DOCSLIB.ORG

The Margin.Pages

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Margin.Pages The Margin John Snowdon B.Mus, B.A., M.Ed. A thesis submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy School of Communication, Arts, and Critical Enquiry Faculty of Humanities and Social Sciences La Trobe University Bundoora, Victoria, 3086 Australia March, 2013 ii Table of Contents Summary .......................................................................................................iii Statement of Authorship .....................................................................................................iv Declaration of Consent ....................................................................................................... v Acknowledgements ...................................................................................................... vi Preface ......................................................................................................vii The Margin Prologue .......................................................................................................... Part One ........................................................................................................1 Part Two ......................................................................................................45 Part Three ....................................................................................................144 Exegesis to The Margin.................................................................................................. 218 Chapter 1 – Art, Sexuality, and Society .......................................................................219 Chapter 2 – The Context of Literature........................................................................ 261 Chapter 3 – The Margin................................................................................................ 278 Chapter 4 – Conclusion .................................................................................................303 Bibliography and References........................................................................................ 309 iii Summary The Margin is my creative PhD. It comprises a novel, which is supported by a theoretical section. Together they explore the complex relationship between art, the artist, and society. The narrative refers to historical events surrounding the liaison between the esteemed musician Eugene Goossens, and the bohemian artist Rosaleen Norton, who shared an interest in erotica, and the occult that was not tolerated in 1950s Australia. Their affair attracted sensational press coverage, but my thesis is not concerned with scandal, so much as with the artistic imperative to create. My novel begins in the 1950s, but the storyline jumps between decades as it follows the story of Caroline, who is a fictional student of Goossens. The narration describes events as they were happening in Caroline’s youth from an omniscient perspective. Her son David takes up the narration, as Caroline’s life history also forms part of his own, developing the narrative from a third person limited perspective. As an adult, he collaborates with a dancer named Lucy, to reanimate the Goossens and Norton story through a stage show, which involves music, dance, and projected images. His motivation comes from a lifelong interest in the Goossens story, which he passes on intimately to Lucy. This intense focus does not only manifest through Goossens and Norton as characters, it transfers into the portrayal of intimacy between David and Lucy, compelling them to present their homage production. Whilst Goossens and Norton were ostracized by conservative forces in society, due to their dedication to deviant creative instincts, David and Lucy’s antagonist is an individual who is driven by personal motives. Nonetheless, both artistic couples face obstacles, and the exegesis to The Margin questions who, and what, has fashioned the hurdles that each of the artist-couples face. My exegesis also addresses a positive question: how can I dramatize, represent, and evoke an aesthetic experience of territory shared between artists? I refer to this territory as the margin – a creative, artistic arena that is separate from, and not able to be assimilated by, a consumerist and commodifying approach to art. I have drawn upon research into the years Goossens spent in Australia in order to epistemologically inform artistic connections between Goossens and my character David. The process of combining historical research with fiction, and to an extent memoir, has enabled me to assemble the component parts of The Margin. Fiction allows me to tell a story that crosses over social boundaries, and encompasses the aesthetics of music, art, and literature. This places the historical events themselves in a broader context than they would otherwise occupy, and, in turn, permits me to subject the well-known, yet elusive subject of the marginalized artist genius to greater intellectual scrutiny. John Snowdon October 2012 iv Statement of Authorship Except where reference is made in the text of the thesis, this thesis contains no material published elsewhere or extracted in whole or in part from a thesis submitted for the award of any other degree or diploma. No other person’s work has been used without due acknowledgment in the main text of the thesis. This thesis has not been submitted for the award of any degree or diploma in any other tertiary institution. v Declaration of Consent 1. I agree that this paper may be made available for consultation within the Latrobe University library. 2. I agree that this paper may be made available for copying. 3. I note that, in any case, my consent is required only for the three years following the acceptance of this paper. vi Acknowledgements I wish to acknowledge support from Susan Gillett as principal supervisor for the project, and my co-supervisor Sofia Ahlberg. I would also like to acknowledge the generous support and assistance given to me by Ian Irvine, Rod Blackhurst, Marguerite Johnson, Neville Drury, my readers Laurelle Morris, Megan Beckwith, Rhonda McGuire, Deryck Reaburn-Jenkin, and the Venue and Event Sales department of the Sydney Opera House. Most importantly, I would like to thank the musicians who have generously shared their memories of the Goossens’ years with me, particularly Enid Thew, John K. Snowdon, Moya Everingham, and Rachel Valla. vii Preface When my parents met they were students at The NSW State Conservatorium of Music. This was during ‘the Goossens years’ (1946 – 1956). With this background to my upbringing, I have a lifelong awareness of Sir Eugene Goossens’ impact on Australian music and culture. I have also been aware of the scandal surrounding his relationship with the occult, bohemian artist Rosaleen Norton. Their affair attracted sensational press coverage, but my thesis is not concerned with scandal so much as with the evocation of a shared aesthetic space and the artistic imperative to create. Because the events took place a generation ago, I did not know Goossens or Norton personally, yet I have a proximity to the topic. This has placed me in a good position to write The Margin as an 80,000-word novel that reanimates their story in contemporary Australia. I have approached this through the story of David and Lucy who are a contemporary artistic couple who produce a stage show involving music, dance and projected images. The Margin consists of 18 Chapters and it is divided into three sections. Chapters 1 – 4 make up Section One, which is mainly concerned with introducing my characters, the time and place that they occupy, and their relationship to one another. Section Two provides further background and develops interpersonal relationships between characters from the past and the present. It comprises 8 chapters, from Chapters 5 – 12, and during this section David and Lucy’s production begins to take shape. The final section comprises Chapters 13 – 18. This is largely concerned with the production and the efforts of David and Lucy’s antagonist, Garry, to thwart their endeavours. The narrative is accompanied by a 20,000-word exegesis, which combines with the novel to explore the complex relationship between art, the artist, and society. 8 Part One Music finds the absolute immediately, but at the moment of discovery it becomes obscured, just too powerful a light dazzles the eyes, preventing them from seeing things which are perfectly visible. Theodore Adorno Music and Language: A Fragment 1 Chapter 1 ‘Do you like music?’ That was all he said – straight to the point. Had he said ‘I have a dream,’ she would have replied, ‘so do I’. The effect of his smile and the slight inclination of his head resonated within her, like the vibration that came from the cello’s deeper register. ‘I love it!’ she said, her answer cutting straight through layers of insecurity that usually prevented her from expressing thoughts in public. Except when she was at the piano. She loved it – from the noble Romantics, to the ethereal translucence behind Claire de Lune. Each piece reverberated with a subjective nostalgia that she first recognized at the convent in Scone and then at high school in Gunnadah. Just how she came to know the workings of harmony so intimately or could point out that the magpies were singing in A-flat was her secret. It was too difficult to describe and it seemed unnecessary to explain anything to others; she’d let the piano do that. Caroline devised anecdotes to conceal the faculty that singled her out as different: I had to work
Load more

Recommended publications
  • Animagazin 1. Sz. (2021. Január 20.)
    Téli szezon 2021 Összeállította: Hirotaka Anime szezon 019 2.43: Seiin Koukou Danshi Volley-bu Back Arrow Ex-Arm regény alapján original manga alapján Stúdió: Stúdió: Stúdió: David Production Studio VOLN Visual Flight Műfaj: Műfaj: Műfaj: iskola, sport akció, fantasy, mecha akció, sci-fi, seinen Seiyuuk: Seiyuuk: Seiyuuk: Umehara Yuuichirou, Ono Kenshou, Ozawa Ari, Kitou Akari, Komatsu Mikako Ono Kenshou, Aou Shouta Kaji Yuki Leírás Ajánló Leírás Ajánló Leírás Ajánló Haijima Kimichika röp- Röplabdás anime, Ringarindo területét Egy új mecha sorozat, Natsume Akira egy Már kétszer elhalasz- labdajátékos, visszaköltözik ami nem a Haikyuu. De fal veszi körül, védi és óvja rég láttunk ilyet, a műfaj középsulis diák, akinek csak tott címről van szó, talán Fukuiba, ahol a gyerekkorát hát ki mondta, hogy nem az ott élőket. A fal az isten, rajongói mostanában kicsit az agyát sikerült megmen- most elindul. Nekem hir- töltötte. Itt újra találkozik üthet más a labdába az is- és Ringarindo alapja. el vannak hanyagolva, szó- teni egy tragikus közleke- telen Robotzsaru érzetem egykori barátjával, Kuroba mert cím mellett. Egy re- Egy nap, egy rejtélyes val ez most jól jön. A Studio dési baleset után. Most az lett tőle. Főleg akcióköz- Yunival, akivel egy régi ve- gényadaptációról van szó, férfi, aki Back Arrownak ne- VOLN (Ushio to Tora, Kara- EX-ARM különleges rendőri pontú animének néz ki, sok szekedés miatt romlott meg ami 2015 óta fut. A David vezi magát megjelenik Essha kuri Circus (AniMagazin 50.)) egységgel működik együtt, harccal. Egy 2015-2019 kö- a viszonya. Elkezdik a Seiin Productionról csak annyit faluban. Arrow elvesztette a fogja készíteni, akik eddigi hogy visszaszerezze elve- zött készült mangát adap- középiskolát és csatlakoz- mondok, hogy JoJo és Ha- memóriáját, csak egy dolog- szerény felhozataluk elle- szett emlékeit és testét.
    [Show full text]
  • THE 2020–21 RUTH EASTON NEW PLAY SERIES March 3, 2021
    THE 2020–21 RUTH EASTON NEW PLAY SERIES PULPPULP VERITEVERITE by Crystal Skillman March 3, 2021 “Five years ago, I began writing a series of pieces that examined activism in the U.S. Pulp Vérité came to me as a parable that uses my training as a photographer to tell this story. With all we are politically facing in this country—the earned criticism of our place in the world internationally— Pulp Vérité is a race against time. This play unfolds and unravels in startling ways. I hope it is a call to action.”— Crystal Skillman Playwright......................Crystal Skillman Director......................Kareem Fahmy** Dramaturg......................Megan Sandberg-Zakian Design consultant......................David Esler Apprentice Stage Manager......................Ashe Jaafaru Workshop Producer......................Hayley Finn Associate Workshop Producer...........Julia Brown Actors Hunter/Kel/Stage Directions.....................Latoya Cameron* Robin......................Meredith Casey Joy......................Latoya Edwards* Will......................Alex Esola* Pike......................Layla Khoshnoudi* Jamie......................Meghan Kreidler* Lesley......................Maggie Metnick* *Appearing through an Agreement between this theatre, the Playwrights’ Center, and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. **Member, Stage Directors and Choreographers Society A NOTE FROM JEREMY B. COHEN Jaime The past four years have felt like an unending string of conversations; discussing with friends and colleagues what actions we needed to take that day. As the world continues to shift, change, and “That morning. You didn’t come back. We found a message—that you were meeting reveal itself at an incredibly rapid pace, many of us are seeking the way to address these challenging someone from an interview, got an address to the cafe—someone we begged from the times and become part of the solution in a whole new way.
    [Show full text]
  • European Influences in the Fine Arts: Melbourne 1940-1960
    INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole.
    [Show full text]
  • Preface Roberto Zaugg, Wolfgang Kaiser, Stefan Burkhardt, Georg Christ, Alexander D
    Preface Roberto Zaugg, Wolfgang Kaiser, Stefan Burkhardt, Georg Christ, Alexander D. Beihammer, Franz-Julius Morche To cite this version: Roberto Zaugg, Wolfgang Kaiser, Stefan Burkhardt, Georg Christ, Alexander D. Beihammer, et al.. Preface: Table of contents, preface, bibliography, abstracts.. Union in Separation. Diasporic Groups and Identities in the Eastern Mediterranean (1100-1800) , pp.9-16, 2015. hal-01223507 HAL Id: hal-01223507 https://hal.archives-ouvertes.fr/hal-01223507 Submitted on 5 Nov 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Viella Historical Research 1 Georg Christ, Franz-Julius Morche, Roberto Zaugg Wolfgang Kaiser, Stefan Burkhardt, Alexander D. Beihammer (eds.) Union in Separation Diasporic Groups and Identities in the Eastern Mediterranean (1100-1800) viella Copyright © 2015 - Viella s.r.l. All rights reserved First edition: September, 2015 ISBN 978-88-6728-435-1 This book has been published with the assistance of the University Paris 1 Panthéon Sorbonne, Institut d’histoire moderne et contemporaine (IHMC) - research project Mediterranean Reconfigurations (European Research Council GA n° 295868) Cover illustration: Unknown painter, Entrée à Smyrne du Prince de Listenois, le 28 septembre 1766, 18th century, detail. © Musée national de la Marine / P.
    [Show full text]
  • THE HARVEST of a QUIET EYE.Pdf
    li1 c ) 1;: \l} i e\ \. \ .\ The University of Sydney Copyright in relation to this thesis* Unde r the Copyright Act 1968 (several provision of which are referred to below), this thesis must be used only under the normal conditions of scholarly fair dealing for the purposes of research, criticism or review. In particular no results or conclusions should be extracted (rom it, nor should it be copied or closely paraphrased in whole or in part without the written consent of the author. Proper written acknowledgement should be made for any assistance obtained from this thesis. Under Section 35(2) of the Copyright Act 1968 'the .uthor of a literary, dramatic. musical or artistic work is the owner of any copyright subsisting in the work', By virtUe of Section 32( I) copyright 'subsists in an original literary, dramatic. musical or artistic work that is unpublished' and of which the author was an Australian citizen, an Australian protected person or a person resident in Australia. The Act. by Section 36( I) provides: 'Subject to this Act. the copyright in a literary, dramatic, musical or artistic work is infringed by a person who. not being the owner of the copyright and without the licence of the owner of the copyright, does in Australia, or authorises the doing in Australia of, any act comprised in the copyright'. Section 31 (I )(.)(i) provides thot copyright includes the exclusive right to'reproduce the work. in a material form'.Thus, copyright is infringed by a person who, not being the owner of the copyright, reproduces or authorises the reproduction of a work., or of more than a reasonable part of the work, in a material form, unless the reproduction is a 'fair dealing' with the work 'for the purpose of research or swdy' as further defined in Sections 40 and .
    [Show full text]
  • Final Hannah Online Credits
    Hannah Gadsby’s Oz – Full Series Credits WRITTEN & PRESENTED BY HANNAH GADSBY ------ DIRECTED & CO-WRITTEN BY MATTHEW BATE ------------ PRODUCED BY REBECCA SUMMERTON ------ EDITOR DAVID SCARBOROUGH COMPOSER & MUSIC EDITOR BENJAMIN SPEED ------ ART HISTORY CONSULTANT LISA SLADE ------ 1 Hannah Gadsby’s Oz – Full Series Credits ARTISTS LIAM BENSON DANIEL BOYD JULIE GOUGH ROSEMARY LAING SUE KNEEBONE BEN QUILTY LESLIE RICE JOAN ROSS JASON WING HEIDI YARDLEY RAYMOND ZADA INTERVIEWEES PROFESSOR CATHERINE SPECK LINDSAY MCDOUGALL ------ PRODUCTION MANAGER MATT VESELY PRODUCTION ASSISTANTS FELICE BURNS CORINNA MCLAINE CATE ELLIOTT RESEARCHERS CHERYL CRILLY ANGELA DAWES RESEARCHER ABC CLARE CREMIN COPYRIGHT MANAGEMENT DEBRA LIANG MATT VESELY CATE ELLIOTT ------ DIRECTOR OF PHOTOGRAPHY NIMA NABILI RAD SHOOTING DIRECTOR DIMI POULIOTIS SOUND RECORDISTS DAREN CLARKE LEIGH KENYON TOBI ARMBRUSTER JOEL VALERIE DAVID SPRINGAN-O’ROURKE TEST SHOOT SOUND RECORDIST LACHLAN COLES GAFFER ROBERTTO KARAS GRIP HUGH FREYTAG ------ 2 Hannah Gadsby’s Oz – Full Series Credits TITLES, MOTION GRAPHICS & COLOURIST RAYNOR PETTGE DIALOGUE EDITOR/RE-RECORDING MIXER PETE BEST SOUND EDITORS EMMA BORTIGNON SCOTT ILLINGWORTH PUBLICITY STILLS JONATHAN VAN DER KNAPP ------ TOKEN ARTISTS MANAGING DIRECTOR KEVIN WHTYE ARTIST MANAGER ERIN ZAMAGNI TOKEN ARTISTS LEGAL & BUSINESS CAM ROGERS AFFAIRS MANAGER ------ ARTWORK SUPPLIED BY: Ann Mills Art Gallery New South Wales Art Gallery of Ballarat Art Gallery of New South Wales Art Gallery of South Australia Australian War Memorial, Canberra
    [Show full text]
  • … … Mushi Production
    1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Mushi Production (ancien) † / 1961 – 1973 Tezuka Productions / 1968 – Group TAC † / 1968 – 2010 Satelight / 1995 – GoHands / 2008 – 8-Bit / 2008 – Diomédéa / 2005 – Sunrise / 1971 – Deen / 1975 – Studio Kuma / 1977 – Studio Matrix / 2000 – Studio Dub / 1983 – Studio Takuranke / 1987 – Studio Gazelle / 1993 – Bones / 1998 – Kinema Citrus / 2008 – Lay-Duce / 2013 – Manglobe † / 2002 – 2015 Studio Bridge / 2007 – Bandai Namco Pictures / 2015 – Madhouse / 1972 – Triangle Staff † / 1987 – 2000 Studio Palm / 1999 – A.C.G.T. / 2000 – Nomad / 2003 – Studio Chizu / 2011 – MAPPA / 2011 – Studio Uni / 1972 – Tsuchida Pro † / 1976 – 1986 Studio Hibari / 1979 – Larx Entertainment / 2006 – Project No.9 / 2009 – Lerche / 2011 – Studio Fantasia / 1983 – 2016 Chaos Project / 1995 – Studio Comet / 1986 – Nakamura Production / 1974 – Shaft / 1975 – Studio Live / 1976 – Mushi Production (nouveau) / 1977 – A.P.P.P. / 1984 – Imagin / 1992 – Kyoto Animation / 1985 – Animation Do / 2000 – Ordet / 2007 – Mushi production 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Tatsunoko Production / 1962 – Ashi Production >> Production Reed / 1975 – Studio Plum / 1996/97 (?) – Actas / 1998 – I Move (アイムーヴ) / 2000 – Kaname Prod.
    [Show full text]
  • Ngv Annual Report 2019 / 20
    ANNUAL REPORT 2019 / 20 COUNCIL OF TRUSTEES OF THE NATIONAL GALLERY OF VICTORIA, AUSTRALIA NGV ANNUAL REPORT 2019 / 20 COUNCIL OF TRUSTEES OF THE NATIONAL GALLERY OF VICTORIA, AUSTRALIA NGV INTERNATIONAL 180 St Kilda Road THE IAN POTTER CENTRE: NGV AUSTRALIA Federation Square National Gallery of Victoria PO Box 7259 Melbourne VIC 3004 Australia +61 3 8620 2222 www.ngv.vic.gov.au ISSN: 2206-4982 RESPONSIBLE BODY’S DECLARATION In accordance with the Financial Management Act 1994, I am pleased to present the Council of Trustees of the National Gallery of Victoria’s Annual Report for the year ending 30 June 2020. Janet Whiting AM President, Council of Trustees 27 August 2020 (cover) KAWS American 1974– GONE 2019 (installation view) patinated and painted bronze 700.0 x 710.5 x 294.0 cm Commissioned by the National Gallery of Victoria, 2020 (2020.177) © KAWS CONTENTS OVERVIEW SUPPORT About the National Gallery of Victoria 5 Affiliated groups 137 President’s foreword 6 2019/20 Donors 140 Director’s review 8 NGV Foundation Members 146 Strategic framework 10 Felton Society Members 154 Report against output targets 11 NGV Life Members 156 Emeritus Trustees and Foundation Board members 157 2019/20 PERFORMANCE REPORT The Felton Bequest 157 Bringing art and design to life 13 Partners 158 Connecting audiences 20 Realising our potential 24 GOVERNANCE Building for the future 26 Council of Trustees 167 Sharing our vision 28 Council Committees and working groups 169 Exhibitions Listing 32 Workforce data 170 Acquisition Listing 36 Organisational structure 173 Publications Listing 64 Other corporate reports 174 Disclosure index 184 2019/20 FINANCIAL REPORT Five-year financial summary 71 Independent audit report 74 Financial statements 76 Notes to the financial statements 82 OVERVIEW ABOUT THE NATIONAL GALLERY OF VICTORIA ORIGINS STATE COLLECTION Founded in 1861, the National Gallery of Victoria (NGV) is The State Collection comprises approximately 73,000 works Australia’s oldest public art gallery.
    [Show full text]
  • Hofstra University Film Library Holdings
    Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987.
    [Show full text]
  • Talking Like a Shōnen Hero: Masculinity in Post-Bubble Era
    Talking like a Shōnen Hero: Masculinity in Post-Bubble Era Japan through the Lens of Boku and Ore Hannah E. Dahlberg-Dodd The Ohio State University Abstract Comics (manga) and their animated counterparts (anime) are ubiquitous in Japanese popular culture, but rarely is the language used within them the subject of linguistic inquiry. This study aims to address part of this gap by analyzing nearly 40 years’ worth of shōnen anime, which is targeted predominately at adolescent boys. In the early- and mid-20th century, male protagonists saw a shift in first-person pronoun usage. Pre-war, protagonists used boku, but beginning with the post-war Economic Miracle, shōnen protagonists used ore, a change that reflected a shift in hegemonic masculinity to the salaryman model. This study illustrates that a similar change can be seen in the late-20th century. With the economic downturn, salaryman masculinity began to be questioned, though did not completely lose its hegemonic status. This is reflected in shōnen works as a reintroduction of boku as a first- person pronoun option for protagonists beginning in the late 90s. Key words sociolinguistics, media studies, masculinity, yakuwarigo October 2018 Buckeye East Asian Linguistics © The Author 31 1. Introduction Comics (manga) and their animated counterparts (anime) have had an immense impact on Japanese popular culture. As it appears on television, anime, in addition to frequently airing television shows, can also be utilized to sell anything as mundane as convenient store goods to electronics, and characters rendered in an anime-inspired style have been used to sell school uniforms (Toku 2007:19).
    [Show full text]
  • Herefore the Township
    WARRANDYTE f the cmunity by the cmunity No 532, AUGUST 2019 GOLDFIELDS Since 1970 | Priceless PLAZA Editorial & Advertising: 9844 0555 | Email: [email protected] Tree-mendous Tree Day INSIDE Nillumbik’s recycling crisis — Page 3 NBN arrives — Page 9 PHOTO: BILL MCAULEY Your dental health — Pages 18–19 Warrandyte Primary School students celebrated National Tree Day by planting a veritable forest in the grounds of the school. Olive (pictured above), her classmates, teachers and parents put in 200 indigenous seedlings in the Footy finals on the horizon— Page 31 ground — and learnt valuable lessons about caring for their environment. Full report on Page 25. Peter Gardiner BARRISTER & SOLICITOR Local legal practitioner since 1989 We specialise in helping businesses • • • Office 1, 2 Colin Avenue Warrandyte T 9844 1111 | F 9844 1792 E [email protected] “If opportunity doesn’t knock... build a door.” — Milton Berle 2 Warrandyte Diary AUGUST 2019 OVER THE HILLS By JOCK MACNEISH TheOVER more THE things HILLS change... By JOCK MACNEISH AUGUST The Diary’s researchers have the banks of the Salt Water River through and unwittingly became the founder of Ballan to Sugarloaf Mountain, the party Warrandyte. Silver been trawling the internet and came upon a fast-flowing stream 10 miles A widower without family, Anderson was have come across a bit of a find. to the south east, which they named Plenty one of the few Port Phillip settlers to drove Jewellery Tucked away on the Warrandyte River. stock overland from Sydney. Continuing in an easterly direction across His station homestead, surrounded by 232 Yarra St Cricket Club’s website is a copy the Plenty they hoped to find the upper gum trees and wattles, consisted of slab Warrandyte of a book tracing the history of reaches of the Yarra Yarra River.
    [Show full text]
  • The Middle Yarra Concept Plan
    THE MIDDLE YARRA CONCEPT PLAN BURKE ROAD TO WATSONS CREEK STATE GOVERNMENT OF VICTORIA JULY 1991 The Middle Yarra Concept Plan (Stage 2) Burke Road to Watsons Creek July 1991 ■_117. State Government of Victoria Foreword The vision of a green network of linear parks lining Conservation and Environment's Warrandyte State Park. Melbourne's waterways from the Bay to the Ranges is The Board of Works, through "Open Space 2000", is becoming a reality. The Middle Yarra Concept Plan now preparing'A management plan for the Yarra Valley (Burke Road to Watsons Creek) completes the series of Metropolitan Park, which will further develop these concept plans for the Yarra Valley and provides a broad concepts into a detailed plan for this major park co-ordinated approach to the enhancement, protection consistent with the concept plan. and management of these priceless assets. The full implementation of these plans will take many The Middle Yarra River is a place of enormous contrasts. years, both for the completion of the land acquisition The valley changes from an almost pristine bushland program and development of the parks to their optimum environment in Kangaroo Ground and Warrandyte to a relatively urbanised setting in Templestowe and Heidelberg. Even the Heidelberg parklands, however, The planning controls associated with this concept plan retain some of the natural charm and landscape aim to discourage inappropriate urban development and character made famous by the Heidelberg School of will ensure that the special character of the Middle Yarra painters. Valley is not compromised: The middle section of the river (between Fitzsimons Much of the initiative for this concept plan stemmed Lane and Pound Bend) is largely inaccessible and from the late Mr Alan Bunbury, former chairman of the unknown to the public at this stage, but provides a Middle Yarra Advisory Committee.
    [Show full text]