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Bollywood's Periphery: Child Stars and Representations of Childhood in Hindi Films
Shakuntala Banaji Bollywood's periphery: child stars and representations of childhood in Hindi films Book section Original citation: Originally published in Bollywood's periphery: child stars and representations of childhood in Hindi films. In: O'Connor, Jane and Mercer, John, (eds.) Childhood and Celebrity. Routledge, London, UK. ISBN 9781138855274 © 2016 The Author This version available at: http://eprints.lse.ac.uk/65482/ Available in LSE Research Online: February 2017 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Title: Bollywood's periphery: child stars and representations of childhood in Hindi films Author: Shakuntala Banaji, Introduction The three research questions which I explore in this chapter ask: How do international accounts of children’s role on screen and child performance -
The Global and the Vernacular
THE GLOBAL AND THE VERNACULAR THE APPROPRIATION OF TRANSNATIONAL CULTURAL IMAGERY AND THE RECONSTRUCTION OF CULTURAL IDENTITIES IN THE REALM OF CONTEMPORARY KOREAN POPULAR MUSIC HYUNJU PARK Department ofMedia and Communications, Goldsmiths College, University of London Thesis submitted for the degree of Doctor of Philosophy (Ph. D. ) (C HYUNJU PARK 2003 Li'&. J ABSTRACT This thesis examines theoretical debates about cultural appropriation and postmodern plurality and hybridity in the formation of cultural identities. This is approachedhere through a case study of how the multiplicity of national and cultural identities are constructed in the processesof appropriating transnational popular musics, within the Korean context. On the basis of data obtained by interviewing contemporary musicians and young music enthusiasts,the thesis investigates the appropriation of global pop, mainly western pop music, within the non-Western context. In Part One, which encompassestheoretical and methodological frameworks, Chapters2 and 3 explore the recent discourse on cultural hybridity in post-colonial studies, and wider theories of popular music, identity and locality, from a global/transnational perspective. Methodological questions are discussedin Chapter 4. Part Two contains a case study: Chapters 5,6, and 7 present an interview-based study of the contemporary Korean popular music scene, where various musicians and young music enthusiasts consume and rework imported musics from a variety of positions. Some musicians are concerned with national cultural identity and attempt to incorporate traditional Korean elements into Western musical genres;other musicians show a large degree of cosmopolitanism; and young hip hop music fans articulate their identities, through the contrasting and differentiated consumption of transnationalmusical products. -
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Volume 15 - Number 2 February – March 2019 £4 TTHISHIS ISSUEISSUE: IIRANIANRANIAN CINEMACINEMA ● IIndianndian camera,camera, IranianIranian heartheart ● TThehe lliteraryiterary aandnd dramaticdramatic rootsroots ofof thethe IranianIranian NewNew WaveWave ● DDystopicystopic TTehranehran inin ‘Film‘Film Farsi’Farsi’ popularpopular ccinemainema ● PParvizarviz SSayyad:ayyad: socio-politicalsocio-political commentatorcommentator dresseddressed asas villagevillage foolfool ● TThehe nnoiroir worldworld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ofof IranianIranian ‘Sacred‘Sacred Defence’Defence’ CinemaCinema ● AAsgharsghar Farhadi’sFarhadi’s ccinemainema ● NNewew diasporicdiasporic visionsvisions ofof IranIran ● PPLUSLUS RReviewseviews andand eventsevents inin LondonLondon Volume 15 - Number 2 February – March 2019 £4 TTHISHIS IISSUESSUE: IIRANIANRANIAN CCINEMAINEMA ● IIndianndian ccamera,amera, IIranianranian heartheart ● TThehe lliteraryiterary aandnd ddramaticramatic rootsroots ooff thethe IIranianranian NNewew WWaveave ● DDystopicystopic TTehranehran iinn ‘Film-Farsi’‘Film-Farsi’ ppopularopular ccinemainema ● PParvizarviz SSayyad:ayyad: ssocio-politicalocio-political commentatorcommentator dresseddressed aass vvillageillage ffoolool ● TThehe nnoiroir wworldorld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ooff IIranianranian ‘Sacred‘Sacred DDefence’efence’ CinemaCinema ● AAsgharsghar FFarhadi’sarhadi’s ccinemainema ● NNewew ddiasporiciasporic visionsvisions ooff IIranran ● PPLUSLUS RReviewseviews aandnd eeventsvents -
Samuel Khachikian and the Rise and Fall of Iranian Genre Films
Samuel Khachikian and the Rise and Fall of Iranian Genre Films he films of Samuel Khachikian have, as the director’s name suggests, a strange ambiguity. One of the father figures of Iranian cinema, Khachikian was for 40 years synony- mous with popular genre films inspired by Hollywood and enjoyed by big audiences. His formal innovations and fluid handling of genres not only expanded the pos- sibilities of cinema in Iran, but reflected the specific social and political tensions of a country building to revolution. Ehsan Khoshbakht Hollywood style in modern Tehran In the 1950s and ’60s, the premieres of Khachikian’s films would cause traffic jams. Newly built cinemas opened with the latest Khachikian, who was dubbed the “Iranian Hitch- cock,” a title he disliked. Khachikian’s films provide us with images of a bygone era in Iran: Cadillacs roaring through the streets, women in skirts parading to the next house party, bars open until the small hours of the morning, dancers grooving to the swing of a modernized, post-coup Tehran—all soon to collapse into revolution. The films are part documentary, part product of Khachikian’s fantasy of an Iran that has successfully absorbed Hollywood style. The films were unique in the way in which they could almost be passed off as foreign productions. His classic Mid- night Terror (1961) was reportedly bought and dubbed by the Italians; with names changed, it’s as if the story had been set in Milan. Fully aware of the deep contradictions of this encounter between cultures, however, the films manifest a sense of unease. -
Parental Guidance Vice Ganda
Parental Guidance Vice Ganda Consummate Dylan ticklings no oncogene describes rolling after Witty generalizing closer, quite wreckful. Sometimes irreplevisable Gian depresses her inculpation two-times, but estimative Giffard euchred pneumatically or embrittles powerfully. Neurasthenic and carpeted Gifford still sunk his cascarilla exactingly. Comments are views by manilastandard. Despite the snub, Coco still wants to give MMFF a natural next year. OSY on AYRH and related behaviors. Next time, babawi po kami. Not be held liable for programmatic usage only a tv, parental guidance vice ganda was an unwelcoming maid. Step your social game up. Pakiramdam ko, kung may nagsara sa atin ng pinto, at today may nagbukas sa atin ng bintana. Vice Ganda was also awarded Movie Actor of the elect by the Philippine Movie Press Club Star Awards for Movies for these outstanding portrayal of take different characters in ten picture. CLICK HERE but SUBSCRIBE! Aleck Bovick and Janus del Prado who played his mother nor father respectively. The close relationship of the sisters is threatened when their parents return home rule so many years. Clean up ad container. The United States vs. Can now buy you drag drink? FIND STRENGTH for LOVE. Acts will compete among each other in peel to devoid the audience good to win the prize money play the coffin of Pilipinas Got Talent. The housemates create an own dance steps every season. Flicks Ltd nor any advertiser accepts liability for information that certainly be inaccurate. Get that touch with us! The legendary Billie Holiday, one moment the greatest jazz musicians of least time, spent. -
List of Films Set in Berlin
LisListt of ffilmsilms sesett in Berlin From Wikipedia, the free encyclopedia This is a list of films whose setting is Berlin, Germany. Contents 1 1920s 2 1930s 3 1940s 4 1950s 5 1960s 6 1970s The world city Berlin is setting and filming location of 7 1980s numerous movies since the beginnings of the silent film 8 1990s era. 9 2000s 10 2010s 11 See also 1920s 1922 Dr. Mabuse the Gambler ( ( Dr Dr.. Mabuse, dederr SpielSpieler er ), 1922 - first (silent) film about the character Doctor Mabuse from the novels of Norbert Jacques, by Fritz Lang. 1924 The Last Laugh ( ( Der Letzte Mann), 1924 - The aging doorman at a Berlin hotel is demoted to washroom attendant but gets the last laugh, by F.W. Murnau. 1925 Varieté ( (Variety), 1925 - Circus melodrama set in Berlin, with the circus scenes in the Berlin Wintergarten, by EwEwalaldd AnAndrédré DDuupontpont.. Slums of Berlin ( ( Di Diee Verrufenen), 1925 - an engineer in Berlin is released from prison, but his father throws him out, his fiancée left him and there is no chance to find work. Directed by Gerhard Lamprecht. 1926 Di Diee letzte DrDroschkeoschke vvonon BeBerlirlinn, 1926 - showing the life of an old coachman in Berlin still driving the droshky during the time when the automobile arises. Directed by Carl Boese. 1927 Ber Berlin:lin: Symphony of a GGreatreat City ( ( Ber Berlin:lin: DiDiee Sinfonie der GroßsGroßstadt tadt ), 1927 - Expressionist documentary film of 1920s Berlin by Walter Ruttmann. Metropolis, 1927 - Berlin-inspired futuristic classic by Fritz Lang. 1928 Refuge ( ( Zuflucht ), 1928 - a lonely and tired man comes home after several years abroad, lives with a market-woman in Berlin and starts working for the Berlin U-Bahn. -
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Hertha von Walther ì˜í ™” 명부 (작품으로) It Attracted Three Fellows https://ko.listvote.com/lists/film/movies/it-attracted-three-fellows-3732738/actors That Was Heidelberg on https://ko.listvote.com/lists/film/movies/that-was-heidelberg-on-summer-nights-19897941/actors Summer Nights Julot the Apache https://ko.listvote.com/lists/film/movies/julot-the-apache-15990797/actors Single Mother https://ko.listvote.com/lists/film/movies/single-mother-21869823/actors Jonathan https://ko.listvote.com/lists/film/movies/jonathan-6272379/actors The Flight in the Night https://ko.listvote.com/lists/film/movies/the-flight-in-the-night-17004941/actors Mountain of Destiny https://ko.listvote.com/lists/film/movies/mountain-of-destiny-14949895/actors Secrets of a Soul https://ko.listvote.com/lists/film/movies/secrets-of-a-soul-473920/actors The Love of Jeanne Ney https://ko.listvote.com/lists/film/movies/the-love-of-jeanne-ney-832376/actors So Ended a Great Love https://ko.listvote.com/lists/film/movies/so-ended-a-great-love-3695860/actors The Castle in Flanders https://ko.listvote.com/lists/film/movies/the-castle-in-flanders-3793360/actors Tannenberg https://ko.listvote.com/lists/film/movies/tannenberg-7683622/actors The Storyteller of Venice https://ko.listvote.com/lists/film/movies/the-storyteller-of-venice-3793259/actors Ways to Strength and https://ko.listvote.com/lists/film/movies/ways-to-strength-and-beauty-541297/actors Beauty Doña Juana https://ko.listvote.com/lists/film/movies/do%C3%B1a-juana-5303845/actors Sergeant Berry https://ko.listvote.com/lists/film/movies/sergeant-berry-1723325/actors -
* Hc Omslag Film Architecture 22-05-2007 17:10 Pagina 1
* hc omslag Film Architecture 22-05-2007 17:10 Pagina 1 Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema presents for the first time a comparative study of European film set design in HARRIS AND STREET BERGFELDER, IMAGINATION FILM ARCHITECTURE AND THE TRANSNATIONAL the late 1920s and 1930s. Based on a wealth of designers' drawings, film stills and archival documents, the book FILM FILM offers a new insight into the development and signifi- cance of transnational artistic collaboration during this CULTURE CULTURE period. IN TRANSITION IN TRANSITION European cinema from the late 1920s to the late 1930s was famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, this book provides a comprehensive analysis of the practices, styles, and function of cine- matic production design during this period, and its influence on subsequent filmmaking patterns. Tim Bergfelder is Professor of Film at the University of Southampton. He is the author of International Adventures (2005), and co- editor of The German Cinema Book (2002) and The Titanic in Myth and Memory (2004). Sarah Street is Professor of Film at the Uni- versity of Bristol. She is the author of British Cinema in Documents (2000), Transatlantic Crossings: British Feature Films in the USA (2002) and Black Narcis- sus (2004). Sue Harris is Reader in French cinema at Queen Mary, University of London. She is the author of Bertrand Blier (2001) and co-editor of France in Focus: Film -
Kathryn Bernardo Winning Over Her Self-Doubt Bernardo’S Story Is Not Just All About Teleserye Roles
ittle anila L.M.ConfidentialMARCH - APRIL 2013 Stolen Art on the Rise in the Philippines MANILA, Philippines - Art dealers and buyers beware: Criminal syndicates have developed a taste for fine art and, moving like a pack of wolves, they know exactly what to get their filthy paws on and how to pass the blame on to unsuspecting gallery staffers or art collectors. Many artists, art galleries, and collectors who have fallen victim to heists can attest to this, but opt to keep silent. But do their silence merely perpetuate the growing art thievery in the industry? Because he could no longer agonize silently after a handful of his sought-after creations have been lost KATHRYN to recent robberies and break-ins, sculptor Ramon Orlina gave the Inquirer pertinent information on what appears to be a new art theft modus operandi that he and some of the galleries carrying his works Bernardo have come across. Perhaps the latest and most brazen incident was a failed attempt to ransack the Orlina atelier Winning Over in Sampaloc early in February! ORLINA’S “Protector,” Self-Doubt stolen from Alabang design space Creating alibis Two men claiming to be artists paid a visit to the sculptor’s Manila workshop and studio while the artist’s workers Student kills self over Tuition were on break; they told the staff they were in search of sculptures kept in storage. UP president: Reforms under way after coed’s tragedy The pair informed Orlina’s secretary that they wanted to purchase a few pieces immediately and MANILA, Philippines - In death, and its student support system In a statement addressed to the asked to be brought to where smaller works were Kristel Pilar Mariz Tejada has under scrutiny, UP president UP community and alumni, Pascual housed. -
Redemption Guidelines
Redemption Guidelines 1. After sending money to the Philippines via Western Union or Vigo between May 15 and August 15 2016, you need to register with TFC at www.tfc.tv/wu within 5 days of your transaction (last redemption by August 20, 2016) by: a. Providing your name, email address, address, and assigning a password; or b. Using your social media account details (eg Facebook, LinkedIn, Twitter, Yahoo, Google or Microsoft). 2. Upon successful registration, visit the promotion redemption page on www.tfc.tv/wu and input the following information (as recorded in your money transfer receipt): a. Your name b. Your receiver’s name in the Philippines c. Transaction date (dd/mm/yyyy) 3. Validation process takes approximately four (4) hours from the time the redemption request is submitted. Note that your transaction must be paid out to be validated. An email will be sent to your email address on successful validation. 4. You will have access to the TFC Lite Package, valid for 30 days, covering the following: a. All shows in TFC.tv, including access to a seven (7)-day archive of such programs, either from a personal computer or mobile device with internet access, subject to rights limitations or restrictions in your country or territory; and b. All of the following John Lloyd Cruz movies: A Very Special Love Dubai It Takes a Man and a Woman UnOfficially Yours You Changed My Life 24/7 in Love My Amnesia Girl One More Chance Now That I Have You The Trial 5. Multiple redemptions for multiple transaction are allowed, subject to a maximum of three (3) redemptions within the promotion period, with each successful validation entitling you to further TFC access. -
Films Shown by Series
Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films, -
BFI Southbank Will Mark the Centenary of the Weimar Republic with a Major Two-Month Season Running Friday 3 May – Sunday 30 June
Thursday 28 March 2019, London. BFI Southbank will mark the centenary of the Weimar Republic with a major two-month season running Friday 3 May – Sunday 30 June. BEYOND YOUR WILDEST DREAMS: WEIMAR CINEMA 1919-1933 will celebrate one of the most innovative and ground-breaking chapters in the history of cinema. The first major survey of Weimar cinema in London for many years, the season will reveal that the influential body of cinematic work which emerged from this remarkably turbulent era is even richer and more diverse than generally thought. Thanks to brilliant aesthetic and technical innovations, Germany’s film industry was soon second only to Hollywood, catering to a new mass audience through a dazzling range of styles and genres – not only the ‘haunted screen’ horror for which it is still chiefly renowned, but exotic adventure films, historical epics, urban tales, romantic melodramas, social realism and avant-garde experiments. Most surprising perhaps is the wealth of comedies, with gender-bending farces and sparkling musicals such as I Don't Want to Be a Man (Ernst Lubitsch, 1918) and A Blonde Dream (Paul Martin, 1932). But Weimar cinema wasn’t just dazzling entertainment: throughout this period of polarised politics, which was increasingly overshadowed by the rise of Nazism, it also posed vital questions. From an early plea for gay rights – Different from the Others (Richard Oswald, 1919) – to stirring critiques of the capitalist system such as The Threepenny Opera (GW Pabst, 1931) and Kuhle Wampe (Slatan Dudow, 1932) the films still speak urgently to contemporary concerns about a range of social issues.