1,805 research outputs found
BJC faculty I. E. Solberg and Dean Ralph Werner survey the Sidney J. Lee Auditorium during installation of permanent seats in 1962
No full textBJC faculty I. E. Solberg (left) and Dean Ralph Werner (right) survey the Sidney J. Lee Auditorium during installation of permanent seats in 1962. (Photograph by Leo LaLonde; originally published in the Bismarck Tribune, February 23, 1962.
1967 Jay-Cee-An BJC -- Page 4
No full textPhotograph of I. E. Solberg, BJC Director of Student PersonnelDirector of Student Personnel
I. E. (,(,Esky" Solberg
1951 Jay-Cee-An BJC - Page 54
No full textDrawing of social science teacher I. E. Solberg; photograph of classroomI. E. Solberg
Economics
American Government
European Histor
Harry L. Solberg Interview
No full textOral history interview with Harry L. Solberg by Robert B. Eckles.
1951 Jay-Cee-An BJC - Page [7]
No full textDedication to I. E. Solberg, yearbook advisorDedication
Dedicated to Mr. I. E. Solberg .
. . . . our 1951 Annual .
. . . . . . . " The Joy- Cee- cn" .
To this he gave freely of his .
Time.
Effort .
Energy .
We admire his qualities of .
Thoughtfulness of .
Sincerity and of .
Thoroughness .
Having had him serve as our advisor we hope
that these characteristics will mirror
themselves not only in this book but also
in the lives of the students portrayed .
. . . . . . . . In his adventure, beyond the realm
of education, we wish him success, .
good fortune and happiness
1964 Jay-Cee-An BJC -- Page 2
No full textDedication to I. E. Solberg, Director of Student Relations and Economic faculty2
OUR SILVER ANNIVERSARY DEDICATION TO
1. E. (ESKY) SOLBERG
Twenty-five years of progress have passed. "Esky" Solberg has devoted fifteen years of diligent work
to the successful advancement of BJC. Serving in the capacity of Director of Student Relations, he has giv-en
endless hours to student and social activities. A warm smile greets a student at his office door, and he
leaves with a feeling of having been understood and assured that there are many brighter days ahead. Ad-vice
and counseling are given in the best interests of the student rather than from the school's or teacher's
viewpoint.
Besides being a counselor, Mr. Solberg teaches Principles of Economics to approximately one-tenth of
the student body. These classes offer a rewarding challenge to each student. His class preparations are of-ten
very involved, but for the student this instructor exceeds the requirements.
Duties at school are by no means the end of "Esky's" activities. He is active in civic affairs, art,
music, and fraternal organizations. He also serves on various national economic committees. He amazes
students by his ability to leave for New York on Wednesday afternoon, speak at a meeting, and be back in
class Friday morning more alert than his students!
We, the Silver Anniversary Class of BJC, dedicate this 1964 Jay-Cee-An to our esteemed "Esky" Sol-berg,
who has done so much to truly make Bismarck Junior College "a college with a future.
1967 Jay-Cee-An BJC -- Page 5
No full textDedication to I. E. Solberg, BJC Director of Student PersonnelRarely has a college had an individual
who has dedicated his entire loyalty,
energy, and life to the administration,
faculty and students, as Bismarck Junior
College has had.
It is with both pride and regret that
we dedicate this Jay-Cee-An to I. E.
"Esky" Solberg. Esky has been with
B. 1. C. since 1945. He has held various
positions throughout his career from in-structor
to Dean of Students.
This was Eskys' last year with Bis-marck
Junior College, and it is with great
sorrow that we must continue without his
assistance.
We wish him great success with his
new profession, but we will sorely miss
him, and we are hopeful he will return
upon occasion to confer with us.
Helena Solberg: a brazilian filmmaker in a US television station
No full textEste ensaio circunscreve o seguinte argumento: as ideias de Raymond Williams sobre a televisão como forma e experiência cultural ampliam a compreensão sobre o período em que a cineasta brasileira Helena Solberg dirigiu diversos documentários para uma emissora de televisão norte-americana na década de 1980. Para sustentar este argumento, nos apoiamos em análises tecidas por Raymond Williams em Television (1974) e nas pesquisas sobre a trajetória de Helena Solberg realizadas por Mariana Tavares e Ana Maria Veiga. Como resultado, esperamos explicitar como os documentários dirigidos por Helena, financiados e exibidos pela emissora estadunidense Public Broadcasting Service (PBS), integram usos e práticas televisivas mais democráticas, que a partir de Williams podem ser mais bem contextualizadas e compreendidas.This paper argues that Raymond Williams’ ideas about television as cultural form and experience broaden the understanding the trajectory of Helena Solberg’s, a Brazilian filmmaker who directed several documentaries for a North American television station in the 1980s. To support this argument, we rely on the analysis made by Williams in Television a (1974) and the research on the Helena Solberg trajectory carried out by Mariana Tavares and Ana Maria Veiga. As a result, we explain how Helena’s documentaries, funded and broadcast by PBS (Public Broadcasting Service), constitute more democratic uses and practices that, considering Williams, can be better contextualized and understood
Mulheres no cinema de Helena Solberg: entre múltiplos olhares e vozes, os documentários A Entrevista (1966) e The Double Day (1975)
No full textA tentativa de estabelecer uma linha evolutiva em perspectiva comparada na análise das identidades e vivências de mulheres, a partir dos documentários A entrevista (1966) e The double day (1975), de Helena Solberg, é também a tentativa de apreender dois momentos distintos destas obras. Sua autora vivenciou a experiência de olhar e mergulhar na América Latina somente quando fora do Brasil, após o AI-5, e já radicada na capital norte-americana, Washington. No entanto, ao acompanhar a trajetória das trabalhadoras de cidades e vilarejos latino-americanos, em fábricas ou na mineração, ressaltam-se a força e a multiplicidade do ser-mulher. Sua filmografia então volta-se, definitivamente, para questões sociais que a acompanham até produções recentes, que mantêm as escolhas voltadas às mulheres, talvez, a sua principal temática.The attempt to establish an evolutionary line in compared perspective in the analysis of the identities and experiences of women, based on the documentaries A entrevista (1966) and The double day (1975), by Helena Solberg, is also the attempt to apprehend two distinct moments from these works. Its author lived the experience of looking and diving in Latin America only when outside of Brazil, after the AI-5, and already living in the North American capital, Washington. However, when following the trajectory of workers in Latin American cities and villages, in factories or in mining, the strength and multiplicity of being-women are emphasized. Her filmography then definitely turns to social issues that accompany her until recent productions, which keep the choices focused on women, perhaps, her main theme
Cineastas brasileiras em tempos de ditadura: cruzamentos, fugas, especificidades
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em História, Florianópolis, 2013.Esta tese trata dos filmes realizados por três diretoras brasileiras durante o período da ditadura militar (1964-1985), atravessados pela irrupção das reivindicações de emancipação e igualdade para as mulheres, principalmente nos anos 1970, e pela repressão do regime militar e seu órgão de censura, que buscavam moralizar a sociedade e manter as mulheres em seus papéis privados, tradicionalmente estabelecidos dentro da cultura e da sociedade brasileiras. Diante desse contexto, busco cartografar os caminhos por onde passam as carreiras de Helena Solberg, Tereza Trautman e Ana Carolina, esboçando e delineando contatos, circulações, citações e influências por meio de outros filmes e cineastas, do movimento de resistência à ditadura e dos #novos cinemas# que surgem a partir dos anos 1950, no período pós-segunda guerra mundial, entre eles o chamado #cinema de mulheres#, que trato aqui como um acontecimento. De maneira radical, essas diretoras adquiriram agenciamento, expandindo os horizontes da esquerda e questionando irreversivelmente o lugar das mulheres dentro das propostas de uma nova sociedade. Os efeitos de uma herança póscolonial perpassam a produção cinematográfica latino-americana, gerando no período recortado a necessidade de se buscar uma #identidade#, relacionada à resistência e a um sonhado novo cenário político, cultural e socioeconômico. A busca de novas estéticas estava intimamente ligada à política e isso esteve presente no trabalho dessas diretoras. A particularidade do cinema realizado por elas é a meta de compreensão desta tese, que busca seus cruzamentos, fugas e especificidades, que se expressam através da linguagem fílmica, mas que se fundem ao cenário de reivindicações dos movimentos sociais contemporâneos.Abstract : This thesis deals with films made by three Brazilian women directors during the military dictatorship (1964-1985), together with the eruption of claims of emancipation and equality for women, mainly in the 1970's, and by the repression of the military government and its censorship organism, which tried to moralize society and keep women in their private roles, traditionally established inside Brazilian culture and society. In this context, I intend to draw a map of the pathways by which passed through Helena Solberg, Tereza Trautman and Ana Carolina's careers, drafting contacts, circulations, citations and influences through other films and directors, the movement of resistance toward the dictatorship and the "new cinemas" that emerged from the 1950's, in the post-second world war period; between them "women's cinema", which I understand here as a happening. In a radical way, these directors acquired agency, expanded the left horizons and irreversibly questioned the place of women inside the purposes of a new society. The effects of a post-colonial heritage crossed Latin-American film production, generating at that moment a necessity of looking for an "identity" related to resistance and to the dream of a new political, cultural and social-economical scenario. The search of new aesthetics was closely related to politics and it was represented in these directors' films. This thesis goal is the particularity of the cinema made by them, looking for their crossroads, escapes and specificities, which are expressed through filmic language, but that are mixed to the contemporary social movements' vindications scenario
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