The Amazing, Performing Film: Some Propositions
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Location Manager Resume
ROBERTO DE BIASE LOCATION SCOUT & MANAGER - RESUME (619) 977-3139 [email protected] www.rdblocations.com COMMERCIAL PRODUCTION (Selected Credits) APICTURES – VLADIMIR JONES - Xcel Energy “Hero” & “Tough” Location Scout & Manager John Elper, Director – Kent Feuerring, Producer – Jorie Kopie, Producer MARTIN BRINKERHOFF & ASSOCIATES – Honda Motorcycles “KZZA” Location Scout & Manager Rick Balthaser, Director – Jorie Kopie, Producer REALITY PICTURES – BMW “Stock Running Footage” Location Scout & Manager Kim Takal, Director - Pamela Elrich, Producer PARANA FILMS – CONILL - Toyota Prius V “Resort” & “Road” Location Scout Pucho Mentasti, Director - Sebastian Leda, Executive Producer – Sal Tassone, Producer TEN STORIES – Bridgepoint Education, Ashford University Holiday Bowl Location Scout & Manager Rich Underwood, Director – Robert Craghead and Bryan Bihari, Producers DETOUR FILMS – RED HYDRANT - San Diego Tourism “Happiness is Calling” Location Scout & Manager Dana Tynan, Director – Jessica Cooper Carlson, Producer, Jorie Kopie, Producer VRA USA – TEAM RETAIL FIRST – Ford “Built for San Diego Running Footage” Location Scout & Manager Alan Vajda, Director – Joe Ramey, Executive Producer – Jorie Kopie, Producer IDENTITY – GLOBAL HUE – US NAVY – Job 1464 Location Scout & Manager Andrew Walton, Director – Laure Stevens, Producer CHROME BUMPER FILMS – PERICH – “GM & GMC Fleet Running Footage” Location Scout & Manager John Quigley, Director – Shannon Cragin, Producer FILM REALITÉ – THE DESIGNORY – “Nissan Leaf Digital Brochure Running Footage” Location Scout & Manager Rich Epstein, Director – Marla Whittaker, Producer PONY SHOW ENTERTAINMENT – CAMPBELL-EDWALD – US NAVY “The Shield” Location Scout & Manager Peter Berg, Director – Fern Martin, Producer – Josh Mulry, Production Supervisor RESPOND2 – ICON FITNESS – “AbGlider, Discovery” Location Scout & Manager Greg Penner, Director - Kristin Swanson, Producer FILM REALITÉ – TEAM DETROIT – FORD “Early 2011 Running Footage” Location Scout Kevin Ward, Director – Marla Whittaker, Producer FOUNDATION POST – ORTHO BIOTECH INC. -
Building Cold War Warriors: Socialization of the Final Cold War Generation
BUILDING COLD WAR WARRIORS: SOCIALIZATION OF THE FINAL COLD WAR GENERATION Steven Robert Bellavia A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2018 Committee: Andrew M. Schocket, Advisor Karen B. Guzzo Graduate Faculty Representative Benjamin P. Greene Rebecca J. Mancuso © 2018 Steven Robert Bellavia All Rights Reserved iii ABSTRACT Andrew Schocket, Advisor This dissertation examines the experiences of the final Cold War generation. I define this cohort as a subset of Generation X born between 1965 and 1971. The primary focus of this dissertation is to study the ways this cohort interacted with the three messages found embedded within the Cold War us vs. them binary. These messages included an emphasis on American exceptionalism, a manufactured and heightened fear of World War III, as well as the othering of the Soviet Union and its people. I begin the dissertation in the 1970s, - during the period of détente- where I examine the cohort’s experiences in elementary school. There they learned who was important within the American mythos and the rituals associated with being an American. This is followed by an examination of 1976’s bicentennial celebration, which focuses on not only the planning for the celebration but also specific events designed to fulfill the two prime directives of the celebration. As the 1980s came around not only did the Cold War change but also the cohort entered high school. Within this stage of this cohorts education, where I focus on the textbooks used by the cohort and the ways these textbooks reinforced notions of patriotism and being an American citizen. -
2008 OAH Annual Meeting • New York 1
Welcome ear colleagues in history, welcome to the one-hundred-fi rst annual meeting of the Organiza- tion of American Historians in New York. Last year we met in our founding site of Minneap- Dolis-St. Paul, before that in the national capital of Washington, DC. On the present occasion wew meet in the world’s media capital, but in a very special way: this is a bridge-and-tunnel aff air, not limitedli to just the island of Manhattan. Bridges and tunnels connect the island to the larger metropolitan region. For a long time, the peoplep in Manhattan looked down on people from New Jersey and the “outer boroughs”— Brooklyn, theth Bronx, Queens, and Staten Island—who came to the island via those bridges and tunnels. Bridge- and-tunnela people were supposed to lack the sophistication and style of Manhattan people. Bridge- and-tunnela people also did the work: hard work, essential work, beautifully creative work. You will sees this work in sessions and tours extending beyond midtown Manhattan. Be sure not to miss, for example,e “From Mambo to Hip-Hop: Th e South Bronx Latin Music Tour” and the bus tour to my own Photo by Steve Miller Steve by Photo cityc of Newark, New Jersey. Not that this meeting is bridge-and-tunnel only. Th anks to the excellent, hard working program committee, chaired by Debo- rah Gray White, and the local arrangements committee, chaired by Mark Naison and Irma Watkins-Owens, you can chose from an abundance of off erings in and on historic Manhattan: in Harlem, the Cooper Union, Chinatown, the Center for Jewish History, the Brooklyn Historical Society, the New-York Historical Society, the American Folk Art Museum, and many other sites of great interest. -
Download Handbook
fromparamountpictures JANUARY, 19?9 HANDBOOK OF PRODUCTION INFOR.I{ATION ** *t(*** ******r.**t ******* ** * ****** * PARAI"IOT'N'T PICTURES PRESENTS A LAI^IRENCE GORDON PRODUCTION l *i r ry MUSIC BY BARRY DEVORZON EDITOR DAVID HOTDEN DIRECTOR OF PHOTOGRAPHYANDREW LASZLO, A.S.C. E)GCUTIVE PRODUCER FRANK MARSHAIL BASED ON THE NOVEL BY SOL YURICK SCREENPLAY BY DAVID SHASER AND WALTER HILL PRODUCED BY LAWRXNCE GORDON DIRECTED BY WAITER HILL PARAITIOUNTPICTUFES CORPORATION 1 GULF + WESTERNPLAJZA NEw YORKITY 1oo23 ''THE WARRIORS" PRELIMINARY CAST IIST SWAN..... ...,I.,IICHAELBECK AJAX..-... ...,...JAMES REI,IAR FOX...,... ......THOMAS WATTES CLEON..... ,....DORSEY WRIGHT SNOW.... ..BRIAN Tr'iER cocErsE. ,.......DAVID HARRIS COWBOY.... TOM MCKITIERICK REI,IBRANDT. .. j...MARCELINO SANCHEZ VERMIN.. ,......TERRY MICEOS MERCY..,.... .......DEBORAH VAN VAIKENBUREII CJIKU'. .. .ROGER HILL LUTHER......... .......DAVID PATRICKKELLY D.J, ,.,.. .....LyNr.I I,HTCPEN CANDY STORE GIRL..., . , . .GINN! ORTIZ GRAI.,IERCYRIFFS... , . , . .EDWARD SEIJER RON FERRELL FERNANDOCASTILI,O I{I,BERT EDI,{ARDS LARRY SEARS uI(E .tA.t4ES GREGORYCLEGHORNE GEORGE LEE I,IILES STANI,EV TT!{I.IS JOHN MAURICE JAMIE PERRY I,fINsmN YARDE ROGIJES.. ....,...JOEL WErSS HAROLD UILLER DAN BONNELL DAN BATTLES TO!,T JARUS MICHAEL GARIIELD CHRIS HARLEY MARK BAITZAR TURNBI'LLA.C.'s.. .......J.w. sl.{ITH CAI ST. JOHN JOE ZIMMARDI CARROTTE WII,I,fAM IIIILLIAI.IS MARVIN FOSTER JOIIN BARNES KEN THRET MICI{AEL JEFFREY .,...PAt'L GRECO APACIG RAMOS TONY MTCHAEL PANN NEA], GOLD JAMES MARGOLIN CHUCK MASON ANDY ENGEIS IAN COIIEN CIIARLES SERRANO CHARLES DOOIAN -3- BASEBALL FUR]ES . JERRY HEWTTT BOB RYDER JOSEPH BERGUAN RICIARD CIOTTI TONY LATHAM EUGENE BICKNEIi T. J. McNAMARA STEVEN JA}IES IANE RUOFF IiARRY MADSE]\I BILTY ANAGNOS JOHN GIBSON LIZZIES iISA MAURER KA:IE KLUGMAN DEE DEE BENREY JORDAN CAE IIARRELL DONNA RITCHIE DORAN CLARK PATTY BROWN IRIS AIAHANTI VfCTORIA VANDERKLOOT LAURA DE ],ANO SUKI ROTHCHILD HEIDI LYNCH PIJNKS CRAIG BAXLEY A. -
Summary of Sexual Abuse Claims in Chapter 11 Cases of Boy Scouts of America
Summary of Sexual Abuse Claims in Chapter 11 Cases of Boy Scouts of America There are approximately 101,135sexual abuse claims filed. Of those claims, the Tort Claimants’ Committee estimates that there are approximately 83,807 unique claims if the amended and superseded and multiple claims filed on account of the same survivor are removed. The summary of sexual abuse claims below uses the set of 83,807 of claim for purposes of claims summary below.1 The Tort Claimants’ Committee has broken down the sexual abuse claims in various categories for the purpose of disclosing where and when the sexual abuse claims arose and the identity of certain of the parties that are implicated in the alleged sexual abuse. Attached hereto as Exhibit 1 is a chart that shows the sexual abuse claims broken down by the year in which they first arose. Please note that there approximately 10,500 claims did not provide a date for when the sexual abuse occurred. As a result, those claims have not been assigned a year in which the abuse first arose. Attached hereto as Exhibit 2 is a chart that shows the claims broken down by the state or jurisdiction in which they arose. Please note there are approximately 7,186 claims that did not provide a location of abuse. Those claims are reflected by YY or ZZ in the codes used to identify the applicable state or jurisdiction. Those claims have not been assigned a state or other jurisdiction. Attached hereto as Exhibit 3 is a chart that shows the claims broken down by the Local Council implicated in the sexual abuse. -
Riding the Freight Trains in Boxcar Bertha (Martin Scorsese, 1972), Emperor of the North (Robert Aldrich, 1973), and Bound for Glory (Hal Ashby, 1976)*
DUTRIAUX FILM JOURNAL 3 (2016) Outcasts, Hoboes, and Freight-hoppers: Riding the Freight Trains in Boxcar Bertha (Martin Scorsese, 1972), Emperor of the North (Robert Aldrich, 1973), and Bound for Glory (Hal Ashby, 1976)* Claire DUTRIAUX Université Paris-Sorbonne In the late 1960s to the mid-1970s several American films whose core subject was peculiarly similar were released, tackling either the economic conditions of poor whites and/or the lives of transients on the railroads during the Great Depression. The consistency of this movie cycle –which featured Sydney Pollack’s This Property is Condemned (1966), Martin Scorsese’s Boxcar Bertha, Robert Aldrich’s Emperor of the North, Hal Ashby’s Bound for Glory, Martin Ritt’s Sounder (1972), Walter Hill’s Hard Times (1975) and Robert Altman’s remake of Nicholas Ray’s 1948 They Live by Night into Thieves Like Us in 1974 – was reinforced by two specific traits. First, the release date of each movie (the late 1960s to mid- 1970s) and the chosen context of these movies (the 1930s) made them stand together as a cluster. Second and most of all, the actors starring in these movies contributed to the construction of the movie cycle, via their own intertextuality. Members of the Carradine “acting dynasty” appeared in four of the seven movies – John Carradine in Boxcar Bertha, his son David Carradine in Boxcar Bertha and Bound for Glory, and his other son Keith Carradine in Emperor of the North and Thieves Like Us. The intertextual link1 between the Carradine family of actors was made even stronger in Bound for Glory, as the movie frequently referenced John Ford’s The Grapes of Wrath (1940), in which John Carradine had played former preacher Jim Casy. -
CABARET MAXIME Lands US Distribution Rights at Giant Pictures, Sets Premiere Date for February 2020
CABARET MAXIME lands US Distribution Rights at Giant Pictures, sets premiere date for February 2020 New York, NY – December, XX, 2019 – Giant Pictures has acquired the US rights for Bruno de Almeida's new movie, Cabaret Maxime, starring Michael Imperioli. It will open theatrically at the Metrograph in NYC on February 21st, ahead of a national, multi-platform rollout on March 3rd. Michael Imperioli plays Bennie Gazza, the owner of Cabaret Maxime, a nightclub in an old, red-light district where a group of colorful characters perform musical numbers, as well as burlesque and striptease acts. Bennie runs the cabaret like a tight family, dealing with each artist’s unique personality while taking care of his performer wife, Stella, who suffers from manic depression. When the once-decadent neighborhood starts to become gentrified, Bennie struggles to keep his club afloat. As the residents are being bought up and pushed out, Benny is violently threatened when he refuses to sell. The pressure builds to a dramatic climax as Benny is forced to take a stand against the powers that be. Michael Imperioli is best known for his Emmy-winning role as Christopher Moltisanti on the HBO television series, The Sopranos. In 1990, he made his film debut as Spider in Martin Scorsese's, Goodfellas. He has since appeared in more than 90 feature films and television series. He has worked with such notable directors and actors as Martin Scorsese, Spike Lee, Abel Ferrara, Peter Jackson, Walter Hill, Mary Harron, Cindy Sherman, Ben Gazzara, Robert De Niro, Rachel Weisz, Christopher Walken, Joe Pesci, Edie Falco, James Gandolfini, and many others. -
Jay Weigel 504.258.8299 Selected Film and Recording Credits [email protected]
Jay Weigel 504.258.8299 Selected Film and Recording Credits [email protected] Jay Weigel is a distinguished composer, producer, conductor, arranger, orchestrator, and contractor for film, television, recordings, and concerts. Based in New Orleans, he has worked in the film and television industry since 19. His recent scores and soundtrack recordings can be heard in studio projects produced by Warner Brothers, Paramount Pictures, Universal, Netflix, Tyler Perry Studios, and numerous documentaries and independent films such as: The Campaign, Green Lantern, Grudge Match, Get Hard, Midnight Special, A Fall From Grace, Caged No More, Camp Cool Kids,The Oval, For Colored Girls, Too Close To Home, The Last laugh, Paradise Lost, The Highwaymen, and NCIS New Orleans. He has worked as an orchestrator, conductor, contractor and/or score preparer for composers such as George S. Clinton, Christopher Young, David Wingo, Jon Swihart, Christopher Lennertz and Terence Blanchard. As an arranger and orchestrator, he has worked with PJ Morton, Andra Day, REM, Tank and the Bangas, Chris Thomas King, and Judith Owen. Select Credits Film/TV Scores Director Producer/Studio Unexpected Modernism Gregory Kallenberg Chris Lyons The Oval (new series 25 episodes) Tyler Perry Antoinetta Hairston A Fall from Grace Tyler Perry Michelle Sneed Eagle and the Albatross Angela Shelton Mike Montgomery The Last Laugh Greg Pritikin Rob Paris/Netflix Heart, Baby! Angela Shelton Kim Barnard Boo 2! A Madea Halloween (end titles) Tyler Perry Ozzie Areu The True Don Quixote Chris -
Land and Power: Sustainable Agriculture and African Americans
Land Power& Sustainable Agriculture and African Americans A collection of essays from the 2007 Black Environmental Thought conference edited by Jeffrey L. Jordan Edward Pennick Walter A. Hill Robert Zabawa Sustainable Agriculture Research and Education (SARE) Land Power& Sustainable Agriculture and African Americans A collection of essays from the 2007 Black Environmental Thought Conference Edited by Jeffrey L. Jordan, Edward Pennick, Walter A. Hill, and Robert Zabawa First Edition Published by the Sustainable Agriculture Research and Education (SARE) program, with funding from the National Institute of Food and Agriculture, U.S. DepartmentAbout SAREof Agriculture SARE is a grant making and outreach program. Its mission is to advance—to the whole of American agriculture—innovations that improve profitability, stewardship and quality of life by investing in groundbreaking research and education. For more information about SARE’s grant making program and information products, visit www.sare.org or contact: SARE Outreach Associate 10300 Baltimore Ave., BARC, Bldg. 046 Beltsville, MD 20705 [email protected] (301) 504-5236 SARE Regions North Central Alaska Northeast West Guam CNMI South FSM Hawaii AS USVI PR Size and placement not to scale SARE’s four regional offices and outreach office work to advance sustainable innovations to the whole of American agriculture. 155 This book was published by the Sustainable Agriculture Research and Education (SARE) program under cooperative agreements with USDA’s National Institute of Food and Agriculture, University of Maryland and University of Vermont. Online: Visit www.sare.org. By check or purchase order: Make payable to Sustainable Agriculture Publications and send to Sustainable Agriculture Publications P.O. -
Selected Bibliography
Selected Bibliography 4 Film Favorites: Lethal Weapon, Lethal Weapon 2, Lethal Weapon 3, Lethal Weapon 4. Los Angeles: Warner Bros., 2014. DVD. 24: The Complete Series. 2001–2010. Produced by Robert Cochran and Joel Surnow. Los Angeles: 20th Century Fox Entertainment, 2010. DVD. 48 Hours. DVD. Directed by Walter Hill. Paramount Pictures, 1999. A Good Day to Die Hard. Directed by John Moore. 20th Century Fox, 2013. Amazon Prime. A Stranger Among Us. Directed by Sidney Lumet. Hollywood Pictures, 1992. A Thief of Time. DVD. Directed by Chris Eyre. PBS Home Video, 2004. Abalos, David T. The Latino Male: A Radical Redefinition. Boulder, CO: Lynne Rienner Publishers, 2002. Abbott, Megan E. The Street Was Mine: White Masculinity in Hardboiled Fiction and Film Noir. New York: Palgrave Macmillan, 2002. Adams, Rachel, and David Savran, eds. The Masculinity Studies Reader, Keyworks in Cultural Studies. Malden, MA: Blackwell Publishers, 2002. Alias—Seasons 1–5, Complete Series. 2001–2006. Produced by J. J. Abrams. Burbank, CA: Buena Vista Home Entertainment, 2006. DVD. Allen, Judith A. “Men Interminably in Crisis? Historians on Masculinity, Sexual Boundaries, and Manhood.” Radical History Review no. 82 (Winter 2002). Allen, Robert C., and Douglas Gomery. Film History: Theory and Practice. New York: Random House, 1985. © The Author(s) 2019 259 M. Yaquinto, Policing the World on Screen, https://doi.org/10.1007/978-3-030-24805-5 260 Selected Bibliography Allen, Theodore W. The Invention of the White Race. New York: Verso, 1997. Alpert, Geoffrey P., and Roger G. Dunham. Policing Urban America. Prospect Heights, IL: Waveland Press, 1997. Alsultany, Evelyn. -
Son of Classical Musicians and Formally Trained As a Violinist, David Was first Signed (By the Legendary Mary Martin), at Sixteen, to Warner Bros
Son of classical musicians and formally trained as a violinist, David was first signed (by the legendary Mary Martin), at sixteen, to Warner Bros. Records as a member of "Quacky Duck And His Barnyard Friends", along with founding members Dan and Daegal Bennett, sons of singer Tony Bennett. At age 18, David joined Bob Dylan's band for four years, starting with the "Rolling Thunder Revue". He recorded three albums with Dylan and appears on numerous compilations and live albums, including "Biograph" and "Bob Dylan Live 1975 The Bootleg Series Vol. 5". David appeared in the NBC special "Hard Rain", and the feature film "Renaldo and Clara". In 1976 David was signed to Arista and released three albums (two of which he co-produced with T-Bone Burnett and Steven Soles) as a member of the critically acclaimed "Alpha Band". He later went on to work with Burnett on his solo albums and other projects, including writing the score for the feature film "Divine Secrets of the Ya-Ya Sisterhood”. David is an award-winning film and television composer with many major credits. His score for the A&E mini-series "Broken Trail", co-written with Van Dyke Parks, was nominated for an Emmy. David's first film score was for the notorious epic "Heaven's Gate". It led to a four-film collaboration with director Michael Cimino, which resulted in a Golden Globe nomination for his score for the Oliver Stone-penned "Year Of The Dragon". Other long-standing relationships are with the esteemed Mexican auteur Arturo Ripstein, and with Maggie Greenwald ("Ballad of Little Jo", "Songcatcher"). -
Playing the Big Easy: a History of New Orleans in Film and Television
PLAYING THE BIG EASY: A HISTORY OF NEW ORLEANS IN FILM AND TELEVISION Robert Gordon Joseph A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2018 Committee: Cynthia Baron, Advisor Marlise Lonn Graduate Faculty Representative Clayton Rosati Andrew Schocket © 2018 Robert Joseph All Rights Reserved iii ABSTRACT Cynthia Baron, Advisor Existing cultural studies scholarship on New Orleans explores the city’s exceptional popular identity, often focusing on the origins of that exceptionality in literature and the city’s twentieth century tourism campaigns. This perceived exceptionality, though originating from literary sources, was perpetuated and popularized in the twentieth and twenty-first centuries by film and television representations. As Hollywood’s production standards evolved throughout the twentieth century, New Orleans’ representation evolved with it. In each filmmaking era, representations of New Orleans reflected not only the production realities of that era, but also the political and cultural debates surrounding the city. In the past two decades, as the aftermath of Hurricane Katrina and the passage of film tax credits by the Louisiana Legislature increased New Orleans’ profile, these debates have been more present and driven by New Orleans’ filmed representations. Using the theoretical framework of Guy Debord’s spectacle and the methodology of New Film History and close “to the background” textual analysis, this study undertakes an historical overview of New Orleans’ representation in film and television. This history starts in the era of Classical Hollywood (1928-1947) and continues through Transitional Hollywood (1948-1966), New Hollywood (1967-1975), and the current Age of the Blockbuster (1975-).