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2352 Lyric Avenue Archie D’Amico Los Angeles CA 90027 Set Decorator 323.953.2926 [email protected] Television: COUGAR TOWN (Set Decorator) Production designer: Cabot MacMullen: ABC Television, 2009-2012 2007, 2008 Emmy Nominee UGLY BETTY (Set Decorator) Production Designer: Mark Worthington; Set Decoration 2007 Art Director's Guild Award ABC Television, 2006-2008 JAKE IN PROGRESS (Set Decorator) Production Designer: Stephen Hendrickson; 20th Century Fox Television, 2005-2006 N.Y.P.D. BLUE (Set Decorator) Production Designer: Richard Hankins; Steven Bochco Productions, 2001-2005 YES, DEAR (Set Decorator) Production Designer: Lynn Griffin; 20th Century Fox Television 2000 THE BEACH BOYS (Set Decorator) Production Designer: Stephen Hendrickson; Storyline Entertainment, ABC Mini Series 2000 2000 Emmy Nominee ANNIE (Set Decorator) Production Designer: Stephen Hendrickson; Set Decoration Storyline Entertainment,Wonderful World of Disney 1999 ENCORE! ENCORE! (Set Decorator) Production Designer: Roy Christopher Grub Street Production; NBC Television 1998 ELLEN (Set Decorator) Production Designer: Bill Brzeski; Walt Disney Television 1995-98 TOWER OF TERROR (Set Decorator) Production Designer: Phil Dagort Walt Disney Television Movie of the Week 1997 LIFE’S WORK (Set Decorator) Art Directors: Bill Brzeski & Debe Hale Walt Disney Television 1996-97 JUST SHOOT ME (Set Decorator) Art Director: Roy Christopher Brillstein Grey Productions 1996 Pilot LOVE AND WAR (Set Decorator) Art Directors: Roy Christopher & Debe Hale CBS Television; Shukovsky/English Entertainment 1992-94 DOUBLE RUSH (Set Decorator) Art Director: Debe Hale CBS Television; Shukovsky/English Entertainment 1994 WITCH HUNT (Set Decorator) Production Designer: Curtis Schnell HBO/Gale Anne Hurd Production 1994 JUDITH KRANTZ’S TORCH SONG (Set Decorator) Production Designer: Curtis Schnell ABC Movie of the Week 1993 Feature Films: STREET KNIGHT (Set Decorator) Production Designer: Curtis Schnell, Cannon Pictures THE PERFECT WEAPON (Set Decorator) Production Designer: Curtis Schnell Paramount Pictures TIMEBOMB (Set Decorator) Production Designer: Curtis Schnell Raffaella de Laurentiis Productions; MGM/Pathe THE CONCRETE WAR (Asst. Art Director) Production Designer: Richard Sawyer; Cobra Films FREEWAY (Set Decorator) Production Designer: Douglas Metrov A Peter Davis/Bill Panzer Production; New World Pictures BIG BAD MAMA II (Set Decorator) Production Designer: Peter Knowlton Roger Corman, Concorde Films/New Horizons Pictures COMMERCIALS: Polaroid, Cadillac..

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Lessons from Disney Disney is a household name, known around the world for its theme parks, movies and loveable characters. Since it was founded in 1923, the company has been focused on creating magical experiences for people, whether they’re visiting a theme park, watching a Disney film, or staying in a Disney hotel. For almost 100 years, Disney has overcome failure and experienced tremendous growth. It has had to grow and evolve to deal with market challenges, advances in technology and changing customer demands. What has remained constant through this time, however, is Disney’s commitment to pioneering innovation, leveraging opportunities, and evolving their strategy to meet changing market conditions. Establishing the Disney brand Disney enjoyed tremendous success during its first 30 years. In 1928, Disney created the first film with synchronised sound, and in 1937 it created the first full length feature animated film. Both projects were world firsts, establishing Disney as an innovation leader (before innovation was a thing!). After a decline in success during the Second World War, Walt Disney recognised the need for new ways to share content and grow revenue and breathe new life back into the company. In 1950, the company made the leap to television with the release of One Hour in Wonderland, a promotion for the upcoming film, Alice in Wonderland. Disney and television In July 1954, Walt Disney started building Disneyland, and a year and a day after construction started, the park was opened. To try and recoup some of the US$17 million build cost, Disney sought to leverage his earlier television success and bring his beloved theme park to people’s homes.
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Media Ownership Chart
In 1983, 50 corporations controlled the vast majority of all news media in the U.S. At the time, Ben Bagdikian was called "alarmist" for pointing this out in his book, The Media Monopoly . In his 4th edition, published in 1992, he wrote "in the U.S., fewer than two dozen of these extraordinary creatures own and operate 90% of the mass media" -- controlling almost all of America's newspapers, magazines, TV and radio stations, books, records, movies, videos, wire services and photo agencies. He predicted then that eventually this number would fall to about half a dozen companies. This was greeted with skepticism at the time. When the 6th edition of The Media Monopoly was published in 2000, the number had fallen to six. Since then, there have been more mergers and the scope has expanded to include new media like the Internet market. More than 1 in 4 Internet users in the U.S. now log in with AOL Time-Warner, the world's largest media corporation. In 2004, Bagdikian's revised and expanded book, The New Media Monopoly , shows that only 5 huge corporations -- Time Warner, Disney, Murdoch's News Corporation, Bertelsmann of Germany, and Viacom (formerly CBS) -- now control most of the media industry in the U.S. General Electric's NBC is a close sixth. Who Controls the Media? Parent General Electric Time Warner The Walt Viacom News Company Disney Co. Corporation $100.5 billion $26.8 billion $18.9 billion 1998 revenues 1998 revenues $23 billion 1998 revenues $13 billion 1998 revenues 1998 revenues Background GE/NBC's ranks No.
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Impounded Solutions." It," He Said
. g . ' /-' / > t I * I PUBi 4 • THE \nLLAHWAH • Apdi 1«. Ittt Closkey stresses realism, student unity (Cm^Hntudfiwm puge 1) partial scholarships of $500 to allow ornnizations to card stu- and suggested coosultiBg with changes will result. I mean, what background — I am very much $1000 for upperclassmen which dents at tlie door, thus permitting Univenty marlLetins proKssors; have they 8ttn?" in touch with students ... Fm would be baised on ftnanoal fac- otganintions to hold social activ- he also jprOMsed other wsys of Do yoa laat imdtiila, thtMigli kind of, in manv senses, a regular tors and academic merit. *To a ities on shorter notice. involvinf tiiculty in Student April 15, 1988 guy, a blue cottar worker. And I student, $500 is .. .a fetdmoiiey/V He also proposed working on Government adagnala voice fai Uahrara^ty think that perspective, in coiyunc- he said. While the University is alternate meal plans, citing that WImt la dM moat laqKarlaat tion with my experience in Stu- plamdng to increase finaiMaal aid such alteriuitiYes are possible laaaa IMag rtaJiiiHs today? 'Oh, thay have a dmt Government and my knowl- in thr future with an indfwwnt without additional financial "Addressing th^ 'VilUnova but it deeaat do them ma fBOd. Way* as an issue, the way that The prsblem la not, qa tbey itecff results it no short-run burden on the university. on edge of what's going on and my campaign, has intellectual capabilities puts ne in solution for the financial aid Being a part of Sivdoat thiqp don't change, hoone listens generate rqpoita andhlimmaHon a vary good vantage point to see shorti«e, said Closkey.
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Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections.
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* Feature Resume-Letrhd
Glenn Berkovitz, CAS <[email protected]> 310- 902-1148 Production Sound Mixer Films for theatrical release: MENTRYVILLE, Spores LLC / Studioline-Lionsgate - Dir.: Jason Dudek WHEN A STRANGER CALLS, Screen Gems / Sony Pictures - Dir.: Simon West SEXUAL LIFE, Showtime Pictures / Viacom - Dir.: Ken Kwapis ZERO EFFECT, Castle Rock Pictures / Columbia Pictures - Dir.: Jake Kasdan DAREDEVIL (extensive 2nd unit/additional photog.), 20th Century Fox - Dir.: Mark Steven Johnson LOST & FOUND (shared credit), Alcon Entertainment - Dir.: Jeff Pollack RUSH HOUR ; RUSH HOUR 2 (extensive additional photography), New Line Cinema - Dir.: Brett Ratner FREEJACK, Morgan Creek Films / Warner Bros. - Dir.: Geoff Murphy HARD PROMISES, Stone Group Films/Columbia Pictures - Dir.: Martin Davidson, Lee Grant SNIPER (U.S. unit), Tri-Star Films / Baltimore Pictures - Dir.: Luis Llhosa BUFFY THE VAMPIRE KILLER (extensive add’l photog.), 20th Century Fox Prod.-Dir.: Fran Kozui LOVE POTION #9 (shared credit), 20th Century Fox Productions - Dir.: Dale Launer YOUNG GUNS II, Morgan Creek Films/20th Century Fox Productions - Dir.: Geoff Murphy MANNEQUIN ON THE MOVE, Gladden Entertainment - Dir.: Stewart Raffill ROBOCOP 2, Orion Film Productions - Dir.: Irvin Kirshner REPOSSESSED, First Class Films/Carolco Productions - Dir.: Robert Logan MISS FIRECRACKER, Corsair Films/United Artists Films - Dir.: Thomas Schlamme THE HEART OF DIXIE, Steve Tisch Films/Orion Film Productions - Dir.: Martin Davidson LESS THAN ZERO, Avnet-Kerner Productions/20th Century Fox Prod. - Dir.: Marek
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“Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ...................................................................................................................................
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Cartooning America: the Fleischer Brothers Story
NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms.
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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.
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Garage Sale Mystery: All That Glitters’
‘GARAGE SALE MYSTERY: ALL THAT GLITTERS’ PRODUCTION BIOS JONATHAN AXELROD (Executive Producer) — After graduating from the American Film Institute at 17, Jonathan Axelrod began his entertainment career writing films for Warner Brothers, MGM and Paramount Pictures. He worked on the feature film “A Star is Born” for Barbra Streisand and worked with such directors as the legendary Stanley Donen, Cy Howard, Elaine May and John Frankenheimer. He also wrote “Every Little Crook” and “Nanny” for MGM. From 1977-1983, Axelrod developed and supervised more than 40 telefilms for ABC Television, ® including the Emmy winning “Jericho Mile” and “Friendly Fire.” Axelrod was also responsible for ABC’s highest rated show, “The Dallas Cowboy Cheerleaders.” He was promoted to Vice President of Drama at ABC, steering the direction for “Dynasty” and “The Greatest American Hero,” among many other prime time hits. In 1983, Axelrod segued to Columbia Television, where he was executive vice president of Worldwide Production. There he revitalized the company and put ten shows on the air including “Designing Women,” “Mike Hammer,” “Crazy Like a Fox” and in New York “The Mickey Rooney Show.” He also helped Columbia become a major supplier of telefilms, with such productions as “The Blue and the Grey,” “RFK,” “Sadat” and “LBJ the Early Years.” In 1986, Axelrod then took over as president of New World Pictures for a three-year term. For this start-up company, he oversaw such feature films as “Crimes of Passion” with Kathleen Turner and “Girls Just Want to Have Fun,” as well as the critically acclaimed series “Crime Story” and the miniseries “Sins.” As an independent producer, Axelrod produced the Cable Ace Award winning movie “Against the Wall” for HBO, “The Secret Passion of Robert Clayton” for USA and “The Price She Paid” for CBS, as well as the syndicated series “Hollywood Babylon.” From 1992-2003, Axelrod continued his association with John Frankenheimer where their company was involved with “Wallace” (HBO), “Andersonville” (TNT), “Burning Season” (HBO) and “RFK” (FX).
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American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
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The Future: the Fall and Rise of the British Film Industry in the 1980S
THE FALL AND RISE OF THE BRITISH FILM INDUSTRY IN THE 1980S AN INFORMATION BRIEFING National Library Back to the Future the fall and rise of the British Film Industry in the 1980s an information briefing contents THIS PDF IS FULLY NAVIGABLE BY USING THE “BOOKMARKS” FACILITY IN ADOBE ACROBAT READER SECTION I: REPORT Introduction . .1 Britain in the 1980s . .1 Production . .1 Exhibition . .3 TV and Film . .5 Video . .7 “Video Nasties” & Regulation . .8 LEADING COMPANIES Merchant Ivory . .9 HandMade Films . .11 BFI Production Board . .12 Channel Four . .13 Goldcrest . .14 Palace Pictures . .15 Bibliography . .17 SECTION II: STATISTICS NOTES TO TABLE . .18 TABLE: UK FILM PRODUCTIONS 1980 - 1990 . .19 Written and Researched by: Phil Wickham Erinna Mettler Additional Research by: Elena Marcarini Design/Layout: Ian O’Sullivan © 2005 BFI INFORMATION SERVICES BFI NATIONAL LIBRARY 21 Stephen Street London W1T 1LN ISBN: 1-84457-108-4 Phil Wickham is an Information Officer in the Information Services of the BFI National Library. He writes and lectures extensively on British film and television. Erinna Mettler worked as an Information Officer in the Information Services of the BFI National Library from 1990 – 2004. Ian O’Sullivan is also an Information Officer in the Information Services of the BFI National Library and has designed a number of publications for the BFI. Elena Marcarini has worked as an Information Officer in the Information Services Unit of the BFI National Library. The opinions contained within this Information Briefing are those of the authors and are not expressed on behalf of the British Film Institute. Information Services BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel: + 44 (0) 20 7255 1444 Fax: + 44 (0) 20 7436 0165 Try the BFI website for film and television information 24 hours a day, 52 weeks a year… Film & TV Info – www.bfi.org.uk/filmtvinfo - contains a range of information to help find answers to your queries.
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Disney Channel
Early Enterprises... Walt Disney was born on December 5, 1901 in Chicago Illinois, to his father Elias Disney, and mother Flora Call Disney. Walt had very early interests in art, he would often sell drawings to neighbors to make extra money. He pursued his art career, by studying art and photography by going to McKinley High School in Chicago. Walt began to love, and appreciate nature and wildlife, and family and community, which were a large part of agrarian living. Though his father could be quite stern, and often there was little money, Walt was encouraged by his mother, and older brother, Roy to pursue his talents. Walt joined the Red Cross and was sent overseas to France, where he spent a year driving an ambulance and chauffeuring Red Cross officials. Once he returned from France, he wanted to pursue a career in commercial art, which soon lead to his experiments in animation. He began producing short animated films for local businesses, in Kansas City. By the time Walt had started to create The Alice Comedies, which was about a real girl and her adventures in an animated world, Walt ran out of money, and his company Laugh-O-Grams went bankrupted. Instead of giving up, Walt packed his suitcase and with his unfinished print of The Alice Comedies in hand, headed for Hollywood to start a new business. The early flop of The Alice Comedies inoculated Walt against fear of failure; he had risked it all three or four times in his life. Walt's brother, Roy O. Disney and Walt borrowed an additional $500, and set up shop in their uncle's garage.
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