DOCSLIB.ORG

April 8Th 1981

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
April 8Th 1981 California State University, San Bernardino CSUSB ScholarWorks Paw Print (1966-1983) Arthur E. Nelson University Archives 4-8-1981 April 8th 1981 CSUSB Follow this and additional works at: https://scholarworks.lib.csusb.edu/pawprint Recommended Citation CSUSB, "April 8th 1981" (1981). Paw Print (1966-1983). 354. https://scholarworks.lib.csusb.edu/pawprint/354 This Article is brought to you for free and open access by the Arthur E. Nelson University Archives at CSUSB ScholarWorks. It has been accepted for inclusion in Paw Print (1966-1983) by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. serving the CSCSB commuhify Vol. XVI Issue No. 19 California State College at San Bernardino Wednesday, April 8 1981 A.S. Elections Set MARCH FONG EU For April 22 & 23 Elections for the Associated Students officers and representatives for the 1981-82 school year will be held April 22, and 23, according to To Speak On Campus Elections Chair Cheryl Chambless. Students interested in running for office may pick up and return their petitions at the Student Union desk up until April 10. During 1980-81, the A.S. Board of Directors and executive officers . As the highest-ranking administered a budget set at $72,811. A.S. budget covers government official ever to administration of the A.S. offices, participation in the California speak at CSCSB. March Fong State Students Association, (a lobbying group with the Legislature Eu. the Secretary of State for the and Chancellor's Office), campus activities (movies, dances, stale of California, will be on concerts, and lectures), and helps support special areassuch as Black campus Wednesday, April 15. History Week, Cinco de Mayo, committees for clubs, intramural from noon until 1:00 in the sports activities, The PawPrint, Inland Empire Library Cooperative Recital Hall of the Creative Arts Evening Services Office, Health Fair, Child Care Center, ESCAPE Building. events and Services Committee. Eu will speak on the impact A candidates meeting is set for April 13 at 3:00 p.m. in the Senate she has had on the state Chamber, Student Union building. The official campaigning will government both as the begin on April 14. Chambless warned that all candidates or their Secretary of State as well as in representative must be present at the April 13 meeting. -iier^enuf e.a.s.a vtnenibei;jif. the Officers to be-elected are-the A.S. President,, Vice President, Assembly. It was through her Treasurer, and seven members of the Board of Directors. Under seat in the legislature that she current A.S. budgeting the President receives a stipend of $500 per gained statewide recognition for quarter while the VP and Treasure receive $350. her fight against pay toilets in Representing the various schools on campus are the public buildings. representatives who make up the Board of Directors and vote on. Eu's speech, sponsored by the fiscal and policy matters throughout the year. A.S. and the Political Science Students with majors in the following areas may run as BOD Council, is open to the public. Eu representative from their school: plans to limit her speech .to the Natural Science, Education, Social Science, Administration, early portion of the hour so that Humanities. Two other posts are available to Students who would she may respond to questions represent the Special, Dual and Interdisciplinary majors and the from the audience. undeclared majors. The A;S. President, in addition to normal presidential duties of speaking for the students and representing them on various boards Annual Open House Festivities cont'd on page 3 Planned For Cal State Campus fc.'. »' ^ •' r'-.l.. by Terry Seal the students, and the faculty to a book sale, a barbecue, an The Cal State Open House, get together as well." alumni luncheon, and balloons icbeduled for Sunday, April The day is set to begin with a and clowns to set the 16th, is a day-long celebration 5K and a lOK walk beginning at atmosphere. tat is expected to become an 8:30 a.m., with registration for Says Hogenson, "I think it will innual event. A continuation the races running from 7:30 a.m. be a really exciting day. Last Tom last year's I5th anniversa- to 8:15 a.m. Everything else year was colorful and fun. People •y celebration, it is due to feature starts at 11:00 with department­ were hapi:^ and relaxed. It lub booths, sports events, art al displays opening at 1:00 p.m. should be an enjoyable day all lisplays, departmental demon­ Club booths will sell drinks and around." strations, balloons and clowns, refreshments. Highlights of the Invitations will be mailed out t is being advertised as a chance "day will feature a children's art to every Cal State student, with or the campus and community fair, a soccer game featuring the a limited supply of invitations sO come together and celebrate. Cal State soccer club versus left over in the Activity office for "After 15 years we would like Norton Air Force Base, a softball those who want to invite their 10 acquaint the community with game featuring last year's team family and friends. There is )ur services," says Jeanne against KCKC. and a Chili currently an opening for tour Hcgenson, Director of Activities. bakeoff open to the faculty, staff, guides. Students who want to "We would like to reach out to and students. The art gallery apply are advised by Hogenson Rodin's "The Kiss" provided the perfect backdrop for the on the community, invite them to will feature a wooden art show, to call the Activity office, campus filming of "Buddy Buddy," a new movie staring the campus. We feel that this is principally displayed by faculty extension 7407. Walter Matthau and Jack Lemmon. Story and additional an excellent chance for the staff, member Leo Doyle. There will be photos on pages 4 & 5. Page 2 The'Pau'Print Wednesday, April 8 1981 Foto of the Month Letters, The PawPrim! is published under the control of theC^SB Publications Brard. It is pubHshed on a weekly basis during KKK Denounced the academic year for a total of thirty-one issues less qearter breaks and final exam P®riods. Contact the office at 887-7497, Dear Editor, 55'500 Slate Collew Parkwav, San Bemardina CA. 92407, for further Kudos to the Political science information. " Council in the denouncement of Advertisa^ requests should be addressed «- direct^ to (he Business the Klu Klux Klan and its Manager a the address and number above. barbaric activities. It^ time Classified ads may be ordered media stopped their de facto similarly except that such ads for students, faculty and staffofCSCSBupto IJromotion of the Klan wijh twenty words in length are free. incessant co\erage of its Ad and Copy deadlines are the Friday precedit^ the date of publication. activities in their overzealous Copy received after that date appears in drive for sensationalism. the paper on a space available basis. Ad Policy The IhwPrinI accepts all advertising in eood faith but makes no warranty, and does not check any goods or While the Klan iiiay oppose service adverlised- Communism in. ot.ir country, Letters to the Editor should be kept to a maximom td one and one half typ^ there are oiher groups th^it can pages. Letters whkh attack any person do a much more effective joii of may be held until that person has time to respond in the same issue as the other opposing. Communism through letter. Lettos must include name and address, a phone number and must be much - "more" civilized means. signed although names will be withheld Most importantly, they are not upon request. The PavPrint reserves the right to sworn to the spread of edit all copy submitted in order to comply Brett Wyatt, founder and mans the fort during spring destructive white-supremisl with space requirements, libel laws and good taste! president of the inordinantly registration, racism. The Klan along with the ' publicized Peace Reaction Club, The PawPrint is funded in part by Nazis are the most racist groups an annual allocation by The in America, dedicated to Associated Sttxients to cover the achieving their ends only costs of printing and expenses. It is distributed free to students and to through violent bloodshed. the community. The remainder of Letters to the Editor These two organizations, along the funding is developed by The with the Communist Party, are PawPrint itself through program generated revenue accounts from Atlanta Tragedy of higher education. And lastly, people." Regulations means the greatest philosophical advertising. we ask that everyone pray that keeping guns out of the hands of threats to the country, and Dear Editor there won't be a 23rd death. the felon, the juvenile offender, cannot and must not be STAFF and the incompetent. Isn't that tolerated. Communism and Editor-m-Chief For over 19 months the city of Phi Beta Sigma Inc. what everyone wants? racism have got to go. Atlanta. Georgia has been' Karen M. Newcombe covered with a dark shroud of Cornel G. Ormsby ' Chris Ellis Asst VMnmr Brad Johnson terror. Somewhere lurking u Buswess the darkness of black Atlanta's Gun Control Arfv«.r».tti»g Gregg Bynum sprawling urbania, is a killer, a Revisited Enteruunmea — Terry Seal killer who has cruelly taken the Photo Editor. ,,.Ran4y Lanier lives of 22 beautiful children. Dear Editor Layout ...VKevi'n Laughren He has taken from the world Typography- Bill McCluskey 22 potential presidents, doctors, The ideal time I'll bet that Paula Ferguson Reporters..... .... Louise Connel lawyers, or teachers.
Load more

Recommended publications
  • MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
    The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953).
    [Show full text]
  • The Apartment the Fortune Cookie
    the title was changed from “Jealous Lover” to again by Andre Previn (his fourth for Wilder, “Theme From The Apartment.” The Apartment and his final original Hollywood film score), and THE APARTMENT went on to receive several Academy Award once again I thought it was absolutely perfect. nominations, including picture, screenplay, di - His themes were truly memorable and clever THE FORTUNE COOKIE rection, art direction, editing, photography, and really served the film beautifully. Thankfully, sound, and nominations for Lemmon, there was an LP, and, of course, like all the oth - “Shut up and deal.” MacLaine, and co-star Jack Kruschen. It took ers, I bought it and played it to death. The film A marriage made in heaven, Wilder and home statues for picture, screenplay, direction, won an Oscar for Matthau, and was nominated Lemmon-wise. art direction, and editing. The soundtrack album for screenplay, photography, and art direction. was nominated for a Grammy. Eight years after Previn uses not only Cole Porter’s great “You’d In 1959, Billy Wilder made screen history with the film was made, The Apartment became a Be So Nice To Come Home To” in the score, but one of the funniest films ever made. Those who big hit Broadway musical called Promises, also his own “Second Chance” from Two For watch it today in the privacy of their home the - Promises , with a book by Neil Simon, and The Seesaw . aters might not understand what all the fuss score by Burt Bacharach and Hal David. was about, but seeing Some Like It Hot in its Flash forward a few years later and I am, of Wilder and Lemmon would make three more first-run engagement was an unbelievable ex - course, at the Grauman’s Chinese for the open - films together – Avanti, The Front Page , and perience – I know, I was there.
    [Show full text]
  • British Film Institute Report & Financial Statements 2006
    British Film Institute Report & Financial Statements 2006 BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006 Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission ABOUT THE BFI The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to fi lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request. Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the benefi t of as wide an audience as possible, to create and encourage debate.’ SUMMARY OF ROYAL CHARTER OBJECTIVES: > To establish, care for and develop collections refl ecting the moving image history and heritage of the United Kingdom; > To encourage the development of the art of fi lm, television and the moving image throughout the United Kingdom; > To promote the use of fi lm and television culture as a record of contemporary life and manners; > To promote access to and appreciation of the widest possible range of British and world cinema; and > To promote education about fi lm, television and the moving image generally, and their impact on society.
    [Show full text]
  • The Culture of Queers
    THE CULTURE OF QUEERS For around a hundred years up to the Stonewall riots, the word for gay men was ‘queers’. From screaming queens to sensitive vampires and sad young men, and from pulp novels and pornography to the films of Fassbinder, The Culture of Queers explores the history of queer arts and media. Richard Dyer traces the contours of queer culture, examining the differ- ences and continuities with the gay culture which succeeded it. Opening with a discussion of the very concept of ‘queers’, he asks what it means to speak of a sexual grouping having a culture and addresses issues such as gay attitudes to women and the notion of camp. Dyer explores a range of queer culture, from key topics such as fashion and vampires to genres like film noir and the heritage film, and stars such as Charles Hawtrey (outrageous star of the Carry On films) and Rock Hudson. Offering a grounded historical approach to the cultural implications of queerness, The Culture of Queers both insists on the negative cultural con- sequences of the oppression of homosexual men and offers a celebration of queer resistance. Richard Dyer is Professor of Film Studies at The University of Warwick. He is the author of Stars (1979), Now You See It: Studies in Lesbian and Gay Film (Routledge 1990), The Matter of Images (Routledge 1993) and White (Routledge 1997). THE CULTURE OF QUEERS Richard Dyer London and New York First published 2002 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor and Francis e-Library, 2005.
    [Show full text]
  • SHSU Video Archive Basic Inventory List Department of Library Science
    SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films.
    [Show full text]
  • NINOTCHKA (1939, 110 Min)
    February 1, 2011 (XXII:3) Ernst Lubitsch, NINOTCHKA (1939, 110 min) Directed by Ernst Lubitsch Written by Charles Brackett, Billy Wilder, Walter Reisch, Melchior Lengyel (story) Produced by Ernst Lubitsch and Sidney Franklin Cinematography by William H. Daniels Edited by Gene Ruggiero Art Direction by Cedric Gibbons Costume Design by Adrian Greta Garbo...Ninotchka Melvyn Douglas...Leon Ina Claire...Swana Bela Lugosi...Razinin Sig Ruman...Iranoff Felix Bressart...Buljanoff Alexander Granach...Kopalski Gregory Gaye...Rakonin CHARLES BRACKETT (November 26, 1892, Saratoga Springs, New National Film Registry 1990 York – March 9, 1969, Los Angeles, California) won four Academy Awards: 1946 – Best Screenplay (The Lost Weekend) – shared w. ERNST LUBITSCH (January 28, 1892, Berlin, Germany – November Billy Wilder; 1951 – Best Screenplay (Sunset Blvd.) – w. Billy 30, 1947, Hollywood, California) won an honorary Academy Wilder, D.M. Marshman Jr.; 1954 – Best Screenplay (Titanic) – w. Award in 1947. He directed 47 films, some of which were 1948 Walter Reisch, Richard L. Breen; and 1958 – Honorary Award – That Lady in Ermine, 1946 Cluny Brown, 1943 Heaven Can Wait, (“for outstanding service to the Academy”). He has 46 1942 To Be or Not to Be, 1941 That Uncertain Feeling, 1940 The screenwriting titles, some of which are 1959 Journey to the Center Shop Around the Corner, 1939 Ninotchka, 1938 Bluebeard's Eighth of the Earth, 1956 “Robert Montgomery Presents”, 1955 The Girl Wife, 1937 Angel, 1935 La veuve joyeuse, 1934 The Merry Widow, in the Red Velvet
    [Show full text]
  • Home Advice, Gossip, and Professional Resignation: the Female Journalists in the Films of Billy Wilder
    Asian Women March 2016, Vol. 32, No. 1, pp. 111-128 Home Advice, Gossip, and Professional Resignation: The Female Journalists in the Films of Billy Wilder Simón Peña-Fernández University of the Basque Country, Spain Abstract The cinematic image of journalism has traditionally relegated the role of women to the background. The same occurs in Billy Wilder films, whose powerful portrayal of the profession in Ace in the Hole (1951) and The Front Page (1974) was cemented in his previous career as a reporter for tabloids in Vienna and Berlin in the twenties. Among the numerous journalists that appear in the twenty-six films he wrote and directed, only one in ten are women, and they are also relegated to the stereotypical patterns of representation of the early twentieth century. But unlike many other directors who worked as journalists before entering the world of motion pictures and who subsequently contributed to the construction of the film stereotype of the profession, Wilder could boast about something that was hardly within reach of his peers, since he had impersonated a female journalist who offered advice in the Berlin tabloid Tempo. This paper analyzes the female journalist characters in the twenty-six films written and directed by Billy Wilder, among the 240 workers in the mass media who appear in those films. The results show that Wilder relied on a highly stereotyped portrait of the profession, with only three female characters with enough of their own identity to stand out as individuals, and that Wilder’s portrait ties in with a primitive view of the profession in which women are only one out of ten media workers and only suited to write gossip columns and offer home advice.
    [Show full text]
  • Femme Fatale
    the cinematic flâneur manifestations of modernity in the male protagonist of 1940s film noir Petra Désirée Nolan Submitted in Total Fulfilment of the Requirements of the Degree of Doctor of Philosophy April 2004 The School of Art History, Cinema, Classics and Archaeology The University of Melbourne Abstract The hardboiled hero is recognised as a central trope in the film noir cycle, and particularly in the ‘classic’ noir texts produced in Hollywood in the 1940s. Like the films themselves, this protagonist has largely been understood as an allegorical embodiment of a bleak post-World War Two mood of anxiety and disillusionment. Theorists have consistently attributed his pessimism, alienation, paranoia and fatalism to the concurrent American cultural climate. With its themes of murder, illicit desire, betrayal, obsession and moral dissolution, the noir canon also proves conducive to psychoanalytic interpretation. By oedipalising the noir hero and the cinematic text in which he is embedded, this approach at best has produced exemplary noir criticism, but at worst a tendency to universalise his trajectory. This thesis proposes a complementary and newly historicised critical paradigm with which to interpret the noir hero. Such an exegesis encompasses a number of social, aesthetic, demographic and political forces reaching back to the nineteenth century. This will reveal the centrality of modernity in shaping the noir hero’s ontology. The noir hero will also be connected to the flâneur, a figure who embodied the changes of modernity and who emerged in the mid-nineteenth century as both an historical entity and a critical metaphor for the new subject. As a rehistoricised approach will reveal, this nineteenth century—or classic—flâneur provides a potent template for the noir hero.
    [Show full text]
  • Chapter 7. in the Closet of Sir Arthur Conan Doyle
    Chapter 7 IN THE CLOSET OF SIR ARTHUR CONAN DOYLE: THE PRIVATE LIFE OF SHERLOCK HOLMES (1970) “I should have been more daring. I have this theory. I wanted to have Holmes homosexual and not admitting it to anyone, including maybe even himself. The burden of keeping it secret was the reason he took dope.” —Billy Wilder1 Watson: “I hope I’m not being presumptuous, but there have been women in your life?” Holmes: “The answer is yes. You’re being presumptuous.” —From The Private Life of Sherlock Holmes About halfway through the episodic The Private Life of Sherlock Holmes, the famous detective (Robert Stephens), his trusted companion, Dr. Watson (Colin Blakely), and their client, the Belgian Gabrielle Valladon (Geneviève Page), take an overnight train to Inverness, Scotland, where they hope to fi nd a trace of Gabrielle’s missing engineer husband, Emile. Pretending to be Mr. and Mrs. Ashdown, Holmes and Gabrielle share a sleeping compart ment, while Watson, disguised as their valet, travels in third class. As Holmes in the upper berth and Gabrielle below him get ready for sleep, the conversa- tion turns to the topic of women, and the following exchange ensues: Gabrielle: “Women are never entirely to be trusted—not the best of them.” Holmes: “What did you say?” Gabrielle: “I didn’t say it—you did. According to Dr. Watson.” Holmes: “Oh!” Gabrielle: “He gave me some old copies of Strand Magazine.” Holmes: “The good doctor is constantly putting words into my mouth.” Gabrielle: “Then you deny it?” Holmes: “Not at all. I am not a whole-hearted admirer of womankind.” This open access library edition is supported by Knowledge Unlatched.
    [Show full text]
  • INNOVATIVE TITLES ® ACADEMIC Cognella PUBLISHING
    INSPIRING ACADEMIC EXCELLENCE THROUGH INNOVATIVE TITLES ® ACADEMIC cognella PUBLISHING Watching Wilder: A Critical Guide to Director Billy Wilder’s Films leads students through the experience of critically viewing the American films of Billy Wilder, one of the most influential and celebrated directors of the 20th century. Beginning with The Major and the Minor, the film that marks Billy Wilder’s American directorial debut in 1942, the text offers students a chronological tour of 25 films, including renowned works such as Double Indemnity, Sunset Blvd., Sabrina, The Apartment, and Some Like It Hot. Students are provided with background information for each film, as well as a set of thought-provoking questions that put them in the critic’s seat and elicit deeper analysis. As they progress through the films, students are encouraged to identify key themes and observe how Wilder’s work evolved over time. They learn from Wilder’s artistic eye for creating amazing mise en scene and his ability to successfully direct films across genres, including film noir, for which Wilder shares credit as a creator. The only comprehensive viewing guide for Billy Wilder’s films,Watching Wilder is a valuable resource for film courses with concentration in directing, writing, and production. Sherry Lowell-Lewis is a film actor and screenwriter, tele- vision actor, stage actor and playwright, and voice recording artist. She received her M.A. in drama and speech from the University of Texas at El Paso. Lowell-Lewis previously taught Watching Wilder courses in drama and film at El Paso Community College and A Critical Guide to Director Billy Wilder’s Films currently serves as a lecturer of communication and film at The University of Texas at El Paso.
    [Show full text]
  • Billy Wilder: Eine Arbeitsbibliographie 2012
    Repositorium für die Medienwissenschaft Hans Jürgen Wulff Billy Wilder: Eine Arbeitsbibliographie 2012 https://doi.org/10.25969/mediarep/12774 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Billy Wilder: Eine Arbeitsbibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2012 (Medienwissenschaft: Berichte und Papiere 141). DOI: https://doi.org/10.25969/mediarep/12774. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0141_12.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 141, 2012: Billy Wilder. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. ISSN 1613-7477. ULR: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0141_12.pdf Letzte Änderung: 20.8.2012. Billy Wilder: Eine Arbeitsbibliographie Zusammengestellt v. Hans J. Wulff [*] Für Hinweise danke ich Ludger Kaczmarek und Ina Kreuzregister der Titel Wuff. Eingegangen sind Teile der verdienstvollen Biblio- graphie, die Frank Arnold für den Begleitband der Berli- (in der Chronologie der Filme)
    [Show full text]
  • Sunset Boulevard (1950) and Fedora (1978)
    Chapter 4 GHOSTING HOLLYWOOD: SUNSET BOULEVARD (1950) AND FEDORA (1978) “[A] ghost never dies, it remains always to come and to come-back.” —Jacques Derrida1 “The ghost of Sunset Boulevard was hanging over the production of Fedora . and that I think was good.” —Billy Wilder2 Enter the Ghosts Early into the 1940 musical comedy, Rhythm on the River, Oliver Courtney, a famous singer-composer suffering from writer’s block, tries to persuade young writer Cherry Lane to write songs for him without receiving actual credit. Perplexed by his offer she expresses her fear that this would be a “misrepresentation,” but Courtney puts her mind at ease when he ex- plains this to be a common practice: “It’s called ghost-writing. It’s a very profi table profession.” “For the ghost?” she wonders, only to be corrected by him: “For the writer.” Even though Rhythm on the River (originally called Ghost Music) contains some clearly Wilderesque dialogue, Wilder would only earn story credit on the fi lm. Like Cherry Lane, he was familiar with the experience of being a ghost and hence at the short end of the rather lucrative stick of having a career in entertainment, an experience which extends back to his early days in Berlin where he claims to have written literally hundreds of uncredited stories and exposés for silent fi lms. The term for such writers in the indus- try at the time was “Neger” (negro), and meant to convey both the invisibil- ity of their labor and the slave-like conditions under which they produced their work.
    [Show full text]