And the Oscar Goes To

Total Page:16

File Type:pdf, Size:1020Kb

And the Oscar Goes To And the Oscar Goes to... 1970 Patton 1969 Midnight Cowboy 1968 Oliver! Academy Award 1967 In the Heat of the Night Best Picture Winners 1966 Man for All Seasons 1965 Sound of Music 2012 Argo 1964 My Fair Lady 2011 Artist 1963 Tom Jones 2010 King’s Speech 1962 Lawrence of Arabia 2009 Hurt Locker 1961 West Side Story 2008 Slumdog Millionaire 1960 Apartment 2007 No Country for Old Men 1959 Ben-Hur 2006 The Departed 1958 Gigi 2005 Crash 1957 Bridge on the River Kwai 2004 Million Dollar Baby 1956 Around the World in Eighty Days 2003 Lord of the Rings: Return of the King 1955 Marty 2002 Chicago 1954 On the Waterfront 2001 Beautiful Mind 1953 From Here to Eternity 2000 Gladiator 1952 Greatest Show on Earth 1999 American Beauty 1951 American in Paris 1998 Shakespeare in Love 1950 All About Eve 1997 Titanic 1949 All the King’s Men 1996 English Patient 1948 Hamlet 1995 Braveheart 1947 Gentleman’s Agreement 1994 Forrest Gump 1946 Best Years of Our Lives 1993 Schindler’s List 1945 Lost Weekend 1992 Unforgiven 1944 Going My Way 1991 Silence of the Lambs 1943 Casablanca 1990 Dances With Wolves 1942 Mrs. Miniver 1989 Driving Miss Daisy 1941 How Green Was My Valley 1988 Rain Man 1940 Rebecca 1987 Last Emperor 1939 Gone With the Wind 1986 Platoon 1938 You Can’t Take It With You 1985 Out of Africa 1937 Life of Emile Zola 1984 Amadeus 1936 Great Ziegfield 1983 Terms of Endearment 1935 Mutiny on the Bounty 1982 Gandhi 1934 It Happened One Night 1981 Chariots of Fire 1933 Cavalcade 1980 Ordinary People 1932 Grand Hotel 1979 Kramer vs. Kramer 1931 Cimarron 1978 Deer Hunter 1930 All Quiet on the Western Front 1977 Annie Hall 1929 Broadway Melody 1976 Rocky 1928 Wings 1975 One Flew Over the Cuckoo’s Nest SM 3/13 1974 Godfather: Part II Rolling Meadows Library 1973 Sting 3110 Martin Lane 1972 Godfather Rolling Meadows, IL 60008 1971 French Connection 847-259-6050 ▪ www.rmlib.org.
Recommended publications
  • Supplemental Movies and Movie Clips
    Peters Township School District Movies & Movie Clips Utilized to Supplement Curriculum Peters Township High School (Revised August 2019) Movie Rating of Movie Course or Movie Clip American History Academic & Forrest Gump PG-13 AP US History Scenes 9:00 – 9:45, 27:45 – 29:25, 35:45 – 38:00, 1:06:50, 1:31:15 – 1:30:45, 1:50:30 – 1:51:00 are omitted. American History Academic & Selma PG-13 Honors Scenes 3:45-8:40; 9:40-13:30; 25:50-39:50; 58:30-1:00:50; 1:07:50-1:22; 1:48:54- ClearPlayUsed 2:01 American History Academic Pleasantville PG-13 Selected Scenes 25 minutes American History Academic The Right Stuff PG Approximately 30 minutes, Chapters 11-12 39:24-49:44 Chuck Yeager breaking sound barrier, IKE and LBJ meeting in Washington to discuss Sputnik, Chapters 20-22 1:1715-1:30:51 Press conference with Mercury 7 astronauts, then rocket tests in 1960, Chapter 24-30 1:37-1:58 Astronauts wanting revisions on the capsule, Soviets beating us again, US sends chimp then finally Alan Sheppard becomes first US man into space American History Academic Thirteen Days PG-13 Approximately 30 minutes, Chapter 3 10:00-13:00 EXCOM meeting to debate options, Chapter 10 38:00-41:30 options laid out for president, Chapter 14 50:20-52:20 need to get OAS to approve quarantine of Cuba, shows the fear spreading through nation, Chapters 17-18 1:05-1:20 shows night before and day of ships reaching quarantine, Chapter 29 2:05-2:12 Negotiations with RFK and Soviet ambassador to resolve crisis American History Academic Hidden Figures PG Scenes Chapter 9 (32:38-35:05);
    [Show full text]
  • Driving Miss Daisy Flame.Indd
    Women’s Health CLINIC FEBRUARY 2014 SEASON | YEAR A NEWSLETTER DEDICATED TO GROUPS, ORGANIZATIONS AND FRIENDS OF THE FIRESIDE THEATRE A Hilarious, Heartwarming Must-See FOR OVER THREE DECADES THE FIRESIDE HAS BEEN KNOWN FOR PRODUCING BIG, BRIGHT MUSICAL COMEDIES AND SPECTACULAR MUSICAL REVUES. MUSICAL THEATRE HAS BEEN MY SPECIALTY AND MY PASSION SINCE I SAW MY FIRST BROADWAY MUSICAL AT AGE 6. I TAKE GREAT PRIDE WHENEVER SOMEONE MARVELS AT HOW WE CAN TAKE A BIG BROADWAY MUSICAL AND PUT IT ON OUR SMALL ARENA STAGE WITHOUT LOSING ANY OF ITS WONDER. MUSICALS HAVE BEEN, WITHOUT A DOUBT, THE MAIN DISH ON THE FIRESIDE’S THEATRICAL MENU SINCE WE FIRST OPENED. Then why is it that one of the most I am very excited about directing our popular shows in Fireside history (as well production of this unforgettable play this as in theatrical history) is a three person spring. I have directed DRIVING MISS play about an elderly white woman, her DAISY twice before – once here and aging African American chauffer, and once in a theatre in Ohio and I can her beleaguered middle aged son told honestly say that of all the wonderful simply without a song or a dance in sight. shows I have directed in my 45+ years Is it because we see ourselves and our as a professional director that no other loved ones in this heart-warming tale? Is play has touched my heart more deeply “ Millions of people rank this it because it is hilariously funny without than DAISY. And I am not alone.
    [Show full text]
  • Thornton, Arland. Reading History Sideways: the Fallacy and Enduring Inpact of The
    Thornton, Arland. Reading History Sideways: The Fallacy and Enduring Inpact of the Developmental Paradigm on Family Life. University of Chicago Press, Chicago, 2005. x, 312 pp.$39 By “reading history sideways,” Arland Thornton means an approach that uses information from a variety of societies at one point in time to make inferences about change over time. He attacks this method as both pervasive and pernicious, influencing scholars, past and present, as well as ordinary people and governments around the world today. A well-known demographer and sociologist, Thornton first set forth his critique to a larger audience in his 2001 presidential address to the Population Association of America (PAA). In his intellectual history of the approach, he absolves Scottish and English writers of the Enlightenment of much blame. Lacking reliable information about the distant past of their own society, authors such as John Millar, Adam Smith, and Robert Malthus seized on data pouring in from European visitors to non-European worlds as a substitute for genuine historical information. Nevertheless, they launched an enduring and fatally flawed perspective. In this book, Thornton concentrates on subjects from his areas of expertise—demographic and family studies—as he criticizes the application of the traditional-to-modern paradigm. In my opinion, Thornton’s reading of the Enlightenment founders is not so much inaccurate as it is single-minded in its emphasis and vague in its documentation. Perhaps because of his narrow, relentless focus, Thornton does not bother to cite page numbers for his sources. In my view, these writers were not principally concerned with setting forth a historical account of change over time.
    [Show full text]
  • Recommended Movies and Television Programs Featuring Psychotherapy and People with Mental Disorders Timothy C
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenKnowledge@NAU Recommended Movies and Television Programs Featuring Psychotherapy and People with Mental Disorders Timothy C. Thomason Abstract This paper provides a list of 200 feature films and five television programs that may be of special interest to counselors, psychologists and other mental health professionals. Many feature characters who portray psychoanalysts, psychiatrists, psychologists, counselors, or psychotherapists. Many of them also feature characters who have, or may have, mental disorders. In addition to their entertainment value, these videos can be seen as fictional case studies, and counselors can practice diagnosing the disorders of the characters and consider whether the treatments provided are appropriate. It can be both educational and entertaining for counselors, psychologists, and others to view films that portray psychotherapists and people with mental disorders. It should be noted that movies rarely depict either therapists or people with mental disorders in an accurate manner (Ramchandani, 2012). Most movies are made for entertainment value rather than educational value. For example, One Flew Over the Cuckoo’s Nest is a wonderfully entertaining Academy Award-winning film, but it contains a highly inaccurate portrayal of electroconvulsive therapy. It can be difficult or impossible for a viewer to ascertain the disorder of characters in movies, since they are not usually realistic portrayals of people with mental disorders. Likewise, depictions of mental health professionals in the movies are usually very exaggerated or distorted, and often include behaviors that would be considered violations of professional ethical standards. Even so, psychology students and psychotherapists may find some of these movies interesting as examples of what not to do.
    [Show full text]
  • Press Release 23/5/2018
    THE KARLOVY VARY FESTIVAL TO HONOR ACADEMY AWARD-WINNING DIRECTOR BARRY LEVINSON At this year’s Karlovy Vary festival, screenwriter-producer-director Barry Levinson, who won an Academy Award for Rain Man, will accept the Crystal Globe for Outstanding Artistic Contribution to World Cinema. The Karlovy Vary festival continues its tradition of recognizing the most important personalities of world cinema, the likes of which include directors William Friedkin, Jerry Schatzberg, and Ken Loach, and screenwriter Paul Laverty. In his writing and directing capacity, Academy Award winner and five-time nominee Barry Levinson deftly combines personal stories with an often satirical look at society, and his movies have fundamentally influenced numerous young filmmakers. Barry Levinson established himself as a writer of successful television shows. With his onetime wife, Valerie Curtin, he then wrote the movie script for Norman Jewison’s courtroom drama …and justice for all (1979), which brought them an Oscar nomination. He debuted as a director with the comedy-drama Diner (1982), receiving his second Oscar nomination for the script. Ivan Král, a Czech musician based in the US, co- wrote the film music. Subsequent titles confirmed his reputation with critics and audiences: The Natural (1984) with Robert Redford, Tin Men (1987) with Richard Dreyfuss and Danny DeVito, and Good Morning, Vietnam (1987) with Robin Williams. This year marks the 30th anniversary of the legendary picture Rain Man (1988), awarded four Oscars (e.g. Best Director for Barry Levinson) and numerous other honors, including the Golden Bear at the Berlinale and the David di Donatello for Best Foreign Film.
    [Show full text]
  • Hunting Deer in California
    HUNTING DEER IN CALIFORNIA We hope this guide will help deer hunters by encouraging a greater understanding of the various subspecies of mule deer found in California and explaining effective hunting techniques for various situations and conditions encountered throughout the state during general and special deer seasons. Second Edition August 2002 STATE OF CALIFORNIA Arnold Schwarzenegger, Governor DEPARTMENT OF FISH AND GAME L. Ryan Broddrick, Director WILDLIFE PROGRAMS BRANCH David S. Zezulak, Ph.D., Chief Written by John Higley Technical Advisors: Don Koch; Eric Loft, Ph.D.; Terry M. Mansfield; Kenneth Mayer; Sonke Mastrup; Russell C. Mohr; David O. Smith; Thomas B. Stone Graphic Design and Layout: Lorna Bernard and Dana Lis Cover Photo: Steve Guill Funded by the Deer Herd Management Plan Implementation Program TABLE OF CON T EN T S INTRODUCT I ON ................................................................................................................................................5 CHAPTER 1: THE DEER OF CAL I FORN I A .........................................................................................................7 Columbian black-tailed deer ....................................................................................................................8 California mule deer ................................................................................................................................8 Rocky Mountain mule deer .....................................................................................................................9
    [Show full text]
  • Rocky Flats National Wildlife Refuge Trails
    U.S. Fish & Wildlife Service This blue goose, designed Rocky Flats by J.N. “Ding” Darling, is the symbol of the National Wildlife Refuge System. National Wildlife Refuge Trails Welcome Exploring the Refuge Accessibility Information Rocky Flats National Wildlife Refuge We invite you to enjoy the sights and Equal opportunity to participate in and offers expansive views of the Front Range sounds of the Refuge. To help protect benefit from programs and activities of the Rocky Mountains and rolling prairie wildlife and habitats, please keep the of the U.S. Fish and Wildlife Service is grasslands, woodlands, and wetlands. This following rules in mind: available to all individuals regardless of 5,237-acre Refuge has been managed by ■ Visitor access is limited to designated physical or mental ability. Dial 711 for a the U.S. Fish and Wildlife Service since trails and roads as shown on the map. All free connection to and from people with 2007 to restore and preserve the native other areas are closed to visitor access. hearing and speech disabilities. For more prairie ecosystems, provide habitat for information or to address accessibility ■ Observe all posted signs and regulations. migratory and resident wildlife, conserve needs, please contact Rocky Mountain and protect habitat for Preble’s meadow ■ Park only in the designated areas Arsenal National Wildlife Refuge staff at jumping mouse, and provide research and shown on the map. 303 / 289 0930 or the U.S. Department of education opportunities. ■ Assistance dogs are welcome and must the Interior, Office of Equal Opportunity, be under leash control at all times.
    [Show full text]
  • HOLLYWOOD – the Big Five Production Distribution Exhibition
    HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927
    [Show full text]
  • Cbk: Movies and Meaning
    PETERS TOWNSHIP SCHOOL DISTRICT CORE BODY OF KNOWLEDGE MOVIES AND MEANING GRADES 9-12 COURSE DESCRIPTION Great films explore great themes, which help us get acquainted with our own lives. In this class, students will view, discuss, write about, and research some of the world’s finest and most renowned examples of cinema. Students will learn to “read” film in order to appreciate, interpret, and critique history’s most complex art form. STUDY SKILLS Develop strategies for enriching cinematic experiences. Derive interpretations from visual cues and details. Identify universal themes and relate them to personal experiences. Recognize symbolic enhancements to storyline and theme. Acquire a historical perspective on classic cinema. Recognize and synthesize the complex components of the art of film and make judgments on their effective applications. Interpret subtleties of characterization via actions, acting, dialogue, and context. Analyze mise-en-scene with respect to symbolism and emotional effect. Make abstract judgments regarding theme and motivation. Present and refine ideas orally and in writing. Research and summarize expert critical and scholarly opinions. Expand multi-cultural horizons via use of foreign films UNIT THEMES LIGHTS! CAMERA! ACTION! Recognize, appreciate, and apply the various types of writing about film. Appreciate and interpret the various uses of light and shadow to augment narrative and characterization. Gain an overview of the history of the cinema. Gain exposure to famous film clips from famous films. Gain practical insights to the overall process and tribulations of filmmaking. Sustain an aesthetic discussion on the merits of particular film shots. RISE TO THE OCCASION! Recognize, interpret, and summarize various expressions of courage via iconic film characters.
    [Show full text]
  • On-The-Waterfront-Study-Guide
    On the Waterfront Study Guide Acknowledgements Writer: Susan Bye Education Programmer Australian Centre for the Moving Image Susan’s primary role at the Australian Centre for the Moving Image is to support the teaching of film as text to secondary school students. Initially trained as an English teacher, she studied and taught film and media at La Trobe University before joining ACMI in 2009. Study Guide > On the Waterfront 2 On the Waterfront: difficult choices in an uncertain world The purpose of this guide is to provide an introduction to On the Waterfront (PG, Elia Kazan, 103 mins, USA, 1954), an overview of the commentary and debate that the film has generated and some ideas that will help you form your own interpretation of this challenging film. Studying and Interpreting On the Waterfront On the Waterfront is a film that is as problematic as it is extraordinary. It carries with it an interesting history which has, over the years, affected the way people have responded to the film. On the Waterfront encourages different and conflicting interpretations, with its controversial ending being a particular source of debate. This study guide is intended as an informative resource, providing background information and a number of different ways of thinking about the film. One of the most exciting and satisfying aspects of the film is its capacity to invite and sustain different and multifaceted interpretations. On the Waterfront focuses on life’s uncertainty and confusion, depicting both Father Barry’s dogmatic certainty and Johnny Friendly’s egotistical self-confidence as dangerously blinkered. For some viewers, Father Barry’s vision of collective action and Terry Malloy’s confused struggle to be a better man belong in two different films; however, the contrast between these two ways of looking at, and responding to, life’s challenges highlights the limitations of each of these perspectives.
    [Show full text]
  • Dances with Wolves It Is Difficult to Imagine What It Would Be Like to Watch an Entire People and Their Way of Life Vanish Within a Lifetime
    Wink: An Online Journal 1 Film Review: Mackenzie Halfman Instructor: Tracy Helixon Dances with Wolves It is difficult to imagine what it would be like to watch an entire people and their way of life vanish within a lifetime. It is even harder to imagine being a part of that culture, knowing only a certain amount of time is left before everything previously known to that lifestyle is terminated. This predicament comes face to face with the characters in Dances with Wolves, an outstanding movie based on the unjust expulsion of the Sioux plains’ Indians. Directed by and starring Kevin Costner, the story follows Civil War-era soldier John Dunbar deep into the American Frontier and the lives of the people who once occupied it. The film’s unforgettable story, outstanding cast, and beautiful soundtrack make it both enjoyable and moving. Perhaps the most distinguishing of all features in the film is its story. Both novel and screenplay written by Michael Blake, Dances with Wolves allows viewers a better understanding of the Sioux. The story, through many carefully crafted segments of daily lives and personal conundrums, gets the audience to care deeply about the characters. The film begins by following Kevin Costner’s character John Dunbar, who self assigns himself to an abandoned soldier post in the American Frontier. He is alone with his horse Cisco for various scenes in the movie, introducing viewers to his habits and narrated thoughts. One scene shows Dunbar shortly after having encountered a Sioux member for the first time. Writing in his journal, his thoughts become narrated.
    [Show full text]
  • Driving Miss Daisy – Mother &
    Driving Miss Daisy 1 In the dark we hear a car ignition turn on, and then a horrible crash. Bangs and booms and wood splintering. When the noise is very loud, it stops suddenly and the lights come up on Daisy Werthan’s living room, or a portion thereof. Daisy, age 72, is wearing a summer dress and high heeled shoes. Her hair, her clothes, her walk, everything about her suggests bristle and feist and high energy. She appears to be in excellent health. Her son, Boolie Werthan 40, is a businessman, Junior Chamber of Commerce style. He has a strong capable air. The Werthans are Jewish, but they have strong Atlanta accents. DAISY. No! BOOLIE. Mama! DAISY. No! BOOLE. Mama! DAISY. I said no, Boolie, and that’s the end of it. BOOLIE. It’s a miracle you’re not laying in Emory Hospital---- or decked out at the funeral home. Look at you! You didn’t even break your glasses. DAISY. It was the car’s fault. BOOLIE. Mama, the car didn’t just back over the driveway and land on the Pollard’s garage all by itself. You had it in the wrong gear. DAISY. I did not! BOOLIE. You put it in reverse instead of drive. The police report shows that. DAISY. You should have let me keep my La Salle. BOOLIE. Your La Salle was eight years old. DAISY. I don’t care. It never would have behaved this way. And you know it. BOOLIE. Mama, cars, don’t behave. They are behaved upon. The fact is you, all by yourself, demolished that Packard.
    [Show full text]