DOCSLIB.ORG

Recollecting the Museum of the Moving Image

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Recollecting the Museum of the Moving Image Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2009 Under construction: recollecting the museum of the moving image Andr&eacutee Elise Comiskey Betancourt Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Communication Commons Recommended Citation Betancourt, Andr&eacutee Elise Comiskey, "Under construction: recollecting the museum of the moving image" (2009). LSU Doctoral Dissertations. 2029. https://digitalcommons.lsu.edu/gradschool_dissertations/2029 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. UNDER CONSTRUCTION: RECOLLECTING THE MUSEUM OF THE MOVING IMAGE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Communication Studies by Andrée Elise Comiskey Betancourt B.A., Smith College, 1999 M.A., University College Dublin, 2002 August 2009 ©Copyright 2009 Andrée Elise Comiskey Betancourt All rights reserved. ii To John Egil Betancourt a) For promoting the art of outlining b) For the sweet, steady sunshine that nurtures my work c) For serving as my personal Olivier Castro-Staal And in memory of my little brother Joel Richard Jackson Labbé Expertologist, creative genius, free spirit, collector and fixer of broken things Loved since November 26, 1983 – missed since July 12, 2006 iii ACKNOWLEDGMENTS First off, thank you to my advisor Rachel Hall whose thoughtful combination of strictness and sweetness kept my fingers dancing on the keyboard and my feet moving one in front of the other as I toured and detoured despite significant, and occasionally blind-siding, challenges. Your passion for the study of visual culture energized my own, and the care with which you engaged my images and text was precious to me. I am also deeply indebted to the rest of my committee members who generously shared their time and talents and mentored me in complementary ways. To Michael Bowman, whose teachings and scholarship in performance and tourism directly inspired this study: thank you for being there for me and for introducing me to Mary and Dillinger when I needed them most. To Ruth Bowman, a compassionate and whimsical powerhouse, who helped create a home within the department for me: thank you for your sharing your brilliance, for pushing me, for making me giggle delightfully, and for supporting my commitment to mediatized performance. This dissertation grew out of one of many creative assignments from Ruth, my performance genealogy, ―‗Que Será, Será‘ Behind the Screens: She Sings While She Sews, Except When She Holds Pins in Her Mouth.‖ To Trish Suchy, who renewed my appreciation for historical film: thank you for your meticulous attention my use of the English language, for the poetry and the documentaries, for the magical celebrations at Grey Gardens, and for being so refreshingly real. To Jim Catano, who generously reviewed drafts of each chapter and provided useful critique: thank you for the documentaries, for sharing your passion for labor studies, and for going above and beyond the call of a minor advisor. To Malcolm Richardson, who served as a late addition Dean‘s Representative, for enthusiastically stepping into this role at such short notice: thank you for your cheerful dedication and valuable feedback regarding organization. iv The site research required by this study would not have been possible without the 2008 – 2009 LSU Graduate School Dissertation Fellowship. Thank you to the Graduate School for awarding me this honor and funding. The faculty members of the Department of Communication Studies each contributed to my growth as a scholar and by extension this study. Special thanks to: Josh Gunn for recruiting me; Laura Sells for her phenomenal pedagogy and for helping me develop my voice; Andy King, whose passion for life and scholarship is deliciously contagious, for his shared stories of serving as an Orpheum Theatre usher in Illinois; Renee Edwards for her ongoing support; Tracy Stephenson Shaffer for encouraging my disruption of the ―live‖ and mediatized binary with my collection of screens and video cameras: thanks for the fun road trips, Sparkles loves you dearly; and Stephanie Houston Grey for reaching out to me and for the metallic rainbow sash that brightened my NCA experience. I owe an extra special thanks to Loretta Pecchioni who was always there for me when I needed guidance: you have been an impressive role model and an inspiration for the type of faculty member that I aspire to be. Thank you also to Visiting Scholar Phaedra Pezzullo for inspiring and advising me during the early stage of this study, and to Guest Artist Elizabeth Whitney and her partner Lea Robinson for taking me under their wings during my most recent research trip. I have learned a tremendous amount from my LSU friends and colleagues, and thank all of you for the support and cheer you provided along the way. A huge thank you to Write Club members Rya Butterfield for reviewing an early version of this study and Danielle McGeough for reviewing an early version of the preface and first chapter. Special thanks to those who I had the opportunity to work with most closely: John LeBret, who taught me that less is more, except for sometimes when more is more; Rebecca Walker, my partner in outwitting, outlasting, and outplaying; Holley Vaughn, who was the first person I called; Danny Bono, for the whipped v cream swivel; Sam Sloan, for always being 100%+ dependable; Sarah Jackson, the Little Prince, for making me laugh at inappropriate times; and Brianne Waychoff, fellow unicorn fan, for showing up when I needed a new friend like you. Thanks also to all those who made my post- general and final exam celebrations extra special, especially the cast and crew of The Ticket That Exploded: thank y‘all for the toasts, the gorgeous Dr. Dre toasting glass, and the immaculate cake! Big thanks also to Lisa L., Ginger, Lisa F., Brandon, Danielle and Andy, Shenid, Jackie S., Jesse, Mel K., Jessica KW, Rog (for so warmly welcoming John and me), Lyman, Mandi, Adam T., David P., Wendy A., Kerry, Ben P., Jes, Joey and Shal, Annamaria, Oli, Derek and Chris, Jen, Jenn, Mel C., Pavica, Khaled, Chris M., Joy, Shaun, David T., Justin T., ReRe, Kent, Mike A., Mike R., Matt, Joe R., Trav, Karen, Gretchen, CLS, Cora, Ryan, Brent, Zac, and all the Comm Studs to name just a few of the LSU tigers in my Baton Rouge and beyond community! I am grateful to the employees, volunteers, and associates of the Museum of the Moving Image who I had the opportunity to meet and learn from during the course of this study. I appreciate the time and energy that they shared with me. Special thanks to: Rochelle Slovin for devoting time out of her busy schedule to passionately recount her experiences of founding the museum and for sharing the home movie ―Martin‘s First Haircut‖ and her memories of its production; David Schwartz for his professionalism and sense of humor; Chris Wisniewski, who answered my initial correspondence to the museum during the fall 2006 semester, for being extremely helpful and huge thanks also to his team of museum educators; Richard Koszarski for his historical perspective and generous spirit; Carl Goodman for his keen insight on the Video Flipbook, Tut’s Fever, and the digital groundbreaking; Livia Bloom for her compassionate and enthusiastic support; Timothy Finn and the visitor services and security staff; Megan Forbes; and the many others who contributed to this study in countless ways. Thank you to The Historic vi New Orleans Collection for the generous use of five photographs by Charles L. Franck Studios; and special thanks to those who assisted me during my visits: Daniel Hammer, Mary Lou Eichhorn, Eric Seiferth, and Frances Salvaggio. Thanks also to the LSU Editor Susanna Dixon. My family and friends are my life, and I thank all of you for your support. Thank you Cay Welsh and Louise Comiskey Bryan for proofreading the final version of this study in record time; they bravely wrangled runaway sentences, sought out sneaky commas, and reminded me to dot my i‘s and cross my t‘s. Thanks also to the many family members and friends who reviewed or proofread drafts along the way, especially JB and the ELC. Thank you to my grandparents: George (Papi) for always listening and for sharing your wisdom; mi abuelita Cha, our storyteller, for being magically real; Granny Blanche for your encouraging emails and commitment to historic preservation; and James (Pops), thank you for all that you taught me. Thank you to my parents: Elise for the enormous sacrifices you made for us, and for being a role model scholar and professor whose mindfulness lights up my life; James (Jama), whose home is a museum of the moving image in its own right, for inspiring my graduate studies; Bruce, who listened to my marathon dreams, for being my life coach; and Carlin for keeping me rocking and rolling! Thank you to my siblings: Cosmo for lovingly documenting us; Joel for teaching me how to live fast, love fiercely, and laugh ‗til it hurts – and then some!; Justin for keeping the music alive; Sara, our movie star, for being so strong and sweet; Calley, tummy stick champion, for being tougher than me; Ross for the poetry, wisdom, and boat rides; and Jael, mi hermanita-by-choice, for her fierce loyalty to me, for generously supporting my research trips, for being the first person to accompany me to the museum, and for the magical adventures! Thank you to mi madrina Barbara and her supportive clan: especially Rachel, Leon, Jessica, and Dennis.
Load more

Recommended publications
  • 'Nats Go Home': Modernism, Television and Three BBC
    ‘Nats go home’: modernism, television and three BBC productions of Ibsen (1971-1974) Article Accepted Version Smart, B. (2016) ‘Nats go home’: modernism, television and three BBC productions of Ibsen (1971-1974). Ibsen Studies, 16 (1). pp. 37-70. ISSN 1502-1866 doi: https://doi.org/10.1080/15021866.2016.1180869 Available at http://centaur.reading.ac.uk/71899/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://dx.doi.org/10.1080/15021866.2016.1180869 To link to this article DOI: http://dx.doi.org/10.1080/15021866.2016.1180869 Publisher: Routledge All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online ‘Nats go home’: Modernism, television and three BBC productions of Ibsen (1971-1974) In 1964 theatre journal Encore published ‘Nats go home’, a polemical article by television screenwriter Troy Kennedy Martin. The manifesto for dramatic techniques innovated at BBC Television in the 1960s subsequently proved highly influential and is frequently cited in histories of British television drama (Caughie 2000, Cooke 2003, Hill 2007). The article called for the rejection of naturalism in television drama, and for new modernist forms to be created in its place. Kennedy Martin identified ‘nat’ television drama as deriving from nineteenth century theatrical traditions, complaining that it looked “to Ibsen and Shaw for guidance” (23).
    [Show full text]
  • Greenland 2019 West Greenland
    Greenland 2019 West Greenland Hunting in Greenland is the world’s largest island. Having a surface of 2.18 million, km² and only Greenland about 59,000 inhabitants it is one of the least densely populated regions in the world. The capital city is Nuuk, which has not more than 12,000 inhabitants. A large part of the country is always covered with ice, which can reach a thickness of 3,500m. About one sixth of the island is ice-free. Away from the coasts, the inland is dominated by inhospitable ice and cold deserts. Arctic climate prevails with maximum temperatures from 20 °C in the south to -5 °C in the north. In winter, lowest temperatures are around -50 °C. Hunting We are hunting in different areas winter and autumn, and in two different areas in autumn. areas: In winter, we hunt in a big area outside the concessions, its south of Kangerlussuaq, and is about 350.000 acres. Transport is easy with snowmobiles, so we can easily get around in the area. In autumn we have two concession areas (other outfitters cannot hunt there, but local hunters can go meat hunt in the areas). Both areas is unique, since area 9 is partially in the Inuit hunting World Heritage Site, and all of area 11 is in the World Heritage Site. Only our company and one other outfitter can offer hunts in this unique area where the Inuit started hunting 4000 thousand years ago, and where their old settlements and stone installation for driven hunts is still there.
    [Show full text]
  • 1919 Golden Globe Nominees 1
    1919 Golden Globe Nominees 1. BEST TELEVISION SERIES – DRAMA a. THE AMERICANS FX NETWORKS Fox 21 Television Studios / FX Productions b. BODYGUARD NETFLIX World Productions / an ITV Studios company c. HOMECOMING PRIME VIDEO Universal Cable Productions LLA / Amazon Studios d. KILLING EVE BBC AMERICA BBC AMERICA / Sid Gentle Films Ltd e. POSE FX NETWORKS Fox 21 Television Studios / FX Productions 2. BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA a. CAITRIONA BALFE OUTLANDER b. ELISABETH MOSS THE HANDMAID'S TALE c. SANDRA OH KILLING EVE d. JULIA ROBERTS HOMECOMING e. KERI RUSSELL THE AMERICANS 3. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA a. JASON BATEMAN OZARK b. STEPHAN JAMES HOMECOMING c. RICHARD MADDEN BODYGUARD d. BILLY PORTER POSE e. MATTHEW RHYS THE AMERICANS 4. BEST TELEVISION SERIES – MUSICAL OR COMEDY a. BARRY HBO HBO Entertainment / Alec Berg / Hanarply b. THE GOOD PLACE NBC Universal Television / Fremulon / 3 Arts Entertainment c. KIDDING SHOWTIME SHOWTIME / SOME KIND OF GARDEN / Aggregate Films / Broadlawn Films d. THE KOMINSKY METHOD NETFLIX Warner Bros. Television e. THE MARVELOUS MRS. MAISEL PRIME VIDEO Amazon Studios 5. BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – MUSICAL OR COMEDY a. KRISTEN BELL THE GOOD PLACE b. CANDICE BERGEN MURPHY BROWN c. ALISON BRIE GLOW d. RACHEL BROSNAHAN THE MARVELOUS MRS. MAISEL e. DEBRA MESSING WILL & GRACE 6. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – MUSICAL OR COMEDY a. SACHA BARON COHEN WHO IS AMERICA b. JIM CARREY KIDDING c. MICHAEL DOUGLAS THE KOMINSKY METHOD d. DONALD GLOVER ATLANTA e. BILL HADER BARRY 7.
    [Show full text]
  • Pouissant Claims Blacks Fear Psychiatric Help
    -FEBRUARY 15, 1973 GEORGIA STATE UNIVERSITY SIGNAL rAGE 3 Harvard Psychiatrist URGENT NANA WAS A GEORGIA STATE UNIVERSITY SOPHOMORE IN SPRING SEMESTER '71 AND Pouissant Claims Blacks HOPING TO GRADUATE AROUND MAY '73 IF YOU KNOW HER PLEASE HAVE NANA Fear Psychiatric Help Contact Joe Of Phila By GLADYS HAMMO DS Georgia State Univer ity last shrewd is called a sociopath, but a Thursday. wauStreer-broker who displayed LACKHOVE HALL "Black people are afraid of Dr. Poussain t, who i an the ame qualities is lauded as an psychiatry," announced Dr. Alvin SHIPPENSBURG STATE COLLEGE a sociate profe sor of psych iatry example of success. "One is Poussaint, a black psychiatrist legitimized, the other isn't." SHIPPENSBURG, PA. 17257 at Harvard Medical School, who ha written over S4 books poke on the relationship between There is a political meaning in and article, in a lecture at blacks and psychiatry as a part of standard 1.0. t e ts on which GSU' Bla k History Week ac- black score lower than whites by tiviue . an average of IS points, and in He added, "black have come research that purports to lay the Vincent Canoy of the New York Times says: 10 view p ychiatry in many of the blame for the difference on arne ways they view policemen." genetic inferiority, he asserted. Distrust of p ych iatr i t by Such research i "constantly "THE BEST AND THE MOST ORIGINAL giving ammunition to the forces blacks is because black have u ually come into contact with a of rea non." psychratrist only as a person who Dr.
    [Show full text]
  • (#) Indicates That This Book Is Available As Ebook Or E
    ADAMS, ELLERY 11.Indigo Dying 6. The Darling Dahlias and Books by the Bay Mystery 12.A Dilly of a Death the Eleven O'Clock 1. A Killer Plot* 13.Dead Man's Bones Lady 2. A Deadly Cliché 14.Bleeding Hearts 7. The Unlucky Clover 3. The Last Word 15.Spanish Dagger 8. The Poinsettia Puzzle 4. Written in Stone* 16.Nightshade 9. The Voodoo Lily 5. Poisoned Prose* 17.Wormwood 6. Lethal Letters* 18.Holly Blues ALEXANDER, TASHA 7. Writing All Wrongs* 19.Mourning Gloria Lady Emily Ashton Charmed Pie Shoppe 20.Cat's Claw 1. And Only to Deceive Mystery 21.Widow's Tears 2. A Poisoned Season* 1. Pies and Prejudice* 22.Death Come Quickly 3. A Fatal Waltz* 2. Peach Pies and Alibis* 23.Bittersweet 4. Tears of Pearl* 3. Pecan Pies and 24.Blood Orange 5. Dangerous to Know* Homicides* 25.The Mystery of the Lost 6. A Crimson Warning* 4. Lemon Pies and Little Cezanne* 7. Death in the Floating White Lies Cottage Tales of Beatrix City* 5. Breach of Crust* Potter 8. Behind the Shattered 1. The Tale of Hill Top Glass* ADDISON, ESME Farm 9. The Counterfeit Enchanted Bay Mystery 2. The Tale of Holly How Heiress* 1. A Spell of Trouble 3. The Tale of Cuckoo 10.The Adventuress Brow Wood 11.A Terrible Beauty ALAN, ISABELLA 4. The Tale of Hawthorn 12.Death in St. Petersburg Amish Quilt Shop House 1. Murder, Simply Stitched 5. The Tale of Briar Bank ALLAN, BARBARA 2. Murder, Plain and 6. The Tale of Applebeck Trash 'n' Treasures Simple Orchard Mystery 3.
    [Show full text]
  • Current Film Slate
    CURRENT PROJECTS Updated 06 August 2021 For more information on any of the projects listed below, please contact the Premier film team as follows: • Email: [email protected] • Visit our website: https://www.premiercomms.com/specialisms/film/public-relations UK DISTRIBUTION NIGHT OF THE KINGS UK release date: 23 July 2021 (in cinemas) Directed by: Philippe Lacôte Starring: Koné Bakary, Barbe Noire, Steve Tientcheu, Rasmané Ouédraogo, Issaka Sawadogo, Digbeu Jean Cyrille Lass, Abdoul Karim Konaté, Anzian Marcel Laetitia Ky, Denis Lavant Running time: 93 mins Certificate: 12A UK release: 23 July 2021 Premier contacts: Annabel Hutton, Simon Bell, Josh Glenn When a young man (first-timer Koné Bakary) is sent to an infamous prison, located in the middle of the Ivorian forest and ruled by its inmates, he is chosen by the boss 'Blackbeard' (Steve Tientcheu, BAFTA and Academy-Award nominated LES MISÉRABLES) to take part in a storytelling ritual just as a violent battle for control bubbles to the surface. After discovering the grim fate that awaits him at the end of the night, Roman begins to narrate the mystical life of a legendary outlaw to make his story last until dawn and give himself any chance of survival. JOLT UK release date: 23 July 2021 (Amazon Prime Video) Directed by: Tanya Wexler Starring: Kate Beckinsale, Bobby Cannavale, Jai Courtney, Laverne Cox, David Bradley, Ori Pfeffer, Susan Sarandon, Stanley Tucci Running time: 91 mins Certificate: TBC UK release: Amazon Studios Premier contacts: Matty O’Riordan, Monique Reid, Brodie Walker, Priyanka Gundecha Lindy is a beautiful, sardonically-funny woman with a painful secret: Due to a lifelong, rare neurological disorder, she experiences sporadic rage-filled, murderous impulses that can only be stopped when she shocks herself with a special electrode device.
    [Show full text]
  • Sofia Coppola and the Significance of an Appealing Aesthetic
    SOFIA COPPOLA AND THE SIGNIFICANCE OF AN APPEALING AESTHETIC by LEILA OZERAN A THESIS Presented to the Department of Cinema Studies and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2016 An Abstract of the Thesis of Leila Ozeran for the degree of Bachelor of Arts in the Department of Cinema Studies to be taken June 2016 Title: Sofia Coppola and the Significance of an Appealing Aesthetic Approved: r--~ ~ Professor Priscilla Pena Ovalle This thesis grew out of an interest in the films of female directors, producers, and writers and the substantially lower opportunities for such filmmakers in Hollywood and Independent film. The particular look and atmosphere which Sofia Coppola is able to compose in her five films is a point of interest and a viable course of study. This project uses her fifth and latest film, Bling Ring (2013), to showcase Coppola's merits as a filmmaker at the intersection of box office and critical appeal. I first describe the current filmmaking landscape in terms of gender. Using studies by Dr. Martha Lauzen from San Diego State University and the Geena Davis Institute on Gender in Media to illustrate the statistical lack of a female presence in creative film roles and also why it is important to have women represented in above-the-line positions. Then I used close readings of Bling Ring to analyze formal aspects of Sofia Coppola's filmmaking style namely her use of distinct color palettes, provocative soundtracks, car shots, and tableaus. Third and lastly I went on to describe the sociocultural aspects of Coppola's interpretation of the "Sling Ring." The way the film explores the relationships between characters, portrays parents as absent or misguided, and through film form shows the pervasiveness of celebrity culture, Sofia Coppola has given Bling Ring has a central ii message, substance, and meaning: glamorous contemporary celebrity culture can have dangerous consequences on unchecked youth.
    [Show full text]
  • February/March 2014
    The PHOTO REVIEW NEWSLETTER February / March 2014 Robert Heinecken Cybill Shepherd/Phone Sex. 1992, dye bleach print on foamcore, 63"×17”. (The Robert Heinecken Trust, Chicago; courtesy Petzel Gallery, New York. © 2013 The Robert Heinecken Trust) At the Museum of Modern Art, New York Exhibitions PHILADELPHIA AREA Germán Gomez “Deconstructing Cities and Duos,” Bridgette Mayer Gallery, 709 Walnut St., Philadelphia, PA 19106, 215/413– Alien She Vox Populi, 319 N. 11th St., 3rd fl., Philadelphia, PA 8893, www.bridgettemayergallery.com, T–Sat 11–5:30 and by 19107, 215/23 8-1236, www.voxpopuligallery.org, T–Sun 12–6, appt., through February 22. March 7 – April 27. Includes photography. Graffiti, Murals, and Tattoos “Paired,” Bucks County Project Artists of a Certain Age Philadelphia Episcopal Cathedral, Gallery, 252 W. Ashland St., Doylestown, PA 18901, 267/247- 3723 Chestnut St., Philadelphia, PA 19104, 267/386-0234 x104, 6634, www.buckscountyprojectgallery.com, Th–F 12–4, F–Sat daily 10–4 and by appt., through February 28. Includes photogra- 1–5, March 8 – April 6. phy by William Brown and Arlene Love. David Graham “Thirty-Five Years / 35 Pictures,” Gallery 339, Donald E. Camp/Lydia Panas/Lori Waselchuk “Humankind,” 339 S. 21st St., Philadelphia, PA 19103, 215/731-1530, www.gal- Main Line Art Center, 746 Panmure Rd., Haverford, PA 19041, lery339.com, T–Sat 10–6, through March 15. 610/525-0272, www.mainlineart.org, M–Th 10–8, F–Sun 10–4, through March 20. Reception, Friday, February 21, 6–8 PM. Panel Jefferson Hayman Wexler Gallery, 201 N. 3rd St., Philadelphia, Discussion and Book Signing, Wednesday, March 19, 6–8 PM.
    [Show full text]
  • King, Michael Patrick (B
    King, Michael Patrick (b. 1954) by Craig Kaczorowski Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2014 glbtq, Inc. Reprinted from http://www.glbtq.com Writer, director, and producer Michael Patrick King has been creatively involved in such television series as the ground-breaking, gay-themed Will & Grace, and the glbtq- friendly shows Sex and the City and The Comeback, among others. Michael Patrick King. He was born on September 14, 1954, the only son among four children of a working- Video capture from a class, Irish-American family in Scranton, Pennsylvania. Among various other jobs, his YouTube video. father delivered coal, and his mother ran a Krispy Kreme donut shop. In a 2011 interview, King noted that he knew from an early age that he was "going to go into show business." Toward that goal, after graduating from a Scranton public high school, he applied to New York City's Juilliard School, one of the premier performing arts conservatories in the country. Unfortunately, his family could not afford Juilliard's high tuition, and King instead attended the more affordable Mercyhurst University, a Catholic liberal arts college in Erie, Pennsylvania. Mercyhurst had a small theater program at the time, which King later learned to appreciate, explaining that he received invaluable personal attention from the faculty and was allowed to explore and grow his talent at his own pace. However, he left college after three years without graduating, driven, he said, by a desire to move to New York and "make it as an actor." In New York, King worked multiple jobs, such as waiting on tables and unloading buses at night, while studying acting during the day at the famed Lee Strasberg Theatre Institute.
    [Show full text]
  • James Dean: Magnificent Failure
    Gay San Francisco: Eyewitness Drummer 133 James Dean: Magnificent Failure Written in 1960 and revised in September 1961, this feature essay was published in Preview: The Family Entertainment Guide, June 1962. I. Author’s Eyewitness Historical-Context Introduction written July 29, 2007 II. The feature article as published in Preview: The Family Entertainment Guide, June 1962 III. Eyewitness Illustrations I. Author’s Eyewitness Historical-Context Introduction written July 29, 2007 Revealing the Iconography of Drummer: When James Dean Met Marlon Brando, Heath Ledger, and Jake Gyllenhaal Marlon Brando: “Stella!” James Dean: “You’re tearing me apart.” Jake Gyllenhaal to Heath Ledger: “I wish I knew how to quit you.” As soon as we teenagers invented and liberated our tortured selves in the pop culture of the deadly dull 1950s, my leather bomber jacket morphed in meaning from “play clothing” to teen symbol. I was swept up by the movie Blackboard Jungle (1955) and its theme song, Bill Haley’s “Rock around the Clock,” which was played every ten minutes on the radio because no other white rock-n-roll songs yet existed. At the same instant, I found my first lover in James Dean, in his jackets, his motorcycle, his face, his attitude, his verite. When he was killed at age twenty-four on September 30, 1955, I was sixteen, a junior in high school, and stricken with grief. Even though I was in the Catholic seminary and was a sexually pure boy, art and literature and movies cancelled my chances of being paro- chial. (In 2007, it is more difficult to come out as a progressive Catholic ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017 HOW TO LEGALLY QUOTE FROM THIS BOOK 134 Jack Fritscher, Ph.D.
    [Show full text]
  • Letter from the President Holiday Party
    SAUGATUCK-DOUGLAS HISTORICAL SOCIETY | BOX 617 | DOUGLAS, MI 49406 | 269-857-5751 | www.sdhistoricalsociety.org DECEMBER 2008 LETTER FROM THE HOLIDAY PARTY PRESIDENT Dear SDHS Members, I was trying to write a SDHS parody to the story, The Night Before Christmas, but just couldn’t get it to rhyme the way it should and get the message across. Que Sera, Sera didn’t fit this time. I know that a newsletter in December is something that has not been done in the past, but we want to continue to keep the lines of communication open all year long. The Society is busy and many things are happening and much will be happening in 2009. I guess you could say this is a small historical event. The recent Holiday Party was a success and it was wonderful to see so many of you come out, in spite of the weather. A Thank You to everyone who helped plan the evening and to Mike Johnson and his hardworking staff at Coral Gables. SDHS continues to move forward and you should all have received your membership renewal information in the mail recently. We hope that you will mail your renewal back to us soon. Your membership is important to the success of the Society. If you did not receive one, please let us know by emailing us at [email protected] or calling the SDHS office at 269.857.5751. For those who have responded, we thank you. Now for a plug --- we are in need of volunteers to plan the 2009 St.
    [Show full text]
  • 10700990.Pdf
    The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date.
    [Show full text]