Peyton Place" Sally Hirsh-Dickinson University of New Hampshire, Durham
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October 2012 Highlights Documentaries
OCTOBER 2012 HIGHLIGHTS ** Denotes programs with artwork available on Investigation Discovery’s Press Website All Times ET // All airdates are subject to change INVESTIGATION DISCOVERY PRESS CONTACTS: Jordyn Linsk Charlotte Bigford Publicist Publicist 240-662-2421, [email protected] 240-662-3125, [email protected] DOCUMENTARIES ID FILMS: TELLING AMY’S STORY ** TV-PG (V) One-Hour Documentary Premieres Monday, October 8 at 7 PM ET By laying bare one woman's story and the many opportunities to alter its outcome, this October, Investigation Discovery commemorates Domestic Violence Awareness Month in the hope of educating, empowering, and even saving lives. On November 8, 2001, Amy Homan McGee was killed by her abusive husband of four years while her children waited outside in the car. Hosted by actress and advocate Mariska Hargitay, and told by Detective Deirdri Fishel, TELLING AMY’S STORY follows the timeline of the tragic domestic violence homicide that occurred in central Pennsylvania. The victim’s parents and co-workers, law enforcement officers, and court personnel share their perspectives on what happened to Amy in the weeks, months, and years leading up to her death. ID FILMS: WERNER HERZOG'S INTO THE ABYSS: A TALE OF LIFE, A TALE OF DEATH ** TV-14 Feature-Length Documentary Makes Its World TV Premiere on Tuesday, October 23 at 8 PM ET Werner Herzog’s INTO THE ABYSS debuted in September 2011 to rave reviews and festival buzz from Telluride to Toronto. Exploring the intricate details and emotional aftermath of a triple homicide in Conroe, Texas, Herzog sought to better understand the impact of life in prison and the shattering effects of the death penalty. -
Papéis Normativos E Práticas Sociais
Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs. -
James Dean: Magnificent Failure
Gay San Francisco: Eyewitness Drummer 133 James Dean: Magnificent Failure Written in 1960 and revised in September 1961, this feature essay was published in Preview: The Family Entertainment Guide, June 1962. I. Author’s Eyewitness Historical-Context Introduction written July 29, 2007 II. The feature article as published in Preview: The Family Entertainment Guide, June 1962 III. Eyewitness Illustrations I. Author’s Eyewitness Historical-Context Introduction written July 29, 2007 Revealing the Iconography of Drummer: When James Dean Met Marlon Brando, Heath Ledger, and Jake Gyllenhaal Marlon Brando: “Stella!” James Dean: “You’re tearing me apart.” Jake Gyllenhaal to Heath Ledger: “I wish I knew how to quit you.” As soon as we teenagers invented and liberated our tortured selves in the pop culture of the deadly dull 1950s, my leather bomber jacket morphed in meaning from “play clothing” to teen symbol. I was swept up by the movie Blackboard Jungle (1955) and its theme song, Bill Haley’s “Rock around the Clock,” which was played every ten minutes on the radio because no other white rock-n-roll songs yet existed. At the same instant, I found my first lover in James Dean, in his jackets, his motorcycle, his face, his attitude, his verite. When he was killed at age twenty-four on September 30, 1955, I was sixteen, a junior in high school, and stricken with grief. Even though I was in the Catholic seminary and was a sexually pure boy, art and literature and movies cancelled my chances of being paro- chial. (In 2007, it is more difficult to come out as a progressive Catholic ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017 HOW TO LEGALLY QUOTE FROM THIS BOOK 134 Jack Fritscher, Ph.D. -
'Continuing Peyton Place: Das Melodrama Und
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2016 Continuing Peyton Place: Das Melodrama und seine Bastarde Binotto, Johannes Abstract: Angelehnt an Gilles Deleuzes Projekt einer Bastardisierung innerhalb der Philosophiegeschichte skizziert der vorliegende Beitrag eine Medienphilosophie der Bastardisierung anhand des Bastardgenres des Melodrams. Insbesondere der melodramatische Roman Peyton Place und seine diversen, transme- dialen Wiedergeburten erweist sich so als Schauplatz einer komplexen Selbstreflexion, in welcher die verschiedenen Medien nicht zuletzt auch ihre eigene, ungewisse und illegitime Genealogie zur Diskussion stellen. Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-122335 Book Section Originally published at: Binotto, Johannes (2016). Continuing Peyton Place: Das Melodrama und seine Bastarde. In: Ritzer, Ivo; Schulze, Peter. Transmediale Genre-Passagen : Interdisziplinäre Perspektiven. Wiesbaden: Springer, 269-288. in: Ivo Ritzer, Peter W. Schulze (Hg.): Transmediale Genre-Passagen. Interdisziplinäre Perspektiven, Wiesbaden: Springer VS 2016, S. 269-288. Continuing Peyton Place: Das Melodrama und seine Bastarde Johannes Binotto …les chemins imaginaires, par où le desir de l’enfant trouve à s’identifier au manque- à-être de la mère. (…die imaginären Wege, über die das Begehren des Kindes sich identifizieren kann mit dem Fehlen-an-Sein der Mutter.) Jacques Lacan (1966, S. 565) In einer seiner gewiss berüchtigsten Formulierungen beschreibt Gilles Deleuze das eigene Projekt einer anderen Philosophiegeschichte als „eine Art Arschfickerei […] oder, was auf dasselbe hinausläuft, unbefleckte Empfängnis. Ich stellte mir vor, einen Autor von hinten zu nehmen und ihm ein Kind zu machen, das seines, aber trotzdem monströs wäre“ (1993, S. -
Peyton Place U.S
Peter Pan Slightly David Bean Director Tootles Ian Tucker Jerome Robbins Ostrich Joan Tewkesbury Crocodile Norman Shelly Programming Wendy (as adult) Ann Connolly History NBC Nibs Paris Theodore Two hours; March 7, 1955 Noodler Frank Lindsay Executive Producer Further Reading Richard Halliday Hanson, Bruce K., The Peter Pan Chronicles: The Nearly /00 - Year History of the "Boy Who Wouldn't Grow Up," Secau- Producer cus, New Jersey: Carol. 1993 Martin, Mary, My Heart Belongs, New Quill, 1984 Fred York: Coe Rivadue, Barry, Mary Martin: A Bio-Bibliography, New York: Greenwood, 1991 Peyton Place U.S. Serial Melodrama When it appeared on ABC, at that time still the third - in Latin America, telenovela, and Francophone ranked U.S. network, Peyton Place, a prime -time pro- Canada, telerornan.) Set in a small New England town, gram based on the Grace Metalious novel, was an Peyton Place dealt with the secrets and scandals of two experiment for American television in both content generations of the town's inhabitants. An unmarried and scheduling. Premiering in the fall of 1964, Peyton woman, Constance MacKenzie, and her daughter, Alli- Place was offered in two serialized installments per son, were placed at the dramatic center of the story. week, Tuesday and Thursday nights, a first for Ameri- Constance (played by 1950s film melodrama star can prime -time television. Initially drawing more at- Dorothy Malone) eventually married Allison's father. tention for its moral tone than for its unique Elliott Carson, when he was released from prison, scheduling, the serial was launched amid an atmo- though his rival Dr. -
MAGAZINE ® ISSUE 6 Where Everyone Goes for Scripts and Writers™
DECEMBER VOLUME 17 2017 MAGAZINE ® ISSUE 6 Where everyone goes for scripts and writers™ Inside the Mind of a Thriller Writer PAGE 8 Q&A with Producer Lauren de Normandie of Status Media & Entertainment PAGE 14 FIND YOUR NEXT SCRIPT HERE! CONTENTS Contest/Festival Winners 4 Feature Scripts – FIND YOUR Grouped by Genre SCRIPTS FAST 5 ON INKTIP! Inside the Mind of a Thriller Writer 8 INKTIP OFFERS: Q&A with Producer Lauren • Listings of Scripts and Writers Updated Daily de Normandie of Status Media • Mandates Catered to Your Needs & Entertainment • Newsletters of the Latest Scripts and Writers 14 • Personalized Customer Service • Comprehensive Film Commissions Directory Scripts Represented by Agents/Managers 40 Teleplays 43 You will find what you need on InkTip Sign up at InkTip.com! Or call 818-951-8811. Note: For your protection, writers are required to sign a comprehensive release form before they place their scripts on our site. 3 WHAT PEOPLE SAY ABOUT INKTIP WRITERS “[InkTip] was the resource that connected “Without InkTip, I wouldn’t be a produced a director/producer with my screenplay screenwriter. I’d like to think I’d have – and quite quickly. I HAVE BEEN gotten there eventually, but INKTIP ABSOLUTELY DELIGHTED CERTAINLY MADE IT HAPPEN WITH THE SUPPORT AND FASTER … InkTip puts screenwriters into OPPORTUNITIES I’ve gotten through contact with working producers.” being associated with InkTip.” – ANN KIMBROUGH, GOOD KID/BAD KID – DENNIS BUSH, LOVE OR WHATEVER “InkTip gave me the access that I needed “There is nobody out there doing more to directors that I BELIEVE ARE for writers than InkTip – nobody. -
Wheeler Inn Abfi-S
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SECRET Ut)So PLANE DISINTEGRATES
HIGH T 5/24/ 5.4 AT ( 0025 5/24/ 4 0 A~ i922 1327 VOL 3 No. !!26 KWAJALE i"l .. !I.,ARSHALl iSLANDS WEDNESDAY 23 MAY 1962 NEWS IN BRIEF SECRET Ut)So PLANE DISINTEGRATES WASHr~GTO~ -- PRES'DfNT KENNEDY MUNICH, GERMANY. MA~ 22 (UPu)--A U S NAVY RECONNA~SSANCE PLANE CARRYING SAvS THE U S MUST ALWAYS DiSP~AY 26 PERSONS ~NJ SE:RET RADAR DETECTION DE\ ~CES TORE APART IN FLiGHT ABOUT TWO CONCERN FOR RE~UGEES ~ROM COMMUN~SM MjlES ABOVE THE EARTH A~D CRASHED "L~KE A GRENADE" SIX MilES EAST o~ MUN!CH HE SA'D---"THERE /S NO fv10RE DRAMATffC TODAY PROOF O~ T~E VAk/DiTY OF OU~ CONCEPT POL CE AND M _I ·~R' AUTHORI1JES SAID THERE WAS NO S~GN Of S0R~ VORS OF MAN AND HIS NEEDS THAN THE CON AN AR~Y OrCJCIAL SA!D, "THERE ARE 26 KNOWN DEAD" HE SAID 20 BODIES HAVE T'NUi~G ~LOW O~ REFUGEES TO THE FREE BEEN cOUND AND A StARCH WAS CONT~NlrNG FOR THE OTHERS WORLD" rlE MADE THE STATEMENT iN AN AiR rORCE SPOKESMAN SAiD THE rOUR-ENGINE SUDER-CONSTELLATION CARRIED A MESSAGE TO THE U S COMM!TTEE FOR FivE NAV1 OFF'CERS, ~7 NAVY ENLISTED MEN AND FOUR ARMY ENL[STED MEN REFUGEES THE COMMITTEE wANTS THE THE PLANE W~S ASSIGNED TO A U.S NAVY BASE AT ROTA, SPAIN ijT FLEW TO U S TO WELCO~E CHRNESE REFUGEES FRANKFURT'S RHINE-MA~N A~R BASE SuNDAY ENTERING HONG KONG TO THE FREE THREE LAOS PRINCES EXPECTED AND WAS TO HAVE RETURNED AfTER TODAY'S V-.ORl.D NAViGAT~ONAL TRAiNiNG fLIGHT TO RESUME TALKS SOON THE CAUSE Of r~: CRASH WAS NO~ YET SEVERAL THOUS~ND MORE REFUGEES V1£TJANE, LACS: MAV 2~ (UP~)--WE3TERN KNOW BUT WiTNESSES SAID THE PLANE ~ROM RED CM~~A STREAMED 'NTO HONG Q,OLOMATS -
Viewed One of the First “Films Parlants” in 1930 in London
FROM GOLDEN AGE TO SILVER SCREEN: FRENCH MUSIC-HALL CINEMA FROM 1930-1950 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Rebecca H. Bias, M.A. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Judith Mayne, Advisor Professor Diane Birckbichler _________________________ Advisor Professor Charles D. Minahen Graduate Program in French and Italian Copyright by Rebecca H. Bias 2005 ABSTRACT This dissertation examines French music-hall cinema from 1930-1950. The term “music-hall cinema” applies to films that contain any or all of the following: music-hall performers, venues, mise en scène, revues, and music- hall songs or repertoire. The cinema industry in France owes a great debt to the music-hall industry, as the first short films near the turn of the century were actually shown as music-hall acts in popular halls. Nonetheless, the ultimate demise of the music hall was in part due to the growing popularity of cinema. Through close readings of individual films, the dynamics of music-hall films will be related to the relevant historical and cultural notions of the period. The music-hall motif will be examined on its own terms, but also in relation to the context or genre that underlies each particular film. The music-hall motif in films relies overwhelmingly on female performers and relevant feminist film theory of the 1970s will help support the analysis of female performance, exhibition, and relevant questions of spectatorship. Music-hall cinema is an important motif in French film, and the female performer serves as the prominent foundation in these films. -
Indigo FM Playlist 9.0 600 Songs, 1.5 Days, 4.76 GB
Page 1 of 11 Indigo FM Playlist 9.0 600 songs, 1.5 days, 4.76 GB Name Time Album Artist 1 Trak 3:34 A A 2 Tell It Like It Is 3:08 Soul Box Aaron Neville 3 She Likes Rock 'n' Roll 3:53 Black Ice AC/DC 4 What Do You Do For Money Honey 3:35 Bonfire (Back in Black- Remastered) AC/DC 5 I Want Your Love 3:30 All Day Venus Adalita 6 Someone Like You 3:17 Adrian Duffy and the Mayo Bothers 7 Push Those Keys 3:06 Adrian Duffy and the Mayo Bothers 8 Pretty Pictures 3:34 triple j Unearthed Aela Kae 9 Dulcimer Stomp/The Other Side 4:59 Pump Aerosmith 10 Mali Cuba 5:38 Afrocubismo AfroCubism 11 Guantanamera 4:05 Afrocubismo AfroCubism 12 Weighing The Promises 3:06 You Go Your Way, I'll Go Mine Ainslie Wills 13 Just for me 3:50 Al Green 14 Don't Wanna Fight 3:53 Sound & Color Alabama Shakes 15 Ouagadougou Boogie 4:38 Abundance Alasdair Fraser 16 The Kelburn Brewer 4:59 Abundance Alasdair Fraser 17 Imagining My Man 5:51 Party Aldous Harding 18 Horizon 4:10 Party Aldous Harding 19 The Rifle 2:44 Word-Issue 46-Dec 2006 Alela Diane 20 Let's Go Out 3:11 triple j Unearthed Alex Lahey 21 You Don't Think You Like People Like Me 3:47 triple j Unearthed Alex Lahey 22 Already Home 3:32 triple j Unearthed Alex the Astronaut 23 Rockstar City 3:32 triple j Unearthed Alex the Astronaut 24 Tidal Wave 3:47 triple j Unearthed Alexander Biggs 25 On The Move To Chakino 3:19 On The Move To Chakino Alexander Tafintsev 26 Blood 4:33 Ab-Ep Ali Barter 27 Hypercolour 3:29 Ab-Ep Ali Barter 28 School's Out 3:31 The Definitive Alice Cooper Alice Cooper 29 Department Of Youth 3:20 -
Barchester Towers Anthony Trollope Barchester Towers Anthony Trollope
Barchester Towers Anthony Trollope Barchester Towers Anthony Trollope CHAPTER I. WHO WILL BE THE NEW BISHOP? In the latter days of July in the year 185-, a most important question was for ten days hourly asked in the cathedral city of Barchester, and answered every hour in various ways—Who was to be the new Bishop? The death of old Dr Grantly, who had for many years filled the chair with meek authority, took place exactly as the ministry of Lord —was going to give place to that Lord —. The illness of the good old man was long and lingering, and it became at last a matter of intense interest to those concerned whether the new appointment should be made by a conservative or liberal government. Bishop Grantly died as he had lived, peaceably, slowly, without pain and without excitement. The breath ebbed from him almost imperceptibly, and for a month before his death, it was a question whether he was alive or dead. A trying time was this for the archdeacon, for whom was designed the reversion of his father’s see by those who then had the giving away of episcopal thrones. I would not be understood to say that the prime minister had in so many words promised the bishopric to Dr Grantly. He was too discreet a man for that. There is a proverb with reference to the killing of cats, and those who know anything either of high or low government places, will be well aware that a promise may be made without positive words, and that an expectant may be put into the highest state of encouragement, though the great man on whose breath he hangs may have done no more than whisper that ‘Mr So-and-so is 1 Barchester Towers Anthony Trollope certainly a rising man.’ Such a whisper had been made, and was known by those who heard it to signify that the cures of the diocese of Barchester should not be taken out of the hands of the archdeacon. -
Knowing and Being Known: Sexual Delinquency, Stardom, and Adolescent Girlhood in Midcentury American Film
University of Kentucky UKnowledge Theses and Dissertations--English English 2014 KNOWING AND BEING KNOWN: SEXUAL DELINQUENCY, STARDOM, AND ADOLESCENT GIRLHOOD IN MIDCENTURY AMERICAN FILM Michael Todd Hendricks University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Hendricks, Michael Todd, "KNOWING AND BEING KNOWN: SEXUAL DELINQUENCY, STARDOM, AND ADOLESCENT GIRLHOOD IN MIDCENTURY AMERICAN FILM" (2014). Theses and Dissertations--English. 14. https://uknowledge.uky.edu/english_etds/14 This Doctoral Dissertation is brought to you for free and open access by the English at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--English by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.