DOCSLIB.ORG

Table of Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Table of Contents PART I. Introduction 5 A. Overview 5 B. Historical Background 6 PART II. The Study 16 A. Background 16 B. Independence 18 C. The Scope of the Monitoring 19 D. Methodology 23 1. Rationale and Definitions of Violence 23 2. The Monitoring Process 25 3. The Weekly Meetings 26 4. Criteria 27 E. Operating Premises and Stipulations 32 PART III. Findings in Broadcast Network Television 39 A. Prime Time Series 40 1. Programs with Frequent Issues 41 2. Programs with Occasional Issues 49 3. Interesting Violence Issues in Prime Time Series 54 4. Programs that Deal with Violence Well 58 B. Made for Television Movies and Mini-Series 61 1. Leading Examples of MOWs and Mini-Series that Raised Concerns 62 2. Other Titles Raising Concerns about Violence 67 3. Issues Raised by Made-for-Television Movies and Mini-Series 68 C. Theatrical Motion Pictures on Broadcast Network Television 71 1. Theatrical Films that Raise Concerns 74 2. Additional Theatrical Films that Raise Concerns 80 3. Issues Arising out of Theatrical Films on Television 81 D. On-Air Promotions, Previews, Recaps, Teasers and Advertisements 84 E. Children’s Television on the Broadcast Networks 94 PART IV. Findings in Other Television Media 102 A. Local Independent Television Programming and Syndication 104 B. Public Television 111 C. Cable Television 114 1. Home Box Office (HBO) 116 2. Showtime 119 3. The Disney Channel 123 4. Nickelodeon 124 5. Music Television (MTV) 125 6. TBS (The Atlanta Superstation) 126 7. The USA Network 129 8. Turner Network Television (TNT) 130 D. Home Video 132 E. Video Games 136 PART V. Conclusions and Recommendations 141 A. Conclusions 141 B. Recommendations 145 PART VI. Appendix A. Scene Sheet 149 B. Television Series Monitored on the Broadcast Networks 151 C. Television Movies Monitored on the Broadcast Networks 155 D. Theatrical Films Monitored on the Broadcast Networks 160 E. Home Video Rentals Monitored 164 F. Television Movies and Theatricals Films Needing Advisories 166 G. Television Movies with Violent Titles 168 H. Description of the Center for Communication Policy 169 UCLA CENTER FOR COMMUNICATION POLICY Television Violence Monitoring Project Staff: Jeffrey Cole, Director Marde Gregory, Associate Director Phoebe Schramm, Administrative Specialist Kristin Soike, Assistant Project Coordinator Michael Suman, Project Coordinator Student Monitors: Hani Abdelsayed Whitney Boole Ashley Byock Carla Casmero Darin Chavez Sandra Cheng Scott Davis Lisa Gild Paula Gild Gretchen Krebs Georgette Ryan Lang Norman Lee Laura Ling Joseph Love Kelly Mohre Jane Park Romus Lamont Reece James Reynolds Jean Roh Jeff Shore Linh Truong Tamara Watkins Jenna Wiggenhorn Benjamin Yerushalmi Julie Zampa Acknowledgments A project of this magnitude could not be completed without the help and advice of many colleagues and friends. At the Center for Communication Policy we are deeply appreciative of the hard work and long hours all of our student monitors contributed to this project. Ashley Byock, Darin Chavez and Jeff Shore worked all summer on the final stages of the study. Jim Reynolds was involved in all aspects of the project from monitoring to the completion of the report. We also thank LEXIS-NEXIS for making its service available for background information and to verify the information in this report. At all hours of the day and night we relied on LEXIS-NEXIS to quickly and accurately answer our questions. Five outside readers offered their time and energy to make this report as clear and comprehensive as possible. Although they had little time, their suggestions were invaluable and greatly improved these pages. Our readers were: Geoffrey Cowan, director of the Voice of America; Shale Horowitz of the UCLA Communication Studies Program; Ted Mitchell, dean of the UCLA School of Education; George Vradenburg, partner at Latham & Watkins, and Kim Wardlaw, partner at O’Melveny & Myers. We are indebted to George Gerbner who provided much wise counsel as only someone who has been studying these issues for 30 years can do. At UCLA neither this project nor the Center for Communication Policy would be possible without the support and guidance of Gayle Byock, Archie Kleingartner, John Kobara, Andrea Rich and Scott Waugh. PART I. INTRODUCTION A. Overview When this research project was first announced, we received an enormous amount of public response. Letters, phone calls and faxes came in from all over the world. Many offered helpful advice, some provided constructive feedback and a few warned of potential hurdles. Most, however, wanted to be sure that we understood their definition or concept of media violence. Some insisted that the key problem rests with entertainment television, particularly prime time dramas and movies. An equally fervent view was advanced by those who say the real problem is not gun play or fist fights in prime time drama, but children’s animation where no one really gets hurt. Others pointed out, with equal conviction, that the real problem with television is news, especially local news with its barrage of rape, murder and terror. Still others warned that indeed, it is prime time television’s more realistic use of guns and fists commonly found on non-fiction reality shows that makes it difficult for the audience, particularly children, to make distinctions between reality and fantasy. Everyone agreed that this report could become an important step in dealing with media violence if only we would address the right part of the issue. Given the range of perspectives, it is unlikely that we will satisfy everyone. But this report represents our effort to address the right part of the issue. From the very beginning, we realized that media violence is an issue about which everyone has an individual view. While it may take advanced training to conduct meaningful, original research in this area, television is so accessible and important in most people’s lives that each person has a view about the unique relationship between individuals and their televisions. No matter what we say or how well we support it, this is a project that may contradict individual beliefs about the way in which the medium affects society. During the past year as we have conducted this study, nothing has happened to diminish the importance of this issue. During his January, 1995 State of the Union address before Congress, President Bill Clinton received the longest and loudest standing ovation when he identified media violence as a cause of great concern to the country. In late May Senator Robert Dole (R-Kan.) attacked the messages that Hollywood sends out to the nation in its films, music and television programs. Over the summer, Congress and the nation debated the merits of technological solutions to the media violence issue. Television computer chips barring violence, sex and offensive language dominated much of the media news. Vice President Al Gore convened a conference on families and media in Nashville in July and almost all of the participants agreed that something needs to be done about the content of America’s media. Both President Clinton and Vice President Gore indicated their support for the use of a computer chip (V-Chip) in all new television sets. Media violence is a subject of passionate concern to many parents, Congress and the television industry itself. National polls clearly demonstrate that this is an issue about which people have strong opinions regarding what should be done. This report is intended to be completely accessible to all citizens, especially parents. While our methodologies and techniques are sound, the conclusions will only be fully meaningful if they are understood and used by the public. Although what we say will be closely scrutinized by members of the government, the television industry, the academic community and those who have a stake in the issue of violence, our most important audience is the American public. 5 B. Historical Background Concerns about media violence have been with us since before television. Throughout the 19th century, moralists and critics warned that newspapers were the cause of juvenile crime. There was concern that the great flow of stories about crime and vice would lead people to imitate the vividly described immoral behavior. In the 1920s, many were alarmed at what they saw as rampant sex, violence and general lawlessness on the movie screen. During that era, the motion picture industry was not protected by the First Amendment. This protection did not come until the Supreme Court’s Miracle decision in the 1950s. To forestall governmental regulation, the film industry created its own production standards under the supervision of Motion Picture Producers and Distributors of America (MPPDA). The man the MPPDA chose to supervise the film industry, Harding Administration Postmaster General Will H. Hays, became so powerful that the organization became known as the Hays Office. The Hays Office Codes, which discuss sexuality as well as violence, established the following standards regarding criminal violence: 1. Murder (A) The technique of murder must be presented in a way that will not inspire imitation. (B) Brutal killings are not to be presented in detail. (C) Revenge in modern times shall not be justified. 2. Methods of crimes should not be explicitly presented. (A) Theft, robbery, safe-cracking and dynamiting of trains, mines, buildings, etc. should not be detailed in method. (B) Arson must be subject to the same safeguards. (C) The use of firearms should be restricted to essentials. The codes list brutality, gruesomeness and cruelty to children or animals as repellent subjects. In explaining the reasons for some of the codes, the Hays Office explained that crimes against the law must not: 1. Teach methods of crime. 2. Inspire potential criminals with a desire for imitation. 3. Make criminals seem heroic and justified. The concerns embodied in the Hays Codes regarding the effects of film images, particularly on the young, led to the landmark Payne Fund studies (1933-1935).
Recommended publications
  • World Premiere

    World Premiere

    World Premiere FILMOGRAPHY A Message from Oliver Stone has directed: “W.” (‘08), “World Trade Center” (‘06), “Alexander” (‘04), “Any Given Sunday” (‘99), “U–Turn” (‘97), “Nixon” (‘95), “Natural Born Killers” (‘94), Oliver Stone “Heaven and Earth” (‘93), “JFK” (‘91), “The Doors” (‘91), “Born On The Fourth Of July” (‘89), I’ve been fortunate to be able “Talk Radio” (‘88), “Wall Street” (‘87), “Platoon” (‘86), “Salvador” (‘86), “The Hand” (‘81) to make several films about North and “Seizure” (‘73). He’s written or co–written all of the above, with the exception of America’s neglected “backyard” “U–Turn”, “World Trade Center” and “W.”. –– Central and South America. He’s also written or co–written: “Midnight Express” (‘78), “Scarface” (‘83), The low budget, independently “Conan The Barbarian” (‘82), “Year Of The Dragon” (‘85), “Evita” (‘96), and shot SALVADOR, about the U.S. “8 Million Ways To Die” (’86). involvement with the death squads of El Salvador, and starring James He’s directed 3 documentaries –– “Looking for Fidel” (‘04), “Comandante” (‘03), Woods in an Oscar–nominated “Persona Non Grata” (‘03). performance, was released in 1986; this was followed by COMANDANTE He’s produced or co–produced: “The People vs. Larry Flynt” (‘96), in 2003, and LOOKING FOR FIDEL in “The Joy Luck Club” (‘93), “Reversal of Fortune” (‘90), “Savior” (‘98), 2004, both of these documentaries “Freeway” (‘96),“South Central” (‘98), “Zebrahead” (‘92), “Blue Steel” (‘90), exploring Fidel Castro in one–on–one and the ABC mini–series “Wild Palms” (‘93). An Emmy was given to him and his interviews. Each of these films has struggled to be distributed in North America.
  • Writing Dialogue & Advice from the Pros

    Writing Dialogue & Advice from the Pros

    Writing Dialogue & Advice from the Pros Writing great dialogue is considered an art form. Listening to real-life conversations, watching award- winning films, and learning from the masters will help you craft dialogue that shines on the page. The following writing thoughts and advice are excerpts from Karl Iglesias’ book, The 101 Habits of Highly Successful Screenwriters. Enjoy! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Writing Unrealistic and Boring Dialogue In real life, dialogue is mostly polite conversation. In film, polite conversation is considered bad dialogue, unless it’s witty, sarcastic, or has a unique voice. The reason is that polite chat lacks tension, and tension is the key to dramatic storytelling. As Alfred Hitchcock once said, “Drama is real life with all the boring parts cut out of it.” The key to good dialogue is to understand that it’s not conversation, it’s action. What characters say in a scene should be said to get what they want in the scene. And to determine whether or not your dialogue sounds realistic, read it out loud. Garrison Keillor once advised, “If you read your work out loud, it helps to know what’s bad.” Try it. It works. Dialogue always sounds better in your head. Better to be embarrassed in your room than on the set. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Read Your Dialogue Out Loud Writing authentic, well-crafted dialogue that sparkles, individualizes characters, and entertains the reader is the ultimate challenge for screenwriters, who otherwise may have solid script elements. It’s crucial to attracting talent, which can green-light your script. Writing great dialogue can also sell the writer, for those who excel in this area are highly sought after to the tune of six figures per week for dialogue rewrites.
  • ALL Code Sheets

    ALL Code Sheets

    Name: _________________________ Code Name: _________________________ Alien Nation® Cursive Alphabet In the science fiction movie “Alien Nation” the Tenctonese people have an alphabet that corresponds to our alphabet. They even have print and cursive versions of their language. The cursive letters should be connected when spelling a word. Use the alphabet to spell 10 of your spelling words. The word “SPELLING” is done for you as an example. LIST WORD WRITTEN IN CODE EX. S P E L L I N G 1. ___________________ __________________________________________ 2. ___________________ __________________________________________ 3. ___________________ __________________________________________ 4. ___________________ __________________________________________ 5. ___________________ __________________________________________ 6. ___________________ __________________________________________ 7. ___________________ __________________________________________ 8. ___________________ __________________________________________ 9. ___________________ __________________________________________ 10. __________________ __________________________________________ Created by K. S. Spencer Name: _________________________ Code Name: _________________________ Alien Nation® Print Alphabet In the science fiction movie “Alien Nation” the Tenctonese people have an alphabet that corresponds to our alphabet. They even have print and cursive versions of their language. Use the alphabet to spell 10 of your spelling words. The word “SPELLING” is done for you as an example. LIST WORD
  • Marty Kline Storyboards

    Marty Kline Storyboards

    http://oac.cdlib.org/findaid/ark:/13030/c88k7d82 No online items Marty Kline storyboards Special Collections Margaret Herrick Library© 2014 Marty Kline storyboards 535 1 Descriptive Summary Title: Marty Kline storyboards Date (inclusive): 1989-1993 Collection number: 535 Creator: Kline, Marty Extent: 1.3 linear feet of papers. Repository: Margaret Herrick Library. Academy of Motion Picture Arts and Sciences. Languages: English Access Available by appointment only. Publication rights Property rights to the physical object belong to the Margaret Herrick Library. Researchers are responsible for obtaining all necessary rights, licenses, or permissions from the appropriate companies or individuals before quoting from or publishing materials obtained from the library. Preferred Citation Marty Kline storyboards, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Biography Martin A. Kline is an American storyboard artist, production and concept illustrator, and visual effects art director active in film since the 1980s. He served as a storyboard artist on several films directed by Robert Zemeckis. Collection Scope and Content Summary The Marty Kline storyboards span the years 1989-1993 and encompass 1.3 linear feet. There are photocopies of storyboards for three films directed by Robert Zemeckis, BACK TO THE FUTURE PART II (1989), DEATH BECOMES HER (1992), and FORREST GUMP (1993); and one directed by Steven Spielberg, JURASSIC PARK (1993). While the drawings are primarily by Kline, some are drawn by other storyboard artists. Arrangement Arranged in the following series: 1. Production files. Indexing Terms Kline, Marty--Archives. storyboard artists Marty Kline storyboards 535 2.
  • April 2018 82

    April 2018 82

    82 APRIL 2018 APRIL 2018 83 “ A bird-brained movie to cheer the hearts of the far right wing,” sneered Vincent Canby in the 25 July 1974 edition of The New York Times. The movie he was reviewing was Death Wish, a new crime thriller directed by Michael Winner, in which Winner’s frequent cohort, Charles Bronson, embarked on a vigilante crusade in New York, incited by the murder of his wife and rape of his daughter. And Canby wasn’t alone in his disdain. Variety called it “a poisonous incitement to do-it- yourself law enforcement”. Roger Ebert in the Chicago Sun-Times thought its message was “scary”. But Death Wish was unstoppable. In the US, the $3 million movie grossed $22 million and was followed by four sequels, two now infamous for their extreme sexual violence. The fnal one, 1994’s Death Wish V: The Face Of Death, was Bronson’s fnal big-screen role. Even without him, the series refused to die, as the fact there’s a new remake incoming attests. It has, however, taken time to arrive. In 2006, it was announced that Sylvester Stallone would star in and direct a new Death Wish; when he left the project, Joe Carnahan (The A-Team) took over. That version languished in development hell too, and is only now circling the roles of Benjamin and police making it to the screen, directed by Eli DEATHWISH (1974) chief Frank Ochoa. But time went on, Roth from Carnahan’s script and starring It could all have been very different.
  • Television Cartoons: Do Children Notice It's a Boy's World?

    Television Cartoons: Do Children Notice It's a Boy's World?

    'A', DOCUMENT RESUME ED 376 539 CS 508 750 AUTHOR Thompson, Teresa L.; Zerbinos, Eugenia TITLE Television Cartoons: Do Children Notice It's a Boy's World? PUB DATE Aug 94 NOTE 33p.; Paper presented at the Annual Meeting of the Association for Education in Journalism and Mass Communication (77th, Atlanta, GA, August 10-13, 1994). PUB TYPE Speeches/Conference Papers (150) Reports Research /Technical (143) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Attitude Measures; *Cartoons; *Childhood Attitudes; Early Childhood Education; Higher Education; *Sex Role; *Sex Stereotypes; Television Research; *Television Viewing ABSTRACT This study, a part of a larger project, investigated what children learn about gender roles from cartoons and how these cartoons might color the children's view of the world. A total of 89 children ranging in age from four to nine were sampled from three different locations (a university-affiliated day-care center and two parochial schools near the university). Interviewers were eight trained senior-level university students in a Women and Communication class. Interviews with the children lasted from 4 to 10 minutes. Results indicated that:(1) children watched more "chase-and-pratfall" cartoons than any other type, but the favorite cartoon type for neavly half of the children was continuing adventure; (2) a strong correlation existed between continuing adventure cartoons and more stereotypically male behaviors; (3) children attributed more of all behaviors to boy characters than to girl characters;(4) both boys and girls
  • National Endowment for the Arts Annual Report 1982

    National Endowment for the Arts Annual Report 1982

    Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor­ agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per­ The diversity of artistic activity in America is cent gain over state appropriations for FY 81.
  • Theaters 3 & 4 the Grand Lodge on Peak 7

    Theaters 3 & 4 the Grand Lodge on Peak 7

    The Grand Lodge on Peak 7 Theaters 3 & 4 NOTE: 3D option is only available in theater 3 Note: Theater reservations are for 2 hours 45 minutes. Movie durations highlighted in Orange are 2 hours 20 minutes or more. Note: Movies with durations highlighted in red are only viewable during the 9PM start time, due to their excess length Title: Genre: Rating: Lead Actor: Director: Year: Type: Duration: (Mins.) The Avengers: Age of Ultron 3D Action PG-13 Robert Downey Jr. Joss Whedon 2015 3D 141 Born to be Wild 3D Family G Morgan Freeman David Lickley 2011 3D 40 Captain America : The Winter Soldier 3D Action PG-13 Chris Evans Anthony Russo/ Jay Russo 2014 3D 136 The Chronicles of Narnia: The Voyage of the Dawn Treader 3D Adventure PG Georgie Henley Michael Apted 2010 3D 113 Cirque Du Soleil: Worlds Away 3D Fantasy PG Erica Linz Andrew Adamson 2012 3D 91 Cloudy with a Chance of Meatballs 2 3D Animation PG Ana Faris Cody Cameron 2013 3D 95 Despicable Me 3D Animation PG Steve Carell Pierre Coffin 2010 3D 95 Despicable Me 2 3D Animation PG Steve Carell Pierre Coffin 2013 3D 98 Finding Nemo 3D Animation G Ellen DeGeneres Andrew Stanton 2003 3D 100 Gravity 3D Drama PG-13 Sandra Bullock Alfonso Cuaron 2013 3D 91 Hercules 3D Action PG-13 Dwayne Johnson Brett Ratner 2014 3D 97 Hotel Transylvania Animation PG Adam Sandler Genndy Tartakovsky 2012 3D 91 Ice Age: Continetal Drift 3D Animation PG Ray Romano Steve Martino 2012 3D 88 I, Frankenstein 3D Action PG-13 Aaron Eckhart Stuart Beattie 2014 3D 92 Imax Under the Sea 3D Documentary G Jim Carrey Howard Hall
  • Collection of Television Press Kits, 1958, Ca

    Collection of Television Press Kits, 1958, Ca

    http://oac.cdlib.org/findaid/ark:/13030/c87082fc No online items Finding Aid for the Collection of television press kits, 1958, ca. 1974-ca. 2004 Finding aid prepared by Arts Special Collections staff; 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] © 2012 The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 1908 1 television press kits, 1958, ca. 1974-ca. 2004 Title: Collection of television press kits Collection number: 1908 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 9.5 linear ft.(19 boxes and 1 flat box.) Date (inclusive): 1958, ca. 1974-2004 Abstract: This collections documents a variety of television show genres broadcast on networks such as ABC, CBS, NBC, HBO, PBS, SHOWTIME, and TNT. 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. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the caollection. 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. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.
  • Incidents in the Life of a Slave Girl Philemon Isaiah Amos

    Incidents in the Life of a Slave Girl Philemon Isaiah Amos

    ENGL 4384: Senior Seminar Student Anthology Fall 2012 Dr. Rebecca Harrison, Professor Department of English & Philosophy Printed on campus by UWG Publications and Printing. A Culture of Captivity: Subversive Femininity and Literary Landscapes Introduction 5 Dr. Rebecca L. Harrison I. Captive Women/Colonizing Texts “Heathenish, Indelicate and Indecent”: Male Authorship, 13 Narration, and the Transculturated, Mutable Female in James T. DeShields Cynthia Ann Parker, James Seaver’s A Narrative of the Life of Mrs. Mary Jemison, and Royal B. Stratton’s Captivity of the Oatman Girls Mary Catherine Lyons American Colonization and the Death of the Female 34 Captive Hannah Barnes Mitchell The Comfortable Captive: Applying Double-Voice 49 Discourse to Cotton Mather’s and John Greenleaf Whittier’s Depictions of Hannah Dustan’s Captivity to Ultimately Reveal Potential Female Agency Michelle Guinn II. Captive Others: Cutting through Sentimental Scripts “Lors, Chile! What’s You Crying ’Bout?”: Sympathy & Tears 62 in Harriet Jacobs’ Incidents in the Life of a Slave Girl Philemon Isaiah Amos The Absolutely Real Ramifications of a Full-Time Genocide: 79 Exploring Mary Rowlandson’s Role in Alexie’s “Captivity” and True Diary Gina Riccobono III. Generic Adaptations & Dislodging the Narrative Tradition Transgressing the “bloody old hag”: Gender in Nathaniel 93 Hawthorne’s “The Duston Family” Michele Drane Creating the Autonomous Early American Woman: Angela 112 Carter and Caroline Gordon (Re) Employ the Female Captivity Narrative Genre Wayne Bell Death Becomes Her: The American Female Victim-Hero 125 Legacy Wes Shelton IV. Crossing the Borders of Captivity Capturing Dorinda Oakley 143 Dorinda Purser Unknowable and Thereby Unconquerable: Examining Ada 157 McGrath’s Resistance in The Piano Brett Hill ‘Bonds of Land and Blood’: Communal Captivity and 171 Subversive Femininity in Woodrell’s Winter’s Bone Jason Cole Contributors 190 A Culture of Captivity: Subversive Femininity and Literary Landscapes Dr.
  • Where Currents Connect

    Where Currents Connect

    The Current GAHANNA PARKS & RECREATION ACTIVITY GUIDE Winter 2019-2020 Parks & Recreation WorkWhere in Gahanna? Receive the Currents Resident Discount Rate (RDR) Connect 1 Civic Leaders City of Gahanna Advisory Committees TABLE OF CONTENTS Mayor Tom Kneeland Parks & Recreation Board City Attorney Shane W. Ewald Meetings are held at 7pm on the second Civic Leaders 2 Wednesday of each month at City Hall Gahanna City Council unless otherwise noted. All meetings are Rental Facilities 3 Contact: [email protected] open to the public. Ward 1: Stephen A. Renner, Vice President Jan Ross, Chair Ward 2: Michael Schnetzer Andrew Piccolantonio, Vice Chair Aquatics 4 Ward 3: Brian Larick Cynthia Franzmann Ward 4: Jamie Leeseberg Chrissy Kaminski Active Seniors At Large: Karen J. Angelou Eric Miller 5 Nancy McGregor Daphne Moehring Brian Metzbower, President Ken Shepherd Parks Information 10 Parks & Recreation Staff Landscape Board Contact: [email protected] The Landscape Board meetings are listed online at Jeffrey Barr, Director Ohio Herb Center 11 www.gahanna.gov. Meetings are held at City Hall Stephania Bernard-Ferrell, Deputy Director unless otherwise noted. Alan Little, Parks & Facilities Superintendent All meetings are open to the public. Golf Course 12 Brian Gill, Recreation Superintendent Jane Allinder, Chair Jim Ferguson, Parks Foreman Melissa Hyde, Vice Chair Zac Guthrie, Parks & Community Services Supervisor Outdoor Experiences 13 Kevin Dengel Joe Hebdo, Golf Course Supervisor Mark DiGiando Curt Martin, Facilities Coordinator Matt Winger Camp Experiences 14 Sarah Mill, Recreation Supervisor Julie Predieri, City Forester Pam Ripley, Office Coordinator Arts & Education 15 Marty White, Facilities Foreman Recreation & Sports 16 How to register 19 Volunteer Advisory Committees The Parks & Recreation Board created the following advisory committees to assist the Department of Parks & Recreation with facilitating, planning, promoting and implementing projects with the assistance of volunteer residents.
  • NEO-NOIR / RETRO-NOIR FILMS (1966 Thru 2010) Page 1 of 7

    NEO-NOIR / RETRO-NOIR FILMS (1966 Thru 2010) Page 1 of 7

    NEO-NOIR / RETRO-NOIR FILMS (1966 thru 2010) Page 1 of 7 H Absolute Power (1997) H Blondes Have More Guns (1995) H Across 110th Street (1972) H Blood and Wine (1996) H Addiction, The (1995) FS H Blood Simple (1985) h Adulthood (2008) H Blood Work (2002) H Affliction (1997) H Blow Out (1981) FS H After Dark, My Sweet (1990) h Blow-up (1967).Blowup H After Hours (1985) f H Blue Desert (1992) F H Against All Odds (1984) f H Blue Steel (1990) f H Alligator Eyes (1990) SCH Blue Velvet (1986) H All the President’s Men (1976) H Bodily Harm (1995) H Along Come a Spider (2001) H Body and Soul (1981) H Ambushed (1998) f H Body Chemistry (1990) H American Gangster (2007) H Body Double (1984) H American Gigolo (1980) f H Bodyguard, The (1992) H Anderson Tapes, The (1971) FSCH Body Heat (1981) S H Angel Heart (1987) H Body of Evidence (1992) f H Another 48 Hrs. (1990) H Body Snatchers (1993) F H At Close Range (1986) H Bone Collector, The (1999) f H Atlantic City (1980) H Bonnie & Clyde (1967) f H Bad Boys (1983) F H Border, The (1982) F H Bad Influence (1990) F H Bound (1996) F H Badlands (1973) H Bourne Identity, The (2002) F H Bad Lieutenant (1992) H Bourne Supremacy, The (2004) h Bank Job, The (2008) H Bourne Ultimatum, The (2007) F H Basic Instinct (1992) H Boyz n the Hood (1991) H Basic Instinct 2 (2006) H Break (2009) H Batman Begins (2005) H Breakdown (1997) F H Bedroom Window, The (1987) F H Breathless (1983) H Before the Devil Knows You’re Dead (2007) H Bright Angel (1991) H Best Laid Plans (1999) H Bringing Out the Dead (1999) F H Best