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Fictional Movies with Domestic Violence Themes Compiled by Nancy Flanakin, Librarian, National Center on Domestic and Sexual Violence
Fictional Movies with Domestic Violence Themes Compiled by Nancy Flanakin, Librarian, National Center on Domestic and Sexual Violence Affliction (1999) – Stars Nick Nolte. Grown man with emotional and behavior problems recalls abuse he and his mother suffered during his childhood. Available from Amazon.com. Boys on the Side (1995) – Stars Whoopi Goldberg (Jane), Mary-Louise Parker (Robin) and Drew Barrymore (Holly). Holly kills the abusive boyfriend of Jane in the course of defending her, later faces charges. A buddy/road movie that explores the special relationships that can develop among women. Available from Amazon.com. The Burning Bed (1984) – Farrah Fawcett plays a woman reaching the breaking point with her abusive and brutal husband. Based on a true story. Currently available only from dealers in used DVDs and VHS videos, such as those who sell through Amazon.com. The Color Purple (1985) – Alice Walker’s story about the growth to maturity and independence of a mistreated African-American woman in Georgia. Available from Amazon.com. Dangerous Intentions (1995) – Stars Donna Mills and Corbin Bernsen. Plot summary from “editorial review” on Amazon.com: After years of being terrorized, Beth Williamson finally finds the courage to leave her abusive husband. But where can she go that’s safe? Her parents’ home, her sister’s home - wherever Beth tries to hide, her husband finds her and beats her, each attack more savage than the last. Only when she meets Kaye, another battered wife on the run, does the nightmare look like it’s coming to an end. Looking out for each other, the two of them set up home with their children. -
Accepted Manuscript Version
Research Archive Citation for published version: Kim Akass, and Janet McCabe, ‘HBO and the Aristocracy of Contemporary TV Culture: affiliations and legitimatising television culture, post-2007’, Mise au Point, Vol. 10, 2018. DOI: Link to published article in journal's website Document Version: This is the Accepted Manuscript version. The version in the University of Hertfordshire Research Archive may differ from the final published version. Copyright and Reuse: This manuscript version is made available under the terms of the Creative Commons Attribution-NonCommercial- NoDerivatives License CC BY NC-ND 4.0 ( http://creativecommons.org/licenses/by-nc-nd/4.0/ ), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way. Enquiries If you believe this document infringes copyright, please contact Research & Scholarly Communications at [email protected] 1 HBO and the Aristocracy of TV Culture : affiliations and legitimatising television culture, post-2007 Kim Akass and Janet McCabe In its institutional pledge, as Jeff Bewkes, former-CEO of HBO put it, to ‘produce bold, really distinctive television’ (quoted in LaBarre 90), the premiere US, pay- TV cable company HBO has done more than most to define what ‘original programming’ might mean and look like in the contemporary TV age of international television flow, global media trends and filiations. In this article we will explore how HBO came to legitimatise a contemporary television culture through producing distinct divisions ad infinitum, framed as being rooted outside mainstream commercial television production. In creating incessant divisions in genre, authorship and aesthetics, HBO incorporates artistic norms and principles of evaluation and puts them into circulation as a succession of oppositions— oppositions that we will explore throughout this paper. -
Speed Kills / Hannibal Production in Association with Saban Films, the Pimienta Film Company and Blue Rider Pictures
HANNIBAL CLASSICS PRESENTS A SPEED KILLS / HANNIBAL PRODUCTION IN ASSOCIATION WITH SABAN FILMS, THE PIMIENTA FILM COMPANY AND BLUE RIDER PICTURES JOHN TRAVOLTA SPEED KILLS KATHERYN WINNICK JENNIFER ESPOSITO MICHAEL WESTON JORDI MOLLA AMAURY NOLASCO MATTHEW MODINE With James Remar And Kellan Lutz Directed by Jodi Scurfield Story by Paul Castro and David Aaron Cohen & John Luessenhop Screenplay by David Aaron Cohen & John Luessenhop Based upon the book “Speed Kills” by Arthur J. Harris Produced by RICHARD RIONDA DEL CASTRO, pga LUILLO RUIZ OSCAR GENERALE Executive Producers PATRICIA EBERLE RENE BESSON CAM CANNON MOSHE DIAMANT LUIS A. REIFKOHL WALTER JOSTEN ALASTAIR BURLINGHAM CHARLIE DOMBECK WAYNE MARC GODFREY ROBERT JONES ANSON DOWNES LINDA FAVILA LINDSEY ROTH FAROUK HADEF JOE LEMMON MARTIN J. BARAB WILLIAM V. BROMILEY JR NESS SABAN SHANAN BECKER JAMAL SANNAN VLADIMIRE FERNANDES CLAITON FERNANDES EUZEBIO MUNHOZ JR. BALAN MELARKODE RANDALL EMMETT GEORGE FURLA GRACE COLLINS GUY GRIFFITHE ROBERT A. FERRETTI SILVIO SARDI “SPEED KILLS” SYNOPSIS When he is forced to suddenly retire from the construction business in the early 1960s, Ben Aronoff immediately leaves the harsh winters of New Jersey behind and settles his family in sunny Miami Beach, Florida. Once there, he falls in love with the intense sport of off-shore powerboat racing. He not only races boats and wins multiple championship, he builds the boats and sells them to high-powered clientele. But his long-established mob ties catch up with him when Meyer Lansky forces him to build boats for his drug-running operations. Ben lives a double life, rubbing shoulders with kings and politicians while at the same time laundering money for the mob through his legitimate business. -
The Work of the Critic
CHAPTER 1 The Work of the Critic Oh, gentle lady, do not put me to’t. For I am nothing if not critical. —Iago to Desdemona (Shakespeare, Othello, Act 2, Scene I) INTRODUCTION What is the advantage of knowing how to perform television criticism if you are not going to be a professional television critic? The advantage to you as a television viewer is that you will not only be able to make informed judgment about the television programs you watch, but also you will better understand your reaction and the reactions of others who share the experience of watching. Critical acuity enables you to move from casual enjoyment of a television program to a fuller and richer understanding. A viewer who does not possess critical viewing skills may enjoy watching a television program and experience various responses to it, such as laughter, relief, fright, shock, tension, or relaxation. These are fun- damental sensations that people may get from watching television, and, for the most part, viewers who are not critics remain at this level. Critical awareness, however, enables you to move to a higher level that illuminates production practices and enhances your under- standing of culture, human nature, and interpretation. Students studying television production with ambitions to write, direct, edit, produce, and/or become camera operators will find knowledge of television criticism necessary and useful as well. Television criticism is about the evaluation of content, its context, organiza- tion, story and characterization, style, genre, and audience desire. Knowledge of these concepts is the foundation of successful production. THE ENDS OF CRITICISM Just as critics of books evaluate works of fiction and nonfiction by holding them to estab- lished standards, television critics utilize methodology and theory to comprehend, analyze, interpret, and evaluate television programs. -
Gorinski2018.Pdf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Automatic Movie Analysis and Summarisation Philip John Gorinski I V N E R U S E I T H Y T O H F G E R D I N B U Doctor of Philosophy Institute for Language, Cognition and Computation School of Informatics University of Edinburgh 2017 Abstract Automatic movie analysis is the task of employing Machine Learning methods to the field of screenplays, movie scripts, and motion pictures to facilitate or enable vari- ous tasks throughout the entirety of a movie’s life-cycle. From helping with making informed decisions about a new movie script with respect to aspects such as its origi- nality, similarity to other movies, or even commercial viability, all the way to offering consumers new and interesting ways of viewing the final movie, many stages in the life-cycle of a movie stand to benefit from Machine Learning techniques that promise to reduce human effort, time, or both. -
Religion As a Role: Decoding Performances of Mormonism in the Contemporary United States
RELIGION AS A ROLE: DECODING PERFORMANCES OF MORMONISM IN THE CONTEMPORARY UNITED STATES Lauren Zawistowski McCool 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 August 2012 Committee: Dr. Scott Magelssen, Advisor Dr. Jonathan Chambers Dr. Lesa Lockford © 2012 Lauren Zawistowski McCool All Rights Reserved iii ABSTRACT Dr. Scott Magelssen, Advisor Although Mormons have been featured as characters in American media since the nineteenth century, the study of the performance of the Mormon religion has received limited attention. As Mormonism (The Church of Jesus Christ of Latter-day Saints) continues to appear as an ever-growing topic of interest in American media, there is a gap in discourse that addresses the implications of performances of Mormon beliefs and lifestyles as performed by both members of the Church and non-believers. In this thesis, I closely examine HBO’s Big Love television series, the LDS Church’s “I Am a Mormon” media campaign, Mormon “Mommy Blogs” and the personal performance of Mormons in everyday life. By analyzing these performances through the lenses of Stuart Hall’s theories of encoding/decoding, Benedict Anderson’s writings on imagined communities, and H. L. Goodall’s methodology for the new ethnography the aim of this thesis is to fill in some small way this discursive and scholarly gap. The analysis of performances of the Mormon belief system through these lenses provides an insight into how the media teaches and shapes its audience’s ideologies through performance. iv For Caity and Emily. -
Hospital Partnerships: the Struggle to Preserve Catholic Mission and Identity
PITTSBURGH-^ -g ÎM en IM ui in • >■ <H y H H •-I < \ y - </) a . .. CM O. OC O LU UJ , O' O > H ut > z f . ( M J I C 3 I û m r m o < < o . o OC UJ oc h o Z 3 N û H W flû i O' O «J UJ en , 1IV| .1151 S Î t l£ No. 2 35* Established In 1844: America’s Oldest Catholic Newspaper tn Continuous Publication ! OÛ.KOO. Friday, March 24. 1995 -U.N. on women At Beijing, Letter on life ‘Vatican seeks to be released ■equality in March 30 diversity’ By JOHN THAVIS D . VATICAN CITY (CNS) — Pope By CINDY WOODEN John Paul II's long-awaited encycli with loving care cal on abortion and other human VATICAN CITY (CNS) — Pope life issues, Evangelium Vitae (The John Paul FI began 1995 with a M ary’s sorrow — In Lent, the Gospel of life), will be made public ‘campaign to explain to the world March 30, the Vatican said. suffering and death o f Jesus VT ,’the Catholic Church's teaching on The text, which sources said was the role of women. inspire Catholics to consider their more than 180 pages long, was With an eye on the U.N.’s Fourth own sins and to begin a conver presented to bishops from around World Conference on Women, sion o f heart To prayerfully turn the world at^l closed-door Vatican "scheduled Sept. 4-15 In Beijing, meeting March 13. "the pope dedicated his Jan. 1 toward an image such as this Sources said the encyclical, World Peace Day message to Pieta is to turn away from sinful which was requested by the College "women as peacemakers and is fol ways. -
"Big Love"'?* the Recognition of Customary Marriages in South Africa Penelope E
Washington and Lee Law Review Volume 64 | Issue 4 Article 9 Fall 9-1-2007 "Big Love"'?* The Recognition of Customary Marriages in South Africa Penelope E. Andrews Follow this and additional works at: https://scholarlycommons.law.wlu.edu/wlulr Part of the Comparative and Foreign Law Commons, Family Law Commons, and the Religion Law Commons Recommended Citation Penelope E. Andrews, "Big Love"'?* The Recognition of Customary Marriages in South Africa, 64 Wash. & Lee L. Rev. 1483 (2007), https://scholarlycommons.law.wlu.edu/wlulr/vol64/iss4/9 This Article is brought to you for free and open access by the Washington and Lee Law Review at Washington & Lee University School of Law Scholarly Commons. It has been accepted for inclusion in Washington and Lee Law Review by an authorized editor of Washington & Lee University School of Law Scholarly Commons. For more information, please contact [email protected]. "Big Love"'?* The Recognition of Customary Marriages in South Africa Penelope E. Andrews" Abstract This Comment contextualizes the issue of polygamous marriages within the South African constitutional paradigm, one committed unequivocally to the principle of equality. This Comment analyzes how South African law, European in origin, had to incorporate the laws and institutions of indigenous communities within the national legal framework, as part of the overall transformativelegal project underway in the country since 1994. By focusing on the Recognition of Customary Marriages Act, this Comment examines such incorporation, while questioning its effect on the overall project of constitutionalism, human rights, and equality. Table of Contents I. Introduction ......................................................................... 1484 II. The Constitution and Gender Equality ................................ -
Scip Studios @ for Sale Or Lease
77,225 SF AVAILABLE IMMEDIATELY WITH UP TO 22 ACRES OF LAND UP TO 46’ CLEAR HEIGHTS IN COLUMN FREE STAGE AREAS SOUND STAGES PRODUCTION OFFICES ADDITIONAL LAND 25129 RYE CANYON LOOP | VALENCIA, CALIFORNIA SCIP STUDIOS @ FOR SALE OR LEASE AND ACTION. 77,225 SF OF SOUND STAGES AND PRODUCTION OFFICES AVAILABLE FOR IMMEDIATE OCCUPANCY OVER 22 ACRES OF ADDITIONAL LAND AVAILABLE FOR BUILD TO SUITS, BACKLOT(S) AND ADDITIONAL PARKING PROPERTY DESCRIPTION SCIP Studios consists of an existing building (25129 Rye Canyon Loop) and several adjacent parcels of land (Lot A, Lots B-D and Lot E). 25129 Rye Canyon Loop is approximately 161,569 SF that has 77,225 SF of office and high bay space available for immediate occupancy. The 2 high bay areas boast very rare ceiling heights with at least 35’ and 46’ of clearance. These areas have no columns, are air conditioned and have access to thousands of AMPs of power, making them ideal for modern sound stages. Iconic TV series like CSI: Crime Scene Investigation and The Mighty Morphin Power Rangers have used 25129 Rye Canyon Loop as stages over the years. The balance of the building is built out as high-end office space and leased long term by Boston Scientific (NYSE: BSX) at a market rent. If purchased, 25129 Rye Canyon Loop can provide a buyer with both 1) highly functional sound stage/production office space at a afr ction of replacement cost and 2) long term income from a credit tenant like Boston Scientific. Adjacent to 25129 Rye Canyon Loop are several parcels of land totaling more than 22 acres that can be used for a variety of purposes. -
Representation of Lesbian Images in Films
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1-1-2003 Women in the dark: representation of lesbian images in films Hye-Jin Lee Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Recommended Citation Lee, Hye-Jin, "Women in the dark: representation of lesbian images in films" (2003). Retrospective Theses and Dissertations. 19470. https://lib.dr.iastate.edu/rtd/19470 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. women in the dark: Representation of lesbian images in films by Hye-Jin Lee A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Major: Journalism and Mass Communication Program of Study Committee: Tracey Owens Patton, Major Professor Jill Bystydzienski Cindy Christen Iowa State University Ames, Iowa 2003 11 Graduate College Iowa State University This is to certify that the master's thesis of Hye-Jin Lee has met the thesis requirement of Iowa State University Signatures have been redacted for privacy 111 TABLE OF CONTENTS ACKNOWLEDGEMENTS iv ABSTRACT v INTRODUCTION 1 CHAPTER 1: REVIEW OF LITERATURE The Importance of Studying Films 4 Homosexuality and -
Big Love.Indd
UW SCHOOL OF DRAMA UPCOMING SHOWS Blithe Spirit by Noël Coward February 15 - March 1 Penthouse Theatre Hilarity, chaos and surprises ensue, when Charles invites an eccentric spiritualist into his house. Our Town by Thorton Wilder March 1 - 15 Jones Playhouse This Pulitzer Prize winning masterpeice explores the simple beauty and fragile elegance of ordinary lives, and human connection. Two Orphans by Adolphe D’Ennery & Eugene Cormon April 26 - May 10 Meany Studio Bring your handkerchiefs and weep for the fallen heroine, curse the blows of misfortune and cheer the triumph of good in this melodramatic spectacle of a bygone era. For ticket information and season brochures, call The UW Arts Ticket Offi ce at 206-543-4880. On the web: drama.washington.edu Meany Studio Theatre | 31st Season | 77th Production | February 1 - 15, 2009 ABOUT THE UW SCHOOL OF DRAMA SCHOOL OF DRAMA ADVISORY BOARD MFA DIRECTING PROGRAM Kathy Page Feek, Chair Therese Barnette Joan Goldblatt Nancy Mertel Howard Voorheis Interaction between actors and directors in rehearsal Kimberly Brangwin Steve Goldblatt Nadine Murray Joan Voorheis is a crucial element of a director’s professional career. Paula Butzi Ellen Hazzard Kerry Richards Kyoko Matsumoto Improvement of a director’s ability to relate to Mark Chamberlin Richard Hesik Patti Rosendahl Wright actors in this creative crucible is considered extremely Brad Edwards Marya Sea Kaminski Ron Simons important by our faculty. The Directing Lab, in which Elaine Ethier Laura Kern Tammy Talman Joanne Euster Mark B. Levine John Vadino directing students are observed constantly during the rehearsal of a project, forms the core of the training. -
BIOGRAPHY ERIC LADIN ‘Chris Kraft’
BIOGRAPHY ERIC LADIN ‘Chris Kraft’ Eric Ladin plays the series regular role of ‘Chris Kraft’ in National Geographic’s original scripted series THE RIGHT STUFF on Disney+, based on Tom Wolfe’s bestselling nonfiction series, which dramatically explores the early days of the NASA space program. He recurs in the second season of Doug Liman’s “Impulse” on YouTube Red, as well as in Apple+’s much-anticipated series “For All Mankind,” from Ronald D. Moore. Eric previously starred as a series regular in History Channel’s military drama “Six.” He also has recurred in Amazon’s “Bosch,” Netflix’s “Longmire” and in USA’s third season of “Shooter,” opposite Ryan Philippe. Eric was a series regular alongside Jack Black and Tim Robbins in HBO’s political comedy “The Brink,” which followed his critically acclaimed recurring role as the iconic J. Edgar Hoover on HBO’s “Boardwalk Empire.” He was lauded for his series regular turn as campaign manager ‘Jamie Wright’ on the hit AMC original series “The Killing,” a crime drama in which everyone was a suspect. In the end, he was revealed as the killer. He has received notice for many other roles, including his arc as January Jones’ brother in “Mad Men;” his arc portraying Chloe Sevigny’s diabolical doctor/brother in “Big Love;” and as a series regular in the hard-hitting HBO miniseries “Generation Kill.” His also is known to audiences for his multitude of guest- starring roles on shows like “Justified,” “Suits” and “Grey’s Anatomy,” to name a few. In feature films, Eric played a long-time member of Bradley