The Cutting Edge, March/April 2010, Vol. 21 Issue 2
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Eu /Scenekn~ - Best of Golmaal Returns HD - All Comedy Scene- Arshad Warsi - Ajay Devgn - Kareena - Tushar
eu /scenekn~ - Best Of Golmaal Returns HD - All Comedy Scene- Arshad Warsi - Ajay Devgn - Kareena - Tushar Asheville entertainment, culinary and culture guide Scene Member Benefits. Scene members get the best value on Friday night tickets to performances as well as unique opportunities to support the Alley! SCENE - The movie reward program from Scotiabank and ... Scene on 7. 14,399 likes 125 talking about this. Scene were all about the people, places, and things that define our Southern Lifestyle! Scenebot FORMER porn star and controversial online figure Mia Khalifa has recalled the shocking threats she received after filming a scene where she had sex wearing a hijab. SceneDoc | Home | 'Mobile-First' Platform for Public Safety As the box says, Scene It? Is all about movie magic. It's a very simple trivia game. You move about the board and answer questions about movies, such as what was Alien III's tag line, or what composer was nominated for an Oscar 18 times but never won. Chicago Destination Management Company - On The Scene Synonyms for scene at T with free online thesaurus, antonyms, and definitions. Dictionary and Word of the Day. Scene Complete Family Pack - F Scene. 584,738 likes 1,749 talking about this. Get a SCENE card for FREE today and earn points for FREE movies, meals, and more. #AreYouIn? Follow us... Scene: Dhoom:2 The Perfect Thief Hrithik Roshan Abhishek Bachchan Uday Chopra Subscribe Now: Stay updated! Love brings along a lot of challenges with itself. For Suri, it came in form of Gol Gappa & Biryani. Watch this fun scene from 'Rab.. -
A National Tradition
Baseball A National Tradition. by Phyllis McIntosh. “As American as baseball and apple pie” is a phrase Americans use to describe any ultimate symbol of life and culture in the United States. Baseball, long dubbed the national pastime, is such a symbol. It is first and foremost a beloved game played at some level in virtually every American town, on dusty sandlots and in gleaming billion-dollar stadiums. But it is also a cultural phenom- enon that has provided a host of colorful characters and cherished traditions. Most Americans can sing at least a few lines of the song “Take Me Out to the Ball Game.” Generations of children have collected baseball cards with players’ pictures and statistics, the most valuable of which are now worth several million dollars. More than any other sport, baseball has reflected the best and worst of American society. Today, it also mirrors the nation’s increasing diversity, as countries that have embraced America’s favorite sport now send some of their best players to compete in the “big leagues” in the United States. Baseball is played on a Baseball’s Origins: after hitting a ball with a stick. Imported diamond-shaped field, a to the New World, these games evolved configuration set by the rules Truth and Tall Tale. for the game that were into American baseball. established in 1845. In the early days of baseball, it seemed Just a few years ago, a researcher dis- fitting that the national pastime had origi- covered what is believed to be the first nated on home soil. -
IN the NEXT ROOM Or the Vibrator Play
47th Season • 447th Production JULIANNE ARGYROS STAGE / SEPTEMBER 26 - OCTOBER 17, 2010 David Emmes Martin Benson PRODUCING aRTISTIC DIRECTOR aRTISTIC DIRECTOR presents IN THE NEXT ROOM or the vibrator play BY Sarah Ruhl John Arnone David Kay Mickelsen Daniel Ionazzi Jim Ragland SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINaL MUSIC/SOUND DESIGN Philip D. Thompson Jackie S. Hill Kathryn Davies* DIaLECT COaCH PRODUCTION MaNaGER STaGE MaNaGER DIRECTED BY Casey Stangl Jean and Tim Weiss HONORaRY PRODUCERS Original Broadway Production by Lincoln Center Theater, New York City, 2009. IN THE NEXT ROOM or the vibrator play was originally commissioned and produced by Berkeley Repertory Theatre, Berkeley, CA, Tony Taccone, Artistic Director/Susan Medak, Managing Director. IN THE NEXT ROOM or the vibrator play was developed at New Dramatists. IN THE NEXT ROOM or the vibrator play is presented by special arrangement with SAMUEL FRENCH, INC. In the Next Room • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Catherine Givings .......................................................................... Kathleen Early* Dr. Givings ...................................................................................... Andrew Borba* Annie ...................................................................................................... Libby West* Sabrina Daldry ................................................................................. Rebecca Mozo* Mr. Daldry .......................................................................................... -
HELENA from the WEDDING Directed by Joseph Infantolino
HELENA FROM THE WEDDING Directed by Joseph Infantolino “Absorbing...deftly written and acted!” -- Jonathan Rosenbaum USA | 2010 | Comedy-Drama | In English | 89 min. | 16x9 | Dolby Digital Film Movement Press Contact: Claire Weingarten | 109 W. 27th Street, Suite 9B | New York, NY 10001 tel: (212) 941-7744 x 208 | fax: (212) 941-7812 | [email protected] Film Movement Theatrical Contact: Rebeca Conget | 109 W. 27th Street, Suite 9B | New York, NY 10001 tel: (212) 941-7744 x 213 | fax: (212) 941-7812 | [email protected] 1 SYNOPSIS Newlyweds Alex (Lee Tergesen) and Alice (Melanie Lynskey) Javal are hosting a weekend-long New Year’s Eve party for their closest friends at a remote cabin in the mountains. They expect Alex’s best friend Nick (Paul Fitzgerald), newly separated from his wife, to show up at the cabin with his girlfriend Lola. Alex and Nick’s childhood friend Don (Dominic Fumasa) is also set to arrive with his wife-of-many-years Lynn (Jessica Hecht), as are Alice’s pregnant friend Eve (Dagmara Dominczyk) and her husband Steven (Corey Stoll) Any thoughts of a perfect weekend are quickly thrown out the window as Nick arrives with only a cooler of meat and the news that he and Lola have recently called it quits. Don and Lynn show up a few minutes later deep in an argument. Finally, Eve and Steven make it to the cabin with a surprise guest in tow—Eve’s friend Helena, who was a bridesmaid with Alice at Eve’s wedding. With tensions running high at the cabin, Alex tries to approach the young and beautiful Helena. -
GURPS Steampunk 3: Soldiers and Scientists Is Copyright © 2019 by Steve Jackson Games Incorporated
Soldiers and ScientistsTM Written by PHIL MASTERS Edited by NIKOLA VRTIS Illustrated by ZACH HOWARD Additional Material by PETER V. DELL’ORTO, KENNETH HITE, SEAN PUNCH, and WILLIAM H. STODDARD GURPS System Design z STEVE JACKSON Chief Executive Officer z PHILIP REED GURPS Line Editor z SEAN PUNCH Chief Creative Officer z SAM MITSCHKE GURPS Project Manager z STEVEN MARSH Chief Operating Officer z SUSAN BUENO Production Artist and Indexer z NIKOLA VRTIS Director of Sales z ROSS JEPSON GURPS FAQ Maintainer z Page Design z PHIL REED and JUSTIN DE WITT VICKY “MOLOKH” KOLENKO Art Direction and Prepress Checker z NIKOLA VRTIS Lead Playtester: Roger Burton West Playtesters: Paul Blackwell, Fred Brackin, Douglas Cole, John Dallman, Kelly Pedersen, Christopher R. Rice, Andrew Rivett, Michael Roy, and William H. Stoddard GURPS, Pyramid, Warehouse 23, the all-seeing pyramid, Soldiers and Scientists, and the names of all products published by Steve Jackson Games Incorporated are trademarks or registered trademarks of Steve Jackson Games Incorporated, or used under license. GURPS Steampunk 3: Soldiers and Scientists is copyright © 2019 by Steve Jackson Games Incorporated. All rights reserved. Additional art acknowledgments can be found on p. 3. The scanning, uploading, and distribution of this material via the Internet or via any other means without the permission of the publisher is illegal, and punishable by law. Please purchase only authorized electronic editions, and do not participate in or encourage the electronic piracy of copyrighted materials. Your support of the author’s rights is appreciated. STEVE JACKSON GAMES Stock #37-0349 Version 1.0 – February 2019 ® CONTENTS INTRODUCTION ..........3 OPPRESSED GROUPS ......... -
Ritual in the “Church of Baseball”: Suppressing the Discourse of Democracy After 9/11 Michael L
Communication and Critical/Cultural Studies Vol. 2, No. 2, June 2005, pp. 107–129 Ritual in the “Church of Baseball”: Suppressing the Discourse of Democracy after 9/11 Michael L. Butterworth Baseball was among the most prominent American institutions to respond to the terrorist attacks of September 11, 2001. Tributes at ballparks across the country promised comfort to millions in shock but soon developed into rituals of victimization that affirmed the Bush administration’s politics of war, discouraged the expression of dissenting opinions, and burdened the nation with yet another disincentive to reflect constructively on its response to terrorism. This essay views the aftermath of 9/11 as a quasi-religious social drama in which ballpark tributes became a ritualized vehicle for a belligerent patriotism that sought unity at the expense of democratic discourse. Keywords: Baseball; Democracy; Patriotism; War on Terrorism; Rituals of Victimization On October 12, 2003, the Chicago Cubs and Florida Marlins played in the fifth game of baseball’s National League Championship Series. Thousands of Chicago fans, hoping to see their team end a 58-year World Series drought, made their way to Miami’s Pro Player Stadium and provided loyal and raucous support for the visiting Cubs. When the game reached the seventh-inning stretch, Cubs fans enthusiastically began singing “Take Me Out to the Ballgame,” but they were quickly silenced by the stadium’s public address system and the remaining fans who belted out “God Bless America” instead. One fan in a Cubs hat and jersey lamented, “Come on, it’s a baseball game!” Only after the public display of patriotism had subsided were Cubs fans able to perform their song.1 Michael L. -
The Phenomenological Aesthetics of the French Action Film
Les Sensations fortes: The phenomenological aesthetics of the French action film DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alexander Roesch Graduate Program in French and Italian The Ohio State University 2017 Dissertation Committee: Margaret Flinn, Advisor Patrick Bray Dana Renga Copyrighted by Matthew Alexander Roesch 2017 Abstract This dissertation treats les sensations fortes, or “thrills”, that can be accessed through the experience of viewing a French action film. Throughout the last few decades, French cinema has produced an increasing number of “genre” films, a trend that is remarked by the appearance of more generic variety and the increased labeling of these films – as generic variety – in France. Regardless of the critical or even public support for these projects, these films engage in a spectatorial experience that is unique to the action genre. But how do these films accomplish their experiential phenomenology? Starting with the appearance of Luc Besson in the 1980s, and following with the increased hybrid mixing of the genre with other popular genres, as well as the recurrence of sequels in the 2000s and 2010s, action films portray a growing emphasis on the importance of the film experience and its relation to everyday life. Rather than being direct copies of Hollywood or Hong Kong action cinema, French films are uniquely sensational based on their spectacular visuals, their narrative tendencies, and their presentation of the corporeal form. Relying on a phenomenological examination of the action film filtered through the philosophical texts of Maurice Merleau-Ponty, Paul Ricoeur, Mikel Dufrenne, and Jean- Luc Marion, in this dissertation I show that French action cinema is pre-eminently concerned with the thrill that comes from the experience, and less concerned with a ii political or ideological commentary on the state of French culture or cinema. -
Olympus on My Mind
Artistic Director Bruce Miller Managing Director Phil Whiteway in association with “MURRAY THE FURRIER” OLYMPUS ON MY MIND Originial Production Book and Lyrics by Music by Directed by BARRY GRANT BARRY HARMAN STURIALE HARMAN Originially presented by Harve Brosten and Mainstage Productions, Ltd. STAGE MANAGEMENT Kristy Bell COSTUME DESIGN LIGHT DESIGN SET COORDINATION Sarah Grady K. Jenna Ferree Chase Kniffen MUSIC DIRECTION Jason Marks DIRECTION & CHOREOGRAPHY K Strong SPONSORS CAST The Chorus Tom Tyler D. Wilson Dick Paul S. Major Horace Dan Cimo Delores Maggie Roop JupiterRichardTravis MercuryMoscatiArden Charis Mary Anne Furey S ara SommersAlcmeneSara Sosia Scott Wichmann* Amphitryon George Spelvin FOR THIS PRODUCTION Cover Art Illustration Robert Meganck Accompaniment Creation Jason Marks Deck Crew Maggie Peterson Light Board Operator Kristy Bell Sound Engineer Zach Baumann SETTING The ancient Greek city of Thebes during the course of a 41-hour day. There will be one 15-minute intermission between acts. * Member of Actors’ Equity Association, the union of professional actors and stage managers in the U.S.A. SONGS ACT ONE Welcome to Greece Chorus Heaven on Earth Jupiter, Alcmene, and Chorus The Gods on Tap Delores, Jupiter, Mercury, and Chorus Surprise! Sosia Love--What a Concept Jupiter and Mercury Wait ‘Til It Dawns Mercury, Chorus I Know My Wife Amphitryon It Was Me Sosia Back So Soon? Amphitryon, Sosia, and Chorus Wonderful Alcmene At Liberty in Thebes Charis and Chorus Jupiter Slept Here Entire Company ACT TWO Back to the Play Chorus Something of Yourself Mercury General’s Pandemonium Amphitryon, Jupiter, Sosia, and Chorus Heaven on Earth (Reprise) Sosia and Charis Olympus is a Lonely Town Jupiter A Star is Born Delores and Company Final Sequence Entire Company Heaven on Earth (Reprise) Jupiter and Alcmene ABOUT THE MYTHOLOGY The legend of Amphitryon, which chronicles the birth of Hercules, has been used as source material by dramatists down through the ages. -
Martial Arts Cinema and Hong Kong Modernity
Martial Arts Cinema and Hong Kong Modernity Aesthetics, Representation, Circulation Man-Fung Yip Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-71-7 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any infor- mation storage or retrieval system, without prior permission in writing from the publisher. An earlier version of Chapter 2 “In the Realm of the Senses” was published as “In the Realm of the Senses: Sensory Realism, Speed, and Hong Kong Martial Arts Cinema,” Cinema Journal 53 (4): 76–97. Copyright © 2014 by the University of Texas Press. All rights reserved. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Paramount Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii Notes on Transliteration x Introduction: Martial Arts Cinema and Hong Kong Modernity 1 1. Body Semiotics 24 2. In the Realm of the Senses 56 3. Myth and Masculinity 85 4. Th e Diffi culty of Diff erence 115 5. Marginal Cinema, Minor Transnationalism 145 Epilogue 186 Filmography 197 Bibliography 203 Index 215 Introduction Martial Arts Cinema and Hong Kong Modernity Made at a time when confi dence was dwindling in Hong Kong due to a battered economy and in the aft ermath of the SARS epidemic outbreak,1 Kung Fu Hustle (Gongfu, 2004), the highly acclaimed action comedy by Stephen Chow, can be seen as an attempt to revitalize the positive energy and tenacious resolve—what is commonly referred to as the “Hong Kong spirit” (Xianggang jingshen)—that has allegedly pro- pelled the city’s amazing socioeconomic growth. -
At Play Spring-Summer 06.Indd
rating Seventy Y representing the american theatre by eleb ears publishing and licensing the works C of new and established playwrights 70th Anniversary Issue D ram 06 ati – 20 sts Play Service, Inc. 1936 Issue 12, Spring/Summer 2006 AN INTERVIEW WITH Austin Pendleton Director of Professional Rights Robert Lewis Vaughan and Director of Publications Michael Q. Fellmeth talk with Austin Pendleton about his New York hit, Orson’s Shadow, and his life as a consummate man of the theatre. ROBERT. Orson’s Shadow had an amazing run here in New York at The Barrow Street Theatre following Tracy Letts’ fantastic Bug (also represented by DPS). Tracy was in your play, in the role of Kenneth Tynan. Two hits in a row — two actor/playwrights in a row — one theatre. What do you have to say about that? AUSTIN. There’s more to it than that. Tracy Letts caused this to happen. He told our producers (Scott Morfee, Chip Meyrelles, Tom Wirtshafter) about Orson’s Shadow. He put together a reading with the Chicago cast, directed by the Chicago director, in Chicago, for Scott, Chip and Tom to come and see and hear … Continued on page 3 NEWPLAYS Serving the American Theatre Since 1936: A Brief History of Dramatists Play Service, Inc. Rob Ackerman DISCONNECT. Goaded by the women they love “The Dramatists Play Service came into being at exactly the right moment and haunted by memories they can no longer for the contemporary playwright and the American theatre at large.” suppress, two men at a dinner party confront the —Audrey Wood, renowned agent to Tennessee Williams lies of their lives. -
Luckeyfrog's Lilypad
Created by Luckeyfrog’s Lilypad (C) J. Garwood 2014 (C) J. Garwood 2014 (C) J. Garwood 2014 Name: _______________ Date: ________ Find the Evidence Can you find the PROOF for your answers? Use a crayon in the color shown to underline where you found each answer in the text. Earth Day In 1969, a peace activist named John McConnell attended the UNESCO conference in San Francisco, California. While there, he suggested creating a day to honor the Earth and peace. He proposed the day be celebrated on March 21st, the first day of Spring that year. The United Nations agreed to sanction an international Earth Day. On March 21st of 1970, Earth Day was first celebrated. Inspired, United States Senator Gaylord Nelson founded a separate Earth Day focused specifically in the United States. On April 22, 1970, he organized discussions about environmentalist issues at some colleges. Earth Day is a day for learning about how we can help the environment. Often, this is called “going green” through actions like reducing, reusing, and recycling materials or using less energy. Some people help the environment by planting trees or picking up litter. Now, Earth Day is celebrated each year on April 22nd. The Earth Day Network now coordinates the holiday’s events. Earth Day is now observed in 192 countries by more than a billion people each year! blue Who first suggested an international Earth Day? yellow What does it mean to “go green”? red Where was the 1969 UNESCO conference held? purple Why did McConnell want to create Earth Day? green How many people celebrate Earth Day yearly? orange When is Earth Day now celebrated? (C) J. -
1432381098736.Pdf
more exhilarating, and more exhausting, than six hours of Introduction miniatures combat. Be prepared. Follow the Wire-Fu training regimen and you’ll be just "Here's the plan: We go in, I start hittin' people hard fine. The section titled "I Know Kung-Fu" gives copious advice on in the face. See where it takes us." --Angel recreating the signature style of these films in a role-playing game. After that, you'll find character templates from Enlightened Wire-Fu is a Hong Kong style of film making that spans Masters to Cyborgs, and classic villains from Evil Eunuchs to genres from wuxia to sci-fi. It's characterized by elaborate fight Kung-Fu Vampires. Three “Worlds of Wire-Fu” demonstrate the choreography, gratuitous use of special effects, and a complete breadth of setting options available. Finally, you get over 15 disregard for the laws of physics. Its heros can take on entire pages of Kick-Ass Examples of Play, each more kick-ass than armies without breaking a sweat! They do what needs to be the last! done, even if that means doing the impossible. If you're already a Wushu fan, you should know that Wire- The most famous example of Hollywood Wire-Fu is the Fu does replace the original Wushu Core Rules, just like Pulp- Matrix Trilogy. (Say what you want about the sequels, but Fu did. However, it also includes a number of new rules and Reloaded has some of the most fantastic action sequences options that appear in neither its predecessors nor Wushu ever caught on film!) Those movies made excellent use of Yuen Open.