1932-05-14 [P A-3]
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Who's Who at Metro-Goldwyn-Mayer (1939)
W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H. -
THTR 433A/ '16 CD II/ Syllabus-9.Pages
USCSchool of Costume Design II: THTR 433A Thurs. 2:00-4:50 Dramatic Arts Fall 2016 Location: Light Lab/PDE Instructor: Terry Ann Gordon Office: [email protected]/ floating office Office Hours: Thurs. 1:00-2:00: by appt/24 hr notice Contact Info: [email protected], 818-636-2729 Course Description and Overview This course is designed to acquaint students with the requirements, process and expectations for Film/TV Costume Designers, supervisors and crew. Emphasis will be placed on all aspects of the Costume process; Design, Prep: script analysis,“scene breakdown”, continuity, research, and budgeting; Shooting schedules, and wrap. The supporting/ancillary Costume Arts and Crafts will also be discussed. Students will gain an historical overview, researching a variety of designers processes, aesthetics and philosophies. Viewing films and film clips will support critique and class discussion. Projects focused on specific design styles and varied media will further support an overview of techniques and concepts. Current production procedures, vocabulary and technology will be covered. We will highlight those Production departments interacting closely with the Costume Department. Time permitting, extra-curricular programs will include rendering/drawing instruction, select field trips, and visiting TV/Film professionals. Students will be required to design a variety of projects structured to enhance their understanding of Film/TV production, concept, style and technique . Learning Objectives The course goal is for students to become familiar with the fundamentals of costume design for TV/Film. They will gain insight into the protocol and expectations required to succeed in this fast paced industry. We will touch on the multiple variations of production formats: Music Video, Tv: 4 camera vs episodic, Film, Commercials, Styling vs Costume Design. -
Jean Harlow ~ 20 Films
Jean Harlow ~ 20 Films Harlean Harlow Carpenter - later Jean Harlow - was born in Kansas City, Missouri on 3 March 1911. After being signed by director Howard Hughes, Harlow's first major appearance was in Hell's Angels (1930), followed by a series of critically unsuccessful films, before signing with Metro-Goldwyn- Mayer in 1932. Harlow became a leading lady for MGM, starring in a string of hit films including Red Dust (1932), Dinner At Eight (1933), Reckless (1935) and Suzy (1936). Among her frequent co-stars were William Powell, Spencer Tracy and, in six films, Clark Gable. Harlow's popularity rivalled and soon surpassed that of her MGM colleagues Joan Crawford and Norma Shearer. By the late 1930s she had become one of the biggest movie stars in the world, often nicknamed "The Blonde Bombshell" and "The Platinum Blonde" and popular for her "Laughing Vamp" movie persona. She died of uraemic poisoning on 7 June 1937, at the age of 26, during the filming of Saratoga. The film was completed using doubles and released a little over a month after Harlow's death. In her brief life she married and lost three husbands (two divorces, one suicide) and chalked up 22 feature film credits (plus another 21 short / bit-part non-credits, including Chaplin's City Lights). The American Film Institute (damning with faint praise?) ranked her the 22nd greatest female star in Hollywood history. LIBERTY, BACON GRABBERS and NEW YORK NIGHTS (all 1929) (1) Liberty (2) Bacon Grabbers (3) New York Nights (Harlow left-screen) A lucky few aspiring actresses seem to take the giant step from obscurity to the big time in a single bound - Lauren Bacall may be the best example of that - but for many more the road to recognition and riches is long and grinding. -
Lamb Legs 3Ib*
COLO PLATES FOR Actors Think Too Much To Market We Go For Damisk? No, Jnit i Wuhable TiMedoth 1 REAL HOT DAYS Deviled eggs, sardines In lettuce cups, ellcee of tomato, marinated Of Selves, Tracy Says and covered with chopped water- Our Favorite Meat creee. < BY VAN THOMAS Sliced cold hanv potato ealad, NBA Service Writer ach as do boat and lamb. olive*. Chill aauce in lettuoe cup*. Sliced cold email toraa- Hollywood.—Any man who be- Veal at Preseat Time Is The following are suggestive tongue, filled with come* interested in homes is bound methods for the preparation of toea with celery mixed Low io Price mayonnaive, mustard pickles. ▲ picture to ah claaeea to enjoy living. real: appealing Cold salmon garnished With egg all Such is Spencer Tracy’* philoso- Veal and agss la "No Greater Love." Birds slices in of life—and not a bad MARIE GIFFORD dipped chopped parsley, the Columbia picture current at phy perhaps By Cut real cutlets Into convenient one at that carries it to sliced cucumbers with savory the theater. Spencer and flatten with a potato the limit too. pieces French dressing, celery staffed Proeperoua people will like It masher. Mix seasoned crumbs with Just before work was started on with plmlento cheese.—By Sarah because It shows how the other Tea to market we And M salt or Star Bacon hla latest tentatively titled sol chopped pork Field Splint in McCall’s for July. bait Ileus. The poorer ones will film, and usual wo are looking for something and make a stuffing. Roll up --- like It because ’’After the Rain, the director „.,JS It untolds a heart different for dinner. -
Cinematic Fashionability and Images Politics
Journalism and Mass Communication, Mar.-Apr. 2021, Vol. 11, No. 2, 73-80 doi: 10.17265/2160-6579/2021.02.002 D DAVID PUBLISHING Cinematic Fashionability and Images Politics Chan Ka Lok Sobel Hong Kong Baptist University, Hong Kong SAR, China The marriage of cinema and fashion? When, where and how their interaction and origin is begun? There should be no glamor and red carpet when The Lumière brothers short films like Workers leaving the Lumière factory, The Gardener, Baby’s Breakfast on the birth of cinema in 1895. However, we notice that artificially costumes are tailor-made for A Trip to the Moon in Georges Méliès and D. W. Griffith’s Intolerance. Suddenly, it adds the aesthetical and modernist elements into the blood of cinema beside the raw-realism of how the daily life of the common people is represented on the silver screen. Some kinds of bourgeois ideology and middle class value is enhanced. It is so unbelievable that some ordinary actress like Mary Pickford transforming into a movie star after beautifully dressing up. Not only the audience feel the power of movie magic but also the fashion magic. This paper explores the different perspective of movie and fashion in terms of fashion and film costumes, movie stars icon, fashion trends influenced by movies, and how fashion designers changes the look of cinema as well, etc. Keywords: ideology, movie images, stardom, fashionability Introduction Cinema is somehow like a showcase of fashion. General audiences are fans of movie stars not just because of their personal charisma, but because of the fashion they wear. -
MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953). -
Stardom: Industry of Desire 1
STARDOM What makes a star? Why do we have stars? Do we want or need them? Newspapers, magazines, TV chat shows, record sleeves—all display a proliferation of film star images. In the past, we have tended to see stars as cogs in a mass entertainment industry selling desires and ideologies. But since the 1970s, new approaches have explored the active role of the star in producing meanings, pleasures and identities for a diversity of audiences. Stardom brings together some of the best recent writing which represents these new approaches. Drawn from film history, sociology, textual analysis, audience research, psychoanalysis and cultural politics, the essays raise important questions for the politics of representation, the impact of stars on society and the cultural limitations and possibilities of stars. STARDOM Industry of Desire Edited by Christine Gledhill LONDON AND NEW YORK First published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge a division of Routledge, Chapman and Hall, Inc. 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 1991 editorial matter, Christine Gledhill; individual articles © respective contributors All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
Journalism 375/Communication 372 the Image of the Journalist in Popular Culture
JOURNALISM 375/COMMUNICATION 372 THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Journalism 375/Communication 372 Four Units – Tuesday-Thursday – 3:30 to 6 p.m. THH 301 – 47080R – Fall, 2000 JOUR 375/COMM 372 SYLLABUS – 2-2-2 © Joe Saltzman, 2000 JOURNALISM 375/COMMUNICATION 372 SYLLABUS THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Fall, 2000 – Tuesday-Thursday – 3:30 to 6 p.m. – THH 301 When did the men and women working for this nation’s media turn from good guys to bad guys in the eyes of the American public? When did the rascals of “The Front Page” turn into the scoundrels of “Absence of Malice”? Why did reporters stop being heroes played by Clark Gable, Bette Davis and Cary Grant and become bit actors playing rogues dogging at the heels of Bruce Willis and Goldie Hawn? It all happened in the dark as people watched movies and sat at home listening to radio and watching television. “The Image of the Journalist in Popular Culture” explores the continuing, evolving relationship between the American people and their media. It investigates the conflicting images of reporters in movies and television and demonstrates, decade by decade, their impact on the American public’s perception of newsgatherers in the 20th century. The class shows how it happened first on the big screen, then on the small screens in homes across the country. The class investigates the image of the cinematic newsgatherer from silent films to the 1990s, from Hildy Johnson of “The Front Page” and Charles Foster Kane of “Citizen Kane” to Jane Craig in “Broadcast News.” The reporter as the perfect movie hero. -
Suggested Fashion Films and TV
Suggested Fashion Films and TV: • 1800-1850 o Dinner at Eight (1933) o Beau Brumell: This Charming Man (2008) o Letty Lynton (1932) • 1850-1890 o Grand Hotel (1932) o Little Women (1994) o Baby Face (1933) o The Young Victoria (2009) o Atonement (2007, also 1940s) o Mrs. Brown (1997, Netflix) o The Women (1939) o Possession (2002) • 1940s o Gone with the Wind (1939) o Land Girls (Netflix) • 1890s o Home Fires o The Paradise (Netflix) o Mildred Pierce (1945) • 1900s o His Girl Friday (1940, Netflix) Double Indemnity (1944) o Mr. Selfridge o The Big Sleep (1946) o My Fair Lady (1964) o Ball of Fire (1941) o A Room with a View (1986, Netflix) o Key Largo (1948) o Wings of the Dove (1997, Netflx) o Casablanca (1942) o Daughters of the Dust (1991) o o The Philadelphia Story (1940) • 1910s o Now, Voyager (1942) o Downton Abbey (Netflix)-also 1920s o Zoot Suit Riots (documentary, 2002) o Tillie’s Punctured Romance (1914, YouTube) o Malcolm X (1992, also 1950s, 1960s) o The House of Mirth (2000) • 1950s • 1920s o Velvet (Netflix) o Miss. Fisher’s Murder Mysteries (Netflix) o Call the Midwife (Netflix) o Coco Chanel & Igor Stravinsky o How to Marry a Millionaire (1953, Netflix) o Cold Comfort Farm (1995) o An Affair to Remember (1957, Netflix) o The Great Gatsby (2013) o Roman Holiday (1953, Netflix) o The Cat’s Meow (2001) o All that Heaven Allows (1955) o Salome (1923, YouTube) o Far From Heaven (2002) o The House of Elliot o Imitation of Life (1959) o The Wild Party (1929) o Carol (2015) o It (1927) o Funny Face (1957) o Why Change Your Wife (1920, YouTube) o Sabrina (1954) o Our Dancing Daughters (1928) o The Wild One (1953) o Our Modern Maidens (1929) o Rebel Without a Cause (1955) • 1930s o Gentlemen Prefer Blondes (1953) Dancing on the Edge (Netflix) o o All about Eve (1950) o Mildred Pierce (HBO Miniseries, 2011) o Rear Window (1954) o The Divorcee (1930) o Carol (1952) o Madam Satan (1930) • 1960s o Christopher Strong (1933) o Mad Men (Netflix) o Holiday (1938) o The Marvelous Mrs. -
Motion Picture Reviews
MOTION PICTURE REVIEWS WOMEN’S UNIVKSI17 CLUB LOS ANGCLCS.CAL/r Vol. Ill 1932 Digitized by the Internet Archive in 2016 with funding from Media History Digital Library https://archive.org/details/motionpicturerev00wome_1 MOTION PICTURE REVIEWS THE WOMEN'S UNIVERSITY CLUB LOS ANGELES, CALIFORNIA JANUARY 1932 THE WOMEN’S UNIVERSITY CLUB LOS ANGELES BRANCH AMERICAN ASSOCIATION OF UNIVERSITY WOMEN 943 South Hoover Street <$xj> Telephone DRexel 2177 <Sx8> Copyright by Women’s University Club 1931 WEBBCRAFT PRINTERS. 1051 ARLINGTON AVE , LOS ANGELES Motion Picture Reviews Three MOTION • PICTURE • REVIEWS Published monthly by THE WOMEN’S UNIVERSITY CLUB LOS ANGELES BRANCH AMERICAN ASSOCIATION OF UNIVERSITY WOMEN Mrs. John Vruwink Mrs. Gerard A. Murray ) Co-Chairmen Mrs. Palmer Cook, \ Preview Chairman Editors Mrs. J. Allen Davis Mrs. Arthur Jones Mrs. Walter Van Dyke Mrs. Palmer Cook M rs. John Vruwink, Mrs. F. H. Partridge Address all communications to The Women’s University Club, 943 South Hoover Street, Los Angeles, California. VOL. III. No. 1 JANUARY, 1932 10c per Copy, $1.00 per Year FEATURE FILMS 4 BEAU HUNKS » » lem and the crime situation, realistic and ex- Laurel and Hardy. Direction by James citing. Mr. Huston gives an excellent charac- terization. Horne. M.G.M. Adolescents, 12 to 16 Children, 8 to 12 When Hardy’s best girl refuses him, he and Laurel join the Foreign Legion and become Not suitable No heroes through a series of blunders only possi- C+-9 ble to these incomparable comedians. The picture follows the well known Laurel and COCK OF THE AIR » » Hardy formula and will delight their many Billie Dove, Chester Morris, .Watt Moore followers. -
Theater Playbills and Programs Collection, 1875-1972
Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items. -
Hoteles De Cine Movie Hotels
HOTELES DE CINE MOVIE HOTELS Grand Hotel (Grand Hotel) | 1932 (EE UU) Metro Goldwing Mayer | Dirigida por (directed by) Edmund Goulding | Guión (script) Vicki Baum, William A. Drake, Béla Balázs | Con (with) Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery, Lionel Barrymore, Lewis Stone, Jean Hersholt. “La gente va y viene, y nunca pasa nada” “People come, people go. Nothing ever happens” El Doctor Otternschlag (Lewis Stone) se pasa los Doctor Otternschlag (Lewis Stone) spends his days días borracho en su habitación del Grand Hotel de Berlín. Por drunk in his hotel room in the Berlin Grand Hotel. For this eso no es de extrañar su percepción acuosa de cuanto ocurre a reason, it is hardly surprising that his perception of what is su alrededor: “La gente va y viene, y nunca pasa nada”. Nada going on is hazy: “People come, people go. Nothing ever más lejos de la realidad. Mientras él se aferra a su copa, el happens”. He could not be more wrong. While the Doctor Barón von Geigern (John Barrymore) traza su plan para robar firmly grabs his drink, Baron von Geigern (John Barrymore) is las perlas de la excéntrica bailarina Grusinskaya (Greta working out his plan to rob the pearls of eccentric dancer Garbo). Grusinskaya (Greta Garbo). La productora Metro Goldwing Mayer reunió a todas sus The producer, Metro-Goldwin-Mayer, gathered all the estrellas del momento en un guión de la escritora austriaca movie stars of the moment in a script by the Austrian writer Vicki Baumm para crear una historia de personajes que, Vicki Baum to create a story of characters who, alojados en el lujoso Grand Hotel de Berlín, comparten sus accommodated in the luxurious Berlin Grand Hotel, share frustraciones, enfrentan sus angustias y terminan de un modo their frustrations, confront their anxieties and end up, one u otro uniendo sus destinos.