At Home with the Movies
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31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
Greer Garson
Greer Garson Autor(en): [s.n.] Objekttyp: Article Zeitschrift: Schweizer Film = Film Suisse : offizielles Organ des Schweiz. Lichtspieltheater-Verbandes, deutsche und italienische Schweiz Band (Jahr): 8 (1943) Heft 119 PDF erstellt am: 27.09.2021 Persistenter Link: http://doi.org/10.5169/seals-733725 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch de 36 heures par la semaine de 48 heures, cès du théâtre moderne et dont le rôle la découvrit pour le cinéma et lui donna ce qui, du point de vue européen, ne principal sera interprété à l'écran par sa aussitôt un contrat à long terme. -
BAFTA and BFI Screenwriters' Lecture: Emma Thompson 20 September
BAFTA and BFI Screenwriters’ Lecture: Emma Thompson 20 September 2014 at BFI Southbank [As the audience take their seats Emma where your relationship with words Thompson is already on stage, barefoot comes from. And I think mine comes, yes and dressed down in dungarees and a from reading of course, but from my hooded sweatshirt. The stage is set out father who wrote The Magic like a room, with a chair, writing desk, Roundabout and was an actor who was yoga mat and a box of draft scripts. said, that the BBC gave him these little Emma Thompson silently wanders French films and said, “Would you write around the room, sometimes writing at the scripts for them because we can’t the desk, sometimes practicing yoga put them on in French.” And my father positions, sometimes lounging in the who hated the French openly, was very chair. As the audience settles, she cleans rude in fact to Serge Danot who created the desk and vacuums the floor, before those puppets, there was never much walking off-stage to applause] warmth between them, and he would sit at this funny little machine which he [Clip from The Magic Roundabout] would work with his foot, it was a reel to reel, and he would sit writing these [Applause] scripts. And they were completely, they were nothing to do with the French, the French was very, it was a bit twee you [Emma Thompson returns to the stage in know [does French impression], and also a change of clothes, with Jeremy Brock] they had different names. -
How Hollywood Films Portray Illness Robert A
New England Journal of Public Policy Volume 17 | Issue 1 Article 11 9-21-2001 How Hollywood Films Portray Illness Robert A. Clark Follow this and additional works at: http://scholarworks.umb.edu/nejpp Part of the Film and Media Studies Commons, and the Medicine and Health Sciences Commons Recommended Citation Clark, Robert A. (2001) "How Hollywood Films Portray Illness," New England Journal of Public Policy: Vol. 17: Iss. 1, Article 11. Available at: http://scholarworks.umb.edu/nejpp/vol17/iss1/11 This Article is brought to you for free and open access by ScholarWorks at UMass Boston. It has been accepted for inclusion in New England Journal of Public Policy by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. How Hollywood Films Portray Illness Robert A. Clark, M.D. Part I: Oncology Art imitates life, we are often told. Occasionally we also observe that life imitates art. Hollywood movies may fulfill the definition of art in both these adages. Movies evoke our fantasies, fears, loves, and hates and therefore reflect our lives. The art of film, however, diverges from real life because of the necessities of good story- telling: dramatization, plot lines, character development, and romanticism. There- fore, films are often imperfect reflections of our lives. As F. Scott Fitzgerald said, “There are no second acts in life.” Movies have been blamed for creating disturbing or profane cultural images, leading to societal ills such as violence, sexual deviancy, and isolation. Whether art imitates life or the reverse, it may be instructive to study how movies depict medi- cal themes, especially oncology, in order to understand how cancer and medicine are perceived in popular culture. -
1775 on 16 December, Jane Austen, the Seventh of Eight Children Of
Chronology 1775 On 16 December, Jane Austen, the 1803 Austen sells copyright for Northanger Abbey 1940 The Jane Austen Society is founded in seventh of eight children of George (then titled “Susan”) to Benjamin Crosby, England. and Cassandra Austen, is born in a London publisher, for £10. He never The first Austen film,Pride and Prejudice, Steventon, England. published it. starring Greer Garson and Laurence Olivier, is released. 1778 James Gillray is admitted to the Royal 1804 Austen starts drafting The Watsons, an Academy to study engraving. His tenure unfinished novel. 1979 The Jane Austen Society of North America overlaps that of William Blake. is founded. The majority of Gillray’s satirical engravings 1805 Austen’s father dies. appeared between 1793 and 1810. 1995 Colin Firth plays Mr. Darcy in the 1809 Austen settles at Chawton Cottage on her BBC/A&E film version ofPride and Prejudice. 1783 Austen’s brother Edward is formally brother Edward’s estate. Ang Lee’s film of Sense and Sensibility is adopted by Mr. and Mrs. Thomas Knight, nominated for an Oscar for best picture; wealthy distant cousins. 1811 Sense and Sensibility published. Emma Thompson wins an Oscar for best George iii declared insane, the prince of adapted screenplay. 1793 French Revolutionary War with England Wales (future George iv) becomes begins; France and England are at war prince regent. 2007 Becoming Jane, the first feature film inspired by almost continuously until the Battle of Austen’s life and letters, is released. Waterloo in 1815. 1813 Pride and Prejudice published. 2009 Later Manuscripts, the ninth and final volume 1794 The husband of Austen’s cousin Eliza is 1814 Mansfield Park published. -
1948-02-20, [P ]
d Friday, February 20,1948 TOLEDO UNION JOURNAL Page Five “My Girl Tisa” Esther Williams ■y ■v Battling 7 lie Keys ''-n ‘ '■! / ' * HOLLYWOOD — Esther Williams is trying to dupli cate her speed in the swim ming pool on a typewriter. The amphibious Metro- Goldwyn-Mayer star, re Fortune Tn Jewels cently returned from a per Teen-Agers Find Hollywood sonal appearance tour in Screen-Tested AVith connection with the Tech Barbara Stanwyck nicolor musical, “This Time Land Of Opportunity HOLLYWOOD — A fortune For Keeps,” is battling a January 1 deadline. HOLLYWOOD—Hollywood is the teen-agers best booster. in jewels to be worn by Barbara % In no other field of professional activity do ambitious adol Stanwyck in Hal Wallis’ “Sorry, Scheduled for summer escents get so many opportunities of putting their talents to work release> Miss Williams’ with such profitable results in keeping the piggy bank full. The Wrong Humber” was screen- 41 / fy. Ok' AA-Aa^A^A book, “Or Would You tested at Paramount when a Rather Be A Fish?” must movie-makers have long made a jractice of keeping their talent reach publishers Doubleday, scouts on the lookout fo promis quarter of a million dollars in Doran and Company, be ing teen-age material for future T7i roiving Gurred diamonds and other precious stardom. stones were photographed. 0 "W'J fore the New Year. Petite Wanda Hendrix, whose A guide to swimming, A heavy squad of studio five feet, two inches hardly ta. the book covers all angles measure up to her large abilities % police was stationed on Stage 7 of the aquatic art. -
Cinematic Representations of Eleanor Roosevelt
Skidmore College Creative Matter MALS Final Projects, 1995-2019 MALS 5-16-2015 Suffering Saint, Asexual Victorian Woman, Or Queer Icon? Cinematic Representations of Eleanor Roosevelt Angela Beauchamp Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the American Film Studies Commons, Feminist, Gender, and Sexuality Studies Commons, and the Film and Media Studies Commons Recommended Citation Beauchamp, Angela, "Suffering Saint, Asexual Victorian Woman, Or Queer Icon? Cinematic Representations of Eleanor Roosevelt" (2015). MALS Final Projects, 1995-2019. 98. https://creativematter.skidmore.edu/mals_stu_schol/98 This Thesis is brought to you for free and open access by the MALS at Creative Matter. It has been accepted for inclusion in MALS Final Projects, 1995-2019 by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Suffering Saint, Asexual Victorian Woman, Or Queer Icon? Cinematic Representations of Eleanor Roosevelt By Angela Beauchamp FINAL PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LIBERAL STUDIES SKIDMORE COLLEGE April 2015 Advisors: Thomas Lewis and Nina Fonoroff Suffering Saint, Asexual Victorian Woman, or Queer Icon? Cinematic Representations of Eleanor Roosevelt Skidmore College MALS Thesis Angela Beauchamp 4-13-2015 2 Contents lntroduction .................................................................................................................................................. -
Under Capricorn Symposium Were Each Given a 30 Minute Slot to Deliver Their Paper and Respond to Questions
Papers based on the Symposium held at Kings College, University of London, 5th & 6th September, 2019 1 Introductory Note Speakers at the Under Capricorn Symposium were each given a 30 minute slot to deliver their paper and respond to questions. In preparing for this collection, all the papers have been revised and several have been considerably developed to provide additional context, argument and analysis. Apart from changes in format introduced to create a unified document (and in one or two cases to integrate images), the papers appear as the writers submitted them. The papers are arranged in the order of the symposium programme, with one exception. Bertrand Tavernier was unfortunately unable to attend and his paper is the first the reader will encounter. Papers that do not appear in this collection are marked by an asterisk in the programme. 2 Under Capricorn at 70 King’s College, University of London th th 5 and 6 September 2019 Day 1 5 September 9:00 - 9:30 Registration 9:30 - 10:00 Welcome & Introductions 10:00 - 10:30 An Overview of Under Capricorn Stéphane Duckett 10:30 - 11:00 Hitchcock and Ireland Charles Barr * 11:00 - 11:30 Bewitched, Bothered and Bewildered. A Fairy Tale of Old Ireland Richard Blennerhassett 11:30 - 12:00 Teas & Coffees 12:00 - 12:30 Under Capricorn and Helen de Guerry Simpson Ed Gallafent 12:30 - 1:00 Under Capricorn and The Paradine Case Douglas Pye 1:00 - 2:00 Lunch 2:00 - 2:30 “Between P & B- The Past and the Bottle” or Ingrid Bergman’s Acting and Opinions on Acting Tytti Soila 2:30 - 3:00 Under Capricorn -
Hairdresser History
the HISTORY OF HAIRDRESSING By Ryan TEAL Produced by t h e Professional Beauty Association EUGENE SCHUELLER ( 1 8 8 1 - 1 9 5 7 ) Creator of Modern Hair Color Produced by t h e Professional Beauty Association EUGENE SCHUELLER Family Life Taught chemistry at the Sorbonne Approached by hairdresser in early 1900’s Converted his apartment Auréale Produced by t h e Professional Beauty Association EUGENE SCHUELLER Wealthiest industrialist in France Daily routine Controversial politics Family legacy Produced by t h e Professional Beauty Association EUGENE SCHUELLER ( 1 8 8 1 - 1 9 5 7 ) Creator of Modern Hair Color Produced by t h e Professional Beauty Association ANTONI “ANTEK ” CIERPLIKOWSKI ANTOINE DE PARIS ( 1 8 8 4 - 1 9 7 6 ) “THE HANDS OF AN ARCHITECT, AND THE EYE OF AN ARTIST” Produced by t h e Professional Beauty Association ANTOINE DE PARIS Monsieur Antoine The early years… Lilly De Moure (1904) Joan of Arc (1909) Inventor of Hairspray? Produced by t h e Professional Beauty Association ANTOINE DE PARIS Dyed his hair to Coronation of George VI match his poodles’ Died, July 1976 1924 1937 1976 1930 1973 Returned to Poland Began opening salons at Saks Fifth Avenues. 10,000 employees Produced by t h e Professional Beauty Association ANTONI “ANTEK ” CIERPLIKOWSKI ANTOINE DE PARIS ( 1 8 8 4 - 1 9 7 6 ) “THE HANDS OF AN ARCHITECT, AND THE EYE OF AN ARTIST” Produced by t h e Professional Beauty Association ANTOINE DE PARIS Protégés Sydney Guilaroff Did hair for over 400 movies (1907-1997) First hair stylist to be listed in the credits -
Filming Jane Austen PENNY GAY
Pictures of Perfection? Filming Jane Austen PENNY GAY At first glance, the glut of films and television adaptations of Jane Austen’s novels in the 1990s looks like nothing more than a massive indulgence in the chocolate-box of the Heritage Industry as we hurtle mercilessly towards the millennium and the uncertainties of the cyber-world. But there is more to it than that: each of the recent successful films is markedly different in what it takes from and what it adds to Jane Austen; each adapts the novel in order to fulfil a specific artistic agenda which meets the cultural needs of the community it envisages as audience. Why adapt an Austen novel? The simplest answer has to be that she provides many of the ingredients that have traditionally engaged audiences: a narrative that centres on the coming to maturity of a young person; a love story; moral and ethical dilemmas satisfyingly resolved. All of this takes place among people who are recognisably like ourselves in their psychological make-up, supported by a cast of lesser characters who fill a range from the gently comic to the grotesque. Austen’s world, despite the manifest differences in social structure, is that of the literate middle-class which her readers still inhabit. Further, however, there is the peculiar delight offered to readers by Austen’s narratorial voice: a wit which both tells and structures the story in such a way as to draw us into intellectual complicity, a recognition of shared cleverness, emotional insight, and wisdom. The challenge for any adaptor is to find a way of representing this voice, in order that some at least of Jane Austen’s charm might magically rub off onto this new product. -
Sexism and the Academy Awards
Tripodos, number 48 | 2020 | 85-102 Rebut / Received: 28/03/20 ISSN: 1138-3305 Acceptat / Accepted: 30/06/20 85 Oscar Is a Man: Sexism and the Academy Awards Kenneth Grout Owen Eagan Emerson College (USA) TRIPODOS 2020 | 48 This study analyzes the implicit bias of an to be nominated for a supporting the Academy Awards and Oscar’s his- performance in a Best Picture winner. toric lack of gender equity. While there This research considers these factors, are awards for Best Actor and Actress, identifies potential reasons for them, a comparative analysis of these awards and draws conclusions regarding the and the Best Picture prize reveals that decades of gender bias in the Academy a man is more than twice as likely as a Awards. Further, this study investigates woman to receive an Oscar for leading the dissolution of the Hollywood stu- work in a Best Picture. A man is also dio system and how, though brought nearly twice as likely to be nominated on in part by two of the film industry’s as a leading performer in a Best Pic- leading ladies, the crumbling of that ture winner. Supporting women in Best system ultimately hurt the industry’s Pictures fare a bit better with actual women more than its men. trophies, but, when considering nom- inations, a man is still more than one- Keywords: Oscars, Academy Awards, and-a-half times as likely as a wom- sexism, gender inequity, Best Picture. he Academy Awards have been given out annually for 92 years to, among others, the top actor and actress as voted on by the members of the film T academy. -
Free Delivery from CALL
WITH MOVIES & SPORTS FOR THE COMING WEEK Friday, February 14,1975 Video Everyday — Ait Rights Reserved — Dickinson Newspaper Services. Inc. _^I?JY,_Fjbnj»rYj5J975_ Sunday February 16.1975 11:00 AM 12:00 NOON (50) Big Time Wrestling (8) Bowling Classic 1:00 PM 1:00 PM (4-8-10-25) College Basketball: (2-3-6-25) Sports Spectacular Western Michigan at Ohio Urn* (9) Fsets Of Fishing 1:30 2:30 (10) Greatest Sports Legends 2:00 (13) Outdoors 3:00 (7 12-13-41) The American (4-8-10-25) College Basketball: Sportsman Minnesota at Michigan State 2:45 (12) Outdoors (7-12 13-41) Howard Cosell's (13) Fishing Hole Sports Magazine (41) World Of Skiing 3:00 3:30 (2-3-6-25) NBA Basketball: (3) Women's Tennis Association (7-12-13-41) Pro Bowters Tour 4:30 (7-12-1341) (2) Women's Tennis Association Racing (In Progress) (9) Canada Winter Games 5:00 3:3* "A STORY OF VIOLENT JEALOUSY" (4-6-25) Andy Williams San Diego (4) Outdoors Open 4:00 (7 12-13-41) Wide World Of Mary MacDowall, the quiet small farm. She is accused of — with a bottle of acid. (5-10) NHL Hockey: Boston vs. Sports watercress girl, violently attacks throwing acid in the face of Frank intends to be revenged Philadelphia another woman in the MASTER¬ 6:00 Elizabeth Plantney (Susan Tebbs). upon Mary for what she did to 4:30 PIECE THEATRE series COUN¬ (10) Sportsman's Friend In court, Frank Oppidan (Gareth Elizabeth. He goes to her house, (7-41) Wide World Of Sports TRY MATTERS 6:30 episode "The Thomas) explains that he had only to find that the old attraction (12) Championship Watercress Girl" (41) Celebrity Bowling Fishing Wednesday at courted Mary and been refused.