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Dear Iowa State University Graduates and Guests: Welcome to Iowa State University’S Spring 2010 Commencement!
Dear Iowa State University Graduates and Guests: Welcome to Iowa State University’s Spring 2010 Commencement! We congratulate all of the graduates and thank everyone who played a role in their successful journey through Iowa State. We have very much enjoyed your being a part of our university and community, and we wish you well as you embark on this next part of your life. We look forward to continuing our association with you as alumni of Iowa State, and we hope you will come back to visit the university often. Iowa State University is now in its 153rd year as one of the nation’s leading land-grant universities. We are very proud of the role this university has played in preparing the future leaders of our state, nation and world, and in meeting the needs of our society through excellence in education, research and outreach. As you graduate today, you are now a part of this great tradition and we look forward to the many contributions you will make. I hope you enjoy today’s commencement ceremony, and that you will continue to be connected with Iowa State University. Sincerely, Gregory L. Geoffroy President of the University TABLE OF CONTENTS The Official University Mace ........................................................................................................... 3 Presidential Chain of Office ............................................................................................................ 3 Academic Regalia............................................................................................................................ -
Molina's Trans/Gender Web in Interpretation
University Libraries Lance and Elena Calvert Calvert Undergraduate Research Awards Award for Undergraduate Research 2015 “Man? Where’s a man? Don’t let him go!”: Molina’s Trans/gender Web in Interpretation and Performance Bella V. Smith University of Nevada, Las Vegas, [email protected] Follow this and additional works at: https://digitalscholarship.unlv.edu/award Part of the Latin American Literature Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, Modern Literature Commons, and the Performance Studies Commons Repository Citation Smith, B. V. (2015). “Man? Where’s a man? Don’t let him go!”: Molina’s Trans/gender Web in Interpretation and Performance. Available at: https://digitalscholarship.unlv.edu/award/21 This Research Paper is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Research Paper in any way that is permitted by the copyright and related rights legislation that applies to your use. 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. This Research Paper has been accepted for inclusion in Calvert Undergraduate Research Awards by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. Smith 1 Bella Victoria Smith Sheila Bock IDS 495A 5 December 2014 “Man? Where’s a man? Don’t let him go!”: Molina’s Trans/gender Web in Interpretation and Performance Originally written in Spanish as El Beso de la Mujer Araña in 1972, Manuel Puig’s Kiss of the Spider Woman has captured the attentions of audiences for its romantic drama, political outcry, and postmodern style portrayed through its two main characters, Molina and Valentin. -
Il Nuovo Yakuza Eiga: Sviluppo E Caratteristiche Del Genere E Dei Suoi Eroi
Corso di Laurea Magistrale in Lingue, economie e istituzioni dell’Asia e dell’Africa mediterranea Tesi di Laurea Il Nuovo yakuza eiga: sviluppo e caratteristiche del genere e dei suoi eroi Relatore Ch.ma Prof.ssa Maria Roberta Novielli Correlatore Ch.ma Prof.ssa Paola Scrolavezza Laureanda Elvira Nezi Matricola 840783 Anno Accademico 2016 / 2017 要旨 日本と同じように、イタリアでもマフィアは政治的・経済的に非常に権力のある組織であ る。マフィアが普及するにつれて、そしてお金と勢力を力ずくで手に入れていくにつれて、ますま す市民の平穏な人生と命は脅されるようになった。自分の利益のことを考え、マフィアに属し ている人達が弱い市民からお金をだまし取り、殺すと脅迫し、実際に命を奪う場合も多い。 そのため、イタリア映画に描かれているマフィアのイメージは今も昔も当然良いイメージではな い。 一方、かなり長い間にわたって日本では事実と違うヤクザのイメージが映画を通して伝え られたのは明白である。日本の暴力団はイタリアのマフィアとそれほど異なるわけではないが、 それでも1925年ごろから1970年代にわたって、ヤクザの極道者が親切で誠実な人 たちとして描かれていた。面白くて興味深いことはヤクザの構成員さえヤクザ映画の展開に 貢献したことである。ヤクザ映画を見たり、作ったりするだけではなく、ヤクザ映画で演じたこと もあるのである。例えば元ヤクザ俊藤浩滋は東映の有名なプロデューサーであった。彼がヤク ザ映画のスターになった安藤昇、高倉健、鶴田浩二をスカウトしたそうである。ちなみに安藤 昇も元ヤクザであった。 では、どうして本当のヤクザはそんな風に振舞うわけではないのに、映画には勇ましいロビ ンフッドとして描かれていたのだろう。どうして極道者であるのに観客の心を奪うことができたの だろう。映画館の観客者の大半は男性であったが、ヤクザ映画のヒーローはその男性にどんな 理想的な男性像を伝えたのだろう。ヤクザ映画は日本社会に関して何を教えているのだろう。 この卒業論文の目的は加藤泰、石井輝男、鈴木清順、深作欣二、北野武の映画を 論じながら、以上の質問の答えを出すことである。そして、ヤクザ映画の主なサブジャンルとそ れぞれのヒーローの誕生と展開を詳しく検討することである。 一般的にヤクザ映画は仁侠映画と実録映画という二つの主なサブジャンルに大きく分 けられている。この論文の核心である上述の監督がそれぞれのサブジャンルの展開に自分な りに貢献し、戦後に誕生した「新しいヤクザ映画」と言われるジャンルを有名にした。 実はもう一つのサブジャンルがあり、股旅映画と呼ばれている。股旅映画は戦前に誕生 したので、ヤクザ映画とは少し異なると言われる。しかし、ヤクザ映画を一層良く理解するた めにまず伊藤大輔や野村芳亭などという映画監督の股旅映画に関して一言述べる必要が あると思う。 旅映画は1920年代に誕生した剣劇、いわゆるチャンバラ(剣の音を表す言葉) のサブジャンルである(剣劇は有名な時代劇のサブジャンルである)。股旅映画は時代劇 と違い、主人公が侍ではなく、股旅物と呼ばれているヤクザヒーローであった。この渡世人が 一人で放浪し、あちこち行き先のない旅行をしていた。知らない親分に宿泊を請い、様々な -
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. -
IKONEN : Artikel Grob Yakuza
: IKONEN : Artikel Grob Yakuza http://www.ikonen-magazin.de/artikel/Yakuza.htm CORE Metadata, citation and similar papers at core.ac.uk Provided by Hochschulschriftenserver - Universität Frankfurt am Main Dieser Text erschien zuerst als Nachwort der deutschen Übersetzung des Romans von Leonard Schrader: Yakuza, Bergisch-Gladbach 1987. Norbert Grob Zwischen giri und ninjo Der Yakuza-Mythos in Paul und Leonardo Schraders Roman und Film THE YAKUZA Robert Mitchum in YAKUZA Für Leonard Schrader war es ein langer Weg bis zu seinem ersten Roman The Yakuza, der in zwei Stufen entstand. Zunächst hatte er bloß eine Story: die Idee zu einer Geschichte, in der ein cleverer, aber tapsiger Amerikaner nach Japan kommt, wo er 20 Jahre zuvor schon einmal war, und dort zwischen alle Regeln und Riten fällt. Ihren besonderen Charakter sollte die Geschichte durch die mythische Dimension erhalten, die Schrader im yakuza-eiga, dem Genre des japanischen Gangsterfilms, vorgefunden hatte. Er schickte die Story seinem Bruder Paul, der damals als Drehbuchautor noch unbekannt und ziemlich erfolglos war. Der entwickelte sie zu einem fertigen Drehbuch und ließ es über seinen Agenten verschiedenen major companies anbieten. Nach längeren Verhandlungen kaufte schließlich Warner Bros. das Buch. Bevor die Gesellschaft dann Sydney Pollack als Regisseur verpflichtete, setzte sie erst einmal einen ihrer Starautoren, den trouble shooter für unzulängliche Bücher Robert Towne, an die Arbeit. Zusammen mit Paul Schrader schrieb er die letzte, die endgültige Fassung. Der Film, 1974 gedreht und im März 1975 uraufgeführt, war am Ende also das Ergebnis einer vielköpfigen Zusammenarbeit: Leonard Schrader hatte die Idee. Paul Schrader verfaßte das erste Script, und Robert Towne gab dem Buch den letzten Schliff. -
Fordham's Communications Department Says 'Yesy Mcginley
;: , ; Blaring Grammatical Errors? Fordham's Communications Department Says 'Yesy byTomDiLenge Claiming that the quality of student HOT writing and grammar was "atrocious," the adjunct professors in the Communications by Matthew Dertron Department called for a stricter policy con- Despite the fact that the Northeast is ex- cerning written assignments when they met pected to face a shrinking pool of high school last April with the full-time faculty of the graduates in the near future, Fordham ad- department. ministrators are still optimistic about future As a result of this meeting, the Commu- enrollment, and some feel Fordham is just nications Department drafted a letter to now becoming a "hot" school. address this problem and to "make it very Fordham as a popular school in the clear to students that they have to write Northeast is an idea that has permeated better," said Dr. Trisha Curran, chairman of recent important decisions made by the ad- the Communications Department. ministration, not least of which included the The letter, which was distributed to stu- building of The Villages and the planned new dents in Communications courses, stated dormitory. that "the faculty will not accept work that "We feel Fordham is on a roll," said fails to meet the basic standards of grammar, Executive Vice President, Joseph Cammaro- spelling, punctuation, and style and is not sano in an interview concerning the construc- proofread before submission." tion of The Villages. "We wanted to capital- "It's a question of proofreading with a ize on that." dictionary and style book... this is meant to In addition to relying more heavily upon help students develop the craft of writing and the alumni network, the admissions depart- to go public with their works," said Curran. -
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. -
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. -
Literary Miscellany
Literary Miscellany Including Fine Printing, Artist’s Books, And Books & Manuscripts In Related Fields. Catalogue 329 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. -
Thomas Newman
THOMAS NEWMAN AWARDS / NOMINATIONS ACADEMY AWARD NOMINATION (2013) SAVING MR. BANKS Best Original Score GRAMMY AWARD (2013) SKYFALL Best Score Soundtrack for Visual Media BAFTA NOMINATION (2013) SAVING MR. BANKS Best Original Music CRITICS CHOICE AWARD NOMIN ATION (2013 ) SAVING MR. BANKS Best Score ACADEMY AWARD NOMINATION (2012 ) SKYFALL Best Original Score BAFTA AWARD (2012 ) SKYFALL Best Original Music GOLDEN GLOBE AWARD NOMINATION (2011) THE HELP Best Original Song * “The Living Proof” from THE HELP CRITICS CHOICE AWARD NOMINATION (2011) THE HELP Best Song * “The Living Proof” from THE HELP ACADEMY AWARD NOMINATION (2009) WALL -E Best Original Score “Down to Earth” from WALL-E Best Original Song * BAFTA AWARD NOMINATION (2008) WALL-E Music GOLDEN GLOBE AWARD NOMINATION (2008) WALL-E Best Original Song “Down To Earth” from WALL -E GRAMMY AWARDS (2008) Best Song Written for a Motion Picture “Down To Earth” from WALL-E Best Instrumental Arrangement “Define Dancing” from WALL -E GRAMMY AWARD NOMINATIONS (2008) WALL -E Best Score Soundtrack Album WORLD SOUNDTRACK AWARD (2008) WALL-E Best Original Song Written for the Film “Down To Earth” from WALL-E 1 The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 THOMAS NEWMAN WORLD SOUNDTRACK NOMINATION (2008) WALL-E Best Original Score of the Year ACADEMY AWARD NOMINATION THE GOOD GERMAN Best Original Score (2006) ACADEMY AWARD NOMINATION LEMONY SNICKET’S A SERIES OF Best Original Score (2005) UNFORTUNATE EVENTS GRAMMY AWARD NOMINATION ANGELS IN AMERICA Best Score Soundtrack Album (2004) HOLLYWOOD -
Relaciones Entre Individuo Y Ciudad En El Cine De Paul Schrader (1976-1997)
Relaciones entre individuo y ciudad en el cine de Paul Schrader (1976-1997) Sandro Alberto Díaz Boada Universidad Industrial de Santander (UIS), Colombia, Corporación Universitaria de Ciencia y Desarrollo (Uniciencia), Cine-Club Cinerrante, Grupo de Estudios en Economía Crítica Tiempos Modernos y Grupo de Investigación HARED. Correo electrónico: [email protected] Artículo recibido: 8 de noviembre de 2015 Aprobado: 22 de noviembre de 2015 Resumen El presente texto intenta incluir algunas contribuciones de Paul Schrader, guionista y cineasta estadounidense, entre las que se cuentan: a) El guión de Taxi Driver (dirigida por Martin Scorsese en 1976) y el de The Mosquito Coast (dirigida por Peter Weir en 1986) y b) Una muestra de su impacto como director en los 70’s, 80’s y 90’s analizando las siguientes películas: Blue Collar (1978), Hardcore (Hardcore: un mundo oculto, 1979), Cat people (El beso de la pantera, 1982), Mishima (Mishima: A Life in Four Chapters, 1985), Light of Day (Rock Star, 1987), The Comfort of Strangers (El placer de los extraños, 1990), Light Sleeper (Posibilidad de escape, 1992) y Affliction (Aflicción, 1997). Se indaga aquí por la configuración de sus personajes, las representaciones no convencionales de las ciudades, la relación entre individuo y entorno y, finalmente, aspectos estéticos de su obra. Palabras Clave: Paul Schrader, Cine Estadounidense, Ciudades, Guión, Dirección, Décadas 70’s - 90’s 106 C & P, No 6. Bucaramanga, Diciembre 2015, PP ISSN 2027-5528, PP 106-126 Relations between individual and city in -
September 28–October 15, 2017 . Filmlinc.Org/Nyff Table of Contents
SEPTEMBER 28–OCTOBER 15, 2017 . FILMLINC.ORG/NYFF TABLE OF CONTENTS Schedule 2 Spotlight on Documentary 46 Main Slate 6 Projections 56 Shorts 20 Retrospective: Robert Mitchum Centenary 64 Talks 22 Artist Initiatives 80 Special Events 24 Film Society Board & Staff 82 Convergence 32 About the Film Society 84 Revivals 36 NEW YORK FILM FESTIVAL PROGRAMMERS SELECTION COMMITTEE MAIN SLATE . REVIVALS . SPOTLIGHT ON DOCUMENTARY Kent Jones Chair Florence Almozini Associate Director of Programming, Film Society of Lincoln Center (FSLC) Dennis Lim Director of Programming, FSLC Amy Taubin Contributing Editor, Film Comment and Artforum CONVERGENCE PROJECTIONS RETROSPECTIVE Matt Bolish Dennis Lim & Aily Nash Kent Jones & Dan Sullivan SHORTS Narrative: Gabi Madsen . Genre Stories: Laura Kern . New York Stories: Dan Sullivan . Documentary: Tyler Wilson NYFF 4C MAG - FULL PAGE INSIDE FRONT COVER AMA1157 ISSUE DATE: XX/XX/17 FINAL2 DUE DATE: 08/24/17 08/24/17 10:45AM ES MECHANICAL SIZE TRIM: 8.25"W x 8.5"H LIVE: 7.75"W x 8"H BLEED: 8.5"W x 8.75"H SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 28 29 30 SECTIONS: VENUES: OPENING NIGHT 4:00 Story of G.I. Joe ret/wrt 12:30 Four Sisters: se/ath 6:00 Last Flag Flying ms/ath 6:00 Mrs. Hyde ms/ath Hippocratic Oath cvg CONVERGENCE ALICE TULLY HALL 6:15 Last Flag Flying ms/wrt 6:00 Daughter of the Nile rev/fbt 12:45 New York Shorts sho/wrt ath West 65th Street at Broadway 9:00 Last Flag Flying ms/ath 6:30 El mar la mar doc/wrt 1:30 The Wonderful Country ret/fbt doc SPOTLIGHT ON DOCUMENTARY 9:15 Last Flag Flying ms/wrt 6:30 His Kind of Woman ret/hgt 3:00 Western ms/ath DOWNLOAD THE FILM SOCIETY APP! ELINOR BUNIN MUNROE FILM CENTER 7:00 VR and the Future of cvg/amp 3:00 No Stone Unturned doc/wrt ms MAIN SLATE 144 West 65th Street Virtual Production 3:00 The Old Dark House rev/hgt amp AMPHITHEATER by Lucasfilm (Free Talk) 4:00 Documentary Shorts sho/fbt pjt PROJECTIONS 8:30 The Square ms/ath 5:00 Pursued ret/hgt ebm LOBBY 8:30 Casa de Lava rev/fbt 6:00 Zama ms/ath FILMLINC.ORG/NYFF .