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The Critical Impact of Transgressive Theatrical Practices Christopher J
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 (Im)possibilities of Theatre and Transgression: the critical impact of transgressive theatrical practices Christopher J. Krejci Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Krejci, Christopher J., "(Im)possibilities of Theatre and Transgression: the critical impact of transgressive theatrical practices" (2011). LSU Doctoral Dissertations. 3510. https://digitalcommons.lsu.edu/gradschool_dissertations/3510 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. (IM)POSSIBILITIES OF THEATRE AND TRANSGRESSION: THE CRITICAL IMPACT OF TRANSGRESSIVE THEATRICAL PRACTICES A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre by Christopher J. Krejci B.A., St. Edward’s University, 1999 M.L.A, St. Edward’s University, 2004 August 2011 For my family (blood and otherwise), for fueling my imagination with stories and songs (especially on those nights I couldn’t sleep). ii Acknowledgements I would like to thank my advisor, John Fletcher, for his expert guidance. I would also like to thank the members of my committee, Ruth Bowman, Femi Euba, and Les Wade, for their insight and support. -
LAURITZ MELCHIOR: a APPRECIATIO R, H) Jonathan Chiller - 5
' CoRN ExcHANGE BANK TRusT Co. Established 1853 A Bank Statement that any Man or Woman can Understand Condensed Statement as of Close of Business September 30th, 1939 Due Individuals, Firms, Corporations and Banks . $329,420,341.29 To meet this indebtedness we have : Cash in Vaults and Due from Banks . $136,209,114.30 Cash Items in Process of Collection 15,465,034.91 U. S. Government Securities . 119,336,598.65 (Direct and fully guaranteed, including $3,051,000 pledged to secure deposits and for other pur· poses as required by law. Canadian Government Securities 4,978,312.34 State, County and Municipal Bonds 3,949,336.41 Other Tax Exempt Bonds 5,785,235.96 Railroad Bonds . 5,673,756.93 Public Utility Bonds 7,361,634.67 Industrial and Other Bonds . 2,925,146.46 18,000 Shares Federal Reserve Bank of N. Y. 900,000.00 2,499 Shares of Discount Corp. of N. Y. at cost 299,880.00 9,990 Shares of Corn Exchange Safe Deposit Co. 824,000.00 Sundry Securities 387,735.00 Secured Demand Loans . 14,817,093.34 Secured Time Loans 1,994,164.72 *Loans and Discounts Unsecured 9,935,871.40 *First Mortgages 17,945,685.86 Customers' Liability on Acceptances 864,671.91 *Banking Houses Owned 12,055,11 8.92 *Other Real Estate Owned . 1,955,575.45 Accrued Interest Receivable 1,124,412.62 Other Assets 148,676.12 Tot1l to Meet Indebtedness . $364,937,055.97 This leaves . $35,516,714.68 *Less Reserves. -
Connolly .Indd
Matt Connolly Solidification and Flux on the “Gay White Way”: Gay Porn Theaters in Post-Stonewall New York City Abstract This paper traces the exhibition strategies of two gay porn theaters in New York City from 1969-1973: the 55th Street Playhouse and the Eros I. It draws upon contemporaneous advertising and trade press to reconstruct these histories, and does so in the pursuit of two interconnected goals. First, by analyzing two venues whose exhibition protocols shifted over the course of this time period, this paper seeks a more nuanced understanding of how gay porn theaters established, maintained, and augmented their market identities. Second, it attempts to use these shifts to consider more broadly what role exhibition practices played in the shaping of gay men’s experiences within the porn theater itself – a key site of spectatorial, erotic, and social engagement. The 1970s saw the proliferation of theaters in major my conclusions in some ways, but that will also urban centers specializing in the exhibition of gay provide the opportunity to investigate exhibition pornography.1 Buoyed by both seismic shifts in spaces within a city that is central to histories of both LGBT visibility in the wake of the 1969 Stonewall LGBT culture and pornographic exhibition.3 I will riots and larger trends in industry, law, and culture track two Manhattan theaters across this time period that increasingly brought pornography of all stripes to observe what films they screened and how they into the mainstream, these theaters provided a public advertised their releases: the 55th Street Playhouse venue for audiences of primarily gay men to view gay and the Eros I. -
1 E Iemn Pages 5 and 7
_ , ----- --.-- ---- - ~ae~------ a-. ~ Isaar~·r~i-a~s~l~raa~Rn-ar PB~E Winter Sports W inter Sports Preview Preview Pages 5 and 7 1 e IeMN Pages 5 and 7 I. -- --- ------ -- - -- 4 1 II - -^- -· I- -- -- -- -- llVOL, 5 CENTS LXXVI No. 46 CAMBRIBDGE MASSACHUSETTS, FRIDAY, NOVEMBER 30, 1956 - - --·---.. - , .-I . ..... - - .... · I-- nowland, Humphrey Rep y See Burton Facilities Ready In FallS resent Hungary Petitions Rans Mlt ve nFeb A._C Me-F BLJL Z V_/ -EL LI AL 9I FV%5%MI- Move- Y-- In Fe_ 0 _ _- 0 Two MIT petitions dealing with the Hungarian question were presented to Lonle, Rellidents XVust Armerican delegates in the United Nations and to members of Congress during he past ten days. Architectural studies are being made in Burton House, preparatory to the A group of students, including sponsors of the Free Hungary rally last building of a new dining room, kitchen and lounge in Burton House. The con- Commons Disfavor wR.eek, travelled to the U.N. on Wednesday, November 21, to present a nine- struction is expected to begin at the end of this semester, and they should be pipoint resolution, signed by 600 persons, to the American Delegation. ready by the beginning of the fall term next year. Cause Of Conclave A telegram, endorsed by a similar number, drew replies flrom Senators As a result of this construction, several students wvill be forced to vacate 1[nowland and Humphrey. These replies are printed below. their rooms next term. Dean Fassett said that the number of rooms which are S e v e n t y Baker lesidents met The delegates at the U.N. -
The Transnational Asian Studio System: Cinema, Nation-State, and Globalization In
The Transnational Asian Studio System: Cinema, Nation-State, and Globalization in Cold War Asia by Sangjoon Lee A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Cinema Studies New York University May, 2011 _______________________ Zhang Zhen UMI Number: 3464660 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3464660 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 ⓒ Sangjoon Lee All Right Reserved, 2011 DEDICATION This dissertation is dedicated to my father, Lee Eui-choon, and my mother, Kim Sung-ki, for their love and support. iii ACKNOWLEDGEMENTS This dissertation would not have been possible without the generous support and encouragement of my committee members and fellow colleagues at NYU. My deepest debts are to my dissertation advisor; Professor Zhang Zhen has provided me through intellectual inspirations and guidance, a debt that can never be repaid. Professor Zhang is the best advisor anyone could ask for and her influence on me and this project cannot be measured. This dissertation owes the most to her. I have been extremely fortunate to have the support of another distinguished film scholar, Professor Yoshimoto Mitsuhiro, who has influenced my graduate studies since the first seminar I took at NYU. -
Is Named Editor in Auditorium Conduct a Public Service Train
-•••-^ r /.l^^ --•.,. ^ r '.•^''^ssKS^s^v; .'"-•• •-/-"*-•;"•.'-' ;-';-^'.•:---;• .,-•••.* *zM ir-^^a^^^^l-^^i '>"V'"' .":;-• .^^••- •','(!*••.'' 7''y3H »igjf«a^^ "• -t^"' _ • •- • "*~ -•• Jf| *r- -,>.-rJ ' —^ EiiEi School ef Biwaies* and Gvic AAntaiMralion — College of the Gty of New VI, No. 17 WE£>NESDAY, FEBRUARY 10, 1937 -*- >w Forum The N.Y.A. this term will Is Named Editor In Auditorium conduct a public service train- . _ . .. "*£ program through part-tune \ Of "The Ticker the first time in theTiis^- internoships ingoverninenfc of^~i -= — o)f Student Council elecelec-- ficesfices.* NNoo applicanapplicantt wilwilll bbee concon- Harry Greissman, "31, was fons, students of the School of sidered jnless he or she has unanimously named editor-in- 3* will be given an op- completed 18 credits of college chief of the TICKER ai a meet >rtunity to hear the candidates work with grades of "B" or ing of the Ticker Association f Student Council offices state higher, in Hlfrjffffts rWft tfrt -tn Monday ^afternoon; leir views ata pre-election as- the field in which experience The Ticker Association is the a concerted, driving campaign, "The is desired. Blanks en which to governing body of the School ihly. The assembly will be club to send delegates to a conference FtoUruarjr 1S^' _ &. S%5 or% &d Thursday, February 18, at indicate one's interest in this publication, and is composed of pan*, In room 921A. project may be signed^^nrTOom four faculty and four student 1 At the conference, which will be addressed by In the audit crium- 307A. ~™*~ ^w »o««cxi*, A» uw conference, wmen will be addressed by student lead- Holding that the present sys-1 members^They are Professors ers, plana will be formulated for a dramatic e&nax to the AYA ubllged the student voter to j Maximilian Phillip and Canute^ • — ^a.i.i, drive, , an».»di a-nn .j,.dub, s wr,«_M , _Z^ ins baEot for candidates of j •*•• • I ^-••» L Hansen, David- S. -
E the Story of Ella
N E -w . NOVEMBER, I929 IS Cents~ In This Issue UPTON SINCLAIR SCOTT NEARING I. KLEIN EM JO BASSHE WM. GROPPER K. A. PORTER MICHAEL GOLD ED FALKOWSKI LOUIS LOZOWICK JOSEPH KALAR JAN MATULKA THE STORY OF ELLA MAY By MARGARET LARKlN · NOVEMBER, 1929 15 Cents ~ In This Issue UPTON SINCLAIR SCOTT NEARING I. KLEIN EM JO BASSHE WM. GROPPER K.A.PORTER MICHAEL GOLD ED FALKOWSKI LOUIS LOZOWICK JOSEPH KALAR JAN MATULKA THE STORY OF ELLA MAY By MARGARET LARKIN GA.STONIA L. C. Carter testified: "There was a crash and right then a shot. A lot .f them in the truck began jumping out and them ,that called themselves tho law yelled:-'Halt them damn Russian Reds' anathey began shootin' at them." "Did ]/IOu run?" "No, they h'ain't apt to." "No, I don't come from a: sellin' out country." -At the inquest into the death of Ella May Wiggins, killed by mUi "FIolkSj where you come from don't run?" thugs in Gastonia-as reported by the N. Y. Telegram, Sept. 25, 1929. GASTONIA L. C. Carter testified: "There was a crash and right then a shot. A lot ef them in the truck began jumping out and them ,that called themselves the law yelled :-'Halt them damn Russian Reds' and- they began shootin' at them." "Did you run?" "No, they h'ain't apt to." uNo, I don't come from a sellin' out country!' -At the inquest into the death of Ella May Wiggins, killed by mill "FolkSj where you come from don't run?" thugs in Gastonia-as rep'orted by the N. -
Rodolfo Usigli Archive: Papers Finding Aid
Rodolfo Usigli Archive: Papers Finding Aid OVERVIEW OF THE COLLECTION Title: Rodolfo Usigli Archive: Papers Creator: Rodolfo Usigli Dates: 1911-2005 Media: Manuscripts, photographs, scrapbooks, documents, published materials, audio-visual materials, and realia Quantity: 33 linear feet Location: Manuscript Closed Stacks COLLECTION SUMMARY The Usigli Archive is a repository of the papers of Rodolfo Usigli (1905-1979), Mexican playwright, essayist and diplomat. The Archive is a comprehensive research collection relating to Usigli’s life and career, including correspondence, both manuscript and typed drafts of original plays and translations of works by other artists, personal, theatrical, and diplomatic photographs, essays, books, playbills, posters, theses written about Usigli, awards, newspaper and magazine articles, memorabilia, and ephemera. PROVENANCE OF THE COLLECTION The knowledge and support of Miami professor Ramon Layera was critical to the acquisition of the collection, while Phelps and Beverly Wood made the key donation that enabled Miami University to purchase the Usigli Archive. BIOGRAPHICAL INFORMATION Diplomat, translator, historian, drama critic, but above all playwright Rodolfo Usigli can be described as one of the founders of modern Mexican drama. He was born in Mexico City in 1905, the son of immigrant parents. Forced to leave school to work after his father’s death, Usigli was largely self-educated. In 1935 he received a Rockefeller scholarship to study drama direction and composition at Yale University. Returning to Mexico he taught drama at the university level and worked for the Institute of Fine Arts, reviewed plays, translated poetry and drama from both English and French, and wrote his own plays, including his signature piece El [Usigli Archive: Papers] Page 2 gesticulador (The Impostor). -
Dance Magazine Awards 2018 Welcoming Remarks MISTY COPELAND
FOR IMMEDIATE RELEASE #DanceMagazineAwards PRESS CONTACT JONATHAN MARDER + COMPANY Eve Hodgkinson | 212.271.4285 [email protected] Dance Magazine Awards 2018 Welcoming Remarks MISTY COPELAND Honoring RONALD K. BROWN LOURDES LOPEZ CRYSTAL PITE MICHAEL TRUSNOVEC Dance Magazine Leadership Award NIGEL REDDEN Inaugural Harkness Promise Awardees RAJA FEATHER KELLY EPHRAT “BOUNCE” ASHERIE Monday, December 3, 2018 at 7:30 The Ailey Citigroup Theater, 405 West 55th Street New York, NY (September 2018) – Misty Copeland will open the 61st annual Dance Magazine Awards. The evening will honor Ronald K. Brown, Lourdes Lopez (presented by Darren Walker), Crystal Pite, and Michael Trusnovec (presented by Patrick Corbin). A special Leadership Award will be presented to Nigel Redden. Since 1954 the Dance Magazine Awards have recognized outstanding men and women whose contributions have left a lasting impact on dance. This year’s Awards will take place on Monday December 3, 2018 at The Ailey Citigroup Theater at 7:30pm. Tickets start at $50 and can be purchased by emailing [email protected]. A new award, The Harkness Promise Award, will shine a light on two emerging young artists for the promise of their artistic work. The inaugural awardees are Raja Feather Kelly and Ephrat “Bounce” Asherie. The Harkness Foundation For Dance received proceeds from last year’s Dance Magazine Awards for this grant. The award showcases innovative thinking and how to be an effective artist-citizen who positively impacts dance and the broader community through performance, education, organization, and activism. Proceeds from this year’s Dance Magazine Awards will be applied to next year's Harkness Promise Awards. -
Film and Film-Making in Waterford
FILM AND FILM-MAKING IN WATERFORD PRELIMINARY STUDIES DONALD BRADY © Waterford County Council FFFiiilllmmm aaannnddd FFFiiilllmmm---mmmaaakkkiiinnnggg iiinnn WWWaaattteeerrrfffooorrrddd PPPrrreeellliiimmmiiinnnaaarrryyy ssstttuuudddiiieeesss WWWÉÇtÄwÉÉÇÇttÄÄww UUUÜtwçÜÜttwwçç 22nd October 2009 FFFiiilllmmm aaannnddd FFFiiilllmmm---mmmaaakkkiiinnnggg iiinnn WWWaaattteeerrrfffooorrrddd PPPrrreeellliiimmmiiinnnaaarrryyy ssstttuuudddiiieeesss111 Background The development of film making from its inception as a newsreel medium to fully-fledged feature film making and inevitably to its acceptance as an acknowledged art form was rapid, successful and indeed spectacular. The response from the public was immediate and so remarkable that within a very short time a new and extremely successful Movie Theatre Business was developed with enormous cinemas built to house the insatiable demand. In Ireland the response was no less remarkable. On the 17th of April 1896 the Freeman’s Journal carried the following notice: “Dan Lowrey’s Star of Erin Theatre or Varieties (now the Olympia) announced ‘the world’s most scientific invention: The greatest, most amazing and grandest novelty ever presented in Dublin: The Cinématographe.’”2 and only three days later cinema arrived in Ireland. The first purpose built theatre, the Volta was opened in 1909. Very early filming was made in 1907 when a journey from “London to Killarney” was produced which included some shots of the journey from Waterford to Wexford. During the filming of this newsreel short features were made as interludes including “Irish wives and husbands” which is “probably the first fiction film made in Ireland…”3 The first excursion by American film-makers occurred when the Kalem Company commissioned Sidney Olcott to produce some European based features and he chose Ireland because his mother was from Dublin. -
Finding Aid for the Hubert Creekmore Collection (MUM01790)
University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Hubert Creekmore Collection (MUM01790) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Hubert Creekmore Collection (MUM01790), Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding Aid for the Hubert Creekmore Collection MUM01790 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator - Creator Scope and Content Creekmore, Hubert, 1907-1966 Arrangement Title Administrative Information Hubert Creekmore Collection Related Materials ID Controlled Access Headings MUM01790 Collection Inventory Date Series I: Professional 1928-2002 Correspondence Extent Series II: Personal 3.0 Linear feet (6 boxes) Correspondence Series III: Playbills Language of Materials English Series IV: Music Programs Abstract Collection contains playbills, programs, and Series V: Miscellaneous correspondence related to the life and work of author, artist, and editor Hubert Creekmore. Items were created 1928-2002. Preferred Citation Hubert Creekmore Collection (MUM01790), Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Hiram Hubert Creekmore, a native of Water Valley, Mississippi and cousin (by marriage) to Eudora Welty, was a novelist, poet, critic, editor, translator and photographer. Born into a distinguished and affluent Southern family, Creekmore's artistic work is thought to illustrate ideals much different from the conservative Southern values with which he was raised. -
Donald Rugoff, Cinema V, and Commercial Strategies of 1960S–1970S Art Cinema Justin Wyatt1 University of Rhode Island Justinw @ Uri.Edu
JPHXXX10.1177/2053019616000002The Undergraduate Journal of Public HealthUnintended Consequences of the Bangladesh Tubewell Intervention—Tiwari 000002research-article2017 Media Industries 4.1 (2017) Donald Rugoff, Cinema V, and Commercial Strategies of 1960s–1970s Art Cinema Justin Wyatt1 University of Rhode Island justinw @ uri.edu Abstract: This article considers the cultural and economic impact of Donald Rugoff, founder of Cinema V and one of the seminal figures in the 1960s art cinema world. Rugoff initiated key aspects of marketing, distribution, and strategy that would influence other regimes of independent cinema through the decades. The eventual demise of Cinema V follows the pattern for the continual assimilation of independent film by mainstream forces. In this way, Cinema V shows us that art cinema and independent cinema are always tentative categories, best defined by case studies, rather than trends, and never far from the reach of mainstream Hollywood. Keywords: Advertising, Exhibition, Film, Marketing The “fathers” of the art cinema from the 1960s have been largely relegated to a brief citation in motion picture exhibition texts and specialized film histories. Nevertheless, these figures established much of what became common practice within independent film marketing and distribution, carving a space for independent fare separate from studio production. One of the seminal figures in the independent film world from this era was Donald Rugoff, founder of Cinema V. Rugoff illustrates the key aspects of marketing, distribution, and strategy that would influence other regimes of independent cinema through the decades. Rugoff was widely known for his strong visual advertising, his showmanship, and his ability to use his exhibition houses to support the efforts of his independent distribution company, Cinema V.