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Tese De Charles Ponte
UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ESTUDOS DA LINGUAGEM CHARLES ALBUQUERQUE PONTE INDÚSTRIA CULTURAL, REPETIÇÃO E TOTALIZAÇÃO NA TRILOGIA PÂNICO Tese apresentada ao Instituto de Estudos da Linguagem, da Universidade Estadual de Campinas, para obtenção do Título de Doutor em Teoria e História Literária, na área de concentração de Literatura e Outras Produções Culturais. Orientador: Prof. Dr. Fabio Akcelrud Durão CAMPINAS 2011 i FICHA CATALOGRÁFICA ELABORADA POR CRISLLENE QUEIROZ CUSTODIO – CRB8/8624 - BIBLIOTECA DO INSTITUTO DE ESTUDOS DA LINGUAGEM - UNICAMP Ponte, Charles, 1976- P777i Indústria cultural, repetição e totalização na trilogia Pânico / Charles Albuquerque Ponte. -- Campinas, SP : [s.n.], 2011. Orientador : Fabio Akcelrud Durão. Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem. 1. Craven, Wes. Pânico - Crítica e interpretação. 2. Indústria cultural. 3. Repetição no cinema. 4. Filmes de horror. I. Durão, Fábio Akcelrud, 1969-. II. Universidade Estadual de Campinas. Instituto de Estudos da Linguagem. III. Título. Informações para Biblioteca Digital Título em inglês: Culture industry, repetition and totalization in the Scream trilogy. Palavras-chave em inglês: Craven, Wes. Scream - Criticism and interpretation Culture industry Repetition in motion pictures Horror films Área de concentração: Literatura e Outras Produções Culturais. Titulação: Doutor em Teoria e História Literária. Banca examinadora: Fabio Akcelrud Durão [Orientador] Lourdes Bernardes Gonçalves Marcio Renato Pinheiro -
DACIN SARA Repartitie Aferenta Trimestrului III 2019 Straini TITLU
DACIN SARA Repartitie aferenta trimestrului III 2019 Straini TITLU TITLU ORIGINAL AN TARA R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 R11 S1 S2 S3 S4 S5 S6 S7 S8 S9 S10 S11 S12 S13 S14 S15 Greg Pruss - Gregory 13 13 2010 US Gela Babluani Gela Babluani Pruss 1000 post Terra After Earth 2013 US M. Night Shyamalan Gary Whitta M. Night Shyamalan 30 de nopti 30 Days of Night: Dark Days 2010 US Ben Ketai Ben Ketai Steve Niles 300-Eroii de la Termopile 300 2006 US Zack Snyder Kurt Johnstad Zack Snyder Michael B. Gordon 6 moduri de a muri 6 Ways to Die 2015 US Nadeem Soumah Nadeem Soumah 7 prichindei cuceresc Broadway-ul / Sapte The Seven Little Foys 1955 US Melville Shavelson Jack Rose Melville Shavelson prichindei cuceresc Broadway-ul A 25-a ora 25th Hour 2002 US Spike Lee David Benioff Elaine Goldsmith- A doua sansa Second Act 2018 US Peter Segal Justin Zackham Thomas A fost o data in Mexic-Desperado 2 Once Upon a Time in Mexico 2003 US Robert Rodriguez Robert Rodriguez A fost odata Curly Once Upon a Time 1944 US Alexander Hall Lewis Meltzer Oscar Saul Irving Fineman A naibii dragoste Crazy, Stupid, Love. 2011 US Glenn Ficarra John Requa Dan Fogelman Abandon - Puzzle psihologic Abandon 2002 US Stephen Gaghan Stephen Gaghan Acasa la coana mare 2 Big Momma's House 2 2006 US John Whitesell Don Rhymer Actiune de recuperare Extraction 2013 US Tony Giglio Tony Giglio Acum sunt 13 Ocean's Thirteen 2007 US Steven Soderbergh Brian Koppelman David Levien Acvila Legiunii a IX-a The Eagle 2011 GB/US Kevin Macdonald Jeremy Brock - ALCS Les aventures extraordinaires d'Adele Blanc- Adele Blanc Sec - Aventurile extraordinare Luc Besson - Sec - The Extraordinary Adventures of Adele 2010 FR/US Luc Besson - SACD/ALCS ale Adelei SACD/ALCS Blanc - Sec Adevarul despre criza Inside Job 2010 US Charles Ferguson Charles Ferguson Chad Beck Adam Bolt Adevarul gol-golut The Ugly Truth 2009 US Robert Luketic Karen McCullah Kirsten Smith Nicole Eastman Lebt wohl, Genossen - Kollaps (1990-1991) - CZ/DE/FR/HU Andrei Nekrasov - Gyoergy Dalos - VG. -
Living in the Future
Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of Fall 2018 Living in the Future Gerry Canavan Marquette University, [email protected] Follow this and additional works at: https://epublications.marquette.edu/english_fac Part of the English Language and Literature Commons Recommended Citation Canavan, Gerry, "Living in the Future" (2018). English Faculty Research and Publications. 503. https://epublications.marquette.edu/english_fac/503 Marquette University e-Publications@Marquette English Faculty Research and Publications/College of Arts and Sciences This paper is NOT THE PUBLISHED VERSION; but the author’s final, peer-reviewed manuscript. The published version may be accessed by following the link in the citation below. Science Fiction Film and Television, Vol. 11, No. 3 (2018): 491-497. DOI. This article is © Liverpool University Press and permission has been granted for this version to appear in e- Publications@Marquette. Liverpool University Press does not grant permission for this article to be further copied/distributed or hosted elsewhere without the express permission from Liverpool University Press. Living in the future Gerry Canavan Marquette University, Milwaukee, WI Don't worry, darlin' No baby, don't you fret We're livin' in the future And none of this has happened yet –Bruce Springsteen, 'Living in the Future' Exiting theatres with a 94 per cent 'fresh' rating on the review aggregation site Rotten Tomatoes– denoting near-unanimous praise from critics–Denis Villeneuve's Arrival has been taken alongside Ridley Scott's smash hit The Martian (UK/US 2015) to herald the long-awaited return of cerebral sf film to cinemas. -
Film, Philosophy Andreligion
FILM, PHILOSOPHY AND RELIGION Edited by William H. U. Anderson Concordia University of Edmonton Alberta, Canada Series in Philosophy of Religion Copyright © 2022 by the authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, Suite 1200, C/Sancti Espiritu 17, Wilmington, Delaware 19801 Malaga, 29006 United States Spain Series in Philosophy of Religion Library of Congress Control Number: 2021942573 ISBN: 978-1-64889-292-9 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Cover design by Vernon Press. Cover image: "Rendered cinema fimstrip", iStock.com/gl0ck To all the students who have educated me throughout the years and are a constant source of inspiration. It’s like a splinter in your mind. ~ The Matrix Table of contents List of Contributors xi Acknowledgements xv Introduction xvii William H. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Félags- Og Mannvísindadeild
Félags- og mannvísindadeild MA-ritgerð Blaða- og fréttamennska Slægjur Undirflokkur hryllingsmynda Oddur Björn Tryggvason September 2009 Félags- og mannvísindadeild MA-ritgerð Blaða- og fréttamennska Slægjur Undirflokkur hryllingsmynda Oddur Björn Tryggvason September 2009 Leiðbeinandi: Guðni Elísson Nemandi: Oddur Björn Tryggvason Kennitala: 070278-5459 Ágrip Slægjur eru undirflokkur hryllingsmynda sem áttu blómaskeið sitt um miðbik áttunda áratugarins og fyrri hluta þess níunda. Þessar tegundir mynda þóttu ekki merkilegar út frá kvikmyndalegu sjónarmiði og voru harðlega gagnrýndar. Slægjurnar voru álitnar þrepinu ofar en klámmyndir. Auðvelt er að afskrifa myndirnar sökum einsleitni þeirra en þegar betur er að gáð má glögglega sjá að þær eru afsprengi umhverfisins og lýsandi dæmi um þann veruleika sem ákveðin kynslóð upplifði. Óvættirnir voru gjarnan táknrænir fyrir refsivendi óæskilegrar hegðunar og góð gildi ásamt sjálfsbjargarhvöt voru það sem þurfti til að lifa af. Félags- og stjórnmálalegar aðstæður höfðu sitt að segja í upprisu þessarra mynda og þær öðluðust vinsældir á umrótartíma í Bandaríkjunum. Fjallað verður um þessa tegund mynda og leitast við að varpa ljósi á menningarlegt gildi þeirra. bls. 3 Abstract Slasher films are a sub category within horror films that had it‘s glory days in the late seventies and early eighties. These films were not considered very noteworthy from a cinematic viewpoint and were harshly criticized by critics. Slasher films were thought to be one nocth above pornographic films. It‘s easy to write these films off because of their simplitcity but looking beneath the cover one can clearly see that these films are culturally significant and are indicative of a reality experienced by a certain generation. -
Por Título (.Pdf)
V I D I O T E C A DELEGAÇÃO LISBOA Listagem das obras por título TITULO REALIZADOR N_ORDEM CATEGORIA A FILHA DO MOSQUETEIRO STEVE BOYUM 3417 ACÇÃO/DRAMA A ONDA DOS SONHOS 2 MIKE ELLIOTT 3821 ACÇÃO/AVENTURA A PELE ONDE EU VIVO PEDRO ALMODÓVAR 3888 DRAMA/ROMANCE Á PROCURA DA TERRA DO NUNCA MARC FOSTER 2771 DRAMA/ROMANCE À PROVA DE FOGO JEAN-BAPTISTE LEONETTI 4427 ACÇÃO A SAGA TWILIGHT - LUA NOVA CHRIS EWITZ 3664 ACÇÃO/AVENTURA A SANGUE FRIO BENNETT MILLER 3040 ACÇÃO/AVENTURA A TEMPO E HORAS TOOD PHILLIPS 3820 COMÉDIA À TUA IMAGEM VIRGINIE SILLA 3439 THRILLER ABANDONADA CHUCK RUSSELL 2549 ACÇÃO/SUSPENSE ABC DA SEDUÇÃO ROBERT LUKETIC 3660 COMÉDIA ABEL DIEGO LUNA 4169 COMÉDIA/DRAMA ABRIL DESPEDAÇADO WALTER SALES 2748 DRAMA/ROMANCE ABSOLUTELY FABULOUS JENNIFER SAUNDERS 4603 COMÉDIA ACIDENTES SECRETOS ERIC NEVE 3630 ACÇÃO/AVENTURA ACONTECEU NA ARGENTINA CHRISTOPHER CHUL 3060 DRAMA/ROMANCE ACONTECEU NO OESTE SERGIO LEONE 2644 ACÇÃO/AVENTURA ACORDADO JOBY HAROLD 3452 THRILLER ACROSS THE UNIVERSE JULIE TAYMOR 3310 MUSICAL ACTO DE MATAR (O) JOSHUA OPPENHEIMER 4247 DOCUMENTÁRIO ADAM RENASCIDO PAUL SCHRADER 3714 ACÇÃO/AVENTURA ADEUS ÀS ARMAS FRANK BORZAGE 3037 ACÇÃO/AVENTURA AEROPLANO (O) 3250 COMÉDIA ÁFRICA MINHA SYDNEY POLLACK 3336 DRAMA/ROMANCE AGENTE SECRETO ALFRED HITCHCOCK 2553 ACÇÃO/SUSPENSE AGENTE VERMELHA (A) FRANCIS LAWRENCE 4682 ACÇÃO AGENTES DO DESTINO (OS) GEORGE NOLFI 3850 ACÇÃO/AVENTURA AGENTES UNIVERSITÁRIOS PHIL LORD, CHRISTOPHER MILLER 4300 COMÉDIA AGORA ONDE VAMOS (E) NADINE LABAKI 4062 ACÇÃO/AVENTURA ÁGUA DEEPA METHA 3149 DRAMA/ROMANCE -
Academy Invites 774 to Membership
MEDIA CONTACT [email protected] June 28, 2017 FOR IMMEDIATE RELEASE ACADEMY INVITES 774 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 774 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitations will be the only additions to the Academy’s membership in 2017. 30 individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2017 invitees are: Actors Riz Ahmed – “Rogue One: A Star Wars Story,” “Nightcrawler” Debbie Allen – “Fame,” “Ragtime” Elena Anaya – “Wonder Woman,” “The Skin I Live In” Aishwarya Rai Bachchan – “Jodhaa Akbar,” “Devdas” Amitabh Bachchan – “The Great Gatsby,” “Kabhi Khushi Kabhie Gham…” Monica Bellucci – “Spectre,” “Bram Stoker’s Dracula” Gil Birmingham – “Hell or High Water,” “Twilight” series Nazanin Boniadi – “Ben-Hur,” “Iron Man” Daniel Brühl – “The Zookeeper’s Wife,” “Inglourious Basterds” Maggie Cheung – “Hero,” “In the Mood for Love” John Cho – “Star Trek” series, “Harold & Kumar” series Priyanka Chopra – “Baywatch,” “Barfi!” Matt Craven – “X-Men: First Class,” “A Few Good Men” Terry Crews – “The Expendables” series, “Draft Day” Warwick Davis – “Rogue One: A Star Wars Story,” “Harry Potter” series Colman Domingo – “The Birth of a Nation,” “Selma” Adam -
89Th Oscars® Nominations Announced
MEDIA CONTACT Academy Publicity [email protected] January 24, 2017 FOR IMMEDIATE RELEASE Editor’s Note: Nominations press kit and video content available here 89TH OSCARS® NOMINATIONS ANNOUNCED LOS ANGELES, CA — Academy President Cheryl Boone Isaacs, joined by Oscar®-winning and nominated Academy members Demian Bichir, Dustin Lance Black, Glenn Close, Guillermo del Toro, Marcia Gay Harden, Terrence Howard, Jennifer Hudson, Brie Larson, Jason Reitman, Gabourey Sidibe and Ken Watanabe, announced the 89th Academy Awards® nominations today (January 24). This year’s nominations were announced in a pre-taped video package at 5:18 a.m. PT via a global live stream on Oscar.com, Oscars.org and the Academy’s digital platforms; a satellite feed and broadcast media. In keeping with tradition, PwC delivered the Oscars nominations list to the Academy on the evening of January 23. For a complete list of nominees, visit the official Oscars website, www.oscar.com. Academy members from each of the 17 branches vote to determine the nominees in their respective categories – actors nominate actors, film editors nominate film editors, etc. In the Animated Feature Film and Foreign Language Film categories, nominees are selected by a vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees. Active members of the Academy are eligible to vote for the winners in all 24 categories beginning Monday, February 13 through Tuesday, February 21. To access the complete nominations press kit, visit www.oscars.org/press/press-kits. The 89th Oscars will be held on Sunday, February 26, 2017, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live on the ABC Television Network at 7 p.m. -
Stanford Law School
Stanford Law School 2016 FISCAL YEAR SUMMARY 9.1.2015 - 8.31.2016 Letter from the Dean Each year I have the honor of sharing the results of the Stanford Law School community’s collective generosity during the previous fiscal year. Last year, more than 3,400 alumni and friends made a gift to SLS. On behalf of all of us at the law school—faculty, students, and staff—thank you. Your gifts enable us to recruit and retain world-class faculty who are redefining fields from global law and business to health law to constitutional law; to provide generous financial aid so the best and brightest students can receive a Stanford legal education regardless of their ability to pay; and to build on the strength of our core curriculum through new interdisciplinary programs and We are Stanford Law. hands-on, experiential learning opportunities that better prepare our students to develop solutions to real-world problems. Problem Solvers. Leaders. Innovators. Your support provides the critical resources we need to maintain and expand cutting-edge teaching and research and to train the leaders of tomorrow. Thank you for your commitment to Stanford Law School. Sincerely, M. Elizabeth Magill Richard E. Lang Professor of Law and Dean Financial Overview 5% 6% Stanford Law School would not be the world-class institution it is without the philanthropic support of Library Student Services our alumni and friends. Every gift is an investment in our faculty, students, and programs, and together, Maintains library services and Enhances the student experience outside of research resources, including the classroom through services and activities, these gifts have an immediate and sustained impact on the school. -
2012 and Will Not Have Completed Principal Photography During This Calendar Year
The Black List was compiled from the suggestions over 290 film executives, each of whom contributed the names of up to ten of their favorite scripts that were written in, or are somehow uniquely associated with, 2012 and will not have completed principal photography during this calendar year. This year, scripts had to receive at least six mentions to be included on the Black List. All reasonable effort has been made to confirm the information contained herein. The Black List apologizes for all misspellings, misattributions, incorrect representation identification, and questionable 2012 affiliations. It has been said many times, but it’s worth repeating: The Black List is not a “best of” list. It is, at best, a “most liked” list. FORWARD DRAFT DAY Rajiv Joseph, Scott Rothman 65 On the day of the NFL Draft, Bills General Manager Sonny Weaver has the opportunity to save football in Buffalo when he trades for the number one pick. He must quickly decide what he’s willing to sacrifice in pursuit of perfection as the lines between his personal and professional life become blurred. AGENCY Gersh, CAA AGENTS Lee Keele (Joseph), Chris Till, Bill Zotti (Rothman) MANAGEMENT Kaplan/Perrone (Joseph & Rothman) MANAGERS Josh Goldenberg, Aaron Kaplan PRODUCTION Montecito Pictures A COUNTRY OF STRANGERS Sean Armstrong 43 Based on true events. Inspector Geoff Harper conducts a forty year search for the Beaumont Children, three siblings taken from an Australian beach in January of 1966. AGENCY Verve AGENTS Aaron Hart, Adam Levine, Rob Herting, Bill Weinstein -
Stanford University, News and Publication Service, Audiovisual Recordings Creator: Stanford University
http://oac.cdlib.org/findaid/ark:/13030/c8dn43sv Online items available Guide to the Stanford News Service Audiovisual Recordings SC1125 Daniel Hartwig & Jenny Johnson Department of Special Collections and University Archives October 2012 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc Guide to the Stanford News SC1125 1 Service Audiovisual Recordings SC1125 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: Stanford University, News and Publication Service, audiovisual recordings creator: Stanford University. News and Publications Service Identifier/Call Number: SC1125 Physical Description: 63 Linear Feetand 17.4 gigabytes Date (inclusive): 1936-2011 Information about Access The materials are open for research use. Audio-visual materials are not available in original format, and must be reformatted to a digital use copy. Ownership & Copyright All requests to reproduce, publish, quote from, or otherwise use collection materials must be submitted in writing to the Head of Special Collections and University Archives, Stanford University Libraries, Stanford, California 94305-6064. Consent is given on behalf of Special Collections as the owner of the physical items and is not intended to include or imply permission from the copyright owner. Such permission must be obtained from the copyright owner, heir(s) or assigns. See: http://library.stanford.edu/depts/spc/pubserv/permissions.html. Restrictions also apply to digital representations of the original materials. Use of digital files is restricted to research and educational purposes. Cite As [identification of item], Stanford University, News and Publication Service, Audiovisual Recordings (SC1125). Dept. of Special Collections and University Archives, Stanford University Libraries, Stanford, Calif.