UNIVERSITY of Southern CALIFORNIA 11 Jan
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Woman War Correspondent,” 1846-1945
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository CONDITIONS OF ACCEPTANCE: THE UNITED STATES MILITARY, THE PRESS, AND THE “WOMAN WAR CORRESPONDENT,” 1846-1945 Carolyn M. Edy A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Journalism and Mass Communication. Chapel Hill 2012 Approved by: Jean Folkerts W. Fitzhugh Brundage Jacquelyn Dowd Hall Frank E. Fee, Jr. Barbara Friedman ©2012 Carolyn Martindale Edy ALL RIGHTS RESERVED ii Abstract CAROLYN M. EDY: Conditions of Acceptance: The United States Military, the Press, and the “Woman War Correspondent,” 1846-1945 (Under the direction of Jean Folkerts) This dissertation chronicles the history of American women who worked as war correspondents through the end of World War II, demonstrating the ways the military, the press, and women themselves constructed categories for war reporting that promoted and prevented women’s access to war: the “war correspondent,” who covered war-related news, and the “woman war correspondent,” who covered the woman’s angle of war. As the first study to examine these concepts, from their emergence in the press through their use in military directives, this dissertation relies upon a variety of sources to consider the roles and influences, not only of the women who worked as war correspondents but of the individuals and institutions surrounding their work. Nineteenth and early 20th century newspapers continually featured the woman war correspondent—often as the first or only of her kind, even as they wrote about more than sixty such women by 1914. -
Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected]
Clemson University TigerPrints Presentations University Libraries 5-2017 Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/lib_pres Part of the Library and Information Science Commons Recommended Citation Mason Smith, Maggie, "Blockbusters: Films and the Books About Them Display" (2017). Presentations. 105. https://tigerprints.clemson.edu/lib_pres/105 This Display is brought to you for free and open access by the University Libraries at TigerPrints. It has been accepted for inclusion in Presentations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Blockbusters: Films and the Books About Them Display May 2017 Blockbusters: Films and the Books About Them Display Photograph taken by Micki Reid, Cooper Library Public Information Coordinator Display Description The Summer Blockbuster Season has started! Along with some great films, our new display features books about the making of blockbusters and their cultural impact as well as books on famous blockbuster directors Spielberg, Lucas, and Cameron. Come by Cooper throughout the month of May to check out the Star Wars series and Star Wars Propaganda; Jaws and Just When you thought it was Safe: A Jaws Companion; The Dark Knight trilogy and Hunting the Dark Knight; plus much more! *Blockbusters on display were chosen based on AMC’s list of Top 100 Blockbusters and Box Office Mojo’s list of All Time Domestic Grosses. - Posted on Clemson University Libraries’ Blog, May 2nd 2017 Films on Display • The Amazing Spider-Man. Dir. Marc Webb. Perf. Andrew Garfield, Emma Stone, Rhys Ifans. -
The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d. -
William A. Seiter ATTORI
A.A. Criminale cercasi Dear Brat USA 1951 REGIA: William A. Seiter ATTORI: Mona Freeman; Billy DeWolfe; Edward Arnold; Lyle Bettger A cavallo della tigre It. 1961 REGIA: Luigi Comencini ATTORI: Nino Manfredi; Mario Adorf; Gian Maria Volont*; Valeria Moriconi; Raymond Bussires L'agente speciale Mackintosh The Mackintosh Man USA 1973 REGIA: John Huston ATTORI: Paul Newman; Dominique Sanda; James Mason; Harry Andrews; Ian Bannen Le ali della libert^ The Shawshank Redemption USA 1994 REGIA: Frank Darabont ATTORI: Tim Robbins; Morgan Freeman; James Whitmore; Clancy Brown; Bob Gunton Un alibi troppo perfetto Two Way Stretch GB 1960 REGIA: Robert Day ATTORI: Peter Sellers; Wilfrid Hyde-White; Lionel Jeffries All'ultimo secondo Outlaw Blues USA 1977 REGIA: Richard T. Heffron ATTORI: Peter Fonda; Susan Saint James; John Crawford A me la libert^ A nous la libert* Fr. 1931 REGIA: Ren* Clair ATTORI: Raymond Cordy; Henri Marchand; Paul Olivier; Rolla France; Andr* Michaud American History X USA 1999 REGIA: Tony Kaye ATTORI: Edward Norton; Edward Furlong; Stacy Keach; Avery Brooks; Elliott Gould Gli ammutinati di Sing Sing Within These Walls USA 1945 REGIA: Bruce H. Humberstone ATTORI: Thomas Mitchell; Mary Anderson; Edward Ryan Amore Szerelem Ung. 1970 REGIA: K‡roly Makk ATTORI: Lili Darvas; Mari T*r*csik; Iv‡n Darvas; Erzsi Orsolya Angelo bianco It. 1955 REGIA: Raffaello Matarazzo ATTORI: Amedeo Nazzari; Yvonne Sanson; Enrica Dyrell; Alberto Farnese; Philippe Hersent L'angelo della morte Brother John USA 1971 REGIA: James Goldstone ATTORI: Sidney Poitier; Will Geer; Bradford Dillman; Beverly Todd L'angolo rosso Red Corner USA 1998 REGIA: Jon Avnet ATTORI: Richard Gere; Bai Ling; Bradley Whitford; Peter Donat; Tzi Ma; Richard Venture Anni di piombo Die bleierne Zeit RFT 1981 REGIA: Margarethe von Trotta ATTORI: Jutta Lampe; Barbara Sukowa; RŸdiger Vogler Anni facili It. -
Any Gods out There? Perceptions of Religion from Star Wars and Star Trek
Journal of Religion & Film Volume 7 Issue 2 October 2003 Article 3 October 2003 Any Gods Out There? Perceptions of Religion from Star Wars and Star Trek John S. Schultes Vanderbilt University, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Schultes, John S. (2003) "Any Gods Out There? Perceptions of Religion from Star Wars and Star Trek," Journal of Religion & Film: Vol. 7 : Iss. 2 , Article 3. Available at: https://digitalcommons.unomaha.edu/jrf/vol7/iss2/3 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Any Gods Out There? Perceptions of Religion from Star Wars and Star Trek Abstract Hollywood films and eligionr have an ongoing rocky relationship, especially in the realm of science fiction. A brief comparison study of the two giants of mainstream sci-fi, Star Wars and Star Trek reveals the differing attitudes toward religion expressed in the genre. Star Trek presents an evolving perspective, from critical secular humanism to begrudging personalized faith, while Star Wars presents an ambiguous mythological foundation for mystical experience that is in more ways universal. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol7/iss2/3 Schultes: Any Gods Out There? Science Fiction has come of age in the 21st century. From its humble beginnings, "Sci- Fi" has been used to express the desires and dreams of those generations who looked up at the stars and imagined life on other planets and space travel, those who actually saw the beginning of the space age, and those who still dare to imagine a universe with wonders beyond what we have today. -
Rawlins 1992 Appendixa.Pdf (288.6Kb)
+ Page 44 + Appendix A. Electronic Book Technology The evolution of the personal computer has followed a path similar to that of the printed book, but in 40 years instead of 600. Alan Kay. [36] To understand the long-term threat to publishing paper books, we need to understand some technology: computer memory, optical discs, memory cards, geosynchronous satellites, cellular radio, radio frequency modems, fiber optic cable, electronic networks, flat-panel displays, portable computers, and desktop computers. This appendix also supports claims made in the report that some apparently radical technology will not only be possible, it is almost inevitable. By sketching the demand and market for each piece of technology, it also shows the computer industry's commitment to rapid change and it shows why this pace of change is inevitable. Personal computers are not yet as common as dishwashers, but that is only a few years away. It is hard to grasp just how much computers have improved. Unlike any other technology ever, computers have improved 10 millionfold in the past 50 years; [37] in that time computers have gone from the lab to the lap. In 30 years, computers shrank from houses, to cars, to refrigerators, to ovens, to microwave ovens, to record players, to large books, to magazines, to wallets. They have stopped at wallet size only because if they were any smaller humans could not use them; eventually they will accept voice input and could display output on the inside of a pair of sunglasses. In the far future, they may move inside the human body. -
Modus Operandi Films and High Point Media Group Present
Modus Operandi Films and High Point Media Group Present A film by Craig McCall Worldwide Sales: High Point Media Group Contact in Cannes: Residences du Grand Hotel, Cormoran II, 3 rd Floor: Tel: +33 (0) 4 93 38 05 87 London Contact: Tel: +44 20 7424 6870. Fax +44 20 7435 3281 [email protected] CAMERAMAN: The Life & Work of Jack Cardiff page 1 of 27 © Modus Operandi Films 2010 HP PRESS KIT CAMERAMAN: The Life and Work of Jack Cardiff www.jackcardiff.com Contents: - Film Synopsis p 3 - 10 Facts About Jack p 4 - Jack Cardiff Filmography p 5 - Quotes about Jack p 6 - Director’s Notes p 7 - Interviewee’s p 8 - Bio’s of Key Crew p10 - Director's Q&A p14 - Credits p 19 CAMERAMAN: The Life & Work of Jack Cardiff page 2 of 27 © Modus Operandi Films 2010 HP PRESS KIT CAMERAMAN : The Life and Work of Jack Cardiff A Documentary Feature Film Logline: Celebrating the remarkable nine decade career of legendary cinematographer, Jack Cardiff, who provided the canvas for classics like The Red Shoes and The African Queen . Short Synopsis: Jack Cardiff’s career spanned an incredible nine of moving picture’s first ten decades and his work behind the camera altered the look of films forever through his use of Technicolor photography. Craig McCall’s passionate film about the legendary cinematographer reveals a unique figure in British and international cinema. Long Synopsis: Cameraman illuminates a unique figure in British and international cinema, Jack Cardiff, a man whose life and career are inextricably interwoven with the history of cinema spanning nine decades of moving pictures' ten. -
Ilanrlfratrr of Puritan Fashions Corp
i^-.“ «T:3^*r.Tflv, ir.jri^-fflr>t ‘ < - 24 - MANCHESTER HERALD. Tues!, April 13, 1982 Find fitness increases productivity Restaurateurs Survivor recalls O'Neill victor a oppose fees Titanic disaster in Forand vote Firms push exercise programs page 3 . page 5 ... page 8 workins , By Gay Pauley ’They were Puritan, Forbes, Inc., UPl Senior Editor into other enterprises, and Pepsico, the soft drink, food and transportation conglomerate. Anyone who markets jeans modeled by Brooke Shields Fitness director Colacino of Pepsico attendM also had better project the image of fitness. Washington State University on a basketball Carl Rosen, 63,, boss of the company that manufac scholarship, studying architectural engineering. He has tures jeans advertised everywhere by the teen-age sex a degree in physical education from the ^hool of Sunny, mild Manchester, Conn. kitten, projects that image dnd also assures that his top medicine and architecture at the University of Wiscon- executives practice what he preaches about America’s on Thursday Wednesday, April 14, 1982 shaping up, Pepslco’s program at its spacious hMdquarters in — See page 2 'T d rather have us corporately fit than corpulently Purchase, N.Y., about 30 miles north of New York City, Single copy 25«i: fat,” said Rosen, president and chief executive officer he says, is one of the most complete exercise and ilanrlfratrr of Puritan Fashions Corp. which makes the designer recreational programs in big business,. Calvin Klein jeans and other apparel. “ We look on the three mile run as the alternative to Each weekday morning at 7, Rosen and his immediate the three martini lunch,” said Colacino. -
HP0227 Yvonne Littlewood
Yvonne Littlewood DRAFT. Tape 1 Side A This recording was transcribed by funds from the AHRC-funded ‘History of Women in British Film and Television project, 1933-1989’, led by Dr Melanie Bell (Principal Investigator, University of Leeds) and Dr Vicky Ball (Co-Investigator, De Montfort University). (2015). BECTU History Project Interview no: 227 Interviewee: Yvonne Littlewood Interviewer: Norman Swallow No of tapes : 4 Duration: 04:45:31 NB: The time codes given here are estimates based on readings from the original cassette recording. Tape 1 Side 1 The copyright of this recording is vested in the BECTU History Project. Yvonne Littlewood, television producer. Interviewer, Norman Swallow. Recorded on the 21st of November 1991. Side One. Can, can we ask, first of all when and where you were born? I was born in Maidstone, Kent, in 1927. And, but from Kent I moved over for a short to King’s Lynn in Norfolk because my father was in banking, and then eventually I went to the West Country, to Ross-on-Wye, when I was about six I suppose, I think, or there around. And so I spent all my schooling in Ross, and that was, of course, then sort of late ‘30s and into the War. So, the early part of the War anyway, I, I was in Ross, I was in school there. Convents, schooling, I can't claim any academic qualifications, but I did specialise in school quite a bit in music, and my mother seemed to think that I had some, I mean, and my mother was one of those people who I think thought I should have to do everything, you know, one of those, a bit of this, a bit of that, and whether you did any of it really well, but it, we had to have a go at it all. -
Department of Film and Video Archive
Department of Film and Video archive, Title Department of Film and Video archive (fv001) Dates 1907-2009 [bulk 1970-2003] Creator Summary Quantity 200 linear feet of graphic material and textual records Restrictions on Access Language English Kate Barbera PDF Created January 20, 2016 Department of Film and Video archive, Page 2 of 65 Carnegie Museum of Art (CMOA) established the Film Section (subsequently, the Section of Film and Video and the Department of Film and Video) in 1970, making it one of the first museum-based film departments in the country. As part of the first wave of museums to celebrate moving image work, CMOA played a central role in legitimizing film as an art form, leading a movement that would eventually result in the integration of moving image artworks in museum collections worldwide. The department's active roster of programmingÐfeaturing historical screenings, director's retrospectives, and monthly appearances by experimental filmmakers from around the worldÐwas a leading factor in Pittsburgh's emergence in the 1970s as ªone of the most vibrant and exciting places in America for exploring cinema.º (Robert A. Haller, Crossroads: Avant-garde Film in Pittsburgh in the 1970s, 2005). The museum also served as a galvanizing force in the burgeoning field by increasing visibility and promoting the professionalization of moving image art through its publication of Film and Video Makers Travel Sheet (a monthly newsletter distributed to 2,000 subscribers worldwide) and the Film and Video Makers Directory (a listing of those involved in film and video production and exhibition) and by paying substantial honoraria to visiting filmmakers. -
• ASC Archival Photos
ASC Archival Photos – All Captions Draft 8/31/2018 Affair in Trinidad - R. Hayworth (1952).jpg The film noir crime drama Affair in Trinidad (1952) — directed by Vincent Sherman and photographed by Joseph B. Walker, ASC — stars Rita Hayworth and Glenn Ford and was promoted as a re-teaming of the stars of the prior hit Gilda (1946). Considered a “comeback” effort following Hayworth’s difficult marriage to Prince Aly Khan, Trinidad was the star's first picture in four years and Columbia Pictures wanted one of their finest cinematographers to shoot it. Here, Walker (on right, wearing fedora) and his crew set a shot on Hayworth over Ford’s shoulder. Dick Tracy – W. Beatty (1990).jpg Directed by and starring Warren Beatty, Dick Tracy (1990) was a faithful ode to the timeless detective comic strip. To that end, Beatty and cinematographer Vittorio Storaro, ASC, AIC — seen here setting a shot during production — rendered the film almost entirely in reds, yellows and blues to replicate the look of the comic. Storaro earned an Oscar nomination for his efforts. The two filmmakers had previously collaborated on the period drama Reds and later on the political comedy Bullworth. Cries and Whispers - L. Ullman (1974).jpg Swedish cinematographer Sven Nykvist, ASC operates the camera while executing a dolly shot on actress Liv Ullman, capturing an iconic moment in Cries and Whispers (1974), directed by friend and frequent collaborator Ingmar Bergman. “Motion picture photography doesn't have to look absolutely realistic,” Nykvist told American Cinematographer. “It can be beautiful and realistic at the same time. -
Frons Launches Soap Sensation
et al.: SU Variety II SPECIAL 'GOIN' HOLLYWOOD' EDITION II NEWSPAPER Second Class P.O. Entry Supplement to Syracuse University Magazine CURTIS: IN MINIS Role Credits! "War" Series Is All-Time Screen Dream Syracuse- We couldn't pos sibly get 'em all, but in these 8 By RENEE LEVY series "Winds of War," based on to air in late spring and the entire pages find another 40-plus SU Hollywood- The longest. The Herman Wouk 's epic World War II package will air in Europe next year. alumni getting billboards on most demanding. The hardest. The novels, "War and Remembrance" Curtis, exec producer, director the boulevard. In our research, most expensive. That's the story was shot in 757 locations in 10 and co-scribe of the teleplay, spent we discovered a staggering net behind Dan Curtis 'SO's block countries, using more than 44,000 two years filming and a year and a work of Syracusans in the busi buster miniseries " War and Re actors and extras and nearly 800 half editing "War and Remem ness-producers, directors, membrance," which aired the first sets. The production- the longest brance," a project he originally actors, editors, and more! We 18 of its 30 hours in November on in television history--cost an es considered undoable-particular soon realized that all of them ABC-TV. timated $ 105 million to make. The ly because of the naval battles and would not fit, and to those left A sequel to Curtis's 1983 maxi- concluding 12 hours are expected the depiction of the Holocaust.