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A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z MARCH 2021 Ho u The 39 Steps (1935) 3/5 c Blondie of the Follies (1932) 3/2 Czechoslovakia on Parade (1938) 3/27 a ADVENTURE u 6,000 Enemies (1939) 3/5 u Blood Simple (1984) 3/19 z Bonnie and Clyde (1967) 3/30, 3/31 –––––––––––––––––––––– D ––––––––––––––––––––––– –––––––––––––––––––––– ––––––––––––––––––––––– c COMEDY A D Born to Love (1931) 3/16 m Dancing Lady (1933) 3/23 a Adventure (1945) 3/4 D Bottles (1936) 3/13 D Dancing Sweeties (1930) 3/24 z CRIME a The Adventures of Huckleberry Finn (1960) 3/23 P c The Bowery Boys Meet the Monsters (1954) 3/26 m The Daughter of Rosie O’Grady (1950) 3/17 a The Adventures of Robin Hood (1938) 3/9 c Boy Meets Girl (1938) 3/4 w The Dawn Patrol (1938) 3/1 o DOCUMENTARY R The Age of Consent (1932) 3/10 h Brainstorm (1983) 3/30 P D Death’s Fireworks (1935) 3/20 D All Fall Down (1962) 3/30 c Breakfast at Tiffany’s (1961) 3/18 m The Desert Song (1943) 3/3 D DRAMA D Anatomy of a Murder (1959) 3/20 e The Bridge on the River Kwai (1957) 3/27 R Devotion (1946) 3/9 m Anchors Aweigh (1945) 3/9 P R Brief Encounter (1945) 3/25 D Diary of a Country Priest (1951) 3/14 e EPIC D Andy Hardy Comes Home (1958) 3/3 P Hc Bring on the Girls (1937) 3/6 e Doctor Zhivago (1965) 3/18 c Andy Hardy Gets Spring Fever (1939) 3/20 m Broadway to Hollywood (1933) 3/24 D Doom’s Brink (1935) 3/6 HORROR/SCIENCE-FICTION R The Angel Wore Red (1960) 3/21 z Brute Force (1947) 3/5 D Downstairs (1932) 3/6 D Anna Christie (1930) 3/29 z Bugsy Malone (1976) 3/23 P u The Dragon Murder Case (1934) 3/13 m MUSICAL c April In Paris -
Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
JOHN J. ROSS–WILLIAM C. BLAKLEY LAW LIBRARY NEW ACQUISITIONS LIST: February 2009
JOHN J. ROSS–WILLIAM C. BLAKLEY LAW LIBRARY NEW ACQUISITIONS LIST: February 2009 Annotations and citations (Law) -- Arizona. SHEPARD'S ARIZONA CITATIONS : EVERY STATE & FEDERAL CITATION. 5th ed. Colorado Springs, Colo. : LexisNexis, 2008. CORE. LOCATION = LAW CORE. KFA2459 .S53 2008 Online. LOCATION = LAW ONLINE ACCESS. Antitrust law -- European Union countries -- Congresses. EUROPEAN COMPETITION LAW ANNUAL 2007 : A REFORMED APPROACH TO ARTICLE 82 EC / EDITED BY CLAUS-DIETER EHLERMANN AND MEL MARQUIS. Oxford : Hart, 2008. KJE6456 .E88 2007. LOCATION = LAW FOREIGN & INTERNAT. Consolidation and merger of corporations -- Law and legislation -- United States. ACQUISITIONS UNDER THE HART-SCOTT-RODINO ANTITRUST IMPROVEMENTS ACT / STEPHEN M. AXINN ... [ET AL.]. 3rd ed. New York, N.Y. : Law Journal Press, c2008- KF1655 .A74 2008. LOCATION = LAW TREATISES. Consumer credit -- Law and legislation -- United States -- Popular works. THE AMERICAN BAR ASSOCIATION GUIDE TO CREDIT & BANKRUPTCY. 1st ed. New York : Random House Reference, c2006. KF1524.6 .A46 2006. LOCATION = LAW TREATISES. Construction industry -- Law and legislation -- Arizona. ARIZONA CONSTRUCTION LAW ANNOTATED : ARIZONA CONSTITUTION, STATUTES, AND REGULATIONS WITH ANNOTATIONS AND COMMENTARY. [Eagan, Minn.] : Thomson/West, c2008- KFA2469 .A75. LOCATION = LAW RESERVE. 1 Court administration -- United States. THE USE OF COURTROOMS IN U.S. DISTRICT COURTS : A REPORT TO THE JUDICIAL CONFERENCE COMMITTEE ON COURT ADMINISTRATION & CASE MANAGEMENT. Washington, DC : Federal Judicial Center, [2008] JU 13.2:C 83/9. LOCATION = LAW GOV DOCS STACKS. Discrimination in employment -- Law and legislation -- United States. EMPLOYMENT DISCRIMINATION : LAW AND PRACTICE / CHARLES A. SULLIVAN, LAUREN M. WALTER. 4th ed. Austin : Wolters Kluwer Law & Business ; Frederick, MD : Aspen Pub., c2009. KF3464 .S84 2009. LOCATION = LAW TREATISES. -
BRING IT BACK! Curbside GRAB-And-GO!
YOUR MONTHLY GUIDE TO PORT’S LIBRARY BOOKINGS July 2020 Ahead — A Note from the Director… A Reopening Plan Special Message Dear Port Washington Community, As Long Island begins to reopen, the Port Washington Public Library is moving forward with its reopening plans. To facilitate this, the library As we confront the unacceptable racial injustices across has created PWPL Ahead, a comprehensive plan to begin reopening our country, notably the recent horrifying killings of while best addressing the safety and health concerns of PWPL staff and George Floyd and Ahmaud Arbery, we will continue patrons. PWPL Ahead consists of four phases that mirror the phases of in our mission as a public library to enhance the well- New York State’s “New York Forward” reopening plan. As Long Island being of every member of our community. We will do enters each new phase, PWPL will also, as it is deemed safe: this by engaging collaboratively and compassionately with our neighbors and community partners, offering Phase 1 – Begins June 1 programming and sharing books and resources that Services, materials, programs and events will continue to be offered incorporate all perspectives, and fostering an openness remotely. The building will be cleaned and sanitized, new MERV that makes all feel welcome. (Minimum Efficiency Reporting Value) 15 air filters will be installed. Personal Protective Equipment (PPE) for staff will be acquired. As an institution that has the privilege of serving this Phase 2 – Begins June 15 wonderfully diverse community, PWPL denounces all Services, materials, programs and events will continue to be offered forms of racism and discrimination. -
I'm a Sicilian American
I’m a Sicilian American Dedicated to my parents Gaetano and Rosa Alessi Coniglio and my eldest brother Guy , who came to America in 1913 and 1914 from Serradifalco, SICILY . I’m a Sicilian American. I’m a Sicilian American. I’m the son of immigrants who left a land of history and beauty, of poets and dreamers, volcanoes and olive trees. A land that taught the world what a modern nation could be, before most modern nations existed. A land that formed the largest country, The Kingdom of the Two Sicilies , from Naples and Abruzzo to Messina and Palermo, that was subsumed into the new ‘Kingdom of Italy’ after the ‘unification’. My parents left because for all its lore and loveliness, and their fierce pride in it, Sicily was poor and demeaned, and could offer little hope for their family’s future. I’m a Sicilian American. My heritage includes mythical Persephone, Vulcan, and Icarus; Greek scholars Archimedes, Empedocles and Diodorus Siculus; composers Bellini and Scarlatti, and writers Verga and Sciascia. I’m a Sicilian American. I’m Antonio Crisafi. I came before there was a United States and in 1696 commanded the fort at Onondaga. I’m Padre Saverio Saetta, who died in 1695 while bringing Christianity to the New World. I’m Enrico Fardella, who fought against the Bourbons in Sicily, one of the first people’s revolutions in Europe, in 1848, and then became a brigadier general in America’s Civil War. I’m a Sicilian American. I’m a descendant of Southern Italian immigrants who formed 80% of the ‘Italians’ who came to America in the ‘Great Migration’ of the late 1800s and early 1900s, most, from the island of Sicily. -
A Dangerous Method
A David Cronenberg Film A DANGEROUS METHOD Starring Keira Knightley Viggo Mortensen Michael Fassbender Sarah Gadon and Vincent Cassel Directed by David Cronenberg Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Official Selection 2011 Venice Film Festival 2011 Toronto International Film Festival, Gala Presentation 2011 New York Film Festival, Gala Presentation www.adangerousmethodfilm.com 99min | Rated R | Release Date (NY & LA): 11/23/11 East Coast Publicity West Coast Publicity Distributor Donna Daniels PR Block Korenbrot Sony Pictures Classics Donna Daniels Ziggy Kozlowski Carmelo Pirrone 77 Park Ave, #12A Jennifer Malone Lindsay Macik New York, NY 10016 Rebecca Fisher 550 Madison Ave 347-254-7054, ext 101 110 S. Fairfax Ave, #310 New York, NY 10022 Los Angeles, CA 90036 212-833-8833 tel 323-634-7001 tel 212-833-8844 fax 323-634-7030 fax A DANGEROUS METHOD Directed by David Cronenberg Produced by Jeremy Thomas Co-Produced by Marco Mehlitz Martin Katz Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Executive Producers Thomas Sterchi Matthias Zimmermann Karl Spoerri Stephan Mallmann Peter Watson Associate Producer Richard Mansell Tiana Alexandra-Silliphant Director of Photography Peter Suschitzky, ASC Edited by Ronald Sanders, CCE, ACE Production Designer James McAteer Costume Designer Denise Cronenberg Music Composed and Adapted by Howard Shore Supervising Sound Editors Wayne Griffin Michael O’Farrell Casting by Deirdre Bowen 2 CAST Sabina Spielrein Keira Knightley Sigmund Freud Viggo Mortensen Carl Jung Michael Fassbender Otto Gross Vincent Cassel Emma Jung Sarah Gadon Professor Eugen Bleuler André M. -
Význam Zobrazování Násilí Ve Filmech Davida Cronenberga
Význam zobrazování násilí ve filmech Davida Cronenberga František Vaculík Bakalářská práce 2017 ABSTRAKT Ačkoliv je zobrazování násilí v médiích velmi populární, přetrvává názorový konflikt o škodlivosti a samoúčelnosti násilného obsahu v audiovizuálním médiu. Pro podporu me- diálního násilí lze zmínit skutečnost, že v mnoha případech se s násilným obsahem pracuje inteligentně a esteticky. To dokazuje současný filmový režisér kanadského původu, David Cronenberg. Má práce má na příkladu tohoto tvůrce analyzovat násilí v médiích z hlediska psychologického estetického a myšlenkového. Pro tuto analýzu jsem použil, jeden z jeho nejvýraznějších filmů Videodrome, ve kterém je mé téma velmi názorně obsaženo. Klíčová slova: David Cronenberg, násilí, psychologie, horor, sci-fi, Videodrome ABSTRACT Although the depiction of violence in the media is very popular, there is still an ideological conflict about the harmfulness and nonsensicality of violence content in audiovisual media. For the support of concept of medial violence is possible to say, that in many cases is worked with violence very intelligently and esthetically. The evidence of this fact is the film director David Cronenberg. My work should on his example analyze violence in the media from the esthetical and intellectual point of view. I used his most expressive movie Videodrome for this analysis. David Cronenberg, violence, psychology, horror, sci-fi, Videodrome Prohlašuji, že odevzdaná verze bakalářské/diplomové práce a verze elektronická nahraná do IS/STAG jsou totožné. Ve Zlíně, -
The Italian Art of Dubbing by Chiara Barzini
C RIT I C ISM READ MY LIPS The Italian art of dubbing By Chiara Barzini n the Thirties, when sound !lms Italy. During the !lm’s climax, Garbo dubbers were working-class immi- wereI beginning to circulate, Musso- gave Italians a taste of her warm, hus- grants living near the studio who lini prohibited the use of foreign lan- ky voice with two uncensored words: were called to record in their native guages in all movies shown in Italy. “Padre! Padre!” But other Hollywood languages. But who would want to The Ministry of Popular Culture, !lms passed quietly by. Most Italians hear Marlene Dietrich speak like a which was responsible for overseeing were either illiterate or had dif!culties farmer from Calabria? Hollywood re- the content of newspapers, literature, reading, which made a visit to the thought its approach, using profes- theater, radio, and cinema, censored movies feel more like sitting for a sional theater actors from Italy to dub all foreign words adopted into Italian school exam than entertainment. American stars. usage, replacing them with creative or With attendance dropping, the 3,200 In 1933, the Fascists expanded the stunningly literal translations. (The movie theaters in Italy were falling scope of censorship, banning all for- word cocktail, for instance, changed into !nancial ruin. eign !lms dubbed in Italian outside to “bevanda arlecchina,” suggesting a Garbo was not the only actor Amer- Italy—as if nervous that foreign pro- drink as colorful as the commedia ican producers asked to speak in other ducers might put revolutionary mes- dell’arte fool Harlequin; Louis Arm- languages. -
Hoy En Soria Semanal Del 14 Al 20 De Enero
Agenda de actividades en Soria Capital HOY EN SORIA SEMANAL DEL 14 AL 20 DE ENERO 2019 EVENTOS LUNES 14 DE ENERO DE 2019 CLUB DE LECTURA DE LOS LUNES Lugar: sección Local (2ª planta Biblioteca Pública de Soria) Hora: 19:30 horas Precio: gratuito Datos del evento: El club de lectura de los Lunes es un club de narrativa que se reúne quincenalmente en horario de tarde (19:30 h.) en la Sección Local (2ª Planta) de la Biblioteca de Soria. Un Club de Lectura es un grupo de personas que leen el mismo libro en casa y posteriormente se reúnen en la Biblioteca para comentarlo. La Biblioteca es la encargada de proponer los libros de lectura y facilitar un ejemplar a cada componente del club. Cada club tiene un máximo de 18 personas. CINE CLUB UNED-MIRADAS DE CINE- OTTO PREMINGER: “MARGEN DE ERROR” Lugar: Casa de la Tierra Hora: 20:00 horas Precio: gratuito Datos del evento: Moe Finkelstein es un policía judío de Brooklyn asignado para proteger el cónsul nazi Karl Baumer en Nueva York, antes de la Segunda Guerra Mundial. Baumer no es sólo un violento antisemita, pero es también un sinvergüenza, que desvía fondos del consulado alemán para un uso propio. Su perfidia es conocida por su mujer Sophie, que se casó con Baumer sólo para salvar a su familia de los campos de concentración, y por el asistente de Baumer, el Barón de Alvenstor. Por lo tanto, cuando Baumer es encontrado muerto, Sophie y el Barón son los primeros sospechosos del crimen. (FILMAFFINITY) MARTES 15 DE ENERO DE 2019 CICLO “ENERO ES PURO TEATRO”- RECITAL “PALABRA DE CORSARIO” Lugar: Hemeroteca de la Biblioteca Pública de Soria Hora: 19:00 horas Precio: gratuito, hasta completar aforo Datos del evento: Ciclo de teatro durante el mes de enero en la Biblioteca Pública. -
October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 Min)
October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 min) Directed by Federico Fellini Story by Federico Fellini & Ennio Flaiano Screenplay by Ennio Flaiano, Tullio Pinelli, Federico Fellini & Brunello Rondi Produced by Angelo Rizzoli Original Music by Nino Rota Cinematography by Gianni Di Venanzo Film Editing by Leo Cattozzo Production Design by Piero Gherardi Art Direction by Piero Gherardi Costume Design by Piero Gherardi and Leonor Fini Third assistant director…Lina Wertmüller Academy Awards for Best Foreign Picture, Costume Design Marcello Mastroianni...Guido Anselmi Claudia Cardinale...Claudia Anouk Aimée...Luisa Anselmi Sandra Milo...Carla Hazel Rogers...La negretta Rossella Falk...Rossella Gilda Dahlberg...La moglie del giornalista americano Barbara Steele...Gloria Morin Mario Tarchetti...L'ufficio di stampa di Claudia Madeleine Lebeau...Madeleine, l'attrice francese Mary Indovino...La telepata Caterina Boratto...La signora misteriosa Frazier Rippy...Il segretario laico Eddra Gale...La Saraghina Francesco Rigamonti...Un'amico di Luisa Guido Alberti...Pace, il produttore Giulio Paradisi...Un'amico Mario Conocchia...Conocchia, il direttore di produzione Marco Gemini...Guido da ragazzo Bruno Agostini...Bruno - il secundo segretario di produzione Giuditta Rissone...La madre di Guido Cesarino Miceli Picardi...Cesarino, l'ispettore di produzione Annibale Ninchi...Il padre di Guido Jean Rougeul...Carini, il critico cinematografico Nino Rota...Bit Part Mario Pisu...Mario Mezzabotta Yvonne Casadei...Jacqueline Bonbon FEDERICO FELLINI -
George Grizzard: a Conversation with Abe J
Wright State University CORE Scholar Theatre, Dance, and Motion Pictures Faculty Publications Theatre, Dance, and Motion Pictures 2-5-1984 George Grizzard: A Conversation with Abe J. Bassett Abe J. Bassett Wright State University - Main Campus, [email protected] Follow this and additional works at: https://corescholar.libraries.wright.edu/theater Part of the Acting Commons, Dance Commons, Performance Studies Commons, and the Theatre History Commons Repository Citation Bassett, A. J. (1984). George Grizzard: A Conversation with Abe J. Bassett. https://corescholar.libraries.wright.edu/theater/8 This Interview is brought to you for free and open access by the Theatre, Dance, and Motion Pictures at CORE Scholar. It has been accepted for inclusion in Theatre, Dance, and Motion Pictures Faculty Publications by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. GEORGE GRIZZARD A Conversation With Abe J Bassett at Wright State University February 5, 1984 Introduction merican actor George Gizzard’s first connection with Wright State was in October, 1974 A when he directed William Saroyan’s The Time of Your Life, the dedicatory production of the Creative Arts Center’s Festival Playhouse. In January 1984, he returned to Wright State to create the role of Dr. Martin Dysart in the very successful Department of Theatre Arts production of Equus. The following summary of his film and theatre career is from Wikipedia: Grizzard memorably appeared as an unscrupulous United States senator in the film Advise and Consent in 1962. His other theatrical films included the drama From the Terrace with Paul Newman (1960), the Western story Comes a Horseman with Jane Fonda (1978) and a Neil Simon comedy, Seems Like Old Times (1980). -
Domestication in Contemporary Polish Dubbing Urszula Leszczyńska, University of Warsaw, and Agnieszka Szarkowska, University of Warsaw/University College London
The Journal of Specialised Translation Issue 30 – July 2018 “I don't understand, but it makes me laugh.” Domestication in contemporary Polish dubbing Urszula Leszczyńska, University of Warsaw, and Agnieszka Szarkowska, University of Warsaw/University College London ABSTRACT Despite being (in)famous for its use of voice-over in fiction films, Poland also has a long- standing dubbing tradition. Contemporary Polish dubbing is largely domesticated: culture- bound items from the original are often replaced with elements of Polish culture, which is supposed to increase viewers’ enjoyment of the film. In this study, we examined whether Polish viewers can identify references to Polish culture in the contemporary Polish dubbing of foreign animated films and whether they enjoy them. With this goal in mind, we conducted an online survey and tested 201 participants. Given that many references relate to items from the near or distant past, we predicted that viewers may not fully understand them. The results show that, paradoxically, although viewers do not fully recognise references to Polish culture in contemporary Polish dubbing, they welcome such allusions, declaring that they make films more accessible. The most difficult category of cultural references to identify in our study turned out to be allusions to the canon of Polish literature, whereas the best scores were achieved in the case of references to social campaigns and films. Younger participants had more difficulties in recognising cultural allusions dating from before the 1990s compared to older participants. The vast majority of participants declared they enjoy domestication in contemporary Polish dubbing. KEYWORDS Dubbing, domestication, invisibility, ageing of translation, animated films, audiovisual translation, cultural references.