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Guide to the Papers of the Capri Community Film Society
Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline. -
Index to Volume 26 January to December 2016 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background -
THE SEX PISTOLS Großbritannien/USA 2000
Kieler Beiträge zur Filmmusikforschung, 5.1, 2010 // 130 THE FILTH AND THE FURY – THE SEX PISTOLS Großbritannien/USA 2000 R: Julien Temple P: Anita Camarata, Amanda Temple K: Geordie Devas S: Niven Howie, Elaine Hughes, Lars Woodruffe T: John Henessey, Nick Robertson, Geoff Tockey, (Paul Davis - Tonschnitt) Beteiligte Band: Sex Pistols (John Lydon, Glen Matlock, Paul Cook, Steve Jones, John Beverly) DVD-Vertrieb: FilmFour International UA: 25.1.2000 (USA), 12.1.2000 (D), 12.5.2000 (UK) 107min, 1:1,85, Farbe, Dolby SR. In THE FILTH AND THE FURY porträtiert Regisseur Julien Temple den Aufstieg und Fall der berühmt- berüchtigten Punkrock-Band The Sex Pistols Mitte der 1970er Jahre. Temple hatte zuvor bereits bei THE GREAT ROCK'N'ROLL SWINDLE Regie geführt. Diesem ersten Werk wurde allerdings immer wieder eine einseitige Schilderung der Ereignisse aus Sicht des ehemaligen Managers der Sex Pistols – Malcom McLaren - vorgeworfen. McLaren soll viele Skandale der Band bewusst forciert haben, um aus der negativen Publicity Profit zu schlagen. Die Idee hinter THE FILTH AND THE FURY war, die „wahre Bandgeschichte“ ans Licht zu bringen und auf Zelluloid zu bannen: „For 20 years our life has been rewritten – wrongly and very badly. It becomes intolerable. At some point you have to say: 'Stop. Here is the real deal.' I've told the truth constantly, but now it's on film. Somehow celluloid adds a touch of realism for most Americans“ [1]. Titelgebend für das Rockumentary war eine Schlagzeile des Daily Mirror einen Tag nach dem Auftritt der Sex Pistols in der TV-Sendung TODAY: Der betrunkene Gastgeber Bill Grundy provozierte die Mitglieder der Band - damals alle noch im Teenager-Alter - zu vulgären Ausdrücken; als sie darauf einstiegen und munter ein „F-word“ nach dem anderen verlauten ließen, war der Skandal perfekt. -
79 June 2016 #79 June 2016
#79 June 2016 #79 June 2016 LeftLion Magazine Issue 79 contents June 2016 credits Editor Ali Emm ([email protected]) Editor-in-chief Jared Wilson ([email protected]) In a Code Hole Alan Gilby ([email protected]) Marketing and Sales Manager NEAT16: Bards for Days Bivvy Bodies Funeral Director Ash Dilks ([email protected]) 10 Wordsmith and Mouthy Poets 12 The nineties are back, and they’re 24 Coffins are an art form in chief and wordsmith Deborah coming in the form of top musical Benjamin Wigley’s documentary, Designers ‘Debris’ Stevenson on her dogs Bivouac Paa Joe & The Lion Raphael Achache ([email protected]) grime project Natalie Owen ([email protected]) 06 Street Tales 21 Word Play 33 Listings Sub Editor With Ad Sectioned, Overheard in Abigail Parry ran away with the The in-depth list of wha gwarn in Shariff Ibrahim ([email protected]) Notts and What Notts circus, but she’s back as poet-in- this fine city, with everything residence at the NVA from gigs to exhibitions Community Editor 08 LeftEyeOn Penny Reeve ([email protected]) Pictures of Nottingham for your 22 DoughNotts 40 Nusic Box eyeholes and pleasure receptors The family business The Future Sound of Nottingham Literature Editor specialising in deep-fried dough competition is hotting up, we James Walker ([email protected]) 15 NEAT16: LaPelle’s Show talk the good stuff introduce the finalists Popcorn, movie nights and serial Deputy Literature Editor killers. All in a day's work for The Filth and the Fury Noshingham Robin Lewis ([email protected]) -
A Great Friggin'swindle? Sex Pistols, School Kids and 1979
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Osborne, Richard ORCID: https://orcid.org/0000-0003-4111-8980 (2015) A great friggin’ swindle? Sex Pistols, school kids and 1979. Popular Music and Society, 38 (4) . pp. 432-449. ISSN 0300-7766 [Article] (doi:10.1080/03007766.2015.1034496) First submitted uncorrected version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/17322/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
Best of Siouxsie and the Banshees Rar
Best Of Siouxsie And The Banshees Rar 1 / 4 Best Of Siouxsie And The Banshees Rar 2 / 4 3 / 4 Feb 1, 2018 — 1988's Peepshow is the last great Banshees album and their best since A Kiss In The Dreamhouse. Following the departure of guitarist John .... best siouxsie banshees album; best of siouxsie and the banshees. Best Of Siouxsie And The Banshees Rar. Download. nocturne siouxsie and the banshees.rar ... Nov 4, 2018 — Contents • • • • Content [ ] This best-of includes an unreleased track 'Dizzy', only available on this CD. Gta Iii Android Tablet Download. best siouxsie banshees album best siouxsie banshees album, best siouxsie and the banshees songs, best of siouxsie and the banshees, siouxsie and the banshees albums worst to best, the best of siouxsie and the banshees vinyl, best siouxsie and the banshees album reddit, siouxsie and the banshees best ever albums, best siouxsie and the banshees songs reddit, siouxsie and the banshees best tracks, best of siouxsie and the banshees youtube, best siouxsie and the banshees albums ranked, best siouxsie and the banshees For the uninitiated, the Psych Furs are a volatile mix of Magazine, Siouxsie and the Banshees and the Sex Pistols. Apr 27, 2019 The Psychedelic Furs are an ... best of siouxsie and the banshees 42039 Siouxsie & the Banshees Goth Punk Rock British Gothic Post Punk Siouxsie Sioux, Siouxsie. Visit ... JyNx.part2.rar A KISS IN THE DREAMHOUSE .... Jun 7, 2011 — “Mittageisen” 5. Download siouxsie and the banshees downside up (disc 3).rar. ... Various Artists - Best songs of the 80's music · We Are Dj .. -
(Or Do You Want the Truth)? Intersections of Punk and Queer in the 1970S
Jordan (Pamela Rooke) outside the SEX shop owned by Vivienne Westwood and Malcolm McLaren. Courtesy Wikimedia Commons RHR100_07_Nyongo.indd 102 9/14/07 11:01:57 AM Do You Want Queer Theory (or Do You Want the Truth)? Intersections of Punk and Queer in the 1970s Tavia Nyong’o In a May 11, 1978, interview on NBC television’s late-night talk show Tomorrow, the punk poet Patti Smith assured her interviewer, Tom Snyder, that the kids were alright. Smith — whose first single, “Hey Joe/Piss Factory,” had been financed by her friend and former lover, Robert Mapplethorpe — told Snyder: I want the future to be like, I mean, I just want it to be like an open space for children. I mean, for me the future is children, and I feel like, you know, when I was younger first I wanted to be a missionary, then I wanted to be a schoolteacher, it’s like, you know, I couldn’t, I couldn’t, uh, get through all the dogma, and I couldn’t really integrate all of the rules and regulations of those professions into like my lifestyle and into the, into the generation that I was part of. And the really great thing about, umm, doing the work that I’m doing now, I have like all the ideals that I ever had to like communicate, you know, to, to, to children, or to people in general, to everybody, and to communicate with my creator, I, I can do everything all the perverse ends of it, and also, you know, all the innocence. -
THE FILTH and the FURY Außer Konkurrenz the FILTH and the FURY the FILTH and the FURY
Wettbewerb/IFB 2000 THE FILTH AND THE FURY Außer Konkurrenz THE FILTH AND THE FURY THE FILTH AND THE FURY Regie: Julien Temple Großbritannien 1999 Dokumentarfilm The Sex Pistols Paul Cook Länge 105 Min. Steve Jones Format 35 mm, 1:1.85 Glen Matlock Farbe Johnny Rotten (John Lydon) Stabliste Sid Vicious Recherche John Shearlaw Zusätzliche Kamera Geordie Devas Schnitt Niven Howie Schnittassistenz Elaine Hughes On-line-Schnitt Lars Woodruffe Tonschnitt Paul Davies Ton John Hennessey Nick Robertson Geoff Tookey Mischung Dave McGrath Assistenz Andrew Stirk Produzentinnen Anita Camarata Amanda Temple Executive Producers Eric Gardner Jonathan Weisgal THE FILTH AND THE FURY Co-Produktion Nitrate Film Zwanzig Jahre nach THE GREAT ROCK’N’ROLL SWINDLE erzählt Julien Tem- Produktion ple die Geschichte der Sex Pistols noch einmal – oder vielmehr: Er läßt sie Jersey Shore Productions erzählen,und diesmal nicht von ihrem Manager Malcolm McLaren,sondern c/o FilmFour International von den Bandmitgliedern selbst. 76 Charlotte St Kompiliert aus Dokumentaraufnahmen aus den 70er Jahren, die zum gro- GB-London W1P ILX Tel.:171-868 77 00 ßen Teil bislang unveröffentlicht waren, sowie aktuellen Interviews und Fax:171-868 77 66 einem längeren Gespräch, das Julien Temple 1978 mit dem Bassisten Sid Vicious wenige Monate vor dessen Tod im Londoner Hyde Park geführt hat, Weltvertrieb zeichnet der Film das numehr autorisierte Porträt einer der einflußreichsten FilmFour International Bands der Rock-Geschichte.Obwohl sie nur wenig mehr als zwei Jahre lang 76 Charlotte St GB-London W1P ILX – von November 1975 bis Anfang 1978 – existierten, haben die Sex Pistols, Tel.:171-868 77 00 indem sie den Punk zwar nicht erfanden, aber weltweit bekanntmachten, Fax:171-868 77 66 mit nur einer einzigen Platte die Pop-Musik revolutioniert.„Never Mind the Bollocks“ war das Fanal für eine ganze Generation: Drei Akkorde genügten, um in drei Minuten alles zu sagen, was gesagt werden mußte. -
Brazil: “Que País É Este”?
BRAZIL: “QUE PAÍS É ESTE”? MUSIC AND POWER IN LEGIÃO URBANA Ana Cláudia Lessa Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2011 0 Abstract This thesis addresses, amongst other issues, the phenomenon of protest music with particular reference to Brazil within its pre- and post-dictatorship period. The time- frame being understood as that which finds its roots many decades prior to the 1964 so-called revolution – a de facto military putsch – and comes to flower in the democratic moment of the 1980s and since. The focus will be, eventually, directed to one of the most celebrated Brazilian rock phenomena, the band Legião Urbana, the impact of which still resonates across the artistic, cultural and political scene in Brazil and beyond. In order to establish the context in which such a claim can be viable, the thesis explores the ideological and historical background to the emergence, on a national, and international, stage of something beyond the artistic and cultural ‗dependence‘ seing before that period within Brazilian music. Key Words Rock‗n‘Roll, Punk rock, protest music, popular culture, BRock, Brazilian music, dictatorship, Legião Urbana. 1 Acknowledgements I would like to thank all my previous colleges and professors who helped me to be here today, contributing in different forms and through different periods of the development of this thesis. Also a great thank you to all my students ever, for their curiosity and interest in everything-Brazilian. Without those students I would not exist as a professional. To Nicholas Shaw, my friend and mentor, who has been such an important influence and inspiration during my stay in the UK, and my love for this green land. -
From the Love Ball to Rupaul: the Mainstreaming of Drag in the 1990S
FROM THE LOVE BALL TO RUPAUL: THE MAINSTREAMING OF DRAG IN THE 1990S by JEREMIAH DAVENPORT Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music CASE WESTERN RESERVE UNIVERSITY August, 2017 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Jeremiah Davenport candidate for the degree of PhD, Musicology. Committee Chair Daniel Goldmark Committee Member Georgia Cowart Committee Member Francesca Brittan Committee Member Robert Spadoni Date of Defense April 26, 2017 *We also certify that written approval has been obtained for any proprietary material contained therein. 2 Acknowledgements Thank you from the bottom of my heart to everyone who helped this dissertation come to fruition. I want to thank my advisor Dr. Daniel Goldmark, the Gandalf to my Frodo, who has guided me through the deepest quandaries and quagmires of my research as well as some of the darkest times of my life. I believe no one understands the way my mind works as well as Daniel and I owe him a tremendous debt of gratitude for helping me find the language and tools to write about my community and the art form I love. I also want to thank Dr. Georgia Cowart for helping me find my voice and for her constant encouragement. I am grateful to Dr. Francesca Brittan for her insights that allowed me to see the musicologist in myself more clearly and her unwavering support of this project. I also would like to thank Dr. Robert Spadoni for expanding my analytical skills and for constantly allowing me to pick his brain about drag, movies, and life. -
Értekezés a Doktori (Phd) Fokozat Megszerzése Érdekében Az Irodalomtudományok Tudományágban
SPACE, MOVEMENT AND IDENTITY IN CONTEMPORARY BRITISH ASIAN FICTION Értekezés a doktori (PhD) fokozat megszerzése érdekében az Irodalomtudományok tudományágban Írta: Pataki Éva okleveles angol nyelv és irodalom szakos bölcsész és tanár Készült a Debreceni Egyetem Irodalomtudományok doktori iskolája (Angol-amerikai irodalomtudományi programja) keretében Témavezető: Dr. Bényei Tamás ................................................................ (olvasható aláírás) A doktori szigorlati bizottság: elnök: Dr. ................................................................ tagok: Dr. ................................................................ Dr. ................................................................ A doktori szigorlat időpontja: 201................................................... Az értekezés bírálói: Dr. ................................................................ Dr. ................................................................ Dr. ................................................................ A bírálóbizottság: elnök: Dr. ............................................................... tagok: Dr. ............................................................... Dr. ............................................................... Dr. ............................................................... Dr. ............................................................... A nyilvános vita időpontja: 201………………………………….. Én, Pataki Éva, teljes felelősségem tudatában kijelentem, hogy a benyújtott értekezés önálló munka, a szerzői -
The Sex Pistols and the London Mob
The Sex Pistols and the London Mob Michael Ewen Kitson Doctor of Philosophy University of Western Sydney, 2008 From my point of view it’s got nothing to do with music. And you could build up a whole thesis just on that thing. Marcus Lipton MP Johnny Rotten? Sid Vicious? Aren’t they characters from a Dickens novel? Kenny Rogers, country music singer1 1 Barry Cain, 77 Sulphate Strip, Ovolo, Cornwall 2007: p.101. Thank you to my brother Max for your hospitality in London and generous assistance (financial and intellectual); to my father Michael for unstinting encouragement and for our regular Tuesday meets; to my mother Jill for your support and excellent editorial advice; thank you to Sally Joy for her many gifts; to Dr Linda Hawryluk for your friendship; to David Brazil, Tyswan Slater, daughter, Kahlila, and Briana McLean who all welcomed me into your extraordinary lives and kept me from loneliness in the mountains’ Blue. Finally, thank you to Gary Scott and Eva Kahans, Michael Francis and especially you, Joe – who never failed to remind me that a PhD was a very boring subject for discussion with a five-year old. For the punks I’ve known: Cressida, Josh, Ken, Sean and Matt, John and Shane, and A.J. I wish to warmly acknowledge the invaluable assistance of Dr Jane Goodall, whose wit and humour combined with infinite patience, transformed my ideas and tested my theories, while Dr Glen McGillivray’s eye for the whole, combined with his detailed editorial advice, saw this thesis become the thing it is.