Papers of Lucy Kroll [Finding Aid]. Library of Congress
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Horton Foote
38th Season • 373rd Production MAINSTAGE / MARCH 29 THROUGH MAY 5, 2002 David Emmes Martin Benson Producing Artistic Director Artistic Director presents the World Premiere of by HORTON FOOTE Scenic Design Costume Design Lighting Design Composer MICHAEL DEVINE MAGGIE MORGAN TOM RUZIKA DENNIS MCCARTHY Dramaturgs Production Manager Stage Manager JENNIFER KIGER/LINDA S. BAITY TOM ABERGER *RANDALL K. LUM Directed by MARTIN BENSON Honorary Producers JEAN AND TIM WEISS, AT&T: ONSTAGE ADMINISTERED BY THEATRE COMMUNICATIONS GROUP PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Constance ................................................................................................... *Annie LaRussa Laverne .................................................................................................... *Jennifer Parsons Mae ............................................................................................................ *Barbara Roberts Frankie ...................................................................................................... *Juliana Donald Fred ............................................................................................................... *Joel Anderson Georgia Dale ............................................................................................ *Linda Gehringer S.P. ............................................................................................................... *Hal Landon Jr. Mrs. Willis ....................................................................................................... -
Carl Sandburg
The International Journal of Reminiscence and Life Review © 2016 The Author 2016, Volume 3, Issue 1, pp. 61-63 http://143.95.253.101/~radfordojs/index.php/IJRLR Shared Reminiscence Carl Sandburg David Cooley Hendersonville, North Carolina In 1945, Carl Sandburg and his wife, Lillian, moved to the Hendersonville area from a small farm on the shores of Lake Michigan. A lot of people in the area wondered why this famous man had chosen our little community as his new home. He had paid what was thought to be an astounding price of $45,000 for 248 acres of land that included a three-story main house, a barn complex and several outbuildings. Mr. Sandburg reportedly said he felt he'd bought an entire “village,” and Mrs. Sandburg, a breeder of champion milk goats told friends that they had bought “a million acres of sky.” The estate was once owned by C. G. Memminger, the first secretary of the Confederacy. I wonder if Mr. Sandburg, the greatest Lincoln authority knew this or, if he did, found it somewhat ironic. I collected his garbage I was required to read some of his writings in high school, but the first time I came face to face with Carl Sandburg was an early morning at his home in Flat Rock. I had, along with John Shepherd, an older friend, established the first rural garbage collection service in Hendersonville. I was a junior in high school. Sandburg was a customer. “Come on in,” he said, as I went to his kitchen door to pick up his garbage. -
Carl Sandberg Tape Recordings
FOX YOUR — Box 1517, AGENCY ASSOCIATION Silver Spring BUSINESS Maryland 20902 CHURCH COMMITTEE HOME RECORDING (Trade-Mark) SERVICES ORGANIZATION PROFESSION LEO ORSO SCHOOL P. O. BOX 1745 STUDIO RADIO - TV WASHINOTON 13, D. C. PRESIDENT MUSIC-SPEECH UNION This folder contains a complete carbon copy of index of tape re- cordings in the Carl Sandburg col- lection of tape recordings owned by Leo Orso as of March 30,1966. -1- CARL SANDBURG TAPE RECORDINGS - March 29, 1966 1. Two tapes. Double track. Special program for Mr, Sandburg's 75th Birthday Alan Jenkins and speech by Mr. Sandburg. Two 1200 foot mylar tapes, each two tracks, Also on Tape # 2 is an address to Illinois State Histor-ical Society by Mr, Sandburg. Copied from phonograph records. Noisy. Also Radio Station WLS Brithday program Mr. Sandburg. Catcher 1949 & 1953 2. October 15, 1950. Three - 1200 foot acetate tapes, (Scotch) Full track. 71/2 ips. Excellent quality, Approx. one and one-half hours, Recorded at Harvard University, Excellent quality, 3. December 13,1954. Acetate tape. Pull track. One reel 1200 foot, Producer's Showcase, Famous names on this tape including Eisenhower, Perry Como. Marian Anderson, and Mr. Sandburg, Tribute to overseas war correspondents and particularly those who died in action. Also Henry Ford, and narrated by Charles Daly, Very good. Reverent, 4. March 8, 1955. One 1200 foot acetate(600 foot only), Full track, Dedication of Overseas Press Club in New York. Taken from above No.3, but with new narrator. Apparently played at the dinner meeting and recorded, 5. June 1957. Carl Sandburg and taps of Arlene Francis. -
The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
Doris Kearns Goodwin
Connecting You with the World's Greatest Minds Doris Kearns Goodwin Doris Kearns Goodwin is a world-renowned presidential historian and Pulitzer Prize-winning author. Goodwin is the author of six critically acclaimed and New York Times best-selling books, including her most recent, The Bully Pulpit: Theodore Roosevelt, William Howard Taft, and the Golden Age of Journalism (November, 2013). Winner of the Carnegie Medal, The Bully Pulpit is a dynamic history of the first decade of the Progressive era, that tumultuous time when the nation was coming unseamed and reform was in the air. Steven Spielberg’s DreamWorks Studios has acquired the film and television rights to the book. Spielberg and Goodwin previously worked together on Lincoln, based in part on Goodwin’s award-winning Team of Rivals: The Political Genius of Abraham Lincoln, an epic tome that illuminates Lincoln's political genius, as the one-term congressman and prairie lawyer rises from obscurity to prevail over three gifted rivals of national reputation to become president. Team of Rivals was awarded the prestigious Lincoln Prize, the inaugural Book Prize for American History, and Goodwin in 2016 was the first historian to receive the Lincoln Leadership Prize from the Abraham Lincoln Presidential Library Foundation. The film Lincoln grossed $275 million at the box office and earned 12 Academy Award® nominations, including an Academy Award for actor Daniel Day-Lewis for his portrayal of President Abraham Lincoln. Goodwin was awarded the Pulitzer Prize in history for No Ordinary Time: Franklin and Eleanor Roosevelt: The Home Front in World War II, and is the author of the best sellers Wait Till Next Year, Lyndon Johnson and the American Dream and The Fitzgeralds and the Kennedys, which was adapted into an award-winning five-part TV miniseries. -
Understanding Screenwriting'
Course Materials for 'Understanding Screenwriting' FA/FILM 4501 12.0 Fall and Winter Terms 2002-2003 Evan Wm. Cameron Professor Emeritus Senior Scholar in Screenwriting Graduate Programmes, Film & Video and Philosophy York University [Overview, Outline, Readings and Guidelines (for students) with the Schedule of Lectures and Screenings (for private use of EWC) for an extraordinary double-weighted full- year course for advanced students of screenwriting, meeting for six hours weekly with each term of work constituting a full six-credit course, that the author was permitted to teach with the Graduate Programme of the Department of Film and Video, York University during the academic years 2001-2002 and 2002-2003 – the most enlightening experience with respect to designing movies that he was ever permitted to share with students.] Overview for Graduate Students [Preliminary Announcement of Course] Understanding Screenwriting FA/FILM 4501 12.0 Fall and Winter Terms 2002-2003 FA/FILM 4501 A 6.0 & FA/FILM 4501 B 6.0 Understanding Screenwriting: the Studio and Post-Studio Eras Fall/Winter, 2002-2003 Tuesdays & Thursdays, Room 108 9:30 a.m. – 1:30 p.m. Evan William Cameron We shall retrace within these courses the historical 'devolution' of screenwriting, as Robert Towne described it, providing advanced students of writing with the uncommon opportunity to deepen their understanding of the prior achievement of other writers, and to ponder without illusion the nature of the extraordinary task that lies before them should they decide to devote a part of their life to pursuing it. During the fall term we shall examine how a dozen or so writers wrote within the studio system before it collapsed in the late 1950s, including a sustained look at the work of Preston Sturges. -
Carl Sandburg High School Orland Park, Illinoin Class
CARL SANDBURG HIGH SCHOOL ORLAND PARK, ILLINOIN CLASS OF 1965 CARL SANDBURG HIGH SCHOOL, ORLAND PARK, IL CLASS OF 1965 50TH REUNION JULY 17 & 18, 2015 Row 6 George Walker, Dave Chandler, Bob Nienhouse, Dick Weber, Charlie Becker, Don Bettenhausen, Jim Leatzow, Fred Meier, Carl Bormet, John Smilde, Roy Butera, Tom DiGenova, Bruce Hyink Row 5 Phil Aliano, Jeff Bodwin, Tom Bellik, Gerri (Larkin) Riley, Jan (Chivers) Ruehle, Bill Teigler, Bob Baker, Phil Blowney, Larry Cobden, Gary Schneider, Doug Connell, Cindy (Cooper) Thomson, Jim Harty, Ron Cogswell Row 4 Dick Kilroy, Dale Rodriquez, Annette (Zarrow) Linn, Chuck Compher, Jeanette (Herrman) Johnson, Darlene (Heatherwick) Blanz, Renee (Woelke) Wallace, Carole Wennerberg, Diane (Engler) Meier, Bill Vanberschot, Barb (Heinen) Tipswood, Jim Potter, Tony Lamantia, Roland Roth, Ken Griga Row 3 Bob Busch, Brian Dolan, Susan (Atkenson) Halbach, Eileen (Walker) McGraw, Peggy (Fitzpatrick) Glim, Nancy (Gunning) Hansen, Carol (Heim) Malsbary, Dee (Dieterle) Levenson, Carol Carlson, Chris (Lysek) Muldoon, Sara (Aguiler) Dutton, Roy Johnson, Sue (Hitz) Burke, Cynthia (Sykora) Borman, Giff Ewers Row 2 George DePeder, Pat (Miller) Savigne, Mary Ann Hansen, Rosemarie Ricci, Sue (Flint) Greer, Candy (Pettit) Bristol Judy Dain, Valerie Langdon, Patty (Lovitt) Riley, Peggy Baggio, Sue (Carr) Ewers, Marsha (Makaroff) Norskog, Tony Molitor, Rusy Mitcheff, Cindy (Geiger) Lind, Bob Hunnewell, Carol (Fry) White, Roger Burke Row 1 Donna (Nicolai) Schulz, Jonell (Ducharm) Richard, Beth (Doctor) Sueflow, Kathy (DeNovo) -
Drake Plays 1927-2021.Xls
Drake Plays 1927-2021.xls TITLE OF PLAY 1927-8 Dulcy SEASON You and I Tragedy of Nan Twelfth Night 1928-9 The Patsy SEASON The Passing of the Third Floor Back The Circle A Midsummer Night's Dream 1929-30 The Swan SEASON John Ferguson Tartuffe Emperor Jones 1930-1 He Who Gets Slapped SEASON Miss Lulu Bett The Magistrate Hedda Gabler 1931-2 The Royal Family SEASON Children of the Moon Berkeley Square Antigone 1932-3 The Perfect Alibi SEASON Death Takes a Holiday No More Frontier Arms and the Man Twelfth Night Dulcy 1933-4 Our Children SEASON The Bohemian Girl The Black Flamingo The Importance of Being Earnest Much Ado About Nothing The Three Cornered Moon 1934-5 You Never Can Tell SEASON The Patriarch Another Language The Criminal Code 1935-6 The Tavern SEASON Cradle Song Journey's End Good Hope Elizabeth the Queen 1936-7 Squaring the Circle SEASON The Joyous Season Drake Plays 1927-2021.xls Moor Born Noah Richard of Bordeaux 1937-8 Dracula SEASON Winterset Daugthers of Atreus Ladies of the Jury As You Like It 1938-9 The Bishop Misbehaves SEASON Enter Madame Spring Dance Mrs. Moonlight Caponsacchi 1939-40 Laburnam Grove SEASON The Ghost of Yankee Doodle Wuthering Heights Shadow and Substance Saint Joan 1940-1 The Return of the Vagabond SEASON Pride and Prejudice Wingless Victory Brief Music A Winter's Tale Alison's House 1941-2 Petrified Forest SEASON Journey to Jerusalem Stage Door My Heart's in the Highlands Thunder Rock 1942-3 The Eve of St. -
Spy Films, American Foreign Policy, and the New Frontier of the 1960S
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses Spring 2019 Bondmania: Spy Films, American Foreign Policy, and the New Frontier of the 1960s Luke Pearsons Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Cultural History Commons, History of Gender Commons, Political History Commons, and the United States History Commons Recommended Citation Pearsons, Luke, "Bondmania: Spy Films, American Foreign Policy, and the New Frontier of the 1960s" (2019). All Master's Theses. 1202. https://digitalcommons.cwu.edu/etd/1202 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. BONDMANIA: SPY FILMS, AMERICAN FOREIGN POLICY, AND THE NEW FRONTIER OF THE 1960s __________________________________ A Thesis Presented to The Graduate Faculty Central Washington University ___________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts History ___________________________________ by Luke Thomas Pearsons May 2019 CENTRAL WASHINGTON UNIVERSITY Graduate Studies We hereby approve the thesis of Luke Thomas Pearsons Candidate for the degree of Master of Arts APPROVED FOR THE GRADUATE FACULTY ______________ _________________________________________ Dr. Stephen Moore, Committee Chair ______________ _________________________________________ Dr. Daniel Herman ______________ _________________________________________ Dr. Chong Eun Ahn ______________ _________________________________________ Dean of Graduate Studies ii ABSTRACT BONDMANIA: SPY FILMS, AMERICAN FOREIGN POLICY, AND THE NEW FRONTIER OF THE 1960s by Luke Thomas Pearsons May 2019 The topic of this thesis are spy films that were produced during the Cold War, with a specific focus on the James Bond films and their numerous imitators. -
University International
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
Curriculum Vitae: Bruce F. Kawin
October 30, 2020 Curriculum Vitae: Bruce F. Kawin Professor Emeritus of English University of Colorado at Boulder Boulder, CO 80309 Home: 4393 13th St. Boulder, CO 80304 Phone: (303) 449-4845 (land line) — (303) 514-6707 (cell; use this or e-mail until further notice) Fax: (303) 449-2503 E-mail: [email protected] Born: Los Angeles, CA Education: Ph.D.: Cornell University, September 1970 Major: 20th Century British and American Literature Minor: Film History and Aesthetics Thesis: Telling It Again and Again: The Aesthetics of Repetition M.F.A.: Cornell University, June 1969 Major: Creative Writing Minor: Filmmaking Thesis: Slides Summer program in Documentary Film Production, UCLA, August 1968 B.A. cum laude: Columbia College, Columbia University, June 1967 Major: English and Comparative Literature Teaching Experience: Professor of English: English Department, University of Colorado at Boulder, 1975-2015. (Professor Emeritus, 2015-present; Full Professor since 1980; tenure awarded, 1979; Associate Professor, 1977- 80; Assistant Professor, 1975-77.) Taught half-time in Film Studies Program 1975-2006 (two Film Studies courses/year), then one Film Studies course/year through 2014; other film courses after 2006 taught in English Dept. Fields: Modern Literature, Film History and Theory, Creative Writing. Visiting Fellow: Theater Arts Board, College 5, University of California at Santa Cruz, 1980-81. Fields: Film History and Theory. Specialist in Film Analysis: Center for Advanced Film Studies, American Film Institute, 1974. Lecturer in English and Film: English Department, University of California at Riverside, 1973-75. Fields: Modern Literature, Film History, Composition, Women Studies. Assistant Professor of English: English Department, Wells College, 1970-73. -
An Examination of Jerry Goldsmith's
THE FORBIDDEN ZONE, ESCAPING EARTH AND TONALITY: AN EXAMINATION OF JERRY GOLDSMITH’S TWELVE-TONE SCORE FOR PLANET OF THE APES VINCENT GASSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO MAY 2019 © VINCENT GASSI, 2019 ii ABSTRACT Jerry GoldsMith’s twelve-tone score for Planet of the Apes (1968) stands apart in Hollywood’s long history of tonal scores. His extensive use of tone rows and permutations throughout the entire score helped to create the diegetic world so integral to the success of the filM. GoldsMith’s formative years prior to 1967–his training and day to day experience of writing Music for draMatic situations—were critical factors in preparing hiM to meet this challenge. A review of the research on music and eMotion, together with an analysis of GoldsMith’s methods, shows how, in 1967, he was able to create an expressive twelve-tone score which supported the narrative of the filM. The score for Planet of the Apes Marks a pivotal moment in an industry with a long-standing bias toward modernist music. iii For Mary and Bruno Gassi. The gift of music you passed on was a game-changer. iv ACKNOWLEDGEMENTS Heartfelt thanks and much love go to my aMazing wife Alison and our awesome children, Daniela, Vince Jr., and Shira, without whose unending patience and encourageMent I could do nothing. I aM ever grateful to my brother Carmen Gassi, not only for introducing me to the music of Jerry GoldsMith, but also for our ongoing conversations over the years about filM music, composers, and composition in general; I’ve learned so much.