DOCSLIB.ORG

Honor Society Induction UMES Chapter of Sigma Tau Delta Adds Eight New Members

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Honor Society Induction UMES Chapter of Sigma Tau Delta Adds Eight New Members INSIGHTS DIVISION of ACADEMIC AFFAIRS Volume 9 SCHOOL of THE ARTS AND PROFESSIONS Issue 2 Department of English and Modern Languages March 2007 Honor Society Induction UMES Chapter of Sigma Tau Delta Adds Eight New Members The UMES English Honor Society held its Dr. Keenan encouraged the honor society possibilities,” she said as she described spring induction ceremony recently in the members to “maximize your education by her hectic college schedule as a single Student Services Center. Eight young building a good life and being a good mother, a varsity athlete, and an woman met the academic standards person.” He employee of a local necessary to be invited to join the Psi Mu told them to television station. Chapter of Sigma Tau Delta. They include “make the time She urged the Sade Bell, Amanda Boyer, I-Quasia that you have current Sigma Tau Dorsey, Ashley Jenifer, Candace Johnson, been here pay members to “defy Alicia McLean, Heather Molnar, and Traci off.” any pessimism and Ross. your own self Ms. Meadows doubt.” The new members and their guests heard offered her own inspirational messages from two guest college Only seven of the speakers. The honor society’s advisor, experience as an Honor Society Inductees (L to R) Sade Bell, new members were Department Chair Richard Keenan, and a example of I-Quasia Dorsey, Traci Ross, Amanda Boyer, able to attend the Sigma Tau officer from the Class of 2005, overcoming Candace Johnson, Alicia McLean, and Ashley ceremony; Ms. Deborah Meadows, offered their thoughts obstacles Jenifer Molnar is interning on the evening’s theme, “Exploring through hard at the Maryland Infinite Possibilities.” work. “You ultimately determine your own General Assembly in Annapolis this semester and was unable to participate. Student Radio Station Off the Air Flooding Damages WHWK Transmitter WHWK, the student-run radio the room that houses the protect computers and electronic station operated by the station’s transmitter, equipment housed elsewhere in the Department of English and burst. The problem was building. Modern Languages, suffered undetected until the The heat pump has been repaired; thousands of dollars in damage frozen pipe thawed in the equipment damage is being assessed. It when a pipe broke in the ceiling wee hours of the morning, appears the station’s three production of the station’s mechanical destroying hundreds of studios have not been affected. room recently. record albums and, more Water poured from a pipe in importantly, the station’s Department representatives plan to meet What started as a this ceiling onto the AM transmitter. with administration officials to malfunctioning heat pump led transmitter below determine the future of the station. to a frozen pipe. That pipe, UMES Physical Plant WHWK remains off the air until further running through the ceiling of Photo by Robin Hoffman employees worked to notice. Film Maker Chronicled EMAIL THE Dept. Chair’s Book Available in September DIRECTOR Department Chair Richard Keenan flaw at all.” Students in Will Rose’s public speaking will celebrate his retirement this year classes have engaged in a unique dialogue The Films of Robert with the publication of his new book, with an independent filmmaker. Wise may reveal The Films of Robert Wise. The book, some Hollywood Mr. Rose showed his published by The Scarecrow Press, is secrets. The book students a short film which a critical survey of the forty films Mr. recounts the was created by a New Wise directed over a nearly sixty year circumstances under York University film career in Hollywood. It’s an eclectic which Mr. Wise school colleague, Louise mix including West Side Story, The became the only Fleming, back in 1973. Sound of Music, The Body Snatcher, director to ever fire Mr. Rose stars as a married and Star Trek: The Motion Picture. Spencer Tracy. It man in a story about an The book will be out in September, also outlines how extramarital affair entitled but was actually written years ago. the Hollywood Jacket cover design Just Briefly. The film focuses on a young After a conflict with the original blacklist led an black woman’s search for emotional publisher, Dr. Keenan put his author to inaccurately claim credit for fulfillment. manuscript on the shelf. The death of writing a Wise film. After a class discussion on Mr. Wise last year caused him to The book was written after more than thirty communication and relationships, Mr. revisit the project. hours of interviews and extensive Rose encouraged his students to write Dr. Keenan believes some critics have correspondence with Mr. Wise over a period down their dismissed Mr. Wise’s films of twenty years, reactions to because he does not have a and includes the film distinctive style that is research from the which he immediately recognizable. RKO Archives, promised to “I would argue that this is a the Herrick forward to virtue rather than a flaw, Library at the Ms. the virtue of the Motion Picture Fleming. conscientious...craftsman Academy of Arts Mr. Rose (L) and Kelly She took the who sees his work not and Sciences, and Williams in a scene from time to reply primarily as a vehicle for the Robert Wise Just Briefly individually his own ideas, but as an Collection in the Robert Wise (L) with Richard Keenan, to his experience that will also library of the August 1979 students, encouraging them to continue to address...the reasonable University of explore their ideas about communication expectations of his Photo Provided by Richard Keenan Southern between the sexes. “Keep reading, audience,” he said. “If California. writing, thinking, and there is a flaw in Robert Wise as a Dr. Keenan’s publisher plans to feature The be aware of the world director, it is that he lacks the ego...of Films of Robert Wise at several upcoming that we live in and be the artist, which is not necessarily a academic literature and film conferences. open to viewpoints other than your own,” she told one student. COMMUNITY PLAYERS PRODUCTION Ms. Fleming has FEATURES ADJUNCTANT FACULTY MEMBER written on film and women in media, and Public speaking instructor Amanda has worked in non- Welch Hamill and her husband Tom profit arts management. played 1940s era sanitarium Ms. Fleming She has also served as a employees in the recent Community consultant for film Players’ production of Harvey. Photo by festivals. Mrs. Hamill has also assisted with Louise Fleming Ms. Fleming is co- theater productions on the UMES founder of Visionary campus. Network, a group organized to showcase the works of writers of color. Photo by Bonnie Bosies BOOK ENGLISH EDUCATION SIGNINGS MAJORS WIN $10,000 SCHEDULED SCHOLARSHIPS Adjunct public By Barbara JoAnn Seabrook short essay that addresses “The Impact speaking instructor Teaching Will Have on My Life” must also Pattrice Jones is on be submitted with the application. Eligible a promotional tour, Each year the UMES Department of applicants are interviewed by the discussing her Education awards scholarships to Scholarship Committee in the Education book, Aftershock, outstanding undergraduate students in the Department. Confronting Teacher Education Program in all Some scholarships are open to all teacher Trauma in a content/program majors. education majors, and others are for special Violent World, Congratulations to Shannon Schoffstall education majors only. The Hazel Scholars A Guide for and Michael Willey, English Education Program also requires an SAT score of 950 Activists and their majors who were each awarded a out of 1600 or 1410 out of 2400 on the Allies, published $10,000 scholarship in February. recently by new SAT exam. Jacket cover design Lantern Books. Scholarship recipients must meet certain Teacher candidates who are interested in qualifications and must be committed to applying for any of these scholarships Ms. Jones was in Baltimore last month at education and teaching. Applicants must should complete the application form Red Emma's bookstore; later this month have a cumulative grade point average found online at the UMES website, under she will sign copies and do a reading at (GPA) of at least 3.0 as a UMES student Education Department. Applications are Bluestockings bookstore in New York and 3.0 from a transferring institution, if also available from Michael Nugent, City; in April she will visit Common a transfer student. Applicants must also PRAXIS/Special Projects Coordinator in Language bookstore in Ann Arbor. be officially accepted into the teacher Hazel Hall Room 2032 , and from Barbara A copy of the book has been donated by education program and submit a JoAnn Seabrook, Teacher Educator for the Ms. Jones to the Frederick Douglas recommendation from a current or English Department. Library here on campus. You’ll find a former teacher educator. Applicants must Applications are due in mid-January to Dr. mention of the library and of UMES have unmet financial need and have a Nugent. students in the book’s acknowledgements. current FAFSA form on file at UMES. A TV Expertise Put to Good Use English Department Production Team Assists Others Two English department employees have created a several minutes long National Aeronautic and Space been busy creating video productions for presentation highlighting UMES, Administration (NASA) to hold a recent other departments on campus. Robin complete with music and graphics. national conference for students who plan Hoffman and Marilyn Buerkle both to teach science, Gains Hawkins, Vice worked in commercial television before math, or technology. President of they came to UMES, so they are That conference was Advancement, was occasionally asked to create University held last month in grateful. “We are video productions on tight deadlines. Alexandria. Several fortunate to have faculty hundred students Last month, word came from the Mid- and staff with the attended from all Eastern Athletic Conference (MEAC) that commitment of Ms.
Load more

Recommended publications
  • Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected]
    Clemson University TigerPrints Presentations University Libraries 5-2017 Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/lib_pres Part of the Library and Information Science Commons Recommended Citation Mason Smith, Maggie, "Blockbusters: Films and the Books About Them Display" (2017). Presentations. 105. https://tigerprints.clemson.edu/lib_pres/105 This Display is brought to you for free and open access by the University Libraries at TigerPrints. It has been accepted for inclusion in Presentations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Blockbusters: Films and the Books About Them Display May 2017 Blockbusters: Films and the Books About Them Display Photograph taken by Micki Reid, Cooper Library Public Information Coordinator Display Description The Summer Blockbuster Season has started! Along with some great films, our new display features books about the making of blockbusters and their cultural impact as well as books on famous blockbuster directors Spielberg, Lucas, and Cameron. Come by Cooper throughout the month of May to check out the Star Wars series and Star Wars Propaganda; Jaws and Just When you thought it was Safe: A Jaws Companion; The Dark Knight trilogy and Hunting the Dark Knight; plus much more! *Blockbusters on display were chosen based on AMC’s list of Top 100 Blockbusters and Box Office Mojo’s list of All Time Domestic Grosses. - Posted on Clemson University Libraries’ Blog, May 2nd 2017 Films on Display • The Amazing Spider-Man. Dir. Marc Webb. Perf. Andrew Garfield, Emma Stone, Rhys Ifans.
    [Show full text]
  • The Glitterball (Dir
    The Glitterball (dir. Harley Cokeliss, 1977) Lesson by Michael Aitchison, Teach First English, Key Stage 3 In this lesson, students study the character of the ‘glitterball’, and how it reacts to the life on our planet. This discussion leads to an investigation into how we might start to understand the unknown, and how we can try to recognise danger. Students will then construct a creative piece of writing based on the learning of the lesson, contextualising the events of the film to show a critical reading of the text. Students are given the opportunity to consider how we interact with unknown ideas and concepts, and how to recognise the difference between safety and danger. Lesson Objective You will need… • To identify key moments of the film The Glitterball which inform the alien's ability to The Glitterball DVD survive and adapt to its new surroundings, and make inferences about the character's Post-it notes personality. Optional: access to Curriculum Links I.T. suite (for production of • Read critically through studying setting, plot, survival guides) and characterisation, and the effects of these. • Knowing the purpose, audience for and context of the writing and drawing on this knowledge to support comprehension. 1 Activities TRAILER: What is the glitterball? After viewing the film (or extracts from the opening 30 minutes), students complete a think-pair-share activity on the following questions: 1. Is the glitterball good or bad? 2. How can you tell? Students are encouraged to provide evidence from the film to back up their opinions. • Think - students spend thirty seconds silently reflecting on the events of the film and their own interpretations of events.
    [Show full text]
  • Robert Wise's the Day the Earth Stood Still Part I
    Robert Wise’s The Day the Earth Stood Still Part I: A Religious Film? By Anton Karl Kozlovic Fall 2013 Issue of KINEMA ROBERT WISE’S THE DAY THE EARTH STOOD STILL Part I: A RELIGIOUS FILM? Abstract Science fiction (SF) films have frequently been the home for subtextual biblical characters, particularly Christ-figures. Crafting these sacred subtexts can make the difference between an ordinary filmandan exceptional one. This investigation intends to explore the religious and other dimensions of the 1951 SF cult classic The Day the Earth Stood Still directed by Robert Wise. In Part 1 of this analytical triptych, the film’s reception as a UFO film with political, artificial intelligence (AI), police and philosophical dimensions was canvassed. It was argued that Wise’s film contains all of the above genre dimensions; however, it can bemore fully appreciated as a profoundly religious film wrapped in contemporary scientific garb. The forthcoming parts will explore the factual elements of this proposition in far greater analytical detail. Introduction: SF and Sacred Storytelling Historically speaking, science fiction (SF) films(1) have harboured numerous hidden biblical characters in typically covert forms. For example, Barry McMillan described many an SF alien as ”a ’transcendent’ being - a benign entity who brings wisdom and knowledge, the imparting of which brings resolution, insight and the beginnings of personal or political harmony” (360). Whilst Bonnie Brain argued that: ”The ascendancy of the aliens derives strongly from their aura of religious authority. Teachers, mystics, priests, or prophets, capable of ”miracles” and, in some cases, ”resurrection,” these aliens flirt with divinity” (226).
    [Show full text]
  • Choreography for the Camera AB
    Course Title CHOREOGRAPHY FOR THE CAMERA A/B Course CHORFORCAMER A/B Abbreviation Course Code 190121/22 Number Special Notes Year course. Prerequisite: 1 semester of any dance composition class, and 1 semester of any dance technique class. Prerequisite can be waived based-on comparable experience. Course This course provides a practical and theoretical introduction to dance for the camera, Description including choreography, video production and post-production as pertains to this genre of experimental filmmaking. To become familiar with the form, students will watch, read about, and discuss seminal dance films. Through studio-based exercises, viewings and discussions, we will consider specific approaches to translating, contextualizing, framing, and structuring movement in the cinematic format. Choreographic practices will be considered and practiced in terms of the spatial, temporal and geographic alternatives that cinema offers dance – i.e. a three-dimensional, and sculptural presentation of the body as opposed to the proscenium theatre. We will practice effectively shooting dance with video cameras, including basic camera functions, and framing, as well as employing techniques for play on gravity, continuity of movement and other body-focused approaches. The basics of non-linear editing will be taught alongside the craft of editing. Students will fulfill hands-on assignments imparting specific techniques. For mid-year and final projects, students will cut together short dance film pieces that they have developed through the various phases of the course. Students will have the option to work independently, or in teams on each of the assignments. At the completion of the course, students should have an informed understanding of the issues involved with translating the live form of dance into a screen art.
    [Show full text]
  • 101 Films for Filmmakers
    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
    [Show full text]
  • Name: Jean Bodon Title: Professor and Chair Department: Mass Communication College: Fine Arts and Mass Communication
    Name: Jean Bodon Title: Professor and Chair Department: Mass Communication College: Fine Arts and Mass Communication Degrees Earned B.A., Birmingham Southern College, 1973, Philosophy major. M.A., University of Alabama, 1976, Journalism major, Public Relations and Philosophy minors. Ph.D., Florida State University, 1985, Mass Communication, concentration in Cinema. Professional Licensure and Certifications None Peer-Review Publications and Artistic Performances/Exhibitions Articles Hickson, M. III., Self, W.R., Johnston, J.R., Peacock, C., & Bodon, J. (2009). Prolific Research in Communication Studies: Retrospective and Prospective Views. Communication Research Reports, 26, 4, 337-346. Eastern Communication Association. Johnson, S., Bodon, J., & McCroskey, J.C. (2008) Nature Nor Nurture: Understanding Verbal Aggression in the Military. Human Communication, 11,1, 115-131. Pacific and Asian Communication Association. Hickson, M. III., Bodon, J., & Turner, J. (2004) Research Productivity in Communication: An Analysis, 1915-2001. Communication Quarterly, 52, 4, 1-10. Eastern Communication Association. Hickson, M. III., Turner, J., & Bodon, J. (2003). Research Productivity: An Analysis, 1996-2001. Communication Research Reports, 20, 308-319. Eastern Communication Association. Powell, L., Hickson, M. III., Self, W. R., & Bodon, J. (2001). The Role of Religion and Responses to the Y2K Macro-Crisis. North American Journal of Psychology, 3, 295-302. Powell, L., Bodon, J., & Hickson, M. III. (2001). Rejection of Crisis Information: Public Apathy and the Macro-Crisis of Y2K. Communication Research Reports, 18, 84-92. Eastern Communication Association. Bodon, J. (2000). The status of communication graduation rates between 1970 and 1995 compared with other fields in social and behavioral sciences. Journal of the Association for Communication Administration.
    [Show full text]
  • A Guild Is Born Dorothy Arzner
    80-YEAR ANNIVERSARY The Screen KING VIDOR 1938 >“Women’s dramatic sense is “Directors Guild DOROTHY invaluable to the motion picture was organized industry,” said Dorothy Arzner, solely by ARZNER whose contributions include and for the First Female 80 YEARS STRONG motion picture being the first female member Member 1933 >The formation of the Directors director…. We of the Directors Guild. In early A GUILD Guild had been percolating for a are not anti- Hollywood, Arzner was a typist, number of years. Amid nationwide anything: the screenwriter, editor, and ultimately, director. IS BORN labor unrest in the country, the Guild being She is believed to have developed the boom mic, studios had been squeezing directors formed for the enabling actors to move and speak more easily purpose of both financially and creatively. The first step toward in early talkies. At one time under contract to assisting and Paramount, Arzner is organizing a guild occurred in 1933 outside the Hol- improving the lywood Roosevelt Hotel, after a meeting in which best known for directing director’s work such strong personalities the studios announced a 50 percent across-the-board in the form of pay cut. After the meeting, King Vidor and a handful a collective as Clara Bow, Claudette of directors congregated on the sidewalk and knew body, rather Colbert, Katharine something had to be done. They understood, as Vidor than as an Hepburn, and Joan put it, “We must have a guild to speak [for us], and individual. Crawford in films such not the individual, who can be hurt by standing up as Honor Among Lovers “I worked on my for his rights.” That guild was born in late 1935 and ” (1931) and Christopher first project under Strong (1933).
    [Show full text]
  • Video Catalogue Eric Roberts October 28, 2004
    Video Catalogue Eric Roberts October 28, 2004 AN ACT OF CONSCIENCE, Robbie Leppzer,1997, 1:30. This film follows the history of Randy Kehler and Betsy Corner,two tax resisters from Colrain, Massachusetts. After years of refusing to pay war taxes, the Federal Government seized their home and sold it to pay the arrears. The film chronicles the campaign of nonviolent resistance to save their home but also explores the class and political conflicts that arise between the resisters and the family that buys the home. THE ADVENTURES OF PRISCILLA: QUEEN OF THE DESERT, Stephen Elliot, 1994, 1:42. The story line of the film involves a group of three drag performers from the Sydneygay nighclubs who drive their lavender bus, Priscilla, across the desert to perform in Alice Springs. The fun comes from the energy that the trio and supporting cast bring to the adventure, which ends up being a wonderfully funnyand life-affirming tale. AGAINST THE CURRENT,Dmitri Delov, The Glasnost Film Festival, 1988, 0:27. ‘‘This is a film about ecological crime. Despite being labeled extremists, the residents of Kirishi protest a major syn- thetic protein plant. ‘Wecouldn’tbreathe, we coughed, we buried our children . .. but we couldn’tput up with it anymore,’ayoung woman shouts indignantly at a rally.’’[from the film notes] ALICE’S RESTAURANT,Arthur Penn, 1969, 1:51. At one level, this is the story told by Arlo Guthrie’ssong, with the half-a-ton of garbage, the twenty-seven8x10 col- ored glossy photographs, and the draft induction center where you get injected, inspected, detected, infected, neglected, and selected.
    [Show full text]
  • Honorary Awards Banquet
    Delta Kappa Alpha National Honorary Cinema Fraternity HONORARY AWARDS BANQUET honoring Rosalind Russell Norman Taurog Robert Wise February 7, 1965 TOWN and GOWN University of Southern Califomia PROGRAM Nati'onal Anthem M~ss Dordthy Sandlin DINNER I. Opening Dr. Norman Topping, President of USC II. Representing Cinema Dr. Bernard R. Kantor, Clra:irman, Cinema III. Representing DKA Howard Kazanjian, President DKA IV. Master of Ceremonies Gene Kelly v. Tribute to honorary members of DKA VI. Presentation of Awards to Rosalind Russell Norman 'l'aurog Robert Wise VII. In closing Dr. Norman Topping Banquet Committee of USC Friends and Alumni Mr. Edward Beloin Mr. Stanley Musgrove Mrs. Harry Brand M iss Eleanor Parker Mr. Jackie Coogan Miss Mary Pickford Mr. George Cukor Miss Dorothy Sandlin Mr. Delmer Daves Mr. Leonard Spigelgass Miss Irene Dunne Mrs. Dan•i'el Taradash Mr. Henry Garson Mr. King Y.idor, Chairman Mr. Ross Hunter Miss Ruth Waterbury Mrs. Leiland Atherton Irish Mr. David Weisbart Mr. Gene Kelly Mrs. Ol·in Wellborn III Mr. Arthur Knight Mrs. T 'ichi Wilkerson Mr. Ernest Lehman Mr. Jerry Wunderlich Miss Frances Marion Slides shown during dinner courtesy of the Academy of Motion Picture Arts and Sciences, National Screen Services, and various private collections. DEPARTMENT OF CINEMA In 1929, the Un·iversity of Sout'hern Ca-lifomi·a in cooperation· with the Academy of Motion Picture Arts and Sci•ences ·offered a cqurse described in the Liberal Arts Catalogue 'aS: Introduction to Photoplay : A general introduction to a study of the motion p'icture art and ·industry; its mechanical founda­ tion and hiS'tory; the silent photoplay •and the photoplay with sound and voice; the scenario; t he actor's •art; p•ictori·al effects; commercial requiremen·ts; principles of criticism; ethical and educa!ti•on•al fea!tures; lectures; class discussions, assigned read­ ings and reports.
    [Show full text]
  • News from the Jerome Robbins Foundation Vol. 4, NO. 2
    NEWS FROM THE JEROME ROBBINS FOUNDATION VOL. 4, NO. 2 (2017) 2018 is the year the world comes together to celebrate the 100th birth- The Division created deadlines throughout the fellowship cycle to track prog- day of Jerome Robbins (1918–1998). One of the first events of the ress, and Library staff offered their expertise to foster a supportive environment. Centennial celebration will be the Jerome Robbins Symposium, taking Each Fellow had a meeting in September with Curator Linda Murray to discuss place January 26, 2018 at the New York Public Library for the Performing the progress they were making. Each Fellow brought a specific research skill set Arts at Lincoln Center. to the group; some knew how to navigate the Library’s catalog exceptionally well, which would in turn yield the most material from the collection, while others were just beginning their journey. Supervising Librarian Phil Karg met with several of the Fellows to instruct them on how use the catalog more effectively. The following are examples of three of the Fellowship projects: • Dance photographer Julie Lemberger offers a creative approach to her project. In her presentation and written piece, “What He Saw / What She Saw — West Side Story and Other Views of Dance and Dancers Behind the Scenes: Discovering Photography by Jerome Robbins and Martha Swope,” Julie is looking at “how two photographers in 1957 with different back- grounds and perspectives recorded and reacted to the making of West Side Story; what photographer Henri Cartier-Bresson called the decisive moment, when everything changed, what brought these two together and The Jerome Robbins how it shaped their careers.” • Robert Greskovic, who writes about dance for the Wall Street Journal, has previously presented his work at our public presentations in the Bruno Dance Research Fellowship Walter Auditorium, and can be spotted frequently in our special collections by Kathleen Leary reading room working on a variety of projects.
    [Show full text]
  • Ib Film Ii Summer Films and Reading
    IB FILM II SUMMER FILMS AND READING WHAT YOU WILL NEED • A “Netflix” or an “I Love Video” or “Vulcan Video” account to view movies. • A journal/notebook (prefer a notebook that you can bring to class). You will be writing journal entry responses to the films you watch. • Access to internet and MyBack • Mr. Regan’s email: o [email protected] REQUIREMENTS (to be completed by the first day of classes in August): This is worth three exam grades, a total of 300 points, literally the weight of your first three exams. 1) Select 15 films from the list provided (watch as many as you can!). You should watch 1 film from each of the categories, and the rest is your choice. 2) Write journal responses (1-2 pages each) for each of the films. Each response should be in paragraph form and should be about your observations, insight, comments, and connections that you are making between the reading and the movies you watch. Your writing will be much richer if you research information about the film you watch before you write – simply stating your opinion will not give you much material to write about and you will not be able to go beyond your own opinion – for example, read articles written on the film by critics (news paper articles from the New York Times, rogerebert.com, IMDB.com, filmsite.org, etc). You can also read the screenplay for the film at scriptcity.com or script-o-rama.com to get further insight. ----------------------------------------------------------------------------------------------------------- BOOKS TO BUY AND READ: • Understanding Movies (12th Edition) [Paperback ] • Film Directing: Shot by Shot – by Steven D.
    [Show full text]
  • Index to Academy Oral Histories Robert Wise
    Index to Academy Oral Histories Robert Wise Robert Wise (Director, Producer) Call number: OH148 Abel, David, 28 Academy Awards, 47–49, 52–58, 61–83, 86–87, 90-92, 100–110, 113–115, 118–119, 126–136, 139–150, 153–165, 169–170 Academy Foundation, 110–111, 140–141, 154 Academy Leader (trade publication), 93 Academy Nicholl Fellowships in Screenwriting, 154 Academy of Motion Picture Arts and Sciences, 40, 47–49, 54–174 Academy of Television Arts and Sciences, 109 accounting, 38, 117–118 Acker, Shane, 102 acting, 18, 21, 30, 50–51, 54–56, 64–65, 82, 89–90, 133 Addison, John, 121, 135, 162 advertising, 56–57, 64, 129–130 aerial cinematography, 44–45 African-Americans, depiction of, 50–51 African-Americans in the film industry, 50–51, 112 agents, 64, 132–133 alcoholism in films, 37–38, 85 Alexander, Jeff, 105 ALICE ADAMS, 38 Allen, Elizabeth, 101 Allen, Gene, 121, 135, 138–145, 152, 162 Allen, Jay Presson, 137 Allen, Woody, 112 American Broadcasting Company (ABC), 57–58, 67–68, 74–77, 105, 107, 115, 118, 126, 163, 169 American Film Institute, 100–103, 151 Anderson, Maxwell, 27 Andrews, Julie, 44, 68, 150–151 animation, 102 ANNIE HALL, 112 Annual Index of Credits (trade publication), 129 Arbuckle, Roscoe, 50 architecture, 96–97, 106, 170-171 art direction, 24, 28–29, 40–44, 47, 61, 69, 78, 81, 134, 138, 146 Asner, Ed, 116, 135 Aspen Productions, 81 assistant directing, 25–26 Astaire, Fred, 15, 22–29, 33, 35, 40, 69 Atlas, Jack, 62 attorneys in motion pictures, 129, 166 Auditorium Theater (Connorsville, Indiana), 16 Auer, Mischa, 26 Bacon, Lloyd,
    [Show full text]