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Kenji Mizoguchi Cinematographic Style (Long Take) in 'The Life of Oharu' (1952)
KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN 'THE LIFE OF OHARU' (1952). Rickmarthel Julian Kayug Bachelor ofApplied Arts with Honours (Cinematography) 2013 UNIVERSITI MALAYSIA SARAW AK BORANG PENGESAHAN STATUS TESIS/LAPORAN JUDUL: Kenji Mizoguchi Cinematographic Style (Long Take) In The 'Life OfOharu' (1952). SESI PENGAJIAN: 200912013 Saya RICKMARTHEL JULIAN KA YUG Kad Pengenalan bemombor 890316126011 mengaku membenarkan tesisl Laporan * ini disimpan di Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dengan syarat-syarat kegunaan seperti berikut: 1. Tesisl Laporan adalah hakmilik Universiti Malaysia Sarawak 2. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat salinan untuk tujuan pengajian sahaja 3. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat pengdigitan untuk membangunkan Pangkalan Data Kandungan Tempatan 4. Pusat Khidmat Maklumat Akademik, Universiti Malaysia Sarawak dibenarkan membuat salinan tesisl laporan ini sebagai bahan pertukaran antara institusi pengajian tinggi 5. *sila tandakan rn (mengandungi maklumat yang berdarjah keselamatan SULIT 6·D atau kepentingan seperti termaktub di dalam AKTA RAHSIA 1972) TERHAD D (mengandungi maklumat Terhad yang telah ditentukan oleh Organisasilbadan di mana penyelidikan dijalankan) V ~IDAK TERHAD Disahkan Disahkan Oleh: c:dt~f • Tandatangan Penulis Tandatangan Penyelia Tarikh t:L~ 1"""~ ~ l3 Tarikh: '~I O-=l""/?4l ~ Alamat Tetap: Kg. Pamilaan, Peti Surat 129,89908 Tenom, Sabah. Mobil Jefri ~ samareoa Lect\Il'U . faculty ofApplie4 aM CrcallVe Catatan: *Tesis/ Laporan dimaksudkan sebagai tesis bagi Ijazah Doktor Falsafah,~a Muda • lika Tesis/ Laporan SULIT atau TERHAD, sila lampirkan surat daripada pihak berkuasal organisasi berkenaan dengan menyatakan sekali sebab dan tempoh tesis/ laporan ini perlu dikelaskan $ebagai SULIT atau TERHAD This project report attached hereto, entitled "KENJI MIZOGUCHI CINEMATOGRAPHIC STYLE (LONG TAKE) IN THE LIFE OF OHARU (1952)". -
Angus Mackay Diaries Volume XVIII (2002 - 2004)
Angus Mackay Diaries Volume XVIII (2002 - 2004) ANGUS MACKAY DIARY NO. 177 Friday February 1 2002 - May 10 2002. Friday February 1 2002 Saturday February 2 2002 To Chiswick this a.m. to shop for K and give him a choice. Got back at twelve, but no sign. Arrived at something after one, animated newsy talk, and an omelette with the blewits and chanterellesI got at the lovely greengrocers - £29.50 a kilo. About two four inch blews and four or five chant. about £3, not bad for such deliciousness. Now it’s Saturday night, and K’s gone, after two wonderful days.I have done nothing except stand up and sit down, and prepare four meals, and I’m exhausted. I fear K might have felt I was lazy or feeble. Well, he started out – ‘Can’t stop here talking, or the light will go’, on the buddleia, ‘which job do you want done first?’ He sawed it right down, and I do see that it’s partly destabilised some bricks. A great relief. I hope that silly fussy man won’t find something else to shout to me about. I was becoming quite reluctant to go into the garden. Horrible to cut anything down, but on balance welcomed it. Comically, the wind was the strongest I’ve heard since I’ve been here. Quite expected a letter of complaint from the next door just as we were cutting down the dangerous bush. They have a ‘patio’ (sic) garden and are clearly nervous of a jungle takeover, or indeed anything they can’t control. -
The Statement
THE STATEMENT A Robert Lantos Production A Norman Jewison Film Written by Ronald Harwood Starring Michael Caine Tilda Swinton Jeremy Northam Based on the Novel by Brian Moore A Sony Pictures Classics Release 120 minutes EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS SHANNON TREUSCH MELODY KORENBROT CARMELO PIRRONE ERIN BRUCE ZIGGY KOZLOWSKI ANGELA GRESHAM 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, 550 MADISON AVENUE, SUITE 1005 SUITE 200 8TH FLOOR NEW YORK, NY 10024 LOS ANGELES, CA 90046 NEW YORK, NY 10022 PHONE: (212) 445-7100 PHONE: (323) 655-0593 PHONE: (212) 833-8833 FAX: (212) 445-0623 FAX: (323) 655-7302 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com THE STATEMENT A ROBERT LANTOS PRODUCTION A NORMAN JEWISON FILM Directed by NORMAN JEWISON Produced by ROBERT LANTOS NORMAN JEWISON Screenplay by RONALD HARWOOD Based on the novel by BRIAN MOORE Director of Photography KEVIN JEWISON Production Designer JEAN RABASSE Edited by STEPHEN RIVKIN, A.C.E. ANDREW S. EISEN Music by NORMAND CORBEIL Costume Designer CARINE SARFATI Casting by NINA GOLD Co-Producers SANDRA CUNNINGHAM YANNICK BERNARD ROBYN SLOVO Executive Producers DAVID M. THOMPSON MARK MUSSELMAN JASON PIETTE MICHAEL COWAN Associate Producer JULIA ROSENBERG a SERENDIPITY POINT FILMS ODESSA FILMS COMPANY PICTURES co-production in association with ASTRAL MEDIA in association with TELEFILM CANADA in association with CORUS ENTERTAINMENT in association with MOVISION in association with SONY PICTURES -
A Study of EM Forster's Maurice
www.ijcrt.org © 2020 IJCRT | Volume 8, Issue 10 October 2020 | ISSN: 2320-2882 The Criminal Blindness of Society: A Study of E.M Forster’s Maurice 1Dr. Nishi Upadhyaya, 1Associate Professor , 1Department of English, 1Pandit Naval Kishore Sharma Government P.G. College, Dausa, Rajasthan, India Abstract: E.M Forster’s fiction is significant because of his ability to express some of the major dilemma of the twentieth century, in spite of their multiplicity and complexity, in the order of art. Forster’s novel Maurice (1971) touches the sensitivity of modern society to relations and questions of deep human relationships. The present paper explores in detail the emergence of the inner life of Maurice in the face of a hostile society. Index Terms – Inner life, homosexuality, taboo, quest, identity, meaningful relationship, psychological tensions, light and dark, creation. E.M Forster is a liberal writer whose works continually deal with the ideal of a cosmopolitan tolerant culture which would encourage the free and fullest growth of the individual. His portrayal of human relationships in the social, economic and political aspects was all the time concerned with the ways and means by which human beings can break down the fetters of narrow-minded conventions, destructive and inhibiting human freedom. Forster’s fiction is significant because of his ability to express some of the major dilemmas of the twentieth century, in spite of their multiplicity and complexity, the order of art. Forster’s Maurice (1971) touches the sensitivity of modern society to relations and questions of deep human relationships. In his earlier novels, Forster had dealt with the earth-connected, passionate life in its conflict with middle class society. -
The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More Information
Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information The Cambridge Companion to Harold Pinter The Cambridge Companion to Harold Pinter provides an introduction to one of the world’s leading and most controversial writers, whose output in many genres and roles continues to grow. Harold Pinter has written for the theatre, radio, television and screen, in addition to being a highly successful director and actor. This volume examines the wide range of Pinter’s work (including his recent play Celebration). The first section of essays places his writing within the critical and theatrical context of his time, and its reception worldwide. The Companion moves on to explore issues of performance, with essays by practi- tioners and writers. The third section addresses wider themes, including Pinter as celebrity, the playwright and his critics, and the political dimensions of his work. The volume offers photographs from key productions, a chronology and bibliography. © Cambridge University Press www.cambridge.org Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Greek Tragedy The Cambridge Companion to the French edited by P. E. Easterling Novel: from 1800 to the Present The Cambridge Companion to Old English edited by Timothy Unwin Literature The Cambridge Companion to Modernism edited by Malcolm Godden and Michael edited by Michael Levenson Lapidge The Cambridge Companion to Australian The Cambridge Companion to Medieval Literature Romance edited by Elizabeth Webby edited by Roberta L. Kreuger The Cambridge Companion to American The Cambridge Companion to Medieval Women Playwrights English Theatre edited by Brenda Murphy edited by Richard Beadle The Cambridge Companion to Modern British The Cambridge Companion to English Women Playwrights Renaissance Drama edited by Elaine Aston and Janelle Reinelt edited by A. -
HJR 23.1 Sadoff
38 The Henry James Review Appeals to Incalculability: Sex, Costume Drama, and The Golden Bowl By Dianne F. Sadoff, Miami University Sex is the last taboo in film. —Catherine Breillat Today’s “meat movie” is tomorrow’s blockbuster. —Carol J. Clover When it was released in May 2001, James Ivory’s film of Henry James’s final masterpiece, The Golden Bowl, received decidedly mixed reviews. Kevin Thomas calls it a “triumph”; Stephen Holden, “handsome, faithful, and intelligent” yet “emotionally distanced.” Given the successful—if not blockbuster—run of 1990s James movies—Jane Campion’s The Portrait of a Lady (1996), Agniezka Holland’s Washington Square (1997), and Iain Softley’s The Wings of the Dove (1997)—the reviewers, as well as the fans, must have anticipated praising The Golden Bowl. Yet the film opened in “selected cities,” as the New York Times movie ads noted; after New York and Los Angeles, it showed in university towns and large urban areas but not “at a theater near you” or at “theaters everywhere.” Never mind, however, for the Merchant Ivory film never intended to be popular with the masses. Seeking a middlebrow audience of upper-middle-class spectators and generally intelligent filmgoers, The Golden Bowl aimed to portray an English cultural heritage attractive to Anglo-bibliophiles. James’s faux British novel, however, is paradoxically peopled with foreigners: American upwardly mobile usurpers, an impoverished Italian prince, and a social-climbing but shabby ex- New York yentl. Yet James’s ironic portrait of this expatriate culture, whose characters seek only to imitate their Brit betters—if not in terms of wealth and luxury, at least in social charm and importance—failed to seem relevant to viewers The Henry James Review 23 (2002): 38–52. -
French Cinema Saw International Box Office Receipts Shrink, but Retained Its Place in Foreign Markets and Festivals
23 rd RENDEZ-VOUS WITH FRENCH FILMS ON THE INTERNATIONAL MARKETPLACE FRENCH AND AT FESTIVALS CINEMA IN 2020 PARIS / JANUARY 13 - 15 2021 RESULTS FOR FRENCH FILMS ON THE INTERNATIONAL MARKET PLACE IN 2020 13.7* 86.6* MILLION MILLION ADMISSIONS EUROS down 69.8%* compared to 2019 IN RECEIPTS Note: In France, French films generated down 68.6%* compared to 2019 29.2** million admissions in 2020, down 60.7%** compared to 2019 IN 2020, FRENCH CINEMA SAW INTERNATIONAL BOX OFFICE RECEIPTS SHRINK, BUT RETAINED ITS PLACE IN FOREIGN MARKETS AND FESTIVALS » 9.5* million admissions (69.5%* of the total) for majority-French productions (38 million in 2019, down 75%*) » 10.6* million admissions (77.6%* of the total) for French-language films (26.9 million in 2019, down 60.6%*) » 611* French films on release in foreign theaters (869 in 2019, down 29.7%*) » 1,398* releases of French films (2,836 in 2019, down 50.7%*) » 2* French films sold more than 1 million tickets abroad (7 in 2019) » 28* French films drew more than 100,000 spectators abroad (68 in 2019) » Russia becomes the leading territory in terms of admissions for French films in 2020, ahead of Spain and Italy* » 163 French films were selected across 8 major international film festivals*** and accounted for 19.5% of the films presented (199 and 19% in 2019, down 18.1% and up 2.6%) Note: *The figures given in this brochure are provisional and non-exhaustive. The definitive figures will be available in the fall and will inevitably be higher. -
View , 82, (Winter 2002): 191-207
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Collegiate Symbols and Mascots of the American Landscape: Identity, Iconography, and Marketing Gary Gennar DeSantis Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES COLLEGIATE SYMBOLS AND MASCOTS OF THE AMERICAN LANDSCAPE: IDENTITY, ICONOGRAPHY, AND MARKETING By GARY GENNAR DeSANTIS A Dissertation submitted to the Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2018 ©2018 Gary Gennar DeSantis Gary Gennar DeSantis defended this dissertation on November 2, 2018. The members of the committee were: Andrew Frank Professor Directing Dissertation Robert Crew University Representative Jonathan Grant Committee Member Jennifer Koslow Committee Member Edward Gray Committee Member The Graduate School has verified and approved the above-named committee members and certifies that the dissertation has been approved in accordance with university requirements. ii I dedicate this dissertation to the memory of my beloved father, Gennar DeSantis, an avid fan of American history, who instilled in me the same admiration and fascination of the subject. iii TABLE OF CONTENTS Abstract ............................................................................................................................................v 1. FITNESS, BACK-TO-NATURE, AND COLLEGE MASCOTS -
Before-The-Act-Programme.Pdf
Dea F ·e s. Than o · g here tonight and for your Since Clause 14 (later 27, 28 and 29) was an contribution o e Organisation for Lesbian and Gay nounced, OLGA members throughout the country Action (OLGA) in our fight against Section 28 of the have worked non-stop on action against it. We raised Local Govern en Ac . its public profile by organising the first national Stop OLGA is a a · ~ rganisa ·o ic campaigns The Clause Rally in January and by organising and on iss es~ · g lesbians and gay e . e ber- speaking at meetings all over Britain. We have s ;>e o anyone who shares o r cancer , lobbied Lords and MPs repeatedly and prepared a e e eir sexuality, and our cons i u ion en- briefings for them , for councils, for trade unions, for s es a no one political group can take power. journalists and for the general public. Our tiny make C rre ly. apart from our direct work on Section 28, shift office, staffed entirely by volunteers, has been e ave th ree campaigns - on education , on lesbian inundated with calls and letters requ esting informa cus ody and on violence against lesbians and gay ion and help. More recently, we have also begun to men. offer support to groups prematurely penalised by We are a new organisation, formed in 1987 only local authorities only too anxious to implement the days before backbench MPs proposed what was new law. then Clause 14, outlawing 'promotion' of homosexu The money raised by Before The Act will go into ality by local authorities. -
Saints, Signs Symbols
\ SAINTS, SIGNS and SYMBOLS by W. ELLWOOD POST Illustrated and revised by the author FOREWORD BY EDWARD N. WEST SECOND EDITION CHRIST THE KING A symbol composed of the Chi Rho and crown. The crown and Chi are gold with Rho of silver on a blue field. First published in Great Britain in 1964 Fourteenth impression 1999 SPCK Holy Trinity Church Acknowledgements Marylebone Road London NW1 4DU To the Rev. Dr. Edward N. West, Canon Sacrist of the Cathedral Church of St. John the Divine, New York, who has © 1962, 1974 by Morehouse-Barlow Co. graciously given of his scholarly knowledge and fatherly encouragement, I express my sincere gratitude. Also, 1 wish to ISBN 0 281 02894 X tender my thanks to the Rev. Frank V. H. Carthy, Rector of Christ Church, New Brunswick, New Jersey, who initiated my Printed in Great Britain by interest in the drama of the Church; and to my wife, Bette, for Hart-Talbot Printers Ltd her loyal co-operation. Saffron Walden, Essex The research material used has been invaluable, and I am indebted to writers, past and contemporary. They are: E. E. Dorling, Heraldry of the Church; Arthur Charles Fox-Davies, Guide to Heraldry; Shirley C. Hughson of the Order of the Holy Cross, Athletes of God; Dr. F. C. Husenbeth Emblems of Saints; C. Wilfrid Scott-Giles, The Romance of Heraldry; and F. R. Webber, Church Symbolism. W. ELLWOOD POST Foreword Contents Ellwood Post's book is a genuine addition to the ecclesiological library. It contains a monumental mass of material which is not Page ordinarily available in one book - particularly if the reader must depend in general on the English language. -
Was the Classical Tradition Betrayed by J. Ivory's
Was the Classical Tradition Betrayed by J. Ivory’s Adaptation 1 of E. M. Forster’s Maurice? Pau Gilabert Barberà2 Universitat de Barcelona [email protected] To J. Baucells, J. M. Orteu and M. Forcano Abstract According to literature and film studies and from the point of view of the influence of classical tradition on Western culture—classical Greek tradition, in this case—this article analyses the inevitable—to a certain degree—betrayal by screenwriters of the literary texts that they adapt. However, in spite of being practically inevitable, Dr. Pau Gilabert indicates what are, in his opinion, the limits beyond which Ivory/Hesketh-Harvey should not have gone in order not to dilute the Hellenic temper of E. M. Forster’s Maurice. As citizens of this and the last century, we are very much used to the undeniable pleasure of seeing remarkable masterpieces of world literature on the screen. Images quite often endow the text with a power of seduction that appears as ‘inherent to’ and ‘exclusive of’ visual expression, and, yet, it would be absurd not to admit that ‘an image is not always worth a thousand words’. If we consider that all translations are betrayals, the translation of a literary text into images must necessarily fall into the same category. Therefore, these short reflections will deal with this idea, with J. Ivory’s small or great betrayals, whether conscious or unconscious—actually, Ivory and Hesketh-Harvey’s, since both were responsible for the script—when he brought E. M. Forster’s Maurice to the screen,3 taking into account -
Completeandleft
MEN WOMEN 1. JA Jason Aldean=American singer=188,534=33 Julia Alexandratou=Model, singer and actress=129,945=69 Jin Akanishi=Singer-songwriter, actor, voice actor, Julie Anne+San+Jose=Filipino actress and radio host=31,926=197 singer=67,087=129 John Abraham=Film actor=118,346=54 Julie Andrews=Actress, singer, author=55,954=162 Jensen Ackles=American actor=453,578=10 Julie Adams=American actress=54,598=166 Jonas Armstrong=Irish, Actor=20,732=288 Jenny Agutter=British film and television actress=72,810=122 COMPLETEandLEFT Jessica Alba=actress=893,599=3 JA,Jack Anderson Jaimie Alexander=Actress=59,371=151 JA,James Agee June Allyson=Actress=28,006=290 JA,James Arness Jennifer Aniston=American actress=1,005,243=2 JA,Jane Austen Julia Ann=American pornographic actress=47,874=184 JA,Jean Arthur Judy Ann+Santos=Filipino, Actress=39,619=212 JA,Jennifer Aniston Jean Arthur=Actress=45,356=192 JA,Jessica Alba JA,Joan Van Ark Jane Asher=Actress, author=53,663=168 …….. JA,Joan of Arc José González JA,John Adams Janelle Monáe JA,John Amos Joseph Arthur JA,John Astin James Arthur JA,John James Audubon Jann Arden JA,John Quincy Adams Jessica Andrews JA,Jon Anderson John Anderson JA,Julie Andrews Jefferson Airplane JA,June Allyson Jane's Addiction Jacob ,Abbott ,Author ,Franconia Stories Jim ,Abbott ,Baseball ,One-handed MLB pitcher John ,Abbott ,Actor ,The Woman in White John ,Abbott ,Head of State ,Prime Minister of Canada, 1891-93 James ,Abdnor ,Politician ,US Senator from South Dakota, 1981-87 John ,Abizaid ,Military ,C-in-C, US Central Command, 2003-