Proquest Dissertations
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This Text Is Now Merely on Armenia, Armenia Lingering on My Mind
This text is now merely on Armenia, Armenia lingering on my mind, Armenia I had always wanted to know, the country I have visited but briefly once and would love to know more in depth... Before I move on to other subjects, here is some more about Sergei Parajanov, a titan whose work is becoming more and more known, despite his once relative obscurity and his untimely demise at 66; Parajanov who I talked about in my previous text but not enough as there can never be enough reminiscing of someone whose life and creativity mean the “refusal of time and empire”, someone grudgingly taken by the Grim Reaper as He, the Reaper, knows only too well that great Sergei remains ever victorious until the End of Time. Mona Lisa collages by Parajanov Stills from the film The Colour of Pomegranate with lithe, unearthly Georgian actress Sofiko (Sophia) Chiaureli notably in six male and female roles. The ethereal Sophiko passed away in 2008, age 70, in Tbilisi. Take note of the playfulness and celebratory traits of a man who roughed it so hard in life, when he comes up with this collage: “I sold my dacia!” (summer house or weekender). Only someone of limitless inner freedom could create and artwork like this in face of persistent adversities. This looks so much more like Felini rather than oppressed artist in the Soviet regime... “I sold my dacia!”, collage by Parajanov collage by Parajanov To finish this segment on Parajanov, let us read what J. Hoberman wrote in May 2018 about this dazzling film poem that Sayat Nova is: “Understanding is not synonymous with enjoying. -
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 -
French and German Cultural Cooperation, 1925-1954 Elana
The Cultivation of Friendship: French and German Cultural Cooperation, 1925-1954 Elana Passman A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History Chapel Hill 2008 Approved by: Dr. Donald M. Reid Dr. Christopher R. Browning Dr. Konrad H. Jarausch Dr. Alice Kaplan Dr. Lloyd Kramer Dr. Jay M. Smith ©2008 Elana Passman ALL RIGHTS RESERVED ii ABSTRACT ELANA PASSMAN The Cultivation of Friendship: French and German Cultural Cooperation, 1925-1954 (under the direction of Donald M. Reid) Through a series of case studies of French-German friendship societies, this dissertation investigates the ways in which activists in France and Germany battled the dominant strains of nationalism to overcome their traditional antagonism. It asks how the Germans and the French recast their relationship as “hereditary enemies” to enable them to become partners at the heart of today’s Europe. Looking to the transformative power of civic activism, it examines how journalists, intellectuals, students, industrialists, and priests developed associations and lobbying groups to reconfigure the French-German dynamic through cultural exchanges, bilingual or binational journals, conferences, lectures, exhibits, and charitable ventures. As a study of transnational cultural relations, this dissertation focuses on individual mediators along with the networks and institutions they developed; it also explores the history of the idea of cooperation. Attempts at rapprochement in the interwar period proved remarkably resilient in the face of the prevalent nationalist spirit. While failing to override hostilities and sustain peace, the campaign for cooperation adopted a new face in the misguided shape of collaborationism during the Second World War. -
Der Andere Pabst Anmerkungen Zur G
Der andere Pabst Anmerkungen zur G. W. Pabst-Retrospektive der Berliner Filmfestspiele Thomas Brandlmeier, epd Film, Nr. 05, 1997 Die letzte große Pabst-Retrospektive hierzulande wurde 1963/64 von Rudolf Joseph im Münchner Filmmuseum gezeigt. Seither gab es immer wieder kleinere Retrospektiven mit dem Kanon der Meisterwerke, "Die Büchse der Pandora", "Die freudlose Gasse", "Tagebuch einer Verlorenen, "Geheimnisse einer Seele", "Kameradschaft", dann und wann auch noch "Die Liebe der Jeanne Ney", "Westfront 1918", "L'Atlantide", "Abwege", "Der Schatz", "Die 3-Groschen-Oper", "Du haut en bas", "Skandal um Eva", "Don Quichotte", "Die weisse Hölle von Piz Palü". Das sind im wesentlichen die Filme, die unter den Oberbegriff "Pabst – späte 20er Jahre – Neue Sachlichkeit" fallen. Dazu ein bißchen Frühwerk und französische Periode. Der Rest – schamhaft verschwiegen. Die Fallhöhe zwischen "Die Büchse der Pandora" (1928/29) – in meinen Augen der ultimative Pabst-Film – und, sagen wir, "Rosen für Bettina" (1955/56) ist in der Tat gewaltig. Gemessen an der Flut von Filmbüchern, Retrospektiven und filmhistorischen Forschungs- und Rekonstruktionsarbeiten zum Werk von Murnau und Lang ist Pabst, anerkanntermaßen die Nummer Drei der deutschen Filmgeschichte, ziemlich vernachlässigt. So gesehen füllt diese Berliner Gesamt-Retrospektive der Stiftung Deutsche Kinemathek eine große Lücke. Rekonstruktionsarbeit Je stärker der Zerstörungsgrad eines Werks ist, desto drastischer sind die Dejà-vu- Effekte der besonderen Art. "Die Büchse der Pandora" (1928/29) und "Die freudlose Gasse" (1925), in Berlin in rekonstruierten Fassungen vorgestellt, kursieren, vor allem infolge von Zensureingriffen, in höchst unterschiedlichen Versionen. "Immer-wieder- Schreiben einer längst beendeten, zur Unzufriedenheit beendeten Arbeit – dieses Revenanthafte also bezeichnet die höchste Steigerung des Dejà vu nach Seite seines Versäumnis-Choks", schreibt Ernst Bloch. -
Security Council Distr.: General 20 June 2003
United Nations S/2002/1146/Add.l Security Council Distr.: General 20 June 2003 Original: English Letter dated 15 October 2002 from the Secretary-General addressed to the President of the Security Council Addendum Letter dated 20 July 2003 from the Secretary-General addressed to the President of the Security Council I have the honour to refer to Security Council resolution 1457 (2003) dated 24 January 2003, by which the Council requested me to arrange for the publication, as an attachment to the report of the Panel of Experts on the Illegal Exploitation of Natural Resources and Other Forms of Wealth of the Democratic Republic of the Congo transmitted to the Council in my letter dated 15 October 2002 (see S/2002/1146, annex), the reactions received from individuals, companies and States named in that report. I should also like to refer to the note by the President of the Security Council (S/2003/340) of 24 March, by which the Council extended the timeline for the publication of those reactions to 20 June 2003. I have the honour to transmit herewith the attachment (see annex and enclosures 1 and 2)* to the report of the Expert Panel (S/2002/1146, annex), containing the reactions of 58 individuals, companies and States named in the Panel's report, which was compiled and submitted to me in a letter dated 17 June from the Chairman of the Panel, Mr. Mahmoud Kassen (Egypt). I would be grateful if you could bring the attached information to the attention of the Members of the Council. -
Coldplay? 2016 CILL Season Begins 2016 Primary Election Results: So Goes City Island
Periodicals Paid at Bronx, N.Y. USPS 114-590 Volume 45 Number 4 May 2016 One Dollar Coldplay? 2016 CILL Season Begins By VIRGINIA DANNEGGER and KAREN NANI ria Piri, concession stand managers Jim and singlehandedly did the job of several and Sue Goonan, and equipment manager people. Even though his boys aged out of Lou Lomanaco. Several of these board the league, John still dedicates his time to members have served multiple terms on the help.” He presented John with a framed board. CILL jersey and a plaque in appreciation Mr. Esposito gave special thanks to for his support of the league and the City Photos by RICK DeWITT the outgoing president, John Tomsen, Island community. It was a chilly start to the 2016 Little League season on April 9, but the baseball tradi- who threw out the first pitch. “John has “As many of you know, volunteering tion dating back to 1900 is alive and warm on City Island. There are major, minor and time is a family commitment. Whether it t-ball teams competing once again this season. The ceremonial first pitch was thrown been president of the CILL since 2009 by outgoing president John Tomsen, who was also awarded a framed jersey by the Continued on page 19 new league president, Dom Esposito (right, top photo). New York State Assemblyman Michael Benedetto joined Catherine Ambrosini, Mr. Esposito and Mr. Tomsen (second photo, l. to r.) for the season opener. The American Legion color guard bearers led the teams in the “Star Spangled Banner.” As the weather warms up, head down to Ambro- 2016 Primary Election Results: sini Field next to P.S. -
Female Journalists in Candace Bushnell Novels
From Carrie to Nico: Female Journalists in Candace Bushnell Novels By Stephanie Wenger From Carrie to Nico: Female Journalists in Candace Bushnell Novels 2 Abstract This work examines the image of the female journalist in five novels by Candace Bushnell. Each novel features a female journalist who struggles to balance her demanding job and private life. This paper explores how the female protagonists in these modern novels differ and the ways in which they fit into the major stereotypes of female journalists. This paper will look at the characters’ professional lives, relationships with the opposite sex, and moral compasses. This paper also examines how the protagonists in the novels Sex and the City and Lipstick Jungle differ from their television counterparts. Lastly, this work will look at how Candace Bushnell’s images of the journalist fit into larger social theories about women in the media. From Carrie to Nico: Female Journalists in Candace Bushnell Novels 3 Introduction “Chick lit,” a pop culture abbreviation for chick literature, is a growing sector of the $23-billion publishing industry.1 This genre of books is considered to a subsection of women’s fiction and features “everyday women in their 20s and 30s navigating their generation’s challenges of balancing demanding careers with personal relationships.”2 These books made publishers $71 million in 2002 according to ABC News.3 Sessalee Hensely, a fiction buyer for giant retailer Barnes & Noble, explains, “The mega authors John Grisham, Michael Crichton, Tom Clancy all have had a fall-off in sales, but the chick lit is growing and they’re growing exponentially.”4 The increase in sales of these novels has made Hollywood take notice. -
Knowing Good Sex Pays Off: the Image of the Journalist As a Famous, Exciting and Chic Sex Columnist Named Carrie Bradshaw in HBO’S Sex and the City
Knowing Good Sex Pays Off: The Image of the Journalist as a Famous, Exciting and Chic Sex Columnist Named Carrie Bradshaw in HBO’s Sex and the City By Bibi Wardak Abstract New York Star sex columnist Carrie Bradshaw lives the life of a celebrity in HBO’s Sex and the City. She mingles with the New York City elite at extravagant parties, dates the city’s most influential men and enjoys the adoration of fans. But Bradshaw echoes the image of many female journalists in popular culture when it comes to romance. Bradshaw is thirty-something, unmarried and unsure about having children. Despite having a successful career and loyal friends, she feels unfulfilled after each failed romantic relationship. I. Introduction “A wildly successful career and a relationship -- I was afraid…women only get one or the other.”1 That’s a fear Carrie Bradshaw just can’t shake. The sex columnist for the New York Star is unmarried, career-oriented and unsure if she will ever have a traditional family.2 Just like other modern sob sisters, she is romantically unfulfilled and has sacrificed aspects of her personal life for professional success.3 Bradshaw, played by Sarah Jessica Parker in HBO’s hit television show Sex and the City, portrays a stereotypical image of female journalists found in television and film.4 She and other female journalists in the series struggle to balance a successful Knowing Good Sex Pays Off: The Image of the Journalist as a Famous, Exciting and Chic Sex Columnist Named Carrie Bradshaw in HBO’s Sex and the City By Bibi Wardak 2 career and satisfying romantic life. -
BORSALINO » 1970, De Jacques Deray, Avec Alain Delon, Jean-Paul 1 Belmondo
« BORSALINO » 1970, de Jacques Deray, avec Alain Delon, Jean-paul 1 Belmondo. Affiche de Ferracci. 60/90 « LA VACHE ET LE PRISONNIER » 1962, de Henri Verneuil, avec Fernandel 2 Affichette de M.Gourdon. 40/70 « DEMAIN EST UN AUTRE JOUR » 1951, de Leonide Moguy, avec Pier Angeli 3 Affichette de A.Ciriello. 40/70 « L’ARDENTE GITANE» 1956, de Nicholas Ray, avec Cornel Wilde, Jane Russel 4 Affiche de Bertrand -Columbia Films- 80/120 «UNE ESPECE DE GARCE » 1960, de Sidney Lumet, avec Sophia Loren, Tab Hunter. Affiche 5 de Roger Soubie 60/90 « DEUX OU TROIS CHOSES QUE JE SAIS D’ELLE» 1967, de Jean Luc Godard, avec Marina Vlady. Affichette de 6 Ferracci 120/160 «SANS PITIE» 1948, de Alberto Lattuada, avec Carla Del Poggio, John Kitzmille 7 Affiche de A.Ciriello - Lux Films- 80/120 « FERNANDEL » 1947, film de A.Toe Dessin de G.Eric 8 Les Films Roger Richebé 80/120 «LE RETOUR DE MONTE-CRISTO» 1946, de Henry Levin, avec Louis Hayward, Barbara Britton 9 Affiche de H.F. -Columbia Films- 140/180 «BOAT PEOPLE » (Passeport pour l’Enfer) 1982, de Ann Hui 10 Affichette de Roland Topor 60/90 «UN HOMME ET UNE FEMME» 1966, de Claude Lelouch, avec Anouk Aimée, Jean-Louis Trintignant 11 Affichette les Films13 80/120 «LE BOSSU DE ROME » 1960, de Carlo Lizzani, avec Gérard Blain, Pier Paolo Pasolini, Anna Maria Ferrero 12 Affiche de Grinsson 60/90 «LES CHEVALIERS TEUTONIQUES » 1961, de Alexandre Ford 13 Affiche de Jean Mascii -Athos Films- 40/70 «A TOUT CASSER» 1968, de John Berry, avec Eddie Constantine, Johnny Halliday, 14 Catherine Allegret. -
December 2010
International I F L A Preservation PP AA CC o A Newsletter of the IFLA Core Activity N . 52 News on Preservation and Conservation December 2010 Tourism and Preservation: Some Challenges INTERNATIONAL PRESERVATION Tourism and Preservation: No 52 NEWS December 2010 Some Challenges ISSN 0890 - 4960 International Preservation News is a publication of the International Federation of Library Associations and Institutions (IFLA) Core 6 Activity on Preservation and Conservation (PAC) The Economy of Cultural Heritage, Tourism and Conservation that reports on the preservation Valéry Patin activities and events that support efforts to preserve materials in the world’s libraries and archives. 12 IFLA-PAC Bibliothèque nationale de France Risks Generated by Tourism in an Environment Quai François-Mauriac with Cultural Heritage Assets 75706 Paris cedex 13 France Miloš Drdácký and Tomáš Drdácký Director: Christiane Baryla 18 Tel: ++ 33 (0) 1 53 79 59 70 Fax: ++ 33 (0) 1 53 79 59 80 Cultural Heritage and Tourism: E-mail: [email protected] A Complex Management Combination Editor / Translator Flore Izart The Example of Mauritania Tel: ++ 33 (0) 1 53 79 59 71 Jean-Marie Arnoult E-mail: fl [email protected] Spanish Translator: Solange Hernandez Layout and printing: STIPA, Montreuil 24 PAC Newsletter is published free of charge three times a year. Orders, address changes and all The Challenge of Exhibiting Dead Sea Scrolls: other inquiries should be sent to the Regional Story of the BnF Exhibition on Qumrân Manuscripts Centre that covers your area. 3 See -
Film Film Film Film
City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
Popular Culture and the Feminist Ideal: a Feminist Critique Of
Zendejas 1 Table of Contents Introduction………………………………………………………………………………………2 Background………………………………………………………………………………………7 Meet The Fabulous Foursome…………………..………………………………………………8 Origin……….......……………………………...……………………………………………......10 Method…………………………………………………………………………………………..14 Analysis...………………………………………………………………………………………..16 Conclusion…...………………………………………………………………………………….23 Work Cited..…………………………………………………………………………………….25 Zendejas 2 Popular Culture and the Feminist Ideal: A Feminist Critique of Home Box Office’s Sex and the City “You have no idea how many men I have had to sleep with to get this award,” was the opening line to Kim Cattrall’s Golden Globe Best Supporting Actress acceptance speech, for her performance in Sex and the City in 2003. The success of the series that led to her award is a direct correlation to the large crowds that the film attracted when it made its debut in 2008. What is astounding, is that in 2007 only five of the fifty top grossing movies in American had a woman as a lead character , so not surprisingly critics throughout the nation were stunned at the great success the film Sex and the City had on its opening weekend. While critics were astounded, loyal fans predicted the success. The popularity of the film may perhaps be indicative of the times . This film came three years after the season finale of the HBO series also titled, Sex and the City . The series began at the peak of an ambitious female generation, empowered by third wave, and post-modern feminist movements. It may be that the emergence of a series that features the lives of four New York City women whose motto is to “do it like a man,” is the reason for the incredible following the series has had since its public debut.