Bernard Pinder
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Rage in Harlem Free
FREE A RAGE IN HARLEM PDF Chester Himes | 224 pages | 05 May 2011 | Penguin Books Ltd | 9780141196442 | English | London, United Kingdom A Rage in Harlem () - IMDb Once again, Sire's stalwart period music maven, Andy Paleyhas been dragged out of the closet to do things to the soundtrack of a movie set in a 20th-century historical time frame -- in this case, it's the very early '60s, going by the use of James Brown's A Rage in Harlem Please Please," and the movie is Bill Duke's A Rage In Harlem. The album, packed with songs, isn't quite as showy as Paley's outings can get witness Dick Tracybut it's a worthy addition to the man's resume. What you get for your money is a nice A Rage in Harlem of old A Rage in Harlem new cuts that merge very well indeed -- Little Richard's "Elevator Operator" sounds like it came right out of the '50s it's a numberfor example, and even the cuts featuring Betty Boo are pleasant stuff. The older numbers are good choices, too, even though Chuck Berry's "Brown Eyed Handsome Man" sounds as though it came from an awful master. Clever A Rage in Harlem and well worth checking out. Also quite a bargain for stuffing two dozen songs onto a single compact disc. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. A Rage in Harlem Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. -
1-Abdul Haseeb Ansari
Journal of Criminal Justice and Law Review : Vol. 1 • No. 1 • June 2009 IDENTIFYING LARGE REPLICABLE FILM POPULATIONS IN SOCIAL SCIENCE FILM RESEARCH: A UNIFIED FILM POPULATION IDENTIFICATION METHODOLOGY FRANKLIN T. WILSON Indiana State University ABSTRACT: Historically, a dominant proportion of academic studies of social science issues in theatrically released films have focused on issues surrounding crime and the criminal justice system. Additionally, a dominant proportion has utilized non-probability sampling methods in identifying the films to be analyzed. Arguably one of the primary reasons film studies of social science issues have used non-probability samples may be that no one has established definitive operational definitions of populations of films, let alone develop datasets from which researchers can draw. In this article a new methodology for establishing film populations for both qualitative and quantitative research–the Unified Film Population Identification Methodology–is both described and demonstrated. This methodology was created and is presented here in hopes of expand the types of film studies utilized in the examination of social science issues to those communication theories that require the examination of large blocks of media. Further, it is anticipated that this methodology will help unify film studies of social science issues in the future and, as a result, increase the reliability, validity, and replicability of the said studies. Keywords: UFPIM, Film, Core Cop, Methodology, probability. Mass media research conducted in the academic realm has generally been theoretical in nature, utilizing public data, with research agendas emanating from the academic researchers themselves. Academic studies cover a gambit of areas including, but not limited to, antisocial and prosocial effects of specific media content, uses and gratifications, agenda setting by the media, and the cultivation of perceptions of social reality (Wimmer & Dominick, 2003). -
The Myth of the Black Male Beast in Postclassical American Cinema: ‘Forging’ Stereoytpes and Discovering Black Masculinities
THE MYTH OF THE BLACK MALE BEAST IN POSTCLASSICAL AMERICAN CINEMA: ‘FORGING’ STEREOYTPES AND DISCOVERING BLACK MASCULINITIES BY MARTIN LUTHER PATRICK A thesis submitted to The University of Birmingham For the degree of M.Phil Department of American and Canadian Studies The University of Birmingham September 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Full name (surname first): Patrick, Martin Luther School/Department: Historical Studies/American and Canadian Studies Full title of thesis/dissertation: The myth of the Black male beast in postclassical American Cinema: ‘Forging’ stereotypes and discovering Black masculinities Degree: M.Phil. Date of submission: September 2009 Date of award of degree : December 2009 Abstract : The thesis examines how postclassical American film invent s Black male characters. It uses Levi-St rauss and B arthes’ methods of analyzing myth and critiques heg emonic authorship throug h Jung ’s work on archetypes in the collective unconscious and the ‘shadow’. Using Othello as a prototype character, I examine how he became an archetype that manifests two perceptions of B lack characters in the collective unconscious. -
2017-Sff-Program.Pdf
12th Annual Sunscreen Film Festival April 27– April 30 St. Petersburg, FL PRESENTED BY PROGRAM D 2017 GUIDE SOUTH BAY - LOS ANGELES Table of Contents Welcome . 2 Box Office Information . 4 Box Offices Tickets & Passes Special Events Schedule . 5 Film Schedule . 6 Workshops & Panels . 8 Opening Night Gala . 12 Closing Night Premiere . 13 Area Map . 14 Celebrity Guests . 15 Special Guests . 18 Film Index . 28 No state film incentive, no problem. Local incentives support film, TV, digital, and web Sponsors . 44 series. Recent incentive recipients include Tim Burton’s Miss Peregrine’s Home for Peculiar Children, digital projects with George Takei, and YouTube sentations Freddie Wong and Smarter Every Day. Contact us at [email protected], 727-464-7240 SunscreenFilmFestival.com Eventbrite.com @SunscreenFF @SunscreenFFStPete Sunscreen Film Festival 2017 1 SCREENING COMMITTEE Andy Rodriguez Jayleen Castenada Brianna Spieldenner Jim MacNeil Cathy Cromar Jody MacNeil Chelsea Cromar Jon West Christopher Gonzalez Kendra Spaulding SOUTH BAY - LOS ANGELES Darlene Lopez Mary Rachel Dudley Dennis Mont’Ros Mildred Mattos Erin Sheahan Monica Mendez Francene Penhallow Nicole Munger Welcome to the 12th Annual Gina Lane Rose O’Toole Hugh Martin Tony Stinyard Sunscreen Film Festival Jannette Sepwa Tracy Osborne Jason Hill We are delighted to present over 125 local, national, and international films to you for the 12th annual Sunscreen Film Festival . Our programming team is a collaboration of individuals who spent endless hours watching and sifting LATIN SCREENING COMMITTEE through a record 700 submissions to bring you this year’s final program . Linda Ramirez - Latin Film Programmer Christopher Eaton Martine Wagner - Co-Chair Gabriela Silvana Valencia Reinel And we could not be more pleased with the result . -
An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: an Interpretive History of Blacks in American Film by Donald Bogle Dominique M
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-11-2011 An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: An Interpretive History of Blacks in American Film By Donald Bogle Dominique M. Hardiman Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Hardiman, Dominique M., "An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: An Interpretive History of Blacks in American Film By Donald Bogle" (2011). Research Papers. Paper 66. http://opensiuc.lib.siu.edu/gs_rp/66 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. 1 AN INTERACTIVE STUDY GUIDE TOMS, COONS, MULATTOS, MAMMIES, AND BUCKS: AN INTERPRETIVE HISTORY OF BLACKS IN AMERICAN FILM BY DONALD BOGLE Written by Dominique M. Hardiman B.S., Southern Illinois University, 2011 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Masters of Science Degree Department of Mass Communications & Media Arts Southern Illinois University April 2011 ii RESEARCH APPROVAL AN INTERACTIVE STUDY GUIDE TOMS, COONS, MULATTOS, MAMMIES, AND BUCKS: AN INTERPRETIVE HISTORY OF BLACKS IN AMERICAN FILM By Dominique M. Hardiman A Research Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Science in the field of Professional Media & Media Management Approved by: Dr. John Hochheimer, Chair Graduate School Southern Illinois University Carbondale April 11, 2011 1 ACKNOWLEDGEMENTS This Research would not have been possible without the initial guidance of Dr. -
Finding Aid to the Historymakers ® Video Oral History with Bill Duke
Finding Aid to The HistoryMakers ® Video Oral History with Bill Duke Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Duke, Bill, 1943- Title: The HistoryMakers® Video Oral History Interview with Bill Duke, Dates: November 20, 2019 and September 19, 2008 Bulk Dates: 2008 and 2019 Physical 8 Betacame SP videocasettes uncompressed MOV digital video Description: files (3:39:48). Abstract: Film director and actor Bill Duke (1943- ) has over 100 directing and acting credits, including for directing American Playhouse, A Rage in Harlem, and Sister Act 2, and acting in Fastlane, Commando, Predator, Menace II Society, and X-Men: The Last Stand. Duke was interviewed by The HistoryMakers® on November 20, 2019 and September 19, 2008, in Los Angeles, California. This collection is comprised of the original video footage of the interview. Identification: A2008_115 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Film director and actor Bill Duke was born William Henry Hudson Duke, Jr. on February 26, 1943 in Poughkeepsie, New York to Ethel Louise and William Henry Hudson Duke, Sr. Duke earned his A.A. degree from Dutchess Community College before attending Boston University, where he originally enrolled as a pre- med student, but earned his B.A. degree in theatre. He received his M.A. degree in fine arts from New York University's Tisch School of the Arts. Duke later attended the American Film Institute. Duke began his career as an actor in New York City with the Negro Ensemble Company, performing in plays such as LeRoi Jones' Slave Ship and Melvin Van Peebles’ musical Ain't Supposed to Die a Natural Death. -
BILL DUKE Actor/Director/Producer Actor, Director, Producer And
BILL DUKE Actor/Director/Producer Actor, director, producer and humanitarian Bill Duke is the founder and CEO of Duke Media. Formerly Yagya Productions, the organization under his leadership has been successfully producing film and television for over 30 years. A rare talent, he along with Michael Shultz and Gordon Parks paved the way for African-Americans in cinema beginning in the early '70s. Bill Duke excels in front of and behind the camera and is unprecedented in his ability to be recognized as a mainstay in Hollywood. His acting and directing credits are extensive and include television series Falcon Crest, Fame and Hill Street Blues and feature films Sister Act 2: Back in the Habit, Get Rich or Die Trying, Deep Cover, Hoodlum and Not Easily Broken, to name a few. Most recently, he completed the Image Award–nominated documentaries Light Girls, and Dark Girls, which aired on OWN and succeeded as one of the most successful shows in the network's history. Bill Duke's contributions to the film industry has not gone unrecognized. Over the course of his career, he has been appointed to the National Endowment of Humanities by President Bill Clinton as well as the board of the California State Film Commission by former Governor Arnold Schwarzenegger, and he has been honored by the Directors Guild of America with a Lifetime Achievement Tribute. Equally important are his humanitarian efforts, as Bill Duke devotes his time to charity and not-for-profit organizations. He is on the board of directors of Educating Young Minds and recently established the Duke Media Foundation, which teaches media and financial literacy to young people. -
M I C H a E L L E V I
M I C H A E L L E V I N E CURRICULUM VITAE Michael Levine, Consultant & Investigator NY PI License: 11000084000 PO Box 533 Stone Ridge, New York, 12484 Tel: 845-687-9642 Fax: 845-687-4916 Cell: 845-430-3930 [email protected] www.policetrialexpert.com PROFESSIONAL SUMMARY I am a US Law Enforcement Procedure Expert with over 50 years of courtroom experience (civil & criminal) as a Trial consultant and Expert Witness, including 25 years of service with DEA, Customs, BATF, and the IRS Criminal Investigations Division. I am currently serving as a consultant and reviewer of Police-Involved Shootings (homicides) as well as related areas pertaining to arrest and investigative procedures for both the Atlanta and the Dekalb County Georgia District Attorneys Offices. I regularly take part in the investigation of questionable police-involved shootings and related arrest and investigative procedures as well as provide expert testimony for criminal grand juries in those districts. My peer review journal articles on police procedures and manual on Undercover Tactics and Informant Handling (and related Arrest & Security Procedures) have been published by Academia.edu and are currently in the top .01% of global downloads by police departments and researchers. I am also currently working on a contractual basis as a police instructor primarily lecturing on Undercover Tactics and Informant Handling, which includes an intense focus on use-of-force and related arrest and security issues. LANGUAGES English (fluent), Spanish (bilingual), Italian (conversant) EXPERIENCE Expert Witness – Trial Consultant 1990-Present Since 1990, as a civilian, I have been retained as a trial consultant and/or testifying expert in more than 500 criminal and civil matters relating to the below topics with 90% of cases resulting in out-of-court resolution. -
Press Contacts: Michael Krause | Foundry Communications | (212) 586-7967 | [email protected]
2 presents AN ELSA RASSBACH PRODUCTION | DIRECTED BY BILL DUKE starring DAMIEN LEAKE | ALFRE WOODARD CLARENCE FELDER | MOSES GUN | DENNIS FARINA 1984 | USA | English Language | 118 minutes | 1.33:1 | Stereo Praised by The Village Voice as the most “clear-eyed account of union organizing on film,” The Killing Floor tells the little-known true story of the struggle to build an interracial labor union in the Chicago Stockyards. The screenplay by Obie Award- winner Leslie Lee, based on an original story by producer Elsa Rassbach, traces the racial and class conflicts seething in the city’s giant slaughterhouses, and the brutal efforts of management to divide the workforce along ethnic lines, which eventually boiled over in the Chicago Race Riot of 1919. The first feature film by director Bill Duke, The Killing Floor premiered on PBS’ American Playhouse series in 1984 to rave reviews. In 1985 the film was invited to Cannes and won the Sundance Film Festival Special Jury Award. It has been showcased at the Lincoln Center and festivals around the world. NEW 4K RESTORATION Laboratory services by UCLA Film & Television Archive Digital Media Lab; Audio Services by Deluxe Entertainment Services Group, Inc.; Digital Color Grading by Planemo (Berlin) and Alpha-Omega digital (Münich). Special thanks to Elsa Rassbach and the Sundance Institute Collection at UCLA Film & Television Archive. Press Contacts: Michael Krause | Foundry Communications | (212) 586-7967 | [email protected] Film Movement Booking Contacts: Jimmy Weaver | Theatrical | (216) 704-0748 | [email protected] Maxwell Wolkin | Festivals & Non-Theatrical | (212) 941-7744 x211 | [email protected] 3 THE MAKING OF The Killing Floor Directed by Bill Duke & Produced by co-writer Elsa Rassbach “The Killing Floor is a truly compelling, blistering, and vital historical document.” – Jen Johans, Film Intuition “The Killing Floor is thrillingly watchable, profoundly stirring and perennially relevant. -
Biographical Description for the Historymakers® Video Oral History with Bill Duke
Biographical Description for The HistoryMakers® Video Oral History with Bill Duke PERSON Duke, Bill, 1943- Alternative Names: Bill Duke; Life Dates: February 26, 1943- Place of Birth: Poughkeepsie, New York, USA Work: Los Angeles, CA Occupations: Actor; Film Director; Biographical Note Film director and actor Bill Duke was born William Henry Hudson Duke, Jr. on February 26, 1943 in Poughkeepsie, New York to Ethel Louise and William Henry Hudson Duke, Sr. Duke earned his A.A. degree from Dutchess Community College before attending Boston University, where he originally enrolled as a pre-med student, but earned his B.A. degree in theatre. He received his M.A. degree in fine arts from New York University's Tisch School of the Arts. Duke later attended the American Film Institute. attended the American Film Institute. Duke began his career as an actor in New York City with the Negro Ensemble Company, performing in plays such as LeRoi Jones' Slave Ship and Melvin Van Peebles’ musical Ain't Supposed to Die a Natural Death. Duke’s first movie role was in 1976 when he portrayed a young Black Muslim revolutionary named Abdullah Mohammed Akbar in Car Wash. Duke then held the recurring role of Luther Freeman in the series Palmerstown, U.S.A. before his directorial debut in 1982, directing episodes of Knot's Landing, Falcon Crest, and Flamingo Road. Some of Duke's most prominent work was his direction of teleplays for the PBS series American Playhouse including “The Killing Floor,” which was chosen for Critic's Week at the Cannes Film Festival in 1985, “A Raisin in the Sun,” which received an Emmy nomination, and “The Meeting.” During the 1980s, Duke amassed more than 100 television directing credits, including more than seventy episodes of roughly twenty television series such as Miami Vice, Dallas, Crime Story, Cagney and Lacey and Hill Street Blues. -
Curriculum Vitae Dan Flory
Curriculum Vitae Dan Flory Department of History and Philosophy P. O. Box 172320 Montana State University 814 South 6th Av. Bozeman, MT 59717-2320 Bozeman, MT 59715-5132 (406) 994-5209 (406) 585-1448 [email protected] (406) 451-2112 (cell) Academic Appointments Professor, Department of History and Philosophy, Montana State University, 2014- Associate Professor, Department of History and Philosophy, Montana State University, 2006-14 Assistant Professor, Department of History and Philosophy, Montana State University, 2000-06 Adjunct Assistant Professor, Department of History and Philosophy, Montana State University, 1996-2000 Adjunct Instructor, Department of English, Montana State University, 1996-2000 Education Ph.D., Philosophy, University of Minnesota, 1995 M.A., Philosophy, University of Minnesota, 1985 B.A., Philosophy, Carleton College, 1976 Areas of Specialty Philosophy of Film, Critical Race Theory, Aesthetics Areas of Competence Ethics, History of Philosophy, Philosophy of Religion Publications Books Race, Philosophy, and Film, eds. Mary K. Bloodsworth-Lugo and Dan Flory (London and New York: Routledge, 2013). Philosophy, Black Film, Film Noir (University Park: Pennsylvania State University Press, 2008). Refereed Journal Articles “Racialized Disgust and Embodied Cognition in Film,” Projections: the Journal of Movies and Mind 10:2 (forthcoming, Winter 2016). “Imaginative Resistance, Racialized Disgust, and 12 Years A Slave,” Film and Philosophy 19 (2015), 75-95. “Race and Imaginative Resistance in James Cameron’s Avatar,” Projections: the Journal of Movies and Mind 7:2 (Winter 2013), 41-63. “Response to My Critics,” Film and Philosophy 16 (2012), 162-79. Curriculum Vitae Flory - page 2 Refereed Journal Articles (continued) “Cinematic Presupposition, Race, and Epistemological Twist Films,” Journal of Aesthetics and Art Criticism 68 (2010), 379-387. -
He's Gotta Have It All: the Commercial Impulse in the 21
HE’S GOTTA HAVE IT ALL: THE COMMERCIAL IMPULSE IN THE 21ST-CENTURY SPIKE LEE JOINT by Jesse Williams, Jr. A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Faculty of the Graduate School at Doctor of Philosophy in English Middle Tennessee State University 2013 Dissertation Committee Dr. Laura Dubek, Chair Dr. Will Brantley Dr. Robert Holtzclaw For Roger Ebert, who “saw it all.” ii ACKNOWLEDGMENTS I extend my heartfelt gratitude to my parents for not raising a quitter. As a result, entering the academic profession will ensure that I will not quit digging in their pockets. Likewise, thank you to the College of Graduate Studies for the Provost’s Writing Fellowship and the Department of English for the Peck Award: the stipends were much appreciated. Thank you to Dr. Philip Phillips for his graduate seminar, in which this project originated, and for his enthusiasm and encouragement. Finally, to my dissertation committee, especially the chair: I salute you. Your patience knows no bounds. iii ABSTRACT The 2008 publication of Paula J. Massood’s The Spike Lee Reader by Temple University Press legitimized Spike Lee as a focus for academic study. A writer, director, and actor, Lee produced the first of his twenty-eight feature films, She’s Gotta Have It, in 1986, and in the last twenty-seven years, countless interviews, movie reviews, children’s books, and unauthorized biographies about the filmmaker have entered the marketplace. Although there are several book-length studies on the Spike Lee Joint, Massood’s is the first to contextualize the filmmaker’s entire oeuvre within the framework of cinema studies.