Hollywood Studio Magazine (March 1967)

Page scan 00012 from Hollywood Studio Magazine

Record Details:

Title:
Hollywood Studio Magazine
Date:
March 1967
Publisher:
Valley Que Publishing Co.
Volume:
Hollywood Studio Magazine (March 1967)
Leaf #:
00012
Language:
English
Subjects:
Motion Pictures, Recorded Sound",Theatre,Broadcasting,Vaudevill
Collection:
Fan Magazines and Hollywood Studio System
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Hollywood Studio Magazine was published out of the San Fernando Valley in various iterations (and various titles) from 1966 until 1992. What started as a local organ aimed at the workers of Hollywood ended as a nostalgic fan magazine about Hollywood Then and Now. The various title changes and revisions to its mission reflect not just the economic realities of magazine publishing, but a changing relationship to Hollywood and the industry itself. The earliest issues of Studio Magazine read like a house organ of a steady, entrenched industry documenting the comings and goings and notable events of the San Fernando Valley, with special emphasis on Universal. Fandom first became part of the discourse of the magazine through collecting. The Collectors’ Column page beginning in the early 1970s allowed memorabilia collectors to advertise their wares to each other. In 1983, the founder of the magazine, Dorothy Denny gave over the reins to Ralph Benner, the founder of Tiger Beat. This marks the clear separation between the original publication and its focus on Hollywood production culture and the move toward a publication centered on star narratives and fan culture. In covering the two and a half decades from the collapse of the system to the point where classical movie stars were phantoms instead of living people, the magazine offers insight into the transformation of old Hollywood from a lived reality to a memory to a myth.
-- Luci Marzola
Date Added:
September 29, 2022
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

BILL THOMPSON IS THE VOICE FOR SCROOGE McDUCK IN DISNEY CARTOON Kurt Russell Co-Stars In "The Family Band" Walt Disney Productions has signed Kurt Russell to a co-starring role in “The One and Only, Genuine, Original Family Band.” The 15 year-old star of Disney’s “Follow Me, Boys” will join Walter Brennan, Buddy Ebsen, Lesley Ann Warren and John Davidson in the big budget musical comedy. Production will roll on March 20 with Michael O’Herlihy directing. Richard M. and Robert B. Sher¬ man contributed eleven tunes to the Lowell Hawley script. Bill Anderson will co-produce. Little Notes religious film titled “Calem’s En¬ counter” which was presented in place of a sermon Sunday morning, December 7, 1965 for the congrega¬ tion. It was again presented at the California Lutheran College. This film was made on a portion of the California Lutheran College campus. PATRONIZE OUR ADVERTISERS! T) ill Thompson’s talented tongue ^ has provided vocal characteriza¬ tions of everything from bumble bees to beavers in Walt Disney car¬ toons and animated features, but for Walt’s newest pen and ink short, “Scrooge McDuck and Money,” he tries on a new voice — a little feath¬ ered penny pincher called Scrooge, who, it just so happens, is the richest duck in the world. Scrooge has been around for near¬ ly twenty years in Disney comic books, but this is his first motion picture role, and, his first voice too. “At first,” says Thompson, “I was worried. I thought I might have to quack and squawk like Scrooge’s un- understandable nephew Donald.” But Scrooge reassured him, “I want an easy to understand voice. Bill. All I ask is that you remember the McDuck end of my name and give me a good Scottish accent.” As Thompson has mastered over forty- two dialects including a very impres¬ sive Scottish one, the little duck star soon found he had nothing to worry about. A common remark made to Thomp¬ son by nearly everyone who meets him for the first time is, “I know your voice, but I just can’t place your face.” Says Bill, “I find double de¬ light in this situation. It is not only a great compliment to my profession, but it gives me the personal freedom that many people in the movie in¬ dustry don’t have. If I wear dark glasses, it is only because the sun hurts my eyes.” Bill’s first voice characterization for Disney was the White Rabbit in “Alice in Wonderland.” Since then he has been the voice for Mr. Smee in “Peter Pan,” Three dogs, an Irish cop, and an Italian waiter, all in “Lady and the Tramp,” and over twenty more assorted characters in various Disney shorts. In color by Technicolor, “Scrooge McDuck and Money” was directed by Ham Luske from a story by Bill Berg. Mel Leven wrote the music for the Buena Vista release. The Valley's First and Friendliest Savings & Loan Association. Assets Over 80 Million Dollars. FOR YOUR CONVENIENCE - FREE POSTAGE SAVE-BY-MAIL SERVICE 13