#Indiana Theater

[fitsofgloom]

The Son Also Rises: Terrific ballyhoo for Universal's "Son of Frankenstein" at the Tivoli Theater in Gary, Indiana, 1939.

[bryonyashley]

THANKS FOR THE MEMORIES. ❤️

[davidnajewiczphotography]

"The Grand" - New Albany Indiana. The Grand Theater opened in 1909, closed in 1975 - now a wedding venue

[sefaradweb]

Modern Ladino Culture

🇪🇸 El libro "Modern Ladino Culture: Press, Belles Lettres, and Theater in the Late Ottoman Empire" de Olga Borovaya, finalista de los National Jewish Book Awards en 2011, es el primero en examinar como un fenómeno unificado tres géneros de la producción cultural ladina: la prensa, la literatura de ficción y el teatro. Borovaya identifica estos géneros como importaciones de Occidente que se arraigaron entre los sefardíes otomanos a principios del siglo XX y se desarrollaron dentro del contexto cultural local, centrándose en las comunidades de Salónica, Esmirna y Estambul. La autora considera crucial abordar la cultura impresa ladina como un fenómeno único para entender el movimiento cultural de la época y su importancia en la historia sefardí. Analiza la evolución de los tres géneros, comenzando con la prensa, seguida de la literatura de ficción, y finalmente el teatro, destacando el papel significativo de las escuelas de la Alianza en la expansión de la cultura ladina. Borovaya también explora el fenómeno de la "reescritura" de novelas europeas occidentales, que luego se serializaban en la prensa ladina. Con notas detalladas y un índice, Borovaya presenta un análisis exhaustivo y accesible de un conjunto de materiales raros, proporcionando una valiosa contribución al estudio de la cultura sefardí.

🇺🇸 The book "Modern Ladino Culture: Press, Belles Lettres, and Theater in the Late Ottoman Empire" by Olga Borovaya, a finalist for the National Jewish Book Awards in 2011, is the first to examine three genres of Ladino cultural production as a unified phenomenon: the press, fiction literature, and theater. Borovaya identifies these genres as imports from the West that took root among Ottoman Sephardim at the beginning of the 20th century and developed within the local cultural context, focusing on the communities of Salonica, Izmir, and Istanbul. The author considers it crucial to approach Ladino print culture as a single phenomenon to understand the cultural movement of the time and its importance in Sephardi history. She analyzes the evolution of the three genres, starting with the press, followed by fiction literature, and finally theater, highlighting the significant role of the Alliance schools in the expansion of Ladino culture. Borovaya also explores the phenomenon of "rewriting" Western European novels, which were then serialized in the Ladino press. With detailed notes and an index, Borovaya presents a comprehensive and accessible analysis of a rare collection of materials, providing a valuable contribution to the study of Sephardi culture.

[whaleiumsharkspeare]

(Yay it’s working now)

Got to see Raiders of the Lost Ark at the historic movie theater last night! Super cool to see an older movie at an actual theater and it’s one of my favorites :)

[horrorlesbians]

im not gonna talk about it much on here because obviously I'm a horror blog but the new indiana jones film has some of the messiest, repetition based filler plot i have seen in a while

[lovelyballetandmore]

Julian Goodwin-Ferris | Indiana University Ballet Theater

[tonyvasquez]

A Dreamy Journey Through Wonderland: Central Indiana Dance Ensemble's Captivating "Alice in Wonderland" at the Tarkington Theater

[oldshowbiz]

The Fox Sodomy Theater in Indianapolis

[obssessive101]

"theaters are dying because all movies are mediocre now"

I mean yeah sure but it also probably has something to do with the fact that it costs 40 fucking dollars for three people to see a movie with senior discount included!! Of course people aren't as willing to pay that to just sit and watch something when they could just wait and watch it at home for comparatively free!!!

[doppleganger-rental]

[madman731]

More DVD rewatches!

[imwritesometimes]

I've decided I'm killing my depression today and instead I am

[bingoxbronson]

The Brookville Theater opened in 1937 (Originally, The Morin Theatre.) in Brookville, Indiana. Closed for a little bit at one point it is now open and running again.

[denimbex1986]

'The very online showdown between Greta Gerwig’s “Barbie” and Christopher Nolan’s “Oppenheimer” all started with a date: July 21.

It’s not uncommon for studios to counterprogram films in different genres on a big weekend, but the stark differences between an intense, serious-minded picture about the man who oversaw the development of the atomic bomb and a lighthearted, candy-colored anthropomorphizing of a childhood doll quickly became the stuff of viral fodder.

There’s even some disagreement over whether it’s “Barbieheimer” or “Barbenheimer” or “Boppenheimer” or yet another tortured portmanteau — a phenomenon on which the AP Stylebook has yet to offer guidance, but for the purposes of this article will be “Barbenheimer.”

It didn’t hurt that both Nolan and Gerwig have very passionate and very online fandoms eager to join in. Never mind that many of those fans overlap — the memes, allegiances, and T-shirts were just too fun.

Both movies often trend on social media when the other releases a new asset — a trailer, a picture, an interview. On one level, it’s a marketing department’s dream. Awareness could not be higher, the conversation couldn’t be louder, and neither film even has official reviews out yet.

“‘Barbenheimer’ is a marketing gift borne out of social media and I think it’s benefiting both films,” said Paul Dergarabedian, the senior media analyst for analytics firm Comscore. “You’re certainly aware of both movies in a more profound and compelling way than I think might have otherwise happened had they been released on different weekends.”

AMC Theaters reported that 20,000 of its AMC Stubs members had purchased tickets for a double feature. If you’re counting, that’s 294 minutes of moviewatching. Even Margot Robbie — Barbie herself — and Tom Cruise, the star of another summer blockbuster, have started plotting the ideal “Barbenheimer” day.

“It’s a perfect double bill,” said Robbie at her movie’s London premiere Wednesday. “I think actually start your day with ‘Barbie,’ then go straight into ‘Oppenheimer’ and then a ‘Barbie’ chaser.”

Cruise — whose “Mission: Impossible – Dead Reckoning Part One” opened a little over a week before the “Barbenheimer” showdown — said at his premiere he’d plan to see both on their opening day, likely starting with “Oppenheimer,” which seems to be the internet’s preferred viewing order as well.

“Barbie” actor Issa Rae thinks there’s a reason for that.

“I think that there’s a very specific order that if you see them in. If you see ‘Oppenheimer’ last then you might be a bit of a psychopath,” she diagnosed at the London premiere.

The showdown has made armchair marketing experts out of everyone, quick to scrutinize every move by Warner Bros. and Universal — as though it’s possible to compare two extraordinarily different campaigns.

One has infinite opportunities for very pink, sparkly photo opportunities, whimsical brand partnerships for seemingly everything from underwear to pool floats, large-scale fan events with autograph signings and pop stars like Billie Eilish posting about the soundtrack. In other words, the “Barbie” campaign can go nuclear.

“Oppenheimer” has the bomb, the alluring mystery and the big screen hook, but it’s not the kind of movie that lends itself to, say, a frozen yogurt collaboration.

Is the competition real, though, or just a meme? Some in Hollywood wondered if Warner Bros. plopped “Barbie” on the weekend as a slight to Nolan, who had opened many films for the studio in that corridor including “Inception” and “Dunkirk.” He left Warner Bros. amid its controversial decision to send a year’s worth of movies to streaming and made “Oppenheimer” with Universal instead. But a pointed box office war doesn’t exactly make sense for a studio that has talked recently about wanting to lure Nolan back.

There is an unspoken code of conduct: Never badmouth another studio’s film, publicly at least. This is partly decorum, especially when it comes to “box office showdowns” which all will say are a creation of the press and sideline spectators. But it’s also rooted in some truth: The conventional thinking is that having eyes on one movie is good for other movies — you see their posters and trailers and on some level everyone benefits.

And social media has allowed movie stars to get in on the game, too. Following reports that Cruise was irked the latest “Mission: Impossible” was going to lose its IMAX screens to “Oppenheimer” after only a week, Cruise posted photos of himself and director Christopher McQuarrie standing in front of posters for “Indiana Jones and the Dial of Destiny,” “Barbie” and “Oppenheimer,” holding tickets for each.

“This summer is full of amazing movies to see in theaters. These are just a few that we can’t wait to see on the big screen,” Cruise’s Instagram caption read.

The official accounts for “Indiana Jones,” “Barbie” and “Oppenheimer” responded with supportive notes. Gerwig and Robbie even followed with a similar photo series a few days later, which the official “Oppenheimer” Instagram account reposted in its stories. Charged with playing Oppenheimer, Cillian Murphy told the AP at his movie’s London premiere that “of course” he’d be seeing “Barbie.” The sporting cross-promotion between four studios — Universal, Warner Bros., Disney and Paramount — is something the film business has not quite seen before.

“Not only is Tom Cruise the biggest box office star in the world, but he’s also an incredible ambassador for the movie theater, for the movie theater experience and boosting other movies,” Dergarabedian said. “And that collegial atmosphere within the framework of what is seen as the very competitive box office derby is kind of a nice thing.”

Still, everyone likes a No. 1 debut, and both “Barbie” and “Oppenheimer” reportedly carry $100 million production price tags (not including the millions spent on marketing). As far as box office tracking goes, “Barbie” has it in the bag with forecasts showing that it could open above $90 million in North America. “Oppenheimer” meanwhile is tracking in the $40 million range. Then there’s the wild card of “Mission: Impossible 7’s” second weekend, which could snag second place.

Still even with a second- or third-place start, “Oppenheimer” could be destined for a long, steady, profitable run into awards season. Adult audiences for R-rated movies are not often the ones who pack theaters the first weekend.

Back in 2008, in the midst of the recession, Warner Bros. and Universal faced off on the same July weekend with another Nolan film that went up against a lighthearted confection: “The Dark Knight” and “Mamma Mia!” — both of which went on to be enormously profitable (though Nolan did win the first weekend).

The bigger worry is that what’s been heralded as Hollywood’s post-pandemic comeback summer has had more ups and downs than anyone might have hoped. That’s putting quite a bit of pressure on “Barbenheimer” to overperform and boost the lagging summer box office, which pales in comparison to the bigger issues facing the industry as actors join the writers on strike.

But with just over a week to go, it’s still a source of amusement. Even “Barbie” co-star Will Ferrell threw the gauntlet in his winking way at the London premiere.

“I think the world maybe wants to see ‘Barbie’ a little bit more right now,” Ferrell said. “Just saying!”'

[jobazzle]

“so what have you been up to?”

…oh nothing much…