DOCSLIB.ORG

Four Star Films, Box Office Hits, Indies and Imports, Movies A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Four Star Films, Box Office Hits, Indies and Imports, Movies A Four Star Films, Box Office Hits, Indies and Imports, Movies A - Z FOUR STAR FILMS Top rated movies and made-for-TV films airing the week of the week of March 21 - 27, 2021 The Bridge on the River Kwai (1957) TCM Sat. 2 p.m. Brief Encounter (1945) TCM Thur. 7:30 a.m. Casablanca (1942) TCM Thur. 5:30 a.m. Forrest Gump (1994) AMC Fri. 7 p.m. AMC Sat. 3 p.m. Great Expectations (1946) TCM Thur. 11 a.m. Halloween (1978) Sundance Sun. 8 p.m. Sundance Mon. 2 a.m. The Heiress (1949) TCM Mon. 5:30 a.m. King Kong (1933) TCM Fri. 3:15 p.m. Kramer vs. Kramer (1979) TCM Sat. 11 p.m. Lawrence of Arabia: Director's Cut (1962) TCM Thur. 1 p.m. The Maltese Falcon (1941) TCM Thur. 3:30 a.m. A Man for All Seasons (1966) TCM Sat. 5 p.m. Mary Poppins (1964) Freeform Sat. 1 p.m. My Fair Lady (1964) TCM Thur. 5 p.m. Oliver! (1968) TCM Sun. 5 p.m. Psycho (1960) TCM Thur. 10:15 p.m. Raiders of the Lost Ark (1981) Paramount Mon. 1:30 a.m. Paramount Thur. 7 p.m. Paramount Fri. 1:50 a.m. Rocky (1976) HBO Tues. 8 p.m. HBO Fri. 3:20 p.m. Shadow of a Doubt (1943) TCM Mon. 3:30 a.m. The Shawshank Redemption (1994) Bravo Sat. 7:37 p.m. Bravo Sat. 10:49 p.m. Show Boat (1936) TCM Sun. 3 a.m. The Silence of the Lambs (1991) TMC Mon. 10 p.m. Stand by Me (1986) Encore Sun. 11:23 a.m. Star Wars: A New Hope (1977) TNT Sun. 8:30 a.m. Star Wars: The Empire Strikes Back (1980) TNT Sun. 11:14 a.m. Terminator 2: Judgment Day (1991) BBC America Sun. 9 p.m. BBC America Mon. Noon AMC Wed. 9:30 a.m. The Third Man (1949) TCM Sun. 7 a.m. Titanic (1997) Starz Tues. 9:38 a.m. Starz Tues. 5:42 p.m. The Treasure of the Sierra Madre (1948) TCM Sat. 11:45 a.m. The Untouchables (1987) TMC Sun. 6 p.m. TMC Fri. 2:05 p.m. WALL-E (2008) Freeform Thur. 7 p.m. When Harry Met Sally... (1989) TMC Tues. 8 p.m. Four Star Films, Box Office Hits, Indies and Imports, Movies A - Z BRAVO, IFC & SUNDANCE IN PRIMETIME Bravo, IFC & Sundance in primetime, airing the week of the week of March 21 - 27, 2021 The Adjustment Bureau (2011) ★★ Bravo Sun. 2 a.m. Another 48 HRS. (1990) ★★ IFC Sun. 6 p.m. BBC America Fri. 10 p.m. BBC America Sat. 2 a.m. Baby Mama (2008) ★★ Bravo Tues. 2:02 a.m. Bravo Tues. Noon Back to School (1986) ★★★ IFC Sun. 2 p.m. IFC Tues. 6 p.m. IFC Wed. Noon The Bad News Bears (1976) ★★★ IFC Tues. 10:15 a.m. Bad Words (2014) ★★ IFC Fri. 3:45 p.m. Blues Brothers 2000 (1998) ★★ IFC Tues. 12:45 p.m. IFC Wed. 6 a.m. The Breakfast Club (1985) ★★★ Bravo Fri. 7:30 a.m. Bravo Sat. 2 a.m. Cliffhanger (1993) ★★★ Sundance Sun. 11 a.m. Conan the Barbarian (1982) ★★★ Sundance Sat. 6:30 p.m. Conan the Destroyer (1984) ★★ Sundance Sat. 4 p.m. Drillbit Taylor (2008) ★★ IFC Fri. 8:30 a.m. Escape Plan (2013) ★★ IFC Sat. 8 p.m. IFC Sun. 12:30 p.m. Fast Times at Ridgemont High (1982) ★★★ IFC Tues. 8 p.m. IFC Wed. 2 a.m. Ferris Bueller's Day Off (1986) ★★★ IFC Tues. 3:30 p.m. IFC Wed. 8:45 a.m. A Few Good Men (1992) ★★★ Sundance Sun. 1 p.m. Ghostbusters (1984) ★★★ Sundance Mon. 4:30 p.m. Sundance Tues. 2:30 a.m. Ghostbusters II (1989) ★★ Sundance Mon. 2 p.m. Groundhog Day (1993) ★★★ AMC Mon. 3:30 p.m. AMC Tues. 12:45 p.m. Sundance Sun. 1:30 a.m. Halloween (1978) ★★★★ Sundance Sun. 8 p.m. Sundance Mon. 2 a.m. Halloween 5: The Revenge of Michael Myers (1989) ★★ Sundance Sun. 6 p.m. Sundance Mon. 4 a.m. Halloween 4: The Return of Michael Myers (1988) ★★ Sundance Sun. 4 p.m. Halloween II (1981) ★★ Sundance Sun. 10 p.m. Halloween III: Season of the Witch (1982) ★★ Sundance Mon. Noon Hancock (2008) ★★ BBC America Thur. 10:30 p.m. BBC America Fri. 3 a.m. BBC America Fri. 6 p.m. Sundance Sat. 11:30 p.m. The Heartbreak Kid (2007) ★★ IFC Fri. 11 a.m. The Hobbit: The Desolation of Smaug (2013) ★★★ Sundance Mon. 7 p.m. Sundance Mon. 10:45 p.m. AMC Sat. 10 p.m. Hoosiers (1986) ★★★ BBC America Tues. 8 p.m. BBC America Wed. 1:30 a.m. Sundance Wed. 10:30 a.m. I'm Gonna Git You Sucka (1988) ★★ IFC Sun. 4 p.m. The Incredible Burt Wonderstone (2013) ★★ IFC Fri. 6:15 a.m. Kingpin (1996) ★★ IFC Sun. 3 a.m. The LEGO Movie (2014) ★★★ IFC Fri. 5:45 p.m. IFC Sat. 1:15 p.m. The Longest Yard (2005) ★★ IFC Sun. 10:15 p.m. IFC Mon. 2:45 a.m. IFC Fri. 10:30 p.m. IFC Sat. 3:30 a.m. Men at Work (1990) ★★ IFC Tues. 8 a.m. Miss Congeniality (2000) ★★ Bravo Fri. 11:34 a.m. Bravo Fri. 3:38 p.m. Miss Congeniality 2: Armed and Fabulous (2005) ★★ Bravo Fri. 9:32 a.m. Bravo Fri. 1:36 p.m. Monty Python and the Holy Grail (1975) ★★★ IFC Tues. 6 a.m. The Outsiders (1983) ★★ IFC Tues. 10 p.m. IFC Wed. 4 a.m. Sundance Wed. 1 p.m. Sundance Thur. 11 a.m. Road Trip (2000) ★★ IFC Sun. 8:15 p.m. IFC Mon. 12:45 p.m. The Shawshank Redemption (1994) ★★★★ Bravo Sat. 7:37 p.m. Bravo Sat. 10:49 p.m. Talladega Nights: The Ballad of Ricky Bobby (2006) ★★ AMC Sun. 4:20 p.m. AMC Mon. 10:15 p.m. AMC Tues. 3:15 p.m. IFC Fri. 8 p.m. IFC Sat. 1 a.m. IFC Sat. 3:30 p.m. Three Amigos! (1986) ★★ IFC Sun. 11:30 a.m. Transporter 2 (2005) ★★ IFC Sat. 6 p.m. IFC Sat. 10:30 p.m. UNIMAS Sun. 4 p.m. KFTR Sun. 7 p.m. Twins (1988) ★★★ Sundance Sat. 9 p.m. A Walk to Remember (2002) ★★ Bravo Mon. 6 a.m. Bravo Mon. 7:58 a.m. Bravo Fri. 2:02 a.m. Bravo Fri. Noon The Waterboy (1998) ★ Bravo Fri. 7:42 p.m. Bravo Fri. 11:54 p.m. The Wedding Singer (1998) ★★★ Bravo Fri. 5:40 p.m. Bravo Fri. 9:48 p.m. Zack and Miri Make a Porno (2008) ★★ IFC Fri. 4 a.m. IFC Fri. 1:30 p.m. Four Star Films, Box Office Hits, Indies and Imports, Movies A - Z BOX OFFICE HITS Movies that scored big at the box office, airing the week of the week of March 21 - 27, 2021 Ace Ventura: Pet Detective (1994) ★★ TRU Fri. 10 p.m. TRU Sat. Noon Ace Ventura: When Nature Calls (1995) ★★ TRU Sat. Noon Air Force One (1997) ★★★ Showtime Sun. 1:30 p.m. Showtime Sun. 12:35 p.m. The Amazing Spider-Man (2012) ★★★ Encore Thur. 10:30 p.m. Encore Fri. 3:09 p.m. Anger Management (2003) ★★ MTV Mon. Noon Another 48 HRS. (1990) ★★ IFC Sun. 6 p.m. BBC America Fri. 10 p.m. BBC America Sat. 2 a.m. Any Which Way You Can (1980) ★★ REELZ Sun. 6:30 a.m. REELZ Thur. 7:30 p.m. REELZ Sat. 10:30 a.m. Armageddon (1998) ★★ KVEA Sun. 3 p.m. As Good as It Gets (1997) ★★★ EPIX Fri. 5:40 p.m. Avengers: Age of Ultron (2015) ★★★ Syfy Sun. 5:30 p.m. Back to School (1986) ★★★ IFC Sun. 2 p.m. IFC Tues. 6 p.m. IFC Wed. Noon Back to the Future (1985) ★★★ AMC Tues. 8 p.m. AMC Wed. 3 p.m. Back to the Future Part II (1989) ★★★ AMC Tues. 10:30 p.m. AMC Wed. 5:30 p.m. Back to the Future Part III (1990) ★★★ AMC Sun. 1:50 p.m. AMC Wed. 8 p.m. AMC Thur. 3:30 p.m. Beverly Hills Cop II (1987) ★★ HBO Sat. 3:36 a.m. Black Hawk Down (2001) ★★★ Starz Sat. 8:51 a.m. Starz Sun. 2:19 a.m. Blazing Saddles (1974) ★★★ Ovation Sat. 5 p.m. Boyz N the Hood (1991) ★★★ VH1 Wed. 8 p.m. VH1 Thur. 1:30 p.m. Braveheart (1995) ★★★ Starz Thur. 5:47 a.m. The Breakfast Club (1985) ★★★ Bravo Fri. 7:30 a.m. Bravo Sat. 2 a.m. Bridesmaids (2011) ★★★ Lifetime Fri. 8 p.m. Lifetime Sat. 11 a.m. Lifetime Sat. 12:59 p.m. Caddyshack (1980) ★★ AMC Mon. 6 p.m. AMC Tues. 12:45 p.m. The Caine Mutiny (1954) ★★★ TCM Sun. 12:30 p.m. Charlie and the Chocolate Factory (2005) ★★★ Freeform Mon. 8:30 p.m. Freeform Tues. 6:30 p.m. Cliffhanger (1993) ★★★ Sundance Sun. 11 a.m. Coming to America (1988) ★★★ BET Sat. 5:05 p.m. Conan the Barbarian (1982) ★★★ Sundance Sat. 6:30 p.m. Crocodile Dundee (1986) ★★★ TMC Tues. 7:40 a.m. The Dark Crystal (1982) ★★★ Encore Sat. 5:18 a.m. Dave (1993) ★★★ POP Sat. 6 a.m. The Day After Tomorrow (2004) ★★ VH1 Thur. 9 p.m. Deep Impact (1998) ★★ Encore Mon. 10:12 a.m.
Load more

Recommended publications
  • Carol Raskin
    Carol Raskin Artistic Images Make-Up and Hair Artists, Inc. Miami – Office: (305) 216-4985 Miami - Cell: (305) 216-4985 Los Angeles - Office: (310) 597-1801 FILMS DATE FILM DIRECTOR PRODUCTION ROLE 2019 Fear of Rain Castille Landon Pinstripe Productions Department Head Hair (Kathrine Heigl, Madison Iseman, Israel Broussard, Harry Connick Jr.) 2018 Critical Thinking John Leguizamo Critical Thinking LLC Department Head Hair (John Leguizamo, Michael Williams, Corwin Tuggles, Zora Casebere, Ramses Jimenez, William Hochman) The Last Thing He Wanted Dee Rees Elena McMahon Productions Additional Hair (Miami) (Anne Hathaway, Ben Affleck, Willem Dafoe, Toby Jones, Rosie Perez) Waves Trey Edward Shults Ultralight Beam LLC Key Hair (Sterling K. Brown, Kevin Harrison, Jr., Alexa Demie, Renee Goldsberry) The One and Only Ivan Thea Sharrock Big Time Mall Productions/Headliner Additional Hair (Bryan Cranston, Ariana Greenblatt, Ramon Rodriguez) (U. S. unit) 2017 The Florida Project Sean Baker The Florida Project, Inc. Department Head Hair (Willem Dafoe, Bria Vinaite, Mela Murder, Brooklynn Prince) Untitled Detroit City Yann Demange Detroit City Productions, LLC Additional Hair (Miami) (Richie Merritt Jr., Matthew McConaughey, Taylour Paige, Eddie Marsan, Alan Bomar Jones) 2016 Baywatch Seth Gordon Paramount Worldwide Additional Hair (Florida) (Dwayne Johnson, Zac Efron, Alexandra Daddario, David Hasselhoff) Production, Inc. 2015 The Infiltrator Brad Furman Good Films Production Department Head Hair (Bryan Cranston, John Leguizamo, Benjamin Bratt, Olympia
    [Show full text]
  • Completeandleft
    MEN WOMEN 1. Adam Ant=English musician who gained popularity as the Amy Adams=Actress, singer=134,576=68 AA lead singer of New Wave/post-punk group Adam and the Amy Acuff=Athletics (sport) competitor=34,965=270 Ants=70,455=40 Allison Adler=Television producer=151,413=58 Aljur Abrenica=Actor, singer, guitarist=65,045=46 Anouk Aimée=Actress=36,527=261 Atif Aslam=Pakistani pop singer and film actor=35,066=80 Azra Akin=Model and actress=67,136=143 Andre Agassi=American tennis player=26,880=103 Asa Akira=Pornographic act ress=66,356=144 Anthony Andrews=Actor=10,472=233 Aleisha Allen=American actress=55,110=171 Aaron Ashmore=Actor=10,483=232 Absolutely Amber=American, Model=32,149=287 Armand Assante=Actor=14,175=170 Alessandra Ambrosio=Brazilian model=447,340=15 Alan Autry=American, Actor=26,187=104 Alexis Amore=American pornographic actress=42,795=228 Andrea Anders=American, Actress=61,421=155 Alison Angel=American, Pornstar=642,060=6 COMPLETEandLEFT Aracely Arámbula=Mexican, Actress=73,760=136 Anne Archer=Film, television actress=50,785=182 AA,Abigail Adams AA,Adam Arkin Asia Argento=Actress, film director=85,193=110 AA,Alan Alda Alison Armitage=English, Swimming=31,118=299 AA,Alan Arkin Ariadne Artiles=Spanish, Model=31,652=291 AA,Alan Autry Anara Atanes=English, Model=55,112=170 AA,Alvin Ailey ……………. AA,Amedeo Avogadro ACTION ACTION AA,Amy Adams AA,Andre Agasi ALY & AJ AA,Andre Agassi ANDREW ALLEN AA,Anouk Aimée ANGELA AMMONS AA,Ansel Adams ASAF AVIDAN AA,Army Archerd ASKING ALEXANDRIA AA,Art Alexakis AA,Arthur Ashe ATTACK ATTACK! AA,Ashley
    [Show full text]
  • Physiology-2021-Abstract-Book.Pdf (Physoc.Org)
    Physiology 2021 Our Annual Conference 12 – 16 July 2021 Online | Worldwide #Physiology2021 Contents Prize Lectures 1 Symposia 7 Oral Communications 63 Poster Communications 195 Abstracts Experiments on animals and animal tissues It is a requirement of The Society that all vertebrates (and Octopus vulgaris) used in experiments are humanely treated and, where relevant, humanely killed. To this end authors must tick the appropriate box to confirm that: For work conducted in the UK, all procedures accorded with current UK legislation. For work conducted elsewhere, all procedures accorded with current national legislation/guidelines or, in their absence, with current local guidelines. Experiments on humans or human tissue Authors must tick the appropriate box to confirm that: All procedures accorded with the ethical standards of the relevant national, institutional or other body responsible for human research and experimentation, and with the principles of the World Medical Association’s Declaration of Helsinki. Guidelines on the Submission and Presentation of Abstracts Please note, to constitute an acceptable abstract, The Society requires the following ethical criteria to be met. To be acceptable for publication, experiments on living vertebrates and Octopus vulgaris must conform with the ethical requirements of The Society regarding relevant authorisation, as indicated in Step 2 of submission. Abstracts of Communications or Demonstrations must state the type of animal used (common name or genus, including man. Where applicable, abstracts must specify the anaesthetics used, and their doses and route of administration, for all experimental procedures (including preparative surgery, e.g. ovariectomy, decerebration, etc.). For experiments involving neuromuscular blockade, the abstract must give the type and dose, plus the methods used to monitor the adequacy of anaesthesia during blockade (or refer to a paper with these details).
    [Show full text]
  • Heritage of the Birdsville and Strzelecki Tracks
    Department for Environment and Heritage Heritage of the Birdsville and Strzelecki Tracks Part of the Far North & Far West Region (Region 13) Historical Research Pty Ltd Adelaide in association with Austral Archaeology Pty Ltd Lyn Leader-Elliott Iris Iwanicki December 2002 Frontispiece Woolshed, Cordillo Downs Station (SHP:009) The Birdsville & Strzelecki Tracks Heritage Survey was financed by the South Australian Government (through the State Heritage Fund) and the Commonwealth of Australia (through the Australian Heritage Commission). It was carried out by heritage consultants Historical Research Pty Ltd, in association with Austral Archaeology Pty Ltd, Lyn Leader-Elliott and Iris Iwanicki between April 2001 and December 2002. The views expressed in this publication are not necessarily those of the South Australian Government or the Commonwealth of Australia and they do not accept responsibility for any advice or information in relation to this material. All recommendations are the opinions of the heritage consultants Historical Research Pty Ltd (or their subconsultants) and may not necessarily be acted upon by the State Heritage Authority or the Australian Heritage Commission. Information presented in this document may be copied for non-commercial purposes including for personal or educational uses. Reproduction for purposes other than those given above requires written permission from the South Australian Government or the Commonwealth of Australia. Requests and enquiries should be addressed to either the Manager, Heritage Branch, Department for Environment and Heritage, GPO Box 1047, Adelaide, SA, 5001, or email [email protected], or the Manager, Copyright Services, Info Access, GPO Box 1920, Canberra, ACT, 2601, or email [email protected].
    [Show full text]
  • Signed, Sealed and Delivered: ''Big Tobacco'' in Hollywood, 1927–1951
    Tob Control: first published as 10.1136/tc.2008.025445 on 25 September 2008. Downloaded from Research paper Signed, sealed and delivered: ‘‘big tobacco’’ in Hollywood, 1927–1951 K L Lum,1 J R Polansky,2 R K Jackler,3 S A Glantz4 1 Center for Tobacco Control ABSTRACT experts call for the film industry to eliminate Research and Education, Objective: Smoking in movies is associated with smoking from future movies accessible to youth,6 University of California, San Francisco, California, USA; adolescent and young adult smoking initiation. Public defenders of the status quo argue that smoking has 10 2 Onbeyond LLC, Fairfax, health efforts to eliminate smoking from films accessible been prominent on screen since the silent film era California, USA; 3 Department of to youth have been countered by defenders of the status and that tobacco imagery is integral to the artistry Otolaryngology – Head & Neck quo, who associate tobacco imagery in ‘‘classic’’ movies of American film, citing ‘‘classic’’ smoking scenes Surgery, Stanford University with artistry and nostalgia. The present work explores the in such films as Casablanca (1942) and Now, School of Medicine, Stanford, 11–13 California, USA; 4 Center for mutually beneficial commercial collaborations between Voyager (1942). This argument does not con- Tobacco Control Research and the tobacco companies and major motion picture studios sider the possible effects of commercial relation- Education and Department of from the late 1920s through the 1940s. ships between the motion picture and tobacco Medicine,
    [Show full text]
  • Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
    http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections.
    [Show full text]
  • Ned Kelly and the Kelly Gang
    Ned Kelly and the Kelly Gang Use the words below to fill in the missing information. Glenrowan Inn life armour Ellen Quinn banks legend bushranger bravery unprotected outlawed surviving letter friends hanged awarded Australia’s most famous is Ned Kelly. Edward ‘Ned’ Kelly was born in Beveridge, Victoria in 1855. Ned’s mother was and his father was John ‘Red’ Kelly, an ex-convict. He was their eldest son of eight children. As a child, Ned rescued another boy from drowning. The boy’s family him a green silk sash in recognition of his . Red Kelly died when Ned was young and Ned was left to provide for the family. He worked cutting timber, breaking in horses, mustering cattle and fencing. During his teenage years, Ned got in trouble with the police. In 1878, Ned felt that his mother was put in prison wrongfully and he was being harassed by the police, so he went into the bush to hide. Together with his brother Dan and two others, Joe Byrne and Steve Hart, they became the Kelly Gang. The Gang was after killing three policemen at Stringybark Creek. This meant that they could be shot on sight by anybody at any time. For two years, the Gang robbed and avoided being captured. At the Jerilderie Bank robbery in 1879, with the help of Joe, Ned wrote a famous telling his side of the story. Many struggling small farmers of north-east Victoria felt they understood the Gang’s actions. It has been said that most of the takings from his famous bank robberies went to help his supporters, so many say Ned was an Australian Robin Hood.
    [Show full text]
  • Literary Miscellany
    Literary Miscellany Including Recent Acquisitions, Manuscripts & Letters, Presentation & Association Copies, Art & Illustrated Works, Film-Related Material, Etcetera. Catalogue 349 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment.
    [Show full text]
  • ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
    Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology.
    [Show full text]
  • Episode 289 – Talking Sammo Hung | Whistlekickmartialartsradio.Com
    Episode 289 – Talking Sammo Hung | whistlekickMartialArtsRadio.com Jeremy Lesniak: Hey there, thanks for tuning in. Welcome, this is whistlekick martial arts radio and today were going to talk all about the man that I believe is the most underrated martial arts actor of today, possibly of all time, Sammo Hung. If you're new to the show you may not know my voice I'm Jeremy Lesniak, I'm the founder of whistlekick we make apparel and sparring gear and training aids and we produce things like this show. I wanna thank you for stopping by, if you want to check out the show notes for this or any of the other episodes we've done, you can find those over at whistlekickmartialartsradio.com. You find our products at whistlekick.com or on Amazon or maybe if you're one of the lucky ones, at your martial arts school because we do offer wholesale accounts. Thank you to everyone who has supported us through purchases and even if you aren’t wearing a whistlekick shirt or something like that right now, thank you for taking the time out of your day to listen to this episode. As I said, here on today's episode, were talking about one of the most respected martial arts actor still working today, a man who has been active in the film industry for almost 60 years. None other the Sammo Hung. Also known as Hung Kam Bow i'll admit my pronunciation is not always the best I'm doing what I can. Hung originates from Hong Kong where he is known not only as an actor but also as an action choreographer, producer, and director.
    [Show full text]
  • Newsletter 15/07 DIGITAL EDITION Nr
    ISSN 1610-2606 ISSN 1610-2606 newsletter 15/07 DIGITAL EDITION Nr. 212 - September 2007 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 15/07 (Nr. 212) September 2007 editorial Hallo Laserdisc- und DVD-Fans, schen und japanischen DVDs Aus- Nach den in diesem Jahr bereits liebe Filmfreunde! schau halten, dann dürfen Sie sich absolvierten Filmfestivals Es gibt Tage, da wünscht man sich, schon auf die Ausgaben 213 und ”Widescreen Weekend” (Bradford), mit mindestens fünf Armen und 214 freuen. Diese werden wir so ”Bollywood and Beyond” (Stutt- mehr als nur zwei Hirnhälften ge- bald wie möglich publizieren. Lei- gart) und ”Fantasy Filmfest” (Stutt- boren zu sein. Denn das würde die der erfordert das Einpflegen neuer gart) steht am ersten Oktober- tägliche Arbeit sicherlich wesent- Titel in unsere Datenbank gerade wochenende das vierte Highlight lich einfacher machen. Als enthu- bei deutschen DVDs sehr viel mehr am Festivalhimmel an. Nunmehr siastischer Filmfanatiker vermutet Zeit als bei Übersee-Releases. Und bereits zum dritten Mal lädt die man natürlich schon lange, dass Sie können sich kaum vorstellen, Schauburg in Karlsruhe zum irgendwo auf der Welt in einem was sich seit Beginn unserer Som- ”Todd-AO Filmfestival” in die ba- kleinen, total unauffälligen Labor merpause alles angesammelt hat! dische Hauptstadt ein. Das diesjäh- inmitten einer Wüstenlandschaft Man merkt deutlich, dass wir uns rige Programm wurde gerade eben bereits mit genmanipulierten Men- bereits auf das Herbst- und Winter- offiziell verkündet und das wollen schen experimentiert wird, die ge- geschäft zubewegen.
    [Show full text]
  • From Real Time to Reel Time: the Films of John Schlesinger
    From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative.
    [Show full text]