DOCSLIB.ORG

PRICES REALIZED DETAIL - Dreier Collection - Part II Auction 56B, Auction Date: 7/30/2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PRICES REALIZED DETAIL - Dreier Collection - Part II Auction 56B, Auction Date: 7/30/2013 26901 Agoura Road, Suite 150, Calabasas Hills, CA 91301 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Dreier Collection - Part II Auction 56B, Auction Date: 7/30/2013 LOT ITEM PRICE 1 LUCILLE BALL ORIGINAL LETTER OF INVITATION TO HOLLYWOOD. $4,250 2 LUCILLE BALL SIGNED CONTRACT WITH SAMUEL GOLDWYN FOR EARLY FILMS. $1,000 3 TELEGRAM FOR LUCILLE BALL’S FIRST STARRING ROLE IN HOLLYWOOD. $275 5 LUCILLE BALL SIGNED ACTOR’S EQUITY CONTRACT WITH RKO PERMITTING HER TO DO A STAGE $500 PLAY. 7 (7) LUCILLE BALL AND DESI ARNAZ INVITATIONS AND MEMORABILIA FROM WHITE HOUSE $1,300 FUNCTIONS WITH PRESIDENT AND ELEANOR ROOSEVELT. 8 LUCY’S HANDWRITTEN WESTERN TELEGRAPH BOOKLET. $500 9 LUCILLE BALL RADIO SHOW CONTRACT. $425 11 ELOIS JENSSEN COSTUME SKETCH FOR LUCILLE BALL AS “SANDRA CARPENTER” IN LURED. $1,000 12 CONTRACT FOR LUCILLE BALL TO REPRISE HER FILM ROLL IN A RADIO ADAPTATION OF THE BIG $425 STREET. 13 LUCILLE BALL’S “GLADYS O’NEILL” JACKET FROM SORROWFUL JONES. $3,000 14 (2) DESILU EMPLOYMENT CONTRACTS INVOLVING LUCILLE AND DESI ARNAZ. $850 15 LUCILLE BALL “AGATHA FLOUD” STRIPED DRESS SUIT FROM FANCY PANTS. $4,000 19 COLLECTION OF (37) LUCY AND DESI ARNAZ SIGNED CHECKS. $3,500 20 LARGE COLLECTION OF LUCILLE BALL RELATED AUTOGRAPHS. $2,250 21 LUCILLE BALL SIGNATURE “LUCY RICARDO” POLKA DOT DRESS DESIGNED BY ELOIS JENSSEN $140,000 FOR I LOVE LUCY. 22 ELOIS JENSSEN COSTUME SKETCH OF LUCILLE BALL FOR I LOVE LUCY. $2,750 Page 1 of 22 26901 Agoura Road, Suite 150, Calabasas Hills, CA 91301 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Dreier Collection - Part II Auction 56B, Auction Date: 7/30/2013 LOT ITEM PRICE 23 LUCILLE BALL SCREEN-WORN “LUCY” STONE MARTIN FOX STOLE FROM I LOVE LUCY. $3,000 24 ELOIS JENSSEN BLUE DRESS COSTUME SKETCH FOR LUCILLE BALL IN I LOVE LUCY. $3,750 25 ELOIS JENSSEN GRAY SKIRT SUIT COSTUME SKETCH FOR LUCILLE BALL IN I LOVE LUCY. $2,000 26 ELOIS JENSSEN FLOWER PRINT DRESS WITH RED PANTS COSTUME SKETCH FOR LUCILLE BALL $4,000 IN I LOVE LUCY. 27 ELOIS JENSSEN CHIFFON GOWN COSTUME SKETCH FOR LUCILLE BALL IN I LOVE LUCY. $2,000 28 ELOIS JENSSEN THUMBNAIL COSTUME SKETCHES FOR LUCILLE BALL AS “LUCY”, IN I LOVE LUCY. $1,300 29 ELOIS JENSSEN BLACK AND PINK GOWN COSTUME SKETCH FOR LUCILLE BALL IN I LOVE LUCY. $3,000 30 I LOVE LUCY CAST SIGNED PHOTOGRAPH TO PEPITO THE CLOWN. $5,500 31 I LOVE LUCY SCRIPT WITH CONGRATULATORY TELEGRAM FROM JUNE AND DICK POWELL. $1,800 32 PROP PAINTING SCREEN-USED FOR MANY YEARS ON I LOVE LUCY. $8,000 33 COLLECTION OF LUCILLE BALL’ CO-STAR’S AUTOGRAPHS. $550 34 11 LUCILLE BALL AND DESI ARNAZ 6 BLACK-AND-WHITE CAMERA NEGATIVES AND 5 COLOR $850 TRANSPARENCIES FROM I LOVE LUCY WITH CAST AND FAMILY. 35 LUCILLE BALL, DESI ARNAZ AND JOHN WAYNE 25 BLACK-AND-WHITE CAMERA NEGATIVES FROM $1,000 I LOVE LUCY. 36 11 BLACK-AND-WHITE CAMERA NEGATIVES OF LUCILLE BALL WITH HARPO MARX, $950 “VITAMEATAVEGAMEN” AND DESI SINGING FROM I LOVE LUCY. 37 LUCILLE BALL AND DESI ARNAZ 132 BLACK & WHITE PROOF PRINTS FROM I LOVE LUCY. $1,600 39 PAIR OF LUCY AND DESI APRONS WORN FOR THE PROMOTION OF THE LONG, LONG TRAILER $2,000 FROM ELOIS JENSSEN COLLECTION. Page 2 of 22 26901 Agoura Road, Suite 150, Calabasas Hills, CA 91301 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Dreier Collection - Part II Auction 56B, Auction Date: 7/30/2013 LOT ITEM PRICE 40 CLINTON TWISS SIGNED THE LONG, LONG TRAILER MANUSCRIPTS AND BOOK COVER ART. $1,600 41 3-SHEET POSTER AND COLLECTION OF MATERIALS FROM THE LONG, LONG TRAILER. $1,400 42 FIRST ISSUE OF TV GUIDE FEATURING INSET IMAGE OF “LUCY” ON THE COVER. $325 43 PRESIDENTIAL PROGRAM AND COMMEMORATIVE INVITATION SIGNED BY CELEBRITY $1,800 ATTENDEES. 44 LUCY AND DESI 110+ PHOTO ARCHIVE INCLUDING I LOVE LUCY AND CANDID PARTY IMAGES. $1,700 45 LUCILLE BALL BLACKBOARD SIGNATURE FROM WHAT’S MY LINE? $3,750 46 LUCILLE BALL AND DESI ARNAZ 150+ BLACK-AND-WHITE PROOF PRINTS FROM I LOVE LUCY. $1,700 47 (2) LUCY TV GUIDE COVERS WITH “LUCY’S” ADDRESS LABEL. $1,000 48 ELOIS JENSSEN PINK AND GRAY GOWN COSTUME SKETCH FOR LUCILLE BALL. $600 49 ELOIS JENSSEN’S PERSONAL SCRIPT FOR FOREVER DARLING ALONG WITH HER FILM $600 SCHEDULE. 51 ELOIS JENSSEN YELLOW AND GRAY GOWN COSTUME SKETCH FOR LUCILLE BALL AS “SUSAN $1,000 VEGA” IN FOREVER DARLING. 54 DESI ARNAZ AND LUCILLE BALL’S LAST WILL AND TESTAMENTS. $850 55 (7) COLOR CAMERA TRANSPARENCIES OF LUCILLE BALL FROM I LOVE LUCY, INCLUDING (1) BY $600 ERNEST A. BACHRACH. 56 (2) COLOR TRANSPARENCIES OF LUCY WITH ORSON WELLES AND (1) CONTACT PRINT FROM I $650 LOVE LUCY. 57 LUCILLE BALL AND DESI ARNAZ 29 BLACK-AND-WHITE CAMERA NEGATIVES AND (1) COLOR $700 TRANSPARENCY FROM I LOVE LUCY INCLUDING THE FAMOUS GRAPE-STOMPING EPISODE. 58 DESI ARNAZ AND LUCILLE BALL SIGNED MINUTES OF PIC-TV ANNUAL STOCKHOLDERS MEETING. $650 Page 3 of 22 26901 Agoura Road, Suite 150, Calabasas Hills, CA 91301 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Dreier Collection - Part II Auction 56B, Auction Date: 7/30/2013 LOT ITEM PRICE 60 COLLECTION OF VINTAGE DESILU RELATED SIGNED DOCS AND AD MATERIALS. $1,100 61 LUCILLE BALL’S PERSONAL PROMOTIONAL POSTER FOR “LUCY GOES TO MEXICO” FROM HER $3,000 OFFICE. 62 WILDCAT MUSICAL THEATER MATERIAL WITH LUCILLE BALL SIGNED CONTRACT. $500 64 EDITH HEAD COSTUME SKETCH FOR LUCILLE BALL AS “KITTY WEAVER” IN THE FACTS OF LIFE. $1,400 66 COLLECTION OF LUCILLE BALL CORRESPONDENCE. $2,250 67 GIFT WATCH FOR CAST AND CREW OF THE LUCY SHOW FROM LUCILLE BALL. $1,500 68 LUCILLE BALL BLUE SKIRT SUIT FROM THE LUCY SHOW. $3,500 69 HARDBOUND SCRIPT FOR CRITIC’S CHOICE INCLUDING ATTACHED CONTACT SHEETS. $300 70 (1) DESILU AND (1) BALL PRODUCTIONS STOCK CERTIFICATES. $800 71 LUCILLE BALL GREEN BLAZER FROM SALUTE TO STAN LAUREL. $1,000 72 LUCILLE BALL EMMY AWARDS SEQUINED GOWN. $6,000 73 LUCILLE BALL GOLDEN COIN NECKLACE SCREEN-WORN ON HERE’S LUCY. $1,000 74 COLLECTION OF (4) LUCILLE BALL LIP PRINTS. $1,600 75 LUCILLE BALL SCREEN-WORN BLOUSE FROM THE FLIP WILSON SHOW AND HERE’S LUCY. $600 76 LUCILLE BALL FRAMED LOCK OF HER SIGNATURE RED HAIR. $2,750 77 LUCILLE BALL PERSONALLY OWNED GOLD SLIPPERS. $400 Page 4 of 22 26901 Agoura Road, Suite 150, Calabasas Hills, CA 91301 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Dreier Collection - Part II Auction 56B, Auction Date: 7/30/2013 LOT ITEM PRICE 78 LUCILLE BALL PERSONAL LUNCHBOX-STYLE, WHITE HAND BAG. $1,400 79 LUCILLE BALL’S FAVORITE FORMAL GOLD KAFTAN. $5,000 80 JOGGING PANTS WORN BY LUCILLE BALL IN ONE OF HER FINAL TV SHOWS. $425 81 LUCILLE BALL PINK REEBOK SHOES RIGGED FOR A DRUM GAG ON LIFE WITH LUCY. $400 82 LUCILLE BALL LAVENDER BLOUSE AND BLACK SLACKS FROM LIFE WITH LUCY. $3,750 83 LUCILLE BALL PERSONAL READING GLASSES. $1,100 85 WILLIAM BOYD SIGNATURE “HOPALONG CASSIDY” WESTERN HAT AND POSTER FOR SANTA FE $4,250 MARSHAL. 91 VINTAGE “HOPALONG CASSIDY” RADIO. $150 92 VINTAGE “HOPALONG CASSIDY” PEN DISPLAY WITH 4 PENS. $200 93 VINTAGE “HOPALONG CASSIDY” WRIST WATCH IN BOX. $200 94 GENE AUTRY TOY GUITAR IN ORIGINAL CASE. $100 96 ROY ROGERS PLAY SET WITH BOX. $300 99 DAVY CROCKETT AT THE ALAMO “KING OF THE WILD FRONTIER” PLAY SET IN BOX. $400 103 “WILD BILL HICKOK” LUNCH BOX WITH THERMOS. $100 105 GUNSMOKE HOLSTER SET IN BOX. $175 106 GUNSMOKE LUNCH BOX WITH THERMOS. $150 Page 5 of 22 26901 Agoura Road, Suite 150, Calabasas Hills, CA 91301 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Dreier Collection - Part II Auction 56B, Auction Date: 7/30/2013 LOT ITEM PRICE 114 “MAVERICK” TOY SADDLE RIFLE IN BOX. $225 115 RIN-TIN-TIN FORT APACHE PLAY SET IN BOX WITH SPARE PIECE. $300 117 “RUSTY” COSTUME WITH MASK IN BOX / “RIN-TIN-TIN” COSTUME IN BOX. $100 119 FORT APACHE PLAY SET IN BOX. $300 120 SIGNED PRODUCTION STILL OF CLAYTON MOORE “THE LONE RANGER” AND JAY SILVERHEELS $200 “TONTO”. 122 (2) LIFE SIZE “LONE RANGER” CEREAL ADVERTISEMENT STANDEES. $475 124 COLLECTION OF (32) VINTAGE HARTLAND FIGURES AND HORSES. $1,300 125 “TOM CORBETT” SPACE CADET KID’S BELT. $175 126 “TOM CORBETT” SPACE CADET WRIST WATCH ON ROCKET CARD. $175 127 “TOM CORBETT” SPACE CADET BRACES ON CARD. $150 128 “TOM CORBETT” SPACE CADET METAL WIND-UP ROCKET TOY. $275 129 “TOM CORBETT” SPACE CADET “COSMIC VISION HELMET” IN BOX. $250 132 “FLASH GORDON” “SPACE OUTFIT” ON ORIGINAL DISPLAY CARD. $300 133 “BUCK ROGERS” 2-SIDED 1940S SCHOOL SUPPLIES ADVERTISING POSTER. $125 134 “BUCK ROGERS” SPACE HELMET, HOLSTER AND GUN. $450 135 “BUCK ROGERS” CHILD’S COSTUME IN BOX. $300 Page 6 of 22 26901 Agoura Road, Suite 150, Calabasas Hills, CA 91301 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Dreier Collection - Part II Auction 56B, Auction Date: 7/30/2013 LOT ITEM PRICE 139 RED BALL JETS SHOE DISPLAY. $150 140 MONOGRAM SPACE TAXI MODEL KIT STORE DISPLAY. $200 142 SPACE RANGER “ROCKY JONES” WATCH. $225 147 STRATO SPACE GUN TOY. $175 148 CAP ROCKETS IN DISPLAY BOX. $100 149 CAPTAIN VIDEO BOARD GAME. $100 150 RICE CHEX CEREAL BOX WITH DECODER BELT AND SMOKE GUN.
Load more

Recommended publications
  • 1074 Budapest, Dohány Utca 98. | Telefon: 06-1-887-2344 | E-Mail: [email protected]
    Elementary Read the passage below and then answer the questions. An Odd Spider Most spiders live on land, but this spider is different. It spends most of its time under water. How does it breathe? It breathes by making a tent full of air bubbles under water. First, it spins a web in the shape of a bell. Then, it fixes it to plants under the water. Next, it swims up to the top of the water and traps a tiny bubble of air with its hairy back legs. It drags the bubble to its web. It does this many times until its home is full of air. Then it sits nice and snug in its web and feeds on tiny fish and other water animals. 1. The passage is about a spider that a)cannot spin a web b)lives under water c)lives in plants 2. Most spiders a)fly b)live on land c)live under water 3.It spins a)a web b)a bell c)a tent 4. It fixes the web to . a)fish b)plants c)bubbles 5.These spiders eat a)water animals b)other spiders c)plants 1074 Budapest, Dohány utca 98. | Telefon: 06-1-887-2344 | E-mail: [email protected] Intermediate Scan the TV guide to answer the questions that follow. Channel 4 Channel 7 Channel 9 6:00: News Today 6:00: USA in Sports: 6:00: Everybody Loves In-depth coverage of national News show covering Raymond and inter-national news. competitive team sports at the national level.
    [Show full text]
  • “How the Nanny Has Become La Tata”: Analysis of an Audiovisual
    Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue Moderne per la Comunicazione e la Cooperazione Internazionale Classe LM-38 Tesi di Laurea “How The Nanny has become La Tata”: analysis of an audiovisual translation product Relatore Laureando Prof. Maria Teresa Musacchio Susanna Sacconi n° matr. 1018252 / LMLCC Anno Accademico 2012 / 2013 Contents: INTRODUCTION 1 CHAPTER 1 – THEORY OF AUDIOVISUAL TRANSLATION 1.1 Translation: General concepts 3 1.2 Audiovisual translation 6 1.3 Audiovisual translation in Europe 10 1.4 Linguistic transfer 12 1.4.1 Classification for the current AVT modes 14 1.5 Dubbing vs Subtitling 22 CHAPTER 2 – DUBBING IN ITALIAN AUDIOVISUAL TRANSLATION 2.1 Dubbing: An introduction 27 2.2 A short history of Italian dubbing 31 2.3 The professional figures in dubbing 33 2.4 The process of dubbing 36 2.5 Quality in dubbing 40 CHAPTER 3 – DUBBING: ASPECTS AND PROBLEMS 3.1 Culture and cultural context in dubbing 43 3.2 Dialogues: their functions and their translation in films 47 3.3 Difficulties in dubbing: culture-bound terms and cultural references 51 3.3.1 Culture-bound terms 54 3.3.2 Ranzato: the analysis of cultural specific elements 55 3.4 Translation strategies in dubbing (and subtitling) 59 3.4.1 Other strategies: Venuti’s model and Toury’s laws 63 3.4.2 The choice of strategies 65 3.5 Other translation problems: humour and allocutive forms 67 3.5.1 Humour 67 3.5.2 Allocutive forms 68 3.6 Synchronization and other technical problems 70 3.6.1 Synchronization
    [Show full text]
  • The Musical Number and the Sitcom
    ECHO: a music-centered journal www.echo.ucla.edu Volume 5 Issue 1 (Spring 2003) It May Look Like a Living Room…: The Musical Number and the Sitcom By Robin Stilwell Georgetown University 1. They are images firmly established in the common television consciousness of most Americans: Lucy and Ethel stuffing chocolates in their mouths and clothing as they fall hopelessly behind at a confectionary conveyor belt, a sunburned Lucy trying to model a tweed suit, Lucy getting soused on Vitameatavegemin on live television—classic slapstick moments. But what was I Love Lucy about? It was about Lucy trying to “get in the show,” meaning her husband’s nightclub act in the first instance, and, in a pinch, anything else even remotely resembling show business. In The Dick Van Dyke Show, Rob Petrie is also in show business, and though his wife, Laura, shows no real desire to “get in the show,” Mary Tyler Moore is given ample opportunity to display her not-insignificant talent for singing and dancing—as are the other cast members—usually in the Petries’ living room. The idealized family home is transformed into, or rather revealed to be, a space of display and performance. 2. These shows, two of the most enduring situation comedies (“sitcoms”) in American television history, feature musical numbers in many episodes. The musical number in television situation comedy is a perhaps surprisingly prevalent phenomenon. In her introduction to genre studies, Jane Feuer uses the example of Indians in Westerns as the sort of surface element that might belong to a genre, even though not every example of the genre might exhibit that element: not every Western has Indians, but Indians are still paradigmatic of the genre (Feuer, “Genre Study” 139).
    [Show full text]
  • Nannies, Au Pairs, Children and Parents
    CARE FOR CHILDREN IN AN ERA OF PRIVATE MARKET SERVICES A STUDY OF NANNIES, AU PAIRS, CHILDREN AND PARENTS Research team Associate Professor Sara Eldén [email protected] PhD Terese Anving [email protected] Research facts This research project has been funded by The Swedish Foundation for Humanities and Social Sciences (Eldén P13-0603:1), and has been hosted by the Department of Sociology, Lund University Sweden. Selected publications During the last decade, Swedish families have started to employ nannies Book: and au pairs to an extent previously never experienced. Political initiati- Nanny families: Practices of care ves such as the RUT tax deductions (2007), together with global trends by nannies, au pairs, parents and of ‘care chains’, have created a new private market for private child care children in Sweden; (2019) Bristol services. University Press In this study, we have analysed how families ‘do family’ when parts of Research articles: the care for children are bought as a service on the market. By inter- New ways of doing the ’good’ and viewing all categories of actors – nannies, au pairs, parents and child- gender equal family: ren – and by using innovative methods, the project has made unique Parents employing nannies and au contributions to international research debates on global care chains and pairs in Sweden; (2016) Sociologi- cal Research Online paid domestic care work. Furthermore, this is the first extensive study internationally to include children’s perspectives on care from nannies Precarious Care Labor: Contra- and au pairs, and one of few studies that gathers data from several dictory Work Regulations and Practices for Au Pairs in Sweden; actors involved in the same care practice.
    [Show full text]
  • FACTUAL CATALOGUE 2020-2021 Including
    HAT TRICK INTERNATIONAL FACTUAL CATALOGUE 2020-2021 Including... FACTUAL CATALOGUE CONTENTS FACTUAL CATALOGUE CONTENTS FACTUAL ENTERTAINMENT SECRETS OF YOUR SUPERMARKET FOOD 11 RIVER COTTAGE KEY CONTACTS TALKING ANIMALS: TALES FROM THE ZOO 17 AMAZING SPACES DENMARK 20 THE BALMORAL HOTEL: AN EXTRAORDINARY YEAR 25 A COOK ON THE WILD SIDE 38 SARAH TONG, Director of Sales AMISH: WORLD’S SQUAREST TEENAGERS 2 THE BIG BREAD EXPERIMENT 26 HUGH’S 3 GOOD THINGS: BEST BITES 38 Australia, New Zealand, Global SVOD THE BIG C & ME 13 ATLANTIC EDGE 16 HUGH’S THREE HUNGRY BOYS - SERIES 1 39 Email: [email protected] A VERY BRITISH HOTEL CHAIN: INSIDE BEST WESTERN 24 THE DETONATORS 6 HUGH’S THREE HUNGRY BOYS - SERIES 2 39 Tel: +44 (0)20 7184 7710 A YEAR ON THE FARM 16 THE GREAT BRITISH DIG: HISTORY IN YOUR BACK GARDEN 22 RIVER COTTAGE AUSTRALIA 39 BANGKOK AIRPORT 24 THE GREAT BRITISH GARDEN REVIVAL 18 RIVER COTTAGE BITES 38 BRADFORD: CITY OF DREAMS 8 THE LADYKILLERS: PEST DETECTIVES 16 RIVER COTTAGE BITES: BEST BITES 38 JONATHAN SOUTH, Senior Sales Executive BREAKING DAD 5 THE LAST MINERS 2 RIVER COTTAGE CATALOGUE 1999-2013 40-41 Canada, Latin America, Portugal, Spain, USA BRITISH GARDENS IN TIME 18 THE MILLIONAIRES’ HOLIDAY CLUB 24 Email: [email protected] BROKE 9 THE REAL MAN’S ROAD TRIP: SEAN AND JON GO WEST 5 FACTUAL / SPECIALS Tel: +44 (0)20 7184 7771 CABINS IN THE WILD WITH DICK STRAWBRIDGE 19 THE ROMANIANS ARE COMING 9 CELEBRITY TRAWLERMEN: ALL AT SEA 6 THE YEAR WITH THE TRIBE, A TASTE OF THE YORKSHIRE DALES 42 ELFYN MORRIS, Senior Sales Executive
    [Show full text]
  • Vietnamese Parents and Czech Nannies: Second-Generation Immigrant Children and Their Educators
    DOI: 10.15503/jecs20141-320-333 Local cultures and societies Vietnamese Parents and Czech Nannies: Second-Generation Immigrant Children and their Educators Adéla Souralová Department of Sociology, Masaryk University in Brno, Czech Republic. E-mail adress: [email protected] Abstract Many second-generation Vietnamese immigrant children in the Czech Republic are bro- ught up by Czech nannies. While their parents are incorporated into the labour market in order to provide their children with sufÞ cient economic capital for their education, the role of caregivers is relinquished to nannies. Both parents and nannies become important actors in the children’s educational process, from the stage of acquiring Þ rst words, through primary school, to the moment they are admitted into university. This paper analyses the roles of parents and nannies in this educational process. It draws upon 60 interviews conducted with Þ rst-generation immigrant mothers, second-generation immigrants, and Czech nannies. The perspective of all three actors are presented here in order to reveal the interviewee’s under- standing of the role of education in the parent-child and nanny-child relationships. How is education manifested in the deÞ nitions of parenting and caregiving? The paper illuminates the educational strategies taking place outside the educational institution as being an inherent part of everyday life. Simultaneously, the article reveals the meanings of education for the immigrant families as being linked both to past experience and future expectations. Key words: second generation immigrants, education, caregiving, parenting “For their future, education is the most important.” (Ms. Duong,4 mother of two children) “I know she loves me because she cares about me and she provides me with money for my education.” (Lien, 18-year-old) “They like learning, these kids.
    [Show full text]
  • New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950'S
    Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950's Peter McCormack Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the United States History Commons, and the Visual Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation McCormack, Peter, "New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950's" (2017). Senior Projects Spring 2017. 148. https://digitalcommons.bard.edu/senproj_s2017/148 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. From New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950’s Senior Project Submitted to The Division of Social Studies of Bard College by Peter McCormack Annandale-on-Hudson, New York May 2017 ii From New York to Hollywood iii Acknowledgements I would like to thank my parents first and foremost. I don’t think I’ve ever taken the time to bore them with the intimate details of this project.
    [Show full text]
  • The Personal Branding of Lucille Ball Honors Thesis
    BLAZING THE TRAILS: THE PERSONAL BRANDING OF LUCILLE BALL HONORS THESIS Presented to the Honors College of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Sarah L. Straka San Marcos, Texas December, 2016 BLAZING THE TRAILS: THE PERSONAL BRANDING OF LUCILLE BALL by Sarah L. Straka Thesis Supervisor: ________________________________ Dr. Raymond Fisk, Ph.D. Department of Marketing Approved: _________________________________ Heather C. Galloway, Ph.D. Dean, Honors College TABLE OF CONTENTS ABSTRACT……………………………………………….…………..…………………iv CHAPTER I. INTRODUCTION…………………………………………………….….…….1 II. CHILDHOOD………………………………………………………….……...1 III. REBEL………………………………………………………………….….…4 IV. LEADER……………………………………………………...……….....….14 V. ICON……………………………………………………………...………..…17 VI. CONCLUSION……………………………………….............................….18 REFERENCES……………………………………………………………………..........20 CHRONOLOGICAL TIME LINE OF LUCILLE BALL…………………...…..........…21 iii ABSTRACT The extraordinary Lucille Ball was the most loved and iconic television comedian of her time. She was an American icon and the first lady of television during the 1950s. Not only did Lucille Ball provide laughter to millions of people, but Lucille Ball gave women a voice and America heard what she had to say. She showed women they can be accepted, and be in a position both on television and in the working world where they can be strong and independent. She was a leader and set an example for women and showed society that women have a voice to be heard and will be successful, when given the opportunity. Lucille Ball managed her career and created her personal brand by beating all obstacles that were laid in front of her and test boundaries, which lead her to become an entrepreneurial success. Lucille Ball blazed the trails for many women, on and off stage.
    [Show full text]
  • CPY Document
    PUBUC WORKS AUG 0 1 ZO MOTION Lucy's El Adobe Café serves as an LA establisluent; it is a restaurant that has been a traditional star hangout for decades and continues to be a favored café by many influential individuals. Lucy Casada, the owner, has become famous in her own right among celebrities and high profie individuals, due to the restaurants friendly service, great food and reasonable prices. Lucy's daughter introduced Linda Rondstadt to California Governor Jerry Brown at Lucy's. George Lucas is a good friend of Lucy's as well as Kevin Costner, Orson Welles, Jack Nicholson and many others. Lucy's El Adobe Café has brought many stars to Melrose Avenue, becoming a part of the rich history of Los Angeles. In addition, adjacent from Lucy's El Adobe Café, is the historic location ofDesilu Productions. Although a portion of this site is now home to Paramount Studios, the history and legacy of Lucille Ball's career began on this comer in Hollywood. Although the site ofDesilu productions shifted, the first fiming of the "I Love Lucy" show was at Desilu productions headquarters on Melrose A venue and Plymouth Boulevard, established in 1951. The joint ownership ofDesilu productions was met with failure, as was the marriage of Lucille Ball and Desi Arnaz. Lucile Ball bought out Desi Arnaz's half ofDesilu productions in the 1960's, making her the first woman to own a major studio and one of the most powerful women in Southern California. Lucile Ball later sold the company, which is partly occupied by Paramount Studios.
    [Show full text]
  • FLM201 Film Genre: Understanding Types of Film (Study Guide)
    Course Development Team Head of Programme : Khoo Sim Eng Course Developer(s) : Khoo Sim Eng Technical Writer : Maybel Heng, ETP © 2021 Singapore University of Social Sciences. All rights reserved. No part of this material may be reproduced in any form or by any means without permission in writing from the Educational Technology & Production, Singapore University of Social Sciences. ISBN 978-981-47-6093-5 Educational Technology & Production Singapore University of Social Sciences 463 Clementi Road Singapore 599494 How to cite this Study Guide (MLA): Khoo, Sim Eng. FLM201 Film Genre: Understanding Types of Film (Study Guide). Singapore University of Social Sciences, 2021. Release V1.8 Build S1.0.5, T1.5.21 Table of Contents Table of Contents Course Guide 1. Welcome.................................................................................................................. CG-2 2. Course Description and Aims............................................................................ CG-3 3. Learning Outcomes.............................................................................................. CG-6 4. Learning Material................................................................................................. CG-7 5. Assessment Overview.......................................................................................... CG-8 6. Course Schedule.................................................................................................. CG-10 7. Learning Mode...................................................................................................
    [Show full text]
  • Cinematic Poster Design Teacher Information Sheet
    SLSmyth 1 Cinematic Poster Design Teacher Information Sheet The purpose of this assessment is to: • Expand student understanding of design skills and design practice. • Enable students to demonstrate skills with appropriate media and techniques for design. • Enable students to demonstrate an understanding of methods and ideas from established practice appropriate to design. • Enable students to develop ideas in a related series of drawings appropriate to established design practice. Achievement Standard/s: This assessment serves as a method by which the following achievement standards might be measured. Both of these standards are internally assessed. Achievement Standard Number 2.1 Demonstrate an understanding of methods and ideas Title from established practice appropriate to design. Number of Credits 4 Version 1 Achievement Standard Number 2.3 Develop ideas in a related series of drawings Title appropriate to established design practice. Number of Credits 4 Version 1 Context/Setting: This activity requires students to demonstrate understanding of methods and ideas from established practice appropriate to design and to develop ideas in a related series of drawings appropriate to established design practice. Students are to do this within the context of communicating and developing a visual idea based on vintage and contemporary poster design, current or historical events and established design practice. Context also refers to the varied sites and modes in which these practices occur. In order to demonstrate their understanding, the students will draw on the work of established artists/illustrators and designers in order to put together a cohesive unit of design work that shows process, development and exploration of content and media.
    [Show full text]
  • This Is a Test
    ‘MATCHMAKER SANTA’ CAST BIOS LACEY CHABERT (Melanie) - Lacey Chabert is best known for her role as Claudia on the Golden Globe® Award-winning FOX television series “Party of Five.” Chabert was seen in Warner Brother’s “Ghosts of Girlfriends Past” opposite Jennifer Garner and Matthew McConaughey. She received outstanding reviews and an MTV Movie Award for her role in the box office hit “Mean Girls” from director Mark Waters. She also starred as Anjelica Huston’s daughter in “Daddy Day Care” and as Brooke Ellison in Christopher Reeve’s final directorial project, “The Brooke Ellison Story” for A&E. She most recently starred opposite Gena Rowlands in “What If God Were The Sun” for Lifetime. Originally from Purvis, Mississippi, Chabert got her big break on the Broadway stage playing young Cosette in Les Misérables. In 1998, she made her feature film debut as Penny Robinson in “Lost in Space.” On television, Chabert has appeared in “All My Children” as well as several made-for-TV movies, including “Gypsy” starring Bette Midler, “A Little Piece of Heaven” with Cloris Leachman and the Hallmark Channel Original Movie “Elevator Girl.” She has also voiced numerous animated films and TV shows, including “The Wild Thornberrys.” ### DONOVAN SCOTT (Chris) - Donovan Scott studied at the American Conservatory Theatre in San Francisco and then went on to join the Comedia Del Arte’ Troup, where he eventually became the Artistic Director. He went on to tour the East Coast for several years directing, writing, and performing with that troupe. Eventually, Donovan Scott returned to San Francisco were he did more theatre.
    [Show full text]