DOCSLIB.ORG

Universidade Federal De Santa Catarina Pós-Graduação Em Letras/Inglês E Literatura Correspondente

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Universidade Federal De Santa Catarina Pós-Graduação Em Letras/Inglês E Literatura Correspondente UNIVERSIDADE FEDERAL DE SANTA CATARINA PÓS-GRADUAÇÃO EM LETRAS/INGLÊS E LITERATURA CORRESPONDENTE RETURNING TO ZAMUNDA TO FIND PARADISE: EDDIE MURPHY’S COMING TO AMERICA AND THE POLITICS OF PARODY IN FILM. CLÁUDIA RAMOS NEVES Dissertação submetida à Universidade Federal de Santa Catarina em cumprimento Parcial dos requisitos para obtenção do grau de MESTRE EM LETRAS FLORIANÓPOLIS FEVEREIRO 2004 On a gray evening Of a gray century, I ate an apple While no one was looking. A small, sour apple The color of woodfire Which I first wiped On my sleeve. Then I stretched my legs As far as they’d go, Said to myself Why not close my eyes now Before the late World News and Weather. Charles Simic-History In North America time stumbles on without moving, only releasing a certain North American pain. Julia de Burgos wrote: That my grandfather was a slave is my grief; had he been a master that would have been my shame. Adrienne Rich – from North American Time I dedicate this work to my mother, Léa, for showing me what is to be a Woman and to my children, Bruno and Amanda, for being the reason why I have become one. ACKNOWLEDGEMENTS I am most grateful to CAPES for providing me with a scholarship thereby enabling me to complete this requirement. I sincerely thank my professors and the secretarial staff at Pós-graduação em Inglês and my colleagues at Departamento de Língua e Literatura Estrangeiras, Universidade Federal de Santa Catarina, for their encouragement. Thank you to my family, specially my mother Léa, for helping me “making ends meet”. To my children for having resigned from having a mother during this period (instead, having put up with a neurotic one). To Amanda, who passed the last two years watching TV with earphones, and Bruno, who endured the task of helping a computer semi-illiterate. I would like to thank all the people who directly or indirectly contributed to making it possible for this thesis to be completed in any aspect. To all my students who have been teaching me more than I could ever teach them, specially the ones at Fábrica de Rendas e Bordados Hoepcke. A special thanks to Sílvia, my constant student who has become a dearest friend, and to my dearest friends Moacir and Onelba who have eventually become my students (and literally my shelter). I will forever be in debt with my neighbors Pedro and Lucas for letting me use their computers, checking my mail, and sometimes playing wonderful music next door which helped me concentrate so much on my work. I could not forget Spiky and Puc, for being the most loyal companions and warming my feet under the computer’s desk in my endless nights without sleep. I would like to thank the encouraging under-graduate professors at UFSC, specially Prof. Regina Carvalho – today in Journalism – who made me enjoy going to Literature vi classes, and Rosana Koerich, who made me think I could stand a chance; for both played a decisive role at moments when I thought of giving up. Equal thanks to the not so encouraging ones who somehow helped me develop my dialectical reasoning, therefore not taking “all” words for granted. My sincerest thanks to Prof. Anelise Corseuil, my co-advisor, for her precious hints on this thesis – even though she might not know it – silently collected during her classes and serving as essential ideas in my research. I will always be grateful to my advisor Prof. José Gatti, who introduced me to Film Studies and was responsible for my continuing in the graduate program when he showed me, through his classes, that there could be fun in all of this, after all. His overwhelming enthusiasm, and contagious laughter, allied with his immeasurable professional advice have helped me reconsider my opinion about the academia, and understand (if not accept) the meaning of quality instead of quantity. Thank you all, Cláudia. Florianópolis, January 2004. TABLE OF CONTENTS CHAPTER I INTRODUCTION........................................................................................1 1.1. The Criteria for the Choice of Scenes.............................................................................3 1.2. Objectives and Research Questions................................................................................4 1.3. Methodology...................................................................................................................5 1.4. Outline of the Thesis.......................................................................................................6 CHAPTER II THEORETICAL PERSPECTIVES.........................................................8 2.1. The Hollywood Style......................................................................................................8 2.2. Parody............................................................................................................................11 2.3. Stereotype......................................................................................................................14 2.3.1 The Limits of Stereotype.............................................................................................16 2.4. Mediations and Discourses............................................................................................17 2.5. Identity and Diaspora in the Cinematic Representation................................................19 2.5.1. The Nostalgia of Présence Africaine..........................................................................21 2.6. Post-Modern Black Cinema?.........................................................................................23 2.7. The Poetics of Film as a Discourse...............................................................................25 CHAPTER III HOLLYWOOD IS IN AFRICA – AFRICA IS IN HOLLYWOOD..30 3. Elements of the Mise-en-scene........................................................................................30 3.1. The Setting....................................................................................................................30 3.2. The Costumes................................................................................................................34 3.3. The Western Gaze.........................................................................................................35 3.3.1. Erotized Africa...........................................................................................................35 xii 3.3.2. The Western Gaze Camouflaged...............................................................................38 3.4. The Casting...................................................................................................................39 3.5. The Language................................................................................................................41 3.6. Contaminated Africa.....................................................................................................44 3.7.Stereotypes.....................................................................................................................46 3.7.1. The Prince..................................................................................................................46 3.7.2. The Stupid Native – Bimbos and Dummies..............................................................49 3.8. The Voyage Backwards................................................................................................51 CHAPTER IV MAPPING TERRA INCOGNITA..........................................................54 4. Elements of the Mise-en-scene.........................................................................................55 4.1. The Setting of “Have-nots”...........................................................................................55 4.1.2. Présence Americaine..................................................................................................57 4.1.3 The Barber Shop – Where Three Presences Meet.......................................................57 4.2. American Women and Moralism..................................................................................61 4.2.1. Club X Church...........................................................................................................61 4.2.2. The Lady X The Tramp..............................................................................................63 4.3. McDowell’s X McDonald’s – Allegories of Empowerment.........................................65 4.4. Institutions Targeted......................................................................................................66 4.4.1. The Church.................................................................................................................67 4.4.2. Capitalism – Labor X Money.....................................................................................69 4.4.3. Monuments of Power.................................................................................................70 4.5. The Plot.........................................................................................................................71 4.5.1. The Hero....................................................................................................................72 4.5.2. The Genius.................................................................................................................73 xiii 4.5.3. The Imbecile..............................................................................................................77 4.5.4. The Villains..............................................................................................................
Load more

Recommended publications
  • HBO: Brand Management and Subscriber Aggregation: 1972-2007
    1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007.
    [Show full text]
  • De-Mystification of an Asian Kung-Fu Hero
    Situations Vol. 3 (Winter 2009) © 2009 by Yonsei University Sung Gyung Jo1 [email protected] A Fistful of Yen: The De-mystification of an Asian Kung-Fu Hero The importance of parody, as Linda Hutcheon notes in A Theory of Parody, lies in the fact that it is “one of the major forms of modern self-reflexivity; it is a form of inter- art discourse” (Hutcheon 2). Remakes of old movies that embody the elements of parody are becoming more popular these days. According to Eberwein, “a remake is a kind of reading or rereading of the original” which “posit and depend on certain assumptions about audience reception” (15-6). Cinema is a relatively recent form of art and regularly incorporates parody within its own structures. A Fistful of Yen, which is a parodic remake of Enter the Dragon, is a notable instance. In Enter the Dragon, Bruce Lee is a perfect “stuntman as hero” with authentic “virtuosity” (Hunt 23). The Hong Kong setting was exotic enough to attract large audiences not only in Asia but in the West. The problem, however, lies in Lee’s 1 Yonsei graduate student 79 perfect physique and the exotic setting itself. Throughout the film, the camera mostly captures the visual images of Asia and Lee’s impressive stunts. The most memorable fighting scene in this film is when Lee kills Oharra, the first bodyguard of Mr. Han, by jumping on the enemy while he is lying on a lawn. The camera captures Lee’s trademark facial expression in a close-up shot with slow motion to intensify the fierce movement of the hero.
    [Show full text]
  • Approved Movie List 10-9-12
    APPROVED NSH MOVIE SCREENING COMMITTEE R-RATED and NON-RATED MOVIE LIST Updated October 9, 2012 (Newly added films are in the shaded rows at the top of the list beginning on page 1.) Film Title ALEXANDER THE GREAT (1968) ANCHORMAN (2004) APACHES (also named APACHEN)(1973) BULLITT (1968) CABARET (1972) CARNAGE (2011) CINCINNATI KID, THE (1965) COPS CRUDE IMPACT (2006) DAVE CHAPPEL SHOW (2003–2006) DICK CAVETT SHOW (1968–1972) DUMB AND DUMBER (1994) EAST OF EDEN (1965) ELIZABETH (1998) ERIN BROCOVICH (2000) FISH CALLED WANDA (1988) GALACTICA 1980 GYPSY (1962) HIGH SCHOOL SPORTS FOCUS (1999-2007) HIP HOP AWARDS 2007 IN THE LOOP (2009) INSIDE DAISY CLOVER (1965) IRAQ FOR SALE: THE WAR PROFITEERS (2006) JEEVES & WOOSTER (British TV Series) JERRY SPRINGER SHOW (not Too Hot for TV) MAN WHO SHOT LIBERTY VALANCE, THE (1962) MATA HARI (1931) MILK (2008) NBA PLAYOFFS (ESPN)(2009) NIAGARA MOTEL (2006) ON THE ROAD WITH CHARLES KURALT PECKER (1998) PRODUCERS, THE (1968) QUIET MAN, THE (1952) REAL GHOST STORIES (Documentary) RICK STEVES TRAVEL SHOW (PBS) SEX AND THE SINGLE GIRL (1964) SITTING BULL (1954) SMALLEST SHOW ON EARTH, THE (1957) SPLENDER IN THE GRASS APPROVED NSH MOVIE SCREENING COMMITTEE R-RATED and NON-RATED MOVIE LIST Updated October 9, 2012 (Newly added films are in the shaded rows at the top of the list beginning on page 1.) Film Title TAMING OF THE SHREW (1967) TIME OF FAVOR (2000) TOLL BOOTH, THE (2004) TOMORROW SHOW w/ Tom Snyder TOP GEAR (BBC TV show) TOP GEAR (TV Series) UNCOVERED: THE WAR ON IRAQ (2004) VAMPIRE SECRETS (History
    [Show full text]
  • Historicizing the Liminal Superhero
    BOX OFFICE BACK ISSUES: HISTORICIZING THE LIMINAL SUPERHERO FILMS, 1989–2008 by ZACHARY ROMAN A DISSERTATION Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2020 DISSERTATION APPROVAL PAGE Student: Zachary Roman Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Journalism and Communication by: Peter Alilunas Chairperson Janet Wasko Core Member Erin Hanna Core Member Benjamin Saunders Institutional Representative and Kate Mondloch Interim Vice-Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2020 ii © 2020 Zachary Roman iii DISSERTATION ABSTRACT Zachary Roman Doctor of Philosophy School of Journalism and Communication December 2020 Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 Although the superhero film became a dominant force in Hollywood early in the 21st century, the formation of the superhero genre can be attributed to a relatively small temporal window beginning in 1989 and ending in 2008. This dissertation argues that a specific group of superhero films that I call the liminal superhero films (LSF) collectively served as the industrial body that organized and created a fully formed superhero genre. The LSF codified the superhero genre, but that was only possible due to several industrial elements at play before they arrived. An increasing industrial appetite for blockbusters coming out of the 1970s, the rise of proprietary intellectual property after the corporate conglomeration that occurred at the end of the 20th century, and finally, the ability of the LSF to mitigate risk (both real and perceived) all led to this cinematic confluence.
    [Show full text]
  • The Kentucky Fried Movie À¸™À¸±À¸​À¹​À¸ªà
    The Kentucky Fried Movie นัà¸à​ ¹à​ ¸ªà¸”ง รายà¸à​ ¸²à¸£ (Cast) Forrest J Ackerman https://th.listvote.com/lists/film/actors/forrest-j-ackerman-18227/movies Donald Sutherland https://th.listvote.com/lists/film/actors/donald-sutherland-103784/movies Bill Bixby https://th.listvote.com/lists/film/actors/bill-bixby-498503/movies Neil Thompson https://th.listvote.com/lists/film/actors/neil-thompson-18521650/movies Lance LeGault https://th.listvote.com/lists/film/actors/lance-legault-1378226/movies Uschi Digard https://th.listvote.com/lists/film/actors/uschi-digard-448079/movies David Zucker https://th.listvote.com/lists/film/actors/david-zucker-452794/movies Barry Dennen https://th.listvote.com/lists/film/actors/barry-dennen-809029/movies จà¸à​ ¸£à¹Œà¸ˆ https://th.listvote.com/lists/film/actors/%E0%B8%88%E0%B8%AD%E0%B8%A3%E0%B9%8C%E0%B8%88- เลเซนบี %E0%B9%80%E0%B8%A5%E0%B9%80%E0%B8%8B%E0%B8%99%E0%B8%9A%E0%B8%B5-205599/movies Tony Dow https://th.listvote.com/lists/film/actors/tony-dow-1281193/movies เฟลิà¸à​ ¸‹à¹Œ https://th.listvote.com/lists/film/actors/%E0%B9%80%E0%B8%9F%E0%B8%A5%E0%B8%B4%E0%B8%81%E0%B8%8B%E0%B9%8C- ซิลลา %E0%B8%8B%E0%B8%B4%E0%B8%A5%E0%B8%A5%E0%B8%B2-323961/movies Branscombe https://th.listvote.com/lists/film/actors/branscombe-richmond-131866/movies Richmond Henry Gibson https://th.listvote.com/lists/film/actors/henry-gibson-225657/movies Rick Baker https://th.listvote.com/lists/film/actors/rick-baker-495321/movies Tara Strohmeier https://th.listvote.com/lists/film/actors/tara-strohmeier-7685153/movies Tina Louise https://th.listvote.com/lists/film/actors/tina-louise-456055/movies Phillip Rhee https://th.listvote.com/lists/film/actors/phillip-rhee-374223/movies Jim Abrahams https://th.listvote.com/lists/film/actors/jim-abrahams-448604/movies Evan C.
    [Show full text]
  • THE STAR Under Your Nose AUSTIN * SAN ANTONIO Joe Baker, Commentary, P.7 Feb
    Texan's Gay Immigration Case Attracting National Attention By Don Ritz Fifth Circuit Court of Appeals in New Longstaff said that NGRA would fund Immigration of gay men and women to the Orleans. Late last September, the Appeals the majority of costs for the Supreme U.S. is a subjectthat has been picked up by Court, by a vote of 2 to l, affirmed the Court case, and the organization would be the national news media. Federal District Court's decision. accepting donatiorui. (Donations are tax Richard Longstaff, owner of the Union After the Appeals Court decision, the dedut'tible, and checks should be made to Jack clothing stores in Dallas and Hous­ National Gay Rights Advocates (NGRA), NGRA or the Legal Foundation for Per· ton, immigrated to the U.S. from Great located in San Francisco, requested a sonal Liberties, 540 Castro, San Fran­ Britain in 1965. Shortly after immigrat­ rehearing en bane by the Appeals Court. cisco, Calif. 94114.) ing, Longstaff opened his store in Dallas NGRA, citing numerous contradictions Longstaff said, "Speculation is that the and later opened a second in Houston. between the Fifth Circuit's decision and Supreme Court will hear the ca8e, but it is Eleven years after immigrating to this other smiliar immigration cases, purely speculation as to when they will country, Longstaff applied for U.S. citi­ requested that the case be heard by the hear it. The timing (of the case) does not zenship. entire Fifth Circuit Court, not just three have the priority of something like a case The U.S.
    [Show full text]
  • Movies Content Comparison Correct As of 7Th Nov 2014
    Movies Content Comparison Correct as of 7th Nov 2014 Notes: 1. Pay TV and online services 2. Subscription and rental movies only. Purchase movies not included 3. SD/HD/3D titles counted once 4. Movies defined as: feature-length films, not including trailers, featurettes, try before you buy or children’s features. 5. Correct as of 7th Nov 2014 Virgin Media + Netflix Total title count: 3,751 9 42 51 360 1984 (A) Sexual 1 Chance 2 Dance 1:1 Thierry Henry 10 Rules For Sleeping Around 10 Things I Hate About You 10 to Midnight 100 Feet 101 Dalmations 12 Rounds 2 12 Years A Slave 13 Assassins 13 Ghosts 13 Going on 30 16 Acres 180° South 2 Days in The Valley 2 Fast 2 Furious 2 Guns 20 Feet From Stardom 20,000 Days On Earth 21 & Over 21 Jump Street 25th Hour 28 Days 28 Days Later 28 Weeks Later 3 Days To Kill 3 Ninjas: High Noon At Mega Mountain 3 Ninjas: Kick Back 3 Ninjas: Knuckle Up 3.10 To Yuma 3:10 to Yuma 30 Minutes or Less 300: Rise of An Empire 47 Ronin 48 Hrs. 5 Broken Cameras 50 Dead Men Walking 50 First Dates 50/50 5ive Girls 8 Minutes Idle 8MM 96 Minutes A 2nd Chance Page 1 of 94 Movies Content Comparison Correct as of 7th Nov 2014 Notes: 1. Pay TV and online services 2. Subscription and rental movies only. Purchase movies not included 3. SD/HD/3D titles counted once 4. Movies defined as: feature-length films, not including trailers, featurettes, try before you buy or children’s features.
    [Show full text]
  • April 9, 2021 Daily
    Prince Philip, husband of the Queen, dies Pre-RamadanToys For dinnerTots at event Masjid Bilal to ofbe Cleveland held Kid’s Corner Toys For Tots event to be held SPORTS Kid’s Corner PrinceThe Friends Philip, of Zack husband Reed will sponsorof Britain’s its 22nd MENU TIPS Masjid Bilal of Cleveland, 7401 Euclid Jude Alexander McHale: Ave. will hold a drive thru pre-Ramadan dinner QueenAnnual 2018Elizabeth Toys for II, Tots has Holidaydied, the Party royal & Celebrity family Jude was born on May 17. He is Fashion Show with the goal to collect 1,000 toys for the Jose Comes Through Potatoes Improve Your announced today. He was 99. According to a on Saturday April 10 at 4:00 p.m. Baked and needy children of Northeast Ohio. Beverages will be pro- For Tribe Salad Days almost 2 years old. He loves watch- fried perch, barbeque beef ribs, and fried chick- statementvided with admission.from the Celebrities palace, “Hisinvited Royal include: High Alec- ing his big sister and trying to run. en wings for $15.00. Dinners include potatoes, nessBlackmon, passed Andrea away Vecchio, peacefully Tiffany Tarpley,this morning and Vanessa at He giggles at puppets and Mickey rolls, coleslaw, green beans, and dessert. To WindsorWhiting, Esq. Castle.” Doors openHe hadat 6pm. been Admission ill for is some$10 at Mouse. He also likes to go on af- the door with a new, unopened toy for donation (or $20 See Page 4 See Page 5 order call 216-391-4471. time. McHale ternoon walks with Mom and Dad. without a toy).
    [Show full text]
  • Magic Mike, Dirty Dancing, and the (Empty) Promise of Heteromasculinity Addie Tsai, Texas Woman’S University
    Magic Mike, Dirty Dancing, and the (Empty) Promise of Heteromasculinity Addie Tsai, Texas Woman’s University Abstract In 1987, Eddie Murphy performed a comic sketch about white men dancing that would inform future movers and makers of white male dancing in American popular culture, helping to create a trope mocking white men for their inability to dance, most often referred to as the “white man dance.” At that time, Saturday Night Live, with the help of its host Patrick Swayze, fresh off the popularity of his work in sleeper hit Dirty Dancing, contributed to the trope itself with a sketch comparing the hypermuscular physique of Swayze vs. the flabby physique of comedian Chris Farley. Almost thirty years later, American popular culture would see a return to a renewed interest in the dance film with the stripper film Magic Mike. This article argues that although Magic Mike, like Dirty Dancing, relies on the makeover trope as its narrative and thematic engine, Magic Mike revises the popular dance film format to instead focus on the relationship between two men, Mike and Adam, rather than on a heterosexual partnering. Magic Mike’s focus on this male-to-male relationship inevitably comments on the exchange between heteronormative masculinity and compulsory heterosexuality and their assumed whiteness. Keywords: Patrick Swayze, beefcake, Richard Dyer, White Man Dance, masculinity, AIDS, screendance, film, Saturday Night Live, Chris Farley, Channing Tatum, Magic Mike, Chippendales In Adrienne Rich’s pioneering essay titled “Compulsory Heterosexuality and the Lesbian Existence,” she seeks to explore the ways in which lesbian existence has been marginalized as well as the ways in which heterosexuality operates as an institution that, in many ways, has been forced onto women as a part of a heteronormative conditioning.
    [Show full text]
  • This Is the American Film Institute's List of 500 Movies Nominated for the Top 100 Funniest American Movies
    This is the American Film Institute's list of 500 movies nominated for the top 100 Funniest American Movies. 1. 10 (1979) 2. 1941 (1979) 3. 48HRS. (1982) 4. 9 TO 5 (1980) 5. A CHRISTMAS STORY (1983) 6. A CONNECTICUT YANKEE (1931) 7. A DAY AT THE RACES (1937) 8. A FISH CALLED WANDA (1988) 9. A FLORIDA ENCHANTMENT (1914) 10. A FOREIGN AFFAIR (1948) 11. A FUNNY THING HAPPENED ON THE WAY TO THE FORUM (1966) 12. A GIRL IN EVERY PORT (1928) 13. A GIRL'S FOLLY (1917) 14. A NIGHT AT THE OPERA (1935) 15. A SHOT IN THE DARK (1964) 16. A THOUSAND CLOWNS (1965) 17. A WEDDING (1978) 18. ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948) 19. ABOUT LAST NIGHT... (1986) 20. ACE VENTURA, PET DETECTIVE (1994) 21. ADAM'S RIB (1949) 22. ADDAMS FAMILY VALUES (1993) 23. AFTER HOURS (1985) 24. AIRPLANE! (1980) 25. ALADDIN (1992) 26. ALL OF ME (1984) 27. AMERICAN GRAFFITI (1973) 28. AN AMERICAN WEREWOLF IN LONDON (1981) 29. ANIMAL CRACKERS (1930) 30. ANNIE HALL (1977) 31. ARSENIC AND OLD LACE (1944) 32. ARTHUR (1981) 33. AS GOOD AS IT GETS (1997) 34. AUNTIE MAME (1958) 35. AUSTIN POWERS: INTERNATIONAL MAN OF MYSTERY (1997) 36. AVANTI! (1972) 37. BABE (1995) 38. BACHELOR MOTHER (1939) 39. BACK TO SCHOOL (1986) 40. BACK TO THE FUTURE (1985) 41. BALL OF FIRE (1941) 42. BANANAS (1971) 43. BAREFOOT IN THE PARK (1967) 44. BEACH BLANKET BINGO (1965) 45. BEAT THE DEVIL (1954) 46. BEDTIME FOR BONZO (1951) 47. BEETLEJUICE (1988) 48. BEING THERE (1979) AFI is a trademark of the American Film Institute.
    [Show full text]
  • HMM-165 Reins Switch Hands
    HAWAII MARINE Voluntary payment for delivery to MCAS housing/$1 per four week period VOL. 9 NO. 28 KANEOHE BAY, HAWAII, JULY 16, 1980 TWENTY I'AGES HMM-165 reins switch hands LtCol Gary Thiry assumed Thiry was selected for jet Administration, magna cum HIS PERSONAL decorations command of Marine Medium transition in 1969 but opted for laude. include the Distinguished Flying Helicopter 'Squadron-165, Marine orders to Army training in the AH- Cross (5 awards), Bronze Star with Aircraft Group-24, at MCAS IG "Cobra" helicopter at Fort ONE YEAR AFTER receiving Combat "V", Defense Meritorious Kaneohe Bay, during ceremonies Hunter, Savanna, Ga. He was his degree Thiry was transfered to Service Medal, Air Medal with 65 July 3. Thiry replaced LtCol one of the first 20 Marine pilots New River for a second tour. There Strike Flight awards, Navy Richard Bland who has been trained in the new attack he served as executive officer of Achievement Medal, Navy assigned to the Naval War College, helicopter. Thiry then returned to Marine Fighter Attack Helicopter Commendation Medal with "V" Newport, R.I. MAG-16 at Marble Mountain, in Squadron-269. and the Vietnam Cross of the Republic of Vietnam. Thiry also served as executive Gallantry with Bronze Star. THIRY WAS BORN in Green officer of Marine Fighter Attack Bay, Wis. 38 years ago. He enlisted RETURNING TO CONUS in Helicopter Squadron-369 in in the Marine Corps upon October of 1970, he attended Okinawa during 1976. In 1977 he completion of high school. A year Amphibious Warfare School at attended the Command and Staff later he was accepted into the Quantico, Va., and was subse- course at the Naval War College in Marine Aviation Cadet Program quently assigned to Headquarters, Newport.
    [Show full text]
  • Area Movie Times @ Whatzup.Com/Movies June 1-7, 2017
    JUNE 1-7, 2017 Area Movie Times @ whatzup.com/movies FACEBOOK.COM/WHATZUPFORTWAYNE • WWW.WHATZUP.COM Proudly presents in Fort Wayne, Indiana ON SALE FRIDAY JUNE 2 ! ON SALE FRIDAY JUNE 2 ! ON SALE FRIDAY JUNE 2 ! ProudlyProudly presents inpresents Fort Wayne, in Indiana Fort Wayne, Indiana 7KH0RWRU&LW\0DGPDQ5HWXUQV7R)RUW:D\QH ONON SALE SALE NOW! NOW! ON SALEON NOW! SALE NOW!ON SALE NOW! ON SALEON SALE NOW! NOW! ON SALE NOW! WEDNESDAY SEPTEMBER 20, 2017 • 7:30 PM The Foellinger Outdoor Theatre GORDON LIGHTFOOT TUESDAY AUGUST 1, 2017 • 7:30 PM 7+856'$<0$<30 7+856'$<0$<30Fort Wayne, Indiana )5,'$<0$<30THURSDAY)5,'$<0$<30 AUGUST 24,78(6'$<0$<30 2017 • 7:30 PM 78(6'$<0$<30 The Foellinger Outdoor Theatre THE FOELLINGER OUTDOOR THEATRE The Foellinger Outdoor TheatreThe Foellinger TheThe Outdoor Foellinger Foellinger Theatre Outdoor OutdoorThe Foellinger Theatre Theatre Outdoor TheatreThe Foellinger Outdoor Theatre Fort Wayne, Indiana FORT WAYNE, INDIANA Fort Wayne, Indiana Fort Wayne, IndianaFortFort Wayne, Indiana IndianaFort Wayne, Indiana Fort Wayne, Indiana ON SALE ONON NOW!SALE SALE NOW! NOW! ON SALE ON NOW! SALE ON NOW! SALE ON SALE NOW!ON NOW! SALE NOW! ONON SALE SALEON NOW! SALE NOW! NOW!ON SALE NOW!ON SALE ON SALE NOW! NOW! 14 16 TOP 40 HITS Gold and OF GRAND FUNK MORE THAN 5 Platinum TOP 10 HITS Records 30 Million 2 Records #1 HITS RAILROAD! Free Movies Sold WORLDWIDE THURSDAY AUGUST 3, 2017 • 7:30 PM Tickets The Nut Job Wed June 15 9:00 pm MEGA HITS 7+856'$<$8*867307+856'$<$8*86730On-line By PhoneTUESDAY SEPTEMBERSurly, a curmudgeon, 5, 2017 independent • 7:30 squirrel PM is banished from his “ I’m Your Captain (Closer to Home)” “ We’re An American Band” :('1(6'$<$8*86730:('1(6'$<$8*86730 “The Loco-Motion”)5,'$<-8/<30)5,'$<-8/<30 “Some Kind of Wonderful” “Bad Time” www.foellingertheatre.org (260) 427-6000 park and forced to survive in the city.
    [Show full text]