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The Winonan - 1990S
Winona State University OpenRiver The inonW an - 1990s The inonW an – Student Newspaper 12-17-1997 The inonW an Winona State University Follow this and additional works at: https://openriver.winona.edu/thewinonan1990s Recommended Citation Winona State University, "The inonW an" (1997). The Winonan - 1990s. 190. https://openriver.winona.edu/thewinonan1990s/190 This Newspaper is brought to you for free and open access by the The inonW an – Student Newspaper at OpenRiver. It has been accepted for inclusion in The inonW an - 1990s by an authorized administrator of OpenRiver. For more information, please contact [email protected]. w NONA 1711 UNIVERS Ill RA F1 illinonan 3 0106 00362 4565 Wednesday, December 17, 1997 Volume 76, Issue 8 WSU may soon convert to "Laptop U" Baldwin By Lori Oliver Consultant Greg Peterson. option to buy the laptop before the the students' tution bill. The univer- the laptop university, but they do not too loud News Reporter Under the laptop university, stu- lease is up or at the time when the sity is concerned about students de- have all of the answers. Answers dents would be required to lease a lease expires. ciding to leave the university because won't be guaranteed until the univer- laptop computer from the university. Incoming freshman will lease on a they can't afford to pay the extra sity actually begins the process of On Monday and Tuesday Winona Three main phases are involved in three-year period, and the lease will money for the laptops. converting WSU to a laptop univer- for study this process. -
CITIZEN KANE by Herman J. Mankiewicz & Orson Welles PROLOGUE FADE IN
CITIZEN KANE by Herman J. Mankiewicz & Orson Welles PROLOGUE FADE IN: EXT. XANADU - FAINT DAWN - 1940 (MINIATURE) Window, very small in the distance, illuminated. All around this is an almost totally black screen. Now, as the camera moves slowly towards the window which is almost a postage stamp in the frame, other forms appear; barbed wire, cyclone fencing, and now, looming up against an early morning sky, enormous iron grille work. Camera travels up what is now shown to be a gateway of gigantic proportions and holds on the top of it - a huge initial "K" showing darker and darker against the dawn sky. Through this and beyond we see the fairy-tale mountaintop of Xanadu, the great castle a sillhouette as its summit, the little window a distant accent in the darkness. DISSOLVE: (A SERIES OF SET-UPS, EACH CLOSER TO THE GREAT WINDOW, ALL TELLING SOMETHING OF:) The literally incredible domain of CHARLES FOSTER KANE. Its right flank resting for nearly forty miles on the Gulf Coast, it truly extends in all directions farther than the eye can see. Designed by nature to be almost completely bare and flat - it was, as will develop, practically all marshland when Kane acquired and changed its face - it is now pleasantly uneven, with its fair share of rolling hills and one very good-sized mountain, all man-made. Almost all the land is improved, either through cultivation for farming purposes of through careful landscaping, in the shape of parks and lakes. The castle dominates itself, an enormous pile, compounded of several genuine castles, of European origin, of varying architecture - dominates the scene, from the very peak of the mountain. -
Citizen Kane
Citizen Kane Background Information 1941 Historical Events: Franklin Roosevelt was US President Germany invaded Soviet Union Japan bombed Pearl Harbor and US entered WWII 1941 Other American films released that year: Dumbo How Green Was My Valley The Maltese Falcon Suspicion Sullivan’s Travels The Wolf Man Citizen Kane was directed and written by 26-year-old Orson Welles (1915-1987), who also stars as the title character This was his first film in Hollywood, although he had directed many plays, including a voodoo version of “MacBeth” Welles came to the attention of Hollywood because of his infamous “War of the Worlds” radio broadcast Citizen Kane has influenced countless filmmakers and is consistently cited as one of the ten best films of all time. Based on the life of publishing magnate William Randolph Hearst, it is an exuberant, muckraking attack on an archetypal economic baron. William Randolph Hearst Charles Foster Kane “Yellow Journalist" and Same kind of publisher and multi-millionaire newspaper journalist publisher; shaper of public opinion Political aspirant to Political aspirant to Presidency by becoming Presidency by running for New York State's Governor governor of New York; married President's niece Hearst built "The Ranch," Kane built “Xanadu,” a a palace at San Simeon, palace in Florida, filled with California, filled with a a priceless art collection priceless art collection Long-lasting affair with Sad affair and marriage the young and successful with talentless 'singer' silent film actress Marion Susan Alexander Davies -
Crossroads Film and Television Program List
Crossroads Film and Television Program List This resource list will help expand your programmatic options for the Crossroads exhibition. Work with your local library, schools, and daycare centers to introduce age-appropriate books that focus on themes featured in the exhibition. Help libraries and bookstores to host book clubs, discussion programs or other learning opportunities, or develop a display with books on the subject. This list is not exhaustive or even all encompassing – it will simply get you started. Rural themes appeared in feature-length films from the beginning of silent movies. The subject matter appealed to audiences, many of whom had relatives or direct experience with life in rural America. Historian Hal Barron explores rural melodrama in “Rural America on the Silent Screen,” Agricultural History 80 (Fall 2006), pp. 383-410. Over the decades, film and television series dramatized, romanticized, sensationalized, and even trivialized rural life, landscapes and experiences. Audiences remained loyal, tuning in to series syndicated on non-network channels. Rural themes still appear in films and series, and treatments of the subject matter range from realistic to sensational. FEATURE LENGTH FILMS The following films are listed alphabetically and by Crossroads exhibit theme. Each film can be a basis for discussions of topics relevant to your state or community. Selected films are those that critics found compelling and that remain accessible. Identity Bridges of Madison County (1995) In rural Iowa in 1965, Italian war-bride Francesca Johnson begins to question her future when National Geographic photographer Robert Kincaid pulls into her farm while her husband and children are away at the state fair, asking for directions to Roseman Bridge. -
Author Functions, Auteur Fictions Understanding Authorship in Conglomerate Hollywood Commerce, Culture, and Narrative
Author Functions, Auteur Fictions Understanding Authorship in Conglomerate Hollywood Commerce, Culture, and Narrative VOLUME I: ARGUMENTS Thomas James Wardak A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities School of English Literature March 2017 i Abstract In 1990, Timothy Corrigan identified a rising trend in Hollywood film marketing wherein the director, or auteur, had become commercially galvanised as a brand icon. This thesis updates Corrigan’s treatise on the ‘commerce of auteurism’ to a specific 2017 perspective in order to dismantle the discursive mechanisms by which commodified author-brands create meaning and value in Conglomerate Hollywood’s promotional superstructure. By adopting a tripartite theoretical/industrial/textual analytical framework distinct from the humanistic and subjectivist excesses of traditional auteurism, by which conceptions of film authorship have typically been circumscribed, this thesis seeks to answer the oft- neglected question how does authorship work as it relates to the contemporary blockbuster narrative. Naturally, this necessitates a corresponding understanding of how texts work, which leads to the construction of a spectator-centric cognitive narratorial heuristic that conceptualises ‘the author’ as a hermeneutic code which may be activated when presented with sufficient ‘authorial’ signals. Of course, authorial signals do not only emanate from films but also promotional paratexts such -
Herman J. Mankiewicz– Screenwriter of Citizen Kane
BY RAY MO R TON Legends of Screenwriting Herman J. Mankiewicz– Screenwriter of Citizen Kane Herman Jacob Mankiewicz was born in New York City on November 7, 1897. The eldest of three children (the youngest of whom, Joseph L. Mankiewicz, would also grow up to become a legendary screenwriter, director and producer) of German-Jewish immigrants, Herman was raised in Wilkes-Barre, Pennsylvania and later attended Columbia University. “When sound arrived, Herman’s sharp wit served him in good stead as he created scintillating dialogue ... ” Scenes from Citizen Kane C OURTESY : W ARNER H OME V IDEO e graduated in 1917 and, after spending and Robert E. Sherwood, as well as the plays Herman was hired as a contract writer, first at several years in the military, became The Good Fellows (with George S. Kaufman) Paramount and then later at MGM, Colum- the director of the American Red Cross and The Wild Man of Borneo (with Marc bia, and other studios, concocting stories press service in Paris. After leaving that Connelly). From 1923 to 1926, he was a and titles for films such as Gentlemen Prefer Hposition, Mankiewicz joined the Chicago drama critic at The New York Times and was Blondes (1928) and The Canary Murder Case Tribune as a Berlin-based foreign correspon- the theatre critic for the newly founded The (1929). When sound arrived, Herman’s sharp dent and acted as a press agent for legendary New Yorker magazine from June 1925 to wit served him in good stead as he created dancer Isadora Duncan. Returning to the U.S. -
Scary Poppins Returns! Doctor Who: the Eighth Doctor, Liv and Helen Are Back on Earth, but This Time There’S No Escape…
ISSUE: 136 • JUNE 2020 WWW.BIGFINISH.COM SCARY POPPINS RETURNS! DOCTOR WHO: THE EIGHTH DOCTOR, LIV AND HELEN ARE BACK ON EARTH, BUT THIS TIME THERE’S NO ESCAPE… DOCTOR WHO ROBOTS THE KALDORAN AUTOMATONS RETURN BIG FINISH WE MAKE GREAT FULLCAST AUDIO WE LOVE STORIES! DRAMAS AND AUDIOBOOKS THAT ARE AVAILABLE TO BUY ON CD AND OR ABOUT BIG FINISH DOWNLOAD Our audio productions are based on much-loved TV series like Doctor Who, WWW.BIGFINISH.COM Torchwood, Dark Shadows, @BIGFINISH Blake’s 7, The Avengers, THEBIGFINISH The Prisoner, The Omega Factor, Terrahawks, Captain BIGFINISHPROD Scarlet and Survivors, as BIG-FINISH well as classics such as HG BIGFINISHPROD Wells, Shakespeare, Sherlock Holmes, The Phantom of the SUBSCRIPTIONS Opera and Dorian Gray. If you subscribe to our Doctor We also produce original BIG FINISH APP Who The Monthly Adventures creations such as Graceless, The majority of Big Finish range, you get free audiobooks, Charlotte Pollard and The releases can be accessed on- PDFs of scripts, extra behind- Adventures of Bernice the-go via the Big Finish App, the-scenes material, a bonus Summer eld, plus the Big available for both Apple and release, downloadable audio Finish Originals range featuring Android devices. readings of new short stories seven great new series: ATA and discounts. Girl, Cicero, Jeremiah Bourne in Time, Shilling & Sixpence Secure online ordering and Investigate, Blind Terror, details of all our products can Transference and The Human be found at: bgfn.sh/aboutBF Frontier. BIG FINISH EDITORIAL WE’RE CURRENTLY in very COMING SOON interesting times, aren’t we? The COVID-19 pandemic has changed all our lives in recent ABBY AND ZARA months, with lockdown becoming a part of our everyday routine. -
Doherty, Thomas, Cold War, Cool Medium: Television, Mccarthyism
doherty_FM 8/21/03 3:20 PM Page i COLD WAR, COOL MEDIUM TELEVISION, McCARTHYISM, AND AMERICAN CULTURE doherty_FM 8/21/03 3:20 PM Page ii Film and Culture A series of Columbia University Press Edited by John Belton What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic Henry Jenkins Showstoppers: Busby Berkeley and the Tradition of Spectacle Martin Rubin Projections of War: Hollywood, American Culture, and World War II Thomas Doherty Laughing Screaming: Modern Hollywood Horror and Comedy William Paul Laughing Hysterically: American Screen Comedy of the 1950s Ed Sikov Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema Rey Chow The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman Susan M. White Black Women as Cultural Readers Jacqueline Bobo Picturing Japaneseness: Monumental Style, National Identity, Japanese Film Darrell William Davis Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema Rhona J. Berenstein This Mad Masquerade: Stardom and Masculinity in the Jazz Age Gaylyn Studlar Sexual Politics and Narrative Film: Hollywood and Beyond Robin Wood The Sounds of Commerce: Marketing Popular Film Music Jeff Smith Orson Welles, Shakespeare, and Popular Culture Michael Anderegg Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, ‒ Thomas Doherty Sound Technology and the American Cinema: Perception, Representation, Modernity James Lastra Melodrama and Modernity: Early Sensational Cinema and Its Contexts Ben Singer -
S67-00091-N201-1992-11.Pdf
The SFRA Review Published ten times a year for the Science Fiction Research Association by Alan Newcomer, Hypatia Press, 360 West First, Eugene, Oregon, 97401. Copyright © 1992 by the SFRA. Editorial correspondence: Betsy Harfst, Editor, SFRA Review, 2326 E. Lakecrest Drive, Gilbert, AZ 85234. Send changes of address and/or inquiries concerning subscriptions to the Trea surer, listed below. Note to Publishers: Please send fiction books for review to: Robert Collins, Dept. of English, Florida Atlantic University, Boca Raton, FL 33431-7588. Send non-fiction books for review to Neil Barron, 1149 Lime Place, Vista, CA 92083. Juvenile-Young Adult books for review to Muriel Becker, 60 Crane Street, Caldwell, NJ 07006. Audio-Video materials for review to Michael Klossner, 41 0 E. 7th St, Apt 3, Little Rock, AR 72202 SFRA EXECUTIVE COMMITTEE President Peter Lowentrout, Dept. of Religious Studies California State University, Long Beach, CA 90840 Vice-President Muriel Becker, Montclair State College Upper Montclair, NJ 07043 Secretary David G. Mead, English Department Corpus Christi State University, Corpus Christi, Texas 78412 Treasurer Edra Bogle Department of English University of North Texas, Denton, TX 76203-3827 Immediate Past President Elizabeth Anne Hull, Liberal Arts Division William Rainey Harper College, Palatine, Illinois 60067 SFRA Review #201 November 1992 In This Issue: President's Message (Lowentrout) ................................................... 4 News & Information (Barron, et al) ............................................... -
Llegir Per Ser Feliç
Mira’m PEL·LÍCULES DE CULTE Biblioteca Can Milans Agost 2014 Mira’m: PEL·LÍCULES DE CULTE 2 SUMARI Pròleg 3 Acció 4 Bèl·lic 4 Ciència ficció 5 Cinema negre 7 Comèdia 9 Drama 10 Fantàstic 14 Infantils 14 Musical 15 Romàntic 16 Suspens 17 Terror 19 Western 20 Llibres 22 Mira’m: PEL·LÍCULES DE CULTE 3 PRÒLEG << Una pel·lícula de culte és un pel·lícula generalment original que ha aconseguit un grup fortament devot de seguidors. El terme no designa ni un gènere en el sentit propi, ni una qualitat estètica, però qualifica una pel·lícula en funció de la manera com és rebuda pel públic o una part del públic. Una pel·lícula de culte posseeix un grup d'admiradors, i és en general una pel·lícula que o bé s'estima, o bé es detesta1 >> De les desenes de milers de pel·lícules que s’han fet al llarg de la història del cinema, només un nombre petitíssim són capaces de generar aquestes passions que no s’esgoten ni amb el pas del temps. Tot i la gran diversitat de gèneres que defineixen les cult movies, en moltes ocasions, aquestes difereixen de títols més comercials perquè els seus herois i heroïnes són atípics; els seus diàlegs, excèntrics; les resolucions de les seves peripècies, sorprenents; els seves trames, originals; els seus temes, atrevits (generalment sexuals o polítics); les interpretacions dels seus protagonistes, sovint estrelles minoritàries, “definitives”; el tractament dels gèneres, innovador. Efectes especials excel·lents, moviments de càmera espectaculars i voluntat experimental, són tres atributs que distingeixen a moltes pel·lícules de culte. -
2017 Film Writings by Roderick Heath @ Ferdy on Films
2017 Film Writings by Roderick Heath @ Ferdy On Films © Text by Roderick Heath. All rights reserved. Contents: Page La La Land (2016) 2 Waxworks (Das Wachsfigurenkabinett, 1924) / The Man Who Laughs (1928) 10 The Manchurian Candidate (1962) 23 Remorques (1941) 35 Shoot the Piano Player (Tirez sur les Pianiste, 1960) 45 Fellini ∙ Satyricon (1969) 54 The Silence of the Lambs (1991) 64 Pink Narcissus (1971) 75 Alien: Covenant (2017) 85 Live and Let Die (1973) / The Spy Who Loved Me (1977) / For Your Eyes Only (1981) 94 T2 Trainspotting (2017) 104 Song To Song (2017) 113 The Lost City of Z (2016) 121 Dunkirk (2017) 130 The Immortal Story (Histoire Immortelle; TV, 1968) 139 Le Samouraï (1967) 162 The Shout (1978) 174 The Ladies Man (1961) 172 Baby Driver (2017) 182 Me, You, Him, Her (Je, Tu, Il, Elle, 1974) / All Night Long (Toute Une Nuit, 1982) 191 The Mummy’s Hand (1940) / The Mummy’s Tomb (1942) / The Mummy’s Ghost (1944) / The Mummy’s Curse (1944) 204 The White Reindeer (Valkoinen Peura, 1953) 223 The Velvet Vampire (1971) 237 Night of the Demon (aka Curse of the Demon, 1957) 245 The Shining (1980) 258 Murder on the Orient Express (2017) 277 Justice League (2017) 287 The Shape of Water (2017) 294 The Disaster Artist (2017) 305 Star Wars: The Last Jedi (2017) 314 2017 Film Writings by Roderick Heath for Ferdy On Films La La Land (2016) Director/Screenwriter: Damien Chazelle By Roderick Heath A clogged LA freeway on a winter‘s day, ―Another Day of Sun,‖ cars backed up for miles on either side. -
Surviving a Pandemic, Six Months out Audrey Goldfarb
Issue 172 September 2020 A NEWSLETTER OF THE ROCKEFELLER UNIVERSITY COMMUNITY Surviving a Pandemic, Six Months Out AUDREY GOLDFARB “How are you?” is more of a formality than a genuine question. Any response oth- er than a variation of “Good! How’re you?” is unexpected. I personally find maintain- ing a façade of blue skies to be emotionally draining, so I tend to answer the “how are you?” question honestly when I’m actu- ally not okay. However, for the last several months, can any of us claim to have been okay at baseline? And if the answer is no, are we admitting it? I anonymously polled Rockefeller community members to gauge our well- being more accurately, as well as to give people an opportunity to outwardly ac- SELECTIONS NATURAL | knowledge that they are indeed struggling. The responses were mixed, some reading as guarded and stoic, others raw and vulner- able. Individual experiences are also vari- able. I hope that sharing some of these ex- periences reinforces a sense of community around our mutual tumult and reminds us AUDREY GOLDFARB GOLDFARB AUDREY all that it’s okay to not be okay. “There are The seating area outside Bass remains largely deserted as students and employees days of dread and fear, and others of hope,” refrain from gathering for meals and socialization. one Rockefeller employee said. Productivity and mental health have a complicated relationship, but often they takes a toll. Many of us struggle to achieve “The uncertainty of when everything will suffer together. Our work life was severely the same level of engagement they have go back to normal, when will we go back to disrupted during quarantine, and even during in-person lectures.