The Ocean Road
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Sideways Title Page
SIDEWAYS by Alexander Payne & Jim Taylor (Based on the novel by Rex Pickett) May 29, 2003 UNDER THE STUDIO LOGO: KNOCKING at a door and distant dog BARKING. NOW UNDER BLACK, A CARD -- SATURDAY The rapping, at first tentative and polite, grows insistent. Then we hear someone getting out of bed. MILES (O.S.) ...the fuck... A door is opened, and the black gives way to blinding white light, the way one experiences the first glimpse of day amid, say, a hangover. A worker, RAUL, is there. MILES (O.S.) Yeah? RAUL Hi, Miles. Can you move your car, please? MILES (O.S.) What for? RAUL The painters got to put the truck in, and you didn’t park too good. MILES (O.S.) (a sigh, then --) Yeah, hold on. He closes the door with a SLAM. EXT. HIDEOUS APARTMENT COMPLEX - DAY SUPERIMPOSE -- SAN DIEGO, CALIFORNIA Wearing only underwear, a bathrobe, and clogs, MILES RAYMOND comes out of his unit and heads toward the street. He passes some SIX MEXICANS, ready to work. 2. He climbs into his twelve-year-old convertible SAAB, parked far from the curb and blocking part of the driveway. The car starts fitfully. As he pulls away, the guys begin backing up the truck. EXT. STREET - DAY Miles rounds the corner and finds a new parking spot. INT. CAR - CONTINUOUS He cuts the engine, exhales a long breath and brings his hands to his head in a gesture of headache pain or just plain anguish. He leans back in his seat, closes his eyes, and soon nods off. -
Stephen Frears Par Eithne O'neill
STEPHEN FREARS PAR EITHNE O'NEILL Collection dirigée par Francis Bordat RIVAGES Du même auteur: Lubitsch ou la satire romanesque, en collaboration avec Jean-Loup Bourget, Stock, 1987; rééd. Flammarion, coll. «Champs Contre-Champs », 1990. Crédits photographiques : British Film Institute (pages 15, 17, 26, 28, 29, 35, 37, 39, 41, 43, 77, 79, 81, 84, 87, 90, 92, 103 haut, 105, 109, 135), archives Cahiers du cinéma (couverture, pages 47, 50, 101, 129), collection Michel Ciment (pages 12, 14, 16, 18, 20, 21, 23, 25, 31, 44, 45, 52, 55, 57, 58, 59, 60, 62, 64, 65, 66, 67, 69, 70, 71, 72, 97, 99, 102, 103 bas, 104, 106, 107, 108 bas, 111, 116, 126, 128, 131, 134, 136, 137, 164, 166, 167, 178, 182, 184, 187, 190, 191, 199, 204, 208, 209, 211), ITC Entertainment (pages 82, 83), Neville Smith (pages 108 haut, 143). © Éditions Payot & Rivages, 1994 106, bd Saint-Germain 75006 PARIS ISBN: 2 - 86930 - 844 - 2 ISSN: 0298 - 0088 A Joëlle Pour leur aide et leur collaboration, je tiens à remercier les personnes suivantes: Neville Smith, romancier, scénariste, acteur et musicien ; Hanif Kureishi, qui m'a autorisée à reproduire son «Intro- duction à My Beautiful Laundrette » ; Christian Bourgois, qui m'a autorisée à reproduire le texte de Hanif Kureishi dans sa traduction française; Patrick O'Byrne, sans qui ce livre n'aurait pas pu être écrit; Reinbert Tabbert; Michael Dwyer, critique de cinéma, The Irish Times ; Michel Ciment ; Hubert Niogret ; Jon Keeble (ITC), qui a organisé pour moi une projection de Bloody Kids ; Maria Stuff, independent film resear- cher, Londres ; Kathleen Norrie ; Maeve Murphy ; Kate Lenehan; Jacques Bover; et Neville Smith, qui a bien voulu me prêter les photos prises par lui. -
The Runners of Shawnee Road
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Fall 12-20-2013 The Runners of Shawnee Road Melissa Remark University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Fiction Commons Recommended Citation Remark, Melissa, "The Runners of Shawnee Road" (2013). University of New Orleans Theses and Dissertations. 1761. https://scholarworks.uno.edu/td/1761 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. The Runners of Shawnee Road A Thesis Submitted to the Graduate Faculty of The University of New Orleans in partial fulfillment of the requirements for the degree of Master of Fine Arts in Film, Theater and Communication Arts Creative Writing by Melissa Remark B.A. Trent University, 2010 Diploma, Humber College, 2000 December, 2013 The Sheeny Man rides through the streets pulling his wagon of junk. Sometimes he is black, sometimes he is white, and sometimes he is French. -
Stories of the Fallen Willow
Stories of the Fallen Willow by Jessica Noel Casimir Senior Honors Thesis Department of English and Comparative Literature April 2020 1 dedication To my parents who sacrifice without hesitation to support my ambitions, To my professors who invested their time and shared their wisdom, And to my fellow-writer friends made along the way. Thank you for the unconditional support and words of encouragement. 2 table of contents Preface…………………………………………………………………………….4 Sellout……………………………………………………………………………..9 Papercuts…………………………………………………………………………24 Static……………………………………………………………………………...27 Dinosaur Bones………………………………………………………………..…32 How to Prepare for a Beach Trip in 4 Easy Steps………………………………..37 A Giver…………………………………………………………………………...39 Hereditary………………………………………………………………………...42 Tomato Soup…………………………………………………………………...…46 A Fair Trade………………………………………………………………………53 Fifth Base…………………………………………………………………………55 Remembering Bennett………………………………………………………….…60 Yellow Puddles……………………………………………………………………69 Head First…………………………………………………………………...…….71 3 preface This introduction is meant to be a moment of honesty. So, I’ll be candid in saying that this is my eighth attempt at writing it. I’ve started and stopped, deleted and retyped, closed my laptop and reopened it. Never in my life have I found it this difficult to write, never in my life has my body physically ached at the thought of sitting down and spending time in my own headspace. Right now, my headspace is the last place on earth I want to be. I’ve decided that this will be my last attempt at writing, and whatever comes out now will remain on the page. I am currently sitting on my couch under a pile of blankets, reclined back as far as my seat will allow me to go. My Amazon Alexa is belting music from an oldies playlist, and my dad is sitting at the kitchen table singing along to “December, 1963” by The Four Seasons as he works. -
Finishing Skills
Finishing Skills Sarah K. Inman Livingston Press The University of West Alabama CHAPTER ONE BACKSTAGE, WATSON SMEARED my face with petroleum jelly that we’d borrowed from another fighter. Our jar of Vaseline and our corner’s bucket were missing. Where the fuck were they? It was karma for what Jenna, the other pro female from the Academy, did last week; sly, she walked out of Boomtown Casino with a pair of eight-ounce gloves used in one of the bouts. They weren’t even good for sparring, so Jenna gave them to one of the newcomers to work the heavy bags. Jenna’s habit of stealing useless crap filled our gym with odd-sized gloves, cracked mirrors, and a scale that was off by two pounds. Watson had sent Darnel, one of the gym rats, to find our stuff or to borrow what we were missing, Vaseline, gauze, tape, ice; I’d packed my own mouthpiece. “How did Jenna make out?” I didn’t want to ask because I sensed that she’d lost, but I needed to break the silence. Jenna had fought early on the card, and I had been too nervous to poke my head into the crowd at the Pontchartrain Center to watch her. I was making my pro debut at a memorial event fund-raiser, held for two New Orleans police officers who had died in a freak New Year’s Eve explosion. “She had a good fight,” Watson said. His thick moustache perched above his upper lip, like a small animal. I had the sense the thing could sprout little legs and run off on its own. -
In the Supreme Court of California
IN THE SUPREME COURT OF CALIFORNIA THE PEOPLE, Plaintiff and Respondent, v. THOMAS LEE BATTLE, Defendant and Appellant. S119296 San Bernardino County Superior Court FVI012605 July 1, 2021 Justice Cuéllar authored the opinion of the Court, in which Chief Justice Cantil-Sakauye and Justices Corrigan, Kruger, Groban, and Jenkins concurred. Justice Liu filed a dissenting opinion. PEOPLE v. BATTLE S119296 Opinion of the Court by Cuéllar, J. Defendant Thomas Lee Battle was convicted of kidnapping and killing Shirley and Andrew Demko after burglarizing and robbing their home. The jury returned a death verdict, and the trial court sentenced Battle to death. This appeal is automatic. (Pen. Code, § 1239, subd. (b).)1 Battle contends that the trial court made several errors during the guilt and penalty phases of his trial. We find no error and affirm the trial court judgment. I. BACKGROUND In November 2001, the San Bernardino District Attorney filed an information charging Battle with two counts of murder (§ 187, subd. (a)), one count of first degree residential burglary (§ 459), one count of first degree residential robbery (§ 211), and two counts of kidnapping (§ 207). The information also alleged the following: All the offenses were serious felonies (§ 1192.7, subd. (c)) and violent felonies (§ 667.5, subd. (c)); during the commission and attempted commission of these offenses Battle personally used a knife, a deadly and dangerous weapon (§ 12022, subd. (b)(1)), causing the offenses to be serious felonies (§ 1192.7, subd. (c)(23)); in 1995 Battle suffered a prior conviction for burglary (§ 459), a serious or violent felony (§§ 667, subd. (b), 1 All statutory references are to the Penal Code unless otherwise noted. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
Modes of Expression in the Songs of Aimee Mann Amy M
Macalester College DigitalCommons@Macalester College Music Honors Projects Music Department 5-20-2008 Modes of Expression in the Songs of Aimee Mann Amy M. Coddington Macalester College, [email protected] Follow this and additional works at: https://digitalcommons.macalester.edu/musi_honors Recommended Citation Coddington, Amy M., "Modes of Expression in the Songs of Aimee Mann" (2008). Music Honors Projects. 4. https://digitalcommons.macalester.edu/musi_honors/4 This Honors Project - Open Access is brought to you for free and open access by the Music Department at DigitalCommons@Macalester College. It has been accepted for inclusion in Music Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Modes of Expression in the Songs of Aimee Mann Amy M. Coddington Senior Honors Thesis Advisor: Mark Mazullo Readers: Chris Gable and Peter Mercer-Taylor Macalester College, Music Department Spring 2008 2 Table of Contents Abstract 3 Introduction 4 Song analyses I. How Am I Different (Bachelor No. 2, 2000) 8 II. That’s How I Knew This Story Would Break My Heart (The Forgotten Arm, 2005) 13 III. Choice in the Matter (I’m With Stupid, 1995) 16 IV. Invisible Ink (Lost in Space, 2002) 20 V. The Fall of the World’s Own Optimist (Bachelor No.2, 2000) 25 Conclusion 31 Acknowledgements 33 Appendix I: Chordal analyses and lyrics of songs 34 Appendix II: Works Consulted 44 3 Abstract Singer-songwriter Aimee Mann has been creating music, both as a solo artist and as a former member of the band 'Til Tuesday, for the past twenty years. -
Report Artist Release Tracktitle Streaming 2017 1Wayfrank Ayegirl
Report Artist Release Tracktitle Streaming 2017 1wayfrank Ayegirl - Single Ayegirl Streaming 2017 2 Brothers On the 4th Floor Best of 2 Brothers On the 4th Floor Dreams (Radio Version) Streaming 2017 2 Chainz TrapAvelli Tre El Chapo Jr Streaming 2017 2 Unlimited Get Ready for This - Single Get Ready for This (Yar Rap Edit) Streaming 2017 3LAU Fire (Remixes) - Single Fire (Price & Takis Remix) Streaming 2017 4Pro Smiler Til Fjender - Single Smiler Til Fjender Streaming 2017 666 Supa-Dupa-Fly (Remixes) - EP Supa-Dupa-Fly (Radio Version) Lets Lurk (feat. LD, Dimzy, Asap, Monkey & Streaming 2017 67 Liquez) No Hook (feat. LD, Dimzy, Asap, Monkey & Liquez) Streaming 2017 6LACK Loyal - Single Loyal Streaming 2017 8Ball Julekugler - Single Julekugler Streaming 2017 A & MOX2 Behøver ikk Behøver ikk (feat. Milo) Streaming 2017 A & MOX2 DE VED DET DE VED DET Streaming 2017 A Billion Robots This Is Melbourne - Single This Is Melbourne Streaming 2017 A Day to Remember Homesick (Special Edition) If It Means a Lot to You Streaming 2017 A Day to Remember What Separates Me from You All I Want Streaming 2017 A Flock of Seagulls Wishing: The Very Best Of I Ran Streaming 2017 A.CHAL Welcome to GAZI Round Whippin' Streaming 2017 A2M I Got Bitches - Single I Got Bitches Streaming 2017 Abbaz Hvor Meget Din X Ikk Er Mig - Single Hvor Meget Din X Ikk Er Mig Streaming 2017 Abbaz Harakat (feat. Gio) - Single Harakat (feat. Gio) Streaming 2017 ABRA Rose Fruit Streaming 2017 Abstract Im Good (feat. Roze & Drumma Battalion) Im Good (feat. Blac) Streaming 2017 Abstract Something to Write Home About I Do This (feat. -
Note: This Show Periodically Replaces Their Ad Breaks with New Promotional Clips. Because of This, Both the Transcription for Th
Note: This show periodically replaces their ad breaks with new promotional clips. Because of this, both the transcription for the clips and the timestamps after them may be inaccurate at the time of viewing this transcript. 00:00:00 Music Music “Mr. and Mrs. Tideman” from The Final Countdown: Complete Original Motion Picture Score by John Scott. Swelling, sentimental strings with occasional disorienting flexatone plays quietly throughout the introduction. 00:00:01 John Host If you were the captain of an aircraft carrier—a nuclear, 1980s Roderick aircraft carrier full of F-14 Tomcats and helicopters and space shuttles and MTV and cocaine and atom bombs and chicken tetrazzini, and you sailed through a screechy time hole back to December 6th of 1941, what would you do? I’ll tell you what I wouldn’t do. I wouldn’t give much of a damn about Pearl Harbor. I mean, sure: it’s a big deal, and I would definitely be struck by the heavy overtones of popping back in time to precisely this hour. And I’d wonder aloud if maybe the time travel time thing was instigated by UFOs or forces beyond my comprehension in order to—see, I don’t know. What, play games? I would spend a little bit of time alone in my cabin wondering if an advanced civilization that had the power to time travel aircraft carriers wouldn’t also be able to pit F-14’s against Zeros all day and night in their space bathtubs far more economically. I guess I’d run the numbers on that and conclude that if this was some UFO game board, why wouldn’t I make it more interesting? I know a lot of people would want to go right away to kill Hitler. -
Diversity Readings
Compiled by SCC English Faculty 1 From “There Is No Hierarchy of Oppressions” by Audre Lorde I was born Black, and a woman. I am trying to become the strongest person I can become to live the life I have been given and to help effect change toward a liveable future for this earth and for my children. As a Black, lesbian, feminist, socialist, poet, mother of two including one boy and a member of an interracial couple, I usually find myself part of some group in which the majority defines me as deviant, difficult, inferior or just plain "wrong." From my membership in all of these groups I have learned that oppression and the intolerance of difference come in all shapes and sexes and colors and sexualities; and that among those of us who share the goals of liberation and a workable future for our children, there can be no hierarchies of oppression. I have learned that sexism and heterosexism both arise from the same source as racism. "Oh," says a voice from the Black community, "but being Black is NORMAL!" Well, I and many Black people of my age can remember grimly the days when it didn't used to be! I simply do not believe that one aspect of myself can possibly profit from the oppression of any other part of my identity. I know that my people cannot possibly profit from the oppression of any other group which seeks the right to peaceful existence. Rather, we diminish ourselves by denying to others what we have shed blood to obtain for our children. -
Stephen Frears: Moje Piękne Kino
Bartosz Kazana Stephen Frears: moje piękne kino W jedynej dotychczas w Polsce próbie podsumowania twórczości Stephena Fre- arsa Ewa Mazierska przywołuje naszkicowany przez André Bazina podział reżyse rów filmowych „na tych, którzy wierzą w rzeczywistość i tych, którzy wierzą w obraz (czyli nierzeczywistość)”1. I choć Bazin opowiada się po stronie tych pierwszych, schemat ten nie ma hierarchizować ani wartościować twórczości filmowej, a jedynie ułatwiać jej spójne ujęcie. Frears należy do tych reżyserów, w przypadku których nie jest to jednak możliwe. Jego twórczość jest zbyt eklektyczna - obok filmów o niemal reporterskim zapisie rzeczywistości nie brakuje obrazów, w których jest ona efektem aktu kreacji. W owej dychotomii wielu badaczy upatruje słabość i brak zdecydowania, uznając twórczość Frearsa za mało autorską. Niechętny kategoryzowaniu i podsumo wywaniu swoich dokonań, reżyser ripostuje, podkreślając, że nie czuje się „autorem” w rozumieniu ukutym przez zwolenników polityki autorskiej, ponieważ przytaczana przez nich definicja tożsama jest raczej z definicją „artysty”, a za takiego się nie uważa. Chcąc potwierdzić swoje słowa przywołuje francuskich teoretyków: „Kiedy francuscy twórcy skupieni wokół «Cahiers du cinéma» odkryli kino amerykańskie, zorientowali się, że twórczość takich reżyserów, jak Minnelli, Hitchcock i Ford, realizujących filmy dla dużych wytwórni, cechuje określona spójność. Trudno było im się do tego usto sunkować, ponieważ reżyserzy ci nigdy nawet nie montowali swoich filmów. Dlatego też wprowadzono pojęcie «autora» dla określenia sytuacji, w której ów «pracownik fabryki», odciska na produkcie własne piętno”2. Kino amerykańskie jest zatwm bli skie Frearsowi nie tylko w kwestii postrzegania roli reżysera, ale przede wszystkim ze względu na klasyczne kino gatunków. Obok tradycji Royal Court Theatre i kina „młodych gniewnych” głównym źródłem inspiracji dla twórczości filmowej Frearsa są tacy reżyserzy, jak choćby Howard Hawks, John Ford, Ernst Lubitsch i wspomnia ny Hitchcock.