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Conflicts among Hollywood studios and exhibitors have been going on for years. At their heart are questions about how films should be released--where, when and at what speed. Both sides of this disagreement are losers, with exhibitors using the law via various Consent Decrees and studios retaliating by tightly controlling output. In the Silent Era, movies were not released nearly as widely as they are now. This book tells the story of how the few became the many. It explores the contraction of the release cycle, the maximization of the marketing dollar, and the democratization of consumer access. It also offers a comprehensive list of wide releases and rebuts much of what previous scholars have found.
Coming Back to a Theater Near You by Brian Hannan Pdf
In the Silent Era, film reissues were a battle between rival studios—every Mary Pickford new release in 1914 was met with a Pickford re-release. For 50 years after the Silent Era, reissues were a battle between the studios, who considered old movies “found money,” and cinema owners, who often saw audiences reject former box office hits. In the mid–1960s, the return of The Bridge on the River Kwai (1957)—the second biggest reissue of all time—altered industry perceptions, and James Bond double features pushed the revival market to new heights. In the digital age, reissues have continued to confound the critics. This is the untold hundred-year story of how old movies saved new Hollywood. Covering the booms and busts of a recycling business that became its own industry, the author describes how the likes of Charlie Chaplin, Humphrey Bogart and Alfred Hitchcock won over new generations of audiences, and explores the lasting appeal of films like Napoléon (1927), Gone with the Wind (1939), The Rocky Horror Show (1975) and Blade Runner (1982).
In his popular Never Coming to a Theater Near You, Kenneth Turan celebrated the great films that you may have missed because they never got the screen time they deserved in a blockbuster-dominated culture. Now Turan tells fans of these smaller, lesser-known films what big studio successes they shouldn't neglect. Now in Theaters Everywhere collects Turan's illuminating reviews of the smart and satisfying films you may have underestimated precisely because they dominated the box office. As independent films like Sideways and Brokeback Mountain become increasingly mainstream, sophisticated moviegoers tend to dismiss everything Hollywood produces as merely blockbusters or crowd pleasers. True, not every blockbuster is worth your while. But the studios produce more than cinematic fast food, and Turan will turn you on to big-budget movies that supply real sustenance. His collection of close to 150 reviews defends these cinematic pleasures, pointing readers to the thought-provoking bigger films they may have skipped. Most importantly, he shows readers what makes these films so great, and tells us why we may have to venture no farther than the megaplex for a movie that's worth seeing.
Author : Timothy R. White Publisher : University of Pennsylvania Press Page : 284 pages File Size : 45,5 Mb Release : 2014-10-21 Category : History ISBN : 9780812290417
Behind the scenes of New York City's Great White Way, virtuosos of stagecraft have built the scenery, costumes, lights, and other components of theatrical productions for more than a hundred years. But like a good magician who refuses to reveal secrets, they have left few clues about their work. Blue-Collar Broadway recovers the history of those people and the neighborhood in which their undersung labor occurred. Timothy R. White begins his history of the theater industry with the dispersed pre-Broadway era, when components such as costumes, lights, and scenery were built and stored nationwide. Subsequently, the majority of backstage operations and storage were consolidated in New York City during what is now known as the golden age of musical theater. Toward the latter half of the twentieth century, decentralization and deindustrialization brought the emergence of nationally distributed regional theaters and performing arts centers. The resulting collapse of New York's theater craft economy rocked the theater district, leaving abandoned buildings and criminal activity in place of studios and workshops. But new technologies ushered in a new age of tourism and business for the area. The Broadway we know today is a global destination and a glittering showroom for vetted products. Featuring case studies of iconic productions such as Oklahoma! (1943) and Evita (1979), and an exploration of the craftwork of radio, television, and film production around Times Square, Blue-Collar Broadway tells a rich story of the history of craft and industry in American theater nationwide. In addition, White examines the role of theater in urban deindustrialization and in the revival of downtowns throughout the Sunbelt.
Beelzebub's Tales to His Grandson by George Ivanovich Gurdjieff Pdf
AMONG ALL the convictions formed in my “common presence” during my responsible, peculiarly composed life, there is one unshakable conviction that people—whatever the degree of development of their understanding and whatever the form taken by the factors present in their individuality for engendering all kinds of ideals—always and everywhere on the Earth feel the imperative need, on beginning anything new, to pronounce aloud, or if not aloud at least mentally, that particular invocation understandable to even the most ignorant person, which has been formulated in different ways in different epochs, and in our day is expressed in the following words “In the name of the Father and of the Son and of the Holy Ghost Amen.” That is why I now also, in setting forth on this venture quite new for me, namely authorship, begin by pronouncing this invocation, and pronounce it not only aloud but even very distinctly and, as the ancient Toulousites used to say, with a “fully manifested intonation”—of course only to the extent permitted by data already formed in my whole presence and thoroughly rooted in it for such a manifestation, data, by the way, which are generally formed in man’s nature during his preparatory years, and which later, during his responsible life, determine the character and vivifyingness of such an intonation. Having begun thus, I can now be quite at ease and should even, according to contemporary notions of “religious morality,” be completely assured that from now on everything in this new venture of mine will proceed, as is said, “like a pianola.” In any case, this is the way I have begun, and how the rest will go I can only say, as the blind man put it, “we shall see.” First and foremost, I shall place my hand, moreover the right one, which— although at the moment it is slightly injured due to an accident that recently befell me—is nevertheless really my own, and has never once failed me in all my life, on my heart, of course also my own—but on the constancy or inconstancy of this part of my whole I see no need to expatiate here—and frankly confess that I myself have not the slightest wish to write, but am constrained to do so by circumstances quite independent of me, though whether these circumstances arose accidentally or were created intentionally by extraneous forces I do not yet know I only know that these circumstances bid me write not just some trifle for reading oneself to sleep, but thick and weighty tomes.
A story told by Theology Professor, Steven Alexander who was raised in a Christian home not buying into the salvation offered by Christ, unveiling the last days of Satan's pretense to sway from God's truth. He relates his experience of being left behind after the rapture, including the ordeals from rejecting the mark of the beast, 666, during the tribulation. As Steven's story unfolds he gives an accounting of the rise and fall of Satan, the Antichrist, and the False Prophet; telling it within the context of regret of not having accepting Christ when he had the chance. He now must endure the facing of a world without the Holy Spirit and in an existence of a world which God has allowed Satan full authority until his appointed days are over.
Performing Arts Center Management by Patricia Dewey Lambert,Robyn Williams Pdf
Performing arts centers (PACs) are an integral part of the cultural and creative industries, significantly influencing the cultural, social, and economic vitality of communities around the world. Virtually all PACs are community-based and serve the public interest, whether structured as a public, nonprofit, for-profit, or hybrid entity. However, there is a lack of knowledge about the important community role of performing arts centers, especially those that mainly host and present work produced by other arts organizations. This gap is startling, given the ubiquitous presence of PACs in urban centers, small communities, as well as colleges and universities. This co-edited reference book provides valuable information at the intersection of theory and practice in the professional field of executive leadership of performing arts centers. Drawing on the expertise of leading academics, consultants, and executives, this book focuses on institutions and practices in the United States, and is contextualized within additional fields such as cultural planning, urban revitalization, and economic development. Performing Arts Center Management aims to provide valuable theoretical, conceptual, empirical, and practice-based information to current and future leaders in creative and cultural industries management. It serves as a unique reference for researchers, university students, civic leaders, urban planners, public venue managers, and arts administrators aspiring to improve or advance their work in successfully managing performing arts centers.
This book introduces the concepts of theater planning, and provides a detailed guide to the process and the technical requirements particular to theater buildings. Part I is a guide to the concepts and practices of architecture and construction, as applied to performing arts buildings. Part II is a guide to the design of performing arts buildings, with detailed descriptions of the unique requirements of these buildings. Each concept is illustrated with line drawings and examples from the author’s extensive professional practice. This book is written for students in Theatre Planning courses, along with working practitioners.
Roofed Theaters of Classical Antiquity by George C. Izenour Pdf
This book is the first to explore the roofed theater sites of classical antiquity. George Izenour, one of the most distinguished modern experts on theater design, engineering, and acoustics, examines the archeological remains of twenty-four Greek, Greco-Hellenistic, and Roman buildings. He provides detailed architectural drawings of their probable original appearance and discusses how these huge spaces were spanned and what the precise effects might have been on sound, lighting, and ventilation. Basing his discussion on the principles of classical architecture and on his observations and site photographs of ancient theater ruins, Izenour explores the structure and design of classical roofing systems, seating systems, sight lines to the stage, lighting, and acoustics. He also offers a succinct comparison of ancient and modern roofed theater design. In eight useful appendixes he addresses subjects that range from the remodeling of Greco-Hellenistic outdoor theaters to the drop-curtain-movable-painted-scenery controversy in the Roman theater.
Charlie Chaplin the actor is universally synonymous with his beloved Tramp character. Chaplin the director is considered one of the great auteurs and innovators of cinema history. Less well known is Chaplin the composer, whose instrumental theme for Modern Times (1936) later became the popular standard "Smile," a Billboard hit for Nat "King" Cole in 1954. Chaplin was prolific yet could not read or write music. It took a rotating cast of talented musicians to translate his unorthodox humming, off-key singing, and amateur piano and violin playing into the singular orchestral vision he heard in his head. Drawing on numerous transcriptions from 60 years of original scores, this comprehensive study reveals the untold story of Chaplin the composer and the string of famous (and not-so-famous) musicians he employed, giving fresh insight into his films and shedding new light on the man behind the icon.
The classic social history of corruption and vice in nineteenth-century NYC: “A cacophonous poem of democracy and greed, like the streets of New York themselves” (John Vernon, Los Angeles Times Book Review). Lucy Sante’s Low Life is a portrait of America’s greatest city, the riotous and anarchic breeding ground of modernity. This is not the familiar saga of mansions, avenues, and robber barons, but the messy, turbulent, often murderous story of the city’s slums; the teeming streets—scene of innumerable cons and crimes whose cramped and overcrowded housing is still a prominent feature of the cityscape. Low Life voyages through Manhattan from four different directions. Part One examines the actual topography of Manhattan from 1840 to 1919; Part Two, the era’s opportunities for vice and entertainment—theaters and saloons, opium and cocaine dens, gambling and prostitution; Part Three investigates the forces of law and order which did and didn’t work to contain the illegalities; Part Four counterposes the city’s tides of revolt and idealism against the city as it actually was. Low Life is one of the most provocative books about urban life ever written—an evocation of the mythology of the quintessential modern metropolis, which has much to say not only about New York’s past but about the present and future of all cities.
Manuel Puig and the Spider Woman by Suzanne Jill Levine Pdf
Manuel Puig & The Spider Woman tells the life story of the innovative and flamboyant novelist and playwright himself. Suzanne Jill Levine, his principal English translator, draws upon years of friendship as well as copious research and interviews in her remarkable book, the first biography of the inimitable writer. Manuel Puig (1932-1990), Argentinian author of Kiss of the Spider Woman and pioneer of high camp, stands alone in the pantheon of contemporary Latin American literature. Strongly influenced by Hollywood films of the thirties and forties, his many-layered novels and plays integrate serious fiction and popular culture, mixing political and sexual themes with B-movie scenarios. When his first two novels were published in the late 1960s, they delighted the public but were dismissed as frivolous by the leftist intellectuals of the Boom; his third novel was banned by the Peronist government for irreverence. His influence was already felt, though-even by writers who had dismissed him-and by the time the film version of Kiss of the Spider Woman became a worldwide hit, he was a renowned literary figure. Puig's way of life was as unconventional as his fiction: he spoke of himself in the female form in Spanish, renamed his friends for his favorite movie stars, referred to his young male devotees as "daughters," and, as a perennial expatriate, lived (often with his mother) everywhere from Rome to Rio de Janeiro.
