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Reminder List of Productions Eligible for the 86Th Academy Awards
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 86TH ACADEMY AWARDS ABOUT TIME Notes Domhnall Gleeson. Rachel McAdams. Bill Nighy. Tom Hollander. Lindsay Duncan. Margot Robbie. Lydia Wilson. Richard Cordery. Joshua McGuire. Tom Hughes. Vanessa Kirby. Will Merrick. Lisa Eichhorn. Clemmie Dugdale. Harry Hadden-Paton. Mitchell Mullen. Jenny Rainsford. Natasha Powell. Mark Healy. Ben Benson. Philip Voss. Tom Godwin. Pal Aron. Catherine Steadman. Andrew Martin Yates. Charlie Barnes. Verity Fullerton. Veronica Owings. Olivia Konten. Sarah Heller. Jaiden Dervish. Jacob Francis. Jago Freud. Ollie Phillips. Sophie Pond. Sophie Brown. Molly Seymour. Matilda Sturridge. Tom Stourton. Rebecca Chew. Jon West. Graham Richard Howgego. Kerrie Liane Studholme. Ken Hazeldine. Barbar Gough. Jon Boden. Charlie Curtis. ADMISSION Tina Fey. Paul Rudd. Michael Sheen. Wallace Shawn. Nat Wolff. Lily Tomlin. Gloria Reuben. Olek Krupa. Sonya Walger. Christopher Evan Welch. Travaris Meeks-Spears. Ann Harada. Ben Levin. Daniel Joseph Levy. Maggie Keenan-Bolger. Elaine Kussack. Michael Genadry. Juliet Brett. John Brodsky. Camille Branton. Sarita Choudhury. Ken Barnett. Travis Bratten. Tanisha Long. Nadia Alexander. Karen Pham. Rob Campbell. Roby Sobieski. Lauren Anne Schaffel. Brian Charles Johnson. Lipica Shah. Jarod Einsohn. Caliaf St. Aubyn. Zita-Ann Geoffroy. Laura Jordan. Sarah Quinn. Jason Blaj. Zachary Unger. Lisa Emery. Mihran Shlougian. Lynne Taylor. Brian d'Arcy James. Leigha Handcock. David Simins. Brad Wilson. Ryan McCarty. Krishna Choudhary. Ricky Jones. Thomas Merckens. Alan Robert Southworth. ADORE Naomi Watts. Robin Wright. Xavier Samuel. James Frecheville. Sophie Lowe. Jessica Tovey. Ben Mendelsohn. Gary Sweet. Alyson Standen. Skye Sutherland. Sarah Henderson. Isaac Cocking. Brody Mathers. Alice Roberts. Charlee Thomas. Drew Fairley. Rowan Witt. Sally Cahill. -
Modernizing the Greek Tragedy: Clint Eastwood’S Impact on the Western
Modernizing the Greek Tragedy: Clint Eastwood’s Impact on the Western Jacob A. Williams A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies University of Washington 2012 Committee: Claudia Gorbman E. Joseph Sharkey Program Authorized to Offer Degree: Interdisciplinary Arts and Sciences Table of Contents Dedication ii Acknowledgements iii Introduction 1 Section I The Anti-Hero: Newborn or Reborn Hero? 4 Section II A Greek Tradition: Violence as Catharsis 11 Section III The Theseus Theory 21 Section IV A Modern Greek Tale: The Outlaw Josey Wales 31 Section V The Euripides Effect: Bringing the Audience on Stage 40 Section VI The Importance of the Western Myth 47 Section VII Conclusion: The Immortality of the Western 49 Bibliography 53 Sources Cited 62 i Dedication To my wife and children, whom I cherish every day: To Brandy, for always being the one person I can always count on, and for supporting me through this entire process. You are my love and my life. I couldn’t have done any of this without you. To Andrew, for always being so responsible, being an awesome big brother to your siblings, and always helping me whenever I need you. You are a good son, and I am proud of the man you are becoming. To Tristan, for always being my best friend, and my son. You never cease to amaze and inspire me. Your creativity exceeds my own. To Gracie, for being my happy “Pretty Princess.” Thank you for allowing me to see the world through the eyes of a nature-loving little girl. -
{PDF EPUB} the Elephants by Georges Blond the Elephants by Georges Blond
Read Ebook {PDF EPUB} The Elephants by Georges Blond The Elephants by Georges Blond. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 6607bc654d604edf • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Sondra Locke: a charismatic performer defined by a toxic relationship with Clint Eastwood. S ondra Locke was an actor, producer, director and talented singer. But it was her destiny to be linked forever with Clint Eastwood, whose partner she was from the mid-1970s to the late 1980s. She was a sexy, charismatic performer with a tough, lean look who starred alongside Eastwood in hit movies like The Outlaw Josey Wales, The Gauntlet, Every Which Way But Loose (in which she sang her own songs — also for the sequel Any Which Way You Can) and Bronco Billy. But the pair became trapped in one of the most notoriously toxic relationships in Hollywood history, an ugly, messy and abusive overlap of the personal and professional — a case of love gone sour and mentorship gone terribly wrong. -
'Pale Rider' Is Clint Eastwood's First Western Film Since He Starred in and Directed "The Outlaw Josey Wales" in 1976
'Pale Rider' is Clint Eastwood's first Western film since he starred in and directed "The Outlaw Josey Wales" in 1976. Eastwood plays a nameless stranger who rides into the gold rush town of LaHood, California and comes to the aid of a group of independent gold prospectors who are being threatened by the LaHood mining corporation. The independent miners hold claims to a region called Carbon Canyon, the last of the potentially ore-laden areas in the county. Coy LaHood wants to dredge Carbon Canyon and needs the independent miners out LaHood hires the county marshal, a gunman named Stockburn with six deputies, to get the job done. What neither LaHood nor Stockburn could possibly have taken into consideration is the appearance of the enigmatic horseman and the fate awaiting them. This study guide attempts to place 'Pale Rider' within the Western genre and also within the canon of Eastwood's films. We would suggest that the work on Film genre and advertising are completed before students see 'Pale Rider'. FILM GENRE The word "genre" might well be unfamiliar to you. It is a French word which means "type" and so when we talk of film genre we mean type of film. The western is one particular genre which we will be looking at in detail in this study guide. What other types of genre are there in film? Horror is one. Task One Write a list of all the different film genres that you can think of. When you have done this, try to write a list of genres that you might find in literature. -
Newsletter 03/08 (Nr
ISSN 1610-2606 ISSN 1610-2606 newsletterDIGITAL EDITION Nr. 223 - 03/08Februar 2008 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 03/08 (Nr. 223) Februar 2008 editorial Hallo Laserdisc- und DVD-Fans, liebe Filmfreunde! Das Plakatmotiv eines der aus- Warum die Welt jetzt blau werden muss sichtsreichsten Anwärter auf den von Hans-Joachim Pulli diesjährigen Oscar darf das Titel- Nachdem Warner das getan hat, 1978-1997: blatt der neuesten Ausgabe unseres auf das die Welt gewartet hat, näm- LaserDisc (LD) ca. 20 Jahre Newsletters zieren. Und das nicht lich die HD DVD-Technologie mit Kaum verbreitet im Consumermarkt ohne Grund. Denn das neue Werk einem Rasierschnitt seiner Daseins- waren die LaserDiscs. Obwohl sie der genialen Coen-Brüder gilt seit berechtigung zu berauben, hat sich eine hervorragende Qualität boten, Wochen schon als absoluter jetzt Blu-ray als Medium der Zu- fanden sie aufgrund ihres Preises Geheimtipp. Nach ein paar filmi- kunft durchgesetzt. 2008: die Welt und schlechter Handhabbarkeit auf- schen Durchhängern ist es den bei- ist blau geworden! Warner wollte grund ihrer Größe kaum Verbrei- den Brüdern endlich wieder gelun- keineswegs dem Konsumenten ei- tung. Die Aufzeichnung geschah gen, zu ihren Wurzeln zurückzufin- nen Gefallen tun, vielmehr ging es analog. Von der Größe her war sie den. Skurrile Charaktere, außerge- um Bares. Da wird sowieso jede vergleichbar mit der einer Schall- wöhnliche Settings, unvorhersehba- noch so vorbildliche Einstellung ge- platte. -
Vaya Con Dios, Kemosabe: the Multilingual Space of Westerns from 1945 to 1976
https://doi.org/10.5007/2175-7968.2020v40n2p282 VAYA CON DIOS, KEMOSABE: THE MULTILINGUAL SPACE OF WESTERNS FROM 1945 TO 1976 William F. Hanes1 1Pesquisador Autônomo, Niterói, Rio de Janeiro, Brasil Abstract: Since the mythic space of the Western helped shape how Americans view themselves, as well as how the world has viewed them, the characterization of Native American, Hispanic, and Anglo interaction warrants closer scrutiny. For a corpus with substantial diachrony, every Western in the National Registry of Films produced between the end of the Second World War and the American Bicentennial (1945-1976), i.e. the cultural apex of the genre, was assessed for the presence of foreign language and interpretation, the relationship between English and social power, and change over time. The analysis showed that although English was universally the language of power, and that the social status of characters could be measured by their fluency, there was a significant presence of foreign language, principally Spanish (63% of the films), with some form of interpretation occurring in half the films. Questions of cultural identity were associated with multilingualism and, although no diachronic pattern could be found in the distribution of foreign language, protagonism for Hispanics and Native Americans did grow over time. A spectrum of narrative/cinematic approaches to foreign language was determined that could be useful for further research on the presentation of foreigners and their language in the dramatic arts. Keywords: Westerns, Hollywood, Multilingualism, Cold War, Revisionism VAYA CON DIOS, KEMOSABE: O ESPAÇO MULTILINGUE DE FAROESTES AMERICANOS DE 1945 A 1976 Resumo: Considerando-se que o espaço mítico do Faroeste ajudou a dar forma ao modo como os norte-americanos veem a si mesmos, e também Esta obra utiliza uma licença Creative Commons CC BY: https://creativecommons.org/lice William F. -
Radar, Bikini Run Slated at Bent's Camp Feb. 14
NORTH WOODS TRADER Saturday, Feb. 14, 2015 Page 2 FEATURED RESTAURANT LODGE RESTAURANT On the Famous Cisco Chain of Lakes Radar, bikini run slated Bloody Mary Bar every Saturday and Sunday at Bent’s Camp Feb. 14 Nightly specials including Old-Fashioned Chicken Dinner • Prime Rib • Broasted Chicken Ribs & Wings • Homemade Pizzas This week’s featured Our House Specialty: Canadian Walleye served 7 different ways establishment is Bent’s Famous Friday Fish Fry & Fresh Salad Bar on Fridays! Camp Lodge Restaurant, located on the Cisco Chain of OPEN 6 DAYS A WEEK 11 A.M. TO CLOSE ~ CLOSED TUESDAYS Lakes in Land O’ Lakes. www.bents-camp.com The annual Radar Run (715) 547-3487 benefitting the Frosty Snow- 6882 Helen Creek Rd., 10 miles west of Land O’ Lakes on Cty. B mobile Club of Land O’ Lakes is set Saturday, Feb. 14, from 10 a.m. to 3 p.m. The bikini run will take place at Bent’s Camp at 3 p.m. Live music with Taylor Davis will begin at 4 p.m. There also will be an outdoor ice bar, food, raffles and more. Bent’s Camp, established in 1896, features cabin rentals, a bait shop, gift shop and a lodge restaurant with a full bar. Amy and Craig Kusick bought the business in April of 2011 with the goal of mak- ing Bent’s Camp a great place to visit year after year. Located on the Cisco Chain of Lakes, Bent’s Lake, a bar and restaurant, cabin rentals, bait The restaurant was built Camp offers impressive views of Mamie shop and gift shop. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
The London School of Economics and Political Science the Reel City
The London School of Economics and Political Science The Reel City: London, symbolic power and cinema Rahoul Masrani A thesis submitted to the Department of Media and Communications of the London School of Economics for the degree of Doctor of Philosophy, London, January 2016 DECLARATION .................................................................................................................... 4 ABSTRACT ........................................................................................................................... 5 ACKNOWLEDGMENTS ...................................................................................................... 7 CHAPTER 1: INTRODUCTION ........................................................................................ 9 1.1 Introduction ...................................................................................................................... 9 1.2 An IntErdisciplinary Enquiry into thE Global City ................................................ 13 1.3 Symbolic PowEr ................................................................................................................ 16 1.3.1 Symbolic power and the media ........................................................................................... 18 1.4 CinEma and thE City ........................................................................................................ 22 1.5 London in Cinema ........................................................................................................ 28 1.6 Conclusion -
Raging Bull (1980)
The Buffalo Film Seminars 4/19/2000 Angelika 8 Theater RAGING BULL (1980) Director Martin Scorsese Producers Robert Chartoff and Irwin Winkler Music Robbie Robertson and Pietro Mascagni Cinematographer Michael Chapman Film Editor Thelma Schoonmaker Sound Best David J. Kimball, Les Lazarowitz, Donald O. Mitchell and Bill Nicholson. Script Paul Schrader and Mardik Martin (the shooting script was by Scorsese and De Niro), loosely based on the book by Jake LaMotta, Joseph Carter& Peter Savage Robert De Niro Jake La Motta Frank Topham Toppy Cathy Moriarty Vickie La Motta Charles Scorsese Charlie - Man with Como Joe Pesci Joey La Motta Don Dunphy Himself/Radio Announcer Frank Vincent Salvy Bill Hanrahan Eddie Eagan Nicholas Colasanto Tommy Como Rita Bennett Emma - Miss 48's Theresa Saldana Lenore Johnny Barnes Sugar Ray Robinson Mario Gallo Mario Louis R aftis Marcel Cerdan Frank Adonis Patsy Johnny Turner Laurent Dauthuille Joseph Bono Guido Martin Scorsese Barbizon Stagehand De Niro and Schoonmaker won Academy Awards for this picture and nominations went to Scorsese, Chapman, Chartoff and Winkler, Pesci, Moriarty, and the four sound editors. The Awards for best director and best picture that year went to Ordinary People directed b y Robert R edford. Raging Bull is on the American Film Institute’s list of 100 Greatest American Films and has frequently been listed as the best film of the 1980s; Ordinary People hasn’t made either list. MARTIN SCORSESE was going to be a priest but beca me a filmmaker instead. He’s a 1 964 gradu ate of the NYU film program . In 1997 he received the American Film Institute Life Achievement Award. -
June 2018 Volume 19, Issue 2 EMPIRE RANCH FOUNDATION NEWS
June 2018 Volume 19, Issue 2 EMPIRE RANCH FOUNDATION NEWS P.O Box 842 * Sonoita, Arizona 85637-0842 * (888) 364-2829 www.empireranchfoundation.org Walter L. Vail Honored O n A p r i l 1 4 , 2018, Walter Lennox Vail was posthumous- ly inducted into the Hall of Great West- erners at the National Cowboy & Western Heritage Museum in Oklahoma City. The award is reserved for exceptional individuals who have made an indelible impact upon the histo- ry of America's West. Beautiful Blue Skies and cious chuck wagon grub was ready when Walter's great-grandson, Dr. Tim Vail the riders returned, and was consumed in (below) accepted the award for the entire Vistas the Adobe Haybarn. Nine year old Cole Vail family. Tim is a long-time board The beauty of Las Cienegas National declared that it was “the best meat I’ve member of the Empire Ranch Foundation Conservation Area was on full display ever eaten!” Nancy Elliott provided won- and was joined at the ceremony by ERF on Saturday, April 7th for the annual derful musical accompaniment to the President Faith Boice and Vice-President Spring Trail Ride. Sixty three riders par- meal. The ERF gift shop was a popular Ray Patrone, as well as many Vail family ticipated in the two trail rides, enjoying destination during the day, and sales of members, including former ERF board the perfect weather, blue skies and beau- raffle tickets were brisk. Many enjoyed member Susan Ingram Hughes. tiful vistas. the docent tours offered by Chip Fears Steve Boice led the three hour ride and Karen King. -
Red and White on the Silver Screen: the Shifting Meaning and Use of American Indians in Hollywood Films from the 1930S to the 1970S
RED AND WHITE ON THE SILVER SCREEN: THE SHIFTING MEANING AND USE OF AMERICAN INDIANS IN HOLLYWOOD FILMS FROM THE 1930s TO THE 1970s a dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Bryan W. Kvet May, 2016 (c) Copyright All rights reserved Except for previously published materials Dissertation Written by Bryan W. Kvet B.A., Grove City College, 1994 M.A., Kent State University, 1998 Ph.D., Kent State University, 2015 Approved by ___Kenneth Bindas_______________, Chair, Doctoral Dissertation Committee Dr. Kenneth Bindas ___Clarence Wunderlin ___________, Members, Doctoral Dissertation Committee Dr. Clarence Wunderlin ___James Seelye_________________, Dr. James Seelye ___Bob Batchelor________________, Dr. Bob Batchelor ___Paul Haridakis________________, Dr. Paul Haridakis Accepted by ___Kenneth Bindas_______________, Chair, Department of History Dr. Kenneth Bindas ___James L. Blank________________, Dean, College of Arts and Sciences Dr. James L. Blank TABLE OF CONTENTS…………………………………………………………………iv LIST OF FIGURES………………………………………………………………………v ACKNOWLEDGEMENTS……………………………………………………………...vii CHAPTERS Introduction………………………………………………………………………1 Part I: 1930 - 1945 1. "You Haven't Seen Any Indians Yet:" Hollywood's Bloodthirsty Savages……………………………………….26 2. "Don't You Realize this Is a New Empire?" Hollywood's Noble Savages……………………………………………...72 Epilogue for Part I………………………………………………………………..121 Part II: 1945 - 1960 3. "Small Warrior Should Have Father:" The Cold War Family in American Indian Films………………………...136 4. "In a Hundred Years it Might've Worked:" American Indian Films and Civil Rights………………………………....185 Epilogue for Part II……………………………………………………………….244 Part III, 1960 - 1970 5. "If Things Keep Trying to Live, the White Man Will Rub Them Out:" The American Indian Film and the Counterculture………………………260 6.