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L'italia E L'eurovision Song Contest Un Rinnovato
La musica unisce l'Europa… e non solo C'è chi la definisce "La Champions League" della musica e in fondo non sbaglia. L'Eurovision è una grande festa, ma soprattutto è un concorso in cui i Paesi d'Europa si sfidano a colpi di note. Tecnicamente, è un concorso fra televisioni, visto che ad organizzarlo è l'EBU (European Broadcasting Union), l'ente che riunisce le tv pubbliche d'Europa e del bacino del Mediterraneo. Noi italiani l'abbiamo a lungo chiamato Eurofestival, i francesi sciovinisti lo chiamano Concours Eurovision de la Chanson, l'abbreviazione per tutti è Eurovision. Oggi più che mai una rassegna globale, che vede protagonisti nel 2016 43 paesi: 42 aderenti all'ente organizzatore più l'Australia, che dell'EBU è solo membro associato, essendo fuori dall'area (l’anno scorso fu invitata dall’EBU per festeggiare i 60 anni del concorso per via dei grandi ascolti che la rassegna fa in quel paese e che quest’anno è stata nuovamente invitata dall’organizzazione). L'ideatore della rassegna fu un italiano: Sergio Pugliese, nel 1956 direttore della RAI, che ispirandosi a Sanremo volle creare una rassegna musicale europea. La propose a Marcel Bezençon, il franco-svizzero allora direttore generale del neonato consorzio eurovisione, che mise il sigillo sull'idea: ecco così nascere un concorso di musica con lo scopo nobile di promuovere la collaborazione e l'amicizia tra i popoli europei, la ricostituzione di un continente dilaniato dalla guerra attraverso lo spettacolo e la tv. E oltre a questo, molto più prosaicamente, anche sperimentare una diretta in simultanea in più Paesi e promuovere il mezzo televisivo nel vecchio continente. -
The Apology | the B-Side | Night School | Madonna: Rebel Heart Tour | Betting on Zero Scene & Heard
November-December 2017 VOL. 32 THE VIDEO REVIEW MAGAZINE FOR LIBRARIES N O . 6 IN THIS ISSUE One Week and a Day | Poverty, Inc. | The Apology | The B-Side | Night School | Madonna: Rebel Heart Tour | Betting on Zero scene & heard BAKER & TAYLOR’S SPECIALIZED A/V TEAM OFFERS ALL THE PRODUCTS, SERVICES AND EXPERTISE TO FULFILL YOUR LIBRARY PATRONS’ NEEDS. Learn more about Baker & Taylor’s Scene & Heard team: ELITE Helpful personnel focused exclusively on A/V products and customized services to meet continued patron demand PROFICIENT Qualified entertainment content buyers ensure frontlist and backlist titles are available and delivered on time SKILLED Supportive Sales Representatives with an average of 15 years industry experience DEVOTED Nationwide team of A/V processing staff ready to prepare your movie and music products to your shelf-ready specifications Experience KNOWLEDGEABLE Baker & Taylor is the Full-time staff of A/V catalogers, most experienced in the backed by their MLS degree and more than 43 years of media cataloging business; selling A/V expertise products to libraries since 1986. 800-775-2600 x2050 [email protected] www.baker-taylor.com Spotlight Review One Week and a Day and target houses that are likely to be empty while mourners are out. Eyal also goes to the HHH1/2 hospice where Ronnie died (and retrieves his Oscilloscope, 98 min., in Hebrew w/English son’s medical marijuana, prompting a later subtitles, not rated, DVD: scene in which he struggles to roll a joint for Publisher/Editor: Randy Pitman $34.99, Blu-ray: $39.99 the first time in his life), gets into a conflict Associate Editor: Jazza Williams-Wood Wr i t e r- d i r e c t o r with a taxi driver, and tries (unsuccessfully) to hide in the bushes when his neighbors show Editorial Assistant: Christopher Pitman Asaph Polonsky’s One Week and a Day is a up with a salad. -
Supported by the Greek Film Centre
supported by the Greek Film Centre CONTACTS @ THE EFM: Greek Film Centre Stand No 17, MGB, Tel: +4930 209159421, Iliana Zakopoulou: [email protected], Liza Linardou: [email protected] Greek Productions [I Ekrixi] by Syllas Tzoumerkas A BLAST EFM Drama | Greece | Germany | Netherlands | 2014 | 83’ SCREENING 08.02, 14:30, 2nd FEATURE FILM CinemaxX 14 LOCARNO IFF - INT. COMPETITION Screenplay: Syllas Tzoumerkas, Youla Boudali Cast: Angeliki Papoulia ,Vassilis Doganis, Maria Filini, Themis Bazaka Production & International Sales: Ηomemade films, +30 213 0415200, [email protected], www.homemadefilms.gr Co-production: Unafilm (Germany), PRPL / Bastide Films (Netherlands) International Sales: Patra Spanou, +49 15201987294, [email protected], www.patraspanou.wordpress.com Maria is running away on the highway. She is alone in her roaring SUV. Behind her, fire and a case full of money. In front of her, the hopeless vastness of the motorway. Only a day before she was a caring mother, a loving wife, a responsible daughter. Today she has gone rogue. 7 KINDS OF WRATH [7 Thimoi] by Christos Voupouras Drama | Greece | 113’ | 2014 THESSALONIKI IFF Cast: Maximos Moumouris, Nikos Gkelia, Sofia Kokkali, Haris Fragkoulis Director of Photography: Kostis Gkikas Production: Boo Productions,+30210 6100730, [email protected], www.booproductions.gr Co-Production: NERIT International Sales: Outplay, 33148574997, [email protected], www.outplayfilms.com Petros, an archaeologist living in the centre of Athens, experiences the exposed Greek para- noia, while coming into contact - out of choice or by coincidence - with ‘different’ people. For each encounter he has to pay the price. Sometimes the price is material, other times clearly emotional and existential. -
Organizer of the 54Th Karlovy Vary IFF 2019: Film Servis Festival Karlovy Vary, A.S
Organizer of the 54th Karlovy Vary IFF 2019: Film Servis Festival Karlovy Vary, a.s. Organizers of the 54th Karlovy Vary IFF thank to all partners which help to organize the festival. 54th Karlovy Vary IFF is supported by: Ministry of Culture Czech Republic Main partners: Vodafone Czech Republic a.s. innogy MALL.CZ Accolade City of Karlovy Vary Karlovy Vary Region Partners: UniCredit Bank Czech Republic and Slovakia, a.s. UNIPETROL SAZKA Group the Europe’s largest lottery company DHL Express (Czech Republic), s.r.o. Philip Morris ČR, a.s. CZECH FUND – Czech investment funds Official car: BMW Official fashion partner: Pietro Filipi Official coffee: Nespresso Supported by: CZ - Česká zbrojovka a.s. Supported by: construction group EUROVIA CS Supported by: CZECHOSLOVAK GROUP Partner of the People Next Door section: Sirius Foundation Official non-profit partner: Patron dětí Film Servis Festival Karlovy Vary, Panská 1, 110 00 Praha 1, Czech Republic Tel. +420 221 411 011, 221 411 022 www.kviff.com In cooperation with: CzechTourism, Ministry of Regional Development Official beverage: Karlovarská Korunní Official beauty partner: Dermacol Official champagne: Moët & Chandon Official beer: Pilsner Urquell Official drink: Becherovka Main media partners: Czech Television Czech Radio Radiožurnál PRÁVO Novinky.cz REFLEX Media partners: BigBoard Praha PLC ELLE Magazine magazine TV Star Festival awards supplier: Moser Glassworks Software solutions: Microsoft Partner of the festival Instagram: PROFIMED Main hotel partners: SPA HOTEL THERMAL Grandhotel Pupp Four Seasons Hotel Prague Partner of the No Barriers Project: innogy Energie Wine supplier: Víno Marcinčák Mikulov - organic winery GPS technology supplier: ECS Invention spol. -
Blitztheatregroup Night Late 5 > 11 OCT 5 >11 Late Night Théâtre
5 > 11 OCT LATE NIGHT Blitztheatregroup théâtre DOSSIER DE PRESSE © Vassilis Makris © Vassilis Late Night théâtre 5 >11 oct au théâtre Garonne Late Night me 05 20 : 00 lu 10 20 : 00 je 06 20 : 00 ma 11 20 : 00 ve 07 20 : 30 sa 08 20 : 30 Blitztheatregroup (Grèce) durée 1h30 / en grec surtitré en français tarifs de 9€ à 24 € UN MÉLODRAME, RÉALISÉ DURANT LA PÉRIODE LA PLUS CRITIQUE réservations 05 62 48 54 77 ET LA PLUS VIOLENTE QU’ait CONNUE LA GRÈCE MODERNE. www.theatregaronne.com BLITZ THEATRE GROUP C’est une nuit sans fin dans une salle de bal jonchée de gravats. Trois femmes, trois hommes y enchaînent valses et tangos, pour y épuiser leur corps et oublier que là, dehors, une catastrophe a tout balayé – une révolution ou une guerre ? Hier ou dans le futur ? On ne saura pas, mais il s’agit assurément de la fin d’un monde qui ressemble beaucoup au nôtre. Spectacle présenté avec le TNT dans le cadre du De temps à autre, ils prennent la parole et nous livrent, par bribes, des réseau européen House On Fire, avec le soutien du souvenirs du temps d’avant : une rencontre sur une place, un baiser volé programme culture de l’Union Européenne devant un monument, comme autant d’éclats de ces précieux petits riens qui fondent nos vies. Mais sous la mélancolie lancinante, ce qui entraîne les pas et grise ces couples d’un soir, c’est une inoxydable pulsion de vie, une farouche nécessité de résister : à la terreur, au désespoir, à la nostalgie. -
By Blitztheatregroup Athens (Gr)
© VASSILIS MAKRIS © VASSILIS BY BLITZTHEATREGROUP ATHENS (GR) PERFORMANCE IN GREEK WITH SURTITLES ON TOUR ON 2016/2017 PROMOTION & PROJECT DEVELOPMENT 2016 LIGNE DIRECTE/JUDITH MARTIN +33 (0)6 70 63 47 58 [email protected] SEPTEMBRE. www.lignedirecte.net SEPTEMBRE. 2016 LATE NIGHT BY BLITZTHEATREGROUP Direction - Blitztheatregroup (Angeliki Papoulia, Christos Passalis, Yorgos Valais) Dramaturgy - Blitztheatregroup / Angelos Skassilas With Maria Filini Sofia Kokkali Angeliki Papoulia Christos Passalis Fidel Talaboukas Yorgos Valais Direction assistant - Vasia Attarian Lights design- Tasos Palaioroutas Choreography - Yannis Nikolaidis Set design - Efi Birba Costumes - Vassilia Rozana Administration / Production - Maria Dourou Project developpement - Judith Martin / Ligne Directe - www.lignedirecte.net DURATION 1h30 PERFORMANCE IN GREEK WITH SURTITLES PREMIERED ON NOVEMBER 2012 IN ATHENS - ONASSIS CULTURAL CENTER PRODUCTION : ONASSIS CULTURAL CENTER, BLITZTHEATREGROUP COPRODUCTION : LA FILATURE - SCÈNE NATIONALE DE MULHOUSE 2 The end of the world in Greek: Blitz Theatre Group dances a surreal waltz of death over the ruins of Europe, brim- ming with unsophisticated melancholy and a fine sense of humour. When everything is disintegrating all you can do is wait for the end while passing the time. Why not with music and dance? An apocalyptic world with three women and three men. Apparently their shabby festive dresses and their memories are all that is left to them. They are recounting fragmentary stories of the past, of a European war that appears as surreal as the colourful festive illumination of the rundown ballroom where the six people – not in the mood for partying at all – are gathered. They call up memories of happier times and indulge in a farewell to Europe that is as breathtaking as it is depres- sing. -
For the Homeland: Transnational Diasporic Nationalism and the Eurovision Song Contest
FOR THE HOMELAND: TRANSNATIONAL DIASPORIC NATIONALISM AND THE EUROVISION SONG CONTEST SLAVIŠA MIJATOVIĆ A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN GEOGRAPHY YORK UNIVERSITY TORONTO, CANADA December 2014 © Slaviša Mijatović, 2014 Abstract This project examines the extent to which the Eurovision Song Contest can effectively perpetuate discourses of national identity and belonging for diasporic communities. This is done through a detailed performance analysis of former Yugoslav countries’ participations in the contest, along with in-depth interviews with diasporic people from the former Yugoslavia in Malmö, Sweden. The analysis of national symbolism in the performances shows how national representations can be useful for the promotion of the state in a reputational sense, while engaging a short-term sense of national pride and nationalism for the audiences. More importantly, the interviews with the former Yugoslav diaspora affirm Eurovision’s capacity for the long-term promotion of the ‘idea of Europe’ and European diversities as an asset, in spite of the history of conflict within the Yugoslav communities. This makes the contest especially relevant in a time of rising right-wing ideologies based on nationalism, xenophobia and racism. Key words: diaspora, former Yugoslavia, Eurovision Song Contest, music, nationalism, Sweden, transnationalism ii Acknowledgements Any project is fundamentally a piece of team work and my project has been no different. I would like to thank a number of people and organisations for their faith in me and the support they have given me: William Jenkins, my supervisor. For his guidance and support over the past two years, and pushing me to follow my desired research and never settling for less. -
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S K E N È Journal of Theatre and Drama Studies 6:2 2020 Jewish Theatres Edited by Piero Capelli SKENÈ Journal of Theatre and Drama Studies Founded by Guido Avezzù, Silvia Bigliazzi, and Alessandro Serpieri Executive Editor Guido Avezzù. General Editors Guido Avezzù, Silvia Bigliazzi. Editorial Board Simona Brunetti, Nicola Pasqualicchio, Susan Payne, Gherardo Ugolini. Managing Editors Valentina Adami, Emanuel Stelzer. Assistant Managing Editor Roberta Zanoni. Book Review Editors Chiara Battisti, Sidia Fiorato. Staff Petra Bjelica, Francesco Dall’Olio, Bianca Del Villano, Marco Duranti, Luca Laranga, Antonietta Provenza, Savina Stevanato, Angelica Vedelago. Typesetter Lorenza Baglieri. Advisory Board Anna Maria Belardinelli, Anton Bierl, Enoch Brater, Jean-Christophe Cavallin, Richard Allen Cave, Rosy Colombo, Claudia Corti, Marco De Marinis, Tobias Döring, Pavel Drábek, Paul Edmondson, Keir Douglas Elam, Ewan Fernie, Patrick Finglass, Enrico Giaccherini, Mark Griffith, Daniela Guardamagna, Stephen Halliwell, Robert Henke, Pierre Judet de la Combe, Eric Nicholson, Guido Paduano, Franco Perrelli, Didier Plassard, Donna Shalev, Susanne Wofford. Copyright © 2020 SKENÈ Published in December 2020 All rights reserved. ISSN 2421-4353 No part of this book may be reproduced in any form or by any means without permission from the publisher. SKENÈ Theatre and Drama Studies http://skenejournal.skeneproject.it [email protected] Dir. Resp. (aut. Trib. di Verona): Guido Avezzù P.O. Box 149 c/o Mail Boxes Etc. (MBE150) – Viale Col. Galliano, 51, 37138, -
Eurovisie Top1000
Eurovisie 2017 Statistieken 0 x Afrikaans (0%) 4 x Easylistening (0.4%) 0 x Soul (0%) 0 x Aziatisch (0%) 0 x Electronisch (0%) 3 x Rock (0.3%) 0 x Avantgarde (0%) 2 x Folk (0.2%) 0 x Tunes (0%) 0 x Blues (0%) 0 x Hiphop (0%) 0 x Ballroom (0%) 0 x Caribisch (0%) 0 x Jazz (0%) 0 x Religieus (0%) 0 x Comedie (0%) 5 x Latin (0.5%) 0 x Gelegenheid (0%) 1 x Country (0.1%) 985 x Pop (98.5%) 0 x Klassiek (0%) © Edward Pieper - Eurovisie Top 1000 van 2017 - http://www.top10000.nl 1 Waterloo 1974 Pop ABBA Engels Sweden 2 Euphoria 2012 Pop Loreen Engels Sweden 3 Poupee De Cire, Poupee De Son 1965 Pop France Gall Frans Luxembourg 4 Calm After The Storm 2014 Country The Common Linnets Engels The Netherlands 5 J'aime La Vie 1986 Pop Sandra Kim Frans Belgium 6 Birds 2013 Rock Anouk Engels The Netherlands 7 Hold Me Now 1987 Pop Johnny Logan Engels Ireland 8 Making Your Mind Up 1981 Pop Bucks Fizz Engels United Kingdom 9 Fairytale (Norway) 2009 Pop Alexander Rybak Engels Norway 10 Ein Bisschen Frieden 1982 Pop Nicole Duits Germany 11 Save Your Kisses For Me 1976 Pop Brotherhood Of Man Engels United Kingdom 12 Vrede 1993 Pop Ruth Jacott Nederlands The Netherlands 13 Puppet On A String 1967 Pop Sandie Shaw Engels United Kingdom 14 Apres toi 1972 Pop Vicky Leandros Frans Luxembourg 15 Power To All Our Friends 1973 Pop Cliff Richard Engels United Kingdom 16 Als het om de liefde gaat 1972 Pop Sandra & Andres Nederlands The Netherlands 17 Eres Tu 1973 Latin Mocedades Spaans Spain 18 Love Shine A Light 1997 Pop Katrina & The Waves Engels United Kingdom 19 Only -
Sakis Rouvas
SAKIS ROUVAS "Sakis" Rouvas is a Greek musician, television and film artist, businessman, and former pole player who is one of the most commercially successful entertainers of all time in Greece and Cyprus. Beginning a career as a member of the national athletics team, Rouvas commenced a musical career in 1991 and became one of Greece's first pop performers. In the early 1990s after winning the Thessaloniki Song Festival, Rouvas became a dominant figure in Greek entertainment, gaining a mass fan base and being cited as a phenomenon, a first for Greek music. His sexualized image and live performances utilizing complex choreography and costumes have earned him fame. He and manager Elias Psinakis formed a famous partnership in Greek show business. Rouvas' increasing popularity was coupled with criticism of both professional choices and personal struggles, which damaged his public image and lead to a brief, relatively unsuccessful period in the mid 90s. After five commercially successful albums with PolyGram Greece, Rouvas signed with Minos EMI in 1998. Amongst Rouvas' achievements are multiple recognized awards –including six Arion Music Awards, and a World Music Award– number-one albums and singles that have all achieved certifications of gold or higher, and sales of an estimated two million records as of 2008, making him one of Greece's best-selling music artists in history. Rouvas' distinct musical and performance style has influenced other artists, while his contributions to music have made him a prominent part of popular culture for nearly two decades. Rouvas' musical roots lie in rock music and as child and young adult he followed mainly the international music sceneElvis Presley became his biggest musical idol. -
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Between, Against, Beyond: Challenging National Identities in Contemporary Greek Theatre Dissertation Zur Erlangung Des Grades E
Between, Against, Beyond: Challenging National Identities in Contemporary Greek Theatre Dissertation zur Erlangung des Grades eines Doktors der Philosophie am Fachbereich Philosophie und Geisteswissenschaften der Freien Universität Berlin vorgelegt von Ariadni Lignou Tsamantani Berlin 2020 Erstgutachter: Prof. Dr. Matthias Warstat Zweitgutachter: Prof. Dr. Miltos Pechlivanos Tag der Disputation: 9. Juli 2020 TABLE OF CONTENTS Acknowledgments ..................................................................................................................... 3 Preface ....................................................................................................................................... 4 Introduction ............................................................................................................................... 6 1. Framing this study: concepts, contexts, histories ............................................................. 20 1.1 On nation, nationalism and identity ............................................................................ 20 1.2 On nation and theatre .................................................................................................. 28 1.3 Greek (theatre) histories: pasts and presents .............................................................. 36 1.3.1 Nation-state and theatre stage ............................................................................. 37 1.3.2 Performing nation on/as “national stage” ..........................................................