Broken Blossoms – Exhibitors Campaign Sheet (Released through United Artists)

Broken Blossoms – Exhibitors Campaign Sheet (Released through United Artists)

Lillian Gish (Lucy Burrows) Broken Blossoms backlighting (contour) shot MGM 13168
Lillian Gish (Lucy Burrows) Broken Blossoms backlighting (contour) shot MGM 13168
The Real Lillian Gish - Broken Blossoms
Lillian Gish - Lucy, the girl (Broken Blossoms)
Lillian Gish – Lucy, the girl (Broken Blossoms)
Lillian Gish as a child - Broken Blossoms
Lucy Burrows on the Wharf (Broken Blossoms)
Lucy Burrows on the Wharf (Broken Blossoms)
Little Lucy - Broken Blossoms
Broken Blossoms (United Artists Pressbook, 1919)

Download Broken Blossoms (United Artists Pressbook, 1919) PDF


Back to Lillian Gish Home page

Comments

Post a Comment

Popular posts from this blog

Documentary Film Classics – By William Rothman (1997)

Image
  Documentary Film Classics – By William Rothman (1997) Documentary Film Classics By William Rothman University of Miami © Cambridge University Press 1997 Movies, too, may be said to bring “real life” to the screen. For example, in Griffith’s True Heart Susie, a film contemporaneous with Nanook of the North, the character Susie and the world she inhabits may be imaginary, but it is the real-life Lillian Gish who is the subject of the camera. And so-called “documentaries,” too, may be said to bring the life of the imagination to the screen, as we shall be reminded throughout this book. Lillian Gish and Robert Harron – True Heart Susie Griffith’s camera is capable of making no revelations about the fictional Susie that are not also revelations about the real woman who incarnates her, revelations that emerge through, that express and thus reveal, the relationship between the camera and Lillian Gish. True Heart Susie’s prevailing fiction is that it is Susie, not Lillian Gish, who is re...
Read more

D.W. Griffith – An American Life (By Richard Schickel – 1984)

Image
D.W. Griffith – An American Life (By Richard Schickel – 1984) D.W. Griffith – An American Life By Richard Schickel – 1984 Griffith! Before him, the movies were a nickelodeon novelty, after him, they were an international art form and a powerful, glamorous American industry He was the first to codify the rules and techniques of screen storytelling, the first to establish the conventions by which the unique capacities of the movies for both sweeping spectacle and profound intimacy could be employed in long, complex narratives, the first to assert the director’s claim to primary authorship of a film Above all, it was Griffith who imagined the future of his medium, and with his driving energy, his taste for the grandiose and his flair for publicity, propelled that medium toward that future—only to be crushed by the very forces he had unleashed. D.w. Griffith (1875-1948) Painting; D.w. Griffith (1875-1948) Art Print for sale His story is, in huge measure, the story of how the ...
Read more

THE DANCE: MET OPERA GALA

Image
THE DANCE: MET OPERA GALA By ANNA KISSELGOFF   MAY 14, 1984 The New York Times Archive – Time Machine MOST people will tell you a centennial comes along only every hundred years. But if you’re the Metropolitan Opera, you celebrate your hundredth birthday twice. And last night as a followup to October’s big centennial anniversary gala for itself with, naturally, opera singers, the Metropolitan Opera staged an equally stellar gala with some of the biggest names in international dance. Entitled ”Celebration!,” the gala performance commemorating 100 years of performing arts at the Metropolitan Opera reminded us that the Metropolitan had never been exclusively in the singing business. True – there were singers like Yves Montand, John Denver, Lionel Richie and even Placido Domingo, a pop star if there ever was one, to recall that popular entertainers as well as dancers had not only appeared but also been presented or toured by the Metropolitan. But the tr...
Read more