Mike Nichols: a Life by Mark Harris
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7.Castrillo-Echart
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Dadun, University of Navarra Pablo Castrillo Towards a narrative definition of [email protected] PhD Candidate and Lecturer. the American political thriller film University of Navarra. Spain. Pablo Echart Abstract [email protected] Senior Lecturer in The Hollywood political thriller is a film genre of unique Screenwriting. University of relevance in the United States, often acting as a reflection of the Navarra. Spain. fears and anxieties of its historical times. At the same time, however, the definition of its identity and boundaries still leaves Submitted room for further specification, perhaps due to the frequent June 4, 2015 consideration of the political thriller as part of the broader Approved September 30, 2015 categories of either thriller narratives or political films. By revising the available literature and filmography and analyzing the narrative features of the classical political thriller, this © 2015 Communication & Society article proposes a deeper definition of the genre that takes into ISSN 0214-0039 account the nature of the broader ‘thriller’ category of films E ISSN 2386-7876 springing from a specific mode of crime fiction that focuses on a doi: 10.15581/003.28.4. 109-123 www.communication-society.com victim or threatened individual as its protagonist, depicts and conveys intense emotional states, portrays an unbalanced and highly existentialist worldview, and travels into the 2015 – Vol. 28(4), pp. 109-123 extraordinary while at the same time holding on to very concrete expectations of verisimilitude. The political thriller How to cite this article: specifies this broader form of narration and links it to dramatic Castrillo, P. -
Buck Henry, Who Helped Create ʻget Smartʼ and Adapt ʻthe Graduate,ʼ Dies at 89 an Unassuming Screenwriter and Actor, Mr
1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times https://nyti.ms/2N7atsQ Buck Henry, Who Helped Create ʻGet Smartʼ and Adapt ʻThe Graduate,ʼ Dies at 89 An unassuming screenwriter and actor, Mr. Henry thought up quirky characters with Mel Brooks and inhabited many more on “Saturday Night Live.” By Bruce Weber Published Jan. 9, 2020 Updated Jan. 10, 2020 Buck Henry, a writer and actor who exerted an often overlooked but potent influence on television and movie comedy — creating the loopy prime-time spy spoof “Get Smart” with Mel Brooks, writing the script for Mike Nichols’s landmark social satire “The Graduate” and teaming up with John Belushi in the famous samurai sketches on “Saturday Night Live” — died on Wednesday in Los Angeles. He was 89. His wife, Irene Ramp, said his death, at Cedars-Sinai Medical Center, was caused by a heart attack. John Belushi, left, and Mr. Henry in the 1978 “Saturday Night Live” sketch “Samurai Optometrist.” Fred Hermansky/NBCUniversal via Getty Images As a personality and a performer, Mr. Henry had a mild and unassuming aspect that was usually in contrast with the pungently satirical or broadly slapstick material he appeared in — and often wrote. Others in the room always seemed to make more noise. https://www.nytimes.com/2020/01/09/movies/buck-henry-dead.html 1/6 1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times Indeed, for almost 50 years he was a Zelig-like figure in American comedy, a ubiquitous if underrecognized presence not only in grand successes but also in grand failures. -
The Biology of Marine Mammals
Romero, A. 2009. The Biology of Marine Mammals. The Biology of Marine Mammals Aldemaro Romero, Ph.D. Arkansas State University Jonesboro, AR 2009 2 INTRODUCTION Dear students, 3 Chapter 1 Introduction to Marine Mammals 1.1. Overture Humans have always been fascinated with marine mammals. These creatures have been the basis of mythical tales since Antiquity. For centuries naturalists classified them as fish. Today they are symbols of the environmental movement as well as the source of heated controversies: whether we are dealing with the clubbing pub seals in the Arctic or whaling by industrialized nations, marine mammals continue to be a hot issue in science, politics, economics, and ethics. But if we want to better understand these issues, we need to learn more about marine mammal biology. The problem is that, despite increased research efforts, only in the last two decades we have made significant progress in learning about these creatures. And yet, that knowledge is largely limited to a handful of species because they are either relatively easy to observe in nature or because they can be studied in captivity. Still, because of television documentaries, ‘coffee-table’ books, displays in many aquaria around the world, and a growing whale and dolphin watching industry, people believe that they have a certain familiarity with many species of marine mammals (for more on the relationship between humans and marine mammals such as whales, see Ellis 1991, Forestell 2002). As late as 2002, a new species of beaked whale was being reported (Delbout et al. 2002), in 2003 a new species of baleen whale was described (Wada et al. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
Lahr Nichols 2/21.L
TNY—2/21 & 28/00—PAGE 196—LIVE OPI—AVEDON SPREAD-#1—140 SC.—#2 PAGE PROFILES MAKING IT REAL How Mike Nichols re-created comedy and himself. BY JOHN LAHR we do now, Mr. Success?” she said. Nichols, who has a sharp American wit but courtly European manners, bit his tongue. “All those ‘Mr. Success’ years would have been hard to explain to anybody if I tried,” Nichols, now sixty- eight, says. “What I really wanted to say to that envious woman was ‘Don’t worry.There’s still nothing happening in- side me. I’m not experiencing success or anything much.’ ” But feelings aren’t facts. From the moment Nichols made his name, in the late fifties, as the lanky deadpan half of the comedy team Nichols and May, he took up residence in success. As early as 1961, a letter addressed to “Famous Actor, Mike Nichols, U.S.A.” reached him. And, by the seventies, Nichols repre- sented the high-water mark in not just one but three areas of American enter- tainment. As a comedian, he improvised routines with Elaine May which are among the treasures of American humor; as a stage director, beginning in the early nce, in the early seventies, Mike sixties, he had a string of commercial hits ONichols was sitting in a commer- that made him the most successful Broad- cial jet as it took off from J.F.K. Mo- way director since George Abbott; as a ments after it was airborne, the plane film director, he made the bold, intelli- went into what Nichols recalls as “an gent “Who’s Afraid of Virginia Woolf?” unnervingly steep bank. -
Views of Dolphins
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Humandolphin Encounter Spaces: A Qualitative Investigation of the Geographies and Ethics of Swim-with-the-Dolphins Programs Kristin L. Stewart Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES HUMAN–DOLPHIN ENCOUNTER SPACES: A QUALITATIVE INVESTIGATION OF THE GEOGRAPHIES AND ETHICS OF SWIM-WITH-THE-DOLPHINS PROGRAMS By KRISTIN L. STEWART A Dissertation submitted to the Department of Geography in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded Spring Semester, 2006 Copyright © 2006 Kristin L. Stewart All Rights Reserved The members of the Committee approve the dissertation of Kristin L. Stewart defended on March 2, 2006. ________________________________________ J. Anthony Stallins Professor Directing Dissertation ________________________________________ Andrew Opel Outside Committee Member ________________________________________ Janet E. Kodras Committee Member ________________________________________ Barney Warf Committee Member Approved: ________________________________________________ Barney Warf, Chair, Department of Geography The Office of Graduate Studies has verified and approved the above named committee members. ii To Jessica a person, not a thing iii ACKNOWLEDGMENTS I am indebted to all those who supported, encouraged, guided and inspired me during this research project and personal journey. Although I cannot fully express the depth of my gratitude, I would like to share a few words of sincere thanks. First, thank you to the faculty and students in the Department of Geography at Florida State University. I am blessed to have found a home in geography. In particular, I would like to thank my advisor, Tony Stallins, whose encouragement, advice, and creativity allowed me to pursue and complete this project. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
The Inventory of the Joseph E. Levine Collection #1269
The Inventory of the Joseph E. Levine Collection #1269 Howard Gotlieb Archival Research Center Levine, Joseph I. Financial Material A. "Magic" Productions Box 1 1. Employee W-4 forms and paycheck receipts Box2 2. Payroll Journals 3. Canceled checks- payroll 4. Check book with carbons of checks written- # 1000 - 1899 5. Petty Cash Voucher envelopes Box3 6. Canceled Checks- payroll 7. Two Check books with carbons of written checks-# 1900 - 2599; 101 - 999 8. Employee Timecards Box4 B. Joseph E. Levine Productions 1. a. Bill Receipts b. Capital Messenger Service; [Envelope 1] 2. Petty Cash Receipts. 1985- 86; [Envelope 2] 3. Petty Cash Receipts. 1987. [Envelope 3] 4. a. Citibank Account b. Canceled Checks. 1987 - 88 c .. Debit & Credit Slips [Envelope 4] 5. Receipts from: Capital Messenger Service; NY Telephone and bills from late 1970's to early 1980's. [storage box] Box 5 6. American Express statements and receipts. 1976- 77 [f.1] 7. Credit Card receipts & bills. 1992 ; consigned receipts. 1989; [f.2] 8. Citibank Statements. 1987- 88 ; 1984 Corporate Taxes [f.3] 9. Receipts from: Technicolor, Telcoa, Temco, Xerox. 1980- 87 [f.4] 10. Receipts: Pinewood Studios, Producers Guild, & others. 1981- 84; [f.5] 11. Receipts: Rapid Film Distribution. 1981- 84; [f.6] 12. Bills: New York Telephone, 1981- 86 [f.7 & f.8] 1985- 86 [f.9] 13. Bills: Sprint phone service 1981- 84 [f.10] -1- Box6 14. Financial Reports & Receipts: BeepComm; Bank Reconciliations 1974- 84, Trial Balances 1981- 84 [f. 1] 15. Records & Receipts: Beverly Hills Hotel; Blue Cross/ Blue Shield; Ed Bryson; J. -
Transcript a Pinewood Dialogue with Mike Nichols
TRANSCRIPT A PINEWOOD DIALOGUE WITH MIKE NICHOLS Mike Nichols took Broadway by storm in the early 1960s with his comedy partner Elaine May. He began his directing career with the stage production of Barefoot in the Park and became a film director with Who’s Afraid of Virginia Woolf? , followed by his landmark film The Graduate . In this interview, just before he was honored with a gala Salute by the Museum of the Moving Image, Nichols talks about how the assured, controlled style of his early films evolved into a looser, more naturalistic approach, and about how, for him, directing actors is largely a matter of trust and letting go. A Pinewood Dialogue moderated by Chief come up with the scene. And you’ve often said Curator David Schwartz (March 19, 1990): that it wasn’t just a question of acting funny or saying funny lines but to define the kind of SCHWARTZ : And now please welcome Mike emotional undercurrent of the scene. One thing Nichols. (Applause) you’ve been quoted as saying, is that Elaine always says, “When in doubt, seduce.” That’s NICHOLS : I’ll tell you a very quick principle that I always a good core for a scene. Or to have a have come to believe is almost the most fight. So I’d like to know what you got out of your important principle of all of this: I worked with early work as a performer, as a comic performer. Dan Dailey long ago, directing him in a version of The Odd Couple, the play, and he told me that NICHOLS : Well, when you’re improvising comedy when he was at MGM, when he was a big musical in front of an audience, you learn very fast what star at MGM, they got lessons in everything. -
The General Cinema Northpark I & Ii: a Case
THE GENERAL CINEMA NORTHPARK I & II: A CASE STUDY OF A THIRD GENERATION MOVIE THEATER by JEREMY FLOYD SPRACKLEN Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN HISTORY THE UNIVERSITY OF TEXAS AT ARLINGTON MAY 2015 Copyright © by Jeremy Floyd Spracklen 2015 All Rights Reserved ii Acknowledgements I would like to express my appreciation for all of the friends and family who encouraged and assisted me throughout my academic career and the writing of this thesis. Specifically, Bob and Diana Cunningham, Cindy and Gary Sharp, and Jessica Tedder. I am humbled by the amount of support that I have been given. I am thankful to my committee, Bart Weiss, Dr. Gerald Saxon, and chair Dr. Robert Fairbanks. Their suggestions and guidance throughout the research and writing of this work cannot be understated. Additionally, I am thankful to Adam Martin for his encyclopedic knowledge of theater buildings. But most of all, I would like to thank Ron Beardmore. His infectious love for the art of projecting film, and the theaters that show them, was the primary factor in choosing this subject for study. April 14, 2015 iii Abstract THE GENERAL CINEMA NORTHPARK I & II: A CASE STUDY OF A THIRD GENERATION MOVIE THEATER Jeremy Spracklen, MA The University of Texas at Arlington, 2015 Supervising Professor: Robert Fairbanks The purpose of this thesis is to present a typology of movie exhibition eras and then explore one of those eras in greater detail by studying a specific market and theater within that market. -
The Online Version of This Handout Has Color Images.)
October 31, 2017 (XXXV:10) Mike Nichols POSTCARDS FROM THE EDGE (1990), 101 min. (The online version of this handout has color images.) DIRECTED BY Mike Nichols WRITTEN BY Carrie Fisher (book & screenplay) PRODUCED BY John Calley, Robert Greenhut, Neil A. Machlis, Susan MacNair, Mike Nichols MUSIC Carly Simon CINEMATOGRAPHY Michael Ballhaus FILM EDITING Sam O'Steen CAST Meryl Streep…Suzanne Vale Shirley MacLaine…Doris Mann Dennis Quaid…Jack Faulkner Gene Hackman…Lowell Kolchek Richard Dreyfuss…Doctor Frankenthal Rob Reiner…Joe Pierce Mary Wickes…Grandma Conrad Bain…Grandpa Annette Bening…Evelyn Ames English” and “Please, do not kiss me.” Back in Berlin, Germany, Simon Callow…Simon Asquith Nichols’ father had been part of a young intellectual circle that Gary Morton…Marty Wiener included Russian immigrants such as Vladimir Nabokov’s sister CCH Pounder…Julie Marsden and Boris Pasternak’s parents. Nichols became a naturalized US Sidney Armus…Sid Roth citizen in 1944. He was told as a child that he was a cousin of Robin Bartlett…Aretha Albert Einstein, and although he never quite believed it, he Barbara Garrick …Carol repeated it to friends as he was growing up. While doing Finding Anthony Heald…George Lazan Your Roots with Henry Louis Gates, Jr. (2012) he found out that Dana Ivey…Wardrobe Mistress it was true. They would have been 3rd or 4th cousins several Oliver Platt…Neil Bleene times removed. An immigrant whose work was marked by Michael Ontkean…Robert Munch trenchant perceptions of American culture, he achieved — in Pepe Serna…Raoul films like “The Graduate,” “Who’s Afraid of Virginia Woolf?” Mark Lowenthal…Bart and “Carnal Knowledge” and in comedies and dramas on stage Michael Byers…Allen — what Orson Welles and Elia Kazan but few if any other JD Souther…Ted directors have: popular and artistic success in both film and George Wallace …Carl theater. -
Lewd Looks American Sexploitation Cinema in the 1960S 1St Edition Pdf, Epub, Ebook
LEWD LOOKS AMERICAN SEXPLOITATION CINEMA IN THE 1960S 1ST EDITION PDF, EPUB, EBOOK Elena Gorfinkel | 9781517900168 | | | | | Lewd Looks American Sexploitation Cinema in the 1960s 1st edition PDF Book The Athletics Investment Group. With fragmentary voice-over exposition and little dialogue, Days of Heaven is in many ways an homage to silent cinema, and the imagery itself has a sort of transcendent, Biblical resonance. Not Rated 93 min Drama, Romance. He has had more financial ups and downs than any member of his generation except Coppola, and his treatment of unpleasant material has often bordered on the prurient. Although influential critics like Pauline Kael and David Denby continued to champion the reflexive quality of De Palma's thrillers, feminist outrage led him to abandon the form from to His career has been spotty ever since, demonstrating how closely his temperament was attuned to that extraordinary cultural moment between and , when he produced in Bonnie and Clyde and Little Big Man two of postwar American cinema's greatest films. Though the film was prosecuted for obscenity in Maryland, Pennsylvania and Florida, it became a major success at drive-ins, downtown theaters, and even made appearances at art-house cinemas. The documentary impulse also informed Scorsese's last feature of the seventies, Raging Bull United Artists, , another Winkler-Chartoff production which many critics consider to be his finest film. Three years in preparation, Star Wars was conceived by Lucas as a folkloristic "space fantasy" with the breathless pace of the cliff-hanging Saturday serials. Dissatisfied with Warner Bros. Thank you for signing up! Broidy thinks something has been lost in the process.