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As Writers of Film and Television and Members of the Writers Guild Of
July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C. -
Two-Day Snowstorm Buries Thoughts "5T-—-—
25C H0AG 5 SONS' 30-v J0 :< n rnr - BlHDEfi V » M 0J}T' ^ I CHI GAB The Lowell 49284 Volume 14, Issue 16 Serving Lowell Area Readers Since 1893 Wednesday, February 28, 1990 Along Main Street Two-day snowstorm buries thoughts "5T-—-— r n. i BUSHNELL PROGRAM WILL AIR ON LCTV <-> V* The Rushnell Elementary School first and second grade iisical program, "Mice From Outer Space", directed by ichel Niemi, will be shown on Lowell Cable TV, Channel 9. The program will be shown Wednesday, Feb. 28 at 12 noon; Thursday, Mar. I at 5 p.m.; Friday, Mar. 2 at 7 p.m. and Saturday, Mar. 3 at 10 a.m. DGER UPDATING BIRTHDAY COLUMN The Ledger is correcting and updating its Birthday List so that none are printed in error and all are included who ish to be. We will begin publishing our new listing with the March 7, 1W0 issue and would appreciate it if you would fill out the form which will be found at the bottom of the Birthday column for the next few issues of the Ledger. Bfou may drop it off at the Ledger office or mail it to: Birthdays, 105 N. Broadway, P.O. Box 128, Lowell, MI 49331. SLIDE PRESENTATION - MARCH 16 e Lowell Senior Travelers are planning a trip to Swit- nd, Germany and Austria including "The Passion Play", leaving May 31 and returning June 14. ere will be a slide presentation at Schnieder Manor on What a little boy will do for a Big Mac. Kevin Couture Lowell was pelted with eight inches of snow late Thursday ch 16 from 2 to 4 p.m. -
Shows Fit for a King's Castle!
™ — P 3 OUR ALMOST SHOWS FIT FOR A TELL-ALL INTERVIEW: RHONDA VINCENT’S KING’S CASTLE! CHRISTMAS IN BRANSON! ■ HER SHOW ■ HER GUEST STARS & WHAT SHE WON’T TELL US! GLOBAL SENSATIONS DAZZLE BRANSON! INSIDE: (& BLOW UP TRIP ADVISOR!) ■ VETERANS HOMECOMING! ■ HUGE HUGHES NEWS! ALSO APPEARING AT — P 11 PLUS KING’S CASTLE— ■ THE NEW SHOW MADE FOR TV! — P 9 SHOW SCHEDULE • MAP • FOOD • SHOPPING • FUN! ADVENTURES WITH YAKOV! marked the beginning of the end of the Cold War, and ultimately of the Soviet Union’s socialist empire. For Yakov, it was the role of a lifetime. He grew up in Joseph Stalin’s USSR, his family sharing a small apartment with eight other families. Somehow, he was able to find joy in making others laugh. After two years of required service in the Soviet Army, he landed a comedy job on a cruise ship, yet always under the watchful eye of the KGB and Soviet authorities who carefully reviewed all his material. e’s back, giving us a golden After two years of paperwork, Yakov and his opportunity to experience one of the family were finally allowed to emigrate to most amazing entertainers of all time! America. They arrived in New York with less than a hundred dollars in their pockets. HIt’s a short window— but it’s an opportunity that would be wise to seize, for it’s rare to As always, Yakov’s comedy draws from the witness a performer whose influence actually news and from life—ours as well as his. But played a role in changing our world! that’s not all. -
AFI PREVIEW Is Published by the Age 46
ISSUE 72 AFI SILVER THEATRE AND CULTURAL CENTER AFI.com/Silver JULY 2–SEPTEMBER 16, 2015 ‘90s Cinema Now Best of the ‘80s Ingrid Bergman Centennial Tell It Like It Is: Black Independents in New York Tell It Like It Is: Contents Black Independents in New York, 1968–1986 Tell It Like It Is: Black Independents in New York, 1968–1986 ........................2 July 4–September 5 Keepin’ It Real: ‘90s Cinema Now ............4 In early 1968, William Greaves began shooting in Central Park, and the resulting film, SYMBIOPSYCHOTAXIPLASM: TAKE ONE, came to be considered one of the major works of American independent cinema. Later that year, following Ingrid Bergman Centennial .......................9 a staff strike, WNET’s newly created program BLACK JOURNAL (with Greaves as executive producer) was established “under black editorial control,” becoming the first nationally syndicated newsmagazine of its kind, and home base for a Best of Totally Awesome: new generation of filmmakers redefining documentary. 1968 also marked the production of the first Hollywood studio film Great Films of the 1980s .....................13 directed by an African American, Gordon Park’s THE LEARNING TREE. Shortly thereafter, actor/playwright/screenwriter/ novelist Bill Gunn directed the studio-backed STOP, which remains unreleased by Warner Bros. to this day. Gunn, rejected Bugs Bunny 75th Anniversary ...............14 by the industry that had courted him, then directed the independent classic GANJA AND HESS, ushering in a new type of horror film — which Ishmael Reed called “what might be the country’s most intellectual and sophisticated horror films.” Calendar ............................................15 This survey is comprised of key films produced between 1968 and 1986, when Spike Lee’s first feature, the independently Special Engagements ............12-14, 16 produced SHE’S GOTTA HAVE IT, was released theatrically — and followed by a new era of studio filmmaking by black directors. -
Film 150: Screenwriting
PROVISIONAL SYLLABUS: Subject to Change – Film 150: Screenwriting Film 150 Screenwriting (M & F 1 - 5 pm) Natasha V. Summer Session 1: June 26 - July 28 [email protected] Class Location: Rm 141, Soc Sci 2 Office Hours: M/F noon - 1 b4 class Office Location: TBA And by appt (email request) This is an introductory course in which students learn some basic principles of screenwriting, in the context of a Sketch Comedy Workshop class. Emphasis this Summer is on Sketch Comedy Writing, and how Sketch differs from other types of comedy (Stand Up, Sitcoms, Comedic Feature Films, & Improv vs. Written Skits.) Telling jokes is how we critique and understand the world, ourselves, and other people. Having a funny idea, and wanting to share it, is a deeply human impulse. Your job, as screenwriters, is to learn to write your sketches in the funniest, most effective way possible for an audience. You want to move people to laughter so they can understand something new and unique about life. The main activity of this class is writing——you’ll write at least TEN short comedy sketches, ½ - 4 pages in length each. (“Brevity is the soul of wit” – W. Shakespeare.) We will be primarily concerned with STRUCTURE, CHARACTER, and HUMOR, as key components in sketch writing. We will analyze television sketch shows and your own scripts in terms of their structure, characters, and comedic effectiveness. Becoming a better writer is a journey, and we all learn by attempting things and growing beyond our limitations. We learn by WRITING, first and foremost. I will expect you to write MORE sketches than those you decide to present in class, and I expect you to revise your writing both before and after you present in class. -
Disclaimer—& 71 Book Quotes
Links within “Main” & Disclaimer & 71 Book Quotes 1. The Decoration of Independence - Upload (PDF) of Catch Me If You Can QUOTE - Two Little Mice (imdb) 2. know their rights - State constitution (United States) (Wiki) 3. cop-like expression - Miranda warning (wiki) 4. challenge the industry - Hook - Don’t Mess With Me Man, I’m A Lawyer (Youtube—0:04) 5. a fairly short explanation of the industry - Big Daddy - That Guy Doesn’t Count. He Can’t Even Read (Youtube—0:03) 6. 2 - The Prestige - Teach You How To Read (Youtube—0:12) 7. how and why - Upload (PDF) of Therein lies the rub (idiom definition) 8. it’s very difficult just to organize the industry’s tactics - Upload (PDF) of In the weeds (definition—wiktionary) 9. 2 - Upload (PDF) of Tease out (idiom definition) 10. blended - Spaghetti junction (wiki) 11. 2 - Upload (PDF) of Foreshadowing (wiki) 12. 3 - Patience (wiki) 13. first few hundred lines (not sentences) or so - Stretching (wiki) 14. 2 - Warming up (wiki) 15. pictures - Mug shot (wiki) 16. not much fun involved - South Park - Cartmanland (GIF) (Giphy) (Youtube—0:12) 17. The Cat in the Hat - The Cat in the Hat (wiki) 18. more of them have a college degree than ever before - Correlation and dependence (wiki) 19. hopefully someone was injured - Tropic Thunder - We’ll weep for him…In the press (GetYarn) (Youtube—0:11) 20. 2 - Wedding Crashers - Funeral Scene (Youtube—0:42) 21. many cheat - Casino (1995) - Cheater’s Justice (Youtube—1:33) 22. house of representatives - Upload (PDF) Pic of Messy House—Kids Doing Whatever—Parent Just Sitting There & Pregnant 23. -
FERAL Anthf M
BOOK RELEASE "'J-laf!fwmJ suu;e swp; Gifford, Idaho Sunday, August LI,. Noon to Ll-p.m. At the home of Don and Donna Southern, intersection of Main street and Kettenbauch Grade, downtown Gifford FRESH VARIETY IS IN SEASON! From left: Jerry Seinfeld, Jason Alexander, Julia Louis-Dreyfus and Michael Richard. 701 BRIDGE ST., CLllRl<STON (509) 780-1403 • MON-SAT 8 llM-7 PM ~ & SUN 9 AM-6 PM ' e1n ' at Visit From Patton Oswalt to l{athy Griffin, laugh machine." By the time he made his guest stars describe a comedy machine "Seinfeld" debut as Ben, Elaine's N w erry quare almost-doctor-boyfriend in By Christi Carras Before starring in hit TV Season 8's "The Abstinence," for shopping and dining and see OF THE LOS ANGELES TIMES series from "Lost" to "Breaking the actor already had experi some changes coming in July. Bad," many now-established per ence working on comedy series e's been 30 years since formers booked guest roles on such as "The Ben Stiller Show" Shop consolidation has made "Seinfeld" catapulted Jerry "Seinfeld" early in their careers. and "Saturday Night Live," but Seinfeld, Julia Louis-Dreyfus, Decades lacer, Bob Odenkirk, "Seinfeld" marked another level room for Tenacious P's Teas & Jason Alexander and Michael Patton Oswalt, Kathy Griffin, of efficiency and professionalism. Richards into superstar Daniel Dae Kim and Molly "lt was this very well-run Commodities to join the dom. But the sitcom, which Shannon recalled their awe machine of hilarity, with total Ipremiered (as "The Seinfeld and trepidation when they first pros alJ around me - some Newberry family. -
To Colleen Mcgarr & Duncan Strauss What I Feel Most Moved to Write, That
AMERICAN SCREAM . Copyright © 2002 by Cynthia True. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. For information address HarperCollins Publishers Inc., 10 East 53rd Street, New York, NY 10022. HarperCollins books may be purchased for educational, business, or sales promotional use. For information please write: Special Markets Department, HarperCollins Publishers Inc., 10 East 53rd Street, New York, NY 10022. FIRST EDITION Designed by C. Linda Dingler Printed on acid-free paper Library of Congress Cataloging-in-Publication Data True, Cynthia, 1969- American Scream : the Bill Hicks story / Cynthia True. -- 1st ed. p. cm. ISBN 0-380-80377-1 1. Hicks, Bill, 1961-1993. 2. Comedians -- United States -- Biography. I. Title PN2287.H495 T78 2002 792.7'028'092 -- dc21 [B] 2001039320 02 03 04 05 06 RRD 10 9 8 7 6 5 4 3 To Colleen McGarr & Duncan Strauss What I feel most moved to write, that is banned -- it will not pay. Yet, altogether, write the other way I cannot. -- HERMAN MELVILLE Foreword When asked to write the foreword of this book I was initially reticent about doing so. There are hundreds of other people more qualified for this task, not only because of their superior writing skills, but also because of their deeper connection to the man honored in this book. Be that as it may, Cynthia True asked me to try because she knew how much I respected and was informed by his talent. -
From AP Graphicsbank
Broadcasting: FIRST IN TELEVISION CABLE RADIO SATELLITE J FOX GOES FULL SERVICE FOR FALL / ' JPPV SUMMIT: PROMISE OF TECHNOLOGY, THREAT OF COMPETITION / 94 J TV GROUP OWNERS FIND LITTLE SYMPATHY ON WALL STREET / The Right Image. Right Now From AP GraphicsBank. Television's Most Reliable Resource. Ap 1 -800 -821 -4747 Illlllllllllllnnlllllllflll Ij Iz 554 Anua> g**'#sks#*APR933BR232T ¿4u 55430 öRU7KLYN CENTE MN FuLL ALL CASH. To i THESE STATIONS KNOW IT 144141 THEY SEE IT! NEW YORK WWOR HARTFORD WTXX Los ANGELES KCOP PORTLAND KPTV CHICAGO WPWR CHARLOTTE WJZY PHILADELPHIA WGBS NEW ORLEANS WNOL SAN FRANCISCO.... KBHK HARRISB ray WPMT ATLANTA WGNX AUSTIN KBVO CLEVELAND WUAB HONOLULU KFVE MINNEAPOLIS KMSP EL PASO KCIK MIAMI WDZL MONTEREY KNTV PHOENIX KUTP BOISE KTRV MOVIES THE WAY THEY USED TO BE! WARNER BROS. DOMESTIC TELEVISION DISTRIBUTION A Time Warner Company Broadcastingra @DEJ [Rh TV NETWORK 'REBOUND' IS STILL TENTATIVE Third -quarter scatter market dependent on NBC strategy; regular budgets off 6.5% in first quarter, according to network study Networks hope spending by auto advertisers will drive revenue By Geoffrey Foisie pricing, and even agency executives the summer games will rob money acknowledge the network has a good from regular network ad budgets, as NBC's vulnerability in pricing its chance to continue holding that line. appears to have been the case with remaining Olympics inventory Allison Danzberger of Foote Cone & the winter games. As a result of Olym- threatens to spread to ABC and Belding said that unlike the final win- pic siphoning, the "underlying" reve- CBS, a development that would hurt ter Olympics ad sales, NBC has the nue change in the first quarter was prospects for a third -quarter rebound opportunity to combine the summer down 6.5 %, according to one net- in three -network revenues. -
Things I've Learned from Women Who've Dumped Me
The events described in this book are true, but the names and other identifying characteristics of some of the people have been changed to protect their privacy. Compilation copyright © 2008 by Ben Karlin Introduction copyright © 2008 by Ben Karlin Graphic for “Nine Years Is the Exact Right Amount of Time to Be in a Bad Relationship” by Andro Buneta. “The Heart Is a Choking Hazard” copyright 2008 by Stephen Colbert. “Strange Gifts Can Scare” copyright 2008 by Marcel Dzama. “Beware of Math Tutors Who Ride Motorcycles” copyright 2008 by Will Forte. “She Wasn’t the One” by Bruce Jay Friedman was originally published as “Kneesocks” in Hampton Shorts magazine. Hampton Shorts, Inc. Volume 1, number 1. Summer 1996 © Bruce Jay Friedman. “Being Awkward Can Be a Prophylactic Against Dry Humping” copyright 2008 by Matt Goodman. “Always Make Her Feel Like She’s #1” copyright 2008 by Alex Gregory. “Technology Can Be Friend and Foe” copyright 2008 by Alex Gregory. “Lessons of a Cyclical Heart” copyright 2008 by Marcellus Hall. “Things More Majestic and Terrible Than You Could Ever Imagine” copyright 2008 by Todd Hanson. “Dirty Girls Make Bad Friends” copyright 2008 by A. J. Jacobs. “You Too Will Get Crushed” copyright 2008 by Ben Karlin. “Sometimes You Find a Lost Love, Sometimes You Don’t” copyright 2008 by Bob Kerrey. “A Dog Is No Reason to Stay Together” copyright 2008 by Damian Kulash, Jr. “Notes Towards a Unified Theory of Dumping” copyright 2008 by Sam Lipsyte. “It Wasn’t Me, It Was Her” copyright 2008 by Rick Marin. “Don’t Leave Too Much Room for the Holy Spirit” copyright 2008 by Tom McCarthy. -
L'industrie Du Spectacle D'humour Francophone Du Québec
UNIVERSITÉ DU QUÉBEC INSTITUT NATIONAL DE LA RECHERCHE SCIENTIFIQUE CENTRE – URBANISATION CULTURE SOCIÉTÉ L’INDUSTRIE DU SPECTACLE D’HUMOUR FRANCOPHONE DU QUÉBEC CONTEMPORAIN : INDUSTRIE CULTURELLE ET TERRITORIALITÉ Par Christelle PARÉ Maître ès arts (M.A.) Thèse présentée pour obtenir le grade de Philosophiae doctor, Ph.D. Doctorat en études urbaines Programme offert conjointement par l’INRS et l’UQAM Décembre 2015 © Christelle PARÉ, 2015 Cette thèse intitulée L’INDUSTRIE DE L’HUMOUR FRANCOPHONE DU SPECTACLE D’HUMOUR DU QUÉBEC CONTEMPORAIN : INDUSTRIE CULTURELLE ET TERRITORIALITÉ et présentée par Christelle PARÉ a été évaluée par un jury composé de Mme Damaris ROSE, présidente, INRS-UCS M. Christian POIRIER, directeur de thèse, INRS-UCS Mme Annick GERMAIN, examinateur interne, INRS-UCS M. Marc MÉNARD, examinateur externe, Université du Québec à Montréal Mme Lucie JOUBERT, examinateur externe, Université d’Ottawa Pour Alain, Béatrice et Mamie iv RÉSUMÉ Alors que l’industrie de l’humour de scène francophone au Québec, connue sous l’appellation one-man show ou one-woman show, remporte la palme devant les autres industries culturelles québécoises en ce qui concerne la popularité et la diffusion de ses œuvres, aucune recherche n’a jusqu’à maintenant tenté d’en comprendre le fonctionnement, les relations de pouvoir, les stratégies, les discours et d’en identifier les acteurs. Si plusieurs études portant sur l’humour de scène dans le monde anglo-saxon sont publiées depuis les années 1970, on ne retrouve pas un engouement scientifique équivalent concernant les réalités de l’humour francophone québécois. Ainsi, la thèse contribue à une théorisation plus large des industries culturelles en incluant un nouveau domaine, celui de l’humour, et en tenant compte de l’importance de la variable territoriale dans le développement de cette industrie. -
Laughing at American Democracy: Citizenship and the Rhetoric of Stand-Up Satire
LAUGHING AT AMERICAN DEMOCRACY: CITIZENSHIP AND THE RHETORIC OF STAND-UP SATIRE Matthew R. Meier A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2014 Committee: Ellen Gorsevski, Advisor Khani Begum Graduate Faculty Representative Alberto González Michael L. Butterworth, Co-Advisor © 2014 Matthew R. Meier All Rights Reserved iii ABSTRACT Michael L. Butterworth and Ellen Gorsevski, Co-Advisors With the increasing popularity of satirical television programs such as The Daily Show with Jon Stewart and The Colbert Report, it is evident that satirical rhetoric has unique and significant influence on contemporary American culture. The appeal of satirical rhetoric, however, is not new to the American experience, but its preferred rhetorical form has changed over time. In this dissertation, I turn to the development of stand-up comedy in America as an example of an historical iteration of popular satire in order to better understand how the rhetoric of satire manifests in American culture and how such a rhetoric can affect the democratic nature of that culture. The contemporary form of stand-up comedy is, historically speaking, a relatively new phenomenon. Emerging from the post-war context of the late 1950s, the form established itself as an enduring force in American culture in part because it married the public’s desire for entertaining oratory and political satire. In the late 1950s and early 1960s, a generation of stand- up comedians including Mort Sahl, Lenny Bruce, and Dick Gregory laid the foundation for contemporary stand-up comedy by satirizing politics, racism, and social taboos.