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On the Leadership
2018 Annual Report RISEON THE LEADERSHIP NATIONAL BOARD OF TRUSTEES James A. Miller Thomas Schumacher Matt Conover, Chair Bartlett Wealth Management, Principal and Disney Theatrical Group, President Chairman Disney Parks Live Entertainment, Cincinnati, OH Vice President of Disneyland Entertainment Deborah Voigt Award-winning opera soprano Anaheim, CA Megan Tulac Phillips Hunter Bell, Vice Chair McKinsey & Company, Head of Marketing and ADVISORY BOARD Communications, Enterprise Agility Tony-nominated playwright, EdTA Board of San Francisco, CA Sarah Jane Arnegger Directors iHeart Radio Broadway, Director New York, NY John Prignano New York, NY Debbie Hill, Secretary Music Theatre International, COO and Director of Education and Development Aretta Baumgartner Community Arts Initiatives, Founder and New York, NY Center for Puppetry Arts, Education Director Executive Director Atlanta, GA Cincinnati, OH Kim Rogers Dori Berinstein Alex Birsh Concord Theatricals, Vice President, Amateur Licensing Dramatic Forces, Producer Playbill, Vice President and Chief Digital Officer New York, NY New York, NY New York, NY J. Jason Daunter Mark Drum David Redman Scott Disney Theatrical Group, Director of Theatrical Production Stage Manager Actor, Arts Advocate, EdTA Volunteer Licensing New York, NY New York, NY New York, NY Debby Gibbs Nancy Aborn Duffy ETF Legacy Circle Committee, Chair Educator, Former Broadway Licensing Abbie Van Nostrand Concord Theatricals, Vice President, Client Tupelo, MS Company Owner Relations & Community Engagement New York, NY -
Customizable • Ease of Access Cost Effective • Large Film Library
CUSTOMIZABLE • EASE OF ACCESS COST EFFECTIVE • LARGE FILM LIBRARY www.criterionondemand.com Criterion-on-Demand is the ONLY customizable on-line Feature Film Solution focused specifically on the Post Secondary Market. LARGE FILM LIBRARY Numerous Titles are Available Multiple Genres for Educational from Studios including: and Research purposes: • 20th Century Fox • Foreign Language • Warner Brothers • Literary Adaptations • Paramount Pictures • Justice • Alliance Films • Classics • Dreamworks • Environmental Titles • Mongrel Media • Social Issues • Lionsgate Films • Animation Studies • Maple Pictures • Academy Award Winners, • Paramount Vantage etc. • Fox Searchlight and many more... KEY FEATURES • 1,000’s of Titles in Multiple Languages • Unlimited 24-7 Access with No Hidden Fees • MARC Records Compatible • Available to Store and Access Third Party Content • Single Sign-on • Same Language Sub-Titles • Supports Distance Learning • Features Both “Current” and “Hard-to-Find” Titles • “Easy-to-Use” Search Engine • Download or Streaming Capabilities CUSTOMIZATION • Criterion Pictures has the rights to over 15000 titles • Criterion-on-Demand Updates Titles Quarterly • Criterion-on-Demand is customizable. If a title is missing, Criterion will add it to the platform providing the rights are available. Requested titles will be added within 2-6 weeks of the request. For more information contact Suzanne Hitchon at 1-800-565-1996 or via email at [email protected] LARGE FILM LIBRARY A Small Sample of titles Available: Avatar 127 Hours 2009 • 150 min • Color • 20th Century Fox 2010 • 93 min • Color • 20th Century Fox Director: James Cameron Director: Danny Boyle Cast: Sam Worthington, Sigourney Weaver, Cast: James Franco, Amber Tamblyn, Kate Mara, Michelle Rodriguez, Zoe Saldana, Giovanni Ribisi, Clemence Poesy, Kate Burton, Lizzy Caplan CCH Pounder, Laz Alonso, Joel Moore, 127 HOURS is the new film from Danny Boyle, Wes Studi, Stephen Lang the Academy Award winning director of last Avatar is the story of an ex-Marine who finds year’s Best Picture, SLUMDOG MILLIONAIRE. -
Motion Picture
Moving Images Prepared by Bobby Bothmann RDA Moving Images by Robert L. Bothmann is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. Created 2 February 2013 Modified 11 November 2014 https://link.mnsu.edu/rda-video Scope Step-through view of the movie Hairspray from 2007 Generally in RDA rule order Uses MARC 21 examples Describing Manifestations & Items Follows RDA Chapters 2, 3, 4 Describing Works and Expressions Follows RDA Chapters 6, 7 Recording Attributes of Person & Corporate Body Uses RDA Chapters 9, 11, 18 Covers relator terms only Recording Relationships Follows RDA Chapters 24, 25, 26 2 Resources Olson, Nancy B., Robert L. Bothmann, and Jessica J. Schomberg. Cataloging of Audiovisual Materials and Other Special Materials: A Manual Based on AACR2 and MARC 21. Westport, Conn: Libraries Unlimited, 2008. [Short citation: CAVM] Online Audiovisual Catalogers, Inc. Cataloging Policy Committee. Streaming Media Best Practices Task Force. Best Practices for Cataloging Streaming Media. No place : OLAC CAPC, 2009. http://olacinc.org/drupal/capc_files/streamingmedia.pdf Online Audiovisual Catalogers, Inc. Cataloging Policy Committee. DVD Cataloging Guide Update Task Force. Guide to Cataloging DVD and Blu-ray Discs Using AACR2r and MARC 21. 2008 Update. No place: OLAC CAPC, 2008. http://olacinc.org/drupal/capc_files/DVD_guide_final.pdf Pan-Canadian Working Group on Cataloguing with RDA. “Workflow: Video recording (DVD) RDA.” In RDA Toolkit | Tools| Workflows |Global Workflows. 3 Preferred Source 4 5 Title Proper 2.3.2.1 RDA CORE the chief name of a resource (i.e., the title normally used when citing the resource). 245 10 $a Hairspray Capitalization is institutional and cataloger’s choice Describing Manifestations 6 Note on the Title Proper 2.17.2.3 RDA Make a note on the source from which the title proper is taken if it is a source other than: a) the title page, .. -
Maria Conchita Alonso, Jami Gertz, Jenny O'hara, Harriet
MARIA CONCHITA ALONSO, JAMI GERTZ, JENNY O’HARA, HARRIET SANSOM HARRIS AND CHRISTINE LAHTI JOIN CAST OF LOVE, LOSS AND WHAT I WORE Fifth Cast will Perform Nora Ephron and Delia Ephron’s Fashion-Focused Hit Through September 26 LOS ANGELES, August 25, 2010 — Nora Ephron and Delia Ephron’s Love, Loss, and What I Wore attracts a whole new cast of actresses as it continues its Los Angeles run in the Audrey Skirball Kenis Theater at the Geffen Playhouse through the month of September. The new cast includes Jenny O’Hara, who is known for her Broadway roles in The Odd Couple and Promises, Promises and was most recently seen on the big screen in M. Night Shyamalan’s Devil, as the narrator Gingy; Oscar and Emmy Award winner Christine Lahti, best known in the theater world for her collaboration with Wendy Wasserstein in The Heidi Chronicles; Broadway vet Harriet Sansom Harris, who won a Tony Award for her role in Thoroughly Modern Millie; Jami Gertz, who is well-recognized for her film work in Twister and The Lost Boys as well as a recent stint on HBO’s Entourage; and Maria Conchita Alonso best known for television work on Desperate Housewives. Love, Loss and What I Wore, an intimate collection of stories covering some of life’s most poignant moments and their corresponding wardrobe, is directed by Jenny Sullivan. The evening of vignettes, which is based on the best-selling book of the same name by Ilene Beckerman as well as personal reminiscences from the Ephrons and their friends, features a rotating cast of five actresses who share tales to which every woman can relate. -
Putting It Together
46th Season • 437th Production SEGERSTROM STAGE / September 11 - October 11, 2009 David Emmes Martin Benson Producing ArtiStic director ArtiStic director presents PUTTING IT TOGETHER words and music by Stephen Sondheim devised by Stephen Sondheim and Julia McKenzie Thomas Buderwitz Soojin Lee Steven Young Drew Dalzell Scenic deSign coStume deSign Lighting deSign Sound deSign Joshua Marchesi Jamie A. Tucker* Production mAnAger StAge mAnAger musical direction by Dennis Castellano directed by Nick DeGruccio Dr. S.L. and Mrs. Betty Eu Huang Huang Family Foundation honorAry ProducerS corPorAte Producer Putting It Together is presented through special arrangement with music theatre international (mti). All authorized performance materials are also supplied by mti. 421 West 54th Street, new york, ny 10019; Phone: 212-541-4684 Fax: 212-397-4684; www.mtiShows.com Putting It Together• SOUTH COA S T REPE R TO R Y P1 THE CAST (in order of appearance) Matt McGrath* Harry Groener* Niki Scalera* Dan Callaway* Mary Gordon Murray* MUSICIANS Dennis Castellano (conductor/keyboards), John Glaudini (synthesizer), John Reilly (woodwinds), Louis Allee (percussion) SETTING A New York penthouse apartment. Now. LENGTH Approximately two hours including one 15-minute intermission. PRODUCTION STAFF Casting ................................................................................ Joanne DeNaut, CSA Dramaturg .......................................................................... Linda Sullivan Baity Assistant Stage Manager ............................................................. -
Title of Dissertation
SETTING UP CAMP: IDENTIFYING CAMP THROUGH THEME AND STRUCTURE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Michael T. Schuyler January, 2011 Examining Committee Members: Cornelius B. Pratt, Advisory Chair, Strategic Communication John A. Lent, Broadcasting, Telecommunications & Mass Media Paul Swann, Film & Media Arts Roberta Sloan, External Member, Theater i © Copyright 2010 by Michael T. Schuyler All Rights Reserved ii ABSTRACT Camp scholarship remains vague. While academics don’t shy away from writing about this form, most exemplify it more than define it. Some even refuse to define it altogether, arguing that any such attempt causes more problems than it solves. So, I ask the question, can we define camp via its structure, theme and character types? After all, we can do so for most other genres, such as the slasher film, the situation comedy or even the country song; therefore, if camp relies upon identifiable character types and proliferates the same theme repeatedly, then, it exists as a narrative system. In exploring this, I find that, as a narrative system, though, camp doesn’t add to the dominant discursive system. Rather, it exists in opposition to it, for camp disseminates the theme that those outside of heteronormativity and acceptability triumph not in spite of but because of what makes them “different,” “othered” or “marginalized.” Camp takes many forms. So, to demonstrate its reliance upon a certain structure, stock character types and a specific theme, I look at the overlaps between seemingly disperate examples of this phenomenon. -
2019 Annual Report
PURPOSE Promise Progress 2 0 1 9 E T F A n n ua l R ep ort LEADERSHIP National Board of Trustees Timothy Allen McDonald Deborah Voigt Dear Friends and Supporters, iTheatrics, Founder and CEO Award-winning opera soprano Matt Conover, Chair New York, NY Disney Parks Live Entertainment, Vice Advisory Board The stories of ETF in 2019 are the stories of how theatre has shaped all of us: kids looking President of Disneyland Entertainment Megan Tulac Phillips Sarah Jane Arnegger forward to going to school to sing and dance, individuals with soaring confidence after Anaheim, CA McKinsey & Company, Head of iHeartRadio Broadway, Director progressive accomplishments on stage, theatre having a therapeutic impact by bonding Marketing and Communications, New York, NY Hunter Bell, Vice Chair Enterprise Agility a group of students as a family. Tony-nominated playwright, EdTA San Francisco, CA Aretta Baumgartner Board of Directors Center for Puppetry Arts, Education What makes ETF unique is that we are funding these kinds of experiences in New York, NY John Prignano Director communities which otherwise would not be able to offer them: cities recovering from Music Theatre International, COO Atlanta, GA Nancy Aborn Duffy, Secretary and Director of Education and disasters, programs with no budgets for teacher professional development or student Educator, Former Broadway Licensing Development Dori Berinstein Company Owner festival participation, and schools who previously had no theatre at all. New York, NY Dramatic Forces, Producer New York, NY New York, NY Kim Rogers This was a momentous year as we expanded grant programs for schools and established James A. -
Last Tango in Paris (1972) Dramas Bernardo Bertolucci
S.No. Film Name Genre Director 1 Last Tango in Paris (1972) Dramas Bernardo Bertolucci . 2 The Dreamers (2003) Bernardo Bertolucci . 3 Stealing Beauty (1996) H1.M Bernardo Bertolucci . 4 The Sheltering Sky (1990) I1.M Bernardo Bertolucci . 5 Nine 1/2 Weeks (1986) Adrian Lyne . 6 Lolita (1997) Stanley Kubrick . 7 Eyes Wide Shut – 1999 H1.M Stanley Kubrick . 8 A Clockwork Orange [1971] Stanley Kubrick . 9 Poison Ivy (1992) Katt Shea Ruben, Andy Ruben . 1 Irréversible (2002) Gaspar Noe 0 . 1 Emmanuelle (1974) Just Jaeckin 1 . 1 Latitude Zero (2000) Toni Venturi 2 . 1 Killing Me Softly (2002) Chen Kaige 3 . 1 The Hurt Locker (2008) Kathryn Bigelow 4 . 1 Double Jeopardy (1999) H1.M Bruce Beresford 5 . 1 Blame It on Rio (1984) H1.M Stanley Donen 6 . 1 It's Complicated (2009) Nancy Meyers 7 . 1 Anna Karenina (1997) Bernard Rose Page 1 of 303 1 Fanny Hill: Memoirs of a Woman of Pleasure (1964) Russ Meyer 9 . 2 Vixen! By Russ Meyer (1975) By Russ Meyer 0 . 2 Deep Throat (1972) Fenton Bailey, Randy Barbato 1 . 2 A STREETCAR NAMED DESIRE (1951) Elia Kazan 2 . 2 Pandora Peaks (2001) Russ Meyer 3 . 2 The Lover (L'amant) 1992 Jean-Jacques Annaud 4 . 2 Damage (1992) Louis Malle 5 . 2 Close My Eyes (1991) Stephen Poliakoff 6 . 2 Casablanca 1942 H1.M Michael Curtiz 7 . 2 Duel in the Sun (film) (1946) I1.M King Vidor 8 . 2 The Bridge on the River Kwai (1957) H1.M David Lean 9 . 3 Caligula (1979) Tinto Brass 0 . -
Determining Stephen Sondheim's
“I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS BY ©2011 PETER CHARLES LANDIS PURIN Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ___________________________ Chairperson Dr. Scott Murphy ___________________________ Dr. Deron McGee ___________________________ Dr. Paul Laird ___________________________ Dr. John Staniunas ___________________________ Dr. William Everett Date Defended: August 29, 2011 ii The Dissertation Committee for PETER PURIN Certifies that this is the approved version of the following dissertation: “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS ___________________________ Chairperson Dr. Scott Murphy Date approved: August 29, 2011 iii Abstract This dissertation offers a music-theoretic analysis of the musical style of Stephen Sondheim, as surveyed through his fourteen musicals that have appeared on Broadway. The analysis begins with dramatic concerns, where musico-dramatic intensity analysis graphs show the relationship between music and drama, and how one may affect the interpretation of events in the other. These graphs also show hierarchical recursion in both music and drama. The focus of the analysis then switches to how Sondheim uses traditional accompaniment schemata, but also stretches the schemata into patterns that are distinctly of his voice; particularly in the use of the waltz in four, developing accompaniment, and emerging meter. Sondheim shows his harmonic voice in how he juxtaposes treble and bass lines, creating diagonal dissonances. -
ROBYN OWEN, CSA Casting Director Agents
ROBYN OWEN, CSA Casting Director Agents: Geneva Bray & Gwenn Pepper/GVA Talent Agent contact: (310) 278-1310 Direct: (424) 266-0047 Email: [email protected] Mobile: (626) 644-0047 __________________________________________________________________________________________ Casting Experience Film “Selma” 2014 Plan B/Pathe’/ Paramount Associate Casting Director Director: Ava Duvernay Executive Producers: Oprah Winfrey, Brad Pitt, Jeremy Kleiner, DeeDee Gardner, Nan Morales Casting Director: Aisha Coley “Epilogue” 2014 (In development) Aperture Films/Panorama Casting Director/Co-Producer Direct: Kiel Adrian Scott Executive Producers: Justin Bursch, Rob Williams, Richard Jastrow, Kerry McCluggage “Ethyrea: Code of the Brethren” 2014 (In pre-production) Reliance/Panthera Films Casting Director/Co-Producer Directors: Andy & Vic Armstrong Executive Producers: Danica Fontaine, Billy Badalato “Off The Rim” 2014 (In development) Craftsman Films/Content Media Casting Director/Co-Producer Director: Rashidi Harper Executive Producers: Justin Bursch, Rob Williams “Step Up 5” 2013 Summit/Lionsgate Associate Casting Director Director: Trish Sie Executive Producers: Adam Shankman, Jennifer Gibgot, Matt Smith Casting Director: Rich Mento “Love is a Hurtin’ Thing” 2013 (Lou Rawls Biopic-development) Lou Rawls Prods., LLC Casting Director/Co-Producer Director: Forrest Whitaker (in negioations) Executive Producers: Lou Rawls, Jr., Karen & Howard Baldwin “Safe Haven” 2012 Relativity/Temple Hill Ent. Co-Casting Director/Associate Director: Lasse Hallstrom Executive Producers: Marty Bowen, Robbie Brenner, Shannon Gaulding Casting Director: Rich Mento “Ironclad” 2011 (Independent) Content Films/VIP Mediafond Films Casting Director/Associate Producer Director: Jonathan English Executive Producers: Rick Benattar, Andrew Curtis, Chrisitan Buell “Burning Andolini” 2010 (Independent) Midday Sun Productions, LLC Casting Director Director: James Allen Executive Producers: James Allen, Nicolas Charles 1 ROBYN K. -
Newsletter 14/08 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 14/08 DIGITAL EDITION Nr. 234 - Juli 2008 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 14/08 (Nr. 234) Juli 2008 editorial Hallo Laserdisc- und DVD-Fans, sicht des Regisseurs vollkommen cher sicherlich genauso. Um dem liebe Filmfreunde! quer läuft. Denn nichts passt bes- Ganzen noch die Krone aufzuset- Herzlich willkommen zur neuen ser zu den Sixties als das zen, verzichtete Kinowelt bei der Ausgabe unseres Newsletters. CinemaScope-Format, das hier Veröffentlichung von DER FUCHS Endlich läuft alles wieder in ge- ganz bewusst als ein Zeitkolorit UND DAS MÄDCHEN komplett wohnten Bahnen. Neuan- verwendet wurde. Also ein Ausrut- auf die originale französische Ton- kündigungen aus Deutschland, den scher. Kann ja mal passieren. Weit spur! Liebe DVD-Labels in USA sowie Japan teilen sich einmal gefehlt! Unlängst veröffentlichte Deutschland: merkt Ihr eigentlich mehr die Seiten unter sich auf. Zur Kinowelt den asiatischen Film THE nicht, dass Ihr auf diese Art und Auflockerung erzählt uns Anna et- BANQUET in Deutschland. Und Weise erheblich dazu beitragt, dass was über Superhelden und Wolfram schon wieder haben wir ein fal- eingeschworene Filmfans auf Eure Hannemann ergänzt seinen Film- sches Bildformat. Wieder wurde DVDs verzichten und sich auslän- Blog durch einen ausführlichen Be- anstatt dem korrekten 1:2.35-For- dische Versionen besorgen? Und richt über seinen Bollywood-Erleb- mat ein 1:1.78 Bild gewählt, das nur von der Verstümmelung ganzer Fil- nisse. -
Etd Kdj7.Pdf (542Kb)
BODIES OF WORK: THE PRODUCTION OF WORK, CLASS AND GENDER IN FILM MUSICALS A thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Masters of Arts in English By Kathryn D. Jett, B.A. Washington, DC April 25, 2008 The influence of community is always inextricable from class identity. I would like to thank the communities of strong women who have influenced my thinking and my work from my hometown in Guymon, Oklahoma to my academic home here at Georgetown University. Special thanks belong to Dr. Pamela Fox for her guidance and inspiration. By introducing me to working-class studies, she has given me the critical tools I have been seeking all along. A large part of this work however, is drawn from the ultimate community of women in my life—my mother, grandmothers, sisters, aunts and cousins. Their ceaseless work, their love of music, and their subtle feminism are all woven into my thoughts and my words. To my mother and my Grammy Dee, thank you for showing me that a woman’s work can be as beautiful as her music. Kathryn Jett ii Table of Contents Introduction ………………………………………………………………………….. 1 Working Titles ……………………………………………………………………… 20 Hand-Made Expressions ………………………………………………………...…. 24 Mechanized Bodies …………………………………………………………………. 33 Commodified Bodies ……………………………………………………………….. 45 Resistant Bodies …………………………………………………………………….. 55 Contradictions and Conclusions ….…………………………………………………. 64 Bibliography ………………………………………………………………………… 70 iii Introduction The stage musical is widely acknowledged as a purely American art form. Taking its roots from black minstrelsy, ethnically diverse Vaudeville, and New York’s Tin Pan Alley1, musical theatre has always been rich with the class, race, and gender related themes that reflect a complex and often fractured American culture.