2012 Conference Program
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The Rise of a Confident Hollywood: Risk and the Capitalization of Cinema’, Review of Capital As Power, Vol
THE RISE OF A CONFIDENT HOLLYWOOD Suggested citation: James McMahon (2013), ‘The Rise of a Confident Hollywood: Risk and the Capitalization of Cinema’, Review of Capital as Power, Vol. 1, No. 1, pp. 23-40. The Rise of a Confident Hollywood: Risk and the Capitalization of Cinema1 JAMES MCMAHON Nature ceased to be inscrutable, subject to demonic incursions from another world: the very essence of Nature, as freshly conceived by the new scientists, was that its sequences were orderly and therefore predictable: even the path of a comet could be charted through the sky. It was on the model of this external physical order that men began systematically to reorganize their minds and their practical activities: this carried further, and into every department, the precepts and practices empirically fostered by bourgeois finance. Like Emerson, men felt that the universe itself was fulfilled and justified, when ships came and went with the regularity of heavenly bodies. - Lewis Mumford, Technics and Civilization he Hollywood film business, like any other business enterprise, operates according to the logic of capitalization. Capitalization in an instrumental logic T that is forward-looking in its orientation. Capitalization expresses the present value of an expected stream of future earnings. And since the earnings of the Hollywood film business depend on cinema and mass culture in general, we can say that the current fortunes of the Hollywood film business hinge on the future of cinema and mass culture. The ways in which pleasure is sublimated through mass culture, and how these ways may evolve in the future, have a bearing on the valuation of Hollywood’s control of filmmaking. -
Cutting Patterns in DW Griffith's Biographs
Cutting patterns in D.W. Griffith’s Biographs: An experimental statistical study Mike Baxter, 16 Lady Bay Road, West Bridgford, Nottingham, NG2 5BJ, U.K. (e-mail: [email protected]) 1 Introduction A number of recent studies have examined statistical methods for investigating cutting patterns within films, for the purposes of comparing patterns across films and/or for summarising ‘average’ patterns in a body of films. The present paper investigates how different ideas that have been proposed might be combined to identify subsets of similarly constructed films (i.e. exhibiting comparable cutting structures) within a larger body. The ideas explored are illustrated using a sample of 62 D.W Griffith Biograph one-reelers from the years 1909–1913. Yuri Tsivian has suggested that ‘all films are different as far as their SL struc- tures; yet some are less different than others’. Barry Salt, with specific reference to the question of whether or not Griffith’s Biographs ‘have the same large scale variations in their shot lengths along the length of the film’ says the ‘answer to this is quite clearly, no’. This judgment is based on smooths of the data using seventh degree trendlines and the observation that these ‘are nearly all quite different one from another, and too varied to allow any grouping that could be matched against, say, genre’1. While the basis for Salt’s view is clear Tsivian’s apparently oppos- ing position that some films are ‘less different than others’ seems to me to be a reasonably incontestable sentiment. It depends on how much you are prepared to simplify structure by smoothing in order to effect comparisons. -
Download the Report
Oregon Cultural Trust fy2011 annual report fy2011 annual report 1 Contents Oregon Cultural Trust fy2011 annual report 4 Funds: fy2011 permanent fund, revenue and expenditures Cover photos, 6–7 A network of cultural coalitions fosters cultural participation clockwise from top left: Dancer Jonathan Krebs of BodyVox Dance; Vital collaborators – five statewide cultural agencies artist Scott Wayne 8–9 Indiana’s Horse Project on the streets of Portland; the Museum of 10–16 Cultural Development Grants Contemporary Craft, Portland; the historic Astoria Column. Oregonians drive culture Photographs by 19 Tatiana Wills. 20–39 Over 11,000 individuals contributed to the Trust in fy2011 oregon cultural trust board of directors Norm Smith, Chair, Roseburg Lyn Hennion, Vice Chair, Jacksonville Walter Frankel, Secretary/Treasurer, Corvallis Pamela Hulse Andrews, Bend Kathy Deggendorfer, Sisters Nick Fish, Portland Jon Kruse, Portland Heidi McBride, Portland Bob Speltz, Portland John Tess, Portland Lee Weinstein, The Dalles Rep. Margaret Doherty, House District 35, Tigard Senator Jackie Dingfelder, Senate District 23, Portland special advisors Howard Lavine, Portland Charlie Walker, Neskowin Virginia Willard, Portland 2 oregon cultural trust December 2011 To the supporters and partners of the Oregon Cultural Trust: Culture continues to make a difference in Oregon – activating communities, simulating the economy and inspiring us. The Cultural Trust is an important statewide partner to Oregon’s cultural groups, artists and scholars, and cultural coalitions in every county of our vast state. We are pleased to share a summary of our Fiscal Year 2011 (July 1, 2010 – June 30, 2011) activity – full of accomplishment. The Cultural Trust’s work is possible only with your support and we are pleased to report on your investments in Oregon culture. -
HBO and the HOLOCAUST: CONSPIRACY, the HISTORICAL FILM, and PUBLIC HISTORY at WANNSEE Nicholas K. Johnson Submitted to the Facul
HBO AND THE HOLOCAUST: CONSPIRACY, THE HISTORICAL FILM, AND PUBLIC HISTORY AT WANNSEE Nicholas K. Johnson Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of History, Indiana University December 2016 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. Master’s Thesis Committee __________________________________ Raymond J. Haberski, Ph.D., Chair __________________________________ Thorsten Carstensen, Ph.D. __________________________________ Kevin Cramer, Ph.D. ii Acknowledgements First, I would like to thank the members of my committee for supporting this project and offering indispensable feedback and criticism. I would especially like to thank my chair, Ray Haberski, for being one of the most encouraging advisers I have ever had the pleasure of working with and for sharing his passion for film and history with me. Thorsten Carstensen provided his fantastic editorial skills and for all the times we met for lunch during my last year at IUPUI. I would like to thank Kevin Cramer for awakening my interest in German history and for all of his support throughout my academic career. Furthermore, I would like to thank Jason M. Kelly, Claudia Grossmann, Anita Morgan, Rebecca K. Shrum, Stephanie Rowe, Modupe Labode, Nancy Robertson, and Philip V. Scarpino for all the ways in which they helped me during my graduate career at IUPUI. I also thank the IUPUI Public History Program for admitting a Germanist into the Program and seeing what would happen. I think the experiment paid off. -
A Free Emigrant Road 1853: Elijah Elliott's Wagons
Meek’s Cutoff: 1845 Things were taking much longer than expected, and their Macy, Diamond and J. Clark were wounded by musket supplies were running low. balls and four horses were killed by arrows. The Viewers In 1845 Stephen Hall Meek was chosen as Pilot of the 1845 lost their notes, provisions and their geological specimens. By the time the Train reached the north shores of Harney emigration. Meek was a fur trapper who had traveled all As a result, they did not see Meek’s road from present-day Lake, some of the men decided they wanted to drive due over the West, in particular Oregon and California. But Vale into the basin, but rode directly north to find the west, and find a pass where they could cross the Cascade after a few weeks the independently-minded ‘45ers decided Oregon Trail along Burnt River. Mountains. Meek was no longer in control. When they no Pilot was necessary – they had, after all, ruts to follow - Presented by Luper Cemetery Inc. arrived at Silver River, Meek advised them to turn north, so it was not long before everyone was doing their own Daniel Owen and follow the creek to Crooked River, but they ignored his thing. Great-Grandson of Benjamin Franklin “Frank” Owen advice. So the Train headed west until they became bogged down at the “Lost Hollow,” on the north side of Wagontire Mountain. Here they became stranded, because no water could be found ahead, in spite of the many scouts searching. Meek was not familiar with this part of Oregon, although he knew it was a very dry region. -
Have Gun, Will Travel: the Myth of the Frontier in the Hollywood Western John Springhall
Feature Have gun, will travel: The myth of the frontier in the Hollywood Western John Springhall Newspaper editor (bit player): ‘This is the West, sir. When the legend becomes fact, we print the legend’. The Man Who Shot Liberty Valance (dir. John Ford, 1962). Gil Westrum (Randolph Scott): ‘You know what’s on the back of a poor man when he dies? The clothes of pride. And they are not a bit warmer to him dead than they were when he was alive. Is that all you want, Steve?’ Steve Judd (Joel McCrea): ‘All I want is to enter my house justified’. Ride the High Country [a.k.a. Guns in the Afternoon] (dir. Sam Peckinpah, 1962)> J. W. Grant (Ralph Bellamy): ‘You bastard!’ Henry ‘Rico’ Fardan (Lee Marvin): ‘Yes, sir. In my case an accident of birth. But you, you’re a self-made man.’ The Professionals (dir. Richard Brooks, 1966).1 he Western movies that from Taround 1910 until the 1960s made up at least a fifth of all the American film titles on general release signified Lee Marvin, Lee Van Cleef, John Wayne and Strother Martin on the set of The Man Who Shot Liberty Valance escapist entertainment for British directed and produced by John Ford. audiences: an alluring vision of vast © Sunset Boulevard/Corbis open spaces, of cowboys on horseback outlined against an imposing landscape. For Americans themselves, the Western a schoolboy in the 1950s, the Western believed that the western frontier was signified their own turbulent frontier has an undeniable appeal, allowing the closing or had already closed – as the history west of the Mississippi in the cinemagoer to interrogate, from youth U. -
Jeannette Baum AUGUST STANGE and STANGE
Jeannette Baum AUGUST STANGE AND STANGE MANOR JB: As I recall, Mr. And Mrs. Stange came to La Grande with their two daughters. They lived in a house now occupied by the Chinese restaurant on Fourth Street while they were building their lovely manor on the hill. That was about 1910. I: I believe the Mt. Emily Lumber Company was started by August Stange. JB: That is correct. He bought Bowman Hicks Lumber and renamed it Mt. Emily Lumber. I: Do you know why they came to La Grande specifically? JB: I suppose for lumber. I: Perhaps he learned of the sale of Bowman Hicks through a national advertisement? JB: That could be. The same thing happened with Mr. Hoffman. He was in Tennessee, and came west to take advantage of the timber. He bought a lumberyard in Union. These people came west to take advantage of a more lucrative situation. I: Did you ever hear of a brother who may have been here before August arrived? JB: I was never aware of a brother. I: When did you first meet or learn about the Stanges? JB: We came to La Grande after the war. You didn’t come into La Grande and not know about the Stanges because their house, itself, attracted attention. David, my husband, admired the house so extensively I think that, in the back of his mind, he thought he would own that house. The first time I saw the house inside is when we went to look at it in early 1962, when it went on the market. -
Nicole Lawrence Thesis
The Pennsylvania State University The Graduate School College of Communications SASSY COWS AND MAGICAL JUJU: REPRESENTATIONS OF RACE AND ETHNICITY ON THREE NICKTOONS PROGRAMS A Thesis in Media Studies by Nicole M. Lawrence © 2012 Nicole M. Lawrence Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts December 2012 ii The thesis of Nicole M. Lawrence was reviewed and approved* by the following: Matthew P. McAllister Professor of Communications Thesis Adviser Matthew F. Jordan Associate Professor of Communications Michael Elavsky Associate Professor of Communications Marie Hardin Associate Dean for Graduate Studies and Research *Signatures are on file in the Graduate School. iii ABSTRACT This thesis critiques programming on the children’s media channel Nicktoons for patterns of racial representation -- including the presence of stereotyping -- in characters. As research has shown that representation of ethnicity may be especially influential to children viewers, and that there are precedents for problematic racial representations in popular media, including children's media, the continued examination of patterns of racial-ethnic group member representation and stereotyping in character depictions has significant implications. Utilizing textual analysis, three Nicktoons’ programs are examined for racialized constructions of characters, including constructions with hegemonic and ethnocentric implications. The thesis argues that three programs, Back at the Barnyard, Avatar: The Last Airbender, and Tak and the Power of JuJu problematically construct analogies of African Americans, Asians, and native peoples, respectively. The constructions in these Nicktoons programs typically “other” these groups when contrasted to dominant white culture -- or at least the animated stand-ins for dominant white culture -- and imply cultural hierarchies in which white culture is superior and/or the norm. -
Sun Valley Film Festival Announces Its Awards For
Oct-14 Nov-14 Dec-14 Jan-15 Feb-15 Mar-15 Website Unique Visitors 2607 4029 4611 7549 5327 6313 Website Total Visits 3944 5566 6568 9160 7892 9292 Website Pages 11961 12480 14516 20891 18380 21002 Website Statistics Q2 25000 20000 15000 10000 5000 0 Oct-14 Nov-14 Dec-14 Jan-15 Feb-15 Mar-15 Website Unique Visitors Website Total Visits Website Pages DATE: March 31, 2015 TO: HAILEY CHAMBER OF COMMERCE INVOICE: PR/COMMUNICATIONS SERVICES FOR 2015 SUN VALLEY FILM FESTIVAL November 2014 – March 2015 AMOUNT: $2500.00 Payable net 30 days DETAIL OF SERVICES: STRATEGIC PUBLIC RELATIONS EFFORTS: 1. Media Outreach Actively pursue targeted pitches to key local, regional and national consumer, travel, arts, ski media . Local & regional media/online sites – arrange for media interviews with SVFF staff as feasible . National & Regional consumer travel, arts, ski media (print, online, TV, radio, bloggers, etc) . Develop PR strategic plan and schedule with SVFF marketing director . Press release outreach/distribution to regional/national media outlets (Note: Film & Entertainment consumer/trade media outreach to be handled by BWR PR) SVFF Announcement Party – Boise – Feb 15 . Represent SVFF at the event, work with media on coverage prior, during, post-event 3. Media Assistance Assist with key targeted media invited to attend and cover the SVFF . Identify target list with SVFF/BWR, extend invites, secure ITC funds for media travel & lodging costs, secure in-kind lodging for media with SV Resort, coordinate other arrangements as needed Press Credentialing/Press Materials & Assistance . Set up online press credential application form, review applications, confirm credentials/details . -
Historical Grant Purchases - FY2014-15
17 SW Frazer Ave., Suite 360 PO Box 1689 Pendleton, OR 97801 Phone (541) 276-6449 Historical Grant Purchases - FY2014-15 Item Title Format ISBN Library/Libraries Accidental cowgirl Book Helix PL Accidental cowgirl rides again Book Helix PL All around and the 13th juror / Rick Steber Book 9780945134428 Adams PL American dreamers : how two Oregon farm kids transformed an industry, a community, and a university / Austin Book Echo PL Astoria : John Jacob Astor and Thomas Jefferson’s lost Pacific Empire : a story of wealth, ambition, and survival / Peter Stark Book Echo PL Badger and Coyote were neighbors : Melville Jacobs on Northwest Indian myths and tales / William R. Seaburg Book Umatilla PL Basalt City / Lawrence Hobart Book 1480276081 Hermiston PL Betty Feves : generations / Betty Feves, Namita Gupta Wiggers, Damara Bartlett, et. al. Book Pendleton PL Bigfoot casebook updated : sightings and encounters from 1818 to 2004 / Janet Bord Book Umatilla PL Bound for Oregon / Jean VanLeeuwen Book Helix PL Building the Columbia River Highway : they said it couldn’t be done / Peg Willis Book 9781626192713 Adams PL Burning fences : a western memoir of fatherhood / Craig Lesley Book Stanfield PL Caught in the crosshairs : a true eastern Oregon mystery / Rick Steber Book 9780945134398 Helix PL, Stanfield PL Conrad and the cowgirl next door / Denette Fretz Book 9780310723493 Adams PL Discovering Main Street : travel adventures in small towns in the Northwest / Foster Church Book Umatilla PL Dreams of the West : a history of the Chinese in Oregon 1850-1950 Book 9781932010138 Athena PL, Hermiston PL Finding her way / Leah Banicki Book Ukiah Lib. -
V23N5 2012.Indd
Six men, two dories and the North Atlantic Why it’s an apt analogy for Atlantic Canada’s film industry and its place on the global stage. 52 | Atlantic Business Magazine | September/October 2012 By Stephen Kimber dawn in the nowhere It’s middle of the Atlantic ocean. How many days have they been drifting out here? Dickie – at 17, the youngest crew member – is supposed to be keeping watch. But he’s asleep, sprawled out in the bow of one of the two dories, his head lolling over the gunwhale. He wakes with a guilty start, stares, tries to make sense of the endless nothingness of dark-blue sea and flat grey sky. Wait! What’s that? On the horizon. A speck? Another vessel? A mirage? He looks back into his dory where his father, Merv, and Pete, the harpooner, are curled up asleep, and then across to the other dory where Gerald, Mannie and Gib are sleeping too. Finally, he decides. He reaches out, whispers, “Pete… Pete.” Pete wakes, growls: “What?” Dickie can only point. Pete sees what Dickie sees. He throws off his blanket, jumps to his feet. “There’s a boat,” he says, then louder, as if convincing himself. “There’s a boat. THERE’S A BOAT!” He’s screaming now, rousing the others. Gerald, the captain, immediately assumes command, scrambling to find the fog horn he’d rescued when their fishing boat sank. He blows a blast. Then another. The rest of the men grab for the oars. Mannie, the first mate, struggles to bring order to their chaos. -
SFX’S Horror Columnist Peers Into If You’Re New to the Netflix Catherine Zeta-Jones Movie
DOCTOR WHO JODIE WHITTAKER EXCLUSIVE SCI-FI 306 DAREDEVIL SEASON 3 On set with Over 30 pages the Man of pure terror! Without Fear featuring EXCLUSIVE! HALLOWEEN Jamie Lee Curtis and SUSPIRIA CHILLING John Carpenter on the ADVENTURES OF SABRINA return of Michael Myers THE HAUNTING OF HILL HOUSE OVERLORD BRUCE CAMPBELL SLAUGHTERHOUSE RULEZ AND LOADS MORE SCARES! ISSUE 306 NOVEMBER Contents2018 34 56 61 68 HALLOWEEN CHILLING DRACUL DOCTOR WHO Jamie Lee Curtis and John ADVENTURES Bram Stoker’s great-grandson We speak to the new Time Lord Carpenter tell us about new OF SABRINA unearths the iconic vamp for Jodie Whittaker about series 11 Michael Myers sightings in Remember Melissa Joan Hart another toothsome tale. and her Heroes & Inspirations. Haddonfield. That place really playing the teenage witch on CITV needs a Neighbourhood Watch. in the ’90s? Well this version is And a can of pepper spray. nothing like that. 62 74 OVERLORD TADE THOMPSON A WW2 zombie horror from the The award-winning Rosewater 48 56 JJ Abrams stable and it’s not a author tells us all about his THE HAUNTING OF Cloverfield movie? brilliant Nigeria-set novel. HILL HOUSE Shirley Jackson’s horror classic gets a new Netflix treatment. 66 76 Who knows, it might just be better PENNY DREADFUL DAREDEVIL than the 1999 Liam Neeson/ SFX’s horror columnist peers into If you’re new to the Netflix Catherine Zeta-Jones movie. her crystal ball to pick out the superhero shows, this third season Fingers crossed! hottest upcoming scares. is probably a bad place to start.