...Crisp (MacTavish); Sam De Grasse (Pirate Lieutenant) Studio: Elton Corp. , distributors: United Artists Details: Silent w/ English intertitles, two-tone Technicolor and B&W, 1 hr 22 min Notes: * final kiss w/ Princess Isobel > Mary Pickford * longboat crew >> sailors from USS Arizona • The fight choreographer is the great Fred Cavens. He and colleague Bob Anderson are almost single-handedly responsible for the best sword fights on film from the 1920s to 2000. Cavens was fencing master for every important Zorro from Doug Fairbanks (1920) to Tyrone Power (1940) to Guy Williams (1957-1961; Disney). After Cavens’ death, Anderson took on the next great Zorro: Antonio Banderas. Read BEFORE watching the movie. Bennett, Carl. “The Black Pirate (1926)”[review]. Silent Era. 2010. Web. 22 Mar 2014. http://www.silentera.com/video/blackPirateHV.html (Read article in left sidebar & review of Blu-Ray Disc.) • First major featured film produced in Technicolor • A black & white film was also shot in case the Technicolor fails • Filming in Technicolor was expensive and requires a vast amount of lights on the set and special camera lens prism. Used both technical color camera and black and white cameras side by side during the filming. • The first objective of the color process is the used of orangey-red and bluish green dyes to obtain an accurate flesh tone. Customs and sets...
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...cabaret pianist Friedrich Hollaender scored Josef von Sternberg's Der Blaue Engel/ The Blue Angel (1930), which included Marlene Dietrich's signature tune Ich bin von Kopf bis Fuss auf Liebe Eingestellt/ Falling In Love Again. Von Sternberg kept changing musicians: Karl Hajos scored Morocco (1930) and Franke Harling Shangai Express (1932) and The Scarlet Empress (1934). In the 1930s, after a few years of experimentation, scoring film soundtracks became an art in earnest thanks to a small group of foreign-born musicians, first and foremost two Austrian-born and classically-trained composers. Erich-Wolfgang Korngold's coined a lush, overwhelming, operatic style with Michael Curtiz's Captain Blood (1935) and especially The Adventures of Robin Hood (1938) and The Sea Hawk (1940), as well as Charles Gerhardt's Anthony Adverse (1936) and Sam Wood's Kings Row (1942). Max Steiner explored many different moods, sensational in Ernest Schoedsack's King Kong (1933), one of the first soundtracks to rely heavily on sound effects, pathetic in Victor Fleming's Gone With The Wind (1939), including Tara and countless references to traditional songs, exotic in Michael Curtiz's Casablanca (1942), melodramatic in Irving Rapper's Now Voyager (1942), gloomy in John Huston's The Treasure of the Sierra Madre (1948), epic in John Ford's The Searchers (1956), romantic in Delmer Daves' A Summer Place (1959), whose instrumental theme was a massive hit for Percy Faith's orchestra, etc. He also scored...
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...cabaret pianist Friedrich Hollaender scored Josef von Sternberg's Der Blaue Engel/ The Blue Angel (1930), which included Marlene Dietrich's signature tune Ich bin von Kopf bis Fuss auf Liebe Eingestellt/ Falling In Love Again. Von Sternberg kept changing musicians: Karl Hajos scored Morocco (1930) and Franke Harling Shangai Express (1932) and The Scarlet Empress (1934). In the 1930s, after a few years of experimentation, scoring film soundtracks became an art in earnest thanks to a small group of foreign-born musicians, first and foremost two Austrian-born and classically-trained composers. Erich-Wolfgang Korngold's coined a lush, overwhelming, operatic style with Michael Curtiz's Captain Blood (1935) and especially The Adventures of Robin Hood (1938) and The Sea Hawk (1940), as well as Charles Gerhardt's Anthony Adverse (1936) and Sam Wood's Kings Row (1942). Max Steiner explored many different moods, sensational in Ernest Schoedsack's King Kong (1933), one of the first soundtracks to rely heavily on sound effects, pathetic in Victor Fleming's Gone With The Wind (1939), including Tara and countless references to traditional songs, exotic in Michael Curtiz's Casablanca (1942), melodramatic in Irving Rapper's Now Voyager (1942), gloomy in John Huston's The Treasure of the Sierra Madre (1948), epic in John Ford's The Searchers (1956), romantic in Delmer Daves' A Summer Place (1959), whose instrumental theme was a massive hit for Percy Faith's orchestra, etc. He also scored...
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...Quarter 2 (7th)‐ “Melting Pot” and “How I Learned English” Stage 1 – Desired Results Standards LRA 3.2 (Fall EOC) Identify events that advance the plot, and determine how each event explains past or present actions or foreshadows future actions. ARG LRA 3.4 (Fall EOC) Identify and analyze recurring themes across works (e.g. the value of bravery, loyalty, and friendships; the effects of loneliness). ARG V1.1 (Fall EOC) Identify idioms, analogies, metaphors, and similes in prose and poetry. V 1.3 (Fall EOC) Clarify word meanings through the use of definition, example, restatement or contrast. WA 2.5‐ (STAR) Write summaries of reading materials. SUM WA 2.2 (On Demand/ STAR) Write Responses to Literature. ARG WS 1.2 (On Demand) Support all statements and claims with anecdotes, descriptions, facts and statistics, and give examples. REF WS 1.3 Use strategies of note‐taking, outlining and summarizing to impose structure on composition drafts. AN, SUM, REF WS 1.4 (Fall EOC) Identify topics and evaluate questions and develop ideas leading to inquiry, investigation, and research. AN, ARG WS 1.7 (On Demand, Fall EOC) Revise writing to improve organization and word choice after checking the logic of ideas and the precision of vocabulary. ALANG WOC 1.4 (On Demand) Demonstrate the mechanics of writing (e.g. quotation marks, commas at the end of dependent clauses) and appropriate English usage (e.g. pronoun reference). ALANG Big Ideas & Understanding(s): ...
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...[pic] CARL JUNG 1875 - 1961 Dr. C. George Boeree [pic] Anyone who wants to know the human psyche will learn next to nothing from experimental psychology. He would be better advised to abandon exact science, put away his scholar's gown, bid farewell to his study, and wander with human heart throught the world. There in the horrors of prisons, lunatic asylums and hospitals, in drab suburban pubs, in brothels and gambling-hells, in the salons of the elegant, the Stock Exchanges, socialist meetings, churches, revivalist gatherings and ecstatic sects, through love and hate, through the experience of passion in every form in his own body, he would reap richer stores of knowledge than text-books a foot thick could give him, and he will know how to doctor the sick with a real knowledge of the human soul. -- Carl Jung Freud said that the goal of therapy was to make the unconscious conscious. He certainly made that the goal of his work as a theorist. And yet he makes the unconscious sound very unpleasant, to say the least: It is a cauldron of seething desires, a bottomless pit of perverse and incestuous cravings, a burial ground for frightening experiences which nevertheless come back to haunt us. Frankly, it doesn't sound like anything I'd like to make conscious! A younger colleague of his, Carl Jung, was to make the exploration of this "inner space" his life's work. He went equipped with a background in Freudian theory, of course, and with an apparently inexhaustible...
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...Quotes for Science and Technology: Credits: http://www.physics.udel.edu/~watson/scen103/quotes.html The Good? 1. Any sufficiently advanced technology is indistinguishable from magic. ARTHUR C. CLARKE, The Lost Worlds of 2001. (Dutton) 2. Men are only so good as their technical developments allows them to be. GEORGE ORWELL, Inside the Whale and Other Essays, "Charles Dickens," 1940. (Columbia) 3. However far modern science and technics have fallen short of their inherent possibilities, they have taught mankind at least one lesson: Nothing is impossible. LEWIS MUMFORD, Technics and Civilization, 1934. (Columbia) 4. Science can amuse and fascinate us all, but it is engineering that changes the world. ISAAC ASIMOV, Isaac Asimov's Book of Science and Nature Quotations, 1988. (S&S) 5. For a successful technology, reality must take precedence over public relations, for Nature cannot be fooled. RICHARD P. FEYNMAN, What Do You Care What Other People Think? (Dutton) Photo of Feynman lecturing, from PhotoNet, CalTech's archive. 6. There are, as we have seen, a number of different modes of technological innovation. Before the seventeenth century inventions (empirical or scientific) were diffused by imitation and adaption while improvement was established by the survival of the fittest. Now, technology has become a complex but consciously directed group of social activities involving a wide range of skills, exemplified by scientific research, managerial...
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...UNIVERSAL PICTURES and EMMETT / FURLA FILMS Present A MARC PLATT Production In Association with OASIS VENTURES ENTERTAINMENT LTD / ENVISION ENTERTAINMENT / HERRICK ENTERTAINMENT / BOOM! STUDIOS A BALTASAR KORMÁKUR Film PAULA PATTON BILL PAXTON JAMES MARSDEN FRED WARD and EDWARD JAMES OLMOS Executive Producers BRANDT ANDERSEN JEFFREY STOTT MOTAZ M. NABULSI JOSHUA SKURLA MARK DAMON Produced by MARC PLATT RANDALL EMMETT NORTON HERRICK ADAM SIEGEL GEORGE FURLA ROSS RICHIE ANDREW COSBY Based on the BOOM! Studios Graphic Novels by STEVEN GRANT Screenplay by BLAKE MASTERS Directed by BALTASAR KORMÁKUR –1– CAST Waitress Margie . . . . . . . . . . . . . . . . . . . . . LINDSEY GORT Roughneck #2 . . . . . . . . . . . . . . . . . HILLEL M. SHARMAN Robert “Bobby” Trench . . . . . . . . . DENZEL WASHINGTON Roughneck #3 . . . . . . . . . . . . . . . . . . . . . . . . AARON ZELL Marcus “Stig” Stigman . . . . . . . . . . . . MARK WAHLBERG Roughneck #4 . . . . . . . . . . . . . . . . . . . . . . . HENRY PENZI Deb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAULA PATTON CREW Earl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BILL PAXTON Admiral Tuwey . . . . . . . . . . . . . . . . . . . . . . . FRED J. WARD Quince . . . . . . . . . . . . . . . . . . . . . . . . . . JAMES MARSDEN Directed by . . . . . . . . . . . . . . . . . BALTASAR KORMÁKUR Papi Greco . . . . . . . . . . . . . . . . . EDWARD JAMES OLMOS Screenplay by . . . . . . . . . . . ...
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...▼How to Get Rich ◄ 2 ► ▼How to Get Rich Contents Title Page Dedication Introduction Five Billion Reasons Why You Should Read This Book PART I The Donald J. Trump School of Business and Management PART II Your Personal Apprenticeship (Career Advice from The Donald) PART III Money, Money, Money, Money PART IV The Secrets of Negotiation PART V The Trump Lifestyle ◄ 3 ► ▼How to Get Rich PART VI Inside The Apprentice Acknowledgments Appendix Behind the Scenes at the Trump Organization About the Author Also by Donald J. Trump Copyright ◄ 4 ► ▼How to Get Rich To my parents, Mary and Fred Trump ◄ 5 ► ▼How to Get Rich The Mother of All Advice Trust in God and be true to yourself. —Mary Trump, my mother When I look back, that was great advice, concise and wise at once. I didn’t really get it at first, but because it sounded good, I stuck to it. Later I realized how comprehensive this is—how to keep your bases covered while thinking about the big picture. It’s good advice no matter what your business or lifestyle. —DJT ◄ 6 ► ▼How to Get Rich TRUMP How to Get Rich ◄ 7 ► ▼How to Get Rich Introduction Five Billion Reasons Why You Should Read This Book A lot has happened to us all since 1987. That’s the year The Art of the Deal was published and became the bestselling business book of the decade, with over three million copies in print. (Business Rule #1: If you don’t tell people about your success, they probably won’t know...
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...▼How to Get Rich ◄ 2 ► ▼How to Get Rich Contents Title Page Dedication Introduction Five Billion Reasons Why You Should Read This Book PART I The Donald J. Trump School of Business and Management PART II Your Personal Apprenticeship (Career Advice from The Donald) PART III Money, Money, Money, Money PART IV The Secrets of Negotiation PART V The Trump Lifestyle ◄ 3 ► ▼How to Get Rich PART VI Inside The Apprentice Acknowledgments Appendix Behind the Scenes at the Trump Organization About the Author Also by Donald J. Trump Copyright ◄ 4 ► ▼How to Get Rich To my parents, Mary and Fred Trump ◄ 5 ► ▼How to Get Rich The Mother of All Advice Trust in God and be true to yourself. —Mary Trump, my mother When I look back, that was great advice, concise and wise at once. I didn’t really get it at first, but because it sounded good, I stuck to it. Later I realized how comprehensive this is—how to keep your bases covered while thinking about the big picture. It’s good advice no matter what your business or lifestyle. —DJT ◄ 6 ► ▼How to Get Rich TRUMP How to Get Rich ◄ 7 ► ▼How to Get Rich Introduction Five Billion Reasons Why You Should Read This Book A lot has happened to us all since 1987. That’s the year The Art of the Deal was published and became the bestselling business book of the decade, with over three million copies in print. (Business Rule #1: If you don’t tell people about your success...
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...cartiaz.ro No Questions Quiz 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 Carl and the Passions changed band name to what How many rings on the Olympic flag What colour is vermilion a shade of King Zog ruled which country What colour is Spock's blood Where in your body is your patella Where can you find London bridge today What spirit is mixed with ginger beer in a Moscow mule Who was the first man in space What would you do with a Yashmak Who betrayed Jesus to the Romans Which animal lays eggs On television what was Flipper Who's band was The Quarrymen Which was the most successful Grand National horse Who starred as the Six Million Dollar Man In the song Waltzing Matilda - What is a Jumbuck Who was Dan Dare's greatest enemy in the Eagle What is Dick Grayson better known as What was given on the fourth day of Christmas What was Skippy ( on TV ) What does a funambulist do What is the name of Dennis the Menace's dog What are bactrians and dromedaries Who played The Fugitive Who was the King of Swing Who was the first man to fly across the channel Who starred as Rocky Balboa In which war was the charge of the Light Brigade Who invented the television Who would use a mashie niblick In the song who killed Cock Robin What do deciduous trees do In golf what name is given to the No 3 wood If you has caries who would you consult What other name is Mellor’s famously known by What did Jack Horner...
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...M A G A Z I N E FA L L 2 0 0 2 Volume 20 Number 2 SPANNING THE GLOBE Duke Leads the Way in International Law Teaching and Scholarship inside plus Duke admits smaller, exceptionally well-qualified class Duke’s Global Capital Markets Center to launch new Directors’ Education Institute from the dean Dear Alumni and Friends, It is not possible, these days, for a top law school to be anything other than an international one. At Duke Law, we no longer think of “international” as a separate category. Virtually everything we do has some international dimension, whether it concerns international treaties and protocols, commercial transactions across national borders, international child custody disputes, criminal behavior that violates international human rights law, international sports competitions, global environmental regulation, international terrorism, or any number of other topics. And, of course, there is little that we do at Duke that does not involve scholars and students from other countries, who are entirely integrated with U.S. scholars and students. Students enrolled in our joint JD/LLM program in international and comparative law receive an in-depth education in both the public and private aspects of international and comparative law, enriched by the ubiquitous presence of foreign students; likewise, the foreign lawyers who enroll in our one-year LLM program in American law enroll in the same courses, attend the same conferences...
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...1 The Evolution of Music in Film and its Psychological Impact on Audiences By Stuart Fischoff, Ph.D. “I feel that music on the screen can seek out and intensify the inner thoughts of the characters. It can invest a scene with terror, grandeur, gaiety, or misery. It can propel narrative swiftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. Finally, it is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience.” Film composer Bernard Herrmann. Why Is There Music in Film? The general feeling about film is that it is singularly a visual experience. It is not. While we certainly experience film through our eyes, we just as surely experience it through our ears. Especially today, particularly with modern home and theater sound systems offering multi-channel sound and high fidelity. Films are generally fantasies. And fantasies by definition defy logic and reality. They conspire with the imagination. Music works upon the unconscious mind. Consequently, music works well with film because it is an ally of illusion. Music plays upon our emotions. It is generally a non-intellectual communication. The listener does not need to know what the music means, only how it makes him feel. Listeners, then, find the musical experience in film one that is less knowing and more feeling. The onscreen action, of course, provides clues and cues as to how the accompanying music does...
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...M A G A Z I N E FA L L 2 0 0 2 Volume 20 Number 2 SPANNING THE GLOBE Duke Leads the Way in International Law Teaching and Scholarship inside plus Duke admits smaller, exceptionally well-qualified class Duke’s Global Capital Markets Center to launch new Directors’ Education Institute from the dean Dear Alumni and Friends, It is not possible, these days, for a top law school to be anything other than an international one. At Duke Law, we no longer think of “international” as a separate category. Virtually everything we do has some international dimension, whether it concerns international treaties and protocols, commercial transactions across national borders, international child custody disputes, criminal behavior that violates international human rights law, international sports competitions, global environmental regulation, international terrorism, or any number of other topics. And, of course, there is little that we do at Duke that does not involve scholars and students from other countries, who are entirely integrated with U.S. scholars and students. Students enrolled in our joint JD/LLM program in international and comparative law receive an in-depth education in both the public and private aspects of international and comparative law, enriched by the ubiquitous presence of foreign students; likewise, the foreign lawyers who enroll in our one-year LLM program in American law enroll in the same courses, attend the same conferences...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...Blues vs Country music According to Etta James in an interview with American Chronicle: "The Blues and country are first cousins ... What I look for in a song is for the story to be for real. I like a blood and guts kind of thing. That's what you find in the lyrics of country music." Blues and country music both developed in the 19th century in the Southern United States. They share a similar history. For this reason, they share many of the same musical and lyrical characteristics. Read more: How to Compare Blues & Country Music | eHow.com http://www.ehow.com/how_5888119_compare-blues-country-music.htInstructions 1. * 1 Learn the history behind blues and country music. They are both forms of American folk music influenced by earlier styles brought overseas. Blues music grew out of field hollers and chants sung by African slaves. Irish and Scottish balladeers borrowed the guitar and banjo of blues and thus created "country". According to Reebee Garofalo in "Rockin' Out: Popular Music in the USA", "Terms like country and blues are only used to separate the same kind of music made by blacks and whites ... designations like race and hillbilly intentionally separated artists along racial lines and conveyed the impression that their music came from mutually exclusive sources." Country is an offshoot of blues. They are essentially the same thing. In the PBS special, "Rhythm, Country and Blues," country is referred to as "white man's blues." * 2 Listen to...
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