DOCSLIB.ORG

Frost/Nixon L'heure De Vérité

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Frost/Nixon L'heure De Vérité Fiche pédagogique Frost/Nixon L'Heure de vérité Sortie en salles 18 février 2009 Film long métrage de fiction, Résumé l'animateur David Frost fait la USA/UK/France, 2008 tournée des chaînes pour leur proposer son projet. Il compte faire Fin juin 1972 éclate le scandale valoir sa réputation télévisuelle en Réalisation : Ron Howard ("The du Watergate. Durant les deux ans Angleterre pour trouver un Da Vinci Code", "The Missing", qui suivent, les révélations de deux financement qui lui permettrait de "EDtv", "Apollo 13"…) journalistes du Washington Post mettre sur pied son tournage et, conduisent le président Nixon à la surtout, de payer le cachet de Nixon Interprétes : démission. Cependant, aucun mot – la bagatelle de 600'000 dollars de Michael Sheen (David Frost), d'excuse présidentiel n'est adressé l'époque ! Le problème, c'est que Frank Langella (Richard au peuple américain. personne ne croit en ce bellâtre à la Nixon), En 1977, un animateur de TV mode, plus convaincant auprès de Kevin Bacon (Jack Brennan), britannique, David Frost, en poste ces dames que crédible dans le Oliver Platt (Bob Zelnick), dans une chaîne australienne où il genre de l'interview politique. Le Sam Rockwell (James Reston cartonne, décide de provoquer un projet ne trouve pas de financement. Jr.)… entretien en tête à tête avec l'ex- président, avec le projet de lui La petite équipe de conseillers Scénario et adaptation de sa arracher des aveux d'excuse devant politiques amateurs dont Frost propre pièce : Peter Morgan des millions d'Américains via le petit s'entoure voit d'un mauvais œil leur écran. patron s'endetter personnellement à Production : Ron Howard, toute allure. D'autant plus que, dans Brian Grazer, Eric Fellner, Tim Motivé par une grosse somme les premiers enregistrements, Nixon Bevan d'argent, et persuadé de saisir une s'en tire superbement bien tandis occasion de se réhabiliter auprès de que Frost, déconfit à l'écran, Version originale (anglais, ses concitoyens, Richard Nixon encaisse: Nixon donne de lui-même sous-titrée français/allemand). accepte le débat télévisé (quatre un portrait humain, voire Version française épisodes de 90 minutes), mais attendrissant. Pas du tout ce que le n'entend pas regretter quoi que ce camp Frost avait prévu. Durée : 2 heures 2 soit devant le monde. Chapeauté par Jusqu'à ce que, la veille du son conseiller (Kevin Bacon), toute dernier enregistrement, Frost reçoive Public concerné : une équipe de stratèges s'affairent en pleine nuit un étrange appel Age légal: 10 ans pour peaufiner les répliques téléphonique de Richard Nixon en Age suggéré: 14 ans présidentielles. personne. Il y est, entre autres, De son côté, excité à l'idée de question de cheeseburgers et de Nominations : faire exploser l'audimat américain chaussures italiennes… Nominations diverses (Oscars, avec ses retransmissions, Golden Globes, BAFTA…) ___________________________________________________ Adaptation de la pièce de théâtre Commentaires de Peter Morgan au titre éponyme, "Frost/Nixon" a créé l'événement aux Etats-Unis l'an dernier, année Disciplines et thèmes présidentielle oblige. Pour le journalistiques en retraçant confirmer, les nombreux sites fidèlement l'enquête du Washington concernés consacrés à la remémoration de la Post jusqu'à la démission du joute télévisuelle, de YouTube à président Nixon. Ce "Frost/Nixon" Histoire : Watergate.com… (voir ci-dessous prend aussi comme sujet le pouvoir les années 70 aux Etats-Unis, en nos activités pédagogiques). des médias, en mettant cependant Angleterre et en Australie, l'accent sur leur instrumentalisation, le scandale du Watergate (CIA, La genèse du film a été par les politiciens, autant que par les écoutes téléphoniques…), laborieuse. Bien sûr, il y avait la journalistes avides. Le film montre le système politique et la pièce, succès théâtral à Londres en que tous les coups sont permis en présidence des Etats-Unis, 2006 et 2007, et les 137 coulisses (intimidations, clauses Richard Nixon, l'"impeachment" représentations à Broadway la contractuelles strictes, déstabi- (Bill Clinton), même année, avec Michael Sheen lisations de toutes sortes, appât du les guerres du Cambodge et du et Frank Langella dans la même gain…) parce que l'enjeu est de Vietnam, distribution que dans le film. Mais le taille. A ce jeu télévisuel, les médias (Australie, Royaume- projet d'adaptation au grand écran l'instantanéité du moment pèse Uni et Etats-Unis): la télévision et intéressait passionnément plusieurs lourd: parce qu'elle simplifie, la TV la presse en particulier… réalisateurs prestigieux, parmi peut, en un moment, absoudre ou lesquels Martin Scorsese, Mike condamner, racheter ou défaire une Civilisation, langue et culture Nichols ("Charlie Wilson's war", "The réputation. Voyez le pouvoir américaine : Graduate"…), George Clooney réducteur d'un close-up, ou l'effet de les pays anglo-saxons dans les ("Good night and good luck"), Sam la présence d'une goutte de années 70 (Etats-Unis, Australie, Mendes ("Jarhead", "American transpiration sur une lèvre Royaume-Uni), beauty") ou Bennet Miller ("Capote"). présidentielle (à cause de cela, en la culture populaire américaine, Si les studios ont finalement retenu 1960, Nixon avait été donné perdant les présidents des Etats-Unis, Ron Howard, c'est certainement contre John F. Kennedy à la télé, le pouvoir et types de médias, parce que cet auteur de blockbusters alors qu'il avait été donné gagnant à les films sur Nixon et le consensuels est moins engagé la radio). En fait, malgré cet accent Watergate, politiquement que les autres. Du mis sur l'importance de l'événe- la pièce de Peter Morgan… coup, le film ne risquait pas de mentiel, il se pourrait bien que le tourner au règlement de compte par gagnant de ce face-à-face historique un traitement partial. ait finalement été, de l'aveu du Education aux citoyennetés : En sommes-nous vraiment scénario, l'inconscient. A la fois les secrets d'état, certains? C'est qu'en adaptant origine de la voix de Nixon dans un les écoutes téléphoniques, "Frost/Nixon" en 2008, Ron Howard état second (éméché ou les lobbys et le pouvoir, attire malgré tout l'attention du public somnambule ?) et manifestation à la reconnaissance et le pardon… sur une autre demande d'aveux travers son étrange coup de fil à présidentiels: ceux du gouvernement Frost, au milieu de la nuit du Education aux médias : Bush, et de George W. en particulier, vendredi de Pâques (sic), cette part les films sur les présidents et sur responsable de nombre de maux de rêve (envie de cheeseburger ou le Watergate en particulier, politiquement incorrects, d'écoutes de mocassins italiens ?) fait basculer le journalisme et les émissions de téléphoniques et de censures en tout l'histoire/Histoire en précipitant le divertissement… genre… Si le clownesque W., réveil – au sens littéral comme au partant de la Maison blanche par la figuré - du journaliste et la reprise en Droit : petite porte, reconnaissait à la fin de main de son émission : Frost réussit le droit des médias lors de son mandat "avoir commis quelques à basculer le discours politique - l'interview, erreurs", pas question pour lui de convenu, ressassé et codifié - du l'impeachment et la levée de considérer sa guerre en Irak un côté de l'humain, de celui des l'immunité, échec, ni de revenir sur ses élections réactions non maîtrisées, non la grâce présidentielle… truquées (en Floride en 2000, dans directement conscientes. Grâce à l'Ohio en 2004), ou sur d'autres Frost, le peuple américain est problèmes comme l'ouverture de soulagé et rassuré quant au bon l'honteux Guantanamo. fonctionnement de la conscience humaine. Grâce à "Frost/Nixon", le Enfin, "Frost/Nixon", c'est un peu spectateur comprend que le le retour du refoulé. "All The soulagement américain doit plus à President's Men" (1976) de Pakula l'inconscient (et la manifestation de avait fait triompher le son refoulé) qu'à la conscience. professionnalisme et la déontologie ___________________________________________________ Objectifs - Se familiariser avec la présidence de Richard Nixon (élection de 1968, réélection en 1972, scandale du Watergate, guerres du Cambodge et Vietnam, impeachment); - Comprendre les rapports de la presse (people ou d'information) - Repérer et comprendre les enjeux avec le pouvoir politique et être du débat politique en général, et de capable de formuler une critique du celui, télévisé, de Frost/Nixon en "Quatrième pouvoir" (la presse) et particulier; des médias aujourd'hui. ___________________________________________________ Pistes pédagogiques Guerre du Golfe. Sa fin de règne est la plus impopulaire de tous les I. Le président des Etats-Unis présidents américains. 1. Connaître le fonctionnement du g) président qui tenta de réformer, système politique américain entre autres, le système de santé (à travers ce schéma synthétique ), US, il fit passer de 16'000 à 500'000 savoir comment est élu le président le nombre de soldats envoyés au (dossier de Géopolitis) ou sur ce site Vietnam. et dire quel rôle est assigné au (a5, b4, c3, d1, e6, f7, g2) président. 3. Dans le film, le personnage de 2. Classer ces présidents des Etats- Richard Nixon souhaite dire que sa Unis selon leur règne chronologique: gouvernance ne se limite pas au George H. W. Bush, Bill Clinton, Watergate et à des anecdotes. Lyndon B. Johnson, John F. Chercher quelques réformes Kennedy, Richard Nixon, Ronald entreprises par Richard Nixon (à Reagan, George W. Bush. l'étranger (Vietnam, Cambodge…) (1. John F. Kennedy, 2. Lyndon B. comme dans sa politique intérieure). Johnson, 3. Richard Nixon, 4. Ronald Reagan, 5. George H. W. 4. Traduire le mot impeachment en Bush, 6. Bill Clinton, 7. George W. français ("mise en accusation" - Bush) apparue au XIVe siècle en Grande- Bretagne - et non pas Faire correspondre à chacun de "empêchement"), et dire dans quels ces présidents un élément marquant cas cette mesure peut être appliquée de leur gouvernance, parmi les à l'encontre du président des USA.
Load more

Recommended publications
  • First-Run Smoking Presentations in U.S. Movies 1999-2006
    First-Run Smoking Presentations in U.S. Movies 1999-2006 Jonathan R. Polansky Stanton Glantz, PhD CENTER FOR TOBAccO CONTROL RESEARCH AND EDUCATION UNIVERSITY OF CALIFORNIA, SAN FRANCISCO SAN FRANCISCO, CA 94143 April 2007 EXECUTIVE SUMMARY Smoking among American adults fell by half between 1950 and 2002, yet smoking on U.S. movie screens reached historic heights in 2002, topping levels observed a half century earlier.1 Tobacco’s comeback in movies has serious public health implications, because smoking on screen stimulates adolescents to start smoking,2,3 accounting for an estimated 52% of adolescent smoking initiation. Equally important, researchers have observed a dose-response relationship between teens’ exposure to on-screen smoking and smoking initiation: the greater teens’ exposure to smoking in movies, the more likely they are to start smoking. Conversely, if their exposure to smoking in movies were reduced, proportionately fewer teens would likely start smoking. To track smoking trends at the movies, previous analyses have studied the U.S. motion picture industry’s top-grossing films with the heaviest advertising support, deepest audience penetration, and highest box office earnings.4,5 This report is unique in examining the U.S. movie industry’s total output, and also in identifying smoking movies, tobacco incidents, and tobacco impressions with the companies that produced and/or distributed the films — and with their parent corporations, which claim responsibility for tobacco content choices. Examining Hollywood’s product line-up, before and after the public voted at the box office, sheds light on individual studios’ content decisions and industry-wide production patterns amenable to policy reform.
    [Show full text]
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]
  • Build a Be4er Neplix, Win a Million Dollars?
    Build a Be)er Ne,lix, Win a Million Dollars? Lester Mackey 2012 USA Science and Engineering FesDval Nelix • Rents & streams movies and TV shows • 100,000 movie Dtles • 26 million customers Recommends “Movies You’ll ♥” Recommending Movies You’ll ♥ Hated it! Loved it! Recommending Movies You’ll ♥ Recommending Movies You’ll ♥ How This Works Top Secret Now I’m Cinematch Computer Program I don’t unhappy! like this movie. Your Predicted Rang: Back at Ne,lix How can we Let’s have a improve contest! Cinematch? What should the prize be? How about $1 million? The Ne,lix Prize October 2, 2006 • Contest open to the world • 100 million movie rangs released to public • Goal: Create computer program to predict rangs • $1 Million Grand Prize for beang Cinematch accuracy by 10% • $50,000 Progress Prize for the team with the best predicDons each year 5,100 teams from 186 countries entered Dinosaur Planet David Weiss David Lin Lester Mackey Team Dinosaur Planet The Rangs • Training Set – What computer programs use to learn customer preferences – Each entry: July 5, 1999 – 100,500,000 rangs in total – 480,000 customers and 18,000 movies The Rangs: A Closer Look Highest Rated Movies The Shawshank RedempDon Lord of the Rings: The Return of the King Raiders of the Lost Ark Lord of the Rings: The Two Towers Finding Nemo The Green Mile Most Divisive Movies Fahrenheit 9/11 Napoleon Dynamite Pearl Harbor Miss Congeniality Lost in Translaon The Royal Tenenbaums How the Contest Worked • Quiz Set & Test Set – Used to evaluate accuracy of computer programs – Each entry: Rang Sept.
    [Show full text]
  • Standard Setting in High-De$Nition Television
    JOSEPH FARRELL liniversity of Califorrzia at Berkeley CARL SHAPIRO Universitl)' of California at Berkeley Standard Setting in High-De$nition Television TODAYTELEVISION SIGNALS are encoded, broadcast, and received in the United States using the color system of the National Television Systems Committee (NTSC). Almost 40 years old, this system has well-known performance limitations. It is subject to flickering and ghosting, it has low resolution (more apparent as TV sets become larger), and it requires cutting off the side panels in showing material shot for exhibition on wide movie screens. NTSC is derisively known in some circles as "Never Twice the Same Color." Although it nominally has 525 hor- izontal lines, a mere 483 "active" lines produce the picture; the rest carry auxiliary information. Moreover, NTSC is interlaced: only half of the lines are displayed on each pass. This creates a visible flicker when there are horizontal lines in the scene portrayed, so studios de- liberately reduce the resolution. Even with ideal reception, the reso- lution is roughly equivalent to that achievable with 330 to 350 lines. The PAL and SECAM standards are significantly better, but still no- ticeably imperfect. Developed about 15 years later than NTSC, they are used in much of the world outside North America and Japan. We thank the National Science Foundation (SES 8821529), and Carl Shapiro thanks the Consortium on Competition and Cooperation for financial support. Both authors are indebted to David Cooper and Kathryn Graddy at Princeton, Margaret Miller at Berkeley, and Sam Farrell for research assistance and to Stanley Besen, Peter Fannon, Richard Gilbert, Bronwyn Hall, Paul Klemperer, Richard Nelson, Roger Noll, Michael Riordan, Greg Rosston, Suzanne Scotchmer, and Larry Thorpe for helpful comments.
    [Show full text]
  • List of Surveillance Feature Films
    Surveillance Feature Films compiled by Dietmar Kammerer, Berlin Sources of plot descriptions and details: allmovie.com; imdb.com 1984 (Nineteen Eighty-Four) UK 1956 dir: Michael Anderson. George Orwell's novel of a totalitarian future society in which a man whose daily work is rewriting history tries to rebel by falling in love. keywords: literary adaptation; dystopic future http://www.allmovie.com/work/1984-104070 http://www.imdb.com/title/tt0048918/ 1984 (Nineteen Eighty-Four) UK 1984 dir: Michael Radford Second adaptation of George Orwell's novel. keywords: literary adaptation; dystopic future http://www.allmovie.com/work/1984-91 http://www.imdb.com/title/tt0087803/ 23 [23 – Nichts ist wie es scheint] Germany 1998 dir: Hans-Christian Schmid The movie's plot is based on the true story of a group of young computer hackers from Hannover, Germany. In the late 1980s the orphaned Karl Koch invests his heritage in a flat and a home computer. At first he dials up to bulletin boards to discuss conspiracy theories inspired by his favorite novel, R.A. Wilson's "Illuminatus", but soon he and his friend David start breaking into government and military computers. Pepe, one of Karl's rather criminal acquaintances senses that there is money in computer cracking - he travels to east Berlin and tries to contact the KGB. http://www.imdb.com/title/tt0126765/ http://www.allmovie.com/work/23-168222 keywords: conspiracy; internet; true story The Anderson Tapes USA 1971 dir: Sidney Lumet This breathlessly paced high-tech thriller stars Sean Connery as Anderson, a career criminal who's just been released from his latest prison term.
    [Show full text]
  • `Melissa' Computer Virus Affects Base LAN Users
    Hawaii Marine Volume 28, Number 13 April 1, 1999 Volunteer of the Year Powerlifting A-2 uo!ppg sdooj pdv B-1 `Melissa' computer virus affects base LAN users 2nd Lt. Angela C. Judge attachment contains a list of web addresses for porno- been made by base G-6. advised us to disconnect ourselves from the rest of the Base Marla officer graphic web sites. When the attachment is opened, it "The the ISMO officer has briefed base departments, world, said Nodruft. Efforts to protect Marine Corps Base Hawaii's com- executes a Microsoft Word macro that reads the recipi- unit information systems coordinators, and tenant com- All commands must ensure that heightened user puters from a computer virus that could crash mail ent's e-mail address book and sends copies of itself to mands to make sure everyone has been made aware (of awareness is emphasized at this time. The Marine servers are in full swing. those addressees, listing the recipient as the new sender, the virus)," said Gunnery Sgt. George Gagne, mainte- Corps NOC will reestablish e-mail connectivity to the The "Melissa" macro virus, which is spreading according to a general administrative message sent nance chief for base G-6. base as soon as all users have been educated and appro- throughout the world, arrives to the LAN user in the from Commander in Chief, Pacific Fleet. "We are also downloading the latest virus scan soft- priate antivirus protection has been installed on work- form of an attachment sent via e-mail, said Captain "This (virus) in turn floods the mail server and ends ware from the internet to ensure our computers are pro- stations, according to Nodruft.
    [Show full text]
  • Film Locations in San Francisco
    Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros.
    [Show full text]
  • First-Run Smoking Presentations in U.S. Movies 1999-2003
    UCSF Tobacco Control Policy Making: United States Title First-Run Smoking Presentations in U.S. Movies 1999-2003 Permalink https://escholarship.org/uc/item/5hj06178 Authors Polansky, Jonathan R. Glantz, Stanton A., PhD Publication Date 2004-03-09 eScholarship.org Powered by the California Digital Library University of California First-Run Smoking Presentations in U.S. Movies 1999-2003 Jonathan R. Polansky Stanton Glantz, PhD CENTER FOR TOBACCO CONTROL RESEARCH AND EDUCATION UNIVERSITY OF CALIFORNIA, SAN FRANCISCO SAN FRANCISCO, CA 94143 March 2004 EXECUTIVE SUMMARY * Smoking among American adults fell by half between 1950 and 2002, yet smoking on U.S. movie screens reached historic heights in 2002, topping levels observed a half century earlier.1 Tobacco’s comeback in movies has serious public health implications, because smoking on screen stimulates adolescents to start smoking,2,3 accounting for an estimated 52% of adolescent smoking initiation. Equally important, researchers have observed a dose-response relationship between teens’ exposure to on-screen smoking and smoking initiation: the greater teens’ exposure to smoking in movies, the more likely they are to start smoking. Conversely, if their exposure to smoking in movies were reduced, proportionately fewer teens would likely start smoking. To track smoking trends at the movies, previous analyses have studied the U.S. motion picture industry’s top-grossing films with the heaviest advertising support, deepest audience penetration, and highest box office earnings.4,5 This report is the first to examine the U.S. movie industry’s total output. It is also the first to identify smoking movies, tobacco incidents and tobacco impressions with the companies that produced and/or distributed the films — and with their parent corporations, which claim responsibility for tobacco content choices.† Examining Hollywood’s product line-up, before and after the public voted at the box office, sheds light on individual studios’ content decisions and industry-wide production patterns amenable to policy reform.
    [Show full text]
  • CINEFORUM (Stra)Ordinarie
    IL CINEMA E’ UN’INVENZIONE SENZA FUTURO (LUMIERE) 3, XV Vite 17/04/2002 CINEFORUM (Stra)ordinarie Anno 9 N° LXIII 02/04/2009 Il più grande comico vivente è Richard Nixon. Sono quasi due anni che, replicando lo stesso spettacolo, Watergate, riesce a far ridere mezzo mondo. Woody Allen CINEFORUM Pagina 1 Identikit anche i suoi genitori e la figlia Bryce). Howard è sposato dal 1975 con il suo primo amore, Sheryl Howard, da cui ha avuto quattro figli (Bryce Dallas, Jocelyn Carlyle, Paige Carlyle, Reed). Ron ha anche un fratello, Clint, spesso chiamato a recitare nei suoi film. Insieme a Brian Grazer, con cui ha iniziato un sodalizio artistico nel 1982 con il film "Night Shift", nel 1986 ha fondato la casa di produzione Image Entertainment, con l'obiettivo di realizzare film indipendenti. La società ha al suo attivo numerose produzioni di successo, tra cui "Cronisti d'assalto" ("The Paper") nel 1994, "Il professore matto" ("The Nutty Professor") nel 1996, e il suo seguito, "La famiglia ttore e regista. Nasce in Oklahoma nel del professore matto" ("Nutty Professor II: The 1954 da una famiglia di attori (suo Klumps") nel 2000, "Innocenza padre, Rance Howard, aveva infranta" ("Inventing the Abbotts") e "Bugiardo A realizzato il suo sogno di recitare dopo bugiardo" (Liar, Liar"), entrambi nel 1997 e la laurea in drammaturgia. Sua madre, Jean "Bowfinger" nel 1999. Nel 2002 vince l'Oscar Speegle, aveva studiato recitazione a New per la miglior regia con "A Beautiful Mind". York). Appare già a 18 mesi nel suo primo film, "Frontier Woman" (1955).
    [Show full text]
  • Media Literacy Coursebook
    Media Literacy Coursebook Oak Meadow, Inc. Post Office Box 615 Putney, Vermont 05346 oakmeadow.com Table of Contents Introduction .................................................................................................................. vii Part I. Questioning the Media Lesson 1 Making Sense of Mass Media ................................................................. 1 Activity A: Media-Free Zone Activity B: Counting on Media Lesson 2 Meta Media: Media’s Mirror .................................................................. 7 Activity: Media Production of a “Self Map” Lesson 3 The Propaganda Machine ...................................................................... 11 Activity A: Community Messages Activity B: Constructing and Deconstructing Propaganda Lesson 4 Ideology: Media’s Idea of What We Should Think ......................... 17 Activity: Tracking Media Back to the Source Lesson 5 Media’s Coming of Age ............................................................................ 23 Activity: Message Makeover Part II. Deconstructing the Media Lesson 6 A Culture of Consumption: Advertisement Analysis ........................... 27 Activity: Retell the Story of Stuff Oak Meadow iii Table of Contents Media Literacy Lesson 7 MTV Rules: Lyrical Analysis .................................................................... 31 Activity: Message in the Music Lesson 8 White Privilege: Race and Inequality ................................................ 35 Activity A: Revisit Your Self Map Activity B: Media-Defined Race Lesson
    [Show full text]
  • Lowell Ganz & Babaloo Mandel Collection
    http://oac.cdlib.org/findaid/ark:/13030/c8sn0bnv No online items Lowell Ganz & Babaloo Mandel Collection Finding aid created by Writers Guild Foundation Archive staff using RecordEXPRESS Writers Guild Foundation Archive 7000 West Third Street Los Angeles, California 90048 (323) 782-4680 [email protected] https://www.wgfoundation.org/wgf-library-archive/about-the-film-and-tv-archive/ 2018 Lowell Ganz & Babaloo Mandel WGF-MS-004 1 Collection Descriptive Summary Title: Lowell Ganz & Babaloo Mandel Collection Dates: 1985-1994 Collection Number: WGF-MS-004 Creator/Collector: Ganz, Lowell, 1948-Mandel, Babaloo, 1949- Extent: 5.5 linear feet Repository: Writers Guild Foundation Archive Los Angeles, California 90048 Abstract: The Lowell Ganz & Babaloo Mandel Collection, 1985-1994 is comprised of materials relating to the writing duo’s screenwriting careers, including handwritten and fully typed drafts, story notes, treatments, partial drafts and rewrites, re-shoot notes, and assorted production materials for eight films, including CITY SLICKERS (1991), CITY SLICKERS II (1994), A LEAGUE OF THEIR OWN (1992), and PARENTHOOD (1989). Language of Material: English Access Available by appointment only. Publication Rights The responsibility to secure copyright and publication permission rests with the researcher. Preferred Citation Lowell Ganz & Babaloo Mandel Collection. Writers Guild Foundation Archive Acquisition Information Donated by Lowell Ganz and Babaloo Mandel, January 9, 2012. Biography/Administrative History Lowell Ganz (born August 31, 1948 in Glen Oaks, New York) and Marc “Babaloo” Mandel (born October 13 in New York, New York) are long-time screenwriting partners that began their careers writing for comedic television in the 1970s. By 1974, Ganz was co-producing Happy Days alongside creator and mentor Garry Marshall – a series for which Mandel also wrote several episodes.
    [Show full text]
  • Reply Comment on Anticircumvention Rulemaking--Perkins
    Name Matthew Perkins Minneapolis, Minnesota Classes of works (1) Any digital-format work, including but not limited to Compact Discs (CDs) and Digital Versatile Discs (DVDs) which contain material not available in a comparable analog format [ …]. (comment 5) (2) [Literary works, sound recordings, or other audiovisual works] restricted by access controls that tether the work to a specific device or platform, thereby preventing a lawful possessor from using the work on an unsupported system in a non-infringing way. (comment 20) (3) Motion pictures on DVD. (comment 10) (4) Audiovisual works on DVD protected by the Content Scrambling System (CSS). (comment 15) (5) Ancillary audiovisual works distributed on Digital Versatile Discs (DVDs) using the Content Scrambling System (CSS) of access control. (comment 21) (6) Any work to which the user had lawful initial access […] after any period of lawful access if the user has physical possession of a copy of the work. (comment 28) Summary of Argument Virtually all of the classes proposed above were likewise proposed and rejected during the 2000 Anticircumvention Rulemaking. The Copyright Office based its ultimate rejection on, among others, three conclusions which I challenge in support of the proposals: (A) DVD access-control measures have increased the availability for use of copyrighted works; (B) harms related to merged access- and use-control technologies are balanced by the presence of unprotected analog alternatives; and (C) although not available on alternative analog formats, DVD ancillary material is available precisely because of the format’s employment of access-control technologies. The argument contained in this Reply Comment applies to each proposed class referenced above.
    [Show full text]