New York City Council Bans N-Word
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Feff Press Kit
PRESS RELEASES, FILM STILLS & FESTIVAL PICS AND VIDEOS TO DOWNLOAD FROM WWW.FAREASTFILM.COM PRESS AREA Press Office/Far East Film Festival 19 Gianmatteo Pellizzari & Ippolita Nigris Cosattini +39/0432/299545 - +39/347/0950890 [email protected] - [email protected] Video Press Office Matteo Buriani +39/345/1821517 – [email protected] 21/29 April 2017 – Udine – Teatro Nuovo and Visionario FAR EAST FILM FESTIVAL 19: THE POWER OF ASIA! The irresistible road movie Survival Family opens the #FEFF19 on Friday the 21 st of April: a packed programme which testifies to the incredible vitality (both productive and creative) of Asian cinema. 83 titles selected from almost a thousand seen, and 4 world premiers, including Herman Yau's high-octane thriller Shock Wave , which will close the nineteenth edition. Press release of the 13 th of April 2017 For immediate release UDINE - Who turned out the lights? Nobody did, and the fuses haven't blown. And no, it's not even a power cut. Electricity has just suddenly ceased to exist, so the Suzuki family must now very quickly learn the art of survival: and facing a global blackout is not exactly a walk in the park! It's with the world screeching to a halt of the irresistible Japanese road movie Survival Family that the highly anticipated Far East Film Festival 19 opens: not just because Yaguchi Shinobu' s wonderful comedy is the festival's starting pistol on Friday the 21 st of April, but also for a question of symmetry: just like the blackout in Survival Family , the FEFF is an interruption . -
Official Committee Hansard
COMMONWEALTH OF AUSTRALIA Official Committee Hansard JOINT COMMITTEE ON THE AUSTRALIAN CRIME COMMISSION Reference: Legislative arrangements to outlaw serious and organised crime groups THURSDAY, 3 JULY 2008 ADELAIDE BY AUTHORITY OF THE PARLIAMENT INTERNET Hansard transcripts of public hearings are made available on the inter- net when authorised by the committee. The internet address is: http://www.aph.gov.au/hansard To search the parliamentary database, go to: http://parlinfoweb.aph.gov.au JOINT STATUTORY COMMITTEE ON AUSTRALIAN CRIME COMMISSION Thursday, 3 July 2008 Members: Senator Hutchins (Chair), Mr Wood (Deputy Chair), Senators Barnett, Parry and Polley and Mr Champion, Mr Gibbons, Mr Hayes and Mr Pyne Members in attendance: Senators Barnett, Hutchins and Parry and Mr Champion, Mr Gibbons, Mr Hayes, Mr Pyne and Mr Wood Terms of reference for the inquiry: To inquire into and report on: The effectiveness of legislative efforts to disrupt and dismantle serious and organised crime groups and associations with these groups, with particular reference to: a. international legislative arrangements developed to outlaw serious and organised crime groups and association to those groups, and the effectiveness of these arrangements; b. the need in Australia to have legislation to outlaw specific groups known to undertake criminal activities, and membership of and association with those groups; c. Australian legislative arrangements developed to target consorting for criminal activity and to outlaw serious and organised crime groups, and membership of and association with those groups, and the effectiveness of these arrangements; d. the impact and consequences of legislative attempts to outlaw serious and organised crime groups, and membership of and association with these groups on: i. -
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Humanity 2012 Papers. ~~~~~~ “‘We are all the same, we are all unique’: The paradox of using individual celebrity as metaphor for national (transnational) identity.” Joyleen Christensen University of Newcastle Introduction: This paper will examine the apparently contradictory public persona of a major star in the Hong Kong entertainment industry - an individual who essentially redefined the parameters of an industry, which is, itself, a paradox. In the last decades of the 20th Century, the Hong Kong entertainment industry's attempts to translate American popular culture for a local audience led to an exciting fusion of cultures as the system that was once mocked by English- language media commentators for being equally derivative and ‘alien’, through translation and transmutation, acquired a unique and distinctively local flavour. My use of the now somewhat out-dated notion of East versus West sensibilities will be deliberate as it reflects the tone of contemporary academic and popular scholarly analysis, which perfectly seemed to capture the essence of public sentiment about the territory in the pre-Handover period. It was an explicit dichotomy, with commentators frequently exploiting the notion of a culture at war with its own conception of a national identity. However, the dwindling Western interest in Hong Kong’s fate after 1997 and the social, economic and political opportunities afforded by the reunification with Mainland China meant that the new millennia saw Hong Kong's so- called ‘Culture of Disappearance’ suddenly reconnecting with its true, original self. Humanity 2012 11 Alongside this shift I will track the career trajectory of Andy Lau – one of the industry's leading stars1 who successfully mimicked the territory's movement in focus from Western to local and then regional. -
Representation of Females As Victims in Hong Kong Crime Films (2003-2015)
REPRESENTATION OF FEMALES AS VICTIMS IN HONG KONG CRIME FILMS (2003-2015) Perspectives from One Nite in Mongkok, Protégé and The Stool Pigeon TINGTING HU (胡婷婷) MA. Media, Loughborough University, UK, 2011 BA. Arts, Shanghai Theatre Academy, China, 2010 This thesis is submitted for the degree of Master of Research Department of Media, Music, Communication and Cultural Studies Faculty of Arts Macquarie University, Sydney December 25, 2015 MRES Thesis 2015 Tingting HU (ID: 43765858) TABLE OF CONTENTS ABSTRACT ........................................................................................................................ iii CERTIFICATE OF AUTHORSHIP/ORIGINALITY .................................................. iv ACKNOWLEDGMENTS .................................................................................................. v CHAPTER 1 INTRODUCTION ....................................................................................... 1 CHAPTER 2 FEMINISM AND HONG KONG CRIME FILMS ................................. 7 Feminism and Film Studies .................................................................................................. 7 The Western Context ......................................................................................................... 7 The Chinese Context ....................................................................................................... 11 Crime Films and Violence Against Women ....................................................................... 15 Crime Films ................................................................................................................... -
MILORAD TRKULJA (Akamichael TRKULJA) Appellant
IN THE HIGH COURT OF AUSTRALIA MELBOURNE REGISTRY No. M88 of2017 BETWEEN: MILORAD TRKULJA (akaMICHAEL TRKULJA) Appellant and 10 GOOGLE INC Respondent RESPONDENT'S SUBMISSIONS Part I: Certification for publication on the internet 1. The Respondent certifies that these submissions are in a form suitable for publication on the internet. Part 11: Statement of issues 2. The appeal presents one issue. Did the Court of Appeal err in setting aside 20 originating process and its service, on the basis that the matters complained of were not capable of conveying any of the pleaded defamatory meanings? Part Ill: Certification in respect of section 78B of the Judiciary A ct 1903 (Cth) 3. The Respondent considers that notice under section 78B is not required. Part IV: Material Facts 4. On 20 June 2014, the Appellant filed in the Supreme Comi of Victoria an amended writ and an amended statement of claim, both dated 13 June 2014. 1 5. On a date after 20 June 2014,2 the Appellant served the amended writ and amended statement of claim on the Respondent, relying upon the long-ann jurisdiction of the Supreme Court of Victoria, as provided by rule 7.01(l)(i) and (j) of Chapter 1 of 30 the Supreme Court (General Civil Procedure) Rules 2005 (Vie) (the Supreme Court Rules). A judge of the Supreme Comi had earli er given th e Appell ant leave to fil e an amend ed statement of claim only. See Reasons of the Comi of Appeal at [12], [ 14] and fn 8. Ashurst Australia Level26 181 William Street MELBOURNE VIC 3000 -2- 6. -
1 “Ann Hui's Allegorical Cinema” Jessica Siu-Yin Yeung to Cite This
This is the version of the chapter accepted for publication in Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary published by Palgrave Macmillan https://link.springer.com/chapter/10.1007/978-981-10-7766-1_6 Accepted version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/34754 “Ann Hui’s Allegorical Cinema” Jessica Siu-yin Yeung To cite this article: By Jessica Siu-yin Yeung (2018) “Ann Hui’s Allegorical Cinema”, Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary, ed. Jason S. Polley, Vinton Poon, and Lian-Hee Wee, 87-104, Singapore: Palgrave Macmillan, 2018. Allegorical cinema as a rhetorical approach in Hong Kong new cinema studies1 becomes more urgent and apt when, in 2004, the Closer Economic Partnership Arrangement (CEPA) begins financing mainland Chinese-Hong Kong co-produced films.2 Ackbar Abbas’s discussion on “allegories of 1997” (1997, 24 and 16–62) stimulates studies on Happy Together (1997) (Tambling 2003), the Infernal Affairs trilogy (2002–2003) (Marchetti 2007), Fu Bo (2003), and Isabella (2006) (Lee 2009). While the “allegories of 1997” are well- discussed, post-handover allegories remain underexamined. In this essay, I focus on allegorical strategies in Ann Hui’s post-CEPA oeuvre and interpret them as an auteurish shift from examinations of local Hong Kong issues (2008–2011) to a more allegorical mode of narration. This, however, does not mean Hui’s pre-CEPA films are not allegorical or that Hui is the only Hong Kong filmmaker making allegorical films after CEPA. Critics have interpreted Hui’s films as allegorical critiques of local geopolitics since the beginning of her career, around the time of the Sino-British Joint Declaration in 1984 (Stokes and Hoover 1999, 181 and 347 note 25), when 1997 came and went (Yau 2007, 133), and when the Umbrella Movement took place in 2014 (Ho 2017). -
Bibliothèque François Villon Liste Des Films Classés Par Réalisateur
Bibliothèque François Villon liste des films classés par réalisateur Sommaire Nom des réalisateurs commençant par la lettre : Cliquez sur la lettre pour atteindre la page correspondante A J S B K T C L U D M V E N W F O X - Y G P Z H Q Elaborée au mois de mars 2013, cette liste a une portée indicative. Elle ne peut I R refléter à l’exact notre fonds au moment où vous la consultez, notre fonds étant rythmé par de nouvelles acquisitions ou de dvd retirés pour cause de vétusté ou de vol. A Territoires Abbou, Olivier TER La vierge, les coptes et moi Abdel, Namir messeh VIE L'iceberg Abel, Dominique ICE Rumba Abel, Dominique RUM Garage Abrahamson, Lenny GAR Mission impossible 3 Abrams, J. J. MIS Star Trek Abrams, J.J. STA SUPER 8 Abrams, Jeffrey Jacob SUP Madame Brouette Absa, Moussa Sene MAD Paradise now Abu-Assad, Hany PAR Le hérisson Achache, Mona HER Dernière séance Achard, Laurent DER Le dernier des fous Achard, Laurent DER Numéro 9 Acker, Shane NUM Le monde de Narnia Adamson, Andrew MON Le monde de Narnia Adamson, Andrew MON Shrek Adamson, Andrew SHR Under the skin Adler, Carine UND Bagdad Café Adlon, Percy BAG New York Masala Advani, Nikhil NEW Gone baby gone Affleck, Ben GON The town Affleck, Ben TOW I'm Still Here Affleck, Casey IMS Pédale douce Aghion, Gabriel PED Rencontres Agostini, Philippe REN Entre deux rives Agresti, Alejandro ENT Une nuit avec Sabrina love Agresti, Alejandro NUI Haute tension Aja, Alexandre HAU Mirrors Aja, Alexandre MIR Piranha Aja, Alexandre PIR Golden eighties Akerman, Chantal GOL Jeanne Dielman 23 quai du commerce, 1080 Bruxelles Akerman, Chantal JEA La captive Akerman, Chantal CAP De l'autre côté Akin, Fatih DEL Head-on Akin, Fatih HEA Soul kitchen Akin, Fatih SOU 8th wonderland Alberny, Nicolas EIG La petite Jérusalem Albou, Karin PET Coup d'éclat Alcala, José COU Les maîtres de l'animation russe Aldashin, M. -
Fat Tony__Co Final D
A SCREENTIME production for the NINE NETWORK Production Notes Des Monaghan, Greg Haddrick Jo Rooney & Andy Ryan EXECUTIVE PRODUCERS Peter Gawler & Elisa Argenzio PRODUCERS Peter Gawler, Adam Todd, Jeff Truman & Michaeley O’Brien SERIES WRITERS Peter Andrikidis, Andrew Prowse & Karl Zwicky SERIES DIRECTORS MEDIA ENQUIRIES Michelle Stamper: NINE NETWORK T: 61 3 9420 3455 M: 61 (0)413 117 711 E: [email protected] IMPORTANT LEGAL NOTIFICATION TO MEDIA Screentime would like to remind anyone reporting on/reviewing the mini-series entitled FAT TONY & CO. that, given its subject matter, the series is complicated from a legal perspective. Potential legal issues include defamation, contempt of court and witness protection/name suppression. Accordingly there are some matters/questions that you may raise which we shall not be in a position to answer. In any event, please note that it is your responsibility to take into consideration all such legal issues in determining what is appropriate for you/the company who employs you (the “Company”) to publish or broadcast. Table of Contents Synopsis…………………………………………..………..……………………....Page 3 Key Players………….…………..…………………….…….…..……….....Pages 4 to 6 Production Facts…………………..…………………..………................Pages 7 to 8 About Screentime……………..…………………..…….………………………Page 9 Select Production & Cast Interviews……………………….…….…Pages 10 to 42 Key Crew Biographies……………………………………………...….Pages 43 to 51 Principal & Select Supporting Cast List..………………………………...….Page 52 Select Cast Biographies…………………………………………….....Pages 53 to 69 Episode Synopses………………………….………………….………..Pages 70 to 72 © 2013 Screentime Pty Ltd and Nine Films & Television Pty Ltd 2 SYNOPSIS FAT TONY & CO., the brand-new production from Screentime, tells the story of Australia’s most successful drug baron, from the day he quit cooking pizza in favour of cooking drugs, to the heyday of his $140 million dollar drug empire, all the way through to his arrest in an Athens café and his whopping 22-year sentence in Victoria’s maximum security prison. -
PDF Download Gangland Melbourne Ebook, Epub
GANGLAND MELBOURNE PDF, EPUB, EBOOK James Morton | 208 pages | 01 Oct 2011 | Melbourne University Press | 9780522858693 | English | Carlton, Australia Gangland Melbourne PDF Book EU leaders to discuss plans to roll-out Covid vaccine passports - while Britons who have received jabs will Ordinary Australians are being fined extortionate amounts for doing regular things like exercising outside for too long. News Home. Medical emergency involving flight crew member forces Virgin plane to return to Adelaide Posted 5 h hours ago Fri Friday 15 Jan January at am. Scottish Tories suspend candidate who claimed 'fat' foodbank users are 'far from starving' and accused Rebel Roundup Every Friday. The world's most popular perfume revealed: Carolina Herrerra's Good Girl is the most in demand across the Many of the murders remain unsolved, although detectives from the Purana Taskforce believe that Carl Williams was responsible for at least 10 of them. In the wake of the Informer scandal, Williams believed she could still get back the Primrose Street property, which was seized to repay her family's tax debt. May 8, - Lewis Caine, a convicted killer who had changed his name to Sean Vincent, shot dead and his body dumped in a back street in Brunswick. Never-before-seen photos of the St Kilda murder scene of an underworld figure have been released as part of a renewed police push for answers over the major event in the early years of Melbourne's gangland war. It is not allowed to happen,' she said. Boris Johnson and the Two Ronnies could be replaced by An edited version commenced screening in Victoria on 14 September Investigation concludes Joe the pigeon had a fake US leg band and won't be executed. -
Newsletter 27
The 'Directing' and 'Acting' of Melodrama Several years ago the Archive became the proud recipient of the late director Lee Sun-fung's private collection of film notes and photo albums, which form the basics of our forthcoming publication The Cinema of Lee Sun-fung. Decades after Lee's death, we are invited to probe into the ideological origin of his visual imagery, and the insightful, yet conflicting reviews by the director of his own works that aptly reflected the aura of his time. The 'Novel.Drama.Melodrama' retrospective will showcase the masterpieces of Lee alongside those of his contemporaries including Lee Tit, Ng Wui, Chun Kim and Tso Kea. A glimpse of the star-studded cast sheds light on the enigma of Cantonese cinema and its stars - Ng Cho-fan, Pak Yin, Cheung Ying, Mui Yee, etc - who teamed up with talented screenwriters and directors to dazzle the audience with vivid portrayal of the stories of their time. Shaw and MP & GI stars may be larger than life, but the audience never seemed too convinced that Linda Lin Dai could play a vain woman bad to the bone. Yet Cantonese stars Ng Cho-fan and Pak Yin were the actors next door who played out our lives. The stately Ng Cho-fan could be weak and helpless in one film, but overbearing or heroic in others. The handsome Cheung Ying switched between his dandy and perfect gentleman personas almost effortlessly. The decent and upright Pak Yin had surprised us with her femme fatale roles. The trio might have been cast in one too many melodramas together but in each film they took on a different demeanour. -
Brattle Theatre Film Notes: Au Began His Career As a Cine- the 1980S
Brattle Theatre Film Notes: au began his career as a cine- the 1980s. Hong Kong cinema Hong Kong, 2002. R. 101 min. matographer, working on films experienced a resurgence in the Cast: Andy Lau, Tony Leung Chiu Lsuch as “Where’s Officer Tuba?” 1980s and early 1990s with the Wai, Anthony Wong Chau-Sang, in 1986 and “Chungking Express” in release of films like director John Eric Tsang; Writer: Felix Chong; Woo’s “A Better Tomorrow” (1986) Cinematographer: Yiu-Fai Lai; 1994. He started his dire c t o r i a l Pr oducer: Andy Lau; Direc t o r s : career with 1987’s “The Ultimate and “The Killer” (1989) both with ( Wai Keung Lau, Alan Mak ) Vampire” and has since worked on action star Chow Yun-Fat. The films movies like the “Best of the Best” w e re known for their chore o- series (1996), “Young and graphed action as well as the inter- ard-boiled and fast paced is D a n g e rous” series (1996); “The nal moral conflicts of the main char- one way to describe the acters. HHong Kong action thriller Duel” (2000); and “The Park” (2003). “Infernal Affairs.” is co-director, Alan Mak, also nfernal Affairs” also adds a told HKMania.com that the level of intrigue. While the he film, which runs from Nov. movie has some very exciting 19 until Nov. 25 at the Brattle Hscript took three years to “I write. He said that the taste of the action scenes, the psychological TTheatre in Cambridge, herald- Hong Kong public shifted fro m impact of the duplicitous ro l e s ed a new wave of Hong Kong cin- action movies in the 1980s to takes its effect on the undercover ema for many critics. -
INFERNAL AFFAIRS (2002, 101 Min.) Online Versions of the Goldenrod Handouts Have Color Images & Hot Links
November 13 2018 (XXXVII:12) Wai-Keung Lau and Alan Mak: INFERNAL AFFAIRS (2002, 101 min.) Online versions of The Goldenrod Handouts have color images & hot links: http://csac.buffalo.edu/goldenrodhandouts.html DIRECTED BY Wai-Keung Lau (as Andrew Lau) and Alan Mak WRITING Alan Mak and Felix Chong PRODUCED BY Wai-Keung Lau producer (as Andrew Lau), line producers: Ellen Chang and Lorraine Ho, and Elos Gallo (consulting producer) MUSIC Kwong Wing Chan (as Chan Kwong Wing) and Ronald Ng (composer) CINEMATOGRAPHY Yiu-Fai Lai (director of photography, as Lai Yiu Fai), Wai-Keung Lau (director of photography, as Andrew Lau) FILM EDITING Curran Pang (as Pang Ching Hei) and Danny Pang Art Direction Sung Pong Choo and Ching-Ching Wong WAI-KEUNG LAU (b. April 4, 1960 in Hong Kong), in a Costume Design Pik Kwan Lee 2018 interview with The Hollywood Reporter, said “I see every film as a challenge. But the main thing is I don't want CAST to repeat myself. Some people like to make films in the Andy Lau...Inspector Lau Kin Ming same mood. But because Hong Kong filmmakers are so Tony Chiu-Wai Leung...Chen Wing Yan (as Tony Leung) lucky in that we can be quite prolific, we can make a Anthony Chau-Sang Wong...SP Wong Chi Shing (as diverse range of films.” Lau began his career in the 1980s Anthony Wong) and 1990s, serving as a cinematographer to filmmakers Eric Tsang...Hon Sam such as Ringo Lam, Wong Jing and Wong Kar-wai. His Kelly Chen...Dr.