This material discusses the 1944 film "The Great Moment" written and directed by Preston Sturges. The film explores the life of William Morton and his introduction of ether anesthesia at the Massachusetts General Hospital in October 1846.
This material discusses the 1944 film "The Great Moment" written and directed by Preston Sturges. The film explores the life of William Morton and his introduction of ether anesthesia at the Massachusetts General Hospital in October 1846.
I Want to Show This Presentation To see The Top 10 Disturbing Documentaries
And Like My Fb Page :https://www.facebook.com/TopTenLists.09
Be Happy Always
The bombastic Austrian-born film director and producer Otto Premin.docxarnoldmeredith47041
The bombastic Austrian-born film director and producer Otto Preminger (1906-1986) had a long Hollywood career making movies that defied conventions of the time.
Nicknamed "Otto the Terrible" for his legendary tantrums on Hollywood sets, Otto Preminger cajoled countless stars in dozens of films from the 1930s through the 1970s. His movies ranged from the delicately crafted suspense classic Laura, to the colossal epic Exodus, and included many commercial and critical successes as well as failures. Preminger had no single specialty, but his films ranged over a wide variety of styles and subject matters. His trademarks were his staunch independence and fierce control over all aspects of his films.
Early Years
Preminger's father, Marc, was a lawyer and onetime attorney general of the Austro-Hungarian Empire. Otto and his brother Ingo both earned law degrees in Vienna, the latter of whom ended up as a Hollywood agent. Otto was a teenager when he first started acting in plays in Vienna. At 17, he starred as Lysander in a production of A Midsummer Night's Dream, and at 19, he was already managing a Vienna theater. By 20, he was mostly bald and had earned his law degree. He spent his twenties becoming one of Europe's most successful theatrical producer-directors and at 26, he directed his first film, Die Grosse Liebe.
Preminger was Jewish, and in 1935, he thought it wise to leave Austria to escape the Nazi threat and take up an invitation to direct Broadway plays in the United States. In New York, he directed Libel, a minor success and the next year, went to Hollywood to make the films Under Your Spell and Danger, Love at Work for Daryl F. Zanuck's 20th Century Fox.
After clashes with Zanuck, Preminger returned to New York and directed the plays Outward Bound, which had a 19-month Broadway run, and Margin for Error, in which Preminger also acted--playing a Nazi official. By 1941, Zanuck was in the Army and Preminger was invited back to Hollywood and remained under contract with Fox as a director, producer, and actor until 1952. In 1942, Preminger played Nazi heavies in The Pied Piper and They Got Me Covered, and the next year, he directed and acted in a film version of Margin for Error. In 1944, he directed the comedy In the Meantime, Darling.
Hollywood Studio Days
Relations between Zanuck and Preminger remained cool until 1944, when Preminger persuaded the studio heads to let him produce and direct the suspense story Laura. Starring Clifton Webb, Dana Andrews, and Gene Tierney, Laura was a critical and commercial success. Many considered it Preminger's finest film. Halliwell's Film Guide called Laura "a quiet, streamlined little murder mystery that brought a new adult approach to the genre and heralded the mature film noir of the later forties." Preminger received an Academy Award nomination for Laura.
During the rest of his tenure with Fox, Preminger churned out a number of films, few of them notable. Tallulah Bankhead starred in his 1945 costume dr.
I Want to Show This Presentation To see The Top 10 Disturbing Documentaries
And Like My Fb Page :https://www.facebook.com/TopTenLists.09
Be Happy Always
The bombastic Austrian-born film director and producer Otto Premin.docxarnoldmeredith47041
The bombastic Austrian-born film director and producer Otto Preminger (1906-1986) had a long Hollywood career making movies that defied conventions of the time.
Nicknamed "Otto the Terrible" for his legendary tantrums on Hollywood sets, Otto Preminger cajoled countless stars in dozens of films from the 1930s through the 1970s. His movies ranged from the delicately crafted suspense classic Laura, to the colossal epic Exodus, and included many commercial and critical successes as well as failures. Preminger had no single specialty, but his films ranged over a wide variety of styles and subject matters. His trademarks were his staunch independence and fierce control over all aspects of his films.
Early Years
Preminger's father, Marc, was a lawyer and onetime attorney general of the Austro-Hungarian Empire. Otto and his brother Ingo both earned law degrees in Vienna, the latter of whom ended up as a Hollywood agent. Otto was a teenager when he first started acting in plays in Vienna. At 17, he starred as Lysander in a production of A Midsummer Night's Dream, and at 19, he was already managing a Vienna theater. By 20, he was mostly bald and had earned his law degree. He spent his twenties becoming one of Europe's most successful theatrical producer-directors and at 26, he directed his first film, Die Grosse Liebe.
Preminger was Jewish, and in 1935, he thought it wise to leave Austria to escape the Nazi threat and take up an invitation to direct Broadway plays in the United States. In New York, he directed Libel, a minor success and the next year, went to Hollywood to make the films Under Your Spell and Danger, Love at Work for Daryl F. Zanuck's 20th Century Fox.
After clashes with Zanuck, Preminger returned to New York and directed the plays Outward Bound, which had a 19-month Broadway run, and Margin for Error, in which Preminger also acted--playing a Nazi official. By 1941, Zanuck was in the Army and Preminger was invited back to Hollywood and remained under contract with Fox as a director, producer, and actor until 1952. In 1942, Preminger played Nazi heavies in The Pied Piper and They Got Me Covered, and the next year, he directed and acted in a film version of Margin for Error. In 1944, he directed the comedy In the Meantime, Darling.
Hollywood Studio Days
Relations between Zanuck and Preminger remained cool until 1944, when Preminger persuaded the studio heads to let him produce and direct the suspense story Laura. Starring Clifton Webb, Dana Andrews, and Gene Tierney, Laura was a critical and commercial success. Many considered it Preminger's finest film. Halliwell's Film Guide called Laura "a quiet, streamlined little murder mystery that brought a new adult approach to the genre and heralded the mature film noir of the later forties." Preminger received an Academy Award nomination for Laura.
During the rest of his tenure with Fox, Preminger churned out a number of films, few of them notable. Tallulah Bankhead starred in his 1945 costume dr.
440 CHAPTER 11 Film Theory and CriticismCarolina coast to .docxblondellchancy
440 CHAPTER 11 Film Theory and Criticism
Carolina coast to the U.S. mainland. This was the first
African-American film directed
by a woman to go into general theatrical release.
At a much higher level of box-office success are the
comedies of Keenan Ivory
Wayans. These include Scary Movie (2000), Scary Movte Il
(2001), and a fond par-
ody of 1970s-era "blaxploitation," I'm Gonna Git You
Sucka (1988).
ACTORS Among the present generation of African-American
actors, the most
prominent is Denzel Washington, who became one of
the few actors to make a suc-
cessful transition from television (the 1980s series St.
Elsewhere) to the big screen.
Washington has specialized in playing relatively noble
characters in pictures such
as Devil in a Blile Dress and Philadelphia (1993). He
made a dramatic switch in
Training Day (2001), where he played a ferociously bad
cop, and the industry took
notice. He won the Academy Award for Best Actor with
that role.
Washington has often teamed with director Tony
Scott (Man on Fire, 2004; The
Taking of Pelham 1 2 3, 2009; Unstoppable, 2010), and
he has directed two films,
Antwone Fisher (2002) and The Great Debaters
(2007).
In 2005, he returned to the New York stage, playing
Brutus in Julius Ceasar, and his
star charisma drew huge audiences and helped to make
the play one of its season's hits.
The same year Washington won his Oscar for
Training Day, Halle Berry won as
Best Actress for Monster's Ball. The twin victories were
highly symbolic. No black
actor had won the award since Sidney Poitier in 1963,
and few had even been nomi-
nated. The symbolism of the dual wins enabled the
industry to announce the impor-
tance of African-American films and audiences and to
acknowledge that it had been
slow to reach this point. Unfortunately, Berry followed her
victory with some bad
career moves, roles in the James Bond film, Die Another Day
(2002), and Catwon:an
(2004), which audiences avoided.
Thus there are currently no African-American female stars of the
magnitude of
Denzel Washington or Will Smith. Angela Basset seemed poised for a
major career
after the hit How Stella Got Her Groove Back (1998), but she then suffered the
same
kind of career halt that afflicts many women working in film today (discussed in
the
subsequent section of this chapter).
Like Washington, Will Smith successfully transitioned from television series to
big-screen films while carrying with him his trademark wisecracking humor. Smith
has made action thrillers (Enemy of the State, 1998) and straight drama (Malcolm,
2001; Hitch, 2005) but has found some of his biggest hits in science fiction. He bat-
tled aliens in Men in Black (1997) and Independence Day (1996) and an army of ro-
bots in I, Robot (2004). The latter film is especially interesting in the way that it uses
Smith's persona to lend a racial subtheme to the film. Smith plays a black cop who
is a bigot—he is prejudiced against the rob ...
By the late 1960's, Spaghetti Westerns had reached a reputation of expressing extreme violence and high body counts. Directors had explored nearly every avenue of the Western and audiences had grown tired of the cinematic savagery associated with the genre. Hence, the comedic Spaghetti Western was born. In 1967, an Italian director and writer named Giuseppe Colizzi cast a handsome leading man named "Terence Hill" (Mario Girotti) and an oversized, comedic foil named "Bud Spencer" (Carlo Pedersoli) as the protagonists in God Forgives...I Don't. "Colizzi westerns present clever variations on several different kinds of partnerships encountered in other films inspired by A Few Dollars More" (Fridlund 199 - 203). Hill and Spencer's portrayal of Cat "Pretty Face" Stevens and Hutch "Jackass" Bessy, changed the cinematic landscape of the traditional Spaghetti Western.
In 1970, under the direction of E.B. Clucher (Enzo Barboni), Hill and Spencer completed a spaghetti western comedy, They Call Me Trinity, followed by a sequel, Trinity is Still My Name (1971). They Call Me Trinity is considered to be the best of the comedy Spaghetti Western films made in this era of European Westerns (Hughes 123). Hill and Spencer are the Spaghetti Western equivalent of Laurel and Hardy.
This paper closely examines the comedic sub-genre of the Spaghetti Western by focusing on the performances of the films of Terence Hill and Bud Spencer in the late 1960’s and early 1970’s. The paper fills a gap in the research of the Spaghetti Western and European Western film genre.
Learning for Life and Critical Thinking in the Web 3.0 Era Keynote Addressafacct
As the sixth Director of the Kellogg Institute of the National Center for Developmental Education of Appalachian State University, Wes Anthony is also the first since Dr. Hunter Boylan to be a member of the Kellogg Institute faculty. Mr. Anthony is the author of two novels, over 50 professional presentations, and has engaged in scholarly publishing throughout his career, and most recently co-authored, along with Hunter Boylan and Patti Levine Brown, “The Perfect Storm of Policy Issues and Their Impact on Developmental Education” (NADE Digest, 2017).
Computing Student Success at Montgomery College in the Web 3.0 Eraafacct
Computing Student Success at Montgomery College (MC) in Maryland is deeply rooted to the Web 3.0 era. The success of the Computer Science and Information System students at MC has evolved over time. The various success stories of the Montgomery College students were presented, and the innovative pedagogy that the faculty are using at MC in this Web 3.0 era was explored. Off-course, the rapid and efficient communication among the faculty members, and also among faculty members and the student body was made possible due to the innovative technologies that the Web 3.0 has to offer. Besides, the student success at MC is deeply rooted to the inter-faculty co-operations, and collaborations in and outside of the discipline. Attendees discussed contributions of the Web 3.0 technologies to the Student Success at other institutions as well. As a result, the overall discussion extended to various Maryland institutions besides only the Montgomery College. Faculty attending the session explored innovative, and active learning strategies made possible through Web 3.0. They discussed future undertakings that could have been possible through Web 3.0, and would accelerate the traditionalistic means of pedagogical delivery.
Streamlining Your Engaging, Interactive, and Collaborative Course into the On...afacct
Many collaborative teaching activities are designed for use in a face-to-face (F2F) course with little consideration for adapting the same activities for an online course. Likewise, many activities are developed for online courses but are not used in the F2F classroom. This presentation provided ideas and ways to streamline your F2F and online courses.
The jigsaw collaborative teaching technique takes a topic and breaks it into multiple parts. In F2F classes, students are given one of the parts and work with other students who have the same part to become “experts.” Then, students break into “jigsaw” groups with members from the other topics and teach each other their information before answering discussion questions. This activity can be used in the online classroom by creating groups in the learning management system by splitting the class equally into their mini-topics. Discussion boards can be used within the groups to answer the same discussion questions as the F2F students. The jigsaw groups need to be larger than you would use in a F2F classroom since some online students are not actively participating.
Likewise, engaging discussion boards used in an online course can be used as homework assignments in the F2F course. The instructor can create bridges to the discussion topic in the class and reference individual student’s posts. Videos created to outline a course project in the online course can also be assigned to students as homework in the F2F course to save time in class for more interactive activities.
Streamlining Your Engaging, Interactive, and Collaborative Course into the On...afacct
Many collaborative teaching activities are designed for use in a face-to-face (F2F) course with little consideration for adapting the same activities for an online course. Likewise, many activities are developed for online courses but are not used in the F2F classroom. This presentation provided ideas and ways to streamline your F2F and online courses.
The jigsaw collaborative teaching technique takes a topic and breaks it into multiple parts. In F2F classes, students are given one of the parts and work with other students who have the same part to become “experts.” Then, students break into “jigsaw” groups with members from the other topics and teach each other their information before answering discussion questions. This activity can be used in the online classroom by creating groups in the learning management system by splitting the class equally into their mini-topics. Discussion boards can be used within the groups to answer the same discussion questions as the F2F students. The jigsaw groups need to be larger than you would use in a F2F classroom since some online students are not actively participating.
Likewise, engaging discussion boards used in an online course can be used as homework assignments in the F2F course. The instructor can create bridges to the discussion topic in the class and reference individual student’s posts. Videos created to outline a course project in the online course can also be assigned to students as homework in the F2F course to save time in class for more interactive activities.
Learning Communities: A High Impact Practice Transcending the Traditional Cla...afacct
Faculty from the Community College of Baltimore County (CCBC), who have a variety of experiences in teaching Learning Communities, presented what they learned. Two or more classes across disciplines are paired, and a group of students enroll in the paired classes. Professors Miller, Pucino, Jones, and Scott shared the integrated approach typical in learning communities with specific suggestions of strategies related to strengthening collaboration, critical thinking, and reflection through classroom activities, online assignments, Intercultural Dialogues, and service-learning. In addition, they discussed how pairing the college’s required course titled Academic Development: Transitioning to College with other courses such as English Composition, ESOL, and Academic Literacy in a Learning Community format had positive influences on student success. Topics included the importance of High Impact Practices (HIPs), such as service-learning and collaborative assignments, to advance student learning and success both within and beyond the classroom; a description of CCBC’s Learning Community Program; the benefits, for both students and faculty, of participating in a Learning Community; ideas for approaches and activities beyond the traditional classroom that can strengthen student learning; and strategies for how to increase critical thinking and/or collaboration in the classroom.
An Experiment in Every Student's "Favorite" Assignment: Forming Groups for a ...afacct
Many of our courses include a group project assignment that represents a significant portion of each student’s grade. We tell our students – and the presenter believes – that group projects are important because when students get into their careers they will often be called upon to work as part of a team or group. Practicing now, before they are in positions that really matter to them from a work perspective, will help them in the future. But no matter what we say, students tend to dread group projects for many reasons, including the way the groups are formed. For the first major group project of her career as an adjunct professor, Ms. Mead wanted to find a method that was deliberative and active – not random, nor completely student-selected, nor totally at her discretion. In her presentation, she described how she found an approach that appealed to her (using some basic technology), applied that approach to her First Year Seminar class, and kept track of the results. She discussed methods of forming groups for group projects; compared and contrasted the success of those methods; explained how she applied the method that most appealed to her and how her students reacted; and how it ultimately worked in terms of the overall success of the group projects. The presenter provided basic data regarding her assessment of the method’s success.
Active Learning Using Kahoot, a Free Polling Softwareafacct
Active learning and shared strategies for classroom use were demonstrated with Kahoot!, a platform which can be accessed by any student using a mobile device, tablet, or computer. Kahoot! generates classroom discussions and creates active classroom assessments.
Maryland Mathematical Association of Two-Year Colleges (MMATYC) winter meetin...afacct
The Maryland Mathematical Association of Two-Year Colleges (MMATYC) held its winter meeting during a scheduled double session. President Lisa Feinman led the re-cap of MMATYC and AMATYC (American Mathematical Association of Two-Year Colleges) news and events for 2018, followed by 2019 business. Updates on the various committees and the upcoming MMATYC 2019 Spring Conference at Wor-Wic Community College were covered, as well. Notes pages within the PowerPoint contain the minutes for the meeting.
2. Click above for video
Sydney Pollack introducing the 1951 movie "The Red Badge of Courage" starring Audie Murphy
for Turner Classic Movies .
3. The making of the movie…
• Director John Huston used unusual compositions and camera angles
drawn from film noir to create a battlefield environment that is
foreboding and alienating.
• Huston believed his film could have been "his best," but as he tells
Lillian Ross: "They don't want me to make this picture. And I want
to make this picture."
• How the film was made is the subject of Ross's 1952 book Picture, a
masterpiece of journalism, originally in The New Yorker magazine as
a 5-part series.
• MGM cut the film's length to 69 minutes and added narration
following supposedly poor audience test screenings.
• View the made-for-TV movie version from 1974, starring Richard
Thomas (of The Waltons fame). Note the differences in production
techniques from the earlier (1951) movie.
4. The leading actors were chosen for the 1951 film as much for their offscreen fame as for their acting skills. For example, the character of Henry
Fielding, “the Youth,” was played by World War II hero, Audie Murphy.
Click above for more information
5. …as Tom Wilson, the “Loud Soldier”
Click above for more information
Bill Mauldin was a sergeant for the 45th Division's press corps and for the Army’s “Stars and
Stripes” newspaper during World War II . His acting career was not his “day job” after the War;
he was a Pulitzer-prize winning cartoonist for St. Louis Post-Dispatch.
6. The cartoon character
“Willie” (left) and his G.I.
buddy “Joe” were Maudin’s
Pulitzer-prize winning
creations.
Click above for more information
7. Narrated by James
Whitmore.
The studio decided to
add voice-over narration
to clarify plot events for
the viewer, a strategy
Huston opposed.
8. Perennial Hollywood tug-of-war:
Art vs. Commerce
"The only picture I ever made
that seems as though it's
going to be marked down
simply as a box-office failure is
The Red Badge of Courage,"
Huston told the film's
producer, “and I thought that
was the best picture I ever
made."
http://journalism.nyu.edu/publishing/archives/portfolio/books/book59.html