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Report on Territorial Diagnosis
CREADIS3: REPORT ON TERRITORIAL DIAGNOSIS. WESTERN GREECE Regional Development Fund on behalf of Region of Western Greece June 2018 2 INDEX 1. General Introduction ........................................................................................................... 3 1.1. The Project .......................................................................................................................3 1.2. The Region of Western Greece and the Project ........................................................4 2. Regional contexts ................................................................................................................ 5 2.1. Territory`s General Profile ..............................................................................................5 2.2. Territory`s CCI Profile ....................................................................................................8 3. CCI Sector Analysis: Evolution and Current Situation ................................................12 3.1. Evolution .........................................................................................................................12 3.2. Current Situation...........................................................................................................14 3.3. Creative Districs ............................................................................................................15 4. CCI Sector characterization .............................................................................................17 4.1. Stakeholders -
Catholic-Courier-Journal-1955
*n^T*! ? V re^- t-_,^_^.«i,„J_ -^ X. f^S'"?^'^^^^? - **»v* fi Aubur*>&.?« n Court *fe er Guild Work- --wiliT^l^rt^^Itt^1"^: dresses'»a|'.y*ll'i'•*»- W'iie#lo TV & RADIO missions lot- \%jft$m " Riding- ON Ml .mm*-'*-- meir|tot*tfetfy;^ifiuMo|/-'' * MAWS ' At fc^Bita&HSiSJi.,.* <JfBl'/ ' \ *• 9 KUMWA ' PARAMOUNT %. %3 KMOfTohO-Rl A-S 25 Vr*. fni'iww I4TXL1B SIlStawM. Detective ,-\ A-l ^i_ w hv ~W -F^Xl? 1"' •$*,! Playfufdie - &A^fc JlMttmMtt. T]l«ii*#1R©i^^ M AUDITORIUM «Kwnr*ta» Under a»«aa b»r4 lOftttns. **••,.;..• ,.,.„. r *'• .-& pmtlR- Pacttio—^*an. JOL-Fek 8 Nil irieh - StlbtM IETINGS: * ^^- ;.;;*;, %%;£.%.. ;.;'\ " (Partly Objectionable •- SIOU STATIONEST co. fljttmn <h|t Fe^titege* 'iJwrrent faf*M& B«fftoGuUd (H)th School GW.) S:S« leastpji , $* (For Adulte—SIGN mssaxino} .... .• ,,sr*ifi^A,fHiSAtRl!~'' y^hrlna IPah- Ifieb; MS (Fot>'-AduIt»->SIGK m»f axlne) ,^Jt*Jfeiiae«a^^ o •••• ^ Irt -thiiMdiiy-HBnchMtalic GuW i;tt a^~Vertf Bev. * ^SsT'y^i *.]W«q*^<J4SJ|.- .«. • <•._ ••''i>i' ;•%_ ••r"- ..-• •-..->> 81* MwiiHhir ft* Of the fe&eie Guild (Business team Defeats Woinett) fcfo r>.nv--Bev, Joseph Attend, «$&1B. Sampson WAF's First of a series of basketball games between the CXO. Girls' «$ Team and the Sampson WAFs Chaplain Aj^^Wmm^ was played Jan. 25 on the Colum bus .Civic Center Courts with the CYO girls emerging victors by a §|^ewwf-fe^,_^,.._.{_ tuJwffiii^.HMi^lHV Bdwart MlUutuaeo, l*«re*nee Ctaiey, Jalten Wright, score of 30 to 27. , _ ;jmir,:tmm- 'l^fr *ny »«ti». -
Patricia Medina Y María Montez. Dos Estrella Coetáneas De Hollywod De
PATRICIA MEDINA Y MARÍA MONTEZ. DOS ESTRELLAS COETÁNE- AS DE HOLLYWOOD DE ASCENDENCIA CANARIA. ANÁLISIS CONTRASTIVO PATRICIA MEDINA AND MARIA MONTEZ. TWO CONTEMPORARY HOLLYWOOD STARS OF CANARY DESCENT. CONTRASTIVE ANALYSIS Inodelbia Ramos Pérez* y Pedro Nolasco Leal Cruz** Cómo citar este artículo/Citation: Ramos Pérez, I. y Leal Cruz, P. N. (2017). Patricia Medina y María Montez dos estrellas coetáneas de Hollywood de ascendencia canaria. Análisis contrastivo. XXII Coloquio de Historia Canario-Americana (2016), XXII-064. http://coloquioscanariasmerica.casadecolon.com/index.php/aea/article/view/10007 Resumen: Patricia Medina y María Montez son dos estrellas de Hollywood de ascendencia canaria, el padre de la primera nació en Las Palmas de Gran Canaria, el de la segunda en Garafía (La Palma). Las dos artistas tuvieron una vida paralela y carreras exitosas. Ambas se casaron con actores muy conocidos del cine del siglo pasado. Nuestro objetivo es hacer un estudio y contraste de estas dos famosas actrices. Palabras clave: Patricia Medina, María Móntez, cine, Gran Canaria, La Palma, Hollywood, Siglo XX Abstract: Patricia Medina and Maria Montez are two Hollywood stars of Canary descent. The father of the former was born in Las Palmas de Gran Canaria and the father of the latter was born in Garafia (La Palma). Both artists had a parallel life and enjoyed successful careers, both stars had well-known husbands in the world of stardom of the twentieth Century. Our aim is to make a study and contrast between them. Keywords: Patricia Medina, Maria Montez, cinema, Gran Canaria, La Palma, Hollywood, XXth Century INTRODUCCIÓN Canarias tiene el orgullo y privilegio de contar con dos artistas de nivel internacional, hijas de padres canarios. -
November 2020 in THIS ISSUE BEYOND the PAPERS CONTENT
November 2020 IN THIS ISSUE BEYOND THE PAPERS CONTENT 04 Editorial Reporting 06 1. Science, Society, Industry and You! 2. Educational Reforms 3. Wanderlust: The Virtual Way via B.Voc. department tours! Buzz Around 18 1. Why caste and gender matters 3.2. Ruiaबेटिंगची Buzz बॅटिंग Careerwise & 29 Artwall 1. Photography In A Budget 2. Institues Of Photography 3. Stepping Into The Shoes 4. Art Of The Month 5. Photograph Of The Month 6. Columnist Submission 7. Photography Exhibition 8. Comic 9. Cartoon 10. Illustration 11. Roam Around The City Behind The Scenes 53 & Safarnama 1. Celebrating Nature and the Divine 2. Carnivals and Other Celebrations of Creativity 3. Culture Cruising 4. My Favourite Cultural Wonderlands 5. Festivals amidst a Global Pandemic 6. Celebrating (Eco-) Consciously 7. Two festivals you need to know if you love animals 77 Insight 1. Humanity 2. One among millions 3. Selflessness 87 OP-ED 1. Changing face of Technology in Propoganda and Politics a. Introduction b. History and Impact 2. Upcoming - Bihar and Us Presidential Elections 96 Open Forum 1. The Gandi Baat in Cinema 2. It’s the Victim’s Fault 3. Understanding Female Oppression : We Need a Namami Ganga 2.0 116 Tech-Tricked 1. How to Feel Like a Genius - Billionaire - Playboy - Philanthropist - Using Your Cell Phone and Internet 2. A New Ace Against Aging 127 Fictionally Yours 1. Does love reflect? 2. Old Man 139 Credits Disclaimer: The views expressed belong to the authors and it does not reflect the official policy or position of The Ruiaite Monthly in any manner. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
IL FANTASTICO COLUMBIA Di Renato Venturelli
IL FANTASTICO COLUMBIA di Renato Venturelli Negli anni dello studio-system, il fantastico non godeva di grande stima presso i boss della Columbia. A questo proposito, c’è un aneddoto che la dice lunga sull’argomento. Lo sceneggiatore George Axelrod si presentò un giorno dal boss Harry Cohn con la sceneggiatura di un film fantastico, ma si sentì rifiutare lo script con la solita motivazione: “fantasies don’t make money”. “Ma L’inafferrabile signor Jordan ha fatto un sacco di soldi...” obiettò lo scrittore. “Certo - ribatté Cohn - ma pensa quanti ne avrebbe fatti di più se non fosse stato un film fantastico!”. Eppure, molti dei più importanti film della Columbia appartengono a questo genere: da Orizzonte perduto (1937) e L’inafferrabile signor Jordan (1941), capolavori dell’epoca classica, fino a Incontri ravvicinati del terzo tipo (1977) o Ghostbusters (1984), di gran lunga i maggiori successi Columbia degli anni ‘70 e ‘80. E, ripercorrendo la storia della compagnia, troviamo parecchie altre tappe importanti: da Il mistero della camera nera e il ciclo dei “mad doctors” di Boris Karloff tra gli anni ‘30 e ‘40 ai serials di grande successo popolare (su tutti un Superman realizzato con due soldi da Sam Katzman), dalle barocche invenzioni di Ray Harryhausen alle geniali astuzie di William Castle (un vero e proprio regista “allevato in casa”). E’ difficile tracciare con sicurezza le linee di tendenza, ma per gli anni in cui esisteva uno “stile” più o meno tipico dei diversi studios, la Columbia si era distinta nel settore per un paio di film “fantasy” ad alto budget (appunto Orizzonte perduto e L’innafferrabile signor Jordan), più una notevole quantità di film “B”, serials e piccole produzioni che ben rappresentano i suoi terreni d’azione preferiti. -
Guidance for City Policy-Makers with Good Practice Examples
Guidance for city policy-makers with good practice examples The Intercultural city aims at basing its policies and identity on the explicit acknowledgement that diversity can be a resource and not necessarily a problem. To achieve this, the city puts in place a strategy to adapt its governance system and its policies in all relevant fields to the needs of a diverse population. Intercultural city strategies need to facilitate positive intercultural encounters and exchanges but should not ignore or fail to address intercultural conflict. Conflict is to be welcomed as inevitable. Handled well, it can lead to mutual learning and growth for all participants, including city authorities. Consultation and participation of citizens and communities in the development, implementation and evaluation of the intercultural city strategy is not only important and a value in itself, it is essential for achievement. A genuinely intercultural city can only be achieved through the active participation of all the major institutions, groups and communities in the city. Included in this section are examples of intercultural approaches in a range of policy fields which could facilitate the development of intercultural strategies. Contents Education for diversity (youth, language support, universities)...................................................................7 Barcelona, Spain - Teaching respect for diversity in classrooms..............................................................7 Barcelona, Spain - Barcelona Centre for Linguistic Normalization...........................................................8 -
Junior by CHARLES E
A Newspaper Devoted " Complete News, Pictures To the Community Interest Presented Fairly, Clearly Full Local Coverage And Impartially 'Each Week VOL. XVI—NO. 3 FORDS, N. J., THURSDAY, NOVEMBER. 12, 1953 PRICE EIGHT CENTS Sweetness Work Starts to Aid Avenel Pedestrian Safety Yule Clubs and '53 Total Light $355,000 Junior By CHARLES E. GREGORY Woodbridge Bank to Pay There are a few people who Today, Fords After Nov. fake \ to worrying a,boiit me 18; Both Show Gains pn'ihfrequent occasions^ and WOODBRIDGE — Woodbridge Township residents who have ; they are concerned now over Christmas Clubs in the Wood- \jny vigor in urging an equal- bridge National Bank and. the Nicklas Sees ization of assessments. They Fords National Bank will have fare convinced my only suc- approximately $355,000 to spend 3,300 Pupils for Christmas gifts this year if cess will be represented in they so desire. •; the establishment of myself Fred P. Buntenbach, cashier of me • as an unmitigated, upper- the Wood-bridge National Bank, case heelv < . V reports that checks, dated Novem- WOODBRIDGE—As the result ber 13, are in the mail and should of a warning by Superintendent of I must tell them here that be received this morning. Even Schools Victor C. Nicklas, Monday, if this is really the case, then though the checks are dated for which shows that 3,300 pupils in tomorrow they will be honored to- the elementary schools will be on '•vie. must take that chance. I day. The Woodbridge National double session by 1956 unless new • -am dealing, in this situation, Bank Club amounts to $155,000 buildings are provided, the Board hot; only with a principle but with 1,300 members. -
Columbia Pictures: Portrait of a Studio
University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. -
Srbi-Wiir.Aicottc^Ffirt
1 %'^ #•' •~* * t . V J msM^M r •->{vfT' ^E^W^-' ,™V'l*»,y • ^ :.»>'.''*''*x •^-.fl^a,. r=4fci,^^ ^irtW •*:,- ^Jsii&M T^,'V't^VVf"^'- ™^.i^^.-«*s!iiS=^sr-Vi: +m I.jpv^'j.S, -WW' w«C"%*«?rr:-®* ^ ''iAhMi Mother outier . - .-,,, fW^0y^r-mM$f m tha Works For Mission Geniiwi^M^her guttpr^^ld wm wflrm#TF|iFTat tRei^nfor 1: " gas iiii WpplR-/w|||-; b«;, c^njii^ on, dressed ,»tgit; fills'^ te'jgen^to LOEW'8 their Sffi'j^pmBpqgf&f ,f"' February «.I7—AnmuU l Tt»aCrus " "-eftjiftttg^^ PARAM0UKT At th| last meetin^.a jenerf.jjf 9rf d«f« «f Toko-Ri AS app'r^elf'&$tgjfij*& $&&m: . LITTUB ter jSteMm^.$m mfa-igm. .TnSt*. Detective A-l lifts), settle fa'M'-"""" ' "'^" MR I ) Plavygiilfle Josepft^nti||fB|J|"^#iai'4J«f-' ;;• t". jmwmxm ~ "»£ "£ I^WH^. MMNh Tlioimw Bo«Mjr: '^octety-Ki 1 Scwith xHulflo fen. 81-Feb. 5 BUe^rdiii Burns, , tPartly Objectionable — SIGN f'giaaiacfiie)' GUILD MIETINOS: •' ' *^»IMfJ>rEl1k* PLAVEBS ' Hme Oat For Ginger Current jPFor Adiuts—SKH*f rnagmaine) ** JSs -St HlwW L " ARENA THEATKE KJIWIIENT,.; ruwinSrite, ' nx- Saferina Fair Feb. 1-1$ jgSM. Aiteltfcs^lSSL inaga«lrieX '„ ' f&T&ii£flto:M&^^ CW Girls: . F. Murphy, C.SJB. f '-jgf,[i 'fi i-&r~- »it' Mtofliy--4>ttr~l^''al^:«Jflia Teanri De}?|_a+$ ^0 >M«T t wi^jPBipwjpiipppjfpw Women) fc&i> ffj&Hfefclfe^tytM * First of a series of basketball games between the C.Y.O. Girls*' Teaon^and the Sampson WAFs iM Wis played (Jan. 25 on the Colum bus Civic-jCenter Courts with the . -
Technicolor News & Views (November 1953)
TECHNIC i PRICE REDUCTION MADE BY TECHNICOLOR President’s M^sage To Save Industry About $1,800,000 Annually A price By DR. HERBERT T. KALMUS reduction which will give the American motion picture industry savings at the rate of approximately $1,800,000 annually was announced on August 13, 1953, by Dr. Herbert T. Kalmus, President and General Manager of Technicolor Mo- tion Picture Corporation. I am repeat- edly asked The price reduction amounts to .35c fer (Imbibition) process and furnished what will be (three and one-half tenths of a cent) per from our plant in Hollywood, California. the effect on foot on all 35-millimeter dye transfer The reduction will be retroactive to Au- TECHNICOLOR motion picture release prints made by gust 1, 1953, and will apply to all such business of the TECHNICOLOR, and delivered from its prints delivered on and after that date. various new Hollywood plant. It affects the major “Based on our present volume of busi- 35-millimeter processes of portion of TECHNICOLOR'S ness, this reduction is at the rate of total ph otography, release print production. This reduction savings to our customers of approxi- la b o r a t o r y makes the base price on such prints mately $1,800,000 a year, and repre- work and exhi- 4.98c per foot, as compared to the pre- sents a continuation of our policy of bition. vious price of 5.33c per foot. The price lowering prices from time to time as we is retroactive to August 1, The ways for reduction find conditions make it possible." the public to 1953, and applies to release prints de- dr. -
Who Owns Carnival? Festive Tradition and Social Stratification in a Contemporary Greek Community
THE POLITICS OF CARNIVAL Who Owns Carnival? Festive Tradition and Social Stratification in a Contemporary Greek Community Regina Zervou Ministry of Culture and Education, Athens, Greece KEYWORDS ABSTRACT carnival In this article, I attempt to shed light on the complex relationship between class stratification and social class carnival performances in Agiasos, a mountainous village located on the Greek island of Lesbos. wage-earners Rooted in fertility rites, early twentieth-century carnival there featured a collision of worldviews and attitudes between the “haves” of the village—landowners with strong links to the Church performance of Holy Mary, that is, one of the most important pilgrimage sites of the Aegean Sea—and the exclusion “have-nots,” the working class of the village. Following a turbulent period marked by World War culture-bearers ΙΙ (1939–45), the Greek Civil War (1943–49), and military rule (1969–74), the return to democracy was marked by the emergence of a new white-collar class, consisting of people with academic guardians of tradition titles who set about to create and manage popular culture. As a result, the carnival community became informally divided between manual laborers and “the creative class,” the latter of whom appointed themselves the “guardians” of carnival tradition, dictating the terms under which the ritual should be performed. Based on fieldwork carried out in the village of Agiasos, this essay highlights the way the economic elite of Agiasos has been using carnival performances to exclude undesirable, unruly individuals from the village. Journal of Festive Studies, Vol. 2, No. 1, Fall 2020, 128—152. https://doi.org/10.33823/jfs.2020.2.1.25 128 Who Owns Carnival? Festive Tradition and Social Stratification in a Contemporary Greek Community Regina Zervou 1.