Ruidoso Downs Results Speculating on PUD Zoning
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31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
Michael Powell and Emeric Pressburger, a MATTER of LIFE and DEATH/ STAIRWAY to HEAVEN (1946, 104 Min)
December 8 (XXXI:15) Michael Powell and Emeric Pressburger, A MATTER OF LIFE AND DEATH/ STAIRWAY TO HEAVEN (1946, 104 min) (The version of this handout on the website has color images and hot urls.) Written, Produced and Directed by Michael Powell & Emeric Pressburger Music by Allan Gray Cinematography by Jack Cardiff Film Edited by Reginald Mills Camera Operator...Geoffrey Unsworth David Niven…Peter Carter Kim Hunter…June Robert Coote…Bob Kathleen Byron…An Angel Richard Attenborough…An English Pilot Bonar Colleano…An American Pilot Joan Maude…Chief Recorder Marius Goring…Conductor 71 Roger Livesey…Doctor Reeves Robert Atkins…The Vicar Bob Roberts…Dr. Gaertler Hour of Glory (1949), The Red Shoes (1948), Black Narcissus Edwin Max…Dr. Mc.Ewen (1947), A Matter of Life and Death (1946), 'I Know Where I'm Betty Potter…Mrs. Tucker Going!' (1945), A Canterbury Tale (1944), The Life and Death of Abraham Sofaer…The Judge Colonel Blimp (1943), One of Our Aircraft Is Missing (1942), 49th Raymond Massey…Abraham Farlan Parallel (1941), The Thief of Bagdad (1940), Blackout (1940), The Robert Arden…GI Playing Bottom Lion Has Wings (1939), The Edge of the World (1937), Someday Robert Beatty…US Crewman (1935), Something Always Happens (1934), C.O.D. (1932), Hotel Tommy Duggan…Patrick Aloyusius Mahoney Splendide (1932) and My Friend the King (1932). Erik…Spaniel John Longden…Narrator of introduction Emeric Pressburger (b. December 5, 1902 in Miskolc, Austria- Hungary [now Hungary] —d. February 5, 1988, age 85, in Michael Powell (b. September 30, 1905 in Kent, England—d. Saxstead, Suffolk, England) won the 1943 Oscar for Best Writing, February 19, 1990, age 84, in Gloucestershire, England) was Original Story for 49th Parallel (1941) and was nominated the nominated with Emeric Pressburger for an Oscar in 1943 for Best same year for the Best Screenplay for One of Our Aircraft Is Writing, Original Screenplay for One of Our Aircraft Is Missing Missing (1942) which he shared with Michael Powell and 49th (1942). -
Adzahlie-Mensah, Vincent.Pdf
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details i BEING ‘NOBODIES’: SCHOOL REGIMES AND STUDENT IDENTITIES IN GHANA VINCENT ADZAHLIE-MENSAH DOCTOR OF PHILOSOPHY UNIVERSITY OF SUSSEX NOVEMBER, 2013 ii ACKNOWLEDGEMENT My adviser, Prof. Mairead Dunne, provided invaluable support to me in the course of this research. She took interest in my academic, economic and social needs. Prof. Mario Novelli provided critical comments that shaped my thinking and theorisation. He is more than a friend, a present help in the time of need. Dr. Barbara Crossouard deserves special mention for her guidance as PhD Convenor. My PhD colleagues and staff of the Centre for International Education have been a source of great support throughout the period of my studies. I cannot forget the invaluable support that the families of Rebecca Webb and Rachel Thompson provided me in some of my most difficult moments. Ghana Education Trust Fund (GETFUND) provided sponsorship to support my studies through the staff development programme of the University of Education, Winneba. -
Lonely Places, Dangerous Ground
Introduction Nicholas Ray and the Potential of Cinema Culture STEVEN RYBIN AND WILL SCHEIBEL THE DIRECTOR OF CLASSIC FILMS SUCH AS They Live by Night, In a Lonely Place, Johnny Guitar, Rebel Without a Cause, and Bigger Than Life, among others, Nicholas Ray was the “cause célèbre of the auteur theory,” as critic Andrew Sarris once put it (107).1 But unlike his senior colleagues in Hollywood such as Alfred Hitchcock or Howard Hawks, he remained a director at the margins of the American studio system. So too has he remained at the margins of academic film scholarship. Many fine schol‑ arly works on Ray, of course, have been published, ranging from Geoff Andrew’s important auteur study The Films of Nicholas Ray: The Poet of Nightfall and Bernard Eisenschitz’s authoritative biography Nicholas Ray: An American Journey (both first published in English in 1991 and 1993, respectively) to books on individual films by Ray, such as Dana Polan’s 1993 monograph on In a Lonely Place and J. David Slocum’s 2005 col‑ lection of essays on Rebel Without a Cause. In 2011, the year of his centennial, the restoration of his final film,We Can’t Go Home Again, by his widow and collaborator Susan Ray, signaled renewed interest in the director, as did the publication of a new biography, Nicholas Ray: The Glorious Failure of an American Director, by Patrick McGilligan. Yet what Nicholas Ray’s films tell us about Classical Hollywood cinema, what it was and will continue to be, is far from certain. 1 © 2014 State University of New York Press, Albany 2 Steven Rybin and Will Scheibel After all, what most powerfully characterizes Ray’s films is not only what they are—products both of Hollywood’s studio and genre systems—but also what they might be. -
IN a LONELY PLACE (1950, 94 CBS Featuring Folk Singers Like Woody Guthrie, Burl Ives, Leadbelly, and Young Pete Seeger
February 5, 2002 (V:3) OUR MOTTO I (BY LUIS BUÑUEL): Filmmaking seems to me a transitory and threatened art. It is very closely bound up with NICHOLAS RAY (Raymond Nicholas technical developments. If in thirty or fifty years the screen no Kienzle, 7 August 1911, Galesville, longer exists, if editing isn’t necessary, cinema will have Wisconsin— 16 June 197 9,lung cancer) ceased to exist. It will have become something else. That’s is perhaps the only major director already almost the case when a film is shown on television: who m ade a film abou t coping with the smallness of the screen falsifies everything. his own death—Lightning Over W ater 1980, m ade in collabor ation w ith his OUR MOTTO II (BY ANG LEE): "The intellectualizing, the friend Wim Wenders. Ray is credited analysis — that can come later," Mr. Lee said. "In my movies, as director on 25 other films, including I hope that is all in hiding. It is the juice that we want. I think 55 Days at Peking 1963 , King of Kings that's what brings us to the movie theater. All the ways and 1961 , The Sava ge Innocents 1959 , The means and heart are just vehicles, ways of peering down True Story of Jesse James 1957 , Rebel through a protection, to reach that juicy part that is very Without a Cause 1955 , Johnny Guitar 1954 , Flying Leathernecks 1951 , and vulnerable and that you can only reach when you are in the Knock on An y Door 1949. He ha d an extraord inary career before dark, in a movie theater, and you are with people. -
AU Professor Has Hand in Creating Iconic Film to Be Shown at Festivals 8/30/11
AU professor has hand in creating iconic film to be shown at festivals 8/30/11 In 1973, as a undergraduate at Harpur College at Binghamton University, Peer Bode - now a professor of video art in the School of Art & Design at Alfred University -- was among the students who enrolled in a class on collaborative film-making, taught by Nicholas Ray, a legendary director whose credits include Rebel without a Cause, Johnny Guitar, They Live by Night and 55 Days at Peking.As a class, the students collaborated on what turned out to be Ray's last film, We Can't Go Home, "an experimental, multi-narrative film bordering on cinema and visual arts" that is also described as "Ray's posthumous masterpiece."It was an experience that had a profound effect on Bode, as an artist and as a teacher. "Working with cinema auteur Nicholas Ray for two years was remarkable," Bode said. "I was fortunate to have had the opportunity. As a student, I saw a very large project being built up piece by piece. We learned filmmaking, moving image making, by making the film. I experienced being active in camera work, lighting, and editing. Learning was embedded in doing. "I know that discovery has entered into my own teaching. Learning the richness of ideas and the richness of one's medium by engaging in it, is an immersive material making and thinking. The ideas have agency. The materials have agency. This practice is empowering and rewarding. We were making a multi image, multi narrative using 35 mm, 16 mm and 8 mm film and also " video using the Paik-Abe video synthesizer. -
Ite Reiteratesstand Is Against Annexations Mayor
,.. .... "'-, r """"... ·l"...T',....,,!O'!'"~' .......1'>'.,. _,.- "~ .... y~,..., r .r-·l"I'"-~"""'W",..... r:' 1!".... lIIII!''"lI'''.r. If'"""' .... '"'' 'r 'r .,.. 'W' !I"" .,. .'"I!"'" ',..' 'r" .. • ) ..,.• . .! I :..J ,.~.. ~1 ~ .. .: " :. ... MISSY JONES, (left) the Capitan Junfor Riders queen, and Rhonda Mon· " TO HONOR their neighboring tribe, the Navajos, the Zuni Pueblo Dance VICKIE HENRY rounds the barrel with room to spore in the barrels com foya, the 1982 Lincoln County qu~en, carry the colorsin th~ opening Group-perform's the Zuni-Navaio dance Saturday as port of the many An petition at the 23rd annual Smokey Bear Stompede Sunday in Capitan. •I ceremonies of the final day of competition in the 23rd annual Smokey nual Ceremonial activities taking place in Mescalero throughout the Some exciting competition was held in the three-day rodeo. Bear Stompede in Capitan Sunday. Fourth of July weekend. , • Tuesdaydecisio~ dayonwater improvementprogram by DAVID SHEPPARD As evidenced by the comments of many employees, feels it would not be fair to Ruidoso-Hondo Valley Hospital and a sonnel Board, commented on the predic ing "scare tactics" to teU residents their Starf Writer of the persons who were contacted, the limit housing opportunities. member of tbe Parksand Recreation Com tion by the village council that, if the issue water bills will double or triple if the bond bond election is clearly seen as an issue of I'We do not have the authority to mission, believes Ruidoso "should fails, Ruidosoans will pay much higher issue fails. f. Tomorrow is the day of decision.. growth. discriminate against people wanting to capitalize on all viable alternatives" for water bills to finance a new treatment Also, Estes said she is "suspicious" of \ The $8 miJIion capital improvements Richard Sandoval, manager of Gibson's move into Ruidoso," he said. -
Approved Movie List 10-9-12
APPROVED NSH MOVIE SCREENING COMMITTEE R-RATED and NON-RATED MOVIE LIST Updated October 9, 2012 (Newly added films are in the shaded rows at the top of the list beginning on page 1.) Film Title ALEXANDER THE GREAT (1968) ANCHORMAN (2004) APACHES (also named APACHEN)(1973) BULLITT (1968) CABARET (1972) CARNAGE (2011) CINCINNATI KID, THE (1965) COPS CRUDE IMPACT (2006) DAVE CHAPPEL SHOW (2003–2006) DICK CAVETT SHOW (1968–1972) DUMB AND DUMBER (1994) EAST OF EDEN (1965) ELIZABETH (1998) ERIN BROCOVICH (2000) FISH CALLED WANDA (1988) GALACTICA 1980 GYPSY (1962) HIGH SCHOOL SPORTS FOCUS (1999-2007) HIP HOP AWARDS 2007 IN THE LOOP (2009) INSIDE DAISY CLOVER (1965) IRAQ FOR SALE: THE WAR PROFITEERS (2006) JEEVES & WOOSTER (British TV Series) JERRY SPRINGER SHOW (not Too Hot for TV) MAN WHO SHOT LIBERTY VALANCE, THE (1962) MATA HARI (1931) MILK (2008) NBA PLAYOFFS (ESPN)(2009) NIAGARA MOTEL (2006) ON THE ROAD WITH CHARLES KURALT PECKER (1998) PRODUCERS, THE (1968) QUIET MAN, THE (1952) REAL GHOST STORIES (Documentary) RICK STEVES TRAVEL SHOW (PBS) SEX AND THE SINGLE GIRL (1964) SITTING BULL (1954) SMALLEST SHOW ON EARTH, THE (1957) SPLENDER IN THE GRASS APPROVED NSH MOVIE SCREENING COMMITTEE R-RATED and NON-RATED MOVIE LIST Updated October 9, 2012 (Newly added films are in the shaded rows at the top of the list beginning on page 1.) Film Title TAMING OF THE SHREW (1967) TIME OF FAVOR (2000) TOLL BOOTH, THE (2004) TOMORROW SHOW w/ Tom Snyder TOP GEAR (BBC TV show) TOP GEAR (TV Series) UNCOVERED: THE WAR ON IRAQ (2004) VAMPIRE SECRETS (History -
The Boxers on the Silver Screen: the Red Lantern (1919), Alarm in Peking (1937) and 55 Days at Peking (1963)*
Thoralf Klein Thoralf Klein The Boxers on the Silver Screen ˙176˙ The Boxers on the Silver Screen: The Red Lantern (1919), Alarm in Peking (1937) and 55 Days at Peking (1963)* The first ‘Western’ narratives of the Boxer War appeared well before the fight- ing was actually over.1 Although this should caution us against assuming a clear-cut transition from event to memory, it was firstly the relief of Beijing on 14 August 1900 and, more importantly, the formal conclusion of the war through the Boxer Protocol of 7 September 1901 that allowed the retelling of the calamitous and harrowing occurrences. Novels, popular histories and short films repackaged an event that had been experienced as open and ongoing into coherent plots, complete from beginning to end. In so doing, they created a mainstream that increasingly (and narrowly) identified the Boxer War with * I wish to thank Stef Franck (Vlaamse Dienst voor Filmcultuur, Brussels, Belgium) for drawing my attention to The Red Lantern and generously providing me with a copy of the film and the accompanying volume; the Friedrich Wilhelm Murnau Stiftung (Wiesbaden, Germany) for lending me VHS and DVD copies of Alarm in Peking at various stages of my research; and the Margaret Herrick Library (Beverly Hills, CA) for its support. Thanks also to Christina Till for her critical reading of an earlier draft. 1 Arguably the first book-length fictional treatment that takes the diplomatic and -mil itary conflict into account (though not the first on the Boxers) is Julian Croskey, The S. G.: A Romance of Peking (Brooklyn, NY: Mason, 1900), published even before the siege of the Legations Quarter ended. -
Florida Newspaper History Chronology, 1783-2001
University of South Florida Digital Commons @ University of South Florida USF St. Petersburg campus Faculty Publications USF Faculty Publications 2019 Florida Newspaper History Chronology, 1783-2001 David Shedden [email protected] Follow this and additional works at: https://digitalcommons.usf.edu/fac_publications Part of the Journalism Studies Commons, Mass Communication Commons, and the United States History Commons Recommended Citation Shedden, D. (2019). Florida Newspaper History Chronology, 1783-2001. Digital Commons @ University of South Florida. This Other is brought to you for free and open access by the USF Faculty Publications at Digital Commons @ University of South Florida. It has been accepted for inclusion in USF St. Petersburg campus Faculty Publications by an authorized administrator of Digital Commons @ University of South Florida. For more information, please contact [email protected]. __________________________________________ Florida Newspaper History Chronology 1783-2001 The East-Florida Gazette, Courtesy Florida Memory Program By David Shedden Updated September 17, 2019 __________________________________________ CONTENTS • INTRODUCTION • CHRONOLOGY (1783-2001) • APPENDIXES Daily Newspapers -- General Distribution Weekly Newspapers and other Non-Dailies -- General Distribution African-American Newspapers College Newspapers Pulitzer Prize Winners -- Florida Newspapers Related Resources • BIBLIOGRAPHY 2 INTRODUCTION Our chronology looks at the history of Florida newspapers. It begins in 1783 during the last days of British rule and ends with the first generation of news websites. Old yellowed newspapers, rolls of microfilm, and archived web pages not only preserve stories about the history of Florida and the world, but they also give us insight into the people who have worked for the state’s newspapers. This chronology only scratches the surface of a very long and complex story, but hopefully it will serve as a useful reference tool for researchers and journalism historians. -
Boxoffice Barometer (April 15, 1963)
as Mike Kin*, Sherman. p- builder the empire Charlie Gant. General Rawlmgs. desperadc as Linus border Piescolt. mar the as Lilith mountain bub the tut jamblei's Zeb Rawlings, Valen. ;tive Van horse soldier Prescott, e Zebulon the tinhorn Rawlings. buster Julie the sod Stuart, matsbil's*'' Ramsey, as Lou o hunter t Pt«scott. marsl the trontie* tatm gal present vjssiuniw SiNGiN^SVnMNG' METRO GOlPWVM in MED MAYER RICHMOND Production BLONDE? BRUNETTE? REDHEAD? Courtship Eddies Father shih ford SffisStegas 1 Dyke -^ ^ panairtSioo MuANlNJR0( AMAN JACOBS , st Grea»e Ae,w entl Ewer Ljv 8ecom, tle G,-eai PRESENTS future as ^'***ied i Riel cher r'stian as Captain 3r*l»s, with FILMED bronislau in u, PANAVISION A R o^mic RouND WofBL MORE HITS COMING FROM M-G-M PmNHunri "INTERNATIONAL HOTEL (Color) ELIZABETH TAYLOR, RICHARD BURTON, LOUIS JOURDAN, ORSON WELLES, ELSA MARTINELLI, MARGARET RUTHERFORD, ROD TAYLOR, wants a ROBERT COOTE, MAGGIE SMITH. Directed by Anthony Asquith. fnanwitH rnortey , Produced by Anotole de Grunwald. ® ( Pana vision and Color fEAlELI Me IN THE COOL OF THE DAY” ) ^sses JANE FONDA, PETER FINCH, ANGELA LANSBURY, ARTHUR HILL. Mc^f^itH the Directed by Robert Stevens. Produced by John Houseman. THE MAIN ATTRACTION” (Metrocolor) PAT BOONE and NANCY KWAN. Directed by Daniel Petrie. Produced LPS**,MINDI// by John Patrick. A Seven Arts Production. CATTLE KING” [Eastmancolor) ROBERT TAYLOR, JOAN CAULFIELD, ROBERT LOGGIA, ROBERT MIDDLETON, LARRY GATES. Directed by Toy Garnett. Produced by Nat Holt. CAPTAIN SINDBAD” ( Technicolor— WondroScope) GUY WILLIAMS, HEIDI BRUEHL, PEDRO ARMENDARIZ, ABRAHAM SOFAER. Directed by Byron Haskin. A Kings Brothers Production. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.