Books in a Bag (Bibs) — June 2020
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Written to Be the Introduction to a Book in the Wisconsin/Warner Bros Screenplay Series, General Editor Tino Balio, Published by the University of Wisconsin Press
1981 Written to be the Introduction to a book in the Wisconsin/Warner Bros Screenplay Series, General Editor Tino Balio, published by the University of Wisconsin Press. These volumes reproduced classic Warner Bros scripts from the Warner Bros Archive at the Wisconsin Center for Film and Theater Research with scholarly apparatus. Between the commissioning of this volume and its completion the series was cancelled. The script itself and associated stills cannot be reproduced without copyright permission. Since the piece was written, Warner Bros post-production files have been acquired by the Cinema Studies Library of the University of Southern California. It is likely that they close some of the questions here raised about the final form of the film. INTRODUCTION The Politics of the War Film Ian Jarvie 1. The Evolution of the Screenplay 2. Summary of the Story as Filmed 3. Production and Exploitation 4. Reception and Appraisal 5. Political Aftermath Objective Burma has both intrinsic and extrinsic interest to students of the motion picture. Intrinsically, it is a fine example of sustained and unrelieved treatment of combat within the restrictions of the war film genre. There is much to be learned from studying how the final screenplay emerged from the work of three writers and their producer, and from the further changes made by the director, technical advisor, and film editor during production and post-production. Initial confusion of aims is resolved as the option of a clean and unencumbered line of action is chosen. This enables the writers to clear sub-plots out of the excessively long draft screenplay and encourages further honing down during shooting and editing. -
October 2012 Highlights Documentaries
OCTOBER 2012 HIGHLIGHTS ** Denotes programs with artwork available on Investigation Discovery’s Press Website All Times ET // All airdates are subject to change INVESTIGATION DISCOVERY PRESS CONTACTS: Jordyn Linsk Charlotte Bigford Publicist Publicist 240-662-2421, [email protected] 240-662-3125, [email protected] DOCUMENTARIES ID FILMS: TELLING AMY’S STORY ** TV-PG (V) One-Hour Documentary Premieres Monday, October 8 at 7 PM ET By laying bare one woman's story and the many opportunities to alter its outcome, this October, Investigation Discovery commemorates Domestic Violence Awareness Month in the hope of educating, empowering, and even saving lives. On November 8, 2001, Amy Homan McGee was killed by her abusive husband of four years while her children waited outside in the car. Hosted by actress and advocate Mariska Hargitay, and told by Detective Deirdri Fishel, TELLING AMY’S STORY follows the timeline of the tragic domestic violence homicide that occurred in central Pennsylvania. The victim’s parents and co-workers, law enforcement officers, and court personnel share their perspectives on what happened to Amy in the weeks, months, and years leading up to her death. ID FILMS: WERNER HERZOG'S INTO THE ABYSS: A TALE OF LIFE, A TALE OF DEATH ** TV-14 Feature-Length Documentary Makes Its World TV Premiere on Tuesday, October 23 at 8 PM ET Werner Herzog’s INTO THE ABYSS debuted in September 2011 to rave reviews and festival buzz from Telluride to Toronto. Exploring the intricate details and emotional aftermath of a triple homicide in Conroe, Texas, Herzog sought to better understand the impact of life in prison and the shattering effects of the death penalty. -
Wallace Stegner and the De-Mythologizing of the American West" (2004)
Digital Commons @ George Fox University Faculty Publications - Department of Professional Department of Professional Studies Studies 2004 Angling for Repose: Wallace Stegner and the De- Mythologizing of the American West Jennie A. Harrop George Fox University, [email protected] Follow this and additional works at: http://digitalcommons.georgefox.edu/dps_fac Recommended Citation Harrop, Jennie A., "Angling for Repose: Wallace Stegner and the De-Mythologizing of the American West" (2004). Faculty Publications - Department of Professional Studies. Paper 5. http://digitalcommons.georgefox.edu/dps_fac/5 This Dissertation is brought to you for free and open access by the Department of Professional Studies at Digital Commons @ George Fox University. It has been accepted for inclusion in Faculty Publications - Department of Professional Studies by an authorized administrator of Digital Commons @ George Fox University. For more information, please contact [email protected]. ANGLING FOR REPOSE: WALLACE STEGNER AND THE DE-MYTHOLOGIZING OF THE AMERICAN WEST A Dissertation Presented to The Faculty of Arts and Humanities University of Denver In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by Jennie A. Camp June 2004 Advisor: Dr. Margaret Earley Whitt Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ©Copyright by Jennie A. Camp 2004 All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. GRADUATE STUDIES AT THE UNIVERSITY OF DENVER Upon the recommendation of the chairperson of the Department of English this dissertation is hereby accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Profess^inJ charge of dissertation Vice Provost for Graduate Studies / if H Date Reproduced with permission of the copyright owner. -
The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message. -
Papéis Normativos E Práticas Sociais
Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs. -
Library Directions: Volume 13, No
Library Directions: Volume 13, No. 2 a newsletter of the Spring 2003 University of Washington Libraries Library Directions is produced two times a year Letter from the Director by UW Libraries staff. Inquiries concerning content should be sent to: Library Directions All books are rare books. —Ivan Doig (2002) University of Washington Libraries Box 352900 In Ivan Doig’s compelling essay in this issue of Library Directions, he Seattle, WA 98195-2900 (206) 543-1760 reminds us that “all books are rare books.” We run the risk of losing ([email protected]) the lore, the curiosity, and uniqueness of each author’s insights if we Paul Constantine, Managing Editor Susan Kemp, Editor, Photographer don’t adequately preserve and make accessible the range of human Diana Johnson, Mark Kelly, Stephanie Lamson, eff ort through our libraries. Just as all books are rare books, all digital Mary Mathiason, Mary Whiting, Copy Editors publications are potentially rare publications. We run the same risk of Library Directions is available online at www.lib.washington.edu/about/libdirections/current/. seeing digital scholarship evaporate if we don’t archive and preserve Several sources are used for mailing labels. Please pass the new and evolving forms of publication. multiple copies on to others or return the labels of the unwanted copies to Library Directions. Addresses containing UW campus box numbers were obtained from the HEPPS database and corrections should On March 9-11, the University Libraries hosted a retreat on digital scholarship. Made possible be sent to your departmental payroll coordinator. through the generous funding of the Andrew W. -
Raoul Walsh to Attend Opening of Retrospective Tribute at Museum
The Museum of Modern Art jl west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart NO. 34 FOR IMMEDIATE RELEASE RAOUL WALSH TO ATTEND OPENING OF RETROSPECTIVE TRIBUTE AT MUSEUM Raoul Walsh, 87-year-old film director whose career in motion pictures spanned more than five decades, will come to New York for the opening of a three-month retrospective of his films beginning Thursday, April 18, at The Museum of Modern Art. In a rare public appearance Mr. Walsh will attend the 8 pm screening of "Gentleman Jim," his 1942 film in which Errol Flynn portrays the boxing champion James J. Corbett. One of the giants of American filmdom, Walsh has worked in all genres — Westerns, gangster films, war pictures, adventure films, musicals — and with many of Hollywood's greatest stars — Victor McLaglen, Gloria Swanson, Douglas Fair banks, Mae West, James Cagney, Humphrey Bogart, Marlene Dietrich and Edward G. Robinson, to name just a few. It is ultimately as a director of action pictures that Walsh is best known and a growing body of critical opinion places him in the front rank with directors like Ford, Hawks, Curtiz and Wellman. Richard Schickel has called him "one of the best action directors...we've ever had" and British film critic Julian Fox has written: "Raoul Walsh, more than any other legendary figure from Hollywood's golden past, has truly lived up to the early cinema's reputation for 'action all the way'...." Walsh's penchant for action is not surprising considering he began his career more than 60 years ago as a stunt-rider in early "westerns" filmed in the New Jersey hills. -
MAGAZINE ® ISSUE 6 Where Everyone Goes for Scripts and Writers™
DECEMBER VOLUME 17 2017 MAGAZINE ® ISSUE 6 Where everyone goes for scripts and writers™ Inside the Mind of a Thriller Writer PAGE 8 Q&A with Producer Lauren de Normandie of Status Media & Entertainment PAGE 14 FIND YOUR NEXT SCRIPT HERE! CONTENTS Contest/Festival Winners 4 Feature Scripts – FIND YOUR Grouped by Genre SCRIPTS FAST 5 ON INKTIP! Inside the Mind of a Thriller Writer 8 INKTIP OFFERS: Q&A with Producer Lauren • Listings of Scripts and Writers Updated Daily de Normandie of Status Media • Mandates Catered to Your Needs & Entertainment • Newsletters of the Latest Scripts and Writers 14 • Personalized Customer Service • Comprehensive Film Commissions Directory Scripts Represented by Agents/Managers 40 Teleplays 43 You will find what you need on InkTip Sign up at InkTip.com! Or call 818-951-8811. Note: For your protection, writers are required to sign a comprehensive release form before they place their scripts on our site. 3 WHAT PEOPLE SAY ABOUT INKTIP WRITERS “[InkTip] was the resource that connected “Without InkTip, I wouldn’t be a produced a director/producer with my screenplay screenwriter. I’d like to think I’d have – and quite quickly. I HAVE BEEN gotten there eventually, but INKTIP ABSOLUTELY DELIGHTED CERTAINLY MADE IT HAPPEN WITH THE SUPPORT AND FASTER … InkTip puts screenwriters into OPPORTUNITIES I’ve gotten through contact with working producers.” being associated with InkTip.” – ANN KIMBROUGH, GOOD KID/BAD KID – DENNIS BUSH, LOVE OR WHATEVER “InkTip gave me the access that I needed “There is nobody out there doing more to directors that I BELIEVE ARE for writers than InkTip – nobody. -
Violence and Masculinity in Hollywood War Films During World War II a Thesis Submitted To
Violence and Masculinity in Hollywood War Films During World War II A thesis submitted to: Lakehead University Faculty of Arts and Sciences Department of History In partial fulfillment of the requirements for the degree in Master of Arts Matthew Sitter Thunder Bay, Ontario July 2012 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-84504-2 Our file Notre référence ISBN: 978-0-494-84504-2 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Autonomous Vehicles and AI-Chaperone Liability
Catholic University Law Review Volume 69 Issue 2 Spring 2020 Article 9 10-19-2020 Where We’re Going, We Don’t Need Drivers: Autonomous Vehicles and AI-Chaperone Liability Peter Y. Kim Follow this and additional works at: https://scholarship.law.edu/lawreview Part of the International Law Commons, and the Torts Commons Recommended Citation Peter Y. Kim, Where We’re Going, We Don’t Need Drivers: Autonomous Vehicles and AI-Chaperone Liability, 69 Cath. U. L. Rev. 341 (2020). Available at: https://scholarship.law.edu/lawreview/vol69/iss2/9 This Comments is brought to you for free and open access by CUA Law Scholarship Repository. It has been accepted for inclusion in Catholic University Law Review by an authorized editor of CUA Law Scholarship Repository. For more information, please contact [email protected]. Where We’re Going, We Don’t Need Drivers: Autonomous Vehicles and AI- Chaperone Liability Cover Page Footnote J.D., The Catholic University of America, Columbus School of Law, 2020; B.A., Boston College, 2009. The author gives thanks to God for giving him purpose, his family and friends for their lovingkindness, Professor Kathryn Kelly for her mentorship and priceless guidance, and the Catholic University Law Review editors and staffers for their care and support in revising this Comment. This comments is available in Catholic University Law Review: https://scholarship.law.edu/lawreview/vol69/iss2/9 WHERE WE’RE GOING, WE DON’T NEED DRIVERS: AUTONOMOUS VEHICLES AND AI-CHAPERONE LIABILITY Peter Y. Kim+ Unwittingly, Iggy Pop’s “The Passenger” -
UNCERTAIN GLORY (The Other Casablanca) for THOMAS Mcnulty- in Appreciation and Gratitude*
UNCERTAIN GLORY (The other Casablanca) For THOMAS McNULTY- in appreciation and gratitude* Uncertain Glory is the 29th in the celluloid career of Errol Flynn. The only film of Flynn’s released for the year 1944 falling between Northern Pursuit and Objective Burma. The first of a series of seven films (ultimately amended to three) to be made by Flynn’s company, Thomson Productions, which was contracted to Warners both for use of facilities and release arrange-ments. It has the distinction of being the 5th of 8 films in which Flynn would die, along with Charge of the Light Brigade, Dawn Patrol, The Private Lives of Elizabeth and Essex, They Died With Their Boots On, Rocky Mountain, Too Much Too Soon, and The Roots of Heaven). And also the 4th of 5 dealing with the subject of World War 2- the others being Desperate Journey, Edge of Darkness, Northern Pursuit, and Objective Burma. It’s Flynn’s first important film post-trial. He’s in mid-career, and about 33 years old. He is vulnerable and changed. And the performance shows it- someone in transition, from a boyish attitude toward life into a man’s more serious focus (remember we’re speaking about Flynn: he still had his extra-curricular activities- only less of them). At about this time he was paying alimony and support, married**, LIVING WITH Nora, a father, working on the novel Showdown (writing always having a calming effect), and a recently successful USO and bond tour (meaning public acceptance). He chose this film as his next project, and it DID NOT capitalize on (although there are the usual references to a young man in search of feminine company) the rape trial (the ordeal actually started on 10/11/42 with 2 policemen coming to the house and culminated in an acquittal on 2/6/43) by suggesting the new image he would ultimately be saddled with. -
Ivan Doig the Whistling Season Free Download Whistling Season - Ebook
ivan doig the whistling season free download Whistling Season - Ebook. ';Can't cook but doesn't bite.' So begins the newspaper ad offering the services of an ';A-1 housekeeper, sound morals, exceptional disposition' that draws the hungry attention of widower Oliver Milliron in the fall of 1909. And so begins the unforgettable season that deposits the noncooking, nonbiting, ever-whistling Rose Llewellyn and her font-of-knowledge brother, Morris Morgan, in Marias Coulee along with a stampede of homesteaders drawn by the promise of the Big Ditcha gargantuan irrigation project intended to make the Montana prairie bloom. When the schoolmarm runs off with an itinerant preacher, Morris is pressed into service, setting the stage for the ';several kinds of education'none of them of the textbook varietyMorris and Rose will bring to Oliver, his three sons, and the rambunctious students in the region's one-room schoolhouse.A paean to a vanished way of life and the eccentric individuals and idiosyncratic institutions that made it fertile, The Whistling Season is Ivan Doig at his evocative best. The whistling season. Places: Montana Subjects: Brothers and sisters -- Fiction, Irrigation projects -- Fiction, Housekeepers -- Fiction, Teachers -- Fiction, Widowers - - Fiction, Montana -- Fiction. Edition Notes. Statement Ivan Doig. Genre Fiction. Classifications LC Classifications PS3554.O415 W48 2006 The Physical Object Pagination p. cm. ID Numbers Open Library OL3409504M ISBN 10 0151012377 ISBN 10 9780151012374 LC Control Number 2005025457. Administrative ethics in a Muslim state. Hands-on chaos magic. How to beguile a beauty. Lighthouses of Cape Cod and the Islands. The 3rs and the new religion.