DOCSLIB.ORG

Students Are Invited

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Students Are Invited WE BREEZE Vol. XXXI Madison College, Harrisonburg, Va., Friday, November 5, 1954 No.Tf>7 A. C. E. Brings Robert Williams To Speak On "Future Trends" Senior 'Plantation Party' Offers National Education Week will be ob- served on Madison's campus, Novem- Traditional Southern Hospitality ber 10, when the Association of-Child- Shawver Reveals hood Education has as their assembly Recent Science "child" of the plantation owners, guest speaker, Dr. Robert Williams. had been 'living it up' quite a bit Dr. Williams is a native of Rich- Improvements and after hiccuping through a mond, Virginia and executive secre- This month's issue of Science Edu- short dance was showed the way tary of the Virginia Education Asso- cation carries an article by Dr. M. C. to the d^or by Sam (Jo Guyton), ciation. He is also editor of the V.E. Shawver of Madison's Science Depart- one of the servants. A. Journal. ment. Dr. Shawver's article, "The "Beautiful Dreamer", done by Speaking on "Future Trends of Edu* Development of the Science Program Joyce Mumford, was another in Teacher Education at Madison Col- cation in Virginia", Dr. Williams will melody which lent itself to the give the student body an insight as to lege", outlines the Science Program what to look forward to in new and at Madison and the part it plays in party atmosphere. The belles modern methods of teaching ana edu- the General Education Program. He themselves sang a number which cation in the state of Virginia. discusses^lso the Summer School and they had learned at Miss Jeffer- Besides sponsoring the November proposed Graduate School Programs. son's School of Culture. This 10 assembly, other activities of A.C.E. Confronting the parent of every was "Listen to the Mocking- will include the initiation of new mem- school child is the pressing need for bird". As several people began bers on November 9 in a special cere- more and better trained teachers in to dance to music from the com- mony. „ public schools. One of the most cri- bo, the curtain came down on Officers of A.C.E. are: President, tical shortages exists in science teach- this first act. Joey Osbourne; Vice-President, Mic- ers. To meet this need, colleges which Harry Ruebush, Bobby Crantz train teachers are constantly re-eval- key Murphey; Secretary, Patsy Jones; and Dick Sloop opened the sec- Treasurer, Sarah Munday; Program uating their training programs. ond act with "I'm A Lonesome Chairman, Eleanor Gouldin. Adapted Curriculum Polecat" and they were joined in Advisors are Miss Anthony and Dr. Dr. Murl C. Shawver, member of BY ANN FOSNIGHT Poindexter. the Biology Department at Madison their song and dance by Rosie "Y'ALL COME!" .... and they did! Jus' lotsa people went —o ■ College, has shown in a recently pub- Royster, Jean Hogge and Norma lished article what Madison is doing to the Seniors's Plantation Party Wednesday night and there were Proctor. Shortly afterwards, 4 to adapt its curriculum to this short- Southern belles, Southern gentlemen, and pickaninnies and mo' Uncle Remus, in the person of VHoldsConference age. pickaninnies there to welcome them. From the porch of the planta- Joan Pease, told the story of The Y. is sponsoring a conference The article, entitled "The Develop- tion manor, the debutantes, the class officers, and Mr. and Mrs. B'rer Rabbit, acted out by li'l here on November 13 and 14 to cele- ment of the Science Program in Miller, the proprietors of the plantation, and their daughter, Elise, pickaninnies holding signs which brate the 100th anniversary of the Y. Teacher Education at Madison Col- watched the gaiety and listened to the music of a combo and the told what they were-^B'rer Rab- W.C.A. The theme will be "Where lege", appeared in the October issue songs of the Southern belles. bit, B'rer Fox, the tar baby or a Are You?" Two of the speakers will of Science Education, the official pub- "Surprise Symphony" was the first of the numbers rendered by be Dr. Warren Bowman, President of lication of the National Association for prop. Elise and Jody listened Bridgewater College and Miss Doro- Research in Science Teaching. the combo, composed of Jo Bradfield on piano, Liz Hill on drums, attentively, then joined the pick- thy Richardson, Executive Director of Madison's Part Joyce Alexander on trombone, Martha McCutcheon on trumpet and aninnies in singing "Zippa-de-do- the Y.W.C.A. in Richmond. The con- Dr. Shawver speaks of the position Aileen Padgett with banjo and violin. Judy Freeman followed with da". ference will begin on Saturday at 2:30. of Madison in the State University "A Life That's Free". But Balullah Tankhead (Joyce Gwaltney) Andi Davis, Shirley Castine The last session will begin at 2 p.m. system and the role it must play in sounded off with a few notes not originally written when she sang and Janet Dygert offered the on Sunday. All students are invited. supplying the needs of its students "My Hero" and Connie Whitehead and Bev Thomas, two of the "Watermelon Song" which was Registration for Madison students will who will teach, especially in the "Southern gentlemen", gave an unsteady appearance as they did followed by another song, "Snow begin at 2:30 in Wilson auditorium. (Continued on Page 3) "Rock-a-bye My Baby". Jody Miller (Babs Smith), another Ball". Edgar McConnell's "Lucky Old Sun" was a blue note that 99 "Boo To You a trio, made up of Judy Johnson, Pat set his friends in somewhat of a Randall, and Joan Wadell, singing bluer mood than they already "Shine On, Harvest Moon," after tended to be in. Balullah came Winners Announced For Halloween which Dr. Larimer told a bewitching back with another number to ghost story. prove she really could sing, this Tables sparked with holiday table- time doing "My Man Is". Fran cloths, and napkins, owls, spiders, Party Costumes, Table Decorations Alls, playing the'part of Alfonso. markers, pumpkins napkin holders, by Elizabeth Wayland (Continued on Page 3) imt>m ■:-:-:'?'.:-■•:■:.• leaves, and designs in the middle lent In a true Hallowe'en spirit and at- a bright atmosphere to the occasion. mosphere the Madison student body An Indian wigwam, a basket of Business Instructors paraded into the Bluestone, Junior, and leaves attended by a ghost, and a witch Senior dining halls for a hilarious MHK*.. v^'i|» with a black pot in which lighted can- Speak, Hold Offices party Monday night. dles floated on top off a liquid occured Miss Sarah Anderson, Assistant pro- With people dressed in every type 1 as centerpieces. One table even an old fessor of the Department of Business of costume from that of a hula dancer house in the middle with the record, Education, has been elected first vice- to one of a hobo the girls in Bluestone "This Old House," at each plate. president of the Virginia Business really got in the swing of things to Little boys and girls reminiscing Education Association for the coming turn out a festive occasion both in i "school days", gypsies, human "trick or year. Miss Anderson was elected at costumes and in decorations. treak" bags, Snow White and the the recent V.E.A. meeting of Business Competition among the tables for Seven Dwarfs, "bags" of Madison, Education. The meeting of Section 1 the first prize in decorations created tramps, alive "muriel cigars", and was held in the auditorium of the Fed- various original ideas among which the \ "Lonesome Palecats" with black masts eral Reserve Bank. table displaying a huge, lighted jack m S* highlighted the original costumes for Another of our business teachers, o Lantern, surrounded by fall leaves, the gala occosion. Miss Grace Herr, was elected to the in the center and Hallowe'en favors on In Junior the eight "Sad Sacks" cap- Board of Directors of the Virginia leaves was the final winner. ****' ifiiifl tured top place in costumes with their Business Education Association at the Betty Ball, "Bebe" Banks, Jean Fost- 4 outfit of gunney sacks and appearance meeting. Both Miss Herr and Miss er, Harriet Glass, Thelma Jones, Betty ■ in bare-feet, black-line-wrinkles, and Anderson are supervisors of business Jo Loving, Betty Powers, and Peggy ;»»I p—■ — ■"■ IF- "messed-up" hair. teachers. Congratulations to them Wooldridge, who composed the group, Shirley Blackwell, Page Callis, Jean both. were dressed as little boys and little n Howard, Ann Lewis, Nina Skaparo, Some 300 Delaware Education teach- girls in couples, and each received a Angelita Suiter, Shirley Walton, and ers attended the annual meeting of the bag of hard candy. The "boys" wore Winning Table In Bluestone Connie Whitehill were the "sacks." Delaware Business Teachers Associa- bermuda shorts, freshmen beanies, big The best decorated table featured tion in Wilmington, Delaware this past bow ties, and long socks, while the Shirley Divers, Nancy Fitzgerald, "he night by skipping into the dining "little men" with red apples for bod- week. Dr. S. J. Turille, Head of the girls had on short skirts, sweaters, and June Frazier, Jan Garman, Shirley hall in a hockey outfit as the students ies, a marshmellow suspended by Department of Business Education at big bows in their hair, and carried Mintzer, Nancy Turner, Elizabeth roared in astonishment. toothpicks for a head, red cinnamon for Madison College, made the principal suckers and toy animals. Nayland, and Marian Wood, the girls After singing the "hula-hah" to a mouth, raisins for the eyes and nose, address of the morning titled, "Stand- Second prize, consisting of a pack at this table were dressed similarly to seemingly scores of people, the senior toothpicks for arms, yellow banana ards of Achievement in Business Sub- of life savers for each girl, went to the those at the above table in that they major office table decided to create a candy for legs with raisins on the bot- jects".
Load more

Recommended publications
  • January 27, 2009 (XVIII:3) Samuel Fuller PICKUP on SOUTH STREET (1953, 80 Min)
    January 27, 2009 (XVIII:3) Samuel Fuller PICKUP ON SOUTH STREET (1953, 80 min) Directed and written by Samuel Fuller Based on a story by Dwight Taylor Produced by Jules Schermer Original Music by Leigh Harline Cinematography by Joseph MacDonald Richard Widmark...Skip McCoy Jean Peters...Candy Thelma Ritter...Moe Williams Murvyn Vye...Captain Dan Tiger Richard Kiley...Joey Willis Bouchey...Zara Milburn Stone...Detective Winoki Parley Baer...Headquarters Communist in chair SAMUEL FULLER (August 12, 1912, Worcester, Massachusetts— October 30, 1997, Hollywood, California) has 53 writing credits and 32 directing credits. Some of the films and tv episodes he directed were Street of No Return (1989), Les Voleurs de la nuit/Thieves After Dark (1984), White Dog (1982), The Big Red One (1980), "The Iron Horse" (1966-1967), The Naked Kiss True Story of Jesse James (1957), Hilda Crane (1956), The View (1964), Shock Corridor (1963), "The Virginian" (1962), "The from Pompey's Head (1955), Broken Lance (1954), Hell and High Dick Powell Show" (1962), Merrill's Marauders (1962), Water (1954), How to Marry a Millionaire (1953), Pickup on Underworld U.S.A. (1961), The Crimson Kimono (1959), South Street (1953), Titanic (1953), Niagara (1953), What Price Verboten! (1959), Forty Guns (1957), Run of the Arrow (1957), Glory (1952), O. Henry's Full House (1952), Viva Zapata! (1952), China Gate (1957), House of Bamboo (1955), Hell and High Panic in the Streets (1950), Pinky (1949), It Happens Every Water (1954), Pickup on South Street (1953), Park Row (1952), Spring (1949), Down to the Sea in Ships (1949), Yellow Sky Fixed Bayonets! (1951), The Steel Helmet (1951), The Baron of (1948), The Street with No Name (1948), Call Northside 777 Arizona (1950), and I Shot Jesse James (1949).
    [Show full text]
  • Dictionary of Westerns in Cinema
    PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • Dolflss MARTIN and LEWIS Mudlark”) “LIVINGIT UP” California Epic Script
    THE EVENING STAR, Washington, D. C. a r.mmmm. H MMR SATURDAY, SEPTEMBER U, 1054 LAST 3 DAYS I A-14 4Wk n *«** (LATE SHOW TONIGHTI) ' *** IATC SHOWTOWOMT The Passing Show , l - |3OB powell! Reynolds) jfiMESmsmjta* STEWART •mgr | This Fellow Webb-Friday wm kWL I Bbß AISRED ‘wtwcsmg^nmiMSNrc^ fl HMII |HggM|¦ / Slept) HmCHCOCKS w Wm \Susah REAR WINDOW Perfect in His Timing V *•(m*m| Cater htr i^Here^i#t. TsciiMicoiOß =*=V- By Jay Carmody Bk'Q- ' t' TtetWA fIAYHOUSrrECHNico®oR Crafty fellow, this Sergt. Joe Friday—and every bit as smart WHHmaHMBaSmaBSmBSSSSossmi tohighT^^^^ when he is operating under his real name, Jack Webb. tAW SH latHhow 4 H I 9WT9NKfHT This will come as no surprise, of course, to the “Dragnet” l«tt N.W. J man’s countless admirers. These have known ever since they ‘afPW. M M HllSl heard f JR Afjm Hobson on screen his first cryptic sentence and seen his expressionless face set in Open 1Q:4» A.M. dogged pursuit MARKOVA of malefactors* • Wb/flii/U/fj, SUNDAY MONDAY -TUESDAY Friday-Webb that is all brain. the GREATBBT MOVIE EVER MADK It is different people now Herald-Tribune’s drama with critic) and CUSS the movie who Mrs. Kerr took the TWBUii; in business have script to New accepted it as their moral duty York. Then fol- AT YQUR FAVORITE THEATRE ignore lowed the collaboration via long- VBanr»num^.«.nL,mJ to television. They were distance phone and the inevitable W™ *STREET surprised no end to discover that >UMIM OUNAWtatSM rewrites until the script was In, BRANCH AVE.
    [Show full text]
  • THE END of the AFFAIR / 1955 (O Fim Da Aventura)
    CINEMATECA PORTUGUESA–MUSEU DO CINEMA DEBORAH KERR – ATÉ À ETERNIDADE 20 de maio de 2021 THE END OF THE AFFAIR / 1955 (O Fim da Aventura) um filme de Edward Dmytryk Realização: Edward Dmytryk / Argumento: Lenore J. Coffee, segundo o romance de Graham Greene / Fotografia: Wilkie Cooper / Direcção Artística: Don Ashton / Montagem: Alan Osbiston / Música: Benjamin Frankel / Intérpretes: Deborah Kerr (Sarah Miles), Van Johnson (Maurice Bendrix), John Mills (Albert Parkis), Peter Cushing (Henry Miles), Michael Goodliffe (Smythe), Stephen Murray (padre Crompton), Charles Goldner (Savage), Nora Swinburne (Mrs. Bertram), Frederick Lester (Dr. Collingwood), Mary Williams (criada), etc. Produção: David Lewis, para Coronado Productions / Cópia: Blu Ray, preto e branco, legendado eletronicamente em português, 106 minutos / Estreia Mundial: Londres, em 23 de Fevereiro de 1955 / Estreia em Portugal: cinema Império, em 27 de Junho de 1956. Aviso: Em projecção, a cópia que vamos apresentar apresenta um ligeiro ruído de fundo, para o qual assim alertamos os espectadores, agradecendo a compreensão. _____________________________ Esta primeira adaptação do conhecido romance de Graham Greene “O Fim da Aventura” (Neil Jordan fez uma segunda versão em 1999), é um trabalho bastante singular de Edward Dmytryk, que parece fugir ao estilo habitual dos seus filmes. Apenas aparentemente, porque, no fim de contas, como nos seus trabalhos mais importantes, o conflito gira à volta de uma crise de consciência (Crossfire/Encruzilhada) e de uma peculiar relação triangular (Obsession/No Último Minuto). Por outro lado, se aceitarmos a tese de que todos os filmes reflectem, directa ou indirectamente, pela presença ou pela ausência de pormenores e sinais, a personalidade de um “autor” e os dramas que a afectam, então The End of the Affair, para o bem ou para o mal, também pode ser (ainda) visto à luz dos problemas que Edward Dmytryk enfrentou nos fins da década de 40, na sua relação com o Comité de Actividades Anti-Norte-Americanas.
    [Show full text]
  • 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.
    [Show full text]
  • Red and White on the Silver Screen: the Shifting Meaning and Use of American Indians in Hollywood Films from the 1930S to the 1970S
    RED AND WHITE ON THE SILVER SCREEN: THE SHIFTING MEANING AND USE OF AMERICAN INDIANS IN HOLLYWOOD FILMS FROM THE 1930s TO THE 1970s a dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Bryan W. Kvet May, 2016 (c) Copyright All rights reserved Except for previously published materials Dissertation Written by Bryan W. Kvet B.A., Grove City College, 1994 M.A., Kent State University, 1998 Ph.D., Kent State University, 2015 Approved by ___Kenneth Bindas_______________, Chair, Doctoral Dissertation Committee Dr. Kenneth Bindas ___Clarence Wunderlin ___________, Members, Doctoral Dissertation Committee Dr. Clarence Wunderlin ___James Seelye_________________, Dr. James Seelye ___Bob Batchelor________________, Dr. Bob Batchelor ___Paul Haridakis________________, Dr. Paul Haridakis Accepted by ___Kenneth Bindas_______________, Chair, Department of History Dr. Kenneth Bindas ___James L. Blank________________, Dean, College of Arts and Sciences Dr. James L. Blank TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES………………………………………………………………………v ACKNOWLEDGEMENTS……………………………………………………………...vii CHAPTERS Introduction………………………………………………………………………1 Part I: 1930 - 1945 1. "You Haven't Seen Any Indians Yet:" Hollywood's Bloodthirsty Savages……………………………………….26 2. "Don't You Realize this Is a New Empire?" Hollywood's Noble Savages……………………………………………...72 Epilogue for Part I………………………………………………………………..121 Part II: 1945 - 1960 3. "Small Warrior Should Have Father:" The Cold War Family in American Indian Films………………………...136 4. "In a Hundred Years it Might've Worked:" American Indian Films and Civil Rights………………………………....185 Epilogue for Part II……………………………………………………………….244 Part III, 1960 - 1970 5. "If Things Keep Trying to Live, the White Man Will Rub Them Out:" The American Indian Film and the Counterculture………………………260 6.
    [Show full text]
  • Ape Chronicles #035
    For a Man! PLANET OF THE APES 1957 The Three Faces of Eve ARMY ARCHERD WHO IS WHO ? 1957 Peyton Place FILMOGRAPHY 1957 No Down Payment 1958 Teacher's Pet (uncredited) FILMOGRAPHY (AtoZ) 1957 Kiss Them for Me 1963 Under the Yum Yum Tree Compiled by Luiz Saulo Adami 1957 A Hatful of Rain 1964 What a Way to Go! (uncredited) http://www.mcanet.com.br/lostinspace/apes/ 1957 Forty Guns 1966 The Oscar (uncredited) apes.html 1957 The Enemy Below 1968 The Young Runaways (uncredited) [email protected] 1957 An Affair to Remember 1968 Planet of the Apes (uncredited) AUTHOR NOTES 1958 The Roots of Heaven 1968 Wild in the Streets Thanks to Alexandre Negrão Paladini, from 1958 Rally' Round the Flag, Boys! 1970 Beneath the Planet of the Apes Brazil; Terry Hoknes, from Canadá; Jeff 1958 The Young Lions (uncredited) Krueger, from United States of America; 1958 The Long, Hot Summer 1971 Escape from the Planet of the Apes and Philip Madden, from England. 1958 Ten North Frederick 1972 Conquest of the Planet of the Apes 1958 The Fly (uncredited) 1959 Woman Obsessed 1973 Battle for the Planet of the Apes To remind a film, an actor or an actress, a 1959 The Man Who Understood Women (uncredited) musical score, an impact image, it is not so 1959 Journey to the Center of the Earth/Trip 1974 The Outfit difficult for us, spectators of movies or TV. to the Center of the Earth 1976 Won Ton Ton, the Dog Who Saved Really difficult is to remind from where else 1959 The Diary of Anne Frank Hollywood we knew this or that professional.
    [Show full text]
  • XX:4) Jules Dassin, NIGHT and the CITY (1950, 96 Min)
    February 2, 2010 (XX:4) Jules Dassin, NIGHT AND THE CITY (1950, 96 min) Directed by Jules Dassin Screenplay by Jo Eisinger Based on the novel by Gerald Kersh Produced by Samuel G. Engel. Original Music by Benjamin Frankel (British version), Franz Waxman (American version) Cinematography by Mutz Greenbaum (director of photography, as Max Greene) Film Editing by Nick DeMaggio and Sidney Stone Constant Nymph (1933), Hindle Wakes (1931), Amours viennoises (1931), Die Försterchristl (1931), Zwei Menschen (1930), Zwei Richard Widmark...Harry Fabian Welten (1930, Der Präsident (1928), Frauenraub in Marokko Gene Tierney...Mary Bristol (1928), Das goldene Kalb (1925), Das tanzende Herz (1916), and Googie Withers...Helen Nosseross Hampels Abenteuer (1915). Hugh Marlowe...Adam Dunn Francis L. Sullivan...Philip Nosseross RICHARD WIDMARK (December 26, 1914, Sunrise Township, Herbert Lom...Kristo Minnesota—March 24, 2008, Roxbury, Connecticut, from Stanislaus Zbyszko...Gregorius complications following a fall) appeared in 75 films and tv series, Mike Mazurki...The Strangler some of which were True Colors (1991), Against All Odds (1984), Charles Farrell...Mickey Beer National Lampoon's Movie Madness (1982) The Swarm (1978), Ada Reeve...Molly the Flower Lady Twilight's Last Gleaming (1977), Murder on the Orient Express Ken Richmond...Nikolas of Athens (1974), "Madigan" (6 episodes, 1972-1973), Death of a Gunfighter (1969), Madigan (1968), Alvarez Kelly (1966), The Bedford JULES DASSIN (18 December 1911, Middletown, Connecticut, Incident (1965), Cheyenne Autumn (1964), How the West Was Won USA—31 March 2008, Athens, Greece, complications from flu) (1962), Judgment at Nuremberg (1961), Two Rode Together (1961), directed 25 films, including Circle of Two/Obsession (1980), The The Alamo (1960), Warlock (1959), The Law and Jake Wade Rehearsal (1974), Promise at Dawn (1970), 10:30 P.M.
    [Show full text]
  • GALAX \ ROTARY MEETING THEATRE at Tuesday Night's Meeting of the Thurs-Pri Aug 26-27 Highlands Rotary Club, S.C
    PUBLISHED WEEKLY DURING THE SUM^IER MONTHS EY THE, GAL/iX THEATRE, HIGHLANDS, N.C, Thursday, August 26, 195^ Miss Mary Summer, Editor Phone 2^9? GALAX \ ROTARY MEETING THEATRE At Tuesday night's meeting oF the Thurs-Pri Aug 26-27 Highlands Rotary Club, S.C. Russell, Spencer Tracy-Robert Wagner Secretary, was asked by the program Jean Peters-Katy Jurado In chairman to talk about his impres­ sions oF Rotary in Europe and Scan­ »BROKEN LANCE” in CinemaScope dinavia. Mr. Russell returned re­ Shows at 7^30 & 9*30 cently From an extended trip and Matinee Thurs at 3sOO mentioned that he had attended Ro­ Adm: Matinee & 50^ tary meetings regularly, making up Nights 20(^ <& 60^ his attendance record in London and Munich^ Oslo, Kristiansund and Trond­ heim, Norway? Stockholm, Sweden and Saturday Aug 2 8 Copenhagen, Denmark. He signed Ro­ Charlton Heston-Rhonda Fleming tary registers in hotels in Coblenz, Forrest Tucker In Germany, Amsterdam and Rotterdam, "PONY EXPRESS^ in Technicolor Holland and on board a Cunard Line Shows at 3*00, 7 s3 0 & 9s35 vessel en route. Adm 15^ & "Everywhere”, stated Mr. Russell, ”I was impressed by the hold which Rotary has on Europeans and Scandi- Sun-Mon Aug 29-30 (Con't. on page 7) Robert Taylor-Ava Gardner Mel Ferrer In HIGHLANDS SCHOOL OPENS SEPT. 7th »KNIGHTS ^ TIFFi ROJim TABLE” By - Prin. F.N. Shearouse in Cinemascope The Highlands School will open Sunday Shows at 3^00 and 9:00 on Tuesday, September 7* An open­ Monday Shows at 7215 ^ 95^5 ing exercise will be held that morn­ Note-Due to length oF this Feature ing at nine o*clock in the school the 1st show Mon.
    [Show full text]
  • Place Images of the American West in Western Films
    PLACE IMAGES OF THE AMERICAN WEST IN WESTERN FILMS by TRAVIS W. SMITH B.S., Kansas State University, 2003 M.A., Kansas State University, 2005 AN ABSTRACT OF A DISSERTATION submitted in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY Department of Geography College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2016 Abstract Hollywood Westerns have informed popular images of the American West for well over a century. This study of cultural, cinematic, regional, and historical geography examines place imagery in the Western. Echoing Blake’s (1995) examination of the novels of Zane Grey, the research questions analyze one hundred major Westerns to identify (1) the spatial settings (where the plot of the Western transpires), (2) the temporal settings (what date[s] in history the Western takes place), and (3) the filming locations. The results of these three questions illuminate significant place images of the West and the geography of the Western. I selected a filmography of one hundred major Westerns based upon twenty different Western film credentials. My content analysis involved multiple viewings of each Western and cross-referencing film content like narrative titles, American Indian homelands, fort names, and tombstone dates with scholarly and popular publications. The Western spatially favors Apachería, the Borderlands and Mexico, and the High Plains rather than the Pacific Northwest. Also, California serves more as a destination than a spatial setting. Temporally, the heart of the Western beats during the 1870s and 1880s, but it also lives well into the twentieth century. The five major filming location clusters are the Los Angeles / Hollywood area and its studio backlots, Old Tucson Studios and southeastern Arizona, the Alabama Hills in California, Monument Valley in Utah and Arizona, and the Santa Fe region in New Mexico.
    [Show full text]
  • Acts of Rebellion
    ACTS OF REBELLION ALSO BY WARD CHURCHILL Authored Fantasies of the Master Race: Literature, Cinema, and the Colonization of American Indians (1992, 1998) Struggle for the Land: Native North American Resistance to Genocide, Ecocide, and Colonization (1993, 1999) Indians ‘R’ Us: Culture and Genocide in Native North America (1994, 2002) Since Predator Came: Notes from the Struggle for American Indian Liberation (1995) Que Sont les Indiens Devenue? Culture et génocide chez les Indiens d’Amerique du Nord (1996) From a Native Son: Essays in Indigenism, 1985–1995 (1996) Perversions of Justice: Indigenous Peoples and Angloamerican Law (2002) Co-authored Culture versus Economism: Essays on Marxism in the Multicultural Arena, with Elisabeth R.Lloyd (1984) Agents of Repression: The FBI’s Secret Wars Against the Black Panther Party and the American Indian Movement, with Jim Vander Wall (1988, 2002) The COINTELPRO Papers: Documents from the FBI’s Secret Wars Against Dissent in the United States, with Jim Vander Wall (1990, 2002) Pacifism as Pathology: Reflections on the Role of Armed Struggle in North America, with Mike Ryan (1996) Edited Marxism and Native Americans (1983) Critical Issues in Native North America, Volumes 1 and 2 (1989–1990) Die indigen Nationen Nordamerikas und die Marxistishe Tradition: Debatte über eine revolutionäre Theorie der Kulture (1993) In My Own Voice: Explorations in the Sociopolitical Context of Art and Cinema, by Leah Renae Kelly (2001) Co-edited Cages of Steel: The Politics of Imprisonment in the United States, with J.J.Vander Wall (1992) Islands in Captivity: The Record of the International Tribunal on the Rights of Indigenous Hawaiians, Volumes 1, 2, and 3, with Sharon H.Venne (2002) ACTS OF REBELLION THE WARD CHURCHILL READER WARD CHURCHILL ROUTLEDGE New York London Published in 2003 by Routledge 29 West 35th Street New York, New York 10001 www.routledge-ny.com Routledge is an imprint of the Taylor & Francis Group.
    [Show full text]