Communications Des Maisons De Location

Total Page:16

File Type:pdf, Size:1020Kb

Communications Des Maisons De Location Communications des maisons de location Objekttyp: Group Zeitschrift: Schweizer Film = Film Suisse : offizielles Organ des Schweiz. Lichtspieltheater-Verbandes, deutsche und italienische Schweiz Band (Jahr): 7 (1941-1942) Heft 105 PDF erstellt am: 01.10.2021 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch La septième piste reçoit une superposition 2550 000 kWh qui courent le long des marcheur ne parviendrait pas à parcourir des enregistrements des cinq premières câbles fixes et mobiles installés un peu en moins d'une demi heure. effectués par mixage ou mélange et la partout sur une longueur de 167 km. Nous avons dit que Babelsberg peut huitième porte les marques de synchronisation Techniquement parlant Babelsberg peut subvenir à ses propres besoins techniques; il inscrites par un opérateur spécial suivant se suffire à elle-même. Elle a ses propres en est de même pour les nécessités les mouvements du chef d'orchestre, afin laboratoires pour film sonore et pour film matérielles. Les cantines de la Ufa servent de pouvoir calculer avec le maximum de en couleurs; elle fabrique dans ses propres annuellement 480 000 repas et en 2 heures précision la répartition des images en fonction ateliers les appareils de prise de son et de on peut assurer la subsistance de 1500 de la musique. prise de vues. Ses ateliers de montage y personnes. C'est par milliers que se comptent Le mixage électroacoustique, permettant traitent chaque année environ 80 000 km. les habitants de cette ville que 35 000 d'établir un seul enregistrement photographique de pellicule et l'expédition annuelle de voitures de curieux visitaient chaque année à l'aide de plusieurs pistes sonores cette gigantesque manutention suffirait à avant la guerre. distinctes, est désormais rendu très facile remplir 120 trains de marchandises. Nous aurions garde d'oublier l'exposition à l'aide d'appareils de «mixage». Ces Ne parlons pas des archives qui renferment culturelle de la Ufa. On y trouve plusieurs appareils comportent simplement un certain des millions de copies photographiques, milliers de projets de décorations et de nombre de «lecteurs de son», c'est-à-dire mais jetons un coup d'œil au magasin costumes et la documentation manuscrite de dispositifs à cellule photoélectrique de matériel où se trouvent notamment assez et photographique de plus de 450 films. permettant de traduire les variations de d'escaliers pour monter de Lucerne au L'exposition comprend, en outre, une luminosité d'un flux lumineux modulé en Righi. bibliothèque qui groupe 1200 volumes et la oscillations électriques à fréquence musicale L'énumération des chiffres peut devenir plupart des périodiques du monde ayant correspondante. Ces oscillations électriques lassant, mais des comparaisons sont parfois trait à l'art cinématographique. amplifiées permettent d'actionner des haut- d'une remarquable éloquence. Ainsi, par N'y a-t-il pas là de quoi faire encore parleurs ou sont utilisées à nouveau, après exemple, le bois utilisé pour la construction bien des études documentaires et quand amplification, pour effectuer un des bâtiments Babelsberg aurait été verrons-nous à l'écran un reportage sur réenregistrement sur un autre film sensible. fourni par une allée d'arbres qu'un bon Babelsberg-Ufastadt la ville sans fenêtres. Les plus grands ateliers d'Europe C'est en 1929 que fut érigé à Babels- Communications des maisons de location berg-Ufastadt les studios les plus modernes (Sans responsabilité de la rédaction) d'Europe. Couvrant une superficie d'environ 2 000 m2, les studios de Ufa construits en forme de croix comprennent 17 grands Aperçu de la production 1942/43 de la 20th Century-Fox studios, 2 studios pour films documentaires avec une section microcinématographique, La nouvelle production de la 20th Cen- débuts à l'écran américain. Nous le 2 studios pour la synchronisation, un tury-Fox sera à tous points de vue verrons dans la captivante interprétation d'un studio pour le mélange de sons et d'images, extraordinaire. Des sujets choisis, des vedettes pêcheur de San Diego, sous la direction de 1 studio pour dessins animés et enfin 2 de premier rang et les meilleurs metteurs Fritz Lang. studios pour films publicitaires. Cette en scène d'Hollywood. Puis Jean Renoir, le génial metteur en grande installation permet de réaliser la Parlons d'abord du grand film «How scène français à qui nous devons la «Grande plus grande partie de la production Green Was My Valley» (Ma Vallée était Illusion», nous présentera «Swamp Water» cinématographique allemande. On a apporté un verte) d'après le roman de Richard (Eau Trouble), son premier film réalisé soin tout particulier à la construction de Llewellyn. John Ford qui en est le régisseur aux U. S. A. Walter Brennan, Ann Baxter ces ateliers et fait en sorte qu'aucun bruit a créé un nouveau chef-d'œuvre et la 20th et Virginia Gilmore en sont les vedettes extérieur ne puisse troubler l'enregistrement Century-Fox n'a craint aucune dépense principales. du son; les orages les plus violents pour cette adaptation qui se rangera parmi Un film d'aviation «A Yank in the ne peuvent interrompre l'enregistrement les œuvres les plus célèbres de tous R. A. F.» qui a été accueilli avec enthousiasme sonore. les temps. C'est le drame émouvant d'une en Amérique, nous montre Londres Babelsberg est une ville curieuse. Dans famille de mineurs du Pays de Galles, la d'aujourd'hui tenu en alerte par les ces 93 bâtiments se trouvent 390 loges, vie avec ses destins changeants, ses bombardements et les raids. A côté de prises salles de maquillage, salles de bain et passions, ses haines, ses amours, ses joies, de vue authentique de combats aériens au bureaux de régie; 3500 artistes et figurants ses naissances, ses mariages, ses maladies dessus de la Manche et de l'évacuation de peuvent travailler simultanément. et la mort. Un événement inoubliable pour Dunkerque, nous vivons le destin d'un Cette ville a été construite en tenant chacun. jeune aviateur (Tyrone Power) et de sa compte des exigences de l'urbanisme «Blood and Sand» (Arènes Sanglantes). fiancée (Betty Grable) qui se retrouvent moderne; elle a ses rues, ses places et ses Un film unique à grand spectacle en après divers obstacles et malentendus. jardins, elle est entourée de terrains agencés technicolor, que les critiques américains ont «Confirm or Deny» est un autre film de pour la prise de vues et qui couvrent classé comme un chef-d'œuvre d'une guerre se déroulant également à Londres, une superficie de 410 000 m2. (Une comparaison immortelle beauté. Il nous montre les mais cette fois-ci c'est un reporter intéressante est celle que l'on peut débuts modestes et pauvres, l'ascension phan- américain (Don Ameche) qui en est le héros faire en rappelant que l'exposition nationale tastique vers la gloire et la fin tragique et que nous voyons lutter contre les de Zurich en 1939 couvrait 148 000 m2. dans l'arène d'un toréador espagnol. Le difficultés et les dangers du reportage de Dans ce monde bizarre et débordant rôle principal qu'avait eu en son temps guerre. Direction: Archie Mayo. d'activité, il est possible de tourner Rudolph Valentino, a été confié à Tyrone Une surprise nous sera réservée par le simultanément 17 films différents. Power avec Linda Darnell et Rita Hay- film «Self Made Cinderella» avec Ginger Babelsberg est une ville sans fenêtres, worth comme partenaires. Régie: Rouben Rogers. Elle personnifiera sous la direction mais à l'intérieur de ces maisons la Mamoulian. d'Ernst Lubitsch une jeune fille lumière ne fait pas défaut, la consommation Dans «Moon Tide» (Equinoxe) Jean Gabin, moderne et résolue qui poursuit son but malgré du courant électrique atteint par année le plus célèbre acteur français, fera ses mille obstacles. 62 Schweizer FILM Suisse Trois grandes productions musicales en entourée de Richard Greene, Erich von films policiers avec le fameux acteur Lloyds technicolor qui surpassent le succès triomphal Stroheim et Peter Lorre. Nolan. de Ce «Nuits d'Argentine». «Remember the Day». film nous montre «Law & Order», «Scotland Yard» et «That Rio» Nuit à la vie d'une maîtresse d'école d'une Night In (Une Rio) «Girl in the News» sont trois autres policiers Alice Faye, Don Ameche Carmen ville ses avec et petite avec toutes joies, ses passionnants, tandis que «Tall, Dark Miranda. Direction Irving Cummings jalousies, ses mesquineries et ses renoncements. and Handsome» nous présente une version (technicolor). dans le Claudette Colbert rôle gaie de la vie des gangsters américains. «Week-End In Havana», technicolor, avec principal. Alice Faye, Carmen Miranda et Cesar «Son of Fury» est une des productions «Cisco Kid», le toujours galant caballero, Romero. Direction: Walter Lang. les plus coûteuses de la 20th Century-Fox.
Recommended publications
  • 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.
    [Show full text]
  • Figure . Shirley Temple and Jack Haley in a Publicity Still for Rebecca of Sunnybrook Farm (Dir
    Figure . Shirley Temple and Jack Haley in a publicity still for Rebecca of Sunnybrook Farm (dir. Allan Dwan, US, ) Discipline and Pleasure: Shirley Temple and the Spectacle of Child Loving Kristen Hatch Contemporary viewers are likely to nd the image of Shirley Tem- ple riding Jack Haley perverse (g. ). Haley is on his hands and knees, straddled by the child, who swishes a riding crop against his backside and loosely holds a leather strap around his neck.1 Temple’s famous dimples and curls frame a face that seems too knowing for such a young girl. Her half- closed eyes look down slyly at the man, while her lips turn up into a disconcerting grin. How could we not see in this a pedophilic fantasy of domination and submission? And yet it is impossible to believe that Twentieth Century-Fox would deliberately stage its highest- grossing star in such a disturbing photograph. In The Structure of Scientic Revolutions, Thomas S. Kuhn draws upon Ludwig Wittgenstein’s discussion of the gestalt shift produced by a duck- rabbit — an image that appears as a duck or a rabbit depending on where one’s focus falls (g. ) — to describe the effects of a paradigm shift in scientic thinking. Practicing in different worlds, [the proponents of competing paradigms] see different things when they look from the same point in the same direction. Again, that is not to say that they can see anything Camera Obscura , Volume , Number ./- © by Camera Obscura Published by Duke University Press • Camera Obscura they please. Both are looking at the world, and what they look at has not changed.
    [Show full text]
  • The Shape of Water (Guillermo Del Toro 2017)
    The Shape of Water (Guillermo del Toro 2017) Today, Mediático proudly celebrates its fourth birthday! As our readership tops 50,000, we, its editors, would like to say a big THANK YOU to our amazing co-authors, our editorial board and readers for four wonderful years of posts and feedback. We raise a glass to you and toast the next four (or more) glorious years of news and research and views on Latin American, Latinx and Iberian media. We present today a special birthday post from one of our co-editors, Dolores Tierney on Guillermo del Toro’s The Shape of Water. Tierney is Senior Lecturer in Film at Sussex University and has just finished a book on Latin America’s transnational auteurs (including del Toro). She is currently on leave in Washington DC. Del Toro’s acceptance speech at the 75th Golden Globes The Shape of Water By Dolores Tierney “Hello déjà vu! It’s you again!” After last week’s thirteen Oscar nominations for The Shape of Water, for the fourth time in five years, a Mexican director looks a likely shoe-in for the Oscar for Best Director. If del Toro wins Best Director he will be the third Mexican (and Latin American) to have done so ever; Alfonso Cuarón won it in 2014 for Gravity, Alejandro González Iñárritu won it in 2015 and 2016 for Birdman and The Revenant. As in the previous few years with Iñárritu, I’ve been pondering what so many Oscar nominations –and success in other awards (Golden Globes, Venice, Critics Choice) means for the auteurist summation I have made of del Toro’s work previously (in an anthology co-edited with Deborah Shaw and Ann Davies) and in my forthcoming book New Transnationalisms in Contemporary Latin American Cinemas.
    [Show full text]
  • Tyrone Power
    Tyrone Power 66638_Kelly.indd638_Kelly.indd i 227/11/207/11/20 11:15:15 PPMM International Film Stars Series Editor: Homer B. Pett ey and R. Barton Palmer Th is series is devoted to the artistic and commercial infl uence of performers who shaped major genres and movements in international fi lm history. Books in the series will: • Reveal performative features that defi ned signature cinematic styles • Demonstrate how the global market relied upon performers’ generic contributions • Analyse specifi c fi lm productions as casetudies s that transformed cinema acting • Construct models for redefi ning international star studies that emphasise materialist approaches • Provide accounts of stars’ infl uences in the international cinema marketplace Titles available: Close-Up: Great Cinematic Performances Volume 1: America edited by Murray Pomerance and Kyle Stevens Close-Up: Great Cinematic Performances Volume 2: International edited by Murray Pomerance and Kyle Stevens Chinese Stardom in Participatory Cyberculture by Dorothy Wai Sim Lau Geraldine Chaplin: Th e Gift of Film Performance by Steven Rybin Tyrone Power: Gender, Genre and Image in Classical Hollywood Cinema by Gillian Kelly www.euppublishing.com/series/ifs 66638_Kelly.indd638_Kelly.indd iiii 227/11/207/11/20 11:15:15 PPMM Tyrone Power Gender, Genre and Image in Classical Hollywood Cinema Gillian Kelly 66638_Kelly.indd638_Kelly.indd iiiiii 227/11/207/11/20 11:15:15 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutt ing-edge scholarship with high editorial and production values to produce academic works of lasting importance.
    [Show full text]
  • TORRANCE HERALD, Torranoe, Cajiiornia D Ram a V Art March of Tractor Slays 6000 Cinema * Music
    THURSDAY, AUGUST 27, 1936 TORRANCE HERALD, Torranoe, CaJiiornia D ram a V Art March of Tractor Slays 6000 Cinema * Music MALAYS MAKE IS HE, OR HE IS NOT, NONCHALANT? * DEMANDS Hellcat Club It took the Malay native SHIRLEY TEMPLE IN HI-DE-HO ROLE IN "EARTHWORM TRACTORS" Wins Member to tell the directors at Para . Alice Faye to hl-de-ho with! Jack Haley to tap-a-toe Ross Alexander took the mo$t mount studios and get awa with! Gloria Stuart to laugh and cry to! Michael Whalen thrilling ride In his life during with It. to make love to! the filming of the Warner Bros, Fresh from the jungles, th 'Add to these Sara Haden, Jano Darwell, Claude Gll- picture, "Boulder Dam," which comes to the Torrance Theatre Malay n'atives being used a lingwater and Henry Armetta and you have the reason why Shlrloy Temple is literally "sur-f on Sunday, Monday and Tues­ extras in the scenes of "Th rounded by stars" In "The Poor I i day. Jungle Princess," Paramoun Little Rich Girl," her brilliant1 Perched on a small platform new thriller, demanded "rice' on the end of a 70-foot boom, the actor was swung from the fish and coconuts or no wor STAR DUST ground 65 feet up the side of a for white man." vertical rock wall. There he took They got their change o MR. PELICAN LOSES his place on a ledge with a, HIS SHIRT group of daredevil workmen, diet. formerly employed at Boulder The Pelican, pompous bird dam, to make the scene.
    [Show full text]
  • P-26 Motion Picture Collection Repository: Seaver Center For
    P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings.
    [Show full text]
  • Charlie Chaplin. the Circus. 1928. Frankfurter Slapstick: Benjamin, Kracauer, and Adorno on American Screen Comedy
    Charlie Chaplin. The Circus. 1928. Frankfurter Slapstick: Benjamin, Kracauer, and Adorno on American Screen Comedy STEVEN JACOBS AND HILDE D’HAEYERE It has long been noted that key figures of the European avant-garde of the interwar years, including many leading Dadaist, Surrealist, and Constructivist artists, greatly admired American slapstick comedies of the 1910s and ’20s.1 Although these artists had diverse artistic agendas, their fascination with slapstick comedy tended to spring from similar preoccupations. First, the films of Mack Sennett, Charlie Chaplin, Buster Keaton, Harold Lloyd, and Harry Langdon, among others, were seen as examples of a pure cinema founded on essential cine- matic qualities such as speed, motion, and rhythm. Second, for many members of the avant-garde, slapstick cinema responded adequately to the logic of mechaniza- tion, which they, too, sought to engage. Slapstick films not only reflected the keen interest in (absurd or unruly) machines, trains, motorcycles, airplanes, and cars; they were themselves products of industrial modernity. Mack Sennett’s Keystone Film Company, for example, was one of the first to produce films according to the logic of serial manufacture, industry standards, and efficiency-induced division of labor.2 Third, the slapstick tradition brought an absurd reality to the fore, in which the laws of gravity, inertia, logic, and commerce were suspended and every- day objects mysteriously came to life, shifted shapes, and were transformed. Precisely these aspects of slapstick cinema also attracted Walter Benjamin, Siegfried Kracauer, and Theodor W. Adorno in their investigations of the rela- tionships between industrial capitalism and visual culture. As Miriam Bratu Hansen has demonstrated in detail, Frankfurt critical theory developed a philo- 1.
    [Show full text]
  • A Study of the Motion Picture Relief Fund's Screen Guild Radio Program 1939-1952. Carol Isaacs Pratt Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1976 A Study of the Motion Picture Relief Fund's Screen Guild Radio Program 1939-1952. Carol Isaacs Pratt Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pratt, Carol Isaacs, "A Study of the Motion Picture Relief Fund's Screen Guild Radio Program 1939-1952." (1976). LSU Historical Dissertations and Theses. 3043. https://digitalcommons.lsu.edu/gradschool_disstheses/3043 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image.
    [Show full text]
  • An Octoroon in the Kindling’’: American Vernacular & Blackface Minstrelsy in S Hollywood
    Journal of American Studies, (), , –. Printed in the United Kingdom # Cambridge University Press ‘‘An Octoroon in the Kindling’’: American Vernacular & Blackface Minstrelsy in s Hollywood PETER STANFIELD For close on to a hundred years discourses on national identity, European ethnic assimilation and the problem of class division within the Republic had been principally addressed in the popular arts through the agency of the black mask. During the s, blackface in American films shifted from the idea implied in the racial slur, ‘‘nigger in the woodpile,’’ to the rather less visible, but no less derogatory, ‘‘octoroon in the kindling,’’ a phrase used in Her Man (Pathe! , Tay Garnett, ) to suggest something is amiss, but which is used here to suggest the cultural miscegenation that " informs much of the material discussed in this article. When Hollywood introduced synchronized sound in the late s, blackface minstrelsy as a mass form of entertainment had long been on the wane. Yet, blackface performance maintained a limited public profile with the film industry’s recruitment and promotion of Broadway blackface acts like Al Jolson and Eddie Cantor, and with the production of films based # on nostalgic reconstructions of American’s theatrical and musical past. Although the performance of blackface decreased during the s, its legacy continued to resonate in Hollywood’s construction of an American vernacular. American cinema found itself in the paradoxical position of needing to evoke traditions of blackface minstrelsy so that a given film Peter Stanfield is a Lecturer in the Media Arts Faculty, Southampton Institute, East Park Terrace, Southampton, SO YN, England. " An early version of this article was given as a paper at Southampton University’s conference ‘‘The Musical.’’ May, .
    [Show full text]
  • Reconstructing Shirley: Pedophilia and Interracial Romance in Hollywood’S Age of Innocence
    Downloaded from http://read.dukeupress.edu/camera-obscura/article-pdf/24/3 (72)/1/401060/CO243_01_Osterweil.pdf by guest on 02 October 2021 Reconstructing Shirley: Pedophilia and Interracial Romance in Hollywood’s Age of Innocence Ara Osterweil In the seventy years since Shirley Temple was America’s sweet- heart, the fundamentally pedophilic appeal of her star persona has become increasingly apparent. In spite of the recognition that our present era is overtly more obsessed with issues of child pornography and pedophilia, Temple’s body was nevertheless constructed as an intensely erotic spectacle in her films from the 1930s. In an era of motion picture history that explicitly forbade the on-screen representation of adult sexuality, the adorable tod- dler supplanted Mae West as the largest box office draw in the nation. Whereas West’s excessive, undisciplined body had been the bane of censors and was one of the motivating factors of the 1934 Production Code, the erotic appeal of the body of the child star was inextricable from its supposed innocence.1 Yet as Ann duCille has observed, “The dutifully cheerful and obliging child actress may have been innocent, but her films were not.”2 Camera Obscura 72, Volume 24, Number 3 doi 10.1215/02705346-2009-008 © 2009 by Camera Obscura Published by Duke University Press 1 Downloaded from http://read.dukeupress.edu/camera-obscura/article-pdf/24/3 (72)/1/401060/CO243_01_Osterweil.pdf by guest on 02 October 2021 2 • Camera Obscura As scholar Donald Bogle has argued, both West and Temple maintained affectionate, almost familial on-screen relationships with their black servants — a bond that distinguished them from other white stars of their era.3 More important, these two sirens shared space in the erotic imagination of American audiences.
    [Show full text]
  • National Box Office Digest Annual (1943)
    TECHNICOLOR pictures place first and second in m3 according to BoxOfficePigest TECHNICOLOR MOTION PICTURE CORPORATION HERBERT T. KALMUS President and General Manager Productions [: For Paramount Preparing: "STORM" "RHYTHM RANCH" "ONE BODY TOO MANY" Root O^ice DIGEST Annual Buy MORE War Bonds Third Victory Loan Drive The Big Ten. TITLES AND DIST. ESTIMATED GROSS PRODUCER DIRECTOR STAR MRS MINIVER 1. Sydney Franklin $5,000,000 MGM William Wyler Greer Garson YANKEE DOODLE DANDY Hal Wallis 2. WAR Vi m. Cagney Michael Curtiz James Cagney S $4,500,000 ROAD TO MOROCCO Bing Crosby 3. PAR Paid Jones David Butler Bob Hope $3,750,000 Dorothy Lamour REAP THE WILD Ray Milland WIND John Wayne ! 4. PAR C. B. DeMille C. B. DeMille Paulette Goddard $3,500,000 BLACK SWAN 5. FOX Robert Bassler Henry King Tyrone Power $3,000,000 SOMEWHERE Clark Gable I’LL FIND YOU Pan Berman W esley Ruggles 6. MGM Lana Turner $2,500,000 HOLIDAY INN Bing Crosby 7. PAR B. C. DeSylva Mark Sandrich $2,225,000 Fred Astaire EAGLE SQUADRON Walter Wanger Arthur Luhin 8. $2,100,000 UNIV LOUISIANA PURCHASE 9. PAR B. C. DeSylva Irving Cummings Bob Hope $2,100,000 Harold Wilson PRIDE OF THE 10. RKO Samuel Goldwyn Sam W ood Gary Cooper YANKEES Names and Credits of the Box Office “Big Ten” for 1942 ORIGINAL SCREENPLAY j FEATURED FILM EDITOR CAMERAMAN WRITERS WRITERS Arthur Wimperas Walter Pidgeon George Froeshel Teresa Wright Jan Struther Harold Kress Joe Ruttenberg Reginald Owen James Hilton Richard Ney Claudine West Walter Huston Joan Leslie Robert Buckner Robert Buckner George Amy James Wong Howe ■ George Tobias Edmund Joseph Jeanne Cagney Frank Butler Frank Butler Anthony Quinn Irene Morra William Mellor Don Hartman Don Hartman Robert Preston Alan LeMay Victor Milner Susan Hayward Thelma Straybell Charles Bennett Anne Bauchens Raymond Massey Wm.
    [Show full text]
  • Projektionen Des Kindlichen. Shirley Temple Und Die Repräsentation Von
    Projektionen des Kindlichen. Shirley Temple und die ­Repräsentation­von­Kinderfiguren­im­amerikanischen­Film Seit der Stummfilmzeit sind Kinderfiguren fester Bestandteil unterschiedlicher Film- und Mediengenres. Ihre besondere Bedeutung zeigt nicht zuletzt das Phä- nomen des Kinderstars, das sich in den 1920er Jahren entwickelt und mit Shirley Temple in den 1930er Jahren eine selten erreichte Popularität annimmt.1 In Wechsel- wirkung mit anderen Diskursen wie der Kinderpsychologie oder der Ratgeber- literatur trägt das Kino zur kulturellen Konstruktion von Kindlichkeitskonzepten bei – es beeinflusst, was innerhalb einer Kultur unter kindlichem Wesen und Aus- sehen sowie kindlichen Verhaltensweisen, Bedürfnissen oder Entwicklungsstufen verstanden wird. Nicht selten dient die Kinderfigur dabei als Projektionsfläche der Unschuld, Unverdorbenheit oder Reinheit (aber auch der Boshaftigkeit), aus der die Erwachsenen Heilungskräfte für ihre defizitäre Lebenswelt zu ziehen versuchen. Am Beispiel des amerikanischen Films der 1930er Jahre sollen im Fol- genden unterschiedliche Formen und Funktionen dieses Projektionsmechanismus beschrieben werden. Shirley Temples Karriere dient dabei als historische Fall- studie für die filmische Repräsentation des kleinen Mädchens, aber ihre Bedeu- tung wird als exemplarisch angesetzt: An Shirley Temple lassen sich ästhetische Formen und mediale Funktionen von Kinderfiguren herausarbeiten, die auch heute noch Gültigkeit haben.2 Wenn im Folgenden von „Projektion“ die Rede ist, geht dies auf psychoana- lytische Kategorien zurück, die jedoch in einem erweiterten Sinn herangezogen werden sollen. Im engeren psychoanalytischen Verständnis gilt Projektion als Ab- wehrmechanismus und Akt der Verleugnung, bei dem etwas nach außen verlagert wird, was im Inneren des Subjekts nicht anerkannt werden darf. Die ‚Projektionen des Kindlichen‘ sollen jedoch nicht nur und nicht vordringlich als Akt der Verleug- nung verstanden werden.
    [Show full text]