Between Sacred and Secular: the Pop Cult Saviour Approacheth!
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The Capitol Dome
THE CAPITOL DOME The Capitol in the Movies John Quincy Adams and Speakers of the House Irish Artists in the Capitol Complex Westward the Course of Empire Takes Its Way A MAGAZINE OF HISTORY PUBLISHED BY THE UNITED STATES CAPITOL HISTORICAL SOCIETYVOLUME 55, NUMBER 22018 From the Editor’s Desk Like the lantern shining within the Tholos Dr. Paula Murphy, like Peart, studies atop the Dome whenever either or both America from the British Isles. Her research chambers of Congress are in session, this into Irish and Irish-American contributions issue of The Capitol Dome sheds light in all to the Capitol complex confirms an import- directions. Two of the four articles deal pri- ant artistic legacy while revealing some sur- marily with art, one focuses on politics, and prising contributions from important but one is a fascinating exposé of how the two unsung artists. Her research on this side of can overlap. “the Pond” was supported by a USCHS In the first article, Michael Canning Capitol Fellowship. reveals how the Capitol, far from being only Another Capitol Fellow alumnus, John a palette for other artist’s creations, has been Busch, makes an ingenious case-study of an artist (actor) in its own right. Whether as the historical impact of steam navigation. a walk-on in a cameo role (as in Quiz Show), Throughout the nineteenth century, steam- or a featured performer sharing the marquee boats shared top billing with locomotives as (as in Mr. Smith Goes to Washington), the the most celebrated and recognizable motif of Capitol, Library of Congress, and other sites technological progress. -
Coping Strategies: Three Decades of Vietnam War in Hollywood
Coping Strategies: Three Decades of Vietnam War in Hollywood EUSEBIO V. LLÁCER ESTHER ENJUTO The Vietnam War represents a crucial moment in U.S. contemporary history and has given rise to the conflict which has so intensively motivated the American film industry. Although some Vietnam movies were produced during the conflict, this article will concentrate on the ones filmed once the war was over. It has been since the end of the war that the subject has become one of Hollywood's best-sellers. Apocalypse Now, The Return, The Deer Hunter, Rambo or Platoon are some of the titles that have created so much controversy as well as related essays. This renaissance has risen along with both the electoral success of the conservative party, in the late seventies, and a change of attitude in American society toward the recently ended conflict. Is this a mere coincidence? How did society react to the war? Do Hollywood movies affect public opinion or vice versa? These are some of the questions that have inspired this article, which will concentrate on the analysis of popular films, devoting a very brief space to marginal cinema. However, a general overview of the conflict it self and its repercussions, not only in the soldiers but in the civilians back in the United States, must be given in order to comprehend the between and the beyond the lines of the films about Vietnam. Indochina was a French colony in the Far East until its independence in 1954, when the dictator Ngo Dinh Diem took over the government of the country with the support of the United States. -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243 -
Symbolism in Francis F. Coppola's Apocalypse Now: a Journey Within
Corso di Laurea Magistrale (ordinamento ex D.M. 270/2004) in Lingue e Letterature Europee, Americane e Postcoloniali. Tesi di Laurea Symbolism in Francis F. Coppola’s Apocalypse Now: A Journey within. Relatore Ch. ma Prof.ssa Francesca Bisutti. Contro-Relatore Ch.mo Prof. Gregory Dowling Laureando Riccardo Brett Matricola 803748 Anno Accademico 2012 / 2013 Symbolism in Francis F. Coppola’s Apocalypse Now: A Journey within. 1 TABLE OF CONTENTS . Page 2: Table of Contents . Page 4: Preface . Page 5: Introduction - F.F. Coppola, J. Milius, M. Herr and Apocalypse Now. Page 8: The Background. Page 14: Colors, Music and War. Page 32: Chapter 1, The Path. Page 48: Chapter 2, Descending. Page 74: Chapter 3, Reaching the Heart. Page 95: Conclusion - The Man, the River and the Horror. Page 108: Apocalypse Now –Apocalypse Now Redux : casting. 2 . Page 109 Notes. Page 130: Bibliography. Page 135: Sitography. Page 138: Acknowledgements. 3 Preface. This paper aims to give an analyzes of symbolical themes within the nature and spirit of the human being, through the scenes of Francis Ford Coppola’s masterpiece: Apocalypse Now. The sequence of images and symbols that appear throughout every single chapter of the movie disclose a multitude of layers that lead to the ultimate point of no return: deep within the mind and essence of man, at the end of the spring of the “inner river”. Ever since the first screening at the Cannes Film Festival in 1979, many critics have been writing and have discussed the connections between this movie and Joseph Conrad’s Heart of Darkness: not only because of obvious references of the storyline, but especially because of the social and psychological themes that both the screenplay author John Milius and the Polish writer expressed in their works. -
A Supercut of Supercuts: Aesthetics, Histories, Databases
A Supercut of Supercuts: Aesthetics, Histories, Databases PRACTICE RESEARCH MAX TOHLINE ABSTRACT CORRESPONDING AUTHOR: Max Tohline The genealogies of the supercut, which extend well past YouTube compilations, back Independent scholar, US to the 1920s and beyond, reveal it not as an aesthetic that trickled from avant-garde [email protected] experimentation into mass entertainment, but rather the material expression of a newly-ascendant mode of knowledge and power: the database episteme. KEYWORDS: editing; supercut; compilation; montage; archive; database TO CITE THIS ARTICLE: Tohline, M. 2021. A Supercut of Supercuts: Aesthetics, Histories, Databases. Open Screens, 4(1): 8, pp. 1–16. DOI: https://doi.org/10.16995/os.45 Tohline Open Screens DOI: 10.16995/os.45 2 Full Transcript: https://www.academia.edu/45172369/Tohline_A_Supercut_of_Supercuts_full_transcript. Tohline Open Screens DOI: 10.16995/os.45 3 RESEARCH STATEMENT strong patterning in supercuts focuses viewer attention toward that which repeats, stoking uncritical desire for This first inklings of this video essay came in the form that repetition, regardless of the content of the images. of a one-off blog post I wrote seven years ago (Tohline While critical analysis is certainly possible within the 2013) in response to Miklos Kiss’s work on the “narrative” form, the supercut, broadly speaking, naturally gravitates supercut (Kiss 2013). My thoughts then comprised little toward desire instead of analysis. more than a list; an attempt to add a few works to Armed with this conclusion, part two sets out to the prehistory of the supercut that I felt Kiss and other discover the various roots of the supercut with this supercut researchers or popularizers, like Tom McCormack desire-centered-ness, and other pragmatics, as a guide. -
On Popular Epicureanism: Relationships of Theme and Style in Harold and Maude and Bad Boy Bubby Christopher Hartney
On Popular Epicureanism: Relationships of Theme and Style in Harold and Maude and Bad Boy Bubby Christopher Hartney To what extent can art transmit didactic content, to what extent can it teach? Is there an aesthetic relationship between a style of art and a lesson conveyed? In this paper I would like to look at two examples of art that go towards answering this question. The learning that I wish to examine focuses on an Epicurean content which, because of its lasting radical nature, speaks strongly in films that tend to be comprehended much more as “cult” than mainstream. After a brief discussion of themes arising from a two thousand year old legacy of Epicurean thought, I will trace some influences on two fascinating films that borrow ideas from this philosophical school for particular purposes: Hal Ashby’s Harold and Maude 1971 and Rolf de Heer’s Bad Boy Bubby, 1993. This paper is not an overall review of these films, but an examination of their philosophical content in this aspect. In his essay, ‘Poetry, Prayer and Trade,’ A. D. Hope takes up a discussion of the didactic uses of verse as a strong problematic in the history of poetry.1 He finds that the link between learning and verse reaches a workable compromise in some examples, Sir John Davies’ Nosce teipsum being one of the rare exceptions to succeed.2 Yet, despite touching at the very foundation of Western poetry (Hesiod’s Works and Days and later Virgil’s Georgics)3 Hope suggests it is difficult to justify verse as a mechanism of mnemonic learning, education and discussion. -
Star Trek Fan Community
The Effect of Commercialisation and Direct Intervention by the Owners of Intellectual Copyright A Case Study: The Australian Star Trek Fan Community Susan Pamela Batho PhD Candidate University of Western Sydney Australia 2009 Resubmitted March 2009 © Susan Batho February 2007 Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. …………………………………………… (Signature) ABSTRACT In the early 1990s, Australian Star Trek fandom appeared to be thriving, with large numbers of members in individual clubs, many publications being produced and conventions being held. The Star Trek phenomenon was also growing, with its profitability being an attractive selling point. In 1994, Viacom purchased Paramount Communications, and expanded the control over its rights by offering licences to the title of Official Star Trek Club for countries outside of the United States, as well licences for numerous commercially sold items At the time they were in negotiation with the Microsoft Corporation to establish an on-line community space for Star Trek to attract the expanding internet fan presence, and relaunching Simon & Schuster’s Pocket Books which was part of Paramount Communications, as its sole source of Star Trek fiction, and had organised to launch the Star Trek Omnipedia, a CD produced by Simon & Schuster Interactive. A new Star Trek series, Voyager, was about to appear, and marketing-wise, it was a good time to expand their presence commercially, launch the new website, and organise the fans through Official Star Trek Clubs, feeding them new merchandise, and the new website. -
Authoring Hal Ashby: the Myth of the New Hollywood Auteur, by Aaron Hunter
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title Authoring Hal Ashby: The Myth of the New Hollywood Auteur, by Aaron Hunter Author(s) Godfrey, Nicholas Editor(s) Mulvey, James Publication date 2018 Original citation Godfrey, N. (2018) Authoring Hal Ashby: The Myth of the New Hollywood Auteur, by Aaron Hunter. Alphaville: Journal of Film and Screen Media, 15, pp. 152-155. Type of publication Review Link to publisher's http://www.alphavillejournal.com/Issue15/ReviewGodfrey.pdf version Access to the full text of the published version may require a subscription. Rights © 2018, the Author(s) https://creativecommons.org/licenses/by-nc-nd/4.0/ Item downloaded http://hdl.handle.net/10468/7100 from Downloaded on 2021-10-02T11:57:41Z Authoring Hal Ashby: The Myth of the New Hollywood Auteur, by Aaron Hunter. Bloomsbury Academic, 2016, 240 pages. Nicholas Godfrey Aaron Hunter’s Authoring Hal Ashby: The Myth of the New Hollywood Auteur is one of a growing number of titles aiming to reassess the origins and constitution of the New Hollywood canon. Hunter’s subject is Hal Ashby, a director who worked with many of the New Hollywood era’s key themes and personnel throughout his career yet has never comfortably fit into canonical accounts of the period. Central to Hunter’s argument is his claim that Ashby’s marginality to historical accounts of the New Hollywood stems from the director’s personal disavowal of the auteur mantle, choosing instead to continually praise the contributions of his collaborators. -
The '70S Movies a Real Cinephile Should
Smithsonian Associates The ’70s Movies a Real Cinephile Should See Compiled by Noah Gittell Listed by director ALAN J. PAKULA MARTIN SCORSESE Klute Who’s That Knocking at My Door? The Parallax View Mean Streets All the President’s Men Taxi Driver Harold and Maude The Last Waltz Being There FRANCIS FORD COPPOLA Coming Home The Landlord New York, New York The Last Detail The Conversation SIDNEY LUMET The Godfather, Part II Apocalypse Now The Anderson Tapes STEVEN SPIELBERG Dog Day Afternoon Network Jaws ROBERT ALTMAN Close Encounters of the Third Kind GEORGE LUCAS M*A*S*H Nashville Star Wars The Long Goodbye BARBARA LODEN McCabe and Mrs. Miller Wanda WILLIAM FRIEDKIN ELAINE MAY The Exorcist A New Leaf JIM SHARMAN Mikey and Nicky PETER BOGDANOVICH The Rocky Horror Picture Show SYDNEY POLLACK The Last Picture Show MICHAEL RITCHIE Jeremiah Johnson The Candidate GORDON PARKS MILOS FORMAN Shaft One Flew Over the Cuckoo’s Nest MELVIN VAN PEEBLES BOB RAFELSON Sweetback’s Sweet Badass Song Five Easy Pieces JACK HILL MICHAEL CIMINO Foxy Brown The Deer Hunter SERGIO LEONE LUIS BUNUEL The Good, the Bad, and the Ugly The Discreet Charm of the Bourgeoisie INGMAR BERGMAN PAUL SCHRADER Cries and Whispers Blue Collar Autumn Sonata BOB FOSSE RAINER WERNER FASSBINDER Cabaret The Bitter Tears of Petra von Kant All That Jazz Ali: Fear Eats the Soul MEL BROOKS DAVID LYNCH Young Frankenstein The Elephant Man Blazing Saddles Eraserhead HERBERT ROSS WILLIAM FRIEDKIN The Goodbye Girl The French Connection TERRY JONES AND TERRY GILLIAM ALBERT AND DAVID MAYSLES Monty Python and the Holy Grail Grey Gardens TERRY JONES BARBARA KOPPLE Monty Python and the Life of Brian Harlan County, U.S.A. -
September 1–19, 2021
VENICE FILM FESTIVAL Venice VR EXPANDED September 1–19, 2021 MAJOR CORPORATE SPONSOR v4 MAJOR CORPORATE SPONSOR EXHIBITION SERIES SPONSORS PRESENTING SPONSORS Mary and Ryan Finley William G. Gilmore Foundation The James F. and Marion L. Miller Foundation Nancie S. MrGraw Oregon Community Foundation Arts & Culture Recovery Program LEAD SPONSOR Art Bridges Foundation Mary and Cheney Cowles Travers and Vasek Polak The Smidt Foundation WELCOME TO VENICE VR EXPANDED 2021! The future is now, but there is so much change and uncertainty about what will come next. But one thing we do know is that art connects us, soothes us, ignites us, and brings us closer to our shared humanity. Thus, VR might just be the perfect brave new art form to capture what it means to be alive. Virtual Reality is needed now more than ever, as it gives us new ways of seeing our world and understanding each other. It’s also a new way to experience empathy and equity, to explore worlds real and imagined without leaving the comfort and safety of home, and perhaps most amazingly, to be fully immersed in a work of art. It’s hard to imagine that sixty years ago, the pixel was invented right here in Portland. And today, the time has come where billions of pixels commingle at our Museum to bring people closer together. VR used to be the stuff of science fiction, but now, it is a reality that is as simple as donning a headset and off we go into the unknown. For the next three weeks, you can join astronauts on the ISS, go spelunking, traverse hyper-imaginative universes and explore the multifaceted shared realities that are facing our world and its people in this moment in history. -
(Ogden, UT) a Hometown
Standard-Examiner (Ogden, UT) December 25, 2006 Section: Editorial A hometown boy: ignored I grew up in small town with only one operational movie theater -- the Apollo Theater, notable for a statue of the Greek god Apollo in the lobby. The Apollo didn't give us many movie options. As kids, this didn't matter much. As long as there was something to watch at the Saturday matinee, we were happy. But as adolescents, we were more demanding and were frustrated by the fact that our movie choices were limited to one show each week. The Apollo's screenings didn't improve when I reached high school, but the attainment of a driver's license created the opportunity to escape to other towns with more movie choices. Once, a friend named Charlie used his car to escape to the metropolis of Tulsa, Okla. He came back with stories about girls, fake IDs and near escapes from the police. One of his stories was about a movie he saw. Charlie described a movie about a teenage boy obsessed with faking his own suicide. The boy falls in love with a woman over three times his age; they meet at a funeral. The plot didn't sound like any film we had ever seen before, so we figured Charlie was lying. After all, we knew that Charlie was lying about all his other exploits. Months later, I learned that Charlie was telling the truth -- at least about the movie. The movie he had seen was Hal Ashby's "Harold and Maude." It is now considered a comedy classic. -
Article Link Here
THE BEAUTY OF ILLINOIS VOL 32, NO. 34 MAY 10, 2017 www.WindyCityMediaGroup.com SPECIAL PULL-OUT SECTION BEGINNING ON PAGE 13 Photo of the Great River Road. Courtesy of Great River Road Illinois From The Great River Road to Shawnee National Forest, Wine Country, Indian Mounds, the Total Eclipse and much more LGBTs are protected from discrimination in Illinois state laws. It’s high time THE WRITE STUFF Columnist Mark S. King pens “A LGBTs explore the Land of Lincoln, spending money in a blue state surrounded Second Chance at Death.” PR photo 4 entirely by red. See inside for a special Pull-Out Illinois Travel Section. DIONNE WARWICK MARIE NEWMAN SAGE BOB THE Drag QUEEN Icon talks hits, Aretha. Politician challenging Elder LGBT group partnering with AARP. The big hair and big personality PR photo Democrat Dan Lipinski. SAGE CEO Michael Adams. Photo courtesy of SAGE of this RuPaul veteran. 33 Photo8 courtesy of Newman 9 19 10 PR photo 35 @windycitytimes1 /windycitymediagroup @windycitytimes www.windycitymediagroup.com 2 May 10, 2017 WINDY CITY TIMES NOW PLAYING! | Only through May 21 | Tickets from $29 LERNER & LOEWE’S 15% OFF select performances with promo code WINDY STARRING RICHARD E. GRANT AND LISA O’HARE PROMO RESTRICTIONS APPLY. VISIT LYRICOPERA.ORG/PROMO. PROMO VALID ON MON-FRI PERFORMANCES OF MY FAIR LADY. PROMO RESTRICTIONS APPLY. VISIT LYRICOPERA.ORG/PROMO. MY FAIR LADY Book and Lyrics by ALAN JAY LERNER. Music by FREDERICK LOEWE. Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture Pygmalion. Original Production directed by Moss Hart.