CSIF/Calgary Public Library 16Mm and Super 8 Film Collection
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Studebakers Great New Commander V
8 Paul Ileum" pnoto Whnrl trim rings, and white •Idewalt Urea II available, at extra eoat. Decorative and other •neeificalioaa subject to change without uuilco. Jour thrifty onefor *51andmany anotkeryear to come! Studebakers great new Commander V- Gives you a new kind of V8 performance! Saves you plenty on first cost and upkeep! Never requires you to use premium fuels! SEE THE 1951 STUDEBAKER CHAMPION TOO. ..TOP VALUE OF THE TOP 4 LOWEST PRICE CARSI IQSI The Sludchakrr Corporation. South Head 37. Indiana U.S.A. C aterial go to a child you want the truth, If "* some sys _ e.,l'.roS is comes from Sometime* ofcoursej^^^ simp.c. is such . ** tiSSSttS^^ tiseptic or mom- Why n* offendin, when ^I^S^^em o»U it, n,8h« and clean. L.stcnne mouth feels cool makeshifts. Trust avo.d. people About You r may ANTISEPTIC ^ KaK^ TERINE1 Be/ore any I**"**LIS so many women... so little time... ...IDOL OF MILLIONS IN THREE BRIEF YEARS OF FAME Color by TECHNICOLOR AN EDWARD SMALL PRODUCTION starring ELEANOR PARKER ANTHONY DEXTER Isn't if amazing how much Richard Carlson • Patricia Medina Joseph Calleia • >r c«r9e ANTHONY DEXTER ,ook> ;.ke RUDOLPH VALENTINO Produced by EDWARD SMALL • Associate of Producer- JAH GRIPPO Directed by LEWIS ALLEN „ LIFE LIFE is published weekly by TIME Inc.. 540 N. Michigan Ave., Chicago II, 111. Printed in U. S. A. Entered as second-class matter November 16, 1936 at the Postoffice at Chicago, Volume 30 * Mar. 19, 1951 111. under the act of March 3, 1879. Authorised by Post Office Department, Ottawa, Canada, as second-class matter. -
Season 2014-2015
23 Season 2014-2015 Wednesday, January 28, at 8:00 The Philadelphia Orchestra Friday, January 30, at 2:00 Saturday, January 31, Yannick Nézet-Séguin Conductor at 8:00 Kirill Gerstein Piano Beethoven Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. Allegro— IV. Allegro Intermission Shostakovich Piano Concerto No. 2 in F major, Op. 102 I. Allegro II. Andante III. Allegro Shostakovich/from Suite from The Gadfly, Op. 97a: arr. Atovmyan I. Overture: Moderato con moto III. People’s Holiday: [Allegro vivace] VII. Prelude: Andantino XI. Scene: Moderato This program runs approximately 1 hour, 40 minutes. The January 28 concert is sponsored by MEDCOMP. designates a work that is part of the 40/40 Project, which features pieces not performed on subscription concerts in at least 40 years. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 24 Please join us immediately following the January 30 concert for a Chamber Postlude, featuring members of The Philadelphia Orchestra. Brahms Piano Quartet No. 3 in C minor, Op. 60 I. Allegro non troppo II. Scherzo: Allegro III. Andante IV. Finale: Allegro lomodo Mark Livshits Piano Kimberly Fisher Violin Kirsten Johnson Viola John Koen Cello 3 Story Title 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra is one of the preeminent orchestras in the world, renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for a legacy of imagination and innovation on and off the concert stage. -
CLONES, BONES and TWILIGHT ZONES: PROTECTING the DIGITAL PERSONA of the QUICK, the DEAD and the IMAGINARY by Josephj
CLONES, BONES AND TWILIGHT ZONES: PROTECTING THE DIGITAL PERSONA OF THE QUICK, THE DEAD AND THE IMAGINARY By JosephJ. Beard' ABSTRACT This article explores a developing technology-the creation of digi- tal replicas of individuals, both living and dead, as well as the creation of totally imaginary humans. The article examines the various laws, includ- ing copyright, sui generis, right of publicity and trademark, that may be employed to prevent the creation, duplication and exploitation of digital replicas of individuals as well as to prevent unauthorized alteration of ex- isting images of a person. With respect to totally imaginary digital hu- mans, the article addresses the issue of whether such virtual humans should be treated like real humans or simply as highly sophisticated forms of animated cartoon characters. TABLE OF CONTENTS I. IN TR O DU C T IO N ................................................................................................ 1166 II. CLONES: DIGITAL REPLICAS OF LIVING INDIVIDUALS ........................ 1171 A. Preventing the Unauthorized Creation or Duplication of a Digital Clone ...1171 1. PhysicalAppearance ............................................................................ 1172 a) The D irect A pproach ...................................................................... 1172 i) The T echnology ....................................................................... 1172 ii) Copyright ................................................................................. 1176 iii) Sui generis Protection -
September 6, 2011 (XXIII:2) Anthony Asquith and Leslie Howard, PYGMALION (1938, 96 Min)
September 6, 2011 (XXIII:2) Anthony Asquith and Leslie Howard, PYGMALION (1938, 96 min) Directed by Anthony Asquith and Leslie Howard Written by George Bernard Shaw (play, scenario & dialogue), W.P. Lipscomb, Cecil Lewis, Ian Dalrymple (uncredited), Anatole de Grunwald (uncredited), Kay Walsh (uncredited) Produced by Gabriel Pascal Original Music by Arthur Honegger Cinematography by Harry Stradling Edited by David Lean Art Direction by John Bryan Costume Design by Ladislaw Czettel (as Professor L. Czettel), Schiaparelli (uncredited), Worth (uncredited) Music composed by William Axt Music conducted by Louis Levy Leslie Howard...Professor Henry Higgins Wendy Hiller...Eliza Doolittle Wilfrid Lawson...Alfred Doolittle Marie Lohr...Mrs. Higgins Scott Sunderland...Colonel George Pickering GEORGE BERNARD SHAW [from Wikipedia](26 July 1856 – 2 Jean Cadell...Mrs. Pearce November 1950) was an Irish playwright and a co-founder of the David Tree...Freddy Eynsford-Hill London School of Economics. Although his first profitable writing Everley Gregg...Mrs. Eynsford-Hill was music and literary criticism, in which capacity he wrote many Leueen MacGrath...Clara Eynsford Hill highly articulate pieces of journalism, his main talent was for Esme Percy...Count Aristid Karpathy drama, and he wrote more than 60 plays. Nearly all his writings address prevailing social problems, but have a vein of comedy Academy Award – 1939 – Best Screenplay which makes their stark themes more palatable. Shaw examined George Bernard Shaw, W.P. Lipscomb, Cecil Lewis, Ian Dalrymple education, marriage, religion, government, health care, and class privilege. ANTHONY ASQUITH (November 9, 1902, London, England, UK – He was most angered by what he perceived as the February 20, 1968, Marylebone, London, England, UK) directed 43 exploitation of the working class. -
570183Bk Son of Kong 15/7/07 7:50 PM Page 8
570185bk Treasure:570183bk Son of Kong 15/7/07 7:50 PM Page 8 John Morgan Widely regarded in film-music circles as a master colorist with a keen insight into orchestration and the power of music, Los Angeles-based composer John Morgan began his career working alongside such composers as Alex North and Fred Steiner before embarking on his own. Among other projects, he co-composed the richly dramatic score for the cult-documentary film Trinity and Beyond, described by one critic as “an atomic-age Fantasia, thanks to its spectacular nuclear explosions and powerhouse music.” In addition, Morgan has won acclaim for efforts to rescue, restore and re-record lost film scores from the past. His work can be found on the Naxos, Marco Polo, RCA and Tribune Film Classics labels. William Stromberg Besides his own film scores and his work conducting studio orchestras in Hollywood, William T. Stromberg is noted for his passion in reconstructing and conducting film scores from Hollywood’s Golden Age. For Naxos and Marco Polo he has conducted albums of music devoted to Max Steiner, Erich Wolfgang Korngold, Alfred Newman, Philip Sainton, Bernard Herrmann and Franz Waxman. He has also conducted several albums devoted to concert works of American composers, including a second album of music by Ferde Grofé, featuring his Hollywood Suite and Hudson River Suite. He and longtime colleague John Morgan have collaborated on numerous film scores, ranging from Trinity and Beyond to Starship Troopers 2: Hero of the Federation. Moscow Symphony Orchestra Established in 1989, the Moscow Symphony Orchestra includes prize-winners and laureates of Russian and international music competitions and graduates of conservatories in Moscow, Leningrad and Kiev who have played under such conductors as Svetlanov, Rozhdestvensky, Mravinsky and Ozawa, in Russia and throughout the world. -
Animation Article
1 Accommodating Avant-Gardism? Amateur Animation and the Struggle for Technique [published in translation as: ‘Eine Annäherung an den Avantgardismus? Amateur- animation und das Ringen mit der Technik’, in: Siegfried Mattl, Carina Lesky, Vrääth Öhner, Ingo Zechner (eds), Abenteuer Alltag. Zur Archäologie des Amateurfilms, Vienna, FilmmuseumSynema Publications: Vienna, 2015, pp. 28-42. ISBN: 978-3-901644-63-4. Although sometimes regarded as an exceptional pursuit within a cine culture exhibiting such strong roots in still photography and amateur dramatics, animation has represented a persistent strand of non-professional filmmaking in Britain, since the emergence of “small-gauge” technologies, and the consolidation of an organised amateur movement in the 1920s. The distinctive nature of such interest was recognised early by movement insiders, and soon marked by the creation of dedicated “classes” within developing competition spheres,1 in the provision of customised technical devices and services by commercial suppliers,2 and by the emergence of reflection and critique within related hobby literatures.3 By the early 1930s, animation had 1 Notes announcing the first “Amateur National Convention” of small-gauge filmmaking organisations, identify a specific class for “A cartoon film lasting not more than 5 minutes,” adding suggestively that “cut-outs may be used, provided the cartoon effect is achieved.” See Anon., “The National Convention,” Amateur Films 1 (1929) 10, p. 222. 2 Several companies emerged in the post-war decades to supply animation equipment and materials for the amateur market, such as Filmcraft, established by well-known enthusiast, David Jefferson. Specialist devices and services for the would-be animator abound: see, for example, Alan Cleave, “Cartoon Animation For Everyone,” [part one] Movie Maker 5 (1971) 11, p. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
Riverdale | Dialogue Transcript | S2:E18
CREATED BY Roberto Aguirre-Sacasa EPISODE 2.18 “Chapter Thirty-One: A Night to Remember” As rehearsals ramp up for "Carrie: The Musical," the Riverdale drama students sink into their roles -- and life starts imitating art. WRITTEN BY: Roberto Aguirre-Sacasa, Arabella Anderson, Tessa Williams DIRECTED BY: Jason Stone ORIGINAL BROADCAST: April 18, 2018 NOTE: This is a transcription of the spoken dialogue and audio, with time-code reference, provided without cost by 8FLiX.com for your entertainment, convenience, and study. This version may not be exactly as written in the original script; however, the intellectual property is still reserved by the original source and may be subject to copyright. EPISODE CAST K.J. Apa ... Archie Andrews Lili Reinhart ... Betty Cooper Camila Mendes ... Veronica Lodge Cole Sprouse ... Jughead Jones Marisol Nichols ... Hermione Lodge Madelaine Petsch ... Cheryl Blossom Ashleigh Murray ... Josie McCoy Mark Consuelos ... Hiram Lodge Casey Cott ... Kevin Keller Skeet Ulrich ... FP Jones Mädchen Amick ... Alice Cooper Luke Perry ... Fred Andrews Nathalie Boltt ... Penelope Blossom Jordan Calloway ... Chuck Clayton Martin Cummins ... Sheriff Tom Keller Hart Denton ... Chic Vanessa Morgan ... Toni Topaz Lochlyn Munro ... Hal Cooper Shannon Purser ... Ethel Muggs Emilija Baranac ... Midge Klump Cody Kearsley ... Moose Mason Drew Ray Tanner ... Fangs Fogarty 1 00:00:08,258 --> 00:00:09,676 [narrator] Previously on Riverdale: 2 00:00:09,759 --> 00:00:12,387 -New wheels, Mr. Lodge? -It's yours, Archie. 3 00:00:12,470 --> 00:00:16,099 [Betty] This is what guys like Chuck think about women. We're objects. 4 00:00:16,182 --> 00:00:18,059 [Penelope] Cheryl was obsessed with you. -
Michael Wiese Productions 2017 2017 Contents
MICHAEL WIESE PRODUCTIONS 2017 2017 CONTENTS NEW TITLES SCREENWRITING/ 25 The Way of Story 6 Producero t Producer — WRITING 25 Elephant Bucks 2nd Edition 19 The Coffeebreak 26 The Virgin’s Promise 7 Romantic Comedies Screenwriter — 2nd Edition 26 Mind Your Business 8 Making it Big in 26 Dan O’Bannon’s Guide to Shorts — 3rd Edition 19 The Hollywood Standard — 2nd Edition Screenplay Structure 9 The Woman in the 27 The Writer’s Advantage Story — 2nd Edition 19 Your Screenplay Sucks! 27 Rewrite — 2nd Edition 10 Writing Subtext — 2nd 19 Cinematic Storytelling Edition 20 Noteso t Screenwriters 27 Forensic Speak 11 Making the Magic 20 Writing the TV Drama 27 Creating Graphic Novels Happen Seriesd — 3r Edition 28 Shakespeare for 12 Crash! Boom! Bang! 20 Riding the Alligator Screenwriters 13 Write! Shoot! Edit! 20 Stealinge Fir from the 28 The Hidden Tools of Comedy 14 Shooting Better Movies Gods — 2nd Edition 28 Writing the Science 15 Make Some Noise 21 Why Does the Screenwriter Cross Fiction Film 16 Suspense With a Camera the Road? 29 Master Shots 17 Filmmaking for 21 Myth and the Movies 29 Master Shots Vol 1 — Change — 2nd Edition 21 And the Best Screenplay 2nd Edition ® 18 Save the Cat! Goes to... 29 Master Shots Vol 2 ® 18 Save the Cat! 21 Horror Screenwriting 29 Master Shots Vol 3 Goeso t the Movies 22 Story Line 18 The Writer’s Journey — 3rd Edition 22 My Story Can Beat Up DIRECTING/ Your Story VISUALIZATION 18 Memo from the Story Dept. 22 Psychology for 30 Directing Actors Screenwriters 30 The Film Director’s 22 Beat by Beat Intuition 23 -
A Listening Guide for the Indispensable Composers by Anthony Tommasini
A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section. -
Mickey's Trailer
Mickey’s Trailer and Environmental Thought Disney Cartoons and Countryside Goddard, Joseph Published in: American Studies in Scandinavia Publication date: 2016 Document version Publisher's PDF, also known as Version of record Citation for published version (APA): Goddard, J. (2016). Mickey’s Trailer and Environmental Thought: Disney Cartoons and Countryside. American Studies in Scandinavia, 48:2(2016:2), 43-60. https://rauli.cbs.dk/index.php/assc/article/view/5360 Download date: 23. Sep. 2021 American Studies in Scandinavia, 48:1 (2016), pp. 43-60. Published by the Nordic Association for American Studies (NAAS). Mickey’s Trailer and Environmental Thought: Disney Cartoons and Countryside Joe Goddard University of Copenhagen Abstract: The influence of popular cartoons on environmental cognition is explored in this essay through readings of Mickey’s Trailer, a 1938 cartoon directed by Ben Sharpsteen for Walt Disney. Other materials considered include Ford Motor Compa- ny’s 1937-38 film coproduced by Wilder Pictures, Glacier International Park, which promotes motor-tourism and automobile ownership, and Ben Sharpsteen’s other work for Walt Disney. The article also examines the ideas of physical and “illusional” zoning in the city, especially the way that they were applied in the mid-twentieth century. Physical zon- ing involved separating incompatible land uses, whereas illusional zoning entailed seeing what you wanted to see. What does Mickey’s Trailer say about how people can live, and can it inform where people choose to live? The essay muses that apprecia- tions of nature and the environment are influenced by popular culture. Keywords: Walt Disney, Mickey’s Trailer, Cartoons, Popular Culture, Environmental Ideas “Oh boy, Whatta day,” exclaims Mickey Mouse from the front step of his small house as Disney’s 1938 short cartoon Mickey’s Trailer opens.1 Mickey is wearing a nightshirt and a nightcap, and rubs his hands in ex- pectation. -
DOCUMENT RESUME ED 368 394 IR 054 978 TITLE Read
DOCUMENT RESUME ED 368 394 IR 054 978 TITLE Read Arizona. INSTITUTION Arizona Center for the Book, Phoenix.; Arizona State Dept. of Library and Archives, Phoenix. SPONS AGENCY Office of Educational Research and Improvement (ED), Washington, DC. Office of Library Programs. PUB DATE 91 NOTE 175p. PUB TYPE Guides Non-Classroom Use (055) Reports Descriptive (141) Tests/Evaluation Instruments (160) EDRS PRICE MF01/PC07 Plus Postage. DESCRIPTORS Children; *Childrens Libraries; Elementary Education; Library Role; *Library Services; Program Descriptions; Program Guides; Publicity; *Public Libraries; Questionnaires; Reading Materials; *Reading Programs; State Libraries; *Summer Programs; Vacation Programs IDENTIFIERS *Arizona ABSTRACT This manual is designed to help public libraries in Arizona to plan their summer reading programs. The theme of the 1991 program is Arizona and its characteristics. The material in the manual is prepared for libraries to adapt for their own uses. Topics covered include: goals, objectives, and evaluation; procedures for getting started; common summer program structures; planning timelines; hints for publicity and promotion; braille and talking books; suggestions for awards and incentives; involving parents/family; reading motivation ideas and activities for parents and educators (also in Spanish); ideas for displays and decorations; complete program ideas; a guide for general crafts; book, film, and videos bibliographies; resources; activity sheets; calendars; evaluation questionnaire; sample letters; and clip art.(JLB)