TOASTMASTER® How To

Total Page:16

File Type:pdf, Size:1020Kb

TOASTMASTER® How To THE MAGAZINE FOR COMMUNICATORS & LEADERS | APRIL 2021 TOASTMASTER® How to anAccept Award Conquer Your Fear Ready to of Public Speaking Go Hybrid? Be a part of today’s Speechcraft! The new digital experience awaits—along with Pathways and DTM credit. Find out more about this membership-building tool at www.toastmasters.org/Speechcraft; buy the Digital Bundle today to get started! TOASTMASTER® VIEWPOINT Publisher 2020–2021 OFFICERS Daniel Rex International President Magazine Supervisor Richard E. Peck, DTM & Editor International President-Elect Laura Amann Margaret Page, DTM Senior Editor, Executive First Vice President & Editorial Content Matt Kinsey, DTM Paul Sterman Second Vice President Senior Editor Morag Mathieson, DTM Stephanie Darling Immediate Past President Assistant Editor Deepak Menon, DTM Laura Mishkind Chief Executive Officer Content Strategy Daniel Rex Suzanne Frey Digital Content Editor Shannon Dewey Graphic Design Susan Campbell Are You in 2020–2021 BOARD OF DIRECTORS Naomi Takeuchi, DTM Roy Ganga, DTM Region 1 Region 8 the Groove? Karen Lucas, DTM Stefano McGhee, DTM Region 2 Region 9 s we enter the fourth quarter of the 2020–2021 Toastmasters year, are you on TK O’Geary, DTM Elizabeth Nostedt, DTM Region 3 Region 10 Atrack to achieve the goals you set when the program year began? As you may be Harold Osmundson, DTM Aletta Rochat, DTM aware, I am a professionally licensed race car driver, drag racing to be specific. Drag Region 4 Region 11 Mohamad Qayoom, DTM Lesley Storkey, DTM racing is a straight­line race from the starting line to the finish line. As racers we use Region 5 Region 12 the term “in the groove” to indicate when we are in the best part of the track, have Melissa McGavick, DTM Sudha Balajee, DTM Region 6 Region 13 the best traction, and are on path to reaching the finish line. It is not uncommon to Sal Asad, DTM Dorothy Isa Du, DTM lose traction, get out of the groove, and need to adjust to get back on track. Region 7 Region 14 As we race toward the end of the Toastmasters year I ask, “Are you in the groove?” If you are, keep up the great work. If not, there is plenty of time left to TOASTMASTERS INTERNATIONAL® adjust, regain traction, and cross the finish line strong. 9127 S. Jamaica St. #400, Englewood, CO, USA 80112 +1 720-439-5050 www.toastmasters.org It is never too late to regain traction and get back in CONTACTING WORLD HEADQUARTERS For information on joining the groove! or building a club, visit: www.toastmasters.org Article submission: [email protected] Letters to the Editor: [email protected] How? To make the proper adjustments, first assess where you are and compare To manage preferences, it with where you want to go—a gap analysis. For example, maybe your goal was go to: www.toastmasters.org/ to complete a path in Pathways, and to date you have completed three levels. The Subscriptions gap is the remaining two levels. After identifying the gap, you begin planning out Toastmasters International Mission: the remainder of the projects and realize that your home club won’t meet often We empower individuals to become more enough for you to achieve your goal by June 30! You may feel you’re losing traction effective communicators and leaders. and getting out of the groove. Don’t worry, there are adjustments you can make to regain traction. Try reaching out to other clubs and ask if you can give a speech at one of their meetings—with clubs meeting online there is bound to be one looking for a speaker at an upcoming meeting. The world is open before you, and it is never WHERE LEADERS ARE MADE too late to regain traction and get back in the groove! www.toastmasters.org This quote from Garth Stein in The Art of Racing in the Rain is applicable as well: “In racing, they say that your car goes where your eyes go. The driver who The Toastmaster magazine (ISSN 00408263) is published monthly by Toastmasters International, Inc., 9127 S. Jamaica St. #400, Englewood, cannot tear his eyes away from the wall as he spins out of control will meet that Colorado, United States 80112. Published to promote the ideas and goals of Toastmasters Inter ­ wall; the driver who looks down the track as he feels his tires break free will regain national, a nonprofit educational organization of clubs throughout the control of his vehicle.” world dedicated to teaching skills in public speaking and leadership. The official publication of Toastmasters International carries autho­ Take your eyes off the obstacles—they are the wall. Look down the track and rized notices and articles regarding the activities and interests of the organization, but responsibility is not assumed for the opinions of the focus on your goal. Make the adjustments to regain traction and charge toward the authors of other articles. The Toastmaster magazine does not endorse or finish line and achieving your goals. guarantee the products it advertises. Copyright 2021 Toastmasters International, Inc. All rights reserved. Repro duction in whole or in part without written permission is pro­ hibited. Not responsible for unsolicited material. Toastmasters International, the Toastmaster and the Toastmaster Inter national Emblem are trademarks of Toastmasters International Richard E. Peck, DTM registered in the United States, Canada and many other countries. Marca registrada en Mexico. International President TOASTMASTER | APRIL 2021 3 CONTENTS APRIL 2021 VOL. 87, NO. 4 Articles Features CLUB EXPERIENCE: 16 From Guest to Member 13 How many times do your guests visit before you make it official? By Gitel Hesselberg PRESENTATION SKILLS: Titles That Talk 14 Short, clear, and compelling speech titles make a strong statement. By Lesley Stephenson, DTM CLUB EXPERIENCE: Hybrid Harmony 20 How to make club meetings work when members are online and in person. 22 28 By David F. Carr, DTM CLUB EXPERIENCE: Maximize Your Meeting 26 Role Lineup From Quiz Masters to Mystery Greeters, some clubs are adding non-traditional roles. By Kate McClare, DTM SOCIAL SPEECHES: SUCCESS STORIES: How to Accept an Award Member Achievements 16 28 Stories of success in speech contests, careers, The best acceptance speeches are speaking events, and earning designations. gracious and full of heart. By Emily Sachs SOCIAL SPEECHES: Speechmaking From the Stars —and— Hollywood’s annual night of Oscar awards Columns gets everyone talking. VIEWPOINT: By Paul Sterman 3 Are You in the Groove? By Richard E. Peck, DTM PRESENTATION SKILLS: International President MY TURN: Scared of Public Speaking? Serving Others 22 11 in Wake of Tragedy You’re not alone. Learn why giving speeches can be terrifying—and how to tame the fear. By David Jones, DTM By Kristen Hamling, Ph.D. TOOLBOX: TMS Syndrome 12 By Bill Brown, DTM FUNNY YOU SHOULD SAY THAT: Departments A Word on Awards MEMBERS’ FORUM QUICK TAKES 5 7 30 By John Cadley 6 ONLINE MAGAZINE 10 TRAVELING TOASTMASTER 4 WHERE LEADERS ARE MADE MEMBERS’ FORUM The Official Toastmasters International Members Group on Facebook is always filled with conversations started by and for members. Below are a few posts and comments that may help clubs across the world or spark some inspiration. Advice for the Youth Leadership Program Looking for Laughs April Braswell of Orange, California, asked members for advice on facilitating the Jennifer Regnier, a member of Ottawa Youth Leadership Program (YLP). Coaches Corner in Ottawa, Ontario, Canada, asked: “I’d love to hear some of your tips, best practices, and experiences with YLP. With whom did you partner? How did you “What are some get the word out into the community? Challenges during Toastmasters jokes?” quarantine if you managed that, like I am currently.” Here are a few that made us laugh! We did a YLP in our corporate club for children of our employees. This was our first Who’s the one at each Toastmasters time, so we wanted to make it easier on ourselves. meeting who is all ears for your spoken Jean Rossett language? His name is Ian, Grammar Ian. Franksville, Wisconsin Frank Kaiser Aargau, Switzerland For the first two or three meetings at most, you and other Toastmasters take a leading A proud Toastmaster was giving his first role; from then on you retire to the back of professional speech at a convention. He the room and let them get on with it, oc- asked the facilities manager how big was casionally interfering when appropriate. the auditorium. The facilities manager Bob Finch, DTM Colchester, U.K. replied, “It sleeps 300.” Kiminari Azuma, DTM We partnered with one of the local Rotary Terao Kita, Japan clubs three years ago. The Rotary club sponsored the course as part of their youth How many Toastmasters does it take to program. We ran courses at two schools initially and this year it was three schools in change a lightbulb? Just one, but it takes January/February just before the lockdown. them 5 minutes, then 6 minutes, then 7 Ian Bratt, DTM minutes. Springs, Gauteng, South Africa David Willanski Adelaide, South Australia, Australia When I put one on for an inner-city outreach center, every other meeting I would invite a leader from the community to have a talk. A fellow Toastmaster spoke one A cop pulled over a man for running a red week, and her talk was probably the most impactful. She was at a mall about five light. When asked why he ran the red light, years later when a young woman approached her. The woman said, “You spoke to he said he was a Toastmaster and thought our group and I’ll never forget what you said.” How cool is that? that when you see the red light, you have Paul F.
Recommended publications
  • A Transcultural Perspective on the Casting of the Rose Tattoo
    RSA JOU R N A L 25/2014 GIULIANA MUS C IO A Transcultural Perspective on the Casting of The Rose Tattoo A transcultural perspective on the film The Rose Tattoo (Daniel Mann, 1955), written by Tennessee Williams, is motivated by its setting in an Italian-American community (specifically Sicilian) in Louisiana, and by its cast, which includes relevant Italian participation. A re-examination of its production and textuality illuminates not only Williams’ work but also the cultural interactions between Italy and the U.S. On the background, the popularity and critical appreciation of neorealist cinema.1 The production of the film The Rose Tattoo has a complicated history, which is worth recalling, in order to capture its peculiar transcultural implications in Williams’ own work, moving from some biographical elements. In the late 1940s Tennessee Williams was often traveling in Italy, and visited Sicily, invited by Luchino Visconti (who had directed The Glass Managerie in Rome, in 1946) for the shooting of La terra trema (1948), where he went with his partner Frank Merlo, an occasional actor of Sicilian origins (Williams, Notebooks 472). Thus his Italian experiences involved both his professional life, putting him in touch with the lively world of Italian postwar theater and film, and his affections, with new encounters and new friends. In the early 1950s Williams wrote The Rose Tattoo as a play for Anna Magnani, protagonist of the neorealist masterpiece Rome Open City (Roberto Rossellini, 1945). However, the Italian actress was not yet comfortable with acting in English and therefore the American stage version (1951) starred Maureen Stapleton instead and Method actor Eli Wallach.
    [Show full text]
  • Film & Literature
    Name_____________________ Date__________________ Film & Literature Mr. Corbo Film & Literature “Underneath their surfaces, all movies, even the most blatantly commercial ones, contain layers of complexity and meaning that can be studied, analyzed and appreciated.” --Richard Barsam, Looking at Movies Curriculum Outline Form and Function: To equip students, by raising their awareness of the development and complexities of the cinema, to read and write about films as trained and informed viewers. From this base, students can progress to a deeper understanding of film and the proper in-depth study of cinema. By the end of this course, you will have a deeper sense of the major components of film form and function and also an understanding of the “language” of film. You will write essays which will discuss and analyze several of the films we will study using accurate vocabulary and language relating to cinematic methods and techniques. Just as an author uses literary devices to convey ideas in a story or novel, filmmakers use specific techniques to present their ideas on screen in the world of the film. Tentative Film List: The Godfather (dir: Francis Ford Coppola); Rushmore (dir: Wes Anderson); Do the Right Thing (dir: Spike Lee); The Dark Knight (dir: Christopher Nolan); Psycho (dir: Alfred Hitchcock); The Graduate (dir: Mike Nichols); Office Space (dir: Mike Judge); Donnie Darko (dir: Richard Kelly); The Hurt Locker (dir: Kathryn Bigelow); The Ice Storm (dir: Ang Lee); Bicycle Thives (dir: Vittorio di Sica); On the Waterfront (dir: Elia Kazan); Traffic (dir: Steven Soderbergh); Batman (dir: Tim Burton); GoodFellas (dir: Martin Scorsese); Mean Girls (dir: Mark Waters); Pulp Fiction (dir: Quentin Tarantino); The Silence of the Lambs (dir: Jonathan Demme); The Third Man (dir: Carol Reed); The Lord of the Rings trilogy (dir: Peter Jackson); The Wizard of Oz (dir: Victor Fleming); Edward Scissorhands (dir: Tim Burton); Raiders of the Lost Ark (dir: Steven Spielberg); Star Wars trilogy (dirs: George Lucas, et.
    [Show full text]
  • The Relevance of Tennessee Williams for the 21St- Century Actress
    Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2009 Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the American Film Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Bealer, Marcie Danae, "Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress" (2009). Honors Theses. 24. https://scholarlycommons.obu.edu/honors_theses/24 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Honors Thesis Ouachita Baptist University Spring 2009 Bealer 2 Finding a place to begin, discussing the role Tennessee Williams has played in the American Theatre is a daunting task. As a playwright Williams has "sustained dramatic power," which allow him to continue to be a large part of American Theatre, from small theatre groups to actor's workshops across the country. Williams holds a central location in the history of American Theatre (Roudane 1). Williams's impact is evidenced in that "there is no actress on earth who will not testify that Williams created the best women characters in the modem theatre" (Benedict, par 1). According to Gore Vidal, "it is widely believed that since Tennessee Williams liked to have sex with men (true), he hated women (untrue); as a result his women characters are thought to be malicious creatures, designed to subvert and destroy godly straightness" (Benedict, par.
    [Show full text]
  • The Eddie Awards Issue
    THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE EDDIE AWARDS ISSUE IN THIS ISSUE Golden Eddie Honoree GUILLERMO DEL TORO Career Achievement Honorees JERROLD L. LUDWIG, ACE and CRAIG MCKAY, ACE PLUS ALL THE WINNERS... FEATURING DUMBO HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD AND MUCH MORE! US $8.95 / Canada $8.95 QTR 1 / 2019 / VOL 69 Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. All other trademarks are the property of their respective owners. Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries.
    [Show full text]
  • Exploring Movie Construction & Production
    SUNY Geneseo KnightScholar Milne Open Textbooks Open Educational Resources 2017 Exploring Movie Construction & Production: What’s So Exciting about Movies? John Reich SUNY Genesee Community College Follow this and additional works at: https://knightscholar.geneseo.edu/oer-ost Part of the Film and Media Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. Recommended Citation Reich, John, "Exploring Movie Construction & Production: What’s So Exciting about Movies?" (2017). Milne Open Textbooks. 2. https://knightscholar.geneseo.edu/oer-ost/2 This Book is brought to you for free and open access by the Open Educational Resources at KnightScholar. It has been accepted for inclusion in Milne Open Textbooks by an authorized administrator of KnightScholar. For more information, please contact [email protected]. Exploring Movie Construction and Production Exploring Movie Construction and Production What's so exciting about movies? John Reich Open SUNY Textbooks © 2017 John Reich ISBN: 978-1-942341-46-8 ebook This publication was made possible by a SUNY Innovative Instruction Technology Grant (IITG). IITG is a competitive grants program open to SUNY faculty and support staff across all disciplines. IITG encourages development of innovations that meet the Power of SUNY’s transformative vision. Published by Open SUNY Textbooks Milne Library State University of New York at Geneseo Geneseo, NY 14454 This book was produced using Pressbooks.com, and PDF rendering was done by PrinceXML. Exploring Movie Construction and Production by John Reich is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, except where otherwise noted. Dedication For my wife, Suzie, for a lifetime of beautiful memories, each one a movie in itself.
    [Show full text]
  • Coen Brothers' Fargo in the Noir Melting Pot of Genre Patterns
    Acta Universitatis Wratislaviensis • No 3869 Literatura i Kultura Popularna XXIV, Wrocław 2018 DOI: 10.19195/0867-7441.24.4 Kamila Żyto ORCID: 0000-0003-2822-8341 University of Łódź Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns Keywords: film noir, film history, film genres, cinema of Coen brothers Słowa kluczowe: film noir, historia filmu, gatunki filmowe, kino braci Coen The long-lasting debate over whether film noir should be seen as a genre, a cycle or a tendency in the history of cinema remains unsettled. No definitive solution has been found, nor any consensus reached, owing to the fact that the film noir phenomenon is particularly complex and convoluted. Much of the debate revolves around questions of approach and genre. But many movies, both those released in the 1940s and 1950s (the classical period) and those released in the following decades (the neo-noir, or postclassical, period), do not obviously fit any genre pattern or other ordering scheme. The diversity among films that are now unquestionably classified as noir, provokes controversy and raises numerous questions. What does Sunset Boulevard (dir. Billy Wilder, 1950) have in common with The Killers (dir. Robert Siodmak, 1946)? The first one is simultaneously a crime story, melodrama and horror. The second one is, without a doubt, a gang- ster movie. Do all noir films really constitute a single genre? I will leave this question unanswered, as to support any of the various opinions about the generic identity of film noir is not the main aim of this paper.1 From my perspective, there is little utility in joining this on-going debate, which has reached a standstill some time ago.
    [Show full text]
  • Classic Film Series
    Pay-as-you-wish Friday Nights! CLASSIC PAID Non-Profit U.S. Postage Permit #1782 FILM SERIES White Plains, NY Fall 2014/Winter 2015 Pay-as-you-wish Friday Nights! Bernard and Irene Schwartz Classic Film Series Join us for the New-York Historical Society’s film series, featuring opening remarks by notable directors, writers, actors, and historians. Justice in Film This series explores how film has tackled social conflict, morality, and the perennial struggles between right and wrong that are waged from the highest levels of government to the smallest of local communities. Entrance to the film series is included with Museum Admission during New-York Historical’s Pay-as-you-wish Friday Nights (6–8 pm). No advanced reservations. Tickets are distributed on a first-come, first-served basis beginning at 6 pm. New-York Historical Society members receive priority. For more information on our featured films and speakers, please visit nyhistory.org/programs or call (212) 485-9205. Classic Film Series Film Classic Publication Team: Dale Gregory Vice President for Public Programs | Alex Kassl Manager of Public Programs | Genna Sarnak Assistant Manager of Public Programs | Katelyn Williams 170 Central Park170 West at Richard Gilder (77th Way Street) NY 10024New York, NEW-YORK HISTORICAL SOCIETY MUSEUM LIBRARY Don Pollard Don ZanettiLorella Collection of the Supreme Court of the United States Justice in Film Chang Lia Friday, October 17, 7 pm Flower Drum Song | 1961 | 133 min. Judge Denny Chin and distinguished playwright David Henry Hwang introduce this classic adaptation of C. Y. Lee’s novel, where Old World tradition and American romanticism collide in San Joan MarcusJoan Denis Racine Denis Francisco’s Chinatown.
    [Show full text]
  • Sagawkit Acceptancespeechtran
    Screen Actors Guild Awards Acceptance Speech Transcripts TABLE OF CONTENTS INAUGURAL SCREEN ACTORS GUILD AWARDS ...........................................................................................2 2ND ANNUAL SCREEN ACTORS GUILD AWARDS .........................................................................................6 3RD ANNUAL SCREEN ACTORS GUILD AWARDS ...................................................................................... 11 4TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 15 5TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 20 6TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 24 7TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 28 8TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 32 9TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 36 10TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 42 11TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 48 12TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................
    [Show full text]
  • ANNUAL REPORT — 2016 a GREAT LEAP FORWARD Austin Film Society 1901 East 51St Street Austin, TX 78723 512.322.0145 Austinfilm.Org to OUR STAKEHOLDERS
    ANNUAL REPORT — 2016 A GREAT LEAP FORWARD Austin Film Society 1901 East 51st Street Austin, TX 78723 512.322.0145 austinfilm.org TO OUR STAKEHOLDERS The Austin Film Society has long held the dream of our own full-time cinema, a local place where people can assemble to communally explore all that international film culture has to offer. This was the year we took action on that dream and signed a long-term lease with The Linc to create the AFS Cinema. Two full-time screens will support interesting, challenging and entertaining cinematic events, lovingly curated by our brilliant team of programmers. A kitchen, lobby bar and event hall will support community gatherings and provide extra income to supplement ticket sales. The AFS Cinema was not AFS’s only program expansion in fiscal 2016. We also opened Austin Public, a 7,000-square-foot television studio in East Austin open to anyone in Austin who wants to explore filmmaking. By virtue of a contract with the City of Austin, AFS is able to offer classes, studio space and equipment at an incredibly low barrier to entry, and distribute locally made work on our channels and website. Additionally, we are making progress on plans for building out the former National Guard Armory into a creative media hub with the help of the 2012 bonds. Our facilities team expects to have schematic designs to show in 2017 as well as a plan for obtaining the $3.5 million-plus needed to create a fully functioning building. Meanwhile at AFS, it’s business as usual, with our instructors delivering youth media programs at under-resourced schools in Austin and our programmers planning screenings at various beloved Austin theaters while the AFS Cinema is dark for renovations (November 2016 –Spring 2017).
    [Show full text]
  • Academy Award-Winning Composer Howard Shore Takes Center Stage with Career Achievement Award from Chicago International Film Festival
    FOR IMMEDIATE RELEASE Contact: Lisa Dell Cinema/Chicago Media Relations [email protected] ACADEMY AWARD-WINNING COMPOSER HOWARD SHORE TAKES CENTER STAGE WITH CAREER ACHIEVEMENT AWARD FROM CHICAGO INTERNATIONAL FILM FESTIVAL (CHICAGO, August 19, 2015) - The 51st Chicago International Film Festival, presented by Cinema/Chicago, will honor acclaimed composer and orchestrator Howard Shore in recognition of his contributions to film and television with a tribute and award ceremony on Sunday, October 18, 2015. Howard Shore is one of the most versatile, talented, and respected composers and music conductors working today. He has collaborated with such prominent directors as Martin Scorsese, Jonathan Demme, Tim Burton, David Fincher, Arnaud Desplechin, and David Cronenberg, among numerous others. Shore’s work on Peter Jackson’s The Lord of the Rings trilogy was recognized with three Academy Awards, two Golden Globes and many other honors. Presented by Gold Festival Partner Wintrust Community Banks, the Howard Shore Tribute will include an on-stage interview with Shore, film clips, and music celebrating his remarkable career. The Festival will present him with a Gold Hugo Career Achievement Award. Passes for the Chicago International Film Festival are now on sale. Individual tickets and the complete Festival schedule will be available on September 22. Visit http://www.chicagofilmfestival.com for information. A photo of Mr. Shore may be downloaded from here. (more) ABOUT HOWARD SHORE Howard Shore has composed music for more than 75 films, including Panic Room, A History of Violence, Doubt, Hugo, The Departed, The Aviator, Gangs of New York, Ed Wood, The Silence of the Lambs, Philadelphia, and Mrs Doubtfire.
    [Show full text]
  • Bamcinématek Presents Indie 80S, a Comprehensive, 60+ Film Series Highlighting the Decade Between 70S New Hollywood and the 90S Indie Boom, Jul 17—Aug 27
    BAMcinématek presents Indie 80s, a comprehensive, 60+ film series highlighting the decade between 70s New Hollywood and the 90s indie boom, Jul 17—Aug 27 Co-presented by Cinema Conservancy The Wall Street Journal is the title sponsor of BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/June 11, 2015—From Friday, July 17 through Thursday, August 27, BAMcinématek and Cinema Conservancy present Indie 80s, a sweeping survey of nearly 70 films from the rough-and-tumble early days of modern American independent cinema. An aesthetic and political rebuke to the greed-is-good culture of bloated blockbusters and the trumped-up monoculture of Reagan-era America, Indie 80s showcases acclaimed works like Jim Jarmusch’s Stranger Than Paradise (1984—Jul 18), David Lynch’s Blue Velvet (1986—Aug 8), and Steven Soderbergh’s sex, lies, and videotape (1989—Aug 14) alongside many lesser- known but equally accomplished works that struggled to find proper distribution in the era before studio classics divisions. Filmmakers including Ross McElwee, William Lustig, Rob Nilsson, and more will appear in person to discuss their work. Like the returning expatriate’s odyssey in Robert Kramer’s four-hour road movie Route One/USA (1989—Aug 16), a sampling of 80s indie cinema comprises an expansive journey through the less-traveled byways of America. From the wintry Twin Cities of the improvised, hilariously profane road trip Patti Rocks (1988—Aug 25) to the psychopath’s stark Chicago hunting grounds in John McNaughton’s Henry: Portrait of a Serial Killer (1986—Jul 29) to the muggy Keys of Florida in filmmaker Victor Nuñez’s eco-thriller A Flash of Green (1984—Aug 12), regional filmmakers’ cameras canvassed an America largely invisible to Hollywood.
    [Show full text]
  • Hollywood Abroad: Audiences and Cultural Exchange
    Hollywood Abroad: Audiences and Cultural Exchange By Melvyn Stokes and Richard Maltby (eds.) London, British Film Institute 2004. ISBN: 1-84457-018-5 (hbk), 1-84457-051-7 (pbk). 164 pp. £16.99 (pbk), £50 (hbk) A review by Martin Barker, University of Wales, Aberystwyth This is the fourth in a line of excellent books to have come out of two conferences held in London, on Hollywood and its audiences. This fourth collection deals specifically with the reception of Hollywood films in some very different counties and cultural contexts. The quality and the verve of the essays in here (they are all, without exception, beautifully written) is testimony to the rise and the potentials of the new historical approaches to audiences (which has, I am pleased to see, sedimented into some on-going cross-cultural research projects on local film exhibition histories). I recommend this book, unreservedly. Its contributors demonstrate so well the potential for many kinds of archival research to extend our understanding of film reception. In here you will find essays on the reception of the phenomenon of Hollywood, and sometimes of specific films, in contexts as different as a mining town in Australia in the 1920s (Nancy Huggett and Kate Bowles), in and through an upmarket Japanese cinema in the aftermath of Japan's defeat in 1946 (Hiroshi Kitamura), in colonial Northern Rhodesia in the period leading up to independence (Charles Ambler), and in and around the rising nationalist movements in India in the 1920-30s (Priya Jaikumar). It is important, in understanding this book, that we pay attention to the specificities of these contexts.
    [Show full text]