DOCSLIB.ORG

Music, Theatre and the Nation: the Entertainment Market in Lisbon (1865–1908)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music, Theatre and the Nation: the Entertainment Market in Lisbon (1865–1908) Newcastle University School of Arts and Cultures Music, theatre and the nation: The entertainment market in Lisbon (1865–1908) João Luís Meireles Santos Leitão da Silva Submitted in fulfilment of the degree of Doctor of Philosophy September 2011 Abstract My thesis concentrates on the study of the symbolic construction of the Portuguese nation and the field of popular entertainment between 1865 and 1908, concentrating on various musical practices and their association with a changing theatrical panorama. It addresses the emergence of new forms of music theatre (the operetta and the revista) played a key role in creating a privileged space for the display and representation of modernity, a process in which the notion of the cultural nation-state was embedded. The establishment of a bourgeois public sphere induced relevant changes in the cultural market in Portugal during the period of this thesis, when several journalistic typologies that relied on industrial mechanised processes of production and focused on the actual narration of facts emerged. Moreover, this thesis examines the theatrical life in Lisbon in a period when the processes of urban expansion were closely associated with paradigms of modernity as it was perceived at the time, producing new spaces in the urban fabric. This theses also addresses the presence of an articulated system for the dissemination of musical commodities (such as postcards, sheet music or sound recordings) and the role the commodity form played in that system, striving to portray that phenomenon as a process in which aspects such as technology, class, and gender were embedded. Furthermore, my thesis examines the development of a heterogeneous network of approaches and disciplines that were being established with scientific intents that contributed to the reshaping the coeval perspectives of Portugal as a symbolic nation-state, in which the collection and publication of music from predominantly rural contexts was integrated. ii Acknowledgements The research for this thesis was made possible by a scholarship of the Fundação para a Ciência e Tecnologia, for which I am very grateful. It allowed me to concentrate exclusively on my research and to study at the International Centre for Music Studies in Newcastle University. I am also deeply indebted to my supervisors, Dr. Ian Biddle and Dr. Nanette de Jong for their constant support and friendship throughout this process. Their insightful comments and our discussions were key for the development of this project since I first arrived at Newcastle. I would also like to thank my friends and colleagues of Newcastle University for creating a welcoming environment for the discussion of my ideas and for the valuable guidance I got during the past three years. I would like to thank my colleagues and friends from INET-MD (Universidade Nova de Lisboa), especially Prof. Salwa Castelo-Branco, for allowing me to consult the information produced by the project The Recording Industry in 20th Century Portugal and for the possibility to present my work in several publications. I am also deeply grateful to Leonor Losa and Susana Belchior for our ongoing exchange of information on the issues associated with mechanical music in Portugal and to Gonçalo Antunes de Oliveira for our profitable discussions on Portuguese theatre. Moreover, I would like to thank Sofia Patrão of the Museu Nacional do Teatro for indicating several important sources for the study of the operetta and the revista and Miguel Ângelo Ribeiro for supplying me with valuable data associated with the library of Lisbon’s Conservatoire. Finally, I would like to thank my parents Amílcar and Fátima as well as Joana Lancastre for their continuous moral and practical support from the beginning of this project, helping me to get through this slow and difficult process. This thesis could not have been written without them. iii Contents Introduction 1 Periodicals, Politics and Iconography 6 Urban Space, Theatrical Entertainment and Sociability 8 Commodities, Technology and Everyday Life 12 Science, Alterity and Traditional Music 17 Chapter 1. Periodicals, Music and Society in Portugal from 1820 to 1908 22 The Establishment of a “Neutral” Press and the Industrialisation of Periodicals 27 The Emergence of a Theatrical Press 29 Illustration, Media and the Public Sphere 32 Media and National(ist) Celebration 36 Voicing the Workers Through the Press 38 Music Periodicals in Portugal: Printed Music and Historiography 50 Towards a Historiography of the Vernacular: Fado and Journalism 52 Commonality and Difference in Nation-constructing Discourses: Sameness and Otherness 56 Photography, Mechanical Music and the Regicide: Media and Technology in the Beginning of the Twentieth Century 61 Chapter 2. Urban Space, Theatre and Music in Lisbon: Opera, Operetta, Zarzuela and Revista 70 Introduction 70 Changing the City, Reshaping the Social 72 The Real Teatro de São Carlos and Lisbon’s Operatic Activity 90 Presenting Stories with Music in Lisbon: Operetta and Zarzuela 101 The Revista and the Promotion of “The Nation”: An Archive on Popular Modernity 118 Musical Aspects of the Revista: Sources, Orchestras, and Repertoire 128 The Revista as a Privileged Place for Representing the Symbolic Nation: Multivocality and Modernity on Stage 135 iv Chapter 3. Programmes, Postcards, Coplas and Sheet Music in Lisbon’s Entertainment Market 143 Introduction 143 Domestic Space, Gender, and the Piano 143 The Theatre and some of its Associated Products: Librettos, Programmes, Posters, and Postcards 159 Theatrical Repertoires and Sheet Music 167 The Materiality of Sheet Music 178 Chapter 4. Mechanical instruments, Phonography, and the Reshaping of the Music Market 186 Mechanical Instruments, Data Storage, and Musical Repertoires 189 The Introduction of Phonography in Portugal 205 The Establishment of Pathé in Portugal 216 The Companhia Franceza do Gramophone in Portugal 225 Local Entrepreneurs in the Portuguese Phonographic Market: Castelo Branco and Simplex 241 Conclusion 244 Chapter 5. Studying the Nation: Folklorisation and Music Collecting in Portugal 246 Introduction 246 Popular Traditions and Textual Analysis: The First Scientific Efforts of Portuguese Ethnology 248 Collection of Ethnological Data and the Portuguese Empire 254 Geology, Archaeology and Physical Anthropology 261 Song Collection in Portugal: Between Domestic Entertainment and Scientific Objectivity 270 Conclusion 286 References 300 v List of figures Figure 1. Local/global as a Greimasian square 136 Figure 2. A second elaboration of the local/global as a Greimasian square 137 vi Introduction “The King D. Carlos of Bragança, assassinated in broad daylight in one of the squares of the capital of his kingdom, and the teacher Buíça, his assassin, both sought to rescue, in this anguished historical moment, the Portuguese character from the discredit it had fallen into.”1 This is how a chronicle by Alfredo Mesquita published ten days after the traumatic event that dictated the symbolic death of the Portuguese Constitutional Monarchy began. My thesis concentrates on studying the connections between the symbolic construction of the Portuguese nation and the field of popular entertainment between 1865 and 1908, the year of the regicide. Despite a recent significant increase of publications on both the regicide and the establishment of the Portuguese Republic in 1910, a rise that can be associated with the centennials of both events, these tend to overlook the theatrical and musical aspects of the entertainment market of the later years of the Constitutional Monarchy. Thus, this thesis aims to address a gap in the knowledge of these subjects in the Portuguese context of that period through the study of several musical activities in Lisbon from 1865 to 1908, mainly focusing on the expansion of the theatrical scene of the city, a development that widened the choice of available entertainment. Therefore, my thesis concentrates on the analysis and contextualisation of cultural artefacts associated with various musical practices and their association with a changing theatrical panorama, reconfiguring the leisure activities in Lisbon. According to my perspective, the emergence of new forms of music theatre (the operetta and the revista) played a key role in creating a privileged space for the display and representation of modernity, a process in which the notion of the cultural nation- state was embedded. For that purpose, the symbolic nation was commodified and disseminated through its integration in these entertainment products, relying on the pervasiveness of the popular theatre in Portuguese society for the promotion of the idea of a modern Portugal, thus facilitating its internalisation by several social groups of the time. In this sense, my work concentrates on the study of the interaction between symbolic expressions and “the historical conditions and structures of social organisations within which those expressions are grounded.”2 1 Alfredo Mesquita, “Chronica occidental”, O Occidente, nº 1048, 10th February 1908, 26. 2 Michael Pickering, History, Experience and Cultural Studies (London: Macmillan Press Ltd.), 10. 1 Most of the publications of reference dealing with the history of the revista in Portugal were edited in the late 1970s and in the early 1980s and, despite addressing the musical aspects of the genre, did not examine them thoroughly.3 Therefore, one of the main contributions of my research is a musicological study of the revista in the period when the genre was encoded
Load more

Recommended publications
  • Lopes-Graça and the Concept of “National Music”
    Politics of Identity and Counter-Hegemony: Lopes-Graça and the Concept of “National Music” MÁRIO VIEIRA de CARVALHO The idea of “national music” plays a paramount role in the theory and praxis of the Portuguese composer Fernando Lopes-Graça (1906-1994), who was confronted with it in the 1920s, when ‘nationalism’ increasingly influenced different ideological discourses and became entangled in arts and music. In this paper, I begin with a brief historical retrospective in order to situate the “position” of Lopes- Graça and discuss the circumstances in which he first joined the mainstream, then radically broke with it, and finally developed what I call a counter-hegemonic “politics of identity,” 1 based on a particular concept of “national music”: a concept not yet given , but still to be constructed. Lopes-Graça was able to inscribe this concept within a broader strategy of cultural resistance against the Estado Novo (the “New State”), including alternative, counter-hegemonic structures of communication. The sentiment of decadence and nationalism In Portugal, the turn to “musical nationalism” dates back to the end of the 19th century, with the pianist and composer José Viana da Mota (1868–1948) and the composer Alfredo Keil (1850–1907). 2 It coincides, on the one hand, with a prevailing sense that Portugal had lapsed into decadence, aroused by the colonial crisis and the British ultimatum (1890) concerning certain Portuguese territorial ambitions in Africa, and, on the other hand, with the rise of the Republican movement, which had grown in influence since 1880 as a “patriotic” alternative to the establishment. The fanfare of the last section—Ressurgimento (‘Resurgence’)—of the Symphony “ à Pátria ” (dedicated to the homeland), written by Viana da Mota in 1895 (immediately after his entry into Freemasonry), seems to anticipate the Republican victory of 1910.
    [Show full text]
  • Civilizing Africa” in Portuguese Narratives of the 1870’S and 1880’S Luísa Leal De Faria
    Empire Building and Modernity Organização Adelaide Meira Serras Lisboa 2011 EMPIRE BUILDING AND MODERNITY ORGANIZAÇÃO Adelaide Meira Serras CAPA, PAGINAÇÃO E ARTE FINAL Inês Mateus Imagem na capa The British Empire, 1886, M. P. Formerly EDIÇÃO Centro de Estudos Anglísticos da Universidade de Lisboa IMPRESSÃO E ACABAMENTO TEXTYPE TIRAGEM 200 exemplares ISBN 978-972-8886-17-2 DEPÓSITO LEGAL 335129/11 PUBLICAÇÃO APOIADA PELA FUNDAÇÃO PARA A CIÊNCIA E A TECNOLOGIA ÍNDICE Foreword Luísa Leal de Faria . 7 Empire and cultural appropriation. African artifacts and the birth of museums Cristina Baptista . 9 Here nor there: writing outside the mother tongue Elleke Boehmer . 21 In Black and White. “Civilizing Africa” in Portuguese narratives of the 1870’s and 1880’s Luísa Leal de Faria . 31 Inverted Priorities: L. T. Hobhouse’s Critical Voice in the Context of Imperial Expansion Carla Larouco Gomes . 45 Ways of Reading Victoria’s Empire Teresa de Ataíde Malafaia . 57 “Buy the World a Coke:” Rang de Basanti and Coca-colonisation Ana Cristina Mendes . 67 New Imperialism, Colonial Masculinity and the Science of Race Iolanda Ramos . 77 Challenges and Deadlocks in the Making of the Third Portuguese Empire (1875-1930) José Miguel Sardica . 105 The History of the Sevarambians: The Colonial Utopian Novel, a Challenge to the 18th Century English Culture Adelaide Meira Serras . 129 Isaiah Berlin and the Anglo-American Predicament Elisabete Mendes Silva . 143 Nabobs and the Foundation of the British Empire in India Isabel Simões-Ferreira . 155 Foreword ollowing the organization, in 2009, of the first conference on The British Empire: Ideology, Perspectives, Perception, the Research Group dedicated Fto Culture Studies at the University of the Lisbon Centre for English Studies organized, in 2010, a second conference under the general title Empire Building and Modernity.
    [Show full text]
  • Aline Dell'orto Carvalho
    ÉCOLE DES HAUTES ÉTUDES EN SCIENCES SOCIALES Aline dell’Orto Carvalho EN NOIR ET BLANC : LA REPRÉSENTATION DES NOIRS DANS LE DESSIN D’HUMOUR AU XIXE SIÈCLE. BRÉSIL, FRANCE, ANGLETERRE ET PORTUGAL. Mémoire présenté à la mention Histoire et Civilisations de l’École des Hautes Études en Sciences Sociales pour obtention du diplôme de Master 2 Directeur : Christophe Prochasson Rapporteur : Claudia Damasceno Paris Mai 2013 TABLE DE MATIÈRES Remerciements ..............................................................................................................3 Introduction .................................................................................................................. 4 Chapitre 1 – Un premier pas ......................................................................................18 Chapitre 2 – Les allers-retours de la presse ................................................................60 Chapitre 3 – Les échanges La Guerre Civil Américaine vue d’Europe .....................................................87 Les voyages de Raphael Bordallo Pinheiro ...................................................119 Conclusion ................................................................................................................ 140 Tableau de sources ...................................................................................................145 Bibliographie............................................................................................................. 156 2 REMERCIEMENTS Dans ce moment charnière
    [Show full text]
  • Cavaquinho Português Em Performance Solo Rodrigues Bastos
    Universidade de Aveiro Departamento de Comunicação e Arte 2018 Paulo Jorge Cavaquinho Português em Performance Solo Rodrigues Bastos Universidade de Aveiro Departamento de Comunicação e Arte 2018 Paulo Jorge Cavaquinho Português em Performance Solo Rodrigues Bastos Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Música, realizada sob a orientação científica do Doutor Paulo Maria Ferreira Rodrigues da Silva, Professor Auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro Dedico este trabalho a todas as pessoas sonhadoras que lutam por concretizar os seus mais arrojados sonhos, a todos os que acreditam no impossível e na “magia”, a todos o que apreciam e se fascinam pelas possibilidades infinitas da criação artística o júri presidente Prof. Doutor Jorge Castro Ribeiro Professor auxiliar da Universidade de Aveiro Prof. Doutor Paulo Maria Ferreira Rodrigues da Silva Professor auxiliar da Universidade de Aveiro (Orientador) Prof. Doutor Filipe Lopes Professor adjunto do Instituto Politécnico do Porto agradecimentos Agradeço à Ludmila Queirós, Bernardo e Duarte Bastos pela honra que é partilhar a vida com eles, pela alegria, inspiração constante ao longo da vida, incondicional e incansável apoio, que assim, me inspiraram e possibilitaram que este mestrado acontecesse. Agradeço ainda e particularmente à Ludmila Queirós pela ajuda em trabalhos diversos de imagem, para este projeto, por ser uma das artistas que mais admiro e que mais me inspira e abre horizontes. Aos meus pais António e Dulce Bastos por todo o apoio incondicional e dedicação das suas vidas a mim, e por me terem facultando uma educação artística.
    [Show full text]
  • Brazilian Choro
    The Brazilian by Tadeu Coelho and Julie Koidin Choro: Historical Perspectives and Performance Practices alanço is to choro as swing is to jazz—in both, mandatory elements to proper performance Band enjoyment of the music. Immersion in the sound of choro is imperative to playing it well. Knowledge of its origins and history is also helpful. Introduction the melody through spirited improvisations, sometimes David Willoughby, editor of the College Music Society quoting other melodies, from popular to classical styles. Newsletter, posed these questions: Should it not be a con- Although easier to decipher these performance intricacies stantly sought after goal for musicians trained in narrow via recordings, it still remains difficult—although not specialties to work together towards broader musical impossible—to catch the “twinkle” in the performer’s eye. understandings and towards the creation of a more Choro’s limited dissemination is furthered by its lack of vibrant musical culture? Should such a culture comprise accurate printed music. The vast majority of sheet music only materials imported from Western Europe? Should it publications have accompaniment that is written in a lead not synthesize musical repertories, of various kinds, from sheet format, i.e. chord symbols over melody. Without a all over the world?1 recording, it would be impossible to decipher the rhythms Throughout the world, the tradition of a country studying used in the accompaniment. The numerous errors found in its own cultural practices is not inceptive with its art. Such is the majority of publications, both in the melodic lines and the case of the choro, an indigenous music of Brazil, mostly chord symbols, further infringe on the probability of the instrumental, but at times with lyrics.
    [Show full text]
  • In Collaboration with CSTM/SCTM
    FEREN CON CE PROGRAM laboration with CSTM/ In col SCTM IC TM 2011 WE’RE PROUD TO WELCOME THE 41ST WORLD CONFERENCE OF ICTM to Memorial University and to St. John’s, Newfoundland and Labrador. This is a unique corner of Canada, the only part that was once an independent country and then the newest Canadian province (since 1949) but one of the oldest meeting points for natives and new- comers in North America. With four Aboriginal cultures (Inuit, Innu, Mi’kmaq, Métis); deep French, English, Irish, and Scottish roots; and a rapidly diversifying contemporary society, our citizens have shared a dramatic history, including a tsunami, an occupation during WWII, a fragile dependence on the sea including a cod moratorium in recent decades, a key role in the events of 9/11, and more recently, an oil boom. Its nickname – The Rock – tells a lot about its spectacular geography but also about its resilient culture. Traditional music and dance are key ingredients in life here, as we hope you will learn in the week ahead. Our meetings will take place at Memorial University, shown in the foreground of the photo below, and in the Arts & Culture Centre just to the west of the campus. To celebrate the conference themes in music itself, and to bring the public in contact with the remarkable range of scholars and musicians in our midst, we have organized the SOUNDshift Festival to run concurrently with the World Conference of ICTM. Five concerts, open to delegates and the general public, workshops by ICTM members and musicians featured on the concerts, and films are available as part of this festival.
    [Show full text]
  • Celebrations
    Celebrations Alentejo Portalegre Islamic Festival “Al Mossassa” Start Date: 2021-10-01 End Date: 2021-10-03 Website: https://www.facebook.com/AlMossassaMarvao/ Contacts: Vila de Marvão, Portalegre The historic town of Marvão, in Alto Alentejo, will go back in time to evoke the time of its foundation by the warrior Ibn Maruam, in the ninth century, with an Islamic festival. Historical recreations with costumed extras, an Arab market, artisans working live, a military camp with weapons exhibition, games for children, knights in gun duels, exotic music and dance, acrobats, fire- breathers, snake charmers , bird of prey tamers and circus arts are some of the attractions. Centro de Portugal Tomar Festa dos Tabuleiros (Festival of the Trays) Date to be announced. Website: http://www.tabuleiros.org Contacts: Tomar The Festival of the Trays takes place every four years; the next one will take place in July 2023. Do not miss this unique event! The blessing of the trays, the street decorations, the quilts in the windows and the throwing of flowers over the procession of the trays carried by hundreds of young girls on their heads, is an unforgettable sight. The Procession of the Tabuleiros, heralded by pipers and fireworks, is led by the Banner of the Holy Ghost and the three Crowns of the Emperors and Kings. They are followed by the Banners and Crowns from all the parishes, and the girls carrying the trays. In the rear are the cartloads of bread, meat and wine, pulled by the symbolic sacrificial oxen, with golden horns and sashes. The girls who carry the trays have to wear long white dresses with a coloured sash across the chest.
    [Show full text]
  • New York Antiquarian Book Fair Booth
    ◆ New York Antiquarian Book Fair March 9-12, 2017 Booth E15 ◆ Isabelle BILBAO - Guy NEPLAZ 00.33.645.26.71.60 - 00.33.673.95.62.26 BAYONNE - FRANCE To place your order, call, write, e-mail KOEGUI BOOKSELLER 21 Rue Vieille Boucherie, Bayonne City, 64100 Telephone 00.33.559.59.78.74 - [email protected] www.librairie-koegui.fr ◆ SUMMARY • Unique copies ..........................................................p. 1 • Parisian life ..............................................................p. 29 • Litterature .................................................................p. 33 th • Illustrated books XX century .......................p. 41 • Varia ..............................................................................p. 55 • Index (with notice’s number) .......................................p. 65 ◆ All postage is extra. New clients are requested to send remittance with orders. All New York and New Jersey residents must add the appropriate sales tax. We accept Master Card, and Visa. Catalogue designer : Elodie Boisse / www.elodie-boisse.com Photography by Alexandra Vaquero-Urruty / [email protected] Unique copies 1. BARBEY d’AUREVILLY, Jules – LOBEL RICHE Les Diaboliques. 7 200 $ Paris: Librairie de la collection des Dix, A. Romagnol, 1925. 1 volume, quarto, 322pp. Full aubergine morocco binding signed George LEVITZKY. Spine with four raised bands decorated with blind fillets extending to the boards in gilt and mosaic plant motifs. Morocco havana doublure within a mosaic morocco border. Silk painted end-papers, all edges gilt. Original paper covers and spine bound in. Leather-edged slipcase and chemise with aubergine morocco spine. LIMITED EDITION of 300 numbered copies, this one of the 120 numbered copies on Japan paper containing a triple set of the illustrations. Edition illustrated with 38 original etchings by Lobel-Riche - 21 plates, including a portrait, not included in the pagina- tion, 10 headpieces and 7 tailpieces.
    [Show full text]
  • Annual Report 2019 floor · 1099-081 Lisbon Th Guidesign Rita Matos 2019 Annual Report Printed at Guide Artes Gráficas, Lda
    Reaching out to the Portuguese people Annual Report 2019 Fundação Francisco Manuel dos Santos Francisco Fundação Annual Report 2019 Fundação Francisco Manuel dos Santos Largo Monterroio Mascarenhas, 1 – 7th floor · 1099-081 Lisbon Fiscal number: 508 867 380 · Phone: +351 21 001 58 00 · ffms@ffms.pt Title 2019 Annual Report Proofreading Rita Matos Design and page make-up Guidesign Annual Report 2019 Printed at Guide Artes Gráficas, Lda. Reaching out to the Portuguese people ffms.pt © FFMS, Julho 2020 Annual Report 2019 “A life lesson of good conduct. That is the only thing I am interested in leaving behind. The rest of it is a legacy that must be tended to, and to which other people also contributed. What is truly mine is what I think, what I like, what I stand up for, and I hope that people will understand that. And that they respect one another.” Alexandre Soares dos Santos 1934 – 2019 Alexandre Soares dos Santos, in an interview with Anabela Mota Ribeiro, published in Público newspaper in 2012. The Foundation in numbers Events and Studies Publications Pordata Communication Digital Reaching out to the Portuguese people ESSAYS , , . million new studies new Essays users per day news pieces about visits on websites the Foundation’s activities (+48% do vs. 2018) PORTRAITS , million . million downloads new Portraits visits events organized on site webpages visited (+27% vs. 2018) (and via streaming) (+9% vs. 2018) +% , , , promotion online sales trainees at Pordata Academy on-site attendants followers on social media events (vs. 2018) (+74% vs. 2018) (+13% vs. 2018) 2019 The Foundation in numbers Events and Studies Publications Pordata Communication Digital Reaching out to the Portuguese people ESSAYS , , .
    [Show full text]
  • World Famous Book Festivals List PDF
    World Famous Book Festivals List PDF All companies and individuals are encouraged to read and understand each service, their policies, and then decide if they are a right fit for you. January ALA Philadelphia Midwinter Meeting and Exhibits, USA – https://2020.alamidwinter.org/ American Library Association Annual Conference, USA – https://www.combinedbook.com/2020-american-library-association-annual- conference.html Cairo International Book Fair, Egypt – http://www.cairobookfair.org.eg/opening/ Festival International De La Bande Dessinee, France – https://www.bdangouleme.com/ International Kolkata Book Fair, India – http://kolkatabookfair.net/ Jaipur Literature Festival, India – https://jaipurliteraturefestival.org/ New Delhi World Book Fair, India – http://nbtindia.gov.in/nbtbook February African American Children’s Book Fair, USA – http://theafricanamericanchildrensbookproject.org/ Amelia Island Book Festival, USA – https://www.ameliaislandbookfestival.org/ Brussels Book Fair, Belgium – https://flb.be/ California International Antiquarian Book Fair, USA – https://cabookfair.com/ Casablanca Book Fair, Morocco – https://www.salonlivrecasa.ma/fr/ Feria Internacional Del Libro De La Habana, Cuba – https://www.facebook.com/filcuba/ Havana International Book Fair, Cuba – https://www.internationalpublishers.org/component/rseventspro/event/196- havana-international-book-fair-havana-cuba Imagine Children’s Festival, United Kingdom – https://www.southbankcentre.co.uk/whats-on/festivals-series/imagine- childrens-festival Lahore International Book
    [Show full text]
  • Reminder List of Productions Eligible for the 90Th Academy Awards Alien
    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx.
    [Show full text]
  • Introduction: the Lusophone World at War, 1914-1918 and Beyond
    Introduction: The Lusophone World at War, 1914-1918 and Beyond Filipe Ribeiro de Meneses1 On March 9, 1916, Germany declared war in Portugal. In response, Lisbon sent a fighting force, the Corpo Expedicionário Português [CEP], to France, where it held a portion of the Western Front until April 9, 1918. In addition, a number of smaller expeditions were dispatched to secure Mozambique and, if possible, participate in the conquest of German East Africa. Both theatres of war were a source of frustration for the Portuguese, and participation in the conflict fell far short of the hopes deposited in it by its defenders. As interventionist politicians slowly lost control over the country’s destiny after the war’s end, the conflict faded from the public’s awareness, its memory kept alive essentially among those who had direct experience with combat. For decades, Portugal’s participation in World War I was generally ignored, or reduced to a historical cul-de-sac, a pointless, if expensive, military episode. However, our understanding of the conflict’s impact on Portugal and its importance in the subsequent course of the country’s history has increased immeasurably over the past twenty years. The centenary commemorations for both the Republic, in 2010, and the Great War itself, starting in 2014, have naturally contributed to this process. In March of 2016, on the hundredth anniversary of Portugal’s intervention in the conflict, a colloquium was held at Brown University as an attempt to insert Portugal’s war experience into a wider, but intimately related, context: that of the Lusophone world.
    [Show full text]