DOCSLIB.ORG

The Eagle Huntress Canadian & International Features Christine Special Events Gimme Some Truth Documentary Festival

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Eagle Huntress Canadian & International Features Christine Special Events Gimme Some Truth Documentary Festival November / December 2016 NEW WORLD DOCUMENTARIES The Eagle Huntress Canadian & International Features Christine special Events Gimme Some Truth Documentary Festival www.winnipegcinematheque.com November 2016 WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 2 3 4 5 6 Multiple Maniacs / 7 pm gimme some truth: gimme some truth: gimme some truth: gimme some truth: Quebec my Country / 7 pm To Russia with Love / 7 pm Festival Strategy / 1 pm Cameraperson / 12 pm Fantastic Realities / 9 pm Angry Inuk / 4 pm Case Study—Birth of a Family / 2 pm The Great Northwest / 7 pm The Short Films of Tower / 9 pm Matt McCormick / 5 pm Lo and Behold, Reveries of the Connected World / 7 pm 9 10 11 12 13 Lo and Behold, Reveries of Lo and Behold, Reveries of Lo and Behold, Reveries of Lo and Behold, Reveries of Lo and Behold, Reveries of the Connected World / 7 pm the Connected World / 7 pm the Connected World / 7 pm the Connected World / 7 pm the Connected World / 3 pm Multiple Maniacs / 9 pm Multiple Maniacs / 9 pm Multiple Maniacs / 9 pm & 11 pm Multiple Maniacs / 7 pm 16 17 18 19 20 Lo and Behold, Reveries of Donna Lewis Film Festival: NOTFILM / 7 pm NOTFILM / 3 pm NOTFILM / 3 pm the Connected World / 7 pm In Memoriam / 7 pm Hieronymus Bosch, Hieronymus Bosch, Hieronymus Bosch, Hieronymus Bosch, Touched by the Devil / 9:30 pm Touched by the Devil / 7 pm & 9 pm Touched by the Devil / 7 pm Touched by the Devil / 9:15 pm 23 24 25 26 27 Hieronymus Bosch, McDonald at The Movies: Still Night, Still Light / 7 pm Hieronymus Bosch, Gimme Danger / 3 pm & 7 pm Touched by the Devil / 7 pm The Apartment / 7 pm Gimme Danger / 9:15 pm Touched by the Devil / 3 pm Hieronymus Bosch, WFG Member’s Screening / 5 pm Touched by the Devil / 9:30 pm Gimme Danger / 7 pm Still Night, Still Light / 9 pm 30 Gimme Danger / 7 pm December 2016 WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 1 2 3 4 Christine / 7 pm Christine / 7 pm Gimme Danger / 3 pm Ants on a Shrimp / 3 pm Gimme Danger / 9 pm Gimme Danger / 9 pm Architecture + Film: Christine / 7 pm The Art of Recovery / 7 pm Christine / 9 pm 7 8 9 10 11 Christine / 7 pm Ants on a Shrimp / 7 pm Ants on a Shrimp / 7 pm Ants on a Shrimp / 3 pm Christine / 3 pm Christine / 9 pm Christine / 9 pm The Obsession of John Paizs: The Eagle Huntress / 7 pm Screening and DVD Release / 7 pm Christine / 9 pm 14 15 16 17 18 The Eagle Huntress / 7 pm The Eagle Huntress / 7 pm The Eagle Huntress / 7 pm Howard’s End / 3 pm Howard’s End / 3 pm Ants on a Shrimp / 9 pm Ants on a Shrimp / 9 pm Ants on a Shrimp / 7 pm The Eagle Huntress / 7 pm The Eagle Huntress / 9 pm 21 22 23 24 25 The Eagle Huntress / 7 pm Ants on a Shrimp / 7 pm Closed for the holidays! The Eagle Huntress / 9 pm 28 29 30 31 Howard’s End / 7 pm Howard’s End / 7 pm Howard’s End / 7 pm Closed New World Documentaries Lo and Behold, Reveries of the Connected World Hieronymus Bosch, Touched by the Devil NOTFILM Directed by Werner Herzog Directed by Pieter van Huystee Directed by Ross Lipman 2016, USA, 98 min 2016, The Netherlands, 86 min 2015, USA, 130 min English, Dutch, Spanish, Italian with English subtitles Wednesday – Saturday, November 9 – 12 / 7 pm Friday, November 18 / 7 pm Sunday, November 13/ 3 pm Thursday, November 17 / 9:15 pm Saturday & Sunday, November 19 & 20 / 3 pm Wednesday, November 16 / 7 pm Friday, November 18 / 9:30 pm “NOTFILM is one of the most delightful, thoroughgoing and Saturday, November 19 / 7 pm & 9 pm “Herzog’s latest nonfiction work explores the profound effects ingenious pieces of archival filmmaking to hit the screen in Sunday, November 20 / 7 pm the creation of the internet has had on our society.” recent years.” — Liza Bear, Bomb Wednesday, November 23 / 7 pm — Brooklyn Magazine Thursday, November 24 / 9:30 pm “You had best put his movie NOTFILM on your must-see list. “Enjoyable and insightful, Lo and Behold will have audiences both Saturday, November 26 / 3 pm That is, if you have any reverence for Buster Keaton, Samuel praising and fearing the wonder that is the internet.” Beckett, cinema history and the artistic and filmmaking In 2016, the Noordbrabants Museum in the Dutch city of Den — Cinema Axis processes.” — James van Maanen, TrustMovies.com Bosch held a remarkable exhibition devoted to the work of Society depends on the internet for nearly everything but rarely do Hieronymus Bosch, a medieval artist who created some of the NOTFILM is a treasure hunt by filmmaker/restoration archivist we step back and recognize its endless intricacies and unsettling strangest, most nightmarish paintings of all time, most notably Ross Lippman to uncover stories behind the making of a short omnipotence. From the brilliant mind of Werner Herzog (Grizzly the Garden of Earthly Delights. In preparation for the exhibition, a avant garde film entitled FILM, the only collaboration between Man) comes a playful yet chilling examination of our rapidly team of Dutch art historians crisscrossed the globe to unravel the legendary playwright Samuel Beckett and silent comic genius connecting lives. Herzog captures interviews with a treasure secrets of his art. They used special infrared cameras to examine Buster Keaton. The collaborative film they made along with trove of strange and beguiling individuals. The internet may be, as the sketches beneath the paint, in the hope of discovering more director Alan Schneider, renegade publisher of Grove Press Herzog states, “one of the biggest revolutions we as humans are about the artist’s intentions. In this mystery story they try to Barney Rosset, and Academy Award-winning cinematographer experiencing.” but he tempers this enthusiasm with tragic stories establish which of the paintings can be attributed to Bosch (On The Waterfront) Boris Kaufman, has been the subject of from victims of online harassment and internet addiction. himself, and which are the work of others. The experts shuttle praise, condemnation, and controversy for decades. Lippman between Den Bosch, Madrid and Venice, cutting their way went on a seven-year-long global search and discovered both through the art world’s tangle of red tape, in a battle against the the outtakes of FILM including the long-lost prologue and the obstacles of countless egos and conflicting interests. only prolonged recording ever of Beckett discussing the creation of his work. These are the kind of finds that archivists and scholars wish for at least once in their lifetime. Sponsored by the Department of English, University of Winnipeg The Eagle Huntress Lo and Behold, Reveries of the Connected World Ants on a Shrimp NOTFILM Gimme Danger Ants on a Shrimp The Eagle Huntress Directed by Jim Jarmusch (The Creation of Fourteen Dishes) Directed by Otto Bell 2016, USA, 108 min Directed By Maurice Dekkers 2016, USA, 87 min 2016, Denmark/Japan, 93 min Kazakh with English subtitles Friday, November 25 / 9:15 pm Saturday, November 26 / 7 pm Sunday, December 4 / 3 pm Sunday, December 11 / 7 pm Sunday, November 27 / 3 pm & 7 pm Thursday & Friday, December 8 & 9 / 7 pm * Wednesday & Thursday, December 14 & 15 / 7 pm Wednesday, November 30 / 7 pm Saturday, December 10 / 3 pm Friday, December 16 / 7 pm Thursday, December 1 / 9 pm Thursday & Friday, December 15 & 16 / 9 pm Saturday, December 17 / 9 pm Friday, December 2 / 9 pm Saturday, December 17 / 7 pm Sunday, December 18 / 7 pm Saturday, December 3 / 3 pm Thursday, December 22/ 7 pm Wednesday, December 21 / 7 pm Thursday, December 22 / 9 pm “Electrifying… deserved the 15-minute ovation Iggy Pop and * Thursday, December 8 screening introduced by Mandel Hitzer, Jarmusch received at the end of the night.”— Film Comment Executive chef of deer + almond. Narrated by Daisy Ridley who played Rey in Star Wars: Episode VII— The Force Awakens “Jarmusch’s contention that the Stooges were the best “The film deftly documents both the tireless work of the rock’n’roll band ever is the starting point for a wonderfully kitchen team as well as the craft required to make food at this “The rare documentary that makes you interested in a subject eloquent documentary… The director’s enthusiasm and level René Redzepi and senior members of his Noma team you never thought you’d care about. The documentary sends erudition combine with his cinematic expertise to create as they take on one of their biggest challenges, bringing their an inspirational message of never giving up for what you one of the great rock documentaries of recent times.” style of food-making to Japan.”— POV believe in… beautifully shot and uplifting.”— Dustin Jansick — Geoff Andrew, Sight and Sound What happens when the world’s most acclaimed restaurant Set against the breathtaking expanse of mountains of Mongolia, Iggy Pop is the hilarious tour guide, both candid and frank in picks up and moves halfway across the world? Named for just this film follows Aisholpan, a brave 13-year-old girl, who sets this amazing documentary history of The Stooges, one of the one of the many surprising dishes that René Redzepi serves at out to master the art of eagle hunting – (training wild eagles to greatest rock bands of all time, who influenced everyone from his esteemed Copenhagen foodie destination Noma (named hunt for prey). Facing opposition from eagle hunting veterans, The Ramones to the Sex Pistols, Sonic Youth and White Stripes.
Load more

Recommended publications
  • Ian Watt, the Rise of the Novel: Studies in Defoe, Richardson and Fielding (Chatto & Windus 1957; Rep
    Ian Watt, The Rise of the Novel: Studies in Defoe, Richardson and Fielding (Chatto & Windus 1957; rep. Univ. of California Press 1957). Note: this copy has been made from a PDF version of the 1957 California UP edition. The footnotes in that editon have been transposed to endnotes here and the page-numbers have been omitted. Chapter I: Realism and the Novel Form THERE are still no wholly satisfactory answers to many of the general questions which anyone interested in the early eighteenth-century novelists and their works is likely to ask: Is the novel a new literary form? And if we assume, as is commonly done, that it is, and that it was begun by Defoe, Richardson and Fielding, how does it differ from the prose fiction of the past, from that of Greece, for example, or that of the Middle Ages, or of seventeenth-century France? And is there any reason why these differences appeared when and where they did? Such large questions are never easy to approach, much less to answer, and they are particularly difficult in this case because Defoe, Richardson and Fielding do not in the usual sense constitute a literary school. Indeed their works show so little sign of mutual influence and are so different in nature that at first sight it appears that our curiosity about the rise of the novel is unlikely to find any satisfaction other than the meagre one afforded by the terms ‘genius’ and ‘accident’, the twin faces on the Janus of the dead ends of literary history. We cannot, of course, do without them: on the other hand there is not much we can do with them.
    [Show full text]
  • In Search of Enlightenment by Reading Samuel Beckett’S Waiting for Godot
    LITERARIA An International Journal of New Literature Across the World ISSN: 2229-4600 VOL. 5, No. 1-2, JAN-DEC 2015 In Search of Enlightenment by Reading Samuel Beckett’s Waiting for Godot SYED ISMYL MAHMOOD RIZVI Patna University, Patna ABSTRACT Beckett’s philosophical indebtedness has long been recognised – especially in conjunction with Dante, Descartes and Geulincx. In this article, I examine Beckettian universal values of Enlightenment, which will be exposed as self-serving mystifications that rationalize and instrumentalize the meaning of life. In this context, the awareness of the Enlightenment nature of Beckett’s writing in Waiting for Godot will be analysed along with the freedom appeal of his reader as he strives to attain the enlightenment. ‘For enlightenment, all that is needed is freedom.’ (Kant 1991 [1784]) Suppose an individual in the world which is a hard shell that he attempts to toss it away, but for what; to think beyond it, and to relocate him beyond it in order to attain enlightenment. Whenever he looks above into the sky, the high sky, the clouds, the flying birds, the stars, the moon, the sun and the cosmos, those make him to forget the hard shell for a while until his eyes fell upon it and he is recaptured. Still into the pupil of his eyes he is reflecting the cosmos. This energy within him, within anyone has vitality and potentiality to reflect the cosmos, and to look beyond the hard shell. Let’s say that he has had an enlightenment experience. Enlightenment is a fact. It is the Truth itself.
    [Show full text]
  • Samuel Beckett's Peristaltic Modernism, 1932-1958 Adam
    ‘FIRST DIRTY, THEN MAKE CLEAN’: SAMUEL BECKETT’S PERISTALTIC MODERNISM, 1932-1958 ADAM MICHAEL WINSTANLEY PhD THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE MARCH 2013 1 ABSTRACT Drawing together a number of different recent approaches to Samuel Beckett’s studies, this thesis examines the convulsive narrative trajectories of Beckett’s prose works from Dream of Fair to Middling Women (1931-2) to The Unnamable (1958) in relation to the disorganised muscular contractions of peristalsis. Peristalsis is understood here, however, not merely as a digestive process, as the ‘propulsive movement of the gastrointestinal tract and other tubular organs’, but as the ‘coordinated waves of contraction and relaxation of the circular muscle’ (OED). Accordingly, this thesis reconciles a number of recent approaches to Beckett studies by combining textual, phenomenological and cultural concerns with a detailed account of Beckett’s own familiarity with early twentieth-century medical and psychoanalytical discourses. It examines the extent to which these discourses find a parallel in his work’s corporeal conception of the linguistic and narrative process, where the convolutions, disavowals and disjunctions that function at the level of narrative and syntax are persistently equated with medical ailments, autonomous reflexes and bodily emissions. Tracing this interest to his early work, the first chapter focuses upon the masturbatory trope of ‘dehiscence’ in Dream of Fair to Middling Women, while the second examines cardiovascular complaints in Murphy (1935-6). The third chapter considers the role that linguistic constipation plays in Watt (1941-5), while the fourth chapter focuses upon peristalsis and rumination in Molloy (1947). The penultimate chapter examines the significance of epilepsy, dilation and parturition in the ‘throes’ that dominate Malone Dies (1954-5), whereas the final chapter evaluates the significance of contamination and respiration in The Unnamable (1957-8).
    [Show full text]
  • The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works
    Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works Theresa A. Incampo Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Dramatic Literature, Criticism and Theory Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Incampo, Theresa A., "The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/209 The Evocation of the Physical, Metaphysical and Sonic Landscapes within the Short Dramatic Works of Samuel Beckett Submitted by Theresa A. Incampo May 4, 2012 Trinity College Department of Theater and Dance Hartford, CT 2 Table of Contents Acknowledgements 5 I: History Time, Space and Sound in Beckett’s short dramatic works 7 A historical analysis of the playwright’s theatrical spaces including the concept of temporality, which is central to the subsequent elements within the physical, metaphysical and sonic landscapes. These landscapes are constructed from physical space, object, light, and sound, so as to create a finite representation of an expansive, infinite world as it is perceived by Beckett’s characters.. II: Theory Phenomenology and the conscious experience of existence 59 The choice to focus on the philosophy of phenomenology centers on the notion that these short dramatic works present the theatrical landscape as the conscious character perceives it to be. The perceptual experience is explained by Maurice Merleau-Ponty as the relationship between the body and the world and the way as to which the self-limited interior space of the mind interacts with the limitless exterior space that surrounds it.
    [Show full text]
  • Configuring a Scatological Gaze in Trash Filmmaking Zoe Gross
    Excremental Ecstasy, Divine Defecation and Revolting Reception: Configuring a Scatological Gaze in Trash Filmmaking Zoe Gross Scatology, for all the sordid formidability the term evokes, is not an es- pecially novel or unusual theme, stylistic technique or descriptor in film or filmic reception. Shit happens – to emphasise both the banality and perva- siveness of the cliché itself – on multiple levels of textuality, manifesting it- self in both the content and aesthetic of cinematic texts, and the ways we respond to them. We often refer to “shit films,” using an excremental vo- cabulary redolent of detritus, malaise and uncleanliness to denote their otherness and “badness”. That is, films of questionable taste, aesthetics, or value, are frequently delineated and defined by the defecatory: we describe them as “trash”, “crap”, “filth”, “sewerage”, “shithouse”. When considering cinematic purviews such as the b-film, exploitation, and shock or trash filmmaking, whose narratives are so often played out on the site of the gro- tesque body, a screenscape spectacularly splattered with bodily excess and waste is de rigeur. Here, the scatological is both often on blatant dis- play – shit is ejected, consumed, smeared, slung – and underpining or tinc- turing form and style, imbuing the text with a “shitty” aesthetic. In these kinds of films – which, as their various appellations tend to suggest, are de- fined themselves by their association with marginality, excess and trash, the underground, and the illicit – the abject body and its excretia not only act as a dominant visual landscape, but provide a kind of somatic, faecal COLLOQUY text theory critique 18 (2009).
    [Show full text]
  • November 2016
    The Bijou Film Board is a student-run UI org dedicated FilmScene Staff The to American independent, foreign and classic cinema. The Joe Tiefenthaler, Executive Director Bijou assists FilmScene with programming and operations. Andy Brodie, Program Director Andrew Sherburne, Associate Director PictureShow Free Mondays! UI students FREE at the late showing of new release films. Emily Salmonson, Dir. of Operations Family and Children’s Series Ross Meyer, Head Projectionist and Facilities Manager presented by AFTER HOURS A late-night OPEN SCREEN Aaron Holmgren, Shift Supervisor series of cult classics and fan Kate Markham, Operations Assistant favorites. Saturdays at 11pm. The winter return of our ongoing series of big-screen Dec. 4, 7pm // Free admission Dominick Schults, Projection and classics old and new—for movie lovers of all ages! Facilities Assistant FilmScene and the Bijou invite student Abby Thomas, Marketing Assistant Tickets FREE for kids, $5 for adults! Winter films play and community filmmakers to share Saturday at 10am and Thursday at 3:30pm. Wendy DeCora, Britt Fowler, Emma SAT, 11/5 SAT, their work on the big screen. Enter your submission now and get the details: Husar, Ben Johnson, Sara Lettieri, KUBO & THE TWO STRINGS www.icfilmscene.org/open-screen Carol McCarthy, Brad Pollpeter (2016) Dir. Travis Knight. A young THE NEON DEMON (2016) Spencer Williams, Theater Staff boy channels his parents powers. Dir. Nicolas Winding Refn. An HORIZONS STAMP YOUR PASSPORT Nov. 26 & Dec. 1 aspiring LA model has her Cara Anthony, Felipe Disarz, for a five film cinematic world tour. One UI Tyler Hudson, Jack Tieszen, (1990) Dir.
    [Show full text]
  • Trauma, Company and Witnessing in Samuel Beckett's Post-War Drama
    TRAUMA, COMPANY AND WITNESSING IN SAMUEL BECKETT’S POST-WAR DRAMA, 1952-61 A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2014 ELECTRA GEORGIADES SCHOOL OF ARTS, LANGUAGES AND CULTURES 2 LIST OF CONTENTS Abstract 3 Declaration 4 Copyright Statement 5 Acknowledgements 6 1. Introduction 7 1.1. Beckett and Trauma: The Theoretical Framework 12 1.2. Performing Testimony 25 1.3. Human Company: The Other as a Witness 36 1.4. Thesis Structure 41 2. In Need of a Witness: Beckett’s Testimonial Drama (1952-61) 45 2.1. Trauma, Testimony and the Theatre 48 2.2. Beside History: Beckett’s Testimonial Drama 66 2.2.1 Performing Trauma 69 2.2.2 Performing and Responding to Testimony 86 3. Acting out the Trauma: Memory, Language and the Body 99 3.1. Memory 109 3.2. Language 133 3.3. The Body 142 4. Reclaiming Witnessing in the Post-war Period: Human Company in Beckett’s Drama Trilogy 158 4.1. Human Company and Trauma 161 4.2. Resisting the Trauma: Company and Witnessing 189 5. Conclusion: Trauma, Company and Witnessing in Samuel Beckett’s Post-war Drama 205 5.1. Beckett and Trauma 208 5.2. The Human Other 212 Bibliography 217 Primary Sources 217 Secondary Sources 218 Words: 80,551 3 ABSTRACT The present thesis examines the interrelation between the dynamics of human company and the psychoanalytic concept of witnessing in Samuel Beckett’s major post-war drama. The analysis provided concentrates primarily on Waiting for Godot (1952), Endgame (1957), and Happy Days (1962) and situates these plays within a post-war framework, while examining their stylistic qualities and thematic concerns within the context of trauma studies.
    [Show full text]
  • The Tufts Daily Volume Lxxii, Number 47
    La femme in STEM: the women who dominate the envi- TUFTS FIELD HOCKEY ronmental engineering program Field hockey scores spot in see FEATURES / PAGE 3 the final four How to get away with an extended plot twist: Shonda Rhimes’ hit still promises much drama with mid-sea- SEE SPORTS / BACK PAGE son finale see ARTS & LIVING / PAGE 5 THE INDEPENDENT STUDENT NEWSPAPER OF TUFTS UNIVERSITY EST. 1980 THE TUFTS DAILY VOLUME LXXII, NUMBER 47 MEDFORD/SOMERVILLE, MASS. WEDNESDAY, NOVEMBER 16, 2016 tuftsdaily.com Diana Chigas of Fletcher School appointed first Senior International Officer by John Fedak Contributing Writer Diana Chigas (F ’88) has been appoint- ed to the newly-created position of senior international officer as of Sept. 1 in an effort to continue increasing Tufts’ global presence and ensure that Tufts alumni and faculty can work successfully abroad. “There was a sense that Tufts does a lot internationally, but both the visibility and impact is not as great as it could be, and that we could also do better at filling in gaps here, bringing global issues here and providing opportunities to students here,” Chigas said. According to Provost David Harris, no one was previously responsible for devel- oping and leading the university’s global strategy. Before the senior international officer position existed, Chigas said that it was not easy for Tufts-associated researchers, students and faculty to connect outside of the United States. “There’s a lot to bring together, and part of my role is to help facilitate those connections,” she said. International work and international ALONSO NICHOLS/TUFTS UNIVERSITY Tufts Associate Provost, Senior International Officer and Professor of the Practice at the Fletcher School of Law and Diplomacy Diana Chigas see INTERNATIONAL, page 2 poses for a photo on Sept.
    [Show full text]
  • 6 X 10 Long.P65
    Cambridge University Press 978-0-521-86520-3 - Samuel Beckett and the Philosophical Image Anthony Uhlmann Index More information Index Abbott, H. Porter 106 Bre´hier, Emile 130, 134–6, 143, 145, 153 Ackerley, C. J. 39, 70 ...but the clouds ...2, 62 All That Fall 63 All Strange Away 2, 49, 64, 104 ‘Calmative, The’ 50, 61 Aldington, Richard 30 Carroll, Lewis 134 Altman, Robert 16, 17 Catastrophe 122, 129 Anzieu, Didier 112 Chaikin, Joseph 51 A Piece of Monologue 62 Chrysippus 130, 133, 141 Aristotle 71 Cioran, Emil 129 Arrabal, Fernando 129 Cicero 131 ‘As the Story Was Told’ 49 Cleanthes 130, 133 Cle´ment, Bruno 108–9, 110, 112 Bacon, Sir Francis 67, 92 cliche´ 12–14, 16–17 Badiou, Alain 112 ‘Cliff, The’ 50 Bakhtin, Mikhail 2, 57, 75 Cohn, Ruby 1, 48 Bataille, Georges 108 Come and Go 45, 62, 138, 139, 140 Beckett, Samuel Company 50 on Jack Yeats 24, 30–1 Conrad, Joseph 124 letter to Georges Duthuit 1949 26, 37–8, 117 Czerny, Carl 1 and knowledge of Bergson 29–31, 117–18 and letter to Axel Kaun 54, 66 d’Aubare`de, Gabriel 72, 74 on Joyce 56 Dante Alighieri 78, 104 and the nature of the image in his works ‘Dante ...Bruno. Vico.. Joyce’ 26, 74 62–4 Dearlove, J. E. 36 reading of Geulincx’ Ethics 70, 81, 90–105 Defoe, Daniel 68 and the image of the rocking chair 78–85 de Lattre, Alain 69 and images adapted from Geulincx 90–105 Deleuze, Gilles 2, 112, 147–8 and his notes to his reading of Geulincx 90–1, and minor tradition 5 92, 131 and Cinema books 6–14, 18–21 and the image of the voice 94–5 and the image in Beckett 31–5 Beethoven, Ludwig van
    [Show full text]
  • Rhythms in Rockaby: Ways of Approaching the Unknowable
    83 Rhythms in Rockaby: Ways of Approaching the Unknowable. Leonard H. Knight Describing Samuel Beckett's later, and progressively shorter, pieces in a word is peculiarly difficult. The length of the average critical commentary on them testifies to this, and is due largely to an unravelling of compression in the interests of meaning: straightening out a tightly C9iled spring in order to see how it is made. The analogy, while no more exact than any analogy, is useful at least in suggesting two things: the difficulty of the endeavour; and the feeling, while engaged in it, that it may be largely counterproductive. A straightened out spring, after all, is no longer a spring. Aware of the pitfalls I should nevertheless like, in this paper, to look at part of the mechanism while trying to keep its overall shape relatively intact. The ideas in a Beckett play emerge, in general, from an initial image. A woman half-buried in a grass mound. A faintly spotlit, endlessly talking mouth. Feet tracing a fixed, unvarying path. Concrete and intensely theatrical, the image is immediately graspable. Its force and effectiveness come, above all, from its simpl­ icity. Described in this way Beckett's images sound arresting to the point of sen­ sationalism. What effectively lowers the temperature while keeping the excitement generated by their o.riginality is the simple fact that they cannot easily be made out. They are seen, certainly - but only just. In the dimmest possible light; the absolute minimum commensurate with sight. What is initially seen is only then augmented or reinforced by what is said.
    [Show full text]
  • What Are They Doing There? : William Geoffrey Gehman Lehigh University
    Lehigh University Lehigh Preserve Theses and Dissertations 1989 What are they doing there? : William Geoffrey Gehman Lehigh University Follow this and additional works at: https://preserve.lehigh.edu/etd Part of the English Language and Literature Commons Recommended Citation Gehman, William Geoffrey, "What are they doing there? :" (1989). Theses and Dissertations. 4957. https://preserve.lehigh.edu/etd/4957 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. • ,, WHAT ARE THEY DOING THERE?: ACTING AND ANALYZING SAMUEL BECKETT'S HAPPY DAYS by William Geoffrey Gehman A Thesis Presented to the Graduate Committee of Lehigh University 1n Candidacy for the Degree of Master of Arts 1n English Lehigh University 1988 .. This thesis 1S accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts. (date) I Professor 1n Charge Department Chairman 11 ACD01fLBDGBNKNTS ., Thanks to Elizabeth (Betsy) Fifer, who first suggested Alan Schneider's productions of Samuel Beckett's plays as a thesis topic; and to June and Paul Schlueter for their support and advice. Special thanks to all those interviewed, especially Martha Fehsenfeld, who more than anyone convinced the author of Winnie's lingering presence. 111 TABLB OF CONTBNTS Abstract ...................•.....••..........•.•••••.••.••• 1 ·, Introduction I Living with Beckett's Standards (A) An Overview of Interpreting Winnie Inside the Text ..... 3 (B) The Pros and Cons of Looking for Clues Outside the Script ................................................ 10 (C) The Play in Context ..................................
    [Show full text]
  • The Apology | the B-Side | Night School | Madonna: Rebel Heart Tour | Betting on Zero Scene & Heard
    November-December 2017 VOL. 32 THE VIDEO REVIEW MAGAZINE FOR LIBRARIES N O . 6 IN THIS ISSUE One Week and a Day | Poverty, Inc. | The Apology | The B-Side | Night School | Madonna: Rebel Heart Tour | Betting on Zero scene & heard BAKER & TAYLOR’S SPECIALIZED A/V TEAM OFFERS ALL THE PRODUCTS, SERVICES AND EXPERTISE TO FULFILL YOUR LIBRARY PATRONS’ NEEDS. Learn more about Baker & Taylor’s Scene & Heard team: ELITE Helpful personnel focused exclusively on A/V products and customized services to meet continued patron demand PROFICIENT Qualified entertainment content buyers ensure frontlist and backlist titles are available and delivered on time SKILLED Supportive Sales Representatives with an average of 15 years industry experience DEVOTED Nationwide team of A/V processing staff ready to prepare your movie and music products to your shelf-ready specifications Experience KNOWLEDGEABLE Baker & Taylor is the Full-time staff of A/V catalogers, most experienced in the backed by their MLS degree and more than 43 years of media cataloging business; selling A/V expertise products to libraries since 1986. 800-775-2600 x2050 [email protected] www.baker-taylor.com Spotlight Review One Week and a Day and target houses that are likely to be empty while mourners are out. Eyal also goes to the HHH1/2 hospice where Ronnie died (and retrieves his Oscilloscope, 98 min., in Hebrew w/English son’s medical marijuana, prompting a later subtitles, not rated, DVD: scene in which he struggles to roll a joint for Publisher/Editor: Randy Pitman $34.99, Blu-ray: $39.99 the first time in his life), gets into a conflict Associate Editor: Jazza Williams-Wood Wr i t e r- d i r e c t o r with a taxi driver, and tries (unsuccessfully) to hide in the bushes when his neighbors show Editorial Assistant: Christopher Pitman Asaph Polonsky’s One Week and a Day is a up with a salad.
    [Show full text]