Remak ramsay biography examples

An Endowment-wide initiative to promote understanding of the military experience and to support returning veterans.

NEH seeks grant proposals that explore war and its aftermath, promote discussion of the experience of
military service, and support returning veterans and their families.

Division of Public Programs

List of Funded Media Projects on the History and Experience of war

Note- This list fryst vatten organized in four sections: films about specific wars, biographies, other projects of interest, and projects in production. Projects are listed chronologically bygd the time period they cover (not by production date). The Division has funded films on every major war through World War Two.  The presidential biographies also have extensive coverage of wartime issues, both at home and abroad.

1. The War That Made America

   Documentary

   The War That Made America brings to life a vastl

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   -- Victoria K. Woodhull, Associate Director, Farnsworth Art Museum

    

   (right: Rockwell Kent, Night Watch, , wood engraving. Museum purchase, the Meissner Fund for American Graphics)

    

    

   Engraving, in my hands, became wonderfully consistent with the eccentricities of my own nature; with my general inability to distinguish what are termed the 'finer shades;' my preference for fair over foggy day; for clean, sharp lines; for clear perception versus mystical imaginings; for stark, uncompromising realism versus unreality. You've got to know your mind to work with steel on wood.

    

         -Rockwell Kent, "It's Me Oh Lord" ()

    

   Do I make pictures and write books because I think it's nice to make pictures and write books? No! I think of all the arts as by -products of life. Life has always been, and, God help me, always will be so exciting that I'll want to talk about it. My art, an

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   At the age of thirty-seven, Martin Ritt was already an old pro. He’d started as an actor with the Group Theater, understudying John Garfield in Clifford Odets’s Golden Boy, before launching a television career on both sides of the camera, appearing in around television plays and directing a hundred more at CBS. And then, in , the network declined to renew his contract. CBS refused to give a reason, much to Ritt’s annoyance: “Nobody would dare admit it, because it was against the law to blacklist anybody. They didn’t want any legal problems on their hands. To this day, they deny that anything like that existed.” But it was obvious that Ritt was guilty by association. He had directed a play for a trade union, he had been involved in a Russian war relief show at Madison Square Garden, and he’d been a member of the Group Theater, known not only for its adoption of Stanislavski’s method but also its left-wing politics. He was, in short, a liability. The House Un-American Activi