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Classical Hollywood cinema or the classical Hollywood narrative, are terms used in film history which designate both a visual and sound style for making motion pictures and a mode of production used in the American film industry between 1917 and 1960. More bloopers: https://www.amazon.com/gp/search?ie=UTF8&tag;=tra0c7-20&linkCode;=ur2&linkId;=2e2330f57788ff94fc8dbab62c46051c&camp;=1789&creative;=9325&index;=dvd&keywords;=classic%20movie%20bloopers
This period is often referred to as the "Golden Age of Hollywood." An identifiable cinematic form emerged during this period called classical Hollywood style.
Classical style is fundamentally built on the principle of continuity editing or "invisible" style. That is, the camera and the sound recording should never call attention to themselves (as they might in films from earlier periods, other countries or in a modernist or postmodernist work).
Throughout the early 1930s, risque films and salacious advertising, became widespread in the short period known as Pre-Code Hollywood. MGM dominated the industry and had the top stars in Hollywood, and was also credited for creating the Hollywood star system altogether. MGM stars included at various times "King of Hollywood" Clark Gable, Norma Shearer, Greta Garbo, Joan Crawford, Jean Harlow, Gary Cooper, Mary Pickford, Henry Fonda, Marilyn Monroe, Elizabeth Taylor, Judy Garland, Ava Gardner, James Stewart, Katharine Hepburn, Vivien Leigh, Grace Kelly, Gene Kelly, Gloria Stuart, Fred Astaire, Ginger Rogers, John Wayne, Barbara Stanwyck, John Barrymore, Audrey Hepburn and Buster Keaton. Another great achievement of American cinema during this era came through Walt Disney's animation. In 1937, Disney created the most successful film of its time, Snow White and the Seven Dwarfs.
Many film historians have remarked upon the many great works of cinema that emerged from this period of highly regimented film-making. One reason this was possible is that, with so many movies being made, not every one had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: Citizen Kane, directed by Orson Welles and often regarded as the greatest film of all time, fits that description. In other cases, strong-willed directors like Howard Hawks, Alfred Hitchcock and Frank Capra battled the studios in order to achieve their artistic visions. The apogee of the studio system may have been the year 1939, which saw the release of such classics as The Wizard of Oz, Gone with the Wind, Stagecoach, Mr. Smith Goes to Washington, Destry Rides Again,Young Mr. Lincoln, Wuthering Heights, Only Angels Have Wings, Ninotchka, Babes in Arms, Gunga Din, and The Roaring Twenties. Among the other films from the Golden Age period that are now considered to be classics: Casablanca, The Adventures of Robin Hood, It's a Wonderful Life, It Happened One Night, King Kong, Citizen Kane, Swing Time, Some Like It Hot, A Night at the Opera, All About Eve, The Searchers, Breakfast At Tiffany's, North by Northwest, Dinner at Eight, Rebel Without a Cause, Rear Window, Double Indemnity, Mutiny on the Bounty, City Lights, Red River, The Manchurian Candidate, Bringing Up Baby, Singin' in the Rain, To Have and Have Not, Goodbye, Mr. Chips, Roman Holiday, Giant and Jezebel.
The style of Classical Hollywood cinema, as elaborated by David Bordwell, has been heavily influenced by the ideas of the Renaissance and its resurgence of mankind as the focal point.
Thus, classical narration progresses always through psychological motivation, i.e. by the will of a human character and its struggle with obstacles towards a defined goal. The aspects of space and time are subordinated to the narrative element which is usually composed of two lines of action: A romance intertwined with a more generic one such as business or, in the case of Alfred Hitchcock films, solving a crime.
Time in classical Hollywood is continuous, since non-linearity calls attention to the illusory workings of the medium. The only permissible manipulation of time in this format is the flashback. It is mostly used to introduce a memory sequence of a character, e.g. Casablanca.
Likewise, the treatment of space in classic Hollywood strives to overcome or conceal the two-dimensionality of film ("invisible style") and is strongly centered upon the human body. The majority of shots in a classical film focus on gestures or facial expressions (medium-long and medium shots). André Bazin once compared classical film to a photographed play in that the events seem to exist objectively and that cameras only give us the best view of the whole play.
http://en.wikipedia.org/wiki/Classical_Hollywood_cinema
This box office blockbuster stars Academy Award-winner Kevin Costner ("The Guardian," "The Upside of Anger") and Grammy Award-winner Whitney Houston ("Waiting to Exhale") in a romantic suspense thriller about an ex-secret service agent-turned-professional-bodyguard, who never leaves anything up to chance, until he meets a pop superstar-turned-actress whose fabulous career takes a life threatening turn when she becomes the target of an obsessive fan. Written by Lawrence Kasdan ("The Big Chill," "Raiders of the Lost Ark"), The New York Post calls this film "Costner's sexiest role to date," and Gannett News Service calls it "an entertaining, suspenseful, romantic thriller... Costner and Houston generate sparks.
- published: 11 Mar 2014
- views: 6651
Clint Eastwood’s big screen version of the Tony Award®-winning musical tells the story of the four young men from the wrong side of the tracks in New Jersey who came together to form the iconic '60s rock group The Four Seasons. Their trials and triumphs are accompanied by the hit songs that influenced a generation, and are now being embraced by a new generation of fans through the stage musical.
- published: 19 Oct 2014
- views: 61
Multi-language subtitles can be accessed via the Youtube settings button (cogwheel icon ☼) on the bottom right corner of the video box.
This is the full video of the official DVD release, available in Full HD (high definition) quality.
*** DVD3 (length 2hr 9m) ***
- The Making of Loving the Silent Tears
- Art Exhibition
- The Inspiration
- published: 22 Sep 2015
- views: 3041
One of the premier drama programs of the Golden Age of Radio, was subtitled "radio's outstanding theater of thrills" and focused on suspense thriller-type scripts, usually featuring leading Hollywood actors of the era. Approximately 945 episodes were broadcast during its long run, and more than 900 are extant.
Suspense went through several major phases, characterized by different hosts, sponsors, and director/producers. Formula plot devices were followed for all but a handful of episodes: the protagonist was usually a normal person suddenly dropped into a threatening or bizarre situation; solutions were "withheld until the last possible second"; and evildoers were usually punished in the end.
In its early years, the program made only occasional forays into science fiction and fantasy. Notable exceptions include adaptations of Curt Siodmak's Donovan's Brain and H. P. Lovecraft's "The Dunwich Horror", but by the late 1950s, such material was regularly featured.
http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29
- published: 05 Feb 2013
- views: 10108
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played in 1961-62.
The musical was inspired by an article about subway homelessness in the March 1956 issue of Harper's and a subsequent 1957 book based on it, both by Edmund G. Love, who slept on subway trains throughout the 1950s and encountered many unique individuals. With the profits from his book, Love then embarked on a bizarre hobby: over the course of several years, he ate dinner at every restaurant listed in the Manhattan yellow pages directory, visiting them in alphabetical order.
After two previews, the Broadway production, directed and choreographed by Michael Kidd, opened on December 27, 1961 at the St. James Theatre, where it ran for 205 performances. The cast included Orson Bean, Sydney Chaplin, Carol Lawrence, Gordon Connell, Grayson Hall, and Green's wife Phyllis Newman (whose costume, consisting solely of a towel, was probably Freddy Wittop's easiest design in his distinguished career), with newcomers Michael Bennett and Valerie Harper in the chorus.
Subways Are for Sleeping opened to mostly negative reviews. The show already was hampered by a lack of publicity, since the New York City Transit Authority refused to post advertisements on the city's buses and in subway trains and stations for fear they would be perceived as officially sanctioning the right of vagrants to use these facilities as overnight accommodations. Producer David Merrick and press agent Harvey Sabinson decided to invite individuals with the same names as prominent theatre critics (such as Walter Kerr, Richard Watts, Jr. and Howard Taubman) to see the show and afterwards used their favorable comments in print ads. Thanks to photographs of the seven "critics" accompanying their blurbs (the well-known real Richard Watts was not African American), the ad was discovered to be a deception by a copy editor. It was pulled from most newspapers, but not before running in an early edition of the New York Herald Tribune. However, the clever publicity stunt allowed the musical to continue to run and it eventually turned a small profit.
Newman won the Tony Award for Best Featured Actress in a Musical, and nominations went to Bean for Best Featured Actor and Kidd's choreography.
http://en.wikipedia.org/wiki/Subways_Are_For_Sleeping
- published: 31 Dec 2012
- views: 247899
One of the series' earliest successes and its single most popular episode is Lucille Fletcher's "Sorry, Wrong Number," about a bedridden woman (Agnes Moorehead) who panics after overhearing a murder plot on a crossed telephone connection but is unable to persuade anyone to investigate. First broadcast on May 25, 1943, it was restaged seven times (last on February 14, 1960) — each time with Moorehead. The popularity of the episode led to a film adaptation, Sorry, Wrong Number (1948), starring Barbara Stanwyck. Nominated for an Academy Award for her performance, Stanwyck recreated the role on Lux Radio Theater. Loni Anderson had the lead in the TV movie Sorry, Wrong Number (1989). Another notable early episode was Fletcher's "The Hitch Hiker," in which a motorist (Orson Welles) is stalked on a cross-country trip by a nondescript man who keeps appearing on the side of the road. This episode originally aired on September 2, 1942, and was later adapted for television by Rod Serling as a 1960 episode of The Twilight Zone.
After the network sustained the program during its first two years, the sponsor became Roma Wines (1944--1947), and then (after another brief period of sustained hour-long episodes, initially featuring Robert Montgomery as host and "producer" in early 1948), Autolite Spark Plugs (1948--1954); eventually Harlow Wilcox (of Fibber McGee and Molly) became the pitchman. William Spier, Norman MacDonnell and Anton M. Leader were among the producers and directors.
The program's heyday was in the early 1950s, when radio actor, producer and director Elliott Lewis took over (still during the Wilcox/Autolite run). Here the material reached new levels of sophistication. The writing was taut, and the casting, which had always been a strong point of the series (featuring such film stars as Orson Welles, Joseph Cotten, Henry Fonda, Humphrey Bogart, Judy Garland, Ronald Colman, Marlene Dietrich, Eve McVeagh, Lena Horne, and Cary Grant), took an unexpected turn when Lewis expanded the repertory to include many of radio's famous drama and comedy stars — often playing against type — such as Jack Benny. Jim and Marian Jordan of Fibber McGee and Molly were heard in the episode, "Backseat Driver," which originally aired February 3, 1949.
http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29
- published: 12 Mar 2013
- views: 3221
The thrift industry has its origins in the British building society movement that emerged in the late 18th century. American thrifts (known then as "building and loans" or "B&Ls;") shared many of the same basic goals: to help working-class men and women save for the future and purchase homes. Thrifts were not-for-profit cooperative organizations that were typically managed by the membership and local institutions that served well-defined groups of aspiring homeowners. While banks offered a wide array of products to individuals and businesses, thrifts often made only home mortgages primarily to working-class men and women. Thrift leaders believed they were part of a broader social reform effort and not a financial industry. According to thrift leaders, B&Ls; not only helped people become better citizens by making it easier to buy a home, they also taught the habits of systematic savings and mutual cooperation which strengthened personal morals.
The first thrift was formed in 1831, and for 40 years there were few B&Ls;, found in only a handful of Midwestern and Eastern states. This situation changed in the late 19th century as urban growth and the demand for housing related to the Second Industrial Revolution caused the number of thrifts to explode. The popularity of B&Ls; led to the creation of a new type of thrift in the 1880s called the "national" B&L;. The "nationals" were often for-profit businesses formed by bankers or industrialists that employed promoters to form local branches to sell shares to prospective members. The "nationals" promised to pay savings rates up to four times greater than any other financial institution.
The Depression of 1893 (the Panic of 1893) caused a decline in members, and so "nationals" experienced a sudden reversal of fortunes. Because a steady stream of new members was critical for a "national" to pay both the interest on savings and the hefty salaries for the organizers, the falloff in payments caused dozens of "nationals" to fail. By the end of the 19th century, nearly all the "nationals" were out of business (National Building and Loans Crisis). This led to the creation of the first state regulations governing B&Ls;, to make thrift operations more uniform, and the formation of a national trade association to not only protect B&L; interests, but also promote business growth. The trade association led efforts to create more uniform accounting, appraisal, and lending procedures. It also spearheaded the drive to have all thrifts refer to themselves as "savings and loans" not B&Ls;, and to convince managers of the need to assume more professional roles as financiers.
In the 20th century, the two decades that followed the end of World War II were the most successful period in the history of the thrift industry. The return of millions of servicemen eager to take up their prewar lives led to a dramatic increase in new families, and this "baby boom" caused a surge in new mostly suburban home construction. By the 1940s S&Ls; (the name change occurred in the late 1930s) provided most of the financing for this expansion. The result was strong industry expansion that lasted through the early 1960s.
An important trend involved raising rates paid on savings to lure deposits, a practice that resulted in periodic rate wars between thrifts and even commercial banks. These wars became so severe that in 1966 the United States Congress took the highly unusual move of setting limits on savings rates for both commercial banks and S&Ls.; From 1966 to 1979, the enactment of rate controls presented thrifts with a number of unprecedented challenges, chief of which was finding ways to continue to expand in an economy characterized by slow growth, high interest rates and inflation. These conditions, which came to be known as stagflation, wreaked havoc with thrift finances for a variety of reasons. Because regulators controlled the rates thrifts could pay on savings, when interest rates rose depositors often withdrew their funds and placed them in accounts that earned market rates, a process known as disintermediation. At the same time, rising rates and a slow growth economy made it harder for people to qualify for mortgages that in turn limited the ability to generate income.
http://en.wikipedia.org/wiki/Savings_and_loan_scandal
- published: 25 Jun 2012
- views: 26328
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects.
Scripts tackled a number of topics, ranging from the thrilling (murders, missing persons and armed robbery) to the mundane (check fraud and shoplifting), yet "Dragnet" made them all interesting due to fast-moving plots and behind-the-scenes realism. In "The Garbage Chute" (December 15, 1949), they even had a locked room mystery.
Though rather tame by modern standards, Dragnet—especially on the radio—handled controversial subjects such as sex crimes and drug addiction with unprecedented and even startling realism. In one such example, Dragnet broke one of the unspoken (and still rarely broached) taboos of popular entertainment in the episode ".22 Rifle for Christmas" which aired December 22, 1949 and was repeated at Christmastime for the next three years. The episode followed the search for two young boys, Stanley Johnstone and Stevie Morheim, only to discover Stevie had been accidentally killed while playing with a rifle that belonged to Stanley—who'd be receiving it as a Christmas present but opened the box early; Stanley finally told Friday that Stevie was running while holding the rifle when he tripped and fell, causing the gun to discharge, fatally wounding Morheim. NBC received thousands of complaint letters, including a formal protest by the National Rifle Association. Webb forwarded many of the letters to police chief Parker who promised "ten more shows illustrating the folly of giving rifles to children". (Dunning, 211)
Another episode dealt with high school girls who, rather than finding Hollywood stardom, fall in with fraudulent talent scouts and end up in pornography and prostitution. Both this episode and ".22 Rifle for Christmas" were adapted for television, with very few script changes, when Dragnet moved to that medium. Another episode, "The Big Trio" (July 3, 1952), detailed three cases in one episode, including reckless and dangerous (in this case, fatal) driving by unlicensed juveniles. With regard to drugs, Webb's strident anti-drug statements, continued into the TV run, would be derided as camp by later audiences; yet his character also showed genuine concern and sympathy for addicts as victims, especially in the case of juveniles.
The tone was usually serious, but there were moments of comic relief: Romero was something of a hypochondriac and often seemed henpecked; Frank Smith continually complained about his brother-in-law Armand; though Friday dated, he usually dodged women who tried to set him up with marriage-minded dates.
Due in part to Webb's fondness for radio drama, Dragnet persisted on radio until 1957 (the last two seasons were repeats) as one of the last old time radio shows to give way to television's increasing popularity. In fact, the TV show would prove to be effectively a visual version of the radio show, as the style was virtually the same [including the scripts, as the majority of them were adapted from radio]. The TV show could be listened to without watching it, with no loss of understanding of the storyline.
http://en.wikipedia.org/wiki/Dragnet_%28series%29
- published: 15 Nov 2012
- views: 96973
Part 3. Classic Literature VideoBook with synchronized text, interactive transcript, and closed captions in multiple languages. Audio courtesy of Librivox. Read by Elizabeth Klett.
Playlist for Jane Eyre by Charlotte Brontë: http://www.youtube.com/playlist?list=PL2AAEFCAF1D04E74E
Jane Eyre free audiobook at Librivox: http://librivox.org/jane-eyre-version-3-by-charlotte-bronte/
Jane Eyre free eBook at Project Gutenberg: http://www.gutenberg.org/ebooks/1260
Jane Eyre at Wikipedia: http://en.wikipedia.org/wiki/Jane_Eyre
View a list of all our videobooks: http://www.ccprose.com/booklist
- published: 22 Sep 2011
- views: 392477
Tony Frank
Tony Frank may refer to:
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Tony_Frank
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Jane Eyre
Jane Eyre /ˈɛər/ (originally published as Jane Eyre: An Autobiography) is a novel by English writer Charlotte Brontë. It was published on 16 October 1847, by Smith, Elder & Co. of London, England, under the pen name "Currer Bell." The first American edition was published the following year by Harper & Brothers of New York.
Primarily of the bildungsroman genre, Jane Eyre follows the emotions and experiences of its title character, including her growth to adulthood and her love for Mr. Rochester, the Byronic master of fictitious Thornfield Hall. In its internalisation of the action—the focus is on the gradual unfolding of Jane's moral and spiritual sensibility, and all the events are coloured by a heightened intensity that was previously the domain of poetry—Jane Eyre revolutionised the art of fiction. Charlotte Brontë has been called the 'first historian of the private consciousness' and the literary ancestor of writers like Joyce and Proust. The novel contains elements of social criticism, with a strong sense of morality at its core, but is nonetheless a novel many consider ahead of its time given the individualistic character of Jane and the novel's exploration of classism, sexuality, religion, and proto-feminism.
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Jane_Eyre
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Wrong number (disambiguation)
A wrong number is a telephone number dialed incorrectly.
Wrong number may also refer to:
Films
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Wrong_number_(disambiguation)
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Sorry, Wrong Number
Sorry, Wrong Number is a 1948 American suspense film noir directed by Anatole Litvak and starring Barbara Stanwyck and Burt Lancaster. It tells the story of a woman who overhears a murder plot. The film was adapted by Lucille Fletcher from her 1943 radio play. It is one of the few pre-1950 Paramount Pictures films that remained in the studio's library (the rest are currently owned by Universal).
Plot
Leona Stevenson (Barbara Stanwyck) is the spoiled, bedridden daughter of wealthy businessman James Cotterell (Ed Begley). One day, while listening to what seems to be a crossed telephone connection, she hears two men planning a woman's murder. The call cuts off without Leona learning very much other than it is scheduled for 11:15, when a passing train will hide any sounds. She calls the telephone company and the police, but with few concrete details, they can do nothing. Complicating matters, her husband Henry (Burt Lancaster) is overdue and their servants have the night off, leaving her all alone in a Manhattan apartment.
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Sorry,_Wrong_Number
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Subways Are for Sleeping
Subways Are for Sleeping is a musical Produced by David Merrick with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played in 1961-62.
The musical was inspired by an article about subway homelessness in the March 1956 issue of Harper's and a subsequent 1957 book based on it, both by Edmund G. Love, who slept on subway trains throughout the 1950s and encountered many unique individuals. With the profits from his book, Love then embarked on a bizarre hobby: over the course of several years, he ate dinner at every restaurant listed in the Manhattan yellow pages directory, visiting them in alphabetical order.
Synopsis
Angie McKay is a magazine writer assigned to write a story about a group of well-dressed homeless people sleeping in the New York subway system. Their leader is Tom Bailey, a one-man employment agency who finds other drifters odd jobs and sleeping quarters. To help research her story, Angie goes undercover and pretends to be a stranded girl from out-of-town. Trouble ensues when Tom discovers her real identity.
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Subways_Are_for_Sleeping
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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1:29:43Classic Movie Bloopers and Mistakes: Film Stars Uncensored - 1930s and 1940s Outtakes
Classic Movie Bloopers and Mistakes: Film Stars Uncensored - 1930s and 1940s OuttakesClassic Movie Bloopers and Mistakes: Film Stars Uncensored - 1930s and 1940s Outtakes
Classical Hollywood cinema or the classical Hollywood narrative, are terms used in film history which designate both a visual and sound style for making motion pictures and a mode of production used in the American film industry between 1917 and 1960. More bloopers: https://www.amazon.com/gp/search?ie=UTF8&tag;=tra0c7-20&linkCode;=ur2&linkId;=2e2330f57788ff94fc8dbab62c46051c&camp;=1789&creative;=9325&index;=dvd&keywords;=classic%20movie%20bloopers This period is often referred to as the "Golden Age of Hollywood." An identifiable cinematic form emerged during this period called classical Hollywood style. Classical style is fundamentally built on the principle of continuity editing or "invisible" style. That is, the camera and the sound recording should never call attention to themselves (as they might in films from earlier periods, other countries or in a modernist or postmodernist work). Throughout the early 1930s, risque films and salacious advertising, became widespread in the short period known as Pre-Code Hollywood. MGM dominated the industry and had the top stars in Hollywood, and was also credited for creating the Hollywood star system altogether. MGM stars included at various times "King of Hollywood" Clark Gable, Norma Shearer, Greta Garbo, Joan Crawford, Jean Harlow, Gary Cooper, Mary Pickford, Henry Fonda, Marilyn Monroe, Elizabeth Taylor, Judy Garland, Ava Gardner, James Stewart, Katharine Hepburn, Vivien Leigh, Grace Kelly, Gene Kelly, Gloria Stuart, Fred Astaire, Ginger Rogers, John Wayne, Barbara Stanwyck, John Barrymore, Audrey Hepburn and Buster Keaton. Another great achievement of American cinema during this era came through Walt Disney's animation. In 1937, Disney created the most successful film of its time, Snow White and the Seven Dwarfs. Many film historians have remarked upon the many great works of cinema that emerged from this period of highly regimented film-making. One reason this was possible is that, with so many movies being made, not every one had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: Citizen Kane, directed by Orson Welles and often regarded as the greatest film of all time, fits that description. In other cases, strong-willed directors like Howard Hawks, Alfred Hitchcock and Frank Capra battled the studios in order to achieve their artistic visions. The apogee of the studio system may have been the year 1939, which saw the release of such classics as The Wizard of Oz, Gone with the Wind, Stagecoach, Mr. Smith Goes to Washington, Destry Rides Again,Young Mr. Lincoln, Wuthering Heights, Only Angels Have Wings, Ninotchka, Babes in Arms, Gunga Din, and The Roaring Twenties. Among the other films from the Golden Age period that are now considered to be classics: Casablanca, The Adventures of Robin Hood, It's a Wonderful Life, It Happened One Night, King Kong, Citizen Kane, Swing Time, Some Like It Hot, A Night at the Opera, All About Eve, The Searchers, Breakfast At Tiffany's, North by Northwest, Dinner at Eight, Rebel Without a Cause, Rear Window, Double Indemnity, Mutiny on the Bounty, City Lights, Red River, The Manchurian Candidate, Bringing Up Baby, Singin' in the Rain, To Have and Have Not, Goodbye, Mr. Chips, Roman Holiday, Giant and Jezebel. The style of Classical Hollywood cinema, as elaborated by David Bordwell, has been heavily influenced by the ideas of the Renaissance and its resurgence of mankind as the focal point. Thus, classical narration progresses always through psychological motivation, i.e. by the will of a human character and its struggle with obstacles towards a defined goal. The aspects of space and time are subordinated to the narrative element which is usually composed of two lines of action: A romance intertwined with a more generic one such as business or, in the case of Alfred Hitchcock films, solving a crime. Time in classical Hollywood is continuous, since non-linearity calls attention to the illusory workings of the medium. The only permissible manipulation of time in this format is the flashback. It is mostly used to introduce a memory sequence of a character, e.g. Casablanca. Likewise, the treatment of space in classic Hollywood strives to overcome or conceal the two-dimensionality of film ("invisible style") and is strongly centered upon the human body. The majority of shots in a classical film focus on gestures or facial expressions (medium-long and medium shots). André Bazin once compared classical film to a photographed play in that the events seem to exist objectively and that cameras only give us the best view of the whole play. http://en.wikipedia.org/wiki/Classical_Hollywood_cinema -
2:09:16The Bodyguard
The BodyguardThe Bodyguard
This box office blockbuster stars Academy Award-winner Kevin Costner ("The Guardian," "The Upside of Anger") and Grammy Award-winner Whitney Houston ("Waiting to Exhale") in a romantic suspense thriller about an ex-secret service agent-turned-professional-bodyguard, who never leaves anything up to chance, until he meets a pop superstar-turned-actress whose fabulous career takes a life threatening turn when she becomes the target of an obsessive fan. Written by Lawrence Kasdan ("The Big Chill," "Raiders of the Lost Ark"), The New York Post calls this film "Costner's sexiest role to date," and Gannett News Service calls it "an entertaining, suspenseful, romantic thriller... Costner and Houston generate sparks. -
2:14:14Jersey Boys
Jersey BoysJersey Boys
Clint Eastwood’s big screen version of the Tony Award®-winning musical tells the story of the four young men from the wrong side of the tracks in New Jersey who came together to form the iconic '60s rock group The Four Seasons. Their trials and triumphs are accompanied by the hit songs that influenced a generation, and are now being embraced by a new generation of fans through the stage musical. -
2:09:06DVD 3 of 4: Loving the Silent Tears: The Musical
DVD 3 of 4: Loving the Silent Tears: The MusicalDVD 3 of 4: Loving the Silent Tears: The Musical
Multi-language subtitles can be accessed via the Youtube settings button (cogwheel icon ☼) on the bottom right corner of the video box. This is the full video of the official DVD release, available in Full HD (high definition) quality. *** DVD3 (length 2hr 9m) *** - The Making of Loving the Silent Tears - Art Exhibition - The Inspiration -
1:30:16Suspense: Mister Markham, Antique Dealer / The ABC Murders / Sorry, Wrong Number - East Coast
Suspense: Mister Markham, Antique Dealer / The ABC Murders / Sorry, Wrong Number - East CoastSuspense: Mister Markham, Antique Dealer / The ABC Murders / Sorry, Wrong Number - East Coast
One of the premier drama programs of the Golden Age of Radio, was subtitled "radio's outstanding theater of thrills" and focused on suspense thriller-type scripts, usually featuring leading Hollywood actors of the era. Approximately 945 episodes were broadcast during its long run, and more than 900 are extant. Suspense went through several major phases, characterized by different hosts, sponsors, and director/producers. Formula plot devices were followed for all but a handful of episodes: the protagonist was usually a normal person suddenly dropped into a threatening or bizarre situation; solutions were "withheld until the last possible second"; and evildoers were usually punished in the end. In its early years, the program made only occasional forays into science fiction and fantasy. Notable exceptions include adaptations of Curt Siodmak's Donovan's Brain and H. P. Lovecraft's "The Dunwich Horror", but by the late 1950s, such material was regularly featured. http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29 -
1:29:15Subways Are for Sleeping / Only Johnny Knows / Colloquy 2: A Dissertation on Love
Subways Are for Sleeping / Only Johnny Knows / Colloquy 2: A Dissertation on LoveSubways Are for Sleeping / Only Johnny Knows / Colloquy 2: A Dissertation on Love
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played in 1961-62. The musical was inspired by an article about subway homelessness in the March 1956 issue of Harper's and a subsequent 1957 book based on it, both by Edmund G. Love, who slept on subway trains throughout the 1950s and encountered many unique individuals. With the profits from his book, Love then embarked on a bizarre hobby: over the course of several years, he ate dinner at every restaurant listed in the Manhattan yellow pages directory, visiting them in alphabetical order. After two previews, the Broadway production, directed and choreographed by Michael Kidd, opened on December 27, 1961 at the St. James Theatre, where it ran for 205 performances. The cast included Orson Bean, Sydney Chaplin, Carol Lawrence, Gordon Connell, Grayson Hall, and Green's wife Phyllis Newman (whose costume, consisting solely of a towel, was probably Freddy Wittop's easiest design in his distinguished career), with newcomers Michael Bennett and Valerie Harper in the chorus. Subways Are for Sleeping opened to mostly negative reviews. The show already was hampered by a lack of publicity, since the New York City Transit Authority refused to post advertisements on the city's buses and in subway trains and stations for fear they would be perceived as officially sanctioning the right of vagrants to use these facilities as overnight accommodations. Producer David Merrick and press agent Harvey Sabinson decided to invite individuals with the same names as prominent theatre critics (such as Walter Kerr, Richard Watts, Jr. and Howard Taubman) to see the show and afterwards used their favorable comments in print ads. Thanks to photographs of the seven "critics" accompanying their blurbs (the well-known real Richard Watts was not African American), the ad was discovered to be a deception by a copy editor. It was pulled from most newspapers, but not before running in an early edition of the New York Herald Tribune. However, the clever publicity stunt allowed the musical to continue to run and it eventually turned a small profit. Newman won the Tony Award for Best Featured Actress in a Musical, and nominations went to Bean for Best Featured Actor and Kidd's choreography. http://en.wikipedia.org/wiki/Subways_Are_For_Sleeping -
1:01:52Suspense: Suspicion
Suspense: SuspicionSuspense: Suspicion
One of the series' earliest successes and its single most popular episode is Lucille Fletcher's "Sorry, Wrong Number," about a bedridden woman (Agnes Moorehead) who panics after overhearing a murder plot on a crossed telephone connection but is unable to persuade anyone to investigate. First broadcast on May 25, 1943, it was restaged seven times (last on February 14, 1960) — each time with Moorehead. The popularity of the episode led to a film adaptation, Sorry, Wrong Number (1948), starring Barbara Stanwyck. Nominated for an Academy Award for her performance, Stanwyck recreated the role on Lux Radio Theater. Loni Anderson had the lead in the TV movie Sorry, Wrong Number (1989). Another notable early episode was Fletcher's "The Hitch Hiker," in which a motorist (Orson Welles) is stalked on a cross-country trip by a nondescript man who keeps appearing on the side of the road. This episode originally aired on September 2, 1942, and was later adapted for television by Rod Serling as a 1960 episode of The Twilight Zone. After the network sustained the program during its first two years, the sponsor became Roma Wines (1944--1947), and then (after another brief period of sustained hour-long episodes, initially featuring Robert Montgomery as host and "producer" in early 1948), Autolite Spark Plugs (1948--1954); eventually Harlow Wilcox (of Fibber McGee and Molly) became the pitchman. William Spier, Norman MacDonnell and Anton M. Leader were among the producers and directors. The program's heyday was in the early 1950s, when radio actor, producer and director Elliott Lewis took over (still during the Wilcox/Autolite run). Here the material reached new levels of sophistication. The writing was taut, and the casting, which had always been a strong point of the series (featuring such film stars as Orson Welles, Joseph Cotten, Henry Fonda, Humphrey Bogart, Judy Garland, Ronald Colman, Marlene Dietrich, Eve McVeagh, Lena Horne, and Cary Grant), took an unexpected turn when Lewis expanded the repertory to include many of radio's famous drama and comedy stars — often playing against type — such as Jack Benny. Jim and Marian Jordan of Fibber McGee and Molly were heard in the episode, "Backseat Driver," which originally aired February 3, 1949. http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29 -
52:23Savings and Loan Scandal: Taxpayer Bailout
Savings and Loan Scandal: Taxpayer BailoutSavings and Loan Scandal: Taxpayer Bailout
The thrift industry has its origins in the British building society movement that emerged in the late 18th century. American thrifts (known then as "building and loans" or "B&Ls;") shared many of the same basic goals: to help working-class men and women save for the future and purchase homes. Thrifts were not-for-profit cooperative organizations that were typically managed by the membership and local institutions that served well-defined groups of aspiring homeowners. While banks offered a wide array of products to individuals and businesses, thrifts often made only home mortgages primarily to working-class men and women. Thrift leaders believed they were part of a broader social reform effort and not a financial industry. According to thrift leaders, B&Ls; not only helped people become better citizens by making it easier to buy a home, they also taught the habits of systematic savings and mutual cooperation which strengthened personal morals. The first thrift was formed in 1831, and for 40 years there were few B&Ls;, found in only a handful of Midwestern and Eastern states. This situation changed in the late 19th century as urban growth and the demand for housing related to the Second Industrial Revolution caused the number of thrifts to explode. The popularity of B&Ls; led to the creation of a new type of thrift in the 1880s called the "national" B&L;. The "nationals" were often for-profit businesses formed by bankers or industrialists that employed promoters to form local branches to sell shares to prospective members. The "nationals" promised to pay savings rates up to four times greater than any other financial institution. The Depression of 1893 (the Panic of 1893) caused a decline in members, and so "nationals" experienced a sudden reversal of fortunes. Because a steady stream of new members was critical for a "national" to pay both the interest on savings and the hefty salaries for the organizers, the falloff in payments caused dozens of "nationals" to fail. By the end of the 19th century, nearly all the "nationals" were out of business (National Building and Loans Crisis). This led to the creation of the first state regulations governing B&Ls;, to make thrift operations more uniform, and the formation of a national trade association to not only protect B&L; interests, but also promote business growth. The trade association led efforts to create more uniform accounting, appraisal, and lending procedures. It also spearheaded the drive to have all thrifts refer to themselves as "savings and loans" not B&Ls;, and to convince managers of the need to assume more professional roles as financiers. In the 20th century, the two decades that followed the end of World War II were the most successful period in the history of the thrift industry. The return of millions of servicemen eager to take up their prewar lives led to a dramatic increase in new families, and this "baby boom" caused a surge in new mostly suburban home construction. By the 1940s S&Ls; (the name change occurred in the late 1930s) provided most of the financing for this expansion. The result was strong industry expansion that lasted through the early 1960s. An important trend involved raising rates paid on savings to lure deposits, a practice that resulted in periodic rate wars between thrifts and even commercial banks. These wars became so severe that in 1966 the United States Congress took the highly unusual move of setting limits on savings rates for both commercial banks and S&Ls.; From 1966 to 1979, the enactment of rate controls presented thrifts with a number of unprecedented challenges, chief of which was finding ways to continue to expand in an economy characterized by slow growth, high interest rates and inflation. These conditions, which came to be known as stagflation, wreaked havoc with thrift finances for a variety of reasons. Because regulators controlled the rates thrifts could pay on savings, when interest rates rose depositors often withdrew their funds and placed them in accounts that earned market rates, a process known as disintermediation. At the same time, rising rates and a slow growth economy made it harder for people to qualify for mortgages that in turn limited the ability to generate income. http://en.wikipedia.org/wiki/Savings_and_loan_scandal -
1:51:41Dragnet: Big Cab / Big Slip / Big Try / Big Little Mother
Dragnet: Big Cab / Big Slip / Big Try / Big Little MotherDragnet: Big Cab / Big Slip / Big Try / Big Little Mother
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects. Scripts tackled a number of topics, ranging from the thrilling (murders, missing persons and armed robbery) to the mundane (check fraud and shoplifting), yet "Dragnet" made them all interesting due to fast-moving plots and behind-the-scenes realism. In "The Garbage Chute" (December 15, 1949), they even had a locked room mystery. Though rather tame by modern standards, Dragnet—especially on the radio—handled controversial subjects such as sex crimes and drug addiction with unprecedented and even startling realism. In one such example, Dragnet broke one of the unspoken (and still rarely broached) taboos of popular entertainment in the episode ".22 Rifle for Christmas" which aired December 22, 1949 and was repeated at Christmastime for the next three years. The episode followed the search for two young boys, Stanley Johnstone and Stevie Morheim, only to discover Stevie had been accidentally killed while playing with a rifle that belonged to Stanley—who'd be receiving it as a Christmas present but opened the box early; Stanley finally told Friday that Stevie was running while holding the rifle when he tripped and fell, causing the gun to discharge, fatally wounding Morheim. NBC received thousands of complaint letters, including a formal protest by the National Rifle Association. Webb forwarded many of the letters to police chief Parker who promised "ten more shows illustrating the folly of giving rifles to children". (Dunning, 211) Another episode dealt with high school girls who, rather than finding Hollywood stardom, fall in with fraudulent talent scouts and end up in pornography and prostitution. Both this episode and ".22 Rifle for Christmas" were adapted for television, with very few script changes, when Dragnet moved to that medium. Another episode, "The Big Trio" (July 3, 1952), detailed three cases in one episode, including reckless and dangerous (in this case, fatal) driving by unlicensed juveniles. With regard to drugs, Webb's strident anti-drug statements, continued into the TV run, would be derided as camp by later audiences; yet his character also showed genuine concern and sympathy for addicts as victims, especially in the case of juveniles. The tone was usually serious, but there were moments of comic relief: Romero was something of a hypochondriac and often seemed henpecked; Frank Smith continually complained about his brother-in-law Armand; though Friday dated, he usually dodged women who tried to set him up with marriage-minded dates. Due in part to Webb's fondness for radio drama, Dragnet persisted on radio until 1957 (the last two seasons were repeats) as one of the last old time radio shows to give way to television's increasing popularity. In fact, the TV show would prove to be effectively a visual version of the radio show, as the style was virtually the same [including the scripts, as the majority of them were adapted from radio]. The TV show could be listened to without watching it, with no loss of understanding of the storyline. http://en.wikipedia.org/wiki/Dragnet_%28series%29 -
2:14:48Part 3 - Jane Eyre Audiobook by Charlotte Bronte (Chs 12-16)
Part 3 - Jane Eyre Audiobook by Charlotte Bronte (Chs 12-16)Part 3 - Jane Eyre Audiobook by Charlotte Bronte (Chs 12-16)
Part 3. Classic Literature VideoBook with synchronized text, interactive transcript, and closed captions in multiple languages. Audio courtesy of Librivox. Read by Elizabeth Klett. Playlist for Jane Eyre by Charlotte Brontë: http://www.youtube.com/playlist?list=PL2AAEFCAF1D04E74E Jane Eyre free audiobook at Librivox: http://librivox.org/jane-eyre-version-3-by-charlotte-bronte/ Jane Eyre free eBook at Project Gutenberg: http://www.gutenberg.org/ebooks/1260 Jane Eyre at Wikipedia: http://en.wikipedia.org/wiki/Jane_Eyre View a list of all our videobooks: http://www.ccprose.com/booklist
-
Classic Movie Bloopers and Mistakes: Film Stars Uncensored - 1930s and 1940s Outtakes
Classical Hollywood cinema or the classical Hollywood narrative, are terms used in film history which designate both a visual and sound style for making motion pictures and a mode of production used in the American film industry between 1917 and 1960. More bloopers: https://www.amazon.com/gp/search?ie=UTF8&tag;=tra0c7-20&linkCode;=ur2&linkId;=2e2330f57788ff94fc8dbab62c46051c&camp;=1789&creative;=9325&index;=dvd&keywords;=classic%20movie%20bloopers This period is often referred to as the "Golden Age of Hollywood." An identifiable cinematic form emerged during this period called classical Hollywood style. Classical style is fundamentally built on the principle of continuity editing or "invisible" style. That is, the camera and the sound recording should never call attention to themselves (as they...
published: 09 Aug 2012 -
The Bodyguard
This box office blockbuster stars Academy Award-winner Kevin Costner ("The Guardian," "The Upside of Anger") and Grammy Award-winner Whitney Houston ("Waiting to Exhale") in a romantic suspense thriller about an ex-secret service agent-turned-professional-bodyguard, who never leaves anything up to chance, until he meets a pop superstar-turned-actress whose fabulous career takes a life threatening turn when she becomes the target of an obsessive fan. Written by Lawrence Kasdan ("The Big Chill," "Raiders of the Lost Ark"), The New York Post calls this film "Costner's sexiest role to date," and Gannett News Service calls it "an entertaining, suspenseful, romantic thriller... Costner and Houston generate sparks.
published: 11 Mar 2014 -
Jersey Boys
Clint Eastwood’s big screen version of the Tony Award®-winning musical tells the story of the four young men from the wrong side of the tracks in New Jersey who came together to form the iconic '60s rock group The Four Seasons. Their trials and triumphs are accompanied by the hit songs that influenced a generation, and are now being embraced by a new generation of fans through the stage musical.
published: 19 Oct 2014 -
DVD 3 of 4: Loving the Silent Tears: The Musical
Multi-language subtitles can be accessed via the Youtube settings button (cogwheel icon ☼) on the bottom right corner of the video box. This is the full video of the official DVD release, available in Full HD (high definition) quality. *** DVD3 (length 2hr 9m) *** - The Making of Loving the Silent Tears - Art Exhibition - The Inspiration
published: 22 Sep 2015 -
Suspense: Mister Markham, Antique Dealer / The ABC Murders / Sorry, Wrong Number - East Coast
One of the premier drama programs of the Golden Age of Radio, was subtitled "radio's outstanding theater of thrills" and focused on suspense thriller-type scripts, usually featuring leading Hollywood actors of the era. Approximately 945 episodes were broadcast during its long run, and more than 900 are extant. Suspense went through several major phases, characterized by different hosts, sponsors, and director/producers. Formula plot devices were followed for all but a handful of episodes: the protagonist was usually a normal person suddenly dropped into a threatening or bizarre situation; solutions were "withheld until the last possible second"; and evildoers were usually punished in the end. In its early years, the program made only occasional forays into science fiction and fantasy. No...
published: 05 Feb 2013 -
Subways Are for Sleeping / Only Johnny Knows / Colloquy 2: A Dissertation on Love
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played in 1961-62. The musical was inspired by an article about subway homelessness in the March 1956 issue of Harper's and a subsequent 1957 book based on it, both by Edmund G. Love, who slept on subway trains throughout the 1950s and encountered many unique individuals. With the profits from his book, Love then embarked on a bizarre hobby: over the course of several years, he ate dinner at every restaurant listed in the Manhattan yellow pages directory, visiting them in alphabetical order. After two previews, the Broadway production, directed and choreographed by Michael Kidd, opened on December 27, 1961 at the St. James Theatre, where ...
published: 31 Dec 2012 -
Suspense: Suspicion
One of the series' earliest successes and its single most popular episode is Lucille Fletcher's "Sorry, Wrong Number," about a bedridden woman (Agnes Moorehead) who panics after overhearing a murder plot on a crossed telephone connection but is unable to persuade anyone to investigate. First broadcast on May 25, 1943, it was restaged seven times (last on February 14, 1960) — each time with Moorehead. The popularity of the episode led to a film adaptation, Sorry, Wrong Number (1948), starring Barbara Stanwyck. Nominated for an Academy Award for her performance, Stanwyck recreated the role on Lux Radio Theater. Loni Anderson had the lead in the TV movie Sorry, Wrong Number (1989). Another notable early episode was Fletcher's "The Hitch Hiker," in which a motorist (Orson Welles) is stalked on...
published: 12 Mar 2013 -
Savings and Loan Scandal: Taxpayer Bailout
The thrift industry has its origins in the British building society movement that emerged in the late 18th century. American thrifts (known then as "building and loans" or "B&Ls;") shared many of the same basic goals: to help working-class men and women save for the future and purchase homes. Thrifts were not-for-profit cooperative organizations that were typically managed by the membership and local institutions that served well-defined groups of aspiring homeowners. While banks offered a wide array of products to individuals and businesses, thrifts often made only home mortgages primarily to working-class men and women. Thrift leaders believed they were part of a broader social reform effort and not a financial industry. According to thrift leaders, B&Ls; not only helped people become bett...
published: 25 Jun 2012 -
Dragnet: Big Cab / Big Slip / Big Try / Big Little Mother
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects. Scripts tackled a number of topics, ranging from the thrilling (murders, missing persons and armed robbery) to the mundane (check fraud and shoplifting), yet "Dragnet" made them all interesting due to fast-moving plots and behind-the-scenes realism. In "The Garbage Chute" (December 15, 1949), they even had a locked room mystery. Though rather tame by modern standards, Dragnet—especially on the radio—handled controversial subjects such as sex crimes and drug addiction with unprecedented and even startl...
published: 15 Nov 2012 -
Part 3 - Jane Eyre Audiobook by Charlotte Bronte (Chs 12-16)
Part 3. Classic Literature VideoBook with synchronized text, interactive transcript, and closed captions in multiple languages. Audio courtesy of Librivox. Read by Elizabeth Klett. Playlist for Jane Eyre by Charlotte Brontë: http://www.youtube.com/playlist?list=PL2AAEFCAF1D04E74E Jane Eyre free audiobook at Librivox: http://librivox.org/jane-eyre-version-3-by-charlotte-bronte/ Jane Eyre free eBook at Project Gutenberg: http://www.gutenberg.org/ebooks/1260 Jane Eyre at Wikipedia: http://en.wikipedia.org/wiki/Jane_Eyre View a list of all our videobooks: http://www.ccprose.com/booklist
published: 22 Sep 2011
Classic Movie Bloopers and Mistakes: Film Stars Uncensored - 1930s and 1940s Outtakes
- Order: Reorder
- Duration: 1:29:43
- Updated: 09 Aug 2012
- views: 1196377
Classical Hollywood cinema or the classical Hollywood narrative, are terms used in film history which designate both a visual and sound style for making motion ...
Classical Hollywood cinema or the classical Hollywood narrative, are terms used in film history which designate both a visual and sound style for making motion pictures and a mode of production used in the American film industry between 1917 and 1960. More bloopers: https://www.amazon.com/gp/search?ie=UTF8&tag;=tra0c7-20&linkCode;=ur2&linkId;=2e2330f57788ff94fc8dbab62c46051c&camp;=1789&creative;=9325&index;=dvd&keywords;=classic%20movie%20bloopers
This period is often referred to as the "Golden Age of Hollywood." An identifiable cinematic form emerged during this period called classical Hollywood style.
Classical style is fundamentally built on the principle of continuity editing or "invisible" style. That is, the camera and the sound recording should never call attention to themselves (as they might in films from earlier periods, other countries or in a modernist or postmodernist work).
Throughout the early 1930s, risque films and salacious advertising, became widespread in the short period known as Pre-Code Hollywood. MGM dominated the industry and had the top stars in Hollywood, and was also credited for creating the Hollywood star system altogether. MGM stars included at various times "King of Hollywood" Clark Gable, Norma Shearer, Greta Garbo, Joan Crawford, Jean Harlow, Gary Cooper, Mary Pickford, Henry Fonda, Marilyn Monroe, Elizabeth Taylor, Judy Garland, Ava Gardner, James Stewart, Katharine Hepburn, Vivien Leigh, Grace Kelly, Gene Kelly, Gloria Stuart, Fred Astaire, Ginger Rogers, John Wayne, Barbara Stanwyck, John Barrymore, Audrey Hepburn and Buster Keaton. Another great achievement of American cinema during this era came through Walt Disney's animation. In 1937, Disney created the most successful film of its time, Snow White and the Seven Dwarfs.
Many film historians have remarked upon the many great works of cinema that emerged from this period of highly regimented film-making. One reason this was possible is that, with so many movies being made, not every one had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: Citizen Kane, directed by Orson Welles and often regarded as the greatest film of all time, fits that description. In other cases, strong-willed directors like Howard Hawks, Alfred Hitchcock and Frank Capra battled the studios in order to achieve their artistic visions. The apogee of the studio system may have been the year 1939, which saw the release of such classics as The Wizard of Oz, Gone with the Wind, Stagecoach, Mr. Smith Goes to Washington, Destry Rides Again,Young Mr. Lincoln, Wuthering Heights, Only Angels Have Wings, Ninotchka, Babes in Arms, Gunga Din, and The Roaring Twenties. Among the other films from the Golden Age period that are now considered to be classics: Casablanca, The Adventures of Robin Hood, It's a Wonderful Life, It Happened One Night, King Kong, Citizen Kane, Swing Time, Some Like It Hot, A Night at the Opera, All About Eve, The Searchers, Breakfast At Tiffany's, North by Northwest, Dinner at Eight, Rebel Without a Cause, Rear Window, Double Indemnity, Mutiny on the Bounty, City Lights, Red River, The Manchurian Candidate, Bringing Up Baby, Singin' in the Rain, To Have and Have Not, Goodbye, Mr. Chips, Roman Holiday, Giant and Jezebel.
The style of Classical Hollywood cinema, as elaborated by David Bordwell, has been heavily influenced by the ideas of the Renaissance and its resurgence of mankind as the focal point.
Thus, classical narration progresses always through psychological motivation, i.e. by the will of a human character and its struggle with obstacles towards a defined goal. The aspects of space and time are subordinated to the narrative element which is usually composed of two lines of action: A romance intertwined with a more generic one such as business or, in the case of Alfred Hitchcock films, solving a crime.
Time in classical Hollywood is continuous, since non-linearity calls attention to the illusory workings of the medium. The only permissible manipulation of time in this format is the flashback. It is mostly used to introduce a memory sequence of a character, e.g. Casablanca.
Likewise, the treatment of space in classic Hollywood strives to overcome or conceal the two-dimensionality of film ("invisible style") and is strongly centered upon the human body. The majority of shots in a classical film focus on gestures or facial expressions (medium-long and medium shots). André Bazin once compared classical film to a photographed play in that the events seem to exist objectively and that cameras only give us the best view of the whole play.
http://en.wikipedia.org/wiki/Classical_Hollywood_cinema
https://wn.com/Classic_Movie_Bloopers_And_Mistakes_Film_Stars_Uncensored_1930S_And_1940S_Outtakes
Classical Hollywood cinema or the classical Hollywood narrative, are terms used in film history which designate both a visual and sound style for making motion pictures and a mode of production used in the American film industry between 1917 and 1960. More bloopers: https://www.amazon.com/gp/search?ie=UTF8&tag;=tra0c7-20&linkCode;=ur2&linkId;=2e2330f57788ff94fc8dbab62c46051c&camp;=1789&creative;=9325&index;=dvd&keywords;=classic%20movie%20bloopers
This period is often referred to as the "Golden Age of Hollywood." An identifiable cinematic form emerged during this period called classical Hollywood style.
Classical style is fundamentally built on the principle of continuity editing or "invisible" style. That is, the camera and the sound recording should never call attention to themselves (as they might in films from earlier periods, other countries or in a modernist or postmodernist work).
Throughout the early 1930s, risque films and salacious advertising, became widespread in the short period known as Pre-Code Hollywood. MGM dominated the industry and had the top stars in Hollywood, and was also credited for creating the Hollywood star system altogether. MGM stars included at various times "King of Hollywood" Clark Gable, Norma Shearer, Greta Garbo, Joan Crawford, Jean Harlow, Gary Cooper, Mary Pickford, Henry Fonda, Marilyn Monroe, Elizabeth Taylor, Judy Garland, Ava Gardner, James Stewart, Katharine Hepburn, Vivien Leigh, Grace Kelly, Gene Kelly, Gloria Stuart, Fred Astaire, Ginger Rogers, John Wayne, Barbara Stanwyck, John Barrymore, Audrey Hepburn and Buster Keaton. Another great achievement of American cinema during this era came through Walt Disney's animation. In 1937, Disney created the most successful film of its time, Snow White and the Seven Dwarfs.
Many film historians have remarked upon the many great works of cinema that emerged from this period of highly regimented film-making. One reason this was possible is that, with so many movies being made, not every one had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: Citizen Kane, directed by Orson Welles and often regarded as the greatest film of all time, fits that description. In other cases, strong-willed directors like Howard Hawks, Alfred Hitchcock and Frank Capra battled the studios in order to achieve their artistic visions. The apogee of the studio system may have been the year 1939, which saw the release of such classics as The Wizard of Oz, Gone with the Wind, Stagecoach, Mr. Smith Goes to Washington, Destry Rides Again,Young Mr. Lincoln, Wuthering Heights, Only Angels Have Wings, Ninotchka, Babes in Arms, Gunga Din, and The Roaring Twenties. Among the other films from the Golden Age period that are now considered to be classics: Casablanca, The Adventures of Robin Hood, It's a Wonderful Life, It Happened One Night, King Kong, Citizen Kane, Swing Time, Some Like It Hot, A Night at the Opera, All About Eve, The Searchers, Breakfast At Tiffany's, North by Northwest, Dinner at Eight, Rebel Without a Cause, Rear Window, Double Indemnity, Mutiny on the Bounty, City Lights, Red River, The Manchurian Candidate, Bringing Up Baby, Singin' in the Rain, To Have and Have Not, Goodbye, Mr. Chips, Roman Holiday, Giant and Jezebel.
The style of Classical Hollywood cinema, as elaborated by David Bordwell, has been heavily influenced by the ideas of the Renaissance and its resurgence of mankind as the focal point.
Thus, classical narration progresses always through psychological motivation, i.e. by the will of a human character and its struggle with obstacles towards a defined goal. The aspects of space and time are subordinated to the narrative element which is usually composed of two lines of action: A romance intertwined with a more generic one such as business or, in the case of Alfred Hitchcock films, solving a crime.
Time in classical Hollywood is continuous, since non-linearity calls attention to the illusory workings of the medium. The only permissible manipulation of time in this format is the flashback. It is mostly used to introduce a memory sequence of a character, e.g. Casablanca.
Likewise, the treatment of space in classic Hollywood strives to overcome or conceal the two-dimensionality of film ("invisible style") and is strongly centered upon the human body. The majority of shots in a classical film focus on gestures or facial expressions (medium-long and medium shots). André Bazin once compared classical film to a photographed play in that the events seem to exist objectively and that cameras only give us the best view of the whole play.
http://en.wikipedia.org/wiki/Classical_Hollywood_cinema
- published: 09 Aug 2012
- views: 1196377
The Bodyguard
- Order: Reorder
- Duration: 2:09:16
- Updated: 11 Mar 2014
- views: 6651
This box office blockbuster stars Academy Award-winner Kevin Costner ("The Guardian," "The Upside of Anger") and Grammy Award-winner Whitney Houston ("Waiting t...
This box office blockbuster stars Academy Award-winner Kevin Costner ("The Guardian," "The Upside of Anger") and Grammy Award-winner Whitney Houston ("Waiting to Exhale") in a romantic suspense thriller about an ex-secret service agent-turned-professional-bodyguard, who never leaves anything up to chance, until he meets a pop superstar-turned-actress whose fabulous career takes a life threatening turn when she becomes the target of an obsessive fan. Written by Lawrence Kasdan ("The Big Chill," "Raiders of the Lost Ark"), The New York Post calls this film "Costner's sexiest role to date," and Gannett News Service calls it "an entertaining, suspenseful, romantic thriller... Costner and Houston generate sparks.
https://wn.com/The_Bodyguard
This box office blockbuster stars Academy Award-winner Kevin Costner ("The Guardian," "The Upside of Anger") and Grammy Award-winner Whitney Houston ("Waiting to Exhale") in a romantic suspense thriller about an ex-secret service agent-turned-professional-bodyguard, who never leaves anything up to chance, until he meets a pop superstar-turned-actress whose fabulous career takes a life threatening turn when she becomes the target of an obsessive fan. Written by Lawrence Kasdan ("The Big Chill," "Raiders of the Lost Ark"), The New York Post calls this film "Costner's sexiest role to date," and Gannett News Service calls it "an entertaining, suspenseful, romantic thriller... Costner and Houston generate sparks.
- published: 11 Mar 2014
- views: 6651
Jersey Boys
- Order: Reorder
- Duration: 2:14:14
- Updated: 19 Oct 2014
- views: 61
Clint Eastwood’s big screen version of the Tony Award®-winning musical tells the story of the four young men from the wrong side of the tracks in New Jersey who...
Clint Eastwood’s big screen version of the Tony Award®-winning musical tells the story of the four young men from the wrong side of the tracks in New Jersey who came together to form the iconic '60s rock group The Four Seasons. Their trials and triumphs are accompanied by the hit songs that influenced a generation, and are now being embraced by a new generation of fans through the stage musical.
https://wn.com/Jersey_Boys
Clint Eastwood’s big screen version of the Tony Award®-winning musical tells the story of the four young men from the wrong side of the tracks in New Jersey who came together to form the iconic '60s rock group The Four Seasons. Their trials and triumphs are accompanied by the hit songs that influenced a generation, and are now being embraced by a new generation of fans through the stage musical.
- published: 19 Oct 2014
- views: 61
DVD 3 of 4: Loving the Silent Tears: The Musical
- Order: Reorder
- Duration: 2:09:06
- Updated: 22 Sep 2015
- views: 3041
Multi-language subtitles can be accessed via the Youtube settings button (cogwheel icon ☼) on the bottom right corner of the video box.
This is the full video ...
Multi-language subtitles can be accessed via the Youtube settings button (cogwheel icon ☼) on the bottom right corner of the video box.
This is the full video of the official DVD release, available in Full HD (high definition) quality.
*** DVD3 (length 2hr 9m) ***
- The Making of Loving the Silent Tears
- Art Exhibition
- The Inspiration
https://wn.com/Dvd_3_Of_4_Loving_The_Silent_Tears_The_Musical
Multi-language subtitles can be accessed via the Youtube settings button (cogwheel icon ☼) on the bottom right corner of the video box.
This is the full video of the official DVD release, available in Full HD (high definition) quality.
*** DVD3 (length 2hr 9m) ***
- The Making of Loving the Silent Tears
- Art Exhibition
- The Inspiration
- published: 22 Sep 2015
- views: 3041
Suspense: Mister Markham, Antique Dealer / The ABC Murders / Sorry, Wrong Number - East Coast
- Order: Reorder
- Duration: 1:30:16
- Updated: 05 Feb 2013
- views: 10108
One of the premier drama programs of the Golden Age of Radio, was subtitled "radio's outstanding theater of thrills" and focused on suspense thriller-type scrip...
One of the premier drama programs of the Golden Age of Radio, was subtitled "radio's outstanding theater of thrills" and focused on suspense thriller-type scripts, usually featuring leading Hollywood actors of the era. Approximately 945 episodes were broadcast during its long run, and more than 900 are extant.
Suspense went through several major phases, characterized by different hosts, sponsors, and director/producers. Formula plot devices were followed for all but a handful of episodes: the protagonist was usually a normal person suddenly dropped into a threatening or bizarre situation; solutions were "withheld until the last possible second"; and evildoers were usually punished in the end.
In its early years, the program made only occasional forays into science fiction and fantasy. Notable exceptions include adaptations of Curt Siodmak's Donovan's Brain and H. P. Lovecraft's "The Dunwich Horror", but by the late 1950s, such material was regularly featured.
http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29
https://wn.com/Suspense_Mister_Markham,_Antique_Dealer_The_Abc_Murders_Sorry,_Wrong_Number_East_Coast
One of the premier drama programs of the Golden Age of Radio, was subtitled "radio's outstanding theater of thrills" and focused on suspense thriller-type scripts, usually featuring leading Hollywood actors of the era. Approximately 945 episodes were broadcast during its long run, and more than 900 are extant.
Suspense went through several major phases, characterized by different hosts, sponsors, and director/producers. Formula plot devices were followed for all but a handful of episodes: the protagonist was usually a normal person suddenly dropped into a threatening or bizarre situation; solutions were "withheld until the last possible second"; and evildoers were usually punished in the end.
In its early years, the program made only occasional forays into science fiction and fantasy. Notable exceptions include adaptations of Curt Siodmak's Donovan's Brain and H. P. Lovecraft's "The Dunwich Horror", but by the late 1950s, such material was regularly featured.
http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29
- published: 05 Feb 2013
- views: 10108
Subways Are for Sleeping / Only Johnny Knows / Colloquy 2: A Dissertation on Love
- Order: Reorder
- Duration: 1:29:15
- Updated: 31 Dec 2012
- views: 247899
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played i...
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played in 1961-62.
The musical was inspired by an article about subway homelessness in the March 1956 issue of Harper's and a subsequent 1957 book based on it, both by Edmund G. Love, who slept on subway trains throughout the 1950s and encountered many unique individuals. With the profits from his book, Love then embarked on a bizarre hobby: over the course of several years, he ate dinner at every restaurant listed in the Manhattan yellow pages directory, visiting them in alphabetical order.
After two previews, the Broadway production, directed and choreographed by Michael Kidd, opened on December 27, 1961 at the St. James Theatre, where it ran for 205 performances. The cast included Orson Bean, Sydney Chaplin, Carol Lawrence, Gordon Connell, Grayson Hall, and Green's wife Phyllis Newman (whose costume, consisting solely of a towel, was probably Freddy Wittop's easiest design in his distinguished career), with newcomers Michael Bennett and Valerie Harper in the chorus.
Subways Are for Sleeping opened to mostly negative reviews. The show already was hampered by a lack of publicity, since the New York City Transit Authority refused to post advertisements on the city's buses and in subway trains and stations for fear they would be perceived as officially sanctioning the right of vagrants to use these facilities as overnight accommodations. Producer David Merrick and press agent Harvey Sabinson decided to invite individuals with the same names as prominent theatre critics (such as Walter Kerr, Richard Watts, Jr. and Howard Taubman) to see the show and afterwards used their favorable comments in print ads. Thanks to photographs of the seven "critics" accompanying their blurbs (the well-known real Richard Watts was not African American), the ad was discovered to be a deception by a copy editor. It was pulled from most newspapers, but not before running in an early edition of the New York Herald Tribune. However, the clever publicity stunt allowed the musical to continue to run and it eventually turned a small profit.
Newman won the Tony Award for Best Featured Actress in a Musical, and nominations went to Bean for Best Featured Actor and Kidd's choreography.
http://en.wikipedia.org/wiki/Subways_Are_For_Sleeping
https://wn.com/Subways_Are_For_Sleeping_Only_Johnny_Knows_Colloquy_2_A_Dissertation_On_Love
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played in 1961-62.
The musical was inspired by an article about subway homelessness in the March 1956 issue of Harper's and a subsequent 1957 book based on it, both by Edmund G. Love, who slept on subway trains throughout the 1950s and encountered many unique individuals. With the profits from his book, Love then embarked on a bizarre hobby: over the course of several years, he ate dinner at every restaurant listed in the Manhattan yellow pages directory, visiting them in alphabetical order.
After two previews, the Broadway production, directed and choreographed by Michael Kidd, opened on December 27, 1961 at the St. James Theatre, where it ran for 205 performances. The cast included Orson Bean, Sydney Chaplin, Carol Lawrence, Gordon Connell, Grayson Hall, and Green's wife Phyllis Newman (whose costume, consisting solely of a towel, was probably Freddy Wittop's easiest design in his distinguished career), with newcomers Michael Bennett and Valerie Harper in the chorus.
Subways Are for Sleeping opened to mostly negative reviews. The show already was hampered by a lack of publicity, since the New York City Transit Authority refused to post advertisements on the city's buses and in subway trains and stations for fear they would be perceived as officially sanctioning the right of vagrants to use these facilities as overnight accommodations. Producer David Merrick and press agent Harvey Sabinson decided to invite individuals with the same names as prominent theatre critics (such as Walter Kerr, Richard Watts, Jr. and Howard Taubman) to see the show and afterwards used their favorable comments in print ads. Thanks to photographs of the seven "critics" accompanying their blurbs (the well-known real Richard Watts was not African American), the ad was discovered to be a deception by a copy editor. It was pulled from most newspapers, but not before running in an early edition of the New York Herald Tribune. However, the clever publicity stunt allowed the musical to continue to run and it eventually turned a small profit.
Newman won the Tony Award for Best Featured Actress in a Musical, and nominations went to Bean for Best Featured Actor and Kidd's choreography.
http://en.wikipedia.org/wiki/Subways_Are_For_Sleeping
- published: 31 Dec 2012
- views: 247899
Suspense: Suspicion
- Order: Reorder
- Duration: 1:01:52
- Updated: 12 Mar 2013
- views: 3221
One of the series' earliest successes and its single most popular episode is Lucille Fletcher's "Sorry, Wrong Number," about a bedridden woman (Agnes Moorehead)...
One of the series' earliest successes and its single most popular episode is Lucille Fletcher's "Sorry, Wrong Number," about a bedridden woman (Agnes Moorehead) who panics after overhearing a murder plot on a crossed telephone connection but is unable to persuade anyone to investigate. First broadcast on May 25, 1943, it was restaged seven times (last on February 14, 1960) — each time with Moorehead. The popularity of the episode led to a film adaptation, Sorry, Wrong Number (1948), starring Barbara Stanwyck. Nominated for an Academy Award for her performance, Stanwyck recreated the role on Lux Radio Theater. Loni Anderson had the lead in the TV movie Sorry, Wrong Number (1989). Another notable early episode was Fletcher's "The Hitch Hiker," in which a motorist (Orson Welles) is stalked on a cross-country trip by a nondescript man who keeps appearing on the side of the road. This episode originally aired on September 2, 1942, and was later adapted for television by Rod Serling as a 1960 episode of The Twilight Zone.
After the network sustained the program during its first two years, the sponsor became Roma Wines (1944--1947), and then (after another brief period of sustained hour-long episodes, initially featuring Robert Montgomery as host and "producer" in early 1948), Autolite Spark Plugs (1948--1954); eventually Harlow Wilcox (of Fibber McGee and Molly) became the pitchman. William Spier, Norman MacDonnell and Anton M. Leader were among the producers and directors.
The program's heyday was in the early 1950s, when radio actor, producer and director Elliott Lewis took over (still during the Wilcox/Autolite run). Here the material reached new levels of sophistication. The writing was taut, and the casting, which had always been a strong point of the series (featuring such film stars as Orson Welles, Joseph Cotten, Henry Fonda, Humphrey Bogart, Judy Garland, Ronald Colman, Marlene Dietrich, Eve McVeagh, Lena Horne, and Cary Grant), took an unexpected turn when Lewis expanded the repertory to include many of radio's famous drama and comedy stars — often playing against type — such as Jack Benny. Jim and Marian Jordan of Fibber McGee and Molly were heard in the episode, "Backseat Driver," which originally aired February 3, 1949.
http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29
https://wn.com/Suspense_Suspicion
One of the series' earliest successes and its single most popular episode is Lucille Fletcher's "Sorry, Wrong Number," about a bedridden woman (Agnes Moorehead) who panics after overhearing a murder plot on a crossed telephone connection but is unable to persuade anyone to investigate. First broadcast on May 25, 1943, it was restaged seven times (last on February 14, 1960) — each time with Moorehead. The popularity of the episode led to a film adaptation, Sorry, Wrong Number (1948), starring Barbara Stanwyck. Nominated for an Academy Award for her performance, Stanwyck recreated the role on Lux Radio Theater. Loni Anderson had the lead in the TV movie Sorry, Wrong Number (1989). Another notable early episode was Fletcher's "The Hitch Hiker," in which a motorist (Orson Welles) is stalked on a cross-country trip by a nondescript man who keeps appearing on the side of the road. This episode originally aired on September 2, 1942, and was later adapted for television by Rod Serling as a 1960 episode of The Twilight Zone.
After the network sustained the program during its first two years, the sponsor became Roma Wines (1944--1947), and then (after another brief period of sustained hour-long episodes, initially featuring Robert Montgomery as host and "producer" in early 1948), Autolite Spark Plugs (1948--1954); eventually Harlow Wilcox (of Fibber McGee and Molly) became the pitchman. William Spier, Norman MacDonnell and Anton M. Leader were among the producers and directors.
The program's heyday was in the early 1950s, when radio actor, producer and director Elliott Lewis took over (still during the Wilcox/Autolite run). Here the material reached new levels of sophistication. The writing was taut, and the casting, which had always been a strong point of the series (featuring such film stars as Orson Welles, Joseph Cotten, Henry Fonda, Humphrey Bogart, Judy Garland, Ronald Colman, Marlene Dietrich, Eve McVeagh, Lena Horne, and Cary Grant), took an unexpected turn when Lewis expanded the repertory to include many of radio's famous drama and comedy stars — often playing against type — such as Jack Benny. Jim and Marian Jordan of Fibber McGee and Molly were heard in the episode, "Backseat Driver," which originally aired February 3, 1949.
http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29
- published: 12 Mar 2013
- views: 3221
Savings and Loan Scandal: Taxpayer Bailout
- Order: Reorder
- Duration: 52:23
- Updated: 25 Jun 2012
- views: 26328
The thrift industry has its origins in the British building society movement that emerged in the late 18th century. American thrifts (known then as "building an...
The thrift industry has its origins in the British building society movement that emerged in the late 18th century. American thrifts (known then as "building and loans" or "B&Ls;") shared many of the same basic goals: to help working-class men and women save for the future and purchase homes. Thrifts were not-for-profit cooperative organizations that were typically managed by the membership and local institutions that served well-defined groups of aspiring homeowners. While banks offered a wide array of products to individuals and businesses, thrifts often made only home mortgages primarily to working-class men and women. Thrift leaders believed they were part of a broader social reform effort and not a financial industry. According to thrift leaders, B&Ls; not only helped people become better citizens by making it easier to buy a home, they also taught the habits of systematic savings and mutual cooperation which strengthened personal morals.
The first thrift was formed in 1831, and for 40 years there were few B&Ls;, found in only a handful of Midwestern and Eastern states. This situation changed in the late 19th century as urban growth and the demand for housing related to the Second Industrial Revolution caused the number of thrifts to explode. The popularity of B&Ls; led to the creation of a new type of thrift in the 1880s called the "national" B&L;. The "nationals" were often for-profit businesses formed by bankers or industrialists that employed promoters to form local branches to sell shares to prospective members. The "nationals" promised to pay savings rates up to four times greater than any other financial institution.
The Depression of 1893 (the Panic of 1893) caused a decline in members, and so "nationals" experienced a sudden reversal of fortunes. Because a steady stream of new members was critical for a "national" to pay both the interest on savings and the hefty salaries for the organizers, the falloff in payments caused dozens of "nationals" to fail. By the end of the 19th century, nearly all the "nationals" were out of business (National Building and Loans Crisis). This led to the creation of the first state regulations governing B&Ls;, to make thrift operations more uniform, and the formation of a national trade association to not only protect B&L; interests, but also promote business growth. The trade association led efforts to create more uniform accounting, appraisal, and lending procedures. It also spearheaded the drive to have all thrifts refer to themselves as "savings and loans" not B&Ls;, and to convince managers of the need to assume more professional roles as financiers.
In the 20th century, the two decades that followed the end of World War II were the most successful period in the history of the thrift industry. The return of millions of servicemen eager to take up their prewar lives led to a dramatic increase in new families, and this "baby boom" caused a surge in new mostly suburban home construction. By the 1940s S&Ls; (the name change occurred in the late 1930s) provided most of the financing for this expansion. The result was strong industry expansion that lasted through the early 1960s.
An important trend involved raising rates paid on savings to lure deposits, a practice that resulted in periodic rate wars between thrifts and even commercial banks. These wars became so severe that in 1966 the United States Congress took the highly unusual move of setting limits on savings rates for both commercial banks and S&Ls.; From 1966 to 1979, the enactment of rate controls presented thrifts with a number of unprecedented challenges, chief of which was finding ways to continue to expand in an economy characterized by slow growth, high interest rates and inflation. These conditions, which came to be known as stagflation, wreaked havoc with thrift finances for a variety of reasons. Because regulators controlled the rates thrifts could pay on savings, when interest rates rose depositors often withdrew their funds and placed them in accounts that earned market rates, a process known as disintermediation. At the same time, rising rates and a slow growth economy made it harder for people to qualify for mortgages that in turn limited the ability to generate income.
http://en.wikipedia.org/wiki/Savings_and_loan_scandal
https://wn.com/Savings_And_Loan_Scandal_Taxpayer_Bailout
The thrift industry has its origins in the British building society movement that emerged in the late 18th century. American thrifts (known then as "building and loans" or "B&Ls;") shared many of the same basic goals: to help working-class men and women save for the future and purchase homes. Thrifts were not-for-profit cooperative organizations that were typically managed by the membership and local institutions that served well-defined groups of aspiring homeowners. While banks offered a wide array of products to individuals and businesses, thrifts often made only home mortgages primarily to working-class men and women. Thrift leaders believed they were part of a broader social reform effort and not a financial industry. According to thrift leaders, B&Ls; not only helped people become better citizens by making it easier to buy a home, they also taught the habits of systematic savings and mutual cooperation which strengthened personal morals.
The first thrift was formed in 1831, and for 40 years there were few B&Ls;, found in only a handful of Midwestern and Eastern states. This situation changed in the late 19th century as urban growth and the demand for housing related to the Second Industrial Revolution caused the number of thrifts to explode. The popularity of B&Ls; led to the creation of a new type of thrift in the 1880s called the "national" B&L;. The "nationals" were often for-profit businesses formed by bankers or industrialists that employed promoters to form local branches to sell shares to prospective members. The "nationals" promised to pay savings rates up to four times greater than any other financial institution.
The Depression of 1893 (the Panic of 1893) caused a decline in members, and so "nationals" experienced a sudden reversal of fortunes. Because a steady stream of new members was critical for a "national" to pay both the interest on savings and the hefty salaries for the organizers, the falloff in payments caused dozens of "nationals" to fail. By the end of the 19th century, nearly all the "nationals" were out of business (National Building and Loans Crisis). This led to the creation of the first state regulations governing B&Ls;, to make thrift operations more uniform, and the formation of a national trade association to not only protect B&L; interests, but also promote business growth. The trade association led efforts to create more uniform accounting, appraisal, and lending procedures. It also spearheaded the drive to have all thrifts refer to themselves as "savings and loans" not B&Ls;, and to convince managers of the need to assume more professional roles as financiers.
In the 20th century, the two decades that followed the end of World War II were the most successful period in the history of the thrift industry. The return of millions of servicemen eager to take up their prewar lives led to a dramatic increase in new families, and this "baby boom" caused a surge in new mostly suburban home construction. By the 1940s S&Ls; (the name change occurred in the late 1930s) provided most of the financing for this expansion. The result was strong industry expansion that lasted through the early 1960s.
An important trend involved raising rates paid on savings to lure deposits, a practice that resulted in periodic rate wars between thrifts and even commercial banks. These wars became so severe that in 1966 the United States Congress took the highly unusual move of setting limits on savings rates for both commercial banks and S&Ls.; From 1966 to 1979, the enactment of rate controls presented thrifts with a number of unprecedented challenges, chief of which was finding ways to continue to expand in an economy characterized by slow growth, high interest rates and inflation. These conditions, which came to be known as stagflation, wreaked havoc with thrift finances for a variety of reasons. Because regulators controlled the rates thrifts could pay on savings, when interest rates rose depositors often withdrew their funds and placed them in accounts that earned market rates, a process known as disintermediation. At the same time, rising rates and a slow growth economy made it harder for people to qualify for mortgages that in turn limited the ability to generate income.
http://en.wikipedia.org/wiki/Savings_and_loan_scandal
- published: 25 Jun 2012
- views: 26328
Dragnet: Big Cab / Big Slip / Big Try / Big Little Mother
- Order: Reorder
- Duration: 1:51:41
- Updated: 15 Nov 2012
- views: 96973
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes...
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects.
Scripts tackled a number of topics, ranging from the thrilling (murders, missing persons and armed robbery) to the mundane (check fraud and shoplifting), yet "Dragnet" made them all interesting due to fast-moving plots and behind-the-scenes realism. In "The Garbage Chute" (December 15, 1949), they even had a locked room mystery.
Though rather tame by modern standards, Dragnet—especially on the radio—handled controversial subjects such as sex crimes and drug addiction with unprecedented and even startling realism. In one such example, Dragnet broke one of the unspoken (and still rarely broached) taboos of popular entertainment in the episode ".22 Rifle for Christmas" which aired December 22, 1949 and was repeated at Christmastime for the next three years. The episode followed the search for two young boys, Stanley Johnstone and Stevie Morheim, only to discover Stevie had been accidentally killed while playing with a rifle that belonged to Stanley—who'd be receiving it as a Christmas present but opened the box early; Stanley finally told Friday that Stevie was running while holding the rifle when he tripped and fell, causing the gun to discharge, fatally wounding Morheim. NBC received thousands of complaint letters, including a formal protest by the National Rifle Association. Webb forwarded many of the letters to police chief Parker who promised "ten more shows illustrating the folly of giving rifles to children". (Dunning, 211)
Another episode dealt with high school girls who, rather than finding Hollywood stardom, fall in with fraudulent talent scouts and end up in pornography and prostitution. Both this episode and ".22 Rifle for Christmas" were adapted for television, with very few script changes, when Dragnet moved to that medium. Another episode, "The Big Trio" (July 3, 1952), detailed three cases in one episode, including reckless and dangerous (in this case, fatal) driving by unlicensed juveniles. With regard to drugs, Webb's strident anti-drug statements, continued into the TV run, would be derided as camp by later audiences; yet his character also showed genuine concern and sympathy for addicts as victims, especially in the case of juveniles.
The tone was usually serious, but there were moments of comic relief: Romero was something of a hypochondriac and often seemed henpecked; Frank Smith continually complained about his brother-in-law Armand; though Friday dated, he usually dodged women who tried to set him up with marriage-minded dates.
Due in part to Webb's fondness for radio drama, Dragnet persisted on radio until 1957 (the last two seasons were repeats) as one of the last old time radio shows to give way to television's increasing popularity. In fact, the TV show would prove to be effectively a visual version of the radio show, as the style was virtually the same [including the scripts, as the majority of them were adapted from radio]. The TV show could be listened to without watching it, with no loss of understanding of the storyline.
http://en.wikipedia.org/wiki/Dragnet_%28series%29
https://wn.com/Dragnet_Big_Cab_Big_Slip_Big_Try_Big_Little_Mother
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects.
Scripts tackled a number of topics, ranging from the thrilling (murders, missing persons and armed robbery) to the mundane (check fraud and shoplifting), yet "Dragnet" made them all interesting due to fast-moving plots and behind-the-scenes realism. In "The Garbage Chute" (December 15, 1949), they even had a locked room mystery.
Though rather tame by modern standards, Dragnet—especially on the radio—handled controversial subjects such as sex crimes and drug addiction with unprecedented and even startling realism. In one such example, Dragnet broke one of the unspoken (and still rarely broached) taboos of popular entertainment in the episode ".22 Rifle for Christmas" which aired December 22, 1949 and was repeated at Christmastime for the next three years. The episode followed the search for two young boys, Stanley Johnstone and Stevie Morheim, only to discover Stevie had been accidentally killed while playing with a rifle that belonged to Stanley—who'd be receiving it as a Christmas present but opened the box early; Stanley finally told Friday that Stevie was running while holding the rifle when he tripped and fell, causing the gun to discharge, fatally wounding Morheim. NBC received thousands of complaint letters, including a formal protest by the National Rifle Association. Webb forwarded many of the letters to police chief Parker who promised "ten more shows illustrating the folly of giving rifles to children". (Dunning, 211)
Another episode dealt with high school girls who, rather than finding Hollywood stardom, fall in with fraudulent talent scouts and end up in pornography and prostitution. Both this episode and ".22 Rifle for Christmas" were adapted for television, with very few script changes, when Dragnet moved to that medium. Another episode, "The Big Trio" (July 3, 1952), detailed three cases in one episode, including reckless and dangerous (in this case, fatal) driving by unlicensed juveniles. With regard to drugs, Webb's strident anti-drug statements, continued into the TV run, would be derided as camp by later audiences; yet his character also showed genuine concern and sympathy for addicts as victims, especially in the case of juveniles.
The tone was usually serious, but there were moments of comic relief: Romero was something of a hypochondriac and often seemed henpecked; Frank Smith continually complained about his brother-in-law Armand; though Friday dated, he usually dodged women who tried to set him up with marriage-minded dates.
Due in part to Webb's fondness for radio drama, Dragnet persisted on radio until 1957 (the last two seasons were repeats) as one of the last old time radio shows to give way to television's increasing popularity. In fact, the TV show would prove to be effectively a visual version of the radio show, as the style was virtually the same [including the scripts, as the majority of them were adapted from radio]. The TV show could be listened to without watching it, with no loss of understanding of the storyline.
http://en.wikipedia.org/wiki/Dragnet_%28series%29
- published: 15 Nov 2012
- views: 96973
Part 3 - Jane Eyre Audiobook by Charlotte Bronte (Chs 12-16)
- Order: Reorder
- Duration: 2:14:48
- Updated: 22 Sep 2011
- views: 392477
Part 3. Classic Literature VideoBook with synchronized text, interactive transcript, and closed captions in multiple languages. Audio courtesy of Librivox. Read...
Part 3. Classic Literature VideoBook with synchronized text, interactive transcript, and closed captions in multiple languages. Audio courtesy of Librivox. Read by Elizabeth Klett.
Playlist for Jane Eyre by Charlotte Brontë: http://www.youtube.com/playlist?list=PL2AAEFCAF1D04E74E
Jane Eyre free audiobook at Librivox: http://librivox.org/jane-eyre-version-3-by-charlotte-bronte/
Jane Eyre free eBook at Project Gutenberg: http://www.gutenberg.org/ebooks/1260
Jane Eyre at Wikipedia: http://en.wikipedia.org/wiki/Jane_Eyre
View a list of all our videobooks: http://www.ccprose.com/booklist
https://wn.com/Part_3_Jane_Eyre_Audiobook_By_Charlotte_Bronte_(Chs_12_16)
Part 3. Classic Literature VideoBook with synchronized text, interactive transcript, and closed captions in multiple languages. Audio courtesy of Librivox. Read by Elizabeth Klett.
Playlist for Jane Eyre by Charlotte Brontë: http://www.youtube.com/playlist?list=PL2AAEFCAF1D04E74E
Jane Eyre free audiobook at Librivox: http://librivox.org/jane-eyre-version-3-by-charlotte-bronte/
Jane Eyre free eBook at Project Gutenberg: http://www.gutenberg.org/ebooks/1260
Jane Eyre at Wikipedia: http://en.wikipedia.org/wiki/Jane_Eyre
View a list of all our videobooks: http://www.ccprose.com/booklist
- published: 22 Sep 2011
- views: 392477
-
Classic Movie Bloopers and Mistakes: Film Stars Uncensored - 1930s and 1940s Outtakes
Classical Hollywood cinema or the classical Hollywood narrative, are terms used in film history which designate both a visual and sound style for making motion pictures and a mode of production used in the American film industry between 1917 and 1960. More bloopers: https://www.amazon.com/gp/search?ie=UTF8&tag;=tra0c7-20&linkCode;=ur2&linkId;=2e2330f57788ff94fc8dbab62c46051c&camp;=1789&creative;=9325&index;=dvd&keywords;=classic%20movie%20bloopers This period is often referred to as the "Golden Age of Hollywood." An identifiable cinematic form emerged during this period called classical Hollywood style. Classical style is fundamentally built on the principle of continuity editing or "invisible" style. That is, the camera and the sound recording should never call attention to themselves (as they...
published: 09 Aug 2012 -
The Bodyguard
This box office blockbuster stars Academy Award-winner Kevin Costner ("The Guardian," "The Upside of Anger") and Grammy Award-winner Whitney Houston ("Waiting to Exhale") in a romantic suspense thriller about an ex-secret service agent-turned-professional-bodyguard, who never leaves anything up to chance, until he meets a pop superstar-turned-actress whose fabulous career takes a life threatening turn when she becomes the target of an obsessive fan. Written by Lawrence Kasdan ("The Big Chill," "Raiders of the Lost Ark"), The New York Post calls this film "Costner's sexiest role to date," and Gannett News Service calls it "an entertaining, suspenseful, romantic thriller... Costner and Houston generate sparks.
published: 11 Mar 2014 -
Jersey Boys
Clint Eastwood’s big screen version of the Tony Award®-winning musical tells the story of the four young men from the wrong side of the tracks in New Jersey who came together to form the iconic '60s rock group The Four Seasons. Their trials and triumphs are accompanied by the hit songs that influenced a generation, and are now being embraced by a new generation of fans through the stage musical.
published: 19 Oct 2014 -
DVD 3 of 4: Loving the Silent Tears: The Musical
Multi-language subtitles can be accessed via the Youtube settings button (cogwheel icon ☼) on the bottom right corner of the video box. This is the full video of the official DVD release, available in Full HD (high definition) quality. *** DVD3 (length 2hr 9m) *** - The Making of Loving the Silent Tears - Art Exhibition - The Inspiration
published: 22 Sep 2015 -
Suspense: Mister Markham, Antique Dealer / The ABC Murders / Sorry, Wrong Number - East Coast
One of the premier drama programs of the Golden Age of Radio, was subtitled "radio's outstanding theater of thrills" and focused on suspense thriller-type scripts, usually featuring leading Hollywood actors of the era. Approximately 945 episodes were broadcast during its long run, and more than 900 are extant. Suspense went through several major phases, characterized by different hosts, sponsors, and director/producers. Formula plot devices were followed for all but a handful of episodes: the protagonist was usually a normal person suddenly dropped into a threatening or bizarre situation; solutions were "withheld until the last possible second"; and evildoers were usually punished in the end. In its early years, the program made only occasional forays into science fiction and fantasy. No...
published: 05 Feb 2013 -
Subways Are for Sleeping / Only Johnny Knows / Colloquy 2: A Dissertation on Love
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played in 1961-62. The musical was inspired by an article about subway homelessness in the March 1956 issue of Harper's and a subsequent 1957 book based on it, both by Edmund G. Love, who slept on subway trains throughout the 1950s and encountered many unique individuals. With the profits from his book, Love then embarked on a bizarre hobby: over the course of several years, he ate dinner at every restaurant listed in the Manhattan yellow pages directory, visiting them in alphabetical order. After two previews, the Broadway production, directed and choreographed by Michael Kidd, opened on December 27, 1961 at the St. James Theatre, where ...
published: 31 Dec 2012 -
Suspense: Suspicion
One of the series' earliest successes and its single most popular episode is Lucille Fletcher's "Sorry, Wrong Number," about a bedridden woman (Agnes Moorehead) who panics after overhearing a murder plot on a crossed telephone connection but is unable to persuade anyone to investigate. First broadcast on May 25, 1943, it was restaged seven times (last on February 14, 1960) — each time with Moorehead. The popularity of the episode led to a film adaptation, Sorry, Wrong Number (1948), starring Barbara Stanwyck. Nominated for an Academy Award for her performance, Stanwyck recreated the role on Lux Radio Theater. Loni Anderson had the lead in the TV movie Sorry, Wrong Number (1989). Another notable early episode was Fletcher's "The Hitch Hiker," in which a motorist (Orson Welles) is stalked on...
published: 12 Mar 2013 -
Savings and Loan Scandal: Taxpayer Bailout
The thrift industry has its origins in the British building society movement that emerged in the late 18th century. American thrifts (known then as "building and loans" or "B&Ls;") shared many of the same basic goals: to help working-class men and women save for the future and purchase homes. Thrifts were not-for-profit cooperative organizations that were typically managed by the membership and local institutions that served well-defined groups of aspiring homeowners. While banks offered a wide array of products to individuals and businesses, thrifts often made only home mortgages primarily to working-class men and women. Thrift leaders believed they were part of a broader social reform effort and not a financial industry. According to thrift leaders, B&Ls; not only helped people become bett...
published: 25 Jun 2012 -
Dragnet: Big Cab / Big Slip / Big Try / Big Little Mother
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects. Scripts tackled a number of topics, ranging from the thrilling (murders, missing persons and armed robbery) to the mundane (check fraud and shoplifting), yet "Dragnet" made them all interesting due to fast-moving plots and behind-the-scenes realism. In "The Garbage Chute" (December 15, 1949), they even had a locked room mystery. Though rather tame by modern standards, Dragnet—especially on the radio—handled controversial subjects such as sex crimes and drug addiction with unprecedented and even startl...
published: 15 Nov 2012 -
Part 3 - Jane Eyre Audiobook by Charlotte Bronte (Chs 12-16)
Part 3. Classic Literature VideoBook with synchronized text, interactive transcript, and closed captions in multiple languages. Audio courtesy of Librivox. Read by Elizabeth Klett. Playlist for Jane Eyre by Charlotte Brontë: http://www.youtube.com/playlist?list=PL2AAEFCAF1D04E74E Jane Eyre free audiobook at Librivox: http://librivox.org/jane-eyre-version-3-by-charlotte-bronte/ Jane Eyre free eBook at Project Gutenberg: http://www.gutenberg.org/ebooks/1260 Jane Eyre at Wikipedia: http://en.wikipedia.org/wiki/Jane_Eyre View a list of all our videobooks: http://www.ccprose.com/booklist
published: 22 Sep 2011
Classic Movie Bloopers and Mistakes: Film Stars Uncensored - 1930s and 1940s Outtakes
- Order: Reorder
- Duration: 1:29:43
- Updated: 09 Aug 2012
- views: 1196377
Classical Hollywood cinema or the classical Hollywood narrative, are terms used in film history which designate both a visual and sound style for making motion ...
Classical Hollywood cinema or the classical Hollywood narrative, are terms used in film history which designate both a visual and sound style for making motion pictures and a mode of production used in the American film industry between 1917 and 1960. More bloopers: https://www.amazon.com/gp/search?ie=UTF8&tag;=tra0c7-20&linkCode;=ur2&linkId;=2e2330f57788ff94fc8dbab62c46051c&camp;=1789&creative;=9325&index;=dvd&keywords;=classic%20movie%20bloopers
This period is often referred to as the "Golden Age of Hollywood." An identifiable cinematic form emerged during this period called classical Hollywood style.
Classical style is fundamentally built on the principle of continuity editing or "invisible" style. That is, the camera and the sound recording should never call attention to themselves (as they might in films from earlier periods, other countries or in a modernist or postmodernist work).
Throughout the early 1930s, risque films and salacious advertising, became widespread in the short period known as Pre-Code Hollywood. MGM dominated the industry and had the top stars in Hollywood, and was also credited for creating the Hollywood star system altogether. MGM stars included at various times "King of Hollywood" Clark Gable, Norma Shearer, Greta Garbo, Joan Crawford, Jean Harlow, Gary Cooper, Mary Pickford, Henry Fonda, Marilyn Monroe, Elizabeth Taylor, Judy Garland, Ava Gardner, James Stewart, Katharine Hepburn, Vivien Leigh, Grace Kelly, Gene Kelly, Gloria Stuart, Fred Astaire, Ginger Rogers, John Wayne, Barbara Stanwyck, John Barrymore, Audrey Hepburn and Buster Keaton. Another great achievement of American cinema during this era came through Walt Disney's animation. In 1937, Disney created the most successful film of its time, Snow White and the Seven Dwarfs.
Many film historians have remarked upon the many great works of cinema that emerged from this period of highly regimented film-making. One reason this was possible is that, with so many movies being made, not every one had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: Citizen Kane, directed by Orson Welles and often regarded as the greatest film of all time, fits that description. In other cases, strong-willed directors like Howard Hawks, Alfred Hitchcock and Frank Capra battled the studios in order to achieve their artistic visions. The apogee of the studio system may have been the year 1939, which saw the release of such classics as The Wizard of Oz, Gone with the Wind, Stagecoach, Mr. Smith Goes to Washington, Destry Rides Again,Young Mr. Lincoln, Wuthering Heights, Only Angels Have Wings, Ninotchka, Babes in Arms, Gunga Din, and The Roaring Twenties. Among the other films from the Golden Age period that are now considered to be classics: Casablanca, The Adventures of Robin Hood, It's a Wonderful Life, It Happened One Night, King Kong, Citizen Kane, Swing Time, Some Like It Hot, A Night at the Opera, All About Eve, The Searchers, Breakfast At Tiffany's, North by Northwest, Dinner at Eight, Rebel Without a Cause, Rear Window, Double Indemnity, Mutiny on the Bounty, City Lights, Red River, The Manchurian Candidate, Bringing Up Baby, Singin' in the Rain, To Have and Have Not, Goodbye, Mr. Chips, Roman Holiday, Giant and Jezebel.
The style of Classical Hollywood cinema, as elaborated by David Bordwell, has been heavily influenced by the ideas of the Renaissance and its resurgence of mankind as the focal point.
Thus, classical narration progresses always through psychological motivation, i.e. by the will of a human character and its struggle with obstacles towards a defined goal. The aspects of space and time are subordinated to the narrative element which is usually composed of two lines of action: A romance intertwined with a more generic one such as business or, in the case of Alfred Hitchcock films, solving a crime.
Time in classical Hollywood is continuous, since non-linearity calls attention to the illusory workings of the medium. The only permissible manipulation of time in this format is the flashback. It is mostly used to introduce a memory sequence of a character, e.g. Casablanca.
Likewise, the treatment of space in classic Hollywood strives to overcome or conceal the two-dimensionality of film ("invisible style") and is strongly centered upon the human body. The majority of shots in a classical film focus on gestures or facial expressions (medium-long and medium shots). André Bazin once compared classical film to a photographed play in that the events seem to exist objectively and that cameras only give us the best view of the whole play.
http://en.wikipedia.org/wiki/Classical_Hollywood_cinema
https://wn.com/Classic_Movie_Bloopers_And_Mistakes_Film_Stars_Uncensored_1930S_And_1940S_Outtakes
Classical Hollywood cinema or the classical Hollywood narrative, are terms used in film history which designate both a visual and sound style for making motion pictures and a mode of production used in the American film industry between 1917 and 1960. More bloopers: https://www.amazon.com/gp/search?ie=UTF8&tag;=tra0c7-20&linkCode;=ur2&linkId;=2e2330f57788ff94fc8dbab62c46051c&camp;=1789&creative;=9325&index;=dvd&keywords;=classic%20movie%20bloopers
This period is often referred to as the "Golden Age of Hollywood." An identifiable cinematic form emerged during this period called classical Hollywood style.
Classical style is fundamentally built on the principle of continuity editing or "invisible" style. That is, the camera and the sound recording should never call attention to themselves (as they might in films from earlier periods, other countries or in a modernist or postmodernist work).
Throughout the early 1930s, risque films and salacious advertising, became widespread in the short period known as Pre-Code Hollywood. MGM dominated the industry and had the top stars in Hollywood, and was also credited for creating the Hollywood star system altogether. MGM stars included at various times "King of Hollywood" Clark Gable, Norma Shearer, Greta Garbo, Joan Crawford, Jean Harlow, Gary Cooper, Mary Pickford, Henry Fonda, Marilyn Monroe, Elizabeth Taylor, Judy Garland, Ava Gardner, James Stewart, Katharine Hepburn, Vivien Leigh, Grace Kelly, Gene Kelly, Gloria Stuart, Fred Astaire, Ginger Rogers, John Wayne, Barbara Stanwyck, John Barrymore, Audrey Hepburn and Buster Keaton. Another great achievement of American cinema during this era came through Walt Disney's animation. In 1937, Disney created the most successful film of its time, Snow White and the Seven Dwarfs.
Many film historians have remarked upon the many great works of cinema that emerged from this period of highly regimented film-making. One reason this was possible is that, with so many movies being made, not every one had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: Citizen Kane, directed by Orson Welles and often regarded as the greatest film of all time, fits that description. In other cases, strong-willed directors like Howard Hawks, Alfred Hitchcock and Frank Capra battled the studios in order to achieve their artistic visions. The apogee of the studio system may have been the year 1939, which saw the release of such classics as The Wizard of Oz, Gone with the Wind, Stagecoach, Mr. Smith Goes to Washington, Destry Rides Again,Young Mr. Lincoln, Wuthering Heights, Only Angels Have Wings, Ninotchka, Babes in Arms, Gunga Din, and The Roaring Twenties. Among the other films from the Golden Age period that are now considered to be classics: Casablanca, The Adventures of Robin Hood, It's a Wonderful Life, It Happened One Night, King Kong, Citizen Kane, Swing Time, Some Like It Hot, A Night at the Opera, All About Eve, The Searchers, Breakfast At Tiffany's, North by Northwest, Dinner at Eight, Rebel Without a Cause, Rear Window, Double Indemnity, Mutiny on the Bounty, City Lights, Red River, The Manchurian Candidate, Bringing Up Baby, Singin' in the Rain, To Have and Have Not, Goodbye, Mr. Chips, Roman Holiday, Giant and Jezebel.
The style of Classical Hollywood cinema, as elaborated by David Bordwell, has been heavily influenced by the ideas of the Renaissance and its resurgence of mankind as the focal point.
Thus, classical narration progresses always through psychological motivation, i.e. by the will of a human character and its struggle with obstacles towards a defined goal. The aspects of space and time are subordinated to the narrative element which is usually composed of two lines of action: A romance intertwined with a more generic one such as business or, in the case of Alfred Hitchcock films, solving a crime.
Time in classical Hollywood is continuous, since non-linearity calls attention to the illusory workings of the medium. The only permissible manipulation of time in this format is the flashback. It is mostly used to introduce a memory sequence of a character, e.g. Casablanca.
Likewise, the treatment of space in classic Hollywood strives to overcome or conceal the two-dimensionality of film ("invisible style") and is strongly centered upon the human body. The majority of shots in a classical film focus on gestures or facial expressions (medium-long and medium shots). André Bazin once compared classical film to a photographed play in that the events seem to exist objectively and that cameras only give us the best view of the whole play.
http://en.wikipedia.org/wiki/Classical_Hollywood_cinema
- published: 09 Aug 2012
- views: 1196377
The Bodyguard
- Order: Reorder
- Duration: 2:09:16
- Updated: 11 Mar 2014
- views: 6651
This box office blockbuster stars Academy Award-winner Kevin Costner ("The Guardian," "The Upside of Anger") and Grammy Award-winner Whitney Houston ("Waiting t...
This box office blockbuster stars Academy Award-winner Kevin Costner ("The Guardian," "The Upside of Anger") and Grammy Award-winner Whitney Houston ("Waiting to Exhale") in a romantic suspense thriller about an ex-secret service agent-turned-professional-bodyguard, who never leaves anything up to chance, until he meets a pop superstar-turned-actress whose fabulous career takes a life threatening turn when she becomes the target of an obsessive fan. Written by Lawrence Kasdan ("The Big Chill," "Raiders of the Lost Ark"), The New York Post calls this film "Costner's sexiest role to date," and Gannett News Service calls it "an entertaining, suspenseful, romantic thriller... Costner and Houston generate sparks.
https://wn.com/The_Bodyguard
This box office blockbuster stars Academy Award-winner Kevin Costner ("The Guardian," "The Upside of Anger") and Grammy Award-winner Whitney Houston ("Waiting to Exhale") in a romantic suspense thriller about an ex-secret service agent-turned-professional-bodyguard, who never leaves anything up to chance, until he meets a pop superstar-turned-actress whose fabulous career takes a life threatening turn when she becomes the target of an obsessive fan. Written by Lawrence Kasdan ("The Big Chill," "Raiders of the Lost Ark"), The New York Post calls this film "Costner's sexiest role to date," and Gannett News Service calls it "an entertaining, suspenseful, romantic thriller... Costner and Houston generate sparks.
- published: 11 Mar 2014
- views: 6651
Jersey Boys
- Order: Reorder
- Duration: 2:14:14
- Updated: 19 Oct 2014
- views: 61
Clint Eastwood’s big screen version of the Tony Award®-winning musical tells the story of the four young men from the wrong side of the tracks in New Jersey who...
Clint Eastwood’s big screen version of the Tony Award®-winning musical tells the story of the four young men from the wrong side of the tracks in New Jersey who came together to form the iconic '60s rock group The Four Seasons. Their trials and triumphs are accompanied by the hit songs that influenced a generation, and are now being embraced by a new generation of fans through the stage musical.
https://wn.com/Jersey_Boys
Clint Eastwood’s big screen version of the Tony Award®-winning musical tells the story of the four young men from the wrong side of the tracks in New Jersey who came together to form the iconic '60s rock group The Four Seasons. Their trials and triumphs are accompanied by the hit songs that influenced a generation, and are now being embraced by a new generation of fans through the stage musical.
- published: 19 Oct 2014
- views: 61
DVD 3 of 4: Loving the Silent Tears: The Musical
- Order: Reorder
- Duration: 2:09:06
- Updated: 22 Sep 2015
- views: 3041
Multi-language subtitles can be accessed via the Youtube settings button (cogwheel icon ☼) on the bottom right corner of the video box.
This is the full video ...
Multi-language subtitles can be accessed via the Youtube settings button (cogwheel icon ☼) on the bottom right corner of the video box.
This is the full video of the official DVD release, available in Full HD (high definition) quality.
*** DVD3 (length 2hr 9m) ***
- The Making of Loving the Silent Tears
- Art Exhibition
- The Inspiration
https://wn.com/Dvd_3_Of_4_Loving_The_Silent_Tears_The_Musical
Multi-language subtitles can be accessed via the Youtube settings button (cogwheel icon ☼) on the bottom right corner of the video box.
This is the full video of the official DVD release, available in Full HD (high definition) quality.
*** DVD3 (length 2hr 9m) ***
- The Making of Loving the Silent Tears
- Art Exhibition
- The Inspiration
- published: 22 Sep 2015
- views: 3041
Suspense: Mister Markham, Antique Dealer / The ABC Murders / Sorry, Wrong Number - East Coast
- Order: Reorder
- Duration: 1:30:16
- Updated: 05 Feb 2013
- views: 10108
One of the premier drama programs of the Golden Age of Radio, was subtitled "radio's outstanding theater of thrills" and focused on suspense thriller-type scrip...
One of the premier drama programs of the Golden Age of Radio, was subtitled "radio's outstanding theater of thrills" and focused on suspense thriller-type scripts, usually featuring leading Hollywood actors of the era. Approximately 945 episodes were broadcast during its long run, and more than 900 are extant.
Suspense went through several major phases, characterized by different hosts, sponsors, and director/producers. Formula plot devices were followed for all but a handful of episodes: the protagonist was usually a normal person suddenly dropped into a threatening or bizarre situation; solutions were "withheld until the last possible second"; and evildoers were usually punished in the end.
In its early years, the program made only occasional forays into science fiction and fantasy. Notable exceptions include adaptations of Curt Siodmak's Donovan's Brain and H. P. Lovecraft's "The Dunwich Horror", but by the late 1950s, such material was regularly featured.
http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29
https://wn.com/Suspense_Mister_Markham,_Antique_Dealer_The_Abc_Murders_Sorry,_Wrong_Number_East_Coast
One of the premier drama programs of the Golden Age of Radio, was subtitled "radio's outstanding theater of thrills" and focused on suspense thriller-type scripts, usually featuring leading Hollywood actors of the era. Approximately 945 episodes were broadcast during its long run, and more than 900 are extant.
Suspense went through several major phases, characterized by different hosts, sponsors, and director/producers. Formula plot devices were followed for all but a handful of episodes: the protagonist was usually a normal person suddenly dropped into a threatening or bizarre situation; solutions were "withheld until the last possible second"; and evildoers were usually punished in the end.
In its early years, the program made only occasional forays into science fiction and fantasy. Notable exceptions include adaptations of Curt Siodmak's Donovan's Brain and H. P. Lovecraft's "The Dunwich Horror", but by the late 1950s, such material was regularly featured.
http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29
- published: 05 Feb 2013
- views: 10108
Subways Are for Sleeping / Only Johnny Knows / Colloquy 2: A Dissertation on Love
- Order: Reorder
- Duration: 1:29:15
- Updated: 31 Dec 2012
- views: 247899
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played i...
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played in 1961-62.
The musical was inspired by an article about subway homelessness in the March 1956 issue of Harper's and a subsequent 1957 book based on it, both by Edmund G. Love, who slept on subway trains throughout the 1950s and encountered many unique individuals. With the profits from his book, Love then embarked on a bizarre hobby: over the course of several years, he ate dinner at every restaurant listed in the Manhattan yellow pages directory, visiting them in alphabetical order.
After two previews, the Broadway production, directed and choreographed by Michael Kidd, opened on December 27, 1961 at the St. James Theatre, where it ran for 205 performances. The cast included Orson Bean, Sydney Chaplin, Carol Lawrence, Gordon Connell, Grayson Hall, and Green's wife Phyllis Newman (whose costume, consisting solely of a towel, was probably Freddy Wittop's easiest design in his distinguished career), with newcomers Michael Bennett and Valerie Harper in the chorus.
Subways Are for Sleeping opened to mostly negative reviews. The show already was hampered by a lack of publicity, since the New York City Transit Authority refused to post advertisements on the city's buses and in subway trains and stations for fear they would be perceived as officially sanctioning the right of vagrants to use these facilities as overnight accommodations. Producer David Merrick and press agent Harvey Sabinson decided to invite individuals with the same names as prominent theatre critics (such as Walter Kerr, Richard Watts, Jr. and Howard Taubman) to see the show and afterwards used their favorable comments in print ads. Thanks to photographs of the seven "critics" accompanying their blurbs (the well-known real Richard Watts was not African American), the ad was discovered to be a deception by a copy editor. It was pulled from most newspapers, but not before running in an early edition of the New York Herald Tribune. However, the clever publicity stunt allowed the musical to continue to run and it eventually turned a small profit.
Newman won the Tony Award for Best Featured Actress in a Musical, and nominations went to Bean for Best Featured Actor and Kidd's choreography.
http://en.wikipedia.org/wiki/Subways_Are_For_Sleeping
https://wn.com/Subways_Are_For_Sleeping_Only_Johnny_Knows_Colloquy_2_A_Dissertation_On_Love
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The original Broadway production played in 1961-62.
The musical was inspired by an article about subway homelessness in the March 1956 issue of Harper's and a subsequent 1957 book based on it, both by Edmund G. Love, who slept on subway trains throughout the 1950s and encountered many unique individuals. With the profits from his book, Love then embarked on a bizarre hobby: over the course of several years, he ate dinner at every restaurant listed in the Manhattan yellow pages directory, visiting them in alphabetical order.
After two previews, the Broadway production, directed and choreographed by Michael Kidd, opened on December 27, 1961 at the St. James Theatre, where it ran for 205 performances. The cast included Orson Bean, Sydney Chaplin, Carol Lawrence, Gordon Connell, Grayson Hall, and Green's wife Phyllis Newman (whose costume, consisting solely of a towel, was probably Freddy Wittop's easiest design in his distinguished career), with newcomers Michael Bennett and Valerie Harper in the chorus.
Subways Are for Sleeping opened to mostly negative reviews. The show already was hampered by a lack of publicity, since the New York City Transit Authority refused to post advertisements on the city's buses and in subway trains and stations for fear they would be perceived as officially sanctioning the right of vagrants to use these facilities as overnight accommodations. Producer David Merrick and press agent Harvey Sabinson decided to invite individuals with the same names as prominent theatre critics (such as Walter Kerr, Richard Watts, Jr. and Howard Taubman) to see the show and afterwards used their favorable comments in print ads. Thanks to photographs of the seven "critics" accompanying their blurbs (the well-known real Richard Watts was not African American), the ad was discovered to be a deception by a copy editor. It was pulled from most newspapers, but not before running in an early edition of the New York Herald Tribune. However, the clever publicity stunt allowed the musical to continue to run and it eventually turned a small profit.
Newman won the Tony Award for Best Featured Actress in a Musical, and nominations went to Bean for Best Featured Actor and Kidd's choreography.
http://en.wikipedia.org/wiki/Subways_Are_For_Sleeping
- published: 31 Dec 2012
- views: 247899
Suspense: Suspicion
- Order: Reorder
- Duration: 1:01:52
- Updated: 12 Mar 2013
- views: 3221
One of the series' earliest successes and its single most popular episode is Lucille Fletcher's "Sorry, Wrong Number," about a bedridden woman (Agnes Moorehead)...
One of the series' earliest successes and its single most popular episode is Lucille Fletcher's "Sorry, Wrong Number," about a bedridden woman (Agnes Moorehead) who panics after overhearing a murder plot on a crossed telephone connection but is unable to persuade anyone to investigate. First broadcast on May 25, 1943, it was restaged seven times (last on February 14, 1960) — each time with Moorehead. The popularity of the episode led to a film adaptation, Sorry, Wrong Number (1948), starring Barbara Stanwyck. Nominated for an Academy Award for her performance, Stanwyck recreated the role on Lux Radio Theater. Loni Anderson had the lead in the TV movie Sorry, Wrong Number (1989). Another notable early episode was Fletcher's "The Hitch Hiker," in which a motorist (Orson Welles) is stalked on a cross-country trip by a nondescript man who keeps appearing on the side of the road. This episode originally aired on September 2, 1942, and was later adapted for television by Rod Serling as a 1960 episode of The Twilight Zone.
After the network sustained the program during its first two years, the sponsor became Roma Wines (1944--1947), and then (after another brief period of sustained hour-long episodes, initially featuring Robert Montgomery as host and "producer" in early 1948), Autolite Spark Plugs (1948--1954); eventually Harlow Wilcox (of Fibber McGee and Molly) became the pitchman. William Spier, Norman MacDonnell and Anton M. Leader were among the producers and directors.
The program's heyday was in the early 1950s, when radio actor, producer and director Elliott Lewis took over (still during the Wilcox/Autolite run). Here the material reached new levels of sophistication. The writing was taut, and the casting, which had always been a strong point of the series (featuring such film stars as Orson Welles, Joseph Cotten, Henry Fonda, Humphrey Bogart, Judy Garland, Ronald Colman, Marlene Dietrich, Eve McVeagh, Lena Horne, and Cary Grant), took an unexpected turn when Lewis expanded the repertory to include many of radio's famous drama and comedy stars — often playing against type — such as Jack Benny. Jim and Marian Jordan of Fibber McGee and Molly were heard in the episode, "Backseat Driver," which originally aired February 3, 1949.
http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29
https://wn.com/Suspense_Suspicion
One of the series' earliest successes and its single most popular episode is Lucille Fletcher's "Sorry, Wrong Number," about a bedridden woman (Agnes Moorehead) who panics after overhearing a murder plot on a crossed telephone connection but is unable to persuade anyone to investigate. First broadcast on May 25, 1943, it was restaged seven times (last on February 14, 1960) — each time with Moorehead. The popularity of the episode led to a film adaptation, Sorry, Wrong Number (1948), starring Barbara Stanwyck. Nominated for an Academy Award for her performance, Stanwyck recreated the role on Lux Radio Theater. Loni Anderson had the lead in the TV movie Sorry, Wrong Number (1989). Another notable early episode was Fletcher's "The Hitch Hiker," in which a motorist (Orson Welles) is stalked on a cross-country trip by a nondescript man who keeps appearing on the side of the road. This episode originally aired on September 2, 1942, and was later adapted for television by Rod Serling as a 1960 episode of The Twilight Zone.
After the network sustained the program during its first two years, the sponsor became Roma Wines (1944--1947), and then (after another brief period of sustained hour-long episodes, initially featuring Robert Montgomery as host and "producer" in early 1948), Autolite Spark Plugs (1948--1954); eventually Harlow Wilcox (of Fibber McGee and Molly) became the pitchman. William Spier, Norman MacDonnell and Anton M. Leader were among the producers and directors.
The program's heyday was in the early 1950s, when radio actor, producer and director Elliott Lewis took over (still during the Wilcox/Autolite run). Here the material reached new levels of sophistication. The writing was taut, and the casting, which had always been a strong point of the series (featuring such film stars as Orson Welles, Joseph Cotten, Henry Fonda, Humphrey Bogart, Judy Garland, Ronald Colman, Marlene Dietrich, Eve McVeagh, Lena Horne, and Cary Grant), took an unexpected turn when Lewis expanded the repertory to include many of radio's famous drama and comedy stars — often playing against type — such as Jack Benny. Jim and Marian Jordan of Fibber McGee and Molly were heard in the episode, "Backseat Driver," which originally aired February 3, 1949.
http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29
- published: 12 Mar 2013
- views: 3221
Savings and Loan Scandal: Taxpayer Bailout
- Order: Reorder
- Duration: 52:23
- Updated: 25 Jun 2012
- views: 26328
The thrift industry has its origins in the British building society movement that emerged in the late 18th century. American thrifts (known then as "building an...
The thrift industry has its origins in the British building society movement that emerged in the late 18th century. American thrifts (known then as "building and loans" or "B&Ls;") shared many of the same basic goals: to help working-class men and women save for the future and purchase homes. Thrifts were not-for-profit cooperative organizations that were typically managed by the membership and local institutions that served well-defined groups of aspiring homeowners. While banks offered a wide array of products to individuals and businesses, thrifts often made only home mortgages primarily to working-class men and women. Thrift leaders believed they were part of a broader social reform effort and not a financial industry. According to thrift leaders, B&Ls; not only helped people become better citizens by making it easier to buy a home, they also taught the habits of systematic savings and mutual cooperation which strengthened personal morals.
The first thrift was formed in 1831, and for 40 years there were few B&Ls;, found in only a handful of Midwestern and Eastern states. This situation changed in the late 19th century as urban growth and the demand for housing related to the Second Industrial Revolution caused the number of thrifts to explode. The popularity of B&Ls; led to the creation of a new type of thrift in the 1880s called the "national" B&L;. The "nationals" were often for-profit businesses formed by bankers or industrialists that employed promoters to form local branches to sell shares to prospective members. The "nationals" promised to pay savings rates up to four times greater than any other financial institution.
The Depression of 1893 (the Panic of 1893) caused a decline in members, and so "nationals" experienced a sudden reversal of fortunes. Because a steady stream of new members was critical for a "national" to pay both the interest on savings and the hefty salaries for the organizers, the falloff in payments caused dozens of "nationals" to fail. By the end of the 19th century, nearly all the "nationals" were out of business (National Building and Loans Crisis). This led to the creation of the first state regulations governing B&Ls;, to make thrift operations more uniform, and the formation of a national trade association to not only protect B&L; interests, but also promote business growth. The trade association led efforts to create more uniform accounting, appraisal, and lending procedures. It also spearheaded the drive to have all thrifts refer to themselves as "savings and loans" not B&Ls;, and to convince managers of the need to assume more professional roles as financiers.
In the 20th century, the two decades that followed the end of World War II were the most successful period in the history of the thrift industry. The return of millions of servicemen eager to take up their prewar lives led to a dramatic increase in new families, and this "baby boom" caused a surge in new mostly suburban home construction. By the 1940s S&Ls; (the name change occurred in the late 1930s) provided most of the financing for this expansion. The result was strong industry expansion that lasted through the early 1960s.
An important trend involved raising rates paid on savings to lure deposits, a practice that resulted in periodic rate wars between thrifts and even commercial banks. These wars became so severe that in 1966 the United States Congress took the highly unusual move of setting limits on savings rates for both commercial banks and S&Ls.; From 1966 to 1979, the enactment of rate controls presented thrifts with a number of unprecedented challenges, chief of which was finding ways to continue to expand in an economy characterized by slow growth, high interest rates and inflation. These conditions, which came to be known as stagflation, wreaked havoc with thrift finances for a variety of reasons. Because regulators controlled the rates thrifts could pay on savings, when interest rates rose depositors often withdrew their funds and placed them in accounts that earned market rates, a process known as disintermediation. At the same time, rising rates and a slow growth economy made it harder for people to qualify for mortgages that in turn limited the ability to generate income.
http://en.wikipedia.org/wiki/Savings_and_loan_scandal
https://wn.com/Savings_And_Loan_Scandal_Taxpayer_Bailout
The thrift industry has its origins in the British building society movement that emerged in the late 18th century. American thrifts (known then as "building and loans" or "B&Ls;") shared many of the same basic goals: to help working-class men and women save for the future and purchase homes. Thrifts were not-for-profit cooperative organizations that were typically managed by the membership and local institutions that served well-defined groups of aspiring homeowners. While banks offered a wide array of products to individuals and businesses, thrifts often made only home mortgages primarily to working-class men and women. Thrift leaders believed they were part of a broader social reform effort and not a financial industry. According to thrift leaders, B&Ls; not only helped people become better citizens by making it easier to buy a home, they also taught the habits of systematic savings and mutual cooperation which strengthened personal morals.
The first thrift was formed in 1831, and for 40 years there were few B&Ls;, found in only a handful of Midwestern and Eastern states. This situation changed in the late 19th century as urban growth and the demand for housing related to the Second Industrial Revolution caused the number of thrifts to explode. The popularity of B&Ls; led to the creation of a new type of thrift in the 1880s called the "national" B&L;. The "nationals" were often for-profit businesses formed by bankers or industrialists that employed promoters to form local branches to sell shares to prospective members. The "nationals" promised to pay savings rates up to four times greater than any other financial institution.
The Depression of 1893 (the Panic of 1893) caused a decline in members, and so "nationals" experienced a sudden reversal of fortunes. Because a steady stream of new members was critical for a "national" to pay both the interest on savings and the hefty salaries for the organizers, the falloff in payments caused dozens of "nationals" to fail. By the end of the 19th century, nearly all the "nationals" were out of business (National Building and Loans Crisis). This led to the creation of the first state regulations governing B&Ls;, to make thrift operations more uniform, and the formation of a national trade association to not only protect B&L; interests, but also promote business growth. The trade association led efforts to create more uniform accounting, appraisal, and lending procedures. It also spearheaded the drive to have all thrifts refer to themselves as "savings and loans" not B&Ls;, and to convince managers of the need to assume more professional roles as financiers.
In the 20th century, the two decades that followed the end of World War II were the most successful period in the history of the thrift industry. The return of millions of servicemen eager to take up their prewar lives led to a dramatic increase in new families, and this "baby boom" caused a surge in new mostly suburban home construction. By the 1940s S&Ls; (the name change occurred in the late 1930s) provided most of the financing for this expansion. The result was strong industry expansion that lasted through the early 1960s.
An important trend involved raising rates paid on savings to lure deposits, a practice that resulted in periodic rate wars between thrifts and even commercial banks. These wars became so severe that in 1966 the United States Congress took the highly unusual move of setting limits on savings rates for both commercial banks and S&Ls.; From 1966 to 1979, the enactment of rate controls presented thrifts with a number of unprecedented challenges, chief of which was finding ways to continue to expand in an economy characterized by slow growth, high interest rates and inflation. These conditions, which came to be known as stagflation, wreaked havoc with thrift finances for a variety of reasons. Because regulators controlled the rates thrifts could pay on savings, when interest rates rose depositors often withdrew their funds and placed them in accounts that earned market rates, a process known as disintermediation. At the same time, rising rates and a slow growth economy made it harder for people to qualify for mortgages that in turn limited the ability to generate income.
http://en.wikipedia.org/wiki/Savings_and_loan_scandal
- published: 25 Jun 2012
- views: 26328
Dragnet: Big Cab / Big Slip / Big Try / Big Little Mother
- Order: Reorder
- Duration: 1:51:41
- Updated: 15 Nov 2012
- views: 96973
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes...
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects.
Scripts tackled a number of topics, ranging from the thrilling (murders, missing persons and armed robbery) to the mundane (check fraud and shoplifting), yet "Dragnet" made them all interesting due to fast-moving plots and behind-the-scenes realism. In "The Garbage Chute" (December 15, 1949), they even had a locked room mystery.
Though rather tame by modern standards, Dragnet—especially on the radio—handled controversial subjects such as sex crimes and drug addiction with unprecedented and even startling realism. In one such example, Dragnet broke one of the unspoken (and still rarely broached) taboos of popular entertainment in the episode ".22 Rifle for Christmas" which aired December 22, 1949 and was repeated at Christmastime for the next three years. The episode followed the search for two young boys, Stanley Johnstone and Stevie Morheim, only to discover Stevie had been accidentally killed while playing with a rifle that belonged to Stanley—who'd be receiving it as a Christmas present but opened the box early; Stanley finally told Friday that Stevie was running while holding the rifle when he tripped and fell, causing the gun to discharge, fatally wounding Morheim. NBC received thousands of complaint letters, including a formal protest by the National Rifle Association. Webb forwarded many of the letters to police chief Parker who promised "ten more shows illustrating the folly of giving rifles to children". (Dunning, 211)
Another episode dealt with high school girls who, rather than finding Hollywood stardom, fall in with fraudulent talent scouts and end up in pornography and prostitution. Both this episode and ".22 Rifle for Christmas" were adapted for television, with very few script changes, when Dragnet moved to that medium. Another episode, "The Big Trio" (July 3, 1952), detailed three cases in one episode, including reckless and dangerous (in this case, fatal) driving by unlicensed juveniles. With regard to drugs, Webb's strident anti-drug statements, continued into the TV run, would be derided as camp by later audiences; yet his character also showed genuine concern and sympathy for addicts as victims, especially in the case of juveniles.
The tone was usually serious, but there were moments of comic relief: Romero was something of a hypochondriac and often seemed henpecked; Frank Smith continually complained about his brother-in-law Armand; though Friday dated, he usually dodged women who tried to set him up with marriage-minded dates.
Due in part to Webb's fondness for radio drama, Dragnet persisted on radio until 1957 (the last two seasons were repeats) as one of the last old time radio shows to give way to television's increasing popularity. In fact, the TV show would prove to be effectively a visual version of the radio show, as the style was virtually the same [including the scripts, as the majority of them were adapted from radio]. The TV show could be listened to without watching it, with no loss of understanding of the storyline.
http://en.wikipedia.org/wiki/Dragnet_%28series%29
https://wn.com/Dragnet_Big_Cab_Big_Slip_Big_Try_Big_Little_Mother
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects.
Scripts tackled a number of topics, ranging from the thrilling (murders, missing persons and armed robbery) to the mundane (check fraud and shoplifting), yet "Dragnet" made them all interesting due to fast-moving plots and behind-the-scenes realism. In "The Garbage Chute" (December 15, 1949), they even had a locked room mystery.
Though rather tame by modern standards, Dragnet—especially on the radio—handled controversial subjects such as sex crimes and drug addiction with unprecedented and even startling realism. In one such example, Dragnet broke one of the unspoken (and still rarely broached) taboos of popular entertainment in the episode ".22 Rifle for Christmas" which aired December 22, 1949 and was repeated at Christmastime for the next three years. The episode followed the search for two young boys, Stanley Johnstone and Stevie Morheim, only to discover Stevie had been accidentally killed while playing with a rifle that belonged to Stanley—who'd be receiving it as a Christmas present but opened the box early; Stanley finally told Friday that Stevie was running while holding the rifle when he tripped and fell, causing the gun to discharge, fatally wounding Morheim. NBC received thousands of complaint letters, including a formal protest by the National Rifle Association. Webb forwarded many of the letters to police chief Parker who promised "ten more shows illustrating the folly of giving rifles to children". (Dunning, 211)
Another episode dealt with high school girls who, rather than finding Hollywood stardom, fall in with fraudulent talent scouts and end up in pornography and prostitution. Both this episode and ".22 Rifle for Christmas" were adapted for television, with very few script changes, when Dragnet moved to that medium. Another episode, "The Big Trio" (July 3, 1952), detailed three cases in one episode, including reckless and dangerous (in this case, fatal) driving by unlicensed juveniles. With regard to drugs, Webb's strident anti-drug statements, continued into the TV run, would be derided as camp by later audiences; yet his character also showed genuine concern and sympathy for addicts as victims, especially in the case of juveniles.
The tone was usually serious, but there were moments of comic relief: Romero was something of a hypochondriac and often seemed henpecked; Frank Smith continually complained about his brother-in-law Armand; though Friday dated, he usually dodged women who tried to set him up with marriage-minded dates.
Due in part to Webb's fondness for radio drama, Dragnet persisted on radio until 1957 (the last two seasons were repeats) as one of the last old time radio shows to give way to television's increasing popularity. In fact, the TV show would prove to be effectively a visual version of the radio show, as the style was virtually the same [including the scripts, as the majority of them were adapted from radio]. The TV show could be listened to without watching it, with no loss of understanding of the storyline.
http://en.wikipedia.org/wiki/Dragnet_%28series%29
- published: 15 Nov 2012
- views: 96973
Part 3 - Jane Eyre Audiobook by Charlotte Bronte (Chs 12-16)
- Order: Reorder
- Duration: 2:14:48
- Updated: 22 Sep 2011
- views: 392477
Part 3. Classic Literature VideoBook with synchronized text, interactive transcript, and closed captions in multiple languages. Audio courtesy of Librivox. Read...
Part 3. Classic Literature VideoBook with synchronized text, interactive transcript, and closed captions in multiple languages. Audio courtesy of Librivox. Read by Elizabeth Klett.
Playlist for Jane Eyre by Charlotte Brontë: http://www.youtube.com/playlist?list=PL2AAEFCAF1D04E74E
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Jane Eyre at Wikipedia: http://en.wikipedia.org/wiki/Jane_Eyre
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Part 3. Classic Literature VideoBook with synchronized text, interactive transcript, and closed captions in multiple languages. Audio courtesy of Librivox. Read by Elizabeth Klett.
Playlist for Jane Eyre by Charlotte Brontë: http://www.youtube.com/playlist?list=PL2AAEFCAF1D04E74E
Jane Eyre free audiobook at Librivox: http://librivox.org/jane-eyre-version-3-by-charlotte-bronte/
Jane Eyre free eBook at Project Gutenberg: http://www.gutenberg.org/ebooks/1260
Jane Eyre at Wikipedia: http://en.wikipedia.org/wiki/Jane_Eyre
View a list of all our videobooks: http://www.ccprose.com/booklist
- published: 22 Sep 2011
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Classic Movie Bloopers and Mistakes: Film Stars Uncensored - 1930s and 1940s Outtakes
Classical Hollywood cinema or the classical Hollywood narrative, are terms used in film hi...
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The Bodyguard
This box office blockbuster stars Academy Award-winner Kevin Costner ("The Guardian," "The...
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Jersey Boys
Clint Eastwood’s big screen version of the Tony Award®-winning musical tells the story of ...
published: 19 Oct 2014
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DVD 3 of 4: Loving the Silent Tears: The Musical
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published: 22 Sep 2015
DVD 3 of 4: Loving the Silent Tears: The Musical
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Suspense: Mister Markham, Antique Dealer / The ABC Murders / Sorry, Wrong Number - East Coast
One of the premier drama programs of the Golden Age of Radio, was subtitled "radio's outst...
published: 05 Feb 2013
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Subways Are for Sleeping / Only Johnny Knows / Colloquy 2: A Dissertation on Love
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Gr...
published: 31 Dec 2012
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Suspense: Suspicion
One of the series' earliest successes and its single most popular episode is Lucille Fletc...
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52:23
Savings and Loan Scandal: Taxpayer Bailout
The thrift industry has its origins in the British building society movement that emerged ...
published: 25 Jun 2012
Savings and Loan Scandal: Taxpayer Bailout
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1:51:41
Dragnet: Big Cab / Big Slip / Big Try / Big Little Mother
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles p...
published: 15 Nov 2012
Dragnet: Big Cab / Big Slip / Big Try / Big Little Mother
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Part 3 - Jane Eyre Audiobook by Charlotte Bronte (Chs 12-16)
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Classic Movie Bloopers and Mistakes: Film Stars Uncensored - 1930s and 1940s Outtakes
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The Bodyguard
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Jersey Boys
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DVD 3 of 4: Loving the Silent Tears: The Musical
Multi-language subtitles can be accessed via the Youtube settings button (cogwheel icon ☼)...
published: 22 Sep 2015
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1:30:16
Suspense: Mister Markham, Antique Dealer / The ABC Murders / Sorry, Wrong Number - East Coast
One of the premier drama programs of the Golden Age of Radio, was subtitled "radio's outst...
published: 05 Feb 2013
Suspense: Mister Markham, Antique Dealer / The ABC Murders / Sorry, Wrong Number - East Coast
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1:29:15
Subways Are for Sleeping / Only Johnny Knows / Colloquy 2: A Dissertation on Love
Subways Are for Sleeping is a musical with a book and lyrics by Betty Comden and Adolph Gr...
published: 31 Dec 2012
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Suspense: Suspicion
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52:23
Savings and Loan Scandal: Taxpayer Bailout
The thrift industry has its origins in the British building society movement that emerged ...
published: 25 Jun 2012
Savings and Loan Scandal: Taxpayer Bailout
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1:51:41
Dragnet: Big Cab / Big Slip / Big Try / Big Little Mother
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles p...
published: 15 Nov 2012
Dragnet: Big Cab / Big Slip / Big Try / Big Little Mother
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Part 3 - Jane Eyre Audiobook by Charlotte Bronte (Chs 12-16)
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Part 3 - Jane Eyre Audiobook by Charlotte Bronte (Chs 12-16)
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Duterte says N. Korean leader Kim ‘wants to end world,’ warns Trump ‘not to play ...
Edit AfricaMetro 30 Apr 2017
AfricaMetro.Com The Best News website in Africa. Philippines President Rodrigo Duterte has urged the White House to be “prudent and patient” in dealing with North Korea’s leader, Kim Jong-un, warning that “the guy simply wants to end the world.” “There seems to be two countries playing with their toys and those toys are not really to entertain,” Duterte said during a media ... ....
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‘Swiss Machine’ Ueli Steck killed in Mt Everest accident
Edit The Himalayan 30 Apr 2017
KATHAMANDU. Ueli Steck (41), popularly known as ‘Swiss Machine’ in the mountaineering world was killed in an accident near Camp I on Mt Everest on Sunday morning, multiple sources at the base camp of the world’s highest peak confirmed. A group of six rescuers discovered a body of the multiple-record holder mountaineer near Nuptse Face of the Mt Everest where he could have slipped and fell on the ice-covered slope ... ....
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Solution for North Korean nuclear issue lies in Israel
Edit Asian Tribune 30 Apr 2017
News Comments. //. At the outset it should be made clear that none of the nuclear nations is eager to achieve total denuclearization and disarmament and none wants to dismantle its own nuclear arsenals after having spent so much of hard resources on their development and tests. But America does not want those countries that do not obey the Pentagon to have nukes as deterrence ... USA decides which country should have nukes and which not ... ....
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Spectacular end is nigh for Cassini space probe
Edit The Guardian 30 Apr 2017
After a remarkable journey around Saturn, the US spacecraft is set for a fiery finale. Space. The Observer. Spectacular end is nigh for Cassini space probe. After a remarkable journey around Saturn, the US spacecraft is set for a fiery finale. Last week, the US space probe Cassini survived an encounter of the very closest – and riskiest – kind ... It will be the spacecraft’s swan song ... It shot through the gap and came out in excellent shape ... ....
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Le Pen proposes two-currency system as 'euro is dead'
Edit Yahoo Daily News 30 Apr 2017
Paris, April 30 (IANS) French far-right National Front leader and presidential candidate Marine Le Pen on Sunday proposed a dual currency system for France, a national currency for its home economy and another for international trade as, in her opinion, the "euro is dead" ... She added that, if she wins the presidency, she will negotiate with the European Union (EU) the recovery of four "essential" sovereignties ... --IANS. ksk/vt. ....
La Liga: Suarez Double Keeps Barcelona Level With Real Madrid
Edit Yahoo Daily News 30 Apr 2017
Madrid ... But Ronaldo eased Real nerves as he planted Dani Carvajal's cross into the far corner in characteristic fashion on 27 minutes ... That miss looked costly when Dani Parejo's brilliant free-kick set up a grandstand finish eight minute from time ... Tony Adams's Granada were relegated after they lost for the fourth straight game since the Englishman took charge, going down 2-1 at Real Sociedad ... ....
La Liga: Luis Suarez double keeps FC Barcelona level with Real Madrid C.F.
Edit Hindustan Times 30 Apr 2017
FC Barcelona and Real Madrid C.F ... But Ronaldo eased Real nerves as he planted Dani Carvajal’s cross into the far corner in characteristic fashion on 27 minutes ... That miss looked costly when Dani Parejo’s brilliant free-kick set up a grandstand finish eight minute from time ... Tony Adams’s Granada were relegated after they lost for the fourth straight game since the Englishman took charge, going down 2-1 at Real Sociedad....
Suarez double keeps Barca level with Madrid
Edit The Manila Times 30 Apr 2017
AFP PHOTO. MADRID ... Ronaldo eclipses Greaves. But Ronaldo eased Real nerves as he planted Dani Carvajal’s cross into the far corner in characteristic fashion on 27 minutes ... That miss looked costly when Dani Parejo’s brilliant free-kick set up a grandstand finish eight minute from time ... Tony Adams’s Granada were relegated after they lost for the fourth straight game since the Englishman took charge, going down 2-1 at Real Sociedad ... AFP. ....
'The only thing we can do is win our games': Luis Suarez double keeps Barcelona ...
Edit The National 30 Apr 2017
__________________________________. Read more ... But Ronaldo eased Madrid nerves as he planted Dani Carvajal's cross into the far corner in characteristic fashion on 27 minutes ... That miss looked costly when Dani Parejo's brilliant free kick set up a grandstand finish eight minute from time ... Tony Adams's Granada were relegated after they lost for the fourth straight game since the Englishman took charge, going down 2-1 at Real Sociedad....
La Liga: Barcelona, Real Madrid win as title race nears climax
Edit Deccan Chronicle 30 Apr 2017
Ronaldo put Madrid ahead in the 27th when Valencia's markers lost track of the Portugal forward, leaving him alone to nod in Dani Carvajal's cross. Ronaldo then had an excellent chance to add to his 20 league goals this season in the 57th after a questionable penalty when Luka Modric fell after contact with Dani Parejo ... new coach Tony Adams....
Packers finish draft taking RB, WR depth with Utah State's Mays, LSU's Dupre
Edit Fox Sports 30 Apr 2017
The Green Bay Packers completed the 2017 NFL Draft by selecting Devante Mays and Malachi Dupre ... ....
Packers select Aggies' Mays
Edit The Salt Lake Tribune 30 Apr 2017
Knee and ankle injuries suffered this fall curtailed Utah State running back Devante Mays’ senior season before he could showcase his physical gifts. An abbreviated senior season for a junior college transfer figured to only decrease the odds of him catching the eyes of NFL scouts and talent evaluators ... <iframe src="http.//www.sltrib.com/csp/mediapool/sites/sltrib/pages/garss.csp" height="1" width="1" > </frame> ....
USU football: Devante Mays "blessed" to get drafted by Packers
Edit The Salt Lake Tribune 30 Apr 2017
Knee and ankle injuries suffered this fall curtailed Utah State running back Devante Mays’ senior season before he could showcase his physical gifts. An abbreviated senior season for a junior college transfer figured to only decrease the odds of him catching the eyes of NFL scouts and talent evaluators ... <iframe src="http.//www.sltrib.com/csp/mediapool/sites/sltrib/pages/garss.csp" height="1" width="1" > </frame> ....
USU football: Six former Aggies sign with NFL teams
Edit The Salt Lake Tribune 30 Apr 2017
Six former Utah State football players signed as undrafted free-agents following the completion of the NFL Draft on Saturday. The group includes tight end Wyatt Houston, one of the school’s all-time leading receivers at his position. The signings come on the heels of the Green Bay Packers drafting running back Devante Mays in the seventh round on Saturday....
Utah State: Devante Mays "blessed" to be drafted by Packers
Edit The Salt Lake Tribune 30 Apr 2017
Knee and ankle injuries suffered this fall curtailed Utah State running back Devante Mays’ senior season before he could truly showcase his physical gifts. An abbreviated senior season for a junior college transfer figured to only decrease the odds of him catching the eyes of NFL scouts and talent evaluators ... <iframe src="http.//www.sltrib.com/csp/mediapool/sites/sltrib/pages/garss.csp" height="1" width="1" > </frame> ....
Utah State: Packers draft Aggies running back Devante Mays in seventh round
Edit The Salt Lake Tribune 30 Apr 2017
Knee and ankle injuries suffered this fall curtailed Utah State running back Devante Mays’ senior season before he could truly showcase his physical gifts. An abbreviated senior season for a junior college transfer figured to only decrease the odds of him catching the eyes of NFL scouts and talent evaluators ... <iframe src="http.//www.sltrib.com/csp/mediapool/sites/sltrib/pages/garss.csp" height="1" width="1" > </frame> ....
Late Marcelo goal gives Real Madrid vital win against Valencia
Edit Xinhua 30 Apr 2017
Karim Benzema produced two routine saves from Valencia keeper Diego Alves, before Madrid took the lead in the 27th minute. Dani Carvajal found space to cross from the right and Cristiano Ronaldo nipped in between the defenders to flick the ball into the Valencia goal ... As the move continued Dani Parejo was judged to have held back Modric, giving Ronaldo the chance for his second of the game ... ....
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