SPRING 2020 ISSN 0738-9396 Mid-Atlantic Archivist
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Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
2016 Annual Report [July 1, 2015 – June 30, 2016] WHO WE ARE
Inspiring CARING and ACTION on behalf of wildlife and conservation FISCAL YEAR 2016 Annual Report [July 1, 2015 – June 30, 2016] WHO WE ARE Zoo New England is the non-profit organization responsible for the operation of Franklin Park Zoo in Boston and Stone Zoo in Stoneham, Mass. Both are accredited by the Association of Zoos and Aquariums (AZA). Zoo New England’s mission is to inspire people to protect and sustain the natural world for future generations by creating fun and engaging experiences that integrate wildlife and conservation programs, research and education. To learn more about our Zoos, education programs and conservation efforts, please visit us at www.zoonewengland.org. Board of Directors Officers [FY16: July 1, 2015 – June 30, 2016] David C. Porter, Board Chair Janice Houghton, Board Vice Chair Peter A. Wilson, Board Treasurer Board of Directors [FY16: July 1, 2015 – June 30, 2016] Robert Beal Christy Keswick Rory Browne, D.Phil. Walter J. Little Gordon Carr Christopher P. Litterio Gordon Clagett Quincy L. Miller Francesco A. De Vito David Passafaro James B. Dunbar Jeanne Pinado Bruce Enders Claudia U. Richter, M.D. Thomas P. Feeley Peter Roberts David Friedman Jay Kemp Smith Kate Guedj Colin Van Dyke Steven M. Hinterneder, P.E. Kathleen Vieweg, M.Ed. Mark A. Kelley, M.D. Advisory Council [FY16: July 1, 2015 – June 30, 2016] OFFICERS: Kathleen Vieweg, Advisory Council Chair Lloyd Hamm, Advisory Council Vice Chair MEMBERS: Alexis Belash Danio Mastropieri Joanna Berube Diana McDonald Bill Byrne David J. McLachlan Elizabeth Cook John MacNeil Donna Denio Mitsou MacNeil Beatrice Flammia Ruth Marrion, DVM Mark Gudaitis, CFA Jessica Gifford Nigrelli Jackie Henke Gauri Patil Punjabi David Hirschberg Terry Schneider LeeAnn Horner Kate Schwartz Elizabeth Duffy Hynes Steven D. -
The Nesting Season June 1 - July 31, 1976
The Nesting Season June 1 - July 31, 1976 NORTHEASTERN MARITIME REGION SoA. /Davis W. Finch SeventeenNorth American reportstotaling 23 individuals of Black-browed and Yellow-nosed Mostof New Englandexperienced a hot, dry June-- it Albatrossprior to 1973have been carefullysum- was in fact the hottest and driest June in Massachusetts marized by McDaniel (Am. Birds 27:563-565), history.July was cooler and wetter,but theseconditions oneother convincing Gulf of Maine report(1968) seemedto have no detectableeffect on breedingbirds. being known to this editor. Sevensubsequent Writing of New Hampshire,Vera Hebert characterized reports appearingin Am. Birds involvedeight the periodquite succinctly: "Never has a nestingseason albatrossessighted from Maryland to Nova Sco- beenmore normal". Eventhe severalfirst statebreeding tia: five Black-broweds,two probable Black- recordsin NewEngland came only as gentle surprises. browedsand one positiveYellow-nosed, to which can be added this summer's Massachusetts birds. It mightbe notedthat of this overalltotal of 34 e. North American albatrosses (18, or more than half of them, in the Northeastern Maritime Region), 19 were identified as, and in five instancesproven to be, Yellow-nosed;that while Black-browedis the vagrant albatrossof the e. North Atlantic, North America'sonly provenone is still the 1935Greenland specimen; that aside fromthat bi•d all Black-broweds(11 plustwo "probables")have been reported since 1972; that consideringthe subtletiesof albatrossdiscrimina- tion curiouslyfew, in fact only two havenot been "identified" (see Warham, Bourne and Elliott, Albatross Identification in the North Atlantic-- Am. Birds28:585-603), and that consequentlyan unambiguousBIack-browed photograph would do wondersfor the persistentmalaise many feel regardingreports of this species. Happily, for the first time in over a year recordscam, OTHER TUBENOSES-- Followinga patternmore or fromalmost all partsof the Region,though in somecases less apparent in recent years, the withdrawal of N. -
OUR GUARANTEE You Must Be Satisfied with Any Item Purchased from This Catalog Or Return It Within 60 Days for a Full Refund
Edward R. Hamilton Bookseller Company • Falls Village, Connecticut February 26, 2016 These items are in limited supply and at these prices may sell out fast. DVD 1836234 ANCIENT 7623992 GIRL, MAKE YOUR MONEY 6545157 BERNSTEIN’S PROPHETS/JESUS’ SILENT GROW! A Sister’s Guide to ORCHESTRAL MUSIC: An Owner’s YEARS. Encounters with the Protecting Your Future and Enriching Manual. By David Hurwitz. In this Unexplained takes viewers on a journey Your Life. By G. Bridgforth & G. listener’s guide, and in conjunction through the greatest religious mysteries Perry-Mason. Delivers sister-to-sister with the accompanying 17-track audio of the ages. This set includes two advice on how to master the stock CD, Hurwitz presents all of Leonard investigations: Could Ancient Prophets market, grow your income, and start Bernstein’s significant concert works See the Future? and Jesus’ Silent Years: investing in your biggest asset—you. in a detailed but approachable way. Where Was Jesus All Those Years? 88 Book Club Edition. 244 pages. 131 pages. Amadeus. Paperbound. minutes SOLDon two DVDs. TLN. OU $7.95T Broadway. Orig. Pub. at $19.95 $2.95 Pub. at $24.99SOLD OU $2.95T 2719711 THE ECSTASY OF DEFEAT: 756810X YOUR INCREDIBLE CAT: 6410421 THE MAMMOTH BOOK OF Sports Reporting at Its Finest by the Understanding the Secret Powers ANTARCTIC JOURNEYS. Ed. by Jon Editors of The Onion. From painfully of Your Pet. By David Greene. E. Lewis. Collects a heart-pounding obvious steroid revelations to superstars Interweaves scientific studies, history, assortment of 32 true, first-hand who announce trades in over-the-top TV mythology, and the claims of accounts of death-defying expeditions specials, the world of sports often seems cat-owners and concludes that cats in the earth’s southernmost wilderness. -
14-SMX48 Copeland
)ORZDQG$UUHVW +XH\&RSHODQG Small Axe, Volume 19, Number 3, November 2015 (No. 48), pp. 205-224 (Article) 3XEOLVKHGE\'XNH8QLYHUVLW\3UHVV For additional information about this article http://muse.jhu.edu/journals/smx/summary/v019/19.3.copeland.html Access provided by Northwestern University Library (25 Mar 2016 15:17 GMT) Flow and Arrest Huey Copeland We start with a story. In 2002, while researching the dissertation from which my first book, Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America, would emerge, I had the opportunity to pose for the artist Lorna Simpson. Her practice had already become a locus of my thinking about aesthetics, slavery, and the aporias of representation, so I eagerly agreed to serve as her model. With characteristic economy, Simpson made good use of the photographs resulting from our session, eventually deploying them in a range of artworks that together comprise her 2002–03 exhibition Cameos and Appearances. Yet how- ever reproduced, framed, or occluded, those initial Polaroid images are also documents of an encounter in which the “art historian” became the “subject” of “his artist’s” “objective” gaze, leaving each of the quoted words estranged from itself and underlining an entanglement in the artistic procedures that I set out to describe.1 Estranged and entangled: these terms begin to articulate not only the queer experience of belatedly gazing at myself through Simpson’s lens but also that of reading the critical engage- ments with Bound to Appear commissioned by Small Axe and penned by two black literary scholars, Stephen Best and Hortense Spillers, whose work has long mattered to my own. -
Northern Iowa Football 1980
University of Northern Iowa UNI ScholarWorks Athletics Media Guides Athletics 1980 Northern Iowa Football 1980 University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©1980 Athletics, University of Northern Iowa Follow this and additional works at: https://scholarworks.uni.edu/amg Part of the Higher Education Commons Recommended Citation University of Northern Iowa, "Northern Iowa Football 1980" (1980). Athletics Media Guides. 100. https://scholarworks.uni.edu/amg/100 This Book is brought to you for free and open access by the Athletics at UNI ScholarWorks. It has been accepted for inclusion in Athletics Media Guides by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Covering the Panthers Table of Contents Press Box & Parking: Only working press and All-Americans .. .... ... ...... .. .. ... ........ 21 scouts with advance notice will be allowed ac All-Time Coaching Records .. ...... .. ........ .. ..... ... 35 cess to the press box. The press box is located Assistant Football Coaches .. ... ... ... .. ... .. ...... 3-4 the on the east side of the UNI-Dome above Club . ... .... ..... ..... ........ ... ... .... 43 are located on the north Athletic east stands. Entrances 44 and south ends of the box, Parking for the work Athletic Staff ..... ......... .. .. ......... .. ..... .. .... ing press will be in the west lot of the Physical Bowl Appearances . ............... ... ... .... ...... 35 Education Complex building which is located Captains .... .. ... ......... .. ................. ... 8 directly north of the Dome and can be reached Final Statistics - 1979 ........ .. .. .... .. .. ... .... 20-21 (HWY 57) which runs north from Hudson Road Football History - 1895-1979 . .... .... ......... .. 36-39 and south on the east side of the Dome. Your . ........... ... .. ......... 30 Nancy Justis press pass will be sufficient to enter the lot to Future Panther Schedules 1920 ... -
The Reel Latina/O Soldier in American War Cinema
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 10-26-2012 12:00 AM The Reel Latina/o Soldier in American War Cinema Felipe Q. Quintanilla The University of Western Ontario Supervisor Dr. Rafael Montano The University of Western Ontario Graduate Program in Hispanic Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Felipe Q. Quintanilla 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Quintanilla, Felipe Q., "The Reel Latina/o Soldier in American War Cinema" (2012). Electronic Thesis and Dissertation Repository. 928. https://ir.lib.uwo.ca/etd/928 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. THE REEL LATINA/O SOLDIER IN AMERICAN WAR CINEMA (Thesis format: Monograph) by Felipe Quetzalcoatl Quintanilla Graduate Program in Hispanic Studies A thesis submitted in partial fulfillment of the requirements for the degree of PhD in Hispanic Studies The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Felipe Quetzalcoatl Quintanilla 2012 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ -
Pentacle-40Th-Ann.-Gala-Program.Pdf
40 Table of Contents Welcome What is the landscape for emerging artists? Thoughts from the Founding Director Past & Current Pentacle Artists Tribute to Past Pentacle Staff Board of Directors- Celebration Committee- Staff Body Wisdom: Pentacle Celebrates Forty Years Tonight’s Program & Performers Event Sponsors & Donors Greetings Welcome Thank you for joining us tonight and celebrating this 40th Anniversary! In 1976 we opened our doors with a staff of four, providing what we called “cluster management” to four companies. Our mission was then and remains today to help artists do what they do best….create works of art. We have steadfastlyprovided day-to-day administration services as well as local and national innovative projects to individual artists, companies and the broader arts community. But we did not and could not do it alone. We have had the support of literally hundreds of arts administrators, presenters, publicists, funders, and individual supporters. So tonight is a celebration of Pentacle, yes, and also a celebration of our enormously eclectic community. We want to thank all of the artists who have donated their time and energies to present their work tonight, the Rubin Museum for providing such a beautiful space, and all of you for joining us and supporting Pentacle. Welcome and enjoy the festivities! Mara Greenberg Patty Bryan Director Board Chair Thoughts from the Founding Director What is the landscape for emerging dance artists? A question addressed forty years later. There are many kinds of dance companies—repertory troupes that celebrate the dances of a country or re- gion, exquisitely trained ensembles that spotlight a particular idiom or form—classical ballet or Flamenco or Bharatanatyam, among other classicisms, and avocational troupes of a hundred sorts that proudly share the dances, often traditional, of a hundred different cultures. -
Dictionary of Westerns in Cinema
PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas. -
Tim Conway - the Good-Humor Man Page 1 of 3
Tim Conway - The Good-Humor man Page 1 of 3 printed from AmericanProfile.com on 4/5/2008 Tim Conway - The Good-Humor man by Paulette Cohn The family room of one of America’s favorite funnymen is paneled in dark, mahogany- stained wood, a stark contrast to the sunny comedy for which the star of McHale’s Navy and The Carol Burnett Show is best known. Even more surprising is the news that Tim Conway bought the wood at the lumber mill, cut and installed the panels, then finished it all by himself. “I have all my fingers,” he quips, wiggling all 10 digits in his house in Encino, Calif. “It’s the sign of a good carpenter.” Conway, 73, traces his handiness with a hammer to high school shop class, one of his favorite subjects because childhood dyslexia made it difficult for him to read. “People thought that I was kidding when I would read out loud in school, so they started laughing,” he recalls. “For instance, the book They Were Expendable, I read as ‘They were expandable.’ People were going, ‘This guy is great! Expandable! What are you talking about, rubber people?’” Conway liked the response. “I thought, ‘I must be funny, so I might as well continue with this.’” Wholesome entertainment His ability to make people smile eventually led him out of Chagrin Falls, Ohio (pop. 4,024), to Hollywood and a successful career on television and in the movies. His early success on McHale’s Navy led to a string of other memorable roles, most notably alongside Carol Burnett; Conway became a vital cog in Burnett’s weekly comedy machine during the 1960s and ’70s. -
Ephemera Labels WWAR EPHEMERA LABELS 1 EXTENDED LABELS
We Wanted a Revolution: Black Radical Women, 1965-85 Ephemera Labels WWAR EPHEMERA LABELS 1 EXTENDED LABELS Larry Neal (Born 1937 in Atlanta; died 1981 in Hamilton, New York) “Any Day Now: Black Art and Black Liberation,” Ebony, August 1969 Jet, January 28, 1971 Printed magazines Collection of David Lusenhop During the Civil Rights and Black Power Movements, publications marketed toward black audiences chronicled social, cultural, and political developments, covering issues of particular concern to their readership in depth. The activities and development of the Black Arts Movement can be traced through articles in Ebony, Black World, and Jet, among other publications; in them, artists documented the histories of their collectives and focused on the purposes and significance of art made by and for people of color. WWAR EPHEMERA LABELS 2 EXTENDED LABELS Weusi Group Portrait, early 1970s Photographic print Collection of Ronald Pyatt and Shelley Inniss This portrait of the Weusi collective was taken during the years in which Kay Brown was the sole female member. She is seated on the right in the middle row. WWAR EPHEMERA LABELS 3 EXTENDED LABELS First Group Showing: Works in Black and White, 1963 Printed book Collection of Emma Amos Jeanne Siegel (Born 1929 in United States; died 2013 in New York) “Why Spiral?,” Art News, September 1966 Facsimile of printed magazine Brooklyn Museum Library Spiral’s name, suggested by painter Hale Woodruff, referred to “a particular kind of spiral, the Archimedean one, because, from a starting point, it moves outward embracing all directions yet constantly upward.” Diverse in age, artistic styles, and interests, the artists in the group rarely agreed; they clashed on whether a black artist should be obliged to create political art. -
Journalism 375/Communication 372 the Image of the Journalist in Popular Culture
JOURNALISM 375/COMMUNICATION 372 THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Journalism 375/Communication 372 Four Units – Tuesday-Thursday – 3:30 to 6 p.m. THH 301 – 47080R – Fall, 2000 JOUR 375/COMM 372 SYLLABUS – 2-2-2 © Joe Saltzman, 2000 JOURNALISM 375/COMMUNICATION 372 SYLLABUS THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Fall, 2000 – Tuesday-Thursday – 3:30 to 6 p.m. – THH 301 When did the men and women working for this nation’s media turn from good guys to bad guys in the eyes of the American public? When did the rascals of “The Front Page” turn into the scoundrels of “Absence of Malice”? Why did reporters stop being heroes played by Clark Gable, Bette Davis and Cary Grant and become bit actors playing rogues dogging at the heels of Bruce Willis and Goldie Hawn? It all happened in the dark as people watched movies and sat at home listening to radio and watching television. “The Image of the Journalist in Popular Culture” explores the continuing, evolving relationship between the American people and their media. It investigates the conflicting images of reporters in movies and television and demonstrates, decade by decade, their impact on the American public’s perception of newsgatherers in the 20th century. The class shows how it happened first on the big screen, then on the small screens in homes across the country. The class investigates the image of the cinematic newsgatherer from silent films to the 1990s, from Hildy Johnson of “The Front Page” and Charles Foster Kane of “Citizen Kane” to Jane Craig in “Broadcast News.” The reporter as the perfect movie hero.