DOCSLIB.ORG

Columbia Chronicle College Publications

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Columbia Chronicle College Publications Columbia College Chicago Digital Commons @ Columbia College Chicago Columbia Chronicle College Publications 12-17-1990 Columbia Chronicle (12/17/1990) Columbia College Chicago Follow this and additional works at: http://digitalcommons.colum.edu/cadc_chronicle Part of the Journalism Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Columbia College Chicago, "Columbia Chronicle (12/17/1990)" (December 17, 1990). Columbia Chronicle, College Publications, College Archives & Special Collections, Columbia College Chicago. http://digitalcommons.colum.edu/cadc_chronicle/110 This Book is brought to you for free and open access by the College Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Columbia Chronicle by an authorized administrator of Digital Commons @ Columbia College Chicago. COLUMBIA COLLEGE, CHICAGO, ILLINOIS DECEMBER 17, 1990 Art students complain:· tenth-floor 'store' runs up charges of bad faith By Julie Sacharski the system and soured its good SllJffWriter intentions. Rick Ernst is a former Colum­ Attention all art students: this bia art student who remembers is the 13th week of the semester. when the class fee cards frrst Do you know where your class came into existence. fees hav.e gone? "In the beginning, the fee Columbia's Art department cards seemed like a good idea," has established a Wlique way of Ernst said. "People could buy charging class fees, but this sys­ what they needed right down the tem doesn't seem to be ac­ hall and actually see where their complishing all it set out to. class fees were going. But Since 1989, when the Art halfway through the semester, the department moved from the store ran out of supplies and said Michigan to the Wabash Campus, they couldn't order more because the department has issued class their funds were nearly depleted. fee cards to its students. With How could they be depleted when these cards, students are given the myself and practically all the responsibility of purchasing their other students had twenty or thir­ own class materials in a credit­ ty dollars of credit left on their card fashion. cards?" Supplies are available in a Cassidy says he re~izes the room on the lOth floor, common­ problem, but presently has no Peace march: Almost 4,000 peace marchers congregated outside the Daley Center Saturday, Dec. 8, ly referred to as the "art store," other way to operate the center. "I to protest the American military buildup In Saudi Arabia. They then marched to Grant Park. The Chicago which, in fact, it is not; facility think there is an injustice occur­ demonatradon, organized by the Emergency Coalition for Peace In the Middle East, was one of several manager Kevin Cassidy prefers to ring, but it is not intentional. No for a march on 26. call it the "materials distribution one is trying to trick students out center," and, Cassidy said, the of their money. But because this name itself may be causing much is not a store, I cannot restock Turntables missing from Radio/Sound: confusion about its purpose. supplies as a store would. Ideally, The center should ideally when the cards are filled, the sup­ security guard speculates on 'inside job' operate in the following way: plies should be gone, btit it doesn't seem to be working quite sembled. class fees are charged to art stu­ By Annesa Lacey and out of this building with dents based on their specific cour­ that way." Sf4jJWrlUr "Whoever did it dismant!ed it equipment all ofthe time. I cannot ses. The collected money is According to Cassidy, 80 per­ very carefully. There were no stop each student and qu~stion placed in a fund, from which art cent of the class fees are spent on More than $3,000 worth of signs of damage," he said. Parker what they're doing with Colum­ supplies are purchased. Students the actual supplies in the "store" audio equipment was stolen from also said new equipment was or­ bia equipment. I have no way of are then given class fee cards while five percent is used to buy the RadiO/Sound Department on dered the next day. Johnson knowing what these students are which indicate certain dollar miscellaneous office supplies for Monday, Nov. 26, according to verified the new turntables had carrying in their knapsacks," he amounts. When students run out general use throughout the department chairperson Al arrived that following Friday. said. of materials or need to purchase departm~nt. The remaining 15 Parlc.er. "We replaced it with the same Byres added that before different supplies, they present percent is put into the college's Brett Johnson, Radio/Sound equipment that was taken," anyone had missed the turntables, their card at the materials dis­ operating budget. , Department manager and chief Parker said. the equipment was already out of tribution center and ask the Ernst says many art students engineer, said that five Techni­ Page 16 of the 1990-91 the building. employee for the necessary were cheated out of supplies that ques 1200 MK II turntables were Columbia College student hand­ materials. The fee card is then should have been available for Parker said that the removed from Room 705 around book, under Student Conduct either hole-punched or marked purchase throughout the 8:30p.m. Radio/Sound department hasn't Code, states that "Abuse, van­ with the purchase price. semester. "I never got a chance to had any problems with theft, and "It could've been anybody," dalism or theft of College proper­ According to Cassidy, this use all the credit on my fee card. ty, or unauthorized entry to like all theft cases, this was a set­ fast-food type of service was I'd go into the center and all Johnson said. 'The easiest thing back. to say is that someone had a key. Columbia facilities may con­ designed with the convenience of they'd say was, 'No, we don't They had to have had a key, be­ stitute grounds for immediate dis­ ''They were professional turn­ the student in mind. have it, and we won't be reorder­ cause the door was locked that missal." tables. Even though the turntables "We established the center in ing it,'" Ernst said. "It got to the evening," he said. Michigan campus security were replaced, it was still a set­ an attempt to give students more point where I'd just buy According to Johnson, the guard J .L. Byres said that he feels back. Whoever took them ob­ choices and responsibility for the photocopies or books I didn't turntables were worth $620.00 it had to be an inside job, and it viously didn't take them for materials they'd be using with need, just to feel like I was break­ each. had to be more than one person. personal use. They are going to their class fees, and to prevent the ing even and my money wasn't Parker said that there is no way "It had to be teamwork. Whoever sell them. The losers are the stu­ wasting of art supplies," he said. wasted." of knowing who took the equip­ took the turntables had to have dents who used the tables, be­ The concept would appear to Students who have more than ment, but whoever did it knew had at least three or four other cause they needed them for be logical and sound, but a flurry how the equipment was as- people to help. Students ~orne in assignments," he said. of misconception has pervaded See STORE, page 2 Student mothers find ways to cope despite odds By Kathleen Troher number of students juggling academic and going to hold a program sometime in in the Torco Building where we can bring our Chronicle Comspondent family responsibilities is not known. February specifically targeted at this group. children while we attend classes." "No such statistics are currently being "Students as Parents/Parents as Students" Students who are also parents not only The next time you feel overwhelmed with kept," said Irene Conley, assistant dean of will be moderat.yd by Assistant Dean Conley need to share their concerns with others, they work, school and extra curricular activities Student Life. "But a lack of exact numbers and address the unique issues of students must also find ways to make their own per­ stop for a moment and think about Diane doesn't free us up from the responsibility of trying to establish that delicate balance be­ sonal compromises and keep their sanity. Willis. serving this population. We know they have tween being a parent and being a student The DeYoung, for example, said she As a student at Columbia, Willisjs work­ specific concerns that we need to address." program will include a panel of three who prioritizes her responsibilities and' prays ing toward a degree in Sound Engineering For Della De Young, who has a 23-month will encourage the group to discuss often. She is also a master at getting two with a concentration in Science Technology old son and is a student in the Management problems, exchange ideas and give advice. things done at once. "When I have to type a and Communications. She is the president of department with a concentration in fashion, "One of the things we know at Columbia paper and my son wants to play," she said, the African-American Alliance, a Science one of those concerns is the need for a sup­ is that we get our best support from one "I'll sit him on my lap and we work and play department Work Aid assistant, a port group.
Load more

Recommended publications
  • Mendocino Film Festival: 101 Years in the Making
    Real Estate Magazine Editorial 486 for Printing Mendocino Film Festival: 101 Years in the Making Story by Marcie Schorg Mission Statement—The Mendocino Film Festival is dedicated to providing quality independent films, documentaries, foreign films, and animation to audiences of all ages and cinematic tastes and to educate film and video students in the art of filmmaking and production. It was 1993 and I was sitting on the side of Little Lake Street in Mendocino with my friends watching the production of Pontiac Moon unfold as well as the unfolding of the relationship between Mary Steenburgen and Ted Danson. The scene was held up because the snake handler couldn’t be located to bring the snake to the set. The snake had a “scene” with Ryan Todd, the boy playing Ted and Mary’s son. The scene finally got shot and Mary and Ted are still together. Fast-forward to the present and I’m in the company of other film buffs who are working hard to make the dream of a film festival here a reality. And, who also feel that with our rich heritage of filming here, a film festival seemed to be a logical thing to accomplish. An Idea Begins to Take Shape President of the Mendocino Film Festival board, Keith Brandman, recalls how the idea took hold. “I always thought a film festival was a good idea and brought it up at our local Chamber of Commerce retreat when I was on their board of directors. I began a discussion with an interested group but the idea didn’t go any further at that time.
    [Show full text]
  • Sob Sisters: the Image of the Female Journalist in Popular Culture
    SOB SISTERS: THE IMAGE OF THE FEMALE JOURNALIST IN POPULAR CULTURE By Joe Saltzman Director, Image of the Journalist in Popular Culture (IJPC) Joe Saltzman 2003 The Image of the Female Journalist in Popular Culture revolves around a dichotomy never quite resolved. The female journalist faces an ongoing dilemma: How to incorporate the masculine traits of journalism essential for success – being aggressive, self-reliant, curious, tough, ambitious, cynical, cocky, unsympathetic – while still being the woman society would like her to be – compassionate, caring, loving, maternal, sympathetic. Female reporters and editors in fiction have fought to overcome this central contradiction throughout the 20th century and are still fighting the battle today. Not much early fiction featured newswomen. Before 1880, there were few newspaperwomen and only about five novels written about them.1 Some real-life newswomen were well known – Margaret Fuller, Nelly Bly (Elizabeth Cochrane), Annie Laurie (Winifred Sweet or Winifred Black), Jennie June (Jane Cunningham Croly) – but most female journalists were not permitted to write on important topics. Front-page assignments, politics, finance and sports were not usually given to women. Top newsroom positions were for men only. Novels and short stories of Victorian America offered the prejudices of the day: Newspaper work, like most work outside the home, was for men only. Women were supposed to marry, have children and stay home. To become a journalist, women had to have a good excuse – perhaps a dead husband and starving children. Those who did write articles from home kept it to themselves. Few admitted they wrote for a living. Women who tried to have both marriage and a career flirted with disaster.2 The professional woman of the period was usually educated, single, and middle or upper class.
    [Show full text]
  • Montana Kaimin, April 17, 1996 Associated Students of the University of Montana
    University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 4-17-1996 Montana Kaimin, April 17, 1996 Associated Students of the University of Montana Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Associated Students of the University of Montana, "Montana Kaimin, April 17, 1996" (1996). Montana Kaimin, 1898-present. 8910. https://scholarworks.umt.edu/studentnewspaper/8910 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. The University of Montana MontanaKaimin is a Salish word for messagesKaiminW ednesday, April 17,1996 Our 98th year, Issue 93 Gay Pride Week UC false alarm lands man in jail University police Sgt. Dick Justin Grigg Thurman said numerous people Kaimin Reporter saw Cooney pull the alarm and Thanks to the help of several called the Office of Campus eyewitnesses, University Police Security. last week got one of their first “Evidently people are getting breaks of the year in the fight tired of false alarms,” he said. against false fire alarms when Anne Carter, the Campus they arrested a man who sound­ Security office supervisor, said ed a false alarm in the University before spring break that more Center earlier this month.
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • November 11, 2014 (Series 29:12) Sydney Pollack, TOOTSIE (1982, 119 Minutes)
    November 11, 2014 (Series 29:12) Sydney Pollack, TOOTSIE (1982, 119 minutes) Tootsie won the 1983 Academy Award for Best Actress in a Supporting Role, Jessica Lange Directed by Sydney Pollack Written by Larry Gelbart, Murray Schisgal, Don McGuire, Larry Gelbart, Barry Levinson, Robert Garland, and Elaine May Produced by Sydney Pollack, Dick Richards, and Ronald L. Schwary Music by Dave Grusin Cinematography by Owen Roizman Film Editing by Fredric Steinkamp and William Steinkamp Dustin Hoffman ... Michael Dorsey / Dorothy Michaels Jessica Lange ... Julie Teri Garr ... Sandy Dabney Coleman ... Ron Charles Durning ... Les Bill Murray ... Jeff Sydney Pollack ... George Fields Geena Davis ... April Gene Shalit ... Himself Andy Warhol ... Himself “Breaking Point” (TV Series), 1962-1963 “Ben Casey” (TV Series, 12 episodes), 1962-1963 “The Alfred Hitchcock Hour” Sydney Pollack (director, producer, George Fields) (b. (TV Series), 1963 “Wagon Train” (TV Series), 1963 “The Sydney Irwin Pollack, July 1, 1934 in Lafayette, Indiana—d. Defenders” (TV Series), and 1961 “Shotgun Slade” (TV Series). May 26, 2008 (age 73) in Pacific Palisades, Los Angeles, He also has 48 producer or executive producer, and he appeared California) won 2 1986Academy Awards for Out of Africa as an actor in 40 films and TV episodes, among them 2008 Made (1985), one for Best Picture and one for Best Director. He of Honor, 2007 Michael Clayton, 2007 “Entourage” (TV Series), directed 37 films and television shows, which are 2005 2007 “The Sopranos” (TV Series), 2005 The Interpreter,
    [Show full text]
  • The Road Narrative in Contemporary American
    THIS IS NOT AN EXIT: THE ROAD NARRATIVE IN CONTEMPORARY AMERICAN LITERATURE AND FILM by JILL LYNN TALBOT, B.S.Ed., M.A. A DISSERTATION IN ENGLISH Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted Dean (C(f the Graduate School May, 1999 ACKNOWLEDGEMENTS I would like to thank my dissertation director, Dr. Bryce Conrad, for agreeing to work with me on this project and for encouraging me to remain cognizant of its scope and its overall significance, both now and in the future. Thanks also to committee member Dr. Patrick Shaw, who not only introduced me to an American fiction that I could appreciate and devote myself to in both my personal and professional life, but who has guided me from my first analysis of On the Road, which led to this project. Thanks also to committee member Dr. Bill Wenthe, for his friendship and his decision to be a part of this process. I would also like to thank those individuals who have been supportive and enthusiastic about this project, but mostly patient enough to listen to all my ideas, frustrations, and lengthy ruminations on the aesthetics of the road narrative during this past year. Last, I need to thank my true companion, who shares my love not only for roads, but certain road songs, along with all the images promised by the "road away from Here." 11 TABLE OF CONTENTS ACKNOWLEDGEMENTS ii ABSTRACT v CHAPTER I. INTRODUCTION 1 II. THE REALITY OF THE ROAD: THE NON-FICTION ROAD NARRATIVE 2 6 John Steinbeck's Travels with Charley: In Search of America 27 William Least Heat-Moon's Blue Highways: A Journey into America 35 John A.
    [Show full text]
  • Dichotomy in American Western Mythology Thesis
    21A "A I DICHOTOMY IN AMERICAN WESTERN MYTHOLOGY THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE by Scott E. Robinson, B.F.A. Denton, Texas May, 1991 Robinson, Scott E. , Dichotomy in American Western Mythology. Master of Science (Interdisciplinary Studies), May, 1991, 129 pp., 19 illustrations, bibliography, 60 titles. The fundamental dichotomy between savage and civilized man is examined within the archetypal Western myth of American culture. The roots of the dichotomy are explored through images produced between 1888 and 1909 by artists Frederic Remington and Charles Russell. Four John Ford films are then used as a basis for the "dichotomous archetype" approach to understanding Western myth in film. Next, twenty-nine "historical" and "contemporary" Western movies are discussed chronologically, from The Virginian (1929) to Dances with Wolves (1990), in terms of the savage/civilized schema as it is personified by the roles of archetypal characters. The conclusion proposes a potential resolution of the savage/civilized conflict through an ecumenical mythology that recognizes a universal reverence for nature. ACKNOWLEDGEMENTS Larry Gleeson, professor of Art History, has served as an exemplary scholar and model lecturer. The breadth of Larry's academic expertise as well as his depth of human sensitivity made every step of this thesis project rewarding. John Smith, a member of the English faculty (and a former student of Walter Prescott Webb), is responsible for stimulating this student's interest in Western mythology during the early stages of this thesis project. Steven Fore from the Division of Radio, Television and Film provided invaluable guidance in the area of film criticism; his enthusiasm was a positive and gracious addition to the thesis committee during the final stages of the project.
    [Show full text]
  • Jane Fonda, the Recipient of the Los Angeles Press Club’S Visionary Award, It’S All Part of One Life
    2012 VISIONARY AWARD Te Actress and the Activist FOR JANE FONDA, THE RECIPIENT OF THE LOS ANGELES PRESS CLUB’S VISIONARY AWARD, IT’S ALL PART OF ONE LIFE BY JON REGARDIE e know Jane Fonda for her many iconic flm roles: the sultry space babe in the 1968 romp Barbarella, the hard-driving reporter in the 1979 thriller Te China Syndrome, the part of Chelsea in the tearjerker On Golden Pond, the alcoholic woman who wakes upW next to a murdered man in 1986’s Te Morning Afer. Her onscreen talents have long been recognized. Fonda earned Academy Award nominations for the latter three flms, as well as for her roles in Tey Shoot Horses, Don’t Tey? in 1969 and Julia in 1977. She won the Best Actress Oscar for playing a high-class call girl in Klute in 1971 and for Coming Home, the 1978 flm in which she portrayed a woman who falls in love with a paralyzed Vietnam War veteran while her Marine husband is of fghting. Tese roles and awards would defne the legacy of virtually anyone who has ever worked in Hollywood. However, they barely begin to scratch the surface of Fonda. Troughout her career, Fonda has never been content, like it seems so many young actors and actresses are today, to let fame be the end result of her celebrity. Instead, she has used her public persona to push for change by taking stances and actions that are sometimes adored and sometimes de- cried. Tere’s her work to stop violence against women, her attempts to help adolescents realize a better future, her focus on expanding women’s presence in the media and, of course, her famous and controversial opposition to the Vietnam War.
    [Show full text]
  • Johnson Reel World FINAL
    The Reel World 116 The Reel World Women’s Film Portrayals as Reflectors of Journalistic Practices and Social Mores Sammye Johnson Professor Carlos Augustus de Lozano Chair in Journalism Department of Communication Trinity University San Antonio, TX 78212 [email protected] I’ve watched His Girl Friday, Meet John Doe, Woman of the Year, and Arise, My Love so many times I know the dialogue by heart. In His Girl Friday, I lip sync Hildy Johnson’s rapid-fire response to Walter Burns’ passionate attempt to keep her on the job by saying she’d be a traitor to leave the newspaper business: “You’re a journalist, Hildy!” Hildy: A journalist? Now, what does that mean? Peeking through keyholes, chasing after fire engines, waking people up in the middle of the night to ask them if Hitler’s going to start another war? Stealing pictures off old ladies? I know all about reporters, Walter. A lot of daffy butt-inskies running around with a nickel in their pockets. And for what? So a million hired girls and motormen’s wives will know what’s going on. But that isn’t the defining quote in His Girl Friday for me or the students in my Women Journalists in Film class, where we look at gender issues relating to journalistic practices and the role of women journalists in society as shown in Hollywood movies. Two exchanges set the tone for the course. The first has to do with the need for a woman to be attractive: Walter: What were you when you came here five years ago? A little college girl from a school of journalism.
    [Show full text]
  • Indiana Movie Poster Collection, 1925-2005
    Collection # P 0626 FF 22-A INDIANA MOVIE POSTER COLLECTION, 1925-2005 Collection Information Historical Sketch Scope and Content Note Series Contents Processed by Maire Gurevitz November 2017 Manuscript and Visual Collections Department William Henry Smith Memorial Library Indiana Historical Society 450 West Ohio Street Indianapolis, IN 46202-3269 www.indianahistory.org COLLECTION INFORMATION VOLUME OF 1 manuscripts folder, 1 box (half size) of OVA graphics, 1 COLLECTION: folder OVB graphics, 22 flat file folders COLLECTION 1925-2005 DATES: PROVENANCE: Barbara Bradway, Warsaw, IN; Christie’s Los Angeles; The Separate Cinema Archive; Hollywood Poster Exchange; Indiana Historical Society Exhibition Department; John A. Herbst RESTRICTIONS: None COPYRIGHT: REPRODUCTION Permission to reproduce or publish material in this collection RIGHTS: must be obtained from the Indiana Historical Society. ALTERNATE FORMATS: RELATED P0568 David L. Smith Collection; Hoosiers In Hollywood HOLDINGS: PN1993.5.U7415 S65 2006; M1235 Gene Stratton Porter Collection ACCESSION 1949.0523; 1989.0045; 1990.0795X; 1996.0277; 2000.0312; NUMBER: 2006.0171; 2006.0172; 2006.0446; 2007.0337v0001; 2007.0337v0002; 2007.0337v0003; 2007.0337v0004; 2007.0337v0005; 2007.0337v0006; 2007.0337v0007; 2007.0337v0008; 2007.0337v0009; 2007.0337v0010; 2007.0337v0011; 2007.0337v0012; 2007.0337v0013; 2007.0337v0014; 2007.0337v0015; 2007.0337v0016; 2007.0337v0017; 2012.0307 NOTES: HISTORICAL SKETCH Graustark (1925) is a silent film based on a novel of the same name that was written by Indiana author George Barr McCutcheon in 1901. The film was directed by Dimitri Buchowetzki and starred Norma Talmadge as Princess Yetive of Graustark who is betrothed to another but falls in love with American commoner Grenfall Lorry, played by Eugene O’Brien.
    [Show full text]
  • POLLACK & REDFORD Destini Incrociati
    POLLACK & REDFORD Destini incrociati 15-29 maggio 2018 Sala Convegni, Palazzo della Gran Guardia Film in lingua originale con sottotitoli in italiano Ingresso libero fino a esaurimento posti Tel. 045 8005348 ilpiaceredegliocchi.comune.verona.it CALENDARIO Martedì 15 maggio THE WAY WE WERE ore 21.00 (Come eravamo, USA, 1973, 118’) Sabato 19 maggio OUT OF AFRICA ore 16.30 (La mia Africa, USA, 1985, 161’) Sabato 19 maggio JEREMIAH JOHNSON ore 21.00 (Corvo Rosso non avrai il mio scalpo, USA, 1972, 108’) Mercoledì 23 maggio HAVANA ore 16.30 (Id., USA 1990, 144’) Mercoledì 23 maggio THREE DAYS OF THE CONDOR ore 21.00 (I tre giorni del Condor, USA, 1975, 117’) Martedì 29 maggio THIS PROPERTY IS CONDEMNED ore 16.30 (Questa ragazza è di tutti, USA 1996, 110’) Martedì 29 maggio THE ELECTRIC HORSEMAN ore 21.00 (Il cavaliere elettrico, USA 1979, 121’) Poco più di vent’anni fa, nell’ottobre 1997, Sydney Pollack atterrava con il pro- prio aereo all’aeroporto Catullo per partecipare alla seconda edizione di Schermi d’Amore. Il festival gli aveva dedicato la prima rassegna integrale europea e lui non solo aveva messo a disposizione tutte le copie personali dei film, comprese le prime regie televisive, ma aveva anche voluto venire a Verona di persona. La nostra città gli rapì il cuore con le sue bellezze artistiche, i suoi cibi e i suoi vini. Ripartì promettendo di tornare. Il destino, però, decise diversamente. Dieci anni fa Pollack fu sconfitto da una dura e lunga malattia, lasciando un vuoto difficil- mente colmabile nel mondo del cinema.
    [Show full text]
  • Febrero 2009
    F I L M O T E C A E S P A Ñ O L A Sede: C/ Magdalena nº 10 28012 Madrid Cine Doré Telf.: 91 4672600 c/ Santa Isabel, 3 Fax: 91 4672611 28012 Madrid [email protected] Telf.: 91 3691125 http://www.mcu.es/cine/MC/FE/index.html (taquilla) 91 369 2118 NIPO (publicación electrónica): 554-09-003-5 (gerencia) Fax: 91 3691250 MINISTERIO DE CULTURA Precio: Normal: 2,50€ por sesión y sala 20,00€ abono de 10 PROGRAMACIÓN sesiones. Estudiante: 2,00€ por sesión y sala febrero 15,00€ abono de 10 sesiones. 2009 Horario de taquilla: 16.15 h. hasta 15 minutos después del comienzo de la última sesión. Venta anticipada: 21.00 h. hasta cierre de la taquilla para las sesiones del día siguiente hasta un tercio del aforo. Horario de cafetería: 16.00 – 00.30 h. Tel.: 91 369 49 23 Horario de librería: 17.30 - 22.00 h. Tel.: 91 369 46 73 Lunes cerrado (*) Subtitulaje electrónico FEBRERO 2009 Recuerdo de Rafael Azcona (I) José Francisco Aranda. La fabulación de la pantalla Recuerdo de Sydney Pollack Recuerdo de Alain Robbe Grillet Recuerdo de... (II) Muestra de cortometrajes de la PNR Las sesiones anunciadas pueden sufrir cambios debido a la diversidad de la procedencia de las películas programadas. Las co pias que se e xhiben son l as de m ejor cal idad disponibles. Las d uraciones q ue figuran e n el programa son aproximadas. Los títu los originales d e las películas y lo s d e su distribución en Esp aña fig uran en neg rita.
    [Show full text]