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Celebrities As Political Representatives: Explaining the Exchangeability of Celebrity Capital in the Political Field
Celebrities as Political Representatives: Explaining the Exchangeability of Celebrity Capital in the Political Field Ellen Watts Royal Holloway, University of London Submitted for the degree of Doctor of Philosophy in Politics 2018 Declaration I, Ellen Watts, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Ellen Watts September 17, 2018. 2 Abstract The ability of celebrities to become influential political actors is evident (Marsh et al., 2010; Street 2004; 2012, West and Orman, 2003; Wheeler, 2013); the process enabling this is not. While Driessens’ (2013) concept of celebrity capital provides a starting point, it remains unclear how celebrity capital is exchanged for political capital. Returning to Street’s (2004) argument that celebrities claim to speak for others provides an opportunity to address this. In this thesis I argue successful exchange is contingent on acceptance of such claims, and contribute an original model for understanding this process. I explore the implicit interconnections between Saward’s (2010) theory of representative claims, and Bourdieu’s (1991) work on political capital and the political field. On this basis, I argue celebrity capital has greater explanatory power in political contexts when fused with Saward’s theory of representative claims. Three qualitative case studies provide demonstrations of this process at work. Contributing to work on how celebrities are evaluated within political and cultural hierarchies (Inthorn and Street, 2011; Marshall, 2014; Mendick et al., 2018; Ribke, 2015; Skeggs and Wood, 2011), I ask which key factors influence this process. -
Movie Catalog Movie
AVENGERS BY THE NUMBERS On-Board Inside front cover EVERYTHING GAME OF THRONES MOVIE CATALOG Pages 36-38 © 2019 Marvel © 2019 Universal City Studios Productions LLLP. All Rights Reserved. © 2019 Paramount Pictures © 2019 Warner Bros. Ent. All rights reserved. © 2019 RJD Filmworks, Inc. All Rights Reserved. © Lions Gate Entertainment, Inc. STX Entertainment 2019 © © Amazon Studios © 2019 Disney Enterprises, inc. © 2019 STX Entertainment 2019 © © Lions Gate Entertainment, Inc. © 2019 Warner Bros. Ent. All rights reserved. July/August 2019 | 1.877.660.7245 | swank.com/on-board-movies H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H ExperienceH H H H H H H H H H H H H H H H HTHE H ADVENTURESH H H H H H H H of the AVENGERS H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H © 2019 Marvel © 2019 Marvel © 2019 Marvel © 2019 Universal City Studios Productions LLLP. All Rights Reserved. © 2019 Marvel H HH H H H H H HH HH H HH HH H 2008H H H H H H HH H H H H 2008H H H H H H H H H H2010 H H H H H H H H H2011 H H H H H H H H H2011 H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H © 2019 Marvel © 2019 Marvel © 2019 Marvel © 2019 Marvel © 2019 Marvel © 2019 Marvel © 2019 Marvel H H H H H2012 H H H H H H H H H2013 H H H H H H H H H2013 H H H H H H H H H2014 H H H H H H H H H 2014H H H H H H H H H 2015H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H © 2019 Marvel © 2019 Marvel © 2019 Marvel © 2019 Marvel © 2019 Columbia Pictures Industries, Inc. -
Final Copy 2019 05 07 Lash
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Lash, Dominic Title: Lost and Found Studies in Confusing Films General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Lost and Found studies in confusing films Dominic John Alleyne Lash A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts Department of Film and Television December 2018 76,403 words abstract This thesis uses the concepts of disorientation and confusion as a means of providing detailed critical accounts of four difficult films, as well as of addressing some more general issues in the criticism and theory of narrative film. -
Preparatory Document
Preparatory document Please notice that we recommend that you read the first ten pages of the first three documents, the last document is optional. • International Holocaust Remembrance Alliance, Recognizing and Countering Holocaust Distortion: Recommendations for Policy and Decision Makers (Berlin: International Holocaust Remembrance Alliance, 2021), read esp. pp. 14-24 • Deborah Lipstadt, "Holocaust Denial: An Antisemitic Fantasy," Modern Judaism 40:1 (2020): 71-86 • Keith Kahn Harris, "Denialism: What Drives People to Reject the Truth," The Guardian, 3 August 2018, as at https://www.theguardian.com/news/2018/aug/03/denialism-what-drives- people-to-reject-the-truth (attached as pdf) • Optional reading: Giorgio Resta and Vincenzo Zeno-Zencovich, "Judicial 'Truth' and Historical 'Truth': The Case of the Ardeatine Caves Massacre," Law and History Review 31:4 (2013): 843- 886 Holocaust Denial: An Antisemitic Fantasy Deborah Lipstadt Modern Judaism, Volume 40, Number 1, February 2020, pp. 71-86 (Article) Published by Oxford University Press For additional information about this article https://muse.jhu.edu/article/750387 [ Access provided at 15 Feb 2021 12:42 GMT from U S Holocaust Memorial Museum ] Deborah Lipstadt HOLOCAUST DENIAL: AN ANTISEMITIC FANTASY* *** When I first began working on the topic of Holocaust deniers, colleagues would frequently tell me I was wasting my time. “These people are dolts. They are the equivalent of flat-earth theorists,” they would insist. “Forget about them.” In truth, I thought the same thing. In fact, when I first heard of Holocaust deniers, I laughed and dismissed them as not worthy of serious analysis. Then I looked more closely and I changed my mind. -
The British Academy Television Awards Sponsored by Pioneer
The British Academy Television Awards sponsored by Pioneer NOMINATIONS ANNOUNCED 11 APRIL 2007 ACTOR Programme Channel Jim Broadbent Longford Channel 4 Andy Serkis Longford Channel 4 Michael Sheen Kenneth Williams: Fantabulosa! BBC4 John Simm Life On Mars BBC1 ACTRESS Programme Channel Anne-Marie Duff The Virgin Queen BBC1 Samantha Morton Longford Channel 4 Ruth Wilson Jane Eyre BBC1 Victoria Wood Housewife 49 ITV1 ENTERTAINMENT PERFORMANCE Programme Channel Ant & Dec Saturday Night Takeaway ITV1 Stephen Fry QI BBC2 Paul Merton Have I Got News For You BBC1 Jonathan Ross Friday Night With Jonathan Ross BBC1 COMEDY PERFORMANCE Programme Channel Dawn French The Vicar of Dibley BBC1 Ricky Gervais Extra’s BBC2 Stephen Merchant Extra’s BBC2 Liz Smith The Royle Family: Queen of Sheba BBC1 SINGLE DRAMA Housewife 49 Victoria Wood, Piers Wenger, Gavin Millar, David Threlfall ITV1/ITV Productions/10.12.06 Kenneth Williams: Fantabulosa! Andy de Emmony, Ben Evans, Martyn Hesford BBC4/BBC Drama/13.03.06 Longford Peter Morgan, Tom Hooper, Helen Flint, Andy Harries C4/A Granada Production for C4 in assoc. with HBO/26.10.06 Road To Guantanamo Michael Winterbottom, Mat Whitecross C4/Revolution Films/09.03.06 DRAMA SERIES Life on Mars Production Team BBC1/Kudos Film & Television/09.01.06 Shameless Production Team C4/Company Pictures/01.01.06 Sugar Rush Production Team C4/Shine Productions/06.07.06 The Street Jimmy McGovern, Sita Williams, David Blair, Ken Horn BBC1/Granada Television Ltd/13.04.06 DRAMA SERIAL Low Winter Sun Greg Brenman, Adrian Shergold, -
From Pig Farmer to Infidel: Hidden Identities, Diasporic Infertility, and Transethnic Kinship in Contemporary British Jewish Cinema
This is a repository copy of From Pig Farmer to Infidel: Hidden Identities, Diasporic Infertility, and Transethnic Kinship in Contemporary British Jewish Cinema. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/85099/ Version: Accepted Version Book Section: Sternberg, C (2016) From Pig Farmer to Infidel: Hidden Identities, Diasporic Infertility, and Transethnic Kinship in Contemporary British Jewish Cinema. In: Abrams, N and Lassner, P, (eds.) Hidden in Plain Sight: Jews and Jewishness in British Film, Television, and Popular Culture. Cultural Expressions of World War II: Interwar Preludes, Responses, Memory . Northwestern University Press , Evanston, Illinois , pp. 181-204. ISBN 978-0-8101-3282-5 Copyright © 2016 by Northwestern University Press. Published 2016. All rights reserved. This is an author produced version of a book chapter published in Hidden in Plain Sight: Jews and Jewishness in British Film, Television, and Popular Culture. Uploaded with permission from the publisher. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. -
Rose La Rose and the Re-Ownership of American Burlesque, 1935-1972
TAUGHT IT TO THE TRADE: ROSE LA ROSE AND THE RE-OWNERSHIP OF AMERICAN BURLESQUE, 1935-1972 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Elizabeth Wellman Graduate Program in Theatre The Ohio State University 2015 Dissertation Committee: Jennifer Schlueter, Advisor Beth Kattelman Joy Reilly Copyright by Elizabeth Wellman 2015 ABSTRACT Declaring burlesque dead has been a habit of the twentieth century. Robert C. Allen quoted an 1890s letter from the first burlesque star of the American stage, Lydia Thompson in Horrible Prettiness: Burlesque and American Culture (1991): “[B]urlesque as she knew it ‘has been retired for a time,’ its glories now ‘merely memories of the stage.’”1 In 1931, Bernard Sobel opined in Burleycue: An Underground History of Burlesque Days, “Alas! You will never get a chance to see one of the real burlesque shows again. They are gone forever…”2 In 1938, The Billboard published an editorial that began, “On every hand the cry is ‘Burlesque is dead.’”3 In fact, burlesque had been declared dead so often that editorials began popping up insisting it could be revived, as Joe Schoenfeld’s 1943 op-ed in Variety did: “[It] may be in a state of putrefaction, but it is a lusty and kicking decomposition.”4 It is this “lusty and kicking decomposition” which characterizes the published history of burlesque. Since its modern inception in the late nineteenth century, American burlesque has both been framed and framed itself within this narrative of degeneration. -
The Parkes Institute for the Study of Jewish
The Parkes Institute for the Study of Jewish/ non-Jewish Relations Annual Review 2018 - 2019 Cover image: Shanghai Jewish Refugees Museum, courtesy of Corey Kai Nelson Schultz IN THIS ISSUE Professor Shirli Gilbert and Professor Joachim Schlör 04 22 35 Report of the Director Special Collections Publications, Papers and of the Parkes Institute and Library Report Talks by Members of the Dr Helen Spurling by Karen Robson and Parkes Institute Jenny Ruthven 08 CONTENTS Outreach report Report of the Director of the Parkes Institute 4 Tribute to Clinton Silver 6 and Diana Bailey Outreach 8 Conferences, Workshops, Lectures and Seminars 12 Journals of the Parkes Institute 14 Development 15 Internationalisation 16 Moss Memorial Prizes and David Cesarani Prize 17 23 MA and PhD Report 18 14 Reports by Parkes students 20 FEATURE: Journals of the Special Collections and Parkes Institute Library Report 22 Reports by Reports by Academic Members Academic Members of the Parkes Institute 23 Publications, Papers and Talks by of the Parkes Institute Members of the Parkes Institute 35 Members of the Parkes Institute 38 The Parkes Institute and Library Friends Membership Programme 39 3 REPORT OF THE DIRECTOR OF THE PARKES INSTITUTE Dr Helen Spurling James Parkes exhibition funded by the South, West and Wales Doctoral Training Partnership (AHRC), including archival materials from the Special Collections at the University of Southampton The purpose of the Parkes Institute is to explore relations between Jews and others throughout history, address major questions around inter-cultural relations, and combat racism and intolerance. Through research, teaching and public engagement, this mission reflects the goals of James Parkes, but also the ambitions and commitments of all our members. -
Refugees in Europe, 1919–1959 Iii Refugees in Europe, 1919–1959
Refugees in Europe, 1919–1959 iii Refugees in Europe, 1919–1959 A Forty Years’ Crisis? Edited by Matthew Frank and Jessica Reinisch Bloomsbury Academic An imprint of Bloomsbury Publishing Plc LONDON • OXFORD • NEW YORK • NEW DELHI • SYDNEY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2017 © Matthew Frank, Jessica Reinisch and Contributors, 2017 This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the authors. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: HB: 978-1-4725-8562-2 ePDF: 978-1-4725-8564-6 eBook: 978-1-4725-8563-9 Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress. Cover image © LAPI/Roger Viollet/Getty Images Typeset by Deanta Global Publishing Services, Chennai, India To find out more about our authors and books visit www.bloomsbury.com. Here you will find extracts, author interviews, details of forthcoming events and the -
THE Permanent Crisis of FILM Criticism
mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter film criticism since its origins. net amateurs and the lack of authorita of tive critics, many journalists and acade Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, coeditor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. -
FT Prog 27:FT Prog Print
Thu 26 May (1 day only) 7.45pm Booking The Box Office is open at 7pm on days when there is a charge for (PG) BENDA BILILI! admission. A joyous documentary giving insight into the story Seat prices are now £5 (full price) and £3.50 (concessions). Numbered of Staff Benda Bilili, a group seats may be reserved in advance but they may not be collected or of seven Congolese paid for in advance. musicians, most of whom Season tickets for the films in this programme are £40.00 (full price) have physical disabilities. and £30.00 (concessions). Renaud Barret and Florent de La Tullaye’s film follows Carers accompanying disabled customers to the Film Theatre will be the band’s progress over admitted free of charge. Stoke on Trent’s Independent Cinema four years, from the poverty Telephone reservations may be made at any time on our answering stricken streets of Kinshasa machine 01782 411188. Please call before 2pm for same day to international tours. Benda Bilili! is a truly reservations. Please speak clearly, stating the film title, date and time, heartwarming celebration your name and a phone number in case there is any query. We will of triumph over adversity, reserve the best available seats. If you prefer to speak to us in person, accompanied by their exuberant blend of blues and African rumba. phone between 12.30 and 1.30 pm, Mon, Tue, Thu and Fri (not Wed). Democratic Republic of Congo/France (subtitled), 2010, 88 mins Reserved tickets must be claimed 20 minutes before the performance. -
Festival Report
FESTIVAL REPORT 21–31 May 2015 Hay-on-Wye CONTENTS Welcome 3 Croeso 4 The Festival 6 The Festival in numbers 8 Schools Programme 10 Hay Fever 12 Hay on Earth 14 Marketing and Press 18 Marketing of Hay Festival with the Book Trade 20 Marketing of Hay Festival with University Partnerships 21 Marketing of Hay Festival with Theatres, Galleries, Tourism and Leisure 22 Marketing and Press Report 23 Media Partner Support 29 Sponsors 32 Hay Festival Report: Hay-on-Wye 2015 WELCOME “Imagine a party...where curiosity and discovery trump certainty and conviction.” Imagine a party for everyone – young and old, right and left, the country and the city; a party with a thousand stories rather than a manifesto; a party where poetry trumps rhetoric, and where curiosity and discovery trump certainty and conviction; a party where dreams are dearer than promises, where we revel in dissent, and where to change your mind is a strength and a pleasure. Imagine a party where we celebrate the possibility of art, the adventure of science and the deep understanding of humanity that comes from close attention to the lessons of history. Imagine a party that is first and foremost a party. There’s food and music and laughter; there’s time and there’s the best company you could hope for. That’s our party in Hay. Peter Florence Director, Hay Festival PAGE 3 CROESO ‘Dychmygwch hynny i gyd mewn cyd-destun sydd, yn y lle cyntaf, yn ddathliad ac yn barti.’ Â’r etholiad cyffredinol ar bob sianel ac ymhob papur newydd, dyma wahoddiad i chi ddychmygu cyd-destun lle mae yna groeso i bob un – yr hen a’r ieuanc, y rheiny ar y dde ac ar y chwith, trigolion y wlad a’r ddinas.