Ottorino Respighi was an Italian violinist and musicologist, best known for his trilogy of orchestral tone poems: Fountains of Rome, Pines of Rome, Roman Festivals. His musicological interest in 16th-, 17th- and 18th-century music led him to compose pieces based on the music of these periods, he wrote several operas, the most famous being La fiamma. Ottorino Respighi was born on 9 July 1879 in an apartment inside Palazzo Fantuzzi on Via Guido Reni in Bologna, into a musical family, his father, a piano teacher, encouraged his son's musical inclinations and taught him basic piano and violin at an early age. Not long into his violin lessons, Respighi quit after his teacher whacked him on the hand with a ruler when he had played a passage incorrectly, he resumed lessons several weeks with a more patient teacher. His piano skills, were a hit and miss affair, but his father arrived home one day surprised to find his son performing the Symphonic Studies by Robert Schumann on the family piano, revealing that he had learned it by himself in secret.
Respighi studied the violin and viola with Federico Sarti at the Liceo Musicale in Bologna, composition with Giuseppe Martucci, music history with Luigi Torchi, a scholar of early music. Respighi in 1899 received a diploma in violin. By the time his studies had finished he had acquired a large book collection, including many atlases and dictionaries, due to his interest in languages. In 1900, Respighi accepted the role of principal violist in the orchestra of the Russian Imperial Theatre in Saint Petersburg, Russia during its season of Italian opera, he found great influence as an operatic composer during this time, it was there when he met Russian composer Nikolai Rimsky-Korsakov, whose orchestrations he admired. Respighi studied orchestration with the composer for five months. Respighi returned to Bologna to continue his studies in composition, which earned him a second diploma; until 1908, his principal activity was first violinist in the Mugellini Quintet, a touring quintet founded by composer Bruno Mugellini.
Following his departure from the group, Respighi moved to Rome. He spent some time performing in Germany before returning to Italy and turning his attention to composition. Although many sources indicate he studied with Max Bruch during his time in Germany, his wife asserted that this was not the case. In 1909, Respighi's second opera Semirâma premiered, was a considerable success. However, he fell asleep during the post-performance banquet from exhaustion of writing out the orchestral parts. In 1913, Respighi was appointed professor of composition at the Conservatorio di Santa Cecilia in Rome and held the post for the rest of his life. In 1917, his international fame rose following multiple performances of the first of his orchestral tone poems, Fountains of Rome. Subsequent tone poems include Pines of Rome, the Trittico Botticelliano, Vetrate di Chiesa, the Impressioni Brasiliane. Other notable orchestral works include the Sinfonia Drammatica, in three movements, the Metamorphoseon Modi XII.
In 1919, he married the composer and singer Elsa Olivieri-Sangiacomo who, at fourteen years his junior, had been his composition pupil. In 1921, the couple relocated to a flat in Rome. From 1923 to 1926, Respighi was the director of the Conservatorio di Santa Cecilia. In 1925, he collaborated with Sebastiano Arturo Luciani on an elementary textbook entitled Orpheus, he was elected to the Royal Academy of Italy in 1932. In December 1925, Respighi arrived in New York City for his first performances in the United States, his first public performance was the solo part for the premiere of his piano concerto, Concerto in the Mixolydian Mode, at Carnegie Hall on 31 December. The concert was a success. Respighi's mature concertante works, the Concerto Gregoriano for Violin and Orchestra, the Concerto in Modo Misolidio for Piano and Orchestra, the Poema Autunnale for Violin and Orchestra, a Toccata for Piano and Orchestra, the Concerto à Cinque for Oboe, Violin, Bass and Strings were all performed shortly after completion, were variously received.
The Concerto Gregoriano and Concerto in Modo Misolidio have proven to be the most enduringly popular. Respighi's masterpieces for smaller forces include the Sonata in B minor for Violin and Piano, performed and recorded, the Quartetto Dorico, a string quartet written in the Doric mode. Although Respighi was one of the leading members of the Generazione dell'Ottanta, along with Alfredo Casella, Gian Francesco Malipiero, Ildebrando Pizzetti, who were known as composers of instrumental and orchestral music, he composed for vocal forces and completed nine operas whose composition spanned his entire career. Notable works for voice and piano include a series of art songs, Deità Silvane, three Cantatas setting texts by Percy Bysshe Shelley, Aretusa, Il Tramonto, La Sensitiva; the Lauda per la Natività del Signore and Il Tramonto are performed frequently. Respighi's operas fall broadly into three groups – the
This article is about the American filmmaker. For the American publisher and writer, see Larry N. Jordan. Lawrence Jordan is an American independent filmmaker, most known for his animated collage films. In 1970 he received a Guggenheim Fellowship to make Sacred Art of Tibet. Trumpit - with Stan Brakhage Gymnopédies Hamfat Asar Our Lady of the Sphere - Inducted into the National Film Registry in 2010 Rime of the Ancient Mariner Visions of a City Carabosse Stan Brakhage and friend of Larry Jordan Joseph Cornell, a filmmaker who Larry worked as assistant/editor on IMDB Lawrence Jordan official site Lawrence Jordan's films distributed by Canyon Cinema on Ubuweb Films distributed by The Film-makers' Cooperative, New York Films distributed by LUX, London
A film leader is a length of film attached to the head or tail of a film to assist in threading a projector or telecine. A leader attached to the beginning of a reel is sometimes known as a head leader, or head, a leader attached to the end of a reel known as a tail leader or foot leader, or tail or foot. "Film leader", used generically, refers to different types manufactured for many editorial and laboratory uses. For example, some types are used in negative cutting while making B rolls for printing. "Painted leader" is perforated film in overall colors white, red, blue, or green. These are used for protective head and tail leaders to keep the body of the program material from being damaged. "Fill leader" is used to space out different sections of magnetic audio film stock so they are kept in synchronization with the picture. This is made from rejected or retired prints of released programs. A universal film leader is a head leader designed for television and theatrical motion picture exhibition applications.
This includes the countdown, technical information about the film, including title, production number, aspect ratio, sound level and mix, reel number and color. Head leaders are marked with visual and audio information that may be used to ensure that the correct amount of time is allowed for the machine to run up to speed and arrive at the beginning of the program or movie, they feature a countdown. Two versions of the countdown leader are well-known: Academy Leader First introduced on 1 November 1930 by the Academy of Motion Picture Arts and Sciences, it has numbers marked once every foot, counting down from 12 to 3. "NINE" and "SIX" are spelled out, to avoid confusion between 9 when viewed upside-down. The numbers are printed upside down relative to the visual program so as to be right side up when the projectionist is threading a projector. At 3, a quick beep is heard; the Academy leader is specified by SMPTE 301. The standard specifies the position and placement of the cue marks at the end of the reel.
SMPTE Universal Leader In the mid-1960s, the Society of Motion Picture and Television Engineers replaced the Academy Leader with a new style, called the SMPTE Universal Leader, designed for both television and theatrical projection applications. It featured a continuous countdown from 8 to 2, with the numbers in the center of a target with two white circles and a rotating "clock arm" animation. At the beginning, before the countdown, it features "16 SOUND START" and "35 SOUND START" in a circle target. "PICTURE START" appears and the countdown begins. The numbers appear right side up when projected on a screen, while the Academy countdown numbers would be upside down. During the four count, the letters "C C F F" would appear around the countdown, signifying the use of those frames as "control frames." At 2, a quick beep would be heard, sometimes known as the "2-pop". The Universal Leader is specified by ANSI/SMPTE 55; the standard specifies position and placement of the cue marks at the end of the reel.
Either by 1992 or 2000, the name of the leader was changed from "Universal Leader" to "Television Leader."The latest overall length of both styles is the same: in 35mm, 16 feet and 4 frames or 260 frames. The countdown section begins with a single frame bearing the words "Picture Start." The sync beep occurs in synchronization with the last numbered frame. The length of the countdown section, including the "Picture Start" frame through to and including the "3" foot or "2" second frame, is 9 feet and 1 frame plus 47 frames of black. In 2013, SMPTE introduced the D-Cinema Digital Leader; the DCDM is the penultimate step to the creation of the Digital Cinema Package. Unlike the previous film standards, no provision is made for changeover cue marks because digital cinema files are continuous. Society Leader Introduced in 1951 by SMPTE, it was a modification of the "Academy leader" in order to work better with the film chains most TV stations were using; the numbers still counted down once every foot, from 11 to 3, but instead of being upside down relative to the main program visuals, the numbers were right side up.
Furthermore, instead of there being just black film in between the numbers, Society leader had a crosshair pattern to help with television framing and focusing. This style of countdown leader did not receive a separate standard identification, it was replaced by the SMPTE Universal leader. The Academy leader was revised in April 1934; the revision shifted the changeover cue marks earlier by 6 frames. After the second world war, the 1934 format was accepted by American Standards Association, the precursor to ANSI, given the designation ASA Z22.55-1947, "Specification for 35-Millimeter Sound Motion Picture Release Prints in Standard 2000-Foot Lengths." This standard was intended to be supplanted by the SMPTE Universal Leader, introduced in 1965-66. But once it was realized that theater projectionists were not going to accept the new format, the traditional Academy format was given a new code: SMPTE 301; the original SMPTE Universal leader had a middle gray density for the overall background and the 47 frames between the 2 frame and the first frame of picture.
Subsequent revisions darkened
Michael McClure is an American poet, playwright and novelist. After moving to San Francisco as a young man, he found fame as one of the five poets who read at the famous San Francisco Six Gallery reading in 1955 rendered in fictionalized terms in Jack Kerouac's The Dharma Bums, he soon became a key member of the Beat Generation and is immortalized as "Pat McLear" in Kerouac's Big Sur. Educated at the University of Wichita, the University of Arizona, San Francisco State College McClure's first book of poetry, was published in 1956 by small press publisher Jonathan Williams, his poetry is infused with an awareness of nature in the animal consciousness that lies dormant in mankind. Not only an awareness of nature, but the poems are organized in an organic fashion, continuing with his appreciation of nature's purity. Stan Brakhage, friend of McClure, stated in Chicago Review that: "McClure always, more and more as he grows older, gives his reader access to the verbal impulses of his whole body's thought.
He invents a form for the cellular messages of his, a form which will feel as if it were organic on the page. McClure has since published eight books of plays and four collections of essays, including essays on Bob Dylan and the environment, his fourteen books of poetry include Jaguar Skies, Dark Brown, Huge Dreams, Rebel Lions, Rain Mirror and Plum Stones. McClure famously read selections of his Ghost Tantra poetry series to the caged lions in the San Francisco Zoo, his work as a novelist includes the autobiographical The Adept. On January 14, 1967, McClure read at the epochal Human Be-In event in Golden Gate Park in San Francisco and transcended his Beat label to become an important member of the 1960s Hippie counterculture. Barry Miles famously referred to McClure as "the Prince of the San Francisco Scene". McClure would court controversy as a playwright with his play The Beard; the play tells of a fictional encounter in the blue velvet of eternity between Billy the Kid and Jean Harlow and is a theatrical exploration of his "Meat Politics" theory, in which all human beings are "bags of meat".
Other plays include Josephine The Mouse Singer and VKTMS. He had an eleven-year run as playwright-in-residence with San Francisco's Magic Theatre where his operetta "Minnie Mouse and the Tap-Dancing Buddha" had an extended run, he has made two television documentaries – The Maze and September Blackberries – and is featured in several films including The Last Waltz where he recites from The Canterbury Tales. McClure was a close friend of The Doors lead singer Jim Morrison and is acknowledged as having been responsible for promoting Morrison as a poet. McClure performed spoken word poetry concerts with Doors keyboard player Ray Manzarek up until Ray's death and several CDs of their work have been released. McClure is the author of the Afterword in Jerry Hopkins's and Danny Sugerman's seminal Doors biography, No One Here Gets Out Alive. McClure has released CDs of his work with minimalist composer Terry Riley. McClure's songs include "Mercedes Benz", popularized by Janis Joplin, new songs which were performed by Riders on the Storm, a band that consisted of original Doors members Ray Manzarek and Robbie Krieger.
McClure's journalism has been featured in Rolling Stone, Vanity Fair, the Los Angeles Times and the San Francisco Chronicle. He has received numerous awards, including a Guggenheim Fellowship, an Obie Award for Best Play, an NEA grant, the Alfred Jarry Award and a Rockefeller grant for playwriting. In addition, he was inducted into the San Francisco State University Alumni Hall of Fame in 2014. McClure is still active as a poet and playwright and lives with his second wife, Amy, in the San Francisco Bay Area, he has one daughter from his first marriage to Joanna McClure. The Beard is a notably controversial modern play, that explores the nature of seduction and attraction, as it portrays an explosive confrontation between two legendary figures, Jean Harlow, the platinum blonde movie star, Billy the Kid, the baby-faced outlaw with a hair trigger, they are attracted to each other. She mocks his masculinity, he tells her she is envious of his beauty; this battle diminishes as they realize that since they are alone together they are free to shuck their burdening facades, give in to what they're feeling.
The torrent of their unleashed passions leads to a final scene of great controversy, as the play comes to a climax with an act of explicit sexual intimacy between the cowboy and the starlet. McLure says that he was inspired to write the play by a vision that came to him of a poster advertising a boxing match between Jean Harlow and Billy the Kid. Before he began to write, he went to the printer that created boxing posters in San Francisco, had the poster of his vision printed up, he says "I put the poster up on fences, in liquor stores where boxing posters would be, put one up behind my head in the room I worked in at the time, which overlooked the bridge and the ocean. I could feel the presence of Billy the Kid and Jean Harlow broadcasting from the beautiful poster to the back of my head out towards the ocean, they began enacting the play and I began typing it up. They'd say a few pages, I just typed it. I thought it was a nature poem about mammal mammal love, it could have been a tantric ritual."
McLure happened to meet British playwright, Harold Pin
Doug Aitken is an American artist. Doug Aitken was born in Redondo Beach, California in 1968. In 1987, he studied magazine illustration with Philip Hays at the Art Center College of Design in Pasadena before graduating in Fine Arts in 1991, he moved to New York in 1994. He lives and works in Venice and New York. Aitken’s body of work ranges from photography, print media and architectural interventions, to narrative films, sound and multi-channel video works and live performance. Aitken's video works have taken place in such culturally loaded sites as Jonestown in Guyana, Africa's diamond mines, India's Bollywood. Aitken has created an array of site-specific installations, sometimes synthesizing interactive media with architecture. A recent site-specific work is Underwater Pavilions, which consist of three temporary sculptures that were moored to the ocean floor off Catalina Island, CA. Geometric in design, the sculptures created environments that reflected and refracted light, opening a portal that physically connected a viewer to the expanse of the ocean while disrupting preconceived visual ideas of the aquatic world.
By merging the language of contemporary architecture, land art, ocean research and conservation, the Underwater Pavilions were a living artwork within a vibrant ecosystem. In contrast to areas of the sculpture that have a rough and rock-like surface, mirrored sections reflected the seascape and, when approached, activated to become a kaleidoscopic observatory; the environments created by the sculptures changed and adjusted with the currents and time of day, focusing the attention of the viewer on the rhythm of the ocean and its life cycles. The artwork created a variety of converging perceptual encounters that played with the fluidity of time and space, resulting in a heightened awareness of the physical world; the sculptures were created in partnership with Parley for the Oceans and the Museum of Contemporary Art, Los Angeles. Another site-specific project, titled Mirage, premiered at Desert X, near Palm Springs, CA from February 25 - April 30, 2017. Since the mid-1990s, Aitken has created installations by employing multiple screens in architecturally provocative environments.
Diamond sea, for example, includes three video projections, one suspended video monitor, one full-color, illuminated transparency photograph in a dimly lit space. Multiple speakers create an immersive sound experience; the territory, estimated at over 40,000 square miles and sealed off since 1908, contains the world’s largest and richest computer-controlled diamond mine. Hysteria uses film footage from the past four decades that shows audiences at pop and rock concerts working themselves into a frenzy on four screens in an X formation. Filmed and photographed in the dusty sound stages and film sets of Bombay, Into the Sun focuses on the frenetic activity of Bollywood, recreating the sound stages of the Indian film industry with canvas projection screens, a red dirt floor, video shown in a non-stop, twenty-four-hour loop. Diamond sea was presented at the 1997 Whitney Biennial and his electric earth installation, an eight projection, multi-room post cinematic experience, drew international attention and earned him the International Prize at the Venice Biennale in 1999.
His ambitious show New Ocean, which included multiple sound and video works, began with a transformation of the Serpentine Gallery in London and traveled the world to Austria and Japan, each time in a new configuration. In 2010, Aitken exhibited his work House; the artist displayed a three channel video installation titled Underwater Pavilions at Art Basel Unlimited, documenting sculptures of the same name. In 1998, Glass Horizon, an installation comprising a projection of a pair of eyes onto the facade of the Vienna Secession building after it had closed for the night, showcased an interest in architectural structures and in art that interacts with urban environments. In 2001, Aitken’s exhibition at London’s Serpentine Gallery used the entire building for the complex installation New Ocean including transforming the museum's tower into a functional lighthouse at night. In 2004, after having worked together in Berlin, Doug Aitken and Klaus Biesenbach co-curated Hard Light, a group exhibition at MoMA PS1.
In the winter of 2007, Aitken's large-scale installation Sleepwalkers, curated by Klaus Biesenbach in collaboration with Creative Time, was presented at the Museum of Modern Art in New York. The project included actors such as Donald Sutherland and Tilda Swinton, as well as musicians Seu Jorge and Cat Power. Five interlocking vignettes shown through eight projections were displayed upon the exterior walls of the museum so as to be visible from the street. Concurrent with the exhibition, Aitken presented a "happening" inside the museum that featured live drummers and auctioneers, a performance by Cat Power. In the same year, he createad an interactive music table: "k-n-o-c-k-o-u-t". In 2008, Aitken produced another large scale outdoor film installation, titled Migration for the 55th Carnegie International show titled "Life on Mars" in Pittsburgh, PA; the first installment in a three-part trilogy entitled Empire, the work features migratory wild animals of North America as they pass through and curiously inhabit empty and desolate hotel rooms.
Continuing Aitken's work in large scale outdoor video installation, his artwork "SONG 1", created for the Hirshhorn Museum and Sculpture Garden, challenged the standard of public art in Washington D. C; the ar
A newsreel is a form of short documentary film, containing news stories and items of topical interest, prevalent between the 1910s and the late 1960s. Presented in a cinema, newsreels were a source of current affairs and entertainment for millions of moviegoers. Newsreels were exhibited preceding a feature film, but there were dedicated newsreel theaters in many major cities in the 1930s and'40s, some large city cinemas included a smaller theaterette where newsreels were screened continuously throughout the day. By the end of the 1960s television news broadcasts had supplanted the format. Newsreels are considered significant historical documents, since they are the only audiovisual record of certain cultural events. Created in 1911 by Charles Pathé, this form of film was a staple of the typical North American and Commonwealth countries, throughout European cinema programming schedule from the silent era until the 1960s when television news broadcasting supplanted its role; the National Film and Sound Archive in Australia holds the Cinesound Movietone Australian Newsreel Collection, a comprehensive collection of 4,000 newsreel films and documentaries representing news stories covering all major events.
The first official British news cinema that only showed newsreels was the Daily Bioscope that opened in London on May 23, 1909. In 1929, William Fox purchased, he changed the format from a $2 show twice a day to a continuous 25-cent programme, establishing the first newsreel theater in the USA. The idea was such a success that Fox and his backers announced they would start a chain of newsreel theaters across the USA; the newsreels were accompanied by cartoons or short subjects. In some countries, newsreels used music as a background for silent on-site film footage. In some countries, the narrator used humorous remarks for non-tragic stories. In the U. S. newsreel series included The March of Time, Pathé News, Paramount News, Fox Movietone News, Hearst Metrotone News, Universal Newsreel. Pathé News was distributed by RKO Radio Pictures from 1931 to 1947, by Warner Brothers from 1947 to 1956. An example of a newsreel story is in the film Citizen Kane, prepared by RKO's actual newsreel staff. Citizen Kane includes a fictional newsreel "News on the March" that summarizes the life of title character Charles Foster Kane while parodying The March of Time.
On August 12, 1949, 120 cinema technicians employed by Associated British Pathé in London went on strike to protest the dismissal of fifteen men on the grounds of redundancy while conciliation under trade union agreements was pending. Their strike lasted through to at least Tuesday August 16, the Tuesday being the last day for production on new newsreels shown on the Thursday. Events of the strike resulted in over three hundred cinemas across Britain having to go without newsreels that week. A 1978 Australian film, Newsfront, is a drama about the newsreel business. On February 16, 1948, NBC launched a ten-minute television program called Camel Newsreel Theatre with John Cameron Swayze that featured newsreels with Swayze doing voiceovers. In 1948, the DuMont Television Network launched two short-lived newsreel series, Camera Headlines and I. N. S. Telenews, the latter in cooperation with Hearst's International News Service. On August 15, 1948, CBS started their evening television news program the News.
The NBC, CBS, ABC news shows all produced their own news film. Newsreel cinemas either closed or went to showing continuous programmes of cartoons and short subjects, such as the London Victoria Station News Cinema Cartoon Cinema that opened in 1933 and closed in 1981. In New Zealand, the Weekly Review was "the principal film series produced in the 1940s"; the first television news broadcasts in the country, incorporating newsreel footage, began in 1960. Newsreels died out because technological advances such as electronic news-gathering for television news, introduced in the 1970s, rendered them obsolete. Nonetheless, some countries such as Cuba, Japan and Italy continued producing newsreels into the 1980s and 1990s. Newsreel-producing companies excluded television companies from their distribution, but the television companies countered by sending their own camera crews to film news events. List of newsreels by country The March of Time newsreel series produced by Time-Life from 1935 to 1951 Universal Newsreel newsreel series produced by Universal Studios from 1929 to 1967 Hearst Metrotone News newsreel series produced by Hearst Corporation from 1914 to 1967 Fox Movietone News produced by Fox 1928 to 1963 Paramount News newsreel series produced by Paramount Pictures from 1927 to 1957 Pathé News newsreel series produced by Pathé Film from 1910 to 1956 Baechlin and Maurice Muller-Strauss, Newsreels across the world, Paris: Unesco, 1952 Barnouw, Documentary: a history of the non-fiction film, Oxford: Oxford University Press, 1993 revised Clyde, Jane Mercer and Daniela Kirchner, "The story of the century!"
An international newsfilm conference, London: BUFVC, 1998 Fielding, Raymond. The American Newsreel: A Complete History, 1911-1967. Jefferson, N. C.: McFarland. ISBN 0786466103. Fielding, The March of Time, 1935-1951, New York: Oxford University Press, 1978 Imesch, Kornelia.
Rose Hobart was an American actress and Screen Actors Guild official. Born in New York City, Hobart was the daughter of a cellist in the New York Symphony Orchestra, Paul Kefer, an opera singer, Marguerite Kefer, her parents' divorce when she was 7 resulted in Hobart and her sister, going to France to live with their grandmother. When World War I began, they went to boarding schools. By 1921, she was a student at Kingston High School in New York; when Hobart was 15, she debuted professionally in a Chautauqua production. She was accepted for the 18-week tour because she told officials that she was 18. At that same age, she was cast in Ferenc Molnár's Liliom, which opened in New Jersey. Hobart's Broadway stage debut was on September 17, 1923 at the Knickerbocker Theater, playing a young girl in Lullaby. In 1925, she played Charmian in Cleopatra. Hobart was an original member of Eva Le Gallienne's Civic Repertory Theatre. In 1928, she made her London debut. During her career in theater, she toured with Noël Coward in The Vortex and was cast opposite Helen Hayes in What Every Woman Knows.
Her performance as Grazia in Death Takes. Hobart appeared in more than 40 motion pictures over a 20-year period, her first film role was the part of Julie in the first talking picture version of Liliom, made by Fox Film Corporation in 1930, starring Charles Farrell in the title role, directed by Frank Borzage. Under contract to Universal, Hobart starred in A Lady Surrenders, East of Borneo, Scandal for Sale. On loan to other studios, she appeared in Compromised. In 1931, she co-starred with Fredric March and Miriam Hopkins in Rouben Mamoulian's original film version of Dr. Jekyll and Mr. Hyde, she played the role of Jekyll's fiancée. In 1936, Surrealist artist Joseph Cornell, who bought a print of East of Borneo to screen at home, became smitten with the actress, cut out nearly all the parts that did not include her, he showed the film at silent film speed and projected it through a blue-tinted lens. He named the resulting work Rose Hobart. Hobart played the "other woman" in movies during the 1940s, with her last major film role in Bride of Vengeance.
The House Un-American Activities Committee investigated Hobart in 1949 ending her career. She believed that she first came to the attention of anti-Communist activists because of her commitment to improving working conditions for actors in Hollywood. In 1986, she recalled that "On my first three pictures, they worked me 18 hours a day and complained because I was losing so much weight that they had to put stuff in my evening dress.... When I did East of Borneo, that schlocky horror I did, we shot all night long, they finished at 5 in the morning. For two solid weeks, I was working with alligators and pythons out on the back lot. I thought,'This is acting?' It was ridiculous. We were militant about the working conditions. We wanted an eight-hour day like everybody else." Hobart served on the board of the Screen Actors Guild and was an active participant in the Actors' Laboratory Theatre, a group which anti-Communists like Senator Joseph McCarthy claimed was subversive. In 1948, Hobart was subpoenaed to appear before the Tenney Committee on Un-American Activities.
Although Hobart was not a member of the Communist Party, she refused to cooperate, instead reading a prepared statement that concluded, "In a democracy no one should be forced or intimidated into a declaration of his principles. If one does yield to such pressure, he gives away his birthright. I am just mulish enough not to budge when anyone uses force on me." In 1950, Hobart was listed in the anti-Communist blacklisting publication, Red Channels. Hobart never worked in film again, although she did work on stage, as the blacklist eased, in the 1960s, she took on television roles, including a part on Peyton Place. Hobart was married three times, her first marriage, to Benjamin L. Winter, ended in divorce in 1929. On October 9, 1932, she married William Mason Grosvenor, Jr. an executive in a chemical engineering firm. They were divorced on February 17, 1941, she had son Judson Bosworth, from her third marriage to architect Barton H. Bosworth. In 1994, Hobart published A Steady Digression to a Fixed Point.
On August 29, 2000, Hobart died at the Motion Picture and Television Country House and Hospital in Woodland Hills, aged 94, from natural causes. She was survived by a son; the Invaders - Housekeeper - Irma Gunsmoke - Melanie Karcher The F. B. I. - Molly Ferguson / Maid Cannon - Nina's Mother Night Gallery - Mrs. Hugo Rose Hobart on IMDb Rose Hobart at the Internet Broadway Database Rose Hobart at Find a Grave