f for fake ( french : vérités et mensonges , " truths and lies " ) is the last major film completed by orson welles , who directed , co-wrote , and starred in the film .

initially released in 1974 , it focuses on elmyr de hory 's recounting of his career as a professional art forger ; de hory 's story serves as the backdrop for a fast-paced , meandering investigation of the natures of authorship and authenticity , as well as the basis of the value of art . loosely a documentary , the film operates in several different genres and has been described as a kind of film essay .

far from serving as a traditional documentary on elmyr de hory , the film also incorporates welles 's companion oja kodar , notorious " hoax-biographer " clifford irving , and orson welles as himself .

in addition to the 88-minute film , in 1976 welles also shot and edited a self-contained 9-minute short film as a " trailer " , almost entirely composed of original material not found in the main film itself .

f for fake

f for fake literature essays are academic essays for citation . these papers were written primarily by students and provide critical analysis of f for fake .
f for fake ( the criterion . . . has been added to your cart
f for fake : all’s well that ends with welles . . . | bfi
f for fake is at the bfi southbank and on limited release from today .
this piece originally appeared in the criterion collection’s 2005 dvd edition of f for fake .
looking for movie tickets ? enter your location to see which movie theaters are playing f for fake near you .
sexton , timothy .
f for fake summary
. gradesaver , 10 september 2016 web .
fake news
by steve f - 6 . 13 . 17 ~ intel
elmyr de hory
f for fake
original orson welles 1976 u . s . release art trailer
every big weather event , fake news , fake photos , fake video abounds . here are a few of our favorites to look out for .
the question and answer section for f for fake is a great resource to ask questions , find answers , and discuss the novel .
so first - time viewers familiar with welles’s travails may be stunned at how downright ebullient f for fake is .
*
f for fake
is available in video stores or by calling ( 800 ) 826 - 3456 .
elmyr de hory
f for fake
original orson welles 1976 u . s . release art trailer - youtube
orson welles ' s
f for fake
has languished ever since its release and remains unappreciated by the most heterogeneous audience .
claudia thieme , f for fake : and the growth in complexity of orson welles ' documentary form ( peter lang pub . , 1997 ) 174pp .
a library for generating fake data such as names , addresses , and phone numbers .
sound critics’ poll , geoff andrew champions welles’s final , lesser - known masterpiece , the dazzling ‘essay film’ f for fake , as it is rereleased nationwide .
f for fake was not enjoyable . i would not consider it a good film . however , the context of which the film was made — and the person behind the film — makes f for fake and incredibly interesting look at filmmaking . ( i’m going to do my best to break this down ) .
if that fake agreement is still in existence , i ' ll get it for you .
f for fake study guide contains a biography of orson welles , literature essays , quiz questions , major themes , characters , and a full summary and analysis .
f is for phony provides stimulating thought , if not answers , about fakery and truth in documentaries .
[ … ] have called f for fake welles’ “ultimate mirror” , and mirrors figure vigorously in welles’ films . first , kane walks between two mirrors in a [ … ]
f for fake is arguably orson welles ' s greatest film work . just as citizen kane was exemplary of baroque art , f for fake is the celluloid version of a picasso painting . and in the modern world where truth is relative , and art is subjective , welles forces us to ask - -
when the authority says fake is real , what is real and what is fake ?
this film works on many , many levels . pure , unadulterated genius .
, and benjamin sampson’s “layers of paradox in f for fake . ” i’ve selected sampson’s piece for this debut issue for two reasons . first , the subject of his visual essay is a prototype of the visual essay ( along with the work of
while making the fake cast at home is more fun , you can always order a fake cast online as they are quite inexpensive .
the rumors are that these scenes were shot by francois reichenbach , one of the first practitioners of cinema verite , who himself shows up throughout “f for fake , ” for which he receives credit as the production coordinator . “f for fake” is so stylish in all its parts , in its editing and particularly in a final fiction se ' suence that , if it is a fake , it ' s a marvelous one , and to hell with the signature on it .
it has been suggested that
f for fake
was , in part , welles ' answer to pauline kael ' s controversial article in which she challenged his contributions to the
citizen kane
screenplay . ironically , rosenbaum noted ,
f for fake
is the only other film besides
kane
in which welles enjoyed complete creative control without any outside interference .
commissioned and published for the voyager laserdisc of f for fake in 1995 . my thanks to marcio sattin in são paulo for giving me a printout of this untitled “lost” essay in spring 2015 , which i’ve slightly re - edited . - – j . r .
as a measure of how brilliant welles’s editing is in f for fake , compare it to the staid if informative “almost true : the noble art of forgery” included on the criterion collection’s top - notch release of f for fake . there’s nothing wrong with this 52 - minute documentary about de hory ( it was released in 1997 ) . it simply wilts next to welles’s frenetic genius .
the essays in f is for phony discuss a broad scope of works and explore issues raised by “fake docs” such as the fiction / documentary divide and the ethics of reality - based manipulation .
f for fake remains one of welles’ most controversial works . for many spectators , it’s not really a “welles film” at all . by refusing to include “typical wellesian” shots – - a deliberate ploy , one learns from a 1982 interview – some viewers may feel they’ve been sold a bill of good . for many people , the welles legend has much more potency than the reality ; f for fake seems to be both inspired by this paradox and structured around it .
ironically , while welles lived another 13 years , f for fake was his last completed feature . he stayed busy with commercials and various appearances on tv as well as in other people’s films , but he never managed to bring another film of his own to closure . footage from some of his unfinished projects is included on the criterion release of f for fake , and judging it based on snippets , none of it seems worthy of the director of citizen kane and touch of evil – or f for fake , for that matter . the budgets are clearly threadbare , so the technical elements suffer , and sometimes the drama seems woefully slow and ponderous .
github - stympy / faker : a library for generating fake data such as names , addresses , and phone numbers .
reality ? it is the toothbrush waiting at home for you in its glass , a bus ticket , a paycheck and the grave , ” says orson welles in one of the final sequences of f for fake . the cinematic enfant terrible has never cared much for it . reality , that is .
video : ' f for fake ' joins orson welles rarities : the mischievous ' 70s documentary is new to home viewers , as is the uncut ' third man ' and his turn in ' three cases of murder . '
“f for fake” is a documentary compounded of tricks , reversals , interviews with real forgers and re‐creations of events that never happened . it ' s as much magic show as movie , a lark that is great fun even when one wishes the magician would take off his black slouch hat and his magician ' s cape and get back to making real movies . but did he really make this one ? and is “f for fake” not a real movie ?
this is the beginning of mr . weiles ' s latest film , “f for fake , ” a charming , witty meditation upon fakery , forgery , swindling and art , a movie that may itself be its own exhibit a .
video : ' f for fake ' joins orson welles rarities : the mischievous ' 70s documentary is new to home viewers , as is the uncut ' third man ' and his turn in ' three cases of murder . ' - latimes
also worth pondering , he said , is the dialectic between the titles :
it ' s all true ,
produced at the beginning of welles ' career , and
f for fake ,
one of his last completed projects .
the film image is only an image , and on this subtly unobvious premise welles frames f for fake and validates the fakery of film artistry by evincing the fakery of life / people , suggesting that movies have become the art of the 20th century precisely because of this innate mechanism to handle the unreal , the fake ( again , gabler rightly shows that the preponderance of movie fakery has been uncritically accepted by americans ; whereas artistic fakery might well be the antidote ) . the structure of f for fake also plays out the meaning of the mirror imagery from his earlier films .
obama is a fake . we all know that , the issue is not in question .
this video of “hurricane irma” blasting barbuda is exploding online . only problem ? it’s fake !
fake gps location fakes / changes your location . fast , instant , and easy to use
which is one of the things that “f for fake” is all about . midway through the film , after we ' ve listened to stories that may or may not be true about mr . de hory ' s sucess in supplying the art world with fake matisses , picassos and modiglianis , mr . welles reminds us that there are no signatures on the cathedral at chartres . chartres needs no “experts” to authenticate its grandeur , he says . “experts” are the villans of “f for fake”—people who must tell us whether we should swoon when looking at a particular painting or turn up our noses in disgust .
fake documentaries mimic documentary genre expectations , unraveling the documentary’s authority and dismantling understandings of identity , history , and nation . the interdisciplinary essays in f is for phony discuss a broad scope of works and explore issues raised by “fake docs” such as the fiction / documentary divide , the ethics of reality - based manipulation , and whether documentariness derives from form or reception .
f for fake
is minor welles , the master idly tuning his instrument while the concert seems never to start again . but it ' s engaging and fun , and it ' s astonishing how easily welles spins a movie out of next to nothing . for many years , he was reported to have
don quixote
as a work in progress . now , according to the program notes , the working title has been changed to
when are you finishing don quixote ?
does it matter , when
f for fake
has such a sufficiency of windmills ?
the gauze comes in a wide variety of colors , so you can easily fake a colored cast .
this gem is a port of perl ' s data : : faker library that generates fake data .
whether you want to play a prank on a friend or create a prop for a home movie , making a fake cast for your arm or leg is a fun way to create the illusion of a broken limb . with very few materials , you can make a fake cast at home in just minutes !
in film , while nearly all his work was highly inventive – and most of it quite dazzlingly so – citizen kane and f for fake stand out as particularly successful attempts to transform the very nature of cinema . just as kane was probably the first film in which the final scene was more or less explicitly intended to make viewers feel they should watch the film again in order to get a better grasp of its meaning , so f for fake was probably the first film to question , from start to finish , the veracity of everything it deals with .
f . . . in this case there is an f after the dash which stands for factory , meaning the bag was bought / sold at a coach factory outlet not from a coach store or a macy ' s , nordstrom , etc . . but nonetheless they are still very much authentic .
i ' ve stolen more ideas from this film than from any other ,
he admits at the beginning of his tribute to f for fake .
everything i know about editing
— and he knows a lot —
i ' ve learned from this film .
halfway between showman and swindler , welles narrates this playful film essay about fakery , authenticity and authorship . looking initially at the lives of art forger elmyr de hory and hoaxer clifford irving , f for fake ultimately serves to ask several intriguing questions about the relationship of fakery to film .
fake and crucially claims that to get his very first break in the theatre , he had to pretend to be a broadway big - shot : his whole career started with a fake . the film ' s most powerful moment is his meditation on the glories of chartres cathedral , an achievement that doesn ' t need a dispute about authorship . f for fake is a minor work in some ways , but there is fascination and poignancy in seeing welles ' s elegant retreat into this hall of mirrors .
a mixture of documentary footage shot by others ( some of it featuring welles himself ) , archive footage , photos , and footage welles shot specifically for the film , f for fake offers as its ostensible subject a scandalous case concerning dubious authorship : clifford irving’s allegedly bogus biography of his friend elmyr de hory , himself best known as a forger reputedly responsible for many of the world’s most prestigious paintings .
much of
f for fake
' consists of footage originally shot in 1968 by francois reichenbach for a documentary about de hory . after irving ' s hoax was exposed , welles bought reichenbach ' s footage and re - edited it with new scenes he directed . it reportedly took a year working seven days a week to edit the film .
if citizen kane was just slightly ahead of its time in 1940 , f for fake , which came out in 1973 , now looks more than three decades ahead of the curve . nobody knows that better than tony zhou , creator of the popular cinema - focused video essay series every frame a painting .
purchasing reichenbach’s outtakes , welles set out to create an essay film that dealt with all of these questions , and it’s small wonder that the resulting work raises questions of its own . f for fake is every bit as much a “welles film” as citizen kane ; it’s also equally , in terms of script and title , a coauthored one : just as the title of kane came from the film’s producer , george schaefer , and much of its script was by mankiewicz , the final title of f for fake was supplied by its lead actress , oja kodar – - welles’ companion and major artistic collaborator for the last quarter - century of his life – - who also wrote a story that supplied the basis for the film’s “picasso episode” .
as finnegans wake was for joyce , f for fake was for welles a playful repository of public history intertwined with private in - jokes as well as duplicitous meanings , an elaborate blend of sense and nonsense that carries us along regardless of what’s actually being said . for someone whose public and private identities became so separate that they wound up operating routinely in separate households and occasionally on separate continents , exposure and concealment sometimes figured as reverse sides of the same coin , and welles’s desire to hide inside his own text here becomes a special kind of narcissism . when welles made his never - released nine - minute f for fake trailer three years later , he even avoided having his name spoken or seen ( “modesty forbids” ) —except for when gary graver , his cinematographer and partial stand - in as host , prompts him with , “ten seconds more , orson . ”
orson welles’ two major documentary forays stand roughly at opposite ends of his film career : it’s all true ( 1942 ) and f for fake ( 1973 ) , and together the two projects’ very titles express a dialectical relationship to the documentary . both belong to a form of documentary known as the essay film that interested welles throughout his career . notwithstanding some wellesian hyperbole , it seems safe to say that both titles accurately convey the overall essence of their respectiive projects : most of the never - completed it’s all true , as welles conceived and shot it , was true ; most of f for fake is fake - – a fake documentary about fakery , with particular attention devoted to art forger elmyr de hory , to author clifford irving , and to welles himself . as welles put it in a 1983 interview , “in f for fake i said i was a charlatan and didn’t mean it . . . because i didn’t want to sound superior to elmyr , so i emphasized that i was a magician and called it a charlatan , which isn’t the same thing . and so i was faking even then . everything was a lie . there wasn’t anything that wasn’t . ”
there are amused rumors to the effect that mr . welles did not actually direct a large part of “f for fake . ” this part is an extended se ' suence set in ibiza involving interviews with elmyr de hory , the well‐publicized art forger , and clifford irving , who wrote mr . de hory ' s biography ( “fake” ) and later went on to make his own name by attaching it to howard hughes ' s .
now comes welles ' latest work , forthrightly titled
f for fake .
it ' s a film about fakes and frauds , including the art forger elmyr de hory , the biography forger clifford irving , the mystery man howard hughes and even the young orson welles of the famous
war of the worlds
hoax .
the criterion collection is a distribution company that specializes in “important” classic and contemporary films . through hulu , many of these films are made available to stream . once a week , i like to illuminate a criterion movie — to deepen one’s understanding of filmmaking and film history . this week’s movie : “f for fake” ( 1975 )
for an ankle cast , this will be around your shin ; for a wrist cast , this will be around your forearm .
* * * next will always be a dash . . . after the dash you will sometimes see an
f
( see below )
trickery . deceit . magic . in f for fake , a free - form sort - of documentary by orson welles , the legendary filmmaker ( and self - described charlatan ) gleefully reengages with the central preoccupation of his career : the tenuous lines between illusion and truth , art and lies . beginning with portraits of the world - renowned art forger elmyr de hory and his equally devious biographer , clifford irving , welles embarks on a dizzying journey that simultaneously exposes and revels in fakery and fakers of all stripes—not the least of whom is welles himself . charming and inventive , f for fake is an inspired prank and a clever examination of the essential duplicity of cinema .
f for fake
is also notable , he said , as the only film for which oja kodar is known . as the co - writer of
the other side of the wind
and other unfinished and unreleased projects , she was one of welles ' closest collaborators in the last 25 years of his life . she is currently working on a compilation film comprising excerpts from these projects .
all of which brings us to f for fake , the last feature film welles would ever complete , and one that is quite unlike any other film he ever made . its genesis was serendipitous , but the circumstances that saw this multilayered tale of fakery fall into welles’ lap offered him his first chance to make a real break for freedom since citizen kane . with f for fake , welles set out to make something entirely new , and while many fans of the director were ultimately disconcerted by how little this felt like “an orson welles picture” , that was all part of his design . as he told cahiers du cinema in an interview after the film’s release , he deliberately avoided any shots that might be regarded as “typically wellesian . ” for a director who still had the bitter taste of failure and rejection in his mouth , this was an opportunity for complete reinvention .
welles’ delight in getting one over on the audience with his final twist is evident , and perhaps the most valuable thing f for fake offers us almost forty years on is simply orson welles himself , a great artist and born storyteller who is in his element here . his sheer force of personality is the anchor that holds the movie in place . he guides us through a complicated web of deceit with that inimitable voice – charming , authoritative , humorous and wistful by turn – and he pops up on screen every few minutes with a glint in his eye and a smile on his face , as if to say , “are you really buying this ? ” welles was happy when he made f for fake , his creative juices were flowing once more , and he felt confident that he was standing on the verge of exciting new possibilities ; that the success of his experiment would open doors for him in the twilight years of his career . “i know he wanted to do a whole bunch of new essay documentaries , a new form” his friend and collaborator peter bogdanovich recalled , but the failure of this film soon killed that notion . sadly for welles , and for all of us , the bright future he envisioned for himself after f for fake turned out to be just another illusion .
apollo 15 astronauts went up to those mountains and walked on hadley delta . how could they enter a fake backdrop ?
the video release of
f for fake
makes accessible this mischievous film , which like much of welles ' work has a spotty distribution history . it was completed in 1973 and premiered at the san sebastian and new york film festivals . it was released in europe before it received limited art - house play in the united states in 1977 .
there are interviews with people in the know with elmyr de hory’s work that are standard documentary scenes . however , welles cuts between the interviewer and himself — in a separate room addressing the camera — with “witty” responses to the information . one can see the roots of michael moore’s documentary style in f for fake . perhaps moore was a fan ?
for a filmmaker who studiously avoided repeating himself and sought always to remain a few steps ahead of his audience’s expectations , thereby rejecting any obvious ways of commodifying his status as an auteur , welles arguably found a way in f for fake to contextualize large portions of his career while undermining many cherished beliefs about authorship and the means by which “experts , ” “god’s own gift to the fakers , ” validate such notions .
indeed , the first time that i saw f for fake - – at a private screening in paris in 1973 – the cryptic press materials at the time identified the film as ? , listed welles and reichenbach as co - directors , and assigned the script to olga palinkas ( kodar’s given name ) . the previous year , when i had been fortunate enough to have interviewed welles while he was still editing the film , he told me that the title was hoax and that the film was “not a documentary” but “a new kind of film” . the irrelevance of labels and assigned credits to most works of art is , after all , largely what f for fake is about . - – jonathan rosenbaum
some call what we do experiential marketing or event marketing , others interactive design or new media art . we call it fake love .
when we get to a late film in welles’ career , the documentary f for fake ( 1976 ) , he formulates his most explicit statement about contemporary reality , leaving little room for greatness , let alone tragedy . and if f for fake seems a superficial film , we will then have experienced the first lesson of postmodernism : playfulness , conscious illusions , and an undisguised reflexiveness about making movies . put another way , what is seen in the film that seems real is not as real as it appears — but most especially we can’t trust the filmmaker welles himself , he will lie to us and deceive us , if only to get at the heart of the movie’s main contention : you cannot trust anyone , especially anyone who asserts his or her authority without any basis or proof .
as fun as it can be to float along welles’s stream of consciousness , it’s the film’s editing that will amaze you . its rhythm is fast and unexpected , and it’s an altogether refreshing experience to watch welles work so buoyantly . ( for all its apparent breeziness , the editing process was intense and extended . in an interview that appeared in dominique villain’s le montage au cinema , f for fake ’s chief editor reported that welles worked on editing the film seven days a week for a year . )
f for fake
joins on video other recently rediscovered welles rarities , including his uncompleted documentary
it ' s all true
( paramount home video ) ,
orson welles ' ghost story
( the retitled oscar - nominated short subject
return to glennascaul ,
available on mpi home video ) and
othello
( currently on moratorium ) .
f for fake is the from the man who brought us one of the biggest live events in history and , arguably , the greatest technical film ever made : orson welles . ( the film , of course , is citizen kane ) . welles starred , co - wrote and directed the film , which is his last . it was made in 1974 — released in 1975 .
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if you want to make video essays , there’s no better film to study than orson welles’ 1973 masterpiece , f for fake . there are a million lessons to take away from it , but today , let’s see what it has to teach us about structure . no spoilers . for educational purposes only . you can donate to support the channel at patreon : urltoken and follow me here : twitter : urltoken facebook : urltoken music : duke ellington , charles mingus & max roach - very special michel legrand - f for fake ( cinéma ) a tribe called quest - oh my god ( instrumental ) michel legrand - orson’s theme ( after the rain version ) a tribe called quest - oh my god interview clips : trey parker & matt stone at nyu : urltoken john sturges ' legendary audio commentary : urltoken help us caption & translate this video ! urltoken
orson welles is up to his old tricks in
f for fake ,
available for the first time tuesday on home vision cinema , an independent , chicago - based fine arts label . welles also figures prominently in a companion home vision release ,
three cases of murder ,
a lesser - known 1954 british anthology film that features welles as the title figure in
lord mountdrago ,
a segment based on a somerset maugham story about a guilt - ridden politician driven mad by conscience . both retail for $ 38 . 95 .
but if welles was creating something new here , what exactly was it ? f for fake is most frequently described as an “essay film” , but that term risks making it sound a lot drier and more academic than it actually is . welles sets the playful tone immediately by performing some sleight of hand on a railway station to a transfixed young boy . “i’m a charlatan , ” he cheerfully admits , before he adopts a graver manner and makes his audience a solemn promise – “during the next hour , everything you hear from us is really true and based on solid fact . ” from this statement we can surmise that f for fake will be a documentary and will present its subject to us in a straightforward and honest manner , which is exactly what welles does…up to a point .
entry submitted by steve f at 9 : 16 pm edt on june 13 , 2017 re : electricity / israel approves palestinian move to pressure hamas with electricity cuts .
electricity
- gcr / rv thought - june 13 , 2017 israel has approved a request by palestinian authority president mahmoud abbas to cut by roughly a third the electricity it provides to the gaza strip . the move is aimed at undermining the islamic militant group hamas , which has controlled gaza for the last decade . israel and egypt have been tightly controlling access to the gaza strip for years to weaken hamas . the palestinian authority has moved to further isolate the militant group . in addition to funding for electricity , abbas has also cut salaries for civil servants . everything else posted is fake news , yosef . . . steve f
orson welles reinvented the cinema with “citizen kane , ” and then kept going , though the industry itself hardly helped : most of the movies he made thereafter were the work of an outsider who scrounged financing where he could—including , sometimes , his own earnings as an actor . many of his films remain unfinished . with “f for fake , ” from 1973 , which i discuss in this clip , welles made a film seemingly out of the uncollected fragments of his life and his work . one of the many distinctions of “citizen kane” is its editing—welles was fanatical about it , which renders all the more poignant the numerous instances of studios recutting his films . “f for fake” is a masterwork of montage , a breathlessly frenzied collage of disparate sources that conjure the unholy tempest of a great man and a great mind at full gallop . it’s also a film that highlights the artifice of performance even as it affirms the sometimes tragic , sometimes tawdry authenticity of a life devoted to it . the movie is a love story , a crime story , a comedy , a picaresque travelogue , and a paean to art . in short , “f for fake” is as grand , multitudinous , and original as welles himself .
as much as welles’ is revered in the film and entertainment world , he comes off unlikeable in f for fake . he is the all - knowing , pedestal sitting man who has come to “tell” this story . except , he does not really tell anything at all . i feel he is trying to trick us , to help solidify his point : what is made - up and what is not ? his point hits right on the nose . f for fake has you guessing what is real and made up — from hory’s world and beyond . welles does not hide that fact , which makes the film incredibly frustrating to watch . basically , welles wants us to think : yeah , i’m going to watch and enjoy your movie , even though i know you are going to lie to me .
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i do not like this movie . though , understanding what welles was trying to do and the film being his last hurrah , elevates the film to a level it does not deserve . it is incredibly experimental . f for fake will leave you empty and wanting a whole lot more . thankfully , it is only 88 minutes . sometimes you have to put up with a challenge to enjoy the beautiful things in life .
but welles being welles , for whom form and content were always closely connected , the subject is also orson himself , and his own controversial history as an artist and / or charlatan . with its wholly fresh approach to the role played by editing in the building of a narrative , and a sly , quizzical attitude that anticipates abbas kiarostami ’s claim that in order to get at the truth an artist has to tell lies , f for fake is as exhilaratingly witty , mischievous and imaginative as it is philosophically profound .
alas , welles revealed f for fake in 1974 to an unready world : audiences didn ' t quite understand it , and what distributors showed interest in buying it didn ' t quite offer enough money . the feature finally came out in america in 1976 , and for the occasion welles put together the nine - minute
trailer ,
never actually screened in a theater , at the top of the post , a short essay film in and of itself possessed of a similar style to but consisting of no footage from the full - length f for fake . as with the picture to which it ostensibly offers a preview , welles made it in collaboration with b - movie cinematographer gary graver and his girlfriend oja kodar — the one you see posing with the tiger — hoping to tantalize with a suggestion of the dance of truth and falsity the film does around such storied figures as pablo picasso , howard hughes , and infamous art forger elmyr de hory .
10 the artifice of realism and the lure of the “real” in orson welles’s f for fake and other t ( r ) eas ( u ) er ( e ) s catherine l . benamou 11 forgotten silver : a new zealand television hoax and its audience craig hight and jane roscoe 12 the truth about no lies ( if you can believe it ) mitchell w . block 13 screen memories : fakeness in asian american media practice eve oishi
although intended to be a documentary , f for fake is considered a “film essay” . the film attempts to delve into the word of fakes and forgery — specifically art forgery . at the heart of this film is the story of elmyr de hory’s history as an art forger . sadly , as a viewer , the film deviates from that premise on multiple occasions . there is a lot of welles monologue and speedy cuts to different scenes .
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wait for the cast to dry . you can sign it with markers after this .
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citizen kane ,
for example , is a film so brilliantly packed full of special effects , deceptive shots , double exposures , trick lighting , background animation and back projection that perhaps only a third of the film actually records what we think we ' re seeing . in
f for fake
, welles plays with the film more obviously , presiding over a ghostly editing room , running shots back and forth in the movieola as he invites us to take a closer look ( pick a look , any look… ) .
this image of welles as the baroque storyteller is apparent in both his fiction and non - fiction films , although even that distinction would seem a bit misleading as the director’s fiction works are filled with many emotional truths and his non - fiction works—of particular note the fragments of it’s all true , the series of documentary shorts he made for british television in the 1950s , and f for fake , a portrait of master art forger elmyr de hory—are composed , in part , of artfully elaborated and sculpted “facts . ” f for fake is one of the more wistfully humorous of welles’s wrestlings with reality . roguishly comic yet profoundly bittersweet and edited in seizures with a deliberate , manic grace , the film represents the most flamboyant of its director’s magical acts , with welles himself acting on screen as the narrator / conjuror , pulling the curtain back again and again , each time only to reveal another stage and another curtain in a series of dizzyingly self - reflexive meditations on fakery .
no f . . . if there is no f after the dash , you will just see 5 numbers ( some of the older styles will only have 4 # ' s ) . this set of numbers are considered the style # . meaning every coach bag with this number will look the same . . . maybe a different color , but always the same design and style .
halfway into the film , french director françois reichenbach , whose documentary footage on de hory and his biographer philip irving was used by welles , tells a story that coincidentally sums up the deceptive nature of f for fake . de hory had , supposedly , sold reichenbach a few fake modigliani’s , which the latter then sold for double the price . unaware of that , hory offered to reimburse the director with a check that turned out to be false . “a false check for a false painting , ” adds welles amusedly . deliberately deceiving and drawing our attention to one aspect of the narrative while planting in our minds , like a cuckoo’s egg , another , perhaps more profound one , welles builds his hall of mirrors in which concepts of fakery and originality bounce off one another as reflections .
the film : though considered something of a personal folly upon its limited release in 1973 , “f for fake” seems now to be perhaps welles’s crowning achievement , his most fully realized late - career work at a time when he could hardly get one finished and released . it’s heady , dense , and unabashedly intellectual , but part of welles’s sophistication as a thinker and stylist is in how smoothly he works his ideas into the fabric of his entertainments .
it would be comforting to say my early appreciation of f for fake included an adequate understanding of just how subversive it was ( and is ) . but leaving aside the critique of the art world and its commodification via “experts”—which is far more radical in its implications than the critique of william randolph hearst in citizen kane ( 1941 ) —it has been only in recent years , with the rewind and stop - frame capacities of video , that the sheer effrontery of many of welles’s more important tricks can be recognized , making this film more home - video - friendly than any of his others . it has also taken some time for us to realize that his methodology in putting this film together gave him a kind of freedom with his materials that he’d never had before or would again . for a filmmaker who often avowed that the art of cinema resided in editing , f for fake must have represented his most extended effort . according to dominique villain , who interviewed the film’s chief editor for her 1991 book le montage au cine ? ma , the editing took welles a solid year , working seven days a week—a routine suspended only for the length of time that it took michel legrand to compose the score—and required the use of three separate editing rooms .
f for fake is not a documentary . this “new kind of film” escapes definitions by mixing fiction , duplicitous meanings , self - referentiality , historical background and elaborate visual trickery . francois truffaut believed welles made the film as a “reposte” to the controversy created by film critic pauline kael , whose claims that welles had not written a single line of citizen cane have later been proven untrue ( the entirety of the script was supposedly written by his co - writer mankiewicz ) . welles gives a somewhat reconciliatory final note on his turbulent career as a film director – an epitaph celebrating art in its anonymity . nevertheless , welles’ off - screen and on - screen persona permeates all his work . in f for fake he exposes himself as a charlatan , a faker , but we can’t avoid feeling that the true orson welles is hiding and probably does so in a typically mischievous wellesian way , in plain sight .
i have some minor reservations about “f for fake . ” i don ' t share mr . welles ' s affection for either mr . de hory or mr . irving . unlike the generous mr . welles , they are small potatoes . when mr . welles asks , “doesn ' t it say something about our time that cliff [ irving ] could only make it through trickery ? , ” my answer is no . it says more about mr . irving , who as far as i can tell , hasn ' t made it at all .
looking for any more historic pictures . seems camp obama released scarce few to begin with .
must be a popular bench there on the edge of central park , ny for commies .
don ' t cover your fingers for w wrist cast . just wrap around the palm .
thanks to all authors for creating a page that has been read 104 , 822 times .
if you prefer to pay for your phone in cash at the time of purchase , you can buy an iphone for $ 650 . apple makes money when you buy your phone .
if you want to give your fake cast the proper thickness , you can cut two or three socks to the same size and layer them to give it the proper bulk .
he ' s not saying hey i ' m gonna try and fake a half dozen satellites using a swarm drones or something hovering around him and his phone . . . .
fake documentaries mimic documentary genre expectations , unraveling the documentary’s authority and dismantling understandings of identity , history , and nation . the interdisciplinary essays in f is for phony discuss a broad scope of works and explore issues raised by “fake docs” such as the fiction / documentary divide , the ethics of reality - based manipulation , and whether documentariness derives from form or reception . defining the borderline between fact and fiction , the contributors reveal what fake documentaries imply and usually make explicit : that many documentaries lie to tell the truth , and that the truth is relative . contributors : steve anderson , catherine l . benamou , mitchell w . block , luis buñuel , marlon fuentes , craig hight , charlie keil , alisa lebow , eve oishi , robert f . reid - pharr , gregorio c . rocha , jane roscoe , catherine russell , elisabeth subrin . alexandra juhasz is professor of media studies at pitzer college . she is author of women of vision : histories in feminist film and video ( minnesota , 2001 ) . jesse lerner is associate professor of media studies at pitzer college .
berlin film journal is a platform for dynamic film journalism , founded by the berlin film society .
for a leg or ankle “cast , ” consider adding a pair of crutches to the costume . you can usually find old crutches at a yard sale or secondhand store for a reasonable price .
no , that photo on the left doesn ' t depict an unguarded moment of affection between president john f . kennedy and actress marilyn monroe . it ' s the work of artist alison jackson , who ' s known for her photos using lookalikes of famous people . and it ' s a damn good lookalike .
p erhaps the most startling thing about orson welles’s f for fake is its youthful energy . by the time it premiered in 1972 , welles was 57 years old , and he knew intimately what it felt like to work on a film and never see its release . even the ones that he finished could take forever : he worked on othello for nearly four years , and he occasionally had to replace its actors in the middle of shooting . and some favorite projects – like don quixote and his last work , the other side of the wind – never made it onto the big screen at all .
mr . welles , the master of ceremonies , the credited director and writer as well as star of “f for fake , ” welcomes us with some sleight of hand , turning a small boy ' s key into a coin and back again . “the key , ” says the charlatan , “is not symbolic of anything . ” the warnings keep coming and you may he reminded of the late old gold slogan : “it ' s fun to be fooled , but more fun to know . ” perhaps sometimes .
it comes in very handy for taking screenshots ( taking screenshots for my project , catch the best was the original impetus for the creation of this gem ) , having real - looking test data , and having your database populated with more than one or two records while you ' re doing development .
defining the borderline between fact and fiction , the contributors reveal what fake documentaries imply and usually make explicit : that many documentaries lie to tell the truth , and that the truth is relative .
for an ankle cast , the mark should be approximately where your foot ends and your toes begin .
f for fake , directed and written by orson welles ; directors of photography , christian odasso and gary graver ; production coordinator , francois reicheuinch , editors , marie‐soohie dubus and domini ' sue engerer ; music , michel legrand ; a s . a . c . i . production by janus film ( frankfurt ) and les films de l ' astrophore ( paris ) . running time : 90 minutes . at the new york film festival , alice tully hall , broadway at 65th street . this film has not been rated .
of the orson welles films i have seen , this has to be the most fun to watch .
f for fake
is about an art forgerer and his biographer who was a forgerer himself . ( he faked a biography about howard hughes . ) what ' s great about the film is that welles constantly keeps you guessing at what ' s real and what ' s fake and why at all that might be important . i also give welles credit for pulling the greatest plot twist i have ever not seen coming . and this is a documentary ! there ' s not supposed to be a plot , is there ? ( wink , wink ) giving the surprise away would ruin all of the fun . what i can say is that you should find this somewhat rare film and watch it with a clock close by .
orson welles ' s final completed movie deals with fakery , and in particular with two of the most notorious forgers of the twentieth century .
f is for fakes
( also called
f for fake
) is not really a movie or documentary as much as a look at how we interpret art , and what we want to interpret about anything that is essentially fake . welles proudly calls himself a charlatan while performing magic tricks and coming up with all sorts of ways to play with the audience . i personally had never heard of elmyr de hory until watching this , but welles turns him into a very interesting person . all in all , the director known as a boy genius had a fine end to his career . welles created a truly mind - bending look at the concept of art . the fact that the movie came out around the time that clifford irving ' s scandal broke ( he wrote a forged biography of howard hughes ) certainly adds to the documentary ' s quality . can there truly be any more definite reality left in the world ?


the easiest way is a 1917 american silent film starring clara kimball young and directed by albert capellani .

it is based on a 1909 play , the easiest way by eugene walter , staged by david belasco and starred frances starr as laura murdock .

belasco and starr revived the play in 1921 .

it is not known whether the film currently survives .

actor joseph kilgour reprises his role as brockton from the broadway play .

the easiest way ( 1917 film )

the common law , 1916 ; the foolish virgin , 1916 ; the price she paid , 1917 ; the easiest way , 1917 .
this 1917 film was adapted into a short story for the photoplay magazine and appeared in the may 1917 issue .
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the easiest way is an outstanding film . as so many early talkies it has rather poorly developed episodes , but that ' s ok with me . the varied & colorful scenes make it really entertaining . somehow it impressed me .
c . k . y . film corporation formed .
moving picture world ( 11 aug . 1917 ) : 918 .
a beautiful young model finds the easiest way to support her needy family is to become a rich man’s mistress — until she falls in love with an energetic reporter .
the easiest way
seven reel screen version of eugene walter ' s realistic drama presents clara kimball young as the unhappy heroine - - selznick pictures release . reviewed by edward weitzel .
magda , 1917 ; shirley kaye , 1917 ; the claw , 1918 ; the house of glass , 1918 ; the marionettes , 1918 ; the reason why , 1918 ; the road through the dark , 1918 ; the savage woman , 1918 ; the better wife , 1919 ; cheating cheaters , 1919 .
renounces actress wife .
new york times ( 14 feb . 1917 ) : 5 .
the easiest way ( 1917 ) clara kimball young film corp . distributor : lewis j . selznick enterprises ; selznick pictures . director : albert capellani . scenario : albert capellani and frederic chapin . camera : hal young and jacques monteran . cast : clara kimball young , louise bates , joseph kilgour , rockcliffe fellowes , cleo desmond , george stevens , frank kingdon , may hopkins , walter mcewen . 7 reels . this film is apparently lost
selznick would enjoin miss young .
moving picture world ( 16 june 1917 ) : 1761 .
sues to hold movie star .
new york times ( 29 may 1917 ) : 15 .
katz , ephraim . the film encyclopedia . 3rd ed . ny : harperperennial , 1998 .
clara kimball young sues selznick .
moving picture world ( 9 jun . 1917 ) : 1580 .
miss young makes answer to selznick .
moving picture world ( 21 july 1917 ) : 432 .
eugene walter ' s play ,
the easiest way .
has reached the screen at last , and with clara kimball young in the principal role it proves to be a quite satisfactory picture . miss young gives a far better performance in this piece than she did in
the price she paid ,
which was a woefully defective and uninteresting play .
the easiest way ,
as a photoplay , is enriched by the numeous details whichwere impossible in a stage production , and the story is brought to a more logical conclusion than it was in its original form .
new c . k . young company announced .
moving picture world ( 7 july 1917 ) : 66 .
the easiest way to access the swedish church records is through the internet , using these five sites ( see links to specific collections below ) . four of these sites require a subscription for access . ( arkivdigital , urltoken , and urltoken are available at a familyhistory center near you free of charge . )
a growing source of silent era film information . this listing is from the progressive silent film list by carl bennett . copyright © 1999 - 2018 by carl bennett and the silent era company . all rights reserved .
riksarkivet .
film församling .
nationell arkivdatabas ( nad ) . april 2011 urltoken
in 1916 , clara kimball young became only the second female film star , after < strong > mary pickford < / strong > , to set up her own namesake production company : the clara kimball young film corporation .
the final scene is very unusual and beautiful . it ' s like a scene in a dream : it uplifts the whole film .
young was world film corporation’s biggest star . when financial trouble in the spring of 1916 caused the firm to reorganize , selznick left to create his own production company , taking clara kimball young with him ( lewis 45 ) . it was at this juncture that selznick created the clara kimball young film corporation , naming young , allegedly at her request , as its vice president and treasurer ( 1761 ) . four features produced by the clara kimball young film corporation were released between october 1916 and april 1917 :
american avant - garde film 1894 - 1941 . dvd . ( image entertainment us 2005 )
experience modern times , the iconic film written by , directed by and starring charlie chaplin as a factory worker at the beginning of the industrial revolution . the orchestral score , also . . .
mcdonald , margaret i .
clara kimball young discusses picture art .
moving picture world ( 21 jul . 1917 ) : 461 .
the easiest way
- - selznick . - - another link in the clara kimball young cycle of erring women . adapted from the famous stage - play of eugene walter , the photodrama loses little of its force , altho some of the crucial situations lack the sledge - hammer blows of walter ' s lines . miss young cannot be excelled in the portrayal of
experienced love ,
and her support was excellent e . m . l .
world film in merger
new york times ( 29 jan . 1916 ) : 7 .
2 . clara kimball young as actress and co - producer ( clara kimball young film corp . )
these shows all began as movies that eventually became broadway musicals that were adapted once again for film .
one month after news of the young - selznick suit hit the presses , a “new c . k . young company” was announced . did young leave one svengali ( selznick ) for another ( garson ) ? on july 7 , 1917 , the
lewis , kevin .
a world across from broadway : the shuberts and the movies .
film history . vol . 1 ( 1987 ) : 39 - 52 .
the nuwss organises a london march and more than 3 , 000 women take part . the weather is so bad that it is dubbed the mud march . the women’s freedom league ( wfl ) arises from the wspu , rejecting the dominance of the pankhursts . the wfl founds the paper the vote .
one thing could make such a story acceptable to people of intelligence and the right moral outlook - - its truth . as a page from life , the life of temptation and bitter disillusion that many women are forced to lead by the struggle for a livelihood .
the easiest way
effects no compromise with fact . weakness of character alone wrecks the happiness of laura murdoch . she does not do wrong for the love of the wrong , but from lack of will power to vanquish it . such a woman is never outside the pale of human compassion .
mary smith presents the first women’s suffrage petition to parliament . in the same year , the great reform act confirms the exclusion of women from the vote .
3 . clara kimball young as actress and co - producer ( c . k . y . film corp . )
many of the scenes are brilliantly photographed : the camera climbing up the skyscraper and into the photo studio ' s , the opening scene of the poor new york apartment with the whole family lying in their beds , the scene of bennett and montgomery on horseback and sitting by the lake .
amendment of the representation of the people act entitles everyone over the age of 21 to vote .
constance bennett stars as a lower class girl who takes the easy way . that is , she becomes a kept women . we see her in beautiful gown , in jewels , in furs . adolph menjou is footing the bill .
this little film is strictly soap opera , but it’s well presented and makes a pleasant diversion . the production values are good , especially in the opening sequence which reveals the inside of a tenement flat , and causes the viewer to appreciate the trouble mgm expended on even its small pictures .
this text was printed from the women film pioneers project at columbia university . to promote readability and conserve consumable resources , images and interactive elements in the digital version do not appear in print format .
in 1919 , the c . k . y . film corporation disappeared , and clara kimball young’s films were now produced by a new company : garson productions . after its initial release , the famous
i’m sorry to have to be the bearer of sad news . toronto film society’s good friend james cozart from the library of congress , died yesterday , saturday , march 25th . james . . .
her career began in film in los angeles , and pratt was on the team that cast renée zellweger in one of her early films . upon returning to new york , she became the casting director for six seasons at the ensemble studio theatre , where she is still a member . she also cast hundreds of actors in the long - running off - broadway play and film the exonerated , directed by bob balaban , and received the casting society ' s artios award .
selznick pictures the easiest way . ( seven parts - - april ) . the cast : laura murdock ( clara kimball young ) ; elfie st . clair ( louise bates ) ; willard brockton ( joseph kilgour ) ; john madison ( rockcliffe fellowes ) ; annie ( cleo desmond ) ; jim weston ( george stevens ) ; burgess ( frank kingdon ) nellie de vere ( mae hopkins ) ; jerry ( walter mcewan ) directed by albert capellani .
film stars buy clara k . young’s home treasures .
illustrated news ( 8 june . 1932 ) : n . p .
in 1916 , clara kimball young became only the second female film star , after mary pickford , to set up her own namesake production company : the clara kimball young film corporation . soon after this , there was a flood of female star - producers , initiating what i have called a “second wave” of star companies , 1916–1923 ( 155 ) .
violent actions continue , with suffragettes trying to force their way into buckingham palace to petition the king . the first world war begins on 4 august . suffrage prisoners are set free . campaigning stops and suffragette leaders urge women to join the war effort . the nuwss continues to represent women and to campaign for recognition of their work .
most online reference entries and articles do not have page numbers . therefore , that information is unavailable for most urltoken content . however , the date of retrieval is often important . refer to each style’s convention regarding the best way to format page numbers and retrieval dates .
joe’s pie diner is all around you in the new video , filmed from the stage of the brooks atkinson theatre .
of course , the easiest way for an actor to be considered for commercials is to be submitted by your agent . however , if you are not currently represented , there are other options . in fact , we are always in pursuit of new talent . you ' ll find grey casting directors scouting at plays , comedy shows , league shows and even restaurants . here ' s a true story : we just cast a waiter / actor from joe allen ' s .
tony nominee michael arden will direct the summer performances of the tony - winning musical .
storyline a slum girl discovers the joys of life as a kept woman until she falls in love . an adaptation of a notorious play , watered down to satisfy the hays office . gable has a small but strong role in his first film on contract with mgm .
guide to film parish , sweden ancestry , family history , and genealogy : birth records , marriage records , death records , census records , family history , and military records .
we are unable to find itunes on your computer . to download and subscribe to theodore roosevelt - his life and times on film by library of congress , get itunes now .
an amendment to the third reform bill , to include women in the vote , is rejected .
urltoken gives you the ability to cite reference entries and articles according to common styles from the modern language association ( mla ) , the chicago manual of style , and the american psychological association ( apa ) .
in 1915 , young left vitagraph to become the top name at world film productions , a newly formed company created by lewis j . selznick . she appeared in a number of productions until 1916 , when partners pushed selznick out of world film productions and young left with him . that year , she divorced her husband , and selznick formed the clara kimball young film company , devoted entirely to her films . young ' s popularity began to diminish in the mid - 1920s , which seems to have coincided with her marriage to harry garson , her former agent , who became the producer and director of her films . although she appeared in several more movies , they were of lesser quality , and , with her popularity severely waning , young retired from films for a time , reverting to vaudeville .
( 1914 ) ( davis 420 ) . in 1914 , the youngs left vitagraph to work for producer lewis j . selznick ( “world film in merger” 7 ) . young made several films released between november 1914 and december 1916 that were produced and / or distributed by world film corporation , founded by lewis j . selznick , arthur spiegel ( of mail order fame ) , wall street financier moritz rosenthal , and lee shubert ( lewis 39 ) .
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emmeline pankhurst , a member of the manchester suffragist set frustrated with the wait - and - see tactics of the nuwss , forms the women’s social and political union ( wspu ) with her daughters christabel and sylvia .
the representation of the people act is passed , allowing men over 21 and women over 30 to vote .
the liberal prime minister , sir henry campbell - bannerman , and 400 of 670 mps favour women ' s suffrage . rifts begin to show in the women campaigners’ ranks . the nuwss continues petitions and meetings while the wspu protests at the commons . wspu members are arrested and imprisoned . a daily newspaper coins the term “suffragette” .
camille . dir . albert capellani ( schubert film corp . us 1915 ) cas : clara kimball young , paul capellani , lillian cook , si , b & w . archive : rur , dew .
lying wives . dir . : ivan abramson ( ivan film productions inc . us 1925 ) cas . : clara kimball young , richard bennett , madge kennedy , si , b & w . archive : usr .
the start of hunger strikes and force - feeding . the scottish wspu member marion wallace dunlop becomes the first hunger striker . an increasing number of more militant wspu members are imprisoned .
the reverse can be true when casting a celebrity to play himself or herself . again , as long as it is positive , a strong social media presence can help the actor work in tandem with the brand to reach the widest audience possible .
these are great clips and a great service that i tunes provides for us all , so that we may know and familiarize with the history of this great land . i do hope that more of these great vintage videos are made available , once only viewed by people who traveled to washington d c . today everyone can learn the way of life of the time , and the decisions made where some were right choices and some we can learn so that better decision are made today . thank you i tunes for this great service . a knowledge of yesterday will build better tomorrow .
born in chicago , illinois , in 1890 , the daughter of a stagehand and an actress , clara kimball young made her stage debut at age three . she became a skilled actress in vaudeville productions and stock and then began her association with the film company vitagraph in 1909 . at this period , she was married to james young , an actor and director she had met in salt lake city stock . under his tutelage , she quickly became a polished performer for vitagraph , maintaining a hectic film schedule there . although she appeared in a few comedies , she was often typecast in matronly roles . in 1914 , a prominent fan magazine named her the most popular screen actress in america .
the picture version adheres closely to the stage drama . a regrettable number of the skillful touches by which the author made clear the acts of his characters have been left out , but enough of the original material remains to hold the interest at all times , and to point the moral . albert capellani ' s direction is excellent throughout , and clara kimball young succeeds admirably in indicating the moods of laura murdock . joseph kilgour is seen in his original character of the broker - - a flawless piece of work , rockcliffe fellows as john madison , louise bates as elfie st . clair , frank kingdon as burgess and walter mcelweas as jerry contribute superior quality impersonations .
swedish historical dictionary database , shdd : this interactive dictionary allows you to enter a word in the search box and receive the translation .
suffragette is released in uk cinemas on monday 12 october . find out more at the suffragette facebook page and the official suffragette website .
at some point , selznick and zukor extended an offer to clara kimball young : they would forgive her debts and pay her handsomely if she got rid of garson . she refused ( davis 422 ) . financial matters became increasingly grim . in november of 1920 , the same month that the c . k . y . film corporation demanded $ 50 , 000 , the harriman national bank sued young to recover $ 24 , 500 on a loan two years overdue ( “harriman national bank sues” 374 ) . the next month selznick won his suit . a judge determined that young and garson kept all the profits of their post - c . k . y . film corporation releases and did not send selznick $ 25 , 000 per picture per their agreement ( “selznick wins in suit” 707 ) . garson’s last production credit with clara kimball young was
hearts in exile . dir . james young ( world film corp . us 1915 ) cas . : clara kimball young , montague love , claude fleming , si , b & w . archive : itg , usr , esm , dkk , usw .
the electoral reform bill passes in the commons . it gives votes only to certain women : those over the age of 30 , those over 21 who own their own house or those married to householders .
american silent - film actress . born in september 1890 in chicago , illinois ; died on october 15 , 1960 , in woodland hills , california ; married james young ( a director and actor , divorced 1916 ) ; married harry garson ( early 1920s ) .
the conciliation bill , which would give women the vote , succeeds in the commons but asquith does not carry it through . the wspu starts protests , including those called “black friday” in which many women are injured , some permanently and later fatally , and are sexually abused by police .
upload an image of your inspiring woman to facebook , twitter or instagram using the hash tags # inspiringwomen and # suffragette and your inspiring woman will be celebrated in the # inspiringwomen gallery on the official suffragette website .
laura , a young woman from an impoverished desiring to be an actress , finds achieving success to be more of a struggle than she anticipated . she meets the wealthy willard brockton , and seduced by his gifts , realizes she will no longer have to financially struggle if she takes
the easiest way
and become his mistress . while living the high - life of luxury , she meets and falls in love with writer john madison , who forgives her past transgressions as she was so desperate to escape poverty . madison has to leave her to make his fortune to get enough money so they can marry , and while they are separated , laura falls back on hard times . she returns to her wealthy benefactor , brockton , and becomes his mistress . when a wealthy madison returns two months later , he finds out what she has done and rejects her . brockton also abandons her , repulsed by her greed . laura must now find another man to support her or commit suicide .
pratt talks with urltoken about the differences of auditioning for commercial / print work and theatre , how to represent a product , the pros and cons of a social media presence , audition mistakes and more . start by telling us about grey advertising . what do actors need to know ? how do they get involved to book commercial and print work ? nina pratt : grey ny is an iconic advertising agency founded in 1917 . for us , it ' s about creativity , integration and producing
famously effective
work for our clients .
a ruling by the speaker wrecks hopes of an amendment to include women in the reform bill . militant bomb and arson campaigns and increasing arrests culminate in the passing of the “cat and mouse” act , under which hunger strikers are temporarily released then rearrested to prevent them dying in police custody .
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you have cast for both theatre and commercials . what are the major differences that actors need to know before walking in the room ? np : the first major difference is commercial auditions are always filmed and typically theatre auditions are not . therefore , the actor needs to be aware of the fact that with a theatre audition they need to reach a live audience and with commercials it needs to be more intimate . although both mediums require impeccable timing and rhythm , the difference is in the preparation . when casting for theatre , actors are generally given the material in advance , and for commercials they are not , so actors need to learn to prepare on the spot .
we know that clara kimball young and first husband , actor and director james young , left the stage for the vitagraph in 1912 . james young’s agreement with the company stipulated that they were both paid the same salary , which rose quickly from $ 25 to $ 1 , 000 a week as clara kimball young’s popularity soared , especially after her appearance in the five - reel feature
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publicity stil , clara kimball young ( a / p ) the road through the dark ( 1918 ) , lady lucy duff gordon ( des ) . pc .
( write information such as : how old the parish is , interesting facts about the parish , what alternate names it has , or any boundary changes . )
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sweden 1951 place names register and the swedish parish pages list in this wiki will give you searchable lists of places , particularly parishes and the farms within those parishes .
speaking to looks , can you talk about headshots ? what makes the perfect shot , especially in the film / commercial world ? do you want 3 / 4 shots and full - length pics aside from a regular headshot ? np : every casting director has their preference . i ' m fairly flexible when it comes to the type of photo , as long as it speaks to me in some way . something about it needs to pique my interest enough to want to call in someone for an audition or meeting . the other important thing about headshots that i tell young performers is simple ; it should look like you ! talk about the
it
factor . how do you know someone ' s
got it
? what are the clues ? np : a lot has been said about the
it
factor , but there ' s a reason it ' s called that . it ' s just
it .
it ' s indescribable , hard to define . casting directors have a natural instinct to recognize
it .
speaking only for myself , when i meet someone who has
it ,
i just know , i feel it immediately . they walk in the room and they own it . when one actor has
it ,
it can be completely different from another who also has
it .
they never try to impress me or get the job , they just do their thing . i believe it is a combination of self - confidence and self - awareness , inner joie de vivre . it ' s a connection to the material , it ' s when they walk out of the room , and we all look at each other and say ,
that ' s it , that ' s the actor .
it ' s when you don ' t see the actor acting , you see the character , and you can ' t look away .
talk about dressing for an audition . how far should one go to
dress
the part ? what do you prefer to see from actors ? can being too casual kill the audition ? what is overdressed ? what is underdressed ? np : for commercial auditions , an actor should come in dressed as the character , especially for the callback . no matter how good the performance may be , millions of people will eventually be watching , and we need to be able to picture you as the character .
clara kimball young ( a / p ) the flat above ( 1912 ) . nypl
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clara kimball young ( a / p ) the hands of nara ( 1922 ) . pc
slide cordelia the magnificent ( 1923 ) clara kimball young ( a / p ) . pc
fun facts : 1 . the original play opened in new york on 19 december 1909 .
laura murdock is a young actress . her husband , a drunkard , is killed by a fall , laura goes to new york to get an engagement and finds herself blocked at every turn by the petty jealousies and politics of the profession . willard brockton , a wealthy banker , has been asked a production and has refused . he meets laura and becomes interested , furnishes the producer with money demanding in return that laura be given the best role in the piece .
theodore roosevelt was the first u . s . president to have his career and life chronicled on a large scale by motion picture companies ( even though his predecessors , grover cleveland and william mckinley , were the first to be filmed ) . this presentation features films which record events in roosevelt ' s life from the spanish - american war in 1898 to his death in 1919 . the majority of films are from the theodore roosevelt association collection , while the remainder are from the paper print collection . besides containing scenes of roosevelt , these films include views of world figures , politicians , monarchs , and friends and family members of roosevelt who influenced his life and the era in which he lived . commemorative events up to 1921 are also included as well as silent documentaries compiled from earlier footage by the theodore roosevelt association between 1919 and 1928 .
another common mistake actors make is to say too much in the room . it ' s fine to ask a question or two if it helps , but try and remember that we are usually on a very tight schedule and unless we engage you , less is more . talk about sides — is it better to have them completely memorized , or would you prefer an actor to just be
familiar
with it , so that they are not committed so strongly to one way of thinking / performing ? np : i prefer actors be very familiar with them , but not have them completely memorized . i believe fully memorizing the material can lock off the performance to spontaneity , and actors stop listening . there is such a thing as being over prepared .
madison finds gold and hurries to new york to marry laura . he discovers the facts of the situation , and laura confesses that she burned the letter brockton had promised to send . deserted by both men she becomes desperate , and tries to fling herself into the dissipations of the night life of broadway .
she is disgusted , however , and attempts to end her life in the river . she is rescued and taken to a hospital . madison is notified , and learns also of the fight she made to remain true to him . he hurries to her side just in time to let her know he understands and forgives , and she dies in his arms .
the mystery of the stolen jewels . ( vitagraph co . of america us 1913 ) cas . : maurice costello , clara kimball young , si , b & w . archive : gbb .
np : i firmly believe training is the key to a long and successful career . there are many wonderful classes available to performers at all levels . it is also up to the actor to try and create opportunities for themselves rather than just sitting around waiting for the phone to ring .
my official wife ( 1914 ) is available online at the internet archive ( 45 second fragment ) .
her performance is in a different realm from that of any of the other players in this movie .
at 66 , the salty - tongued young became a hollywood correspondent for a 1956 tv show hosted by a youthful johnny carson ( “clara kimball young , carson correspondent” ) . the new medium aired silent films , renewing the fame of many former stars , including young . but by then young did not want to talk about silent films . in 1955 she told an interviewer : “i’m living today” ( as she raised a toast ) . “i’m in the rocket ship era . to hell with the past . ” young died in 1960 at the age of 70 ( “clara kimball young , pioneer actress , dies” ) .
it ' s professionally acted by the entire cast ( save robert montgomery ) . beautiful constance bennett makes her character of the dreamy and uncertain girl totally believable : with a restrained , anxious attitude , never totally at ease . ( in real life bennett had a somewhat different character ! ) and anita page as her more earthy sister . clark gable has a small but important role , one of his very first – and he looks quite natural . robert montgomery is not a great actor , and his character in this film is a bit annoying . adolphe menjou comes across as more sympathetic .
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( urltoken staff writer michael gioia ' s work appears in the news , feature and video sections of urltoken as well as in the pages of playbill magazine . follow him on twitter at @ playbillmichael . )
noted that young was forced to place “many of her treasured gifts” on the auction block after a car accident with her husband , a dentist she quietly married in 1928 . ( the reporter noted that young “dropped from the limelight some years ago after an unsuccessful attempt to produce her own pictures” ) ( 19 ) .
and , we ' ve definitely gotten more than a few mentions on
mad men
over the years ! but one thing that really sets us apart is that we are one of the only agencies that still has an in - house casting department . we identify the right talent to bring creative concepts to life .
it ' s a great experience for an actor when they first walk into 200 fifth avenue . getting seen by the casting departing at grey is the first step to being discovered by our creative team and our clients .
the last of the saxons . dir . : j . stuart blackton ( vitagraph co . of america us 1910 ) cas . : clara kimball young , james young , si , b & w . archive : gbb .
irvin willat’s behind the door ( 1919 ) starring hobart bosworth , jane novak and wallace beery . available from amazon
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a new conciliation bill passes but is stalled by the general election in november . ? ? ? ? ? ?
announced that “clara kimball young has finally realized her ambition to become head of her own producing company . ” temporary offices were in fort lee , nj , and the first release was estimated for the middle of august ( 66 ) .
sweden household examination records ( husförhörslängder ) - - explanation of this church record which is functionally the census of sweden .
do you put more weight on actors who have high - profile representation , agents or managers ? np : no . it doesn ' t matter who your representatives are ; at grey we have strong relationships and enormous respect for all the agents and managers we work with . they really are the unsung heroes of this business and do not always get the credit they deserve . i have met incredible talent from the most powerful agencies to the smallest boutique ones . i call actors with no representation directly all the time . if an actor is talented , it doesn ' t matter how i find them , just as long as i do . however , i will admit to being slightly biased towards my fellow new yorkers !
the suffragettes , rosa parks and emma watson are all inspirational women who have stood up for what they believe in . whether it’s a celebrity , an activist , a teacher or a family member , who are the women that inspire you ?
jermaine fowler and omari hardwick of sorry to bother you take us back in time to the worst jobs of their careers .
slide the common law ( 1916 ) clara kimball young ( a / p ) , beryl morhange ( w ) . pc
for help with reading the column headings found in more recent records , see swedish parish register and household exam roll headings .
grey is known for its work including the e * trade talking baby , the
easy . breezy . beautiful . covergirl .
and the new direct tv spots featuring rob lowe . grey also does an enormous amount of pro bono work under its
healing power of creativity
initiative . most recently , we are proud of our work with hole in the wall gang , broadway cares / equity fights aids , new alternatives for children and a domestic violence campaign for nomore . org .
to listen to an audio podcast , mouse over the title and click play . open itunes to download and subscribe to podcasts .
slide , anthony . silent portraits : stars of the silent screen in historic photographs . vestal , ny : vestal , 1989 .
second reform bill petition from women is presented to parliament by mill but fails . the national society for women’s suffrage is formed .
eventually brockton claims the customary reward of such assistance , although laura holds out as long as possible . the following summer she goes to denver for a stock engagement , and falls in love with john madison , a newspaper writer . he cannot afford to marry and brockton , who comes west to take laura back with him , sneers at the idea of his marrying the luxury - loving laura . laura promises to wait , however , and brockton promises madison that if laura returns to him he will let madison know .
a few comments on the perfumers : . robert montgomery is not someone i can imagine anyone’s throwing over even a modest income for .
this does not explain why young gave up a namesake company . surely she and garson could have created a new moniker that reflected the appeal of the star , rather than naming it after garson , an unknown . as far as her creative control was concerned , it was not referred to again in the press . furthermore , young’s career began to decline and never recovered . whether it was due to garson’s less able handling of direction and production or the difficulty of prewar stars to reach postwar audiences is unclear . it was probably both .
emily wilding davison , arrested nine times and force - fed 49 times , decides to draw attention to the suffrage cause and disrupt the derby . with a return train ticket and another to a dance that evening in her bag , she steps in front of the king’s speeding horse anmer , possibly to attach a wspu banner of suffragette colours to its bridle . she dies four days later of a skull fracture and internal injuries . her funeral is attended by thousands of women and tens of thousands lined the streets of london as her coffin passed by .
beautiful constance bennett is very convincing as a woman who frankly admits her moral standing — until true love complicates everything . urbane adolphe menjou , as the rich businessman who controls bennett , is slightly more sympathetic than usual in a role he could probably have played in his sleep . and robert montgomery gives his patented friendly portrayal as the steadfast fellow who earnestly loves bennett — until he is told the truth of her situation .
you do not have to be fluent in swedish to read these records ! they have a limited vocabulary : mother , father , born , bride , groom , married , etc . the rest of the content will be names , dates , and places , which do not need translation .
during the 1930s , young returned to the screen , primarily in character parts in low - budget productions . after a career that spanned some 50 films , she retired altogether in 1941 . young died on october 15 , 1960 , and was interred at grand view memorial park in glendale , california .
mp john stuart mill presents a petition for women’s suffrage to the commons . it fails and suffrage societies are started in edinburgh , london and manchester .
the parliamentary franchise ( women ) bill is introduced and defeated by 222 votes to 208 . there is a mass window - smashing campaign in protest .
click sweden , uppsala records for a full listing of microfilmed records ( some digitized online ) at the family history library , that may be digitized . check back occasionally to see if your records have become available . in the meantime , some of them might be available at a family history center near you .
. the brilliant marjorie rameau turns in the earliest of her fine performances that i have seen . she plays another kept woman . when bennett is down on her luck and asks for a loan , she sends her packing . but when her daddy dies , she comes to bennett for money and is given it .
what are some challenges that actors face now that are new to the industry as it evolves ? np : i believe that technology has had a major impact on the industry , but rather than looking at it as a challenge , i think we should see it as a positive development . all of the emerging content outlets have opened up new opportunities to work and be seen . most importantly actors are able to have more control over their career and create their own original content .
actors never want to be thought of as unprofessional or glib when given an opportunity to be considered for a job . so dress the part , it can never hurt .
the sepoy’s wife . ( vitagraph co . of america us 1910 ) cas . : maurice costello , clara kimball young , si , b & w . archive : gbb .
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overdressed is anything that is distracting to your performance or the people watching , anything that you are not comfortable in . no shorts and flip - flops , people ! and , definitely no busy patterns — they stroke the camera and give everyone a headache . remember , it ' s a job interview , and actors should always treat it as such .
laura returns to new york , and brockton ' s influence prevents her from getting an engagement . she reaches the end of her resources and , not hearing from madison submits to what she regards the only course open , a renewal of her relationship with brockton . brockton dictates a letter to madison which laura promises to mail , but she burns it instead .
nina pratt , who has been part of the casting department at grey for over a decade , has cast thousands of commercials for companies including cover girl , direct tv and e * trade , among others . she has also done volunteer and pro bono work for hole in the wall gang camp , broadway cares / equity fights aids and new alternatives for children .
the national union of women’s suffrage societies ( nuwss ) forms with more than 20 national societies in support . its leader is millicent garrett fawcett , based in gower street , central london .
a fine supporting cast helps the proceedings : tough - talking marjorie rambeau as an aging model out to squeeze every penny possible from the male animal ; lazy j . farrell macdonald & careworn clara blandick as bennett’s poor parents ; blonde anita page as bennett’s lively younger sister ; and sturdy clark gable , as page’s laundryman boyfriend , who would eventually supplant montgomery as mgm’s favorite heartthrob .
the haunted rocker . ( vitagraph co . of america us 1912 ) cas . : clara kimball young , tom powers , george ober , si , b & w . archive : gbb .
go to a meet and greet , participate in a reading , write your own material or do whatever is appropriate for you , just put yourself out there , keep active and the work will come .
how do you feel about social media in general ? does it help to get actors
out there
and
network
or can it be hindering ? are there pros and cons ? can someone ' s social media persona negatively impact his or her professional goals ? what are the plusses ? i believe social media can be a very effective tool in someone ' s career . more and more these days , entertainers are referred to as
brands .
and , social media presence plays a big part in the equity of their brand . as you mentioned , it can help an actor get themselves and their work
out there
and be seen by many more people than in the past . self - promotion is very important in the digital world , just make sure whatever you post is compelling !
and , as with anything , some discretion is necessary . i think actors should be cautious about revealing too much personal information or posting something that could make them seem unprofessional or unemployable . also , they have to be aware of the fact that things live on the internet forever . so , think twice before hitting send on that x - rated photo or tweeting that drunken rant . casting directors use google !
( 1925 ) , directed by ivan abramson , and then disappeared from the screen until 1931 . young gained steady work in character roles from 1931 to 1943 , but never attained financial security . in 1930 , a “gowns and millinery” shop sued young for $ 22 , 675 for a mink coat and other luxury items purchased on credit but never paid for ( “clara kimball young sued” 28 ) . in 1932 , the
the violin of m’sieur . dir . : james young ( vitagraph co . of america us 1914 ) cas . : clara kimball young , james young , si , b & w . archive : usr .
the hindoo charm . dir . : maurice costello ( vitagraph co . of america us 1913 ) cas . : maurice costello , clara kimball young , si , b & w . archive : gbb , auc .
one very lucky person is going to win a restored copy of behind the door ( 1919 ) on blu - ray / dvd from flicker alley ! legendary producer thomas h . ince and director irvin . . .
then she meets newspaperman robert montgomery and wants to give it all up for true love . i won’t reveal the ending . but it’s not an especially happy one , and three cheers to hollywood for not selling out .
laura , a young woman from an impoverished desiring to be an actress , finds achieving success to be more of a struggle than she anticipated . she meets the wealthy willard brockton , and . . . see full summary »
please note that this is a database of information on films produced in the silent era of world cinema . this is not a listing of available exhibition prints or home video products , since we currently do not rent or sell either .
the lonely princess . dir . : maurice costello ( vitagraph co . of america us 1913 ) cas . : maurice costello , clara kimball young , william v . ranous , si , b & w , 35mm . archive : nla .
for the soul of rafael . dir . harry garson ( garson studios , inc . us 1920 ) , cas . : clara kimball young , bertram grassby , eugenie besserer , si . , b & w . archive : usw , frc .
the picture idol . dir . : james young ( vitagraph co . of america us 1912 ) cas . : maurice costello , clara kimball young , james morrison , si , b & w . archive : frb , usm , nla , gbb .
the old guard . dir . : james young ( vitagraph co . of america us 1913 ) cas . : charles kent , clara kimball young , james young , si , b & w , 35mm . archive : usw , gbb , caq .
in addition to the mla , chicago , and apa styles , your school , university , publication , or institution may have its own requirements for citations . therefore , be sure to refer to those guidelines when editing your bibliography or works cited list .
talk about representing a product . can a social media presence or personality damage an actor ' s chance at representing something on commercials or in print ? np : i believe having a positive presence on social media could be very beneficial for certain brands . however , as with anything , there are two sides to this discussion . it may be difficult for us to cast a performer that is overexposed . an actor needs to be able to melt into the character in order for the audience to suspend belief .
richelieu or the conspiracy . dir . : j . stuart blackton ( vitagraph co . of america us 1910 ) cas . : clara kimball young , maurice costello , james young , si , b & w , 35mm . archive : usr , gbb .
washington under the british flag . dir . : j . stuart blackton ( vitagraph co . of america us 1909 ) cas . : joseph kilgour , clara kimball young , james young , si , b & w , 35mm . archive : usw , gbb .
the worldly madonna . dir . harry garson ( harry garson productions , 1922 ) , sc . : sada cowan , cas . : clara kimball young , william p . carleton , richard tucker , si , b & w . archive : usf , pc .
. bennett is chic as she always is . but she isn’t photographed in a faltering manner . her profile is rather flat . she appears to have an overbite and her false eyelashes seem apparent . maybe the director of photography and she did not get on well .
the forbidden woman . dir . harry garson , sc . : lenore j . coffee , ( garson studios , inc . us 1920 ) cas . : clara kimball young , conway tearle , jiquel lanoe , si , b & w . archive : usw , caq .
the troublesome step - daughters . dir . : george d . baker , sc . : marguerite bertsch ( vitagraph co . of america us 1912 ) cas . : julia swayne gordon , john bunny , norma talmadge , clara kimball young , si , b & w . archive : nla .
at a mass rally in hyde park , 300 , 000 to 500 , 000 activists attend . the liberal prime minister herbert asquith does not respond . to get his attention , suffragettes smash windows in downing street , using stones with written pleas tied to them . some protesters chain themselves to railings .