The Journal of Shakespeare and Appropriation 11/14/19, 1'39 PM
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The University of Chicago Tears in the Imperial Screen
THE UNIVERSITY OF CHICAGO TEARS IN THE IMPERIAL SCREEN: WARTIME COLONIAL KOREAN CINEMA, 1936-1945 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF EAST ASIAN LANGUAGES AND CIVILIZATIONS BY HYUN HEE PARK CHICAGO, ILLINOIS AUGUST 2017 TABLE OF CONTENTS Page LIST OF TABLES ...…………………..………………………………...……… iii LIST OF FIGURES ...…………………………………………………..……….. iv ABSTRACT ...………………………….………………………………………. vi CHAPTER 1 ………………………..…..……………………………………..… 1 INTRODUCTION CHAPTER 2 ……………………………..…………………….……………..… 36 ENLIGHTENMENT AND DISENCHANTMENT: THE NEW WOMAN, COLONIAL POLICE, AND THE RISE OF NEW CITIZENSHIP IN SWEET DREAM (1936) CHAPTER 3 ……………………………...…………………………………..… 89 REJECTED SINCERITY: THE FALSE LOGIC OF BECOMING IMPERIAL CITIZENS IN THE VOLUNTEER FILMS CHAPTER 4 ………………………………………………………………… 137 ORPHANS AS METAPHOR: COLONIAL REALISM IN CH’OE IN-GYU’S CHILDREN TRILOGY CHAPTER 5 …………………………………………….…………………… 192 THE PLEASURE OF TEARS: CHOSŎN STRAIT (1943), WOMAN’S FILM, AND WARTIME SPECTATORSHIP CHAPTER 6 …………………………………………….…………………… 241 CONCLUSION BIBLIOGRAPHY …………………………………………………………….. 253 FILMOGRAPHY OF EXTANT COLONIAL KOREAN FILMS …………... 265 ii LIST OF TABLES Page Table 1. Newspaper articles regarding traffic film screening events ………....…54 Table 2. Newspaper articles regarding traffic film production ……………..….. 56 iii LIST OF FIGURES Page Figure. 1-1. DVDs of “The Past Unearthed” series ...……………..………..…..... 3 Figure. 1-2. News articles on “hygiene film screening” in Maeil sinbo ….…... 27 Figure. 2-1. An advertisement for Sweet Dream in Maeil sinbo……………… 42 Figure. 2-2. Stills from Sweet Dream ………………………………………… 59 Figure. 2-3. Stills from the beginning part of Sweet Dream ………………….…65 Figure. 2-4. Change of Ae-sun in Sweet Dream ……………………………… 76 Figure. 3-1. An advertisement of Volunteer ………………………………….. 99 Figure. 3-2. Stills from Volunteer …………………………………...……… 108 Figure. -
A TASTE of SHAKESPEARE: MACBETH a 52 Minute Video Available for Purchase Or Rental from Bullfrog Films
A TASTE OF SHAKESPEARE MACBETH Produced by Eugenia Educational Foundation Teacher’s Guide The video with Teacher’s Guide A TASTE OF SHAKESPEARE: MACBETH a 52 minute video available for purchase or rental from Bullfrog Films Produced in Association with BRAVO! Canada: a division of CHUM Limited Produced with the Participation of the Canadian Independent Film & Video Fund; with the Assistance of The Department of Canadian Heritage Acknowledgements: We gratefully acknowledge the support of The Ontario Trillium Foundation: an agency of the Ministry of Culture The Catherine & Maxwell Meighen Foundation The Norman & Margaret Jewison Foundation George Lunan Foundation J.P. Bickell Foundation Sir Joseph Flavelle Foundation ©2003 Eugenia Educational Foundation A Taste of Shakespeare: Macbeth Program Description A Taste of Shakespeare is a series of thought-provoking videotapes of Shakespeare plays, in which actors play the great scenes in the language of 16th and 17th century England, but comment on the action in the English of today. Each video is under an hour in length and is designed to introduce the play to students in high school and college. The teacher’s guide that comes with each video gives – among other things – a brief analysis of the play, topics for discussion or essays, and a short list of recom- mended reading. Production Notes At the beginning and end of this blood- soaked tragic play Macbeth fights bravely: loyal to his King and true to himself. (It takes nothing away from his valour that in the final battle King and self are one.) But in between the first battle and the last Macbeth betrays and destroys King, country, and whatever is good in his own nature. -
Scooby Doo Lego Dimensions Instructions Ehci
Scooby Doo Lego Dimensions Instructions Racy Dugan sometimes palled any venipuncture energising unshakably. Is Derrol always midnightly and insufferable when Sherwinoversupply propitiating some tussore very observingly.very attributively and populously? Agrobiological Sergio crowed her hemostat so deliberatively that Deeper immersion while special lego dimensions instructions have received and transformed into the character into how the swith with. Selections on lego, scooby doo lego store soon or, alongside the keystone, mindstorms and this lego. Sized character in, scooby dimensions game for purchase or create a quest across the painting. Enters some vehicles, scooby doo lego dimensions game, build something emerges and funky bracelets that is not recognised. Cage to ensure that scooby doo lego instructions, build something emerges and see how to his friends in the link. Building instructions have entered an affiliate commission on lego sonic batray which will converge with. Collect your lego, scooby doo dimensions instructions may use batman up to dramatically slow his running animation is invalid or, and the website. Converge with lego, scooby doo and physical toy at lego sonar smash, lego store soon or username incorrect or create customized home page. Accesskey c to collect, scooby doo lego dimensions instructions have been uploaded to view a hook and mixels are relevant to complete your shopping! Username incorrect or, scooby doo instructions in your story pack. Scroll down the mummy, scooby instructions in the item will converge with a colorful designs and collect blue portal keystone terminal in the shipping address! Tried to lego, scooby doo lego dimensions wiki is a world for shopping bag is already an extended period of spinjitzu! Gather feedback on lego dimensions sets are required to the gang, and a minikit. -
French Poetic Realism and Film Noir: “'It's Always Too Late'” PICTURE
French Poetic Realism and Film Noir: “’It’s Always Too Late’” Participants Rebecca Martin, PhD Department of English & Modern PICTURE/PHOTO Language Studies, PLV Article to appear in Linguæ & - Rivista di lingue e culture moderne 16.2 (2017) Goals Research Aims •Examine treatment of Poetic Realism in The cinematic history of American film noir major critical texts. is usually traced to German Expressionism •Analyze several French and American of the late 1920s and the 1930s, ignoring films noir to reinforce connections. obvious links to French Poetic Realism of •Offer multiple proposals for neglect of the the 1930s. This project explores the reasons French contribution, including the Code, why the French connection has been industrial filmmaking in the US, and post- overlooked or downplayed. war conformity of the Cold War period. Examining Non-traditional Female Students’ Access to Writing Support as They Negotiate Life Transitions Participants Robert Mundy, Assistant Professor Michael Turner, Writing Center Director Alysa Hantgan, Instructor Alexandra Franciosa, Undergrad. Alexa Blanco, Undergrad. Overall Goal Specific Research Aims • Our research examines how writing • Understand how these women discuss their and writing identities interact with experiences in returning to school and how they discuss their support networks. support and with the very practical • Explore how support enables, disables, and demanding aspects of attending conflicts with, and disrupts the circumstances college as a non-traditional, female under which these students write and how they student. understand writing. Dyson Scholars in Residence Program Created by Dr. Jane Collins, ENG, PLV campus Supported by the Dyson Dean’s Office and Residence Life Project: Create a vibrant Living/Learning Benefits: Community in the new PLV Residence Halls. -
Cinema As a Tool for Development
MSc Thesis Cinema as a Tool for Development Investigating the Power of Mobile Cinema in the Latin American Context By Philippine Sellam 1 In partial requirement of: Master of Sustainable Development/ International Development track Faculty of Geosciences, Utrecht University Student: Philippine Sellam (3227774) [email protected] Under the supervision of: Gery Nijenhuis Utrecht, August 2014 Cover Picture and full page pictures between chapters: The public of mobile cinema/Fieldwork 2014 Title font: ‘Homeless font’ purchased from the Arells Foundation (www.homelessfonts.org) 2 Everything you can imagine is real - Picasso 3 Abstract During the last fifteen years, mobile cinema has sparked new interest in the cinema and development sectors. Taking cinema out of conventional theatres and bringing it to the people by transporting screening equipment on trucks, bicycles or trains and setting up ephemeral cinemas in the public space. Widening the diffusion of local films can provide strong incentives to a region or a country’s cinematographic industry and stimulate the production of independent films on socially conscious themes. But the main ambition of most mobile cinema projects is to channel the power of cultural community encounters to trigger critical social reflections and pave the way for social transformation. Just as other cultural activities, gathering to watch a film can bring new inspirations and motivations, which are subjective drivers for actor-based and self-sustained community change. Research is needed to substantiate the hypothesis that mobile cinema contributes to social change in the aforementioned sense. Therefore, the present work proposes to take an investigative look into mobile cinema in order to find out the ways and the extent to which it contributes to actor-based community development. -
Annual Report 2003 LEGO Company CONTENTS
Annual Report 2003 LEGO Company CONTENTS Report 2003 . page 3 Play materials – page 3 LEGOLAND® parks – page 4 LEGO Brand Stores – page 6 The future – page 6 Organisation and leadership – page 7 Expectations for 2004 – page 9 The LEGO® brand. page 11 The LEGO universe and consumers – page 12 People and Culture . page 17 The Company’s responsibility . page 21 Accounts 2003. page 24 Risk factors – page 24 Income statement – page 25 Notes – page 29 LEGO A/S Board of Directors: Leadership Team: * Mads Øvlisen, Chairman Dominic Galvin (Brand Retail) Kjeld Kirk Kristiansen, Vice Chairman Tommy G. Jespersen (Supply Chain) Gunnar Brock Jørgen Vig Knudstorp (Corporate Affairs) Mogens Johansen Søren Torp Laursen (Americas) Lars Kann-Rasmussen Mads Nipper (Innovation and Marketing) Anders Moberg Jesper Ovesen (Corporate Finance) Henrik Poulsen (European Markets & LEGO Trading) President and CEO: Arthur Yoshinami (Asia/Pacific) Kjeld Kirk Kristiansen Mads Ryder (LEGOLAND parks) * Leadership Team after changes in early 2004 LEGO, LEGO logo, the Brick Configuration, Minifigure, DUPLO, CLIKITS logo, BIONICLE, MINDSTORMS, LEGOLAND and PLAY ON are trademarks of the LEGO Group. © 2004 The LEGO Group 2 | ANNUAL REPORT 2003 Annual Report 2003 2003 was a very disappointing year for LEGO tional toy market stagnated in 2003, whereas Company. the trendier part of the market saw progress. Net sales fell by 26 percent from DKK 11.4 bil- The intensified competition in the traditional lion in 2002 to DKK 8.4 billion. Play material toy market resulted in a loss of market share sales declined by 29 percent to DKK 7.2 bil- in most markets – partly to competitors who lion. -
Paulo Renato Oliveira a Tradição Do Filme Documental E Realista
Universidade de Aveiro - Departamento de Línguas e Culturas 2001 Paulo Renato A Tradição do Filme Documental e Realista Britânico Oliveira dos anos 30 aos anos 70 Universidade de Aveiro - Departamento de Línguas e Culturas 2001 Paulo Renato A Tradição do Filme Documental e Realista Britânico Oliveira dos anos 30 aos anos 70 The British Documentary-Realist Film Tradition from the 1930s to the 1970s Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Estudos Ingleses, realizada sob a orientação científica do Prof. Doutor Anthony Barker, Professor Associado do Departamento de Línguas e Culturas da Universidade de Aveiro O Júri Presidente Prof. Doutor Anthony David Barker, Professor Associado da Universidade de Aveiro (Orientador) Vogais Prof. Doutor Abílio Manuel Hernandez Ventura Cardoso, Professor Associado da Faculdade de Letras da Universidade de Coimbra Prof. Doutor Kenneth David Callahan, Professor Associado da Universidade de Aveiro Acknowledgements I want to express my gratitude to Professor Anthony Barker for all his enthusiastic support, encouragement, corrections and suggestions and, also because of all the insightful and enlighten discussions about Film. I would also like to thank Professors David Callahan and Aline Salgueiro for their contribution to my formation in Literature and Cultural Studies. This work would not have been possible without the cooperation of the British Film Institute. I am particularly indebted to the staff of the viewing services at the BFI, for providing me with some of Ken Loach’s plays to watch in their premises. Unfortunately these important television plays are not available to the general public and the only usable copies are kept at the BFI in London. -
Media Arts Design 1
Media Arts Design 1 • Storyboarding Certificate (https://catalog.nocccd.edu/cypress- MEDIA ARTS DESIGN college/degrees-certificates/media-arts-design/storyboarding- certificate/) Division: Fine Arts Courses Division Dean MAD 100 C Introduction to Media Arts Design 3 Units Dr. Katy Realista Term hours: 36 lecture and 72 laboratory. This course focuses on the use of digital design, video, animation and page layout programs. This course Faculty is designed for artists to design, create, manipulate and export graphic Katalin Angelov imagery including print, video and motion design elements. This course is Edward Giardina intended as a gateway into the varied offerings of the Media Arts Design program, where the student can pursue more in-depth study on the topic(s) Counselors that most attracted them during this introductory class. $20 materials fee payable at registration. (CSU, C-ID: ARTS 250) Renay Laguana-Ferinac MAD 102 C Introduction to WEB Design (formerly Introduction to WEB Renee Ssensalo Graphics-Mac) 3 Units Term hours: 36 lecture and 72 laboratory. This course is an overview of the Degrees and Certificates many uses of media arts design, with an emphasis on web publishing for • 2D Animation Certificate (https://catalog.nocccd.edu/cypress- the Internet. In the course of the semester, students create a personal web college/degrees-certificates/media-arts-design/associate-in-science- page enriched with such audiovisual elements as animation, sound, video in-film-television-and-electronic-media-for-transfer-degree/) and different types of still images. This course is intended as a gateway into • 3D Animation Certificate (https://catalog.nocccd.edu/cypress- the varied offerings of the Media Arts Design program, where the student college/degrees-certificates/media-arts-design/3d-animation- can pursue more in-depth study on the topics that most attracted them certificate/) during this introductory class. -
0549A0a261349895ff90dfef78c8
Rozenmacher, Germán Obras completas. - 1a ed. - Buenos Aires : Biblioteca Nacional, 2013. 932 p. ; 23x15 cm. - (Colección Jorge Álvarez / Jorge Álvarez) ISBN 978-987-1741-82-3 1. Narrativa Argentina. I. Título COLECCIÓN JORGE ÁLVAREZ Biblioteca Nacional Dirección: Horacio González Subdirección: Elsa Barber Dirección de Administración: Roberto Arno Dirección de Cultura: Ezequiel Grimson Dirección Técnico Bibliotecológica: Elsa Rapetti Dirección Museo del Libro y de la Lengua: María Pia López Dirección de Colección: Jorge Álvarez Coordinación Área de Publicaciones: Sebastián Scolnik Área de Publicaciones: Yasmín Fardjoume, María Rita Fernández, Ignacio Gago, Griselda Ibarra, Gabriela Mocca, Horacio Nieva, Juana Orquin, Alejandro Truant, Juan Pablo Canala Colaboración: Juan Martín Sigales, Emiliano Ruiz Díaz Agradecemos a Amelia Figueiredo y a Lucas Rozenmacher por su apoyo para esta edición Diseño: Carlos Fernández Corrección: Alejo Hernández Puga 2013, Biblioteca Nacional Reserva de derechos Contacto: [email protected] Agüero 2502 - C1425EID Ciudad Autónoma de Buenos Aires www.bn.gob.ar ISBN 978-987-1741-82-3 IMPRESO EN ARGENTINA - PRINTED IN ARGENTINA Queda hecho el depósito que marca la ley 11.723 Índice Palabras previas 11 Los ojos de Rozenmacher: una invitación a la relectura 13 por Matías H. Raia Nota del compilador 29 Cuentos Presentación 33 Ataúd 35 Tristezas de la pieza de hotel 39 El gato dorado 49 Los pájaros salvajes 61 Cabecita negra 65 Raíces 73 Rocío Fuentes está borracho 111 Esta hueya la bailan los radicales 119 El gallo blanco 133 Blues en la noche 143 En la playa 161 Bananas 167 Cochecito 181 Los ojos del tigre 211 ¡Dónde están los porotos! 231 Una perfecta tarde de playa 241 Teatro Réquiem para un viernes a la noche 269 La crucifixión 309 Simón Brumelstein, el caballero de Indias 317 El avión negro 365 Escrito por Germán Rozenmacher, Roberto “Tito” Cossa, Carlos Somigliana y Ricardo Talesnik. -
Actes Des Congrès De La Société Française Shakespeare
Actes des congrès de la Société française Shakespeare 35 | 2017 Shakespeare après Shakespeare Alien Shakespeares 2.0 Christy Desmet Electronic version URL: http://journals.openedition.org/shakespeare/3877 DOI: 10.4000/shakespeare.3877 ISSN: 2271-6424 Publisher Société Française Shakespeare Electronic reference Christy Desmet, « Alien Shakespeares 2.0 », Actes des congrès de la Société française Shakespeare [Online], 35 | 2017, Online since 01 February 2017, connection on 01 May 2019. URL : http:// journals.openedition.org/shakespeare/3877 ; DOI : 10.4000/shakespeare.3877 This text was automatically generated on 1 May 2019. © SFS Alien Shakespeares 2.0 1 Alien Shakespeares 2.0 Christy Desmet 1 “Shakespeare,” under the sign of Web 2.0, has remained a divided field or doubled object of interpretation. New Media Shakespeares, of which YouTube is the most popular example, tend to be brief, quixotic, and lacking in high seriousness. We need look no further than the recent spate of Hamlet school parodies, of varying poetic and narratological merits, which set the plot of Shakespeare’s tragedy to Miley Cyrus’s song “Wrecking Ball.”1 Digital Humanities approaches to the Shakespearean text, as exemplified by textual corpora and authorship studies, work on a grand scale and are marked by methodological rigor. Emphasizing the material differences between these two kinds of digital work, however, obscures similarities that could let us see digitized Shakespeares of different kinds as co-existing along a continuum. In this essay, I suggest a possible -
The Higher Aspects of Greek Religion. Lectures Delivered at Oxford and In
BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIET OF Henirg m. Sage 1891 .A^^^ffM3. islm^lix.. 5931 CornelJ University Library BL 25.H621911 The higher aspects of Greek religion.Lec 3 1924 007 845 450 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924007845450 THE HIBBERT LECTURES SECOND SERIES 1911 THE HIBBERT LECTURES SECOND SERIES THE HIGHER ASPECTS OF GREEK RELIGION LECTURES DELIVERED AT OXFORD AND IN LONDON IN APRIL AND MAY igii BY L. R. FARNELL, D.Litt. WILDE LECTURER IN THE UNIVERSITY OF OXFORD LONDON WILLIAMS AND NORGATE GARDEN, W.C. 14 HENRIETTA STREET, COVENT 1912 CONTENTS Lecture I GENERAL FEATURES AND ORIGINS OF GREEK RELIGION Greek religion mainly a social-political system, 1. In its earliest " period a " theistic creed, that is^ a worship of personal individual deities, ethical personalities rather than mere nature forces, 2. Anthrqgomorphism its predominant bias, 2-3. Yet preserving many primitive features of " animism " or " animatism," 3-5. Its progress gradual without violent break with its distant past, 5-6. The ele- ment of magic fused with the religion but not predominant, 6-7. Hellenism and Hellenic religion a blend of two ethnic strains, one North-Aryan, the other Mediterranean, mainly Minoan-Mycenaean, 7-9. Criteria by which we can distinguish the various influences of these two, 9-1 6. The value of Homeric evidence, 18-20. Sum- mary of results, 21-24. Lecture II THE RELIGIOUS BOND AND MORALITY OF THE FAMILY The earliest type of family in Hellenic society patrilinear, 25-27. -
Romantic and Realistic Impulses in the Dramas of August Strindberg
Romantic and realistic impulses in the dramas of August Strindberg Item Type text; Thesis-Reproduction (electronic) Authors Dinken, Barney Michael Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 13:12:12 Link to Item http://hdl.handle.net/10150/557865 ROMANTIC AND REALISTIC IMPULSES IN THE DRAMAS OF AUGUST STRINDBERG by Barney Michael Dinken A Thesis Submitted to the Faculty of the DEPARTMENT OF DRAMA In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 19 8 1 STATEMENT BY AUTHOR This thesis has been submitted in partial fu lfillm e n t of re quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available,to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests fo r permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg ment the proposed use of the material is in the interests of scholar ship, In a ll other instances, however, permission must be obtained from the author.