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Rts Announces Winners for the Programme Awards 2009
P R E S S R E L E A S E Tuesday16 March 2010 RTS ANNOUNCES WINNERS FOR THE PROGRAMME AWARDS 2009 The Royal Television Society (RTS), Britain’s leading forum for television and related media, has announced the winners for the RTS Programme Awards 2009. The ceremony, held at Grosvenor House on Tuesday 16 March, was hosted by actor, comedian and radio presenter Rob Brydon and the awards were presented by RTS Chair, Wayne Garvie. The RTS Programme Awards celebrate all genres of television programming, from history to soaps, children's fiction to comedy performance. Covering both national and regional output, as well honouring the programmes themselves, they aim to recognise the work of exceptional actors, presenters, writers and production teams. The Winners: Scripted Comedy The Thick of It BBC Productions for BBC Two “An acerbic, intelligent and sweeping comedy which attained new heights. Faultless ensemble acting, meticulous writing and intricately contrived comedy climaxes combined to make this a series we didn‟t want to end.” Nominees Miranda BBC Productions for BBC Two The Inbetweeners A Bwark Production for E4 Entertainment Newswipe with Charlie Brooker Zeppotron for BBC Four “Right on the money... Refreshingly polemical and with real authenticity.” Nominees Britain's Got Talent A talkbackTHAMES and SYCO TV Production for ITV1 The X Factor A talkbackTHAMES and SYCO TV Production for ITV1 2-6 Northburgh Street, London EC1V 0AY +44 (0) 20 7490 4050 www.franklinrae.com Daytime and Early Peak Programme Come Dine With Me ITV Studios for -
Greek Mythology: Heroes
Greek Mythology: Heroes Baldwin’s Mythology Heroes ● Odysseus ● Heracles (Hercules) ● Jason ● Theseus ● Achilles ● Perseus Odysseus ● Legendary Hero in Greek Mythology ● King of the island of Ithaca and the protagonist in Homer’s epic The Odyssey ● It all started over a woman... Odysseus (continued) ● Odysseus was one of the suitors that wanted to marry Helen, step-daughter of king Tyndareus of Sparta. However, there suitors, so they drew straws. As a result, Menelaus drew the lucky straw, while Odysseus married Penelope. ● Helen was abducted by Prince Paris of Troy, so all suitors were summoned to help Menelaus in his quest to bring her back. ● After the Greeks reached Troy and the war started, Odysseus played a particularly influential role as an advisor. He maintained the morale of the Greeks in a high level and managed to keep everyone sane. Odysseus (continued) ● Odysseus was most famous in the war for his contribution to create the Trojan Horse, a huge wooden horse that was supposed to be a gift to the Trojans by the retreating Greeks. The Trojans accepted the gift joyfully and started celebrating around it. When the night fell and everyone was drunk, the Greek warriors, who had hidden in the hollow body of the horse, revealed themselves and slew the Trojans, winning the war. Hercules ● Heracles (or Hercules) is best known as the strongest of all mortals, and even stronger than many gods. ● He was the last mortal son of Zeus, and the only man born of a mortal woman to become a god upon his death. ● Terrible things happened to him because of Hera's hatred, a hatred that he was not responsible for. -
New E4 Comedy Horror 'Crazyhead'
NEWS FOR television IMMEDIATE RELEASE NEW E4 COMEDY HORROR ‘CRAZYHEAD’ – MADE IN BRISTOL – BEGINS WEDS 19TH OCTOBER BRISTOL, 18 October 2016: Brand new E4 comedy horror series Crazyhead, which filmed at The Bottle Yard Studios and across Bristol over the summer, is set to hit TV screens tomorrow. The six-part show from BAFTA award-winning creator of Misfits Howard Overman, which follows the angst and exorcisms of an unlikely duo of demon hunters, begins on E4 on Wednesday 19th October at 9pm, with Netflix streaming the series globally following the UK premiere. Crazyhead built bespoke sets in The Bottle Yard Studios’ Tank House 2 and Green Screen Studio, and stored props on site. Filming took place for 14 weeks across Bristol, and Bristol Film Office assisted with recces for a wide range of locations, including a number of council flat blocks, which led to the production sourcing their ideal location for the main character’s flat. Other locations used included the M-Shed (which doubled as a nightclub), Millennium Promenade, Ashton Court Estate and Mansion House, O2 Academy, At Bristol, a tenpin bowling alley at Avonmeads Retail Park in Brislington and Imperial Park in Hengrove. Unit bases coordinated by Bristol Film Office were set up at Redcliffe Wharf, St Peters Square and Ashton Court. Natalie Moore, Bristol Film Office, said: “It was fantastic to support Urban Myth Films for the filming of Crazyhead in the summer. Bristol has been home to a number of iconic fantasy-based shows over the years, such as Being Human and Doctor Who. This exciting new production, billed as a British Buffy the Vampire Slayer, will speak to young audiences, showcasing our modern and urban locations around the world when the series streams on Netflix after the UK premiere.’ Fiona Francombe, Site Director of The Bottle Yard Studios, said: ‘It was a fantastic achievement for us this summer to attract Urban Myth Films to make Crazyhead at The Bottle Yard Studios. -
Introduction: Medea in Greece and Rome
INTRODUCTION: MEDEA IN GREECE AND ROME A J. Boyle maiusque mari Medea malum. Seneca Medea 362 And Medea, evil greater than the sea. Few mythic narratives of the ancient world are more famous than the story of the Colchian princess/sorceress who betrayed her father and family for love of a foreign adventurer and who, when abandoned for another woman, killed in revenge both her rival and her children. Many critics have observed the com plexities and contradictions of the Medea figure—naive princess, knowing witch, faithless and devoted daughter, frightened exile, marginalised alien, dis placed traitor to family and state, helper-màiden, abandoned wife, vengeful lover, caring and filicidal mother, loving and fratricidal sister, oriental 'other', barbarian saviour of Greece, rejuvenator of the bodies of animals and men, killer of kings and princesses, destroyer and restorer of kingdoms, poisonous stepmother, paradigm of beauty and horror, demi-goddess, subhuman monster, priestess of Hecate and granddaughter of the sun, bride of dead Achilles and ancestor of the Medes, rider of a serpent-drawn chariot in the sky—complex ities reflected in her story's fragmented and fragmenting history. That history has been much examined, but, though there are distinguished recent exceptions, comparatively little attention has been devoted to the specifically 'Roman' Medea—the Medea of the Republican tragedians, of Cicero, Varro Atacinus, Ovid, the younger Seneca, Valerius Flaccus, Hosidius Geta and Dracontius, and, beyond the literary field, the Medea of Roman painting and Roman sculp ture. Hence the present volume of Ramus, which aims to draw attention to the complex and fascinating use and abuse of this transcultural heroine in the Ro man intellectual and visual world. -
Jason and the Golden Fleece by Max I
Jason and the Golden Fleece By Max I. A long time ago, a child named Jason was born in the small kingdom of Iolcus, which was in Northern Greece. He was born before actual Greek history, in a time where Gods and heroes still existed. He was the son of King Aeson, who ruled Iolcus fairly and justly. His mother was descended from Poseidon, the god of the sea. Therefore, Jason had royal blood and divine blood as well. Jason grew up to be a good looking and good-natured boy. He was polite to everybody and everybody liked him. And everybody knew that Jason would inherit the throne of Iolcus. He was a good friend of Max, who was a foreigner from Colchis. In fact, he was one of the most valuable people on the journey because he was from where the Golden Fleece was hidden. 10 years before Jason was born, a king and queen called Athamas and Nephele ruled in Northern Greece. However, king Athamas grew tired of his kind, virtuous queen, and sent her away so he could marry a cruel woman named Ino. However, Ino was so cruel she resolved to murder the king’s children, as she was mad after a argument with Athamas. Queen Nephele rushed back to save her children and enlisted the help of the God Hermes. Hermes created a massive golden ram to carry the two children to safety. Their names were Phrixus and Helle. The Ram carried them all the way to Colchis, where they could seek shelter. However, as they were flying over a great river that separates Europe from Asia, Helle fell off the Ram to her death. -
An Examination of the Malleable Representation of Medea Master's
An Examination of the Malleable Representation of Medea Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Graduate Program in Ancient Greek and Roman Studies Professor Joel Christensen, Advisor In Partial Fulfillment of the Requirements for the Degree Master of Arts in Ancient Greek and Roman Studies by Angela Hurley May 2018 Copyright by Angela Hurley © 2018 Acknowledgements A special thank you to my advisor, Joel Christensen, whose help has been invaluable to me and to my work, and to Cheryl Walker who has spent countless hours discussing this topic with me. iii ABSTRACT An Examination of the Malleable Representation of Medea A thesis presented to the Graduate Program in Ancient Greek and Roman Studies Graduate School of Arts and Sciences Brandeis University Waltham, Massachusetts By Angela Hurley As a persistent character in myth from early Greek epic to Imperial Rome and still into modern times, Medea’s representation shifts as a reflection of the society and author representing her. This thesis surveys the earliest versions of Medea’s myth to establish a basic narrative and furnish a range of variations. In particular, I examine the use of similar scenes in tragedies by Euripides and Seneca for contrasting representations of Medea. Individual analyses of Medea’s representation by each playwright demonstrate how her character is altered and what the activation of different mythical variants means in their cultural contexts. Medea’s gender plays a prominent role in her myth and this thesis analyzes its affect on her representation and perception. By demonstrating the manipulability of a specific mythical character based on a playwright’s preference or societal perception, this thesis explores the organic and dynamic nature of myth. -
Collection of Hesiod Homer and Homerica
COLLECTION OF HESIOD HOMER AND HOMERICA Hesiod, The Homeric Hymns, and Homerica This file contains translations of the following works: Hesiod: "Works and Days", "The Theogony", fragments of "The Catalogues of Women and the Eoiae", "The Shield of Heracles" (attributed to Hesiod), and fragments of various works attributed to Hesiod. Homer: "The Homeric Hymns", "The Epigrams of Homer" (both attributed to Homer). Various: Fragments of the Epic Cycle (parts of which are sometimes attributed to Homer), fragments of other epic poems attributed to Homer, "The Battle of Frogs and Mice", and "The Contest of Homer and Hesiod". This file contains only that portion of the book in English; Greek texts are excluded. Where Greek characters appear in the original English text, transcription in CAPITALS is substituted. PREPARER'S NOTE: In order to make this file more accessable to the average computer user, the preparer has found it necessary to re-arrange some of the material. The preparer takes full responsibility for his choice of arrangement. A few endnotes have been added by the preparer, and some additions have been supplied to the original endnotes of Mr. Evelyn-White's. Where this occurs I have noted the addition with my initials "DBK". Some endnotes, particularly those concerning textual variations in the ancient Greek text, are here ommitted. PREFACE This volume contains practically all that remains of the post- Homeric and pre-academic epic poetry. I have for the most part formed my own text. In the case of Hesiod I have been able to use independent collations of several MSS. by Dr. -
Medea in Latin Literature: Victim Or Assassin?
Bard College Bard Digital Commons Senior Projects Spring 2019 Bard Undergraduate Senior Projects Spring 2019 Medea in Latin Literature: Victim or Assassin? Natasha Chamia Acosta Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2019 Part of the Classical Literature and Philology Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Acosta, Natasha Chamia, "Medea in Latin Literature: Victim or Assassin?" (2019). Senior Projects Spring 2019. 148. https://digitalcommons.bard.edu/senproj_s2019/148 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Medea In Latin Literature: Victim or Assassin? Senior Project Submitted to The Division of Languages and Literature of Bard College by Natasha Chamia Acosta Annandale-on-Hudson, New York May 2019 Acknowledgements I would like to thank Professor Lauren Curtis, first of all, for not only igniting the initial spark that has culminated in this project, but also for you patience and support. Thank you to Amanda, Eleanor, and Emma for keeping me sane through this entire process. Thank you to Clarissa for always keeping me supplied with some good Classics memes. -
Stuart Hancock
STUART HANCOCK SELECTED CREDITS KENSUKE’S KINGDOM (2021/22) HIROSHIMA AND NAGASAKI: 75 YEARS LATER (2020) THE ICE KING (2018) WE’RE GOING ON A BEAR HUNT (2016) CRAZYHEAD (2016) ATLANTIS (2014-15) BIOGRAPHY Stuart Hancock is a film and TV composer, best known for his scores to BBC’s 'Atlantis' and the animated movie adaptation of 'We’re Going On A Bear Hunt'. He won a prestigious British Composer Award in 2015 for his concert work 'Snapshot Songs'. Stuart studied at Downing College Cambridge, and the London College of Music, graduating in 1998 with a distinction from the Masters course in Composing for Film and Television. This led to a full-time studio composer role with Soho-based music production company Mcasso, where Stuart excelled in commercial music composition and production. He went freelance in 2005 and has since built and maintained a varied career as a composer, arranger and conductor across all media. Stuart quickly won industry recognition for his music and sound design, with awards for his commercial work on campaigns for the BBFC, Burberry New York and the BBC World Cup coverage. A first big film-scoring hit was with EMR, which won the Raindance Film Festival and went on general release in the summer of 2005 following its Cannes premiere. Stuart’s first soundtrack releases - for the independent action movies ‘Underground’ and ‘Bodyguard: A New Beginning’ - came in June 2009 to rapturous reviews (“Hancock proves that his work is up there with the best that Hollywood has to offer. Expect great things from him in the future”; Darren Rea, review of ‘Bodyguard: A New Beginning’). -
Misfits Neue Fantasy-Serie 28./29
10. Mai 2013 Misfits Neue Fantasy-Serie 28./29. Juni 2013, ab 22.20 Uhr Staffel 1: 6-teilig 5./6. Juli 2013, ab 22.10 Uhr Staffel 2: 7-teilig Inhalt 2 Helden haben's auch nicht leicht Vorwort von Sebastian Lückel 4 Misfits Stab und Inhalt 5 Die Episoden Staffel 1 und 2 7 Die Rollenbeschreibungen 15 Kontakt, Bildhinweis, Impressum 1 10. Mai 2013 Helden haben's auch nicht leicht Eine heruntergekommene Umkleide im Schein von Leuchtstoffröhren. Fünf Jugendliche streifen sich lustlos orangefarbene Overalls über, so wie sie in Gefängnissen getragen werden. Sie machen sich bereit für ihre erste Sozialstunde, denn sie sind auf die schiefe Bahn geraten. Ihre vulgäre Sprache und die fragwürdigen Umgangsformen lassen erahnen, warum die Fünf zu Außenseitern der Gesellschaft geworden sind. Doch wenn die Handlung in "Misfits" zunächst auf eine schon oft erzählte Milieustudie gescheiterter Teenager hindeutet, nimmt sie eine überra- schende Wendung. Denn als urplötzlich ein starkes Gewitter aufzieht, verändert sich nicht nur das Leben der Jugendlichen, sondern ebenso das Genre der Serie. Nathan, Kelly, Curtis, Alisha und Simon können sich vor felsgroßen Hagelkörnern in Sicherheit bringen, verfügen aber auf einmal über unglaubliche Fähigkeiten. Kelly kann Gedanken lesen, Alisha verfügt über eine extrem hohe sexuelle Anziehungskraft, Simon kann un- sichtbar werden und Curtis ist in der Lage, die Zeit zurückzudrehen. Die außergewöhnlichste Gabe bekommt Nathan – allerdings offenbart sich diese erst im packenden Finale der 1. Staffel. Wer glaubt, dass sich das Leben der Jugendlichen durch die neu gewonnenen Kräfte schlagartig bessert, liegt falsch. Die Serie zeigt offen und knallhart, wie schwer es sein kann, ein Held zu sein. -
Jason and the Argonauts
Jason and the Argonauts Jason was the son of King Aeson of Iolcus and rightful heir to the throne. But before Jason was born, King Aeson’s half brother, Pelias, had overthrown the king and imprisoned him. Jason’s mother pretended that her son had died at birth. And she took him away secretly to be brought up by Chiron the centaur, a creature who was half horse and half man. If King Pelias had known of Jason’s existence, he would surely have put the boy to death. Even though Pelias knew nothing of Jason, he could not rest. For an oracle had warned him that he would be killed by a relative and that he must guard against a man wearing one sandal. Many years later, a handsome young man with curly, golden hair came walking into the marketplace at Iolcus. He was wearing a leopard’s skin and only one sandal. He had lost the other while carrying an old woman across a river. When King Pelias saw the tall stranger with one sandal, he was instantly afraid. Surely he was the man about whom the oracle had warned Pelias. "What is your name?" said King Pelias. "And why have you come to my kingdom?" "I am called Jason," said the stranger. "I have come to claim the throne, for my father is your half brother, and I am the rightful king of this land. I do not wish to quarrel with you. You may keep all the riches of the kingdom, but I must have the title of king, for it belongs to me." King Pelias thought quickly and said, "I shall not quarrel with you. -
Apollonius Rhodius Argonautica 4 and the Epic Gaze: There and Back Again
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Nottingham ePrints Helen Lovatt Apollonius Rhodius Argonautica 4 and the epic gaze: There and back again The visuality of Apollonius Argonautica is complex and fascinating, and impor- tant for understanding that of later Greek and Roman epic.1 The Argonautica features in The Epic Gaze as the epic that wouldn’t, a refusenik of the epic genre, a counterexample.2 This chapter explores the particular visuality of Apollonius in more depth, by focusing on book 4 and its continuities and diver- gences from the previous books.3 William Thalmann, using the poetics of space, produces a reading of the Argonauts as a force for order, a representa- tion of Greekness, closely interlinked with Greek colonisation.4 Although he is careful to bring out the negatives, the difficulties and the confusions, this is an unusually positive reading of the Argonautica, rather in the same vein as Tim Stover’s reading of Valerius Flaccus.5 Space and visuality are closely relat- ed, and Thalmann illuminates processes of gazing in Apollonius, partly draw- ing on, or parallelling, the work of Alex Purves.6 In contrast Sistakou’s evoca- tion of the Argonautica as “dark epic” calls up a different visuality, one centred on darkness, fantasy and horror.7 In this chapter I re-examine gaze and vision in Apollonius by thinking about the difference between the explorers’ gaze and 1 See also Kampakoglou, this volume. On the importance of Apollonius for Virgil, see Nelis 2001. Apollonius in Lucan: Murray 2011; in Valerius (two recent interventions): Finkmann 2014, Seal 2014; in Claudian: Schindler 2005.