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The Top 101 Inspirational Movies –
The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan Published by Self Improvement Online, Inc. http://www.SelfGrowth.com 20 Arie Drive, Marlboro, NJ 07746 ©Copyright by David Riklan Manufactured in the United States No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher. Limit of Liability / Disclaimer of Warranty: While the authors have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents and specifically disclaim any implied warranties. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. The author shall not be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan TABLE OF CONTENTS Introduction 6 Spiritual Cinema 8 About SelfGrowth.com 10 Newer Inspirational Movies 11 Ranking Movie Title # 1 It’s a Wonderful Life 13 # 2 Forrest Gump 16 # 3 Field of Dreams 19 # 4 Rudy 22 # 5 Rocky 24 # 6 Chariots of -
Me and Orson Welles Press Kit Draft
presents ME AND ORSON WELLES Directed by Richard Linklater Based on the novel by Robert Kaplow Starring: Claire Danes, Zac Efron and Christian McKay www.meandorsonwelles.com.au National release date: July 29, 2010 Running time: 114 minutes Rating: PG PUBLICITY: Philippa Harris NIX Co t: 02 9211 6650 m: 0409 901 809 e: [email protected] (See last page for state publicity and materials contacts) Synopsis Based in real theatrical history, ME AND ORSON WELLES is a romantic coming‐of‐age story about teenage student Richard Samuels (ZAC EFRON) who lucks into a role in “Julius Caesar” as it’s being re‐imagined by a brilliant, impetuous young director named Orson Welles (impressive newcomer CHRISTIAN MCKAY) at his newly founded Mercury Theatre in New York City, 1937. The rollercoaster week leading up to opening night has Richard make his Broadway debut, find romance with an ambitious older woman (CLAIRE DANES) and eXperience the dark side of genius after daring to cross the brilliant and charismatic‐but‐ sometimes‐cruel Welles, all‐the‐while miXing with everyone from starlets to stagehands in behind‐the‐scenes adventures bound to change his life. All’s fair in love and theatre. Directed by Richard Linklater, the Oscar Nominated director of BEFORE SUNRISE and THE SCHOOL OF ROCK. PRODUCTION I NFORMATION Zac Efron, Ben Chaplin, Claire Danes, Zoe Kazan, Eddie Marsan, Christian McKay, Kelly Reilly and James Tupper lead a talented ensemble cast of stage and screen actors in the coming‐of‐age romantic drama ME AND ORSON WELLES. Oscar®‐nominated director Richard Linklater (“School of Rock”, “Before Sunset”) is at the helm of the CinemaNX and Detour Filmproduction, filmed in the Isle of Man, at Pinewood Studios, on various London locations and in New York City. -
James Baldwin As a Writer of Short Fiction: an Evaluation
JAMES BALDWIN AS A WRITER OF SHORT FICTION: AN EVALUATION dayton G. Holloway A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1975 618208 ii Abstract Well known as a brilliant essayist and gifted novelist, James Baldwin has received little critical attention as short story writer. This dissertation analyzes his short fiction, concentrating on character, theme and technique, with some attention to biographical parallels. The first three chapters establish a background for the analysis and criticism sections. Chapter 1 provides a biographi cal sketch and places each story in relation to Baldwin's novels, plays and essays. Chapter 2 summarizes the author's theory of fiction and presents his image of the creative writer. Chapter 3 surveys critical opinions to determine Baldwin's reputation as an artist. The survey concludes that the author is a superior essayist, but is uneven as a creator of imaginative literature. Critics, in general, have not judged Baldwin's fiction by his own aesthetic criteria. The next three chapters provide a close thematic analysis of Baldwin's short stories. Chapter 4 discusses "The Rockpile," "The Outing," "Roy's Wound," and "The Death of the Prophet," a Bi 1 dungsroman about the tension and ambivalence between a black minister-father and his sons. In contrast, Chapter 5 treats the theme of affection between white fathers and sons and their ambivalence toward social outcasts—the white homosexual and black demonstrator—in "The Man Child" and "Going to Meet the Man." Chapter 6 explores the theme of escape from the black community and the conseauences of estrangement and identity crises in "Previous Condition," "Sonny's Blues," "Come Out the Wilderness" and "This Morning, This Evening, So Soon." The last chapter attempts to apply Baldwin's aesthetic principles to his short fiction. -
The Magnificent Ambersons Review
The magnificent ambersons review Continue For the 2002 television version, watch The Magnificent Amberers (the 2002 film). 1942 film by Orson Helles, Robert Wise Magnificent AmbersonsTheatrical release poster with illustrations by Norman Rockwell 1Director Orson WellesProduced Orson WellesScreenplay Orson WellesBased on Magnificent Amberersby Booth TarkingtonStarring Joseph Cotten Dostren Dolores Costello Ann Baxter Tim Holt Agnes Moorhead Ray Collins Erskine Sanford Richard Bennett Comments Orson WellesMusic No Credit to FilmCinematographyStanley CortezEd ByRobert WiseProductioncompany RKO Radio PicturesMercury Productions Distributed RKO Radio PicturesRelease Date July 10 , 1942 (1942-07-10) Running time 88 minutes148 minutes (original)131 minutes (preview)Country Of the United StatesLanguageEnglishBudget $1.1 million:71-72Box office $1 million (US rent) The Magnificent Ambers (U.S. - American drama 1942, written, produced and directed by Orson Velez. Welles will adapt Booth Tarkington's Pulitzer Prize-winning 1918 novel, about the leaning fortunes of the wealthy Midwestern family and the social changes brought by the car era. The film stars Joseph Cotten, Dolores Costello, Ann Baxter, Tim Holt, Agnes Moorhead and Ray Collins, while Welles has a narration. Heles lost control of RKO's The Magnificent Amberers edit, and the final version released to viewers was significantly different from his rough cut of the film. More than an hour of footage was cut in the studio, which also shot and replaced a happier ending. While Veles's extensive notes on how he wanted the film to be shortened survived, the cut frames were destroyed. Composer Bernard Herrmann insisted that his merit be removed when, like the film itself, his score was heavily edited by the studio. -
The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
ORSON WELLES (En El Centenario De Su Nacimiento) 2 Proyector “Marín” De 35Mm (Ca.1970)
cineclub universitario/aula de cine centro de cultura contemporánea - vicerrectorado de extensión universitaria Universidad de Granada P r o g r a m a c i ó n d e octubre 2 0 1 5 MAESTROS DEL CINE CLÁSICO (VIII): ORSON WELLES (en el centenario de su nacimiento) 2 Proyector “Marín” de 35mm (ca.1970). Cineclub Universitario Foto: Jacar [indiscreetlens.blogspot.com] (2015). El CINECLUB UNIVERSITARIO se crea en 1949 con el nombre de “Cineclub de Granada”. Será en 1953 cuando pase a llamarse con su actual denominación. Así pues en este curso 2015-2016 cumplimos 62 (66) años. 2 OCTUBRE 2015 MAESTROS DEL CINE CLÁSICO (VIII): ORSON WELLES (en el centenario de su nacimiento) OCTOBER 2015 MASTERS OF CLASSIC CINEMA (VIII): ORSON WELLES (100 years since his birth) Martes 20 / Tuesday 20th • 21 h. EL EXTRAÑO (1946) ( THE STRANGER) v.o.s.e. / OV film with Spanish subtitles Viernes 23 / Friday 23th • 21 h. SED DE MAL (1958) ( TOUCH OF EVIL ) v.o.s.e. / OV film with Spanish subtitles Martes 27 / Tuesday 27th • 21 h. CAMPANADAS A MEDIANOCHE (1965) ( CHIMES AT MIDNIGHT / CAMPANADAS A MEDIANOCHE ) v.o.s.e. / OV film with Spanish subtitles Viernes 30 / Friday 30th • 21 h. FRAUDE (1973) ( FAKE / QUESTION MARK / VÉRITÉS ET MENSONGES) v.o.s.e. / OV film with Spanish subtitles Todas las proyecciones en el Aula Magna de la Facultad de Ciencias. All projections at the Assembly Hall in the Science College. Seminario “CAUTIVOS DEL CINE” Miércoles 21 octubre / 17 h. EL CINE DE ORSON WELLES Gabinete de Teatro & Cine del Palacio de la Madraza Entrada libre (hasta completar aforo) 3 4 “No creo que en el futuro se me recuerde. -
How Bigger Was Born Anew
Fall 2020 29 ow Bier as Born new datation Reuration and Double Consciousness in Nambi E elle’s Native Son Isaiah Matthew Wooden This essay analyzes Nambi E. Kelley’s stage adaptation of Native Son to consider the ways tt Aicn Aeicn is itlie by n constitte to cts o etion t sharpens particular focus on how Kelley reinvigorates Wright’s novel’s searing social and cil cities by ctiely ein te oisin etpo o oble consciosness n iin ne o, enin, n se to te etpo, elleys Native Son extends the debates about “the problem of the color line” that Du Bois’s writing helped engender at te beinnin o te tentiet centy into te tentyst n, in so oin, opens citicl space to reckon with the persistent and pernicious problem of anti-Black racism. ewords adaptation, refguration, double consciousness, Native Son, Nambi E. Kelley This essay takes as a central point of departure the claim that African American drama is vitalized by and, indeed, constituted through acts of refguration. It is such acts that endow the remarkably capacious genre with any sense or semblance of coherence. Retion is notably a word with multiple signifcations. It calls to mind processes of representation and recalculation. It also points to matters of meaning-making and modifcation. The pref re does important work here, suggesting change, alteration, or even improvement. For the purposes of this essay, I use etion to refer to the strategies, practices, methods, and techniques that African American dramatists deploy to transform or give new meaning to certain ideas, concepts, artifacts, and histories, thereby opening up fresh interpretive and defnitional possibilities and, when appropriate, prompting much-needed reckonings. -
Montana Kaimin, October 20, 1961 Associated Students of Montana State University
University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 10-20-1961 Montana Kaimin, October 20, 1961 Associated Students of Montana State University Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Associated Students of Montana State University, "Montana Kaimin, October 20, 1961" (1961). Montana Kaimin, 1898-present. 3744. https://scholarworks.umt.edu/studentnewspaper/3744 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Montana Kainun Friday, October 20, 1961 Montana State University “Expressing 64 Years of Editorial Freedom” 64th Year of Publication, No. 15 Missoula, Montana MLEA Brings Big Band Man 327 Students Ralph Marterie T o MSU Today Plays Tonight Ralph Marterie, “Big Band Man” The 12th annual Montana Inter will be playing for an ASMSU scholastic Editorial Association dance tonight from 8:30 to 12:30 in meeting began this morning with the Cascade Room of the Lodge. the arrival and registration of 327 The dance is semiformal and high school journalists from 41 tickets are being sold at $3 per schools. couple in the Lodge or may be pur Miss Peggy Jones of Laurel will chased at the door. preside over the Friday and Sat Marterie specializes in instru urday general sessions. -
Orson Welles: CHIMES at MIDNIGHT (1965), 115 Min
October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles .. -
THE MAGAZINE of MISSOURI WESTERN STATE UNIVERSITY Fall 2016 3 20 Campus News Campus News
The magazineMissouri of Missouri Western State University Western Fall 2016 President’s Perspective Student service abounds! Dear Friends, We were honored and grateful that Top left, nursing students recently raised As I write this letter, one word comes the King family gave Missouri Western funds for St. Joseph’s Social Welfare Board; to mind: BIG. And I think of BIG for permission to create the show. top right, the Organization of Student Social Workers annually hosts A Walk for the two reasons. And there was more BIG news. By Homeless, an informational event for the First, by the time you receive this the end of September 2016, the live, community; middle and lower left, students in magazine, Missouri Western will be home multimedia shows will have been shown the Department of Health, Physical Education to one of the largest video scoreboards in at the Truman Presidential Library in and Recreation host elementary students NCAA Division II – 2,500 square feet. Independence, Missouri; Union Station in for the annual American Heart Association’s Photos and an article about it are on p. 20, Kansas City, Missouri; in New York City fundraiser, Jump Rope for Heart, and the and more photos are on the back cover. and at the Newseum in Washington, D.C. Golden Age Games for area nursing home That is an outstanding component That’s BIG. residents; bottom right, the Department of the new Spratt Memorial Stadium If you haven’t seen all three shows, of Music students and faculty entertained that was completed this past spring. If check out the website – missouriwestern. -
A Reappraisal of Three Character Actors from Hollywood’S Golden Age
University of the Incarnate Word The Athenaeum Theses & Dissertations 12-2015 Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age Candace M. Graham University of the Incarnate Word, [email protected] Follow this and additional works at: https://athenaeum.uiw.edu/uiw_etds Part of the Communication Commons, and the Film and Media Studies Commons Recommended Citation Graham, Candace M., "Second-Billed but not Second-Rate: A Reappraisal of Three Character Actors From Hollywood’s Golden Age" (2015). Theses & Dissertations. 70. https://athenaeum.uiw.edu/uiw_etds/70 This Thesis is brought to you for free and open access by The Athenaeum. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of The Athenaeum. For more information, please contact [email protected]. SECOND-BILLED BUT NOT SECOND-RATE: A REAPPRAISAL OF THREE CHARACTER ACTORS FROM HOLLYWOOD’S GOLDEN AGE by Candace M. Graham A Thesis Presented to the Faculty of the University of the Incarnate Word in partial fulfillment of the requirements for the degree of MASTER OF ARTS University of the Incarnate Word December 2015 ii Copyright 2015 by Candace M. Graham iii ACKNOWLEDGEMENTS I wish to thank Dr. Hsin-I (Steve) Liu for challenging me to produce a quality thesis worthy of contribution to scholarly literature. In addition, thank you for the encouragement to enjoy writing. To Robert Darden, Baylor University communications professor, friend, and mentor whose example in humility, good spirit, and devotion to one’s passion continues to guide my pursuit as a classic film scholar. -
Innovators: Filmmakers
NBER WORKING PAPER SERIES INNOVATORS: FILMMAKERS David W. Galenson Working Paper 15930 http://www.nber.org/papers/w15930 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 April 2010 The views expressed herein are those of the author and do not necessarily reflect the views of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2010 by David W. Galenson. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. Innovators: Filmmakers David W. Galenson NBER Working Paper No. 15930 April 2010 JEL No. Z11 ABSTRACT John Ford and Alfred Hitchcock were experimental filmmakers: both believed images were more important to movies than words, and considered movies a form of entertainment. Their styles developed gradually over long careers, and both made the films that are generally considered their greatest during their late 50s and 60s. In contrast, Orson Welles and Jean-Luc Godard were conceptual filmmakers: both believed words were more important to their films than images, and both wanted to use film to educate their audiences. Their greatest innovations came in their first films, as Welles made the revolutionary Citizen Kane when he was 26, and Godard made the equally revolutionary Breathless when he was 30. Film thus provides yet another example of an art in which the most important practitioners have had radically different goals and methods, and have followed sharply contrasting life cycles of creativity.