DARK on the HILL by AARON BIGLER LEFEBVRE A
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Stephen J. Cannell, 1941-2010
STEPHEN J. CANNELL, 1941-2010 Stephen J(oseph) Cannell was born February 5, 1941 to Joseph Cannell, a Pasadena, California entrepreneur. Cannell struggled through his early school years, flunking three different grades of elementary, junior or senior high school, and regularly failing his English classes. Years later, when having one of his own children tested for dyslexia, he discovered that he had suffered from it his entire life. Never the less, he had a passionate love for writing, despite his difficulties with the written word, and set a goal for himself to become a best-selling author. After attending the University of Oregon on a football scholarship and meeting creative writing teachers that bolstered his confidence, Cannell married his high school sweetheart and went to work for his family’s business – driving a furniture truck all day. In the evenings, he set a rigorous writing schedule for himself – writing 5 hours a day, 7 days a week, on spec. He decided that his target market would be the burgeoning television scene, and after 6 years without a sale, he finally sold a script – to the series Ironside. After a few more sales, he caught the eye of the legendary writer/producer Jack Webb, who first hired him to be story editor and ultimately head writer for Adam-12. Cannell was contracted to Universal Television, writing and producing shows for that studio during the early-to-mid 1970s. While there, he produced Chase and wrote for and produced Toma, about real-life New York City detective David Toma. While producing Toma, Cannell and his mentor Roy Huggins (creator of Maverick, and many other tv series) wrote an episode that ended up getting rewritten to serve as a pilot for a series about an unorthodox Southern California P.I. -
ISADORE and MARGARET ARQUETT ST. MARTIN
ISADORE and MARGARET ARQUETT ST. MARTIN ISADORE ST. MARTIN MARGARET ARQUETTE ST. MARTIN Isadore and Margaret Arquette St. Martin 2 St. Martin 1987 Printed for Luther St. Martin by Carson Printing All right reerved. Written by Luther St. Martin From his research work and memories of his early life in the St. Martin family. Dedicated to L. A. (Luch) St. Martin Transcribed by Frances Durrell Isadore and Margaret Arquette St. Martin 3 Isadore St. Martin Born November 6, 1842 at Nisqually, Washington Died March 10, 1910 Margaret Arquett Born April 29, 1846 at St. Paul, Oregon Died 1933 Married at The Dalles, Oregon in 1864 Isadore and Margaret Arquette St. Martin 4 CHAPTER I EARLY LIFE OF ISADORE ST. MARTIN Isadore St. Martin was a top hand with horses and oxen. As a teamster, he hauled freight around The Dalles, Oregon. With his pack horses he packed gold from Canyon City and other mines. One of his many jobs was hauling ice from the ice caves north of White Salmon, Washington to The Dalles, Oregon. He was a Scout for the Army in the southern Oregon Indian wars. The author does not know at what other places he served while in the Army. The family lived in two places in the period of 1874 to 1876. St. Martin and his wife and daughters lived on a five acre tract of land in Carson, Washington. The boys lived in the cabin on the homestead until 1876. The house was located on what is called the top of the hill. This house was built by St. -
UNIVERSITY of CALIFORNIA Los Angeles
UNIVERSITY OF CALIFORNIA Los Angeles Neoliberalism, Citizenship, and the Spectacle of Democracy in American Film and Television, 1973-2016 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Television by Alice Elizabeth Royer 2018 © Copyright by Alice Elizabeth Royer 2018 ABSTRACT OF THE DISSERTATION Neoliberalism, Citizenship, and the Spectacle of Democracy in American Film and Television, 1973-2016 by Alice Elizabeth Royer Doctor of Philosophy in Film and Television University of California, Los Angeles, 2018 Professor William McDonald, Co-Chair Professor Johanna R Drucker, Co-Chair This dissertation examines American films, miniseries, and television shows that center on the democratic process, mobilizing it in the service of stories that both provide intense narrative and visual pleasures, and offer satisfaction in the form of apparent knowledge gained about the inner workings of electoral politics in the United States; these media texts are here theorized as “democracy porn.” Significantly, democracy porn emerges alongside neoliberalism, and its proliferation mirrors that ideology’s meteoric rise to prominence. As such, the dissertation considers texts made since the advent of neoliberalism in 1973, and up to the US presidential election of 2016, which marks a major shift in the meanings and values associated with democracy porn. Through historical, textual, and discourse analysis drawing on critical theories of affect, citizenship, and neoliberalism, the dissertation interrogates the complex ways in which democracy porn is constructed and functions within and surrounding moving image ii texts. The project thus tracks the ways neoliberal ideology manifests in the media texts in question, as well as how the consumption of these texts impacts viewers’ understandings of their own citizenship within a democracy increasingly steered by neoliberal principles. -
Readily Admits) That Was Provoked by a Growing Interest in the Female Sex
Martin Scorsese’s Divine Comedy Also available from Bloomsbury: The Bloomsbury Companion to Religion and Film, edited by William L. Blizek Dante’s Sacred Poem, Sheila J. Nayar The Sacred and the Cinema, Sheila J. Nayar Martin Scorsese’s Divine Comedy Movies and Religion Catherine O’Brien BLOOMSBURY ACADEMIC Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2018 Copyright © Catherine O'Brien, 2018 Catherine O'Brien has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work. For legal purposes the Acknowledgements on p. vi constitute an extension of this copyright page. Cover design by Catherine Wood Cover image © Appian Way / Paramount / Rex Shutterstock All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Names: O’Brien, Catherine, 1962- author. Title: Martin Scorsese’s divine comedy: movies and religion / Catherine O’Brien. Description: London; New York, NY : Bloomsbury Academic, 2018. | Includes bibliographical references and index. | Includes filmography. Identifiers: LCCN 2017051481| -
David Jacox Stunt Coordinator/ Stunt Performer
David Jacox Stunt Coordinator/ Stunt Performer Office: 604-299-7050 Cel: 604-220-8310 Website: www.stuntscanada.com Email: [email protected] Height: 6’0 Weight: 190 Hair: Brown/Grey Eyes: Blue Waist: 32 Inseam: 33 Neck: 16 ½ Jacket: 44 Shoe: 9 Hat: 7 3/8 TAURUS WORLD STUNT AWARDS NOMINEE: Best Work with a Vehicle, “Reindeer Games” - 2000 STUNT COORDINATING - FEATURES SHOW POSITION PRODUCER/PM/DIRECTOR Get Carter Canadian Stunt Coordinator – (US Mark Canton, Neil Canton/Joyce Kozy- Coordinator, Mark De Alessandro King/Steven Kay Chain of Fools Stunt Coordinator Tony Lord, Matthew Weaver/Wendy Williams/Traktor Bordello of Blood Stunt Coordinator Gil Adler, Alexander Collett/Colleen Nystedt/Gil Adler STUNT COORDINATING – TELEVISION SHOW POSITION PRODUCER/PM/DIRECTOR Rogue – Season 1 Stunt Coordinator Robert Petrovicz/Brad Jubenvill/Various Eureka – Seasons 1, 2, 3, 4, 5 Stunt Coordinator Robert Petrovicz/Brad Jubenvill/Various No Heroics – Pilot Stunt Coordinator JP Finn/Brian Dick/Andrew Fleming Facing Kate – Pilot Stunt Coordinator Chris Sacani/Matthew Chipera/Bronwen Hughes To Love & Die in LA – Pilot Stunt Coordinator Robert Petrovicz/Michael Young/Mark Piznarski The Dead Zone – Seasons 2 & 3 Stunt Coordinator Various/Matthew Chipera/Various The Net – 22 episodes Stunt Coordinator Boris Malden/George Grieve/Various Jitters Stunt Coordinator Michael Manheim/Barbara Kelly/Bob Saget Two – 6 episodes Stunt Coordinator David Levinson/Kandis Armstrong/Various Have You Seen My Son? Stunt Coordinator Lisa Hartman, Bob Finkel/Charles Lyall/Paul -
501 Sentence Completion Questions
501 Sentence Completion Questions 501 Sentence Completion Questions ® NEW YORK Copyright © 2004 LearningExpress, LLC. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by LearningExpress, LLC, New York. Library of Congress Cataliging-in-Publication Data: 501 sentence completion questions.—1st ed. p.m. ISBN 1–57685–511–2 (pbk.: alk. paper) 1. English language—Examinations—Study guides. 2. English language—Sentences— Problems, exercises, etc. I. Title: Five hundred one sentence completion questions. II. Title: Five hundred and one sentence completion questions. III. Series: LearningExpress (Organization) LB1631.5.A17 2004 428.1’076—dc22 2003027067 Printed in the United States of America 9 8 7 6 5 4 3 2 1 First Edition ISBN 1-57685-511-2 For more information or to place an order, contact LearningExpress at: 55 Broadway 8th floor New York, NY 10006 Or visit us at: www.learnatest.com The LearningExpress Skill Builder in Focus Writing Team is com- prised of experts in test preparation, as well as educators and teachers who specialize in language arts and math. LearningExpress Skill Builder in Focus Writing Team Lara Bohlke Middle School Math Teacher, Grade 8 Dodd Middle School Cheshire, Connecticut Elizabeth Chesla English Instructor Coordinator of Technical and Professional Communication Program Polytechnic University, Brooklyn South Orange, New Jersey Brigit Dermott Freelance Writer English Tutor, New York Cares New York, New York Darren Dunn English Teacher Riverhead School District -
Stunt Resume
David Jacox Stunt Coordinator/ Stunt Performer Office: 604-299-7050 Cel: 604-220-8310 Website: www.stuntscanada.com Email: [email protected] Height: 6’0 Weight: 240 Hair: Brown/Grey Eyes: Blue Waist: 40 Inseam: 33 Neck: 17 ½ Jacket: 46R Shoe: 10 Hat: 7 3/8 TAURUS WORLD STUNT AWARDS NOMINEE: Best Work with a Vehicle, “Reindeer Games” - 2000 STUNT COORDINATING - FEATURES SHOW POSITION PRODUCER/PM/DIRECTOR Get Carter Canadian Stunt Coordinator – (US Mark Canton, Neil Canton/Joyce Kozy- Coordinator, Mark De Alessandro King/Steven Kay Chain of Fools Stunt Coordinator Tony Lord, Matthew Weaver/Wendy Williams/Traktor Bordello of Blood Stunt Coordinator Gil Adler, Alexander Collett/Colleen Nystedt/Gil Adler STUNT COORDINATING – TELEVISION SHOW POSITION PRODUCER/PM/DIRECTOR Rogue – Season 1 Stunt Coordinator Robert Petrovicz/Brad Jubenvill/Various Eureka – Seasons 1, 2, 3, 4, 5 Stunt Coordinator Robert Petrovicz/Brad Jubenvill/Various No Heroics – Pilot Stunt Coordinator JP Finn/Brian Dick/Andrew Fleming Facing Kate – Pilot Stunt Coordinator Chris Sacani/Matthew Chipera/Bronwen Hughes To Love & Die in LA – Pilot Stunt Coordinator Robert Petrovicz/Michael Young/Mark Piznarski The Dead Zone – Seasons 2 & 3 Stunt Coordinator Various/Matthew Chipera/Various The Net – 22 episodes Stunt Coordinator Boris Malden/George Grieve/Various Jitters Stunt Coordinator Michael Manheim/Barbara Kelly/Bob Saget Two – 6 episodes Stunt Coordinator David Levinson/Kandis Armstrong/Various Have You Seen My Son? Stunt Coordinator Lisa Hartman, Bob Finkel/Charles Lyall/Paul -
1995-96 and 1996-97 Academic Years, the Center Interviewed Students for the Position of Project Monitor
PART I. INTRODUCTION A. Overview The past 12 months have been the most momentous period in the history of the television violence issue. A year ago there were no V-chips, television content ratings, minimum air time requirements for educational television or public discussions about the context in which television violence occurs. Now these developments frame the television violence issue. In September 1995 the UCLA Center for Communication Policy released its first report on the state of television violence. Rather than examining a one- or two-week sample that might contain unusually light or heavy concentrations of violence, the Center thoroughly examined every series, television movie, theatrical film and Saturday morning children’s program on broadcast network television. In addition, we monitored every on-air promotion and advertisement aired during this programming. Our report found that while there were positive signs in the areas of network television series and television movies, there were significant problems in the areas of theatrical films shown on television, on-air promotions and children’s television. Last year’s report concluded with an analysis of the 1994-95 television season, a series of recommendations that we felt would significantly address television violence and an invitation to the broadcast networks to work with us over the next year on this issue. Upon its release, the four networks promised to carefully study the report and its recommendations and accepted the offer to work together on this very difficult and contentious problem. While much work remains to be done over the third and subsequent years of this process, we are happy to report that the broadcast networks were serious in their desire to work with us to improve the ways in which they deal with television violence. -
A Narrative and Stylistic Analysis of Terrence Malick's Films
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 8-2012 All Things Shining: A Narrative and Stylistic Analysis of Terrence Malick's Films C. Clinton Stivers [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Film and Media Studies Commons Recommended Citation Stivers, C. Clinton, "All Things Shining: A Narrative and Stylistic Analysis of Terrence Malick's Films. " PhD diss., University of Tennessee, 2012. https://trace.tennessee.edu/utk_graddiss/1473 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by C. Clinton Stivers entitled "All Things Shining: A Narrative and Stylistic Analysis of Terrence Malick's Films." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Charles J. Maland, Major Professor We have read this dissertation and recommend its acceptance: Christine Holmlund, Mary Papke, Allen Dunn Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) All Things Shining: A Narrative and Stylistic Analysis of Terrence Malick’s Films A Dissertation Presented for The Doctor of Philosophy Degree The University of Tennessee, Knoxville C. -
Memoirs of Ray E. Wehmeier
Memoirs of Ray E. Wehmeier December 2012 Photo 1 - Ray with his wife, Ruth taken on July 3, 1992. To my lovely wife Ruth, who made all my wildest dreams come true. I met Ruth when I was almost 21 years old and she was only 15. There was an age difference, but we were friends to start out with. She was a real nice girl. She played Air Force songs on her Accordion. We started dating in 1945 after I got out of the war. She was 18, l was almost 24. We got married on October 26, 1945, in the Christian Missionary Alliance Church in St. Louis, MO. at 6:00 pm. I remember her sister Dorlas came with her, and my brother Lee came with me. I can honestly say that all I saw that evening was her. I reckon there were about 50+ people, but then again all I was focused on was her. After the wedding we went to Southern Missouri to Poplar Bluff and Big Springs on the Current River. We did a lot of different things together. We took boat rides, and went out to eat at fancy restaurants. The honeymoon was an amazing experience for us. We went back to my home place by Newburg and I showed her around. Then it ended because I had to go back to work. The first few months flew by, because we were wrapped up in the fact that we were together and we were happy. I was fresh out of the service and it was hard to adjust to civilian life. -
Songs Girl Scouts Love to Sing
GIRL SCOUTS OF CENTRAL MARYLAND PRESENTS: SONGS GIRL SCOUTS LOVE TO SING 04-328 10/09 GIRL SCOUTS OF CENTRAL MARYLAND PRESENTS: SONGS GIRL SCOUTS LOVE TO SING One of many traditions in Girl Scouting is singing, whether it is a silly hiking song, a tune that is appropriate for a special ceremony, or just fun songs to be sung around the campfire. This booklet of songs has been compiled from many different sources. The songs are arranged in alphabetical order with rounds and graces at the back. You may find that the words are slightly different than what you learned; many of these songs have been handed down and passed along and the words have changed. If you like the way you learned a particular song, by all means continue singing it that way. And have fun singing!!! NOTE TO SONG TEACHERS/LEADERS: To avoid “losing” your audience, you must KNOW the songs that you are teaching, without referring to the book or words. (Practice at home) This is especially important for the younger girls. -
Final Final Final Diss
Cinematic Adaptation and the Problem of Citizenship: Mapping Women’s Diasporic Authorship in a Post-9/11 World DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Susan Catherine Brennan, M.A. Graduate Program in Women's Studies The Ohio State University 2010 Dissertation Committee: Professor Linda Mizejewski, Advisor Professor Cricket Keating Professor Mytheli Sreenivas Copyright by Susan Catherine Brennan 2010 Abstract Scholarly attention to cinematic adaptation remains a neglected site of inquiry in contemporary cinema, literary, and cultural studies. The lack of attention may be due in part to the theoretical limitations of scholarship on adaptation and the moralistic systems of evaluation it relies upon, usually aimed at assessing a text’s faithfulness to source material. This dissertation intervenes in traditional understandings of cinematic adaptation by proposing that adaptation is a site of social transformation, and an important technology in the mapping of historical and social time. In this dissertation, I address the distinctive racial logics instigated by the events of September 11, 2001, and the role of the adaptive process in shaping their circulation in American culture. I argue that adaptation and post-9/11 racial logics share similar meaning-making processes. They both transplant ‘old’ narratives into new settings, signifying a new location in time and space through repetition and reiteration. This alignment allows racial logics to appropriate the adaptive process, and introduce particular racial narratives and ideologies into the textual meaning-making process. Not only do these narratives articulate regimes of space, time, gender, and race that reflect the effects of racialization after 9/11, but they also help to create models of citizenship complicit with a post-9/11 racial order.