DOCSLIB.ORG

The Boat) Columbia a Hemdale and RKO Pictures Presentation of a Fast City Produc- a Bavaria Atelier Production from Producers Sales Organization

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Boat) Columbia a Hemdale and RKO Pictures Presentation of a Fast City Produc- a Bavaria Atelier Production from Producers Sales Organization Buddy Buddy United Artists Conan the Barbarian Universal A Metro -Goldwyn -Mayer presentation. A Bernheim/Weston Pro- An Edward R. Pressman production from Dino De Laurentiis. duction. Executive Producer: Alain Bernheim. Producer: Jay Wes- Producers: Buzz FeiLshans and Raffaella De Laurentiis. Director: ton. Director: Billy Wilder. Screenplay: Mr. Wilder and I.A.L. John Milius. Screenplay: Mr. Milius and Oliver Stone, based on Diamond, based on a play and story by Francis Veber. Music: lain thecharacter createdby RobertE.Howard.Music:Basil Schifrin. Cinematography: Harry Stradling, Jr. Editor: Argyle Poledouris. Cinematography: Duke Callaghan. F,ditor: C. Timothy Nelson. In Panavision and color. Running time: 98 minutes. MPAA O'Meara. In color. Running time: 115 minutes. MPAA Rating: R. Rating: R. Release date: December II, 1981. Release date: May 14, 1982. Jock Lemmon, Wither Matthau. Paula Prentiss, Khan PlayersArnold ,S(hwarrenegger, James Earl Jones. Mat Von Ktitsb, Dana Eh ar, Miles Chapin, Wharf Ensign, .1.111 Shawlee. Ed Swims, Sandahl Berman. Ben Davidson, Casvandra Gavial". G11,1' Forma C.J.Hum. Bellf Mako. Valeta. QIIVIIIIVNSell Cannery Row MGM/United Artists Continental Divide Universal Producer: Michael Phillips.Director -Writer:David S.Ward, An Amblin production. Producer: Bob Larson. Executive Produ- based on John Steinbeck's "Cannery Row" and "Sweet Thursday." cers: Steven Spielberg and Bernie Brillstein.Director: Michael Music: Jack Nitz-sche. Cinematography: Sven Nykvist.Editor: Apted. Screenplay: Lawrence Kasdan. Music: Michael Small. David Bretherton. In color. Running time: 120 minutes. MPAA Cinematography: John Bailey. Editor: Dennis Virkler. In color. Rating: PG. Release date: February 12, 1982. Running time: 103 minutes. MPAA Rating: PG. Release date: Sep- Players: Nick Nolte. Debra Winger, Audra Lindley, Frank McRae. tember 18, 1981 M. Emmet Walsh. TOIll Mai1011(1'. Jnlm Al/10%., lo,ne.v Keane. Sun- Players: John Belushi, Blair Brown, Allen Gmrsvir.:, Carlin Glynn, shine Parker, Santos Morales, and John Huston as the Narrator. Tony Ganios. Val Avery, lam, Russell, Ere rea Smith, Rill Henderson. Carbon Copy Embassy Pictures Das Boot (The Boat) Columbia A Hemdale and RKO Pictures presentation of a Fast City Produc- A Bavaria Atelier Production from Producers Sales Organization. tion. Producers: Carter De Haven and Stanley Shapiro. Director: Executive Producers: Mark Damon, Edward R. Pressman and Michael Schultz. Screenplay: Stanley Shapiro. Music: Bill Conti. John W. Hyde. Producer: Gunter Rohrbach. Writer -Director: Cinematography: Fred Koenekamp. Editor:Marion Segal.In Wolfgang Petersen.Music: Klaus Ihildinger. Cinematography: color. Running time: 92 minutes. MPAA Rating: PG. Release date, Jost Vacano. Editor: Hannes Nikel. In color. Running time: 150 September, 1981. minutes. MPAA Rating: R. Release date: February, 1982. German Players: George Segal. Susan St. James, Jack Warden. Detrel with English subtitles. Washington. Paid Winfield, Did Martin. Vida Dawson, Torn Poston. Phryers: Jurgen Prochnow.Herbert Gronemever,KlausWen- nernann, Hubertus Bengst ht.Marlin Setnmelrogge, Bernd Tauber. Erwin Leder. Martin May. Heinz Honig. ITS. Ochseit. Cat People Universal An RKO Universal picture. Producer: Charles Fries. Executive Producer: Jerry Bruckheimer. Director: Paul Schrader. Universal Screenplay: Alan Ormsby, based on a story by DeWitt Bodeen. Dead Men Don't Wear Plaid Music: Giorgio Mnroder. Cinematography: John Bailey and Paul An Aspen Film Society/William E. McEuen/David V. Picker pro- duction. Producers: Mr. Picker and Mr. McEuen. Director: Carl Vom Brack. Editor: Jacqueline Cambas. In color. Running time: Reiner. Screenplay: Mr. Reiner, George Gipe and Steve Martin. 118 minutes. MPAA Rating: R. Release date: April 2, 1982. Music: Miklos Rozsa. Cinematography: Michael Chapman. Editor: Players. Nastassia Kiosk(. Malcolm McDowell. John Heard. Annette Bud Molin. In black -and -white. Running time: 89 minutes. MPAA O'Toole. RUI7S. Ike, Ed Begley, Jr , Scott Paulin Frankie Faison. Ron Rating: PG. Release date: May 21, 1982. Diamond, Lynn Lowry. Players: Steve Martin Rachel Ward. Rani Santoni, Carl Reiner, George Games. Frank McCarthy. Adrian Ricard. Charles Picerni. Gene Labell, George SaWilpl. The Challenge Embassy Pictures A production of CBS Theatrical Films. A Poncher/Rusen/Bechman production.Producers: RobertI,.Rosen and Ron Beckman. Executive Producer: Lyle Poncher. Director: John Frankenheimer. Deathtrap Warner Bros. Screenplay:Richard Maxwell and John Sayles.Music: Jerry Producer: Burt( Harris. Associate Producer: Alfred de Liagre, Jr. Goldsmith. Cinematography: Kozo Okazaki. Editor: John W. Executive Producer: Jay Presson Allen. Director: Sidney Lumet. Wheeler. In color. Running time: 106 minutes. MPAA Rating: R. Screenplay: Ms. Allen, from the play by Ira Levin. Music: Johnny Release date: July, 1982. Mandel. Cinematography: Andrzej Bartkowiak. Editor: John J. Players. Srntt Glenn, Tashi,' *lime, Donna Kin Betr. Ann,, Fitzstephens. In color. Running time: 116 minutes. MPAA Rating: Nakamura, Calvin Jung, ( KUSillNII, .S'1,111 Shaman°, Kivoaki Nagai. PG. Release date: March 19, 1982. Kenta Fukasaku, Shop, Shanada. Players: Michael Caine, Christopher Reeve, Dean Cannon. Irene Worth. Henry Janes. Chariots of Fire Warner Bros. A Ladd Company release. Allied Stars presents an Enigma Produc- Death Valley Universal tion. Producer: David Puttnam. Executive Producer: Dodi Fayed. Producers: Elliott Kastner, Richard Rothstein, and Stanley Reck. Director: Hugh Hudson. Screenplay: Cohn Welland. Music: Van- Director: Dick Richards. Screenplay: Mr. Rothstein. Music: Dana gelis Papathanassiou. Cinematography: David Watkin. Editor: Kaproff. Cinematography: Stephen H. Burum. Editor: Joel E. Terry Rawlings. In color. Running time: 123 minutes. MPAA Rat- Cox. In color. Running time: 87 minutes. MPAA Rating: R. Re- ing: PG. Release date: September, 1981 (special): November (gen- lease date: March, 1982. eral). Players: Paul Le Mat, Catherine Hicks, Stephen Mcflauie, A. Wil- Players: Ben Cross, Ian Charleson, Nigel Havers. Cheryl Campbell. lard Brimlev, Peter Billingsley, Edward Herrmann. Jack O'Leary. Alice Krige. Guest stars: Lindsay Anderson, Dennis Christopher, Nigel Mary Steelstnith. Daverunal, Brad Davis, Peter Egan. Sir John Gielgud, Ian Holm. Pat- rick Magee. Death Wish II Filmways Producers: Menahem Golan and Yoram Globus. Director: Michael The Chosen Analysis Films Winner.Screenplay:DavidEngelbach,basedoncharacters Producers: Edie and Ely Landau. Director: Jeremy Paul Kagan. created by Brian Garfield. Music: Jimmy Page. Cinematography: Screenplay: Edwin Gordon, based on the novel by Chaim Potok. Richard H. Kline and Tom Del Ruth. Editors: Arnold Crust and Music: Elmer Bernstein. Cinematography: Arthur Ornitz. Editor: Julian Semilian. In color: Running time: 93 minutes. MPAA Rat- David Garfield. In color. Running time: 108 minutes. MPAA Rat- ing: R. Release date: May, 1982. ing: PG. Release date: April, 1982. Players: Charles Branson. Jill Ireland, Vincent Gardenia. J.I) Players: Maximilian Schell, Rod Steiger. Robby Benson. Barry Mil- Cannon. Anthony Frain -Ms". Ben Frank. Robin Sherwood, Silvana ler, Had,' Brooks. Ron Rifkin. Val Avery. Gillardo, Rabert F. Lyons. Michael Prince. Drew Snyder. 293.
Load more

Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • Drug Action Program Starts
    HAWAII MARINE Voluntary payment for delivery to MCAS housing /S I per four week period. VOL. I I NO. 3 'KANEOHE BAY, HAWAII, JAN. 20, 1982 EICHTEEN PAGES' Drug action program starts The first Navy Drug Safety in January and Jacksonville, Fla. estimated at $150. This figure is Dickerson said that most of the Action Program class at Marine in March. higher than the NASAP classes personnel in the NDSAP classes Corps Air Station, Kaneohe Bay The Navy Personnel Research due to start-up costs such as are referrals. "They are Marines started Jan. 11 in the Counseling and Development Center, San additional films, projectors, and sailors who were picked up for and Assistance Center. Diego conducted a study to printing, etc. one type of infraction or the other The aim of the NDSAP course is analyze the results of the NDSAP and the command had reason to Marine Reserve program to provide information to pilot program. Questionnaires NDSAP IS a 36-hour course believe the cause of the violation participants regarding the were distributed to the supervisors conducted by the University of was drugs other than alcohol," he HQMC, WASHINGTON - During the current fiscal year, specific effects of drugs and the of those who attended NDSAP Arizona. At the Air Station, it will said. , the Marine-Carps will pay out more than $2 million dollars in medical and legal consequences of classes and the results were be a four-week course. Initially bonus money to its reservists. use or abuse. "NDSAP is an evaluated in terms of program classes will be from 6:30 until 9:30 HE ADDED that there are four The bonuses will be paid for enlistments, reenlistments intervention and prevention strengths and weaknesses to p.m.
    [Show full text]
  • Collision Course
    FINAL-1 Sat, Jul 7, 2018 6:10:55 PM Your Weekly Guide to TV Entertainment for the week of July 14 - 20, 2018 HARTNETT’S ALL SOFT CLOTH CAR WASH Collision $ 00 OFF 3ANY course CAR WASH! EXPIRES 7/31/18 BUMPER SPECIALISTSHartnett's Car Wash H1artnett x 5` Auto Body, Inc. COLLISION REPAIR SPECIALISTS & APPRAISERS MA R.S. #2313 R. ALAN HARTNETT LIC. #2037 DANA F. HARTNETT LIC. #9482 Ian Anthony Dale stars in 15 WATER STREET “Salvation” DANVERS (Exit 23, Rte. 128) TEL. (978) 774-2474 FAX (978) 750-4663 Open 7 Days Mon.-Fri. 8-7, Sat. 8-6, Sun. 8-4 ** Gift Certificates Available ** Choosing the right OLD FASHIONED SERVICE Attorney is no accident FREE REGISTRY SERVICE Free Consultation PERSONAL INJURYCLAIMS • Automobile Accident Victims • Work Accidents • Slip &Fall • Motorcycle &Pedestrian Accidents John Doyle Forlizzi• Wrongfu Lawl Death Office INSURANCEDoyle Insurance AGENCY • Dog Attacks • Injuries2 x to 3 Children Voted #1 1 x 3 With 35 years experience on the North Insurance Shore we have aproven record of recovery Agency No Fee Unless Successful While Grace (Jennifer Finnigan, “Tyrant”) and Harris (Ian Anthony Dale, “Hawaii Five- The LawOffice of 0”) work to maintain civility in the hangar, Liam (Charlie Row, “Red Band Society”) and STEPHEN M. FORLIZZI Darius (Santiago Cabrera, “Big Little Lies”) continue to fight both RE/SYST and the im- Auto • Homeowners pending galactic threat. Loyalties will be challenged as humanity sits on the brink of Business • Life Insurance 978.739.4898 Earth’s potential extinction. Learn if order can continue to suppress chaos when a new Harthorne Office Park •Suite 106 www.ForlizziLaw.com 978-777-6344 491 Maple Street, Danvers, MA 01923 [email protected] episode of “Salvation” airs Monday, July 16, on CBS.
    [Show full text]
  • Models of Time Travel
    MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened.
    [Show full text]
  • Summer Classic Film Series, Now in Its 43Rd Year
    Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
    [Show full text]
  • The Inventory of the Alvin Epstein Collection #1717
    The Inventory of the Alvin Epstein Collection #1717 Howard Gotlieb Archival Research Center Epstein, Alvin #1717 2/17/06 Preliminary Listing I. Professional Materials. Box 1 A. Files, re: American Repertory Theater, unless noted; may include reviews; scores; scripts; notes; correspondence; printed materials; legal materials; photographs; artwork; audio material. 1. AAlliance for the Development of Theater Arts, Inc.@ [F. 1] 2. AAmerican Repertory Theater.@ [F.1-3] 3. AAspen Musical Festival.@ [F. 4] 4. ABeckett, Samuel.@ [F. 5] 5. AContracts.@ [F. 5-6] 6. AThe Cabinet of Dr. Caligari.@ [F. 7] 7. ACaligula - Yale Repertory Theater.@ [F. 8] 8. ACarnegie Hall.@ 9. ACharlie in the House of Rue,@ includes photographs; slides. 10. AThe Cherry Orchard.@ 11. AClerambard,@ includes printed material; telegram; photographs. [F. 9] 12. AColette,@ includes printed material. [F. 10] 13. AColette Scores.@ [F. 11] 14. ACrossing Niagra,@ includes printed material; telegram. [F. 12] 15. ACrimes and Crimes.@ 16. ADear Liar.@ [F. 13] Box 2 17. ADoctor=s Dilemma.@ [F. 1] 18. ADoing Life,@ includes contract. 19. ADon Juan.@ 20. ADream of the Red Spider.@ [F. 2] 21. ADynamite Tonite,@ includes sub-files: a. AYale Repertory Theater,@ includes 2 contracts, 11/14/06. b. ANew York,@ includes contract, 2/23/67. 22. AHamlet.@ 23. AOn Ne Badine Pas Avec L=Amour (No Trifling With Love),@ includes original sketches. [F. 2-4] 24. AOpera,@ includes printed material. [F. 5] 25. ARevue Material.@ 26. ASolider=s Tale.@ [F. 6] 27. AStory Theater.@ [F. 7] 28. ASalzburg American Seminar.@ 29. ATartuffe,@ includes printed material. [F. 8] 30. ATempest,@ American Repertory Theater and Yale Repertory Epstein, Alvin (2/17/06) Theater, MS, 200 p.; includes score; photograph.
    [Show full text]
  • Teaching Social Issues with Film
    Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film
    [Show full text]
  • The Inventory of the Richard Roud Collection #1117
    The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills.
    [Show full text]
  • Grand Haunting
    The Independent Voice of Salt Lake Community College FREE Wednesday october 31, 2012 THE Issue 12/ fall '12 GLOBEVisit us online at globeslcc.com Inside: your Globe Halloween hookup - Masks for the Lazy pg. 5 GRAND Visit HAUNTING www. Photo by Trisha Gold globeslcc.com South City theatre a Unexplained events have been known to happen at the Grand Theatre. major controversy when the high anything,” said Rufendr. “There for daily news hotspot for ghostly school closed in 1988, and many are some seats that people won’t sit alumni were heartbroken by the in. When we asked them why, they updates shenanigans decision. have no answer for it. They just In 1992, SLCC finishedwon’t sit there.” Kachina Choate began about five or six years converting the building into the Theater productions create a Staff Reporter ago. Most of the occurrences are college’s new South City Campus lot of energy, and according to reported to have happened in the after years of renovation. paranormal professionals there The “break a leg” phrase is widely theatre’s house. There have been “There are always stories of the are many reasons why places have known as a safe way to wish luck to no backstage sightings, but actors old students who have come back ghosts. an actor, and theatre professionals have reported odd things happing, from the former South High,” “Maybe [the ghost] had some and patrons are commonly known such as a switch suddenly turning Rufendr. “There is a boy and a special connection to [the Grand] as a superstitious lot.
    [Show full text]
  • The Advocate Student Publications
    Fordham Law School FLASH: The Fordham Law Archive of Scholarship and History The Advocate Student Publications 10-1985 The Advocate The Advocate, Fordham Law School Follow this and additional works at: http://ir.lawnet.fordham.edu/student_the_advocate Part of the Law Commons Recommended Citation The Advocate, Fordham Law School, "The Advocate" (1985). The Advocate. Book 138. http://ir.lawnet.fordham.edu/student_the_advocate/138 This Book is brought to you for free and open access by the Student Publications at FLASH: The orF dham Law Archive of Scholarship and History. It has been accepted for inclusion in The Advocate by an authorized administrator of FLASH: The orF dham Law Archive of Scholarship and History. For more information, please contact [email protected]. FORDHAM LAW SCHOOL VOL. 18 NO. 1 © THE ADVOCATE OCTOBER, 1985 HARRIS RESIGNS By Nick Fengos Professor Catherine E. Cronin-Harris, Director of the Clinical Program, resigned ef­ fective September 30, 1985. This ends a two year s~y for Prof. Harris at Fordham Law School. Prof. Harris, a 1971 Fordham Law graduate, is also a 1967 alumna of Marymount Manhattan. Upon her graduation from Fordham Law School she became an attorney for Westchester Legal Services where by 1973 she Mulligan F'malists rose to the position of Managing Attorney. From 1976 to '1978 Prof. Harris was a Teaching Fellow at Antioch Law School and in 1978 she SCHOMER WINS MULLIGAN became Director of the Administrative Ad­ "We're especially pleased by the fact that vocacy Clinic at Georgetown University Law more Fordham alumni participated as judges in Center until 1981.
    [Show full text]
  • Understanding Screenwriting'
    Course Materials for 'Understanding Screenwriting' FA/FILM 4501 12.0 Fall and Winter Terms 2002-2003 Evan Wm. Cameron Professor Emeritus Senior Scholar in Screenwriting Graduate Programmes, Film & Video and Philosophy York University [Overview, Outline, Readings and Guidelines (for students) with the Schedule of Lectures and Screenings (for private use of EWC) for an extraordinary double-weighted full- year course for advanced students of screenwriting, meeting for six hours weekly with each term of work constituting a full six-credit course, that the author was permitted to teach with the Graduate Programme of the Department of Film and Video, York University during the academic years 2001-2002 and 2002-2003 – the most enlightening experience with respect to designing movies that he was ever permitted to share with students.] Overview for Graduate Students [Preliminary Announcement of Course] Understanding Screenwriting FA/FILM 4501 12.0 Fall and Winter Terms 2002-2003 FA/FILM 4501 A 6.0 & FA/FILM 4501 B 6.0 Understanding Screenwriting: the Studio and Post-Studio Eras Fall/Winter, 2002-2003 Tuesdays & Thursdays, Room 108 9:30 a.m. – 1:30 p.m. Evan William Cameron We shall retrace within these courses the historical 'devolution' of screenwriting, as Robert Towne described it, providing advanced students of writing with the uncommon opportunity to deepen their understanding of the prior achievement of other writers, and to ponder without illusion the nature of the extraordinary task that lies before them should they decide to devote a part of their life to pursuing it. During the fall term we shall examine how a dozen or so writers wrote within the studio system before it collapsed in the late 1950s, including a sustained look at the work of Preston Sturges.
    [Show full text]
  • Sur Nos Écrans
    Document generated on 09/23/2021 12:16 p.m. Séquences La revue de cinéma Sur nos écrans Number 109, July 1982 URI: https://id.erudit.org/iderudit/51015ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review (1982). Review of [Sur nos écrans]. Séquences, (109), 33–48. Tous droits réservés © La revue Séquences Inc., 1982 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/ • •••a ••**! vISSING (Porté disparu...) • En fication de l'oeuvre. S'il entre dans le débat politi­ attribuant sa Palme d'or conjointement à que, il court le danger de négliger la portée du film deux films politiques: Missing et Yol, le en soi, au bénéfice des positions idéologiques Festival de Cannes vient de souligner, préétablies. pour la deuxième fois consécutive, le rôle Ayant vécu pendant seize ans en Amérique croissant du cinéma comme témoin de notre temps. latine, j'ai pu me rendre compte des complexités qui L'année dernière, c'était L'Homme de Fer qui exal­ caractérisent chacun des pays dans cette région. tait la lutte des travailleurs contre un régime se récla­ C'est pourquoi je me refuse d'accepter les thèses mant du marxisme.
    [Show full text]