Gesamtregister Der Zitierten Filme

Total Page:16

File Type:pdf, Size:1020Kb

Gesamtregister Der Zitierten Filme Gesamtregister der zitierten Filme (1. Band = I, 2. Band = II, 3. Band = III) 2000 Jahre Christentum II: 320 Amistad I: 189, 190-194, 197-200; 2001: A Space Odyssey I: 258, 261, III: 33 298; II: 100, 101, 103, 104, 107, 108 Amores Perros II: 252 2012 III: 257 Angel Heart I: 131, 163, 319 21 Grams I: 280; II: 252 Angel-A II: 138 23 – Nichts ist so wie es scheint III: Angels and Demons III: 155, 235-242, 245 244-247 28 Days Later I: 76, 274 Anna – Im Banne des Bösen II: 214 3:10 to Yuma II: 23, 29 Anna and the King II: 166 300 II: 31, 171 Annie Hall II: 88 7th Heaven II: 213 Antichrist III: 142, 168 8 Mile II: 54 Any Given Sunday II: 72 Apocalypse Now I: 82 – A – Armageddon I: 124; II: 264, 265, 269, 271, 272, 275 A Better Tomorrow I: 217 Arthur et les Minimoys II: 138 A Better Tomorrow II I: 217 As Good as It Gets I: 47 À Bout de Souffle III: 132 Assassins I: 243, 244 A Clockwork Orange II: 100, 102, 104, Atlantis II: 137 108 Austin Powers in Goldmember II: 90 A River Runs Through It II: 215 Avatar III: 50, 68-72, 81, 151, 169, A Simple Plan II: 150, 153, 154, 157, 162 170, 173-178 A.I. – Artificial Intelligence I: 115, Avatar – The Last Airbender III: 178 116, 119, 120, 128, 198, 259, 267, 268; II: 187, 188 – B – Admas Æbler II: 222, 280; III: 155 Al-Dschanna al-ān III: 139 Babel II: 251, 252-254 Alexander I: 80; II: 118, 163, 165, 168 Babettes Gaestebud III: 44 Alexander the Great II: 163 Barry Lyndon II: 100, 107, 110 Ali II: 70 Batman II: 199, 200, 201-204, 207, 211 Alice in den Städten II: 181 Batman & Robin II: 202 Alien I: 20, 122, 324; II: 111-114, 116, Batman Begins II: 201-203, 207 120 Batman Forever II: 202 Alien 3 I: 115, 122, 201-204, 207 Batman Returns II: 202 Alien: Resurrection I: 115, 122; Bean II: 89 III: 173 Bedazzled I: 172 Aliens I: 122; III: 169, 173 Behind Enemy Lines I: 85, 86 American Gangster II: 113, 121 Ben X III: 178 American Graffiti I: 201 Bend it like Beckham II: 71 348 ANHANG Ben-Hur III: 205 Commando I: 294, 295 Beowulf II: 164 Constantine I: 65, 66, 68, 70, 74, 115, Birdy I: 319 116, 118, 119; II: 44, 47-51 Black Hawk Down I: 82, 85, 86, 88; Courage Under Fire I: 82 II: 121 Crime Wave II: 150 Black Robe II: 20 Cronos II: 123, 128 Blade I: 74 Cry Freedom I: 148 Blade II I: 76, 292; II: 123 Blade Runner I: 119, 120, 208, 266; II: – D – 11, 12, 111, 113, 115, 116, 120, 123, Dallas Barr I: 299 129, 142; III: 177 Damien: Omen II I: 163, 171 Blue Velvet I: 323; III: 138 Dances with Wolves II: 17, 18 Bonhoeffer – Die letzte Stufe II: 321 Daredevil II: 200, 202 Bonhoeffer: Agent of Grace III: 44 Darkman II: 150, 152, 153 Bound I: 244 Das Boot I: 82 Boys Don’t Cry I: 153, 155 Das Gespenst III: 100, 118 Boys Town I: 175, 176, 178 Das Kino und der Tod I: 271 Breaking the Waves III: 138, 257 Das schwarze Schaf I: 173 Bringing Out the Dead I: 279, 283, 315 Das siebente Siegel II: 269 Brokeback Mountain II: 28; III: 136 Das Tor zum Paradies I: 277 Broken Arrow I: 221; II: 19 Das Verlangen II: 219, 221 Broken Silence III: 141 Das weisse Band – Eine deutsche Kin- Bruce Almighty II: 92-94, 98 ; III: 43, dergeschichte III: 44, 141 44 Das Zimmer meines Sohnes I: 280 Bugsy Malone I: 319 Dawn of the Dead I: 274 Bullet in the Head I: 219, 220, 228 Day of the Fight II: 99 Dead Man II: 25 – C – Dead Man Walking I: 278; II: 25, 244; Cape Fear II: 247 III: 138 Cars I: 12 Dead Poets Society I: 232, 233, 240, 241 Catwoman II: 201 Deadwood II: 17 Chariots of Fire II: 72-76, 79 Dekalog, Jeden II: 180 Charlie’s Angels III: 229 De-Lovely II: 54 Chicago II: 53, 54 Der Abtrünnige I: 178 Children of Men II: 264, 268, 272, 273 Der Galiläer III: 123 Chocolat II: 181; III: 38, 40 Der gehorsame Rebell II: 191 Cidade de Deus III: 123 Der Himmel über Berlin I: 52, 129, 138 Citizen Kane II: 31, 184 Der Name der Rose II: 83 City of Angels I: 51, 52, 139, 274 Der neunte Tag I: 188; III: 120, 139 Clearcut II: 18, 19 Der Novembermann II: 218 Close Encounters of the Third Kind I: Der Patriot II: 24 142, 192; II: 188 Des Hommes et des Dieux III: 156, 167 Cold Mountain II: 24 Det Sjunde Inseglet II: 263 .
Recommended publications
  • Supplemental Movies and Movie Clips
    Peters Township School District Movies & Movie Clips Utilized to Supplement Curriculum Peters Township High School (Revised August 2019) Movie Rating of Movie Course or Movie Clip American History Academic & Forrest Gump PG-13 AP US History Scenes 9:00 – 9:45, 27:45 – 29:25, 35:45 – 38:00, 1:06:50, 1:31:15 – 1:30:45, 1:50:30 – 1:51:00 are omitted. American History Academic & Selma PG-13 Honors Scenes 3:45-8:40; 9:40-13:30; 25:50-39:50; 58:30-1:00:50; 1:07:50-1:22; 1:48:54- ClearPlayUsed 2:01 American History Academic Pleasantville PG-13 Selected Scenes 25 minutes American History Academic The Right Stuff PG Approximately 30 minutes, Chapters 11-12 39:24-49:44 Chuck Yeager breaking sound barrier, IKE and LBJ meeting in Washington to discuss Sputnik, Chapters 20-22 1:1715-1:30:51 Press conference with Mercury 7 astronauts, then rocket tests in 1960, Chapter 24-30 1:37-1:58 Astronauts wanting revisions on the capsule, Soviets beating us again, US sends chimp then finally Alan Sheppard becomes first US man into space American History Academic Thirteen Days PG-13 Approximately 30 minutes, Chapter 3 10:00-13:00 EXCOM meeting to debate options, Chapter 10 38:00-41:30 options laid out for president, Chapter 14 50:20-52:20 need to get OAS to approve quarantine of Cuba, shows the fear spreading through nation, Chapters 17-18 1:05-1:20 shows night before and day of ships reaching quarantine, Chapter 29 2:05-2:12 Negotiations with RFK and Soviet ambassador to resolve crisis American History Academic Hidden Figures PG Scenes Chapter 9 (32:38-35:05);
    [Show full text]
  • A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
    MOVIES A TO Z MARCH 2021 Ho u The 39 Steps (1935) 3/5 c Blondie of the Follies (1932) 3/2 Czechoslovakia on Parade (1938) 3/27 a ADVENTURE u 6,000 Enemies (1939) 3/5 u Blood Simple (1984) 3/19 z Bonnie and Clyde (1967) 3/30, 3/31 –––––––––––––––––––––– D ––––––––––––––––––––––– –––––––––––––––––––––– ––––––––––––––––––––––– c COMEDY A D Born to Love (1931) 3/16 m Dancing Lady (1933) 3/23 a Adventure (1945) 3/4 D Bottles (1936) 3/13 D Dancing Sweeties (1930) 3/24 z CRIME a The Adventures of Huckleberry Finn (1960) 3/23 P c The Bowery Boys Meet the Monsters (1954) 3/26 m The Daughter of Rosie O’Grady (1950) 3/17 a The Adventures of Robin Hood (1938) 3/9 c Boy Meets Girl (1938) 3/4 w The Dawn Patrol (1938) 3/1 o DOCUMENTARY R The Age of Consent (1932) 3/10 h Brainstorm (1983) 3/30 P D Death’s Fireworks (1935) 3/20 D All Fall Down (1962) 3/30 c Breakfast at Tiffany’s (1961) 3/18 m The Desert Song (1943) 3/3 D DRAMA D Anatomy of a Murder (1959) 3/20 e The Bridge on the River Kwai (1957) 3/27 R Devotion (1946) 3/9 m Anchors Aweigh (1945) 3/9 P R Brief Encounter (1945) 3/25 D Diary of a Country Priest (1951) 3/14 e EPIC D Andy Hardy Comes Home (1958) 3/3 P Hc Bring on the Girls (1937) 3/6 e Doctor Zhivago (1965) 3/18 c Andy Hardy Gets Spring Fever (1939) 3/20 m Broadway to Hollywood (1933) 3/24 D Doom’s Brink (1935) 3/6 HORROR/SCIENCE-FICTION R The Angel Wore Red (1960) 3/21 z Brute Force (1947) 3/5 D Downstairs (1932) 3/6 D Anna Christie (1930) 3/29 z Bugsy Malone (1976) 3/23 P u The Dragon Murder Case (1934) 3/13 m MUSICAL c April In Paris
    [Show full text]
  • Dead Poets Society: Final Script
    Dead Poets Society: Final Script original screenplay by Tom Schulman, film directed by Peter Weir This is the final script of the theatrical release of Dead Poets Society. It was obtained from Simply Scripts and initially contained only the dialog from the film. (No descriptions, actions, locations, anything...) I went through the script and added in descriptive text. As I have not had a chance to double check everything, I am sure there are a few errors, typos, or bits of incorrect dialog still. I'll try to verify it all shortly. INT. WELTON ACADEMY HALLWAY - DAY A young boy, dressed in a school uniform and cap, fidgets as his mother adjusts his tie. MOTHER Now remember, keep your shoulders back. A student opens up a case and removes a set of bagpipes. The young boy and his brother line up for a photograph PHOTOGRAPHER Okay, put your arm around your brother. That's it. And breathe in. The young boy blinks as the flash goes off. PHOTOGRAPHR Okay, one more. An old man lights a single candle. A teacher goes over the old man's duties. TEACHER Now just to review, you're going to follow along the procession until you get to the headmaster. At that point he will indicate to you to light the candles of the boys. MAN All right boys, let's settle down. The various boys, including NEIL, KNOX, and CAMERON, line up holding banners. Ahead of them is the old man, followed by the boy with the bagpipes with the two youngest boys at the front.
    [Show full text]
  • Introduction to Screenwriting 1: the 5 Elements
    Introduction to screenwriting 1: The 5 elements by Allen Palmer Session 1 Introduction www.crackingyarns.com.au 1 Can we find a movie we all love? •Avatar? •Lord of the Rings? •Star Wars? •Groundhog Day? •Raiders of the Lost Ark? •When Harry Met Sally? 2 Why do people love movies? •Entertained •Escape •Educated •Provoked •Affirmed •Transported •Inspired •Moved - laugh, cry 3 Why did Aristotle think people loved movies? •Catharsis •Emotional cleansing or purging •What delivers catharsis? •Seeing hero undertake journey that transforms 4 5 “I think that what we’re seeking is an experience of being alive ... ... so that we can actually feel the rapture being alive.” Joseph Campbell “The Power of Myth” 6 What are audiences looking for? • Expand emotional bandwidth • Reminder of higher self • Universal connection • In summary ... • Cracking yarns 7 8 Me 9 You (in 1 min or less) •Name •Day job •Done any courses? Read any books? Written any screenplays? •Have a concept? •Which film would you like to have written? 10 What’s the hardest part of writing a cracking screenplay? •Concept? •Characters? •Story? •Scenes? •Dialogue? 11 Typical script report Excellent Good Fair Poor Concept X Character X Dialogue X Structure X Emotional Engagement X 12 Story without emotional engagement isn’t story. It’s just plot. 13 Plot isn’t the end. It’s just the means. 14 Stories don’t happen in the head. They grab us by the heart. 15 What is structure? •The craft of storytelling •How we engage emotions •How we generate catharsis •How we deliver what audiences crave 16
    [Show full text]
  • Bugsy Siegel Part 30 of 32
    FEDERAL OF STiGA&#39;iION BQQQK 5&#39;/£6EL PART #i%// W0/C // 7 PAGES AVAILABLETHIS PART???lg 17/ _ FEDERAL BUREAU OF INVESTIGATION FILES CONTAINED IN THIS PART A FILE # /0 -0 .-. 92 _ b_§"_.Q L,_.&#39; &#39;/.J ég: 3/$/3 ..§§*c 4}-Z_§/Z_L92fo_/./_2___PAGES AVAILABLE I & .. A 2 LL __-ll,1_,92!Z vo/.1! T ief _. 7 ya _ _ .. éz-1*&#39;1._!..2....__.__._ v@/-2! ¢z-as/2 v<>/.~/!35 _-.""&#39;.....-2;.-::.&#39;.: :.=- .-"&#39;=&#39;-"-s -*=.=-*=i~>*&#39;*&#39;"@~&#39;.&#39;------~.--*--~*-&#39;- -- -* .1. &#39; w- 0 _ - __ . I; 1 ._ 0 _ A_ A-~-{in . V _ VP 3 0 &#39; . 0- . .;§ - -~ £11.: osscnwon . »i-_: I? Q . .- D . ;;;.~ ¢-§- . aumzau me % -&#39;-- £ &#39; --. ._.4 _ I-r-"P - -. I Q -1» Q jO &$.U_BJECT /6?/és?i§§¢&#39;@¢=4 Y .0 FILE N0.__; /~&#39;>-*/$>.%__... &#39; /7 L sscfnowmo. 92--.5 _ . I 1- . -. O 0 _ . &#39; _ ;&#39;1 _ . 8 ; SE&#39;RlALS.____.i_________..% &#39; &#39;9 /u - &#39;4 --iv-< 1I - "E I -0 . - 1°} Y __- -bi.-¥ . -i "." _ " " &#39;-:_&#39;u--4 = Q 1 ll 1-._ ..-_- .. - .- I &#39;5 _ _ - &#39; - r0 - -- 3 ___ _ . &#39; . ...-. .-. &#39; ; -_.~.., -. _ ... ,...- ...,_~.. ., .-4._,, .,..._,.¢a-__.. ... _-.-...-¢....._,_.....u._-.....@ _ ..v__ ... V_.m. 92 ..._..... mg; >?i492llAlIl*y-Q9292 .... ..= .... , 4. ,.,, , in hon ttoaglt gag .<. in Into 6 Int, j 811109 &#39; cuc M00010 £3101-00904 la an D 1 IO_I"II0L&#39;.~_&#39;-,0 0 QM liliiiiingj gs-_&#39; IPPMI if III Icfhr 5,-_ QCPIII flat III 9* - should In I11"! &#39; |-- .[-,,¢ V.
    [Show full text]
  • Dead Poets Society
    Insight Text Guide GM Dewis Dead Poets Society Dir. Peter Weir ITG_DEADPOETSSOCIETYPRELIMS.indd 1 3/09/12 10:56 AM c o n t e n t s Character map iv Overview 1 About the author 1 Synopsis 1 Character summaries 2 Background & context 6 Genre, structure & language 9 Scene-by-scene analysis 13 Characters & relationships 31 Themes, ideas & values 41 Different interpretations 52 Questions & answers 57 Sample answer 64 References & reading 66 ITG_DEADPOETSSOCIETYPRELIMS.indd 3 3/09/12 10:56 AM iv Insight Text Guide CharacteR mAp Parent/Son Mr Perry Married Mrs Perry Authoritative, strict, Submissive and meek, Mr Nolan manipulative, pushes unwilling to stand up Headmaster, his son to succeed to her husband traditional and rigid, eventually uses Mr Keating Teacher/Parent as a scapegoat Neil Perry Todd Anderson Friends/ Room- Bright boy who Shy and nervous Colleagues mates embraces Mr Keating’s student, absorbs teachings, longs to Mr Keating’s teachings act but is forbidden, and asserts himself in Mr McAllister commits suicide the final scene Traditional but kind, a teacher who learns from Mr Keating Student/Teacher Student/Teacher Mr John Keating An idealistic English Literature Colleagues teacher who returns to his alma mater to instruct a new generation of boys and to Colleagues attempt to impart both his love of poetry and his philosophy of Teacher/Student making the most of life, summed Teacher/Student up as ‘carpe diem’ Teacher/Student Knox Overstreet Friends/ Bright and Room- popular student, Richard Cameron Opposing woos Chris using Charles
    [Show full text]
  • A Study of Musical Affect in Howard Shore's Soundtrack to Lord of the Rings
    PROJECTING TOLKIEN'S MUSICAL WORLDS: A STUDY OF MUSICAL AFFECT IN HOWARD SHORE'S SOUNDTRACK TO LORD OF THE RINGS Matthew David Young A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC IN MUSIC THEORY May 2007 Committee: Per F. Broman, Advisor Nora A. Engebretsen © 2007 Matthew David Young All Rights Reserved iii ABSTRACT Per F. Broman, Advisor In their book Ten Little Title Tunes: Towards a Musicology of the Mass Media, Philip Tagg and Bob Clarida build on Tagg’s previous efforts to define the musical affect of popular music. By breaking down a musical example into minimal units of musical meaning (called musemes), and comparing those units to other musical examples possessing sociomusical connotations, Tagg demonstrated a transfer of musical affect from the music possessing sociomusical connotations to the object of analysis. While Tagg’s studies have focused mostly on television music, this document expands his techniques in an attempt to analyze the musical affect of Howard Shore’s score to Peter Jackson’s film adaptation of The Lord of the Rings Trilogy. This thesis studies the ability of Shore’s film score not only to accompany the events occurring on-screen, but also to provide the audience with cultural and emotional information pertinent to character and story development. After a brief discussion of J.R.R. Tolkien’s description of the cultures, poetry, and music traits of the inhabitants found in Middle-earth, this document dissects the thematic material of Shore’s film score.
    [Show full text]
  • BBS Recommended Viewing List
    BBS Recommended Viewing List We have ranked the films in order of their BBFC certificate. This is to help you and your parents make a selection that is appropriate in terms of content. We trust every parent to make the right decision for their child regarding what they watch. If you would like further information we recommend going to the BBFC website and using their ‘Insight’ text to explore the reasons for the certificate given. For example, if you search for ‘Amadeus BBFC insight’ you will see details under ‘ratings info’ that will give you an idea for the reasons for its PG rating. This can include spoilers but the information may be useful if you are unsure as to whether a film may be suitable for your child or not. They are ranked in no particular order and it is not meant to be an exhaustive list. Films, like books, are personal and everyone has their preferences and reasons for loving the ones they do. This is just our take on all the possibilities out there so please accept our unreserved apologies if one you love is missing. If you are especially passionate about it and really feel it should be on our list please don’t hesitate to get in touch. U Certificate 1. Wall-E 2. 2001 – A Space Odyssey 3. The Wizard of Oz 4. Mary Poppins 5. Paddington 6. Ladri di biciclette (Bicycle Thieves) 7. A Matter of Life and Death 8. 12 Angry Men 9. Zootropolis 10. E.T. 11. Casablanca 12. Sense and Sensibility 13.
    [Show full text]
  • Teaching Social Studies Through Film
    Teaching Social Studies Through Film Written, Produced, and Directed by John Burkowski Jr. Xose Manuel Alvarino Social Studies Teacher Social Studies Teacher Miami-Dade County Miami-Dade County Academy for Advanced Academics at Hialeah Gardens Middle School Florida International University 11690 NW 92 Ave 11200 SW 8 St. Hialeah Gardens, FL 33018 VH130 Telephone: 305-817-0017 Miami, FL 33199 E-mail: [email protected] Telephone: 305-348-7043 E-mail: [email protected] For information concerning IMPACT II opportunities, Adapter and Disseminator grants, please contact: The Education Fund 305-892-5099, Ext. 18 E-mail: [email protected] Web site: www.educationfund.org - 1 - INTRODUCTION Students are entertained and acquire knowledge through images; Internet, television, and films are examples. Though the printed word is essential in learning, educators have been taking notice of the new visual and oratory stimuli and incorporated them into classroom teaching. The purpose of this idea packet is to further introduce teacher colleagues to this methodology and share a compilation of films which may be easily implemented in secondary social studies instruction. Though this project focuses in grades 6-12 social studies we believe that media should be infused into all K-12 subject areas, from language arts, math, and foreign languages, to science, the arts, physical education, and more. In this day and age, students have become accustomed to acquiring knowledge through mediums such as television and movies. Though books and text are essential in learning, teachers should take notice of the new visual stimuli. Films are familiar in the everyday lives of students.
    [Show full text]
  • Symposium Introduction Dead Poets And
    Symposium Introduction Dead Poets and Academic Progenitors: The Next Generation of Law School Rankings PAUL L. CARON* AND RAFAEL GELY** In an opening scene of DeadPoets Society,' John Keating, played by actor Robin Williams, asks one of the students in his English class to read the introduction to their textbook. The student begins: UnderstandingPoetry, by Dr. J. Evans Pritchard, Ph.D. To filly understand poetry, we must first be fluent with its rhyme, meter and figures of speech. Then ask two questions: One, how artfully has the objective of the poem been rendered, and two, how important is that objective. Question one rates the poem's perfection, question two rates its importance. And once these questions have been answered, determining a poem's greatness becomes a relatively simple matter. If the poem's score for perfection is plotted along the horizontal of a graph, and its importance is plotted on the vertical, then calculating the total area of the poem yields the measure of its greatness. A sonnet by Byron may score high on the vertical, but only average on the horizontal. A Shakespearean sonnet, on the other hand, would score high both horizontally and vertically, yielding a massive total 2 area, thereby revealing the poem to be truly great. Keating responds: "Excrement. That's what I think of Mr. J. Evans Pritchard. We're not laying pipe, we're talking about poetry. I mean, how can you describe poetry like 3 American Bandstand? I like Byron, I give him a 42, but I can't dance to it." Law is not poetry,4 and ranking law schools might seem to some as absurd as the fictional Pritchard's effort to rank poetry.
    [Show full text]
  • Press Release - Jewishfilm.2010 the National Center for Jewish Film’S 13Th Annual Film Festival Page 1 of 1
    Lown Building 102, MS 053 Telephone: (781) 736-8600 Brandeis University Fax: (781) 736-2070 Waltham, Massachusetts [email protected] 02454-9110 www.jewishfilm.org FOR IMMEDIATE RELEASE Contact: Lisa Rivo 781-736-8600 | [email protected] JEWISHFILM.2010 The National Center for Jewish Film's 13th Annual Film Festival April 7 - April 18, 2010 WALTHAM, MA (March 12, 2010) – The National Center for Jewish Film and Brandeis University in cooperation with The Consulate General of Israel to New England will present JEWISHFILM.2010 The National Center for Jewish Film's 13th Annual Film Festival from April 7 - April 18, 2010. All films will be screened at the Wasserman Cinematheque at Brandeis University in Waltham, MA, with additional screenings at The Institute of Contemporary Art/Boston and the Museum of Fine Arts, Boston. Jewishfilm.2010 will present thirteen films—six fiction feature films and seven documentaries, from six countries. All but one are New England Premiere screenings. Festival highlights include three exceptional, critically-acclaimed fiction feature films, each screening at Brandeis with a second screening at either The Institute of Contemporary Art or the Museum of Fine Arts: Writer-director-star Karin Albou (Le Petite Jerusalem, Cannes winner) mines her family's own North African Sephardic roots in THE WEDDING SONG, a taboo-breaking and visually stunning film set in 1942 Nazi-occupied Tunisia that maps the intersection of Jewish and Arab cultures and the power and fragility of female sexuality. The debut features SEVEN MINUTES IN HEAVEN (Omri Givon, writer-director) and EYES WIDE OPEN (Haim Tabakman, director) showcase two of Israel’s best up-and-coming filmmakers.
    [Show full text]
  • NPRC) VIP List, 2009
    Description of document: National Archives National Personnel Records Center (NPRC) VIP list, 2009 Requested date: December 2007 Released date: March 2008 Posted date: 04-January-2010 Source of document: National Personnel Records Center Military Personnel Records 9700 Page Avenue St. Louis, MO 63132-5100 Note: NPRC staff has compiled a list of prominent persons whose military records files they hold. They call this their VIP Listing. You can ask for a copy of any of these files simply by submitting a Freedom of Information Act request to the address above. The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website.
    [Show full text]