Academic literature on the topic 'John Carter (Motion picture)'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'John Carter (Motion picture).'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "John Carter (Motion picture)"

1

Field, Allyson Nadia. "John Henry Goes to Carnegie Hall: Motion Picture Production at Southern Black Agricultural and Industrial Institutes (1909–13)." Journal of Popular Film and Television 37, no. 3 (2009): 106–15. http://dx.doi.org/10.1080/01956050903218075.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Paul, Andrew. "“Sometimes a Bee Can Move an Ox”: Biblical Epics and One Man's Quest to Promote Jewish Values in Blacklist-Era Hollywood." Modern American History 1, no. 2 (2018): 173–94. http://dx.doi.org/10.1017/mah.2018.11.

Full text
Abstract:
In the 1950s, the top American Jewish organizations chose a single man, John Stone, to represent their collective interests in Hollywood. Over the course of the decade, Stone's Motion Picture Project sought to prevent antisemitism on film and to inspire the creation of positive Jewish characters. Negotiating the cultural politics of the era, however, resulted in an increasing tendency to favor depictions of biblical Jews over contemporary American ones. In a strange twist, Stone endorsed no film with as much zeal asBen-Hur, a New Testament celebration of Jesus. By following Stone's tortuous attempts to navigate Cold War controversies, and by casting new light on the phenomenal success of biblical epics in the 1950s, this essay suggests that at the heart of postwar popular culture was a shift toward a particular discourse of liberal humanism.
APA, Harvard, Vancouver, ISO, and other styles
3

Skowera, Maciej. "Lewis Barnavelt and the Rainbow over New Zebedee: Queering The House with a Clock in Its Walls." Dzieciństwo. Literatura i Kultura 1, no. 1 (2019): 85–108. http://dx.doi.org/10.32798/dlk.29.

Full text
Abstract:
The paper discusses The House with a Clock in Its Walls (1973) by John Bellairs and its film adaptation, directed by Eli Roth (2018), from queer theory and gender studies perspectives. The author of the article aims to overview and develop existing queer in‑terpretations of the first novel in the Lewis Barnavelt series, with contextual references to the cycle’s subsequent volumes, and to conduct a queer theory ‑inspired analysis of Roth’s motion picture. The genre represented by the novel and the film is also consid‑ered by taking the scholarly reflections on the queer aspects of the Gothic and the hor‑ror into account. The author concludes that although both versions of the story fail at portraying femininity in an unconventional way, they succeed in showing that queer‑ness and, more generally, the Otherness should be highly appreciated and valued.
APA, Harvard, Vancouver, ISO, and other styles
4

Inagaki, Shunji. "Japanese learners’ acquisition of English manner-of-motion verbs with locational/directional PPs." Second Language Research 18, no. 1 (2002): 3–27. http://dx.doi.org/10.1191/0267658302sr196oa.

Full text
Abstract:
This study investigated first language (L1) influence on second language (L2) argument structure in a situation where an L2 argument structure forms a superset of its L1 counterpart. In such a situation, a partial fit between the L1 and the L2 may trigger L1 transfer, whereas availability of positive evidence may allow the learner to arrive at the L2 grammar (White, 1991b). This study tested these predictions by investigating whether Japanese speakers can recognize the directional reading of English manner-of-motion verbs ( walk, swim) with locational/directional PPs ( under, behind), such as John swam under the bridge, where under the bridge can be either the goal of John’s swimming (directional) or the location of John’s swimming (locational). By contrast, their Japanese counterparts allow only a locational reading, as Japanese is more restricted than English in allowing only directed motion verbs ( go) to appear with a phrase expressing a goal. Thirty-five intermediate Japanese learners of English and 23 English speakers were tested using a picture-matching task. Results show that, unlike English speakers, Japanese speakers consistently failed to recognize a directional reading. I suggest that positive evidence need not only be available but also be frequent and clear in order to be used by L2 learners to broaden their interlanguage grammar.
APA, Harvard, Vancouver, ISO, and other styles
5

Andriani, Astri Dwi, and Yuni Sri Anggraeni. "Semiotic Analysis and Moral Message in the Film Parasite." Semiotic Analysis and Moral Message in the Film Parasite 5, Vol. 5 No. 2 (2023): July 2023 (2024): 10. https://doi.org/10.59890/ijebma.v5i2.1166.

Full text
Abstract:
The 2019 film Parasite is a film that tells about social and economic disparities in the lives of two families, which carries many moral messages for film lovers in Cianjur. The topic of Parasite 2019 is considered to attract the attention of researchers because the film was widely discussed and was a trend at that time, receiving many nominations and world awards. The 2019 film Parasite became the first film from South Korea to receive an Academy Award nomination and the first non-English language film to win a nomination for best film. The film also received four nominations at the 73rd British Academy Film Awards, winning for film not in the English language and best original screenplay. The film was also the first non-English language film to win the Screen Actors Guild Award for outstanding performance in a motion picture. This film by director Bon Joon Ho managed to get more than 10 million viewers, namely a total of around 10,249,000 viewers. This research is qualitative research using John Fiske's hermeneutics and semiotics approach. There are stages for analyzing objects according to John Fiske, namely the Reality and Representation stages. The results of this research show that the 2019 film Parasite is a film that represents the meaning of social and economic inequality that occurs in South Korea which is packaged nicely in a film    
APA, Harvard, Vancouver, ISO, and other styles
6

Nollan, Valerie Z. "Behind The Soviet Screen: The Motion Picture Industry in the USSR 1972-1982. By Val S. Golovskoy with John Rimberg. Ann Arbor: Ardis, 1986. 144 pp. $25.00, cloth." Slavic Review 46, no. 3-4 (1987): 661–62. http://dx.doi.org/10.2307/2498170.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Menashe, Louis. ": Behind the Soviet Screen: The Motion Picture Industry in the USSR, 1972-1982 . Val S. Golovskoy , John Rimberg . ; In the Service of the State: The Cinema of Alexander Dovzhenko . Vance Kepley, Jr. ." Film Quarterly 40, no. 4 (1987): 36–40. http://dx.doi.org/10.1525/fq.1987.40.4.04a00190.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Menashe, Louis. "Review: Behind the Soviet Screen: The Motion Picture Industry in the USSR, 1972-1982 by Val S. Golovskoy, John Rimberg; In the Service of the State: The Cinema of Alexander Dovzhenko by Vance Kepley, Jr." Film Quarterly 40, no. 4 (1987): 36–40. http://dx.doi.org/10.2307/1212248.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

SLAVIN, WILLY. "Film review: Trainspotting (UK 1995). Director: Danny Boyle. Writers: John Hodge/Irvine Welsh (novel). Cinematographer: Brian Tufano. Produced by: Channel Four Films (aka Film Four International)/Figment Films/Polygram/The Noel Gay Motion Picture Company; Distributor: Miramax Films." Journal of Community & Applied Social Psychology 7, no. 2 (1997): 171–72. http://dx.doi.org/10.1002/(sici)1099-1298(199704)7:2<171::aid-casp411>3.0.co;2-i.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Newman, William R. "Newton the Alchemist: Science, Enigma, and the Quest for Nature's "Secret Fire"." Perspectives on Science and Christian Faith 73, no. 1 (2021): 46–47. http://dx.doi.org/10.56315/pscf3-21newman.

Full text
Abstract:
NEWTON THE ALCHEMIST: Science, Enigma, and the Quest for Nature's "Secret Fire" by William R. Newman. Princeton, NJ: Princeton University Press, 2019. xx + 537 pages, including four appendices and an index. Hardcover; $39.95. ISBN: 9780691174877. *If there is one person associated with developments in the physical sciences, it is Isaac Newton (1642-1727). For many, he represents the culmination of the seventeenth-century Scientific Revolution: its point of convergence and simultaneously the point from which science began to exercise its full influence on society. His work is often considered as thoroughly modern: well-designed experiments; precise and clearly articulated mathematical-physical principles which invite deductions further tested by measurement and experiment; and great discoveries in astronomy (universal law of gravitation), in optics, in mechanics, and in mathematics (the calculus). For many, Newton provided the model for physical theory for the next two hundred years. *And yet, this generally accepted description of Newton fails to capture the tension and diversity in Newton's work. The discovery of Newton's alchemical manuscripts (containing no fewer than one million words) by the economist John Maynard Keynes at an auction at Sotheby's in 1936 partially lifted the veil. In 1947, Keynes offered his rather candid assessment of Newton's alchemical work: he "was not the first of the age of reason" but rather "the last of the magicians." *However, in the last two decades, we have come to understand and appreciate that alchemy was not simply deviant behavior by "magicians" or charlatans, but rather part and parcel of the make-up of the Scientific Revolution. Alchemy, or better, chymistry, was a central part of the early modern study of nature. One of the leaders of this historiographical revolution has been William Newman, distinguished professor in the Department of History and Philosophy of Science and Medicine at Indiana University. [For more on this revolution, see my review of Lawrence Principe's book The Secrets of Alchemy in PSCF 66, no. 4 (2014): 258-59.] Newman has written several seminal books: for example, Atoms and Alchemy: Chymistry and the Experimental Origins of the Scientific Revolution (2006) and Promethean Ambitions: Alchemy and the Quest to Perfect Nature (2004). *Newton the Alchemist displays Newman's fifteen-year dedicated study of Newton's alchemical manuscripts. This is the book for anyone who wishes to understand the background, implementation, and experimentation characteristic of Newton's long and abiding interest in alchemy. Newman introduces us to a Newton who wished to be an adept alchemist (even as a student at the Free Grammar School in Grantham) and kept the alchemical fires burning throughout his life, not only in Trinity College at Cambridge University, but also as warden of the Royal Mint. Newman also shows that alchemy is not inherently unscientific or irrational, nor that Newton was an outlier. Such contemporary luminaries as Robert Boyle, Gottfried Leibniz, and John Locke were also involved in alchemical endeavors. *In the first chapter, "The Enigma of Newton's Alchemy: The Historical Reception," Newman addresses the claims of two of Newton's most illustrious interpreters: Richard Westfall and Betty Jo Teeter Dobbs. For Dobbs, Newton's belief in alchemical transmutation was a religious quest, with the "philosophic mercury" acting as a spirit mediating between the physical and divine realms. For Westfall, Newton's alchemical research, involving invisible forces acting at a distance, allowed him to develop his theory of universal gravitation, published in the Principia of 1687. Newman calls both claims into question based on his close reading of the extant alchemical papers, many of which Dobbs and Westfall were not able to see. Newman wishes to determine the "hidden material meaning of the text" (p. 46), rather than advance any broad metaphysical or soteriological claims on Newton's part. *In chapter 4, "Early Modern Alchemical Theory," Newman reveals how heavily influenced Newton was by European alchemists, above all by the Polish alchemist Michael Sendivogius. Drawing on their experiments, Newton, in the 1670s, developed an all-encompassing geochemical theory of nature, according to which the earth functions as "a 'great animall' or rather an 'inanimate vegetable'" (p. 64). In Newton's view, this process explained gravitation (among many other things), although he would abandon this idea when he came to write the Principia. *In collaboration with others, many at Indiana University, Newman has organized, read, and carefully compared Newton's alchemical manuscripts. [Readers can see the results at www.chymistry.org.] In his analysis, Newman employs an approach which he calls "experimental history." This involves at least two elements: (1) a careful textual linguistic analysis of alchemical manuscripts and their experimental details; and (2) an effort to repeat the experiments in a modern laboratory setting. To understand alchemical manuscripts is indeed a challenging undertaking involving an understanding of "materials, technology, and tacit practices," as well as deciphering "hidden terms or Decknamen" used for chemical substances, and the intricate symbols employed to designate them (see "Symbols and Conventions," pp. xi-xvii). *Newman repeated many of Newton's experiments, revealing many of his laboratory practices for the first time. The results are sometimes spectacular (see, for example, the colored plates 4-10 between pages 314 and 315). They clearly show how dedicated Newton was in his efforts to improve his knowledge of the natural world. Newman's final assessment: "Nowhere in Newton's scientific work can we see the same degree of combined textual scholarship and experiment that we encounter in his alchemy" (p. 498). *What may we learn from reading Newton the Alchemist? One thing for sure: that our contemporary scientific textbooks and enlightened culture celebrating Newton's "positive" results--the astronomical "System of the World" and his three laws of motion in mechanics--are a one-sided picture of Newton's work and life. By blithely neglecting his interests in alchemy, cabbalism (number mysticism), theology, chronology, and biblical prophecy, as well as Newton's deep sense of vocation (calling), they all too frequently divide his work into two predetermined categories: science and pseudo-science. It is certain that Newton's alchemy is not pseudo-science. History, and scientific practice as well, are never, if ever, so tidy. Newton's passionate pursuit of a coherent worldview is a reminder to us of the rich context in which science is embedded. Newman's book underscores the fact that science, our science too, is impelled by deep commitments, social and political factors, and personal ambition and motives. *Reviewed by Arie Leegwater, Department of Chemistry and Biochemistry, Calvin University, Grand Rapids, MI 49546.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "John Carter (Motion picture)"

1

Lau, Wai Sim. "Hong Kong auteurs in Hollywood : the case of John Woo." HKBU Institutional Repository, 2002. http://repository.hkbu.edu.hk/etd_ra/437.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Meeuf, Russell W. "Wayne's world : John Wayne, transnational stardom, and global Hollywood in the fifties /." Connect to title online (ProQuest), 2009. http://proquest.umi.com/pqdweb?did=1883679191&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Katz, Jacqueline Lee. "Queer entanglements: postcolonial intimacies, spaces and times in Greyson and Lewis's Proteus (2003)." Thesis, 2016. http://hdl.handle.net/10539/20800.

Full text
Abstract:
A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, in fulfillment of the requirements for the Degree of Master of Art in Dramatic Arts<br>My dissertation presents a textual analysis of John Greyson and Jack Lewis's South African film, Proteus (2003), which is based on archival records and plots the never-before-told narrative of an intimacy between two inmates on 16th century Robben Island. Locating this same-sex intimacy in the 1700s Cape Colony has far-reaching implications when considered in relation to the increasingly pervasive twenty-first century discourse which proposes that homosexuality is necessarily 'unAfrican'. The film's social and political commentary is, therefore, significant for how we might think about sexuality, among other subjectivities, in post-apartheid South Africa. By analysing the film's formal and thematic attributes, I demonstrate that the directors' protean approach to filmmaking has queering effects for the linear notion of time and the cohesive conceptualisation of identity that the colonial archive tends to reinforce. I suggest that commonsense notions of time, space, language and identity that structure the archive have allowed for multiple fissures to develop along the trajectory from past to present. As I show, the aforementioned process has almost effaced from official records narratives, such as the one told in Proteus, that would trouble totalising ideas about the intimate orientations of certain individuals. Therefore, I argue that while the record of this same-sex intimacy does appear in the archive, it has been subsumed by other, more dominant, narratives. The film's work, which I replicate in my reading of it, has been to queer this archive by foregrounding what has historically been repressed. In my first chapter, I argue that by enacting what Halberstam (2005) terms a mode of 'queer temporality', Proteus carves out spaces in the archive for alternative renditions of history to come into visibility in ways that demand fluidity and heterogeneity. I propose that the strategic filmic mechanisms employed in Proteus necessarily engender nuanced spectatorial procedures, which call on the spectator to engage reflexively with the film. I continue to argue for the spectator's need to be particularly reflexive throughout the dissertation. My second chapter deals with the filmmakers' strategic use of language in order to present a commentary on the material effects that the acts of 'naming' and 'categorising' have on living bodies. The final chapter explores a critical perspective which has not previously been brought to bear on the film. I examine how Greyson and Lewis construct positions for their main characters from which they may assert their subjectivity - what Mirzoeff (2011) describes as 'the right to look'.
APA, Harvard, Vancouver, ISO, and other styles
4

Nelson, Elissa Helen. "Teen films of the 1980s : genre, new Hollywood, and generation X." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-2692.

Full text
Abstract:
Teen films from the 1980s are a part of the zeitgeist, but there is very little we actually understand about how they can be qualified and defined, and about the phenomenon of their prolific production, box office success, and cultural relevance. Gaining greater insights about these issues is essential for recognizing the significance of a specific group of films and the ways they address concerns of how teens come of age, but is also important for learning about the films’ historical and industrial contexts of production. Asking the questions why these kinds of films, why at this time, and what do they mean, leads to an awareness and identification of the phenomenon, but additionally, these lines of inquiry explore how the films and their success are tied to changing Hollywood industrial conditions, and to the shifting political, economic, social, and cultural climate of the U.S. in the 1980s. While previous scholars have studied the industrial context of production of teen films in the 1950s, and some have looked at the different types of films produced in the 1980s, the matter remains as to whether teen films actually constitute their own genre. Examining this question of genre is necessary for clarifying a number of issues: how the films relate to the culture at large; how representations of youth on screen can help us understand and reevaluate Generation X, the demographic group coming of age at the time; and how an assessment of these films contributes to a re-conceptualization of the ways films are produced, marketed, and categorized in the New Hollywood. Using primary data consisting of textual analysis and contextual analysis, and applying both qualitative and quantitative methodologies, the study builds on and adds to previous approaches to genre. The contributions of this research are multifaceted. By gaining insights about these films, we can begin to appreciate more fully a maligned generation, the changing landscape of the entertainment industry, and a cultural phenomenon.<br>text
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "John Carter (Motion picture)"

1

1940-, Lewis Ted, ed. Get Carter: A screenplay. ScreenPress, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Hodges, Mike. Get Carter: A screenplay. ScreenPress Books, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Hodges, Mike. Get Carter: A screenplay. Screenpress Books, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Sayles, John. John Sayles: Interviews. University Press of Mississippi, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Morsiani, Alberto. John Ford: Sentieri selvaggi. Lindau, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Ciment, Michael. John Boorman. Faber and Faber, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Woo, John. John Woo: Interviews. University Press of Mississippi, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Nollen, Scott Allen. Three bad men: John Ford, John Wayne, Ward Bond. McFarland & Company, Inc., Publishers, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Ballo, Francesco. John Ford: Sfida infernale. Lindau, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Roberts, Randy. John Wayne: American. The Free Press, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "John Carter (Motion picture)"

1

Greiving, Tim. "Leaving Home, 1951–1956." In John Williams. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197620885.003.0004.

Full text
Abstract:
Abstract Chapter 3, “Leaving Home (1951–1956),” covers the formative years that Williams served in the Air Force during the Korean War, continuing his music studies and developing as an arranger, conductor, and even nascent film composer while an active member of the band programs in Tucson and particularly Newfoundland. While stationed at Pepperrell Air Force Base there, he scored his first motion picture—a lighthearted travelogue for the Canadian province—by adapting and arranging local folk tunes. Among other legacies, the military band experience instilled in him a lifetime love of marches and ceremonial music as well as “band-strating” for brass and wind instruments. After he is discharged, he moves to New York where he studies privately with Madame Rosina Lhévinne, the eminent piano teacher at Juilliard, and he also forays into performing in nightclubs and on recordings—notably with Harry Belafonte—before ultimately coming back to Los Angeles and starting a family with his high school sweetheart, Barbara Ruick (who pursued a career in acting and musical recording while Williams was in the service).
APA, Harvard, Vancouver, ISO, and other styles
2

Denning, Michael. "The Politics of Magic: Orson Welles ’s Allegories of Anti-Fascism." In Orson Welles ’s Citizen Kane. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0007.

Full text
Abstract:
Abstract The Rhetoric OF Fascism and anti-fascism runs throughout Welles ‘s career. “Our Julius Caesar gives a picture of the same kind of hysteria that exists in certain dictator-ruled countries of today,” a Mercury press release asserted of the 1937 modern-dress production. The most famous scene in the Mercury Julius Caesar was the killing of Cinna the poet (played by Norman Lloyd) by the mob. One critic wrote that it was “a scene which for pure power and sinister meaning has never been surpassed in the American theatre”; “not even the Group Theater in all their frenzy against dictators,” another wrote, “ever devised a more thrilling scene than that in which the poet, Cinna, is swallowed up by an angry mob.” “It ‘s the same mob,” Welles told the New York Times, “that hangs and burns Negroes in the South, the same mob that maltreats the Jews in Germany. It ‘s the Nazi mob anywhere.” When Welles went to Hollywood two years later, his first project, the unfinished film of Heart of Darkness, was, in his own Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.
APA, Harvard, Vancouver, ISO, and other styles
3

Greiving, Tim. "The Ancestral Home, 1877–1932." In John Williams. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197620885.003.0002.

Full text
Abstract:
Abstract Chapter 1, “The Ancestral Home, 1877–1932,” traces Williams’s genealogy back to a previously unknown grandfather—unknown even to Williams himself—who left his wife and young son to pursue a musical career in Canada, and who not only played in orchestras and produced stage entertainment but also accompanied silent motion pictures at the dawn of cinema. Williams’s father, Johnny Francis Williams, was a self-educated drummer from Maine who went on to play with some of the most important bandleaders and popular singers of the 1920s and ’30s, then entered the world of show business as a member of the house orchestra for CBS radio. This chapter examines the familial and social terroir into which Williams was born.
APA, Harvard, Vancouver, ISO, and other styles
4

Morton, David. "“The Business Can Kill You Anyway”." In Motion Picture Paradise. University Press of Florida, 2024. https://doi.org/10.5744/florida/9780813069999.003.0005.

Full text
Abstract:
This chapter tells how filmmaking at Silver Springs and Ocala State Park helped to inspire a state-wide ‘movie tourism’ industry. With the advent of the grindhouse and the B-movie film craze of the 1950s, Florida became a lucrative location, offering an affordable alternative for low-budget producers. The unexpected box-office success of The Creature from the Black Lagoon (1954) brought on a series of low-budget, independently produced horror and comedy films across the state. Orlando-based filmmaker R. John Hugh’s Empire Studios and Thomas Casey’s Shamrock Studios worked to turn Winter Park into a major film center several years before Walt Disney announced his plans for his “Florida Project.” At the same time another popular children’s entertainer, a Hungarian-born immigrant named Ivan Tors built his own studio in South Florida, while CBS and NBC each began to develop their own studio cities in the Greater Miami area. The popularity of Tors’s children’s television programming and films such as Flipper (1963) and Gentle Ben (1967-69), helped to cement Florida as a place of adventure and wonder for a new generation of small- and big-screen audiences.
APA, Harvard, Vancouver, ISO, and other styles
5

Morton, David. "“This Venture Was Epoch-Making”." In Motion Picture Paradise. University Press of Florida, 2024. https://doi.org/10.5744/florida/9780813069999.003.0002.

Full text
Abstract:
This chapter addresses the history of silent film production in North Florida from the arrival of the Edison Manufacturing Company in Jacksonville in 1908 on through to the ill-fated attempts to build “motion picture cities” in South Florida and along the Gulf Coast during the 1920s land boom. By 1916, the city of Jacksonville had become a major center of film production for the emerging American motion picture industry. The election of Governor Sidney Catts in 1916, frightened film producers from taking advantage of Florida’s natural landscape and film-friendly environment. The controversial election of John Martin as Jacksonville Mayor ended North Florida’s reign as a regional film center, while the erratic nature of the Catts administration frightened investors from attempting to relocate elsewhere in the state. The completion of Henry Flagler’s East Florida Railway and Governor Napoleon Broward’s Everglades drainage project essentially turned the small fishing village of Miami into an ‘instant city’ as affiliates of the Edison Manufacturing Company had begun to travel to South Florida for location-based filming. Despite these efforts, early attempts by local boosters to attract the film industry to Florida during the silent era were eventually met with departure and disappointment.
APA, Harvard, Vancouver, ISO, and other styles
6

Rosenbaum, Jonathan. "Editor’s Notes to the Welles Interview." In Orson Welles ’s Citizen Kane. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0003.

Full text
Abstract:
Abstract Given the virtually mythological status of Citizen Kane in Welles ‘s career, it isn ‘t surprising that it has generated by far the most debate of all his films. Two publications in particular should be cited: “Raising Kane,” by Pauline Kael, which appeared originally in two successive issues of the New Yorker (February 20 and 27, 1971) and then as a lengthy preface to the script, published later the same year (The “Citizen Kane” Book, Boston: Atlantic/Little, Brown, and Robert L. Carringer ‘s The Makins of “Citizen Kane” (Berkeley: University of California Press, 1985). Kael ‘s essay was replied to at length by Bogdanovich and Welles in a point-by point refutation published by Bogdanovich as “The Kane Mutiny” in Esquire (October 1972), which included certain portions of the previous interview. Other rebuttals included Ted Gilling ‘s interviews with George Coulouris and Bernard Herrmann in Sisht and Sound (Spring 1972), polemics by Joseph McBride (Film Heritase, Fall 1971) and myself (Film Comment, Spring 1972 and Summer 1972), and remarks in the Welles biographies by Barbara Leaming (Orson Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.
APA, Harvard, Vancouver, ISO, and other styles
7

Caroli, Betty Boyd. "Presidential Wives and the Press." In First Ladies. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195099447.003.0011.

Full text
Abstract:
Abstract By the second half of the twentieth century, most Americans accepted the fact that they were on a first-name basis with the wives of their presidents. The faces of Rosalynn Carter and Nancy Reagan peered out from the nation’s newsstands, and stories about Jackie Kennedy and Lady Bird Johnson continued to dot women’s magazines long after they had moved away from the capital. Men and women too young to have comprehended much political news during the Great Society and the Vietnam War retained a very clear picture of the First Lady from Texas, although their image of Hubert Humphrey-longtime senator, Lyndon Johnson’s vice-president, and later a contender for president himself-was fuzzy. Walter Mondale, for all the publicity he received as a presidential candidate in 1984, slipped quickly into obscurity in comparison with the woman from Georgia whom everyone called Rosa lynn. What schoolchild has not seen at least one film on Eleanor Roosevelt, but who recognizes the name of John Nance Garner as the vice president for eight of the years that Eleanor was First Lady?
APA, Harvard, Vancouver, ISO, and other styles
8

Shulman, Terry Chester. "Deirdre, Johnny, and Jane." In Film's First Family. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178097.003.0023.

Full text
Abstract:
Vruwink’s sterility casts a pall on his marriage to Dolores, who desperately wants more children. For this and other reasons, she starts drinking heavily. Helene is offered permanent residence at the Motion Picture Country Home, and with Le Blanc now training with the Merchant Marines, Dolores’s custody of Deirdre is made official despite the fact that Le Blanc continues to welsh on his support agreements. Dolores makes her last film appearance in This Is the Army. John Blyth Barrymore, an unruly and difficult youth, tries his family’s patience. Le Blanc sues Helene for custody and a protracted legal battle begins.
APA, Harvard, Vancouver, ISO, and other styles
9

Naremore, James. "Introduction." In Orson Welles ’s Citizen Kane. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0001.

Full text
Abstract:
Abstract When it was first released by RKO Pictures in 1941,Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.
APA, Harvard, Vancouver, ISO, and other styles
10

Bogdanovich, Peter. "Interview with Orson Welles." In Orson Welles ’s Citizen Kane. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0002.

Full text
Abstract:
Abstract Orson Welles: We expected it before it happened. What we didn ‘t expect was that the film might be destroyed. And that was nip and tuck; it was very close. Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.
APA, Harvard, Vancouver, ISO, and other styles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!