DOCSLIB.ORG

University of Maine Foundation Annual Report

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of Maine Foundation Annual Report The University of Maine DigitalCommons@UMaine General University of Maine Publications University of Maine Publications 2010 University of Maine Foundation Annual Report University of Maine Foundation Follow this and additional works at: https://digitalcommons.library.umaine.edu/univ_publications Part of the Higher Education Commons, and the History Commons Repository Citation University of Maine Foundation, "University of Maine Foundation Annual Report" (2010). General University of Maine Publications. 406. https://digitalcommons.library.umaine.edu/univ_publications/406 This Report is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in General University of Maine Publications by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. Contents Q&A: A Dialogue 1 A Letter from the Board Chair and President 5 Ways of Giving 6 Endowment Funds Financial Review 7 Statement of Financial Position June 30, 2010 8 Statement of Activities for the Year Ended June 30, 2010 9 New Funds Established in FY 2010 10 FY 2010 Facts at a Glance 14 University of Maine Endowment Funds 15 Foundation 2010Annual 2010 Donors 26 Report UMF Officers, Board of Directors, Members and Staff 34 Two Alumni Place, Orono, ME 04469-5792 207.581.5100 or 800.982.8503 100 Foden Road, Suite 303 West Building, South Portland, ME 04106 207.253.5172 or 800.449.2629 What size fund provides a meaningful scholarship? An endowed scholarship www.umainefoundation.org of $20,000 could generate $1000 in annual earnings, which is equivalent to only 4.5%1 of an instate student’s total educational costs. Today’s students Mission Statement face higher costs each year and overwhelming debt. 12010-2011 estimated in-state student budget is $22,134 The University of Maine Foundation, acting as a separate organization, will work Kenneth A. Murray ’68 collaboratively with all entities to encourage philanthropic support by growing the B.S. Forestry | Del Mar, CA endowment through planned/deferred giving for the University of Maine and other charitable organizations while carrying out the donor’s wishes in perpetuity. How will my fund keep up with the real rate of educational inflation at UMaine? Our minimum investment goal is an absolute return of 10%. Our spending policy averages 5.5% and total fees are 2%. The difference is returned to build the principal to offset the ravages of inflation. Endowments should maintain their purchasing power over time. Thomas W. Savage ’68 and Sally Boynton Savage B.A. Economics | Searsport, ME/Key Largo, FL If I start a new endowed fund, when would it actually provide an award to a student? You may set aside a portion of your gift for award in the current year. We generally allow the fund to grow for one year or more for the endowment to have sufficient earnings to make an award. Christine Born Johnson ’82 B.S. Civil Engineering | Portland, ME Photography: Ann Johansson Photography: Kenneth A. Murray | EMH Photography: Edward W. Radgowski all other images: www.photodrake.com The University of Maine Foundation is an independent, non-profit 501(c) (3) organization and was established in 1934. University of Maine Foundation For most students, funding a college education is always a challenge. Paying for tuition means applying for loans, grants, or a job. The recession has made the challenge more formidable than ever. The contracting economy has diminished endowments and scholarship funds, tightened credit, and eliminated the jobs that could have helped support an academic pursuit. It’s also true that the economic uncertainty in the country is making more young people recognize the necessity of higher education. Their financial circumstances, however, may prevent that possibility. Aspirations are denied, potential lost. As you might expect, donors are asking questions as challenging as the times. This is entirely appropriate and welcome, and our annual report is an opportunity to provide answers. We strive to be accountable to you and the students depending on us. Thank you for your support. And your questions. 1 questions 2010and answers In what circumstances would the Foundation ever change the purpose of a fund? We would not change the purpose of a fund without donor’s permission. If it ever becomes impossible to use a fund, then we would seek relief from the Probate court under the cy pres doctrine. A gift agreement that provides alternative uses is always recommended. Edward W. Radgowski, Jr. ’89, ’90G B.A. & M.B.A. JOHN DOE, ’71 Business Administration Vienna, VA Suzanne K. Hart ’68 B.A. Political Science Veazie, ME How do I know that my gift will make an impact? There are many intangible benefits received when you invest in education. Private support that helps students achieve their goals affects eternity— you’ll never be able to tell where your influence stops. Many of our students, faculty and administrators write to our benefactors explaining how the gifts have made a difference. The Foundation strives to keep you in- formed of the fund balance and current earning rate through the annual report. 2 University of Maine Dr. George F. Holmes ’66 Foundation B.S. Agricultural Science Northport, ME Could I give a gift and remain anonymous? Yes. Donor confidentiality is of utmost importance to us. The Foundation strives to maximize donor anonymity to the extent provided by law. Safeguarding donor privacy is good stewardship and a matter of professional ethics. Vance E. Dearborn ’49,’69G B.S. Civil Engineering M.A. Public Administration Evelyn Ellsworth Dearborn ’49,’86G B.A. Sociology, M.A. Liberal Studies Orono, ME Why endow my fund if it doesn’t payout in a down economy? An endowment is about institutional longevity— making a gift in perpetuity. The decade that just passed was highly unusual—a period of incredible growth followed by a devastating recession. A longer perspective reveals a very different picture. UPMIFA2 (Uniform Prudent Management of Institutional Funds Act) outlines how we should manage endowments. 2Information on UPMIFA can be found at http://www.upmifa.org/DesktopDefault.aspx?tabindex=3&tabid=70 Albert R. Curran ’71 B.S. Civil Engineering Gorham, ME Why a Foundation? A separate foundation can raise and manage money for the University, above and beyond that which is available through state funding, at no cost to the University. The Foundation is operated on a day-to-day basis by a professional staff and is advised by a dedicated board of volunteers and committee members. 3 questions 2010and answers What kind of governance is in place to ensure that my gift is used as intended? A board and a stew- ardship committee work diligently to ensure donor intent is carried out in perpetuity. Our success is based on the trust we have earned over the past 75 years with the highest standards of accountability and stewardship. Dr. Stephen A. Norton Professor Emeritus of Geological Sciences Bucksport, ME Elizabeth H. Ruff ’56 B.A. Sociology Freeport, ME Piseco, NY Does the Foundation invest in non-traditional equities? Yes, we have more than 35% of the portfolio in alternatives investments. The invest- ment committee considers many factors including diversification, risk, asset allocation and liquidity. Many times, alternatives have lower volatility and a better risk/return ratio when compared to traditional equities. 4 As our nation continues on the arduous road to eco- nomic recovery, many of our donors are asking good questions that are as challenging as the times. We understand your concerns and welcome your ques- tions—that’s why the theme for our 2010 annual report is “A good time to ask.” In this report, we’re featuring a number of our alumni and friends asking the kinds of questions we’ve been hearing, and that might be on your mind. We hope that these questions, together with Letter from the the answers we provide, will serve as the beginning of Board an open and ongoing dialogue. Chairand This year, the Foundation experienced slow but steady recovery, with assets President/ of $157.6 million. The investment return was 11.1%. Last year, assets totaled CEO $149 million. During 2010, we processed 1,760 new gifts totaling $5,387,222. The Foundation also holds 1,305 funds, an increase of 72 over 2009. Forty of these new funds were created as the result of the Foundation’s 75th Anniversary matching gift program. This program helped establish new named scholarship endowments for the University, and as they grow, they’ll provide valuable assistance to our students for years to come. The current recession is making it more difficult than ever. Tuition at Maine’s land grant university was recently increased by 5.5 percent. This means that an in-state student will pay $10,142 for tuition in 2010-2011—that’s more than 25 times the $400 annual tuition paid by in-state students in 1960. Your continued support is vital and greatly appreciated. As always, we strive to be accountable to you and the students depending on all of us. Thank you for your generosity. Patricia M. Dunn Chair of the Board Amos E. Orcutt President/CEO 5 questions 2010and answers Your gift to the University of Maine Foundation is the gift of a lifetime and an investment in the future. Since 1934, the University of Maine Foundation’s role in supporting the University of Maine has been perpetuated by many alumni and friends who, through their generosity, share a common interest in strengthening the teaching, research and service mission of Maine’s land-grant university. The University of Maine Foundation specializes in planned gifts that include bequests, trusts and other life income plans. Planned giving is a unique philanthropic tool that allows you to support the University of Maine’s continued excellence while also fulfilling your own financial objectives.
Load more

Recommended publications
  • Charlie Chaplin: the Genius Behind Comedy Zuzanna Mierzejewska College of Dupage
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by [email protected]. ESSAI Volume 9 Article 28 4-1-2011 Charlie Chaplin: The Genius Behind Comedy Zuzanna Mierzejewska College of DuPage Follow this and additional works at: http://dc.cod.edu/essai Recommended Citation Mierzejewska, Zuzanna (2011) "Charlie Chaplin: The Genius Behind Comedy," ESSAI: Vol. 9, Article 28. Available at: http://dc.cod.edu/essai/vol9/iss1/28 This Selection is brought to you for free and open access by the College Publications at [email protected].. It has been accepted for inclusion in ESSAI by an authorized administrator of [email protected].. For more information, please contact [email protected]. Mierzejewska: Charlie Chaplin: The Genius Behind Comedy Charlie Chaplin: The Genius Behind Comedy by Zuzanna Mierzejewska (English 1102) he quote, “A picture with a smile-and perhaps, a tear” (“The Kid”) is not just an introduction to Charlie Chaplin’s silent film, The Kid, but also a description of his life in a nutshell. Many Tmay not know that despite Chaplin’s success in film and comedy, he had a very rough childhood that truly affected his adult life. Unfortunately, the audience only saw the man on the screen known world-wide as the Tramp, characterized by: his clown shoes, cane, top hat and a mustache. His humor was universal; it focused on the simplicity of our daily routines and the funniness within them. His comedy was well-appreciated during the silent film era and cheered soldiers up as they longed for peace and safety during World War I and other events in history.
    [Show full text]
  • Ransom Roswell Chaplin (1878-1955) Papers, 1900-1940 MSA 700
    Ransom Roswell Chaplin (1878-1955) Papers, 1900-1940 MSA 700 Introduction This collection contains the papers of Ransom Roswell Chaplin (1878-1955), a Spanish American War veteran who farmed in Montgomery and Vershire, Vermont. Lois E. Jackson gave the collection to the Vermont Historical Society in 2004. A scrapbook came with the collection but became separated from the collection between receipt and processing. The collection is stored in one archival flip-top box and consumes .25 linear feet of shelf-space. Biographical Notes Ransom Roswell Chaplin was born to Roderick and Sybil Tracy Chaplin on 23 October 1878 in Montgomery Center, Vermont. Chaplin’s middle name was in honor of his grandfather, Roswell Allen Chaplin, who served with the 13th Vermont Regiment in the Civil War, including during the Battle of Gettysburg. Ransom Chaplin’s father, Roderick Chaplin, also served in the Civil War. Ransom Chaplin served in the US Army during the Philippine–American War. He enlisted on 8 September 1899 and served with the infantry, in Company B, 43rd Regiment, US Volunteers. A detachment of Chaplin’s company fought the Battle of Jaro, Leyte, in the Philippines on 15 April 1900. Chaplin received his discharge from military service on 1 July 1901. At 24 years of age, Ransom Chaplin married 15 year old Lizzie Ordina Deary (1887- 1970), the daughter of Antoine and Margaret Duso Deary, on 24 August 1903, also in Montgomery, Vermont. Ransom Chaplin applied for and received an Army Invalid pension for rheumatism and heart disease. A payment card shows him paid at a rate of $14 beginning on 18 Oct 1905; he received an increase to $17 commencing on 1 April 1908 (Pension application no.
    [Show full text]
  • Page 13 Musici / Musiciens
    Nederlands: pagina 3 Français : page 8 English: page 13 Musici / Musiciens: pagina / page 19 2 “One happy thing about sound was that I could control the music, so I composed my own. I tried to compose elegant and romantic music to frame my comedies in contrast to the tramp character, for elegant music gave my comedies an emotional dimension. Musical arrangers rarely understood this. They wanted the music to be funny. But I would explain that I wanted no competition, I wanted the music to be a counterpoint of grave and charm, to express sentiment, without which, as Hazlitt says, a work of art is incomplete. (...) Nothing is more adventurous and exciting than to hear the tunes one has composed played for the first time by a fifty piece orchestra.“ - Charles Chaplin 3 WELKOM De magie van Charlie Chaplin blijft ook na bijna 100 jaar fantastisch indrukwekkend, ontroerend en hilarisch. De sympathieke zwerver, die ondanks zijn goede bedoelingen toch steeds weer in de problemen raakt, laat ons allemaal, klein én groot, lachen en nadenken. De meester zorgt gelukkig steeds voor een happy end, en componeerde ook voor The Kid zelf de prachtige muziek. Een pareltje. PROGRAMMA The Kid (1921) Charles Chaplin, regie & muziek (arr. Carl Davis) Charlie Chaplin als The Tramp Jackie Coogan als The Kid (John) Edna Purviance als The Woman FILMPHILHARMONIC EDITION Film ter beschikking gesteld door Roy Export S.A.S. Muziek ter beschikking gesteld door Bourne Co. Music Publishers. Brussels Philharmonic · Dirk Brossé, dirigent · Otto Derolez, concertmeester 4 SYNOPSIS Een verwarde vrouw legt haar pasgeboren baby te vondeling in een limousine.
    [Show full text]
  • UNIVERSITY of CALIFORNIA, IRVINE Allegories of Industry And
    UNIVERSITY OF CALIFORNIA, IRVINE Allegories of Industry and the Limits of Reflexivity in Hollywood, 1992-2006 DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Visual Studies by Erik Watschke Dissertation Committee: Associate Professor Catherine L. Benamou, Chair Associate Professor Kristen Hatch Associate Professor Bliss Cua Lim 2014 © 2014 Erik Watschke DEDICATION To my dad who introduced me to the movies ii TABLE OF CONTENTS Page LIST OF TABLES iv ACKNOWLEDGMENTS v CURRICULUM VITAE vi ABSTRACT OF THE DISSERTATION vii INTRODUCTION 1 CHAPTER ONE: “He Made the Whole World Laugh and Cry”: 23 The Mythologization of the Film Artist in Chaplin CHAPTER TWO: “Love Never Dies”: The Status of the Image and 65 Cinephilic Reaction in Bram Stoker's Dracula CHAPTER THREE: “There Are No Boundaries”: The Status of Sound 109 and the Transnational in The English Patient CHAPTER FOUR: “From the Creator of Being John Malkovich, Comes the 171 Story of the Creator of Being John Malkovich”: Adaptation. CHAPTER FIVE: “Are You Watching Closely?”: The Status of Story in 223 The Prestige CONCLUSION 277 BIBLIOGRAPHY 310 FILMOGRAPHY 324 APPENDIX: Industrial Chronology of the New New Hollywood 337 iii LIST OF TABLES Page Table 5.1 Narrative Structure of The Prestige 235 iv ACKNOWLEDGMENTS I wish to thank my committee chair, Professor Catherine Benamou, who encouraged me to pursue a film historical project in the first place, and whose guidance and tireless support helped transform and strengthen my study at every stage. I am also indebted to Professor Bliss Cua Lim and Professor Kristen Hatch, who served on the committee and contributed important advice and encouragement throughout my research and writing.
    [Show full text]
  • Presskit Opening - April 2016
    PRESSKIT OPENING - APRIL 2016 Chaplin's World™ © Bubbles Incorporated. 3.2 The Studio A. Easy Street: London childhood B. The Circus: the beauty of silence INDEX C. The film studio: quiet on the set! D. Production secrets: behind the clown, a genius of the seventh art E. Hollywood Boulevard - F. Wax that creates illusions 3.3 The park 1. WELCOME MESSAGES 06 4. STAGING 22 2. FOREWORD 12 4.1 The Savoir-faire of Grévin 2.1 A manor as a backdrop 4.2 The Savoir-faire of the Compagnie des Alpes 2.2 The children and family life 2. 3 The integration of Charlie Chaplin into the community 5. GENERAL PLAN: WITH THE SUPPORT 3. CLOSE UP: CHAPLIN’S WORLD, DISCOVERING THE MAN OF CHAPLIN’S WORLD PARTNERS 24 AND THE ARTIST 16 5.1 Principal partner 3.1 The Manoir 5.2 Strategic partners A. Ground floor 5.3 Event partner a. Chaplin and topicality: a citizen of the world b. The library: a self-taught writer c. The living room: music at all costs B. First floor a. Family albums: a family not so different from others b. Celebrities: recognition without frontiers 2 3 9. WIDE-ANGLE SHOT: PRACTICAL INFORMATION 35 9.1 The museum space 9.2 Adress ANNEX 9.3 Opening hours 9.4 Prices 9.5 Access 9.6 The gift shop - 9.7 “The Tramp” café-restaurant 6. MONTAGE: CHRONOLOGY OF THE PROJECT 26 9.8 Events 6.1 History 9.9 Press contacts 6.2 Thanks 6.3 Partners in the development of the museum project 6.4 Major dates 7.
    [Show full text]
  • The Dark Side of Hollywood
    TCM Presents: The Dark Side of Hollywood Side of The Dark Presents: TCM I New York I November 20, 2018 New York Bonhams 580 Madison Avenue New York, NY 10022 24838 Presents +1 212 644 9001 bonhams.com The Dark Side of Hollywood AUCTIONEERS SINCE 1793 New York | November 20, 2018 TCM Presents... The Dark Side of Hollywood Tuesday November 20, 2018 at 1pm New York BONHAMS Please note that bids must be ILLUSTRATIONS REGISTRATION 580 Madison Avenue submitted no later than 4pm on Front cover: lot 191 IMPORTANT NOTICE New York, New York 10022 the day prior to the auction. New Inside front cover: lot 191 Please note that all customers, bonhams.com bidders must also provide proof Table of Contents: lot 179 irrespective of any previous activity of identity and address when Session page 1: lot 102 with Bonhams, are required to PREVIEW submitting bids. Session page 2: lot 131 complete the Bidder Registration Los Angeles Session page 3: lot 168 Form in advance of the sale. The Friday November 2, Please contact client services with Session page 4: lot 192 form can be found at the back of 10am to 5pm any bidding inquiries. Session page 5: lot 267 every catalogue and on our Saturday November 3, Session page 6: lot 263 website at www.bonhams.com and 12pm to 5pm Please see pages 152 to 155 Session page 7: lot 398 should be returned by email or Sunday November 4, for bidder information including Session page 8: lot 416 post to the specialist department 12pm to 5pm Conditions of Sale, after-sale Session page 9: lot 466 or to the bids department at collection and shipment.
    [Show full text]
  • Geraldine Chaplin
    Geraldine Chaplin 66422_Rybin.indd422_Rybin.indd i 008/07/208/07/20 111:001:00 AAMM International Film Stars Series Editors: Homer B. Pett ey and R. Barton Palmer Th is series is devoted to the artistic and commercial infl uence of performers who shaped major genres and movements in international fi lm history. Books in the series will: • Reveal performative features that defi ned signature cinematic styles • Demonstrate how the global market relied upon performers’ generic contributions • Analyse specifi c fi lm productions as casetudies s that transformed cinema acting • Construct models for redefi ning international star studies that emphasise materialist approaches • Provide accounts of stars’ infl uences in the international cinema marketplace Titles available: Close-Up: Great Cinematic Performances Volume 1: America edited by Murray Pomerance and Kyle Stevens Close-Up: Great Cinematic Performances Volume 2: International edited by Murray Pomerance and Kyle Stevens Chinese Stardom in Participatory Cyberculture by Dorothy Wai Sim Lau Geraldine Chaplin: Th e Gift of Film Performance by Steven Rybin www.euppublishing.com/series/ifs 66422_Rybin.indd422_Rybin.indd iiii 008/07/208/07/20 111:001:00 AAMM Geraldine Chaplin The Gift of Film Performance Steven Rybin 66422_Rybin.indd422_Rybin.indd iiiiii 008/07/208/07/20 111:001:00 AAMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutt ing-edge
    [Show full text]
  • Chaplin Family YMCA Monday Chaplinfamilyy.Ca
    A CENTRE OF COMMUNITY WHERE POTENTIAL GROWS, EVERYONE BELONGS, AND HEALTH GOALS ARE ACHIEVED EVERY DAY. Learn a new skill, make a new friend July 4 – September 4, 2016 Chaplin Family YMCA Monday ChaplinFamilyY.ca Gym 1 Gym 2 Studio Cycle Room Pool Leisure Pool MPR 2/3 Wellness Center Jay’s Room Kids Zone Childcare 6:00 am Lane Swim (13+) Whirlpool 5:45 – 8:15 7:00 am (13+) 5:45 – 9:00 8:00 am AquaFit 8:15 – 9:00 Cardio Fit - Low Cycle Lane Swim (13+) HH/LS/FFB* 9:00 am Impact Family Swim 9:00 – 9:45 9:05 – 9:55 9:00 – 10:00 9:00 – 9:55 9:05 – 9:55 Playnasium (0-5) Group Active® Gentle Yoga HH/LS/FFB* 10:00 am Rise n” Shine 10:00 – 11:00 10:10 – 11:10 Camp Swim 10:10 – 11:00 10:05 – 11:05 (2.5-5) 10:00 – 11:30 Rise n’ Shine (2.5-5) 10:00 – 11:30 11:00 – 11:30 Fitness for 11:00 am Function/Breath Kid’s Zone Lane Swim (13+) Gentle Fit 11:15 – 12:15 (6-12) 11:20 – 12:00 10:45 – 11:30 (2 lanes) Private/Advanced Whirlpool 10:00 – 1:00 11:30 – 12:25 (3 lanes) Aquatics (13+) Zumba® 10:45 – 12:30 10:45 – 12:25 Wellness Drop-in 12:00 pm 12:10 – 1:00 12:15 – 1:15 Gentle Exercise Camp Swim Camp 1:00 pm 1:15 – 1:45 12:30 – 3:00 9:00 – 5:00 Camp *Basketball (13+) Neuro Fit 2:00 pm 12:00 – 5:00 12:00 – 5:00 2:00 – 3:00 Fitness for 3:00 pm Open/Lane Swim Function/Breath 3:15 3:05 – 4:15 –4:15 4:00 pm Bubblers & Splashers Active Games (0-3) Soccer (6-9) 5:00 pm (3-5) 5:00 – 5:30 5:15 – 6:00 5:15 – 6:00 TRX® 5:30 – 6:15 Group Power® Active Soccer (3-5) 5:25 – 6:25 Swim Lessons Games (6-9) 6:00 – 6:30 4:30 – 8:00 6:00 pm 6:00 – 6:30 Family Tae Kwon Do Total
    [Show full text]
  • Eternal-Tramp.Pdf
    FREE AND FUN: THE CHAPLIN HOT AIR Built by the Barcelona-based BALLOON manufacturer UltraMagic, the hot air CHAPLIN balloon has been under construction Creating the kind of marvellous, since early October and will be fun, fairground atmosphere Chaplin tested before being delivered to cherished, Chaplin’s World has Switzerland in early November. purchased a hot air balloon. Visitors The balloon’s official unveiling, REACHES attended by its sponsor, Eugene to the museum will be able to enjoy a ten-minute static flight, high Chaplin, will take place in the park above the Manoir de Ban, with a of Chaplin’s World on the evening of breathtaking panoramic view of the DECEMBER 5TH, 2017. NEW Alps and Lake Geneva. Sponsored by Cornèrcard, the Chaplin’s World hot air balloon will be on site at the museum for HEIGHTS special occasions such as Easter and Christmas. This coming winter, it will be the star attraction of the - February 2nd 2018. Night Glow sound and light show, held during the 40th International Hot Air Balloon Festival A STATUE OF THE TRAMP “ A portrait always tells of Château-d’Oex (Switzerland), which will be dedicated to the AT 13,642 FEET a story, with a specific memory of Charlie Chaplin. outlook. ” British sculptor John Doubleday, Doubleday said. A symbol of freedom and aspiration, who created the bronze statues “ To me, the kid is the the hot air balloon will travel of Charlie Chaplin in Vevey, to various balloon festivals in quintessential lone, Switzerland, and in London’s Switzerland, such as the week-long Chaplin's World™ Leicester Square, has again paid fragile figure, but one events in Toggenburg and Emmental.
    [Show full text]
  • I Bcom Ii Sem
    I BCOM II SEM • 3. CHARLES CHAPLIN (An excerpt from My Autobiography) • Prepared By: RAVIKUMAR.A • Asst Professor • Dept of English • GFGC YALAHANKA • BENGALURU Quotes from Chaplin reflect his views on life. Here are a few gems:- 1. A day without laughter is a day wasted. 2. I always like walking in the rain, so no one can see me crying. 3. We think too much and feel too little. 4. You will never find a rainbow if you’re looking down. Sir Charles Spencer Chaplin (1889-1977) was a famous English comic actor, filmmaker, composer, screenwriter, editor and producer during his time. Those were the times of silent films. He became renowned through his films like The Gold Rush, The Circus, City Lights and others. His film The Great Dictator satirized Adolf Hitler. His screen persona was the inimitable ‘The Tramp’. In his career of 75 years, he saw both adulation and controversy. In this edited extract from chapter one of My Autobiography, Chaplin tells about his childhood and his association with his mother, father and brother. Predominant was his mother’s influence on him. Slides are planned according to the questions ,both long and short. 1. When and where was Charles Chaplin born? 2. When did Chaplin try doing legerdemain and what was the result? 3. How would his mother dress up her two sons for Sunday excursions? 4. Mother always kept delicacies on the table for Sydney and Chaplin. Why? 5. Mention any two memories Chaplin shares with the reader with respect to his childhood in London.
    [Show full text]
  • The Chaplin Craze: Charlie Chaplin and the Emergence of Mass-Amusement Culture
    THE CHAPLIN CRAZE: CHARLIE CHAPLIN AND THE EMERGENCE OF MASS-AMUSEMENT CULTURE JACK RUNDELL PhD UNIVERSITY OF YORK ENGLISH AND RELATED LITERATURE AUGUST 2014 Abstract This thesis explores the relationship between Charlie Chaplin’s early career and films (1914-1916) and the emergent mass-amusement culture of the late nineteenth and early twentieth centuries in America. It combines empirical research into mass- amusement history with close readings of Chaplin’s early films in order to illuminate the close and previously minimally explored relationship between Chaplin’s film- making and popularity on the one hand, and the broader early twentieth-century history of mass-amusement culture on the other. The thesis approaches its subject through the specific phenomenon of amusement ‘crazes’. It takes three selectively illustrative examples – roller skating, popular dance forms and moving pictures – through which to explore the specific debates and controversies these amusements generated and the social and cultural aspirations and concerns that drove them. This cultural-historical research is used to re-read Chaplin films, enabling topical allusions and cultural subtexts to come newly into focus. It also provides the context for a fresh interpretation of Chaplin’s sensational rise to fame in the mid-1910s as a cultural phenomenon symptomatic of a wider landscape of contemporary frenetic and popular crazes. The thesis challenges two principal assumptions that underlie prevailing critical approaches to Chaplin’s early career, unquestioningly grounded, as they are, in the privileged status conventionally ascribed to his later, and better-known feature films. These assumptions are: (1) that Chaplin’s early films are chiefly of interest for the ways in which they teleologically anticipate later developments in his film- making; and (2) that Chaplin’s distinctive qualities and cultural value are always to be understood in qualitative contrast to the dominant imperatives of contemporary slapstick and the larger mass-amusement culture to which slapstick belonged.
    [Show full text]
  • Arts Vs Accountancy
    GOOD PRACTICE GUIDE Arts vs Accountancy larly strongly in the UK, where Brexit the Chaplin family with a plan to pur- is likely to have a significant adverse chase the Manoir de Ban and create a impact on arts funding. “nice museum”. The family agreed on The opportunity to explore this condition that it honour the memory question presented itself a couple of of their father. Meylan and Durand en- years ago in the shape of a museum visaged a museum that would “docu- under construction near Lausanne that ment the artist’s ideas and ideals”. It was supposed to become Chaplin’s would provide an authentic Chaplin World, an entertainment experience experience and feature items person- in Charlie Chaplin’s old home. I was ally associated with him. struck by the artistic heritage inher- When Chaplin’s World opened ent in the project, but even more by 16 years later in 2016 it had clearly the volume of financial and business evolved far beyond its original vision. jargon that filled the pages of its web- Yet, the various stakeholders that had Can commerce influence site. One day, over coffee, I showed the become involved during its develop- website to my colleague and professor ment were still confident that Chap- the culture projects it of marketing, Felicitas Morhart. For lin’s artistic and cultural legacy was sponsors? Professor both of us, it was the obvious tension being celebrated in a suitably authen- between commerce and cultural integ- tic way. Anette Mikes of the rity that caught our interest. We followed the project for two University of Lausanne So out of curiosity we started years, carrying out 15 interviews, found an object lesson to look into Chaplin’s World more making multiple visits to Vevey and num to a later range estimate self became more persua- deeply, to explore whether this finan- reviewing over 1,000 pages of internal of 250,000–320,000.
    [Show full text]