Connect! How to Get Your Kids to Talk to You

Total Page:16

File Type:pdf, Size:1020Kb

Connect! How to Get Your Kids to Talk to You DOCUMENT RESUME ED 364 927 CS 508 406 AUTHOR Smith, Carl B.; And Others TITLE Connects How To Get Your Kids To Talk to You. INSTITUTION Indiana Univ., Bloomington. Family Literacy Center. REPORT NO ISBN-0-927516-43-8 PUB DATE 94 NOTE 253p.; Published in conjunction with EDINFO Press, Bloomington, IN. This publication results from the "Parents Sharing Books" Project. AVAILABLE FROMFamily Literacy Center, EDINFO Press, Indiana University, P.O. Box 5953, Bloomington, IN 47407 ($14.95). PUB TYPE Guides Non-Classroom Use (055) Reference Materials Bibliographies (131) Books (010) EDRS PRICE MF01/PC11 Plus Postage. DESCRIPTORS Annotated Bibliographies; Elementary Secondary Education; Individual Development; *Interpersonal Communication; *Parent Child Relationship; *Parent Participation; Program Descriptions; *Reading Material Selection; Student Motivation IDENTIFIERS *Family Communication; *Shared Reading ABSTRACT Describing the benefits parents and kids have gained from sharing reading and talking about books, this book shows parents how to bring their family closer together and support their child's academic and emotional development. The book suggests that not only does shared reading promote communication and mutual respect, it helps kids do better in school and improve their self-esteem. Chapters in the book are: (1) The Many Avenues of Parent/Child Communication;(2) Finding Time--The Old Bugaboo;(3) The Challenge of Motivating Kids; (4) Guidelines for Selecting Books;(5) Books for Ages Three to Nine;(6) Books for Ages Ten to Fourteen;(7) Using Conversations to Share Books; (8) Using Writing to Share Ideas; (9) Using Art to Share Books; (10); Using Drama to Share Books; (11) Building Self-Esteem; and (12) Just Do It! Seventeen references and a "Wonderland Magic" (a short story by Bobby Simic) are attached. (BS) *********************************************************************** * Reproductions supplied by EDRS are the best that can be made from the original document. * *********************************************************************** NI _MK_ MR How to Get Yo toT___ to You CIO PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTED BY Mil Ilk U S DEPARTMENT Of EDUCATION Oft* or EducaborI Rmarcri and irnwoverntnt 116. TO THE EDUCATIONAL RESOURCES EDUCATIONAL RESOURCES INFORMATION INFORMATION CENTER (ERIC)' CENTER (ERIC) *This clocummilhas been reproduced as received from Me person or proem:Moon ononaung Carl B. Smith, Ph.D. 0 HMCO changes haws been made to Improve reprOduChCmpuellly with Susan Moke and Marjorie Simic POonta ()Nolo oc °paha% State° in ?Ns dOcu. mint CIO not neCoUanly rot:gamin' Ohm' OERI posthon or policy 2 BEST COPY AVAILABLE HOW TO GET YOUR KIDS TO TALK TO YOU CARL B. SMITH, PH.D. WITH SUSAN MOKE AND MARJORIE R. Sum EDINFO family Literacy Center pp Es,' Published 1994 by the Family Literacy Center, Indiana University, 2805 East Tenth Street, Suite 150, Bloomington, Indiana 47408-2698, and EDINFO Press, P.O. Box 5953, Bloomington, IN 47407 Design/Production: Lauren Bongiani Gottlieb Cover: David J. Smith Illustrations: Tyagan Miller Copyright © 1994 by Carl B. Smith. All rights reserved. This publication results from the Parents Sharing Books project which was developed and evaluated with support from the Lilly Endowment, Inc. Participants have been encouraged to express freely their judgments in matters regarding this project. Points of view or opinions, however, do not necessarily represent the official view or opinions of either the Lilly Endowment, Inc. or Indiana University. Library of Congress Cataloging-in-Publication Data Smith, Carl Bernard. Connect! : how to get your kids to talk to you / Carl B. Smith O with Susan Moke and Marjorie R. Simic. p. cm. Includes bibliographical references and index. ISBN 0-927516-43-8 : $14.95 1. Reading--Parent participation. 2. Parenting. 3. Parent and child. 4. Communication in the family. I. Moke, Susan, 1949- II.Simic, Marjorie R. (Marjorie Rose), 1951- ,III. Title. IV. Title: How to get your kids to talk to you. LB1050.2.565 1994 649'.58--dc20 93-29336 CIP 4 fCO .Y 41-4, ty pc'e, Introduction Connect! How to Get Your Kids to Talk to You .. xi Chapter I The Many Avenues of Parent/Child Communication. 1 Lessons to Live By . 1 Read the Same Book 5 Values to Discuss 7 Meeting on Neutral Territory Communication Is a Two-Way Street 13 Every Parent Is a Model Parent 14 Chapter II Finding limeThe Old Bugaboo 17 Times Have Changed 19 Getting Started 20 Set Aside Family Time 21 Have a Daily Schedule 23 Carpe Diem: Seize the "Moment" 27 Creative Juggling 32 Tomorrow Is Another Day 34 Bridges to Cross 35 iii Table of Contents (continued) Chapter III The Challenge of Motivating Kids 37 Look for a Model 37 Bedtime Stories Aren't Just for Babies 39 Tickle the Imagination 42 Create Cliffhangers 46 Use Competition 47 Change Places 48 Create Opportunities 49 Solve a Problem 52 Bridges to Cross 53 Chapter IV Guidelines for Selecting Books 57 What Makes a Book Interesting? 57 Match Your Interest 59 Make Reading Fun 61 Guide without Dominating 62 Inventory Interests 66 The Right Choice Makes All the Difference 68 If They Don't Pass the Acid Test, "Ditch 'Em" 68 Developmental Interests and Books 71 Chapter V Books for Ages Three to Nine 75 Books for Ages Three to Five 76 Books for Ages Six to Seven 83 Books for Ages Eight to Nine 94 6 Table of Contents (continued) Chapter VI Books for Ages Ten to Fourteen 101 Books for Ages Ten to Eleven 102 Books for Ages Twelve to Fourteen 112 Chapter VII Using Conversations to Share Books 121 "I Hate to Read Alone" 121 General Guidelines for Reading Aloud with Children of All Ages 123 General Guidelines for Book-Sharing Conversations 125 Reading and Sharing with Kids Ages Three to Five 127 Reading and Sharing with Kids Ages Six to Seven 130 Reading and Sharing with Kids Ages Eight to Nine 134 Reading and Sharing with Kids Ages Ten to Eleven 139 Reading and Sharing with Kids Ages Twelve to Fourteen 143 Bridges to Cross 148 Chapter VIII Using Writing to Share Ideas 149 Keeping a Journal 153 Keeping a Dialogue Journal 155 Books for Young Writers 165 Chapter IX Using Art to Share Books 171 A Picture Can Be Worth a Thousand Words 171 Setting the Scene 174 Art Activities 176 Books for Young Artists 184 v Table of Contents (continued) Chapter X Using Drama to Share Books 189 Making Stories Come to Life 189 Drama Activities 190 Books for Young Actors 195 The Active Reader 200 Chapter XI Building Self-Esteem 201 The Failure Cycle 201 Self-Esteem Is a Feeling 204 The Four Conditions of Self-Esteem 206 Building Your Child's Self-Esteem 209 Reassurance 217 Chapter XII Just Dolt! 219 Guidelines for Action 220 References 225 Appendix A 227 8 VI ... To my son, Tony, who started me think- ing about family communication through books and who challenged me constantly to respect his ideas. With Love ( j vii The experiences that preceded this book and provided its substance were coordinated by a marvelous group of peo- ple in the Family Literacy Center at Indiana University. We ali had the good fortune to work on a project known as Parents Sharing Books Without these people the material for this book would have lain hidden. How lucky I am to have them as co-workers. Michael Shermis organized events and budgets with high energy and enthusiasm as the project manager. Melinda Hamilton answered questions and wrote book reviews for the hundreds of project participants. Ellie Macfarlane helped con- duct our numerous leader training workshops. Marge Simic gathered the evaluation data 3rd helped select the parent and child quotes used in this book. She also used her considerable experience in guiding the development of our leader training manual. Susan Moke acted as our wordsmith and exercised her deft editorial hand in our many publications, especially in this book. Eugene Reade added his usual careful proofreading touch to this manuscript. It is not my intention to make these people responsible for any of the ideas or opinions expressed in this book. I take ix iU N full charge of them, but want allto know that I am in great debt and offer my thanks to these lovely peoplefor assisting me in bringing this book to print. CBS Bloomington, Indidna September, 1993 I x A This is a book with a story to tell. The stories you will hear as you read the book have one thing in common: they all acknowledge the problems with and need for family commu- nication. Psychologists, marriage counselors, and our own intu- ition remind us that healthy communication reduces our feel- ings of isolation and helps us guide our children through school and toward independent adulthood. But how do we accomplish this? This book describes the success stories of parents and children who learned to talk to each other by fol- lowing a simple, straightforward program. Each chapter explains a step in that program and gives the stories of parents and children who succeeded in that step. My own story gives us a place to start. When my son was thirteen, he came home with a sci- ence fiction hook one of his teachers suggested that he might enjoy reading. My son loved science, but he hated to read. I think this clever teacher was trying to use his interest in sci- ence to lure him into reading. She had suggested the book Dune by Frank Herbert. x 1 2 CONNECT! HOW TO GET YOUR KIDS TO TALK TO YOU "Hey Dad," he said, "this book is about people who live on a desert planet. You know, no rain. How do you think they can survive?" By a miracle, I thoughtjust like this miracle that has my son reading a big, hefty book.
Recommended publications
  • A Dangerous Summer
    theHemingway newsletter Publication of The Hemingway Society | No. 73 | 2021 As the Pandemic Ends Yet the Wyoming/Montana Conference Remains Postponed Until Lynda M. Zwinger, editor 2022 the Hemingway Society of the Arizona Quarterly, as well as acquisitions editors Programs a Second Straight Aurora Bell (the University of Summer of Online Webinars.… South Carolina Press), James Only This Time They’re W. Long (LSU Press), and additional special guests. Designed to Confront the Friday, July 16, 1 p.m. Uncomfortable Questions. That’s EST: Teaching The Sun Also Rises, moderated by Juliet Why We’re Calling It: Conway We’ll kick off the literary discussions with a panel on Two classic posters from Hemingway’s teaching The Sun Also Rises, moderated dangerous summer suggest the spirit of ours: by recent University of Edinburgh A Dangerous the courage, skill, and grace necessary to Ph.D. alumna Juliet Conway, who has a confront the bull. (Courtesy: eBay) great piece on the novel in the current Summer Hemingway Review. Dig deep into n one of the most powerful passages has voted to offer a series of webinars four Hemingway’s Lost Generation classic. in his account of the 1959 bullfighting Fridays in a row in July and August. While Whether you’re preparing to teach it rivalry between matadors Antonio last summer’s Houseguest Hemingway or just want to revisit it with fellow IOrdóñez and Luis Miguel Dominguín, programming was a resounding success, aficionados, this session will review the Ernest Hemingway describes returning to organizers don’t want simply to repeat last publication history, reception, and major Pamplona and rediscovering the bravery year’s model.
    [Show full text]
  • "ZACK ATTACK" Written by Brittany Ashley "Happy Endings" Spec
    "ZACK ATTACK" Written by Brittany Ashley "Happy Endings" spec INT. ROSALITAS - DAY BRAD, ALEX, DAVE, PENNY, JANE and MAX sit in their booth at Rosalita’s. Max, surrounded by birthday presents, opens one wrapped in newspaper. Much to his dismay, it’s the same exact shirt that Dave is wearing. MAX Another v-neck... from Dave. DAVE Hey man, you’re welcome. Max opens another gift, covered in a shitload of glitter. MAX Saved by the Bell boxed DVD set! Thank you, Penny! PENNY When we dated in college, I always thought we were like the Zack Morris and Kelly Kapowski of the quad. ALEX Aww, you guys! PENNY That is, until you lost your virginity to my RA, Zach Mores... ALEX Ehh... Roof stoof. MAX (remembering) Oh yeah, that dude was a smoke show, had a mouth like--- PENNY (interrupting, Shakespearean-style) Ah yes, a twist of irony that Past Penny wasn’t prepared for. But Present Penny finds quite charming. JANE Well it’s clear that I’d be the Jessi Spano. Top of the class, unstoppable dancer and that brief addiction to caffeine pills. 2. BRAD Caffeine pills, really? JANE I HAD TO PASS MY CALC MIDTERM, you don’t know the type of pressure I was under! I was so... scared. BRAD That makes me Slater, right, Mama? MAX I was thinking more like the Lisa Turtle. Alex, Dave, Penny, Max and Jane all nod. BRAD Why? Because I’m black? Alex, Dave, Penny, Max and Jane all hem and haw. ALEX Because you’re stylish.
    [Show full text]
  • Music and Migratory Subjects in Pedro Almodóvar's <Em>Todo Sobre Mi
    Trinity University Digital Commons @ Trinity Modern Languages and Literatures Faculty Research Modern Languages and Literatures Department Spring 2014 Music and Migratory Subjects in Pedro Almodóvar’s Todo Sobre Mi Madre, Hable con Ella, and Volver Debra J. Ochoa Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/mll_faculty Part of the Modern Languages Commons Repository Citation Ochoa, D.J. (2014). Music and migratory subjects in Almodóvar's todo sobre mi madre, hable con ella, and volver. Confluencia, 29(2), 129-141. This Article is brought to you for free and open access by the Modern Languages and Literatures Department at Digital Commons @ Trinity. It has been accepted for inclusion in Modern Languages and Literatures Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Music and Migratory Subjects in Almodóvar's Todo sobre mi madre. Hable con ella, and Volver Veí^íiJ. Ock&ti Trinity University Since the end of Erancisco Franco's dictatorship (1939-1975), Spain has transformed itself from an isolated, fascist state dominated by the promotion of hispanidad and national Catholicism (Corkill 49) to a country that hosts nearly 5.7 million international residents (Deveny, Migration 4). Pedro Almodovar, who began his film career at the time of Spain's transition to democracy, has steadily responded to the country's changes through his examination of identity, sexuality, repression, and desire (Acevedo-Muñoz 1—2). The director has distinguished himself partly by his continuous use of international music in his films, in a way that corresponds to Spain's development into a more tolerant, liberal, multicultural state (Kinder, "Pleasure" 37).
    [Show full text]
  • Guide to the Papers of the Capri Community Film Society
    Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline.
    [Show full text]
  • A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2015 Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices Sultana Aaliuah Shabazz University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Social and Philosophical Foundations of Education Commons Recommended Citation Shabazz, Sultana Aaliuah, "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices. " PhD diss., University of Tennessee, 2015. https://trace.tennessee.edu/utk_graddiss/3607 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Sultana Aaliuah Shabazz entitled "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Education. Barbara J. Thayer-Bacon, Major Professor We have read this dissertation and recommend its acceptance: Harry Dahms, Rebecca Klenk, Lois Presser Accepted for the Council: Carolyn R.
    [Show full text]
  • Mein Coming Out
    Episode 107 Mein Coming Out Written by Gail Lerner Directed by Jeff Melman Table Draft 10/19/10 Shooting Script 10/20/10 (pg. 1,1A,10,12,21,26,30,31) Shooting Script (Blue Rev.) 10/21/10 (pg. 13) Shooting Script (Pink Rev.) 10/21/10 SONY PICTURES TELEVISION INC. © 2010 All Rights Reserved No portion of this script may be performed, or reproduced by any means, or quoted, or published in any medium without prior written consent of SONY PICTURES TELEVISION INC. 10202 West Washington Boulevard Culver City, CA 90232 Happy Endings "Mein Coming Out" [107] a. Shooting Script 10/20/10 CAST JANE .................................................................................................... Eliza Coupe ALEX ...............................................................................................Elisha Cuthbert DAVE...........................................................................................Zachary Knighton MAX ...................................................................................................... Adam Pally BRAD .......................................................................................Damon Wayans, Jr. PENNY ...............................................................................................Casey Wilson DOUG................................................................................................. Greg Cromer HOWARD BLUM................................................................................ Alan Rachins PAULINE BLUM...............................................................................Caroline
    [Show full text]
  • Happy Endings.Pdf
    l5 . i;orctrryA.lirsor, HappyEndings.17 "Ilc'll be fine." she'd replied, not Lrndcrstanding,speaking inste lovin$ you and hating you for your lifb, for not asking about what the other lbar. "Don't wc have a traditiorl of bastardsl" you have no reason to imagine, soft-chinned innocence I love. L{c was finc, :r classicallyugly healthy litde boy with that shock white hair that marked so manv of us. But afterward. it was that bad with my Jesseputs heg hands be y neck, smiles and says, "You tell the funni- sistcr down with pleurisl, then cystitis,and no work, no having t<l est stories." mrlvc back horne with mv cold-eyeclstepfbthcr. I would c home to see l-rcr.tionr itlrc wornan I could not admit I'd been with. take my infi- pulsing. "Yeah,"-{.rdllhei'.tBut I lie." (re88) my slster, no one ,/ bcreamingred-faced, "Shut upl Shut,upl" With each word her tist med the mattress fan- ning thc brby's eirr. MARGARETATWOOD "Don t!" I grelbed her, pulling her back, ng it as gendy as I could so I woultln't brcirk the stitchcs fiorn her qd ion. She had her ottrer MargaretAtwood, born in 1939and raisedin Ontario and Quebec,has pub- .rrnr clanrpcd acr,rsrher abdomen rnd c 't fight mc at all. She just lishedmore than thirty acclaimednovels and collectionsof poems,essays, and kept shricling. stories.Anrmportant critic, she hashelped dellne contemporaryCanadian lit- " fhrt little bastard.just screams screams.That little bastard. in North I'll kilf hirr." . t erature and has a distinguishedreputation among feministwriters Then rhc words seeped in and she lookcd at me while hcr son kept America and abroad.Her novelsinclude Surfoclng (1972);The Hondmoid'sTole cry,in* ano kicking his feet.
    [Show full text]
  • Voice of a Child
    Voice of a child Voice of a child Acknowledgement This report has been revised by Stephanie Wilks-Wiffen during an internship at the Howard League for Penal Reform. 4 Voice of a child Voice of a child Contents Introduction 7 1. Children have rights 9 2. Mothers in prison 11 3. Children visiting prison 13 4. The impact on the children 15 Who will care for them now? ‘And then their world fell apart’ Stigmatised The costs The innocent punished 5. The children’s stories 19 Appendix A: The original research 27 References 29 5 6 Voice of a child Introduction Forcibly separating children from their primary carer, particularly their mother, can cause severe distress and leave permanent emotional scars (see Bowlby, 1951; Brown, 2001). The Howard League for Penal Reform estimates that more than 17,240 children under 18 years in England and Wales were forcibly separated from their mother in 2010. In the 1990s, the Howard League first brought the issue of prisoners’ children to public attention. The first version of this report (1992) aimed to give these forgotten children both a voice and a profile that would enable decision makers and opinion formers to understand more about these previously faceless children. This was the first time that the children themselves had been asked what they thought about having their mother in prison. Now nearly twenty years later, the Howard League is revisiting this research. Women’s imprisonment rates have remained at around 5 per cent of the overall prison population. A burgeoning number given that the current prison population is over 85,500.
    [Show full text]
  • The Mind-Game Film Thomas Elsaesser
    9781405168625_4_001.qxd 8/10/08 11:58 AM Page 13 1 The Mind-Game Film Thomas Elsaesser Playing Games In December 2006, Lars von Trier’s The Boss of It All was released. The film is a comedy about the head of an IT company hiring a failed actor to play the “boss of it all,” in order to cover up a sell-out. Von Trier announced that there were a number of (“five to seven”) out-of-place objects scattered throughout, called Lookeys: “For the casual observer, [they are] just a glitch or a mistake. For the initiated, [they are] a riddle to be solved. All Lookeys can be decoded by a system that is unique. [. .] It’s a basic mind game, played with movies” (in Brown 2006). Von Trier went on to offer a prize to the first spectator to spot all the Lookeys and uncover the rules by which they were generated. “Mind-game, played with movies” fits quite well a group of films I found myself increasingly intrigued by, not only because of their often weird details and the fact that they are brain-teasers as well as fun to watch, but also because they seemed to cross the usual boundaries of mainstream Hollywood, independent, auteur film and international art cinema. I also realized I was not alone: while the films I have in mind generally attract minority audiences, their appeal manifests itself as a “cult” following. Spectators can get passionately involved in the worlds that the films cre- ate – they study the characters’ inner lives and back-stories and become experts in the minutiae of a scene, or adept at explaining the improbabil- ity of an event.
    [Show full text]
  • Spooky Endings
    Episode 205 Spooky Endings Written by Daniel Libman & Matthew Libman Directed by Fred Savage Shooting Script 08/26/11 Shooting Script (Full Blue) 08/26/11 Shooting Script (Full Pink) 08/29/11 (Pg. 8A,12,12A,19,20-21,20-21A,24,24A, 25,26, 27,27A,27B) Shooting Script (Yellow Rev.) 08/29/11 NOTE: Episode shooting 4th SONY PICTURES TELEVISION INC. © 2011 All Rights Reserved No portion of this script may be performed, or reproduced by any means, or quoted, or published in any medium without prior written consent of SONY PICTURES TELEVISION INC. 10202 West Washington Boulevard Culver City, CA 90232 Happy Endings "Spooky Endings" [205] a. Shooting Script (Full Pink) 08/29/11 CAST JANE .................................................................................................... Eliza Coupe ALEX ...............................................................................................Elisha Cuthbert DAVE...........................................................................................Zachary Knighton MAX ...................................................................................................... Adam Pally BRAD .......................................................................................Damon Wayans, Jr. PENNY ...............................................................................................Casey Wilson A.J....................................................................................................Will Greenberg HENRY...............................................................................................David
    [Show full text]
  • Bamcinématek Announces the Main Slate for the Eighth Annual Bamcinemafest, a Festival of American Independents with 24 New York
    BAMcinématek announces the main slate for the eighth annual BAMcinemaFest, a festival of American independents with 24 New York premieres and one North American premiere, Jun 15—26 Opening night—New York premiere of Ira Sachs’ Little Men Closing night—New York premiere of Tim Sutton’s Dark Night Centerpiece—New York premiere of Todd Solondz’s Wiener-Dog Spotlight screenings—New York premieres of Ti West’s In a Valley of Violence and Jeff Baena’s Joshy The Wall Street Journal is the title sponsor for BAMcinemaFest, BAMcinématek, and BAM Rose Cinemas. Brooklyn, NY/May 10, 2016—BAMcinématek announces the complete main slate for the eighth annual BAMcinemaFest (Jun 15—26), hailed as “New York’s best independent film showcase” (The New Yorker). A 12-day festival presenting premieres of emerging voices in American independent cinema, this year’s lineup features 23 New York premieres and two North American premieres. "This year's annual snapshot of the best of American independent cinema is excitingly eclectic, ranging from a formally adventurous reimagining of post-World War I France to a vampy tribute to 60s erotica shot (and projected!) on 35mm film," says Gabriele Caroti, director of BAMcinématek. "We're thrilled to welcome the great Ira Sachs and Todd Solondz both who join us for the first time with this year's Opening Night and Centerpiece films Little Men and Wiener-Dog. And we're proud and honored to host our first three-time festival alumnus, Tim Sutton (Pavilion, BAMcinemaFest 2012; Memphis, BAMcinemaFest 2014), whose audaciously atmospheric Dark Night screens as this year's Closing Night film." “The Wall Street Journal is proud once again to join BAMcinemaFest in celebrating the work of dynamic new filmmakers,” says Gerard Baker, editor-in-chief of The Wall Street Journal.
    [Show full text]
  • Catching Fire. the Impressive Lineup Is Joined by the Hunger Games
    Cast: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Julianne Moore, Philip Seymour Hoffman, Jeffrey Wright, Willow Shields, Sam Claflin, Jena Malone, Natalie Dormer, with Stanley Tucci, and Donald Sutherland Directed by: Francis Lawrence Screenplay by: Peter Craig and Danny Strong Based upon: The novel “Mockingjay” by Suzanne Collins Produced by: Nina Jacobson, Jon Kilik SYNOPSIS The blockbuster Hunger Games franchise has taken audiences by storm around the world, grossing more than $2.2 billion at the global box office. The Hunger Games: Mockingjay – Part 2 now brings the franchise to its powerful final chapter in which Katniss Everdeen [Jennifer Lawrence] realizes the stakes are no longer just for survival – they are for the future. With the nation of Panem in a full scale war, Katniss confronts President Snow [Donald Sutherland] in the final showdown. Teamed with a group of her closest friends – including Gale [Liam Hemsworth], Finnick [Sam Claflin] and Peeta [Josh Hutcherson] – Katniss goes off on a mission with the unit from District 13 as they risk their lives to liberate the citizens of Panem, and stage an assassination attempt on President Snow who has become increasingly obsessed with destroying her. The mortal traps, enemies, and moral choices that await Katniss will challenge her more than any arena she faced in The Hunger Games. The Hunger Games: Mockingjay – Part 2 is directed by Francis Lawrence from a screenplay by Peter Craig and Danny Strong and features an acclaimed cast including Academy Award®-winner Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Academy Award®-winner Philip Seymour Hoffman, Jeffrey Wright, Willow Shields, Sam Claflin, Jena Malone with Stanley Tucci and Donald Sutherland reprising their original roles from The Hunger Games and The Hunger Games: Catching Fire.
    [Show full text]