Exponentjune 7, 1985 Volume 76
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VILNIAUS DAILĖS AKADEMIJA VILNIUS ACADEMY of ARTS TOMAS DAUKŠA Meno Projektas IŠ PUSIAUSVYROS IŠVESTA SISTEMA SU GRĮŽTAMUO
VILNIAUS DAILĖS AKADEMIJA VILNIUS ACADEMY OF ARTS TOMAS DAUKŠA Meno projektas IŠ PUSIAUSVYROS IŠVESTA SISTEMA SU GRĮŽTAMUOJU RYŠIU Art Project SYSTEM DERIVED FROM EQUILIBRIUM WITH THE FEEDBACK LOOP Meno doktorantūra, Vaizduojamieji menai, Dailės kryptis (V 002) Art Doctorate, Visual Arts, Fine Arts (V 002) Vilnius, 2019 Meno projektas rengtas Vilniaus dailės akademijoje 2014–2019 metais KŪRYBINĖS DALIES VADOVAS: Prof. Konstantinas Bogdanas Vilniaus dailės akademija, dailė V 002 TIRIAMOSIOS DALIES VADOVĖ: Doc. dr. Agnė Narušytė Vilniaus dailės akademija, humanitariniai mokslai, menotyra H 003 KONSULTANTAS Prof. Henrik B. Andersen Vilniaus dailės akademija, dailė V 002 Meno projektas ginamas Vilniaus dailės akademijoje Meno doktorantūros dailės krypties gynimo taryboje: PIRMININKAS: Dr. Darius Žiūra Vaizduojamieji menai, dailė V 002 NARIAI: Doc. dr. Žygimantas Augustinas Vilniaus dailės akademija, vaizduojamieji menai, dailė V 002 Anders Kreuger Direktorius, Kohta kunsthalė, Helsinkis (Suomija) Dr. Tojana Račiūnaitė Vilniaus dailės akademija, humanitariniai mokslai, menotyra H 003 Prof. dr. Artūras Tereškinas Vytauto Didžiojo universitetas, socialiniai mokslai, sociologija S 005 Meno projektas ginamas viešame Meno doktorantūros dailės krypties gynimo tarybos posėdyje 2019 m. lapkričio 29 d. 14 val. Kūrybinių industrijų centre „Pakrantė“ (Vaidilutės g. 79, 10100-Vilnius). Su meno projektu galima susipažinti Lietuvos nacionalinėje Martyno Mažvydo, Vilniaus dailės akademijos bibliotekose. ISBN 978-609-447-326-5 2 The Artistic Research Project -
The Question Concerning the Cooptation of the Sundance Film Festival: an Analysis of the Commodification of Independent Cinema
Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 12-2009 The Question Concerning the Cooptation of the Sundance Film Festival: An Analysis of the Commodification of Independent Cinema Matt Dee Cottrell Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Sociology Commons Recommended Citation Cottrell, Matt Dee, "The Question Concerning the Cooptation of the Sundance Film Festival: An Analysis of the Commodification of Independent Cinema" (2009). All Graduate Theses and Dissertations. 485. https://digitalcommons.usu.edu/etd/485 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE QUESTION CONCERNING THE COOPTATION OF THE SUNDANCE FILM FESTIVAL: AN ANALYSIS OF THE COMMODIFICATION OF INDEPENDENT CINEMA by Matt Dee Cottrell A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE in Sociology Approved: _______________________ _______________________ Christy Glass Richard S. Krannich Major Professor Committee Member _______________________ _______________________ Richley Crapo Byron R. Burnham Committee Member Dean of Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 2009 ii Copyright Matt Dee Cottrell 2009 All Rights Reserved iii ABSTRACT The Question Concerning the Cooptation of the Sundance Film Festival: An Analysis of the Commodification of Independent Cinema by Matt Dee Cottrell, Master of Science Utah State University, 2009 Major Professor: Dr. Christy Glass Department: Sociology, Social Work & Anthropology The Sundance Film Festival has transformed from being a fringe festival to a leading showcase for independent cinema. -
Woodcut by Albert Berghaus of Booth *Booting Lincoln at Ford's Theater
Woodcut by Albert Berghaus of Booth *booting Lincoln at Ford's Theater: Now, dear reader, here's a proposition: ing led from Worthington. Mass., to Salt Every day you've got to determine, if yott Lake City, Utah, and ended at the Steam- read us at all, what's true, what's false, and, boat Square Book Shop in Albany, N.Y., as in most cases, what lies inconclusively in where Mr. Lynch was said to receive mes- between. Witness today. sages. "He's a very private man who jealous- Elsewhere in these pages, you'll find a ly guards his privacy,"the proprietor said, column by our colleagues, Jack Anderson cautiously. Mr. Lynch maintains a phone in and Les Whitten. It begins with the rivet- the Albany area, but it, too, is unlisted. ing words: "The FBI has quietly entered the Finally, late in the day, after more enter- investigation of another presidential assassi- prising investigative reporting, the elusive nation—this one the 112-year-old shooting Mr. Lynch himself was on the phone. of Abraham Lincoln . ." The column goes "I'm always interested in the subject of; on to say: "The belated FBI inquiry into shall we say, Americana, the artifacts of Lincoln's death may help to resolve such history," he pronounced, in a Brooklyn ac- mysteries as these: Was Lincoln the victim cent. "One might call me a dealer-collector. of a secret conspiracy reaching into his own In general, I know a lot about American his- cabinet? . ." Credit for this monumental tory. It's the thing I liked best in school. -
When Hollywood Came to Utah Is How These and Dozens of Other Motion Pictures Were Made on These Gorgeous Utah Locations
What will unfold as you read When Hollywood Came to Utah is how these and dozens of other motion pictures were made on these gorgeous Utah locations. The behind-the-scenes stories of the film stars, the crews, and the local Utah residents themselves who all WHEN HOLLYWOOD helped to make Utah the “Little Hollywood” for nearly a century CAME TO UTAH CAME will be a surprise, as they were to me. This book will motivate you to see those movies that you haven’t seen and will also motivate you to discover the more familiar titles all over again. —Clint Walker, actor (1927–2018) WHEN HOLLYWOOD CAME TO UTAH This book was originally D’ARC published in 2010 under $35.00 U.S. the title When Hollywood Came to Town: A History of Moviemaking in Utah. Includes a new foreword, introduction, and filmography. James V. D’arc Forewords 8 Acknowledgments 10 Introduction 14 Scene One: Iron County, 1924–1958 CONTENTS Cedar City and the Parry Brothers 20 Tom Mix and The Deadwood Coach 33 The Shepherd of the Hills, Ramona,and the “Battle” of Cedar Breaks 40 Glory Days for Cedar City 44 Scene Two: Washington County, 1927–1979 From Silents to Sound 62 Utah’s Centennial Film: Ramrod or “Hamrod”? 74 The Conqueror 87 Vanished Americans 96 Scene Three: Kane County, 1928–1978 Utah’s Hollywood 114 In Glorious Technicolor! 122 William Wellman’s Buffalo Bill 146 The Rustler from Kanab 156 Howard Koch and Bel-Air Productions 170 Reel Change in Kanab 186 Scene Four: San Juan County, 1925–1995 John Ford’s Monument Valley 206 Scene Five: Grand County, 1949–1997 Moab Means Movies 224 The Apocalypse in Moab 252 Scene Six: Northern Utah, 1908–2003 Capitol Moviemaking 264 Epilogue 274 Notes 275 Bibliography 283 Motion Pictures and Television Productions Made in Utah, 1913-2018 286 Photo Credits 313 Index 314 The story of Hollywood moviemaking in Utah is inseparable from that of the Parry brothers— Gronway, Chauncey, and Caleb Whitney—and their business ventures in Cedar City and nearby Zion National Park. -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit History Recycling Postmoderne Theorien und das Motiv der Zeitreise im US-amerikanischen Film der 1980er Jahre Verfasserin Jill Amanda Meißner Angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, September 2011 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Mag. Thomas Ballhausen Eidesstattliche Erklärung Ich versichere, dass ich die vorliegende Arbeit selbstständig und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt habe. Die aus fremden Quellen direkt oder indirekt übernommenen Ausführungen sind als solche kenntlich gemacht. Die Arbeit wurde bisher in gleicher oder ähnlicher Form keiner anderen Prüfungsbehörde vorgelegt und auch noch nicht veröffentlicht. Wien, am 01.09.2011 .................................... Jill Meißner Danksagung Danke all jenen, die zum Gelingen dieser Arbeit beigetragen und mit mir geduldig über Zeitreisefilme diskutiert haben! Besonderer Dank gilt an dieser Stelle meinem Betreuer Mag. Thomas Ballhausen, der mir geholfen hat, aus einer vagen Idee eine Diplomarbeit zu formen und mir stets mit Rat und Tat zur Seite stand. Ohne mich zeitlich unter Druck zu setzen, hat er mich darin unterstützt, eine Arbeit zu schreiben, auf die ich stolz sein kann. Danke an Tanja Wittrien und Margrita Hägele, die mir ihre Arbeiten zur Verfügung gestellt haben! Besonders möchte ich mich auch bei meinen Freundinnen Eva, Julia und Jana für das geduldige Korrekturlesen dieser Arbeit bedanken. Danke an meine Kollegen und Freunde Katharina L., Dominik, Elias, Desiree und Katharina Z., die das gleiche durchgemacht und mich stets motiviert haben! Danke an Hanna und Veronika, die sich geduldig meine Probleme angehört haben! Danke an meine Mutter und meine Schwester Janis, die mir immer wieder Mut gemacht und an mich geglaubt haben! Janis hat außerdem eine wunderbare Zeichnung zum Thema dieser Diplomarbeit angefertigt, welche sich vor dem Anhang befindet. -
Mufon Ufo Journal
""MUFON UFO JOURNAL NUMBER 155 JANUARY 1981 Pounded 1967 $1.50 •OFFICIAL PUBLICATION OF AfCS^OAT/ MUTUAL UFO NETWORK, INC. "Enigma" QSL Created by Al LaVorgna, MUFON Amateur Radio Net, Hicksville, N.Y. (WA20QJ). The MUFON UFO JOURNAL (USPS 002-970) FROM THE EDITOR 103 Oldtowne Rd. Seguin, Texas 78155 In testimony before Congress, scientist Barry Commoner stressed RICHARD HALL the importance of asking the right question: "In general terms there are Editor three ways that a presumably scientific analysis may arrive at a faulty conclusion: (a) The question addressed by the analysis is inappropriate- ANN DRUFFEL ly stated; (b) the data employed in the analysis are inaccurate; (c) the Associate Editor analytical procedures are faulty. The first of these faults is particularly LEN STRINGFIELD serious since it is likely to result in the use of inappropriate data and Associate Editor analytical procedures as well." When we ask, "Are UFOs extraterrestrial?" ("or other dimension- MILDRED BIESELE al?", etc.) we are stating the question inappropriately, invoking selec- Contributing Editor tive data, and slanting our analytical procedures. The question that needs to be asked is, "What are the stimuli or referents of UFO re- WALTER H. ANDRUS ports?" The correct answer to that some 90% of the time is conven- Director of MUFON tional objects or phenomena, so we need to further refine the ques- tion by adding '". .that describe phenomena of appreciable size and TED BLOECHER duration, "high strangeness," and remain unexplained after competent DAVE WEBB Co-Chairmen, investigation and careful screening against possible familiar or known Humanoid Study Group objects (e.g., meteors, advertising aircraft)." No UFO report should be considered an accurate datum until it undergoes this process. -
Robert Eber, C.A.S. Production Sound Mixer
ROBERT EBER, C.A.S. PRODUCTION SOUND MIXER THEATRICAL FEATURE FILMS OUIJA 2 Director: Mike Flanagan Producers: Jason Blum, Michael Bay, Brad Fuller/BlumhouseProductions Cast: Annalise Basso, Elizabeth Reaser, Lulu Wilson, Henry Thomas NEON DEMON Director: Nick Refn Producers: Jeff Stott, Victor Ho/Bold Films Cast: Elle Fanning, Keanu Reeves, Christina Hendricks INCARNATE Director: Brad Peyton Producers: Jason Blum, Couper Samuelson, Gerard DiNardi /Blumhouse Productions Cast: Aaron Eckhart, Carice van Houten WE ARE YOUR Director: Max Joseph FRIENDS Producers: Tim Bevan, Lisa Chasin, Eric Fellner/Working Title Films, Studio Canal Cast: Zac Efron, Wes Bentley, Emily Ratajkowski PLUSH Director: Catherine Hardwicke Producers: Jason Blum, Catherine Hardwicke, Gerard DiNardi/Blumhouse Prods Cast: Emily Browning, Xavier Samuel, Elizabeth Pena AS COOL AS I AM Director: Max Mayer Producers: Anthony Mastromauro, Judd Payne, Matt Williams/Identity,Wind Dancer Cast: James Marsden, Claire Daines, Sarah Bolger, Thomas Mann DRIVE Director: Nick Refn [Winner, Satellite Award, Producers: Marc Platt, David Lancaster, Jeff Stott, Gigi Pritzker/Odd Lot, Bold, MPSE nom] Film District Cast: Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac FLIPPED Director: Rob Reiner Producers: Rob Reiner, Alan Greisman, David Siegel, Martin Shafer/Warner Bros. Cast: Rebecca De Mornay, Anthony Edwards, John Mahoney, Penelope Ann Miller 1 4929 Wilshire Blvd., Ste. 259 Los Angeles, CA 90010 ph 323.782.1854 fx 323.345.5690 [email protected] CONFESSIONS OF Director: P.J. Hogan A SHOPAHOLIC Producers: Jerry Bruckheimer/Jerry Bruckheimer Films, Touchstone Cast: Isla Fisher, Hugh Dancy, John Goodman, John Lithgow, Kristen Scott Thomas THE SIX WIVES OF Director: Howard Michael Gould HENRY LEFAY Producers: Marina Martins, David McIlvain/Brillstein Entertainment Cast: Tim Allen, Barbara Barrie, Andie MacDowell, Elisha Cuthbert SOUL MEN Director: Malcolm Lee Producers: David Friendly, Charles Castaldi, Steve Greener/Friendly Films Cast: Samuel L. -
Here Is Some Brief Background Information About Me and My Resume. Late in 1976, I Was Hired for a Ten Month Period
Dear Reader - Here is some brief background information about me and my resume. Late in 1976, I was hired for a ten month period by a small feature film distribution company as an Assistant Film Editor. Following this assignment I worked fifteen months as the Lighting Rental and Stage Manager for a motion picture equipment rental house and production facility. I was very privileged to meet, observe and learn in the midst of “A” list Commercial Companies, Directors, Camera, Set Lighting and Grip crews at work on our busy sound stage. Those on-set experiences, insights and contacts assisted in my transition into the Los Angeles freelance market. In 1978, I began freelancing in small commercials and independent films as a Grip and Set Lighting Technician. By the end of 1980, I was working regularly as a Key Grip and Dolly Grip. By 1984, my clients and career focus changed and I was mainly working as a Set Lighting Gaffer. I concluded work on my last television pilot as a Key Grip by the autumn of 1988. At the present time I am primarily working as a Chief Lighting Technician and Rigging Gaffer. I will readily welcome any employment opportunities as a Director of Photography or Camera Operator. I became a Member of I.A.T.S.E. Local 728 as a Chief Lighting Technician and Local 600 as a Director of Photography. Currently my union status in California is temporarily inactive. I have an excellent pool of both union and non-union crew resources to draw on in Los Angeles. -
Table of Contents Table of Contents
TOC Content Internet Links The Script Savant Free First 10 Pages Screenplay Critiqued Comprehensive Screenplay Analysis Signup For Free Newsletter & Script Updates Free Movie Screenplays PDF download – A-M Free Movie Screenplays PDF download – N-Z Free TV Screenplays PDF download – A-M Free TV Screenplays PDF download – N-Zz Table of Contents Table of Contents ...........................................................................................................................................2 Introduction ................................................................................................................................................ 11 Why This Book................................................................................................................................................................... 11 Format Types .................................................................................................................................................................... 13 What Is A Screenplay ........................................................................................................................................................ 14 Steps To Screenwriting Success ........................................................................................................................................ 15 1. Watch Thousands of Movies: .................................................................................................................................... 16 2. Read Thousands of -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI' Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor. Ml 48106-1346 USA 800-521-0600 UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE MOUNTAIN MAN IN AMERICAN HISTORY AND CULTURE A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY By S. -
WEA in European CD Push
SM 14011 NEWSPAPER B8O*96FEENLYMUNTOO rARBC !WPM( f,ULENLV 03 10 3-140 ELM UC."Y LONE BEACH CA 90807 r A Billboard Publication The International Newsweekly Of Music & Home Entertainment April 14, 1984 $3 (U.S.) BIG FIRST MONTH WEA In European CD Push Music Dealers Key Lower Player Cost Seen Luring Youth K -tel Computer Arm By IRV LICHTMAN CD buyer of "increasingly younger national levels; four -color posters, age, with the market now stretching and p -o -p material. In addition, more By STEVEN DUPLER NEW YORK -Eleven WEA com- from adolescents to audiophiles and than a million four -color booklets panies in Europe have launched a classical enthusiasts," according to have been printed for insertion in all NEW YORK -K -tel Software ducing the software into such mass broad -based, long- running marketing Jurgen Otterstein, WEA Europe new CD releases and use as in -store Inc., a newly formed computer soft- market outlets as Pathmark super- campaign for Compact Disc software marketing director. The emergence giveaways. ware division of K -tel International markets. to take advantage of dramatically of younger CD fans, Otterstein notes, The campaign involves WEA com- Inc., is making a direct bid for a pres- The software is marketed under lower hardware prices (Billboard, largely results from "the continued panies in England, Germany, France, ence in major record /tape stores. three brand names: Xonex cartridge March 24). downward trend in hardware Belgium, Spain, Holland, Italy, Swit- In its first month, the new division games, K -Tek budget software, and Tagged "Adventures In Modern prices," thus producing a CD market zerland, Austria, Sweden and Den- says it has shipped $1 million worth K -tel medium priced personal and Sounds: WEA Stars On CD," the that is changing rapidly. -
Securities and Exchange Commission
SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K ☒ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2002 OR o TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File Number 1-9553 VIACOM INC. (Exact Name Of Registrant As Specified In Its Charter) DELAWARE 04-2949533 (State or Other Jurisdiction of (I.R.S. Employer Incorporation Or Organization) Identification Number) 1515 Broadway New York, NY 10036 (212) 258-6000 (Address, including zip code, and telephone number, including area code, of registrant's principal executive offices) Securities Registered Pursuant to Section 12(b) of the Act: Name of Each Exchange on Title of Each Class Which Registered Class A Common Stock, $0.01 par value New York Stock Exchange Class B Common Stock, $0.01 par value New York Stock Exchange 7.75% Senior Notes due 2005 American Stock Exchange 7.625% Senior Debentures due 2016 American Stock Exchange 7.25% Senior Notes due 2051 New York Stock Exchange Securities Registered Pursuant to Section 12(g) of the Act: None (Title Of Class) Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days.