Michigan Journal of History Volume X, Issue Ii
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Diplomarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „American Firefighters. Aufstieg und Fall der Helden von 9/11 in den US- Medien“ Verfasserin Sandra Schabauer angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin / Betreuer: Univ.-Prof. Dr. Michael Gissenwehrer 2 Inhaltsverzeichnis 1. Einleitung ......................................................................................................................7 2. Helden............................................................................................................................9 2.1 Helden im Wandel der Zeit ..............................................................................................9 2.2 Der Held im Mythos.......................................................................................................13 2.3 Der Monomythos als filmische Erzählstruktur...............................................................20 2.4 Kulturelle, historische und politische Aspekte der USA................................................24 2.5 Entstehung und Entwicklung des Heldenmythos in den USA.......................................27 2.6 Heldenmythos und Religion...........................................................................................31 2.7 Paradoxe des Heldenmythos ..........................................................................................31 -
Boardwalk Empire
BOARDWALK EMPIRE "Pilot" Written by Terence Winter FIRST DRAFT April 16, 2008 EXT. ATLANTIC OCEAN - NIGHT With a buoy softly clanging in the distance, a 90-foot fishing schooner, the Tomoka, rocks lazily on the open ocean, waves gently lapping at its hull. ON DECK BILL MCCOY, pensive, 40, checks his pocket watch, then spits tobacco juice as he peers into the darkness. In the distance, WE SEE flickering lights, then HEAR the rumble of motorboats approaching, twenty in all. Their engines idle as the first pulls up and moors alongside. BILL MCCOY (calling down) Sittin' goddarnn duck out here. DANNY MURDOCH, tough, 30s, looks up from the motorboat, where he's accompanied by a YOUNG HOOD, 18. MURDOCH So move it then, c'mon. ON DECK McCoy yankS a canvas tarp off a mountainous stack of netted cargo -- hundreds of crates marked 'Canadian Club Whiskey·. With workmanlike precision, he and .. three CREWMAN hoist the first load of two dozen crates up and over the side, lowering it down on a pulley. As the net reaches the motorboat: MURDOCH (CONT'D) (to the Young Hood) Liquid gold, boyo. They finish setting the load in place, then Murdoch guns the motorboat and heads off. Another boat putters in to take his slot as the next cargo net is lowered. TRACK WITH MURDOCH'S MOTORBOAT as it heads inland through the darkness over the water. Slowly, a KINGDOM OF LIGHTS appears on the horizon, with grand hotels, massive neon signs, carnival rides and giant lighted piers lining its shore. As we draw closer, WE HEAR faint music which grows louder and LOUDER -- circus calliope mixed with raucous Dixieland jazz. -
Boardwalk Empire
BOARDWAI,K EIITPIRE ,'Pi1ot " written by Terence Wint,er FIRST DRAFT April L6, 2008 G *ffi EXT. ATLAI:i"IIC OCEAN - NIGHT With a buoy softly clangring in the dist,ance, a 90-fooE fishing schooner, the ?omoka, rocks lazily on the open ocean, waves gentLy lapping at its hulI. ON DECK BILL MCCOY, pensive , 40, checks his pocket wauch, then spius tobaeco juice as he peers into the darkness. In the distance, VgE SEE flickering lights, then HEAR the rumble of motorboats approaching, twenty in atl. Their engines idle as the first pulls up and moors alongside. BTLL MCCOY (calling dovrn) Sittin' goddamn duck out here. DANIIy MURDOCH, tough, 30s, looks up from the motorboatr, where he's accompanied. by a YOIING HOOD, 18. MIJRDOCH So move it. then, c,mon. ON DECK McCoy yanks a canvas tarp off a mountainous stack of netted earqo -- hundreds of crates marked "Canadian Club Whiskey'. WiEh worlsnanlike precision, he and three CRSWI,IAN hoist the first load of two dozen crates up and over the side, lowering it down on a pulley. As the net reaches the motorboaL: MURDOCH (CONT'D) (to the Young Hood) Liquid go1d, boyo. They finish setting the load in place, then Murdoch guns the motorboat and heads off. Another boat putters in to take his s1ot, as the next cargo neb is lowered. TBACK WITH MURDOCH'S MOTORBOAT as it heads inland through the darkness over the water. Slowly, a KINGDOM OF LIGHTS appears on the horizon, with grand hotels, massive neon signs, carnival rides and giant lighted piers li-ning its shore. -
Equity News Summer 2019
SUMMER 2019 | VOLUME 104 | ISSUE 3 ACTORS’ EQUITY ASSOCIATION Equity NEWS A CENTURY OF SOLIDARITY CELEBRATING THE 100TH ANNIVERSARY OF THE VERY FIRST EQUITY STRIKE EquityDIRECTORY EASTERN REGION WESTERN REGION BUSINESS THEATRE Kaitlyn Hoffman [email protected], x322 SPECIAL APPEARANCE, GUEST AND DINNER THEATRE ARTIST Philip Ring [email protected], x106 CABARET Kaitlyn Hoffman [email protected], x322 WITHIN LA - 99 SEAT Albert Geana-Bastare [email protected], x118 CASINO Doria Montfort [email protected], x334 TYA, STOCK, LOA TO COST & LOA TO WCLO Christa Jackson [email protected], x129 DINNER THEATRE Gary Dimon [email protected], x414 SPT, HAT Gwen Meno [email protected], x110 DINNER THEATRE ARTIST Austin Ruffer [email protected], x307 LORT Ethan Schwartz [email protected], x150 DISNEY WORLD Donna-Lynne Dalton [email protected], x604 Buckly Stephens [email protected], x602 LOA TO LORT Lyn Moon [email protected], x119 GUEST ARTIST Austin Ruffer [email protected], x307 CONTRACTS WITHIN NORTHERN CALIFORNIA Ethan Schwartz [email protected], x150 LABS/WORKSHOPS Corey Jenkins [email protected], x325 CONTRACTS WITHIN SOUTHERN CALIFORNIA Albert Geana-Bastare [email protected], x118 LOA-NYC Raymond Morales [email protected], x314 CONTRACTS WITHIN TEXAS & UTAH Christa Jackson [email protected], x129 LOA-PP Timmary Hammett [email protected], x376 Gary Dimon [email protected], x414 CONTRACTS -
The War Wounded of Cinema & Television
From Battle to the Screen: The War Wounded of Cinema & Television Jack Huston as the combat-veteran turned assassin Richard Harron on HBO’s Boardwalk Empire The intersection of film, television and war—like Hollywood itself— has scaled the heights of artistic achievement and sunk to the level of exploitative trash. Movies and television dramas dealing with combat have garnered awards, critical accolades, controversy and box-office success and failure alike. Whether successful or not, “war films” now form a well- known genre. Less explored in film and television, though not entirely ignored, is the idea of what happens to combat veterans after the wars have ended. Yet as early as the 1920s, the silver screen was exploring the complexity of post-combat stress, injury and illness. In his book, Shell Shock Cinema: Weimar Culture and the Wounds of War, Anton Kaes draws the direct connection between the groundbreaking artistry of the cinema in Germany’s post war Weimar Republic and the horrors experienced by many of its brightest directors in the trenches of World War I. “Many of the references that were readily understood by contemporary audiences are lost on us today,” Kaes wrote. “By examining what the films implied but did articulate, by reading ‘what was never written,’ we may be able to apprehend the forces that generated a cinema of shell shock.” Classic works such as The Cabinet of Dr. Caligari and Metropolis, though not depicting soldiers in combat, display the signs of war’s aftermath, according to Kaes. Extreme psychological distress is manifested in film as broken story lines and harsh lighting contrasts. -
BOARDWALK EMPIRE "In God We Trust" by Reginald Beltran Based
BOARDWALK EMPIRE "In God We Trust" By Reginald Beltran Based on characters by Terence Winter Reginald Beltran [email protected] FADE IN: EXT. FOREST - DAY A DEAD DOE lies on the floor. Blood oozes out of a fatal bullet wound on its side. Its open, unblinking eyes stare ahead. The rustling sound of leaves. The fresh blood attracts the attention of a hungry BEAR. It approaches the lifeless doe, and claims the kill for itself. The bear licks the fresh blood on the ground. More rustling of the undergrowth. The bear looks up and sees RICHARD HARROW, armed with a rifle, pushing past a thicket of trees and branches. For a moment, the two experienced killers stare at each other with unblinking eyes. One set belongs to a primal predator and the other set is half man, half mask. The bear stands on its two feet. It ROARS at its competitor. Richard readies his rifle for a shot, but the rifle is jammed. The bear charges. Calmly, Richard drops to one knee, examines the rifle and fixes the jam. He doesn’t miss a beat. He steadies the rifle and aims it. BANG! It’s a sniper’s mark. The bear drops to the ground immediately with a sickening THUD. Blood oozes out of a gunshot wound just under its eyes - the Richard Harrow special. EXT. FOREST - NIGHT Even with a full moon, light is sparse in these woods. Only a campfire provide sufficient light and warmth for Richard. A spit has been prepared over the fire. A skinned and gutted doe lies beside the campfire. -
Inciting the Rank and File: the Impact of Actors' Equity and Labor Strike
Inciting the Rank and File: The Impact of Actors’ Equity and Labor Strike Rachel Shane, PhD, University of Kentucky Abstract Stage actors have long been an integral element of the cultural community in the United States. From vaudeville to the Broadway stage, actors have carved a niche for themselves in the theatrical landscape of this country. Actors are both artists and workers within the theatrical industry. As the latter, actors are members of the labor movement and engage in traditional organized labor activities. This article explores why the members of Actors’ Equity Association have been motivated to strike against theatrical producers and reveals organizational weaknesses inherent when artists join the labor movement. Keywords Actors’ Equity Association, actors’ strike, cultural unions, labor in the arts Address correspondence to Rachel Shane, PhD, Director, Arts Administration Program, University of Kentucky, 111 Fine Arts Building, Lexington, KY 40506-0022. Telephone: 859.257.7717. E-mail: [email protected] 1 Introduction “It is merely a question how far each actor is ready to be a hero in the fight.” -- Actor Richard Mansfield wrote in The World , December 2, 1897 of gaining rights for stage actors Stage actors have long been an integral element of the cultural community in the United States. From vaudeville to the Figure 1. Actor Richard Mansfield, 1907. Photo Credit: Broadway stage, actors have carved a niche for themselves in the Wikipedia. theatrical landscape of this country. Thus, over the years, hundreds of books have been published discussing the intricacies of the acting business, with most including a chapter or so on how to join an actors’ union. -
National Conference on Mass. Transit Crime and Vandali.Sm Compendium of Proceedings
If you have issues viewing or accessing this file contact us at NCJRS.gov. n co--~P7 National Conference on Mass. Transit Crime and Vandali.sm Compendium of Proceedings Conducted by T~he New York State Senate Committee on Transportation October 20-24, 1980 rtment SENATOR JOHN D. CAEMMERER, CHAIRMAN )ortation Honorable MacNeil Mitchell, Project Director i/lass )rtation ~tration ansportation ~t The National Conference on Mass Transit Crime and Vandalism and the publication of this Compendium of the Proceedings of the Conference were made possible by a grant from the United States Department of Transportation, Urban Mass Transportation Administration, Office of Transportation Management. Grateful acknowledgement is extended to Dr. Brian J. Cudahy and Mr. Marvin Futrell of that agency for their constructive services with respect to the funding of this grant. Gratitude is extended to the New York State Senate for assistance provided through the cooperation of the Honorable Warren M. Anderson, Senate Majority Leader; Dr. Roger C. Thompson, Secretary of the Senate; Dr. Stephen F. Sloan, Director of the Senate Research Service. Also our appreciation goes to Dr. Leonard M. Cutler, Senate Grants Officer and Liaison to the Steering Committee. Acknowledgement is made to the members of the Steering Committee and the Reso- lutions Committee, whose diligent efforts and assistance were most instrumental in making the Conference a success. Particular thanks and appreciation goes to Bert'J. Cunningham, Director of Public Affairs for the Senate Committee on Transportation, for his work in publicizing the Conference and preparing the photographic pages included in the Compendium. Special appreciation for the preparation of this document is extended to the Program Coordinators for the Conference, Carey S. -
Boardwalk Empire’ Comes to Harlem
ENTERTAINMENT ‘Boardwalk Empire’ Comes to Harlem By Ericka Blount Danois on September 9, 2013 “One looks down in secret and sees many things,” Dr. Valentin Narcisse (Jeffrey Wright) deadpans, speaking to Chalky White (Michael K. Williams). “You know what I saw? A servant trying to be a king.” And so begins a dance of power, politics and personality between two of the most electrifying, enigmatic actors on the television screen today. Each time the two are on screen—together or apart—they breathed new life into tonight’s premiere episode of Boardwalk Empire season four, with dark humor, slight smiles, powerful glances, smart clothes and killer lines. Entitled “New York Sour,” the episode opened with bombast, unlike the slow boil of previous seasons. Set in 1924, we’re introduced to the tasteful opulence of Chalky White’s new club, The Onyx, decorated with sconces custom-made in Paris and shimmering, shapely dancing girls. Chalky earned an ally, and eventually a partnership to be able to open the club, with former political boss and gangster Nucky Thompson (Steve Buscemi) by saving Nucky’s life last season. This sister club to the legendary Cotton Club in Harlem is Whites-only, but features Black acts. There are some cringe-worthy moments when Chalky, normally proud and infallible, has to deal with racism and bends over to appease his White clientele. But more often, Chalky—a Texas- born force to be reckoned with—breathes an insistent dose of much needed humor into what sometimes devolves into cheap shoot ’em up thrills this season. The meeting of the minds between Narcisse and Chalky takes root in the aftermath of a mistake by Chalky’s right hand man, Dunn Purnsley (Erik LaRay Harvey), who engages in an illicit interracial tryst that turns out to be a dramatic, racially-charged sex game gone horribly wrong. -
Enrichment Programs Keep Seniors Engaged After Retirement
Enrichment programs keep seniors engaged after retirement Updated March 25, 2017 9:53 AM By Kay Blough Special to Newsday Reprints + - PEIR member Marvin Schiffman of Long Beach shows off a card that he created in recognition of the group's 40th anniversary. Photo Credit: Barry Sloan ADVERTISEMENT | ADVERTISE ON NEWSDAY HIGHLIGHTS ▪ Hofstra University running Personal Enrichment In Retirement ▪ Peer-to-peer presentations, social activities keep members active Pithy anecdotes about William F. Buckley Jr. drew several rounds of chuckles during a lecture about the late conservative author and TV host, presented recently to a group of retirees at Hofstra University. The speaker, Al Drattell, 84, of Floral Park, shared a firsthand story from when he was a reporter assigned to cover a Buckley address: A court stenographer was taking notes, Drattell said. “She interrupted his speech: ‘Mr. Buckley, how do you spell that word,’ she asked. He spelled it and went on with his speech,” Drattell said. “And when he was asked what would happen if he won when he ran for mayor of New York City in 1965, he said, ‘Demand a recount.’ In his own way, he was very humorous.” (Buckley lost that race to John Lindsay, pulling 13 percent of the vote.) Most Popular • Kebab spot takes over hidden LI eatery • Daughter upset at her advance inheritance • New LI Shake Shack sets opening date • East End Restaurant Week starts today • Citi Field food: Mets unveil what’s new for 2017 Drattell’s presentation to about 100 members of PEIR, which stands for Personal Enrichment In Retirement, followed a talk about actor Henry Fonda — part of the group’s Great American Screen Legends series, presented by Jacki Schwartz, 72, of Oceanside, who, like Drattell, is a member of PEIR. -
The Work of the Critic
CHAPTER 1 The Work of the Critic Oh, gentle lady, do not put me to’t. For I am nothing if not critical. —Iago to Desdemona (Shakespeare, Othello, Act 2, Scene I) INTRODUCTION What is the advantage of knowing how to perform television criticism if you are not going to be a professional television critic? The advantage to you as a television viewer is that you will not only be able to make informed judgment about the television programs you watch, but also you will better understand your reaction and the reactions of others who share the experience of watching. Critical acuity enables you to move from casual enjoyment of a television program to a fuller and richer understanding. A viewer who does not possess critical viewing skills may enjoy watching a television program and experience various responses to it, such as laughter, relief, fright, shock, tension, or relaxation. These are fun- damental sensations that people may get from watching television, and, for the most part, viewers who are not critics remain at this level. Critical awareness, however, enables you to move to a higher level that illuminates production practices and enhances your under- standing of culture, human nature, and interpretation. Students studying television production with ambitions to write, direct, edit, produce, and/or become camera operators will find knowledge of television criticism necessary and useful as well. Television criticism is about the evaluation of content, its context, organiza- tion, story and characterization, style, genre, and audience desire. Knowledge of these concepts is the foundation of successful production. THE ENDS OF CRITICISM Just as critics of books evaluate works of fiction and nonfiction by holding them to estab- lished standards, television critics utilize methodology and theory to comprehend, analyze, interpret, and evaluate television programs. -
1 Nominations Announced for the 19Th Annual Screen Actors Guild
Nominations Announced for the 19th Annual Screen Actors Guild Awards® ------------------------------------------------------------------------------------------------------------------------------ Ceremony will be Simulcast Live on Sunday, Jan. 27, 2013 on TNT and TBS at 8 p.m. (ET)/5 p.m. (PT) LOS ANGELES (Dec. 12, 2012) — Nominees for the 19th Annual Screen Actors Guild Awards® for outstanding performances in 2012 in five film and eight primetime television categories as well as the SAG Awards honors for outstanding action performances by film and television stunt ensembles were announced this morning in Los Angeles at the Pacific Design Center’s SilverScreen Theater in West Hollywood. SAG-AFTRA Executive Vice President Ned Vaughn introduced Busy Philipps (TBS’ “Cougar Town” and the 19th Annual Screen Actors Guild Awards® Social Media Ambassador) and Taye Diggs (“Private Practice”) who announced the nominees for this year’s Actors®. SAG Awards® Committee Vice Chair Daryl Anderson and Committee Member Woody Schultz announced the stunt ensemble nominees. The 19th Annual Screen Actors Guild Awards® will be simulcast live nationally on TNT and TBS on Sunday, Jan. 27 at 8 p.m. (ET)/5 p.m. (PT) from the Los Angeles Shrine Exposition Center. An encore performance will air immediately following on TNT at 10 p.m. (ET)/7 p.m. (PT). Recipients of the stunt ensemble honors will be announced from the SAG Awards® red carpet during the tntdrama.com and tbs.com live pre-show webcasts, which begin at 6 p.m. (ET)/3 p.m. (PT). Of the top industry accolades presented to performers, only the Screen Actors Guild Awards® are selected solely by actors’ peers in SAG-AFTRA.