DOCSLIB.ORG

Januar Februar

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Januar Februar brezpla~ni izvod po{tnina pla~ana pri po{ti 1106 ljubljana kinote~nik 2011 2012 januar-februar Rainer Werner Fassbinder retrospektiva ostanite {e naprej z nami Televizijskim ogledom in uvidom sledi {e ob{irnej{a, po skoraj dvajsetletnem "Televizija! Vzgojiteljica, mati, ljubica." doma~em zamolku toliko glasnej{a retrospektiva nem{kega scenarista, dramatika, Homer Simpson igralca, producenta in re`iserja Rainerja Wernerja Fassbinderja, ki bo prinesla "Za film bi rad pomenil to, kar Shakespeare pomeni za gledali{~e, Marx za {tirideset projekcij dvajsetih filmov plus – kot je pri ve~jih retrospektivah spet v politiko in Freud za psihologijo: nekdo, za komer ni~ ne ostane isto." navadi – zajeten kinote~ni katalog, posve~en avtorju. Kdor je Fassbinderja `e Rainer Werner Fassbinder gledal, ga bo pri{el pogledat spet (retrospektiva, mimogrede, prina{a kup , letnik XII, {tevilka 5–6, januar-februar 2012 naslovov, ki v Sloveniji {e nikoli niso bili predvajani na velikem platnu). Kdor Kaj imata skupnega televizija in Rainer Werner Fassbinder razen tega, da je prva Fassbinderja {e ni gledal, pa ima v Kinoteki rezerviran abonma ne samo pri radikalno posegla v tok navad in obna{anja 20. stoletja, drugi pa ni~ manj predmetu filma, pa~ pa tudi na podro~ju ob~utljivih to~k evropske zgodovine radikalno v tok filmske zgodovine istega stoletja? Poleg dejstva, da je Fassbinder dvajsetega stoletja, brezkompromisnega politi~nega udejstvovanja, eti~nega pribli`no tretjino svojega enormnega opusa posnel prav za televizijo, ju tokrat anga`maja in njemu pripadajo~ega dogodka ljubezni. dru`i tudi skupen nastop v januarsko-februarskem programu Kinoteke. Retrospektiva se bo iz januarja prelila v februar, ta pa se sklepa z mnogo manj ali Tega na samem pragu novega leta odpiramo z ob{irno, tematsko retrospektivo, prav ni~ "kanoni~no", a zato ni~ manj "pou~no" retrospektivo, ki bo predstavila ki smo jo poimenovali Ekrani na platnu in v sklopu katere raziskujemo, na kak{ne pet filmov Reze Mirkarimija, mlaj{ega cineasta iranskega rodu. Ena najbolj na~ine je v svoji nedavni zgodovini dolo~en popularni medij (=film) reprezentiral, vznemirljivih plati (ponovnega) odkrivanja in seznanjanja s filmsko zgodovino – ta zrcalil in mislil drugega (=televizijo). Pravi razlog za to retrospektivo se skriva zavoljo novih tehnologij "grozi", da bo vsak dan znova podvojila celotno stoletno nekoliko globlje v mesecu, ko se bo med 11. in 13. januarjem pripetila znova na avdiovizualno maso, ki je obstajala v~eraj – je namre~ prav nenehno polno obujena Jesenska filmska {ola (v Kinoteki preskakujemo nadle`no zimo prevpra{evanje in sopostavljanje osvetljenih in manj osvetljenih dose`kov v kotlini), mednarodni simpozij filmske teorije, ki bo pod naslovom Proti koncu preteklosti in sedanjosti z namenom lu{~enja novih, mogo~e nepri~akovanih preiskoval fenomen (zlasti novodobne) televizijske serije in njenega dana{njega pomenov, horizontov in potencialov. V tem kontekstu ne spreglejte tudi po obsegu mese~nik Slovenskemesta kinoteke osrednjega kulturnega produkta. Razlog za simpozij pa ti~i {e globlje: z njim drobne, razdrobljene, pa zato toliko bolj iskrive retrospektive doma~ega Franceta obele`ujemo eno najnovej{ih izvirnih knji`nih edicij Kinoteke, zbornik Proti koncu, Kosma~a, ki se nam je januarja in februarja pripetila povsem nena~rtovano. ki razmislek o sodobni TV seriji nadgrajuje {e s {ir{im filozofskim razmislekom o Uvodoma navedena citata se, mimogrede, morda samo zdita ironi~na ali konceptu serialnosti. Paket aran`ma skratka, ki ga ne gre zamuditi, zlasti ne (bolestno) ambiciozna. ^e ju namre~ vzamemo smrtno resno, naenkrat ugotovimo, zavoljo intrigantnega prepleta `e-prodrtih in {e-prodirajo~ih imen humanisti~ne da v njiju ne ka`e iskati zrna resnice, prej zrno {ale.. misli, ki bodo sodelovala na simpoziju. Jurij Meden 1 kinote~nik, januar-februar 2012 retrospektiva: ekrani na platnu ekrani na platnu: kako je film mutiral v tv MASH TV dnevnik Robert Altman, 1970 James L. Brooks, 1987 Robert Altman je leta 1970 posnel MASH, vojni v ~as prve necenzurirane, svobodne No-Bullshit vse ve~, o ljudeh, ki se jim vse bolj me{a, o avtenti~nim aktom politi~nega terorizma!" Showbiz film, v katerem pa vojne ne vidimo. Vidimo le TV postaje, je dala jasno vedeti, da je vse `e Arabcih, ki kupujejo Ameriko, o svobodi, ki izginja, in terorizem sta eno. Diana kakopak s tem lansira "poljsko" kliniko, ki jo doktorji spremenijo v svoje odlo~eno: ko se bo televizija enkrat nehala o individualizmu, ki presiha, o ljudeh, ki so tudi nov TV format: resni~nostni {ov. Beale pa malo anarhi~no podjetje. MASH se je sicer samocenzurirati, bodo ljudje dokon~no padli vanjo raz~love~eni, o Ameriki, s katero je vse narobe, in ho~e re~i: ne zaupajte televiziji! Televizija nima ve~ dogajal v ~asu korejske vojne, toda vsem je bilo in postali televizija. Celo slu`be bodo pustili, da o televiziji, ki je le {e zabavi{~ni park, le {e nobene zveze z realnostjo! A po drugi strani, to je jasno, da gre za alegorijo – in parodijo – bodo lahko gledali TV. Logi~no: gledanje TV bo cirkus, le {e la`, le {e infotainment, le {e – kot bil ~as, ko so ljudje izgubili zaupanje v realnost. vietnamske vojne, ki so jo Ameri~ani izgubljali in njihova slu`ba. pravi Diana – showbiz. "Za~eli ste verjeti v na{e Realnost je postala TV. Ljudje so postali TV. In na koncu tudi izgubili. Da bi tako krvavo, tako Lumetova TV mre`a, posneta leta 1976 (v letu iluzije, za~eli ste verjeti, da je televizor resni~nost tudi ameri{ki predsednik je postal TV. Leta 1980 politi~no nekorektno in obenem tako karnevalsko Tunelske vizije), je predstavila TV voditelja, ki se in da so va{a `ivljenja neresni~na! Po~nete to, kar je namre~ v Belo hi{o pri{el Ronald Reagan, parodijo vojne mesarije postavili v ~as vietnamske neha samocenzurirati, da bi ljudem lahko povedal, vam re~e televizija: obla~ite se kot televizija, jeste nekdanji h'woodski zvezdnik. Pre`ivel je oba vojne, pa~ ni pri{lo v po{tev. Film je postal hit, da postajajo TV in da naj se temu uprejo. Howard kot televizija, otroke vzgajate kot televizija, celo mandata – atentat, recesijo, inflacijo, preziranje pobral zlato palmo in spro`il zelo popularno, Beale (Peter Finch) je ostareli, zapiti, depresivni, mislite kot televizija! To je mno`i~na norost, vi brezposelnih, upokojencev, etni~nih manj{in in dolgo`ivo TV serijo, ki je Ameri~ane potem vsak zblojeni, neko~ zvezdni{ki voditelj poro~il na TV manijaki! Za bo`jo voljo, vi ljudje ste resni~ni. intelektualnega dela, orja{ki deficit, monumentalni teden – od leta 1972 do leta 1983 – spomnila, mre`i UBS (Union Broadcasting System), ki je Mi smo le iluzija. Zato ugasnite svoje televizorje. nacionalni dolg, eskalacijo socialne polarizacije, da so vojno v Vietnamu izgubili. Nih~e ni vojne bazirana v razko{ni stekleno-marmornati stolpnici. Ugasnite jih zdaj. Ugasnite jih sredi mojega bombardiranje Libije, bejrutski pokol marincev. izgubljal tako dolgo. Nih~e je ni izgubil v toliko Ker pa mu ratingi vztrajno padajo, {efi sklenejo, stavka! Ugasnite jih!!" To bi pre`iveli tudi drugi predsedniki, ne bi pa delih. Nih~e, ki je kontroliral TV sliko vojne (in da ga bodo odstavili. Maxu Schumacherju (William Pred tem jih pozove, naj odprejo okna in kri~ijo: pre`iveli takega {kandala, kot je bil Iran/Contra. naracijo o vojni), do tedaj {e ni izgubil vojne. A po Holden), uredniku informativnega programa, sicer "Tega ne bom ve~ trpel!" In ljudje odprejo okna. In Ronnie ga je. Zakaj? Iz preprostega razloga: ker je drugi strani: vietnamska vojna je bila prva TV staremu prijatelju in zavezniku, zato re~e: "Ubil se kri~ijo: "Tega ne bom ve~ trpel!" Toda televizorjev nacija verjela, da nima pojma, kaj se je dogajalo. vojna, zato je povsem logi~no, da je mutirala v bom! Mo`gane si bom razstrelil v etru, sredi ne ugasnejo. Prenos se nadaljuje – tako kot v Ni ~udno: Ronnie, "veliki komunikator", je imel TV serijo. Tako je bilo izvirno mi{ljeno. poro~il!!" Kul, dahne cini~ni Max, to bo dobro za Romerovi Zori `ivih mrtvecev. Njegova norost tedaj za sabo `e sedem let, v katerih je naredil Sedemdeseta so bila ~as, ko so mnoge filme ratinge. "Imel bi 50-odstotni dele`. Zlahka. Iz tega postane entertainment, toda ko mu za~nejo vse, da bi ustvaril lik predsednika, ki nima pojma, podalj{ali v TV serije – Lucasovi Ameri{ki grafiti bi lahko naredili TV serijo. Samomor tedna. Vraga, ratingi padati, {efi sklenejo, da ga bodo zares in kaj se dogaja. (1973) so se prelevili v TV serijo Happy Days zakaj bi se omejevali - Eksekucijo tedna." [e dokon~no odpustili, to pa tako, da bodo zre`irali Leta 1980 je ljudem razkril, da "drevesa bolj (1974–84), Scorsesejev film Alice ne `ivi ve~ bolje: "Terorist tedna!" Ali pa: "The Death Hour!" atentat nanj – in to v `ivo. Ali kot mu `e vnaprej onesna`ujejo okolje kot avtomobili", potem pa jih tukaj (1974) se je prelevil v TV serijo Alice Pravi nedeljski show. Za celo dru`ino. Zjebali bi pojasni Arthur Jensen (Ned Beatty), lastnik TV je {e bolj pomiril: "Vse radioaktivne odpadke, ki (1976–85), Sieglov [erif v New Yorku, alias Disneyja. mre`e: "Igra~kate se s primarnimi naravnimi se v enem letu naberejo v jedrski elektrarni, lahko Coogan's Bluff (1968), pa v TV serijo [erif v New Oba sta brez iluzij: televizijo zanimajo le {e ratingi. silami, gospod Beale – in tega ne bom pustil. Vam shranite pod mizo." [ur. Ko je leta 1982 obiskal Yorku, alias McCloud (1970–77). Celo prva dva Entertainment je raz`rl novice, ki so se zvedle na je to jasno? Mislite, da ste pokvarili poslovno Brazilijo, je na slavnostni ve~erji mirno nazdravil Botra so leta 1977 zavrteli kot 475-minutno samomore, umore, atentate, nore bomba{e, kup~ijo.
Load more

Recommended publications
  • Basketball Diaries, Natural Born Killers and School Shootings: Should There Be Limits on Speech Which Triggers Copycat Violence
    Denver Law Review Volume 77 Issue 4 Symposium - Law and Policy on Youth Article 8 Violence January 2021 Basketball Diaries, Natural Born Killers and School Shootings: Should There Be Limits on Speech Which Triggers Copycat Violence Juliet Dee Follow this and additional works at: https://digitalcommons.du.edu/dlr Recommended Citation Juliet Dee, Basketball Diaries, Natural Born Killers and School Shootings: Should There Be Limits on Speech Which Triggers Copycat Violence, 77 Denv. U. L. Rev. 713 2000). This Article is brought to you for free and open access by the University of Denver Sturm College of Law at Digital Commons @ DU. It has been accepted for inclusion in Denver Law Review by an authorized editor of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. BASKETBALL DIARIES, NATURAL BORN KILLERS AND SCHOOL SHOOTINGS: SHOULD THERE BE LIMITS ON SPEECH WHICH TRIGGERS COPYCAT VIOLENCE? JULIET DEE* I. INTRODUCTION During the past five years, parents who send their children to school in the morning have had to face the grim possibility, however remote, that their children might be shot and killed by a classmate during the school day. ABC News provides a list of school shootings between 1996 and the present', which is as follows: February 19, 1997: 16 year-old Evan Ramsey opens fire with a shot- gun in a common area at the Bethel, Alaska, high school, killing the principal and a student and wounding two others. He is sentenced to two 99-year terms. October 1, 1997: A 16 year-old boy in Pearl, Mississippi is accused of killing his mother, then going to Pearl High School, killing two students including his ex-girifriend and wounding seven others.
    [Show full text]
  • The Cinema of Oliver Stone
    Interviews Stone on Stone Between 2010 and 2014 we interviewed Oliver Stone on a number of occasions, either personally or in correspondence by email. He was always ready to engage with us, quite literally. Stone thrives on the cut- and- thrust of debate about his films, about himself and per- ceptions of him that have adorned media outlets around the world throughout his career – and, of course, about the state of America. What follows are transcripts from some of those interviews, with- out redaction. Stone is always at his most fascinating when a ques- tion leads him down a line of theory or thinking that can expound on almost any topic to do with his films, or with the issues in the world at large. Here, that line of thinking appears on the page as he spoke, and gives credence to the notion of a filmmaker who, whether loved or loathed, admired or admonished, is always ready to fight his corner and battle for what he believes is a worthwhile, even noble, cause. Oliver Stone’s career has been defined by battle and the will to overcome criticism and or adversity. The following reflections demonstrate why he remains the most talked about, and combative, filmmaker of his generation. Interview with Oliver Stone, 19 January 2010 In relation to the Classification and Ratings Administration Interviewer: How do you see the issue of cinematic censorship? Oliver Stone: The ratings thing is very much a limited game. If you talk to Joan Graves, you’ll get the facts. The rules are the rules.
    [Show full text]
  • Natural Born Killers
    NATURAL BORN KILLERS by Quentin Tarantino November 1990 Revised Third Draft FOR EDUCATIONAL PURPOSES ONLY FADE IN: INT. COFFEE SHOP - DAY A coffee shop somewhere in New Mexico. MICKEY KNOX, his back turned TO us, is sitting at the counter finishing a meal. We hear the PING... BANG... of a PINBALL MACHINE being played O.S. MABEL, a waitress, comes over and fills Mickey's coffee cup. MICKEY What kind of pies do you have? MABEL Apple, pecan, cherry, and key lime. MICKEY Which do you recommend? MABEL Well, the key lime is great, but it's an acquired taste. MICKEY I haven't had key lime pie in ten years. MABEL When ya had it, did ya like it? MICKEY No, but that don't mean much. I was a completely different person ten years ago. Let's give key lime a day in court. And a large glass of milk. Mabel turns to her right. MABEL (to someone O.S.) Should I make that two pieces? CAMERA PULLS BACK and we see for the first time MALLORY KNOX, Mickey's wife, sitting on a counter stool next to him. Her back is TO the CAMERA as well. MALLORY Nada, Rosey. MABEL (annoyed) My name's not Rosey. (points at nametag) It's Mabel. (CONTINUED) 2. CONTINUED: Mabel EXITS FRAME. MALLORY Whatever. Mallory hops from the stool, walks over and grabs the jar next to the cash register, then dumping out the coins on the counter, she selects a quarter. MABEL Hey, what the hell do you think you're doin'? Mallory saunters past the cowboy playing pinball.
    [Show full text]
  • Master Class with George R.R. Martin: Selected Filmography 1 The
    Master Class with George R.R. Martin: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Films and Television Series mentioned or discussed during the master class Game of Thrones (2011-2013). 2 seasons, 20 episodes. Creators: David Benioff and D.B. Weiss, U.S.A. Airs on HBO. Production Co.: HBO / Television 360 / Grok! Studio / Generator Entertainment / Bighead Littlehead / Embassy Films. The Twilight Zone (1959-1964). 5 seasons, 156 episodes. Creator: Rod Sterling, U.S.A. Originally aired on CBS. Production Co.: Cayuga Productions / CBS. Captain Video and His Video Rangers (1949-1955). 7 seasons, number of episodes unknown. Creator: James Caddiga, U.S.A. Originally aired on DuMont Television Network. Production Co.: DuMont Television Network. Rocky Jones, Space Ranger (1954). 2 seasons, 39 episodes. Creator: Roland D. Reed, U.S.A. Originally aired on DuMont Television Network. Production Co.: Roland Reed Productions / Space Ranger Enterprises. Tom Corbett, Space Cadet (1950-1955). 4 seasons, number of episodes unknown. Creator: unknown, U.S.A. Originally aired on CBS (1950), ABC (1951-1952), DuMont Television Network (1953-1954), and NBC (1954-1955).
    [Show full text]
  • Navigating the Videogame
    From above, from below: navigating the videogame A thesis presented by Daniel Golding 228306 to The School of Culture and Communication in partial fulfilment of the requirements for the degree of Bachelor of Arts (Honours) in the field of Cultural Studies in the School of Culture and Communication The University of Melbourne Supervisor: Dr. Fran Martin October 2008 ABSTRACT The study of videogames is still evolving. While many theorists have accurately described aspects of the medium, this thesis seeks to move the study of videogames away from previously formal approaches and towards a holistic method of engagement with the experience of playing videogames. Therefore, I propose that videogames are best conceptualised as navigable, spatial texts. This approach, based on Michel de Certeau’s concept of strategies and tactics, illuminates both the textual structure of videogames and the immediate experience of playing them. I also regard videogame space as paramount. My close analysis of Portal (Valve Corporation, 2007) demonstrates that a designer can choose to communicate rules and fiction, and attempt to influence the behaviour of players through strategies of space. Therefore, I aim to plot the relationship between designer and player through the power structures of the videogame, as conceived through this new lens. ii TABLE OF CONTENTS ABSTRACT ii ACKNOWLEDGEMENTS iv CHAPTER ONE: Introduction 1 AN EVOLVING FIELD 2 LUDOLOGY AND NARRATOLOGY 3 DEFINITIONS, AND THE NAVIGABLE TEXT 6 PLAYER EXPERIENCE AND VIDEOGAME SPACE 11 MARGINS OF DISCUSSION 13 CHAPTER TWO: The videogame from above: the designer as strategist 18 PSYCHOGEOGRAPHY 18 PORTAL AND THE STRATEGIES OF DESIGN 20 STRUCTURES OF POWER 27 RAILS 29 CHAPTER THREE: The videogame from below: the player as tactician 34 THE PLAYER AS NAVIGATOR 36 THE PLAYER AS SUBJECT 38 THE PLAYER AS BRICOLEUR 40 THE PLAYER AS GUERRILLA 43 CHAPTER FOUR: Conclusion 48 BIBLIOGRAPHY 50 iii ACKNOWLEDGEMENTS I would like to thank my supervisor, Dr.
    [Show full text]
  • "Road Sickness: the Case of Oliver Stone's Natural Born Killers"
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Érudit Article "Road Sickness: The Case of Oliver Stone’s Natural Born Killers" Ryan Fraser Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies, vol. 18, n°2-3, 2008, p. 101- 122. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/018554ar DOI: 10.7202/018554ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Document téléchargé le 10 février 2017 05:07 Cine?mas 18, 2:Cinémas 18, 2 27/05/08 21:28 Page 101 Road Sickness: The Case of Oliver Stone’s Natural Born Killers Ryan Fraser ABSTRACT The “violent” road movie is unique in the panoply of the genre. Under discussion here is Oliver Stone’s controversial Natural Born Killers (1994), a piece that the director has described as a commentary on violence as the American social ill.
    [Show full text]
  • Fondo Maddaloni (Donazione Del Prof
    n. pr. anno titolo regista collocaz. FONDO MADDALONI (DONAZIONE DEL PROF. Domenico Maddaloni nel 2016) DVD ORIGINALI 1 1933 La guerra lampo dei fratelli Marx McCarey FMB80 2 1939 Ombre rosse Ford FMD20 3 1939 Via col vento Fleming FME96 4 1940 Furore Ford FMB75 5 1940 Il grande dittatore Chaplin FMB99 6 1940 Rebecca La prima moglie Hitchcock FMD79 7 1941 Il mistero del falco Huston FMC68 8 1941 Quarto potere Welles FMD49 9 1942 L'ombra del dubbio Hitchcock FMD21 10 1942 Sabotatori Hitchcock FMD95 11 1943 Casablanca Curtiz FMA96 12 1944 Vertigine (Laura) Preminger FME93 13 1946 Duello al sole Vidor FMB10 14 1946 Il grande sonno Hawks FMB77 15 1946 Notorius L'amante perduta Hitchcock FMD06 16 1946 Sfida infernale Ford FME10 17 1946 Lo straniero The stranger Welles FME40 18 1946 La vita è meravigliosa Capra FME97 19 1947 Monsieur Verdoux Chaplin FMC53 20 1948 Il fiume rosso Hawks FMB57 21 1948 Ladri di biciclette De Sica FMC40 22 1948 Nodo alla gola Hitchcock FMD12 23 1949 Cavalieri del nord ovest, I Ford FMB05 24 1949 Il terzo uomo Reed FME48 25 1949 Totò le Mokò Bragaglia FME58 26 1949 Totò cerca casa Steno e Monicelli FME59 27 1950 Rashomon Kurosawa FMD71 28 1950 Viale del tramonto Wilder FME95 29 1951 Miracolo a Milano De Sica FMC75 30 1952 Cavaliere della valle solitaria, Il Stevens FMA99 31 1952 Mezzogiorno di fuoco Zinnemann FMC77 32 1952 Il ragazzo selvaggio Preminger FME09 33 1953 Napoletani a Milano De Filippo FMD02 34 1953 Il selvaggio Benedek FME03 35 1954 Delitto perfetto Hitchcock FMB28 36 1954 La finestra sul cortile Hitchcock
    [Show full text]
  • Uk Films for Sale in Cannes 2009
    UK FILMS FOR SALE IN CANNES 2009 Supported by Produced by 1234 TMoviehouse Entertainment Cast: Ian Bonar, Lyndsey Marshal, Kieran Bew, Mathew Baynton Gary Phillips Genre: Drama Rés. Du Grand Hotel 47 La Croisette, 6Th Director: Giles Borg Floor Producer Simon Kearney Tel: +33 4 93 38 65 93 Status : Completed [email protected] Home Office Tel: +44 20 7836 5536 Synopsis Ardent musician Stevie (guitar, vocals) endures a day-job he despises and can't find a girlfriend but... at least he has his music! With friend Neil (drums) he's been kicking around for a while not achieving much but when the pair of misfits team-up with the more-experienced Billy (guitar) and his cute pal Emily (bass) the possibility they might be on to something really good presents itself. For Stevie this is the opportunity he's been waiting for with the band and just maybe... Emily too! 13 Hrs TEyeline Entertainment Cast: Isabella Calthorpe, Gemma Atkinson, Tom Felton, Joshua Duncan Napier-Bell Bowman Lerins Stand R10 Genre: Horror Tel: +33 4 92 99 33 02 Director: Jonathan Glendening [email protected] Writer: Adam Phillips Home Office Tel: +44 20 8144 2994 Producer Nick Napier-Bell, Romain Schroeder, Tom Reeve Status : Post-Production Synopsis A full moon hangs in the night sky and lightning streaks across dark storm clouds. Sarah Tyler returns to her troubled family home in the isolated countryside, for a much put-off visit. As the storm rages on, Sarah, her family and friends shore up for the night, cut off from the outside world.
    [Show full text]
  • Film in Dvd E Vhs 06.2009
    NUMERO COLLOCAZIONE TITOLO REGISTA ARGOMENTI GENERE L/O= in lingua originale VM= vietato minori Elaborazione 17.06.2009 Ci scusiamo per eventuali errori: segnalaci gli errori e altri argomenti dei film SERDR000268 791.43 ZER DR 007 BERSAGLIO MOBILE GLEN, JOHN <Cinema e letteratura> Avventura SERV0002650 791.43 TRE VHS 13° GUERRIERO (IL) MCTERNAN, JOHN <Cinema e letteratura> <Vichinghi> Avventura SERV0002552 791.43 MIL VHS 1492 - LA CONQUISTA DEL PARADISO SCOTT, RIDLEY <Colonialismo> <Esplorazione> <Natura> <Personaggi Storico storici> <Colombo, Cristoforo> SERV0001117 791.43 MIL VHS 1943: UN INCONTRO GIANNETTI, ALFREDO <Coppia> <Guerra mondiale, 1939-1945> <Nazismo> Drammatico SERDR001523 791.43 MIL DR 1999 CONQUISTA DELLA TERRA - DISCO 4 THOMPSON, JACK LEE <Animali> <Esplorazione> <Viaggi nel tempo> Fantascienza EDIZIONE SPECIALE COFANETTO SERDR000771 791.43 DUE DR 2001: ODISSEA NELLO SPAZIO KUBRICK, STANLEY <Cinema e letteratura> <Film in lingua inglese sottotitolato Fantascienza in inglese> <Computer> <Conquista dello spazio> <Preistoria> <Viaggi nel tempo> SERDR000246 791.43 DUE DR 2010 L'ANNO DEL CONTATTO HIYAMS, PETER <Cinema e letteratura> <Conquista dello spazio> <Guerra Fantascienza fredda> SERDR000089 791.43 VEN DR 24 ORE MANDOKI, LUIS <Cinema e letteratura> Thriller SERDR000496 791.43 VEN DR 25a ORA (LA) LEE, SPIKE <Carcere> <Amicizia> Drammatico SERDR000494 791.43 QUA DR 44 MAGNUM PER L'ISPETTORE CALLAGHAN POST, TED <Cinema e letteratura> <Delinquenza> Poliziesco VM 18 (UNA) SERDR000065 791.43 OTT DR 8 DONNE E UN MISTERO -
    [Show full text]
  • Civil Liberty Versus Civil Liability: Robert O'neil Defends the First Amendment
    GANDER.DOC 4/15/2003 11:02 AM CIVIL LIBERTY VERSUS CIVIL LIABILITY: ROBERT O’NEIL DEFENDS THE FIRST AMENDMENT Eric M. Gander* A spectre is haunting First Amendment jurisprudence. It is the spectre of multimillion dollar lawsuits, brought by those who believe themselves to have been harmed by words or pictures, against the mak- ers of those words or pictures. It is a spectre that threatens to result in massive censorship, not by the government (which, as we know, is re- strained by the First Amendment), but rather by private individuals us- ing civil courts to secure what they feel is justice. It is a spectre that strikes at the heart of Justice Brennan’s admonition that, in regard to re- strictions on free expression, “[w]hat a State may not constitutionally bring about by means of a criminal statute is likewise beyond the reach of its civil law of libel.”1 Writing for the Court in the 1964 case of New York Times Co. v. Sullivan, Brennan, referring specifically to an Ala- bama jury’s huge award against the New York Times in a libel suit brought by a citizen of that state, noted: “The fear of damage awards under a rule such as that invoked by the Alabama courts here may be markedly more inhibiting than the fear of prosecution under a criminal statute.”2 He then goes on to stress that in a civil action the defendant does not even enjoy the “ordinary criminal-law safeguards such as the requirements of an indictment and of proof beyond a reasonable doubt.”3 All of this and more lead Justice Brennan, and a majority of his brethren then on the Court, to conclude that Mr.
    [Show full text]
  • Of ABBA 1 ABBA 1
    Music the best of ABBA 1 ABBA 1. Waterloo (2:45) 7. Knowing Me, Knowing You (4:04) 2. S.O.S. (3:24) 8. The Name Of The Game (4:01) 3. I Do, I Do, I Do, I Do, I Do (3:17) 9. Take A Chance On Me (4:06) 4. Mamma Mia (3:34) 10. Chiquitita (5:29) 5. Fernando (4:15) 11. The Winner Takes It All (4:54) 6. Dancing Queen (3:53) Ad Vielle Que Pourra 2 Ad Vielle Que Pourra 1. Schottische du Stoc… (4:22) 7. Suite de Gavottes E… (4:38) 13. La Malfaissante (4:29) 2. Malloz ar Barz Koz … (3:12) 8. Bourrée Dans le Jar… (5:38) 3. Chupad Melen / Ha… (3:16) 9. Polkas Ratées (3:14) 4. L'Agacante / Valse … (5:03) 10. Valse des Coquelic… (1:44) 5. La Pucelle d'Ussel (2:42) 11. Fillettes des Campa… (2:37) 6. Les Filles de France (5:58) 12. An Dro Pitaouer / A… (5:22) Saint Hubert 3 The Agnostic Mountain Gospel Choir 1. Saint Hubert (2:39) 7. They Can Make It Rain Bombs (4:36) 2. Cool Drink Of Water (4:59) 8. Heart’s Not In It (4:09) 3. Motherless Child (2:56) 9. One Sin (2:25) 4. Don’t We All (3:54) 10. Fourteen Faces (2:45) 5. Stop And Listen (3:28) 11. Rolling Home (3:13) 6. Neighbourhood Butcher (3:22) Onze Danses Pour Combattre La Migraine. 4 Aksak Maboul 1. Mecredi Matin (0:22) 7.
    [Show full text]
  • Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
    Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing
    [Show full text]