DOCSLIB.ORG

SHSU Video Archive Basic Inventory List Department of Library Science

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SHSU Video Archive Basic Inventory List Department of Library Science SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films. c1984. (+R) AC/DC—Fly On The Wall; Live at the Crystal Ballroom, New York City. Atlantic, c1983. Aired MTV, 11-16-85. AC/DC—Who Made Who. Atlantic Video 50114-2, c1986. The Accidental Tourist. 1988. William Hurt, Kathleen Turner, Geena Davis. (Warner Bros.) New York Film Critics Award – Best Picture; 4 Oscar nominations, including Best Actress Award (Davis). Ace Ventura: When Nature Calls [Wide Screen Edition]. 1995. Jim Carrey. (Morgan Creek/Warner Bros.) Adam At 6 A.M. 1970. Michael Douglas, Lee Purcell. Adam’s Rib. 1949. Spencer Tracy, Katharine Hepburn. George Cukor, director. (Loew’s Incorporated/MGM) Adams, Bryan—Reckless. c1984. (+R) The Addams Family [TV program]: The Addams Family Goes To School; Morticia & The Psychiatrist. c1964. (+R) The Addams Family. 1991. Raul Julia, Anjelica Huston. Addams Family Values. 1993. Raul Julia, Anjelica Huston, Christina Ricci. (Paramount) Adventures In Wonderland, Disney’s. 1: Hare-Raising Magic. c1992. Adventures In Wonderland, Disney’s. 2: Helping Hands. c1992. Adventures In Wonderland, Disney’s. 3: The Missing Ring Mystery. c1992. Adventures Of Captain Marvel. 1941. Tom Tyler. (Republic Pictures) Episodes 1-6. Adventures Of Captain Marvel. 1941. Tom Tyler. (Republic Pictures) Episodes 7-12. The Adventures Of Ford Fairlane [Wide Screen Edition]. 1991. Andrew Dice Clay, Wayne Newton. (20th Century Fox) The Adventures Of Huck Finn [Letterbox Edition]. 1993. Elijah Wood, Courtney B. Vance. (Walt Disney) The Adventures Of Huckleberry Finn. 1939. (Metro-Goldwyn-Mayer) (+R) The Adventures Of Mark Twain. c1985. James Whitmore as the voice of Mark Twain. Produced and directed by Will Vinton. (Clubhouse Pictures/Paramount) The Adventures Of Ozzie And Harriet; College Years – Volume 9: The Fraternity Rents A Room/Making Wally Study. (Showcase Productions) The Adventures Of Pinocchio. c1978. Jesse Vogel, director. The Adventures Of Pinocchio [Wide Screen Edition]. 1995. Jonathan Taylor Thomas, Martin Landau. (Savoy/New Line) Includes: [1] feature; [2] theatrical trailer; The Making of Pinocchio; The Music of Pinocchio; TV Spots; Legend; Magic; Boys Adventure; Enchantment; Cricket; Review; Treat Review; A Sampler of Cricket Effects and Animations. The Adventures Of Priscilla, Queen Of The Desert. 1994. (PolyGram Filmproduction) The Adventures Of Red Ryder. 1941. Don “Red” Barry, Noah Beery Sr. Chapters 1-6 (of 12) from Republic serial. (Nostalgia Merchant) The Adventures Of Rocky And Bullwinkle; Banana Formula. (+R) The Adventures Of Rocky And Bullwinkle; Painting Theft. (+R) The Adventures Of Rocky And Bullwinkle; Pottsylvania Creeper. (+R) The Adventures Of Rocky And Bullwinkle; The Weather Lady. (+R) The Adventures Of Rocky And Bullwinkle; Volume 2: Birth Of Bullwinkle. (+R) The Adventures Of Rocky And Bullwinkle; Volume 3: Vincent Van Moose. (+R) The Adventures Of Rocky And Bullwinkle; Volume 4: Blue Moose. (+R) The Adventures Of Rocky And Bullwinkle; Volume 5: Le Grande Moose. (+R) The Adventures Of Rocky And Bullwinkle; Volume 6: Canadian Gothic. (+R) The Adventures Of Rocky And Bullwinkle; Volume 7: Whistler’s Moose. (+R) The Adventures Of Rocky And Bullwinkle; Volume 8: Norman Moosewell. (+R) The Adventures Of Sherlock Holmes. 1939. Basil Rathbone, Nigel Bruce, Ida Lupino. (Twentieth Century Fox/Key) Includes: [1] Complete Program; [2] Series Ad; [3] Feature. (+R) The Adventures Of Tom Sawyer. 1938. Tommy Kelly. A David Selznick Production. Aelita: Queen Of Mars. USSR, 1924. Yakov Protazanov, director. An Affair To Remember. 1957. Cary Grant, Deborah Kerr. Afraid Of The Dark. 1991. James Fox. (New Line Cinema) After Dark, My Sweet. 1990. Jason Patric, Rachel Ward, Bruce Dern. (Avenue Pictures) After Hours. 1986. Rosanna Arquette. Against All Odds [Wide Screen Edition]. 1984. Jeff Bridges, Rachel Ward. (Columbia) The Age Of Innocence [Wide Screen Edition]. 1993. Daniel Day-Lewis. (Columbia) Air Force One. 1997. Harrison Ford, Gary Oldman, Glenn Close. (Columbia Pictures) Airheads [Wide Screen Edition]. 1994. Brendan Fraser. (20th Century Fox) Aladdin. Walt Disney. The Alamo. 1960. John Wayne. (MGM) The Alamo. 1960. John Wayne. (MGM) Includes: [1] Trailer & Documentary, “John Wayne’s The Alamo,” Part 1; [2] “John Wayne’s The Alamo,” Part 2. (+R) The Alarm—Standards. c1990. Albee, Edward—All Over. Myra Carter, William Prince, Anna Shropshire. Introduction by Hal Holbrook. (Kultur) Alexander And The Terrible, Horrible, No Good, Very Bad Day. c1990. Screenplay and lyrics by Judith Viorst. Music by Charles Strouse. (Golden Book Video/HBO) Alexander Nevsky. 1938. Sergei Eisenstein, director. Ali Baba And The Forty Thieves [Deluxe Letter Box Edition]. [Chinese release] Alice. 1991. Mia Farrow, Alec Baldwin, Blythe Danner, Judy Davis, William Hurt. Woody Allen, director & writer. (Orion) Ali: Fear Eats The Soul [German with English subtitles]. 1974. Brigitte Mira. Rainer Werner Fassbinder, director. (Wellspring/Rainer Werner Fassbinder Foundation/The Criterion Collection) Includes: [1] feature; [2] original theatrical trailer. Ali: Fear Eats The Soul. 1974. (The Criterion Collection) Includes: [1] Angst isst Seele auf (short film, 2002); [2] Introduction by director Todd Haynes; [3] Interview with actress Brigitte Mira; [4] Interview with editor Thea Eymesz; [5] Signs of Vigorous Life: New German Cinema (BBC); [6] Excerpt: The American Soldier (1970), with Margarethe von Trotta. Alice In Wonderland. 1951. Leo Bunin. 2 copies: -R/+R. Alice In Wonderland. 1951. Walt Disney. Alice In Wonderland. c1972. Producers/Directors: Arthur Rankin, Jr. & Jules Bass. Alice Through The Looking Glass. c1966. Judi Rolin, Jimmy Durante, Smothers Brothers. (Embassy) Emmy Award winner. Alice’s Adventures In Wonderland. 1973. Peter Sellers, Dudley Moore. Alien. 1979. Tom Skerritt, Sigourney Weaver, Veronica Cartright. Ridley Scott, director. (Twentieth Century-Fox) Alien 3 [Special Wide Screen Edition]. 1992. Sigourney Weaver. (20th Century-Fox) Alien Nation. 1988. James Caan. All Dogs Go To Heaven. 1989. Don Bluth, director. All About Eve. 1950. Bette Davis, George Sanders. All I Want For Christmas. 1991. (Paramount) All The President’s Men [Wide Screen Edition]. 1975. Robert Redford, Dustin Hoffman. (Warner Bros.) Includes: [1] feature & trailer; [2] 2nd trailer; [3] 3rd trailer. Alligator People. 1959. Lon Chaney, Jr. Alphaville. 1965. Jean-Luc Godard, director. Alternative College Reel [promo video clips]. Columbia Records, 12/17/92. Amadeus. 1984. F. Murray Abraham, Tim Hulce. The Amazing Colossal Man. 1957. Glen Langan, Cathy Downs. (American Intenational Pictures) The Amazing Panda Adventure. 1995. Stephen Land. (Warner Bros.) An American Christmas Carol. 1979. Henry Winkler. (Vestron, c1983) (+R) American Graffiti. Ron Howard, Richard Dreyfuss. 1973. American Heroes, Featuring Paul Bunyan And Pecos Bill. “Pecos Bill” narrated by Roy Rogers. Walt Disney, c1983. American Me. 1992. Edward James Olmos. (MCA/Universal) An American President. 1995. Michael Douglas. An American Tail. 1986. Don Bluth, director. An American Tail: Fieval Goes West. 1991. Don Bluth, director. The Americans; American Stories Video Series Sampler [promo]. McDougal Littell, c1998. Amos ‘N’ Andy: Anatomy Of A Controversy. c1986. Amos ‘N Andy: Volume 20 – Vacation; New Neighbors. Anaconda. 1997. Jon Voigt. (Columbia/TriStar) Anansi. c1991. Densel Washington, narrator; UB40, music. Anderson, Carl—How Deep Does It Go [promo video clip]. GRP Records, 22 June 1990. Anderson, Laurie—Collected Videos. c1990. Anderson, Laurie—Home Of The Brave. c1986. (+R) Andre [Letterboxed Edition]. 1995. (Paramount) Android. 1982. Klaus Kinski, Don Opper, Brie Howard. Media Home Entertainment, c1984. The Andromeda Strain. 1981. (MCA/Universal) The Andy Griffith Show. Premier Promotions. Includes:
Load more

Recommended publications
  • Northeasthistoricfilmcarlson 39
    NortheastHistoricFilmCarlson 1/29 Please review the Application Guidelines for details about the information requested in this proposal. Fields marked with an asterisk are required. Eligibility To be eligible for a Digitizing Hidden Collections grant in 2016, applicant projects must meet the following requirements: Minimum allowable request for 2016: $50,000 Maximum allowable request for 2016: single-institution projects: $250,000 / collaborative projects: $500,000 Minimum allowable project term: 12 months Maximum allowable project term: single-institution projects: 24 months / collaborative projects: 36 months Projects must begin between January 1 and June 1, 2017 Single-institution projects must be completed by May 31, 2019 Collaborative projects must be completed by May 31, 2020 Is this a collaborative project? Yes/No Yes What is the size of the request? NOTE: The minimum acceptable request in this program, for all projects, is $50,000. Single-institution projects can request no more than $250,000. Collaborative projects can request no more than $500,000. Amount Requested $322,092 Provide the proposed project length in whole months, and list the project start and end dates. NOTE: All projects must begin between January 1 and June 1, 2017. The minimum project length, for all projects, is 12 months. Single-institution projects can last up to 24 months and must end by May 31, 2019. Collaborative projects can last up to 36 months and must end by May 31, 2020. Project length (months) 18 Project Start Date 01/01/2017 Project End Date 06/30/2018 NortheastHistoricFilmCarlson 2/29 A note regarding principal investigators: An individual may not be named as a principal investigator (PI) on more than one proposal, and may not serve as PI on two funded projects simultaneously.
    [Show full text]
  • Download the List of History Films and Videos (PDF)
    Video List in Alphabetical Order Department of History # Title of Video Description Producer/Dir Year 532 1984 Who controls the past controls the future Istanb ul Int. 1984 Film 540 12 Years a Slave In 1841, Northup an accomplished, free citizen of New Dolby 2013 York, is kidnapped and sold into slavery. Stripped of his identity and deprived of dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength to survive. Approx. 134 mins., color. 460 4 Months, 3 Weeks and Two college roommates have 24 hours to make the IFC Films 2 Days 235 500 Nations Story of America’s original inhabitants; filmed at actual TIG 2004 locations from jungles of Central American to the Productions Canadian Artic. Color; 372 mins. 166 Abraham Lincoln (2 This intimate portrait of Lincoln, using authentic stills of Simitar 1994 tapes) the time, will help in understanding the complexities of our Entertainment 16th President of the United States. (94 min.) 402 Abe Lincoln in Illinois “Handsome, dignified, human and moving. WB 2009 (DVD) 430 Afghan Star This timely and moving film follows the dramatic stories Zeitgest video 2009 of your young finalists—two men and two very brave women—as they hazard everything to become the nation’s favorite performer. By observing the Afghani people’s relationship to their pop culture. Afghan Star is the perfect window into a country’s tenuous, ongoing struggle for modernity. What Americans consider frivolous entertainment is downright revolutionary in this embattled part of the world. Approx. 88 min. Color with English subtitles 369 Africa 4 DVDs This epic series presents Africa through the eyes of its National 2001 Episode 1 Episode people, conveying the diversity and beauty of the land and Geographic 5 the compelling personal stories of the people who shape Episode 2 Episode its future.
    [Show full text]
  • Hearing Nostalgia in the Twilight Zone
    JPTV 6 (1) pp. 59–80 Intellect Limited 2018 Journal of Popular Television Volume 6 Number 1 © 2018 Intellect Ltd Article. English language. doi: 10.1386/jptv.6.1.59_1 Reba A. Wissner Montclair State University No time like the past: Hearing nostalgia in The Twilight Zone Abstract Keywords One of Rod Serling’s favourite topics of exploration in The Twilight Zone (1959–64) Twilight Zone is nostalgia, which pervaded many of the episodes of the series. Although Serling Rod Serling himself often looked back upon the past wishing to regain it, he did, however, under- nostalgia stand that we often see things looking back that were not there and that the past is CBS often idealized. Like Serling, many ageing characters in The Twilight Zone often sentimentality look back or travel to the past to reclaim what they had lost. While this is a perva- stock music sive theme in the plots, in these episodes the music which accompanies the scores depict the reality of the past, showing that it is not as wonderful as the charac- ter imagined. Often, music from these various situations is reused within the same context, allowing for a stock music collection of music of nostalgia from the series. This article discusses the music of nostalgia in The Twilight Zone and the ways in which the music depicts the reality of the harshness of the past. By feeding into their own longing for the reclamation of the past, the writers and composers of these episodes remind us that what we remember is not always what was there.
    [Show full text]
  • Online Versions of the Handouts Have Color Images & Hot Urls September
    Online versions of the Handouts have color images & hot urls September 6, 2016 (XXXIII:2) http://csac.buffalo.edu/goldenrodhandouts.html Sam Wood, A NIGHT AT THE OPERA (1935, 96 min) DIRECTED BY Sam Wood and Edmund Goulding (uncredited) WRITING BY George S. Kaufman (screenplay), Morrie Ryskind (screenplay), James Kevin McGuinness (from a story by), Buster Keaton (uncredited), Al Boasberg (additional dialogue), Bert Kalmar (draft, uncredited), George Oppenheimer (uncredited), Robert Pirosh (draft, uncredited), Harry Ruby (draft uncredited), George Seaton (draft uncredited) and Carey Wilson (uncredited) PRODUCED BY Irving Thalberg MUSIC Herbert Stothart CINEMATOGRAPHY Merritt B. Gerstad FILM EDITING William LeVanway ART DIRECTION Cedric Gibbons STUNTS Chuck Hamilton WHISTLE DOUBLE Enrico Ricardi CAST Groucho Marx…Otis B. Driftwood Chico Marx…Fiorello Marx Brothers, A Night at the Opera (1935) and A Day at the Harpo Marx…Tomasso Races (1937) that his career picked up again. Looking at the Kitty Carlisle…Rosa finished product, it is hard to reconcile the statement from Allan Jones…Ricardo Groucho Marx who found the director "rigid and humorless". Walter Woolf King…Lassparri Wood was vociferously right-wing in his personal views and this Sig Ruman… Gottlieb would not have sat well with the famous comedian. Wood Margaret Dumont…Mrs. Claypool directed 11 actors in Oscar-nominated performances: Robert Edward Keane…Captain Donat, Greer Garson, Martha Scott, Ginger Rogers, Charles Robert Emmett O'Connor…Henderson Coburn, Gary Cooper, Teresa Wright, Katina Paxinou, Akim Tamiroff, Ingrid Bergman and Flora Robson. Donat, Paxinou and SAM WOOD (b. July 10, 1883 in Philadelphia, Pennsylvania—d. Rogers all won Oscars. Late in his life, he served as the President September 22, 1949, age 66, in Hollywood, Los Angeles, of the Motion Picture Alliance for the Preservation of American California), after a two-year apprenticeship under Cecil B.
    [Show full text]
  • Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
    http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts 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, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections.
    [Show full text]
  • Vision, Desire and Economies of Transgression in the Films of Jess Franco
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 Journeys into Perversion: Vision, Desire and Economies of Transgression in the Films of Jess Franco Glenn Ward Doctor of Philosophy University of Sussex May 2011 2 I hereby declare that this thesis has not been, and will not be, submitted whole or in part to another University for the award of any other degree. Signature:……………………………………… 3 Summary Due to their characteristic themes (such as „perverse‟ desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish „sex and horror‟ specialist Jess Franco. My textual and contextual analysis shows that Franco‟s films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco‟s treatment of „aberrant‟ and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco‟s portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation.
    [Show full text]
  • The Life and Times of Penny Arcade. Matthew Hes Ridan Ames Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 "I Am Contemporary!": The Life and Times of Penny Arcade. Matthew heS ridan Ames Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Ames, Matthew Sheridan, ""I Am Contemporary!": The Life and Times of Penny Arcade." (1996). LSU Historical Dissertations and Theses. 6150. https://digitalcommons.lsu.edu/gradschool_disstheses/6150 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Teachers Guide
    Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation.
    [Show full text]
  • The Ingham County News, Wednesday, February 24, 1965- Page A-2 in Williamston Leslie Briefs It's Marda Gras Time Again the Congregational Church Is and Mrs
    Springport Blnde~y SNOW AND COLD Springport,I Ulch. Heavy snow torlay; co/rlar 'I,~' Thursday; low tonight 5 to 10; high Thursday 10 to 14 .., 'I'• . '. ' . ' ' •.1 • *Winner of 5 mnjor awards in the'l964 Michigan Press as·s:oc'i;atlbn .. newspaper excellence contest Volume No. 106 No. 8 1 3 Sections - 28 Pages Wednesday February 24, 1965 1 10¢ per copy Holt Group Makes Fire Razes Alaiedon Bid for College· Home Damage estimated at approx­ Members of the Holt for the community college, Imately $6,500 was caused by a Citizens' committee were to con­ Kiersey, Delhi Charter township fire that swept through the home The Holt delegation Is offerln~r supervlaor; Kenneth Hope, trus­ fer In Lansing today with mem­ the tract wlthout cost to the col­ of Vernon Aleshire at 1431 Phil­ bers of the board of trustees tee of the Delhi township board; lips road Tuesday shortly after lege, It Is offered by Mr, and Dr. Maurice Pernert, superin­ of the Ingham County Community Mrs. Dan Holloway of Detroit 10 p,m, college, regarding the use of a as a gift, tendent of Holt schools; Mrs, Aleshire, his wife, Patricia, 60 acre tract of land on E, Holt Margaret Smith, Gower Chapman their 4 chlldren and a guest Members of the Holt delega­ and Kenneth Olson, president of road In Delhi township as a site tion at today's meeting were. Joe fled to a neighbors and sounded the Holt Kiwanis club. the alarm, The chlldren were Sheri, age 6; Vernon Jr,, age 4; School Study Committee Susie, age 4 and Randy, age 1, Wins $5 The guest was Mary Jane Hag­ J, Floyd Taylor Is the
    [Show full text]
  • (XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
    October 22, 2019 (XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Mel Brooks WRITING Mel Brooks, Norman Steinberg, Richard Pryor, and Alan Uger contributed to writing the screenplay from a story by Andrew Bergman, who also contributed to the screenplay. PRODUCER Michael Hertzberg MUSIC John Morris CINEMATOGRAPHY Joseph F. Biroc EDITING Danford B. Greene and John C. Howard The film was nominated for three Oscars, including Best Actress in a Supporting Role for Madeline Kahn, Best Film Editing for John C. Howard and Danford B. Greene, and for Best Music, Original Song, for John Morris and Mel Brooks, for the song "Blazing Saddles." In 2006, the National Film Preservation Board, USA, selected it for the National Film Registry. CAST Cleavon Little...Bart Gene Wilder...Jim Slim Pickens...Taggart Harvey Korman...Hedley Lamarr Madeline Kahn...Lili Von Shtupp Mel Brooks...Governor Lepetomane / Indian Chief Burton Gilliam...Lyle Alex Karras...Mongo David Huddleston...Olson Johnson Liam Dunn...Rev. Johnson Shows. With Buck Henry, he wrote the hit television comedy John Hillerman...Howard Johnson series Get Smart, which ran from 1965 to 1970. Brooks became George Furth...Van Johnson one of the most successful film directors of the 1970s, with Jack Starrett...Gabby Johnson (as Claude Ennis Starrett Jr.) many of his films being among the top 10 moneymakers of the Carol Arthur...Harriett Johnson year they were released.
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960S Promotional Featurettes
    The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960s Promotional Featurettes by DANIEL STEINHART Abstract: Before making-of documentaries became a regular part of home-video special features, 1960s promotional featurettes brought the public a behind-the-scenes look at Hollywood’s production process. Based on historical evidence, this article explores the changes in Hollywood promotions when studios broadcasted these featurettes on television to market theatrical films and contracted out promotional campaigns to boutique advertising agencies. The making-of form matured in the 1960s as featurettes helped solidify some enduring conventions about the portrayal of filmmaking. Ultimately, featurettes serve as important paratexts for understanding how Hollywood’s global production work was promoted during a time of industry transition. aking-of documentaries have long made Hollywood’s flm production pro- cess visible to the public. Before becoming a staple of DVD and Blu-ray spe- M cial features, early forms of making-ofs gave audiences a view of the inner workings of Hollywood flmmaking and movie companies. Shortly after its formation, 20th Century-Fox produced in 1936 a flmed studio tour that exhibited the company’s diferent departments on the studio lot, a key feature of Hollywood’s detailed division of labor. Even as studio-tour short subjects became less common because of the restructuring of studio operations after the 1948 antitrust Paramount Case, long-form trailers still conveyed behind-the-scenes information. In a trailer for The Ten Commandments (1956), director Cecil B. DeMille speaks from a library set and discusses the importance of foreign location shooting, recounting how he shot the flm in the actual Egyptian locales where Moses once walked (see Figure 1).
    [Show full text]