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Sherman Oaks-Studio City-Toluca Lake-Cahuenga Pass Activity Log
SHERMAN OAKS-STUDIO CITY- TOLUCA LAKE-CAHUENGA PASS Community Plan TABLE OF CONTENTS ACTIVITY LOG COMMUNITY MAPS COMMUNITY PLAN I. Introduction II. Function of the Community Plan III. Land Use Policies and Programs IV. Coordination Opportunities for Public Agencies V. Urban Design www.lacity.org/PLN (General Plans) A Part of the General Plans - City of Los Angeles SHERMAN OAKS-STUDIO CITY-TOLUCA LAKE-CAHUENGA PASS ACTIVITY LOG ADOPTION DATE PLAN CPC FILE NO. COUNCIL FILE NO. May 13, 1998 Sherman Oaks-Studio City-Toluca Lake-Cahuenga 95-0356 CPU 97-0704 Pass Community Plan Update Jan. 4, 1991 Ventura-Cahuenga Boulevard Corridor Specific Plan 85-0383 85-0926 S22 May 13, 1992 Mulholland Scenic Parkway Specific Plan 84-0323 SP 86-0945 ADOPTION DATE AMENDMENT CPC FI LE NO. COUNCIL FIL E Sept. 7, 2016 Mobility Plan 2035 Update CPC-2013-910-GPA-SPCA-MSC 15-0719 SHERMAN OAKS-STUDIO CITY- TOLUCA LAKE-CAHUENGA PASS Community Plan Chapter I INTRODUCTION COMMUNITY BACKGROUND PLAN AREA The Sherman Oaks-Studio City-Toluca Lake-Cahuenga Pass Community Plan area is located approximately 8 miles west of downtown Los Angeles, is bounded by the communities of North Hollywood, Van Nuys-North Sherman Oaks on the north, Hollywood, Universal City and a portion of the City of Burbank on the east, Encino-Tarzana on the west and Beverly Crest-Bel Air to the south. The area is comprised of five community subareas, each with its own identity, described as follows: • Cahuenga Pass is the historical transition from the highly urbanized core of the city to the rural settings identified with the San Fernando Valley. -
Making Pictures the Pinter Screenplays
Joanne Klein Making Pictures The Pinter Screenplays MAKING PICTURES The Pinter Screenplays by Joanne Klein Making Pictures: The Pinter Screenplays Ohio State University Press: Columbus Extracts from F. Scott Fitzgerald, The Last Tycoon. Copyright 1941 Charles Scribner's Sons; copyright renewed. Reprinted with the permission of Charles Scribner's Sons. Extracts from John Fowles, The French Lieutenant's Woman. Copyright © 1969 by John Fowles. By permission of Little, Brown and Company. Extracts from Harold Pinter, The French Lieutenant's Woman: A Screenplay. Copyright © 1982 by United Artists Corporation and Copyright © 1982 by J. R. Fowles, Ltd. Extracts from L. P. Hartley, The Go-Between. Copyright © 1954 and 1981 by L. P. Hartley. Reprinted with permission of Stein and Day Publishers. Extracts from Penelope Mortimer, The Pumpkin Eater. © 1963 by Penelope Mortimer. Reprinted by permission of the Harold Matson Company, Inc. Extracts from Nicholas Mosley, Accident. Copyright © 1965 by Nicholas Mosley. Reprinted by permission of Hodder and Stoughton Limited. Copyright © 1985 by the Ohio State University Press All Rights Reserved Library of Congress Cataloging in Publication Data Klein, Joanne, 1949 Making pictures. Bibliography: p. Includes index. 1. Pinter, Harold, 1930- —Moving-picture plays. I. Title. PR6066.I53Z713 1985 822'.914 85-326 Cloth: ISBN 0-8142-0378-7 Paper: ISBN 0-8142-0400-7 for William I. Oliver Contents Acknowledgments ix Chronology of Pinter's Writing for Stage and Screen xi 1. Media 1 2. The Servant 9 3. The Pumpkin Eater 27 4. The Quiller Memorandum 42 5. Accident 50 6. The Go-Between 77 1. The Proust Screenplay 103 8. -
9781474451062 - Chapter 1.Pdf
Produced by Irving Thalberg 66311_Salzberg.indd311_Salzberg.indd i 221/04/201/04/20 66:34:34 PPMM 66311_Salzberg.indd311_Salzberg.indd iiii 221/04/201/04/20 66:34:34 PPMM Produced by Irving Thalberg Theory of Studio-Era Filmmaking Ana Salzberg 66311_Salzberg.indd311_Salzberg.indd iiiiii 221/04/201/04/20 66:34:34 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Ana Salzberg, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13 Monotype Ehrhardt by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 5104 8 (hardback) ISBN 978 1 4744 5106 2 (webready PDF) ISBN 978 1 4744 5107 9 (epub) The right of Ana Salzberg to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66311_Salzberg.indd311_Salzberg.indd iivv 221/04/201/04/20 66:34:34 PPMM Contents Acknowledgments vi 1 Opening Credits 1 2 Oblique Casting and Early MGM 25 3 One Great Scene: Thalberg’s Silent Spectacles 48 4 Entertainment Value and Sound Cinema -
Specific Plan
VENTURA-CAHUENGA BOULEVARD CORRIDOR Specific Plan Ordinance No. 166,560 Effective February 16, 1991 Amended by Ordinance No. 171,240 Effective September 25, 1996 Amended by Ordinance No. 174,052 Effective August 18, 2001 Specific Plan Procedures Amended by Ordinance No. 173,455 TABLE OF CONTENTS MAPS Specific Plan Area Section 1. Establishment of Specific Plan Section 2. Purposes Section 3. Relationship to Other Provisions of the Los Angeles Municipal Code Section 4. Definitions Section 5. Prohibitions, Violations, Enforcement, Use Limitations and Restrictions, and Exemptions Section 6. Building Limitations Section 7. Land Use Regulations Section 8. Sign Regulations Section 9. Project Permit Compliance Section 10. Transportation Mitigation Standards and Procedures Section 11. Project Impact Assessment Fee Section 12. PIA Fee-Funded Improvements and Services Section 13. Prior Projects Permitted Section 14. Public Right-Of-Way Improvements Section 15. Plan Review Section 16. Alley Vacations Section 17. Owners Acknowledgment of Limitations Section 18. Severability Section 19. Specific Plan Exceptions Exemption Section 20. Repeal of Existing Ventura/Cahuenga Corridor Specific Plan Ordinance A Part of the General Plan - City of Los Angeles www.lacity.org/Pln (General Plans) Ventura/Cahuenga Boulevard Corridor Specific Plan Exhibits A-G Tarzana Section A Corbin Av B Reseda Bl Tampa Av Wilbur Av Winnetka Av Lindley Av Topanga Canyon Bl Burbank Bl Shoup Av Canoga Av Sherman Oaks Section De Soto Av Fallbrook Av Zelzah Av White Oak Av C Louise Av -
Elizabeth Taylor: Screen Goddess
PRESS RELEASE: June 2011 11/5 Elizabeth Taylor: Screen Goddess BFI Southbank Salutes the Hollywood Legend On 23 March 2011 Hollywood – and the world – lost a living legend when Dame Elizabeth Taylor died. As a tribute to her BFI Southbank presents a season of some of her finest films, this August, including Giant (1956), Cat on a Hot Tin Roof (1958) and Who’s Afraid of Virginia Woolf? (1966). Throughout her career she won two Academy Awards and was nominated for a further three, and, beauty aside, was known for her humanitarian work and fearless social activism. Elizabeth Taylor was born in Hampstead, London, on 27 February 1932 to affluent American parents, and moved to the US just months before the outbreak of WWII. Retired stage actress Sara Southern doggedly promoted her daughter’s career as a child star, culminating in the hit National Velvet (1944), when she was just 12, and was instrumental in the reluctant teenager’s successful transition to adult roles. Her first big success in an adult role came with Vincente Minnelli’s Father of the Bride (1950), before her burgeoning sexuality was recognised and she was cast as a wealthy young seductress in A Place in the Sun (1951) – her first on-screen partnership with Montgomery Clift (a friend to whom Taylor remained fiercely loyal until Clift’s death in 1966). Together they were hailed as the most beautiful movie couple in Hollywood history. The oil-epic Giant (1956) came next, followed by Raintree County (1958), which earned the actress her first Oscar nomination and saw Taylor reunited with Clift, though it was during the filming that he was in the infamous car crash that would leave him physically and mentally scarred. -
The Last of the Belles and Other Stories
The Last of the Belles and Other Stories F. Scott Fitzgerald ALMA CLASSICS AlmA ClAssiCs ltd London House 243-253 Lower Mortlake Road Richmond Surrey TW9 2LL United Kingdom www.almaclassics.com This collection first published by Alma Classics Ltd in 2015 Extra Material © Richard Parker Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY isbn: 978-1-84749-405-4 All the pictures in this volume are reprinted with permission or pre sumed to be in the public domain. Every effort has been made to ascertain and acknowledge their copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or other- wise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents The Last of the Belles and Other Stories 1 Jacob’s Ladder 3 A Short Trip Home 31 The Bowl 54 The Last of the Belles 82 Majesty 101 At Your Age 123 The Swimmers 140 Two Wrongs 163 The Bridal Party 186 One Trip Abroad 206 The Hotel Child 233 Note on the Texts 256 Notes 256 Extra Material 261 F. Scott Fitzgerald’s Life 263 F. Scott Fitzgerald’s Works 273 Select Bibliography 278 Other books by F. -
Sinclair Lewis Society Newsletter VOLUME TWENTY, NUMBER ONE FALL 2011
The SINCLAIR LEWIS SOCIETY NEWSLETTER VOLUME TWENTY, NUMBER ONE FALL 2011 LANCELOT TODD: A CASE FOR FICTIONAL INDEPENDENCE Samuel J. Rogal Illinois Valley Community College In a neat package of a single paragraph containing a summarization of Lewis’s Lancelot Todd, Mark Schorer de- termined that Lewis’s pre-1920s version of the present-day public relations agent run wild represented a relatively simple “ANOTHER PERFECT DAY”: WEATHER, instrument of his creator’s satire and farce. Schorer labeled MOOD, AND LANDSCAPE IN SINCLAIR Todd “a suave immoralist” and “swindler” who threads his LEWIS’S MINNESOTA DIARY way through a series of short stories with plots that hold no “real interest” and whose principal fictional function focuses Frederick Betz upon Lewis’s preparations for the larger worlds of George Southern Illinois University–Carbondale Babbitt and Elmer Gantry (Schorer 239). Although few critical commentators of twenty-first-century American fiction seem- Sinclair Lewis’s Minnesota Diary, 1942–46, superbly ingly have possessed the stamina or willingness to challenge introduced and edited by George Killough, “offers an inside Schorer’s generalized characterization of Todd, there lies suf- view of a very public person,” a “strangely quiet and factual” ficient evidence in the stories themselves to allow for at least diarist, who “keeps meticulous notes on weather, writes ap- a defense of Todd as a character who might somehow stand preciative descriptions of scenery, mentions hundreds of people independent of the likes of Babbitt and Gantry. he is meeting, and chronicles exploratory trips around Min- Lancelot Todd appears in seven Lewis stories published nesota” (15). -
L a County Sheriff Jim Mcdonnell Public Safety Challenges for 2018: *Crime *Counter-Terrorism *Mental Illness *Opioids *Recruitment of Officers
L A County Sheriff Jim McDonnell Public Safety Challenges for 2018: *Crime *Counter-Terrorism *Mental Illness *Opioids *Recruitment of Officers COMMUNITY MEETING WEDNESDAY, OCTOBER 18, 2017 - 7:15 PM NOTRE DAME HIGH SCHOOL • RIVERSIDE & WOODMAN, SHERMAN OAKS Los Angeles County Sheriff Jim McDonnell will be our guest speaker on Wednesday evening October 18, 2017. Many of us are very familiar with Sheriff McDonnell because he has spoken at previous Meetings as the second in command to Los Angeles Police Chief William Bratton. In 2010, he left the Los Angeles Police Department to become Chief of Police in the City of Long Beach. In 2014, he was elected as Los Angeles County Sheriff. Chief McDonnell brings decades of experience and expertise to the Los Angeles Sheriff’s Department. He is well-respected within the community and among law enforcement agencies. McDonnell has served as President of the Los Angeles County Police Chiefs’ Association as well as California Peace Officers’ Association. He is committed to keeping our streets safe while being transparent and proactively addressing the root causes of all crimes. Learn how Chief McDonnell deals with the challenges of overseeing 18,000 employees and what is being done to solve admitted problems within the Sheriff’s Department. Chief McDonnell will also discuss the controversy over the Sheriff’s Department’s use of drones. He will explain how the Sheriff’s Department is prepared if a Las Vegas shooting were to occur in Los Angeles. How will immigration rules from Washington, D.C. impact policing in our communities? Jules Feir announces that Poquito Mas will be our Restaurant of the Month. -
The Creative Process
The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other. -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
SINCLAIR LEWIS' Fiction
MR, FLANAGAN, who is professoT of American literature in. the University of Illinois, here brings to a total of fifteen his mafor contributions to this magazine. The article's appearance appropriately coincides with the seventy-fifth anniversary of Lewis' birth and the fortieth of the publication of Main Street. The MINNESOTA Backgrounds of SINCLAIR LEWIS' Fiction JOHN T. FLANAGAN SINCLAIR. LEWIS 'was once questioned his picture of Gopher Prairie and Minne about the autobiographical elements in sota and the entire Middle W^est became Main Street by a friend 'whose apartment both durable and to a large extent accurate. he 'was temporarily sharing. The novelist A satirist is of course prone to exaggeration. remarked to Charles Breasted that Dr. 'Will Over-emphasis and distortion are his stock Kennicott, the appealing country physician in trade. But despite this tilting of the in his first best seller, 'was a portrait of his balance, his understanding of places and father; and he admitted that Carol, the doc events and people must be reliable, other tor's 'wife, 'was in many respects indistin wise he risks losing touch with reality com guishable from himself. Both "Red" Lewis pletely, Lewis was born in Minnesota, he and Carol Kennicott were always groping spent the first seventeen years of his life in for something beyond attainment, always the state, and he returned on frequent visits, dissatisfied, always restless, and although which sometimes involved extensive stays both were frequently scornful of their im in Minneapolis, St, Paul, or Duluth, A num mediate surroundings they nevertheless ber of his early short stories and six of his lacked any clear vision of what could or twenty-two novels are localized wholly or should be done. -
To Academy Oral Histories Marvin J. Levy
Index to Academy Oral Histories Marvin J. Levy Marvin J. Levy (Publicist) Call number: OH167 60 MINUTES (television), 405, 625, 663 ABC (television network) see American Broadcasting Company (ABC) ABC Circle Films, 110, 151 ABC Pictures, 84 A.I. ARTIFICIAL INTELLIGENCE, 500-504, 615 Aardman (animation studio), 489, 495 AARP Movies for Grownups Film Festival, 475 Abagnale, Frank, 536-537 Abramowitz, Rachel, 273 Abrams, J. J., 629 ABSENCE OF MALICE, 227-228, 247 Academy Awards, 107, 185, 203-204, 230, 233, 236, 246, 292, 340, 353, 361, 387, 432, 396, 454, 471, 577, 606, 618 Nominees' luncheon, 348 Student Academy Awards, 360 Academy of Motion Pictures Arts and Sciences, 361-362, 411 Academy Board of Governors, 312, 342, 346-349, 357, 521 Academy Film Archive, 361, 388, 391, 468 Public Relations Branch, 342, 344, 348, 356 Visiting Artists Program, 614, 618 ACCESS HOLLYWOOD (television), 100, 365 Ackerman, Malin, 604 Activision, 544 Actors Studio, 139 Adams, Amy, 535 THE ADVENTURES OF HUCKLEBERRY FINN, 71, 458 THE ADVENTURES OF TINTIN, 126 Aghdashloo, Shohreh, 543 Aldiss, Brian, 502 Aldrich, Robert, 102, 107, 111 Alexander, Jane, 232, 237 Ali, Muhammad, 177 ALICE IN WONDERLAND (2010), 172, 396 ALIVE, 335 Allen, Debbie, 432 Allen, Herbert, 201, 205 Allen, Joan, 527-528 Allen, Karen, 318, 610 Allen, Paul, 403-404 Allen, Woody, 119, 522-523, 527 ALMOST FAMOUS, 525-526, 595 ALWAYS (1989), 32, 323, 326, 342, 549 Amateau, Rod, 133-134 Amazing Stories (comic book), 279 AMAZING STORIES (television), 278-281, 401 Amblimation, 327, 335-336, 338, 409-410