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Suzan Pitt Short Resume 2017 Website
SUZAN PITT abbreviated resume 1725 Burnell Drive, Los Angeles, CA 90065 Phone & Fax: (323) 352 4488 Email: [email protected] Animated Films Created by Suzan Pitt: 2013 PINBALL, 7 minutes, digital 2011 Visitation, 9 minutes, black and white 2006 El Doctor, 24 min., 35mm, color Prizes: Best Short Film, Sin Fronteras Film Festival, New Mexico (2006) Special Jury Prize, Huesca International Film Festival, Spain (2006) Best Animated Film, Ojai International Film Festival, Ojai, California (2006) First Prize for Animation, Morelia Film Festival, Michoacan, Morelia, Mexico (2006) First Prize for Animation, Arizona International Film Festival Tucson, Arizona (2007) Special Jury Prize, I Reel Film Festival, Seattle, Washington (2007) Selected Screenings El Doctor-And over 100 international film festivals 2006-2017 Museum of Modern Art, New York SICAF 2010, Seoul, Korea Pacifica Graduate Institute, Santa Barbara, CA Fest Anka, Slovakia Rio International Short Film Festival, Brazil And over 100 international film festivals 2006-2011 1995 Joy Street, 24 min., 35 mm, color 2004 Broadcast Sundance Channel 1998 NEMN Gold Apple Award 1997 Merit Award, International Wildlife Film Festival, Montana First Place for Short Film, Naples International Film Festival, Italy 1996 Sundance Film Festival- Park City, Utah London Film Festival- England Hiroshima International Animation Film Festival- Japan Cardiff International Festival of Film Animation- England Oslo International Animation Festival- Norway Festival due Noveau Cinéma- Montreal 24th Wellington -
The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA)
Recordings at Risk Sample Proposal (Fourth Call) Applicant: The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project: Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Portions of this successful proposal have been provided for the benefit of future Recordings at Risk applicants. Members of CLIR’s independent review panel were particularly impressed by these aspects of the proposal: • The broad scholarly and public appeal of the included filmmakers; • Well-articulated statements of significance and impact; • Strong letters of support from scholars; and, • A plan to interpret rights in a way to maximize access. Please direct any questions to program staff at [email protected] Application: 0000000148 Recordings at Risk Summary ID: 0000000148 Last submitted: Jun 28 2018 05:14 PM (EDT) Application Form Completed - Jun 28 2018 Form for "Application Form" Section 1: Project Summary Applicant Institution (Legal Name) The Regents of the University of California, Berkeley Applicant Institution (Colloquial Name) UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project Title (max. 50 words) Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Project Summary (max. 150 words) In conjunction with its world-renowned film exhibition program established in 1971, the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) began regularly recording guest speakers in its film theater in 1976. The first ten years of these recordings (1976-86) document what has become a hallmark of BAMPFA’s programming: in-person presentations by acclaimed directors, including luminaries of global cinema, groundbreaking independent filmmakers, documentarians, avant-garde artists, and leaders in academic and popular film criticism. -
TSAP 2016 Screening Schedule
To Save and Project: The 14th MoMA International Festival of Film Preservation Screening Schedule November 2–23, 2016 The Roy and Niuta Titus Theaters Cock of the Air. 1932. USA. Directed by Tom Buckingham. Screenplay by Charles Lederer, Robert E. Sherwood. With Chester Morris, Billie Dove, Matt Moore. Co-presented with the Academy of Motion Picture Arts & Sciences, this New York premiere kicks off To Save and Project. Producer Howard Hughes combined two of his principal interests—one of them was airplanes—for this amazingly raunchy comedy set in Europe during World War I, with Chester Morris as an American pilot with an international reputation as a womanizer and Billie Dove as a French actress determined to teach him a lesson. Hughes tried but failed to sneak the film past the Hays censorship office and was forced to cut nearly two reels of footage; this restoration from the Academy Film Archive includes much of the censored imagery and uses newly recorded dialogue to fill in lines removed from the surviving soundtrack. The unheralded director Tom Buckingham demonstrates a surprisingly assured hand with extreme long takes, a technique he may have learned as a writer on Tay Garnett’s Her Man. DCP. 80 min. Wednesday, November 2, 4:30 (introduced by Michael Pogorzelski, Director, and Heather Linville, Film Preservationist, Academy Film Archive) Sunday, November 6, 4:00 p.m. The Front Page. 1931. USA. Directed by Lewis Milestone. Screenplay by Ben Hecht, Charles MacArthur, based on their play. With Pat O’Brien, Adolphe Menjou, Mary Brian. Co-presented with the Academy of Motion Picture Arts & Sciences, this New York premiere kicks off To Save and Project. -
The American Film Institute and Philanthropic Support For
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Napier “IN THE BEST INTERESTS OF THE COUNTRY”: THE AMERICAN FILM INSTITUTE AND PHILANTHROPIC SUPPORT FOR AMERICAN EXPERIMENTAL AND INDEPENDENT CINEMA IN THE 1960s. BY R CI R RE A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF DOCTOR IN PHILOSOPHY AT EDINBURGH NAPIER UNIVERSITY APRIL 2013 ii Contents Tables ........................................................................................................................ vi Figures ....................................................................................................................... vi Acknowledgements .................................................................................................. vii Abbreviations .......................................................................................................... viii Abstract ..................................................................................................................... ix INTRODUCTION .......................................................................................................... 1 Defining Experimental and Independent Cinema ....................................................... 2 Personal Films and the Medium-Specific Evolution of Avant-Garde Cinema ........... 6 Philanthropic Support and Avant-Garde Arts ........................................................... 12 Experimental Cinema in Academic Institutions ...................................................... -
Title Page Design
1 Title page design 2 Note from Your Dramaturg 9/7/2020 Hello all! This is the casebook for our production of Let Me Down Easy. Within it is some research on the characters, the playwright, and other topics surrounding the play. There are 6 main sections of the casebook including a glossary and bibliography. Throughout the rehearsal process, I will be adding additional information to this casebook if it is needed. Anyone can request research, elaboration on a subject, or anything of interest to be added to the casebook. I also am always thinking of more fun things to add and expand on. I am more than glad to alter what is already written and add whatever is needed. Let’s create a magnificent show! Your Dramaturg, Ambree Feaster 3 Table of Contents The Playwright…………………………………………………………………………….4 The Play………………………………………………………………………………………6 Genre and Style……………………………………………………………………………………6 Anna Deavere Smith and Let Me Down Easy…………………………………….……7 Themes……………………………………………………………………………………………….7 Why This Play Now?........................................................................................8 Notable Productions……………………………………………………………………………..8 The World of Let Me Down Easy…………………………………………………….9 Fluidity………………………………………………………………………………………………..9 Early 2000s in American……………………………………………………………………….9 The Characters……………………………………………………………………..……..11 James H. Cone………………………………………………………………………………..……11 Elisabeth Streb…………………………………………………………………………………..…12 Lance Armstrong……………………………………………………………………………..……14 Sally Jenkins…………………………………………………………………………..…………….16 -
Venue Partner Supported By
Venue partner Supported by The Film & Video Workshop is an educational charity dedicated to helping people make animation and films We have 17 years of experience working in the film industry from our purpose-built London studio stop motion after effects animation animation techniques puppet making courses AE BAFTA winning tutor • specialists in animation • 17 years of teaching experience video production intensive video production taster production courses courses from as little as £55 craft of editing avid introduction nal cut pro beginners post-production nal cut pro advanced nal cut pro X dvd studio pro courses booking@filmworkshop.com www.filmworkshop.com 020 7607 8660 Directors Message Here we go again – another year, another festival. Time never seems to stand still at LIAF HQ, though sometimes we wish it did. Writing this introduction to the festival is like a sort-of taking stock for me. A time to reflect on the year that’s been. Moving LIAF two months later in the year (and into ‘festival season’ as everyone keeps telling me) is probably the biggest change for us this year. Out of late Summer and into early Autumn, where the nights are drawing in. Will that mean more people will be wanting to gather inside the warm, darkened spaces of the cinema? Let us see. We hope so, for once again we have scoured the globe and feasted on 2,300 + little animated gems from around the world in order to craft the festival that you see before your beady eyes. 277 films from 36 countries, and the usual broad mix of everything from scratch films, pinscreen, time-slice, live-action/animation hybrids, puppet, clay, drawn, scribbled and a whole lotta’ “how the hell have they done that?” films. -
Suzan Pitt and Jim Trainor: a Conversation in Light and Darkness
SUZAN PITT AND JIM TRAINOR: A CONVERSATION IN LIGHT AND DARKNESS NOVEMBER 1, 2011 8:30 PM presented by REDCAT Roy and Edna Disney/CalArts Theater California Institute of the Arts SUZAN PITT AND JIM TRAINOR: A CONVERSATION IN LIGHT AND DARKNESS Tue Nov 1 | 8:30 pm Jack H. Skirball Series Suzan Pitt and Jim Trainor have brought the art of animation to new levels of artistic maturity and depth, and their films entertain haunting correspondences with each other. Pitt’sVisitation (2011, 16mm) allows a glimpse into the strange and surrealist aura of “an outer-world night.” Her earlier El Doctor (2006, 35mm), which takes place in crumbling Mexican hospital, is a visual poem traveling between desperation and dark comedy. In Alpert Award winner Jim Trainor’s The Presentation Theme (2008), a Peruvian prisoner of war is outmaneuvered by a blood-drinking priestess. Also by Trainor: Harmony (2004), about animal and human guilt; The Magic Kingdom (2002), imagined in a blue-green jungle; and The Moschops (2000), a rueful account of faux prehistoric creatures. In person: Suzan Pitt, Jim Trainor “[Pitt’s] animation is a visual orgy… The experience of her work is of overwhelming generosity. She strips herself bare and gives her viewers a look directly into her very soul. She is sensuous, erotic, bold, brilliant, bizarre, adventurous, honest, candid and consumed with the creative process. Her art is a luscious ice cream cone dripping with despair, surreality, hope and redemption.” —Animation Nation “A quirky, original vision of human and animal nature…. Trainor’s lines and shapes don’t simply waver— they pulsate.” Heads and bodies change shape as if they were ready to burst in some kind of growth spurt. -
P. 1 CURRICULUM VITAE 1. Rose Rosengard Subotnik, Profess
Rose Rosengard Subotnik, Curriculum Vitae, through December 3, 2015: p. 1 CURRICULUM VITAE 1. Rose Rosengard Subotnik, Professor of Music Emerita /Visiting Professor of Music, Department of Music, Brown University. 2. WORK ADDRESS Box 1924 (Department of Music)/ Brown University /Providence, RI 02906 (401) 863-3234; [email protected] HOME ADDRESS 1 Meroke Court, Huntington Station, NY 11766 (631) 424-3927 cell: (401) 274-4264 3. EDUCATION B.A. with general honors in music, Wellesley College, 1963. M.A. in musicology, Columbia University, 1965. University of Vienna, 1965-66 (Fulbright Scholarship). Ph.D. in musicology, Columbia University, 1973. Dissertation Topic: "Art and Popularity in Lortzing's Operas: The Effects of Social Change on a National Operatic Genre." 4. PROFESSIONAL APPOINTMENTS University of Chicago, 1973-80. Assistant Professor of Music, Member, Committee on History of Culture. Boston University, Summer, 1980. Visiting Lecturer in the graduate musicology program. City University of New York Graduate Center, 1986-87. Visiting Associate Professor of Music. State University of New York at Stony Brook, Spring 1987. Visiting Lecturer in the graduate musicology program. Brown University, 1990-. Associate Professor of Music, 1990-93. Professor of Music, 1993-2008. Brandeis University, Spring Semester, Spring Semester, 1998. Visiting Professor of Music and Women's Studies. Brown University, Professor of Music Emerita, 2008-. Brown University, Fall, 2008: Visiting Professor of Music. Brown University, Spring, 2010: Adjunct Professor of Music. Rose Rosengard Subotnik, Curriculum Vitae, through December 3, 2015: p. 2 5. COMPLETED RESEARCH AND SCHOLARSHIP (FOR ARTICLES IN PRESS SEE ALSO BELOW, #6) “RESEARCH IN PROGRESS) a. Books: Developing Variations: Style and Ideology in Western Music (Minneapolis, University of Minnesota Press, 1991). -
Third Aspen Dialogue on U.S. Food Insecurity & Healthcare Costs
Third Aspen Dialogue on U.S. Food Insecurity & Healthcare Costs Aspen, CO – October 11-13, 2015 PARTICIPANT BIOGRAPHICAL INFORMATION Raymond Baxter, Senior Vice President, Community Benefit, Research and Health Policy, Kaiser Permanente As a member of Kaiser Permanente’s National Executive Team, Dr. Baxter leads the organization’s activities to fulfill its social mission, including care and coverage for low- income people, community health initiatives, health equity, environmental stewardship and support for community-based organizations. He also leads Kaiser Permanente’s work in research, health policy and diversity, and serves as President of Kaiser Permanente International. He serves on the advisory boards of the University of California, Berkeley School of Public Health and the Duke University Institute for Health Innovation; the boards of the CDC Foundation and the Global Agenda Council on Health of the World Economic Forum; and is a member of the Institute of Medicine’s Roundtable on Population Health Improvement and Roundtable on Value and Science- Driven Healthcare. In 2001, the University of California, Berkeley, School of Public Health honored him as a Public Health Hero for his service in the AIDS epidemic in San Francisco. In September 2006, he received the CDC Foundation Hero Award for addressing the health consequences of Hurricane Katrina in the Gulf Coast, and for his longstanding commitment to improving the health of communities. Dr. Baxter has more than 35 years of experience managing public health, hospital, long-term care and mental health programs, including heading the San Francisco Department of Public Health and the New York City Health and Hospitals Corporation. -
Animation Nations the State of America S Toon Boom Korea S 21St Century Goals
February 1997 Vol. 1 No. 11 Animation Nations The State of America s Toon Boom Korea s 21st Century Goals Piet Kroon on Animating in Two Worlds Jackie Leger on Suzan Pitt Table of Contents 3 Editor’s Notebook by Harvey Deneroff 5 Where the Action Is Harvey Deneroff sums up the current state of America’s animation industry, with an emphasis on recent mergia mania, feature films and prime time shows.. 10 The Lyon Conference (English & French - Anglais et Français) Jean-Luc Ballester talks how a 1983 government proposal changed the French animation industry and how the major entertainment union used it to improve working conditions for animation artists. 22 The Changing Winds of Korean Animation Chung-bae Park explains why South Korea is turning its attention to animation as part of its economic strategy for the 21st century. 25 Shin Dong Mun, an Old Warrior in Korean Animation John A. Lent interviews one of the pioneers of Korean animation, who had a profound effect on the course of the nation’s indigenous production. 28 Staying Ahead of the Game Jerry Hibbert, drawing from his own experience, provides some thoughts on the need for production companies to embrace change. 32 Animation in Singapore Gigi Hu reports on the current attempt by the island nation to bolster its fledgling animation industry. 36 Don’t Quit Your Day Job,Work the Night Shift Dutch filmmaker Piet Kroon contributes the first in an occasional series devoted to a day in the life of an animation artist. Herein, Kroon explores the whys and wherefors of how he balances working as an independent filmmaker while holding down a full-time job at Warner Bros. -
As a Hammer!), I Found Screenings, and Public Events, Providing Audiences an Myself Marveling Again and Again at the Seemingly Open and Lively Creative Forum
wexner center for the arts THE OHIO STATE UNIVERSITY In the Picture2012–2013 IN REVIEW Director’s Message Contents The Year in Pictures Exceptional Artistry Research and Education Outreach and Engagement Wexner Center Programs 2012–13 Thanks to You—Our Donors Wexner Center Staff and Volunteers A snapshot of life at the Wex: patrons and artists alike linked hundreds of photos (and memories) to our Instagram account. Director’s Equally powerful was the electrifying current between lifelong entertainer and social activist Harry Message Belafonte and the much younger Ohio State Law Professor and nationally acclaimed author Michelle Alexander. They too were brought together for the first time by the Wexner Center to offer further context around our screening of the documentary Sing Your Song, a chronicle of Belafonte’s brave and uncompromising pursuit of racial justice and equality that began in the 1950s. Their remarkable conversation highlighted On December 30, 2012, capacity crowds filled the Mr. Belafonte’s surpassing moral authority and galleries of the Wexner Center—and at several points indomitable spirit, alongside Ms. Alexander’s brilliant and during that clear but chilly day, hundreds were lined commanding intellect. Moreover, it revealed, to virtually up outside—for what would be their last chance to everyone’s surprise, the uncanny intersection in their see a landmark exhibition of Annie Leibovitz’s work. mutual (and fierce) commitment to expose and remedy Witnessing that moment was enormously gratifying the disproportionate incarceration of young African to all of us at the Wex—just one of many memorable American men in this country today. -
National Endowment for the Arts Annual Report 1995
P R E S I D E N T ’ S M E S S A G E To The Congress of The United States: It is my pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1995. On September 29, 1995, at the close of the fiscal year, the Arts Endowment celebrated its 30th anniversary. A young man or woman born at the same time as this Federal agency’s establishment has enjoyed access to the arts and culture unparalleled in the history of the country. The National Endowment for the Arts has helped bring tens of thousands of artists into schools, teaching tens of millions of students about the power of the creative imagination. This small Federal agency has helped launch a national cultural network that has grown in size and quality these past 30 years. This Annual Report is another chapter in a great success story. In these pages, you will find projects that bring the arts to people in every State and in thousands of commu nities from Putney, Vermont, to Mammoth Lakes, California. The difference art makes in our lives is profound; we see more clearly, listen more intently, and respond to our fellow man with deeper understanding and empathy. In these challenging times, when some question the value of public support for the arts, we should reflect upon our obligation to the common good. The arts are not a luxury, but a vital part of our national character and our individual human spirit. The poet Langston Hughes said, "Bring me all of your dreams, you dreamers.