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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. -
“Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ................................................................................................................................... -
Morrie Gelman Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/c8959p15 No online items Morrie Gelman papers, ca. 1970s-ca. 1996 Finding aid prepared by Jennie Myers, Sarah Sherman, and Norma Vega with assistance from Julie Graham, 2005-2006; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2016 The Regents of the University of California. All rights reserved. Morrie Gelman papers, ca. PASC 292 1 1970s-ca. 1996 Title: Morrie Gelman papers Collection number: PASC 292 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 80.0 linear ft.(173 boxes and 2 flat boxes ) Date (inclusive): ca. 1970s-ca. 1996 Abstract: Morrie Gelman worked as a reporter and editor for over 40 years for companies including the Brooklyn Eagle, New York Post, Newsday, Broadcasting (now Broadcasting & Cable) magazine, Madison Avenue, Advertising Age, Electronic Media (now TV Week), and Daily Variety. The collection consists of writings, research files, and promotional and publicity material related to Gelman's career. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Creator: Gelman, Morrie Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. -
Garage Sale Mystery: All That Glitters’
‘GARAGE SALE MYSTERY: ALL THAT GLITTERS’ PRODUCTION BIOS JONATHAN AXELROD (Executive Producer) — After graduating from the American Film Institute at 17, Jonathan Axelrod began his entertainment career writing films for Warner Brothers, MGM and Paramount Pictures. He worked on the feature film “A Star is Born” for Barbra Streisand and worked with such directors as the legendary Stanley Donen, Cy Howard, Elaine May and John Frankenheimer. He also wrote “Every Little Crook” and “Nanny” for MGM. From 1977-1983, Axelrod developed and supervised more than 40 telefilms for ABC Television, ® including the Emmy winning “Jericho Mile” and “Friendly Fire.” Axelrod was also responsible for ABC’s highest rated show, “The Dallas Cowboy Cheerleaders.” He was promoted to Vice President of Drama at ABC, steering the direction for “Dynasty” and “The Greatest American Hero,” among many other prime time hits. In 1983, Axelrod segued to Columbia Television, where he was executive vice president of Worldwide Production. There he revitalized the company and put ten shows on the air including “Designing Women,” “Mike Hammer,” “Crazy Like a Fox” and in New York “The Mickey Rooney Show.” He also helped Columbia become a major supplier of telefilms, with such productions as “The Blue and the Grey,” “RFK,” “Sadat” and “LBJ the Early Years.” In 1986, Axelrod then took over as president of New World Pictures for a three-year term. For this start-up company, he oversaw such feature films as “Crimes of Passion” with Kathleen Turner and “Girls Just Want to Have Fun,” as well as the critically acclaimed series “Crime Story” and the miniseries “Sins.” As an independent producer, Axelrod produced the Cable Ace Award winning movie “Against the Wall” for HBO, “The Secret Passion of Robert Clayton” for USA and “The Price She Paid” for CBS, as well as the syndicated series “Hollywood Babylon.” From 1992-2003, Axelrod continued his association with John Frankenheimer where their company was involved with “Wallace” (HBO), “Andersonville” (TNT), “Burning Season” (HBO) and “RFK” (FX). -
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 -
The Future: the Fall and Rise of the British Film Industry in the 1980S
THE FALL AND RISE OF THE BRITISH FILM INDUSTRY IN THE 1980S AN INFORMATION BRIEFING National Library Back to the Future the fall and rise of the British Film Industry in the 1980s an information briefing contents THIS PDF IS FULLY NAVIGABLE BY USING THE “BOOKMARKS” FACILITY IN ADOBE ACROBAT READER SECTION I: REPORT Introduction . .1 Britain in the 1980s . .1 Production . .1 Exhibition . .3 TV and Film . .5 Video . .7 “Video Nasties” & Regulation . .8 LEADING COMPANIES Merchant Ivory . .9 HandMade Films . .11 BFI Production Board . .12 Channel Four . .13 Goldcrest . .14 Palace Pictures . .15 Bibliography . .17 SECTION II: STATISTICS NOTES TO TABLE . .18 TABLE: UK FILM PRODUCTIONS 1980 - 1990 . .19 Written and Researched by: Phil Wickham Erinna Mettler Additional Research by: Elena Marcarini Design/Layout: Ian O’Sullivan © 2005 BFI INFORMATION SERVICES BFI NATIONAL LIBRARY 21 Stephen Street London W1T 1LN ISBN: 1-84457-108-4 Phil Wickham is an Information Officer in the Information Services of the BFI National Library. He writes and lectures extensively on British film and television. Erinna Mettler worked as an Information Officer in the Information Services of the BFI National Library from 1990 – 2004. Ian O’Sullivan is also an Information Officer in the Information Services of the BFI National Library and has designed a number of publications for the BFI. Elena Marcarini has worked as an Information Officer in the Information Services Unit of the BFI National Library. The opinions contained within this Information Briefing are those of the authors and are not expressed on behalf of the British Film Institute. Information Services BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel: + 44 (0) 20 7255 1444 Fax: + 44 (0) 20 7436 0165 Try the BFI website for film and television information 24 hours a day, 52 weeks a year… Film & TV Info – www.bfi.org.uk/filmtvinfo - contains a range of information to help find answers to your queries. -
The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication. -
Villanova 2003 Schedule
VILLANOVAFOOTBALL TABLE OF CONTENTS Media Information . .2 2002 REVIEW Media Outlets . .3 2002 Game-by-Game Recaps . .86-93 2003 Football Facts & Figures . .4 2002 Statistics . .94-96 2003 Wildcat Football Notes . .5 WILDCAT RECORDS Wildcats on Radio & Television . .6 Villanova Record Book . .98-103 Andy Talley Radio Show . .7 Statistical Leaders Since 1946 . .104-105 Retired Jerseys . .8 Superlatives . .106-107 COACHING STAFF Opponents’ Records . .108 Head Coach Andy Talley . .10-12 Villanova Team Records . .109-112 Talley & the Bone Marrow Donor Program . .13 VILLANOVA FOOTBALL HISTORY Assistant Coaches . .14-16 Significant Dates in Wildcat Football History . .114-115 Football Support Staff . .17-18 All-Americans . .116 2003 PREVIEW Walter Payton Award Winners . .117 2003 Season Outlook . .20-22 Honors & Awards . .118-119 Offensive Depth Chart . .20 Wildcats in the Pros . .119 Defensive Depth Chart . .22 Villanova Football Head Coaching Records . .120 Alphabetical Roster . .23 Bowl Game History/NCAA Playoffs . .121-126 Numerical Roster . .24 Villanova Stadium . .127 PLAYER PROFILES Wildcat Records at Various Stadiums, Attendance Records . .128 2003 Player Profiles . .26-49 Year-by-Year Records, Captains & Coaches . .129 Newcomers . .50-53 Game-by-Game History, 1894-2002 . .130-135 2003 State-by-State Roster . .54 Villanova’s All-Time Lettermen, 1894-2002 . .136-142 2003 Villanova All-Star Candidates . .55-57 VILLANOVA TODAY Walk-on Success . .58 Villanova University Today . .144 OPPONENTS City of Philadelphia . .145 2003 Wildcat Football Opponents . .60-70 President, Rev. Edmund J. Dobbin . .146 Villanova’s All-Time Record vs. Opponents . .71-74 Director of Athletics, Vince Nicastro . .147 ATLANTIC 10 Athletics Administration . -
Roger Corman's Counterculture Trilogy
“No Parents, No Church or Authorities in Our Films”: Exploitation Movies, the Youth Audience, and Roger Corman’s Counterculture Trilogy I. From Bikinis to Bikers In early June 1966 James H. Nicholson, president of American International Pictures, the US film industry’s most important “major-minor” studio and its leading producer of low-budget, independent movies for youth audiences, announced a sharp change of direction for his company. The era of saucy-but-wholesome “beach and bikini” pictures that had been AIP’s stock in trade for the past three years—ever since the success of Beach Party had birthed a lucrative cycle of movies built around the vacation frolics of scantily-clad high-school hotties—was over. Henceforth AIP would offer its customers stronger, more challenging fare in the form of what Nicholson called “a series of protest films” (qtd. in “From Sand in Bikini”) designed both to reflect and exploit the turbulent, anti-authoritarian turn taken by American youth culture at mid-decade. 1 The first of what Box Office labelled AIP’s “protest dramas” was The Wild Angels , according to Variety an “almost documentary style” depiction of the transgressive lifestyles of California’s outlaw motorcycle gangs most closely associated with the Hell’s Angels, then enjoying a period of nationwide notoriety thanks to exposés in The Saturday Evening Post , Newsweek , The Nation , and Time and Life magazines. 2 Only a couple of years before, Nicholson had stridently defended his beach-bikini pictures as “the epitome of morality,” deflecting accusations of prurience by insisting that “there are no overtly sexy sequences and no sex talk among the kids”; “the stars of AIP’s beach pictures,” he noted, “are always talking about getting married” (qtd. -
Map Key (In Alphabetical Order with Building Numbers) Alumni Hall
10' 6" bridge Main Entrance Approximately one mile to The Inn at Villanova University Oce of Ithan Avenue 51 52 Conference 65 30 Services/ Summer 64 32 53 29 Conference 31 33 Service 61 Desk 6362 58 Tennis 57 54 Courts 34 37 27 West Campus 19 28 62 36 35 60 Entrance 24 59 22 56 55 26 Riley 25 21 Ellipse Volleyball 18 Higgins Soccer Courts 16 Pike Field Tennis 17 Sheehan AREA UNDER Courts Complex Campus CONSTRUCTION73 Basketball 1 23 Beach Courts Green 20 Grotto Softball Field 15 72 2 71 Spring Mill Austin Field 70 13 Road/ Rte. 320 14 3 69 Entrance 4 Athletics Parking Areas Section 1, Main Campus 68 Basketball 39 A-1 Jake Nevin Field House Lot Section 2, Main Campus 5 67 10' 3" Court 12 A-2 Rear of Pavilion Lot bridge 38 40 Section 3, Main Campus A-3 Stadium and Galberry Area Lot Section 4, Athletics Campus Ithan Avenue Parking Areas 6 I-1 Ithan Garage (Primary Student Section 5, South Campus 45 41 & Visitor Lot – Daily Fee Parking) Section 6, Lancaster Avenue Campus South I-2 South Campus Lot 11 7 Section 7, West Campus Basketball 46 Campus 42 Lancaster Avenue Parking Areas Court 4243 10 Entrance L-1 Technical Services Building Lot O-Campus Facilities 8 47 44 L-2 Admissions Visitor Lot (Permit SEPTA Commuter Rail Stations 9 Volleyball Required – Mon-Fri) Parking Courts L-3 Bridge Lot (Parish Events Information 48 & Daily Fee Parking) L-4 The Commons 49 Main Campus Parking Lots CONFERENCE SERVICES Galberry Hall, 3rd floor (building 37) M-1 HSB Garage 50 610.519.7895 or 610.519.7580 or 610.519.7790 M-2 SAC Garage M-3 Kennedy Hall Lot SUMMER CONFERENCE SERVICE DESK Galberry Hall, 2nd floor (building 37) 610.519.5554 M-4 Dougherty Drive M-5 Facilities/Steam Plant Lot PUBLIC SAFETY Spring Mill Road Parking Lots 610.519.6979 (non-emergency) 610.519.4444 (emergency) S-1 Monastery Lot 66 S-2 Tolentine and CEER Lot Awww.conferenceservices.villanova.edu S-3 Mendel Lot S-4 North Campus Parking Garage Villanova University Conference Services S-5 Law School Surface Lot S-6 Garey Hall Lot Building key and directions on back. -
Qrlglnal COPYRIGHT Arbitrati:ON ROYALTY PANEL (3Oint Satellite Royalty Claim)
QRlGlNAL COPYRIGHT ARBITRATi:ON ROYALTY PANEL (3oint Satellite Royalty Claim) In accordance with section 119 of the Copyright Act, 17 U.S.C., and Part 257 of the Copyright Office regulations, 37 CFR 257.1 et sece, the copyright owner claimant named herein files with the Copyright ONce of the Library of Congress a claim to royalty payments collected from satellite carriers retransmitting copyrighted programming contained on over-the-air television broadcast signals. This joint claim to royalties is for fees collected from satellite carriers during calendar year 2002. In compliance with 37 CFR 257.1 et sece, Fox Entertainment Group, Inc., on its own behalf and on behalf of those listed below, does hereby furnish the following information: 1. The full name, address, telephone number and facsimile number of the party filing the claim: FOX ENTERTAINMENT GROUP, INC. STREET ADDRESS: 10201 West Pico Blvd. Los Angeles, California 90035 MAILING ADDRESS: P.O. Box 900 Beverly Hills, CA 90213 i~i.K. ~~" '.II&j3 (Mail is delivered to both of the above addresses.) OF COP, Air~,T Telephone 4'. (310) 369-1396 Facsimile 4'. (310) 369-4118 E-Mail:LynnWeOFox.corn If further information is required, please contact: NAME: Lynn E. Weisman TITLE: Executive Director, Legal Rights Twentieth Century Fox Film Corporation STREET ADDRESS: 10201 West Pico Blvd. Los Angeles, California 90035 MAILING ADDRESS: P.O. Box 900 Beverly Hills, CA 90213 Telephone 4'. (310) 369-1396 Facsimile 4'. (310) 369-4118 E-Mail:LynnWeOFox.corn 2. All parties in whose names the claims herein are filed have duly authorized the above party to make this joint filing on their behalf. -
Women and Film: Women’S Cinema and Film History Selected Filmography
Women and Film: Women’s Cinema and Film History Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Films mentioned or discussed during the event Be Natural: The Untold Story of Alice Guy-Blaché. Dirs. Pamela B. Green and Jarik Van Sluijs, 2014, U.S.A. Runtime unknown. Production Co.: unknown. Wonder Women! The Untold Story of American Superheroines. Dir. Kristy Guevara-Flanagan, 2012, U.S.A. 79 mins. Production Co.: Vaquera Films. The Lost Garden: The Life and Cinema of Alice Guy-Blaché (Le jardin oublié: La vie et l’oeuvre d’Alice Guy-Blaché). Dir. Marquise Lepage, 1995, Canada, U.K., France, Belgium, and U.S.A. 53 mins. Production Co.: National Film Board of Canada. The Blue Light (Das blaue Licht). Dir. Leni Riefenstahl, 1932, Germany. 85 mins. Production Co.: Leni- Riefenstahl-Produktion. La vie rêvée. Dir. Mireille Dansereau, 1972, Canada. 90 mins. Production Co.: Association Coopérative des Productions Audio-Visuelles. Goddess Remembered. Dir. Donna Reed, 1989, Canada. 55 mins. Production Co.: National Film Board of Canada. The Burning Times. Dir. Donna Reed, 1990, Canada. 57 mins.