Paulette spent several years working in the film and TV industry, but returned to academics after completing her Master of Arts in Film and Television from Regent University. She now enjoys a career in academia by serving as an Assistant Professor of Communication and the Program Coordinator for Film and Television Production at Oakwood University.
paulette film u
Paulette Phillips works in Europe and Canada in film for installation and also with audio, performance, electro-magnetism, digital photography, video, light and mechanics. During her career she has established an international reputation for her tense, humorous and uncanny explorations of the complexity of social and physical energy and contradictions that play out in our construction of stability. She began her career as an artist making video, performance and multimedia performance and went on to train as a feature film director and writer at the Canadian Film Centre. She shifted from film production to installation based sculpture with film and video in 2000.
museum installation, studio practice, sculpture, fabrication, film and video production, feature film directing, editing and writing, broadcast television, editing, script writing, grant writing; photography and performance My practice is determined by historical research
Kahstoserakwathe Paulette Moore is an independent filmmaker, lecturer, artist and educator. Moore is Kanyen'kehàka (Mohawk) and an enrolled member of Six Nations of the Grand River territory where she is based. She is a full-time Kanyen'kehàka (Mohawk) language immersion student (more of her background below).
1) Indigenizing Media: Through a series of film clips Moore describes her journey from working as a reporter and documentary filmmaker with National Geographic, Discovery Channel and other mainstream media to her present work with and for her communities. Moore engages concepts around Traditional Ecological Knowledge to describe how media can be used to connect and heal in a chaotic era.
2) Finding and Sharing Your Bundle: Moore uses her 2018 film "The Eagle and The Condor: From Standing Rock with Love" to help participants identify and share their own talents and gifts. The film provides examples of individuals, Indigenous and non-Indigenous, who brought their bundles to the Standing Rock water protection actions. One aspect of this is to have participants create and share their own bundles
3) Ceremony as Sovereignty, Medicine and a Map: Moore uses her films and her own nations cultural teachings to identify how and why ceremony is critical to engage in our communities in meaningful ways.
Moore recently completed a series of films with Free Speech TV about the 2016/17 Standing Rock water protection actions and from 2017 - 2019 was an affiliated professor of Indigenous media and philosophy at Northland College in Ashland, Wisconsin
Moore spent two decades based in Washington DC working as a director, producer and writer with Discovery Channel, National Geographic, PBS, ABC and other media outlets. In 2004 she began making independent, community-based films as Shenandoah University's filmmaker-in-residence in Winchester, Virginia. Her 2007 film "Wit, Will and Walls" documents the history of desegregation in the Shenandoah Valley and has been used extensively to facilitate dialogue about race. In 2009 Moore began work as an associate professor of media arts and peacebuilding at Eastern Mennonite University in Harrisonburg, VA. There, she collaborated with students to create "To Wisconsin with Love": a film about Ojibwe resistance and envisioning in response to what would have been the world's largest open-pit taconite mine.
In 2016 Moore collaborated with Northland College (Ashland, WI) students to create "From Wisconsin with Love" which focuses on the spiritual, economic, physical, and legal aspects of the act of harvest from the perspective of Ojibwe prophecy and practice. Her work often features art pieces linked to her films including several incarnations of a collaborative community embroidery project.
This includes Molecular Simulation studies of semiconductor materials covering a broad range from traditional Si and Si-rich materials, to organic electronics (e.g., pentacene, C60, thiophenes, etc), to organic/inorganic hybrids (especially ligand-capped nanocrystal superlattices). Complementary algorithm development in stochastic simulations, Kinetic Monte Carlo (esp. off-lattice). Virtually unique focus on studies of materials processing and thin film growth.
Goddard was born in New York City, as Marion Levy, the daughter of Joseph Russell Levy, the son of a prosperous cigar manufacturer from Salt Lake City, and Alta Mae Goddard.[12][13] Her father was of Russian Jewish heritage, while her mother an Episcopalian of English ancestry. They had married on December 28, 1908, in Manhattan.[citation needed] Although named Marion, her mother had called her Pauline from a young age. Goddard moved with her parents to Kansas City, Missouri when she was young, where her father worked for a film company.[citation needed] Shortly thereafter, her parents separated and divorced in 1926. According to Goddard, her father left them, but according to J. R. Levy, Alta absconded with the child; to avoid a custody battle, she and her mother moved often during her childhood, including relocating to Canada at one point.[12] Goddard did not meet her father again until the late 1930s, after she had become famous.[14] In a 1938 interview published in Collier's, Goddard claimed Levy was not her biological father. In response, Levy filed a suit against his daughter, claiming that the interview had ruined his reputation and cost him his job, and demanded financial support from her; Goddard admitted her loss in the case in a December 1945 interview with Life, and was forced to pay her father $35 a week.[14]
Goddard first visited Hollywood in 1929, when she appeared as an uncredited extra in two films, the Laurel and Hardy short film Berth Marks (1929) and George Fitzmaurice's drama The Locked Door (1929).[18] Following her divorce from James, Goddard and her mother briefly visited Europe before returning to Hollywood. Upon her return, Goddard signed her first film contract with producer Samuel Goldwyn to appear as a Goldwyn Girl in Whoopee! (1930). She also appeared in City Streets (1931), Ladies of the Big House (1931), and The Girl Habit (1931) for Paramount, Palmy Days (1931) for Goldwyn, and The Mouthpiece (1932) for Warners. However, Goddard and Goldwyn did not get along, and she also began work for Hal Roach Studios in 1932, appearing in a string of uncredited supporting roles for the next four years.[18]
The year she signed with Hal Roach, Goddard began dating Charlie Chaplin, a relationship that received substantial attention from the press.[18][19] It marked a turning point in Goddard's career when Chaplin cast her as his leading lady in his next box office hit, Modern Times (1936). Her role as "The Gamin", an orphan girl who runs away from the authorities and becomes The Tramp's companion, was her first credited film appearance and garnered her mainly positive reviews, Frank S. Nugent of The New York Times describing her as "the fitting recipient of the great Charlot's championship".[18]
Following the success of Modern Times, Chaplin planned other projects with Goddard in mind as a co-star, but he worked slowly, and Goddard worried that the public might forget about her if she did not continue to make regular film appearances. She signed a contract with David O. Selznick and appeared with Janet Gaynor in the comedy The Young in Heart (1938). Selznick, who was pleased with Goddard's performance in the film, strongly considered her for the role of Scarlett O'Hara in Gone With the Wind. Initial screen tests convinced Selznick and director George Cukor that Goddard would require coaching to be effective in the role, but that she showed promise.[11] By December 1938, Selznick had narrowed the choices to Goddard and Vivien Leigh, who won the role after the two completed the only Technicolor screen tests for the role. Goddard's losing out on the role was attributable to several factors. Notably, the head of Selznick's publicity department Russell Birdwell had strong misgivings about Goddard, writing "Briefly, I think she is dynamite that will explode in our very faces if she is given the part."[11] Chaplin's biographer Joyce Milton wrote that Selznick also worried about legal issues by signing Goddard to a contract that might conflict with her pre-existing contracts with the Chaplin studio.[20]
In 1939, Goddard signed a contract with Paramount Pictures and was promptly teamed with comedian Bob Hope for the horror comedy film The Cat and the Canary (1939). The film became a turning point for both their careers, and they were promptly reteamed for The Ghost Breakers (1940) and Nothing but the Truth (1941), both of which also featured Willie Best. She was also cast for the musical comedy Second Chorus opposite Fred Astaire, Artie Shaw, and future husband Burgess Meredith. Astaire later described it as "the worst film I ever made" while Shaw admitted the film made him reconsider an acting career.[23] In September 1939, Chaplin also began production on his next film The Great Dictator (1940) in which Goddard again co-starred alongside him as Hannah. The film was released the following year to critical and audience acclaim. However, it would also be her final film with Chaplin, as their marriage fell apart soon after.[citation needed]
In 1940, Goddard made the Cecil B. DeMille Western film North West Mounted Police opposite Gary Cooper and Madeleine Carroll. The film, her first dramatic role for Paramount, became one of the year's top-ten grossing films. She also starred in another musical comedy Pot o' Gold opposite James Stewart, which was released the following year. Stewart expressed similar feelings toward his film as Astaire,[24] while Goddard's biographer Julie Gilbert claimed Goddard did not like Stewart's acting, reportedly saying "anyone can gulp". Her other film for 1941, romantic drama Hold Back the Dawn with Charles Boyer and Olivia de Havilland, received positive reviews. 2ff7e9595c
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