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Fall/Winter 2008)
TheMedium Volume 34, Number 3 (Fall/Winter 2008) Welcome to the third and final issue of the Medium for 2008. This issue features tour reports from our recent meeting and trip to Guadalajara, Mexico. President Hinojosa has submitted her report from our recent business meeting and the 2008 business meeting minutes are posted. The Lois Swan Jones Award Recipient report and our first Lois Swan Jones Award ad is also in this issue. We also have an update from the University of Houston's Architecture and Art Library on the damage from Hurricane Ike and news from the Architecture and Planning Library at The University of Texas at Austin. We have a message from our ARLIS/NA Chapters Coordinator, Cate Cooney and an article on our newest chapter member, Martha Gonzalez Palacios. The Collection profile features The Wittliff Collections. Enjoy! o Business Meeting: President's Report o Business Meeting: 2008 Business Meeting Minutes o Message from Chapters Coordinator, Cate Cooney o Annual Meeting: An unexpected meeting with photographer Nicola Lorusso o Annual Meeting: Chapter visit to Tlaquepaque o Annual Meeting: Meeting Clemente Orozco o Annual Meeting: Orozco’s Orozco and our day adventure in Guadalajara o Collection Profile: The Wittliff Collections / Texas State University-San Marcos o Library Website Documents Architect's Legacy o Lois Swan Jones Ad o Lois Swan Jones Award Recipient Report: ARLIS/NA 2008 Conference o University of Houston Architecture and Art Library Update o Welcome Martha Gonzalez Palacios The Medium v. 34, no. 3 (fall/winter 2008) Business Meeting: President's Report ARLIS/NA, Texas-Mexico Chapter Annual Conference Business Meeting December 3, 2008 I cannot tell you how glad I am to see you all here, now, in Guadalajara. -
7.Castrillo-Echart
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Dadun, University of Navarra Pablo Castrillo Towards a narrative definition of [email protected] PhD Candidate and Lecturer. the American political thriller film University of Navarra. Spain. Pablo Echart Abstract [email protected] Senior Lecturer in The Hollywood political thriller is a film genre of unique Screenwriting. University of relevance in the United States, often acting as a reflection of the Navarra. Spain. fears and anxieties of its historical times. At the same time, however, the definition of its identity and boundaries still leaves Submitted room for further specification, perhaps due to the frequent June 4, 2015 consideration of the political thriller as part of the broader Approved September 30, 2015 categories of either thriller narratives or political films. By revising the available literature and filmography and analyzing the narrative features of the classical political thriller, this © 2015 Communication & Society article proposes a deeper definition of the genre that takes into ISSN 0214-0039 account the nature of the broader ‘thriller’ category of films E ISSN 2386-7876 springing from a specific mode of crime fiction that focuses on a doi: 10.15581/003.28.4. 109-123 www.communication-society.com victim or threatened individual as its protagonist, depicts and conveys intense emotional states, portrays an unbalanced and highly existentialist worldview, and travels into the 2015 – Vol. 28(4), pp. 109-123 extraordinary while at the same time holding on to very concrete expectations of verisimilitude. The political thriller How to cite this article: specifies this broader form of narration and links it to dramatic Castrillo, P. -
Rambo: Last Blood Production Notes
RAMBO: LAST BLOOD PRODUCTION NOTES RAMBO: LAST BLOOD LIONSGATE Official Site: Rambo.movie Publicity Materials: https://www.lionsgatepublicity.com/theatrical/rambo-last-blood Facebook: https://www.facebook.com/Rambo/ Twitter: https://twitter.com/RamboMovie Instagram: https://www.instagram.com/rambomovie/ Hashtag: #Rambo Genre: Action Rating: R for strong graphic violence, grisly images, drug use and language U.S. Release Date: September 20, 2019 Running Time: 89 minutes Cast: Sylvester Stallone, Paz Vega, Sergio Peris-Mencheta, Adriana Barraza, Yvette Monreal, Genie Kim aka Yenah Han, Joaquin Cosio, and Oscar Jaenada Directed by: Adrian Grunberg Screenplay by: Matthew Cirulnick & Sylvester Stallone Story by: Dan Gordon and Sylvester Stallone Based on: The Character created by David Morrell Produced by: Avi Lerner, Kevin King Templeton, Yariv Lerner, Les Weldon SYNOPSIS: Almost four decades after he drew first blood, Sylvester Stallone is back as one of the greatest action heroes of all time, John Rambo. Now, Rambo must confront his past and unearth his ruthless combat skills to exact revenge in a final mission. A deadly journey of vengeance, RAMBO: LAST BLOOD marks the last chapter of the legendary series. Lionsgate presents, in association with Balboa Productions, Dadi Film (HK) Ltd. and Millennium Media, a Millennium Media, Balboa Productions and Templeton Media production, in association with Campbell Grobman Films. FRANCHISE SYNOPSIS: Since its debut nearly four decades ago, the Rambo series starring Sylvester Stallone has become one of the most iconic action-movie franchises of all time. An ex-Green Beret haunted by memories of Vietnam, the legendary fighting machine known as Rambo has freed POWs, rescued his commanding officer from the Soviets, and liberated missionaries in Myanmar. -
Literary High-Flier by K.J
David Morrell: Literary High-Flier BY K.J. HOWE “Nobodyisbornawarrior, inexactlythesamewaythat nobodyisbornanaverage man.Wemakeourselves intooneortheother.” —Carlos Castaneda Ifthereisoneauthorwhohastransformed himselfintoaliterarywarrior,it’sDavid Morrell.DavidpublishedFirst Bloodin1972, andhehasnowwrittenover30books.With 18millioncopiesinprint,thisITWThriller © Jennifer Esperanza Masterhasbeentranslatedinto26languages. Perhaps the best word to describe David is untiring. them. He is a pioneer who made the thriller accept- Relentless in his pursuit of excellence, he has been able at a higher level.” a high-flier in the publishing world for four decades. TheMasterCraftsman As Jon Land (Strong Justice) says, “David is a true warrior who sets trends rather than follows them. “The more you sweat in training, the less you will He doesn’t please anyone other than himself. He bleed in battle.” Navy SEALs Motto creates standards and then exceeds them.” One I’ve had the pleasure of hearing David, a former lit- only has to look at the variety and volume of David’s erature professor, speak numerous times, and one books to see that he has always been ahead of the of the many gems he shared was his strategic ap- curve. proach to writing novels. When he invests a year David’s novels are timeless—you can pick up any of of his life in a book, he wants to learn and grow as his books and be guaranteed a great read, regard- a result. Perhaps this is why David has straddled less of when the novel was written. Jon explains genres and has written mostly stand-alone novels that “David’s books don’t limit themselves to a spe- in a time when publishing encourages authors to cific time and culture. -
213 Nothing Like the South: Aurora Greenway – a Belle
NOTHING LIKE THE SOUTH: AURORA GREENWAY – A BELLE IN EXILE Anca Peiu University of Bucharest Larry McMurtry’s Terms of Endearment has been better known as a 1983 successful silver-screen story than as a 1975 best-selling novel, rather as a multiplereceiver of Academy Awards than as a most accomplished book by a prolific author and Pulitzer Prize winner. My return to it is justified by some recently read essays – neither on the film, nor on the book – but on the Belle and the South (indeed, an archetypal coupling somehow echoing Beauty and the Beast ). As for my title here – it oscillates between two Shakesperean sonnets: Sonnet 130 and Sonnet 3. Both poems appeal particularly to the sense of sight ; they are versions of that type of painting (also fiction) known as a portrait of a lady – who stays the lady even if she defies any canon of lady-likelihood – both as Shakespeare’s (image of the) lover and as McMurtry’s Southern Belle – from My mistress’ eyes are nothing like the sun… Thou art thy mother’s glass, and she in thee Calls back the lovely April of her prime; So thou through windows of thine age shalt see, Despight of wrinkles, this thy golden time… The latter quote opens Larry McMurtry’s novel, as a necessary motto. It evokes a specific traditional relationship: mother-daughter, by the classic symbol of the mirror . It could send us – via Larry McMurtry’s novel – to Katherine Henninger’s astute study of the impact of photography on the Visual Legacies of the South: Picture a southern woman . -
The Keystone
THE KEYSTONE SOUTHWESTERN WRITERS COLLECTION | WITTLIFF GALLERY OF SOUTHWESTERN & MEXICAN PHOTOGRAPHY FALL 2006 | SPECIAL COLLECTIONS AT THE ALKEK LIBRARY | WWW. LIBRARY. TXSTATE. EDU/ SPEC- COLL UNIVERSITY SAN MARCOS A member of the Texas State University System from the CURATOR (right) Raymond, ¡Saludos! are extensively represented in the Wittliff Gallery, tells the (left) Sally Wittliff, 1991, Keith Carter The power of art in life is a story of a cleaning woman who said to him that in the the Bill Wittliff, Dawn Jones, Tommy Lee recurring motif here at the building where she worked there was one of his pictures— Jones, Sam Shepard, THANK YOU Collections, vividly set an old blind man petting a bunch of tiny kittens that were in & John Graves to all contributors forth once again by Graci- his lap and crawling over his shirt—eyes not open yet, blind of (seated)* who made gifts ela Iturbide in her book, like him. An edgy, unsentimental portrait that nevertheless Spirit (center) Emcee this fiscal year for Evan Smith, editor- Eyes to Fly With, upcoming reaches into every single chamber of your heart. She told general support or in-chief of TEXAS in the Wittliff Gallery Keith that she looked at it each day before she started work MONTHLY** to sponsor specific Series (p. 12). In the rare because it made her feel so good. anniversary gala projects: Place (below) revelatory text she ex- The life-changing power of art is not for the practition- Debbie & Jim # Azadoutioun Epperson, president plains how, after the death ers of art alone—it’s for all of us. -
Cablefax Program Awards 2021 Winners and Nominees
March 31, 2021 SPECIAL ISSUE CFX Program Awards Honoring the 2021 Nominees & Winners PROGRAM AWARDS March 31, 2021 The Cablefax Program Awards has a long tradition of honoring the best programming in a particular content niche, regardless of where the content originated or how consumers watch it. We’ve recognized breakout shows, such as “Schitt’s Creek,” “Mad Men” and “RuPaul’s Drag Race,” long before those other award programs caught up. In this special issue, we reveal our picks for best programming in 2020 and introduce some special categories related to the pandemic. Read all about it! As an interactive bonus, the photos with red borders have embedded links, so click on the winner photos to sample the program. — Amy Maclean, Editorial Director Best Overall Content by Genre Comedy African American Winner: The Conners — ABC Entertainment Winner: Walk Against Fear: James Meredith — Smithsonian Channel This timely documentary is named after James Meredith’s 1966 Walk Against Fear, in which he set out to show a Black man could walk peace- fully in Mississippi. He was shot on the second day. What really sets this The Conners shines at finding ways to make you laugh through life’s film apart is archival footage coupled with a rare one-on-one interview with struggles, whether it’s financial pressures, parenthood, or, most recently, the Meredith, the first Black man to enroll at the University of Mississippi. pandemic. You could forgive a sitcom for skipping COVID-19 in its storyline, but by tackling it, The Conners shows us once again that life is messy and Nominees sometimes hard, but with love and humor, we persevere. -
V=Oocw6x Kcqs
MITOCW | watch?v=oocw6x_kCQs The following content is provided under a Creative Commons license. Your support will help MIT OpenCourseWare continue to offer high quality educational resources for free. To make a donation or view additional materials from hundreds of MIT courses, visit MIT OpenCourseWare at ocw.mit.edu. DAVID What I'd like to do very quickly is give you a brief account-- much to skeletal and simplified-- of THORBURN: this conversational drama-- the way in which the Western film becomes a screen on which American values are projected, and on which American values are tested, and in which we see American values or assumptions undergoing certain kinds of transformation-- certain kinds of change. I don't expect you to remember these titles or all of these titles although the ones I talk about you might think about. And this is very far from a complete list of films. It's just a list of highlights. But I want to give you a sense of, first-- that the Western film is at the center of movies at every phase of the history of the medium. And as we've noted, one might argue that one of the very first films-- some people have called it the first narrative film although that's a slight exaggeration-- but one of the most fundamental founding documents in the history of movies is, of course, a Western. If not its first story-- film-- one of the earliest narrative films was a Western. And we might note, in fact, that Western, The Great Train Robbery, was also based itself, not on-- although it has mythologized and fictionized-- The Great Train Robbery is based on a historical actuality-- on a robbery that was very widely covered in the press about which dime novels were written and which became a site of many films-- the first one The Great Train Robbery. -
BROOKS ATKINSON THEATER (Originally Mansfield Theater), 256-262 West 47Th Street, Manhattan
Landmarks Preservation Commission November 4, 1987; Designation List 194 LP-1311 BROOKS ATKINSON THEATER (originally Mansfield Theater), 256-262 West 47th Street, Manhattan. Built 1925-26; architect Herbert J. Krapp. Landmark Site: Borough of Manhattan Tax Map Block 1018, Lot 57. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Brooks Atkinson Theater and the proposed designation of the related Landmark Site (I tern No. 7). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty witnesses spoke or had statements read into the record in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has · received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Brooks Atkinson Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built during the mid-1920s, the Brooks Atkinson was among the half-dozen theaters constructed by the Chanin Organization, to the designs of Herbert J. Krapp, that typified the development of the Times Square/Broadway theater district. Founded by Irwin S. Chanin, the Chanin organization was a major construction company in New York. During the 1920s, Chanin branched out into the building of theaters, and helped create much of the ambience of the heart of the theater district. -
A Counter-Curriculum for the Pop Culture Classroom
Acad. Quest. (2010) 23:420–434 DOI 10.1007/s12129-010-9196-5 POPULAR CULTURE AND THE ACADEMY A Counter-Curriculum for the Pop Culture Classroom Thomas F. Bertonneau Published online: 13 October 2010 # Springer Science+Business Media, LLC 2010 Popular culture courses first appeared in the college and university curriculum in social science and humanities departments in the late 1950s in response to the Frankfurt School critique of the postwar bourgeois order. The Frankfurt School critics, Herbert Marcuse, Erich Fromm, Hannah Arendt, Max Horkheimer, and Theodor W. Adorno, were in turn responding to Karl Marx, Friedrich Nietzsche, Sigmund Freud, and Walter Benjamin. As a discipline, “popular culture studies” (shortened in recent years to “culture studies”) began as a disestablishmentarian enterprise pursued by activist intellectuals of left-liberal disposition. The names of Richard Hoggart and Raymond Williams are important as successors to the Frankfurt School figures and as contemporary cue-givers of the discipline. The scholar-radicals typically construed nineteenth-century civic custom—and even more so, twentieth-century bourgeois culture—as ideology, using the term in its Marxist sense as the expression of a false and freedom-limiting conscious- ness that impedes progress. In English departments and other departments where the study of literature was in order, interest in genre fiction was a going concern, with dedicated courses by the mid-1970s at the latest. So it was that, when I resumed matriculation toward my baccalaureate in the summer of 1983 at UCLA, I enrolled in an English department offering taught by the then young Raymond Paredes (now a dean) dedicated to the American Popular Novel Since World War Two, or some similar rubric. -
Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing -
Press Release Announcing the Scripter 2013
From: The USC Libraries Doheny Memorial Library University of Southern California Los Angeles, CA 90089 Contact: Hugh McHarg Associate Dean for Planning and Communications USC Libraries [email protected] Office: (213) 740-1405 December 19, 2012 Larry McMurtry and Diana Ossana Win USC Libraries Literary Achievement Award The Friends of the USC Libraries have selected the Brokeback Mountain screenwriting partners as the award’s 2013 honorees The Friends of the USC Libraries have selected Academy Award-winning screenwriting partners Larry McMurtry and Diana Ossana as the 2013 Scripter Literary Achievement Award co-honorees. The 2013 award marks the first time a screenwriting team has earned the honor. The USC Libraries will present the award to McMurtry and Ossana at the 25th-anniversary Scripter Award ceremony on Saturday, February 9, 2013. The Literary Achievement Award is an additional honor—distinct from the annual Scripter Award—that recognizes writers who have made significant, sustained contributions to the art of adaptation throughout their careers. USC Libraries Dean Catherine Quinlan and the Friends of the USC Libraries established the Scripter Literary Achievement Award in 2008. “We feel honored to receive the prestigious USC Libraries Scripter Literary Achievement Award, while well aware that we do so owing a debt to the many novelists and writers whose works we have adapted,” said Ossana and McMurtry of their selection. In addition to their 2006 Academy Award win for Best Adapted Screenplay for Brokeback Mountain, the pair has written two novels, nearly twenty original feature film scripts, and four award-winning miniseries. They began their writing partnership in the early 1990s with MORE 2: McMurtry and Ossana Win 2013 USC Libraries Literary Achievement Award the novel Pretty Boy Floyd, about the notorious American bank robber.