March Movie Madness Week Four Results

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1980’s March Movie Madness Broome County Public Library Star Wars (original) Star Wars (original) Weird Science Week Four Results Star Wars (original) Back to the Future Back to the Future Dune Star Wars (original) E.T. E.T. Neverending Story Ferris Bueller’s Day Off Ferris Bueller’s Day Off Ferris Bueller’s Day Off Blues Brothers Star Wars (original) Top Gun Stand by Me Stand by Me Raiders of the Lost Ark Raiders of the Lost Ark Raider’s of the Lost Ark Scarface Raider’s of the Lost Ark Die Hard Die Hard Platoon Ghostbusters Ghostbusters Ghostbusters Annie Goonies Goonies 1980’s Finalist Nightmare on Elm St. Goonies Beetlejuice Beetlejuice Caddyshack Princess Bride Princess Bride Breakfast Club Blade Runner Breakfast Club Breakfast Club Breakfast Club Spaceballs Terminator Terminator Breakfast Club Sixteen Candles Terminator Batman Batman Dead Poet’s Society Shining Shining Dirty Dancing Karate Kid Dirty Dancing Dirty Dancing Dirty Dancing Aliens 1990’s March Movie Madness Titanic Titanic Broome County Public Library Wedding Singer Forest Gump Week Four Results Forest Gump Forest Gump Fifth Element Forest Gump Saving Private Ryan Saving Private Ryan American Beauty Silence of the Lambs Silence of the Lambs Silence of the Lambs Tombstone Forest Gump Clueless Clueless Goodfellas Groundhog Day Groundhog Day Groundhog Day Thelma & Louise Shawshank Redemption Shawshank Redemption Shawshank Redemption Se7en Shawshank Redemption Sixth Sense Sixth Sense Austen Powers Jurassic Park Jurassic Park Last of the Mohicans Jurassic Park 1990’s Finalist A Few Good Men Fight Club Fight Club vs. Jurassic Park Independence Day Independence Day Fargo Lion King Matrix Lion King 1980’s Finalist Lion King (from other side) Edward Scissorhands Edward Scissorhands Jurassic Park Good Will Hunting Braveheart Braveheart Braveheart Pulp Fiction Braveheart Sandlot Office Space Office Space Office Space Tommy Boy Green Mile Green Mile Final Choice .

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See It Big! Action Features More Than 30 Action Movie Favorites on the Big
FOR IMMEDIATE RELEASE ‘SEE IT BIG! ACTION’ FEATURES MORE THAN 30 ACTION MOVIE FAVORITES ON THE BIG SCREEN April 19–July 7, 2019 Astoria, New York, April 16, 2019—Museum of the Moving Image presents See It Big! Action, a major screening series featuring more than 30 action films, from April 19 through July 7, 2019. Programmed by Curator of Film Eric Hynes and Reverse Shot editors Jeff Reichert and Michael Koresky, the series opens with cinematic swashbucklers and continues with movies from around the world featuring white- knuckle chase sequences and thrilling stuntwork. It highlights work from some of the form's greatest practitioners, including John Woo, Michael Mann, Steven Spielberg, Akira Kurosawa, Kathryn Bigelow, Jackie Chan, and much more. As the curators note, “In a sense, all movies are ’action’ movies; cinema is movement and light, after all. Since nearly the very beginning, spectacle and stunt work have been essential parts of the form. There is nothing quite like watching physical feats, pulse-pounding drama, and epic confrontations on a large screen alongside other astonished moviegoers. See It Big! Action offers up some of our favorites of the genre.” In all, 32 films will be shown, many of them in 35mm prints. Among the highlights are two classic Technicolor swashbucklers, Michael Curtiz’s The Adventures of Robin Hood and Jacques Tourneur’s Anne of the Indies (April 20); Kurosawa’s Seven Samurai (April 21); back-to-back screenings of Mad Max: Fury Road and Aliens on Mother’s Day (May 12); all six Mission: Impossible films
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Oscar-Winning 'Slumdog Millionaire:' a Boost for India's Global Image?
ISAS Brief No. 98 – Date: 27 February 2009 469A Bukit Timah Road #07-01, Tower Block, Singapore 259770 Tel: 6516 6179 / 6516 4239 Fax: 6776 7505 / 6314 5447 Email: [email protected] Website: www.isas.nus.edu.sg Oscar-winning ‘Slumdog Millionaire’: A Boost for India’s Global Image? Bibek Debroy∗ Culture is difficult to define. This is more so in a large and heterogeneous country like India, where there is no common language and religion. There are sub-cultures within the country. Joseph Nye’s ‘soft power’ expression draws on a country’s cross-border cultural influences and is one enunciated with the American context in mind. Almost tautologically, soft power implies the existence of a relatively large country and the term is, therefore, now also being used for China and India. In the Indian case, most instances of practice of soft power are linked to language and literature (including Indians writing in English), music, dance, cuisine, fashion, entertainment and even sport, and there is no denying that this kind of cross-border influence has been increasing over time, with some trigger provided by the diaspora. The film and television industry’s influence is no less important. In the last few years, India has produced the largest number of feature films in the world, with 1,164 films produced in 2007. The United States came second with 453, Japan third with 407 and China fourth with 402. Ticket sales are higher for Bollywood than for Hollywood, though revenue figures are much higher for the latter. Indian film production is usually equated with Hindi-language Bollywood, often described as the largest film-producing centre in the world.
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D5310 DIE HARD (USA, 1988) (Other Titles: Piege De Cristal; Stirb Langsam; Trappola Di Cristallo)
D5310 DIE HARD (USA, 1988) (Other titles: Piege de cristal; Stirb langsam; Trappola di cristallo) Credits: director, John McTiernan ; writers, Jeb Stuart, Steven E. de Souza ; story, Roderick Thorp. Cast: Bruce Willis, Bonnie Bedelia, Reginald Veljohnson, Robert Davi, Grand L. Bush. Summary: Action/adventure film set in contemporary Los Angeles. A team of terrorists thieves has seized an office building in L.A. and taken hostages. A New York cop (Willis), in town to spend Christmas with his estranged wife (Bedelia), is the only hope for the people held by the thieves. Two FBI agents assigned to the case (Davi and Bush) are Vietnam veterans. Ansen, David. “The arts: movies: reactivating action heroes” Newsweek 112 (Jul 25, 1988), p. 58. [Reprinted in Film review annual 1989] Breuning, Ulrich. “Die hard” Levenede billeder 5 (Feb 1989), p. 46-7. Broesky, Pat H. “Death is hard ... reincarnation is easy” New York times 143 (Jun 12, 1994), sec. 2, p. 15. Canby, Vincent. “Film view: ‘Die hard’ calls to the kidult” New York times 137 (Jul 31, 1988), sec. 2, p. 19-20. Carr, Jay. “Bruce Willis’ ‘Die hard’: Stylized terror” Boston globe (Jul 15, 1988), p. 29. _______. “Star Bonnie Bedelia keeping her cool” Boston globe (Jul 21, 1988), Calendar, p. 9. Cherchi Usai, Paolo. “Trappola di cristallo” Segnocinema 36 (Jan 1989), p. 26-7. Chiacchiari, Federico. “Trappola di cristallo” Cineforum 28/278 (Oct 1988), p. 92-3. Cieutat, Michel. “Piege de cristal” Positif 334 (Dec 1988), p. 73. Combs, Richard. “Die hard” Monthly film bulletin 56 (Feb 1989), p. 45-6.
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Favorite Movies
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A Study of Musical Affect in Howard Shore's Soundtrack to Lord of the Rings
PROJECTING TOLKIEN'S MUSICAL WORLDS: A STUDY OF MUSICAL AFFECT IN HOWARD SHORE'S SOUNDTRACK TO LORD OF THE RINGS Matthew David Young A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC IN MUSIC THEORY May 2007 Committee: Per F. Broman, Advisor Nora A. Engebretsen © 2007 Matthew David Young All Rights Reserved iii ABSTRACT Per F. Broman, Advisor In their book Ten Little Title Tunes: Towards a Musicology of the Mass Media, Philip Tagg and Bob Clarida build on Tagg’s previous efforts to define the musical affect of popular music. By breaking down a musical example into minimal units of musical meaning (called musemes), and comparing those units to other musical examples possessing sociomusical connotations, Tagg demonstrated a transfer of musical affect from the music possessing sociomusical connotations to the object of analysis. While Tagg’s studies have focused mostly on television music, this document expands his techniques in an attempt to analyze the musical affect of Howard Shore’s score to Peter Jackson’s film adaptation of The Lord of the Rings Trilogy. This thesis studies the ability of Shore’s film score not only to accompany the events occurring on-screen, but also to provide the audience with cultural and emotional information pertinent to character and story development. After a brief discussion of J.R.R. Tolkien’s description of the cultures, poetry, and music traits of the inhabitants found in Middle-earth, this document dissects the thematic material of Shore’s film score.
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Season 2016-2017
23 Season 2016-2017 Friday, March 17, at 7:00 Saturday, March 18, at 7:00 The Philadelphia Orchestra Sunday, March 19, at 2:00 David Newman Conductor Paramount Pictures Presents A Lucasfilm Ltd. Production A Steven Spielberg Film in Concert Starring Harrison Ford Karen Allen Paul Freeman Ronald Lacey John Rhys-Davies Denholm Elliott Music by John Williams Executive Producers George Lucas and Howard Kazanjian Screenplay by Lawrence Kasdan Story by George Lucas and Philip Kaufman Produced by Frank Marshall Directed by Steven Spielberg Raiders of the Lost Ark licensed by Lucasfilm Ltd. and Paramount Pictures. This program licensed by Lucasfilm Ltd. and Paramount Pictures. Motion picture, artwork, photos © 1981 Lucasfilm Ltd. All Rights Reserved. Music written by John Williams, Bantha Music (BMI). All rights administered by Warner-Tamerlane Publishing Corp. (BMI). All rights reserved. Used by permission. This program runs approximately 2 hours, 15 minutes. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 25 PRODUCTION CREDITS Raiders of the Lost Ark—Film with Orchestra produced by Film Concerts Live!, a joint venture of IMG Artists, LLC, and the Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Rebekah Wood Worldwide Representation: IMG Artists, LLC Supervising Technical Director: Mike Runice Technical Director: Luke Dennis Music composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Raiders of the Lost Ark has been adapted for live concert performance.
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80S Movie Trivia Questions and Answers
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Helping You to Focus Better
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Raiders of the Lost Ark (B
CONCERT PROGRAM Friday, March 17, 2017 at 7:00PM Saturday, March 18, 2017 at 7:00PM Sunday, March 19, 2017 at 2:00PM LIVE AT POWELL HALL Scott Terrell, conductor PARAMOUNT PICTURES Presents A LUCASFILM LTD Production A STEVEN SPIELBERG Film JOHN WILLIAMS Raiders of the Lost Ark (b. 1932) Starring HARRISON FORD KAREN ALLEN PAUL REEMAN RONALD LACEY JOHN RHYS-DAVIES DENHOLM ELLIOTT Screenplay by LAWRENCE KASDAN Story by GEORGE LUCAS and PHILIP KAUFMAN Produced by FRANK MARSHALL Directed by STEVEN SPIELBERG Tonight’s program is a presentation of the complete filmRaiders of the Lost Ark with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. There will be one 25-minute intermission “RAIDERS OF THE LOST ARK” Licensed by LUCASFILM LTD and PARAMOUNT PICTURES. Motion Picture, Artwork, Photos Copyright 1981 Lucasfilm Ltd. All Rights Reserved. MUSIC WRITTEN BY JOHN WILLIAMS BANTHA MUSIC (BMI) ALL RIGHTS ADMINISTERED BY WARNER-TAMERLANE PUBLISHING CORP. (BMI) ALL RIGHTS RESERVED. USED BY PERMISSION. Raiders of the Lost Ark — Film with Orchestra produced by Film Concerts Live!, a joint venture of IMG Artists, LLC, and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Rebekah Wood Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice Music Composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Raiders of the Lost Ark has been adapted for live concert performance.
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To Academy Oral Histories Marvin J. Levy
Index to Academy Oral Histories Marvin J. Levy Marvin J. Levy (Publicist) Call number: OH167 60 MINUTES (television), 405, 625, 663 ABC (television network) see American Broadcasting Company (ABC) ABC Circle Films, 110, 151 ABC Pictures, 84 A.I. ARTIFICIAL INTELLIGENCE, 500-504, 615 Aardman (animation studio), 489, 495 AARP Movies for Grownups Film Festival, 475 Abagnale, Frank, 536-537 Abramowitz, Rachel, 273 Abrams, J. J., 629 ABSENCE OF MALICE, 227-228, 247 Academy Awards, 107, 185, 203-204, 230, 233, 236, 246, 292, 340, 353, 361, 387, 432, 396, 454, 471, 577, 606, 618 Nominees' luncheon, 348 Student Academy Awards, 360 Academy of Motion Pictures Arts and Sciences, 361-362, 411 Academy Board of Governors, 312, 342, 346-349, 357, 521 Academy Film Archive, 361, 388, 391, 468 Public Relations Branch, 342, 344, 348, 356 Visiting Artists Program, 614, 618 ACCESS HOLLYWOOD (television), 100, 365 Ackerman, Malin, 604 Activision, 544 Actors Studio, 139 Adams, Amy, 535 THE ADVENTURES OF HUCKLEBERRY FINN, 71, 458 THE ADVENTURES OF TINTIN, 126 Aghdashloo, Shohreh, 543 Aldiss, Brian, 502 Aldrich, Robert, 102, 107, 111 Alexander, Jane, 232, 237 Ali, Muhammad, 177 ALICE IN WONDERLAND (2010), 172, 396 ALIVE, 335 Allen, Debbie, 432 Allen, Herbert, 201, 205 Allen, Joan, 527-528 Allen, Karen, 318, 610 Allen, Paul, 403-404 Allen, Woody, 119, 522-523, 527 ALMOST FAMOUS, 525-526, 595 ALWAYS (1989), 32, 323, 326, 342, 549 Amateau, Rod, 133-134 Amazing Stories (comic book), 279 AMAZING STORIES (television), 278-281, 401 Amblimation, 327, 335-336, 338, 409-410
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Richards Quiz Week 22
Round 1 - Name the films these clips came from 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 Round 2 Name the twenty states whose first letter must come from the word ‘man’ Round 3 General knowledge 1 How is the number 60 written in Roman numerals? 2 What is the least used letter in the English language? 3 How many lines does a limerick have? 4 By what name was the UK entertainer Alfred Hawthorne Hill better known? 5 Which of these wedding anniversaries would you celebrate last? Silver, Crystal or Ruby? 6 What is the only sign of the zodiac that contains none of the letters of the word `School`? 7 The peacock is the national bird of what country? 8 Which of the Great Lakes is the source of the River Niagra? 9 Which real-life Russian did Boney M sing about in 1978 10 What are the names of the Duke Of York`s two children? 11 What two drinks are used to made a `Black Velvet`? 12 A country historically known as Abyssinia, what is the modern name for it? 13 Which actress played the female lead in the film `Out Of Africa`? 14 In which country did the sport of ice-hockey originate? 15 What is a Flemish giant? 16 In the film and TV series `The Fugitive` what was the occupation of the Fugitive? 17 In which Australian city is the TV soap opera `Neighbours` set? 18 Which organ of the body is affected by Bright's Disease? 19 What colour is a custard apple? 20 Which European capital was once known as Christiania? Answers (week 22) Round 1 1 Airplane 2 Bonny & Clyde 3 Doctor Zivago 4 UP 5 Rocky 6 Braveheart 7 Slumdog Millionaire 8 Beauty
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Mature Masculinity and the Ageing Action Hero
Meijer Rebecca Feasey Mature masculinity and the ageing action hero The ageing male action hero is a figure many are familiar with through the character of Bruce Willis in the Die Hard series. However, physical strength, speeds and agility are usually not associated with old age. Whether age makes a difference in the action hero genre is a question Rebecca Feasey deals with in this article. Introduction Much work within the field of film and gender studies has attempted to theorise, unmask and deconstruct the representation of the male action hero, paying particular attention to the spectacular body and the herculean physical performances of characters such as John McClane/Bruce Willis, Martin Riggs/Mel Gibson and Indiana Jones/Harrison Ford. And yet, at a time when these stars are returning to the action roles that made them famous, in some cases, several decades later, scholars continue to ignore and overlook the fundamental notion of age in their discussions of the hard bodied, hegemonic hero. After all, hegemonic masculinity has associations with physical prowess, sexual virility, social dominance and aggression, which are potentially at odds with the image of the ageing male. With this in mind, I propose to examine the representation of the ageing action hero in the popular and long running Die Hard (1988, 1990, 1995, 2007) franchise, and consider the ways in which the mature masculinity on offer is seen to either be confirming to or challenging the hegemonic ideal. Hegemonic masculinity and male hierarchies Although there are a myriad of masculinities in existence at any one moment, this is not to say that each one is treated equally or granted the same level of social, sexual or economic power.
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