Maine Campus March 17 1955 Maine Campus Staff

Total Page:16

File Type:pdf, Size:1020Kb

Maine Campus March 17 1955 Maine Campus Staff The University of Maine DigitalCommons@UMaine Maine Campus Archives University of Maine Publications Spring 3-17-1955 Maine Campus March 17 1955 Maine Campus Staff Follow this and additional works at: https://digitalcommons.library.umaine.edu/mainecampus Repository Citation Staff, Maine Campus, "Maine Campus March 17 1955" (1955). Maine Campus Archives. 2436. https://digitalcommons.library.umaine.edu/mainecampus/2436 This Other is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Maine Campus Archives by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. THE MAINE CAMPUS Published Weekly by the Students of the I niversity of Maine in. 1 Z 265 Orono, Maine, March 17, 1955 Number 20 1:00 WSGA Suggests Early' Elections WSGA has suggested ng the Student Senate mme spring elections to April this year, a month earlier than usual. omit- Suzanne Bogert, speaking for the women's student will ernment gov- group at the Senate meeting, March 10, said WSGA iorial plans to hold its election of officers earlier 5, at this year and sug- gested the Senate might want to move all elections come keep 141tead to the tradition of having all elections in one day. WSGA announces election results at its annual spring assembly. However the latest date the assembly can be held this 28. Miss year is April Bogert said. WSGA is willing to ;,.o it i0one. if the she added, Senate does not want to move all elections to April. in aihlii InSCA office.. mince. Herber.( arrnicha-ci aed Her- St gradua • parts and award- bert Birch r..:•ig,ed from :II: ;.d.si.ory RA. Student Senate. and athletic pproved association officers; and campus to replace lohq %fat:Gregor a. Co- mayor are normally elected in the chairman it entertai-ment. spring. '..far:, arol e in moeir.g up ilyc (laic loud as pz:1-dieit:, A hboit ah the campus Mo•h,T s earned a. (aing for this o;11,:•.: on projeet,. 1.r.d Ktid Horn.:iock was , hei•I in connection added to ..1-t( aehi•or( ;ow ..ttee. : ( (..hich will not be zimil Earle Simp.on. Fiore net' Ray- mood, and Patricia Wade were No tals.:.1 on the rnatter. ' Other Business named as a committee to prepare a In other hu•ine.,. •e\ era! chaes Student Senate-Facuhy Council cof- made on the Maine Coin- fee. Theise three prett, ct,-. tl. .ire ntodeling some of the spring clothe that will be shown at the annual Tri-Delt Fashion Show next Monday evening. Left to right, they are Peggy Daigle. Ann Dingwell and Barbara Craham. In all. twelve models will Employees participate in the .how. a. well a. two housemother.. 1 Ask University will lie escorted 11:4 two men students. Photo by K For Five-Day Work Week BY JOHN Lii ILEFILIL) Over A petition 500 Students Sign Petition for a five-day work week. signed 11 o‘er ⁢ per cent of the non-educational and non-administratix e emplo et of the University was presented to Prescott H. Vose. comptroller. week To Keep Instructor as the result of a meetinil held Monday evening in the HousingHousin On Campus in the New Cafeteria. The BY RON DEVINE purpose. of the special!, Si Laker.it eniploce• •ereing Over 500 students called have signed a petition in protest to what they call "a meeting was to deter • as a sttcring committee for the peti- part of the great injustice- on the 10 %hone th, in tic English Department in refusing to renew the contract ..hou ld h to.! that v,a, siv.:co rt .mhcrs of of Miss Ruth E. White. an instructor • pre.ented o :n the department. r %hot ore' .boold I. i•oth Unieersit labor organizations A student Likult in re-gard 1,1 it. spokesman. who asked not to be named. said.4 op:tir;rt Pr.!••• / ••We feel that a person such as Miss White, who has shown such keen interest in teaching and in her students, as well in her as activities in extracurricular and campus affairs. would he a great loss to the Universi..y.” ym Carnivul Welcomes Spring Dean Joseph M. Murray. of the College of Arts and Sciences An old fashioned said Miss White's contract w-asn't renewed because countrY fair of a University :leen chosen for the ruling that limits the tenure of an instructor to six years. theme If at of the annual Penny. that time the in..tructor is not partment. it is here the student- Carnival, promoted to assistant Frolic,'I—nwill professor he is latirg Inc petition felt there were trc automatically dropped. Dean held in the Murray "personal differences of opinion- be- • 'c Womerfs Gymnasium said. He also , noted that instructors' tween Prof. Albert M. Turner. head March 19. zontracts 'thtlrua evening. are signed on a early ha-is. the Fnglish Department. a.',1 ws, ironi 8:00 to 11:30. Recommendation for promotion for the gala affair include a must corm.. from the head of the de- When aske.1 if this acre true Mk. d.vicc teatming Mel I likey and his hite ',aid she didn't think so. Prof. .ors.hostra. a "inithel,"0 gai: dew- Officials Search Itirner refused to comment on the . booths where carnieal games '.'.hole situation. h.: in pla. and intermission enter- tainment Sickness Cause I he petition stated in part. "It is by co-eds in the Square °tor !Dance Club. Tumbling Club About 125 cases of gastro-intestinal hope that this protest will be ac- anti cepted as a Modern Dance Club. upset were reported ‘Vednesday after- sincere expression of con- cern oil noon and evening from students eating the part of the universit Series Of. Acts students in the Commons dining room in Han- and a ill serve to focus at- Under the direction of I' Peen nibal Hamlin Hall. tention upon a situation ‘shich \se fed ,Cossic4. the members of the Modern to he a great injustice." Dance Club None of these cases '.ere serious. will interpret the midwa) according to Dr. Percy Leddy. director When asked if this student pressure r-A-lormers. while the iumbling tub of the health service. He said only Nkould have any hearing on a decision will entertain clank al-goers with a about 20 needed any medical atten- to keep Miss White. Dean NIurrit series of intricately-worked out acts tion. said he didn't think so. He explained under the superxision of Miss .Alice "There is no cause for alarm among she had alread been notified that Finnegan. the other dining rooms.- Dr. I.edel her contract would not he renewed. Joanne Sturtexant is general chair- 'aid. He and other Universits. officials .1h.: dean also emphasized that the man and she will he assisted by the are now. in the process of ineestigating six-xcur rule V. aS strictly adhered to, following committee heads and their the causes of the attacks. All food and that without the recommendation workers: available that as screed in the past of the head of the department a pro- Florence Riq mond. entertainment: 24 hours is now being investigated as motion was almost impossible. Jane Bacon. decorations. loan Cietlel. a possible cause. The petition will he turned over to posters: Jane Barker. imitations: I oi• Thi- -hunt is part of the tumbling act which will be pruseilied 'The fact that all these cases ap- Pres. Arthur A. Hauck with copies Blanchard. hostess: Jane Wiseman. at the "Ilia..al Frolic- Saturate, csening. This particular (cat, a peared within four hours of each other scnt to Dean Murray and Prof. Turn- tickets: Carol Langlois. concessions: back angel. is being performed le, Jo. %alit . and rules out the possibility of an disease. er, according to one of the students Marx I.itchfield. coat room and :Alice Winolla 14ii.••lirail. The girls ar. ii. picting an airplane ride along rr. Let1(4 said. circulating the petition. Osier. refreshments. the. I Photo /,‘ RI et,1) Oron. Page T%to THE MAINE CAMPUS Orono, Maine, March 17, 1955 &cid-if Accent Is French At Brewer Minister SF Theta Chi's Apache Party Is Guest Speaker By BEVE Fowm Joan Lancaster, Roberta White. Theta Chi held its annual Apache Annie Peer, Lorraine Lander, Joan At Freshman Dinner Al night. French cellar Anderson, Patricia Marilyn Party Friday A Daigle, "Do the best sith what you have." Tyler, scene hung with sheer black netting Tarr, Barbara Martha Mans- was the theme of Rev. Charles E. supplemented by cafe tables lit by field, Nancy Schmidt, and Joan Dartnell's speech at the Freshman next candlelight gave the true "left bank" Whitworth. Banquet last Saturday night in the Menu atmosphere. Punch was served. Chi Omega held its annual schol- Memorial Gymnasium. The Music was by the Magic City Five. arship supper at the home of Mrs. Rev. Dartnell of Brewer, the main Tri D Chaperons were Prof. and Mrs. A. D. Nutting, College Heights. Mon- speaker at the dinner, encouraged the is av.al Brooks W. Hamilton and Mrs. Nora day evening. The supper was pre- Freshman Class to attain good marks dent. Silsby. Pres. and Mrs. Arthur A. pared by the pledges and entertain- airing their four years at Maine. Twelvo Hauck were guests of the fraternity ment was provided by the juniors. Prexy Speaks The at dinner Sunday. Delores Johnston received recogni- The banquet was termed a big suc- student A jam session was held at Alpha tion for achieving four point.
Recommended publications
  • German Jews in the United States: a Guide to Archival Collections
    GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ...................................................................................................
    [Show full text]
  • Toy Story: How Pixar Reinvented the Animated Feature
    Brown, Noel. " An Interview with Steve Segal." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 197–214. Bloomsbury Collections. Web. 2 Oct. 2021. <http:// dx.doi.org/10.5040/9781501324949.ch-013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 03:24 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 97 Chapter 13 A N INTERVIEW WITH STEVE SEGAL N o e l B r o w n Production histories of Toy Story tend to focus on ‘big names’ such as John Lasseter and Pete Docter. In this book, we also want to convey a sense of the animator’s place in the making of the fi lm and their perspective on what hap- pened, along with their professional journey leading up to that point. Steve Segal was born in Richmond, Virginia, in 1949. He made his fi rst animated fi lms as a high school student before studying Art at Virginia Commonwealth University, where he continued to produce award- winning, independent ani- mated shorts. Aft er graduating, Segal opened a traditional animation studio in Richmond, making commercials and educational fi lms for ten years. Aft er completing the cult animated fi lm Futuropolis (1984), which he co- directed with Phil Trumbo, Segal moved to Hollywood and became interested in com- puter animation.
    [Show full text]
  • January 27, 2009 (XVIII:3) Samuel Fuller PICKUP on SOUTH STREET (1953, 80 Min)
    January 27, 2009 (XVIII:3) Samuel Fuller PICKUP ON SOUTH STREET (1953, 80 min) Directed and written by Samuel Fuller Based on a story by Dwight Taylor Produced by Jules Schermer Original Music by Leigh Harline Cinematography by Joseph MacDonald Richard Widmark...Skip McCoy Jean Peters...Candy Thelma Ritter...Moe Williams Murvyn Vye...Captain Dan Tiger Richard Kiley...Joey Willis Bouchey...Zara Milburn Stone...Detective Winoki Parley Baer...Headquarters Communist in chair SAMUEL FULLER (August 12, 1912, Worcester, Massachusetts— October 30, 1997, Hollywood, California) has 53 writing credits and 32 directing credits. Some of the films and tv episodes he directed were Street of No Return (1989), Les Voleurs de la nuit/Thieves After Dark (1984), White Dog (1982), The Big Red One (1980), "The Iron Horse" (1966-1967), The Naked Kiss True Story of Jesse James (1957), Hilda Crane (1956), The View (1964), Shock Corridor (1963), "The Virginian" (1962), "The from Pompey's Head (1955), Broken Lance (1954), Hell and High Dick Powell Show" (1962), Merrill's Marauders (1962), Water (1954), How to Marry a Millionaire (1953), Pickup on Underworld U.S.A. (1961), The Crimson Kimono (1959), South Street (1953), Titanic (1953), Niagara (1953), What Price Verboten! (1959), Forty Guns (1957), Run of the Arrow (1957), Glory (1952), O. Henry's Full House (1952), Viva Zapata! (1952), China Gate (1957), House of Bamboo (1955), Hell and High Panic in the Streets (1950), Pinky (1949), It Happens Every Water (1954), Pickup on South Street (1953), Park Row (1952), Spring (1949), Down to the Sea in Ships (1949), Yellow Sky Fixed Bayonets! (1951), The Steel Helmet (1951), The Baron of (1948), The Street with No Name (1948), Call Northside 777 Arizona (1950), and I Shot Jesse James (1949).
    [Show full text]
  • 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.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
    Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense.
    [Show full text]
  • Dolflss MARTIN and LEWIS Mudlark”) “LIVINGIT UP” California Epic Script
    THE EVENING STAR, Washington, D. C. a r.mmmm. H MMR SATURDAY, SEPTEMBER U, 1054 LAST 3 DAYS I A-14 4Wk n *«** (LATE SHOW TONIGHTI) ' *** IATC SHOWTOWOMT The Passing Show , l - |3OB powell! Reynolds) jfiMESmsmjta* STEWART •mgr | This Fellow Webb-Friday wm kWL I Bbß AISRED ‘wtwcsmg^nmiMSNrc^ fl HMII |HggM|¦ / Slept) HmCHCOCKS w Wm \Susah REAR WINDOW Perfect in His Timing V *•(m*m| Cater htr i^Here^i#t. TsciiMicoiOß =*=V- By Jay Carmody Bk'Q- ' t' TtetWA fIAYHOUSrrECHNico®oR Crafty fellow, this Sergt. Joe Friday—and every bit as smart WHHmaHMBaSmaBSmBSSSSossmi tohighT^^^^ when he is operating under his real name, Jack Webb. tAW SH latHhow 4 H I 9WT9NKfHT This will come as no surprise, of course, to the “Dragnet” l«tt N.W. J man’s countless admirers. These have known ever since they ‘afPW. M M HllSl heard f JR Afjm Hobson on screen his first cryptic sentence and seen his expressionless face set in Open 1Q:4» A.M. dogged pursuit MARKOVA of malefactors* • Wb/flii/U/fj, SUNDAY MONDAY -TUESDAY Friday-Webb that is all brain. the GREATBBT MOVIE EVER MADK It is different people now Herald-Tribune’s drama with critic) and CUSS the movie who Mrs. Kerr took the TWBUii; in business have script to New accepted it as their moral duty York. Then fol- AT YQUR FAVORITE THEATRE ignore lowed the collaboration via long- VBanr»num^.«.nL,mJ to television. They were distance phone and the inevitable W™ *STREET surprised no end to discover that >UMIM OUNAWtatSM rewrites until the script was In, BRANCH AVE.
    [Show full text]
  • THE END of the AFFAIR / 1955 (O Fim Da Aventura)
    CINEMATECA PORTUGUESA–MUSEU DO CINEMA DEBORAH KERR – ATÉ À ETERNIDADE 20 de maio de 2021 THE END OF THE AFFAIR / 1955 (O Fim da Aventura) um filme de Edward Dmytryk Realização: Edward Dmytryk / Argumento: Lenore J. Coffee, segundo o romance de Graham Greene / Fotografia: Wilkie Cooper / Direcção Artística: Don Ashton / Montagem: Alan Osbiston / Música: Benjamin Frankel / Intérpretes: Deborah Kerr (Sarah Miles), Van Johnson (Maurice Bendrix), John Mills (Albert Parkis), Peter Cushing (Henry Miles), Michael Goodliffe (Smythe), Stephen Murray (padre Crompton), Charles Goldner (Savage), Nora Swinburne (Mrs. Bertram), Frederick Lester (Dr. Collingwood), Mary Williams (criada), etc. Produção: David Lewis, para Coronado Productions / Cópia: Blu Ray, preto e branco, legendado eletronicamente em português, 106 minutos / Estreia Mundial: Londres, em 23 de Fevereiro de 1955 / Estreia em Portugal: cinema Império, em 27 de Junho de 1956. Aviso: Em projecção, a cópia que vamos apresentar apresenta um ligeiro ruído de fundo, para o qual assim alertamos os espectadores, agradecendo a compreensão. _____________________________ Esta primeira adaptação do conhecido romance de Graham Greene “O Fim da Aventura” (Neil Jordan fez uma segunda versão em 1999), é um trabalho bastante singular de Edward Dmytryk, que parece fugir ao estilo habitual dos seus filmes. Apenas aparentemente, porque, no fim de contas, como nos seus trabalhos mais importantes, o conflito gira à volta de uma crise de consciência (Crossfire/Encruzilhada) e de uma peculiar relação triangular (Obsession/No Último Minuto). Por outro lado, se aceitarmos a tese de que todos os filmes reflectem, directa ou indirectamente, pela presença ou pela ausência de pormenores e sinais, a personalidade de um “autor” e os dramas que a afectam, então The End of the Affair, para o bem ou para o mal, também pode ser (ainda) visto à luz dos problemas que Edward Dmytryk enfrentou nos fins da década de 40, na sua relação com o Comité de Actividades Anti-Norte-Americanas.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • The American Indian in the American Film
    THE AMERICAN INDIAN IN THE AMERICAN FILM Thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in American Studies in the University of Canterbury by Michael J. Brathwaite 1981 ABSTRACT This thesis is a chronological examination of the ways in which American Indians have been portrayed in American 1 f.ilms and the factors influencing these portrayals. B eginning with the literary precedents, the effects of three wars and other social upheavals and changes are considered. In addition t-0 being the first objective detailed examination of the subj�ct in English, it is the first work to cover the last decade. It concludes that because of psychological factors it is unlikely that film-makers are - capable of advancing far beyond the basic stereotypes, and that the failure of Indians to appreciate this has repeatedly caused ill-feeling between themselves and the film-makers, making the latter abandon their attempts at a fair treatment of the Indians. ii TABLE OF CONTENTS Preface iii Chapter I: The Background of the Problem c.1630 to c.1900. 1 Chapter II: The Birth of the Cinema and Its Aftermath: 1889 to 1939. 21 Chapter III: World War II and Its Effects: 1940 to 1955. 42 Chapter IV: Assimilation of Separatism?: 1953 to 1965. 65 Chapter V: The Accuracy Question. 80 Chapter VI: Catch-22: 1965 to 1972. 105 Chapter VII: Back to the Beginning: 1973 to 1981. 136 Chapter VIII: Conclusion. 153 Bibliography 156 iii PREFACE The aim of this the.sis is to examine the ways in which the American Indians have been portrayed in American films, the influences on their portrayals, and whether or not they have changed.
    [Show full text]
  • George Pal Papers, 1937-1986
    http://oac.cdlib.org/findaid/ark:/13030/tf2s2004v6 No online items Finding Aid for the George Pal Papers, 1937-1986 Processed by Arts Library-Special Collections staff; machine-readable finding aid created by D.MacGill; Arts Library-Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm © 1998 The Regents of the University of California. All rights reserved. Finding Aid for the George Pal 102 1 Papers, 1937-1986 Finding Aid for the George Pal Papers, 1937-1986 Collection number: 102 UCLA Arts Library-Special Collections Los Angeles, CA Contact Information University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm Processed by: Art Library-Special Collections staff Date Completed: Unknown Encoded by: D.MacGill © 1998 The Regents of the University of California. All rights reserved. Descriptive Summary Title: George Pal Papers, Date (inclusive): 1937-1986 Collection number: 102 Origination: Pal, George Extent: 36 boxes (16.0 linear ft.) Repository: University of California, Los Angeles. Library. Arts Special Collections Los Angeles, California 90095-1575 Shelf location: Held at SRLF. Please contact the Performing Arts Special Collections for paging information. Language: English. Restrictions on Access Advance notice required for access.
    [Show full text]
  • {TEXTBOOK} Destination Moon
    DESTINATION MOON PDF, EPUB, EBOOK Herge | 64 pages | 04 Nov 2002 | Egmont UK Ltd | 9781405206273 | English | London, United Kingdom Destination Moon | The Museum of Flight When you consider that nobody had even put a satellite in orbit yet and everything they attempt to show of what space is like is based entirely on what they thought they knew, it's amazing how accurate they were. The acting at first seemed bland and I wanted to slap that stupid Brooklyn guy around but as someone stated, the movie needed someone the scientists had to explain everything to. I guess if they wanted the audience to understand any of it they had to do it this way. At that year I highly doubt most people knew what space was like at all. We just take it completely for granted now. Fifty-one years from its release and here I am watching it in DVD format. It amazes me sometimes. I gave it an 8. Looking for something to watch? Choose an adventure below and discover your next favorite movie or TV show. Visit our What to Watch page. Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. The highly detailed photographs reveal a celestial neighbor that is surprisingly dynamic and full of grandeur and wonder. Hey Members! Do you want to see Destination Moon while avoiding the busy times during its final days? Come see Destination Moon starting at 9 a.
    [Show full text]