DOCSLIB.ORG

Winter Session Causes Doubts ROTC Leadership Provides Job

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Winter Session Causes Doubts ROTC Leadership Provides Job - :;::: ::;:;:;:::; -- ;:;:::=::::::: :;:::::::::;:::,:;:;:;:;:::;: ;:;:;:;:;;:;:::::: ::::::::::::;:;:;:; ::::::::;::::::::::;:;:;: ·:·:·:·:·:·::::;:;:;:::::::::;:;:;: :::::::::::::::::::::::::::: ::::·:·:·:·:·:·:·:· ·:·:·:·:·:·:·:·:·:· ::;:;:;:::;:::::::::::::::::::::::: ·:·:·:·:·:·:·:·:· ·:·:·:·:·:·:·:·:·:·:· ·:·:·:· .;.;.;.;. Friday, April 26, 197 4 Vol. 97 No. 22 University of Delaware, Newark, Delaware . --- .: Winter Session Causes Doubts Chairmen Question Adequacy of Teaching, Preparation Time By KATHY THOMAS and SUSAN WESTOVER courses. A one-man course. like Shakespeare. could possibly be done:· Davison sa1d . Chairmen of two departments in the College of In another interview Dr. M.S. Burnaby Munson. Arts and Sciences expressed some doubts about acting chairman of the chemistry department the efficiency of the 1975 Winter Session plan showed signs of disillusionment with the new approved last February by university President Winter Session. "Both teachers and students are E.A.Trabant. not responding.·· said Munson. Dr. Richard Davison, associate chairman of the English department, said in a recent interview At this time the chemistry dcpartml'nt has that the "spirit of Winterim" will be kept in mind not made any definite course plans. "It's too earl~ when planning English courses for the Winter to tell just what direction we'll take ... Munson Session. The_ department will continue to run commented. Winterim style courses in addition to "standard, The probable direction which the chemistry staple courses," according to Davison. department Will follow is similar to the Summl·r Davison said that specific courses to be offered Session fonnat. "We'll probably offer a few and the way that they will be run have not been lower-level courses for both non-maJors and decided upon because the English department has maJors." Munson pomted out Upper level not been notified as to definite plans for the Winter students Will most likely work on mdependcnl Session. projects and Jn>Sibly special problems "I would be against teaching most English Labs will be held just as m summer school. three courses in a five-week period like the Winter hours a day. three days a week. according to Session," said Davison. "They don't go well in the Munson. summer, and the Winter Session is like a third Teachers are not enthusiastically respondmg to summer session." Davison feels that there is not·enough time to the new Winter Session because. sa1d Munson. teach a course in the Summer Session or the "they will not have that much time to prepare for teachmg a course... The only free t1me for Winter Session. Very few English courses should Stoff photos by ~vld Hoffman be offered in five weeks, according to Davison. researching a course top1c will be durmg the summer. which Munson felt. · ·•sn 't very long.·· A LITI'LE PEACE AND QUIET- Strollers fmd solace along the "You need an 'incubation period' for most Elk River in Maryland's Elk Neck State Park. ROTC leadership Provides Job Experience Edge There is also a tw<>-year program which allows By JONATHAN OATIS seeking a military career, according to Bailey. He feels that it's "ridiculous to talk about a military sophomores to start ROTC as juniors. The two years career while you're in college," mainly due to a lack lost are compressed mto a s1x-week session at This is the first of a two-part series on the Reserve of experience with the military. summer camp. Bailey called this "the hard way to do Officers Training Corps program at the university. "The very people who need it the most don't tend to it." come," Bailey said. Most of the cadets major in Juniors and seniors in the program receive $100 per ROTC is a way engineering and business, according to Bailey. month, tax-free, totalling $1,800 for the tw<>-year to buy time For the first two years of ROTC there is no program. 1bey receive $400 1taxable l for summer without losing it, obligation to the Army, unless one is attending college camp. On the day of graduation the cadet receives a according to U . on an ROTC scholarship program. At the beginning of reserve commission as a second lieutenant. Col. William the junior year, one decides whether or not to continue According to Bailey, one-fourth to one-th1rd of the Bailey, chief in the ROTC program. graduates can get a comm1ss1on ''the same as any executive If the student decides to continue, he signs a West Pomter gets" m the regular Army. Reserve officer of the Delaware Reserve Officers Training contract to the effect that he will serve as an officer officers wear the same uniform and get the same pay Corps (ROTC) detachment. for two years of active duty and four years of reserve as regular officers. This amounts to about $10,000, He feels that the "person who wants a broad liberal status. Between junior and senior year there is a increasing by about $2,000 with flight pay. education", or someone who has "not made up his six-week summer camp. There is a four-year active According to Bailey, the "payoff" comes after the mind or doesn't want to make up his mind until later" duty commitment if the student goes on the two years of active duty. At this point the officer has will gain the most from the program. ROTC adds up to scholarship program. three alternatives. He can stay in and pursue an Army 12 academic credits throughout the four years of Reserve status involves one weekend per month and career. He can go to graduate school on the G.L Bill, college. two weeks in the summer for four years. "You may which pays $220 per month for three years or, he can (Continued to Page 6) Most of the students enrolled in the program are not not do anything," Bailey said. SUPERSCOPE FM CAR 8 TRACK CAR.STEREO RADIO TAPE PLAYER CONVERTER Now you can get FM without An extremely po-rful tape buying a whole new radio. Just player, this unit gets the most connect this converter to your possible out of all your favorite present AM car radio. Easy to tapes. Comes complete with Install. mounting hardware. $39.95 Value AM/FM Stereo Rec411ver, 3-Sp-d Automatic Record Changer, and 2 Matched Speakers. Separate Volume, AM/FM j Balance and Tone controls. !'feodphone AC/DC Input. Complete with Dust Cover. MINI-CASSETTE PORTABLE 0 RECORDE RADIO Complete with AC .. adapter, mike, Battery or AC mike stand, cassette, operation. AFC or FM. earphone, batteries. Telescoping antenna. Perfect for classroom work. s1gss 2-FOR-1 SPEAKER SALEI w~ M~~D~ALD SP 1 o1 BUY ONE­ The Plon-r SX424 Is a pa-rful AM/FM Stereo Receiver with an extremely sensitive FM tuner section thatalsohasgreat selectivity. It sells by Itself for $199.95. The BSR 260AX Automatic Turntable has anti· TAKE skating, a cueing lever, and a Shure Magnetic Cartridge, yet It sells, complete with base & dust cover, for only $10.00. A perfect match to this HOMETWOI system are the SP101 speakers, which have crystal cleor highs and full throated lows. They sell by themselves for $79.90 a pair. IF PURCHASED SEPARATELY $359.85 Toke Chestnut Holl Rd (Rt 4) North from the campus to the Chestnut Holl Plaza .eril26. 1974 REVIEW, University of Delaware, Newark, Delaware Page3 Unicyclist Free-Wheels a Path to Classes By STEVE WATSON "Last summer one kid from the Head Start While weaving your way to class on the program wanted to learn how to ride a crowded sidewalks of campus don't be surprised unicycle so I lent him mine. It turned out that if you spot David Fromm and his unicycle his grades improved because he would finish up weaving towards you. his studies so he could practice riding," he "I get a variety of reactions from people I pass remarked, adding, "His parents were so happy while riding the unicycle," explained Fromm. "A about his grades that they bought him one." few call me a showoff but most just burst out Going down steps or steep hills does not present laughing." much of a problem to Fromm but going up steps According to Fromm, people often stop and talk is difficult. "I have heard of one small college to him about the unicycle. "You can tell the that has a social requirement that everyone ride difference between the interested people and the unicycles. Some of those students are able to go people who just think it is neat." up as well as down steps." Fromm first learned about the unicycle in 1968 When looking for a unicycle Fromm explained from a "Popular Science" magazine. After that there are a few things the prospective buyer repeatedly expressing his interest in the must watch out for. "One thing that you must be one-wheeler, his parents finally bought him one. careful of is buying too cheap a cycle. Because "I used to hold onto our mailbox for support and there is so much weight on one set of bearings then ride it as far as I could," he said. "I got a lot they will wear out if they are not good." he of skinned knees." commented. After about two weeks of practicing Fromm Bad weather isn't often a problem for Fromm. was able to ride the unicycle fairly well. "At first He explained that when it rains he just carries an it was just a challenge," he said. "Once I learned umbrella in one hand. "One day I had my derby how to . ride it, I just let it go, when I came to on and was holding an umbrella to keep from school I got into it again." getting wet." he smiled. "Some guy on a bike Fromm explained that the unicycle has turned passed me and looking back asked me if I ~as for out to be a very good form of transportation on real." campus.
Load more

Recommended publications
  • PATHS of GLORY (U.S., 1957, 87 Minutes) “The Paths of Glory Lead
    PATHS OF GLORY (U.S., 1957, 87 Minutes) “The paths of glory lead but to the grave.” (Thomas Grey, Elegy Written in a Country Churchyard, 1751) After 28 year old Stanley Kubrick directed the film version of Humphrey Cobb’s 1935 semi-fictional novel in 1957, he was asked why he had produced an anti-war film at the patriotic height of the Cold War. Kubrick reportedly replied that he had not made an anti-war film but rather a political one about authoritarian ignorance. Both the film and the novel are not so much anti-war and pacifistic as they are critiques of the bureaucratic apparatus organized to conduct modern warfare. As is currently being described in OLLI course F304, by 1915 the Great War in the West reached a bloody stalemate. The German Army, with minimal ground holding forces and skillful deployment of men and guns, repulsed every Allied attempt to drive it from France and Belgium in battles at Ypres, Arras, the Argonne Forest, and in Champagne. French losses alone reached a staggering 1,000, 000 fatalities. Against this backdrop (and with portents of Verdun to come), Paths of Glory presents the story of common French infantrymen caught in the web of military gamesmanship and blind ambition in command. The film emphasizes the gap between those who receive orders in the trenches and their self-serving, ruthless and opportunistic commanders in the rear. Focusing on the chain of command, the film targets the army as an institution which seems to lurch from one murderous horror to the next, guided by the ambitions and vanities of the moment.
    [Show full text]
  • Paths of Glory I 1957 Directed by Stanley Kubrick
    TCM BREAKFAST CLUB SCREENING Paths of Glory I 1957 Directed by Stanley Kubrick The precocious talent of Stanley Kubrick had already come to public attention when, still in his late 20s, he made Paths of Glory in 1957. A year earlier he revealed his extraordinary gifts as both storyteller and motion picture craftsman with the noir-influenced crime thriller The Killing. Bleak and sombre, Paths of Glory was released when America was not, for once, embroiled in military conflict. While World War II had ended twelve years earlier and Korea’s ceasefire was into its fifth year, their legacy was still an agonising issue for thousands of bereaved families and injured ex-service personnel, not to mention the increasingly idealistic generation of young Americans whom John F Kennedy would find so receptive to his political creed three years later. Paths of Glory, with its powerful anti-war message, would therefore have struck a chord with many, says TCM writer David Humphrey Kubrick adapted Paths of Glory from Humphrey Cobb’s 1935 ambitious General Mireau (George Macready) orders a regiment novel, whose title Cobbs had cribbed from a line in Thomas on a suicidal mission to take a hill thinking it will enhance his Gray’s famous poem Elegy Written in a Country Churchyard: chances of promotion. He leaves the planning to a disbelieving Colonel Dax (Kirk Douglas), who can see the operation is The boast of heraldry, the pomp of pow'r, doomed. And so it proves - the mission is a complete failure. And all that beauty, all that wealth e'er gave, None of the French troops reaches the German stronghold, with Awaits alike th'inevitable hour.
    [Show full text]
  • Hollywood's Treatment of World War I
    Making Meaning from the Images: Hollywood’s Treatment of World War I John Harvey Lesson Purpose The purpose of this lesson is for the student, using the guidelines provided in the unit objective to focus on the importance of World War I not only as an historic event but also as a multi-faceted tool of Hollywood. It is not to say that Hollywood is secretly run by an illuminati bent on shaping our view of the world, but the images Hollywood presents can often be interpreted as representative of certain ideologies that were present during the era of a given film‘s production. History, it is said, repeats itself. Sometimes, history on film tells as much about the time the film was made as about the period it is depicting. The view through cinema shows themes or images that bear repeating. Characteristic of the great movie machine, Hollywood has often used the power of the cinematic medium to persuade audience viewers to view things in a different light. Just as a director or cinematographer will deliberately reposition the lighting setup for a given shot from a film to enhance, de- emphasize, or subtly affect the appearance of a set or a particular actor, directors, producers, and studios have used film as a means of promulgating a virtue, ethos, or value system via narrative structure or a juxtaposition of images. This is commonly accepted as one of the most powerful components of any visual medium, and film is certainly not an exception to the rule. Some have maintained that such use of an art form is propaganda.
    [Show full text]
  • Stanley Kubrick, Spartacus and 1950S Jewish Masculinity Abrams, ND
    Becoming a Macho Mensch: Stanley Kubrick, Spartacus and 1950s Jewish ANGOR UNIVERSITY Masculinity Abrams, N.D.; Abrams, N. Adaptation: The Journal of Literature on Screen Studies DOI: 10.1093/adaptation/apv006 PRIFYSGOL BANGOR / B Published: 30/03/2015 Peer reviewed version Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Abrams, N. D., & Abrams, N. (2015). Becoming a Macho Mensch: Stanley Kubrick, Spartacus and 1950s Jewish Masculinity. Adaptation: The Journal of Literature on Screen Studies, 8(3), 283-296. https://doi.org/10.1093/adaptation/apv006 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 29. Sep. 2021 Becoming a Macho Mensch: Stanley Kubrick, Spartacus and 1950s Jewish Masculinity ‘The New York and Jewish origins and backgrounds of many of those associated with Spartacus – Douglas, Kubrick, and Curtis, among others – provide a political and cultural subtext to the film’ (Girgus 95).
    [Show full text]
  • Stanley Kubrick -- Auteur Adriana Magda College of Dupage
    ESSAI Volume 15 Article 24 Spring 2017 Stanley Kubrick -- Auteur Adriana Magda College of DuPage Follow this and additional works at: https://dc.cod.edu/essai Recommended Citation Magda, Adriana (2017) "Stanley Kubrick -- Auteur," ESSAI: Vol. 15 , Article 24. Available at: https://dc.cod.edu/essai/vol15/iss1/24 This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion in ESSAI by an authorized editor of DigitalCommons@COD. For more information, please contact [email protected]. Magda: Stanley Kubrick -- Auteur Stanley Kubrick – Auteur by Adriana Magda (Motion Picture Television 1113) tanley Kubrick is considered one of the greatest and most influential filmmakers in history. Many important directors credit Kubrick as an important influence in their career and Sinspiration for their vision as filmmaker. Kubrick’s artistry and cinematographic achievements are undeniable, his body of work being a must watch for anybody who loves and is interested in the art of film. However what piqued my interest even more was finding out about his origins, as “Kubrick’s paternal grandmother had come from Romania and his paternal grandfather from the old Austro-Hungarian Empire” (Walker, Taylor, & Ruchti, 1999). Stanley Kubrick was born on July 26th 1928 in New York City to Jaques Kubrick, a doctor, and Sadie Kubrick. He grew up in the Bronx, New York, together with his younger sister, Barbara. Kubrick never did well in school, “seeking creative endeavors rather than to focus on his academic status” (Biography.com, 2014). While formal education didn’t seem to interest him, his two passions – chess and photography – were key in shaping the way his mind worked.
    [Show full text]
  • LES SENTIERS DE LA GLOIRE by Stanley KUBRICK
    LES SENTIERS DE LA GLOIRE by Stanley KUBRICK FICHE TECHNIQUE Titre original : Paths of Glory Pays (country) : USA Durée (running time) : 1h28 Année (year) : 1958 Genre : Drama Couleur (color) : black and white Scénario (screenplay) : Stanley KUBRICK, Calder WILLINGHAM, Jim THOMPSON based on a novel by Humphrey COBB (which in turn was based on accounts in newspapers about compensation paid by the French government after the war for unjust executions of soldiers) published in 1935 Directeur de la photographie : George KRAUSE Costumes : Ilse DUBOIS Military advisor : Baron VON WALDENFELS Montage : Eva KROLL Musique (music) : Gerald FRIED Coproduction : Bryna Production / Harris-Kubrick Productions / United Artists Distribution : Ciné Classic Interprètes (cast) : Kirk DOUGLAS (Colonel Dax), Ralph MEEKER (Capitaine Paris), Adolphe MENJOU (Général Broulard), Georges McREADY (Général Mireau) Sortie : 26 mars 1975 Reprise : 10 novembre 2004 SYNOPSIS The film is set in France in late 1916 somewhere on the Western Front. In keeping with the strategy advocated by Grand-Maison (« l’attaque à l’outrance » – attack to the bitter end) General Brulard plans an attack on a fortress hill, the Anthill, in the middle of “no man’s” land for the dubious reasons of publicity- seeking and career promotion. When the attack inevitably fails, General Mireau orders his artillery to fire on his own men in order to force them out of the trenches saying, “if the little sweethearts won’t face German bullets then they will face French bullets”. Later he insists that 10 men from each regiment be tried (for “cowardice in the face of the enemy”) and executed, but reluctantly settles for a symbolic one man from each group.
    [Show full text]
  • Onstage at Bfi Southbank This Month
    ONSTAGE AT BFI SOUTHBANK THIS MONTH DIRECTOR CLAIRE DENIS (HIGH LIFE), DIRECTOR NICK BROOMFIELD (BIGGIE & TUPAC, WHITNEY: CAN I BE ME), DIRECTOR STANLEY KWAN (FIRST NIGHT NERVES, ROUGE), BROADCASTERS MARK KERMODE AND EDITH BOWMAN, DIRECTOR DOMINGA SOTOMAYOR CASTILLO (TOO LATE TO DIE YOUNG, THURSDAY TILL SUNDAY) Film previews and premieres: VOX LUX (Brady Corbet, 2018), FIRST NIGHT NERVES (Stanley Kwan, 2018), IN CHARACTER (Dong Xueying, 2018), TRACEY (Jun Li, 2018), BEATS (Brian Welsh, 2018), HERO – INSPIRED BY THE EXTRAORDINARY LIFE & TIMES OF MR. ULRIC CROSS (Frances-Anne Solomon, 2018), SUPPORT THE GIRLS (Andrew Bujalski, 2018), TOO LATE TO DIE YOUNG TARDE PARA MORIR JOVEN (Dominga Sotomayor Castillo, 2018) DVD/BLU-RAY LAUNCHES: MOVING MILLIONS: BRITISH TRANSPORT FILMS BLU-RAY LAUNCH New and Re-Releases: MABOROSI MABOROSI NO HIKARI (Hirokazu Kore-eda, 1995), THE BLUE ANGEL DER BLAUE ENGEL (Josef von Sternberg, 1930), HIGH LIFE (Claire Denis, 2018), DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (Stanley Kubrick, 1963) Tuesday 19 March 2019, London. BFI Southbank will mark the centenary of the Weimar Republic with a major two-month season, BEYOND YOUR WILDEST DREAMS: WEIMAR CINEMA 1919-1933, running throughout May and June and showcasing the extraordinary diversity of styles and genres in Weimar cinema. Part one of the season will showcase the extraordinary diversity of styles and genres in Weimar cinema, which conjured extraordinary visions: from dystopian cities and Alpine adventures to depraved nightclubs. There will be examples of genres audiences may expect, such as dystopian sci-fi Metropolis (Fritz Lang, 1927) and haunted horror Nosferatu (FW Murnau, 1922), but also more surprising styles of filmmaking, with gender-bending farces and sparkling musicals such as I Don't Want to Be a Man (Ernst Lubitsch, 1918), Heaven on Earth (Reinhold Schünzel, Alfred Schirokauer, 1927) and A Blonde Dream (Paul Martin, 1932) also being a vital part of the story of Weimar cinema.
    [Show full text]
  • 101 Films for Filmmakers
    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
    [Show full text]
  • Dr Strangelove
    0 The Essence of War An in depth analysis of Stanley Kubrick’s DR STRANGELOVE By Rob Ager April 2015 © Contents Part one – Dr Strangelove in context Chapter one – The concerned film maker 1 Chapter two – Embracing the abstract 5 Chapter three – Production 10 Chapter four – Response and film legacy 17 Part two – Dr Strangelove under the magnifying glass Chapter five – Parallels and counterparts 22 Chapter six – Flaws in the system 31 Chapter seven – MAD 48 Chapter eight – The last spasm 61 Chapter nine – The evolving plot 68 Chapter ten – Code Read (sic) 73 Chapter eleven – Joe for King 79 Chapter twelve – Priority personnel 84 Part three – Implications and aftermath for Kubrick Chapter thirteen – Parallels in Kubrick’s larger filmography 86 Chapter fourteen – Conspiracy central 91 Chapter fifteen – Kubrick’s new code 99 © Rob Ager 2015 1 Part one DR STRANGELOVE IN CONTEXT Chapter one THE CONCERNED FILM MAKER “I was interested in whether or not I was going to get blown up by an H-bomb prior to Lolita.” SK interviewed in 1966 by Jeremy Bernstein Paranoia is a label that has often been leveled at Stanley Kubrick, but in the 1960’s fear of thermonuclear war was epidemic. Everybody from high ranking officials to school children was affected, be it through war game simulations or “duck and cover” public information films. Biographers have noted the affect on Kubrick. He considered emigrating to Australia so as to be out of the way should a nuclear war take place, but for a mixture of reasons eventually settled in England. He was especially prone to nuclear war fear because of his existing preoccupation with armed conflict.
    [Show full text]
  • American Heritage Center
    UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew.
    [Show full text]
  • Movies and Mental Illness Using Films to Understand Psychopathology 3Rd Revised and Expanded Edition 2010, Xii + 340 Pages ISBN: 978-0-88937-371-6, US $49.00
    New Resources for Clinicians Visit www.hogrefe.com for • Free sample chapters • Full tables of contents • Secure online ordering • Examination copies for teachers • Many other titles available Danny Wedding, Mary Ann Boyd, Ryan M. Niemiec NEW EDITION! Movies and Mental Illness Using Films to Understand Psychopathology 3rd revised and expanded edition 2010, xii + 340 pages ISBN: 978-0-88937-371-6, US $49.00 The popular and critically acclaimed teaching tool - movies as an aid to learning about mental illness - has just got even better! Now with even more practical features and expanded contents: full film index, “Authors’ Picks”, sample syllabus, more international films. Films are a powerful medium for teaching students of psychology, social work, medicine, nursing, counseling, and even literature or media studies about mental illness and psychopathology. Movies and Mental Illness, now available in an updated edition, has established a great reputation as an enjoyable and highly memorable supplementary teaching tool for abnormal psychology classes. Written by experienced clinicians and teachers, who are themselves movie aficionados, this book is superb not just for psychology or media studies classes, but also for anyone interested in the portrayal of mental health issues in movies. The core clinical chapters each use a fabricated case history and Mini-Mental State Examination along with synopses and scenes from one or two specific, often well-known “A classic resource and an authoritative guide… Like the very movies it films to explain, teach, and encourage discussion recommends, [this book] is a powerful medium for teaching students, about the most important disorders encountered in engaging patients, and educating the public.
    [Show full text]
  • WAR on FILM—An Annotated Overview Professor Christopher Hamner, George Mason University
    WAR ON FILM—an annotated overview Professor Christopher Hamner, George Mason University Saving Private Ryan (1998) To many military historians, Steven Spielberg’s tour-de-force is the best war film ever made. Gritty, realistic—often disturbingly so—and generally accurate, it follows an elite squad of Army Rangers from the D-Day invasion in June 1944 as they attempt to rescue a young paratrooper whose three brothers all have been killed in combat. The film’s opening sequence gives an unflinching and brutal portrayal of the Normandy landings, and the film’s meditation on soldiers’ motivation provides a thought-provoking examination of the way individuals experience combat and war. Glory (1989) Perhaps the best war film about the American Civil War, Glory traces the history of the 54th Massachusetts infantry regiment, one of the first African-American regiments in the Union Army. Beginning with its formation, the film follows African-American soldiers and their white officers from training to the unit’s famous assault on Fort Wagner in 1863. Released in 1989, the film remains one of the most careful looks at issues of race in wartime. Paths of Glory (1957) The first of Stanley Kubrick’s three war films, Paths tells the story of a World War I officer (Kirk Douglas) who must represent three soldiers chosen at random to represent French mutineers in a court-martial. Dark and powerful, the film hints at themes that Kubrick would revisit in Dr. Strangelove and Full Metal Jacket. Dr. Strangelove (1964) Stanley Kubrick’s masterpiece discusses the madness of the Cold War and the atomic age with sharp wit and laugh-out-loud humor.
    [Show full text]