For Immediate Release Richard Dreyfuss to Attend
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What's Inside
NON-PROFIT ORG. U.S. POSTAGE PAID What’s Inside: ROCHESTER, NY Page 2 | Letter from the President East House | 259 Monroe Avenue | Suite 200 | Rochester, NY 14607 PERMIT NO. 1109 Page 3 | Breaking Ground – Alexander St. Page 4 | Meet East House at the Ball Game Page 5 | Color & Lights Water Infusion Party Page 8 | Upcoming Events IN CELEBRATION OF EAST HOUSE’S 50TH ANNIVERSARY, THE 2016 HOPE & RECOVERY LUNCHEON will feature guest speaker Richard Dreyfuss, Academy Award, Golden Globe, and BAFTA award-winning actor, and mental Happenings at East House… Advance Newsletter health advocate on Friday, September 30 at 11:30am at the Floreano Rochester is published three times per year by: Riverside Convention Center. Calendar of Events East House 259 Monroe Avenue, Suite 200 Richard Dreyfuss is a renowned actor of both stage and screen whose career has Rochester, NY 14607 spanned almost 50 years and whose performances have moved millions. In 1978, FRIDAY, APRIL 15 FROM 5:30-7:30PM P:585.238.4800 COLOR + LIGHTS WATER INFUSION PARTY F:585.238.4899 Richard was the youngest man, at the age of 30, to win the Academy Award Please join East House as we celebrate our 50th anniversary at the www.easthouse.org for Best Actor for his performance in The Goodbye Girl. For his role in that fi lm, Penthouse at One East Avenue. For more information about the event, Facebook: EastHouseNY he also won a Golden Globe Award, LA Film Critics Association Award, BAFTA Twitter: @EastHouseNY please see the article on page 5 or visit easthouse.org. -
Vocabulary Chart Keep a List of Words You Learn Throughout the Unit. For
Vocabulary Chart Keep a list of words you learn throughout the unit. For the source sentence, underline or highlight the parts of the sentence which give clues to the meaning of the word. Part of Synonyms, Antonyms, and Word My Definition Picture and Source Sentence Speech Similar Words (Word Family) liberty noun (Lesson 1) “Some left in search of religious freedom. [. .] America was the land of liberty.” (Liberty!) subjects noun (Lesson 1) “The colonists were still proud to be subjects of the king of England, even though he ruled them from 3,000 miles across the ocean.” (Liberty!) Grade 4: American Revolution Part of Synonyms, Antonyms, and Word My Definition Picture and Source Sentence Speech Similar Words (Word Family) opportunity noun (Lesson 1) “But in America, if you worked hard, you might become one of the richest people in the land. [. .] they were very glad to live in the new and wonderful land of opportunity‐‐ America.” (Liberty!) ally noun (Lesson 1) “[The English settlers] had a powerful ally‐‐England. They called England the ‘Mother Country.’ [. .] Now that her children were in danger, the Mother Country sent soldiers to help the settlers’ own troops defend the colonies against their enemies.” (Liberty!) Grade 4: American Revolution Part of Synonyms, Antonyms, and Word My Definition Picture and Source Sentence Speech Similar Words (Word Family) possession noun (Lesson 1) “France lost almost all her possessions in North America. Britain got Canada and most of the French lands east of the Mississippi.” (Liberty!) declaration noun (Lesson 3) “The Declaration of Independence, which was signed by members of the Continental Congress on July 4, 1776, showed that the colonies wanted to be free.” (...If You Lived at the Time...) Grade 4: American Revolution Part of Synonyms, Antonyms, and Word My Definition Picture and Source Sentence Speech Similar Words (Word Family) interested verb (Lesson 3) “Each colony was interested only in its local problems. -
The Blair Witch Project: Forming Strong Attitudes, Beliefs and Consumer Intentions from a Myth”
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Rugimbana, Robert & Silver, Jon (2006) The Blair Witch Project : Forming strong attitudes, beliefs and consumer intentions from a myth. Consumer Behaviour: An Asia-Pacific Approach., 2006. [Article] This file was downloaded from: https://eprints.qut.edu.au/41193/ c Copyright 2010 Cengage Learning Australia Pty Ltd This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. “The Blair Witch Project: Forming strong attitudes, beliefs and consumer intentions from a myth”. A MARKETING CASE STUDY Robert Rugimbana and Jon Silver Published in: Blackwell, Roger; D’Souza, Claire; Taghian, Mehdi; Miniard, Paul & Engel, James (2006) Consumer Behaviour: An Asia-Pacific Approach. -
Cyclopaedia 15 – Alternate History Overview
Cyclopaedia 15 – Alternate History By T.R. Knight (InnRoads Ministries * Article Series) Overview dimensions, or technological changes to explore these historical changes. Steampunk, Alternate History brings up many thoughts dieselpunk, and time/dimensional travel and feelings. To historical purists, this genre stories are good examples of this subcategory of fiction can look like historical revisionism. of Alternate History. Alternate History rides a Speculative fiction fans view these as “What fine line between Historical Fiction and If” scenarios that challenge us to think Science Fiction at this point. outside historical norms to how the world could be different today. Within the science Whatever type of Alternate History you fiction genre, alternate history can take on enjoy, each challenges your preconceived many sub-genres such as time travel, understandings and feelings for a time period alternate timelines, steampunk, and in history, perhaps offering you new dieselpunk. All agree that Alternate History perspectives on the people and events speculates to altered outcomes of key events involved. in history. These minor or major alterations Most common types of have ripple effects, creating different social, political, cultural, and/or scientific levels in Alternate History? the world. Alternate History has so many sub-genres Alternate History takes some queues from associated with it. Each one has its own Science Fiction as a genre. Just like Science unique alteration of history, many of which Fiction, Alternate History can be organized are considered genres or themes unto into two sub-categories that are “Hard” and themselves. “Soft” like Science Fiction. 80s Cold War invasion of United “Hard” Alternate History could be viewed as States stories and themes that stay as true to actual Axis victory in World War II history as possible with just one or two single Confederate victory in American changes that change the outcome, such as Civil War the Confederate Army winning the Civil War Dieselpunk or the Axis winning World War 2. -
Play-Guide Sunshine-Boys-FNL.Pdf
TABLE OF CONTENTS ABOUT ATC 1 INTRODUCTION TO THE PLAY 2 SYNOPSIS 2 MEET THE CREATOR 2 MEET THE CHARACTERS 4 COMMENTS ON THE PLAY 4 COMMENTS ON THE PLAYWRIGHT 6 THE HISTORY OF VAUDEVILLE 7 FamOUS VAUDEVILLIANS 9 A VAUDEVILLE EXCERPT: WEBER AND FIELDS 11 MEDIA TRANSITIONS: THE END OF AN ERA 12 REFERENCES IN THE PLAY 13 DISCUSSION QUESTIONS AND ACTIVITIES 19 The Sunshine Boys Play Guide written and compiled by Katherine Monberg, ATC Literary Assistant. Discussion questions and activities provided by April Jackson, Education Manager, Amber Tibbitts and Bryanna Patrick, Education Associates Support for ATC’s education and community programming has been provided by: APS John and Helen Murphy Foundation The Maurice and Meta Gross Arizona Commission on the Arts National Endowment for the Arts Foundation Bank of America Foundation Phoenix Office of Arts and Culture The Max and Victoria Dreyfus Foundation Blue Cross Blue Shield Arizona PICOR Charitable Foundation The Stocker Foundation City of Glendale Rosemont Copper The William l and Ruth T. Pendleton Community Foundation for Southern Arizona Stonewall Foundation Memorial Fund Cox Charities Target Tucson Medical Center Downtown Tucson Partnership The Boeing Company Tucson Pima Arts Council Enterprise Holdings Foundation The Donald Pitt Family Foundation Wells Fargo Ford Motor Company Fund The Johnson Family Foundation, Inc Freeport-McMoRan Copper & Gold Foundation The Lovell Foundation JPMorgan Chase The Marshall Foundation ABOUT ATC Arizona Theatre Company is a professional, not-for-profit -
The Invisible Monstrous-Feminine
THE INVISIBLE MONSTROUS-FEMININE: THE BLAIR WITCH AND HER HETEROTOPIC WOODS Nb A thesis submitted to the faculty of 30 San Francisco State University Z0\S In partial fulfillment of F im the requirements for * the Degree Master of Arts In Cinema by Erez Genish San Francisco, California May 2015 Copyright by Erez Genish 2015 CERTIFICATION OF APPROVAL I certify that I have read The Invisible Monstrous-Feminine: The Blair Witch and her Heterotopic Woods by Erez Genish, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Cinema at San Francisco State University. THE INVISIBLE MONSTROUS-FEMININE: THE BLAIR WITCH AND HER HETEROTOPIC WOODS Erez Genish San Francisco, California 2015 What is absent in the pseudo found-footage film of Eduardo Sanchez and Daniel Myrick’s The Blair Witch Project (1999), is the visual depiction of the Blair witch. The nontraditional tactic of leaving the witch in the woods without form stands in contrast to other folklore and fairytales that perpetuated the mythic figure of the crone, an old woman whose decaying body represents the blurred line between life and death. The crone- witch corresponds to Barbara Creed’s notion of the monstrous-feminine and her analysis of Julia Kristeva’s abject. As her polluted, filthy old mark her a phobic referent, the crone-witch becomes the non-object that draws the subject to the regenerative womb. However, what draws a parallel in the BWP between the monstrous-feminine crone and abjection is the witch’s invisibility. -
The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d. -
Windsor's Importance in Vermont's History Prior to the Establishment of the Vermont Constitution
PROCEEDINGS OF THE VERMONT HISTORICAL SOCIETY FOR THE YEARS 1921, 1922 AND 1923 CAPI TAL C ITY PRESS MONTPE LIER, VT. 192 4 Windsor's Importance in Vermont's History Prior to the Establishment of the Vermont Constitution A PAPER READ BEFORE THE VERMONT HISTORICAL SOCIETY AT WINDSOR IN THE OLD CONSTITUTION HOUSE SEPTEMBER 4, 1822 By Henry Steele Wardner Windsor's Importance in Vermont's History To be invited to address you in this, my native town and still my home, and in this, the most notable of Vermont's historic buildings, gives me real pleasure. That pleasure is the greater because of my belief that through the neglect of some of Vermont's historians as well as through the enter prise of others who, like myself, have had their own towns or group of individuals to serve and honor, the place of Windsor in Vermont's written history is not what the town deserves and because your invitation gives me an opportunity to show some forgotten parts of Windsor's claim to historic impor tance. Today I shall not describe the three celebrated conven tions held in this town in 1777, the first of which gave to the State its name, while the second and third created the State and gave to it its corporate existence and its first constitution; nor shall I touch upon the first session of Vermont's legislature held here in 1778, although upon these several events mainly hangs Windsor's fame as far as printed history is concerned. Nor shall I dwell upon Windsor as the first town of Vermont in culture and social life through the last decade of the eigh teenth century and the first quarter of the nineteenth, nor yet upon the extraordinary influence which the early artisans and inventors of this town have had upon industries in various parts of the world. -
Marvin Hamlisch
tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE MUSIC OF MARVIN HAMLISCH Monday, October 19, 2015 ~ 8 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building The Ira and Leonore Gershwin Fund in the Library of Congress was established in 1992 by a bequest from Mrs. Gershwin to perpetuate the name and works of her husband, Ira, and his brother, George, and to provide support for worthy related music and literary projects. "LIKE" us at facebook.com/libraryofcongressperformingarts loc.gov/concerts Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Monday, October 19, 2015 — 8 pm tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE mUSIC OF MARVIN hAMLISCH WHITNEY BASHOR, VOCALIST | CAPATHIA JENKINS, VOCALIST LINDSAY MENDEZ, VOCALIST | BRYCE PINKHAM, VOCALIST -
Correspondence I I
3. GROUNDFJSH (Apri/23-25, 2013)-M Correspondence I I I I I I April10, 2013 Marshall Spear 373 Bayview Street J Yarmouth, ME 04096 NEW cNGLh .J FISHERY New England Fishery Management Council MANAGEMENT COUNCIL 50 Water Street Newburyport, MA 01950 Dear Groundfish Oversight Committee, I'm writing in regards to the subject of opening the Western Gulf of Maine Closure to draggers. I heavily disagree with opening this closed area to bottom trawling. Closure areas were put in place to protect spawning grounds; Jeffrey's ledge is still a spawning area and should always remain closed. As someone who has lobstered in this area for over 8 years, I continuously see spawning groundfish in my traps and I am extremely concerned that opening this area will deplete the resource. lfthe resource is to recover, several things need to happen: Known spawning grounds need to be protected and remain so permanently. Secondly, over-efficient and in discriminatory means of catching ground fish need to be put in check and phased out. Lastly, the industry needs to be run from a scientific standpoint, not a political or economic one. The Gulf of Maine groundfish industry has serious underlying problems. Opening a closed area to fishing is not a solution these problems, it's essentially putting a Band-Aid on a gushing wound and it will not help. Allowing boats to tow in an area that's been closed for the last fifteen years might allow them to make extra money for a few weeks or months but it won't be before all the progress that has been made by closing the area becomes undone. -
Catalogue of Photographs of Performers at the Embassy Theatre
Catalogue of Photographs of Performers and Shows in the Archives of the Embassy Theatre Foundation The archives of the Embassy Theatre Foundation hold more than 3000 artifacts, including more than 600 photographs of vaudevillians inscribed to Bud Berger (long-time stage man- ager at the Embassy Theatre, known as the Emboyd until 1952); more than 300 posters, playbills, programs, stools, and even guitars signed by the stars and casts of shows that have played at the Embassy Theatre over the past forty years, rang- ing from classic and current Broadway shows to acrobatic groups, choral ensembles, dance shows, ballet, stand-up comedians, rock bands, country singers, travel films, silent films, theatre organists, and so on; and hundreds of publicity photographs of performers, shows, and events at the theatre, primarily from the period following the establishment of the Embassy Theatre Foundation and its rescue of the theatre from the wrecking ball in 1975; and a nearly complete run of the journal of the American Theatre Organ Society. The archive is now almost fully catalogued and preserved in archival housing. Earlier excerpts from the catalogue (available on the Archives page of the Embassy Theatre’s web site) cover the photographs inscribed to Bud Berger and the posters, playbills, programs, stools, and so on from later shows at the Embassy. This is the third excerpt, covering the public- ity photographs of the last forty-five years and a few photographs of earlier events, Bud Berger, and other members of the stage crew. The publicity photographs are primarily of individ- ual performers, but a few shows are presented as well, including Ain’t Misbehavin’, Annie, Barnum, Bubbling Brown Sugar, Cabaret, California Suite, Cats, A Christ- mas Carol, Dancin’, Evita, Gypsy, I'm Getting My Act Together And Taking It On The Road, Joseph and the Amazing Technicolor Dreamcoat, Peter Pan, Same Time Next Year, Side by Side by Sondheim, and Ziegfeld: A Night at the Follies. -
Fandom, Intermediality, and the Blair Witch Project
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sacred Heart University: DigitalCommons@SHU Sacred Heart University DigitalCommons@SHU School of Communication and Media Arts Faculty Communication and Media Arts (SCMA) Publications 2004 The olitP ical Economy of the Indie Blockbuster: Fandom, Intermediality, and The lB air Witch Project James Castonguay Sacred Heart University, [email protected] Follow this and additional works at: http://digitalcommons.sacredheart.edu/media_fac Part of the American Film Studies Commons, and the Film and Media Studies Commons Recommended Citation Castonguay, James. “The oP litical Economy of the Indie Blockbuster: Fandom, Intermediality, and The lB air Witch Project.” Nothing That Is: Millennial Cinema and the Blair Witch Controversies, Ed. Sarah L. Higley and Jeffrey Andrew Weinstock. Detroit: Wayne State University Press, 2004. Print. This Book Chapter is brought to you for free and open access by the Communication and Media Arts (SCMA) at DigitalCommons@SHU. It has been accepted for inclusion in School of Communication and Media Arts Faculty Publications by an authorized administrator of DigitalCommons@SHU. For more information, please contact [email protected]. CHAPTER 3 The Political Economy of the Indie Blockbuster Fandom, Intermediality, and The Blair Witch Project James Castonguay Within the context of the postmodern excesses of fin de siecle media culture, the 1999 film The Blair Witch Project stood out, due in large part to the sheer scale and intensity of its media pres ence. Indeed, the cultural production of what J. P. Telotte calls "The Blair Witch Project Project" [see his essay, reprinted in this volume) provides media scholars and cultural critics with a rich case study for addressing important theoretical issues within the field of film and media studies—for example, authorship, realism, intermediality,1 genre, art vs.