April Alford, Mary Shielding the Amish Witness
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See It Big! Action Features More Than 30 Action Movie Favorites on the Big
FOR IMMEDIATE RELEASE ‘SEE IT BIG! ACTION’ FEATURES MORE THAN 30 ACTION MOVIE FAVORITES ON THE BIG SCREEN April 19–July 7, 2019 Astoria, New York, April 16, 2019—Museum of the Moving Image presents See It Big! Action, a major screening series featuring more than 30 action films, from April 19 through July 7, 2019. Programmed by Curator of Film Eric Hynes and Reverse Shot editors Jeff Reichert and Michael Koresky, the series opens with cinematic swashbucklers and continues with movies from around the world featuring white- knuckle chase sequences and thrilling stuntwork. It highlights work from some of the form's greatest practitioners, including John Woo, Michael Mann, Steven Spielberg, Akira Kurosawa, Kathryn Bigelow, Jackie Chan, and much more. As the curators note, “In a sense, all movies are ’action’ movies; cinema is movement and light, after all. Since nearly the very beginning, spectacle and stunt work have been essential parts of the form. There is nothing quite like watching physical feats, pulse-pounding drama, and epic confrontations on a large screen alongside other astonished moviegoers. See It Big! Action offers up some of our favorites of the genre.” In all, 32 films will be shown, many of them in 35mm prints. Among the highlights are two classic Technicolor swashbucklers, Michael Curtiz’s The Adventures of Robin Hood and Jacques Tourneur’s Anne of the Indies (April 20); Kurosawa’s Seven Samurai (April 21); back-to-back screenings of Mad Max: Fury Road and Aliens on Mother’s Day (May 12); all six Mission: Impossible films -
Role of the Archives in the Future
… You can fool all the people some of the time, and some of the people all the time, but you cannot fool all the people all the time…” Abraham Lincoln ( 1809 – 1865 ) FACTS AND FICTION- ARCHIVAL FOOTAGE HISTORICAL EVENTS AND TELEVISION AND FILM PRODUCTIONS Media Archeology Movies and television productions are released and transmitted each year dealing with historical events or public personalities like politicians , military leaders, revolutionaries, and people with a record of special achievemments. The aim of my presentation is to make you aware of different possibilities in reusing archival footage in movies. It is my intention to inform you about the importance of the audiovisual archives and how to reuse transmitted programmes or real shots of life in new productions. It is not my intention to evaluate real shots in historical movies and to report about facts and fiction in those films. The subject is dealt with in the book called: PAST IMPERFECT. History According to the Movies. 1995, and my own paper on the same subject: HISTORY AND MOVIES: An evaluation of the information of historical events, of international known personalities and of famous sites and buildings describes in movies. External links: ( Contact: http://www.baacouncil.org/ or [email protected] for copy of the paper) Television companies should be proud of their collections of transmitted programmes. Because I have worked for televison archive for about 29 years I have viewed a lot of television programmes and movies. Some years ago I started to question the reuse of transmitted television programmes and also the active reuse of news in new productions. -
Uyghur Dispossession, Culture Work and Terror Capitalism in a Chinese Global City Darren T. Byler a Dissertati
Spirit Breaking: Uyghur Dispossession, Culture Work and Terror Capitalism in a Chinese Global City Darren T. Byler A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Sasha Su-Ling Welland, Chair Ann Anagnost Stevan Harrell Danny Hoffman Program Authorized to Offer Degree: Anthropology ©Copyright 2018 Darren T. Byler University of Washington Abstract Spirit Breaking: Uyghur Dispossession, Culture Work and Terror Capitalism in a Chinese Global City Darren T. Byler Chair of the Supervisory Committee: Sasha Su-Ling Welland, Department of Gender, Women, and Sexuality Studies This study argues that Uyghurs, a Turkic-Muslim group in contemporary Northwest China, and the city of Ürümchi have become the object of what the study names “terror capitalism.” This argument is supported by evidence of both the way state-directed economic investment and security infrastructures (pass-book systems, webs of technological surveillance, urban cleansing processes and mass internment camps) have shaped self-representation among Uyghur migrants and Han settlers in the city. It analyzes these human engineering and urban planning projects and the way their effects are contested in new media, film, television, photography and literature. It finds that this form of capitalist production utilizes the discourse of terror to justify state investment in a wide array of policing and social engineering systems that employs millions of state security workers. The project also presents a theoretical model for understanding how Uyghurs use cultural production to both build and refuse the development of this new economic formation and accompanying forms of gendered, ethno-racial violence. -
Jan Sobczak Alexei Nikolaevich, Tsarevich of Russia
Jan Sobczak Alexei Nikolaevich, Tsarevich of Russia Echa Przeszłości 12, 143-156 2011 ECHA PRZESZŁOŚCI XII, 2011 ISSN 1509-9873 Jan Sobczak ALEXEI NIKOLAEVICH, TSAREVICH OF RUSSIA This article does not aspire to give an exhaustive account of the life of Alexei Nikolaevich, not only for reasons of limited space. The role played by the young lad who was much loved by the nation, became the Russian tsesarevich and was murdered at the tender age of 14, would not justify such an effort. In addition to delivering general biographical information about Alexei that can be found in a variety of sources, I will attempt to throw some light on the less known aspects of his life that profoundly affected the fate of the Russian Empire and brought tragic consequences for the young imperial heir1. Alexei Nikolaevich was born in Peterhof on 12 August (30 July) 1904 on Friday at noon, during an unusually hot summer that had started already in February, at the beginning of Russia’s much unfortunate war against Japan. Alexei was the fifth child and the only son of Nicholas II and Alexandra Feodorovna. He had four older sisters who were the Grand Duchesses: Olga (8.5 years older than Alexei), Tatiana (7 years older), Maria (5 years older) and Anastasia (3 years older). In line with the law of succession, Alexei automatically became heir to the throne, and his birth was heralded to the public by a 300-gun salute from the Peter and Paul Fortress. According to Nicholas II, the imperial heir was named Alexei to break away from a nearly century-old tradition of naming the oldest sons Alexander and Nicholas and to commemorate Peter the Great’s father, Alexei Mikhailovich, the second tsar of the Romanov dynasty that had ruled over Russia for nearly 300 years from the 17th century. -
Men-On-The-Spot and the Allied Intervention in the Russian Civil War, 1917-1920 Undergraduate
A Highly Disreputable Enterprise: Men-on-the-Spot and the Allied Intervention in the Russian Civil War, 1917-1920 Undergraduate Research Thesis Presented in Partial Fulfillment of the Requirements for graduation "with Honors Research Distinction in History" in the undergraduate colleges of The Ohio State University by Conrad Allen The Ohio State University May 2016 Project Advisor: Professor Jennifer Siegel, Department of History The First World War ended on November 11, 1918. The guns that had battered away at each other in France and Belgium for four long years finally fell silent at eleven A.M. as the signed armistice went into effect. "There came a second of expectant silence, and then a curious rippling sound, which observers far behind the front likened to the noise of a light wind. It was the sound of men cheering from the Vosges to the sea," recorded South African soldier John Buchan, as victorious Allied troops went wild with celebration. "No sleep all night," wrote Harry Truman, then an artillery officer on the Western Front, "The infantry fired Very pistols, sent up all the flares they could lay their hands on, fired rifles, pistols, whatever else would make noise, all night long."1 They celebrated their victory, and the fact that they had survived the worst war of attrition the world had ever seen. "I've lived through the war!" cheered an airman in the mess hall of ace pilot Eddie Rickenbacker's American fighter squadron. "We won't be shot at any more!"2 But all was not quiet on every front. -
Nostromo a Tale of the Seaboard
NOSTROMO A TALE OF THE SEABOARD By Joseph Conrad "So foul a sky clears not without a storm." —SHAKESPEARE TO JOHN GALSWORTHY Prepared and Published by: Ebd E-BooksDirectory.com AUTHOR'S NOTE "Nostromo" is the most anxiously meditated of the longer novels which belong to the period following upon the publication of the "Typhoon" volume of short stories. I don't mean to say that I became then conscious of any impending change in my mentality and in my attitude towards the tasks of my writing life. And perhaps there was never any change, except in that mysterious, extraneous thing which has nothing to do with the theories of art; a subtle change in the nature of the inspiration; a phenomenon for which I can not in any way be held responsible. What, however, did cause me some concern was that after finishing the last story of the "Typhoon" volume it seemed somehow that there was nothing more in the world to write about. This so strangely negative but disturbing mood lasted some little time; and then, as with many of my longer stories, the first hint for "Nostromo" came to me in the shape of a vagrant anecdote completely destitute of valuable details. As a matter of fact in 1875 or '6, when very young, in the West Indies or rather in the Gulf of Mexico, for my contacts with land were short, few, and fleeting, I heard the story of some man who was supposed to have stolen single-handed a whole lighter-full of silver, somewhere on the Tierra Firme seaboard during the troubles of a revolution. -
Spy Culture and the Making of the Modern Intelligence Agency: from Richard Hannay to James Bond to Drone Warfare By
Spy Culture and the Making of the Modern Intelligence Agency: From Richard Hannay to James Bond to Drone Warfare by Matthew A. Bellamy A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2018 Dissertation Committee: Associate Professor Susan Najita, Chair Professor Daniel Hack Professor Mika Lavaque-Manty Associate Professor Andrea Zemgulys Matthew A. Bellamy [email protected] ORCID iD: 0000-0001-6914-8116 © Matthew A. Bellamy 2018 DEDICATION This dissertation is dedicated to all my students, from those in Jacksonville, Florida to those in Port-au-Prince, Haiti and Ann Arbor, Michigan. It is also dedicated to the friends and mentors who have been with me over the seven years of my graduate career. Especially to Charity and Charisse. ii TABLE OF CONTENTS Dedication ii List of Figures v Abstract vi Chapter 1 Introduction: Espionage as the Loss of Agency 1 Methodology; or, Why Study Spy Fiction? 3 A Brief Overview of the Entwined Histories of Espionage as a Practice and Espionage as a Cultural Product 20 Chapter Outline: Chapters 2 and 3 31 Chapter Outline: Chapters 4, 5 and 6 40 Chapter 2 The Spy Agency as a Discursive Formation, Part 1: Conspiracy, Bureaucracy and the Espionage Mindset 52 The SPECTRE of the Many-Headed HYDRA: Conspiracy and the Public’s Experience of Spy Agencies 64 Writing in the Machine: Bureaucracy and Espionage 86 Chapter 3: The Spy Agency as a Discursive Formation, Part 2: Cruelty and Technophilia -
Apocalypse Now
Sabrina Baiguera Università degli Studi di Bergamo Letteratura Anglo-americana LMI A.A. 2011/2012 Paolo Jachia’s Francis Ford Coppola: Apocalypse Now. Un’analisi semiotica , an intertextual reconstruction of the texts, of the cultural references that lie behind the film. Apocalypse Now (1979) Two versions: the orginal version (1979) and the extended version ( Apocalypse Now Redux: 2001 ), released in 2001. The film is set during the Vietnam war (the action takes place approximately in 1970) It tells the story of U.S. Army Captain Benjamin L. Willard who has the mission to proceed up the Nung river into Cambodia, find Colonel Kurtz and “terminate” his command, by whatever means available. Willard starts a journey up the Nung river on a PBR (Petrol Boat) with a four- man crew (Chef – a saucier; Chief – the chief of the boat; Clean – a 17 year- old young from Bronx; Lance – a professional surfer). Kurtz had deserted the U.S. Army to start his own private war in the middle of the jungle. There he is worshipped as a god by his own Montagnard army, but he has gone insane and his methods are “unsound”. The artistic dimension Source texts of Apocalypse Now : 1. Joseph Conrad’s novella Heart of Darkness (1899) 2. James G. Frazer’s The Golden Bough (1890) 3. Jessie Weston’s From ritual to romance (1920) 4. Goethe’s Faust (1808) 5. The Holy Bible 6. T.S.Eliot’s The Waste Land (1922) and The Hollow Men (1925) 7. Baudelaire’s The Albatross (1861) 8. The Doors’ The End Heart of Darkness (1899) “In the case of “Apocalypse,” there was a script written by the great John Milius, but, I must say, what I really made the film from was the little green copy of Heart of Darkness that I had done all those lines in.” (Coppola) Heart of Darkness was not credited as a source text when the film first came out. -
The Ballyhooed Art of Governing Romance
5 The Ballyhooed Art of Governing Romance Interest in The Sheik continued to build and a studio press agent was assigned as a buffer between Valentino and the press. Irving Shulman, Valentino, 19671 One of the striking characteristics of the era of Coolidge Prosperity was the unparalleled rapidity and unanimity with which millions of men and women turned their attention, their talk, and their emotional interests upon a series of tremendous trifles—a heavyweight boxing-match, a murder trial, a new automobile model, a transatlantic flight. Frederick Lewis Allen, Only Yesterday, 19312 A “POISONOUSLY SALACIOUS” BESTSELLER The year 1921 turned out to be magical for Valentino even though the aftermath of the success of The Four Horsemen was anything but rosy. After Camille, he and Mathis left Metro Pictures to join Famous Players–Lasky. It was an ambitious move for both of them, but Valentino was also motivated by his frustrations with Metro’s unwillingness to raise his salary and public profile substantially despite the success of The Four Horsemen. Upon learning that Metro underappreciated Valentino’s star potential, Jesse Lasky hired him and then paired him with Mathis, whom he had just lured away from the same company, to work on The Sheik. Before their move, Lasky had acquired the filming rights to the eponymous British best-selling novel and for a while remained unsure whether to turn it into a film.The Sheik had first become a smashing success in the United Kingdom, eventually going through 108 printings between its release in 1919 and 1923, but as overwhelming as the novel’s British popularity was, it “could not compare with its bedazzling success in the United States.”3 The novel had something mysterious about it: the gender of the unknown author, E. -
December 2012
PRESS RELEASE 4 April 2019 Russia, Royalty & the Romanovs The Queen's Gallery, Palace of Holyroodhouse 21 June – 3 November 2019 For more than 300 years Britain has been linked to Russia through exploration and discovery, diplomatic alliances and, latterly, by familial and dynastic ties. Russia, Royalty & the Romanovs, opening on 21 June 2019, explores the relationship between the two countries and their royal families through more than 170 works of art in the Royal Collection, many of which were exchanged as diplomatic gifts or intimate personal mementos. The first Russian ruler to set foot on English soil was Tsar Peter I, known as Peter the Great. In 1698 he visited London for three months and met with the British King, William III, as part of a diplomatic and fact-finding tour of Western Europe. On his departure Peter presented the King with his portrait, painted by Sir Godfrey Kneller. The young Tsar is depicted wearing Laurits Regner Tuxen, the mantle of a ruler and the armour of a warrior, The Marriage of Nicholas II, Tsar of looking to the West and hoping to establish a new, Russia, 26th November 1894, 1896 ‘open’ Russia. During the reign of the Empress Catherine II (Catherine the Great), Russia’s borders expanded to the south and west, and the country was established as one of the great powers in Europe. The Empress’s coronation portrait by Vigilius Eriksen, c.1765–9, is a clear statement of magnificence and power. It was recorded as hanging in the Privy Chamber at Kensington Palace in 1813, and may have been a diplomatic gift to George III. -
Reading Conrad Through Cognitive Poetics
International Letters of Social and Humanistic Sciences Online: 2015-05-15 ISSN: 2300-2697, Vol. 52, pp 44-54 doi:10.18052/www.scipress.com/ILSHS.52.44 CC BY 4.0. Published by SciPress Ltd, Switzerland, 2015 ‘Minding’ the Style: Reading Conrad through Cognitive Poetics Alireza Parandeh, Hossein Pirnajmuddin Department of English Language and Literature, Faculty of Foreign Languages, University of Isfahan, Azadi Square, Isfahan, Iran E-mail address: [email protected], [email protected] Keywords: Cognitive Poetics; Joseph Conrad; Mind Modeling; Theory of Mind; Impressionism; Deixis; Style ABSTRACT. Cognitive Poetics works on the triangle of author-text-reader. A main focus is the reader of literature, as a co-producer of the text alongside the author, in an attempt to explain how his/her knowledge and experiences are applied in reaching an understanding of a particular text in a particular context. In this paper several examples of how contextual frames can operate in a narrative are discussed in three works of short fiction by Joseph Conrad. Analyzed in the particular context of Conradian narrative and prose style are such points as: how the readers begin a story, how they enter into the interior levels of it in order to feel and touch the events in the way its characters do, how they follow every episode of it and, in other words, how the readers ‘comprehend’ the narrative. It is argued that the application of insights from cognitive poetics to Conrad’s fiction is of particular relevance as Conrad is a writer who embodies and foregrounds this very act and process of ‘comprehending’ in his fiction. -
A True Romance: Reading Erich Segal's Love Story Laura Mäkinen
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UEF Electronic Publications A True Romance: Reading Erich Segal’s Love Story Laura Mäkinen 142 818 Master’s Thesis Department of English School of Humanities University of Eastern Finland August 2013 ITÄ-SUOMEN YLIOPISTO – UNIVERSITY OF EASTERN FINLAND Tiedekunta – Faculty Osasto – School Filosofinen tiedekunta Humanistinen osasto Tekijät – Author Laura Vilhelmiina Mäkinen Työn nimi – Title A True Romance: Reading Erich Segal’s Love Story Pääaine – Main subject Työn laji – Level Päivämäärä – Date Sivumäärä Englannin kieli ja kulttuuri – Number of pages Pro gradu -tutkielma x 69 Sivuainetutkielma Kandidaatin tutkielma Aineopintojen tutkielma Tiivistelmä – Abstract The aim of this thesis is to demonstrate that Erich Segal’s Love Story is a romance novel despite its unconventional use of romance elements. The study concentrates on two issues: the romance conventions and the portrayal of ethnicity. I begin with the conventions of romance. The presentation of these conventions is divided into two sections. First I discuss the history of the romance genre in order to show the conventions of romance that have characterized the genre from its beginning. Second I examine the formula of romance that is distinctive to more contemporary romance novels. In the third theory section of my thesis I address the portrayal of intercultural relationships in literature. The analysis of Love Story is divided into three sections. In the first section I concentrate on the romance elements that stem from the early form the Greek or Classic romances. I argue that despite the unconventional romance ending of Love Story, it contains plenty of other romance elements.