Roses Are For The Rich 1987 Movi ((INSTALL))
I was forwarded the attached message from one of the many StarTrek lists. It concerns taping of commercial videos, conventionfootage, etc. that the star of Voyager has appeared in. Commentsplease on the copyright issues. You might also forward commentsto the original poster, tigger[_at_]cais.cais.com Thanks Carol Kilroykilroy[_at_]mail.loc.govckil[_at_]loc.gov> ---------- Forwarded message ---------- > Date: 21 Mar 1996 16:59:16 EST > From: MAIL.TIGGER4 > To: ckil[_at_]LOC.GOV > Subject: NOW VOYAGER CLUB LIBRARY > > ------------------------------------ > AUTHOR: MAIL.TIGGER4 > ------------------------------------ > Received: from CAIS.CAIS.COM by MAIL.LOC.GOV > (Soft*Switch Central V4L380P7); > 07 Mar 1996 14:47:21 EST > Received: from [220.127.116.11] (tigger.cais.com [18.104.22.168]) by cais.cais.com (8.6.10/8.6.5) with SMTP id OAA07209; Thu, 7 Mar 1996 14:22:59 -0500 > Message-Id: > Mime-Version: 1.0 > Content-Type: text/plain; charset="us-ascii" > Date: Thu, 7 Mar 1996 14:25:31 -0500 > To: tigger[_at_]cais.cais.com > From: tigger[_at_]cais.cais.com (Michelle & Paul) > Subject: Now Voyager Club Library > > Here are the Kate Mulgrew films and audiobooks that Cheryl, our Club > Librarian, has on video. She also has some con footage and interviews. She > is willing to make copies for people at a nominal sum to cover reproducing > and mailing tapes from Canada. > > Television (starred titles are series, non-starred titles are TV movies): > Gargoyles (2 episodes) > *Star Trek: Voyager (1995) 1995- [Captain Kathryn Janeway] > Danielle Steele's 'Daddy' (1991) 1991 [Sarah Watson] > *Murphy Brown (1991) 1991 [Hillary] > *Heartbeat (1988) 1988-1989 [Dr. Joanne Springsteen] > Roots: The Gift (1988) [Hattie Carraway] > *Murder, She Wrote (1987) 1987-91 [The Corpse Flew First Class] > Roses Are for the Rich (1987) 1987 [Kendall Murphy] > *Cheers (1986) [Janet Eldredge] [Strange Bedfellows] > *A Stranger Is Watching (1982) [Sharon Martin] > *The Manions of America (1981) (miniseries) 1981 [Rachel Clement] > A Time for Miracles (1980) 1980 [Elizabeth Seton] > *Mystery of the Week (1978) [Alien Lover] > > Movies: > Camp Nowhere (1994) [Rachel Prescott] > Round Numbers (1992) [Judith Schweitzer] > Throw Momma from the Train (1987) [Margaret] > Remo Williams: The Adventure Begins... (1985) [Major Rayner Fleming] > Love Spell (1979) [Isolt] > > Audiobooks: > Everything To Gain (Barbara Taylor Bradford) Harper Audio 1994 > Miami, It's Murder (Edna Buchanan) Harper Audio 1994 > Taboo (Elizabeth Gage) 1993 > > > > It costs $10 (US) for a 6 hour tape and $12 for an 8 hour tape. Please > tell Cheryl what speed you want your programs taped at. It will probably > take her at least a month to dub everything everyone asks for. Write to her > at starbuck[_at_]terraport.net if you're interested, but do not expect immediate > replies in case she gets swamped with requests! Also, if you have any > movies not listed here, please tell Cheryl! > > * * * * * * * * * * * * * * * * * * * * * * * * * * * * * > * tigger[_at_]cais.cais.com/thepooh[_at_]aol.com * > * Home of Now Voyager, Kate Mulgrew's Official Fan Club * > * JANEWAY/CHAKOTAY '96! * > * * * * * * * * * * * * * * * * * * * * * * * * * * * * *Received on Mon Mar 25 1996 - 19:50:47 GMTThis message: [ Message body ]
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Roses Are For The Rich 1987 Movi
"[A] well-plotted survey." Total FilmIn 100 American Horror Films, Barry Keith Grant presents entries on 100 films from one of American cinema's longest-standing, most diverse and most popular genres, representing its rich history from the silent era - D.W. Griffith's The Avenging Conscience of 1915 - to contemporary productions - Jordan Peele's 2017 Get Out. In his introduction, Grant provides an overview of the genre's history, a context for the films addressed in the individual entries, and discusses the specific relations between American culture and horror. All of the entries are informed by the question of what makes the specific film being discussed a horror film, the importance of its place within the history of the genre, and, where relevant, the film is also contextualized within specifically American culture and history. Each entry also considers the film's most salient textual features, provides important insight into its production, and offers both established and original critical insight and interpretation.The 100 films selected for inclusion represent the broadest historical range, and are drawn from every decade of American film-making, movies from major and minor studios, examples of the different types or subgenres of horror, such as psychological thriller, monster terror, gothic horror, home invasion, torture porn, and parody, as well as the different types of horror monsters, including werewolves, vampires, zombies, mummies, mutants, ghosts, and serial killers.