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February/March 2008 Volume I; Issue 4 WE’RE ONLINE Please Enroll Me As a Member of the Larchmont Historical Society
February/March 2008 Volume I; Issue 4 Membership Form WE’RE ONLINE Please enroll me as a member of the Larchmont Historical Society. My tax- Visit us virtually deductible dues for one year are enclosed. Annual membership year is: The at September - June.. www.larchmonthistory.org __New Member __ Renewing Member Visit our ONLINE Please indicate membership category: PHOTO MUSEUM. ___Individual $ 15 Make checks payable & mail to: Gazebo Gazette Learn more ___Family $ 25 about ___Senior (65+)& Student $ 5 The Larchmont Historical Society ___Institutional or Business $ 40 P.O. Box 742 Newsletter of the Larchmont Historical Society LARCHMONT HISTORY ___Sustaining $ 50 Larchmont, NY 10538 ___Life (individual only) $150 Find out Larchmont Luminaries Series: eral summers renting a house on Park Ave. and was about I would like to volunteer to help on the following committee(s): sometimes seen walking her pet duck on a pink ribbon MONTHLY PROGRMS Film Chicks & A Classic Flick through Manor Park. And ___Spring House Tour ___Museum Planning ___Grant Research/ SPECIAL EVENTS ___Membership ___Newsletter Writing As a special treat, Leslie Holleran will introduce “ My ___Exhibits ___Fire History ___Century Homes Club In honor of Women’s History Best Girl” with a discussion of women in Join LHS, pay dues or make ___Publicity ___Monthly Programs ___Fundraising Month, we’re celebrating two of the film industry throughout history. Ms. a donation online. ___Archives ___Special Events Larchmont’s female film luminar- Holleran’s own career credits include “The ies from yesteryear and today. Cider House Rules,” “Chocolat”, “The Find out how to research your Come join us for a special viewing Shipping News”, “An Unfinished Life”, home, join CHC, or Volunteer, Name: of one-time Larchmonter Mary “Casanova” and “The Hoax.” She is cur- ALL ONLINE! Pickford’s “finest romantic com- rently in production of her latest film, edy” on the silent screen with a “Sammy.” Ms. -
Neues Von Uns Kindern Aus Bullerbü E-Mail [email protected] More About the Children of Noisy Village Dt
Schweden Sweden Retrospektive Kinderfilme Retrospective Children’s Films 1987, 89 Min., 35 mm, Farbe colour, deutsche Fas- sung German version Ab 6 Jahren 6 years and older Regie Director Lasse Hallström Drehbuch Screenplay Astrid Lindgren, nach ihrem gleichnamigen Roman Kamera Camera Jens Fischer, Rolf Lindström, Mats Ardström Schnitt Editing Susanne Linnman Musik Music Georg Riedel Rollen Cast Linda Bergström (Lisa), Crispin Dick- son-Wendenius (Lasse), Henrik Larsson (Bosse), Ellen Demerus (Britta), Anna Sahlin (Anna), Harald Lönn- bro (Olle), Tove Edfeldt (Kerstin), Elisabeth Nordkvist (Mellangårds-Maja), Ingwar Svensson (Mellangårds- Anders) Produktion Production Waldemar Bergendahl, AB Svensk Filmindustri Mer om oss bam i Bullerbyn Adresse Address 16986 Stockholm, Tel: +46 86 80 35 00, Fax: +46 87 10 44 60, Neues von uns Kindern aus Bullerbü e-mail [email protected] More About the Children of Noisy Village dt. Verleih German distr. MFA + Filmdistribution Bismarckplatz 9, 93047 Regensburg, Tel: +49 94 15 86 Die Kinder von Bullerbü lieben die Sommerferien, aber auch 24 62, e-mail [email protected] die Vorweihnachtszeit hat für sie ihre Reize. Doch bevor sie mit glänzenden Augen endlich vor dem Weihnachtsbaum stehen, Regisseur Lasse Hallström, geboren 1946 in Stock- sind noch jede Menge Vorbereitungen zu treffen: Plätzchen und holm, arbeitet seit 1991 vornehmlich in den USA, wo er Kuchen werden gebacken, Würste und Schinken gemacht, Ge- 1994 die Schauspielerin Lena Olin geheiratet hat. schenke gebastelt und der Weihnachtsbaum geschlagen und ge- schmückt. Nun kann es losgehen: Erwachsene und Kinder fei- Director Lasse Halström was born in 1946 in Stock- ern ein fröhliches Weihnachtsfest! Doch dann bricht der Schre- holm. -
Masarykova Univerzita V Brně
Masaryk University Faculty of Education Department of English Language and Literature Comparative Analysis of an NYC Accent as Performed by Non-native NYC Actors Bachelor Thesis Brno 2020 Supervisor: Author: Mgr. Irena Headlandová Kalischová, Ph.D. Pavla Spalová Bibliographical record Spalová, Pavla. Comparative Analysis of an NYC Accent as Performed by Non- native NYC Actors: bachelor thesis. Brno: Masaryk University, Faculty of Education, Department of English Language and Literature, 2020. 48 pages. The supervisor of the bachelor thesis: Mgr. Irena Headlandová Kalischová, Ph.D. Bibliografický záznam Spalová, Pavla. Comparative Analysis of an NYC Accent as Performed by Non- native NYC Actors: bachelor thesis. Brno: Masarykova univerzita, Pedagogická fakulta, Katedra anglického jazyka a literatury, 2020. 48 stran. Vedoucí bakalářské práce: Mgr. Irena Headlandová Kalischová, Ph.D. Abstract The title of this thesis is “Comparative Analysis of an NYC Accent as Performed by Non-native NYC Actors”. This accent is one of the most easily recognizable accents of American English, so it is interesting to see what it is about and how it is possible that some actors can imitate an accent that is not natural to them and yet sound natural. The thesis consists of two parts. The first part provides basic information about the differences in pronunciation of standard American English and the specifics of the New York accent. There is also information about accent coaching or mentoring and basic information on how such coaching works. The second part then presents the results of data analysis from pre-selected movie scenes, clearly comparing the selected samples in graphs and tables. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Faking, Forging, Counterfeiting
Daniel Becker, Annalisa Fischer, Yola Schmitz (eds.) Faking, Forging, Counterfeiting Daniel Becker, Annalisa Fischer, Yola Schmitz (eds.) in collaboration with Simone Niehoff and Florencia Sannders Faking, Forging, Counterfeiting Discredited Practices at the Margins of Mimesis Funded by the Elite Network of Bavaria as part of the International Doctoral Program MIMESIS. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3762-9. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivs 4.0 (BY-NC-ND) which means that the text may be used for non- commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contac- ting [email protected] © 2018 transcript Verlag, Bielefeld Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Cover concept: Maria Arndt, Bielefeld -
The Art of Deception: Aesthetics at the Perimeter of Truth HUM 598: Humanistic Perspectives on the Arts Spring 2011; Thursdays, 10Am-12:50Pm
The Art of Deception: Aesthetics at the Perimeter of Truth HUM 598: Humanistic Perspectives on the Arts Spring 2011; Thursdays, 10am-12:50pm D. Graham Burnett (History/History of Science) Princeton University hat is the relationship between art and falsehood? A significant tradition for W conceptualizing the arts has long defined their sphere by reference to doubling, fantasy, and betrayal: when we are in the realm of art, we have left the kingdom of the real—and our capacity for proper engagement depends to a considerable degree on our ability to maintain (or at least recover) an awareness of this fact. By these lights, the arts function as something like a safe house for lying, an Elysium for those good deceptions willing to declare themselves. But is all this correct? There are excellent reasons to think not. This course takes up the problem of truth and falsehood in the arts in a sustained way: we will sift the genealogy of current theoretical positions on this issue by means of close reading of classical and recent texts; we will investigate works of art (painting, sculpture, poetry, etc.) that engage these matters, with particular attention to gaming at the margins of the seemingly stable categories; we will weigh the political and critical implications of different postures in this large arena; and we will experiment with new perspectives and practices. WEEK 1: Introduction and Organizational Meeting (no reading) WEEK 2: Art and Truth: Confidence Games Herman Melville, The Confidence-Man; His Masquerade, [1857] (There are various suitable editions; I use the Library of America volume, which lumps this novella together with Pierre and various other things, but feel free to read it in any decent copy). -
The Doc, the Mock and the What? to My Philosophical Friend A-M, for Inspiring a Life of Freedom
The Doc, the Mock and the What? To my philosophical friend A-M, for inspiring a life of freedom. Örebro Studies in Media and Communication 23 MIRIAM VON SCHANTZ The Doc, the Mock, and the What? Events of Realing, Mockumentalities and the Becoming-Political of the Viewing Subject Cover illustration: Screenshot of the Prezi TittaFilm, 12th May, 2016 © Miriam von Schantz, 2018 Title: The Doc, the Mock, and the What? Events of Realing, Mockumentalities and the Becoming-Political of the Viewing Subject. Publisher: Örebro University 2018 www.oru.se/publikationer-avhandlingar Print: Örebro University, Repro 2/2018 ISSN 1651-4785 ISBN 978-91-7529-230-4 Abstract Miriam von Schantz (2018): The Doc, the Mock and the What? Events of Realing, Mockumentalities and the Becoming-Political of the Viewing Subject. Örebro Studies in Media and Communications 23. This study aims at making inquiry into what happens when a viewing subject encounters a film where it proves difficult to recognize if it is factual or fictional. In order to meet this aim the dissertation offers an experimental approach of both theoretical and methodological nature. Drawing on materialist-affective theory and Deleuzian philosophy a method assemblage for mediamateriality is suggested. This offers a set of conceptual keys that makes it possible to trace the unfolding of actual encounters with blurred boundaries between the factual and the fiction- al. By performing a reception study whereby six data-producers engage with Exit Through the Giftshop, (Banksy 2010), I’m Still Here (Affleck 2010) and Catfish (Joost and Schulman 2010), a three-fold data is pro- duced. -
Chomsky Noam
NOAM CHOMSKY NECESSARY ILLUSIONS THOUGHT CONTROL IN DEMOCRATIC SOCIETIES ESSENTIAL CLASSICS IN POLITICS: NOAM CHOMSKY EB 0007 ISBN 0 7453 1345 0 London 1999 The Electric Book Company Ltd Pluto Press Ltd 20 Cambridge Drive 345 Archway Rd London SE12 8AJ, UK London N6 5AA, UK www.elecbook.com www.plutobooks.com © Noam Chomsky 1999 Limited printing and text selection allowed for individual use only. All other reproduction, whether by printing or electronically or by any other means, is expressly forbidden without the prior permission of the publishers. This file may only be used as part of the CD on which it was first issued. Necessary Illusions Thought Control in Democratic Societies Noam Chomsky Pluto Press London 4 First published in the UK 1989 by Pluto Press 345 Archway Road, London N6 5AA 97 98 99 9 8 7 6 5 Copyright Noam Chomsky 1989 British Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 0 7453 0380 3 Digital processing by The Electric Book Company 20 Cambridge Drive, London SE12 8AJ, UK www.elecbook.com Classics in Politics: Necessary Illusions Noam Chomsky 5 Contents Click on number to go to page Preface ....................................................................................... 7 1. Democracy and the Media......................................................... 9 2. Containing the Enemy............................................................. 36 3. The Bounds of the Expressible ................................................. 67 4. Adjuncts of Government....................................................... -
Politics, Religion, and Philosophy in the Fiction of Philip K. Dick
City University of New York (CUNY) CUNY Academic Works Publications and Research New York City College of Technology 2005 How Much Does Chaos Scare You?: Politics, Religion, and Philosophy in the Fiction of Philip K. Dick Aaron Barlow CUNY New York City College of Technology How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/ny_pubs/25 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] How Much Does Chaos Scare You? Politics, Religion, and Philosophy in the Fiction of Philip K. Dick Aaron Barlow Shakespeare’s Sister, Inc. Brooklyn, NY & lulu.com 2005 © Aaron Barlow, Creative Commons Attribution-NonCommercial-ShareAlike Foreword n 1989, while I was serving in Peace Corps in West Africa, II received a letter from an American academic publisher asking if I were interested in submitting for publication the doctoral dissertation I had completed the year before at the University of Iowa. “Why would I want to do that?” I asked. One disserta- tion on Philip K. Dick had already appeared as a book (by Kim Stanley Robinson) and Dick, though I loved his work, just wasn’t that well known or respected (not then). Plus, I was liv- ing in a mud hut and teaching people to use oxen for plowing: how would I ever be able to do the work that would be needed to turn my study from dissertation to book? When I defended the dissertation, I had imagined myself finished with studies of Philip K. -
Entertainmentpage 19 Technique • Friday, April 13, 2007 • 19
ENTERTAINMENTpage 19 Technique • Friday, April 13, 2007 • 19 SOFTBALL BEATS FSU DEFEND HUMAN RIGHTS Over the weekend softball wins two Students dress as prisoners to protest ENTERTAINMENT games against FSU at home. Their record torture as part of Tech’s first Human Technique • Friday, April 13, 2007 hikes to 36 and 13 for the year. Page 31 Rights Awareness Week. Page 11 Gere stars as master of deception in Hoax By Evan Zasoski The story is utterly sensational. Ir- certainty that there were no terrible does love pulling off the scam. as buffers between scenes. This does Senior Staff Writer ving and his omega male accomplice beasts from the land of Mordor pres- Gere plays a liar who envies the not work particularly well, because if Dick Susskind (Alfred Molina) bank ent at the Battle of Thermopylae. truthful. He wants to not be a liar. they are just endcaps on scenes, then The Hoax is the latest offering on Hughes’ reclusiveness and history But then again, who cares? It’s just He wants to not they are taking up from director Lasse Hallström. It of erratic behavior to trick Irving’s a movie. have affairs and he space for no good tells the true story of Clifford Irving, publishing company into buying the Molina and Gere both turn in wants to not be a reason, and if they played by Richard Gere, a down-on- book and paying Susskind and him great performances as their respective con man, but in the are there to tie the his-luck novelist in the early ’70s who obscene amounts of money. -
Clifford Irving, Author of a Notorious Literary Hoax, Dies at 87 by WILLIAM GRIMESDEC
AiA Art News-service Clifford Irving, Author of a Notorious Literary Hoax, Dies at 87 By WILLIAM GRIMESDEC. 20, 2017 Photo Clifford Irving, left, facing reporters in 1972, as a grand jury in Manhattan took up the literary-hoax case against him. CreditJack Manning/The New York Times Clifford Irving, who perpetrated one of the biggest literary hoaxes of the 20th century in the early 1970s when he concocted a supposedly authorized autobiography of the billionaire Howard Hughes based on meetings and interviews that never took place, died on Tuesday at a hospice facility near his home in Sarasota, Fla. He was 87. His wife, Julie Irving, confirmed the death. She said he was admitted to the hospice over the weekend after receiving a diagnosis of pancreatic cancer about a week ago. Mr. Irving hit on the idea for “The Autobiography of Howard Hughes” after reading “The Case of the Invisible Billionaire,” an article about him published in the December 1970 issue of Newsweek. Hughes, a notorious eccentric and recluse who had not spoken to the press since 1958, had just quit Las Vegas to take up residence on Paradise Island in the Bahamas. Mr. Irving, a modestly successful novelist and nonfiction writer, was intrigued. He had recently published an as-told-to memoir, “Fake!: The Story of Elmyr de Hory, the Greatest Art Forger of Our Time.” Perhaps inspired by his subject, he came up with a wild scheme. He convinced editors at McGraw-Hill, his publisher, that Hughes had contacted him to express admiration for “Fake!” and proposed collaborating on a similar project. -
The Historical Thought of Film: Terrence Malick and Philosophical Cinema
The Historical Thought of Film: Terrence Malick and Philosophical Cinema A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Steven M. Rybin June 2009 © 2009 Steven M. Rybin. All Rights Reserved. 2 This dissertation titled The Historical Thought of Film: Terrence Malick and Philosophical Cinema by STEVEN M. RYBIN has been approved for the School of Interdisciplinary Arts and the College of Fine Arts by Vladimir L. Marchenkov Associate Professor of Interdisciplinary Arts Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT RYBIN, STEVEN M., Ph.D., June 2009, Interdisciplinary Arts The Historical Thought of Film: Terrence Malick and Philosophical Cinema (484 pp.) Director of Dissertation: Vladimir L. Marchenkov Previous scholarly work on the director Terrence Malick has argued that his films – Badlands (1973), Days of Heaven (1978), The Thin Red Line (1998) and The New World (2005) – are, in varying ways, philosophical. This assessment is usually made via an analysis of the films in relation to a single philosophical metatext (frequently the work of Martin Heidegger) that transcends the concrete historical situation of both the given film and the historically existing viewer. This study seeks to intervene in this critical literature by theorizing an approach for understanding Malick’s films as works that do not merely illustrate already articulated philosophical themes but that rather function, in dialogue with the spectator, as an invitation to generate creative and historically situated meaning. The film medium, this study argues, is uniquely philosophical in that it exists in time (via the gradual entropy of the celluloid film print) as does the finite, historically embodied spectator.