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A Small Region in a Global World. Patterns in Scandinavian Film and TV Culture
A Small Region in a Global World. Patterns in Scandinavian Film and TV Culture Ib Bondebjerg & Eva Novrup Redvall 2011 2 Table of Contents List of figures ................................................................................................................... 3 Acknowledgments ........................................................................................................... 5 Films in a New Context: Summary and Main Conclusions .................................................. 7 Introduction: Scandinavian Film Culture, Globalisation and the Digital Challenge ............ 13 The Cultural Diversity Model: The Scandinavian Film Support System ............................. 18 Film support between the nation state and market ........................................................... 19 The Europeanisation and globalisation of film culture ....................................................... 25 A weak and fragmented production culture? .................................................................. 37 Looking for the audience: the Scandinavian film user and the new film culture ......................... 43 Scandinavian Film Culture: National and Transnational Patterns ..................................... 53 A natural cultural region? Patterns of co-production and distribution of Scandinavian films .......... 53 The inter-Scandinavian cinema-market: audience patterns and genre-preferences...................... 57 Scandinavian films in a global perspective ..................................................................... -
J2P and P2J Ver 1
MARCH 21, 1964 SEVENTIETH YEAR 50 CENTS Billboard The International Music -Record Newsweekly Radio -TV Programming Phono -Tape Merchandising Coin Machine Operating Capitol Tells Some Small Dealers, Buy From 1 -Stops HOLLYWOOD--Capitol Records Distributing far too small for it to economically service them is Corporation notifying selected small dealers it properly, and that it would be to the advantage will stop selling them Capitol -Angel product of both the accounts and the distributing com- Barbra Streisand and Sidney Chaplin because it has become increasingly difficult for pany these FUNNY GIRL' for dealers to acquire product from watch Jule Styne, at the CRDC to service accounts such as yours.' and is one -stops. piano, and lyri- cist Bob Merrill run through their suggesting that henceforth they buy from one - score for the new musical According to a CRDC spokesman, the sales stops in their area. Policy is effective March 20. about Fanny Brice, titled "Funny Girl," due to open on Broad- costs have been mounting, and the firm cannot Dealers are being informed of this change on a way March 22. Capitol Records will put the original cast economically have its salesmen make calls on al- market -by- market basis rather than in a nation- bum into the groove Easter Sunday (29) and marginal volume accounts. In servicing such deal- will rush the LP wide announcement. At press time. the cities into market by ers, CRDC has to extend to them all the middle of the following week. The show covered included Seattle, the benefits. Minneapolis, Milwau- including exchanges. returns and credit. -
Islam and Christian-Muslim Relations in Norway: Popular Realities, Political and Religious Responses, Interfaith Cooperation
Oddbjørn Leirvik, Faculty of Theology, University of Oslo Islam and Christian-Muslim Relations in Norway: Popular realities, political and religious responses, interfaith cooperation Printed in Islamochristiana vol. 29, 2003, pp. 121-140. The Norwegian scene Christian-Muslim relations in any given country must always be understood against the background of the specific cultural and political context in which they develop. In that respect, there are substantial differences even within Europe. At the sub-regional level, the Scandinavian countries share some important cultural, religious and political characteristics. This implies that Christian-Muslim relations might be expected to develop differently in this part of Europe than in the central or southern parts of the continent. For instance, in all the Scandinavian countries women’s issues range high on the cultural and political agenda. As we shall see, this affects not only the way Islam is perceived by the populace, but also (as I will argue) the way in which the Muslim community itself develops. Another uniting feature between the Scandinavian countries is the existence of large Lutheran national churches, comprising between 80 and 90% of the population. Whereas Sweden introduced “changed relations” between state and church in 2000, Norway, Denmark and Iceland retain a solid state-church system. In the case of Norway, the constitution still says that “The Evangelical-Lutheran religion remains the public religion of the state”. Despite a steady process towards church autonomy, the state appoints the bishops, and church finances are fully integrated in state- and municipal budgets. At the political level, half of members of the Norwegian government are still required to be members of the Lutheran church. -
Winners of the Amanda Award 1985–2016
Winners of The Amanda Award 1985–2016 The Norwegian Amanda Award was established in 1985. All earlier award winners are listed below. Best Norwegian Film (Theatrical release): 2016 Bølgen, Producers Martin Sundland and Are Heidenstrøm for Fantefilm Fiksjon, director Roar Uthaug 2015 Børning, produsert av John M. Jacobsen, Sveinung Golimo og Marcus Brodersen for Filmkameratene, director Hallvard Bræin 2014 Tusen ganger godnatt, produced by Finn Gjerdrum and Stein B. Kvae for Paradox, director Erik Poppe 2013 Som du ser meg, producer Yngve Sæther for Motlys, director Dag Johan Haugerud 2012 Få meg på, for faen, producer Brede Hovland and Sigve Endresen for Motlys, director Jannicke Systad Jacob- sen 2011 Kongen av Bastøy, producer Karin Julsrud for 4 ½ 2010 Upperdog, producerer Asle Vatn and Christian Fredrik Martin for Friland Film 2009 Max Manus, producerer: John M. Jacobsen and Sveinung Golimo, Filmkameratene AS 2008 Mannen som elsket Yngve, producer: Yngve Sæther, Motlys 2007 Reprise, director: Joachim Trier, producer: Karin Julsrud for 4 ½ 2006 Slipp Jimmy fri!, director: Cristopher Nielsen, producer Lars Andreas Hellebust for Storm Studio 2005 Hawaii Oslo, director: Erik Poppe 2004 Buddy, director: Morten Tyldum 2003 Salmer fra kjøkkenet, director: Bent Hamer 2002 Alt om min far, director: Even Benestad 2001 Heftig og begeistret, director Knut Erik Jensen 2000 S.O.S., director Thomas Robsahm 1999 Bare skyer beveger stjernene, director Torun Lian 1998 Salige er de som tørster, director Carl Jørgen Kiønig 1997 Budbringeren, director: -
Nouns on Fire in Mainland Scandinavian
Nouns on fire in Mainland Scandinavian A lexico-typological study of selected nouns referring to FIRE in Danish, Norwegian (Bokmål) and Swedish Carolina Lindmark Department of Linguistics Independent Project for the Degree of Master 30 HEC Master’s program in language sciences – specialization in typology and linguistic diversity Autumn term 2017 Supervisor: Maria Koptjevskaja-Tamm Expert reviewer: Henrik Liljegren Examiner: Bernhard Wälchli Nouns on fire in Mainland Scandinavian A lexico-typological study of selected nouns referring to FIRE in Danish, Norwegian (bokmål) and Swedish Carolina Lindmark Abstract The current study investigates the use of a selected group of nouns in the domain of FIRE in written Mainland Scandinavian languages, i.e. Danish, Norwegian (bokmål) and Swedish. The main goal is to capture the semantic features of the nouns by examining typical situations where they occur, following the frame-method for lexical studies by Rakhilina & Reznikova (2016). The nouns are examined in terms of their combinatorial patterning in compounds with other nouns, in trigrams and in figurative use. The synchronic data is drawn from corpora, lexica and first speaker intuition. Four parameters are formulated, which seem to play a role in the lexical use among the fire words, in the three languages. The nouns are structured according to the parameters and each lexeme displays combinatorial pattern revealing semantic restrictions. The selected ‘fire nouns’ are fairly similar, but differ in terms of semantic load most prominently among the lexemes that refer to controllable fires. The lexemes relevant for the parameter of ‘subcomponents of fire processes’ display an asymmetry, which needs to be studied further.