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Divx Na Cd Strona 1
Divx na cd 0000 0000 Original title/Tytul oryginalny 0000 Polish CD//Subt/Nap title/Tytul polski isy 10ThingsIHateAboutYou(1999) Zakochana zlosnica 1/pl 1492: Conquest of Paradise (AKA 1492: Odkrycie raju / 1492: Christophe1492:Wyprawa Colomb do / raju1492: La conquête du paradis / 1492: La conquista del paraíso) (1992) 2 Fast 2 Furious (2003) Za szybcy za wsciekli 1/pl 2046(2004) 2046 . 2/pl 21Grams (2003) 21 Gram 2/pl 25th Hour(2002) 25 godzina 2/pl 3000Miles toGraceland(2001) 3000 mil do Graceland 1/pl 50FirstDates(2004) 50 pierwszych randek 1/pl 54(1998) Klub 54 AboutSchmidt(2002) About Schmidt 2/pl Abrelosojos(AKA Open Your Eyes) (1997) Otworz oczy 1/pl Adaptation (2002) Adaptacja 2/pl Alfie(2004) Alfie 2/pl Ali(2001) Ali Alien3 (1992) Obcy 3 AlienResurrection (1997) 4 Obcy 4 – Przebudzenie Obcy 2 – Decydujace Aliens (1986) 2 starcie Alienvs. Predator(AKA Alienversus Predator/ AvP) (2004) Obcy Kontra Predator Amelia/ Fabuleux destin d'Amélie Poulain, Le (AKA Amelie from AmeliaMontmartre / Amelie of Montmartre / Fabelhafte Welt der Amelie, Die / Fabulous Destiny of Amelie Poulain / Amelie) (2001) AmericanBeauty(1999) American Beauty AmericanPsycho(2000) American Psycho Anaconda(1997) Anakonda AngelHeart (1987) Harry Angel AngerManagement(2003) Dwoch gniewnych ludzi Animal Farm (1999) Folwark zwierzecy Animatrix, The(2003) Animatrix AntwoneFisher(2002) Antwone Fisher Apocalypse Now(AKA Apocalypse Now: Redux(2001)) (1979) DirApokalipsa cut Aragami(2003) Aragami Atame(AKA Tie Me Up! Tie Me Down!) (1990) Zwiaz mnie Avalanche(AKA Nature -
P E R F O R M I N G
PERFORMING & Entertainment 2019 BOOK CATALOG Including Rowman & Littlefield and Imprints of Globe Pequot CONTENTS Performing Arts & Entertainment Catalog 2019 FILM & THEATER 1 1 Featured Titles 13 Biography 28 Reference 52 Drama 76 History & Criticism 82 General MUSIC 92 92 Featured Titles 106 Biography 124 History & Criticism 132 General 174 Order Form How to Order (Inside Back Cover) Film and Theater / FEATURED TITLES FORTHCOMING ACTION ACTION A Primer on Playing Action for Actors By Hugh O’Gorman ACTION ACTION Acting Is Action addresses one of the essential components of acting, Playing Action. The book is divided into two parts: A Primer on Playing Action for Actors “Context” and “Practice.” The Context section provides a thorough examination of the theory behind the core elements of Playing Action. The Practice section provides a step-by-step rehearsal guide for actors to integrate Playing Action into their By Hugh O’Gorman preparation process. Acting Is Action is a place to begin for actors: a foundation, a ground plan for how to get started and how to build the core of a performance. More precisely, it provides a practical guide for actors, directors, and teachers in the technique of Playing Action, and it addresses a niche void in the world of actor training by illuminating what exactly to do in the moment-to-moment act of the acting task. March, 2020 • Art/Performance • 184 pages • 6 x 9 • CQ: TK • 978-1-4950-9749-2 • $24.95 • Paper APPLAUSE NEW BOLLYWOOD FAQ All That’s Left to Know About the Greatest Film Story Never Told By Piyush Roy Bollywood FAQ provides a thrilling, entertaining, and intellectually stimulating joy ride into the vibrant, colorful, and multi- emotional universe of the world’s most prolific (over 30 000 film titles) and most-watched film industry (at 3 billion-plus ticket sales). -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Opera Oresteai 7-10 Opt 2 RBF Program 4-16 2
the richard b. fisher center for the performing arts at bard college Sergey Taneyev’s July 26 – August 4, 2013 About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater & Performance and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, film, and cabaret; and the Bard Music Festival, which celebrates its 24th year in August with “Stravinsky and His World.” The 2014 festival will be devoted to Franz Schubert. The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations. The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein presents Oresteia Music by Sergey Taneyev Russian libretto adapted by A. A. Venkstern after Aeschylus Directed by Thaddeus Strassberger American Symphony Orchestra Conducted by Leon Botstein, Music Director Set Design by Madeleine Boyd Costume Design by Mattie Ullrich Lighting Design by JAX Messenger Hair Design by Jon Carter Makeup Design by Lucia Aloi Sung in Russian, with English surtitles Sosnoff Theater July 26 and August 2 at 7 pm July 28, 31, and August 4 at 3 pm Running time for this performance is approximately three hours and 40 minutes, including two intermissions. -
I Certify That the Thesis Entitled Twisted Things
I certify that the thesis entitled Twisted Things: Playing with Time submitted for the degree of Doctor of Philosophy is the result of my own work and that where reference is made to the work of others, due acknowledgment is given. I also certify that any material in the thesis which has been accepted for a degree or diploma by any university or institution is identified in the text. ʹI certify that I am the student named below and that the information provided in the form is correctʹ Full Name: Virginia Stewart Murray Signed ..................................................................................…….… Date .................................................................................…….…… Twisted Things: Playing with Time by Virginia Stewart Murray (BA Dip Ed) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Deakin University January 2012 Table of Contents Volume One Creative Component Introduction to Thesis 1 Preface: Neither Fish nor Fowl 3 TWISTED THINGS 7 Volume Two Exegesis Playing with time: an exegesis in three chapters Introduction 127 Chapter One: On the Beach: A Contextual History Part 1 141 Part II 158 Chapter 2: Glamour and Celebrity: 1950s Australian Style 172 Chapter 3: The Role of the Unconscious: Playing with Time in Film 236 Camera Consciousness and Reterritorialisation in 12 Monkeys 249 Sheets of the Past in Jacob’s Ladder 257 Incompossible Worlds in Donnie Darko 264 Suddenly Thirty and the Peaks of the Present 269 Conclusion 280 Works Cited 287 Filmography 299 Works Consulted -
How Hollywood Films Portray Illness Robert A
New England Journal of Public Policy Volume 17 | Issue 1 Article 11 9-21-2001 How Hollywood Films Portray Illness Robert A. Clark Follow this and additional works at: http://scholarworks.umb.edu/nejpp Part of the Film and Media Studies Commons, and the Medicine and Health Sciences Commons Recommended Citation Clark, Robert A. (2001) "How Hollywood Films Portray Illness," New England Journal of Public Policy: Vol. 17: Iss. 1, Article 11. Available at: http://scholarworks.umb.edu/nejpp/vol17/iss1/11 This Article is brought to you for free and open access by ScholarWorks at UMass Boston. It has been accepted for inclusion in New England Journal of Public Policy by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. How Hollywood Films Portray Illness Robert A. Clark, M.D. Part I: Oncology Art imitates life, we are often told. Occasionally we also observe that life imitates art. Hollywood movies may fulfill the definition of art in both these adages. Movies evoke our fantasies, fears, loves, and hates and therefore reflect our lives. The art of film, however, diverges from real life because of the necessities of good story- telling: dramatization, plot lines, character development, and romanticism. There- fore, films are often imperfect reflections of our lives. As F. Scott Fitzgerald said, “There are no second acts in life.” Movies have been blamed for creating disturbing or profane cultural images, leading to societal ills such as violence, sexual deviancy, and isolation. Whether art imitates life or the reverse, it may be instructive to study how movies depict medi- cal themes, especially oncology, in order to understand how cancer and medicine are perceived in popular culture. -
The Western Screenwriter in Japan: Screenwriting Considerations in Transnational Cinema
The Western Screenwriter in Japan: Screenwriting Considerations in Transnational Cinema by Alexander McAulay Submitted in partial fulfillment of the requirements for a Doctor of Philosophy Faculty of Media and Communication Bournemouth University May 2017 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must always be made of the use of any material contained in, or derived from, this thesis. 2 Alexander McAulay The Western Screenwriter in Japan: Screenwriting Considerations in Transnational Cinema Abstract This PhD investigates the writing of a feature film screenplay for mainstream Japanese-language cinema by a British screenwriter. As a long-term resident of Japan with production credits in Japanese cinema, I have for many years been interested in how to write stories set in Japan that will appeal to domestic and international audiences. The study examines the challenges I face as a Western screenwriter writing a screenplay for Japanese cinema, and how those challenges inform my creative practice, bringing into being a screenplay that is intended to enhance screenwriting craft in mainstream Japanese cinema and provide new knowledge to transnational cinema and screenwriting research. The critical commentary that accompanies the screenplay takes a dialogic approach in practice-led research to explore how various issues emerge for the Western screenwriter in Japanese cinema. These problems are examined with regard to relevant theory, and contextualised in considerations of various films in Japanese-language cinema written by non-Japanese screenwriters. One salient issue is the application of the Hollywood ‘universal’ model of screenwriting to stories about Japan. -
![Miranda, 15 | 2017, « Lolita at 60 / Staging American Bodies » [En Ligne], Mis En Ligne Le 18 Septembre 2017, Consulté Le 16 Février 2021](https://docslib.b-cdn.net/cover/3845/miranda-15-2017-%C2%AB-lolita-at-60-staging-american-bodies-%C2%BB-en-ligne-mis-en-ligne-le-18-septembre-2017-consult%C3%A9-le-16-f%C3%A9vrier-2021-2203845.webp)
Miranda, 15 | 2017, « Lolita at 60 / Staging American Bodies » [En Ligne], Mis En Ligne Le 18 Septembre 2017, Consulté Le 16 Février 2021
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 15 | 2017 Lolita at 60 / Staging American Bodies Édition électronique URL : http://journals.openedition.org/miranda/10470 DOI : 10.4000/miranda.10470 ISSN : 2108-6559 Éditeur Université Toulouse - Jean Jaurès Référence électronique Miranda, 15 | 2017, « Lolita at 60 / Staging American Bodies » [En ligne], mis en ligne le 18 septembre 2017, consulté le 16 février 2021. URL : http://journals.openedition.org/miranda/10470 ; DOI : https:// doi.org/10.4000/miranda.10470 Ce document a été généré automatiquement le 16 février 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. 1 SOMMAIRE Les 60 ans de Lolita Introduction Marie Bouchet, Yannicke Chupin, Agnès Edel-Roy et Julie Loison-Charles Nabokov et la censure Julie Loison-Charles Lolita, le livre « impossible » ? L'histoire de sa publication française (1956-1959) dans les archives Gallimard Agnès Edel-Roy Fallait-il annoter Lolita? Suzanne Fraysse The patterning of obsessive love in Lolita and Possessed Wilson Orozco Publicités, magazines, et autres textes non littéraires dans Lolita : pour une autre poétique intertextuelle Marie Bouchet Solipsizing Martine in Le Roi des Aulnes by Michel Tournier: thematic, stylistic and intertextual similarities with Nabokov's Lolita Marjolein Corjanus Les « Variations Dolores » - 2010-2016 Nouvelles lectures-réécritures de Lolita Yannicke Chupin Staging American Bodies Staging American Bodies – Introduction Nathalie Massip Spectacle Lynching and Textual Responses Wendy Harding Bodies of War and Memory: Embodying, Framing and Staging the Korean War in the United States Thibaud Danel Singing and Painting the Body: Walt Whitman and Thomas Eakins’ Approach to Corporeality Hélène Gaillard “It’s so queer—in the next room”: Docile/ Deviant Bodies and Spatiality in Lillian Hellman’s The Children’s Hour Sarah A. -
The Problem Body Projecting Disability on Film
The Problem Body The Problem Body Projecting Disability on Film - E d i te d B y - Sally Chivers and Nicole Markotic’ T h e O h i O S T a T e U n i v e r S i T y P r e ss / C O l U m b us Copyright © 2010 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data The problem body : projecting disability on film / edited by Sally Chivers and Nicole Markotic´. p. cm. Includes bibliographical references and index. ISBN 978-0-8142-1124-3 (cloth : alk. paper)—ISBN 978-0-8142-9222-8 (cd-rom) 1. People with disabilities in motion pictures. 2. Human body in motion pictures. 3. Sociology of disability. I. Chivers, Sally, 1972– II. Markotic´, Nicole. PN1995.9.H34P76 2010 791.43’6561—dc22 2009052781 This book is available in the following editions: Cloth (ISBN 978-0-8142-1124-3) CD-ROM (ISBN 978-0-8142-9222-8) Cover art: Anna Stave and Steven C. Stewart in It is fine! EVERYTHING IS FINE!, a film written by Steven C. Stewart and directed by Crispin Hellion Glover and David Brothers, Copyright Volcanic Eruptions/CrispinGlover.com, 2007. Photo by David Brothers. An earlier version of Johnson Cheu’s essay, “Seeing Blindness On-Screen: The Blind, Female Gaze,” was previously published as “Seeing Blindness on Screen” in The Journal of Popular Culture 42.3 (Wiley-Blackwell). Used by permission of the publisher. Michael Davidson’s essay, “Phantom Limbs: Film Noir and the Disabled Body,” was previously published under the same title in GLQ: A Journal of Lesbian and Gay Studies, Volume 9, no. -
RBF Program 4-16 2
the richard b. fisher center for the performing arts at bard college Carl Maria von Weber’s Euryanthe July 25 – August 3, 2014 About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat Theater Two, which fea- tures a flexible seating configuration. The Center is home to Bard College’s Theater & Performance and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, film, and cabaret; and the Bard Music Festival, which celebrates its 25th year in August with “Schubert and His World.” The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the con- tributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations. The 2014 SummerScape season is made possible in part through the generous support of Jeanne Donovan Fisher, the Martin and Toni Sosnoff Foundation, the Board of The Richard B. Fisher Center for the Performing Arts at Bard College, the Board of the Bard Music Festival, and the Friends of the Fisher Center, as well as grants from The Andrew W. -
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FORUM: QUALITATIVE Volume 9, No. 3, Art. 37 SOCIAL RESEARCH September 2008 SOZIALFORSCHUNG Video Analysis: Lessons from Professional Video Editing Practice Eric Laurier, Ignaz Strebel & Barry Brown Key words: film Abstract: In this paper we join a growing body of studies that learn from vernacular video analysts editing; quite what video analysis as an intelligible course of action might be. Rather than pursuing conversation epistemic questions regarding video as a number of other studies of video analysis have done, our analysis; video concern here is with the crafts of producing the filmic. As such we examine how audio and video analysis; Walter clips are indexed and brought to hand during the logging process, how a first assembly of the film is MURCH; Cold built at the editing bench and how logics of shot sequencing relate to wider concerns of plotting, Mountain genre and so on. In its conclusion we make a number of suggestions about the future directions of studying video and film editors at work. Table of Contents 1. Film Editors? 2. Video Analysis in vivo 3. Editing Cold Mountain 4. Brief Lessons Appendix 1: List Feature Films Appendix 2: Credits and Copyright Clearance References Authors Citation 1. Film Editors? We usually associate the making of a film with the name of its director. Thus it is that Francis Ford COPPOLA, Martin SCORSESE and Quentin TARANTINO stand for some of the finest and most successful film productions in contemporary American Cinema. Seldom do we know the names of other professionals involved in the production of a film: screenwriters, cinematographers, sound designers, or digital editors. -
Columbia Pictures: Portrait of a Studio
University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.