The British Monarchy on Screen
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Withering Heights
Withering Heights When one mentions the Presbyterian Church, the name that first comes to mind is that of the Scottish Calvinist clergyman John Knox. This dynamic religious leader of the Protestant Reformation founded the Presbyterian denomination and was at the beginning of his ministry in Edinburgh when he lost his beloved wife Marjorie Bowes. In 1564 he married again, but the marriage received a great deal of attention. This was because she was remotely connected with the royal family, and Knox was almost three times the age of this young lady of only seventeen years. She was Margaret Stewart, daughter of Andrew Stewart, 2nd Lord of Ochiltree. She bore Knox three daughters, of whom Elizabeth became the wife of John Welsh, the famous minister of Ayr. Their daughter Lucy married another clergyman, the Reverend James Alexander Witherspoon. Their descendant, John Knox Witherspoon (son of another Reverend James Alexander Witherspoon), signed the Declaration of Independence on behalf of New Jersey and (in keeping with family tradition) was also a minister, in fact the only minister to sign the historic document. John Knox Witherspoon (1723 – 1794), clergyman, Princeton’s sixth president and signer of the Declaration of Independence. Just like Declaration of Independence signatory John Witherspoon, actress Reese Witherspoon is also descended from Reverend James Alexander Witherspoon and his wife Lucy (and therefore John Knox). The future Academy Award winner, born Laura Jeanne Reese Witherspoon, was born in New Orleans, having made her début appearance at Southern Baptist Hospital on March 22, 1976. New Orleans born Academy Award winning actress, Reese Witherspoon Reese did not get to play Emily Brontë’s Cathy in “Wuthering Heights” but she did portray Becky Sharp in Thackeray’s “Vanity Fair”. -
Delegates Guide
Delegates Guide 9–14 March, 2018 Cultural Partners Supported by Friends of Qumra Media Partner QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 14 Qumra Project Delegates 17 Industry Delegates 57 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Jaser Alagha Aya Al-Blouchi Quay Chu Anthea Devotta Qumra Industry Qumra Master Classes Development Qumra Industry Senior Coordinator Senior Coordinator Executive Coordinator Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Mayar Hamdan Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Qumra Shorts Coordinator Qumra Production Qumra Talks Senior Qumra Pass Senior Development Assistant Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Meriem Mesraoua Vanessa Paradis Nina Rodriguez Alanoud Al Saiari Grants Senior Coordinator Grants Coordinator Qumra Industry Senior Qumra Pass Coordinator Coordinator Film Workshops & Labs Coordinator Wesam Said Eliza Subotowicz Rawda Al-Thani Jana Wehbe Grants Assistant Grants Senior Coordinator Film Programming Qumra Industry Senior Assistant Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Chadi Zeneddine Head of Grants Qumra Industry Industry Advisor Film Programmer Ania Wojtowicz Manager Qumra Shorts Coordinator Film Training Senior Film Workshops & Labs Senior Coordinator -
New Bfi Filmography Reveals Complete Story of Uk Film
NEW BFI FILMOGRAPHY REVEALS COMPLETE STORY OF UK FILM 1911 – 2017 filmography.bfi.org.uk | #BFIFilmography • New findings about women in UK feature film – percentage of women cast unchanged in over 100 years and less than 1% of films identified as having a majority female crew • Queen Victoria, Sherlock Holmes and James Bond most featured characters • Judi Dench is now the most prolific working female actor with the release of Victoria and Abdul this month • Michael Caine is the most prolific working actor • Kate Dickie revealed as the most credited female film actor of the current decade followed by Jodie Whittaker, the first female Doctor Who • Jim Broadbent is the most credited actor of the current decade • Brits make more films about war than sex, and more about Europe than Great Britain • MAN is the most common word in film titles • Gurinder Chadha and Sally Potter are the most prolific working female film directors and Ken Loach is the most prolific male London, Wednesday 20 September 2017 – Today the BFI launched the BFI Filmography, the world’s first complete and accurate living record of UK cinema that means everyone – from film fans and industry professionals to researchers and students – can now search and explore British film history, for free. A treasure trove of new information, the BFI Filmography is an ever-expanding record that draws on credits from over 10,000 films, from the first UK film released in cinemas in 1911 through to present day, and charts the 250,000 cast and crew behind them. There are 130 genres within the BFI Filmography, the largest of which is Drama with 3,710 films. -
Not a Cinematic Hair out of Place: Examinations in Identity (Transformation) As Evidenced Through Haircuts in the Rc Ying Game Allen Herring III
University of New Mexico UNM Digital Repository Foreign Languages & Literatures ETDs Electronic Theses and Dissertations 2-8-2011 Not a Cinematic Hair Out of Place: Examinations in Identity (Transformation) as Evidenced through Haircuts in The rC ying Game Allen Herring III Follow this and additional works at: https://digitalrepository.unm.edu/fll_etds Recommended Citation Herring, Allen III. "Not a Cinematic Hair Out of Place: Examinations in Identity (Transformation) as Evidenced through Haircuts in The rC ying Game." (2011). https://digitalrepository.unm.edu/fll_etds/109 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Foreign Languages & Literatures ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. ii Not a Cinematic Hair Out of Place Examinations of Identity (Transformation) as Evidenced through Haircuts in The Crying Game BY Allen Herring III Bachelors – English Bachelors – Economics THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts Comparative Literature & Cultural Studies The University of New Mexico Albuquerque, New Mexico December 2010 iii ©2010, Allen Herring III iv Not a Cinematic Hair Out of Place Examinations of Identity (Transformation) as Evidenced through Haircuts in The Crying Game BY Allen Herring III ABSTRACT OF THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of -
Selected Academic Bibliography Career Overviews
Updated: August 2015 Sally Potter: Selected Academic Bibliography Career Overviews: Books The second, longer annotation for each of these books is quoted from: Lucy BOLTON, “Catherine Fowler, Sally Potter and Sophie Mayer, The Cinema of Sally Potter” [review] Screen 51:3 (2010), pp. 285-289. Please cite any quotation from Bolton’s review appropriately. Catherine FOWLER, Sally Potter (Contemporary Film Directors series). Chicago: University of Illinois, 2009. Fowler’s book offers an extended and detailed reading of Potter’s early performance work and Expanded Cinema events, staking a bold claim for reading the later features through the lens of the Expanded Cinema project, with its emphasis on performativity, liveness, and the deconstruction of classical asymmetric and gendered relations both on-screen and between screen and audience. Fowler offers both a career overview and a sustained close reading of individual films with particular awareness of camera movement, space, and performance as they shape the narrative opportunities that Potter newly imagines for her female characters. “By entitling the section on Potter’s evolution as a ‘Search for a “frame of her own”’, Fowler situates the director firmly in a feminist tradition. For Fowler, Potter’s films explore the tension for women between creativity and company, and Potter’s onscreen observers become ‘surrogate Sallys’ in this regard (p. 25). Fowler describes how Potter’s films engage with theory and criticism, as she deconstructs and troubles the gaze with her ‘ambivalent camera’ (p. 28), the movement of which is ‘designed to make seeing difficult’ (p. 193). For Fowler, Potter’s films have at their heart the desire to free women from the narrative conventions of patriarchal cinema, having an editing style and mise- en-scene that never objectifies or fetishizes women; rather, Fowler argues, Potter’s women are free to explore female friendships and different power relationships, uncoupled, as it were, from narratives that prescribe heterosexual union. -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
Noah Cappe and 22-23 Our Top Suggested Programs Bids Farewell His Cast-Iron Stomach to Watch This Week!
DVD TOP PICKS FEUD: BETTE HERE COME AND JOAN THE BOSTON Susan Sarandon and Jessica Lange play other CELTICS! top actresses PLUS! TIME AFTER TIME SHADES OF BLUE MAKING HISTORY The chase across eras is continues to offer What two guys and on again as ‘Time After Jennifer Lopez new a duffel bag can Time’ becomes an ABC shades of acting accomplish series VAMPIRE DIARIES FOLIO SPECIAL INSERT Courtesy of Gracenote March 5 - 11, 2017 C What’s HOT this contents Week! YOURTVLINK STAFF PICK TOP STORIES 12-13 A movie with an enduring following becomes a series as H.G. Wells pursues Jack the Ripper to modern New York in “Time After Time,” premiering Sunday on ABC. Stars Freddie Stroma and Josh Bowman and executive producer Kevin Williamson tell Jay Bobbin about keeping certain aspects of the film while making the show its own project. 14-15 New police intrigue greets Jennifer Lopez as her NBC drama series “Shades of Blue” begins its second season Sunday. The actress-producer-singer and fellow star Ray Liotta tell Jay Bobbin about the fresh twists and turns 3 awaiting their characters in the show’s sophomore round. 17 In Fox’s “Making History,” Adam Pally stars as a professor The rivalry between two screen legends is dramatized by Susan who invents a device that allow him and his colleague to Sarandon and Jessica Lange in “Feud: Bette and Joan,” premiering go back in time and alter historical events – presumably to Sunday on FX. The Oscar winners and executive producer Ryan improve the present. -
Salma, Maestra De Javier Bardem
VIERNES 28 Nogales, www.eldiariodesonora.com.mx DE FEBRERO DE 2020 Sonora, México Sección B Spielberg no dirigirá Indiana Jones 5 ›› La nueva entrega está cada vez más cerca con Harrison Ford. Sin embargo, Steven Spielberg no estará al frente de la producción. Ozzy Osbourne anuncia que sacará nuevo disco ›› Después de ser diagnosticado con Parkinson, el cantante británico no piensa retirarse de la escena musical La mexicana junto al elenco y la directora, en rueda de prensa. LONDRES, ING.- Después ráneos de él, como John de ser diagnosticado con Par- Bonham y Bon Scott, kinson, el cantante británico murieron. LE ENSEÑA HABLAR COMO MEXICANO Ozzy Osbourne no piensa re- Después de que le tirarse de la escena musical, diagnosticaron Parkinson planea crear un nuevo disco tuvo que suspender su gi- y regresar con su productor ra por Estados Unidos, lo Andrew Watt. que despertó en él la in- El exvocalista de Black quietud de crear nueva Sabbath compartió en en- música. Salma, maestra trevista con el periodis- “Tal vez no puedo es- ta Zane Lowe, en Apple tar de gira, pero puedo Music, que ha llegado a hacer música. Estoy pen- pensar en retirarse, sin sando en regresar a tra- embargó, expresó no sen- bajar con mi productor tirse en ese momento, Andrew Watt en marzo”, de Javier Bardem pues ama a sus fans. expresó. “Llegué a pensarlo. A En una entrevista rea- veces tengo pensamien- lizada con New Musical ›› La cinta The roads not taken, dirigida por la británica Sally tos locos acerca de eso, Express, el cantante ex- pero no puedo retirarme. -
FS345 REPRESENTATIONS of IDENTITY, NATION and VALUES in BRITISH CINEMA IES Abroad London
FS345 REPRESENTATIONS OF IDENTITY, NATION AND VALUES IN BRITISH CINEMA IES Abroad London DESCRIPTION: This course examines the role of British cinema in providing a window into the changing nature of British identity and society since World War Two. Through the study of key films across the past sixty years it charts the progress of political, social, and cultural change in Britain as represented in British film. Students examine the changing economic fortunes of British cinema and its effect on the development of British film style during each period. A strong emphasis is placed on studying the contexts in which the films were originally circulated and read. The course provides opportunities to engage with film events in London, e.g., London Film Festival in the Fall Semester, and the BAFTA Film Awards in the Spring. Additionally, the course provides opportunities to know of the work of the British Film Institute archive and the course provides opportunities to utilize the resources of the British Film Institute archive and library, as well as steering students towards researching the locations, the stars, and directors of the London- based film. CREDITS: 3 credits CONTACT HOURS: 45 hours LANGUAGE OF INSTRUCTION: English PREREQUISITES: None ADDITIONAL COSTS: None METHOD OF PRESENTATION: • Lectures • Presentations of readings • Selected excerpts of film clips REQUIRED WORK AND FORM OF ASSESSMENT: • Participation in course discussion and presentation on a single film - 20% • Mid-term essay paper (approximately 1,500 words) - 30% • Group research project - 15% • End of semester essay paper (approximately 2,000 words) - 35% LEARNING OUTCOMES: By the end of the course students will be able to: • Analyze film in detail using a formal method • Understand the material, historical, ideological and economic elements of British life interface with the way that British film represents British identity • Learn about the influence of Hollywood on production, distribution and reception of feature film in the UK ATTENDANCE POLICY: Regular class attendance is mandatory. -
François Truffaut's Jules and Jim and the French New Wave, Re-Viewed
FILMHISTORIA Online Vol. 29, núms. 1-2 (2019) · ISSN: 2014-668X François Truffaut’s Jules and Jim and the French New Wave, Re-viewed ROBERT J. CARDULLO University of Michigan Abstract Truffaut’s early protagonists, like many of those produced by the New Wave, were rebels or misfits who felt stifled by conventional social definitions. His early cinematic style was as anxious to rip chords as his characters were. Unlike Godard, Truffaut went on in his career to commit himself, not to continued experiment in film form or radical critique of visual imagery, but to formal themes like art and life, film and fiction, and art and education. This article reconsiders a film that embodies such themes, in addition to featuring characters who feel stifled by conventional social definitions: Jules and Jim. Keywords: François Truffaut; French film; New Wave; Jules and Jim; Henri- Pierre Roché Resumen Los primeros protagonistas de Truffaut, como muchos de los producidos por la New Wave, eran rebeldes o inadaptados que se sentían agobiados por las convenciones sociales convencionales. Su estilo cinematográfico temprano estaba tan ansioso por romper moldes como sus personajes. A diferencia de Godard, Truffaut continuó en su carrera comprometiéndose, no a seguir experimentando en forma de película o crítica radical de las imágenes visuales, sino a temas formales como el arte y la vida, el cine y la ficción, y el arte y la educación. Este artículo reconsidera una película que encarna dichos temas, además de presentar personajes que se sienten ahogados: Jules y Jim. Palabras clave: François Truffaut, cine francés, New Wave; Jules and Jim, Henri-Pierre Roché. -
Women Directors in 'Global' Art Cinema: Negotiating Feminism And
Women Directors in ‘Global’ Art Cinema: Negotiating Feminism and Representation Despoina Mantziari PhD Thesis University of East Anglia School of Film, Television and Media Studies March 2014 “This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution.” Women Directors in Global Art Cinema: Negotiating Feminism and Aesthetics The thesis explores the cultural field of global art cinema as a potential space for the inscription of female authorship and feminist issues. Despite their active involvement in filmmaking, traditionally women directors have not been centralised in scholarship on art cinema. Filmmakers such as Germaine Dulac, Agnès Varda and Sally Potter, for instance, have produced significant cinematic oeuvres but due to the field's continuing phallocentricity, they have not enjoyed the critical acclaim of their male peers. Feminist scholarship has focused mainly on the study of Hollywood and although some scholars have foregrounded the work of female filmmakers in non-Hollywood contexts, the relationship between art cinema and women filmmakers has not been adequately explored. The thesis addresses this gap by focusing on art cinema. It argues that art cinema maintains a precarious balance between two contradictory positions; as a route into filmmaking for women directors allowing for political expressivity, with its emphasis on artistic freedom which creates a space for non-dominant and potentially subversive representations and themes, and as another hostile universe given its more elitist and auteurist orientation. -
And the Ship Sails On
And The Ship Sails On by Serge Toubiana at the occasion of the end of his term as Director-General of the Cinémathèque française. Within just a few days, I shall come to the end of my term as Director-General of the Cinémathèque française. As of February 1st, 2016, Frédéric Bonnaud will take up the reins and assume full responsibility for this great institution. We shall have spent a great deal of time in each other's company over the past month, with a view to inducting Frédéric into the way the place works. He has been able to learn the range of our activities, meet the teams and discover all our on-going projects. This friendly transition from one director-general to the next is designed to allow Frédéric to function at full-steam from day one. The handover will have been, both in reality and in the perception, a peaceful moment in the life of the Cinémathèque, perhaps the first easy handover in its long and sometimes turbulent history. That's the way we want it - we being Costa-Gavras, chairman of our board, and the regulatory authority, represented by Fleur Pellerin, Minister of Culture and Communication, and Frédérique Bredin, Chairperson of the CNC, France's National Centre for Cinema and Animation. The peaceful nature of this handover offers further proof that the Cinémathèque has entered into a period of maturity and is now sufficiently grounded and self-confident to start out on the next chapter without trepidation. But let me step back in time. Since moving into the Frank Gehry building at 51 rue de Bercy, at the behest of the Ministry of Culture, the Cinémathèque française has undergone a profound transformation.