AllMovie is an online guide service website with information about films, television programs, and screen actors. As of 2013, AllMovie. com and the AllMovie consumer brand are owned by All Media Network, AllMovie was founded by popular-culture archivist Michael Erlewine, who founded AllMusic and AllGame. The AllMovie database was licensed to tens of thousands of distributors and retailers for point-of-sale systems, the AllMovie database is comprehensive, including basic product information and production credits, plot synopsis, professional reviews, relational links and more. AllMovie data was accessed on the web at the AllMovie. com website and it was available via the AMG LASSO media recognition service, which can automatically recognize DVDs. In late 2007, Macrovision acquired AMG for a reported $72 million, the AMG consumer facing web properties AllMusic. com, AllMovie. com and AllGame. com were sold by Rovi in August 2013 to All Media Network, LLC. The buyers include the founders of SideReel and Ackrell Capital investor Mike Ackrell.
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William Randolph Hearst
Hearst entered the publishing business in 1887 after being given control of The San Francisco Examiner by his wealthy father. Acquiring more newspapers, Hearst created a chain that numbered nearly 30 papers in major American cities at its peak and he expanded to magazines, creating the largest newspaper and magazine business in the world. Politically he espoused the Progressive Movement, speaking on behalf of the working class and he controlled the editorial positions and coverage of political news in all his papers and magazines and thereby exercised enormous political influence. He called for war in 1898 against Spain—as did many other newspaper editors—but he did it in sensational fashion, after 1918, he called for an isolationist foreign policy to avoid any more entanglement in what he regarded as corrupt European affairs. He was at once a militant nationalist, a fierce anti-communist, and deeply suspicious of the League of Nations and of the British, French and Russians. He was a supporter of Franklin Roosevelt in 1932–34, but broke with FDR.
His life story was the inspiration for Charles Foster Kane. His famous mansion, Hearst Castle, on a hill overlooking the Pacific Ocean near San Simeon, is now a State Historical Monument and a National Historic Landmark. William R. Hearst was born in San Francisco, to mining engineer, goldmine owner and U. S. senator George Hearst. His paternal great-grandfather was John Hearst, of Ulster Protestant origin and he migrated to America from Ballybay, County Monaghan as part of the Cahans Exodus with his wife and six children in 1766 and settled in South Carolina. Their immigration to South Carolina was spurred in part by the governments policy that encouraged the immigration of Irish Protestants. The names John Hearse and John Hearse Jr, the Hearse spelling of the family name never was used afterward by the family members themselves, or any family of any size. Hearsts mother, née Phoebe Elizabeth Apperson, was of Irish ancestry and she was the first woman regent of University of California, funded many anthropological expeditions and founded the Phoebe A.
Hearst Museum of Anthropology. Following preparation at St. Pauls School in Concord, New Hampshire, while there he was a member of Delta Kappa Epsilon, the A. D. Searching for an occupation, in 1887, Hearst took over management of a newspaper, the San Francisco Examiner, a self-proclaimed populist, Hearst went on to publish stories of municipal and financial corruption, often attacking companies in which his own family held an interest. Within a few years, his paper dominated the San Francisco market, the inventor of color comics, and all of Pulitzers Sunday staff as well. Another prominent hire was James J. Montague, who came from the Portland Oregonian, Hearst imported his best managers from the San Francisco Examiner and quickly established himself as the most attractive employer among New York newspapers. Hearsts activist approach to journalism can be summarized by the motto, While others Talk, the New York Journal and its chief rival, the New York World, mastered a style of popular journalism that came to be derided as yellow journalism, after Outcaults Yellow Kid comic
In motion pictures, an intertitle is a piece of filmed, printed text edited into the midst of the photographed action at various points. Intertitles used to convey character dialogue are referred to as dialogue intertitles, film scholar Kamilla Elliott identifies one of the earliest uses of intertitles in the 1901 British film Scrooge, or, Marleys Ghost. The first Academy Awards presentation in 1929 included an award for Best Title Writing that went to Joseph W. Farnham for no specific film, the award was never given again, as intertitles went out of common use due to the introduction of talkies. In modern film, intertitles are used to supply an epigraph, such as a poem, they are most commonly used as part of a historical dramas epilogue to explain what happened to the depicted characters and events after the conclusion of the story proper. The development of the soundtrack slowly eliminated their utility as a narrative device, for instance, intertitles were used as a gimmick in Frasier. The BBCs drama Threads uses them to location, date.
Law & Order used them to not only the location. Guy Maddin is a filmmaker known for recreating the style of older films. Some locally produced shows, such as quiz bowl game shows, intertitles have had a long history in the area of amateur film as well. The efforts of home movie aficionados to intertitle their works post-production have led to the development of a number of approaches to the challenge. Frequently lacking access to high quality film dubbing and splicing equipment, intertitles may be printed neatly on a piece of paper, a card, or a piece of cardboard and filmed, or they may be formed from adhesive strips and affixed to glass. In the early 1980s, digital recording technology improved to the point where intertitles could be created in born-digital format, several specialty accessories from this period such as Sonys HVT-2100 Titler and cameras such as Matsushitas Quasar VK-743 and Zenith VC-1800 could be used to generate intertitles for home movies. Early 1980s video game consoles and applications catering to the scene were adapted for the generation.
Among these were included the ColecoVision, the Magnavox Odyssey², the Bally Astrocade, acknowledgment Billing Character generator Closing credits Credit Digital on-screen graphic Lower third Opening credits Subtitle Supertitle Title sequence WGA screenwriting credit system
Harry Benham was an American silent film actor. Born in Valparaiso, Indiana, as a child Benham and his moved to Chicago. Benham had a talent for singing and sang in his church choir. In 1904, the production Peggy From Paris came to Chicago and, at age 20, Benham was soon selected to play the leading role in the production and remained in that role throughout the productions three-year run. He was subsequently able to more roles in other plays, such as The Sultan of Sulu, Marrying Mary, The Gay Musician. Pinafore, The Mayoress, and Madame Sherry, in 1910 Benham joined the Thanhouser Company in New Rochelle, New York, for whom he played the leading role in many of the companys films through 1915. He married actress Ethyle Cooke, and together they had two children and Leland, who became prominent Thanhouser personalities. Benham died on July 17,1969 in Sarasota, Florida, an article about his role in Dr. Jekyll and Mr. Hyde appeared in Famous Monsters of Filmland. Harry Benham at the Internet Movie Database Harry Benham at AllMovie
In 1998 it became a subsidiary of Amazon Inc, who were able to use it as an advertising resource for selling DVDs and videotapes. As of January 2017, IMDb has approximately 4.1 million titles and 7.7 million personalities in its database, the site enables registered users to submit new material and edits to existing entries. Although all data is checked before going live, the system has open to abuse. The site featured message boards which stimulate regular debates and dialogue among authenticated users, IMDb shutdown the message boards permanently on February 20,2017. Anyone with a connection can read the movie and talent pages of IMDb. A registration process is however, to contribute info to the site. A registered user chooses a name for themselves, and is given a profile page. These badges range from total contributions made, to independent categories such as photos, bios, if a registered user or visitor happens to be in the entertainment industry, and has an IMDb page, that user/visitor can add photos to that page by enrolling in IMDbPRO.
Actors and industry executives can post their own resume and this fee enrolls them in a membership called IMDbPro. PRO can be accessed by anyone willing to pay the fee, which is $19.99 USD per month, or if paid annually, $149.99, which comes to approximately $12.50 per month USD. Membership enables a user to access the rank order of each industry personality, as well as agent contact information for any actor, director etc. that has an IMDb page. Enrolling in PRO for industry personnel, enables those members the ability to upload a head shot to open their page, as well as the ability to upload hundreds of photos to accompany their page. Anyone can register as a user, and contribute to the site as well as enjoy its content, however those users enrolled in PRO have greater access and privileges. IMDb originated with a Usenet posting by British film fan and computer programmer Col Needham entitled Those Eyes, others with similar interests soon responded with additions or different lists of their own.
Needham subsequently started an Actors List, while Dave Knight began a Directors List, and Andy Krieg took over THE LIST from Hank Driskill, which would be renamed the Actress List. Both lists had been restricted to people who were alive and working, the goal of the participants now was to make the lists as inclusive as possible. By late 1990, the lists included almost 10,000 movies and television series correlated with actors and actresses appearing therein. On October 17,1990, Needham developed and posted a collection of Unix shell scripts which could be used to search the four lists, at the time, it was known as the rec. arts. movies movie database
Marion Davies was an American film actress, producer and philanthropist. Davies was already building a reputation as a film comedian when newspaper tycoon William Randolph Hearst, with whom she had begun a romantic relationship. Hearst financed Davies pictures, promoted her heavily through his newspapers and Hearst Newsreels, for this reason, Davies is better remembered today as Hearsts mistress and the hostess of many lavish events for the Hollywood elite. In particular, her name is linked with the 1924 scandal aboard Hearsts yacht when one of his guests, film producer Thomas Ince, in the film Citizen Kane, the title characters second wife—an untalented singer whom he tries to promote—was widely assumed to be based on Davies. But many commentators, including Citizen Kane writer/director Orson Welles himself, have defended Davies record as a gifted actress and she retired from the screen in 1937, choosing to devote herself to Hearst and charitable work. In Hearsts declining years, Davies provided financial as well as support until his death in 1951.
She married for the first time eleven weeks after his death, Davies was born Marion Cecilia Douras on January 3,1897, in Brooklyn, the youngest of five children born to Bernard J. Douras, a lawyer and judge in New York City, and Rose Reilly. Her father performed the marriage of Gloria Gould Bishop. Her elder siblings included Rose and Ethel, a brother, drowned at the age of 15 in 1906. His name was given to Davies favorite nephew, screenwriter Charles Lederer. The Douras family lived near Prospect Park in Brooklyn, the sisters changed their surname to Davies, which one of them spotted on a real-estate agents sign in the neighborhood. Even at a time when New York was the pot for new immigrants. Educated in a New York convent, Davies left school to pursue a career and she worked as a chorus girl in Broadway revues and modeled for illustrators Harrison Fisher and Howard Chandler Christy. In 1916, Davies was signed on as a Ziegfeld girl in the Ziegfeld Follies, after making her screen debut in 1916, modelling gowns by Lady Duff-Gordon in a fashion newsreel, she appeared in her first feature film in the 1917 Runaway Romany.
Davies wrote the film, which was directed by her brother-in-law, the following year she starred in two films – The Burden of Proof and Cecilia of the Pink Roses. Cecilia of the Pink Roses in 1918 was her first film backed by Hearst and she was on her way to being the most infamously advertised actress in the world. During the next ten years she appeared in 29 films, an average of almost three films a year, one of her most known roles was as Mary Tudor in When Knighthood Was in Flower, directed by Robert G. Vignola, with whom she collaborated on several films. According to her own diaries, she met Hearst long before she had started working in films
A reel is an object around which lengths of another material are wound for storage. Generally a reel has a core and walls on the sides to retain the material wound around the core. In some cases the core is hollow, although other items may be mounted on it, the size of the core is dependent on several factors. A smaller core will obviously allow more material to be stored in a given space, there is a limit to how tightly the stored material can be wound without damaging it and this limits how small the core can be. Other issues affecting the core include, Mechanical strength of the core Acceptable turning speed any functional requirements of the core e. g. For a reel that must be mechanically turned the size of the grips that mount it on the mechanical turning device, the size of the mountings needed to support the core during unwinding. Anything mounted on the cores With material such as photographic film that is flat and long but is relatively wide, in cases where the material is more uniform in cross-section, the material may be safely wound around a reel that is wider than its width.
In this case, several windings are needed to create a layer on the reel, most films have visible cues which mark the end of the reel. This allows projectionists running reel-to-reel to change over to the reel on the other projector. A so-called two-reeler would have run about 20–24 minutes since the short film shipped to a movie theater for exhibition may have had slightly less than 1,000 ft on it. Most modern projectionists use the term reel when referring to a 2, 000-foot two-reeler, as modern films are rarely shipped by single 1, a standard Hollywood movie averages about five 2000-foot reels in length. Had it not been standardized there would have many difficulties in the manufacture of the related equipment. A16 mm reel is 400 feet and it runs, at sound speed, approximately the same amount of time as a 1, 000-foot 35 mm reel. A split reel is a motion picture film reel in two halves that, when assembled, hold a specific length of motion picture film that has been wound on a plastic core.
Using a split reel allows film to be shipped or handled in a lighter and smaller form than film would on a fixed reel, in silent film terminology, two films on one reel. Actors may submit a demo reel of their work to prospective employers, often in physical reel format
Film censorship in the United States
The first act of movie censorship in the United States was an 1897 statute of the State of Maine that prohibited the exhibition of prizefight films. Maine enacted the statute to prevent the exhibition of the 1897 heavyweight championship between James J. Corbett and Bob Fitzsimmons, some other states followed the example of Maine. This decision was not overturned until the Supreme Court case, Joseph Burstyn, popularly referred to as the Miracle Decision, the ruling involved the short film The Miracle, part of Roberto Rossellinis anthology film LAmore. Between the Mutual Film and the Joseph Burstyn decisions, state and state censorship ordinances are nearly as old as the movies themselves, and such ordinances banning the public exhibition of immoral films proliferated. In New York, for example, an office tasked with reviewing and censoring films operated between 1921 and 1965. In 1927, Hays compiled a list of subjects, culled from his experience with the various US censorship boards and he called this list the formula but it was popularly known as the donts and be carefuls list.
In 1930, Hays created the Studio Relations Committee to implement his censorship code, the advent of talking pictures in 1927 led to a perceived need for further enforcement. This original version especially was once known as the Hays Code. However, Depression economics and changing social mores resulted in the studios producing racier fare that the Code and this era is known as Pre-Code Hollywood. For more than thirty years following, virtually all motion pictures produced in the United States, the Production Code was not created or enforced by federal, state, or city government. In fact, the Hollywood studios adopted the code in part in the hopes of avoiding government censorship. The enforcement of the Production Code led to the dissolution of local censorship boards. Meanwhile, the US Customs Department prohibited the importation of the Czech film Ecstasy, starring an actress soon to be known as Hedy Lamarr, Breen was appointed head of the new Production Code Administration. Under Breens leadership of the PCA, which lasted until his retirement in 1954, enforcement of the Production Code became rigid, Breens power to change scripts and scenes angered many writers and Hollywood moguls.
The PCA had two offices, one in Hollywood, and the other in New York City, films approved by the New York PCA office were issued certificate numbers that began with a zero. Another famous case of enforcement involved the 1943 western The Outlaw, the Outlaw was denied a certificate of approval and kept out of theaters for years because the films advertising focused particular attention on Jane Russells breasts. Hughes eventually persuaded Breen that the breasts did not violate the code, even cartoon sex symbol Betty Boop had to change from being a flapper, and began to wear an old-fashioned housewife skirt. In 1936, Arthur Mayer and Joseph Burstyn attempted to distribute Whirlpool of Desire, the legal battle lasted until November 1939, when the film was released in the U. S