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2018-19 SEASON Celebrating 30 Years
2018-19 SEASON Celebrating 30 Years OPENING NIGHT Proving Up NEW YORK PREMIERE MUSIC BY Missy Mazzoli LIBRETTO BY Royce Vavrek Adapted from the short story “Proving Up” by Karen Russell Co-commissioned by Washington National Opera, Opera Omaha, and Miller Theatre at Columbia University © 2018 G. Schirmer Inc. IN A NEW PRODUCTION BY OPERA OMAHA Wednesday, September 26, 8 p.m. | Friday, September 28, 8 p.m. Click on a section to learn more OVERVIEW SYNOPSIS CREATIVE TEAM CAST PRODUCTION PHOTOS OVERVIEW Proving Up Wednesday, September 26, 8 p.m. | Friday, September 28, 8 p.m. The performance runs approximately 75 minutes with no intermission. Composer Missy Mazzoli and librettist Royce Vavrek thrilled audiences and critics alike in 2016 with the premiere of their opera Breaking the Waves. This dynamic creative duo reunites for Proving Up, a harrow- ing tale of a family’s pursuit of the American Dream set in post-Civil War Nebraska. Miller’s 30th Anniver- sary Season opens with the New York premiere of this chamber opera that is by turns optimistic, exultant, and menacing. Major support for Proving Up is provided by Francis Goelet Charitable Lead Trusts and H.F. Lenfest Fund of The Philadelphia Foundation Introducing Proving Up A CONVERSATION WITH MISSY MAZZOLI AND ROYCE VAVREK Tuesday, September 25, 6:30 p.m. | Lenfest Center for the Arts On the eve of the New York premiere of their newest opera, Proving Up, the dynamic creative duo sits down with Associate Dean and Executive Director Melissa Smey to talk about the project, their creative process, and their inspiration. -
El Star System Y La Moda La Influencia De Los Idolos Y Las Estrellas De Cine En La Moda
PROYECTO DE GRADUACION Trabajo Final de Grado El Star System y la Moda La influencia de los idolos y las estrellas de cine en la moda Camila Souse Cuerpo B del PG 16-12-2010 Diseño Textil y de Indumentaria Facultad de Diseño y Comunicación Universidad de Palermo 1 Agradecimientos Se agradece profundamente la colaboración del profesor e historiador de moda Claudio Martínez, quien, aunque hoy ya no nos acompaña, fue un gran apoyo tanto para elección del tema como para la construcción de este Proyecto de Graduación. También se agradece al profesor Gustavo Valdés de León por las tantas correcciones a lo largo del Proyecto de Grado. 2 Pregunta del PG: ¿Qué cambios, tanto sociológicos como en la industria de la moda se logran ver en el vestuario del cine entre la década del ’30 y la actualidad? Índice: Introducción……………………………………………………………………………………………………………………………………p.5 Capítulo 1. Star System en Estados Unidos………………………………………………………p.9 1.1 La moda 1.2 Comienzos del Star System 1.3 Star System 1.4 Fin del Star System Capítulo 2. Las estrellas, los Ídolos y la Moda…………………………………p.20 2.1 Las Estrellas 2.1.1 Joan Crawford 2.1.2 Greta Garbo 2.1.3 La Segunda Guerra Mundial y el cine 2.1.4 El Pret-a-Porter en el cine 2.2 Los ídolos 2.2.1 Clark Gable 2.2.2 Humphrey Bogart 2.2.3 James Dean 3 2.2.4 Marlon Brando 2.3 Diseñadores relacionados Capítulo 3. Accesorios………………………………………………………………………………………………………p.39 3.1 Los zapatos 3.2 Los sombreros 3.3 Otros accesorios 3.3.1 El guante 3.3.2 El perfume 3.3.2 Las joyas Capítulo 4. -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
September-0Ctober 2013
september-0ctober 2013 On September 10, 1988, Museum of the As we enter our 25th anniversary year, I while doing the rounds through the Moving Image opened its doors to the can tell you that it has been a thrilling ride galleries, and then repair a video arcade public. At the time, years before the for the Museum, at least as action-packed game. He was a true professional, but will promise of the Internet and digital media as The Great Train Robbery. We have be best remembered as a great husband, were captured in the now-quaint phrase transformed and expanded over the years father, and friend, and he will be missed. “Information Superhighway,” the idea of a to serve a growing audience and to offer an We will pay tribute to Richie on October Museum, built on an historic site for movie increasingly ambitious slate of exhibitions, 4 at an event to mark the opening of a production, that would take a unified view screenings, and education programs. wonderful photo exhibit, The Booth, about of the disparate worlds of film, television, Our film programs range from the best projectionists and their workspaces. and video games, seemed as audacious as of classic Hollywood—as in our complete it was unprecedented. There was, simply, Howard Hawks retrospective—to the best Richie was a great showman; more than no museum like it in the world. It was an of contemporary world cinema—as in our anything at the Museum, he was obsessed innovative blend of a science museum, focus on the great French director Claire with making sure that we put on the best an art museum, a technology museum, Denis. -
Academy Administration Chief Executive Officer Dawn Hudson Administrator, Office of the CEO Cheryl Marshall Chief Operating Offi
Academy Administration Director, Science and Committees 2010-2011 General Membership Committee Music Branch Executive Committee Headquarters Chief Executive Officer Technology Council Actors Branch Executive Committee Sid Ganis, Chair Bruce Broughton, Chair 8949 Wilshire Boulevard Dawn Hudson Andrew Maltz Annette Bening, Chair Beverly Hills, California 90211 Subcommittee on Agents New York Events Committee Administrator, Office of the CEO Director, Nicholl Fellowships Art Directors Branch Executive Lawrence Mirisch, Chair Bud Rosenthal, Chair Phone: (310) 247-3000 Cheryl Marshall Greg Beal Committee E-mail: [email protected] Rosemary Brandenburg, Chair Subcommittee on Nicholl Fellowships Committee Website: www.oscars.org Chief Operating Officer Director of Educational Programs Casting Directors Gale Anne Hurd, Chair Academy Awards website: Ric Robertson and Special Projects Audit Committee David Rubin, Chair www.oscar.com Randy Haberkamp Robert Rehme, Chair Producers Branch Executive Chief Marketing Officer Subcommittee on Music Committee Christina Kounelias Director of Exhibitions and Awards Review Committee Supervisors Mark Johnson, Chair Fairbanks Center for Motion Special Events Sid Ganis, Chair Bruce Broughton, Chair Picture Study Controller Ellen M. Harrington Public Relations Branch Executive 333 South La Cienega Boulevard Andy Horn Awards Rules Committee Subcommittee on Stunt Committee Beverly Hills, California 90211 Director of Information Technology Phil Robinson, Chair Coordinators Marvin Levy, Chair Managing Director of Membership -
The Good German the DEPARTED
SDSA_cover_&inside.qxd:Layout 1 12/8/06 11:50 AM Page 1 SET DECOR Winter Set Decorators Society of America Winter 2006 2006 stranger than fiction www.setdecor.com The Good German $5.95 www.setdecor.com THE DEPARTED SDSA_cover_&inside.qxd:Layout 1 12/8/06 11:51 AM Page 2 Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 1 Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 2 This event is not affiliated with, or endorsed by, the Academy of Motion Pictures Arts and Sciences. The Alex Theatre is non-pr Alex The Arts and Sciences. Academy of Motion Pictures the with, or endorsed by, This event is not affiliated ofit, 501 (c) organization. Photo courtesy Ken Haber The Set Decorators Society of America and the Alex Theatre are proud to present the RED CARPET GALA: For People who Make Movies and People who Watch Them Please join us on our Red Carpet for an evening of Academy Awards® viewing and celebrating! Hors d’Oeuvres & Desserts 4:30 pm February 25th 2007 Alex Theatre 216 North Brand Boulevard Glendale CA Box Office 818.243.2539 • Online ticketing: www.alextheatre.org Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 3 Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 4 Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 5 Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 6 contents Set Decorators Society of America Winter 2006 48 26 30 16 56 38 60 Film decor 16 THE GOOD SHEPHERD Gretchen Rau Elaine O’Donnell SDSA, Leslie E Rollins SDSA, Alyssa Winter A glimpse of the art of giving behind the art of storytelling 26 BOBBY Lisa Fisher SDSA In its final performance the -
The Designers of Herman Miller
the designers of herman miller book design proposal It is clear through a careful examination of the Herman Miller The design of this book seeks to utilize the same philosophies Company’s history and body of work, the astute attention that and ideologies that the designers of Herman Miller ap- is paid to detail in everything that they design. The unique fo- proached their work with. To reflect the simplicity, modernism cus on both function and form is what initially set the Herman and attention to detail that they exhibit in their work in the de- Miller Company apart form other furniture manufacturers. Un- sign and handling of the book. The book should pay homage der the direction of George Nelson, brilliant designers— to the work and careers of the famous Herman Miller designers Charles and Ray Eames, Isamu Noguchi, Alexander Girard and and reflect their personalities and approach to the problem of others, were able to bring modernism to the forefront of the creating something both functional and visually appealing. design world while creating beautiful and lasting pieces of fur- The book will utilize ample white space and simple, consis- niture. As Nelson said in during his final project, “the aim of the tent layouts, letting the furniture and the rich history of the Her- design process is always to produce an object that does some- man Miller Company become the focus of the piece. The de- thing. In problem solving, the limitations are far more impor- sign should reflect the openness of the Herman Miller tant than the freedoms… The only creative freedom that is designers. -
Evangelical Christian Higher Education, Culture, and Social Conflict: a Niebuhrian Analysis of Three Colleges in the 1960'S
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1992 Evangelical Christian Higher Education, Culture, and Social Conflict: A Niebuhrian Analysis of Three Colleges in the 1960's David Larsen Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the Education Commons Recommended Citation Larsen, David, "Evangelical Christian Higher Education, Culture, and Social Conflict: A Niebuhrian Analysis of Three Colleges in the 1960's" (1992). Dissertations. 3231. https://ecommons.luc.edu/luc_diss/3231 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1992 David Larsen LOYOLA UNIVERSITY CHICAGO EVANGELICAL CHRISTIAN HIGHER EDUCATION, CULTURE, AND SOCIAL CONFLICT: A NIEBUHRIAN ANALYSIS OF THREE COLLEGES IN THE 1960S A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF EDUCATION IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF EDUCATIONAL LEADERSHIP AND POLICY STUDIES BY DAYID LARSEN CHICAGO, ILLINOIS MAY, 1992 ACKNOWLEDGMENTS The author gratefully acknowledges the encouragement and insights offered by the director of this dissertation and the members of the committee, people who embody in their scholarship, teaching, and conversation both wit and wisdom. The staff members of the archive collections at Calvin, Goshen, and Wheaton Colleges were always ready and willing to converse and assist. They clearly love their work. My friends and colleagues at Trinity Christian College were supportive through their prayers, interest, and willingness to read whatever I gave them. -
ACADEMY MUSEUM of MOTION PICTURES Collection Highlights
ACADEMY MUSEUM OF MOTION PICTURES Collection Highlights OVERVIEW The Academy Museum will draw from the unparalleled collection of the Academy of Motion Picture Arts & Sciences, which contains a vast range of motion picture production and history-related objects and technology, works on paper, still and moving images covering the history of motion picture in the United States and throughout the world. The collections include more than 12 million photographs, 190,000 film and video assets, 80,000 screenplays, 61,000 posters, and 104,000 pieces of production art. The collection also includes more than 1,600 special collections of film legends such as Cary Grant, Katharine Hepburn, Alfred Hitchcock, and John Huston. These special collections contain production files, personal correspondence, clippings, contracts, manuscripts, scrapbooks, storyboards, and more. The Academy’s collecting divisions work collaboratively to acquire, preserve, digitize, and exhibit the broad range of materials entrusted to their care by generations of filmmakers and collectors. The Academy Museum has actively been acquiring three-dimensional motion picture objects since 2008. Its holdings now number approximately 2,500 items representing motion picture technology, costume design, production design, makeup and hairstyling, promotional materials and memorabilia, and awards. MOTION PICTURE TECHNOLOGY The collection includes examples of pre-cinema devices, early and modern motion picture cameras and projectors, sound, editing and lighting equipment, and other landmark -
Inside the Office of Charles and Ray Eames L E C T U
LECTURE MAX UNDERWOOD INSIDE THE OFFICE OF CHARLES AND RAY EAMES “ o not seek to follow in the footsteps of Eames legacy, it is important to examine the masters. Seek what they sought.” 1 what occurred inside the Office of Charles D MATSUO BASHO, ZEN POET (1644–1694). and Ray Eames, for it is primarily the incu- bation itself, enshrined by Charles and Ray The mere mention of CHARLES and R AY Eames, that gave birth to such as plethora EAMES delivers to an older generation an of ideas, innovative processes, profound in- immediate, collective smile. Countless of sights, and landmark creative works. us from a not-so-distant era remember with fondness our first experiences of their in- Charles and Ray: the formative years “I don’t novative designs, or “gifts,” as the Eameses believe in this ‘gifted few’ concept, just in affectionately referred to their creative people doing things they are really interest- works.2 We lovingly recall relaxing within ed in doing. They have a way of getting good the embrace of an Eames Lounge Chair and at whatever it is.” 4 Ottoman (1956), vividly remember watch- CHARLES EAMES. ing with childlike wonder the exponential journey in the film, Powers of Ten (1977), or As we look back on the formative years of fondly relive the silent approach, through a Charles and Ray’s lives, prior to the founding flowering meadow and a magically-lifting of their office in 1941, we are immediately coastal fog, to the mythical Eames House struck not only by the wealth of their lived itself (Arts and Architecture Case Study experiences, but by their perseverance and House #8, 1949). -
PRESS Graphic Designer
© 2021 MARVEL CAST Natasha Romanoff /Black Widow . SCARLETT JOHANSSON Yelena Belova . .FLORENCE PUGH Melina . RACHEL WEISZ Alexei . .DAVID HARBOUR Dreykov . .RAY WINSTONE Young Natasha . .EVER ANDERSON MARVEL STUDIOS Young Yelena . .VIOLET MCGRAW presents Mason . O-T FAGBENLE Secretary Ross . .WILLIAM HURT Antonia/Taskmaster . OLGA KURYLENKO Young Antonia . RYAN KIERA ARMSTRONG Lerato . .LIANI SAMUEL Oksana . .MICHELLE LEE Scientist Morocco 1 . .LEWIS YOUNG Scientist Morocco 2 . CC SMIFF Ingrid . NANNA BLONDELL Widows . SIMONA ZIVKOVSKA ERIN JAMESON SHAINA WEST YOLANDA LYNES Directed by . .CATE SHORTLAND CLAUDIA HEINZ Screenplay by . ERIC PEARSON FATOU BAH Story by . JAC SCHAEFFER JADE MA and NED BENSON JADE XU Produced by . KEVIN FEIGE, p.g.a. LUCY JAYNE MURRAY Executive Producer . LOUIS D’ESPOSITO LUCY CORK Executive Producer . VICTORIA ALONSO ENIKO FULOP Executive Producer . BRAD WINDERBAUM LAUREN OKADIGBO Executive Producer . .NIGEL GOSTELOW AURELIA AGEL Executive Producer . SCARLETT JOHANSSON ZHANE SAMUELS Co-Producer . BRIAN CHAPEK SHAWARAH BATTLES Co-Producer . MITCH BELL TABBY BOND Based on the MADELEINE NICHOLLS MARVEL COMICS YASMIN RILEY Director of Photography . .GABRIEL BERISTAIN, ASC FIONA GRIFFITHS Production Designer . CHARLES WOOD GEORGIA CURTIS Edited by . LEIGH FOLSOM BOYD, ACE SVETLANA CONSTANTINE MATTHEW SCHMIDT IONE BUTLER Costume Designer . JANY TEMIME AUBREY CLELAND Visual Eff ects Supervisor . GEOFFREY BAUMANN Ross Lieutenant . KURT YUE Music by . LORNE BALFE Ohio Agent . DOUG ROBSON Music Supervisor . DAVE JORDAN Budapest Clerk . .ZOLTAN NAGY Casting by . SARAH HALLEY FINN, CSA Man In BMW . .MARCEL DORIAN Second Unit Director . DARRIN PRESCOTT Mechanic . .LIRAN NATHAN Unit Production Manager . SIOBHAN LYONS Mechanic’s Wife . JUDIT VARGA-SZATHMARY First Assistant Director/ Mechanic’s Child . .NOEL KRISZTIAN KOZAK Associate Producer . -
Constructs of Gender and Female Sexuality in Post WWII American and European Cinema
City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 6-2021 Sartorial Semiotics: Constructs of Gender and Female Sexuality in Post WWII American and European Cinema Patricia Cabral The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4392 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SARTORIAL SEMIOTICS: CONSTRUCTS OF GENDER AND FEMALE SEXUALITY IN POST WWII AMERICAN AND EUROPEAN CINEMA by PATRICIA CABRAL A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2021 ii © 2021 PATRICIA CABRAL All Rights Reserved iii SARTORIAL SEMIOTICS: CONSTRUCTS OF GENDER AND FEMALE SEXUALITY IN POST WWII AMERICAN AND EUROPEAN CINEMA by Patricia Cabral This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts _____________________________ _________________________________________ Date Eugenia Paulicelli Thesis Advisor _____________________________ _________________________________________ Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iv Abstract Sartorial Semiotics: Constructs of Gender and Female Sexuality in Post WWII American and European Cinema By Patricia Cabral Advisor: Dr. Eugenia Paulicelli Cinematic costume design functions as a system of visually-perceived, material and indexical signifiers, an effective and compelling language further informed by styling and embodiment.