DOCSLIB.ORG

Black Spade Acquisition Co Form 424B4 Filed 2021-07-16

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Black Spade Acquisition Co Form 424B4 Filed 2021-07-16 SECURITIES AND EXCHANGE COMMISSION FORM 424B4 Prospectus filed pursuant to Rule 424(b)(4) Filing Date: 2021-07-16 SEC Accession No. 0001193125-21-217273 (HTML Version on secdatabase.com) FILER Black Spade Acquisition Co Mailing Address Business Address SUITE 2902, 29/F, THE SUITE 2902, 29/F, THE CIK:1851908| IRS No.: 000000000 | State of Incorp.:E9 | Fiscal Year End: 1231 CENTRIUM CENTRIUM Type: 424B4 | Act: 33 | File No.: 333-257517 | Film No.: 211095228 60 WYNDHAM STREET, 60 WYNDHAM STREET, SIC: 6770 Blank checks CENTRAL CENTRAL HONG KONG K3 00000 HONG KONG K3 00000 852 3955 1316 Copyright © 2021 www.secdatabase.com. All Rights Reserved. Please Consider the Environment Before Printing This Document Table of Contents Filed Pursuant to Rule 424(b)(4) Registration No. 333-257517 PROSPECTUS $150,000,000 Black Spade Acquisition Co 15,000,000 Units Black Spade Acquisition Co is a blank check company newly incorporated as a Cayman Islands exempted company and incorporated for the purpose of effecting a merger, share exchange, asset acquisition, share purchase, reorganization or similar business combination with one or more businesses or assets, which we refer to as our initial business combination. We have not selected any specific business combination target and we have not, nor has anyone on our behalf, engaged in any substantive discussions, directly or indirectly, with any business combination target with respect to an initial business combination with us. While we may pursue an initial business combination opportunity in any industry or any region, we are focused on identifying a business combination target that can benefit from the extensive collective network, knowledge and experience of our founder and management team that is related to or in the entertainment industry, with a focus on enabling technology, lifestyle brands, products, or services and entertainment media (the Target Sectors). While we intend to pursue opportunities globally, we will focus on opportunities with existing or future growth potential underpinned by the transformative consumption forces in Asia, an area in which we believe our founder and management team can contribute significantly with their extensive network, knowledge and experience. This is an initial public offering of our securities. Each unit has an offering price of $10.00 and consists of one Class A ordinary share and one-half of one redeemable warrant. Each whole warrant entitles the holder thereof to purchase one Class A ordinary share at a price of $11.50 per share, subject to adjustment as described herein. Only whole warrants are exercisable. No fractional warrants will be issued upon separation of the units and only whole warrants will trade. The warrants will become exercisable on the later of 30 days after the completion of our initial business combination or 12 months from the closing of this offering, and will expire five years after the completion of our initial business combination or earlier upon redemption or our liquidation, as described herein. The underwriters have a 45-day option from the date of this prospectus to purchase up to an additional 2,250,000 units to cover over-allotments, if any. We will provide our public shareholders with the opportunity to redeem all or a portion of their Class A ordinary shares upon the completion of our initial business combination at a per-share price, payable in cash, equal to the aggregate amount then on deposit in the trust account described below as of two business days prior to the consummation of our initial business combination, including interest earned on the funds held in the trust account and not previously released to us to pay our taxes, divided by the number of then outstanding Class A ordinary shares that were sold as part of the units in this offering, which we refer to collectively as our public shares, subject to the limitations and on the conditions described herein. If we do not complete our initial business combination within 24 months from the closing of this offering, we will redeem 100% of the public shares at a per-share price, payable in cash, equal to the aggregate amount then on deposit in the trust account, including interest earned on the funds held in the trust account (less taxes payable and up to $100,000 of interest to pay dissolution expenses), divided by the number of then outstanding public shares, subject to applicable law and certain conditions as further described herein. Our sponsor, Black Spade Sponsor LLC, has committed to purchase an aggregate of 6,000,000 warrants (or 6,450,000 warrants if the underwriters over-allotment option is exercised in full), each exercisable to purchase one Class A ordinary share at $11.50 per share, at a price of $1.00 per warrant, or $6,000,000 in the aggregate (or $6,450,000 if the underwriters over-allotment option is exercised in full), in a private placement that will close simultaneously with the closing of this offering. Our initial shareholders, which include our sponsor, currently own an aggregate of 4,312,500 Class B ordinary shares, up to 562,500 of which will be surrendered to us for no consideration after the closing of this offering depending on the extent to which the underwriters over-allotment option is exercised (including the forfeiture of 123,913 shares out of 950,000 founder shares held by our directors, officers, advisors and employees of sponsors affiliates), which will automatically convert into Class A ordinary shares concurrently with or immediately following the consummation of our initial business combination on a one-for-one basis, subject to the adjustments described herein. Only holders of Class B ordinary shares will have the right to vote on any resolution of shareholders to appoint or remove directors prior to or in connection with the completion of our initial business combination. On any other matters submitted to a vote of our shareholders, holders of the Class B ordinary shares and holders of the Class A ordinary shares will vote together as a single class, except as required by law. Currently, there is no public market for our units, Class A ordinary shares or warrants. We have been approved to list our units on The New York Stock Exchange, or NYSE, under the symbol BSAQU. We expect that our units will be listed on NYSE on or promptly after the date of this prospectus. We expect the Class A ordinary shares and warrants comprising the units to begin separate trading on the 52nd day following the date of this prospectus (or, if such date is not a business day, the following business day) unless Citigroup Global Markets Inc., the representative of the underwriters, informs us of its decision to allow earlier separate trading, subject to our satisfaction of certain conditions as described further herein. Once the securities comprising the units begin separate trading, we expect that the Class A ordinary shares and warrants will be listed on NYSE under the symbols BSAQ and BSAQWS, respectively. We are an emerging growth company under applicable federal securities laws and will be subject to reduced public company reporting requirements. Investing in our securities involves a high degree of risk. See Risk Factors beginning on page 39 for a discussion of information that should be considered in connection with an investment in our securities. Investors will not be entitled to protections normally afforded to investors in Rule 419 blank check offerings. No offer or invitation to subscribe for securities may be made to the public in the Cayman Islands. Per Unit Total Public offering price $ 10.00 $150,000,000 Underwriting discounts and commissions(1) $ 0.55 $8,250,000 Proceeds, before expenses, to Black Spade Acquisition Co $ 9.45 $141,750,000 (1) $0.20 per unit, or $3,000,000 in the aggregate (or $3,450,000 if the underwriters over-allotment option is exercised in full), is payable upon the closing of this offering. Includes $0.35 per unit, or $5,250,000 in the aggregate (or up to $6,037,500 in the aggregate if the underwriters over-allotment option is exercised in full) payable to the underwriters for deferred underwriting commissions to be placed in a trust account located in the United States and released to the underwriters only upon the completion of an initial business combination. See also Underwriting for a description of underwriting compensation payable to the underwriters. Of the proceeds we receive from this offering and the sale of the private placement warrants described in this prospectus, $150,000,000, or $172,500,000 if the underwriters over-allotment option is exercised in full ($10.00 per unit in either case), will be deposited into a trust account located in the United States with Continental Stock Transfer & Trust Company acting as trustee, after deducting $3,000,000 in underwriting discounts and commissions payable upon the closing of this offering (or $3,450,000 if the underwriters over-allotment option is exercised in full) and an aggregate of $3,000,000 to pay fees and expenses in connection with the closing of this offering and for working capital following the closing of this offering. Neither the Securities and Exchange Commission nor any state securities commission has approved or disapproved of these securities or determined if this prospectus is truthful or complete. Any representation to the contrary is a criminal offense. The units will be ready for delivery on or about July 20, 2021. Global Coordinator and Sole Book-running Manager Citigroup Co-managers JonesTrading Loop Capital Markets The
Load more

Recommended publications
  • 2015 SMPHI Annual Report
    SUSTAINING GROWTH, DELIVERING VALUE 10th Floor, OneE-com Center Harbor Drive, Mall of Asia Complex Pasay City 1300, Philippines Email: [email protected] www.sminvestments.com 2 IFC Our Business Philosophy 2 Business Highlights & Impact 6 Financial Highlights 7 Shareholder Value SM INVESTMENTS CORPORATION SM INVESTMENTS OUR BUSINESS PHILOSOPHY 8 Ten-Year Performance Overview 10 Our Business Footprint 12 Message to Shareholders SM Investments Corporation is the Philippines’ largest 14 President’s Report publicly-listed holding company that holds a group of sustainable businesses in retail, property and financial services. The Group thrives on leadership, innovation 18 RETAIL OPERATIONS and highly synergistic operations. • THE SM STORE Our Vision is to build world-class businesses that are • SM Markets catalysts for development in the communities we serve. Our long history of sustained growth is an indication of our ability to deliver value for all our stakeholders through sound financial management, leadership, innovation, long-term sustainability efforts and a comprehensive development program for all our host communities. Through our interests and activities, Our Mission is to strive to be a good corporate citizen by partnering with our host communities in providing consistently high standards of service to our customers, look after the welfare of our employees, and deliver sustainable returns to our shareholders at all times, upholding the highest standards of corporate governance in all our businesses. 28 PROPERTY Over the years, we have been committed to sustaining • Malls our growth, in creating value and delivering quality • Residences products and services that our millions of customers aspire for. We are here to serve.
    [Show full text]
  • Melco International Development Limited
    THIS CIRCULAR IS IMPORTANT AND REQUIRES YOUR IMMEDIATE ATTENTION If you are in any doubt as to any aspect of this circular or as to the action to be taken, you should consult your licensed securities dealer or other registered dealer in securities, bank manager, solicitor, professional accountant or other professional adviser. If you have sold or transferred all your shares in Melco International Development Limited, you should at once hand this circular to the purchaser or transferee or to the bank, the licensed securities dealer or other agent through whom the sale or transfer was effected for transmission to the purchaser or transferee. Hong Kong Exchanges and Clearing Limited and The Stock Exchange of Hong Kong Limited take no responsibility for the contents of this circular, make no representation as to its accuracy or completeness and expressly disclaim any liability whatsoever for any loss howsoever arising from or in reliance upon the whole or any part of the contents of this circular. Melco International Development Limited (Incorporated in Hong Kong with limited liability) Website: www.melco-group.com (Stock Code: 200) MAJOR TRANSACTION MELCO RESORTS & ENTERTAINMENT LIMITED NEW SHARE REPURCHASE PROGRAM A letter from the Board is set out on pages 3 to 11 of this circular. 25 April 2019 CONTENTS Page DEFINITIONS ................................................................ 1 LETTER FROM THE BOARD ................................................... 3 APPENDIX I – FINANCIAL INFORMATION OF THE GROUP ................. 12 APPENDIX II – FINANCIAL INFORMATION OF MELCO RESORTS ............ 15 APPENDIX III – UNAUDITED PRO FORMA FINANCIAL INFORMATION OF THE GROUP ......................................... 256 APPENDIX IV – GENERAL INFORMATION.................................. 263 This circular is printed on environmentally friendly paper.
    [Show full text]
  • A Director's Approach to Ingmar Bergman's Nora Cason Warinner
    ABSTRACT Opening the Door: A Director’s Approach to Ingmar Bergman’s Nora Cason Warinner Murphy, M.F.A. Thesis Chairperson: Marion D. Castleberry, Ph.D. In 1981, Swedish filmmaker Ingmar Bergman radically adapted Henrik Ibsen’s classic stageplay A Doll’s House in order to create his own theatrical work, Nora. Through cutting much of Ibsen’s text and many of his characters, Bergman focused his adaptation on the figure of Nora Helmer, a naïve 19th-century wife and mother desperately trying to avoid the consequences of her past actions. This thesis examines the process undertaken in bringing Bergman’s play to its November 2015 performance run at Baylor University, with explorations of playwright and playscript histories, of directorial analysis and production concepts, and the creative collaborations established between director, designers, and actors. Opening the Door: A Director's Approach to Ingmar Bergman's Nora by Cason Warinner Murphy, B.A. A Thesis Approved by the Department of Theatre Arts Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee Marion D. Castleberry, Ph.D., Chairperson DeAnna M. Toten Beard, M.F.A., Ph.D. Stan C. Denman, Ph.D. David J. Jortner, Ph.D. James Kendrick, Ph.D. Accepted by the Graduate School May 2016 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2016 by Cason Warinner Murphy All rights reserved TABLE
    [Show full text]
  • Strindberg Acrossborders Low.Pdf
    Strindberg across Borders edited by Massimo Ciaravolo © 2016 Copyright Istituto Italiano Studi Germanici Via Calandrelli, 25 – 00153 Roma The volume has been published with the contribution of The King Gustaf VI Adolf Foundation for Swedish Culture (Stiftelsen Konung Gustaf VI Adolfs fond för svensk kultur) and the patronage of: Associazione Culturale di Scandinavistica Milano Firenze ISBN: 978-88-95868-20-2 Strindberg across Borders edited by Massimo Ciaravolo Table of Contents 5 Acknowledgements 7 Massimo Ciaravolo, Introduction WORLD LITERATURE 15 Vera Gancheva, August Strindberg – The Phoenix 31 Ann-Charlotte Gavel Adams, Constructing Strindberg’s Life across Borders and Times TRANSLATION 41 Elisabeth Tegelberg, En Strindbergessä i kontrastiv belysning 63 Alexander Künzli and Gunnel Engwall, Strindberg and Transna­ tionality: The Case of Le Plaidoyer d’un fou GENDER, POLITICS AND SCIENCE 83 Tobias Dahlkvist, Strindberg som vansinnigt geni. Strindberg, Lom­ broso och frågan om geniets patologi 93 Massimo Ciaravolo, Between Literature and Politics. Strindberg and Scandinavian Radicalism as Seen through his Relationship with Edvard Brandes, Branting and Bjørnson 125 Cecilia Carlander, Strindberg och det androgyna O UTWARD AND INWARD, LOWER AND UPPER REALITY 139 Annie Bourguignon, Var går gränsen mellan jaget och makterna? 151 Deimantė Dementavičiūtė-Stankuvienė, Across Dream: Archety­ pical Images in Strindberg’s Dream Plays 163 Polina Lisovskaya, Christmas Eve in Strindberg’s Oeuvre 4 Table of Contents 179 Astrid Regnell, Konstens verklighet i En blå bok FORMS OF INTERTEXTUALITY 191 Maria Cristina Lombardi, Grotti and Loki: Two Mythological Be­ ings in Strindberg’s Literary Production 207 Andreas Wahlberg, Början i moll och finalen i dur. Om överträdan­ det av den osynliga gränsen i Strindbergs Ensam och Goethes Faust 219 Roland Lysell, Stora landsvägen som summering och metadrama 231 Martin Hellström, Strindberg for Children.
    [Show full text]
  • LIR.Skrifter
    LIR.skrifter Yvonne Leffler, Åsa Arping, Jenny Bergenmar, Gunilla Hermansson & Birgitta Johansson Lindh SwediSh women’S writing on export Tracing Transnational Reception in the Nineteenth Century LIR.skrifter.10 Yvonne Leffler (volume editor), Åsa Arping, Jenny Bergenmar, Gunilla Hermansson & Birgitta Johansson Lindh Swedish Women’s Writing on Export: Tracing Transnational Reception in the Nineteenth Century LIR.skrifter.10 © LIR skrifter & författarna 2019 Form: Richard Lindmark Tryck: BrandFactory AB, Kållered 2019 iSbn: 978-91-88348-96-8 ContentS ACknowledgementS 7 ContributorS 9 INTRODUCTION 11 Swedish Women’s Writing on Export. Tracing Transnational Reception in the Nineteenth Century Conceptualising Circulation 13, World Literatures, Canon, and Gender 16, Trans - lation and Other Reception Events 19, Methodological Challenges 21, Outline 24 Gunilla Hermansson JuliA nyberg / euphroSyne 33 Romantic Poetry, World Literature, and Superficial Reception Entering the Swedish Canon 34, Poetry and Transcultural Reception 36, Translations, and the Lack Thereof 41, Translation, Nationalism, and Gender Stereotypes 47, Secondary and Superficial Reception 52, Gender, Nationality, and Poetry Reception Patterns 59, Poetry, World Literature, and the Potential of Distant Reading 63, Nyberg, World Literature, and the Art of Forgetting 67, Biography: Julia Nyberg 70 Åsa Arping “the miss AuSten of Sweden” 97 Fredrika Bremer’s Transatlantic Triumph in the Age of Reprint The European Dissemination 99, The Launching and Reception in the United States 103,
    [Show full text]
  • Self-Translation and Transnational Strategy: the Case of Strindberg's French
    Scandinavica Vol 54 No 2 2015 Self-Translation and Transnational Strategy: The Case of Strindberg’s French Poem Battant les rues toute la journée… Massimo Ciaravolo Università degli Studi di Firenze Abstract Between autumn 1883 and the first days of 1884 August Strindberg, at the beginning of his first long stay abroad (1883-89), wrote the long poem Sömngångarnätter på vakna dagar (Sleepwalking Nights in Broad Daylight), published in 1884. The poem is based on a structural interaction between ‘real’ French and Parisian spaces, where the protagonist and narrator is located at present, and ‘imagined’ Stockholm places loaded with memories, controversies and nostalgia. Later in 1884 the writer would also publish his first texts directly written in French, with the intention of establishing himself as a European, transnational writer, thus gaining symbolic capital he could use in the Nordic and Swedish literary field. My article focuses on a hitherto unpublished fragment of a poem written in French by Strindberg, proposes a diplomatic transcription of it, and considers it within the above-mentioned context. Through a comparison with the Swedish text, the French fragment is assessed as a self-translation of the beginning of the third sequence of Sömngångarnätter på vakna dagar, and it is seen as a part of Strindberg’s wider transnational project through French, which involved three different strategies in the years to come: writing original works directly in French; having Swedish original works translated by others; and – as in the case discussed in this article – providing self-translations. Keywords August Strindberg, Sömngångarnätter på vakna dagar, self-translation, translational rewriting, transnational literature, Paris, modernity 40 Scandinavica Vol 54 No 2 2015 1.
    [Show full text]
  • For Nórthern Performing Arts Studies D
    Yearlv Review of the Centre for Nórthern Performing Arts Studies University of Turin n. 6 I zoog Strindberg: Drama and Theatre Università degti Studi di Torino Dipartimento di Disciptine Artistiche, Musicali e detlo Spettacolo d# e edraonrdi pag na Contents Eszter Szalczer Svoboda Meets Strindberg in Albany: Jarka Burian's Drearn PlayProduction 12I $anda Tomescu tsaciu On the Reception of August Strindberg's Drama in the Romanian Theare I43 Massimo Ciaravolo The Voice and Position of the Lower Ciass in Strindberg's Swedish Historical Plays I5L MATERIAUi Annelis Kuhlrnann Lars Norén's mise eru scène of Kaj Munk's TheWord as a Modern Miracle Play atThe Royal Theatre in Copenhagen (2008) 181 Massimo Ciarauolo" The Volee and Position of the Lower elass !n Strindberg's Swedish Flistorical Plays' In the early Eighteen Eighties Srindberg experimented with a neu/u/ay of writ- ing Swedish history: history was to be seen from the point of view of the com- mon people, and everyday life in various social environments, íncluding theír material culture, was to be described. What he put forward in prose works such as Gamla Stockholm (Old Stockholm, 1880-82)2, Suenska Folket (The Suedish People, 1881-82)e and Suenska óden och riuentyr (Suedish Destinies and Aduentures, IBB2-83; L8B3-L905)a was a deliberate and provocative change of perspective compared to the prevailing conservative discourse, ac- cording to which the history of the country coÍresponded to that of its mon- archss. Contradicting that fiction ín a so-called cultural history was part of Strindberg's realistic breakthrough; íf rcaI Swedish life had taken place only to t' University of Florence.
    [Show full text]
  • The Conradie Codec
    THE CONRADIE CODEC: THE RECODING OF MEANING IN FOUR OF MY STAGE ADAPTATIONS by Wilhelm Conradie Thesis presented in partial fulfilment of the requirements for the degree Master of Drama (Directing) at Stellenbosch University Supervisor: Prof. Edwin Hees March 2015 Stellenbosch University https://scholar.sun.ac.za DECLARATION By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that the reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Signed: Wilhelm Conradie Date: March 2015 Copyright © 2015 Stellenbosch University All rights reserved 1 Stellenbosch University https://scholar.sun.ac.za Table of contents DECLARATION 1 ACKNOWLEDGMENTS 3 ABSTRACT 4 OPSOMMING 6 CHAPTER ONE: INTRODUCTION 8 CHAPTER TWO: CASE STUDY ONE – TWINTIG AKTEURS OP SOEK NA ’N [BETER] REGISSEUR 35 CHAPTER THREE: CASE STUDY TWO – ONSINDROOM 58 CHAPTER FOUR: CASE STUDY THREE – iFOREST 79 CHAPTER FIVE: CASE STUDY FOUR – WHEN IN LOVE… 99 CHAPTER SIX: CONCLUSION 118 BIBLIOGRAPHY 121 2 Stellenbosch University https://scholar.sun.ac.za ACKNOWLEDGEMENTS I would like to express my sincerest appreciation to the following people for their commitment, guidance, encouragement and support: My wife and favourite person in this world, Uné, for supporting me when I decided to give up – and supporting me when I decided to push through; Prof. Edwin Hees for constantly reminding me that it is best to keep writing and for making this process an enjoyable one; Prof.
    [Show full text]
  • Till My Change Come Nature, Justice, and Redemption in Åsa Larsson’S Until Thy Wrath Be Past
    Till My Change Come Nature, Justice, and Redemption in Åsa Larsson’s Until Thy Wrath Be Past JOHN LINGARD ABSTRACT: Åsa Larsson’s Till dess din vrede upphör (2009) [Until Thy Wrath Be Past 2011] is the fourth of five Rebecka Martinsson mysteries. Larsson enhances the genre with an exceptionally vivid depiction of the Swedish Arctic. All the characters are affected by the forbidding landscape of forests, frozen lakes, and mountains. The harshness of nature in this region leads some to violence and death; others to self-understanding and redemption. The novel’s most striking feature is, however, a remarkably successful introduction of the supernatural into the story. The first narrator is the spirit of a murder victim, who hovers above the other characters, influencing their actions and thoughts. Freed from the constraints of time and place, she is able to travel back as far as World War II and witness the dark collaborationist underworld of a so-called neutral Sweden. With her skilful interweaving of mystery, nature, and the supernatural, Larsson has created a powerful and moving addition to Nordic crime fiction. RÉSUMÉ: Till dess din vrede upphör d’Åsa Larsson (2009) [Jusqu’à ce que ton ire soit passée, publié en anglais en 2011] est le quatrième de cinq mystères de Rebecka Martinsson. Larsson améliore le genre par une représentation exceptionnellement vive de l’Arctique suédois. Tous les personnages sont affectés par le paysage inhospitalier de forêts, de lacs gelés et de montagnes. L’aridité de la nature dans cette région mène certains à la violence et à la mort; d’autres à la compréhension de soi et à la rédemption.
    [Show full text]
  • 13/04/2015 Report – SEC 17-A (2014 Annual Report)
    PSE Security CodeCN-075 cn-075 COVER SHEET C S 5 8 6 4 8 S.E.C. Registration Number M E L C O C R O W N ( P H I L I P P I N E S ) R E S O R T S C O R P O R A T I O N A S E A N A B O U L E V A R D C O R . R O X A S B O U L E V A R D , B R G Y . T A M B O , P A R A Ñ A Q U E , C I T Y 1 7 0 1 ( Business Address : No. Street City / Town / Province ) MARISSA T. ACADEMIA 866-9888 Contact Person Company Telephone Number SEC Form 17-A 1 2 3 1 0 5 1 9 Month Day FORM TYPE Month Day Fiscal Year Annual Meeting Secondary License Type, If Applicable N. A. Dept. Requiring this Doc. Amended Articles Number/Section Total Amount of Borrowings Total No. of Stockholders Domestic Foreign To be accomplished by SEC Personnel concerned File Number LCU Document I.D. Cashier S T A M P S Remarks = pls. use black ink for scanning purposes SECURITIES AND EXCHANGE COMMISSION SEC FORM 17-A 1. For the fiscal year ended December 31 , 2014 2. SEC Identification Number 58648 3. BIR Tax Identification No. 000-410-840-000 4. Exact name of issuer as specified in its charter Melco Crown (Philippines) Resorts Corporation 5. Province, Country or other jurisdiction of incorporation or organization Philippines 6.
    [Show full text]
  • Alf Sjöberg's Film Fröken Julie : Too Much Cinema, Too Much Theater?
    Alf Sjöberg's Film Fröken Julie : too much Cinema, too much Theater? Autor(en): Steene, Birgitta Objekttyp: Article Zeitschrift: Beiträge zur nordischen Philologie Band (Jahr): 11 (1981) PDF erstellt am: 30.09.2021 Persistenter Link: http://doi.org/10.5169/seals-858393 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch 179 BIRGITTA STEENE Alf Sjöberg's Film Fröken Julie: Too much Cinema, too much Theater? Alf Sjöberg's screen version of Strindberg's Fröken Julie is a landmark in the post-war Swedish cinema and practically the only Swedish feature length film from that time to reach a wide international audience.
    [Show full text]
  • Stormy Weather: the Pre- and Post- History of Television
    International Journal of Communication 10(2016), 5304–5323 1932–8036/20160005 Stormy Weather: The Pre- and Post- History of Television STAFFAN ERICSON Södertörn University, Sweden This article examines Ingmar Bergman’s first (and only) television adaptations of dramatist August Strindberg: The Storm (1960) and A Dream Play (1963). Both were broadcast live and favorably received by contemporary critics. A recurrent reaction was that television finally “did justice” to these plays from the early 20th century; implying, as did Raymond Williams in his 1974 book on television, that Strindberg’s later drama somehow “anticipated” television. This claim is explored in relation to various thematic and formal expressions of temporality in both plays (motifs of enclosed spaces, telephones, clouds, and faces and the dialectics of progress and repetition) and the specificities of television (the “management of liveness,” “mobile privatization,” monitoring, etc.). The type of historicity involved in the claim that art may anticipate oncoming media technology is related to Walter Benjamin’s notion of pre- and post- history. Keywords: television, liveness, historicity, drama, Ingmar Bergman, August Strindberg Ingmar Bergman claims to have bought the first TV set he saw, in a shopwindow in the mid- 1950s. To readers of the Swedish weekly TV and radio guide, Bergman (1958) declared his love for the early live broadcasts, quiz shows as well as theater: “I find everything to be wonderful and would love to be a part of this game” (p. 22). By then, he had already debuted as a TV director: In April 1957, only months after regular Swedish broadcasting had begun, Bergman’s adaption of Hjalmar Bergman’s one-act play Herr Sleeman Is Coming was transmitted.
    [Show full text]