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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 -
DOCUMENTARY FILMS Page 1 of 10
DOCUMENTARY FILMS Page 1 of 10 DOCUMENTARY FILMS Documentary Films, strictly speaking, are non-fictional, "slice of life" factual works of art - and sometimes known as cinema verite. For many years, as films became more narrative- based, documentaries branched out and took many forms since their early beginnings - some of which have been termed propagandistic or non-objective. Documentary films have comprised a very broad and diverse category of films. Examples of documentary forms include the following: z 'biographical' films about a living or dead person (Madonna, John Lennon, Muhammad Ali - When We Were Kings (1996), Robert Crumb, Stephen Hawking in A Brief History of Time (1992), or Glenn Gould) z a well-known event (Waco, Texas incident, the Holocaust, the Shackleton expedition to the Antarctic) z a concert or rock festival (Woodstock or Altamont rock concerts, Madonna: Truth or Dare (1991), Stop Making Sense (1984)) z a comedy show (Richard Pryor or Eddie Murphy shows) z a live performance (Cuban musicians as in Buena Vista Social Club (1998), or the stage show Cirque du Soleil-Journey of Man (2000)) z a sociological or ethnographic examination following the lives of individuals over a period of time (e.g., Michael Apted's series of films: 28 Up (1984), 35 Up (1992) and 42 Up (1999), or Steve James' Hoop Dreams (1994)) z an expose including interviews (e.g., Michael Moore's social concerns films) z a sports documentary (extreme sports, such as Extreme (1999) or To the Limit (1989), or surfing, such as in The Endless Summer (1966)) -
In Cinematography
Sean O’Connor DSG 610 Prof. Hogencamp June 10, 2018 What is Cinematography? In Cinematography: Theory and Practice, Brown defines cinematography simply as the film director and director of photography (DP) collaborating on “the same basic task: storytelling with the camera”1. However, based on further readings in his book and others, as well as the documentary film Visions of Light, cinematography seems much more complicated than that short and simple statement. The medium seems essentially a balancing act, between the artistic and creative aspects of visual storytelling as well as the logistical elements of completing a day’s worth of shooting, getting the light just right, and coordinating several crewmembers operating cameras, lights, and other equipment. Therefore, the duties of a cinematographer range from the creative to the technical, and they are all essential. In terms of creative and artistic choices, Mercado attests that every item contained in the frame, from actors to props, matters: “Anything and everything that is included in the composition of a shot will be interpreted by an audience as being there for a specific purpose that is directly related and necessary to understand the story they are watching.”2 There is no place for arbitrary choices for the cinematographer: every aspect of the framing, lighting, and motion of a shot must have purpose, which that cinematographer must decide creatively based on the story and characters of the film. Because of this, cinematography contributes heavily to story by visually enforcing or affirming the emotions, conflict, and even structure of the story. “There has to be,” continues Mercado, “a direct connection between what takes place in the story and the use of a particular composition.”3 Regarding the notion of visual structure accompanying story structure, Block writes, “Progressions are fundamental to story or musical structure, and they’re fundamental to visual structure. -
Cinematography
MEDIA ACTIVITY 2 Your preparation guide to get you ready for September Video Production: Cinematography: In the first term at the college we look at the world of cinematogrpahy within video production. The aim is to give you a the practical skills to be able to film asthethicly pleasing visuals and understand the narrative meaning behind each choice made. Cinematograpahy is the film makers tool kit when it comes to how a film looks, so before you start working on your own visuals, we think it is important to understand the history behind the craft. Below is a link to a documentry all about cinematography, which can be viewed through YouTube, though its an older piece the information is a relavent today as it ever was. Give it watch and see if you can complete the quiz below, most of the anwsers to the questions can be found within the documentry itself though a little bit of internet research may be required. Visions of Light - https://www.youtube.com/watch?v=dXeuk1tO32k The film covers the art of cinematography since the conception of cinema at the turn of the 20th century. Many filmmakers and cinematographers present their views and discuss why the art of cinematography is important within the craft of filmmaking. 1. In what year was “Birth of a Nation” released? 2. What was the nickname for early films the first used sound? 3. Colour tints were used in early black and white films to represent time of day, can you identify which times of the day the following colours represent? Blue: Red: 4. -
The New Age Under Orage
THE NEW AGE UNDER ORAGE CHAPTERS IN ENGLISH CULTURAL HISTORY by WALLACE MARTIN MANCHESTER UNIVERSITY PRESS BARNES & NOBLE, INC., NEW YORK Frontispiece A. R. ORAGE © 1967 Wallace Martin All rights reserved MANCHESTER UNIVERSITY PRESS 316-324 Oxford Road, Manchester 13, England U.S.A. BARNES & NOBLE, INC. 105 Fifth Avenue, New York, N.Y. 10003 Printed in Great Britain by Butler & Tanner Ltd, Frome and London This digital edition has been produced by the Modernist Journals Project with the permission of Wallace T. Martin, granted on 28 July 1999. Users may download and reproduce any of these pages, provided that proper credit is given the author and the Project. FOR MY PARENTS CONTENTS PART ONE. ORIGINS Page I. Introduction: The New Age and its Contemporaries 1 II. The Purchase of The New Age 17 III. Orage’s Editorial Methods 32 PART TWO. ‘THE NEW AGE’, 1908-1910: LITERARY REALISM AND THE SOCIAL REVOLUTION IV. The ‘New Drama’ 61 V. The Realistic Novel 81 VI. The Rejection of Realism 108 PART THREE. 1911-1914: NEW DIRECTIONS VII. Contributors and Contents 120 VIII. The Cultural Awakening 128 IX. The Origins of Imagism 145 X. Other Movements 182 PART FOUR. 1915-1918: THE SEARCH FOR VALUES XI. Guild Socialism 193 XII. A Conservative Philosophy 212 XIII. Orage’s Literary Criticism 235 PART FIVE. 1919-1922: SOCIAL CREDIT AND MYSTICISM XIV. The Economic Crisis 266 XV. Orage’s Religious Quest 284 Appendix: Contributors to The New Age 295 Index 297 vii LIST OF ILLUSTRATIONS A. R. Orage Frontispiece 1 * Tom Titt: Mr G. Bernard Shaw 25 2 * Tom Titt: Mr G. -
Linguistic Scepticism in Mauthner's Philosophy
LiberaPisano Misunderstanding Metaphors: Linguistic ScepticisminMauthner’s Philosophy Nous sommes tous dans un désert. Personne ne comprend personne. Gustave Flaubert¹ This essayisanoverview of Fritz Mauthner’slinguistic scepticism, which, in my view, represents apowerful hermeneutic category of philosophical doubts about the com- municative,epistemological, and ontological value of language. In order to shed light on the main features of Mauthner’sthought, Idrawattention to his long-stand- ing dialogue with both the sceptical tradition and philosophyoflanguage. This con- tribution has nine short sections: the first has an introductory function and illus- tratesseveral aspectsoflinguistic scepticism in the history of philosophy; the second offers acontextualisation of Mauthner’sphilosophyoflanguage; the remain- der present abroad examination of the main features of Mauthner’sthought as fol- lows: the impossibility of knowledge that stems from aradicalisationofempiricism; the coincidencebetween wordand thought,thinkingand speaking;the notion of use, the relevanceoflinguistic habits,and the utopia of communication; the decep- tive metaphors at the root of an epoché of meaning;the new task of philosophyasan exercise of liberation against the limits of language; the controversial relationship between Judaism and scepticism; and the mystical silence as an extreme conse- quence of his thought.² Mauthnerturns scepticism into aform of life and philosophy into acritique of language, and he inauguratesanew approach that is traceable in manyGerman—Jewish -
Washington Irving's Use of Historical Sources in the Knickerbocker History of New York
WASHINGTON IRVING’S USE OF HISTORICAL SOURCES IN THE KNICKERBOCKER. HISTORY OF NEW YORK Thesis for the Degree of M. A. MICHIGAN STATE UNIVERSITY DONNA ROSE CASELLA KERN 1977 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIII 3129301591 2649 WASHINGTON IRVING'S USE OF HISTORICAL SOURCES IN THE KNICKERBOCKER HISTORY OF NEW YORK By Donna Rose Casella Kern A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of English 1977 TABLE OF CONTENTS INTRODUCTION . CHAPTER I A Survey of Criticism . CHAPTER II Inspiration and Initial Sources . 15 CHAPTER III Irving's Major Sources William Smith Jr. 22 CHAPTER IV Two Valuable Sources: Charlevoix and Hazard . 33 CHAPTER V Other Sources 0 o o o o o o o o o o o o o o o o 0 Al CONCLUSION 0 O C O O O O O O O O O O O 0 O O O O O 0 53 APPENDIX A Samuel Mitchell's A Pigture 9: New York and Washington Irving's The Knickerbocker Histgrx of New York 0 o o o o o o o o o o o o o c o o o o 0 56 APPENDIX B The Legend of St. Nicholas . 58 APPENDIX C The Controversial Dates . 61 APPENDIX D The B00k'S Topical Satire 0 o o o o o o o o o o 0 6A APPENDIX E Hell Gate 0 0.0 o o o o o o o o o o o o o o o o 0 66 APPENDIX F Some Minor Sources . -
Sample File Heavily on Patriotism and National Identity
Empire Builder Kit Preface ............................................................ 2 Government Type Credits & Legal ................................................ 2 An empire has it rulers. The type of ruler can How to Use ..................................................... 2 often determine the character of a nation. Are Government Types ......................................... 3 they a democratic society that follows the will Simple Ruler Type ....................................... 3 of the people, or are they ruled by a harsh dictator who demand everyone caters to their Expanded Ruler Type .................................. 4 every whim. They could even be ruled by a Also Available ................................................ 10 group of industrialists whose main goal is the acquisition of wealth. Coming Soon ................................................. 10 This part of the Empire Builder kit outlines some of the more common, and not so common, types of ruler or government your empire or country may possess. Although designed with fantasy settings in mind, most of the entries can be used in a sci-fi or other genre of story or game. There are two tables in this publication. One for simple and quick governments and A small disclaimer – A random generator will another that is expanded. Use the first table never be as good as your imagination. Use for when you want a common government this to jump start your own ideas or when you type or a broad description, such as need to fill in the blank. democracy or monarchy. Use the second/expanded table for when you want something that is rare or you want more Sample details,file such as what type of democracy etc. If you need to randomly decide between the two tables, then roll a d20. If you get 1 – 18 then use the simple table, otherwise use the expanded one. -
The President's
ABSTRACT Title of dissertation: The President’s Pen: A Literary History of American Presidential Autobiographies Allen Fletcher Cole, Doctor of Philosophy, 2010 Dissertation directed by: Professor Robert Levine, Department of English Approximately half of American presidents have produced either a full or partial narrative record of their lives, and recent presidential autobiographies have been released to full-scale media attention. Yet, despite the genre’s familiarity, there has been no comprehensive analysis of this set of presidential autobiographies. The goal of this project is to examine a selected number of presidential memoirs in order to chart the development of this genre. Aside from considering the merits of the individual texts through extended readings, this dissertation will trace the history of the publication, marketing, and reception of these texts. In addition, it will trace the formal changes and development of the presidential memoir in the context of the changing relationships between the president and the American people, popular conceptions of public and private, and the confluence of politics and celebrity. In order to achieve these goals, the dissertation is arranged chronologically and centers on selected texts that mark the genre’s evolution. The first chapters are devoted to the earliest presidential autobiographies, those of John Adams, Thomas Jefferson, and James Monroe. These three works demonstrate a careful delineation between public and private and ostensibly serve public ends. The second chapter focuses on books by James Buchanan and Ulysses Grant, both of whom sought to market their life narratives in order to reach the broadest possible audience. The third chapter takes up the autobiographies of Theodore Roosevelt and Calvin Coolidge, two presidents who used the expansion of technology to project carefully constructed public characters to the American electorate. -
Irving's Posterity
IRVING’S POSTERITY BY MICHAEL WARNER Like the narrators of all his major books—Geoffrey Crayon, Diedrich Knickerbocker, Jonathan Oldstyle, Fray Antonio Agapida—Washington Irving was a bachelor. In a sketch called “Bachelors” he wrote, “There is no character in the comedy of human life that is more difficult to play well, than that of an old Bachelor.”1 Reinventing that role was the project he took on, more or less consciously, from an early age. As a young man, he belonged to an intimate circle of bachelors (“Cockloft,” they called it) with whom he wrote Salmagundi; when the others married, he wrote with unusual passion about his abandonment. He then came to regard his writing career as an alternative to marriage. As an old man, he maintained himself at Sunnyside, his estate on the Hudson, as a surrogate patriarch to his nieces, his bachelor brother, miscellaneous dependents, and American letters in general. It was a role he played with success; before his death he was almost universally credited as “Patriarch of American literature” and “literary father of his country,” a pseudo-paternity most famously illustrated in the so-called Sunnyside portrait. When he died, he would be eulogized as “the most fortunate old bachelor in all the world.”2 Yet bachelorhood was something he consistently regarded as anoma- lous, problematic, and probably immoral. Irving claimed as early as 1820 that his natural inclination was to be “an honest, domestic, uxorious man,” and that matrimony was indispensable to happiness.3 Over twenty years later, he wrote, “I have no great idea of bachelor hood and am not one by choice. -
Symbolism in “Rip Van Winkle” by Washington Irving
PEOPLE’S DEMOCRATIC REPUBLIC OF ALGERIA Ministry of Higher Education and Scientific Research University of Tlemcen Faculty of Letters and Foreign Languages Department of Foreign Languages Section of English Symbolism in “Rip Van Winkle” by Washington Irving Dissertation Submitted to the Department of English as a partial Fulfillment for the Degree of “Master” in Literature and Civilization Presented by Supervised by Miss. Fatima Zahra BERROUKECHE Dr. Wassila MOURO Mrs. Souad BERBER Academic Year 2015/2016 Dedication I dedicate this work to my precious mother, the source of kindness and tenderness, my father, and dearest friends. I Acknowledgements My extreme appreciation and gratitude are addressed to my respectable teachers and supervisors Dr. Wassila MOURO who was abundantly helpful and supplied priceless support and to Mrs Souad BERBER for her patience, advice and guidance without which I could not have accomplished this task of research. My deepest thanks go to the respectful members of the jury who offered me the honor of evaluating this work. I would like to express my sincere and warm thanks to Mr. Mustapha OUSSAR who granted me his help and advice, additionally, I would like to express my appreciation to my dearest Amel RAHMOUNI who supported me and never hesitated to stand by my side. Furthermore, I have to acknowledge all my friends for the nice times that we spent together helping each other. II Abstract In American literature, Washington Irving’s “Rip Van Winkle” (1819) is an interesting symbolic tale, in which symbolism has been touched in every single corner in it. The objective of this work is to examine symbols in this short story that are used to interpret significant historical events in the American history, which were the American society’s conditions before and after gaining its independence. -
A History of New York, from the Beginning of the World to the End Of
I '.) p <'jl rffev 1 ''vr);..:^]";; inM^ittMi1i^lA^i»I^A^tM -*- it , 7,!^. : Bequest of 31 Mrs. James Huntley Gampbell MMf^i^^ ,(1 1 ' ; n ' ^, u •- 'r > j/ „ v I, ^m\-< ; l .f\ ':-i1l ''.''"f (i 'S'J \ i " 5 ' ' ; --i- h ?3i^"' - 3ai-v" ; 4?.%." 7:;<-<yi?-; ~ ''.vVir- ^ :/ '' u \ ?i if r, i r i j ',-m? : <h\ , ' 'l'-. y , cife, 'if- i .-) ;/ '/ - 1 *' 5 5 £1 IRVING'S WORKS GEOFFKEY" OEATOTsT EDITION* COMPLETE IW 26 VOLUMES. VOL. I. ( II /7l . rk/ "WASHINGTON IRVING BIOGRAPHICAL AND CRITICAL STUDY PREPARED AS AN INTRODUCTION TO THE " GEOFFREY CRAYON " EDITION OF HIS WORKS BY CHARLES DUDLEY WARNER "Washingtoe" Ikying. |T seems to be proper that a new and notewor- thy edition of the works of Washington Irving should be prefaced by a slight sketch of the author's life, and some estimate of his position as a man of letters. As the admirable " Life and Letters," edited by his nephew, Mr. Pierre M. Irving, will form a part of this edition, it is unnecessary here to indulge in many biographical details ; and in the space allotted to me I shall use them only to aid in the estimate that I wish to make of the author. The twenty years that have elapsed since Irving's death do not at all represent the space that separates our age from his. We seem to have lived a century since the war of the rebellion came to shake and scat- ter forever our fatuous dream of security and immunity.- J In two decades we have had the social and political transformation and growth of a hundred years.