DOCSLIB.ORG

Momaexh 1213 Masterchecklist 4 the MAGICIAN, M-G-M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Momaexh 1213 Masterchecklist 4 the MAGICIAN, M-G-M EHX \213 DESIGNE:D FOR FILM: THE HOLLYWOOD ART DIRECTOR, Checklist for Stills Stills: 33 Number Title Dimensions 1 SHE, RKO. 1935. 11 x 14" Alfred Herman, art director. Van Nest Polglase, supervising art director. 2 JUST IMAGINE, Fox. 1930. 16 x 20" Stephen Goosson, art director. Futuristic miniatures designed by Ralph Hamrneras. x 3 YOUNG DIANA, Cosmopolitan. 1922. 11 14" Joseph Urban, art director. MoMAExh_1213_MasterChecklist 4 THE MAGICIAN, M-G-M. 1926. 11 x 14" Henri Menessier, art director. II 16 x 20" 5 FRANKENSTEIN, Universal. 1931. Herman Rosse, art director. 11 x 14" 6 NOAH'S ARK, Warner Bros. 1929. Esdras Hartley, art director. 11 x 14" 7 QUEEN OF SHEBA, Fox. 1921. John D. Braddon, art director. 11 x 14" 8 THE THIEF OF BAGDAD, United Artists. 1924. William Cameron Menzies, Anton Grot, Park French, art directors. 9 ROBIN HOOD, United Artists. 1922. 11 x 14" Wilfred Buckland, art director. 10 THE BRIDE OF FRANKENSTEIN, Universal. 1935. 11 x 14" Charles H. Hall, art director. 11 FOOLISH WIVES, Universal. 1922. 11 x 14" Richard Day, E. E. Sheeley, art directors. 12 THE SCARLET EMPRESS, Paramount. 1934. 11 x 14" Hans Dreier, art director. Statues by Peter Ballbush and icons by Richard Kollorsz. 13 DEAD END, Samuel Goldwyn. 1937. 11 x 14" Richard Day, art director. LOST HORIZON, Columbia. 1937. 16 x 20" 14 Stephen Goosson, art director. 15 sm,RISE, Fox. 1927. 11 x 14" Rochus Gliese, art director. (Photo of sketch of set). "t • ..... DESIGNED FOR FILM: THE HOLLYWOOD ART DIRECTOR, Checklist for Stills, cont. 2. 16 SU~RISE, Fox. 1927. 11 x 14" Rochus Gliese, art director. (Set as constructed from above sketch). 17 OUR MODERN MAIDENS, M-G-M. 1929. 16 x 20" Cedric Gibbons, art director. 18 ENCHANTMENT, Cosmopolitan. 1921. 11 x 14" Joseph Urban, art director. 19 THE MAGNIGICENT AMBERSONS, RKO. 1942. 11 x 14" Mark-Lee Kirk, art director. 20,21, BLONDE VENUS, Paramount. 1932. four 22,23 Wiard Ihnen, art director. 11 x 14" (four stills) MoMAExh_1213_MasterChecklist 24 EASY LIVING, Paramount. 1937. 11 x 14" Ernst Fegt~, art director. 25 LITTLE WOMEN, RKO. 1933. 11 x 14" Hobe Erwin, Carroll Clark, art directors. "~ 26 BROADWAY, Universal. 1929. 14 x 17" Ii Charles D. Hall, art director. ~ ~ 27 ~ FOLIES BERGERE, 20th Century Pictures/ United Artists. 1935. 16 x 20" Richard Day, art director. 28 SHOW OF SHOWS, Warner Bros. 1929. 11 x 14" Esdras Hartley, Max Parker, art directors. 29 ROSALIE, M-G-M. 1937. 11 x 14" Joseph Wright, art director. 30 FOLIES BERGERE, 20th Century Pictures/ United Artists. 1935. 11 x 14" Richard Day, art director. 31 42ND STREET, Warner Bros. 1933. 11 x 14" Jack Okey, art director. 32 THE GREAT ZIEGFELD, M-G-M. 1936. 11 x 14" Arnold Gillespie, art director. John Harkrider, set designer. 33 BORN TO DANCE, M-G-M. 1936. 20 x 24" Oliver Messel, art director. Note: Stills are listed in the order in which they appeared in the MOMA exhibition. The Museum of Modern Art ExH.12\3 11 West 53 Street, New York, N. Y. 10019 Tel. 956-6100 Cable: Modernart DESIGNED FOR FILM: THE HOLLYWOOD ART DIRECTOR An exhibition organized by The Museum of Modern Art, New York, New York CHECKLIST: - 77 Frames containing 100 original works 7 Text panels 10 Mats containingMoMAExh_1213_MasterChecklist 84 continuity sketches 42 Stills altogether in show 2 Scale Designs 1 Set Design 7 Photographs, and 17 storyboard sketches Museum Box Number Artist Title/Date/Medium Framed H x W Nos. PRODUCER AS DESIGNER (David O. Selznick) 1977.818 William Cameron Menzies THE ADVENTURES OF TOM SAWYER 25 3/8 x 28 3/8" 8 .819 (interior of cave).1938 . .820 Pencil, crayon, watercolor, .821 glue on board. Four drawings matted within one frame. 1977.834.1-7 William Cameron Menzies GONE WITH THE WIND 25 3/8 x 32 3/8" 7 (continuity sketches of the burning of Atlanta).1939. Pencil and watercolor on board mounted on board. Seven contin- uity sketches matted within one frame. 1977.833.1-12 William Cameron Menzies GONE WITH THE WIND 25 3/8 x 32 3/8" 7 (continuity sketches of the burning of Atlanta). 1939. Pencil, watercolor, and tempera on board mounted on board. Twelve continuity sketches matted within one frame. 1977.835 J. McMillan Johnson GONE \HTH THE WIND 22 3/8 x 28 3/8" 8 (prayer scene). 1939. Pencil, watercolor, and tempera on board. 1977.838 Lyle Wheeler REBECCA 34 3/8 x 45 3/8" 6 (long-shot of Manderley). 1940. Pencil, green pencil, watercolor, brush and ink on board. DESIGi,ED FOR FILM: THE HOLLYWOOD ART DIRECTOR, Checklist, cont , 2. 1977.837 Lyle Wheeler REBECCA 34 3/8 x 45 3/8" 6 (Manderley after the fire). 1940. Pencil and charcoal on board. 1977.829 James Basevi SPELLBOUND 14 1/8 x 16 3/8" 9 (dream sequence designed by Salvador Da1i). 1945. Black and white photograph, pencil and tempera mounted on board. 1977.826 James Basevi SPELLBOUND 27 5/8 x 15 5/8" 8 1977.827.1-2 (dream sequence designed by Salvador Dali). 1945. Pencil on yellow paper, mounted on MoMAExh_1213_MasterChecklist board. Three drawings matted within one frame. 1977.822 James Basevi SPELLBOUND 27 5/8 x 15 5/8" 8 1977.823 (dream sequence designed by Salvador Da1i). 1945. Brush and ink and tempera on paper, mounted on board. Two drawings matted within one frame. 1977.839 James Basevi DUEL IN TilESUN 40 1/2 x 30 1/2" 6 (final shot). 1946. Watercolor and tempera on paper mounted on board. DIRECTOR AS DESIGNER (Cecil B. De Mille) 1977.848 Mitchell Leisen llADAMSATAl'J 22 1/4 x 25 1/4" 8 ("Hanging Gardens"). 1930. Watercolor and pencil on board. 1977.849 Mitchell Leisen MADAM SATAN 25 1/8 x 30 5/8" 7 (interior of Zeppelin). 1930. Charcoal on board. 1977.846 Boris Leven CLEOPATRA 25 3/8 x 30 5/8" 7 (death of Caesar). 1934. Charcoal and tempera on board. 1977.845 Roland Anderson CLEOPATRA 25 3/8 x 30 5/8" 7 (barge). 1934. Charcoal, conte crayon on board. 1977.850 Roland Anderson TilE CRUSADES 23 3/8 x 30 5/8" 7 (siege of Acre). 1935. Pen and ink, watercolor and tempera on board. DESIGNED" FOR FILM: THE HOLLYWOOD ART DIRECTOR, Checklist, cont. 3. 1977.852 Hal Pereria THE TEN CO~~DMENTS 23 3/8 x 30 5/~' 7 Walter Tyler and 1956. Pen and ink, pencil, Albert Nozaki watercolor, and tempera on paper, mounted on board. STUDIO STYLES Metro-Goldwyn-Mayer: Cedric Gibbons, Supervising Art Director. (see also, The Matte Process, Metro-Goldwyn-Mayer mattes for THE GREAT ZIEGFELD, THE WIZARD OF OZ, YOLANDA &~D THE THIEF, ZIEGFELD FOLLIES, THE WHITE SISTER). 1978.39 V. Dukelski DEEP IN MY HEART 15 7/8 x 23 3/8" 9 1954. Tempera on board. Paramount:MoMAExh_1213_MasterChecklist Hans Dreier, Supervising Art Director. 1978.81 Ernst Fegte WAY TO LOVE 16 3/8 x 22 3/8" 9 1933. Charcoal, watercolor, gouache on board. 1978.856 Boris Leven FOUR FRIGHTENED PEOPLE 25 3/8 x 32 3/8" 7 (exterior of jungle). 1934. Charcoal, watercolor, and tempera on board. 1978.71 Boris Leven MURDER AT THE VANITIES 15 1/4 x 18 1/4" 9 (musical number). 1934. Conte crayon and gouache on board. 1978.77 Robert Boy Ie FOUR HOURS TO KILL 16 3/8 x 22 1/4" 9 (Art Deco hotel lobby). 1935. Charcoal and watercolor on board. 1978.70 Boris Leven GO WEST, YOUNG MAN 16 3/8 x 22 1/4" 9 (Mae West on sofa). 1935. Charcoal on board. 1978.82 Wiard Ihnen SHANGHAI 15 1/4 x 18 1/4" 9 1936. Charcoal and watercolor on board. 1978.76 Robert Usher LIMEHOUSE BLUES 16 1/4 x 14 1/4" 9 1934. Charcoal and gouache on paper mounted on board. RKO: Van Nest Polglase, Supervising Art Director. 1978.66 Allan Abbott TOP HAT 19 7/8 x 30 3/8" 8 (bridal suite). 1935. Charcoal on board. " DESIGNED FOR FILM: THE HOLLYWOOD ART DIRECTOR, Checklist, cont 4. 1978.64 Mario Larrinaga MARY OF SCOTLAND 22 3/8 x 28 1/4" 8 (Queen's study). 1936. Pencil and watercolor on board. 1978.65 Alberto Vargas SWISS FAMILY ROBINSON 20 1/4 x 28 1/4" 8 (tree house). 1940. Charcoal and gouache on board. 1978.63 Allan Abbott SUSPICION 22 3/8 x 28 1/4" 8 (staircase). 1941. Charcoal and watercolor on board. 1978.61 Claude Gillingwater CITIZEN KANE 18 1/4 x 22 1/4" 9 (interior of Xanadu). 1941. MoMAExh_1213_MasterChecklist Pencil and charcoal on paper mounted on board. Twentieth Century-Fox: William Darling, Lyle Wheeler, Jack Martin Smith, Supervising Art Directors. 1978.53 IVilliamDarling LLOYDS OF LONDON 18 3/8 x 19 1/4" 9 (rooftops). 1936. Charcoal and watercolor on board. 1978.51 Wiard Ihnen WILSON 16 1/4 x 22 1/4" 9 (White House dining hall). 1944. Gouache and pencil on buff paper mounted on board. 1978.46 Ed Graves PRINCE VALIANT 20 3/8 x 40 7/8" 6 (tournament). 1954. Tempera on heavy paper mounted on board. 1978.48 John De Cuir THE KING AND I 32 7/8 x 41" 6 (palace gates). 1956. Pencil and tempera on paper mounted on board. 1978.47 John De Cuir THE KING &'0 I 32 7/8 x 41" 6 (harbor). 1956. Pencil, pen and ink, watercolor on board. 1978.49 Jack Martin Smith NORTH TO ALASKA 16 3/8 x 22 1/4" 9 (saloon).
Load more

Recommended publications
  • Selznick Memos Concerning Gone with the Wind-A Selection
    Selznick memos concerning Gone with the Wind-a selection Memo from David O. Se/znick, selected and edited by Rudy Behlmer (New York: Viking, 1972) 144 :: MEMO FROM DAVID O. SELZNICK Gone With the Wind :: 145 To: Mr. Wm. Wright January 5, 1937 atmosphere, or because of the splendid performances, or because of cc: Mr. M. C. Cooper George's masterful job of direction; but also because such cuts as we . Even more extensive than the second-unit work on Zenda is the made in individual scenes defied discernment. work on Gone With the Wind, which requires a man really capable, We have an even greater problem in Gone With the Wind, because literate, and with a respect for research to re-create, in combination it is so fresh in people's minds. In the case of ninety-nine people out with Cukor, the evacuation of Atlanta and other episodes of the war of a hundred who read and saw Copperfield, there were many years and Reconstruction Period. I have even thought about [silent-fllm between the reading and the seeing. In the case of Gone With the director1 D. W. Griffith for this job. Wind there will be only a matter of months, and people seem to be simply passionate about the details of the book. All ofthis is a prologue to saying that I urge you very strongly indeed Mr. Sidney Howard January 6, 1937 against making minor changes, a few of which you have indicated in 157 East 8znd Street your adaptation, and which I will note fully.
    [Show full text]
  • SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses
    SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses The Ritz-Carlton, New Orleans • March 10–13, 2011 • SCMS 2011 Letter from the President Welcome to New Orleans and the fabulous Ritz-Carlton Hotel! On behalf of the Board of Directors, I would like to extend my sincere thanks to our members, professional staff, and volunteers who have put enormous time and energy into making this conference a reality. This is my final conference as SCMS President, a position I have held for the past four years. Prior to my presidency, I served two years as President-Elect, and before that, three years as Treasurer. As I look forward to my new role as Past-President, I have begun to reflect on my near decade-long involvement with the administration of the Society. Needless to say, these years have been challenging, inspiring, and expansive. We have traveled to and met in numerous cities, including Atlanta, London, Minneapolis, Vancouver, Chicago, Philadelphia, and Los Angeles. We celebrated our 50th anniversary as a scholarly association. We planned but unfortunately were unable to hold our 2009 conference at Josai University in Tokyo. We mourned the untimely death of our colleague and President-Elect Anne Friedberg while honoring her distinguished contributions to our field. We planned, developed, and launched our new website and have undertaken an ambitious and wide-ranging strategic planning process so as to better position SCMS to serve its members and our discipline today and in the future. At one of our first strategic planning sessions, Justin Wyatt, our gifted and hardworking consultant, asked me to explain to the Board why I had become involved with the work of the Society in the first place.
    [Show full text]
  • Art Directors Guild to Induct Three Legendary Production Designers Into Its Hall of Fame at 18Th Annual Excellence in Production Design Awards February 8, 2014
    Art Directors Guild to Induct Three Legendary Production Designers Into Its Hall of Fame at 18th Annual Excellence in Production Design Awards February 8, 2014 LOS ANGELES, Sept. 11 — Three legendary Production Designers – Robert Clatworthy, Harper Goff and J. Michael Riva – will be inducted into the Art Directors Guild (ADG) Hall of Fame at the Guild’s 18th Annual Excellence in Production Design Awards ceremony to be held at the Beverly Hilton Hotel on February 8, 2014, as announced today by ADG Council Chairman John Shaffner and Awards Producers Raf Lydon and Dave Blass. In making the announcement Shaffner said, “Clatworthy, Goff and Riva join a distinguished group of ADG Hall of Famers, whose collective work parallels the best of motion picture and television production design. They are most worthy and welcomed additions.” Nominations for the 18th Annual ADG Excellence in Production Design Awards will be announced on January 9, 2014. On awards night, February 8, the ADG will present winners in ten competitive categories for theatrical films, television productions, commercials and music videos. Recipient of this year’s Lifetime Achievement Award will be Production Designer and Art Director Rick Carter, as previously announced. The Excellence in Production Design Awards are open only to productions, when made within the U.S., by producers signatory to the IATSE agreement. Foreign entries are acceptable without restrictions. ROBERT CLATWORTHY (1911 – 1992) Robert Clatworthy (William Robert Clatworthy) was an Oscar®-winning American Production Designer who worked at Paramount starting in 1938, and at Universal until 1964. In the 1960’s Clatworthy became involved with some of Hollywood’s best directors, including Orson Welles, Alfred Hitchcock and Stanley Kramer.
    [Show full text]
  • XXXI:4) Robert Montgomery, LADY in the LAKE (1947, 105 Min)
    September 22, 2015 (XXXI:4) Robert Montgomery, LADY IN THE LAKE (1947, 105 min) (The version of this handout on the website has color images and hot urls.) Directed by Robert Montgomery Written by Steve Fisher (screenplay) based on the novel by Raymond Chandler Produced by George Haight Music by David Snell and Maurice Goldman (uncredited) Cinematography by Paul Vogel Film Editing by Gene Ruggiero Art Direction by E. Preston Ames and Cedric Gibbons Special Effects by A. Arnold Gillespie Robert Montgomery ... Phillip Marlowe Audrey Totter ... Adrienne Fromsett Lloyd Nolan ... Lt. DeGarmot Tom Tully ... Capt. Kane Leon Ames ... Derace Kingsby Jayne Meadows ... Mildred Havelend Pink Horse, 1947 Lady in the Lake, 1945 They Were Expendable, Dick Simmons ... Chris Lavery 1941 Here Comes Mr. Jordan, 1939 Fast and Loose, 1938 Three Morris Ankrum ... Eugene Grayson Loves Has Nancy, 1937 Ever Since Eve, 1937 Night Must Fall, Lila Leeds ... Receptionist 1936 Petticoat Fever, 1935 Biography of a Bachelor Girl, 1934 William Roberts ... Artist Riptide, 1933 Night Flight, 1932 Faithless, 1931 The Man in Kathleen Lockhart ... Mrs. Grayson Possession, 1931 Shipmates, 1930 War Nurse, 1930 Our Blushing Ellay Mort ... Chrystal Kingsby Brides, 1930 The Big House, 1929 Their Own Desire, 1929 Three Eddie Acuff ... Ed, the Coroner (uncredited) Live Ghosts, 1929 The Single Standard. Robert Montgomery (director, actor) (b. May 21, 1904 in Steve Fisher (writer, screenplay) (b. August 29, 1912 in Marine Fishkill Landing, New York—d. September 27, 1981, age 77, in City, Michigan—d. March 27, age 67, in Canoga Park, California) Washington Heights, New York) was nominated for two Academy wrote for 98 various stories for film and television including Awards, once in 1942 for Best Actor in a Leading Role for Here Fantasy Island (TV Series, 11 episodes from 1978 - 1981), 1978 Comes Mr.
    [Show full text]
  • Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
    UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
    [Show full text]
  • Nosferatu. Revista De Cine (Donostia Kultura)
    Nosferatu. Revista de cine (Donostia Kultura) Título: Filmografía Autor/es: Devesa, Dolores; Potes, Alicia Citar como: Devesa, D.; Potes, A. (2006). Filmografía. Nosferatu. Revista de cine. (51):71- 87. Documento descargado de: http://hdl.handle.net/10251/41447 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: Filmografía Dolores Devesa y Alicia Potes DlRF:CCI Ó N ,1/ar /rm~, Sydno:y G n::cnst reet (Dr. Loren=), Charles llalton (A. V. Smith), Sen Young (Joe Totsuiko), Roland Gut (Sugi), El halcón maltés (The Maltese Fa/con, 194 1) Lec Tung Foo (Sam IJ'ing On), Frank Wilcox (capitán ,\/o­ rrison), Paul Stanton (comnel flan) , Lcstcr l\ latthews (ma­ Dirección: John Huston. Producción: Warner Bros. Pro­ yor Cl/1/(/diense), John Hamilton (¡m:sidellle del consejo de ductor ejecutivo: llal B. Wa llis. P•·oductor nsoriado: Hen­ ¡.:uerm) , Tom Stevcnson (homhre sin identi.ficm), Roland ry Blankc. Guión: John Jluston. Basado en la nove la The Drew (capitán Harkuess), l\ lonte Bluc (Dan ,\fomm), Ches­ ,\fa/tese Fa/con (El lw/cán maltés) de Oashiell Hammctl.
    [Show full text]
  • 1 Evolving Authorship, Developing Contexts: 'Life Lessons'
    Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009).
    [Show full text]
  • Lacon 1 Film Program
    BY WAY OF INTRODUCTION This film program represents for the most part an extremely personal selection by me, Bill Warren, with the help of Donald F. Glut. Usually convention film programs tend to show the established classics -- THINGS TO COME, METROPOLIS, WAR OF THE WORLDS, THEM - and, of course, those are good films. But they are seen so very often -- on tv, at non-sf film programs, at regional cons, and so forth -- that we decided to try to organize a program of good and/or entertaining movies that are rarely seen. We feel we have made a good selection, with films chosen for a variety of reasons. Some of the films on the program were, until quite recently, thought to be missing or impossible to view, like JUST IMAGINE, TRANSATLANTIC TUNNEL, or DR JEKYLL AND MR. HYDE. Others, since they are such glorious stinkers, have been relegated to 3 a.m. once-a-year tv showings, like VOODOO MAN or PLAN 9 FROM OUTER SPACE. Other fairly recent movies (and good ones, at that) were, we felt, seen by far too few people, either due to poor distribution by the releasing companies, or because they didn't make enough money to ensure a wide release, like TARGETS or THE DEVIL'S BRIDE. Still others are relatively obscure foreign films, a couple of which we took a sight-unseen gamble on, basing our selections on favorable reviews; this includes films like THE GLADIATORS and END OF AUGUST AT THE HOTEL OZONE. And finally, there are a number of films here which are personal favorites of Don's or mine which we want other people to like; this includes INTERNATIONAL HOUSE, MAD LOVE, NIGHT OF THE HUNTER, RADIO RANCH, and SPY SMASHER RETURNS.
    [Show full text]
  • Festa Del Cinema Di Roma FESTA DEL CINEMA DI ROMA 13/23 OTTOBRE 2016
    11A Festa del Cinema di Roma FESTA DEL CINEMA DI ROMA 13/23 OTTOBRE 2016 FONDATORI PRESIDENTE Roma Capitale Piera Detassis Regione Lazio Città Metropolitana di Roma Capitale Camera di Commercio di Roma DIRETTORE GENERALE Fondazione Musica per Roma Francesca Via Istituto Luce Cinecittà S.r.l DIRETTORE ARTISTICO COLLEGIO DEI FONDATORI Antonio Monda Presidente Lorenzo Tagliavanti Presidente della Camera di Commercio di Roma COMITATO DI SELEZIONE Virginia Raggi Mario Sesti, Coordinatore Sindaca di Roma Capitale Valerio Carocci e della Città Metropolitana Alberto Crespi Giovanna Fulvi Nicola Zingaretti Richard Peña Presidente della Regione Lazio Francesco Zippel Aurelio Regina Presidente della Fondazione Musica per Roma Roberto Cicutto Presidente dell’Istituto Luce Cinecittà CONSIGLIO DI AMMINISTRAZIONE RESPONSABILE UFFICIO CINEMA Piera Detassis, Presidente Alessandra Fontemaggi Laura Delli Colli Lorenzo Tagliavanti José Ramón Dosal Noriega Roberto Cicutto COLLEGIO DEI REVISORI DEI CONTI Roberto Mengoni, Presidente Massimo Gentile, Revisore Effettivo Giovanni Sapia, Revisore Effettivo Maurizio Branco, Revisore Supplente Marco Buttarelli, Revisore Supplente A FESTA 13-23 DEL CINEMA OTTOBRE 11 DI ROMA 2016 Prodotto da Main Partner Promosso da Partner Istituzionali Con il supporto di In collaborazione con Official sponsor Partner Tecnico Eco Mobility Partner Sponsor di Servizi Media Partner Partner Culturali Sponsor2.1 Invicta institutional logo “Since” 2.1.1 Dimensions, proportions and colour references The Invicta corporate logo is made up of 2 colours, blue and red. The Invicta corporate logo must never be modified or reconstructed. FOOD PROMOTION & EVENTS MANAGEMENT 26x 8x 87x 1x 15x 31x 2x 3x 5x 3x 1x Pantone 33xCMYK Pantone RGB 2x Textile 20x Invicta red C: 0 4852x C P.
    [Show full text]
  • CTCS 464: the Romantic Comedy in Classical, Postwar, and Reactionary/Revolutionary Hollywood (1929 – 1976)
    CTCS 464: The Romantic Comedy In Classical, Postwar, and Reactionary/Revolutionary Hollywood (1929 – 1976) Summer 2009 (First Session) Monday & Wednesdays 1 p.m to 5:30 p.m. Norris Theater Instructor: Dr. Drew Casper The Alma and Alfred Hitchcock Professor of American Film Course Description: An in-depth analysis the myths, conventions and iconographies of the romantic comedy genre in its Classical, Postwar and Reactionary/Revolutionary periods, this course will explore its extra-cinematic determinants (major historical events, economic situations, societal issues and other popular leisure activities) and cinematic determinants (business, technology, censorship, generic patterns, major directors, the star and the star system). Finally, this course will also examine the major theoretical issues of the genre. Teaching Assistants: Kate Fortmueller ([email protected]) & David Lerner ([email protected]). Office Hours: IMS Building, 2nd Floor, Monday and Wednesday 11:30 – 12:30pm Dr. Casper’s Office Hours: 12:00 – 1:00pm, Monday and Wednesday 323 School of Cinematic Arts Building – (213) 740-3334 If you wish to see Dr. Casper during his office hours, you must make an appointment in advance by signing up on the appointment sheet at the front desk of the Critical Studies office (SCA 320). Course Requirements: I. Attendance: Prompt and regular attendance for the full class period is of extreme importance. Missing the screening of any film will seriously limit your success in the course. NOT ALL OF THE FILMS SCREENED IN CLASS ARE AVAILABLE ON VIDEOTAPE OR DVD. It is your responsibility to make up any missed screenings and to obtain detailed notes from another student.
    [Show full text]
  • The Inventory of the Fred Astaire Collection #767
    The Inventory of the Fred Astaire Collection #767 Howard Gotlieb Archival Research Center /' Astaire, Fred July, 1980 #767 I. SCRAPBOOKS (All include tearsheets and newsclippings of advertisements; reviews and related stories; newsclippings on Adele Astaire, then Lady Charles Cavendish, and correspondence, Most printed items from U,S, newspaperst some English and AustralianJ Package //1 A. Black leather scrapbook: "Flying Down to Rio" and "Dancing Lady" 1933 0 7 telegrams, 1 TLS incl,: Berman, Pandro telegram Dec, 8, 1933 Brock, Louis (screenwriter) 2 telegrams Nov, 28, Dec. 23, 1933 TLS Nov, 13, 1933 Hayward, Leland (agent, producer) 2 telegrams Nov. 10, Dec. 29, 1933 "Hollywood on the Air". Mimeo typescript. Nov. 4, 1933. 16 p. Schwartz, Arthur (producer, composer) telegram Dec. 25, 1933 Package /12 B. Black scrapbook with tan leather spine: "Follow the Fleet" 1936 Package #3 C. Black leather scrapbook: "Gay Divorce" 1932-1933 (stage production) includes publicity clippings, reviews, photos of theatres (Wilbur in Boston and Ethel Barrymore in New York), box office statement, sheet music, playbills, Theatre World magazine December, 1933, news- clippings on FA's marriage and correspondence. 21 telegrams, 6 TLS, 2 CTL, 1 ALS, incl.: Astaire, Ann (mother) telegram July 13, 1933 Dietz, Howard (librettist) telegram July 12, 1933 Ephraim, Lee 12 telegrams ~fuy 3, May 11, May 23, May 29, May 31, June 3, June 6, June 10, June 19, June 27, July 4, July 11, 1933 5 TLS April 18, May 2, May 12, June 1, June 10, 1933 Fred Astaire Page 2 Package /13 c. "Gay Divorce" 1932-1933 correspondence (cont.) Ephraim, Lee To Claire Luce telegram May 26, 1933 FA to Lee Ephraim CTL May 18, 1933 with Luce, Claire CTL to Fred Astaire May 16, 1933 Hayward, Leland telegram May 18, 1933 Po~ter, Linda (Mrs.
    [Show full text]
  • The Hollywood Art Director
    The Museum of Modern Art 11 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart NO. 36 FOR IMMEDIATE RELEASE MUSEUM EXHIBITION SPOTLIGHTS ART DIRECTORS Kane's Xanadu, Scarlett's Tara, Rebecca's Manderly, Dr. Franken­ stein's laboratory—these and many other indelible images sprang from the drawing board of the Hollywood art director. Since the birth of the art form some sixty years ago, the art director has been the archi­ tect of our movie dreams--and, ironically, the most anonymous of all the craftsmen who have contributed crucially to film art. Now, in an exhibition entitled DESIGNED FOR FILM: THE HOLLYWOOD ART DIRECTOR, The Museum of Modern Art is spotlighting the art director's achievement through more than 100 sketches, matte paintings, storyboards, and film stills. The exhibition, which is on view in the Auditorium Gallery from May 11 through September 26, was directed by Mary Corliss, Curatorial Assistant, Department of Film; and designed by Kathleen Haven. Carlos Clarens acted as Consultant. The source of much of Hollywood's spectacular glamour will be on display in this exhibition—from an early sketch for the Babylonian sequence from D.W. Griffith's "Intolerance," through designer William Cameron Menzies' continuity sketches for "Gone With the Wind," to a six-foot panorama of Imperial Rome made by art director John de Cuir for "Cleopatra." Design styles range from the super-realistic (George Jenkins' meticulous plan for the Washington Post newsroom in "All the President's Men") to the surrealistic (Salvador Dali's design of the dream sequence in Hitchcock's "Spellbound").
    [Show full text]