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Pastforward Autumn 2007 Pastforward the NEWSLETTER of the USC SHOAH FOUNDATION INSTITUTE
121056_16pgr_PF_Winter 12/10/09 4:25 PM Page C1 Winter 2010 PastForward autumn 2007 PastForward THE NEWSLETTER OF THE USC SHOAH FOUNDATION INSTITUTE Teacher Innovation Network: Empowering Educators to Change the World USC SHOAH FOUNDATION INSTITUTE FOR VISUAL HISTORY AND EDUCATION www.college.usc.edu/vhi C1 121056_16pgr_PF_Winter 12/10/09 4:26 PM Page IFC2 Board of Councilors Wel Steven Spielberg Honorary Chair Edgar M. Bronfman Honorary Co-chair Renée Crown Honorary Co-chair Lew Wasserman Honorary Co-chair in Memoriam Wallis Annenberg Russel Bernard T Gerald Breslauer Jerome Coben Stephen Cozen Susan Crown David Eisman Phyllis Epstein Emanuel Gerard Eric Greenberg Marc Grossman Yossie Hollander PastForward Robert Katz winter 2o1o William Lauder Lee Liberman Skip Paul Bruce Ramer Welcome Special Coverage Harry Robinson 1 Touchstone of Humanity 8 Steven Spielberg Honored Michael Rutman with Liberty Medal for Mickey Shapiro Accessibility Humanitarian Work Erna Viterbi 2 “The Courage to Tell”: Casey Wasserman Testimonies of Rwandan Accessibility Genocide Survivors 9 New Visual History Archive Founding Executive Directors Search Interface June Beallor 3 Online: First Testimonies James Moll on the Internet 9 Preserving the Testimonies Founding Advisory Committee Research Giving Karen Kushell 4 Genocide Survivor Testimony 1o Donor Highlight: Branko Lustig in Documentary Film: Its Vera and Paul Guerin Gerald R. Molen Afterlife and Its Legacy 1o ACE Charitable Foundation Executive Staff 5 International Conference to Support Local Rwandan Stephen -
Jim Sturgess & Koji Yakusho to Star in “Defending The
! JIM STURGESS & KOJI YAKUSHO TO STAR IN “DEFENDING THE ENEMY” ! Los Angeles, CA, May 16, 2014– Producer Jonathan Sanger announced today Jim Sturgess & Koji Yakusho will star in the new feature film, “Defending the Enemy.” James Moll is attached to direct. Based on the book “A Trial of Generals,” the story follows the widely publicized war crimes trial of General Matsaharu Homma at the end of WWII. Accused of organizing the brutal death march in Bataan, Philippines, Homma‘s destiny appears doomed when General MacArthur assigns the neophyte defense attorney John Skeen to prepare his defense. Based on actual events, the story is not so much about a trial as it is about the nobility of two very different soldiers. Principal photography is set for August. Executive Producer, Ellen Wander, along with her company, Film Bridge International, is overseeing the financing and worldwide distribution for “Defending the Enemy.” ! The UK actor, Jim Sturgess had his breakthrough role as “Jude” in the feature film, “Across the Universe.” He soon followed played opposite Natalie Portman, Scarlett Johansson and Eric Bana in "The Other Boleyn Girl” and starred opposite Kevin Spacey and Laurence Fishburne in "21." Sturgess also received critical acclaim in the Ridley Scott’s award winning, “Heartless” and most recently starred with Geoffrey Rush in Giuseppe Tornatore’s “La migliore offerta” and opposite Patricia Arquette and Chloë Sevigny as a furniture salesman turned bank robber in the feature film, “Electric Slide.” ! Kôji Yakusho, one of Japan's most gifted and popular leading men, starred along side Brad Pitt and Cate Blanchett in Alejandro Inarritu’s “Babel.” Yakusho first gained international success with his portrayal of a struggling young executive trying to master ballroom dancing in the original Japanese version of “Shall We Dance?," The film went on to become one of the highest-grossing Japanese movies in the world. -
Inheritance Release
For Immediate Release Contacts: P.O.V. Communications: 212-989-7425. Emergency contact: 646-729-4748 Cynthia López, [email protected], Cathy Fisher, [email protected] P.O.V. online pressroom: www.pbs.org/pov/pressroom P.O.V.’s “Inheritance” Captures Remarkable Meeting Of Nazi’s Daughter and His Victim In Special 9 PM Broadcast Wednesday, Dec. 10 on PBS One Woman Is the Child of Brutal Camp Commander Portrayed in ‘Schindler’s List’ — The Other Was His Domestic Slave “In a documentary world awash in Ken Burns knockoffs . it is good to be reminded of what the camera can capture that no amount of narrative or analysis could ever hope to.” — Mary McNamara, Los Angeles Times Inheritance is an extraordinary, gut-wrenching account of the continuing effects of Nazi horrors on human souls. The “Schindler’s List” portrayal of the Plaszow Concentration Camp and its brutal commander, Amon Goeth, set in motion the events recounted by this new documentary. Inheritance is a Holocaust film like no other. It tells the stories of two women with very different scars from the WWII genocide of Europe’s Jews — whose sorrows and angers intersect in the haunting memory of one man. Now in her sixties, Monika Hertwig has struggled a lifetime with what she learned at age 11 — that her father, Amon Goeth, had not been killed in World War II like other soldiers, but was hanged as a war criminal when she was a baby. Over the years she forced herself to learn more about “Amon,” but when Spielberg’s movie came out in 1993, Monica became, in her own words, “sick with the truth.” Helen Jonas was 15 years old when she arrived with other Jews at the Plaszow Camp in Poland, which was both a work camp and a death camp. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
John Cassavetes
Cassavetes on Cassavetes Ray Carney is Professor of Film and American Studies and Director of the undergraduate and graduate Film Studies programs at Boston Uni- versity. He is the author or editor of more than ten books, including the critically acclaimed John Cassavetes: The Adventure of Insecurity; The Films of Mike Leigh: Embracing the World; The Films of John Cas- savetes: Pragmatism, Modernism, and the Movies; American Vision: The Films of Frank Capra; Speaking the Language of Desire: The Films of Carl Dreyer; American Dreaming; and the BFI monograph on Cas- savetes’ Shadows. He is an acknowledged expert on William James and pragmatic philosophy, having contributed major essays on pragmatist aesthetics to Morris Dickstein’s The Revival of Pragmatism: New Essays on Social Thought, Law, and Culture and Townsend Ludington’s A Modern Mosaic: Art and Modernism in the United States. He co- curated the Beat Culture and the New America show for the Whitney Museum of American Art in New York, is General Editor of the Cam- bridge Film Classics series, and is a frequent speaker at film festivals around the world. He is regarded as one of the world’s leading authori- ties on independent film and American art and culture, and has a web site with more information at www.Cassavetes.com. in the same series woody allen on woody allen edited by Stig Björkman almodóvar on almodóvar edited by Frédéric Strauss burton on burton edited by Mark Salisbury cronenberg on cronenberg edited by Chris Rodley de toth on de toth edited by Anthony Slide fellini on -
Film Bridge International
FILM BRIDGE INTERNATIONAL! ! ! FOR IMMEDIATE RELEASE ! !! ! KOJI YAKUSHO TO STAR IN ! “DEFENDING THE ENEMY” ! ! ! Los Angeles, CA, June 11, 2013 – Producer Jonathan Sanger announced today Koji Yakusho will star in the new feature film “Defending the Enemy.” James Moll is attached to direct. Based on the book “A Trial of Generals,” the story follows the widely publicized war crimes trial of General Matsaharu Homma at the end of WWII. Accused of organizing the brutal death march in Bataan, Philippines, Homma ‘s destiny appears doomed when General MacArthur assigns the neophyte defense attorney John Skeen to prepare his defense. Based on actual events, the story is not so much about a trial as it is about the nobility of two very different soldiers. Pre-production will begin in August and principal photography is set for October. Executive Producer, Ellen Wander, along with her company, Film Bridge International, is overseeing the financing! and worldwide distribution for “Defending the Enemy.” ! Kôji Yakusho, one of Japan's most gifted and popular leading men, starred along side Brad Pitt and Cate Blanchett in Alejandro Inarritu’s “Babel.” Yakusho first gained international success with his portrayal of a struggling young executive trying to master ballroom dancing in the original Japanese version of “Shall We Dance?," The film went on to become one of the highest-grossing Japanese movies in the world. Yakusho also starred in Rob Marshall’s epic “Memoirs of a Geisha.” and “Silk” with Keira Knightly and Alfred Molina. Most recently he appeared in the ensemble cast of Takashi Miike's award-winning and critically acclaimed samurai !films, “13 Assassins” and “Hara-Kiri: Death of a Samurai.”! James Moll’s work as a documentary filmmaker has earned him an Oscar, two Emmys and a Grammy. -
Neoliberalism and Monopoly in the Motion Picture Industry
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 3-19-2020 Neoliberalism and Monopoly in the Motion Picture Industry Michael S. Wartenbe Florida International University, [email protected] Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the American Politics Commons, International Economics Commons, International Relations Commons, and the Political Economy Commons Recommended Citation Wartenbe, Michael S., "Neoliberalism and Monopoly in the Motion Picture Industry" (2020). FIU Electronic Theses and Dissertations. 4417. https://digitalcommons.fiu.edu/etd/4417 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida NEOLIBERALISM AND MONOPOLY IN THE MOTION PICTURE INDUSTRY A d issertati on s ubm. itt ed in par tia l fulf illm en t of the requireme nt s for the deg ree of DOCTOR OF PHILOSOPHY in INTERNATIONAL RELATIONS by Michael Wartenbe 2020 To: Dean John F. Stack, Jr. Steven J. Green School of International & Public Affairs This dissertation, written by Michael Wartenbe, and entitled Neoliberalism and Monopoly in the Motion Picture Industry, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this dissertation and recommend that it be approved. ________________________________________ Gail Hollander ________________________________________ Jin Zeng ________________________________________ Clement Fatovic ________________________________________ Ronald Cox, Major Professor Date of Defense: March 19, 2020 This dissertation of Michael Wartenbe is approved. -
Independent Lens on Tuesday, February 8, 2011 at 10 Pm
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar, ITVS 415-356-8383 x 244 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit pbs.org/pressroom/ For the program companion website, visit pbs.org/when-i-rise WHEN I RISE PREMIERES ON THE PBS SERIES INDEPENDENT LENS ON TUESDAY, FEBRUARY 8, 2011 AT 10 PM Inspiring Story of Singer Barbara Smith Conrad, Who Overcame Racial Prejudice and Rose To International Fame (San Francisco, CA) — When I Rise is the uplifting story of Barbara Smith Conrad, a gifted University of Texas music student who finds herself at the epicenter of racial controversy, struggling against the odds and ultimately ascending to the heights of international opera. An object lesson on living life with dignity and grace, When I Rise will premiere on the Emmy® Award-winning PBS series Independent Lens, hosted by America Ferrera, on Tuesday, February 8, 2011 at 10 PM (check local listings). The film is a production of the Dolph Briscoe Center for American History and was directed by Mat Hames, produced by James Moll and Michael Rosen, executive produced by Don Carleton, and made possible in part by AT&T. In 1957, Barbara Smith Conrad, who was part of the first racially integrated undergraduate class at the University of Texas, became the central figure in a civil rights storm that changed her life forever. Cast in an opera as the romantic lead opposite a white male student, Conrad became embroiled in a bitter controversy that made its way to the halls of the Texas legislature, where segregationist representatives applied pressure on the university. -
The Studio System and Conglomerate Hollywood
TCHC01 6/22/07 02:16 PM Page 11 PART I THE STRUCTURE OF THE INDUSTRY TCHC01 6/22/07 02:16 PM Page 12 TCHC01 6/22/07 02:16 PM Page 13 CHAPTER 1 THE STUDIO SYSTEM AND CONGLOMERATE HOLLYWOOD TOM SCHATZ Introduction In August 1995 Neal Gabler, an astute Hollywood observer, wrote an op-ed piece for The New York Times entitled “Revenge of the Studio System” in response to recent events that, in his view, signaled an industry-wide transformation (Gabler 1995). The previous year had seen the Seagram buyout of MCA-Universal, Time Warner’s purchase of the massive Turner Broadcasting System, and the launch of Dream- Works, the first new movie studio since the classical era. Then on August 1 came the bombshell that provoked Gabler’s editorial. Disney announced the acquisition of ABC and its parent conglomerate, Cap Cities, in a $19 billion deal – the second- largest merger in US history, which created the world’s largest media company. Disney CEO Michael Eisner also disclosed a quarter-billion-dollar deal with Mike Ovitz of Hollywood’s top talent agency, Creative Artists, to leave CAA and run the Disney empire. For Gabler, the Disney deals confirmed “a fundamental shift in the balance of power in Hollywood – really the third revolution in the relationship between industry forces.” Revolution I occurred nearly a century before with the formation of the Hollywood studios and the creation of a “system” that enabled them to con- trol the movie industry from the 1920s through the 1940s. Revolution II came with the postwar rise of television and the dismantling of the studio system by the courts, which allowed a new breed of talent brokers, “most notably Lew Wasserman of the Music Corporation of America [MCA],” to usurp control of the film industry. -
Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood Publicist
Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist HALL, Sheldon <http://orcid.org/0000-0003-0950-7310> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/6808/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version HALL, Sheldon (2013). Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist. InMedia, 2013 (3). Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Jerry Pickman: “The Picture Worked” Reminiscences of a Hollywood publicist Edited and introduced by Sheldon Hall Contact details: Dr. Sheldon Hall Dept. of Stage and Screen Studies Room Owen 1130 Sheffield Hallam University Howard Street Sheffield S1 1WB Telephone: 0114 225 6224 Mobile: 07845 704 205 Email: [email protected] - 1 - Jerry Pickman: “The Picture Worked” Excerpts from the reminiscences of a Hollywood publicist Jerome (Jerry) Pickman (b. 24 August 1916; d. 18 November 2010) worked for more than fifty years in Hollywood film marketing and distribution. A native New Yorker, Pickman served as a reporter on the Brooklyn Eagle and other New York newspapers and took a law degree before entering show business as a publicist for Ted Lewis, Tommy Dorsey, and other musicians and bands. His association with the film industry began in 1944 through a chance meeting with the entertainer Eddie Cantor, who employed Pickman in a personal capacity before he joined the publicity department of Twentieth Century-Fox later that year. -
True Films 200 Documentaries You Must See Before You
TRUE FILMS 3.0 This is the golden age of documentaries. Inexpensive equipment, new methods of distribution, and a very eager audi- ence have all launched a renaissance in non-fi ction fi lm making and viewing. The very best of these non-fi ction fi lms are as entertaining as the best Hol- lywood blockbusters. Because they are true, their storylines seem fresh with authentic plot twists, real characters, and truth stranger than fi ction. Most true fi lms are solidly informative, and a few are genuinely useful like a tool. The rise of documentaries and true cinema is felt not only in movie theaters, but on network TV and cable channels as well. Reality TV, non-fi ction stations like the History Channel or Discovery, and BBC imports have increased the choices in true fi lms tremendously. There’s no time to watch them all, and little guidance to what’s great. In this book I offer 200+ great true fi lms. I defi ne true fi lms as documentaries, educational fi lms, instructional how-to’s, and what the British call factuals – a non-fi ction visual account. These 200 are the best non-fi ction fi lms I’ve found for general interest. I’ve watched all these fi lms more than once. Sometimes thrice. I haven’t had TV for 20 years, so I’ve concentrated my viewing time on documentaries and true fi lms. I run a little website (www.truefi lms.com) where I solicit suggestions of great stuff. What am I looking for in a great true fi lm? • It must be factual. -
Entertainment Industry, 1908-1980 Theme: Industrial Properties Associated with the Entertainment Industry, 1908-1980
LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: Entertainment Industry, 1908-1980 Theme: Industrial Properties Associated with the Entertainment Industry, 1908-1980 Prepared for: City of Los Angeles Department of City Planning Office of Historic Resources December 2019 SurveyLA Citywide Historic Context Statement Entertainment Industry/Industrial Properties Associated with the Entertainment Industry, 1908-1980 TABLE OF CONTENTS PREFACE 1 CONTRIBUTORS 1 INTRODUCTION 1 HISTORIC CONTEXT INDUSTRIAL PROPERTIES ASSOCIATED WITH THE ENTERTAINMENT INDUSTRY, 1908-1980 3 Origins of the Entertainment Industry in Southern California 3 Entertainment Industry Development in the 1920s and 1930s 13 Entertainment Industry Development During World War II 59 Entertainment Industry Development in the Postwar Era 63 SUB-THEME: ORIGINS OF THE MOTION PICTURE INDUSTRY, 1908-1919 72 Development of Industrial Districts and “Motion Picture Zones” 72 Development of Early Motion Picture Production Facilities 73 SUB-THEME: MOTION PICTURE INDUSTRY: MAJOR STUDIO ERA – “THE BIG EIGHT,” 1919-1949 76 Development of Major Motion Picture Production Facilities 76 SUB-THEME: MOTION PICTURE INDUSTRY: INDEPENDENT STUDIOS AND RENTAL PLANTS, 1919-1980 80 Development of Independent Motion Picture Production Facilities 80 SUB-THEME: RADIO BROADCASTING INDUSTRY, 1922-1945 84 Development of Radio Broadcasting Facilities 84 SUB-THEME: TELEVISION BROADCASTING INDUSTRY, 1931-1980 88 Development of Television Broadcasting Facilities 88 SUB-THEME: RECORDING INDUSTRY, 1925-1980