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Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
Stoic Enlightenments
Copyright © 2011 Margaret Felice Wald All rights reserved STOIC ENLIGHTENMENTS By MARGARET FELICE WALD A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in English written under the direction of Michael McKeon and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey October 2011 ABSTRACT OF THE DISSERTATION Stoic Enlightenments By MARGARET FELICE WALD Dissertation Director: Michael McKeon Stoic ideals infused seventeenth- and eighteenth-century thought, not only in the figure of the ascetic sage who grins and bears all, but also in a myriad of other constructions, shaping the way the period imagined ethical, political, linguistic, epistemological, and social reform. My dissertation examines the literary manifestation of Stoicism’s legacy, in particular regarding the institution and danger of autonomy, the foundation and limitation of virtue, the nature of the passions, the difference between good and evil, and the referentiality of language. Alongside the standard satirical responses to the ancient creed’s rigor and rationalism, seventeenth- and eighteenth-century poetry, drama, and prose developed Stoic formulations that made the most demanding of philosophical ideals tenable within the framework of common experience. Instead of serving as hallmarks for hypocrisy, the literary stoics I investigate uphold a brand of stoicism fit for the post-regicidal, post- Protestant Reformation, post-scientific revolutionary world. My project reveals how writers used Stoicism to determine the viability of philosophical precept and establish ways of compensating for human fallibility. The ambivalent status of the Stoic sage, staged and restaged in countless texts, exemplified the period’s anxiety about measuring up to its ideals, its efforts to discover the plenitude of ii natural laws and to live by them. -
Kentucky Derby, Flamingo Stakes, Florida Derby, Blue Grass Stakes, Preakness, Queen’S Plate 3RD Belmont Stakes
Northern Dancer 90th May 2, 1964 THE WINNER’S PEDIGREE AND CAREER HIGHLIGHTS Pharos Nearco Nogara Nearctic *Lady Angela Hyperion NORTHERN DANCER Sister Sarah Polynesian Bay Colt Native Dancer Geisha Natalma Almahmoud *Mahmoud Arbitrator YEAR AGE STS. 1ST 2ND 3RD EARNINGS 1963 2 9 7 2 0 $ 90,635 1964 3 9 7 0 2 $490,012 TOTALS 18 14 2 2 $580,647 At 2 Years WON Summer Stakes, Coronation Futurity, Carleton Stakes, Remsen Stakes 2ND Vandal Stakes, Cup and Saucer Stakes At 3 Years WON Kentucky Derby, Flamingo Stakes, Florida Derby, Blue Grass Stakes, Preakness, Queen’s Plate 3RD Belmont Stakes Horse Eq. Wt. PP 1/4 1/2 3/4 MILE STR. FIN. Jockey Owner Odds To $1 Northern Dancer b 126 7 7 2-1/2 6 hd 6 2 1 hd 1 2 1 nk W. Hartack Windfields Farm 3.40 Hill Rise 126 11 6 1-1/2 7 2-1/2 8 hd 4 hd 2 1-1/2 2 3-1/4 W. Shoemaker El Peco Ranch 1.40 The Scoundrel b 126 6 3 1/2 4 hd 3 1 2 1 3 2 3 no M. Ycaza R. C. Ellsworth 6.00 Roman Brother 126 12 9 2 9 1/2 9 2 6 2 4 1/2 4 nk W. Chambers Harbor View Farm 30.60 Quadrangle b 126 2 5 1 5 1-1/2 4 hd 5 1-1/2 5 1 5 3 R. Ussery Rokeby Stables 5.30 Mr. Brick 126 1 2 3 1 1/2 1 1/2 3 1 6 3 6 3/4 I. -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
J. Lionel Richardson, 1959
1959 1 9 5 9 GOLD MEDAL DAFFODILS GOLD MEDAL DAFFODILS . : • . .. • :: •: . : •• , • - .4 } :,. :; . ::: .: ..,.. • :{ . : .: .. : {: : : { . • ..i .' : . : : :;} : • , : • • . ; : . : . .. • : - .': • % . ' :: ;' '.. • . • v . • • . • •: . • : . 4 ...:: #i'4 - -* :...... , .4 :•{. f 4gi { . • '.: f..,.: u., •':::. ; 'p ,: :;;: ?, s..-1 ...;'.: .. .. : ,n. :*.. • :E , ) .:.: :••, ., ' ,..::: ..: . : ,1d4 #:.• 'Z ... : , .4:':. .; :'. :•{ M. •-? •••• :.'.:-., . ::•: :.: • ••••: .1. •.••••...; : : • : : • : " • i . C? ;•• : :• v •• • ;.E. %"•. ••••• • • :. • . :i• • " . : •:• • :• • 4 : • Narcissus, " Northern Light " (See page 7) Narcissus, ” re cello 23 (See page JO) LIONEItA IRECHAIRDSON IONEE MICHARD IPROSIPIRVT NOUSI 9 WAS' EIERIFORID, Ireland TEDIROMPILCT vrIERIPDIR 11D9 Ireland Printed and Made in Gt. Britain ALL VARIETIES OFFERED IN THIS CATALOGUE REVISED SYSTEM for the ARE GROWN AT PROSPECT HOUSE, WATERFORD CLASSIFICATION OF DAFFODILS IN USE SINCE JANUARY I, 1950. DIVISION I. Bulbs will only be bought in for re-sale at the TRUMPET NARCISSI special request of the customer. of Garden Origin. Distinguishing characters: One flower to a stem; Trumpet or Corona as long or longer than the Perianth segments. (a) Perianth coloured ; Corona coloured, not paler than the Perianth. TERMS (b) Perianth white; Corona coloured. All Bulbs are offered subject to a satisfactory crop and being unsold (c) Perianth white ; on receipt of order, Corona white, not paler than the Perianth. Orders should be sent in as early as possible, as some stocks are (d) Any colour combination not falling into (a), (ID) or (c). small and cannot be replaced. DIVISION II. All orders will be executed in strict rotation. LARGE-CUPPED NARCISSI All prices are for Nett Cash within three months from date of of Garden Origin. invoice, unless by special arrangement. One-half per cent per month Distinguishing characters : One flower to a stem; Cup or Corona charged on overdue accounts. -
Not Showing at This Cinema
greenlit just before he died, was an adaptation of A PIN TO SEE THE NIGHT Walter Hamilton’s 1968 novel All the Little Animals, exploring the friendship between a boy and an THE PEEPSHOW CREATURES old man who patrols roads at night collecting the Dir: Robert Hamer 1949 Dir: Val Guest 1957 roadkill. Reeves prepared a treatment, locations Adaptation of a 1934 novel by F. Tennyson Jesse Robert Neville is the last man on earth after a were scouted and Arthur Lowe was to play the about a young woman wrongly convicted as an mysterious plague has turned the rest of the lead. Thirty years later the book was adapted for accomplice when her lover murders her husband; a population into vampires who swarm around his the screen and directed by Jeremy Thomas starring thinly fictionalised account of Edith Thompson and house every night, hungering for his blood. By day, John Hurt and Christian Bale. the Ilford Murder case of 1922. With Margaret he hunts out the vampires’ lairs and kills them Lockwood in the lead, this was something of a with stakes through the heart, while obsessively dream project that Robert Hamer tried to get off searching for an antidote and trying to work out the ground at Ealing. Despite a dazzling CV that the cause of his immunity. Richard Matheson wrote ISHTAR includes the masterpiece Kind Hearts and Coronets the screenplay for The Night Creatures for Hammer Dir: Donald Cammell 1971-73 (1949), Hamer was unable to persuade studio Films in 1957 based on his own hugely influential The co-director of Performance (1970), Cammell boss Michael Balcon to back the project. -
U DYE WB Yeadon London & North Eastern 1847-1997 Railway Collection
Hull History Centre: W.B. Yeadon London & North Eastern Railway collection U DYE W.B. Yeadon London & North Eastern 1847-1997 Railway collection Historical background: Willie Brayshaw Yeadon was born in Yeadon in the West Riding of Yorkshire on 28 June 1907. After his schooldays, he trained to become a mechanical engineer, and started work with Bradford Dyers, but was unfortunately made redundant in 1930 following the onset of terrible trading conditions. In 1931 he joined JH Fenner Ltd in Hull ('makers of improved beltings'), eventually becoming Sales Manager and then Marketing Manager, until his official retirement in 1972. He died at the age of 89 on 16 January 1997 in Hull Royal Infirmary after a short illness. By then he had become probably the country's leading authority on the London & North Eastern Railway and its locomotives. Indeed, Eric Fry, honorary editor of 'Locomotives of the LNER', writing in the 'Railway Observer' in March 1997, described him as possibly 'the foremost locomotive historian of all time'. Willie Yeadon's earliest railway interest had been the London & North Western Railway, with visits and family holidays to Shap summit and Tebay. On his removal to Hull, however, the London & North Eastern Railway became his main preoccupation, and he was particularly inspired by the development and progress of Sir Nigel Gresley's Pacific class locomotives during the 1930s. He began to collect railway photographs in 1933, and continued his interest after railway nationalisation in 1948. The British Railways modernisation programme undertaken from the mid - 1950s prompted him to investigate and record the history of every LNER locomotive. -
1930S Greats Horses/Jockeys
1930s Greats Horses/Jockeys Year Horse Gender Age Year Jockeys Rating Year Jockeys Rating 1933 Cavalcade Colt 2 1933 Arcaro, E. 1 1939 Adams, J. 2 1933 Bazaar Filly 2 1933 Bellizzi, D. 1 1939 Arcaro, E. 2 1933 Mata Hari Filly 2 1933 Coucci, S. 1 1939 Dupuy, H. 1 1933 Brokers Tip Colt 3 1933 Fisher, H. 0 1939 Fallon, L. 0 1933 Head Play Colt 3 1933 Gilbert, J. 2 1939 James, B. 3 1933 War Glory Colt 3 1933 Horvath, K. 0 1939 Longden, J. 3 1933 Barn Swallow Filly 3 1933 Humphries, L. 1 1939 Meade, D. 3 1933 Gallant Sir Colt 4 1933 Jones, R. 2 1939 Neves, R. 1 1933 Equipoise Horse 5 1933 Longden, J. 1 1939 Peters, M. 1 1933 Tambour Mare 5 1933 Meade, D. 1 1939 Richards, H. 1 1934 Balladier Colt 2 1933 Mills, H. 1 1939 Robertson, A. 1 1934 Chance Sun Colt 2 1933 Pollard, J. 1 1939 Ryan, P. 1 1934 Nellie Flag Filly 2 1933 Porter, E. 2 1939 Seabo, G. 1 1934 Cavalcade Colt 3 1933 Robertson, A. 1 1939 Smith, F. A. 2 1934 Discovery Colt 3 1933 Saunders, W. 1 1939 Smith, G. 1 1934 Bazaar Filly 3 1933 Simmons, H. 1 1939 Stout, J. 1 1934 Mata Hari Filly 3 1933 Smith, J. 1 1939 Taylor, W. L. 1 1934 Advising Anna Filly 4 1933 Westrope, J. 4 1939 Wall, N. 1 1934 Faireno Horse 5 1933 Woolf, G. 1 1939 Westrope, J. 1 1934 Equipoise Horse 6 1933 Workman, R. -
HERODOTUS Volume XXVIII • Spring 2018
Stanford University Department of History Stanford University Department of History HERODOTUS Volume XXVIII • Spring 2018 Department of History Stanford University Stanford University Department of History HERODOTUS Herodotus is a student-run publication founded in 1990 by the Stanford University Department of History. It bears the name of Herodotus of Halicarnassus, the 5th century BCE historian of the Greco-Persian Wars. His Histories, which preserve the memory of the battles of Marathon and Thermopylae, were written so that “human achievements may not become forgotten in time, and great and marvelous deeds . may not be without their glory.” Likewise, this journal is dedicated to preserving and show- casing the best undergraduate work of Stanford University’s Department of History. Our published pieces are selected through a process of peer review. For additional information, please visit us online at herodotus. stanford.edu. EDITORIAL BOARD Editor-in-Chief Naomi Subotnick '18 Managing Editor Zachary Brown '18 Section Editors Gabriela Romero '19 InHae Yap '19 Editors Seth Chambers '19 Jason Seter '18 Benjamin Gardner-Gill '19 Emily Shah '19 Lucia Lopez-Rosas '18 Julian Watrous '19 Rosalind Lutsky '18 Victoria Yuan '20 Jennifer Peterson '18 Faculty Advisor Professor Thomas Mullaney Authors retain all rights to the work that appears in this journal. Cover Image: Stanford Historical Photograph Collection, Green Library West, 1919 Courtesy of Stanford University Libraries, Stanford, CA. Stanford University Department of History EDITOR’S NOTE According to Professor James T. Campbell, studying history is like traveling to a new place. One encounters people and ideas at once utterly foreign and strangely familiar. A journey enables us to see home with new perspective and depth. -
Ambivalent Ambulation: Fan Pilgrimage and the Itinerantextual Cult Film
AMBIVALENT AMBULATION: FAN PILGRIMAGE AND THE ITINERANTEXTUAL CULT FILM by JONATHAN AMBROSE CANNON Bachelor of Arts, The University of British Columbia, 2009 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2012 © Jonathan Ambrose Cannon, 2012 ABSTRACT Peripatetic by nature yet polymorphous in form, the topic of fan pilgrimage expresses a significant dearth in cult film and media scholarship. Whilst the concept of pilgrimage has been classically linked to religious duty and moral obligation, its ability to straddle both traditionalist and secularist rationales amidst increased globalisation makes such ambiguous mobility ripe for closer analysis. In this thesis, I will theorise fan pilgrimage using a series of itinerant fan taxonomies to recontextualise the role of the pilgrim and its function within select fan groups. Utilising the critical literature of Zygmunt Bauman, Victor Turner, and Roger C. Aden, respectively, Chapter 1 reevaluates ideas of community and reconfigures the spatiotemporal theories of performance articulated by Richard Schechner through fan pilgrimage and performative communitas. Chapter 2 explores how theories of play and everyday life create my first fan taxonomy: the ludic pilgrim. Via the play theory of Johan Huizinga and Roger Caillois as well as the theories of everyday life held by Erving Goffman, I argue for a correlation between play and costume through the case study of the otaku – i.e. fans of Japanese anime and manga. Chapter 3 employs fashion theory to subcultural style and reconsiders the value of the goth subculture and female vampire fandom by way of my second fan taxonomy: the subsartorial pilgrim. -
The Travelling Table
The Travelling Table A tale of ‘Prince Charlie’s table’ and its life with the MacDonald, Campbell, Innes and Boswell families in Scotland, Australia and England, 1746-2016 Carolyn Williams Published by Carolyn Williams Woodford, NSW 2778, Australia Email: [email protected] First published 2016, Second Edition 2017 Copyright © Carolyn Williams. All rights reserved. People Prince Charles Edward Stuart or ‘Bonnie Prince Charlie’ (1720-1788) Allan MacDonald (c1720-1792) and Flora MacDonald (1722-1790) John Campbell (1770-1827), Annabella Campbell (1774-1826) and family George Innes (1802-1839) and Lorn Innes (née Campbell) (1804-1877) Patrick Boswell (1815-1892) and Annabella Boswell (née Innes) (1826-1914) The Boswell sisters: Jane (1860-1939), Georgina (1862-1951), Margaret (1865-1962) Places Scotland Australia Kingsburgh House, Isle of Skye (c1746-1816) Lochend, Appin, Argyllshire (1816-1821) Hobart and Restdown, Tasmania (1821-1822) Windsor and Old Government House, New South Wales (1822-1823) Bungarribee, Prospect/Blacktown, New South Wales (1823-1828) Capertee Valley and Glen Alice, New South Wales (1828-1841) Parramatta, New South Wales (1841-1843) Port Macquarie and Lake Innes House, New South Wales (1843-1862) Newcastle, New South Wales (1862-1865) Garrallan, Cumnock, Ayrshire (1865-1920) Sandgate House I and II, Ayr (sometime after 1914 to ???) Auchinleck House, Auchinleck/Ochiltree, Ayrshire Cover photo: Antiques Roadshow Series 36 Episode 14 (2014), Exeter Cathedral 1. Image courtesy of John Moore Contents Introduction .……………………………………………………………………………….. 1 At Kingsburgh ……………………………………………………………………………… 4 Appin …………………………………………………………………………………………… 8 Emigration …………………………………………………………………………………… 9 The first long journey …………………………………………………………………… 10 A drawing room drama on the high seas ……………………………………… 16 Hobart Town ……………………………………………………………………………….. 19 A sojourn at Windsor …………………………………………………………………… 26 At Bungarribee ……………………………………………………………………………. -
More Than a Touch of Madness Below Performance (1970)
Articles More Than a Touch of Madness Below Performance (1970) On its release in the United States in 1970, Life magazine critic Richard Schickel described Don- More Than ald Cammell and Nicolas Roeg’s debut filmPerfor - mance as ‘the most completely worthless film I have seen since I began reviewing’ (Schickel 1970). Pretty a Touch of harsh words from Schickel who, along with Andrew Sarris and Pauline Kael, had embraced much of the new American and European cinema and had railed Madness against the New York Times critic Bosley Crowther for denouncing as trash Arthur Penn’s breakthrough The flawed brilliance of Nicolas Roeg film, Bonnie and Clyde (1967). One can only guess that watching a couple of bodies being riddled with and Donald Cammell’s debut film bullet holes must have been easier to digest than Performance watching three hippies taking a bath in a tub of dirty water. But whatever his cinematic politics, Schickel was not alone. John Simon, then writing in the New By Dean Goldberg York Times, wrote: You do not have to be a drug addict, ped- Keywords Nicolas Roeg, Donald Cammell, erast, sado-masochist, or nitwit to enjoy Performance, 1960s, Mick Jagger, Anita Performance, but being one or more of these Pallenberg things would help […] [It’s] a prime example of the Loathsome Film, a genre that sub- sists purely on shock value, cheap thrills, decadent artiness, glorification of amoral- ity, and sheer mystification […] And there is the supreme horror of the film, Mick Jagger, whose lack of talent is equaled only by a repulsiveness of epic proportions […] It is all mindless intellectual pretension and patho- logically reveled-in gratuitous nastiness, and it means nothing.