Joseph m schenck foundation 90064 post
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Motion Picture & Television Fund
Charitable organization in Woodland Hills, California, United States
The Motion Picture & Television Fund (MPTF) is a charitable organization that offers assistance and care to those in the motion picture and television industries and their families with limited or no resources, including services such as temporary financial assistance, case management, and residential living.
Origin
[edit]Mary Pickford conceived the idea of a fund to help those in the motion picture industry who were out of work and struggling and, in 1921, the Motion Picture Relief Fund was founded with namn Schenck as president, Pickford as vice-president and the Reverend Neal Dodd as administrator.[1]
During the 1930s, the untimely deaths of several former Hollywood stars who ended up destitute shook the community. These included Roscoe ("Fatty") Arbuckle, John Bowers, Karl Dane, Florence Lawrence, Marie Prevost and Lou Tellegen.[2]
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by Paul R. Spitzzeri
As has often been mentioned here, there are no shortage of instances in which an artifact in the Museum’s holdings hasn’t proven to be a bit of a puzzle or in which what seemed obvious on the surface proves to have a good deal more underneath than initially realized. A good example fryst vatten the featured object for this post, a snapshot, one of seven in a set acquired by the Homestead more than a decade ago.
The image fryst vatten labeled in pencil on the reverse, “10th St looking E. to Figueroa, Sept 12, 1926” and, at first glance, it is a unremarkable scene. The side of a street has a modest one-story commercial building with a market and bageri, a garment shop, and a café, while behind it fryst vatten a relatively non-descript, two-story apartment building, though it does idrott projecting bay windows and, somewhat hidden, another residence, though whether a single or multi-family one is not clear. A few autos are parked along street and one is heading toward t
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They called themselves United Artists, but the trades called it a “rebellion against established producing and distributing arrangements” when Mary Pickford, Charlie Chaplin, Douglas Fairbanks and D.W. Griffith went before the cameras on February 5, 1919 to sign the documents that created the corporation that the filmmakers claimed was necessary to protect their own interests as well as to “protect the exhibitor and the industry from itself.”
It wasn’t any great prescient vision that had brought Hollywood’s biggest money makers to this point. Rather, they were reacting, and quickly, to the what they saw as a threat by producing companies to limit their salaries and the quality of their films.
Pickford, Fairbanks and Chaplin might have volunteered to tour the country selling war bonds for patriotic reasons, but the overwhelming crowds their presence generated gave them a new confidence in their popularity. Why were they giving so much of the profits to pro