The Birds (1963) Bodega Bay, Where the Characters' Sense of Security Is Slowly Eroded TOMATOMETER by the Curious Behavior of the Birds in the Area
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The People of Leonardo's Basement
The people of 26. Ant, or Anthony Davis 58. Fred Rogers Leonardo’s Basement 27. Slug, or Sean Daley 59. Steve Jevning The people - in popular culture, 28. Tony Sanneh 60. Tracy Nielsen business, politics, engineering, art, and technology - chosen for the 29. Lin-Manuel Miranda 61. Albert Einstein album cover redux have provided 30. Joan (of Art) Mondale 62. Maria Montessori inspiration to Leonardo’s Basement for 20 years. Many have a connection 31. Herbert Sellner 63. Nikola Tesla to Minnesota! 32. H.G. Wells 64. Leonardo da Vinci 1. Richard Dean Anderson, or 33. Rose Totino 65. Neal deGrasse Tyson MacGyver 34. Heidemarie Stefanyshyn- 66. John Dewey 2. Kofi Annan Piper 67. Frances McDormand or 3. Dave Arneson 35. Louie Anderson Marge Gunderson 4. Earl Bakken 36. Jeannette Piccard 68. Rocket girl 5. Ann Bancroft 37. Barry Kudrowitz 69. Ada Lovelace 6. Clyde Bellecourt 38. Jane Russell 70. Mary Tyler Moore or Mary Richards 7. Leeann Chin 39. Winona Ryder 71. Newton’s Apple 8. Judy Garland 40. June Marlowe 72. Wendell Anderson 9. Terry Lewis 41. Gordon Parks 73. Ralph Samuelson 10. Jimmy Jam 42. August Wilson 74. Jessica Lange 11. Kate DiCamillo 43. Rebecca Schatz 75. Trojan Horse 12. Dessa, or Margret Wander 44. Fred Rose 76. TARDIS 13. Walter Deubner 45. Cheryl Moeller 77. Cardboard castle 14. Reyn Guyer 46. Paul Bunyan 78. Millennium Falcon 15. Bob Dylan (Another Side of) 47. Mona Lisa 79. Chicken 16. Louise Erdich 48. Rocket J. "Rocky" Squirrel 80. Drum head, inspired by 17. Peter Docter 49. Bullwinkle J. -
Literariness.Org-Mareike-Jenner-Auth
Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fiction has never been more pop- ular. In novels, short stories, films, radio, television and now in computer games, private detectives and psychopaths, prim poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fiction. Every aspect of crime writing, detective fiction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. Titles include: Maurizio Ascari A COUNTER-HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Pamela Bedore DIME NOVELS AND THE ROOTS OF AMERICAN DETECTIVE FICTION Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Clare Clarke LATE VICTORIAN CRIME FICTION IN THE SHADOWS OF SHERLOCK Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Michael Cook DETECTIVE FICTION AND THE GHOST STORY The Haunted Text Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian Crime Fiction Barry Forshaw BRITISH CRIME FILM Subverting -
ED Mcbain M Ranso S King'
KING'S RANSOM Douglas King is rich. A nice house in the best part of the city, servants, big cars, fashionable clothes for his attractive wife, Diane. He's worked hard all his life to get where he is today, and now he's planning a big business deal. It's a very expensive deal, and there are enemies working against King, but if he wins, he'll get to be company president. If he doesn't win, he'll be out on the street. Sy Barnard and Eddie Folsom are not rich. They're small- time crooks, not very successful, but they want all the good things that money can buy. So they plan the perfect kidnapping. 'Five hundred thousand dollars by tomorrow morning, or we kill the boy,' they tell Douglas King. It's a beautiful plan. But Eddie's wife, Kathy, doesn't like it, and neither does Detective Steve Carella of the 87th Precinct. And Sy and Eddie have taken the wrong boy — not King's son, but the Reynolds boy, the son of King's chauffeur. And the chauffeur doesn't have five hundred thousand dollars. So who's going to pay the ransom? Y LIBRAR S BOOKWORM D OXFOR Mystery & Crime King's Ransom ) headwords 0 (180 5 e Stag Series Editor: Jennifer Bassett e Hedg a Trici : Editor r Founde r Baxte n Aliso d an t Basset r Jennife : Editors s Activitie ED McBAIN m Ranso s King' by novel original the from Retold Rosalie Kerr OXFORD UNIVERSITY PRESS OXFORD CONTENTS UNIVERSITY PRESS STORY INTRODUCTION i 1 'We want your voting stock, Doug' 1 2 'Why would anyone want to steal radio parts?' 8 ' surprise! y b m hi e Tak ! attack d an n dow p 'Jum 3 12 4 'We've got your -
A Symphony of Noises: Revisiting Oskar Sala's 'Geräuschmontage'
Journal of Sound, Silence, Image and Technology 7 Número 2 | Desembre 2019 | 7-23 ISSN 2604-451X A Symphony of Noises: Revisiting Oskar Sala’s ‘Geräuschmontage’ for Alfred Hitchcock’s ‘The Birds’ (1963) Julin Lee Ludwig-Maximilians-Universität München, Germany [email protected] Date received:10-10-2019 Date of acceptance: 30-11-2019 KEY WORDS: FILM MUSIC | SOUND DESIGN | SOUND STUDIES | MATERIAL CULTURE STUDIES | ORGANOLOGY Journal of Sound, Silence, Image and Technology | Número 2 | Desembre 2019 8 A Symphony of Noises: Revisiting Oskar Sala’s ‘Geräuschmontage’ for Alfred Hitchcock’s ‘The Birds’ (1963) ABSTRACT accompanying the title sequence has a The soundtrack of Alfred Hitchcock’s The formal structure which resembles a classical Birds (1963) is particularly remarkable, not Hollywood film overture, and takes on only because of the absence of a conven- several expositional roles conventionally tional orchestral underscore, but also assigned to a film’s opening musical pas- because the terrifying sounds of the sage. Furthermore, the gull cries adopt the aberrant birds were actually synthesized by function of a leitmotif, while the stylized bird Oskar Sala using the mixturtrautonium, an sounds perform emotive functions usually electronic musical instrument of his own ascribed to film music. In addition, the design. This paper explores the extent to hostile birds are characterized by electroni- which these electronically synthesized bird cally synthesized bird sounds – a representa- sounds go beyond their diegetic placement tion which can be understood within the as sound effects and take on the dramaturgi- broader context of mankind’s ambivalence cal roles usually ascribed to non-diegetic towards machines and technological film music. -
Hitchcock's Appetites
McKittrick, Casey. "Epilogue." Hitchcock’s Appetites: The corpulent plots of desire and dread. New York: Bloomsbury Academic, 2016. 159–163. Bloomsbury Collections. Web. 28 Sep. 2021. <http://dx.doi.org/10.5040/9781501311642.0011>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 08:18 UTC. Copyright © Casey McKittrick 2016. 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. Epilogue itchcock and his works continue to experience life among generation Y Hand beyond, though it is admittedly disconcerting to walk into an undergraduate lecture hall and see few, if any, lights go on at the mention of his name. Disconcerting as it may be, all ill feelings are forgotten when I watch an auditorium of eighteen- to twenty-one-year-olds transported by the emotions, the humor, and the compulsions of his cinema. But certainly the college classroom is not the only guardian of Hitchcock ’ s fl ame. His fi lms still play at retrospectives, in fi lm festivals, in the rising number of fi lm studies classes in high schools, on Turner Classic Movies, and other networks devoted to the “ oldies. ” The wonderful Bates Motel has emerged as a TV serial prequel to Psycho , illustrating the formative years of Norman Bates; it will see a second season in the coming months. Alfred Hitchcock Presents and The Alfred Hitchcock Hour are still in strong syndication. Both his fi lms and television shows do very well in collections and singly on Amazon and other e-commerce sites. -
OBSCENE, INDECENT, IMMORAL, and OFFENSIVE 100+ Years Of
ch00_5212.qxd 11/24/08 10:17 AM Page iii OBSCENE, INDECENT, IMMORAL, AND OFFENSIVE 100+ Years of Censored, Banned, and Controversial Films STEPHEN TROPIANO ELIG IM HT L E DITIONS LIMELIGHT EDITIONS An Imprint of Hal Leonard Corporation New York ch00_5212.qxd 11/24/08 10:17 AM Page iv Copyright © 2009 by Stephen Tropiano All rights reserved. No part of this book may be reproduced in any form, without written permission, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review. Published in 2009 by Limelight Editions An Imprint of Hal Leonard Corporation 7777 West Bluemound Road Milwaukee, WI 53213 Trade Book Division Editorial Offices 19 West 21st Street, New York, NY 10010 Printed in the United States of America Book design by Publishers’ Design and Production Services, Inc. Library of Congress Cataloging-in-Publication Data is available upon request. ISBN: 978-0-87910-359-0 www.limelighteditions.com ch04_5212.qxd 11/21/08 9:19 AM Page 143 CHAPTER 4 Guns, Gangs, and Random Acts of Ultra-Violence n the silent era, the cinematic treatment of crime and criminals was a major point of contention for those who believed there was a Idirect cause-and-effect link between the depiction of murder, rape, and violence and real crimes committed by real people in the real world. They were particularly concerned about the negative effects of screen violence on impressionable youth, who were supposedly prone to imitate the bad behavior they might witness in a dark movie theatre one sunny Saturday afternoon. -
Honorable Members of the Visual Arts Committee From
STAFF REPORT Date: February 13, 2012 To: Honorable Members of the Visual Arts Committee From: Mary Chou Re: Art on Market Street During the August 2011 Visual Arts Committee meeting, Commissioners approved Christina Empedocles’s proposal for an Art on Market Street poster series, but asked the artist to consider movies that spanned a variety of genres and to include more contemporary films. The original list consisted of the following: The Birds (1963), The Maltese Falcon (1941), Harold and Maude (1971), Vertigo (1958), Escape from Alcatraz (1979), Bullitt (1968), and Dirty Harry (1971). Below is a description of the artist’s explanation for her primary list of movies for her poster series, and her secondary list, if she is unable to secure permissions for movies in the primary list. Description of Poster Series With this primary list of films for the Art on Market Street poster series, the goal was to narrow down and select a list of movies from several different decades and a host of different genres, including major motion pictures as well as independent films, each with one thing in common: they'd be the best movies of their respective eras and genres to feature San Francisco itself as a prominent character. The images created from the following six classic motion pictures would include a poster from the film, as well as a collage of key visual elements associated with that film, and should be instantly recognizable to just about any longtime City resident, film buff, or keen-eyed observer. These visual elements would be extensions of the components of the posters, comprised of key props, characters (dependent on permission), and possibly quotes, bits of map, or small shots of various locations. -
Michael Preece
Deutscher FALCON CREST - Fanclub July 31, 2009 The First Director: MICHAEL PREECE Talks about the Falcon Crest Première and Other Memories Interview by THOMAS J. PUCHER (German FALCON CREST Fan Club) I sent Michael Preece, who directed ten episodes of Falcon Crest, particularly the series première, a request for an interview via e-mail, and he replied immediately so we scheduled a phone conversation for July 31, 2009. He has been one of the most successful directors of U.S. TV shows for more than 30 years. His directing credits include many hit series from the 1970’s, ’80’s and ’90’s, such as The Streets of San Francisco, Knots Landing, Fantasy Island, Flamingo Road, Trapper John, M.D., The Incredible Hulk, T.J. Hooker, Riptide, Stingray, Jake and the Fatman, MacGyver, Hunter, Renegade, Seventh Heaven and Walker, Texas Ranger as well as — last but not least — Dallas. Getting to Work on Falcon Crest Michael stepped right into the middle of how much he enjoyed working on Falcon Crest, particularly with Jane Wyman. He said she wanted him to direct more often, but he was extremely busy with Dallas: “I had to go to Jane Wyman and tell her that I couldn’t work on the show.” He left no doubt that directing Dallas did not leave much room for anything else because he directed approximately 70 episodes of the series. But he enjoyed doing an episode of Falcon Crest from time to time. “So how did you get your first assignment for Falcon Crest, the first episode, In His Father’s House?” I asked. -
Rethinking the Intersection of Cinema, Genre, and Youth James Hay, University of Illinois at Urbana-Champaign, USA
Rethinking the Intersection of Cinema, Genre, and Youth James Hay, University of Illinois at Urbana-Champaign, USA The "Teen Film," Genre Theory, and the Moral Universe ofPlanetariums In most accounts of the "teen film," particularly those accounts tracing its origins, films such as Blackboard Jungle (1955) and Rebel Without a Cause (1956) have served as crucial references, not only for assembling and defining a corpus of films as a genre but also for describing the genre's relation to a socio-historical formation/context. I begin this essay not with an elaborate reading of these films, nor with a deep commitment to reading films or charting homologies between them, nor with an abiding interest in defining teen films (though I do want to discuss how teen films and film genres have been defined), nor with a sense that these are adequate ways of understanding the relation of cinema or youth to social and cultural formation. There are in fact many good reasons to begin from other starting points than these films in order to discuss the relation of youth and cinema during the 1950s or thereafter. Because these films regularly have figured into accounts of the teen film, however, two particular scenes in these films offer a useful way to think about the objectives of film genre theory and criticism, particularly as they have informed accounts of the teen film, and to suggest an alternative way of thinking about genre, youth, and cinema. Both of these scenes occur at sites where the films' young characters become the subjects of screenings conducted by adult figures who explain to the students the significance of what they are viewing. -
To Keep Your Mind Active During the Summer to Introduce You to the Rigor of Work in High School English to Give You the Opportun
English I Summer Reading Assignment Ms. Claudia Middleton Ms. Anna Russell Thornton [email protected] [email protected] Purpose & Overview HOMEWORK?! Over the SUMMER?! It’s true that doing homework during your break can be frustrating. However, it is important to do something over the summer so that we can be well prepared in the fall. Here are some reasons why we are completing this summer reading project: To give you the To introduce you to the To keep your mind active opportunity to read rigor of work in high during the summer well-known and popular school English writers To give your teacher an To preview the idea of your reading and stories that we will be writing abilities at the studying during the beginning of the school school year year For this assignment, you are required to: Step 3: Engage Step 1: Read Step 2: Annotate Choose three tasks from Pick the 5 stories you Be sure each story is the Choice Menu to will read this summer. thoroughly annotated. complete (one must be writing an OER!). Where do I get the stories? Available to you for free are all of the short stories in this packet. If you would like to print out the entire packet, feel free to do so. If you would prefer to first look through the packet online, select the stories you want to read, and ONLY print those, that is another great option. Page 1 Required Summer Reading Assignment (checklist) Access this summer reading packet online and print, if possible. -
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. -
There Is an Iconic Scene in the 1955 Film the Blackboard Jungle
UC Santa Barbara Journal of Transnational American Studies Title A Transnational Tale of Teenage Terror: The Blackboard Jungle in Global Perspective Permalink https://escholarship.org/uc/item/2bf4k8zq Journal Journal of Transnational American Studies, 6(1) Author Golub, Adam Publication Date 2015 DOI 10.5070/T861025868 eScholarship.org Powered by the California Digital Library University of California A Transnational Tale of Teenage Terror: The Blackboard Jungle in Global Perspective by Adam Golub The Blackboard Jungle remains one of Hollywood’s most iconic depictions of deviant American youth. Based on the bestselling novel by Evan Hunter, the 1955 film shocked and thrilled audiences with its story of a novice teacher and his class of juvenile delinquents in an urban vocational school. Among scholars, the motion picture has been much studied as a cultural artifact of the postwar era that opens a window onto the nation’s juvenile delinquency panic, burgeoning youth culture, and education crisis.1 What is less present in our scholarly discussion and teaching of The Blackboard Jungle is the way in which its cultural meaning was transnationally mediated in the 1950s. In the midst of the Cold War, contemporaries viewed The Blackboard Jungle not just as a sensational teenpic, but as a dangerous portrayal of U.S. public schooling and youth that, if exported, could greatly damage America’s reputation abroad. When the film did arrive in theaters across the globe, foreign critics often read this celluloid image of delinquent youth into broader