Proposed 13-Weeksemesternow Underinvestigation Committeef;Onnedto Analyzeprosandcons
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It 2.007 Vc Italian Films On
1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute. -
Jeder Tag Ist Ein Geschenk«
»Jeder Tag ist ein Geschenk« Menschen | Zum Tod der großen Schauspielerin Jeanne Moreau 2003 hatte Jeanne Moreau (halb im Scherz) einen künstlerischen Wunsch geäußert, der sich allerdings nie erfüllt hat: »Shakespeares Lear. Den spiele ich, wenn ich achtzig bin!« Von PETER MOHR Mit dem ›Lear‹ ist es zwar nichts geworden, doch die Blitzlichter der Fotografen zog sie bis ins hohe Alter immer noch beinahe magisch an, wie etwa bei ihrem Kurzauftritt als Ehrengast bei der Europäischen Filmpreisgala im Jahr 2007 in Berlin. Sie war nicht nur eine der wirklich großen Schauspielerinnen, sondern war auch der Schwarm einer ganzen Männergeneration, ihr Name wird in einem Atemzug mit Marlene Dietrich und Greta Garbo genannt, vom liebeshungrigen Luder bis zur rachsüchtigen Ehefrau hat sie alles verkörpert, und ihre eigene Vita würde genug Stoff für einen abendfüllenden Kinofilm hergeben. Jeanne Moreau, die am 23. Januar 1928 in Paris als Tochter eines Hoteliers geboren und als 20-jährige bereits in die ehrwürdige Comédie-Française aufgenommen wurde, hat als Schauspielerin nicht nur die großen Regisseure, sondern auch als Privatperson viele Prominente fasziniert: Louis Malle, Orson Welles, John Frankenheimer, Jean-Louis Richard (aus der Ehe stammt Sohn Jérome, der heute ein erfolgreicher Maler ist), Modeschöpfer Pierre Cardin, der 14 Jahre jüngere Schriftsteller Peter Handke, und der Regisseur Tony Richardson (die Affäre führte zu seiner Scheidung von Vanessa Redgrave) waren ihre Lebensgefährten. Zwar hatte Jeanne Moreau Anfang der 1950er Jahre auf der Theaterbühne unter der Regie von Peter Brook in Tennessee Willliams‘ ›Die Katze auf dem heißen Blechdach‹ und an der Seite von Lino Ventura und Jean Gabin als Luder Josy in ›Wenn es Nacht wird in Paris‹ (1953) für Furore gesorgt, doch der große Durchbruch gelang ihr ausgerechnet unter der Regie eines Debütanten – in Louis Malles ›Fahrstuhl zum Schafott‹ (1957). -
JEANNE MOREAU: NOUVELLE VAGUE and BEYOND February 25 - March 18, 1994
The Museum of Modern Art For Immediate Release February 1994 JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND February 25 - March 18, 1994 A film retrospective of the legendary French actress Jeanne Moreau, spanning her remarkable forty-five year career, opens at The Museum of Modern Art on February 25, 1994. JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND traces the actress's steady rise from the French cinema of the 1950s and international renown as muse and icon of the New Wave movement to the present. On view through March 18, the exhibition shows Moreau to be one of the few performing artists who both epitomize and transcend their eras by the originality of their work. The retrospective comprises thirty films, including three that Moreau directed. Two films in the series are United States premieres: The Old Woman Mho Wades in the Sea (1991, Laurent Heynemann), and her most recent film, A Foreign Field (1993, Charles Sturridge), in which Moreau stars with Lauren Bacall and Alec Guinness. Other highlights include The Queen Margot (1953, Jean Dreville), which has not been shown in the United States since its original release; the uncut version of Eva (1962, Joseph Losey); the rarely seen Mata Hari, Agent H 21 (1964, Jean-Louis Richard), and Joanna Francesa (1973, Carlos Diegues). Alternately playful, seductive, or somber, Moreau brought something truly modern to the screen -- a compelling but ultimately elusive persona. After perfecting her craft as a principal member of the Comedie Frangaise and the Theatre National Populaire, she appeared in such films as Louis Malle's Elevator to the Gallows (1957) and The Lovers (1958), the latter of which she created a scandal with her portrayal of an adultress. -
James Ivory in France
James Ivory in France James Ivory is seated next to the large desk of the late Ismail Merchant in their Manhattan office overlooking 57th Street and the Hearst building. On the wall hangs a large poster of Merchant’s book Paris: Filming and Feasting in France. It is a reminder of the seven films Merchant-Ivory Productions made in France, a source of inspiration for over 50 years. ....................................................Greta Scacchi and Nick Nolte in Jefferson in Paris © Seth Rubin When did you go to Paris for the first time? Jhabvala was reading. I had always been interested in Paris in James Ivory: It was in 1950, and I was 22. I the 1920’s, and I liked the story very much. Not only was it my had taken the boat train from Victoria Station first French film, but it was also my first feature in which I in London, and then we went to Cherbourg, thought there was a true overall harmony and an artistic then on the train again. We arrived at Gare du balance within the film itself of the acting, writing, Nord. There were very tall, late 19th-century photography, décor, and music. apartment buildings which I remember to this day, lining the track, which say to every And it brought you an award? traveler: Here is Paris! JI: It was Isabelle Adjani’s first English role, and she received for this film –and the movie Possession– the Best Actress You were following some college classmates Award at the Cannes Film Festival the following year. traveling to France? JI: I did not want to be left behind. -
VIDEOSALAS - JULIO - 2017 CAAV | Lerdo De Tejada 2071, Colonia Americana Ex Convento Del Carmen | Av
VIDEOSALAS - JULIO - 2017 CAAV | Lerdo de Tejada 2071, Colonia Americana Ex Convento del Carmen | Av. Juárez 638, Zona Centro 1 al 7 2 JULIO Sábado 1 | Domingo 2 | Funciones: 4:00, 6:00 y 8:00 HILARY Y JACKIE Dir. Anand Tucker | Con: Emily Watson, Rachel Griffiths, James Frain | Reino Unido | 1998 | 120 min. 1998: 2 Nominaciones al Oscar: Mejor actriz (Emily Watson), actriz de reparto (Griffiths). Nominada al Globo de Oro: Mejor actriz drama (Emily Watson). 5 Nominaciones BAFTA, incluyendo mejor actriz (Watson), guión adaptado y sonido. Cuando eran niñas, las hermanas Hilary y Jackie estudiaron música; pero, mientras que Jackie, la menor, adquirió pronto fama como concertista de violoncello, Hilary no tuvo tanto éxito con la flauta. Martes 4 | Funciones: 4:00, 6:00 y 8:00 LA LLAMA ETERNA Dir. Sidney Franklin | Con: Norma Shearer, Fredric March, Leslie Howard | USA | 1932 | 98 min. 1933: Nominada al Oscar: Mejor película. John ha llevado una vida solitaria durante treinta años desde la muerte de Moonyeen Clara. Pero ahora Owens, un amigo cercano, insiste en que cuide de su sobrina, Kathleen, huérfana desde que sus padres se perdieron en el mar. Los años pasan, y la niña Kathleen se convierte en una bella joven que es la viva imagen de Moonyeen. Miércoles 5 | Funciones: 4:00, 6:00 y 8:00 PASIÓN DE LIBERTAD Dir. Frank Lloyd | Con: Cary Grant, Martha Scott, Cedric Hardwicke | USA | 1940 | 116 min. 1940: 2 nominaciones al Oscar: Mejor Música Original, sonido. Guerra de Independencia norteamericana (1775-1783). Una joven virginiana reniega de sus orígenes aristocráticos y se casa con un plebeyo con ideas democráticas. -
Robinson, Jack (1928-1997) by Dan Oppenheimer ; Claude J
Robinson, Jack (1928-1997) by Dan Oppenheimer ; Claude J. Summers Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2006 glbtq, Inc. Jack Robinson as a Reprinted from http://www.glbtq.com young man. Image provided by The Jack Mississippi-born photographer Jack Robinson came to prominence in the 1960s as a Robinson Archive. Image courtesy Jack result of the stunning fashion and celebrity photographs he shot for such magazines as Robinson Archive. Vogue and Vanity Fair. He created striking images of the era's cultural icons, Image Copyright © Jack particularly young actors, artists, and musicians as diverse as Peter Allen, Warren Robinson Archive. Beatty, Richard Chamberlain, Joe Dallesandro, Clint Eastwood, Elton John, Liza Minnelli, Melba Moore, Jack Nicholson, Nina Simone, Sonny and Cher, Michael Tilson Thomas, Lily Tomlin, Tina and Ike Turner, Andy Warhol, and The Who, among many others. Robinson captured the particular feel and spirit of the tumultuous 1960s, but by 1972 he was burned out, himself a victim of the era's excesses. Having reached the pinnacle of his profession, he abruptly retreated from New York to pursue a quieter life in Memphis. After 1972, he took no more photographs, though he found a creative outlet in the design of stained glass windows. Jack Uther Robinson, Jr. was born in Meridian, Mississippi on September 18, 1928 to Jack Robinson, Sr. and Euline Jones Robinson. He grew up in Clarksdale, Mississippi, the literal heart of the Mississippi Delta, an area famous for racial injustice, the Blues, and social and religious conservatism. His father was a mechanic and auto parts dealer. -
L'impresario De Smyrne
Documentation du spectacle « L’Impresario de Smyrne » Merci de reproduire les mentions obligatoires indiquées dans le cadre ci-dessous L’Impresario de Smyrne de Carlo Goldoni adaptation Michael Stampe mise en scène Christophe Lidon avec Bernard Alane, Denis Berner, Adèle Bernier, Marianne Epin, Catherine Jacob, Bernard Malaka, Nicolas Vaude décors Catherine Bluwal costumes Chouchane Abello-Tcherpachian lumières Marie-Hélène Pinon son Christophe Sechet vidéo Léonard assistante mise en scène Natacha Garange tournée Acte 2 création du CADO Orléans Acte 2 – tél. 01 42 25 51 11 - fax 01 42 25 51 22 e-mail : [email protected] - www.acte2.fr L’Impresario de Smyrne Présentation Dans la plus flamboyante Venise du dix huitième siècle, si proche d'un univers théâtral idéal, Goldoni nous raconte comment un nabab Turc décide de s'improviser "producteur" pour créer à Smyrne, sa ville natale, le plus illustre Opéra que l'époque ait vu monter. Tout le cercle du spectacle en effervescence, de la Diva jusqu'au librettiste, va essayer de se faire engager, afin d'entrevoir les quelques mois de tranquillité indispensables à ces artistes aux abois. Une magnifique occasion d'illustrer les pétillantes ressources des artistes de l'époque mais aussi leurs travers très humains, et leurs préoccupations très quotidiennes... peut-être pas si éloignées de celles des intermittents d'aujourd'hui ! Là où l'on peut espérer que le talent fait la différence, on s'aperçoit que les us et coutumes de la scène doivent être respectés à la lettre, sous peine de cruelle exclusion de ce petit monde. Un monde où la séduction, l'envie, l'engagement, la jalousie, frappent ceux qui se révèlent affaiblis par une situation fragilisante d'insécurité de l'emploi, et qui sont dévorés dans le même temps par l'irrépressible besoin d'être artiste. -
Jhserv /Ation Advof Icatcs Eami Respec Et
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Israeli Killed at Gaza
2« - MANCHESTER HERALD. Wed., March 24. 1982 From Consumer Reports: what paint tools to use trim. But when CR' synthetics. In CR’s tests, good for painting cinder satisfactorily. roller cover, squeeze the chemists tried a tool tailor- By the EdLars Since much of the wall cost only a little more than mohair didn’t work as well blocks. Manchester vote Two women tell how Change made Rollers were made for end. Look for one you can’t A fop-quality 9-inch syn made for that job (the of Consumer Reports paint sold today — even the junky imitators. as the synthetics. top-of-the-line products — When is a brush the best painting walls and ceilings. distort. A core of untreated thetic cover with short or Bestt-Liebco corner roller), cardboard will soften and they were disappointed Basic paint tools — may need at least two tool to use? When should A roller is fast and easy to Short (S/16 inch) naps medium nap should cost collapse in water. ’There they faced cancer at tennis club brushes, rollers and pads — coats to cover the old you use a roller or pad? use. Where a brush or pad are recommended for only about $3. And a roller with its performance. It good for Rome paint, it pays to buy quality What about a spray gun? may leave marks, a roller should not be conspicuous cover is reusable — all the didn’t reach all the way don’t change much, but seams in the envee .nml the smooth; flat surfaces. new special-purpose tools tools. -
Wednesday, December 18, 2019 NEW YORK DOYLE+DESIGN® MODERN and CONTEMPORARY ART and DESIGN
Wednesday, December 18, 2019 NEW YORK DOYLE+DESIGN® MODERN AND CONTEMPORARY ART AND DESIGN AUCTION Wednesday, December 18, 2019 at 10am EXHIBITION Saturday, December 14, 10am – 5pm Sunday, December 15, Noon – 5pm Monday, December 16, 11am – 6pm LOCATION Doyle 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalog: $25 THE ESTATE OF SYLVIA MILES Doyle is honored to offer artwork and It was Miles’ association with Andy Miles’ Central Park South apartment, memorabilia from the Estate of Sylvia Warhol as a close friend and one of which she occupied from 1968 until her Miles (1924-2019). Twice nominated the so-called “Warhol Superstars” that death earlier this year, was filled with for an Academy Award, Miles is best cemented her status as a New York icon. memorabilia from her career and artwork PAINTINGS, SCULPTURE, remembered for her strong performances Miles had a starring role in Warhol’s gifted by her talented group of friends, in diverse works ranging from Midnight 1972 film Heat, the third in a trilogy that particularly Warhol. Cowboy to Sex and the City, as a bona parodied Sunset Boulevard, alongside PHOTOGRAPHS & PRINTS fide “Warhol Superstar,” and as a Joe Dallesandro. Property from the Estate of Sylvia Miles prominent and frequent figure on comprises lots 18, 21, 34-36, 62-65, 67, the Manhattan party scene. 73, 90, 99, 102, 103, 105, 127-131, 144, 146, 166. INCLUDING PROPERTY FROM THE ESTATES OF CONTENTS Elsie Adler Paintings 1-155 Evelyn Berezin Prints 156-171 Arthur Brandt Furniture & Decorative Arts 172-253 Miriam Diner Silver 254-270 Steven R. -
Copy UPDATED KAREOKE 2013
Artist Song Title Disc # ? & THE MYSTERIANS 96 TEARS 6781 10 YEARS THROUGH THE IRIS 13637 WASTELAND 13417 10,000 MANIACS BECAUSE THE NIGHT 9703 CANDY EVERYBODY WANTS 1693 LIKE THE WEATHER 6903 MORE THAN THIS 50 TROUBLE ME 6958 100 PROOF AGED IN SOUL SOMEBODY'S BEEN SLEEPING 5612 10CC I'M NOT IN LOVE 1910 112 DANCE WITH ME 10268 PEACHES & CREAM 9282 RIGHT HERE FOR YOU 12650 112 & LUDACRIS HOT & WET 12569 1910 FRUITGUM CO. 1, 2, 3 RED LIGHT 10237 SIMON SAYS 7083 2 PAC CALIFORNIA LOVE 3847 CHANGES 11513 DEAR MAMA 1729 HOW DO YOU WANT IT 7163 THUGZ MANSION 11277 2 PAC & EMINEM ONE DAY AT A TIME 12686 2 UNLIMITED DO WHAT'S GOOD FOR ME 11184 20 FINGERS SHORT DICK MAN 7505 21 DEMANDS GIVE ME A MINUTE 14122 3 DOORS DOWN AWAY FROM THE SUN 12664 BE LIKE THAT 8899 BEHIND THOSE EYES 13174 DUCK & RUN 7913 HERE WITHOUT YOU 12784 KRYPTONITE 5441 LET ME GO 13044 LIVE FOR TODAY 13364 LOSER 7609 ROAD I'M ON, THE 11419 WHEN I'M GONE 10651 3 DOORS DOWN & BOB SEGER LANDING IN LONDON 13517 3 OF HEARTS ARIZONA RAIN 9135 30 SECONDS TO MARS KILL, THE 13625 311 ALL MIXED UP 6641 AMBER 10513 BEYOND THE GREY SKY 12594 FIRST STRAW 12855 I'LL BE HERE AWHILE 9456 YOU WOULDN'T BELIEVE 8907 38 SPECIAL HOLD ON LOOSELY 2815 SECOND CHANCE 8559 3LW I DO 10524 NO MORE (BABY I'MA DO RIGHT) 178 PLAYAS GON' PLAY 8862 3RD STRIKE NO LIGHT 10310 REDEMPTION 10573 3T ANYTHING 6643 4 NON BLONDES WHAT'S UP 1412 4 P.M. -
Renormalizing Individual Performance Metrics for Cultural Heritage Management of Sports Records
Renormalizing individual performance metrics for cultural heritage management of sports records Alexander M. Petersen1 and Orion Penner2 1Management of Complex Systems Department, Ernest and Julio Gallo Management Program, School of Engineering, University of California, Merced, CA 95343 2Chair of Innovation and Intellectual Property Policy, College of Management of Technology, Ecole Polytechnique Federale de Lausanne, Lausanne, Switzerland. (Dated: April 21, 2020) Individual performance metrics are commonly used to compare players from different eras. However, such cross-era comparison is often biased due to significant changes in success factors underlying player achievement rates (e.g. performance enhancing drugs and modern training regimens). Such historical comparison is more than fodder for casual discussion among sports fans, as it is also an issue of critical importance to the multi- billion dollar professional sport industry and the institutions (e.g. Hall of Fame) charged with preserving sports history and the legacy of outstanding players and achievements. To address this cultural heritage management issue, we report an objective statistical method for renormalizing career achievement metrics, one that is par- ticularly tailored for common seasonal performance metrics, which are often aggregated into summary career metrics – despite the fact that many player careers span different eras. Remarkably, we find that the method applied to comprehensive Major League Baseball and National Basketball Association player data preserves the overall functional form of the distribution of career achievement, both at the season and career level. As such, subsequent re-ranking of the top-50 all-time records in MLB and the NBA using renormalized metrics indicates reordering at the local rank level, as opposed to bulk reordering by era.