Francis Ford Coppola Winery Fact Sheet
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Extreme Leadership Leaders, Teams and Situations Outside the Norm
JOBNAME: Giannantonio PAGE: 3 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 Extreme Leadership Leaders, Teams and Situations Outside the Norm Edited by Cristina M. Giannantonio Amy E. Hurley-Hanson Associate Professors of Management, George L. Argyros School of Business and Economics, Chapman University, USA NEW HORIZONS IN LEADERSHIP STUDIES Edward Elgar Cheltenham, UK + Northampton, MA, USA Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 1 / Date: 30/10 JOBNAME: Giannantonio PAGE: 4 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 © Cristina M. Giannantonio andAmy E. Hurley-Hanson 2013 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 or photocopying, recording, or otherwise without the prior permission of the publisher. Published by Edward Elgar Publishing Limited The Lypiatts 15 Lansdown Road Cheltenham Glos GL50 2JA UK Edward Elgar Publishing, Inc. William Pratt House 9 Dewey Court Northampton Massachusetts 01060 USA A catalogue record for this book is available from the British Library Library of Congress Control Number: 2013946802 This book is available electronically in the ElgarOnline.com Business Subject Collection, E-ISBN 978 1 78100 212 4 ISBN 978 1 78100 211 7 (cased) Typeset by Columns Design XML Ltd, Reading Printed and bound in Great Britain by T.J. International Ltd, Padstow Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 2 / Date: 30/10 JOBNAME: Giannantonio PAGE: 1 SESS: 5 OUTPUT: Wed Oct 30 14:57:46 2013 14. Extreme leadership as creative leadership: reflections on Francis Ford Coppola in The Godfather Charalampos Mainemelis and Olga Epitropaki INTRODUCTION How do extreme leadership situations arise? According to one view, they are triggered by environmental factors that have nothing or little to do with the leader. -
2017 Cabernet Sauvignon Estate Grown Rutherford Napa Valley
2017 CABERNET SAUVIGNON ESTATE GROWN RUTHERFORD NAPA VALLEY A BRIEF HISTORY For decades, it has been our goal to produce a Rutherford AVA, estate-grown Cabernet Sauvignon. Inspired by the early Cabernets of Inglenook and Beaulieu Vineyard, we’ve spent the past 20 years finding, farming and obtaining highly sought after land in Rutherford—with particular attention to the Rutherford Bench—to pursue our dream and perfect our craft. It all began with the acquisition of the Red Barn Vineyard in 1994. This prime real estate provided us with 40 acres of soil perfectly suited to grow Merlot and Cabernet sauvignon and a century-old facility in which we would become Rutherford Cabernet Sauvignon producers for the first time. Immediately following our move to Rutherford, Frank Leeds—longtime Frog’s Leap Vineyardist—agreed to a partnership between Frog’s Leap and his family’s Chavez Leeds Vineyard. This generational vineyard situated on the iconic Rutherford Bench gave us our first real taste of how complex and connected dry-farmed, organically-grown Cabernet Sauvignon from this storied part of the appellation could be. Finally, in 2007, we purchased the historic Rossi Vineyard located in the very heart of the Rutherford Bench. This 50 acre vineyard was purchased by the Rossi family in 1906 and is located only a stone’s throw away from the two vineyards that originally inspired us. Now mostly planted to Cabernet Sauvignon and Cabernet Franc the Rossi Vineyard completed the picture by yielding high quality Rutherford grapes for an all estate-grown Cabernet Sauvignon to stand with our predecessors. -
7 1Stephen A
SLIPSTREAM A DATA RICH PRODUCTION ENVIRONMENT by Alan Lasky Bachelor of Fine Arts in Film Production New York University 1985 Submitted to the Media Arts & Sciences Section, School of Architecture & Planning in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE at the Massachusetts Institute of Technology September, 1990 c Massachusetts Institute of Technology, 1990 All Rights Reserved I Signature of Author Media Arts & Sciences Section Certified by '4 A Professor Glorianna Davenport Assistant Professor of Media Technology, MIT Media Laboratory Thesis Supervisor Accepted by I~ I ~ - -- 7 1Stephen A. Benton Chairperso,'h t fCommittee on Graduate Students OCT 0 4 1990 LIBRARIES iznteh Room 14-0551 77 Massachusetts Avenue Cambridge, MA 02139 Ph: 617.253.2800 MITLibraries Email: [email protected] Document Services http://libraries.mit.edu/docs DISCLAIMER OF QUALITY Due to the condition of the original material, there are unavoidable flaws in this reproduction. We have made every effort possible to provide you with the best copy available. If you are dissatisfied with this product and find it unusable, please contact Document Services as soon as possible. Thank you. Best copy available. SLIPSTREAM A DATA RICH PRODUCTION ENVIRONMENT by Alan Lasky Submitted to the Media Arts & Sciences Section, School of Architecture and Planning on August 10, 1990 in partial fulfillment of the requirements for the degree of Master of Science ABSTRACT Film Production has always been a complex and costly endeavour. Since the early days of cinema, methodologies for planning and tracking production information have been constantly evolving, yet no single system exists that integrates the many forms of production data. -
Bucharest-Ilfov
Region in focus: Bucharest-Ilfov Bucharest-Ilfov Region, formed by Bucharest, Romania’s capital and Ilfov County – is located in the central part of the Romanian Plain in southern Ro- mania. Bucharest is the largest urban agglomeration of the country; its num- bers approaching 2 million inhabitants represents more than 85% from the total region’s population. Romanian legend says that the city of Bucharest was founded on the banks of the Dambovita River by a shepherd named Bucur, whose name literally means ”joy”. His flute playing reportedly dazzled the people and his hearty wine from nearby vineyards endeared him to the local traders, who gave his name to the place. Known for its wide, tree-lined boulevards, glorious Belle Époque buildings and a re- putation for the highlife (which in the 1900s earned its nickname of ”Little Paris”), Bucharest is today a bustling metropolis. For this reason film productions began shoo- ting in Bucharest and it did not take long for international producers and filming com- panies to discover and appreciate the rich historical heritage of the city. In fact, more than 200 productions have been filmed, entirely or partially in Bucha- rest and its surrounding areas, most of them in the last ten years. Renowned individu- als from the film industry have linked their professional activity to the town of Bucur. Photo: courtesy of Bucharest Ilfov Regional Development Agency Directors such as Costa-Gavras - Amen, Francis Ford Coppola - Youth Without Youth, Katja von Garnier - Blood and Chocolate, Klaus Menzel - What About Love and Tommy Wirkola - What Happened to Monday to name a few. -
2021 Internship Opportunities
2021 INTERNSHIP OPPORTUNITIES To apply for an internship, please send your resume and cover letter via email to the contact name listed. 1. Aubert Wines – Harvest Internship Contact Name: Greg Wachalter Contact Email: [email protected] Contact Phone: 707-942-4333 Dates: Early August – Mid-October Skills/Requirements: • Candidates should have a passion for wine • A keen attention to detail, a sense of urgency, and a positive attitude • Prior winery experience is helpful Job Description: Aubert Wines is a luxury brand specializing in ‘Grand Cru’ Single Vineyard Chardonnays and Pinot Noirs from Napa Valley and Sonoma County. We are seeking interns for the 2020 harvest season. This position will be an important part of our small winemaking team and will have the opportunity to participate in all aspects of harvest in our newly renovated winery. The company provides catered lunches during harvest. Responsibilities include: • Press loading and operation • Cap management • Barrel work • Racking and blending • General winery sanitation • Maturity sample processing • Juice and wine analysis • Fruit receival and processing • Fermentation tracking • Data entry into cellar tracking software • Participation in staff tastings 2. Bayview Vineyards Corp. Contact Name: Erin Smith Contact Email: [email protected] Contact Phone: 707-312-3629 Dates: June – September (40 hours/week. Harvest hours are subject to change) Skills/Requirements: • College student working toward a degree in Viticulture, Plant Science or Agriculture related field • Knowledge -
Film Studies (FILM) 1
Film Studies (FILM) 1 FILM-115 World Cinema 3 Units FILM STUDIES (FILM) 54 hours lecture; 54 hours total This course will survey the historical, social, and artistic development FILM-100 Survey and Appreciation of Film 3 Units of cinema around the globe, introducing a range of international films, 54 hours lecture; 54 hours total movements, and traditions. This course is an introduction to the history and elements of filmmaking Transfers to both UC/CSU such as narrative, mise-en-scene, cinematography, acting, editing, and FILM-117 Director's Cinema 3 Units sound as well as approaches to film criticism. 54 hours lecture; 54 hours total Transfers to both UC/CSU This course examines the historical and artistic career of a seminal FILM-101 Introduction to Film Production 3 Units director in cinema history. Possible subjects include Martin Scorsese, 36 hours lecture; 54 hours lab; 90 hours total Alfred Hitchcock, Francis Ford Coppola, and Woody Allen. This course is designed to introduce you to the creative process Transfers to CSU only of filmmaking. We will study all aspects of production from the FILM-120 Horror Film 3 Units conceptualization of ideas and scripting, to the basic production 54 hours lecture; 54 hours total equipment and their functions, and finally the production and post- This course offers an in-depth examination of the popular horror film production processes. Assignments will emphasize visualization, through an analysis of its historical evolution, major theories, aesthetics shooting style, and production organization. Presentation of ideas in and conventions, and the impact of its role as a reflection of culture both the written word and visual media are integral to the production society. -
Famous People from Michigan
APPENDIX E Famo[ People fom Michigan any nationally or internationally known people were born or have made Mtheir home in Michigan. BUSINESS AND PHILANTHROPY William Agee John F. Dodge Henry Joy John Jacob Astor Herbert H. Dow John Harvey Kellogg Anna Sutherland Bissell Max DuPre Will K. Kellogg Michael Blumenthal William C. Durant Charles Kettering William E. Boeing Georgia Emery Sebastian S. Kresge Walter Briggs John Fetzer Madeline LaFramboise David Dunbar Buick Frederic Fisher Henry M. Leland William Austin Burt Max Fisher Elijah McCoy Roy Chapin David Gerber Charles S. Mott Louis Chevrolet Edsel Ford Charles Nash Walter P. Chrysler Henry Ford Ransom E. Olds James Couzens Henry Ford II Charles W. Post Keith Crain Barry Gordy Alfred P. Sloan Henry Crapo Charles H. Hackley Peter Stroh William Crapo Joseph L. Hudson Alfred Taubman Mary Cunningham George M. Humphrey William E. Upjohn Harlow H. Curtice Lee Iacocca Jay Van Andel John DeLorean Mike Illitch Charles E. Wilson Richard DeVos Rick Inatome John Ziegler Horace E. Dodge Robert Ingersol ARTS AND LETTERS Mitch Albom Milton Brooks Marguerite Lofft DeAngeli Harriette Simpson Arnow Ken Burns Meindert DeJong W. H. Auden Semyon Bychkov John Dewey Liberty Hyde Bailey Alexander Calder Antal Dorati Ray Stannard Baker Will Carleton Alden Dow (pen: David Grayson) Jim Cash Sexton Ehrling L. Frank Baum (Charles) Bruce Catton Richard Ellmann Harry Bertoia Elizabeth Margaret Jack Epps, Jr. William Bolcom Chandler Edna Ferber Carrie Jacobs Bond Manny Crisostomo Phillip Fike Lilian Jackson Braun James Oliver Curwood 398 MICHIGAN IN BRIEF APPENDIX E: FAMOUS PEOPLE FROM MICHIGAN Marshall Fredericks Hugie Lee-Smith Carl M. -
Preston Sturges Authenticity of the Image and of Testimonial “In-Person Reenactment” from Familiar and Big Time
r In Person: Margulies’s book is a vivid and wide-ranging in Postwar account of this type of re-enactment, offering Reenactment insight with implications that stretch across Cinema and Contemporary documentary and cinema history as a whole. New York: Oxford by Ivone Margulies. An associate professor in film and media at University Press, 2019. 227 pp., illus. Hunter College, author of a book on Chantal paperback: $29.95. Akerman (Nothing Happens: Chantal Alter- man’s Hyperrealisr Everyday [Duke Universtty From Nanook’s apocryphal seal hunt to Press, 1996]), and editor of Rites of Realistn: .., the kitschy dramatizations of an Unsolved Essays on Corporeal Cinema (Duke Universrty Preston _._.- Mysteries episode, re-enactment has been a Press, 2003), Margulies’s scholarship has long . uuivud consistent formal gambit throughout docu- been invested in documentary, French cine- Sturges mentanj's history. Over the years, as well, the ma, and the presence of the body on screen. sealants restaging of past events with nonprofessional The present volume seems a culmination of The Last «n-um actors has fallen in and out of fashion—some- her long engagement with these subjects. out times considered standard practice, sometimes Deftly argued and intricately constructed, Years of ._._...,..-- seen as documentary’s béte noire. Indeed, it’s In Person compn‘ses seven chapters that track, \nh \a-m.‘ 4...: IM- a...“ Inna-inww...“ something of an old film history chestnut that in roughly chronological order, the appear- Hollywood's the great wave of ve’rité and direct-cinema ances of in-person re-enactment in nonfiction First Writer-Director films of the 19505 and 19605 used their obser~ cinema from WWII to the present—from vational mode to reject it outright, expunging Orson Welles’s 1942 short film Four Men in a Nick Smedley and Tom Sturges the practice from nonfiction cinema in favor Raft (from his aborted, post-Ambersons of their apparently more “immediate” style. -
Inglenook Historical Timeline : 1842 - 2011
INGLENOOK HISTORICAL TIMELINE : 1842 - 2011 1842 30th August – Gustav Ferdinand Nybom is born in Helsinki, Finland. 1861 Nybom graduates from the Nautical Institute in Helsinki (19 years old) After receiving his master papers from Nautical Institute, Nybom (22 yrs old) commands a ship headed to Alaska, which is part of the Russian 1864 Empire. Not long after the US purchase of Alaska, Nybom sails into San Francisco harbour with a ship loaded with Alaskan furs. He creates the Alaska Commercial Company (26 yrs old) which, for the next 50 years, would build important trading stations in the Yukon and Aleutian Islands. 1868 The company also owned ocean steamers, sailing vessels and river boats, which were the only means of transportation to and from San Francisco during the Gold Rush, as well as fur operations and salmon canneries. William C Watson, son in law of George C Yount (founder of Yountville) and manager of the Bank of Napa, buys the 78 acre G. Koni farm, west of Rutherford. He 1872 names it Inglenook, a Scottish expression meaning 'cozy corner' or 'fireside,' and plants the first vines. 1873 Nybom changes his name to Gustave Niebaum and marries Susan Shingleberger, a native Californian. 1873-1879 Agricultural and industrial depression hits the US economy. California winemakers consider abandoning the industry. Watson sells the Inglenook land to Judge S Clinton Hastings, founder of the University of California Hastings Law School. Niebaum, who by this time had amassed a personal fortune in excess of $10 million, buys the 440 acre farm from Mrs. Rohlwing and the 78 acre Inglenook Farm from Judge Hastings. -
Screening Series for 'Walkers: Hollywood
FOR IMMEDIATE RELEASE SCREENING SERIES FOR ‘WALKERS: HOLLYWOOD AFTERLIVES IN ART AND ARTIFACT’ TO FEATURE CLASSIC HOLLYWOOD FILMS Exhibition artists Pierre Bismuth, Tom Sachs, and Guy Maddin to appear in person with select screenings and artist talks November 8–December 27, 2015 at Museum of the Moving Image Astoria, New York, October 22, 2015—Museum of the Moving Image is pleased to announce “The Hollywood Classics behind Walkers,” a screening series presented in conjunction with the exhibition Walkers: Hollywood Afterlives in Art and Artifact, the Museum’s first major contemporary art survey. Through the work of 45 artists in painting, photography, sculpture, print, and video, Walkers examines the lasting impact of 20th-century film on culture, and the ability of its imagery to be recycled and reinvented by artists. Exhibition curator Robert M. Rubin has paired these artworks with a selection of rare movie ephemera including scripts, set photos, and costume design sketches, that when viewed through a 21st-century lens, serve as works of art in their own right. As an extension of the exhibition, “The Hollywood Classics behind Walkers” series provides audiences the opportunity to see legendary Hollywood films on the big screen alongside the artworks they have inspired, as well as independent films that bridge the gap between Hollywood film and our greater understanding of “Hollywood.” Museum of the Moving Image Chief Curator David Schwartz and Rubin have selected a program of films significant to the exhibition, with selected screenings featuring conversations with artists Tom Sachs (with The Godfather) and Pierre Bismuth (with Be Kind Rewind); and filmmaker and artist Guy Maddin in person with The Forbidden Room. -
And the Ship Sails On
And The Ship Sails On by Serge Toubiana at the occasion of the end of his term as Director-General of the Cinémathèque française. Within just a few days, I shall come to the end of my term as Director-General of the Cinémathèque française. As of February 1st, 2016, Frédéric Bonnaud will take up the reins and assume full responsibility for this great institution. We shall have spent a great deal of time in each other's company over the past month, with a view to inducting Frédéric into the way the place works. He has been able to learn the range of our activities, meet the teams and discover all our on-going projects. This friendly transition from one director-general to the next is designed to allow Frédéric to function at full-steam from day one. The handover will have been, both in reality and in the perception, a peaceful moment in the life of the Cinémathèque, perhaps the first easy handover in its long and sometimes turbulent history. That's the way we want it - we being Costa-Gavras, chairman of our board, and the regulatory authority, represented by Fleur Pellerin, Minister of Culture and Communication, and Frédérique Bredin, Chairperson of the CNC, France's National Centre for Cinema and Animation. The peaceful nature of this handover offers further proof that the Cinémathèque has entered into a period of maturity and is now sufficiently grounded and self-confident to start out on the next chapter without trepidation. But let me step back in time. Since moving into the Frank Gehry building at 51 rue de Bercy, at the behest of the Ministry of Culture, the Cinémathèque française has undergone a profound transformation. -
Thought, Feeling, and the Cinema of Francis Ford Coppola: the Rain People As Exemplum
CHAPTER 12 THOUGHT, FEELING, AND THE CINEMA OF FRANCIS FORD COPPOLA: THE RAIN PEOPLE AS EXEMPLUM The Coppolas, Francis Ford and his daughter, Sophia, both have the same artistic problem: neither is a thinker. The father has always been short on thought; indeed, he stumbles when he thinks, when he thinks he’s thinking. The Godfather (1972, 1974, 1990) was strongest in its execution—also its executions—not in its adolescent implications of analogy between the Mafia and corporate capitalism (an analogy that ignores, among other things, the origins of the Mafia and its blood bonds of loyalty, which have nothing to do with capitalism). The Conversation (1974) faltered in its Orwellian idea-structure. And in Apocalypse Now (1979), the attempts to dramatize private moral agony and general moral abyss during the Vietnam War were disjointed, assumptive, weak, for all of Vittorio Storaro’s aptly hallucinogenic color cinematography. Even Coppola’s scripts for others have suffered from woolly thinking: his screenplay for Jack Clayton’s The Great Gatsby (1974), for example, turned Fitzgerald’s supple suggestiveness into mindless blatancy; and his scenario for Franklin Schaffner’s Patton (1970) presented the glaringly contradictory nature of this famous general as praiseworthy, even fathomless, complexity. That’s the top of the heap. From there, we head down to Coppola’s blotchy script for René Clément’s Is Paris Burning? (1966), a rambling, pseudo-documentary recreation of the liberation of Paris from Nazi occupation. Then we get to the adaptations of Tennessee Williams’ This Property Is Condemned and Carson McCullers’ Reflections in a Golden Eye, for Sydney Pollack (1966) and John Huston (1967) respectively, in which Coppola—who began his career in the early 1960s as a director of short sex films—manages to denude the world of Southern Gothicism of all but its trash, its kinkiness, and its pretense.