Music, Film, and Education
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Fictional Movies with Domestic Violence Themes Compiled by Nancy Flanakin, Librarian, National Center on Domestic and Sexual Violence
Fictional Movies with Domestic Violence Themes Compiled by Nancy Flanakin, Librarian, National Center on Domestic and Sexual Violence Affliction (1999) – Stars Nick Nolte. Grown man with emotional and behavior problems recalls abuse he and his mother suffered during his childhood. Available from Amazon.com. Boys on the Side (1995) – Stars Whoopi Goldberg (Jane), Mary-Louise Parker (Robin) and Drew Barrymore (Holly). Holly kills the abusive boyfriend of Jane in the course of defending her, later faces charges. A buddy/road movie that explores the special relationships that can develop among women. Available from Amazon.com. The Burning Bed (1984) – Farrah Fawcett plays a woman reaching the breaking point with her abusive and brutal husband. Based on a true story. Currently available only from dealers in used DVDs and VHS videos, such as those who sell through Amazon.com. The Color Purple (1985) – Alice Walker’s story about the growth to maturity and independence of a mistreated African-American woman in Georgia. Available from Amazon.com. Dangerous Intentions (1995) – Stars Donna Mills and Corbin Bernsen. Plot summary from “editorial review” on Amazon.com: After years of being terrorized, Beth Williamson finally finds the courage to leave her abusive husband. But where can she go that’s safe? Her parents’ home, her sister’s home - wherever Beth tries to hide, her husband finds her and beats her, each attack more savage than the last. Only when she meets Kaye, another battered wife on the run, does the nightmare look like it’s coming to an end. Looking out for each other, the two of them set up home with their children. -
A Foreign Affair (1948)
Chapter 3 IN THE RUINS OF BERLIN: A FOREIGN AFFAIR (1948) “We wondered where we should go now that the war was over. None of us—I mean the émigrés—really knew where we stood. Should we go home? Where was home?” —Billy Wilder1 Sightseeing in Berlin Early into A Foreign Affair, the delegates of the US Congress in Berlin on a fact-fi nding mission are treated to a tour of the city by Colonel Plummer (Millard Mitchell). In an open sedan, the Colonel takes them by landmarks such as the Brandenburg Gate, the Reichstag, Pariser Platz, Unter den Lin- den, and the Tiergarten. While documentary footage of heavily damaged buildings rolls by in rear-projection, the Colonel explains to the visitors— and the viewers—what they are seeing, combining brief factual accounts with his own ironic commentary about the ruins. Thus, a pile of rubble is identifi ed as the Adlon Hotel, “just after the 8th Air Force checked in for the weekend, “ while the Reich’s Chancellery is labeled Hitler’s “duplex.” “As it turned out,” Plummer explains, “one part got to be a great big pad- ded cell, and the other a mortuary. Underneath it is a concrete basement. That’s where he married Eva Braun and that’s where they killed them- selves. A lot of people say it was the perfect honeymoon. And there’s the balcony where he promised that his Reich would last a thousand years— that’s the one that broke the bookies’ hearts.” On a narrative level, the sequence is marked by factual snippets infused with the snide remarks of victorious Army personnel, making the fi lm waver between an educational program, an overwrought history lesson, and a comedy of very dark humor. -
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 -
SATURDAY MOVIES Hannah and Her Sisters DVD | Color | 1986 | 106 Min | MGM | Rated PG-13
SATURDAY MOVIES Hannah and Her Sisters DVD | Color | 1986 | 106 min | MGM | Rated PG-13 November 1, 2 p.m., 6th floor A Woody Allen Manhattan mosaic, Hannah and Her Sisters concerns the lives, loves, and infidelities among a tightly-knit artistic clan. Hannah (Farrow) regularly meets with her sisters Holly (Wiest) and Lee (Hershey) to discuss the week’s events. It’s what they don’t always tell each other that forms the film’s various subplots. Directed by Woody Allen Starring Woody Allen, Mia Farrow, Dianne Wiest, Barbara Hershey, Michael Caine, Max von Sydow, and Carrie Fisher Broadway Danny Rose DVD | Black & White | 1984 | 86 min | MGM | Rated PG November 8, 2 p.m., 6th floor Danny Rose (Allen) is a fourth rate talent agent whose client list is filled with some of the oddest acts in show business. A good-hearted loser, Danny is willing to go to extremes to keep his acts happy and get them jobs. It’s this dedication that gets him in trouble when he becomes involved with his top client’s mistress and some unfriendly gangsters who mistake Danny as her lover. Directed by Woody Allen Starring Woody Allen, Mia Farrow, Nick Apollo Forte, Paul Greco, and Frank Renzulli Film schedule continues on opposite page Elevators access the 6th floor after 1:30 p.m. All programs are free and subject to last minute change or cancellation SATURDAY MOVIES Grumpy Old Men DVD | Color | 1993 | 104 min | Warner Bros. | Rated PG-13 November 15, 2 p.m., 6th floor John and Max are elderly men living next door to each other. -
ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology. -
The File on Robert Siodmak in Hollywood: 1941-1951
The File on Robert Siodmak in Hollywood: 1941-1951 by J. Greco ISBN: 1-58112-081-8 DISSERTATION.COM 1999 Copyright © 1999 Joseph Greco All rights reserved. ISBN: 1-58112-081-8 Dissertation.com USA • 1999 www.dissertation.com/library/1120818a.htm TABLE OF CONTENTS INTRODUCTION PRONOUNCED SEE-ODD-MACK ______________________ 4 CHAPTER ONE GETTING YOUR OWN WAY IN HOLLYWOOD __________ 7 CHAPTER TWO I NEVER PROMISE THEM A GOOD PICTURE ...ONLY A BETTER ONE THAN THEY EXPECTED ______ 25 CHRISTMAS HOLIDAY _____________________________ 25 THE SUSPECT _____________________________________ 49 THE STRANGE AFFAIR OF UNCLE HARRY ___________ 59 THE SPIRAL STAIRCASE ___________________________ 74 THE KILLERS _____________________________________ 86 CRY OF THE CITY_________________________________ 100 CRISS CROSS _____________________________________ 116 THE FILE ON THELMA JORDON ___________________ 132 CHAPTER THREE HOLLYWOOD? A SORT OF ANARCHY _______________ 162 AFTERWORD THE FILE ON ROBERT SIODMAK___________________ 179 THE COMPLETE ROBERT SIODMAK FILMOGRAPHY_ 185 BIBLIOGRAPHY __________________________________ 214 iii INTRODUCTION PRONOUNCED SEE-ODD-MACK Making a film is a matter of cooperation. If you look at the final credits, which nobody reads except for insiders, then you are surprised to see how many colleagues you had who took care of all the details. Everyone says, ‘I made the film’ and doesn’t realize that in the case of a success all branches of film making contributed to it. The director, of course, has everything under control. —Robert Siodmak, November 1971 A book on Robert Siodmak needs an introduction. Although he worked ten years in Hollywood, 1941 to 1951, and made 23 movies, many of them widely popular thrillers and crime melo- dramas, which critics today regard as classics of film noir, his name never became etched into the collective consciousness. -
Costume Making Goood
By Edie Pope Costume Designer Assignment Part B - Deborah Nadoolman Landis Deborah Nadoolman Landis, known professionally as Deborah Nadoolman was born in 1952 and has been working in the film industry for over 30 years.Throughout this time she has won several award such as ‘The Edith Head Award for the Advancement and Education of the Art of Costume’ and an Academy Award for her work on Coming to America. She says that “The best costumes are the ones the audience never notices, because the designer has helped the director make the characters real enough so that the audience connects.” Pathway into costume making: Deborah Nadoolman grew up in New York City and says that’s where her love of theatre and movies began, as a child she had a very active imagination, “I could always imagine people in storybooks walking around in very detailed costumes, just going about their daily lives.” After university she started her career with theatrical design, before getting a job as an assistant for the TV network NBC, but her partnership with her husband snd director John Landis is what truly brought her attention and started her career. She has worked with John, to create many of her most iconic designs for films like Raiders of the Lost Ark and The Blues Brothers. Training: She graduated from the University of California(UCLA) in 1975, with a Master of Fine Arts in Costume Design, and also received a Ph.D in the history of design from the Royal College of Art in London. Contribution to industry: As well as designing many iconic costumes Deborah Nadoolman has also written many books on costume design and Hollywood such as; Dressed: A Century of Hollywood Costume Design(2007), and Hollywood Sketchbook: A Century of Costume Illustration, to name a few. -
Film Program
/o^ Ihe Museum of Modern Art vest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart No. 103 Thiirsday, August I8, 1966 FOR imSDflM:^ BELCA3E FILM PRfXaRAM September 1-50, 1966 Series Days Hoiirs, unless otherwise noted (T) THE THIRTIES: U.S.A. Sundays 2:00 Ss 5:30 p.m. Part I: 1930-1955 Mondays 2:00 & 5:30 p.m. (through September 30) Tuesdays 2:00 & 5:30 p.m. Thursdays 2:00, 5:30 & 8:00 p.m. Fridays 2:00 & 5:30 Saturdays 11:30 a.m., 3:00 & 5:30 p.m. (W) WEDNESDAYS AT NOON (continuing) Wednesdays 12:00 noon (A) Fn^ FROM THE ARCHIVE(continuing)Wedne8days 2:00 & 5:30 p.m. Thurs. Sept. 1- (T) DaC3K SOUP (1933); directed by Leo McCarey, with the Marx Broth Fri. Sept. 2 ers and Miargaret Dumont. 70 min. Sat. Sept. 3 - (T) ROMAN SCANDALS (1933)> directed by Frank Tuttle, with Eddie Sun. Sept. k Cantor, Ruth Etting, Gloria Stijart. Distributed by Brandon Films, Inc. 92 min. Mon. Sept. 5 - (T) DAVID HARUM (l93^)/ directed by James Cruze, with Louise Tues. Sept. 6 Dresser, Will Rogers, Evelyn Venable. 85 min. Wed. Sept. T **(w) *ANAEMIC (ymmk (1926), by Marcel Duchamp. 7 min. LE MDNDE DE PAUL DELVAUX (l9^), directed by Henri Storck.lOmin. MAGRUTE - THE OBJECT LESSON (I965), produced and directed by Luc de Heusch. English narration by Alan Schmer. 15 min. ALBERTO GIACOMEITI (1966), produced by Sumner Glimcher, directed by S. Chasmar, music by Arnold Ganson. 15 min. (A) BILDDOKUMENTE (1935). A compilation of German newsreels from 1912 to 1918 edited by Frank Hensel during the Nazi regime, if5 min. -
Owners, Kentucky Derby (1875-2017)
OWNERS, KENTUCKY DERBY (1875-2017) Most Wins Owner Derby Span Sts. 1st 2nd 3rd Kentucky Derby Wins Calumet Farm 1935-2017 25 8 4 1 Whirlaway (1941), Pensive (’44), Citation (’48), Ponder (’49), Hill Gail (’52), Iron Liege (’57), Tim Tam (’58) & Forward Pass (’68) Col. E.R. Bradley 1920-1945 28 4 4 1 Behave Yourself (1921), Bubbling Over (’26), Burgoo King (’32) & Brokers Tip (’33) Belair Stud 1930-1955 8 3 1 0 Gallant Fox (1930), Omaha (’35) & Johnstown (’39) Bashford Manor Stable 1891-1912 11 2 2 1 Azra (1892) & Sir Huon (1906) Harry Payne Whitney 1915-1927 19 2 1 1 Regret (1915) & Whiskery (’27) Greentree Stable 1922-1981 19 2 2 1 Twenty Grand (1931) & Shut Out (’42) Mrs. John D. Hertz 1923-1943 3 2 0 0 Reigh Count (1928) & Count Fleet (’43) King Ranch 1941-1951 5 2 0 0 Assault (1946) & Middleground (’50) Darby Dan Farm 1963-1985 7 2 0 1 Chateaugay (1963) & Proud Clarion (’67) Meadow Stable 1950-1973 4 2 1 1 Riva Ridge (1972) & Secretariat (’73) Arthur B. Hancock III 1981-1999 6 2 2 0 Gato Del Sol (1982) & Sunday Silence (’89) William J. “Bill” Condren 1991-1995 4 2 0 0 Strike the Gold (1991) & Go for Gin (’94) Joseph M. “Joe” Cornacchia 1991-1996 3 2 0 0 Strike the Gold (1991) & Go for Gin (’94) Robert & Beverly Lewis 1995-2006 9 2 0 1 Silver Charm (1997) & Charismatic (’99) J. Paul Reddam 2003-2017 7 2 0 0 I’ll Have Another (2012) & Nyquist (’16) Most Starts Owner Derby Span Sts. -
Executive Director Artistic Director Donna Welcome to the Thrilling Ojai Film Festival
Welcome to the 18th Ojai Film Festival There’s no place like home ... Let me find yours. Executive Director Artistic Director Donna Welcome to the thrilling Ojai Film Festival. Welcome to the eighteenth annual Ojai Film Festival! More than 80 films will be screened along with Throughout our history, we have programmed a great workshops and special programs spotlighted diversity of unique motion pictures from around the with famed cinematographer Johnny E. Jensen, world, including many that would otherwise have actors Ed Asner and Cloris Leachman. been inaccessible. At the same time, our festival Maryse Gartner Steve Grumette provides a valuable service to filmmakers by giving This year we received over 80 screenplays for our second RE/MAX GoldSallen Coast Realtors them access to a sophisticated and highly appreciative audience that 805-798-0516 annual Screenwriter’s Competition. We will host the popular includes film industry professionals who can help guide their careers. Live Screenplay Read to showcase the winning script on Sunday, November 5. Come join us! The Ojai Film Festival has chosen to identify itself with the theme “Enriching the Human Spirit Through Film.” While any great work The 18th annual Film Festival is a culmination of what has of art enriches the spirit, we decided to give special preference to already been a busy year with three programs: the Women In films that explore the human condition; films that broaden our Film Legacy Film with Piper Laurie in March, two animation understanding of our place in the world and encourage us to exert workshops in June, and the International Ocean Film Tour in a constructive influence on our planet and its people. -
Quentin Tarantino Retro
ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director. -
Critical Costume 2018 Book of Abstracts and Biographies (In
Critical Costume 2018 Book of Abstracts and Biographies (In alphabetical order of surname) Laurence Ayi En découdre A film extracted from a four hour duration performance where I’m unstitching a woman’s suit. The french title is "En découdre’’ which could be translated in "To unstitch" but really means "in battle”. Duration : 4’32’’ "En découdre" happens in the space of an operating theater. It is a question of having to do it entirely with the object / patient and since from this act, nothing will be left, except the void contained in the object, the intention might be to stage a graft: recovery of the object in the juxtaposition of its parts (the concept of me-skin of Anzieu) or body-unity, where the self is constituted of an imaginary that unifies (partial objects), recycling (more political deconstruction ... Or to stage an autopsy, where there, the body / suit will be the object of a waste… Bio: Laurence Ayi is a set and costume designer and visual artist. She develops work around clothing as a metaphorical space, container of an inner theatricality that emerges as a living painting set in (e)motion thereby put into action by the viewer's gaze and imagination. The object-costume is an actor. Currently a part-time lecturer at the university of arts Laurence Ayi is also in the second year of a PHD degree at the CNSAD-PSL (Conservatoire National Supérieur d'art dramatique de Paris - and Paris-Sciences et Lettres). Her thesis subject is The ritual of dressing as mechanism of transition from clothing to the costume.