#Peter Pathé

[george-the-good]

King George VI and his godson King Peter II of Yugoslavia outside Buckingham Palace, July 16, 1941. King Peter had arrived in London in June, where he joined other governments in exile from Nazi-occupied Europe. // British Pathé

‘I honored and respected him for the advice and sympathy he had given me as a refugee king taking sanctuary in his country. I know that he, too, in his turn, had an affection for me, and it was as “Uncle Bertie” that he had asked me to regard him.’

KING PETER II OF YUGOSLAVIA - A King’s Heritage (1954)

‘I am his “Koom”, a sort of permanent godfather in Serbia, & I held him at his christening. So I must look after him here. Perhaps it was destiny.’

KING GEORGE VI - diary entry (June 22, 1941)

[justforbooks]

Eileen Sheridan, who has died aged 99, was a multiple cycling champion who became a household name in Britain in the late 1940s and early 50s thanks to a series of spectacular record attempts. However, she retired relatively young because she had exhausted the meagre opportunities that the sport offered to women at the time.

As a professional cyclist racing for the Hercules bicycle company from 1951 to 1954, Sheridan captured the public imagination, “defining cycling as Roger Bannister defined athletics or Dennis Compton cricket” according to the bike-racing historian Peter Whitfield. Records such as London-Holyhead or Edinburgh-London were easy for the man in the street to understand; Hercules marketed the diminutive Sheridan heavily as the “Pocket Rocket” – “no ordinary woman” said the Pathé newsreels, while she had an unerring ability to smile in every photograph.

Records such as London-Portsmouth-London and Land’s End-London were merely part of the build-up to the most prestigious one of all: Land’s End-John O’Groats, which Sheridan tackled in July 1954, accompanied by a large flatbed lorry carrying a caravan and a portable toilet. She went through a crisis after almost 48 hours in the saddle, suffering from sleep deprivation, debilitating cold and sore hands, but, wearing every stitch of clothing available, she smashed the previous record by almost 12 hours, with a time of 2 days, 11 hours and 45 minutes.

That was only the first part of the ordeal, as Sheridan’s manager Frank Southall was determined she would continue for the 1,000-mile record. She was permitted a couple of hours’ nap but the final 130 miles took 12 hours as she experienced hallucinatory visions of mermaids, giant glass tumblers and lines of people telling her to turn corners. Her End to End record would stand for 36 years, and the 1,000-mile time was not broken until 2002.

Sheridan was born in Coventry, to Percy Shaw, who worked at the Armstrong-Siddely engineering firm, and Jeannie Morton, who was a skilled milliner. Her grandfather, Frederick Shaw, had been a bike builder and keen racing man in the 1890s. Eileen wanted to go to art school, but her family vetoed the idea, and she eventually became a secretary in a car showroom. She had begun cycling at 15, and was also a keen swimmer; she met her future husband, Ken Sheridan, at the open-air pool in Coventry. They were married in 1942, began cycling together, and Ken noticed that his wife was stronger than he was; the men in their cycling groups would wilt late in their marathon rides, while Eileen found new strength.

She began racing in 1945, and immediately won the National 25-mile time trial championship that summer. By the winter, she was pregnant with her son Clive, who was born in April 1946. It was a difficult birth, by caesarean, and she returned to racing in 1947. By the end of 1949 she had won everything the sport could offer in the UK, including setting a 12-hour record of 237 miles, smashing the previous record by 17 miles and beating all but five of the men in the field. There was disbelief among the men present that she could go so far, and she was asked if she had cut a corner or two; in fact, she should have registered an even greater distance as she had gone off course.

By 1950 she had won the British Best All Rounder – an aggregate of a rider’s best times at 25, 50 and 100 miles – two years running, setting competition records at 50 and 100 miles. There were no world championships for women – these were not inaugurated until 1958 – and the Olympics would not be open to female cyclists until 1984. The only challenge left lay in setting place-to-place records and Sheridan began with Birmingham-London and Oxford-London-Oxford. In mid-1951, Hercules made her an offer of a retainer solely to break records for the next three years, with a £1-a-mile bonus for every record set.

When her contract with Hercules ended in 1954, Sheridan held all 21 records on the Road Records Association’s books. She retired to the house she and Ken had bought in Isleworth, west London, partly using her earnings from Hercules, and had her daughter Louise in 1955. She embarked briefly on a second sporting career in canoeing, and won the national 500m double kayak championship in 1956. After that she studied glass engraving, and spent 40 years producing commissions from her studio-cum-workshop in the Isleworth house, in which there were book after book of her beautifully intricate designs.

With the benefit of over 60 years’ hindsight, Sheridan’s view of her career was a nuanced one. In 2019, she told me that she had “never felt like a champion”, because she had never had the opportunity to wear the rainbow jersey of world champion. She closed her autobiography, Wonder Wheels (1956), with these words: “Where is a woman’s place? Is it … in the home? Is it in industry or in sport? If I have shown in my life that it can be – and successfully so – in all three, then I am happy.”

Sheridan remained a life member and president of the Coventry Cycling Club; she was also a vice-president of the Road Records Association. In 2016 she was inducted into British Cycling’s Hall of Fame; in 2022 she was celebrated with a commemorative “portrait bench” steel statue on the Lias Line greenway in Warwickshire.

She is survived by Clive and Louise; Ken died in 2012.

🔔 Eileen Sheridan, cyclist, born 18 October 1923; died 12 February 2023

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[graaaaceeliz]

1, 6, and 15 for movie question

1. What is your current favorite film?

Probably Cyrano, with Peter Dinklage in the title role. Amazing film.

6. What is your least favorite genre of film?

Horror probably? Yeah, horror/thriller, but for my American audience I do Not consider Dr Who horror, which is apparently something that happens. I freaking love sci-fi, which does I suppose have horror and thriller moments....

15. What is the funniest movie you've seen?

I have no idea there is no way to choose between all the very funny films I love. Maybe one of the Pathé/Nick Park movies like Early Man, or The Princess Bride.

[janamonji]

'Chicken Run'(2000) Review ⭐️⭐️⭐️⭐️

I love Aardman Animations and this stop-motion animated adventure comedy produced by Pathé and Aardman in partnership with DreamWorks Animation expanded the universe to include chickens on an egg farm. Based on an original story by Peter Lord and Nick Park, it Aardman Animations first feature-length film. Lord and Park directed off a script by Karen Kirkpatrick (“James and the Giant Peach,” 1996;…

[retrociema]

Ликвидация - шпионский триллер UK, Италия, Израиль 1976 Оливер Рид, Ричард Уидмарк, Гэйл Ханникат

Двойной агент, работавший на КГБ, хочет выйти из игры. Он обращается за помощью к своему бывшему наставнику – агенту ЦРУ в отставке и подставляет его под удар. Теперь мишенью становится сам «пенсионер».

#триллер #шпионы #драма

Студия: Berkey Pathé Humphries Israel Ltd. / Hemdale Films Режиссер: Питер Коллинсон / Peter Collinson В ролях: Оливер Рид, Ричард Уидмарк, Гэйл Ханникат, Сэм Уонамейкер, Владек Шейбал, Ори Леви, Питер Фрай, Асси Дайан, Шмуэль Роденски, Фанни Любич

Перевод: Профессиональный (многоголосый закадровый) СПБ 5 канал

[heronstill]

Peter Pathé in Groteske. Photo by Greiner. 1922

[mycinematheque]

[timeless-hollywood-classics]

Violet Ethelred Krauth (October 17, 1913 – November 9, 2006), better known by the stage name Marian Marsh, was a Trinidad-born American film actress and later an environmentalist.

Violet Ethelred Krauth was born on October 17, 1913, in Trinidad, British West Indies (now Trinidad and Tobago), the youngest of four children of a German chocolate manufacturer and, as noted by encyclopaedist Leslie Halliwell in his book The Filmgoer's Companion, his French-English wife.

Owing to World War I, Marsh's father moved his family to Boston, Massachusetts. By the time she was 10, the family had relocated to Hollywood, California. Her older sister, an actress who went by the name of Jean Fenwick, landed a job as a contract player with FBO Studios. Another sister, Harriet, was a chorus girl who danced in Earl Carroll's Vanities. She changed her name to Jeanne Morgan.

Marsh attended Le Conte Junior High School and Hollywood High School. In 1928 she was approached by silent screen actress Nance O'Neil, who offered her speech and movement lessons, and with her sister Jean's help, she soon entered the movies. She secured a contract with Pathé, where she was featured in many short subjects under the name Marilyn Morgan.

She was seen in small roles in Howard Hughes's classic Hell's Angels (1930) and Eddie Cantor's lavish Technicolor musical Whoopee! (1930). The part in Whoopee! resulted from Marsh's visit to a film studio with her sister. Not long afterwards, she was signed by Warner Bros. and her name was changed to Marian Marsh.

In 1930, at age 17, Marsh had the female lead in Young Sinners, a play at the Belasco Theater. A contemporary news article reported that she "has scored a distinct hit" in her first stage production.

In 1931, after appearing in a number of short films, Marsh landed one of her most important roles in Svengali opposite John Barrymore. Marsh was chosen by Barrymore for the role of Trilby.[2] Barrymore, who had selected her partly because she resembled his wife, coached her performance throughout the picture's filming. Svengali was based on the 1894 novel Trilby written by George du Maurier. A popular play, based on the book, also titled Trilby, followed in 1895.

In the film version, Marsh plays the artist's model Trilby, who is transformed into a great opera star by the sinister hypnotist Svengali. The word "Svengali'" has entered the English language, defining a person who, with sometimes evil intent, tries to persuade another to do what he desires.

Marsh was awarded the title of WAMPAS Baby Stars in August 1931 even before her second movie with Warner Brothers was released. With her ability to project warmth, sincerity and inner strength on the screen along with critical praise and the audience's approval of Svengali, she continued to star in a string of successful films for Warner Bros., including Five Star Final (1931) with Edward G. Robinson, The Mad Genius (1931) with Barrymore, The Road to Singapore (1931) with William Powell, Under 18 (1932) with Warren William, Alias the Doctor (1932) with Richard Barthelmess, and Beauty and the Boss (1932) with Warren William.

In 1932, in the midst of a grueling work schedule, Marsh left Warner Bros. and moved to RKO, where she made Strange Justice (1932) with Norman Foster and The Sport Parade (1932) with Joel McCrea. After that, she took several film offers in Europe that lasted until 1934. She enjoyed working in England and Germany, as well as vacationing in Paris. While in England, she appeared in the musical comedy film Over the Garden Wall (1934). Back in the United States, she appeared as the heroine Elnora in a popular adaptation of the perennial favorite A Girl of the Limberlost (1934).

In 1935, Marsh signed a two-year pact with Columbia Pictures. During this time, she starred in such films as The Black Room (1935) regarded as one of Boris Karloff's best horror films of the decade, Josef von Sternberg's classic Crime and Punishment (1935) with Peter Lorre, wherein she played the sympathetic prostitute Sonya, Lady of Secrets (1936) with Ruth Chatterton, Counterfeit (1936) with Chester Morris, The Man Who Lived Twice (1936) with Ralph Bellamy, and Come Closer, Folks (1936) with James Dunn.

When her contract expired in 1937, Marsh once again freelanced, appearing steadily in movies for RKO Radio Pictures, where she made Saturday's Heroes (1937) with Van Heflin, and for Paramount Pictures, where she played a young woman caught up in a mystery in The Great Gambini (1937). She appeared with comic Joe E. Brown in When's Your Birthday? (1937), and Richard Arlen in Missing Daughters (1939). In the 1940s, Marsh played Wallace Ford's secretary in Murder by Invitation (1941) and the self-willed wife in Gentleman from Dixie (1941). In her last screen appearance, Marsh portrayed the daughter of an inventor in the comedy/mystery House of Errors (1942), which starred Harry Langdon.

In the late 1950s, she appeared with John Forsythe in an episode of his TV series Bachelor Father and in an episode of the TV series Schlitz Playhouse of Stars before retiring in 1959.

Marsh married a stockbroker named Albert Scott on March 29, 1938, and had two children with him, Catherine Mary Scott (1942-2018) and Albert Parker Scott Jr. (1944-2014). They divorced in 1959. In 1960, Marsh married Cliff Henderson, an aviation pioneer and entrepreneur whom she had met in the early 1930s. They moved to Palm Desert, California, a town Henderson founded in the 1940s.

In the 1960s, Marsh founded Desert Beautiful, a non-profit all-volunteer conservation organization to promote environmental and beautification programs.

Cliff Henderson died in 1984 and Marsh remained in Palm Desert until her death.

In 2006, at age 93, Marsh died of respiratory arrest while sleeping at her home in Palm Desert. She is buried at Desert Memorial Park in Cathedral City, California.

October 17, 2015, was designated as Marian Marsh-Henderson Day by the city of Palm Desert, California.

[lui-2021-streaming-vf-francais]

«-Regarder-»  Lui | Film Complet [2021] Film Streaming VF Français.

Regarder  Lui en streaming vf 100% gratuit, voir le film complet en français et en bonne qualité. Lui Streaming vf les films et les livres tiennent une partie de mon cœur. Et de cette façon, j’aime tout. Non, je ne parlerai pas de la scène entière, je pourrais finir avec un nouveau film si je le faisais,

REGARDER 🎬✮☛  Lui 2021 STREAMING VF✅

Titre: Lui Genre: Drame Pays: France Studio: Trésor Films, Pathé, Artémis Productions, Caneo Films Jeter: Guillaume Canet, Virginie Efira, Laetitia Casta, Mathieu Kassovitz, Nathalie Baye, Patrick Chesnais Équipage: Guillaume Canet (Screenplay), Guillaume Canet (Director), Guillaume Canet (Co-Producer), Alain Attal (Producer), André Chemetoff (Director of Photography) Mot-clé:

Sortie du film  Lui : Date de sortie? La suite d’After, a été confirmé un mois après la sortie du premier film au cinéma. Le 19 mai 2019, After 2 avait été confirmé.  Quand pourrons-nous le voir en salle ? Malheureusement, nous n’avons encore aucune date de sortie officielle, mais peut-être fin 2021, début 2022.

Lui, le film sera là ! Le film After est sorti le mercredi 2 septembre 2021. Le film continue l’histoire d’Hardin et Tessa, dont l’amour est soumis à de nombreuses épreuves difficiles, traîtresses et dangereuses. Ces deux amoureux auront-ils une fin heureuse ? En attendant de savoir si le film a été acclamé par les fans, il y a de bonnes nouvelles :  Lui va sortir ! Cela a été confirmé le 3 septembre 2021 par les deux stars de la série dans une vidéo postée sur le profil Instagram officiel d’After. Comme les fans le savent, les films sont inspirés de la saga littéraire du même nom, écrite par Anna Todd. La série After est composé de 4 livres.

L’intrigue du film  Lui L’amour d’Hardin et Tessa est encore une fois mis à l’épreuve. Ces  deux adolescents vont devoir affronter leur passé. Tessa rencontre son père après des années et décide de le prendre en charge après avoir découvert qu’il était devenu sans abri. Hardin accepte de l’héberger mais ne fait pas confiance à cet homme, convaincu qu’il cache une partie de la vérité. Mais ce n’est pas le seul obstacle. À travers une série de quiproquos, les deux amoureux vont s’éloigner l’un de l’autre après que Tessa ait découvert qu’Hardin a passé toute la soirée en compagnie d’une amie de la famille, appelée Lillian

Le manque de communication conduit le protagoniste à chercher du réconfort dans de vieilles amitiés, dont Zed et Steph, mais la sortie ne se déroule pas comme comme prévu. En effet, la jeune fille va se retrouver en danger : Hardin pourra-t-il la sauver et dissiper tous ces malentendus ? Concernant l’intrigue du film, Castille Landon, le réalisateur d’ Lui nous assure qu’il sera fidèle au roman du même nom.

Le casting du film  Lui : qui sera là ? Nous verrons probablement le retour de deux personnages principaux : Héro Fiennes-Tiffin et Josephine Langford, comme Hardin et Tessa,  Luiivement. Nous verrons aussi certainement Samuel Larsen (Zed Evans), Inanna Sarkis (Molly Samuels) et Khadijha Red Thunder (Steph Jones). Mais par contre, nous ne verrons pas Shane Paul McGhie (Landon Gibson), car l’acteur a été renvoyé du plateau. Dylan Sprouse, dont le rôle est Trevor ne revient pas non plus.

Mais il y a aussi une nouvelle de dernière minute : d’autres acteurs ne reviendront pas dans le troisième film, d’où la nécessité d’un renouvellement. Déjà dans After 2, on se rend compte que le père d’Hardin n’est plus joué par Peter Gallagher (Andy Cohen pourquoi es-tu parti ?) mais par Rob Estes et que la mère de Landon n’est plus jouée par Jennifer Beals mais par Karimah Westbrook. Nous verrons également beaucoup de changements dans  Lui. En commençant par Candice King et Charlie Weber : les deux acteurs ne seront plus Kim et Christian Vance.

L’actrice que nous avons appris à aimer dans The Vampire Diaries comme Caroline est enceinte de son deuxième enfant ! Sa grossesse l’empêche donc de retourner sur le plateau pour filmer  Lui. Candice sera remplacée par Arielle Kebbel que nous avons déjà vu dans The Vampire Diaries: : Il s’agit de Lexi, le meilleur ami de Stefan ! Charlie sera remplacé par Stephen Moyer. Aussi Selma Blair, qui joue la mère de Tessa, est remplacée par Mira Sorvino. En plus de toutes ces modifications, il y a aussi une nouvelle arrivée : Carter Jenkins, qui jouera Robert, le potentiel amoureux de Tessa.

La raison de tous ces changements est que le fait de tourner deux films ensemble empêche aussi certains des acteurs principaux de participer à d’autres engagements professionnels ou autres.

. Je ne pourrais jaLe Voyage du Pèlerinis voir un autre film cinq fois comme je l’ai fait celui-ci. Retournez voir une seconde fois et faites attention. RegarderIp Man 4 : Le dernier combat Movie WEB-DL Il s’agit d’un fichier extrait sans erreur d’un serveur telLe Voyage du Pèlerin, tel que Netflix, ALe Voyage du Pèlerinzon Video, Hulu, Crunchyroll, DiscoveryGO, BBC iPlayer, etc. Il s’agit également d’un film ou d’une é Lui ion télévisée téléchargé via un site web comme on lineistribution, iTunes. La qualité est assez bonne car ils ne sont pas ré-encodés. Les flux vidéo (H.264 ou H.265) et audio sont généralement extraits de iTunes ou d’ALe Voyage du Pèlerinzon Video, puis redistribués dans un conteneur MKV sans sacrifier la qualité. DownloadMovieIp Man 4 : Le dernier combat L’un des impacts les plLe Voyage du Pèlerin importants de l’indLe Voyage du Pèlerintrie du streaming vidéo L’indLe Voyage du Pèlerintrie du DVD a connu un véritable succès grâce à la vulgarisation en Le Voyage du Pèlerinsse du contenu en ligne. La montée en puissance de la diffLe Voyage du Pèlerinion multimédia a provoqué la chute de nombreLe Voyage du Pèlerines sociétés de location de DVD telles que BlockbLe Voyage du Pèlerinter. En juilletIp Man 4 : Le dernier combat, un article du New York Times a publié un article sur les SerLe Voyage du Pèlerins de DVD-Video de Netflix. Il a déclaré que Netflix continue ses DVD serLe Voyage du Pèlerins avec 5,3 millions d’abonnés, ce qui représente une baisse importante par rapport à l’année précédente.

étiquette :

regarder  Lui en streaming

Lui film streaming

Lui streaming film complet vf

Lui streaming vf

Lui streaming

[edharrisdaily]

Netflix Acquires Maggie Gyllenhaal’s Venice-Bound ‘The Lost Daughter’ In Deal With Endeavor Content

EXCLUSIVE: Netflix has taken remaining worldwide territories including in the U.S. on Maggie Gyllenhaal’s directorial debut The Lost Daughter. Starring Olivia Colman, Jessie Buckley, Dakota Johnson, Peter Sarsgaard and Paul Mescal, the drama is set to world premiere in competition at the Venice Film Festival next month. The deal was negotiated by Endeavor Content and includes most major markets.

Oscar nominee Gyllenhaal also produced the project and adapted the script that’s based on the eponymous 2006 novel by Elena Ferrante. The story follows a woman whose beach vacation takes a dark turn when she begins to confront the troubles of her past.

Rounding out the cast are Oliver Jackson-Cohen, Ed Harris and Dagmara Domińczyk. The film was shot in Greece in 2020.

Gyllenhaal says, “I’m thrilled to be working with Netflix again. They have supported so much of the work I am most proud of, and this is no exception. Netflix has consistently championed filmmakers that excite and inspire me and I’m delighted to be included in that company.” Netflix previously released Gyllenhall-starrer The Kindergarten Teacher.

Endeavor Content’s Deborah McIntosh and Negeen Yazdi add, “We are honored to be part of this special journey with Maggie, her extraordinary group of collaborators, and now our new partners at Netflix, to bring this powerfully complex story to audiences around the world.”

Alongside Gyllenhaal, producers are Talia Kleinhendler and Osnat Handelsman-Keren for Pie Films, Charles Dorfman for Samuel Marshall Films, and Endeavor Content. The Lost Daughter was financed by Endeavor Content and Samuel Marshall Films.

Other distributors for The Lost Daughter include eOne (UK/Benelux/Germany), Empire (South Africa), Pathé (Switzerland), Spentzos (Greece), Sena (Iceland), Bim (Italy), Vertigo (Spain), NOS Lusomundo (Portugal), Svensk (Scandinavia), Bir (Turkey), Blitz (Ex-Yugoslavia), Monolith (Poland), United King (Israel), Falcon (Indonesia), Green Narae (South Korea) and Salim Ramia (Middle East).

Gyllenhaal is repped by WME, MGMT Entertainment and Felker Toczek Suddleson Abramson.

[insanityclause]

23rd June marks the 20th anniversary of Aardman’s much-loved feature film Chicken Run, which was first released on this day in 2000 and still remains the highest-grossing stop-motion animated film of all time!

The sequel to Chicken Run is expected to go into full production in 2021 and the exciting new adventure will be released globally by Netflix (excluding China).

Peter Lord, Aardman Co-Founder and Creative Director says; “Fans around the world have waited patiently for a sequel idea worthy of Chicken Run so we’re delighted to announce, on the 20th anniversary, that we’ve found the perfect story. Netflix feels like the ideal creative partner for this project too: they celebrate the film-maker, which means we can make the film we want to make – the one we really care about – and share it with a global audience.”

Having pulled off a death-defying escape from Tweedy’s farm, Ginger has finally found her dream – a peaceful island sanctuary for the whole flock, far from the dangers of the human world. When she and Rocky hatch a little girl called Molly, Ginger’s happy ending seems complete. But back on the mainland the whole of chicken-kind faces a new and terrible threat. For Ginger and her team, even if it means putting their own hard-won freedom at risk – this time, they’re breaking in!

The Chicken Run sequel is directed by Sam Fell (Flushed Away, ParaNorman) and produced by Steve Pegram (Arthur Christmas) and Leyla Hobart. Peter Lord, Carla Shelley and Karey Kirkpatrick will be returning as executive producers. The script is written by Karey Kirkpatrick, John O’ Farrell and Rachel Tunnard and Nick Park (creator of Wallace and Gromit and Shaun the Sheep) will have a consulting role on the film.

Original distributors Studiocanal and Pathé closed a deal with Aardman to allow the transfer of the sequel rights to Netflix.

[carole-lombard-screwball-queen]

Carole Lombard (born Jane Alice Peters; October 6, 1908 – January 16, 1942) was an American actress, particularly noted for her energetic, often off-beat roles in screwball comedies. She was the highest-paid star in Hollywood in the late 1930s and in 1999, the American Film Institute ranked Lombard 23rd on its list of the greatest female stars of Classic Hollywood Cinema.

Lombard was born into a wealthy family in Fort Wayne, Indiana, but was raised in Los Angeles by her single mother. At 12, she was recruited by director Allan Dwan and made her screen debut in A Perfect Crime (1921). Eager to become an actress, she signed a contract with the Fox Film Corporation at age 16, but mainly played bit parts. She was dropped by Fox just before her 18th birthday after a shattered windshield from a car accident left a scar on her face. Lombard appeared in fifteen short comedies for Mack Sennett between 1927 and 1929, and then began appearing in feature films such as High Voltage (1929) and The Racketeer (1929). After a successful appearance in The Arizona Kid (1930), she was signed to a contract with Paramount Pictures.

Paramount quickly began casting Lombard as a leading lady, primarily in drama films. Her profile increased when she married William Powell in 1931, but the couple divorced amicably after two years. A turning point in Lombard's career came when she starred in Howard Hawks's pioneering screwball comedy Twentieth Century (1934). The actress found her niche in this genre, and continued to appear in films such as Hands Across the Table (1935) (forming a popular partnership with Fred MacMurray), My Man Godfrey (1936), for which she was nominated for the Academy Award for Best Actress, and Nothing Sacred (1937). At this time, Lombard married "The King of Hollywood", Clark Gable, and the supercouple gained much attention from the media. Keen to win an Oscar, Lombard began to move towards more serious roles at the end of the decade. Unsuccessful in this aim, she returned to comedy in Alfred Hitchcock's Mr. & Mrs. Smith (1941) and Ernst Lubitsch's To Be or Not to Be (1942), her final film role.

Lombard's career was cut short when she died at the age of 33 aboard TWA Flight 3, which crashed on Mount Potosi, Nevada, while returning from a war bond tour. Today, she is remembered as one of the definitive actresses of the screwball comedy genre and American comedy, and icon of American cinema.

Lombard was born in Fort Wayne, Indiana, on October 6, 1908 at 704 Rockhill Street. Christened with the name Jane Alice Peters, she was the third child and only daughter of Frederick Christian Peters (1875–1935) and Elizabeth Jayne "Bessie" (Knight) Peters (1876–1942). Her two older brothers, to each of whom she was close, both growing up and in adulthood, were Frederick Charles (1902–1979) and John Stuart (1906–1956). Lombard's parents both descended from wealthy families and her early years were lived in comfort, with the biographer Robert Matzen calling it her "silver spoon period". The marriage between her parents was strained, however, and in October 1914, her mother took the children and moved to Los Angeles. Although the couple did not divorce, the separation was permanent. Her father's continued financial support allowed the family to live without worry, if not with the same affluence they had enjoyed in Indiana, and they settled into an apartment near Venice Boulevard in Los Angeles.

Described by her biographer Wes Gehring as "a free-spirited tomboy", the young Lombard was passionately involved in sports and enjoyed watching movies. At Virgil Junior High School, she participated in tennis, volleyball, and swimming, and won trophies for her achievements in athletics. At the age of 12, this hobby unexpectedly landed Lombard her first screen role. While playing baseball with friends, she caught the attention of the film director Allan Dwan, who later recalled seeing "a cute-looking little tomboy ... out there knocking the hell out of the other kids, playing better baseball than they were. And I needed someone of her type for this picture." With the encouragement of her mother, Lombard happily took a small role in the melodrama A Perfect Crime (1921). She was on set for two days, playing the sister of Monte Blue. Dwan later commented, "She ate it up".

A Perfect Crime was not widely distributed, but the brief experience spurred Lombard and her mother to look for more film work. The teenager attended several auditions, but none was successful.[11] While appearing as the queen of Fairfax High School's May Day Carnival at the age of 15, she was scouted by an employee of Charlie Chaplin and offered a screen test to appear in his film The Gold Rush (1925). Lombard was not given the role, but it raised Hollywood's awareness of the aspiring actress. Her test was seen by the Vitagraph Film Company, which expressed an interest in signing her to a contract. Although this did not materialize, the condition that she adopt a new first name ("Jane" was considered too dull) lasted with Lombard throughout her career. She selected the name "Carol" after a girl with whom she played tennis in middle school.

In October 1924, shortly after these disappointments, 16-year-old Lombard was signed to a contract with the Fox Film Corporation. How this came about is uncertain: in her lifetime, it was reported that a director for the studio scouted her at a dinner party, but more recent evidence suggests that Lombard's mother contacted Louella Parsons, the gossip columnist, who then got her a screen test. According to the biographer Larry Swindell, Lombard's beauty convinced Winfield Sheehan, head of the studio, to sign her to a $75-per-week contract. The teenager abandoned her schooling to embark on this new career. Fox was happy to use the name Carol, but unlike Vitagraph, disliked her surname. From this point, she became "Carol Lombard", the new name taken from a family friend.

The majority of Lombard's appearances with Fox were bit parts in low-budget Westerns and adventure films. She later commented on her dissatisfaction with these roles: "All I had to do was simper prettily at the hero and scream with terror when he battled with the villain." She fully enjoyed the other aspects of film work, however, such as photo shoots, costume fittings, and socializing with actors on the studio set. Lombard embraced the flapper lifestyle and became a regular at the Coconut Grove nightclub, where she won several Charleston dance competitions.

In March 1925, Fox gave Lombard a leading role in the drama Marriage in Transit, opposite Edmund Lowe. Her performance was well received, with a reviewer for Motion Picture News writing that she displayed "good poise and considerable charm." Despite this, the studio heads were unconvinced that Lombard was leading lady material, and her one-year contract was not renewed. Gehring has suggested that a facial scar she obtained in an automobile accident was a factor in this decision. Fearing that the scar—which ran across her cheek—would ruin her career, the 17-year-old had an early plastic surgery procedure to make it less visible. For the remainder of her career, Lombard learned to hide the mark with make-up and careful lighting.

After a year without work, Lombard obtained a screen test for the "King of Comedy" Mack Sennett. She was offered a contract, and although she initially had reservations about performing in slapstick comedies, the actress joined his company as one of the "Sennett Bathing Beauties". She appeared in 15 short films between September 1927 and March 1929, and greatly enjoyed her time at the studio. It gave Lombard her first experiences in comedy and provided valuable training for her future work in the genre. In 1940, she called her Sennett years "the turning point of [my] acting career."

Sennett's productions were distributed by Pathé Exchange, and the company began casting Lombard in feature films. She had prominent roles in Show Folks and Ned McCobb's Daughter (both 1928), where reviewers observed that she made a "good impression" and was "worth watching". The following year, Pathé elevated Lombard from a supporting player to a leading lady. Her success in Raoul Walsh's picture Me, Gangster (also 1928), opposite June Collyer and Don Terry on his film debut, finally eased the pressure her family had been putting on her to succeed. In Howard Higgin's High Voltage (1929), her first talking picture, she played a criminal in the custody of a deputy sheriff, both of whom are among bus passengers stranded in deep snow. Her next film, the comedy Big News (1929), cast her opposite Robert Armstrong and was a critical and commercial success. Lombard was reunited with Armstrong for the crime drama The Racketeer, released in late 1929. The review in Film Daily wrote, "Carol Lombard proves a real surprise, and does her best work to date. In fact, this is the first opportunity she has had to prove that she has the stuff to go over."

Lombard returned to Fox for a one-off role in the western The Arizona Kid (1930). It was a big release for the studio, starring the popular actor Warner Baxter, in which Lombard received third billing. Following the success of the film, Paramount Pictures recruited Lombard and signed her to a $350-per-week contract, gradually increasing to $3,500 per week by 1936. They cast her in the Buddy Rogers comedy Safety in Numbers (also 1930), and one critic observed of her work, "Lombard proves [to be] an ace comedienne." For her second assignment, Fast and Loose (also 1930) with Miriam Hopkins, Paramount mistakenly credited the actress as "Carole Lombard". She decided she liked this spelling and it became her permanent screen name.

Lombard appeared in five films released during 1931, beginning with the Frank Tuttle comedy It Pays to Advertise. Her next two films, Man of the World and Ladies Man, both featured William Powell, Paramount's top male star. Lombard had been a fan of the actor before they met, attracted to his good looks and debonair screen persona, and they were soon in a relationship. The differences between the pair have been noted by biographers: she was 22, carefree, and famously foul-mouthed, while he was 38, intellectual, and sophisticated. Despite their disparate personalities, Lombard married Powell on June 6, 1931, at her Beverly Hills home. Talking to the media, she argued for the benefits of "love between two people who are diametrically different", claiming that their relationship allowed for a "perfect see-saw love".

The marriage to Powell increased Lombard's fame, while she continued to please critics with her work in Up Pops the Devil and I Take this Woman (both 1931). In reviews for the latter film, which co-starred Gary Cooper, several critics predicted that Lombard was set to become a major star. She went on to appear in five films throughout 1932. No One Man and Sinners in the Sun were not successful, but Edward Buzzell's romantic picture Virtue was well received. After featuring in the drama No More Orchids, Lombard was cast as the wife of a con artist in No Man of Her Own. Her co-star for the picture was Clark Gable, who was rapidly becoming one of Hollywood's top stars. The film was a critical and commercial success, and Wes Gehring writes that it was "arguably Lombard's finest film appearance" to that point. It was the only picture that Gable and Lombard, future husband and wife, made together. There was no romantic interest at this time, however, as she recounted to Garson Kanin: "[we] did all kinds of hot love scenes ... and I never got any kind of tremble out of him at all".

In August 1933, Lombard and Powell divorced after 26 months of marriage, although they remained very good friends until the end of Lombard's life. At the time, she blamed it on their careers, but in a 1936 interview, she admitted that this "had little to do with the divorce. We were just two completely incompatible people". She appeared in five films that year, beginning with the drama From Hell to Heaven and continuing with Supernatural, her only horror vehicle. After a small role in The Eagle and the Hawk, a war film starring Fredric March and Cary Grant, she starred in two melodramas: Brief Moment, which critics enjoyed, and White Woman, where she was paired with Charles Laughton. “We would have married,” said Carole Lombard during her interview with magazine writer Sonia Lee for Movie Screen Magazine in 1934 about her relationship with Russ Columbo, the famous singer killed in a tragic accident whose movie and radio career she had been guiding.

The year 1934 marked a high point in Lombard's career. She began with Wesley Ruggles's musical drama Bolero, where George Raft and she showcased their dancing skills in an extravagantly staged performance to Maurice Ravel's "Boléro". Before filming began, she was offered the lead female role in It Happened One Night, but turned it down because of scheduling conflicts with this production Bolero was favorably received, while her next film, the musical comedy We're Not Dressing with Bing Crosby, was a box-office hit.

Lombard was then recruited by the director Howard Hawks, a second cousin, to star in his screwball comedy film Twentieth Century which proved a watershed in her career and made her a major star. Hawks had seen the actress inebriated at a party, where he found her to be "hilarious and uninhibited and just what the part needed", and she was cast opposite John Barrymore. In Twentieth Century, Lombard played an actress who is pursued by her former mentor, a flamboyant Broadway impresario. Hawks and Barrymore were unimpressed with her work in rehearsals, finding that she was "acting" too hard and giving a stiff performance. The director encouraged Lombard to relax, be herself, and act on her instincts. She responded well to this tutoring, and reviews for the film commented on her unexpectedly "fiery talent"—"a Lombard like no Lombard you've ever seen". The Los Angeles Times' critic felt that she was "entirely different" from her formerly cool, "calculated" persona, adding, "she vibrates with life and passion, abandon and diablerie".

The next films in which Lombard appeared were Henry Hathaway's Now and Forever (1934), featuring Gary Cooper and the new child star Shirley Temple, and Lady by Choice (1934), which was a critical and commercial success. The Gay Bride (1934) placed her opposite Chester Morris in a gangster comedy, but this outing was panned by critics. After reuniting with George Raft for another dance picture, Rumba (1935), Lombard was given the opportunity to repeat the screwball success of Twentieth Century. In Mitchell Leisen's Hands Across the Table (1935), she portrayed a manicurist in search of a rich husband, played by Fred MacMurray. Critics praised the film, and Photoplay's reviewer stated that Lombard had reaffirmed her talent for the genre. It is remembered as one of her best films, and the pairing of Lombard and MacMurray proved so successful that they made three more pictures together.

Lombard's first film of 1936 was Love Before Breakfast, described by Gehring as "The Taming of the Shrew, screwball style". In William K. Howard's The Princess Comes Across, her second comedy with MacMurray, she played a budding actress who wins a film contract by masquerading as a Swedish princess. The performance was considered a satire of Greta Garbo, and was widely praised by critics. Lombard's success continued as she was recruited by Universal Studios to star in the screwball comedy My Man Godfrey (1936). William Powell, who was playing the eponymous Godfrey, insisted on her being cast as the female lead; despite their divorce, the pair remained friendly and Powell felt she would be perfect in the role of Irene, a zany heiress who employs a "forgotten man" as the family butler. The film was directed by Gregory LaCava, who knew Lombard personally and advised that she draw on her "eccentric nature" for the role. She worked hard on the performance, particularly with finding the appropriate facial expressions for Irene. My Man Godfrey was released to great acclaim and was a box office hit. It received six nominations at the 9th Academy Awards, including Lombard for Best Actress. Biographers cite it as her finest performance, and Frederick Ott says it "clearly established [her] as a comedienne of the first rank."

By 1937, Lombard was one of Hollywood's most popular actresses, and also the highest-paid star in Hollywood following the deal which Myron Selznick negotiated with Paramount that brought her $450,000, more than five times the salary of the U.S. President. As her salary was widely reported in the press, Lombard stated that 80 percent of her earnings went in taxes, but that she was happy to help improve her country. The comments earned her much positive publicity, and President Franklin D. Roosevelt sent her a personal letter of thanks.

Her first release of the year was Leisen's Swing High, Swing Low, a third pairing with MacMurray. The film focused on a romance between two cabaret performers, and was a critical and commercial success. It had been primarily a drama, with occasional moments of comedy, but for her next project, Nothing Sacred, Lombard returned to the screwball genre. Producer David O. Selznick, impressed by her work in My Man Godfrey, was eager to make a comedy with the actress and hired Ben Hecht to write an original screenplay for her. Nothing Sacred, directed by William Wellman and co-starring Fredric March, satirized the journalism industry and "the gullible urban masses". Lombard portrayed a small-town girl who pretends to be dying and finds her story exploited by a New York reporter. Marking her only appearance in Technicolor, the film was highly praised and was one of Lombard's personal favorites.

Lombard continued with screwball comedies, next starring in what Swindell calls one of her "wackiest" films, True Confession (1937). She played a compulsive liar who wrongly confesses to murder. Lombard loved the script and was excited about the project, which reunited her with John Barrymore and was her final appearance with MacMurray. Her prediction that it "smacked of a surefire success" proved accurate, as critics responded positively and it was popular at the box office.

True Confession was the last film Lombard made on her Paramount contract, and she remained an independent performer for the rest of her career. Her next film was made at Warner Bros., where she played a famous actress in Mervyn LeRoy's Fools for Scandal (1938). The comedy met with scathing reviews and was a commercial failure, with Swindell calling it "one of the most horrendous flops of the thirties".

Fools for Scandal was the only film Lombard made in 1938. By this time, she was devoted to a relationship with Clark Gable. Four years after their teaming on No Man of Her Own, the pair had reunited at a Hollywood party and began a romance early in 1936. The media took great interest in their partnership and frequently questioned if they would wed. Gable was separated from his wife, Rhea Langham, but she did not want to grant him a divorce. As his relationship with Lombard became serious, Langham eventually agreed to a settlement worth half a million dollars. The divorce was finalized in March 1939, and Gable and Lombard eloped in Kingman, Arizona, on March 29. The couple, both lovers of the outdoors, bought a 20-acre ranch in Encino, California, where they kept barnyard animals and enjoyed hunting trips. Almost immediately, Lombard wanted to start a family, but her attempts failed; after two miscarriages and numerous trips to fertility specialists, she was unable to have children. In early 1938, Lombard officially joined the Baháʼí Faith, of which her mother had been a member since 1922.

While continuing with a slower work-rate, Lombard decided to move away from comedies and return to dramatic roles. She appeared in a second David O. Selznick production, Made for Each Other (1939), which paired her with James Stewart to play a couple facing domestic difficulties. Reviews for the film were highly positive, and praised Lombard's dramatic effort; financially, it was a disappointment. Lombard's next appearance came opposite Cary Grant in the John Cromwell romance In Name Only (1939), a credit she personally negotiated with RKO Radio Pictures upon hearing of the script and Grant's involvement. The role mirrored her recent experiences, as she played a woman in love with a married man whose wife refuses to divorce. She was paid $150,000 for the film, continuing her status as one of Hollywood's highest-paid actresses, and it was a moderate success.

Lombard was eager to win an Academy Award, and selected her next project—from several possible scripts—with the expectation that it would bring her the trophy. Vigil in the Night (1940), directed by George Stevens, featured Lombard as a nurse who faces a series of personal difficulties. Although the performance was praised, she did not get her nomination, as the sombre mood of the picture turned audiences away and box-office returns were poor. Despite the realization that she was best suited to comedies, Lombard completed one more drama: They Knew What They Wanted (1940), co-starring Charles Laughton, which was mildly successful.

Accepting that "my name doesn't sell tickets to serious pictures", Lombard returned to comedy for the first time in three years to film Mr. & Mrs. Smith (1941), about a couple who learns that their marriage is invalid, with Robert Montgomery. Lombard was influential in bringing Alfred Hitchcock, whom she knew through David O. Selznick, to direct one of his most atypical films. It was a commercial success, as audiences were happy with what Swindell calls "the belated happy news ... that Carole Lombard was a screwball once more."

It was nearly a year before Lombard committed to another film, as she focused instead on her home and marriage. Determined that her next film be "an unqualified smash hit", she was also careful in selecting a new project. Through her agent, Lombard heard of Ernst Lubitsch's upcoming film: To Be or Not to Be (1942), a dark comedy that satirized the Nazi takeover of Poland. The actress had long wanted to work with Lubitsch, her favorite comedy director, and felt that the material—although controversial—was a worthy subject. Lombard accepted the role of actress Maria Tura, despite it being a smaller part than she was used to, and was given top billing over the film's lead, Jack Benny. Filming took place in the fall of 1941, and was reportedly one of the happiest experiences of Lombard's career.

When the U.S. entered World War II at the end of 1941, Lombard traveled to her home state of Indiana for a war bond rally with her mother, Bess Peters, and Clark Gable's press agent, Otto Winkler. Lombard was able to raise over $2 million in defense bonds in a single evening. Her party had initially been scheduled to return to Los Angeles by train, but Lombard was anxious to reach home more quickly and wanted to fly by a scheduled airline. Her mother and Winkler were both afraid of flying and insisted they follow their original travel plans. Lombard suggested they flip a coin; they agreed and Lombard won the toss.

In the early morning hours of January 16, 1942, Lombard, her mother, and Winkler boarded a Transcontinental and Western Air Douglas DST (Douglas Sleeper Transport) aircraft to return to California. After refueling in Las Vegas, TWA Flight 3 took off at 7:07 p.m. and crashed into "Double Up Peak" near the 8,300-foot (2,530 m) level of Potosi Mountain, 32 statute miles (51 km) southwest of the Las Vegas airport. All 22 aboard, including Lombard, her mother, and 15 U.S. Army soldiers, were killed instantly. The cause of the crash was determined to be linked to the pilot and crew's inability to properly navigate over the mountains surrounding Las Vegas. As a precaution against the possibility of enemy Japanese bomber aircraft coming into American airspace from the Pacific, safety beacons used to direct night flights were turned off, leaving the pilot and crew of the TWA flight without visual warnings of the mountains in their flight path. The crash on the mountainside occurred three miles outside of Las Vegas.

Gable was flown to Las Vegas after learning of the tragedy to claim the bodies of his wife, mother-in-law, and Winkler, who aside from being his press agent, had been a close friend. Lombard's funeral was January 21 at Forest Lawn Memorial Park Cemetery in Glendale, California. She was interred beside her mother under the name of Carole Lombard Gable. Despite remarrying twice following her death, Gable chose to be interred beside Lombard when he died in 1960.

Lombard's final film, To Be or Not to Be, directed by Ernst Lubitsch and co-starring Jack Benny, a satire about Nazism and World War II, was in post-production at the time of her death. The film's producers decided to cut part of the film in which Lombard's character asks, "What can happen on a plane?" out of respect for the circumstances surrounding her death. When the film was released, it received mixed reviews, particularly about its controversial content, but Lombard's performance was hailed as the perfect send-off to one of 1930s Hollywood's most important stars.

At the time of her death, Lombard had been scheduled to star in the film They All Kissed the Bride; when production started, she was replaced by Joan Crawford. Crawford donated all of her salary for the film to the Red Cross, which had helped extensively in the recovery of bodies from the air crash. Shortly after Lombard's death, Gable, who was inconsolable and devastated by his loss, joined the United States Army Air Forces. Lombard had asked him to do that numerous times after the United States had entered World War II. After officer training, Gable headed a six-man motion picture unit attached to a B-17 bomb group in England to film aerial gunners in combat, flying five missions himself. In December 1943, the United States Maritime Commission announced that a Liberty ship named after Carole Lombard would be launched. Gable attended the launch of the SS Carole Lombard on January 15, 1944, the two-year anniversary of Lombard's record-breaking war bond drive. The ship was involved in rescuing hundreds of survivors from sunken ships in the Pacific and returning them to safety.

In 1962, Jill Winkler Rath, widow of publicist Otto Winkler, filed a $100,000 lawsuit against the $2,000,000 estate of Clark Gable in connection with Winkler's death in the plane crash with Carole Lombard. The suit was dismissed in Los Angeles Superior Court. Rath, in her action, claimed Gable promised to provide financial aid for her if she would not bring suit against the airline involved. Rath stated she later learned that Gable settled his claim against the airline for $10. He did so because he did not want to repeat his grief in court and subsequently provided her no financial aid in his will.

[vanosroanna]

Found imagery

‘On the day that Empire Windrush arrived at Tilbury docks in late June 1948, a contingent of newspaper reporters and a film crew from Pathé News were on hand to film, photograph and interview the hundreds of men and women from the Caribbean who disembarked. Among the press pack was Peter Fryer, a journalist at the Daily Worker who would later write the book Staying Power, the first encyclopedic history of the black presence in Britain. His report, entitled Five Hundred Pairs of Willing Hands, was largely in step with the upbeat and positive tone that characterised how the day’s events were presented to the British public. The film crew from Pathé sought out one of the celebrities on board, the Trinidadian calypso singer Aldwyn Roberts, who performed under the stage name Lord Kitchener. He provided the day with a soundtrack: an impromptu a cappella performance of a song he had composed on the voyage across the Atlantic, ‘London Is the Place for Me’.’ - 

David Olusoga, “London is the place for me”: David Olusoga on the Windrush generation, June 14, 2018 at 8:07 am, History Extra

[enchufeviral]

¡20 años después! Netflix confirma que "Pollitos en Fuga" tendrá segunda parte

Netflix confirmó que producirá y emitirá la secuela de "Chicken Run" o bien "Pollos en Fuga". Justo anunció la nueva cuando se cumplen 20 años desde el estreno de la película animada original que sostiene el récord de la cinta en "stop-motion" más taquillera de la historia. Estrenado el 23 de junio del año 2000, el filme colectó más de 220 millones de dólares americanos en taquilla. Batió récords para una película de animación rodada "fotograma a fotograma" -stop-motion- y fue aspirante al Globo de Oro a la mejor comedia. "¡Precisamente 20 años tras el lanzamiento de la cinta original podemos confirmar que va a haber una secuela de 'Chicken Run' en Netflix! Producida por Aardman Animations. Se espera que la producción empiece el año próximo". De esta forma lo escribió Netflix en sus redes sociales y en un comunicado el 23 de junio. La secuela de esta película, considerada de culto para los seguidores de la animación, era un rumor presente en 2018. Ahí tanteó a estudios como los europeos Pathé y Studiocanal, si bien por último va a ser Netflix la distribuidora de los derechos fuera del mercado Chino. Sam Fell ("ParaNorman" y "Flushed Away") dirigirá el nuevo proyecto en el que Peter Lord, que dirigió el original con Nick Park, ejercitará de productor. La secuela hallará a sus protagonistas Rocky y Ginger viviendo en un santuario libre de humanos. Read the full article

[amypca]

PHOT202: Stop Motion Photography History.

1895-1928: The silent film era:

It is estimated that 80 to 90 percent of all silent films are lost. Extant contemporary movie catalogs, reviews and other documentation can provide some details on lost films, but this kind of written documentation is also incomplete and often insufficient to properly date all extant films or even identify them if original titles are missing. Possible stop motion in lost films is even harder to trace. The principles of animation and other special effects were mostly kept a secret, not only to prevent use of such techniques by competitors, but also to keep audiences interested in the mystery of the magic tricks. Stop motion is closely related to the stop trick, in which the camera is temporarily stopped during the recording of a scene to create a change before filming is continued (or for which the cause of the change is edited out of the film). In the resulting film the change will be sudden and a logical cause of the change will be mysteriously absent or replaced with a fake cause that is suggested in the scene. The oldest known example is used for the beheading in Edison Manufacturing Company's 1895 film The Execution of Mary Stuart. The technique of stop motion can be interpreted as repeatedly applying the stop trick. In 1917 clay animation pioneer Helena Smith-Dayton referred to the principle behind her work as "stop action", a synonym of "stop motion". French trick film pioneer Georges Méliès claimed to have invented the stop-trick and popularized it by using it in many of his short films. He reportedly used stop-motion animation in 1899 to produce moving letterforms.

Segundo de Chomón: French filmmaker Segundo de Chomón (1871–1929) made many trick films in France for Pathé. He has often been compared to Georges Méliès as he also made many fantasy films with stop tricks and other illusions (helped by his wife, Julienne Mathieu). By 1906 Chomón was using stop motion animation. Le théâtre de Bob (April 1906) features over three minutes of stop motion animation with dolls and objects to represent a fictional automated theatre owned by Bob, played by a live-action child actor. It is the oldest extant film with proper stop motion and a definite release date. The Sculptor's Nightmare Segundo de Chomón's Sculpteur moderne was released on 31 January 1908 and features heaps of clay molding itself into detailed sculptures that are capable of minor movements. The final sculpture depicts an old woman and walks around before it's picked up, squashed and molded back into a sitting old lady.

1930s and 1940s: Starewicz finished the first feature stop motion film Le Roman de Renard (The Tale of the Fox) in 1930, but problems with its soundtrack delayed its release. In 1937 it was released with a German soundtrack and in 1941 with its French soundtrack. Hungarian-American filmmaker George Pal developed his own stop motion technique of replacing wooden dolls (or parts of them) with similar figures displaying changed poses and/or expressions. He called it Pal-Doll and used it for his Puppetoons films since 1932. The particular replacement animation method itself also became better known as puppetoon. In Europe he mainly worked on promotional films for companies such as Philips. Later Pal gained much success in Hollywood with a string of Academy Award for Best Animated Short Films, including Rhythm in the Ranks (1941).

1960s and 1970s : British television has shown many stop motion series for young children since the 1960s. An early example is Snip and Snap (1960-1961) by John Halas in collaboration with Danish paper sculptor Thok Søndergaard (Thoki Yenn), featuring dog Snap, cut from a sheet of paper by pair of scissors Snip. Apart from their cutout animation series, British studio Smallfilms (Peter Firmin and Oliver Postgate) produced several stop motion series with puppets, beginning with Pingwings (1961-1965) featuring penguin-like birds knitted by Peter's wife Joan and filmed on their farm (where most of their productions were filmed in an unused barn). It was followed by Pogles' Wood (1965-1967), Clangers (1969-1972, 1974, revived in 2015), Bagpuss (1974) and Tottie: The Story of a Doll's House (1984).

21st century: The BBC commissioned thirteen episodes of stop frame animated Summerton Mill in 2004 as inserts into their flagship pre-school program, Tikkabilla. Created and produced by Pete Bryden and Ed Cookson, the series was then given its own slot on BBC1 and BBC2 and has been broadcast extensively around the world. Other notable stop-motion feature films released since 2000 include Fantastic Mr. Fox (2009) and $9.99 (2009), and Anomalisa. In 2003, the pilot film for the series Curucuru and Friends, produced by Korean studio Ffango Entertoyment is greenlighted into a children's animated series in 2004 after an approval with the Gyeonggi Digital Contents Agency. It was aired in KBS1 on November 24, 2006 and won the 13th Korean Animation Awards in 2007 for Best Animation. Ffango Entertoyment also worked with Frontier Works in Japan to produce the 2010 film remake of Cheburashka.

Variations of stop motion: Stop motion has very rarely been shot in stereoscopic 3D throughout film history. The first 3D stop-motion short was In Tune With Tomorrow (also known as Motor Rhythm), made in 1939 by John Norling. The second stereoscopic stop-motion release was The Adventures of Sam Space in 1955 by Paul Sprunck. The third and latest stop motion short in stereo 3D was The Incredible Invasion of the 20,000 Giant Robots from Outer Space in 2000 by Elmer Kaan and Alexander Lentjes. This is also the first ever 3D stereoscopic stop motion and CGI short in the history of film. The first all stop-motion 3D feature is Coraline (2009), based on Neil Gaiman's best-selling novel and directed by Henry Selick. Another recent example is the Nintendo 3DS video software which comes with the option for Stop Motion videos. This has been released December 8, 2011 as a 3DS system update. Also, the movie ParaNorman is in 3D stop motion.

LINKS: https://en.wikipedia.org/wiki/Stop_motion