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Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle -
1-3 Front CFP 10-4-10.Indd
Area/State Colby Free Press Monday, October 4, 2010 Page 3 Weather Gun rights, mental health on 2010 ballot Corner From “BALLOT,” Page 1 tional guarantees to the individual right to section of the law in the 1970s when the paign to let voters know why the revision bear arms, the federal constitution does, Constitution was last updated on a grand is needed. The U.S. Supreme Court ruled in a Dis- providing protection for citizens. scale, but left the mental health exception. “A voter with mental illness doesn’t trict Columbia case that individuals have “The federal constitutional right sets the Sweeney said had the changes been made mean someone who is in a state hospital,” the right to bear arms, striking down a ban minimum,” Levy said. “States might give later in the decade, the mental health excep- Sweeney said, “but someone with anxiety, on handguns. But the case was not viewed greater rights than the federal constitu- tion also would have been nixed. Mental depression, a soldier coming back with as far-reaching because of D.C.’s unique tion.” illness was just beginning to be understood, (post traumatic stress disorder). It’s our federal status. Then this June, the high For example, states may specify greater leading to changes in treatment and diagno- grandparents and our neighbors.” court struck down a Chicago handgun law, rights for carrying concealed weapons, li- sis that otherwise would have led to a “hos- Sweeney said Kansas isn’t the only state declaring that Americans have the right to censing of fi rearms or necessary training. -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
Wild’ Evaluation Between 6 and 9Years of Age
FINAL-1 Sun, Jul 5, 2015 3:23:05 PM Residential&Commercial Sales and Rentals tvspotlight Vadala Real Proudly Serving Your Weekly Guide to TV Entertainment Cape Ann Since 1975 Estate • For the week of July 11 - 17, 2015 • 1 x 3” Massachusetts Certified Appraisers 978-281-1111 VadalaRealEstate.com 9-DDr. OsmanBabsonRd. Into the Gloucester,MA PEDIATRIC ORTHODONTICS Pediatric Orthodontics.Orthodontic care formanychildren can be made easier if the patient starts fortheir first orthodontic ‘Wild’ evaluation between 6 and 9years of age. Some complicated skeletal and dental problems can be treated much more efficiently if treated early. Early dental intervention including dental sealants,topical fluoride application, and minor restorativetreatment is much more beneficial to patients in the 2-6age level. Parents: Please makesure your child gets to the dentist at an early age (1-2 years of age) and makesure an orthodontic evaluation is done before age 9. Bear Grylls hosts Complimentarysecond opinion foryour “Running Wild with child: CallDr.our officeJ.H.978-283-9020 Ahlin Most Bear Grylls” insurance plans 1accepted. x 4” CREATING HAPPINESS ONE SMILE AT ATIME •Dental Bleaching included forall orthodontic & cosmetic dental patients. •100% reduction in all orthodontic fees for families with aparent serving in acombat zone. Call Jane: 978-283-9020 foracomplimentaryorthodontic consultation or 2nd opinion J.H. Ahlin, DDS •One EssexAvenue Intersection of Routes 127 and 133 Gloucester,MA01930 www.gloucesterorthodontics.com Let ABCkeep you safe at home this Summer Home Healthcare® ABC Home Healthland Profess2 x 3"ionals Local family-owned home care agency specializing in elderly and chronic care 978-281-1001 www.abchhp.com FINAL-1 Sun, Jul 5, 2015 3:23:06 PM 2 • Gloucester Daily Times • July 11 - 17, 2015 Adventure awaits Eight celebrities join Bear Grylls for the adventure of a lifetime By Jacqueline Spendlove TV Media f you’ve ever been camping, you know there’s more to the Ifun of it than getting out of the city and spending a few days surrounded by nature. -
Europa, Más Allá De La COVID-19
18 de septiembre de 2020 Europa, más allá de la COVID-19 Clément Beaune | Secretario de Estado de Asuntos Europeos, Ministerio para Europa y Asuntos Exteriores de Francia | @CBeaune Versión original en francés: “L'Europe, par delà le COVID-19”, Politique étrangère, vol. 85, n° 3, otoño 2020 en L'Institut français des Relations internationales (Ifri). El acuerdo presupuestario europeo de julio de 2020 es inédito: creará por primera vez un endeudamiento común que permitirá reactivar las economías afectadas por la crisis de la COVID-19. Es el fruto del dinamismo franco-alemán y de ambiciones reiteradas de la Comisión Europea. En un mundo en el que las tensiones se afilan, Francia necesita a Europa para mantener su soberanía. La Unión Europea debe seguir evolucionando para afianzarse como potencia y responder a las expectativas de los ciudadanos. Unas semanas después del acuerdo presupuestario más ambicioso que se haya alcanzado jamás y que adoptó el Consejo Europeo el 21 de julio de 2020, resulta tentador pensar que, fielmente a un principio muy sabiamente repetido, “Europa sólo avanza con las crisis”, la COVID-19 lo ha cambiado todo en la Unión Europea (UE). Como todos los tópicos, éste también tiene algo de verdad. El salto en integración que se ha dado con el endeudamiento común de la UE es la fase de integración europea más importante que se ha producido desde la del euro; sin esta crisis hubiera resultado imposible. Pero, sobre todo, es cierto y también menos visible que este gran avance le debe mucho a un triángulo áureo que, por primera vez, ha recobrado el vigor de los años noventa: la pareja franco-alemana, estrechamente asociada a una Comisión Europea ambiciosa. -
A Filmmakers' Guide to Distribution and Exhibition
A Filmmakers’ Guide to Distribution and Exhibition A Filmmakers’ Guide to Distribution and Exhibition Written by Jane Giles ABOUT THIS GUIDE 2 Jane Giles is a film programmer and writer INTRODUCTION 3 Edited by Pippa Eldridge and Julia Voss SALES AGENTS 10 Exhibition Development Unit, bfi FESTIVALS 13 THEATRIC RELEASING: SHORTS 18 We would like to thank the following people for their THEATRIC RELEASING: FEATURES 27 contribution to this guide: PLANNING A CINEMA RELEASE 32 NON-THEATRIC RELEASING 40 Newton Aduaka, Karen Alexander/bfi, Clare Binns/Zoo VIDEO Cinemas, Marc Boothe/Nubian Tales, Paul Brett/bfi, 42 Stephen Brown/Steam, Pamela Casey/Atom Films, Chris TELEVISION 44 Chandler/Film Council, Ben Cook/Lux Distribution, INTERNET 47 Emma Davie, Douglas Davis/Atom Films, CASE STUDIES 52 Jim Dempster/bfi, Catharine Des Forges/bfi, Alnoor GLOSSARY 60 Dewshi, Simon Duffy/bfi, Gavin Emerson, Alexandra FESTIVAL & EVENTS CALENDAR 62 Finlay/Channel 4, John Flahive/bfi, Nicki Foster/ CONTACTS 64 McDonald & Rutter, Satwant Gill/British Council, INDEX 76 Gwydion Griffiths/S4C, Liz Harkman/Film Council, Tony Jones/City Screen, Tinge Krishnan/Disruptive Element Films, Luned Moredis/Sgrîn, Méabh O’Donovan/Short CONTENTS Circuit, Kate Ogborn, Nicola Pierson/Edinburgh BOXED INFORMATION: HOW TO APPROACH THE INDUSTRY 4 International Film Festival, Lisa Marie Russo, Erich BEST ADVICE FROM INDUSTRY PROFESSIONALS 5 Sargeant/bfi, Cary Sawney/bfi, Rita Smith, Heather MATERIAL REQUIREMENTS 5 Stewart/bfi, John Stewart/Oil Factory, Gary DEALS & CONTRACTS 8 Thomas/Arts Council of England, Peter Todd/bfi, Zoë SHORT FILM BUREAU 11 Walton, Laurel Warbrick-Keay/bfi, Sheila Whitaker/ LONDON & EDINBURGH 16 article27, Christine Whitehouse/bfi BLACK & ASIAN FILMS 17 SHORT CIRCUIT 19 Z00 CINEMAS 20 The editors have made every endeavour to ensure the BRITISH BOARD OF FILM CLASSIFICATION 21 information in this guide is correct at the time of GOOD FILMS GOOD PROGRAMMING 22 going to press. -
Attalion April 4, 1996
Vol. 24, No. 13 Serving Marine Forces Pacific, MCB Hawaii, III Marine Expeditionary Forces, Hawaii and 1st Radio Battalion April 4, 1996 ... Stingers launch i 414 at PTA p Steven Williams 1..5l. He was at the Beach Bash. POHAKULOA TRAINING AREA, 144ftrer- Were you? See B-1 for story. Hawaii -- Okinawa's 1st Stinger Battery, Marine Aircraft Group-18, from Marine Corps Air Station Easter Sunrise Futenma, tested its new ANfrWQ-1 Avenger Air Defense Weapons Service at K-Bay Systems recently at Pohakuloa Rifle Range Training Area. After receiving 30 Avengers by Jan. The base chaplain will host an 1, the battery wanted to test its new Easter service Sunday at 6 a.m., technology in the field, according to at the MCB Hawaii rifle range. Maj. Steven M. Lesher, lstStingBatt For more information. call Petty commanding officer. Officer 1st Class Wood, 257-3552. "This gives us a lot of new capabili- Steven An AN/TVVQ-1 Avenger Air Defense Weapons System, operated by 1st Stinger Battery, Marine Air Group-18 launches ties," said Lesher. We now have a an FM-92A Stinger missile at an aerial heat source during the battery's annual training exercise at Pohakuloa Training 24-hour weapons system. We can Area. Firing the Corps' only ground-to-air, heat-seeking missile, the Okinawa-based battery hit the field in Hawaii recently Easter services find targets at night and engage to test its new Stinger slinger. them as well." some only saw through simulators, Roman Catholic Stinger Marines came to the island which are like "big video games," Thursday at 6 p.m. -
Documentarists and Documentary/Narrative Filmmakers Those Listed Are Directors, Unless Otherwise Noted
1 COM 321, Documentary Form in Film & Television 1/15/14 Documentarists and Documentary/Narrative Filmmakers Those listed are directors, unless otherwise noted. Documentary/Narrative Filmmakers—Many have done both: Name & Key Documentaries Key Narrative Works Nation Allen, Woody Zelig, 1983 (mockumentary) Annie Hall, 1977 US Manhattan, 1979 Altman, Robert The James Dean Story, 1957 M*A*S*H, 1970 US The Player, 1992 Short Cuts, 1993 Anderson, Lindsay Thursday’s Children, 1954 (with Guy if. , 1968 Britain Brenton) O Lucky Man!, 1973 Anger, Kenneth Kustom Kar Kommandos, 1963 Fireworks, 1947 US Scorpio Rising, 1964 Apted, Michael The Up! series (1970‐2012 so far) Gorillas in the Mist, 1988 Britain Nell, 1994 The World is Not Enough, 1999 Brakhage, Stan The Act of Seeing with One’s Own Dog Star Man, 1962 US Eyes, 1971 Mothlight, 1963 Bunuel, Luis Las Hurdes (Land Without Bread), Un Chien Andalou, 1928 (with Salvador Spain/France 1933 (mockumentary?) Dali) L’Age D’Or, 1930 The Discreet Charm of the Bourgeoisie, 1972 Cameron, James Expedition Bismarck, 2002 Titanic, 1997 US Ghosts of the Abyss, 2003 Avatar, 2009 Capra, Frank Why We Fight series, 1942‐44 Mr. Deeds Goes to Town, 1936 US Mr. Smith Goes to Washington, 1939 It’s a Wonderful Life, 1946 Chukrai, Grigori Pamyat, 1971 Ballad of a Soldier, 1959 Soviet Union Cooper, Merian C. Grass: A Nation’s Battle for Life, 1925 The Four Feathers, 1929 US (with Ernest B. Schoedsack) King Kong, 1933 Chang: A Drama of the Wilderness, 1927 (with Ernest B. Schoedsack) Demme, Jonathan Stop Making Sense, -
3. Terence Rattigan- First Success and After
DIPLOMARBEIT Titel der Diplomarbeit „In and out of the limelight- Terence Rattigan revisited“ Verfasserin Covi Corinna angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 30. Jänner 2013 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: 343 Diplomstudium Anglistik und Amerikanistik UniStG Betreuer: Ao. Univ.-Prof. Dr. Rudolf Weiss Table of contents 1. Introduction……………………………………………………....p.4 2. The History of the Well-Made Play…………………………......p.5 A) French Precursors.....................................................................p.6 B) The British Well-Made Play...................................................p.10 a) Tom Robertson and the 1870s...........................................................p.10 b) The “Renaissance of British Drama”...............................................p.11 i. Arthur Wing Pinero (1855-1934) and Henry Arthur Jones (1851- 1929)- The precursors of the “New Drama”..............................p.12 ii. Oscar Wilde (1854-1900)..............................................................p.15 c) 1900- 1930 “The Triumph of the New Drama”...............................p.17 i. Harley Granville-Barker (1877-1946)………………................p.18 ii. William Somerset Maugham (1874-1965)..................................p.18 iii. Noel Coward (1899-1973)............................................................p.20 3. Terence Rattigan- first success and after...................................p.21 A) French Without Tears (1936)...................................................p.22 -
Parisian Noir
Parisian Noir Kristin Ross riting in 1993, at the height of the “spatial turn” in cultural analysis, Rosalyn Deutsche drew our attention to the way in Wwhich the figure of the urban theorist—her examples are Edward Soja and Mike Davis—had merged with that of the private eye in noir fiction and film. Given that the city is both scene and object of noir investigation, she commented, the analogy between the detective’s disinterested search for the hidden truth of the city and the urban scholar’s critique of the capitalist city practically suggests itself.1 Deutsche does not go so far as to explicitly base her case on the centrality of one city—Los Angeles—to both the urban theory then being produced by Soja and Davis and a noir tradition that includes Raymond Chandler and Chinatown. Yet if the analogy works so seamlessly, it clearly has something to do with the way it springs unbidden from the set of representations, both written and figured, that make up an imaginary particular to Los Angeles. And it is also because an earlier subterranean migration between the two figures—a transfer of practices and point of view—had already laid the groundwork for an understanding of the detective himself as a kind of geographer, engaged in the mapping of social space. The detective as social geographer emerged in early essays by Fredric Jameson, writing about Chandler.2 The spatial paradigm provided by the meeting of Jameson, Chandler and the urban particularities of Los Angeles has largely overdetermined the way in which we read detective fiction. -
Police Perjury: a Factorial Survey
The author(s) shown below used Federal funds provided by the U.S. Department of Justice and prepared the following final report: Document Title: Police Perjury: A Factorial Survey Author(s): Michael Oliver Foley Document No.: 181241 Date Received: 04/14/2000 Award Number: 98-IJ-CX-0032 This report has not been published by the U.S. Department of Justice. To provide better customer service, NCJRS has made this Federally- funded grant final report available electronically in addition to traditional paper copies. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. FINAL-FINAL TO NCJRS Police Perjury: A Factorial Survey h4ichael Oliver Foley A dissertation submitted to the Graduate Faculty in Criminal Justice in partial fulfillment of the requirements for the degree of Doctor of Philosophy. The City University of New York. 2000 This document is a research report submitted to the U.S. Department of Justice. This report has not been published by the Department. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. I... I... , ii 02000 Michael Oliver Foley All Rights Reserved This document is a research report submitted to the U.S. Department of Justice. This report has not been published by the Department. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. -
Teachers Guide
Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation.