Live Orchestral Screenings of Chaplin Films
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Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
Curriculum Vitae
Curriculum Vitae Lowell E. Graham 1058 Eagle Ridge El Paso, Texas 79912 Residence Work Home e-mail (915) 581-9741 (915) 747-7825 [email protected] Education Doctor of Musical Arts, Catholic University of America, 1977, Orchestral Conducting Graduate Studies in Music, University of Missouri at Kansas City, summers 1972 and 1973 Master of Arts, University of Northern Colorado, 1971, Clarinet Performance Bachelor of Arts, University of Northern Colorado, 1970, Music Education Military Professional Education Air War College, 1996 Air Command and Staff College, 1983 Squadron Officer School, 1977 Work Experience 2009 to Present Director of Orchestral Activities Music Director, UTEP Symphony Orchestra University of Texas at El Paso El Paso, Texas As the Director or Orchestral Activities I am responsible for the training and development of major orchestral ensembles at the university. I began a tradition of featuring faculty soloists as well as winners of the annual student Concerto Competition, now with an award offered by Olivas Music, providing the orchestra the opportunity to perform significant concerto literature as well as learning the art of accompanying. In 2012, I developed a new chamber orchestra called the “UTEP Virtuosi” focusing on significant string orchestra repertoire. I initiated a concert featuring music in movies and for stage in which that music is presented and integrated via multimedia with lectures and video. It has become the capstone event for the year featuring the artistry of faculty soloists and comments per classical music used in movies and music composed exclusively for that medium. Each year six performances are scheduled. Repertoire for each year covers all eras and styles. -
Film Essay for "Modern Times"
Modern Times By Jeffrey Vance No human being is more responsible for cinema’s ascendance as the domi- nant form of art and entertainment in the twentieth century than Charles Chaplin. Yet, Chaplin’s importance as a historic figure is eclipsed only by his creation, the Little Tramp, who be- came an iconic figure in world cinema and culture. Chaplin translated tradi- tional theatrical forms into an emerg- ing medium and changed both cinema and culture in the process. Modern screen comedy began the moment Chaplin donned his derby hat, affixed his toothbrush moustache, and Charlie Chaplin’s Tramp character finds he has become a cog in the stepped into his impossibly large wheels of industry. Courtesy Library of Congress Collection. shoes for the first time. “Modern Times” is Chaplin’s self-conscious subjects such as strikes, riots, unemployment, pov- valedictory to the pantomime of silent film he had pio- erty, and the tyranny of automation. neered and nurtured into one of the great art forms of the twentieth century. Although technically a sound The opening title to the film reads, “Modern Times: a film, very little of the soundtrack to “Modern Times” story of industry, of individual enterprise, humanity contains dialogue. The soundtrack is primarily crusading in the pursuit of happiness.” At the Electro Chaplin’s own musical score and sound effects, as Steel Corporation, the Tramp is a worker on a factory well as a performance of a song by the Tramp in gib- conveyor belt. The little fellow’s early misadventures berish. This remarkable performance marks the only at the factory include being volunteered for a feeding time the Tramp ever spoke. -
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v8n4 covers.qxd 5/13/03 1:58 PM Page c1 Volume 8, Number 4 Original Music Soundtracks for Movies & Television Action Back In Bond!? pg. 18 MeetTHE Folks GUFFMAN Arrives! WIND Howls! SPINAL’s Tapped! Names Dropped! PLUS The Blue Planet GEORGE FENTON Babes & Brits ED SHEARMUR Celebrity Studded Interviews! The Way It Was Harry Shearer, Michael McKean, MARVIN HAMLISCH Annette O’Toole, Christopher Guest, Eugene Levy, Parker Posey, David L. Lander, Bob Balaban, Rob Reiner, JaneJane Lynch,Lynch, JohnJohn MichaelMichael Higgins,Higgins, 04> Catherine O’Hara, Martin Short, Steve Martin, Tom Hanks, Barbra Streisand, Diane Keaton, Anthony Newley, Woody Allen, Robert Redford, Jamie Lee Curtis, 7225274 93704 Tony Curtis, Janet Leigh, Wolfman Jack, $4.95 U.S. • $5.95 Canada JoeJoe DiMaggio,DiMaggio, OliverOliver North,North, Fawn Hall, Nick Nolte, Nastassja Kinski all mentioned inside! v8n4 covers.qxd 5/13/03 1:58 PM Page c2 On August 19th, all of Hollywood will be reading music. spotting editing composing orchestration contracting dubbing sync licensing music marketing publishing re-scoring prepping clearance music supervising musicians recording studios Summer Film & TV Music Special Issue. August 19, 2003 Music adds emotional resonance to moving pictures. And music creation is a vital part of Hollywood’s economy. Our Summer Film & TV Music Issue is the definitive guide to the music of movies and TV. It’s part 3 of our 4 part series, featuring “Who Scores Primetime,” “Calling Emmy,” upcoming fall films by distributor, director, music credits and much more. It’s the place to advertise your talent, product or service to the people who create the moving pictures. -
Glenn Mitchell the TRUE FAREWELL of the TRAMP
Glenn Mitchell THE TRUE FAREWELL OF THE TRAMP Good afternoon. I’d like to begin with an ending ... which we might call `the Tramp’s First Farewell’. CLIP: FINAL SCENE OF `THE TRAMP’ That, of course, was the finale to Chaplin’s 1915 short film THE TRAMP. Among Chaplin scholars – and I think there may be one or two here today! - one of the topics that often divides opinion is that concerning the first and last appearances of Chaplin’s Tramp character. It seems fair to suggest that Chaplin’s assembly of the costume for MABEL’S STRANGE PREDICAMENT marks his first appearance, even though he has money to dispose of and is therefore technically not a tramp. KID AUTO RACES AT VENICE, shot during its production, narrowly beat the film into release. Altogether more difficult is to pinpoint where Chaplin’s Tramp character appears for the last time. For many years, the general view was that the Tramp made his farewell at the end of MODERN TIMES. As everyone here will know, it was a revision of that famous conclusion to THE TRAMP, which we saw just now ... only this time he walks into the distance not alone, but with a female companion, one who’s as resourceful, and almost as resilient, as he is. CLIP: END OF `MODERN TIMES’ When I was a young collector starting out, one of the key studies of Chaplin’s work was The Films of Charlie Chaplin, published in 1965. Its authors, Gerald D. McDonald, Michael Conway and Mark Ricci said this of the end of MODERN TIMES: - No one realized it at the time, but in that moment of hopefulness we were seeing Charlie the Little Tramp for the last time. -
Lecture Outlines
21L011 The Film Experience Professor David Thorburn Lecture 1 - Introduction I. What is Film? Chemistry Novelty Manufactured object Social formation II. Think Away iPods The novelty of movement Early films and early audiences III. The Fred Ott Principle IV. Three Phases of Media Evolution Imitation Technical Advance Maturity V. "And there was Charlie" - Film as a cultural form Reference: James Agee, A Death in the Family (1957) Lecture 2 - Keaton I. The Fred Ott Principle, continued The myth of technological determinism A paradox: capitalism and the movies II. The Great Train Robbery (1903) III. The Lonedale Operator (1911) Reference: Tom Gunning, "Systematizing the Electronic Message: Narrative Form, Gender and Modernity in 'The Lonedale Operator'." In American Cinema's Transitional Era, ed. Charlie Keil and Shelley Stamp. Univ. of California Press, 1994, pp. 15-50. IV. Buster Keaton Acrobat / actor Technician / director Metaphysician / artist V. The multiplicity principle: entertainment vs. art VI. The General (1927) "A culminating text" Structure The Keaton hero: steadfast, muddling The Keaton universe: contingency Lecture 3 - Chaplin 1 I. Movies before Chaplin II. Enter Chaplin III. Chaplin's career The multiplicity principle, continued IV. The Tramp as myth V. Chaplin's world - elemental themes Lecture 4 - Chaplin 2 I. Keaton vs. Chaplin II. Three passages Cops (1922) The Gold Rush (1925) City Lights (1931) III. Modern Times (1936) Context A culminating film The gamin Sound Structure Chaplin's complexity Lecture 5 - Film as a global and cultural form I. Film as a cultural form Global vs. national cinema American vs. European cinema High culture vs. Hollywood II. -
The Inside Story of the Gold Rush, by Jacques Antoine Moerenhout
The inside story of the gold rush, by Jacques Antoine Moerenhout ... translated and edited from documents in the French archives by Abraham P. Nasatir, in collaboration with George Ezra Dane who wrote the introduction and conclusion Jacques Antoine Moerenhout (From a miniature in oils on ivory, possibly a self-portrait; lent by Mrs. J.A. Rickman, his great-granddaughter.) THE INSIDE STORYTHE GOLD RUSH By JACQUES ANTOINE MOERENHOUT Consul of France at Monterey TRANSLATED AND EDITED FROM DOCUMENTS IN THE FRENCH ARCHIVES BY ABRAHAM P. NASATIR IN COLLABORATION WITH GEORGE EZRA DANE WHO WROTE THE INTRODUCTION AND CONCLUSION SPECIAL PUBLICATION NUMBER EIGHT CALIFORNIA HISTORICAL SOCIETY The inside story of the gold rush, by Jacques Antoine Moerenhout ... translated and edited from documents in the French archives by Abraham P. Nasatir, in collaboration with George Ezra Dane who wrote the introduction and conclusion http://www.loc.gov/resource/ calbk.018 SAN FRANCISCO 1935 Copyright 1935 by California Historical Society Printed by Lawton R. Kennedy, San Francisco I PREFACE THE PUBLICATION COMMlTTEE of the California Historical Society in reprinting that part of the correspondence of Jacques Antoine Moerenhout, which has to do with the conditions in California following the discovery of gold by James Wilson Marshall at Sutter's sawmill at Coloma, January 24, 1848, under the title of “The Inside Story of the Gold Rush,” wishes to acknowledge its debt to Professor Abraham P. Nasatir whose exhaustive researches among French archives brought this hitherto unpublished material to light, and to Mr. George Ezra Dane who labored long and faithfully in preparing it for publication. -
Pdf-Collections-.Pdf
1 Directors p.3 Thematic Collections p.21 Charles Chaplin • Abbas Kiarostami p.4/5 Highlights from Lobster Films p.22 François Truffaut • David Lynch p.6/7 The RKO Collection p.23 Robert Bresson • Krzysztof Kieslowski p.8/9 The Kennedy Films of Robert Drew p.24 D.W. Griffith • Sergei Eisenstein p.10/11 Yiddish Collection p.25 Olivier Assayas • Alain Resnais p.12/13 Themes p.26 Jia Zhangke • Gus Van Sant p.14/15 — Michael Haneke • Xavier Dolan p.16/17 Buster Keaton • Claude Chabrol p.18/19 Actors p.31 Directors CHARLES CHAPLIN THE COMPLETE COLLECTION AVAILABLE IN 2K “A sort of Adam, from whom we are all descended...there were two aspects of — his personality: the vagabond, but also the solitary aristocrat, the prophet, the The Kid • Modern Times • A King in New York • City Lights • The Circus priest and the poet” The Gold Rush • Monsieur Verdoux • The Great Dictator • Limelight FEDERICO FELLINI A Woman of Paris • The Chaplin Revue — Also available: short films from the First National and Keystone collections (in 2k and HD respectively) • Documentaries Charles Chaplin: the Legend of a Century (90’ & 2 x 45’) • Chaplin Today series (10 x 26’) • Charlie Chaplin’s ABC (34’) 4 ABBas KIAROSTAMI NEWLY RESTORED In 2K OR 4K “Kiarostami represents the highest level of artistry in the cinema” — MARTIN SCORSESE Like Someone in Love (in 2k) • Certified Copy (in 2k) • Taste of Cherry (soon in 4k) Shirin (in 2k) • The Wind Will Carry Us (soon in 4k) • Through the Olive Trees (soon in 4k) Ten & 10 on Ten (soon in 4k) • Five (soon in 2k) • ABC Africa (soon -
Hands Up! by Steve Massa
Hands Up! By Steve Massa Raymond Griffith is one of silent come- dy’s unjustly forgotten masters, whose onscreen persona was that of a calm, cool, world-weary bon vivant – some- thing like Max Linder on Prozac. After a childhood spent on stage touring in stock companies and melodramas, he ended up in films at Vitagraph in 1914 and went on to stints at Sennett,- L Ko, and Fox as a comedy juvenile. Not mak- ing much of an impression due to a lack of a distinctive character, he went be- hind the camera to become a gagman, working at Sennett and for other comics like Douglas MacLean. In 1922 he re- turned to acting and became the ele- gant, unflappable ladies’ man. Stealing comedies such as “Changing Husbands,” “Open All Night,” and “Miss Bluebeard” (all 1924) away ing very popular with his character of “Ambrose,” a put- their respective stars Paramount decided to give him his upon everyman with dark-circled eyes and a brush mous- own series, and he smarmed his way through ten starring tache. Leaving Sennett in 1917 he continued playing Am- features starting with “The Night Club” (1925). brose for L-Ko, Fox, and the independent Poppy Come- dies and Perry Comedies. His career stalled in the early “Hands Up!” (1926) soon followed, and is the perfect 1920s when he was blacklisted by an influential produc- showcase for Griffith’s deft comic touch and sly sense of er, but his old screen mate Charlie Chaplin came to the the absurd. The expert direction is by Clarence Badger, rescue and made Mack part of his stock company in films who started in the teens with shorts for Joker and Sen- such as “The Idle Class” (1921) and “The Pilgrim” (1923). -
Charlie Chaplins Red Letter Days at Work with the Comic Genius 1St Edition Pdf, Epub, Ebook
CHARLIE CHAPLINS RED LETTER DAYS AT WORK WITH THE COMIC GENIUS 1ST EDITION PDF, EPUB, EBOOK Fred Goodwins | 9781442278080 | | | | | Charlie Chaplins Red Letter Days At Work with the Comic Genius 1st edition PDF Book Several years ago Michel Comte discovered that the Chaplin office held an extensive photo archive, consisting of thousands of glass negatives, negatives and photographic prints. He was the first international film star and, with a million dollar contract, became one of the richest men in the world. Variety Special Advertising Supplement, pp. The Chaplin Revue The Freak unfinished. Roosevelt liked the film, which they saw at private screenings before its release. Chaplin Official Shop. Leigh Harline , Paul J. I consider this a must for every Chaplin buff. Open Preview See a Problem? Between his time in the poor schools and his mother succumbing to mental illness, Chaplin began to perform on stage. People must be free. My Autobiography. Film portal Television portal Comedy portal England portal. Chaplin's son Michael has suggested that the information must have been significant to his father for him to retain the letter. Fred Goodwins. Return to Book Page. Sennett kept him on, however, when he received orders from exhibitors for more Chaplin films. New German Critique 84 : 3— I shall examine the films of Charlie Chaplin and Buster keaton, not in isolation, as has been the usual practice, but showing how they influenced each other in a creative rivalry that also featured Harold Lloyd the man hanging off the clock. She was then prosecuted for vagrancy in January — Barry had been unable to pay her hotel bills, and was found wandering the streets of Beverly Hills after taking an overdose of barbiturates. -
An In-Depth Look at Chaplin's Mutual Comedies by Jeffrey
An In-Depth Look at Chaplin’s Mutual Comedies By Jeffrey Vance, film historian The Floorwalker (Released: May 15, 1916) Embezzlement is the subject of The Floorwalker, Chaplin’s first film under his landmark contract with Lone Star-Mutual. Chaplin’s inspiration for the film came while he and his brother Sydney were in New York City negotiating his contract with Mutual. While walking up Sixth Avenue at Thirty-third Street, Chaplin saw a man fall down an escalator serving the adjacent elevated train station and at once realized the comic possibilities of a moving staircase. He asked his technical director, Ed Brewer, to design and construct an escalator in a department store set designed by art director and master of properties George “Scotty” Cleethorpe (who had worked for Chaplin at Essanay). “With a bare notion I would order sets, and during the building of them the art director would come to me for details, and I would bluff and give them particulars about where I wanted doors and archways.” Chaplin wrote in his autobiography, “In this desperate way I started many a comedy.” (18) After seeing The Floorwalker, Mack Sennett commented, “Why the hell didn’t we ever think of a running staircase?” (19) The Floorwalker has none of the pathos, romance, or irony of the best Chaplin Mutuals. The crudeness and cruelty of his earlier films is still evident in The Floorwalker, although the film contains a stronger plot than most of his previous films, and the moving-staircase chase was novel for 1916. A glimpse of Chaplin’s evolution to a more graceful type of screen comedy is evident in Charlie’s dance when he discovers the valise of stolen money and dives into the bag. -
Noel Drewe Collection Film 178D5
Noel Drewe Collection Film 178D5 178D5.1 Outlook Very Black 9.5mm, Safety Film, Pathescope Noel Drewe Brittle Noel Drewe Collection 178D5.2 Monkeyland 9.5mm Noel Drewe Brittle, perforation damage Noel Drewe Collection 178D5.3 Fun at the Circus 9.5mm, Pathescope Noel Drewe , Circusama, Yesterday Circus Today Circus Noel Drewe Collection 178D5.4 At the Circus 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Circus 2 Reels. Sound. Featuring "Circus Karo". Includes trapeze, whip act and 'sea lions'. Original sound commentary by Geoffrey Sumner. Supplied by C. W. Cramp Noel Drewe Collection 178D5.5 A Man-Sized Pet 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Supplied by C. W. Cramp Noel Drewe Collection 178D5.6 A Fresh Start 300 feet 12 mins 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Brittle, box rust transfer Adams, Jimmy Noel Drewe Collection 178D5.7 Circus at the Zoo 300 feet 12 mins 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Brittle Circus USA Silent. Includes chimps Noel Drewe Collection 178D5.8 Circus Comes to Town 400 feet Harris, Ron 16 mins 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Circus Silent. Features Belle Vue circus On box ‘This film purchased from Ilkeston Cine Service Supplied by C. W. Cramp Noel Drewe Collection 178D5.9 Circus Stedman of Leeds Holdings of Blackburn Ltd Cine and photographic Suppliers 9.5mm, Pathescope Noel Drewe, Circusama, Yesterday Circus Today Circus Bertram Mills Silent. Includes King George VI and Queen Elizabeth’s coronation, so the circus must be 1936/37.