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ABOUT JAMES DARREN James Darren Has Enjoyed a Successful
ABOUT JAMES DARREN James Darren has enjoyed a successful, multi-faceted career, spanning five decades of motion picture, television, recording and live concert performances. With a notable career in films (“Gidget,” “The Guns of Navarone”) as well as television (“The Time Tunnel,” “T.J. Hooker,” “Star Trek: Deep Space Nine”), Darren has re-emerged on the recording scene with his latest CD, Because of You (Concord Records), an impressive collection of standards and big band swing. The album, a follow-up to his acclaimed 1999 release, This One’s From the Heart (Concord Records), reaffirms Darren’s incomparable talents as a singer. Born in South Philly as James Ercolani, a second-generation American of Italian descent, Darren cites his beloved grandmother as the greatest guiding light of his life and his career. By the age of 14, Darren knew he wanted a show business career, and he embarked on the road to stardom by singing in nightclubs in Philadelphia and South Jersey. By age 18, he was in New York, studying acting for several years with the legendary drama teacher Stella Adler.It was a chance introduction to Hollywood movie producer Joyce Selznick (niece of the legendary David O. Selznick) that led to Darren’s seven-year contract with Columbia Pictures and his first big break: starring as the college student-surfer Moondoggie opposite Sandra Dee in the 1959 classic comedy hit, “Gidget.” Two sequels would follow, and Darren was soon on Hollywood’s short list of most sought-after young dramatic actors. He would make 20 films in all, including “The Guns of Navarone,” “The Lively Set,” “The Gene Krupa Story,” “The Brothers Rico,” “Gunman’s Walk,” “Let No Man Write My Epitaph,” and “Diamond Head.” Darren’s singing career encompasses an impressive roster of musical credits including 14 albums and five Top 10 singles, including the 1961 Grammy- nominated “Goodbye Cruel World,” which held the No. -
Invented Worlds
THE WIZARD OF OZ 1939, Victor Fleming Invented Worlds > This beloved classic hails from the peak of Hollywood’s Golden Age, 1939, and By Steve Chagollan was directed by the no-nonsense Victor Fleming—who also helmed Gone With the Wind, released that same year. The film’s blend of realism and fantasy is still OLLYWOOD HAS OFTEN been referred to as a fantasy striking to this day, especially the transition from Dorothy’s sepia-toned Kansas to the factory—a place where both reality and make-believe Technicolor brilliance of Oz. Sixty-five sets were constructed over six sound stages are plumbed from the vast recesses of the filmmakers’ at MGM for the effort, and the quest for perfection was so arduous it took the art imaginations. But when directors delve into literal fantasy department a week to settle on the proper and futurism, that imagination is allowed to run truly wild. shade of yellow for the Yellow Brick Road. Fleming told the film’s producer, Mervyn There have been countless milestones over the years that LeRoy, that he wanted to make “a picture that searched for beauty and decency and point to the medium’s ability to transport us to worlds that love in the world.” H only exist in the movies; here are a few choice examples. 68 DGA QUARTERLY PHOTOS: (ABOVE) AMPAS; (RIGHT) PHOTOFEST DGA QUARTERLY 69 BLADE RUNNER (1982), Ridley Scott > It’s hard to believe we’ve caught up with the time frame, 2019, in which Ridley Scott transformed Los Angeles into what he termed a near-future, “mul- tinational megalopolis,” where a rogue group of synthetic humans, known as replicants, are tracked down by a world-weary cop played by Harrison FORBIDDEN Ford. -
Extreme Leadership Leaders, Teams and Situations Outside the Norm
JOBNAME: Giannantonio PAGE: 3 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 Extreme Leadership Leaders, Teams and Situations Outside the Norm Edited by Cristina M. Giannantonio Amy E. Hurley-Hanson Associate Professors of Management, George L. Argyros School of Business and Economics, Chapman University, USA NEW HORIZONS IN LEADERSHIP STUDIES Edward Elgar Cheltenham, UK + Northampton, MA, USA Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 1 / Date: 30/10 JOBNAME: Giannantonio PAGE: 4 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 © Cristina M. Giannantonio andAmy E. Hurley-Hanson 2013 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical or photocopying, recording, or otherwise without the prior permission of the publisher. Published by Edward Elgar Publishing Limited The Lypiatts 15 Lansdown Road Cheltenham Glos GL50 2JA UK Edward Elgar Publishing, Inc. William Pratt House 9 Dewey Court Northampton Massachusetts 01060 USA A catalogue record for this book is available from the British Library Library of Congress Control Number: 2013946802 This book is available electronically in the ElgarOnline.com Business Subject Collection, E-ISBN 978 1 78100 212 4 ISBN 978 1 78100 211 7 (cased) Typeset by Columns Design XML Ltd, Reading Printed and bound in Great Britain by T.J. International Ltd, Padstow Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 2 / Date: 30/10 JOBNAME: Giannantonio PAGE: 1 SESS: 5 OUTPUT: Wed Oct 30 14:57:46 2013 14. Extreme leadership as creative leadership: reflections on Francis Ford Coppola in The Godfather Charalampos Mainemelis and Olga Epitropaki INTRODUCTION How do extreme leadership situations arise? According to one view, they are triggered by environmental factors that have nothing or little to do with the leader. -
Issues of Gender in Muscle Beach Party (1964) Joan Ormrod, Manchester Metropolitan University, UK
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by E-space: Manchester Metropolitan University's Research Repository Issues of Gender in Muscle Beach Party (1964) Joan Ormrod, Manchester Metropolitan University, UK Muscle Beach Party (1964) is the second in a series of seven films made by American International Pictures (AIP) based around a similar set of characters and set (by and large) on the beach. The Beach Party series, as it came to be known, rode on a wave of surfing fever amongst teenagers in the early 1960s. The films depicted the carefree and affluent lifestyle of a group of middle class, white Californian teenagers on vacation and are described by Granat as, "…California's beautiful people in a setting that attracted moviegoers. The films did not 'hold a mirror up to nature', yet they mirrored the glorification of California taking place in American culture." (Granat, 1999:191) The films were critically condemned. The New York Times critic, for instance, noted, "…almost the entire cast emerges as the dullest bunch of meatballs ever, with the old folks even sillier than the kids..." (McGee, 1984: 150) Despite their dismissal as mere froth, the Beach Party series may enable an identification of issues of concern in the wider American society of the early sixties. The Beach Party films are sequential, beginning with Beach Party (1963) advertised as a "musical comedy of summer, surfing and romance" (Beach Party Press Pack). Beach Party was so successful that AIP wasted no time in producing six further films; Muscle Beach Party (1964), Pajama Party (1964) Bikini Beach (1964), Beach Blanket Bingo (1965) How to Stuff a Wild Bikini (1965) and The Ghost in the Invisible Bikini (1966). -
The Guardian, April 21, 1969
Wright State University CORE Scholar The Guardian Student Newspaper Student Activities 4-21-1969 The Guardian, April 21, 1969 Wright State University Student Body Follow this and additional works at: https://corescholar.libraries.wright.edu/guardian Part of the Mass Communication Commons Repository Citation Wright State University Student Body (1969). The Guardian, April 21, 1969. : Wright State University. This Newspaper is brought to you for free and open access by the Student Activities at CORE Scholar. It has been accepted for inclusion in The Guardian Student Newspaper by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. WRiGHT STATE -Th e $£***** ) Guardian Volume V April 21, 1969 Freedom Shrine Sanity or lunacy '! rededicated Class hours change On the tenth day of April Announced for Fall nineteen hundred and sixty-nine A major change in the The report indicated that, the Dayton Exchange Club pre- m scheduling of class pi.jods for based on present classroom utili- sented the Rededication of the next Fall was announced at the zation, the projection for next Freedom Shrine to Wright State April 9 meeting of the Academic year indicates a nine room deficit University. The program was con- Council. Classes will be SO min- in the number of classrooms ducted by Robert Whited the utes long on Monday, Wednesday needed a' wak hours. In 1971-72, President of the Exchange Club. and Friday, and 75 minutes long with a .xted en roll men' of Tom Frawley the immediate on Tuesday and Thursday. In a 12,175, ,:ght State would be past president made the introduc- report to the Council of Deans, short 25 classrooms, tion of Clarence J. -
FANTASTIC FAMILY FILMS for the HOLIDAYS Minions, Jurassic World, Song of the Sea and More
15 BOX OFFICE — 0116 242 2800 phoenix.org.uk JULY JULY CINEMA / ART / CAFÉ BAR MINIONS THIS MONTH — 10 – 16 & 24 – 30 Jul FANTASTIC FAMILY FILMS FOR THE HOLIDAYS Minions, Jurassic World, Song of the Sea and more NEW FILMS — SLOW WEST SOUTHPAW LOVE & MERCY AMY JULY AT A GLANCE SLOW WEST P4 <MultipleINTERSECTING LIN KS> <MULTIPLEINTERSECTING LINKS> Box Office242 2800 0116 — DANNY COLLINS P4 LOVE AND MERCY P6 AMY P5 Book Online — www.phoenix.org.uk THE NEW GIRLFRIEND P5 ELECTRIC BOOGALOO P7 FOUR CORNERS P6 WEST P5 ELECTRIC BOOGALOO P7 BREAKIN' 2 P7 <MultipleINTERSECTING LIN KS> <MULTIPLEINTERSECTING LINKS> EDEN P10 DEAR WHITE PEOPLE P10 SOUTHPAW P7 MYSTERY FILM P10 MAN WITH A MOVIE CAMERA P10 COMING IN AUGUST 45 YEARS INSIDE OUT MARSHLAND 2 – 3 DISCOVER SUMMER DISCOVER PHOENIX FIND WELCOME It’s July and school’s out for summer! We’ve a veritable smorgasbord of treats for all ages this month – from blockbuster family films like Minions and Jurassic World, to kids’ creative workshops and short courses for film lovers and young filmmakers. There’s a music theme to our headline movies, with two of the best soundtracks this year: the stunning documentary Amy brings the tortured story of singer Amy Winehouse to the big screen, while The Beach Boys’ Brian Wilson is the focus of biopic Love and Mercy. If gritty drama’s more your thing, we’re screening western thriller Slow West, starring Michael Fassbender, and Southpaw – look out for Jake Gyllenhaal’s spectacular transformation into a heavyweight boxer. Our Stage on Screen summer season is packed with theatrical and operatic gems, including Everyman from NT Live starring BAFTA winner Chiwetel Ejiofor (12 Years a Slave), and ENO’s exciting production of The Pirates of Penzance, directed by Palme D’Or winner and five-times Oscar nominee Mike Leigh – sure to be a major event. -
Narrative and Culture in Versions of the Lizzie Borden Story (A Performative Approach)
Intersecting Axes: Narrative and Culture in Versions of the Lizzie Borden Story (A Performative Approach) Stephanie Miller PhD Department of English and Related Literature September 2010 Miller 2 ABSTRACT This thesis examines versions of the story of 32-year-old New Englander Lizzie Andrew Borden, famously accused of axe-murdering her stepmother Abby and father Andrew in 1892. Informed by narrative and feminist theories, Intersecting Axes draws upon interdisciplinary, contemporary re-workings of Judith Butler’s concept of “performativity” to explore the ways in which versions of the Lizzie Borden story negotiate such themes as repetition and difference, freedom and constraint, revision and reprisal, contingency and determinism, the specific and the universal. The project emphasizes and embraces the paradoxical sense in which interpretations are both enabled and constrained by the contextual situation of the interpreter and analyzes the relationship between individual versions and the cultural constructs they enact while purporting to describe. Moving away from symptomatic reading and its psychoanalytic underpinnings to focus upon the interpretive frames by which our understandings of Lizzie Borden versions (and of narrative/cultural texts more broadly) are shaped, this project exposes the complex performative processes whereby meaning is created. The chapters of this thesis offer contextual readings of a short story by Mary E. Wilkins Freeman, a ballet by Agnes de Mille, a made-for-television by Paul Wendkos, and a short story by Angela Carter to argue for the theoretical, political, narratological, cultural, and interpretive benefits of approaching the relationship between texts and contexts through a uniquely contemporary concept of performativity, bringing a valuable new perspective to current debates about the intersection of narrative and culture. -
Introduction 1 Mimesis and Film Languages
Notes Introduction 1. The English translation is that provided in the subtitles to the UK Region 2 DVD release of the film. 2. The rewarding of Christoph Waltz for his polyglot performance as Hans Landa at the 2010 Academy Awards recalls other Oscar- winning multilin- gual performances such as those by Robert de Niro in The Godfather Part II (Coppola, 1974) and Meryl Streep in Sophie’s Choice (Pakula, 1982). 3. T h is u nder st a nd i ng of f i l m go es bac k to t he era of si lent f i l m, to D.W. Gr i f f it h’s famous affirmation of film as the universal language. For a useful account of the semiotic understanding of film as language, see Monaco (2000: 152–227). 4. I speak here of film and not of television for the sake of convenience only. This is not to undervalue the relevance of these questions to television, and indeed vice versa. The large volume of studies in existence on the audiovisual translation of television texts attests to the applicability of these issues to television too. From a mimetic standpoint, television addresses many of the same issues of language representation. Although the bulk of the exempli- fication in this study will be drawn from the cinema, reference will also be made where applicable to television usage. 1 Mimesis and Film Languages 1. There are, of course, examples of ‘intralingual’ translation where films are post-synchronised with more easily comprehensible accents (e.g. Mad Max for the American market). -
DEC 16 Performing Arts Center 2 Pm Movie Night: the Man Who
RECREATION EVENTS CALENDAR Third Annual Holiday Festival SATURDAY, Festivities include snow, tree lighting, Santa, DEC 1 complimentary hot cocoa and cookies, and crafts and Clubhouse 2 games for the grandkids. Beer, wine and spiked seasonal 6 to 8 p.m. drinks available for purchase. Enjoy a holiday performance from Bank of Harmony (7 p.m.). Please bring a new unwrapped toy or sports equipment item to be given to the Orange County Fire Department’s Spark of Love Toy Drive. For more information, call 949-597-4286 or email [email protected]. Monday Night Football MONDAY, Come watch Washington @ Philadelphia at 5:15 p.m. on DEC 3 the big screen. Doors open 30 minutes prior to game time. Clubhouse 5 Tickets are not needed for this free event. Seating is on a 4:45 p.m. first-come, first-served basis. Enjoy free chips and salsa; hot dogs are available for purchase and the no-host GRF bar will open at 5 p.m. For more information, call @ 949-597-4382. WAS PHI WEDNESDAY, Timeless Melodies: Famous Songs of the Movies DEC 5 Enjoy Famous Songs of the Movies, the cinematic song- Clubhouse 1 fest that gave birth to talking pictures, sustained America 1:30 p.m. during the Great Depression, underscored a country at war and survived the 1950s. Tickets are available for $6 in the Clubhouse 1 office. General seating; doors open at 1 p.m. Cheese, crackers and punch will be served. Call 949-597-4281 or email [email protected] for more information. Monday Night Football MONDAY, Come watch Minnesota @ Seattle at 5:15 p.m. -
The Field Guide to Sponsored Films
THE FIELD GUIDE TO SPONSORED FILMS by Rick Prelinger National Film Preservation Foundation San Francisco, California Rick Prelinger is the founder of the Prelinger Archives, a collection of 51,000 advertising, educational, industrial, and amateur films that was acquired by the Library of Congress in 2002. He has partnered with the Internet Archive (www.archive.org) to make 2,000 films from his collection available online and worked with the Voyager Company to produce 14 laser discs and CD-ROMs of films drawn from his collection, including Ephemeral Films, the series Our Secret Century, and Call It Home: The House That Private Enterprise Built. In 2004, Rick and Megan Shaw Prelinger established the Prelinger Library in San Francisco. National Film Preservation Foundation 870 Market Street, Suite 1113 San Francisco, CA 94102 © 2006 by the National Film Preservation Foundation Library of Congress Cataloging-in-Publication Data Prelinger, Rick, 1953– The field guide to sponsored films / Rick Prelinger. p. cm. Includes index. ISBN 0-9747099-3-X (alk. paper) 1. Industrial films—Catalogs. 2. Business—Film catalogs. 3. Motion pictures in adver- tising. 4. Business in motion pictures. I. Title. HF1007.P863 2006 011´.372—dc22 2006029038 CIP This publication was made possible through a grant from The Andrew W. Mellon Foundation. It may be downloaded as a PDF file from the National Film Preservation Foundation Web site: www.filmpreservation.org. Photo credits Cover and title page (from left): Admiral Cigarette (1897), courtesy of Library of Congress; Now You’re Talking (1927), courtesy of Library of Congress; Highlights and Shadows (1938), courtesy of George Eastman House. -
Dean Martin, La Voce Di “That’S Amore”
Dean Martin, la voce di “That’s amore” Dean Martin, pseudonimo di Dino Paul Crocetti (Martin deriva da Martino, cognome della madre molisana), nasce a Steubenville, nello stato dell'Ohio, il 7 giugno 1917. Abbandonata la scuola a sedici anni, compie diversi lavori, compreso il pugile e il benzinaio, fino a quando, con il nome d'arte di Dean Martin, s'impone come cantante a New York. E' il 25 luglio 1946 quando Dean Martin si esibisce per la prima volta in coppia con Jerry Lewis al "Club 500" di Atlantic City. I due artisti danno vita ad un duo comico di successo, che dura per un decennio esatto, realizzando anche quindici film di successo, da "La mia amica Irma" di George Marshall (1949) a "Hollywood o morte!" (1956), passando per "Irma va a Hollywood", "Il sergente di legno", "Quel fenomeno di mio figlio" e "Attente ai marinai", tutti di Hal Walker, tra il 1950 e il 1951, quindi "Il caporale Sam", "Il cantante matto", "Occhio alla palla", "Più vivo che morto", "Il nipote picchiatello" e "Mezzogiorno di fifa", tutti di Norman Taurog, tra il 1952 e il 1955. Ancora: "Morti di paura" e "I figli del secolo" di George Marshall (1953-54), "Il circo a tre piste" di Joseph Pevney (1954), "Artisti e modelle" e "Hollywood o morte!" di Frank Tashlin (1955-56). La coppia è legata anche a programmi televisivi, come il varietà di successo "The Colgate Comedy Hour" (1950), di cui diventano anche conduttori. Il sodalizio artistico s'interrompe il 24 luglio 1956. La carriera di Martin, nonostante la rottura della coppia, continua a mietere successi. -
Oliver-Programme.Pdf
7 – 17 December at 7.30pm (no Sunday performance) Matinees 10 & 17 December at 2.30pm OLIVER!by Lionel Bart Free when mailed to £1 Loft Members notes from the DIRECTOR A Dickens of a musical Oliver! is a stage musical with both music and lyrics by Lionel Bart, and was the first musical adaptation of a famous Charles Dickens work to become a stage hit. It premiered in the West End in 1960, enjoying a long run, and a subsequent successful run on Broadway, followed by numerous tours sparkling musical score that includes a host and revivals both here and the US. It was of well-known songs including Food, Glorious made into the famous musical film of the Food, Where is Love, Consider Yourself, Pick a same name in 1968, which featured an all- Pocket or Two and As Long As He Needs Me. star cast including Ron Moody, Oliver Reed, As a director, I relish challenges Shani Wallis and Jack Wild with Mark Lester which continue to stretch the skills and in the title role, and which went on to win imagination. This has included musicals such no less than six Academy Awards from as the Sondheim classic, Sweeney Todd, 11 nominations! Godspell and previous Christmas treats Oliver! has also been performed literally like Scrooge and RENT. Oliver! requires a thousands of times in British schools, highly skilled and committed team to bring particularly in the 1970s, when it was by the show to our stage – a stage where far the most popular school musical. Indeed you would not normally expect to see a the director himself appeared in an all-male show of this size – and putting the whole production in 1970 as a member of Fagin’s thing together has been a huge theatrical gang, following on from his performance challenge for the team.