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The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
2256 Inventory 4.Pdf
The Robert Bloch Collection, Acc. ~2256-89-0]-27 Page 11 Box ~ (continueo) Periooicals (continueol: F~ntastic Adyentutes: Vol. 5 (No.8), Allg. 194]: "You Can't Kio Lefty Feep", pp.148-166; "Fairy Tale" under the name Tarleton Fiske, pp.184-202; biographical note on Tarleton Fiske, p.203. Vol. 5 (No.9), Oct. 194]: "A Horse On Lefty Feep", pp. 86-101; "Mystery Of The Creeping Underwear" under the name Tarleton FIske, pp.132-146. Vol. 6 (No.1), Feb. 1944; "Lefty Feep's ~l:abian Nightmare", pp.178-192. Vol. 6 (No. 2), ~pr. 1944: "Lefty Feep Does Time", pp. 156-1'15. Vol. 7 (No.2), Apr. IH5: "Lefty Feep Gets Henpeckeo", 1'1'.116-131. Vol. 6 (No.3), July 1946: "Tree's A Cro"d", pp.74-90. Vol. 9 (No. 51, sept. 1947: "The Mad Scientist", pp. 108-124. Vol. 12 (No.3), Mar. 1950: "Girl From Mars", pp.28-33. Vol. 12 (No.7), July 1950: "End Of YOUl: Rope", 1'p.l10- 124. Vol. 12 (No. S), Aug. 1950: "The Devil With Youl", pp. 8-68. Vol. 13 (No.7), July 1951: "The Dead Don't Die", pp. 8-54; biogl;aphical note, pp.2, 129-130. Fantastic Monsters Of The F11ms, Vol. 1 (No.1), 1962: "Black Lotus", p.10-21, 62. Fantastic Uniyel;se: Vol. 1 (No.6), May 1954: "The Goddess Of Wisdom", pp. 117-128. Vol. 4 (No, 6), Jan. 1956: "You Got To Have Brains", pp .112-120. Vol. 5 (No.6), July 1956: "Founoing Fathel:s", pp.34- Vol. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
Starlog Magazine Issue
'ne Interview Mel 1 THE SCIENCE FICTION UNIVERSE Brooks UGUST INNERSPACE #121 Joe Dante's fantastic voyage with Steven Spielberg 08 John Lithgow Peter Weller '71896H9112 1 ALIENS -v> The Motion Picture GROUP, ! CANNON INC.*sra ,GOLAN-GLOBUS..K?mEDWARO R. PRESSMAN FILM CORPORATION .GARY G0D0ARO™ DOLPH LUNOGREN • PRANK fANGELLA MASTERS OF THE UNIVERSE the MOTION ORE ™»COURTENEY COX • JAMES TOIKAN • CHRISTINA PICKLES,* MEG FOSTERS V "SBILL CONTIgS JULIE WEISS Z ANNE V. COATES, ACE. SK RICHARD EDLUND7K WILLIAM STOUT SMNIA BAER B EDWARD R PRESSMAN»™,„ ELLIOT SCHICK -S DAVID ODEll^MENAHEM GOUNJfOMM GLOBUS^TGARY GOODARD *B«xw*H<*-*mm i;-* poiBYsriniol CANNON HJ I COMING TO EARTH THIS AUGUST AUGUST 1987 NUMBER 121 THE SCIENCE FICTION UNIVERSE Christopher Reeve—Page 37 beJohn Uthgow—Page 16 Galaxy Rangers—Page 65 MEL BROOKS SPACEBALLS: THE DIRECTOR The master of genre spoofs cant even give the "Star wars" saga an even break Karen Allen—Page 23 Peter weller—Page 45 14 DAVID CERROLD'S GENERATIONS A view from the bridge at those 37 CHRISTOPHER REEVE who serve behind "Star Trek: The THE MAN INSIDE Next Generation" "SUPERMAN IV" 16 ACTING! GENIUS! in this fourth film flight, the Man JOHN LITHGOW! of Steel regains his humanity Planet 10's favorite loony is 45 PETER WELLER just wild about "Harry & the CODENAME: ROBOCOP Hendersons" The "Buckaroo Banzai" star strikes 20 OF SHARKS & "STAR TREK" back as a cyborg centurion in search of heart "Corbomite Maneuver" & a "Colossus" director Joseph 50 TRIBUTE Sargent puts the bite on Remembering Ray Bolger, "Jaws: -
Unseen Horrors: the Unmade Films of Hammer
Unseen Horrors: The Unmade Films of Hammer Thesis submitted by Kieran Foster In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2019 Abstract This doctoral thesis is an industrial study of Hammer Film Productions, focusing specifically on the period of 1955-2000, and foregrounding the company’s unmade projects as primary case studies throughout. It represents a significant academic intervention by being the first sustained industry study to primarily utilise unmade projects. The study uses these projects to examine the evolving production strategies of Hammer throughout this period, and to demonstrate the methodological benefits of utilising unmade case studies in production histories. Chapter 1 introduces the study, and sets out the scope, context and structure of the work. Chapter 2 reviews the relevant literature, considering unmade films relation to studies in adaptation, screenwriting, directing and producing, as well as existing works on Hammer Films. Chapter 3 begins the chronological study of Hammer, with the company attempting to capitalise on recent successes in the mid-1950s with three ambitious projects that ultimately failed to make it into production – Milton Subotsky’s Frankenstein, the would-be television series Tales of Frankenstein and Richard Matheson’s The Night Creatures. Chapter 4 examines Hammer’s attempt to revitalise one of its most reliable franchises – Dracula, in response to declining American interest in the company. Notably, with a project entitled Kali Devil Bride of Dracula. Chapter 5 examines the unmade project Nessie, and how it demonstrates Hammer’s shift in production strategy in the late 1970s, as it moved away from a reliance on American finance and towards a more internationalised, piece-meal approach to funding. -
Amicus Est Une Production Cinématographique Britannique Basée À Shepperton Studios En Angleterre
Amicus est une production cinématographique britannique basée à Shepperton Studios en Angleterre. Elle a été fondée par le producteur et scénariste américain Milton Subotsky et Max Rosenberg . Amicus est mieux connu pour ces films d’horreurs d’anthologies, bien que leurs deux premiers films étaient des comédies musicales pour le marché des adolescents : C'est Trad, papa! (1962) et Just for Fun (1963). Toutefois, avant la création d'Amicus les deux producteurs avaient collaborés à un film d’horreur de 1960 La Cité des morts. Ces films sont généralement dotés de quatre, parfois cinq histoires d'horreur reliées les unes aux autres par une intrigue globale avec un narrateur et ceux qui écoutent son histoire. Ces films sont invariablement interprétés par des acteurs de renom, chacun d'entre eux jouant de petits rôles dans les différentes histoires. Ainsi on retrouve des stars tels que Peter Cushing , Christopher Lee et Herbert Lom , Amicus fait également appel à des acteurs de la scène britannique classique ( Patrick Magee , Margaret 1 Leighton et même Sir Ralph Richardson ), mais aussi à ( Donald Sutherland , Robert Powell et Tom Baker ), ou d'anciennes gloires comme ( Richard Greene , Robert Hutton , et Terry Thomas ). Certaines, comme Joan Collins , connaissaient une perte de vitesse dans leur carrière quand ils ont signé avec Amicus. Torture Garden et The House That Dripped Blood ont été écrits par Robert Bloch , basé sur ses propres histoires. The Skull était auparavant également basé sur une histoire de Robert Bloch (scénarisé par Milton Subotsky), et Robert Bloch était aussi le scénariste du Psychopathe et l'adaptateur de The Bees Deadly. -
Movies About the Romantics Or the Romantic Period Dr. Katherine D
Movies about the Romantics or the Romantic Period Dr. Katherine D. Harris Conceiving Ada 1997 A contemporary setting, with a computer expert finding a way to communicate with Byron’s daughter, Ada. More about computers than about Romanticism. Gothic 1986 Ken Russell’s account of the summer of 1816 when the Byron and the Shelley’s embark on a contest to see who can write the best scary story, resulting in Frankenstein. A very dark picture (visually and in tone), and weird. Good cast, though, with Gabriel Byrne as Byron, Julian Sands as Shelley. Haunted Summer 1988 The same subject matter as Gothic, but lighter. I like this one a lot. Eric Stoltz looks a lot like Shelley, but Byron is a disappointment. Pandaemonium 2000 Framed by an 1813 party at which Wordsworth (and everyone) expects (wrongly) to receive the announcement that he has been chosen the next poet laureate, this film consists of flashbacks about the relationship between Wordsworth and Coleridge from 1795-ish to 1813, with a little coda later. Historical inaccuracies, but fun. Rowing with the Wind 1988 Just awful, another look at the Shelley/Byron relationship. Hugh Grant is Byron, and Liz Hurley is Claire Clairmont (with very big eyebrows). Lady Caroline Lamb 1972 Another really awful one, but irresistible nevertheless. Sara Miles is Byron’s stalker, and Richard Chamberlain is an abusive Byron. Also relevant: Frankenstein several versions, none true to the book. Stay away from the Andy Warhol version unless you like really, really gross stuff and graphic sex and violence. The 3-D glasses don’t help. -
Americathon (1979) Animal Behavior
, . ..t/ ~ Alligator II: The Mutation (1991) The Amazing Colossal Man (1957) Americathon (1979) Animal Behavior (1989) The Apple (1980) The Astounding She-Monster (1958) Astro-Zombies (1967) Atom Age Uampire (1961) Attack of the Crab Monsters (1957) -Attack of the 50 ft Woman (1958) Attack of the Giant Leeches (1959) Attack of the Mayan Mummy (1963) Attack of the Puppet People (1958) Basket Case II (1990) Bat People (197~) "Battle in Outer Space (1960) The Beast of Yucca Flats (1961) The Bees (1978) '··Beginning of the End (1957) Be Lugosi Meets a Brooklyn Gorilla (1952) Black Zoo (1963) The B~ de Master (198~) Blood of Ghastly Horror (1972) Bog (198~) • The 3rain That Wouldn't Die (1963) Bug (1975) ~ Cape Canaveral Monsters (1960) The Car (1977) Castle of Evil (1966) Cat Girl (1957) Cat Women of the Moon (195~) .eChamber of Horror (1966) The Chilling (1989) ···City Limits (1985) The Claw Monsters (1955) The Cosmic Man (1959) The Cosmic Monster (1958) Cosmos: War of the Planets (1977) The Crater Lake Monster (1977) The Crawling Eye (1958) The Crawling Hand (1963) Creation of the Humanoids (1962) Creature From the Haunted Sea (1961) Creature of Destruction (1968) Creature of the Walking Dead (1965) .ICreatures the World Forgot (1971) The Creature Wasn't Nice (1981) The Creeping Terror (196~) The Creeping Unknown (1956) The Curse of Bigfoot (1972) Curse of the Faceless Man (1958) ".-.... The Curse of the Fly (1965) Curse of the Stone Hand (1965) Curse of the Swamp Creature (1966) ~ Curucu, Beast of the Amazon (1956) Damnation Alley (1977) Daughter of Dr. -
American Heritage Center
UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew. -
Now in It's 30 Year 25Th
Now in it’s 30th Year 25th - 27th October 2019 Welcome to the third progress report for the thirtieth festival. We are pleased add another two guests have confirmed that can attend to complete the line-up for the festival. It just keeps getting better. How are you going to fit it all in? Writer/Director/Special Dez Skinn, Effects and Make-up Publisher— back by Design supremo popular request to Sergio Stivaletti finish the stories he started last year. Help us celebrate the past thirty years by sharing your memories of festivals past. Send us your photographs and tell us what you remember. We hope to include some of these in the festival programme book. Guests The following guests have confirmed that they can attend (subject to work commitments). Lawrence Deirdre Giannetto Janina Gordon Clark Costello De Rossi Faye Dana Pauline Norman J. Gillespie Peart Warren 1 A message from the 3 Festival’s Chairman 2010 As we approach Festival number 30 - one of the best 2011 things we can look forward to is getting to see a lot of faces who have been around for at least 20 or more years, who, like me, are beginning to show that it isn’t just films that age. 2012 It has been a hard task to find new guests but we managed it again this year – in fact we have some real quality guests in both the acting profession and the 2013 behind-the-screen work. When I, Tony, Harry and Dave Trengove started this event we were thinking it might continue for about 5 2014 years - not 30! So I would like to say that the success of the event, has been firmly in the hands of those mentioned and several other persons (some unfortunately no longer with us). -
Mont Blanc in British Literary Culture 1786 – 1826
Mont Blanc in British Literary Culture 1786 – 1826 Carl Alexander McKeating Submitted in accordance with the requirements for the degree of Doctor of Philosophy University of Leeds School of English May 2020 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Carl Alexander McKeating to be identified as Author of this work has been asserted by Carl Alexander McKeating in accordance with the Copyright, Designs and Patents Act 1988. Acknowledgements I am grateful to Frank Parkinson, without whose scholarship in support of Yorkshire-born students I could not have undertaken this study. The Frank Parkinson Scholarship stipulates that parents of the scholar must also be Yorkshire-born. I cannot help thinking that what Parkinson had in mind was the type of social mobility embodied by the journey from my Bradford-born mother, Marie McKeating, who ‘passed the Eleven-Plus’ but was denied entry into a grammar school because she was ‘from a children’s home and likely a trouble- maker’, to her second child in whom she instilled a love of books, debate and analysis. The existence of this thesis is testament to both my mother’s and Frank Parkinson’s generosity and vision. Thank you to David Higgins and Jeremy Davies for their guidance and support. I give considerable thanks to Fiona Beckett and John Whale for their encouragement and expert interventions. -
China: the Television Revolution
DOCUMENT RESUME ED 298 560 CS 506 332 AUTHOR Rivenburgh, Nancy K. TITLE China: The Television Revolution. PUB DATE Jul 88 NOTE 36p.; Paper presented at the Annual Meeting of the Association for Education in Journalism and Mass Communication (71st, Portland, OR, July 2-5, 1988). PUB TYPE Speeches/Conference Papers (150) -- Report. .4- Evaluative /Feasibility (142) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Audience Analysis; Foreign Countries; *Mass Media Role; *Popular Culture; Programing (Broadcast); Television Research; *Television Viewing IDENTIFIERS *China; Media Government Relationship; *Television History ABSTRACT What is currently happening in China is similar to what happened in the United States in the 1950s and the Soviet Union in the 1970s--television is quickly becoming a mainstay of popular entertainment and news. The Chinese government has made substantial efforts to provide television service to all regions of the country, with importance attached to satellite communications because of China's lergc and difficult geography. Purchases of television sets are rising, replacing radios as the new consumer status symbol. Modernization under Deng Xiaoping's administration has been critical in the development of the television industry; like all of China's mass communications systems, the television industry is operated by the government. Television is becoming less political and more a source of entertainment, although news is still the subject of greatest interest across all media, followed by sports, entertainment, and educational programming. Television's future as a popular and pervasive communications medium is probably irreversible, and is tied to the political and economic future of China. (One table of data is included; three tables of data and 68 references are appended.) (MM) 300000000000(XXXXXXXXXXXXXXXXYMMMMEM*300000(XXXXXXXXXXXX361XXXXXXXXXXXXX * Reproductions supplied oy EDRS are the best that can be made * * fror.