Ten Years of Student Support
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Innovators: Filmmakers
NBER WORKING PAPER SERIES INNOVATORS: FILMMAKERS David W. Galenson Working Paper 15930 http://www.nber.org/papers/w15930 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 April 2010 The views expressed herein are those of the author and do not necessarily reflect the views of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2010 by David W. Galenson. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. Innovators: Filmmakers David W. Galenson NBER Working Paper No. 15930 April 2010 JEL No. Z11 ABSTRACT John Ford and Alfred Hitchcock were experimental filmmakers: both believed images were more important to movies than words, and considered movies a form of entertainment. Their styles developed gradually over long careers, and both made the films that are generally considered their greatest during their late 50s and 60s. In contrast, Orson Welles and Jean-Luc Godard were conceptual filmmakers: both believed words were more important to their films than images, and both wanted to use film to educate their audiences. Their greatest innovations came in their first films, as Welles made the revolutionary Citizen Kane when he was 26, and Godard made the equally revolutionary Breathless when he was 30. Film thus provides yet another example of an art in which the most important practitioners have had radically different goals and methods, and have followed sharply contrasting life cycles of creativity. -
{Dоwnlоаd/Rеаd PDF Bооk} Citizen Kane Ebook, Epub
CITIZEN KANE PDF, EPUB, EBOOK Harlan Lebo | 368 pages | 01 May 2016 | Thomas Dunne Books | 9781250077530 | English | United States Citizen Kane () - IMDb Mankiewicz , who had been writing Mercury radio scripts. One of the long-standing controversies about Citizen Kane has been the authorship of the screenplay. In February Welles supplied Mankiewicz with pages of notes and put him under contract to write the first draft screenplay under the supervision of John Houseman , Welles's former partner in the Mercury Theatre. Welles later explained, "I left him on his own finally, because we'd started to waste too much time haggling. So, after mutual agreements on storyline and character, Mank went off with Houseman and did his version, while I stayed in Hollywood and wrote mine. The industry accused Welles of underplaying Mankiewicz's contribution to the script, but Welles countered the attacks by saying, "At the end, naturally, I was the one making the picture, after all—who had to make the decisions. I used what I wanted of Mank's and, rightly or wrongly, kept what I liked of my own. The terms of the contract stated that Mankiewicz was to receive no credit for his work, as he was hired as a script doctor. Mankiewicz also threatened to go to the Screen Writers Guild and claim full credit for writing the entire script by himself. After lodging a protest with the Screen Writers Guild, Mankiewicz withdrew it, then vacillated. The guild credit form listed Welles first, Mankiewicz second. Welles's assistant Richard Wilson said that the person who circled Mankiewicz's name in pencil, then drew an arrow that put it in first place, was Welles. -
Catalogo-Festivaldorio-2015.Pdf
Sumário TABLE OF CONTENTS 012 APRESENTAÇÃO PRESENTATION 023 GALA DE ABERTURA OPENNING NIGHT GALA 025 GALA DE ENCERRAMENTO CLOSING NIGHT GALA 033 PREMIERE BRASIL PREMIERE BRASIL 079 PANORAMA GRANDES MESTRES PANORAMA: MASTERS 099 PANORAMA DO CINEMA MUNDIAL WORLD PANORAMA 2015 141 EXPECTATIVA 2015 EXPECTATIONS 2015 193 PREMIERE LATINA LATIN PREMIERE 213 MIDNIGHT MOVIES MIDNIGHT MOVIES 229 MIDNIGHT DOCS MIDNIGHT DOCS 245 FILME DOC FILM DOC 251 ITINERÁRIOS ÚNICOS UNIQUE ITINERARIES 267 FRONTEIRAS FRONTIERS 283 MEIO AMBIENTE THREATENED ENVIRONMENT 293 MOSTRA GERAÇÃO GENERATION 303 ORSON WELLS IN RIO ORSON WELLS IN RIO 317 STUDIO GHIBLI - A LOUCURA E OS SONHOS STUDIO GHIBLI - THE MADNESS AND THE DREAMS 329 LIÇÃO DE CINEMA COM HAL HARTLEY CINEMA LESSON WITH HAL HARTLEY 333 NOIR MEXICANO MEXICAN FILM NOIR 343 PERSONALIDADE FIPRESCI LATINO-AMERICANA DO ANO FIPRESCI’S LATIN AMERICAN PERSONALITY OF THE YEAR 349 PRÊMIO FELIX FELIX AWARD 357 HOMENAGEM A JYTTE JENSEN A TRIBUTE TO JYTTE JENSEN 361 FOX SEARCHLIGHT 20 ANOS FOX SEARCHLIGHT 20 YEARS 365 JÚRIS JURIES 369 CINE ENCONTRO CINE CHAT 373 RIOMARKET RIOMARKET 377 A ETERNA MAGIA DO CINEMA THE ETERNAL MAGIC OF CINEMA 383 PARCEIROS PARTNERS AND SUPPLIES 399 CRÉDITOS E AGRADECIMENTOS CREDITS AND AKNOWLEDGEMENTS 415 ÍNDICES INDEX CARIOCA DE CORPO E ALMA CARIOCA BODY AND SOUL Cidade que provoca encantamento ao olhar, o Rio Enchanting to look at, Rio de Janeiro will once de Janeiro estará mais uma vez no primeiro plano again take centre stage in world cinema do cinema mundial entre os dias 1º e 14 de ou- between the 1st and 14th of October. -
Episode One: Bugs
EPISODE ONE: BUGS BEN MANKIEWICZ: why do you think there are so many presumptions about you? PETER BOGDANOVICH: I don't know, You know, I became successful, famous early on, that irritates people, some people. And, um, I don't know. Jealousy, envy, irritation. Maybe they don't like my pictures. Well, I probably was too outspoken or something. I don't know. I don't really know. I, I don't think that the picture that was painted of me was really close to accurate. I didn't think I was an arrogant bastard. But maybe I was. I, I certainly had self- confidence to a degree, which I think scares people sometimes. I don’t know Ben I don’t know. [THEME MUSIC] BEN MANKIEWICZ: I’m Ben Mankiewicz, and this is season one of The Plot Thickens - a new podcast from Turner Classic Movies… each season, we’ll bring you an in-depth story about the movies and the people who made them. We’re starting off with a familiar story in Hollywood… one of remarkable success at a very young age….and failure just a few years later... PETER BOGDANOVICH: success is very hard to handle. And then failure after success is even harder. NEWS MONTAGE: Peter Bogdanovich is a man of many Passions/Peter Bogdanovich burst upon the film world/Peter Bogdanovich is best known as a Director of films like The Last Picture Show BEN MANKIEWICZ: Peter Bogdanovich helped change the way movies were made in Hollywood, starting with his first hit in 1971, The Last Picture Show. -
THE OTHER SIDE of the WIND; a LOST MOTHER, a MAVERICK, ROUGH MAGIC and a MIRROR: a PSYCHOANALYTIC PERSPECTIVE on the CINEMA of ORSON WELLES by Jack Schwartz
Schwartz, J. (2019). The Other Side of the Wind…A psychoanalytic perspective on the cinema of Orson Welles. MindConsiliums, 19(8), 1-25. THE OTHER SIDE OF THE WIND; A LOST MOTHER, A MAVERICK, ROUGH MAGIC AND A MIRROR: A PSYCHOANALYTIC PERSPECTIVE ON THE CINEMA OF ORSON WELLES By Jack Schwartz ABSTRACT Arguably, Orson Welles is considered America’s most artistic and influential filmmaker from the golden era of American movies, even though most people are only familiar with his first feature, Citizen Kane (1941). Any film buff can easily recognize his signature camera work, his use of lighting and overlapping dialogue, along with so many cinematic nuisances that define his artistry. Despite being on the “pantheon” (Sarris, 1969) of American directors, he never established any real sustaining commercial success. Even though he leaves behind many pieces of a giant beautiful cinematic puzzle, Welles will always be considered one of the greats. Prompted by Welles’ posthumously restored last feature The Other Side of the Wind (2018), the time is ripe for a psychoanalytic re-evaluation of Welles’ cinematic oeuvre, linking the artist’s often tumultuous creative journey to the dynamic structure of Welles’ early and later childhood experiences through the frame of his final film. INTRODUCTION From early in its invention, movies have offered the gift of escaping the grind of daily life, even when movies are sometimes about the grind of daily life. Movies move us, confront us, entertain us, break our hearts, help mend our broken hearts, teach us things, give us a place to practice empathy or express anger and point to injustice. -
Inmediaciones De La Comunicación
Volumen 6 - N° 6 - Agosto 2011 INMEDIACIONES de la comunicación ALFREDO ALPINI l GUILLERMO AMOROSO l LEO BARIZZONI l PATRICIA BERNAL l ÁLVARO BUELA l LUIS ELBERT l PABLO FERRÉ l ROSANA MALANESCHII l DANIEL MAZZONE l ALDO MAZZUCCHELLI l ANA PAIS Publicación de la Escuela de Comunicación INMEDIACIONES de la comunicación Autoridades de la Escuela INMEDIACIONES de la comunicación de Comunicación vol. 6 - N° 6 - agosto 2011 ISSN: 1688-8626 Decano Facultad de Consejo Editorial Comunicación y Diseño ING. EDUARDO HIPOGROSSO Marisol Álvarez Álvaro Buela Coordinadora Escuela Aldo Mazzucchelli de Comunicación Virginia Silva Pintos LIC. SABRINA BIANCHI Ana Solari Coordinadora Académica de Comunicación LIC. VIRGINIA SILVA PINTOS, MSC. ONES Consejo Asesor Alicia Entel (Argentina) Coordinador Académico I Raúl Fuentes Navarro (México) de Audiovisual José Carlos Lozano (México) LIC. GERARDO CASTELLI, MA. José Marques de Melo (Brasil) Coordinador Académico María Cristina Mata (Argentina) de Periodismo Erick Torrico (Bolivia) TÉC. COM. LEONARDO HABERKORN Catedrática de Publicidad AC Editor Responsable MONTSERRAT RAMOS Álvaro Buela [email protected] I Catedrático Asociado de Medios LIC. JUAN DA ROSA Fotografías Catedrática de Proyecto Final Leo Barizzoni LIC. MARISOL ÁLVAREZ, MA. Catedrático de Periodismo Digital Diseño y armado DANIEL MAZZONE Pablo González Catedrático de Realización Cinematográfica LIC. PSIC. ÁLVARO BUELA Redacción Universidad ORT Uruguay MED Coordinador Académico Uruguay 1185, 11100 de Sonido Montevideo – Uruguay GUILLERMO MARCHESE Tel.: (00598) 2 908 0677 Coordinadora de Graduados Fax.: (0598) 2 908 0680 LIC. ADRIANA FERNÁNDEZ E-mail: [email protected] IN INMEDIACIONES es una publicación de la Escuela de Comunicación de la Universidad ORT Uruguay. sumario El déficit comunicacional: COMUNICACIÓN, ARTE un problema inherente a Y SOCIEDAD las políticas públicas ...........................88 Guillermo Amoroso Wikipedia, la gestión de la inteligencia colectiva ........................... -
Orson Welles, the War of the Worlds Copyright, and Why We Should Recognize Idea-Contributors As Joint Authors
Case Western Reserve Law Review Volume 66 Issue 3 Article 4 2016 An Idea of Authorship: Orson Welles, The War of the Worlds Copyright, and Why We Should Recognize Idea-Contributors as Joint Authors Timothy J. McFarlin Follow this and additional works at: https://scholarlycommons.law.case.edu/caselrev Part of the Law Commons Recommended Citation Timothy J. McFarlin, An Idea of Authorship: Orson Welles, The War of the Worlds Copyright, and Why We Should Recognize Idea-Contributors as Joint Authors, 66 Case W. Rsrv. L. Rev. 701 (2016) Available at: https://scholarlycommons.law.case.edu/caselrev/vol66/iss3/4 This Article is brought to you for free and open access by the Student Journals at Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Case Western Reserve Law Review by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. Case Western Reserve Law Review·Volume 66·Issue 3·2016 An Idea of Authorship: Orson Welles, The War of the Worlds Copyright, and Why We Should Recognize Idea- Contributors as Joint Authors Timothy J. McFarlin† Abstract Did Orson Welles co-author the infamous War of the Worlds broad- cast? The Ninth Circuit Court of Appeals has told us no, primarily because he only contributed the idea behind the broadcast, and ideas alone can’t be copyrighted. “An Idea of Authorship” challenges this premise—that ideas, no matter how significant, cannot qualify for joint authorship in collaborative works—and argues that we as a society should, under certain circumstances, recognize idea-contributors like Welles as joint authors. -
Mary Ellen Casey’
Roots Report: Don’t Let These Shows Pass You By Okee dokee folks … As I mentioned last month the summer shows are plenty. I have managed to get to quite a few so far and have many more to attend. One commonality I have noticed among the performers is that a lot of these folks are getting old, some very old. I guess I am, too. With age comes wisdom … or just the AARP? Shawn Colvin was the first of the bunch of concerts I went to last month. Colvin played the Narrows in Fall River, and she made several jokes alluding to her age. She is just 58 years old. In spite of her mocking her own diminished capacities of memory and eyesight, she put on a great show. Nimfest in Newport presented Susan Cowsill. She is the youngest member of the Cowsills and checks in at age 54, just a year older than I am. She still has the youthful look she had as a child. Her voice and performance are still top notch and I didn’t hear her make any age-related jokes, though her audience was a bit up there in years. The former Newport resident drew a nice-sized crowd to King’s Park. Unfortunately, Cowsill seemed to rely more on random cover songs than her own or even Cowsills material. Next up was Yes at the Newport Concert Series. This bunch just looks ancient. Despite the fact that I thought they might break a hip or need CPR on stage, they too put on an amazing show and pulled off great live versions of the Fragile and Close To The Edge albums in their entirety. -
FREEDY JOHNSTON Peppermint Lavender After Eight Years, He’S Back Thanks to Some Rosalina Coconut Oil Discipline in the Studio Instruction Booklet
JAN/FEB 2010 ISSUE MMUSICMAG.COM SPOTLIGHT Earth Sweet Essential Oils Don’t Miss Performances Due To Illness! Avoid Going To The Doctor. Take Care Of Yourself Naturally. Just $4 ss than the cost o 0 le f one doctors visit. Our Emergency Home Care Kit contains medicinal grade essential oils. Chris Carroll It includes: Tea Tree Eucalyptus Tropical Basil Geranium FREEDY JOHNSTON Peppermint Lavender After eight years, he’s back thanks to some Rosalina Coconut Oil discipline in the studio Instruction booklet FREEDY JOHNSTON DIDN’T MEAN TO The producer also pushed Johnston spend eight years between albums. “I tried toward a recording process featuring a to make it a couple times on my own, and combination of live adrenaline and studio it didn’t work out for various reasons,” says craft. “We did live band tracks with the the singer-songwriter. He discovered the key drums, bass and guitars,” says Johnston. to his new Rain on the City album when he “But Richard said, ‘Freedy, I know you don’t brought in producer Richard McLaurin as his want to do this, but I want you to overdub collaborator. “You learn some lessons and go your vocals, because it’s going to sound down one hallway, fi nd a dead end, and turn more rock.’ So I went with it, and I agree! I around and head down another hallway.” like hearing really good, well-done vocals— Chasing down those possible directions and you don’t always get that with a live Small enough to fit in your led Johnston to cover a lot of territory— vocal.” Also helping the album to sound pocket, but powerful enough literally. -
Friends of WWOZ Board of Directors Meeting May 12, 2010 General Manager's Report
Friends of WWOZ Board of Directors Meeting May 12, 2010 General Manager's Report 1. 2010 New Orleans Jazz & Heritage Festival Coverage. Once again, WWOZ provided start- to-finish broadcast and webcast coverage of this year‘s New Orleans Jazz & Heritage Festival. And once again, the station‘s remote production krewe headed by Program Director Dwayne Breashears and Chief Engineer Damond Jacob put together an extremely professional operation comprised of many moving parts including live feeds to stations around the country, including Simulcast with the following stations: KUVO (Denver), KUJZ (Vail), WHRV (Norfolk), KGOU (Norman), KROU (Spencer/Oklahoma City), WOMR (Provincetown/Cape Cod), WFHB (Bloomington). A staff of over 8 broadcast crew members and 6 engineering crew members, along with more than 100 volunteers flawlessly handled WWOZ‘s multiple Jazz Fest activities ranging from broadcast, to membership/brass pass distribution, WWOZ Mango Freeze sales, Piano night and night time broadcasts from local clubs. Broadcast Crew: The absolutely stellar broadcast crew included George Ingmire, Bradley Blanchard, Jerry Lenaz, SherriLynn Colby-Bottel, David Kunian, Dimitri Apessos, Linda Santi, Olivia Greene and many more. Engineering Crew: The seasoned and can-do engineering crew included Tony Guillory, Robert Carroll, Khalid Hafiz , Sam Bui, Susan Jacob, and Shawn Eib. Volunteer Power: Jeannie Adams, Albert Danny, Jeannette Albert, Hillary Albins, Lori Andersonk, Joel Atwill, David Averbuck, Patti Averbuck, Lisa Bacques, Carol Badilla, Amy Baldwin, -
Roots Report: Don’T Let These Shows Pass You By
Roots Report: Don’t Let These Shows Pass You By Okee dokee folks … As I mentioned last month the summer shows are plenty. I have managed to get to quite a few so far and have many more to attend. One commonality I have noticed among the performers is that a lot of these folks are getting old, some very old. I guess I am, too. With age comes wisdom … or just the AARP? Shawn Colvin was the first of the bunch of concerts I went to last month. Colvin played the Narrows in Fall River, and she made several jokes alluding to her age. She is just 58 years old. In spite of her mocking her own diminished capacities of memory and eyesight, she put on a great show. Nimfest in Newport presented Susan Cowsill. She is the youngest member of the Cowsills and checks in at age 54, just a year older than I am. She still has the youthful look she had as a child. Her voice and performance are still top notch and I didn’t hear her make any age-related jokes, though her audience was a bit up there in years. The former Newport resident drew a nice-sized crowd to King’s Park. Unfortunately, Cowsill seemed to rely more on random cover songs than her own or even Cowsills material. Next up was Yes at the Newport Concert Series. This bunch just looks ancient. Despite the fact that I thought they might break a hip or need CPR on stage, they too put on an amazing show and pulled off great live versions of the Fragile and Close To The Edge albums in their entirety. -
Song Fest Features Freedy Johnston Past Rolling Stone Magazine's
by Chris Berggren | Administrative Assistant, CDL Photo: Dina Regine Song Fest Features Freedy Johnston Past Rolling Stone Magazine’s Songwriter of the Year by Chris Berggren, CDL Administrative Assistant According to Freedy Johnston, the 2018 Chelsea District Library’s Song Fest headliner, you’ve got to be a little obsessive to succeed. Johnston freely admits that without this attribute, he wouldn’t have made it in music. “I’m sad to tell you,” he says with a laugh, “those are the only people who really get good at things.” For Johnston, that meant sticking with his routine of playing guitar, writing music, and recording his early songs on a 4-track recorder, despite the feedback from others and his own acknowledgement that he wasn’t very good. “Honestly, I would have stopped if I could’ve, but I couldn’t,” he admits. Then, in 1992, something changed while writing and recording his second album Can You Fly. He suddenly got better. “Up to that time I was almost like this guy with a bad habit, but I got better to the point where it was like, ‘Alright, you’re actually okay now,’” he says. Can You Fly be came somewhat of a hit and led to Johnston signing with Elektra Records, a major label. “That was a strange time and I remember thinking, ‘I’m really a musician now and I don’t know how that happened.’” In lots of ways, Johnston is the least likely of musicians. He grew up in the rural Kansas town of Kinsley, which was void of any music or record shops.