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Sample Ballot and Voter Information Pamphlet Format
WHAT’S NEW FOR THIS ELECTION Top Two Primary What is it? In 2010, California voters approved Proposition 14 creating the “Top- Two Primary,” which replaced the traditional party-nominated primary. Under the Top-Two Primary laws, all candidates running, regardless of their party preference, appear on a single combined ballot, and voters can vote for any candidate from any political party. The candidates who receive the highest and second-highest number of votes cast at the Primary election advance to the General election. This change applies to federal and state contests, except for President. The rules for non-partisan contests (i.e. counties, cities, school and special districts) did not change. For the Presidential Primary, Party Ballots Still Exist Since the Top Two Primary rules do not affect the election of party nominee for President, party-specific ballots will be issued for this Presidential Primary Election. Only voters who are registered to vote with a specific party are allowed to vote in that party’s Presidential nominee contest. All Other Contests Are Open to All Voters The new rules apply to U.S. Senate, U.S. Congressional, statewide and state legislative offices. Candidates for these offices are no longer nominated by party. As a result, voters can vote for any candidate on the ballot regardless of the candidate’s party preference. These contests are now referred to as “voter-nominated offices.” Again, in these contests, only the two candidates who receive the highest and second-highest vote totals will be on the ballot in the November General Election. Party Preference and Political Party Endorsement The term "party preference" is now used in place of the term "party affiliation”. -
For R. Hammer & D. Kellner, Eds., in Press/2008, Critical Cultural Studies
For R. Hammer & D. Kellner, Eds., in press/2008, Critical Cultural Studies Reader. New York: Peter Lang. ANOTHER ETHNIC AUTOBIOGRAPHY? CHILDHOOD AND THE CULTURAL ECONOMY OF LOOKING Allan Luke Queensland University of Technology Australia Dramatis personae This piece was originally written for the International Conference on Knowledge and Discourse, and presented at the Run Run Shaw Theatre, Hong Kong, in 1996. A companion article on Asian masculinities was published in conference papers (Luke, 2002). My original talk included videoclips of my Uncle, Keye Luke, in Star Trek, “Whom Gods Destroy” (Series 3, episode 13, 1969) and with clips of my Father, Edwin Luke, in Blood Alley (Dir. William Wellman, Batjak Productions, 1956). The work sat unpublished until my mother, Ahlin Wong Luke, passed in 2007. My Father and Uncle’s representations continue to circulate in the transnational semiotic ether – as downloads, as DVDs, and in Wikipedia. I am rereading my Father’s film scripts, reconnoitring his experiences and, indeed, mine. As you read, you will notice that my discussion of ethnic narratives has been overtaken by subsequent work in film, cultural and Asian-American studies. I have retained the original 1990s citations in this work, updating them only where relevant. The premise of the article stands: that in contemporary capitalist societies like those of North America and Europe, essentialist bids to reclaim originary ethnic voice and identity are invariably forged in the contexts of multimediated childhood. Identity and practice are shaped by media representations of ‘cultures’, even where they are reproduced across generations by face-to-face and everyday exchanges between parents, community elders and youth. -
Rio Bravo (1959) More Secure Surroundings, and Then the Hired Guns Come In, Waiting Around for Their Chance to Break Him out of Jail
already have working for him. Burdette's men cut the town off to prevent Chance from getting Joe into Rio Bravo (1959) more secure surroundings, and then the hired guns come in, waiting around for their chance to break him out of jail. Chance has to wait for the United States marshal to show up, in six days, his only help from Stumpy (Walter Brennan), a toothless, cantankerous old deputy with a bad leg who guards the jail, and Dude (Dean Martin), his former deputy, who's spent the last two years stumbling around in a drunken stupor over a woman that left him. Chance's friend, trail boss Pat Wheeler (Ward Bond), arrives at the outset of the siege and tries to help, offering the services of himself and his drovers as deputies, which Chance turns down, saying they're not professionals and would be too worried about their families to be good at anything except being targets for Burdette's men; but Chance does try to enlist the services of Wheeler's newest employee, a callow- looking young gunman named Colorado Ryan (Ricky Nelson), who politely turns him down, saying he prefers to mind his own business. In the midst of all of this tension, Feathers (Angie Dickinson), a dance hall entertainer, arrives in town and nearly gets locked up by Chance for cheating at cards, until he finds out that he was wrong and that she's not guilty - - this starts a verbal duel between the two of them Theatrical release poster (Wikipedia) that grows more sexually intense as the movie progresses and she finds herself in the middle of Chance's fight. -
Dictionary of Westerns in Cinema
PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas. -
Best Picture of the Yeari Best. Rice of the Ear
SUMMER 1984 SUP~LEMENT I WORLD'S GREATEST SELECTION OF THINGS TO SHOW Best picture of the yeari Best. rice of the ear. TERMS OF ENDEARMENT (1983) SHIRLEY MacLAINE, DEBRA WINGER Story of a mother and daughter and their evolving relationship. Winner of 5 Academy Awards! 30B-837650-Beta 30H-837650-VHS .............. $39.95 JUNE CATALOG SPECIAL! Buy any 3 videocassette non-sale titles on the same order with "Terms" and pay ONLY $30 for "Terms". Limit 1 per family. OFFER EXPIRES JUNE 30, 1984. Blackhawk&;, SUMMER 1984 Vol. 374 © 1984 Blackhawk Films, Inc., One Old Eagle Brewery, Davenport, Iowa 52802 Regular Prices good thru June 30, 1984 VIDEOCASSETTE Kew ReleMe WORLDS GREATEST SHE Cl ION Of THINGS TO SHOW TUMBLEWEEDS ( 1925) WILLIAMS. HART William S. Hart came to the movies in 1914 from a long line of theatrical ex perience, mostly Shakespearean and while to many he is the strong, silent Western hero of film he is also the peer of John Ford as a major force in shaping and developing this genre we enjoy, the Western. In 1889 in what is to become Oklahoma Territory the Cherokee Strip is just a graz ing area owned by Indians and worked day and night be the itinerant cowboys called 'tumbleweeds'. Alas, it is the end of the old West as the homesteaders are moving in . Hart becomes involved with a homesteader's daughter and her evil brother who has a scheme to jump the line as "sooners". The scenes of the gigantic land rush is one of the most noted action sequences in film history. -
Child-Theft Across Visual Media
The Child-theft Motif in the Silent Film Era and Afterwards 7 The Child-theft Motif in the Silent Film Era and Afterwards — ※ — During the silent film era (1894–1927), the story of children who are stolen by ‘gypsies’ and then rescued/restored to their families resurfaces as one of the popular stock plots. I refrain here from analysing individ- ual films and offer, instead, two points for further consideration: firstly, a listing of works that stage the motif under discussion, and secondly, an expanded annotated filmography. The Films 1. Rescued by Rover (1905, UK) 2. Two Little Waifs (1905, UK) 3. Ein Jugendabenteuer (1905, UK) 4. Rescued by Carlo (1906, USA) 5. The Horse That Ate the Baby (1906, UK) 6. The Gypsies; or, The Abduction (1907, France/UK) 7. The Adventures of Dollie (1908, USA) 8. Le Médaillon (1908, France) 9. A Gallant Scout (1909, UK) 10. Ein treuer Beschützer (1909, France) 11. Scouts to the Rescue (1909, UK) 12. Il trovatore (1910, Italy/France) 13. Billy’s Bulldog (1910, UK) 14. The Little Blue Cap (1910, UK) 15. The Squire’s Romance (1910, UK) 16. L’Enfant volé (1910, France) 129 The Child-theft Motif in the Silent Film Era and Afterwards 17. L’Evasion d’un truand (1910, France) 18. L’Enfant des matelots (1910, France) 19. Le Serment d’un Prince (1910, France) 20. L’Oiseau s’envole (1911, France) 21. Children of the Forest (1912, UK) 22. Ildfluen(1913, Denmark) 23. La gitanilla (1914, Spain) 24. La Rançon de Rigadin (1914, France) 25. Zigeuneren Raphael (1914, Denmark) 26. -
Copyrighted Material
335 Index a “After You Get What You Want, You “Aba Daba Honeymoon” 151 Don’t Want It” 167 ABBA 313 Against All Odds (1984) 300 Abbott and Costello Meet Frankenstein “Age of Not Believing, The” 257 (1948) 155 Aguilera, Christina 323, 326 Abbott, Bud 98–101, 105, 109, 115 “Ah Still Suits Me” 87 ABC 229–230 “Ah, Sweet Mystery of Life” 78 Abdul, Paula 291 AIDS 317–318 About Face (1953) 151 “Ain’t There Anyone Here for “Abraham” 110–111 Love?” 170 Absolute Beginners (1986) 299 Aladdin (1958) 181 Academy Awards 46, 59, 73–74, 78, 82, Aladdin (1992) 309–310, 312, 318, 330 89, 101, 103, 107, 126, 128, 136, 140, Aladdin II, The Return of Jafar 142, 148–149, 151, 159, 166, 170, 189, (1994) 309 194, 200, 230, 232–233, 238, 242, 263, Alamo, The (1960) 187 267, 271, 282, 284, 286, 299, 308–309, Alexander’s Ragtime Band (1938) 83, 319, 320–321 85–88 Ackroyd, Dan 289 Alice in Wonderland (1951) 148 Adler, Richard 148 Alice in Wonderland: An X‐Rated Admiral Broadway Revue (1949) 180 Musical Fantasy (1976) 269 Adorable (1933) 69 All‐Colored Vaudeville Show, An Adventures of Priscilla, Queen of the (1935) 88 Desert, The (1994) 319 “All God’s Chillun Got Rhythm” 88–89 African AmericansCOPYRIGHTED 13–17, 21, 24, 28, 40, All New MATERIAL Mickey Mouse Club, The 43, 54–55, 78, 87–89, 109–111, 132, (1989–94) 326 163–164, 193–194, 202–203, 205–209, “All Out for Freedom” 102 213–216, 219, 226, 229, 235, 237, All‐Star Revue (1951–53) 179 242–243, 258, 261, 284, 286–287, 289, All That Jazz (1979) 271–272, 292, 309, 293–295, 314–315, 317–319 320, 322 “After the Ball” 22 “All You Need Is Love” 244 Free and Easy? A Defining History of the American Film Musical Genre, First Edition. -
CATALOGX 87.Pdf
E R T A N M E N T BIG NEWS, fRANIINSTBN, TIIE RDT•m VEIIIII (1831) BLACDAWK MOVESI \ Big news and good news for our many customers nationwide! Blackhawk Films, for years based in Davenport, Iowa is heading west to Hollywood. Effective September 18, 1987, Blackhawk Films moved its operations closer to the heart of the industry. The new facilities mean faster response and even more personal attention given to filling your orders. The most outstanding new feature that goes with the move is the extension of phone service to 24 hours a day, every day of the year. At Blackhawk Films, we keep trying to find new ways to retain our customers and give you the kind of service you deserve ... the best. You can see that effort most clearly in this catalog's selection of collectable entertainment. Just looking through our exclusive LANDMARKS IN ENTERTAINMENT Section gives you a taste of the kinds of special videocassettes we have to offer. Not just entertaining features, Blackhawk strives to select high-quality, important work that is valuable entertainment. Titles like the original FRANKENSTEIN, TOP HAT, DIRECTOR: James Whales PRODUCER: Carl Laemmle Jr. MAKE-UP: Jack Pierce CAST: Boris Ka.rfoff. Colin MR. SMITH GOES TO WASHINGTON, Clive, Mae Clarke, Edward Van Sloan, John Boles, Marilyn Harris and Dwight Frye SONS OF THE DESERT and the rest read like a roll call of the greatest films from For the first time in 50 years, this classic adaptation of Mary Shelly's novel can be seen the way its Hollywood's heyday. -
The Video Collector's Choice!
vmm COlUCJOHS SHS-PAGI 2 • HOllDAY Giff IDfAS-PAGI 1 WE'VE SELECTED THE FINEST IN HOME VIDEO FOR YOU ... HUNDREDS OF VIDEOCASSETTES AT SPECIAL DISCOUNT ~RICES! THE VIDEO COLLECTOR'S CHOICE! Happy Holidays from the home of John Wayne. Freel Astaire and dozens of other Hollywood greats. To make gift-giving easy. \\"l' offer hundreds of classic videocassettes at affordable prices. Holiday shopping has never been more fun or convenient. This season, give the gifts that last forever: Cive legendary films from T he Blackhawk Catalo:g. ~e!~~ Receive afree package of microwave popcorn witheverJ order, while supplies last! For over 60 years we have been the source for collectors of fine motior picture and video entertainment. This year, THE BLACKHAWK CATALOG breaks new ground with over five pages of classic collections! More collections and double features can be found starting on page 2. It's easy to order: just pick up the phone, call our toll-free number and use your credit card to pay for any selection or collection listed in this catalog. Some supplies are limited, so order today' JOHN WAYNE COLLECTORS SETS Three unique ensembles of Hollywood history are y,lurs for the asking from T HE 13LACKHAWK CATALOG. WAYNE AT WAR The Duke sees action from the South Pacific to Chi1~a. SA\DS OF !WO Jl~IA • FLYI\G T IGHS THE FIGHTING SEABEES (3 cassettes) Separately $69:95 RPJIH Special Price S49.95 WAYNE IN THE WEST Save 40% on three of the best western films ever made 1 RIO c;RANDE • T HE FIGHTING KE TCCKIAN DARK COMMAND (3 cassettes) Separately $64-:85 RPJ211 Special Price $39.95 THE UNCOMMON WAYNE These three features are timeless classics. -
UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011
UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 i UCLA FESTIVAL of PRESERVATION MARCH 3 to MARCH 27, 2011 FESTIVAL SPONSOR Additional programming support provided, in part, by The Hollywood Foreign Press Association ii 1 FROM THE DIRECTOR As director of UCLA Film & Television Archive, it is my great pleasure to Mysel has completed several projects, including Cry Danger (1951), a introduce the 2011 UCLA Festival of Preservation. As in past years, we have recently rediscovered little gem of a noir, starring Dick Powell as an unjustly worked to put together a program that reflects the broad and deep efforts convicted ex-con trying to clear his name, opposite femme fatale Rhonda of UCLA Film & Television Archive to preserve and restore our national mov- Fleming, and featuring some great Bunker Hill locations long lost to the Los ing image heritage. Angeles wrecking ball. An even darker film noir, Kiss Tomorrow Goodbye (1950), stars James Cagney as a violent gangster (in fact, his last great This year’s UCLA Festival of Preservation again presents a wonderful cross- gangster role) whose id is more monstrous than almost anything since Little section of American film history and genres, silent masterpieces, fictional Caesar. Add crooked cops and a world in which no one can be trusted, and shorts, full-length documentaries and television works. Our Festival opens you have a perfect film noir tale. with Robert Altman’s Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (1982). This restoration is the first fruit of a new project to preserve Our newsreel preservationist, Jeff Bickel, presents his restoration of John and restore the artistic legacy of Mr. -
World War Ii and Us Cinema
ABSTRACT Title of Document: WORLD WAR II AND U.S. CINEMA: RACE, NATION, AND REMEMBRANCE IN POSTWAR FILM, 1945-1978 Robert Keith Chester, Ph.D., 2011 Co-Directed By: Dr. Gary Gerstle, Professor of History, Vanderbilt University Dr. Nancy Struna, Professor of American Studies, University of Maryland, College Park This dissertation interrogates the meanings retrospectively imposed upon World War II in U.S. motion pictures released between 1945 and the mid-1970s. Focusing on combat films and images of veterans in postwar settings, I trace representations of World War II between war‘s end and the War in Vietnam, charting two distinct yet overlapping trajectories pivotal to the construction of U.S. identity in postwar cinema. The first is the connotations attached to U.S. ethnoracial relations – the presence and absence of a multiethnic, sometimes multiracial soldiery set against the hegemony of U.S. whiteness – in depictions of the war and its aftermath. The second is Hollywood‘s representation (and erasure) of the contributions of the wartime Allies and the ways in which such images engaged with and negotiated postwar international relations. Contrary to notions of a ―good war‖ untainted by ambiguity or dissent, I argue that World War II gave rise to a conflicted cluster of postwar meanings. At times, notably in the early postwar period, the war served as a progressive summons to racial reform. At other times, the war was inscribed as a historical moment in which U.S. racism was either nonexistent or was laid permanently to rest. In regard to the Allies, I locate a Hollywood dialectic between internationalist and unilateralist remembrances. -
Section VII Pin Traders Club of Virginia (PTCV)
Section VII Pin Traders Club of Virginia (PTCV) Special Issues 26 Pin Traders Club of Virginia (PTCV) Special Issues 1996 Issued to commemorate 15th Anniversary 2002 Issued for give-away in State Convention Hospitality Room 2002 Puzzle Pin with the Pin Traders Club of Pennsylvania (right side). Issued as the Final Pins in the Civil War Series. 27 Pin Traders Club of Virginia (PTCV) Special Issues 2004 Issued as give-away by PTCV as hosts in the LITPC Hospitality Room In Detroit, Michigan during the 2004 LCI Convention 2004 Commemorates PTCV 25th Pin Swap 2004 There are 12 different color Rickshaws issued in the name of PTCV by 24 PTCV members during the 2004 Annual Virginia Pin Swap in Winchester 12 Facing Right and 12 Facing Left, as follows 2005 Gold on the left and Black on Facing Right Facing Left the right were a fund-raiser for Purple Debbie Ivey Purple Arlen Eidson Breast Cancer Awareness Light Blue Don Colley Light Blue Ann Harris Dark Blue Verle Malik Dark Blue Phil Sharpe Red Charlie Kipps Red Rich Evans Orange Fred Leach Orange Bill Smith Pink Bill Winter Pink Al Spruill Black Chuck Fields Black Bill Quinn Gray Pat Kerr Gray Ari Sapir White Don Nesselrodt White Gerri Phillips Aqua Harry Fulwiler Aqua Wayne Davis Dark Green Dave Harris Dark Green Jim Golladay Light Green Alex Caldwell Light Green Jim Painter 2005 There are 12 different color Masks issued in the name of PTCV by 24 PTCV members during the 2005 Annual Virginia Pin Swap in Winchester. 12 With Right “stem” and 12 With Left “stem”, as follows: 2004 2004 Left Stem