DOCSLIB.ORG

A Scenario-Directed Computational Framework to Aid Decision-Making and Systems Development

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

A Scenario-Directed Computational Framework To Aid Decision-Making And Systems Development A Thesis Presented to The Academic Faculty by Reginald L. Hobbs In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy College of Computing Georgia Institute of Technology August 2005 A Scenario-Directed Computational Framework To Aid Decision-Making And Systems Development Approved by: Dr. Melody M. Moore, Chairman Dr. Spencer Rugaber College of Computing College of Computing Georgia Insitute of Technology Georgia Institute of Technology Dr. Mary Jean Harrold Dr. David Dampier College of Computing Department of Computer Science Georgia Institute of Technology & Engineering Mississippi State University Dr. Leo Mark College of Computing Georgia Institute of Technology Date Approved: August 2005 To Lady MacBeth, thank you for standing by me in this long, but fruitful journey. iii PREFACE Back Off Man, I'm A Scientist! - Dr. Peter Venkman (Bill Murray), Ghost- busters iv ACKNOWLEDGEMENTS No one who achieves success does so without acknowledging the help of others. The wise and confident acknowledge this help with gratitude. – Unknown As I celebrate the silver anniversary of my association with the Georgia Institute of Technology, it is fitting that I reach this milestone by achieving the pinnacle that this fine instititution has to offer. Through 25 years of growth, I have gone from undergraduate stu- dent to airman in the US Air Force to systems administrator to adjunct professor. Through all these varied experiences, I have remained a Tech Man. During my time as both a doctoral student and instructor, I've been approached by my students asking why one seeks a graduate degree. In keeping with my research on the use of narrative, my explanation consisted of a story on the motivation for learning. The story involves three characters, all seekers of truth. The first actor is an undergraduate who approaches the well of knowledge with a large cup, hoping to fill it to the brim with the stuff of learning. The contents enable the bearer to be a useful practitioner in his or her field, capable of dispensing knowledge whenever it is needed. The second actor, the master's graduate, encounters the well using a large bucket that also acts as a filter. This bucket contains not only a much larger amount of information, but concentrated from a specific area of the well. The master's graduate is truly an expert in their chosen discipline. The final protagonist is the doctoral candidate. He is motivated by the desire to create cups, design buckets, and build (and fill) wells. My well building journey has been subsidized by many people who have placed my feet on the path of discovery. First and foremost, I thank God for giving me the opportunity to seek my doctorate and the ability to achieve it. Each challenge has only strengthened my desire to excel and made each surmounted obstacle more satisfying. I am humbled by His grace. I would like to thank Dr. Colin Potts for his advice and for nurturing the spark of a v researcher that existed under a pile of wet kindling. Our many discussions enabled me to think critically, ask the right questions, and seek the right answers. In keeping with the european model for doctoral candidacy, I truly consider myself the world's expert in my particular niche of computer science. To Dr. Jim Gantt, for recognizing my potential and convincing me to become a scientist. Your support, both emotionally and professionally, has been immeasurable. You have been a mentor, in every sense of the word. To my AIRMICS colleagues: Mr. Glenn Racine, Dr. Gerard McCord, Dr. Michael Evans, Mr. Butch Higley, Dr. Mark Kindl, Dr. John (Jay) Gowens, Dr. Adrienne Raglin, Mr. Binh Nguyen, Mr. Son Nguyen, Mr. Brian Rivera and others, thanks for showing what a good and successful research organization feels like and that the phrase "government worker" is not an oxymoron. To my administrative support, Mrs. Patsy Riley, Mrs. Delois Rogers, and Ms. Kim Brinkley, thank you for your ability to cut through the red tape and leap the government beauracracy in a single bound. To Colonel Anthony Love, Colonel Mark Kindl (Ret.), Major Jeffrey (Jay) Reddick, Lieutenant Colonel Rachel Borhaurer, Colonel Ron Byrnes, Major David Dampier (Ret.) and the other military officers that I've had occasion to work with side by side, thanks for showing that the Army can develop critical thinkers and learn how to use them effec- tively. You've shown me that my research can have a positive impact on both the scientific community and my country. To my supervisors at the Army Research Laboratory, particular Mrs. Pat Jones and Dr. Rick Helfman, thanks for your patience in realizing the potential ROI (Return On Investment) that rewards ARL. My carbon-to-diamond transformation into a researcher may well have benefitted from the additional pressure and heat supplied by ARL. To my doctoral committee: Dr. Leo Mark, Dr. Mary Jean Harrold, Dr. Spencer Ru- gaber, and Dr. David Dampier. Thank you for your insight and assistance in manipulating my research ideas into a more palatable form for the larger research community. I'd like to thank Dr. Mark, in his capacity as PhD program coordinator, for helping with what could have been a very awkward transition. vi To my advisor, Dr. Melody Moore, I extend my special gratitude for her advocacy and support. It is a major challenge to establish a mentorship in the later stages of a doctoral program, but you rose to that challenge admirably. Results are the best indicator of your impact; 4 months after you became my advisor, I was doing my defense of research. I was motivated as much by your example and work ethic as by your positive view of my work. I look forward to merging research ideas and having a collaborative impact on the research community. To my mother and father, thanks for your belief in what I could eventually accomplish. Mom, I definitely inherited my fortitude and desire to attempt new things from you. I also inherited a stubbornness that made it impossible for me to quit something I started. Pop, thanks for being a good example of fatherhood and how to keep a family going no matter what happens. To my brother, Rodney, and my sisters, Belinda and Tonja, thanks for being proud of me. It does make a difference to me what you think. To my brother, your accomplishment as a soldier has made me want to have an even greater impact for my country. If my research ends up helping the army, it is because of my desire to have it help you. To my children: Jason, Shikitha, Justin, Jenna, Gino, Jordi, and Jules, thank you for being an even greater accomplishment for me than anything else that I've ever done. I especially want to let Julian, who has never known what it is like for daddy not to be a graduate student, know that I'm now going to be there for you even more. For all my children, thank you for being patient while I sought this doctorate; you've been a large part of my motivation as well. To my loving wife Lisa. It is a bit cliched and not sufficiently strong just to quote that "behind every successful man, there is a strong woman". You've been more than someone behind me pushing; you've been in front of me pulling, beside me nudging, and all around me cheering me on. It is a cosmically huge understatement to say that I couldn't have done this without you. I love you. vii Contents DEDICATION iii PREFACE iv ACKNOWLEDGEMENTS v LIST OF TABLES xii LIST OF FIGURES xiv LIST OF SYMBOLS OR ABBREVIATIONS xvii GLOSSARY xxi SUMMARY xxiv 1 INTRODUCTION 1 1.1 Problem Description . 1 1.2 Motivation . 2 1.3 Research Questions . 4 1.4 Research Contribution . 5 1.5 Thesis Statement . 5 1.6 Overview of Remaining Chapters . 5 2 RELATED WORK 6 2.1 Narrative Applications and Research Efforts . 6 2.1.1 Knowledge Representation for Business Rules . 6 2.1.2 Use Case Scenarios for Business Processes . 8 2.1.3 Case Based Reasoning . 9 2.1.4 StoryML . 11 2.2 Narrative Morphology . 12 2.2.1 Narrative Context . 12 2.2.2 Literary Analysis and Criticism . 15 2.2.3 Film Editing and Screenwriting . 16 2.2.4 Cognitive Mental Models and Thought Experiments . 18 2.2.5 Hypertext . 19 viii 2.2.6 Scenario-Based Design and Requirements Analysis . 19 2.2.7 Use Case Scenarios . 20 2.2.8 Modeling & Simulation Environments . 22 2.2.9 Decision Theory and Decision Analysis . 23 2.2.10 Interactive narrative and role-playing games . 24 2.3 Summary . 25 3 THE HYPERSCENARIO FRAMEWORK 26 3.1 Motivation . 27 3.2 Scenario Concepts, Modeling, and Representation . 31 3.2.1 Scenario Structural Model . 31 3.2.2 Dynamic Model and Scenario Construction . 43 3.2.3 Scenario Querying for Decision-Making . 58 3.3 Scenario Grammar . 61 3.4 Scenario Language Implementation . 65 3.4.1 XML Overview . 67 3.4.2 Scenario Markup Language (SCML) . 69 3.5 Creating Scenarios in SCML . 78 3.5.1 Requirements for using SCML for a Narrative Domain . 78 3.5.2 Limitations of SCML and the hyperscenario framework . 79 3.5.3 Heuristics for finding scenarios for SCML Encoding . 81 3.6 Summary . 83 4 SCENARIO APPLICATIONS 86 4.1 Scenario Generation . 86 4.1.1 Scenario Generator Architecture . 86 4.1.2 Scenario Generator Prototype . 89 4.2 SCML-based Decision Support for Military Planning .
Recommended publications
  • A Reappraisal of Three Character Actors from Hollywood’S Golden Age

    A Reappraisal of Three Character Actors from Hollywood’S Golden Age

    University of the Incarnate Word The Athenaeum Theses & Dissertations 12-2015 Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age Candace M. Graham University of the Incarnate Word, [email protected] Follow this and additional works at: https://athenaeum.uiw.edu/uiw_etds Part of the Communication Commons, and the Film and Media Studies Commons Recommended Citation Graham, Candace M., "Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age" (2015). Theses & Dissertations. 70. https://athenaeum.uiw.edu/uiw_etds/70 This Thesis is brought to you for free and open access by The Athenaeum. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of The Athenaeum. For more information, please contact [email protected]. SECOND-BILLED BUT NOT SECOND-RATE: A REAPPRAISAL OF THREE CHARACTER ACTORS FROM HOLLYWOOD’S GOLDEN AGE by Candace M. Graham A Thesis Presented to the Faculty of the University of the Incarnate Word in partial fulfillment of the requirements for the degree of MASTER OF ARTS University of the Incarnate Word December 2015 ii Copyright 2015 by Candace M. Graham iii ACKNOWLEDGEMENTS I wish to thank Dr. Hsin-I (Steve) Liu for challenging me to produce a quality thesis worthy of contribution to scholarly literature. In addition, thank you for the encouragement to enjoy writing. To Robert Darden, Baylor University communications professor, friend, and mentor whose example in humility, good spirit, and devotion to one’s passion continues to guide my pursuit as a classic film scholar.
  • Martin Balsam and the Refining of Male Character Acting in American Films, 1957-1976 John Thomas Mcguire, Siena College

    Martin Balsam and the Refining of Male Character Acting in American Films, 1957-1976 John Thomas Mcguire, Siena College

    Man In A Hat: Martin Balsam and the Refining of Male Character Acting in American Films, 1957-1976 John Thomas McGuire, Siena College [email protected] Volume 8. 1 (2020) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2020.235 | http://cinej.pitt.edu Abstract This article attempts a definition at what constitutes “character acting” in mainstream cinema in the United States and argues that throughout the peak of his film career—roughly, 1957 through 1976--Martin Balsam refined the definition of male character acting in American film, a parameter previously established by such skilled practitioners as Eugene Pallette and Claude Rains. Balsam did this through his ability to portray what can be termed “a man in a hat” portrayals: tartly humorous, reliable, and sometimes authoritative supporting characters, usually wearing a chapeau. This is clearly seen in such performances as the private investigator in Alfred Hitchcock’s Psycho (1960) and most interestingly, a partner in an unusual subway hijacking in Joseph Sargent’s The Taking of Pelham One, Two, Three (1974). Keywords: Character acting, male, in film, United States; Martin Balsam; Academy Award for Best Performance by a Supporting Actor; Claude Rains; Alfred Hitchcock; 20th Century film acting. New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press Man In A Hat: Martin Balsam1 and the Refining Of Male Character Acting in American Films, 1957-1976 John Thomas McGuire "I'll tell you; I still don't feel whatever change you're supposed to feel when your name goes up above the title.
  • Proquest Dissertations

    Proquest Dissertations

    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, som e thesis and dissertation copies are in typewriter face, while others may be from any type of com puter printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI EDWTN BOOTH .\ND THE THEATRE OF REDEMPTION: AN EXPLORATION OF THE EFFECTS OF JOHN WTLKES BOOTH'S ASSASSINATION OF ABRAHANI LINCOLN ON EDWIN BOOTH'S ACTING STYLE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Michael L.
  • The Art of Film Acting: a Guide for Actors and Directors

    The Art of Film Acting: a Guide for Actors and Directors

    The Art of Film Acting This Page Intentionally Left Blank The Art of Film Acting: A Guide for Actors and Directors Jeremiah Comey Focal Press is an imprint of Elsevier Science. Copyright © 2002 by Elsevier Science (USA) 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 written permission of the publisher. Recognizing the importance of preserving what has been written, Elsevier Science prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Comey, Jeremiah. The art of film acting : a guide for actors and directors / Jeremiah Comey. p. cm. Includes bibliographical references and index. ISBN 0-240-80507-0 (pbk. : alk. paper) 1. Motion picture acting. I. Title. PN1995.9A26 C65 2002 791.43'028--dc21 2001058628 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. The publisher offers special discounts on bulk orders of this book. For information, please contact: Manager of Special Sales Elsevier Science 225 Wildwood Avenue Woburn, MA 01801-2041 Tel: 781-904-2500 Fax: 781-904-2620 For information on all Focal Press publications available, contact our World Wide Web home page at: www.focalpress.com 10 9 8 7 6 5 4 3 2 1 Printed in the United States of America To my wife, Janet, who taught me what love really means, and my daughters, Jessica and Megan, who have allowed me to experience a second childhood.
  • The Effects of Projected Films on Singers' Expressivity in Choral

    The Effects of Projected Films on Singers' Expressivity in Choral

    THE EFFECTS OF PROJECTED FILMS ON SINGERS’ EXPRESSIVITY IN CHORAL PERFORMANCE A DISSERTATION IN Music Education And Curriculum and Instruction Presented to the faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY by DANIEL J. KEOWN BM, University of Wisconsin-Oshkosh, 2001 MM, Indiana State University, 2004 Kansas City, Missouri 2013 © 2013 DANIEL JAMES KEOWN ALL RIGHTS RESERVED THE EFFECTS OF PROJECTED FILMS ON SINGERS’ EXPRESSIVITY IN CHORAL PERFORMANCE Daniel James Keown, Candidate for the Doctor of Philosophy Degree University of Missouri-Kansas City, 2013 ABSTRACT The purpose of this study was to investigate the effects of projected film visuals on singers’ expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments. In Phase Two, a different group of university choir singers (N = 116) rehearsed and prepared both of the selected choral etudes referred to as “Doh” and “Noo.” Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition.
  • Film Architecture and the Transnational Imagination : Set Design in 1930S European Cinema 2007

    Film Architecture and the Transnational Imagination : Set Design in 1930S European Cinema 2007

    Repositorium für die Medienwissenschaft Tim Bergfelder; Sue Harris; Sarah Street Film Architecture and the Transnational Imagination : Set Design in 1930s European Cinema 2007 https://doi.org/10.5117/9789053569801 Buch / book Empfohlene Zitierung / Suggested Citation: Bergfelder, Tim; Harris, Sue; Street, Sarah: Film Architecture and the Transnational Imagination : Set Design in 1930s European Cinema. Amsterdam University Press 2007 (Film Culture in Transition). DOI: https://doi.org/10.5117/9789053569801. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons BY-NC 3.0/ This document is made available under a creative commons BY- Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz NC 3.0/ License. For more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc/3.0/ https://creativecommons.org/licenses/by-nc/3.0/ * hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns.
  • The Zero Theorem

    The Zero Theorem

    The Zero Theorem Production Notes For further information http://www.facebook.com/Terry.Gilliam http://www.terrygilliamweb.com http://www.smart.co.uk/dreams Production Notes by Phil Stubbs The Zero Theorem Production Notes SYNOPSIS Set in a future London, THE ZERO THEOREM stars double Academy Award® winner Christoph Waltz as Qohen Leth, an eccentric and reclusive computer genius plagued with existential angst. He lives in isolation in a burnt-out chapel, waiting for a phone call which he is convinced will provide him with answers he has long sought. Qohen works on a mysterious project, delegated to him by Management (Matt Damon), aimed at discovering the purpose of existence - or the lack thereof - once and for all. But his solitary existence is disturbed by visits from the flirtatious Bainsley (Mélanie Thierry), and Bob (Lucas Hedges), Management’s wunderkind son. Yet it is only once he experiences the power of love and desire that he is able to understand his very reason for being. VOLTAGE PICTURES presents an ASIA & EUROPE / ZANUCK INDEPENDENT production in association with ZEPHYR FILMS, MEDIAPRO PICTURES LE PACTE and WILD SIDE FILMS THE ZERO THEOREM CHRISTOPH WALTZ DAVID THEWLIS MELANIE THIERRY LUCAS HEDGES a TERRY GILLIAM film 2 The Zero Theorem Production Notes DIRECTOR’S STATEMENT When I made BRAZIL in 1984, I was trying to paint a picture of the world I thought we were living in then. THE ZERO THEOREM is a glimpse of the world I think we are living in now. Pat Rushin’s script intrigued me with the many pertinent questions raised in his funny, philosophic and touching tale.
  • The Truth About Casting: an Analysis of Typecasting in the Boston Theatre Market

    The Truth About Casting: an Analysis of Typecasting in the Boston Theatre Market

    The Truth About Casting: An Analysis of Typecasting in the Boston Theatre Market Author: Noelle Scarlett Persistent link: http://hdl.handle.net/2345/bc-ir:107893 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2017 Copyright is held by the author, with all rights reserved, unless otherwise noted. RUNNING HEAD: THE TRUTH ABOUT CASTING BOSTON COLLEGE MORRISSEY COLLEGE OF ARTS AND SCIENCES DEPARTMENT OF COMMUNICATION THE TRUTH ABOUT CASTING: AN ANALYSIS OF TYPECASTING IN THE BOSTON THEATRE MARKET A SENIOR HONOR THESIS BY NOELLE E. SCARLETT DECEMBER 2017 THE TRUTH ABOUT CASTING 2 Abstract As a young woman who plans on pursuing acting after graduation, I have begun to learn how I must craft myself in the professional world. In theatre, the importance of accurately portraying one’s “type” is a concept that has been consistently stressed. One sees the irony of “type” if they consider the very premise of acting, to portray someone other than oneself. If acting is actually “living truthfully under imaginary circumstances” as Meisner suggests, then any actor should be able to play any role. However, actors are constantly pigeonholed into roles that objectify them to a particular type. Academic research has failed to sufficiently address casting conventions, especially in theatre. My study aims to address this gap by gaining insight on casting practices from the director’s perspective. To put it simply, it is my hope that this thesis will reveal the intricacies of casting, including the prevalence of type. Consequently, this will generate a better understanding of the process so that others and myself can learn how to breed success and simultaneously maintain our dignity whilst adhering to a field that requires one to brand themself.
  • A Brief Glossary of Key Cinematic Terms Yes, You Must Study the Images As Well!

    A Brief Glossary of Key Cinematic Terms Yes, You Must Study the Images As Well!

    A Brief Glossary of Key Cinematic Terms Yes, you must study the images as well! Academy Awards--Prizes of merit given in a number of categories (e.g. Best Picture, Actor, Actress, Director, Cinematography, Music, etc.) by the Academy of Motion Pictures Arts and Sciences--a professional association of people directly involved in the production of motion pictures. To qualify for the award, the film must have been released in Los Angeles during the preceding calendar year. The award itself takes the form of a statuette (of little monetary value) called an Oscar. Actual Sound--Sound recording made on location to add authenticity to the sound track. Usually the sound recordist will ask everybody to remain absolutely quiet for a short time while the recording is made. Adaptation--The use of literary material (novels, short stories, etc) in the making of a film. The adaptation process involves obtaining the rights to the material from its owners, and hiring someone to write the screenplay. Ambient Light--Existing or natural light that surrounds a subject. Ambient Sound—In filmmaking, ambient sound is that part of the film’s sound track that provides authenticity to the location of a scene—e.g., depending on what the scene is, traffic noise, footsteps, birds chirping, children playing, water dripping, etc. Animation--The creation of life-like motion in inanimate objects (cartoon drawings, graphics, clay-models, etc.) via motion-picture photography. Answer Print--The first completed print with all the color values properly corrected received from the film lab. After it is approved by the producer, director and cinematographer it will serve as the basis for making release prints for distribution to movie theatres.

  • Premiers Plans / Festival D'angers 20

    © SANDRINE JOUSSEAUME Premiers Plans / Festival d’Angers Plans/Festival Premiers 20 -29janvier2006 1 166 > INFOS PRATIQUES 159 > REMERCIEMENTS 156 > INDEX 113 > MANIFESTATIONS 73 > PANORAMA, HOMMAGES 19 > SÉLECTION OFFICIELLE 3 > LE FESTIVAL ET RÉTROSPECTIVES LE FESTIVAL Sommaire > > SOMMAIRE 3 ➥ LE FESTIVAL 2006 - 18E EDITION SÉLECTION OFFICIELLE SÉLECTION 4 4 Les Ateliers d’Angers > 5 5 Les partenaires 19 6 6 Avant-propos 11 11 Soirée d’inauguration 13 13 Soirée de palmarès 15 15 Avant-première 17 17 Projections spéciales COMPÉTITION - SÉLECTION OFFICIELLE 19 20 Les jurys 25 25 Les prix PANORAMA, HOMMAGES PANORAMA, 27 27 Longs métrages européens ET RÉTROSPECTIVES 37 37 Courts métrages européens > 43 43 Courts métrages européeens 73 49 49 Films d’écoles 68 68 Figures libres 72 72 Plans suivants ! PANORAMA, HOMMAGES, RÉTROSPECTIVES 73 74 Vers la Turquie 89 89 Hommage à Louis Malle par Jeanne Moreau MANIFESTATIONS 95 95 Les premiers plans d’Alain Tanner > 99 99 Alex van Warmerdam 113 103 103 Rétrospective “Une journée particulière” MANIFESTATIONS ET RENCONTRES 113 INDEX 115 115 Lectures de scénarios > 121 121 Leçons de cinéma 156 123 123 Colloque 125 125 Le jeune public au premier plan 131 131 Forumdoc’ 06 138 138 Carte Blanche au GNCR 139 139 Panorama fémis Comité de Parrainage 141 141 Europe en courts 10 REMERCIEMENTS Président Claude CHABROL 142 142 Nouvelles Images en Région > 143 143 Films d’Ici Fanny ARDANT 159 145 145 Envie d’agir / Défi jeunes Hélène VINCENT 147 147 Dominique BESNEHARD Ateliers professionnels Pierre BOUTEILLER 150 150 Séances spéciales Jean-Claude BRIALY 153 153 Manifestations spéciales Patrice CHEREAU Jérôme CLEMENT 156 156 Index des films et des réalisateurs Gérard DEPARDIEU 159 159 Remerciements PRATIQUES INFOS > Christophe GIRARD 163 163 Générique Alain ROCCA 166 158 166 Infos Pratiques 3 > ATELIERS D’ANGERS 2E SESSION LE FESTIVAL Atelier ND > 3 ANGERS WORKSHOPS 2 EDITION DIRECTION ARTISTIQUE : JEANNE MOREAU DATES : 30 juin - 9 juillet 2006 ONNET ©T.

  • Quiet Man by Scott Allen Nollen

    The Quiet Man By Scott Allen Nollen During pre-production on his wartime tribute “They Were Expenda- ble” (1945), John Ford learned that Maureen O’Hara was starring in the swashbuckler “The Spanish Main” at RKO. O’Hara knew that Ford had re- turned from military service in Eu- rope to make a feature film, but had no idea why he wanted to see her at the studio. She soon learned that he wanted her to play the female lead in a film based on a Maurice Walsh sto- ry called “The Quiet Man,” to be shot on location in Ireland. Ford previously had dropped hints about making “a picture in Ireland,” but O’Hara had considered the re- Newlyweds Sean Thornton (John Wayne) and the former Mary Kate Danaher (Maureen O’Hara) in marks wishful thinking. Now she front of their cottage, White O' Mornin.’ Courtesy Library of Congress knew the property, and her agreement to star in the film was sealed with a handshake. porting characters were Father Peter Lonergan (Ward Bond), Reverend Cyril Playfair (Arthur Shields) and Ford eventually hired “How Green Was My Valley” author Michaeleen Og Flynn (Barry Fitzgerald). Ford and Nugent Richard Llewellyn to expand “The Quiet Man” to novella also added a crucial plot element: Sean’s refusal to fight length. Combined with the notes he had been compiling Will due to his guilt for having killed a fellow boxer in the for the past 15 years, Ford was sure he’d have plenty of ring, the impetus for abandoning America for the serenity material from which a screenplay could be adapted.
  • The Meryl Mystique

    The Meryl Mystique

    THE MERYL STREEP MYSTIQUE: A STUDY OF GENDER, AGING, HOLLYWOOD AND A FEMALE STAR by Tracy Allerton A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida December 2010 Copyright by Tracy Allerton 2010 ii ABSTRACT Author: Tracy Allerton Title: The Meryl Streep Mystique: A Study of Gender, Aging, Hollywood and a Female Star Institution: Florida Atlantic University Thesis Advisor: Dr. Christine Scodari Degree: Master of Arts Year: 2010 This thesis employs a star study of Meryl Streep, incorporating pertinent feminist, reception and culture-studies theories, to investigate biases within the Hollywood film industry. The actress has enjoyed a resurgence as a leading lady at age 61. Streep’s star persona, acting prowess and career arc are examined across three theoretical platforms— production of culture, textual analysis, and audience analysis—for clues as to why she has been singled out among her peers. This thesis posits that Streep’s unique star image and surge in popularity have helped her break out of hegemonic articulations of gender and aging that privilege youthful beauty, putting female stars at a disadvantage within the capitalistic film industry. Also considered is the cultural significance of Streep’s late-life success: Does she represent new openings for older actresses (and concomitantly, an increase in film representations of aging women), or is she merely an anomaly within the entrenched patriarchal system? iv TABLE OF CONTENTS CHAPTER ONE ................................................................................................................. 1 BACKGROUND AND JUSTIFICATION ........................................................................ 1 Introduction....................................................................................................................