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The Animated Roots of Wildlife Films: Animals, People
THE ANIMATED ROOTS OF WILDLIFE FILMS: ANIMALS, PEOPLE, ANIMATION AND THE ORIGIN OF WALT DISNEY’S TRUE-LIFE ADVENTURES by Robert Cruz Jr. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Science and Natural History Filmmaking MONTANA STATE UNIVERSITY Bozeman, Montana April 2012 ©COPYRIGHT by Robert Cruz Jr. 2012 All Rights Reserved ii APPROVAL of a thesis submitted by Robert Cruz Jr. This thesis has been read by each member of the thesis committee and has been found to be satisfactory regarding content, English usage, format, citation, bibliographic style, and consistency and is ready for submission to The Graduate School. Dennis Aig Approved for the School of Film and Photography Robert Arnold Approved for The Graduate School Dr. Carl A. Fox iii STATEMENT OF PERMISSION TO USE In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Montana State University, I agree that the Library shall make it available to borrowers under rules of the Library. If I have indicated my intention to copyright this thesis by including a copyright notice page, copying is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for permission for extended quotation from or reproduction of this thesis in whole or in parts may be granted only by the copyright holder. Robert Cruz Jr. April 2012 iv TABLE OF CONTENTS 1. INTRODUCTORY QUOTES .....................................................................................1 -
As True-Life Adventures E a Formação Dos Wildlife Films1
Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação XXXVII Congresso Brasileiro de Ciências da Comunicação – Foz do Iguaçu, PR – 2 a 5/9/2014 O Animal, a Exploração e o Entretenimento: as True-Life Adventures e a Formação dos Wildlife Films1 Ricardo Gomes Costa Filho2 Universidade Federal de Sergipe, São Cristóvão, SE Resumo O presente trabalho visa apontar o local historiográfico da série de documentários True-Life Adventures, lançada por Disney entre 1948 e 1960, no contexto daquilo que é conhecido como wildlife films, ou filmes de vida selvagem. Foram privilegiados os aspectos socioculturais e econômicos que acompanham a reprodução imagética de animais não- humanos desde o surgimento da câmera fotográfica para traçar uma perspectiva que permita analisar tanto as relações desses filmes com os ambientes sociais que os tornaram possíveis quanto a importância da série na construção do gênero em questão. Recorreu-se, assim, à pesquisa bibliográfica da literatura dedicada não só aos wildlife films, mas também à que trata de produções imagéticas precursoras. Palavras-chave: documentário; wildlife films; Disney. Introdução Entre as fotografias de zebras mortas de James Chapman e o seriado Meerkat Manor, do Animal Planet, muito ocorreu na representação midiática da ‘vida selvagem’3. Nesse percurso, as True-Life Adventures de Disney – uma série de 14 curtas e longas-metragens lançados entre 1948 e 1960 – foram um evento de referência na história dos chamados filmes de vida selvagem (ou wildlife films): elas “os consolidaram em uma forma unificada, porém flexível, e acima de tudo os popularizou como nunca antes” (BOUSÉ, 2000, p. 62)4. Este artigo busca oferecer uma visão do lugar das True-Life Adventures no panorama histórico do gênero dos filmes de vida selvagem, discutindo principalmente aspectos do seu surgimento e desenvolvimento. -
R Epor T R Esumes
R EPOR TR ESUMES ED 019 235 SE 003 936 REORGANIZED SCIENCE CURRICULUM, 4B, FOURTH GRADE SUPPLEMENT. MINNEAPOLIS SPECIAL SCHOOL DISTRICT NC. 1, MINN. EDRS PRICE MF-.40.75 HC - %5.48 135P. DESCRIPTORS- *CURRICULUM DEVELOPMENT, *CURRICULUM, *ELEMENTARY SCHOOL SCIENCE, *GRADE 4, *TEACHING GUIDES, ASTRONOMY, BIBLIOGRAPHIES, BIOLOGY, EARTH SCIENCE, PHYSICAL SCIENCES, SCIENCE EQUIPMENT, SCIENCE MATERIALS, SCIENCE ACTIVITIES, SCIENCE COURSES, MINNEAPOLIS, MINNESOTA, THE SIXTH IN A SERIES OF 17 VOLUMES, THIS VOLUME PROVIDES THE FOURTH GRADE TEACHER WITH A GUIDE TO THE REORGANIZED SCIENCE CURRICULUM OF THE MINNEAPOLIS PUBLIC SCHOOLS. THE MATERIALS ARE INTENDED TO BE AUGMENTED AND REVISED AS THE NEED ARISES. THIS FOURTH GRADE SUPPLEMENT IS IN TWO PARTS. PART 4A CONTAINS THE INTRODUCTORY MATERIAL, THE CONCEPTS SECTION AND THE RESOURCE UNITS SECTION. RESOURCE UNITS FOR GRADE'4 INCLUDE (1) AIR,(2) LIVING THINGS -- ECOLOGY, AND (3) ROCKS. THIS VOLUME, 40, CONTAINS THE SECTIONS ENTITLED (1) BIBLIOGRAPHY, BOOKS, (2) BIBLIOGRAPHY, FILMS, AND (3) EQUIPMENT AND SUPPLIES. (OH) r,IIMEDFROMB, aVAILABlEcop Qx 7 U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION For discussion purposes on]y THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVEDFROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY. A SELECTIVEBIBLIOGRAPHY of BOOKS FOUND USEFUL in the TEACHING OF THE SCIENCE UNITS for Grade Four Correlated to the Mbjor Topics as found inthe Reorganized Science Curriculum Minneapolis Public Schools Science Department 8-24-64 For discussion purposes only Grade Four TABLE OF CONTENTS Major Topics Elks Color Introduction to Science C. -
Worlds of Wonder: National Parks, Zoos, Disney, and the Genealogies of Wonder in U.S
Worlds of Wonder: National Parks, Zoos, Disney, and the Genealogies of Wonder in U.S. Culture By Geneviève Ardouin Creedon A dissertation submitted in partial fulfillment of the requirements of the degree of Doctor of Philosophy (Comparative Literature) in the University of Michigan 2014 Doctoral Committee: Professor June M. Howard, Co-Chair Professor Peggy S. McCracken, Co-Chair Professor Philip J. Deloria Professor Vassilios Lambropoulos Professor Patricia Smith Yaeger (Deceased) © Geneviève Ardouin Creedon 2014 For Patsy, a.k.a. Tank. ii Acknowledgements The thinking, research, and writing that have gone into this dissertation were made possible with the help and support of amazing and generous friends, faculty, colleagues, and family. My time at the University of Michigan and my dissertation research have been generously funded by the Rackham Graduate School’s Rackham Merit Fellowship, Predoctoral Fellowship, Centennial Spring-Summer Fellowship, and Research Grants. Bowdoin College’s graduate scholarships for alumni have generously supplemented this funding for five of my six years at Michigan. In addition to offering me a vibrant and generous intellectual community, the Department of Comparative Literature provided teaching and additional funds to support my archival and site-based research. I am grateful to a range of University of Michigan faculty with whom I had early and important conversations that set me on my research path: Victoria Johnson, Scotti Parrish, Zeynep Gursel. Courses I took with Kader Konuk, Paul Anderson, Judith Roof, Peggy McCracken, Dorceta Taylor, David Doris, and Jay Cooke helped me navigate the multidisciplinary terrains this project traverses. Catherine Brown and Ruth Tsoffar have been deeply supportive of me and my work over the past six years. -
Catalog of Copyright Entries 1953 Motion Pictures and Filmstrips Jan
.N'^ CATALOG OF COPYRIGHT ENTRIES Third Series VOLUME 7, PARTS 12-13, NUMBER 1 Motion Pictures and Filmstrips JANUARY-JUNE 1953 o -^ * * ^ COPYRIGHT OFFICE THE LIBRARY OF CONGRESS WASHINGTON: 1953 CATALOG OF COPYRIGHT ENTRIES Third Series , CATALOG OF COPYRIGHT ENTRIES Third Series VOLUME 7, PARTS 12-13, NUMBER 1 Motion Pictures and Filmstrips JANUARY-JUNE 1953 COPYRIGHT OFFICE THE LIBRARY OF CONGRESS WASHINGTON: 1953 REMOVAL OF DEPOSITS FROM COPYRIGHT OFFICE NOTICE is given to authors, copyright proprietors and other lawful claimants that they may claim and remove before January 1, 1954, any article of the following named classes of published works deposited for copyright between January 1, 1950, and January 1, 1951, not reserved or dis- posed of as provided by sections 213 and 214 of Title 17 of the United States Code and still remaining in the files of the Copyright Office at the time of the request for their removal. The classes of pubhshed works covered by this notice are: Books and Pamphlets. Contributions to periodicals. Works of art; models or designs for works of art. Reproductions of a work of art. Drawings or plastic works of a scientific or technical char- acter. Photographs. Prints and pictorial illustrations excluding prints or labels used for articles of merchandise. Other published works and all unpublished works are excluded from this notice. The request for the removal of any copyright deposit should be signed by the person entitled thereto or his duly authorised agent. Such request should identify the work by stating the title, author, copyright proprietor, registration number and year of deposit, and should be addressed to the Copyright Office, Library of Congress, Washington 25, D. -
Guide to the Walter C. Dopierala Comic Book Collection 1949-1960
University of Chicago Library Guide to the Walter C. Dopierala Comic Book Collection 1949-1960 © 2008 University of Chicago Library Table of Contents Descriptive Summary 3 Information on Use 3 Access 3 Citation 3 Historical Note 3 Scope Note 4 Related Resources 5 Subject Headings 5 INVENTORY 5 Descriptive Summary Identifier ICU.SPCL.DOPIERALA Title Dopierala, Walter C. Comic Book Collection Date 1949-1960 Size 22.5 linear feet (45 boxes) Repository Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. Abstract This collection of mid-twentieth century comic books was built by Walter C. Dopierala, an alumnus of the University of Chicago (A.B. 1966). It contains over 2,000 comic books, representing a wide variety of popular titles. Comic books are arranged by genre, including comedy-fantasy, adventure, western, Classics Illustrated, and superheroes. Information on Use Access The collection is open for research. Citation When quoting material from this collection, the preferred citation is: Dopierala, Walter C. Comic Book Collection [Box #, Folder #], Special Collections Research Center, University of Chicago Library Historical Note Comic books have had a turbulent history in the United States, and only recently have gained acceptance as an authentic literary genre. The Golden Age of Comic Books, from the 1930s through the late 1940s, saw a surge of popularity in comic books, as well as the creation of many of the major comics that are still in publication today. Superman, the first comic book superhero, debuted in 1938 in Action Comics, published by DC Comics. The new character was an instant success and led to the creation of such famous superheroes as Batman, Green Lantern, Wonder Woman, and The Flash. -
Celebrations-Issue-50-DV72519.Pdf
Enjoy the magic of Walt Disney World all year long with Celebrations magazine! Receive 6 issues for $29.99* (save more than 15% off the cover price!) *U.S. residents only. To order outside the United States, please visit www.celebrationspress.com. To subscribe to Celebrations magazine, clip or copy the coupon below. Send check or money order for $29.99 to: YES! Celebrations Press Please send me 6 issues of PO Box 584 Celebrations magazine Uwchland, PA 19480 Name Confirmation email address Address City State Zip You can also subscribe online at www.celebrationspress.com. Cover Photography © Mike Billick Issue 50 The Life and Times of Walt Disney 40 Contents Disney News ............................................................................ 8 Calendar of Events ...........................................................12 MOUSE VIEWS ......................................................... 15 Guide to the Magic by Tim Foster............................................................................16 Walt Disney: A Man Shutters and Lenses by Tim Devine ..........................................................................18 Ahead of His Time 46 Hidden Mickeys Classic Disney Attractions by Steve Barrett .....................................................................20 Disney Legends Then and Now by Jamie Hecker ....................................................................22 Disney Cuisine by Dawn Caitano ..................................................................24 Disney Touring Tips by Carrie Hurst .......................................................................26 -
100 YEARS at the PHOENIX Archive of an Oxford Cinema 1913 – 2013
100 YEARS AT THE PHOENIX Archive of an Oxford Cinema 1913 – 2013 Hiu M Chan Dedicated to the Phoenix and Oxford with love This archive is part of a post-graduate research project and so is work-in-progress. While every effort has been made to weed out errors and inconsistencies – derived from the source material (newspaper microfi che archives) – some will have inevitably slipped through. If you spot any errors and omissions please get in touch via the website http://phoenixcentenary.wordpress.com and we will update the database. The publishers are not responsible for the verifi cation of the entries; that is my remit. Thank you. Hiu M Chan and the Phoenix Centenary Project Published in conjunction with the centenary of the Oxford Phoenix Picture, 57 Walton Street, Oxford OX2 6AE © Hiu M Chan, 2013 All right reserved No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form by any means, electronic or mechanical, without prior written permission of the author. ISBN 978-0-9567405-5-7 Design: Nick Withers Associate Editor: James Harrison Film lists typeset in Helvetica Neue Digitally printed and bound in England by Charlesworth Press, Wakefi eld, Yorkshire A special limited hardback edition was also published exclusively for use in the cinema on the 100th anniversary, 15th March 2013. For further details, research feedback, or to input any updates, corrections or amendments please contact: www.hiuandfi lm.com Oxfordfolio, 100A Cowley Road, Oxford OX4 1JE Preface 15th March 2013 marks the 100th anniversary of the Phoenix Picturehouse Cinema in Oxford. -
Premiererne Op
»L’Avventura«. Det er ikke svært at tro ham, når han hævder, at han først efter at have lavet »L’Avventura« blev klar over, hvad han havde forsøgt at sige i »II Grido«. Forsøgt - hvor meget blev der da sagt? Det kan være vanskeligt at gøre Premiererne op. Det bedste i den - det er det, som genfindes i »L’Avventura«, og dér er me 1.4.-30.6.76/ved Claus Hesselberg get bedre. Dog så kraftigt bør mester værket ikke få lov til at virke tilbage på forgængeren, at man ikke skulle kunne anerkende, at det bedste i »II Grido« Anvendte forkortelser: faktisk er overordentlig godt. Adapt: = Adaption Komp: = Komponist Albert Wiinblad Ark: — Filmarkitekt Kost: = Kostumer Arr: = Musikarrangør Medv: = Medvirkende skuespillere As-P: = Associate Producer P: Producere Ass: = Assistent P-leder: = Produktionsleder Dekor: = Scenedekorationer Prem: = Dansk premiere Dir: = Dirigent P-selskab: = Produktionsselskab Kuppet Dist: = Udlejer i oprindelsesland P-sup: = Produktions-superviser Ex-P: = Executive Producer P-tegn: = Produktionstegner (design) i Catamount Foto: = Cheffotograf Rekvis: = Rekvisitør Instr: = Instruktør Sp-E: Specielle effekter I september viste TV to TV-film af po Kamera: = Kameraoperatør Udi: Dansk udlejning lakken Krzysztof Zanussi, hvis betyde ligste film, »Illumination«, blev vist under den polske filmuge i marts (jf. Kos. 130). APRIL I VIETNAM - I KATTENS AR Jack Hannah. Manus: Nick George, Bill Berg. Mu Den 58 minutter lange »Za sciana« (»På Abril de Viet Nam en el ano del gato. Cuba 1975. sik: Oliver Wallace. 1949: »Pueplo Pluto (Plutos Instr: Santiago Alvarez. Manus: Santiago Alvarez. kødben); Instr: Charles Nichols. Manus: Eric Gur- den anden side væggen«) fra 1971 for Foto: Ivan Napoles, Rodolfo Garcia, Julio Valdes.