Curriculum Vitae

Total Page:16

File Type:pdf, Size:1020Kb

Curriculum Vitae CURRICULUM VITAE LINDA G. MILLS New York University Elmer Holmes Bobst Library PH: 212-998-2306 70 Washington Square South, Rm. 1225 FAX: 212-995-4419 New York, NY 10012 E: [email protected] EDUCATION Degrees Brandeis University Ph.D. 1994 Health Policy, Pew Program San Francisco State University M.S.W. 1986 Community Organizing University of California, Hastings College of Law J.D. 1983 Law University of California, Irvine B.A. 1979 History and Social Thought Licenses Licensed Clinical Social Worker, 1990 California Bar, Member, 1983 ACADEMIC EXPERIENCE Administration 2012-present Vice Chancellor for Global Programs and University Life, NYU 2010-2012 Senior Vice Provost for Undergraduates in the Global Network University, NYU 2009-present Associate Vice Chancellor for Admissions and Financial Support, NYU Abu Dhabi 2006-2010 Senior Vice Provost for Undergraduate Education and University Life, NYU 2002-2006 Vice Provost for Undergraduate Education and University Life, NYU Teaching/Research 2012-present Lisa Ellen Goldberg Professor, NYU 2004-present Professor of Social Work, Public Policy and Law, NYU 2004-present Executive Director, NYU Center on Violence and Recovery 2001-present Professor, NYU Silver School of Social Work 1999-2001 Associate Professor (with tenure), NYU Silver School of Social Work 1999-present Affiliated Professor/Faculty from other Divisions, NYU School of Law 1998-1999 Associate Professor (with tenure), UCLA School of Public Policy and Social Research, Department of Social Welfare 1994-1998 Assistant Professor, UCLA School of Public Policy and Social Research, Department of Social Welfare 1994-1999 Lecturer-in-Law, UCLA School of Law THEATER, FILM, AND VISUAL ARTS 1. Mills, L.G. (Director, forthcoming 2018). In development, Jan Vilcek's Love and Science. 2. Mills, L.G. (Director, forthcoming 2017). In development, Batterer. 3. Mills, L.G. (Director, 2015). Better to Live. 4. Mills, L.G. (Director, 2014). Of Many. 5. Mills, L.G. with Dilg, B. (Director, 2009). Auf Wiedersehen, ‘Til We Meet Again. 6. Mills, L.G. & Goodrich, P. (Producers/Writers, 2009). Auf Wiedersehen, ‘Til We Meet Again. 7. Mills, L.G. & Goodrich, P. (Producers, 2008). HERKLOTZGASSE 21 und die jüdischen Räume in einem WienerGrätzel. 8. Mills, L.G. (Producer, 2005, 2006, 2007, 2008) with Swados, E. (Director). The Reality Show: NYU. 9. Mills, L.G. & Friend, C. (Producer & Co-Writer, 2001). The Heart of Intimate Abuse: A Companion Video. Winner, Telly Award, 2002. 10. Mills, L.G. (Producer & Co-Writer, 1998). The Space In Between: A Portrait of Intimate Abuse. Linda G. Mills Curriculum Vitae Page 2 PUBLICATIONS Books 1. Mills, L.G. (2008). Violent Partners: A Breakthrough Plan for Ending the Cycle of Abuse. New York: Basic Books. ISBN 9780-456-04577-8 2. Mills, L.G. (2003). Insult to Injury: Rethinking Our Responses to Intimate Abuse. Princeton: Princeton University Press. ISBN 0-691-09639-2 3. Mills, L.G. (1999). A Penchant for Prejudice: Unraveling Bias in Judicial Decision-making. Ann Arbor: Michigan University Press, Law Series. ISBN 0-472-10950-2 4. Mills, L.G. (1998). The Heart of Intimate Abuse: New Interventions in Child Welfare, Criminal Justice, and Health Settings. New York: Springer Publishing Co., Family Violence Series. ISBN 0-8261-1216-1 Edited Volumes 1. Eisikovits, Z., Winstok, Z., Mills, L.G. & Grauwiler, P. (2008). (Co-Editor). Recent Trends in Intimate Violence: Theory and Intervention Volume I. Children and Youth Services Review, 30(3). 2. Eisikovits, Z., Winstok, Z., Mills, L.G. & Grauwiler, P. (2008). (Co-Editor). Recent Trends in Intimate Violence: Theory and Intervention Volume II. Children and Youth Services Review, 30(6). 3. Mills, L.G. (2000). (Editor). Woman Abuse and Child Protection: A Tumultuous Marriage. Children and Youth Services Review, 22(3/4). Articles 1. Mills, L.G., Barocas, B., & Ariel, B. (2013). The next generation of Court-Mandated Domestic Violence Treatment: A randomized controlled trial of restorative justice. Journal of Experimental Criminology, 9(1), 65-90. 2. Mills, L.G., (2011). Do You Remember: A Letter to My Son. Traumatology, 17(3), 62-66. 3. Shy, Y. & Mills, L.G. (2010). A critical new pathway towards change in abusive relationships: The theory of transition framework. Clinical Social Work Journal, 38. 4. Maley, M., Mills, L.G., & Shy, Y. (2009). Construyendo circulos de paz and the promise of peace: Restorative justice meets intimate violence. New York University Review of Law and Social Change, 33(1), 127-152. 5. Mills, L.G. (2008). Shame and intimate abuse: The critical missing link between cause and cure. Children and Youth Services Review, 30(6), 631-638. 6. Grauwiler, P., Mills, L.G. & Barocas, B. (2008). Police peer support programs: Current knowledge and practice. International Journal of Emergency Mental Health, 10(1). 7. Mills, L.G., Grauwiler, P., & Pezold, N. (2006). Enhancing safety and rehabilitation in intimate violence treatments: New perspectives. Public Health Reports, 121(4), 363-368. 8. Mills, L.G. (2006). The Justice of recovery: How the state can heal the violence of crime. Hastings Law Journal, 57(3), 457-508. 9. Grauwiler, P. & Mills, L.G. (2004). Moving beyond the criminal justice paradigm: A radical restorative justice approach to intimate abuse. Journal of Sociology and Social Welfare, 31(1). 10. Levin, A. & Mills, L.G. (2003). Fighting for child custody when domestic violence is at issue: A survey of state laws and a call for more research. Social Work, 48(4), 463-470. 11. Yoshihama, M. & Mills, L.G. (2003). When is the personal professional in public child welfare practice? The influence of intimate partner and child abuse histories on workers in domestic violence cases. Child Abuse and Neglect: The International Journal, 27, 319-336. 12. Mills, L.G. & Yoshihama, M. (2002). Training children’s services workers in domestic violence assessment and intervention: Research findings and implications for practice. Children and Youth Services Review, 24(8), 561-581. 13. Petrucci, C. & Mills, L.G. (2002). Domestic violence assessment: Current practices and new models for improved child welfare interventions. Brief Treatment and Crisis Intervention, 2,153- 172. 14. Mills, L.G. (2002). What he knew before it all changed: A narrative from Ground Zero. Brief Treatment and Crisis Intervention, 2(1), 23-31. 15. Goodrich, P. & Mills, L.G. (2001). The law of white spaces: Race, culture, and legal education. Journal of Legal Education, 51(1), 15-38. 16. Mills, L.G. (2000). Feminist phallacies: Prenatal drug exposure and the power of law. Law and Social Inquiry, 25(4), 1215-1226. Linda G. Mills Curriculum Vitae Page 3 17. Mills, L.G., Friend, C., Conroy, K., Fleck-Henderson, A., Krug, S., Magen, R. & Thomas, R. (2000). Child protection and domestic violence: Training, practice and policy issues. Children and Youth Services Review 22(5), 315-332. 18. Mills, L.G. (1999). Killing her softly: Intimate abuse and the violence of state interventions. Harvard Law Review, 113, 550-613. 19. Mills, L.G. (1998). Hope for law: Narrative therapy and intimate abuse practice. Behavioral Sciences and Law, 16, 525-533. 20. Mills, L.G. (1998). Mandatory arrest and prosecution policies for domestic violence: A critical literature review and the case for more research to test victim empowerment approaches. Criminal Justice and Behavior, 25, 306-318. 21. Mills, L.G. (1997). Benefiting from violence: A preliminary analysis of the presence of abuse in the lives of the new SSI disability recipients. Sexuality and Disability, 15, 99-108. 22. Mills, L.G. (1997). Intuition and insight: A new job description for the battered woman’s prosecutor and other more modest proposals. UCLA Women’s Law Journal, 7, 183-199. 23. Mills, L.G. (1996). On the other side of silence: Affective lawyering for intimate abuse. Cornell Law Review, 86, 1225-1263. 24. Mills, L.G. (1996). Empowering battered women transnationally: The case for postmodern interventions. Social Work, 41, 261-268. 25. Mills, L.G. & Arjo, T. (1996). Slipping them a mickey: Disability benefits, substance addictions, and the (un)deserving poor. Georgetown Journal on Fighting Poverty, 3, 125-160. 26. Durston, L. & Mills, L.G. (1996). Toward a new dynamic in poverty client empowerment: The rhetoric, politics, and therapeutics of opening statements in disability hearings. Yale Journal of Law and Feminism, 8, 119-144. 27. Mills, L.G. (1993). A calculus for bias: How malingering females, dependent housewives, and macho men fare in the Social Security disability system. Harvard Women’s Law Journal, 16, 211-232. Book Chapters 1. Mills, L.G. (2010). Have I got news for you? Media, research, and popular audiences. In M. Bosworth & C. Hoyle (Eds.), What is Criminology?, Oxford University Press. 2. Grauwiler, P., Pezold, N., & Mills, L.G. (2006). Justice is in the design: Creating a restorative justice treatment model for domestic violence. Family Approaches to Domestic Violence, Springer Publishing Co. 3. Mills, L.G. & Petrucci, C. J. (2001). Some progress is not enough: A national study of the integration of domestic violence assessment into state child welfare practice. In A.R. Roberts (Ed.), Handbook of Intervention Strategies with Domestic Violence: Policies, Programs, and Legal Remedies, Oxford University Press. 4. Mills, L.G. (2000). Affective Lawyering: Reformulating the lawyer-client relation. In B. Winick, D. Stolle, & D. Wexler, Practicing Therapeutic Jurisprudence, Carolina Academic Press. 5. Mills, L.G. (1998). Integrating domestic violence assessment into child protective services intervention: Policy and practice implications. In A. R. Roberts (Ed.), Battered Women and Their Families: Intervention Strategies and Treatment Programs, Springer Publishing Co. 6. Mills, L.G. (1997). Empowering battered women transnationally: The case for postmodern interventions. In P. Ewalt, E. Freeman, S. Kirk and D. Poole (Eds.), Social Policy Reform, Research and Practice, NASW Press. Encyclopedia Entries 1. Mills, L.G. (2004). Narrative Therapy. In Herman, D., Jahn, M., and Ryan, M.
Recommended publications
  • Tabla 1:Festivales Y Premios Cinematográficos
    Tabla 1:Festivales y premios American Choreography Arts and Entertainment Critics cinematográficos Awards, USA Awards, Chile http://www.imdb.com/Sections/ American Cinema Editors, USA Artur Brauner Award Awards/Events American Cinema Foundation, Ashland Independent Film USA Festival American Cinematheque Gala Asia-Pacific Film Festival 2300 Plan 9 Tribute Asian American Arts 30th Parallel Film Festival American Comedy Awards, Foundation 7 d'Or Night USA Asian American International American Film Institute, USA Film Festival - A – American Independent Film Asianet Film Awards Festival Aspen Filmfest A.K.A. Shriekfest American Indian Film Festival Aspen Shortsfest ABC Cinematography Award American Movie Awards Association for Library Service ACTRA Awards American Screenwriters to Children AFI Awards, USA Association, USA Athens Film Festival, Georgia, AFI Fest American Society of USA AGON International Meeting of Cinematographers, USA Athens International Film Archaeological Film Amiens International Film Festival ALMA Awards Festival Athens International Film and AMPIA Awards Amnesty International Film Video Festival, Ohio, USA ARIA Music Awards Festival Athens Panorama of European ARPA International Film Amsterdam Fantastic Film Cinema Festival Festival Atlanta Film Festival ASCAP Film and Television Amsterdam International Atlantic City Film Festival Music Awards Documentary Film Festival Atlantic Film Festival ASIFA/East Animation Festival Anchorage International Film Atv Awards, Spain ATAS Foundation College Festival Aubagne International
    [Show full text]
  • Thomas Russell Teaching Professor Department of Theatre and Media Arts Brigham Young University D-581 HFAC Provo, UT 84602 801.422.1887 Thomas [email protected]
    Vita Winter 2016 Thomas Russell Teaching Professor Department of Theatre and Media Arts Brigham Young University D-581 HFAC Provo, UT 84602 801.422.1887 [email protected] EDUCATION Bachelor of Arts, Film Production, Cum Laude — Screenwriting Emphasis, Brigham Young University, Provo, Utah, April 1988 TEACHING EXPERIENCE Courses Developed and Taught: The Writer’s Room Developed/Taught 2012 – present Advanced Crew Production – Feature Films Developed/Taught 2008 – present Introduction to Film – General Education Taught 2008 – present Media Arts Collaboration Developed/Taught 2009 – present Advanced Capstone Production Developed/Taught 2004 – present Advanced Directing Developed/Taught 2004 – present Intermediate Film Production Developed/Taught 2000 – present Intermediate Production Tools Developed/Taught 2000 – present Special Projects Taught 2000 – present Writers/Directors Workshop Taught 2003 Beginning Directing for Stage and Screen Co-Taught 2002 – 2003 Beginning Media Production Developed/Taught 2000 – 2004 Intermediate Screenwriting Developed/Taught 2000 – 2004 PROFESSIONAL AFFILIATIONS AND MEMBERSHIPS American Screenwriters Association 2005 – present University Film and Video Association 2004 – present National Association of Broadcasters 1998 – present PRESENTATIONS 2015 Duncan, D. and Russell, T. (August), Family History in the Present Tense, Co-Presenter – BYU Education Week, Brigham Young University, Provo Utah 2014 Russell, T. (October), Presenting Factual History Within a Fictional Medium, Presenter – Sons of the Utah Pioneers, Bountiful Utah 2012 Russell, T. (November), The Book of Mormon Musical: Tap Dancing, Blasphemy, and Truth in Advertising, Panel Presenter – Mormon Media Symposium, Brigham Young University, Provo Utah 2012 Russell, T. (August), In Class On Set: Mentoring Students in Faculty-Led Productions, Panel Presenter – University Film and Video Association, Chicago 2012 Russell, T. (January), The Feature Film Mentoring Model, Presenter – LDS Film Festival, Orem Utah 2011 Sanborn Jones, M.
    [Show full text]
  • Motherandchild Presskit FINAL
    Sony Pictures Classics In Association With Everest Entertainment Presents A Mockingbird Pictures Production MOTHER AND CHILD A Film by Rodrigo Garcia Naomi Watts Annette Bening Kerry Washington Jimmy Smits and Samuel L. Jackson Producers: Lisa Maria Falcone, Julie Lynn Executive Producer: Alejandro González Iñárritu Running Time: 126 Minutes Camera: Genesis Exhibited on 35mm print East Coast Publicity West Coast Publicity Distributor Falco Ink. Block Korenbrot Sony Pictures Classics Janice Roland Melody Korenbrot Carmelo Pirrone Erin Bruce Rebecca Fisher Lindsay Macik Annie McDonough Judy Chang 550 Madison Ave 850 7th Avenue, Suite 1005 110 S. Fairfax Ave, #310 New York, NY 10022 New York, NY 10019 Los Angeles, CA 90036 212-833-8833 tel 212-445-7100 tel 323-634-7001 tel 212-833-8844 fax 212-445-0623 fax 323-634-7030 fax MOTHER AND CHILD Synopsis Three women's lives share a common core: they have all been profoundly affected by adoption. KAREN (Annette Bening) had a baby at 14, gave her up at birth, and has been haunted ever since by the daughter she never knew. ELIZABETH (Naomi Watts) grew up as an adopted child; she's a bright and ambitious lawyer, but a flinty loner in her personal life. LUCY (Kerry Washington) is just embarking with her husband on the adoption odyssey, looking for a baby to become their own. Karen lives with her elderly mother NORA (Eileen Ryan), works as a physical therapist in a rehabilitation clinic, and relies on SOFIA (Elpidia Carrillo) to look after Nora and their home while she is working. While Karen and Nora barely speak, Karen keeps up a silent monologue addressed to her absent daughter, writing journal entries and letters never to be sent.
    [Show full text]
  • Steve Mcqueen
    Steve McQueen Born in London, England, 1969 Lives and works in London, England, and Amsterdam, Netherlands Education Tisch School of the Arts, New York University, New York NY, 1994 Goldsmith's College, London, England, 1993 Chelsea School of Art, London, England, 1990 Solo Exhibitions 2022 Forthcoming: Running Thunder, Wolverhampton Art Gallery, Wolverhampton, England Forthcoming: Pirelli HangarBicocca, Milan, Italy 2021 Ashes, Turner Contemporary, Margate, England 2020 Steve McQueen, Tate Modern, London, England 2019 Year 3, Tate Britain, London, England 2018 Gravesend, Groundwork by CAST, Helston, Cornwall, England 2017 Steve McQueen: End Credits, Perez Art Museum Miami, Miami FL Steve McQueen: Ashes, Whitworth Art Gallery, Manchester, England Remember Me, Een Werk, Amsterdam, Netherlands Steve McQueen: End Credits, Art Institute of Chicago, Chicago IL Inbox: Steve McQueen, Museum of Modern Art, New York NY Steve McQueen: Ashes, Institute of Contemporary Art Boston, Boston MA 2016 Open Plan: Steve McQueen, Whitney Museum of American Art, New York NY Steve McQueen, Marian Goodman Gallery, Paris, France 2014 Steve McQueen: Ashes, Thomas Dane Gallery, London, England Drumroll, MOCA Pacific Design Center, Los Angeles CA Steve McQueen, Espace Louis Vuitton, Tokyo, Japan 2013 Steve McQueen: Works, Schaulager, Basel, Switzerland Steve McQueen: Rayners Lane, xavierlaboulbenne, Berlin, Germany 2012 Blues Before Sunrise, Site-specific installation, Temporary Stedelijk 3, Vondelpark, Amsterdam, Netherlands Steve McQueen: Works, Art Institute of Chicago, Regenstein Hall, Chicago IL 2010 Steve McQueen, Marian Goodman Gallery, New York NY 2009 Steve McQueen. Giardini, British Pavilion, Biennale di Venezia 53, Venice, Italy Steve McQueen. Gravesend/Unexploded, De Pont Museum of Contemporary Art, Tilburg, Netherlands Steve McQueen. Girls, Tricky, Art Institute of Chicago, Chicago IL Steve McQueen.
    [Show full text]
  • Film List-2013.Pdf
    2013 RED ROCK FILM FESTIVAL AND MARKET FILM DESCRIPTIONS AND SHOWTIMES —————————————————— 10,000 Hours (10,000 Hours) In English Western States Premiere International & US YOUNG FILMMAKER Competition — Narrative Fiction (USA) 4 min. (2013) Other - NTSC (1.78:1) DIR Nick Rua, PRO Nick Rua, SCR Nick Rua, CIN Nick Rua, EDIT Nick Rua, MUS , CAST Nick Rua The Beatles, Bill Gates, Spielberg, virtuoso pianists and hall of fame athletes, all share a similar background: approximately 10,000 hours of dedicated practice before their mid-20’s. The Beatles played 7 nights a week, eight hours a night in Hamburg; Gates programmed non-stop for 7 years through his teens and college days. Spielberg, Howard Stern, Steve Martin, all started their careers as kids doing what they love to do, not waiting for permission or certification. When Malcolm Gladwell wrote ‘Outliers’, his chapter on 10,000 Hours helped Nick Rua understand the journey he has been on, and the road ahead. Nick s ‘10,000 Hours’ combines archive footage, poetry, philosophy, and the hopes and fears of a talent on the cusp of adulthood. He bares his soul and body, honoring those who pursue their dreams with dedication. The film itself is a testament to the message delivered. plays with Young Filmmaker Shorts Director Nick Rua has been writing, directing, shooting and editing short films since he was 12 years old (2006). 10,000 Hours is Nick’s 108th film/video project. Previous work includes a 30 minute sitcom pilot, dramatic and comedic shorts, music videos, PSA’s, broadcast commercials, documentaries, corporate video for a Fortune 500, and numerous festival appearances.
    [Show full text]
  • Marion Cotillard Joaquin Phoenix Jeremy Renner
    THE IMMIGRANT_DP_INTER.indd 1 17/05/13 16:45 MARION COTILLARD JOAQUIN PHOENIX JEREMY RENNER THE IMMIGRANT_DP_INTER.indd 2 17/05/13 16:45 WILD BUNCH and WORLDVIEW ENTERTAINMENT Present A KEEP YOUR HEAD/KINGSGATE FILMS Production MARION COTILLARD JOAQUIN PHOENIX JEREMY RENNER Directed By JAMES GRAY Screenplay JAMES GRAY & RICHARD MENELLO USA - FORMAT: SCOPE - SON: 5.1 - DUREE 1H57 - 2013 INTERNATIONAL SALES: INTERNATIONAL PR Phil SYMES : + 33 (0)6 09 65 58 08 Carole BARATON - [email protected] Ronaldo MOURAO : + 33 (0)6 09 56 54 48 Gary FARKAS - [email protected] [email protected] Vincent MARAVAL - [email protected] Silvia SIMONUTTI - [email protected] THE IMMIGRANT_DP_INTER.indd 3 17/05/13 16:45 Modernity in cinema is less about inventing something new - an idea which has obsessed Hollywood for the last few decades - than about returning to the past to build upon cinema’s foundations. The films of James Gray both in their thought and expression reinvent our conception of classicism. They are, therefore, entirely modern. Jean Douchet, film historian THE IMMIGRANT_DP_INTER.indd 4 17/05/13 16:45 Synopsis 1921. In search of a new start and the American dream, Ewa Cybulski and her sister sail to New York from their native Poland. When they reach Ellis Island, doctors discover that Magda is ill, and the two women are separated. Ewa is released onto the mean streets of Manhattan while her sister is quarantined. Alone, with nowhere to turn and desperate to reunite with Magda, Ewa quickly falls prey to Bruno, a charming but wicked man who takes her in and forces her into prostitution.
    [Show full text]
  • Universal Pictures International the Weinstein Company Matt Moss Sara Serlen +33 493 99 07 53 646-862-3812 [email protected] [email protected]
    Press Contacts : International Press Contact: Domestic Press Contact: Universal Pictures International The Weinstein Company Matt Moss Sara Serlen +33 493 99 07 53 646-862-3812 [email protected] [email protected] INGLOURIOUS BASTERDS Written and Directed by Quentin Tarantino Produced by Lawrence Bender Executive Producers Erica Steinberg Lloyd Phillips Executive Producers Bob Weinstein Harvey Weinstein Co-Producers Henning Molfenter Carl L. Woebcken Christoph Fisser Associate Producer Pilar Savone Director of Photography Robert Richardson, ASC Production Designer David Wasco Costume Designer Anna B. Sheppard Special Makeup Effects by Gregory Nicotero and Howard Berger Visual Effects Designer John Dykstra Casting by Johanna Ray & Jenny Jue (US), Simone Bär (GER), Olivier Carbone (FR) Edited by Sally Menke, A.C.E. The Weinstein Company and Universal Pictures Present A Band Apart A Zehnte Babelsberg Film GmbH Production A Film by Quentin Tarantino 2 INGLOURIOUS BASTERDS Synopsis In the first year of the German occupation of France, Shosanna Dreyfus (Melanie Laurent) witnesses the execution of her family at the hand of Nazi Colonel Hans Landa (Christoph Waltz). Shosanna narrowly escapes and flees to Paris where she forges a new identity as the owner and operator of a cinema. Elsewhere in Europe, Lieutenant Aldo Raine (Brad Pitt) organizes a group of Jewish American soldiers to perform swift, shocking acts of retribution. Later known to their enemy as “the basterds,” Raine's squad joins German actress and undercover agent Bridget von Hammersmark (Diane Kruger) on a mission to take down the leaders of the Third Reich. Fates converge under a cinema marquis, where Shosanna is poised to carry out a revenge plan of her own...
    [Show full text]
  • Riiff Film Programming 1998
    RIIFF FILM PROGRAMMING 1998 ACCIDENT USA/GERMANY 1997 6.15 mins. GF Productions Dir: Peter Besson Premiere An accident on the side of the road involving the little boy of a young family is not exactly what it seems to be. AFTER SHOCKS: VOICES AND VISIONS OF YOUTH IN A VIOLENT WORLD USA 1998 32 mins.; Dir: Stephen A. Roy From Fall River, MA comes this real-life documentary about youth violence and its prevention. A KENNING USA 1998 B&W Animation/Short 13 mins. Dir: Justin Bisceglio New England Premiere Experimental, stop-motion animated film loosely based on Edgar Allen Poe’s The Tell-Tale Heart. AMERICAN NURSE AT WAR, AN USA 1998 36 mins. Dir: Stephen L. Hooper RI Premiere. This striking documentary tells the story of a WWI Red Cross Nurse. Marion McCune Rice of Brattleboro, VT, who spent four years in France caring for sick and wounded soldiers. Winner of the 1st Place Audience Choice for Documentary Featurette at Film Fest New Haven ‘98. BETWEEN US USA 1998 48 mins. Dir: Mary R. Katzke A brave candid film about coping with breast cancer and learning to survive. Filled with hope and humanity. BOXED MAN USA 1998 110 mins. Dir: Nicholas Pasyanos World Premiere A compelling look at breaking into business in your 20s and seeing your ideals face reality. BOYS, LES CANADA 1997 Comedy 107 mins.Films Lions Gate Dir: Louis Saia Cast: Marc Messier, Remy Girard, Patrick Huard United States Premiere Québec’s top-grossing movie ever comes to the US with our closing night gala presentation.
    [Show full text]
  • Sundance Institute Announces Jury Members for 2016 Sundance Film Festival Taika Waititi to Host Live-Streamed Awards Ceremony On
    FOR IMMEDIATE RELEASE Media Contact: January 12, 2016 Elizabeth Latenser 435.658.3456 [email protected] SUNDANCE INSTITUTE ANNOUNCES JURY MEMBERS FOR 2016 SUNDANCE FILM FESTIVAL TAIKA WAITITI TO HOST LIVE-STREAMED AWARDS CEREMONY ON JAN. 30 (L-R) Sundance Film Festival, Credit: Fred Hayes; Taika Waititi, Credit: Sundance Film Festival; Director Crystal Moselle, Credit:Jemal Countess. Park City, UT — Sundance Institute has summoned 23 film, theatre, culture and science experts for jury duty to award 27 prizes at the 2016 Sundance Film Festival, January 21-31 in Park City, Salt Lake City, Ogden and Sundance, Utah. Also announced today, filmmaker and Institute alum Taika Waititi will host the feature film Awards Ceremony on Saturday, January 30 at 7:00 p.m. MT, which will be live streamed at sundance.org. Waititi will be premiering his latest film Hunt for the Wilderpeople at the Festival, has written and directed What We Do in the Shadows (2015), BOY (2010) and Eagle vs. Shark (2007) and he will direct the upcoming Thor 3. His previous films have been supported by Sundance Institute’s Screenwriters and Directors Labs as well as its Native American and Indigenous Film Program. Hailing from the sub-sub-tropical continent of New Zealand, Oscar-losing director Waititi says he invented the sideways “Whatchoo talkin’ ’bout?” look. The six juries of film and culture leaders screen all films in their respective sections and jointly decide which standout artistic and story elements to recognize with prizes. In addition, Festival audiences vote for their favorite films and five Audience Awards are given to films in the U.S.
    [Show full text]
  • Screendollars Newsletter 2021-02-08.Pdf
    Monday, February 8, 2021 | No. 154 On February 7, 1914, Charlie Chaplin introduced film audiences to his famous character the Little Tramp in Kid Auto Races at Venice, a 6-minute romp along the boardwalk at Venice Beach with the backdrop of a crowd gathered for a soapbox-derby event featuring juveniles racing motor-less cars. Produced by Mack Sennett’s Keystone Studios and directed by Harry Lehrman, the film shoot took place in a single day only three weeks before, at the Junior Vanderbilt Cup races which had come to Los Angeles that year. Chaplin’s talent for slapstick was manifest, with his goofball antics as the Little Tramp becoming his personal calling card and an icon for the silent film era. Commenting on the performance, one reviewer said, “Chaplin is a born screen comedian; he does things we have never seen done on the screen before." Chaplin’s comedy highlighted the life of the common man, with empathy for the struggles presented by modern American society. In 1974, 60 years later to the day, Warner Bros. held the world premiere of Mel Brooks’ Blazing Chaplin’s The Little Tramp Saddles at the Pickwick Drive-In Theater in Burbank. The 250 invited guests watched the film Click to Play from horseback. Brooks’ send up of the classic American Western went on to a rollicking success at the box office, grossing $119M in the US and Canada on a production budget of $2.6M. Brooks cast performers from his regular stable of comedians, including Gene Wilder, Harvey Korman, Madeline Khan and Cleavon Little, with appearances by Slim Pickens, the band leader Count Basie and three cameos by Brooks himself.
    [Show full text]
  • Safetypresskit 2855A0b0.Pdf
    Copyright ©2020 Disney Enterprises, Inc. All Rights Reserved Fresh/Eugene ....................................... ISAAC BELL Pop/Marcus ......................................... ELIJAH BELL DISNEY Jimmy (Resident Advisor) ......................STEPHEN RUFFIN presents Solomon. LUKE TENNIE Tobin ..........................................CHRIS SETTICASE Inspired by a True Story Morrow .......................................... COCO HILLARY Tonya (Ray’s Mother) ......................... AMANDA WARREN Dr. Matthews .................................... TOM NOWICKI Strength Coach Tom Morris . MICHAEL BEASLEY Stephanie Soltero ................................ MARILI KATERI Belasky ....................................VINCENT MINUTELLA Shannon ......................................... KYLEE BROWN Pastor Olmstead ................................CLAY CHAPPELL Kathleen Simmons .......................... AMANDA MADDOX Mike Ferro ..................................... JAMES DUMONT Mr. Potts .........................................VICTOR MCCAY Coach Butch Hassey .......................... IRONE SINGLETON A Special Teams Coach Brett Slade . ROBERT CRAYTON SELECT FILMS Chairman Diamond ..................................BRETT RICE Production Jarren ............................................ RENELL GIBBS Gym Teacher Bartley ..................... J. MATTHEW WALLACE A Principal Estrin .................................. JOE KNEZEVICH MAYHEM PICTURES NCAA Member Davis ...........................KENNY ALFONSO Production NCAA Member Kolbrenner ........................
    [Show full text]
  • Report to the U. S. Congress for the Year Ending December 31, 2015
    Report to the U.S. Congress for the Year Ending December 31, 2015 Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage June 15, 2016 Dr. David S. Mao Acting Librarian of Congress Washington, D.C. 20540-1000 Dear Dr. Mao: In accordance with The Library of Congress Sound Recording and Film Preservation Programs Reauthorization Act of 2008 (P.L. 110-336), I submit to the U.S. Congress the 2015 Report of the National Film Preservation Foundation. Film has documented America for more than 120 years, but it is only in the last 30 that we have rallied to save it. In 1996, Congress created the NFPF to help archives, libraries, and museums to res- cue this history and share it with the public. Thanks to federal funding secured through the Library of Congress, entertainment industry support, and the unwavering dedication of preservationists, there is much good news to report. As of 2015, the NFPF programs have preserved more than 2,230 motion pictures—newsreels, actuali- ties, cartoons, silent-era productions, avant-garde films, home movies, and other independent works that might otherwise have faded from public memory. Tremendous credit is due to the 279 cultural institutions that have tapped our programs to save culturally significant motion pictures. Once copied to film stock and safely archived, the works begin a new life through teaching, exhibition, broadcast, DVD, and the Internet. In past reports, I’ve singled out international partners that have enabled the United States to bring home 211 early American films that had not been seen in decades.
    [Show full text]