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Congressional Record—Senate S11474
S11474 CONGRESSIONAL RECORD Ð SENATE September 27, 1996 as nutrition problems, disease, and har- The NMFS laboratory in Pascagoula forming more partnerships with indus- vesting technology. There were many committed itself because of its can do try. costly false starts in a search for solu- attitude. And clearly USDA and Mis- Mr. President, Stoneville should be tions. Success was a hit or miss event. sissippi State University were recep- the standard in the future, not the ex- Gradually, solutions to feeding and tive. NMFS brought a range of poten- ception. health problems have been developed. tial solutions to the harvesting tech- Again, I applaud the efforts of the Today, part of the catfish industry's nology problems of the warmwater National Marine Fisheries Service and attention is focused on obtaining new aquaculture industry because they had I want to publicly thank them. They technology. This involves the National worked on this issue for years in the have significantly helped America's Marine Fisheries Service. The goal is marine fishing industry. I want to sin- farm-raised catfish industry. I strongly to take advantage of existing tech- gle out two individuals. Specifically, encourage the continuation of the suc- nology. John Watson and Charles ``Wendy'' cessful relationship between Stoneville Now, to many Americans fish are Taylor of NMFS's Pascagoula labora- and Pascagoula. fish. To some, fish are classified as ei- tory. These two directly assisted in the f ther fresh water or salt water. Here is development and retrofitting of har- THE ACADEMY OF TELEVISION where the Federal Government often vesting equipment. -
Boards, Committees and Chapters
BOARDS, COMMITTEES AND CHAPTERS BOARD OF Brenda Gaines** Anna Eleanor Roosevelt NATIONAL TRUSTEE Mark Selcow Carol J. Evans Stanley R. Brewer BOARD OF Jeffrey Feiner TRUSTEES Chicago, Ill. Director of Community OFFICERS COMMITTEES AND Committee Vice Chair President ADVISORS AND Retired Managing Director and Education Relations LIASONS Marc Guild S. Brewer & Company REPRESENTATIVES and Senior Broadline Valerie B. Ackerman Marc Guild+ Boeing World Headquarters Gary D. Forsee‡ Ronald Kirk, Esq. Salt Lake City, Utah Retailing Analyst President President, Marketing The Boeing Company Chairman of the Board Executive Committee Committee Vice Chair Greg Gumbel Advisors Lehman Brothers WNBA Division and Chicago, Ill. Mary K. Bush New York, N.Y. Gary D. Forsee Holly Becker New York, N.Y. Director Interep National James E. Sproull, Jr., Esq. Val Ackerman Judith A. Nolte Bush International, Inc. Committee Chair New York, N.Y. Radio Sales, Inc Thomas A. Russo, Esq. Vice Chairman of the Board‡ Chevy Chase, Md. Martin Feinstein Francis M. Austin, Jr.* New York, N.Y. Vice Chairman and Chairman of the Board++ Elizabeth Crow Patricia O’Neill Ware Chairman and CEO Thomas A. Russo, Esq. Les Baledge** New York, N.Y. Chief Legal Officer Leigh-Wai Doo Farmers Group, Inc. Vice Chair of the Board Springdale, Ark. Greg Gumbel Lehman Brothers, Inc. Thomas A. Russo Carol J. Evans Public Affairs Committee Honolulu, Hawaii Los Angeles, Calif. Les R. Baledge* Sports Broadcaster New York, N.Y. Vice Chairman of the Board James E. Sproull, Jr., Esq. David J. Bronczek Executive Vice President CBS, Inc. Greg Gumbel Anna Eleanor Roosevelt John Henry Felix, PhD Gary D. -
HOLLYWOOD – the Big Five Production Distribution Exhibition
HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927 -
2018 Annual Report
Annual Report 2018 Dear Friends, welcome anyone, whether they have worked in performing arts and In 2018, The Actors Fund entertainment or not, who may need our world-class short-stay helped 17,352 people Thanks to your generous support, The Actors Fund is here for rehabilitation therapies (physical, occupational and speech)—all with everyone in performing arts and entertainment throughout their the goal of a safe return home after a hospital stay (p. 14). nationally. lives and careers, and especially at times of great distress. Thanks to your generous support, The Actors Fund continues, Our programs and services Last year overall we provided $1,970,360 in emergency financial stronger than ever and is here for those who need us most. Our offer social and health services, work would not be possible without an engaged Board as well as ANNUAL REPORT assistance for crucial needs such as preventing evictions and employment and training the efforts of our top notch staff and volunteers. paying for essential medications. We were devastated to see programs, emergency financial the destruction and loss of life caused by last year’s wildfires in assistance, affordable housing, 2018 California—the most deadly in history, and nearly $134,000 went In addition, Broadway Cares/Equity Fights AIDS continues to be our and more. to those in our community affected by the fires and other natural steadfast partner, assuring help is there in these uncertain times. disasters (p. 7). Your support is part of a grand tradition of caring for our entertainment and performing arts community. Thank you Mission As a national organization, we’re building awareness of how our CENTS OF for helping to assure that the show will go on, and on. -
Cecil B. Demille's Greatest Authenticity Lapse?
Cecil B. DeMille’s Greatest Authenticity Lapse? By Anton Karl Kozlovic Spring 2003 Issue of KINEMA THE PLAINSMAN (1937): CECIL B. DeMILLE’S GREATEST AUTHENTICITY LAPSE? Cecil B. Demille was a seminal founder of Hollywood whose films were frequently denigrated by critics for lacking historical verisimilitude. For example, Pauline Kael claimed that DeMille had ”falsified history more than anybody else” (Reed 1971: 367). Others argued that he never let ”historical fact stand in the way of a good yarn” (Hogg 1998: 39) and that ”historical authenticity usually took second place to delirious spectacle” (Andrew 1989: 74). Indeed, most ”film historians regard De Mille with disdain” (Bowers 1982: 689)and tended to turn away in embarrassment because ”De Mille had pretensions of being a historian” (Thomas 1975: 266). Even Cecil’s niece Agnes de Mille (1990: 185) diplomatically referred to his approach as ”liberal.” Dates, sequences, geography, and character bent to his needs.” Likewise, James Card (1994: 215) claimed that: ”DeMille was famous for using historical fact only when it suited his purposes. When history didn’t make a good scene, he threw it out.” This DeMillean fact-of-life was also verified by gossip columnist Louella Parsons (1961: 58) who observed that DeMille ”spent thousands of dollars to research his films to give them authenticity. Then he would disregard all the research for the sake of a scene or a shot that appealed to him as better movie-making.” As Charles Hopkins (1980: 357, 360) succinctly put it: ”De Mille did not hesitate -
The Disneyland® Hotel Is Not Only an Icon, It Has Also Served As a Source of Inspiration to Visitors for Nearly Half a Century
Could there be a more inspirational setting than where it all began? The Disneyland® Hotel is not only an icon, it has also served as a source of inspiration to visitors for nearly half a century. In every aspect of the hotel, you’ll feel a sense of rich Disney history that makes this incredibly creative atmosphere truly legendary. From our state-of-the-art meeting facilities to our beautifully appointed rooms and suites, you will feel inspired. The spark of imagination — where does for the award-winning animated movies of the Walt it come from? For the Disneyland® Disney company. He hand selected this group to visualize, Resort, that spark is ignited by the design and build Disneyland® park. Today, the Imagineers Imagineers. Over 50 years ago, when Walt Disney was are responsible for every Disney theme park throughout planning the theme park of his dreams, he turned to the the world. But we will always remember that it all started most creative people he knew — the artists responsible in an orange grove in Southern California. www.disneylandmeetings.com 1 How can innovation come to life? Where will new ideas be generated? When does creativity become reality? At the Disneyland® Resort, we believe that inspiration can strike at any time. And where you begin your day is just as important as where you end it. That is why our hotels were designed to not only be warm and welcoming, but also to be the most creative, innovative and inspiring settings they can be. When you stay at any one of our hotels, nothing will get in the way of your creativity. -
Arctic National Wildlife Refuge: the First 50, a Historic Symposium
Edited by: Steve Chase and Mark Madison 2 Acknowledgments and Sponsors Arctic 50th Historical Special thanks to: Clayton McBride Symposium Planning Team Todd Harless Geoff Haskett, LaVerne Smith, Keith Mantheiy Jay Slack, Director, National and Todd Logan, U.S Fish and Thelma Flynn Conservation Training Center, Wildlife Service, Region 7, Mike Beth Ann Ring U.S. Fish and Wildlife Service Boylan, Richard Voss, Larry Bell Laura Creamer Becky Edgar Steve Chase, Chief, Division of Marca Piehuta Education Outreach, National Georgia Jeppesen Conservation Training Center, Sponsors Dawn Lagrotteria U.S. Fish and Wildlife Service U.S. Fish and Wildlife Service Alicha Burlett Kerrick Reisbig Dr. Mark Madison, Service Historian, National Conservation Gail Testa National Conservation Training Training Center Andrew Weinberg Center, U.S. Fish and Wildlife Service George Krull Arctic National Wildlife Refuge Ben German Jimmy Fox, Region 7, U.S. Tara Lowe Fish and Wildlife Service The Conservation Fund Cynthia Fraula-Hahn David Klinger Maureen Clark, Arctic 50th Voices of the South Shepherd University Department of Coordinator, Region 7, U.S. Contemporary Art and Theater Fish and Wildlife Service Patrick Wallace American Conservation Film Festival Sarah Gannon-Nagle, Strategic And for their efforts and support NCTC ARAMARK Staff Communications Manager, National of this symposium, thanks to: NCTC Raven Services Staff Conservation Training Center, NCTC Security Staff U.S. Fish and Wildlife Service All of our speakers Jay Slack Thelma Flynn, Event Planner, Jim Willis National Conservation Training Kelly Kennedy Center, U.S. Fish and Wildlife Service Rollie Jacobs Beth Stevens Dr. Jim Siegel, National Christine Eustis Conservation Training Center, Karin Christensen U.S. -
UNIVERSITY of Southern CALIFORNIA 11 Jan
UNIVERSAL CITY STUDIOS. INC. AN MCA INC. COMPANY r November 15, 1971 Dr. Bernard _R. Kantor, Chairman Division of Cinema University <;:>f S.outhern California University Park Los Angeles, Calif. 90007 Dear Dr. Kantor: Forgive my delay in answering your nice letter and I want to assure you I am very thrilled about being so honored by the Delta Kappa Al ha, and I most certainly will be present at the . anquet on February 6th. Cordia ~ l I ' Edi ~'h EH:mp 100 UNIVERSAL CITY PLAZA • UNIVERSAL CITY, CALIFORNIA 91608 • 985-4321 CONSOLIDATED FILM I DU TRIES 959 North Seward Street • Hollywood, California 90038 I (213) 462 3161 telu 06 74257 1 ubte eddr n CONSOLFILM SIDNEY P SOLOW February 15, 1972 President 1r. David Fertik President, DKA Uni ersity of Southern California Cinema Department Los Angels, California 90007 Dear Dave: This is to let you know how grateful I am to K for electing me to honorary membership. This is an honor, I must confess, that I ha e for many years dar d to hope that I would someday receive. So ;ou have made a dre m c me true. 'I he award and he widespread publici : th· t it achieved brought me many letters and phone calls of congra ulations . I have enjoyel teaching thee last twent, -four years in the Cinema Department. It is a boost to one's self-rep ct to be accepted b: youn , intelligent people --e peciall, those who are intere.ted in film-m·king . Please e t nJ my thanks to all t e ho ~ere responsible for selec ing me for honor ry~ m er_hip. -
CPY Document
DEPARTMENT OF CITY PLANNING CiTY OF Los ANGELES EXECUTIVE OFFICES OFf-ICE Of- HISTORIC: RESOl.RUS CALIFORNIA S, CAlL COLDBeRC, AIO' 20D N. SPRI,,C SIRfrT, ROUM 620 DIRECTOR Los Ai'ULfS, LA ')0012-4801 (213) 97/J-127: i2131971l-1200 leVA YUAi'-McDi\NIH CULTURAl HERITAGE COMMISSION OfPLTYDIRfOOR (113:978-1173 MARY KI.ALS-MAR i IN PRf,IIDf¡"T FAX: (213: 978-1275 RICH/\RLJ Bi\RROi' VICE PRlSIOFNI ,ALM.'\,'v, C\RLiSU ANTONIO R. VILLARAIGOSA I"JFORMA i ION ci FN C. DAKE MAYOR I:!U)9781no MI/\U:HRFR www_lacity,org/rLI'J COMMISSION ol-rlCE (2i:) 978-1:00 DATE: SEP 2 i 2007 Los Angeles City Council Room 395, City Hall 200 North Spring Street Los Angeles, California 90012 ATTENTION: Barbara Greaves, Legislative Assistant Planning and Land Use Management Committee CASE NUMBER CHC-2007-2577 -HCM CASTERA RESIDENCE 651 NORTH SIENA WAY At the Cultural Heritage Commission meeting of August 16, 2007, the Commission moved to include the above property in the list of Historic-Cultural Monuments, subject to adoption by the City CounciL. As required under the provisions of Section 22.126 of the Los Angeles Administrative Code, the Commission has solicited opinions and information from the office of the Council District in which the site is located and from any Department or Bureau of the city whose operations may be affected by the designation of such site as a Historic- Cultural Monument. Such designation in and of itself has no fiscal impact. Future applications for permits may cause minimal administrative costs. The City Council, according to the guidelines set forth in Section 22.125.1 of the Los Angeles Administrative Code, shall act on the proposed inclusion to the list within 90 days of the Councilor Commission action, whichever first occurs. -
F Rom Screen to Page
The principal players in Greed (right to left), Zasu Pitts, Gibson Gowland, Jean Hersholt. F rom Screen to Page Richard Whitehall One of the more encouraging trends in that from Wilder's previous collaborations. Nothing publishers' gold-rush into books on film has by Sidney Buchman, Jules Furthman, Ben been a growing commitment to the film script. Hecht, Norman Krasna, Frances Marion (The The screen writer, these days, has a good Scarlet Letter was anthologized in 1928, but chance of film and script coming out together, nothing since), Nunnally Johnson, John Lee although there's still a long way to go before Mahin, Donald Ogden Stewart, Sidney Boehm, he achieves parity with the playwright. But Isobel Lennart, George Axelrod, to name a ran since, I think, there is much more imaginative dom dozen important American screen writers. writing presently going into film than into the On the other hand there has been the un ater, this is a step in the right direction. filmed script of Jesus, which Carl Dreyer had The general emphasis is still on the tried and spent the last twenty years of his life planning; true, the classic film. And there is still a bias in there has been Stanley Kubrick's Clockwork favor of the European (although Viking has be Orange script, a model of presentation in that gun to publish the M.G.M. library). No Preston each word is linked to its pictorial image; and Sturges, for instance. Some of the Billy Wilder there has been a major contribution to film I.A. -
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. -
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