Title Call # Category Lang./Notes U.S
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
University of California, San Diego
UNIVERSITY OF CALIFORNIA, SAN DIEGO Shanghai in Contemporary Chinese Film A Thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Comparative Literature by Xiangyang Liu Committee in charge: Professor Yingjin Zhang, Chair Professor Larissa Heinrich Professor Wai-lim Yip 2010 The Thesis of Xiangyang Liu is approved and it is acceptable in quality and form for publication on microfilm and electronically: ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ Chair University of California, San Diego 2010 iii TABLE OF CONTENTS Signature Page……………………………………………………………………… iii Table of Contents…………….…………………………………………………...… iv Abstract………………………………………………………………..…................ v Introduction…………………………………………………………… …………... 1 Chapter One A Modern City in the Perspective of Two Generations……………………………... 3 Chapter Two Urban Culture: Transmission and circling………………………………………….. 27 Chapter Three Negotiation with Shanghai’s Present and Past…………………………………….... 51 Conclusion………………………...………………………………………………… 86 Bibliography..……………………..…………………………………………… …….. 90 iv ABSTRACT OF THE THESIS Shanghai in Contemporary Chinese Film by Xiangyang Liu Master of Arts in Comparative Literature University of California, San Diego, 2010 Professor Yingjin Zhang, Chair This thesis is intended to investigate a series of films produced since the 1990s. All of these films deal with -
Rule and Foundational Documents
Rule and Foundational Documents Frontispiece: facsimile reproduction of a page—chapter 22, “Rules Concern- ing the Good Order and Management of the Institute”—from the Rule of the Brothers of the Christian Schools, the 1718 manuscript preserved in the Rome archives of the Institute. Photo E. Rousset (Jean-Baptiste de La Salle; Icono- graphie, Boulogne: Limet, 1979, plate 52). Rule and Foundational Documents John Baptist de La Salle Translated and edited by Augustine Loes, FSC, and Ronald Isetti Lasallian Publications Christian Brothers Conference Landover, Maryland Lasallian Publications Sponsored by the Regional Conference of Christian Brothers of the United States and Toronto Editorial Board Luke Salm, FSC, Chairman Paul Grass, FSC, Executive Director Daniel Burke, FSC William Mann, FSC Miguel Campos, FSC Donald C. Mouton, FSC Ronald Isetti Joseph Schmidt, FSC Augustine Loes, FSC From the French manuscripts, Pratique du Règlement journalier, Règles communes des Frères des Écoles chrétiennes, Règle du Frère Directeur d’une Maison de l’Institut d’après les manuscrits de 1705, 1713, 1718, et l’édition princeps de 1726 (Cahiers lasalliens 25; Rome: Maison Saint Jean-Baptiste de La Salle, 1966); Mémoire sur l’Habit (Cahiers lasalliens 11, 349–54; Rome: Maison Saint Jean-Baptiste de La Salle, 1962); Règles que je me suis imposées (Cahiers lasalliens 10, 114–16; Rome: Maison Saint Jean-Baptiste de La Salle, 1979). Rule and Foundational Documents is volume 7 of Lasallian Sources: The Complete Works of John Baptist de La Salle Copyright © 2002 by Christian Brothers Conference All rights reserved Printed in the United States of America Library of Congress Control Number: 2002101169 ISBN 0-944808-25-5 (cloth) ISBN 0-944808-26-3 (paper) Cover: Portrait of M. -
Estimating the Size of Hidden Populations by Paul Douglas
If You Are Not Counted, You Don't Count: Estimating The Size of Hidden Populations by Paul Douglas Wesson A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Epidemiology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Arthur Reingold, Co-chair Professor William McFarland, Co-chair Professor Nicholas Jewell Professor Mark Wilson Spring 2016 If You Are Not Counted, You Don't Count: Estimating The Size of Hidden Populations Copyright 2016 by Paul Douglas Wesson 1 Abstract If You Are Not Counted, You Don't Count: Estimating The Size of Hidden Populations by Paul Douglas Wesson Doctor of Philosophy in Epidemiology University of California, Berkeley Professor Arthur Reingold, Co-chair Professor William McFarland, Co-chair Background: Despite advances in treatment and prevention services, HIV infec- tion remains a leading cause of morbidity and mortality worldwide, identified by the 2010 Global Burden of Disease report as the fifth leading cause of global disability adjusted live years. While the epidemiologic features of HIV infection vary globally, marginalized populations, such as men who have sex with men (MSM), female sex workers (FSW), and injection drug users (IDUs) are consistently at increased risk for HIV infection relative to the general population. Targeting such marginalized, or hidden, populations has become a global priority to maximize the effectiveness of the public health response to the HIV pandemic. Members of these populations are often difficult to find, and the size of these populations is largely unknown, making it difficult to calculate epidemiologic measures of disease and to evaluate the reach and coverage of public health programs. -
From Alma Taylor to Sean Connery Edited by Bruce Babington
from Alma Taylor to Sean Connery edited by Bruce Babington Manchester University Press MANCHESTER AND NEW YORK distributed exclusively in the USA by Palgrave Contents List of illustrations page ix Notes on contributors x Acknowledgements xii 1 Introduction: British stars and stardom BRUCE BABINGTON I 2 'Our English Mary Pickford': Alma Taylor and ambivalent British stardom in the 1910s JONATHAN BURROWS ' 29 3 The curious appeal of Ivor Novello LAWRENCE NAPPER AND MICHAEL WILLIAMS 42 4 The extraordinary ordinariness of Gracie Fields: the anatomy of a British film star MARCIA LANDY 56 5 'Britain's finest contribution to the screen': Flora Robson and character acting ANDREW HIGSON 68 6 Dangerous limelight: Anton Walbrook and the seduction of the English ANDREW MOOR 80 7 'Queen of British hearts': Margaret Lockwood revisited BRUCE BABINGTON 94 8 James Mason: the man between PETER WILLIAM EVANS 108 9 The nun's story: femininity and Englishness in the films of Deborah Kerr CELESTINO DELEYTO 120 10 Trevor, not Leslie, Howard GEOFFREY MACNAB 132 11 Sir Alec Guinness: the self-effacing star NEILSINYARD 143 12 'Madness, madness!': the brief stardom of James Donald CHARLES BARR 155 13 The trouble with sex: Diana Dors and the blonde bombshell phenomenon PAM COOK ' 167 Viii CONTENTS 14 'The Angry Young Man is tired': Albert Finney and 1960s British cinema JUSTINEASHBY 179 15 Song, narrative and the mother's voice: a deepish reading of Julie Andrews BRUCE BABINGTON 192 16 'There's something about Mary...' JULIAN PETLEY 205 17 Sean Connery: loosening his Bonds ANDREW SPICER 218 18 'Bright, particular stars': Kenneth Branagh, Emma Thompson and William Shakespeare RICHARD W. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
Title Call # Category
Title Call # Category 2LDK 42429 Thriller 30 seconds of sisterhood 42159 Documentary A 42455 Documentary A2 42620 Documentary Ai to kibo no machi = Town of love & hope 41124 Documentary Akage = Red lion 42424 Action Akahige = Red beard 34501 Drama Akai hashi no shita no nerui mizu = Warm water under bridge 36299 Comedy Akai tenshi = Red angel 45323 Drama Akarui mirai = Bright future 39767 Drama Akibiyori = Late autumn 47240 Akira 31919 Action Ako-Jo danzetsu = Swords of vengeance 42426 Adventure Akumu tantei = Nightmare detective 48023 Alive 46580 Action All about Lily Chou-Chou 39770 Always zoku san-chôme no yûhi 47161 Drama Anazahevun = Another heaven 37895 Crime Ankokugai no bijo = Underworld beauty 37011 Crime Antonio Gaudí 48050 Aragami = Raging god of battle 46563 Fantasy Arakimentari 42885 Documentary Astro boy (6 separate discs) 46711 Fantasy Atarashii kamisama 41105 Comedy Avatar, the last airbender = Jiang shi shen tong 45457 Adventure Bakuretsu toshi = Burst city 42646 Sci-fi Bakushū = Early summer 38189 Drama Bakuto gaijin butai = Sympathy for the underdog 39728 Crime Banshun = Late spring 43631 Drama Barefoot Gen = Hadashi no Gen 31326, 42410 Drama Batoru rowaiaru = Battle royale 39654, 43107 Action Battle of Okinawa 47785 War Bijitâ Q = Visitor Q 35443 Comedy Biruma no tategoto = Burmese harp 44665 War Blind beast 45334 Blind swordsman 44914 Documentary Blind woman's curse = Kaidan nobori ryu 46186 Blood : Last vampire 33560 Blood, Last vampire 33560 Animation Blue seed = Aokushimitama blue seed 41681-41684 Fantasy Blue submarine -
Transformations of Queer Iberian Cinema a Dissertation SUBMITTED
Living and Dying for the Plural: Transformations of Queer Iberian Cinema A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Scott Michael Ehrenburg IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Advisers: William Viestenz & Ofelia Ferrán March 2017 © Scott Michael Ehrenburg 2017 Acknowledgements This dissertation would not have been realized without the help of so many wonderful people. First and foremost, I would like to thank my advisors, Bill Viestenz and Ofelia Ferrán, for serving as encouraging, deliberate, and thoughtful interlocutors throughout my time in graduate school. I sincerely thank Nicholas Spadaccini for his committement to mentoring me about the profession as well as allowing me to serve as a member of the Hispanic Issues team. I am grateful to Jigna Desai for being so generous with her time in helping shape my work in a way that truly crosses disciplinary divides. I would also like to acknowledge the sustained funding by the Department of Spanish and Portugese Studies, particulary during the summer months, which was vital for my timely progress toward degree. I am thankful for being the recpient of Hella Mears Fellowship for German and European Studies, which provided generous funding needed for me to complete this dissertation. I must recognize all of my teachers, professors, and instructors throughout the years. All of you have informed the kind of educator I have become and will continue to be. Thank you so much, Katie Levin and the Center for Writing! You provided me with hundreds of hours of non-judgmental support in a space that was safe and comfortable. -
Gender and the Family in Contemporary Chinese-Language Film Remakes
Gender and the family in contemporary Chinese-language film remakes Sarah Woodland BBusMan., BA (Hons) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Languages and Cultures 1 Abstract This thesis argues that cinematic remakes in the Chinese cultural context are a far more complex phenomenon than adaptive translation between disparate cultures. While early work conducted on French cinema and recent work on Chinese-language remakes by scholars including Li, Chan and Wang focused primarily on issues of intercultural difference, this thesis looks not only at remaking across cultures, but also at intracultural remakes. In doing so, it moves beyond questions of cultural politics, taking full advantage of the unique opportunity provided by remakes to compare and contrast two versions of the same narrative, and investigates more broadly at the many reasons why changes between a source film and remake might occur. Using gender as a lens through which these changes can be observed, this thesis conducts a comparative analysis of two pairs of intercultural and two pairs of intracultural films, each chapter highlighting a different dimension of remakes, and illustrating how changes in gender representations can be reflective not just of differences in attitudes towards gender across cultures, but also of broader concerns relating to culture, genre, auteurism, politics and temporality. The thesis endeavours to investigate the complexities of remaking processes in a Chinese-language cinematic context, with a view to exploring the ways in which remakes might reflect different perspectives on Chinese society more broadly, through their ability to compel the viewer to reflect not only on the past, by virtue of the relationship with a source text, but also on the present, through the way in which the remake reshapes this text to address its audience. -
Multicultural Social Cohesion in Veronica Mars
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 2007 Over my dead body: Multicultural social cohesion in Veronica Mars Debra Dudek University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Dudek, Debra, "Over my dead body: Multicultural social cohesion in Veronica Mars" (2007). Faculty of Law, Humanities and the Arts - Papers. 1392. https://ro.uow.edu.au/lhapapers/1392 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Over my dead body: Multicultural social cohesion in Veronica Mars Abstract This paper argues that Veronica Mars foregrounds the notion that multiculturalism is a "field of accumulating whiteness," to borrow Ghassan Hage's phrase, and that multicultural cohesion exists primarily when Brown and Black bodies gain cultural and symbolic capital by accumulating Whiteness. Keywords mars, over, cohesion, veronica, social, body, multicultural, my, dead Disciplines Arts and Humanities | Law Publication Details Dudek, D. (2007). Over my dead body: Multicultural social cohesion in Veronica Mars. The Looking Glass: new perspectives in children's literature, 11 (1). This journal article is available at Research Online: https://ro.uow.edu.au/lhapapers/1392 Over My Dead Body: Multicultural Social Cohesion in Veronica Mars | D... http://www.lib.latrobe.edu.au/ojs/index.php/tlg/article/view/46/23 The Looking Glass : New Perspectives on Children's Literature, Vol 11, No 1 (2007) HOME ABOUT LOG IN REGISTER SEARCH CURRENT ARCHIVES ANNOUNCEMENTS Home > Vol 11, No 1 (2007) > Dudek Font Size: Over My Dead Body: Multicultural Social Cohesion in Veronica Mars Debra Dudek Debra Dudek received her PhD in literature from the University of Saskatchewan, Canada. -
Veronica Mars, Spinster...Old Maid
EXT. CAMELOT MOTEL - NIGHT Music cue: Air’s “La Femme D’Argent.” ANGLE on a rain-streaked, neon-reflecting motel window. Through gauzy curtains we see the SILHOUETTES OF LOVERS heaving toward climax with all the romantic finesse normally associated with Soviet farm equipment. VERONICA (V.O.) I’m never getting married. A middle-aged FAT MAN wearing a cheap, too-short, faux- Japanese robe and nothing else crosses through the frame carrying an ICE BUCKET. VERONICA (V.O.) (CONT'D) You want an absolute? A sure thing? Well, there it is. Veronica Mars, spinster...old maid. Carve it in stone. CRANE SHOT follows man down a flight of exterior motel steps. VERONICA (V.O.) (CONT’D) I mean, come on. What’s the point? Sure, there’s that initial primal drive...hormonal surge...whatever you want to call it. Ride it out. Better yet, ignore it... As the man reaches the ground floor level and heads toward the ICE MACHINE next to the motel office, shot widens and includes the wet blacktop of the parking lot and the flickering neon of the CAMELOT MOTEL sign. VERONICA (CONT'D) ...Sooner or later, the people you love betray you. As the man crosses back toward his room, CAMERA STOPS on the door to the first floor ROOM 8. As the CAMERA PUSHES IN on the keyhole... VERONICA (V.O.) (CONT’D) And here’s where it ends up -- fat men, cocktail waitresses, cheap motels on the wrong side of town. REVERSE ANGLE on a nondescript sedan parked on the street facing the motel. -
Audrey Hepburn and James Bond Lead the Film and Entertainment Sale This Winter
For Immediate Release 2 November 2006 Contact: Zoë Schoon 020.7752.3121 [email protected] Audrey Hepburn and James Bond Lead the Film And Entertainment Sale This Winter Dr. No, 1962 (Sean Connery) Breakfast at Tiffany’s, 1961 (Audrey Hepburn) A Walther PP - the first gun used by James Bond Black dress by Hubert de Givenchy Estimate: £15,000-25,000 Estimate: £50,000-70,000 © 1962 Danjaq, LLC and United Artists. ©Ronald Grant Archive All rights reserved Film and Entertainment Christie’s South Kensington Tuesday 5 December, 1pm South Kensington – Christie’s Film and Entertainment sale on Monday 5th December will feature some 277 lots of props and memorabilia from film, TV and theatre. Ranging from the films of the silent era to the present day, as well as much-loved TV productions, and modern day phenomenons such Harry Potter and Star Wars, the sale is expected to realise in excess of £500,000. Two superb selections of Audrey Hepburn and James Bond memorabilia lead the sale. The highlight of the Audrey Hepburn section is the sleek black Givenchy dress made for her in the much-loved 1961 classic film, Breakfast at Tiffany’s. This famous dress was personally donated to the current owners, Monsieur and Madame Lapierre by Hubert de Givenchy, who designed Hepburn’s wardrobe for the film. It has an estimate of £50,000-70,000 and is being auctioned on behalf of the charity City of Joy Aid, which benefits the under-privileged in India. Other Hepburn highlights include an exquisite black Givenchy two-piece cocktail suit from the 1963 film Charade (estimate £8,000-12,000) which is as wearable today as it was then, an original costume design by Edith Head for Audrey Hepburn in Sabrina, 1954, (estimate £3,000-5,000) and a selection of original cinema posters, photographs and autograph material associated with the films Hepburn starred in (estimates start at £200).