First Film Directed by Steven Spielberg
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1 Newcomer Among 5 Dealers Elected to CATA Board Seats
Volume 108, No. 12 June 27, 2011 Upcoming DealersEdge Webinars 1 newcomer among 5 dealers The Chicago Automobile Trade Association has estab- elected to CATA board seats lished a partnership with DealersEdge to provide high- quality training and informational Webinars that offer Results announced at Expo the content to CATA member dealers at a significantly An enthusiastic crowd of CATA board of directors discounted rate. dealers and their managers showed four incumbents and The rate for CATA members for the weekly presenta- showed up June 22 for the one newcomer won elec- tions is $149, half what is charged to users who do not 2nd annual CATA Dealer tion to three-year terms. Ed subscribe to DealersEdge. Webinars premiere on a near- Meeting & Expo, and they Burke, Dan Marks, Mike weekly basis. liked what they saw: 45 allied McGrath Jr. and Colin Even for dealers who hold an annual membership with members explaining their Wickstrom all won second DealersEdge, the new relationship with the CATA repre- products and services, and terms on the board. Bill sents a savings because DealersEdge offers its Webinars 11 educational seminars pre- Haggerty won for the first to its own members for $198. Regular annual member- sented during the day. time. ship fees are $397, and normal Webinar fees are $298 for At the Expo, results of A director may serve up non-DealersEdge members. this month’s balloting for the to three terms. Once purchased, DealersEdge Webinars and ac- companying PDF files can be downloaded and viewed Professionalism trumps price: study later—and repeatedly. -
Las Aportaciones Al Cine De Steven Spielberg Son Múltiples, Pero Sobresale Como Director Y Como Productor
Steven Spielberg Las aportaciones al cine de Steven Spielberg son múltiples, pero sobresale como director y como productor. La labor de un productor de cine puede conllevar cierto control sobre las diversas atribuciones de una película, pero a menudo es poco más que aportar el dinero y los medios que la hacen posible sin entrar mucho en los aspectos creativos de la misma como el guión o la dirección. Es por este motivo que no me voy a detener en la tarea de Spielberg como productor más allá de señalar sus dos productoras de cine y algunas de sus producciones o coproducciones a modo de ejemplo, para complementar el vistazo a la enorme influencia de Spielberg en el mundo cinematográfico: En 1981 creó la productora de cine “Amblin Entertainment” junto con Kathleen Kenndy y Frank Marshall. El logo de esta productora pasaría a ser la famosa silueta de la bicicleta con luna llena de fondo de “ET”, la primera producción de la firma dirigida por Spielberg. Otras películas destacadas con participación de esta productora y no dirigidas por Spielberg son “Gremlins”, “Los Goonies”, “Regreso al futuro”, “Esta casa es una ruina”, “Fievel y el nuevo mundo”, “¿Quién engañó a Roger Rabbit?”, “En busca del Valle Encantado”, “Los picapiedra”, “Casper”, “Men in balck”, “Banderas de nuestros padres” & “Cartas desde Iwo Jima” o las series de televisión “Cuentos asombrosos” y “Urgencias” entre muchas otras películas y series. En 1994 fundaría con Jeffrey Katzenberg y David Geffen la productora y distribuidora DreamWorks, que venderían al estudio Viacom en 2006 tras participar en éxitos como “Shrek”, “American Beauty”, “Náufrago”, “Gladiator” o “Una mente maravillosa”. -
View Centro's Film List
About the Centro Film Collection The Centro Library and Archives houses one of the most extensive collections of films documenting the Puerto Rican experience. The collection includes documentaries, public service news programs; Hollywood produced feature films, as well as cinema films produced by the film industry in Puerto Rico. Presently we house over 500 titles, both in DVD and VHS format. Films from the collection may be borrowed, and are available for teaching, study, as well as for entertainment purposes with due consideration for copyright and intellectual property laws. Film Lending Policy Our policy requires that films be picked-up at our facility, we do not mail out. Films maybe borrowed by college professors, as well as public school teachers for classroom presentations during the school year. We also lend to student clubs and community-based organizations. For individuals conducting personal research, or for students who need to view films for class assignments, we ask that they call and make an appointment for viewing the film(s) at our facilities. Overview of collections: 366 documentary/special programs 67 feature films 11 Banco Popular programs on Puerto Rican Music 2 films (rough-cut copies) Roz Payne Archives 95 copies of WNBC Visiones programs 20 titles of WNET Realidades programs Total # of titles=559 (As of 9/2019) 1 Procedures for Borrowing Films 1. Reserve films one week in advance. 2. A maximum of 2 FILMS may be borrowed at a time. 3. Pick-up film(s) at the Centro Library and Archives with proper ID, and sign contract which specifies obligations and responsibilities while the film(s) is in your possession. -
Stars with Stripes
Stars with stripes Following in the footsteps of actor George C. Scott and movie producer Sy Weintraub, new generations of Mizzou Tigers have earned their fame and fortune in the entertainment industry. BY JOHN BEA.Ht.ER 20 Aft SSOU Hf Al,/JMNUS SU l\11\.IEll 199 5 A (Jeck nl the Pitt ven by Hollywood .' tandard~ of E verhal o verk ill. the lwhhuh that ~urrou nd.<. aclor l\rad Pitt, Journ '87. i ~ r;1i,ing eyebrow ~. "Brad PiH i, the houe~ 1 young hcaruhrob to hit the ~Cn.!cn in ycan.:· scream, an a11iclc in \la11ity 1:a;,. 11rnga1i11e. "The ~cx i c~ 1 mun alive." ~ay' Pt'o11le. Of cou r~c. folks in Mi.,.,ouri already knew that Piu ~ I OI.xi out from the c rowd. As a ~ tude ru at Mi11.ou he ~ct more than a fow hean~ atwi11er with his charm and drop-dead good looJ..s. Mc'~ James Dean, Robcn Red ford and Jack Nicho l .~o n all rol led into one. The hoopla ,,trctche., all the way back ho me to Missouri. M i~ pare nt ~ i11 Springfield had to get an unlisted phone number af1er they were deluged wi1h culls. Reponers have pestered fonner frn1erni1y brothers from his days at Mizzou. National rnaga1.ines and TV news programs are 1alking 10 Pin's MU advenising professors for 1he lowdown on how he headed ou1 to California, just two credits s hon o f grnduation. Dr. Birgit He won national recognition for his role A former elementary school music teacher in Wa ssnmth, associate professor of as the doomed young reponer. -
Persistence of the Mythic Hero in American Cinema
Colloquium: A Journal of the Arts Department (ISSN 2350-1251), Volume 5, 2018 URL of the Issue: http://colloquium.bescollege.net/V5 PDF URL: http://colloquium.bescollege.net/V5/v502.pdf Tales of violence and revival: Persistence of the mythic hero in American cinema Arup Ratan Samajdar College Whole Time Lecturer, Department of Film Studies, The Bhawanipur Education Society College When James Mangold’s Logan released in 2017, it was a highly anticipated superhero film.1 While the film was all set to become a landmark in the superhero genre, as soon as it opened in theatres, fans and critics immediately noted how far removed the film was from the usual superhero fanfare and how closely it resonated with westerns. In one of the earliest reviews, Peter Travers noted, “Logan has the shape of a classic western. Shane is directly referenced in one scene and the elegiac tone of the film recalls Clint Eastwood's Oscar-winning Unforgiven”.2 While Travers might have just scratched the surface, given the limited scope and immediacy of a review, Logan shares far deeper bonds with westerns than just familiar plotlines and iconographies. To understand the structural similarities which impart the film its identity as a western, one must go back to the most fundamental facets of the genre, namely the frontier myth and the notion of the mythic hero and address one of the foremost preoccupations of westerns, idea of masculinity. American West(ern): From history to myth "When the legend becomes fact, print the legend." - The Man Who Shot Liberty Valance (John Ford, 1962) The western has not only been the most distinctive genre in the American studio system but also a quintessential American institution. -
Pittsburgh Vacant Lot T O O L K
PITTSBURGH VACANT LOT TOOLKIT Resource Guide VLTk December 2015 ABOUT THE toolkit The Vacant Lot Toolkit is a comprehensive overview of the goals, policies, processes, procedures, and guidelines for transforming vacant, blighted lots into temporary edible, flower, and rain gardens. Residents of the City of Pittsburgh can refer to this toolkit when thinking about creating a vacant lot project on City-owned land, and will find it useful throughout the process. The toolkit can also be a resource for projects on other public and privately owned land throughout the city. The City of Pittsburgh thanks you for your time, creativity, and stewardship to creating transformative projects in your ACKNOWLEDGMENTS neighborhoods. We look forward collaborating with you and VLTK Project Manager watching your projects grow. Josh Lippert, ASLA, Senior Environmental Planner Andrew Dash, AICP, Assistant Director For questions please refer to the Vacant Lot Toolkit Website: VLTK Program COORDINATOR www.pittsburghpa.gov/dcp/adoptalot Shelly Danko+Day, Open Space Specialist VLTK ADVISORY COMMITTEE City of Pittsburgh - Department of City Planning Raymond W. Gastil, AICP, Director **Please note that this toolkit is for new projects as well as City of Pittsburgh - Office of the Mayor existing projects that do not possess a current license, lease, Alex Pazuchanics right-of-entry, or waiver for City-owned property. Projects that exist without these will have to contact the Open Space Specialist City of Pittsburgh - Office of Sustainability and/or begin through the -
Rutgers, the State University of New Jersey
RUTGERS, THE STATE UNIVERSITY OF NEW JERSEY NEW BRUNSWICK AN INTERVIEW WITH ARNOLD SPIELBERG FOR THE RUTGERS ORAL HISTORY ARCHIVES WORLD WAR II * KOREAN WAR * VIETNAM WAR * COLD WAR INTERVIEW CONDUCTED BY SANDRA STEWART HOLYOAK and SHAUN ILLINGWORTH NEW BRUNSWICK, NEW JERSEY MAY 12, 2006 TRANSCRIPT BY DOMINGO DUARTE Shaun Illingworth: This begins an interview with Mr. Arnold Spielberg on May 12, 2006, in New Brunswick, New Jersey, with Shaun Illingworth and … Sandra Stewart Holyoak: Sandra Stewart Holyoak. SI: Thank you very much for sitting for this interview today. Arnold Spielberg: My pleasure. SI: To begin, could you tell us where and when you were born? AS: I was born February 6, 1917, in Cincinnati, Ohio. SH: Could you tell us a little bit about your father and how his family came to settle in Cincinnati, Ohio? AS: Okay. My father was an orphan, born in the Ukraine, in a little town called Kamenets- Podolski, in the Ukraine. … His parents died, I don’t know of what, when he was about two years old and he was raised by his uncle. His uncle’s name was Avrahom and his father’s name was Meyer Pesach, and so, I became Meyer Pesach Avrahom. So, I was named after both his uncle and his father, okay, and my father came to this country after serving six years in the Russian Army as a conscript. That is usually what happens to people. … Also, when he was raised on his uncle’s farm, he rode horses and punched cattle. So, he was sort of a Russian cowboy. -
SOUND STAGE PRODUCTION REPORT “This Report Reveals a Portion of the Los Angeles Production Picture That Has Until Now Gone Unviewed
SOUND STAGE PRODUCTION REPORT “This report reveals a portion of the Los Angeles production picture that has until now gone unviewed. We hope that the availability of this data, and our plans to expand it through new studio partnerships, will be an asset to business leaders and policymakers, and further public understanding of L.A.’s signature industry and the wide employment and economic benefits it brings.” - Paul Audley, President of FilmL.A. PHOTO: Dmitry Morgan / Shutterstock.com PHOTO: MBS Media Campus PHOTO: Sunset Gower Studios© 6255 W. Sunset Blvd. CREDITS: 12th Floor Supervising Research Analyst: Hollywood, CA 90028 Adrian McDonald Graphic Design: filmla.com Shane Hirschman Photography: @FilmLA Shutterstock FilmLA Stages / studios (as noted) FilmLAinc TABLE OF CONTENTS INTRODUCTION 2 CERTIFIED SOUND STAGES IN GREATER LOS ANGELES 3 OTHER NON-CERTIFIED PRODUCTION SPACES 3 SHOOT DAYS ON STUDIO SOUND STAGES AND BACKLOTS 4 TRENDS IN SOUND STAGE FILMING 5 TRENDS IN BACKLOT FILMING 7 TRENDS IN SOUND STAGE OCCUPANCY 8 PROJECT COUNTS BY PRODUCTION CATEGORY 8 SOUND STAGES AND STUDIO INFRASTRUCTURE IN NORTH AMERICA 9 CONCLUSION 12 INTRODUCTION For more than 20 years, FilmL.A. has conducted an ongoing study of on-location filming in the Greater Los Angeles area. Drawing on data from film permits it coordinates, FilmL.A. publishes detailed quarterly updates on local film production, covering categories like Feature Films, Television Dramas and Commercials, among others. The availability of this data helps inform the film industry, Los Angeles area residents and state and local public officials of the overall health of California’s signature industry. Few other film offices track local film production as thoroughly as FilmL.A does. -
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 -
Remembering World War Ii in the Late 1990S
REMEMBERING WORLD WAR II IN THE LATE 1990S: A CASE OF PROSTHETIC MEMORY By JONATHAN MONROE BULLINGER A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Communication, Information, and Library Studies Written under the direction of Dr. Susan Keith and approved by Dr. Melissa Aronczyk ________________________________________ Dr. Jack Bratich _____________________________________________ Dr. Susan Keith ______________________________________________ Dr. Yael Zerubavel ___________________________________________ New Brunswick, New Jersey January 2017 ABSTRACT OF THE DISSERTATION Remembering World War II in the Late 1990s: A Case of Prosthetic Memory JONATHAN MONROE BULLINGER Dissertation Director: Dr. Susan Keith This dissertation analyzes the late 1990s US remembrance of World War II utilizing Alison Landsberg’s (2004) concept of prosthetic memory. Building upon previous scholarship regarding World War II and memory (Beidler, 1998; Wood, 2006; Bodnar, 2010; Ramsay, 2015), this dissertation analyzes key works including Saving Private Ryan (1998), The Greatest Generation (1998), The Thin Red Line (1998), Medal of Honor (1999), Band of Brothers (2001), Call of Duty (2003), and The Pacific (2010) in order to better understand the version of World War II promulgated by Stephen E. Ambrose, Tom Brokaw, Steven Spielberg, and Tom Hanks. Arguing that this time period and its World War II representations -
Classic Film Series
Pay-as-you-wish Friday Nights! CLASSIC PAID Non-Profit U.S. Postage U.S. Permit #1782 FILM SERIES White NY Plains, Fall 2017/Winter 2018 Pay-as-you-wish Friday Nights! Bernard and Irene Schwartz Classic Film Series Join us for the New-York Historical Society’s film series, featuring opening remarks by notable filmmakers, writers, legal scholars, and historians. Justice in Film Explore how film has tackled social strife, morality, and the perennial struggle between right and wrong—conflicts that manifest across cultures and history. Entrance to the film series is included with Museum Admission during New-York Historical’s Pay-as-you-wish Friday Nights (6–8 pm). No advance reservations. Tickets are distributed on a first-come, first-served basis beginning at 6 pm. New-York Historical Society Members receive priority. For more information on our featured films and speakers, please visit nyhistory.org/programs or call (212) 485-9205. Dale Gregory Vice President for Public Programs | Alex Kassl Manager of Public Programs | Hannah Donoghue Assistant Manager of Public Programs | Kate Yurkovsky Public Programs Assistant Classic Film Series Film Classic 170 Central Park170 West at Richard Gilder (77th Way Street) NY 10024New York, Publication Team: Publication Don Pollard Don Pollard Don Joan MarcusJoan Tony Rinaldo Tony NEW-YORK HISTORICAL SOCIETY Lorella Zanetti Collection of the Nancy Crampton Nancy MUSEUM LIBRARY Supreme Court of the U.S. From top left: Philip C. Bobbitt, Amanda Foreman, Fredrik Logevall, Ron Simon, Dale Gregory, Sheila Griffin Annette Gordon-Reed, Michael Korda, Associate Justice, U.S. Supreme Court, Samuel Alito, Susan Lacy, Marissa Doran Marissa Justice in Film Gail Lumet Buckley, Bob Herbert, Antonio Monda, Linda Greenhouse, Robert Post, Kenji Yoshino Friday, October 27, 7 pm Goodbye, Mr. -
Short Synopsis a Young Woman Is
*** Please note: these production notes are for reference only and may contain spoilers. We would appreciate you not revealing the characters’ secrets in editorial or social postings without proper warning. The film is under embargo until Wednesday, February 21 at 10:30pm CET / 4:30pm EST / 1:30pm PST. Thank you. *** Short Synopsis A young woman is involuntarily committed to a mental institution where she is confronted by her greatest fear - but is it real or is it a product of her delusion? Long Synopsis Making a startling trip into thriller territory with Unsane, director Steven Soderbergh plunges audiences into the suspense and drama of a resilient woman’s (Claire Foy, The Crown) fight to reclaim her freedom even as she risks her own sanity. Scarred from the trauma of being stalked, quick-witted Sawyer Valentini (portrayed by Ms. Foy) has relocated from Boston to Pennsylvania for a new life. As her mother Angela (Academy Award nominee Amy Irving) misses her back home and her office job is hardly an ideal employment opportunity, Sawyer remains on edge following her two years of being terrorized. To consult with a therapist, she goes for follow-up treatment at the Highland Creek Behavioral Center. Sawyer’s initial therapy session at the suburban complex run by clinician Ashley Brighterhouse (Aimée Mullins, Stranger Things) progresses well — until she unwittingly signs herself in for voluntary 24-hour commitment. Unable to leave the premises, Sawyer finds herself in close quarters with previously committed hellion Violet (Juno Temple, The Dark Knight Rises) and savvy Nate (Jay Pharoah, Saturday Night Live), who is battling an opioid addiction.