When Pete Carroll took over the football program at USC after the 2000 season, the once-great Trojans were under siege. But thanks to his football knowledge, upbeat personality and recruiting skills, Southern Cal was soon back atop the college football world as home attendance skyrocketed, Carson Palmer, Matt Leinart and Reggie Bush won Heismans and the Trojans put together a 34-game winning streak. As it would be later discovered, though, the program was committing sins that would result in lost scholarships, victories and one of those Heismans. But those revelations didn’t come until after the national championship game in the 2006 Rose Bowl between USC and the University of Texas. Featuring interviews with Carroll, Leinart and others inside the USC program at the time, “Trojan War” looks at Carroll’s nine-year USC reign through the prism of that game, considered one of the greatest in college football history. It was also the beginning of the end.
"Ladies Knight" is Joe Rothenberg's undergrad senior thesis project from USC's Hench Division of Animation and Digital Arts.
Image Archive archivist Dino Everett assembled a feature-length compilation of SCA student works from the late ’60s and ’70s. The compilation features recently uncovered and previously unseen student films by Dan O’Bannon and John Carpenter. • BLOOD BATH (1969, written and directed by Dan O’Bannon) B/W (original 16mm) 7 min. • THE DEMON (1970, written and directed by Charles Adair) B/W (original 16mm) 19 min. • GOOD MORNING DAN (1968, written and directed by Dan O’Bannon, camera by John Carpenter) Color (original 8mm) 19 min. • CAPTAIN VOYEUR (1969, written and directed by John Carpenter) B/W (original 16mm) 7 min. • BLOOD BATH (1976, written and directed by Dan O’Bannon) Red tint (original 16mm blown up to 35mm) 8 min. • JUDSON'S RELEASE (1971, written by Alec Lorimore, directed by Terence H. Winkless) (original 16mm) Color 15 min. Total program time: 80 minutes.
Scheming coed Babs comes between college buddies Eddie and Biff.
In order to prevent further self harming, a young woman is forced to live in a new synthetic body, and must navigate intimacy in a physical form she fundamentally feels disconnected from.