Podcast appearances and mentions of Frances Marion

Maxwell House Coffee Time. September 26, 1946. NBC net. Sponsored by: Maxwell House Coffee, Birdseye Foods. George and Gracie go on a quiz show to win new appliances. They're going to appear on, "It Pays To Be A Schnook," but wind up on Kay Kyser's show instead. Kay Kyser sounds like he is being impersonated. The Maxwell House production commercial is based on, "Ramona.". George Burns, Gracie Allen, Meredith Willson and His Orchestra, Frank Nelson, Bill Goodwin, Kay Kyser (?), Mel Blanc, Paul Henning (writer), Keith Fowler (writer).Frontier Gentleman. February 02, 1958. CBS net. "South Sunday". Sustaining. The first show of the series. Kendall takes on the entire Shelton gang in a small town in the Montana Territory. Parts of the public service announcements have been deleted. The story titles given for this series are subject to correction, in fact, the series may not have story titles at all. John Dehner, Jack Kruschen, Harry Bartell, Barney Phillips, Virginia Gregg, Stacy Harris, Johnny Jacobs (announcer), Antony Ellis (creator, writer, producer, director), Jerry Goldsmith (composer, conductor).The Lux Radio Theatre. October 11, 1937. CBS net. "Stella Dallas". Sponsored by: Lux. The third anniversary show of the series. A tearful story of mother love and sacrifice, "soon to be made into a radio serial.". Barbara Stanwyck, John Boles, Anne Shirley, Barbara O'Neil, Bruce Satterlee, Cecil B. DeMille, Dickie Jones, Elia Braca (doubles), Frank Nelson (doubles, commercial spokesman, program opening announcer), Grace Kern (doubles), Hudson Faussett (doubles), Jack Egger, James Eagles (doubles), Joan Taylor (doubles, commercial spokesman), Lou Merrill, Louis Silvers (music director), Margaret Brayton (triples), Margaret McKay (doubles), Mary Lansing (doubles), Melville Ruick (announcer), Ross Forrester (doubles), Sada Cowan (doubles), Teresa Harris (doubles), Wallis Roberts (doubles), Sarah Y. Mason (screenwriter), Victor Heerman (screenwriter), Harry Wagstaff (adaptor), Gertrude Purcell (adaptor), Joe Bigelow (additional dialogue), Frances Marion (screenwriter), Olive Higgins Prouty (author), T. Keith Glennon (intermission guest: operations manager for Paramount), Frank Woodruff (director), George Wells (adaptor), Charlie Forsyth (sound effects). Crime Classics. December 3, 1952. CBS net. "The Crime Of Bathsheba Spooner". Sustaining. An audition recording. The script was used for the first show of the series on June 15, 1953. The story of the first woman tried and executed in the United states. Lou Merrill (host), Morton Fine (writer), David Friedkin (writer), Bernard Herrmann (composer, conductor), Elliott Lewis (producer, director), Mary Jane Croft, William Johnstone, Tudor Owen, Georgia Ellis, Herb Butterfield, Ben Wright, Sam Edwards.Lights Out. March 09, 1943. Program #21. CBS net origination, syndicated rebroadcast. "The Ball". Sponsored by: Commercials added locally. A ghastly story of the headless, walking dead. Syndicated program name: "The Devil and Mr. O." The story is also known as, "Paris Macabre." See cat. #77942 for a network, sponsored version of this broadcast. Arch Oboler (writer, host), Bea Benaderet, Jane Morgan.TOTAL TIME: 2:59:13.184SOURCES: Wikipedia and The RadioGoldindex.com

On this week's episode, Bridget and Colleen finally stopped rotting and went out into the world again! Colleen is shooketh by Sean Kingston and prom proposals are getting completely out of hand. Then we get into the topic of the week... BAD ASS WOMEN FROM HISTORY! Or in this case, herstory. Hear the stories of the unsung heroes Frances Marion, Deborah Sampson, Dorothy Lawrence, Florence Nightingale and Sybil Ludington. You may not know them but you will LOVE them! They are definitely a slay. Sources:17 Women Who Made History - That You've Never Heard Of - Refinery29Deborah Sampson - National Women's History Museum Deborah Sampson Cross Dresses to Fight the British - Drunk History EpisodeFlorence Nightingale - History.comFlorence Nightingale Revolutionizes Nursing - Drunk History EpisodeWikipediaReview and subscribe! You can find us on Instagram @Sippinwiththeshannons or send us your stories at Sippinwiththeshannons@gmail.com. Love you, mean it.

Our guest James Dunovan is an editor, writer, director, colorist, and expert in the art of the Irish goodbye. He's a long-time friend of Andrea and her husband, and is our resident dungeon master and friendly neighborhood nerd, being a gamer in every sense of the word. James picked Stephen Frears' “High Fidelity,” starring John Cusack, Lisa Bonet, and introducing the world to Jack Black. We discuss how this film brought about a change to the rom-com/dramedy genre, the fantasy of the "perfect woman" and how it damages the woman in question as well as the creator of the fantasy. We talk about how the film objectifies women- and how our lead character tries to learn not to. This week's women in film facts are Frances Marion and Helen Hayes, some of the most influential women in history in screenwriting and acting, respectively. You can find more of James at @james.dunovan on instagram, but honestly, if you want the full experience of the talented man that is James? Then you'll have to play D&D with him.

In support of the Writers Guild of America (WGA) strike, this week's mini is focused on lost lady screenwriters. Between 1910 and 1930 more than half of all screenplays copyrighted were written by women, who were the early pioneers in this field. Discussed in this episode: Marie Dressler: Actress who introduced Anita Loos around the film industry.Lois Weber: Female film director who employed Anita Loos as an assistant.Mary Pickford: Actress who collaborated with Frances Marion on several scenarios.Elinor Glyn: Subject of an earlier Lost Ladies of Lit episode, portrayed by Jean Smart in the film Babylon.Hilary Hallett: Expert on women in early Hollywood, author of "Go West, Young Women: The Rise of Early Hollywood."Ursula Parrott: Mentioned as a novelist from a previous Lost Ladies of Lit episode who tried her hand at screenwriting in Hollywood.Winnifred Eaton: Also mentioned as a novelist and Lost Ladies of Lit episode, involved in Hollywood screenwriting.Nora EphronFrances Marion: Pioneering female screenwriter, wrote for Mary Pickford, won Oscars, and had a successful career.Anita Loos: Screenwriter known for "Gentlemen Prefer Blondes" and other works.June Mathis: First female executive for MGM, influential screenwriter.Leigh Brackett: Screenwriter known for "The Big Sleep," "The Long Goodbye," and co-writing credit on "The Empire Strikes Back."George Lucas: Had Leigh Brackett work on the early version of "The Empire Strikes Back."Ouida Bergére: Mentioned briefly as a writer who started as an actress.Bess Meredyth: Mentioned for her influence on the film "Casablanca."Josephine Lovett: Briefly mentioned as a screenwriter.Jeanie MacPherson: Mentioned as an actress who turned to screenwriting.Ambassador Hotel: Mentioned as a location associated with Elinor Glyn.Musso and Frank's: Mentioned in the context of Hollywood history.Madame Glyn: Reference to Elinor Glyn, a prominent writer of the timFor episodes and show notes, visit: LostLadiesofLit.com Follow us on instagram @lostladiesoflit. Follow Kim on twitter @kaskew. Sign up for our newsletter: LostLadiesofLit.com Email us: Contact — Lost Ladies of Lit Podcast

Sunday on PBS News Weekend, Sen. Jon Tester talks about looming battles in Congress over the national debt, immigration and America's political divisions. Then, how one journalist left Russia to report on his own country in exile. A thought leader on healthy aging shares her take on designing better lives for all. Plus, a look back at the life of Hollywood screenwriter Frances Marion. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

This Women's History Month, we're highlighting stories of success that have faded over time. Tonight, we look back at the life of Frances Marion, a pioneer in the film industry whose storied career made her one of the most prolific and respected screenwriters of her time. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Heroic Memory: Last surviving WWII Medal of Honor winner will be honored in D.C.: https://www.richlandsource.com/news/heroic-memory-last-surviving-wwii-medal-of-honor-winner-will-be-honored-in-d-c/article_4dcb43e6-fbc8-11ec-9a0e-b7c855aa26fd.html World Stage: Area soccer team to participate in Dana Cup in Denmark: https://www.richlandsource.com/sports/girls_soccer/world-stage-area-soccer-team-to-participate-in-dana-cup-in-denmark/article_97fe3d86-f7e2-11ec-a70a-6f185afd96d4.html If the name Hershel W. "Woody" Williams sounds familiar to north central Ohio residents, it should -- for multiple reasons. Williams died on Wednesday, June 29th at the age of 98. Nationally, he was the last surviving Medal of Honor recipient from World War II.Support the show: https://www.sourcemembers.com/See omnystudio.com/listener for privacy information.

Comenzó su carrera como asistente y correctora de libretos en 1914. Bajo la tutela de la directora Lois Weber, y gracias a su pluma, Frances Marion se convirtió en referente y figura del cine estadounidense. Su maestría estaba en inventar historias con grandes finales y a medida de las estrellas de la gran pantalla. Se estima que Marion estuvo detrás de más de 300 guiones hollywoodenses.

Frances Marion was one of the most important, influential, and well-paid screenwriters in Hollywood. Her films moved audiences to tears and brought out the best in every actor for whom she ever wrote. And when the switch to ‘talking pictures' left most other silent film writers in the dust, Frances continued to astonish, creating dozens of the most famous and beloved films of the first half of the 20th century. So how come nobody remembers … The post THE SCREENWRITER Frances Marion appeared first on What'shername.

Movies are a man's industry, except when you consider that Hollywood was essentially built by women. Author, screenwriter and Hollywood history super-nerd, Claire S. Duffy joins to chat about the women who made the movies, and then men and code that wrote them out of the final edit of history. From Mary Pickford and Dorothy Azner to Greta Gabo and our dear friend Frances Marion, these are the women who built Hollywood. RDJ as Chaplin Mary Pickford on camera Mary Pickford & Douglas Fairbanks at Pickfair Estate Mary Pickford & Frances Marion Dir. Dorothy Azner Anne Bauchen, Academy Award winning editor Margaret Booth, edited Ben Hur Cecil B. DeMille + Gloria Swanson: Why Change Your Wife? DeMille + Swanson: Male and Female Where Are My Children - Lois Weber film about abortion (1916) Stills from Where Are My Children 1, 2, 3 Greta Garbo kissing woman in Queen Christina Greta Garbo as Queen Christina Joseph Breen William Hays Roscoe Arbuckle & Virginia Rappe More on Claire: Claire S. Duffy (aka CS Duffy) is an author and screenwriter. Her crime thriller series, the Glasgow Kiss series, is now on Book #6: Alone in the Dark. She is also the writer of new time travel fantasy Before Again and The Stranger for Storytel. Claire's most recent project is a substack series on the OG women of Hollywood. All this info and more on her website: csduffywriter.com! Listen and learn more from Claire on her episode of Under The Kilt SOCIALS: Follow Shared History at @SharedPod on Twitter & Instagram SUPPORT: Support us on Patreon or Buy us a "coffee" and fuel our next episode. MERCH: Snag some Shared History merch and get stylin'! CREDITS: Original Theme: Garreth Spinn Original Art: Sarah Cruz Animations: The Banditry Co. About this podcast: Shared History, is a comedy podcast and history podcast in one. Hosted by Chicago comedians, each episode focuses on obscure, overlooked and underrepresented historical events and people. SPONSORS: This season of Shared History is sponsored by RAYGUN, Herbiery Brewing & The Banditry Co.

Podcast co-host Melanie Benjamin talks about her novel THE GIRLS IN THE PICTURE.  A fascinating novel of the friendship and creative partnership between two of Hollywood's earliest female legends—screenwriter Frances Marion and superstar Mary Pickford. Send podcast comments and suggestions to Melanded@whothehellarewe.com Don't forget to subscribe to the show!

Frances Marion iniciou sua carreira como atriz e escrevia intertítulos e falas para personagens secundários. Com a parceria de Lois Weber, Marion conseguiu mostrar todo o seu talento: escreveu não apenas filmes dramáticos, que são considerados por muitos como "filmes femininos", mas outros que ultrapassavam as convenções de gênero. Vale lembrar que a roteirista ganhou dois Oscars por filmes repletos de personagens masculinos, durões e violentos: O presídio (1930) e O campeão (1932). Marion era tão talentosa, imaginativa e capaz de trazer a realidade diegética para o papel, que foi contratada para escrever mais de 400 filmes e tornou-se a roteirista mais bem paga em Hollywood entre as décadas de 1920 e 1930, incluindo homens e mulheres. Entre seus filmes mais famosos está The Love Night (1921), que foi dirigido, atuado e produzido por Mary Pickford.

Lois Weber foi uma das grandes diretoras da década de 1910 e era considerada como tal por uma dezena de colegas de profissão. Tanto que, em 1915, foi eleita prefeita da Universal Studios. Do estúdio, seus filmes eram os que mais faturavam. Weber sabia entender bem o que o público desejava ver nas telas. No filme Hypocrites (1915), a diretora astutamente inseriu uma mulher nua no contexto da narrativa, para que mais pessoas, curiosas, fossem assistir ao filme. Não é atoa que ela teve um estúdio próprio, com seu nome e tudo, sendo a primeira diretora a conseguir tal feito. Além disso, era a mulher mais bem paga da indústria na década de 1910; ganhava cerca de cinco mil dólares por semana. Como belo exemplo de sororidade, Weber também promovia o trabalho de outras mulheres. Foi com ela que Frances Marion começou a escrever falas para personagens secundários, e não apenas intertítulos sem locuções. Infelizmente, Weber faleceu em 1930, aos 60 anos. Foi esquecida após a sua morte, ainda que tenha sido tão famosa enquanto filmava.

There's a new girl at Miss Minchin's! In this episode of Adapt or Perish, we're talking about the children's classic A Little Princess! In this episode we discuss: Frances Hodgson Burnett's original 1905 novel A Little Princess (1917), directed by Marshall Neilan, written by Frances Marion, and starring Mary Pickford, Katherine Griffith, and ZaSu Pitts The Little Princess (1939), directed by Walter Lang, written by Ethel Hill and Walter Ferris, and starring Shirley Temple, Ian Hunter, Arthur Treacher, and Cesar Romero Princess Sarah (1985), directed by Fumio Kurokawa, and written by Hidemi Kamata, Keiko Mukuroji, and Ryūzō Nakanishi A Little Princess (1986), directed by Carol Wiseman, written by Jeremy Burnham, and starring Amelia Shankley, Maureen Lipman, Miriam Margolyes, and Nigel Havers A Little Princess (1995), directed by Alfonso Cuarón, written by Richard LaGravenese, and starring Liesel Matthews, Eleanor Bron, and Liam Cunningham Footnotes: Episode 50: Charlotte's Web Episode 5: The Hitchhiker's Guide to the Galaxy Episode 41: The Ten Commandments The theme song to The Adventures of Robin Hood Akage no An (Anne of Green Gables) (1979) The Pritzker family The music videos for Blind Melon's "No Rain" and "Weird Al" Yankovic's "Bedrock Anthem" You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us and all of our show notes online at adaptorperishcast.com. We're also on Patreon! You can find us at patreon.com/adaptcast. We have multiple reward levels, which include access to a patron-only community and a patron-only, biweekly bonus show! We hope to see you there. If you want to send us a question or comment, you can always email us at adaptorperishcast@gmail.com.

Sources:The Woman Who Invented the Hollywood Screenwriter By ​Pamela Hutchinson: https://www.criterion.com/current/posts/6948-the-woman-who-invented-the-hollywood-screenwriterLinks: Without Lying Down by Cari Beauchamp: https://bookshop.org/books/without-lying-down-frances-marion-and-the-powerful-women-of-early-hollywood/9780520214927Donate to Reverend Warnock: https://secure.actblue.com/donate/warnockrunoffDonate to Jon Ossoff: https://secure.actblue.com/donate/ossoffrunoffDonate to Fair Fight: https://fairfight.com/Volunteer to help Fair Fight wherever you are: https://fairfight.com/fair-fight-2020/

Are you a fan of films like The Shawshank Redemption or The Green Mile? The Big House by George W. Hill paved the way for the prison drama genre. With groundbreaking achievements, including a nomination for writing for Frances Marion, this film holds a special place in cinematic history! Up Next: The Divorcee (1930) directed by Robert Z. Leonard You can find more info on the show as well as the full film list and watch order on our website: www.outaopodcast.com Or use our Letterboxd list! Support for Once Upon a Time at the Oscars is provided by our Patreon backers. For as little as $2 a month you can help support our show as well as receive fun benefits, including the chance to vote for what film you think deserves to win Best Picture every year! Subscribe to the show – Apple, Google, Spotify, Feed (Copy the url into the podcast app of your choice) If you like the show, please consider leaving a rating or review on iTunes or your podcast player of choice! Help us reach more listeners! You can stay up to date with the show by following us at: facebook.com/outaopodcast twitter.com/outaopodcast instagram.com/onceuponatimeattheoscars Once Upon a Time at the Oscars is the weekly podcast where we take on the gauntlet of watching every single film that was nominated for Best Picture at the Academy Awards! Starting with the films of 1927, Kyle and Marilee break down these movies every week. Each episode is part review, part trivia, and part critique. This podcast is intended for anybody that loves movies. We have zero background in the film industry, we’re just a film-loving couple that thought it’d be fun to go on this odyssey together, with all of you! Let us know what you thought of the film! You can send your thoughts and we’ll read them on an upcoming ceremony episode: outaopodcast@gmail.com Thanks for tuning in! See you at the movies, Kyle and Marilee

Vừa chập chững những bước đi đầu tiên, điện ảnh Mỹ đã bị cuộc Thế Chiến Thứ Nhất ở châu Âu bên kia bờ Đại Tây Dương cuốn theo. Một lý do rất chính trị, chính phủ Mỹ thời bấy giờ đã nhìn thấy điện ảnh như một công cụ tuyên truyền hữu hiệu và các nhà điện ảnh Mỹ trở thành những chiến sĩ xung kích trên mặt trận tuyên truyền. (Tạp chí được phát lần đầu ngày 20/09/2017). Chính bối cảnh và các trải nghiệm chiến tranh đã giúp Hollywood có được sức bật mới để phát triển thành một ngành công nghiệp giải trí có sức ảnh hưởng lớn nhất thế giới hiện nay. Các nhà làm phim Hollywood đã bị lôi kéo vào cuộc Chiến Tranh Thế Giới Thứ Nhất như thế nào? Một sự kiện làm đảo lộn dư luận Mỹ: Con tàu thủy Lusitania chuyên chở đến Anh những thường dân và các khí tài chiến tranh đã bị tàu ngầm Đức phóng lôi đánh chìm. Hậu quả 1.200 nạn nhân, trong đó có 128 người Mỹ. Giáo sư sử học William Deverelle nhớ lại: "Người Mỹ có cảm giác chiến tranh ở xa họ, bên châu Âu cho đến tận khi chiếc tàu ngầm Đức làm thiệt mạng các công dân Mỹ. Quả thực Los Angeles đang ngày càng chú ý nhiều đến chiến tranh. Trong những năm 1915, 1916 nhiều người ở Los Angeles đã lên tiếng nói rằng cần phải can thiệp". Cuốn theo chiều gió chiến tranh Rồi sau đó xuất hiện vụ “bức điện tín Zimmerman”. Tháng Giêng năm 1917, một bức điện mật gửi đến chính phủ Mêhicô bị tình báo Anh chặn được. Tác giả bức điện là bộ trưởng ngoại giao Đế chế Đức Arthur Zimmerman. Ông William Deverelle cho biết tiếp: “Bức điện nói rằng nếu Hoa Kỳ lao vào cuộc chiến với các đồng minh, họ có thể chọn đồng minh giữa Đức và Mêhicô. Điều này đã gây tức giận ở Hoa Kỳ. Bức điện của Zimmerman nhắc Hoa Kỳ rằng miền tây nam nước này cách đó không lâu vẫn còn là lãnh thổ Mêhicô và nó có thể trở lại Mêhicô dưới sự quản lý của chính phủ Mêhicô. Điều này đã làm thức tỉnh California, bang này nhận thấy tình trạng nghiêm trọng”. Cùng thời kỳ đó, Cecil B. DeMille làm bộ phim “La petite américaine - Cô bé Mỹ” với Mary Pickford đóng vai chính. Cô vào vai Angela trên đường đến gặp bà cô già ở châu Âu. Cô xuống một con tàu thủy, cũng giống như con tàu Lusitania, tàu của cô bị thủy lôi bắn chìm trên đường qua châu Âu. Được cứu sống ở phút chót, cô đến được nước Pháp khi đó đang bị Đức chiếm đóng. Nhưng tại đây, cô được chứng kiến những tội ác dã man của người Đức và cô chọn đứng về phe đồng minh. Ngày 06/04/1917, Quốc Hội Mỹ đồng ý tham chiến với 373 phiếu thuận, 50 phiếu chống. Tổng thống Wilson đã phải thay đổi căn bản lập trường. Theo nhà nghiên cứu Steven Ross: “Cách đó chưa đầy một năm, ông đã hứa không đưa nước Mỹ vào cuộc chiến tranh, còn giờ thì ông đã chính thức lao vào và ông phải quay ngược dư luận toàn quốc. Một tuần sau khi tuyên bố chiến tranh, ông thành lập ủy ban thông tin nhà nước. Ông chỉ định một cựu nhà báo, George Creel và ra lệnh cho ông ấy bằng một dòng chữ : “Hãy tán dương cuộc chiến này với người dân Mỹ!” Ý thức được quyền lực ngày càng lớn của điện ảnh, George Creel liên hệ với Hollywood yêu cầu sản xuất các bộ phim ca tụng nước Mỹ và chính phủ. Ban đầu đề nghị bị bác bỏ, các nhà sản xuất phim muốn chứng tỏ độc lập. George Creel sử dụng đến đe dọa nếu Hollywood từ chối, chính phủ sẽ hạn chế xuất khẩu phim, sẽ gọi nhân viên của Hollywood đăng lính và đóng cửa các sân khấu buổi tối. Vài ngày sau, ông nhận được một bức thư của các trường quay Hollywood với một giọng điệu khắc hẳn. Steven Ross cho biết tiếp: “Chúng tôi quyết định hợp tác với chính phủ, từ nay chúng tôi sẽ không còn sản xuất các phim mang tính tích cực với khán giả Mỹ. Creel như vậy đã giành thắng lợi trong cuộc chơi. Ông bảo đảm không có ai ly khai ở Hollywood. Không có phim phê phán chiến tranh làm ảnh hưởng đến tinh thần dân chúng Mỹ.” Các ngôi sao điện ảnh cũng muốn thể hiện cho thấy họ tham gia vào các nỗ lực của cuộc chiến. Hai tuần sau khi Quốc hội bỏ phiếu, một đội vệ binh được thành lập ở Los Angeles. Cecil B DeMille là chỉ huy, Mary Pickford, người cầm cờ. Một ngày Chủ Nhật, đội vệ binh diễu hành trên đại lộ Hollywood và trung tâm Los Angeles. Ông Marc Wanameker: “Đội vệ binh quốc gia chính là Hollywood biểu dương tinh thần ái quốc, tất nhiên rất biểu tượng. Nhưng cũng có những đơn vị được quân đội huấn luyện tại trang trại Jessy Lasky, được học cách bắn và tác chiến. Họ trở thành những thủ lĩnh không chỉ trong lĩnh vực làm phim mà cả trong cuộc chiến tranh”. Một đóng góp khác của các nghệ sĩ của màn ảnh rộng. Chiến dịch đăng ký tham gia chiến tranh. Washington tổ chức nhiều chuyến lưu diễn trong đó có một cuộc với Douglas Fairbanks, Charlie Chaplin, Mary Pickford và võ sĩ quyền anh Jack Demsey, chuyến lưu diễn đã thành công. Hàng triệu đô la đã được quyên góp. “Có hàng triệu người đến xem họ. Chúng ta đang ở những năm 1910 không có truyền hình, phát thanh; họ trở thành những ngôi sao quốc tế. Ta có thể nói đó là hệ quả của chiến tranh”. Sự hợp tác giữa Washington và Hollywood tỏ ra sinh lợi vì ngoài các phim của họ, các xưởng phim còn nhận được đơn đặt hàng của chính phủ về các đề tài thời sự mặt trận, phóng sự chiến trường, phim ngắn ca ngợi tinh thần yêu nước… Không bao lâu sau, điện ảnh đã vượt qua mong đợi của chính phủ, chuyển theo hướng tuyên truyền. Tất cả những phim như vậy góp phần huấn luyện binh sĩ, phần lớn trong họ khám phá điện ảnh đồng thời với chiến tranh. Mary Pickford trở thành người đỡ đầu cho nhiều đơn vị trong hải quân, pháo binh và không quân. Năm 1918, nhà biên kịch Frances Marion viết riêng cho cô nhân vật Johanna Enlists. Trong phim này nữ diễn viên kêu gọi công chúng dấn thân và kêu gọi các đoàn quân hãy chỉ trở về sau khi giành chiến thắng ở Đức. Về phần mình đạo diễn David W. Griffith được chính phủ Anh đề nghị làm một phim tài liệu ca ngợi các đồng minh. Ông được mời đến quay tại mặt trận Somme (Pháp), ông lồng ghép những hình ảnh chiến tranh vào một câu chuyện tâm lý tình cảm để lên án sự tàn bạo của Đức. Vẫn theo chuyên gia Marc Wanamaker: “Griffith đến Pháp và quay các cảnh trong các đường hào, cho dù phần lớn của bộ phim được thực hiện tại Hollywood, trong trường quay thực địa. Chủ đề của phim là để cho thấy các phụ nữ, trẻ em, gia đình chịu đau khổ. Khi bạn mô tả các phụ nữ trong chiến tranh là bạn nói về nhân loại, trong đó công chúng có thể cảm thấy có mình trong đó”. Chiến Tranh Thế Giới lần thứ nhất làm 10 triệu người chết ở châu Âu, 5.000 người Mỹ. Nhưng nó cũng giúp Mỹ trở thành cường quốc kinh tế hàng đầu thế giới. Như nhận xét của nữ văn sĩ Cari Beauchamp : “Chiến tranh đã thay đổi tại đất nước này, tôi không nghĩ họ nhận ra điều đó vào năm 1914. Nhưng chiến tranh đã sinh lợi rất nhiều cho Hollywood vì nó đã loại trừ mọi cạnh tranh. Châu Âu thực tế có những nhà điện ảnh lớn giờ đuổi theo sự chậm trễ và họ không thể làm được khi chiến tranh kết thúc vì 90% sản phẩm điện ảnh trên thế giới là làm tại Mỹ”. Năm 1919 Douglas Fairbanks, Charlie Chaplin, Mary Pickford và David W. Griffith thành lập hội United Artist để bảo vệ các tác phẩm của họ. Các xưởng phim Hollywood giờ đây tự kiểm soát việc sản xuất, phát hành và khai thác phim. Chiến tranh đã giúp điện ảnh phát triển thành một ngành công nghiệp thực thụ. Los Angeles là thủ đô và các minh tinh màn bạc, là đồng minh quý giá của Washington. Từ giờ một điều không thể chối cãi là Hollywood đã trở thành một thế lực kinh tế và nghệ thuật có ảnh hưởng đối với cả thế giới.

Lansarea romanului „Femei de Oscar“ de Melanie Benjamin apărut la Humanitas Fiction alături de Irina Margareta Nistor, Simona Preda şi Denisa Comănescu. Autoarea bestsellerurilor internaționale Lebedele de pe Fifth Avenue și Soția aviatorului ne oferă un nou roman cuceritor care imaginează prietenia și parteneriatul creativ dintre două simboluri ale Hollywoodului. Legendele unei epoci – Mary Pickford, Frances Marion, Charlie Chaplin, Rudolph Valentino, Lillian Gish, Louis B. Mayer – prind viață altfel decât sub reclamele luminoase, devin mai umane, dar și mai seducătoare. Într-un univers dominat de bărbați, așa cum era Hollywoodul la începutul secolului XX, două femei visează nu doar la o carieră în cinema, ci și să schimbe gustul publicului, venind cu idei noi, îndrăznețe. Una joacă în filme de mare succes, cealaltă scrie scenarii și regizează. Lumea filmului le recunoaște talentul, le premiază cu Oscaruri și le consacră definitiv. Lumea reală se dovedește însă a fi mai puțin generoasă și le rezervă altfel de surprize.

This week we speak with Geoff Duncan and Chris Moore from the Hellhole Gravel Grind stage race in South Carolina. The team has an innovative format making for a fun weekend away! Episode Sponsor: Athletic Greens, the all-in-one daily drink to support better health and peak performance. Hellhole Gravel Grind Stage Race Website Hellhole Gravel Grind Facebook page Automated transcript (please excuse all typos): Jeff and Chris, welcome to the show. Hey Craig, thanks for having us. Thanks for having us. Yeah, I'm super stoked to learn more about South Carolina gravel and some of the events you guys are putting on over the years. And let's start by talking a little bit about your history as riders and when you both discovered gravel riding, and then also what made you jump into event, organization and promotion? You want to, you want to start Chris? Yeah, sure. Say wow, let's go back all the way to college days. Back in the early nineties I raised I was, I wrote kind of ride bikes whenever I was in high school. And then in college, this is the early nineties. The mountain bike scene started getting gone and got a mountain bike and started doing some races here in South Carolina. And then continue that until I got out of college. And then from there, you know, the work and trying to find a career and everything kind of took over. And then I got back into it in the mid to mid early, mid two thousands. And just progressed from there. Raced road, raced mountain bikes dabbled as a triathlon a little bit started as a USA cycling official, worked up through that. And then we just started putting on a race about 10 years ago, a mountain bike race. Interestingly enough, the mountain bike race, one of the, one of the, one of the favorite mountain bike races I did whenever I was in college, it was called the killer three mile bike series up in Sumpter of near Sumter, South Carolina. And that went away in the mid nineties. And then so our first race that we started promoting Jeff and I was the return to killer three and it was just a single mountain bike race at the same place where we used to we're where the series used to be back in the nineties. And we started doing that in what 2009, somewhere around there 2009 was with that event. And then that grew into the the not mountain bike race, which is now, which was part of the Southern classic series. And now part of the King King Creek cup. Nice and windows. When did you start riding drop bar bikes off road? So that started in, in the what, probably 2010 or so. The cyclocross scene was kind of getting, going here in the Southeast and w we really didn't have a lot of places to train. So we would go out in the Francis Marion forest and ride the gravel roads and the bike, the, the, the hiking trails out there. And that was like I said, probably 2010, 2000, and then that morphed into this would be a great place to put on a gravel race. And this was, you know, in the beginning, kind of the beginning stages of the gravel and 2013, we decided to come up with the, the hell hole, gravel grind, stage race, and that's where it all started from there. Nice. And Jeff, how about you? Yeah, so I think I have a little bit abbreviated time on the bike compared to Chris. I didn't start riding a bike until around like 2006. And unit road was always my interest. I don't know that I ever was very good at it. But you know started out just riding a bike and then entering and doing some crits and whatnot. Think I met Chris around like 2009. I met him and his wife on a couple of group rides, or maybe, maybe it was a crit, a local crit. And we just started talking and I think we wanted something different from the team that we are on. So we just kinda created our own thing. And, you know, like Chris said at the, at the time it was a requirement. If you want to, if you want to be on a sanction team, you had to put on your own race you know, through USA cycling. So that's how the, the knock came about. And that killer three is what it was called, but we've been doing that for 10 years. And, you know, during the course of those 10 years, we've, we've done state time trials, cyclocross, state championships circuit races. And then I think, like Chris said about 2010 ish, we have a, we had a mutual friend named Patrick and he, he was training hardcore for things like trans Iowa. And, and it was still probably, you know, in the earlier days of dirty Kansas. And you know, we, we kind of took an interest in like, Hey, what, what is this all about and why, why do I always see Patrick riding in this forest it's right in our backyard? It's like Chris said, we, we hopped on cross bikes and went out there. In retrospect, that was just brutal what it does to your body on a cross bike for that distance. But yeah. And then, and then I think we always you know, we're always thinking of new and innovative ideas for events to put on. And for some reason we wanted to do a road race out there and called the tour de Frances Marion by road race scene is kinda, you know, it was kind of fallen off. So you know, we're like, Hey, let's do this gravel. And we started with hell hole gravel grind and 2013. And it was interesting to see just who showed up to that and, and just what that actually became. And it took off for us. I mean, I think the, I think when we, we launched the page within hours, it had over hundred likes and I remember texting Chris and I'm like, what, what did we just get ourselves into here? So that was pretty, it was pretty cool. Yeah. I imagine back in 2013, the spectrum of bicycles that showed up were, you know, anywhere from a mountain bike to a cross bike potentially to even a road bike. What were you guys seeing back then? I think, I think that first year, I think on the podium, I think we had all three. I think we had a road bike, a cross bike, and a mountain bike on the podium that first year. And I'll do you one better, Craig, we had a guy show up on a, a 36 inch diameter unicycle. It was, was pretty amazing. He did, he did 75 miles on that, you know, cycle. So, so when I come to ride with you guys in South Carolina, we're going to see a lot of unicycles around. No, it's, it has just, you know, just like the industry. You know, we see, we seem to still see some newbies showing up, which is great. And we encourage, you know, show up on whatever bike you feel comfortable riding out there, but you definitely can tell, you know, everybody is starting to get or ask about, you know, what kind of bike should I get? What kind of gravel bike you know, they're asking about things like tire tire, width, and, and wheels and brakes and all that kind of stuff. Yeah, absolutely. Well, let's get into it. I know you guys do three gravel events each year, but I'm super excited to talk about that the hell hole gravel grind, because it looks like, you know, at this point you've got a stage race and some really kind of unique elements to that weekend. Can you talk through what the weekend looks like and when it starts? Yeah. so, You know, kind of, kind of the whole, one of the reasons that we decided to get with the whole stage race idea was because here in the coastal area of South Carolina and it's flat and, and very flat, we, we will go out for a, I think, I think what the 75 mile one day portion of the hell hole is about 400 feet, about 400 feet of climbing. That's so incredible to me, I think about going out for a lunch ride today. And like, there's no route I can pick out of my, my house that is going to net less than a thousand feet of climbing. Oh yeah, yeah, Yeah. Sometimes our road rides on Saturday. I mean, we can go, we can go 40 and 50 miles and do you know, less than a hundred feet. So, so, so the, the, the idea was to say, okay, well, how can we, how can we take this to the next level? And do something different to try to get people, you know out here. So we, that's where the whole stage race idea came from. And Basically the, the Friday night before the race it's it's on Saturday is stage one, Sunday is stage two. And, and on Friday night, what we have is we have a six mile prologue just to get your, of, of what the gravel is like in, in in the Francis Marion forest time, trial style, little lollipop course that surprisingly a lot of people, I would say last year, what we had about 60 people come out for it. Yeah. The front, the Friday night time trial portion is optional. Because we know people can't always make it in Friday evening for the, for the whole weekend. So we make that optional and offer, you know, the participants they get, they get a time bonus compared to everybody that does not participate in that. But yeah, we, we have a good turnout people generally like it because they, they are going full gas for the, you know, the 10 K like Chris said, and it's kind of a dusk and Twilight. So you have to be despite the fact that the terrain is flat, you do have to be somewhat careful out there when you're, when you're going at speed you know, cross side, because you're going full gas. Right. So, so then, then on Saturday, it starts out with a stage one and in conjunction with stage one, we, we have the, the, the stage raise portion. We have a one day 75 mile, and then we have a one day 40, usually between 35 and 40 mile route for, you know, for, so that people can slowly progress up. And then on Sunday, it is strictly just the stage two, which would be another 75 miles. So the stage racers are looking at 150 miles over two days. The, the S the one days we're looking at 75 miles and between 30 and 40 miles, And are the two 75 mile courses, are they different routes? Well, so for the, for the first iterations of hellhole, the answer is yes. So we, we had a stage one and two completely different. And I think we did that for the first three years. But, you know, it's, it's largely just Chris and I, that are out there Mark in the course. And, and we do have a group of stalwart volunteers that come out and help us. But you know, the, the forest is 400 square miles and it's, it is remote. There's not real good cell phone reception out there. And so it does provide some logistical challenges. So after the third time, the third year, we decided that we were going to stick with the same core stage one to reverse it. And then we keep people guessing we do make a few course alterations, and those are usually around like the more technical sections you know, there's, there's bits of single track that we can tie in to connect different, different portions. So, you know, where we lack elevation and things like that to, to provide a challenge, we, we do other, we, we throw in other means to, to keep people on their feet. That sounds like fun. So on those, do you find that groups are able to stay together on parts of the course and then, then are broken up by the single track sections? Oh, for sure. Yeah. So the other reason we try to keep, keep the single track sections in there is we, we wanted to kind of keep it from being a strictly a road race. You know, we had some, some, you know, some pretty fast roadies come down and just, you know, try to try to blow apart the field. So we'd like to keep, keep the technical sections in there as well. And, you know, one of the things about all of our events you mentioned, you know, our groups able to, to, to form up and work together out there. His you know, we, we, it is a stage race and we do have the one day, the one day rides that are available for people, but our, our whole philosophy has always been that those that are out there to race are going to race and it's going to be hard for them. And those that are out there to ride are gonna go out there and ride, and it's going to be, you know, equally as hard for them relatively speaking. So it's hard for, it's hard for everyone and everyone's going to, you know, leaves feeling very challenged that, but also, you know, very rewarded. Yeah, for sure. I love that mindset of yours to kind of use the terrain to kind of break things up. And I think it's one of those things that's gonna continue to be discussed in relation to events, because as we get more roadies coming into the market, the last thing most of us want to see is massive. Palatines riding 90% of the race together. And then it coming down to a group sprint, I'm a big fan of throwing people into single track and technical terrain. I love when you sort of start to question your bike choice because you chose one thing that was great on the, you know, more fire roadie type stuff, but it, it really is failing you on the single track. Cause you should have to make those choices and think about your equipment when you come into these events. Yeah, for sure. And, you know, the, the, the, the courses, some of the roads out there, you know, it's, it's, there, there are the main roads, and then they're like the A's and B's and C roads that the force designates. So, you know, like after the events, it's always interesting to hear people talk that, Oh, I was with this guy up until hell hole B. And then, you know, he just took off and I just couldn't, I couldn't, you know, get through that section and stay with that group. It's, it's always interesting to hear those stories, cause there's certain roads that stand out and that we try to fit in the courses just because we know that that's a, that's a road that some people Excel at, but yet some people do not Excel at. And you know, that's, that's what, the little challenges we like to throw in there. Nice. You guys mentioned that you get the question That, that every promoter gets, which is like, what tire width with tire size should I be running? What are you usually recommending for people? And what do you, what would you ride yourself? Yeah, so we generally speaking, I'll, I'll talk for Chris here on this, but you know, if I'm just out there riding, riding by myself, my normal route, I'll, I'll throw on a 40 millimeter tire. And, and we are, we are sponsored by Schwabie and we liked that. And so Schwabie G ones. They they're very low profile in terms of traction. There's not a lot of technical sections out here until you hit some of the single track, but the 40 millimeter gives you some protection against the, the bumps and the ruts that you're gonna face, but enough you know, enough with good rolling, you know, minimal rolling resistance that you can build up some speed. But we have seen, we have seen people come out and against our better judgment, you know, they'll ride a 28 millimeter road tire out here. And so you know, it varies and in some of our other events, we've even had people come out on fat bikes and do relatively well. So it really just, it really just, it's a question of how, how much how much do you want to feel like you are about to get beat up? If, if you will, you know, the, the wider, you go a little bit more plush of a ride you're going to have. Yeah, that's exactly it. It's kind of funny to think about. And I've had this conversation with a number of people, just the idea that you do have to consider not only pure speed in gravel, but also comfort. And if you're, you know, if the front of the packs finishing the race in three hours, but you're a six hour person, you're probably going to need a little bit more compliance in your equipment, then the guy or girl who's upfront you know, doing it in half the time. Yeah. Right. And there's been some very good discussions recently about, you know, tire selection and tire pressure. And, and generally what I'm hearing is that, you know, narrower and higher pressures, aren't, aren't generally better. And, you know, that even might even translate onto the road. So we, we tend to go fairly, fairly low pressures, but fairly wide, they give you that, that Kush for the longer distances, it's your body will. Thank you. Yeah. And I've also been really impressed when riding, you know, like I upset my slick or, you know, just very, very small knobby tire when you increase the volume, it's actually pretty amazing. The off-road terrain you can ride comfortably and safely. I've definitely found that I, you know, I lose a little bit in high speed cornering, and certainly if I'm breaking the backend has a greater tendency to slide out. But generally speaking, like, I feel like I can get over a lot of stuff on a semi select tire when I started the sport, I would not have thought that was possible. Yeah. Yeah. So, so lately in the gravel cycling press and cycling press in general, there's been a conversation about USA cycling, getting involved in gravel, and they recently did a gravel summit in in Bentonville Arkansas to get a few of the bigger events together. I'm curious because you guys have a long history in promotion of off-road events and you, your, your mountain bike events are held under USA cycling. I'd love for you to give the listener a little bit of a sense for, you know, what's it like working with USA, cycling on the mountain bike events, and then not having to work with them at all. And the gravel events I guess I'll feel down first, but it, yeah, I guess there's two different aspects. Kind of like what you said is, is, is it working with them or is it just what comes along with working with USA cycling? So I will at least say with our mountain bike event and I mentioned this earlier is, is if we didn't have to use them, I don't know that I would, however, you know, working with them whenever I need something from them. Our, our local association is pretty good at being responsive with regard to that. Now, you know, that being said, I, I don't think we would. And I'm skin gonna speak for Chris on this too, but I don't know that we'd ever go to USA cycling for a gravel event. We don't have, I don't think we have any desire to sanction our event. We do use them for insurance purposes. But the, the, the rigmarole that goes along with USA cycling people just want to ride their bikes. And, and like I mentioned, you know, we have people that come out just to ride and they wanna see what gravel's all about. We have people that come out and want to race but there's nothing tied to it. There's no, there's no cat up points. There's no you know, no advance, you know, you're out there just to prove something to yourself and I don't need additional paperwork or additional fees. We try to keep our, our fees relatively low barrier to entry because we want people out there at our events and, and the less, we less red tape we have. I think that's the better for us. Are you, were you saying you're able to use USA cycling's insurance on the gravel events? Yeah. Yeah. Okay. And just so you know, they have a For there for, they call them grand fondos. So they allow you to, you know, there's no license required. There's no anything required, but you can submit for their insurance. And I think it's like $4 and I think it went up this year, $4 and 75 cents A a rider per day. So w you know, what we've is Currently at the, at the levels that we have in it, it's still the most economical. And without having to do any type of you know, additional licenses or anything like that, it does it Yeah. For the level that we're at right now. It is, it is the better choice. Gotcha. And then if you look at the mountain bike race compared to the gravel race, how much more expensive does it end up, you know, having a fully sanctioned race versus a, you know, just go on your own route on the gravel. I would say considerably you know, you, you know, each, each rider as they walk up to pay for their, for their race, you know, if they don't have a an annual license, they have to buy a one day license. You know, so you know, that right there is, you know, X number of dollars more that they may not be anticipating. I would say, I would say for, for our mountain bike event, you know, you can, you can bank on, if you don't have a USA cycling license, you're going to pay at a minimum 25% more just to register. And, and if you want to get an annual license, then the annual license itself is more than it costs to do our event. You know, so as an example, you know, we could have new people to the sport show up and you're like, Hey, do you have a license? Cause you have to check and they show you their driver's license. And they have no idea that no USA cycling requires you to pay this fee to have a one day license. And it does partially cover the insurance. But again, it's a, it's a barrier to entry. These people just want to experience the event and determine if that's something that they want to get into. And, and I find that any kind of barrier to entry like that it's to, it's going to turn some people off and people, some people just won't show up because of that. There's a flux, you know, on the flip side, some people come out just because of that. But I don't, I don't feel like at all, that, that, that is that there's any, I have not, I've not wanted any of our gravel events. Anyone has approached and said, when are you going to make this a sanctioned event? Yeah. And, and the thing is, is, you know, even with the insurance, through USA cycling, you know, this year from between last year and this year, I think it's went up 50 cents per rider per day, which, you know, I think it went from four 25. Now it's four 75. So, you know, it, it, it is, it is increasingly getting to the point where you know, it probably in the future, we'll start looking at other forms of insurance. Yeah, I mean, it is a nice benefit. It is a nice benefit that USA cycling is there and can provide that insurance piece. But I agree. I mean, a lot of gravel athletes may just sign up for one event a year. And even in that, even if they're signing up for a multiple, most could care less about points and upgrades and, and all that. I think that kind of motivation tends to change the racing, just given people's competitive nature, et cetera. So it's certainly an open-ended question that USA cycling is grappling with to try to see how they can add value to the community. When you know, a lot of people from the outsider thinking they're not adding any value whatsoever. Cool. Well, I appreciate the time you guys, I appreciate the events you guys are putting on. I have to say that going to Charleston and racing hellhole, it sounds like a hell of a lot of fun. Yeah. Yeah. It's, it's, you know, at the end of September, it's, it's usually warm. And unfortunately in the patent a few years, we've had to battle some close calls with hurricanes. We actually had to postpone it a what, two years ago, because of a hurricane. But yeah, it's a great place. A lot of people will usually come down and make a whole weekend of it, bring the wife and the kids and they go do the downtown Charleston thing and they hang out out in the forest and race their bike right on. Well, I'll make sure to put some information in the show notes about how to find you on the web. And I can't wait to hear about all the racing this year from you guys. Great. Thanks. We appreciate it, Craig.  

Chicago actor, illustrator, graphic designer and lovely wife of mine, Kris Lantzy, joins me to talk about Screenplay writer Frances Marion.

The Dames return to cover the history of early and silent cinema, why it's so important, and how women basically did everything first.  The birth of motion pictures and the Silent Film era  Lumieres vs. Melies The development of the mobile camera and continuity narrative Different film industries and influences (Hollywood, Weimar cinema/expressionism, etc.) - how techniques, images, themes, etc. continue to influence filmmaking TODAY Early female filmmakers and artists, including Alice Guy-Blaché, Frances Marion, Mary Pickford, Lotte Reiniger, Marion E. Wong, and Lois Weber.   

We're sharing history with a special guest. Chicago filmmaker, Cassie Ballschmidt takes the reigns to school us on American screenwriter and director, Frances Marion, just as Frances Marion schooled the whole dang film industry.Frances MarionWFP MAR10-1Follow Cassie Ballschmidt on Instagram: @cassiesstory for more info on her, her work, and her upcoming projects.Follow Shared History on Twitter & Instagram and subscribe wherever you get your podcasts!DYK you can support us on Patreon? Just become a patron of Arcade Audio and let ‘em know you love us.Sources for this story: Time, Columbia University’s Women Film Pioneers Project, The Atlantic, and others (see below for formal citations)Original Theme: Garreth SpinnOriginal Art: Sarah CruzAbout this podcast:Shared History, is a comedy podcast and history podcast in one. Hosted by Chicago comedians, each episode focuses on obscure, overlooked and underrepresented historical events and people.Citations:This Forgotten Female Screenwriter Helped Give Hollywood Its VoiceBY ERIN BLAKEMORE https://time.com/4186886/frances-marion/“Off With Their Heads: A Serio-Comic Tale of Hollywood”Francis Marion*“How to Write and Sell Film Stories”Mariposa Gazette in 1914.*The Women Who Write the Movies (1994)”Marsha McCreadie“Reclaiming the Archive: Feminism and Film History”Vicki Callahan“Shaping the Craft of Screenwriting: Women Screen Writers in Silent Era Hollywood”Donna Casella https://wfpp.columbia.edu/essay/shaping-the-craft-of-screenwriting-women-screen-writers-in-silent-era-hollywood/“Decoration, Discrimination and “the Mysteries of Cinema”: Women and Film Exhibition in Sweden from the Introduction of Film to the Mid-1920s”Ingrid Stigsdotterhttps://wfpp.columbia.edu/essay/*“How Twelve Famous Women Scenario Writers Succeeded,” Photoplay**“Francis Marion interview in 1920 Motion Picture Magazine”Doris Delvigne*“When Hollywood’s Power Players Were Women”NAOMI MCDOUGALL JONEShttps://www.theatlantic.com/culture/archive/2020/02/naomi-mcdougall-jones-wrong-kind-of-women-excerpt/606277/“Women Filmmakers in Early Hollywood”by Karen Ward Maher https://www.jstor.org/stable/25097391?seq=1“Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood” Cari Beauchamp“Script Girls: Women Screenwriters in Hollywood”Lizzie Francke“Virgins, Vamps and Flappers: The American Silent Movie Heroine”Sumiko Higashi“Anonymity: Uncredited and Unknown in Early Cinema”Jane M. GainesHollywood’s Modern Women: Screenwriting, Work Culture, and Feminism, 1910-1940.”Wendy Holliday; Susan Warehttps://www.worldcat.org/title/hollywoods-modern-women-screenwriting-work-culture-and-feminism-1910-1940/oclc/873966777“Blueprints for Feature Films: Hollywood’s Continuity Scripts”Janet Staiger“The American Film Industry”edited by Tino Balio“Dividing Labor for Production Control: Thomas Ince and the Rise of the Studio System,” Janet Staiger“Mothering, Feminism and Representation: The Maternal in Melodrama and the Woman’s Film 1910-1940” E. Ann Kaplan“How to Write and Sell Film Stories” Francis Marion*Francis Marion interview with Elizabeth Peltret of Photoplay in 1917*“Frances Marion: Part II, She Wrote the Scripts of Some of the Milestone Movies,” Films in Review XX, no. 3 (March 1969)”De Witt Bodeen“The Women Who Write the Movies”Marsha McCreadie“Screenwriting for the Early Silent Film: Forgotten Pioneers, 1897-1911.” Film History 9, no.3 (September 1997)”Edward Azlant,*As quoted by other source. Could not first hand

La storia della paladina della sceneggiatura ad Hollywood, Frances Marion

In this episode of Special Lady Day, Caitlin and Jessica discuss the luminous American screenwriter Frances Marion and Hatshepsut, the Egyptian queen who became king.They also brainstorm ways we can care for each other during social distancing, and are joined by a tiny stuffed bear that somehow managed to crash both their weddings.

In this episode of Special Lady Day, Caitlin and Jessica discuss the luminous American screenwriter Frances Marion and Hatshepsut, the Egyptian queen who became king.They also brainstorm ways we can care for each other during social distancing, and are joined by a tiny stuffed bear that somehow managed to crash both their weddings.

This week, the ladies discuss Miriam's obsession with Netflix's "Love Is Blind" before the ladies jump into the impressive life and careers of writers, Frances Marion and Virgina Lee Burton.

In this bonus "behind the book" episode, podcast co-host Melanie Benjamin talks about her novel THE GIRLS IN THE PICTURE.  A fascinating novel of the friendship and creative partnership between two of Hollywood's earliest female legends—screenwriter Frances Marion and superstar Mary Pickford.

In 1924, the recently widowed Ruth Malone retreated to publishing magnate Arch Winthrop's beach house to mourn her dearly departed husband George "Biscuits" Malone. Biscuits was beloved by all, and the loss was too great to bear. That is, before Winthrop's personal physician Dr. Vance Pellegrino makes a shocking suggestion. Unremembered Hollywood was created, written, and produced by Charlie Fonville. Abby Larson is played by Annie Savage with Original music by Jonathan Dinerstein. Starring Craig Cackowski as Arch Winthrop, James Urbaniak as Dr. Vance Pellegrino, Kimberly Dilts as Ruth Malone, Mark Gagliardi as Rudolph Valentino, Megan Gogerty as Frances Marion, Christa Kimlicko-Jones as Dipsy Driscoll, Jonathan Dinerstein as Mister Larry the Nightwatchman DC Pierson as Detective and Edvard Munch, and Judson Jones as Coast Guard Captain.Special Guests: Christa Kimlicko-Jones, Craig Cackowski, DC Pierson, James Urbaniak, Jonathan Dinerstein, Judson Jones, Kimberly Dilts, Mark Gagliardi, and Megan Gogerty.Support Unremembered Hollywood

In our premiere episode, noted Hollywood historian Abby Larson tells the story of Irving Stansel, the first President of Hollywood. As the picture business transformed from sideshow attraction to dominant cultural force, the moguls of Tinseltown often found themselves in aggressive disagreements that often ended in bloodshed. Rather than kill each other over the latest scripts to hit the town, those early power players named a man named Irving Stansel to settle all disputes and to keep the peace. It was a noble experiment, but everyone involved got a lot more than they bargained for. Starring Annie Savage as Abby Larson, with Hal Lublin as Irving Stansel and Announcer #1, Jeremy Carter as Jack Warner and Policy Holder #2, John Ennis as Carl Laemmle and Leland Cornwall IV, Kara Luiz as Mary Pickford, Martin Olson as Douglas Fairbanks and Mortimer Effington III, Megan Gogerty as Frances Marion and Ethel Pomeroy, Mike Rock as William Fox and Policy Holder #3, Christopher Z. Gordon as Adolf Zukor, Judson Jones as Fred Thomson and Goon, Fred Cross as New York Times Reporter, Announcer #2, and Interviewer, Justin Wright Neufeld as DW Griffith and Policy Holder #1, J.T. Arbogast as Announcer #3Special Guests: Christopher Gordon, Fred Cross, Hal Lublin, Jeremy Carter, John Ennis, J.T. Arbogast, Judson Jones, Justin Neufeld, Kara Luiz, Martin Olson, Megan Gogerty, and Mike Rock.Support Unremembered Hollywood

It is 1914, and twenty-five-year-old Frances Marion has left her (second) husband and her Northern California home for the lure of Los Angeles, where she is determined to live independently as an artist. But the word on everyone's lips these days is "flickers"—the silent moving pictures enthralling theatergoers. Turn any corner in this burgeoning town and you'll find made-up actors running around, as a movie camera captures it all. In this fledgling industry, Frances finds her true calling: writing stories for this wondrous new medium. She also makes the acquaintance of actress Mary Pickford, whose signature golden curls and lively spirit have given her the title of America's Sweetheart. The two ambitious young women hit it off instantly, their kinship fomented by their mutual fever to create, to move audiences to a frenzy, to start a revolution. But their ambitions are challenged both by the men around them and the limitations imposed on their gender—and their astronomical success could come at a price.Melanie Benjamin is the author of the New York Times and USA Today bestselling historical novels THE AVIATOR'S WIFE, THE SWANS OF FIFTH AVENUE, and ALICE I HAVE BEEN. Host Libby Hellmann is the author of 15 Compulsively Readable Thrillers.

The Screenwriter and the Superstar - Melanie Benjamin Smithsonian Associates, Interview Series The upcoming presentation of The Girls in the Picture the new novel from New York Times bestselling author Melanie Benjamin, tells the story of the friendship and creative partnership between two of Hollywood's earliest female legends, screenwriter  Frances Marion and silent-movie superstar Mary Pickford. Benjamin's story begins in 1914, when 25-year-old Frances Marion leaves her husband and her Northern California home for the lure of Los Angeles, where she is determined to live independently as an artist. There she finds her true calling, writing stories for the booming new medium of film. She also makes the acquaintance of actress Mary Pickford, whose signature golden curls and lively spirit have earned her the title “America's Sweetheart.” The two ambitious young women hit it off instantly, but their ambitions are challenged by both the men around them and the limitations imposed on their gender—and they realize their astronomical success could come at a price. As in any good Hollywood story, dramas play out, personalities clash, and even the deepest friendships might be shattered. Hear Benjamin discuss this story of friendship and forgiveness, as well as her approach to capturing the dawn of a new era in American entertainment. Please check the Smithsonian Associates web site for final details about venue for this program:  smithsonianassociates.org

James and Lara recorded this episode (there is an audio and a video version) at the historic King Vidor/John Barrymore/Tony Scott estate in Beverly Hills. John was actually living there while he made DINNER AT EIGHT (1933), which was filmed just down the hill at the MGM studios in Culver City. In our discussion, we cover the scene-stealing Marie Dressler, who was in her sixties when she made this film and is a name you need to know; what famous director—known as “the women’s director”—and other legendary Hollywood players were behind the camera; and the kind gesture screenwriter Frances Marion did for one of the stars that effectively brought her back from obscurity. Put on your finest jewels and don’t be late for the adultery, scandal, backstabbing, and wit of Old Hollywood at its finest in DINNER AT EIGHT.

Sight & Sound production editor Isabel Stevens guest hosts on an episode about the history of all-female director-actor partnerships, from Frances Marion and Mary Pickford's box office busting silent films to Michelle Williams and Kelly Reichardt's collaboration, which has produced films like Wendy & Lucy and Meek's Cutoff - stories of women challenging patriarchal assumptions about their place in society. Plus, we look at the troubling relationship between director Catherine Breillat and actor Roxane Mesquida - whose second film together explored the experience of shooting of an exploitative sex scene in their first.The British Film Institute's podcast is an audio adventure through the BFI's archives. Each fortnight host Henry Barnes will be joined by a special guest to dig into their cinematic passion, be it a director, a genre, a franchise or a meme. This episode includes clips from the following films: - Dawson's Creek, “Road Trip”, Season 1, episode 9. Directed by Steven Robman and released by Columbia TriStar Television in 1998.-Wendy & Lucy. Directed by Kelly Reichardt and released by Oscilloscope Laboratories in 2008.-Meek's Cutoff. Directed by Kelly Reichardt and released by Oscilloscope Laboratories in 2010. -Certain Women. Directed by Kelly Reichardt and released by IFC Films in 2017.-Taxi Driver. Directed by Martin Scorsese and released by Columbia Pictures in 1976The following tracks were used under license from Audio Network: -Throwback Jack. Written and performed by Tim Garland. Released in 2013.-Sunlight. Written and performed by David O'Brien. Released in 2007. -Sunshine's Coming Up. Written and performed by Neil Williams and Gerard Presencer. Released in 2011. -Get Connected. Written and performed by Jason Pedder, Ben Ziapour and Jamie Ziapour. Released in 2013. -Remember Our Day. Written and performed by Jeff Meegan, David Tobin, Andrew Duncan and Jason Pedder. Released in 2017.-Uluru. Written and performed by Bruce Maginnis. Released in 2017. See acast.com/privacy for privacy and opt-out information.

This is the audio track from our very first VIDEO podcast. If you’d like to see the video version of this episode, you can find it on YouTube or on our website at www.ClassicMovieRecall.com. In this episode, James and Lara discuss THE CHAMP (1931) while on location at the legendary Beverly Hills estate built in the 1920s by the film’s director, King Vidor. We get a glimpse inside this ultra-exclusive home (later owned by actor John Barrymore and director Tony Scott), and also a drone’s-eye view of the beautiful grounds. We praise Jackie Cooper’s astonishing performance, Wallace Beery’s plan to become the highest paid actor in Hollywood, and the innovative way that King Vidor moved the camera to capture some exciting boxing sequences in the early days of “talkies.” We also discuss Frances Marion’s terrific script, and the power that women had as Hollywood was just becoming Hollywood. (Our regular audio podcast will continue, but from time to time we’ll post a video version too.)

While visiting China, an American man falls in love with a young Chinese woman, but he then has second thoughts about the relationship.Director: Chester M. FranklinWriter: Frances Marion (story)Stars: Anna May Wong, Kenneth Harlan, Beatrice Bentley - via IMDBhttps://archive.org/details/TheTollOfTheSeanovember261922