Repartitie Aferenta Trimestrului II - 2018 - Straini DACIN SARA
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L'équipe Des Scénaristes De Lost Comme Un Auteur Pluriel Ou Quelques Propositions Méthodologiques Pour Analyser L'auctorialité Des Séries Télévisées
Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées Quentin Fischer To cite this version: Quentin Fischer. Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées. Sciences de l’Homme et Société. 2017. dumas-02368575 HAL Id: dumas-02368575 https://dumas.ccsd.cnrs.fr/dumas-02368575 Submitted on 18 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License UNIVERSITÉ RENNES 2 Master Recherche ELECTRA – CELLAM Lost in serial television authorship : L'équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l'auctorialité des séries télévisées Mémoire de Recherche Discipline : Littératures comparées Présenté et soutenu par Quentin FISCHER en septembre 2017 Directeurs de recherche : Jean Cléder et Charline Pluvinet 1 « Créer une série, c'est d'abord imaginer son histoire, se réunir avec des auteurs, la coucher sur le papier. Puis accepter de lâcher prise, de la laisser vivre une deuxième vie. -
The True Story of 'Mrs. America' | History | Smithsonian Magazine 4/16/20, 9 07 PM the True Story of ‘Mrs
The True Story of 'Mrs. America' | History | Smithsonian Magazine 4/16/20, 907 PM The True Story of ‘Mrs. Americaʼ In the new miniseries, feminist history, dramatic storytelling and an all-star-cast bring the Equal Rights Amendment back into the spotlight Cate Blanchett plays conservative activist Phyllis Schlafly (Sabrina Lantos / FX) By Jeanne Dorin McDowell smithsonianmag.com April 15, 2020 It is 1973, and conservative activist Phyllis Schlafly and feminist icon Betty https://www.smithsonianmag.com/history/true-story-mrs-america-180974675/ Page 1 of 11 The True Story of 'Mrs. America' | History | Smithsonian Magazine 4/16/20, 907 PM Friedan trade verbal barbs in a contentious debate over the Equal Rights Amendment at Illinois State University. Friedan, author of The Feminine Mystique and “the mother of the modern womenʼs movement,” argues that a constitutional amendment guaranteeing men and women equal treatment under the law would put a stop to discriminatory legislation that left divorced women without alimony or child support. On the other side, Schlafly, an Illinois mother of six who has marshalled an army of conservative housewives into an unlikely political force to fight the ERA, declares American women “the luckiest class of people on earth.” Then Schlafly goes for the jugular. “You simply cannot legislate universal sympathy for the middle-aged woman,” she purrs, knowing that Friedan had been through a bitter divorce. “You, Mrs. Friedan, are the unhappiest women I have ever met.” “You are a traitor to your sex, an Aunt Tom,” fumes Friedan, taking the bait. “And you are a witch. God, Iʼd like to burn you at the stake!” Friedanʼs now-infamous rejoinder is resurrected in this fiery exchange in “Mrs. -
The Journal of William Morris Studies
The Journal of William Morris Studies volume xx, number 4, summer 2014 Editorial – Pearls for the ancestors Patrick O’Sullivan 3 William Morris’s unpublished Arthurian translations, Roger Simpson 7 William Morris’s paternal ancestry Dorothy Coles†, revised Barbara Lawrence 19 The ancestry of William Morris: the Worcester connection David Everett 34 Jane Morris and her male correspondents Peter Faulkner 60 ‘A clear Xame-like spirit’: Georgiana Burne-Jones and Rottingdean, 1904-1920 Stephen Williams 79 Reviews. Edited by Peter Faulkner Linda Parry, William Morris Textiles (Lynn Hulse) 91 Mike and Kate Lea, eds, W.G Collingwood’s Letters from Iceland: Travels in Iceland 1897 (John Purkis) 95 Gary Sargeant, Friends and InXuences: The Memoirs of an Artist (John Purkis) 98 the journal of william morris studies . summer 2014 Barrie and Wendy Armstrong, The Arts and Crafts Movement in the North East of England (Martin Haggerty) 100 Barrie and Wendy Armstrong, The Arts and Crafts Movement in Yorkshire (Ian Jones) 103 Annette Carruthers, The Arts and Crafts Movement in Scotland. A History (Peter Faulkner) 106 Laura Euler, Arts and Crafts Embroidery (Linda Parry) 110 Clive Bloom, Victoria’s Madmen. Revolution and Alienation (Peter Faulkner) 111 Hermione Lee, Penelope Fitzgerald: A Life (Christine Poulsom) 114 Carl Levy, ed, Colin Ward. Life,Times and Thought (Peter Faulkner) 117 Rosalind Williams, The Triumph of the Human Empire. Verne, Morris and Stevenson at the end of the world (Patrick O’Sullivan) 120 Guidelines for Contributors 124 Notes on Contributors 126 ISSN: 1756-1353 Editor: Patrick O’Sullivan ([email protected]) Reviews Editor: Peter Faulkner ([email protected]) Designed by David Gorman ([email protected]) Printed by the Short Run Press, Exeter, UK (http://www.shortrunpress.co.uk/) All material printed (except where otherwise stated) copyright the William Mor- ris Society. -
Sundance Institute Presents Institute Sundance U.S
1 Check website or mobile app for full description and content information. description app for full Check website or mobile #sundance • sundance.org/festival sundance.org/festival Sundance Institute Presents Institute Sundance The U.S. Dramatic Competition Films As You Are The Birth of a Nation U.S. Dramatic Competition Dramatic U.S. Many of these films have not yet been rated by the Motion Picture Association of America. Read the full descriptions online and choose responsibly. Films are generally followed by a Q&A with the director and selected members of the cast and crew. All films are shown in 35mm, DCP, or HDCAM. Special thanks to Dolby Laboratories, Inc., for its support of our U.S.A., 2016, 110 min., color U.S.A., 2016, 117 min., color digital cinema projection. As You Are is a telling and retelling of a Set against the antebellum South, this story relationship between three teenagers as it follows Nat Turner, a literate slave and traces the course of their friendship through preacher whose financially strained owner, PROGRAMMERS a construction of disparate memories Samuel Turner, accepts an offer to use prompted by a police investigation. Nat’s preaching to subdue unruly slaves. Director, Associate Programmers Sundance Film Festival Lauren Cioffi, Adam Montgomery, After witnessing countless atrocities against 2 John Cooper Harry Vaughn fellow slaves, Nat devises a plan to lead his DIRECTOR: Miles Joris-Peyrafitte people to freedom. Director of Programming Shorts Programmers SCREENWRITERS: Miles Joris-Peyrafitte, Trevor Groth Dilcia Barrera, Emily Doe, Madison Harrison Ernesto Foronda, Jon Korn, PRINCIPAL CAST: Owen Campbell, DIRECTOR/SCREENWRITER: Nate Parker Senior Programmers Katie Metcalfe, Lisa Ogdie, Charlie Heaton, Amandla Stenberg, PRINCIPAL CAST: Nate Parker, David Courier, Shari Frilot, Adam Piron, Mike Plante, Kim Yutani, John Scurti, Scott Cohen, Armie Hammer, Aja Naomi King, Caroline Libresco, John Nein, Landon Zakheim Mary Stuart Masterson Jackie Earle Haley, Gabrielle Union, Mike Plante, Charlie Reff, Kim Yutani Mark Boone Jr. -
Maquette 2016
Éditos page 4 L’association Cannes Cinéma page 8 Les Rencontres de Cannes page12 Cannes Cinéphiles page 21 Cannes Écrans Juniors page 24 Les événements spéciaux page 27 Trois jours avec... Philippe Le Guay page 28 En avant les premières page 31 Premier Festival du Cinéma italien de Cannes page 31 Les Mercredis de l’Image page 32 Cannes Cinéma et les événements de la ville de Cannes page 33 Les Jeudis de Cannes Cinéma page 35 Le Lundi, c’est blockbuster ou comédie ! page 43 Les ciné-conférences avec Cannes Université page 49 La saison du Cinéma Bel Âge - Voir et revoir sur grand écran page 53 La saison du Film Club de Cannes page 67 Cannes Filmécole page 81 Les lieux de projection de Cannes Cinéma page 85 Calendrier des projections page 88 Remerciements page 94 3 Éclairer l’obscurité Créateur de vies, d’émotions, source d’évasion et de réflexion, témoin de tant de naissances et de révélations… Le cinéma est un art particulier. Un art qu’il faut choyer, respecter et encourager. Un art à partager, autour duquel discuter, et avec qui il est agréable et conseillé de passer du temps, quelques heures par semaines, ou plus si affinités. Septième art, le cinéma arrive toujours premier à Cannes, où il est comme chez lui. Un fait confirmé chaque année grâce au travail et à la programmation de Cannes Cinéma, que je tiens à saluer et à féliciter, tout comme le Film Club, le cinéma Bel Âge et Filmécole. Projections d’avant- premières et d’inédits, invitations à des débats et rencontres, soirées dédiées à de grands distributeurs ou à un genre spécifique… Avec Cannes Cinéma, les activités ne manquent pas. -
Let Me Just Add That While the Piece in Newsweek Is Extremely Annoying
From: Michael Oppenheimer To: Eric Steig; Stephen H Schneider Cc: Gabi Hegerl; Mark B Boslough; [email protected]; Thomas Crowley; Dr. Krishna AchutaRao; Myles Allen; Natalia Andronova; Tim C Atkinson; Rick Anthes; Caspar Ammann; David C. Bader; Tim Barnett; Eric Barron; Graham" "Bench; Pat Berge; George Boer; Celine J. W. Bonfils; James A." "Bono; James Boyle; Ray Bradley; Robin Bravender; Keith Briffa; Wolfgang Brueggemann; Lisa Butler; Ken Caldeira; Peter Caldwell; Dan Cayan; Peter U. Clark; Amy Clement; Nancy Cole; William Collins; Tina Conrad; Curtis Covey; birte dar; Davies Trevor Prof; Jay Davis; Tomas Diaz De La Rubia; Andrew Dessler; Michael" "Dettinger; Phil Duffy; Paul J." "Ehlenbach; Kerry Emanuel; James Estes; Veronika" "Eyring; David Fahey; Chris Field; Peter Foukal; Melissa Free; Julio Friedmann; Bill Fulkerson; Inez Fung; Jeff Garberson; PETER GENT; Nathan Gillett; peter gleckler; Bill Goldstein; Hal Graboske; Tom Guilderson; Leopold Haimberger; Alex Hall; James Hansen; harvey; Klaus Hasselmann; Susan Joy Hassol; Isaac Held; Bob Hirschfeld; Jeremy Hobbs; Dr. Elisabeth A. Holland; Greg Holland; Brian Hoskins; mhughes; James Hurrell; Ken Jackson; c jakob; Gardar Johannesson; Philip D. Jones; Helen Kang; Thomas R Karl; David Karoly; Jeffrey Kiehl; Steve Klein; Knutti Reto; John Lanzante; [email protected]; Ron Lehman; John lewis; Steven A. "Lloyd (GSFC-610.2)[R S INFORMATION SYSTEMS INC]"; Jane Long; Janice Lough; mann; [email protected]; Linda Mearns; carl mears; Jerry Meehl; Jerry Melillo; George Miller; Norman Miller; Art Mirin; John FB" "Mitchell; Phil Mote; Neville Nicholls; Gerald R. North; Astrid E.J. Ogilvie; Stephanie Ohshita; Tim Osborn; Stu" "Ostro; j palutikof; Joyce Penner; Thomas C Peterson; Tom Phillips; David Pierce; [email protected]; V. -
As Writers of Film and Television and Members of the Writers Guild Of
July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C. -
Race in the Age of Obama Making America More Competitive
american academy of arts & sciences summer 2011 www.amacad.org Bulletin vol. lxiv, no. 4 Race in the Age of Obama Gerald Early, Jeffrey B. Ferguson, Korina Jocson, and David A. Hollinger Making America More Competitive, Innovative, and Healthy Harvey V. Fineberg, Cherry A. Murray, and Charles M. Vest ALSO: Social Science and the Alternative Energy Future Philanthropy in Public Education Commission on the Humanities and Social Sciences Reflections: John Lithgow Breaking the Code Around the Country Upcoming Events Induction Weekend–Cambridge September 30– Welcome Reception for New Members October 1–Induction Ceremony October 2– Symposium: American Institutions and a Civil Society Partial List of Speakers: David Souter (Supreme Court of the United States), Maj. Gen. Gregg Martin (United States Army War College), and David M. Kennedy (Stanford University) OCTOBER NOVEMBER 25th 12th Stated Meeting–Stanford Stated Meeting–Chicago in collaboration with the Chicago Humanities Perspectives on the Future of Nuclear Power Festival after Fukushima WikiLeaks and the First Amendment Introduction: Scott D. Sagan (Stanford Introduction: John A. Katzenellenbogen University) (University of Illinois at Urbana-Champaign) Speakers: Wael Al Assad (League of Arab Speakers: Geoffrey R. Stone (University of States) and Jayantha Dhanapala (Pugwash Chicago Law School), Richard A. Posner (U.S. Conferences on Science and World Affairs) Court of Appeals for the Seventh Circuit), 27th Judith Miller (formerly of The New York Times), Stated Meeting–Berkeley and Gabriel Schoenfeld (Hudson Institute; Healing the Troubled American Economy Witherspoon Institute) Introduction: Robert J. Birgeneau (Univer- DECEMBER sity of California, Berkeley) 7th Speakers: Christina Romer (University of Stated Meeting–Stanford California, Berkeley) and David H. -
As Australian Stars Cate Blanchett and Rose Byrne Go Head to Head in the Brilliant Drama Mrs America, Juliet Rieden Investigates
Equal rights housewife As Australian stars Cate Blanchett and Rose Byrne go head to head in the brilliant drama Mrs America, Juliet Rieden investigates the real women who inspired this sizzling V S feminist versus housewife battle for equal rights in the US. FEMINIST e’ve all heard of Phyllis was in many ways Gloria’s nine-part series Mrs America starring can’t help but admire for her political divide you’re watching the The very fact that this Illinois Gloria Steinem, nemesis, a conservative self-professed the cream of Aussie acting, Cate intelligence, tenacity and disruption, rise of a super villain.” Whatever your housewife took on the icons of the charismatic homemaker whose grass roots Blanchett and Rose Byrne – and even if her opinions feel out of whack viewpoint, we are clearly watching bubbling second-wave feminism poster girl for campaign against what should have interestingly it is the buttoned-up with the times and hard to stomach. a super woman with the sort of provides a fascinating dramatic America’s feminist been a shoo-in amendment securing right-winger who steals the show. In As the show’s Executive Producer, reactionary views that in the 21st tension that pitches proudly old- Wmovement, founding editor of Ms equal rights for women – and men – pastel A-line dresses and soft knits, Coco Francini, says: “If you’re on century have helped populist leaders fashioned Phyllis against the Pied magazine and ardent activist in the was not only audacious, it succeeded. her hair an undulating bouffant up-do one side of the political divide you’re get elected around the world – not Piper attractions of the queen bee of battle to legalise abortion, but Phyllis The seemingly prim pillar of the with chaste kiss-curls, Cate’s Phyllis watching the rise of a superhero and least the vanquishing of Hillary women’s liberation, Gloria Steinem, Schlafly – who is she? right is the subject of Foxtel’s superb is an intriguing anti-heroine who you IMAGES. -
Fringe Season 1 Transcripts
PROLOGUE Flight 627 - A Contagious Event (Glatterflug Airlines Flight 627 is enroute from Hamburg, Germany to Boston, Massachusetts) ANNOUNCEMENT: ... ist eingeschaltet. Befestigen sie bitte ihre Sicherheitsgürtel. ANNOUNCEMENT: The Captain has turned on the fasten seat-belts sign. Please make sure your seatbelts are securely fastened. GERMAN WOMAN: Ich möchte sehen wie der Film weitergeht. (I would like to see the film continue) MAN FROM DENVER: I don't speak German. I'm from Denver. GERMAN WOMAN: Dies ist mein erster Flug. (this is my first flight) MAN FROM DENVER: I'm from Denver. ANNOUNCEMENT: Wir durchfliegen jetzt starke Turbulenzen. Nehmen sie bitte ihre Plätze ein. (we are flying through strong turbulence. please return to your seats) INDIAN MAN: Hey, friend. It's just an electrical storm. MORGAN STEIG: I understand. INDIAN MAN: Here. Gum? MORGAN STEIG: No, thank you. FLIGHT ATTENDANT: Mein Herr, sie müssen sich hinsetzen! (sir, you must sit down) Beruhigen sie sich! (calm down!) Beruhigen sie sich! (calm down!) Entschuldigen sie bitte! Gehen sie zu ihrem Sitz zurück! [please, go back to your seat!] FLIGHT ATTENDANT: (on phone) Kapitän! Wir haben eine Notsituation! (Captain, we have a difficult situation!) PILOT: ... gibt eine Not-... (... if necessary...) Sprechen sie mit mir! (talk to me) Was zum Teufel passiert! (what the hell is going on?) Beruhigen ... (...calm down...) Warum antworten sie mir nicht! (why don't you answer me?) Reden sie mit mir! (talk to me) ACT I Turnpike Motel - A Romantic Interlude OLIVIA: Oh my god! JOHN: What? OLIVIA: This bed is loud. JOHN: You think? OLIVIA: We can't keep doing this. -
Memories and Meanings from a Time of Turmoil
Opioids Crisis • Edward Gorey • Bauhaus Centennial MARCH-APRIL 2019 • $4.95 1969 1969 Memories and meanings from a time of turmoil Reprinted from Harvard Magazine. For more information, contact Harvard Magazine, Inc. at 617-495-5746 Dormie Network is a national network of renowned clubs combining the experience of destination golf with the premier hospitality of private membership. ARBORLINKS · NEBRASKA CITY, NE BALLYHACK · ROANOKE, VA BRIGGS RANCH · SAN ANTONIO, TX DORMIE CLUB · PINEHURST, NC HIDDEN CREEK · EGG HARBOR TOWNSHIP, NJ VICTORIA NATIONAL · NEWBURGH, IN WWW.DORMIENETWORK.COM | [email protected] | ASHLEY OWEN 812.758.7439 Reprinted from Harvard Magazine. For more information, contact Harvard Magazine, Inc. at 617-495-5746 190309_DormieNetwork_ivy.indd 1 1/24/19 12:20 PM MARCH-APRIL 2019, VOLUME 121, NUMBER 4 FEATURES 36 The Opioids Emergency | by Lydialyle Gibson Harvard affiliates who care for people suffering from addiction work to revamp medical practice and policy, and seek new ways to relieve pain 44 What a Human Should Be | by Lily Scherlis A centennial exhibition on the Bauhaus and Harvard 50 Vita: Samuel Stouffer | by Jackson Toby Brief life of a skillful survey researcher: 1900-1960 p. 32 52 Echoes of 1969 | by Craig Lambert Recalling an era of tumult and challenge, and its continuing University resonances JOHN HARVARD’S JOURNAL 18 Transferring technology and reinforcing research, high-flying stem-cell scientist, the General Education reboot—and further thoughts on course preregistration, skills for the “culinarily chal- lenged,” from admission to inclusion for low-income students, a chancellor for Commencement, the Undergraduate on Smith Campus Center (no napping, no politicking), and a hockey p. -
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.