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Youth Clarence Brown Theatre Clarence Brown Theatre
YOUTH CLARENCE BROWN THEATRE CLARENCE BROWN THEATRE he Clarence Brown Theatre Company is a professional theatre company in residence at the University of Tennessee at Knoxville. Founded in 1974 by Sir Anthony Quayle and Dr. Ralph G. Allen, the company is a member Tof the League of Resident Theatres (LORT) and is the only professional LORT company within a 150-mile radius of Knoxville. The University of Tennessee is one of a select number of universities nationwide that are affiliated with a professional LORT theatre, allowing students regular opportunities to work alongside professional actors, directors, designers, dramaturgs, and production artists. The theatre was named in honor of Knoxville native and University of Tennessee graduate, Clarence Brown, the distinguished MGM director of such beloved films as “The Yearling” and “National Velvet”. In addition to the 575-seat proscenium theatre, the CBT’s facilities house the costume shop, electrics department, scene shop, property shop, actors’ dressing quarters, and a 100-seat Lab Theatre. The Clarence Brown Theatre Company also utilizes the Ula Love Doughty Carousel Theatre, an arena theatre with flexible seating for 350, located next to the CBT on the University of Tennessee campus. The Clarence Brown Theatre has a 19-member resident faculty, headed by Calvin MacLean, and 25 full-time management and production staff members. SEASON FOR YOUTH t the Clarence Brown Theatre, we recognize the positive impact that the performing arts have on young people. We are pleased to continue our commitment to providing high-quality theatre for young audiences Awith our 2013-2014 Season for Youth performances. -
Feel Films / Resen «Cine Clásico Exclusivamente En
JOAN CRAWFORD EN ASÍ AMA LA MUJER vamente. La gran mayoría de sus films en MGM (SADIE MCKEE) (V.O.S.). UNA PELÍCULA durante la década de 1930, que representan el DE CLARENCE BROWN cénit de su éxito, belleza y popularidad, ni Título: Así ama la mujer siquiera llegaron a estrenarse en España. Los Distribuidora: Feel Films / Resen «Cine motivos de esta omisión son diversos, pero po- Clásico Exclusivamente en V.O.S.» drían resumirse en uno: Crawford fue en esencia Zona: 2 una estrella y un fenómeno 100% norteameri- Contenido: Un disco cano. Formato de imagen: 4:3 / 1.33:1 Sadie McKee no es ninguna excepción a este Audio: Dolby Digital Mono inglés respecto, si bien se constituye como una de las Subtítulos: castellano, portugués cintas más significativas de la segunda parte de Contenido extra: tráiler original su filmografía, ya en la época sonora. La actriz Precio: 15,65 € ingresó en el celuloide, contratada por MGM, en 1925. Tras una serie de pequeñas apariciones, el estudio decidió lanzarla en 1928 como la quin- taesencia de la modernidad, interpretando a la flapper propia de los años 20. El hundimiento de la bolsa de Wall Street en 1929 sumió al país en el desempleo, la pobreza y el hambre, y tanto MGM como la estrella comprendieron que se había acabado la etapa de la «virgen moderna». Debía crearse para ella otro tipo de personalidad, acorde con los nuevos tiempos de la Depresión: la working girl (chica trabajadora), personaje inspirado en su biografía personal y orígenes sociales humildes. El film que inauguró esta ten- dencia fue Amor -
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. -
MGM Studio News (January 14, 1939)
. STUDIO NEWS Eddie Cantor Signed by M-G-M Star in Big Musical Comedy 'PIP ID -J Sf g W To Eddie Cantor will return to the screen under the banner of Metro- Goldwyn-Mayer. A contract just signed assures exhibitors at least Published In the Interests of Metro-Goldwyn-Mayer Pictures Studios one big Cantor musical comedy during 1939 with the star of “Kid VOL. V—CULVER CITY, CALIFORNIA, SATURDAY, JANUARY 14, 1939— No. 13 Boots,” “Whoopee,” “The Kid from Spain” and “Roman Scandals.” Although Cantor has not made a picture since “Ali Baba Goes to Town,” devoting Title Is Changed for all his time to radio, his activity on the New Nelson Eddy Film air has kept him closely associated with the As this issue of Studio News goes screen. to press, announcement is made His personal appear- that a new title has been chosen ances have been terrific for “Song of the West,’’ the Metro- successes in the Goldwyn-Mayer production star- and ring Nelson Eddy, with Virginia course of his radio work Bruce and Victor McLaglen. The he has constantly kept picture will be released as “The his audiences picture- Dusty Road.” minded with his screen discoveries. The latest is Cantor Terry Kilburn, the English boy actor who Wallace Beery scored in “Lord Jeff” and “Christmas Carol.” Cantor also was responsible to a Starts Work On great degree for the careers of Deanna Durbin and Bobby Breen. °Sergt. Madden' Detailed plans for Cantor’s first picture under his contract with M-G-M will be With “Stand Up and Fight” on its announced shortly. -
Occupational Therapy and Autism You Have To, Want To, Or Need to Do Across the Day
Nov. 2011 E Issue 3 Autism Services, Saskatoon A Message from the Executive Director by Shannon Friesen-Zook he early signs of winter are upon us and and with all families on the membership, nurtur- another year will soon draw to an end. It is ing a deep sense of commitment. Today, exponen- time for reflection: to think back on what tial growth at Autism Services has forced a change in Thas happened in the past and turn our thoughts to that degree of connectedness, leaving some lingering the future. During my three-week break from the adjustment issues for all of us. office, I had ample time to reflect on the happenings at Autism Services. I remember a time—in the not so As the Executive Director, I want to ensure that, distant past—when we were 6–7 staff stacked 3 high as we have grown and hopefully continue to grow, in 2 small offices. Now, walking down the long, cav- Autism Services remains committed to the families ernous halls of Autism Services, I am struck by the we are honoured and privileged to serve. I do not numerous office doors that seem to stretch on and want to lose sight of what is happening at the “grass on, along with a staff that numbers nearly 30. roots level.” My heart and my door remain open to While all expansion has been positive and trans- you. Share with me what we can do to assist you in lates to increased services for children with Autism, your journey. Call or stop by for a chat and a cup of I also feel a twinge of sadness laced with nostalgia. -
Alabama Story” to Play on the Clarence Brown Mainstage Jan
For immediate release: Contact: Robin Conklin [email protected] (865) 974-2497 For Immediate Release: “Alabama Story” to Play On the Clarence Brown Mainstage Jan. 31 – Feb. 18 The Clarence Brown Theatre kicks off the second half of the season with Kenneth Jones’ “Alabama Story,” January 31 – February 18, 2018 on the CBT mainstage. The production is sponsored by Schaad Companies with additional support from the City of Knoxville, Humanities Tennessee, the Knox County Public Library, and the Knoxville and Tennessee Valley YWCA. Media sponsors are WBIR, WUOT, WUTK, B97.5, the Daily Beacon, and the Knoxville News Sentinel. A Pay What You Wish Preview performance, where patrons can name their own price, will be Wednesday, January 31st. Tickets available for purchase from 4:00 to 7:30 pm at the theatre. A Talk Back with the actors will take place Sunday, February 11 following the matinee. The Open Captioned performance is Sunday, February 18 at 2:00 pm. In addition, several community engagement events will take place in conjunction with this production. On Sunday, Feb. 4th, a free panel discussion on this issue of censorship will take place from 2:00-4:00 pm at the Lawson McGhee Library. On Tuesday, Feb. 6th a reception with playwright Kenneth Jones will take place on the CBT Mainstage from 6:30 -7:00 pm, followed by a free staged reading of select censored children’s books. On Tuesday, February 13 from 6:00 – 7:00 pm, a CBT Family Feast will take place from 6:00-7:00 pm prior to the 7:30 production of “Alabama Story.” A gentle children’s book that stirs the passions of a segregationist senator and a no-nonsense state librarian in 1959 Montgomery, just as the Civil Rights Movement is flowering. -
Amdi Case Study
AWARE. PREPARED. READY TO RESPOND. Designing, executing and measuring the impact of a multi-channel market development campaign to raise anaphylaxis awareness across unique target audiences. Network.com CREATING A TARGETED ANAPHYLAXIS AWARENESS CAMPAIGN STRATEGY In 2011, as a result of several high profile anaphylaxis fatalities in school, EpiPen® maker Mylan and it’s marketing partner Pfizer Inc made a strategic decision to embark on an initiative to raise severe allergy awareness and influence state policy makers to pass laws legalizing access to epinephrine auto injectors in places of learning. In addition to supporting policy changes in several states, Pfizer and Mylan were also looking to further develop the marketplace through unbranded alliance partner programs. In early 2012, they turned to DMW Network partners to design a precision targeted, direct response strategy that could be tracked, measured and adapted over a two-year campaign period. DMW Network, in conjunction with Pfizer and Mylan identified leading third-party partners from the employee health, workplace safety, medical, patient advocacy and education communities. Each partner provided direct access to highly qualified targets that could act as message ambassadors and influence school or workplace health policy. Over a two-year span, DMW Network partners executed a series of unbranded multi-media micro-campaigns, focused on anaphylaxis preparedness, awareness and emergency response. Each micro-campaign placed an emphasis on ensuring that families, schools and workplaces had access to epinephrine auto-injectors and that key personnel were trained to use them effectively in an anaphylaxis emergency. OVERVIEW | 2 Network.com OVERVIEW | 2 PARTNERING WITH PATIENTS TO SHARE THEIR STORIES In early 2012, DMW Network partners coordinated with The Food Allergy & Anaphylaxis Network (FAAN) to develop an online PSA campaign highlighting compelling patient and family stories. -
Red and White on the Silver Screen: the Shifting Meaning and Use of American Indians in Hollywood Films from the 1930S to the 1970S
RED AND WHITE ON THE SILVER SCREEN: THE SHIFTING MEANING AND USE OF AMERICAN INDIANS IN HOLLYWOOD FILMS FROM THE 1930s TO THE 1970s a dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Bryan W. Kvet May, 2016 (c) Copyright All rights reserved Except for previously published materials Dissertation Written by Bryan W. Kvet B.A., Grove City College, 1994 M.A., Kent State University, 1998 Ph.D., Kent State University, 2015 Approved by ___Kenneth Bindas_______________, Chair, Doctoral Dissertation Committee Dr. Kenneth Bindas ___Clarence Wunderlin ___________, Members, Doctoral Dissertation Committee Dr. Clarence Wunderlin ___James Seelye_________________, Dr. James Seelye ___Bob Batchelor________________, Dr. Bob Batchelor ___Paul Haridakis________________, Dr. Paul Haridakis Accepted by ___Kenneth Bindas_______________, Chair, Department of History Dr. Kenneth Bindas ___James L. Blank________________, Dean, College of Arts and Sciences Dr. James L. Blank TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES………………………………………………………………………v ACKNOWLEDGEMENTS……………………………………………………………...vii CHAPTERS Introduction………………………………………………………………………1 Part I: 1930 - 1945 1. "You Haven't Seen Any Indians Yet:" Hollywood's Bloodthirsty Savages……………………………………….26 2. "Don't You Realize this Is a New Empire?" Hollywood's Noble Savages……………………………………………...72 Epilogue for Part I………………………………………………………………..121 Part II: 1945 - 1960 3. "Small Warrior Should Have Father:" The Cold War Family in American Indian Films………………………...136 4. "In a Hundred Years it Might've Worked:" American Indian Films and Civil Rights………………………………....185 Epilogue for Part II……………………………………………………………….244 Part III, 1960 - 1970 5. "If Things Keep Trying to Live, the White Man Will Rub Them Out:" The American Indian Film and the Counterculture………………………260 6. -
Navigation, Search My Name Is Khan Theatrical Poster Directed By
My Name Is Khan From Wikipedia, the free encyclopedia Jump to: navigation, search My Name Is Khan Theatrical Poster Directed by Karan Johar Produced by Hiroo Yash Johar Gauri Khan Written by Story and Screenplay: Shibani Bathija Dialogues: Shibani Bathija Niranjan Iyengar Starring Shahrukh Khan Kajol Music by ShankarEhsaanLoy Cinematography Ravi K. Chandran Editing by Deepa Bhatia Distributed by Fox Searchlight Pictures Release date(s) 12 February 2010 (global)[1] Running time 161 minutes [1] Country India Language Hindi/Urdu English Budget Rs. 380 million[2] US$ 8.18 million Buyover: Rs. 1 billion US$ 21.53 million My Name Is Khan (Hindi: ??? ??? ??? ????) is a 2010 Bollywood film directed by K aran Johar, with a screenplay by Shibani Bathija, produced by Hiroo Yash Johar a nd Gauri Khan, and starring Shahrukh Khan and Kajol.[3][4] It is overseen by bot h Dharma Productions and Red Chillies Entertainment and will be distributed by F OX Star Entertainment, which bought the rights for the film for the sum of Rs. 1 00 crores, thus becoming the second most expensive Bollywood film, behind Blue.[ 5] Cinematography is by Ravi K. Chandran, ShankarEhsaanLoy composed the film's score, choreography is by Farah Khan, and lyrics were written by Niranjan Iyeng ar.[6] Visual Effects are by Red Chillies VFX. My Name is Khan debuted in Abu Dhabi, UAE on 10 February 2010.[7] It released gl obally in theaters on 12 February 2010.[1] It will also be screened as part of t he 60th Berlin International Film Festival's Official Selection that same month. -
Bessemer, Michigan
60 percent chance of rain and snow High: 43 | Low: 35 | Details, page 2 DAILY GLOBE yourdailyglobe.com Friday, October 18, 2013 75 cents Mercer residents AUTUMN REFLECTIONS Wording for McDonald question Aging Unit board recall petition approved By RALPH ANSAMI would be next May. n Claim two [email protected] In her second effort to BESSEMER — The Gogebic approve language for the bal- members have County Election Commission lot, Graham alleged: served past term Thursday approved language —McDonald misled voters, limits for a ballot on whether Bill telling them to vote no on a M c D o n a l d bond issue and to vote for plan By KATIE PERTTUNEN should be B, when there was no plan B. [email protected] recalled from —Disregarded the school HURLEY — Iron County’s the Bessemer district’s bidding process by Aging Unit board heard from School Board. giving out premature informa- two Mercer residents at its Sheri Gra- tion to a contractor without the Thursday morning meeting at ham, a fellow board’s knowledge. the senior center. school mem- —Used foul language at Victor Ouimette claimed two ber who is board meetings, even though board members are serving in attempting to being warned not to do so by violation of a Wisconsin statute, oust McDon- board presidents. past their six-year term limits, ald from Bill All three allegations were which calls everything the board office, will McDonald included in Graham’s first does into question. “There is no now have 180 effort to get recall language right way to do a wrong thing,” days to collect signatures for a Ouimette said. -
Restitution's Outlaws
Chicago-Kent Law Review Volume 78 Issue 1 Symposium: Private Law, Punishment, Article 3 and Disgorgement April 2003 Restitution's Outlaws Andrew Kull Follow this and additional works at: https://scholarship.kentlaw.iit.edu/cklawreview Part of the Law Commons Recommended Citation Andrew Kull, Restitution's Outlaws, 78 Chi.-Kent L. Rev. 17 (2003). Available at: https://scholarship.kentlaw.iit.edu/cklawreview/vol78/iss1/3 This Article is brought to you for free and open access by Scholarly Commons @ IIT Chicago-Kent College of Law. It has been accepted for inclusion in Chicago-Kent Law Review by an authorized editor of Scholarly Commons @ IIT Chicago-Kent College of Law. For more information, please contact [email protected], [email protected]. RESTITUTION'S OUTLAWS ANDREW KULL* INTRODUCTION Restitution, meaning the law of unjust enrichment, is not sup- posed to be punitive in purpose or effect., The first Restatement of Restitution treats this proposition as axiomatic: Actions for restitution have for their primary purpose taking from the defendant and restoring to the plaintiff something to which the plaintiff is entitled, or if this is not done, causing the de- fendant to pay the plaintiff an amount which will restore the plain- tiff to the position in which he was before the defendant received the benefit. If the value of what was received and what was lost were always equal, there would be no substantial problem as to the amount of recovery, since actions of restitution are not punitive.2 As an observation this is much more true than false, and in the contexts where it is typically repeated it conveys a useful reminder. -
P-26 Motion Picture Collection Repository: Seaver Center For
P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings.