Michael Wilson Papers, 1942-1977
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Hole a Remediative Approach to the Filmmaking of the Coen Brothers
University of Dundee DOCTOR OF PHILOSOPHY Going Down the 'Wabbit' Hole A Remediative Approach to the Filmmaking of the Coen Brothers Barrie, Gregg Award date: 2020 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Gregg Barrie PhD Film Studies Thesis University of Dundee February 2021 Word Count – 99,996 Words 1 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Table of Contents Table of Figures ..................................................................................................................................... 2 Declaration ............................................................................................................................................ -
June 20, 2017 Movie Year STAR 351 P Acu Lan E, Bish Op a B Erd
Movie Year STAR 351 Pacu Lane, Bishop Aberdeen Aberdeen Restaurant, Olancha Airflite Diner, Alabama Hills Ranch Anchor Alpenhof Lodge, Mammoth Lakes Benton Crossing Big Pine Bishop Bishop Reservation Paiute Buttermilk Country Carson & Colorado Railroad Gordo Cerro Chalk Bluffs Inyo Convict Lake Coso Junction Cottonwood Canyon Lake Crowley Crystal Crag Darwin Deep Springs Big Pine College, Devil's Postpile Diaz Lake, Lone Pine Eastern Sierra Fish Springs High Sierras High Sierra Mountains Highway 136 Keeler Highway 395 & Gill Station Rd Hoppy Cabin Horseshoe Meadows Rd Hot Creek Independence Inyo County Inyo National Forest June Lake June Mountain Keeler Station Keeler Kennedy Meadows Lake Crowley Lake Mary 2012 Gold Rush Expedition Race 2013 DOCUMENTARY 2013 Gold Rush Expedition Race 2014 DOCUMENTARY 2014 Gold Rush Expedition Race 2015 DOCUMENTARY 26 Men: Incident at Yuma 1957 Tristram Coffin x 3 Bad Men 1926 George O'Brien x 3 Godfathers 1948 John Wayne x x 5 Races, 5 Continents (SHORT) 2011 Kilian Jornet Abandoned: California Water Supply 2016 Rick McCrank x x Above Suspicion 1943 Joan Crawford x Across the Plains 1939 Jack Randall x Adventures in Wild California 2000 Susan Campbell x Adventures of Captain Marvel 1941 Tom Tyler x Adventures of Champion, The 1955-1956 Champion (the horse) Adventures of Champion, The: Andrew and the Deadly Double1956 Champion the Horse x Adventures of Champion, The: Crossroad Trail 1955 Champion the Horse x Adventures of Hajji Baba, The 1954 John Derek x Adventures of Marco Polo, The 1938 Gary Cooper x Adventures of Wild Bill Hickok 1951-1958 Guy Madison Affairs with Bears (SHORT) 2002 Steve Searles Air Mail 1932 Pat O'Brien x Alias Smith and Jones 1971-1973 Ben Murphy x Alien Planet (TV Movie) 2005 Wayne D. -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South
Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South. -
Awards & Nominations
VICKI HIATT MUSIC SUPERVISOR / EDITOR AWARDS & NOMINATIONS GOLDEN REEL AWARD ALI NOMINATION (2001) Best Sound Editing -Music, Feature Film, Domestic and Foreign GOLDEN REEL AWARD THE ROAD TO EL DORADO NOMINATION (2000) Best Sound Editing-Music, Animation FEATURE FILM THE ARK & THE AARDVARK Keith Kjarvak, Kurt Rauer, prod. Unified Pictures John Stevenson, dir. Music Editor HOTEL TRANSYLVANIA 3 Michelle Murdocca, prod. Sony Pictures Animation Gendy Tartakovsy, dir. Music Editor SURF’S UP 2: WAVEMANIA Toby Chu, Composer Sony Pictures Animation Michelle Wong, prod. Music Editor Henry Wu, dir. HALF MAGIC Alex Wurman, Composer Magic Bubble Productions Bill Sheinberg, prod. Music Consultant Heather Graham, dir. HOW TO TRAIN YOUR DRAGON 3 John Powell, Composer DreamWorks Animation Bonnie Arnold, prod. Music Editor Dean DeBlois, dir. LIFE BRIEFLY Tom Howe, Composer Thousand Dream Prods. Erika Armin, James Brubaker, prods. Music Editor Dan Ireland, dir. EMOJI Michelle Raimo, prod. Sony Pictures Animation Anthony Leondis, dir. Music Editor BOSS BABY Denise Nolan Cascino, Ramsey Ann Naito, prods. DreamWorks Animation Tom McGrath, dir. Music Editor The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 VICKI HIATT MUSIC SUPERVISOR / EDITOR INDISCRETION Toby Chu, Composer Granfallon Productions Alexandra Baranska, Thomas Beach, Laura Boersma, prods. Music Supervisor John Stewart Muller, dir. SO B. IT Nick Urata, Composer Branded Pictures J. Todd Harris, Orien Richman, prods. Music Supervisor Stephen Gyllenhaal, dir. CAPTAIN UNDERPANTS Teddy Shapiro, Composer DreamWorks Animation Mark Swift, prod. Music Editor David Soren, dir. TROLLS Christophe Beck, Composer DreamWorks Animation Gina Shay, prod. Music Editor Mike Mitchell, dir. FLAWED DOGS Berkeley Breathed, exec. prod. DreamWorks Animation Noah Baumbauch, dir. -
RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945
1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest. -
Michael Gold & Dalton Trumbo on Spartacus, Blacklist Hollywood
LH 19_1 FInal.qxp_Left History 19.1.qxd 2015-08-28 4:01 PM Page 57 Michael Gold & Dalton Trumbo on Spartacus, Blacklist Hollywood, Howard Fast, and the Demise of American Communism 1 Henry I. MacAdam, DeVry University Howard Fast is in town, helping them carpenter a six-million dollar production of his Spartacus . It is to be one of those super-duper Cecil deMille epics, all swollen up with cos - tumes and the genuine furniture, with the slave revolution far in the background and a love tri - angle bigger than the Empire State Building huge in the foreground . Michael Gold, 30 May 1959 —— Mike Gold has made savage comments about a book he clearly knows nothing about. Then he has announced, in advance of seeing it, precisely what sort of film will be made from the book. He knows nothing about the book, nothing about the film, nothing about the screenplay or who wrote it, nothing about [how] the book was purchased . Dalton Trumbo, 2 June 1959 Introduction Of the three tumultuous years (1958-1960) needed to transform Howard Fast’s novel Spartacus into the film of the same name, 1959 was the most problematic. From the start of production in late January until the end of all but re-shoots by late December, the project itself, the careers of its creators and financiers, and the studio that sponsored it were in jeopardy a half-dozen times. Blacklist Hollywood was a scary place to make a film based on a self-published novel by a “Commie author” (Fast), and a script by a “Commie screenwriter” (Trumbo). -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
The Ideology of the John Birch Society
Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-1966 The Ideology of the John Birch Society Max P. Peterson Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Political Science Commons Recommended Citation Peterson, Max P., "The Ideology of the John Birch Society" (1966). All Graduate Theses and Dissertations. 7982. https://digitalcommons.usu.edu/etd/7982 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THEIDEOLOGY OFTHE JOHN BIRCH SOCIETY by Y1ax P. Peterson A thesis submitted in partial fulfillment of the requirements for the degree of MASTEROF SCIENCE in Political Science Approved: Major Professor Head of Department Dean of Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 1966 ACKNOWLEDGMENTS I wish to express my appreciation to Dr. Milton C. Abrams for the many hours of consultation and direction he provided throughout this study. To Dr. M. Judd Harmon, I express thanks, not only for his constructive criticism on this work, but for the constant challenge he offers as a teacher. A very special thanks is given my wife, Karen, for her countless hours of typing, but first and foremost for the encouragement, u nderstanding, and devotion that she has given me throu ghout my graduate studies. TABLE OF CONTENTS Introduction 1 Chapter I. The Background and Organization of the John Birch Society 4 The Beginning 4 The Symbol 7 The Founder 15 Plan of Action 21 Organizational Mechanics 27 Chapter II. -
“Salt of the Earth”. Strike Movement in Defense of Workers’ Dignity and the Birth of Female Trade Unionism»
«“SALT OF THE EARTH”. STRIKE MOVEMENT IN DEFENSE OF WORKERS’ DIGNITY AND THE BIRTH OF FEMALE TRADE UNIONISM» Luis Fernando De Castro Mejuto Specialist Judge in social jurisdiction (High Court of Justice of Galicia) Doctor of Laws (Ph. D.) 1.- FILM 1.1.- Original title Salt of the Earth 1.2.- Technical and artistic Year: 1954 Country: United States of America Director: Herbert J. Biberman Production: Adolfo Barela, Sonja Dahl Biberman and Paul Jarrico Screenplay: Michael Biberman and Michael Wilson Photo: Stanley Meredith Leonard Stark and Music: Sol Kaplan Cast: Revueltas Rosaura (Esperanza Quintero), Will Geer (Sheriff), David Wolfe (Barton), Mervin Williams (Hartwell), David Sarvis (Alexander), E. A. Rockwell (Vance), William Rockwell (Kimbrough), Juan Chacón (Ramon Quintero), Henrietta Williams, Ernesto Velasquez, Angela Sanchez, Joe T. Morales, Clorinda Alderette, Charles Coleman, Virginia Jencks, Clinton Jencks (Barnes Franco) and Victor Torres Duration: 94 minutes, w/b Language: English Release Date: 14/03/1954 1.3.- Synopsis 1 With a style similar to documentaries, historical reconstruction, the film narrates the development of a real strike at a mine in the United States in 1951. Working conditions - and treatment- of Mexican workers are much worse than those of Anglo, or more precisely, wasp [white Anglo-Saxon people] workers; against this racial discrimination they begin an indefinite strike with a picket line at the entrance of the mine, to prevent their replacing by strikebreakers. The company tries to cut that action by an injunction prohibiting picketing, without indication about relatives, a fact exploited by the miners’ wives to take ownership and obtain the main objective: corporation sits down and negotiates decent working conditions for Mexican workers and an additional one: the emancipation of women and free of the limited role they have been given so far. -
Film, Philosophy Andreligion
FILM, PHILOSOPHY AND RELIGION Edited by William H. U. Anderson Concordia University of Edmonton Alberta, Canada Series in Philosophy of Religion Copyright © 2022 by the authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, Suite 1200, C/Sancti Espiritu 17, Wilmington, Delaware 19801 Malaga, 29006 United States Spain Series in Philosophy of Religion Library of Congress Control Number: 2021942573 ISBN: 978-1-64889-292-9 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Cover design by Vernon Press. Cover image: "Rendered cinema fimstrip", iStock.com/gl0ck To all the students who have educated me throughout the years and are a constant source of inspiration. It’s like a splinter in your mind. ~ The Matrix Table of contents List of Contributors xi Acknowledgements xv Introduction xvii William H. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone.