Universidade Federal Do Rio De Janeiro Carlos Vinicius Silva Dos Santos

Total Page:16

File Type:pdf, Size:1020Kb

Universidade Federal Do Rio De Janeiro Carlos Vinicius Silva Dos Santos UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CARLOS VINICIUS SILVA DOS SANTOS “SOBRE DECADÊNCIA E REDENÇÃO: a representação cultural e política no Cinema de Hollywood das décadas de 1960 e 1970” RIO DE JANEIRO 2018 CARLOS VINICIUS SILVA DOS SANTOS “SOBRE DECADÊNCIA E REDENÇÃO: a representação cultural e política no Cinema de Hollywood das décadas de 1960 e 1970” Tese de Doutorado apresentada ao Programa de Pós- Graduação em História Comparada, Instituto de História, Universidade Federal do Rio de Janeiro, como requisito parcial à obtenção do título de Doutor em História. Orientador: Prof. Dr. José Costa D’Assunção Barros. Rio de Janeiro 2018 RESUMO SANTOS, Carlos Vinicius Silva dos. SOBRE DECADÊNCIA E REDENÇÃO: a representação cultural e política no Cinema de Hollywood das décadas de 1960 e 1970. Tese (Doutorado em História Comparada) – Instituto de História, Universidade Federal do Rio de Janeiro, Rio de Janeiro, 2018. A presente tese realiza um estudo sobre a representação cinematográfica dos principais movimentos culturais e acontecimentos políticos que tiveram curso nos Estados Unidos, nas décadas de 1960 e 1970. O recorte temporal em questão singularizou-se pela efervescência das transformações observadas, em um contexto no qual variadas demandas sociais ganharam destaque no cotidiano da nação, configurando-se temáticas em disputa dentre os distintos agrupamentos que compunham a sociedade dos Estados Unidos, naqueles anos. Em consonância, o âmbito cultural ofereceu novas perspectivas de consideração da realidade social através de modos de vida que questionavam muitos dos princípios que tradicionalmente integraram o ethos nacional. Paralelamente, o cenário político ganhou importância central na vida da população do país, conforme os governos eram instados a atuar em prol de setores específicos daquela sociedade, além das consequências do engajamento militar na Guerra do Vietnã, da crise econômica que se estabelece ao longo da década de 1970 e dos escândalos políticos que levaram, de modo dramático, à renúncia de um Presidente. Assim, o corpus documental é composto por produções cinematográficas de grande circuito, realizadas pelos principais estúdios de Hollywood, durante o período em análise. A seleção das fontes obedeceu, portanto, a critérios que objetivaram destacar a construção de representações das inúmeras temáticas em debate naquela sociedade em alguns dos principais filmes realizados durante as décadas em apreço, nos Estados Unidos. Palavras-chave: Cinema; Estados Unidos da América; Década de 1960; Década de 1970. ABSTRACT SANTOS, Carlos Vinicius Silva dos. SOBRE DECADÊNCIA E REDENÇÃO: a representação cultural e política no Cinema de Hollywood das décadas de 1960 e 1970. Thesis (Doctoral Degree in Comparative History) – Institute of History, Federal University of Rio de Janeiro, Rio de Janeiro, 2018. This work examines the cinematic representations of the main cultural movements and political developments that took place in the United States, during the sixties and the seventies. This period was singularized by the briskness of the sighted transformations, in a context in wich various social demands obtained prominence in the quotidian of the nation, configuring controversial issues between distincts groups in the society of the United States. In consonance, cultural range offered new perspectives of social reality by means of ways of life that challenged some of the principles that traditionaly had embodied the national ethos. In addition, the political landscape gained importance in the inhabitants lives in the way governments acted in accordance to specific groups of the society, besides the consequences of participation in the Vietnan War, of economic crises that deepens during the seventies and the political scandals that dramaticaly leaded to the renunciation of the President. Therefore, the research corpus is compounded by cinematic productions of Hollywood studios realized during the analized period. The process of selection of the movies intended to emphasize the building of representations of the various issues disputed in the society in some of foremost movies of the sixties and seventies, in the United States. Key words: Cinema; United States; Sixties; Seventies. SUMÁRIO INTRODUÇÃO.............................................................................................06 1 O CINEMA DE HOLLYWOOD DO PÓS-GUERRA ÀS DÉCADAS DE 1960 E 1970............................................................................................23 1.1 O ESTABELECIMENTO DA CRISE.....................................................23 1.2 O RENASCIMENTO DE HOLLYWOOD..............................................33 2 TRANSFORMAÇÕES SOCIOCULTURAIS.........................................41 2.1 A JUVENTUDE.......................................................................................41 2.1.1 “A Primeira Noite de Um Homem” (1967)........................................43 2.1.2 “Os Selvagens da Noite” (1979)..........................................................52 2.1.3 As Juventudes de Nichols e Hill..........................................................64 2.2 BRANCOS E NEGROS NO CINEMA....................................................67 2.2.1 “Adivinhe Quem Vem Para Jantar” (1967).......................................69 2.2.2 “Vivendo na Corda Bamba” (1978)....................................................78 2.2.3 As Relações Raciais na Costa Oeste Abastada dos Anos 1960 e no Norte Assalariado dos Anos 1970........................................................89 2.3 A CONTRACULTURA............................................................................91 2.3.1 “Sem Destino” (1969)...........................................................................94 2.3.2 “Hair” (1979)........................................................................................104 2.3.3 A Contracultura no Fim dos 1960 e Uma Década Depois................116 3 VICISSITUDES POLÍTICO-ECONÔMICAS.......................................119 3.1 O CIDADÃO DIANTE DO ESTADO.....................................................119 3.1.1 “Dias de Fogo” (1969)..........................................................................121 3.1.2 “Todos os Homens do Presidente” (1976)..........................................132 3.1.3 O Cidadão, a Imprensa, o Estado.......................................................143 3.2 O ENGAJAMENTO POLÍTICO JUVENIL............................................145 3.2.1 “Zabriskie Point” (1970).....................................................................147 3.2.2 “Guerra nas Estrelas” (1977)..............................................................159 3.2.3 Os Limites da Ação Política................................................................170 3.3 A CRIMINALIDADE URBANA............................................................174 3.3.1 “Meu Nome É Coogan” (1968)...........................................................176 3.3.2 “Taxi Driver – Motorista de Táxi” (1976).........................................185 3.3.3 A Nova Iorque do Crime e do Desamparo Social.............................195 3.4 A AFLUÊNCIA E A CRISE ECONÔMICA............................................197 3.4.1 “Loucuras de Verão” (1973)................................................................199 3.4.2 “Os Embalos de Sábado à Noite” (1977)............................................209 3.4.3 A Afluência Nostálgica e a Crise Presente..........................................220 4 OS EUA ENQUANTO ATOR GLOBAL.................................................223 4.1 A GUERRA FRIA.....................................................................................223 4.1.1 “Dr. Fantástico” (1964)........................................................................225 4.1.2 “Três Dias do Condor” (1975).............................................................235 4.1.3 A Guerra Fria dos Anos 1960 e 1970..................................................245 4.2 A GUERRA DO VIETNÃ........................................................................248 4.2.1 “Os Boinas Verdes” (1968)..................................................................250 4.2.2 “O Franco Atirador” (1978)................................................................262 4.2.3 O Vietnã Antes e Depois da Derrota...................................................273 4.3 FUTUROS DISTÓPICOS.........................................................................275 4.3.1 “THX 1138” (1971)...............................................................................277 4.3.2 “Blade Runner: O Caçador de Androides” (1982)............................286 4.3.3 As Distopias Diante das Expectativas de Futuro...............................297 CONCLUSÃO................................................................................................300 ANEXOS.........................................................................................................307 REFERÊNCIAS.............................................................................................318 6 INTRODUÇÃO As décadas de 1960 e 1970 demarcam um período no qual os Estados Unidos da América vivenciaram profundas e intensas transformações. Fortalecida pela prosperidade atingida no pós-Segunda Guerra Mundial, a nação se depara, nos anos em questão, com um turbilhão de acontecimentos que vieram a abalar muitos de seus fundamentos. Assim, o cotidiano modifica-se em meio às demandas sociais e aos acontecimentos políticos, constituindo-se uma época singular na história
Recommended publications
  • Fall 2004 Issue of the World Watch One Newsletter
    WORLD WATCH ONE NEWSLETTER OF TEAM BANZAI THE BLUE BLAZE IRREGULARS The Official Buckaroo Banzai Fan Club Twentieth Anniversary Edition 2004 APPROVED FOR DISTRIBUTION TO GRADE B CLEARANCES EDITORIAL STAFF Buckaroo Banzai Reno of Memphis Mrs. Johnson Blue Blaze Irregular Big Shoulders Blue Blaze Irregular Dragon Associate Editor BBI the Ice Queen TABLE OF CONTENTS AND CONTRIBUTORS Introductions from the Editors Dragon & Big Shoulders Page 1 World Watch One The Early Years By Dan "Big Shoulders" Berger Page 2-3 Banzai Institute's annual Basho Haiku Festival entries Page 3 The year was 1984, what was it like back then...then...By Beverly " Komish" Martin aka John Mr. Pibb Page 4 BBI Call To Action! By Steve “Hard Rock” Mattsson Page 4 The Saga of a Hollywood Orphan: An Interview with W.D. Richter By Dan "Big Shoulders" Berger Page 5-10 Watermelon Airlift Delivery Project—Phase 2 Report By Dan "Big Shoulders" Berger Page 11 Watermelon Airlift Delivery Project—Phase 2.5 Report By Alan "Dragon" Smith Page 12 Captions to Pictures, by the BBIs Page 13 Strike Team Credit Hours Offered Online By Alan "Dragon" Smith Page 14 Were Buckaroo Banzai and Hanoi Xan based on Real People? By Steve “Hard Rock” Mattsson Page 15-16 Buckaroo Banzai and the Hong Kong Cavaliers Trading Cards Page 16 An Interview with Earl Mac Rauch By Dan "Big Shoulders" Berger Page 17-20 Adder Culture in Brief By Earl Mac Rauch Page 20 Buckaroo Banzai Crossword Puzzle Expert Level By Alan "Dragon" Smith Page 21-22 An Interview with Billy Vera aka Pinky Carruthers By Alan "Dragon" Smith Page 23-24 Bad Crop Cancels Tour Dates & Production Comic Book Art Page 24 Buckaroo Banzai fandom on the Enet, the FAQ and the Special Edition DVD By Sean "Figment" Murphy Page 25 An Interview with a Red Lectroid By Alan "Dragon" Smith Page 26 Mrs.
    [Show full text]
  • World Watch One Newsletter Groups Have Popped up Since
    Cover Art by Paul Gulacy WORLD WATCH ONE CHICAGO BUREAU OFFICE Introduction from the Editor Dan “Big Shoulders” Berger Libertyville, IL Page 1 What it was Like Back Then Dan Berger Pages 2-4 The Savage Breast Survival Kit Steve “Rainbow Kitty” Mattsson Portland, OR Page 5 Not Quite Perfect Enough Scott “Camelot” Tate Alamosa, CO Page 6 Team Banzai Travel Bug Update Steve Mattsson Page 7 Buckaroo Banzai Video Games Sean “Figment” Murphy Springfield, VA Pages 8-10 SPECIAL SECTION RICK WATCH ONE W.D. Richter Interview Dan Berger Pages 11-12 Another W.D. Richter Interview Steve Mattsson Pages 12-16 Yet Another W.D. Richter Interview Tim “Tim Boo Ba” Monro Renton, WA Pages 17-19 Portland, OR Screening Report Steve Mattsson Page 21 Raleigh, NC Screening Report Dan Berger Page 22 Retro Reviews Ed “El Pistolero Solitario” Mauser New Brunswick, NJ Pages 23-24 “Wild Asses of the Kush” review Tim Munro Page 25 “Of Hunan Bondage” review Tim Munro Pages 25-26 “A Tomb with a View” review Dan Berger Page 27 “A Tomb with a View” annotations Tim Munro Page 28 “Hardest of the Hard” review Scott Tate Pages 29-30 Banzai Rising at Moonstone Books Dan Berger Page 30 Nova Police & Death Dwarves: Origins Steve Mattsson Pages 31-32 Hanoi Shan/Timeline update Steve Mattsson Pages 33-34 SPECIAL INSERT BANZAI INSTITUTE ARCHIVAL DOCUMENTS World Economic Forum Transcript Earl Mac Rauch From Script to Screen Steve Mattsson Front Cover: One of the most dramatic images associated with Buckaroo Banzai is the art for the French version of the theatrical poster by artist Melki.
    [Show full text]
  • RAQUEL WELCH an Individual, and RAQUEL WELCH PRODUCTIONS, INC., Plaintiffs and Appellants, V
    RAQUEL WELCH an individual, and RAQUEL WELCH PRODUCTIONS, INC., Plaintiffs and Appellants, v. METRO-GOLDWYN-MAYER FILM CO. et al., Defendants and Appellants. No. B022873. Court of Appeal of California, Second Appellate District, Division Four. 207 Cal. App. 3d 164; 254 Cal. Rptr. 645; 1988 Cal. App. LEXIS 1202; 121 Lab. Cas. (CCH) P56,863 December 23, 1988 As modified January 13, 1989; Review granted March 2, 1989 (S008779). Trans. November 22, 1989 to Ct. App., 2d Dist., Div. 4, with directions to vacate its opn. and reconsider in light of Newman v. Emerson Radio Corp. (1989) 48 Cal. 3d 973. Appellant's petition for review DENIED May 2, 1990. Mosk, J. did not participate. Latham & Watkins, Max L. Gillam, Milton A. Miller and Reba W. Thomas for Defendants and Appellants. Slaff, Mosk & Rudman, Edward Mosk and Valerie V. Flugge for Plaintiffs and Appellants. WOODS (A.M.), P. J. This lawsuit arises from the firing of the motion picture actress Raquel Welch from her starring role in the film "Cannery Row." The jury found in favor of Welch and Raquel Welch Productions, Inc. (hereinafter sometimes collectively referred to as Welch) on counts of breach of contract, conspiracy to induce breach of contract, slander, and breach of the implied covenant of good faith and fair dealing (bad faith). Welch recovered $2 million in compensatory damages and over $8 million in punitive damages from appellants Metro-Goldwyn-Mayer Film Co. (MGM), several successor corporations to MGM (TBS Entertainment Co., Production, Inc., Lab, Inc., and Lot, Inc.), David Begelman (the president of MGM), and Michael Phillips (the producer of the film).
    [Show full text]
  • Octubre Enlace Externo, Se Abre En Ventana Nueva
    F I L M O T E C A E S P A Ñ O L A Sede: Cine Doré C/ Magdalena nº 10 c/ Santa Isabel, 3 28012 Madrid 28012 Madrid Telf.: 91 4672600 Telf.: 913691125 (taquilla) Fax: 91 4672611 913692118 [email protected] (gerencia) http://www.mcu.es/cine/MC/FE/index.html Fax: 91 3691250 NIPO (publicación electrónica): 554-10-002-X MINISTERIO DE CULTURA Precio: Normal: 2,50€ por sesión y sala 20,00€ abono de 10 PROGRAMACIÓN sesiones. Estudiante: 2,00€ por sesión y sala octubre 15,00€ abono de 10 sesiones. 2010 Horario de taquilla: 16.15 h. hasta 15 minutos después del comienzo de la última sesión. Venta anticipada: 21.00 h. hasta cierre de la taquilla para las sesiones del día siguiente hasta un tercio del aforo. Horario de cafetería: 16.15 - 00.00 h. Tel.: 91 369 49 23 Horario de librería: 17.00 - 22.00 h. Tel.: 91 369 46 73 Lunes cerrado (*) Subtitulaje electrónico OCTUBRE 2010 Don Siegel III Muestra de Cine Coreano en España Cine y deporte (II) Premios Goya (I) Sombras recobradas Campo Adentro Buzón de sugerencias Cine para todos Las sesiones anunciadas pueden sufrir cambios debido a la diversidad de la procedencia de las películas programadas. Las copias que se exhiben son las de mejor calidad disponibles. Las duraciones que figuran en el programa son aproximadas. Los títulos originales de las películas y los de su distribución en España figuran en negrita. Los que aparecen en cursiva corresponden a una traducción literal del original o a títulos habitualmente utilizados en español.
    [Show full text]
  • 1927/28 - 2007 Гг
    © Роман ТАРАСЕНКО. г. Мариуполь 2008г. Украина. [email protected] Лауреаты премии Американской Академии Киноискусства «ОСКАР». 1927/28 - 2007 гг. 1 Содержание Наменование стр Кратко о премии………………………………………………………. 6 1927/28г……………………………………………………………………………. 8 1928/29г……………………………………………………………………………. 9 1929/30г……………………………………………………………………………. 10 1930/31г……………………………………………………………………………. 11 1931/32г……………………………………………………………………………. 12 1932/33г……………………………………………………………………………. 13 1934г……………………………………………………………………………….. 14 1935г……………………………………………………………………………….. 15 1936г……………………………………………………………………………….. 16 1937г……………………………………………………………………………….. 17 1938г……………………………………………………………………………….. 18 1939г……………………………………………………………………………….. 19 1940г……………………………………………………………………………….. 20 1941г……………………………………………………………………………….. 21 1942г……………………………………………………………………………….. 23 1943г……………………………………………………………………………….. 25 1944г……………………………………………………………………………….. 27 1945г……………………………………………………………………………….. 29 1946г……………………………………………………………………………….. 31 1947г……………………………………………………………………………….. 33 1948г……………………………………………………………………………….. 35 1949г……………………………………………………………………………….. 37 1950г……………………………………………………………………………….. 39 1951г……………………………………………………………………………….. 41 2 1952г……………………………………………………………………………….. 43 1953г……………………………………………………………………………….. 45 1954г……………………………………………………………………………….. 47 1955г……………………………………………………………………………….. 49 1956г……………………………………………………………………………….. 51 1957г……………………………………………………………………………….. 53 1958г……………………………………………………………………………….. 54 1959г……………………………………………………………………………….. 55 1960г……………………………………………………………………………….
    [Show full text]
  • American Heritage Center
    UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew.
    [Show full text]
  • World Watch One in This Issue
    WORLD WATCH ONE _ IN THIS ISSUE Introduction from the Editor Dianne “Hollywood” Wickes, Pine Island, FL Page 1 In Memoriam Scott “Camelot” Tate, Alamosa, CO Page 2 Buckaroo Crushes Cult Competition Tim “Tim Boo Ba” Monro, Renton, WA Page 3 Representing Team Banzai Charley “Mrs. Trooper” Todd, Evansville, IN Pages 4-5 Pimping Your Ride, Jet Car Style Chris “Cobalt” Dunham, Monrovia, IN Page 6 From Worf to Whorfin Scott Tate Pages 7-9 Buckaroo Banzai Fandom on the Internet: Dan “Big Shoulders” Berger, Libertyville, IL and Unseen Interviews from the Archives Sean “Figment” Murphy, Burke, VA Pages 10-15 Buckaroo Banzai Art from the Internet World Watch One Staff Pages 16-18 Hanoi Xan’s Rock ’N’ Roll Stranglehold! Jeffrey “Machine Rock” Morgan Page 19 INTERVIEW: Radford Polinsky Steve “Rainbow Kitty” Mattsson, Portland, OR Pages 20-24 Celebrating 35 Years Charley Todd Pages 25-26 Blue Blaze Irregulars Remember Edited by Dan Berger Pages 27-42 Remembering the Promotional Material Charley Todd Page 43 Banzai Trivia Scott Tate Page 44 INTERVIEW: Earl Mac Rauch Steve Mattsson Page 45 From the Files of Earl Mac Rauch Earl Mac Rauch Page 46 Sekrit Origins Tim Monro Page 47 The Buckaroo Banzai Production Binders Introduction and Overview Sean Murphy Page 48 Production Illustrations Dan Berger Pages 49-55 Storyboards Sean Murphy Pages 56-59 Script Comparison Steve Mattson Pages 60-61 The Essential Buckaroo Dewayne “Buckaroo Trooper” Todd, Evansville, IN Pages 62-66 Mystery Solved! World Watch One Staff Page 66 Team Banzai Events Calendar Scott Tate Page 67 15 Years of World Watch One Dan Berger Pages 68-70 Acknowledgements This installment of World Watch One clocked in at seventy pages, just a little over twice our usual page length.
    [Show full text]
  • Dr. Seuss: the Man, the War, and the Work
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 4-2000 Dr. Seuss: The Man, the War, and the Work Katy Anne Rice University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Rice, Katy Anne, "Dr. Seuss: The Man, the War, and the Work" (2000). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/426 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. --~~------------------------------------------------------------ Appendix D - UNIVERSITY HONORS PROGRAM SENIOR PROJECT - APPROVAL Name: __ ~~~---~i~~------------------------------------- ColI e g e: __.4.r:.b_.d_S.f.J~~f.:!-...s....__ Oep a r tm en t: _L~:s~ ____________ _ Fa cuI ty Men to r: --..e~c.::k-A--K~LL1---------------------------­ PROJECT TITLE: ----Df---.s.<.J.t~~-:.--~-~_t--~-----­ ______ U1~~-~---~--klOJ-~---------------------------- I have reviewed this completed senior honors thesis with this student and certify that it is a project commensurate with honors level undergraduate research in this field. Signed: __-d~ .... -L.Lf:~ _____________________ , Fa cui tv :VIe n to r Date: --.tb-7A~_________ _ Comments (Optional): /7; CdVvItuUt/J ~ ~ 7-/c. ~ 4//~.d /~J~) /h~~ 1Af /1Ct!~ ~ ./1e#4~ ;/h&~. 27 DR. !IU!!: TIll MAN, TIll WA., AND TIll WO.1f By: Katy Rice Advisor: Dr.
    [Show full text]
  • Columbia Pictures: Portrait of a Studio
    University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.
    [Show full text]
  • The Inventory of the Don Siegel Collection #454
    The Inventory of the Don Siegel Collection #454 Howard Gotlieb Archival Research Center SIEGEL, DON 1970 Box 1 1) "Two Mules for Sister Sara". Movie produced by Universal Studios, directed by DS. Final shooting script by Albert Maltz; original story by Budd Boetticher. a) Loop script, Shirley MacLaine's copy, July 2, 1969. Xerox typescript (with carbon typescript, 1 p.), Ca. 125 pp. (// 1). b) Loop script, DS's copy, July 2, 1969. Xerox typescript, Ca. 250 pp. (#lA). c) Revised first draft screenplay, March 20, 1968. Signed mimeograph typescript with holograph notations, Ca. 125 pp. (t/2). d) Continuity Breakdown, October 22, 1968. Xerox of holograph, Ca. 75 pp. (#3). e) Script dated November 27, 1968. Signed mimeograph typescript, Ca. 125 pp. (//4). Box 2 f) Final shooting script. Continuity script (with loop notes, signed carbon typescript with holograph notations, 6 pp.) Xerox typescript with holograph notations, Ca. 300 pp. (#5). g) Music notes, August 6, 1969. Xerox typescript, 8 pp. (#6). h) Shooting schedule, January 10, 1969. Typescript, Ca. 30 pp. (#6). i) Continuity breakdown. Xerox of holograph, Ca. 40 pp. (#6). j) Photographs of set and cast, including Shirley MacLaine and Clint Eastwood. ~ 39 7½"X9" Glossies. (116). k) Set List. Himeograph typescript with profuse holograph notations, 5 pp. (#6). page 2 SIEGEL, DON 1970 2) "Madigan". Movie produced by Universal Studios. Final screenplay by Abraham Polansky and Harry Kleiner. Based on the novel THE COMMISSIONER by Richard Dougherty. Directed by Don Siegel. a) Third draft screenplay titled "The Commissioner", December 21, 1966. Mimeograph typescript, 137 pp.
    [Show full text]
  • DISTINGUISHED Residentsof
    DISTINGUISHED RESI D ENTS of Hillside Memorial Park and Mortuary HILLSIDE HILLSIDE ,%'!#)%3 ,%'!#)%3 1 D ISTINGUISHED RESI D ENTS OF H ILLSI D E ME M O R IAL PA R K AN D MO R TUA R Y 2008 DISTINGUISHED RESIDENTS IR VING AA R ONSON (1895 – 1963) EVE R LASTING PEACE Irving Aaronson’s career began at the age of 11 as a movie theater pianist. In the 1920’s he became a Big Band leader with the Versatile Sextette DISTINGUISHED RESI D ENTS GUI D E : A LEGACY OF LEGEN D S and Irving Aaronson & the Commanders. The Commanders recorded “I’ll Get By,” Cole Porter’s “Let’s Misbehave,” “All By Ourselves in the Moonlight,” “Don’t Look at Me That Way” and “Hi-Ho the Merrio.” Irving Aaronson His band included members Gene Krupa, Claude Thornhill and Artie Hillside Memorial Park and Mortuary has provided a place to Shaw. He later worked for MGM as a music coordinator for “Arrivederci Roma” (1957), “This Could Be the Night” (1957), “Meet Me in Las Vegas” honor the accomplishments and legacies of the Jewish community (1956) and as music advisor for “The Merry Widow” (1952). since 1942. We have made it our mission to provide southern ROSLYN ALFIN –SLATE R (1916 – 2002) GA rd EN OF SA R AH California with a memorial park and mortuary dedicated to Dr. Roslyn Alfin-Slater was a highly esteemed UCLA professor and nutrition expert. Her early work honoring loved ones in a manner that is fitting and appropriate. included studies on the relationship between cholesterol and essential fatty acid metabolism.
    [Show full text]
  • Funny-Girl Study-Com
    The Jefferson Performing Arts Society Presents 1118 Clearview Parkway Metairie, LA 70001 504-885-2000 www.jpas.org 1 | P a g e Table of Contents Teacher’s Notes………………………..………………………..……..3 Standards and Benchmarks…………………………...……….…..6 Background…………………………………….…………….……..……7 Funny Girl: the Ratios of FACE, PART 1 ………………..……..66 Funny Girl: the Ratios of FACE, PART 2 ……………………..102 Additional Resources………………………………….……….…..108 2 | P a g e Teacher’s Notes Book by Isobel Lennart, Jule Styne, and Bob Merrill Music and Lyrics by Bob Merrill and Jule Styne Directed by Butch Caire Choreography by Lori Flanders Musical Direction by Dr. Donna Clavijo Featuring the JPAS Symphony Orchestra conducted by Maestro Dennis G. Assaf The greatest star, the ultimate people person…. the story of beloved comedienne Fanny Brice begins with her irrepressible youth in New York’s Lower East Side, where the stage-struck teenager clowns her way through burlesque and vaudeville, with dreams of making it big. Despite the discouragement of her friends and neighbors, who tell her that she isn’t pretty enough for the stage, she holds on to her conviction that she is “…the Greatest Star” and works diligently to make this dream come true. After meeting Nick Arnstein, a handsome and charismatic gambling man with a gentle side, Fanny immediately falls in love. And with her big break in the Ziegfeld Follies on the horizon, the stardom she has always longed for is within her grasp. Her only problem… the elusive Nick Arnstein, ignorant of her affection, is always leaving town on some “business” venture. A triumphant 3 | P a g e story of starry success and a bittersweet story of love, Jule Styne and Bob Merrill’s Funny Girl is a musical theatre classic which celebrates the exuberant and elegant flavor of Broadway in the 1910s and 20s and the comic genius of Fanny Brice.
    [Show full text]