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September 20, 2000 Issue 3
Volume 50 September 20, 2000 issue 3 World View: Ford New head coach and Firestone take leads TSU Tigers to more legal heat over Memphis... and v safety mishaps almost to victory Tiennessee St:ate "University ^ A" Page S Page 19 THc 2%^casz€rc ofStude^rrt Ojyinion. and Sontiment Freshman Elections give new arrivals jSACS study says a voice in TSU student government graduate programs, are Jessica Bell as Miss By Crystal McMoore Freshman, Charles .1. faculty, library need Ne-ws Writer Galbreath and Rickenya Goodson as freshman The freshman class now has newly elected offi representatives, and most improvement cials to give it a voicein student government. Leading Ashley Smith as the new the class is Timothy E. "Big Red" Mitchell,who was vice president. TSU won't be re-accredited elected president of the class of 2004 by a landslide The election is an vote in a very light voter turnout. important element of until gains made from Among the other winners in this year's elections each academic year, but often it is not a well- recognized custom SACS and TSU's self-study by the members of PHOTO COURTESY OF CHARLES Freshioian Class Officers GALBREATH the freshman class. Freshman Qass 'resident Timothy E. Mitch3K There are a jBy Kester Kilkenny Representative Charles reported 4,431 ^News Editor entering freshmen Galbreath, Jr, icePresident llAshley Smith this year, and fewer Tennessee State University meets the majority of than 200 voted. rei^uirements for its effort to be re-accredited, but there arc About 30 people, including those running, several major weaknesses, according to TSU's self-.study Alicia Robinson attended a debate among the candidates running ^report published on its Web site and astudy by the Southern foi" office. -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
In-Class Essay Instructions
IN-CLASS ESSAY INSTRUCTIONS Contents Date Introduction Topic Research Outline Instructions References Structure of Paper Grading of Paper Date In class, Wednesday, November 20 Introduction Read this before you proceed further: 1. This document contains live links to internet material; therefore, access it while online. 2. Make-up for this assignment is only possible with a legitimate documented excuse and only during my office hours. 3. Writing a biography of a director you have not been assigned will earn you an automatic F. You have been warned! 4. Do not send me e-mails if you have questions about this assignment; instead come and see me during my office hours. 5. Bring to class a one-page outline of the paper. See instructions below. Warning: The outline is not optional, so if you don’t bring an outline as prepared per instructions below, you will get an automatic F for the paper. 6. No references can be from anything written by me, nor can it be from Wikipedia or any other encyclopedia. (However, you can consult these materials while doing your research—you just can’t use them as references.) 7. You will hand in the outline together with the sheets of paper that will be provided (which you must number and have your names on all of them) on which you will write your essay neatly arranged. 8. Your in-class essay must be structured as per instructions below. 9. You will not be permitted to use any other materials besides the one-page outline. 10. You will lose points for failing to follow any one or more of these instructions (including the possibility of getting an F). -
Annual Report
ANNUAL REPORT 2013 Archive Name ATAS14_Corp_140003273 MECH SIZE 100% PRINT SIZE Description ATAS Annual Report 2014 Bleed: 8.625” x 11.1875” Bleed: 8.625” x 11.1875” Posting Date May 2014 Trim: 8.375” x 10.875” Trim: 8.375” x 10.875” Unit # Live: 7.5” x 10” LIve: 7.5” x 10” message from THE CHAIRMAN AND CHIEF EXECUTIVE OFFICER At the end of 2013, as I reflected on my first term as Television Academy chairman and prepared to begin my second, it was hard to believe that two years had passed. It seemed more like two months. At times, even two weeks. Why? Because even though I have worked in TV for more than three decades, I have never seen our industry undergo such extraordinary — and extraordinarily exciting — changes as it has in recent years. Everywhere you turn, the vanguard is disrupting the old guard with an astonishing new technology, an amazing new show, an inspired new way to structure a business deal. This is not to imply that the more established segments of our industry have been pushed aside. On the contrary, the broadcast and cable networks continue to produce terrific work that is heralded by critics and rewarded each year at the Emmys. And broadcast networks still command the largest viewing audience across all of their platforms. With our medium thriving as never before, this is a great time to work in television, and a great time to be part of the Television Academy. Consider the 65th Emmy Awards. The CBS telecast, hosted by the always-entertaining Neil Patrick Harris, drew our largest audience since 2005. -
Spike Lee: Avant-Garde Filmmaker
Ayana McNair Avant-Garde Cinema CTCS 518, David James Fall 2004 12.09.04 Spike Lee: Avant-Garde Filmmaker Spike Lee came into mainstream consciousness with 1986’s She’s Gotta Have It. Since then, he has enjoyed a long and illustrious career as a filmmaker, writing, directing, producing, and starring in several very successful pictures that have highlighted some aspect of Black life in America. Films such as Do the Right Thing, School Daze, Jungle Fever, Bamboozled, and Malcolm X have catapulted Spike Lee into international stardom, making him one of the most, if not the most, notorious Black filmmakers of today. Arguably, he has reached the status of cultural icon in this country, evidenced by a parody of him on “The Simpsons”; as we know, an appearance on “The Simpsons” is the true sign that you’ve “made it.” Spike Lee’s films typically explore some issue prevalent in the Black community. Spike Lee’s rise to fame can be attributed to his bold and daring manner of dealing with issues previously unexplored in the mainstream. She’s Gotta Have It, his debut feature, explored intraracial dating, female promiscuity, and sexual power relations. ‘88’s School Daze again looked at intraracial relations, this time bringing to light the topic of skin tone and color bias within the Black community (that is, light-skinned Blacks versus dark-skinned) and the deep-seated tensions surrounding this issue. 1991 saw the release of Jungle A. McNair 1 Fever, the film that, arguably, catapulted Wesley Snipes and Samuel L. Jackson to stardom; in Jungle Fever, we got Spike Lee’s take on, this time, interracial dating, between a Black man and a white woman, and the tension surrounding such relationships. -
Endthewarondrugs
#EndTheWarOnDrugs April 9, 2013 President Barack H. Obama The White House 1600 Pennsylvania Ave., N.W. Washington, DC 20500 Dear Mr. President, Your hard work and leadership on issues affecting the unrepresented classes of people in our nation have served as an inspiration to many of us who hope for brighter futures for all Americans. In that spirit, we believe the time is right to further the work you have done around revising our national policies on the criminal justice system and continue moving from a suppression-based model to one that focuses on intervention and rehabilitation. We are proud of your accomplishments around these issues, specifically your leadership on gun control, your investments in "problem solving courts," your creation of the Federal Interagency Reentry Council, your launching the National Forum on Youth Violence Prevention and your prosecution of a record number of hate crimes in 2011 and 2012. We certainly hope that this type of leadership is appreciated by all members of Congress, regardless of political affiliation, and you are joined by members of all parties in your pursuit of a more perfected union. Mr. President, it is evident that you have demonstrated a commitment to pursue alternatives to the enforcement-only "War on Drugs" approach and address the increased incarceration rates for non-violent crimes. Your administration has moved in the right direction by committing increased funds to drug prevention and treatment programs and supporting state and local re-entry grants. We encourage you to continue your efforts to revamp the policies of the last 30 years that have seen the prison population skyrocket. -
Spike Lee and Commentaries on His Work. Occasional Papers Series 2, No.1
DOCUMENT RESUME ED 353 622. CS 508 049 AUTHOR Hudson, Herman C., Ed. TITLE Spike Lee and Commentaries on His Work. Occasional Papers Series 2, No.1. INSTITUTION Indiana Univ., Bloomington. Afro-American Studies. PUB DATE 92 NOTE 92p.; A Martha C. Kraft Professorship Publication. PUB TYPE Collected Works General (020) Reports Evaluative /Feasibility (142) Reference Materials Bibliographies (131) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS Auteurism; *Black Community; *Black Culture; Black History; Cultural Images; Film Criticism; *Film Production Specialists; *Film Study; Popular Culture; Racial Relations; Urban Culture IDENTIFIERS *African Americans; *Lee (Spike) ABSTRACT This monograph presents a critical essay and a comprehensive 454-item bibliography on the contemporary African-American filmmaker, Spike Lee. The essay, entitled "African-American Folklore and Cultural History in the Films of Spike Lee" (Gloria J. Gibson-Hudson), analyzes Lee's filmmaking approach from a cultural and historical perspective. The essay identifies Lee as a contemporary storyteller weaving his tales with the aid of a camera and demonstrates how his film narratives draw on both the historic and contemporary experiences of African Americans. The essay discusses five of Lee's films (made between 1984 and 1991) thematically, categorizing them under intra-racal issues and inter-racial issues. The bibliography (by Grace Jackson-Brown) provides citations from both scholarly and popular literature, encompassing newspaper articles, journal and magazine articles, chapters or sections from books, and reviews of films (most of the citations date from the last 5 years). The extensive 49-page bibliography is intended to be a comprehensive guide to literature that will assist students and researchers with an interest in Spike Lee. -
SELLING ART in the AGE of RETAIL EXPANSION and CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS and the AMERICAN ART MARKET of the 1930S and 1940S
SELLING ART IN THE AGE OF RETAIL EXPANSION AND CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS AND THE AMERICAN ART MARKET OF THE 1930s AND 1940s by TIFFANY ELENA WASHINGTON Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation advisor: Anne Helmreich Department of Art History CASE WESTERN RESERVE UNIVERSITY JANUARY, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of __________Tiffany Elena Washington_________ candidate for the __Doctor of Philosophy___ degree*. (signed) _______Anne L. Helmreich________ (chair of the committee) ______Catherine B. Scallen__________ ________ Jane Glaubinger__________ ____ _ _ Renee Sentilles___________ (date) 2 April, 2012 *We also certify that written approval has been obtained for any proprietary material contained herein. 2 For Julian, my amazing Matisse, and Livia, a lucky future artist’s muse. 3 Table of Contents List of figures 5 Acknowledgments 8 Abstract 11 Introduction 13 Chapter 1 46 Chapter 2 72 Chapter 3 93 Chapter 4 127 Chapter 5 155 Conclusion 202 Appendix A 205 Figures 207 Selected Bibliography 241 4 List of Figures Figure 1. Reeves Lewenthal, undated photograph. Collection of Lana Reeves. 207 Figure 2. Thomas Hart Benton, Hollywood (1937-1938). Tempera and oil on canvas mounted on panel. The Nelson Atkins Museum of Art, Kansas City. 208 Figure 3. Edward T. Laning, T.R. in Panama (1939). Oil on fiberboard. Smithsonian American Art Museum. 209 Figure 4. Plan and image of Associated American Artists Gallery, 711 5th Avenue, New York City. George Nelson, The Architectural Forum. Philadelphia: Time, Inc, 1939, 349. 210 Figure 5. Thomas Hart Benton, Departure of the Joads (1939). -
Fall 2019 Editor: Diane Slomowitz an ESTATE PLANNING TOOL WE’D RATHER NOT USE
THE E.P. EXPRESS FOS’s Estate Planning Newsletter Volume 7, Issue 2 An ounce of prevention. Fall 2019 Editor: Diane Slomowitz AN ESTATE PLANNING TOOL WE’D RATHER NOT USE This newsletter often empha- problem. her affairs. prove incompetency and the sizes the benefits of powers of need for a guardian. attorney to designate individu- This situation calls for a Take Britney Spears, who als to act on your behalf if you guardianship - an estate has been under Califor- A guardianship may be tem- are unable to do so. (See arti- planning vehicle which may, nia’s version of a guardi- porary, for example during cle on page 3, “A Director if appropriate, minimize anship for over a decade. medical treatment, or per- Who Failed to Direct His Own potential future harm. manent. Her father had long acted Life.” ) In a guardianship proceed- as her guardian, making To ensure that the guardian What happens, though, if a ing, the court determines financial and other deci- is acting responsibly, the mentally or physically im- whether a person is legally sions on her behalf, as she appointing court supervises paired person should not be incompetent. If so, the court resurrected her singing the guardianship, including making financial or other deci- appoints a “guardian” to career and personal life. through the review of annu- sions, has no power of attor- make decisions and act on al financial and/or physical The court has monitored ney, and refuses help offered behalf of the “ward.” condition reports filed by the guardianship as recent- from responsible family mem- the guardian. -
Tenants Demand Rent Rights Campus Police Use Anonymous Tip App Report Crime with Tipnow
A&E The Race Issue Sports Downtown restaurant Beach volleyball Habana Cuba in stands April 26 player goes from gets new home gym to sand Page 4 Page 8 Serving the San Jose State University community since 1934 Volume 150 No. 36 Wednesday, April 25, 2018 SPARTAN DAILY sjsunews.com/spartan_daily VOTE TEXT Tenants demand rent rights Campus police use anonymous tip app Report crime with TipNow BY KRISTEL RODRIGUEZ receives a couple STAFF WRITER messages a day,” Renelle said. “The service helps Police officers and with the, ‘see something, community members say something’ are connecting, one philosophy.” anonymous text at a time. “See something, say The growth of something” is the idea mobile technology and that people should report the pervasiveness of unusual activity to smartphones have made local authorities. staying connected with Human rights junior family and friends easier Yvette Jones agrees with than at any point in this approach. She has human history. the TipNow app on her LOVETTA JACKSON | SPARTAN DAILY Local police phone and knows of San Jose resident Brenda Grigory holds a sign while sitting in on a San Jose City Council Meeting on Tuesday. departments are now friends that have used During the meeting at City Hall, council members discussed renters’ rights. wondering if the same the service to report technology can be disturbances. BY LOVETTA JACKSON intimidation. A second item rent,” Sandy Perry, president “That’s not fair. That’s used to help bridge Jones said her friends STAFF WRITER deals with the percentage of the Affordable Housing not right,” Perry said. -
Film Study Lecture on Boyz N the Hood (1991) Compiled by Jay Seller
Film Study lecture on Boyz N The Hood (1991) Compiled by Jay Seller Boys N the Hood, (1991) Directed by John Singleton, 113 Minutes Columbia Pictures Incorporated R-Rated Cast Furious Styles Larry Fishburne Doughboy Ice Cube Tre Styles Cuba Gooding, Jr. Brandi Nia Long Ricky Baker Morris Chestnut Mrs. Baker Tyra Ferrell Reva Styles Angela Bassett Tre age 10 Desi Arnez Hines, II Chris Redge Green Dooky Dedrick D. Gobert Credits Writer-Director John Singleton Editor Bruce Cannon Producer Steve Nicolaides Original Music score Stanley Clarke Director of Photography Charles Mills Casting Jaki Brown Art Direction Bruce Bellamy Awards for Boyz N the Hood 1992 Academy Awards, Nominated for Best Director, Best Writing, Screenplay Written Directly for the Screen John Singleton 1992 BMI Film and TV Awards, Stanley Clarke 1993 Image Award, Outstanding Motion Picture 1992 MTV Movie Awards, Best New Filmmaker, John Singleton 1992 MTV Movie Awards, Nominated, Best Movie 2002 National Film Preservation Board, USA, National Film Registry 1991 New York Film Critics Circle Award, Best New Director, John Singleton 1992 Political Film Society, USA, Peace Award 1992 Political Film Society, USA, Nominated for the Expose & Human Rights Award 1992 Writer Guild of America, USA, Best Screenplay Written Directly for the Screen, john Singleton 1992 Young Artist Awards, Outstanding Young Ensemble Cast in a Motion Picture Chapter 1: Start 1991 Biography for John Singleton Date of birth (location) 6 January 1968, Los Angeles, CA Birth name John Daniel Singleton Height 5' 6" Mini biography Son of mortgage broker Danny Singleton and pharmaceutical company sales executive Sheila Ward and raised in separate households by his unmarried parents, John Singleton attended the Filmic Writing Program at USC after graduating from high school in 1986. -
Abstract African and African American Studies
ABSTRACT AFRICAN AND AFRICAN AMERICAN STUDIES PROGRAM KELLY, TERRANCE O. B.A., MOREHOUSE COLLEGE, 1990 GOODBYE. UNCLE TOM: SO LONG. SUPERFLY: CHARACTER TYPES OF AFRAMERICAN MEN IN THE FILMS OF SPIKE LEE Adviser: Dr. Carolyn Fowler Thesis dated July, 1993 This thesis discusses images of Aframerican men in Spike Lee's films, She's Gotta Have It. School Daze. Do the Right Thing, Mo' Better Blues. Jungle Fever, and X. In this study, Aframerican male characters in Lee's works have been compared to stereotypes perpetuated in American films. Lee depicts Aframerican men in various roles in his films. These characterizations range from love-starved fools, angry urban dwellers, responsible fathers, neighborhood drunks, preachers, musicians and hustlers, to middle-class workers, and political activists. However, Lee's depictions of Aframerican males do not fall into the dehumanizing tradition of mainstream Hollywood movie-makers. His films connect Aframerican men with women, families, and communities. Since Lee's images of Aframerican men are so diverse, and so far removed from popular stereotypes, this thesis examines these roles in the context of American filmography. GOODBYE, UNCLE TOM; SO LONG, SUPERFLY: CHARACTER TYPES OF AFRAMERICAN MEN IN THE FILMS OF SPIKE LEE A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS BY TERRANCE OLIVER KELLY AFRICAN AND AFRICAN AMERICAN STUDIES PROGRAM ATLANTA, GEORGIA JULY 1993 (C) 1993 Terrance Oliver Kelly- All Rights Reserved ACKNOWLEDGEMENTS I dedicate this work to my mother, Ola M. Kelly, to my father, Wesley Kelly, and to my family.