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Stirling Silliphant Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/tf2f59n87r No online items Finding Aid for the Stirling Silliphant Papers, ca. 1950-ca. 1985 PASC.0134 Finding aid prepared by Processed by UCLA Library Special Collections staff; machine-readable finding aid created by D.MacGill UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] Online finding aid last updated 14 August 2017 Finding Aid for the Stirling PASC.0134 1 Silliphant Papers, ca. 1950-ca. 1985 PASC.0134 Title: Stirling Silliphant papers Identifier/Call Number: PASC.0134 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 27.0 linear feet65 boxes. Date (inclusive): ca. 1950-ca. 1985 Language of Materials: Materials are in English. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Preferred Citation [Identification of item], Stirling Silliphant Papers (Collection Number PASC 134). -
Cbk: Movies and Meaning
PETERS TOWNSHIP SCHOOL DISTRICT CORE BODY OF KNOWLEDGE MOVIES AND MEANING GRADES 9-12 COURSE DESCRIPTION Great films explore great themes, which help us get acquainted with our own lives. In this class, students will view, discuss, write about, and research some of the world’s finest and most renowned examples of cinema. Students will learn to “read” film in order to appreciate, interpret, and critique history’s most complex art form. STUDY SKILLS Develop strategies for enriching cinematic experiences. Derive interpretations from visual cues and details. Identify universal themes and relate them to personal experiences. Recognize symbolic enhancements to storyline and theme. Acquire a historical perspective on classic cinema. Recognize and synthesize the complex components of the art of film and make judgments on their effective applications. Interpret subtleties of characterization via actions, acting, dialogue, and context. Analyze mise-en-scene with respect to symbolism and emotional effect. Make abstract judgments regarding theme and motivation. Present and refine ideas orally and in writing. Research and summarize expert critical and scholarly opinions. Expand multi-cultural horizons via use of foreign films UNIT THEMES LIGHTS! CAMERA! ACTION! Recognize, appreciate, and apply the various types of writing about film. Appreciate and interpret the various uses of light and shadow to augment narrative and characterization. Gain an overview of the history of the cinema. Gain exposure to famous film clips from famous films. Gain practical insights to the overall process and tribulations of filmmaking. Sustain an aesthetic discussion on the merits of particular film shots. RISE TO THE OCCASION! Recognize, interpret, and summarize various expressions of courage via iconic film characters. -
On-The-Waterfront-Study-Guide
On the Waterfront Study Guide Acknowledgements Writer: Susan Bye Education Programmer Australian Centre for the Moving Image Susan’s primary role at the Australian Centre for the Moving Image is to support the teaching of film as text to secondary school students. Initially trained as an English teacher, she studied and taught film and media at La Trobe University before joining ACMI in 2009. Study Guide > On the Waterfront 2 On the Waterfront: difficult choices in an uncertain world The purpose of this guide is to provide an introduction to On the Waterfront (PG, Elia Kazan, 103 mins, USA, 1954), an overview of the commentary and debate that the film has generated and some ideas that will help you form your own interpretation of this challenging film. Studying and Interpreting On the Waterfront On the Waterfront is a film that is as problematic as it is extraordinary. It carries with it an interesting history which has, over the years, affected the way people have responded to the film. On the Waterfront encourages different and conflicting interpretations, with its controversial ending being a particular source of debate. This study guide is intended as an informative resource, providing background information and a number of different ways of thinking about the film. One of the most exciting and satisfying aspects of the film is its capacity to invite and sustain different and multifaceted interpretations. On the Waterfront focuses on life’s uncertainty and confusion, depicting both Father Barry’s dogmatic certainty and Johnny Friendly’s egotistical self-confidence as dangerously blinkered. For some viewers, Father Barry’s vision of collective action and Terry Malloy’s confused struggle to be a better man belong in two different films; however, the contrast between these two ways of looking at, and responding to, life’s challenges highlights the limitations of each of these perspectives. -
SANTA BARBARA COUNTY LAUNCHES FIRST of ITS KIND FILM INCENTIVE PROGRAM in CALIFORNIA Program Includes Unscripted Television and Commercials
CONTACT: Jaime Shaw, Communications Associate Michelle Rodriguez, Director of Communications Visit Santa Barbara Visit Santa Barbara 805.966.9222 x107, [email protected] 805.966.9222 x112, [email protected] SANTA BARBARA COUNTY LAUNCHES FIRST OF ITS KIND FILM INCENTIVE PROGRAM IN CALIFORNIA Program includes Unscripted Television and Commercials Santa Barbara, CA (November 12, 2013) — Santa Barbara County is offering a new media production incentive program that is the first of its kind in California with the goal to encourage production companies to bring their projects to the area. The program is unique because it includes unscripted television, commercial and still photography, in addition to feature films and scripted television. Created by the Santa Barbara County Film Commission, this innovative incentive program provides a cash rebate for eligible productions that book a minimum number of room nights in specified areas of the County. Film Commissioner Geoff Alexander says, “We’re incredibly excited about launching this program. By including still photography production, commercials, and unscripted television, we have created an incentives program which is entirely unique in the State of California. We believe that word will travel fast that Santa Barbara County wants this business.” Santa Barbara County has always been a filming mecca, and in 2010 celebrated its 100th year of filmmaking. Before Hollywood, this coastal city was the hub of California's film industry and home to the state’s first major movie studio, the legendary Flying A Studio (1910), and early pioneers during the silent-film era. Some well- known films to use Santa Barbara County as a backdrop include: The Ten Commandments (1923), The Graduate (1967), Seabiscuit (2003), Sideways (2004), Grindhouse (2006), Pirates of the Caribbean III: At World's End (2007), There Will Be Blood (2007) and It’s Complicated (2009), which starred Santa Barbara as the setting for the film. -
Oscars and America 2011
AMERICA AND THE MOVIES WHAT THE ACADEMY AWARD NOMINEES FOR BEST PICTURE TELL US ABOUT OURSELVES I am glad to be here, and honored. I spent some time with Ben this summer in the exotic venues of Oxford and Cambridge, but it was on the bus ride between the two where we got to share our visions and see the similarities between the two. I am excited about what is happening here at Arizona State and look forward to seeing what comes of your efforts. I’m sure you realize the opportunity you have. And it is an opportunity to study, as Karl Barth once put it, the two Bibles. One, and in many ways the most important one is the Holy Scripture, which tells us clearly of the great story of Creation, Fall, Redemption and Consummation, the story by which all stories are measured for their truth, goodness and beauty. But the second, the book of Nature, rounds out that story, and is important, too, in its own way. Nature in its broadest sense includes everything human and finite. Among so much else, it gives us the record of humanity’s attempts to understand the reality in which God has placed us, whether that humanity understands the biblical story or not. And that is why we study the great novels, short stories and films of humankind: to see how humanity understands itself and to compare that understanding to the reality we find proclaimed in the Bible. Without those stories, we would have to go through the experiences of fallen humanity to be able to sympathize with them, and we don’t want to have to do that, unless we have a screw loose somewhere in our brain. -
Mayjune 2005 Social Ed.Indd
Social Education 69(4), pp. 189-192 © 2005 National Council for the Social Studies Reel to Real: Teaching the Twentieth Century with Classic Hollywood Films Karl A. Matz and Lori L. Pingatore Making students’ learning cal artifacts, virtually primary source docu- works to support all three. At work, Bow experiences as direct and real as possible ments, that are very easy to obtain and yet has caught the eye of a wealthy young man, has always been challenging for educators. are too rarely used. Here, we hope to give a friend of the store owner’s son. In this Ancient wars and forgotten statesmen teachers a sense of which films are most brief beginning to a feature length film, often hold little excitement for students. appropriate and to provide a workable viewers see three important locations as Innovative teachers often use artifacts and method for guiding students to critically they were in the late 1920s. We see the primary source documents to transform a examine these historical artifacts. downtown department store, so different vicarious learning experience to a much from the suburban malls we know today. more direct one. Lee Ann Potter observes Celluloid Anthropology We see the humble apartment, the decora- that primary source documents “allow us, Students can study films in a manner simi- tions, and the absence of technology. And, quite literally, to touch and connect with lar to the way an anthropologist studies a finally, we see the restaurant. the past.”1 culture. If we were to study the culture of While watching this film, as any Films, like artifacts and photographs, a community in the Brazilian rainforest, other movie of a different era, viewers can also bring students closer to the people we would observe social rules, modes of can observe manners and behaviors, note and events that they are studying. -
Introduction to Cinema (COMM274)
Introduction to Cinema (COMM274) Meeting time: Thursday 5:30pm – 8:00pm (attendance optional, lectures posted on Sakai) Meeting Location: Zoom Meeting (https://www.luc.edu/its/itrs/teachingwithtechnology/zoom/) Instructor: Benjamin Bateman Office Hours: by appointment Contact info: [email protected] COURSE DESCRIPTION AND OBJECTIVES: Introduction to Cinema will study cinema as a complex medium of global communication. The objectives of this course are to provide the student with the basic filmic language, observational skills and theoretical/critical background for the study of film aesthetics, history, production and criticism. The format of the course will consist of lecture, screening, and discussion. Assigned readings must be completed on time to facilitate the analysis and discussion of films screened in class. ASYNCRONOUS COURSE SPECIFICS This course is being offered asynchronously. As a result, how students engage the course material, meet specifics deadlines, etc. will be at the student’s discretion. Although the course will be delivered asynchronously, we will be following the original Thursday schedule for due dates, deadlines, the Midterm, and the Final Exam. Live sessions will be offered Thursdays 5:30-8pm for students who can attend, but attendance is not compulsory. Students will not be penalized if they are unable to attend the live sessions. The recorded lectures will be available through Sakai the following day. Students will have the option of completing coursework, assessments, textual analysis, etc. throughout the week, but the deadline for said coursework will be Thursdays at 5:30pm of said week. Please consult Sakai for specific due dates and deadlines. Goals of the Course: In order to satisfy the objectives outlined above, the work in the course will be structured so as to meet the following learning outcomes: • Acquisition of the critical and technical vocabulary to describe and analyze cinema. -
Dirty Harry Quand L’Inspecteur S’En Mêle Dirty Harry, États-Unis 1971, 102 Minutes Pascal Grenier
Document generated on 09/25/2021 3:09 p.m. Séquences La revue de cinéma Dirty Harry Quand l’inspecteur s’en mêle Dirty Harry, États-Unis 1971, 102 minutes Pascal Grenier Animer ailleurs Number 259, March–April 2009 URI: https://id.erudit.org/iderudit/44930ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Grenier, P. (2009). Review of [Dirty Harry : quand l’inspecteur s’en mêle / Dirty Harry, États-Unis 1971, 102 minutes]. Séquences, (259), 32–32. Tous droits réservés © La revue Séquences Inc., 2009 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/ 3 ARRÊT SUR IMAGE I FLASH-BACK Dirty Harry I Quand l'inspecteur s'en mêle Un inspecteur aux méthodes expéditives lutte contre un psychopathe dangereux qui menace la population de San Francisco. Sorti en 1971, ce drame policier fort percutant créa toute une controverse à l'époque. Clint Eastwood est propulsé au rang de star et son personnage, plus grand que nature, est encore aujourd'hui une véritable icône cinématographique. PASCAL GRENIER irty Harry marque la quatrième collaboration entre le réalisateur Don Siegel et le comédien Clint Eastwood D après Coogan's Bluff, Two Mules for Sister Sara et The Beguiled. -
Copy of HHS Waivers
Movie School Course Date Approved Platoon HHS Film Study 10/14/1996 Against All Odds HHS Film Study 11/6/2000 Analyze This HHS Film Study 11/6/2000 Angela's Ashes HHS Film Study 11/6/2000 Antonement HHS Film Study, Literature to Film 5/25/2008 Apt Pupil HHS Film Study 11/6/2000 Argo HHS Film Study, Literature to Film 10/29/2013 Beach, The HHS Film Study 11/6/2000 Birdcage, The HHS Film Study 11/6/2000 Boyz N The Hood HHS Film Study 9/28/1998 Braveheart HHS Film Study 11/6/2000 Brazil HHS Film Study 11/6/2000 Capote HHS Film Study, Literature to Film 5.03.06 Children of Men HHS Film Study, Literature to Film 5.22.07 DaVinci Code, The HHS Film Study, Fine Arts 03.30.05 Dead Man Walking HHS Film Study 10/14/1996 Departed, The HHS Film Study, Literature to Film 5.22.07 District 9 HHS Film Study, Literature to Film 8/28/2010 End of Days HHS Film Study 11/6/2000 Movie School Course Date Approved Platoon HHS Film Study 10/14/1996 Eternal Sunshine of the Spotless Mind HHS Film Study, Fine Arts 3.30.05 Fargo HHS Film Study, Fine Arts 3.30.05 Felicia's Journey HHS Film Study 11/6/2000 Fight Club HHS Film Study, AP History/Psych, 10/6/2000 Fisher King HHS Film Study 9/28/1998 Friday Night Lights HHS Film Study, Fine Arts 3.30.05 Get Shorty HHS Film Study 10/14/1996 Girl, Interupted HHS Film Study 11/6/2000 Go HHS Film Study 11/6/2000 Gods and Monsters HHS Film Study 11/6/2000 Good Will Hunting HHS Film Study 11/6/2000 Gran Torino HHS Film Study 9/8/2009 Green Mile, The HHS Film Study 11/6/2000 H2O HHS Film Study 11/6/2000 Heat HHS Film Study 11/6/2000 Hurt Locker The, HHS Film Study, Literature to Film 8/28/2010 I Know What You Did HHS Film Study 9/28/1998 Jackal, The HHS Film Study 9/28/1998 Movie School Course Date Approved Platoon HHS Film Study 10/14/1996 JFK HHS Film Study 11/6/2000 Kinsey HHS Film Study, Literature to Film 6.07.05 L.S. -
Bullitt, Blow-Up, & Other Dynamite Movie Posters of the 20Th Century
1632 MARKET STREET SAN FRANCISCO 94102 415 347 8366 TEL For immediate release Bullitt, Blow-Up, & Other Dynamite Movie Posters of the 20th Century Curated by Ralph DeLuca July 21 – September 24, 2016 FraenkelLAB 1632 Market Street FraenkelLAB is pleased to present Bullitt, Blow-Up, & Other Dynamite Movie Posters of the 20th Century, curated by Ralph DeLuca, from July 21 through September 24, 2016. Beginning with the earliest public screenings of films in the 1890s and throughout the 20th century, the design of eye-grabbing posters played a key role in attracting moviegoers. Bullitt, Blow-Up, & Other Dynamite Movie Posters at FraenkelLAB focuses on seldom-exhibited posters that incorporate photography to dramatize a variety of film genres, from Hollywood thrillers and musicals to influential and experimental films of the 1960s-1990s. Among the highlights of the exhibition are striking and inventive posters from the mid-20th century, including the classic films Gilda, Niagara, The Searchers, and All About Eve; Alfred Hitchcock’s Notorious, Rear Window, and Psycho; and B movies Cover Girl Killer, Captive Wild Woman, and Girl with an Itch. On view will be many significant posters from the 1960s, such as Russ Meyer’s cult exploitation film Faster Pussycat! Kill! Kill!; Michelangelo Antonioni’s Blow-Up; a 1968 poster for the first theatrical release of Un Chien Andalou (Dir. Luis Buñuel and Salvador Dalí, 1928); and a vintage Japanese poster for Buñuel’s Belle de Jour. The exhibition also features sensational posters for popular movies set in San Francisco: the 1947 film noir Dark Passage (starring Humphrey Bogart and Lauren Bacall); Steve McQueen as Bullitt (1968); and Clint Eastwood as Dirty Harry (1971). -
National Film Registry Titles Listed by Release Date
National Film Registry Titles 1989-2017: Listed by Year of Release Year Year Title Released Inducted Newark Athlete 1891 2010 Blacksmith Scene 1893 1995 Dickson Experimental Sound Film 1894-1895 2003 Edison Kinetoscopic Record of a Sneeze 1894 2015 The Kiss 1896 1999 Rip Van Winkle 1896 1995 Corbett-Fitzsimmons Title Fight 1897 2012 Demolishing and Building Up the Star Theatre 1901 2002 President McKinley Inauguration Footage 1901 2000 The Great Train Robbery 1903 1990 Life of an American Fireman 1903 2016 Westinghouse Works 1904 1904 1998 Interior New York Subway, 14th Street to 42nd Street 1905 2017 Dream of a Rarebit Fiend 1906 2015 San Francisco Earthquake and Fire, April 18, 1906 1906 2005 A Trip Down Market Street 1906 2010 A Corner in Wheat 1909 1994 Lady Helen’s Escapade 1909 2004 Princess Nicotine; or, The Smoke Fairy 1909 2003 Jeffries-Johnson World’s Championship Boxing Contest 1910 2005 White Fawn’s Devotion 1910 2008 Little Nemo 1911 2009 The Cry of the Children 1912 2011 A Cure for Pokeritis 1912 2011 From the Manger to the Cross 1912 1998 The Land Beyond the Sunset 1912 2000 Musketeers of Pig Alley 1912 2016 Bert Williams Lime Kiln Club Field Day 1913 2014 The Evidence of the Film 1913 2001 Matrimony’s Speed Limit 1913 2003 Preservation of the Sign Language 1913 2010 Traffic in Souls 1913 2006 The Bargain 1914 2010 The Exploits of Elaine 1914 1994 Gertie The Dinosaur 1914 1991 In the Land of the Head Hunters 1914 1999 Mabel’s Blunder 1914 2009 1 National Film Registry Titles 1989-2017: Listed by Year of Release Year Year -
Allen Rostron, the Law and Order Theme in Political and Popular Culture
OCULREV Fall 2012 Rostron 323-395 (Do Not Delete) 12/17/2012 10:59 AM OKLAHOMA CITY UNIVERSITY LAW REVIEW VOLUME 37 FALL 2012 NUMBER 3 ARTICLES THE LAW AND ORDER THEME IN POLITICAL AND POPULAR CULTURE Allen Rostron I. INTRODUCTION “Law and order” became a potent theme in American politics in the 1960s. With that simple phrase, politicians evoked a litany of troubles plaguing the country, from street crime to racial unrest, urban riots, and unruly student protests. Calling for law and order became a shorthand way of expressing contempt for everything that was wrong with the modern permissive society and calling for a return to the discipline and values of the past. The law and order rallying cry also signified intense opposition to the Supreme Court’s expansion of the constitutional rights of accused criminals. In the eyes of law and order conservatives, judges needed to stop coddling criminals and letting them go free on legal technicalities. In 1968, Richard Nixon made himself the law and order candidate and won the White House, and his administration continued to trumpet the law and order theme and blame weak-kneed liberals, The William R. Jacques Constitutional Law Scholar and Professor of Law, University of Missouri–Kansas City School of Law. B.A. 1991, University of Virginia; J.D. 1994, Yale Law School. The UMKC Law Foundation generously supported the research and writing of this Article. 323 OCULREV Fall 2012 Rostron 323-395 (Do Not Delete) 12/17/2012 10:59 AM 324 Oklahoma City University Law Review [Vol. 37 particularly judges, for society’s ills.