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Bibliography for the Study of Shakespeare on Film in Asia and Hollywood
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 6 (2004) Issue 1 Article 13 Bibliography for the Study of Shakespeare on Film in Asia and Hollywood Lucian Ghita Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ghita, Lucian. "Bibliography for the Study of Shakespeare on Film in Asia and Hollywood." CLCWeb: Comparative Literature and Culture 6.1 (2004): <https://doi.org/10.7771/1481-4374.1216> The above text, published by Purdue University Press ©Purdue University, has been downloaded 2531 times as of 11/ 07/19. -
Lost Prince Pack Latest
Miranda Richardson Miranda Richardson Miranda Richardson portrays Queen Mary, the Stranger,The Crying Game, Enchanted April, Damage, emotionally repressed mother of Prince John.A Empire Of The Sun,The Apostle and Spider (Official fundamentally inhibited character, she is a loving Selection, Cannes 2002), as well as the mother but has great difficulty communicating with unforgettable Queenie in the BBC’s Blackadder. She her son. says:“Mary had an absolute belief in the idea of duty. She thought that her husband’s word was the The actress, one of Britain’s most gifted screen law and believed in the divine right of kings. performers, immersed herself in research for the Although that view seems old-fashioned to us now, role and emerged with a clearer, more sympathetic she thought it could not be questioned. Ultimately, I idea about this often-maligned monarch. think this film understands Mary. It portrays her most sympathetically.” ‘’When people hear I’m playing Mary, they say, ‘Wasn’t she a dragon?’ But I’ve learnt from my For all that, Mary’s rigid adherence to the research that she wasn’t just a crabby old bag. She Edwardian code of ethics created a barrier may never have laughed in public, but that was between her and her independent-minded son, because she was shy. She felt she wasn’t able to Johnnie.“She loved him as fully as she could,” express her emotions in public.” Richardson reflects.“She knew that he was a free spirit who was able to be himself. Mary could never Miranda has gained a towering reputation for a be herself because she was always so serious, number of films, including Tom And Viv, Dance With A dedicated, dutiful and aware of her destiny. -
'Food for Thought' December 2020
‘food for thought’ December 2020 Your Distraction Pack 1 Photos sourced from Pixabay.com Welcome to the December issue of ‘food for thought’, your distraction pack. Dictionary definition of “Something that prevents someone from giving their attention to something else” “An activity that you do for pleasure” COVID-19 has affected us all in very different ways, but the common adjustment we have all had to make is that of self-isolation and how we each deal with that varies enormously. Some are finding it easy to distance themselves from others, whilst others are finding isolation difficult. We are all responsible for making sure not only we, but others, are kept safe from infection and the only way to do that is to stay where you live and avoid close contact with others. These Distraction Packs offer a variety of quizzes, activities and reading material to help distract you during the long periods of time spent alone. We hope you enjoy them. The answers are given at the back, so if you don’t want to know what they are, don’t look beyond page 29! We wish you all a Happy Christmas and a safe and healthy new year. Having supported older individuals with convictions (in prisons and the community) for over ten years, RECOOP, part of the BCHA family, recognises the importance of keeping active, both physically and mentally. Our Distraction Packs, 'food for thought' are created with that in mind. www.recoop.org.uk BCHA is a not for profit, registered Housing Association, that has supported those experiencing homelessness for over 50 years. -
Anthony Hopkins Receives Academy Fellowship at the Orange British Academy Film Awards
ANTHONY HOPKINS RECEIVES ACADEMY FELLOWSHIP AT THE ORANGE BRITISH ACADEMY FILM AWARDS On Sunday 10 February 2008, the British Academy of Film and Television Arts presented Anthony Hopkins with the Academy Fellowship at the Orange British Academy Film Awards ceremony at London’s Royal Opera House. Awarded annually in the Gift of the Academy, the Fellowship is the highest accolade bestowed upon an individual in recognition of an outstanding and exceptional contribution to film. The Award was presented by Lord Attenborough, the Academy’s President. Previously honoured Fellows include Charlie Chaplin, Alfred Hitchcock, Steven Spielberg, Sean Connery, Elizabeth Taylor, Julie Christie, John Barry, Stanley Kubrick and Judi Dench. Finola Dwyer, Chair of BAFTA’s Film Committee, said: “I am absolutely delighted that the Academy has presented this award to Anthony Hopkins. Anthony is one of the UK’s most loved and admired performers and his contribution to the film industry, both in the UK and abroad, is unrivalled”. In a career spanning five decades, Anthony has become one of the most respected actors of his generation, with his talent recognised by the Academies on both sides of the Atlantic. During his career he has received four BAFTA nominations and won for his performances in The Remains of the Day (1993) and The Silence of the Lambs (1991). He has also received four Oscar nominations and won for his legendary performance as Hannibal Lecter. A Welsh College of Music & Drama graduate, Anthony completed two years mandatory military training before joining Laurence Oliver’s National Theatre at the Old Vic. He made his feature film debut in 1968 opposite Peter O’Toole and Katherine Hepburn in The Lion in Winter and received his first BAFTA nomination for his performance. -
Losing Willwalking a Tightrope to Fame
A&E [email protected] thursday, 29 november, 2007 Social Losing Will walking a tightrope to fame intercourSe Joe Vanderhelm talks botched audio, improvising scripts, and hoping that his locally filmed Grant MacEwan/University of Alberta Big Band Concert flick—complete with Edmonton scenery and music—has enough pull to reach cult status Monday, 3 December at 7:30pm John L Haar Theatre (10045 155 Street) filmpreview Performing together on the same stage, the Grant Losing Will MacEwan big band and the University of Alberta Runs 7–9 December big band will combine this coming Monday, creat- Directed by Mike Robertson and Arlen Konopaki ing a band the size of which can’t be described with Starring Arlen Konopaki, Joe Vanderhelm, and a simple adjective like big. Rather, it would require a Julian Faid conglomeration of descriptors, like “ginormous” or Metro Cinema “hugelarge.” Conducted by professors Raymond Baril and Dr Tom Dust, the humungollossal group will play BRYAN SAUNDERS a wide selection of jazz standards and should provide Arts & Entertainment Staff an entertaining night for fans of the genre. As Joe Vanderhelm, one of the stars of Highwire Films’ Losing Will, puts it, producing a local Trooper independent movie is a lot like walking on a Thursday, 29 November at 8pm tightrope. Century Casino (13103 Fort Road) “When you think of [a] high-wire act, there’s the chance of falling and the chance of failure, Here they come, classic rock group Trooper, driving in a but that always just makes it all the more inter- bright white sports car on their way through Edmonton. -
Blade Runner: the Final Cut Review – a Timeless Sci-Fi Classic | Film | the Guardian 22/01/2018 15:48
Blade Runner: The Final Cut review – a timeless sci-fi classic | Film | The Guardian 22/01/2018 15:48 Blade Runner: The Final Cut review 6 a Mark Kermode, Observertimeless film sci:fi classic critic RidleySun 5 Apr 2015 Scott’s 07.59 1982BST masterpiece, back on the big screen in this definitive version, is an overwhelming experience ’ve seen things you people wouldn’t believe…” When making the 2000 documentary On the Edge of Blade Runner, I asked Rutger Hauer why he thought Harrison Ford was so reluctant to talk about what is now considered a timeless sci-fi classic. “He’s such a dumb character,” Hauer replied “I mischievously of Ford’s android-hunter Deckard. “He gets a gun put to his head and then he fucks a dish-washer!” Ford, with his Star Wars cachet, was Blade Runner’s top-line draw, but it’s Hauer’s movie all the way, his shimmering “replicant” providing the tonal touchstone for Ridley Scott’s severally reworked masterpiece. The Dutch actor even contributed his own infinitely quotable couplet to the film’s epochal “tears in rain” scene, a moment as iconic as Casablanca’s “Here’s looking at you, kid”. As for Deckard, the stooge who falls for Sean https://www.theguardian.com/film/2015/apr/05/blade-runner-final-cut-timeless-sci-fi-classic-review Page 1 of 2 Blade Runner: The Final Cut review – a timeless sci-fi classic | Film | The Guardian 22/01/2018 15:48 Young’s artificial charms in rain-drenched 2019 LA, Scott had his own way of explaining Ford’s robotic performance, a unicorn-themed conceit drawn not from Philip K Dick’s source but born out of a simple miscommunication between screenwriters Hampton Fancher and David Peoples. -
Exception, Objectivism and the Comics of Steve Ditko
Law Text Culture Volume 16 Justice Framed: Law in Comics and Graphic Novels Article 10 2012 Spider-Man, the question and the meta-zone: exception, objectivism and the comics of Steve Ditko Jason Bainbridge Swinburne University of Technology Follow this and additional works at: https://ro.uow.edu.au/ltc Recommended Citation Bainbridge, Jason, Spider-Man, the question and the meta-zone: exception, objectivism and the comics of Steve Ditko, Law Text Culture, 16, 2012, 217-242. Available at:https://ro.uow.edu.au/ltc/vol16/iss1/10 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Spider-Man, the question and the meta-zone: exception, objectivism and the comics of Steve Ditko Abstract The idea of the superhero as justice figure has been well rehearsed in the literature around the intersections between superheroes and the law. This relationship has also informed superhero comics themselves – going all the way back to Superman’s debut in Action Comics 1 (June 1938). As DC President Paul Levitz says of the development of the superhero: ‘There was an enormous desire to see social justice, a rectifying of corruption. Superman was a fulfillment of a pent-up passion for the heroic solution’ (quoted in Poniewozik 2002: 57). This journal article is available in Law Text Culture: https://ro.uow.edu.au/ltc/vol16/iss1/10 Spider-Man, The Question and the Meta-Zone: Exception, Objectivism and the Comics of Steve Ditko Jason Bainbridge Bainbridge Introduction1 The idea of the superhero as justice figure has been well rehearsed in the literature around the intersections between superheroes and the law. -
Cambridge Companion Shakespeare on Film
This page intentionally left blank Film adaptations of Shakespeare’s plays are increasingly popular and now figure prominently in the study of his work and its reception. This lively Companion is a collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare’s plays. An international team of leading scholars discuss Shakespearean films from a variety of perspectives:as works of art in their own right; as products of the international movie industry; in terms of cinematic and theatrical genres; and as the work of particular directors from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh. They also consider specific issues such as the portrayal of Shakespeare’s women and the supernatural. The emphasis is on feature films for cinema, rather than television, with strong cov- erage of Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet. A guide to further reading and a useful filmography are also provided. Russell Jackson is Reader in Shakespeare Studies and Deputy Director of the Shakespeare Institute, University of Birmingham. He has worked as a textual adviser on several feature films including Shakespeare in Love and Kenneth Branagh’s Henry V, Much Ado About Nothing, Hamlet and Love’s Labour’s Lost. He is co-editor of Shakespeare: An Illustrated Stage History (1996) and two volumes in the Players of Shakespeare series. He has also edited Oscar Wilde’s plays. THE CAMBRIDGE COMPANION TO SHAKESPEARE ON FILM CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Old English The Cambridge Companion to William Literature Faulkner edited by Malcolm Godden and Michael edited by Philip M. -
Al Pacino Receives Bfi Fellowship
AL PACINO RECEIVES BFI FELLOWSHIP LONDON – 22:30, Wednesday 24 September 2014: Leading lights from the worlds of film, theatre and television gathered at the Corinthia Hotel London this evening to see legendary actor and director, Al Pacino receive a BFI Fellowship – the highest accolade the UK’s lead organisation for film can award. One of the world’s most popular and iconic stars of stage and screen, Pacino receives a BFI Fellowship in recognition of his outstanding achievement in film. The presentation was made this evening during an exclusive dinner hosted by BFI Chair, Greg Dyke and BFI CEO, Amanda Nevill, sponsored by Corinthia Hotel London and supported by Moët & Chandon, the official champagne partner of the Al Pacino BFI Fellowship Award Dinner. Speaking during the presentation, Al Pacino said: “This is such a great honour... the BFI is a wonderful thing, how it keeps films alive… it’s an honour to be here and receive this. I’m overwhelmed – people I’ve adored have received this award. I appreciate this so much, thank you.” BFI Chair, Greg Dyke said: “A true icon, Al Pacino is one of the greatest actors the world has ever seen, and a visionary director of stage and screen. His extraordinary body of work has made him one of the most recognisable and best-loved stars of the big screen, whose films enthral and delight audiences across the globe. We are thrilled to honour such a legend of cinema, and we thank the Corinthia Hotel London and Moët & Chandon for supporting this very special occasion.” Alongside BFI Chair Greg Dyke and BFI CEO Amanda Nevill, the Corinthia’s magnificent Ballroom was packed with talent from the worlds of film, theatre and television for Al Pacino’s BFI Fellowship presentation. -
Editorial Standards Committee Bulletin
Editorial Standards Findings Appeals to the Trust and other editorial issues considered by the Editorial Standards Committee February 2016, issued March 2016 Getting the best out of the BBC for licence fee payers Contents Contents 1 Remit of the Editorial Standards Committee 2 Summary of findings 4 Appeal Findings 7 Panorama: GM Food - Cultivating Fe a r, BBC One, 8 June 2015 7 The Stephen Nolan Show, BBC Radio 5 Live, 3 April 2015, and more generally 25 Requests to review the Trust Unit’s decisions on appeals 31 Scotland 2015, BBC Two Scotland, 7 September 2015 31 Breakfast Show with Nick Grimshaw, BBC Radio 1, 6 August 2015 36 Appeals against the decisions of BBC Audience Services and BBC News not to correspond further with the complainant 39 Decision of BBC Audience Services not to respond further to a complaint about Israeli PM Benjamin Netanyahu's 44-second UN silence, BBC News online 40 Decision of BBC Audience Services not to respond further to a complaint about Kermode and Mayo’s Film Review, BBC Radio 5 live, 16 October 2015 44 Decision of BBC Audience Services not to respond further to a complaint about Inside Out (Yorkshire, East Yorkshire & Lincolnshire) 12 October 2015 47 Decision of BBC Audience Services not to respond further to a complaint about Today, Radio 4, 12 August 2015 52 Decision of BBC Audience Services not to respond further to a complaint about Today, BBC Radio 4, 6 October 2015 55 Admissibility decisions 58 Newsnight, BBC Two, 17 March 2015 59 Match of the Day 2, BBC One, 13 September 2015 61 In order to provide clarity for the BBC and licence fee payers it is the Trust’s policy to describe fully the content that is subject to complaints and appeals. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
MY WEEK with MARILYN Presseheft
LUNA Filmverleih präsentiert MY WEEK WITH MARILYN Ein Film von Simon Curtis USA 2011 99 Minuten | Cinemascope | Farbe | Dolby Digital Verleih: Luna Filmverleih GmbH. Mariahilfer Straße 58/7 A-1070 Wien Tel: 01/523 43 62-0 [email protected] www.lunafilm.at Pressebetreuung: Kooperationen: Susanne Auzinger Maxie Klein 01/523 43 62-23 01/523 43 62-42 [email protected] [email protected] Lisi Klinger Paul Szostak 01/523 43 62-41 01/523 43 62-22 [email protected] [email protected] www.lunafilm.at DIE BESETZUNG Marilyn Monroe MICHELLE WILLIAMS Colin Clark EDDIE REDMAYNE Sir Laurence Olivier KENNETH BRANAGH Vivien Leigh JULIA ORMOND Arthur Miller DOUGRAY SCOTT Sibyl Thorndike DAME JUDI DENCH Milton Greene DOMINIC COOPER Lucy EMMA WATSON Paula Strasberg ZOË WANAMAKER Arthur Jacobs TOBY JONES Sir Owen Moreshead DEREK JACOBI Roger Smith PHILIP JACKSON Jane Clark GERALDINE SOMERVILLE DER STAB Regie SIMON CURTIS Produktion DAVID PARFITT HARVEY WEINSTEIN Buch ADRIAN HODGES Kamera BEN SMITHARD Szenenbild DONAL WOODS Kostümdesign JILL TAYLOR Make-up und Haardesign JENNY SHIRCORE Musik CONRAD POPE Komposition „Marilyn’s Theme“ ALEXANDRE DESPLAT Piano LANG LANG Kurzinhalt Im Sommer 1956 will der junge Oxford-Abgänger Colin Clark (Eddie Redmayne) in das Filmbusiness einsteigen und ergattert sich einen Job auf dem Set von „The Prince and the Showgirl“ mit Marilyn Monroe (Michele Williams). Der Film basiert auf den Tagebüchern des Filmemachers Colin Clark, welche 40 Jahre nach den Ereignissen veröffentlicht wurden. In der ersten Fassung dieser Autobiografie fehlte eine Woche. Die Geschichte dieser Woche wurde später unter dem Titel MY WEEK WITH MARILYN publiziert und nun endlich verfilmt.