Ape Chronicles #042
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
June 20, 2017 Movie Year STAR 351 P Acu Lan E, Bish Op a B Erd
Movie Year STAR 351 Pacu Lane, Bishop Aberdeen Aberdeen Restaurant, Olancha Airflite Diner, Alabama Hills Ranch Anchor Alpenhof Lodge, Mammoth Lakes Benton Crossing Big Pine Bishop Bishop Reservation Paiute Buttermilk Country Carson & Colorado Railroad Gordo Cerro Chalk Bluffs Inyo Convict Lake Coso Junction Cottonwood Canyon Lake Crowley Crystal Crag Darwin Deep Springs Big Pine College, Devil's Postpile Diaz Lake, Lone Pine Eastern Sierra Fish Springs High Sierras High Sierra Mountains Highway 136 Keeler Highway 395 & Gill Station Rd Hoppy Cabin Horseshoe Meadows Rd Hot Creek Independence Inyo County Inyo National Forest June Lake June Mountain Keeler Station Keeler Kennedy Meadows Lake Crowley Lake Mary 2012 Gold Rush Expedition Race 2013 DOCUMENTARY 2013 Gold Rush Expedition Race 2014 DOCUMENTARY 2014 Gold Rush Expedition Race 2015 DOCUMENTARY 26 Men: Incident at Yuma 1957 Tristram Coffin x 3 Bad Men 1926 George O'Brien x 3 Godfathers 1948 John Wayne x x 5 Races, 5 Continents (SHORT) 2011 Kilian Jornet Abandoned: California Water Supply 2016 Rick McCrank x x Above Suspicion 1943 Joan Crawford x Across the Plains 1939 Jack Randall x Adventures in Wild California 2000 Susan Campbell x Adventures of Captain Marvel 1941 Tom Tyler x Adventures of Champion, The 1955-1956 Champion (the horse) Adventures of Champion, The: Andrew and the Deadly Double1956 Champion the Horse x Adventures of Champion, The: Crossroad Trail 1955 Champion the Horse x Adventures of Hajji Baba, The 1954 John Derek x Adventures of Marco Polo, The 1938 Gary Cooper x Adventures of Wild Bill Hickok 1951-1958 Guy Madison Affairs with Bears (SHORT) 2002 Steve Searles Air Mail 1932 Pat O'Brien x Alias Smith and Jones 1971-1973 Ben Murphy x Alien Planet (TV Movie) 2005 Wayne D. -
O L L I N E W S L E T T E R
Osher Lifelong Learning Institute USM O L L I N E W S L E T T E R September 2019 www.usm.maine.edu/olli Welcome (Back!) Welcome to new members of OLLI at USM, and welcome back to IN THIS ISSUE existing members! As the new Fall term begins (in about two weeks, (These are clickable on September 16), we thought it would be a good idea to give a brief links!) overview (or reminder) of what to expect. OLLI Gallery Wall Parking. There is a new procedure for everyone. Below is a condensed version. Be sure to read the full announcement else- Passages - Jinny where in this issue of the Newsletter. USM has instituted paid Delano parking in the garage accessed from Bedford St. The process is simi- Profile - Star lar to other parking garages in Portland. Pull a ticket at the entrance and the gate will go up. Prepay at a pay station just before you exit. Pelsue The ticket will be coded with information that will let you out of the Reflections garage. Insert the ticket at the exit and the exit gate will open. The Launch charge is $2.00 per hour. Assuming you arrive before class and leave afterward, if you do the math, parking could add about $40 to OLLI Excursion the cost of each class (2½ hours x 8 weeks x $2.00 = $40.00). But there is an alternative. Pay for a yearly pass at $25, get a hangtag for Costa Rica Trip your mirror, and the gates at both the entrance and exit rise magi- Experimentation cally as your car approaches. -
Stirling Silliphant Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/tf2f59n87r No online items Finding Aid for the Stirling Silliphant Papers, ca. 1950-ca. 1985 PASC.0134 Finding aid prepared by Processed by UCLA Library Special Collections staff; machine-readable finding aid created by D.MacGill UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] Online finding aid last updated 14 August 2017 Finding Aid for the Stirling PASC.0134 1 Silliphant Papers, ca. 1950-ca. 1985 PASC.0134 Title: Stirling Silliphant papers Identifier/Call Number: PASC.0134 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 27.0 linear feet65 boxes. Date (inclusive): ca. 1950-ca. 1985 Language of Materials: Materials are in English. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Preferred Citation [Identification of item], Stirling Silliphant Papers (Collection Number PASC 134). -
Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music. -
Chapter Fourteen Men Into Space: the Space Race and Entertainment Television Margaret A. Weitekamp
CHAPTER FOURTEEN MEN INTO SPACE: THE SPACE RACE AND ENTERTAINMENT TELEVISION MARGARET A. WEITEKAMP The origins of the Cold War space race were not only political and technological, but also cultural.1 On American television, the drama, Men into Space (CBS, 1959-60), illustrated one way that entertainment television shaped the United States’ entry into the Cold War space race in the 1950s. By examining the program’s relationship to previous space operas and spaceflight advocacy, a close reading of the 38 episodes reveals how gender roles, the dangers of spaceflight, and the realities of the Moon as a place were depicted. By doing so, this article seeks to build upon and develop the recent scholarly investigations into cultural aspects of the Cold War. The space age began with the launch of the first artificial satellite, Sputnik, by the Soviet Union on October 4, 1957. But the space race that followed was not a foregone conclusion. When examining the United States, scholars have examined all of the factors that led to the space technology competition that emerged.2 Notably, Howard McCurdy has argued in Space and the American Imagination (1997) that proponents of human spaceflight 1 Notably, Asif A. Siddiqi, The Rocket’s Red Glare: Spaceflight and the Soviet Imagination, 1857-1957, Cambridge Centennial of Flight (Cambridge: Cambridge University Press, 2010) offers the first history of the social and cultural contexts of Soviet science and the military rocket program. Alexander C. T. Geppert, ed., Imagining Outer Space: European Astroculture in the Twentieth Century (New York: Palgrave Macmillan, 2012) resulted from a conference examining the intersections of the social, cultural, and political histories of spaceflight in the Western European context. -
Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections. -
Retrofuture Hauntings on the Jetsons
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2020 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/446 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] de genere Rivista di studi letterari, postcoloniali e di genere Journal of Literary, Postcolonial and Gender Studies http://www.degenere-journal.it/ @ Edizioni Labrys -- all rights reserved ISSN 2465-2415 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello The Graduate Center, City University of New York [email protected] From Back to the Future to The Wonder Years, from Peggy Sue Got Married to The Stray Cats’ records – 1980s youth culture abounds with what Michael D. Dwyer has called “pop nostalgia,” a set of critical affective responses to representations of previous eras used to remake the present or to imagine corrective alternatives to it. Longings for the Fifties, Dwyer observes, were especially key to America’s self-fashioning during the Reagan era (2015). Moving from these premises, I turn to anachronisms, aesthetic resonances, and intertextual references that point to, as Mark Fisher would have it, both a lost past and lost futures (Fisher 2014, 2-29) in the episodes of the Hanna-Barbera animated series The Jetsons produced for syndication between 1985 and 1987. A product of Cold War discourse and the early days of the Space Age, the series is characterized by a bidirectional rhetoric: if its setting emphasizes the empowering and alienating effects of technological advancement, its characters and its retrofuture aesthetics root the show in a recognizable and desirable all-American past. -
Dover ·Community I Center Conference Del=Egates
. 1.Ebitrb i.Gnrally:<f nr .QUn.ar i.Gnr~af Qlnurragr Se~ving 'Ih~ Central Penquis Jlrea Vol. 6 , No. 28 Thursday; July 13, 1967 Ten Cem DOVER CONFERENCE DEL=EGATES ·COMMUNITY I CENTER At the la~t . Dover-Foxcroft Town Meeting, the Moderator, Matthew Williams, was asked to· select a committee to inves tigate the need, desirability and cost of an Adult Recreation Cen ter or community type center; and the Selectmen were author ized to use $3,000 toward buy ing a suitable place. On the strength of this action, the Fed eral government, through the Older American Act, have gr anted 75% of a submitted bud get, probably totalling about $8,000. A committee consisting of George Dunham, Chairman, Katheryn M. Snow, ida Folsom, Secretary, Eugene Gammon, and Richard Johnson has been ~ppointed. P ISCA TAQ UIS Gll\LS AT C AMPU S OLDER YOUTH CONF ERENCE- Parti- ThepresentOlder American's cipating in the Older Youth Conference at the University of Maine are kneeling left to right rooms in the former Bank build- Nina Tumosa, Judy Grant and. Karen Burns. Standing left ,to right are Debbie Fairbrother, ing have shown there is a need Zelma J ohnson, Cynthia Hitchcock, Joan Johnson, Barbara Hitc.hcock and Dorothy Edgerly. for this type of meeting · place. interest and reaction as to the Many small groups and classes need and use of such a center have held meetings there and an for adults, all Senior Citizens RADIO STATION TO START Information Center is.in opera- groups, various organizations tion. Many shoppers nave drop- and clubs, Federally related In late Jqly a new radio sta IN JULY ped in for a rest period and use groups and other community ac tion, WDME at 1340 on the A studios will be locatec,l at East of toilet facilities. -
Arthur Suydam: “Heroes Are What We Aspire to Be”
Ro yThomas’’ BXa-Ttrta ilor od usinary Comiics Fanziine DARK NIGHTS & STEEL $6.95 IN THE GOLDEN & SILVER AGES In the USA No. 59 June 2006 SUYDAM • ADAMS • MOLDOFF SIEGEL • PLASTINO PLUS: MANNING • MATERA & MORE!!! Batman TM & ©2006 DC Comics Vol. 3, No. 59 / June 2006 ™ Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Christopher Day Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editors Emeritus Jerry Bails (founder) Contents Ronn Foss, Biljo White, Mike Friedrich Writer/Editorial: Dark Nights & Steel . 2 Production Assistant Arthur Suydam: “Heroes Are What We Aspire To Be” . 3 Eric Nolen-Weathington Interview with the artist of Cholly and Flytrap and Marvel Zombies covers, by Renee Witterstaetter. Cover Painting “Maybe I Was Just Loyal” . 14 Arthur Suydam 1950s/60s Batman artist Shelly Moldoff tells Shel Dorf about Bob Kane & other phenomena. And Special Thanks to: “My Attitude Was, They’re Not Bosses, They’re Editors” . 25 Neal Adams Richard Martines Golden/Silver Age Superman artist Al Plastino talks to Jim Kealy & Eddy Zeno about his long Heidi Amash Fran Matera and illustrious career. Michael Ambrose Sheldon Moldoff Bill Bailey Frank Motler Jerry Siegel’s European Comics! . 36 Tim Barnes Brian K. Morris When Superman’s co-creator fought for truth, justice, and the European way—by Alberto Becattini. Dennis Beaulieu Karl Nelson Alberto Becattini Jerry Ordway “If You Can’t Improve Something 200%, Then Go With The Thing John Benson Jake Oster That You Have” . 40 Dominic Bongo Joe Petrilak Modern legend Neal Adams on the late 1960s at DC Comics. -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
Department of Political Science Chair of Gender Politics Wonder Woman
Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J. -
Robert Polidori's Photographs In
Composing Catastrophe: Robert Polidori’s Photographs in “After the Flood” and Comparative Visual Records of Post-Katrina New Orleans William M. Taylor INTRODUCTION The form of cities, their design, and their construction have long made it possible to think about human society, its representation and its values. Likewise, the destruction of cities through various means, accidental circumstance or human error, and the representation of urban ruin have given historical, visual, and narrative form to diverse values governing ethical conduct, individual desires, and collective responsibilities. In recent years a spate of natural disaster films like Volcano (1997), The Day After Tomorrow (2004), and 2012 (2009) have cast the city as a prime target for cataclysm or as a place to escape from following an apocalyptic event (think of escape films like I am Legend [2007] and The Road [2010]). The appeal of these films might be understood in view of present day environmental uncertainties or perhaps a state of anxiety in the world more generally. However, their coincidence with documentary coverage of very real cataclysmic events—such as the 2004 Boxing Day tsunami’s destruction of Banda Aceh and Hurricane Katrina’s impact on New Orleans in 2005—leads one to question how different media represent the complex reality of a fallen city, the circumstances which bring such events about, and their social and personal costs. The coincidence between fictional and non–fictional representations and the topicality of disaster leads one to wonder if there are not interpretive parameters, disciplines, or visual economies of a kind that are wholly or partly responsible for representing the subjects one contemplates in viewing these scenes.