Still the Enemy Within
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We Will Rock You”
“We Will Rock You” By Queen and Ben Elton At the Hippodrome Theatre through October 20 By Princess Appau WE ARE THE CHAMPIONS When one walks into the Hippodrome Theatre to view “We Will Rock You,” the common expectation is a compilation of classic rock and roll music held together by a simple plot. This jukebox musical, however, surpasses those expectations by entwining a powerful plot with clever updating of the original 2002 musical by Queen and Ben Elton. The playwright Elton has surrounded Queen’s songs with a plot that highlights the familiar conflict of our era: youths being sycophants to technology. This comic method is not only the key to the show’s success but also the antidote to any fear that the future could become this. The futuristic storyline is connected to many of Queen’s lyrics that foreshadow the youthful infatuation with technology and the monotonous lifestyle that results. This approach is emphasized by the use of a projector displaying programmed visuals of a futuristic setting throughout the show. The opening scene transitions into the Queen song “Radio Gaga,” which further affirms this theme. The scene includes a large projection of hundreds of youth, clones to the cast performing on stage. The human cast and virtual cast are clothed alike in identical white tops and shorts or skirts; they sing and dance in sublime unison, defining the setting of the show and foreshadowing the plot. Unlike most jukebox musicals the plot is not a biographical story of the performers whose music is featured. “We Will Rock You” is set 300 years in the future on the iPlanet when individuality and creativity are shunned and conformity reigns. -
Andy Higgins, BA
Andy Higgins, B.A. (Hons), M.A. (Hons) Music, Politics and Liquid Modernity How Rock-Stars became politicians and why Politicians became Rock-Stars Thesis submitted for the degree of Ph.D. in Politics and International Relations The Department of Politics, Philosophy and Religion University of Lancaster September 2010 Declaration I certify that this thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere 1 ProQuest Number: 11003507 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003507 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract As popular music eclipsed Hollywood as the most powerful mode of seduction of Western youth, rock-stars erupted through the counter-culture as potent political figures. Following its sensational arrival, the politics of popular musical culture has however moved from the shared experience of protest movements and picket lines and to an individualised and celebrified consumerist experience. As a consequence what emerged, as a controversial and subversive phenomenon, has been de-fanged and transformed into a mechanism of establishment support. -
Disabling Comedy and Anti-Discrimination Legislation
Disabling Comedy and Anti-Discrimination Legislation Colin Barnes 1991 A version of this paper entitled 'Disabling Comedy' appeared in Greater Manchester Coalition of Disabled People's Journal 'Coalition' December 1991 pp. 26 - 28 Over the last couple of years disabled people and their organizations have become increasingly concerned about disabling imagery in the media. One of the most important examples being the cynical exploitation of disabled people by charities in their efforts to raise money. Here I would like to highlight another form of disablism common to the media which disabled people are expected to endure, which is equally disabling and which is often overlooked or ignored: the exploitation of disabled people by professional non-disabled comedians on television. Of course laughing at disability is not new, disabled people have been a source of amusement and ridicule for non-disabled people throughout history. Along with the other so-called timeless universals of 'popular' humour such as foreigners, women and the clergy, Elizabethan joke books are full of jokes about people with every type of impairment imaginable. During the seventeenth and eighteenth centuries keeping 'idiots' as objects of humour was common among those who had the money to do so, and visits to Bedlam and other 'mental' institutions were a typical form of entertainment for the able but ignorant. While such thoughtless behaviour might be expected in earlier less enlightened times, making fun of disabled people is as prevalent now as it was then. It is especially common among professional non-disabled comedians. Indeed, several of the comedy 'greats' who influenced today's 'funny' men and women built their careers around disablist humour. -
Mask and Persona: Creating the Bard for Bardcom
Persona Studies 2019, vol. 5, no. 2 MASK AND PERSONA: CREATING THE BARD FOR BARDCOM PETER HOLLAND ABSTRACT This article explores a number of perspectives on the creation of very different Shakespeares as personas by first examining the celebration of the 400th anniversary of his death in Stratford-upon-Avon in April 2016 and Shake, Mr Shakespeare, a remarkable Roy Mack 1936 Warner Brothers short. From there it moves on to consider the brief appearance of Shakespeare in the time-travel comedy Blackadder: Back and Forth, in ‘The Shakespeare Code’ episode of Doctor Who and in the off-Broadway musical Something Rotten!, before examining the work of Ben Elton in his screenplay for All Is True and in the seemingly unlikely success of Upstart Crow, the BBC sitcom with Shakespeare as the lead character, which has so far completed three six-episode series and three Christmas specials. The article is concerned with the multiple masks of the sequence of personas that create these Shakespeares, from Shakespeare as perhaps the epitome of the celebrity author to Shakespeare as a sitcom Dad. KEY WORDS Shakespeare, Mask, Celebrity, Comedy, Sitcom, Afterlife WHERE ISS SHAKESPEARE? In Act 2 of Emlyn Williams’ The Corn is Green (1938), a semi-autobiographical narrative of how education saved a bright Welsh boy from the mines and sent him to Oxford University, the end of a class in Miss Moffat’s new school leaves behind on stage Old Tom, “an elderly, distinguished- looking, grey-bearded peasant” (Williams 1995, p. 34), and Miss Ronberry, now one of Miss Moffat’s teachers. -
Kate Mcnaughton
FICTION……………2-19 NON FICTION……20-42 BACKLIST…………43-46 1 Fiction 2 TURNING FOR HOME Barney Norris Publicaon: January 2018 Format/extent: Hbk, 320pp Material: May 2017 Opon publishers: Dumont (Germany); Le Seuil (France); Algoritam (Croaa) The second novel by crically acclaimed author Barney Norris tackles family relaonships and coming to terms with the past Once a year, every year, Robert's family come together at a rambling old house in the country to celebrate his birthday. Aunts, uncles, grandchildren, distant cousins ‐ it is a milestone in their lives and has been for decades. But this year Robert doesn't want to be reminded of what has happened since they last met ‐ and neither, for quite different reasons, does his granddaughter Kate. Robert is determined that this will be the final party. But for both him and Kate, it may also become the most important gathering of all. As lyrical and true to life as Norris's crically acclaimed debut Five Rivers Met on a Wooded Plain, this is a compelling, emoonal story of family, human frailty, and the marks that love leaves on us. Reviews for Five Rivers Met on a Wooded Plain ‘Norris writes beaufully, unearthing extraordinary depths in the everyday...a memorable writer, mature beyond his years’ ‐ Sunday Times 'One of our most excing young writers' ‐ The Times Barney Norris is the founder of the theatre company Up In Arms, and has won an award for Most Promising Playwright for his play Visitors. 3 HOW I LOSE YOU Kate McNaughton Publicaon: January 2018 Format/extent: Hbk, 304 pp Rights sold: Les escales (France) Beaufully wrien and announcing a bold new literary talent, How I Lose You, offers a tender and heart‐breaking perspecve on the queson of how much we can ever really know the person we love When Eva wakes up one morning to discover that her husband has died in his sleep, she is overwhelmed: with anger, with disbelief, with fear. -
Introduction 1
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Göteborgs universitets publikationer - e-publicering och e-arkiv The role of literature in language studies - an effective means for teaching English ‘Literature is a luxury; fiction is a necessity.’ G K Chesterton Göteborg University/Department of English Scott Edwards, 7305213378 C-Level paper, 15 hec Interdisciplinary Degree Project Teacher Education Programme Supervisor: Ronald Paul Grade: Signature Date: ABSTRACT Title: The role of literature in language studies - an effective means for teaching English Author: Scott Edwards Term and year: Ht – 08 Institution: Department of English Supervisor: Ronald Paul Key words: Literature, learning, communication skills, culture, fame, reality TV. Summary: The purpose of this essay is to show how literature can be used as an effective means for teaching English in upper secondary school in Sweden. The chosen book for reference is Blind Faith by Ben Elton, which is discussed regarding its potential as a suitable source for teaching from a number of perspectives. For example, how it can be enjoyed as a book in its entirety, how it can be used for comprehension and how it can lend itself to other classroom activities. Secondary sources regarding the attitude and theory to using literature as a language learning aid are referenced. In addition to the theoretical secondary sources the syllabus, as well as the curriculum for non-compulsory school in Sweden is referenced in order to highlight the consciousness teachers should have in relation to the governing aims and objectives in their professional role. The benefits for using literature in the English classroom are presented and developed further a project proposal. -
Normative Judaism")
Centre for Jewish Studies University of Manchester Welcome to the Manchester JudaicaFest 2008 comprising end-on conferences of the British Association for Jewish Studies (on the theme "Normative Judaism") The Jewish Law Association (Fifteenth Biennial Conference) and a colloquium on Jewish Culture in the Age of Globalisation Manchester, July 20th-24th 2008 We express our thanks to the following for their support: The British Academy Lord Alliance British Association for Jewish Studies David Berkley QC Keith Black Joe Dwek Fruhman Davies Livingstones The Hamburger family Lopian Gross Barnett Pears Foundation Religions and Theology, University of Manchester Rothschild Europe Foundation School of Arts, Cultures and Histories, University of Manchester David Sidi Philip Alexander, Co-Director, Centre for Jewish Studies; President, BAJS Daniel Langton, Centre for Jewish Studies; Secretary, BAJS Yosef Rivlin, Bar-Ilan University; Chairman, The Jewish Law Association Bernard Jackson, Co-Director, Centre for Jewish Studies; Vice-Chairman, The Jewish Law Association Sander Gilman, Emory University, Co-Organiser, Jewish Culture in the Age of Globalisation Cathy Gelbin, Centre for Jewish Studies, Co-Organiser, Jewish Culture in the Age of Globalisation Penelope Junkermann, Co-Ordinator, Centre for Jewish Studies -2- The Lopian Gross Barnett Seminar on Ethics and Contemporary Halacha in association with The Centre for Jewish Studies, University of Manchester Wednesday 23rd July 2008 Whitefield Hebrew Congregation Park Lane Whitefield M45 7PB Rabbi Shear-Yashuv Cohen Chief Rabbi of Haifa: The Authority of the Rabbinical Court to Terminate a Marriage Rabbi Dr. Shlomo Riskin Chief Rabbi of Efrat: Solutions to the Agunah Issue Introductory Remarks from Rabbi Jonathan Guttentag Whitefield Hebrew Congregation 7.45pm Mincha 8.00 Start Admission Free All Welcome No Appeal Sponsored by the partners of Lopian Gross Barnett & Co. -
Blackadder Goes Forth the Final Push
CARDIFF OPEN AIR THEATRE FESTIVAL: EVERYMAN 20 Sophia Gardens Cathedral Road Cardiff CF11 9SQ AUDITION NOTICE “... if nothing else works, a total pig-headed unwillingness to look facts in the face will see us through.” General A.C.H. Melchett, VC KCB DSO (May 1917) BLACKADDER GOES FORTH THE FINAL PUSH from the BBC TV Series by Richard Curtis & Ben Elton It's 1917 and Edmund Blackadder is now a captain in the British Army at the Western Front, commanding gallant-but-dumb Lieutenant George St. Barleigh and the even dumber Private S. Baldrick. Waiting in fear of the dreaded order to go 'over the top' from the patently insane General Melchett and his twitchy staff officer, Captain Darling, Blackadder devises serial attempts to escape the trenches always with the offer of one of Baldrick's cunning plans. First broadcast on the BBC in 1989, Blackadder Goes Forth is one of the most intelligent as well as among the funniest of British sitcoms. Adapted & Directed by SIMON H WEST Performance Dates: Thursday 18th June to Saturday 27th June 2020 Festival Theatre, Sophia Gardens, Cardiff No performances on Sunday 19th June Technical & Dress Rehearsals: Sunday 14th June to Wednesday 17th June Rehearsal period will be short and intensive, taking place over just one month beginning around May 14th. Rehearsal days are to be confirmed but will include all day Sundays (10-5) plus a weeknight (7-10) Additional rehearsal days will be called nearer production period. Rehearsals will be carefully scheduled and not everyone will be called to every session. Please note that all performances take place in the open-air. -
Richard Curtis Writer/Director
Richard Curtis Writer/Director Agents Anthony Jones Associate Agent Danielle Walker [email protected] +44 (0) 20 3214 0858 Credits In Development Production Company Notes THAT CHRISTMAS Locksmith Animation/Netflix Animated film written with Peter Souter, based on his children's novel Illustrator: Rebecca Cobb Executive Producer: Colin Hopkins LOST FOR WORDS Working Title Films With Jamie Curtis BERNARD AND THE GENIE Film Production Company Notes YESTERDAY Working Title Original screenplay 2019 Films/Universal Directed by Danny Boyle with Himesh Patel & Lily James TRASH Working Title Films Adapted from the novel by Andy Mulligan 2014 Directed by Stephen Daldry with Martin Sheen, Rooney Mara ESIO TROT BBC TV Film 2014 Based on the novel by Roald Dahl Co-written with Paul Mayhew-Archer Produced by Hilary Bevan Jones Directed by Dearbhla Walsh With Judi Dench & Dustin Hoffman United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes ABOUT TIME Working Original Screenplay 2013 Title/Universal Pictures Writer and Director Produced by Tim Bevan, Eric Fellner, Nicky Kentish Barnes with Domhnall Gleeson, Rachel McAdams, Bill Nighy *Won Best European Film San Sebastian International Film Festival 2013 *Nominated Best Film New York Film Festival 2013 MARY AND MARTHA Working Title TV Film 2013 Television/HBO Original Screenplay Directed by Phillip Noyce Produced by Hilary Bevan Jones, Lisa Bruce, Genevieve Hofmeyr with Hilary Swank, Brenda -
Commercial Alternative
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Birkbeck Institutional Research Online Commercial Alternative Joseph Brooker – Slow down / You’re taking me over… 1 – Another victory like that and we are done for.2 By the end of the 1980s, popular culture and media commentary brimmed with a self-conscious desire to name and describe the present. Few decades have had as clear an account of themselves as the 1980s, whatever the gaps and limits of that account. The 1990s became ever more sure of what had happened in the 1980s; but packing the 1990s themselves into a compelling summary proved more difficult. For the time being, those looking for stories of the last decade must make do with tracts like Stephen Bayley’s Labour Camp, a brief, bilious assault on the aesthetics and politics of Blair’s first term. For all his rancour, snobbery and carelessness, Bayley lands a few hits, and leaves a few hints. Bayley reads New Labour in terms not of social and economic policy, but of taste and image: Blair’s choice of car, the efforts at ‘rebranding Britain’, the design of the Dome. The cultural emblem of the Blair years, he proposes, is Elton John: He is a popular phenomenon, therefore it is irrelevant and elitist even to wonder if he is actually any good. He is emphatically middle-of-the-road. He is classless.... After a much-reported past of rock-star excess, he is clean, dried out…. Whoever would have thought you could relaunch old Labour? Whoever would have thought you could relaunch Elton John? The parallels between the two transformations are remarkable.3 The thought is suggestive, but leaves much unsaid about the new terrain inherited and shaped by the Blair government. -
Comedy and Distinction: the Cultural Currency of a ‘Good’ Sense of Humour
Sam Friedman Comedy and distinction: the cultural currency of a ‘good’ sense of humour Book (Accepted Version) Original citation: Comedy and distinction: the cultural currency of a ‘good’ sense of humour, Abingdon, Oxon: Routledge, 2014, 228 pages. © 2017 The Author This version available at: http://eprints.lse.ac.uk/59932/ Available in LSE Research Online: September 2017 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Introduction: Funny to Whom? In January 2011, the scheduling plans of Britain’s biggest TV station, BBC 1, were leaked to the press. After the recent success of BBC comedies such as Outnumbered and My Family, BBC1 Controller Danny Cohen apparently told his team of producers that BBC Comedy was becoming ‘too middle class’, and failing in its responsibility to appeal to working class viewers (Gammell, 2011; Revoir, 2011; Leith, 2011). -
EMMA. an Autumn De Wilde Film Running Time: 125 Minutes
EMMA. an Autumn de Wilde film Running Time: 125 minutes 1 TABLE OF CONTENTS I. Synopsis . 3 II. A Screwball Romantic Comedy of Manners and Misunderstandings . 5 III. Casting EMMA.: Bringing Together an Electric Ensemble . 9 IV. About the Production . 16 V. Period Finery: Styling EMMA. 20 VI. Soundtrack and Score: The Music of EMMA. 23 VII. About the Cast . 27 VIII. About the Filmmakers . 39 IX. Credits . 49 2 SHORT SYNOPSIS Jane Austen’s beloved comedy about finding your equal and earning your happy ending is reimagined in this delicious new film adaptation of EMMA. Handsome, clever and rich, Emma Woodhouse is a restless “queen bee” without rivals in her sleepy little English town. In this glittering satire of social class, Emma must navigate her way through the challenges of growing up, misguided matches and romantic missteps to realize the love that has been there all along. LONG SYNOPSIS Jane Austen’s beloved comedy about finding your equal and earning your happy ending is reimagined in this delicious new film adaptation of EMMA. Handsome, clever and rich, 21-year-old Emma Woodhouse (Anya Taylor-Joy) is a restless “queen bee” who has lived all her life in the sleepy English village of Highbury with very little to distress or vex her. When our story begins, Emma has recently discovered the thrill of matchmaking. She has succeeded in orchestrating a marriage between her governess and the kind widower, Mr. Weston. Emma celebrates her success until she realizes that she has also orchestrated the loss of her only mother figure and companion in the house.