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												Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY - 
												
												Evel Knievel Days: 2014
University of Montana ScholarWorks at University of Montana Institute for Tourism and Recreation Research Publications Institute for Tourism and Recreation Research 8-12-2014 Evel Knievel Days: 2014 Brian Battaglia The University of Montana-Missoula Megan Schultz The University of Montana-Missoula Follow this and additional works at: https://scholarworks.umt.edu/itrr_pubs Part of the Leisure Studies Commons, Recreation, Parks and Tourism Administration Commons, and the Tourism and Travel Commons Let us know how access to this document benefits ou.y Recommended Citation Battaglia, Brian and Schultz, Megan, "Evel Knievel Days: 2014" (2014). Institute for Tourism and Recreation Research Publications. 305. https://scholarworks.umt.edu/itrr_pubs/305 This Report is brought to you for free and open access by the Institute for Tourism and Recreation Research at ScholarWorks at University of Montana. It has been accepted for inclusion in Institute for Tourism and Recreation Research Publications by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. INSTITUTE FOR ^ TOURISM&RECREATION RESEARCH UNIVERSITY OF MONTANA Evel Knievel Days 2014 Butte, Montana Brian Battaglia, Research Assistant & Megan Tanner Schultz, M.S. A random sample of Evel Knievel Days visitors completed a questionnaire regarding the event. Results show overall satisfaction and support for the event. INSTITUTE FOR _ TOURISM&RECREATION RESEARCH UNIVERSITY OF MONTANA Evel Knievel Days 2014 Butte, Montana Prepared by Brian G. Battaglia, Research Assistant Megan Tanner Schultz, M.S. Institute for Tourism and Recreation Research College of Forestry and Conservation The University of Montana Missoula, MT 59812 www.itrr.umt.edu Case Study Report 2014- 15 August 12th, 2014 This report was funded by the Lodging Facility Use Tax Copyright © 2014 Institute for Tourism and Recreation Research. - 
												
												Cablelabs Studio Code List 05/01/2006
CableLabs Studio Code List 05/01/2006 Studio Name Code Last Update 05/05/2006 1 120 Degree Films 120D 2 1st National FSN 3 2 Silks Releasing 2SR 4 20th Century Fox FOX 5 21st Century 21ST 6 2nd Generation 2GN 7 4th & Broadway 4TH 8 50th Street 50TH 9 7th Planet Prods 7PP 10 8X Entertainment 8X 11 A.D.G. ADG 12 A.I.P. Studios AIPS 13 Abramorama Entertainment ABR 14 Academy ACD 15 Access Motion Picture Group ACM 16 ADV Films ADV 17 AFD Theatrical AFDT 18 Alive ALV 19 Alliance Atlantis Communications AA 20 Alliance International Pictures AIP 21 Almi ALM 22 American International Pictures AINT 23 American Vacation Production AVP 24 American World Pictures AWP 25 American Zoetrope AZO 26 Amoon AMO 27 Andora Pictures AND 28 Angelika ANG 29 A-Pix APIX 30 Apollo APO 31 Apple and Honey Film Corp. AHFC 32 Arab Films ARAB 33 Arcangelo Entertainment ARC 34 Arenaplex ARN 35 Arenas Entertainment ARNS 36 Aries ARI 37 Ariztical Entertainment ARIZ 38 Arrival Pictures ARR 39 Arrow Releasing ARW 40 Arthouse Films AHF 41 Artificial Eye ARTI 42 Artisan ARTS 43 Artist View Ent. ARV 44 Artistic License ARTL 45 Artists Releasing Corp ARP 46 ArtMattan Productions AMP 47 Artrution Productions ART 48 ASA Communications ASA 49 Ascot ASC 50 Associated Film Distribution AFD 51 Astor Pictures AST 1 CableLabs Studio Code List 05/01/2006 Studio Name Code Last Update 05/05/2006 52 Astral Films ASRL 53 At An Angle ANGL 54 Atlantic ATL 55 Atopia ATP 56 Attitude Films ATT 57 Avalanche Films AVF 58 Avatar Films AVA 59 Avco Embassy AEM 60 Avenue AVE 61 B&W Prods. - 
												
												Impounded Solutions." It," He Said
. g . ' /-' / > t I * I PUBi 4 • THE \nLLAHWAH • Apdi 1«. Ittt Closkey stresses realism, student unity (Cm^Hntudfiwm puge 1) partial scholarships of $500 to allow ornnizations to card stu- and suggested coosultiBg with changes will result. I mean, what background — I am very much $1000 for upperclassmen which dents at tlie door, thus permitting Univenty marlLetins proKssors; have they 8ttn?" in touch with students ... Fm would be baised on ftnanoal fac- otganintions to hold social activ- he also jprOMsed other wsys of Do yoa laat imdtiila, thtMigli kind of, in manv senses, a regular tors and academic merit. *To a ities on shorter notice. involvinf tiiculty in Student April 15, 1988 guy, a blue cottar worker. And I student, $500 is .. .a fetdmoiiey/V He also proposed working on Government adagnala voice fai Uahrara^ty think that perspective, in coiyunc- he said. While the University is alternate meal plans, citing that WImt la dM moat laqKarlaat tion with my experience in Stu- plamdng to increase finaiMaal aid such alteriuitiYes are possible laaaa IMag rtaJiiiHs today? 'Oh, thay have a dmt Government and my knowl- in thr future with an indfwwnt without additional financial "Addressing th^ 'VilUnova but it deeaat do them ma fBOd. Way* as an issue, the way that The prsblem la not, qa tbey itecff results it no short-run burden on the university. on edge of what's going on and my campaign, has intellectual capabilities puts ne in solution for the financial aid Being a part of Sivdoat thiqp don't change, hoone listens generate rqpoita andhlimmaHon a vary good vantage point to see shorti«e, said Closkey. - 
												
												Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960S and Early 1970S
TV/Series 12 | 2017 Littérature et séries télévisées/Literature and TV series Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/2200 DOI: 10.4000/tvseries.2200 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s », TV/Series [Online], 12 | 2017, Online since 20 September 2017, connection on 01 May 2019. URL : http://journals.openedition.org/tvseries/2200 ; DOI : 10.4000/tvseries.2200 This text was automatically generated on 1 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Light Shadows: Loose Adaptations of Gothic Literature in American TV Series o... 1 Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy 1 In the late 1960’s and early 1970’s, in a somewhat failed attempt to wrestle some high ratings away from the network leader CBS, ABC would produce a spate of supernatural sitcoms, soap operas and investigative dramas, adapting and borrowing heavily from major works of Gothic literature of the nineteenth and early twentieth century. The trend began in 1964, when ABC produced the sitcom The Addams Family (1964-66), based on works of cartoonist Charles Addams, and CBS countered with its own The Munsters (CBS, 1964-66) –both satirical inversions of the American ideal sitcom family in which various monsters and freaks from Gothic literature and classic horror films form a family of misfits that somehow thrive in middle-class, suburban America. - 
												
												Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections. - 
												
												A World Record!
TONight’s CONCERT LINE-UP OF SKID ROW EE 7 8 SWEET FRIDAY CYANIDE FR AUG. 7, 2015 ® STURGIS RIDER DAILY Fri 8/7 Sat 8/8 Sun 8/9 A WORLD RecORD! Doug Danger flies into history he undisputed DON’t Miss king of stunt Bob Hansen Award Recipients men? Sure, cer- Page 4 tain names might come to Rat’s Hole Winners mind at that phrase. But since Tyesterday, at 6:03 PM, the only Page 5 name people are mention- 5 Minutes with Michael Lichter ing is Doug Danger. Because that was the time on the clock Page 3 when Danger jumped 22 cars aboard Evel Knievel’s XR-750 Harley-Davidson, a stunt EAGLE 75 Knievel once attempted but Page 12 failed to complete. The feat took place in the amphitheater at the Sturgis STURGIS BUFFALo Chip’s Buffalo Chip as part of the Evel Knievel Thrill Show. Dan- WOLFMAN JACK STAGE ger, who has been performing motorcycle jumps for decades, TONIGHT was inspired by Knievel when he was young and got to know 7 PM ..................SWEET CYANIDE him later in life. Danger 8:30 PM .....................SKID ROW regarded this stunt not as way to best his hero but as a favor, 10:30 PM ...............DEF LEPPARD completing a task for a friend. Danger is fully cognizant of TOMORROW the potential peril of his cho- sen profession and he’s real- 7 PM ............................ NICNOS istic; he knows firsthand the flip side of a successful jump. 8:30 PM ............... ADELITAS WAY But he felt solid and confident 10:30 PM ..........................WAR Continued on Page 2 PAGE 2 STURGIS RIDER DAILY FRIDAY, AUG. - 
												
												Introduction Abc Sports and Network Sports Television
Introduction abc sports and network sports television in september 1994, Sports Illustrated published a list of the forty most infl uential sports fi gures in the forty years since the magazine’s launch. Its top two selections—Muhammad Ali and Michael Jordan—were no great surprise. At the height of their respective careers, Ali and Jordan were argu- ably the most recognizable people on Earth. Sports Illustrated’s third-ranked selection—the American Broadcasting Company’s sports television master- mind Roone Arledge—was comparatively obscure. Arledge never fronted for global ad campaigns, had a shoe line, or divided a nation with his politics. But the magazine might have underestimated the infl uence of this producer and executive. During Arledge’s thirty-eight-year stint at the network, ABC built and codifi ed the media infrastructure that made possible global sport celebri- ties of Ali and Jordan’s unprecedented magnitude. ABC Sports is behind some of network sports television’s most signifi cant practices, personalities, and moments. It created the weekend anthology Wide World of Sports, transformed professional football into a prime-time spectacle with Monday Night Football, and fashioned the Olympics into a mega media event. It helped to turn Ali, the sportscaster Howard Cosell, and the daredevil Evel Knievel into stars and captured now-iconic instances that include Tommie Smith and John Carlos’s raised-fi st protest at the 1968 Olympics, the terrorist attacks at the 1972 Munich Games, Billie Jean King and Bobby Riggs’s 1973 “Battle of the Sexes” tennis match, the US hockey team’s 1980 “Miracle on Ice” victory over the Soviet Union, and the 1999 Women’s World Cup fi nal. - 
												
												Telemarketing Fraud Targeting Senior Citizens and What Law Enforcement Is Doing to Crack Down on These Schemes
S. HRG. 104-490 TELESCAMS EXPOSED: HOW TELE MARKETERS TARGET THE ELDERLY HEARING BEFORE THE SPECIAL COMMITTEE ON AGING UNITED STATES SENATE ONE HUNDRED FOURTH CONGRESS SECOND SESSION WASHINGTON, DC MARCH 6, 1996 Serial No. 104-10 Printed for the use of the Special Committee on Aging U.S. GOVERNMENT PRINTING OFFICE 23-236 CC WASHINGTON : 1996 For sale by the U.S. Government Printing Office Superintendent of Documents, Congressional Sales Office, Washington, DC 20402 ISBN 0-16-052833-X SPECIAL COMMITTEE ON AGING WILLIAM S. COHEN, Maine, Chairman LARRY PRESSLER, South Dakota DAVID PRYOR, Arkansas CHARLES E. GRASSLEY, Iowa JOHN GLENN, Ohio ALAN K. SIMPSON, Wyoming BILL BRADLEY, New Jersey JAMES M. JEFFORDS, Vermont J. BENNETT JOHNSTON, Louisiana LARRY CRAIG, Idaho JOHN B. BREAUX, Louisiana CONRAD BURNS, Montana HARRY REID, Nevada RICHARD SHELBY, Alabama HERB KOHL, Wisconsin RICK SANTORUM, Pennsylvania RUSSELL D. FEINGOLD, Wisconsin FRED THOMPSON, Tennessee CAROL MOSELEY-BRAUN, Illinois MARY BERRY GERWIN, Staff Director /Chief Counsel THERESA M. FORSTER, Minority Staff Director (II) CONTENTS Page Opening statement of Senator William S. Cohen 1 Statement of: Senator Harry Reid 7 Senator David Pryor 8 Senator Herb Kohl 11 Senator Charles E. Grassley 54 Prepared statement of: Senator Larry Craig 10 Senator Russ Feingold 10 PANEL I Edward Gould, Las Vegas, NV 11 PANEL II Mary Ann Downs, Raleigh, NC 27 Peder Anderson, Washington, DC 42 PANEL III Kathryn Landreth, United States Attorney, District of Nevada, Las Vegas, NV ;. 55 Jodie Bernstein, director of the Bureau of Consumer Protection, Federal Trade Commission, Washington, DC 62 Chuck Owens, Chief, White Collar Crime Section, Federal Bureau of Inves tigation, Washington, DC 84 PANEL IV Agnes Johnson, American Association of Retired Persons, Biddeford, ME 112 John Barker, director, National Fraud Information Center, Washington, DC . - 
												
												In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante
In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity. - 
												
												“Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ................................................................................................................................... - 
												
												Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive