of the greatest male movie stars of all time (at No.10, if you care about that sort of ranking), and it also acknowledged his film City Lights as one the 100 best American films ever made (at No. 76, just beating out his Modern Times at No. 81). Chaplin’s musical inclinations went back to his earliest years, and as a young man he achieved competence as both a singer and an instrumentalist. In My Autobiography (Simon and Schuster, 1964) he wrote of the vaudeville tour with the Karno Company that first brought him to the United States in 1910. (That troupe also included among its members another young Englishman who was Chaplin’s roommate — Arthur Stanley Jefferson, who later altered his name to Stan Laurel.) Chaplin recalled: “On this tour I carried my violin and my cello. Since the age of sixteen I had practiced from four to six hours a day in my bedroom. Each week I took lessons from the theatre conductor or from someone he recommended. As I played left-handed, my violin was strung left- handed with the bass bar and sounding post reversed. I had great ambitions to be a concert artist, or, failing that, to use it in a vaudeville act, but as time went on I realized that I could never achieve excellence, so I gave it up.” After working his way through mostly forgettable silent films, in 1919 Chaplin co-founded (along with Mary Pickford, Douglas Fairbanks, and D.W. -
Photoplay July 1920 – the Pickford-Fairbanks Wooing
— — \Vlien friendship turned to love. Mary and Doug doing their bit in the Liberty Loan Drive that brought them into close companionship. The Pickford-Fairbanks Wooing I The story of filmdom's greatest real By life romance with a moonlight fade-out. BILLY BATES 1 "Mrs. Charlotte Smith announces the wedding of her It is one of the great love stories of all time. I daughter, Mary, to Mr. Douglas Fairbanks at the home Well may the two of them—Mary and Doug—long for the of Rev. F. Whitcomb Brougher. The bride wore white pure rays of the moon to silver their romance. It is the moon- satin and tulle with a touch of apple green. The groom light they will seek when they go far away from everything was garbed in conventional black. Mr. and Mrs. Fair- just the two of them, alone. And it is high time the film of hanks will be at home following a honeymoon trip to Niagara Falls and other points of interest in the Fast." their narrative is tinted with the sentimental blue of eventide that so long has been lacking. Instead of that they have been forced to their love-making THAT'S the way they would have liked to see it in the papers. Just a quiet little ceremony, with the bride in the glare of the mid-day sun of publicity. To them it has smiling—and perhaps weeping a little, as brides do been as if their most intimate and personal moments were lived and the groom blushing and clumsy and nervous, as any under the harsh light of noon with the relentless eye of the plumber might be, facing the future and the installment plan camera recording their slightest gesture and a case-hardened collector with a high heart, a steady job and the woman of director criticising their action. -
Cobra Essay by David Shepard
Cobra Essay by David Shepard Rudolph Valentino's first independent production, COBRA, was released less than a year prior to the actor's untimely death at age 31. It is an unusual and contradictory showcase for the actor who is remembered more than any other as the icon of irresistible sexuality in Hollywood silent film. Beleaguered by women in his native land, a promiscuous Italian Count, Rodrigo Torriani (Valentino) escapes to New York to work for an elegant antiques dealer specializing in Italian objects d’art. The ambitious young man cannot suppress the Don Giovanni within himself and he is soon embroiled in a new series of romantic entanglements with secretaries, husband hunters and extortionists. But when his best friend's new wife captures suave Torriani in her Cobra-like gaze, he reforms just in time to avoid disgrace and even death-by-fire. COBRA was made at a time when every element of the young star's professional life was controlled by his wife, Natacha Rambova. Imagining that Valentino would out-do Douglas Fairbanks in films notable for scenes of pageantry, athleticism, and derring-do, she wrote for Rudy a treatment for an enormous spectacle of medieval Spain to be called The Hooded Falcon. With proposed co-star Nita Naldi, the Valentinos traveled to that country where they spent more than one hundred thousand dollars of producer J.D. Williams’ money on Spanish antiques and props. Rambova committed for the services of other actors. Joseph Henabery, who endured Rambova’s interference with his direction of A Sainted Devil, was engaged for the same task. -
Case Study 2 from Shellfish to Seaweed
Farmer Veterans and Small Scale Fisheries John Adams Sound Fresh Clams and Oysters Washington Chapter, Farmer Veteran Coalition This is the story so far: Continue to improve together 2 11/21/19 WA Farmer Veteran Coalition Supporting the veterans and family members engaged in agricultural pursuits 3 11/21/19 Why farming works for me • Constant challenge • Growing food • Mental health 4 11/21/19 Tides Respiration of the estuary 5 11/21/19 Our Seagreen Project • Pickleweed/ sea beans (Salicornia) • Jaumea carnosa 6 11/21/19 Seafood Supply Farmer Chain Buyer Processor Where is your Distributor margin? Retail Consumer 7 11/21/19 Habitat Trends Ocean Acidification (pH/chemistry change) Sea Level Rise (shifts intertidal stratification) Ocean Temperature (disrupts metabolism, ecosystem timing) Climate Events. Rainfall, wind, sun, cold, drought Frequency, severity duration 8 11/21/19 Ocean Acidification Trophic system creates ripples of tertiary effects 9 11/21/19 Business Models Scale Value based Agritourism (10-50%) Restoration Aquaculture Composite models are best 10 11/21/19 Agri- tourism Facilitates self discovery of food Helps connect food with place and environment Fully Engages senses 11 11/21/19 Seaweed is Food Experience level of target market in product knowledge and food prep expertise Need for translation to market 12 11/21/19 Farming and Resilience Purpose: 40- 70% of small businesses do not survive 13 11/21/19 Resilience • Identify single points of failure • Assess your risks, hazards and vulnerabilities • Identify critical resources • Contingency business planning • Prepare. Reduce risks or vulnerabilities, build surplus, rehearse plan • Develop collaborative network. 14 11/21/19 Questions? John Adams Sound Fresh Clams and Oysters [email protected] 15 11/21/19 Washington Sea Grant Seaweed farming workshop webinar 20 November, 2019 Case study #2 – Patriot Shellfish Farms/Blue Greens co. -
Journal of the ,American Theatre Organ Society
ATOS JulAug 52-4 L 6/17/10 1:32 PM Page 1 JOURNAL OF THE , AMERICAN THEATRE ORGAN SOCIETY JULY | AUGUST 2010 ATOS JulAug 52-4 L 6/17/10 1:32 PM Page 2 AMERIC i N TI-IEATRE _OR\iAN 'l\sue ,i_ETV ' ~ I ~ elebrating the?>. (both Anniversary ' of tRe theatre pipe organ 1T cc 1~1rI TURNER CLASSIC MOVIES ■■■■■■■■■■■■■■■■■■■■■■■■■■■■■ Tuesday, August 10 at 7:30 pm The General Starring Buster Keaton Silent i=ilm- Accompanied by Clark Wilson on the Mighty Mo Organ ■■■■■■■■■■■■■■■■■■■■■■■■■■■■■ PRESENTED ON Tl-IE BIGGEST SCREEN IN ATLANTA! Individual Movie Tickets - $8 - Available at: The !=oxTheatre Box Office, Ticketmaster (800) 745-3000, www.ticketmaster.com, Ticketmaster Outlets 1 creative B 98.S FM LIVINGSTON ·i1imt~ ® loafing Allmbi',BootVaridy ofSofl;Rock A.DELTA davetm I\\ l flS11~~l •• '36$ ATOS JulAug 52-4 L 6/17/10 1:43 PM Page 1 THEATRE ORGAN JULY | AUGUST 2010 Volume 52 | Number 4 FEATURES Theatre Organ Society 14 of Australia Turns 50 Kenelm M. Lufkin’s 20 Lasting Legacy Teaching to the 22 Future A Fresh Air 28 of Legitimacy: Theatre Organ And Symphony—A Growing Combination Rebirth in Cincinnati: 30 From the Albee to the Music Hall Rosa Rio 39 Remembered Outside the Box: 46 An Inside Perspective DEPARTMENTS 4 From the Publisher’s Pen 4 From the Editors 5 Headquarters The Solo Chamber of the Cincinnati Music Hall Ballroom Wurlitzer (Photo by Philip Groshong) 6 News & Notes 8 Professional Perspectives 10 Fanfare On the Cover: The Cincinnati Albee Theatre Wurlitzer in its new home at the Cincinnati Music Hall Ballroom (Photo by Philip Groshong) 50 For the Records 52 Chapter News 61 THEATRE ORGAN (ISSN 0040-5531) is published bimonthly by the American Theatre Organ Around the Circuit Society, Inc., 7800 Laguna Vega Drive, Elk Grove, California 95758.