DOCSLIB.ORG

Table of Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Dear Friends, Welcome to the Big Sky Documentary Film Festival! Our 12th year promises to be the biggest one yet, as we are screening over 150 films from around the world that will inspire, educate and enrich our lives. We believe in the power of stories and the power of watching them together on the big screen. In addition to the films you will enjoy over the course of the festival, we invite you to attend our special events off the big screen, too. Live performances from filmmakers Sam Green and John Cohen, interactive film installations, panels and workshops about the changing business of film, and a ceremony honoring our competition films are all on the docket. I came to the festival as a documentary filmmaker, and I’m honored to be leading it as a member of the Missoula community. As an Oscar- qualifying festival and one of the top documentary film festivals in the nation, we attract filmmakers from all over the world. And as a community supported organization, what we accomplish is all thanks to the hundreds of volunteers who help us put the festival on, the altruistic organizations that sponsor us, the thousands of patrons who attend, and the national partners and filmmakers who value this extraordinary event. Get ready to be transported to new worlds – near and far – through the magic of the real stories these films tell. Enjoy the show. Gita Saedi Kiely Executive Director Big Sky Film Institute BSDFF is produced by the Big Sky Film Institute, a 501c3 whose mission is to celebrate and promote the art of non-fiction filmmaking, to establish Missoula as a center of documentary filmmaking, exhibition and criticism, and to encourage media literacy by fostering public under- standing and appreciation of documentary film. Table of Contents Tickets and Passes 3 Special Features 4 Strands 11 Festival Jury 14 Big Sky DocShop 16 Film Descriptions (Alphabetical) 18 Schedule of Films center insert Awards & BSFI Membership 74 Cover Art by Levi Hastings TAKING OFF 5,000 TIMES A DAY. TAKING ON EVERYTHING ELSE. America’s most-awarded airline employees. OFFICIAL AIRLINE Box Office Information • Online Option! Passes are available for purchase online at bigskyfilmfest.org or at the Wilma Theatre any time during the festival. • Passes purchased online will be held at the Wilma ticket window and available for pick-up any time during the festival. Bring valid ID. • Passes are non-transferable. • All-Access Passes are good for all screenings, including Awards Nights, and all filmmaker and VIP events/parties. Includes access to balcony seating in the Wilma Theater. All-Access Pass holders have access to parties and receptions EVERY NIGHT of the 10-day festival as well as access to the Filmmaker Lounge. • All-Screenings Passes are good for all screenings, including Awards Night and the 2/14/15 performance of The Measure of All Things. Does not include special events or parties. Includes access to balcony. • Five-Punch Passes and single screening tickets can be purchased in advance online at bigskyfilmfest.org/bsdff/festival/tickets/(Online single screening ticket sales will close at midnight prior to the day of screening). PRICES All-Access Festival Pass......................................................$299.00 All-Screenings Pass.............................................................$149.00 Single Screening Ticket ....... $8.00 (Students and seniors $6.00) Five-Punch Pass.....................................................................$35.00 Schoolhouse Docs Special (4 pm weekdays)...$2 (kids under 12) After School Pass (One adult, one child all 4 screenings)......$25 PLEASE NOTE: Most of the films at the festival are not rated by the MPAA. We've rated our Schoolhouse docs, but if you are bringing children, please read film synopses carefully as some films may have sensitive content. If you have questions, please call the festival office, (406) 541-FILM (3456). IMPORTANT! We recommend you arrive at least 10 minutes early for daytime screenings and 20 minutes early for evening screenings. Seats are first come, first served. 3 Opening Night Special Feature Going Clear: Scientology and the Prison of Belief Director: Alex Gibney In this sneak preview of the upcoming HBO Documentary film, Oscar-winning director Alex Gibney interviews Pulitzer-winning journalist Lawrence Wright and eight former members about the Church of Scientology. The publication of Wright’s 2013 book of the same name generated controversy and legal challenges from the church, and the film is sure to do the same. And thanks once again to HBO’s generous support, this opening night screening is FREE to the public! Fri. Feb 6, Wilma 1 FREE ADMISSION! 7:30 PM Doors: 7:00 Big Sky Interactive at the MAM Interactive Exhibit While story will always be the heart of non-fiction filmmaking, the rapid evolution of content-delivery technology is making its presence known in new markets of the documentary film industry. BSDFF is excited to host its first-ever interactive exhibit at the Missoula Art Museum, where visitors will participate in shaping their own viewing experience. Viewers will have the opportunity to select and sequence short clips, photos and thematic elements from three different films. As reality continues to play itself, you now get the chance to play with reality! Whale Hunt An experiment in human storytelling, Whale Hunt depicts a multi-day excursion for Bowhead whales by Inupiat Eskimos in northern Alaska. Director Jonathan Harris snapped 3,214 photographs over the course of a week, establishing what he calls a “photographic heartbeat” of the event. Each viewer will experience the whale hunt narrative differently, and not necessarily in a linear fashion. Hollow Hollow is an interactive documentary that merges cinematic techniques with web- based storytelling. The project examines the lives of 30 individuals living in McDowell County, W. VA. Hollow combines video portraits, data visualizations, photography, soundscapes, community-generated content and grassroots mapping to bring these stories to life. Directed by Elaine McMillion. Highrise An Emmy-winning, multi-year, many-media, collaborative documentary experiment from the National Film Board of Canada, Highrise explores vertical living in the global suburbs. Directed by Katerina Cizek. Opening Reception at MAM February 10, 5-7 PM. Free & open to public. 4 Opening Night Special Feature JOHN COHEN Retrospective We are honored to have musician, filmmaker and photographer John Cohen join us this year with his inspiring breadth of work. John Cohen is best known as a musician, who in 1959 co- founded the NEW LOST CITY RAMBLERS, but his artistic prowess expands many mediums. Cohen shot a series of iconic photographs documenting New York culture, including seminal figures like Bob Dylan and Jack Kerouac. Cohen’s documentary filmmaking career began with the 1963 film THAT HIGH LONESOME SOUND. Cohen will present an exhibit of his photographs, a lecture, and a musical performance with the Montana band BALLED IN BURLAP. Seven of Cohen’s films Special Events Feb. 5: lecture at the Rocky will be screened at the festival as well, Mountain School of featuring Q&As with Cohen. Photography (7-9pm) Feb. 6: photo exhibition at Films showing at BSDFF 2015 the Brink Gallery (5-8pm) THAT HIGH LONESOME SOUND, 68 minutes (p.65) END OF AN OLD SONG, 27 minutes (p.36) GYPSIES SING LONG BALLADS, 28 minutes (p.41) DANCING WITH THE INCAS, 58 minutes (p.32) MOUNTAIN MUSIC OF PERU, 58 minutes (p.54) VISIONS OF MARY FRANK, 58 minutes (p.69) Feb. 8: live performance Opening Reception at MAM February 10, 5-7 PM. Free & open to public. with Balled in Burlap at the ROSCOE HOLCOMB FROM DAISY, KENTUCKY Top Hat Lounge (6pm) 29 minutes (p.60) 5 BringingSam live Green documentaries to Missoula Sam Green’s body of documentary work is anchored by 2004’s Oscar-nominated The Weather Underground, an exploration of the titular radical movement of the 1970s. The film is one of a dozen Green-directed films on the festival docket, but two of those screenings would be more accurately classified as live performances. Both The Love Song of R. Buckminster Fuller and The Measure of All Things feature live soundtracks (from indie rock titans Yo La Tengo and a trio led by Brendan Canty of Fugazi fame, respectively) that accompany Green’s narration and media projection. Don’t miss these innovative performances! Photos courtesy of http://dev.buckminsterfullerfilm.com/ The Love Song of R. Buckminster Fuller Wed. Feb. 11 Wilma 1 With Yo La Tengo 8:00 PM Missoula locals are still buzzing about the last time Yo $25 in advance La Tengo appeared at the Big Sky Documentary Film $28 at door Festival. It was 2011, when they performed The Sounds of $15 passholders Science—a live soundtrack to a series of experimental documentaries—to a packed house at the Wilma Theater. This time around, the band will accompany director Sam Green for a live performance of his documentary, The Love Song of R. Buckminster Fuller (p.52). 6 The Measure of All Things with Brendan Canty, T. Griffin, and Catherine McRae Sat. Feb. 14, Dennison Theatre 8:00 PM The Perfect Valentine's Day Date With concert before film performance! $12 in advance, $15 at door, free for passholders Although he’s a highly accomplished documentary filmmaker (see pg 36 for more info on the world premiere of Every Other Summer: Solid Sound Festival 2013, his latest film), Brendan Canty is best known as the drummer for post-hardcore legend Fugazi. Canty, along with T. Griffin and Catherine McRae, will perform the score to Sam Green’s live documentary The Measure of All Things (p.53). Demand for these shows will be high,get your tickets today at bigskyfilmfest.org! Showing at BSDFF 2015 THE LOVE SONG OF BUCKMINSTER FULLER, (w/Yo La Tengo 2/11/15) (p.52) THE MEASURE OF ALL THINGS (with live performance) (p.
Recommended publications
  • The Popular Culture Studies Journal

    The Popular Culture Studies Journal

    THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 1 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor Kevin Calcamp Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Wrestling” by Brent Jones © 2018 Courtesy of https://openclipart.org EDITORIAL ADVISORY BOARD ANTHONY ADAH FALON DEIMLER Minnesota State University, Moorhead University of Wisconsin-Madison JESSICA AUSTIN HANNAH DODD Anglia Ruskin University The Ohio State University AARON BARLOW ASHLEY M. DONNELLY New York City College of Technology (CUNY) Ball State University Faculty Editor, Academe, the magazine of the AAUP JOSEF BENSON LEIGH H. EDWARDS University of Wisconsin Parkside Florida State University PAUL BOOTH VICTOR EVANS DePaul University Seattle University GARY BURNS JUSTIN GARCIA Northern Illinois University Millersville University KELLI S. BURNS ALEXANDRA GARNER University of South Florida Bowling Green State University ANNE M. CANAVAN MATTHEW HALE Salt Lake Community College Indiana University, Bloomington ERIN MAE CLARK NICOLE HAMMOND Saint Mary’s University of Minnesota University of California, Santa Cruz BRIAN COGAN ART HERBIG Molloy College Indiana University - Purdue University, Fort Wayne JARED JOHNSON ANDREW F. HERRMANN Thiel College East Tennessee State University JESSE KAVADLO MATTHEW NICOSIA Maryville University of St.
  • Bodyslam from the Top Rope: Unequal Bargaining Power and Professional Wrestling's Failure to Unionize Stephen S

    Bodyslam from the Top Rope: Unequal Bargaining Power and Professional Wrestling's Failure to Unionize Stephen S

    University of Miami Law School Institutional Repository University of Miami Entertainment & Sports Law Review 1-1-1995 Bodyslam From the Top Rope: Unequal Bargaining Power and Professional Wrestling's Failure to Unionize Stephen S. Zashin Follow this and additional works at: http://repository.law.miami.edu/umeslr Part of the Entertainment and Sports Law Commons Recommended Citation Stephen S. Zashin, Bodyslam From the Top Rope: Unequal Bargaining Power and Professional Wrestling's Failure to Unionize, 12 U. Miami Ent. & Sports L. Rev. 1 (1995) Available at: http://repository.law.miami.edu/umeslr/vol12/iss1/3 This Article is brought to you for free and open access by Institutional Repository. It has been accepted for inclusion in University of Miami Entertainment & Sports Law Review by an authorized administrator of Institutional Repository. For more information, please contact [email protected]. Zashin: Bodyslam From the Top Rope: Unequal Bargaining Power and Professi UNIVERSITY OF MIAMI ENTERTAINMENT & SPORTS LAW REVIEW ARTICLES BODYSLAM FROM THE TOP ROPE: UNEQUAL BARGAINING POWER AND PROFESSIONAL WRESTLING'S FAILURE TO UNIONIZE STEPHEN S. ZASHIN* Wrestlers are a sluggish set, and of dubious health. They sleep out their lives, and whenever they depart ever so little from their regular diet they fall seriously ill. Plato, Republic, III I don't give a damn if it's fake! Kill the son-of-a-bitch! An Unknown Wrestling Fan The lights go black and the crowd roars in anticipation. Light emanates only from the scattered popping flash-bulbs. As the frenzy grows to a crescendo, Also Sprach Zarathustra' pierces the crowd's noise.
  • Oral Tradition 29.1

    Oral Tradition 29.1

    _____________________________________________________________ Volume 29 March 2014 Number 1 _____________________________________________________________ Founding Editor John Miles Foley () Editor Managing Editor John Zemke Justin Arft Editorial Assistants Rebecca Benson Elise Broaddus Katy Chenoweth Christopher Dobbs Ruth Knezevich IT Manager Associate Editor for ISSOT Mark Jarvis Darcy Holtgrave Please direct inquiries to: Center for Studies in Oral Tradition University of Missouri 21 Parker Hall Columbia, MO 65211 USA +573.882.9720 (ph) +573.884.0291 (fax) [email protected] E-ISSN: 1542-4308 Each contribution copyright © 2014 by its author. All rights reserved. The editors and the publisher assume no responsibility for statements of fact or opinion by the authors. Oral Tradition (http://journal.oraltradition.org) seeks to provide a comparative and interdisciplinary focus for studies in oral tradition and related fields by publishing research and scholarship on the creation, transmission, and interpretation of all forms of oral traditional expression. In addition to essays treating certifiably oral traditions, OT presents investigations of the relationships between oral and written traditions, as well as brief accounts of important fieldwork, and occasional transcriptions and translations of oral texts. In addition, issues will include the annual Albert Lord and Milman Parry Lecture on Oral Tradition. Submissions should follow the list-of-reference format (http:// journal.oraltradition.org/files/misc/oral_tradition_formatting_guide.pdf) and may be sent via e-mail ([email protected]); all quotations of primary materials must be made in the original language(s) with following English translations. If appropriate, please describe any supporting materials that could be used to illustrate the article, such as photographs, audio recordings, or video recordings.
  • UC Riverside UC Riverside Electronic Theses and Dissertations

    UC Riverside UC Riverside Electronic Theses and Dissertations

    UC Riverside UC Riverside Electronic Theses and Dissertations Title L.A. Stories: Identity and Conflict in Posturban Culture Permalink https://escholarship.org/uc/item/31t0500z Author Kuroki, Mikage Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE L.A. Stories: Identity and Conflict in Posturban Culture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mikage Kuroki December 2011 Dissertation Committee: Dr. John Ganim, Chairperson Dr. Tiffany Lopez Dr. Traise Yamamoto Copyright by Mikage Kuroki 2011 The Dissertation of Mikage Kuroki is approved: ________________________________________________ ________________________________________________ ________________________________________________ Committee Chairperson University of California, Riverside ABSTRACT OF THE DISSERTATION L.A. Stories: Identity and Conflict in Posturban Culture by Mikage Kuroki Doctor of Philosophy, Graduate Program in English University of California, Riverside, December 2011 Dr. John Ganim, Chairperson Los Angeles represents the paradigmatic postmodern city, its centrifugal layout the antithesis of the modern ring-centered city of which Paris, London, and Vienna and their American counterparts New York and Chicago are prime examples. Despite its postmodern geography, however, L.A., like the modern city, equally threatens to intensify the lives and overwhelm the psyches of its residents. Over a century ago, Georg Simmel argued that the modern urban dweller represents a new human type who develops a blasé attitude as both a product of and a defense against such a modern, metropolitan existence. How do we consider Simmel’s definition of metropolis to accommodate L.A.? Furthermore, would such a mental type effectively combat the stimulation of the city’s landscape, given its propensity to disasters – both manmade, social disasters and natural ones? In the larger context, does L.A.
  • Connected Learning in a WWE Fan Community

    Connected Learning in a WWE Fan Community

    LEARNING THE ROPES: Connected Learning in a WWE Fan Community by Crystle Martin CONNECTED LEARNING WORKING PAPERS February 6, 2014 Digital Media and Learning Research Hub This digital edition of Learning the Ropes: Connected Learning in a WWE Fan Community is licensed under a Creative Commons Attribution Unported 3.0 License (CC BY 3.0) http://creativecommons.org/licenses/by/3.0/ Published by the Digital Media and Learning Research Hub. Irvine, CA. February 2014. A full-text PDF of this report is available as a free download from www.dmlhub.net/publications Suggested citation: Martin, Crystle. 2014. Learning the Ropes: Connected Learning in a WWE Fan Community. Irvine, CA: Digital Media and Learning Research Hub. This report series on connected learning was made possible by grants from the John D. and Catherine T. MacArthur Foundation in connection with its grant making initiative on Digital Media and Learning. For more information on the initiative visit www.macfound.org. For more information on connected learning visit www.connectedlearning.tv. 2 | LEARNING THE ROPES CONTENTS 4 INTRODUCTION 6 A HISTORY OF PROFESSIONAL WRESTLING 9 CONNECTED LEARNING IN THE WWE FANDOM 9 Interest-Powered 11 Peer-Supported 13 Academically Oriented 15 Production-Centered 18 Openly Networked 18 Shared Purpose 21 Youth Stories: Maria 22 REflECTIONS ON A WWE FAN COMMUNITY 22 Maintaining High Cultural Standards 22 Identity 24 Reputation Management 26 CHAllENGES AND OPPORTUNITIES FOR THE CONNECTED LEARNING FRAMEWORK 30 Youth Stories: Rhashan 31 CONCLUSION 32 REFERENCES 33 ACKNOWLEDGMENTS 3 | LEARNING THE ROPES INTRODUCTION People normally say I’m a good, active member, I’m there almost every day and rarely get into arguments.
  • Best of 2018 Listener Survey BEST WRESTLER (MALE) Responses to This Question: 419

    Best of 2018 Listener Survey BEST WRESTLER (MALE) Responses to This Question: 419

    Best of 2018 Listener Survey BEST WRESTLER (MALE) Responses to this question: 419 96 22.9% Kenny Omega 78 18.6% Johnny Gargano 54 12.9% Seth Rollins 35 8.4% AJ Styles 24 5.7% Tommaso Ciampa 24 5.7% Tomohiro Ishii 21 5.0% Kazuchika Okada 12 2.9% Walter 10 2.4% Hiroshi Tanahashi 7 1.7% Zack Sabre Jr. 6 1.4% Cody Rhodes 5 1.2% Kota Ibushi 5 1.2% Pete Dunne 4 1.0% Daniel Bryan 4 1.0% Will Ospreay 3 0.7% Adam Cole 3 0.7% Chris Jericho 3 0.7% Roman Reigns 3 0.7% Velveteen Dream 2 0.5% Minoru Suzuki 2 0.5% Mustafa Ali 2 0.5% Pentagon Jr. 2 0.5% Samoa Joe 1 0.2% Aleister Black 1 0.2% Braun Strowman 1 0.2% Brock Lesnar 1 0.2% David Starr 1 0.2% Effy 1 0.2% Finn Balor 1 0.2% Gran Metalik 1 0.2% Jay Lethal 1 0.2% Kyle O'Reilly 1 0.2% L.A. Park 1 0.2% R-Trush 1 0.2% Tetsuya Naito 1 0.2% The Miz 1 0.2% Toru Yano BEST WRESTLER (FEMALE) Responses to this question: 418 299 71.5% Becky Lynch 23 5.5% Charlotte Flair 15 3.6% Ronda Rousey 14 3.3% Shayna Baszler 11 2.6% Toni Storm 9 2.2% Kairi Sane 9 2.2% Meiko Satomura 7 1.7% Tessa Blanchard 5 1.2% Momo Watanabe 4 1.0% Alexa Bliss 4 1.0% Asuka 4 1.0% Io Sharai 3 0.7% Mayu Iwatani 2 0.5% Natalya 1 0.2% Chelsea Green 1 0.2% Ember Moon 1 0.2% Isla Dawn 1 0.2% Kagetsu 1 0.2% Madison Eagles 1 0.2% Mickie James 1 0.2% Rosemary 1 0.2% Shida Hikaru 1 0.2% Taya Valkyrie BEST TAG TEAM Responses to this question: 414 159 38.4% Young Bucks 104 25.1% Undisputed Era 24 5.8% Golden Lovers 23 5.6% The Usos 13 3.1% New Day 13 3.1% Usos 10 2.4% Evil & Sanada 9 2.2% LAX 9 2.2% Moustache Mountain 8 1.9% The Bar 5 1.2% Lucha Brothers 3 0.7% Best Friends 3 0.7% Bludgeon Brothers 2 0.5% AOP 2 0.5% Aussie Open 2 0.5% Heavy Machinery 2 0.5% Roppongi 3K 2 0.5% SCU 2 0.5% The Revival 1 0.2% Bandido and Flamita 1 0.2% Bobby Fish and Kyle O'Reilly 1 0.2% Braun Strowman & Nicholas 1 0.2% British Strong Style 1 0.2% Daisuke Sekimoto & Kazusada Higuchi 1 0.2% Dolph Ziggler & Drew McIntyre 1 0.2% Io Sharai 1 0.2% J.A.N.
  • The Mexican Film Bulletin Vol

    The Mexican Film Bulletin Vol

    TheTHE MEXICANMexican FILM BULLETIN Film VOL. 24 NO. Bulletin 3 September 2018 Volume 24 Number 3 September 2018 (Nacho’s daughter), Ignacio Peón (spectator), Salvador Annual Halloween Quiroz (Veracruz coach), Alfonso Torres (Cuban coach), Rafael Torres (bet runner), Fernando Yapur (baseball Issue! player) Notes: El beisbolista fenómeno was the first in an unofficial “series” of movies starring Resortes as a character who receives other-wordly assistance to change The Phenomenal resortes his life, becoming a baseball player, professional wrestler, futbol player, El beisbolista fenómeno [The Phenomenal policeman, etc. This Baseball Player] (Prods. Galindo Hermanos, 1951) is quite a good film, Prod: Jesús and rather surprising Galindo; Dir: in some ways: Fernando Cortés; Resortes plays a Scr: Fernando more fully- Cortés, Fernando developed character Galiana; Alfredo than he would in Varela Jr.; Orig. some later pictures, Story: Eduardo he minimises his Galindo; Photo: shtick (for instance, José Ortiz Ramos; he doesn’t perform any of his patented “eccentric” Music: Gonzalo dancing--in fact, in one scene he deliberately dances badly Curiel; Prod Mgr: with Aurora Segura), a significant amount of attention Porfirio Triay (especially in the first two-thirds of the movie) is given to Peniche; Prod other performers (notably Óscar Pulido), and there are Chief: José Alcalde relatively few blatant slapstick sequences. In fact, El G.; Asst Dir: Jesús beisbolista fenómeno turns fairly serious in the second Marín; Film Ed: half. Jorge Bustos; Art Dir: Ramón Rodríguez; Makeup: Noemí Wallace; Camera Op: Manuel González, Carlos Sorencen; Lighting: Luis García; Sound Dir: Jesús González Gancy; Dialog Rec: José de Pérez; Music/Re-rec: J.

  • Real Fake Fighting: the Aesthetic of Qualified Realism in Japanese Professional Wrestling

    University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses July 2021 Real Fake Fighting: the Aesthetic of Qualified Realism in Japanese Professional Wrestling Clara Marino University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Communication Technology and New Media Commons, Japanese Studies Commons, Other Theatre and Performance Studies Commons, Social and Cultural Anthropology Commons, and the Sports Studies Commons Recommended Citation Marino, Clara, "Real Fake Fighting: the Aesthetic of Qualified Realism in Japanese Professional Wrestling" (2021). Masters Theses. 1061. https://doi.org/10.7275/22480629.0 https://scholarworks.umass.edu/masters_theses_2/1061 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. REAL FAKE FIGHTING: THE AESTHETIC OF QUALIFIED REALISM IN JAPANESE PROFESSIONAL WRESTLING A Thesis Presented By CLARA EVELYN MARINO Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2021 Japanese REAL FAKE FIGHTING: THE AESTHETIC OF QUALIFIED REALISM IN JAPANESE PROFESSIONAL WRESTLING A Thesis Presented by CLARA EVELYN MARINO Approved as to style and
  • Title Resituating the Cultural Meanings of Lucha Libre Mexicana

    Title Resituating the Cultural Meanings of Lucha Libre Mexicana

    Title Resituating the Cultural Meanings of Lucha Libre Mexicana: A Practice- Based Exploration of Diasporic Mexicanness Type Thesis URL http://ualresearchonline.arts.ac.uk/8728/ Date 2015 Citation Montoya Ortega, Marcela (2015) Resituating the Cultural Meanings of Lucha Libre Mexicana: A Practice-Based Exploration of Diasporic Mexicanness. PhD thesis, University of the Arts London. Creators Montoya Ortega, Marcela Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Resituating the Cultural Meanings of Lucha Libre Mexicana: A Practice-Based Exploration of Diasporic Mexicanness Marcela Montoya Ortega Volume I Thesis submitted in partial fulfillment of the requirements of University of the Arts London for the degree of Doctor of Philosophy April 2015 ABSTRACT Since the 1930s Lucha Libre Mexicana, Mexican wrestling, has evolved as a manifestation of popular culture combining spectacle, sport, theatre and ritual. Lucha Libre Mexicana, an event based performance using the mask, connects and reconnects to myth, stories, and ritual that societies, in this case the Mexican, need in order to find meaning within daily events and the contradictions and questions that confront every individual. This research analyses the cultural meanings of Lucha Libre Mexicana from the point of view of a diasporic artist and contextualizes knowledge to determine artistic practice. Identity and the construction of identity are explored throughout this thesis. The various aspects of Lucha Libre Mexicana such as the masks, the holds, the wrestlers themselves, and the performative nature of the spectacle, serve as referents to make connections to the artist’s own culture and the idea of constructed Mexicanness.
  • WWE 2K16 Manual

    WWE 2K16 Manual

    See important health and safety warnings in the Settings menu. GETGETTINGTING STARTEDSTARTED PlayStation®4 system Starting aa game:game: BeforeBefore use, carefully read thethe instructionsinstructions supplied supplied with with the the PS4™ PS4™ Body Indicator computer entertainment system.system. The The documentation documentation contains contains information information on on setting setting up up and and using Pause usingyour system your system as well as as well important as important safety information.safety information. (Hold) + Left Stick Run Reverse /Limb Target Touch the (power)(power) buttonbutton ofof the the PS4™ PS4™ system system to to turn turn the the system system on. on. The The power power indicator indicator blinks blinks in System from Front (Hold) w/ SAFD inblue, blue, and and then then lights lights up upin white.in white. Insert Insert the theWWE WWE 2K16 2K15 disc disc with with the labelthe label facing facing up into up theinto disc the Facelock and Limb Target System discslot. slot.The game The game appears appears in the in content the content area of area the ofhome the homescreen. screen. Select Selectthe software the software title in thetitle in (Tap) Q + Grounded Opponents Left Stick Toward thePS4™ PS4™ system’s system’s home home screen, screen, and thenand thenpress press the S the button. S button. Refer Referto this to manual this manual for information for Toggle between informationon using the on software. using the software. Ropes/Apron: Step On Signature and Finishers Apron, Pick Up Object Press and hold the button, and then select [Close Application] on the Quitting a game: Press and hold the pp button, and then select [Close Application] on the Signature/Finisher/OMG screen that is displayed.
  • If Only for the Length of a Lucha: Queer/Ing, Mask/Ing, Gender/Ing and Gesture in Lucha Libre

    If Only for the Length of a Lucha: Queer/Ing, Mask/Ing, Gender/Ing and Gesture in Lucha Libre

    If Only For The Length Of A Lucha: Queer/ing, Mask/ing, Gender/ing And Gesture In Lucha Libre Nina Hoechtl Goldsmiths University of London Practice-based PhD October 2012 Declaration The work presented in this thesis is the candidateʼs own. 2 Acknowledgements Herewith I express my sincere gratitude to Susan Kelly and Ros Gray, my supervisors at the Goldsmiths University of London, for their support, good cheers, and for challenging my thoughts, reading, writing, and art practice; and to Hortensia Moreno, my advisor during my academic residency at the Program of Gender Studies (PUEG) at the Universidad Autónoma de México (Autonomous University of Mexico, UNAM), for her support and for collaborating on “Cuerpos atléticos / Athletic Bodies.” Also in Mexico City I would like to thank: Helena López and Rían Lozano for their invitation to present at the programme “Feminismos en Espiral / Feminisms in Spiral” at the Museo Universitario de Arte Contemporáneo (University Museum of Contemporary Art (MUAC)); the Asociación Enblanco for the invitation to be part of a panel at the 2012 conference “La Sexualidad Contemporánea / Contemporary sexuality” at the Universidad de Londres (University of London); Rodrigo Parrini for his invitation to present during the Annual Gender Studies Colloquium at the Programa Universitario de Estudios de Género (University Programme of Gender Studies, PUEG); and Lars Ivar Owesen-Lein Borge and Agustin Villalpando for their invitation to present at the 2011 V Queer Studies Easter Symposium. BEEESSSOOOO to Eduardo Thomas whom helped in every way possible to support the continuing work, was never tired of revising my translations from Spanish into English and vice versa, and listened throughout my doubts, worries, wonders, and even withstood my emotional outbursts.
  • Neil Richards Fonds

    Neil Richards Fonds

    MG 355 - Neil Richards fonds Dates: 1876-2018 (inclusive); 1900-2016 (predominant) Extent: 30.53 m of textual material plus OS; 18 CD-Rs; 38 LPs; 108 VHS; 371 DVDs; 4 audo cassettes; 857 photographs; 32 35mm slides; 14 negatives; artifacts, periodicals, graphic material, art prints and posters. Biography: Neil Richards was born in Bowmanville Ontario and received his education in library work in that province. Neil moved to Saskatoon, Saskatchewan in 1971 to pursue a career in that field at the University of Saskatchewan Library. He was an active participant in local, provincial, and national gay organizations since the early 1970s. His activist work included participation in the Committee to Defend Doug Wilson in 1975, the organization of the 1976 convention of the National Gay Rights Coalition in Saskatoon, and many of the earliest AIDS awareness efforts in Saskatchewan. In conjunction with his work at the University of Saskatchewan Library, he produced many exhibitions and public events concerning AIDS and gay history and life. For nearly 50 years, Neil was an avid collector of all things documenting lesbian, gay, bisexual, transgender and queer history in Saskatchewan and beyond. Neil believed that “No social movement can survive without two important elements: an intellectual framework and a collective memory…We are what has happened to us, and therefore the record of experience is essential in the process of becoming, and in the establishment of identity” (Peter Millard, 1998), and his avid collecting was an extension of that belief. In 1986 he succeeded in donating both records he had collected, and records from the embattled Body Politic to the Provincial Archives of Saskatchewan (PAS)--making them the first Canadian public archive to acquire a large collection related to gay and lesbian life.