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Sundance Institute and Skywalker Sound Announce Independent Filmmakers and Film Composers for July Music and Sound Design Labs
FOR IMMEDIATE RELEASE Media Contact: June 30, 2015 Emel Shaikh 310.360.1981 [email protected] Stephen Kenneally Industrial Light & Magic / Skywalker Sound 415.746.2306 [email protected] Sundance Institute and Skywalker Sound Announce Independent Filmmakers and Film Composers for July Music and Sound Design Labs Fellows Include Kris Bowers, Germaine Franco, Danielle Eva Schwob and Jeremy Turner Creative Advisors Include Academy Award Winner Todd Boekelheide and Emmy Award Winner Laura Karpman Los Angeles, CA — Sundance Institute and Skywalker Sound today announced the independent narrative and documentary directors and composers selected for the Sundance Institute Music and Sound Design Labs at Skywalker Sound. This will be the third year the Music and Sound Design Labs take place at the Skywalker Ranch in northern California. The Labs are part of 24 residential labs the Institute hosts annually to discover and foster the talent of emerging independent artists in film, theatre, new media and episodic content. The Music and Sound Design Labs provide a space for composers, directors and sound designers to collaborate on the process of designing a soundtrack for film. Fellows participate in workshops and creative exercises under the guidance of leading film composers and film music professionals acting as Creative Advisors.The Music and Sound Design Lab for narrative feature films (July 7-21) is a joint initiative of the Institute’s Film Music Program and Feature Film Program, and the Music and Sound Design Lab for documentaries (July 22-30) is a joint initiative of the Film Music Program and Documentary Film Program. Peter Golub, Director of the Sundance Institute Film Music Program, said, "This year’s fellows include an outstanding group of composers whose work will deepen and enrich the experience of the diverse personal stories being told by these fiction and documentary filmmakers. -
NAYATT SCHOOL REDUX (Since I Can Remember)
THE WOOSTER GROUP NAYATT SCHOOL REDUX (Since I Can Remember) DIRECTOR’S NOTE Our work on this piece began when filmmaker Ken Kobland and I set out to make an archival video reconstruction of The Wooster Group’s 1978 piece Nayatt School. Nayatt School featured Spalding Gray’s first experiments with the monologue form and included scenes from T.S. Eliot’s play The Cocktail Party. Nayatt School was the third part of a trilogy of pieces that I directed that were made around Spalding’s autobiography: his family history, his life in the theater, and his mother’s suicide. As Ken and I worked with the Nayatt School materials, we found that the surviving video and audio recordings were too fragmentary, and their original quality too poor, to make a full reconstruction. So I decided to remount Nayatt School with our present company – especially while a few of us, who were there, could still remember. We could at least fill in the gaps for an archival record and, at the same time, demonstrate our process for devising our work. Of course, in reanimating Nayatt School, we have discovered that when it is placed in a new time and context, new possibilities and resonances emerge. I recognize that we are not just making an archival record — we are in the process of making a new piece. That is the work in progress that you are about to see. work-in-progress theatro-film THE PERFORMING GARAGE May 2019 NAYATT SCHOOL REDUX (Since I Can Remember) with Ari Fliakos, Gareth Hobbs, Erin Mullin, Suzzy Roche, Scott Shepherd, Kate Valk, Omar Zubair Composed by the -
Theatre & Performance
CONTEMPORARY Theatre & Performance MULTICULTURALISM/ DIVERSITY • African-American Theatre • Global Theatre • LGBTQ • Performance • Asian-American • Performance Art Theatre • Experimental Theatre • Latino Theatre (LATC) AFRICAN-AMERICAN THEATRE • August Wilson (1945-2005) - Fences (1987) • Joe Turner’s Come and Gone (1988) • The Piano Lesson (1990) ASIAN-AMERICAN THEATRE • East/West Players (downtown LA) • David Henry Huang - M. Butterfly, Bondage, Yellow Face LGBTQ • Charles Ludlam (19431987) died of AIDS— founded The Ridiculous Theatre Company- The Mystery of Irma Vep (1984) with Everett Quinton • Tony Kushner- Angels in America (1993) • Larry Kramer -The Normal Heart (1985) • Terence McNally - Mothers and Sons (2014) • Split Britches (WOW Cafe)- Beauty and The Beast (1982), Belle Reprieve (1990), Lesbians Who Kill (1992) • The Tectonic Theatre Company (The Laramie Project) • Rent, Hedwig and The Angry Inch, Kinky Boots, Fun Home LATINO THEATRE • LATC (Latino Theatre Company- LA Theatre Center)- founded 1985 by Artistic Director, Jose Luis Valenzuela • Zoot Suit (1979) by Luis Valdez- made into a film (1981) • based on the Sleepy Lagoon Murder Trial (1942) and the Zoot Suit Riots in Los Angeles https://www.youtube.com/watch?v=M51xwySGNYc https://www.youtube.com/watch?v=dwINn5DEL1c GLOBAL THEATRE • Takarazuka Revue (Drag performance in Japan) https://www.youtube.com/watch?v=JLy2iOnBnsA https://www.youtube.com/watch?v=3Wccu0JjcLw • Handspring Puppet Company (South Africa) https://www.youtube.com/watch?v=SqAkQCbuvqg • Chinese Performance (spectacle) -
Spalding Gray's Last Interview
SPALDING GRAY’S LAST INTERVIEW Theresa Smalec I n January 9th 2004 I interviewed Spalding Gray for the purpose of my dissertation research. Roughly twenty-four hours later, he went missing. Though I find it odd to frame my intentions in this manner, my essay is, Oat least in part, an effort to solve a mystery: Why did Gray agree to meet and discuss the life of Ron Vawter on the day before he killed himself? It is also an effort to grasp my relationship to the death of a stranger, a man whom I knew for little over an hour. Since Gray’s disappearance, I’ve struggled with an awkward recognition that our interview was the scene of something larger than a conversation about Vawter’s past, even though it was rooted in Gray’s memories of the personal and professional journeys they had taken together, first as members of The Performance Group, then of The Wooster Group. I use the word “scene” cautiously, at once resisting and embracing its reference to theatre. While I do not wish to claim Gray treated our interview as an orchestrated show, I now intuit that he used the occasion of remem- bering Vawter to address an audience in addition to me. What initially seemed like a rare opportunity to capture Gray’s thoughts on a deceased friend and colleague later struck me as the performer’s final effort to see himself through Vawter’s eyes, and to imagine the ways in which others might see and respond to his decision to end his life/story. -
Download Movie Guide to the Paper
COMMUNICATION: JOURNALISM EDUCATION TODAY © 2018 JOURNALISM EDUCATION ASSOCIATION Your use of material obtained from the Journalism Education Association, including this digital copy of Communication: Journalism Education Today or excerpt indicates that you are aware of the following. • The content of this digital information is for your own personal, non- commercial use only, including use in your classroom. • You may distribute this material in any form, print or digital, to students in your classroom — not to others. • You may upload this material to any password-protected website for use by students in your classroom. • Content in this magazine remains copyrighted by the authors while the Journalism Education Association retains copyright to the magazine itself. For more information, visit http://jea.org/home/for-educators/cjet/. JEA.ORG PUBLICATIONS EDITOR Bradley Wilson, MJE, Ph.D. [email protected] ASSISTANT EDITOR Howard Spanogle COPY EDITOR Connie Fulkerson ADVERTISING COORDINATOR Pam Boller W: 785-532-5532 Fax: 785-532-5563 [email protected] SEND CHANGES OF ADDRESS TO: Journalism Education Association 105 Kedzie Hall 828 Mid-Campus Drive S Manhattan, KS 66506-1500 SUMMARY Henry Hackett, editor of a New York City tabloid, is a workaholic who loves his job, but the long hours and low pay are leading to discontent. Publisher Bernie White faces financial straits and has “hatchetman” Alicia Clark, Hackett’s nemesis, impose unpopular cutbacks. Hackett’s wife Martha, a pregnant former reporter of his, is fed up because he has so little time for his family. He is therefore considering an offer from Paul Bladden to edit a paper like the New York Times, which would mean more money, shorter hours and more respectability. -
The Wooster Group Relives 30 Years of Controversial Exploit5--{)N and Off Stage
The Obse5slve guide to ·impulsive.entertainmelrt Jan-.ary 27-february 2, 2005 luu& No.. 487 $2.99 liDwm®ru ~~wYorRf Jan 27-Feb 2, 2005 lssue 487 Features :12 "It was familial , incestuous, dysfunctional" Experimental-theater company the Wooster Group relives 30 years of controversial exploit5--{)n and off stage. 20 "Christo and Jeanne Claude had this dream .. " Documentarian Albert Maysles has spent 26 years chronicling mega-installation The Gates. 24 "The comparison to Coldplay is misleading" Piano-driven Brit outfit Keane has perfected the art of the pop anthem. SeNice & Style Eat Out 27 Peek performance Open kitchens are like reality TV: Sometimes there's way more dirt than you ever wanted to see. Also this week in ... 30 Just opened Stan's Pl ace in Brooklyn Around Town Beauty and does Cajun its own way. squalor: Literary workshops Check Out celebrate the Bowery's past Art 35 Tress management A crop of new hair Rubens's dazzling draftsmanship products rescue our winter-worn manes. is revealed in a show at the 39 Critics' pick Graffiti-inspired stencils Met Books Better living through take street a:t indoors. chemistry: John Fall~ tells how war and Zoloft changed his Cl1ifl Out life Comedy Nightlife Awards ' 40 Health report Five health-food stores picks for best st and-up give a tum up, well, l)ugs and stuff. sneak peek of their ceremony 42 Just opened Fitness gets swi nging shtick Television BBC America with the Soho Dance Studio. brings two U.K. pol ice series to stateside viewers Departments 2 Letters 4 OutThere Shopping-cart showdown ...eavesdropper's o:ore ...... -
Jackie Kain 2348 East 4Th St, Tucson AZ 85719 [email protected] 310-650-9423 (M) Jackiekain.Com
Jackie Kain 2348 East 4th St, Tucson AZ 85719 [email protected] 310-650-9423 (m) jackiekain.com _________________________________________________________________________________________________________________________ About Creative executive, cross-domain producer, curator, strategist – from science websites & broadcast schedules to arts journalism. Awards: Peabody, Webbys, Japan Prize, SXSW, Communication Arts, Emmy. _________________________________________________________________________________________________________________________ th Work TUCSON’S JANUARY 8 MEMORIAL Director, Community & History Responsible for community engagement, historical research & public interpretation as member of the Chee Salette Architecture Office team selected to design the th January 8 Memorial & master plan El Presidio Park in Tucson. (Current) WEIGHBRIDGE PROJECTS / LA & TUCSON TV/Digital Media Consultant Digital strategy & content creation; project spec, management & QA; and, fundraising. Clients: Fronteras Desk (NPR), Arizona Public Media (PBS/NPR), USC Annenberg, Herb Alpert Award in the Arts and others. (Current) KCET / PBS LOS ANGELES Senior Vice President, New Media Created the New Media department. Responsible for the TV station’s internet & mobile strategies, production, editorial & design, and fundraising. • Executive producer for over 25 companion websites for PBS TV series, as well as local news sites & online series. • Responsible for annual budgets exceeding $5 million. • Partners included PBS, BBC, National Geographic, Wired -
James Stanley Media Scholar – Theater Artist 100 Summit St., #3, Brooklyn, NY 11231 • 646-322-1542 • [email protected]
James Stanley Media Scholar – Theater Artist 100 Summit St., #3, Brooklyn, NY 11231 • 646-322-1542 • [email protected] EDUCATION: New York University 2015 PhD Candidate, Media, Culture and Communications Research Interests: theater history, media history, early American popular entertainment, maker cultures, theatrical avant-gardes, performance, space and materiality. Dissertation: Vaudevillian Returns: Space, Community and Economy in Postmillennial Theater Cultures This dissertation examines three contemporary theater projects that, in pursuing communitarian missions, consciously evoke late nineteenth-century populist cultural forms: vaudeville, Chautauqua and American folk music. Using ethnographic and archival research, as well as years of experience working as a producer, playwright and theatrical performer, I argue that the ways in which these projects frame, adapt, and selectively interpret their historical forbearers point to a persistence of tensions between economy, community, and cultural production in these two transitional eras bracketing twentieth century industrial modernity. New York University 2008 M.A. in Media, Culture and Communications Thesis: “From Arts and Crafts to Intimate Capitalism” London Academy of Music & Dramatic Art 1996 Conservatory in Classical Theater Boston University 1994 B.S. in Film cum laude Additional Training: Nonfiction Writing w/ Philip Lopate, New York State Writers Conference (2005); ‘Le Jeu” w/ Philippe Gaulier (2003); Williamstown Theater Festival, Williamstown, MA. (1997-98); Belvoir St. Theater Sydney, AU (1995); National Theater Institute, New London, CT/Chichester, UK (1993). ARTISTIC AFFILIATION The National Theater of the United States of America (NTUSA) Founder and Co-Artistic Director (2001-Present); Executive Director (2005-2012); Writer, Director, Designer, Performer and Producer (2000-Present) The NTUSA is a New York based experimental theater collective whose works mine American history and the history of American entertainment for what they can tell us of our cultural inheritance. -
Microfilmed 1996 Information to Users
UMI MICROFILMED 1996 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 o f 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 bleed through, substandard margins, and improper alignment can adversely afreet 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 A Bell A Howell Information Company 300 North Zeeb Road, Ann A lter MI 48106-1346 USA 313/761-4700 800/321-0600 I j I MIRRORS OF THE SELF: THE MYTH OF NARCISSUS IN THE MONOLOGUES OF SPALDING GRAY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Diane A. -
Fall 2013 Undergrad Business of Producing Syllabus
NYU Stern School of Business Undergraduate College MKTG-UB.0049.03/.04: BUSINESS OF PRODUCING Syllabus Fall 2016 Instructor Details: Newman, Peter Email: [email protected] Teaching Assistant Details: TBD Email: TBD Office Hours: TBD Office Location: Tisch Room 1014 Additional Information: PETER NEWMAN has established himself as one of the motion picture industry’s leading producers of quality entertainment. New York-based Peter Newman Productions has worked with some of the world’s most important filmmakers, including Robert Altman, Paul Auster, Jonathan Demme, Nancy Savoca, John Sayles, and Wayne Wang among its 30 films. Most recently he produced Noah Baumbach’s THE SQUID AND THE WHALE, which won the Best Writing and Directing Awards at the 2005 Sundance Film Festival. THE SQUID AND THE WHALE which stars Jeff Daniels and Laura Linney, was a co-production with Wes Anderson’s American Empirical Pictures. It was nominated for six Spirit Awards, including Best Picture; three Golden Globes, including Best Film - Musical or Comedy; and received an Academy Award nomination for Best Original Screenplay. A former sportscaster, Newman began his road toward producing when he served as executive producer and host of the PBS special, MUHAMMED ALI: ONE MORE MIRACLE. He went on to produce documentary profiles of ballet dancers Gelsey Kirkland and Natalia Makarova before turning to feature filmmaking in 1982 with Robert Altman’s BACK TO THE FIVE AND DIME, JIMMY DEAN, JIMMY DEAN. The film, which starred Cher, Sandy Dennis, Karen Black and Kathy Bates, -
CHRISTOPHER GROBE Assistant Professor of English Amherst College
AMHERST COLLEGE, DEPT. OF ENGLISH・ P.O. BOX 5000 ・ AMHERST, MA 01002 PHONE 413.542.5515・E-MAIL [email protected] CHRISTOPHER GROBE Assistant Professor of English Amherst College EDUCATION Yale University, PhD in English Literature, 2011. Yale University, MA, MPhil in English Literature, 2008. Yale University, BA in English & Theater Studies, 2005. Magna cum laude, with distinction in each major ACADEMIC APPOINTMENTS Assistant Professor of English, Amherst College July 2011 - present Instructor, Yale University, English Department 2009-2010 (Teaching Fellow, 2008-2009) CURRENT BOOK PROJECTS The Art of Confession: The Performance of Self from Robert Lowell to Reality TV (forthcoming, November 2017, NYU Press) India & After: the lost monologue of Spalding Gray (editorial project in progress, under review) Refined Mechanicals: The Realist Actor and Other Technologies (monograph in progress) PUBLICATIONS ARTICLES & CHAPTERS “Sound,” Further Reading, ed. Leah Price & Matthew Rubery (commissioned, in progress; under contract, Oxford University Press). “Playing with Technodollies: The TV Actress and Other Technologies,” Orphan Black: Performance, Gender, Biopolitics, ed. Andrea Goulet and Robert Rushing (forthcoming, Intellect Books, 2018). “Advertisements for Themselves: Confessional Poetry and the Arts of Publicity,” American Literature in Transition, 1950-1960, ed. Steven Belletto & Daniel Grausam (forthcoming, Cambridge University Press, 2017) “On Book: The Performance of Reading,” New Literary History 47.4 (Autumn 2016): 567-589. “From the Podium to the Second Row: The Vanishing Feel of an Anne Sexton Reading” (essay) & “The Anne Sexton ‘Reading Poems’” (edited collection of fan poetry) in The Business of Words: Reassessing Anne Sexton, ed. Amanda Golden (University Press of Florida, 2016): 127-154 PUBLICATIONS [with Daniel Sack, et al.] “A Constellation of Imagined Theatres: Technology and Performance,” Theatre Journal 68.3 (September 2016): 379-403. -
The Business of Producing
BUSINESS OF PRODUCING Course: MKTG-GB.2116.30 Spring 2019 Professor: Peter Newman Email: [email protected] Location: KMC 5-80 Teaching Assistant: Kristian King Email: [email protected] COURSE BACKGROUND This specialized EMT course is a “soup to nuts” examination of what it means to be an independent film and television producer. Through real life experiences it looks into what makes film and TV such unique businesses. The course will take a close look at the inevitable battles between commerce and art. It will focus on identifying the factors of risk versus reward in selecting projects, and seeing them to fruition. As potential entrepreneurial producers, the class will study techniques in leveraging limited amounts of time and capital into maximum results; while attempting to balance unbridled optimism against sensible business logic. COURSE OBJECTIVES - Understand the role and responsibilities of being an independent producer. - Establishing a way of judging the artistic merit and economic possibilities of a project at various stages from inception to completion. - To learn the infrastructures of companies in the entertainment industry, and to understand how to effectively work within them to successfully produce content. - To examine morality in the film business. How to balance one’s personal values and quality of life in a difficult business environment - What are a producer’s objectives, and how is one willing to behave to get them achieved? COURSE REQUIREMENTS 1 Class participation will be extremely important, since much of the study of the role of the producer will be obtained from specific lectures, articles, assignments, video clips, some selected texts, and experienced guest speakers.