PERO Thousands Demonstrate Against Viet Nam Policy
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Remembering World War Ii in the Late 1990S
REMEMBERING WORLD WAR II IN THE LATE 1990S: A CASE OF PROSTHETIC MEMORY By JONATHAN MONROE BULLINGER A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Communication, Information, and Library Studies Written under the direction of Dr. Susan Keith and approved by Dr. Melissa Aronczyk ________________________________________ Dr. Jack Bratich _____________________________________________ Dr. Susan Keith ______________________________________________ Dr. Yael Zerubavel ___________________________________________ New Brunswick, New Jersey January 2017 ABSTRACT OF THE DISSERTATION Remembering World War II in the Late 1990s: A Case of Prosthetic Memory JONATHAN MONROE BULLINGER Dissertation Director: Dr. Susan Keith This dissertation analyzes the late 1990s US remembrance of World War II utilizing Alison Landsberg’s (2004) concept of prosthetic memory. Building upon previous scholarship regarding World War II and memory (Beidler, 1998; Wood, 2006; Bodnar, 2010; Ramsay, 2015), this dissertation analyzes key works including Saving Private Ryan (1998), The Greatest Generation (1998), The Thin Red Line (1998), Medal of Honor (1999), Band of Brothers (2001), Call of Duty (2003), and The Pacific (2010) in order to better understand the version of World War II promulgated by Stephen E. Ambrose, Tom Brokaw, Steven Spielberg, and Tom Hanks. Arguing that this time period and its World War II representations -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
June 1978 SC^ Monthly for the Press Ti& the Museum of Modern Art M9 11 West 53 Street, New York, N.Y
ITIGHT BINDING A\*e June 1978 SC^ Monthly for the Press ti& The Museum of Modern Art M9 11 West 53 Street, New York, N.Y. 10019 Department of Public Information, (212)956-2648 What's New Paqe 1 What's Coming Up Paqe 2 Current Exhibitions Page 3-4 Gallery Talks, Special Events Page 5 Ongoing, Museum Hours Page 6 New Film Series, Continuing Film Series Page 7 WHAT'S NEW ETCHINGS Jim Pine's Etchings Jun 6—Sep 5 One hundred prints trace the history of Dine's work in etching, exploring his imagery and techniques. In his first drypoints, Dine brought a fresh and imaginative attitude to printmaking, directly relating this work to his "happenings" and construc tion/canvases. He was one of the first to return to the oKJ art of hand-coloring prints, thereby producing a body of work of infinite variety. His most recent work has an expressive, tor tured character that expands and may reorient ideas regarding Dine's art and that of his generation. (East Wing, 1st floor) SOUND INSTALLATION Max Neuhaus June 8—Sep This is the second in a series of sound installations, the first of which was installed beneath a pedestrian island in Times Square where a deep, rich texture of sound was generated from beneath a subway grating, and transformed the aural environment for pedestrians. In contrast, the Museum's installation is located in the quiet of the Sculpture Garden, with sound generated from within a ventilation chamber running along the East Wing of the Museum. (over) June 1978 Page 2 WHAT'S NEW (CONT'D) ARCHITECTURE The Architecture of Gunnar Asplund Jun 30--Sep 10 Erik Gunnar Asplund (1885-1940) was Sweden's leading architect in the years between the two world wars. -
World War Ii and Us Cinema
ABSTRACT Title of Document: WORLD WAR II AND U.S. CINEMA: RACE, NATION, AND REMEMBRANCE IN POSTWAR FILM, 1945-1978 Robert Keith Chester, Ph.D., 2011 Co-Directed By: Dr. Gary Gerstle, Professor of History, Vanderbilt University Dr. Nancy Struna, Professor of American Studies, University of Maryland, College Park This dissertation interrogates the meanings retrospectively imposed upon World War II in U.S. motion pictures released between 1945 and the mid-1970s. Focusing on combat films and images of veterans in postwar settings, I trace representations of World War II between war‘s end and the War in Vietnam, charting two distinct yet overlapping trajectories pivotal to the construction of U.S. identity in postwar cinema. The first is the connotations attached to U.S. ethnoracial relations – the presence and absence of a multiethnic, sometimes multiracial soldiery set against the hegemony of U.S. whiteness – in depictions of the war and its aftermath. The second is Hollywood‘s representation (and erasure) of the contributions of the wartime Allies and the ways in which such images engaged with and negotiated postwar international relations. Contrary to notions of a ―good war‖ untainted by ambiguity or dissent, I argue that World War II gave rise to a conflicted cluster of postwar meanings. At times, notably in the early postwar period, the war served as a progressive summons to racial reform. At other times, the war was inscribed as a historical moment in which U.S. racism was either nonexistent or was laid permanently to rest. In regard to the Allies, I locate a Hollywood dialectic between internationalist and unilateralist remembrances. -
BORN YESTERDAY by Garson Kanin Directed by Susi Damilano
For immediate release Publicist: Anne Abrams [email protected] San Francisco Playhouse presents BORN YESTERDAY By Garson Kanin Directed by Susi Damilano Press Opening: Saturday, January 27th at 8pm Performances: January 23 – March 10, 2018 Tues, Wed, Thurs 7pm / Fri, Sat 8pm / Sat 3pm, Sun 2pm Preview Performances: January 23 – 26 at 8pm SAN FRANCISCO (December 2017) — San Francisco Playhouse (Artistic Director Bill English; Producing Director Susi Damilano) announced casting for the third show of its 2017-18 Mainstage Season—Born Yesterday. Written by Garson Kanin, the play premiered on Broadway in 1946. Susi Damilano will direct the San Francisco Playhouse revival. Harry, a ruthless, thuggish millionaire—with his showgirl fiancée, Billie, in tow—comes to Washington to bribe a senator and enrich his business interests. He soon hires a reporter to clean up Billie’s image; but as she awakens to a world full of possibilities, she starts to question corruption’s stranglehold over the disadvantaged. “When I read this play, I was immediately struck by how resoundingly its message still rings after 70 years,” said Producing Director Susi Damilano. “The timeless story of integrity triumphing over political self-interest feels as relevant as ever—and, I hope, will provide us with an opportunity to reflect on our own human nature.” The cast of Born Yesterday will feature Millie Brooks*, Michael Torres*, Anthony Fusco*, Ed Berkeley*, Jason Kapoor*, Louis Parnell*, Derek Fischer, Terry Bamberger, Casey Robert Spiegel, Marty Lee Jones, and Melissa Quine. Garson Kanin (Playwright) was an esteemed theater and film director as well as a prolific writer. -
Feb. 2005.Indd
A Monthly Conversation Among Baseball Fans ISSUE # 129 New Orleans, Louisiana February, 2005 Zephyrs 2005 Tim Foli Will Manage the Spring Training Schedule 2005 New Orleans Zephyrs The New Orleans Zephyrs have Tim Foli will manage the New Orleans Zephyrs in announced their Spring Training 2005, the club announced last month. Foli becomes schedule to take place in Melbourne, Florida in March and April. the Zephyrs’ eighth manager since the franchise moved to New Orleans. The Zephyrs pitchers and catchers are to report to Spring Training on The team also announced that Mike Hart has been March 6th, while the position players Photos courtesy New Orleans Zephyrs named hitting coach and Charlie Corbell pitching will report on March 10th. Tim Foli coach for the 2005 Zephyrs. Mike Quinn will be the team’s trainer. The Zephyrs enter their first year as an affiliate of the The schedule for Spring Training games is as follows (all game times Washington Nationals. Foli, 54, who enjoyed a 16-year 12:00 PM CT unless otherwise playing career in the major leagues, noted): was drafted by the New York Mets Friday, March 18 vs. Richmond @ Melbourne with their first round pick in the Saturday, March 19 vs. Round Rock 1968 draft. @ Kissimmee He anchored the middle of the Monday, March 21 vs. Round Rock @Melbourne Pittsburgh Pirates’ infield in 1979 Tuesday, March 22 vs. Las Vegas under manager Chuck Tanner, as @ Vero Beach Mike Hart Charlie Corbell the Bucs went all the way to the Wednesday, March 23 vs. Las Vegas World Series championship. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Notes and References
Notes and References CHAPTER 1 To provide an intellectual and cultural framework for examining Carol Reed's films, a history of the British cinema from its origins through to the Second World War is offered in this chapter. Although Reed began directing in 1935, 1939 seemed a tidier, more logical cut-off point for the survey. All the information in the chapter is synthesized from several excellent works on the subject: Roy Armes's A Critical History of the British Cinema, Ernest Betts' The Film Business, Ivan Butler's Cinema in Britain, Denis Gifford's British Film Catalogue, Rachel Low's History of the British Film, and George Perry's The Great British Picture Show. CHAPTER 2 1. Michael Korda, Charmed Lives (New York, 1979) p. 229; Madeleine Bingham, The Great Lover (London, 1978). 2. Frances Donaldson, The Actor-Managers (London, 1970) p. 165. 3. Interview with the author. Unless otherwise identified, all quota tions in this study from Max Reed, Michael Korda and Andrew Birkin derive from interviews. 4. C. A. Lejeune, 'Portrait of England's No.1 Director', New York Times, 7 September 1941, p. 3. 5. Harvey Breit, ' "I Give the Public What I Like" " New York Times Magazine, 15January 1950, pp. 18-19. 6. Korda, Charmed Lives, p. 244. 7. Kevin Thomas, 'Director of "Eagle" Stays Unflappable', The Los Angeles Times, 24 August 1969. CHAPTER 3 1. Michael Voigt, 'Pictures of Innocence: Sir Carol Reed', Focus on Film, no. 17 (Spring 1974) 34. 2. 'Midshipman Easy', The Times, 23 December 1935. 271 272 Notes and References 3. -
1941-04-18 [P
SMITH HANDS INDIANS’‘ CHICAGO 2-0 BEATING SOUTHPAW TAKES MOUND DUEL Taylor Advances To Semi-Finals In State Net FINE ________ A High Tourney Scatters Six Veteran Flinger Cardinals Buccaneers Mark Up 7-2 Fresh Water Fishing and Bats in One of Defeat Reds, EX-GRID STAR JOHNSON-ROBINSON BERG CAPTURES Hits Victory Over Chicago Catches Reported Good His Own Runs To 7-6, Capture Series TOPS MAT BILL CHICAGO, April 17.—cm—Pitts- ALSO SCORE WINS SOUTHPORT, April 17.—The open SKY TOURNAMENT VELAND, April 17.—Iff)—The burg's Pirates gave Truett Se- season on fresh water fish, extend- St. Louis Hits for Extra well a five run lead in the first in- and Easter Mon- Indians’ Southpaw strat- Bases Former Florida Guard Will Tournament Runs on Sched- ing through Easter Wand fair Minneapolis Ace 11 Strokes .'worked effectively again today To Overcome Cincinnati ning today and then went on to day, resulted In some pretty handed the Chicago NEW YORK BEATS Meet Rough Texas defeat the 7 to ule With Six of Eight catches. One of the largest bass Ahead of Jean A1 Smith Chicago Cubs, 2, Bauer, second consecutive Five-Run was Postmaster L. fiit„ sox their Spree Grappler Here behind the two hit pitching of Seeded Singles Winning taken landed by The in a Runner-Up hi.tnut 2 to 0. tight pitching their ace righthander. T. Yaskell. It weighed seven pounds Lee. i _ a wih Thornton BROOKLYN AGAIN The and six ounces. Jack Christian, CINCINNATI, April 17.—W—The Lanky Tom Mahoney, a new- only Cub blows as the Bucs 17.—(5>)—Pat- __ ASHEVILLE, April veteran scattered CHAPEL HILL, April 17.—(A>1— fishing companion of Yaskell, got The 32-year-old St. -
Nazi Concentration Camps
Shandler, Jeffrey. While America Watches : Televising the Holocaust. Cary, NC, USA: Oxford University Press, 2000. ProQuest ebrary. Web. 1 July 2015. Copyright © 2000. Oxford University Press. All rights reserved. While America Watches Televising the Holocaust ] effrey Shand/er New York Oxford Oxford University Press 1999 Shandler, Jeffrey. While America Watches : Televising the Holocaust. Cary, NC, USA: Oxford University Press, 2000. ProQuest ebrary. Web. 1 July 2015. Copyright © 2000. Oxford University Press. All rights reserved. one The Image as Witness During the final weeks of the war in Europe, most Americans learned about the events now known as the Holocaust fro1n newspapers, radio broad casts, and newsreels show11 in movie theaters. Television, hov.1ever, was not an early source of information on this subject. The nation's fledgling televi sion broadcasting industry of the late I 9 30s had been all but completely shut down once the United Stares entered the war and was not reestab lished until after the war's end. The Holocaust is part of the prehistory of television as a national broadcasting 1nediu1n. Now mostly consigned to libraries and archives, the first mediations of the Holocaust had a for1native influence on television's many presentations of the subject. The centerpiece of 1\mericans' initial encounter \vith the sub ject was film footage recorded by the United States Army Signal Corps, documenting the Allied liberation of Nazi concentration can1ps. The initial presentation of these images established their viewing as an exceptional, morally galvanizing experience. American television bas since perpetuated and expanded the significance of this footage. Besides transforming some of these in1ages into widely and swiftly recognized icons of the Nazi era, tele vision has reaffirmed their value as virtual witnesses of the Holocaust. -
Debut Year Player Hall of Fame Item Grade 1871 Doug Allison Letter
PSA/DNA Full LOA PSA/DNA Pre-Certified Not Reviewed The Jack Smalling Collection Debut Year Player Hall of Fame Item Grade 1871 Doug Allison Letter Cap Anson HOF Letter 7 Al Reach Letter Deacon White HOF Cut 8 Nicholas Young Letter 1872 Jack Remsen Letter 1874 Billy Barnie Letter Tommy Bond Cut Morgan Bulkeley HOF Cut 9 Jack Chapman Letter 1875 Fred Goldsmith Cut 1876 Foghorn Bradley Cut 1877 Jack Gleason Cut 1878 Phil Powers Letter 1879 Hick Carpenter Cut Barney Gilligan Cut Jack Glasscock Index Horace Phillips Letter 1880 Frank Bancroft Letter Ned Hanlon HOF Letter 7 Arlie Latham Index Mickey Welch HOF Index 9 Art Whitney Cut 1882 Bill Gleason Cut Jake Seymour Letter Ren Wylie Cut 1883 Cal Broughton Cut Bob Emslie Cut John Humphries Cut Joe Mulvey Letter Jim Mutrie Cut Walter Prince Cut Dupee Shaw Cut Billy Sunday Index 1884 Ed Andrews Letter Al Atkinson Index Charley Bassett Letter Frank Foreman Index Joe Gunson Cut John Kirby Letter Tom Lynch Cut Al Maul Cut Abner Powell Index Gus Schmeltz Letter Phenomenal Smith Cut Chief Zimmer Cut 1885 John Tener Cut 1886 Dan Dugdale Letter Connie Mack HOF Index Joe Murphy Cut Wilbert Robinson HOF Cut 8 Billy Shindle Cut Mike Smith Cut Farmer Vaughn Letter 1887 Jocko Fields Cut Joseph Herr Cut Jack O'Connor Cut Frank Scheibeck Cut George Tebeau Letter Gus Weyhing Cut 1888 Hugh Duffy HOF Index Frank Dwyer Cut Dummy Hoy Index Mike Kilroy Cut Phil Knell Cut Bob Leadley Letter Pete McShannic Cut Scott Stratton Letter 1889 George Bausewine Index Jack Doyle Index Jesse Duryea Cut Hank Gastright Letter -
Engineering the American Military Nation, 1814-1821 Dissertation
Importing Napoleon: Engineering the American Military Nation, 1814-1821 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jonathan M. Romaneski, M.A. Graduate Program in History The Ohio State University 2017 Dissertation Committee: Dr. Mark Grimsley, Advisor Dr. John Brooke Dr. Jennifer Siegel Copyright by Jonathan Romaneski 2017 Abstract As the War of 1812 drew to a close, the American nation was economically exhausted and politically upended. The great crisis of the war loomed over the American shorelines from mid-1814 onward, when British reinforcements under a new and more aggressive British commander threatened offensive thrusts into U.S. territory at multiple points. Americans were completely unprepared to meet the British invasion attempts; the United States parried all British thrusts in 1814 almost in spite of itself. Thus, by the end of 1814, the Madison administration (with strong input from James Monroe) began to seek to reform the American military establishment to ensure a more disciplined and uniform militia system, a better-educated and “professional” officer corps, and a stout system of seacoast fortifications. The reformers looked no further than the Napoleonic military system for all their answers. In order to convince the American people and their congressional representatives that greater investment in a Napoleonic-style army was necessary, the reformers relied on a narrative of the War of 1812 that emphasized the frailty of the militia and the heroism of the regulars. Complicating the reformers’ narrative was, first, the strong antimilitary ideological traditions that Americans had held so closely since the Revolutionary era, and second, a counternarrative of the war that arose from Andrew Jackson’s victory at New Orleans.