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By William Shakespeare Aaron Posner and Teller
51st Season • 483rd Production SEGERSTROM STAGE / AUGUST 29 - SEPTEMBER 28, 2014 Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS presents THE TEMPEST by William Shakespeare songs by Tom Waits and Kathleen Brennan choreographer, Matt Kent, Pilobolus Daniel Conway Paloma Young Christopher Akerlind Charles Coes AND Darron L West SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN Johnny Thompson Thom Rubino Kenny Wollesen MAGIC DESIGN MAGIC ENGINEERING AND CONSTRUCTION INSTRUMENT DESIGN AND WOLLESONICS Miche Braden Joshua Marchesi Katie Ailinger* MUSIC DIRECTION PRODUCTION MANAGER STAGE MANAGER adapted and directed by Aaron Posner and Teller Jean and Tim Weiss Joan and Andy Fimiano Honorary Producers Honorary Producers Corporate Associate Producer THE TEMPEST is presented in association with the American Repertory Theater at Harvard University and The Smith Center, Las Vegas. The Tempest • SOUTH COAST REPERTORY • P1 CAST OF CHARACTERS Prospero, a magician, a father and the true Duke of Milan ............................ Tom Nelis* Miranda, his daughter .......................................................................... Charlotte Graham* Ariel, his spirit servant .................................................................................... Nate Dendy* Caliban, his adopted slave .............................. Zachary Eisenstat*, Manelich Minniefee* Antonio, Prospero’s brother, the usurping Duke of Milan ......................... Louis Butelli* Gonzala, -
Film Studies (FILM) 1
Film Studies (FILM) 1 FILM 252 - History of Documentary Film (4 Hours) FILM STUDIES (FILM) This course critically explores the major aesthetic and intellectual movements and filmmakers in the non-fiction, documentary tradition. FILM 210 - Introduction to Film (4 Hours) The non-fiction classification is indeed a wide one—encompassing An introduction to the study of film that teaches the critical tools educational, experimental formalist filmmaking and the rhetorical necessary for the analysis and interpretation of the medium. Students documentary—but also a rich and unique one, pre-dating the commercial will learn to analyze cinematography, mise-en-scene, editing, sound, and narrative cinema by nearly a decade. In 1894 the Lumiere brothers narration while being exposed to the various perspectives of film criticism in France empowered their camera with a mission to observe and and theory. Through frequent sequence analyses from sample films and record reality, further developed by Robert Flaherty in the US and Dziga the application of different critical approaches, students will learn to Vertov in the USSR in the 1920s. Grounded in a tradition of realism as approach the film medium as an art. opposed to fantasy, the documentary film is endowed with the ability to FILM 215 - Australian Film (4 Hours) challenge and illuminate social issues while capturing real people, places A close study of Australian “New Wave” Cinema, considering a wide range and events. Screenings, lectures, assigned readings; paper required. of post-1970 feature films as cultural artifacts. Among the directors Recommendations: FILM 210, FILM 243, or FILM 253. studied are Bruce Beresford, Peter Weir, Simon Wincer, Gillian Armstrong, FILM 253 - History of American Independent Film (4 Hours) and Jane Campion. -
The Tufts Daily Volume Lxxii, Number 47
La femme in STEM: the women who dominate the envi- TUFTS FIELD HOCKEY ronmental engineering program Field hockey scores spot in see FEATURES / PAGE 3 the final four How to get away with an extended plot twist: Shonda Rhimes’ hit still promises much drama with mid-sea- SEE SPORTS / BACK PAGE son finale see ARTS & LIVING / PAGE 5 THE INDEPENDENT STUDENT NEWSPAPER OF TUFTS UNIVERSITY EST. 1980 THE TUFTS DAILY VOLUME LXXII, NUMBER 47 MEDFORD/SOMERVILLE, MASS. WEDNESDAY, NOVEMBER 16, 2016 tuftsdaily.com Diana Chigas of Fletcher School appointed first Senior International Officer by John Fedak Contributing Writer Diana Chigas (F ’88) has been appoint- ed to the newly-created position of senior international officer as of Sept. 1 in an effort to continue increasing Tufts’ global presence and ensure that Tufts alumni and faculty can work successfully abroad. “There was a sense that Tufts does a lot internationally, but both the visibility and impact is not as great as it could be, and that we could also do better at filling in gaps here, bringing global issues here and providing opportunities to students here,” Chigas said. According to Provost David Harris, no one was previously responsible for devel- oping and leading the university’s global strategy. Before the senior international officer position existed, Chigas said that it was not easy for Tufts-associated researchers, students and faculty to connect outside of the United States. “There’s a lot to bring together, and part of my role is to help facilitate those connections,” she said. International work and international ALONSO NICHOLS/TUFTS UNIVERSITY Tufts Associate Provost, Senior International Officer and Professor of the Practice at the Fletcher School of Law and Diplomacy Diana Chigas see INTERNATIONAL, page 2 poses for a photo on Sept. -
Lundi 14 Novembre
ÉDITO Alain Rousset, Président du Festival 2015 et 2016 resteront deux années à part pour notre festival. En novembre dernier, suite aux attentats perpétrés avant la 26° édition, nous avons pris la décision de reporter notre manifestation. Ne pas céder sur nos principes : à savoir qu’un lieu de culture, de savoir et de dialogue comme le Festival ne saurait s’éteindre face à la peur. Ainsi, après « Un si Proche-Orient, » c’est le thème « Culture et liberté » qui s’impose comme une réponse fédératrice et constructive au climat anxiogène. Comme un lien emblématique entre les deux éditions de 2016, c’est Chahdortt Djavann, femme de conviction, écrivain française d’origine iranienne, qui nous parlera de culture au pluriel et de liberté à partir de son expérience singulière. Et nous sommes fiers de présenter le film posthume d’Andrezj Wajda qui dans « Afterimage » revient sur les persécutions subies par les artistes de l’autre côté du rideau de fer. De Khomeyni aux djihadistes, de Staline à Hitler, les régimes totalitaires n’ont eu de cesse d’anéantir la culture ou de l’instrumentaliser. Car l’expression artistique est une forme de liberté qui peut remettre en cause un pouvoir politique, religieux ou économique. Le premier enjeu de cette édition est de raconter et d’expliquer comment les artistes, les écrivains ont participé à l’Histoire. Comment, grâce à leur indépendance, à leur génie, ils ont pu éclairer, enchanter leur époque, briser les conformismes. Quelles ont été leurs géniales intuitions, leurs héroïques résistances ou leurs compromissions, leurs aveuglements. Le second enjeu est de montrer comment la culture peut rassembler, éveiller, émerveiller. -
Horaires Des Projections Screening Times
HORAIRES DES PROJECTIONS SCREENING TIMES LE POCKET GUIDE 2016 A ÉTÉ PUBLIÉ AVEC DES INFORMATIONS REÇUES JUSQU'AU 29/04/2016 THE POCKET GUIDE 2016 HAS BEEN EDITED WITH INFORMATION RECEIVED UP UNTIL 29/04/2016 Toutes les projections du Marché sont accessibles sur présentation du badge Marché du Film ou invitation délivrée par le Service Projections. Les projections dans les salles Lumière, Debussy, Buñuel, Salle du Soixantième, Théâtre Croisette et Miramar sont accessibles sur présentation du badge Marché ou Festival. Access to Marché du Film screenings is upon presentation of the Marché badge or an invitation given by the Marché Screening Department. Access to screenings taking place in Lumière, Debussy, Buñuel, Salle du Soixantième, Théâtre Croisette and Miramar is upon presentation of either a Marché or Festival badge. CO: Official Competition • HC: Out of Competition • CC: Cannes Classics • CR: Un Certain Regard • BLUE TITLE : Film screened for the first time at a market QR: Directors Fortnight • SC: Semaine de la critique • press: Press allowed • invite only: By invitation only • priority only: Priority badges only SUNDAY 15 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 08:30 (125’) CO 15:30 (158’) CO 19:30 (125’) CO 22:30 (116’) HC LUMIÈRE FROM THE LAND OF THE MOON AMERICAN HONEY FROM THE LAND OF THE MOON THE NICE GUYS TICKET REQUIRED Nicole Garcia Andrea Arnold Nicole Garcia Shane Black 2 294 seats STUDIOCANAL PROTAGONIST PICTURES STUDIOCANAL BLOOM 11:30 (145’) CO 14:30 (162’) CO 17:30 (120’) HC 19:45 (106’) HC SALLE AGASSI, THE -
The Last Samurai. Transcultural Motifs in Jim Jarmusch's Ghost
Adam Uryniak Jagiellonian University in Kraków, Poland The Last Samurai. Transcultural Motifs in Jim Jarmusch’s Ghost Dog: The Way of the Samurai Abstract Ghost Dog: Way of the Samurai by - tions of USA, Europe and Japan. Jarmusch’s work can be example of contemporary culture trend named by Wolfgang WelschaJim Jarmusch transculturality. is a film combining According tocinematic his theory tradi the identity of the man is dependent on foreign elements absorbed by the culture in which he lives. Two main inspirations for the director are samurai tradition and bushido code origins of these elements, Jarmush is able to construct a coherent, multi-level narra- tive,on one at thehand, same and time tradition maintaining of gangster distance film ontowards the other. American Despite traditions. the culturally Referencing distant works by transgressive directors (J. P. Melville, Seijun Suzuki) Jarmusch becomes the spokesperson for the genre evolution and its often far-fetched influences. Ghost Dog combines the tradition of American gangster cinema and Japanese samurai (1999) is a collage of various film motifs and traditions. Jarmusch films. The shape of the plot refers to the Blaxploitation cinema, andyakuza direct moviesinspiration, by Seijun expressed Suzuki. by Allspecific this isquotations, spiced up arewith the references gloomy crime to Japanese novels literatureby Jean-Pierre and zen Melville, philosophy. as well In as an brutal interview and withblack Janusz humour-filled Wróblewski di- rector commented on his actions: 138 Adam Uryniak I mix styles up in order to get distance. Not in order to ridicule the hero. And why does the gangster style dominate? I will answer indirectly.. -
Gimme Danger; Leehom Wang's Open Fire Concert Film Ken Derry University of Toronto, [email protected]
Journal of Religion & Film Volume 20 Article 17 Issue 3 October 2016 10-2-2016 Gimme Danger; Leehom Wang's Open Fire Concert Film Ken Derry University of Toronto, [email protected] Recommended Citation Derry, Ken (2016) "Gimme Danger; Leehom Wang's Open Fire Concert Film," Journal of Religion & Film: Vol. 20 : Iss. 3 , Article 17. Available at: https://digitalcommons.unomaha.edu/jrf/vol20/iss3/17 This Toronto International Film Festival Review is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Gimme Danger; Leehom Wang's Open Fire Concert Film Abstract This is a comparative film review of Gimme Danger (2016), directed by Jim Jarmusch, and Leehom Wang's Open Fire Concert Film (2016), directed by Homeboy Music, Inc. Keywords Gimme Danger, Iggy Pop, Leehom Wang, Martin Luther King, Colin Kaepernick Author Notes Ken Derry is Associate Professor, Teaching Stream, in the Department of Historical Studies at the University of Toronto Mississauga (UTM). Since 2011 he has been a member of the editorial board of the Journal of Religion and Film, and since 2012 he has been the Co-chair of the Religion, Film, and Visual Culture Group for the American Academy of Religion. Aside from religion and film his teaching and research interests include considerations of religion in relation to literature, violence, popular culture, pedagogy, and Indigenous traditions. He is the recipient of the 2013 UTM Teaching Excellence Award. -
Download Day of the Gusano Mp4 SLIPKNOT "Day of the Gusano" 01
download day of the gusano mp4 SLIPKNOT "Day Of The Gusano" 01. Sarcastrophe 02. Eeyore 03. Custer 04. (sic) 05. Me Inside 06. Psychosocial 07. Duality 08. Before I Forget 09. The Devil In I 10. Vermillion 11. Prosthetics 12. Metabolic / 742617000027 13. Spit It Out 14. The Heretic Anthem 15. Wait And Bleed 16. Surfacing / Til We Die. RATING: 7/10. It takes mucho cojones—18 of them, apparently—to stage a giant, carnival-like festival for your first live appearance in a foreign country, and that's exactly what SLIPKNOT did in December of 2015 when they held the seventh Knotfest in Toluca, Mexico (about an hour's drive west of Mexico City). The band's performance was captured on the just-released "Day Of The Gusano" , but instead of being advertised as a live DVD or concert film, "Gusano" (Spanish for "maggot", a word long ago appropriated by the band to describe its fans) has been described as a "documentary". Don't be misled, however, for around four-fifths of its 90-minute running time, "Gusano" , which was screened in select theaters around the world, shows SLIPKNOT performing a 16-song set before an enormous, passionate crowd. (For reasons unknown, the DVD and Blu-ray editions rearrange the track listing from the audio-only release. That version showcases the group's complete 17-song set in the same order in which it was performed, and omits "People = Shit" .) The remaining quarter-hour or so primarily features snippets of interviews with unmasked band members and a handful of unidentified Mexican fans, with both camps attempting to portray the group's arrival in town as a Really. -
Before Entering Upon Mr. Rodman's Own Relation
Bibliography and Acknowledgements “Before entering upon Mr. Rodman’s own relation, it will not be improper to glance at what has been done by others, in the way of discovery…” —Edgar Allan Poe, Burton’s Gentleman’s Magazine, and Monthly American Review (Philadelphia: William E. Burton) 1840. I am grateful to the persons and authors whose work I have utilized in the making of this one. The debts to M. Verne and Mr. Melville are too extensive to repay, or even adequately to acknowledge. Reading their works has made me the writer – and the person – I am today. My theft here of their creations is not something I will here try to justify. Yet it is true: the worlds that they created have become our worlds. 1 Chapter One contains language and concepts from “Concepts of Stroke Before and after Virchow” by Francis Schiller.1 Descriptions of the Soliton, staring in Chapter Two and continuing throughout, paraphrase Russell’s work on Solitary Waves.2 I’ve also drawn on the Wikipedia entry on Waves of Translation3 as well as the Heriot Watt University Department of Mathematics site.4 Chapter Two also contains specific vocabularies used by the British to render their colonial subjects as Other, as intrinsically murderous: the words Lascar, Dacoit, Dacoity, Thug, and Thuggee were appropriated from Sax Rohmer.5 Chapter Three draws from, and contains sentences from, the 1910 Encyclopedia Britannica article on the Indian Mutiny6, and from contemporaneous 1 Francis Schiller, “Concepts of Stroke Before and after Virchow” in Med. Hist. (1970). 2 John Scott Russell, “Report on Waves,” Report of the fourteenth meeting of the British Association for the Advancement of Science (York: BAAS) September 1844, pp 311-390; John Scott Russell Esq., M.A., F.R.S., “Experimental Researches into the Laws of Certain Hydrodynamical Phenomena that Accompany the Motion of Floating Bodies, and have not previously been reduced into conformity of the known Laws of the Resistance of Fluids” read April 3rd, 1837, published in Transactions of the Royal Society of Edinburgh XIV, 1840. -
Films Shown by Series
Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films, -
Slipknot – Iowa (2001)
Slipknot – Iowa (2001) Album named after the band's home state of Iowa Bio of the band: Slipknot is a heavy-metal band consisting of nine members, all of whom are male, who became popular because of its extreme music and dramatic stage performances. This group was first formed in the late 1995 in the unlikely locale of Des Moines, IA. It had 3 percussionists, 2 guitarists, 1 bassist, a DJ, a sampler and a lead singer. Aside from their real names, members of the band are also referred to by numbers 0 through 8 and each of them also wears a mask, which they said is part of their personality, like an extension of their body. To explain that, all the group members believe that wearing the masks shows more of what they are like inside and what the music does to them inside. Members include: #1 Joey Jordon- drums (1995-2013) # 2 Paul Gray- bass (1995-2010) #3 Chris Fehn- percussion (1998– present) #4 Jim Root – guitar (1999 – present) #5 Craig Jones - samples (1996 – present) #6 Shawn Crahan -percussion (1995 – present) #7 Mick Thompson -guitar (1996 – present) #8 Corey Taylor - vocals (1997 – present) #9 Sid Wilson - DJ (1998 – present) Iowa Biography: The state of Iowa is probably best known as "the middle of nowhere." Most non-residents consider it the corn-and-pig-state, a geographical black hole. After a couple years of relentless touring in support of their self-titled breakthrough album, Slipknot regrouped to record Iowa, an ode to their home state that consolidates and punctuates everything that had garnered the band its cultish following. -
Robert Wilson & Jim Jarmusch
100 Flatbush Avenue 2nd Floor Brooklyn, NY 11217 718-330-0313 x 1 issueprojectroom.org Press Contact: Nick Scavo [email protected] ISSUE Winter Benefit: Robert Wilson & Jim Jarmusch / Lucie Vítková Wednesday, February 6th, 2019 - 8pm | ISSUE Project Room 22 Boerum, Brooklyn, NY 11201 $100 / $50 ISSUE Members / $250 After December 31st, 2018 Photo Credits: Yiorgos Kaplanidis, Amos Perrine Wednesday, February 6th, ISSUE is thrilled to present a collaborative performance between two of America’s most renowned experimental artists, and members of ISSUE’s Advisory Council, theater director and visual artist Robert Wilson and film director, screenwriter, actor, and musician Jim Jarmusch. In a benefit concert supporting ISSUE Project Room, the two will stage a new collaboration featuring Wilson reading John Cage’s Lecture on Nothing alongside ISSUE Winter Benefit: Robert Wilson & Jim Jarmusch | February 6th, 2019 | ISSUE Project Room improvised musical accompaniment by Jarmusch. The evening opens with a performance from Czech composer, improviser and performer Lucie Vítková, an emerging artist who presents work with an experimental approach to accordion, hichiriki, harmonica, voice, and tap dance. ISSUE hosts this benefit in order to raise funds for ISSUE’s Artists-In-Residence (AIR) program. Entering its 13th year, the AIR program is a core part of ISSUE’s mission to be a cultural incubator for artistic innovation and inspire a diverse array of artists to take creative risks, commissioning and premiering numerous works that have expanded our understanding of the meaning and potential for art and performance. ISSUE is encouraged by Wilson and Jarmusch’s support of innovative work in their respective fields and proud to have their advocacy in promoting this mission.