Western is a genre of various arts which tell stories set in the latter half of the 19th century in the American Old West centering on the life of a nomadic cowboy or gunfighter armed with a revolver and a rifle who rides a horse. Cowboys and gunslingers wear Stetson hats, neckerchief bandannas, spurs, cowboy boots and buckskins. Recurring characters include the aforementioned cowboys, Native Americans, lawmen, bounty hunters, gamblers and settlers; the ambience is punctuated with a Western music score, including American and Mexican folk music such as country, Native American music, New Mexico music, rancheras. Westerns stress the harshness of the wilderness and set the action in an arid, desolate landscape of deserts and mountains; the vast landscape plays an important role, presenting a "...mythic vision of the plains and deserts of the American West". Specific settings include ranches, small frontier towns, saloons and isolated military forts of the Wild West. Common plots include: The construction of a telegraph line on the wild frontier.
Ranchers protecting their family ranch from rustlers or large landowners or who build a ranch empire. Revenge stories, which hinge on the chase and pursuit by someone, wronged. Stories about cavalry fighting Native Americans. Outlaw gang plots. Stories about a lawman or bounty hunter tracking down his quarry. Many Westerns use a stock plot of depicting a crime showing the pursuit of the wrongdoer, ending in revenge and retribution, dispensed through a shootout or quick-draw duel; the Western was the most popular Hollywood genre from the early 20th century to the 1960s. Western films first became well-attended in the 1930s. John Ford's landmark Western adventure Stagecoach became one of the biggest hits in 1939 and it made John Wayne a mainstream screen star; the popularity of Westerns continued with the release of classics such as Red River. Westerns were popular throughout the 1950s and 1960s. Many of the most acclaimed Westerns were released during this time, including High Noon, The Searchers, Cat Ballou, The Wild Bunch and Butch Cassidy and the Sundance Kid.
Classic Westerns such as these have been the inspiration for various films about Western-type characters in contemporary settings, such as Junior Bonner, set in the 1970s, The Three Burials of Melquiades Estrada, set in the 21st century. The Western genre sometimes portrays the conquest of the wilderness and the subordination of nature in the name of civilization or the confiscation of the territorial rights of the original, Native American, inhabitants of the frontier; the Western depicts a society organized around codes of honor and personal, direct or private justice–"frontier justice"–dispensed by gunfights. These honor codes are played out through depictions of feuds or individuals seeking personal revenge or retribution against someone who has wronged them; this Western depiction of personal justice contrasts with justice systems organized around rationalistic, abstract law that exist in cities, in which social order is maintained predominately through impersonal institutions such as courtrooms.
The popular perception of the Western is a story that centers on the life of a semi-nomadic wanderer a cowboy or a gunfighter. A showdown or duel at high noon featuring two or more gunfighters is a stereotypical scene in the popular conception of Westerns. In some ways, such protagonists may be considered the literary descendants of the knight errant which stood at the center of earlier extensive genres such as the Arthurian Romances. Like the cowboy or gunfighter of the Western, the knight errant of the earlier European tales and poetry was wandering from place to place on his horse, fighting villains of various kinds and bound to no fixed social structures but only to their own innate code of honor, and like knights errant, the heroes of Westerns rescue damsels in distress. The wandering protagonists of Westerns share many characteristics with the ronin in modern Japanese culture; the Western takes these elements and uses them to tell simple morality tales, although some notable examples are more morally ambiguous.
Westerns stress the harshness and isolation of the wilderness and set the action in an arid, desolate landscape. Western films have specific settings such as isolated ranches, Native American villages, or small frontier towns with a saloon. Oftentimes, these settings appear deserted and without much structure. Apart from the wilderness, it is the saloon that emphasizes that this is the Wild West: it is the place to go for music, gambling, drinking and shooting. In some Westerns, where civilization has arrived, the town has a church, a general store, a bank and a school; the American Film Institute defines Western films as those "set in the American West that the spirit, the struggle and the demise of the new frontier." The term Western, used to describe a narrative film genre, appears to have originated with a July 1912 article in Motion Picture World magazine. Most of the characteristics of Western films were part of 19th-century popular Western
Man of the Forest
Man of the Forest is a 1933 American pre-Code film directed by Henry Hathaway, based upon a novel by Zane Grey, released by Paramount Pictures, starring Randolph Scott and Verna Hillie. The supporting cast features Harry Carey, Noah Beery, Barton MacLane, Buster Crabbe and Guinn "Big Boy" Williams; the film is known as Challenge of the Frontier. Hathaway directed much of the same cast that same year in another Zane Grey story, The Thundering Herd, Scott and Crabbe in To the Last Man, yet another Zane Grey story that year.. Based upon a novel by Zane Grey, Man of the Forest involves a young lady, captured by a band of outlaws led by Clint Beasley. Brett Dale rescues her. Randolph Scott as Brett Dale Verna Hillie as Alice Gaynor Harry Carey as Jim Gaynor Noah Beery as Clint Beasley Barton MacLane as Mulvey Buster Crabbe as Yegg Guinn "Big Boy" Williams as Big Casino Vince Barnett as Little Casino Blanche Friderici as Mrs. Peg Forney Tempe Pigott as Madame Tom Kennedy as Sheriff Blake A 35mm print of the film exists and was exhibited at the Museum of Modern Art in New York City in 2015.
Man of the Forest on IMDb Man of the Forest is available for free download at the Internet Archive
Hollywood Walk of Fame
The Hollywood Walk of Fame comprises more than 2,600 five-pointed terrazzo and brass stars embedded in the sidewalks along 15 blocks of Hollywood Boulevard and three blocks of Vine Street in Hollywood, California. The stars are permanent public monuments to achievement in the entertainment industry, bearing the names of a mix of musicians, directors, producers and theatrical groups, fictional characters, others; the Walk of Fame is administered by the Hollywood Chamber of Commerce and maintained by the self-financing Hollywood Historic Trust. It is a popular tourist destination, with a reported 10 million visitors in 2003; the Hollywood Chamber of Commerce holds trademark rights to the Hollywood Walk of Fame. The Walk of Fame runs 1.3 miles east to west on Hollywood Boulevard from Gower Street to La Brea Avenue, plus a short segment of Marshfield Way that runs diagonally between Hollywood and La Brea. According to a 2003 report by the market research firm NPO Plog Research, the Walk attracts about 10 million visitors annually—more than Sunset Strip, TCL Chinese Theatre, the Queen Mary, the Los Angeles County Museum of Art—and has played an important role in making tourism the largest industry in Los Angeles County.
As of 2018, the Walk of Fame comprises over 2,600 stars, spaced at 6-foot intervals. The monuments are coral-pink terrazzo five-point stars rimmed with brass inlaid into a charcoal-colored terrazzo background. In the upper portion of each star field the name of the honoree is inlaid in brass block letters. Below the inscription, in the lower half of the star field, a round inlaid brass emblem indicates the category of the honoree's contributions; the emblems symbolize five categories within the entertainment industry: Of all the stars on the Walk to date, 47% have been awarded in the motion pictures category, 24% in television, 17% in audio recording, 10% in radio, fewer than 2% in the live performance category. 20 new stars are added to the Walk each year. Special category stars recognize various contributions by corporate entities, service organizations, special honorees, display emblems unique to those honorees. For example, former Los Angeles mayor Tom Bradley's star displays the Seal of the City of Los Angeles.
The "Friends of the Walk of Fame" monuments are charcoal terrazzo squares rimmed by miniature pink terrazzo stars displaying the five standard category emblems, along with the sponsor's corporate logo, with the sponsor's name and contribution in inlaid brass block lettering. Special stars and Friends monuments are granted by the Hollywood Chamber of Commerce or the Hollywood Historic Trust, but are not part of the Walk of Fame proper and are located nearby on private property; the monuments for the Apollo 11 mission to the Moon are uniquely shaped: Four identical circular moons, each bearing the names of the three astronauts the date of the first Moon landing, the words "Apollo XI", are set on each of the four corners of the intersection of Hollywood and Vine. The moons are silver and grey terrazzo circles rimmed in brass on a square pink terrazzo background, with the television emblem inlaid at the top of each circle; the Hollywood Chamber of Commerce credits E. M. Stuart, its volunteer president in 1953, with the original idea for creating a Walk of Fame.
Stuart proposed the Walk as a means to "maintain the glory of a community whose name means glamour and excitement in the four corners of the world." Harry Sugarman, another Chamber member and president of the Hollywood Improvement Association, receives credit in an independent account. A committee was formed to flesh out the idea, an architectural firm was retained to develop specific proposals. By 1955 the basic concept and general design had been agreed upon, plans were submitted to the Los Angeles City Council. Multiple accounts exist for the origin of the star concept. According to one, the historic Hollywood Hotel—which stood for more than 50 years on Hollywood Boulevard at the site now occupied by the Hollywood and Highland complex and the Dolby Theatre—displayed stars on its dining room ceiling above the tables favored by its most famous celebrity patrons, that may have served as an early inspiration. By another account, the stars were "inspired... by Sugarman's drinks menu, which featured celebrity photos framed in gold stars."In February 1956, a prototype was unveiled featuring a caricature of an example honoree inside a blue star on a brown background.
However, caricatures proved too expensive and difficult to execute in brass with the technology available at the time. By March 1956, the final design and coral-and-charcoal color scheme had been approved, between the spring of 1956 and the fall of 1957, 1,558 honorees were selected by committees representing the four major branches of the entertainment industry at that time: motion pictures, audio recording, radio; the committees met at the Brown Derby restaurant, included such prominent names as Cecil B. DeMille, Samuel Goldwyn, Jesse L. Lasky, Walt Disney, Hal Roach, Mack Sennett, Walter Lantz. A requirem
A silent film is a film with no synchronized recorded sound. In silent films for entertainment, the plot may be conveyed by the use of title cards, written indications of the plot and key dialogue lines; the idea of combining motion pictures with recorded sound is nearly as old as film itself, but because of the technical challenges involved, the introduction of synchronized dialogue became practical only in the late 1920s with the perfection of the Audion amplifier tube and the advent of the Vitaphone system. During the silent-film era that existed from the mid-1890s to the late 1920s, a pianist, theater organist—or in large cities, a small orchestra—would play music to accompany the films. Pianists and organists would play either from improvisation; the term silent film is a retronym—a term created to retroactively distinguish something. Early sound films, starting with The Jazz Singer in 1927, were variously referred to as the "talkies," "sound films," or "talking pictures." Within a decade, the widespread production of silent films for popular entertainment had ceased, the industry had moved into the sound era, in which movies were accompanied by synchronized sound recordings of spoken dialogue and sound effects.
Most early motion pictures are considered lost because the nitrate film used in that era was unstable and flammable. Additionally, many films were deliberately destroyed because they had little value in the era before home video, it has been claimed that around 75 percent of silent films have been lost, though these estimates may be inaccurate due to a lack of numerical data. The earliest precursors to film began with image projection through the use of a device known as the magic lantern, which utilized a glass lens, a shutter, a persistent light source to project images from glass slides onto a wall; these slides were hand-painted, after the advent of photography in the 19th century, still photographs were sometimes used. Thus the invention of a practical photography apparatus preceded cinema by only fifty years; the next significant step toward the invention of cinema was the development of an understanding of image movement. Simulations of movement date as far back as to 1828—only four years after Paul Roget discovered the phenomenon he called "Persistence of Vision."
Roget showed that when a series of still images is shown at a considerable speed in front of a viewer's eye, the images merge into one registered image that appears to show movement. This is an optical illusion, since the image is not moving; this experience was further demonstrated through Roget's introduction of the thaumatrope, a device that spun at a high speed a disk with an image on its surface. The three features necessary for motion pictures to work were "a camera with sufficiently high shutter speed, a filmstrip capable of taking multiple exposures swiftly, means of projecting the developed images on a screen." The first projected proto-movie was made by Eadweard Muybridge between 1877 and 1880. Muybridge set up a row of cameras along a racetrack and timed image exposures to capture the many stages of a horse's gallop; the oldest surviving film was created by Louis Le Prince in 1888. It was a two-second film of people walking in "Oakwood streets" garden, titled Roundhay Garden Scene.
The development of American inventor Thomas Edison's Kinetograph, a photographic device that captured sequential images, his Kinetoscope, a device for viewing those images, allowed for the creation and exhibition of short films. Edison made a business of selling Kinetograph and Kinetoscope equipment, which laid the foundation for widespread film production. Due to Edison's lack of securing an international patent on his film inventions, similar devices were "invented" around the world. In France, for example and Louis Lumière created the Cinématographe, which proved to be a more portable and practical device than both of Edison's as it combined a camera, film processor, projector in one unit. In contrast to Edison's "peepshow"-style kinetoscope, which only one person could watch through a viewer, the cinematograph allowed simultaneous viewing by multiple people, their first film, Sortie de l'usine Lumière de Lyon, shot in 1894, is considered the first true motion picture. The invention of celluloid film, strong and flexible facilitated the making of motion pictures.
This film was 35 mm wide and was pulled using four sprocket holes, which became the industry standard. This doomed the cinematograph; the art of motion pictures grew into full maturity in the "silent era". The height of the silent era was a fruitful period, full of artistic innovation; the film movements of Classical Hollywood as well as French Impressionism, German Expressionism, Soviet Montage began in this period. Silent filmmakers pioneered the art form to the extent that every style and genre of film-making of the 20th and 21st centuries has its artistic roots in the silent era; the silent era was a pioneering one from a technical point of view. Three-point lighting, the close-up, long shot and continuity editing all became prevalent long before silent films were replaced by "talking pictures" or "talkies" in the late 1920s; some scholars claim that the artistic quality of cinema decreased for several years, during the early 1930s, until film directors and production staff adapted to the new "talkies" around the late 1930s.
Academy Award for Best Supporting Actor
The Academy Award for Best Supporting Actor is an award presented annually by the Academy of Motion Picture Arts and Sciences. It is given in honor of an actor who has delivered an outstanding performance in a supporting role while working within the film industry; the award was traditionally presented by the previous year's Best Supporting Actress winner. At the 9th Academy Awards ceremony held in 1937, Walter Brennan was the first winner of this award for his role in Come and Get It. Winners in both supporting acting categories were awarded plaques instead of statuettes. Beginning with the 16th ceremony held in 1944, winners received full-sized statuettes. Nominees are determined by single transferable vote within the actors branch of AMPAS. Since its inception, the award has been given to 74 actors. Brennan has received the most awards in this category with three awards. Brennan, Jeff Bridges, Robert Duvall, Arthur Kennedy, Jack Nicholson, Claude Rains were nominated on four occasions, more than any other actor.
As of the 2019 ceremony, Mahershala Ali is the most recent winner in this category for his role as Don Shirley in Green Book. In the following table, the years are listed as per Academy convention, correspond to the year of film release in Los Angeles County. All Academy Award acting nominees BAFTA Award for Best Actor in a Supporting Role Independent Spirit Award for Best Supporting Male Critics' Choice Movie Award for Best Supporting Actor Golden Globe Award for Best Supporting Actor – Motion Picture Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Supporting Role Crouse, Richard. Reel Winners: Movie Award Trivia. Toronto, Canada: University of Toronto Press. ISBN 978-1-55002-574-3. Kinn, Gail.
D. W. Griffith
David Wark Griffith was an American director and producer who pioneered modern cinematic techniques. He is remembered for The Birth of a Intolerance; the Birth of a Nation made use of advanced camera and narrative techniques, its popularity set the stage for the dominance of the feature-length film in the United States. The film has sparked significant controversy surrounding racism in the United States, focusing on its negative depiction of black people and the glorification of the Ku Klux Klan. Today, it is both acclaimed for its radical technique and condemned for its inherently racist philosophy; the film was subject to boycotts by the NAACP. Intolerance was an answer to his critics. Several of Griffith's films were successful, including Broken Blossoms, Way Down East, Orphans of the Storm, but his high costs for production and roadshow made his ventures commercial failures, he made 500 films by the time of his final feature The Struggle. Griffith is one of the founders of the Academy of Motion Picture Arts and Sciences and among the most important figures in the history of film.
He popularized the use of the close-up shot. Griffith was born on a farm in Oldham County, the son of Mary Perkins and Jacob Wark "Roaring Jake" Griffith a Confederate Army colonel in the American Civil War, elected as a Kentucky state legislator. Griffith was raised a Methodist, he attended a one-room schoolhouse where he was taught by his older sister Mattie, his father died when he was ten, the family struggled with poverty. When Griffith was 14, his mother abandoned the farm and moved the family to Louisville, where she opened a boarding house, it failed shortly after. Griffith left high school to help support the family, taking a job in a dry goods store and in a bookstore, he began his creative career as an actor in touring companies. Meanwhile, he was learning how to become a playwright, but had little success—only one of his plays was accepted for a performance, he traveled to New York City in 1907 in an attempt to sell a script to Edison Studios producer Edwin Porter. He decided to become an actor and appeared in many films as an extra.
In 1908, Griffith accepted a role as a stage extra in Professional Jealousy for the American Mutoscope and Biograph Company, where he met cameraman Billy Bitzer, his career in the film industry changed forever. In 1908, Biograph's main director Wallace McCutcheon, Sr. grew ill, his son Wallace McCutcheon, Jr. took his place. McCutcheon, Jr. did not bring the studio success. He directed a total of 48 shorts for the company that year, his short In Old California was the first film shot in California. Four years he produced and directed his first feature film Judith of Bethulia, one of the earliest to be produced in the US. Biograph believed. According to Lillian Gish, the company thought that "a movie that long would hurt eyes". Griffith left Biograph because of company resistance to his cost overruns on the film, he joined the Mutual Film Corporation. There, he co-produced The Life of General Villa, a biographical action–drama film starring Pancho Villa as himself, shot on location in México during a civil war.
He formed a studio with Majestic Studio manager Harry Aitken which became known as Reliance-Majestic Studios and was renamed Fine Arts Studio. His new production company became an autonomous production unit partner in Triangle Film Corporation along with Thomas H. Ince and Keystone Studios' Mack Sennett; the Triangle Film Corporation was headed by Aitken, released from the Mutual Film Corporation, his brother Roy. Griffith directed and produced The Clansman through Reliance-Majestic Studios in 1915, which became known as The Birth of a Nation and is considered one of the first feature length American films; the film was a success, but it aroused much controversy due to its depiction of slavery, the Ku Klux Klan, race relations in the American Civil War and the reconstruction era of the United States. It was based on Jr.'s 1905 novel The Clansman. This view of the era was popular at the time and was endorsed for decades by historians of the Dunning School, although it met with strong criticism from the National Association for the Advancement of Colored People and other groups.
The NAACP attempted to stop showings of the film. They were successful in some cities, but it was shown and became the most successful box office attraction of its time, it is considered among the first "blockbuster" motion pictures and broke all box office records, established until then. "They lost track of the money it made", Lillian Gish remarked in a Kevin Brownlow interview. Audiences in some major northern cities rioted over the film's racial content, filled with action and violence. Griffith's indignation at efforts to censor or ban the film motivated him to produce Intolerance the following year, in which he portrayed the effects of intolerance in four different historical periods: the Fall of Babylon.
Francis Brett Hart, known as Bret Harte, was an American short-story writer and poet, best remembered for his short fiction featuring miners and other romantic figures of the California Gold Rush. In a career spanning more than four decades, he wrote poetry, lectures, book reviews and magazine sketches in addition to fiction; as he moved from California to the eastern U. S. to Europe, he incorporated new subjects and characters into his stories, but his Gold Rush tales have been most reprinted and admired. Harte was born in New York's capital city of Albany, he was named Francis Brett Hart after Francis Brett. When he was young, his father, changed the spelling of the family name from Hart to Harte. Henry's father was Bernard Hart, an Orthodox Jewish immigrant who flourished as a merchant, becoming one of the founders of the New York Stock Exchange. Francis preferred to be known by his middle name, but he spelled it with only one "t", becoming Bret Harte. An avid reader as a boy, Harte published his first work at age 11, a satirical poem titled "Autumn Musings", now lost.
Rather than attracting praise, the poem garnered ridicule from his family. As an adult, he recalled to a friend, "Such a shock was their ridicule to me that I wonder that I wrote another line of verse", his formal schooling ended when he was 13, in 1849. Harte moved to California in 1853 working there in a number of capacities, including miner, teacher and journalist, he spent part of his life in the northern California coastal town of Union, a settlement on Humboldt Bay, established as a provisioning center for mining camps in the interior. The Wells Fargo Messenger of July 1916, relates that, after an unsuccessful attempt to make a living in the gold camps, Harte signed on as a messenger with Wells Fargo & Co. Express, he guarded treasure boxes on stagecoaches for a few months gave it up to become the schoolmaster at a school near the town of Sonora, in the Sierra foothills. He created his character Yuba Bill from his memory of an old stagecoach driver. Among Harte's first literary efforts, a poem was published in The Golden Era in 1857, and, in October of that same year, his first prose piece on "A Trip Up the Coast".
He was hired as editor of The Golden Era in the spring of 1860, which he attempted to make into a more literary publication. Mark Twain recalled that, as an editor, Harte struck "a new and fresh and spirited note" which "rose above that orchestra's mumbling confusion and was recognizable as music". Among his writings were parodies and satires of other writers, including The Stolen Cigar-Case featuring ace detective "Hemlock Jones", which Ellery Queen praised as "probably the best parody of Sherlock Holmes written"; the 1860 massacre of between 80 and 200 Wiyot Indians at the village of Tuluwat was reported by Harte in San Francisco and New York. While serving as assistant editor of the Northern Californian, Harte was left in charge of the paper during the temporary absence of his boss, Stephen G. Whipple. Harte published a detailed account condemning the slayings, writing: "a more shocking and revolting spectacle never was exhibited to the eyes of a Christian and civilized people. Old women wrinkled and decrepit lay weltering in blood, their brains dashed out and dabbled with their long grey hair.
Infants scarcely a span long, with their faces cloven with hatchets and their bodies ghastly with wounds."After he published the editorial, Harte's life was threatened, he was forced to flee one month later. Harte quit his job and moved to San Francisco, where an anonymous letter published in a city paper is attributed to him, describing widespread community approval of the massacre. In addition, no one was brought to trial, despite the evidence of a planned attack and references to specific individuals, including a rancher named Larabee and other members of the unofficial militia called the Humboldt Volunteers. Harte married Anna Griswold on August 11, 1862, in California. From the start, the marriage was rocky; some suggested that she was handicapped by extreme jealousy, while early Harte biographer Henry C. Merwin concluded that she was "almost impossible to live with"; the well-known minister Thomas Starr King recommended Harte to James Thomas Fields, editor of the prestigious magazine, The Atlantic Monthly, which published Harte's first short story in October 1863.
In 1864, Harte joined with Charles Henry Webb in starting a new literary journal called The Californian. He mentored poet Ina Coolbrith. In 1865, Harte was asked by bookseller Anton Roman to edit a book of California poetry; when the book, called Outcroppings, was published, it contained only 19 poets, many of them Harte's friends. The book caused some controversy, as Harte used the preface as a vehicle to attack California's literature, blaming the state's "monotonous climate" for its bad poetry. While the book was praised in the East, many newspapers and poets in the West took umbrage at his remarks. In 1868, Harte became editor of The Overland Monthly, another new literary magazine, published by Roman Anton with the intention of highlighting local writings; the Overland Monthly was more in tune with the pioneering spirit of excitement in California. Harte's short story "The Luck of Roaring Camp" appeared in the magazine's second issue, propelling him to nationwide fame; when word of Charles Dickens's death reached Harte in July 1870, he sent a dispatch across the bay to San Francisco to hold back the forthcoming issue of the Overland Monthly for