Paul Espinosa Papers
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Broadcasting Jul 1
The Fifth Estate Broadcasting Jul 1 You'll find more women watching Good Company than all other programs combined: Company 'Monday - Friday 3 -4 PM 60% Women 18 -49 55% Total Women Nielsen, DMA, May, 1985 Subject to limitations of survey KSTP -TV Minneapoliso St. Paul [u nunc m' h5 TP t 5 c e! (612) 646 -5555, or your nearest Petry office Z119£ 1V ll3MXVW SO4ii 9016 ZZI W00b svs-lnv SS/ADN >IMP 49£71 ZI19£ It's hours past dinner and a young child hasn't been seen since he left the playground around noon. Because this nightmare is a very real problem .. When a child is missing, it is the most emotionally exhausting experience a family may ever face. To help parents take action if this tragedy should ever occur, WKJF -AM and WKJF -FM organized a program to provide the most precise child identification possible. These Fetzer radio stations contacted a local video movie dealer and the Cadillac area Jaycees to create video prints of each participating child as the youngster talked and moved. Afterwards, area law enforce- ment agencies were given the video tape for their permanent files. WKJF -AM/FM organized and publicized the program, the Jaycees donated man- power, and the video movie dealer donated the taping services-all absolutely free to the families. The child video print program enjoyed area -wide participation and is scheduled for an update. Providing records that give parents a fighting chance in the search for missing youngsters is all a part of the Fetzer tradition of total community involvement. -
Madeinla DVD Cover.Jpg
MADE IN L.A. A feature documentary by Almudena Carracedo and Robert Bahar "An excellent documentary... about basic human dignity" –NEW YORK TIMES “A rousing true story of solidarity, perseverance and triumph” –VARIETY "Heartrending and inspiring.” –LA JORNADA "Combative, full of humanity” –EL PAIS "A valuable and moving film – entertaining as well… precious. The document of an experience" –LOS ANGELES TIMES “Si, se puede” –NEW YORKER Contact: Robert Bahar, Producer Almudena Carracedo, Producer/Director [email protected] Office: (+1) 310-770-6408 www.MadeinLA.com Synopsis María, Lupe and Maura are three Latina immigrants struggling to survive in Los Angeles sweatshops. But one day, determined to win basic labor protections, they embark on a three-year odyssey that will transform their lives forever. Compelling, humorous, deeply human, Made in L.A. is a story about immigration, the power of unity, and the courage it takes to find your voice. ••• Lupe Hernandez, a five-foot tall dynamo who learned survival skills at an early age, has been working in Los Angeles garment factories for over 15 years since she left Mexico City at age 17. Maura Colorado left her three children in the care of relatives in El Salvador while she sought work in L.A. to support them. She found that the low-paid work came with a high price — wretched conditions in the factories and an “undocumented” status that deprived her of seeing her children for over eighteen years. María Pineda came to Southern California from Mexico in hopes of a better life at 18, with an equally young husband. -
DOCUMENT RESUME ED 299 948 IR 013 461 TITLE TV Tips for Parents
DOCUMENT RESUME ED 299 948 IR 013 461 TITLE TV Tips for Parents: Using Television To Help Your Child Learn. INSTITUTION Corporation for Public Broadcasting, Washington, D.C. PUB DATE 88 NOTE 24p. PUB TYPE Guides - Non-Classroom Use (055) -- Reports - Descriptive (141) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Commercial Television; *Latchkey Children; Mathematics; *Parent Child Relationship; *Parent Teacher Cooperation; Programing (Broadcast); *Public Television; Reading; *Television Viewing; Writing (Composition) ABSTRACT Recognizing that children watch an average of 25 hours of television per week, this booklet is designed to help parents redirect their children's television viewing to higher quality programs. Ten "tips" are provided to help parents guide their children's television (TV) viewing: (1) set your child's TV schedule; (2) get involved (in the child's viewing); (3) don't be concerned if children of differing ages will be watching at the same time, as they can help each other learn; (4) make public TV a "special friend" for children who are at home alone; (5) consult your child's teacher and other available resources; (6) use TV to spur an interest in reading; (7) use TV to promote writing; (8) help your child explore the world, on-screen and off; (9) help children see math as fun and practical; and (10) set your own pace for family involvement. A list of children's series available on public television is included. (EW) Reproductions supplied by EDRS are the best that can be made from the original document. U S. DEPARTMENT OF EDUCATION Ofha of EducatbwmResearch and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) ATLAS document has been reproduced as received from the person or organization oronetunp it Minor changes nave been made to improve reproduction Quality Points of view or opinions stated in this docu mn, no not necessarily represent official OERI position or policy TV,0N* r,0% Tips for Laica Parents Using Television To Help Your Child Learn I "PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTED BY P.C. -
National Endowment for the Arts Annual Report 1990
National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................ -
Lourdes Portillo╎s Development of a Chicana Feminist Film Aesthetic
San Jose State University SJSU ScholarWorks 2002-2004: 29th, 30th, & 31st Annual NACCS Annual Conference Proceedings Conferences Proceedings Apr 1st, 1:00 AM Lourdes Portillo’s Development of a Chicana Feminist Film Aesthetic: After the Earthquake, Las Madres, and Señorita Extraviada Norma A. Valenzuela Arizona State University Follow this and additional works at: https://scholarworks.sjsu.edu/naccs Valenzuela, Norma A., "Lourdes Portillo’s Development of a Chicana Feminist Film Aesthetic: After the Earthquake, Las Madres, and Señorita Extraviada" (2004). NACCS Annual Conference Proceedings. 4. https://scholarworks.sjsu.edu/naccs/2002-2004/Proceedings/4 This Conference Proceeding is brought to you for free and open access by the National Association for Chicana and Chicano Studies Archive at SJSU ScholarWorks. It has been accepted for inclusion in NACCS Annual Conference Proceedings by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. NACCS_FINAL:NACCS proceedings 3/18/09 4:10 PM Page 34 CHAPTER TWO Lourdes Portillo’s Development of a Chicana Feminist Film Aesthetic: After the Earthquake , Las Madres , and Señorita Extraviada Norma A. Valenzuela, Arizona State University In relation to Chicano cinema, film director Lourdes Portillo has broken with traditional works filmed mostly by men and has developed instead a new female perspective—one that is internationalist and questions male hegemony. In the near past, traditional cinema never gave Chicanas the roles they deserved. This was in part because Chicano filmmakers pro - duced works that centered on the 1960s Chicano Power Movement. These Chicano male films used “forms of cultural production resolutely connected to the social and political activism of the Chicano Movement. -
National Endowment for the Arts Annual Report 1989
National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216 -
Historically Chingadxs: Mexican and Chicanx Film and the Ongoing Prescence of Colonial Spanish Sexual Politics
HISTORICALLY CHINGADXS: MEXICAN AND CHICANX FILM AND THE ONGOING PRESCENCE OF COLONIAL SPANISH SEXUAL POLITICS A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Masters of Arts in English By Luis Sanchez, B.A. Washington D.C. March 19, 2019 Copyright 2019 by Luis Sanchez All Rights Reserved ii HISTORICALLY CHINGADXS: MEXICAN AND CHICANX FILM AND THE ONGOING PRESCENCE OF COLONIAL SPANISH SEXUAL POLITICS Luis Sanchez, B.A. Thesis Advisor: Ricardo Ortiz, Ph.D. Abstract The main objective of this thesis is to gain an insight of the effects of Spanish Colonialism on Mexican/Chicano culture. More specifically, the goal of the thesis is to investigate the ways that the effects of colonialism can be found in Mexican/Chicano film. My goal was to specifically investigate the ways that Spanish ideas about Gender and Sexuality can be observed in film. In order to situate my intellectual framework, I used the first chapter to gain an insight into Spanish conceptions that center around women and masculinity. In my investigation of the films Tizoc, Blood in Blood Out and Quinceañera I discovered that Spanish ideas that center around women’s virginity and male chivalry can be observed in Mexican/Chicano films. This thesis was written with the intention of providing a unifying framework for Gender and Sexuality studies, decolonial studies and film studies with the hope of giving an alternative medium to examine Gender and Sexuality outside -
Chicano Studies Research Center Annual Report 2018-2019 Submitted by Director Chon A. Noriega in Memory of Leobardo F. Estrada
Chicano Studies Research Center Annual Report 2018-2019 Submitted by Director Chon A. Noriega In memory of Leobardo F. Estrada (1945-2018) 1 TABLE OF CONTENTS I. DIRECTOR’S MESSAGE 3 HIGHLIGHTS 5 II. DEVELOPMENT REPORT 8 III. ADMINISTRATION, STAFF, FACULTY, AND ASSOCIATES 11 IV. ACADEMIC AND COMMUNITY RELATIONS 14 V. LIBRARY AND ARCHIVE 26 VI. PRESS 43 VII. RESEARCH 58 VIII. FACILITIES 75 APPENDICES 77 2 I. DIRECTOR’S MESSAGE The UCLA Chicano Studies Research Center (CSRC) was founded in 1969 with a commitment to foster multi-disciplinary research as part of the overall mission of the university. It is one of four ethnic studies centers within the Institute of American Cultures (IAC), which reports to the UCLA Office of the Chancellor. The CSRC is also a co-founder and serves as the official archive of the Inter-University Program for Latino Research (IUPLR, est. 1983), a consortium of Latino research centers that now includes twenty-five institutions dedicated to increasing the number of scholars and intellectual leaders conducting Latino-focused research. The CSRC houses a library and special collections archive, an academic press, externally-funded research projects, community-based partnerships, competitive grant and fellowship programs, and several gift funds. It maintains a public programs calendar on campus and at local, national, and international venues. The CSRC also maintains strategic research partnerships with UCLA schools, departments, and research centers, as well as with major museums across the U.S. The CSRC holds six (6) positions for faculty that are appointed in academic departments. These appointments expand the CSRC’s research capacity as well as the curriculum in Chicana/o and Latina/o studies across UCLA. -
Oral History Interview with Gronk, 1997 Jan. 20-23
Oral history interview with Gronk, 1997 Jan. 20-23 The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Gronk on January 20 & 23, 1997. The interview took place in Los Angeles, California, and was conducted by Jeffrey Rangel for the Archives of American Art, Smithsonian Institution. Interview G: Gronk JR: Jeffrey Rangel [Session 1] JR: Okay, this is an interview for the Archives of American Art, Smithsonian Institution, with Gronk. Today is January 20, 1997, at the artist’s studio in downtown Los Angeles. The interviewer is Jeff Rangel and we’re ready to get started. G: Okay, good. JR: Welcome. G: Thank you. JR: Like I said, normally we like to start out with any recollections about family and kind of where you grew up, where your family was from, things of that nature. G: Okay. My parents were both born here in Los Angeles, and my grandparents came from Mexico. I grew up, basically, with a single parent, my mother. I grew up in East Los Angeles. Early on—at five years old—I can remember that the things that I did best was to make things. And those were the most exciting times, I believe —when somebody gave me a pencil and a sheet of paper—was to create a world for myself, basically. -
BRUCE WILLIAMS, Ph.D
BRUCE WILLIAMS, Ph.D. William Paterson University Department of Languages and Cultures Wayne, NJ 07470 (973) 720-3654 [email protected] BRIEF BIOGRAPHY Holding a Ph.D. from the University of California at Los Angeles, Bruce Williams is Professor and Graduate Director in the Department of Languages and Cultures and Co-coordinator of the program in International Cinema at the William Paterson University of New Jersey. He has published extensively in the areas of cinema history; film theory; Latin American and European cinemas, and language and cinema. His current research interests include Albanian cinema; film criticism as a tool for nation-building in North Korea and Albania; cinematic ties between Brazil and the Soviet Union; radical cinema and reception; celebrity studies, and the sociolinguistics of the cinema. EDUCATION ACADEMIC HISTORY Ph.D., 1986, The University of California at Los Angeles. Hispanic Languages and Literatures. Dissertation topic–“The Early Poetry of Murilo Mendes and the Cinema of Mário Peixoto: An Interdisciplinary Case Study.” (Dissertation director – Claude L. Hulet, Ph.D.). Major field – Brazilian cinema. Studies in Latin American (Spanish American and Brazilian) literature, Spanish and Portuguese Peninsular literature, and generative linguistics). Research on literary and cultural ties between Brazil and Eastern Europe. M.A. (with distinction), 1980, The University of California at Los Angeles. Luso-Brazilian Studies. Field of research concentration – Brazilian cinema. Course work in Brazilian and Portuguese literature, Spanish American and Spanish Peninsular literature, and generative linguistics. M.A., 1977, The University of Pennsylvania. Germanic Languages and Literatures. Field of research interest – German cinema and theatre. B.A. (summa cum laude), 1977, The University of Pennsylvania. -
CHST 3302/22373 Spring, 2019 CHICANO CINEMA Instructor: Carlos F
CHST 3302/22373 Spring, 2019 CHICANO CINEMA Instructor: Carlos F. Ortega R - 6 - 8:50 pm EDUC 114 [email protected] (915) 747-5946/5462 1. Course Description Chicano Cinema examines dimensions of the film industry with respect to the Chicano’s place - historically and culturally - within the genre. Since film has become a genre with cultural implications, methods have emerged enabling the student to “read” the messages shaped by those images as well as the manner in which the story is told. It is within this framework that this course is based. Questions proposed for this examination include: What area the images of Chicanos in commercial Hollywood films and how have they changed as a result of historical developments? What impact did these images have, not only on the viewing public, but on Chicanos themselves? This, however, is only one part of the story. Because of historical social movements taking place in the 1960s and 70s, Chicanos themselves began the process of reclaiming their own films, their own images, a counter- cinema, if you will. In the last thirty years an emergence of Chicano film has developed with an eye for telling stories from the perspective of this community. Chicano cinema is an interdisciplinary course that makes use of fields of cultural anthropology, sociology, film criticism, and history in order to conduct its review of how and why Chicanos have been depicted as they have. These methodologies will be used to examine how Chicanos responded to these images and in the process contributed to their self-determination and popular culture. -
Spring 2019 2012
Lorem Ipsum Dolor SpringSpring 2019 2012 The mission of Rogue Valley Chorale is to inspire and enrich our communities through great choral music performed by choruses of all ages. Rogue Valley Chorale Association Newsletter Ethereal Moments Upcoming Concerts March 23, 7:30 pm, Collier Center March 24, 3:00 pm, Collier Center Ethereal Moments, March 23 and 24, 2019 March 30, 7:00 pm, Burns Paiute This concert features the world premiere of the RVC Reservation commissioned work The Origin of the Songs (Cuicapeuhcayotl) by renowned film and television Featuring the world premiere of composer Joseph Julian Gonzalez. The title of the concert The Origin of The Songs (Cuicapeuhcayotl) by renowned was coined by Artistic Director Michael Morris after several film and television composer Joseph Julian Gonzalez. Join insightful discussions he had with Mr. Gonzalez about the the Chorale for this auditory and visual extravaganza. nature of the work and its source materials. There will be a complimentary pre-concert presentation by Composer Joseph Julian Gonzalez, March 23, 6:30 PM The text is based on the first stanza of the work known as and March 24, 2:00 PM. All are welcome to attend. Cantares Mexicanos, an epic poem that many scholars believe is the basis for the spiritual COLE! The Music of Broadway Icon Cole Porter beliefs of the Aztecs. The May 4, 7:30 pm, Collier Center stanza of the poem May 5, 3:00 pm, Collier Center introduces the character known as “The Singer,” Put on the bling and loosen up who is searching for the your vocal cords.