Legislative Auditor Finds Fault with UMC Sale
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
The Inventory of the Richard Roud Collection #1117
The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
Columbia Filmcolumbia Is Grateful to the Following Sponsors for Their Generous Support
O C T O B E R 1 8 – 2 7 , 2 0 1 9 20 TH ANNIVERSARY FILM COLUMBIA FILMCOLUMBIA IS GRATEFUL TO THE FOLLOWING SPONSORS FOR THEIR GENEROUS SUPPORT BENEFACTOR EXECUTIVE PRODUCERS 20 TH PRODUCERS FILM COLUMBIA FESTIVAL SPONSORS MEDIA PARTNERS OCTOBER 18–27, 2019 | CHATHAM, NEW YORK Programs of the Crandell Theatre are made possible by the New York State Council on the Arts with the support of Gov. Andrew Cuomo and the New York filmcolumbia.org State Legislature. 5 VENUES AND SCHEDULE 9 CRANDELL THEATRE VENUES AND SCHEDULE 11 20th FILMCOLUMBIA CRANDELL THEATRE 48 Main Street, Chatham 13 THE FILMS á Friday, October 18 56 PERSONNEL 1:00pm ADAM (page 15) 56 DONORS 4:00pm THE ICE STORM (page 15) á Saturday, October 19 74 ORDER TICKETS 12:00 noon DRIVEWAYS (page 16) 2:30pm CROUCHING TIGER, HIDDEN DRAGON (page 17) á Sunday, October 20 11:00am QUEEN OF HEARTS: AUDREY FLACK (page 18) 1:00pm GIVE ME LIBERTY (page 18 3:30pm THE VAST OF NIGHT (page 19) 5:30pm ZOMBI CHILD (page 19) 7:30pm FRANKIE + DESIGN IN MIND: ON LOCATION WITH JAMES IVORY (short) (page 20) á Monday, October 21 11:30am THE TROUBLE WITH YOU (page 21) 1:30pm SYNONYMS (page 21) 4:00pm VARDA BY AGNÈS (page 22) 6:30pm SORRY WE MISSED YOU (page 22) 8:30pm PARASITE (page 23) á Tuesday, October 22 12:00 noon ICE ON FIRE (page 24) 2:00pm SOUTH MOUNTAIN (page 24) 4:00pm CUNNINGHAM (page 25) 6:00pm THE CHAMBERMAID (page 26) 8:15pm THE SONG OF NAMES (page 27) á Wednesday, October 23 11:30am SEW THE WINTER TO MY SKIN (page 28) 2:00pm MICKEY AND THE BEAR (page 28) 3:45pm CLEMENCY (page 29) 6:00pm -
Index to Volume 26 January to December 2016 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background -
Semester at Sea Course Syllabus
SEMESTER AT SEA COURSE SYLLABUS Voyage: Summer 2013 Discipline: Media Studies MDST 2502: Mediterranean Cinemas after 1945 Division: Lower division Faculty Name: Ernesto R. Acevedo-Muñoz, Ph.D. COURSE DESCRIPTION: This course presents students with a history and overview of the major European film movements, the most influential films and directors, and the relationship between European cinemas, history, and culture from 1945 to the 2000s. Focusing largely –though not exclusively- on the principal film industries of France, Italy, Spain, Greece, Turkey and Northern Africa, the course draws direct comparisons and relationships between the practices of cinema, and developments in history and society. COURSE OBJECTIVES: Students will explore the styles and significance of such influential movements as Italian Neorealism (1944-1952), the French the New Wave (1958-1964), the “Golden Age” of Greek cinema (1950s-1960s) and Spanish cinema before and after democratization. The course will consider specific relationships of national cinemas in general, and exemplary films in particular, to representations of landscape, the city, and key historical junctures. Rome, Open City (Roberto Rossellini, Italy 1945). REQUIRED TEXTBOOK: Elizabeth Ezra (ed.) European Cinema. Oxford U. Press, 2004. Other reading materials will be available electronically. Our most important texts, of course, are the movies assigned for each class meeting. Course Schedule C1- June 19: Introductions and rules of the game. Opening lecture/discussion: “Understanding cultures through film.” Reading: Ezra, Introduction: “A brief history of cinema in Europe.” C2- June 20: The Hollywood Standard. Casablanca and Classical Cinema. Film: Casablanca (Michael Curtiz, US 1942). C3- June 21: War as a starting point. Film: Rome, Open City (Roberto Rossellini, Italy 1945). -
The Missing Reform: Strengthening Rule of Law in Mexico
The Missing Reform: Strengthening the Rule of Law in Mexico EDITED BY VIRIDIANA RÍOS AND DUNCAN WOOD The Missing Reform: Strengthening the Rule of Law in Mexico EDITED BY VIRIDIANA RÍOS AND DUNCAN WOOD Producing a book like this is always a team effort and, in addition to the individual chapter authors, we would especially like to thank the Mexico Institute and Wilson Center team who gave so many hours to edit, design, and produce this book. In particular, we would like to mention Angela Robertson, Kathy Butterfield, and Lucy Conger for their dedication as well as their professional skill. Woodrow Wilson International Center for Scholars. One Woodrow Wilson Plaza 1300 Pennsylvania Avenue NW, Washington, DC 20004-3027 www.wilsoncenter.org Woodrow Wilson International Center for Scholars ISBN 978-1-938027-76-5 Table of Contents ACKNOWLEDGEMENTS INTRODUCTION / 1 SECTION 1 / 18 Corruption / 18 The Justice System / 44 Democracy and Rule of Law / 78 Business Community / 102 Public Opinion / 124 Media and the Press / 152 SECTION 2 / 182 Education / 182 Transparency / 188 Competition / 196 Crime Prevention / 202 Civil Society / 208 Congress and Political Parties / 214 Energy / 224 Land Tenure / 232 Anticorruption Legislation / 240 Police Forces / 246 Acknowledgements This book collects the intelligence, commitment, and support of many. It comprises the research, ideas and hopes of one of the most talented pools of Mexican professionals who day-to-day, in different spheres, work to strengthen rule of law in their own country. Collaborating with them has been among the highest honors of my career. I cannot thank them enough for believing in this project. -
CC-Film-List
CC’s (incomplete, constantly evolving) list of “must-see” filmmakers and their films Buster Keaton: The General; Sherlock, Jr.; Steamboat Bill, Jr.; The High Sign; Our Hospitality Lucretia Martel: The Swamp; The Holy Girl; The Headless Woman Hirokazu Kore-Eda: Maborosi; Afterlife; Nobody Knows; Still Walking Terence Davies: Distant Voices, Still Lives; The Long Day Closes, The House of Mirth, The Deep Blue Sea Charles Burnett: Killer of Sheep; To Sleep with Anger Agnes Varda: Cleo From Five to Seven, The Vagabond; The Beaches of Agnes; The Gleaners & I Douglas Sirk: Written on the Wind; All That Heaven Allows; The Tarnished Angels Todd Haynes: Safe; Superstar: The Karen Carpenter Story; Far From Heaven John Ford: Stagecoach: My Darling Clementine; The Searchers Vittorio de Sica: Bicycle Thieves; Shoeshine; Umberto D; Roberto Rossellini: Rome, Open City; Paisan; Journey to Italy Luis Buñuel: Un Chien Andalou (with Salvador Dali); Los Olvidados; Illusion Travels by Streetcar: That Obscure Object of Desire; Viridiana; Belle du Jour; The Exterminating Angel Kelly Reichardt: Old Joy; Wendy & Lucy; Meek’s Cut-off; Night Moves John Greyson: Zero Patience; Lillies Sally Potter: Orlando; Yes; Ginger and Rosa Theo Angelopoulos: The Suspended Step of the Stork; Landscape in the Midst Ousmane Sembene: Moolaadé; Faat Kiné; Guelwaar Orson Welles: Citizen Kane; The Magnificent Ambersons; Touch of Evil; The Lady from Shanghai; Chimes at Midnight Zhangke Jia: The World; Still Life; Platform Ken Loach: Riff-Raff; Kes; The Navigators, Raining Stones; My -
Twelve Masters: Film As Art Jak Şalom & (Guest Lecturer: Hakkı Başgüney) 2017-2018/2 Week 1 – 2018-02-06 Introduction Week 2 – 2018-02-13 Sergei M
Twelve Masters: Film as art Jak Şalom & (Guest lecturer: Hakkı Başgüney) 2017-2018/2 Week 1 – 2018-02-06 Introduction Week 2 – 2018-02-13 Sergei M. Eisenstein Week 3 – 2018-02-20 John Ford Week 4 – 2018-02-27 Akira Kurosawa Week 5 – 2018-03-06 Satyajit Ray Week 6 – 2018-03-13 Luchino Visconti Week 7 – 2018-03-20 Ken Loach Week 8 – 2018-03-27 Luis Buñuel Week 9 – 2018-04-03 Jean-Luc Godard Week 10 – 2018-04-10 Rainer Werner Fassbinder Week 11 – 2018-04-24 Theo Angelopoulos Week 12 – 2018-05-01 Ingmar Bergman Week 13 – 2018-05-08 Nuri Bilge Ceylan 1 Twelve masters: Film as art Week 1 Introduction Course description: In this course, we aim to recover twelve master directors from twelve different countries and cultures. These directors are significant in the history of cinema because of the themes they developed in their movies as well as the novelties they brought to the form. Angelopulos, Eisenstein, Bergman, Bunuel, Ceylan, Fassbinder, Ford, Godard, Kurosawa, Loach, Ray and Visconti: all of them produced masterpieces of the film history and their production may be defined as turning points in the evolution of cinema as an artistic realm. We think that their works can be analyzed and identified from many perspectives as they are most relevant to define the main purposes of film as art. Native place-making and universal, developed and underdeveloped, East and West, conventional and avant-garde, national and international, all of these dualities profoundly elaborated in human and social sciences will also be important for us to think about and discuss leading work of arts of these authors. -
Portland Community College Dual-Credit Program Proposal For
Allison deFreese_ENG 195: Film as Art_Spring 2014 Portland Community College Dual-Credit Program Proposal for ENG 195: Film as Art Minority Perspectives in Film Course Number : ENG 195 Course Title : Film as Art College Credit Hours : 4 High School Course Title : Film as Art Lecture Hours : 40+ Date : PCC Spring 2013 Term/ RAHS-POIC Quarters Three and Four Meeting Place : Rosemary Anderson High School Library/Portland OIC Meeting Place : Rosemary Anderson High School /Portland OIC, Room TBD 717 North Killingsworth Ct. Portland, OR 97217 Time : Monday-Friday, 5th Period Instructor : Allison A. deFreese, M.A., M.F.A. Ph. 503-797-7222, etc. 302 Email: [email protected] or [email protected] Office Hours : Tuesday, Wednesday and Thursday 10:00-10:30AM (Room 22) or by appointment 6th Period and afterschool. Required Texts : Screenplays for Casablanca (multiple writers) and Spike Lee’s Do the Right Thing ; excerpts from Sherman Alexie’s The Lone Ranger and Tonto Fistfight in Heaven ; excerpts from Robert Coover’s A Night at the Movies, or, You Must Remember This ; Henry David Thoreau’s “Civil Disobedience;” movie reviews; scholarly articles on film; essays by film students; film blogs and director interviews (online sources and class handouts) Recommended Texts: A collegiate dictionary and thesaurus Required Materials : A three-ring binder with lined paper, flash drive, pocket folder, pens and highlighters 1 Allison deFreese_ENG 195: Film as Art_Spring 2014 Course Content and Outcomes As per Portland Community College’s Course Content and Outcome Guidelines for ENG 195, Film as Art, students will: • Enhance their understanding of film through analysis of film history and form; • Develop visual literacy and analysis skills (course offers a range of tools to study any film); • Analyze ways in which a film may both contribute and react to its time and culture; • Analyze film through studying the techniques by which it was made; and substantiate observations with examples taken from film tradition and from the film itself. -
300 Greatest Films 4 Black Copy
The goal in this compilation was to determine film history's definitive creme de la creme. The titles considered to be the greatest of the great from around the world and throughout the history of film. So, after an in-depth analysis of respected critics and publications from around the globe, cross-referenced and tweaked to arrive at the ranking of films representing, we believe, the greatest cinema can offer. Browse, contemplate, and enjoy. Check off all the films you have seen 1 Citizen Kane 1941 USA 26 The 400 Blows 1959 France 51 Au Hasard Balthazar 1966 France 76 L.A. Confidential 1997 USA 2 Vertigo 1958 USA 27 Satantango 1994 Hungary 52 Andrei Rublev 1966 USSR 77 Modern Times 1936 USA 3 2001: A Space Odyssey 1968 UK 28 Raging Bull 1980 USA 53 All About Eve 1950 USA 78 Mr Hulot's Holiday 1952 France 4 The Rules of the Game 1939 France 29 L'Atalante 1934 France 54 Sunset Boulevard 1950 USA 79 Wings of Desire 1978 France 5 Seven Samurai 1954 Japan 30 Annie Hall 1977 USA 55 The Turin Horse 2011 Hungary 80 Ikiru 1952 Japan 6 The Godfather 1972 USA 31 Persona 1966 Sweden 56 Jules and Jim 1962 France 81 The Apartment 1960 USA 7 Apocalypse Now 1979 USA 32 Man With a Movie Camera 1929 USSR 57 Double Indemnity 1944 USA 82 Discreet Charm of the Bourgeoisie 1972 France 8 Tokyo Story 1953 Japan 33 E.T. the Extra-Terrestrial 1982 USA 58 Contempt (Le Mepris) 1963 France 83 The Seventh Seal 1957 Sweden 9 Taxi Driver 1976 USA 34 Star Wars Episode IV 1977 USA 59 Belle De Jour 1967 France 84 Wild Strawberries 1957 Sweden 10 Casablanca 1942 USA 35 -
Movies and Mental Illness Using Films to Understand Psychopathology 3Rd Revised and Expanded Edition 2010, Xii + 340 Pages ISBN: 978-0-88937-371-6, US $49.00
New Resources for Clinicians Visit www.hogrefe.com for • Free sample chapters • Full tables of contents • Secure online ordering • Examination copies for teachers • Many other titles available Danny Wedding, Mary Ann Boyd, Ryan M. Niemiec NEW EDITION! Movies and Mental Illness Using Films to Understand Psychopathology 3rd revised and expanded edition 2010, xii + 340 pages ISBN: 978-0-88937-371-6, US $49.00 The popular and critically acclaimed teaching tool - movies as an aid to learning about mental illness - has just got even better! Now with even more practical features and expanded contents: full film index, “Authors’ Picks”, sample syllabus, more international films. Films are a powerful medium for teaching students of psychology, social work, medicine, nursing, counseling, and even literature or media studies about mental illness and psychopathology. Movies and Mental Illness, now available in an updated edition, has established a great reputation as an enjoyable and highly memorable supplementary teaching tool for abnormal psychology classes. Written by experienced clinicians and teachers, who are themselves movie aficionados, this book is superb not just for psychology or media studies classes, but also for anyone interested in the portrayal of mental health issues in movies. The core clinical chapters each use a fabricated case history and Mini-Mental State Examination along with synopses and scenes from one or two specific, often well-known “A classic resource and an authoritative guide… Like the very movies it films to explain, teach, and encourage discussion recommends, [this book] is a powerful medium for teaching students, about the most important disorders encountered in engaging patients, and educating the public. -
Sight & Sound Annual Index 2017
THE INTERNATIONAL FILM MAGAZINE Index to Volume 27 January to December 2017 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 6:52(r) Amour (2012) 5:17; 6:17 Armano Iannucci Shows, The 11:42 Ask the Dust 2:5 Bakewell, Sarah 9:32 Film review titles are also interview with Koreeda Amours de minuit, Les 9:14 Armisen, Fred 8:38 Asmara, Abigail 11:22 Balaban, Bob 5:54 included and are indicated by Hirokazu 7:8-9 Ampolsk, Alan G. 6:40 Armstrong, Jesse 11:41 Asquith, Anthony 2:9; 5:41, Balasz, Béla 8:40 (r) after the reference; age and cinema Amy 11:38 Army 2:24 46; 10:10, 18, 44 Balch, Antony 2:10 (b) after reference indicates Hotel Salvation 9:8-9, 66(r) An Seohyun 7:32 Army of Shadows, The Assange, Julian Balcon, Michael 2:10; 5:42 a book review Age of Innocence, The (1993) 2:18 Anchors Aweigh 1:25 key sequence showing Risk 8:50-1, 56(r) Balfour, Betty use of abstraction 2:34 Anderson, Adisa 6:42 Melville’s iconicism 9:32, 38 Assassin, The (1961) 3:58 survey of her career A Age of Shadows, The 4:72(r) Anderson, Gillian 3:15 Arnold, Andrea 1:42; 6:8; Assassin, The (2015) 1:44 and films 11:21 Abacus Small Enough to Jail 8:60(r) Agony of Love (1966) 11:19 Anderson, Joseph 11:46 7:51; 9:9; 11:11 Assassination (1964) 2:18 Balin, Mireille 4:52 Abandon Normal Devices Agosto (2014) 5:59 Anderson, Judith 3:35 Arnold, David 1:8 Assassination of the Duke Ball, Wes 3:19 Festival 2017, Castleton 9:7 Ahlberg, Marc 11:19 Anderson, Paul Thomas Aronofsky, Darren 4:57 of Guise, The 7:95 Ballad of Narayama, The Abdi, Barkhad 12:24 Ahmed, Riz 1:53 1:11; 2:30; 4:15 mother! 11:5, 14, 76(r) Assassination of Trotsky, The 1:39 (1958) 11:47 Abel, Tom 12:9 Ahwesh, Peggy 12:19 Anderson, Paul W.S.