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Film Knowledge Booklet
Year 10 Film Knowledge Booklet Term 3 Name: Class: Tsotsi (Hood, 2005): Summary Tsotsi (Presley Chweneyagae) is a petty-crime gang leader. He and his friends Boston, Aap and Butcher (Mothusi Magano, Kenneth Nkosi, Zenzo Ngqobe) rob a older man on a crowded subway then Butcher stabs him quietly and they flee once the subway is empty. Boston is sick afterwards. The gang goes to the local bar for a drink and Tsotsi mocks Boston for getting sick. Boston asks Tsosti what his real name is and a antagonizes him about what happened to him that made him this way. Boston pushes Tsotsi too far and Tsotsi hits him, pushing him to the floor. He continues the beating on the floor, hitting him numerous times in the face and kicking him in the side. Tsotsi then walks out of the bar. Tsotsi walks through the rain and makes his way towards a upper class house where a car just pulled up to the gate. A woman, Pumla (Nambitha Mpumlwana) gets out and rings the bell and speaks to someone asking him to open the gate. Tsotsi runs up, draws his gun and points it at her. He gets in the car and she tries to stop him from leaving. As Tsotsi shifts from reverse to drive he's stopped for a moment and Pumla manages to get the car door open and tries to tell him to stop but Tsotsi shoots her and drives off. Suddenly he hears a soft crying: it's a baby. He swerves and hits a sign, almost running off the road. -
Beneath the Surface *Animals and Their Digs Conversation Group
FOR ADULTS FOR ADULTS FOR ADULTS August 2013 • Northport-East Northport Public Library • August 2013 Northport Arts Coalition Northport High School Sunday Monday Tuesday Wednesday Thursday Friday Saturday Courtyard Concert EMERGENCY Volunteer Fair presents Jazz for a Yearbooks Wanted GALLERY EXHIBIT 1 Registration begins for 2 3 Friday, September 27 Children’s Programs The Library has an archive of yearbooks available Northport Gallery: from August 12-24 Summer Evening 4:00-7:00 p.m. Friday Movies for Adults Hurricane Preparedness for viewing. There are a few years that are not represent- *Teen Book Swap Volunteers *Kaplan SAT/ACT Combo Test (N) Wednesday, August 14, 7:00 p.m. Northport Library “Automobiles in Water” by George Ellis Registration begins for Health ed and some books have been damaged over the years. (EN) 10:45 am (N) 9:30 am The Northport Arts Coalition, and Safety Northport artist George Ellis specializes Insurance Counseling on 8/13 Have you wanted to share your time If you have a NHS yearbook that you would like to 42 Admission in cooperation with the Library, is in watercolor paintings of classic cars with an Look for the Library table Book Swap (EN) 11 am (EN) Thursday, August 15, 7:00 p.m. and talents as a volunteer but don’t know where donate to the Library, where it will be held in posterity, (EN) Friday, August 2, 1:30 p.m. (EN) Friday, August 16, 1:30 p.m. Shake, Rattle, and Read Saturday Afternoon proud to present its 11th Annual Jazz for emphasis on sports cars of the 1950s and 1960s, In conjunction with the Suffolk County Office of to start? Visit the Library’s Volunteer Fair and speak our Reference Department would love to hear from you. -
Italian Cinema WL 3390/CTV 3390 No Prerequisites. in English
Italian Cinema WL 3390/CTV 3390 No prerequisites. In English. SYLLABUS Brandy Alvarez [email protected] 416 Clements Hall Tel. 214 768 1892 Required texts: Peter Bondanella, Italian Cinema from Noerealism to the Present ; Continuum, New York, 1997 (Third Edition 2001) and course packet Grading: 25 % class discussion 25 % daily response papers 25 % oral presentation 25 % final paper Methods of evaluation : Students will write short responses to each film (generally one page to a page and a half) and answer analytical questions that are distributed with each film, present to the class a summary of a critical film essay, and write a five-page final paper on one of the film's we viewed in class. Absences: Given the nature of the J-term course, any absence will affect the final grade (one grade for each absence). Student Learning Outcomes: (from Creativity and Aesthetics: Level One : 1). Students will be able to identify methods, techniques, or languages of a particular art form and explain how those inform its creation, performance, or analysis, and 2. Students will be able to demonstrate an understanding of concepts fundamental to the creative impulse through analysis. Overview and additional learning expectations : This course offers a brief chronological survey of renowned Italian films and directors as well as exemplars of popular cinema that enjoyed box office success abroad. We will explore the themes and cinematic style of Neorealism and the 'generational' waves of those directors who followed in its wake, including Fellini. Students will watch the films in original language with English subtitles. • Students learn the fundamentals of film analysis, including the basic structural and narrative components of a film, and the terminology necessary to describe both. -
Review of „Tsotsi“
Katrin Kube Katrin Kuba Review of „Tsotsi“ South Africa in Films University of Duisburg-Essen, Dr. Claudia Drawe pubished in cooperation with Düsseldorf 2007 Review of „Tsotsi“ 1 Katrin Kube Review Tsotsi The film Tsotsi throws the observer into an emotional roller-coaster! It shocks and makes angry, sad and sympathetic at the same time. Tsotsi, which means gangste r, is a nineteen-year-old boy living in one of the townships of Johannesburg, South Africa. He is the leader of a gang and a really bad guy. One day, he steals a car, shoots the owner down and flees. On his escape, he recognizes a baby in the back and decides to take it with him to his home. The film shows his rising care for the baby, that rouses memories of his own childhood he repressed before. At first sight, Tsotsi is the stereotypical criminal and violent teenager, but during the story, he turns out to be a rather round character, i.e. he is not such a simple character as one initially assumes. He becomes interesting. Inner fight Throughout the film, one can observe the development of Tsotsi’s conscience. In the beginning, the boy is situated in a hopeless situation. He is uneducated, has no job and steals in order to survive. Throughout the story, he seems to go through a kind of inner fight. On the one hand, he sees the richer people of the suburbs, on the other hand, the people, whose situation is even worse than his own. With the latter the film shows some very strong personalities, which, perhaps, seem to be weak externally, but which, on closer inspection, prove to be rather strong and the boy recognizes that they try to make the best out of their situation. -
Life & Times of Magda A: Telling a Story of Violence in South Africa
Life & Times of Magda A: Telling a Story of Violence in South Africa Author(s): Didier Fassin, Frédéric Le Marcis, and Todd Lethata Reviewed work(s): Source: Current Anthropology, Vol. 49, No. 2 (April 2008), pp. 225-246 Published by: The University of Chicago Press on behalf of Wenner-Gren Foundation for Anthropological Research Stable URL: http://www.jstor.org/stable/10.1086/526096 . Accessed: 08/06/2012 11:42 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and Wenner-Gren Foundation for Anthropological Research are collaborating with JSTOR to digitize, preserve and extend access to Current Anthropology. http://www.jstor.org Current Anthropology Volume 49, Number 2, April 2008 225 Life & Times of Magda A Telling a Story of Violence in South Africa by Didier Fassin, Fre´de´ric Le Marcis, and Todd Lethata How to write about violence? Most recent anthropological works have dealt with this question in terms of either political economy, narratives, or performance. Using J. M. Coetzee’s Life & Times of Michael K as a pre-text, an ethnological inquiry into violence is proposed through the biography of a young South African woman. -
South Africa's Official Selection for the Foreign Film Oscars 2006
Production Notes The UK Film & TV Production Company plc The Industrial Development Corporation of South Africa The National Film & Video Foundation of South Africa in association with Moviworld present A UK/South African Co-production TSOTSI Starring Presley Chweneyagae, Terry Pheto, Kenneth Nkosi, Mothusi Magano, Zenzo Ngqobe and ZOLA Written and Directed by Gavin Hood Based on the novel by Athol Fugard Co-produced by Paul Raleigh Produced by Peter Fudakowski WINNER – EDINBURGH FILM FESTIVAL 2005 THE STANDARD LIFE AUDIENCE AWARD THE MICHAEL POWELL AWARD FOR BEST BRITISH FILM South Africa’s official selection for the Foreign Film Oscars 2006 For all press inquiries please contact: Donna Daniels Public Relations 1375 Broadway, Suite 403, New York, NY 10018 Ph: 212-869-7233 Email: [email protected] and [email protected] IN TORONTO: contact Melissa or Donna c/o The Sutton Place Hotel, Hospitality Suite 606, 955 Bay Street, Toronto, on M5S 2A2 main #: 416.924.9221 fax: 416.324.5617 FOR ALL PRESS MATERIALS/INFO : www.tsotsi.com A message from the playwright and author of the novel TSOTSI ATHOL FUGARD 2 CONTENTS: LETTER FROM AUTHOR OF 'TSOTSI' THE NOVEL 2 UK AND TRADE PRESS QUOTE BANK 4 SHORT SYNOPSIS 6 LONGER SYNOPSIS 6 MAKING “TSOTSI” - BACKGROUND NOTES and QUOTES 8 THE TERM “TSOTSI” - ORIGINS AND MEANINGS 13 KWAITO MUSIC - ORIGINS 15 BIOGRAPHIES: ATHOL FUGARD - AUTHOR OF THE NOVEL “TSOTSI” 17 GAVIN HOOD - SCREENWRITER / DIRECTOR 18 PETER FUDAKOWSKI - PRODUCER 19 PAUL RALEIGH - CO-PRODUCER 20 PRESLEY CHWENEYAGAE - TSOTSI 21 ZOLA – FELA 21 TERRY PHETO - MIRIAM 21 KENNETH NKOSI - AAP 21 MOTHUSI MAGANO - BOSTON 22 ZENZO NGQOBE - BUTCHER 22 CAST, CREW AND MUSIC CREDITS 23-31 CONTACT INFO 32 3 TSOTSI “Tsotsi” literally means “thug” or “gangster” in the street language of South Africa’s townships and ghettos. -
The Myth of the Good Italian in the Italian Cinema
ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 5 No 16 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy July 2014 The Myth of the Good Italian in the Italian Cinema Sanja Bogojević Faculty of Philosophy, University of Montenegro Doi:10.5901/mjss.2014.v5n16p675 Abstract In this paper we analyze the phenomenon called the “myth of the good Italian” in the Italian cinema, especially in the first three decades of after-war period. Thanks to the recent success of films such as Tarantino’s Inglorious Basterds or Academy Award- winning Benigni’s film La vita è bella and Spielberg’s Schindler’s List it is commonly believed that the Holocaust is a very frequent and popular theme. Nevertheless, this statement is only partly true, especially when it comes to Italian cinema. Soon after the atrocities of the WWII Italian cinema became one of the most prominent and influential thanks to its national film movement, neorealism, characterized by stories set amongst the poor and famished postwar Italy, celebrating the fight for freedom under the banners of Resistance and representing a nation opposed to the Fascist and Nazi regime. Interestingly, these films, in spite of their very important social engagement, didn’t even mention the Holocaust or its victims and it wasn’t until the 1960’s that Italian cinema focused on representing and telling this horrific stories. Nevertheless, these films represented Italians as innocent and incapable of committing cruel acts. The responsibility is usually transferred to the Germans as typically cold and sadistic, absolving Italians of their individual and national guilt. -
STRATEGIC PLENARY I Published on Rabat 2013
STRATEGIC PLENARY I Published on Rabat 2013. IMAGINE SOCIETY, BUILD DEMOCRACY (https://www.rabat2013.uclg.org) STRATEGIC PLENARY I 04.10.2013 . Shaping the urban future : The future we want Post 2015 Development Agenda . Key Content World Secretariat's involvement in Post-2015 processUCLG Members involvement in Post-2015 process1st High-Level Panel, 24-25 September 20122nd High-Level Panel, 1-2 November 2012UCLG Task-Force on Post-2015 agendaUCLG contributions to the Post-2015 consultation3rd High-Level Panel, 29 January - 1 February 20134th High-Level Panel 25-27 March 2013 Related Links World We Want 2015 PlatformCommunique Global Taskforce of Local & Regional Governments for Post 2015 and Habitat III (New York)Summary: The role of local and regional authorities in the development agenda post-2015 The role of local and regional authorities in the development agenda post-2015Communique Global Taskforce of Local & Regional Governments for Post 2015 and Habitat III UCLG Brief Culture and developmentUCLG Position Paper on Urban InequalitiesLG Brief on Women in Local Decision-MakingLG Brief on Vision and Shape of the post-2015 agendaLG Brief on Sustainable UrbanisationLG Brief on Job and Livelihoods Incomes for the Poor LG Brief on InequalitiesLG Brief on Governance Page 1 of 6 STRATEGIC PLENARY I Published on Rabat 2013. IMAGINE SOCIETY, BUILD DEMOCRACY (https://www.rabat2013.uclg.org) This strategic plenary will be dedicated to the Post 2015 Development Agenda. In the wake of the 68th General Assembly of the United Nations during which -
Guide to the Papers of the Capri Community Film Society
Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline. -
California State University, Sacramento Department of World Literatures and Languages Italian 104 a INTRODUCTION to ITALIAN CINEMA I GE Area C1 SPRING 2017
1 California State University, Sacramento Department of World Literatures and Languages Italian 104 A INTRODUCTION TO ITALIAN CINEMA I GE Area C1 SPRING 2017 Course Hours: Wednesdays 5:30-8:20 Course Location: Mariposa 2005 Course Instructor: Professor Barbara Carle Office Location: Mariposa Hall 2057 Office Hours: W 2:30-3:30, TR 5:20-6:20 and by appointment CATALOG DESCRIPTION ITAL 104A. Introduction to Italian Cinema I. Italian Cinema from the 1940's to its Golden Period in the 1960's through the 1970's. Films will be viewed in their cultural, aesthetic and/or historical context. Readings and guiding questionnaires will help students develop appropriate viewing skills. Films will be shown in Italian with English subtitles. Graded: Graded Student. Units: 3.0 COURSE GOALS and METHODS: To develop a critical knowledge of Italian film history and film techniques and an aesthetic appreciation for cinema, attain more than a mere acquaintance or a broad understanding of specific artistic (cinematographic) forms, genres, and cultural sources, that is, to learn about Italian civilization (politics, art, theatre and customs) through cinema. Guiding questionnaires will also be distributed on a regular basis to help students achieve these goals. All questionnaires will be graded. Weekly discussions will help students appreciate connections between cinema and art and literary movements, between Italian cinema and American film, as well as to deal with questionnaires. You are required to view the films in the best possible conditions, i.e. on a large screen in class. Viewing may be enjoyable but is not meant to be exclusively entertaining. -
EUROCONTROL History Book December 2010
EUROCONTROL History Book December 2010 By John McInally Head of Organisational Development 1991 - 2010 EUROCONTROL Table of content Introduction 5 Executive summary 9 History of EUROCONTROL - Timeline 1910-2008 17 Part 1 1958-1966 25 Genesis of EUROCONTROL, original vision, sovereignty defined Part 2 1966-1986 75 EUROCONTROL continues with revised/reduced mandate Part 3 1986-1997 119 Amended Convention proves insufficient, matse takes key decisions, EUROCONTROL acts to revise Convention Part 4 1997-2008 191 Early Implementation, EUROCONTROL Adapts to Single European Sky, Growing Concentration on the Network Annex 1 Presidents and Vice-Presidents of the Permanent Commission 293 Annex 2 Presidents and Vice-Presidents of the Committee of management 295 Annex 3 Directors General of the Agency 298 Annex 4 Presidents and Vice-Presidents of the Provisional Council 299 Annex 5 Chairmen of the Civil-military Coordination Committee and military ATm Board 300 Annex 6 Ratification of the revised Convention 301 3 Introduction Introduction This History is a description of the key institutional, legal and organisational events and decisions that have determined the progress of the EUROCONTROL Organisation and its Agency through the past fifty years. It is a record, in one document, of the circumstances surrounding these events and the nature of the performance of EUROCONTROL against what was required of it. Who makes up the audience for this history? It is principally aimed at those past and present Eurocontrollers, including State representatives, as well as those who have been involved with EUROCONTROL at different times through the consultation groups and working arrangements. The reader should note therefore that this is a “History”. -
On the Roman Frontier1
Rome and the Worlds Beyond Its Frontiers Impact of Empire Roman Empire, c. 200 B.C.–A.D. 476 Edited by Olivier Hekster (Radboud University, Nijmegen, The Netherlands) Editorial Board Lukas de Blois Angelos Chaniotis Ségolène Demougin Olivier Hekster Gerda de Kleijn Luuk de Ligt Elio Lo Cascio Michael Peachin John Rich Christian Witschel VOLUME 21 The titles published in this series are listed at brill.com/imem Rome and the Worlds Beyond Its Frontiers Edited by Daniëlle Slootjes and Michael Peachin LEIDEN | BOSTON This is an open access title distributed under the terms of the CC-BY-NC 4.0 License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2016036673 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 1572-0500 isbn 978-90-04-32561-6 (hardback) isbn 978-90-04-32675-0 (e-book) Copyright 2016 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA.