Syracuse University S.I. Newhouse School of Public Communications Spring 2007 Vol
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The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960S Promotional Featurettes
The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960s Promotional Featurettes by DANIEL STEINHART Abstract: Before making-of documentaries became a regular part of home-video special features, 1960s promotional featurettes brought the public a behind-the-scenes look at Hollywood’s production process. Based on historical evidence, this article explores the changes in Hollywood promotions when studios broadcasted these featurettes on television to market theatrical films and contracted out promotional campaigns to boutique advertising agencies. The making-of form matured in the 1960s as featurettes helped solidify some enduring conventions about the portrayal of filmmaking. Ultimately, featurettes serve as important paratexts for understanding how Hollywood’s global production work was promoted during a time of industry transition. aking-of documentaries have long made Hollywood’s flm production pro- cess visible to the public. Before becoming a staple of DVD and Blu-ray spe- M cial features, early forms of making-ofs gave audiences a view of the inner workings of Hollywood flmmaking and movie companies. Shortly after its formation, 20th Century-Fox produced in 1936 a flmed studio tour that exhibited the company’s diferent departments on the studio lot, a key feature of Hollywood’s detailed division of labor. Even as studio-tour short subjects became less common because of the restructuring of studio operations after the 1948 antitrust Paramount Case, long-form trailers still conveyed behind-the-scenes information. In a trailer for The Ten Commandments (1956), director Cecil B. DeMille speaks from a library set and discusses the importance of foreign location shooting, recounting how he shot the flm in the actual Egyptian locales where Moses once walked (see Figure 1). -
Why Hollywood Isn't As Liberal As We Think and Why It Matters
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2019 Why Hollywood Isn't As Liberal As We Think nda Why It Matters Amanda Daily Claremont McKenna College Recommended Citation Daily, Amanda, "Why Hollywood Isn't As Liberal As We Think nda Why It Matters" (2019). CMC Senior Theses. 2230. https://scholarship.claremont.edu/cmc_theses/2230 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. 1 Claremont McKenna College Why Hollywood Isn’t As Liberal As We Think And Why It Matters Submitted to Professor Jon Shields by Amanda Daily for Senior Thesis Fall 2018 and Spring 2019 April 29, 2019 2 3 Abstract Hollywood has long had a reputation as a liberal institution. Especially in 2019, it is viewed as a highly polarized sector of society sometimes hostile to those on the right side of the aisle. But just because the majority of those who work in Hollywood are liberal, that doesn’t necessarily mean our entertainment follows suit. I argue in my thesis that entertainment in Hollywood is far less partisan than people think it is and moreover, that our entertainment represents plenty of conservative themes and ideas. In doing so, I look at a combination of markets and artistic demands that restrain the politics of those in the entertainment industry and even create space for more conservative productions. Although normally art and markets are thought to be in tension with one another, in this case, they conspire to make our entertainment less one-sided politically. -
URGENT! PLEASE DELIVER Published by Access Intelligence, LLC, Tel: 301-354-2101
URGENT! PLEASE DELIVER www.cablefaxdaily.com, Published by Access Intelligence, LLC, Tel: 301-354-2101 5 Pages Today Friday — May 15, 2009 Volume 20 / No. 092 Get It Right: Former FCC Heads Weigh In on Broadband Policy No matter where they sit on the political spectrum, panelists at Free Press’ “Changing Media” Summit in DC agreed that the country’s broadband policy is a big deal. Putting together the plan, on which the FCC is taking comments until June 8, is another matter. “National broadband policy should be in the office of the President, not at the FCC,” former FCC chmn Michael Powell said. His reasoning is that broadband will be key in solving national problems—health care, the economy, etc. Powell, a Republican and Bush nominee, argued that the previous administration never committed to a broadband policy. “I’m much more encouraged that our current president speaks of it, but I think it being developed inside a regulatory agency is fundamentally a mistake,” he said, complaining that the FCC is saddled with a severe amount of regulatory restraint. Another former FCC chmn at the summit, Clinton appointee Reed Hundt, also stressed the signifi cance of upcoming broadband decisions. “In my view, the biggest single impact on future communications in America consist of the choice made by Commerce and the Dept of Agriculture on spending of the broadband stimulus,” he said. Meanwhile, Hundt called a myth the notion that the $7.2bln in funds provided for broadband stimulus are insuf- fi cient. If the money is divided into tiny little grants with no coordinated purpose, then no, it doesn’t go far, he said—but done right, “this is more than enough to completely alter the structure of broadband in America for 50 years.” For ex- ample, if used for loan guarantees, the $7.2bln would represent $70bln, which would mean $140bln in new cap ex, he said. -
Signature Redacted
Perspectives on Film Distribution in the U.S.: Present and Future By Loubna Berrada Master in Management HEC Paris, 2016 SUBMITTED TO THE MIT SLOAN SCHOOL OF MANAGEMENT IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN MANAGEMENT STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2016 OFTECHNOLOGY 2016 Loubna Berrada. All rights reserved. JUN 08 201 The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic LIBRARIES copies of this thesis document in whole or in part ARCHIVES in any medium now known or hereafter created. Signature of Author: Signature redE cted MIT Sloan School of Management May 6, 2016 Certified by: Signature redacted Juanjuan Zhang Epoch Foundation Professor of International Management Professor of Marketing MIT Sloan School of Management Thesis Supervisor Accepted by: Signature redacted Rodrigo S. Verdi Associate Professor of Accounting Program Director, M.S. in Management Studies Program MIT Sloan School of Management 2 Perspectives on Film Distribution in the U.S.: Present and Future By Loubna Berrada Submitted to MIT Sloan School of Management on May 6, 2016 in Partial fulfillment of the requirements for the Degree of Master of Science in Management Studies. Abstract I believe film has the power to transform people's lives and minds and to enlighten today's generation like any other medium. This is why I wanted to write my thesis about film distribution as it will determine the future of the industry itself. The way films are distributed, accessed and consumed will be critical in shaping our future entertainment culture and the way we approach content. -
“We Can't Even Play Ourselves”: Mixed-Race Actresses in the Early
“WE CAN’T EVEN PLAY OURSELVES”: MIXED-RACE ACTRESSES IN THE EARLY TWENTY-FIRST CENTURY A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN AMERICAN STUDIES AUGUST 2017 By Valerie M. Lo Dissertation Committee: Robert Perkinson, Chairperson Mari Yoshihara Jonna Eagle Konrad Ng Jonathan Okamura Keywords: Mixed race, Ambiguity, Post-Racial, Color-blind, Film ACKNOWLEDGEMENTS This project has been a test of my resiliency and grew from my desire to add a small contribution to the ongoing discussion of mixed race representations in film and television. Many people have come into my life in the last several years and encouraged my studies, talked excitedly with me, and subtly (or blatantly) pushed me to continue when I thought the road ahead looked too ominous. In 2005, at San Francisco State University’s Asian American Studies banquet, my Master’s thesis chair, Wei Ming Dariotis, remarked that a PhD was in the stars for me. Those words stayed close to me during my graduate work at the University of Hawai'i. My first teaching assistantship with Isabelle Peluad at San Francisco State University in Asian American Literature showed me exactly what I wanted to immerse myself in for the rest of my life. Graduate courses with Russell Jeung and Madeline Hsu reaffirmed my desire to work within the field of Asian American Studies and continue on to a doctorate program. My coursework in American Studies was rigorous and pushed me out of my comfort zone in the best way. -
Road to Nowhere
ROAD TO NOWHERE A picture by Monte Hellman Starring Shannyn Sossamon, Tygh Runyan, Dominique Swain, Cliff De Young, Waylon Payne, John Diehl, Fabio Testi (Press Kit from Venice Film Festival) ROAD TO NOWHERE CAST (in order of appearance) Mitchell Haven Tygh Runyan Nathalie Post Dominique Swain Laurel Graham/Velma Duran Shannyn Sossamon Bobby Billings John Diehl Cary Stewart/Rafe Tachen Cliff de Young Bruno Brotherton Waylon Payne Steve Gates Robert Kolar Jermey Laidlaw Nic Paul Nestor Duran Fabio Testi Desk Clerk Fabio Tricamo Moxie Herself Peter Bart Himself El Cholo Bartender Pete Manos Mallory Mallory Culbert Doc Holliday Bartender Beck Lattimore Man in Bar Thomas Nelson Bonnie Pointer Herself Airplane Coordinator Jim Galan Airplane Pilot Jim Rowell Greg Gregory Rentis Larry Larry Lerner Erik Lathan McKay Joe Watts Michael Bigham Araceli Araceli Lemos Sarah Sarah Dorsey Female Cadaver Mandy Hughes Morgue Technician Cathy Parker Male Cadaver Brett Mann Room Service Waitress Vanessa Golden Cop Voices Dean Person Jared Hellman Jones Clark Guard Mitchell Allen Jenkin PRODUCTION Directed and Produced by Monte Hellman Written and Produced by Steven Gaydos Produced by Melissa Hellman Executive Producers Thomas Nelson, June Nelson Director of Photography Joseph M Civit Edited by Celine Ameslon Production Designed by Laurie Post Music by Tom Russell Co-Producers Peter R J Deyell, Jared Hellman Associate Producers Lea-Beth Shapiro, Robin-John Gibb Costumes Designed by Chelsea Staebell Production Sound by Rich Gavin Visual Effects Supervisor Robert Skotak First Assistant Director Larry Lerner Second Assistant Director Noreen Perez Supervising Sound Editors Ayne O Joujon-Roche, Kelly Cabral Re-Recording Mixers Scott Sanders, Perry Robertson First Assistant Editors Gregory Rentis, Harold Hyde Producers Representative Jonathan Dana Worldwide Sales E1 Entertainment ROAD TO NOWHERE "Well the ditches are on fire, And there ainʼt no higher ground. -
Fifth Annual Rancho Mirage Writers Festival at the Rancho Mirage Library & Observatory
FIFTH ANNUAL RANCHO MIRAGE WRITERS FESTIVAL AT THE RANCHO MIRAGE LIBRARY & OBSERVATORY JANUARY 24–26, 2018 Welcome to the RANCHO MIRAGE WRITERS FESTIVAL! We are celebrating year FIVE of this exciting Festival in 2018! This is where readers meet authors and authors get to know their enthusiastic readers. We dedicate all that happens at this incredible gathering to you, our Angels and our Readers. The Rancho Mirage Writers Festival has a special energy level, driven by ideas and your enthusiasm for what will feel like a pop-up university where the written word and those who write have brought us together in a most appropriate venue — the Rancho Mirage Library and Observatory. The Festival starts fast and never lets up as our individual presenters and panels are eager to share their words and their thoughts. The excitement of books. David Bryant Jamie Kabler In 2013 we began to design the Rancho Mirage Writers Festival. Our Steering Committee kept its objective LIBRARY DIRECTOR FESTIVAL FOUNDER important and clear — to bring authors, their books, and our readers together in this beautiful resort city. In 2018 our mission remains the same, though the Festival has grown and gets even better this year. The writers you read and the books that get us thinking and talking converge at the Festival to make January in the Desert, not only key to our season, but a centerpiece of our cultural life. The Festival is a celebration of the written word. The Festival lives in our award-winning Library. Recent investments in the Library include: Welcome • Windows in the John Steinbeck Room and the Jack London Room that can be darkened electronically making for a better presenter/audience experience. -
2008 Annual Report
2008 ANNUAL REPORT Table of Contents Letter from the President & CEO ......................................................................................................................5 About The Paley Center for Media ................................................................................................................... 7 Board Lists Board of Trustees ........................................................................................................................................8 Los Angeles Board of Governors ................................................................................................................ 10 Media Council Board of Governors ..............................................................................................................12 Public Programming Spring Subscription Series ..........................................................................................................................14 Fall Subscription Series ..............................................................................................................................16 Fall TV Preview Parties ...............................................................................................................................19 Robert M. Batscha University Seminar Series ............................................................................................20 William S. Paley Television Festival ............................................................................................................20 -
Ravid Sy Syms Professor of Finance, Sy Syms School of Business, Yeshiva University
1 CURRICULUM VITAE (April 2021) S. Abraham (Avri) Ravid Sy Syms Professor of Finance, Sy Syms School of Business, Yeshiva University https://www.yu.edu/faculty/pages/ravid-s-abraham Office Address: Syms School of Business, Belfer Hall 2495 Amsterdam Ave New York, NY 10033 212 960 0125 Mailing address: 500 W. 185th St New York, NY 10033 Email: [email protected] Research Interests: Corporate Finance- in particular, Capital Structure, Debt features, Bankruptcy, Mergers and Contracts under asymmetric information; Interaction of Production and Financial Decisions; Applications of Corporate Finance and Microeconomic Theory to the entertainment and media industries and to government policies. Venture Capital and Entrepreneurship, Risk Management. Teaching Range: MBA- Financial Management (core course) –Rutgers, UCLA, NYU, Haifa University, Tel Aviv University. Corporate Finance - Yale, Rutgers, NYU, Haifa University, Wharton, University of Chicago. Investments and Capital Markets- Rutgers University, University of Wisconsin. Equity Markets – NYU. Debt Markets and Fixed Income Securities- NYU, Rutgers, Columbia, Cornell. Micro Economics- Rutgers, Haifa University. Options- Rutgers. Entertainment Finance: Yale, NYU, UCLA. Advanced Topics in corporate finance- Cornell, Rutgers. Evaluation of Capital Investment projects- Cornell. Undergraduate: Financial Management-(core course)- Rutgers, YU. Corporate Finance–Rutgers. Micro Economics- Haifa University. Cost Benefit Analysis-Haifa University. Advanced Corporate Finance- YU. Fixed Income-YU. 2 Doctoral level – Corporate Finance – Rutgers, Cornell, Yale, Finland, Stockholm School of Economics, EIASM- Brussels. Recent doctoral Workshops and tutorials- EFA, AIMAC., MFA. Education: 1979 Ph.D. Graduate School of Business and Public Administration (currently Johnson School) Cornell University. 1977 M.S. Graduate School of Business and Public Administration, Cornell University. 1975 B.S. -
THE NATIONAL TELEVISION ACADEMY ANNOUNCES 31St ANNUAL DAYTIME EMMY AWARD NOMINATIONS
For Immediate Release THE NATIONAL TELEVISION ACADEMY ANNOUNCES 31st ANNUAL DAYTIME EMMY AWARD NOMINATIONS Daytime Emmys Air Friday, May 21st On NBC At 9:00 p.m. (ET) Live from Radio City Music Hall NEW YORK -- March 04, 2004 – The National Television Academy today announced the nominees for the 31st Annual Daytime Emmy Awards. The announcement was made live on NBC’s The Today Show. The nominations were presented by an all-star lineup of daytime’s leading actors and actresses including: Days of Our Lives’ Bryan Dattilo (Lucas Roberts); Passions’ Charles Divins (Chad Harris); All My Children’s Cameron Mathison (Ryan Lavery); One Life to Live’s Heather Tom (Kelly Cramer Buchanan); As the World Turns’ Tamara Tunie (Jessica Griffin); and Guiding Light’s Robert Newman (Joshua Lewis). Nominations were announced in the following categories: Outstanding Drama Series; Outstanding Actor/Actress In A Drama Series; Outstanding Supporting Actor/Actress in a Drama Series; Outstanding Talk Show; and Outstanding Performer In A Children's Series. The awards recognize outstanding achievement in all fields of daytime television production and are presented to individuals and programs broadcast during the 2003 calendar year. This year’s ceremony will be broadcast live on NBC on Friday, May 21, from New York City’s Radio City Music Hall from 9:00 – 11:00 p.m. (ET). Dick Clark Productions will produce the show. The Lifetime Achievement Award this year will be presented to ten veteran actors who have devoted a major portion of their careers to Daytime Drama: Rachel Ames, John Clarke, Jeanne Cooper, Eileen Fulton, Don Hastings, Anna Lee, Ray MacDonnell, Frances Reid, Helen Wagner, and Ruth Warrick. -
Copyright by Daniel Curran Metz 2010
Copyright by Daniel Curran Metz 2010 The Thesis Committee for Daniel Curran Metz Certifies that this is the approved version of the following thesis: Prestige and Prurience: The Decline of the American Art House and the Emergence of Sexploitation, 1957-1972 APPROVED BY SUPERVISING COMMITTEE: Supervisor: Thomas G. Schatz Charles Ramirez Berg Prestige and Prurience: The Decline of the American Art House and the Emergence of Sexploitation, 1957-1972 by Daniel Curran Metz, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2010 Dedication I dedicate this thesis, and the rest of my life, to Corinna. Acknowledgements I have been fortunate enough to have a number of wonderful film and history professors who have helped inform my conception of the field and create this work. Of particular assistance on this project was Tom Schatz, who served as my advisor and whose frequent advice has been invaluable. Thank you to my present and former readers Charles Ramirez Berg and Caroline Frick. I’d also like to acknowledge Robert Sklar from NYU, who helped me when I first started this project back in 2007 with a small paper on censorship, and who taught me a lot about what scholarship is. I am grateful also to my first film professor, Lawrence Burke, who showed me that cinephilia was okay, and who inspired me to first view the art films that I try to destroy later in this thesis. -
Genre, Authorship and Contemporary Women Filmmakers
KATARZYNA PASZKIEWICZ GENRE, AUTHORSHIP AND CONTEMPORARY WOMEN FILMMAKERS Not for distribution or resale. For personal use only. Not for distribution or resale. For personal use only. GENRE, AUTHORSHIP AND CONTEMPORARY WOMEN FILMMAKERS Not for distribution or resale. For personal use only. Not for distribution or resale. For personal use only. GENRE, AUTHORSHIP AND CONTEMPORARY WOMEN FILMMAKERS Katarzyna Paszkiewicz Not for distribution or resale. For personal use only. Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Katarzyna Paszkiewicz, 2018 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 10/12.5pt Sabon by Servis Filmsetting Ltd, Stockport, Cheshire and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 2526 1 (hardback) ISBN 978 1 4744 2527 8 (webready PDF) ISBN 978 1 4744 2528 5 (epub) The right of Katarzyna Paszkiewicz to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Not for distribution or resale. For personal use only. CONTENTS List of Figures vi Acknowledgements viii Introduction: Impossible Liaisons? Genre and Feminist Film Criticism 1 1. Subversive Auteur, Subversive Genre 34 2.