In this Ideas Roadshow episode, Stefan Collini of University of Cambridge speaks with Howard Burton about what really happened during the famous public interchanges between C.P. Snow and F.R. Levis and why the discussion is still overwhelmingly relevant today, with a brief digression into the role of the university.

This program presents the story of the formation of the Constitution, and the following years of the Carranza regime, which featured great difficulties, which included hunger, butchery and a large part of the country at war. (In Spanish)

This program presents the bloodiest period of the Revolution - the civil war among the winners, who split sides between Zapata and Carranza. (In Spanish)

This program presents Francisco I. Madero's efforts to end Porfirio Díaz hold on power, and the reaction toMadero's government reforms. (In Spanish)

This program presents a brief portrait of the Porfiriato (the Porfirio Diaz regime) and the history of the uprising that led to revolution. (In Spanish)

How Hollywood Does It is a look at the history, techniques, movements and people who create the magic of motion pictures. The Golden Age of Hollywood motion picture making was a period of almost 30 years, beginning in 1928 and ending in the mid-1950s. This program focuses on the classical Hollywood era of the 1930s through the 1950s. The hosts discuss and present clips from some of the films which made this era of Hollywood so memorable including the musical Dixiana, the western (Fighting Caravans), A Star is Born, The Vampire Bat, The Little Princess (Shirley Temple), Father’s Little Dividend with Spencer Tracy and Elizabeth Taylor. Hosted by Jeffrey Hill and Mark A. Graves - Jeffrey Hill is an associate professor at Morehead State University, Department of Communication, Media and Leadership Studies. Dr. Mark Graves is an associate professor of English.

How Hollywood Does It is a look at the history, techniques, movements and people who create the magic of motion pictures. This program focus’s on editing and how this process helps tell the story in a motion picture. The editing process follows some simple steps: takes the raw footage from the camera after it is developed, select the shots and combines them into sequences which will themselves be combined to create an entire motion picture. Completing these steps sounds easy enough, but in reality, editing a film extends beyond arranging shots into a completed project. Deciding which shots to use and their length requires creativity and discernment. Editing is sometimes described as an invisible art, because if the editor performs their job well, the audience, never notice the cuts. We are simply engaged in the story. Editing discusses how a film is cut to create the story we see on the screen. This program features a long take, from the 1950 film Cyrano de Bergerac, Establishing shot, from the 1937 film A Star is Born, A point of view shot, when the camera replaces the eye of the character and we see exactly what the character sees - the opening of Naked Kiss from 1964 and cutting on action, from John Houston’s 1954 film Beat the Devil. Hosted by Jeffrey Hill and Mark A. Graves - Jeffrey Hill is an associate professor at Morehead State University, Department of Communication, Media and Leadership Studies. Dr. Mark Graves is an associate professor of English.

How Hollywood Does It is a look at the history, techniques, movements and people who create the magic of motion pictures. Sound investigates the various types of sound, how they are recorded, and how they are incorporated in a film. Besides the visuals in moving pictures, sound also contributes to part of those magical effects. This program will focus on sound design and how life can be breathed into a project through the use of carefully selected and carefully placed sounds. When we think about or talk about them, we can categorize all sounds into one of three categories: dialogue or voice, music, and sound effects. Sound effects can be sounds that occur naturally within the film itself or sounds that add to the overall impact that the film presents. Music is quite often not part of the film itself, but a musical track that adds to the mood of the film. Both music and sound effects are usually classified as either diegetic or non-diegetic sounds. Simply put, non-diegetic sounds are those which do not occur within the film, while diegetic sounds occur inside of the film’s action. This program features diegetic and non-diegetic music in the 1950 film D-O-A Atmospheric sound known as foleying in Meet John Doe and manufactured sound elements (suspenseful mood music, a ray gun emission, the whirling of flying spaceships) in the 1953 Killers From Outer Space. Hosted by Jeffrey Hill and Mark A. Graves - Jeffrey Hill is an associate professor at Morehead State University, Department of Communication, Media and Leadership Studies. Dr. Mark Graves is an associate professor of English.

How Hollywood Does It is a look at the history, techniques, movements and people who create the magic of motion pictures. Mise-en-scene looks at how filmmakers make decisions about what is put before the camera. It includes costumes, props, set design, positioning of actors and much more. Mise en scène is a term that refers to all visual elements that appear within each frame of a motion picture. Without various features of mise en scène, a moving picture would consist of only a series of flickering black or light-infused frames, since even a colored screen would provide visual information that some might consider an element of mise en scène. A French phrase which translates roughly as “placed on stage, ”mise en scène” is a broad concept often difficult to define for film because it only exists when considering a combination of elements within the frame or camera’s eye. Basically, anything to be filmed—the setting, the costumes and make-up, the movement, facial expression, and position of actors on screen, and some elements of lighting—is considered mise en scène. The concept of mise en scène for film shares a lot with theater production in that props, sets and blocking of actors are all deliberately chosen for particular effects, although the physical space of the stage and theater often limit or dictate how mise en scène is perceived by an audience. Features the Western, Angel and the Badman, silent film, Caligari, costuming Cyrano de Bergerac and lighting (an air of mystery) Film Noir. Hosted by Jeffrey Hill and Mark A. Graves - Jeffrey Hill is an associate professor at Morehead State University, Department of Communication, Media and Leadership Studies. Dr. Mark Graves is an associate professor of English.