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XIX:12) Arthur Penn NIGHT MOVES (1975, 100 Min)
November 17, 2009 (XIX:12) Arthur Penn NIGHT MOVES (1975, 100 min) Directed by Arthur Penn Written by Alan Sharp Produced by Robert M. Sherman Original Music by Michael Small Cinematography by Bruce Surtees Film Editing by Dede Allen Gene Hackman...Harry Moseby Jennifer Warren...Paula Susan Clark...Ellen Moseby Ed Binns...Joey Ziegler Harris Yulin...Marty Heller Kenneth Mars...Nick Janet Ward...Arlene Iverson James Woods...Quentin Melanie Griffith...Delly Grastner Anthony Costello...Marv Ellman John Crawford...Tom Iverson Ben Archibek...Charles Max Gail...Stud Stunts: Dean Engelhardt, Ted Grossman, Richard Hackman, Chuck Hicks, Terry Leonard, Rick Lockwood, Ernie F. Orsatti, Enemy Lines (2001), The Royal Tenenbaums (2001), Heist Chuck Parkison Jr., Betty Raymond, Ronnie Rondell Jr., Walter (2001/I), Heartbreakers (2001), The Mexican (2001), Under Scott, Fred M. Waugh, Glenn R. Wilder, Suspicion (2000), Enemy of the State (1998), Twilight (1998), Absolute Power (1997), The Chamber (1996), The Birdcage ARTHUR PENN (27 September 1922, Philadelphia, Pennsylvania, (1996), Get Shorty (1995), Crimson Tide (1995), The Quick and USA—) directed 27 film and dozens of tv episodes, among them the Dead (1995), Wyatt Earp (1994), Geronimo: An American Inside (1996), Penn & Teller Get Killed (1989), Dead of Winter Legend (1993), The Firm (1993), Unforgiven (1992), Company (1987), Target (1985), Four Friends (1981), The Missouri Breaks Business (1991), Class Action (1991), Postcards from the Edge (1976), Night Moves (1975), Little Big Man (1970), Alice's -
Starlog Magazine Issue
'ne Interview Mel 1 THE SCIENCE FICTION UNIVERSE Brooks UGUST INNERSPACE #121 Joe Dante's fantastic voyage with Steven Spielberg 08 John Lithgow Peter Weller '71896H9112 1 ALIENS -v> The Motion Picture GROUP, ! CANNON INC.*sra ,GOLAN-GLOBUS..K?mEDWARO R. PRESSMAN FILM CORPORATION .GARY G0D0ARO™ DOLPH LUNOGREN • PRANK fANGELLA MASTERS OF THE UNIVERSE the MOTION ORE ™»COURTENEY COX • JAMES TOIKAN • CHRISTINA PICKLES,* MEG FOSTERS V "SBILL CONTIgS JULIE WEISS Z ANNE V. COATES, ACE. SK RICHARD EDLUND7K WILLIAM STOUT SMNIA BAER B EDWARD R PRESSMAN»™,„ ELLIOT SCHICK -S DAVID ODEll^MENAHEM GOUNJfOMM GLOBUS^TGARY GOODARD *B«xw*H<*-*mm i;-* poiBYsriniol CANNON HJ I COMING TO EARTH THIS AUGUST AUGUST 1987 NUMBER 121 THE SCIENCE FICTION UNIVERSE Christopher Reeve—Page 37 beJohn Uthgow—Page 16 Galaxy Rangers—Page 65 MEL BROOKS SPACEBALLS: THE DIRECTOR The master of genre spoofs cant even give the "Star wars" saga an even break Karen Allen—Page 23 Peter weller—Page 45 14 DAVID CERROLD'S GENERATIONS A view from the bridge at those 37 CHRISTOPHER REEVE who serve behind "Star Trek: The THE MAN INSIDE Next Generation" "SUPERMAN IV" 16 ACTING! GENIUS! in this fourth film flight, the Man JOHN LITHGOW! of Steel regains his humanity Planet 10's favorite loony is 45 PETER WELLER just wild about "Harry & the CODENAME: ROBOCOP Hendersons" The "Buckaroo Banzai" star strikes 20 OF SHARKS & "STAR TREK" back as a cyborg centurion in search of heart "Corbomite Maneuver" & a "Colossus" director Joseph 50 TRIBUTE Sargent puts the bite on Remembering Ray Bolger, "Jaws: -
November 11, 2014 (Series 29:12) Sydney Pollack, TOOTSIE (1982, 119 Minutes)
November 11, 2014 (Series 29:12) Sydney Pollack, TOOTSIE (1982, 119 minutes) Tootsie won the 1983 Academy Award for Best Actress in a Supporting Role, Jessica Lange Directed by Sydney Pollack Written by Larry Gelbart, Murray Schisgal, Don McGuire, Larry Gelbart, Barry Levinson, Robert Garland, and Elaine May Produced by Sydney Pollack, Dick Richards, and Ronald L. Schwary Music by Dave Grusin Cinematography by Owen Roizman Film Editing by Fredric Steinkamp and William Steinkamp Dustin Hoffman ... Michael Dorsey / Dorothy Michaels Jessica Lange ... Julie Teri Garr ... Sandy Dabney Coleman ... Ron Charles Durning ... Les Bill Murray ... Jeff Sydney Pollack ... George Fields Geena Davis ... April Gene Shalit ... Himself Andy Warhol ... Himself “Breaking Point” (TV Series), 1962-1963 “Ben Casey” (TV Series, 12 episodes), 1962-1963 “The Alfred Hitchcock Hour” Sydney Pollack (director, producer, George Fields) (b. (TV Series), 1963 “Wagon Train” (TV Series), 1963 “The Sydney Irwin Pollack, July 1, 1934 in Lafayette, Indiana—d. Defenders” (TV Series), and 1961 “Shotgun Slade” (TV Series). May 26, 2008 (age 73) in Pacific Palisades, Los Angeles, He also has 48 producer or executive producer, and he appeared California) won 2 1986Academy Awards for Out of Africa as an actor in 40 films and TV episodes, among them 2008 Made (1985), one for Best Picture and one for Best Director. He of Honor, 2007 Michael Clayton, 2007 “Entourage” (TV Series), directed 37 films and television shows, which are 2005 2007 “The Sopranos” (TV Series), 2005 The Interpreter, -
“The Invaders”
TEMECULA VALLEY HISTORICAL SOCIETY NEWSLETTER January 2018 Invasion of Temecula Volume 18 Issue 1 “The Invaders” By Rick Reiss “How does a nightmare begin? For David Vincent, architect, return- 2018 Officers ing home from a business trip, it began at a few minutes past four on a lost President Rebecca Farnbach Tuesday morning, looking for a shortcut that he never found. It began with a Vice President Shari Crall welcoming sign that gave hope of black coffee. It began with a closed, deserted Secretary Cheryl Cady Treasurer Roger Cudé diner and a man too long without sleep to continue his journey. In the weeks to Past President Dick Fox come, David Vincent would go back to how it began many times.” So begins the Prologue of the premiere-pilot episode of the 1960s sci-fi Directors TV series The Invaders, starring Roy Thinnes as David Vincent, in which Lynn Cudé much of this historic episode was filmed on location in Old Town Temecula in Elaine Culverhouse March 1966. The episode, titled “Beachhead”, serves as a convenient video Suzanne Dechert time capsule of Temecula’s Old Town area as it was some five decades ago. Elaine Eshom “Beachhead” was broadcast for the first time on the ABC Network on January Darell Farnbach 10, 1967. Jeffery Harmon Bob Kent The fast paced TV series was the brainchild of TV creator Larry Co- Bonnie Martland hen, who modeled the show on the very successful “man-on-the-run” TV series Carol Strode The Fugitive as well as inspirations from past Alfred Hitchcock films like North By Northwest, The 39 Steps and Saboteur as well as 1950s era sci-fi movies Committee Chairs like Invasion of the Body Snatchers. -
A Historical/Critical Analysis of the Tv Series the Fugitive
A HISTORICAL/CRITICAL ANALYSIS OF THE TV SERIES THE FUGITIVE THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By David P. Pierson, B.S. Denton, Texas May, 1993 Pierson, David P., A Historical/Critical Analysis Of The TV Series The Fugitive. Master of Science (Radio/TV/Film), May 1993, 168 pp., bibliography, 70 titles. In many respects, the popular 1960's television series, The Fugitive perfectly captured the swelling disillusionment with authority, alienation, and discontent that soon encompassed American society. This historical/critical study provides a broad overview of the economic, social, and political climate that surrounded the creation of The Fugitive. The primary focus of this study is the analysis of five discursive topics (individualism, marriage, justice & authority, professionalism, science and technology) within selected episodes and to show how they relate to broader cultural debates which occurred at that time. Finally, this study argues that The Fui1gitive is a part of a television adventure subgenre which we may classify as the contemporary "wanderer-hero" narrative and traces its evolution through selected television series from the last three decades. TABLE OF CONTENTS Chapter Page I. INTRODUCTION . 1 The Sixties The Emergence of a Television Culture The Fugitive Notes on Methodology II. THE TV INDUSTRY AND THE FUGITIVE . 26 The Great Shift ABC-TV Network and the Creation of The Fugitive 60's Programming Trends and The Fugitive III. THE DISCURSIVE FUGITIVE . 70 Individualism Marriage Justice and Authority Professionalism Science and Technology Conclusion IV. -
Boxoffice Barometer (April 15, 1963)
as Mike Kin*, Sherman. p- builder the empire Charlie Gant. General Rawlmgs. desperadc as Linus border Piescolt. mar the as Lilith mountain bub the tut jamblei's Zeb Rawlings, Valen. ;tive Van horse soldier Prescott, e Zebulon the tinhorn Rawlings. buster Julie the sod Stuart, matsbil's*'' Ramsey, as Lou o hunter t Pt«scott. marsl the trontie* tatm gal present vjssiuniw SiNGiN^SVnMNG' METRO GOlPWVM in MED MAYER RICHMOND Production BLONDE? BRUNETTE? REDHEAD? Courtship Eddies Father shih ford SffisStegas 1 Dyke -^ ^ panairtSioo MuANlNJR0( AMAN JACOBS , st Grea»e Ae,w entl Ewer Ljv 8ecom, tle G,-eai PRESENTS future as ^'***ied i Riel cher r'stian as Captain 3r*l»s, with FILMED bronislau in u, PANAVISION A R o^mic RouND WofBL MORE HITS COMING FROM M-G-M PmNHunri "INTERNATIONAL HOTEL (Color) ELIZABETH TAYLOR, RICHARD BURTON, LOUIS JOURDAN, ORSON WELLES, ELSA MARTINELLI, MARGARET RUTHERFORD, ROD TAYLOR, wants a ROBERT COOTE, MAGGIE SMITH. Directed by Anthony Asquith. fnanwitH rnortey , Produced by Anotole de Grunwald. ® ( Pana vision and Color fEAlELI Me IN THE COOL OF THE DAY” ) ^sses JANE FONDA, PETER FINCH, ANGELA LANSBURY, ARTHUR HILL. Mc^f^itH the Directed by Robert Stevens. Produced by John Houseman. THE MAIN ATTRACTION” (Metrocolor) PAT BOONE and NANCY KWAN. Directed by Daniel Petrie. Produced LPS**,MINDI// by John Patrick. A Seven Arts Production. CATTLE KING” [Eastmancolor) ROBERT TAYLOR, JOAN CAULFIELD, ROBERT LOGGIA, ROBERT MIDDLETON, LARRY GATES. Directed by Toy Garnett. Produced by Nat Holt. CAPTAIN SINDBAD” ( Technicolor— WondroScope) GUY WILLIAMS, HEIDI BRUEHL, PEDRO ARMENDARIZ, ABRAHAM SOFAER. Directed by Byron Haskin. A Kings Brothers Production. -
" Ninteenth Annual Report Alumni News Note Feature Vdlume 24, Number 4, Summer 1980 Quadranglelaw Notes
" Ninteenth Annual Report Alumni News Note Feature Vdlume 24, Number 4, Summer 1980 QuadrangleLaw Notes Vol. 24, No. 4 Summer 1980 contents Reading Between 1 the Sheets by Roy F. Proffitt Letter of Transmittal 1 Letter of Acceptance 1 I Regional Summaries I I 1978-1979 Comparisons 9 by Regions Tops in Percentage 10 of Participation Thousand Dollar Cities lo 1 Law School 11 Fund Contributors Annual Growth Chart 20 Law Quadrangle Notes (USPS 893- 460), issued quarterly by the Uni- Class Summary of Gifts 26 versity of Michigan Law School. Second class postage paid at Ann Special Donor Groups 28 Arbor, Michigan. Office of publica- tion, 409 E. Jefferson, Ann Arbor, Corporate Matching 32 Michigan 48109. Gift Program POSTMASTER: Send Form 3579 to: Law Quadrangle Notes, Law School, In Memoriam 3 3 The University of Michigan, Ann Arbor, MI 48109. Alumni News Notes 3 4 This issue of the Law Quadrangle Deceased 3 8 Notes is the nineteenth annual report of the Law School Fund. The Fund is About the Cover: The photography of Michigan Special 4 1 under the direction of Professor Roy John Elam, Law School student F. Proffitt; Mrs. Lois A. Richards is photographer, is of a model of the new Donor Groups supervisor of the Fund and is construction-at least that part which responsible for gathering the names will be a connectingpoint between the and data used in this report. Editorial old and the new. The stairs will lead and design responsibilities were out of the south wall of the library handled by the University of reading room down to the new three- Michigan Publications Office. -
21L 432/932 American Television
21L 432/CMS 915 Understanding Television Spring 2004 http://web.mit.edu/21l.432/www/home.html T, Th 2:30-4, 1-150 Prof. David Thorburn Screenings: w, 7-9, 14E-310 Schedule of Classes and Topics Tue Thurs Feb 3 Prologue: The Continuity Principle Thorburn and Jenkins, "Toward an Aesthetics of Transition" I. The Wasteland Mythology 5 Kosinski, "A Nation of Videots" Gerbner and Gross, "Living With Television" Paul Klein, "The Men Who Run TV ..." Barnouw, ch 1-2 II. Television As A Cultural Form 10 12 James Carey, "A Cultural Approach to Communication" in Communication As Culture Roland Barthes, "The World of Wrestling" in Mythologies David Thorburn, "Television As An Aesthetic Medium" Newcomb and Hirsch, "TV as a Cultural Forum" in Newcomb Tony Bennett, "Theories of the Media, Theories of Society" in Gurevitch et. al, Culture, Society and the Media -- 19 Guest Appearance: John Romano, writer-producer: how we make "American Dreams" [special meeting in Bartos Theater, MIT Media Lab. class: 2:30-4pm; Forum: 5-7pm] III. The Broadcast Era 24 26 Barnouw, ch. 3-4 Anderson, “Disneyland,” in Newcomb Spigel, “Women’s Work,” in Newcomb Brooks and Marsh, "Introduction" 26 First paper due IV. TV Genres Mar 2 4 Barnouw, ch. 5 Thorburn, "Television Melodrama" in Newcomb 9 11 Alvey, “The Independents,” in Newcomb Jenkins, “Star Trek Rerun ...,” in Newcomb 11 FORUM: Interactive Television -- 5-7 pm Bartos Theater 16 18 Barnouw, ch. 6 Modleski, “...Daytime TV and Women’s Work” Phil Williams, “... the TV Rerun,” in Newcomb 18 Midterm quiz [Spring break] 30 Esslin, "Aristotle and the Advertisers …" Apr 1 Thorburn, TV Encyclopedia entries on detectives and The Name of the Game _______, “Is TV Acting A Distinctive Art Form” 1 Second paper due 1 FORUM: TV Audiences Today 6 8 Newcomb, “The TV Artistry of Norman Lear” Reeves, “Rewriting Newhart ...” Gomery, “.. -
An Economic Analysis of the Prime Time Access Rule
BEFORE THE FEDERAL COMMUNICATIONS COMMISSION Washington, D.C. 20554 In re: Review of the Prime Time Access Rule, Section 73.658 (k) of the Commission’s } MM Docket No. 94-123 Rules AN ECONOMIC ANALYSIS OF THE PRIME TIME ACCESS RULE March 7, 1995 ECONOMISTS INCORPORATED WASHINGTON, D.C. CONTENTS I. Introduction……………………………...……………………………………………1 II. Is ABC, CBS or NBC Dominant Today? A. No single network dominates any market...........................................................5 B. Factors facilitating the growth of competing video distributors ................................................................................................7 1. Cable penetration ....................................................................................7 2. Number and strength of independent stations.........................................9 3. Other video outlets................................................................................12 C. Competing video distributors............................................................................13 1. New broadcast networks .......................................................................13 2. New cable networks..............................................................................16 3. First-run syndication .............................................................................17 D. Impact on networks of increased competition ..................................................18 1. Audience shares ....................................................................................18 -
Erage Clearance Rate for Prime Time Was .98 and for Non-Prime-Time It Was .90
~_.- rates are higher for prime-time than for non-prime-time programs. The av erage clearance rate for prime time was .98 and for non-prime-time it was .90. While there is a relatively narrow range of clearance rates among sta tions despite differences in the sizes and structures of the various television markets, the variation in clearance rates among stations is somewhat higher in non-prime time than in prime time. Table D-l Average clearance rates by daypart, 1994 Prime time .977 (.060) Non-prime time .897 (.084) All dayparts .918 (.067) Figures in parentheses are standard deviations. ABC, CBS and NBC have been able to maintain relatively high clearance rates during non-prime-time only by ceasing to offer programming that would obtain low clearances. Table D-2 shows the decrease in the number of non-prime-time hours of programming offered by each network from 1977 to 1994.130 In the aggregate, total programming offered by ABC, CBS and NBC has declined by 25 hours per week since 1977, from a total of 278.5 hours to 253.5 in 1994. The decline in network programming offered reflects the affiliates' decision to choose programs from the variety of al ternative programming available instead of choosing to clear the program ming offered by the networks. For certain dayparts, the networks have lost the competition and have conceded these low clearance portions of the day to other programming. 130 1977 is the most recent year studied by NISS for which data on the number of hours of network programs offered are available. -
Starlog Magazine
mMMii < zzp-fimz'A 2oiti > -r;j^ scj^ai^ miftzmz INSIDE THIS ISSUE 23 DEATH: THE LIGHTER SIDE TV creator Bryan Fuller hands scythes to grinning Reapers 28 DOING LEGWORK Lovely Kristen Dalton reports on her days in The Dead zone 32 THE MADNESS OF MORPHEUS He whom the Matrix would destroy, they first make Laurence Fishburne 38 I'M WITH DONKEY Shrek, Fiona & pals amble into a new theme park attraction 42 SWASHBUCKLING STORIES Set sail with the cast & crew of Pirates of the Caribbean 46 PAINTED SEAS M Oscar winner Ralph Eggleston envisioned Nemo's colorful look 50 CRADLE OF LIFE Angelina Jolie leads the team to more Tomb Raider exploits 58 TERMINAL VISAGES Stan Winston unveils new images & familiar faces 60 LEAGUE OF ALTERATIONS En route to film, James Dale Robinson made lotsa changes 77 OF MUTANT WORDS X2 writers Michael Dougherty & Dan Harris unite for action J? Celebrate with Shrek and / 86 IT'S DYNA GIRL e Fiona. They're on Revealing her Saturday secret ; > their fairy-tale identity is Judy Strangis fl Br honeymoon—at Universal Studios Orlando (as well as NEXT ISSUE ON SALE Hollywood and Japan, SEPTEMBER 2 too). Let them eat cake! Join the party on page 38. STARLOC: science AFiction universe is published by starlog croup, inc., 475 Park Avenue South, New York, NY 10016. starloc and The Science Fiction The monthly Universe are registered trademarks of STARLOC GROUP, INC. (ISSN 0191-4626) (Canadian GST number: R-124704826) This is issue Number 314, September 2003. Content Is © Copyright 2003 by STARLOC CROUP, INC. -
*Value Description US
FUND REFERENCE (sort on Value) *Value Description US 00000 No Fund 10500 Summer Session Tuition 10501 Summer Session Program Fees 10700 UNEX Fee Income 10701 UNEX‐MAS Programs 10702 UNEX Special Projects 10950 Federal Contracs and Grants ICR 11000 Auxiliary Operating Fund 12000 Hospital Income 12002 Epic Host ‐ Uci 12003 Hosp Equip Disposal Income 12004 Clinical Integration Network System 12005 Revenue Cycle System 12006 Capital Equipment 12009 Non‐Inventory Equipment 12010 Software Purchases 12011 Non Operating Fund 12012 Candor Grant 12016 Advanced Burn Life Support Training 12017 HPP XII Grant 2013‐14 12024 DEM Educational Fund 12025 Cobra Insurance Fund 12026 Nephrology Education S 12027 Staff Recog & Service Excel Awards 12028 Y/E Adj‐ Sales‐Hosp 12029 Hospital Adjustment Clearing 12030 Surgery Center Of San Diego 12031 Med Ctr‐Res‐UCSD Amb Surg Ctr LLC 12032 Accentcare LLC 12033 Center For Surgery Of Encinitas 12034 Bone Marrow Trans Plant LLC 12035 Vibra Hosp of San Diego LLC 12036 Res for Improvements Hospital 12037 Liver Transplant Reserves 12038 Vantage Oncology Imperial Valley 12100 Recharge Operating Fund 12200 Recharge Ext. Sales Diff Income 12300 Other Dept Course Program Income 12303 Material Transfer Agreements 12304 Misc Sales of Goods/Svcs Fund 12305 Conference Revenue Fund 12306 Editorships Publications and Royalties 12307 Other Sales and Services Fund 12309 Production and Film Fund 12310 Sale of Surplus Property 12311 Stephen Birch Aquarium Museum 12312 ACO (Accountable Care Organization) 12313 One Medical 12314 Operating