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Classic Movie Bloopers and Mistakes: Film Stars Uncensored - 1930s and 1940s Outtakes
 
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Classical Hollywood cinema or the classical Hollywood narrative, are terms used in film history which designate both a visual and sound style for making motion pictures and a mode of production used in the American film industry between 1917 and 1960. More bloopers: https://www.amazon.com/gp/search?ie=UTF8&tag=tra0c7-20&linkCode=ur2&linkId=2e2330f57788ff94fc8dbab62c46051c&camp=1789&creative=9325&index=dvd&keywords=classic%20movie%20bloopers This period is often referred to as the "Golden Age of Hollywood." An identifiable cinematic form emerged during this period called classical Hollywood style. Classical style is fundamentally built on the principle of continuity editing or "invisible" style. That is, the camera and the sound recording should never call attention to themselves (as they might in films from earlier periods, other countries or in a modernist or postmodernist work). Throughout the early 1930s, risque films and salacious advertising, became widespread in the short period known as Pre-Code Hollywood. MGM dominated the industry and had the top stars in Hollywood, and was also credited for creating the Hollywood star system altogether. MGM stars included at various times "King of Hollywood" Clark Gable, Norma Shearer, Greta Garbo, Joan Crawford, Jean Harlow, Gary Cooper, Mary Pickford, Henry Fonda, Marilyn Monroe, Elizabeth Taylor, Judy Garland, Ava Gardner, James Stewart, Katharine Hepburn, Vivien Leigh, Grace Kelly, Gene Kelly, Gloria Stuart, Fred Astaire, Ginger Rogers, John Wayne, Barbara Stanwyck, John Barrymore, Audrey Hepburn and Buster Keaton. Another great achievement of American cinema during this era came through Walt Disney's animation. In 1937, Disney created the most successful film of its time, Snow White and the Seven Dwarfs. Many film historians have remarked upon the many great works of cinema that emerged from this period of highly regimented film-making. One reason this was possible is that, with so many movies being made, not every one had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: Citizen Kane, directed by Orson Welles and often regarded as the greatest film of all time, fits that description. In other cases, strong-willed directors like Howard Hawks, Alfred Hitchcock and Frank Capra battled the studios in order to achieve their artistic visions. The apogee of the studio system may have been the year 1939, which saw the release of such classics as The Wizard of Oz, Gone with the Wind, Stagecoach, Mr. Smith Goes to Washington, Destry Rides Again,Young Mr. Lincoln, Wuthering Heights, Only Angels Have Wings, Ninotchka, Babes in Arms, Gunga Din, and The Roaring Twenties. Among the other films from the Golden Age period that are now considered to be classics: Casablanca, The Adventures of Robin Hood, It's a Wonderful Life, It Happened One Night, King Kong, Citizen Kane, Swing Time, Some Like It Hot, A Night at the Opera, All About Eve, The Searchers, Breakfast At Tiffany's, North by Northwest, Dinner at Eight, Rebel Without a Cause, Rear Window, Double Indemnity, Mutiny on the Bounty, City Lights, Red River, The Manchurian Candidate, Bringing Up Baby, Singin' in the Rain, To Have and Have Not, Goodbye, Mr. Chips, Roman Holiday, Giant and Jezebel. The style of Classical Hollywood cinema, as elaborated by David Bordwell, has been heavily influenced by the ideas of the Renaissance and its resurgence of mankind as the focal point. Thus, classical narration progresses always through psychological motivation, i.e. by the will of a human character and its struggle with obstacles towards a defined goal. The aspects of space and time are subordinated to the narrative element which is usually composed of two lines of action: A romance intertwined with a more generic one such as business or, in the case of Alfred Hitchcock films, solving a crime. Time in classical Hollywood is continuous, since non-linearity calls attention to the illusory workings of the medium. The only permissible manipulation of time in this format is the flashback. It is mostly used to introduce a memory sequence of a character, e.g. Casablanca. Likewise, the treatment of space in classic Hollywood strives to overcome or conceal the two-dimensionality of film ("invisible style") and is strongly centered upon the human body. The majority of shots in a classical film focus on gestures or facial expressions (medium-long and medium shots). André Bazin once compared classical film to a photographed play in that the events seem to exist objectively and that cameras only give us the best view of the whole play. http://en.wikipedia.org/wiki/Classical_Hollywood_cinema
Views: 1597114 The Film Archives
Dragnet: Eric Kelby / Sullivan Kidnapping: The Wolf / James Vickers
 
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Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet debuted inauspiciously. The first several months were bumpy, as Webb and company worked out the program's format and eventually became comfortable with their characters (Friday was originally portrayed as more brash and forceful than his later usually relaxed demeanor). Gradually, Friday's deadpan, fast-talking persona emerged, described by John Dunning as "a cop's cop, tough but not hard, conservative but caring." (Dunning, 210) Friday's first partner was Sergeant Ben Romero, portrayed by Barton Yarborough, a longtime radio actor. After Yarborough's death in 1951 (and therefore Romero's, who also died of a heart attack, as acknowledged on the December 27, 1951 episode "The Big Sorrow"), Friday was partnered with Sergeant Ed Jacobs (December 27, 1951 - April 10, 1952, subsequently transferred to the Police Academy as an instructor), played by Barney Phillips; Officer Bill Lockwood (Ben Romero's nephew, April 17, 1952 - May 8, 1952), played by Martin Milner (with Ken Peters taking the role for the June 12, 1952 episode "The Big Donation"); and finally Frank Smith, played first by Herb Ellis (1952), then Ben Alexander (September 21, 1952-1959). Raymond Burr was on board to play the Chief of Detectives. When Dragnet hit its stride, it became one of radio's top-rated shows. Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated and sparse, influenced by the hardboiled school of crime fiction. Scripts were fast moving but didn't seem rushed. Every aspect of police work was chronicled, step by step: From patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. The detectives' personal lives were mentioned but rarely took center stage. (Friday was a bachelor who lived with his mother; Romero, a Mexican-American from Texas, was an ever fretful husband and father.) "Underplaying is still acting", Webb told Time. "We try to make it as real as a guy pouring a cup of coffee." (Dunning, 209) Los Angeles police chiefs C.B. Horrall, William A. Worton, and (later) William H. Parker were credited as consultants, and many police officers were fans. Most of the later episodes were entitled "The Big _____", where the key word denoted a person or thing in the plot. In numerous episodes, this would the principal suspect, victim, or physical target of the crime, but in others was often a seemingly inconsequential detail eventually revealed to be key evidence in solving the crime. For example, in "The Big Streetcar" the background noise of a passing streetcar helps to establish the location of a phone booth used by the suspect. Throughout the series' radio years, one can find interesting glimpses of pre-renewal Downtown L.A., still full of working class residents and the cheap bars, cafes, hotels and boarding houses which served them. At the climax of the early episode "James Vickers", the chase leads to the Subway Terminal Building, where the robber flees into one of the tunnels only to be killed by an oncoming train. Meanwhile, by contrast, in other episodes set in outlying areas, it is clear that the locations in question are far less built up than they are today. Today, the Imperial Highway, extending 40 miles east from El Segundo to Anaheim, is a heavily used boulevard lined almost entirely with low-rise commercial development. In an early Dragnet episode scenes along the Highway, at "the road to San Pedro", clearly indicate that it still retained much the character of a country highway at that time. http://en.wikipedia.org/wiki/Dragnet_(series)
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