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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. -
2020 Punisher Season 1 Checklist
Set Name Card Description Sketch Auto Mem Base Set 1 Unfinished Business Base Set 2 Hey Sleepyhead Base Set 3 Pete Castigilione Base Set 4 Ahmed Zubair Base Set 5 Mind your own Business Base Set 6 The Perfect Crime Base Set 7 Hell Broke Luce Base Set 8 Do what you have to Base Set 9 Its nonsense Base Set 10 Hipster Base Set 11 A Wolf in Sheeps clothing Base Set 12 Two Dead Men Base Set 13 Hammer and Anvil Base Set 14 David Lieberman Base Set 15 The Promotion Base Set 16 Frank Base Set 17 This is a Mistake! Base Set 18 Personal Delivery Base Set 19 Dogs of War Base Set 20 Betrayed Base Set 21 ImUnmarked sorry Grave Base Set 22 Frank Base Set 23 Ambushed Base Set 24 One Condition Base Set 25 Procurement Base Set 26 An Old Friend Base Set 27 A Good Nights Sleep Base Set 28 Insurance Paperwork Base Set 29 Toe the Line Base Set 30 Application Denied Base Set 31 Game of Chicken Base Set 32 Another Work Day Base Set 33 A Home Cooked Meal Base Set 34 Old Cases and a Dead Man Base Set 35 Not Gonna Lie Base Set 36 Where does it end? Base Set 37 Skeletons in the Closet Base Set 38 I Just Want to Talk Base Set 39 Tough Day Base Set 40 Thanksgiving Dinner Base Set 41 A Losing Battle Base Set 42 Memory of a Dead Man Base Set 43 Thank You For Your Service Base Set 44 Chu Lai Airbase Base Set 45 Blackbird Calling Raven Base Set 46 Misery Loves Company Base Set 47 More than Something Base Set 48 The Third Wheel Base Set 49 A Matter of Duty Base Set 50 IED Base Set 51 Early Retirement Base Set 52 Bug Hunt Base Set 53 Safe House Base Set 54 Cross Hairs -
Boxoffice Barometer (March 26, 1962)
“KING OF KINGS” (70mm Super Technirama Technicolor) Jeffrey Hunter, Siobhan McKenna, Hurt Hatfield, Ron Randell, Viveca Lindfors, Rita Gam, Carmen Sevilla, Brigid Bazlen, Harry Guardino, Rip Torn, Frank Thring, Guy Rolfe, with Maurice Marsac, Gregoire Aslan and Robert Ryan as John the Baptist, with thousands of extras. Presenting an epic story of the life and times of Jesus Christ. A Samuel Bronston Production. “THE FOUR HORSEMEN OF THE APOCALYPSE” ( CinemaScope-Color) Glenn Ford, Ingrid Thulin, Charles Boyer, Lee J. Cobb, Paul Henreid, Paul Lukas, Yvette Mimieux, Karl Boehm. Film ver- sion of the famed Vicente Blasco-Ibanez novel. A Julian Blaustein Production. V f “SWEET BIRD OF YOUTH” ( CinemaScope-Metrocolor) Paul Newman, Geraldine Page, Shirley Knight, Ed Begley, Rip Torn, Mildred “THE HORIZONTAL LIEUTENANT” Dunnock, Madeleine ( CinemaScope- Metrocolor) Sherwood. Film version of Jim Hutton, Paula Prentiss, Jack Carter, Jim the Tennessee Williams Backus, Charles McGraw, Myoshi Umeki. Comedy Broadway stage success. of a U.S. military “clean up” operation on a An Avon Production. Pacific island. A Euterpe Production. ' THROUGH IN 62 ! “MUTINY ON THE BOUNTY” ( Ultra Panavision- Metrocolor) Marlon Brando, Trevor Howard, Richard Harris, Hugh Griffith, Richard Hayden and Tarita. Spectacular sea adventure drama, based on trilogy of novels by Charles Nordoff and James Norman Hall. Filmed in the South Seas and on a replica of the great three masted sailing ship, HMS Bounty. An Areola Pictures Production. “A VERY PRIVATE AFFAIR” {Color) Brigitte Bardot and Marcello Mastroianni. Story of a French girl who achieves fame as a screen star. A Progefi- Cipra Production. “ALL FALL DOWN” Lva Marie Saint, Warren Beatty, Karl dalden, Lansbury, ! Angela Brandon deWilde. -
Bc. Vendula Kreplová
MASARYKOVA UNIVERZITA FILOZOFICKÁ FAKULTA ÚSTAV FILMU A AUDIOVIZUÁLNÍ KULTURY BC. VENDULA KREPLOVÁ (FAV, magisterské prezenční studium) Daredevil: Podoba klasického vyprávění v superhrdinském seriálu Netflixu Magisterská diplomová práce Vedoucí práce: Mgr. Radomír D. Kokeš, Ph.D. Brno 2018 Prohlášení o samostatnosti: Prohlašuji, že jsem pracovala samostatně a použila jen uvedených zdrojů. V Brně dne 29. 01. 2018 Podpis: ............................................................... Vendula Kreplová Poděkování: Na tomto místě bych ráda chtěla poděkovat vedoucímu práce, Mgr. Radomíru D. Kokešovi, Ph.D., za pečlivé vedení, nezměrnou trpělivost a cenné připomínky k dané problematice. Rovněž bych chtěla poděkovat své rodině za trpělivost a nemalou duševní podporu poskytnutou během psaní této práce. Obsah 1. Úvod 5 2. Teoreticko-metodologická část 10 2.1 Teoretická východiska výzkumu 10 2.2 Výzkumná praxe 14 3. Struktura první série 17 4. Výstavba hrdiny a antagonisty 19 4.1 Výstavba hrdiny 19 4.1.1 Náboženství 24 4.2 Výstavba antagonisty 26 5. Detektivní linie 33 6. Logika flashbacků 40 7. Propojení s MCU a ostatními seriály 46 8. Binge watching a simultánní vysílání 56 9. Závěr 60 10. Bibliografie 63 10.1.1 Citovaná a konzultovaná 63 literatura 10.1.2 Webové stránky 68 10.2.1 Analyzovaný seriál 68 10.2.2 Citované filmy a seriály 69 10. Summary 73 1. ÚVOD V roce 2015 byla uvedena první série seriálu Daredevil (2015-?), který se nechává inspirovat komiksovými příběhy stejnojmenného superhrdiny, Daredevila/Matta Murdocka. Seriál uvedla stanice Netflix a představila ho jako první z řady několika seriálů pracujících s hrdiny známými z komiksů vydávanými pod značkou nakladatelství Marvel. Po uvedení Daredevila následovaly další superhrdinské hrané seriály: Jessica Jones (2015-?), Luke Cage (2016-?), Iron Fist (2017-?) a konečně týmový seriál Marvel’s Defenders (2017-?), v němž se všichni čtyři výše zmínění hrdinové setkali. -
Revista 24 Cuadros
REVISTA 24 CUADROS TRUE REVISTAEspecial Series Volumen II Escriben: Acevedo / Vallarelli / Fonte / Giuffré / Gil / Cabana / Fili / Mastropaolo / Avila / Mazzini / Hernán Castaño / Mariano Castaño Especial Series - Vol II Revista 24 Cuadros - Año 11 Nº 32 Número 32 / Año 11 INDEX 24CUADROS True Detective - Tapa. Ud está aquí. Plot / Pág 3. En el Barrio se hablaba de tí por F. Vallarelli / Pág 4. True Detective por M. Acevedo y M. Castaño / Pág 5. The Night Of por F. Vallarelli / Pág 16. The Leftovers por A. Fili / Pág 18. The O.A. por Néstor Fonte / Pág 20. Black Mirror por Marcelo Acevedo / Pág 22. Cosmos por A. Fili / Pág 25. Stranger Things por M. Castaño / Pág 30. River por R. Giuffré / Pág 32. Mr. Robot por L. Avila / Pág 34. The Good Wife por A. Cabana / Pág 38. 3% por J.P. Mazzini / Pág 41. Westworld por A. Fili / Pág 44. Ash Vs Evil Dead por M. Acevedo / Pág 47. Bloodline por M y H Castaño / Pág 50. Fargo por F. Vallarelli / Pág 55. Preacher por L.Avila / Pág 58. Narcos por D. Pecchini y H. Castaño / Pág 61. Universo Marvel por M. Acevedo y H. Castaño / Pág 64. Series DC por F. Vallarelli / Pág 75. The Following y Lie To me por M. Gil / Pág 79. House of Cards por M. Castaño / Pág 83. Cuatro Nuevos Animes por E. Mastropaolo/ Pág 87. Staff / Pág 90. Mr. Robot por Yañez/ Pág 91. En las discusiones previas al armado de la revista, surgió la expresión temida por cualquier editor: “tal cosa no puede faltar”. -
Marvel's Daredevil" (Drew Goddard, 2015)
Humboldt-Universität zu Berlin Kultur-, Sozial- und Bildungswissenschaftliche Fakultät Institut für Rehabilitationswissenschaften Abteilung Pädagogik bei Beeinträchtigungen des Sehens Wintersemester 2020/21 Marvel’s Daredevil - In der Wahrnehmung von Personen mit professionellem und fachfremdem Hintergrund Marvel’s Daredevil - In perception of people with professional and non-specialist background Masterarbeit zur Erlangung des akademischen Grades Master of Education (ISG) Dieses Werk ist lizenziert unter einer CC BY 4.0 Creative Commons Namensnennung 4.0 International Lizenz [https://creativecommons.org/licenses/by/4.0/] Vorgelegt durch: Nikola Ueberreiter Berlin, den 30. November 2020 Abstract In der Ausarbeitung wird die Serie „Marvel’s Daredevil“ in der Wahrnehmung von Professionellen und Fachfremden diskutiert. Der Hauptprotagonist der Serie ist ein Superheld, der nach seiner Er- blindung, über überdurchschnittlich gute kämpferische Fähigkeiten, geschärfte Sinne, übermensch- liche Balance und einen Radarsinn verfügt. Weiterhin wird erläutert, inwiefern sich die Inszenierung und Darstellungsweise Daredevils von denen anderer Menschen mit Blindheit in den Medien unter- scheidet. Mit Hilfe von zwei Fokusgruppen, die mit Studentinnen des Faches Sonderpädagogik und Studenten der Fächer Informatik, Maschinenbau und Bauingenieurwesen geführt wurden, wurden die Meinungen und Sichtweisen beider Gruppen erforscht. Die daraus resultierten Ergebnisse und die Diskussion dieser werden vorgestellt. Letztlich werden die Gemeinsamkeiten und Unterschiede der beiden Personenkreise aufgezeigt. I Inhaltsverzeichnis 1 Einleitung ............................................ 1 2 Theoretischer Hintergrund ................................. 3 2.1 Definition Wahrnehmung . 3 2.2 Serie „Marvel’s Daredevil“ . 5 2.2.1 Entstehung . 5 2.2.2 Zusammenfassung ................................. 7 2.2.3 Kritik . 9 2.3 Superheldenkonzept . 12 2.3.1 DefinitionSuperheldIn. 12 2.3.2 VonComiczuFilmundSerie. 13 2.3.3 BlindeSuperheldInneninFilmundSerie . 15 2.4 StigmatisierungundIdentitätsfindung . -
Rock and Roll Hall of Shame II Packet 1 CWRU Trivia Team 2016
Rock and Roll Hall of Shame II Packet 1 CWRU Trivia Team 2016-17 1. The study of the modern usage and nature of this thing was pioneered by William Rathje at the University of Arizona in the 1980s, which originated in the unwelcome examination of a type of this thing associated with Bob Dylan. That field of study is linked to archaeology through the study of one form of this thing known as a midden, which can be found worldwide and can provide information on the habits and (*) diets of past societies, though it can also refer to piles of this thing associated with some species of bird or octopus. A large volume of this thing has accumulated in the North Pacific Gyre, and the term “freeganism” refers to the practice of reclaiming what is edible from this material. For 10 points, identify this substance which accumulates in landfills. ANSWER: trash [or garbage, or rubbish, or refuse, or municipal solid waste, antiprompt on food waste] Bonus: Answer some questions about a certain genre of television shows, for 10 points each: [10] This type of talk show is known for its emphasis on controversial and sensational subject matters, such as the show Geraldo, which in 1988 featured Ku Klux Klan and Neo-Nazi members, anti-racist skinheads, and Jewish activists leading to an on-camera brawl. This genre also lends its name to a pejorative term for popular culture in the quizbowl community. ANSWER: Trash TV [or tabloid talk show] [10] This host is the producer of the highest-ranked talk show in American television history. -
Daredevil: Legal (And Moral?) Vigilante
Daredevil: Legal (and Moral?) Vigilante Stephen E. Henderson* Foggy Nelson: :KDWDUH\RXGRLQJ0DWW"<RX¶UHDODZ\HU<RX¶UH supposed to be helping people. Matt Murdock: I am. Foggy Nelson: In a mask! Do you know what they call that? A vigilante. Someone who acts outside of the law.1 * * * Foggy Nelson: 7KLVWULDOLVQ¶WDERXWYLJLODQWHV,W¶VDERXWWKHIDLOXUH of the criminal justice system.2 In 1964, the comic world was introduced to its first physically disabled practicing attorney: Matt Murdock. Initially a proud graduate of “State College” and later more impressively pedigreed as a graduate of either Columbia or Harvard Law, Murdock supplemented his day job as attorney with a side of vigilante justice as Daredevil. In 2003, Murdock became the only attorney superhero to appear as the title character in a movie. A truly awful movie, yes, but a movie all the same. And then in 2015, thanks to the talents of Drew Goddard, Murdock became the star of a terrific television series. But while it makes for good comics and television, does it make for good law? Good policy? Is there such a thing as moral vigilantism, and, if so, is Matt Murdock a moral vigilante? What of his foil, the Punisher, or the police officer who comes around to assisting Daredevil’s endeavors? I propose preliminary answers to these questions, including considering vigilantism as theorized by Paul and Sarah Robinson, Les Johnston, and Travis Dumsday. Their metrics are helpful and illuminating, but not, I think, a fully satisfying articulation of what constitutes moral vigilantism. And if we cannot adequately discern moral vigilantism in fictional characters, we will fare no better in the real world. -
Columbia Pictures: Portrait of a Studio
University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. -
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera NMAH.AC.1211 Franklin A. Robinson, Jr. 2019 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Stage Musicals and Vaudeville, 1866-2007, undated............................... 4 Series 2: Motion Pictures, 1912-2007, undated................................................... 327 Series 3: Television, 1933-2003, undated............................................................ 783 Series 4: Big Bands and Radio, 1925-1998, -
Universidade Estadual Paulista “Júlio De Mesquita Filho” Faculdade De Arquitetura, Artes E Comunicação Programa De Pós-Graduação Em Mídia E Tecnologia
UNIVERSIDADE ESTADUAL PAULISTA “JÚLIO DE MESQUITA FILHO” FACULDADE DE ARQUITETURA, ARTES E COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM MÍDIA E TECNOLOGIA LAÍS MARIA FERMINO DE SOUZA EXPANSÃO DA MARCA POR MEIO DO CROSSOVER: Estudo de Caso das séries Marvel produzidas para a plataforma Netflix BAURU 2018 LAÍS MARIA FERMINO DE SOUZA EXPANSÃO DA MARCA POR MEIO DO CROSSOVER: Estudo de Caso das séries Marvel produzidas para a plataforma Netflix Dssertação de Mestrado apresentada ao Programa de Pós-Graduação em Mídia e Tecnologia, da Universidade Estadual Paulista “Júlio de Mesquita Filho”, para obtenção do título de Mestra em Mídia e Tecnologia, sob a orientação do Profª. Drª. Letícia Passos Affini. BAURU 2018 Souza, Laís Maria Fermino. Expansão da marca por meio do crossover: Estudo de Caso das séries Marvel para a plataforma Netflix / Laís Maria Fermino de Souza, 2018 129 f. Orientadora: Letícia Passos Affini Dissertação (Mestrado)– Universidade Estadual Paulista. Faculdade de Arquitetura, Artes e Comunicação, Bauru, 2018 Linguagem Audiovisual. 2. Crossover. 3. Marca. 4. Marvel. 5. Netflix. I. Universidade Estadual Paulista. Faculdade de Arquitetura, Artes e Comunicação. II. Título. AGRADECIMENTOS Agredeço veementemente a todos que acompanharam essa longa jornada de estudos, conhecimento, dificuldades e amadurecimento. A minha família, orientadora, amigos, colegas de trabalho, parceiros e entes queridos que de alguma forma me estimularam a persistir. Obrigada Unesp, docentes, discentes, funcionários e todos aqueles que estão envolvidos com a faculdade e o Programa de Mestrado e a banca da defesa. SOUZA, L.M. F. Expansão da marca por meio do crossover: Estudo de Caso das séries Marvel produzidas para a plataforma Netflix, 2018, 129 f. -
Second Candidate Steps up in Nahant
SATURDAY, FEBRUARY 23, 2019 Second candidate steps up in Nahant Trades By Bridget Turcotte turbo machinery, said the budget, The Board of Selectmen called for ITEM STAFF Northeastern University’s proposal the vote to be rescinded, citing the tested to expand the Marine Science Cen- heat and lack of space in Town Hall NAHANT — Board of Selectmen ter, and the newly voted Wetlands at the rst meeting that lasted more candidate Josh Antrim is trying to Protection bylaw are among the big- than 3 ½ hours and left not a sin- engineer a plan to help his town at Lynn ourish. gest issues facing the town. gle chair — or squEare inch of oor “There’s a lot of different opinions “We passed a Wetlands Protec- space — unoccupied. in town,” said Antrim. “We have to tion bylaw a few months back and A yes or no ballot was handed Tech respect that someone might have a it was a well-intended effort to put out, as voted by the body, and 285 different opinion than our own. That some protections in place. However, returned the slip in favor while 278 the way the election happened and were opposed to an amendment to By Bella diGrazia doesn’t make them a bad person.” ITEM STAFF Instead, he said residents should the closeness of the vote created a the town’s bylaws to change the per- channel that same energy and focus lot of animosity,” said Antrim, who mitting process for projects within LYNN — Trade educa- on what they agree on: making Nah- supports putting a question before the town’s wetlands.