SUMMER 2019 SUMMER a Special Report Special A
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Graham Walker Film Music Producer / Music Production Supervisor
GRAHAM WALKER FILM MUSIC PRODUCER / MUSIC PRODUCTION SUPERVISOR Graham is one of Britain’s most experienced and active Music Producers specialising in the international film music business. Education Graham studied music at Kneller Hall, the Royal Military School of Music and the Guildhall School of Music in London after which he began his career in the music production business. Graham is also a good musician; a trumpet player. Graham is one of Britain’s most experienced and active Music Producers specialising in the international film music business. After a distinguished career as Musical Director of Yorkshire Television, Head of Music for Granada Television and Head of Film Music Production for Lord Grade’s ITC Films, Graham then became freelance. The first 6 years of Graham’s career were spent at the world famous KPM Production Music Library; that was the day job! The night job was arranging and conducting sessions for various ‘pop’ and variety stars’ singles and albums such as Dickie Henderson, Roy Castle, Nicko McBrain (the drummer from Iron Maiden) and the number 1 hit ‘Grandad’ performed by Clive Dunn(!) plus score takedowns for the BBC’s ‘Top of the Pops’ for US groups such as ‘The Four Tops,’ Diana Ross and The Supremes,’ Otis Redding,’ ‘Marvin Gaye’ and many others. Work: Musical Director - Yorkshire Television, Head of Music - Granada Television, Head of Film Production (Music) - Lord Grade’s ITC Films, Head of Music - Zenith Productions. Over the years Graham has acquired extensive expertise in recording throughout Europe and beyond. He has worked with many composers, musicians and orchestras in the recording centres of London, New York, Paris, Munich, Cologne, Rome, Brussels, Berlin, Budapest, Moscow, Belgrade, Prague, Bratislava, Brandenburg and various locations in South Africa. -
Quentin Tarantino Retro
ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director. -
Read Ebook {PDF EPUB} the Teacher Wars a History of America's Most Embattled Profession by Dana Goldstein Dana Goldstein
Read Ebook {PDF EPUB} The Teacher Wars A History of America's Most Embattled Profession by Dana Goldstein Dana Goldstein. Dana Goldstein is a reporter for the New York Times and the author of the bestseller The Teacher Wars: A History of America’s Most Embattled Profession (Doubleday). She has contributed to Slate, The Marshall Project, The New Republic, The Atlantic, and many other publications. Dana writes about education, gender, race, social science, inequality, criminal justice, health, and cities. She has received a Schwartz fellowship from the New America Foundation, a Spencer Foundation fellowship from Columbia University, and a Puffin fellowship from the Nation Institute. She is a two-time finalist for the Livingston Award, which honors outstanding reporting by journalists under the age of 35. Previously, Dana was an associate editor at The Daily Beast and The American Prospect. She graduated from Brown University and grew up in beautiful Ossining, New York, alongside the Hudson River. She lives in Brooklyn. Click here to contact Dana and here to subscribe to an occasional newsletter about her work. Connect with Dana on Twitter, Facebook, or Tumblr. Cookie Consent and Choices. NPR’s sites use cookies, similar tracking and storage technologies, and information about the device you use to access our sites (together, “cookies”) to enhance your viewing, listening and user experience, personalize content, personalize messages from NPR’s sponsors, provide social media features, and analyze NPR’s traffic. This information is shared with social media, sponsorship, analytics, and other vendors or service providers. See details. You may click on “ Your Choices ” below to learn about and use cookie management tools to limit use of cookies when you visit NPR’s sites. -
Action on Education Friday, February 27 - Saturday, February 28, 2015 Diana Center, Barnard College
The Scholar & Feminist Conference XL Action on Education Friday, February 27 - Saturday, February 28, 2015 Diana Center, Barnard College This conference was made possible by generous funding from the Virginia C. Gildersleeve Fund from the Barnard College Provost’s Office. Barnard was founded 125 years ago with the feminist mission of providing education to those who were excluded from major avenues of education. In honor of this legacy and the 40th anniversary of BCRW’s signature Scholar & Feminist Conference, this year’s conference builds a feminist framework for understanding the institutional, social, and pedagogical facets of teaching and learning. Scholars, activists, educators, and artists explore the K-12 landscape and higher education, investigating who can attain post-secondary education, under what circumstances, and at what cost. They discuss diverse feminist approaches to such topics as the Common Core standards, educational alternatives, the school-to-prison pipeline, teaching intersectional feminism, adjunct labor, sexual violence on campus, continuing racial and economic segregation within educational spaces, and feminist visions for a fair and just educational system. Friday, February 27 10:00 AM Welcome Janet Jakobsen and Tressie McMillan Cottom Event Oval, The Diana Center 10:30 AM Plenary Presentations The Octopus: Cognitive Capitalism and the University Natalia Cecire, Miriam Neptune, Nicci Yin It has often been remarked in recent years that we have entered a second Gilded Age of capitalist deregulation and socioeconomic inequality, with patterns of a hundred years ago repeating themselves. And while the rhetoric around the university is that it affords social mobility, as tuition and student debt have risen and affirmative action and need-blind admission have been revoked, it has become increasingly apparent that the university is an engine of that inequality. -
Should There Be a Presumption Favoring Awards of Attorney╎s
THE JOHN MARSHALL REVIEW OF INTELLECTUAL PROPERTY LAW SHOULD THERE BE A PRESUMPTION FAVORING AWARDS OF ATTORNEY’S FEES IN COPYRIGHT LITIGATION? WILLIAM T. MCGRATH ABSTRACT Section 505 of the Copyright Act allows courts to award attorney’s fees to the prevailing party in a copyright case. Almost twenty years ago, the Supreme Court in Fogerty resolved a split among the circuits over the interpretation of that statute. First, it held that courts should apply several nonexclusive factors when determining if the prevailing party, whether defendant or plaintiff, should be entitled to recover attorney’s fees. Second, the Court refused to apply a presumption that the prevailing party will automatically recover attorney’s fees, opting instead for the districts courts to apply “equitable discretion” in awarding fees. But in recent years, the Seventh Circuit has called for “presumptive entitlement” of attorney's fees to the prevailing party. It also isolated two factors as being primary in its analysis: the strength of the prevailing party's case and the amount of damages the prevailing party obtained. Because the prevailing defendant typically receives no monetary award, the Seventh Circuit's factors tend to favor the defendant. This paper points out the number of problems with such a presumption, including: 1) its conflicts with the statute; 2) conflicts with the principles of Fogerty; and 3) its chilling effect on plaintiffs with legitimate claims. Copyright © 2013 The John Marshall Law School Cite as William T. McGrath, Should There Be a Presumption Favoring Awards of Attorney’s Fees in Copyright Litigation?, 12 J. MARSHALL REV. -
Golden Glow Hollywood
YOlUMf 14 - ~IRST QUARHR 2002 ca e QUARTERLY REP Oscar brings a golden glow ba(~ to Hollywood Starts on Page 12 FRO M THE PRESIDENT We're taking the Academy Report, this periodic newsletter for members, in a new direction with this issue. We're going to publish four quarterly issues that will concentrate on providing a historical record of the Academy's activities during each quarter, and which, taken together, will constitute a calendar year annual report. Each first-quarter report will include a complete review of the annual Academy Award activities; the second quarter's will highlight the Student Academy Awards; the third will feature board elections and the financial reports from the end of the fi scal year, June 30; LAST YEAR, THE ENTRANCE TO THE we'll hear about the Nicholl Fellowship presentations PLAYERS DIRECTORY'S NEW OFFICES AT and updates in board committees and Academy staff in 1313 VINE STREET LOOKED LIKE THIS. the fourth quarter and, of course, each issue will include reports on the myriad public and educational activities The Academy Players Directory, the that take place year-round at the Academy as well as any additional information of interest to the membership. casting bible of the industry since its We'll try to include each event and we'll try to continue to be photo-intensive, because that is what inception in 1937, moved its offices in you've seemed to enjoy in the past. But we won't be very January from the headquarters building timely. We're not a newspaper and we don't have the staff or other resources to turn this thing around quickly. -
Publications Editor Prized Program Contributors Tribute Curator
THE NATIONAL FILM PRESERVE LTD. presents the Julie Huntsinger Directors Tom Luddy Gary Meyer Michael Ondaatje Guest Director Muffy Deslaurier Director of Support Services Brandt Garber Production Manager Bonnie Luftig Events Manager Bärbel Hacke Hosts Manager Shannon Mitchell Public Relations Manager Marc McDonald Theatre Operations Manager Lucy Lerner ShowCorps Manager Erica Gioga Housing/Travel Manager Kate Sibley Education Programs Dean Elizabeth Temple V.P., Filmanthropy Melissa DeMicco Development Manager Kirsten Laursen Executive Assistant to the Directors Technical Direction Russell Allen Sound, Digital Cinema Jon Busch Projection Chapin Cutler Operations Ross Krantz Chief Technician Jim Bedford Technical Coordinator Annette Insdorf Moderator Pierre Rissient Resident Curators Peter Sellars Paolo Cherchi Usai Godfrey Reggio Publications Editor Jason Silverman (JS) Prized Program Contributors Larry Gross (LG), Lead Writer Sheerly Avni (SA), Serge Bromberg (SB), Meredith Brody (MB), Paolo Cherchi Usai (PCU), Jesse Dubus (JD), Roger Ebert (RE), Scott Foundas (SF), Kirk Honeycutt (KH), Tom Luddy (TL), Jonathan Marlow (JM), Greil Marcus (GM), Gary Meyer (GaM), Michael Ondaatje (MO), Milos Stehlik (MS) Tribute Curator Chris Robinson 1 Shows The National Film Preserve, Ltd. A Colorado 501(c)(3) non-profit, tax-exempt educational corporation 1a S/Fri 6:30 PM - G/Sat 9:30 AM - 1b L/Sun 6:45 PM Founded in 1974 by James Card, Tom Luddy and Bill & Stella Pence 1 A Tribute to Peter Weir Directors Emeriti Bill & Stella Pence Board of Governors Peter Becker, Ken Burns, Peggy Curran, Michael Fitzgerald, Julie Huntsinger, Linda Lichter, Tom Luddy, Gary Meyer, Elizabeth Redleaf, Milos Stehlik, Shelton g. Stanfill (Chair), Joseph Steinberg, Linda C. -
[Saul] Zaentz Luc Chaput
Document generated on 10/02/2021 5:29 a.m. Séquences La revue de cinéma [Frédéric] Back… [Saul] Zaentz Luc Chaput Number 289, March–April 2014 URI: https://id.erudit.org/iderudit/71343ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this document Chaput, L. (2014). [Frédéric] Back… [Saul] Zaentz. Séquences, (289), 18–19. Tous droits réservés © La revue Séquences Inc., 2014 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 18 PANORAMIQUE | SALUT L'ARTISTE [Frédéric] Back… [Saul] Zaentz scénarisait aussi des jeux vidéo et avait construit une compagnie florissante dans ce domaine. Ruth Robinson Duccini | 1918-2014 Dernière survivante des interprètes des Munchkins de The Wizard of Oz. Syd Field | 1935-2013 Scénariste américain, membre dirigeant de sa guilde, il fut un auteur à succès de sept livres sur la fabrication du scénario, où il expose entre autres sa conception de la structure en trois actes. On lui reprocha de plus en plus son influence devant la similitude du déroulement des histoires dans la plupart des films hol- -
Miloš Forman and Saul Zaentz
Lifetime Achievement Awards: Miloš Forman and Saul Zaentz By Ron Holloway Spring 2005 Issue of KINEMA THE FOLLOWING portraits of Miloš Forman and Saul Zaentz celebrate from a personal perspective the extraordinary film accomplishments by this masterful director-producer team on the occasion of Lifetime Achievement Awards given by Film By the Sea Festival in the Dutch seaside resort cities of Vlissingen and Scheveningen. Miloš Forman and Saul Zaentz, invited by festival director Leo Hannewijk and international co-director Steve Klain, were honoured as well by leading personalities of the Netherlands and the European Union. Indeed, this single event scored as one of the festival highlights of the year. Miloš Forman - Auditions and Adaptations My first meeting with Miloš Forman took place in April 1968 - a couple hours after I had been thrownoutof the Variety office on 43rd Street for daring to ”sign myself on” as a future correspondent. Togetridofme, Bob Landry, the benevolent desk editor, sent me over to the Chelsea Hotel in Lower Manhattan to interview Miloš Forman. ”Since you liked Loves of a Blonde that much,” he shouted after me, ”find out what he’s doing next.” Off I went - and came back to the office with a nifty little story about a nail-clipper. It neversawprint. ”Nobody in this place ever heard of a pince à ongles - so who the hell cares!” was the rebuff. A rather stiff kick in the butt for a fledgling. But the next day Landry phoned me to promise a job when I got toEurope. Looking back, I still think The Nail-Clipper (1968) is one of Miloš Forman’s better films. -
Mckinney Macartney Management Ltd
McKinney Macartney Management Ltd DAN FARRELL - Editor THE SINGAPORE GRIP Director: Tom Vaughan. Producer: Farah Abushwesha. Starring: Luke Treadaway, David Morrisey, Jane Horrocks and Charles Dance. Mammoth Screen. THE DUBLIN MURDERS Director: Saul Dibb. Producer: Carmel Maloney Starring: Killian Scott and Sarah Greene Element Pictures / Euston Films for BBC One THE LITTLE DRUMMER GIRL Director: Chan-Wook Park Producer: Laura Hastings Smith Starring: Florence Pugh and Alexander Skarsgård The Ink Factory KING LEAR Director: Richard Eyre. Producer: Noëlette Buckley. Starring: Anthony Hopkins, Emma Thompson, Jim Broadbent BBC / Sonia Friedman Productions / Playground Television. THE CHILDREN ACT Director: Richard Eyre. Producer: Duncan Kenworthy. Starring: Emma Thompson, Stanley Tucci and Ben Chaplin. FilmNation / BBC Films / Toledo Productions. COUP 53 as Associate Editor (Editor - Walter Murch) Director: Taghi Amirani. Producers: Taghi Amirani, Emma Parsons and Paul Zaentz. Screenplay: Taghi Amirani and Walter Murch. Amirani Media. UNFINISHED SONG Director: Paul Andrew Williams. Producers: Ken Marshall and Philip Moross. Starring: Terence Stamp, Gemma Arterton and Vanessa Redgrave. The Weinstein Company / Steel Mill. Premiere Gala, Closing Night - Toronto Film Festival Gable House, 18 – 24 Turnham Green Terrace, London W4 1QP Tel: 020 8995 4747 E-mail: [email protected] www.mckinneymacartney.com VAT Reg. No: 685 1851 06 Dan Farrell Contd … 2 MOLLY MOON AND THE INCREDIBLE BOOK OF HYPNOSTISM Director: Christopher N. Rowley. Producers: Simon Bosanquet, Georgia Byng, Lawrence Elman and Ileen Maisel. Starring: Raffey Cassidy, Joan Collins, Emily Watson and Dominic Monaghan. Amber Entertainment. HELLO CARTER Director: Anthony Wilcox. Producers: Julian Bird and Fiona Neilson. Starring: Charlie Cox, Jodie Whittaker and Paul Schneider. Revolution / Bankside. -
Student Academy Awards, Nicholl Fellowships
ACADEMY OFFICERS 1999-2000 President Robert Rehme First Vice President Alan Bergman Vice President Sid Ganis Vice President Kathy Bates Treasurer Donn Cam bern Secretary Donald C. Rogers Executive Director Bruce Davis Oscar<', Oscars Academy Awards". Academy AWQrd A.M.PAS.«> and OeW!" ~'91 t are the trademarks and the Oscar statuet/e IS Ihe regiStered design marK and copyrighled propArty of the Academy of Motion Picture Arts and Sciences. Dear Academy Member Some years are more susceptible than others to characterization with a glib phrase. For some, for example, this will be "The Year the Oscars were Stolen." Those of us who were involved, of course, will always remember that week, and we'll probably even refer to the year that way. But the 12 months were too filled with expanded programs, new programs and planned programs for that one event to characterize it. It truly was a transitional year. The switch from the 1900s to the 2000s, which fell midway in our fiscal accounting, is an excellent metaphor for this Academy year, firmly grounded in a tradition of excellence but looking forward to a blossoming future. We began to see the effects of our improved financial position. We tripled the funding of our grants program, announced the creation of an Academy Film Scholars competition and launched the first of what will be an ongoing series of membership forums. Membership committees worked diligently throughout the year on questions of awards categori es and branch makeup, while the staff searched for physical space into which some of the expanded and new programs can move. -
The Bohemian Horizon: 21St-Century Little Magazines and the Limits of the Countercultural Artist-Activist
The Bohemian Horizon: 21st-Century Little Magazines and the Limits of the Countercultural Artist-Activist Travis Mushett Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 ©2016 Travis Mushett All rights reserved ABSTRACT The Bohemian Horizon: 21st-Century Little Magazines and the Limits of the Countercultural Artist-Activist Travis Mushett This dissertation examines the emergence of a cohort of independent literary, intellectual, and political publications—“little magazines”—in New York City over the past decade. Helmed by web-savvy young editors, these publications have cultivated formidable reputations by grasping and capitalizing on a constellation of economic, political, and technological developments. The little magazines understand themselves as a radical alternative both to a journalistic trend toward facile, easily digestible content and to the perceived insularity and exclusivity of academic discourse. However, the bohemian tradition in which they operate predisposes them toward an insularity of their own. Their particular web of allusions, codes, and prerequisite knowledge can render them esoteric beyond the borders of a specific subculture and, in so doing, curtail their political potency and reproduce systems of privilege. This dissertation explores the tensions and limitations of the bohemian artist-activist ideal, and locates instances in which little magazines were able to successfully