How Stirling Silliphant, One of the 20Th Century's Greatest Writers
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Stirling Silliphant Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/tf2f59n87r No online items Finding Aid for the Stirling Silliphant Papers, ca. 1950-ca. 1985 PASC.0134 Finding aid prepared by Processed by UCLA Library Special Collections staff; machine-readable finding aid created by D.MacGill UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] Online finding aid last updated 14 August 2017 Finding Aid for the Stirling PASC.0134 1 Silliphant Papers, ca. 1950-ca. 1985 PASC.0134 Title: Stirling Silliphant papers Identifier/Call Number: PASC.0134 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 27.0 linear feet65 boxes. Date (inclusive): ca. 1950-ca. 1985 Language of Materials: Materials are in English. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Preferred Citation [Identification of item], Stirling Silliphant Papers (Collection Number PASC 134). -
Famous People from Michigan
APPENDIX E Famo[ People fom Michigan any nationally or internationally known people were born or have made Mtheir home in Michigan. BUSINESS AND PHILANTHROPY William Agee John F. Dodge Henry Joy John Jacob Astor Herbert H. Dow John Harvey Kellogg Anna Sutherland Bissell Max DuPre Will K. Kellogg Michael Blumenthal William C. Durant Charles Kettering William E. Boeing Georgia Emery Sebastian S. Kresge Walter Briggs John Fetzer Madeline LaFramboise David Dunbar Buick Frederic Fisher Henry M. Leland William Austin Burt Max Fisher Elijah McCoy Roy Chapin David Gerber Charles S. Mott Louis Chevrolet Edsel Ford Charles Nash Walter P. Chrysler Henry Ford Ransom E. Olds James Couzens Henry Ford II Charles W. Post Keith Crain Barry Gordy Alfred P. Sloan Henry Crapo Charles H. Hackley Peter Stroh William Crapo Joseph L. Hudson Alfred Taubman Mary Cunningham George M. Humphrey William E. Upjohn Harlow H. Curtice Lee Iacocca Jay Van Andel John DeLorean Mike Illitch Charles E. Wilson Richard DeVos Rick Inatome John Ziegler Horace E. Dodge Robert Ingersol ARTS AND LETTERS Mitch Albom Milton Brooks Marguerite Lofft DeAngeli Harriette Simpson Arnow Ken Burns Meindert DeJong W. H. Auden Semyon Bychkov John Dewey Liberty Hyde Bailey Alexander Calder Antal Dorati Ray Stannard Baker Will Carleton Alden Dow (pen: David Grayson) Jim Cash Sexton Ehrling L. Frank Baum (Charles) Bruce Catton Richard Ellmann Harry Bertoia Elizabeth Margaret Jack Epps, Jr. William Bolcom Chandler Edna Ferber Carrie Jacobs Bond Manny Crisostomo Phillip Fike Lilian Jackson Braun James Oliver Curwood 398 MICHIGAN IN BRIEF APPENDIX E: FAMOUS PEOPLE FROM MICHIGAN Marshall Fredericks Hugie Lee-Smith Carl M. -
Recommended Reading
RECOMMENDED READING The following books are highly recommended as supplements to this manual. They have been selected on the basis of content, and the ability to convey some of the color and drama of the Chinese martial arts heritage. THE ART OF WAR by Sun Tzu, translated by Thomas Cleary. A classical manual of Chinese military strategy, expounding principles that are often as applicable to individual martial artists as they are to armies. You may also enjoy Thomas Cleary's "Mastering The Art Of War," a companion volume featuring the works of Zhuge Liang, a brilliant strategist of the Three Kingdoms Period (see above). CHINA. 9th Edition. Lonely Planet Publications. Comprehensive guide. ISBN 1740596870 CHINA, A CULTURAL HISTORY by Arthur Cotterell. A highly readable history of China, in a single volume. THE CHINA STUDY by T. Colin Campbell,PhD. The most comprehensive study of nutrition ever conducted. ISBN 1-932100-38-5 CHINESE BOXING: MASTERS AND METHODS by Robert W. Smith. A collection of colorful anecdotes about Chinese martial artists in Taiwan. Kodansha International Ltd., Publisher. ISBN 0-87011-212-0 CHINESE MARTIAL ARTS TRAINING MANUALS (A Historical Survey) by Brian Kennedy and Elizabeth Guo CHRONICLES OF TAO, THE SECRET LIFE OF A TAOIST MASTER by Deng Ming-Dao. Harper San Francisco, Publisher ISBN 0-06-250219-0 (Note: This is an abridged version of a three- volume set: THE WANDERING TAOIST (Book I), SEVEN BAMBOO TABLETS OF THE CLOUDY SATCHEL (Book II), and GATEWAY TO A VAST WORLD (Book III)) CLASSICAL PA KUA CHANG FIGHTING SYSTEMS AND WEAPONS by Jerry Alan Johnson and Joseph Crandall. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Science Fiction Review 30 Geis 1979-03
MARCH-APRIL 1979 NUMBER 30 SCIENCE FICTION REVIEW $1.50 Interviews: JOAN D. VINGE STEPHEN R. DONALDSON NORMAN SPINRAD Orson Scott Card - Charles Platt - Darrell Schweitzer Elton Elliott - Bill Warren SCIENCE FICTION REVIEW Formerly THE ALIEN CRITIC P.O. Be* 11408 MARCH, 1979 — VOL.8, no.2 Portland, OR 97211 WHOLE NUMBER 30 RICHARD E. GEIS, editor & publisher CONFUCIUS SAY MAN WHO PUBLISHES FANZINES ALL LIFE DOOMED TO PUBLISHED BI-MONTHLY SEEK MIMEOGRAPH IN HEAVEN, HEKTO- COVER BY STEPHEN FABIAN JAN., MARCH, MAY, JULY, SEPT., NOV. Based on "Hellhole" by David Gerrold GRAPH IN HELL (To appear in ASIMOV'S SF MAGAZINE) SINGLE COPY — $1.50 ALIEN THOUGHTS by the editor........... 4 PUOTE: (503) 282-0381 INTERVIEW WITH JOAN D. VINGE CONDUCTED BY DARRELL SCHWEITZER....8 LETTERS---------------- THE VIVISECTOR GEORGE WARREN........... A COLUMN BY DARRELL SCHWEITZER. .. .14 JAMES WILSON............. PATRICIA MATTHEWS. POUL ANDERSON........... YOU GOT NO FRIENDS IN THIS WORLD # 2-8-79 ORSON SCOTT CARD.. A REVIEW OF SHORT FICTION LAST-MINUTE NEWS ABOUT GALAXY BY ORSON SCOTT CARD....................................20 NEAL WILGUS................ DAVID GERROLD........... Hank Stine called a moment ago, to THE AWARDS ARE Ca-IING!I! RICHARD BILYEU.... say that he was just back from New York and conferences with the pub BY ORSON SCOTT CARD....................................24 GEORGE H. SCITHERS ARTHUR TOFTE............. lisher. [That explains why his INTERVIEW WITH STEPHEN R. DONALDSON ROBERT BLOCH.............. phone was temporarily disconnected.] The GAIAXY publishing schedule CONDUCTED BY NEAL WILGUS.......................26 JONATHAN BACON.... SAM MOSKOWITZ........... is bi-monthly at the moment, and AND THEN I READ.... DARRELL SCHWEITZER there will be upcoming some special separate anthologies issued in the BOOK REVIEWS BY THE EDITOR..................31 CHARLES PLATT.......... -
Andrew Sarris and Pauline Kael: the Duel for the Soul of American Film Criticism
1 Andrew Sarris and Pauline Kael: The Duel For the Soul of American Film Criticism By Inge Fossen Høgskolen i Lillehammer / Lillehammer University College Avdeling for TV-utdanning og Filmvitenskap / Department of Television and Film Studies (TVF) Spring 2009 1 2 For My Parents 2 3 ”When we think about art and how it is thought about […] we refer both to the practice of art and the deliberations of criticism.” ―Charles Harrison & Paul Wood “[H]abits of liking and disliking are lodged in the mind.” ―Bernard Berenson “The motion picture is unique […] it is the one medium of expression where America has influenced the rest of the world” ―Iris Barry “[I]f you want to practice something that isn’t a mass art, heaven knows there are plenty of other ways of expressing yourself.” ―Jean Renoir “If it's all in the script, why shoot the film?” ―Nicholas Ray “Author + Subject = Work” ―Andrè Bazin 3 4 Table of Contents Preface and Acknowledgements p. 6. Introduction p. 8. Defining Art in Relation to Criticism p. 14. The Popular As a Common Ground– And an Outline of Study p. 19. Career Overview – Andrew Sarris p. 29. Career Overview – Pauline Kael p. 32. American Film Criticism From its Beginnings to the 1950s – And a Note on Present Challenges p. 35. Notes on Axiological Criticism, With Sarris and Kael as Examples p. 41. Movies: The Desperate Art p. 72. Auteurism – French and American p. 82. Notes on the Auteur Theory 1962 p. 87. "Circles and Squares: Joys and Sarris" – Kael's Rebuttal p. 93. -
Philosophy in the Twilight Zone
9781405149044_1_pre.qxd 10/2/09 10:49 AM Page iii Philosophy in The Twilight Zone edited by Noël Carroll and Lester H. Hunt A John Wiley & Sons, Ltd., Publication 9781405149044_1_pre.qxd 10/2/09 10:49 AM Page iv 9781405149044_1_pre.qxd 10/2/09 10:48 AM Page i Philosophy in The Twilight Zone 9781405149044_1_pre.qxd 10/2/09 10:48 AM Page ii 9781405149044_1_pre.qxd 10/2/09 10:48 AM Page iii Philosophy in The Twilight Zone edited by Noël Carroll and Lester H. Hunt A John Wiley & Sons, Ltd., Publication 9781405149044_1_pre.qxd 10/2/09 10:48 AM Page iv This edition first published 2009 © 2009 Blackwell Publishing Ltd Blackwell Publishing was acquired by John Wiley & Sons in February 2007. Blackwell’s publishing program has been merged with Wiley’s global Scientific, Technical, and Medical business to form Wiley-Blackwell. Registered Office John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, United Kingdom Editorial Offices 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley-blackwell. The right of Noël Carroll and Lester Hunt to be identified as the authors of the editorial material in this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. -
Film Locations in San Francisco
Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros. -
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MoMA CELEBRATES THE 75th ANNIVERSARY OF THE NEW YORK FILM CRITICS CIRCLE BY INVITING MEMBERS TO SELECT FILM FOR 12-WEEK EXHIBIITON Critical Favorites: The New York Film Critics Circle at 75 July 3—September 25, 2009 The Roy and Niuta Titus Theaters & The Celeste Bartos Theater NEW YORK, June 19, 2009 —The Museum of Modern Art celebrates The New York Film Critics Circle’s (NYFCC) 75th anniversary with a 12-week series of award-winning films, from July 3 to September 25, 2009, in The Roy and Niuta Titus Theaters. As the nation‘s oldest and most prestigious association of film critics, the NYFCC honors excellence in cinema worldwide, giving annual awards to the ―best‖ films in various categories that have all opened in New York. To mark the group‘s milestone anniversary, each member of the organization was asked to choose one notable film from MoMA‘s collection that was a recipient of a NYFCC award to be part of the exhibition. Some screenings will be introduced by the contributing film critics. Critical Favorites: The New York Film Critics Circle at 75 is organized by Laurence Kardish, Senior Curator, Department of Film, in collaboration with The New York Film Critics Circle and 2009 Chairman Armond White. High-resolution images are available at www.moma.org/press. No. 58 Press Contacts: Emily Lowe, Rubenstein, (212) 843-8011, [email protected] Tessa Kelley, Rubenstein, (212) 843-9355, [email protected] Margaret Doyle, MoMA, (212) 408-6400, [email protected] Film Admission: $10 adults; $8 seniors, 65 years and over with I.D. -
“And Now, Rod Serling, Creator of the Twilight Zone”
9781405149044_4_001.qxd 12/22/08 2:27 PM Page 5 1 “And Now, Rod Serling, Creator of The Twilight Zone” The Author as Auteur lester h. hunt It has been said that the so-called “auteur theory,” the idea that the dir- ector is the true “author” of a film is “probably the most widely shared assumption in film studies today.”1 Those who are tempted to find in this idea an immutable truth might do well to remember that, for a while during the sixties, there were several American television series in which the “author” in this sense, that is, the artistic personality who dominated the show and gave it its peculiar aesthetic, was a literal author: that is, a person who writes.2 Examples included Stirling Silliphant’s Route 66 (1960–4) and Reginald Rose’s The Defenders (1961–5). The last of them was The Waltons (1972–81), by Twilight Zone alumnus Earl Hamner, Jr. Probably the finest and surely the best-remembered of this distingu- ished company was Rod Serling’s The Twilight Zone. It was very much a writer’s show. In his on-screen introduction to each episode, Serling always named the author of the episode, if it was someone other than himself, and always named the author of the original story if it was an adaptation. This must have represented an all-time high in respect shown for writers on prime-time, network television. Indeed, Serling’s on-screen appearances soon made him the best known, most widely 5 9781405149044_4_001.qxd 12/22/08 2:27 PM Page 6 lester h. -
The Inventory of the Jose Ferrer Collection #1596
The Inventory of the Jose Ferrer Collection #1596 Howard Gotlieb Archival Research Center Jose Ferrer (1912-1992) Inventory 2001 Most of the materials in the collection are related to the stage plays, musicals, and televisions productions with which Jose Ferrer was associated :from 1948-1988 as producer, director, author, and/or actor. Scripts, contracts, agreements, records of negotiations, and financial matters, together with related correspondence form the bulk of the content for theatre and film productions, scripts alone for those in television. The files for_ two 1958 musicals, "Oh Captain" and "Edwin Booth" are extensive. Jose Ferrer's business affairs were handled by his lawyer Edwin W. Reiskind. Almost all related correspondence involving Jose Ferrer is channeled through Reiskind. Two further notable items in the collections are: 1) the text of Jose Ferrer's testimony or the Hearings on Un-American Activities in May, 1951, and 2) a group of personal autograph letters to Ruth Gordon and Garson Kanin written :from 1952-1987. Ferrer. Jose 1912-1992 fuventozy Outline I. Materials regarding Plays and Musicals, 1951-1978: fucludes Plays and Musicals Proposed, 197-1972 II. Materials regarding Films, 1948-1980: fucludes Film Proposals, 1952-1975. ill. Materials regarding TV Productions N. Other Media: A. Radio: "Jose Ferrer Presents Shakespeare," 1951-1952 B. Opera: Proposal for Jose Ferrer to stage VOLPONE, 1952-1953 V. Materials By and About Jose Ferrer: A. Printed quotes by Jose Ferrer, 1956-1959 B. About Jose Ferrer: 1. Biographical Essay, June 1952 2. Role in New York Memorial Service for President Kennedy, Dec. 22, 1963 3. -
Aesthetic Investigations
Casting Allusions Author Affiliation Jason Holt Acadia University, Canada Abstract: The modest philosophical literature on allusion focuses on descriptive issues concerning literary examples, and thus tends to neglect both allusions in other media and normative concerns about allusions in general. In this paper I will help fill both gaps through an analysis of three different cases of what I call casting allusions, which depend on the audience’s recognition that a certain cast member was also in the cast of a different work. These cases vary greatly in aesthetic merit, and this is best explained via two dimensions of allusive value: richness (given the medium) and dynamic engagement. All else being equal, an allusion will be more aesthetically pleasing when it relies on a wider variety of medium-relevant input types or prompts less passive, more evolving audience response. Such an account finds further support in elaborate cinematic examples, such as the tapestry of allusions to Bruce Lee in the Kill Bill films. Among the things we often appreciate in rewarding encounters with artworks are connections to other works. For instance, we may appreciate how one work is similar to another in its quality or style. Sometimes more specific connections can be discerned, as when one work makes reference to another, as Rosencrantz and Guildenstern Are Dead liberally refers to and otherwise draws on Hamlet (ostensibly occurring in the same fictional realm). Although most artworks are not so richly and dependently referential as the Stoppard play or film, such links are not uncommon in our encounters with art. Less direct, often subtler references include allusions, and although most works c Aesthetic Investigations Vol 2, No 2 (2019), 215-226 Casting Allusions containing allusions may be appreciated independently of allusiveness (unlike the Stoppard case), certainly those with the requisite taste may find just the right allusion to add significantly to their interpretation, or failing that, to add spice to the savoured work.