Resultado de búsqueda
1940s - The Independent Years. In the 1940s, Lasky launched a series of screen biographies: Rhapsody in Blue, Sergeant York, and The Adventures of Mark Twain. Sergeant York became a box-office smash and earned Gary Cooper an Academy Award. The Lasky family (minus Jesse Jr.) circa early 1940s: Jesse, Betty, Bessie, and Billy.
1926 Famous Players: (left to right) Jesse Lasky, William S. Hart, Mary Pickford, Cecil B. DeMille. French film mogul Edouard Corniglion-Molinier, unidentified, Jesse Lasky, Jesse Lasky Jr., and silent director Rex Ingram; in Nice, France, in 1928. Late 1920s: the Lasky beach house in Santa Monica. Late 1920s: Jesse and Bessie Lasky.
Jesse Lasky as the subject of TV's "This Is Your Life", June 12, 1957. Standing behind Jesse and Bessie Lasky (seated) are (l-r) host Ralph Edwards, older son Jesse Lasky, Jr., director Mervyn LeRoy; daughter Betty, producer Walter Wanger, younger son Billy; (in the rear, l-r) actors Richard Arlen and Buddy Rogers, and Lasky's San Jose boyhood friend Jay McCabe
THE BIGGEST LITTLE MAJOR OF THEM ALL by Betty Lasky [Prentice-Hall, Inc., New Jersey, 1989] [From the dust jacket:] The story of RKO, the small studio that produced such film giants as King Kong, Citizen Kane, and the Fred Astaire/Ginger Rogers musicals, is now revealed by a woman who grew up among the great stars of Hollywood's "Golden Years": Betty Lasky.
13 de ene. de 2017 · LOS ANGELES (AP) — Film historian and author Betty Lasky has died. She was 94. Lasky's longtime friend Mark Penn said Thursday that Lasky died Saturday in Los Angeles from complications from ...
Bessie Lasky's Mission Paintings. IN THE MID-1940s Bessie Lasky embarked on what would be her most ambitious painting project. Inspired by Jesse Jr's enthusiastic suggestion that she paint the twenty-one California Missions ("You can do it, Bess!"), she set out to do just that. The result, thirty-two Mission paintings, first exhibited at the ...
In order to ensure internationalisation is at the heart of the curriculum, Leask argues that we should design “intended international learning outcomes” (p. 72) at institutional, programme and course levels and she discusses “using student diversity” (p. 89) as an asset rather than a deficit within curriculum design.
