170210 Press Release Carl Laemmle Producers Award
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Independence Day: Resurgence
INDEPENDENCE DAY: RESURGENCE (2016) ● Rated PG 13 for sequences of sci fi action and destruction, and for some language ● $165,000,000 budget ● 2 hrs ● Directed by Roland Emmerich ● Produced by Lynn Harris, Matti Leshem, Douglas C. Merrifield ● The film was produced by Columbia Pictures, Sony Pictures QUICK THOUGHTS ● Phil Svitek ● Marisa Serafini ● Demetri Panos ● Sara Stretton DEVELOPMENT ● The possibility of a sequel to Independence Day had long been discussed, and the film's producer and writer, Dean Devlin, once stated that the world's reaction to the September 11 attacks influenced him to strongly consider making a sequel to the film ● Soon after the success of the first film, 20th Century Fox paid Dean Devlin a large sum of money to write a script for a sequel. However, after completing the script, Devlin didn't turn in the script and instead gave the money back to the studio, as he felt the story didn't live up to the first film. It was only approximately 15 years later, that Devlin met up with Roland Emmerich to try again, having felt that they had "cracked" a story for a sequel ● Devlin began writing an outline for a script with Emmerich, but in May 2004, Emmerich said he and Devlin had attempted to "figure out a way how to continue the story", but that this ultimately did not work, and the pair abandoned the idea ● In October 2009, Emmerich said he once again had plans for a sequel, and had since considered the idea of making two sequels to form a trilogy ● On June 24, 2011, Devlin confirmed that he and Emmerich had found an idea for the sequels and had written a treatment for it ● In October 2011, however, discussions for Will Smith returning were halted, due to Fox's refusal to provide the $50 million salary demanded by Smith for the two sequels ● Emmerich, however, made assurances that the films would be shot backtoback, regardless of Smith's involvement ○ Resurgence filmmakers were reported to be preparing versions of the film both with and without Will Smith. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
Hollywood Cinema Walter C
Southern Illinois University Carbondale OpenSIUC Publications Department of Cinema and Photography 2006 Hollywood Cinema Walter C. Metz Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/cp_articles Recommended Citation Metz, Walter C. "Hollywood Cinema." The Cambridge Companion to Modern American Culture. Ed. Christopher Bigsby. Cambridge: Cambridge UP. (Jan 2006): 374-391. This Article is brought to you for free and open access by the Department of Cinema and Photography at OpenSIUC. It has been accepted for inclusion in Publications by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. “Hollywood Cinema” By Walter Metz Published in: The Cambridge Companion to Modern American Culture. Ed. Christopher Bigsby. Cambridge: Cambridge UP, 2006. 374-391. Hollywood, soon to become the United States’ national film industry, was founded in the early teens by a group of film companies which came to Los Angeles at first to escape the winter conditions of their New York- and Chicago-based production locations. However, the advantages of production in southern California—particularly the varied landscapes in the region crucial for exterior, on-location photography—soon made Hollywood the dominant film production center in the country.i Hollywood, of course, is not synonymous with filmmaking in the United States. Before the early 1910s, American filmmaking was mostly New York-based, and specialized in the production of short films (circa 1909, a one-reel short, or approximately 10 minutes). At the time, French film companies dominated global film distribution, and it was more likely that one would see a French film in the United States than an American-produced one. -
THE LANGUAGE FUNCTIONS USED by the MAIN CHARACTERS in WHITE HOUSE DOWN's FILM by RONALD EMMERICH THESIS Submitted to the Board
THE LANGUAGE FUNCTIONS USED BY THE MAIN CHARACTERS IN WHITE HOUSE DOWN’S FILM BY RONALD EMMERICH THESIS Submitted to the Board Examination In Partial Fulfillment of the Requirement For Literary Degree at English Literature Department by RIA KARMILA NIM: AI.150337 ENGLISH LITERATURE DEPARTMENT ADAB AND HUMANITIES FACULTY THE STATE ISLAMIC UNIVERSITY SULTAN THAHA SAIFUDDIN JAMBI 2019 MOTTO You who have believed, fear Allah and speak words of appropriate justice. He will amend for you your deeds and forgive you your sins. And whoever obeys Allah and His Messenger has certainly attained a great attainment. Indeed, we offered the Trust to the heavens and the earth and the mountains, and they declined to bear it and feared it; but man [undertook to] bear it. Indeed, he was unjust and ignorant. (QS. Al- Ahzab: 70-72)1 Hai orang-orang yang beriman, bertakwalah kamu kepada Allah dan Katakanlah Perkataan yang benar, niscaya Allah memperbaiki bagimu amalan-amalanmu dan mengampuni bagimu dosa-dosamu. dan Barangsiapa mentaati Allah dan Rasul-Nya, Maka Sesungguhnya ia telah mendapat kemenangan yang besar. Sesungguhnya Kami telah mengemukakan amanat kepada langit, bumi dan gunung-gunung, Maka semuanya enggan untuk memikul amanat itu dan mereka khawatir akan mengkhianatinya, dan dipikullah amanat itu oleh manusia. Sesungguhnya manusia itu Amat zalim dan Amat bodoh. (QS. Al-Ahzab: 70-72)2 1 Sher, M. (2004). The Holy Qur’an, United Kingdem: Islam International Publications, p. 642. 2 Akhun, N. (2007). Al-Qur’an Terjemahan, Semarang: Thoa Putra, p. 543. DEDICATION First of all I would say the grateful to Allah SWT always gives me health to finish this thesis. -
The Loeb Firm and the Origins of Entertainment Law Practice in Los
1 3 5 Th e e lo B fir M And the Origins of Entertainment Law Practice in Los Angeles, 1908–1940 m o lly SelV i n * I � Introduction he story of how Edwin Loeb got his start as an entertainment lawyer, T like many tales told of the studio moguls who became his clients and poker partners, has multiple versions. One account pins Edwin’s first entertainment client as “Colonel” William N. Selig, an ex-sideshow operator who turned to slapstick comedies, min- strel-themed shows and westerns. In 1890, Selig moved his operation from Chicago to what became the Echo Park neighborhood of Los Angeles and began making movies, often featuring his growing collection of exotic ani- mals. According to a former Loeb & Loeb partner, Selig retained Edwin in 1914 or 1915 to resolve some of his legal problems after meeting him at * Research Fellow, Stanford Law School. Ph.D., Legal History, UC San Diego. I am tremendously grateful to former Loeb & Loeb partners Howard Friedman and Rob- ert Holtzman for sharing their memories and documents and for commenting on an earlier draft of this paper. Cameron Norris (J.D. 2011, Southwestern) offered excellent research assistance at the start of this project, and my former Southwestern colleague Professor Kelly Strader also kindly provided helpful comments on the draft. Finally, I particularly thank Bryant Garth, former dean of Southwestern Law School, for encour- aging me in this project and for the summer funding that enabled me to start. 1 3 6 c a lifornia l e g a l H i S t o ry ✯ Volume 10, 2015 a social function. -
Southern Newspaper Publishers Association Foundation Southern
DOCUMENT RESUME ED 04E 388 UD 010 974 AUTHOR Lee, Eugene C.,Ed. TITLE School Desegregation; Retrospect and Prospect. Southern Newspaper Publishers Association Foundation Seminar Books, Number S. INSTITUTIrN Southern Newspaper Publishers Association, Atlanta, Ga. PUB DATE Jul 70 NO-CE 158p. AVAILABLE FBCM Southern Newspaper Publishers Association Foundation, Atlanta, Ga. 30305 ($2.00) EDES PRICE !DES Price my-$0.6F. HC-$5.5e DESCEIPTORS *Court Litigation, Courts, Educational Research, *Federal Government, Federal Legislation, Feder-1 Programs, 7ntegration Plans, *Journalism, *School Integration, *Seminars IDENTIFIERS Emory Univ?rsity, Southern Newspaper Publishers Association ABSTRACT During July of 197C, Emory University and the Southern NeNEi;aper Publishers Association Foundation sponsore-' a seminar on school desegregation for Southern journalisto. The intent was to give journalists the opportunity to increase rheir knJwledse 7,nd understanding of the complex events the write about. Toward this end, journalists were brought together with educators and practitioners in areas of their common concern. The proceedings of this seminar were put together in book form. The essays included cover subjects ranging trom the Nixon administration to desegregation in Atlanta, Georgia. The selections do reflect, however, the division of interest in the conference, which were; (1) the courts and the law; (2) politics and the federal administrat ion;(3) educational research in desegregation; and, (4) implementation of desegregation. (Author/JW) Cia U.S DEPARTMENT OF HEALTH. EDEICATIO. & WELFARE OF EDUCATION CO THIS DOCOFFICEUMiNT HAS GLEN REPRODULEO EXACTLY AS RECEIVED FROM THE PERSON DR re% ORGANU.ATION ORIGINATING IT POINIS OF VIL4 OR OPINIONS STATED DO NOT NECES E) SARILY DEPRUSENT OFFICIA L OFFICE OF EUU CATION POSITION OR POLICY 4. -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10. -
Thomas Wander
THOMAS WANDER SELECTED CREDITS MIDWAY (2019) INDEPENDENCE DAY: RESURGENCE (2016) WHITE HOUSE DOWN (2013) 2012 (2009) 10,000 BC (2008) BIOGRAPHY Thomas Wander was born in Austria where he was immersed in music from an early age. After studying at the University of Music and Dramatic Arts in Graz, Austria he continued his studies with renowned film composers such as Jerry Goldsmith and David Raksin at the University of Southern California in Los Angeles. Among his film credits are MIDWAY, INDEPENDENCE DAY RESURGENCE, 2012, THE DAY AFTER TOMORROW, WHITE HOUSE DOWN, ANONYMOUS and 10,000 BC. For television, he scored more than 40 episodes of the longrunning hit series BUFFY THE VAMPIRE SLAYER. He has also written music for a number of longform projects for television, including STORM TIDE, DRESDEN, SINS OF THE FATHER and RFK. FILM CREDITS Midway (2019) Independence Day: Resurgence Co-Composer (2016) Directed by Roland Emmerich Co-Composer AGC Studios Directed by Roland Emmerich 20th Century Fox White House Down (2013) Composer All Things to All Men (2013) Directed by Roland Emmerich Composer Columbia Pictures Directed by George Isaac Cipher Films Anonymous (2011) Composer 2012 (2009) Directed by Roland Emmerich Composer Columbia Pictures Directed by Roland Emmerich Sony Pictures 10,000 B.C (2008) Composer Alien Vs Predator (2004) Directed by Roland Emmerich Composer: Additional Score & Sequence Warner Brothers Music Programmer Directed by Paul W.S. Anderson 20th Century Fox The Day After Tomorrow (2004) Hostile Takeover (2001) Co-Composer Composer Directed by Roland Emmerich Directed by Carl Schenkel 20th Century Fox Columbia TriStar The Tunnel (2001) Marlene (2000) Composer Co-Composer Directed by Roland Suso Richter Directed by Joseph Vilsmaier SAT1/Teamworx Senator Film A Handful of Grass (2000) The Venice Project (1999) Composer Composer Directed by Roland Suso Richter Directed by Robert Dornhelm MTM Prod. -
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Look to the rock from which you were hewn Vol. 25, No. 4, Year-End 2001 chicago jewish historical society chicago jewish history Save the Date! Sunday, November 18: Adele Hast to Speak on Women Who Helped Build Chicago At the November 18 Open Meeting of the Society, Past President Dr. Adele Hast will speak on Women Building Chicago: 1790-1990, the newly published biographical dictionary she edited with Rima Lunin Schultz. Of the over 400 individual entries in the book, forty are Jewish women, and Dr. Hast will give special attention to them. The program will begin at 2:00 p.m., after a social period with refreshments at 1:30 p.m., at Temple Sholom, 3480 North Lake Shore Drive, Chicago. Admission is free and open to the public. Adele Hast is a historian, editor, and author of Rose Haas Alschuler. several books. She is Scholar in Residence at the Chicago Jewish Archives. Newberry Library and a member of the Academic continued on page 3 Extra! Roosevelt IN THIS ISSUE Esther Weinshenker Natkin, High Alums to 60th Anniversary of the 1907. Chicago Jewish Archives. George Washington, Address Nov. 18 Robert Morris and Haym Open Meeting Salomon Monument “Go, Rough Riders!” Roosevelt Sidney Sorkin: Reel alumni are urged to attend the Men––Chicago’s Jewish meeting (and even sing their Fight Movie Exhibitors Song) at a brief reunion to be held in addition to Adele Hast’s talk. Jewish Book Month: Retired Illinois Supreme Court Suggested Reading Justice Seymour Simon and retired Roosevelt teacher and basketball CJHS Summer Tours 2001: coach Manny Weincord, both Warm Recollections alumni of Roosevelt, will reminisce about Jewish life at their school and Myron Fox: A Jewish Family Sadie American, 1924. -
The Political History of Classical Hollywood: Moguls, Liberals and Radicals in The
The political history of Classical Hollywood: moguls, liberals and radicals in the 1930s Professor Mark Wheeler, London Metropolitan University Introduction Hollywood’s relationship with the political elite in the Depression reflected the trends which defined the USA’s affairs in the interwar years. For the moguls mixing with the powerful indicated their acceptance by America’s elites who had scorned them as vulgar hucksters due to their Jewish and show business backgrounds. They could achieve social recognition by demonstrating a commitment to conservative principles and supported the Republican Party. However, MGM’s Louis B. Mayer held deep right-wing convictions and became the vice-chairman of the Southern Californian Republican Party. He formed alliances with President Herbert Hoover and the right-wing press magnate William Randolph Hearst. Along with Hearst, Will Hays and an array of Californian business forces, ‘Louie Be’ and MGM’s Production Chief Irving Thalberg led a propaganda campaign against Upton Sinclair’s End Poverty in California (EPIC) gubernatorial election crusade in 1934. This form of ‘mogul politics’ was characterized by the instincts of its authors: hardness, shrewdness, autocracy and coercion. 1 In response to the mogul’s mercurial values, the Hollywood community pursued a significant degree of liberal and populist political activism, along with a growing radicalism among writers, directors and stars. For instance, James Cagney and Charlie Chaplin supported Sinclair’s EPIC campaign by attending meetings and collecting monies. Their actions reflected the economic, social and political conditions of the era, notably the collapse of US capitalism with the Great Depression, the New Deal, the establishment of trade unions, and the emigration of European political refugees due to Nazism. -
17 Nov Sydney / 23
Program Festival 2019 Sydney / 23 Oct — 21 Nov Melbourne / 24 Oct — 20 Nov Brisbane / 7 Nov — 17 Nov, Canberra / 7 Nov — 17 Nov Nov 17 — Nov 7 / Canberra Nov, 17 — Nov 7 / Brisbane Perth / 6 Nov — 17 Nov 17 — Nov 6 / Perth SPONSORS, PARTNERS & FRIENDS OF JIFF — CHAI SPONSORS — SILVER SPONSORS — BRONZE SPONSORS — Sponsorship & advertising enquiries [email protected] 2 COVER Top: My Name is Sara (page 33); Bottom: The Tobacconist (page 43). SPONSORS, PARTNERS & FRIENDS OF JIFF — MEDIA PARTNERS — CULTURAL & PROGRAMMING PARTNERS — FRIENDS OF JIFF — Abraham Australian Migration Noah’s Creative Juices A.I.S. Insurance Peter Berkowitz Anonymous Phil and Sue Lewis Anonymous Project Accounting Australia Arnold Bloch Leibler PSN Family Charitable Trust Connect Plus Property Solution Rampersand (Dapal) Escala Partners See-Saw Films Fraid Family Shadowlane Golden Sheaf Hotel Sharon & Gary Hendler Ian Sharp Jewellery The Caulfield Judy Becher The Choc Top Icecream Company Lauren and Bruce Fink The Pacific Group Leo & Mina Fink Fund Viv and Phil Green Milne Agrigroup Westfield Bondi Junction NEXA Wolanski Foundation 3 The 2019 Jewish International Film Festival CONTENTS — Highlight Events . 6 Films (alphabetical order). 8 Melbourne Schedule ���������������������������������������������������������������������������������������������������������������������������������������������50 Melbourne Events . 54 Sydney Schedule . 56 Sydney Events ���������������������������������������������������������������������������������������������������������������������������������������������������������58 -
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Chapter Title Preparing to Be President The Memos of Richard E. Neustadt Edited by Charles O. Jones The AEI Press Publisher for the American Enterprise Institute W A S H I N G T O N , D . C . 2000 Book Title 2 Chapter Title Contents Foreword vv Norman J. Ornstein and Thomas E. Mann Part 1 The Editor’s Introduction The Truman Aide Turned Professor 33 Part 2 Neustadt Memos for the Kennedy Transition Memo 1. Organizing the Transition 21 Memo 2. Staffing the President-Elect 38 Attachment A: Roosevelt’s Approach to Staffing the White House 54 Attachment B: Roosevelt’s Approach to Staffing the Budget Bureau 61 Memo 3. Cabinet Departments: Some Things to Keep in Mind 63 Memo 4. White House Titles 70 Memo 5. A White House Aide for Personnel and Congressional Liaison 72 Memo 6. The National Security Council: First Steps 75 Memo 7. Shutting Down Eisenhower’s “Cabinet System” 82 Memo 8. Appointing Fred Dutton “Staff Secretary” Instead of “Cabinet Secretary” 83 Memo 9. Location of Disarmament Agency 86 Memo 10. The Science Adviser: First Steps 94 iii iv CONTENTS Memo 11. Coping with “Flaps” in the Early Days of the New Administration 997 Memo 12. Possible Remarks by the President at the Outset of the Cabinet Meeting (prepared with Fred Dutton) 101 Part 3 Neustadt Memos from Reagan to Clinton Memo 13. Historical Problems in Staffing the White House (for James Baker III) 107 Memo 14. Transition Planning during the Campaign (for Michael Dukakis law partner Paul Brountas) 120 Memo 15. “Lessons” for the Eleven Weeks (for Bill Clinton friend Robert B.