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University of California, Irvine an Exploration Into
UNIVERSITY OF CALIFORNIA, IRVINE AN EXPLORATION INTO DIGITAL TECHNOLOGY AND APPLICATIONS FOR THE ADVANCEMENT OF DANCE EDUCATION THESIS Submitted in partial satisfaction of the requirements for the degree of MASTER OF FINE ARTS In Dance by Carl D. Sanders, Jr. Thesis Committee: Professor Lisa Naugle, PhD, Chair Professor Mary Corey Professor Alan Terricciano 2021 ©2021 Carl D. Sanders, Jr. DEDICATION To My supportive wife Mariana Sanders My loyal alebrijes Koda-Bella-Zen My loving mother Faye and father Carl Sanders My encouraging sister Shawana Sanders-Swain My spiritual brothers Dr. Ras Mikey C., Marc Spaulding, and Marshall King Those who have contributed to my life experiences, shaping my artistry. ii TABLE OF CONTENTS Pages ACKNOWLEDGEMENTS iv ABSTRACT OF THE THESIS v INTRODUCTION 1 CHAPTER 1: Review of Literature Digital Literacy in Dance 5 CHAPTER 2: Methods Dance Education and Autonomous Exploration 15 CHAPTER 3: Findings Robotics for Dancers 23 CONCLUSION 29 BIBLIOGRAPHY 31 APPENDIX: Project Video-Link Archive 36 Robot Engineering Info. Project Equipment List iii ACKNOWLEDGMENTS I would like to express my deepest gratitude to my Master of Fine Arts in Dance Thesis Committee Chair Lisa Naugle for her guidance, inspiration, compassion, intellect, enthusiasm, and trust to take on this research by following my instincts as an artist and guiding me as an emerging scholar. I also thank the committee members Professor Mary Corey and Professor Alan Terricciano for their support, encouragement, and advice throughout my research and academic journey. Thank you to the Claire Trevor School of the Arts Dance Department faculty, without your support this thesis would not have been possible;. -
The Dracula Film Adaptations
DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no. -
The Horror Film Series
Ihe Museum of Modern Art No. 11 jest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Saturday, February 6, I965 FOR IMMEDIATE RELEASE The Museum of Modern Art Film Library will present THE HORROR FILM, a series of 20 films, from February 7 through April, 18. Selected by Arthur L. Mayer, the series is planned as a representative sampling, not a comprehensive survey, of the horror genre. The pictures range from the early German fantasies and legends, THE CABINET OF DR. CALIGARI (I9I9), NOSFERATU (1922), to the recent Roger Corman-Vincent Price British series of adaptations of Edgar Allan Poe, represented here by THE MASQUE OF THE RED DEATH (I96IO. Milestones of American horror films, the Universal series in the 1950s, include THE PHANTOM OF THE OPERA (1925), FRANKENSTEIN (1951), his BRIDE (l$55), his SON (1929), and THE MUMMY (1953). The resurgence of the horror film in the 1940s, as seen in a series produced by Val Lewton at RR0, is represented by THE CAT PEOPLE (19^), THE CURSE OF THE CAT PEOPLE (19^4), I WALKED WITH A ZOMBIE (19*£), and THE BODY SNAT0HER (19^5). Richard Griffith, Director of the Film Library, and Mr. Mayer, in their book, The Movies, state that "In true horror films, the archcriminal becomes the archfiend the first and greatest of whom was undoubtedly Lon Chaney. ...The year Lon Chaney died [1951], his director, Tod Browning,filmed DRACULA and therewith launched the full vogue of horror films. What made DRACULA a turning-point was that it did not attempt to explain away its tale of vampirism and supernatural horrors. -
Fotp18 Mad Science Cinema Film Series Flyer
Mad Science Cinema Friday, September 14 · 12:30 p.m. One Book, Frankenstein One Community 2018 This is the original full‐length feature film adaptation of Mary Shelley’s novel, and the one that gave us the visual image of the Monster that we all Film Series recognize. Colin Clive stars as Dr. Frankenstein, with Boris Karloff as his Creature. People all over the world are reading 1931 / 70 min. / Not rated / © Universal Frankenstein this year in celebration of Friday, September 28 · 12:30 p.m. the 200th anniversary of its publication, and The Bride of Frankenstein Fayette County is getting Clive and Karloff return in this sequel in which the scientist builds his in on the fun! Creature a mate. Elsa Lanchester plays dual roles, appearing both as the The Fayette County Public Bride and as author Mary Shelley, in a story‐within‐a‐story format. Library, in partnership with 1935 / 75 min. / Not rated / © Universal the Friends of the Fayette County Public Library, presents a series of Saturday, September 29 · CREATURE TRIPLE FEATURE free community activities Frankenstein: 10:00 a.m. focusing on Repeat Screenings! Frankenstein The Bride of Frankenstein: 12:00 noon by Mary Shelley. A.I. Artificial Intelligence: 3:00 p.m. The Fayette on the Page 2018 Film Series Friday, October 5 · 12:30 p.m. offers a collection of cinematic stories A.I. Artificial Intelligence influenced by Shelley’s tale Frankenstein has influenced numerous stories of the ramifications of of Victor Frankenstein and his unfortunate Creature. manmade creatures. Here is one that will definitely make you think. -
Torrance Herald
THURSDAY, FEBRUARY 11, 1932 TOftRANCE HERALD. Torrance, Calif. PAGE 3-B 1 BABY NEEDS NEW .SHOES What's On Next Week In Nearby Theatres WE5JC OF THURSDAY FRIDAY SATURDAY SUNDAY WON DAV TUESDAY WEDNESDAY Fab. 11 to, Feb. 17 FEBRUARY 11 FEBRUARY 12 FEBRUARY 13 FEBRUARY 14 FEBRU IkRY 15 FEBRUARY 16 FEBRUARY 17 ^^^^H "THE LEO CARRILLO XV It 41 DOUGLAS V**^. v A | JHIH^HH Bros. SECRET -THE GUILTY *| 1**,^*% "'T^ fi.ai-i.rfcf 8AN PEDRO j WITNESS" GENERATION" VxIIlUll itoVioiBu. J^CLJVJl Him VT*Aiiiukswr CONSTANCE CUMMINGS JLV FOX i O 99 —2 FEATURE PICTURES eje^e^e^ H^en^H. 'The Guardsman' s^f ^E° " S K Y D E V 1 1i iJ % RUTH CHATTERTON in GRANADA 1 IlC VlUai UdillalK ,.THE-*^NET with an ALL STAR CAJ3T "Tomorrow and Tomorrow" WILMWGTON with ALFRED LUNT, PATROL" Monday Night Only- ALSO H^^PHn General or Any ROLAND YOUNG Admission bwCTime and JZASU PITTS with ^^n"°^ AUCTION NITE - G IFTS "X Marks The Spot" «at fox redondo i''ox Chain Under a t.warner.•'.'' ',• ' 1_bros, . the-, . srr«cnfoui. attraction.(tays, playln!? H is lhrouBhbooked K<t><jgister Now Death Valley Gets New Management fian nedrO Wednesday. DouKlas Fairbanks, For Election Phone Connections 'Shanghai Express" and oan pt-u^iu Jr is thp stai. ana the ona,.mlng Five hundred theaters of the Held April 11 "Emma" Coming N«xt Joan Blondell plays opposite him. Death Valley, enshrouded for ^^MBT' ^^ Week ^-cst coast and middle west are T I pierce l today by telephone lent February 15 when Skouras Booked at San Pedro favorites have been cast together, eonling municipal election on April voices Friday'and Saturday at the Fox f for 1 Iros., chain theater operators ot ShOW House "Union Depot" la a rare combl- 11 must register before midnight le first time. -
English 2333: an Abbreviated Frankenstein Filmography Dr
English 2333: An Abbreviated Frankenstein Filmography Dr. Monica Smith [Before this class meeting, students watch the Edison Frankenstein for homework and answer three questions, and we begin class by reviewing these questions: 1) What version of the Creature does this film present: the Creature as monster, the creature as human, or something in between? 2) What aspects of Shelley’s story (characterization, plot detail, setting, imagery) have the filmmakers kept? What has been deleted? To what effect? 3) What role does music play in this film?] Frankenstein (usually called The 1910 Edison Frankenstein) Director J. Searle Dawley. Starring Charles Ogle. Edison, 1910. Silent film. Approximately 13 minutes. This is the earliest known film version of Frankenstein. Regrettably, the only surviving copy was held by a private collector who refused to let film students and scholars study or even view it. Now the film fortunately has passed into the public domain and is available via Google video. Frankenstein Director James Whale. Starring Boris Karloff, Colin Clive, and Mae Clarke. Produced by Carl Laemmle, Jr. Adaptation by Robert Florey and John L. Balderston. Screenplay by Garrett Fort, Robert Florey, and Francis Edward Faragoh. Based on the play by Peggy Webling. Universal, 1931. 71 minutes. This version makes substantive changes to both plot and character, renaming our protagonist, for one example, “Dr. Henry Frankenstein,” and calling his friend “Victor.” This film gives us many of the stock elements of the twentieth-century Frankenstein myth: the mad scientist in a castle on a mountaintop who cries “It’s alive! It’s alive!” when his reanimation is successful, the scientist’s hunchbacked assistant, and the robot-like, inarticulate creature with bolts in his neck. -
Dracula: the Music and Film
October 1999 Brooklyn Academy of Music 1999 Next Wave Festival BAMcinematek Brooklyn Philharmonic 651 ARTS Jennifer Bartlett, House: Large Grid, 1998 BAM Next Wave Festival sponsored by PHILIP MORRIS ~lA6(Blll COMPANIES INC. Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents in association with Universal Pictures Dracula: the Music and Film Running time: BAM Opera House approximately 1 hour October 26 and 27, 1999, at 7:30 p.m. and 25 minutes, with Original Music Philip Glass no intermission Performed by Philip Glass and Kronos Quartet Violin David Harrington Violin John Sherba Viola Hank Dutt Cello Jennifer Culp Conductor Michael Riesman Music Production Kurt Munkasci Scenery and Lighting Designer John Michael Deegan Sound Designer Mark Grey Producer Linda Greenberg Tour Management Pomegranate Arts © Dunvagen Music Publishers, Inc. Dracula: The Music and Film has been made possible with the generous support of Universal Family & Home Entertainment Productions, and Universal Studios Home Video. Technical support for the development of Dracula: The Music and Film was provided by The John Harms Center for the Arts, Englewood, New Jersey. Film sound equipment donated by Dolby Laboratories, Inc. Additional loud speakers provided by Meyer Sound Laboratories, Berkeley, California. 17 • • thp 1\/11 I,ir ~ nrl ~i Im Production Manager Doug Witney Aud io Engineer Mark Grey Production Stage Manager, Lighting Supervisor Larry Neff Company Manager Carol Patella Music Production Euphorbia Productions Stylist Kasia Walicka Maimone Assistant Stylist Stacy Saltzman Press Representation Annie Ohayon and Reyna Mastrosimone, Annie Ohayon Media (New York, New York) Kronos Quartet Managing Director Janet Cowperthwaite Associate Director Laird Rodet Technical Director Larry Neff Business Manager Sandie Schaaf Office Manager Leslie Mainer Assistant to Managing Director Ave Maria Hackett Record ing Projects Coord inator Sidney Chen PO. -
Frankenstein (1931) Director: James Whale
Frankenstein (1931) Director: James Whale Grave-robbing scene occurs near the Bavarian mountain village of Goldstadt, Transylvania. Crouched in the background from behind the cemetery fence, medical scientist Dr. Henry Frankenstein (Colin Clive) and his hunchbacked assistant Fritz (Dwight Frye) eagerly watch the proceedings. Frankenstein: "He's just resting - waiting for a new life to come." Fritz reluctantly climbs up a post and cuts down an executed criminal hanging from a gallows' rope. "The neck's broken; the brain is useless. We must find another brain," laments Frankenstein. Needing only a brain, Dr. Frankenstein sends his dwarfish assistant to his old, nearby medical school (Goldstadt Medical College) to steal one. College Professor Waldman (Edward van Sloan), in front of floodlights, teaches about the differences between a normal brain ("one of the most perfect specimens of the human brain") and the degenerate murderer's brain ("the abnormal brain of the typical criminal"). The Professor delineates the degenerative characteristics of the criminal brain - "the scarcity of convolutions on the frontal lobe...and the distinct degeneration of the middle frontal lobe." Fritz has an accident and takes the second choice. Dr. Frankenstein’s history at the University. Dr. Henry Frankenstein’s creation is revealed. “This storm will be magnificent. All the electrical secrets of Heaven. And this time we're ready, eh Fritz?” From under the blanket covering the corpse, a blackened, scarred arm protrudes outward. Henry calms Fritz's jittery nerves as he caresses the arm of the inanimate corpse: “There's nothing to fear. Look. No blood, no decay. Just a few stitches. -
Guide to the William K
Guide to the William K. Everson Collection George Amberg Memorial Film Study Center Department of Cinema Studies Tisch School of the Arts New York University Descriptive Summary Creator: Everson, William Keith Title: William K. Everson Collection Dates: 1894-1997 Historical/Biographical Note William K. Everson: Selected Bibliography I. Books by Everson Shakespeare in Hollywood. New York: US Information Service, 1957. The Western, From Silents to Cinerama. New York: Orion Press, 1962 (co-authored with George N. Fenin). The American Movie. New York: Atheneum, 1963. The Bad Guys: A Pictorial History of the Movie Villain. New York: Citadel Press, 1964. The Films of Laurel and Hardy. New York: Citadel Press, 1967. The Art of W.C. Fields. Indianapolis: Bobbs-Merrill, 1967. A Pictorial History of the Western Film. Secaucus, N.J.: Citadel Press, 1969. The Films of Hal Roach. New York: Museum of Modern Art, 1971. The Detective in Film. Secaucus, N.J.: Citadel Press, 1972. The Western, from Silents to the Seventies. Rev. ed. New York: Grossman, 1973. (Co-authored with George N. Fenin). Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1974. Claudette Colbert. New York: Pyramid Publications, 1976. American Silent Film. New York: Oxford University Press, 1978, Love in the Film. Secaucus, N.J.: Citadel Press, 1979. More Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1986. The Hollywood Western: 90 Years of Cowboys and Indians, Train Robbers, Sheriffs and Gunslingers, and Assorted Heroes and Desperados. Secaucus, N.J.: Carol Pub. Group, 1992. Hollywood Bedlam: Classic Screwball Comedies. Secaucus, N.J.: Carol Pub. Group, 1994. -
Vampire Movies Final.Indd
The Vampire Library ADAM WOOG San Diego, CA ® For Stephanie Wichmann and Mary Alice Tully, my favorite vampire fans. About the Author Adam Woog has written many books for adults, young adults, and children. He and his wife live in Seattle, Washington. ey have a daughter who is in college. ©2011 ReferencePoint Press, Inc. For more information, contact: ReferencePoint Press, Inc. PO Box 27779 San Diego, CA 92198 www.ReferencePointPress.com ALL RIGHTS RESERVED No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means —graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution, or information storage retrieval systems—without the written permission of the publisher. Picture credits: Cover: iStockphoto.com Fortean Picture Library: 6 iStockphoto.com: 14, 41 Photofest: 10, 19, 26, 31, 49, 52, 56, 60, 66, 70 Series design and book layout: Amy Stirnkorb LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Woog, Adam, 1953- Vampires in the movies / by Adam Woog. p. cm. -- (The vampire library series) Includes bibliographical references and index. ISBN-13: 978-1-60152-135-4 (hardback) ISBN-10: 1-60152-135-9 (hardback) 1. Vampire fi lms--History and criticism--Juvenile literature. I. Title. PN1995.9.V3W66 2010 791.43’675--dc22 2010017982 Contents Introduction: Blood-Sucking Stars of the Silver Screen 4 Chapter 1: Dawn of the Movie Undead 8 Chapter 2: e Vampire Evolves 22 Chapter 3: Blockbusters and Other Twists on an Immortal Tale 35 Chapter 4: e Building Blocks of Vampire Flicks 50 Chapter 5: Breaking the Mold 63 Source Notes 76 For Further Exploration 77 Index 78 Introduction Blood-Sucking Stars of the Silver Screen ampires, those bloodthirsty creatures of the night, have been staples of horror movies since the dawn Vof fi lmmaking. -
For Immediate Release Enzian Theater Announces Universal Classic Monsters Week and Ella Fitzgerald Documentary June 26 – July
Media Contact: Valerie Cisneros [email protected] 407-629-1088 x302 FOR IMMEDIATE RELEASE ENZIAN THEATER ANNOUNCES UNIVERSAL CLASSIC MONSTERS WEEK AND ELLA FITZGERALD DOCUMENTARY JUNE 26 – JULY 2 Orlando, FL – (June 23, 2020) – Perhaps the most influential cycle of films in cinema history, the Universal Classic Monsters of the ‘30s, ‘40s, and early ‘50s have proven to be immortal—dreamlike, macabre, horrific, atmospheric, haunting, and among the most wonderfully crafted films of all time. Spawning hundreds of knock-offs, sequels, models, comic books, magazines, books, toys, t-shirts, lunch boxes and more, these iconic film masterpieces have had a profound effect on the art and culture of multiple generations of movie fans. Based on the works of famed authors such as Bram Stoker, Mary Shelley, H.G. Wells and Gaston Leroux—and featuring the filmmaking talents of celebrated directors such as Tod Browning, James Whale, and Jack Arnold, along with legendary actors like Bela Lugosi, Boris Karloff, Claude Rains, Elsa Lanchester, and Lon Chaney, Jr.—these 8 classics are where it all started for genre lovers (and you know who you are!) For the first time in Enzian’s history, all of them can be seen in the same week. Amazing! In addition to Universal Classic Monsters Week, we are thrilled to bring in Ella Fitzgerald: Just One of Those Things, a documentary that traces the story of Ella Fitzgerald’s life and explores how her music became a soundtrack for a tumultuous century. Enzian is also excited to be able to reschedule special programming that was postponed due to the pandemic. -
Learnaboutmovieposters.Com April 2017 Aston's Film & Music
LearnAboutMoviePosters.com April 2017 Aston’s Film & Music Memorabilia & Comic Book Auction Tuesday, May 2nd Aston’s Auctioneers & Valuers will present its Film & Music Memorabilia & Comic Book Auction on Tuesday, May 2nd beginning at 11am UTC. Viewing Monday 1st May 12pm to 4pm UTC and 9am to 11am UTC on auction day. Buyer's premium 20% +VAT Star lots include: 44 - "Thunderbirds Are Go" (1966) British Quad film poster first release. Estimate £300 - £500 51 - "Carry on Spying" (1964) British Quad film poster first release. Estimate £400 - £600 97 - "Star Wars" (1977) 1st release US one sheet film poster. Estimate £500 - £800 236 - "Return of the Jedi" Star Wars (1983) teaser British Quad film poster. Estimate £300 - £500 252 - "Goldfinger" (1964) Rare 1st release British Quad film poster. Estimate £1000 - £2000 253 - "Thunderball" (1965) 1st release original British Quad film poster. Estimate £800 - £1200 Download the auction catalogue below. 2 Reserve tickets and hotel before May 1st Reserve now! Registration form is online - pay by mail or online. The Cinevent Hotel room block is only open until May 1st with limited availability remaining for some nights.* *If you try to book your room and are told you cannot do so, call us at 866-785-7687 or email [email protected] with details about what nights you are trying to reserve and what type of room (King or 2 Queens). We will do our best to assist you but cannot guarantee you will get a reduced rate for all nights. For details on alternative lodging options and other common questions, visit our Frequently Asked Questions page.