CCBC Choices 2020 

Total Page:16

File Type:pdf, Size:1020Kb

CCBC Choices 2020  CCBC Choices 2020 Join the Friends of the CCBC! The Friends underwrite the cost of this annual CCBC Choices publication and support the Cooperative Children’s Book Center in numerous other ways. Please consider joining if you aren’t a member! (See Appendix V for more about the Friends.) Individual Memberships $15 Student/Retiree $25 Personal $35 Household $50 Supporting $100+ Patron $500+ Distinguished Patron Institutional Memberships $75 Honor (2–5 individuals) $150 Award (6–10 individuals) $500 Distinguished (11–15 individuals) $1,000+ Corporate Make check payable to: Friends of the CCBC, Inc. Mail to: Friends of the CCBC, P.O. Box 5189, Madison, WI 53705 (You can also join online at ccbcfriends.org) Name ________________________________________________________ Position ______________________________________________________ Address ______________________________________________________ _____________________________________________________________ City ______________________ State ________ Zip Code______________ Telephone (w) _______________________ (h) ______________________ Email _______________________________________________________ (Most communication about Friends news and events is done via listserv at various times throughout the year.) Please do NOT add me to the Friends listserv. CCBC Choices 2020 Kathleen T. Horning Merri V. Lindgren Megan Schliesman Madeline Tyner Cooperative Children’s Book Center School of Education University of Wisconsin–Madison Copyright ©2020, Friends of the CCBC, Inc. ISBN: 978–0–931641–30–5 CCBC Choices 2020 was produced by the office of University Marketing, University of Wisconsin–Madison. Cover design: Lois Ehlert This publication was created by librarians at the Cooperative Children’s Book Center, School of Education, University of Wisconsin–Madison. Funding for the production and printing was provided by the Friends of the CCBC, Inc. CCBC Choices 2020 3 Contents Acknowledgments .............................................4 Introduction ..................................................5 Publishing in 2019 .........................................6 Organization of CCBC Choices 2020 ............................7 The Choices Science, Technology, and the Natural World .....................10 Historical People, Places, and Events ...........................16 Biography, Autobiography, and Memoir ........................26 Contemporary People, Places, and Events .......................29 Understanding Oneself and Others ............................32 The Arts .................................................33 Poetry ..................................................36 Concept Books ...........................................37 Picture Books for Young Children .............................40 Picture Books for School-Age Children .........................52 Books for Beginning Readers .................................64 Books for Newly Independent Readers .........................66 Fiction for Children ........................................68 Fiction for Young Adults ....................................86 Appendices Appendix I: Checklist of Books in CCBC Choices 2020 ............100 Appendix II: Informational Nonfiction Titles in CCBC Choices 2020 . 106 Appendix III: About the CCBC .............................108 Appendix IV: The Charlotte Zolotow Award ....................109 Appendix V: The Friends of the CCBC, Inc. ....................110 Author/Illustrator/Title Index ..................................112 Subject Index ...............................................119 4 CCBC Choices 2020 Acknowledgments The Friends of the CCBC, Inc., underwrites the cost of publishing theCCBC Choices booklet each year. Thanks to them, we can provide copies ofChoices at no cost to Wisconsin librarians, teachers, and others in the state. The Friends are able to make this commitment to the CCBC and to the Wisconsin library and education communities thanks to revenue from memberships, and from their biannual book sale. The dedicated Friends board of directors and book sale coordinators are all volunteers without whom this would not be possible. Thank you to them, and to Friends members in Wisconsin and beyond for your support. (For more information about the Friends of the CCBC, see Appendix V.) Thank you to those who provided critical feedback on one or more specific titles we considered. Participants in our book discussions, held monthly March– December, also provided valuable insights. Thank you also to the staff in Creative Services at University Marketing who worked on this edition of Choices: Angela Barian, Kent Hamele, and Danielle Lawry. The CCBC student staff make so much possible as they handle many day- to-day responsibilities at the library and during the creation of Choices, including proofreading and other critical work in the final days of Choices production. The following individuals worked at the CCBC during 2019 and early 2020: Bailey Anderson, Anjali Beck (2020), Susannah Duncan Gilbert (2019), Alee Hill, Isabelle Ibibo, Melissa Juvinall (2019), Katie Killian, Stacy McCarthy, Alexis Paperman, Heather Phelps (2019), and Charmaine Sprengelmeyer-Podein. The majority of our reading forChoices takes place at home and so, finally, we thank our families for their ongoing patience with piles of books, their tolerance for spontaneous booktalks, and their understanding that we always have another book to read. Kathleen T. Horning, Merri V. Lindgren, Megan Schliesman, and Madeline Tyner Bios of the Choices authors are available on the CCBC web site. CCBC Choices 2020 5 Introduction We create CCBC Choices with Wisconsin school and public librarians and teachers in mind, to call their attention to great books published each year for their classroom teaching, and/or school and public library collections. In its role as a book examination center for the state of Wisconsin, the CCBC received review copies of approximately 3,900 new books for children and young adults published in 2019. This included the majority of the trade books published in English by large corporate publishers in the United States as well as books from some smaller U. S. and Canadian trade publishers, some U. S. educational publishers, and some small-press and independently published books. We don’t read all 3,900 books to create CCBC Choices, but we do read many books—hundreds and hundreds of books—throughout the year with this list in mind. We are looking for books that stand out to us for their literary and artistic quality, and books that offer unique or unusual content, especially when we know there is a need for and interest in books on a topic. We also strive to create a list of books that reflects the diverse identities, lives, and experiences of children and teens today. We are always learning when it comes to evaluating literature reflecting identities beyond our own, and are grateful to the essential work of critics and scholars of color and from First/Native Nations whose insights inform our understanding. This is not to suggest every book in Choices is a reflection of their specific opinions, but rather to acknowledge the importance of ongoing criticism, engagement, and reflection around issues of representation in children’s and young adult literature, and our own ongoing education as white librarians. We also strive to read, learn, and gain insights on representation around other aspects of identity beyond our own experiences. Ultimately, this is a list of consensus among the four of us. Each one of us brings different experiences, tastes, and perspectives to our reading and there are many books one or more of us appreciated that are not in this edition of CCBC Choices. Some are titles we didn’t all agree on; others are books we all liked, just not quite enough to make them a Choice. Additionally, sometimes a book arrived too late for us to consider it for inclusion. Sometimes, we simply missed a great read. But we are thrilled to highlight the 245 titles we have selected. One change we are making with this year’s edition of CCBC Choices is to identify the race/ethnicity of all fictional protagonists in the annotations. (We will not necessarily identify figures in historical fiction based on real people whose identities are known or can be determined.) This means you will see it noted when main characters are white as well as when they are people of color or from First/ Native Nations—which we have been identifying as specifically as possible for years. Our goal is to model moving away from “default white” thinking in which white is considered the “norm” that doesn’t need naming. We have already been noting picture book characters who are “brown-skinned” with no cultural specificity for years, in addition to calling out specific racial/ethnic identities when known. Now we will also indicate when a character is white, or appears white. In the case of fiction, this means sometimes having to make an educated guess when race/ethnicity is never named, and we appreciate the insights of critics, scholars, and book creators of color and from First/Native Nations who have helped inform our thinking about this. 6 Introduction CCBC Choices 2020 Publishing in 2019 As books came into the library, and as we read throughout the year, we made note of several big-picture observations that struck us. • There was a lot of nonfiction, and really good nonfiction at that! We were particularly happy to see an increase in substantial narrative nonfiction. From arresting memoirs (Infinite Hope, Ordinary Hazards, Shout,
Recommended publications
  • Making Pictures the Pinter Screenplays
    Joanne Klein Making Pictures The Pinter Screenplays MAKING PICTURES The Pinter Screenplays by Joanne Klein Making Pictures: The Pinter Screenplays Ohio State University Press: Columbus Extracts from F. Scott Fitzgerald, The Last Tycoon. Copyright 1941 Charles Scribner's Sons; copyright renewed. Reprinted with the permission of Charles Scribner's Sons. Extracts from John Fowles, The French Lieutenant's Woman. Copyright © 1969 by John Fowles. By permission of Little, Brown and Company. Extracts from Harold Pinter, The French Lieutenant's Woman: A Screenplay. Copyright © 1982 by United Artists Corporation and Copyright © 1982 by J. R. Fowles, Ltd. Extracts from L. P. Hartley, The Go-Between. Copyright © 1954 and 1981 by L. P. Hartley. Reprinted with permission of Stein and Day Publishers. Extracts from Penelope Mortimer, The Pumpkin Eater. © 1963 by Penelope Mortimer. Reprinted by permission of the Harold Matson Company, Inc. Extracts from Nicholas Mosley, Accident. Copyright © 1965 by Nicholas Mosley. Reprinted by permission of Hodder and Stoughton Limited. Copyright © 1985 by the Ohio State University Press All Rights Reserved Library of Congress Cataloging in Publication Data Klein, Joanne, 1949­ Making pictures. Bibliography: p. Includes index. 1. Pinter, Harold, 1930- —Moving-picture plays. I. Title. PR6066.I53Z713 1985 822'.914 85-326 Cloth: ISBN 0-8142-0378-7 Paper: ISBN 0-8142-0400-7 for William I. Oliver Contents Acknowledgments ix Chronology of Pinter's Writing for Stage and Screen xi 1. Media 1 2. The Servant 9 3. The Pumpkin Eater 27 4. The Quiller Memorandum 42 5. Accident 50 6. The Go-Between 77 1. The Proust Screenplay 103 8.
    [Show full text]
  • The History/Literature Problem in First World War Studies Nicholas Milne-Walasek Thesis Submitted to the Faculty of Graduate
    The History/Literature Problem in First World War Studies Nicholas Milne-Walasek Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for a doctoral degree in English Literature Department of English Faculty of Arts University of Ottawa © Nicholas Milne-Walasek, Ottawa, Canada, 2016 ii ABSTRACT In a cultural context, the First World War has come to occupy an unusual existential point half- way between history and art. Modris Eksteins has described it as being “more a matter of art than of history;” Samuel Hynes calls it “a gap in history;” Paul Fussell has exclaimed “Oh what a literary war!” and placed it outside of the bounds of conventional history. The primary artistic mode through which the war continues to be encountered and remembered is that of literature—and yet the war is also a fact of history, an event, a happening. Because of this complex and often confounding mixture of history and literature, the joint roles of historiography and literary scholarship in understanding both the war and the literature it occasioned demand to be acknowledged. Novels, poems, and memoirs may be understood as engagements with and accounts of history as much as they may be understood as literary artifacts; the war and its culture have in turn generated an idiosyncratic poetics. It has conventionally been argued that the dawn of the war's modern literary scholarship and historiography can be traced back to the late 1960s and early 1970s—a period which the cultural historian Jay Winter has described as the “Vietnam Generation” of scholarship.
    [Show full text]
  • Haiku in Britain
    Haiku in Britain Theory, Practice, Context by Martin Lucas Thesis submitted for the degree of PhD at the University of Wales, Cardiff April2001 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed F!.\Q.~~ ~.~s.: (candidate) Date·············..·..9.··..·····hf0.\··..···..~~·J······..···.. STATEMENT1 This thesis is the result of my own investigation, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed ~~~r.- ~ ..~.~ (candidate) Date 5 ~.o..~ k.~..L .. STATEMENT2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. signed ~9.-:.r.hD. ~ ..~ (candidate) Date 3 ~.:,;~ U..9.1 . II Acknowledgements and Dedications Thanks are due to Dr John Freeman, my supervisor, for his critical insights and his constant encouragement, and to Mr Norman Schwenk, Creative Writing convenor, for seeing the value in the project from the beginning. I also thank all the members of my family, in particular my brother David, for his moral support, and my brother Peter, for his example. Nori, my wife, also showed great patience with the project, and acted as Japanese consultant'. Although my meetings with my fellow Creative Writing PhD students have been infrequent, I have deep appreciation for their companionship on the journey. The influence and inspiration of other haiku poets, in Britain and, indeed, around the world, has been an immense asset. They have loaned me much essential reading material, walked with me on desolate mountain-tops, and in sharing their enthusiasm they have brought joy to my life.
    [Show full text]
  • Murder-Suicide Ruled in Shooting a Homicide-Suicide Label Has Been Pinned on the Deaths Monday Morning of an Estranged St
    -* •* J 112th Year, No: 17 ST. JOHNS, MICHIGAN - THURSDAY, AUGUST 17, 1967 2 SECTIONS - 32 PAGES 15 Cents Murder-suicide ruled in shooting A homicide-suicide label has been pinned on the deaths Monday morning of an estranged St. Johns couple whose divorce Victims had become, final less than an hour before the fatal shooting. The victims of the marital tragedy were: *Mrs Alice Shivley, 25, who was shot through the heart with a 45-caliber pistol bullet. •Russell L. Shivley, 32, who shot himself with the same gun minutes after shooting his wife. He died at Clinton Memorial Hospital about 1 1/2 hqurs after the shooting incident. The scene of the tragedy was Mrsy Shivley's home at 211 E. en name, Alice Hackett. Lincoln Street, at the corner Police reconstructed the of Oakland Street and across events this way. Lincoln from the Federal-Mo­ gul plant. It happened about AFTER LEAVING court in the 11:05 a.m. Monday. divorce hearing Monday morn­ ing, Mrs Shivley —now Alice POLICE OFFICER Lyle Hackett again—was driven home French said Mr Shivley appar­ by her mother, Mrs Ruth Pat­ ently shot himself just as he terson of 1013 1/2 S. Church (French) arrived at the home Street, Police said Mrs Shlv1 in answer to a call about a ley wanted to pick up some shooting phoned in fromtheFed- papers at her Lincoln Street eral-Mogul plant. He found Mr home. Shivley seriously wounded and She got out of the car and lying on the floor of a garage went in the front door* Mrs MRS ALICE SHIVLEY adjacent to -• the i house on the Patterson got out of-'the car east side.
    [Show full text]
  • Kristina Reed Joins the Madison Square Garden Company As Senior Vice President, Creative Development and Strategy
    Kristina Reed Joins the Madison Square Garden Company as Senior Vice President, Creative Development and Strategy July 22, 2019 NEW YORK, July 22, 2019 (GLOBE NEWSWIRE) -- The Madison Square Garden Company (NYSE:MSG) today announced that Academy Award- winning producer and creator, Kristina Reed, has joined MSG as Senior Vice President, Creative Development and Strategy. In this newly-created position, Ms. Reed will drive the development of creative content for the Company’s state-of-the-art MSG Sphere venues, which will utilize cutting-edge, immersive technology and compelling, multi-sensory storytelling to revolutionize the entertainment experience. Kristina Reed Joins The Madison Square Garden Company As Senior Vice President, Creative Development And Strategy Ms. Reed will be responsible for developing and implementing a slate of content for MSG Sphere venues, from conception to execution. She will work closely with internal and external teams to identify, evaluate and oversee creative development prospects; greenlight content to production; and establish and develop a sustainable digital pipeline for content delivery. Ms. Reed will be charged with developing these projects for both MSG Sphere, as well as other commercial clients. MSG anticipates that the first MSG Sphere, which is currently under construction in Las Vegas, will be completed during calendar year 2021, followed by the second MSG Sphere in London, which is expected approximately a year later, pending necessary approvals. Ms. Reed will report to Jennifer Vogt, President, Creative Content and Production, who recently joined MSG to oversee MSG’s overall content strategy and development for MSG Sphere and other production assets. Ms. Vogt joined MSG from Walt Disney Imagineering after successfully spearheading show design and production for Star Wars, “Galaxy’s Edge,” Disney’s largest single-themed land expansion in its history.
    [Show full text]
  • Public Advocate Runoff Election on Tuesday
    Twitter.com Facebook.com/ Volume 59, No. 121 TUESDAY, OCTOBER 1, 2013 w BrooklynEagle.com BrooklynEagle @BklynEagle 50¢ BROOKLYN TODAY DUMBO Arts OCT.1 Fest: Arts From Good morning. Today is the 284th day of the year. The Brooklyn Daily Eagle Many Cultures, of Oct. 1, 1899, carried an advertisement from J. Con- klin and Sons, a Brooklyn high-end retailer. Adver- And Zany Fun tised were “rich black ART IN ITS MYRIAD FORMS silks,” “colored novelty silks,” plaids, broadcloths, took over DUMBO’s streets, camel hair fabric and “the garages, galleries and stu- latest McCall’s patterns for dios this weekend at the 10 and 15 cents.” DUMBO Arts Festival, and thousands visited the Well-known people who neighborhood to take in were born today include the sights and sounds. A singer-actress Julie Andrews joyous Bubbles of Hope (“Mary Poppins”), Hall of procession spilled over the Fame baseball player Rod entire neighborhood, and Carew, former President Jimmy Carter, former base- local artists opened their ball player Mark McGwire seldom-seen studios to and actor Randy Quaid the public. See more pho- (“Brokeback Mountain,” tos, page 5. “Independence Day”). Photo by Mary Frost BOOK BEAT Public Advocate Runoff Election on Tuesday By Mary Frost position can be a powerful one: Brooklyn Daily Eagle the public advocate is second On Tuesday Democrats in line should the mayor be- are voting in the runoff elec- come sick or incapacitated, and tion primary for New York the position is seen as a step- City public advocate. pingstone for a future run for Leticia James, (currently the Mayor’s office.
    [Show full text]
  • To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
    To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation.
    [Show full text]
  • Courts-Metrages
    COURTS-METRAGES vieux dessins animés libres de droits (Popeye, Tom et Jerry, Superman…) : https://archive.org/details/animationandcartoons page d’accueil (adultes et enfants (films libres de droit) : https://www.apar.tv/cinema/700-films-rares-et-gratuits-disponibles-ici-et-maintenant/ page d’accueil : https://films-pour-enfants.com/tous-les-films-pour-enfants.html page d’accueil : https://creapills.com/courts-metrages-animation-compilation-20200322 SELECTION Un film pour les passionnés de cyclisme et les nostalgiques des premiers Tours de France. L'histoire n'est pas sans rappeler la réelle mésaventure du coureur cycliste français Eugène Christophe pendant la descente du col du Tourmalet du Tour de France 1913. Eugène Christophe cassa la fourche de son vélo et marcha 14 kilomètres avant de trouver une forge pour effectuer seul la réparation, comme l'imposait le règlement du Tour. Les longues moustaches du héros sont aussi à l'image d'Eugène Christophe, surnommé "le Vieux Gaulois". (7minutes , comique) https://films-pour-enfants.com/fiches-pedagogiques/14.html pickpocket Une course-poursuite rocambolesque. (1minute 27) https://films-pour-enfants.com/fiches-pedagogiques/korobushka.html salles gosses (1 minutes 30) Oui, les rapaces sont des oiseaux prédateurs et carnivores ! Un film comique et un dénouement surprenant pour expliquer aux enfants l'expression "être à bout de nerfs". https://films-pour-enfants.com/fiches-pedagogiques/sales-gosses.html i am dyslexic (6 minutes 20) Une montagne de livres ! Une très belle métaphore de la dyslexie et des difficultés que doivent surmonter les enfants dyslexiques. https://films-pour-enfants.com/fiches-pedagogiques/i-am-dyslexic.html d'une rare crudité et si les plantes avaient des sentiments (7 minutes 45) Un film étrange et poétique, et si les plantes avaient des sentiments.
    [Show full text]
  • ©2014 Disney ©2014 Disney Enterprises, Inc
    ©2014 Disney ©2014 Disney Enterprises, Inc. All Rights Reserved. Disney.com/Neverbeast STORY Story Artists TROY ADOMITIS JOHN D. ANDERSON TOM BERNARDO EMMANUEL DELIGIANNIS RYAN GREEN DAVID KNOTT JIHYUN PARK ROBB PRATT LYNDON RUDDY SEUNG-HYUN OH SHANE ZALVIN Creative Development ............................VICKI LETIZIA PRODUCTION Production Managers ..................... JARED HEISTERKAMP JASON I. STRAHS Directed by ........................................ STEVE LOTER Production Coordinators ........................JILLIAN GOMEZ Produced by ...........................MICHAEL WIGERT, p.g.a. AMY PIJANOWSKI Executive Producer .............................JOHN LASSETER BARBRA PUSHIES Story by ........................................... STEVE LOTER ALLIE RUSSELL and TOM ROGERS Production Finance Lead ........................ TANYA SELLERS Screenplay by .................................... TOM ROGERS Production Secretary ....................... BRIAN MCMENAMIN and ROBERT SCHOOLEY & MARK MCCORKLE DESIGN and KATE KONDELL Original Score Composed by ..................... JOEL MCNEELY Character Design .............................RITSUKO NOTANI Editor ..........................................MARGARET HOU ELSA CHANG Art Director .....................................ELLEN JIN OVER DAVID COLMAN Animation Supervisor .................... MICHAEL GREENHOLT BOBBY CHIU Head of Story ................................. LAWRENCE GONG KEI ACEDERA CG Supervisor ...................................... MARC ELLIS Associate Producer ......................TIMOTHY
    [Show full text]
  • JALETOVA VENERA Stereoskopska 3D Animirana Skulptura
    UNIVERZITET UMETNOSTI U BEOGRADU Interdisciplinarne studije Digitalna umetnost Doktorski umetnički projekat: JALETOVA VENERA Stereoskopska 3D animirana skulptura autor: mr Igor Kekeljević mentor: mr Rastko Ćirić, redovni profesor Beograd, januar 2016. SAŽETAK Kratkometražni animirani film Jaletova Venera je inspirisan skulpturama Ljubodraga Jankovića ​ Jaleta, našeg poznatog slikara starije generacije (rođ. 1932) i profesora Fakulteta primenjenih umetnosti Univerziteta umetnosti u Beogradu. Od pedesetih godina prošlog veka bavi se crtežom, slikarstvom, grafikom i skulpturom. Jaletove skulpture prikazuju figure žena. Figure imaju čudesan šarm, dostojanstvenost i lepotu, u formi koja nije realistična, već redukovana na skup skladno komponovanih oblina i prostornih masa. Način stilizacije i jednostavnost formi ostvaruju utisak neočekivane monumentalnosti za dela manjih dimenzija. Na njima je vidljivo bogatstvo raznih stilskih uticaja, koji kao da obuhvataju celokupno iskustvo čovečanstva u predstavljanju ženskog tela u skulpturi, od paleolita, preko arhajske skulpture, renesanse, Pikasa, Mura, narodne umetnosti, a sve složeno u jedan autentičan autorski rukopis. U projektu Jaletova Venera, skulpture navedenog ​ ​ autora su prenesene u medij 3D animacije, sa ciljem da se potpunije razume ova oblikovna metoda animacije, ali i da se istraži odnos skulpture i 3D grafike, i uporede njihove sličnosti, razlike i uticaji. Teorijsko­istraživački rad u ovom projektu se zasniva, pre svega, na proučavanju literature i analizi primera. Osnovni teorijski
    [Show full text]
  • GSC Films: S-Z
    GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.
    [Show full text]
  • Meiermovies Short Films A-Z
    MeierMovies Short Films A-Z Theatrically released motion pictures of 40 minutes or less Before perusing this list, I suggest reading my introduction to short films at the beginning of my By Star Rating list. That introduction will help explain my star choices and criteria. For a guide to colors and symbols, see Key. Movie Stars Location seen (if known) Year Director A A.D. 1363, The End of Chivalry 2 Florida Film Festival 2015 2015 Jake Mahaffy A la Francaise 3 Enzian (Oscar Shorts) 2013 Hazebroucq/Leleu/Boyer/Hsien/Lorton The Aaron Case 3 Enzian (FilmSlam 5/16) 2015 Sarah Peterson Aashpordha (Audacity) FL 2 Enzian (South Asian FF) 2011 Anirban Roy Abandoned Love 2 Enzian (Brouhaha 2014) 2014 Sarah Allsup ABC FL 1 Florida Film Festival 2014 2014 Nanna Huolman Abnie Oberfork: A Tale of Self-Preservation 0 Florida Film Festival 2018 2017 Shannon Fleming Abortion Helpline, This Is Lisa 3 Florida Film Festival 2020 2019 Barbara Attie/Janet Goldwater/Mike Attie Abiogenesis 2 Enzian (Oscar Shorts) 2012 Richard Mans The Absence of Eddy Table 4 Florida Film Festival 2017 2016 Rune Spaans Acabo de Tener un Sueño (I’ve Just Had a Dream) FL 3 Love Your Shorts 2016 2014 Javi Navarro Accidents, Blunders and Calamities 1 Florida Film Festival 2016 2015 James Cunningham Accordion Player Sl 1 1888 Louis Le Prince The Accountant 0 Enzian (FilmSlam 10/15) 2015 Stephen Morgan/Alex Couch Achoo 2 Oscar Shorts 2018 2018 L. Boutrot/E. Carret/M. Creantor Acide FL 2 Orlando International FF 2020 2018 Just Philippot Acoustic Ninja 2 Enzian (Brouhaha 2016) 2016 Robert Bevis Ace in the Hole 0 Orlando Film Festival 2013 2013 Wesley T.
    [Show full text]