Cinema

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[Utah - Early Cinema - Nickelodeons] Unknown photographerABAA

Moving Pictures" and "Pictured Songs": Photograph of the Joie Theatre in Ogden Utah During the City's Early Motion-Picture Boom

1911réf. BK0144Ogden Utah 1911. Gelatin silver photograph 7 ¾ x 5 ½ inches. Removed from a scrapbook with mounting residue on verso; some creasing and wear at edges and corners. Very good. An exterior view of the Joie Theatre at 2410 Washington Avenue in downtown Ogden with a group of men and women posed beneath the theater's three arched entrances. Large signs advertise "Moving Pictures" and "Pictured Songs" while strings of exposed bulbs outline the façade. Film posters freestanding advertising boards projecting lamps and neighboring storefront signs give a detailed view of the visual culture of an early western movie house. The Joie was one of Ogden's first generation of nickelodeons. The building had earlier housed the Pastime Theatre and was operating as the Joie by 1908; the theater closed in December 1911. The photograph can probably be dated near the end of that brief period. The Royal Dancing Academy sign visible immediately to the left is documented at 2408 Washington Avenue in Ogden's 1911 city directory directly adjoining the theater at 2410. The enormous "PICTURED SONGS" shows a specific era of early film exhibition. Illustrated or "pictured" songs combined a live vocalist with projected lantern slides depicting the lyrics often appearing on programs alongside short motion pictures. Ogden's 1910 directory specifically identifies M. Lulu Thatcher as a "singer Joie Theatre."1 The photograph dates to an important moment in the development of the American motion picture business in Ogden specifically. William W. Hodkinson later the first president of Paramount Pictures entered the film industry as an exhibitor in Ogden in 1907. Within a few years Hodkinson bought out his competitors expanded further into Utah and became a major west coast distributor. 1 R.L. Polk & Co's Ogden City Directory 1910 504. . unknown books

Auger Down Books · États-Unis375,00 $US≈ 335,03 €

[Silent cinema]ABAA

Original photograph from the lost film "The Scarlet Streak" circa 1926 of a car jumping a train crossing. With a lengthy annotation on the verso regarding guerilla filming techniques in 1920s Hollywood

1920réf. 157265N.p.: N.p. 1920. Vintage reference photograph from the 1926 film. Photograph shot at high film speed showing a roadster jumping a train crossing with the train approaching seconds before possible impact. The astute viewer will note that the guard rail has not yet been broken. With a lengthy annotation in manuscript pencil on the verso regarding guerilla production techniques taken by Poverty Row studios during the 1920s. An stunning photograph capturing a split-second moment from a common trope of early action cinema - motorists escaping capture by deftly crossing train tracks narrowly avoiding collision with an oncoming train. The production number in the bottom left of the photograph "4296" matches known photographs from the lost 1925 action serial film "The Scarlet Streak" directed by Henry MacRae and starring Jack Dougherty and Lola Todd. Just as fascinating is the extensive annotation on the verso: "Poverty Row crews were accustomed to film stories in the 1920s streets. The city of Los Angeles becoming inured to the novelty a license costing $400 was required for shooting on public thoroughfares. Camera crews were trained to set up fast complete the street scenes quickly and vanish before the police arrived to check for a license. So grab shots were common. "The favorite action sequence was the transfer of an actor from an automobile to a moving train or crossing the road in front of the train and breaking the guard rails at the last moment. "The best place to film this was in Pasadena where the Santa Fe Railroad passed along the blocks of paved streets. A director or camera man boarded the train there carrying their heavy luggage to the observation car. As soon as the train moved out of the station they hauled a camera and tripod out of the bags. The motorcycle or automobile appeared at the designated spot where another cameraman was set up. As the actor made the daring transfer or split second crossing the camera cranked out the action. The conductor generally came along to toss the film makers off the train at the next stop but it was a marvel of economy for the novelty of early film making." 10.25 x 8 inches. Very Good plus with a small chip to the top left margin chipping to the bottom right margin with a minutae of image loss to the bottom right corner and edgewear and creasing to the right margin. N.p. unknown books

Royal Books · États-Unis450,00 $US≈ 402,04 €

Francois Truffaut; French New Wave CinemaABAA

French New Wave Cinema François Truffaut Film Pressbooks for Fahrenheit 451 and Antoine Doinel Series 1966 to 1969

1966réf. 166291966. Truffaut François. Collection of film pressbooks 1966-1969 documents mid-twentieth-century film promotion and distribution practices within the French New Wave cinema movement. The material captures how films associated with François Truffaut were presented to journalists and exhibitors situating his work within the international circulation of European art cinema. The grouping supports research into cinematic publicity systems revealing how narrative authorship and visual identity were communicated to the press during the global expansion of French New Wave films. Truffaut François. Pressbook collection for Fahrenheit 451 1966 The Bride Wore Black La Mariée était en noir 1968 Stolen Kisses Baisers volés 1968 and Mississippi Mermaid La Sirène du Mississippi 1969. Four original pressbooks in illustrated wrappers each between 4 and 6 pages. These materials include film stills cast and crew credits narrative summaries excerpts of dialogue and promotional imagery including layouts for poster designs. The pressbooks were distributed to media outlets at the time of each film's release providing standardized information and visual content intended for reproduction in reviews advertisements and exhibition materials. The layout and content emphasize both the films' narrative elements and Truffaut's role as director reinforcing auteur-driven marketing. The material documents the system of film publicity and critical mediation through printed pressbooks showing how distributors and production entities shaped the reception of French New Wave cinema by supplying press-ready narratives imagery and interpretive framing and providing primary-source evidence for the study of international film marketing and auteur theory in practice. During the 1960s French New Wave directors including Truffaut gained international recognition and structured press dissemination played a key role in establishing their reputations outside France. Light handling wear to wrappers; contents clean and intact; overall very good to near fine condition. A cohesive group illustrating the mechanisms by which European art cinema was introduced and contextualized for global audiences. unknown books

Max Rambod Inc. · États-Unis480,00 $US≈ 428,84 €

Black Cinema Photo ArchiveABAA

Black Film and Television Performance Across Hollywood Genres 1950s-1990s

1969réf. 214751969. Archive of film and television press photographs circa 1950s-1990s documenting African American actors and performers across multiple decades of American cinema and broadcast media. The archive includes images of prominent figures such as James Earl Jones Whoopi Goldberg Yaphet Kotto Sammy Davis Jr. Paul Winfield Marlon Riggs and John Witherspoon alongside performers associated with Amos & Andy one of the earliest nationally syndicated television programs featuring a Black cast. The photographs collectively provide visual evidence of shifting roles genres and narrative frameworks in which Black actors appeared from the mid-twentieth century through the end of the twentieth century. Archive comprises 28 black-and-white silver gelatin press photographs each approximately 8 x 10 inches. Images include film stills promotional portraits and behind-the-scenes moments. Identifiable scenes include Sammy Davis Jr. in Anna Lucasta 1958 a production featuring an all-Black cast; a still from Take a Giant Step 1959 with Johnny Nash addressing race and adolescence; and Carl Anderson in Jesus Christ Superstar 1973 portraying Judas Iscariot. Additional photographs include Whoopi Goldberg in Fatal Beauty 1987 John Witherspoon in Ratboy 1986 and a still from Brubaker 1980 addressing prison conditions. One image shows Marlon Riggs with collaborators associated with Tongues Untied an experimental work engaging Black queer identity during the AIDS crisis. Other photographs include Evaristo Márquez with Marlon Brando in Burn! 1969 a film centered on colonial revolt as well as an image of dancers Mikhail Baryshnikov and Gregory Hines documenting interracial collaboration in performance. The archive also contains images of Alvin Childress Spencer Williams and Tim Moore from Amos & Andy situating the collection within earlier television history. These photographs document the expanding presence of Black performers across genres including drama musical experimental film and television reflecting both constraints and opportunities within the entertainment industry over several decades. The inclusion of works addressing racial identity colonialism incarceration and sexuality demonstrates the increasing complexity of narratives involving Black actors while earlier material highlights the limited but significant visibility achieved in mid-century productions. The presence of experimental work such as Tongues Untied further situates the archive within late twentieth-century cultural and political discourse surrounding race and sexuality. Light wear with minor surface marks and edge wear; overall very good condition. A broad visual record of African American performance and representation across four decades of American media. unknown books

Max Rambod Inc. · États-Unis550,00 $US≈ 491,38 €

[Cahiers du Cinema] [French cinema]ABAA

Cahiers du Cinéma Collection of 393 issues of the French film journal

réf. 170333Paris: Cahiers du Cinéma 2006. Collection of 393 issues Nos. 226 through 619 of the French film journal "Cahiers du Cinéma" representing the years 1971-2006. Text and titles in French. "Cahiers du Cinéma" was founded in 1951 by André Bazin Jacques Doniol-Valcroze and Joseph-Marie Lo Duca with writers including Jacques Rivette Jean-Luc Godard Claude Chabrol and François Truffaut. In the mid-1950s dissent started to develop between the journal's editors and its writers the latter group led by Truffaut who published an inflammatory article in January of 1954 denouncing the lack of creativity in French filmmaking and advocating for the "policy of the authors"-the origins of auteur theory. Founders Bazin and Lo Duca subsequently yielded editorial control of the journal to Doniol-Valcroze and Éric Rohmer resulting in a significantly changed format with a focus on directors deemed "auteurs." Rohmer would assume position as the journal's head editor in 1958 but by 1963 would be forced out by Godard Chabrol Rivette and others largely due to Rohmer's refusal to shift the journal's focus from Hollywood to the films of the French New Wave i.e. their own films. Now led by Rivette "Cahiers" tied its flag more openly to the political left and increasingly ignored Hollywood films in favor of avant-garde and experimental filmmakers. By the mid-1970s a review of "Jaws" 1975 marked the journal's return to more mainstream film criticism. In 1998 the journal would be acquired by press group Le Monde and was heavily redesigned the following year with significantly broadened focus on all visual arts. The journal remains in operation today under private ownership and continues to gain renown for its annual "top ten" film lists. Generally Near Fine or better. Housed in 33 custom maroon cloth clamshell boxes. Shipping billed at cost due to quantity and weight. Cahiers du Cinéma unknown books

Royal Books · États-Unis2 500,00 $US≈ 2 233,54 €

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