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Exploring Films About Ethical Leadership: Can Lessons Be Learned?
EXPLORING FILMS ABOUT ETHICAL LEADERSHIP: CAN LESSONS BE LEARNED? By Richard J. Stillman II University of Colorado at Denver and Health Sciences Center Public Administration and Management Volume Eleven, Number 3, pp. 103-305 2006 104 DEDICATED TO THOSE ETHICAL LEADERS WHO LOST THEIR LIVES IN THE 9/11 TERROIST ATTACKS — MAY THEIR HEORISM BE REMEMBERED 105 TABLE OF CONTENTS Preface 106 Advancing Our Understanding of Ethical Leadership through Films 108 Notes on Selecting Films about Ethical Leadership 142 Index by Subject 301 106 PREFACE In his preface to James M cG regor B urns‘ Pulitzer–prizewinning book, Leadership (1978), the author w rote that ―… an im m ense reservoir of data and analysis and theories have developed,‖ but ―w e have no school of leadership.‖ R ather, ―… scholars have worked in separate disciplines and sub-disciplines in pursuit of different and often related questions and problem s.‖ (p.3) B urns argued that the tim e w as ripe to draw together this vast accumulation of research and analysis from humanities and social sciences in order to arrive at a conceptual synthesis, even an intellectual breakthrough for understanding of this critically important subject. Of course, that was the aim of his magisterial scholarly work, and while unquestionably impressive, his tome turned out to be by no means the last word on the topic. Indeed over the intervening quarter century, quite to the contrary, we witnessed a continuously increasing outpouring of specialized political science, historical, philosophical, psychological, and other disciplinary studies with clearly ―no school of leadership‖with a single unifying theory emerging. -
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 -
FIFF-PROGRAMME-2017-WEB 2.Pdf
#programme #films #events #emotions www.fiff.ch #fiff17 Souvenirs Achetez des souvenirs du FIFF Un bout de FIFF à la maison : à partir du 16.03.17, des produits dérivés du FIFF sont disponibles aux points de vente du Festival. Vous serez aussi chic que le Festival ! Holen Sie sich die FIFF 2017 Merchandise-Artikel Ein Stück FIFF für Zuhause: Ab dem 16.03.17 sind diverse FIFF- Artikel an den Verkaufsstellen des Festivals erhältlich. Sie werden festival-chic aussehen! Get Your FIFF 2017 Merchandise now! A piece of FIFF at home: As from 16.03.17, FIFF merchandise is available for purchase at the Festival’s points of sale. You’ll look festival-chic! 1 Souvenirs Festival International de Films de Fribourg Internationales Filmfestival Freiburg Fribourg International Film Festival Sommaire | Inhaltsverzeichnis | Contents #introduction #parallel #sections Souvenirs 1 Cinéma de genre Genrekino | Genre Cinema 65 Index des films Histoires de fantômes Filmverzeichnis Gespenstergeschichten Index of Films 6 Ghost stories Index des réalisateurs/trices Décryptage Verzeichnis der RegisseurInnen Entschlüsselt | Decryption 89 Index of Directors 8 Cabinet de curiosités cinématographiques Messages 12 Ein filmisches Kuriositätenkabinett A cinematic cabinet of curiosities Comité d’honneur Unterstützungskomitee Diaspora 109 Board of Honour 24 Myret Zaki et l’Egypte Myret Zaki und Ägypten Membres des jurys Myret Zaki and Egypt Jurymitglieder Jury members 27 Hommage à… 119 Freddy Buache Nouveau territoire #official #selection Neues Territorium | New Territory -
For Immediate Release Simon West to Helm
FOR IMMEDIATE RELEASE SIMON WEST TO HELM THE BLOB GOLDCREST FILMS, TAEWON ENTERTAINMENT & A-LIST CORPORATION TO CO-FINANCE London, UK – (22/21/15) Pascal Degove, Managing Director of Goldcrest Films (Goldcrest) today announced that Goldcrest will co-produce sci-fi thriller The Blob alongside producers Richard Saperstein and Brian Witten and co-financiers Taewon Entertainment & A-List Corporation. A remake of the 1958 sci-fi classic about an alien life-form that threatens a small town, the film will be directed by Simon West with principal photography set to begin this summer. Taewon Entertainment & A-List Corporation, based in Korea, will co-finance as their first major English-language project. Goldcrest, which is also handling global sales and distribution, will launch the film at the upcoming European Film Market in Berlin. Director Simon West’s films include Con Air starring Nic Cage, The General's Daughter starring John Travolta, Lara Croft: Tomb Raider starring Angelina Jolie. All made over $100 million domestically, opened at number 1, or both. West also served as an executive producer on the Oscar nominated Black Hawk Down and his television company has produced acclaimed series such as Fox's Keen Eddie, the CBS series Close To Home, Fox's Human Target and the NBC series The Cape. West most recently directed the action packed remake of The Mechanic starring Jason Statham and Ben Foster and Expendables 2, starring Statham, Stallone, Willis and many others. Goldcrest Post (home to Todd Haynes' Carol) under Managing Director Tim Spitzer will be providing picture and sound post production services and visual effects under supervisor Chris Haney (Avatar, Avengers Assemble). -
The Directors' Festival
The Directors’ Festival The UK’s biggest celebration of screen directing talent The Queen Elizabeth II Conference Centre, Saturday 1st July 2017 #DUKFest17 @Directors_UK Welcome to The Directors’ Festival 2017 Contents Message from Chair Steve Smith 5 Message from CEO Andrew Chowns 7 History of Directors UK 10 Programme 12 Biographies 16 “The ALEXA Mini is the perfect camera for drone aerials, it’s cleverly designed, intuitive to operate and allows us to create beautiful images in the air that match seamlessly with the ARRI cameras on the ground.” The Helicopter Girls And Then There Were None (BBC); Mission Impossible 5 (Paramount); McDonalds: We Are Awake (Tantrum), Detectorists (BBC) www.arri.com/alexamini “The ALEXA provides a canvas that gives you total creative confi dence to use di erent optics for di erent projects, safe in the knowledge that the core quality is already outstanding.” Cinematographer John Conroy, ISC Penny Dreadful (S-2+3), Jamestown, The Tunnel (S-2), Fortitude, Broadchurch (S-2), Luther (S-3+4), The Smoke, The Sea, Parked, Upstairs Downstairs, Silent Witness www.arri.com/alexa “Most of my documentary work is about capturing human emotion in the moment. No retakes, no second chances. With perfect ergonomics, killer sensor, and simple functionality, my AMIRA gives me complete confi dence and control.” Cinematographer Johann Perry David Beckham: For the Love of the Game; Stephen Fry: Out There; JK Rowling: Who Do You Think You Are; Till Death Do Us Part “Quite simply, the ARRI AMIRA is the best documentary camera I have had on my shoulder in over 20 years.” Cinematographer Neil Harvey (One Direction: Where We Are Tour; Fullwell73) www.arri.com/amira www.arri.com Inspiring your Vision. -
0813122023.Pdf
Engulfed Page ii Blank ? Engulfed The Death of Paramount Pictures and the Birth of Corporate Hollywood BERNARD F. DICK THE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 2001 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508–4008 05 04 03 02 01 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Dick, Bernard F. Engulfed: the death of Paramount Pictures and the birth of corporate Hollywood / Bernard F. Dick. p. cm. Includes bibliographical references and index. ISBN 0-8131-2202-3 (cloth : acid-free paper) 1. Paramount Pictures Corporation–History. 2. Title. PN1999.P3 D53 2001 384'.8’06579494 00012276 This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. Manufactured in the United States of America. Contents Preface ix 1 Mountain Glory 1 2 Mountain Gloom 44 3 Barbarians at the Spanish Gate 85 4 Charlie’s Boys 109 5 The Italian Connection 126 6 The Diller Days 149 7 Goodbye, Charlie 189 8 Sumner at the Summit 206 Epilogue 242 End Titles 245 Notes 247 Index 259 Photo insert follows page 125 Page vi Blank For Katherine Page viii Blank Preface In Mel Brooks’s Silent Movie (1977), Sid Caesar nearly has a heart attack when he learns that a megaconglomerate called “Engulf and Devour” has designs on his little studio. -
The Art of the Game: Issues in Adapting Video Games
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of 4-2020 The Art of the Game: Issues in Adapting Video Games Sydney Baty University of Nebraska - Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the English Language and Literature Commons, and the Screenwriting Commons Baty, Sydney, "The Art of the Game: Issues in Adapting Video Games" (2020). Dissertations, Theses, and Student Research: Department of English. 167. https://digitalcommons.unl.edu/englishdiss/167 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE ART OF THE GAME: ISSUES IN ADAPTING VIDEO GAMES By Sydney K. Baty A Thesis Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of the Arts Major: English Under the Supervision of Professor Tom Gannon Lincoln, Nebraska April, 2020 THE ART OF THE GAME: ISSUES IN ADAPTING VIDEO GAMES Sydney K. Baty, M.A. University of Nebraska, 2020 Advisor: Tom Gannon On the face of things, movies and video games are similar mediums. Both engage extensively in visuals and audio, both can indulge in speculative fiction, and there is a healthy amount of sharing of inspiration and content. However, this does not guarantee successful adaptations from one form to another. -
On Location: Filming the Great Santini
Atlanta Magazine October 1979 On Location: Filming the Great Santini By Frank O Smith “And for the flight-jacketed boy on the road to Atlanta, he filled up for the first time, he filled up even though he knew the hatred would return, but for now, he filled up as if he would burst. Ben Meecham filled up on the road to Atlanta with the love of his father, with the love of Santini.” closing paragraph The Great Santini The last week in September 1978, Bing the local citizens, however, in comparison Crosby Productions comes to Beaufort, to the luster generated by the thought of South Carolina, to film The Great Santini, Beaufort as the setting of a movie, the closely adapted from Pat Conroy’s novel. residence of movie stars for nine weeks. “We chose Beaufort,” Life in this picturesque seacoast screenwriter/director Lewis John Carlino community continues with the same says, “because it was all here. It was all regularity and adherence to ritual it authentic, all real: the air station, the always had. people, the place.” He says Louisiana and But life in Beaufort is altered with Savannah were considered; but with the presence of Hollywood. There is a approval and support from the Marine vibrancy, a detectible charge of electricity Corps, Beaufort became the obvious in the air, a current that all but choice. transforms their world in to something Carlino (who wrote the screenplay no one can possess. and directed The Sailor Who Flew From Grace with the Sea) was attracted, too, by At eight o’clock this crisp November an intangible that registered sharply in morning, the sleek transport buses, his mind the first time he visited. -
From Buddy Film to Bromance: Masculinity and Male Melodrama Since 1969
FROM BUDDY FILM TO BROMANCE: MASCULINITY AND MALE MELODRAMA SINCE 1969 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Amy J. Woodworth May 2014 Examining Committee Members: Dr. Miles Orvell, Advisory Chair, English Dr. Patricia Melzer, German Dr. Oliver Gaycken, English, University of Maryland Dr. Laura Levitt, External Member, Religion © by Amy J. Woodworth 2014 All Rights Reserved ii ABSTRACT Men’s tears are considered rare, and women’s tears are considered profusive. Thus, we tend to think of tearjerkers and melodrama as the province of weepy women viewers. However, if we look back at the last several decades of Hollywood filmmaking, melodramas focused on men—or “male weepies”—have been a steady staple of American cinema. This dissertation explores cycles of male melodramas since 1969, placing them in their socio-historical contexts and examining the ways that they participate in public discourses about men, masculinity, and gender roles. Melodrama’s focus on victims, bids for virtue, and idealizations of not how things are, but how they should be, have made it a fitting and flexible mode for responding to the changing social landscape of America since the rights movements of the 1960s. Specifically, these films consider both the ways that white capitalist patriarchy has circumscribed the public and private lives of men and the ways that advancements of women and racial minorities are impacting (white) men’s lives. This study analyzes the rhetorical effects of these films through both textual evidence and popular reception. Chapters are organized by chronology and subgenre, discussing buddy films of the late 1960s and early 1970s (Midnight Cowboy, The Last Detail, and Scarecrow), paternal melodramas of the late 1970s and early 1980s (The Great Santini, Kramer vs. -
Catalogue1516.Pdf
Catalogue of New Plays 2015–2016 © 2015 Dramatists Play Service, Inc. Dramatists Play Service, Inc. A Letter from the President Dear Subscriber: Once again, the Play Service is delighted to have all of this year’s Tony nominees for Best Play. The winner, Simon Stephens’ THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, based on Mark Haddon’s best-selling novel, is a thrilling and emotional journey into the mind of an autistic boy. We acquired Ayad Akhtar’s Pulitzer Prize- winning play DISGRACED after its run at Lincoln Center, and we are also publishing his plays THE WHO & THE WHAT and THE INVISIBLE HAND. Robert Askins’ subversive, hilarious play HAND TO GOD introduced this young American writer to Broadway, and the Play Service is happy to be his first publisher. Rounding out the nominess are Mike Poulton’s dazzling adaptations of Hilary Mantel’s WOLF HALL novels. THIS IS OUR YOUTH by Kenneth Lonergan and perennial favorite YOU CAN’T TAKE IT WITH YOU by Kaufman and Hart were nominated for Best Revival of a Play. We have our 45th Pulitzer Prize winner in the moving, profane, and deeply human BETWEEN RIVERSIDE AND CRAZY, by Stephen Adly Guirgis, which is under option for Broadway production next season. Already slated for Broadway is Mike Bartlett’s “future history” play, KING CHARLES III, following its hugely successful production in the West End. Bess Wohl, a writer new to the Play Service, received the Drama Desk Sam Norkin Off-Broadway Award. We have her plays AMERICAN HERO and SMALL MOUTH SOUNDS. -
June 2012 Anthology Film Archives Film Program, Volume 42 No
ANTHOLOGY FILM ARCHIVES April - June 2012 Anthology Film Archives Film Program, Volume 42 No. 2, April–June 2012 Anthology Film Archives Film Program is published quarterly by Anthology Film Archives, 32 Second Avenue, NY, NY 10003 Subscription is free with Membership to Anthology Film Archives, or $15/year for non-members. Cover artwork by Shingo Francis, 2012, all rights reserved. Staff Board of Directors Jonas Mekas, Artistic Director Jonas Mekas, President John Mhiripiri, Director Oona Mekas, Treasurer Stephanie Gray, Director of Development & Publicity John Mhiripiri, Secretary Wendy Dorsett, Director of Membership & Publications Barney Oldfi eld, Chair Jed Rapfogel, Film Programmer, Theater Manager Matthew Press Ava Tews, Administrative Assistant Arturas Zuokas Collections Staff Honorary Board Robert A. Haller, Library agnès b., Brigitte Cornand, Robert Gardner, Andrew Lampert, Curator of Collections Annette Michelson. In memoriam: Louise Bourgeois John Klacsmann, Archivist (1911–2010), Nam June Paik (1932-2006). Erik Piil, Digital Archivist Board of Advisors Theater Staff Richard Barone, Deborah Bell, Rachel Chodorov, Ben Tim Keane, Print Traffi c Coordinator & Head Manager Foster, Roselee Goldberg, Timothy Greenfi eld-Sanders, Bradley Eros, Theater Manager, Researcher Ali Hossaini, Akiko Iimura, Susan McGuirk, Sebastian Rachelle Rahme, Theater Manager Mekas, Sara L. Meyerson, Benn Northover, Izhar Craig Barclift, Assistant Theater Manager Patkin, Ted Perry, Ikkan Sanada, Lola Schnabel, Stella Schnabel, Ingrid Scheib-Rothbart, P. Adams Sitney, Projectionists Hedda Szmulewicz, Marvin Soloway. Ted Fendt, Carolyn Funk, Sarah Halpern, Daren Ho, Jose Ramos, Moira Tierney, Eva von Schweinitz, Tim White, Jacob Wiener. Composer in Residence Box Offi ce John Zorn Phillip Gerson, Rachael Guma, Kristin Hole, Nellie Killian, Lisa Kletjian, Marcine Miller, Feliz Solomon. -
Constructions of the Female Gun-Fighter in Hollywood Cinema. Christa Van Raalte Teesside University, UK
Looking like a hero: constructions of the female gun-fighter in Hollywood cinema. Christa van Raalte Teesside University, UK Abstract This paper addresses the aesthetic and semiotic issues of dress, agency and desire as they are articulated around the figure of the female gun-slinger in action-driven genres. It explores the problems that this complex figure presents for feminist critics, in relation to the fetishisation of the female action figure, the potential for readings of cooption or resistance embodied in the transvestite heroine, and the celebration of cinematic violence. It also explores a number of strategies whereby film-makers and narratives contrive to contain the transgressive potential of the female gun-slinger. With particular reference to Salt (Phillip Noyce 2010), it highlights issues of transformation, performance and identity, focusing on the operation of costume as an ‘alternative discourse’ within the text. It considers the limitations and potential of the contemporary action heroine as an empowering female figure within popular culture. Keywords: representation, gender, performance, costume, action-adventure Introduction “A hero is one who looks like a hero” (Robert Warshow 1970:56) Recently, in preparation for this paper, I re-watched Mr and Mrs Smith (Doug Liman 2005) with my 17 year old daughter. In the middle of the first big shoot-out scene, as the heroine prowled through her ruined house bristling with heavy-duty firearms and ammunition, my daughter spontaneously cried out “I want to be her!. Seizing the opportunity for a little impromptu audience research I asked her to explain why. “Because she’s so cool!’ was the reply.