Flexible Production on the Working Waterfront: the Social Origins of the Northwest Atlantic Sea Urchin Industry*

Total Page:16

File Type:pdf, Size:1020Kb

Flexible Production on the Working Waterfront: the Social Origins of the Northwest Atlantic Sea Urchin Industry* Rural Sociology 66(4), 2001, pp. 532–556 Copyright © 2001 by the Rural Sociological Society Flexible Production on the Working Waterfront: The Social Origins of the Northwest Atlantic Sea Urchin Industry* Sean R. Lauer Department of Anthropology and Sociology University of British Columbia Abstract In 1986 the northwest Atlantic sea urchin was little more than a nuisance to local fishermen. Six years later, sea urchins were the second most valuable fishery in Maine, next the lobsters. This paper examines the initiation and early development of the northwest Atlantic sea urchin in- dustry. The industry is unique because of its quick growth and its reliance on international markets. On the basis of ethnographic research, I exam- ine the ability of firms already working in in-shore fisheries to adapt to the introduction of international markets for a new product. Institutional arrangements of the working waterfront facilitate these adaptations through technological and social flexibility. In addition, flexible adapta- tion to the sea urchin market was not inhibited by existing formal or in- formal institutions. This analysis of the sea urchin industry and the work- ing waterfront contributes to current discussions about small-firm networks and the economic sociology of industries. In 1986 a few fishermen along the northern New England coast harvested a small amount of sea urchins destined for an urban im- migrant market. Seven years later, harvesters landed more than 40 million pounds of sea urchin worth nearly $30 million. By 1993 the industry included thousands of people working in the harvesting, buying, and processing sectors. Much of this growth took place within the harvesting sector, with more than 1,700 harvesters from many different walks of life. One participant described the indus- try’s growth as follows: When the draggers and then the divers . started getting into it, it was like a field fire. You light a match, and then the smaller it starts. Everybody who had any kind of fondness [for] the water, some that didn’t even, . couldn’t even swim. It was . like a field on fire around here for a while. *I would like to thank Mil Duncan, Margaret Walsh, Denise Anthony, and Carrie Yodanis for helpful comments on earlier drafts of this paper. A draft was first pre- sented at the 1999 annual meetings of the Rural Sociological Society, held in Chicago. A Rural Sociological Society Dissertation Research Award provided partial support for this research. Direct all correspondence to Sean Lauer, Department of Anthropology and Sociology, University of British Columbia, 6303NW Marine Drive, Vancouver, BC V6T 124, [email protected]. Northwest Atlantic Sea Urchin Industry — Lauer 533 Figure 1. Change in World Sea Urchin Landings and the Yen-to-Dollar Ratio Over the course of the industry’s history, more than one observer has described its development in similar fashion: as a gold rush, as a boom (Amory 1996). This dramatic growth can be explained in part by the opening of Asian markets to U.S. seafood products. The northwest Atlantic green sea urchin fishery is one of a number of new fisheries that have developed along the nation’s coasts over the last two decades (Lauer 1999a). Small-scale fishermen in coastal communities around the country are harvesting unusual species such as elvers, sea cucumbers, slime eels, and sea urchins for markets on the other side of the globe. Small-scale in-shore fisheries are not new to these coasts. The process and the product of these new fisheries, how- ever, signal a fundamental break with previous practices. Until the 1970s, the Japanese ate sea urchin roe harvested from local waters; a fixed international exchange rate made sea urchin fisheries out- side Japan uneconomical. In 1971 the international monetary sys- tem changed from a fixed to a floating exchange rate (McMichael 1996), and the value of the yen began to increase against other cur- rencies. This change made foreign goods cheaper for Japanese con- sumers, and non-Japanese sea urchin fisheries suddenly became economically viable (Muraoka 1990).1 The result was an increase in 1 In 1970, for instance, 360 yen could buy one dollar’s worth of U.S. goods. In 1993, 360 yen could buy over three dollars’ worth of U.S. goods. 534 Rural Sociology, Vol. 66, No. 4, December 2001 Figure 2. Change in East Coast Sea Urchin Landings (Metric Tons) world sea urchin landings following the increase in the value of the yen (see Figure 1). Accompanying this change in demand, local supplies of sea urchins grew in the early 1980s. Sea urchins are found primarily in the shallow sub tidal zone at depths of less than 30 feet on rocky, gravelly, or shelly ocean floors. In the early 1980s scientists ob- served an increase in urchin population density and geographic ex- pansion in the Gulf of Maine. One group of researchers watched as their study area changed from a diverse ecological community to an urchin barren.2 Similar processes were taking place around the Gulf of Maine. Commercial harvesting of ground fish decreased the number of natural predators for the sea urchin (Witman and Sebens 1992), and the lack of a commercial fishery for the sea urchin allowed populations to grow further (Steneck 1997). From 1985 to 1988, firms along the New England coast took ad- vantage of these changes in supply and demand and began to buy and export green sea urchins for Japanese consumers (Wilen and Wessells 1997). The industry developed quickly; in 1993 the green sea urchin was Maine’s second largest fishery after lobsters (Figure 2). The development of local supply and global demand for the northwest Atlantic sea urchin provided important resources for the 2 Lawrence Harris, personal communication. Northwest Atlantic Sea Urchin Industry — Lauer 535 initiation of the new industry. Supply and demand alone, however, fail to answer many questions about the development of the indus- try. In particular, how was the industry initiated, and how did it grow so quickly? Part of the answer lies in the productive processes found on the working waterfront. Between Supply and Demand In this analysis I examine the adaptation of small firms already working in in-shore fisheries to the introduction of international markets for a new product. I find that the initiation and growth of the sea urchin industry is a dynamic, historical process facilitated by the broader institutional context of the in-shore fishing industries along the northern New England coast, which I call the working waterfront. I focus on the organization of the industry: the activities that take place between supply and demand, such as harvesting sea urchins, landing the catch and transporting it to a processor, sepa- rating the eggs from the urchin, and bringing the roe to the Japa- nese market. I consider industries a particular type of economic in- stitution consisting of a set of firms in the same productive network, which compete with firms that provide similar services or products. The productive network includes the flow of goods, ser- vices, and resources among technically separable units that trans- form raw materials into finished products (Friedland, Barton and Thomas 1981; Tilly and Tilly 1998). Productive networks vary in the extent to which the activities are performed by the same or differ- ent actors (Stinchcombe 1983), and in the number of independent firms and the extent of competition between firms. The sea urchin industry is made up of those firms which conduct essential activities between resource and consumer, and which com- pete with firms that provide similar services. Industries themselves exist within a broader institutional context that DiMaggio and Pow- ell (1991) call an organizational field.3 The field is a recognized area of institutional life including marine and social scientists, environ- mental activists, local communities, state and federal regulatory agencies, and other fisheries, along with the firms that make up the industry. More than a collection of actors, the organizational field includes relationships among actors and organizations, which both enable and constrain possible actions (Granovetter 1985; March and Olsen 1989). In addition, actions are motivated by cultural practices, which are part of the background expectations of every- day life. These taken-for-granted practices enable and restrict possi- 3 Carroll and Hannan (1995) use the term organizational community to capture a similar idea ; McGuire, Granovetter, and Schwartz (1993) also offer a social structural account of the social construction of industry. I choose to use the organizational field concept because it adds a cognitive dynamic to these structural conceptions. 536 Rural Sociology, Vol. 66, No. 4, December 2001 bilities for action by dictating what is reasonable in certain circum- stances (Dobbin 1994; Zucker 1986). Farms, Fishers, and Flexibility This research belongs to a growing rural sociology literature that adopts a relational, embeddedness perspective rooted in economic sociology (Emirbayer 1997; Granovetter 1985). This perspective is an alternative to economic, rational-actor approaches to farm pro- duction (Lyson and Gillespie 1995), forest product industries (Hin- richs 1998), creation of social capital (Flora 1998), and exploitation and management of fisheries (Wilson et al. 1999). The present analysis contributes to this literature by examining the embedded flexible production strategies of in-shore fisheries. The discussion of flexibility in production is not new to rural so- ciology. On family farms, unpredictability in markets and nature, as well as the perishability of products, has led to uncertainty in labor demands and to flexible use of labor relations (Wilson, Harper, and Landerman 1994). This flexibility includes various combinations of husband, wife, children, and hired help who join in to complete tasks essential to production. Interestingly, some limitations on this flexibility are caused by distrust of nonfamily help (Wilson et al.
Recommended publications
  • Cbk: Movies and Meaning
    PETERS TOWNSHIP SCHOOL DISTRICT CORE BODY OF KNOWLEDGE MOVIES AND MEANING GRADES 9-12 COURSE DESCRIPTION Great films explore great themes, which help us get acquainted with our own lives. In this class, students will view, discuss, write about, and research some of the world’s finest and most renowned examples of cinema. Students will learn to “read” film in order to appreciate, interpret, and critique history’s most complex art form. STUDY SKILLS Develop strategies for enriching cinematic experiences. Derive interpretations from visual cues and details. Identify universal themes and relate them to personal experiences. Recognize symbolic enhancements to storyline and theme. Acquire a historical perspective on classic cinema. Recognize and synthesize the complex components of the art of film and make judgments on their effective applications. Interpret subtleties of characterization via actions, acting, dialogue, and context. Analyze mise-en-scene with respect to symbolism and emotional effect. Make abstract judgments regarding theme and motivation. Present and refine ideas orally and in writing. Research and summarize expert critical and scholarly opinions. Expand multi-cultural horizons via use of foreign films UNIT THEMES LIGHTS! CAMERA! ACTION! Recognize, appreciate, and apply the various types of writing about film. Appreciate and interpret the various uses of light and shadow to augment narrative and characterization. Gain an overview of the history of the cinema. Gain exposure to famous film clips from famous films. Gain practical insights to the overall process and tribulations of filmmaking. Sustain an aesthetic discussion on the merits of particular film shots. RISE TO THE OCCASION! Recognize, interpret, and summarize various expressions of courage via iconic film characters.
    [Show full text]
  • On-The-Waterfront-Study-Guide
    On the Waterfront Study Guide Acknowledgements Writer: Susan Bye Education Programmer Australian Centre for the Moving Image Susan’s primary role at the Australian Centre for the Moving Image is to support the teaching of film as text to secondary school students. Initially trained as an English teacher, she studied and taught film and media at La Trobe University before joining ACMI in 2009. Study Guide > On the Waterfront 2 On the Waterfront: difficult choices in an uncertain world The purpose of this guide is to provide an introduction to On the Waterfront (PG, Elia Kazan, 103 mins, USA, 1954), an overview of the commentary and debate that the film has generated and some ideas that will help you form your own interpretation of this challenging film. Studying and Interpreting On the Waterfront On the Waterfront is a film that is as problematic as it is extraordinary. It carries with it an interesting history which has, over the years, affected the way people have responded to the film. On the Waterfront encourages different and conflicting interpretations, with its controversial ending being a particular source of debate. This study guide is intended as an informative resource, providing background information and a number of different ways of thinking about the film. One of the most exciting and satisfying aspects of the film is its capacity to invite and sustain different and multifaceted interpretations. On the Waterfront focuses on life’s uncertainty and confusion, depicting both Father Barry’s dogmatic certainty and Johnny Friendly’s egotistical self-confidence as dangerously blinkered. For some viewers, Father Barry’s vision of collective action and Terry Malloy’s confused struggle to be a better man belong in two different films; however, the contrast between these two ways of looking at, and responding to, life’s challenges highlights the limitations of each of these perspectives.
    [Show full text]
  • Mayjune 2005 Social Ed.Indd
    Social Education 69(4), pp. 189-192 © 2005 National Council for the Social Studies Reel to Real: Teaching the Twentieth Century with Classic Hollywood Films Karl A. Matz and Lori L. Pingatore Making students’ learning cal artifacts, virtually primary source docu- works to support all three. At work, Bow experiences as direct and real as possible ments, that are very easy to obtain and yet has caught the eye of a wealthy young man, has always been challenging for educators. are too rarely used. Here, we hope to give a friend of the store owner’s son. In this Ancient wars and forgotten statesmen teachers a sense of which films are most brief beginning to a feature length film, often hold little excitement for students. appropriate and to provide a workable viewers see three important locations as Innovative teachers often use artifacts and method for guiding students to critically they were in the late 1920s. We see the primary source documents to transform a examine these historical artifacts. downtown department store, so different vicarious learning experience to a much from the suburban malls we know today. more direct one. Lee Ann Potter observes Celluloid Anthropology We see the humble apartment, the decora- that primary source documents “allow us, Students can study films in a manner simi- tions, and the absence of technology. And, quite literally, to touch and connect with lar to the way an anthropologist studies a finally, we see the restaurant. the past.”1 culture. If we were to study the culture of While watching this film, as any Films, like artifacts and photographs, a community in the Brazilian rainforest, other movie of a different era, viewers can also bring students closer to the people we would observe social rules, modes of can observe manners and behaviors, note and events that they are studying.
    [Show full text]
  • National Film Registry Titles Listed by Release Date
    National Film Registry Titles 1989-2017: Listed by Year of Release Year Year Title Released Inducted Newark Athlete 1891 2010 Blacksmith Scene 1893 1995 Dickson Experimental Sound Film 1894-1895 2003 Edison Kinetoscopic Record of a Sneeze 1894 2015 The Kiss 1896 1999 Rip Van Winkle 1896 1995 Corbett-Fitzsimmons Title Fight 1897 2012 Demolishing and Building Up the Star Theatre 1901 2002 President McKinley Inauguration Footage 1901 2000 The Great Train Robbery 1903 1990 Life of an American Fireman 1903 2016 Westinghouse Works 1904 1904 1998 Interior New York Subway, 14th Street to 42nd Street 1905 2017 Dream of a Rarebit Fiend 1906 2015 San Francisco Earthquake and Fire, April 18, 1906 1906 2005 A Trip Down Market Street 1906 2010 A Corner in Wheat 1909 1994 Lady Helen’s Escapade 1909 2004 Princess Nicotine; or, The Smoke Fairy 1909 2003 Jeffries-Johnson World’s Championship Boxing Contest 1910 2005 White Fawn’s Devotion 1910 2008 Little Nemo 1911 2009 The Cry of the Children 1912 2011 A Cure for Pokeritis 1912 2011 From the Manger to the Cross 1912 1998 The Land Beyond the Sunset 1912 2000 Musketeers of Pig Alley 1912 2016 Bert Williams Lime Kiln Club Field Day 1913 2014 The Evidence of the Film 1913 2001 Matrimony’s Speed Limit 1913 2003 Preservation of the Sign Language 1913 2010 Traffic in Souls 1913 2006 The Bargain 1914 2010 The Exploits of Elaine 1914 1994 Gertie The Dinosaur 1914 1991 In the Land of the Head Hunters 1914 1999 Mabel’s Blunder 1914 2009 1 National Film Registry Titles 1989-2017: Listed by Year of Release Year Year
    [Show full text]
  • Article by Rosemary O'shea on the WATERFRONT Directed by Elia Kazan INTRODUCTION BRIEF SYNOPSIS
    Insight text article on On the Waterfront Article by Rosemary O’Shea ON THE WATERFRONT Directed by Elia Kazan INTRODUCTION On the Waterfront is a classic Hollywood movie, winning eight Academy awards in 1954. Marlon Brando’s portrayal of Terry, the simple young dockworker who takes on the corrupt waterfront bosses, is one of the great screen performances in cinema history. The film explores the struggle between conscience and self interest and the question of where loyalty belongs. Eva Marie Saint plays the innocent Edie whose love encourages Terry to become a hero. The film’s black-and-white photography gives a stark presentation of the dirty tenements and the treacherous docks where the characters live and work. BRIEF SYNOPSIS Dockworker Joey Doyle is murdered as payback for giving police evidence against the corrupt waterfront Union. Terry Malone, a young, uneducated dockworker, has been used by the Union to lure Joey to his death, and he feels disturbed and worried by this. He becomes attracted to Joey’s sister, Edie, who, together with local priest Father Barry, is determined to find Joey’s murderers. Terry is loyal to the Union and the tradition of remaining ‘D and D’ (deaf and dumb) to government attempts to clean it up, but his growing love for Edie forces him to slowly realize that he belongs to a corrupt culture that oppresses the workers. © Insight Publications 2009 1 Insight text article on On the Waterfront The code of silence is strong. Workers fear the Union’s brutal reprisals and Father Barry finds it hard to persuade anyone to speak out.
    [Show full text]
  • 101 Films for Filmmakers
    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
    [Show full text]
  • Ambivalence As a Theme in "On the Waterfront" (1954): an Interdisciplinary Approach to Film Study Author(S): Kenneth Hey Source: American Quarterly, Vol
    Ambivalence as a Theme in "On the Waterfront" (1954): An Interdisciplinary Approach to Film Study Author(s): Kenneth Hey Source: American Quarterly, Vol. 31, No. 5, Special Issue: Film and American Studies (Winter, 1979), pp. 666-696 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/2712431 Accessed: 02/07/2010 10:41 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=jhup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to American Quarterly. http://www.jstor.org AMBIVALENCE AS A THEME IN ON THE WATERFRONT (1954): AN INTERDISCIPLINARY APPROACH TO FILM STUDY KENNETH HEY BrooklynCollege of theCity University of New York THE STUDY OF FILM IN AMERICAN CULTURE POSES SOME INTERESTING challengesto theperson using an interdisciplinarymethod.
    [Show full text]
  • IB FILM SL & HL Year 1 Mr. London SUMMER READING
    IB FILM SL & HL year 1 Mr. London SUMMER READING & VIEWING WHAT YOU WILL NEED: ● Either a public library card (FREE)/a Netflix, Hulu, or FilmStruck account ($7.99 - $11 month - but usually these services offer a free trial!) ● Internet access ● A journal/notebook for jotting down observations ● Mr. London’s email: o [email protected] REQUIREMENTS (to be completed ​by the first day of class in August​): 1) Select 10 films​ from the list provided (though watch as many as you can!). You MUST watch 1 film from each of the categories, and the rest is your choice. 2) Write a response (1-2 pages each) for each film. a. If you have access to a computer/laptop, you may type up your responses in a continuing Google document, 12 point Open Sans, and double-spaced (to be shared with me by the first day of class). b. Each film’s response should be in paragraph form and should be about your observations, insights, comments, and connections that you are making between the readings and the films you watch. c. Also, your responses will be much richer if you research information about the films you watch ​before ​you write – ​simply stating your opinion will not give you much material to write about​, and you will not be able to go beyond your own opinion – for example, read online articles/reviews about each film by scholars/critics ​(New York Times, The Guardian, rogerebert.com, IMDB.com, filmsite.org, etc).​ You can also watch awesome video essays on YouTube. Click HERE​ for a great list of YouTube Channels.
    [Show full text]
  • Ib Film Ii Summer Films and Reading
    IB FILM II SUMMER FILMS AND READING WHAT YOU WILL NEED • A “Netflix” or an “I Love Video” or “Vulcan Video” account to view movies. • A journal/notebook (prefer a notebook that you can bring to class). You will be writing journal entry responses to the films you watch. • Access to internet and MyBack • Mr. Regan’s email: o [email protected] REQUIREMENTS (to be completed by the first day of classes in August): This is worth three exam grades, a total of 300 points, literally the weight of your first three exams. 1) Select 15 films from the list provided (watch as many as you can!). You should watch 1 film from each of the categories, and the rest is your choice. 2) Write journal responses (1-2 pages each) for each of the films. Each response should be in paragraph form and should be about your observations, insight, comments, and connections that you are making between the reading and the movies you watch. Your writing will be much richer if you research information about the film you watch before you write – simply stating your opinion will not give you much material to write about and you will not be able to go beyond your own opinion – for example, read articles written on the film by critics (news paper articles from the New York Times, rogerebert.com, IMDB.com, filmsite.org, etc). You can also read the screenplay for the film at scriptcity.com or script-o-rama.com to get further insight. ----------------------------------------------------------------------------------------------------------- BOOKS TO BUY AND READ: • Understanding Movies (12th Edition) [Paperback ] • Film Directing: Shot by Shot – by Steven D.
    [Show full text]
  • AFI Top 100 Films Rank Title Call Number(S) 1 Citizen Kane 33031 2
    AFI Top 100 Films Rank Title Call number(s) 1 Citizen Kane 33031 2 Casablanca 29274, 36061 3 Godfather, The 33325 4 Gone with the wind 31403, 38925, 47377 5 Lawrence of Arabia 31374, 36801 6 Wizard of Oz, The 29675, 42265 7 Graduate, The 29652, 44876 8 On the waterfront 33643 9 Schindler's list 37021, 44983 10 Singin' in the rain 29097, 40658, 34674 11 It's a wonderful life 29658 12 Sunset Boulevard 38038 13 Bridge on the River Kwai, The 30207 14 Some like it hot 32549, 45612 15 Star Wars (1977) 38627, 43853 16 All about Eve 30386, 36046 17 African Queen 26383 (vhs only) 18 Psycho 31124 19 Chinatown 32085, 46209 20 One flew over the cuckoo's nest 31423, 34678, 42136 21 Grapes of wrath, The 42135, 37251, 46921 22 2001: a space odyssey 30302, 43455, 46520 23 Maltese falcon, The 32512, 44460, 46046 24 Raging bull 29667, 39125 25 E.T. The extra-terrestrial 34802 26 Dr. Strangelove 29648, 31316, 32945, 38786 27 Bonnie & Clyde 31594, 47655 28 Apocalypse now 30201, 33503, 45147 29 Mr. Smith goes to Washington 32109, 45302 30 Treasure of the Sierra Madre 36624 31 Annie Hall 29472 32 Godfather part II, The 33326 33 High noon 29655, 34805 34 To kill a mockingbird 30303, 40875 35 It happened one night 30674, 45302 36 Midnight cowboy 29663, 42256 37 Best years of our lives 32175 38 Double indemnity 31142, 43421 39 Doctor Zhivago 33547 40 North by Northwest 31332, 38381 41 West side story 29099, 35908 42 Rear window 31125 43 King Kong (1933) 41365 44 Birth of a nation, The 32177, 37457 45 Streetcar named Desire 31422, 43295, 43949 46 Clockwork orange,
    [Show full text]
  • Films Receiving 10 Or More Nominations
    FILM FACTS 10 OR MORE NOMINATIONS [Updated thru 88th Awards (2/16)] 14 NOMINATIONS All about Eve, 20th Century-Fox, 1950 (6 awards) Titanic, 20th Century Fox and Paramount, 1997 (11 awards) 13 NOMINATIONS Gone with the Wind, Metro-Goldwyn-Mayer, 1939 (8 awards, plus one Special and one Sci/Tech awards) From Here to Eternity, Columbia, 1953 (8 awards) Mary Poppins, Buena Vista Distribution Company, 1964 (5 awards) Who's Afraid of Virginia Woolf?, Warner Bros., 1966 (5 awards) Forrest Gump, Paramount, 1994 (6 awards) Shakespeare in Love, Miramax, 1998 (7 awards) The Lord of the Rings: The Fellowship of the Ring, New Line, 2001 (4 awards) Chicago, Miramax, 2002 (6 awards) The Curious Case of Benjamin Button, Paramount and Warner Bros., 2008 (3 awards) 12 NOMINATIONS Mrs. Miniver, Metro-Goldwyn-Mayer, 1942 (6 awards) The Song of Bernadette, 20th Century-Fox, 1943 (4 awards) Johnny Belinda, Warner Bros., 1948 (1 award) A Streetcar Named Desire, Warner Bros., 1951 (4 awards) On the Waterfront, Columbia, 1954 (8 awards) Ben-Hur, Metro-Goldwyn-Mayer, 1959 (11 awards) Becket, Paramount, 1964 (1 award) My Fair Lady, Warner Bros., 1964 (8 awards) Reds, Paramount, 1981 (3 awards) Dances With Wolves, Orion, 1990 (7 awards) Schindler's List, Universal, 1993 (7 awards) The English Patient, Miramax, 1996 (9 awards) Gladiator, DreamWorks and Universal, 2000 (5 awards) The King's Speech, The Weinstein Company, 2010 (4 awards) Lincoln, Walt Disney/20th Century Fox, 2012 (2 awards) The Revenant, 20th Century Fox, 2015 (3 awards) 11 NOMINATIONS Mr. Smith
    [Show full text]
  • Alamo Drafthouse and Levi's® Brand Announce
    FOR IMMEDIATE RELEASE CONTACTS: Erica Archambault Brandy Fons Levi’s® PR Fons PR for Alamo Drafthouse (415) 501-7678 (310) 809-8882 [email protected] [email protected] ALAMO DRAFTHOUSE AND THE LEVI’S® BRAND ANNOUNCE “WE ARE ALL WORKERS”- THE 2010 ROLLING ROADSHOW TOUR Nine Nationwide Events Provide Moviegoers the Most Unique Cinema Experience in the World SAN FRANCISCO, CA & AUSTIN, TX, July 14, 2010 – The Alamo Drafthouse and the Levi’s® brand present the 2010 Rolling Roadshow, a nationwide tour of free outdoor 35mm screening experiences pairing everyone’s favorite films with the famous locations where they were shot or set. This year, the Alamo Drafthouse and the Levi’s® brand have partnered to champion some of cinema’s most celebrated workers. “We Are All Workers” is the underlying theme of this year’s Rolling Roadshow, which will be brought live to movie lovers throughout the hazy summer nights of August. Inspired by Levi’s® new Go Forth ‘Ready to Work’ marketing campaign, which explores how a new generation of real American workers is rolling up its sleeves to make real change happen, the Rolling Roadshow hits the road with nine seminal screenings proving that everybody’s work is equally important. The Alamo Drafthouse and the Levi’s® brand have curated an eclectic line up of cinema’s greatest workers, including an oil baron (THERE WILL BE BLOOD), a cyborg cop (ROBOCOP), missionaries (THE BLUES BROTHERS), law-benders (DIRTY HARRY), law-breakers (JACKIE BROWN), championship contenders (ROCKY) and coulda-been contenders (ON THE WATERFRONT). Alamo Drafthouse and the Levi’s® brand have put together an inspired lineup of films and locations, kicking things off with modern crime classic JACKIE BROWN at the Del Amo Fashion Mall in Los Angeles.
    [Show full text]