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Magazine SPRING 2021 OCEANA.ORG
Magazine SPRING 2021 OCEANA.ORG © John Russo/Contour by Getty Images Q&A with Jane Fonda From Nazca to Panaon Ask Dr. Pauly On her support for climate activism Oceana’s push to protect vital habitats Marine protected areas are good – and ocean conservation in Peru and the Philippines so why doesn’t everyone think so? Board of Directors Ocean Council Oceana Staff Sam Waterston, Chair Susan Rockefeller, Founder Andrew Sharpless María Eugenia Girón, Vice Chair Kelly Hallman, Vice Chair Chief Executive Officer Diana Thomson, Treasurer Dede McMahon, Vice Chair Jim Simon James Sandler, Secretary Anonymous President Keith Addis, President Samantha Bass Gaz Alazraki Violaine and John Bernbach Jacqueline Savitz Chief Policy Officer, North America Herbert M. Bedolfe, III Rick Burnes Ted Danson Vin Cipolla Katie Matthews, Ph.D. Nicholas Davis Barbara Cohn Chief Scientist Sydney Davis Ann Colley César Gaviria Edward Dolman Matthew Littlejohn Senior Vice President, Strategic Initiatives Loic Gouzer Kay and Frank Fernandez Jena King Carolyn and Chris Groobey Janelle Chanona Ben Koerner J. Stephen and Angela Kilcullen Vice President, Belize Sara Lowell Ann Luskey Ademilson Zamboni, Ph.D. Stephen P. McAllister Mia M. Thompson Vice President, Brazil Kristian Parker, Ph.D. Peter Neumeier Daniel Pauly, Ph.D. Carl and Janet Nolet Joshua Laughren David Rockefeller, Jr. Ellie Phipps Price Executive Director, Oceana Canada Susan Rockefeller Maria Jose Peréz Simón Liesbeth van der Meer, DVM Simon Sidamon-Eristoff David Rockefeller, Jr. Vice President, Chile Rashid Sumaila, Ph.D. Andrew Sabin Valarie Van Cleave Elias Sacal Pascale Moehrle Jean Weiss Regina K. and John Scully Executive Director and Vice President, Europe Sutton Stracke Renata Terrazas David Treadway, Ph.D. -
1942-01-09 [P 10]
Radio DA IS OFFICERS OUT OUR WAY By J. B. Williams OUR BOARDING HOUSE .. with . Major HooPie Today’s Programs i-*" ^ ' r kuow whut yo’re im stiffVs N/well ,x don't M WE WANT TO TIP YEAH, WHEN ¥THANKS— A- LAUGH IU’ AT / DLL ADMIT Y TIME, COWBOSSI BLAME THE YOu'<^f IET PROMOTIONS TIMERS! JULIET—THERE'S H, HE'S BROKE ¥ ALWAYS BEEN AN V WMFD 1400 KC X LOOK LIKE A HOG I SPENT TWO OLD OFF, ^ Wilmington HERDER MONTHS IM IITHIMKI’D A WILD ANIMAL IN THE M HE SETS EASY TARGET Dance. AM’I’M A-GOIM’ ) </( TOR Mjf FRIDAY, JAN. 9 3:30—Let’s AW SOOWER 3:55—Transradio News. T’STAY THETAWAY, TILL /TH1 BRUSH / j HOUSE/—IF JAKE HITS A BEAR <6?TOUCH/— MUST BE A Majors Martin, Kendall Ad- TWO CAYS LOOK LIKE ^ jjp 7:30—Family Altar, Rev. J. A. Sulli- 4:00—Club Matinee. COWBOYS SPEWD MORE \ / YOU FOR A SILLY STREAKT van. 4:15—Monitor Views the News. TIME IU TH’ BRESH IW TOWU— / A REAL- LOAN,PRETENdXtRAPFOR }| w-fH 5V. Lee. vanced To Rank Of \ 7:45—Red, White and Blue Network. 4:30—Piano Ramblings—H. TRYIN)’ TO BE COWBOVS NIOVJ IE YOU SECTIOM HAWD YOU'RE HARD OF HEAR- MEN, INHERITED FROM News 4:45—Club Matinee—A. P. News. | j J[ 8:00—European Roundup. THAW IN) CABARETS I SIT OUE O' THAW A AND START TALKING ) WOMEN fA 8:10— News from our 5:00—Adventure Stories. Lieutenant-Colonel |NG GRANDPA,WHO jHWq Capital. -
Schedule of the Films of Billy Wilder
je Museum of Modern Art November 1964 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart THE MUSEUM OF MODERN ART FILM LIBRARY PRESENTS THE FILMS OF BILLY WILDER Dec. 13.16 MENSCHEN AM SONNTAG (PEOPLE ON SUNDAY). I929. Robert Siodmak's cele brated study of proletarian life gave Wilder hie first taste of film making. (George Eastman House) 55 minutes. No English titles. Dec. IT-19 EMIL UND DIE DETEKTIVE. 1951. Small boys carry on psychological war fare against a crook in this Gerhard Lamprecht comedy for which Wilder helped write the script. (The Museum of Modern Art) 70 minutes. No English titles. Dec. 20-23 NINOTCHKA. 1939. Ernst Lubitsch's ironic satire on East-West relations just before World War II, in which Garbo gave her most delicately articulated performance with Melvyn Douglas, and for which Wilder, with Charles Brackett and Walter Reisch, wrote the script. Based on the story by Melchior Lengyel. (M-G-M) 110 minutes. Dec. 2k~26 MIDNIGHT. 1959. One of the most completely and purposely ridiculous examples of the era of screwball comedy, with a powerhouse of a cast, including Claudette Colbert, Don Ameche and John Barrymore, and Wilder and Brackett*s brilliant non-sequitur script. (MCA) 9U minutes. Dec. 27-30 HOLD BACK THE DAWN. 19*11. The plight of "stateless persons" in the late '30s and early 'UOs, with Olivia de Havllland, romantically yet convincingly dramatised by Wilder and Brackett. Directed by Mitchell Leisen. (MCA) 115 minutes. Dec. 31* THE MAJOR AND THE MINOR. 19te. This, the first film Wilder directed, Jan. -
The Creative Process
The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Expressionism and Modernism in the American Theatre: Bodies, Voices, Words Julia A
Cambridge University Press 0521847478 - Expressionism and Modernism in the American Theatre: Bodies, Voices, Words Julia A. Walker Frontmatter More information Expressionism and Modernism in the American Theatre Although often dismissed as a minor offshoot of the better-known German movement, expressionism on the American stage represents a critical phase in the development of American dramatic modernism. Situating expressionism within the context of early twentieth-century American culture, Walker demonstrates how playwrights who wrote in this mode were responding both to new communica- tions technologies and to the perceived threat they posed to the embodied act of meaning. At a time when mute bodies gesticulated on the silver screen, ghostly voices emanated from tin horns, and inked words stamped out the personality of the hand that composed them, expressionist playwrights began to represent these new cultural experiences by disarticulating the theatrical languages of bodies, voices, and words. In doing so, they not only innovated a new dramatic form, but re- defined playwriting from a theatrical craft to a literary art form, heralding the birth of American dramatic modernism. julia a. walker is Assistant Professor of English and the Unit for Criticism and Interpretive Theory,University of Illinois at Urbana-Champaign. She has published articles in the Journal of American Drama and Theatre, Nineteenth Century Theatre, and the Yale Journal of Criticism in addition to several edited volumes. © Cambridge University Press www.cambridge.org Cambridge University Press 0521847478 - Expressionism and Modernism in the American Theatre: Bodies, Voices, Words Julia A. Walker Frontmatter More information CAMBRIDGE STUDIES IN AMERICAN THEATRE AND DRAMA General Editor Don B. -
Michael Gold & Dalton Trumbo on Spartacus, Blacklist Hollywood
LH 19_1 FInal.qxp_Left History 19.1.qxd 2015-08-28 4:01 PM Page 57 Michael Gold & Dalton Trumbo on Spartacus, Blacklist Hollywood, Howard Fast, and the Demise of American Communism 1 Henry I. MacAdam, DeVry University Howard Fast is in town, helping them carpenter a six-million dollar production of his Spartacus . It is to be one of those super-duper Cecil deMille epics, all swollen up with cos - tumes and the genuine furniture, with the slave revolution far in the background and a love tri - angle bigger than the Empire State Building huge in the foreground . Michael Gold, 30 May 1959 —— Mike Gold has made savage comments about a book he clearly knows nothing about. Then he has announced, in advance of seeing it, precisely what sort of film will be made from the book. He knows nothing about the book, nothing about the film, nothing about the screenplay or who wrote it, nothing about [how] the book was purchased . Dalton Trumbo, 2 June 1959 Introduction Of the three tumultuous years (1958-1960) needed to transform Howard Fast’s novel Spartacus into the film of the same name, 1959 was the most problematic. From the start of production in late January until the end of all but re-shoots by late December, the project itself, the careers of its creators and financiers, and the studio that sponsored it were in jeopardy a half-dozen times. Blacklist Hollywood was a scary place to make a film based on a self-published novel by a “Commie author” (Fast), and a script by a “Commie screenwriter” (Trumbo). -
The Inventory of the Albert Maltz Collection #150
The Inventory of the Albert Maltz Collection #150 Howard Gotlieb Archival Research Center Albert Maltz Manuscripts Box 1 1.) This Gun for Hire (1942) by Albert Maltz & Wo R. Burnett Movie script, dated October 5, 19/41. Typescript, carbon, holograph corrections, 150p. a9x 1 2.) "Husband and Wife" Short story s·econd draft, typescript with holograph corrections, 44P• Final draft, typescript, heavily corrected, 33p. / C/·. \..c. Box 1 J.) The Underground Stream (1940) Novel 11 Final draft with ms. changes" Typescript, carbon, holograph corrections and additions, 373p. '"' Maltz, Albert - Addenda Box:-:- 2 Folder "Material from the magazine 1F.quality1 published in New York, 1939-4011 11 holograph articles Folder "Anonymous Writings and Ghost Writings" 6 articles: 5 holograph, 1 typed Folder "Miscellaneous Non-Fiction Pieces" 17 articles: 13 holograph, 4 typed. Folder "Public lectures and Addresses" 7 articles: 5 holograph, 1 mimeo, l typed Folder "Short Stories" Season of Celebration Notes and discards. Holograph. Sunday Morning .Q!l 25th Street First notes. Holograph. Happiest Man Q!l Earth Notes and discards, holograph. Typescript of one drafto Way Things Are Notes for first draft, holograph. Discards from first and second version, holograph. Notes for revision, holograph, Second draft typescript with holograph corrections. Final version type8cript, last 2 rages missing. (Each folder contains typed list by.Albert Maltz identifying articles and giving number of pages of each piece.) Mi.ltz, Albert Addenda, October., 1967 SCBEENPLAY .-- . THE BOBE . A. Second draft of the screenplay, typed script with holograph changes ·on ~bi~type~cent of the pages. :.~2S pages. · .· ::,;:~:: ·<·: i; l · ;' . • • ;.:• B. Third' (final) draf.t, mimeographed ·224 pages. -
[PDF] Literature: the Human Experience
[PDF] Literature: The Human Experience: Reading And Writing Richard Abcarian, Marvin Klotz, Samuel Cohen - book pdf free online free Literature: The Human Experience: Reading and Writing, Read Online Literature: The Human Experience: Reading and Writing Ebook Popular, Literature: The Human Experience: Reading and Writing PDF Download, Free Download Literature: The Human Experience: Reading and Writing Books [E-BOOK] Literature: The Human Experience: Reading and Writing Full eBook, Read Literature: The Human Experience: Reading and Writing Books Online Free, online free Literature: The Human Experience: Reading and Writing, pdf download Literature: The Human Experience: Reading and Writing, Literature: The Human Experience: Reading and Writing Free PDF Download, Download Literature: The Human Experience: Reading and Writing E-Books, Download Literature: The Human Experience: Reading and Writing E-Books, the book Literature: The Human Experience: Reading and Writing, Literature: The Human Experience: Reading and Writing Books Online, book pdf Literature: The Human Experience: Reading and Writing, Literature: The Human Experience: Reading and Writing Free Download, Literature: The Human Experience: Reading and Writing Book Download, Literature: The Human Experience: Reading and Writing PDF read online, Download Online Literature: The Human Experience: Reading and Writing Book, Literature: The Human Experience: Reading and Writing pdf read online, pdf free download Literature: The Human Experience: Reading and Writing, Literature: The Human Experience: Reading and Writing Free PDF Online, DOWNLOAD CLICK HERE pdf, azw, epub, kindle Description: I would have liked it if I could just tell why my daughter was crying, how great she is, said Evans McNeill, co-founder at Aixi on Facebook in January 2015. -
The Ideology of the John Birch Society
Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-1966 The Ideology of the John Birch Society Max P. Peterson Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Political Science Commons Recommended Citation Peterson, Max P., "The Ideology of the John Birch Society" (1966). All Graduate Theses and Dissertations. 7982. https://digitalcommons.usu.edu/etd/7982 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THEIDEOLOGY OFTHE JOHN BIRCH SOCIETY by Y1ax P. Peterson A thesis submitted in partial fulfillment of the requirements for the degree of MASTEROF SCIENCE in Political Science Approved: Major Professor Head of Department Dean of Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 1966 ACKNOWLEDGMENTS I wish to express my appreciation to Dr. Milton C. Abrams for the many hours of consultation and direction he provided throughout this study. To Dr. M. Judd Harmon, I express thanks, not only for his constructive criticism on this work, but for the constant challenge he offers as a teacher. A very special thanks is given my wife, Karen, for her countless hours of typing, but first and foremost for the encouragement, u nderstanding, and devotion that she has given me throu ghout my graduate studies. TABLE OF CONTENTS Introduction 1 Chapter I. The Background and Organization of the John Birch Society 4 The Beginning 4 The Symbol 7 The Founder 15 Plan of Action 21 Organizational Mechanics 27 Chapter II. -
IN THEATRES Parabellum
File Name: CC-AD-MAR19-Cineplex-0219 Publication: Cineplex magazine Trim: 8” x 10.5” Material Deadline: February 7, 2019 Creative Services 100 Yonge Street, 5th Floor Bleed: 0.125” Safety: 0.25” Mech Res: 300dpi Insertion Dates: March 2019 Toronto, ON M5C 2W1 Colours: CMYK + PMS 485 ◊ Earn up to $400 in bonus travel rewards with the Scotiabank Passport TM Visa Infi nite* Card. Plus enjoy no foreign transaction fees† and lounge access when travelling. For full details, visit scotiabank.com/passportinfi nite Conditions apply. ◊ Bonus reward potential in fi rst year. Earn 10,000 bonus Scotia Rewards® points when you spend at least $40,000 annually in everyday purchases. And until June 30, 2019, earn an additional 30,000 bonus Scotia Rewards points with your fi rst $1,000 in everyday purchases in the fi rst 3 months. † Scotiabank will not charge you Foreign Transaction Fees on foreign currency transactions including purchases, only the exchange rate applies. This fee relates to the mark-up that is typically charged by credit card issuers in addition to the exchange rate. ® Registered trademark of The Bank of Nova Scotia. ™ Trademarks of The Bank of Nova Scotia. * Visa Int./Licensed User. MAY 2019 CONTENTS VOLUME 20 #3 FEATURES REGULARS 4 EDITOR’S NOTE First Freddie, now Elton. 24 32 What a double bill Summer Movie 6 CLICK! Preview! Out and about with It’s going to be an epic summer Zachary Levi and at the movies. We highlight Nicole Kidman 12 must-see pics hitting screens in June, July and August, 8 UP FRONT including new entries in the Long Shot’s Canadian Toy Story, Men in Black and connections, Olivia Wilde Spider-Man franchises shares directing tips and BY MARNI WEISZ Kelly Clarkson on voicing an UglyDoll 16 RED CARPET 30 Keira Knightley, Colin Farrell and Julianne Moore are all Wick’s on Fire dressed up We sit down with Keanu Reeves to talk John Wick: Chapter 3 - 18 IN THEATRES Parabellum. -
Ronald Reagan and Albert Maltz, Testimony Before HUAC, 1947
dominate the guild? Ronald Reagan and Albert Maltz, Mr. Reagan: Well, sir, by attempting to put over their own particular views on various issues, I guess you Testimony before HUAC, 1947 would have to say that our side was attempting to dominate, too, because we were fighting just as The House Un-American Activities Committee began to investigate hard to put over our views, and I think we were charges of alleged Communist influence in the movie industry in the proven correct by the figures—Mr. Murphy gave the fall of 1947. The hearings attracted an enormous amount of press figures—and those figures were always attention due to the glamour associated with Hollywood celebrities. approximately the same, an average of ninety HUAC began with a group of so-called “friendly” witnesses. They percent or better of the Screen Actors Guild voted cooperated with the investigation for a variety of reasons, including a in favor of those matters now guild policy. desire to settle old political scores. The Committee then moved to the Mr. Stripling: Mr. Reagan, there has been testimony to the effect “unfriendly” witnesses. These included some who were or had been here that numerous Communist-front organizations members of the Communist Party, but all of whom rejected HUAC’s have been set up in Hollywood. Have you ever been intrusion into their political beliefs. solicited to join any of those organizations or any Ronald Reagan, a friendly witness, was President of the Screen organization which you considered to be a Actors Guild. Albert Maltz, an unfriendly witness, was active in the Communist-front organization? Screen Writers Guild.