Ban.2 a Local Example Ofthis Problem Has Been Demonstrated by the "Trash Trap" in the District of Columbia Along Nash Run, Which Flows Into the Anacostia River
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Cecil B. Demille's Greatest Authenticity Lapse?
Cecil B. DeMille’s Greatest Authenticity Lapse? By Anton Karl Kozlovic Spring 2003 Issue of KINEMA THE PLAINSMAN (1937): CECIL B. DeMILLE’S GREATEST AUTHENTICITY LAPSE? Cecil B. Demille was a seminal founder of Hollywood whose films were frequently denigrated by critics for lacking historical verisimilitude. For example, Pauline Kael claimed that DeMille had ”falsified history more than anybody else” (Reed 1971: 367). Others argued that he never let ”historical fact stand in the way of a good yarn” (Hogg 1998: 39) and that ”historical authenticity usually took second place to delirious spectacle” (Andrew 1989: 74). Indeed, most ”film historians regard De Mille with disdain” (Bowers 1982: 689)and tended to turn away in embarrassment because ”De Mille had pretensions of being a historian” (Thomas 1975: 266). Even Cecil’s niece Agnes de Mille (1990: 185) diplomatically referred to his approach as ”liberal.” Dates, sequences, geography, and character bent to his needs.” Likewise, James Card (1994: 215) claimed that: ”DeMille was famous for using historical fact only when it suited his purposes. When history didn’t make a good scene, he threw it out.” This DeMillean fact-of-life was also verified by gossip columnist Louella Parsons (1961: 58) who observed that DeMille ”spent thousands of dollars to research his films to give them authenticity. Then he would disregard all the research for the sake of a scene or a shot that appealed to him as better movie-making.” As Charles Hopkins (1980: 357, 360) succinctly put it: ”De Mille did not hesitate -
Visual Ethnography of Everyday Life (01:070:373) Tuesday 2:15-5:15Pm BIO 205 -- 3 Credits Pilar K
Visual Ethnography of Everyday Life (01:070:373) Tuesday 2:15-5:15pm BIO 205 -- 3 credits Pilar K. Rau – [email protected] Office: RAB 308 Office hours: Tuesday 1:00-2:00pm or by appointment Course Description This course explores the poetics and politics of producing ethnographic images using commonly-owned digital media. Students will analyze ethnographic, documentary, vernacular and fine art media and gain competence in the aesthetic and technical dimensions of digital image production. The course explores narrative, observational and anti-narrative experimental shooting and editing, as well as the ethical, political, ethnographic, semiotic, and philosophical concerns such decisions entail Learning Outcomes Students will be able to: • Analyze the relationship of innovations in film and digital media on the production of vernacular, documentary and ethnographic visual representations • Identify and critically analyze different approaches to creating visual representations of cultural difference • Critically asses ethical, political, semiotic and philosophical consequences of technological, formal, and aesthetic choices in ethnographic image production • Learn basic technical skills of film and video production that are applicable to a variety of media • Produce short ethnographic videos Department Learning Goals - http://anthro.rutgers.edu/undergrad-program/department-learning-goals 1. Students gain knowledge that will allow them to identify, explain, and historically contextualize the primary objectives, fundamental concepts, modes of analysis, and central questions in Cultural and Visual Anthropology and demonstrate proficiency in their use of this knowledge 2. Students are able to demonstrate proficiency in the use of critical thinking skills 3. Students are able to demonstrate proficiency using current methods in Cultural and Visual anthropology, including library research skills 4. -
A National Strategy to Combat Identity Theft Describes the Needs Associated with Each Component, Recommends Action, and Describes Common Practices
U.S. Department of Justice 10000100020300409020Office of Community Oriented Policing Services 01090090109000100020 A NATIONAL STRATEGY TO 30000111101001010100COMBAT IDENTIT Y THEFT 10101010101000101010 10100010101010100101 01001010100100101010 01001001010100100100 101010111101 01001101 01001010100101110000 01000101101010001010 COPS COMMUNITY ORIENTED POLICING SERVICES 10100010101001010101U.S. DEPARTMENT OF JUSTICE This project was supported by cooperative agreement #2003CKWX0343 by the Office of Community Oriented Policing Services, U.S. Department of Justice. The opinions contained herein are those of the author(s) and do not necessarily represent the official position of the U.S. Department of Justice. References to specific companies, products, or services should not be considered an endorsement of the product by the author(s) or the U.S. Department of Justice. Rather, the references are illustrations to supplement discussion of the issues. www.cops.usdoj.gov ISBN: 1-932582-64-9 May 2006 10000100020300409020 01090090109000100020 30000111101001010100 A NATIONAL STRATEGY TO 101010101010001010COMBAT IDENTIT Y THEFT 10 10100010101010100101 01001010100100101010 01001001010100100100 101010111101 01001101 01001010100101110000 01000101101010001010 10100010101001010101 10000100020300409020Foreword 01090090109000100020 The crime of identity theft is relatively new to American law enforcement and is rapidly increasing in frequency. In 2003, Chief Darrel Stephens, Charlotte-Mecklenburg (North Carolina) Police Department, surveyed members of the -
(Cedar) Forest News Was Conceived Initially As a ‘Skinny’ Issue Because the Summer by Aimée Cree Dunn Months Are Normally Quiet
Summer 2014 Volume 9 Issue 5 This summer issue of Anishinaabe Lessons from an Ancient Giizhik (Cedar) Forest News was conceived initially as a ‘skinny’ issue because the summer By Aimée Cree Dunn months are normally quiet. As you can see, it has grown in to something In the middle of our summer semester, the special. The theme for this issue NAS 340 Kinomaage (Earth Shows Us the revolves around change. Way) class I teach took a field trip to the NMU has gone through significant southern shores of Michigan's Upper Pen- changes. Graduates experience change insula into the Garden Peninsula to visit when they leave NMU. Indian Coun- both the windfarm and, more importantly, try continues to call for change in Snail Shell Harbor at Fayette. With rural relation to significant issues and orchards, farm land, forests rooted in lime- policies. Miigwech to all contributors stone, and land surrounded by michi-gami for making this summer issue not only (Lake Michigan), the area is picturesque possible, but rather dynamic! and welcoming. This quiet, out of the way place also, interestingly, in many ways NMU has a represents a hub for Manifest Destiny both past and present. new President The Garden Peninsula itself has a long human history and is only across the bay NMU’s new from the Stonington Peninsula where an- president start- other ancient history is found with marine ed on July 1. fossils 400-500 million years old lining the Fritz Erickson michi-gami shores. The Stonington is also home to one of the oldest known trails in came from the Upper Peninsula, the Bay de Noc - Ferris State Grand Island trail, that connects Lake Su- University, perior with Lake Michigan and has been where he used by Indigenous nations for time imme- served as morial to travel from one great lake to the provost and other; it travels, technically, between the two largest freshwater lakes in the world. -
Circus Report, September 14, 1981, Vol. 10, No. 37
ED RUSSELL Ringmaster - Magician • Side Show Operator Page 2 September 14, 1981 BETTY WENDANY'S ACTS - Are you listed with us ? DWIGHT DAMON FUNS-A-POPPIN Entertainment Unlimited PACKAGE SHOWS TO FIT VQUR NEEDS Bo« 391. Sunund, C»lif. - 91040 Lane Manor, Box 685. Mernmick. NH 03054 213-352-4277 213-352-2454 603-424-3341 Franzen Bros. Mini Circus by CLARENCE HASTINGS BY PAULA BRADLEY Franzen Bros. Circus played the Genesse County Fair in Mt. Morris, Mich., Aug. 16- As a recent visitor to the Lewiston, Maine, 22. On Aug. 22nd, the Joel Warner Tent of Fair, Aug. 9-15th, I was delighted by two the CFA held its annual picnic in the back- performances of the New England Mini Cir- yard of the circus, with over a hundred mem- cus. This amazing show was a part of Billy bers and friends attending. During the same Burr's Fun-0-Rama and was complete with session the Dorothy Herbert Tent held their scenery, a ring curb and delightful costum- annual election of officers. ing. It was the creation of entertainer Roger DuBois, who himself performed. Franzen Bros. Circus was brought to Grass The show opened with a dynamite single Lake, Mich., Aug. 25, by the Lions Club. It trapeze act, Jo-Anne Jennier, followed by was the first first circus to play there in fif- Rolandey's Juggling act that featured Ro- teen years, the last show being Clark and land Marcelli and Janet, then Jim Davis' Walters. Little Hobos, dog act, Roger DuBois doing The 6 p.m. -
Manifest Density: Decentering the Global Western Film
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Manifest Density: Decentering the Global Western Film Michael D. Phillips 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/2932 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] MANIFEST DENSITY: DECENTERING THE GLOBAL WESTERN FILM by MICHAEL D. PHILLIPS A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 Michael D. Phillips All Rights Reserved ii Manifest Density: Decentering the Global Western Film by Michael D. Phillips This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. __________________ ________________________________________________ Date Jerry W. Carlson Chair of Examining Committee __________________ ________________________________________________ Date Giancarlo Lombardi Executive Officer Supervisory Committee: Paula J. Massood Marc Dolan THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Manifest Density: Decentering the Global Western Film by Michael D. Phillips Advisor: Jerry W. Carlson The Western is often seen as a uniquely American narrative form, one so deeply ingrained as to constitute a national myth. This perception persists despite its inherent shortcomings, among them its inapplicability to the many instances of filmmakers outside the United States appropriating the genre and thus undercutting this view of generic exceptionalism. -
The American Indian in the American Film
THE AMERICAN INDIAN IN THE AMERICAN FILM Thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in American Studies in the University of Canterbury by Michael J. Brathwaite 1981 ABSTRACT This thesis is a chronological examination of the ways in which American Indians have been portrayed in American 1 f.ilms and the factors influencing these portrayals. B eginning with the literary precedents, the effects of three wars and other social upheavals and changes are considered. In addition t-0 being the first objective detailed examination of the subj�ct in English, it is the first work to cover the last decade. It concludes that because of psychological factors it is unlikely that film-makers are - capable of advancing far beyond the basic stereotypes, and that the failure of Indians to appreciate this has repeatedly caused ill-feeling between themselves and the film-makers, making the latter abandon their attempts at a fair treatment of the Indians. ii TABLE OF CONTENTS Preface iii Chapter I: The Background of the Problem c.1630 to c.1900. 1 Chapter II: The Birth of the Cinema and Its Aftermath: 1889 to 1939. 21 Chapter III: World War II and Its Effects: 1940 to 1955. 42 Chapter IV: Assimilation of Separatism?: 1953 to 1965. 65 Chapter V: The Accuracy Question. 80 Chapter VI: Catch-22: 1965 to 1972. 105 Chapter VII: Back to the Beginning: 1973 to 1981. 136 Chapter VIII: Conclusion. 153 Bibliography 156 iii PREFACE The aim of this the.sis is to examine the ways in which the American Indians have been portrayed in American films, the influences on their portrayals, and whether or not they have changed. -
Years of Doing Beautiful Things
TODAY TOMORROW YESTERDAY :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::5 Years of Doing Beautiful Things ::::::::::::::::::::::::::::::::::::::::::::::::: KAB.ORG ::::::::::::::::::::::::::::::::::::::::::::::::: KEEP AMERICA BEAUTIFUL 2018 ANNUAL REPORT 65 YEARS OF DOING BEAUTIFUL THINGS KEEP AMERICA BEAUTIFUL 2018 ANNUAL REPORT This is our home. Yesterday, Today, Help me keep it beautiful. and Tomorrow America’s Leading Community Improvement Organization :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: n 1953, America was in a post-war economic boom. And the future? We indeed live in a challenging time. We face environmental tests that are altering life on earth as With more packaged goods came a new problem— we know it. As a nation, we’re more divided than ever before. litter—and in 1953, national nonprofit Keep America Yet, Keep America Beautiful retains its neutral, nonpartisan Beautiful® was formed to address the issue of an approach to improving the communities we live in and love. increasingly littered landscape. We focus on individual responsibility and tri-sector IKeep America Beautiful launched what became a 20-year partnerships, believing that this sense of shared, universal public service advertising (PSA) campaign reaching tens of responsibility easily encourages alignment among millions of Americans. corporations, -
1985 Downtown Newhall Western Walk of Fame
WELCOME to the 5th Annual westernWalk of fame MICHAEL D. ANTONOVICH 5TH DISTRICT supervisor - LOS ANGELES COUNTY 1985 WALK OF FAME HONORARY CHAIRMAN - - NEWHALL'S WESTERN WALK OF FAME HOW IT ALL BEGAN----- The original idea for a Western Walk of Fame came as a suggestion from Milt Diamond, pioneer, western clothing retailer who was President of the Newhall Merchant's Association in 1976. He continued his pursuit to the Santa Clarita Valley Chamber of Commerce. In 1981, Mr. Diamond realized his dream come true when the first "Western Walk of Fame" honored Wm. s. Hart, Tom Mix and Gene Autry as the first recipients of the coveted award. The entire program was concieved as a tribute to the western artists who contributed to the Santa Clarita Valley's and nation ' s heritage since 1876 when the town of Newhall was founded. Now , in its fifth year, it has given bronze immor tality to well known western greats Gene Autry, Wm. Hart, Torn Mix, Tex Ritter, Rex Allen, Eddie Dean, Pat Buttram, Roy Rogers, Dale Evans, Andy Jauregui, Tex Williams, Claude Akins, John Wayne, Clayton Moore, Robert Conrad, Dennis Weaver and Clint Walker. And, of course, on August 24, 1985 stars Iron Eyes Cody, Monte Hale and Chuck Connors will be added to prestigious path of bronze and terrazzo tile "saddle type" plaques that can be viewed on San Fernando Road (5th Street to 9th Street) in downtown Newhall. Congratulations Architects for Offices at Stoney Creek WELCOME TO THE FIFTH ANNUAL WESTERN WALK OF FAME SPECIAL ENTERTAINMENT EV ENTS "The Town Rowdies " Band "Badland Buckaroos Band 11 "Jeff Connors Band" a nd t he "Wind River Cloggers" Comedian s Pat Buttram and Don Hinson Western Walk of Fame Awards program with Master of Ceremonies Johnny Grant and Cliffie Stone Plus -- Many Guest Celebrities Opportunity Drawings Watering Hole Refreshment Centers Dancing until Midnight REACH FOR THE SKY! YOU 'RE IN DAILY NEWS COUNTRY. -
Stereotypes of Contemporary Native American Indian Characters in Recent Popular Media Virginia A
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2012 Stereotypes of Contemporary Native American Indian Characters in Recent Popular Media Virginia A. Mclaurin University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the American Popular Culture Commons, Film and Media Studies Commons, Indigenous Studies Commons, and the Television Commons Mclaurin, Virginia A., "Stereotypes of Contemporary Native American Indian Characters in Recent Popular Media" (2012). Masters Theses 1911 - February 2014. 830. Retrieved from https://scholarworks.umass.edu/theses/830 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Stereotypes of Contemporary Native American Indian Characters in Recent Popular Media A Thesis Presented by Virginia A. McLaurin Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2012 Department of Anthropology Sociocultural Anthropology Stereotypes of Contemporary Native American Indian Characters in Recent Popular Media A Thesis Presented by Virginia A. McLaurin Approved as to style and content by: _________________________________________________ Jean Forward, Chair _________________________________________________ Robert Paynter, Member _________________________________________________ Jane Anderson, Member _________________________________________________ Elizabeth Chilton, Department Chair Anthropology Department DEDICATION To my wonderful fiancé Max, as well as my incredibly supportive parents, friends and entire family. ACKNOWLEDGEMENTS I would like to thank my advisor, Jean Forward, not only for her support and guidance but also for kindness and general character. -
Decolonizing Sexualized Cultural Images of Native Peoples: “Bringing Sexy Back” to Native Studies
Decolonizing Sexualized Cultural Images of Native Peoples: “Bringing Sexy Back” To Native Studies by Christine April Finley A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2012 Doctoral Committee: Associate Professor Nadine Naber, Co-Chair Associate Professor Andrea Smith, University of California Riverside, Co-Chair Associate Professor Scott Kurashige Associate Professor Sarita See © Christine April Finley All rights reserved 2012 Dedication To my two favorite fellas: Neil and Duane Small. ii Acknowledgements There are many people, places, and spirits that helped me through graduate school and the completion of my dissertation. First of all, I would like to thank my committee Andrea Smith, Nadine Naber, Sarita See, and Scott Kurashige for all your support, encouragement, and mentorship. Marlene Moore: thank you for being the best graduate student administrator ever! Your “can do” attitude, generosity, and kindness were all inspiring to me during this process. Jesse Carr: Thanks for being the best copy editor ever! Without your kindness and great work, my dissertation would not be legible to anyone besides the other crazy robots like myself. I also appreciate your encouragement and your own amazing work. I could not have done this without all of you. Personally, I would like to thank my brother Neil Small for all his love and support. Seriously, without you and your amazing wife Kami, I would have not had the strength to continue this work all these years. I especially appreciate you and Kami for bringing your beautiful son Duane into our lives. -
Proquest Dissertations
"How can you love the wolf and the Eskimo at the same time?": Representations of Indigenous peoples in nature magazines Item Type text; Dissertation-Reproduction (electronic) Authors Vaughan, Margaret Ann M. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 13:13:53 Link to Item http://hdl.handle.net/10150/280661 "HOW CAN YOU LOVE THE WOLF AND THE ESKIMO AT THE SAME TIME?" REPRESENTATIONS OF INDIGENOUS PEOPLES IN NATURE MAGAZINES by Margaret Ann Mortensen Vaughan Copyright © Margaret Ann Mortensen Vaughan 2004 A Dissertation Submitted to the Faculty of the AMERICAN INDIAN STUDIES PROGRAMS In Partial Fulfillment of the Requirements For the degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2004 UMI Number: 3145143 Copyright 2004 by Vaughan, Margaret Ann Mortensen All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3145143 Copyright 2004 by ProQuest Information and Learning Company.