Robert W. Sarnoff Papers 2464.04
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Items-In-Public Relations Files - Luncheons, Dinners and Receptions - Volumes III, IV, V
UN Secretariat Item Scan - Barcode - Record Title Page 8 Date 08/06/2006 Time 11:11:48 AM S-0864-0002-01-00001 Expanded Number S-0864-0002-01 -00001 items-in-Public relations files - luncheons, dinners and receptions - Volumes III, IV, V Date Created 21/05/1963 Record Type Archival Item Container S-0864-0002: Public Relations Files of the Secretary-General: U Thant Print Name of Person Submit Image Signature of Person Submit UNITED NATIONS INTEROFFICE MEMORANDUM &&>. G» ¥» iftgsiaSfi&aa 1. m U ) a a Si & CONTRIBUTIONS. FEDERAL REPUBLIC OF GERMANY UNTAB 1961 1962 1963 1964 Rank $2,120,000 $2,620,000 $2,650,000 $2,650,000 Third (After USA,UK) UN SPECIAL FUND 3,449,750 4,880,000 5,350,000 5,350,000 Fourth (After USA, UK, Sweden) UNICEF 1,375,000 1,375,000 1,500,000 1,500,000 Second (After USA) BOND ISSUE 10,000,000 2,000,000 UMTCIP (March) 500,000 CONGO CIVILIAN OPERATIONS 3,000,000 50,000 Note: They have informally pledged to pay for salaries and all costs for 8 German nationals working in the telecommunications field. Other aid will be bilateral. UNHCR 220,000 300,000 300,000 No commitment / 1961: First yetfA-^t ' 19621 QAO: • Qii/*/-M"SeconVd UNRWA 250,000 625,000 625,000 400,000 Seventh' (After USA, UK, Canada, France, UAR, Australia) Mr. Narasimhan Er* Tavares de Sa Mr« d'Arcy UNITED NATIONS WV NATIONS UNIES -^ ^- INTEROFFICE MEMORANDUM TO: The Secretary-General x"- . Date: 4 June 1963 FILE NO.: . THROUGH: FROM: Jean d'Arcy, Officer in Charge Office of Public Information SUBJECT: General David Sarnoff's lunetieon There could be two main topics of interest during this luncheon with General David Sarnoff, Chairman of the Board of the Radio Corporation of America, his son, Robert Sarnoff, Chairman of the Board of the National Broadcasting Company, and four executives of RCA: (a) A world-id.de system of radio and television broadcasting for the U.N., (b) NBC's programming on United Nations affairs. -
View / Open Bratslavsky Oregon 0171A 10830
FROM EPHEMERAL TO LEGITIMATE: AN INQUIRY INTO TELEVISION’S MATERIAL TRACES IN ARCHIVAL SPACES, 1950s -1970s by LAUREN MICHELLE BRATSLAVSKY A DISSERTATION Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2013 DISSERTATION APPROVAL PAGE Student: Lauren Michelle Bratslavsky Title: From Ephemeral to Legitimate: An Inquiry into Television’s Material Traces in Archival Spaces, 1950s -1970s This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Journalism and Communication by: Dr. Janet Wasko Chairperson Dr. Carol Stabile Core Member Dr. Julianne Newton Core Member Dr. Daniel Pope Institutional Representative and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2013 ii © 2013 Lauren M. Bratslavsky This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs (United States) License. iii DISSERTATION ABSTRACT Lauren Michelle Bratslavsky Doctor of Philosophy School of Journalism and Communication September 2013 Title: From Ephemeral to Legitimate: An Inquiry into Television’s Material Traces in Archival Spaces, 1950s -1970s The dissertation offers a historical inquiry about how television’s material traces entered archival spaces. Material traces refer to both the moving image products and the assortment of documentation about the processes of television as industrial and creative endeavors. By identifying the development of television-specific archives and collecting areas in the 1950s to the 1970s, the dissertation contributes to television studies, specifically pointing out how television materials were conceived as cultural and historical materials “worthy” of preservation and academic study. -
Walt Disney and Animation
Name: _________________________ Walt Disney and Animation Directions: Read the passage and answer the questions. Fascinating facts about Walt Disney, Inventor of the Multiplane Camera in 1936. From http://www.ideafinder.com/history/inventors/disney.htm AT A GLANCE: Walt Disney, inventor of the multiplane camera in 1936, is a legend and a folk hero of the 20th century. His worldwide popularity is based upon the ideas his name represents: imagination, optimism, and self-made success in the American tradition. Through his work he brought joy, happiness, and a universal means of communication. Inventor: Walter Elias Disney Criteria: First to invent. First to patent. Entrepreneur.. Birth: December 5, 1901 in Chicago, Illinois. Death: December 16, 1966 Nationality: American Invention: Multiplane Camera in 1936 Function: noun / still frame motion picture camera Definition: Disney’s invention of the multiplane camera brought better looking, richer animation and in 1937, Snow White and the Seven Dwarfs was the first full-length animated film to use the camera. Patent: 2,201,689 (US) issued May 21, 1940 Milestones: 1923 An aspiring cartoonist leaves for Hollywood 1924 Partnered with older brother Roy, and the Disney Brothers Cartoon Studio was officially born. 1928 First Mickey Mouse sound cartoon "Steamboat Willie" released on November 18, in New York. 1930 Mickey made his debut merchandising appearance on pencil tablets, books and comic strips 1936 Walt invents Multiplane Camera to improve the filming quality of his first picture film. 1937 First full-length animated film "Snow White and the Seven Dwarfs" was released. 1954 "Disneyland" anthology series premiered on network television. -
Nailing an Exclusive Interview in Prime Time
The Business of Getting “The Get”: Nailing an Exclusive Interview in Prime Time by Connie Chung The Joan Shorenstein Center I PRESS POLITICS Discussion Paper D-28 April 1998 IIPUBLIC POLICY Harvard University John F. Kennedy School of Government The Business of Getting “The Get” Nailing an Exclusive Interview in Prime Time by Connie Chung Discussion Paper D-28 April 1998 INTRODUCTION In “The Business of Getting ‘The Get’,” TV to recover a sense of lost balance and integrity news veteran Connie Chung has given us a dra- that appears to trouble as many news profes- matic—and powerfully informative—insider’s sionals as it does, and, to judge by polls, the account of a driving, indeed sometimes defining, American news audience. force in modern television news: the celebrity One may agree or disagree with all or part interview. of her conclusion; what is not disputable is that The celebrity may be well established or Chung has provided us in this paper with a an overnight sensation; the distinction barely nuanced and provocatively insightful view into matters in the relentless hunger of a Nielsen- the world of journalism at the end of the 20th driven industry that many charge has too often century, and one of the main pressures which in recent years crossed over the line between drive it as a commercial medium, whether print “news” and “entertainment.” or broadcast. One may lament the world it Chung focuses her study on how, in early reveals; one may appreciate the frankness with 1997, retired Army Sergeant Major Brenda which it is portrayed; one may embrace or reject Hoster came to accuse the Army’s top enlisted the conclusions and recommendations Chung man, Sergeant Major Gene McKinney—and the has given us. -
Morrie Gelman Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/c8959p15 No online items Morrie Gelman papers, ca. 1970s-ca. 1996 Finding aid prepared by Jennie Myers, Sarah Sherman, and Norma Vega with assistance from Julie Graham, 2005-2006; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2016 The Regents of the University of California. All rights reserved. Morrie Gelman papers, ca. PASC 292 1 1970s-ca. 1996 Title: Morrie Gelman papers Collection number: PASC 292 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 80.0 linear ft.(173 boxes and 2 flat boxes ) Date (inclusive): ca. 1970s-ca. 1996 Abstract: Morrie Gelman worked as a reporter and editor for over 40 years for companies including the Brooklyn Eagle, New York Post, Newsday, Broadcasting (now Broadcasting & Cable) magazine, Madison Avenue, Advertising Age, Electronic Media (now TV Week), and Daily Variety. The collection consists of writings, research files, and promotional and publicity material related to Gelman's career. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Creator: Gelman, Morrie Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. -
Dials and Channels David Sarnoff and His
Dials and Channels The Journal of the National Capital Radio & Television Museum 2608 Mitchellville Road Bowie, MD 20716-1392 (301) 390-1020 Vol. 25, No. 3 ncrtv.org September 2019 David Sarnoff and His RCA By Brian Belanger Introduction threw a tantrum. He ordered all copies of the first draft destroyed and rewrote sections himself. Book Along the stairway to the second floor of the critics were quick to comment on how over-the-top Museum are displayed about a dozen photos of laudatory the sanitized version was. It did not sell individuals that we felt were deserving of recognition well. for their roles in the history of radio and television. David Sarnoff’s photo is included. It is certainly A later and more balanced biography was authored appropriate that his story and how he shaped RCA, by Kenneth Bilby after Sarnoff’s death. Bilby was the Radio Corporation of America, be told in Dials Sarnoff’s public relations manager and a close and Channels. associate. This article relies heavily on that source. Any author outside of RCA intending to write a Sarnoff is a controversial figure. His supporters have Sarnoff biography who sought access to company called him a visionary and a genius, and are in awe of records would probably have received cooperation him, while critics have described him as a ruthless in proportion to how likely that author was to praise egotist. A case might be made for either label. I recognize Sarnoff’s shortcomings, yet I admire him for reasons that will become clear later in this article. -
Chapter Template
Copyright by Colleen Leigh Montgomery 2017 THE DISSERTATION COMMITTEE FOR COLLEEN LEIGH MONTGOMERY CERTIFIES THAT THIS IS THE APPROVED VERSION OF THE FOLLOWING DISSERTATION: ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION Committee: Thomas Schatz, Supervisor James Buhler, Co-Supervisor Caroline Frick Daniel Goldmark Jeff Smith Janet Staiger ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION by COLLEEN LEIGH MONTGOMERY DISSERTATION Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT AUSTIN AUGUST 2017 Dedication To Dash and Magnus, who animate my life with so much joy. Acknowledgements This project would not have been possible without the invaluable support, patience, and guidance of my co-supervisors, Thomas Schatz and James Buhler, and my committee members, Caroline Frick, Daniel Goldmark, Jeff Smith, and Janet Staiger, who went above and beyond to see this project through to completion. I am humbled to have to had the opportunity to work with such an incredible group of academics whom I respect and admire. Thank you for so generously lending your time and expertise to this project—your whose scholarship, mentorship, and insights have immeasurably benefitted my work. I am also greatly indebted to Lisa Coulthard, who not only introduced me to the field of film sound studies and inspired me to pursue my intellectual interests but has also been an unwavering champion of my research for the past decade. -
Alma Lach's Kitchen
Alma Lach’s Kitchen: Transforming Taste The art of cooking rests upon one’s ability to taste, to reproduce taste, and to create taste. To achieve distinction the cook must taste everything, study cookbooks of all kinds, and experiment constantly in the kitchen. I stress in my writing and teaching the logic of food preparation; for the cook who possesses logic, knows how to create dishes rather than being content merely to duplicate the recipes of others. —Alma Lach In the pioneering culinary era of the mid-twentieth century, Chicago chef Alma Lach was one of the primary figures who transformed traditional American cooking. She did so by introducing the history and principles of French cooking, thus opening midcentury American kitchens to new techniques and ingredients. As a chef, cookbook author, and food consultant, Alma was widely known for her bestselling book, Cooking à la Cordon Bleu (1970), later revised, with added material on regional French cuisine, and published by the University of Chicago Press as Hows and Whys of French Cooking (1974). Alma was a graduate of Le Cordon Bleu cooking school in Paris (Grand Diplôme, 1956). She spent a lifetime exploring taste around the globe. With her husband Donald Lach, the Bernadotte E. Schmitt Professor of History at the University of Chicago, she traveled throughout the world, including Italy, India, France, and China. Her daughter, Sandy Lach Arlinghaus, describes her mother as “doing scholarly research involving great cuisine.” Her education at Le Cordon Bleu helped her see cooking as having a “logical order rather than as an assemblage of a recipe here and there.” Alma thought constantly about food; to her, presentation was an integral part of creating and enjoying great cuisine. -
D Sarnoff Library - David Sarnoff Timeline [1891-1971] Page 1 of 2
David Sarnoff Library - David Sarnoff Timeline [1891-1971] Page 1 of 2 d Sarnoff Library Home I Library Online I Site Map News I Searth I About Lis Quick David Sarnoff: Navigation Timeline David Sarnoff: Timeline Who was David Sarnoff, Anyway? 1891-1906: The Child is Father to the David Sarnoff(1891-1971) was not Man an inventor, an engineer, or a scientist. Instead, as a corporate 1906-1919: manager and executive he became Horatio Alger Comes to technology's champion, especially Life for broadcast communications, starting at the age of fifteen. He advocated, supported, financed, and 1919-1929: oversaw the development of radio in the Prepared Luck Favors the 1910s and 1920s, and then Mind television from the 1930s through the 1950s. 1930-1941: Times Hard Sarnoff first posed the concept of broadcast radio in 1915. At that time, more than half of the American population lived in 1941-1945: towns of less than 5,000 people; information arrived through The Making of the newspapers, magazines, mail order catalogs, letters and General postcards, and word of mouth. Today, there are nearly 13,000 AM and FM radio stations in the United States, and 1945-1956: thousands more abroad, as well as nearly 20,000 internet Nothing Ventured, radio stations. Nothing Gained Sarnoff formally introduced RCA's electronic monochrome 1957-1971: television system in 1939 and the world's first electronic Imagining the Future color television system in 1946. In 2000 there were over 1,600 television stations in the United States. Only since 1990 have more households acquired complete plumbing facilities than televisions. -
Off Camera 1109.P65
Jules Power, a Producer of ‘Mr. Wizard’ & ‘Over Easy” Dies at 87 By Dennis Hevesi, The New York Times In its nine-year run, mostly on Sunday mornings, Discovery visited Jules Power (Silver Circle Class of more than a dozen countries, including 1990), who helped break the mold of the Soviet Union, Kenya, Israel, cartoonish children’s shows in the early Japan, Germany and Australia. Ameri- days of television by producing pro- can viewers were exposed to historic grams that entranced youngsters with sites, chess clubs and an elementary basic science and allowed them to school in Moscow, where their coun- roam the world from their living rooms, terparts were learning English. died on October 10 in Baltimore. He Youngsters, Mr. Power told The was 87. New York Times in 1965, are unfamiliar The cause was complications of with the world. “They know that the Alzheimer’s disease, his son, Bob, said. world today is small,” he said, “but Mr. Power was a co-producer of they also feel that it’s strictly for the long-running Mr. Wizard on NBC, adults. This is something we’d like to and then executive producer of Dis- change.” The show won an Emmy® covery on ABC. award for children’s programming and three Thomas His mission was “to expand young minds and fill a Alva Edison Awards. void in afternoon children’s programming,” George Born Jules Pewowar in Chicago on Oct. 19, 1921, W. Woolery wrote in his 1983 book, Children’s Mr. Power was one of three children of Paul and Television: The First 35 Years, 1946-1981. -
Hugh Downs Interview
• NBC NEWS 1 HUGH DOWNS' INT~RVIr.W WITH VICE PRBSIDENT AND MRS. HUMPHREY ON TIE 8:30 A.M. (CDT) S::'All\fl:NT OF "TODAY" ON THURSDAY, AUGUST 29, 1968, LIVE AND IN COLOR ON THE NBC TELEVISION NETWORK. MR. DOWNS: Shortly after he received the Democratic Presidential nomination last night, Vice President Humphrey agreed to tape an inter view at his campaign headquarters here at Chi cago. With him was his wife, Muriel, now ready to endu:C'e the frantic and sometimes inhu man demands made upon a wcx1an who might become a President's First Lady. Here, now, is that taped interview. MR. DOWNS: Mr. Vice President, I think America imagines some of your possibly mixed feel ings of anguish on this night of your triumph at some of the things that we have watched on tele vision, some of the things that have happened here in this convention city, the sight of police men c~ubbing young idealists, many of whom are of the type who may have founded this country, one who Press Department I National Broadcasting Company I 30 Rockefeller Plaza I New York, N.Y. 10020 t 2 might have been at the beginnings of this country a young idealist named Hubert Humphrey. What are your feelings on having seen it as I know you did from the hotel? VICE PRESIDENT HUMPHRk!Y: Well, I saw some of it from the hotel, hut I saw most of it on the television. I have been very concerned this week as to what would develop. -
Walt Disney Productions Sunday, April 9, 1978
• ·I - ~ • • \ t .' .I • A Tribute to Walt Disney Productions Sunday, April 9, 1978 · Delta Kappa·Aipha's - ~ 39th. Annual Awards Banquet Delta Kappa Alpha National H onorary Cin~ma Fraternity Di<11ision of Cintma UNIV ERSITY oF SouTHERN CALIFORNIA SCHOOL OF PERFORMING ARTS UNIVERSI1Y PARK March 31, 1978 Los ANG!LES, CALIFORNIA 90007 DKA Honoraries folie A..odrewa J'red Astaire Greetings: Lucille Ball !..uc:ieo Ballard AnoeButer On behalf of the Alpha Chapter of Delta Kappa Alpha, Richard Brooks tvrwt~~·~,e the National Honorary Cinema Fraternity, I wish to Staole1 CA>nn extend my warmest welcome to you on the occasion ?.":~.;.."::11 of our thirty-ninth Annual Awards Banqu7t. Delmer Daves ~eb~~eo Allan Dwao The fraternity was established in 1937 and is Blue Edwardo Rudr Fehr dedicated to the furthering of the film arts and to s,lviA Fil>e jobo Flof1 the promotion of better rela~ions between the Glena Ford Ckne Fowler academic and practicing members of the industry, Marjorie Fowler both theatrical and non-thea·trical. Our Greek ~~.<:l.::re Lre Gai"'DtS letters symbolize the Dramatic, Kinematic and GreerGanoo lobo Green Aesthetic aspects of film. Coorad Hall Henry Hathaway Howard Ha"b Edith Head Of our yearly activities, the Banquet is one of A II red Hitchcod< Wilton Holm the most gratifying. It gives us the opportunity Ro. Huorer to recognize the truly talented people in the in I:!::O'::Jc!iton dustry, people who direct its future. ~~~~{;•es Sc:anlg Kiamer l.;~I'V1~1 This year we feel that the honorees are most Sol Lnter Rouben Mamoul iao worthy of such distinction for their tremendous Walter ~htthau Steve Mc:Queto contribution to the art of animation.