Bread Loaf School of English2016
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Layout Version Gerlach
The Brock Review Volume 10 (2008) © Brock University Greenscape as Screenscape: The Cinematic Urban Garden 1 Nina Gerlach Ruprecht-Karls-Universität Heidelberg Abstract : The relationship between city and garden appears in many feature films in order to visualize narrative dualisms. In particular, the character of the boundary - as a fundamental medial characteristic of gardens - determines the meaning of the represented space. According to the Western representation of ideal places and the historically-developed antagonism of city and garden, the boundary defines the latter as the diametrically opposed utopian antithesis to urban life. This antagonism is used, for example, in The Garden of the Finzi-Continis (1970) in the political context of World War II, or as in Being There (1979), embedded in a philosophical discourse centered on Voltaire and Sartre. The dystopian city of Los Angeles in Ridley Scott’s Blade Runner (1982) lacks space not only for gardens, but for any natural environment in general. The only garden that remains, exists as a kind of Paradise Lost , a placeless topos with a unicorn, banished into and limited by the world of imagination of the protagonist. As this example indicates, the cinematic garden and particularly the more specialized topic of the relationship between the garden and the city within cinema is still an under-examined realm of the research of garden history.2 In cinematic genres where the city is usually presented as the essential character -- such as in Neorealism, Film Noir, and dystopian science fiction -- garden space is hardly discovered. 3 These types of films frequently transport an extremely negative connotation of the city. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
Last Updated July 2020 Changes from Last Version Highlighted in Yellow Author Title Date Edition Cover Sgnd Comments
Last updated July 2020 Changes from last version highlighted in yellow Author Title Date Edition Cover Sgnd Comments ANON THE LAWS OF ROYAL AUCTION BRIDGE 1914 1st Card Small, stitched booklet with red covers ABERN Wendell & FIELDER Jarvis BRIDGE IS A CONTACT SPORT 1995 1st Card ABRAHAMS Gerald BRAINS IN BRIDGE 1962 1st No DW Ditto 1962 1st DW Ex-G C H Fox Library "A C B" AUCTION BRIDGE FOR BEGINNERS AND OTHERS 1929 Rev ed No DW ACKERSLEY Chris THE BRIDGING OF TROY 1986 1st DW Ex-G C H Fox Library ADAMS J R DEFENCE AT AUCTION BRIDGE 1930 1st No DW AINGER Simon SIMPLE CONVENTIONS FOR THE ACOL SYSTEM 1995 1st Card ALBARRAN Pierre & JAIS Pierre HOW TO WIN AT RUBBER BRIDGE 1961 1st UK No DW Ditto 1961 1st UK DW Ex-G C H Fox Library ALDER Philip YOU CAN PLAY BRIDGE 1983 1st Card 1st was hb ALLEN David THE PHONEY CLUB The Cleveland Club System 1992 1st DW Ex-G C H Fox Library Ditto 1992 1st DW AMSBURY Joe BRIDGE: BIDDING NATURALLY 1979 1st DW Ditto 1979 1st DW Ex-G C H Fox Library ANDERTON Philip BRIDGE IN 20 LESSONS 1961 1st DW Ex-G C H Fox Library Ditto 1961 1st DW PLAY BRIDGE 1967 1st DW Ditto 1967 1st DW Ex-G C H Fox Library ARKELL Reginald BRIDGE WITHOUT SIGHS 1934 2nd No DW Ditto 1934 2nd No dw ARMSTRONG, Len The Final Deal 1995 1st Paper AUHAGEN Ulrich DAS GROBE BUCH VOM BRIDGE 1973 1st DW Ex-Rixi Markus Library with compliment slip "BADSWORTH" BADSWORTH ON BRIDGE 1903 1st Boards Ex-G C H Fox Library aeg BADSWORTH ON BRIDGE 1903 1st Boards Aeg; IN PLASTIC PROTECTIVE SLEEVE AUCTION BRIDGE AND ROYAL AUCTION 1913 2nd Boards BAILEY Alan ABRIDGED -
Modern Architecture and Spatial Experiences in Film
Modern Architecture and Spatial Experiences in Film Rizka Fitri Ridayanti Advisor: Diane Wildsmith Architecture International Program Faculty of Engineering University of Indonesia ABSTRACT Architecture and film in this modern era are inseparable concerning the generation of perceptual spaces. Architecture is built in and around spaces, which may provide the setting for a film, whereas film stands as a two-dimensional medium to explore and present architecture as a narrative framework. Architecture is a fundamental component in order that film can deliver its narrative. This paper discusses how architectural representation is conveyed to encase the spatial narrative of a film and the important role they hold in conveying messages, underlying narratives, and the spatial experiences in a film. It discusses the workings of real to reel, borrowing Nezar AlSayyad‟s term in reference to the reality and the cinema, using the modern architecture in Jacques Tati‟s Playtime (1967) as a case in point. Architecture in the real and reel stand as the main focuses of this paper. Finally, it observes the concept of reel to real, how the architecture and film can affect our perspectives in life and be used as parameters for design. Keywords: architecture; architectural representation; film; narrative; space INTRODUCTION Since the late 19th century, film developed as a medium that has allowed increased awareness and appreciation of the 3D representation of architecture as well as urban spaces.1 Film captures motions, sounds, and sequential narratives of a city‟s architecture that allows an experience of 3D architectural spaces through 2D medium. No other medium has had the power to present an exploration of real or virtual 3D architectural spaces as boundlessly as film. -
Cuisine and Symbolic Capital
Cuisine and Symbolic Capital Cuisine and Symbolic Capital: Food in Film and Literature Edited by Cheleen Ann-Catherine Mahar Cuisine and Symbolic Capital: Food in Film and Literature, Edited by Cheleen Ann-Catherine Mahar This book first published 2010 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2010 by Cheleen Ann-Catherine Mahar and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-2219-1, ISBN (13): 978-1-4438-2219-0 TABLE OF CONTENTS List of Images............................................................................................ vii Preface........................................................................................................ ix Contributors................................................................................................ xi Culinary Translations of Identity: From Britain to China Chapter One................................................................................................. 2 Translating Crepes: Politics, Economics and Culture in Philipe Massonnet’s “La crêperie de Pékin” Michelle Bloom Chapter Two ............................................................................................. -
16FQ Film Classes
Film Courses Fall 2016 3020-01 History of Film Staff TTH 1:30-3:35 The course will examine the evolution and development of film from its beginnings in the mid 1890's to rougly 1960. Focus will be upon the four broad areas of investigation: (1) the technological innovations upon which the film industry depended (2) economic modes of production that governed film industry practice (3) aesthetic movements and styles as an expression of national identity, and (4) the cultural and social impacts of the movies. The course chronology will be framed to cover the early years of cinema, or "Primitive Era" (1895-1914), the Silent Era (1914-1927), the Sound Era to the Post War Period (1927-1945), and the High Classical period that ends wtih the breakdown of the studio system (1945-1960). 3240-01 Genre: Horror Cumbow TTH 6:00-8:05 Tales and images of the supernatural, hauntings, human madness, monsters from outside and inside have dominated the art, literature, and culture of every society. These themes and images of horror helped define the early cinema, from the dancing imps and moon people of Georges Melies to the first “Frankenstein,” created at the New Jersey studios of Thomas Edison. Many of the formative classic films are horror films. What does horror tell us about ourselves, about the human condition, and about film art? This course examines two dozen exemplary horror films, spanning several countries and eleven decades of film history, finding reasons for each film’s lasting importance, the light each sheds on its particular era and culture, and how each represents the changing face of the horror genre itself. -
Lecture: Tuesday / Thursday 11:00 A.M.–12:15 P.M., Castellaw 101 Screening: Wednesday 6:00–10:00 P.M., Castellaw 101
Baylor University ● Dept. of Communication Studies, Film & Digital Media Division ● Spring 2011 Lecture: Tuesday / Thursday 11:00 a.m.–12:15 p.m., Castellaw 101 Screening: Wednesday 6:00–10:00 p.m., Castellaw 101 Professor: Dr. James Kendrick Office: Castellaw 119 Office Hours: Monday, Wednesday 12:00–2:00 p.m. All other times by appointment Phone: 710-6061 E-Mail: [email protected] Web Site: http://homepages.baylor.edu/james_kendrick COURSE DESCRIPTION This course offers an institutional, aesthetic, and cultural history of motion pictures across the world, starting with the invention of moving picture technologies in the late 19th century and concluding with the ever-rising dominance of the Hollywood blockbuster and the development of digital cinema in the 21st century. In studying the history of motion pictures, we will take into account not only the major figures who influenced their development both technologically and aesthetically, but also the cultural influences, politics, and economic factors that helped shape them. We will consider the development of motion pictures as a narrative form, cultural commodity, political object, art form, and avenue of escapist entertainment. One of the keys emphases in the class will be the historical intersections of various sites of cultural production (movies, television, advertising, censorship, political propaganda, etc.) and how they influence and shape each other. Because the breadth of international film history far exceeds what can be covered in a single semester, this course will focus most heavily on the history of film in the United States, although we also look at various historical moments in the Soviet Union, Japan, France, Germany, Italy, and Poland. -
Gold Coast Bulletin
Gold Coast Bulletin No 4 Wednesday 23rd Feb 2005 Editors Nick Hughes & Nicoleta Giura Silverware going offshore Michelle Brunner and John Holland, Major Pairs Winners bridge professionals from England, Prize Money goes to the top three in won the Gold Coast Pairs yesterday. all sections, down to the Z Consola- Both have represented England, tion (& to 5th in Championships, 4th Michelle has won a World Champi- in Plates). Major prizes will be pre- onship (the Venice Cup in Brazil) sented at the Victory Dinner. Others They are on their second trip to can get theirs after 6pm Friday from Surfers. This time Adelaide, Mel- the ANA desk. bourne, Perth and Uluru are on their itinerary. Championship (& Playoff Points) Michelle & John 1 J Holland - M Brunner Michelle warmed up for yesterday’s 2 M Cornell - R Jedrychowski 20 Success on their second visit final session by giving a talk at the 3 K Dyke - D Wiltshire 15 well-attended teacher’s meeting. 4 M Courtney - P Wyer 10 She will also be one of the panellists Hands from the final 5 P Gosney - N van Jole 5 on the second You ask, We answer, Here’s a neat trump coup: tonight at around 11pm. ]KJT3 Best Women’s Pair Mike Cornell & Ryszard [K M Gidley-Baird - R Finkelstein Jedrychowski had a big final set to }AQT Open Plate overtake Kieran Dyke and David {JT964 1 B Neill - R Klinger Wiltshire, who led overnight but ]Q87652 ]A4 2 J Wignall - B Scott scored below average in Session 3. [6 [J942 3 A & K Nelson Bruce Neill and Ron Klinger won the }J92 }8765 Plate comfortably. -
Portland Daily Press: September 7, 1900
PORTLAND PATTY PRESS. i i OKI — ■ LAND, MAINE, FRIDAY SEPTEMBER 1900. Jt— _ MORNING, 7, PRICE THREE CENTS. I IfiW APVjKHTISEMKNTa® NEW ADVERTISEMENTS® remains of officers and enlisted men of and seize the herself. Her IIE the marine empire pro- ~SOliilY TALKED. navy and who died or corps, PEOPLE Of PQBTLAN3 AND VIGINIIY. posal is an unfriendly act toward Ger- ifTHE ... were killed 1 in action ashore or afloat and jsy—' many,. since Count Von Waldersee an- buried outside of the continental limits nounced that he would an I am to announce to the of the never give pleased citizens Gf Portland and m x- United States since April to 31, 1898, order to retreat,” New the official date of the of the patrons throughout England, that I have a beginning The opened fine new * Vossiohe Zeitung says: office at 478 1-2 Ftockhill Interview Re- Spanish war. optical Congress street (opposite Preble House) ‘‘Russia is trying to establish a protec- I be to torate over the celestial empire, in doing where will pleased moot all persons whoso eyes trouble pudiated. ENGLAND PLEASED. which it makes no difference to her if in I am not a them any way. and do she vexes physician not perform opera- Emperor William and thwarta tions on the nor treat them with At Germany’* Expressed Determination the policy of eyes medicines. I wiil examine Germany.” free of to Remain in PcUin. Even the semi-ollicial Berliner Post ex- eyes, however, charge, and if need your they glasses I wrll presses ‘‘painful surprise” at the latest so. -
Rock Island Argus/Moline County Board, Resulting in Inaction on Beyond the Unfolding of Daily Events
2 River Cities’ Reader • Vol. 21 No. 862 • August 7 - 20, 2014 Business • Politics • Arts • Culture • Now You Know • RiverCitiesReader.com With a 90% post-graduation placement rate, we help young alumni start out strong and give our state the professionals we need. #TheUforIOWA River Cities WK2.indd 1 7/30/14 12:56 PM Business • Politics • Arts • Culture • Now You Know • RiverCitiesReader.com River Cities’ Reader • Vol. 21 No. 862 • August 7 - 20, 2014 3 GUEST COMMENTARY by Jeff Ignatius [email protected] Davenport’s Planned News Site: A Bold, Unworkable Idea, Repackaged PR, or ... ? ow would the City of Davenport easily adaptable material that would “Our Story” We need to ... tell our story from the city’s have covered the recent vetoes warmly present Davenport. side.” Hby Mayor Bill Gluba of the Dock But this idea was also pitched by city and the “Truth” “We have a positive message,” development plan and the St. Ambrose staff quoted in the article as “bold” and a The Fiscal Year 2015 Davenport Alderman Ray Ambrose said. “We’ve University rezoning request for a new “deep dive,” words that suggest ambition budget vaguely mentioned “a new always struggled to get that message out.” stadium? And how would it have covered beyond marketing. As Davenport communications initiative, Open “You lose too much when you allow Gluba’s proposal to bring illegal immi- Business Development Manager (and Davenport,” with funding for several somebody else to tell your story,” Brecht grants to Davenport, which was – to put former daily-newspaper reporter) Tory new positions: a part-time Web designer, said. -
Here Were Many Mighty Works & a Great Outpouring of the Spirit So That I Prophesied and Entered Into the Kingdom Celestial
1938 Letters • 173 [picture postcard: Angel Moroni Monument, Hill Cumorah, near Palmyra, New York]34 [postmarked Hudson, NY, 27 July 1938] Here were many mighty works & a great outpouring of the spirit so that I prophesied and entered into the Kingdom Celestial. B Walpole, New Hampshire. [2(?) September 1938] Dear Kate: Hell no. One manuscript more wouldn’t even be perceptible in the heap I’ve read through in the last two weeks. I trust the comment is full enough. I’d expand it to three-quarters of an hour at Bread Loaf but I wouldn’t say any more. The gospel accord- ing to DeVoto (Uncle Belly as the psychopathology of everyday life made the speaker of the evening call me on Tuesday night) is just this: a story is about one thing, a story is developed, a story is dramatized. It was a good conference, the best yet by a Mormon block. Primarily because there were some writers there. Theodore Strauss, Harriet Hassell, Josephine Niggly, a gent named Ford, another one named Turtellot, all Bread Loaf Fellows, were pretty good, and Strauss is going to be better than that.35 (He did “A Night at Hogwallow,” which I didn’t give a prize in the L-B novelette contest.)36 But the nicest Fellow, and one who is going to go farther than the rest of them except Strauss, is Elizabeth Davis, a very pretty child from Michigan with one of those voices, like Josephine’s in MT, whose teleology is to knock me for a row of nostalgic heartbreaks.37 Someone wrote me about a long story of hers in Good Housekeeping, called “Fourteenth Summer,” and it turned out to be damned good.