DOCSLIB.ORG

Visions of Community 1 . the Literature Is Vast but for Especially Relevant

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Notes Introduction: Visions of Community 1 . The literature is vast but for especially relevant examples see Lynn Spigel, Welcome to the Dreamhouse: Popular Media and Postwar Suburbs (Durham and London: Duke University Press, 2001); Robert Beuka, SuburbiaNation: Reading Suburban Landscape in Twentieth-Century American Fiction and Film (New York: Palgrave Macmillan, 2004); David R. Coon, Look Closer: Suburban Narratives and American Values in Film and Television (New Brunswick and London: Rutgers University Press, 2013). 2 . For a small sense of this very large body of work, see anthologies such as David Clarke, ed., The Cinematic City (London and New York: Routledge, 1997); Mark Lamster, ed., Architecture and Film (New York: Princeton Architectural Press, 2000); Mark Shiel and Tony Fitzmaurice, eds., Cinema and the City: Film and Urban Societies in a Global Context (Oxford: Blackwell, 2001); Mark Shiel, ed., Screening the City (London and New York: Verso, 2003); Andrew Webber and Emma Wilson, eds., Cities in Transition: The Moving Image and the Modern Metropolis (London and New York: Wallflower Press, 2008). Many more significant in-depth works in the field are cited throughout the book. 3 . Rob Lapsley, “Mainly in Cities and at Night: Some Notes on Cities and Film,” in The Cinematic City , ed. David B. Clarke (London and New York: Routledge, 1997), 187. 4 . Mark Shiel, “Cinema and the City in History and Theory,” in Cinema and the City: Film and Urban Studies in a Global Context , ed. Mark Shiel and Tony Fitzmaurice (Oxford: Blackwell, 2001), 3–4. 5 . I am thinking here, for example, of the so-called (and loosely formed) Los Angeles School of urbanism, which has frequently invoked culture in its postmodern theorization of the city. See for example Mike Davis, City of Quartz: Excavating the Future in Los Angeles (New York: Vintage, 1992); Edward W. Soja, Thirdspace: Journeys to Los Angeles and Other Real-and-Imagined Places 216 NOTES (Cambridge: Blackwell, 1996); Michael J. Dear, The Postmodern Urban Condition (Oxford: Blackwell, 2000); and the collection Michael J. Dear and J. Dallas Dishman, eds., From Chicago to L.A.: Making Sense of Urban Theory (Thousand Oaks, London and New Delhi: Sage, 2002). 6 . Quoted in Jonathan Meades, Museum Without Walls (London: Unbound, 2012), 12. 7 . James Sanders, Celluloid Skyline: New York and the Movies (New York: Alfred A. Knopf, 2002). 8 . Sanders, Celluloid Skyline , 15. 9 . Ibid., 366–383. 10 . Ibid., 20. 11 . Kenneth MacKinnon, Hollywood’s Small Towns: An Introduction to the American Small-Town Movie (Metuchen, NJ and London: Scarecrow Press, 1984), 18. 12 . Understandably, for example, the shorter engagements in edited col- lections such as Clarke, The Cinematic City ; Shiel and Fitzmaurice, Cinema and the City ; and Shiel, Screening the City typically take this approach. 13 . An example would be the theory of “filmspace” outlined in Dear, The Postmodern Urban Condition , chap. 9. 14 . Darnell M. Hunt, “Representing ‘Los Angeles’: Media, Space, and Place,” in From Chicago to L.A.: Making Sense of Urban Theory , ed. Michael J. Dear and J. Dallas Dishman (Thousand Oaks, London and New Delhi: Sage, 2002), 321–342. 15 . Hunt, “Representing ‘Los Angeles,’” 329. Hunt expresses a post- modern skepticism about whether these can be considered objec- tively measurable. My own view would be that this part of the diagram can be considered the realm of the objective, and the rest of the diagram sufficiently accounts for our subjective mediation of this underlying objective reality. 16 . Ibid.,’” 332. 17. Ibid., 333. 18 . Spigel, Welcome to the Dreamhouse , 22. 19 . Peter Hall, Cities of Tomorrow: An Intellectual History of Urban Planning and Design in the Twentieth Century , 3rd ed. (Oxford: Blackwell, 2002), chap. 2; Robert Fishman, Urban Utopias in the Twentieth Century: Ebenezer Howard, Frank Lloyd Wright, Le Corbusier (Cambridge and London: MIT Press, 1982), 10–12. 20 . Ebenezer Howard, To-Morrow: A Peaceful Path to Real Reform (London: Swan Sonnenschein, 1898), 8. 21 . Howard, To-Morrow , 131. 22 . For an extraordinarily thorough, heavily illustrated account, see Robert A. M. Stern, David Fishman, and Jacob Tilove, Paradise Planned: The Garden Suburb and the Modern City (New York: Monacelli Press, 2013). NOTES 217 23 . Stern, Fishman, and Tilove, Paradise Planned , 123–127; Dolores Hayden, Building Suburbia: Green Fields and Urban Growth, 1820–2000 (New York: Vintage, 2003), 61–65; Robert Fishman, Bourgeois Utopias: The Rise and Fall of Suburbia (New York: Basic Books, 1989), 126–133; Kenneth T. Jackson, Crabgrass Frontier: The Suburbanization of the United States (New York and Oxford: Oxford University Press, 1985), 79–81. 24 . Hall, Cities of Tomorrow , 312–315; Fishman, Urban Utopias in the Twentieth Century , 122–134. 25 . Hall, Cities of Tomorrow , 314. 26 . Le Corbusier, The City of To-Morrow and Its Planning (New York: Dover Publications, 1987 [originally published in French in 1924 and in English in 1929]), xxi. 27 . Ibid., 116. Emphasis in original. 28 . Ibid., 220. Capitalization in original; this paragraph was also itali- cized to further underline its importance. 29 . Ibid., 240. 30 . For a concise history of urban renewal in Britain and America, set in the context of Le Corbusier’s influence, see Hall, Cities of Tomorrow , 240–254. 31 . Le Corbusier, The City of To-Morrow and Its Planning , 118, 179. 32 . Ibid., 154, 156. 33 . David Harvey, The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change (Cambridge and Oxford: Blackwell, 1992), 66. 34 . Nigel Taylor, Urban Planning Theory since 1945 (London: Sage, 1998), chap. 2. 35 . See in particular Jackson, Crabgrass Frontier ; Fishman, Bourgeois Utopias ; Hayden, Building Suburbia . 36 . This shift is discussed in Thomas J. Campanella, “Jane Jacobs and the Death and Life of American Planning,” in Reconsidering Jane Jacobs , ed. Max Page and Timothy Mennel (Chicago and Washington, DC: American Planners Association/Planners Press, 2011), 141–160. 1 Movie Towns 1 . From Life , May 10, 1943, 19. This advertisement is also reproduced in John Archer, Architecture and Suburbia: From English Villa to American Dream House, 1690–2000 (Minneapolis: University of Minnesota Press, 2005), 271. 2 . This campaign is discussed in John Bush Jones, All-Out for Victory! Magazine Advertising and the World War II Home Front (Lebanon: University Press of New England, 2009), 286. 3 . Reproduced in Cynthia Lee Henthorn, From Submarines to Suburbs: Selling a Better America, 1939–1959 (Athens: Ohio University Press, 2006), 133. 218 NOTES 4 . Life , March 29, 1943. 5 . Donald C. Shoup, The High Cost of Free Parking (Chicago and Washington: Planners Press, 2005), 674. 6 . Clayton R. Koppes and Gregory D. Black, Hollywood Goes to War: How Politics, Profits, and Propaganda Shaped World War II Movies (Berkeley and Los Angeles: University of California Press, 1987). 7 . MacKinnon, Hollywood’s Small Towns , 9; Emanuel Levy, Small- Town America in Film: The Decline and Fall of Community (New York: Continuum, 1990), 66–67. 8 . Charles J. Maland, Frank Capra (Boston: Twayne, 1980), 131; Levy, Small-Town America in Film , 88. 9 . The film’s afterlife and ongoing appeal as a seasonal classic is dis- cussed in Danny Peary, Cult Movies: The Classics, the Sleepers, the Weird, and the Wonderful (New York: Delta, 1981), 162–163. 10 . I have referred throughout this chapter to the film’s narrator as Morgan (the surname of the druggist), as this is the way he is pre- sented in the film. In Wilder’s play it is clearer that the narrator (“stage manager”) is not actually the druggist, but “steps into” the role of Morgan for the scene in the drug store. 11 . Richard Francaviglia, Main Street Revisited: Time, Space, and Image Building in Small-Town America (Iowa City: University of Iowa Press, 1996), 130. 12 . The history of these backlots has long been documented by a community of amateur film history buffs sharing information on the Internet. However, recent years have seen a number of books starting to appear that document history of various lots. See Steven Bingen, Stephen X. Sylvester, and Michael Troyan, MGM: Hollywood’s Greatest Backlot (Solana Beach: Santa Monica Press, 2011); Steven Bingen, Warner Bros.: Hollywood’s Ultimate Backlot (Lanham: Taylor Trade Publishing, 2014); Robert S. Birchard, Early Universal City (Charleston: Arcadia, 2009); Julie Lugo Cerra and Marc Wanamaker, Movie Studios of Culver City (Charleston: Arcadia, 2011); E. J. Stephens and Marc Wanamaker, Early Warner Bros. Studios (Charleston: Arcadia, 2010); E. J. Stephens, Michael Christaldi, and Marc Wanamaker, Early Paramount Studios (Charleston: Arcadia Publishing, 2013). 13. Photographs of the relevant portion of the MGM backlot can be seen in Bingen, Sylvester, and Troyan, MGM , 162. 14 . For the RKO backlot location, compare the street as dressed for Gone With the Wind (Victor Fleming, 1939) at Kipp Teague, “40 Acres—The Lost Studio Backlot of Movie & Television Fame,” Retroweb , 2012, http://www.retroweb.com/40acres_gwtw.html . 15 . For the location, see Gerald Kaufman, Meet Me in St. Louis (London: British Film Institute, 1994), 18; Robert Neuman, “Disneyland’s NOTES 219 Main Street, USA, and Its Sources in Hollywood, USA,” The Journal of American Culture 31 (March 2008): 90–91; Bingen, Sylvester, and Troyan, MGM , 160. 16 . Neuman, “Disneyland’s Main Street, USA,” 92–93. 17 . Michael Willian, The Essential It’s a Wonderful Life: A Scene-by- Scene Guide to the Classic Film , 2nd ed. (Chicago: Chicago Review Press, 2006), 6; Neuman, “Disneyland’s Main Street, USA,” 95. 18 . Willian, The Essential It’s a Wonderful Life , 8–9. 19 . Tony Reeves, The Worldwide Guide to Movie Locations , 3rd rev. ed. (London: Titan Books, 2006), 347–348; Neuman, “Disneyland’s Main Street, USA,” 89–90. 20 . Francaviglia, Main Street Revisited , 97–100, 157–159. 21 . The description of “a universally true Main Street,” used in connec- tion with Disneyland, is frequently attributed to Paul Goldberger but is actually a quote from Disneyland designer John Hench, as quoted by Goldberger.
Recommended publications
  • Summer 2017 • Volume 26 • Number 2

    Summer 2017 • Volume 26 • Number 2

    sUMMER 2017 • Volume 26 • Number 2 Welcome Home “Son, we’re moving to Oregon.” Hearing these words as a high school freshman in sunny Southern California felt – to a sensitive teenager – like cruel and unusual punishment. Save for an 8-bit Oregon Trail video game that always ended with my player dying of dysentery, I knew nothing of this “Oregon.” As proponents extolled the virtues of Oregon’s picturesque Cascade Mountains, I couldn’t help but mourn the mountains I was leaving behind: Space, Big Thunder and the Matterhorn (to say nothing of Splash, which would open just months after our move). I was determined to be miserable. But soon, like a 1990s Tom Hanks character trying to avoid falling in love with Meg Ryan, I succumbed to the allure of the Pacific Northwest. I learned to ride a lawnmower (not without incident), adopted a pygmy goat and found myself enjoying things called “hikes” (like scenic drives without the car). I rafted white water, ate pink salmon and (at legal age) acquired a taste for lemon wedges in locally produced organic beer. I became an obnoxiously proud Oregonian. So it stands to reason that, as adulthood led me back to Disney by way of Central Florida, I had a special fondness for Disney’s Wilderness Lodge. Inspired by the real grandeur of the Northwest but polished in a way that’s unmistakably Disney, it’s a place that feels perhaps less like the Oregon I knew and more like the Oregon I prefer to remember (while also being much closer to Space Mountain).
  • The Theme Park As "De Sprookjessprokkelaar," the Gatherer and Teller of Stories

    The Theme Park As "De Sprookjessprokkelaar," the Gatherer and Teller of Stories

    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories Carissa Baker University of Central Florida, [email protected] Part of the Rhetoric Commons, and the Tourism and Travel Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Baker, Carissa, "Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories" (2018). Electronic Theses and Dissertations, 2004-2019. 5795. https://stars.library.ucf.edu/etd/5795 EXPLORING A THREE-DIMENSIONAL NARRATIVE MEDIUM: THE THEME PARK AS “DE SPROOKJESSPROKKELAAR,” THE GATHERER AND TELLER OF STORIES by CARISSA ANN BAKER B.A. Chapman University, 2006 M.A. University of Central Florida, 2008 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Humanities at the University of Central Florida Orlando, FL Spring Term 2018 Major Professor: Rudy McDaniel © 2018 Carissa Ann Baker ii ABSTRACT This dissertation examines the pervasiveness of storytelling in theme parks and establishes the theme park as a distinct narrative medium. It traces the characteristics of theme park storytelling, how it has changed over time, and what makes the medium unique.
  • Community Service Award Nominations C/O Carolyn Mitchell

    Community Service Award Nominations C/O Carolyn Mitchell

    AMERICAN SOCIETY OF Community Service Award Nominations LANDSCAPE ARCHITECTS c/o Carolyn Mitchell NEW YORK 205 E 42nd St, 14th floor 636 Eye Street, NW New York, NY 10017 Washington, DC 20001-3736 212.269.2984 www.aslany.org Re: Community Service Award: Martin Barry BOARD OF DIRECTORS Martin Barry, is the founder and director of reSITE in Prague and former associate at W President Architecture and Landscape Architecture in New York. At W Architecture, he filled multiple roles CELINE ARMSTRONG for projects of various scales for public and private clients around the world. Martin is a prolific speaker on the topic about the role of landscape architecture in planning the city; over the last President Elect 4 years, he has given over 25 public, professional and academic lectures. From 2012 to 2014, JENNIFER NITZKY he was the Green Infrastructure Fellow at the Design Trust for Public Space, working on the Five Secretary Borough Farm urban agriculture study and publications. He holds a Bachelor of Arts from Loyola SARA MALMKVIST College and a Master of Landscape Architecture from Syracuse University. Treasurer Outside of his notable and traditional role within a successful landscape architecture firm, his CARL CARLSON volunteer work has taken on the proportions that many would consider a full-time position in its Trustee own right. As an urban design advocate, he founded reSITE in the Czech Republic while he was ADRIAN SMITH a Fulbright Scholar teaching landscape architecture and urbanism in Prague in 2011-2012. reSITE is a collaborative platform to exchange ideas about livable, resilient and competitive Past President cities.
  • Upholding the Disney Utopia Through American Tragedy: a Study of the Walt Disney Company’S Responses to Pearl Harbor and 9/11

    Upholding the Disney Utopia Through American Tragedy: a Study of the Walt Disney Company’S Responses to Pearl Harbor and 9/11

    Upholding the Disney Utopia Through American Tragedy: A Study of The Walt Disney Company's Responses to Pearl Harbor and 9/11 Lindsay Goddard Senior Thesis presented to the faculty of the American Studies Department at the University of California, Davis March 2021 Abstract Since its founding in October 1923, The Walt Disney Company has en- dured as an influential preserver of fantasy, traditional American values, and folklore. As a company created to entertain the masses, its films often provide a sense of escapism as well as feelings of nostalgia. The company preserves these sentiments by \Disneyfying" danger in its media to shield viewers from harsh realities. Disneyfication is also utilized in the company's responses to cultural shocks and tragedies as it must carefully navigate maintaining its family-friendly reputation, utopian ideals, and financial interests. This paper addresses The Walt Disney Company's responses to two attacks on US soil: the bombing of Pearl Harbor in 1941 and the attacks on September 11, 200l and examines the similarities and differences between the two. By utilizing interviews from Disney employees, animated film shorts, historical accounts, insignia, government documents, and newspaper articles, this paper analyzes the continuity of Disney's methods of dealing with tragedy by controlling the narrative through Disneyfication, employing patriotic rhetoric, and reiterat- ing the original values that form Disney's utopian image. Disney's respon- siveness to changing social and political climates and use of varying mediums in its reactions to harsh realities contributes to the company's enduring rep- utation and presence in American culture. 1 Introduction A young Walt Disney craftily grabbed some shoe polish and cardboard, donned his father's coat, applied black crepe hair to his chin, and went about his day to his fifth-grade class.
  • Curriculum Vitae March 2011 MICHAEL L. BENEDIKT Hal Box

    Curriculum Vitae March 2011 MICHAEL L. BENEDIKT Hal Box

    1 Curriculum Vitae March 2011 MICHAEL L. BENEDIKT Hal Box Chair in Urbanism Director, Center for American Architecture and Design School of Architecture The University of Texas at Austin Austin, TX 78712 (512) 471-1922, fax 512-471-7033, email: [email protected] EDUCATION • Master of Environmental Design, (M.E.D.) Yale University, New Haven, Connecticut, 1975 • Bachelor of Architecture, (B. Arch.) University of the Witwatersrand, Johannesburg, South Africa, 1971 TEACHING • Professor of Architecture, The University of Texas at Austin, 1989--present Hal Box Chair in Urbanism, 1999–present Roland W. Roessner Professor 1998–1999 Harwell Hamilton Harris Regents Professor, 1996–1998 Meadows Foundation Centennial Professor, 1991--1995 Harwell Hamilton Harris Teaching Fellow, 1986–1995 - Architectural Design Studio, graduate and undergraduate, all levels - Visual Communications, as above - Graduate seminars: Perception of Space and Environment; Architecture and Reality; Problem Design and Programming; The Architecture of Depth; Cyberspace: A New Venue for Architectural Design; Theory of Economic Value; 1 2 The Art and Science of Architectural Phenomena; The Spiritual Dimensions of Architecture; On Beauty - Thesis Supervision and Independent Project Supervision - Instructor, Europe Program, Fall 1987, Fall 1999 • External Examiner, University College London, MSArchitecture Program, 2003-2007 • Colin Clipson Fellow, Taubman College of Architecture and Urban Planning, University of Michigan (winter semester, 2004). Graduate seminar, doctoral
  • A Critique of Disney's EPCOT and Creating a Futuristic Curriculum

    A Critique of Disney's EPCOT and Creating a Futuristic Curriculum

    Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2019 FUTURE WORLD(S): A Critique of Disney's EPCOT and Creating a Futuristic Curriculum Alan Bowers Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the Curriculum and Instruction Commons, and the Curriculum and Social Inquiry Commons Recommended Citation Bowers, Alan, "FUTURE WORLD(S): A Critique of Disney's EPCOT and Creating a Futuristic Curriculum" (2019). Electronic Theses and Dissertations. 1921. https://digitalcommons.georgiasouthern.edu/etd/1921 This dissertation (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. FUTURE WORLD(S): A Critique of Disney's EPCOT and Creating a Futuristic Curriculum by ALAN BOWERS (Under the Direction of Daniel Chapman) ABSTRACT In my dissertation inquiry, I explore the need for utopian based curriculum which was inspired by Walt Disney’s EPCOT Center. Theoretically building upon such works regarding utopian visons (Bregman, 2017, e.g., Claeys 2011;) and Disney studies (Garlen and Sandlin, 2016; Fjellman, 1992), this work combines historiography and speculative essays as its methodologies. In addition, this project explores how schools must do the hard work of working toward building a better future (Chomsky and Foucault, 1971). Through tracing the evolution of EPCOT as an idea for a community that would “always be in the state of becoming” to EPCOT Center as an inspirational theme park, this work contends that those ideas contain possibilities for how to interject utopian thought in schooling.
  • Heritage Auctions | Winter 2020-2021 $7.9 9

    Heritage Auctions | Winter 2020-2021 $7.9 9

    HERITAGE AUCTIONS | WINTER 2020-2021 $7.9 9 BOB SIMPSON Texas Rangers Co-Owner Releases Sweet Nostalgia Enduring Charm Auction Previews Numismatic Treasures Yes, Collectibles Bright, Bold & Playful Hank Williams, Provide Comfort Luxury Accessories Walt Disney, Batman features 40 Cover Story: Bob Simpson’s Sweet Spot Co-owner of the Texas Rangers finds now is the time to release one of the world’s greatest coin collections By Robert Wilonsky 46 Enduring Charm Over the past 12 months, collectors have been eager to acquire bright, bold, playful accessories By The Intelligent Collector staff 52 Tending Your Delicates Their fragile nature means collectible rugs, clothing, scarfs need dedicated care By Debbie Carlson 58 Sweet, Sweet Nostalgia Collectibles give us some degree of comfort in an otherwise topsy-turvy world By Stacey Colino • Illustration by Andy Hirsch Patek Philippe Nautilus Ref. 5711/1A, Stainless Steel, circa 2016, from “Enduring Charm,” page 46 From left: Hank Williams, page 16; Harrison Ellenshaw, page 21; The Donald G. Partrick collection, page 62 Auction Previews Columns 10 21 30 62 How to Bid Animation Art: The Arms & Armor: The Bill Coins: Rare Offering The Partrick 1787 New York-style 11 Ellenshaw Collection Bentham Collection Disney artist and son worked California veterinarian’s Civil Brasher doubloon is one of only seven- Currency: The Del Monte Note on some of Hollywood’s War artifacts include numerous known examples Banana sticker makes bill one greatest films fresh-to-market treasures By David Stone of the most famous
  • “I'm Not Walt Disney Anymore!”

    “I'm Not Walt Disney Anymore!”

    hundred competitors, for a special project run jointly by the University Religious Conference and the Ford Foundation 5 to combat the negative image of America in India. It was called, simply, “Project India.” Beginning in 1952, Project India sent twelve students of diverse ethnic, cultural, and religious backgrounds for nine summer weeks to India, “I’M NOT WALT DISNEY meeting college students, living with their hosts in villages and cities, and hopefully making friends for America. It was ANYMORE!” a kind of precursor to the Peace Corps, which began in the early 1960s. In 1955 I truly felt that I had earned the right to be the second Jewish student selected—to join my friend Sandy Ragins, who later became a rabbi. But I was not chosen, and I wished the ambassadors well as they prepared to depart for India. Less than a week later, I received a call at the ZBT fra- ternity house. It was that “Las Vegas dealer,” Card Walker, At the end of 1965, Walt celebrated his sixty-fourth birthday, asking if I could come to the Walt Disney Studio for the and Roy O. Disney, age seventy-two, began to plan for his interview that would change my life. Surely that trip to India own retirement. The presumptive future CEO, Card Walker, would never have had such a lifelong effect. called me and the Studio’s graphics leader, Bob Moore, to his office. “We have to let the media, our fans, and the enter- tainment industry know that as great a talent as Walt is, he’s not the only creative person at Disney,” Card told us.
  • Newsletter. Issue 35 September 2004

    Newsletter. Issue 35 September 2004

    Newsletter. Issue 35 September 2004 Inside The Newsletter Welcome to Issue 35 of the club newsletter. th Saturday 25 September 7:30pm Latest Australian Disney News Meeting Join us at this meeting as we look at the many aspects of the World of Disney from Animation, Theme Parks, and The Wonderful World of Disney now on Saturday collectibles. A special look at Disneyland and much more. evenings on Channel 7 at 7.30pm. Come and join us for this exciting meeting. Disney’s Home on the Range – the next Animated feature opens in cinemas on September 23rd. Location: St. Marks Anglican Church Hall. Disney’s The Three Musketeers – Starring Mickey, Cnr. Auburn Rd and Hume Hwy Yagoona. (Near Donald and Goofy is being released on DVD in this month. Bankstown.) Just 150m from the Yagoona Railway Station. Upcoming Club Events The Down Under Disneyana Newsletter is a publication of the Down Under Disneyana Club. th The newsletter is published quarterly and distributed Saturday 25 September 7.30pm to members. Contributions to our newsletter are Join us at this meeting as we look at the wonderful worlds welcome. of Disney. Bring your favourite Disney memory to share. The club address is: Down Under Disneyana Club. PO Box 502 St Marks Anglican Church hall Regents Park, NSW 2143. Cnr Auburn Rd and Hume Hwy Yagoona only 1km along Australia. Auburn Rd from our old meeting location. Down Under Disneyana Club is the Australian Chapter of the National Fantasy Fan Club of the USA, In this newsletter read about the upcoming 50th birthday of and our club is not associated with The Walt Disney Disneyland celebrations.
  • School of Architecture 2016–2017 School of Architecture School Of

    School of Architecture 2016–2017 School of Architecture School Of

    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Architecture 2016–2017 School of Architecture 2016 –2017 BULLETIN OF YALE UNIVERSITY Series 112 Number 4 June 30, 2016 BULLETIN OF YALE UNIVERSITY Series 112 Number 4 June 30, 2016 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849.
  • Winter 2008 Vol. 17 No. 4

    Winter 2008 Vol. 17 No. 4

    Winter 2008 vol. 17 no. 4 Jada and Lawrence Smith of Florida, Members since 2005, cruise past the construction site of the Treehouse Villas at Disney’s Saratoga Springs Resort & Spa. Illustration by Keelan Parham Disney Files Magazine is published by the good people at Disney Vacation Club If I were to list what I love most about living in Florida P.O. Box 10350 and working for the Mouse, “employer’s liberal use of Lake Buena Vista, FL 32830 code names” would have to make my top 10, somewhere behind “sunscreen in January” and slightly ahead of All dates, times, events and prices “humidity in January.” (Just missing the cut: “saltiness of printed herein are subject to turkey legs” and “abundance of white pants.”) change without notice. (Our lawyers Nothing delights middle managers more than sitting do a happy dance when we say that.) around a conference table acting like the room is bugged. MOVING? The rapid dropping of names like “Project Quasar” (Disney’s Update your mailing address Animal Kingdom Villas) and “Project Crystal” (Bay Lake Tower online at www.dvcmember.com at Disney’s Contemporary Resort) can transform any meeting into a scene from Windtalkers (albeit with more nametags and less Nicolas Cage). Of course, not MEMBERSHIP QUESTIONS? all codes are tough to decipher. Case in point: our cloaking of the Treehouse Villas at Disney’s Contact Member Services from Saratoga Springs Resort & Spa with the code name “Project Tarzan.” Not very subtle, but I 9 a.m.-5:30 p.m. Eastern daily at suppose it beats “Project Treehouse.” (800) 800-9800 or (407) 566-3800 You’ll read more about “Project Tarzan” in this edition of your magazine (pages 2-4), but allow me to first introduce a few other key features by revealing their rejected code names.
  • Book Catalog Fall 2018

    Book Catalog Fall 2018

    Urban Research BOOK CATALOG FALL 2018 urpub.org UR (Urban Research), the imprint of Terreform, publishes progressive books about cities and their futures. Understanding that no single approach is adequate to the promise and problems of the urban, we publish a wide range of designs and analyses. Our list includes projects ranging from the practical to the utopian, from community-generated plans for neighborhood transformation to outstanding outcomes from academic studios, to visionary speculations by designers burning the midnight oil, and to collations of scholarly arguments about the most urgent issues of urban growth and survival. Michael Sorkin Editor in Chief Advisory Board Tom Angotti, Hunter College CUNY Thom Mayne, Morphosis Architects Kazi Ashraf, Bengal Institute Suha Ozkan, World Architecture Community M. Christine Boyer, Princeton University Colin Robinson, OR Books Teddy Cruz, Estudio Teddy Cruz Jonathan Solomon, School of the Art Institute Mike Davis, UC Riverside of Chicago Edward Dimendberg, UC Irvine Tau Tavengwa, African Center for Cities Ana Maria Duran Calisto, Estudio AO Srdjan Weiss, Normal Architecture Office Anthony Fontenot, Woodbury School of Eyal Weizman, Goldsmiths College Architecture Mabel O. Wilson, Columbia GSAPP Susanna Hecht, UCLA Kongjian Yu, Peking University John Hill, New York Institute of Technology Walter Hood, UC Berkeley Cindi Katz, Graduate Center CUNY Romi Khosla, Romi Khosla Design Studio UR (Urban Research) urpub.org 2 UR01 GOWNTOWN: A 197X PLAN FOR UPPER MANHATTAN UPPER PLANFOR 197X A GOWNTOWN: Gowntown investigates the impact of Columbia University’s expansion into Upper Manhattan and proposes strategies of transformative leverage provide GOWNTOWNbroad and focused benefit and counter an urbanism of trickle-down and gentrification.Gowntown proposes a planning paradigm focused on both carefully designed and spontaneous institutional and environmental A 197-Xconnections.