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9 SONGS-B+W-TOR
9 SONGS AFILMBYMICHAEL WINTERBOTTOM One summer, two people, eight bands, 9 Songs. Featuring exclusive live footage of Black Rebel Motorcycle Club The Von Bondies Elbow Primal Scream The Dandy Warhols Super Furry Animals Franz Ferdinand Michael Nyman “9 Songs” takes place in London in the autumn of 2003. Lisa, an American student in London for a year, meets Matt at a Black Rebel Motorcycle Club concert in Brixton. They fall in love. Explicit and intimate, 9 SONGS follows the course of their intense, passionate, highly sexual affair, as they make love, talk, go to concerts. And then part forever, when Lisa leaves to return to America. CAST Margo STILLEY AS LISA Kieran O’BRIEN AS MATT CREW DIRECTOR Michael WINTERBOTTOM DP Marcel ZYSKIND SOUND Stuart WILSON EDITORS Mat WHITECROSS / Michael WINTERBOTTOM SOUND EDITOR Joakim SUNDSTROM PRODUCERS Andrew EATON / Michael WINTERBOTTOM EXECUTIVE PRODUCER Andrew EATON ASSOCIATE PRODUCER Melissa PARMENTER PRODUCTION REVOLUTION FILMS ABOUT THE PRODUCTION IDEAS AND INSPIRATION Michael Winterbottom was initially inspired by acclaimed and controversial French author Michel Houellebecq’s sexually explicit novel “Platform” – “It’s a great book, full of explicit sex, and again I was thinking, how come books can do this but film, which is far better disposed to it, can’t?” The film is told in flashback. Matt, who is fascinated by Antarctica, is visiting the white continent and recalling his love affair with Lisa. In voice-over, he compares being in Antarctica to being ‘two people in a bed - claustrophobia and agoraphobia in the same place’. Images of ice and the never-ending Antarctic landscape are effectively cut in to shots of the crowded concerts. -
The Balkan Vlachs/Aromanians Awakening, National Policies, Assimilation Miroslav Ruzica Preface the Collapse of Communism, and E
The Balkan Vlachs/Aromanians Awakening, National Policies, Assimilation Miroslav Ruzica Preface The collapse of communism, and especially the EU human rights and minority policy programs, have recently re-opened the ‘Vlach/Aromanian question’ in the Balkans. The EC’s Report on Aromanians (ADOC 7728) and its separate Recommendation 1333 have become the framework for the Vlachs/Aromanians throughout the region and in the diaspora to start creating programs and networks, and to advocate and shape their ethnic, cultural, and linguistic identity and rights.1 The Vlach/Aromanian revival has brought a lot of new and reopened some old controversies. A increasing number of their leaders in Serbia, Macedonia, Bulgaria and Albania advocate that the Vlachs/Aromanians are actually Romanians and that Romania is their mother country, Romanian language and orthography their standard. Such a claim has been officially supported by the Romanian establishment and scholars. The opposite claim comes from Greece and argues that Vlachs/Aromanians are Greek and of the Greek culture. Both countries have their interpretations of the Vlach origin and history and directly apply pressure to the Balkan Vlachs to accept these identities on offer, and also seek their support and political patronage. Only a minority of the Vlachs, both in the Balkans and especially in the diaspora, believes in their own identity or that their specific vernaculars should be standardized, and that their culture has its own specific elements in which even their religious practice is somehow distinct. The recent wars for Yugoslav succession have renewed some old disputes. Parts of Croatian historiography claim that the Serbs in Croatia (and Bosnia) are mainly of Vlach origin, i.e. -
Presents a Film by Michael Winterbottom 104 Mins, UK, 2019
Presents GREED A film by Michael Winterbottom 104 mins, UK, 2019 Language: English Distribution Publicity Mongrel Media Inc Bonne Smith 217 – 136 Geary Ave Star PR Toronto, Ontario, Canada, M6H 4H1 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com Synopsis GREED tells the story of self-made British billionaire Sir Richard McCreadie (Steve Coogan), whose retail empire is in crisis. For 30 years he has ruled the world of retail fashion – bringing the high street to the catwalk and the catwalk to the high street – but after a damaging public inquiry, his image is tarnished. To save his reputation, he decides to bounce back with a highly publicized and extravagant party celebrating his 60th birthday on the Greek island of Mykonos. A satire on the grotesque inequality of wealth in the fashion industry, the film sees McCreadie’s rise and fall through the eyes of his biographer, Nick (David Mitchell). Cast SIR RICHARD MCCREADIE STEVE COOGAN SAMANTHA ISLA FISHER MARGARET SHIRLEY HENDERSON NICK DAVID MITCHELL FINN ASA BUTTERFIELD AMANDA DINITA GOHIL LILY SOPHIE COOKSON YOUNG RICHARD MCCREADIE JAMIE BLACKLEY NAOMI SHANINA SHAIK JULES JONNY SWEET MELANIE SARAH SOLEMANI SAM TIM KEY FRANK THE LION TAMER ASIM CHAUDHRY FABIAN OLLIE LOCKE CATHY PEARL MACKIE KAREEM KAREEM ALKABBANI Crew DIRECTOR MICHAEL WINTERBOTTOM SCREENWRITER MICHAEL WINTERBOTTOM ADDITIONAL MATERIAL SEAN GRAY EXECUTIVE PRODUCER DANIEL BATTSEK EXECUTIVE PRODUCER OLLIE MADDEN PRODUCER -
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Contradictions A Journal for Critical Thought Volume 2 number 2 (2018) THE EUROPEAN CAVE Jan Patočka and Cinema in Theo Angelopoulos’s Film Ulysses’ Gaze Alex Forbes Abstract: Th e image of a dismantled statue of Lenin from Ukraine being transported up the Danube in Th eo Angelopoulos’s 1995 fi lm Ulysses’ Gaze is the starting point for a dis- cussion of the fi lm’s urgent resonance with the questioning of “Europe” in the present day. Th is image foreshadows the destruction of Lenin statues in Ukraine during the ongoing civil war and is more than a fortuitous indicator of the historical context of the present Ukrainian crisis in the aftermath of the breakup of the Soviet Union in 1991. Exploring the territory of seven post-Cold War Eastern European states and ending amid the rubble and destruction of the besieged city of Sarajevo, Ulysses’ Gaze off ers a panoramic, yet highly subjective, depiction of a Europe undergoing a painful and as-yet-undecided transition. Th is article will show the strong connections between the understanding of Europe that emerges from the fi lm and that elucidated in the work of the Czech philosopher Jan Patočka. Both the fi lm and Patočka’s thought seek the European on a utopian level that transcends particular temporal and territorial borders, recalls Classical polity and philosophy, and consists primarily in introspective thinking. Th e recurrence, in today’s Europe, of questions from the immediate post-Cold War era indicates that the work of defi nition undertaken after 1989 is not yet completed and suggests that fi lms from that period may contain images that have the capacity to guide the process of understanding Europe in the present day. -
The Cinema of Michael Winterbottom, Deborah Allison (2013) Plymouth: Lexington, 224 Pp., ISBN: 798-0-7391-2583-0 (Pbk)
The Cinema of Michael Winterbottom, Deborah Allison (2013) Plymouth: Lexington, 224 pp., ISBN: 798-0-7391-2583-0 (pbk) About half-way through The Cinema of Michael Winterbottom, Deborah Allison cites Annette Kuhn’s observation that it is both more interesting and more important to discuss what film genres do than what they are (116). As part of the Genre Film Auteurs series, one of the principle objectives of Allison’s book is to investigate what it is that genre does in the work of Michael Winterbottom, one of the most extraordinarily prolific and controversial of contemporary British filmmakers. Thus, in each of the book’s eight chapters, Allison sets out to use genre as a ‘as a critical tool’ (x), focusing her attention on one of the director’s films and the variety of ways in which its dominant genre identity is constructed, inflected and, more often than not, inverted. In this way, despite a focus that is narrower than some auteur studies, Allison successfully unearths a variety of themes and characteristics that run throughout Winterbottom’s eclectic oeuvre. After a brief introduction setting out these objectives and their parameters, the first chapter begins with an investigation of Butterly Kiss (1995) and its relationship to the road movie. This is the earliest film discussed in the fifteen years of Winterbottom’s output covered in the book, and Allison’s discussion of it provides a useful foundation for the other chapters. Indeed, each chapter follows a broadly similar framework, beginning with a short plot synopsis before exploring each film in relation to its respective genre/s, discussing the ways in which the films draw on and challenge established genre codes and convention. -
Regulating Political Parties European Democracies in Comparative Perspective
Regulating Political Parties European Democracies in Comparative Perspective REGULATING POLITICAL PARTIES European Democracies in Comparative Perspective Edited by Ingrid van Biezen & Hans-Martien ten Napel Leiden University Press Cover design: Suzan Beijer Layout: CO2 Premedia ISBN 978 90 8728 218 9 e-ISBN 978 94 0060 195 6 (e-pdf) e-ISBN 978 94 0060 196 3 (e-pub) NUR 754 © Ingrid van Biezen / Hans-Martien ten Napel /Leiden University Press, 2014 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Th is book is distributed in North America by the University of Chicago Press (www.press.uchicago.edu). Table of contents Introduction 7 Ingrid van Biezen & Hans-Martien ten Napel Chapter 1: Democracy and the Legal Regulation of Political Parties 17 Richard S. Katz Chapter 2: Dilemmas of Regulating Political Finance, with Special Reference to the Dutch Case 45 Ruud Koole Chapter 3: Lessons from the Past: Party Regulation in the Netherlands 71 Remco Nehmelman Chapter 4: Th e Constitutionalization of Political Parties in Post-war Europe 93 Ingrid van Biezen Chapter 5: Party Laws in Comparative Perspective 119 Fernando Casal Bértoa, Daniela R. Piccio & Ekaterina R. Rashkova Chapter 6: Explaining Legislative Confl ict over the Adoption of Political Financing Law in the European Union 149 Wojciech Gagatek Chapter 7: Th e SGP Case: Did it Really (Re)Launch the Debate on Party Regulation in the Netherlands 181 Hans-Martien ten Napel & Jaco van den Brink Chapter 8: Will it All End in Tears? What Really Happens when Democracies Use Law to Ban Political Parties 195 Tim Bale table of contents Chapter 9: Ethnic Party Regulation in Eastern Europe 225 Ekaterina R. -
Scientific Report of Doctoral Research
Investeşte în oameni ! FONDUL SOCIAL EUROPEAN Programul Operaţional Sectorial pentru Dezvoltarea Resurselor Umane 2007 – 2013 Axa prioritară nr.1 „Educaţia şi formarea profesională în sprijinul creşterii economice şi dezvoltării societăţii bazate pe cunoaştere” Domeniul major de intervenţie 1.5 “Programe doctorale şi post-doctorale în sprijinul cercetării” Titlul proiectului: “Cultura română şi modele culturale europene: cercetare, sincronizare, durabilitate” Beneficiar: Academia Română Numărul de identificare al contractului: POSDRU/159/1.5/S/136077 Scientific Report of Doctoral Research Supervising Mentor: Professor Nicolae-Şerban TANAŞOCA, PhD Phd Candidate: Vladimir CREŢULESCU Bucharest, 2015 The Romanian Discourse on the Macedonian Aromanians (1860-1902): the Construction of a National Identity Supervising Mentor: Professor Nicolae-Şerban TANAŞOCA, PhD PhD Candidate: Vladimir CREŢULESCU This paper is supported by the Sectorial Operational Programme Human Resources Development (SOP HRD), financed from the European Social Fund and by the Romanian Government under the contract number SOP HRD/159/1.5/S/136077 Bucharest, 2015 SUMMARY INTRODUCTION.........................................................................................................................................................3 1. AROMANIAN IDENTITY AND THE FOREIGN TRAVELERS (1800 – 1860)..............................................6 1.1. FOREIGN TRAVELER,TRAVEL LITERATURE:CONCEPTS AND METHODOLOGY............................................6 1.2. THE TESTIMONY OF FRANÇOIS-CHARLES-HUGUES-LAURENT -
Greek Language Questions
Journal of Greek Linguistics 11 (2011) 249–257 brill.nl/jgl Review Article Doing without the Fez: Greek Language Questions Christopher Gerard Brown Th e Ohio State University [email protected] Abstract Th is defi nitive history of the Greek Language Controversy shows how Greek’s status as a prestige language galvanized a national movement attracting various ethnicities of the Millet-i rum . Th e status of classical Greek resonant in Adamantios Korais’s katharévousa helped consolidate the Greek state. An alternate demoticist programme, anticipated by Katartzis, developed in the Ionian Islands, and formulated by Psycharis, took hold through the eff orts of the Educational Demoticists. Standard Modern Greek is a synthesis of the two programmes—neither the phono- logically puristic Romaika of Psycharis nor an archaizing Schriftsprache, it retains elements of both. Keywords Diglossia , katharévousa , purism , Korais , Psycharis , sociolinguistics , Language Question , Language Controversy Peter Mackridge. Language and National Identity in Greece , 1766–1976 . Oxford: Oxford University Press. 2009. Since 1976 the Language Question that agitated the Greek-speaking world for some two hundred years is history, and in Peter Mackridge it has found its historian. Th e Language Controversy, as Mackridge translates the Greek το γλωσσικό ζήτημα, was a debate about nature of the Greek language, its historicity and perennity. Both sides wanted a standard national language to symbolize the continuity of Hellenism, a patent of succession to the prestige and authority of classical antiquity. Partisans of the puristic Schriftsprache sought to teach and improve a fallen people, to restore lost continuity and make them worthy of their heritage. -
Eastern European Film-5
EASTERN EUROPEAN CINEMA VS. HOLLYWOOD: BOSNIAN WAR FILMS HONORS THESIS Presented to the Honors Committee of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Stephanie Lauren Moore San Marcos, Texas May 2014 EASTERN EUROPEAN CINEMA VS. HOLLYWOOD: BOSNIAN WAR FILMS Thesis Supervisor: ________________________________ Kathleen R. McClancy, Ph.D, Department of English Second Reader: __________________________________ Peter Golato, Ph.D Department of Modern Languages Approved: ____________________________________ Heather C. Galloway, Ph.D. Dean, Honors College Abstract The Bosnian War was a conflict that occurred in a little known European country after the fall of the Iron Curtain and break-up of Yugoslavia in the early 1990s. The purpose of this study is to compare and contrast the films from the Hollywood and Eastern European arenas. This study will specifically examine the Hollywood blockbuster Behind Enemy Lines and the Serbian film, Pretty Village, Pretty Flame in contrast with one another. Each of these films creates a discourse which influences many other films about the war and how films about the conflict are presented. 1 Introduction The purpose of this thesis is to explore the differences that can be found between the film industries hailing from both Hollywood and the European film industry, specifically films from the former Yugoslavian republics. Hollywood's industry uses a plot and star driven style, while the European film industry is character and narrative driven. True Hollywood-style war films are films that rely heavily on the plot and star power of the film. Thomas Elsaesser, the author of European Cinema: Face to Face with Hollywood, characterizes Hollywood films as “a less particular place, (and as so often asserted) 'more a state of mind'; rather than restricting access, its lingua franca is English, and it wants to be a site available to all, the films are accessible from anywhere” (492). -
Some Thoughts on Europe, Balkan Cinema and Identity
Of Boundaries and Revolving Doors: Some Thoughts on Europe, Balkan Cinema and Identity KAREN VIRAG Recently, I was given a copy of University of Leicester professor Dina Iordanova’s impressive new book on Balkan cinema, Cinema of Flames: Balkan Film, Culture and the Media. Among the many issues addressed in this excellent and far-ranging work are cross-cultural representations of the Balkans; the relationship of the Balkans to the European cultural sphere; the siege of Sarajevo, perhaps the most emblematic conflict of the recent wars; the (im)possibility of taking sides in armed conflict; images of women and minorities; and how all these things affect and are affected by Balkan film. The power of Cinema of Flames can be measured in its manifold effects: first, I began a near orgy of Balkan film watching. I had seen some of the films before but was prompted to re-evaluate them in light of a broader cultural and historical awareness. Further, I was inspired to rethink previous assumptions about the meaning of boundaries, belonging and the notion of the state; in other words, to discover what all is in a name. And I was reminded that east and west are not just points on a compass. GO EAST, YOUNG WOMAN, GO EAST Some time back in the 1980s, when I told a friend that I was going to Hungary for the summer, she asked with great puzzlement, “Why would you go there?” Her reaction struck me as odd, a trip to Europe in the summer, a pilgrimage to the continent that gave us Michelangelo and Bach being a normal rite of passage for many Canadian university students. -
Grade 8: Module 1: Unit 2: Lesson 19 Launching Researching: Reading for Gist and Gathering Evidence Using the Research Guide
Grade 8: Module 1: Unit 2: Lesson 19 Launching Researching: Reading for Gist and Gathering Evidence Using the Research Guide This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Exempt third-party content is indicated by the footer: © (name of copyright holder). Used by permission and not subject to Creative Commons license. GRADE 8: MODULE 1: UNIT 2: LESSON 19 Launching Researching: Reading for Gist and Gathering Evidence Using the Research Guide Long-Term Targets Addressed (Based on NYSP12 ELA CCLS) I can conduct short research projects to answer a question. (W.8.7) I can use evidence from informational texts to support analysis, reflection, and research. (W.8.9) I can express my own ideas clearly during discussions, and I can build on other’s ideas during discussions. (SL.8.1) Supporting Learning Targets Ongoing Assessment • I can find the gist of informational texts. • Research Guide • I can select the strongest evidence in an informational text about who the refugees were, where they fled from, and why they had to flee. Created by Expeditionary Learning, on behalf of Public Consulting Group, Inc. © Public Consulting Group, Inc., with a perpetual license granted to Expeditionary Learning Outward Bound, Inc. NYS Common Core ELA Curriculum • G8:M1:U2:L19 • June 2014 • 1 GRADE 8: MODULE 1: UNIT 2: LESSON 19 Launching Researching: Reading for Gist and Gathering Evidence Using the Research Guide Agenda Teaching Notes 1. Opening • Although this lesson is in Unit 2, the research conducted will apply toward the final performance task and A. -
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Wettbewerb/IFB 2003 IN THIS WORLD AUF DER WELT IN THIS WORLD Regie:Michael Winterbottom Großbritannien 2002 Darsteller Jamal Jamal Udin Torabi Länge 90 Min. Enayat Enayatullah Format 35 mm, Mann im Reisebüro Imran Paracha Cinemascope Enayats Bruder Hiddayatullah Farbe Enayats Vater Jamau Enayats Onkel Wakeel Khan Stabliste Lal Zarin Buch Tony Grisoni Geldwechsler Ahsan Raza Kamera Marcel Zyskind Jamals Brüder Mirwais Torabi Schnitt Peter Christelis Amanullah Torabi Ton Stuart Wilson Bräutigam Abdul Ahmad Tonschitt Joakim Sundström Behrooz Hossain Baghaeian Mischung Tim Alban Kurdischer Vater Yaaghoob Nosraj Musik Dario Marianelli Poor Casting Wendy Brazington Kurdische Mutter Ghodrat Poor Produktionsltg.Iran Shahriar 2.kurdischer Vater Ahmad Azami Shahbazzadeh Kurdischer Sohn Yusef Azami Produzenten Andrew Eaton Türkischer Polizist Keram Atabeyoglu Anita Overland Fabrikchef Erham Sekizcan Executive Producers Chris Auty Jamal Udin Torabi Yusif Nabil Elouahabi David M.Thompson Co-Producer Behrooz Hashemian Associate Producer Fiona Neilson AUF DER WELT Eine Million afghanische Flüchtlinge leben in Peshawar, der pakistanischen Produktion Stadt gleich hinter der Grenze. Zuletzt kamen viele von ihnen im Oktober Revolution Films 2001 hierher, als die Amerikaner anfingen, ihr Land zu bombardieren. 9a Dallington Street Michael Winterbottoms Film, halbdokumentarisch mit der Digi-Cam an GB-London EC1V 0BQ Tel.:20-75 66 07 00 den Originalschauplätzen gedreht, erzählt die Geschichte zweier dieser Fax:20-75 66 07 01 Flüchtlinge [email protected] Jamal und Enayat sind Vettern. Jamal, der jüngere der beiden, ist Waise und in einem Flüchtlingslager untergebracht, tagsüber arbeitet er in einer Zie- Weltvertrieb gelei.Enayat verkauft Elektroartikel am Marktstand seines Vaters.Damit er es First Look Media 8000 Sunset Blvd.