ENTERTAINMENT
The University Daily KANSAN
University Daily Kansan; March 27, 1984
Page 6
THE OSCARS:
Guess the winning films and put $50 in the bank
The University Daily Kansan's "YOU PICK 'EM: THE OSCARS COMPETITION" Contest is back for its second year. Guess how the Academy of Motion Picture Arts and Sciences will vote April 9 at the 56th annual Academy Awards and win $50 for the Kansan
To enter, fill out the form below and check your favorite Oscar nomination in 17 categories. Then drop this form by the Kansan newsroom, 111 Stauffer-Flint Hall, by the contest's deadline, noon April 4.
Students at the University of Kansas who are not Kansan staff members, contributors or their family members may enter the contest.
Only entries on Kansan forms will be accepted. One entry a person, please.
The entry with the most correct categories will win the contest. In case of a tie, a drawing will be conducted.
ADDRESS:___
Shirley MacLaine and Debra Winger from "Terms of Endearment."
BEST PICTURE
"The Big Chill," Columbia
□ Jane Alexander, "Testament"
□ Shirley MacLaine, "Terms of Endearment"
□ Meryl Streep, "Silkwood"
□ Julie Walters, "Educating Rita"
□ Debra Winger, "Terms of Endearment"
- "The Big Chill," Columbia
- "The Dresser," Columbia
- "The Right Stuff," Ladd Company through Warner Bros.
- "Margarita"
PHONE:___
- Michael Caine, "Educating Rita"
- Tom Conti, "Reuben, Reuben"
- Tom Courtenay, "The Dresser"
- Robert Duvall, "Tender Mercies"
- Albert Finney, "The Dresser"
BEST SUPPORTING ACTOR
NAME:___
- "Tender Merciès," Universal AFD
- "Terms of Endearmet," Paramount
BEST ACTRESS
□ Charles Durning, "To Be Or Not To Be"
□ John Lithgow, "Terms of Endearment"
□ Jack Nicholson, "Terms of Endearment"
□ Sam Shepard, "The Right Stuff"
□ Rip Torn, "Cross Creek"
BEST ACTOR
The winner will be announced on this page April 13.
BEST SUPPORTING ACTRESS
YEAR IN SCHOOL:___
□ Glenn Close, "The Big Chill"
□ Linda Hunt, "The Year of Living Dangerously"
□ Amy Irving, "Vend"
□ Alfred Woodard, "Cross Creek"
Peter Yales, "The Dresser"
Ingmar Bergman, "Fanny & Alexander"
BEST DIRECTOR
Cher "Silkwood"
[ ] Bruce Beresford, "Tender Mercies"
[ ] James Brooks, "Terms of Endurement"
BEST ORIGINAL SCREENPLAY
The Big Chill,
Lawrence Kastan and Barbara
Benedek
□ "Silkwood," by Nora Ephron and Alice Arlen
□ "Fanny & Alexander," by Igmar Bergman
□ "Cillier & Me
□ "Tender Mercies," by Horton Foote
□ "WarGames," by Lawrence Lacker and Walter Parkes
BEST ADAPTED SCREENPLAY
“Betrayal.” by Harold Pinter
- Betrayal, by Harold Pitter
- "The Dresser" by Ronald Harwood
- "Educating Rita," by Wily Russell
- "Reuben, Reuben," by Julian Epstein
- "Terms of Endearment," by James Brook
BEST ORIGINAL SCORE
[ ] "Cross Creek," Leonard Hosenman
[ ] "Return of the Jedi," John Williams
[ ] "The Right Stuff," Bill Conti
[ ] "Terms of Endearment," Michael Gore
[ ] "Under Fire," Jerry Goldsmith
SCORE OR ADAPTATION SCORE
Under Fire," Jerry Goldsmith
BEST ORIGINAL SONG
- "The Sting II," adaptation by Lalo Schifrin
- "Trading Places," adaptation by Elmer Bernstein
- "Yenl!" original song
“Yent,” original song score by Michel Legrand and Alap and Marcel Riemann.
BEST ORIGINAL SONG
□“Flashdance ... What A Feeling”
(Flashdance) Music by Gorgio Moroder, lyrics
by Keith Forsey and Irene Cara
Barbara Streisand from "Yentl."
□ "Maniac" (Flashdance) Music and lyrics by Michael Sembelho and Dennis Markesko.
□ "Over You" (Tender Roberts) Music and lyrics by Austin Roberts and Bobery Hart
□ "Papa, Can You Hear Me?" (Yent)
Music by Michel Legrand, lyrics by Alan and
Marilyn Bergman
□ "The Way He Makes Me Feel" (Ventil)
Music by Michel Legrand, lyrics by Alan and Marilyn Bergman.
BEST ART DIRECTION
□ "Fanny & Alexander"
□ "Return of the Jedi"
□ "The Right Stuff"
□ "Terms of Endearment"
□ "Yentl"
BEST CINEMATOGRAPHY
EST CINEMATOGRAPH
□ "Fanny & Alexander"
□ "Flashdance"
□ "The Right Stuff"
□ "War Games"
□ "Zelig"
BEST FILM EDITING
BEST SOUND
- □ "Blue Thunder"
- □ "Flashdance"
- □ "The Right Stuff"
- □ "Silkwood"
- □ "Terms of Endearment"
BEST SOUND
□ "Never Cry Wolf"
□ "Return of the Jedi"
□ "The Right Stuff"
□ "Terms of Endearment"
□ "War Games"
BEST SOUND EFFECTS EDITING
□ "Return of the Jedi"
□ "The Right Stuff"
BEST COSTUME DESIGN
□ "Cross Creek"
□ "Fanny & Alexander"
□ "Heart Like A Wheel"
□ "The Return of Martin Guerre"
□ "Zelig"
Museum exibits Japanese cards from 1800s
By MELISSA BAUMAN Staff Reporter
Staff Reporter
When you care enough to send the very best, you might send a Hallmark greeting card. But if you had lived in 19th century Japan, you might have sent a surimoon.
Surimuno are intricate, 7-inch Japanese woodblock prints that were usually given as New Year's greetings and announcements of special events. The prints feature elaborate designs, which usually portray a Japanese legend, accompanied by poetry.
An artist designed the print and specified the colors to be used. A woodcarver etched the design into a wooden block. Finally a printer prints the design onto paper, and it mounted it onto heavy paper, transferring the design.
An exhibit of 65 of these prints will be on display through May 23 in the White Gallery of the Museum of Fine Arts.
SURIMON BECAME MOST popular in Japan between 1800 and 1840, said Carol Shankel, coordinator of the exhibit. But, this art form began nearly 100 years before and died out about
She said surimono were created in a manner resembling "a Ford assembly line."
Many of the prints are embossed with metallic dusts — such as gold, silver or brass — or mother-of-pearl dust, giving the prints a shine that ink or paint lack.
To achieve the variety of textures, a printer could use up to 20 woodblocks for a single page.
ALTHOUGH THE PRINTS on display were usually sent as New Year's greetings, surimono had other uses, Shankel said.
Larger surimono often announced upcoming events. A surimono might advertise the performers in a particular musical event or announce the beginning of someone's career as a performer.
One print described the folk tale of a group of rabbits avenging themselves upon wicked badgers by presenting the badgers a boat with a hull made of mud. The surimono showed a badger watching a rabbit finish the boat by moonlight.
Surimono were also bought as souvenirs. Someone attending a play might have purchased
Most of the surimoon on display portray legendary figures in Japanese mythology, she said. But, they also depict historical and literary themes, still lives and everyday scenes.
SHANKEL SAID THAT the year a surimono was produced could be discovered by matching the animal in the print with New Year symbols, the animal in the print with The Tiger, the Year of the Tiger and the Year of the Dog.
This surimomo might have been made to announce a moon-viewing party in 1831, the Year of the Moon.
These privately commissioned surimono differed from the commercially produced prints because they used a wider range of colors and designs and were printed on better quality paper.
The surimono were usually privately commissioned, most often by poetry groups, she said.
introduced sophisticated subject matter that was found later in commercial prints. Often the poetry was written before the design was created, which was not the case with commercially produced surimono.
In addition, the privately produced surimono
SURIMUNO WAS KNOWN for the way the theatrematic imagination of the poetry is accompanied. Shallu sold
Although much work went into creating a surimuno, the prints were not intended to be kept, she said. Just as contemporary greeting cards, surimunos were used in the trash, surimuno were often thrown away.
But despite this tendency to dispose of surimono, Shankel said that some people collected the prints and that albums of surimono sometimes found their way into circulation.
BY BERKE BREATHED
BECAUSE THE SURIMONO are so fragile, Shankel said, the museum will allow the exhibit to travel to only two other museums for six-week displays before it is returned to storage.
Sankal thank that surimono, like all woodblock prints, faded easily, therefore the collection was bathed in a soft, low light. When not on display, prints are stored in dustproof, lightproof boxes.
The 65 prints on display were taken from the Museum's collection of 268 surrimono, Shankel said. Most of these prints were donated in 1917 by Thayer and have never been put on exhibit at KU.
The collection was studied and cataloged by Roger Keyes, the director of the Center for the Study of Japanese Prints in California. He will speak at a symposium inspired by the prints, "Image and Text," at 1:30 p.m. April 14 in the museum's auditorium.
BLOOM COUNTY
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