DOCSLIB.ORG

July-August 2021

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Association of Retired Seattle City Employees Non-Profit Organization P.O. Box 75385, Seattle WA 98175-0385 U.S. Postage PAID ARSCE Seattle, WA Website: www.arsce.org Permit No. 1100 NEWS ASSOCIATION OF RETIRED SEATTLE CITY EMPLOYEES July/August, 2021 Volume 49, No. 1 OUR PRESIDENT’S MESSAGE By John Masterjohn Celebrate! Well, it seems that when I said this may be my last column as your president, I was right! As of July 1st, Mr. Mike Nagan has agreed to a one-year term and then we will see what happens after that. We have a large group of candidates to choose from. W Now, just because I am no longer your president, I am still on the Board for the next three years. I will try and l keep you apprised of my adventures, as boring as they may be. I want to thank all of you for your support—especially my two editors. First, my wife Karen Meadows who does the initial Sunday ~ July 4th, 2021 Thank you, John, proofread; correcting spelling, punctuation, and tries to make for your many sense of what I have written. Then my last editor, Lee Sattler, who Happy Independence Day years of service does such a great job of putting out the ARSCE News and making to ARSCE! sure that what I am saying is within the boundaries of ARSCE. Thanks to both of you. Now enough about that and something about the Seattle City Employees’ Retirement System (SCERS). As I mentioned in my previous article, we had put in a request for SCERS to record their Board meetings and put it out so that our members could have a chance to hear their meetings and see the Board at their convenience, instead of only being available at 10:00am. We did hear back from Councilmember Teresa Mosqueda, Board of Administration Chair. She said she would see what she could do to make SCERS meetings more accessible and transparent. Also, we received a letter from Jeff Davis, SCERS Executive Director, who also acknowledged our requests and concerns. I am not including Mr. Davis’s letter in this edition. SCERS is having a trustee election. The two candidates are Sherry Crawford and Amy Woo. It is my understanding, at this time, that ballets will be sent out soon and instructions for voting online will be sent out soon as well. There were 47 retirements and withdrawals in the month of March and 48 in the month of April. Good news—the estimated funding level of the retirement fund is 76.4% as of the 4th quarter of 2020. Councilmember Mosqueda stated that her staff will continue to gather information on what City peers are doing in terms of divestment. Mr. Davis replied that the conversations on ESG, (Environmental, Social, and Governance strategies) climate change, and divestment have been productive and informative. Going forward, conversations will be broader and have less of a focus on divestment and rather on how do we look at climate change and the impact it can have on the SCERS portfolio. An update on Mr. Lou Walter—he is having some ongoing medical issues and was back in the hospital, so send positive thoughts his way. Well as I said in my last article, thanks for putting up with me for these last 10 years or so—it has been a blast! Your president, John Masterjohn Contact Mr. Masterjohn at [email protected] Update from Terry Walter: YOUR PENSION NEWS Lou is a bit more alert, but still very fragile. I have no updates, currently, on By Lou Walter, Retired Employee, the status of his MRSA (Methicillin-resistant Staphlococcus aureus: caused by a Member: Seattle City Employees’ type of staph bacteria that’s become resistant to many of the antibiotics used Retirement System to treat ordinary staph infections), but hope to know more shortly. Lou would greatly appreciate a card from you. His mailing address is Manor Care, 2811 NE 139th St., Room 143, Vancouver WA 98686. He was in quarantine as of this report and I was not able to visit him on my final two days in Portland, so we talked via Facetime. Or, rather, I said hello, and he went back to sleep. He is very, very tired and has issues with his heart now. Once he is out of quarantine he would LOVE to have visitors. Appointments for a visit are required and I know they allow visitors on Thursday and Saturday (they mentioned another day, but, honestly, I wasn’t listening). They did move him to a room with an outside window and Joe and Isaac were able to talk to him through that window. You can call him on his cell phone: 206-915-6844. Joe has asked that no one send flowers, plants, or candy because he just can’t take care of the plants and flowers (and Joe doesn’t want any!) and candy is tough on his diabetes. (I thoroughly enjoyed the chocolates sent to him previously when I visited him. Thank you very much, not that my waistline appreciated the joys of chocolate.) Page 2: September Board Meeting Notice Page 6: A Life Well-Lived Inside this Issue Page 4: Wisdom & Humor Page 7: Annual Christmas Party? Page 5: Duffer’s Corner Page 12: Haiku Page 2 — ARSCE NEWS — July/August, 2021 Old Timers Luncheon Group MTD/DAS/ESD/FFD/FAS Alan Brittenham Reporting National Late-Breaking OTLG Luncheon News Friendship Day As I mentioned via email to the Old Timer’s Luncheon Group Sunday ~ recently, Vini has been working on a possible north end location for August 1st, 2021 our luncheons, which have been at Feast Buffet in Renton since the Super China Buffet in Shoreline closed abruptly two years ago. The most reasonable spot appeared to be a place in Marysville, but wait! The latest word is that the Super China Buffet has re-opened, as of Tell a friend how much they mean to you! May 1st (Thanks, Tony Wong, for discovering that)! We want to get someone to try them before North end? we make the decision, just to be sure they still are acceptable, but the fact that they are now open does leave us in a bit of a pickle, in the form of a question: Assuming they are open, and acceptable in terms of quality, which of several options would we prefer to choose? One idea is that we could abandon the Essential Telephone Numbers Renton location, Feast Buffet, and move back to the Shoreline location. Supporting that And Web Addresses South end? argument is the fact that Feast Buffet has ARSCE: 206.683.5461 raised their prices (along with many other (Change of Address/Membership Questions) places) for lunch, with the Senior Citizen discount now at $17.09 each. Super China Buffet, according to their website, is still less Email: [email protected] than $10 for the Senior discount lunch. Opposing that argument is Website: www.arsce.org the sheer size and diversity of Feast Buffet’s menu items. Can you say chocolate fountain? Mayor’s Office for Senior Citizens: 206.684.0500 The second idea is that we could alternate, going to Feast in (Information on available programs/services) Renton one month and Super China Buffet the next. The problem Email: [email protected] with moving to Renton is that we lost a few regular attendees from the north end and Snohomish County, for whom the extra driving Website: www.seattle.gov/seniors was a deal breaker. So alternating locations could allow everyone to attend, at least, every other month and catch up with gossip and Personnel Department: 206.615.1340 see familiar faces. The problem with this is that all the south end (Benefits) folks who used to have to drive to Shoreline to attend the luncheon Email: [email protected] have made it pretty clear that they like going to the Feast and are not eager to change that. It is also true that the long-term closure Website: www.seattle.gov/Personnel/ of the West Seattle Bridge has made it exceedingly difficult for anyone from the West Seattle/White Center area to fight their way Retirement Office: 206.386.1293 or to the highway and get through town to the north end. 1.877.865.0079 The third possibility is that we could do both. If enough north (Retirement Checks/Health & Dental Benefits/General end folks were willing and able, we could split the month in half and Questions/Change of Address/Tax Withholding) have a south end luncheon in Renton at the Feast and a north end Email: [email protected] luncheon at Super China Buffet! We could set the dates two weeks apart, say, the first and third Monday of every month, which would Website: www.seattle.gov/retirement allow for some folks to show up at both luncheons, while minimizing drive times for those who liver further out in either direction. The result of this could be better total turnout for the luncheons every month. Some of us, myself included, would be happy to show up at both places. I’d love to hear from any or all of you in the meantime. We will call them options A, B, or C, with A being move back to Super China Statement of Ownership Buffet, B being alternate monthly with the Feast in Renton, and C And Management being two separate luncheons every month on the first and third Mondays. Let me know your preference. We will discuss it at the 1) Owner and Publisher: The Association of Retired Seattle next luncheon, and, as usual, the group will vote with their feet.
Recommended publications
  • The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946

    The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946

    The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message.
  • Westminsterresearch the Artist Biopic

    Westminsterresearch the Artist Biopic

    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies.
  • HP0221 Teddy Darvas

    HP0221 Teddy Darvas

    BECTU History Project - Interview No. 221 [Copyright BECTU] Transcription Date: Interview Dates: 8 November 1991 Interviewer: John Legard Interviewee: Teddy Darvas, Editor Tape 1 Side A (Side 1) John Legard: Teddy, let us start with your early days. Can you tell us where you were born and who your parents were and perhaps a little about that part of your life? The beginning. Teddy Darvas: My father was a very poor Jewish boy who was the oldest of, I have forgotten how many brothers and sisters. His father, my grandfather, was a shoemaker or a cobbler who, I think, preferred being in the cafe having a drink and seeing friends. So he never had much money and my father was the one brilliant person who went to school and eventually to university. He won all the prizes at Gymnasium, which is the secondary school, like a grammar school. John Legard: Now, tell me, what part or the world are we talking about? Teddy Darvas: This is Budapest. He was born in Budapest and whenever he won any prizes which were gold sovereigns, all that money went on clothes and things for brothers and sisters. And it was in this Gymnasium that he met Alexander Korda who was in a parallel form. My father was standing for Student's Union and he found somebody was working against him and that turned out to be Alexander Korda, of course the family name was Kelner. They became the very, very greatest of friends. Alex was always known as Laci which is Ladislav really - I don't know why.
  • Shail, Robert, British Film Directors

    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.
  • Deleuze and Film Music: Building a Methodological Bridge Between Film Theory and Music

    Deleuze and Film Music: Building a Methodological Bridge Between Film Theory and Music

    Deleuze and Film Music: Building a methodological bridge between film theory and music Gregg Pierce Redner Submitted by Gregg Pierce Redner, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Film Studies, 16 January 2009. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (signature) ......................................................................................... 1 Abstract This thesis grows from the premise that film music analysis is currently at an impasse. The reason for this impasse is the inability of film theory and music theory to relate to one another because of their lack of a common theoretical language. It is my contention that a large percentage of the scholarly writing on film music is less than successful, because of the inability of these two disciplines to relate to each other theoretically. Therefore, it is the intention of this thesis to construct a methodological bridge which will allow music theory and film theory to relate to each other on a common analytical plane. I am primarily concerned with just how the film score functions once it enters into the mise-en-scène and is able to exist on an equal theoretical plane with the other elements of the filmic universe. In order to facilitate this, I will apply philosophical concepts drawn from the philosophy of Gilles Deleuze to the analysis of six individual film/score(s): L’Atalante (Jean Vigo, 1934), Things to Come (William Cameron Menzies, 1936), Scott of the Antarctic (Charles Frend, 1948), East of Eden (Elia Kazan, 1955), Hamlet (Grigori Kozintsev, 1964) and Blue (Krzysztof Kieslowski, 1993).
  • Notes and References

    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.
  • Past and Present 19/7/05 3:53 Pm Page I

    Past and Present 19/7/05 3:53 Pm Page I

    2725 M&M Past and Present 19/7/05 3:53 pm Page i Turner Classic Movies British Film Guides General Editor: Jeffrey Richards Brighton Rock Dracula The 39 Steps Steve Chibnall Peter Hutchings Mark Glancy A Hard Day’s Night Get Carter The Dam Busters Stephen Glynn Steve Chibnall John Ramsden My Beautiful The Charge of the Light A Night to Remember Launderette Brigade Jeffrey Richards Christine Geraghty Mark Connelly The Private Life of Whiskey Galore! & The Henry VIII Maggie Greg Walker Colin McArthur Cinema and Society Series General Editor: Jeffrey Richards ‘Banned in the USA’: British Films in the United States and Their Censorship, 1933–1960 Anthony Slide Best of British: Cinema and Society from 1930 to the Present Anthony Aldgate & Jeffrey Richards Brigadoon, Braveheart and the Scots: Distortions of Scotland in Hollywood Cinema Colin McArthur British Cinema and the Cold War Tony Shaw The British at War: Cinema, State and Propaganda, 1939–1945 James Chapman Christmas at the Movies: Images of Christmas in American, British and European Cinema Edited by Mark Connelly The Crowded Prairie: American National Identity in the Hollywood Western Michael Coyne Distorted Images: British National Identity and Film in the 1920s Kenton Bamford An Everyday Magic: Cinema and Cultural Memory Annette Kuhn Film and Community in Britain and France: From La Règle du Jeu to Room at the Top Margaret Butler 2725 M&M Past and Present 19/7/05 3:53 pm Page ii Film Propaganda: Soviet Russia and Nazi Germany Richard Taylor Hollywood Genres and Post-War America: Masculinity,
  • Greeneland the Cinema of Graham Greene

    Greeneland the Cinema of Graham Greene

    Tr ave ls in Greeneland The Cinema of Graham Greene Tr ave ls in Greeneland The Cinema of Graham Greene revised and updated fourth edition Quentin Falk University Press of North Georgia Dahlonega, GA Copyright Quentin Falk 2014 All rights reserved. No part of this book may be reproduced in whole or in part without written permission from the publisher, except by reviewers who may quote brief excerpts in connections with a review in newspaper, magazine, or electronic publications; nor may any part of this book be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or other, without the written permission from the publisher. Published by: University Press of North Georgia Dahlonega, Georgia Printing Support by: Booklogix Publishing Services, Inc. Alpharetta, Georgia Cover Photo: Joseph Cotten in The Third Man Cover design by Jon Mehlferber and April Loebick. Frontispiece: Graham Greene ISBN: 978-1-940771-13-7 Printed in the United States of America, 2014 For more information, please visit: http://www.upng.org Or e-mail: [email protected] For Hannah Contents Acknowledgments viii Foreword ix Preface to New Edition x Introduction xiii PART ONE: THE THIRTIES Chapter 1 - Writer for Hire 1 PART TWO: THE FORTIES Chapter 2 - Propaganda War 9 Chapter 3 - Men Within 21 Chapter 4 - Young Scarface 29 Chapter 5 - A Perfect Collaboration 41 PART THREE: THE FIFTIES Chapter 6 - Saintly Sinners 63 Chapter 7 - Behind the Camera 77 Chapter 8 - Aspects of Americana 87 PART FOUR: THE SIXTIES Chapter 9 - Caribbean Cocktails 99 PART FIVE: THE SEVENTIES Chapter 10 - Past Remembered 113 Chapter 11 - Spy in the Cold 123 PART SIX: THE EIGHTIES AND NINETIES Chapter 12 - The Endless Affair 129 PART SEVEN: NEW MILLENNIUM Chapter 13 - Back to the Future 141 Afterword 152 Notes 154 Bibliography 158 Appendix I: Additional Filmography 159 Appendix II: Unrealized Projects 170 Index 172 Acknowledgments ACKNOWLEDGMENTS y grateful thanks to so many people who Film Distributors, Rex Features, Sten M.
  • Sir Alexander Korda (Túrkeve, 1893

    Sir Alexander Korda (Túrkeve, 1893

    EUROSFERAS 2011: “Alexander rodó La tragedia de los Habsburgo, sobre Korda y las culturas Europeas” el fin del imperio austrohúngaro y Una moderna Du Barry, en las que trabajaba la actriz Maria Farkas, que se convertiría poco después en su esposa. El matrimonio viajó a Hollywood en 1926 contratado por la First National, productora que había alabado el trabajo de Korda en Una moderna DuBarry. María Farkas, ahora conocida como María Korda, obtuvo cierto éxito como actriz en Estados Unidos a finales de la época del cine mudo, mientras Alexander Korda realizó, entre otros filmes, Los húsares de la reina y La vida privada de Helena de Troya, curiosa contemporaneización de la historia ir Alexander Korda (Sandor Kellner, legendaria de Elena de Troya basada en la Túrkeve, 1893 - Londres, 1956) director obra de teatro de Robert Sherwood y en la y productor de origen húngaro, fue una novela de John Erskine. figura prominente de la industria cinematográfica británica, fundador de la El año 1929 supuso una ruptura en la productora London Films y propietario de carrera del director, pues a la crisis de la la distribuidora British Lion Films. Korda aparición del sonoro se sumó la Gran fue uno de los muchos directores europeos, Depresión estadounidense. Ello le hizo y en concreto húngaros, que emigraron a trasladarse a Francia, donde trabajó en los Hollywood durante la década de 1920, estudios que la Paramount había como Michael Curtiz (“Casablanca”) construido en Joinville, en las proximidades Charles Vidor (“Gilda”) o George Cukor de París, como director de versiones en (“My fair lady”), este último nacido alemán de filmes franceses.
  • Retrospektive Viennale 1993 ÖSTERREICHISCHES

    Retrospektive Viennale 1993 ÖSTERREICHISCHES

    Retrospektive Viennale 1993 ÖSTERREICHISCHES FILMMUSEUM Oktober-November AUFBRUCH INS UNGEWISSE ÖSTERREICHISCHE FILMSCHAFFENDE IN DER EMIGRATION MIT FILMEN VON ROBERT ALDRICH JOSEF v. BAKY BERTHOLD BARTOSCH WILLIAM BEAUDINE RENE CLAIR GEORGE CUKOR ■ MICHAEL CURTIZ PAUL CZINNER • JULES DASSIN • MAYA DEREN • ANDRE De TOTH • WILLIAM DIETERLE • SLATAN DUDOW - E. A. DUPONT JOHN FARROW FRIEDRICH FEHER PAUL FEJOS ROBERT FLOREY WILLI FORST KARL FREUND MAX FRIC • GUNTHER v. FRITSCH MICHAEL GORDON ■ JEAN GR£MILLON ■ D. W. GRIFFITH ALEX¬ ANDER HAMMID DOUGLAS HICKOX ALFRED HITCHCOCK • MIKE HODGES HARRY HORNER HERBERT KLINE ALEXANDER KORDA ZOLTAN KORDA • STANLEY KRAMER • CARL LAMAC FRITZ LANG REGINALD LeBORG JOSEPH H. LEWIS LEOPOLD LINDTBERG • PETER LORRE FRANCIS D. LYON GUSTAV MACHATY • ANTHONY MANN • JOE MAY ■ WILLIAM CAMERON MENZIES VINCENTE MINNELLI F. W. MURNAU • ROY WILLIAM NEILL MAX OPHÜLS • G. W. PABST KARL PARYLA • MICHAEL POWELL OTTO PREMINGER • EMEklC PRESSBURGER HERBERT RAPPAPORT IRVING RAPPER MAX REINHARDT • JEAN RENOIR • ARTHUR RIPLEY B. A. ROLFE ROBERT ROSSEN PAUL RÖTHA LEONTINE SAGAN ■ REINHOLD SCHUNZEL • STEVE SEKELY GEORGE SIDNEY RO¬ BERT SIODMAK • PAUL L. STEIN • JOSEF v. STERNBERG • ERICH VON STROHEIM • EDGAR G. ULMER • CHARLES VIDOR JAMES WHALE BILLY WILDER • ROBERT WISE • WILLIAM WYLER • ALFRED ZEISLER FRED ZINNEMANN Dienstag ABSCHIED (D 1930) » Robert Siodmaks zweiter Film - für die UFA mit Stars gedreht und Montag MENSCHEN AM SONNTAG (D 1929) Der rechtmäßige König von Frankreich als Gefangener auf der tsie St. Freitag MENSCHEN AM SONNTAG (D 1929) FOm kann - auch, zumindest m einem semer be«Jen Hauptströme - als doch von ähnlicher Freude am Experiment wie .Menschen am Sonn¬ THE MAN IN THE IRON MASK (USA 1939) Marguerite, sem Gesicht lebenslang verborgen hinter eiserner Maske.
  • From Bauhaus to Ecohouse

    From Bauhaus to Ecohouse

    From Bauhaus to Ecohouse A HISTORY FROM OF ECOLOGICAL DESIGN BAUHAUS TO ECOHOUSE PEDER ANKER Louisiana state university Press Baton rouge Published by l Copyright © 2010 by Louisiana State University Press All rights reserved Manufactured in the Unitedouisiana States softate America university Press First printing designer tyP Printerefaces and :binder Michelle A. Neustrom : Chapparral Pro, Trade Gothic, Museo Library of Congress Cataloging-in-Publication Data Anker, Peder. : Thomson-Shore, Inc. From Bauhaus to ecohouse : a history of ecological design / Peder Anker. p. cm. Includes bibliographical references and index. ISBN 978-0-8071-3551-8 (cloth : alk. paper) 1. Architecture—Environmental aspects. 2. Architecture and science—History—20th century. 3. Architecture, Modern—20th century. I. Title. NA2542.35.A54 2010 720'.47—dc22 The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. 2009020217 �� Acknowledgments > vii Introduction > 1 1 The Bauhaus of Nature > 9 2 Planning the Economy of Nature > 24 3 The New American Bauhaus of Nature > 37 4 The Graphic Environment of Herbert Bayer > 54 5 Buckminster Fuller as Captain of Spaceship Earth > 68 6 The Ecological Colonization of Space > 83 7 Taking Ground Control of Spaceship Earth > 96 8 The Closed World of Ecological Architecture > 113 Conclusion: The Unification of Art and Science > 126 Cast of characters > 133 Notes > 139 Index > 177 Illustrations follow p. 82 CONTENTS contents Acknowledgments > vii Introduction > 1 1 The Bauhaus of Nature > 9 2 Planning the Economy of Nature > 24 3 The New American Bauhaus of Nature > 37 4 The Graphic Environment of Herbert Bayer > 54 5 Buckminster Fuller as Captain of Spaceship Earth > 68 6 The Ecological Colonization of Space > 83 7 Taking Ground Control of Spaceship Earth > 96 8 The Closed World of Ecological Architecture > 113 Conclusion: The Unification of Art and Science > 126 Cast of characters > 133 Notes > 139 Index > 177 Illustrations follow p.
  • September 9, 2014 (Series 29:3) William Cameron Menzies, H.G

    September 9, 2014 (Series 29:3) William Cameron Menzies, H.G

    September 9, 2014 (Series 29:3) William Cameron Menzies, H.G. WELLS’ THINGS TO COME (1936, 97 min) Directed by William Cameron Menzies Written by H.G. Wells (screenplay/novel "The Shape of Things to Come") Produced by Alexander Korda Music by Arthur Bliss Cinematography by Georges Périnal Settings Designed by Vincent Korda Special Effects Camera Operated by Jack Cardiff Film Editing by Charles Crichton and Francis D. Lyon Costume Design by John Armstong, René Hubert, Cathleen Mann (The Marchioness of Queensberry), and Sam Williams Special Effects Director Ned Mann Musical Director Muir Mathieson Raymond Massey ... John Cabal / Oswald Cabal Edward Chapman ... Pippa Passworthy / Raymond Passworthy Ralph Richardson ... The Boss Margaretta Scott..Roxana/Rowene Cedric Hardwicke ... Theotocopulos George Sanders ... Pilot H.G. Wells (Writer, screenplay/novel) (b. Herbert George Wells, Terry Thomas ... Man of the Future September 21, 1866 in Bromley, Kent, England—d. August 13, 1946 Margaretta Scott ... Roxana / Rowena (age 79) in London, England) became an overnight literary sensation Maurice Braddell ... Dr. Harding with the publication of The Time Machine in 1895. The novel was an Sophie Stewart ... Mrs. Cabal instant success and he went on to produce a series of science fiction novels which pioneered our ideas of the future. While entertaining, William Cameron Menzies (Director) (b. July 29, 1896 in New his works also explored social and Haven, Connecticut—d. March 5, 1957 (age 60) in Beverly Hills, Los scientific topics, from class Angeles, California) won two 1929 Academy Awards for Best Art conflict to biological evolution. Direction for The Dove (1927) and Tempest (1928), and a 1940 Wells continued to write what Honorary Academy Award for his use of color in Gone with the Wind some have called scientific (1939).