DOCSLIB.ORG

2021 MOVIE PROGRAM June 25

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2021 MOVIE PROGRAM June 25 2021 MOVIE SHOWTIMES PROGRAM CHANGE 1 DAILY! June 25 - July 12 June 25 - July 12 Shorty after the Civil War, Captain Jefferson Kyle Kidd (Tom Hanks) discovers a 10-year-old girl (Helena Zengel) who was abducted by the Kiowa people years before. With her parents long gone and nowhere else for her to go, Kidd Fri. 6/25 3:00 agrees to escort the child to live with her aunt and uncle. "Everyone here is at the top of their craft from the character Sat. 6/26 6:00 actors who populate the ensemble to the two leads at its center to everyone behind the camera, and you can feel Sun. 6/27 6:00 that from first frame to last." -Brian Tallerico, RogerEbert.com "Words have power, and Kidd - like [director Paul] Greengrass and Hanks - knows how to use them." -Bill Goodykoontz, Arizona Republic "Soulful, steady, stirring." Mon. 6/28 9:00 -David Rooney, Hollywood Reporter (PG-13, 118m) Starring Kate Winslet as reclusive paleontologist Mary Anning, and Saoirse Ronan as Charlotte, a younger woman entrusted in her care, writer/director Francis Lee's (God's Own Country) period piece "is many things, all of them Fri. 6/25 6:00 remarkable: a queer romance that finds passion in austerity; a biopic that strips away most details of Anning's career Sat. 6/26 3:00 while honoring its spirit; and a portrait of genius thwarted by gender." -Joe Morgenstern, Wall Street Journal "Like Sun. 6/27 9:00 Mary and the sea rocks she tends, Ammonite's hard exterior eventually gives way to something beautiful." -Esther Mon. 6/28 6:00 Zuckerman, Thrillist "A film of earthy, robust sensuality." -Ryan Gilbey, New Statesman (R, 120m) Winner of many, many awards including 3 Oscars, Chinese-born director Chloe Zhao's film is "a road movie like no other...a modest masterpiece like no other. Beautifully unadorned and heart-in-your-mouth stirring, it's leisurely yet Tue. 6/29 6:00 urgent, with a singular tone that lies somewhere between elegy and hope." -Joe Morgenstern, Wall Street Journal. Wed. 6/30 6:00 "Frances McDormand plays Fern with a quiet ferocity, ultimately delivering a gut-punch of a performance." -Barry Hertz, Globe and Mail "One of the most accomplished films of the year, an emotional tour de force that moves you but Thu. 7/1 2:55 8:55 never imposes or manipulates." -Wenlei Ma, News.com.au (R, 108m) Based on remarkable true events, Birds Of Prey director Cathy Yan’s masterful feature debut is a bitingly humorous social satire about the trials and tribulations connecting a disparate group of characters in the midst of a nationwide Tue. 6/29 8:50 mystery. "An antidote to China's weightier arthouse output, settling the stomach after too much stolid social realism, Wed. 6/30 2:50 8:50 effervescent as an alka-seltzer." -Jessica Kiang, Variety “Thoroughly enjoyable...arises as the origin chapter of a great storyteller and an opportune mosaic of people in a rapidly transforming superpower.” –Carlos Aguilar, Los Angeles Thu. 7/1 5:45 Times "Delightfully quirky." -Justin Lowe, Hollywood Reporter (NR, 130m. In Mandarin with subtitles.) Virtuoso Afro-Cuban-born brothers, violinist Ilmar and pianist Aldo López-Gavilán, live on opposite sides of a geopolitical chasm a half-century wide. Tracking their parallel lives in New York and Havana, their poignant reunion, Fri. 7/2 4:05 6:30 and their momentous first performances together,Marcia Jarmel and Ken Schneider's documantary offers a nuanced, Sat. 7/3 9:00 often startling view of estranged nations through the lens of music and family. Features performaces recorded live Sun. 7/4 6:30 in the Chautauqua Institution Amphitheater! "I really enjoyed this movie. It's a well-made film... Anyone who loves Mon. 7/5 3:35 music, especially from Cuba, will appreciate it." -Claudia Puig, NPR (NR, 84m) A tender and sweeping story about what roots us, writer/director Lee Isaac Chung's film follows a Korean-American family that moves to a farm in the Ozarks, in search of their own American Dream. "The details, the child's-eye-view Fri. 7/2 9:00 episodes, the calamities, the tenderly remembered touches, all sing together like a choir." -Peter Bradshaw, Guardian Sat. 7/3 6:00 "Flows through a river of emotions in a natural, understated way that belies the effort that must have gone into their Sun. 7/4 3:35 creation. It's an artistic triumph, as well as a crowd pleaser." -Leonard Maltin, leonardmaltin.com "In creating a filmic Mon. 7/5 6:00 love letter to his own family, Chung has crafted one for us all." -Moira MacDonald, Seattle Times (PG-13, 115m) Robert (Richard Jenkins) and Theresa (Debra Winger) are con artists who have spent 26 years training their only daughter (Evan Rachel Wood), to swindle, scam and steal at evry turn. During a desperate and hastily conceived Tue. 7/6 9:00 heist, they charm a stranger (Gina Rodriguez) into joining them, only to have their entire world turned upside down. Wed. 7/7 8:30 Director Miranda July (Me and You and Everyone We Know) "...has made her best feature." -Donald Clarke, Irish Times "Funny, poignant and ultimately triumphant." -Ann Hornaday, Washington Post "It's a movie about love, and Thu. 7/8 3:30 6:15 loneliness, and it's funny and bittersweet and beautiful." -Alissa Wilkinson, Vox (R, 104m) Classic Film Series! Writer/director Preston Sturges screwball comedy from 1941 stars Barbara Stanwyck and Henry Fonda as a mismatched pair who meet on board an ocean liner. "Laugh entertainment of top proportions with its combo of slick situations, spontaneous dialog and a few slapstick falls tossed in for good measure." -Variety Staff Wed. 7/7 6:00 "Romantic comedy perfection" --Nell Minow, Movie Mom "Barbara Stanwyck is the sexiest con woman ever captured on film." -Joe Morgenstern, Wall Street Journal (NR, 97m) Director/cinematographer Louie Schwartzberg's documentary is a descriptive time-lapse journey into the magical, mysterious and medicinal world of fungi and their power to heal, sustain and contribute to the regeneration of life on Tue. 7/6 6:35 Earth. Narrated by Brie Larson. "One of the year's most mind-blowing, soul-cleansing and yes, immensely entertaining Wed. 7/7 3:40 triumphs!" -Matt Fagerholm, rogerebert.com "Startling in the natural beauty it reveals." -Joe Morgenstern, Wall Street Journal "Eye-opening eye candy." -John DeFore, Hollywood Reporter "Chances are you'll never look at a mushroom Thu. 7/8 9:00 in the same way again." -Leah Pickett, Chicago Reader (NR, 81m) This is the inspiring true story of Dream Alliance, a race horse bred by small town bartender, Jan Vokes (Toni Collette). With very little money and no experience, Jan convinces her neighbors to chip in their meager earnings to Fri. 7/9 3:15 9:00 help raise the horse and compete with racing elites. "The racetrack tale's uplifting story, heartwarming moments and Sat. 7/10 6:00 beautiful scenery pay off in a big way." -Richard Roeper, Chicago Sun-Times "An unabashed crowd-pleaser directed Sun. 7/11 6:00 by Euros Lyn, earns its smiles and cheers." -Glenn Kenny, New York Times "Its message is really about finding a Mon. 7/12 6:00 reason to get up in the morning--and where's the harm in that?" -Michael O'Sullivan, Washington Post (PG, 113m) Oscar Winner for Best International Feature! "A peak-form Mads Mikkelsen stars in this hilarious and heartbreaking spellbinder as a Copenhagen high school teacher who thinks day drinking might sharpen his faculties." -Peter Travers, Fri. 7/9 6:00 ABC News "[Writer/Director] Thomas Vinterberg is incredibly astute when it comes to how humans behave in Sat. 7/10 9:00 extraordinary circumstances." -Wenlei Ma, News.com.au "A breath of fresh air for anyone who has been starving for Sun. 7/11 3:00 9:00 intelligent entertainment. It's invigorating and completely credible." -Leonard Maltin, leonardmaltin.com "Audaciously Mon. 7/12 9:00 provocative and wickedly funny." -Dominic Corry, Chicago Sun-Times (NR, 117m) COMING SOON: IN THE HEIGHTS HERE TODAY JUDAS AND THE BLACK MESSIAH STRAY SHIVA BABY.
Load more

Recommended publications
  • Hollywood and Film Critics
    Hollywood and film critics: Is journalistic criticism about cinema now a part of the culture industry helping economy more than art? Argo: a case study of the movie and film reviews published in the printed media in United States student: Seyedjavad Rasooli Tutor: Jaume Soriano Coordinator: María Dolores Montero Sánchez DEPARTAMENTO DE MEDIOS, COMUNICACIÓN Y CULTURA Barcelona, September de 2015 Table of Contents Abstract ...................................................................................................................4 Introduction ............................................................................................................. 5 Theoretical Framework ............................................................................................. 6 Frankfurt School and Critical theory ......................................................................................... 6 The concept of culture industry................................................................................................ 8 The Culture Industry and Film................................................................................................. 11 About Hollywood .................................................................................................................... 12 Hollywood and Ideology.......................................................................................................... 15 About Film Critic Genre..........................................................................................................
    [Show full text]
  • Evidence from Movie Reviews
    Does Media Concentration Lead to Biased Coverage? Evidence from Movie Reviews∗ Stefano DellaVigna Alec Kennedy UC Berkeley and NBER San Francisco Federal Reserve Bank [email protected] [email protected] September 14, 2011 Abstract Fueled by the need to cut costs in a competitive industry, media companies have be- come increasingly concentrated. But is this consolidation without costs for the quality of information? Concentrated media companies generate a conflict of interest: a media outlet can bias its coverage to benefit companies in the same group. We test empirically for bias by examining movie reviews by media outlets owned by News Corp.–such as the Wall Street Journal–and by Time Warner–such as Time.Wefind a statistically significant, if small, bias in the review score for 20th Century Fox movies in the News Corp. outlets. We detect no bias for Warner Bros. movies in the reviews of the Time Warner outlets, but find instead some evidence of bias by omission: the media in this group are more likely to review highly-rated movies by affiliated studios. Using the wealth of detail in the data, we present evidence regarding bias by individual reviewer, and also biases in the editorial assignment of review tasks. We conclude that reputation limits the extent of bias due to conflict of interest, but that nonetheless powerful biasing forces are at work due to consolidation in the media industry. ∗PRELIMINARY AND INCOMPLETE, DO NOT CITE WITHOUT PERMISSION. Ivan Balbuzanov and Xiaoyu Xia provided excellent research assistance. We thank audiences at UC Berkeley for very helpful com- ments.
    [Show full text]
  • New Hollywood As Political Discourse
    CAPTURING TURMOIL: NEW HOLLYWOOD AS POLITICAL DISCOURSE by DANA ALSTON A THESIS Presented to the Department of Cinema Studies and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2018 An Abstract of the Thesis of Dana Alston for the degree of Bachelor of Arts in the Department of Cinema Studies to be taken June 2018 Title: Capturing Turmoil: New Hollywood as Political Discourse Approved: _______________________________________ Dr. Erin Hanna This thesis is an argumentative close analysis of themes, aesthetics, and political meanings within three New Hollywood films. It emerged out of an interest in the films of the 1960s and 70s and the changes within that era’s film industry. Those changes granted young, educated filmmaker opportunities to helm studio-driven projects, weaving material into their narratives that would have been impossible in a system ruled by the Hollywood Production Code. The era also included significant social and political unrest, and the films therein reflect that reality. In this project, I perform content analyses for three films within the New Hollywood movement — Bonnie and Clyde (1967), Dog Day Afternoon (1975), and Nashville (1975) — in order to understand how films in the movement used themes of celebrity, violence, and oppression to act as a form of discourse. All three films employ on-screen violence to complicate the audience’s initial assumptions of characters, and each film critiques the social and political issues of its time through this violence. For each analysis, I discuss several sequences’ mise-en-scène — the arrangement of elements within the entire frame — and connect them to broad socio-political ideas.
    [Show full text]
  • Critical Acclaim for ‘THE LOOK of SILENCE’ by Joshua Oppenheimer
    Critical Acclaim For ‘THE LOOK OF SILENCE’ By Joshua Oppenheimer “A painful, profoundly empathetic work of moral reckoning.” ​ ​ —A.O. Scott, The New York Times ​ ​ “A shocking and significant film, a further illumination of one of recent history's great horrors, ​ a documentary that will make a difference in the world.” ​ —Kenneth Turan, Los Angeles Times ​ ​ “In a way, I wish I'd never seen The Look of Silence, because now I won’t be able to forget it. But ​ ​ ​ that’s the point.” ​ —Joe Morgenstern, The Wall Street Journal ​ ​ “Profoundly shattering.” —Stephanie Merry, The Washington Post ​ ​ “Painful and unforgettable.” —Michael Phillips, Chicago Tribune ​ ​ “Piercingly and authentically horrifying. a must see. arresting and important filmmaking.” ​ ​ —Peter Bradshaw, The Guardian ​ ​ “Powerful.” —Newsday ​ “Over and over in The Look of Silence, we hear people tell the filmmakers, ‘The past is past.’ The ​ ​ wound is healed, they say, and if you don’t want trouble, don’t reopen it. The movie itself proves otherwise.” —Ty Burr, The Boston Globe ​ ​ “Stunning. a high­wire achievement. [with] crushing emotional impact. The film reveals Oppenheimer to be a documentary stylist of evolving grace and sophistication.” —Guy Lodge, Variety ​ ​ “Every scene weighs on the audience. But Oppenheimer and [subject] Adi manage to locate a lightness as well that lessens the burden.” —Lenika Cruz, The Atlantic ​ ​ “The Look of Silence is perhaps even more riveting for focusing on one man’s personal search for ​ ​ answers as he bravely confronts his brother’s killers. In the end, the real value of [The Act of ​ Killing and The Look of Silence] is the anguishing new light they cast on the darkest reaches of human ​ ​ ​ evil.” —Deborah Young, The Hollywood Reporter ​ “Manages to burrow deep into your soul .
    [Show full text]
  • THE Permanent Crisis of FILM Criticism
    mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem­ the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author­ N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo­ C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter­ film criticism since its origins. net amateurs and the lack of authorita­ of tive critics, many journalists and acade­ Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, co­editor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis­ tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory.
    [Show full text]
  • Journalism Awards
    FIFTIETH FIFTIETHANNUAL 5ANNUAL 0SOUTHERN CALIFORNIA JOURNALISM AWARDS LOS ANGELES PRESS CLUB th 50 Annual Awards for Editorial Southern California Journalism Awards Excellence in 2007 and Los Angeles Press Club A non-profit organization with 501(c)(3) status Tax ID 01-0761875 Honorary Awards 4773 Hollywood Boulevard Los Angeles, California 90027 for 2008 Phone: (323) 669-8081 Fax: (323) 669-8069 Internet: www.lapressclub.org E-mail: [email protected] THE PRESIDENT’S AWARD For Impact on Media PRESS CLUB OFFICERS Steve Lopez PRESIDENT: Chris Woodyard Los Angeles Times USA Today VICE PRESIDENT: Ezra Palmer Editor THE JOSEPH M. QUINN AWARD TREASURER: Anthea Raymond For Journalistic Excellence and Distinction Radio Reporter/Editor Ana Garcia 3 SECRETARY: Jon Beaupre Radio/TV Journalist, Educator Investigative Journalist and TV Anchor EXECUTIVE DIRECTOR: Diana Ljungaeus KNBC News International Journalist BOARD MEMBERS THE DANIEL PEARL AWARD Michael Collins, EnviroReporter.com For Courage and Integrity in Journalism Jane Engle, Los Angeles Times Bob Woodruff Jahan Hassan, Ekush (Bengali newspaper) Rory Johnston, Freelance Veteran Correspondent and TV Anchor Will Lewis, KCRW ABC Fred Mamoun, KNBC-4News Jon Regardie, LA Downtown News Jill Stewart, LA Weekly George White, UCLA Adam Wilkenfeld, Independent TV Producer Theresa Adams, Student Representative ADVISORY BOARD Alex Ben Block, Entertainment Historian Patt Morrison, LA Times/KPCC PUBLICIST Edward Headington ADMINISTRATOR Wendy Hughes th 50 Annual Southern California Journalism Awards
    [Show full text]
  • Diciembre 2018
    Isaki Lacuesta & Isa Campo Lo real y lo fabulado [Festival Márgenes] Todo Scorsese (3) La cámara historicista Los años del cambio (12) 40 años de la Constitución Navidad, oscura Navidad diciembre Ecos de Bergman (2) 2018 1 sábado 2 domingo 17:30 - Sala 1 • Filmoteca Junior / Todo Scorsese. La 17:30 - Sala 1 • Todo Scorsese. La cámara historicista cámara historicista / Juego de espejos Las sesiones anunciadas pueden sufrir cam- La invención de Hugo (Hugo, Martin Scor- Juego sucio (Mou gaan dou, Wai-Keung Lau bios debido a la diversidad de la procedencia sese, 2011). Int.: Ben Kingsley, Asa Butterfield, y Alan Mak, 2002). Int.: Andy Lau, Tony Leung, de las películas programadas. Chloë Grace Moretz. EEUU. 35 mm. VOSE. 126’ Anthony Wong. Hong Kong. B-R. VOSE. 101’ «Visual y tecnológicamente abrumadora, La invención Las copias que se exhiben son las de mejor de Hugo se las arregla para envolver una historia emocional sobre un niño huérfano en el París de calidad disponibles. Las duraciones que figu- 1930 en un apasionado alegato por la preservación ran en el programa son aproximadas. del cine, una causa cercana al corazón de Scorsese». (Marjorie Baumgarten) Los títulos originales de las películas y los de Segunda proyección día 15. su distribución en España figuran en negrita. 20:00 - Sala 1 • Ecos de Bergman Vania en la calle 42 VOSE Versión original subtitulada en (Vanya on 42nd Street, Louis Malle, 1994). Int.: Phoebe Brand, Lynn Co- es pañol hen, Julianne Moore. EEUU. 35 mm. VOSE. 119’ VOSE* Versión original subtitulada en «Teje su red con aplomo, generando más y más dupli- Segunda proyección y texto día 12.
    [Show full text]
  • The Faces of 2017
    THE BEST OF THE U.S. AND INTERNATIONAL MEDIA The faces of 2017 FINAL ART TK DECEMBER 22/DECEMBER 29, 2017 VOLUME 17 ISSUE 853-854 ALL YOU NEED TO KNOW ABOUT EVERYTHING THAT MATTERS WWW.THEWEEK.COM 01 cover.indd 1 12/13/17 6:41 PM THE BEST OF THE U.S. AND INTERNATIONAL MEDIA The faces of 2017 FINAL ART TK DECEMBER 22/DECEMBER 29, 2017 VOLUME 17 ISSUE 853-854 ALL YOU NEED TO KNOW ABOUT EVERYTHING THAT MATTERS WWW.THEWEEK.COM 01 cover.indd 1 12/13/17 5:54 PM Contents 3 Editor’s letter This is the 16th time since The Week launched in 2001 that I’ve Never in my lifetime, even in the 1960s, has the country felt so used this little space to try to make some sense of the world at fractured—so close to a civil war. Our one nation, allegedly in- year’s end. Through this exercise, I’ve been surprised to discover divisible, has cracked open along fault lines of culture, class, re- that I’m an optimist, despite my veneer of journalistic cynicism. ligion, and partisan identity, creating chasms of mutual incom- My livelihood has immersed me in the rich, colorful evidence of prehension and disdain. Politics has devolved into a winner-take- our species’ foolishness, selfishness, and cruelty—sins I some- all blood sport. Virtually everything is politicized, from foot- times suffer from myself. Yet like many Americans, I am the de- ball to wedding cakes. In the coming year, special counsel Rob- scendant of immigrant strivers, bred to believe that tomorrow ert Mueller would seem likely to conclude that President Trump will be better than today, that human ingenuity can surmount obstructed justice in the Russia investigation.
    [Show full text]
  • Filmoteca Española, Construida a Base De Filmaciones En Super- 8 Registradas Entre 1976 Y 1979
    Sábado 1 17:30 · Sala 1 · Filmoteca Junior / Todo Scorsese. La cámara historicista La invención de Hugo (Hugo, Martin Scorsese, 2011). Int.: Ben Kingsley, Asa Butterfield, Chloë Grace Moretz. EEUU. 35 mm. VOSE. 126’ «Visual y tecnológicamente abrumadora, La invención de Hugo se las arregla para envolver una historia emocional sobre un niño huérfano en el París de 1930 en un apasionado alegato por la preservación del cine, una causa cercana al corazón de Scorsese». (Marjorie Baumgarten) Segunda proyección día 15. 20:00 · Sala 1 · Ecos de Bergman Vania en la calle 42 (Vanya on 42nd Street, Louis Malle, 1994). Int.: Phoebe Brand, Lynn Cohen, Julianne Moore. EEUU. 35 mm. VOSE. 119’ Segunda proyección y texto día 12. 20:30 · Sala 2 · Los años del cambio Sonámbulos (Manuel Gutiérrez Aragón, 1978). Int.: Ana Belén, Norman Briski, María Rosa Salgado. España. 35 mm. 96’ «El franquismo fue una larga pesadilla, una pesadilla en la que despertarse significa la muerte. […] Sabes que todo es cierto -la crueldad, el miedo, la humillación-, pero también sabes que todo es mentira porque se trata de una realidad falsa». (Manuel Gutiérrez Aragón) 22:30 · Sala 1 · Isaki Lacuesta & Isa Campo. Lo real y lo fabulado Rouch, un noir (Sergi Dies e Isaki Lacuesta, 2004). España. AD. 5’. Dos cuentos en la palma de la mano (Isaki Lacuesta, 2007). Int.: Sergi Dies. España. AD. 10’. Los pasos dobles (Isaki Lacuesta, 2011). Int.: Bokar Dembele, Miquel Barceló, Alou Cisse. España. 35 mm. 87’. Total programa: 102’ «Aventurado cruce de historias, sensaciones, manifiestos e imágenes. […] Juega a levantar fantasmas delante de los ojos del espectador hasta hacerle dudar de la propia naturaleza de sus retinas.
    [Show full text]
  • Proposal to Create a Graduate Minor in Bioethics
    Center for Bioethics and Medical Humanities Proposal for a Graduate Minor in Bioethics June, 2015 [Revised September, 2015] [Revised October, 2015] Graduate Studies Committee Proposing the Graduate Program MA in Bioethics: Ryan Nash, MD, MA (Chair) Alan Litsky, MD, ScD Karla Zadnik, OD, PhD 1. Title of the proposed graduate minor: Graduate Minor in Bioethics 2. Rational for its development Currently, the University does not offer any programs on the graduate level in bioethics. In light of the established presence of bioethics as a multidisciplinary and interdisciplinary field, the Center for Bioethics was launched in 2013 with the task of addressing this need. An MA in Bioethics has been proposed, and a Graduate Minor in Bioethics is a natural programmatic extension of the proposed MA in Bioethics. In short, the primary rational for developing the Graduate Minor is to offer scholarship and training in ethics for graduate students in a field that warrants the University’s attention. As part of the planning process for the MA program, Ryan Nash (Director, Center for Bioethics) met with deans and directors from the OSU health campus colleges and schools—including College of Medicine, Biomedical Science, Health and Rehabilitation Sciences, College of Nursing, College of Optometry, College of Pharmacy, and College of Veterinary Medicine—to discuss the MA and Graduate Minor. The leaders from the health campus colleges and schools have all expressed agreement that a Graduate Minor in Bioethics would serve their graduate students well. Further conversations with leadership in the Colleges of Public Affairs, Law, Public Health, Social Work, the Department of Philosophy, and other “stakeholder” disciplines for bioethics have led to the same consensus that a Graduate Minor is a welcome addition for the University.
    [Show full text]
  • Whistle While You Work: Branding, Critical Reception and Pixar's
    University of Huddersfield Repository McCulloch, Richard Whistle While You Work: Branding, Critical Reception and Pixar’s Production Culture Original Citation McCulloch, Richard (2015) Whistle While You Work: Branding, Critical Reception and Pixar’s Production Culture. In: Storytelling in the Media Convergence Age: Exploring Screen Narratives. Palgrave Macmillan, Basingstoke, pp. 174-189. ISBN 978-1-349-48192-7 This version is available at http://eprints.hud.ac.uk/id/eprint/28691/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Citation for this book chapter: McCulloch, R. (2015) “Whistle While You Work: Branding, Critical Reception and Pixar’s Production Culture.” In Pearson, R. and Smith, A. N., Storytelling in the Media Convergence Age: Exploring Screen Narratives. Basingstoke: Palgrave Macmillan, pp. 174-89. Whistle While You Work: Branding, Critical Reception and Pixar’s Production Culture Richard McCulloch The sheer quantity of media articles that have been written about Pixar demonstrates a commonly recurring desire on the part of journalists and film critics to explain the studio’s track record of critical and commercial successes.
    [Show full text]
  • Violence As Indecency: Pacifica’S Open Door Policy
    FIU Law Review Volume 2 Number 1 Article 10 Winter 2007 Violence as Indecency: Pacifica’s Open Door Policy Craig R. Smith Center for First Amendment Studies, California State University Follow this and additional works at: https://ecollections.law.fiu.edu/lawreview Part of the Other Law Commons Online ISSN: 2643-7759 Recommended Citation Craig R. Smith, Violence as Indecency: Pacifica’s Open Door Policy, 2 FIU L. Rev. 75 (2007). DOI: https://dx.doi.org/10.25148/lawrev.2.1.10 This Symposium is brought to you for free and open access by eCollections. It has been accepted for inclusion in FIU Law Review by an authorized editor of eCollections. For more information, please contact [email protected]. Violence as Indecency: Pacifica’s Open Door Policy Craig R. Smith1 After a somewhat tumultuous time at the hands of reviewers, the film “Bonnie and Clyde” was nominated for ten academy awards including Best Picture. Burnett Guffey won the Oscar for his cinematography, which cap- tured the look of the lower Midwest during the depression. Estelle Parsons, in a breakthrough role, won Best Supporting Actress as the daughter of a preacher who arcs into a gang member. Gene Hackman, as Clyde’s older brother Buck, was nominated for his portrayal and soon was seen as a major star. Warren Beatty, as Clyde, and Faye Dunaway, as Bonnie, became mega-stars after their nominations for the Oscar. However, “Bonnie and Clyde” had no easy road to fame and fortune. By the time the film opened in the troubled summer of 1967 to compete with such stellar movies as “Who’s Afraid of Virginia Woolf,” “Cool Hand Luke,” “Guess Who’s Coming to Dinner,” “The Graduate,” and “In the Heat of the Night,” Françcois Truffaut and Jean-Luc Godard had passed on it.
    [Show full text]