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Teaching Social Issues with Film
Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film -
The Decline of New York City Nightlife Culture Since the Late 1980S
1 Clubbed to Death: The Decline of New York City Nightlife Culture Since the Late 1980s Senior Thesis by Whitney Wei Fulfillment of the Requirements For the Degree of BA Economic and Social History Barnard College of Columbia University New York, New York 2015 2 ii. Contents iii. Acknowledgement iv. Abstract v. List of Tables vi. List of Figures I. Introduction……………………………………………………………………7 II. The Limelight…………………………………………………………………12 III. After Dark…………………………………………………………………….21 a. AIDS Epidemic Strikes Clubland……………………..13 b. Gentrification: Early and Late………………………….27 c. The Impact of Gentrification to Industry Livelihood…32 IV. Clubbed to Death …………………………………………………………….35 a. 1989 Zoning Changes to Entertainment Venues…………………………36 b. Scandal, Vilification, and Disorder……………………………………….45 c. Rudy Giuliani and Criminalization of Nightlife………………………….53 V. Conclusion ……………………………………………………………………60 VI. Bibliography………………………………………………………………..…61 3 Acknowledgement I would like to take this opportunity to thank Professor Alan Dye for his wise guidance during this thesis process. Having such a supportive advisor has proven indispensable to the quality of this work. A special thank you to Ian Sinclair of NYC Planning for providing key zoning documents and patient explanations. Finally, I would like to thank the support and contributions of my peers in the Economic and Social History Senior Thesis class. 4 Abstract The purpose of this thesis is to investigate the impact of city policy changes and the processes of gentrification on 1980s nightlife subculture in New York City. What are important to this work are the contributions and influence of nightlife subculture to greater New York City history through fashion, music, and art. I intend to prove that, in combination with the city’s gradual revanchism of neighborhood properties, the self-destructive nature of this after-hours sector has led to its own demise. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Tile 1999 MISS Gay Houston Intemational
v-" ~,\1:, .~I' [?CRIO·@~W [~]£CRIcg c=o n @ RICH'S WELCOMES THE ONEAND ONLY "1:1 , ' " ~~ ' ¥•.:...... ,...•.I r '.". '. 1·. B ·E·..... ,~ '. D. .. .1..; ''........' .'...~..~.• ~ ; perfOrtHiHa a Apecial ~; CIHbtoHr Uti-COHCe• • rt' s•• ',I ~~ Door~ OpeHat T..:..·I..C[...·I/.·.'.....D·.~.I'.1 8pttt . .$.~,1.fl·•:~.1." ~•.••.": • :J 21&Up On Sale Friday, Marcil IZ &SatMrday. Marcil 13 dHrin9 Re9Hlar OperatiH9 "HoHr,\ BnING OOa~M VOLUME25, NUMBER 2 MARCH 72-MARCH 78, 7999 9 THEATRE Crimes of the Heart at Dallas' Pocket Sandwich Theatre Reviewed by Steven Lindsey 16 THEATRE Hedda Gabler at Houston's Alley Theatre Reviewed by Gary Laird 21 SNAPSHOTS Miss Gay Teen Universe 25 ON OUR COVER The Divine Miss M Returns to Her Roots with 1999 Club Tour 29 FRESH BEATS Vinyl Wonders from the Cutting Edge of Dance Music by Jimmy Smith 33 LETTERSTO THE EDITOR Saturday, March 13th 35 CURRENT EVENTS Dust off that TOGA and Party 43 ALL ABOUT HEALTH & FITNESS Treating Gym-Relayed Injuries with R.I.C.E. Under The Sheets With us! With by Michael Kasten the hottest DJs spinning for you. No Cover in Erotic Leather or TOGA! 51 BACKSTAGE There's No Reason To Rain On His Charade as Steven Brinberg Brings Simply Barbra to Theatre LaB Houston's Annual Fundraiser Sunday, March 14th 57 STARSCOPE Mercury and Mars Go Retrograde by C. Lichtenstein Boxer Party 63 RANTING & RAVING by Jeffrey L. Linthicum 64 TEXAS TEA 72 CLASSIFIEDS 89 THE GUIDE TWT(ThisWeek in Texas) Ispublished by Texas Weekly Times Newspaper Co., at 3300 Reagan Street in oonos. -
The Music Begins Here SBO Level 1 Level 2 JANUARY 25-28, 2018 • ANAHEIM, CALIFORNIA Level 1 LEVEL 2: MEETING ROOMS 200–299 Hilton Hotel Inmusic Brands Inc
ANAHEIM CONVENTION CENTER 326A 326B 369 370 LEVEL 3: Grotrian Piano Company GmbH Yangtze River Mendelssohn Piano Mason & Hamlin MEETING ROOMS & BOOTHS 300–799 THANK YOU TO OUR SPONSORS LEVELS & HOTELS Piano 323 (Shanghai) Reserved Wilh. Steinberg Fender Fazioli Marketing Co., Ltd. 303D Group Inc. 366 388 Fender 321 Pianoforti Niendorf SPA Dynatone Flügel AT A GLANCE Musical - 319 Corp. und PianoDisc Musical Klavierfabrik 300B2 Samick Instruments 318 340 362GmbH 384 391 Instruments 317 Corporation Music North Corporation 314 335 American A.Geyer Music Corp. Inc. Kawai America Corp 334 356 376 390 393 Schimmel Piano Ravenscroft North Corporation Lowrey ACC North 304BCD Pianos Vienna W. Schimmel 303BC W Katella Ave American International, 374 Gretsch Guitars Music Pianofortefabrik Inc. Inc. Pearl River Piano Jackson 308 330 352 372 389 392 GmbH Guangzhou Pearl River Amason PROFESSIONAL ACC 300E Charvel Digital Musical Instr 305 L88A L88B 300B 300A 304A EVH 303A Arena Outdoor Cafe S West Street 303 • Level 2 • Level 2 • Level 2 • Level 2 DJ String • Lobbies E & D 300a & PTG Museum Display • Lobby B Arena • Mezzanine • Lobby C • Lobby B &Piano Bow Plaza Events DJ/Pro Audio Level 2 Level 3 The Music Begins Here SBO Level 1 Level 2 JANUARY 25-28, 2018 • ANAHEIM, CALIFORNIA Level 1 LEVEL 2: MEETING ROOMS 200–299 Hilton Hotel inMusic Brands Inc. Akai Professional Hotel Way Denon DJ Import Reserved Exhibitor Numark Music Grand Reserved Reserved RANE Reserved Plaza NAMM Meeting Alesis USA, Events D'Angelico Alto Professional Corp. Mackie 209B 206B MARQ Lighting 203B Guitars 210D 210D1 207D 204C Ampeg Hall E Yamaha Zemaitis Guitars Reserved Exhibitor Meinl W Convention Way Taylor Greco Guitars Meeting 212AB 210C 209A 207C 206A Pearl Corporation 203A 201CD Marriott Hotel Guitars Marshall Adams Musical Instruments Pacific Drums & Amplification Percussion Sky Bridge to ACC North Dean Guitars Drum Workshop, Inc. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
Enemyenemy By, Jason Weissby
Presents Presents EnemyEnemy By, Jason WeissBy, With (in alphabetical order) Allie Anderson, Derek Bellard, Mariale Chiribao, Joseph Fernandez, Daniel Gipson, JamesWith Jason Weiss Martin, (in alphabetical order) Sara Moncada, Shanel Premdas, Grace Allie Serrano, Anderson, Danayia Stedham, Derek Kevin Bellard, Stidham*, Mariale Anthony Chiribao, Willis Joseph Fernandez, Daniel Gipson, James Martin, Sara Moncada, Shanel Premdas, Scenic Grace Design Serrano, Lighting Danayia Design Stedham, Production Kevin Stidham*, Stage Manager Anthony WillisScenic Designer Lighting Designer Production Stage omas Brown Martha Carter MadisonManager Miller Thomas Brown Martha Carter Fight DirectionFight Director Vocal CoachVocal Coach FightMadison MillerFight Captain Captain Henry Layton Nicolette Chaey Kevin Stidham Henry Layton Nicolette Chaffey Kevin Stidham Casting Graphic Design Michael Jury Mattias Ramos Produced by eatre of Arts & Hisatake Shibuya Directed by Jason Weiss CAST (alphabetical) Allie Anderson CAT Derek Bellard MAYOR Mariale Chiribao SOFIA Joseph Fernandez PABLO Daniel Gipson DOC James Martin ALFRED Sara Moncada HANNAH Shanel Premdas NINA Grace Serrano CAPTAIN Danayia Stedham MONIQUE Kevin Stidham* JAMES Anthony Willis MILES *Member of Actors’ Equity Association, e Union of Professional Actors and Stage Managers in the United States Enemy was inspired by Henrik Ibsen’s An Enemy of the People, published in 1882. Scene One: Doc’s living room in the evening. Scene Two: e following morning. Scene ree: Later that day in the lounge of e People’s -
The Last Gay Man on Earth -- Can the Mainstreaming of a Culture Be Responsible for Its Demise?
City University of New York (CUNY) CUNY Academic Works Capstones Craig Newmark Graduate School of Journalism Fall 12-16-2016 The Last Gay Man on Earth -- Can the mainstreaming of a culture be responsible for its demise? Muri Assunção Cuny Graduate School of Journalism How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gj_etds/162 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Last Gay Man on Earth Can the mainstreaming of a culture be responsible for its demise? by Muri Assunção My life-changing moment happened at the summer of 2016, at The Pavilion. The brighter-than-usual strobelights probably had something to do with it, I wasn't sure, but at that moment my entire gay life flashed before my eyes: the Madonna concerts, the weekends in South Beach, the passion fruit margaritas on 8th Avenue, the $950 pair of Dita sunglasses. I was in the middle of a dance floor full of shirtless muscled torsos, with still hours of friends, fun and fabulousness ahead of me. I also had a boyfriend whom I loved, and who loved me back—when did that ever happened? Besides, I still held on to my 29” waist, 43 years and counting, and I was not letting it go. My life was homo-textbook perfection. But still, something was missing. After spending the weekend listening to Daniel—the one who loved me back— make fun at the recent baby trend in the gay community that was taking over Fire Island (“by ‘watersports’ now, they mean ‘beach soccer’”), it suddenly hit me: the only thing better than holding a Puncher’s Punch cocktail at the island's legendary Tea Dance, would be to hold a newborn close to my chest, and to hear the words: “DADA.” I wanted to have a child. -
Misstress Barbara's Biography Updated Dec 07
MISSTRESS BARBARA BIO October, 2006 that included salsa, bossa nova, foho, latino, pop and rock, Misstress Barbara fused her sharp melodic instincts with influences from these misstressbarbara.com diverse genres and channeled the product into the electronic She’s a licensed pilot medium. Although notorious with a degree in for her consistently “hard” communication studies beats, her music has evolved specializing in cinema, a stylistically from a self- passion for interior design and described “funky pumpin’ an unfulfilled childhood dream techno” vibe to one which she of becoming an actress. If feels is more “groovy, techy she’s not riding her Ducati and minimal”. The flavor of Monster 620 Dark motorcycle, Misstress Barbara’s craft, snowboarding, indulging her however, is in perpetual passion and love for cooking motion as she continually and great food, she can be pushes her own artistic found DJing Techno at a boundaries in search of the packed nightclub in a next unique sound. cosmopolitan city somewhere Past Events/Venues around the globe. • Twilo (NYC, USA) • Crobar (NYC, USA) • Velvet Underground (London, UK) She’s known • The End (London, UK) internationally in the music • The Womb (Tokyo, Japan) • Fuse (Brussels, Belgium) industry as Misstress Barbara, • Stereo (Montreal, Canada) an alias she concocted for • Florida 135 (Fraga, Spain) • Loft (Barcelona, Spain) herself by combining the words • Zouk (Singapore) ‘miss’ with ‘stress’. • Rex (Paris, France) • Aloca (Sao Paulo, Brazil) • Lov. E (Sao Paulo, Brazil) Born in 1975, this • Sonar (Spain) • Awakenings (Holland) Sicilian-turned-Montrealer • I Love Techno (Belgium) always knew she had a knack • Monegros (Spain) • Fashion Cares (Toronto, Canada) for producing evocative and • Piknic Eletronic (Montreal, Canada) innovative music. -
Memories of the Golden State
Issue 135 December 2016/January 2017 A NEWSLETTER OF THE ROCKEFELLER UNIVERSITY COMMUNITY Memories of the Golden State O WEN C LARK Armed with a DSLR camera, travel guitar, two Haight and Ashbury-acquired shawl- cardigans, and three of my oldest friends, I left the perpetual fog of the San Francisco Bay. Having played out the scene a thousand times in my head, I had romanticized the drive down California’s scenic Pacific Coast Highway to levels approaching cliché. But despite trading the flashy convertibles of Entourage’s Vincent Chase or Californica- tion’s Hank Moody for a grey Hyundai So- nata rental car, it still failed to disappoint. /NATURAL SELECTIONS Practically every bend on that winding road greeted me with a stunning scene of pure, rugged beauty. California’s jagged cliffs are lined with earthy hues of bright red and orange, while each inlet of the vast Pacific OWEN CLARK Ocean contains a perfectly balanced array of turquoise and green pastels that one might have found on Winslow Homer’s palette. Despite navigating hairpin turns sur- rounded by 300-foot drops under cover of by All Photos total darkness, we made it safely to Big Sur. A smokestack towers above Mono Lake. My friends liked to joke that being the ob- Though I had fallen in love with the Cal- Tuolumne Meadows area of the park. After sessive ball of neuroses that I am, I had al- ifornia coast, we had to move on to the next returning to my friends relaxing by the lake, ready lived out the entire trip through the stop on our long list. -
Setting Guitar Intonation Using Your Peterson Tuner
Setting Guitar Intonation Using Your Peterson Tuner Before you attempt to tune any stringed instrument, the intonation should be checked and, if necessary, adjusted to the correct position. If you’ve never used a Peterson tuner before, then it is almost certain that your instrument is not yet correctly intonated and will not sound its best until you address it. Now that you have a Peterson, you can achieve professional quality results with the help of the tips below, and the intonation will be the best it can be on your instrument. You’ll need your Peterson tuner, a short guitar cord, a small screwdriver and a set of new strings. Before starting, find a surface upon which to lay your guitar that is free of any objects which could damage your instrument and cover it with a towel or similar soft material. Remember to tune the guitar in the position in which you would normally play it (i.e. around your neck, supported by a strap), but adjust the bridge of the guitar after laying it on a flat surface. If you tune the guitar while it’s laying flat, gravity will affect the tension of the neck and skew the results. If you adjust the bridge while the guitar is hanging from a strap on your shoulder, there is a risk that the guitar’s finish will be damaged by the screwdriver. If possible, take the opportunity to clean the fingerboard after the old strings have been removed. New strings will stay clean and sound good a lot longer if the fingerboard is free of grime and dirt. -
Clubbing in Los Angeles Jonny Coleman Tackles the Multi-Farious Scene in One of America's Biggest Cities
Clubbing in Los Angeles Jonny Coleman tackles the multi-farious scene in one of America's biggest cities. Los Angeles has always been a capital of pop culture. Outside of rave, however, it's never had much of a reputation for its dance music culture. Until recently, that is. The efforts of local promoters have given rise to enormous EDM festivals, the Low End Theory-driven beat scene and thriving techno and house crews—and have led to the city finally becoming internationally recognized. Now, it seems, a place that houses four million people inside the city limits and 18 million in the greater Southland area, is finally representing itself on the world stage. True to its geography—a set of suburbs fronting as a megalopolis—Los Angeles doesn't have a dominant sound or theme. Instead, there are many scenes tugging for attention and battling over the few legitimate dance venues the city has to offer. It's enormously difficult to acquire a liquor license in LA, thanks in no small part to club-owning cowboys like Eddie Nash (of Wonderland murder fame), and those that do can't serve all that late anyway. Most nights last from 10 until 2 or 3 AM (a reality that often results in seeing your headlining DJ for two hours). It doesn't help that many of the historical clubs/bars in places like Hollywood and West Hollywood are a tough sell to fans of underground music, as the price points, degree of parking difficulty and douchebaggery quotient are all high. That means that many parties of note take place downtown or in other east side neighborhoods (if not a private estate).