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ABOUT JAMES DARREN James Darren Has Enjoyed a Successful
ABOUT JAMES DARREN James Darren has enjoyed a successful, multi-faceted career, spanning five decades of motion picture, television, recording and live concert performances. With a notable career in films (“Gidget,” “The Guns of Navarone”) as well as television (“The Time Tunnel,” “T.J. Hooker,” “Star Trek: Deep Space Nine”), Darren has re-emerged on the recording scene with his latest CD, Because of You (Concord Records), an impressive collection of standards and big band swing. The album, a follow-up to his acclaimed 1999 release, This One’s From the Heart (Concord Records), reaffirms Darren’s incomparable talents as a singer. Born in South Philly as James Ercolani, a second-generation American of Italian descent, Darren cites his beloved grandmother as the greatest guiding light of his life and his career. By the age of 14, Darren knew he wanted a show business career, and he embarked on the road to stardom by singing in nightclubs in Philadelphia and South Jersey. By age 18, he was in New York, studying acting for several years with the legendary drama teacher Stella Adler.It was a chance introduction to Hollywood movie producer Joyce Selznick (niece of the legendary David O. Selznick) that led to Darren’s seven-year contract with Columbia Pictures and his first big break: starring as the college student-surfer Moondoggie opposite Sandra Dee in the 1959 classic comedy hit, “Gidget.” Two sequels would follow, and Darren was soon on Hollywood’s short list of most sought-after young dramatic actors. He would make 20 films in all, including “The Guns of Navarone,” “The Lively Set,” “The Gene Krupa Story,” “The Brothers Rico,” “Gunman’s Walk,” “Let No Man Write My Epitaph,” and “Diamond Head.” Darren’s singing career encompasses an impressive roster of musical credits including 14 albums and five Top 10 singles, including the 1961 Grammy- nominated “Goodbye Cruel World,” which held the No. -
Issues of Gender in Muscle Beach Party (1964) Joan Ormrod, Manchester Metropolitan University, UK
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by E-space: Manchester Metropolitan University's Research Repository Issues of Gender in Muscle Beach Party (1964) Joan Ormrod, Manchester Metropolitan University, UK Muscle Beach Party (1964) is the second in a series of seven films made by American International Pictures (AIP) based around a similar set of characters and set (by and large) on the beach. The Beach Party series, as it came to be known, rode on a wave of surfing fever amongst teenagers in the early 1960s. The films depicted the carefree and affluent lifestyle of a group of middle class, white Californian teenagers on vacation and are described by Granat as, "…California's beautiful people in a setting that attracted moviegoers. The films did not 'hold a mirror up to nature', yet they mirrored the glorification of California taking place in American culture." (Granat, 1999:191) The films were critically condemned. The New York Times critic, for instance, noted, "…almost the entire cast emerges as the dullest bunch of meatballs ever, with the old folks even sillier than the kids..." (McGee, 1984: 150) Despite their dismissal as mere froth, the Beach Party series may enable an identification of issues of concern in the wider American society of the early sixties. The Beach Party films are sequential, beginning with Beach Party (1963) advertised as a "musical comedy of summer, surfing and romance" (Beach Party Press Pack). Beach Party was so successful that AIP wasted no time in producing six further films; Muscle Beach Party (1964), Pajama Party (1964) Bikini Beach (1964), Beach Blanket Bingo (1965) How to Stuff a Wild Bikini (1965) and The Ghost in the Invisible Bikini (1966). -
07.09.07 Final Submission.Pdf (6.841Mb)
THE BREAK by Zubin Kishore Singh A thesis presented to the University of Waterloo in fulfi llment of the thesis requirement for the degree of Master of Architecture Waterloo, Ontario, Canada, 2007 © Zubin Kishore Singh 2007 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required fi nal revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Through surfi ng man enters the domain of the wave, is contained by and participates in its broadcast, measures and is in turn measured, meets its rhythm and establishes his own, negotiates continuity and rupture. The surfer transforms the surfbreak into an architectural domain. This thesis undertakes a critical exploration of this domain as a means of expanding and enriching the territory of the architectural imagination. iii Supervisor: Robert Wiljer Advisors: Ryszard Sliwka and Val Rynnimeri External Examiner: Cynthia Hammond To Bob I extend my heartfelt gratitude, for your generosity, patience and encouragement over the years, for being a true mentor and an inspiring critic, and for being a friend. I want to thank Val and Ryszard for their valuable feedback and support, as well as Dereck Revington, for his role early on; and I would like to thank Cynthia for sharing her time and her insight. I would also like acknowledge the enduring support of my family, friends and fellow classmates, without which this thesis could not have happened. iv For my parents, Agneta and Kishore, and for Laila. -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
Friends Newsletter
FRIENDS OF THE OVIATT LIBRARY Summer 2009 OOviattviatt FrFriieennddss Oviatt Exhibit Marks CSUN’s 50-year Celebration ifty years ago it was farmland. Today it is a also found some unexpected historical gems that top-tier regional university with a multi- collectively highlight the institution’s triumphs and ethnic student population and thrills, trials and tumults, as it matured F global reach. In celebration of over the past half-century. Here I’ll focus its remarkable metamorphosis from on items that most caught my attention. agriculture to academe, CSUN on My first surprise was a photo of leg- September 22 kicked off a yearlong endary anthropologist, Margaret Mead. observance of its 50th anniversary with Although a member of the University’s the first-ever Founders Day celebration. faculty for more than 45 years, I was As part of the festivities, returning alum- unaware that in 1957 this remarkable, ni, former faculty and staff heard much-in-demand woman had expound- Professor Emeritus John Broesamle, ed on “Changing ideas of discipline” in author of the institution’s history, a temporary classroom on the Suddenly a Giant, expound on near-barren campus of a fledgling the campus’s coming-of-age, and San Fernando Valley State afterwards joined in dedicating College, the institution’s original the James and Mary Cleary Walk, name. But, I discovered she was named in honor of the institu- just one among many luminaries tion’s longest serving president to grace the young institution’s and his wife. At day’s end the halls of learning. I also found returnees were treated to a visual photographic affirmation of visits rerun of the campus’s bygone by: Pulitzer prize-winning poet times at the launch of the Oviatt Gwendolyn Brooks, who in 1972 Library’s exhibition, “Fifty and Images from the Fifty and Fabulous Exhibition enchanted a class with a poetry Fabulous,” in the Tseng Family recitation; actor Jon Voight, who Gallery. -
Narrative and Culture in Versions of the Lizzie Borden Story (A Performative Approach)
Intersecting Axes: Narrative and Culture in Versions of the Lizzie Borden Story (A Performative Approach) Stephanie Miller PhD Department of English and Related Literature September 2010 Miller 2 ABSTRACT This thesis examines versions of the story of 32-year-old New Englander Lizzie Andrew Borden, famously accused of axe-murdering her stepmother Abby and father Andrew in 1892. Informed by narrative and feminist theories, Intersecting Axes draws upon interdisciplinary, contemporary re-workings of Judith Butler’s concept of “performativity” to explore the ways in which versions of the Lizzie Borden story negotiate such themes as repetition and difference, freedom and constraint, revision and reprisal, contingency and determinism, the specific and the universal. The project emphasizes and embraces the paradoxical sense in which interpretations are both enabled and constrained by the contextual situation of the interpreter and analyzes the relationship between individual versions and the cultural constructs they enact while purporting to describe. Moving away from symptomatic reading and its psychoanalytic underpinnings to focus upon the interpretive frames by which our understandings of Lizzie Borden versions (and of narrative/cultural texts more broadly) are shaped, this project exposes the complex performative processes whereby meaning is created. The chapters of this thesis offer contextual readings of a short story by Mary E. Wilkins Freeman, a ballet by Agnes de Mille, a made-for-television by Paul Wendkos, and a short story by Angela Carter to argue for the theoretical, political, narratological, cultural, and interpretive benefits of approaching the relationship between texts and contexts through a uniquely contemporary concept of performativity, bringing a valuable new perspective to current debates about the intersection of narrative and culture. -
DEC 16 Performing Arts Center 2 Pm Movie Night: the Man Who
RECREATION EVENTS CALENDAR Third Annual Holiday Festival SATURDAY, Festivities include snow, tree lighting, Santa, DEC 1 complimentary hot cocoa and cookies, and crafts and Clubhouse 2 games for the grandkids. Beer, wine and spiked seasonal 6 to 8 p.m. drinks available for purchase. Enjoy a holiday performance from Bank of Harmony (7 p.m.). Please bring a new unwrapped toy or sports equipment item to be given to the Orange County Fire Department’s Spark of Love Toy Drive. For more information, call 949-597-4286 or email [email protected]. Monday Night Football MONDAY, Come watch Washington @ Philadelphia at 5:15 p.m. on DEC 3 the big screen. Doors open 30 minutes prior to game time. Clubhouse 5 Tickets are not needed for this free event. Seating is on a 4:45 p.m. first-come, first-served basis. Enjoy free chips and salsa; hot dogs are available for purchase and the no-host GRF bar will open at 5 p.m. For more information, call @ 949-597-4382. WAS PHI WEDNESDAY, Timeless Melodies: Famous Songs of the Movies DEC 5 Enjoy Famous Songs of the Movies, the cinematic song- Clubhouse 1 fest that gave birth to talking pictures, sustained America 1:30 p.m. during the Great Depression, underscored a country at war and survived the 1950s. Tickets are available for $6 in the Clubhouse 1 office. General seating; doors open at 1 p.m. Cheese, crackers and punch will be served. Call 949-597-4281 or email [email protected] for more information. Monday Night Football MONDAY, Come watch Minnesota @ Seattle at 5:15 p.m. -
The Field Guide to Sponsored Films
THE FIELD GUIDE TO SPONSORED FILMS by Rick Prelinger National Film Preservation Foundation San Francisco, California Rick Prelinger is the founder of the Prelinger Archives, a collection of 51,000 advertising, educational, industrial, and amateur films that was acquired by the Library of Congress in 2002. He has partnered with the Internet Archive (www.archive.org) to make 2,000 films from his collection available online and worked with the Voyager Company to produce 14 laser discs and CD-ROMs of films drawn from his collection, including Ephemeral Films, the series Our Secret Century, and Call It Home: The House That Private Enterprise Built. In 2004, Rick and Megan Shaw Prelinger established the Prelinger Library in San Francisco. National Film Preservation Foundation 870 Market Street, Suite 1113 San Francisco, CA 94102 © 2006 by the National Film Preservation Foundation Library of Congress Cataloging-in-Publication Data Prelinger, Rick, 1953– The field guide to sponsored films / Rick Prelinger. p. cm. Includes index. ISBN 0-9747099-3-X (alk. paper) 1. Industrial films—Catalogs. 2. Business—Film catalogs. 3. Motion pictures in adver- tising. 4. Business in motion pictures. I. Title. HF1007.P863 2006 011´.372—dc22 2006029038 CIP This publication was made possible through a grant from The Andrew W. Mellon Foundation. It may be downloaded as a PDF file from the National Film Preservation Foundation Web site: www.filmpreservation.org. Photo credits Cover and title page (from left): Admiral Cigarette (1897), courtesy of Library of Congress; Now You’re Talking (1927), courtesy of Library of Congress; Highlights and Shadows (1938), courtesy of George Eastman House. -
Person, Place, and Thing a Dissertation Presented to the Faculty
Person, Place, and Thing A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Sarah E. Einstein April 2016 © 2016 Sarah E. Einstein. All Rights Reserved. 2 This dissertation titled Person, Place, and Thing by SARAH E. EINSTEIN has been approved for the Department of English and the College of Arts and Sciences by Dinty W. Moore Professor of English Robert Frank Dean, College of Arts and Sciences 3 ABSTRACT EINSTEIN, SARAH E., Ph.D., April 2016, English Person, Place, and Thing Director of Dissertation: Dinty W. Moore The dissertation is divided into two sections: an essay titled “The Self-ish Genre: Questions of Authorial Selfhood and Ethics in Creative Nonfiction” and an essay collection titled, Person, Place, and Thing. “The Self-ish Genre: Questions of Authorial Selfhood and Ethics in Creative Nonfiction” engages with late modern and postmodern theories of selfhood in the service of moving towards an understanding of the ethical nature of the authorial character in the personal essay. I will position the authorial character within the framework of Paul Ricouer’s construction of the narrative self, identifying it as an artifact of the work of giving an account of oneself. I will consider how this artifact can be imagined to function inside a Levinasian ethics, and ask whether or not the authorial character can adequately serve as an “Other” with whom both the reader interacts in their own formations of self. Finally, I will turn to Judith Butler to suggest a way the ethical act of giving an account of oneself can be rescued from the postmodern disposition of the self. -
Newbev201902 FRONT
General Admission: $10.00 February 2019 Seniors / Children: $6.00 NEW Matinees: $6.00 BEVERLY cinema 7165 BEVERLY BLVD. THENEWBEV.COM ONE BLOCK WEST OF LA BREA, LOS ANGELES FOLLOW US ON FACEBOOK AND TWITTER! February 1 & 2 Two written by Peter Benchley The New Beverly Cinema pays tribute to legendary superstar Burt Reynolds in February, showcasing the charisma and charm that made him a true American icon. The series kicks off on his birthday with a rare film print of his screen debut, Angel Baby, and runs through some of his most entertaining movies of the ‘70s and beyond throughout the month. 4-track Mag Print DIRECTED BY STEVEN SPIELBERG February 3 & 4 February 5 February 6 & 7 February 8 & 9 IB Tech Print IB Tech Print MIDNIGHT SHOW! MIDNIGHT SHOW! MIDNIGHT SHOW! MIDNIGHT SHOW! THE BLACK GODFATHER (SATURDAY ONLY) February 10 & 11 Directed by Paul Wendkos February 12 February 13 & 14Burt Reynolds Tribute February 15 & 16 Burt Reynolds Tribute Burt Reynolds Tribute JOHN BOORMAN’S BURT REYNOLDS Sam Fuller’s SHARK! Sony Archive Print SONY ARCHIVE PRINT PAUL THOMAS ANDERSON’S BATTLE OF THE GEORGE HAMILTON CORAL SEA BURT REYNOLDS February 17 & 18 French Foreign Legion February 19 February 20 & 21 Burt Reynolds Tribute February 22 & 23 Burt Reynolds Tribute MARTY FELDMAN Jamaa Fanaka Double LEON ISAAC KENNEDY February 24 & 25 Directed by Paul Wendkos February 26 February 27 & 28 Jack Lemmon Double Feature Burt Reynolds Tribute See some stunning 35mm prints courtesy of the Sony Archive! Sony Archive Print JACK Sony Archive Print LEMMON The -
Lynda's Recipe for Shrimp Boil!
Movies” with Sandra Dee and James Darren. I still enjoy watching them today! I know that those movies and television shows were not real life characters and that those that were playing them probably lived very complicated and intrusive lives. But the make believe world that the screen portrayed was very appealing to me. I think I was drawn to those types of shows because they seemed to enjoy life, each other, and just lived more simply. Life today seems so complicated, doesn’t it? Our country is filled with godlessness, hatred, racism, selfishness, haughty pride, and entitlement! If only we all had Christ living in our hearts, guiding us, and reminding us of what is important, it would be a much “Finally, brothers and sisters, whatever is different world. What a wonderful world it would be if true, whatever is noble, whatever is right, we all lived this way ...“Finally, brothers and sisters, whatever is pure, whatever is lovely, whatever is true, whatever is noble, whatever is right, whatever is admirable- if anything is whatever is pure, whatever is lovely, whatever is excellent or praiseworthy-think admirable-if anything is excellent or praiseworthy- think about such things.” Philippians 4:8 about such things.” Philippians 4:8 I know that Scripture doesn’t promise Christians a Welcome to my kitchen filled with aroma and problem free life. In fact it is the opposite. John 16:33 taste, but most of all God’s love and grace! reminds us of this; “I have told you these things, so On the menu today: Shrimp Boil. -
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