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1936-08-01-Num001.Pdf L.Pdf
REVISTA MENSUAL DE CINEMATOGRAFIA Editada por el Servicio de Publicidad de WARNER BROS. FIRST NATIONAL FILMS, S. A. E. PASE0 DE GRACIA, 77 - BARCELONA - TELÉFONO 79035 - 6 de Cataluny6 131bIloteca WARNER BROS. FIRST NATIONAL FILMS S. A. E. se con la propone edición de esta revista estrechar más, si cabe, sus relaciones con los seriores empresarios, estableciendo con ellos un nexo regular de comunicación que contribuya a acrecentar aquella comprensión mutua indispensable en toda interdepen dencia de intereses. hacer Procuraremos de "N.° 1" una revista útil y amena, que sea un fiel exponente de las actividades de WARNER BROS. FIRST NATIONAL en el doble aspecto de producción y dis tribución. Creemos haber logrado de momento nuestros propósitos con la edición de este primer número, en el cual hemos querido reco pilar, a manera de Catálogo, la espléndida selección de películas que WARNER BROS. FIRST NATIONAL FILMS S. A. E. presenta para la próxima temporada. Bello ¡ contenido para una revista! ¡ Magnífica, inmejorable perspectiva para los seriores empresarios! Nunca en cinemato grafía ha podido emplearse con más justicia la palabra selección. Mucho más difícil que seleccionar ha sido dejar de seleccionar Tan excelente películas. y abundante ha sido el material que WARNER BROS., FIRST NATIONAL y COSMOPOLITAN han puesto a disposición de su distribuidora en España. No hablemos ya de "ADVERSIDAD", "EL CAPITAN BLOOD", "LA TRAGEDIA DE LOUIS PASTEUR", tres obras realmente sensacionales, grandiosas, que huyen de toda posible clasificación, ni hablemos siquiera de "EL INFIERNO NE GRO", "LA CIUDAD SINIESTRA" y demás películas de Ja mes Cagney, ni de "EL DOCTOR SOCRATES", "SU VIDA PRIVADA", "AGENTE ESPECIAL", "CAIN Y MABEL", "LOS MUERTOS ANDAN", todas las cuales y algunas más podemos calificar, con toda justicia, de extraordinarias. -
The Development of Child Stars in the Studio System of the 1930S Through '50S
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 5-2011 "Daddy Dearest": The Development of Child Stars in the Studio System of the 1930s through '50s Brittany N. Dalton [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Part of the Child Psychology Commons, and the Film and Media Studies Commons Recommended Citation Dalton, Brittany N., ""Daddy Dearest": The Development of Child Stars in the Studio System of the 1930s through '50s" (2011). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1437 This Dissertation/Thesis is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. 1 “Daddy Dearest”: The Development of Child Stars in the Studio System of the 1930s through the ‘50s Written by Brittany N. Dalton Special Thanks: Julia A. Malia, Ph. D., C.F.L.E. May 10, 2011 Abstract 2 The purpose of this paper is to analyze the effects growing up in the studio system had on child stars from the 1930s through 1950s. I chose to focus my research and analysis on three child stars in particular: Judy Garland, Elizabeth Taylor, and Shirley Temple. These three actresses each had different experiences in their careers and relationships to the studio; however, they were all well-known and influential child stars. -
Motion Picture Reviews (1939)
MOTION PICTURE REVI m WOMEN'S UIIIWMirmUB LOS ANGELES CALIE Vo l. XIII 1939 MOTION PICTURE REVIEWS JANUARY 19 3 9 CONTENTS A Christmas Carol The Dawn Patrol Exposed The Girl Downstairs Going Places Heart of the North His Exciting Night Kentucky Little Orphan Annie Little Tough Guys in Society Pacific Liner Paris Honeymoon Pygmalion Ride a Crooked Mile Secrets of a Nurse Sweethearts Swing That Cheer Thanks for Everything Tom Sawyer, Detective Trade Winds Zaza THE WOMEN'S UNIVERSITY CLUB LOS ANGELES CALIF ORNIA 10c Per Copy $1.00 a Year Digitized by the Internet Archive in 2016 with funding from Media History Digital Library https://archive.org/details/motionpicturerev00wome_8 — MOTION PICTURE REVIEWS Three MOTION * PICTURE * REVIEWS Published, monthly by THE WOMEN'S UNIVERSITY CLUB LOS ANGELES BRANCH AMERICAN ASSOCIATION OF UNIVERSITY WOMEN Mrs. Palmer Cook, General Co-Chairman Mrs. John Vruwink, General Co-Chairman Mrs. Chester A. Ommanney, Preview Chairman Mrs. Thomas B. Williamson, Assistant Preview Chairman Mrs. Francis Poyas, Subscription Chairman Cooperating Branches Long Beach Glendale Santa Monica Whittier EDITORS Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. George Ryall Mrs. John Vruwink Address all communications to The Women’s University Club, 943 South Hoover Street, Los Angeles, California 10c Per Copy - - $1.00 Per Year Vol. XIII JANUARY, 1939 No. 1 Copyright 1938 by Women's University Club of Los Angeles FEATURE FILMS A CHRISTMAS CAROL O O THE DAWN PATROL O O Reginald Owen, Gene Lockhart, Kathleen Errol Flynn, David Niven, Basil Rathbone, Lockhart, Terry Kilburn, Barry Mackay, Donald Crisp, Melville Cooper, Barry Fitz- Lynne Carver, Leo G. -
Movies from Academy Award Winning
:% > - -,^ 'mm .:; ?r- -I' ^%*^;<x^- •f V -*-:^ J. V ';-.^;^f-:.t.; r' -r* •-*,/>. i-^^^., .*: ^.^'^ ym^iv '/W>s^^; ;_'S- V^. ^ -'"" -* '1 Mf' -r*t!^"w:J*^ .. >-^i<iS^.' * "5?^pf^ '^.^e-i:S^v^*. Scanned from the collection of David Pierce Coordinated by the Media History Digital Library www.mediahistoryproject.org Digitized by the Internet Archive in 2011 with funding from Media History Digital Library http://www.archive.org/details/moviesfromaappro1957asso ^- Warner Bros. Features and cartoons Popeye cartoons > Copyright 2957 Associated Artists Productions Corp. All rights reserved. ( Great entertainment draws bi^, responsive ^- a.u.cl This is true of theatre, radio, movies, television, and all media For more than 30 years, between 45 and 60 million people every single week have gone out to the movies. Americans have the »> m 4%. \ ^ ^_ Now on television, they're watching movies in ever increasing numbers. And they watch every picture from start to finish. Who ever walked out in the middle of a movie? George Raft, Marlene Dietrich and Edivard G. Robinson in "Manpower." i For decades, one of the greatest names in the most popular medium of entertainment has been Box office admissions and critical acclaim have proved the Herbert Corthell, with PaJtl Muni, star of "The Story of Louis Pasteur' of Warner Bros, movies from Academy Award winning "STORY OF LOUIS PASTEUR" to Academy Award Winning "TREASURE OF SIERRA MADRE" Humphrey Bogart in "The Treasure of Sierra Madre," * also starring Walter Huston I Warner Bros. Movies have amassed a total up to 1950 of ee 99 and have grossed a box-office total of nearly billion dolla^i* Only great entertainment could achieve this record Irene Manning and Dennis Morgan, star of "My Wild Irish Rose," which grossed $3,1,(10,000. -
Phd Thesis Noel Brown
1 Hollywood, the family audience and the family film, 1930-2010 Noel Brown Thesis submitted towards the degree of Doctor of Philosophy in the School of English Literature, Language and Linguistics, Newcastle University. June 2010 2 Abstract This thesis is the first in-depth, historical study of Hollywood’s relationship with the ‘family audience’ and ‘family film’. Since the 1970s, Hollywood family films have been the most lucrative screen entertainments in the world, and despite their relatively- unexplored status in academic film criticism and history, I will argue that the format is centrally important in understanding mainstream Hollywood cinema. How have ‘family films’ become so globally dominant? One answer is that Hollywood’s international power facilitates the global proliferation of its products, but this explanation, in isolation, is insufficient. I will argue that Hollywood family films are designed to transcend normative barriers of age, gender, race, culture and even taste; they target the widest possible audiences to maximise commercial returns, trying to please as many people, and offend as few, as possible. This they achieve through a combination of ideological populism, emotional stimulation, impressive spectacle, and the calculated minimisation of potentially objectionable elements, such as sex, violence, and excessive socio-cultural specificity. Initially, the audience for family films was predominantly domestic, but with the increasing spending power of international audiences, family films are now formulated on the belief that no market is inaccessible. For this reason, they are inextricably linked with Hollywood – the only film industry in the world with the resources and distribution capacity to address a truly global mass audience. -
WRAP THESIS Willis 2002.Pdf
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/55891 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. THE SIGNIFIER RETURNS TO HAUNT THE REFERENT Blackface and the Stereotyping of African-Americans in Hollywood Early Sound Film by Corin Charles Willis BA, MA A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Film Studies University of Warwick Department of Film and Television Studies December 2002 BEST COpy AVAILABLE TEXT IN ORIGINAL IS CLOSE TO THE EDGE OF THE PAGE CONTENTS List of Dlustrations llI-IV AcknowledgementslDeclaration v Abstract VI Prologue 1 Introduction 12 1:The Stereotypical Portrayal of African-Americans in Hollywood film. 13 2:The 'Nature' of the Blackface Medium 16 Chapter One: The Persistence of Blackface in Early Sound Film 29 1:Past Accounts of Blackface in Early Sound Film 29 2:Four Categories of Blackface in Early Sound Film. 35 3:Conclusions on the 'Map' of Blackface Persistence 81 Chapter Two: Shadows of Blackface: The Racial Marking of 93 African-American Actors and Performers in Early Sound Film 1:Film Practices Involved in the Racial Marking of 97 African-Americans in Film 2:Aspects of Film Form Involved in the Racial Marking 106 of African-Americans in Film 3 :Minstrelsy Rebuilt 119 Chapter Three: Co-presence in the Films of AI Jo)son and Eddie Cantor 127 1:Co-presence in The Singing Fool 133 2:The Afterlife of lolson's Blackface Mammy 148 3:Blackface By Proxy, Whiteface and Afiican-American 171 Association in Hallelujah I'm a Bum 4:Co-presence and African-American Vernacular in lolson/Cantor Films. -
20Th Century-Fox Dynamo (August 12, 1939)
MOVIETONE CITY—Louis Bromfieid's "The Rains Came" has developed into the greatest world-grossing motion picture of all time. I have just seen it and I say unconditionally that it is positively sensational. It has everything. Based upon a great book, with the finest cast ever assembled in one picture and possessing spectacles that are positively terrifying in realism and thrills, but great as the spectacular sequences are, the story holds you every second. It would be a great picture without the spectacles. It has comedy, pathos, thrills and drama and is loaded with sex. _ _ It is so unprecedentedly great that we are going to lose no time in making it available to our accounts. Therefore, we will release it on Sept. 15. Negative of "The Rains Came" will be shipped to New York on Sept. 1. I am more convinced than ever that we must fight for top prices and right percentages on our top 24 specials. Therefore, do not let anyone be rushed into making unsatisfactory contracts. Darryl Zanuck is tremendously excited and enthused over "Drums Along the Mohawk," "Brigham Young," "Swanee River." "Little Old New York," of "Grapes Wrath" and all his big ones. He is pouring huge sums into all of these specials, so it is, obviously, up to us to see that the right sort of terms are obtained. Based on what I have seen in the past several days, I am confident we will attain our Kent Drive quota as our weekly contribution to the new season's : NEW DYNAMO “STANLEY” EXCEEDS “JAMES” GROSS ON THE COAST Scene Of Sensational Opening Of Zanuck’s Thriller In New -
Sheet Music Collection, 1890- (Collection PASC 147-M)
http://oac.cdlib.org/findaid/ark:/13030/kt5j49r1vz No online items Sheet Music collection, 1890- (Collection PASC 147-M) Finding aid prepared by UCLA Library Special Collections staff; additions by Peggy Alexander; machine readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] © 2012 The Regents of the University of California. All rights reserved. Sheet Music collection, 1890- PASC 147-M 1 (Collection PASC 147-M) Title: Sheet Music collection Collection number: PASC 147-M Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 569.5 linear ft.(1139 boxes) Date (inclusive): 1890- Abstract: The collection consists of popular American sheet music dating from the mid 19th Century through the 21st Century. The collection continues to grow. Finding aids will be updated periodically. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.