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How the Motion Picture Industry Miscalculates Box Office Receipts
How the motion picture industry miscalculates box office receipts S. Eric Anderson, Loma Linda University Stewart Albertson, Loma Linda University David Shavlik, Loma Linda University INTRODUCTION when movie grosses are adjusted for inflation, the Sound of Music was a more popular movie Box office grosses, once of interest only to than Titanic even though the box office gross movie industry executives, are now widely was over $400 million less. So why is it then publicized and immediately reported by movie that box office grosses are often the only industry tracking companies. The numbers reported, when the numbers have instantaneous tracking and reporting hurts little meaning? The motion picture industry, movies with weak openings, but helps movies aware that inflation helps movies grow bigger, with big openings become even bigger as has little interest in reporting highest grossing people flock to see what all the fuss is about. box office numbers with inflation-adjusted Due to inflation, the highest grossing movies dollars that will show the motion picture tend to be the more recent releases, which the industry is stagnant at best. They are able to motion picture industry is taking full get away with it since most don’t know how advantage of when promoting new movies. to handle those inflation-adjusting As a result, the motion picture industry has calculations. developed “highest grossing “ movie lists from almost every angle imaginable - opening Inflation-adjusted gross calculations are day, opening weekend, opening day non- inaccurate weekend, opening day during the fall, winter and spring, opening day Memorial weekend, Some tracking companies have begun second weekend of release, fewest screens, reporting box office grosses with the less etc. -
Color and Texture to the C Re D It.” THC Or Mescaline
On The Inside SU shakeup... page 3 Letters., page 10 THE OBSERVER - serving the notre damest. mary's community Vol. IX , No. 54 *» • T T Friday, November 22, 1974 Senior death march dies for good by Norman F. Bower Staff Reporter The senior death march, which was killed and then partially resurrected, is again listed among the obituaries. Last night, the decision to stop the event was made by Rick Kanser, owner of Uncle W illie’s Fatal Glass of Beer where the “ senior funeral” was to have taken place at noon today. Kanser, a ’73 Notre Dame graduate, based his decision on three matters: the destructiveness of the marches, the fact that the Senior Club also would not be open until later, and , “ most importantly, unofficial pressure from the Northeast Neighborhood Council.” The NNC according to Kanser, Last year's traditional senior death march provided the usual fun, but this year's seniors don't even“ might remonstrate against the Rick Kanser get a funeral. renewal of his license if something like a disorderly march originated p.m., the time at which all area bars from his establishment.” have decided to open. The head of the Northeast Neigh Commenting on this most recent borhood Council is Dr. Arthur J. outcome, Senior Class President Greg IUSB students Quigley, an associate professor of Eriksen said he was “shocked and electrical engineering at Notre upset,” when he found out about the Dame. situation at 10 p.m. last night. “I Quigly stated that he did not know am disappointed because all efforts to for drug identification exactly what a death march is. -
University International
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
Native Americans in Popular Culture: a Proposal
THE WAY WE NEVER WERE: NATIVE AMERICANS IN POPULAR CULTURE: A PROPOSAL FOR A VIRTUAL REALITY BASED EXHIBIT By JON C. KETCHEM Bachelor of Secondary Education - Social Studies Oklahoma State University Stillwater, Oklahoma 2004 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS December, 2017. THE WAY WE NEVER WERE: NATIVE AMERICANS IN POPULAR CULTURE: A PROPOSAL FOR A VIRTUAL REALITY BASED EXHIBIT Thesis Approved: Dr. Bill Bryans Thesis Adviser Dr. Laura Arata Dr. Doug Miller ii Acknowledgements I dedicate this thesis to the one person without whom I would not be able to pursue my dreams and goals. For twenty-five years, through every twist and turn of a constantly changing life, she has supported, nurtured, loved, and encouraged me with an abundance of love and the occasional metaphoric kick in the pants. Everything I have been successful at in the last quarter century of my life was only possible because of you. This one is for my Chicago-Hawaiian Rose, Anette Ketchem. I love you. I would also like to thank a few others for invaluable assistance along the way. To the faculty of the History Department and the College of Education at Oklahoma State University, thank you for helping me expand my knowledge base and professional skills. To Lu Ireton, Rodney Stewart, Robert Wilds, Tinia Petties, James Smallwood, Bill Steinbrink, and Patricia Nowlin, thank you for showing me by example the right way to teach. To the Power Triplets, Cara Eubanks, Sarah Barton, and Emma Fritz, your friendship and ebullient humor kept me sane through some truly stressful times as we pursued our MA degrees. -
The Gold Bug, 1974-1975
In this issue: Campus Social Ufe Changes Convocation News Letters Volume 52 Number 8 Thursday, Sept. 26 Sports How many kegs did they have last !anuary ? Sue Ogilvie. "No parties?" "Fraternity system 'abolished?" in.Englar which is currently. being used for storage, "Clubrooms locked?" "Only open parties in the two of them. Suggestions have been made to the available for parties by the end of the semester. Dean for allowing one fraternity to have a party Grille?" "No more beer on campus?" Foreboding WMC has inadequate facilities for parties, and until each week. This way, each frat could have one rumors such as these had a vast circulation plans for a new student union get under way, it will week-day party a month, and on a night when there among Western Maryland students this summer. It just have to be worked around. Section parties or would be no other conflicting parties. The sugges- seemed as if returning to The Hill wou1d just not be any residence hall parties may be held on the tion is still up in the air. worth the trip without those Monday, Tuesday, weekends. There must be a person in charge to Wednesday, Thursday, Friday and Saturday night see that there is no destruction and that the room Aside from the fraternity system, the Dean hopes parties. But now that we're back, and almost set- is cleaned up. to have more events oriented towards the entire tled from summer excursions, we find those The Dean specifically said that he is not trying to student body. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
175747467.Pdf
DIZIONARIO DEI FILM WESTERN A cura di Mario Raciti Fonti Dizionario Morandini 2008 Mymovies.it Film.tv.it Dedicato agli amici di Farwest.it A Accidenti, che ospitalità! Our Hospitality USA 1923 REGIA: Buster Keaton, John G. Blystone ATTORI: Buster Keaton, Natalie Talmadge, Joe Roberts * Una faida tra le famiglie Canfield e McKay funge da prologo. Allevato a New York da una zia, Will McKay torna dopo vent'anni al paese natale del West dove i Canfield tentano di ucciderlo. Finché è sotto il loro tetto, però, non possono farlo. E lui sposa una di loro. 2o film lungo di Keaton e uno dei suoi capolavori. È un western nel quale il comico non nasce dalla parodia ma dalla incongruità del personaggio Keaton mentre tutti gli altri sono costruiti secondo gli schemi classici e si comportano come tali. È una rivisitazione straniata che s'impernia, come il solito, sullo spostamento delle funzioni degli oggetti, sull'altalena tra sembrare ed essere. DURATA: 74' FOTOGRAFIA: BN Acquasanta Joe It. 1971 REGIA: Mario Gariazzo ATTORI: Lincoln Tate, Ty Hardin, Silvia Monelli * Dopo la guerra di secessione, in un improbabile West trovano posto la banda del cannone, un prete che fabbrica acquavite, avventurieri e tradimenti. Western povero di tutto. DURATA: 97' Adios Gringo It. 1965 REGIA: George Finley (> Giorgio Stegani) ATTORI: Giuliano Gemma, Evelyn Stewart, Robert Camardiel * Ricercato salva fanciulla da morte sicura, sgomina banda di prepotenti e prosegue con la bella per dimostrare la sua innocenza. George Finley (Giorgio Stegani) ha confezionato un discreto western all'italiana con un Gemma che fa il “buono” prima di imparare a recitare. -
Once Upon a Time in Hollywood
RICK DALTON—Once he had his own TV series, but now Rick’s a washed-up villain-of- theweek drowning his sorrows in whiskey sours. Will a phone call from Rome save his fate or seal it? CLIFF BOOTH—Rick’s stunt double, and the most infamous man on any movie set because he’s the only one there who might have gotten away with murder. SHARON TATE—She left Texas to chase a movie-star dream and found it. Sharon’s salad days are now spent on Cielo Drive, high in the Hollywood Hills. CHARLES MANSON—The ex-con’s got a bunch of zonked-out hippies thinking he’s their spiritual leader, but he’d trade it all to be a rock ’n’ roll star. HOLLYWOOD 1969— YOU SHOULDA BEEN THERE COLUMBIA PICTURES PRESENTS A FILM BY QUENTIN TARANTINO LEONARDO DICAPRIO BRAD PITT MARGOT ROBBIE IN ONCE UPON A TIME IN HOLLYWOOD MARGARET QUALLEY TIMOTHY OLYPHANT JULIA BUTTERS DAKOTA FANNING BRUCE DERN AND AL PACINO TECHNICOLOR ® PRODUCED BY DAVID HEYMAN SHANNON MCINTOSH QUENTIN TARANTINO WRITTEN AND DIRECTED BY QUENTIN TARANTINO Dedication This book is dedicated to My Wife DANIELLA and My Son LEO Thanks for creating a happy home from which to write in. ALSO To all the actor Old Timers who told me tremendous stories about Hollywood in this period. And it’s because of them that you hold this book in your hands now. Bruce Dern * David Carradine * Burt Reynolds Robert Blake * Michael Parks * Robert Forster and especially Kurt Russell Contents Cover Title Page Dedication Chapter One: “Call Me Marvin” Chapter Two: “I Am Curious (Cliff)” Chapter Three: Cielo Drive Chapter Four: Brandy, -
To Academy Oral Histories Donald C.Rogers
Index to Academy Oral Histories Donald C.Rogers Donald C. Rogers (Post-production executive) Call number: OH133 Aalberg, John, 63–64, 124 ABC Films, 238, 309 ABSENCE OF MALICE, 314 THE ABYSS, 403 Academy Awards, 25–26, 31, 34, 41–56, 61–64, 67–70, 96, 98, 117–119, 122–124, 133–134, 158–159, 166, 175–176, 179, 190, 196, 211–224, 227, 249, 256, 259–261, 271, 282, 286, 294, 301, 310, 314–315, 320, 324, 334–336, 340, 342–345, 348–349, 358, 360–362, 364–379, 382, 388–390, 393–395, 397, 407–408, 410, 412, 414–416, 418, 428–433 Academy Awards -- Best Sound, 219–222, 259–261, 315, 344, 358, 407–408, 414, 416, 428 Academy Awards -- Best Sound Editing, 212–219, 259–261, 334–335, 429 Academy Awards -- Irving G. Thalberg Memorial Award, 45, 397 Academy Awards -- Jean Hersholt Humanitarian Award, 45 Academy Awards -- nominations, 117–119, 122–123, 176, 211–212, 216, 218, 220–223, 260, 282, 301, 310, 317–331, 343, 345, 348, 360–361, 388–390, 393, 410, 412, 415, 428–429 Academy Awards -- Scientific and Technical Awards, 46, 61–64, 67, 69–70, 133–134, 159, 166, 175, 213, 227, 364–379, 382, 429–433, 41–52, 56, 45, 52–55, 48–50 Academy Awards -- Gordon E. Sawyer Award, 45–46, 50, 52, 62–64, 67, 175, 227, 372, 379, 429–430 Academy Awards -- John A. Bonner Medal of Commendation, 45, 50–52, 371 Academy Awards -- Special Award of Commendation, 165–166 Academy Awards -- Special Achievement Award, 212–213, 217, 260, 395, 407 Academy of Motion Picture Arts and Sciences (AMPAS), 45–46, 48, 50–51, 54, 56–57, 59, 68, 121, 124, 179, 204, 208, 212–213, 216–219, 233–234, -
DISTINGUISHED Residentsof
DISTINGUISHED 1 RESI D ENTS of Hillside Memorial Park and Mortuary DISTINGUISHED RESIDENTS IRV I NG AA RONSON (1895 – 1963) EV E RL A ST I NG Pea C E Irving Aaronson’s career began at the age of 11 as a movie theater pianist. DISTINGUISHED RE S I D E NTS GU I D E : A LE G A CY OF LE G E NDS In the 1920’s he became a Big Band leader with the Versatile Sextette and Irving Aaronson & the Commanders. The Commanders recorded “I’ll Get By,” Cole Porter’s “Let’s Misbehave,” “All By Ourselves in the Hillside Memorial Park and Mortuary has provided a place to Moonlight,” “Don’t Look at Me That Way” and “Hi-Ho the Merrio.” Irving Aaronson His band included members Gene Krupa, Claude Thornhill and Artie honor the accomplishments and legacies of the Jewish community Shaw. He later worked for MGM as a music coordinator for “Arrivederci Roma” (1957), “This Could Be the Night” (1957), “Meet Me in Las Vegas” since 1942. We have made it our mission to provide southern (1956) and as music advisor for “The Merry Widow” (1952). California with a memorial park and mortuary dedicated to ROSLYN ALF I N –SL A T E R (1916 – 2002) GA RD E N OF SA R A H honoring loved ones in a manner that is fitting and appropriate. Dr. Roslyn Alfin-Slater was a highly esteemed UCLA professor and nutrition expert. Her early work included studies on the relationship between cholesterol and essential fatty acid metabolism. -
From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas ( Compiled by John K
From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas (http://www.lasalle.edu/library/vietnam/FilmIndex/home.htm) compiled by John K. McAskill, La Salle University ([email protected]) T7300 THE TRIAL OF BILLY JACK (USA, 1974) Credits: director, Frank Laughlin ; writers, Frank Laughlin, Teresa Christina Laughlin (Delores Taylor) Cast: Tom Laughlin, Delores Taylor, Victor Izay, Teresa Laughlin. Summary: Melodrama set in contemporary Arizona. Billy Jack (Laughlin), the mixed-race Native American, ex-Green Beret, and Vietnam vet, is put on trial for two killings he committed in self-defense while protecting the Freedom School from small-town Arizona bigots. He is convicted and sent to prison, but the Freedom School thrives under Jean Roberts (Taylor). When Billy Jack is paroled for good behavior, he returns home to explore his tribal spiritual heritage. Meanwhile the Freedom School’s television station has broadcast exposés of America’s sociopolitical ills which have annoyed local officials. National Guard troops occupy the school’s campus, but the students resist. Billy Jack agrees to surrender to the Guard if they withdraw, but the Guard opens fire, killing many students and wounding Billy and Jean. The Guard is finally forced to withdraw from the reservation by the terms of an 1880 treaty, and Billy and Jean vow to rebuild the Freedom School. Includes flashbacks to atrocities committed by American troops in Vietnam. Adair, Gilbert. Hollywood’s Vietnam [GB] (p. 61) ___________. Vietnam on film [GB] (p. 89) Albarino, Richard. “‘Billy’ sequel’s grand $11-mil preem” Variety 277 (Nov 20, 1974), p. 1+ “‘Billy Jack’ at $23-mil after 3 week playoff” Variety 277 (Dec 11, 1974), p. -
The Cinema of Hong Kong History, Arts, Identity
THE CINEMA OF HONG KONG HISTORY, ARTS, IDENTITY Edited by POSHEK FU, University of Illinois, Urbana-Champaign DAVID DESSER, University of Illinois, Urbana-Champaign PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011-4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Ruiz de AlarcoÂn 13, 28014 Madrid, Spain q Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Printed in the United States of America Typefaces Times Roman 10.25/12.5 pt. and Optima System DeskTopPro/UX [BV] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data The cinema of Hong Kong : history, arts, identity / edited by Poshek Fu, David Desser. p. cm. Includes index. ISBN 0-521-77235-4 1. Motion pictures ± China ± Hong Kong. I. Fu, Poshek, 1955± II. Desser, David. PN1993.5.H6 C56 2000 791.43©095125 21±dc21 99-045702 ISBN 0 521 77235 4 hardback CONTENTS List of Contributors page vii Acknowledgments xi POSHEK FU AND DAVID DESSER Introduction 1 POSHEK FU AND DAVID DESSER Chronology of Hong Kong Cinema 13 DAVID DESSER AND POSHEK FU PART I. HISTORY 1. The Kung Fu Craze: Hong Kong Cinema's First American Reception 19 DAVID DESSER 2.