WorldCat Identities
Fri Mar 21 17:09:47 2014 UTClccn-n500192410.13The graduate0.281.00[Calder Willingham, head-and-shoulders portrait, facing front]27120361Calder_Willinghamn 5001924154675Willingham, CalderWillingham, Calder Baynard, 1922-ウィリンガム, カルダーlccn-n88226082Ross, Katharine1942-prfactlccn-n80148797Hoffman, Dustin1937-prfactlccn-n82221104Nichols, Mikeprfflmdrtlccn-n79035146Bancroft, Anne1931-2005prfactlccn-n87921592Daniels, William1927-actlccn-n87150389Henry, Bucksceausadpcmplccn-nr89010407Simon and Garfunkelprfitrvoclccn-n50023671Simon, Paul1941-cmplccn-n79090078Penn, Arthur1922-2010prfflmdrtdirlccn-no98037755MGM Home Entertainment IncWillingham, Calder1922-1995DramaFilm adaptationsFictionHistoryAudio adaptationsBildungsromansLove storiesFilm and video adaptationsMotion picturesMotion picture playsCollege graduatesMan-woman relationshipsMothers and daughtersWorld War (1914-1918)FranceMistressesYoung menCobb, Humphrey,Courts-martial and courts of inquiryUnited States, WestWebb, Charles Richard,Frontier and pioneer lifeCheyenne IndiansMontanaLittle Bighorn, Battle of the (Montana : 1876)Youth--Conduct of lifeSoldiersFrance.--ArméeSouthern StatesBerger, Thomas,AdulteryFamiliesVikingsBank robberiesMilitary educationNorthmenGreat BritainBattlesAmerican fictionDisfigured personsMarshall, Edison,PrincessesBritons--Kings and rulersTriangles (Interpersonal relations)LesbiansIslandsRevengeMotion picturesFamilies in motion picturesSex in motion picturesEscapesPsychological fictionNanniesYoung women--Conduct of lifeWomen household employeesMississippiPrisonsSheriffsUnited StatesWillingham, Calder,192219951947194819501951195219531954195519561957195819601961196219631964196519661967196819691970197119721973197419751976197719781979198019811982198319841985198619871988198919901991199219931994199519961997199819992000200120022003200420052006200720082009201020112012201314734159754791.4372PN1997ocn042011542ocn052493212ocn050069541ocn664880050ocn043469335ocn037596058ocn408943620ocn042013400ocn759521467ocn049281638ocn026741379ocn780652186ocn417660397ocn799684230ocn676637240ocn781116520ocn781316155ocn800012206ocn797381630ocn799364045ocn781399214ocn691237604ocn781116520ocn692010069ocn691823942ocn225689855421672ocn044694176visu19670.22Nichols, MikeThe graduateInterviewsDramaFilm adaptationsChristmas storiesA recent college graduate from an affluent family comes of age and finds himself by being led into an affair with the wife and the daughter of his father's business partner+-+3355293006324214847ocn042011542visu19570.24Kubrick, StanleyPaths of gloryFictionDramaFilm and video adaptationsWar filmsFilm adaptationsMotion picturesThe desolation, cynicism, and futility of war are embodied in this film based on a novel that took as its subject a real incident from World War I. Three innocent French soldiers are tried and convicted of cowardice, after their battalion fails to take a heavily fortified German position. Colonel Dax, a lawyer in civilian life, attempts to defend the men, who were chosen by a random drawing of lots. The General Staff, comfortable and safe behind the lines, demands they be executed to inspire the troops remaining in the trenches. Critical of the military hierarchy, and the class divisions that inspire the antipathy of common soldiers for the officer class, the film is renowned for its depiction of the callous treatment of the condemned men, taking their lives in so arbitrary a fashion+-+0215537425324202165ocn052493212visu19690.21Penn, ArthurLittle Big ManFictionDramaFilm and video adaptationsFilm adaptationsJack Crabb is 121 years old. And he's done it all. He's been a full-fledged Cheyenne, an Indian fighter, a snake oil merchant, master gunman, drinking buddy of wild Bill Hickok, colleague of Buffalo Bill, and is the only survivor of Custer's Last Stand. Crabb is either the Old West's most neglected hero or the biggest liar ever to cross the Mississippi. Little Big Man is Jack Crabb's story72614ocn050069541visu19580.19Fleischer, RichardThe VikingsHistoryDramaFilm adaptationsIt is the Middle Ages, and nothing is more feared in England than Viking warriors. In one of many raids, Viking leader Ragnar kills the English king and forces himself on the Queen. With the King dead, his brother takes the thrown but unknown to anyone but a trusted servant, the Queen is now with child. In order to protect the boy, he is sent away to be raised in safety away from the new King. Twenty years later, the Vikings under are still raiding England and they now have an Englishman, Egbert, making maps of the English coast for them. Ragnar has a son, Einar, a lusty warrior who takes what he wants when he wants it. They also have a slave, Eric, taken prisoner as an infant. Egbert realizes from a necklace Eric wears that he is the son of the Queen and is Einar's half-brother. When they kidnap Morgana, a Welsh beauty and the English King's betrothed, the stage is set for an inevitable clash between the half-brothers and with the reigning English King66627ocn001350842book19470.56Willingham, CalderEnd as a manFictionRoman speelt op een militaire academie in het zuiden van de VS58913ocn000435226book19680.28Willingham, CalderProvidence IslandFiction57642ocn055645626visu19610.18Brando, MarlonOne-eyed jacksHistoryFictionDramaFilm and video adaptationsFilm adaptationsJohnny Rio, betrayed by his best friend, returns to seek vengence after serving five years in a Mexican prison. After years of obsessed hatred the film concludes with a blazing showdown+-+232056742532450112ocn000508373book19720.25Willingham, CalderRambling Rose48923ocn000304162book19630.37Willingham, CalderEternal fire43929ocn085767295visu19730.24Altman, RobertThieves like usHistoryDramaTwo convicts break out of Mississippi State Penitentiary in 1936 to join a third on a long spree of bank robbing. The youngest of the gang falls in love with a girl he has met at their hideout. Their last robbery in Yazoo City goes bad and all three become notorious men, who are wanted by the law+-+51177374253243187ocn730406550rcrd20100.13Johnson, TerryThe graduateDramaAudio adaptationsBildungsromansLove storiesA fresh-faced college grad returns home, diploma in hand, to seek an answer to that age old question: 'Now what?' Lacking any clear career path, he falls prey to Mrs. Robinson, wife of his father's business partner. But it's Mrs. Robinsons' daughter who captures his heart28711ocn001056767book19750.37Willingham, CalderThe big nickel18411ocn045968122book19670.23Webb, Charles RichardThe graduateFictionDramaMotion picture playsA perplexed young man has an affair with an older woman, and then falls in love with her daughter+-+155902869518112ocn001355207book19500.84Willingham, CalderGeraldine Bradshaw1585ocn001242409book19510.86Willingham, CalderThe gates of hell15615ocn001284287book19510.86Willingham, CalderReach to the starsFictionDick Davenport vindt een baan in een luxueus hotel in California. Witte stranden, palmbomen, mooie, jonge en rijke mensen, er valt heel wat te beleven onder de Californische zon14410ocn000564107book19520.88Willingham, CalderNatural child977ocn001807985book19550.86Willingham, CalderTo eat a peachFiction9211ocn041948478visu19910.21Coolidge, MarthaRambling RoseDramaFilm adaptationsRose, an alluring young woman, is hired by a Southern family to care for their children, and changes their lives forever. She is an innocent who relates to everyone she meets in the only way she knows how-- with sexuality she cannot restrain. The mother of the family takes Rose under her wing, offering love and protection, while the teenaged son finds Rose both his fantasy and a profound mystery324ocn494524392visu19990.47Nichols, MikeThe graduate Le lauréatRésumé figurant sur la jaquette : "Benjamin Braddock, étudiant inexpérimenté fraîchement diplômé, retourne dans sa famille en Californie. Lors d'une soirée chez ses parents, il revoit Mme Robinson, l'épouse d'un associé de son père. A l'initiative de celle-ci, ils débutent une liaison. Mais Benjamin tombe amoureux d'Elaine, la fille de Mme Robinson, s'attirant ainsi les foudres de celle-ci. Folle de jalousie, la mère fera tout pour séparer les deux jeunes gens2161ocn050256672visu20020.21Coolidge, MarthaRambling RoseDramaFilm adaptationsRose, an alluring young woman, is hired by a Southern family to care for their children, and changes their lives forever. She is an innocent who relates to everyone she meets in the only way she knows how-- with sexuality she cannot restrain. The mother of the family takes Rose under her wing, offering love and protection, while the teenaged son finds Rose both his fantasy and a profound mystery22ocn038532674book19960.96Alkhas, MardukA comparative narrative analysis of Rambling rose : the novel and the filmFilm adaptationsThe rationale behind this study is the rhetorical dilemma in understanding the nature of the narrative. Following the theoretical works of the Russian Formalists, the study proposes a methodology to conduct a comparative narrative analysis of Rambling Rose, the novel written by Calder Willingham and the film directed by Martha Coolidge. To ascertain the similarities and/or differences between the novel and the film, the study compares the two levels of each narrative--story and discourse--separately. The study begins discerning the story of each narrative by recognizing (a) kernels--the distributional functions of a narrative which describe action(s), and (b) catalysts--the integrative functions of a narrative which describe characters, settings, and/or premises of the story. After the actions, characters, settings, and premises are recognized and identified, the events of the story and their chronological order are established and a schematic story line for each text is constructed. Finally, the study conducts a comparative story analysis by juxtaposing the chronological schematic story lines of the novel and the film. Once the story is distinguished, the study begins by defining the discourse as everything that provides shape or form to the story. According to this study, discourse is not only the structure built with the raw materials (the story), but also the signs--words or images--used to describe the raw materials and the structure they form. The study demonstrates that discourse controls the construction of meaning out of the events of the story. Even though most of the critics claim that Martha Coolidge has changed Willingham's romantic comedy into a feminist rhetoric, this study neither addresses the intention of the novelist/filmmaker, nor the perception of the reader/viewer. In this study, the adaptation of Rambling Rose is used as a source of illustration in order to apply the methodologies advanced by Genette and Chatman to a narrative text. The investigation concludes that story and discourse are not merely theoretical concepts in the realm of the narrative theory. As two levels of narrative, story and discourse are operatively and practically distinguishable11ocn690921637mix1.00Willingham, CalderCalder Willingham "Toscanini and Picasso" scriptThe collection consists of an original 93 page mimeographed script of "How Tall is Toscanini" and "It Rained on my Picasso," two one-act plays bradbound in stiff maroon paper covers. Notations and corrections throughout in an unknown hand. On title page: Property of Norman Twain11ocn495830696mix19711.00Willingham, CalderCalder Willingham screenplayRecords and correspondenceThe collection consists of a 164 page first draft carbon manuscript of his screenplay, On The Yard, based on the classic prison novel of the same name by Malcolm Braly which Willingham wrote as a motion picture vehicle for actor Dustin Hoffman but was a project which eventually fell through and was never produced. Specially hardbound in a large quarto volume in full green cloth with gilt-stamping. The volume has intermittent handwritten changes by Willingham throughout. The title page is signed by Willingham in black ink. Also, bound in is Willingham's retained carbon typescript of a 17 page letter dated May 10, 1971 to actor Dustin Hoffman and handsigned in ink by Willingham. This long letter describes the Hollywood process of filmmaking and a fascinating analysis of how Willingham sees Hoffman in the role11ocn051127716visu19471.00[Calder Willingham, head-and-shoulders portrait, facing front]11ocn844003180book19571.00"The strange one" : promotional material for the 1957 filmPictorial worksFilm adaptations11ocn423678500visu20071.00Coolidge, MarthaWomen in Film oral history interview, Martha CoolidgeInterviewsMartha Coolidge (1946-) begins the discussion by noting that she prefers to wear comfortable clothing and shoes when she directs, particularly blues jeans and t-shirts. She continues with her thoughts on what a women should wear to get a job as a director and suggests that it's very important to show confidence and the ability to take charge. She continues with her relocation from New York to Montréal, Canada in the late 1960s and early 1970s where she got a job in television as a production assistant and became active in the separatist movement in Québec. She continues with her move back to New York to attend New York University's film school. She then mentions her move to Los Angeles after being an independent filmmaker in New York making documentaries before returning to Canada and moving to Toronto where she directed a mini-series segment for the CBC that led to a job directing a feature film for Zoetrope before the production company went bankrupt. She continues with how she later met a guy who had taken her out to dinner who told her about a low budget picture he and his partner were interested in making called VALLEY GIRL. She continues with her reading the script, liking it, and agreeing to direct the film, which was released in 1983. She then discusses the success of VALLEY GIRL (1983) and her entry into directing teen exploitation films while under contract for Paramount. She continues with her directing NATIONAL LAMPOON'S THE JOY OF SEX (1984), REAL GENIUS (1985), and MGM buying out her contract with Paramount. She then discusses the casting session for VALLEY GIRL (1983), choosing Nicholas Cage (1964-) for the lead role, and her relationship with Zoetrope and Francis Coppola (1939-). She continues with casting and directing the motion picture, RAMBLING ROSE (1991), and working with Diane Ladd (1932-), Laura Dern (1967-), Robert Duvall (1931-), Renny Harlin (1959-), writer Calder Willingham (1922-1995) and composer Elmer Bernstein (1922-2004). She continues with the success of RAMBLING ROSE (1991) and how it pulled her out of directing teen comedies into more serious fare. She continues with her choice to direct Neil Simon's LOST IN YONKERS (1993), working with producer Ray Stark at Columbia, and noting that the film was the first to be cut on an Avid. She continues with her next project, ANGIE (1994), and working with Geena Davis (1956-). She continues with the challenges of balancing a directing career with motherhood, bringing her son and his nanny with her on the set, and her divorce from her first husband. She continues with meeting her second husband on location while directing OUT TO SEA (1997), working with Walter Matthau (1920-2000) and Jack Lemmon (1925-2001), and directing THE PRINCE AND ME (2004) and INTRODUCING DOROTHY DANDRIDGE (1999). She then discusses joining the Directors Guild of America (DGA) after directing NATIONAL LAMPOON'S THE JOY OF SEX (1984), becoming active in the guild, her election to the guild's board of directors, and representing the Creative Rights Committee, a committee she chaired for ten years. She continues with her election as the first female president of the DGA in 2002, the guild's more corporate culture, the challenges representing an organization, and her contribution applying more serious pressure on the networks and production companies to hire more women and minorities in television production. She continues with current projects directing some television episodes, especially episodes of CSI: CRIME SCENE INVESTIGATION (2002-), differences she perceives between film and television production in that a film takes a lot longer to get made, and that in television it is common for a producer to communicate the vision or "look" of the show to an incoming director. She continues with how she overcame the obstacle of becoming a woman director in a male-dominated profession, ageism in the motion picture industry, and her advice to young women pursuing careers as directors+-+3355293006324+-+3355293006324Fri Mar 21 15:15:52 EDT 2014batch37607