1 CHAPTER I INTRODUCTION A. Background of the Study Gladiator
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
APPENDIX Lesson 1.: Introduction
APPENDIX Lesson 1.: Introduction The Academy Awards, informally known as The Oscars, are a set of awards given annually for excellence of cinematic achievements. The Oscar statuette is officially named the Academy Award of Merit and is one of nine types of Academy Awards. Organized and overseen by the Academy of Motion Picture Arts and Sciences (AMPAS),http://en.wikipedia.org/wiki/Academy_Award - cite_note-1 the awards are given each year at a formal ceremony. The AMPAS was originally conceived by Metro-Goldwyn- Mayer studio executive Louis B. Mayer as a professional honorary organization to help improve the film industry’s image and help mediate labor disputes. The awards themselves were later initiated by the Academy as awards "of merit for distinctive achievement" in the industry. The awards were first given in 1929 at a ceremony created for the awards, at the Hotel Roosevelt in Hollywood. Over the years that the award has been given, the categories presented have changed; currently Oscars are given in more than a dozen categories, and include films of various types. As one of the most prominent award ceremonies in the world, the Academy Awards ceremony is televised live in more than 100 countries annually. It is also the oldest award ceremony in the media; its equivalents, the Grammy Awards (for music), the Emmy Awards (for television), and the Tony Awards (for theater), are modeled after the Academy Awards. The 85th Academy Awards were held on February 24, 2013 at the Dolby Theatre in Los Angeles, California. Source: http://en.wikipedia.org/wiki/Academy_Award Time of downloading: 10th January, 2013. -
A Sociological Perspective
THE NEED FOR THE WORLD PEACE IN RIDLEY SCOTT’S KINGDOM OF HEAVEN MOVIE (2005): A SOCIOLOGICAL PERSPECTIVE RESEARCH PAPER Submitted as a Partial Fulfillment of the Requirement For getting Bachelor Degree of Education In English Department By: FITRI YUNI ASTUTI A 320 050 374 SCHOOL OF TEACHER TRAINING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2010 1 CHAPTER I INTRODUCTION A. Background of the Study Kingdom of Heaven is a 2005 film directed by Ridley Scott and written by William Monahan. It stars Orlando Bloom, Eva Green, Jeremy Irons, David Thewlis, Marton Csokas, Brendan Gleeson, Kevin McKidd, Alexander Siddig, Ghassan Massoud, Edward Norton, Jon Finch, Michael Sheen and Liam Neeson. The story is set during the Crusades of the 12th century. A French village blacksmith goes to aid the city of Jerusalem in its defense against the Muslim leader Saladin, who is battling to reclaim the city from the Christians. The film script is a heavily fictionalized portrayal of Balian of Ibelin. Most filming took place in Ouarzazate in Morocco, where Scott had filmed Gladiator and Black Hawk Down. A replica of the ancient city of Jerusalem was constructed in the desert. Filming also took place in Spain, at the Loarre Castle, Segovia, Ávila, Palma del Río and Casa de Pilatos in Sevilla. The movie was a box office flop in the U.S. and Canada, earning $47 million against a budget of around $130 million, but was successful in Europe and the rest of the world, with the worldwide box office earnings totaling at $211,643,158. It was also a big success in Arabic-speaking countries, especially Egypt, mainly because of the Egyptian actor Khaled El Nabawy. -
Måske Findes Håbet Kun I Rejsen, Siger Columbus I Ridley Scottsfilm, Men Rejsen Ender Hos Scott Oftest I Skepsis Overfor Den Vestlige Civilisation
Måske findes håbet kun i rejsen, siger Columbus i Ridley Scottsfilm, men rejsen ender hos Scott oftest i skepsis overfor den vestlige civilisation. Længslerne der skaber fremdriften fører også i afgrunden. ejsemotivet er en gammel ken af Erik Svendsen brødrene Kaurismåki. Rejsemotivet ding i kunstens verden. 1 moder er også en ledetråd i englænderen nitetens internationaliserings æra er Ridley Scotts produktion, der stræk det af gode grunde blevet stadig gelse bærer så vægtige og tidstypiske ker sig fra den 'historiske’ film med mere presserende og mange af de se forfatterskaber som fx Salman Rush- debutværket The Duellists (1977), neste årtiers store kunstnere har haft dies og afdøde Bruce Chatwins. over to fremtidsvisioner - Alien rejsen som en oplagt ledetråd. Eksil Samme tendens kan oplagt spores i (1979) og Blade Runner (1982) —, en er et andet ord for en permanent den moderne films univers: fra Jim mytisk tid i Legend (1985) og frem rejse, og eksilets opbrud og bevæ- Jarmusch over Wim Wenders til til nutiden, henholdsvis i et celebert 32 og klassedelt New York i Someone to nøjelse, for med det gode følger altid 'Måske findes håbet kun i rejsen’ Watch Over Me (1987), et traditions den onde: politimanden Mick bliver siger Columbus i 1492, i den foregå rigt og moderne Japan i Black Rain også konfronteret med en dæmo ende Thelma and Louise er slutreplik- (1989) og en skæbnesvanger tur på nisk, destruktiv og driftsbefængt ken: 'Let’s not get caught, let's keep landet i Thelma and Louise (1991). mand, Venza, der virker lige så svær going'. De farende kvinder er mere Den sidste film Ridley Scott har la at udrydde som det irrationelle selv. -
Artist Catalogue
NOBODY, NOWHERE THE LAST MAN (1805) THE END OF THE WORLD (1916) END OF THE WORLD (1931) DELUGE (1933) THINGS TO COME (1936) PEACE ON EARTH (1939) FIVE (1951) WHEN WORLDS COLLIDE (1951) THE WAR OF THE WORLDS (1953) ROBOT MONSTER (1953) DAY THE WORLD ENDED (1955) KISS ME DEADLY (1955) FORBIDDEN PLANET (1956) INVASION OF THE BODY SNATCHERS (1956) WORLD WITHOUT END (1956) THE LOST MISSILE (1958) ON THE BEACH (1959) THE WORLD, THE FLESH AND THE DEVIL (1959) THE GIANT BEHEMOTH (1959) THE TIME MACHINE (1960) BEYOND THE TIME BAR- RIER (1960) LAST WOMAN ON EARTH (1960) BATTLE OF THE WORLDS (1961) THE LAST WAR (1961) THE DAY THE EARTH CAUGHT FIRE (1961) THE DAY OF THE TRIFFIDS (1962) LA JETÉE (1962) PAN- IC IN YEAR ZERO! (1962) THE CREATION OF THE HUMANOIDS (1962) THIS IS NOT A TEST (1962) LA JETÉE (1963) FAIL-SAFE (1964) WHAT IS LIFE? THE TIME TRAVELERS (1964) THE LAST MAN ON EARTH (1964) DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964) THE DAY THE EARTH CAUGHT FIRE (1964) CRACK IN THE WORLD (1965) DALEKS – INVASION EARTH: 2150 A.D. (1966) THE WAR GAME (1965) IN THE YEAR 2889 (1967) LATE AUGUST AT THE HOTEL OZONE (1967) NIGHT OF THE LIVING DEAD (1968) PLANET OF THE APES (1968) THE BED-SITTING ROOM (1969) THE SEED OF MAN (1969) COLOSSUS: THE FORBIN PROJECT (1970) BE- NEATH THE PLANET OF THE APES (1970) NO BLADE OF GRASS (1970) GAS-S-S-S (1970) THE ANDROM- EDA STRAIN (1971) THE OMEGA MAN (1971) GLEN AND RANDA (1971) ESCAPE FROM THE PLANET OF THE APES (1971) SILENT RUNNING (1972) DO WE HAVE FREE WILL? BEWARE! THE BLOB (1972) -
Osijek Portfolio of Potential Jewish Heritage Related Tourism Products, Services and Attractions
R E D I S C O V E R Osijek portfolio of potential Jewish heritage related tourism products, services and attractions R E D I S C O V E R Osijek portfolio of potential Jewish heritage related tourism products, services and attractions IMPRESSUM CONTRACTING AUTHORITY: Grad Osijek /City of Osijek ON BEHALF OF CONTRACTING AUTHORITY: Ivian Vrkić, Mayor SERVICE PROVIDER: RICL Obrt za savjetovanje i usluge Kralja P. Svačića 62, Osijek AUTHOR: Jesenka Ricl Content 1. Short abstract about the Rediscover project 7 1.1 Content of the portfolio 8 2. Workshop outputs within the product development workshop 10 series (Evaluation) 2.1 Inventory workshop in Osijek 10 2.2 Capacity building workshop in Osijek 10 2.3 Match-making workshop in Osijek 11 3. Profile of the City of Osijek and the surroundings 14 3.1 Tourism traffic of Osijek-Baranjacounty and city of Osijek. 15 3.2 Tourism development plans in Osijek-Baranja county and city of Osijek 17 3.2.1 S.O.S. Subotica Osijek Secession Tourist Route 18 3.2.2 Stara Pekara / Old Bakery 18 4. Status of Jewish Cultural Heritage products and services 20 4.1 Historical survey 20 4.2 Basis of tourism offer of the city of Osijek 22 4.3 Tourism portfolio development 30 4.3.1 Infrastructure development 32 4.3.2 Human potential development 32 4.3.3 Market segmentation 33 4.4 Product segmentation according to specific niches 37 4.4.1 Thematic guided tours (in Croatian, English) 37 4.4.2 Ambient performances – living history (in Croatian, English) 38 4.4.3 Exhibition of Weissmann collection – Museum of Slavonia 38 4.4.4 Museum of Personal Stories 39 4.4.5 Promotional materials with sales potential 39 4.4.6 Educational programmes 40 4.4.7. -
Teaching World History with Major Motion Pictures
Social Education 76(1), pp 22–28 ©2012 National Council for the Social Studies The Reel History of the World: Teaching World History with Major Motion Pictures William Benedict Russell III n today’s society, film is a part of popular culture and is relevant to students’ as well as an explanation as to why the everyday lives. Most students spend over 7 hours a day using media (over 50 class will view the film. Ihours a week).1 Nearly 50 percent of students’ media use per day is devoted to Watching the Film. When students videos (film) and television. With the popularity and availability of film, it is natural are watching the film (in its entirety that teachers attempt to engage students with such a relevant medium. In fact, in or selected clips), ensure that they are a recent study of social studies teachers, 100 percent reported using film at least aware of what they should be paying once a month to help teach content.2 In a national study of 327 teachers, 69 percent particular attention to. Pause the film reported that they use some type of film/movie to help teach Holocaust content. to pose a question, provide background, The method of using film and the method of using firsthand accounts were tied for or make a connection with an earlier les- the number one method teachers use to teach Holocaust content.3 Furthermore, a son. Interrupting a showing (at least once) national survey of social studies teachers conducted in 2006, found that 63 percent subtly reminds students that the purpose of eighth-grade teachers reported using some type of video-based activity in the of this classroom activity is not entertain- last social studies class they taught.4 ment, but critical thinking. -
Transgressive Masculinities in Selected Sword and Sandal Films Merle Kenneth Peirce Rhode Island College
Rhode Island College Digital Commons @ RIC Master's Theses, Dissertations, Graduate Research Master's Theses, Dissertations, Graduate Research and Major Papers Overview and Major Papers 4-2009 Transgressive Masculinities in Selected Sword and Sandal Films Merle Kenneth Peirce Rhode Island College Follow this and additional works at: https://digitalcommons.ric.edu/etd Part of the Film and Media Studies Commons, Gender and Sexuality Commons, and the Lesbian, Gay, Bisexual, and Transgender Studies Commons Recommended Citation Peirce, Merle Kenneth, "Transgressive Masculinities in Selected Sword and Sandal Films" (2009). Master's Theses, Dissertations, Graduate Research and Major Papers Overview. 19. https://digitalcommons.ric.edu/etd/19 This Thesis is brought to you for free and open access by the Master's Theses, Dissertations, Graduate Research and Major Papers at Digital Commons @ RIC. It has been accepted for inclusion in Master's Theses, Dissertations, Graduate Research and Major Papers Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. TRANSGRESSIVE MASCULINITIES IN SELECTED SWORD AND SANDAL FILMS By Merle Kenneth Peirce A Thesis Submitted in Partial Fulfillment of the Requirements for the Individualised Masters' Programme In the Departments of Modern Languages, English and Film Studies Rhode Island College 2009 Abstract In the ancient film epic, even in incarnations which were conceived as patriarchal and hetero-normative works, small and sometimes large bits of transgressive gender formations appear. Many overtly hegemonic films still reveal the existence of resistive structures buried within the narrative. Film criticism has generally avoided serious examination of this genre, and left it open to the purview of classical studies professionals, whose view and value systems are significantly different to those of film scholars. -
GLADIATOR by David Franzoni Revisions by John Logan SECOND
GLADIATOR by David Franzoni Revisions by John Logan SECOND DRAFT October 22, 1998 FADE IN: EXT. FOREST - DAY Germania. The far reaches of the Roman Empire. Winter 180 A.D. Incongruously enough, the first sound we hear is a beautiful tenor voice. Singing. A boy's voice. CREDITS as we hear the haunting song float through dense forests. We finally come to a rough, muddy road slashing through the forest. On the road a GERMAN PEASANT FATHER is herding along three sickly looking cows. His two SONS are with him. His youngest son sits on one of the cows and sings a soft, plaintive song. They become aware of another sound behind them on the road -- the creak of wood, the slap of metal on leather. The Father immediately leads his cattle and his sons off the road. They stand-still, eyes down: the familiar posture of subjugated peoples throughout history. A wagon train rumbles past them. Three ornate wagons followed by a mounted cohort of fifty heavily-armed PRAETORIAN GUARDS. The young boy dares to glance up at the passing Romans. His eyes burn with hatred. INT. WAGON - DAY Mist momentarily obscures a man's face. Frozen breath. The man is in his 20's, imperious and handsome. He is swathed in fur, only his face exposed. He is COMMODUS. He glances up. COMMODUS Do you think he's really dying? The woman across from him returns his gaze evenly. She is slightly older, beautiful and patrician. A formidable woman. She is LUCILLA. LUCILLA He's been dying for ten years. -
The Oscar – the Award Branko Lustig
THE OSCAR – THE AWARD HIGHLIGHTING THE PERSONALITY OF FILM PRODUCER BRANKO LUSTIG, LESSON PLAN FOR 8TH GRADE STUDENTS DEVELOPED AS PART OF THE TEACHING WITH TESTIMONY IN THE 21ST CENTURY – PROFESSIONAL DEVELOPMENT PROGRAM OF THE USC SHOAH FOUNDATION Written by: Noémi Vanderstein Hódmezővásárhely, Hungary, 2012-2013. School: Szőnyi Benjámin Primary School of the Reformed Church, Hódmezővásárhely Class: 8th grade Number of lessons: 3 Topic: Oscar – The Award Sources: 1) USC Shoah Foundation Visual History Archive – segments from the testimony of Branko Lustig; 3) Youtube (www.youtube.com): - Gladiator trailer, - Schindler’s List trailer, - The Oscars gala in 1994. Lesson objectives: 1) To show the personality of film producer Branko Lustig; 2) To introduce the Academy Award; 3) To introduce the movie Schindler’s List; 4) To develop reading skills – prediction, skimming, scanning, inferring; 5) To develop listening skills – prediction, gist, listening for specific information, inference; 6) To develop speaking skills – fluency, accuracy, practice. 7) To initiate discussion about choices and consequences of our actions Language learning outcomes: 1) Introducing and practicing new vocabulary; 2) Revising previously taught vocabulary; 3) Explaining new knowledge; 3) Using new knowledge. Teaching materials: Internet, computer, projector, blackboard, paper, glue, scissors, plasticine, water colour, crayon, coloured pencils, pens, notebook, video-testimony clips 1 The aim of the lesson is to use the USC Shoah Foundation database in the English language class. The lesson plan introduced here is part of the teaching process in the 8th grade of elementary school. I intend to show a way of how the interviews of Holocaust survivors can be the main sources and goals of foreign language teaching nowadays in Hungary. -
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. -
Dječja Opera Kompozitor: Hans Krása Dirigent
Dječja opera Brun Kompozitor: Hans Krása di Dirigent: Michelangelo Galeati bár Redatelj: Krešimir Dolenčić 1 Dječja opera Brun Kompozitor: Hans Krása di Dirigent: Michelangelo Galeati bár Redatelj: Krešimir Dolenčić Centar za promicanje tolerancije i očuvanje sjećanja na holokaust www.centartolerancije.hr Talijanski institute za kulturu u Zagrebu www.iiczagabria.esteri.it/iic_zagabria/hr/ Festival suvremenog židovskog filma Zagreb www.jff-zagreb.hr 2 Centar za promiCanje toleranCije i očuvanje sjećanja na holokaust, talijanski institut za kulturu u zagrebu i udruga Festival suvremenog židovskog Filma zagreb pripremili su prvu hrvatsku izvedbu dječje opere „brun- dibár“ za 27. siječnja 2018. godine, povodom obilježavanja međunarodnog dana sjećanja na žrtve holokausta, u suradnji s uredom za kulturu grada zagreba, glazbenim institutom mladih, zagrebačkom Filharmonijom, akademi- jom likovnih umjetnosti i muzičkom akademijom zagreb. Opera je to židovskog češkog skladatelja Hansa Kráse (1899-1944) s libretom Adolfa Hoffmeistera, koju su u originalu izvodila djeca Terezina, koncentracijskog logora u oku- piranoj Čehoslovačkoj. Ime dolazi iz češkog kolokvijalizma za bumbara. Krása i Hoffmeister napisali su operu 1938. za natječaj čehoslovačkog Ministarstva škol- stva i narodnog obrazovanja koji je kasnije otkazan zbog razvoja političkih događaja. Pro- be su započele 1941. godine u židovskom sirotištu u Pragu, koje je služilo za privremeno obrazovanje djece koja su zbog rata odvojena od roditelja. U zimi 1942. opera je prvi put odigrana u sirotištu. -
MADE in HOLLYWOOD, CENSORED by BEIJING the U.S
MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence 1 MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence TABLE OF CONTENTS EXECUTIVE SUMMARY I. INTRODUCTION 1 REPORT METHODOLOGY 5 PART I: HOW (AND WHY) BEIJING IS 6 ABLE TO INFLUENCE HOLLYWOOD PART II: THE WAY THIS INFLUENCE PLAYS OUT 20 PART III: ENTERING THE CHINESE MARKET 33 PART IV: LOOKING TOWARD SOLUTIONS 43 RECOMMENDATIONS 47 ACKNOWLEDGEMENTS 53 ENDNOTES 54 Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence MADE IN HOLLYWOOD, CENSORED BY BEIJING EXECUTIVE SUMMARY ade in Hollywood, Censored by Beijing system is inconsistent with international norms of Mdescribes the ways in which the Chinese artistic freedom. government and its ruling Chinese Communist There are countless stories to be told about China, Party successfully influence Hollywood films, and those that are non-controversial from Beijing’s warns how this type of influence has increasingly perspective are no less valid. But there are also become normalized in Hollywood, and explains stories to be told about the ongoing crimes against the implications of this influence on freedom of humanity in Xinjiang, the ongoing struggle of Tibetans expression and on the types of stories that global to maintain their language and culture in the face of audiences are exposed to on the big screen. both societal changes and government policy, the Hollywood is one of the world’s most significant prodemocracy movement in Hong Kong, and honest, storytelling centers, a cinematic powerhouse whose everyday stories about how government policies movies are watched by millions across the globe.