Finding Aid to the Historymakers ® Video Oral History with Joseph Benjamin Anderson, Jr
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Barbie Bake-Off and Risk Or Role the Apprentice Model? Documentary Pokémon Go Shorts
FEBRUARY 2017 ISSUE 59 POST-TRUTH RESEARCHING THE PAST BARBIE BAKE-OFF AND RISK OR ROLE THE APPRENTICE MODEL? DOCUMENTARY POKÉMON GO SHORTS MM59_cover_4_feb.indd 1 06/02/2017 14:00 Contents 04 Making the Most of MediaMag MediaMagazine is published by the English and Media 06 What’s the Truth in a Centre, a non-profit making Post-fact World? organisation. The Centre Nick Lacey explores the role publishes a wide range of of misinformation in recent classroom materials and electoral campaigns, and runs courses for teachers. asks who is responsible for If you’re studying English 06 gate-keeping online news. at A Level, look out for emagazine, also published 10 NW and the Image by the Centre. System at Work in the World Andrew McCallum explores the complexities of image and identify in the BBC television 30 16 adaptation of Zadie Smith’s acclaimed novel, NW. 16 Operation Julie: Researching the Past Screenwriter Mike Hobbs describes the challenges of researching a script for a sensational crime story forty years after the event. 20 20 Bun Fight: How The BBC The English and Media Centre 18 Compton Terrace Lost Bake Off to Channel 4 London N1 2UN and Why it Matters Telephone: 020 7359 8080 Jonathan Nunns examines Fax: 020 7354 0133 why the acquisition of Bake Email for subscription enquiries: Off may be less than a bun [email protected] in the oven for Channel 4. 25 Mirror, Mirror, on the Editor: Jenny Grahame Wall… Mark Ramey introduces Copy-editing: some of the big questions we Andrew McCallum should be asking about the Subscriptions manager: nature of documentary film Bev St Hill 10 and its relationship to reality. -
A Film by Catherine BREILLAT Jean-François Lepetit Présents
a film by Catherine BREILLAT Jean-François Lepetit présents WORLD SALES: PYRAMIDE INTERNATIONAL FOR FLASH FILMS Asia Argento IN PARIS: PRESSE: AS COMMUNICATION 5, rue du Chevalier de Saint George Alexandra Schamis, Sandra Cornevaux 75008 Paris France www.pyramidefilms.com/pyramideinternational/ IN PARIS: Phone: +33 1 42 96 02 20 11 bis rue Magellan 75008 Paris Fax: +33 1 40 20 05 51 Phone: +33 (1) 47 23 00 02 [email protected] Fax: +33 (1) 47 23 00 01 a film by Catherine BREILLAT IN CANNES: IN CANNES: with Cannes Market Riviera - Booth : N10 Alexandra Schamis: +33 (0)6 07 37 10 30 Fu’ad Aït Aattou Phone: 04.92.99.33.25 Sandra Cornevaux: +33 (0)6 20 41 49 55 Roxane Mesquida Contacts : Valentina Merli - Yoann Ubermulhin [email protected] Claude Sarraute Yolande Moreau Michael Lonsdale 114 minutes French release date: 30th May 2007 Screenplay: Catherine Breillat Adapted from the eponymous novel by Jules Barbey d’Aurevilly Download photos & press kit on www.studiocanal-distribution.com Produced by Jean-François Lepetit The storyline This future wedding is on everyone’s lips. The young and dissolute Ryno de Marigny is betrothed to marry Hermangarde, an extremely virtuous gem of the French aristocracy. But some, who wish to prevent the union, despite the young couples’ mutual love, whisper that the young man will never break off his passionate love affair with Vellini, which has been going on for years. In a whirlpool of confidences, betrayals and secrets, facing conventions and destiny, feelings will prove their strength is invincible... Interview with Catherine Breillat Film Director Photo: Guillaume LAVIT d’HAUTEFORT © Flach Film d’HAUTEFORT Guillaume LAVIT Photo: The idea “When I first met producer Jean-François Lepetit, the idea the Marquise de Flers, I am absolutely “18th century”. -
February 10, 2013 the VIETNAM YEARS for Most of Us Life After
February 10, 2013 THE VIETNAM YEARS For most of us life after graduation began with 60 days of leave. We returned home and relished the free time and lack of structure. The absence of reveille formations, cadet drill, SAMI inspections, papers, WPRs, and numerous other requirements seemed odd at first, but we quickly adjusted to a more relaxed and less structured life style. During those 60 days many of us married at West Point or in the churches and synagogues we had attended before going to West Point. Several had story-book weddings in an old Army chapel at Fort Myer and rode in a horse-drawn coach with their bride. Some chose classmates as the Best Man whose duties included planning the bachelor party and, all too often, instigating embarrassing pranks. With our beautiful bride beside us and beneath sabres provided generously by the Hostess’s Office at West Point, we posed proudly for photographs in our dress uniforms. Some of us traveled across the United States or to foreign countries. Ron Walter and Rick Bunn borrowed a pop-up trailer, hooked it to Ron’s convertible, and drove through Mexico. Passing through deserts, jungles, mountains, and cities, they arrived in Acapulco and camped on the beach next to the Ritz Hotel, which allowed them to enjoy most of the amenities without the costs. They visited friends near Mexico City, swam in the Pacific, and met many amazing people. Although they were robbed three times (once at gun point), losses were minimal and did not disrupt the adventure. Rick said, “After about a month of playing below the border, we were more than ready to return to the States for a real hamburger and a glass of milk.”1 Looking back on those 60 days, we foresaw a rosy future. -
To Mark the 150Th Anniversary of the Birth of Matisse and the Upcoming
To mark the 150th anniversary of the birth of Matisse and the upcoming exhibition of his work at the Pompidou Centre in Paris in 2020, this art documentary invites us to retrace the voyages Matisse made that influenced his art, especially his last trip to Polynesia in 1930, which took him to the threshold of contemporary art with the invention of his gouache-painted cut-outs. In 1930, at the age of 60, Matisse feels the call of the sea, the lure of elsewhere, one last time. He decides to embark on the longest possible journey: to the antipodes, to see Polynesia. The voyage to Tahiti takes several weeks, giving him time to look back on the distance he has travelled in his lifetime. He reflects on the many journeys that he, a man of the North searching for bright light and colours, has continually made throughout his life and career as a painter: to Corsica, Collioure and Nice, where he finally settled in 1917, but also to Algeria, Morocco and the United States. Each time, these trips have been a stepping stone to something else. His Corsican experience led him to Fauvism, his sojourn in Morocco to modern painting; Polynesia will permeate the last 25 years of his creative life and take him to the threshold of contemporary art. This lifelong artistic quest for other lights, colours and shapes has also, above all, been a search for himself that has driven him tirelessly and passionately to pursue the great journey of his life. Polynesia, the sea (1948) Note : The works presented in this dossier are all signed by Henri Matisse and their rights belong to Les Héritiers Matisse (© Succession H. -
Political Goals Versus Commercial Goals: Emile De Antonio's Rush To
Media Industries 6.2 (2019) Political Goals versus Commercial Goals: Emile de Antonio’s Rush to Judgment on the Market Nora Stone1 UNIVERSITY OF ARKANSAS AT LITTLE ROCK norastone [AT] gmail.com Abstract Emile de Antonio had reason to hope that his second documentary, Rush to Judgment (1967), would be as popular as his first, Point of Order! (1963). Made with bestselling author and political commentator Mark Lane, Rush to Judgment was one of the very first films to question the Warren Commission’s conclusion about the Kennedy assassination. However, despite its topicality, Rush to Judgment did not entice exhibitors or audiences. While de Antonio and others attributed the film’s commercial failure to politically motivated censorship and intimidation, this explanation does not account for other factors in the documentary’s release. Using trade journals and Emile de Antonio’s archive, this article finds that Rush to Judgment’s release was hobbled by an inexperienced and dysfunctional distribution company and by de Antonio and Lane’s divergent goals. Most of all, though, the instability of the independent film market in the mid-1960s sunk the release of Rush to Judgment. Keywords: Film Distribution, Documentary, Committed Documentary, Political Emile de Antonio’s first film, Point of Order!, was a surprise success at the box office in 1964. Made with Dan Talbot, owner of the recently opened arthouse New Yorker Theater and later founder of distribution company New Yorker Films, Point of Order! tells the story of the infa- mous Army–McCarthy hearings of 1954. Distributor Walter Reade-Sterling booked Point of Order! in over one hundred cinemas, as well as numerous college campuses. -
Interview Avec Raoul Coutard Pierre-Emmanuel Parais and Marie Renoue
Document generated on 09/26/2021 4:37 p.m. Protée Interview avec Raoul Coutard Pierre-Emmanuel Parais and Marie Renoue Lumières Article abstract Volume 31, Number 3, hiver 2003 Among numerous anecdotes about what represents for us cult films like Le Mépris, À bout de souffle, Alphaville and Tirez sur le pianiste, Raoul Coutard – URI: https://id.erudit.org/iderudit/008441ar famous chief-operator of the “ nouvelle vague ”, photographer and director – DOI: https://doi.org/10.7202/008441ar evokes his work as a lighting engineer, and more particularly the technical and chemical constraints encountered during shooting. This highly technical See table of contents discussion points to, beyond the obvious limitations of the language to account for the light during shooting, how much the material constraints are generating meaningful and admirable luminous effects for their spectators. Publisher(s) Département des arts et lettres - Université du Québec à Chicoutimi ISSN 0300-3523 (print) 1708-2307 (digital) Explore this journal Cite this article Parais, P.-E. & Renoue, M. (2003). Interview avec Raoul Coutard. Protée, 31(3), 101–106. https://doi.org/10.7202/008441ar Tous droits réservés © Protée, 2003 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. -
Framing 'The Other'. a Critical Review of Vietnam War Movies and Their Representation of Asians and Vietnamese.*
Framing ‘the Other’. A critical review of Vietnam war movies and their representation of Asians and Vietnamese.* John Kleinen W e W ere Soldiers (2002), depicting the first major clash between regular North-Vietnamese troops and U.S. troops at Ia Drang in Southern Vietnam over three days in November 1965, is the Vietnam War version of Saving Private Ryan and The Thin Red Line. Director, writer and producer, Randall Wallace, shows the viewer both American family values and dying soldiers. The movie is based on the book W e were soldiers once ... and young by the U.S. commander in the battle, retired Lieutenant General Harold G. Moore (a John Wayne- like performance by Mel Gibson).1 In the film, the U.S. troops have little idea of what they face, are overrun and suffer heavy casualties. The American GIs are seen fighting for their comrades, not their fatherland. This narrow patriotism is accompanied by a new theme: the respect for the victims ‘on the other side’. For the first time in the Hollywood tradition, we see fading shots of dying ‘VC’ and of their widows reading loved ones’ diaries. This is not because the filmmaker was emphasizing ‘love’ or ‘peace’ instead of ‘war’, but more importantly, Wallace seems to say, that war is noble. Ironically, the popular Vietnamese actor, Don Duong, who plays the communist commander Nguyen Huu An who led the Vietnamese People’s Army to victory, has been criticized at home for tarnishing the image of Vietnamese soldiers. Don Duong has appeared in several foreign films and numerous Vietnamese-made movies about the War. -
Gender and the Politics of Decolonization in Early 1960S French Cinema
This is a repository copy of Gender and the politics of decolonization in early 1960s French cinema. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/142211/ Version: Accepted Version Article: Sharpe, M (2019) Gender and the politics of decolonization in early 1960s French cinema. Journal of European Studies, 49 (2). pp. 163-183. ISSN 0047-2441 https://doi.org/10.1177/0047244119837478 © 2019, The Author(s). This is an author produced version of an article published in the Journal of European Studies. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Gender and the politics of decolonization in early 1960s French cinema Erotophilic and politically sublimated are two barbs frequently mobilized to critique the imaginary of early 1960s French cinema. Erotophilic as, for the most part, -
Remembering Henry Hazlitt by Bettina Bien Greaves
Ideas On Liberty NOVEMBER 2004 Remembering Henry Hazlitt by Bettina Bien Greaves enry Hazlitt was one of a very special his mother remarried, the family moved to breed, an economic journalist who not Brooklyn, where he went to the public only reported on economic and politi- schools. After high school, he enrolled at Hcal events in clear and understandable New York City’s free-tuition City College. language, but also made contributions to But his stepfather died, and he had to drop economics. out of college after a few months to work When I arrived at FEE in 1951, I was just and support his widowed mother. Yet, as a neophyte in the freedom philosophy. Hazlitt wrote later, his short time at college Hazlitt was a trustee, author of the best- “had a greater influence than may at first selling Economics in One Lesson, and for sight be supposed, not as much from the several years an editor of the fortnightly knowledge gained there, as from the free-market-oriented news-commentary mag- increased consciousness of the knowledge azine, The Freeman, predecessor of FEE’s which I still had to gain and the consequent The Freeman: Ideas on Liberty. ambition to attain it.”1 He became deter- But he was easy to approach; his manner mined to learn. was pleasant, not aloof or overbearing. He Books became Hazlitt’s university. He was of average height. His features were reg- embarked on a self-imposed home-study ular, and he wore a mustache. He dressed course, reading and writing prodigiously. He appropriately for a journalist working in read college texts, browsed in libraries, and midtown Manhattan in his day—in suit and studied shorthand and typing. -
Appendix Screenings and Additional Resources
Appendix Screenings and Additional Resources The analyses of various films and television programmes undertaken in this book are intended to function ‘interactively’ with screenings of the films and programmes. To this end, a complete list of works to accompany each chapter is provided below. Certain of these works are available from national and international distribution companies. Specific locations in the United States, the United Kingdom and Australia for each of the listed works are, nevertheless, provided below. The entries include running time and format (16 mm, VHS, or DVD) for each work. (Please note: In certain countries films require copyright clearance for public screening.) Also included below are further or additional screenings of works not analysed or referred to in each chapter. This information is supplemented by suggested further reading. 1 ‘Believe me, I’m of the world’: documentary representation Further reading Corner, J. ‘Civic visions: forms of documentary’ in J. Corner, Television Form and Public Address (London: Edward Arnold, 1995). Corner, J. ‘Television, documentary and the category of the aesthetic’, Screen, 44, 1 (2003) 92–100. Nichols, B. Blurred Boundaries: Questions of Meaning in Contemporary Culture (Bloomington: Indiana University Press, 1994). Renov, M. ‘Toward a poetics of documentary’ in M. Renov (ed.), Theorizing Documentary (New York: Routledge, 1993). 2 Men with movie cameras: Flaherty and Grierson Nanook of the North, Robert Flaherty, 1922. 55 min. (Alternative title: Nanook of the North: A Story -
Advisory Board
Advisory Board Sam Champi A 1966 West Point graduate, Sam had a brilliant career at the West Point Academy as a star football player on the 1964 Army team that beat Navy and by being in the top 10 in academics in his graduating class, number two in military aptitude and named to the “National Football Collegiate Foundation Scholar Athlete Hall of Fame.” In January 1968 he received a Masters Degree in Civil Engineering from Princeton University. After graduating from the Army’s Ranger School in April 1968, Sam served as a military engineer in Vietnam where he was engaged in numerous engineering tasks such as bridge building. After the Vietnam War ended, he invested time and money and worked diligently to bring low cost housing to Vietnam and insure that the host government obtained products on time and at the best price. Sam will bring his training, drive and business experience to successfully achieve the new company’s goal of readying US Veterans for productive employment. He will fight to keep American jobs onshore while expanding operations at the Veterans Sourcing Group’s domestic outsourcing center in Reading PA. Jon Thompson Jon received his BS from the U.S. Military Academy, West Point, NY and his MS in Aerospace Engineering from the University of Texas. Jon served as a ranger qualified Army reconnaissance combat pilot in Vietnam and was awarded among other decorations, the Bronze Star and 16 Air Medals. Jon has remained active in military affairs and has visited more than 42 countries on official missions relating to U.S. -
1 Rapport D'activité 2010
Rapport d’activité 2010 RAPPORT D’ACTIVITÉ 2010 Rapport d’activité 2010 TABLE DES MATIERES Editorial ....................................................................................................................................................................... 3 I LES ACTIVITES PROPOSEES AU PUBLIC EN 2010..........................................................................................5 1 La programmation des films ................................................................................................................................ 6 2 Les expositions.................................................................................................................................................. 10 3 L’action culturelle............................................................................................................................................... 12 4 La Bibliothèque du film ...................................................................................................................................... 20 5 La Librairie et le restaurant................................................................................................................................ 22 6 Les invités de la Cinémathèque ........................................................................................................................ 23 II LES COLLECTIONS............................................................................................................................................25 1 Enrichissement