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Mustang Daily, April 2, 1975
CORE Metadata, citation and similar papers at core.ac.uk Provided by DigitalCommons@CalPoly Volume 39 Number 43 California Polytechnic State Unlverelty, San Lull Obispo Wednesday, April 2, 1975 Legal decision overrules SAC by FRED VULIN which Councilman T. Keith Gurnee was seeking M uiuni Daily stuff writer» have the right to re-election. endorte candidate» for public office, according to a In the Feb. 5 column Harvey wrote: legal opinion ittued by the Chancellor'» office. "Gal Poly students have an opportunity to The opinion, in effec t, nullifiet a Feb. 12 vote by show that they want a voice tn the decisions—a vote the Student Affair» Council, which called for an tyith some power—by voting for Keith Gurnee." immediate halt of such endortementi. Ronca saw the column as a violation of Title V The endowment», SAC held, were in violation and asked SAC to vote accordingly—which the of Title V (Sec. 42405) of the California Ad- legislative body did. The Ronca motion received miniitrative Code. The code prohibit» the u»e of only one dissenting vote—that of Mike Murdy of fund» of an auxiliary organization to: the School of Communicative Arts and "Support or oppo»e any i»»ue before the voter» of Humanities. thii »late or any »ubdiviiion thereof or any city, Mustang editor Marji Nieuwsma immediately munic ipality or local governmental entity of any requested the Chancellor's office to make a legal kind..." interpretation of Title V. The letter by Mayman HoweveV, Linda G. May man, an attorney work represents the official view of the California Suite ing for the Chancellor'» general counsel, informed University and Colleges on the subject. -
The Godfather Part II Lay in Coppola ' S Eye for Detail and His Need for a Verisimilitude Transcending the Limits of Perfunctory Storytelling
A N I L L U M I N E D I L L U S I O N S E S S A Y B Y I A N C . B L O O M TT HH EE GG OO DD FF AA TT HH EE RR PP AA RR TT II II Directed by Francis Ford Coppola Produced by Francis Ford Coppola Distributed by Paramount Pictures Released in 1974 mboldened by press accounts documenting the Apocalypse Now shoot as a self - destructive E odyssey, some c ritics confronting the film for the first time in 1979 tried to undermine Francis Ford Coppola ' s monumental achievement. Though its filming was as arduous as the war itself, they faulted him, a man who had never served in uniform, for promoting Apocalypse Now as the definitive statement on Viet Nam. To this day the film retains its primal angst and resolute daring, while film critics everywhere jealously disparage the pioneering work of yet another generation. Coppola is a keen observer, a progressive th inker who learns as much from talking to others as he does consulting his cherished collection of books. His early films find their genesis in childhood experiences — his mother ' s strange departure and subsequent return to the pressures of family became The Rain People (1969); a love of musicals nourished by his father led to Finian ' s Rainbow (1968); and his Manhattan misadventures as an AWOL military school cadet fostered You ' re A Big Boy Now (1967). Similarly, the ultimate triumph of The Godfather Part II lay in Coppola ' s eye for detail and his need for a verisimilitude transcending the limits of perfunctory storytelling. -
Godfather Part II by Michael Sragow “The a List: the National Society of Film Critics’ 100 Essential Films,” 2002
The Godfather and The Godfather Part II By Michael Sragow “The A List: The National Society of Film Critics’ 100 Essential Films,” 2002 Reprinted by permission of the author Although Francis Ford Coppola has often been depicted president.” — and loves to depict himself — as primarily an emotion- Kay re- al and intuitive director, “The Godfather” is a film filled sponds, with correct choices, painstakingly thought out and pas- “You know sionately carried through. Part of what made it a break- how naïve through as a crime move is that it’s about gangsters who you sound? make choices too and aren’t propelled simply by blood- Senators lust and greed. They’re battling for position in New York’s and presi- Five Families, circa 1945-1946. If Don Vito Corleone dents don’t (Marlon Brando) and his successor Michael (Al Pacino) have men come off looking better than all the others, it’s because killed.” In a they play the power game the cleverest and best — and line that Marlon Brando as Don Vito Corleone. the game is sordidly exciting. marked a Courtesy Library of Congress breakthrough For all the movie’s warmth, you could never confuse the for mainstream political awareness when the film premi- Corleones or their allies and competitors for fun-loving ered in 1972, Michael wearily answers, “Who’s being ethnic types. The first scene shows the Don exacting naïve, Kay?” deadly patronage, coercing an undertaker named Bonasera into vows of love and pledges of unmitigated But when Michael says his father’s way of doing things is loyalty in exchange for a feudal bond than can’t be bro- finished, he is being naïve. -
Influence of Michael Corleone's Personalities on His Relationship
Advances in Social Science, Education and Humanities Research, volume 497 Proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020) Influence of Michael Corleone’s Personalities on His Relationship With Other Characters in Trilogy of The Godfather Longhe Cao Shenzhen Middle School, Shenzhen, Guangdong 518034, China *Corresponding author. Email: [email protected] ABSTRACT Analyzing the personalities and relationship of the characters is an effective method for both the professionals and the ordinary audience to comprehend movies. By discovering and explaining how Michael Corleone in The Godfather influences his relationship with other characters, this dissertation is aimed at assisting readers to fully comprehend the essence of movies in detail. This paper utilizes the method which extracts a variety of conflicts and major transitions between Michael and other characters to reflect how Michael’s personalities work on these relationships. Based on the facts in the movie, Michael demonstrates different attitudes to his family members and the outsiders of his family. It will be helpful for the audience if there are researches which can deeply analyze a more well-rounded image of Michael’s Corleone, besides analyzing his relationship and personalities appears in the future. This paper finally concludes that Michael’s personalities cause him to have completely different relationships with two types of character, as the family members and the outsiders. Keywords: Personalities, relationship, influence, gangster, Godfather 1. INTRODUCTION 2. OVERVIEW OF MICHAEL CORLEONE’S PERSONALITIES The Godfather, as a classic and representative Italian gangster movie, reflects the conflicts between Corleone Overall, Michael has two types of personalities, including family and other forces in United States as well as the stable personalities and the variational personalities. -
2. the Godfather Returns.Pdf
The Godfather Returns Mark Winegardner alla mia famiglia "Whoever forsakes the old way for the new knows what he is losing, but not what he will find. " Sicilian proverb "They were killing my friends." AUDIE MURPHY, most decorated U.S. soldier of World War II, when asked how he had found the courage to fight an entire German infantry company *The Godfather II also covers the early life of Vito Corleone (1910-1939) in flashback scenes. **The second half of The Godfather Returns also covers the early life of Michael Corleone (1920-1945) in flashback scenes. THE CORLEONE FAMILY Vito Corleone, the first godfather of New York's most powerful crime family Carmela Corleone, Vito Corleone's wife and mother of their four children Sonny Corleone, Vito and Carmela Corleone's oldest son Sandra Corleone, Sonny's wife, now living in Florida Francesca, Kathy, Frankie, and Chip Corleone, Sonny and Sandra Corleone's children Tom Hagen, consigliere and unofficially adopted son Theresa Hagen, Tom's wife and mother of their three children Andrew, Frank, and Gianna Frederico "Fredo" Corleone, Vito and Carmela's second-born son (underboss 1955-1959) Deanna Dunn, Oscar-winning actress and Fredo's wife Michael Corleone, Vito's youngest son and the reigning Don of the Corleone Family Kay Adams Corleone, Michael's second wife Anthony and Mary Corleone, children of Michael and Kay Corleone Connie Corleone, Vito and Carmela's daughter Carlo Rizzi, Connie Corleone's deceased husband Ed Federici, Connie Corleone's second husband THE CORLEONE FAMILY ORGANIZATION Cosimo "Momo the Roach" Barone, soldato under Geraci and nephew of Sally Tessio Pete Clemenza, caporegime Fausto Dominick "Nick" Geraci, Jr. -
Diplomarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „The Italianness of The Godfather – Die Darstellung von italienischer Ethnizität und Kultur in The Godfather und The Godfather – Part II“ Verfasserin: Barbara Wallner angestrebter akademischer Grad Magistra der Philosophie (Mag. Phil) Wien, 2010 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Diplomstudium Theater-, Film- und Medienwissenschaft UniStG Betreuer: Mag. Dr. Claus Tieber Danksagung Ich möchte meinem Betreuer Mag. Dr. Claus Tieber für sein fachliches und persönliches Interesse an dieser Arbeit herzlich danken. Mein Dank gilt außerdem Dr. Ulrike Kerschbaum, die diese Arbeit sicher durch den Dschungel der neuen Rechtschreibung geführt hat. Danke schließlich auch meinen Eltern, insbesondere meiner Mutter, sowie allen anderen, die mich in den letzten Monaten ertragen mussten und immer noch mit mir sprechen. Inhaltsverzeichnis 0. Einleitung ..................................................................................................................... 1 1. Eine kleine Geschichte des Gangsterfilms ................................................................... 4 1.1. THE GODFATHER – der Gangsterfilm schlechthin ..................................................................... 11 2. „A Natural Inclination Towards Criminality“ – Die Stereotypisierung der Italo-Amerikaner ............................................................... 18 2.1. Ein Volk von Al Capones? -
The Reflection of Successful American Dream Through the Character of Michael Corleone in Mark Winegardner’S the Godfather Returns
THE REFLECTION OF SUCCESSFUL AMERICAN DREAM THROUGH THE CHARACTER OF MICHAEL CORLEONE IN MARK WINEGARDNER’S THE GODFATHER RETURNS AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By DODI ROSYID SAPUTRA Student Number: 034214064 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 THE REFLECTION OF SUCCESSFUL AMERICAN DREAM THROUGH THE CHARACTER OF MICHAEL CORLEONE IN MARK WINEGARDNER’S THE GODFATHER RETURNS AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By DODI ROSYID SAPUTRA Student Number: 034214064 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 i ACKNOWLEDGEMENTS My first and greatest gratitude goes to Allah SWT who has given me life, power, guidance and everything so I can stand still till this second and by his blessing and guidance I can finish my study and my thesis. This thesis is dedicated to my beloved mother and father who always pray for my success, encourage me and support me emotionally, spiritually, and financially. My gratitude also goes to my advisor Paulus Sarwoto, S.S., M.A. who has given me big help and support during the writing of my thesis. I would like to thank to J. Harris Hermansyah S., S.S., M.Hum. and Ni Luh Putu Rosiandani, S.S., M.Hum. for the critical corrections and suggestions. My warmest thanks go to my older sister Debie and my best friend Budi. Thanks to Mbak Debie for accompanying and supporting me during my hard time in writing this thesis and to Budi for the support and our friendship. -
The Godfather Part II John L
RMC Original JMM Keep Your Friends Close, But Your Enemies Closer: A Perspective on Traumatic Injury in The Godfather Part II John L. Falcone Owensboro Health, Owensboro Health Surgical Specialists, Owensboro, KY (USA). Correspondence: John L. Falcone. Owensboro Health. Department of Surgery. Owensboro Health Surgical Specialists. Ridgecrest Medical Park. 2801 New Hartford Road Owensboro, KY 42303 (USA). e‐mail: [email protected] Received 4 November 2014; accepted 19 December 2014. Summary Background: The Godfather Part II portrays the fictional Corleone family and its role in organized crime. The aims of this study are to describe the trauma and deaths portrayed in The Godfather Part II. Hypothesis: The hypotheses are that: a) male characters suffer more traumatic mechanism/death than females, b) more traumatic mechanisms occur in the second half of the film, and c) a higher percentage of traumatic mecha‐ nisms are penetrating. Methods: In this descriptive study, The Godfather Part II was viewed for incidents of significant traumatic mecha‐ nisms. Traumatic mechanisms were documented by time. Characters that died during the film were evaluated for type of mechanism and cause of death. Categorical comparisons were made with chi‐square tests, using an α = 0.05. Results: There were 27 traumatic mechanisms and 19 deaths. A total of 93% of the mechanisms involved male char‐ acters whereas 7% of the mechanisms involved female characters (p < 0.001). A total of 84% of the mortalities involved male characters whereas 16% of the mortalities involved a female character (p < 0.01). The traumatic mech‐ anisms and deaths were similar between halves of the film (both p > 0.05). -
In Search of Meyer
In Search of Meyer By Jerry Klinger "Murder Inc.", Balad, the Israel Supreme Court He sleeps silently in the Mt. Nebo Jewish cemetery in West Miami, Florida awaiting the coming of the Messiah. To the end, he declared himself a Jew, though not a religious one. Meyer shares his gravesite with his oldest son Buddy under the flight path of El Al jets arriving from Israel into nearby Miami International airport. A large pink colored memorial stone carved with the single un-telling name, Lanksy, and an eternal light to one side is at his head. His footstone reads modestly, "Meyer Lansky 1902 -1983", a Star of David serves as the dash between the dates. "Forever in our Hearts" is carved on the bottom row. His son has only a footstone – "Bernard (Buddy) Lansky, January 15, 1930 – December 31, 1989." The dates are also separated by a Star of David. The bottom line of the metal plaque on the stone reads simply, "Loving Son." Mt. Nebo cemetery is in a seedy Hispanic part of town with heavy iron grates on the windows of the houses to keep the criminals in the neighborhood out. Meyer Lansky's life, on one level, was a simple story. An immigrant child, he struggled hard to improve himself. He attended cheder and carried the Shabbat cholent to the baker for after Shabbat service meals with his family. He never went past the 8th grade. He chose to work in the rough and tumble of business. He married and had three children. His first wife suffered from severe mental illness. -
Crime Wave for Clara CRIME WAVE
Crime Wave For Clara CRIME WAVE The Filmgoers’ Guide to the Great Crime Movies HOWARD HUGHES Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Published in 2006 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com In the United States and Canada distributed by Palgrave Macmillan, a division of St. Martin’s Press, 175 Fifth Avenue, New York NY 10010 Copyright © Howard Hughes, 2006 The right of Howard Hughes to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. The TCM logo and trademark and all related elements are trademarks of and © Turner Entertainment Networks International Limited. A Time Warner Company. All rights reserved. © and TM 2006 Turner Entertainment Networks International Limited. ISBN 10: 1 84511 219 9 EAN 13: 978 1 84511 219 6 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Typeset in Ehrhardt by Dexter Haven Associates Ltd, London Printed and bound in Great Britain by TJ International, -
THE GODFATHER Part Two Screenplay by Mario Puzo And
THE GODFATHER Part Two Screenplay by Mario Puzo and Francis Ford Coppola SECOND DRAFT September 24, 1973 FADE IN: The Paramount Pictures logo is presented over a simple black background, as a single trumpet plays the familiar theme of a waltz. White lettering fades in: Mario Puzo's THE GODFATHER There is a pause, as the trumpet concludes, and there is the additional title: - Part Two - INT. DON CORLEONE'S OLD OFFICE - CLOSE VIEW ON MICHAEL CORLEONE - DAY standing impassively, like a young Prince, recently crowned King. CLOSE VIEW ON Michael's hand. ROCCO LAMPONE kisses his hand. Then it is taken away. We can SEE only the empty desk and chair of Michael's father, Vito Corleone. We HEAR, over this, very faintly a funeral dirge played in the distance, as THE VIEW MOVES SLOWLY CLOSER to the empty desk and chair. DISSOLVE TO: EXT. A SICILIAN LANDSCAPE - FULL VIEW - DAY We can barely make out the funeral procession passing over the burnt-brown of a dry river bed. The figures move slowly, seemingly from out of hundreds of years of the past. The MUSICIANS walking unsteadily on the rocky bed, their instruments harsh and blaring. They are followed by six young peasant men, carrying the crude wooden coffin on their shoulders. Then the widow, a strong large woman, dressed in black, and not accepting the arms of those walking with her. Behind her, not more than twenty relatives, few children and paisani continue alone behind the coffin. Suddenly, we HEAR the shots of the lupara, and the musicians stop their playing. -
Kummisetä-Trilogian Ja Sopranos-Televisiosarjan Välittämä Kuva Roomalaiskatolisesta Kirkosta
Kummisetien katolinen kirkko - Kummisetä-trilogian ja Sopranos-televisiosarjan välittämä kuva roomalaiskatolisesta kirkosta Jussi Haavisto Yleisen kirkkohistorian pro gradu -tutkielma Huhtikuu 2008 Sisällysluettelo 1. Johdanto...............................................................................................................2 1.1. Tutkimustehtävä......................................................................................2 1.2. Mafian todellisuus ja taru........................................................................9 1.3. Katolinen kirkko Yhdysvalloissa 1900-luvulle tultaessa......................14 2. Uskonto, kirkko ja etiikka elokuvissa Kummisetä ja Kummisetä II...................24 2.1. Kertomus perheen noususta ja tuhosta - Kummisetä ja Kummisetä II ..24 2.2. ºHän on kiero kuin pappiº - kuva kirkosta ja papistosta.......................27 2.3. Isä, poika ja kapitalismin henki ± kristinusko ja etiikka don Viton ja don Michaelin elämässä.......................................................................................40 2.4 ºWhile we men burn in Hellº - mafian naiset ja kirkon miehet.............50 3. Sovituksen, synnin ja pahuuden teemat elokuvassa Kummisetä III...................61 3.1. Murhattiinko paavi? - Kolmen paavin vuosi ja Vatikaanin pankkiskandaali............................................................................................61 3.2. Kummisetä III:n juoni............................................................................67 3.3. ºWe©re back with the Borgias!º - Vuoden