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Power and Paranoia
Power and Paranoia: The Literature and Culture of the American Forties Course instructor: PD Dr. Stefan Brandt Ruhr-Universität Bochum Winter term 2009/10 Bibliography (selection) “A Life Round Table on the Pursuit of Happiness” (1948) Life 12 July: 95-113. Allen, Donald M., ed. The New American Poetry, 1945-1960. New York: Grove Press, 1960. “Anatomic Bomb: Starlet Linda Christians brings the new atomic age to Hollywood” (1945) Life 3 Sept.: 53. Asimov, Isaac. “Robbie.” [Originally published as “Strange Playfellow” in 1940]. In: I, Robot. New York: Gnome Press, 1950. 17-40. ---. “Runaround.” [1942]. In: I, Robot, 41-62. Auden, W.H. The Age of Anxiety: A Baroque Eclogue. New York: Random House, 1947. Auster, Albert, and Leonard Quart. American Film and Society Since 1945. London and Basingstoke: Macmillan, 1984. Balio, Tino. The American Film Industry. Madison: University of Wisconsin Press, 1976. Barson, Michael, and Steven Heller. Red Scared: The Commie Menace in Propaganda and Popular Culture. San Francisco: Chronicle Books, 2001. Behlmer, Rudy, ed. Inside Warner Brothers 1935-1951. New York: Viking, 1985. Belfrage, Cedric. The American Inquisition: 1945-1960. Indianapolis and New York: Bobbs-Merrill, 1973. Berman, Greta, and Jeffrey Wechsler. Realism and Realities: The Other Side of American Painting, 1940-1960. An Exhibition and Catalogue. New Brunswick, N.J.: Rutgers Univ. Art Gallery, State Univ. of New Jersey, 1981. Birdwell, Michael E. Celluloid Soldiers: The Warner Bros. Campaign Against Nazism. New York: New York University Press, 1999. Boddy, William. “Building the World’s Largest Advertising Medium: CBS and Tele- vision, 1940-60.” In: Balio, ed., Hollywood in the Age of Television, 1990. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
TPTV Schedule Feb 10Th – Feb 16Th 2020
TPTV Schedule Feb 10th – Feb 16th 2020 Date Time Programme Synopsis Mon 10 00:30 Lost Horizon 1973. Adventure. Director: Charles Jarrott. Stars Peter Finch, Liv Ullmann & Sally Feb 20 (1973) Kellerman. After escaping war torn china, a plane crash leaves people secluded on Shangri-La. (SUBTITLES AVAILABLE) Mon 10 03:15 Mr Kingstreet's 1972. Thriller. During the Second World War, American couple Mr Kingstreet (John Feb 20 War Saxon) and Maggie (Tippi Hedren), run a reserve that is located between British and Italian colonies in South Africa. (SUBTITLES AVAILABLE) Mon 10 05:00 Dick Powell Run 'Til It's Dark. Starring Tuesday Weld & Fabian. Why is Stacy on the run? And who is Feb 20 Theatre the mystery man who comes after her when she tries to hide out in Las Vegas? (S2, EP3) Mon 10 06:00 The Ace of 1935. Crime drama made at Twickenham Film Studios. Starring Michael Hogan, Feb 20 Spades Dorothy Boyd and Richard Cooper. A man is accused of murder based on evidence written on a playing card. (SUBTITLES AVAILABLE) Mon 10 07:20 The Pirates of 1962. Drama. Directed by John Gilling. Stars Kerwin Mathews, Christopher Lee, Marie Feb 20 Blood River Devereux & Oliver Reed. Pirates force Jonathon to lead them to his settlement after hearing about hidden treasures. (SUBTITLES AVAILABLE) Mon 10 09:05 Calling Paul 1948. Crime Drama starring John Bentley & Dinah Sheridan. Scotland Yard is unable to Feb 20 Temple unravel the 'Rex' murders and cannot manage without the help of Paul Temple and his sidekick 'Steve'. (SUBTITLES AVAILABLE) Mon 10 11:00 June Allyson The Moth. -
Relações Raciais, Gênero E Memória: a Trajetória De Ruth De Souza Entre O Teatro Experimental Do Negro E O Karamu House (1945-1952)
1 UNIVERSIDADE FEDERAL FLUMINENSE INSTITUTO DE CIÊNCIAS HUMANAS E FILOSOFIA ÁREA DE HISTÓRIA PROGRAMA DE PÓS-GRADUAÇÃO EM HISTÓRIA SOCIAL Júlio Cláudio da Silva Relações raciais, gênero e memória: a trajetória de Ruth de Souza entre o Teatro Experimental do Negro e o Karamu House (1945-1952) Tese apresentada no Programa de Pós-Graduação em História da Universidade Federal Fluminense, sob a orientação da Professora Doutora Hebe Mattos, como requisito parcial para a obtenção do título de Doutor. Niterói Abril de 2011 2 Ficha catalográfica elaborada pela Biblioteca Central do Gragoatá S586 Silva, Júlio Cláudio da. Relações raciais, gênero e memória: a trajetória de Ruth de Souza entre o Teatro Experimental do Negro e o Karamu House (1945- 1952). / Júlio Cláudio da Silva. – 2011. 277 f.; il. Orientador: Hebe Maria Mattos de Castro. Tese (Doutorado) – Universidade Federal Fluminense, Instituto de Ciências Humanas e Filosofia, Departamento de História, 2011. Bibliografia: f. 243-251. 1. Souza, Ruth de, 1921- . 2. Relações raciais. 3. Teatro experimental. I. Castro, Hebe Maria Mattos de. II. Universidade Federal Fluminense. Instituto de Ciências Humanas e Filosofia. III. Título. CDD 927.92028 3 Júlio Cláudio da Silva Relações raciais, gênero e memória: a trajetória de Ruth de Souza entre o Teatro Experimental do Negro e o Karamu House (1945-1952) Tese apresentada no Programa de Pós-Graduação em História da Universidade Federal Fluminense, sob a orientação da Professora Doutora Hebe Mattos, como requisito parcial para a obtenção do título de Doutor. Banca Examinadora: ___________________________________________ Prof.a Dr. a Hebe Mattos(UFF) (Orientadora) ___________________________________________ Prof.a Dr. a Martha Abreu (UFF) ___________________________________________ Prof.a Dr. -
DIRTY DOZEN 2018 Employers Who Put Workers and Communities at Risk
THE DIRTY DOZEN 2018 Employers Who Put Workers and Communities at Risk WORKERS’ MEMORIAL WEEK • APRIL 23–30TH THE DIRTY DOZEN 2018 Employers Who Put Workers and Communities at Risk National Council for Occupational Safety and Health (National COSH) 0 WORKERS’ MEMORIAL WEEK APRIL 23 -30TH, 2018 OUR MISSION The National Council for Occupational Safety and Health (National COSH) is dedicated to promoting safe and healthy conditions for all working people through education, training, organizing and Workers’ Memorial Week: advocacy. We are a federation of twenty-one local April 23 to April 30, 2018 affiliates in fifteen states. We engage workers, labor and community allies to improve workplace This report is released to mark Workers’ practices; promote effective health and safety Memorial Week, honoring those who have programs; organize direct action against egregious been injured, suffered illnesses or lost their employers; and wage campaigns for effective lives at work. The event is observed policy. nationwide — and around the world — by surviving family members and health and Nearly all work-related injuries, illnesses and safety activists in workplaces and fatalities are preventable. National COSH supports communities. It coincides with the workers who are acting to protect their safety and anniversary of the U.S. Occupational Safety health; promotes protection from retaliation under and Health Act, which took effect on April 28, job safety laws; and provides quality information 1971. and training about workers’ rights and about hazards -
Performing Resistance: Myrna Loy, Joan Crawford, and Barbara Stanwyck in Postwar Cinema
Performing Resistance: Myrna Loy, Joan Crawford, and Barbara Stanwyck in Postwar Cinema Asher Benjamin Guthertz Film and Digital Media March 23, 2018 Thesis Advisor: Dr. Shelley Stamp This thesis has been completed according to the Film and Digital Media department's standards for undergraduate theses. It is submitted in partial fulfillment of the degree of Bachelor of Arts in Film and Digital Media. Introduction: Performing Resistance In the sunny California town of Santa Lisa, amidst a round of applause, veteran Frank Enley (Van Heflin) hands his toddler to his wife and struts onto a makeshift stage. In front of a crowd gathered to celebrate the opening of a new housing complex, he declares: “It was you fellas, you and your families, that really put this thing over. You stuck together and you fought for what you wanted, and if I gave you any help at all, well believe me, I am very happy.” His wife, holding their young son, beams. Frank musters all the spirit of war time camaraderie, and expresses that American belief that with hard work and a communal effort, anything is possible. But as Act of Violence (1949) unfolds, Frank’s opening speech becomes sickeningly hypocritical. A former army comrade sets out to murder Frank, and halfway through the film, Frank tells his wife Edith (Janet Leigh) why. The revelation takes place on an outdoors stairway at night. The railing and fences draw deep angular shadows on the white walls, and the canted angles sharpen the lines of the stairs and floor. A sense of enclosure looms; Frank mutters that he betrayed his troop. -
Centennial Summer N 1944, Meet Me in St
Centennial Summer n 1944, Meet Me in St. Louis and E.Y. Harburg. In the end, ev- favorably compared to Meet Me in captivated moviegoers the world eryone ends up where they want St. Louis by critics of the day, but Iover. The unbridled nostalgia for to be and happy endings abound. Centennial Summer is not that film a simpler time was very appealing and can stand proudly on its own in the turbulent war years. Two Centennial Summer was Jerome all these years later. It did receive years later, Twentieth Century-Fox Kern’s final score – he died in No- two Academy Award nominations, made its own film to appeal to that vember of 1945 at sixty years of both in the music category – for same audience – Centennial Sum- age, a great loss to the world of Best Music, Scoring of a Motion mer. With an excellent screenplay musical theatre and film. At the Picture for Alfred Newman, and by Michael Kanin and elegant and time of his death, Metro-Gold- Best Music, Original Song for “All stylish direction by Otto Preminger, wyn-Mayer was making a film Through the Day” by Kern and Centennial Summer takes a color- loosely based on his life (Till the Hammerstein – it lost both, but it ful, fun and even touching look at Clouds Roll By) and he’d just was a very competitive year. the 1876 Philadelphia Exposition begun work on a new musical, and one family’s trials and tribula- Annie Get Your Gun (Irving Berlin None of the stars of Centennial tions and follies and foibles. -
LINER NOTES Including the Show’S Transition from Radio to Make up for All That Had Been Stolen from Him
Advise and Consent law Josey Wales, The Enforcer, Demon Seed, He assembled a starry cast: Henry Fonda, and many others. His scores were brilliant, and Charles Laughton (whose final film it was), Don he had a unique musical voice. He was a three- ADVISE AND CONSENT Murray, Walter Pidgeon, Peter Lawford, Gene time Oscar nominee. Tierney (who’d starred in Preminger’s break- Adapted from the 1959 novel by Allen Drury, out film, Laura), Franchot Tone, Lew Ayres, In Advise and Consent, Fielding’s great sense Otto Preminger’s 1962 film of Advise and Con- Burgess Meredith, Paul Ford, George Griz- of melody is apparent from the first notes of sent was a hard-hitting political drama with zard, Inga Swenson, Edward Andrews, and its main theme, a beautiful piece that never an all-star cast. Preminger, by this time, was in a small role, Betty White. The screenplay overplays its musical hand in the film – it’s a expert at these kinds of films, but also one of was by the wonderful writer Wendell Mayes gorgeous melody, so gorgeous in fact that a the most eclectic of filmmakers, tackling what- (who’d done the screenplay for Preminger’s prominently credited Frank Sinatra sings the ever genre came his way and if that project Anatomy of a Murder and would subsequently theme, which is playing on a jukebox in the had some controversy, Preminger embraced it write Preminger’s film of In Harm’s Way), and infamous gay bar sequence. The song was en- rather vociferously. In those days, he was a the cameraman was Sam Leavitt (who’d pho- titled “Heart of Mine” and the lyric was by Ned groundbreaker – hiring Dalton Trumbo to write tographed Preminger’s Carmen Jones, The Washington. -
Dr. Strangelove's America
Dr. Strangelove’s America Literature and the Visual Arts in the Atomic Age Lecturer: Priv.-Doz. Dr. Stefan L. Brandt, Guest Professor Room: AR-H 204 Office Hours: Wednesdays 4-6 pm Term: Summer 2011 Course Type: Lecture Series (Vorlesung) Selected Bibliography Non-Fiction A Abrams, Murray H. A Glossary of Literary Terms. Seventh Edition. Fort Worth, Philadelphia, et al: Harcourt Brace College Publ., 1999. Abrams, Nathan, and Julie Hughes, eds. Containing America: Cultural Production and Consumption in the Fifties America. Birmingham, UK: University of Birmingham Press, 2000. Adler, Kathleen, and Marcia Pointon, eds. The Body Imaged. Cambridge: Cambridge Univ. Press, 1993. Alexander, Charles C. Holding the Line: The Eisenhower Era, 1952-1961. Bloomington, Indiana: Indiana Univ. Press, 1975. Allen, Donald M., ed. The New American Poetry, 1945-1960. New York: Grove Press, 1960. ——, and Warren Tallman, eds. Poetics of the New American Poetry. New York: Grove Press, 1973. Allen, Richard. Projecting Illusion: Film Spectatorship and the Impression of Reality. Cambridge: Cambridge Univ. Press, 1997. Allsop, Kenneth. The Angry Decade: A Survey of the Cultural Revolt of the Nineteen-Fifties. [1958]. London: Peter Owen Limited, 1964. Ambrose, Stephen E. Eisenhower: The President. New York: Simon and Schuster, 1984. “Anatomic Bomb: Starlet Linda Christians brings the new atomic age to Hollywood.” Life 3 Sept. 1945: 53. Anderson, Christopher. Hollywood TV: The Studio System in the Fifties. Austin: Univ. of Texas Press, 1994. Anderson, Jack, and Ronald May. McCarthy: the Man, the Senator, the ‘Ism’. Boston: Beacon Press, 1952. Anderson, Lindsay. “The Last Sequence of On the Waterfront.” Sight and Sound Jan.-Mar. -
Film Visti Nel 2014 (In Ordine Alfabetico)
film visti nel 2014 (in ordine alfabetico) quelli con sfondo giallo mi sono piaciuti in particolar modo 21 Days Basil Dean 1940 Vivien Leigh, Leslie Banks, Laurence Olivier 3 Idiots Rajkumar Hirani 2009 Aamir Khan, Madhavan, Mona Singh, Kareena Kapoor 55 days in peking Nicholas Ray 1963 Charlton Heston, Ava Gardner, David Niven 9 songs Michael Winterbottom 2004 Kieran O'Brien, Margo Stilley, Huw Bunford | A Bronx Tale Robert De Niro 1993 Robert De Niro, Chazz Palminteri A Life at Stake Paul Guilfoyle 1954 Angela Lansbury, Keith Andes, Douglass Dumbrille A Serious Man Joel Coen 2009 Michael Stuhlbarg, Richard Kind, Sari Lennick A Tale Of Two Cities Ralph Thomas 1958 Dirk Bogarde, Dorothy Tutin, Cecil Parker A.T.M.: ¡¡A toda máquina!! Ismael Rodríguez 1951 Pedro Infante, Luis Aguilar, Aurora Segura After hours Martin Scorsese 1985 Griffin Dunne, Rosanna Arquette Alma gitana Chus Gutiérrez 1996 Amara Carmona, Pedro Alonso, Peret Amores Perros Aleja. Gonzalez Inarritu 1999 E. Echevarría, G. García Bernal, G. Toledo Ana y Los Lobos Carlos Saura 1973 G. Chaplin, F. Fernán Gómez, J. M. Prada And Then There Were None René Claire 1945 Barry Fitzgerald, Walter Huston, Louis Hayward Andalucía chica José Ulloa 1988 Antonio Molina, Mara Vador, Raquel Evans Another Man's Poison Irving Rapper 1951 Bette Davis, Gary Merrill, Emlyn Williams Asphalt Joe May 1929 Albert Steinrück, Else Heller, Gustav Fröhlich Aventurera Alberto Gout 1950 Ninón Sevilla, Tito Junco, Andrea Palma Awaara Raj Kapoor 1951 Prithviraj Kapoor, Nargis, Raj Kapoor, K.N. Singh Bajo -
The Actress ART and REALITY
The Actress ART AND REALITY By RICHARD LIPPE George Cukor’s The Actress (1953) is a consistently overlooked must face the disapproval of her commonsensical father, film. In part this reaction may stem from the fact that the work, Clinton/Spencer Tracy, a man of little formal education who in scale and subject matter, suggests a modest project. barely supports his family, holding a low-paying, menial job. Additionally, The Actress , which is based on Ruth Gordon’s auto - The most extravagant aspect of Ruth’s life and image is her biographical play, Years Ago , has been eclipsed by the critical clothing that her mother sews. Ruth’s clothes are inspired by successes of the four Ruth Gordon/Garson Kanin/George Cukor the costumes she sees in theatre magazines and reflect her collaborations. The film, in fact, is treated often as the least sig - wish to be a part of that world of daring and glamour. The nificant of the various projects that involved Gordon and/or Actress, in foregrounding that the Joneses are an impoverished Kanin with Cukor. Yet, The Actress , in addition to embodying family, makes Ruth’s desire to be an actress, which she thinks Cukor’s thematic concerns, admirably illustrates again his abili - will make her rich and famous, both understandable and ty to respond to a project with original and fresh approach. seemingly foolish. The Actress belongs to the small town domestic comedy Not only do Meet Me in St. Louis and The Actress take oppo - genre and, given that it is a period film, it is a piece of site visual approaches, the films differ in their respective han - Americana in the tradition of Minnelli’s classic Meet Me in St. -
British Film Institute Report & Financial Statements 2006
British Film Institute Report & Financial Statements 2006 BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006 Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission ABOUT THE BFI The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to fi lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request. Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the benefi t of as wide an audience as possible, to create and encourage debate.’ SUMMARY OF ROYAL CHARTER OBJECTIVES: > To establish, care for and develop collections refl ecting the moving image history and heritage of the United Kingdom; > To encourage the development of the art of fi lm, television and the moving image throughout the United Kingdom; > To promote the use of fi lm and television culture as a record of contemporary life and manners; > To promote access to and appreciation of the widest possible range of British and world cinema; and > To promote education about fi lm, television and the moving image generally, and their impact on society.