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La Construcción Histórica En La Cinematografía Norteamericana
Tesis doctoral Luis Laborda Oribes La construcción histórica en la cinematografía norteamericana Dirigida por Dr. Javier Antón Pelayo Facultad de Filosofía y Letras Departamento de Historia Moderna Universidad Autónoma de Barcelona 2007 La historia en la cinematografía norteamericana Luis Laborda Oribes Agradecimientos Transcurridos ya casi seis años desde que inicié esta aventura de conocimiento que ha supuesto el programa de doctorado en Humanidades, debo agradecer a todos aquellos que, en tan tortuoso y apasionante camino, me han acompañado con la mirada serena y una palabra de ánimo siempre que la situación la requiriera. En el ámbito estrictamente universitario, di mis primeros pasos hacia el trabajo de investigación que hoy les presento en la Universidad Pompeu Fabra, donde cursé, entre las calles Balmes y Ramon Trias Fargas, la licenciatura en Humanidades. El hado o mi más discreta voluntad quisieron que iniciara los cursos de doctorado en la Universidad Autónoma de Barcelona, donde hoy concluyo felizmente un camino repleto de encuentros. Entre la gente que he encontrado están aquellos que apenas cruzaron un amable saludo conmigo y aquellos otros que hicieron un alto en su camino y conversaron, apaciblemente, con el modesto autor de estas líneas. A todos ellos les agradezco cuanto me ofrecieron y confío en haber podido ofrecerles yo, a mi vez, algo más que hueros e intrascendentes vocablos o, como escribiera el gran bardo inglés, palabras, palabras, palabras,... Entre aquellos que me ayudaron a hacer camino se encuentra en lugar destacado el profesor Javier Antón Pelayo que siempre me atendió y escuchó serenamente mis propuestas, por muy extrañas que resultaran. -
Lesen Sie Weiter Auf Der Seite 44 ¾
Ausg. Nr. 128 • 27. Feber 2014 Unparteiisches, unabhängiges Monats- magazin speziell für Österreicherinnen und Österreicher in aller Welt in vier verschiedenen pdf-Formaten http://www.oesterreichjournal.at Lesen Sie weiter auf der Seite 44 ¾ Sie sehen hier die Variante US-Letter mit 72 dpi und geringer Qualität von Bildern und Grafiken ÖSTERREICH JOURNAL NR. 128 / 27. 02. 2014 2 Die Seite 2 Liebe Leserinnen und Leser, die Verlagerung unseres Magazininhalts auf die Rubrik »Östereich, Europa und die Welt«, dem wir diesmal wieder mehr als 50 Seiten gewidmet haben, stößt erfreulicherweise auf Ihre Zustimmung. Informationen über das aktuelle innenpolitische Geschehen holen Sie sich, wie wir vielfach bestätigt bekamen, ohnehin von tagesaktuellen Internetseiten (auch unsere sind dabei, danke dafür). Wir möchten mit dieser Schwerpunktsetzung gerne möglichst viel Interessantes transportieren, worauf wir gemeinsam stolz sein können. Wenn Sie Serie »1914 – 2014« S 30 dazu beitragen möchten, es steht ausreichend Raum für Berichte über Ihre vielfältigen Tätigkeiten zur Verfügung… Michael Mössmer Der Inhalt der Ausgabe 128 Teil 3 der Serie: Europawahl 2014: Ein Künstlerdorf erobert Brüssel 70 Diesmal geht's um mehr! 3 Land fördert Kurzzeitpflege 73 Wählerevidenz bzw. Europa- Neue Gründerinnenoffensive im Wählerevidenz 8 Südburgenland gestartet 73 12. Februar 1934 S 63 Wahl-Informationen für Innovationspreis an Geodatenstelle AuslandsösterreicherInnen 9 des Landes 75 Stimmungslage vor der EU-Wahl 10 »Kultour für alle Sinne« 77 Verantwortung in der Welt 13 ---------- Teufelskreis des Menschenhandels 100 Jahre Silvius Magnago 78 durchbrechen 14 EU: Herausforderung Korruption 79 Prammer trifft afghanischen Amtskollegen Ibrahimi 15 Verhaltenes Wirtschaftswachstum… 81 25. Mai als Termin für die Konjunkturerholung mit geringem Europawahl fixiert 16 Tempo. -
When Cultures Collide: Leading Across Cultures, Third Edition by Richard D
When Cultures Collide: Leading Across Cultures, Third Edition by Richard D. Lewis Nicholas Brealey Publishing. (c) 2006. Copying Prohibited. Reprinted for Kristen Dammers, Sapient [email protected] All rights reserved. Reproduction and/or distribution in whole or in part in electronic,paper or other forms without written permission is prohibited. When Cultures Collide: Leading Across Cultures, Third Edition Chapter 13: Britain Overview For decades the British film industry, enriched by the talents of such actors as Alec Guinness, Peter O'Toole, John Gielgud, Ralph Richardson, Alastair Sim, George Cole and Charles Laughton, has put the typical Englishman on the screen for the world to see. The BBC, in such admirable programs as Upstairs, Downstairs and Yes, Minister, has reinforced the image. The Englishman dresses in tweeds or a three-piece pin-striped suit and a Burberry raincoat on rainy days. He wears a bowler hat, carries a tightly furled, black umbrella with a cane handle and has a pink newspaper tucked under his left armpit. He goes to church on Sunday mornings and eats roast beef with Yorkshire pudding for Sunday lunch. He is a man of principle, insists on fair play for underdogs, does things in a proper manner and shows more affection for horses, cats and dogs than for children, foxes and grouse. He probably went to Eton and Oxford (Cambridge?) and frequents Ascot, Wimbledon, Twickenham, Lord's and Wentworth. He believes in the Monarchy, the Empire and the Conservative Party. When not in his Club (no ladies allowed), he sits in the local pub with gardeners and game wardens, with whom he sips warm beer called real ale. -
Newsletter 14/12 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 14/12 DIGITAL EDITION Nr. 318 - August 2012 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 11 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 14/12 (Nr. 318) August 2012 editorial Hallo Laserdisc- und DVD-Fans, liebe Filmfreunde! Mit ein paar Impressionen von der Premiere des Kinofilms DIE KIR- CHE BLEIBT IM DORF, zu der wir am vergangenen Mittwoch ein- geladen waren, möchten wir uns in den Sommerurlaub verabschieden. S ist wie fast jedes Jahr: erst wenn alle Anderen ihren Urlaub schon absolviert haben, sind wir dran. Aber so ein richtiger Urlaub ist das eigentlich gar nicht. Nichts von we- gen faul am Strand liegen und sich Filme in HD auf dem Smartphone reinziehen! Das Fantasy Filmfest Fotos (c) 2012 by Wolfram Hannemann steht bereits vor der Tür und wird uns wieder eine ganze Woche lang von morgens bis spät in die Nacht hinein mit aktueller Filmware ver- sorgen. Wie immer werden wir be- müht sein, möglichst viele der prä- sentierten Filme auch tatsächlich zu sehen. Schließlich wird eine Groß- zahl der Produktionen bereits kurze Zeit nach Ende des Festivals auf DVD und BD verfügbar sein. Und da möchte man natürlich schon vor- her wissen, ob sich ein Kauf lohnen wird. Nach unserer Sommerpause werden wir in einem der Newsletter wieder ein Resümee des Festivals ziehen. Es wird sich also lohnen weiter am Ball zu blei- ben. Ab Montag, den 17. -
A Discursividade No Filme Hamlet: Uma Interpretação Hermenêutica
Paula Regina Puhl A Discursividade no Filme Hamlet: Uma Interpretação Hermenêutica Pontifícia Universidade Católica do Rio Grande do Sul Porto Alegre, abril de 2003 2 Índice Resumo7 Abstract9 Introdução 11 1 Hamlet: da oralidade do teatro à linguagem cinemato- gráfica 17 1.1 A condição humana traduzida através das palavras 18 1.2 A obra cinematográfica – A tradução do pensa- mento pelas imagens............... 30 1.3 Hamlet de 1948: A representação shakespeareana vai ao Cinema................... 39 2 Barthes e Thompson: Um encontro no filme Hamlet 47 2.1 Pelos caminhos barthesianos........... 48 2.1.1 Imagem – A linguagem como instrumento transformador............... 48 2.1.2 Cultura – A intertextualidade no que não está à mostra............... 54 2.1.3 Poder – A busca de uma energia prazerosa 56 2.1.4 Discurso – A divisão das linguagens e as relações de Poder............. 58 2.2 O método..................... 62 2.2.1 Hermenêutica: A busca do oculto.... 63 3 2.2.2 Hermenêutica de Profundidade e a Trí- plice Análise............... 67 2.2.3 Thompson, um guia, e Barthes, uma luz: A união através da HP.......... 75 3 A tríplice análise e as categorias barthesianas se en- contram em Hamlet 81 3.1 Análise Sociohistórica – Textos e contextos no filme Hamlet, de 1948............... 82 3.1.1 A história e William Shakespeare.... 83 3.1.2 Considerações sociohistóricas...... 102 3.2 Análise Formal ou Discursiva........... 105 3.2.1 Descrição das cenas........... 106 3.2.2 Considerações discursivas sobre as For- mas Simbólicas.............. 168 3.3 Interpretação/Re-interpertação – Os resultados da Tríplice Análise................. -
Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C
DOCUMENT RESUME ED 301 906 C3 506 492 AUTHOR Newsom, Iris, Ed. TITLE Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C. REPORT NO ISBN-0-8444-0570-1; ISBN-0887-8234 PUB DATE 87 NOTE 189p. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 (Ztock No. 030-001-00120-2, $21.00). PUB TYPE Collected Works - General (020) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Cultural Activities; *Dance; *Film Industry; *Films; Music; *Television; *Theater Arts IDENTIFIERS *Library of Congress; *Screenwriters ABSTRACT Liberally illustrated with photographs and drawings, this book is comprised of articles on the history of the performing arts at the Library of Congress. The articles, listed with their authors, are (1) "Stranger in Paradise: The Writer in Hollywood" (Virginia M. Clark); (2) "Live Television Is Alive and Well at the Library of Congress" (Robert Saudek); (3) "Color and Music and Movement: The Federal Theatre Project Lives on in the Pages of Its Production Bulletins" (Ruth B. Kerns);(4) "A Gift of Love through Music: The Legacy of Elizabeth Sprague Coolidge" (Elise K. Kirk); (5) "Ballet for Martha: The Commissioning of 'Appalachian Spring" (Wayne D. Shirley); (6) "With Villa North of the Border--On Location" (Aurelio de los Reyes); and (7) "All the Presidents' Movies" (Karen Jaehne). Performances at the library during the 1986-87season, research facilities, and performing arts publications of the library are also covered. (MS) * Reproductions supplied by EDRS are the best that can be made * from the original document. 1 U $ DEPARTMENT OP EDUCATION Office of Educational Research and Improvement 411.111.... -
Miller, Hugh Edinburgh
THE GEOLOGICAL CURATOR VOLUME 10, NO. 7 HUGH MILLER CONTENTS EDITORIAL by Matthew Parkes ............................................................................................................................ 284 THE MUSEUMS OF A LOCAL, NATIONAL AND SUPRANATIONAL HERO: HUGH MILLER’S COLLECTIONS OVER THE DECADES by M.A. Taylor and L.I. Anderson .................................................................................................. 285 Volume 10 Number 7 THE APPEAL CIRCULAR FOR THE PURCHASE OF HUGH MILLER'S COLLECTION, 1858 by M.A. Taylor and L.I. Anderson .................................................................................................. 369 GUIDE TO THE HUGH MILLER COLLECTION IN THE ROYAL SCOTTISH MUSEUM, EDINBURGH, c. 1920 by Benjamin N. Peach, Ramsay H. Traquair, Michael A. Taylor and Lyall I. Anderson .................... 375 THE FIRST KNOWN STEREOPHOTOGRAPHS OF HUGH MILLER'S COTTAGE AND THE BUILDING OF THE HUGH MILLER MONUMENT, CROMARTY, 1859 by M. A. Taylor and A. D. Morrison-Low ..................................................................................... 429 J.G. GOODCHILD'S GUIDE TO THE GEOLOGICAL COLLECTIONS IN THE HUGH MILLER COTTAGE, CROMARTY OF 1902 by J.G. Goodchild, M.A. Taylor and L.I. Anderson ........................................................................ 447 HUGH MILLER AND THE GRAVESTONE, 1843-4 by Sara Stevenson ............................................................................................................................ 455 HUGH MILLER GEOLOGICAL CURATORS’ -
An Impossible Task? Scripting the Chilian Club
Chapter 5 An Impossible Task? Scripting The Chilian Club Andrew Spicer Introduction This chapter will explore the multifarious drafting and redrafting of scripts and full screenplays for a film based on George Shipway’s controversial political satire The Chilian Club (1971), the story of a quartet of elderly assassins – former army officers – who believe they are saving their country from Communist subversion. Although The Chilian Club was never produced, ten complete adaptations were written involving four different hands – writer- directors Peter Collinson and Mike Hodges, Benny Green, the well- known radio scriptwriter and broadcaster, and Michael Klinger who was to have been the film’s producer – over a six- year period (1972–7). As discussions of screenwriting often emphasize (Rilla 1973: 12–16; Cook and Spicer 2008: 213–16; Maras 2009: 11–15), it is important to establish what is understood to be the object of study. Thus, although there will be a detailed examination of the scripts themselves and the aesthetic difficulties of realizing Shipway’s novel, the chapter will also pay close attention to the fluctuating nature of the collaborations involved and contextual factors that shaped them. This was a period of exceptional volatility and uncertainty in the British film industry, and Klinger, as an independent producer, faced extreme difficulties that had a direct bearing on his attempts to film The Chilian Club. Figure 5.1 The strapline for Klinger News with a typical headline; courtesy of Tony Klinger 72 Andrew Spicer My analysis of the deeper forces at work in attempting to realize The Chilian Club will be based on hitherto unused material in the University of the West of England’s Michael Klinger Papers that shed light on the convoluted relationships between screenwriters, distributors, potential investors, public bodies and large corporations, all pivoting round the figure of Michael Klinger as the producer. -
The French Lieutenant's Woman
1993/ /2014 Whose Story?: The Screen Adaptation of John Fowles’s The French Lieutenant’s Woman Sara Martín Alegre Tesina/(MA) Dissertation Programa de Doctorat en Filologia Anglesa Departament de Filologia Anglesa i de Germanística Universitat Autònoma de Barcelona Contents Abstract ........................................................................................................................ 1 1. Introduction: Establishing the Ownership of Stories ................................................... 1 1.1. Reconsidering the Role of the Screen Playwright ................................................ 4 1.2. Reconsidering Screen Adaptations .................................................................... 13 2.The Novel and the Novelist: Obsessive Authorial Control ......................................... 19 2.1. Vindicating the Victorian Author: The Problem of Controlling the Female Protagonist .............................................................................................................. 19 2.2. The French Lieutenant’s Woman in Conversation with Other Texts: Overcoming the Need for a Husband ........................................................................................... 30 3. The Novel and the Screenwriter: Rewriting from Scratch......................................... 41 3.1. Between Stage and Screen: Harold Pinter ......................................................... 41 3.2. From Project to Film: Selling The French Lieutenant’s Woman to American Audiences ............................................................................................................... -
Colonel March of Scotland Yard Dave Mann, Independent Scholar, UK
Epicurean Disdain and the Rhetoric of Defiance: Colonel March of Scotland Yard Dave Mann, Independent Scholar, UK In the 1950s and early 1960s, the lower reaches of the British film industry underwent a profound transition -- it shifted from the production of programme fillers and supporting features to making TV/Film series (called telefilm in America). This transition has yet to undergo sustained critical scrutiny principally because this emergent form falls between two, compartmentalised, areas of scholarship -- Film Studies and Television Studies. Yet these early series are deserving of our attention because, firstly, they became a staple of the domestic film production and, secondly, because they articulate a series of complex ideological engagements. One of the most important of these dialogic exchanges was with the American television market. Primarily this was because British series could not recoup their costs by supplying the fledgling indigenous television sector alone and thus had to achieve American distribution. Far earlier than her British counterparts, the American arriviste Hannah Weinstein saw the potential for producing TV/Film series in Britain where production costs were significantly lower. She also recognised a shift in the American market from anthologies made up of discrete episodes drawing on a variety of genres and fronted by former Hollywood stars, such as the domestically-produced Douglas Fairbanks Presents (1953-56), to more economic series which exploited a regular cast and standard sets. To date, accounts of Weinstein's work focus on her role as head of Sapphire Films producing internationally successful swashbucklers beginning with The Adventures of Robin Hood (1955-59; see Neale, 2003: 245-257 and 2005a: 73-87). -
Losey S'est Souvent Passionné Pour Les Rapports De Classe Et La Tension Sexuelle Entre Les Êtres
LE DÉMIURGE, SA FEMME ET SON AMANT Du fascinant The Servant (1963) à Accident (1967), sans oublier Le Messager (1971), Joseph Losey s'est souvent passionné pour les rapports de classe et la tension sexuelle entre les êtres. Inspiré par L'Ennui de Moravia, radiographie existentielle de la désagréga- tion de la bourgeoisie et de son oisiveté, Une Anglaise romantique est sans doute l'une des œuvres les plus méconnues - et les plus exaltantes - de son auteur. S'attachant souvent à faire imploser les couples, il s'intéresse ici aux rapports désormais inexistants entre un écrivain à succès, un rien blasé, et sa femme profondément désœuvrée. Car c'est bien d'ennui, au sens de Moravia, qu'il s'agit : dans leur grande maison cossue, où chaque objet est à sa place, les deux époux lisent sagement dans leur lit l'un à côté de l'autre, dans un plan des plus éloquents sur l'apathie de leur union. Lorsque Michael Caine demande à Glenda Jackson si elle est insatisfaite, celle-ci, souffrant d'une forme moderne de bovarysme, répond qu'elle aimerait bien, mais qu'elle ne s'y sent pas autorisée. Pensant briser les chaînes conjugales, elle quitte la grande propriété où elle étouffe pour se réfugier à Baden-Baden afin, dit-elle, de "se trouver". Elle y fera la connaissance de Thomas, un gigolo au visage d'ange à qui Helmut Berger prête ses traits, qui la suivra jusqu'en Angleterre. Le duo devient alors trio. Et comme souvent, les figures triangulaires exacerbent les tensions qui peuvent conduire à l'explosion. -
Memorias Del Club De Cine: Más Allá De La Pantalla 2008-2015
Memorias del Club de Cine: Más allá de la pantalla 2008-2015 MAURICIO LAURENS UNIVERSIDAD EXTERNADO DE COLOMBIA Decanatura Cultural © 2016, UNIVERSIDAD EXTERNADO DE COLOMBIA Calle 12 n.º 1-17 Este, Bogotá Tel. (57 1) 342 0288 [email protected] www.uexternado.edu.co ISSN 2145 9827 Primera edición: octubre del 2016 Diseño de cubierta: Departamento de Publicaciones Composición: Precolombi EU-David Reyes Impresión y encuadernación: Digiprint Editores S.A.S. Tiraje de 1 a 1.200 ejemplares Impreso en Colombia Printed in Colombia Cuadernos culturales n.º 9 Universidad Externado de Colombia Juan Carlos Henao Rector Miguel Méndez Camacho Decano Cultural 7 CONTENIDO Prólogo (1) Más allá de la pantalla –y de su pedagogía– Hugo Chaparro Valderrama 15 Prólogo (2) El cine, una experiencia estética como mediación pedagógica Luz Marina Pava 19 Metodología y presentación 25 Convenciones 29 CUADERNOS CULTURALES N.º 9 8 CAPÍTULOS SEMESTRALES: 2008 - 2015 I. RELATOS NUEVOS Rupturas narrativas 31 I.1 El espejo - I.2 El diablo probablemente - I.3 Padre Padrone - I.4 Vacas - I.5 Escenas frente al mar - I.6 El almuerzo desnudo - I.7 La ciudad de los niños perdidos - I.8 Autopista perdida - I.9 El gran Lebowski - I.10 Japón - I.11 Elephant - I.12 Café y cigarrillos - I.13 2046: los secretos del amor - I.14 Whisky - I.15 Luces al atardecer. II. DEL LIBRO A LA PANTALLA Adaptaciones escénicas y literarias 55 II.1 La bestia humana - II.2 Hamlet - II.3 Trono de sangre (Macbeth) - II.4 El Decamerón - II.5 Muerte en Venecia - II.6 Atrapado sin salida - II.7 El resplandor - II.8 Cóndores no entierran todos los días - II.9 Habitación con vista - II.10 La casa de los espíritus - II.11 Retrato de una dama - II.12 Letras prohibidas - II.13 Las horas.