The Black Eyed Peas Perform in North Carolina by Us Weekly Staff February 24, 2010

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CELEBRITY NEWS The Black Eyed Peas Perform in North Carolina By Us Weekly Staff February 24, 2010 George Lainis/Catch Light Studio The Black Eyed Peas treating the crowd to a spontaneous performance at Butter NC in Charlotte, North Carolina. Leonardo DiCaprio browsing through Nanette Lepore in NYC with girlfriend Bar Refaeli. Sienna Miller celebrating Matthew Williamson's debut of his Fall 2010 Collection in London with Belvedere martinis. Shakira meeting with President Obama at the White House to discuss their shared interest in early childhood development and universal education. Lindsay Lohan partying with her mom Dina at The Pool After Dark at Harrah's in Atlantic City. Jersey Shore's Vinny Guadagnino treating his mom to a spa day at The Daily's Beauty Bar at Townhouse Spa in NYC. See the day's top celeb pics. Justin Timberlake performing with FreeSol, the newest group on his music label, at the William Rast afterparty at Hudson Terrace in NYC. Chanel Iman celebrating her Modelinia cover at the Mercedes-Benz Star Lounge in NYC. Jessica Lowndes dancing with girlfriends at the opening of bar210 in Beverly Hills. Cindy Crawford playing with her kids at the Bowling for Best Buddies event presented by Audi at the Lucky Strike Lanes and Lounge in L.A. Look at photos of famous star families. Tinsley Mortimer getting her teeth whitened by Dr. Steven Davidowitz at Luxury Dentistry On Sutton Place in NYC. Mena Suvari singing along to Empire State of Mind at the G-Star afterparty at Tenjune in NYC. Drew Barrymore shopping at the Sue Devitt Beauty counter at Barney’s New York in Beverly Hills. Khloe Kardashian Odom drinking Three-O “Rangtang” cocktails at the Rangtang Launch party at Quo in NYC. Sign up now for the Us Weekly newsletter to get breaking celebrity news, hot pics and more delivered straight to your inbox! Want stories like these delivered straight to your phone? Download the Us Weekly iPhone app now! .

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17 December 2003
Screen Talent Agency 818 206 0144 JUDY GELLMAN Costume Designer judithgellman.wordpress.com Costume Designers Guild, locals 892 & 873 Judy Gellman is a rarity among designers. With a Midwest background and training at the University of Wisconsin and The Fashion Institute of Technology (NYC) Judy began her career designing for the Fashion Industry before joining the Entertainment business. She’s a hands-on Designer, totally knowledgeable in pattern making, construction, color theory, as well as history and drawing. Her career has taken her from Chicago to Toronto, London, Vancouver and Los Angeles designing period, contemporary and futuristic styles for Men, Women, and even Dogs! Gellman works in collaboration with directors to instill a sense of trust between her and the actors as they create the characters together. This is just one of the many reasons they turn to Judy repeatedly. Based in Los Angeles, with USA and Canadian passports she is available to work worldwide. selected credits as costume designer production cast director/producer/company/network television AMERICAN WOMAN Alicia Silverstone, Mena Suvari (pilot, season 1) various / John Riggi, John Wells, Jinny Howe / Paramount TV PROBLEM CHILD Matthew Lillard, Erinn Hayes (pilot) Andrew Fleming / Rachel Kaplan, Liz Newman / NBC BAD JUDGE Kate Walsh, Ryan Hansen (season 1) various / Will Farrell, Adam McKay, Joanne Toll / NBC SUPER FUN NIGHT Rebel Wilson (season 1) various / Conan O’Brien, John Riggi, Steve Burgess / ABC SONS OF TUCSON Tyler Labine (pilot & series) Todd Holland,
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Press-Release-The-Endings.Pdf
Publication Date: September 4, 2018 Media Contact: Diane Levinson, Publicity [email protected] 212.354.8840 x248 The Endings Photographic Stories of Love, Loss, Heartbreak, and Beginning Again By Caitlin Cronenberg and Jessica Ennis • Foreword by Mary Harron 11 x 8 in, 136pp, Hardcover, Photographs throughout ISBN 978‐1‐4521‐5568‐5, $29.95 Featuring some of today’s most celebrated actresses, including Julianne Moore, Alison Pill, and Imogen Poots, the photographic vignettes in The Endings capture female characters in the throes of emotional transformation. Photographer Caitlin Cronenberg and art director Jessica Ennis created stories of heartbreak, relationship endings, and new beginnings—fictional but often inspired by real life—and set out to convey the raw emotions that are exposed in these most vulnerable states. Cronenberg and Ennis collaborated with each actress to develop a character, build the world she inhabits, and then photograph her as she lived the role before the camera. Patricia Clarkson depicts a woman meeting her younger lover in the campus library—even though they both know the relationship has been over since before it even began. Juno Temple portrays a broken‐hearted woman who engages in reckless and self‐destructive behavior to numb the sadness she feels. Keira Knightley ritualistically cleanses herself and her home after the death of her great love. Also featured are Jennifer Jason Leigh, Danielle Brooks, Tessa Thompson, Noomi Rapace, and many more. These intimate images combine the lush beauty and rich details of fashion photographs with the drama and narrative energy of film stills. Telling stories of sadness, loneliness, anger, relief, rebirth, freedom, and happiness, they are about relationship endings, but they are also about beginnings.
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Theological Aesthetics in Sam Mendes' American Beauty Sarah Miller
American Beauty of Christian Beauty? Sarah Miller American Beauty or Christian Beauty? Theological Aesthetics in Sam Mendes’ American Beauty Sarah Miller American Beauty is a 1999 film directed by Sam Mendes from a screenplay by Alan Ball. i Set in modern American suburbia, the film focuses on Kevin Spacey as Lester Burnham, who narrates posthumously, “My name is Lester Burnham, I’m 42 years old and in less than a year I’ll be dead. But in a way I’m dead already.” ii Depressed and cynical, Lester is trapped in a loveless marriage with Carolyn (Annette Bening) and estranged from his daughter Jane (Thora Birch). He despises his job as an office drone, which he subsequently quits. The film’s action primarily dwells on his radical changes in behaviour, as he attempts to affirm his existence by smoking marijuana, working out, and asserting himself against his domineering wife. These changes are precipitated by his attraction to his daughter Jane’s friend Angela (Mena Suvari) which rekindles his passion for life. The other Burnham family members are simultaneously experiencing life altering changes. Carolyn has an affair and Jane falls in love with neighbour Ricky Fitts, whose reaction against his militaristic upbringing has propelled his search for beauty in every facet of life. The film culminates in Lester’s murder. American Beauty , viewed through the lens of theological aesthetics, offers insight into ideas of beauty. Theological aesthetics, the analysis of sense-knowledge, beauty, and art in light of divine revelation, has three components: first, a theological investigation into how one comes to know religious truths through sense experience; Saeculum Volume 5, issue 1.
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How Well Has American Beauty Aged?: a Critical Review of the Suburban Film Genre
49th Parallel, Issue 39 (2017) Richard Andrew Voeltz ISSN: 1753-5794 How Well Has American Beauty Aged?: A Critical Review of the Suburban Film Genre RICHARD ANDREW VOELTZ, CAMERON UNIVERSITY American Beauty (1999) directed by Sam Mendes has been considered by many film scholars to be the epitome of Hollywood’s assault on suburbs as a perversion of the American dream. The film received many awards and was highly praised when it was released---winning five Academy Awards. This paper examines how American Beauty represents the culmination and caricature of a suburban trope in Hollywood that goes back to the 1940s where the supposed suburban paradise represents superficiality, conformity, and submerged sexuality. The film recounts all this as being correct, but the redemptive, happy Hollywood ending reveals that even in the sordid suburbs beauty and happiness can be found. Within the context of other suburban films, the examination of the critical and popular appeal of American Beauty, as well as its diegetic elements, demonstrates how the reality of suburbia has changed yet Hollywood seems locked into now antiquated tropes. The longevity and viability of time honored genre formulas has been called into question meaning that the suburban film genre will have to become less exclusive if it is to survive. It was other people who decided American Beauty was going to win an Academy Award. I felt at the time it was slightly over praised. 1 --Sam Mendes, director of American Beauty American Beauty is just a bad, pretty movie. 2 --Sarah Fonder, film critic American Beauty was released in 1999, and directed by Sam Mendes from a screenplay by Alan Ball.
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An Analysis of the Film “American Beauty”
An Analysis of the Film “American Beauty” by Angela de Sousa Page 1 of 5 Film Analysis of “American Beauty” Director: Sam Mendes Writer: Alan Ball Release Date: 01 October 1999 Genre: Drama Starring: Kevin Spacey, Annette Bening, Thora Birch, Wes Bentley, Mena Suvari, Chris Cooper, Peter Gallagher and Allison Janney Breaking stereotypes and finding the beauty beneath the surface. In American Beauty, a drama about the lives of stereotypical American’s living the ‘American Dream’ at the end of the 20th century and, how, in reality this is far from truth. We follow the life of Lester Burnham (Kevin Spacey), your average middle aged suburban father whose mundane life dissipates as he becomes infatuated by his daughters’ attractive best friend. The film is taken from a narrative point of view by Lester as he recalls the last year of events that lead up to his untimely death and his transformation to reach happiness. In Act 1 we are introduced to the protagonist Lester Burnham as he monologues how somewhere upon his life’s journey he has lost his enthusiasm for life. He works a normal job that he doesn’t really like and has also become distant from his wife and daughter. Carolyn (Annette Bening) is Lester’s wife; she is the breadwinner in the family, very appearance driven, uptight and is in denial that she is happy herself. She often irritates Lester by her behaviour. She works as a real estate agent, having to stage up a house in order to sell it as desirable. Talk about irony, that both her career and her life consists of having to put on a show.
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perpustakaan.uns.ac.id digilib.uns.ac.id1 CHAPTER 1 INTRODUCTION A. RESEARCH BACKGROUND American families generally extol the type of traditional nuclear family. This type of family is the kind of appropriate family in America during the Twentieth Century. As a matter of fact, “During the twentieth century, Americans have tended to identify the traditional nuclear family as the family” (Strong and DeVault, (1992): p. 6). Accordingly, American family in that century appreciated traditional nuclear family. It also proves that the characteristics of traditional family values portray a form of harmonious whole family that lives in a house. The closeness of the family relationship between husband, wife and children can still be seen in the form of traditional nuclear family. Strong and DeVault stated, “until recently, American researchers have focused on the traditional nuclear family, composed of a marriage couple and their biological children; in this family, the husband is employed outside the home while the wife remains at home performing housework and child-care tasks” (1992: 6). Furthermore, this type of family does not break the function and the rule of the family; and also can keep the intimacy of family in their society. Moreover, the concept of traditional nuclear family provides appropriate values to take care of their families. However, it still creates a big question for the researcher. Does the system of traditional nuclear family still exist or vanish to the next period? commit to user 1 perpustakaan.uns.ac.id digilib.uns.ac.id2 Nowadays, the common family values shown by American traditional nuclear family start to collapse.
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Can, Antwone Fisher, a Guy Thing, the Alibi, the Hunting Party, Amityville Horror and Westworld
‘I’LL BE HOME FOR CHRISTMAS” CAST BIOS JAMES BROLIN (Jack) – Golden Globe and Emmy Award-winning actor James Brolin is among the entertainment industry’s most popular stars, with acting and directing credits that range from comedy and drama to big scale action-adventure. His early start in film began as a teenager when he started shooting 8mm motion pictures. By 20, he had made his motion picture debut in Take Her, She’s Mine, alongside James Stewart and Sandra Dee. He went on to appear in many feature films, including Traffic, Catch Me If You Can, Antwone Fisher, A Guy Thing, The Alibi, The Hunting Party, Amityville Horror and Westworld. Additionally, Brolin produced and starred in several independent films, including Cheatin’ Hearts, Ted and Venus, We the People, Night of the Juggler, Last Chance Harvey and Gas, Food Lodging. While Brolin has proven his versatility in all genres, he is most widely recognized for his starring roles in the critically acclaimed television dramas “Hotel” and “Marcus Welby, M.D.,” for which he earned Emmy and Golden Globe Awards. His additional television credits include “The Reagans,” a movie which earned him Emmy and Golden Globe nominations, “Trapped,” a miniseries on the Network, “And the Sea Will Tell” and “Christmas with Tucker,” which became the Hallmark channel's highest-rated film ever. Brolin’s upcoming film projects include The 33, The Steps and Sisters. As a director, Brolin made his feature film debut with My Brother’s War, which won Best Film at the Hollywood Film Festival. Currently, he is preparing to direct the period script Ruby McCollum, the true-crime story that shook the foundation of the segregationist South.
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Downloadable Pdf Version
Arts & Entertainment Labor Day ™ By Jan Lisa Huttner SOMETHING OLD: moves to Atlanta in people who make her problems seem small, and 13 Conversations About One Thing search of a fresh by fighting for them, she learns the difference SOMETHING NEW: start. She lands in between brazen self-assertion and genuine self- Beauty Shop an uptown salon respect. The feminist lines in Beauty Shop are SOMETHING BORROWED: owned by a martinet ebullient, but the feminist lines in Erin Erin Brockovich named “Jorge” Brockovich were written earnestly and read with SOMETHING BLUE: (played with broad hard-won sincerity. Japanese Story comic zest by Kevin Bacon), but quickly (Curious about the “real” EB? Enter her full As we say a fond farewell to another summer and rebels, and then name “Erin Brockovich-Ellis” into your favorite head into Fall, here are four films about work- earns his full enmity search engine.) place identities in the modern world. by opening a rival shop in the ‘hood. In Japanese Story, an Jill and Karen Australian geologist Sprecher first attract- The Queen exercises her real-life powers as both named Sandy (Toni ed attention with star and producer by peopling Beauty Shop with Collette) plays tour Clockwatchers, their a diverse set of well-known actors like Andie guide to a Japanese 1997 feature about MacDowell, Keshia Knight Pulliam, Della Reese, businessman named four temps on the bot- Alicia Silverstone, Mena Suvari, and Alfre Hiromitsu (Gotaro tom rung of an enor- Woodard, all of whom play for laughs and get Tsunashima). mous corporation. In them. And then there’s Djimon Hounsou as Joe, Starting out, Sandy 2001, they released the “love interest” with a capital L: wow! and Hiromitsu see 13 Conversations each other as total About One Thing, a Warning: this is a movie to share with your girl- stereotypes.
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Real Teaching and Real Learning Vs Narrative Myths About Education Marshall W
Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2007 Real Teaching and Real Learning vs Narrative Myths About Education Marshall W. Gregory Butler University, [email protected] Follow this and additional works at: http://digitalcommons.butler.edu/facsch_papers Part of the Education Commons, and the English Language and Literature Commons Recommended Citation Marshall W. Gregory. "Real Teaching and Real Learning vs Narrative Myths About Education" Arts and Humanities in Higher Education 6.1 (2007): 7-27. This Article is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. The final, definitive version of this paper has been published in Arts and Humanities in Higher Education, 6 (1), 2007 by SAGE Publications Ltd, all rights reserved. © Marshall Gregory. http://ahh.sagepub.com/ Marshall W. Gregory. "Real Teaching and Real Learning vs Narrative Myths About Education" Arts and Humanities in Higher Education 6.1 (2007): 7-27. Real Teaching and Real Learning vs Narrative Myths about Education Marshall Gregory Butler University, USA Abstract All real classrooms are saturated in the fictional narratives about education from TV and movies that swirl about thickly and persistently in western culture, yet the influence that these fictions exert on real teachers and real students is seldom examined. This article argues that since these fictional narratives nearly always deal in recycled stereotypes of both students and teachers, and that since they seldom receive critical attention, the influence they exert on real teachers and real students is to mislead, confuse, and impoverish their evaluations of and expectations about the nature of genuine education.
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