Download Art in Cinema: Documents Toward a History of the Film Society PDF

TitleArt in Cinema: Documents Toward a History of the Film Society
PublisherTemple University Press
ISBN 139781592134267
CategoryArts - Film
Author
LanguageEnglish
File Size16.8 MB
Total Pages321
Table of Contents
                            Contents
List of Illustrations
Acknowledgments
Introduction
The Documents
Index
                        
Document Text Contents
Page 160

1947 147

Catalogue page 85.

Page 161

148 Art in Cinema: The Documents

Catalogue page 86.

Page 320

Vormittakspuk (Ghosts Before Noon) (Richter, 1927–28):
plans for including in second series, 57; in Series 4
program (fall 1948), 179

WABC-TV, desire to screen Proem, 202
Waiting (Mock, 1952): program notes, 264; in Series 9

(fall 1953), 254
Wallace, Ken, critique of Series 1, 39
Watkins, Franklin, 240
Watson, James Sibley: The Fall of the House of Usher

(1928), 29, 60, 61, 64; involvement with Amateur
Cinema League, 60, 61; Lot in Sodom (1933), 26

Watts, Alan: audience response to, 265; speech during
premiere of Venom and Eternity (1953), 250

Waverly Theater (New York), design and construction,
2

Waxworks (Leni, 1924), in Series 2 program (spring
1947), 64

“The Way of Experimental Film” (10/2/53): program
announcement, 254; program notes, 256–57

Webber, Melville: The Fall of the House of Usher (1928),
60, 61, 64; Lot in Sodom (1933), 26

Weegee, Stauffacher comments on, 218
Weggener, Paul, The Golem (1920), 65
Weinberg, Herman G.: Autumn Fire (1931), 65, 162;

comment on Escape, 70; efforts to locate Florey’s
films through, 67; experimental films owned by, 29

Wellman, William, as speaker during Series 11 (fall
1954), 8, 287

Werner, Gosta, Mid-Vinter Blot (1946), 246
West Wind. See Vinden Fran Vaster
Westbrook, Frank: in At Land (Deren, 1944), 23; in Rit-

ual in Transfigured Time, 52
Westbrook, Harriet, in Ritual in Transfigured Time

(1946), 190
Whence Does He Come?, in spring 1947 series program,

64
White Flood (Berman, Wolff and Stebbins, 1940): pro-

gram notes (4/4/47), 71; in Series 2 program
(spring 1947), 64

Whitney, John: rejected television spots, 214; in Series
4 program (fall 1948), 179; television spots, 216,
218

Whitney brothers (James and John): Art in Cinema
distribution of films by, 169; in early series, 3; Early
Studies (1941), 170; essay in Art in Cinema catalog,
3; Film Exercise #1 (1944), 4; Film Exercises #4 & 5
(1940–45), 65; Five Film Exercises (1943–44),
52–53; Frankenstein’s comments on, 43; Knight’s
comments on, 219; Latest Studies (1947), 171; opti-
mism about cinema as art form, 16; report to on
press preview for Series 1, 39; request for stills and
paintings from, 24–25; in Series 1 program (fall
1946), 38; Twenty-four Variations (1939), 171; on
variety of Art in Cinema audience, 163

Who Has Been Rocking My Dream Boat (Anger, 1941),
Anger’s notes for, 164

Wiene, Robert, The Cabinet of Dr. Caligari (1919), 38, 65
Willis, Eli, plans for Cinema magazine, 64
Wilson, Adran, accompaniment to The Adventures of

Jimmy (Broughton, 1950), 238
Wilson, Gerard, live accompaniment to Obnaru (Marx,

1953), 254
The Window Cleaner (Bucher, 1945), in Series 4 pro-

gram (fall 1948), 178
WJZ-TV (part of early Westinghouse television), 199
Wolff, David, White Flood (1940), 71
Women filmmakers: program notes, 264–65; “Three

Women Behind Cameras” program (10/16/53),
254

Workshop 20 (California School of Fine Arts): Mr.
Frenhofer and the Minotaur (1949), 205; The Petrified
Dog (1949), 190

The World of Paul Delvaux, efforts to book for spring
1951 series, 232

Wright, Basil, Song of Ceylon (1934), 7, 203
Wright, Frank Lloyd: interest in Davis’s films, 209; nar-

ration for Davis’s Taliesin-West (1950), 225
Wright, Margaret, complaint about seating and sound

quality, 48
Wu Tang school of boxing in Meditation on Violence

(1948), 188, 189
Wysbar, Frank, Fahrmann Maria (1936), 66

Young, Christopher, The Object Lesson (ca. 1930), 205
Young Mr. Lincoln (Ford, 1939), in Series 10 program

(spring 1954), 270, 277
Youngerman, Joseph: desire for interviews and press

coverage for “Aspects of the American Film,” 279;
participation in “Aspects of the American Film”
series, 278, 282–83

Youngerman, Joseph, in Series 8 program (fall 1952),
279–80

Zansabelle à Paris (Bo and Starevitch, 1945), in Series 8
program (fall 1952), 246

Zecca, Ferdinand: Scenes of Convict Life (1905), 64; Slip-
pery Jim (1910), 64

Zéro de conduite (Vigo, 1933), 263
Zigzag (Stauffacher, 1948), 4: Broughton’s comments

on, 182; Knight’s comments on, 199, 220; in Series
4 program (fall 1948), 178; as sound movie, 221;
suitability for viewing on television, 202; Vogel’s
inquiry about rental costs, 200

Zinnemann, Fred: fears of being known as “artistic,”
244; Oklahoma filming, 272–73; participation in
Series 10 program (spring 1954), 8, 270, 275, 277;
suggestions for “Aspects of the American Film”
series, 273; support for Stauffacher during illness,
243; thank you note to Stauffachers, 281

Index 307

Page 321

SCOTT MACDONALD has taught at Utica College, Bard College, and Hamil-ton College. He is the author of ten previous books, including the acclaimed
A Critical Cinema: Interviews with Independent Filmmakers, now in five volumes.

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