DOCSLIB.ORG

Europe's Top Series Festival Called Off Over Coronavirus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Europe's Top Series Festival Called Off Over Coronavirus 22 Established 1961 Thursday, March 12, 2020 Lifestyle Features In this file photo “Overview effect” sculpture by Poetic Kinetics travels in the field at the Coachella Valley Music and Arts Festival in Indio, California. In this file photo ‘Overview Effect’ Astronaut sculpture by Poetic Kinetics, founded by artist Patrick Shearn, is unleashed at Coachella Music Festival in Indio, California. In this file photo fans cheer as Petit Biscuit performs at the Coachella Music — AFP photos and Arts Festival in Indio. oronavirus angst has the world washing contagious virus thing is new to me,” she told late: “You can’t get insurance on a building For now, it’s just postponed, but in the Coachella Valley, with a population that skews Cits hands with newfound vigor-but the AFP. “I know I sound crazy-but I’m not han- when it’s already on fire.” “If they have a poli- event of cancellation an insurance payout older-the very people coronavirus could hit performing arts world wringing them, dling it very calmly.” cy that’s going to respond, in most cases we due to force majeure could hover between hardest. as directives to scrap mass events threaten need a government entity of some sort to pull $150 and 200 million. Depending on individ- But it’s also a zone where tourism reigns: the entertainment world with economic chaos. ‘Already on fire’ the plug,” Siegel said. That requirement is ual contracts, artists would likely keep what- the Palm Springs-area visitors bureau says The past week has seen major events includ- Kevin Lyman, founder of the Warped Tour- likely why California’s Coachella festival- ever payouts they’ve already received-but the $7 billion-industry supports one in four ing Miami’s Ultra electronic dance music fest a traveling rock tour that ran from 1995-2019 which has been sold out for months, and might be out money already spent on set jobs. Fear in the festival circuit extends to and Austin’s famed South By Southwest cul- — said the last time he witnessed such enter- expects 125,000 fans daily over the two April production. In the end, “it always is going to concert venues worldwide, Lyman said. Large ture and tech 10-day event cancelled, and the tainment industry chaos was post-September weekends-waited until Riverside County come back to what the actual cause of loss entertainment companies like AEG-the parent spring’s premier Coachella festival postponed 11. Amid that shock, he recalls the first reac- declared a public health emergency, and was and if that was a covered peril in your company of GoldenVoice, which puts on until October. tion was “to keep the show going.” “And of ordered the rescheduling. policy,” Siegel said. “It’s not black and white. Coachella-or Live Nation will “take a hit,” he Pearl Jam, Madonna and Santana are course it didn’t,” he told AFP. “The music It’s open to interpretation.” “It’s really said, but it’s the independent club owners fac- among the A-list artists who’ve dropped or business shut down for awhile.” But Lyman ‘Uncharted territory’ uncharted territory.” ing serious financial threats. postponed concert dates at home and abroad called the current coronavirus panic A mandate from Riverside County-the “Those small people that depend on the over virus fears, with fine arts venues like the “unprecedented.” Adam Siegel, the entertain- municipal authority where the desert music ‘Devastating’ weekly business that don’t have big reserve Boston Symphony Orchestra and New York’s ment manager at American Agents & Brokers- festival takes place-to cancel or move the The economic consequences of pushing funds-it could be devastating,” he said. American Ballet Theater also cancelling tours an insurance company whose clients include show would trigger any protective insurance back or cancelling major festivals and events “Every day that goes longer, it’ll hit them to a in Asia and the Middle East. Elvan Sahin, a 32- Ultra-said that massive events like Coachella policy promoters have, Siegel said. It could reach far beyond promoters and artists, Siegel greater degree.” But as the world reels from year-old Manhattan resident, decided against might have four to five different insurance also allow events to exercise a “force said. “There’s a lot at stake,” he said. “There’s cancellations, it appears venues can count on attending a classical music concert this week policies. majeure” clause in performance contracts, a lot more people that are in this food chain at least one artist to stick it out. Bob Dylan, at New York’s Lincoln Center over the coron- Terrorism insurance has been common- which waive financial liability between pro- that are going to be affected-vendors, crew, 78, on Monday announced a summer North avirus, saying: “I think I’m going to be more place since 9/11, and many American events moters and artists in the case of extreme, local businesses.” “In a gig economy, many American tour-on top of April’s schedule that comfortable sitting this out.” “I’m used to tun- now buy active shooter insurance, he said-but unpredictable emergencies. Coachella nets people who have been booked to work has him playing 14 dates in Japan.—AFP ing out the hype and exaggeration around the average contract doesn’t have a clause for between $75 million and $100 million in prof- Coachella, for example, could be out a lot of hurricanes and snowstorms, but this whole communicable disease threats. Now it’s too its each year, according to the LA Times. money.” Just under 400,000 people live in the wedish-born actor Max von Sydow, n Italian rock star promised Tuesday whose seven-decade career saw him S to stream her next concert from home go from starring in iconic art-house A to break through the “loneliness” movies by Ingmar Bergman to appearing in imposed by the government’s social dis- English-language hits including “The tancing measures to curb the new coron- Exorcist” and “Game of Thrones”, has died in France aged 90, his family said. “It is with avirus. Gianna Nannini, now 65 and a local a broken heart and with infinite sadness that celebrity who has around 30 albums to her we have the extreme pain of announcing the name, took to Instagram to lament about life in the time of the deadly epidemic. “The ter- Billie Eilish departure of Max von Sydow” on Sunday, said a statement sent to AFP. Von Sydow rible thing about this virus is the loneliness,” Gianna Nannini took French citizenship in 2002 and she wrote shortly after the government Italy’s has suffered the brunt in Europe renounced his Swedish nationality, but imposed nationwide restrictions on travel of a virus that developed in China before remains fondly remembered in his homeland. and public gatherings. “I am in Milan and I With chiseled features and piercing blue want to play some acoustic rock songs killing 463 people in the Mediterranean Swedish-born actor Max von Sydow poses eyes, von Sydow became a recognizable online so that we can all feel a bit closer to country in slightly over two weeks. Italy on face during a career that mixed genres and for a picture in front of the cathedral of each other and still be safe,” she wrote. Tuesday imposed travel restrictions and a languages and saw him play vulnerable Rouen, western France on March 5, Nannini’s raspy voice is known to a gen- ban on public gatherings to help fight the heroes and evil villains. “He was one of the 1989.— AFP eration of Italians thanks to a prolific career spread of the disease. Livestreaming is world’s greatest actors,” said the former spanning four decades. Her more recent turning into a social phenomenon in Italy as S singer-songwriter Billie Eilish racked up another president of the Cannes film festival Gilles He appeared in numerous other Bergman concerts have provided a blend of melodic the government’s restrictions become more Urecord on Tuesday after her hit “Bad Guy” was Jacob. “He could play troubling roles but movies, notably “The Virgin Spring” and pop and more hard-hitting rock that sells severe. named the best-selling global single of 2019. The Max had a delicacy and a humanity that “Through a Glass Darkly” as well as the out stadiums to this day. She promised to International Federation of the Phonographic Industry were so moving.” In 1973, he became part of English-language “The Touch” in which he livestream her concert today at 1500 GMT. said the teenager’s track notched up the equivalent of horror movie history in “The Exorcist” starred alongside American actor Elliott “We will do our best to overcome this terri- 19.5 million sales from permanent downloads and video where he portrayed a priest trying to rid a Gould. He also worked with fellow ble moment together,” Nannini wrote. and audio streaming. It also topped the charts in 15 possessed young girl of her literal demons, Scandinavian acting great Liv Ullmann on countries, the London-based organization added. “Bad shouting the iconic line: “The power of Jan Troell’s 1971 masterpiece “The Guy” was the fifth single released from her breakthrough Christ compels you.” More recently, von Emigrants” about a group of impoverished Europe’s top series festival album “When We All Fall Asleep, Where Do We Go?” Sydow appeared in blockbusters such as Swedes moving to the United States. It She beat Lil Nas X, Ed Sheeran and Justin Bieber for “Star Wars: The Force Awakens” and the hit received several Oscar nominations.
Load more

Recommended publications
  • Copyrighted Material
    Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle
    [Show full text]
  • Beneath the Surface *Animals and Their Digs Conversation Group
    FOR ADULTS FOR ADULTS FOR ADULTS August 2013 • Northport-East Northport Public Library • August 2013 Northport Arts Coalition Northport High School Sunday Monday Tuesday Wednesday Thursday Friday Saturday Courtyard Concert EMERGENCY Volunteer Fair presents Jazz for a Yearbooks Wanted GALLERY EXHIBIT 1 Registration begins for 2 3 Friday, September 27 Children’s Programs The Library has an archive of yearbooks available Northport Gallery: from August 12-24 Summer Evening 4:00-7:00 p.m. Friday Movies for Adults Hurricane Preparedness for viewing. There are a few years that are not represent- *Teen Book Swap Volunteers *Kaplan SAT/ACT Combo Test (N) Wednesday, August 14, 7:00 p.m. Northport Library “Automobiles in Water” by George Ellis Registration begins for Health ed and some books have been damaged over the years. (EN) 10:45 am (N) 9:30 am The Northport Arts Coalition, and Safety Northport artist George Ellis specializes Insurance Counseling on 8/13 Have you wanted to share your time If you have a NHS yearbook that you would like to 42 Admission in cooperation with the Library, is in watercolor paintings of classic cars with an Look for the Library table Book Swap (EN) 11 am (EN) Thursday, August 15, 7:00 p.m. and talents as a volunteer but don’t know where donate to the Library, where it will be held in posterity, (EN) Friday, August 2, 1:30 p.m. (EN) Friday, August 16, 1:30 p.m. Shake, Rattle, and Read Saturday Afternoon proud to present its 11th Annual Jazz for emphasis on sports cars of the 1950s and 1960s, In conjunction with the Suffolk County Office of to start? Visit the Library’s Volunteer Fair and speak our Reference Department would love to hear from you.
    [Show full text]
  • Rape and the Virgin Spring Abstract
    Silence and Fury: Rape and The Virgin Spring Alexandra Heller-Nicholas Abstract This article is a reconsideration of The Virgin Spring that focuses upon the rape at the centre of the film’s action, despite the film’s surface attempts to marginalise all but its narrative functionality. While the deployment of this rape supports critical observations that rape on-screen commonly underscores the seriousness of broader thematic concerns, it is argued that the visceral impact of this brutal scene actively undermines its narrative intent. No matter how central the journey of the vengeful father’s mission from vengeance to redemption is to the story, this ultimately pales next to the shocking impact of the rape and murder of the girl herself. James R. Alexander identifies Ingmar Bergman’s The Virgin Spring as “the basic template” for the contemporary rape-revenge film[1 ], and despite spawning a vast range of imitations[2 ], the film stands as a major entry in the canon of European art cinema. Yet while the sumptuous black and white cinematography of long-time Bergman collaborator Sven Nykvist combined with lead actor Max von Sydow’s trademark icy sobriety to garner it the Academy Award for Best Foreign film in 1960, even fifty years later the film’s representation of the rape and murder of a young girl remain shocking. The film evokes a range of issues that have been critically debated: What is its placement in a more general auteurist treatment of Bergman? What is its influence on later rape-revenge films? How does it fit into a broader understanding of Swedish national cinema, or European art film in general? But while the film hinges around the rape and murder, that act more often than not is of critical interest only in how it functions in these more dominant debates.
    [Show full text]
  • 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 ..........................
    [Show full text]
  • Adroddiad Blynyddol Annual Report
    ADRODDIAD BLYNYDDOL ANNUAL REPORT 2awst august 005 2gorffennaf july 006 conctyennnwts ys foreword & introduction rhagair a chyflwyniad 4 facts and figures ffeithiau a ffigurau 5 on show ar ddangos 6 performing arts programme rhaglen celfyddydau perfformio visual arts - exhibitions programme celfyddydau gweledol - rhaglen arddangosfeydd > festival programme rhaglen gwyliau > cinema sinema > >taking part cymryd rhan 14 regular classes dosbarthiadau rheolaidd artists in schools workshops gweithdai artistiaid mewn ysgolion > special projects prosiectau arbennig > work with exhibitions gwaith gydag arddangosfeydd > professional development datblygiad proffesiynol > access mynediad > partnership partneriaeth > schools and groups ysgolion a grwpiau > >the bigger picture y darlun mwy 18 ccat-cultural co-operation and touring ccat-cydweithrediad diwylliannol a theithio trading: cafes & catering, craft & design shop, bars, bookshop, conferences, meetings and hires > masnachu: bwytai ac arlwyo, siop grefftau a dylunio, barrau, siop lyfrau, > cynadleddau, cyfarfodydd ac hurio business & community support cefnogaeth gan y byd busnes a’r gymuned financial reports adroddiadau ariannol > > It gives me great pleasure to introduce Mae ’n bleser arbennig i gyflwyno Adroddiad Blynyddol Canolfan the Annual Report of the Aberystwyth y Celfyddydau Aberystwyth. Mae ’r Ganolfan yn chwarae rhan live performances perfformiadau byw a Arts Centre. The centre plays an bwysig ym mywyd a gwaith y Brifysgol yn ogystal â ’r gymdeithas important role in the life and work leol. Mae’n gyfraniad gwych i fywyd diwylliannol yr ardal ac yn and other events: digwyddiadau eraill: of the University and the region. arddangos y berthynas ragorol sy rhwng y Brifysgol a’r gymuned. It provides a unique contribution to cultural life in the area and Yn ogystal â bod yn adeilad trawiadol mae’r Ganolfan yn cynnal 100,000 paid attendances 100,000 o ymweliadau demonstrates the excellent relationship amrywiaeth eang o weithgareddau diddorol.
    [Show full text]
  • THE SEVENTH SEAL 1958 92 Min
    April 15, 2008 (XVI:14) Ingmar Berman THE SEVENTH SEAL 1958 92 min. Directed and written by Ingmar Bergman Produced by Allan Ekelund Original Music by Erik Nordgren Cinematography by Gunnar Fischer Film Editing by Lennart Wallén Production Design by P.A. Lundgren Gunnar Björnstrand...Jöns, squire Bengt Ekerot...Death Nils Poppe...Jof Max von Sydow...Antonius Block Bibi Andersson...Mia, Jof's wife Inga Gill...Lisa, blacksmith's wife Maud Hansson...Witch Inga Landgré...Karin, Block's Wife Gunnel Lindblom...Girl Bertil Anderberg...Raval Anders Ek...The Monk Åke Fridell...Blacksmith Plog Gunnar Olsson...Albertus Pictor, Church Painter Erik Strandmark...Jonas Skat INGMAR BERGMAN (14 July 1918, Uppsala, Uppsala län, Sweden—30 July 2007,Fårö, Gotlands län, Sweden ) directed 61 films and wrote 63 screenplays. (Bio from WorldFilms.com) "Universally regarded as one of the great masters of modern cinema, Bergman has often concerned himself with spiritual and realized in this cinematic signature. Of the early period, WILD psychological conflicts. His work has evolved in distinct stages STRAWBERRIES stands out for its narrative invention in a fluid over four decades, while his visual style—intense, intimate, manipulation of flashbacks, reveries and dream sequences. Its complex—has explored the vicissitudes of passion with a penetrating psychological investigation of the closing of the life mesmerizing cinematic rhetoric. His prolific output tends to return cycle established Bergman's preoccupation with the relationship to and elaborate on recurrent images, subjects and techniques. between desire, loss, guilt, compassion, restitution and Like the Baroque composers, Bergman works on a small scale, celebration. SAWDUST AND TINSEL (1953)/NAKED NIGHT, finding invention in theme and variation.
    [Show full text]
  • Bodies of Desire and Bodies in Distress
    Bodies of Desire and Bodies in Distress Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985 By Xavier Mendik Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985, By Xavier Mendik This book first published 2015 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Xavier Mendik All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5954-0, ISBN (13): 978-1-4438-5954-7 This book is dedicated with much love to Caroline and Zena CONTENTS Acknowledgements .................................................................................... ix Foreword ................................................................................................... xii Enzo G. Castellari Introduction ................................................................................................ 1 Bodies of Desire and Bodies of Distress beyond the ‘Argento Effect’ Chapter One .............................................................................................. 21 “There is Something Wrong with that Scene”: The Return of the Repressed in 1970s Giallo Cinema Chapter Two ............................................................................................
    [Show full text]
  • GSC Films: S-Z
    GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.
    [Show full text]
  • Of the Lumière Festival
    Vive le cinéma! The program of the Lumière festival October 14-20, 2013 Retrospectives Special series Events, invitations, tributes Premieres of films on the cinema Before their release in theaters, the new film by Quentin Tarantino: Lumière Award 2013 Art of Noir Vive the cinémathèques! Ettore Scola, a documentary-homage to Fellini, and a documentary by James Toback and Alec Baldwin, Quentin Tarantino will be in Lyon to celebrate After a first session in 2009, Eddie Muller, president La Cinémathèque française who interview cinema greats about film production. classic cinema and receive the Lumière Award. of the Film Noir Foundation in San Francisco, and As we approach the centenary of Henri Langlois, we Film retrospective of the filmmaker, a huge the writer-historian Philippe Garnier are back to are proud to invite the most beautiful of film libraries, Films on films : documentaries on the cinema cinephile and ardent fan of the 35 mm film. Vive present their unearthed treasures. Rarities that a worldwide reference for conservation, restoration In the theater of the Villa Lumière, view a selection le cinema! you are not likely to see elsewhere! With the world and enhancement. In the presence of its President, of documentaries on the cinema, where we will see premiere of the restored print by Warner, filmmaker Costa-Gavras, CEO Serge Toubiana, and A personal journey through cinema by Chaplin, Jean Seberg, Michael Haneke, René Clément, Gun Crazy / Deadly is the Female, in the presence their teams. Bernard Natan, or Jean-Pierre Marielle Quentin Tarantino of its starring actress, Peggy Cummins. Discover some of Quentin Tarantino’s personal 25 years of Studio Ghibli The program picks in this year’s lineup.
    [Show full text]
  • Folklore/Cinema: Popular Film As Vernacular Culture
    Utah State University DigitalCommons@USU All USU Press Publications USU Press 2007 Folklore/Cinema: Popular Film as Vernacular Culture Sharon R. Sherman Mikel J. Koven Follow this and additional works at: https://digitalcommons.usu.edu/usupress_pubs Part of the American Film Studies Commons, and the Folklore Commons Recommended Citation Sherman, S. R., & Koven, M. J. (2007). Folklore / cinema: Popular film as vernacular culture. Logan: Utah State University Press. This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. FOLKLORE / CINEMA Popular Film as Vernacular Culture FOLKLORE / CINEMA Popular Film as Vernacular Culture Edited by Sharon R. Sherman and Mikel J.Koven Utah State University Press Logan, Utah Copyright ©2007 Utah State University Press All rights reserved Utah State University Press Logan, Utah 84322–7200 Manufactured in the United States of America Printed on recycled, acid-free paper ISBN: 978–0–87421–673-8 (hardback) ISBN: 978–0–87421–675-2 (e-book) Library of Congress Cataloging-in-Publication Data Folklore/cinema : popular film as vernacular culture / edited by Sharon R. Sherman and Mikel J. Koven. p. cm. ISBN 978-0-87421-673-8 (hardback : alk. paper) -- ISBN 978-0-87421-675-2 (e-book) 1. Motion pictures. 2. Folklore in motion pictures. 3. Culture in motion pictures. I. Sherman, Sharon R., 1943- II. Koven, Mikel J. PN1994.F545 2007 791.43--dc22 2007029969 Contents Introduction: Popular Film as Vernacular Culture 1 I.
    [Show full text]
  • Author Queries
    Author Queries Journal title: MSS Article Number: 10.1177/1750698016670794 Dear Author/Editor, Greetings, and thank you for publishing with SAGE. Your article has been copyedited, and we have a few queries for you. Please respond to these queries when you submit your changes to the Production Editor. Thank you for your time and effort. NOTE: Please answer the queries by editing within the article: follow the AQ hyperlink below and edit the text directly. Add a "New Comment" (in the "Review" tab), if the correction cannot be done directly or for further queries. Below, please tick the boxes to the right of the query, to indicate the query has been dealt with. Please assist us by clarifying the following queries: Please confirm that all author information, including names, affiliations, sequence, and contact x details, is correct. Done Please review the entire document for typographical errors, mathematical errors, and any other x necessary corrections; check headings, tables, and figures. Done Please ensure that you have obtained and enclosed all necessary permissions for the reproduction x of artworks (e.g. illustrations, photographs, charts, maps, other visual material, etc.) Not owned by yourself. Please refer to your publishing agreement for further information. N/A Please note that this proof represents your final opportunity to review your article prior to x publication, so please do send all of your changes now. Done AQ1 Please provide complete postal address with zip code for the corresponding author. Done x Please check whether the edits made to the sentence ‘Bergman, Antonioni, and Resnais ...’ are x AQ2 correct.
    [Show full text]
  • Woody Loves Ingmar
    1 Woody loves Ingmar Now that, with Blue Jasmine , Woody Allen has come out … … perhaps it’s time to dissect all his previous virtuoso creative adapting. I’m not going to write about the relationship between Vicky Christina Barcelona and Jules et Jim . ————— Somewhere near the start of Annie Hall , Diane Keaton turns up late for a date at the cinema with Woody Allen, and they miss the credits. He says that, being anal, he has to see a film right through from the very start to the final finish, so it’s no go for that movie – why don’t they go see The Sorrow and the Pity down the road? She objects that the credits would be in Swedish and therefore incomprehensible, but he remains obdurate, so off they go, even though The Sorrow and the Pity is, at over four hours, twice the length of the film they would have seen. 2 The film they would have seen is Ingmar Bergman’s Face to Face , with Liv Ullmann as the mentally-disturbed psychiatrist – you see the poster behind them as they argue. The whole scene is a gesture. Your attention is being drawn to an influence even while that influence is being denied: for, though I don’t believe Bergman has seen too much Allen, Allen has watched all the Bergman there is, several times over. As an example: you don’t often hear Allen’s early comedy Bananas being referred to as Bergman-influenced: but not only does its deranged Fidel Castro-figure proclaim that from now on the official language of the revolutionised country will be Swedish, but in the first reel there’s a straight Bergman parody.
    [Show full text]