DOCSLIB.ORG

Kubrick Film Streams Supporters Met Op

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kubrick Film Streams Supporters Met Op Film Streams Programming Calendar The Ruth Sokolof Theater . October – December 2008 v2.2 2001: A Space Odyssey 1968 MGM/Photofest Film Screams! October 3 – October 31, 2008 The Cabinet An American Werewolf of Dr. Caligari 1921 in London 1981 Bride of Frankenstein 1935 Evil Dead 2 1987 The Innocents 1961 Eyes Without a Face 1960 Les Diaboliques 1955 The Raven 1963 What better way to celebrate the Halloween and of little worth artistically, that’s hardly the case. The eight films in this month than with a horror series? While other series offer a glimpse of the richness and variety of the genre, in terms of genres, such as musicals and westerns, tend to its history, cultural significance, creative influence, and talent produced. wax and wane in interest over certain periods of Whether deathly terrifying or horribly silly, there is something here for time, horror has maintained a constant presence everyone to enjoy and appreciate. ever since the inception of cinema. And while the — Andrew Bouska, Film Streams Associate Manager and Series Curator genre often bears the stigma of being lowbrow See the reverse side of this newsletter for full calendar of films and dates. Great Directors: Kubrick November 1 – December 11, 2008 2001: A Space Odyssey 1968 Spartacus 1960 Dr. Strangelove 1964 Lolita 1962 The Killing 1956 Barry Lyndon 1975 A Clockwork Orange 1971 Full Metal Jacket 1987 Paths of Glory 1957 Eyes Wide Shut 1999 Almost a decade after his death, the great myth fiction (2001: A SPACE ODYSSEY) to period drama (BARRY LYNDON) to of Stanley Kubrick seems as mysterious as ever. thriller (THE SHINING) to war movie (FULL METAL JACKET), with moments For someone so famous for being methodical and of indefinable brilliance (LOLITA, A CLOCKWORK ORANGE) throughout. unyielding in his creative vision, his work displays The key, of course, is that in contributing to cinema’s various genres he really an astonishing amount of flexibility, ranging from tweaked them all, washing out the familiar and attacking the screen in a way fi l m noi r ( T H E K I L L I NG) t o epic s ag a (S PA R TAC U S) that was always entirely and distinctively Kubrick. to dark comedy (DR. STRANGELOVE) to science See the reverse side of this newsletter for full calendar of films and dates. Met Opera Live in HD 2008/09 Season Through May 9, 2009 Salome Orfeo ed Euridice Live: Sat, 10/11, 12pm. Live: Sat, 1/24, 12pm. Encore: Wed, 10/22, 5:30pm. Encore: Wed, 2/4, 5:30pm. Doctor Atomic (Met Premiere) Lucia di Lammermoor Live: Sat, 11/8, 12pm. Live: Sat, 2/7, 12pm. Encore: Wed, 11/19, 5:30pm. Encore: Wed, 2/18, 5:30pm. Tickets: $22 general, $18 for Film Streams Members, Opera Omaha Subscribers, La Damnation de Faust Madama Butterfly Met Members, and students. Live: Sat, 11/22, 12pm. Live: Sat, 3/7, 12pm. Encore: Wed, 12/3, 5:30pm. Encore: Wed, 3/18, 5:30pm. How to Buy: In-person at the box office or online at filmstreams.org. Thaïs La Sonnambula Live: Sat, 12/20, 11am. Live: Sat, 3/21, 12pm. Boxed Lunches by La Charlotte: Purchase a Encore: Wed, 1/7, 5:30pm. Encore: Wed, 4/1, 5:30pm. boxed lunch for any live matinee broadcast (Satur- days only) by calling Laura at 402.933.0259 ext. 10. La Rondine La Cenerentola Orders must be received at least one week prior Live: Sat, 1/10, 12pm. Live: Sat, 5/9, 11:30am. to show date. Encore: Wed, 1/21, 5:30pm. Encore: Wed, 5/20, 5:30pm. The Metropolitan Opera is back at the Ruth stories of such opera aficionados as General Director John Wehrle, Conductor Sokolof Theater, and bigger than ever. The 2008- Hal France, Stage Director Garnett Bruce, and Resident Music Director 09 Live in HD season features 11 productions, and J. Gawf. Preview talks begin 30 minutes prior to the showtimes listed above. tickets for all remaining broadcasts are on sale Can’t make a live broadcast? Then don’t miss the encore presentation the now. Once again, we’re excited to announce that second Wednesday (11 days) following the live show. Dates and times listed Opera Omaha will provide preview talks before above, and more info at filmstreams.org. all live broadcasts, featuring the insights and Film Streams Information Film Streams is a 501(c)3 nonprofit arts organization dedicated to enhancing the cultural environment of the Omaha-Council Bluffs area through the presentation and discussion of film as an art form. For more info, visit us at filmstreams.org. Location, Hours & Parking Board of Directors Alexander Payne Film Streams’ Ruth Sokolof Theater is located at 1340 Scott Anderson Steven W. Seline Webster Street in downtown Omaha, within the Andy Holland Betiana Simon Saddle Creek Records development—west of Qwest David Jacobson, Chairman Katie Weitz White Center Omaha and one block south of Cuming Street. Rachel Jacobson, Founder/Director Showtimes occur during the evenings Monday- Mark Javitch Staff Friday and all day Saturday-Sunday. Ginger O’Neal Rachel Jacobson, Director Casey Logan, Communications Coord. Parking is available in the lot behind our theater, Advisory Board accessible from 14th Street (heading southbound, Laura Schoenrock, Office Manager Kurt Andersen between Cuming and Webster). Street parking is Hallie Sharkey, Membership Associate Myriel Boes also available in the vicinity surrounding the cinema Andrew Bouska, Associate Manager Jason Kulbel (free after 5pm weekdays and all day on weekends). Amanda Fehlner, Shift Manager Danny Lee Ladely Cooper Moon, Shift Manager Tickets Robb Nansel Jim Foyt, Projectionist Joel Schlessinger Buy tickets in-person at the box office (open 30 Jeff Jenkins, Projectionist Michael B. Yanney minutes before the first showtime of the day), online Aaron Haug, Theater Staff Lyn Wallin Ziegenbein at filmstreams.org, or at any Homer’s location. Joe Knapp, Theater Staff Susan Sanchez, Theater Staff Unless otherwise noted, tickets are $8 general Design Partner admission, $6 for seniors, students, and teachers, Heather Akerberg, Bookkeeper and $4 for members. See the reverse side for more Oxide Design Co. Connie White, Balcony Booking information about the benefits of membership. Stay in Touch: Sign up to receive our e-newsletter at filmstreams.org. Gifts & Sally & Gary Kaplan Donations Rich & Mo Anderl Harold & Marian Andersen Film Streams Supporters $20,000+ Brad & Ann Ashford Weitz Family Foundation Jerry Banks Many thanks to the following contributors for Nebraska Arts Council Rik & Shannon Bonness The Sherwood Foundation Sherry Brown their support of the Ruth Sokolof Theater. Ronald Cohn Catherine & Terry Ferguson $10,000 – $19,999 Stacy Heatherly Mike Widman & Emily and Craig Moody Anne C. Foley Todd & Betiana Jane Huerter Weekly Carissa Lebron Rod & Jane Moseman Carol Gendler Simon Foundation Richard & Joanie Jacobson Speedy & Debbi Zweiback Jesus Narvaez Dan & Jennifer Hamann Kutak Rock LLP David & Kris Karnes Susan & Jeffrey Aizenberg Nancy Noddle Greg & Jeannie Heckman David & Nancy Jacobson Charles & Laurie Kay Becky & Mike App Stephanie Patsalis Ree & Jun Kaneko Bluestem Prairie Foundation Cami Kuhlman Maurice & Sare Aresty William & Jeanne Penry Hal & Ashlee Koch Aaron Ferer & Sons, Co Patty Kunsemiller Phyllis & Harvey Aronson Julie & John Petr Rocky Lewis Douglas County Visitor Lund Ross Constructors David Aulph Jeff & Barb Popp Lozier Corporation Improvement Fund Mary & John Mitchell David and Lea Bailis Rebel Interactive Kirsten & Kevin Penrod Omaha Steaks Sandra Morar Rohde Dr. Paul Mileris and Harold & Marilyn Rock Patti & Tom Peterson Sokolof Family Foundation Michael Moylan Robin Behlers Carol & Rick Russell The Phillip & Terri Schrager Michael & Gail Yanney Allan & Janie Murow Thomas Belford Jeanne & Patrick Salerno Foundation Ginger & Dennis O’Neal Andrew Bernstein Judy Schweikart John & Dianne Scott $5,000 – $9,999 Audrey & Paul Paulman Ashley Lynn Bonn Emily & Rick Scott Bruce & Stacy Simon Sam Walker & Elizabeth Hank Plugge Daniel & Esther Brabec Greg Searson Donald & Beth Emlen Walker Ron Proskovec L. M. Ronald & Aaron & Robin Shaddy Van de Water Edythe Cohn Anthony & Berna Ravitz Jan Buckingham Scott & Vickie Shurmur Blair & Suzanne Vogel Cox Communications Louise Rinn Terry Calek Bradley Simpson Bob & Maggie Mundy Ronald & Barbara W. Schaefer Christian & Debra Suzanne Singer Peter Kiewit Sons’, Inc. $500 – $999 Sue & Steve Seline Christensen Charles & Susan Smith Qwest Foundation Mary & Tom Bernstein Rob & Norma Shoemaker Amy Coacher Thomas Fay and Walnut Private Equity Susan J. Thomas & Fred & Eve Simon Marla & Robert Cohen Joan Squires Partners, LLC Steven Hutchinson Julie & Don Stavneak Tony & Claudia Deeb Robert & Karen Sundell Anne Thorne Weaver Ron Widman & Cris & Barbara Stone Dick and Chris DeWitt John Sunderman Julie Crowell Mike & Brenda Whealy Betsy Ware Bernard & Rosemary Duhaime Mike Toohey Jean Ann Ballinger & Ward Steve Wolpa Chris Dunlap Thomas & Amy Trenolone Peters $1,000 – $4,999 Robert & Susan Woodford Dr. C. Eberle Gail & Irv Veitzer Eric Bunderson Anonymous Peter & Kristae Zandbergen Michael Erman Diane Wanek Marcy & Ira Cotton George & Peggy Payne Janet Farber & Mike Krainak Gordon & Joy Watanabe Joe Sisson & Borsheims $250 – $499 Flatiron Café Steve & Jan Weidenhammer Jennifer Larsen Kim Folta Soralee & Jerry Cohn Anonymous David Weisser Clark & Emily Lauritzen Betty Foster & Chuck Powell Jeff & Marilyn Elliott John & Mary Wilson Jim & Judy Wigton Harold & Kathleen Logan Michael Gallner Jill & Terry Petersen Carrie & Ed May John Wilhelm Ann Mactier Dr. Elvira Garcia Rose Blumkin Joyce Abariotes Jim & Mary Beth Winner Gerry Morrow Bruce & Cindy Goldberg Foudation
Load more

Recommended publications
  • Jacob Burns Film Center Announces Senior Afternoon Cinema Schedule for Winter 2020
    JACOB BURNS FILM CENTER ANNOUNCES SENIOR AFTERNOON CINEMA SCHEDULE FOR WINTER 2020 December 9, 2019 – Pleasantville, NY – The Jacob Burns Film Center (JBFC) has announced the programming for their ongoing Senior Afternoon Cinema series for winter 2020. Films are shown once a month on a Tuesday at 1:00 pm. The Knolls – A Bethel Community is the sponsor of the series. The upcoming films and dates are: January 7 THE VERDICT – An alcoholic Boston lawyer sees the chance to salvage his career and self-respect by taking a medical malpractice case to trial rather than settling. Stars Paul Newman, Charlotte Rampling, and James Mason. Nominated for five Academy Awards. February 4 MY BLUE HEAVEN – An uptight FBI agent must protect a larger-than-life retired mobster with a heart of gold, who is under the witness protection program and living in middle class suburbia. Stars Steve Martin, Rick Moranis, and Joan Cusack. Written by Nora Ephron. March 3 VICEROY’S HOUSE – The final Viceroy of India, Lord Mountbatten, is tasked with overseeing the transition of British India to independence. He is initially hopeful for a peaceful transference of power but soon meets with conflict as different sides clash in the face of monumental change. Stars Hugh Bonneville, Gillian Anderson, and Michael Gambon. Tickets: $10.00 (members and group sales), $12.00 (senior nonmembers), and $15.00 (nonmembers). Tickets are available online at burnsfilmcenter.org or at the box office, which opens at noon on weekdays and 11:00 am on weekends. Sponsored by: The Knolls is part of Bethel Homes and Services, the only not-for- profit organization in Northern Westchester offering a full continuum of services to seniors.
    [Show full text]
  • Deliver Us to Cinema: the Prince of Egypt and Cinematic Depictions of Religious Texts
    Deliver Us to Cinema: The Prince of Egypt and Cinematic Depictions of Religious Texts Kadii Lott Introduction There is a pervasive Hollywood culture of appropriating and commodifying biblical concepts and imagery into films that do not explicitly address the Abrahamic belief systems that consider the Old and New Testaments as sacred texts. Many such films received mixed reviews. Christian and Jewish groups have heavily criticised particular adaptations of scriptural stories, including Life of Brian,1 The Last Temptation of Christ,2 The Passion of Christ,3 and Noah,4 for their blasphemous or ill-intentioned treatment of biblical figures. Despite the protectiveness of religious people Kadii Lott received First Class Honours in Studies in Religion at the University of Sydney in 2020. 1 The 1979 religious satire reimagined the fictional life of a man named Brian who gets mistaken for Jesus. The film was considered blasphemous by some Christians who protested against the release and the film was banned in many countries upon its release, including in Ireland and Norway. See Ben Dowell, ‘BBC to dramatise unholy row over Monty Python’s Life of Brian’, The Guardian (21 June 2011), https://www.theguardian.com/media/ 2011/jun/21/bbc-monty-python-life-of-brian. Accessed 13 July 2020. 2 Scorsese’s depicted Jesus Christ dealing with worldly temptations like everyone else. This caused outrage amongst some Christian groups, even leading to an incident in Paris where a theatre showing the film was set on fire. See Steven Greenhouse, ‘Police Suspect Arson In Fire at Paris Theater’, The New York Times (25 October 1988), p.
    [Show full text]
  • “Hollywood's Big Art Deal,” Newsweek, December 6
    9/10/2016 Academic OneFile ­ Document ­ Hollywood's Big Art Deal: A hot young crop of Los Angeles artists is spawning a feeding frenzy among the city's mogul­… Hollywood's Big Art Deal: A hot young crop of Los Angeles artists is spawning a feeding frenzy among the city's mogul­ collectors Newsweek. 134.23 (Dec. 6, 1999): p78. Copyright: COPYRIGHT 1999 Newsweek LLC. All rights reserved. Any reuse, distribution or alteration without express written permission of the publisher is prohibited. For permission: www.newsweek.com http://www.newsweek.com/ Full Text: Every Saturday afternoon, the fledgling contemporary­art dealers at 6150 Wilshire Boulevard­­just west of the L.A. County Museum of Art on the old "Miracle Mile"­­gather in the courtyard outside their cluster of tailored, track­lighted white boxes to enjoy a casual barbecue. These days too many potential customers come by to leave the galleries in the hands of weekend receptionists. There's a steady stream of hipsters and Saturday strollers, but often the sign­in books read like rosters of Hollywood power. As often as not, the black Mercedes of UPN network head Dean Valentine pulls into the adjacent parking lot, sometimes with power broker Michael Ovitz in tow. This is where the rubber meets the road in L.A.'s burgeoning art scene. It's a fusion of a new crop of weirdly clever young artists who've mustered out from the market­savvy art departments at UCLA, Art Center College of Design and the California Institute of the Arts and the showbiz billionaires and millionaires who are plowing through them like whales through plankton­­actually buying.
    [Show full text]
  • Download Press Release As PDF File
    JULIEN’S AUCTIONS - PROPERTY FROM THE COLLECTION OF STEVE MARTIN PRESS RELEASE For Immediate Release: JULIEN’S AUCTIONS ANNOUNCES PROPERTY FROM THE COLLECTION OF STEVE MARTIN Emmy, Grammy and Academy Award Winning Hollywood Legend’s Trademark White Suit Costume, Iconic Arrow through the Head Piece, 1976 Gibson Flying V “Toot Uncommons” Electric Guitar, Props and Costumes from Dirty Rotten Scoundrels, Dead Men Don’t Wear Plaid, Little Shop of Horrors and More to Dazzle the Auction Stage at Julien’s Auctions in Beverly Hills All of Steve Martin’s Proceeds of the Auction to be Donated to BenefitThe Motion Picture Home in Honor of Roddy McDowall SATURDAY, JULY 18, 2020 Los Angeles, California – (June 23rd, 2020) – Julien’s Auctions, the world-record breaking auction house to the stars, has announced PROPERTY FROM THE COLLECTION OF STEVE MARTIN, an exclusive auction event celebrating the distinguished career of the legendary American actor, comedian, writer, playwright, producer, musician, and composer, taking place Saturday, July 18th, 2020 at Julien’s Auctions in Beverly Hills and live online at juliensauctions.com. It was also announced today that all of Steve Martin’s proceeds he receives from the auction will be donated by him to benefit The Motion Picture Home in honor of Roddy McDowall, the late legendary stage, film and television actor and philanthropist for the Motion Picture & Television Fund’s Country House and Hospital. MPTF supports working and retired members of the entertainment community with a safety net of health and social
    [Show full text]
  • Why Call Them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960S Mark Shiel, University of Leicester, UK
    Why Call them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960s Mark Shiel, University of Leicester, UK Preface In response to the recent increased prominence of studies of "cult movies" in academic circles, this essay aims to question the critical usefulness of that term, indeed the very notion of "cult" as a way of talking about cultural practice in general. My intention is to inject a note of caution into that current discourse in Film Studies which valorizes and celebrates "cult movies" in particular, and "cult" in general, by arguing that "cult" is a negative symptom of, rather than a positive response to, the social, cultural, and cinematic conditions in which we live today. The essay consists of two parts: firstly, a general critique of recent "cult movies" criticism; and, secondly, a specific critique of the term "cult movies" as it is sometimes applied to 1960s American independent biker movies -- particularly films by Roger Corman such as The Wild Angels (1966) and The Trip (1967), by Richard Rush such as Hell's Angels on Wheels (1967), The Savage Seven, and Psych-Out (both 1968), and, most famously, Easy Rider (1969) directed by Dennis Hopper. Of course, no-one would want to suggest that it is not acceptable to be a "fan" of movies which have attracted the label "cult". But this essay begins from a position which assumes that the business of Film Studies should be to view films of all types as profoundly and positively "political", in the sense in which Fredric Jameson uses that adjective in his argument that all culture and every cultural object is most fruitfully and meaningfully understood as an articulation of the "political unconscious" of the social and historical context in which it originates, an understanding achieved through "the unmasking of cultural artifacts as socially symbolic acts" (Jameson, 1989: 20).
    [Show full text]
  • PARAMOUNT PICTURES: 75 YEARS July 10, 1987 - January 4, 1988
    The Museum Of Modem Art For Immediate Release June 1987 PARAMOUNT PICTURES: 75 YEARS July 10, 1987 - January 4, 1988 Marlene Dietrich, William Holden, Barbara Stanwyck, Fred MacMurray, and Mae West are among the stars featured in the exhibition PARAMOUNT PICTURES: 75 YEARS, which opens at The Museum of Modern Art on July 10. The series includes films by such directors as Cecil B. De Mille, Ernst Lubitsch, Francis Coppola, Josef von Sternberg, and Preston Sturges. More than 100 films and an accompanying display of film-still enlargements and original posters trace the seventy-five year history of Paramount through the silent and sound eras. The exhibition begins on Friday, July 10, at 6:00 p.m. with Dorothy Arzner's The Wild Party (1929), madcap silent star Clara Bow's first sound feature, costarring Fredric March. At 2:30 p.m. on the same day, Ernst Lubitsch's ribald musical comedy The Smiling Lieutenant (1931) will be screened, featuring Paramount contract stars Maurice Chevalier, Claudette Colbert, and Miriam Hopkins. Comprised of both familiar classics and obscure features, the series continues in The Roy and Niuta Titus Theaters through January 4, 1988. Paramount Pictures was founded in 1912 by Adolph Zukor, and its first release was the silent Queen Elizabeth, starring Sarah Bernhardt. Among the silent films included in PARAMOUNT PICTURES: 75 YEARS are De Mille's The Squaw Man (1913), The Cheat (1915), and The Ten Commandments (1923); von Sternberg's The Docks of New York (1928), and Erich von Stroheim's The Wedding March (1928). - more - ll West 53 Street.
    [Show full text]
  • Sculpting Women from Pygmalion to Vertigo to the Skin I Live In
    1 This is an Accepted Manuscript of an article published by Taylor & Francis Group in Quarterly Review of Film and Video Sculpting Women from Pygmalion to Vertigo to The Skin I Live in They would be displeased to have anybody call them docile, yet in a way they are . They submit themselves to manly behavior with all its risks and cruelties, its complicated burdens and deliberate frauds. Its rules, which in some cases you benefited from, as a woman, and then some that you didn’t. -“Too Much Happiness”, Alice Munro (294) One day I'll grow up, I'll be a beautiful woman. One day I'll grow up, I'll be a beautiful girl. But for today I am a child, for today I am a boy. -“For Today I Am a Boy”, Antony and the Johnsons The two images below (Figure 1) are from key moments in Alfred Hitchcock’s Vertigo (1958) and Pedro Almodóvar’s La piel que habito (The Skin I Live in, 2011). It is possible that there is a conscious citation here on the part of Almodóvar, but in any case the parallels are striking, and they reveal a great deal about gender as it is constructed in the mid- 20th century and the early 21st. Both shots show a woman gazed at from behind, as she herself is gazing at artwork that is especially significant for her sense of self. In the larger context of the films, both women are haunted by idealized images of femininity, which are necessary to prop up the crumbling masculinity of men who want to reshape their clothes, hair and bodies.
    [Show full text]
  • AM Mike Nichols Production Bios FINAL
    Press Contact: Natasha Padilla, WNET, 212.560.8824, [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://pbs.org/americanmasters , http://facebook.com/americanmasters , @PBSAmerMasters , http://pbsamericanmasters.tumblr.com , http://youtube.com/AmericanMastersPBS , http://instagram.com/pbsamericanmasters , #AmericanMasters Mike Nichols: American Masters Premieres nationwide Friday, January 29 at 9 p.m. on PBS (check local listings) Production Biographies Elaine May Director Elaine May began in Second City where she formed a successful comedy team with Mike Nichols. She earned a Drama Desk Award for her play Adaptation ; wrote, directed and performed in A New Leaf ; directed The Heartbreak Kid (the original); wrote and directed Mikey & Nicky and Ishtar ; received an Oscar nomination for writing Heaven Can Wait ; reunited with Nichols to write The Birdcage and Primary Colors (a BAFTA-winner); and worked with producer Julian Schlossberg on six New York productions. She has done other things, but this is enough. Julian Schlossberg Producer Julian Schlossberg is an award-winning theater, film and television producer. For TV, he’s produced for HBO, AMC and PBS, including American Masters — Nichols & May: Take Two and American Masters: The Lives of Lillian Hellman . Plays produced by Schlossberg have earned many honors, including six Tony Awards, two Obie Awards, seven Drama Desk Awards and five Outer Critics Circle Awards, among them Bullets Over Broadway: The Musical , The Beauty Queen of Leenane and Fortune’s Fool . He also produced six of Elaine May’s plays: Relatively Speaking , Adult Entertainment , After the Night and the Music , Power Plays , Death Defying Acts and Taller Than a Dwarf .
    [Show full text]
  • HOLLYWOOD – the Big Five Production Distribution Exhibition
    HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927
    [Show full text]
  • A Cinema of Confrontation
    A CINEMA OF CONFRONTATION: USING A MATERIAL-SEMIOTIC APPROACH TO BETTER ACCOUNT FOR THE HISTORY AND THEORIZATION OF 1970S INDEPENDENT AMERICAN HORROR _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts _____________________________________________________ by COURT MONTGOMERY Dr. Nancy West, Thesis Supervisor DECEMBER 2015 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled A CINEMA OF CONFRONTATION: USING A MATERIAL-SEMIOTIC APPROACH TO BETTER ACCOUNT FOR THE HISTORY AND THEORIZATION OF 1970S INDEPENDENT AMERICAN HORROR presented by Court Montgomery, a candidate for the degree of master of English, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________ Professor Nancy West _________________________________ Professor Joanna Hearne _________________________________ Professor Roger F. Cook ii ACKNOWLEDGEMENTS I would like to express my deepest appreciation to my committee chair, Dr. Nancy West, for her endless enthusiasm, continued encouragement, and excellent feedback throughout the drafting process and beyond. The final version of this thesis and my defense of it were made possible by Dr. West’s critique. I would like to thank my committee members, Dr. Joanna Hearne and Dr. Roger F. Cook, for their insights and thought-provoking questions and comments during my thesis defense. That experience renewed my appreciation for the ongoing conversations between scholars and how such conversations can lead to novel insights and new directions in research. In addition, I would like to thank Victoria Thorp, the Graduate Studies Secretary for the Department of English, for her invaluable assistance with navigating the administrative process of my thesis writing and defense, as well as Dr.
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • Me University of Southern California Me Academy of Motion Picture Arts
    me UniversitY of Southern California IN COOPERATION WITH me Academy of Motion Picture Arts and Sciences OFFERS I ~Tld()()U~TI()~ T() Vt-l()T()VLA~ COURSE BEGINS SPRING SEMESTER 19 2 9 · ' Introduction to Photoplay A Comprehensive Course of Lectures with Class Discussions and Assigned Readings Introductory to the Study of the Motion Picture Art and Industry Bovard Auditorium UNIVERSITY OF SOUTHERN CALIFORNIA AND THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES OFFICERS AND FACULTY RUFUS B. VON KLEINSMID, A.M., SeD., J .D ., Ph. et Litt. D., L.L.D., President of the University. KARL T. WAUGH, A .M., Ph.D., L.L.D., Dean of the Col­ lege of Liberal Arts and Professor of Psychology. WILLIAM RAY McDoNALD, A.M., Instructor in Speech and University Play Director. OFFICERS OF THE ACADEMY OF MOTTO PICTURE ARTS AND SCIENCES DOUGLAS FAIRBANKS, President WILLIAM C. D EMILLE, Vice-President lVI. C. L EVEE, Treasurer FRANK WOODS , Secretary --0-- COMMITTEE ON COLLEGE AFFAIRS MILTON SILLS BEULAH DIX FLEBBE Chairman CLARA BERANGER Roy POMEROY LOTTA WOODS J. A. BALL EDWARD J. MONTAGUE IRVING THALBERG CHANDLER SPRAGUE JOHN W. CO NSIDINE PAUL SLOANE DARRYL ZANUCK FOREWORD N presenting the " Introduction to Photoplay," the U ni­ versity and the Academy have taken into consideration I the necessity of an . introductory course to meet the needs of students who have had a year or two of Liberal Arts and are contemplating majoring in one of the motion picture fields. I t will serve both as an orientation in the field of photoplay as well as a means of determining the aptitude of students to continue in one of the more technical branches of the subject.
    [Show full text]