The Inventory of the Richard Roud Collection #1117
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Grade 5 Workbook © Copyright Oxford University Press Contents
Janet Hardy-Gould English Plus Grade 5 Workbook © Copyright Oxford University Press Contents page Unit 1 Home and away 4 Unit 2 Sports 10 Unit 3 Fantasy world 18 Unit 4 Living things 26 Unit 5 Values 34 Unit 6 World of work 42 Unit 7 Holidays 50 Unit 8 Creativity 58 Unit 9 Reading for pleasure 60 Language focus reference and practice 62 Pronunciation bank 80 Wordlist 83 Arts and STEM 94 © Copyright Oxford University Press 1 Home and away VOCABULARY Familiar words 1 Find nine more words. 3 Complete the dialogue with the words BICYCLEAG in the box. OKPHONEC L a Bye English later OPGQVUWOT poster thanks this yes KOTAB L EME ZSLUESHPA Anna Hi Jack. How are you? WTMG I R L UC Jack Fine, thanks . CETBONPTH Anna What’s this in 1 ? ARQHRDKEE 2 RVUZBOYRR Jack It’s a . Anna And what’s 3 ? b o o k 1 c r Jack It’s 4 pencil. 2 p s e 3 c mp e Anna Oh, 5 . Thanks. 4 t ch 5 b c l Jack See you 6 . 6 p n 7 t bl Anna 7 ! 8 gi l 9 b y 2 Look at the pictures and complete the 4 Look at the pictures and write sentences with the words in the box. questions and answers. Draw your own picture for numbers 4 and 5. bag bicycle boy car pen pencil 1 2 3 It’s a car . 1 It’s a . 4 5 What’s this in English? It’s a book. 2 It’s a . -
Feature Films
FEATURE FILMS NEW BERLINALE 2016 GENERATION CANNES 2016 OFFICIAL SELECTION MISS IMPOSSIBLE SPECIAL MENTION CHOUF by Karim Dridi SPECIAL SCREENING by Emilie Deleuze TIFF KIDS 2016 With: Sofian Khammes, Foued Nabba, Oussama Abdul Aal With: Léna Magnien, Patricia Mazuy, Philippe Duquesne, Catherine Hiegel, Alex Lutz Chouf: It means “look” in Arabic but it is also the name of the watchmen in the drug cartels of Marseille. Sofiane is 20. A brilliant Some would say Aurore lives a boring life. But when you are a 13 year- student, he comes back to spend his holiday in the Marseille ghetto old girl, and just like her have an uncompromising way of looking where he was born. His brother, a dealer, gets shot before his eyes. at boys, school, family or friends, life takes on the appearance of a Sofiane gives up on his studies and gets involved in the drug network, merry psychodrama. Especially with a new French teacher, the threat ready to avenge him. He quickly rises to the top and becomes the of being sent to boarding school, repeatedly falling in love and the boss’s right hand. Trapped by the system, Sofiane is dragged into a crazy idea of going on stage with a band... spiral of violence... AGAT FILMS & CIE / FRANCE / 90’ / HD / 2016 TESSALIT PRODUCTIONS - MIRAK FILMS / FRANCE / 106’ / HD / 2016 VENICE FILM FESTIVAL 2016 - LOCARNO 2016 HOME by Fien Troch ORIZZONTI - BEST DIRECTOR AWARD THE FALSE SECRETS OFFICIAL SELECTION TIFF PLATFORM 2016 by Luc Bondy With: Sebastian Van Dun, Mistral Guidotti, Loic Batog, Lena Sukjkerbuijk, Karlijn Sileghem With: Isabelle Huppert, Louis Garrel, Bulle Ogier, Yves Jacques Dorante, a penniless young man, takes on the position of steward at 17-year-old Kevin, sentenced for violent behavior, is just let out the house of Araminte, an attractive widow whom he secretly loves. -
Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
It 2.007 Vc Italian Films On
1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute. -
A Continuation of Myth: the Cinematic Representation of Mythic American Innocence in Bernardo Bertolucci’S Last Tango in Paris and the Dreamers
A CONTINUATION OF MYTH: THE CINEMATIC REPRESENTATION OF MYTHIC AMERICAN INNOCENCE IN BERNARDO BERTOLUCCI’S LAST TANGO IN PARIS AND THE DREAMERS Joanna Colangelo A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of The requirements for the degree of MASTER OF ARTS December 2007 Committee: Carlo Celli, Advisor Philip Hardy ii ABSTRACT Carlo Celli, Advisor The following thesis aims to track the evolution and application of certain fundamental American cultural mythologies across international borders. While the bulk of my discussion will focus on the cycle of mythic American innocence, I will pay fair attention to the sub-myths which likewise play vital roles in composing the broad myth of American innocence in relation to understanding American identities – specifically, the myth of the Virgin West (or America-as-Eden), the yeoman farmer and individualism. When discussing the foundation of cultural American mythologies, I draw specifically from the traditional myth-symbol writers in American Studies. Those works which I reference are: Henry Nash Smith’s, Virgin Land: The American West as Symbol and Myth, Leo Marx’s, The Machine in the Garden: Technology and the Pastoral Ideal in America and R.W.B. Lewis’s, The American Adam: Innocence, Tragedy, and Tradition in the Nineteenth Century. I focus much of my discussion on the applicability of the myth of innocence, rather than the validity of the actual myth throughout history. In this sense, I follow the myth as a cycle of innocence lost and regained in American culture – as an ideal which can never truly reach its conclusion for as long as America is invested in two broad definitions of innocence: the American Adam and the Noble Savage. -
Flamenco Flamenco
FLAMENCO FLAMENCO 01. SYNOPSIS 02. DIRECTOR’S NOTES 03. CARLOS SAURA 04. VITTORIO STORARO 05. CAST & CREW 06. FILM DETAILS 07. THE PRODUCTION COMPANY 01. SYNOPSIS Considered the greatest exponent of the particular way of making musical films of Carlos Saura, Flamenco, flamenco arises, through a journey of light and life, the evolution of the songs, dances and music of this art that, in the director own words, would be heritage of the universe. With the experience and knowledge that Carlos Saura’s films have gained over time, we enter in the roads of the existing talents of this art so alive and dynamic that flamenco is it, to present his new film which uses innovative elements, in the technical field as in the narrative, becoming a unique production. The film shows that there is a powerful new flamenco, of young talents finding their way in our country and beyond our borders, but the reality of this art can not be reflected in the right way without some of the great living masters that we are fortunate to have in Spain. 02. DIRECTOR’S NOTES Carlos Saura It is always difficult to write about the ideas that lead me to create my musical films. It is difficult because the actual scripts I use are barely three or four pages long, where the different dances that have been chosen are in order, with the artist’s name and the space in which the dance might develop. It is even more difficult because part of the stimulus, the fun that always comes with the filming is based – let's face it – on the possibility of improvising in this type of cinema. -
International Casting Directors Network Index
International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy. -
CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and Counting…
5 JAN 18 1 FEB 18 1 | 5 JAN 18 - 1 FEB 18 88 LOTHIAN ROAD | FILMHOUSECinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and counting… As you’ll spot deep within this programme (and hinted at on the front cover) January 2018 sees the start of a series of films that lead up to celebrations in October marking the 40th birthday of Filmhouse as a public cinema on Lothian Road. We’ve chosen to screen a film from every year we’ve been bringing the very best cinema to the good people of Edinburgh, and while it is tremendous fun looking back through the history of what has shown here, it was quite an undertaking going through all the old programmes and choosing what to show, and a bit of a personal journey for me as one who started coming here as a customer in the mid-80s (I know, I must have started very young...). At that time, I’d no idea that Filmhouse had only been in existence for less than 10 years – it seemed like such an established, essential institution and impossible to imagine it not existing in a city such as Edinburgh. My only hope is that the cinema is as important today as I felt it was then, and that the giants on whose shoulders we currently stand feel we’re worthy of their legacy. I hope you can join us for at least some of the screenings on this trip down memory lane... And now, back to the now. -
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 .......................... -
Congratulations to the Class of 2016
the magazine of notre dame academy Also: Congratulations to the Class of 2016 summer 2016 | volume 12 | issue 2 vita! summer 2016 | volume 12 | issue 2 Message from the President inside this issue contributors “ NDA is a recipe for success, and our flavors are so bold and Editor complex, that they keep you coming back for more.” Kathryn Quinn Miller ’97 Contributing Writers Ashley Simmons ’08 Many of you know that I love to cook, and it should not shock you that working Design Amanda Quintin Design in education is also very special to me. Both cooking and teaching have a lot in Printing common. The culinary influences that make up my recipes are French, Italian, Reynolds DeWalt Mexican, and Vietnamese. Fusion cooking excites me and I find the key to a tasty Photography dish is a balance of flavors – sweet, salt, spice, and crunch. Similarly, at the heart Ryan Hutton 6 11 of Catholic education is balance. At first, this seems strange, because when you Lifetouch look at the structure of a school it is built upon compartmentalization. Students Michael Russo study math in their math class and social studies in their social studies class. The Published by the Office of Institutional Advancement classroom is a mini fiefdom that is fortified by a cavalcade of teachers who want Notre Dame Academy to rightfully protect their space. 1073 Main Street Hingham, MA 02043 The reason I love fusion cooking is because when you take the elegance of French cuisine and meld it with 781.749.5930 www.ndahingham.com the colors and flavors of Mexico, something transformative happens, and the palate dances to the beat of the mariachi. -
The New Order of Hitler: Virtual History, Fiction and Myth
DEBATER A EUROPA Periódico do CIEDA e do CEIS20 , em parceria com GPE e a RCE. N.13 julho/dezembro 2015 – Semestral ISSN 1647-6336 Disponível em: http://www.europe-direct-aveiro.aeva.eu/debatereuropa/ The New Order of Hitler: Virtual History, Fiction and Myth Sérgio Neto Researcher of CEIS20, University of Coimbra E-mail: [email protected] Abstract At the intersection of counterfactual Historiography and literary fantasy, the triumph of the Axis powers in World War II has been one of the main issues. The resurgence of a hypothetical IV Reich also results extensive. Similarly, cinema has not failed to go over the old question of “if”. This article intent to analyse some virtual literature and historical works of reference about the New European Order in order to discuss possible inspiration that science awoke this genre and concepts revolving around the revisionism and determinism. Keywords: New European Order; Counterfactuals; Dystopia; Historiography; Fantasy When the German army completed the conquest of Poland in September 1939 the New European Order began to take shape. The euphemistic name of that brutal military occupation was in fact more incisive than the name given to the Japanese occupied areas: Greater East Asia Co-Prosperity Sphere 1. But, the main issue was if Hitler’s projects achieved in a few years the degree of dehumanization promised by the propaganda with the so called Reich of a Thousand Years. Based on the assumptions outlined by Mein Kampf , as well as the improvisations made during the course of the war, the dreams and fantasies of world domination were analysed not only by the historiography, but widely widespread by the alternate story genre.