DOXA Festival 2010
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Scholar's Choice the Topp Twins: Untouchable Girls: the Movie 2009
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Research Commons@Waikato Scholar’s Choice The Topp Twins: Untouchable Girls: The Movie 2009 Starring Jools and Lynda Topp Directed by Leanne Pooley Produced by Arani Cuthbert Lynda Johnston Department of Geography, Tourism and Environmental Planning University of Waikato Private Bag 3105 Hamilton Aotearoa New Zealand [email protected] Submitted to Emotion, Space and Society 3 June 2009 Scholar’s Choice: The Topp Twins: Untouchable Girls: The Movie The recently released documentary The Topp Twins: Untouchable Girls: The Movie (2009) has quickly become an important cultural text in Aotearoa New Zealand. It opened on April 9, 2009 and immediately broke records for best opening day and weekend in New Zealand’s movie history. For readers to get some sense of this documentary, it is worth watching the trailer (http://topptwins.com/tv‐and‐film/untouchable‐girls) which provides a tantalising peak into the life story, so far, of the Topp Twins – much loved New Zealand entertainers. But the documentary does more than chart life stories, it highlights major social and political movements that helped shape national discourses of what it feels like to be a ‘Kiwi’ (the term ‘Kiwi’ is used by people – of all ethnicities and social classes ‐ who feel they have a New Zealand national identity). I have chosen this documentary for this scholar’s choice essay because it links with a number of discourses that inspire my work on how emotions such as ‘pride’ shape people and place. Untouchable Girls illustrates the fluidity and partiality of subjectivities (both individually and collectively) and the ways in which subjectivities can be challenged and contested without humiliation. -
After the Ball David Williamson
David Williamson’s first full-length play, The Coming of Stork, premiered at the La Mama Theatre, Carlton, in 1970 and later became the film Stork, directed by Tim Burstall. The Removalists and Don’s Party followed in 1971, then Jugglers Three (1972), What If You Died Tomorrow? (1973), The Department (1975), A Handful of Friends (1976), The Club (1977) and Travelling North (1979). In 1972 The Removalists won the Australian Writers’ Guild AWGIE Award for best stage play and the best script in any medium and the British production saw Williamson nominated most promising playwright by the London Evening Standard. The 1980s saw his success continue with Celluloid Heroes (1980), The Perfectionist (1982), Sons of Cain (1985), Emerald City (1987) and Top Silk (1989); whilst the 1990s produced Siren (1990), Money and Friends (1991), Brilliant Lies (1993), Sanctuary (1994), Dead White Males (1995), Heretic (1996), Third World Blues (an adaptation of Jugglers Three) and After the Ball (both in 1997), and Corporate Vibes and Face to Face (both in 1999). The Great Man (2000), Up for Grabs, A Conversation, Charitable Intent (all in 2001), Soulmates (2002), Birthrights (2003), Amigos, Flatfoot (both in 2004), Operator and Influence(both 2005) have since followed. Williamson is widely recognised as Australia’s most successful playwright and over the last thirty years his plays have been performed throughout Australia and produced in Britain, United States, Canada and many European countries. A number of his stage works have been adapted for the screen, including The Removalists, Don’s Party, The Club, Travelling North, Emerald City, Sanctuary and Brilliant Lies. -
Annihilator - Alice in Hell
Annihilator - Alice in Hell Scritto da Gianluca Livi Venerdì 01 Gennaio 2021 13:59 Ci entraAlice di diritto, in Hell, nella categoria "masterpiece". Questo favolosoAnnihilator escedebutto nel discografico1989 e fa capire dei canadesi ai signori del thrash statunitense che in Nord America ci sono allievi perfettamente in grado di superare i maestri. Il pezzo Alisonche trascina Hell" rappresenta l'album,Spanish "il perfetto" Flydi Eddieconnubio Van, rendetra Halen aspirazioni l'introRide Theacustico "da Lightning classifica di robetta" e altissima per adolescenti qualità esecutivamaldestri. e compositiva, ed è anticipato da un arpeggio di chitarra acustica che, rivaleggiando con " La mini suiteSchizo " (Are", divisa Never in due Alone) parti, anticiperebbe di poco la nascita del prog metal a vocazione durissima se non fosse che il combo lo condisce con del sano techno thrash, giusto per far capire chi è che comanda effettivamente. Tutto il restoAnthrax dell'album per la strada riesceJoe Belladonna (cona ,seminare la la cui sola voceSlayer eccezioneimpietosamente è effettivamente, in quanto di Megadeth gliad un aggressività, ,traguardo per ciò che inarrivabile e concerne per i cambi ogni dialtro tempo, gruppo e lo thrash) fa con ela a disinvoltura rivaleggiare di con chi ilè meglioperfettamente di capace di passare da uno stille all'altro con consapevole determinazione e sicurezza. Anche ilAlice titolo inè da". Wonderland manuale, efficace, come è, nel suo parodiare " Questo non è un album di thrash, ma l'album di thrash per eccellenza, il cui unico difetto, rispetto ai lavori discografici dei gruppi sopra citati, è quello di essere uscito fuori tempo massimo, a ridosso dell'esplosione grunge, quindi ben lontano dall'inventare un genere, limitandosi semplicemente a perfezionarlo, ancorché in termini eccelsi. -
Reading the Intersection of Racial and Sexual Marginalization in Rex Vs Singh and Seeking Single White Male
Journal of Ethnic and Cultural Studies Copyright 2019 2019, Vol. 6, No. 1, 1-14 ISSN: 2149-1291 Confronting Ambiguity: Reading the Intersection of Racial and Sexual Marginalization in Rex vs Singh and Seeking Single White Male Yilong Liu1, Soyang Park2 OCAD University, Toronto, Canada This qualitative study of two Canadian films examines how filmmakers and artists explore racial and sexual marginalization and repression in Canada through an in-depth analysis of the films’ visual, textual, and sonic elements. Rex vs Singh (Greyson et al., 2008) and Seeking Single White Male (Shraya, 2010), using diverse cinematic devices and self-enacting performances, address different intersecting modes of racial and sexual marginalization against South Asian immigrants in historical and contemporary Canada. Using Louis Althusser’s concepts of Repressive State Apparatuses (RSAs) and Ideological State Apparatuses (ISAs) as a key framework, we identify “ambiguity” as a critical space to explore and examine the operation of the state policy (RSAs) in the early 20th century, and workings of the invisible ideology (white normativity) through enlisting their subjects to internalize the norm (ISAs) at present. This discussion is followed by an evaluation of how filmmakers and artists mobilize their “differential consciousness” (Chela Sandoval) to confront these ambiguities as mobile tactics that complement the ongoing race and gender liberation movements. Rather than providing definitive results or solutions, this research aids understanding of the continuing struggles of racialized sexual minorities in Canada—a country that has constitutionalized multiculturalism in 1971—in light of Canada’s 150th celebration (2017). Keywords: queer, gender and sexuality, film, ethnic studies, ambiguity. -
View Full Issue As
The Weekly Voice of Wisconsin's LGBT Community May 5-11, 1999 11 V. • Looking Ahead Through The Past They have lived through and helped foster one of the most remarkable social revolutions in America's history. The age of Gay liberation is largely a product of their efforts. Living laid the t0undation of our cur- surk. iked rent Gay culture. older Gays and in a Lesbians often find themselves society ignored by it. Nevertheless. for the that was most part. Gay seniors lead happy. tar more fulfilling lies. o nto- Many societies treat their older members with iJl lt reverence. In those cultures the word "elder" is a t han mark of respect. An elder is someone you consult present and learn from. An elder is someone who is recog- d a y nized for their past contributions. Our tarowI away. ,America "I want it now.- society races past those kk ho have is. preceded us. count- .z. The result is that many Americans, espe ;illy l eS S those who are Gay or Lesbian, tear growing older. Studies on AIDS I i IV pre ention );t\ e ways they have passed th;.it pride onto younger generations. even shown that some young people don't practice safe sex because they don't want to .roks During May, Older _American Month, flisconsin Light salutes our LGBT Wisconsin old. In an Internet post. a young Gay man wrote that if he lived to be 35, he would kill him- seniors with a series of profiles telling their life stories. These profiles begin on page 6 in this self because life as a Gay man would no longer be worth living. -
Corporate Profile
Fae Pictures Inc. @FaePictures Los Angeles | Toronto +1 323 400 0610 www.faepictures.com [email protected] CORPORATE PROFILE The global media landscape today is ripe for a production company to declaratively operate with a modus operandi to DECOLONIZE HOLLYWOOD. Enter Fae Pictures. Founded in 2017 in Toronto & Los Angeles, Fae Pictures is a storytelling production company with a mandate to “Engage audiences with stories rooted in the perspectives of the Other.” We are committed to developing, producing, and delivering stories in a variety of mediums that impact the hearts and minds of audiences, while maximizing private investment through strategic packaging, government-based incentives, and innovative storytelling practices. Loosely defined under the categories of LGBTQ+, people of color, women, and differently-abled people, the Other encompasses a community of storytellers and audiences that have been wholly underserved in the motion picture industry, and one that we seek to have a strong and integral relationship with. The company’s strategy for employing its model has three key tenets that have been culled through experience in a disruptive and innovative media environment: 1. Engaging stories – Invest a majority of Fae Pictures’ capital into the curatorial and selective development, production, and exploitation of a lucrative catalogue of high-quality original stories; 2. Engaging audiences – Find the most effective and innovative means and medium of telling each story that not only reaches audiences, but keeps them actively invested as opposed to passively interested; 3. Engaging the Other – Work with under-represented talent and audiences domestically and internationally in marginalized spaces including the LGBTQ, people of color, women, and people who are differently-abled communities. -
Solar Energy Charity Helping Relieve Poverty Though the Provision of Solar Energy
Product Review: Joe Keithley Throbblehead by Aggronautix - Blogcritics... http://blogcritics.org/culture/article/product-review-joe-keithley-throbble... Solar Energy Charity Helping Relieve Poverty Though The Provision of Solar Energy. Join Us! www.Solar-Aid.org Public Service Ads by Google SECTIONS WRITERS PARTNERS MORE search blogcritics TV/Film Music Culture Sci/Tech Books Politics Sports Gaming Tastes Write for Blogcritics! Find out how. Home Culture Product Review: Joe Keithley Throbblehead by Aggronautix "A sinister cabal of superior writers." Product Review: Joe Keithley Throbblehead by Aggronautix Share 1 retweet Author: Greg Barbrick — Published: May 06, 2010 at 5:47 pm 0 comments Ads by Google Indie Music Punk TV Punk the Band Samia BC Culture Premium California Melodic Rock Advertise here now If you like Lagwagon, Jawbreaker or Alkaline Trio, you might like JAWS jawsattacks.com Canada's D.O.A. are considered by many to be the founders of hardcore, and are currently celebrating their 30th anniversary. The three-piece group has been through countless line-up changes over the years, but the one constant has been Joey "Shithead" Keithley. Joey, Chuck Biscuits, and Randy Rampage comprised the original version of D.O.A., and recorded two classics of the genre: Something Better Change (1980) and Hardcore '81 (1981). From then on, it was the Joey Shithead show. He carried on with various members, to release a number of great punk albums, plus the monumental live document, Talk Minus Action Equals Zero (1991). Now that he has been inducted into the Canadian Independent Music Hall Of Fame, and been named by The Vancouver Sun newspaper as one of "British Columbia's Most Influential People Of All Time," it is time for the ultimate honor. -
Three ,Modest Prop Canadian Film "In by John Harkness
Three ,Modest Prop Canadian Film "In by John Harkness After looking at it for a long time, I've decided that Canadian Cinema is just fine. We make excep- tional films like Jesus de Montreal, Dead Ringers and Thirty-two Short Films About Glenn Gould. We • make interesting films like Masala. We make deadly dull films like The Lotus Eaters and The Burning Season. In the long run, it doesn't matter much what anyone says about the film industry, which will continue to lumber slowly along, much as it has for the past decade or so. Instead, I've decided to offer a series of proposals that I think would do the film business and the Canadian soul a world of good. They will no doubt be ignored. I prefer to think of myself as being ahead of my time. CLOSE ALL FILM SCHOOLS FOR AT LEAST FIVE YEARS We have more filmmakers than we have projects for them to make, yet our film schools keep churning out little baby directors. Jean Renoir, Kenji Mizoguchi, David Lean, John Ford, Howard Hawks, Orson Welles, Steven Spielberg, Federico Fellini, Billy Wilder, David Cronenberg - none of these people went to film school. More great films have been made by people who never saw the inside of a film school than by people with graduate degrees in filmmaking. I also have considerable doubts about what they are being taught. A few years ago, a friend of mine was working for the Academy of Canadian Cinema on their director-observer program that took young filmmaking students and put them on the sets of actual, in-production films. -
Nikola Stepic
RELIGION & CULTURE Volume 26, no. 2 The JRC would like to acknowledge the support of sponsors from within the Concordia University community: Dean of Students (Concordia Council on Student Life Special Projects Committee) Department of Religion Research & Graduate Studies Faculty of Arts & Sciences Office of the Vice-President Services We would also like to offer our special thanks to: Lynda Clarke, our very supportive department Chair; Tina Montandon and Munit Merid, administrators extraordinaire; The executive staff of the CRSA, for letting us drop by all their wine and cheese events; all of our referees, readers and everyone else who gave their time to the publication of this journal. A Canadian Graduate Student Journal 2016 Volume 26, no. 1 & 2 Journal Committee Executive Committee Alexander Nachaj Editor-in-Chief Elyse MacLeod Article Editor Joseph E. Brito Publication Editor Georgia Carter Book Review Editor Editorial Board Faculty Advisors Anthony Easton Marc P. Lalonde Laurel Andrew Marcel Parent Dalia Ramirez Cote Steven Lapidus Carly Daniel-Hughes André Gagné Jean-Michel Roessli The Journal of Religion and Culture is produced by the Graduate Students of the Department of Religion at Concordia University. © 2016 Journal of Religion and Culture, Concordia University, Montreal, Quebec. ISSN 1198-6395 Journal of Religion and Culture Volume 26, no. 1 & 2 (2015/2016) All rights reserved. No part of this journal may be used or reproduced in any matter without the express written permission of the editors except in the case of brief quotations embedded in critical articles and reviews. For information: Journal of Religion and Culture, Department of Religion (FA-101) Concordia University 1455 de Maisonneuve O., Montreal, Quebec H3G 1M8 JRC logo designed: Christopher Burkart Book design: Joseph E. -
The Topp Twins: Untouchable Girls
PRESENTS THE TOPP TWINS: UNTOUCHABLE GIRLS A film directed by Leanne Pooley PRESS KIT April 2010 Runtime: 84 minutes USA PUBLICITY CONTACT: Jim Dobson, INDIE PR | e: [email protected] | p: (818) 753 0700 | c: (323) 896 6006 PRODUCTION COMPANY CONTACT: Arani Cuthbert, Producer | e: [email protected] | p: +64 9 360 9852 CONTENTS Synopsis 3 Awards 5 Screenings 6 What the Press Say 7 Director‟s Statement 11 Producer‟s Statement 13 About the Filmmakers 14 The Topp Twins‟ Biography 17 Quotes from the Movie 19 The Topp Twins‟ Characters 21 Camp Mother‟s delicious recipe for hot scones 22 How to make Ken Moller‟s fly 23 - The „Camp Mother Wuzzywing, Moist Fly‟ Credits 24 Select Press Reviews 30 (Movie and Topp Twins general) 2 SYNOPSIS Winner of the Cadillac People‟s Choice Award at the Toronto International Film Festival 2009 „The Topp Twins: Untouchable Girls‟ tells the story of the world‟s only comedic, singing, yodelling lesbian twin sisters, Lynda and Jools Topp, whose political activism and unique brand of entertainment has helped change New Zealand‟s social landscape. In the process they have become well-loved cultural icons. This is the first time that the irrepressible Kiwi entertainment double act, Jools and Lynda Topp's extraordinary personal story has been told. As well as rarely seen archive footage and home movies, the film features a series of special interviews with some of the Topp's infamous comedy alter-egos including candid chats with the two Kens, Camp Mother and Camp Leader, the Bowling Ladies and the Posh Socialite sisters, Prue and Dilly. -
America's Hardcore.Indd 278-279 5/20/10 9:28:57 PM Our First Show at an Amherst Youth Center
our first show at an Amherst youth center. Scott Helland’s brother Eric’s band Mace played; they became The Outpatients. Our first Boston show was with DYS, The Mighty COs and The AMERICA’S HARDCORE FU’s. It was very intense for us. We were so intimidated. Future generations will fuck up again THE OUTPATIENTS got started in 1982 by Deep Wound bassist Scott Helland At least we can try and change the one we’re in and his older brother Eric “Vis” Helland, guitarist/vocalist of Mace — a 1980-82 — Deep Wound, “Deep Wound” Metal group that played like Motörhead but dug Black Flag (a rare blend back then). The Outpatients opened for bands like EAST COAST Black Flag, Hüsker Dü and SSD. Flipside called ’em “one of the most brutalizing live bands In 1980, over-with small cities and run-down mill towns across the Northeast from the period.” 1983’s gnarly Basement Tape teemed with bored kids with nothing to do. Punk of any kind earned a cultural demo included credits that read: “Play loud in death sentence in the land of stiff upper-lipped Yanks. That cultural isolation math class.” became the impetus for a few notable local Hardcore scenes. CANCEROUS GROWTH started in 1982 in drummer Charlie Infection’s Burlington, WESTERN MASSACHUSETTS MA bedroom, and quickly spread across New had an active early-80s scene of England. They played on a few comps then 100 or so inspired kids. Western made 1985’s Late For The Grave LP in late 1984 Mass bands — Deep Wound, at Boston’s Radiobeat Studios (with producer The Outpatients, Pajama Slave Steve Barry). -
DAVID WILLIAMSON Study Guide
What I Wrote David Williamson Teacher’s Notes Introduction This study guide to accompany What I Wrote: David Williamson has been written for senior secondary students. It provides information and suggestions for learning activities in English, Literature, Theatre Studies and Drama. What I Wrote: David Williamson is a DVD on Australian playwright David Williamson. Dr Tess Brady interviews Williamson and provides a critical introduction to The Removalists (1972), Don’s Party (1973), The Club (1978), Travelling North (1980), Gallipoli (1981) Brilliant Lies (1993), Sanctuary (1994), Dead White Males (1995), The Great Man (2000), The Jack Manning Trilogy (2002), Soulmates (2003), and Influence (2005). The DVD also in� cludes an investigation of Williamson’s approach to writing for the stage. What I Wrote: David Williamson is one title from a series of DVDs spotlighting Australian playwrights. The series offers students information about the ideas and processes of the playwrights, as well as the opportunity to hear what the writers have to say about their work. Other titles available in the What I Wrote series include: Series 1: • What I Wrote: Matt Cameron • What I Wrote: Louis Nowra • What I Wrote: Hannie Rayson • What I Wrote: Katherine Thomson Series 2: • What I Wrote: Debra Oswald • What I Wrote: Andrew Bovell How to Buy the DVDs • What I Wrote: �������������oanna Murray������Smith The DVDs are available from Ronin Films at: http://www.roninfilms.com.au Find Out More Info Further information about the series and film trailers How to Buy the Play Scripts can be found at: http://www.whatiwrote.com.au or on The play scripts are available from Currency Press at: YouTube http://www.youtube.com/pinkcat1 http://www.currency.com.au/ About the Filmmakers Dr Tess Brady interactive websites and advertising.