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ROMAHDUS Vipu
ROMAHDUS ViPu Lokakuu 2014 1 Sisällys Lukijalle……………………………………………………… 2 1 Mikä romahdus?…………………………………………… 2 2 Romahduksen lajeista……………………………………… 6 3 Romahduksen vaiheista…………………………………… 15 4 Teoreetikkoja ja näkemyksiä……………………………… 17 5 Romahdus—maailmanloppu, apokalypsi, kriisi, utopia… 25 6 Romahdus ja selviytyminen………………………………. 29 7 Pitääkö romahdusta jouduttaa?…………………………… 44 8 Romahdus, tieto ja hallinta………………………………… 49 9 Romahdus ja politiikka…………………………………….. 53 2 Lukijalle Tämä teksti on osa pohdiskelua, jonka tarkoituksena on luoda pohjaa Vihreän Puolueen poliittiselle toiminnalle. Tekstin aiheena on jo monin paikoin ja tavoin alkanut teollisten sivilisaatioiden ja modernismin kehityskertomuksen romahdus. Tekstin ensimmäiset 8 lukua käsittelevät erilaisia teorioita, käsityksiä ja vapaampaankin ajatuksenlentoon nojaavia näkökulmia romahdukseen. Ne eivät siis missään nimessä edusta ViPun poliittisia käsityksiä tai tavotteita, vaan pohjustavat alustavia poliittisia johtopäätöksiä, jotka esitetään luvussa 9. Toisin sanoen luvut 1-8 pyörittelevät aihetta suuntaan ja toiseen ja luku 9 esittää välitilinpäätöksen, jonka on edelleen tarkoitus tarkentua ja elää tilanteen mukaan. Tätä romahdus-osiota on myös tarkoitus lukea muiden ViPun teoreettisten tekstien kanssa, niiden ristivalotuksessa. 1 Mikä romahdus? Motto: "Yhden maailman loppu on toisen maailman alku, yhden maailmanloppu on toisen maailmanalku." Moton sanaleikin tarkoitus on huomauttaa, että vaikka yhteiskunnan romahdus onkin yksilön ja ryhmän näkökulmasta vääjäämätön tapahtuma, johon -
Strange Brew√ Fresh Insights on Rock Music | Edition 03 of September 30 2006
M i c h a e l W a d d a c o r ‘ s πStrange Brew Fresh insights on rock music | Edition 03 of September 30 2006 L o n g m a y y o u r u n ! A tribute to Neil Young: still burnin‘ at 60 œ part two Forty years ago, in 1966, Neil Young made his Living with War (2006) recording debut as a 20-year-old member of the seminal, West Coast folk-rock band, Buffalo Springfield, with the release of this band’s A damningly fine protest eponymous first album. After more than 35 solo album with good melodies studio albums, The Godfather of Grunge is still on fire, raging against the System, the neocons, Rating: ÆÆÆÆ war, corruption, propaganda, censorship and the demise of human decency. Produced by Neil Young and Niko Bolas (The Volume Dealers) with co-producer L A Johnson. In this second part of an in-depth tribute to the Featured musicians: Neil Young (vocals, guitar, Canadian-born singer-songwriter, Michael harmonica and piano), Rick Bosas (bass guitar), Waddacor reviews Neil Young’s new album, Chad Cromwell (drums) and Tommy Bray explores his guitar playing, re-evaluates the (trumpet) with a choir led by Darrell Brown. overlooked classic album from 1974, On the Beach, and briefly revisits the 1990 grunge Songs: After the Garden / Living with War / The classic, Ragged Glory. This edition also lists the Restless Consumer / Shock and Awe / Families / Neil Young discography, rates his top albums Flags of Freedom / Let’s Impeach the President / and highlights a few pieces of trivia about the Lookin’ for a Leader / Roger and Out / America artist, his associates and his interests. -
A Sociological Perspective
THE NEED FOR THE WORLD PEACE IN RIDLEY SCOTT’S KINGDOM OF HEAVEN MOVIE (2005): A SOCIOLOGICAL PERSPECTIVE RESEARCH PAPER Submitted as a Partial Fulfillment of the Requirement For getting Bachelor Degree of Education In English Department By: FITRI YUNI ASTUTI A 320 050 374 SCHOOL OF TEACHER TRAINING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2010 1 CHAPTER I INTRODUCTION A. Background of the Study Kingdom of Heaven is a 2005 film directed by Ridley Scott and written by William Monahan. It stars Orlando Bloom, Eva Green, Jeremy Irons, David Thewlis, Marton Csokas, Brendan Gleeson, Kevin McKidd, Alexander Siddig, Ghassan Massoud, Edward Norton, Jon Finch, Michael Sheen and Liam Neeson. The story is set during the Crusades of the 12th century. A French village blacksmith goes to aid the city of Jerusalem in its defense against the Muslim leader Saladin, who is battling to reclaim the city from the Christians. The film script is a heavily fictionalized portrayal of Balian of Ibelin. Most filming took place in Ouarzazate in Morocco, where Scott had filmed Gladiator and Black Hawk Down. A replica of the ancient city of Jerusalem was constructed in the desert. Filming also took place in Spain, at the Loarre Castle, Segovia, Ávila, Palma del Río and Casa de Pilatos in Sevilla. The movie was a box office flop in the U.S. and Canada, earning $47 million against a budget of around $130 million, but was successful in Europe and the rest of the world, with the worldwide box office earnings totaling at $211,643,158. It was also a big success in Arabic-speaking countries, especially Egypt, mainly because of the Egyptian actor Khaled El Nabawy. -
Television Sharknados and Twitter Storms
Television Sharknados and Twitter Storms: Cult Film Fan Practices in the Age of Social Media Branding Stephen William Hay A thesis submitted to Victoria University of Wellington in fulfilment of the regulations for the degree of Master of Arts in Media Studies Victoria University of Wellington 2016 Abstract This thesis examines the Syfy channel’s broadcast of the television movie Sharknado and the large number of tweets that were sent about it. Sharknado’s audience engaged in cult film viewing practices that can be understood using paracinema theory. Paracinema engagement with cult films has traditionally taken place in midnight screenings in independent movie theatres and private homes. Syfy’s audience was able to engage in paracinematic activity that included making jokes about Sharknado’s low quality of production and interacting with others who were doing the same through the affordances of Twitter. In an age where branding has become increasingly important, Syfy clearly benefited from all the fan activity around its programming. Critical branding theory argues that the value generated by a business’s brand comes from the labour of consumers. Brand management is mostly about encouraging and managing consumer labour. The online shift of fan practices has created new opportunities for brand managers to subsume the activities of consumers. Cult film audience practices often have an emphasis on creatively and collectively engaging in rituals and activities around a text. These are the precise qualities that brands require from their consumers. Sharknado was produced and marketed by Syfy to invoke the cult film subculture as part of Syfy’s branding strategy. -
Måske Findes Håbet Kun I Rejsen, Siger Columbus I Ridley Scottsfilm, Men Rejsen Ender Hos Scott Oftest I Skepsis Overfor Den Vestlige Civilisation
Måske findes håbet kun i rejsen, siger Columbus i Ridley Scottsfilm, men rejsen ender hos Scott oftest i skepsis overfor den vestlige civilisation. Længslerne der skaber fremdriften fører også i afgrunden. ejsemotivet er en gammel ken af Erik Svendsen brødrene Kaurismåki. Rejsemotivet ding i kunstens verden. 1 moder er også en ledetråd i englænderen nitetens internationaliserings æra er Ridley Scotts produktion, der stræk det af gode grunde blevet stadig gelse bærer så vægtige og tidstypiske ker sig fra den 'historiske’ film med mere presserende og mange af de se forfatterskaber som fx Salman Rush- debutværket The Duellists (1977), neste årtiers store kunstnere har haft dies og afdøde Bruce Chatwins. over to fremtidsvisioner - Alien rejsen som en oplagt ledetråd. Eksil Samme tendens kan oplagt spores i (1979) og Blade Runner (1982) —, en er et andet ord for en permanent den moderne films univers: fra Jim mytisk tid i Legend (1985) og frem rejse, og eksilets opbrud og bevæ- Jarmusch over Wim Wenders til til nutiden, henholdsvis i et celebert 32 og klassedelt New York i Someone to nøjelse, for med det gode følger altid 'Måske findes håbet kun i rejsen’ Watch Over Me (1987), et traditions den onde: politimanden Mick bliver siger Columbus i 1492, i den foregå rigt og moderne Japan i Black Rain også konfronteret med en dæmo ende Thelma and Louise er slutreplik- (1989) og en skæbnesvanger tur på nisk, destruktiv og driftsbefængt ken: 'Let’s not get caught, let's keep landet i Thelma and Louise (1991). mand, Venza, der virker lige så svær going'. De farende kvinder er mere Den sidste film Ridley Scott har la at udrydde som det irrationelle selv. -
Anthropogenic Climate Change – Fact Or Fiction? an Academic’S Analysis
The Business and Management Review, Volume 7 Number 3 April 2016 Anthropogenic climate change – fact or fiction? an academic’s analysis Robert Halliman, Ed.D Department of Public Management & Criminal Justice School of Technology & Public Management Austin Peay State University Fort Campbell Center, USA Abstract The debate over anthropogenic climate change is not settled. More and more scientists are coming out against it and the evidence against it seems to be pouring in. Warnings of global warming and climate change have the appearance of being driven more by an ideological agenda than by science. Introduction The Pope has spoken. If the world’s leaders do not agree to halt carbon emissions and stop global warming, it would be suicide. Obama says the Paris climate summit is a strong rebuke to terrorists. Obama also says that climate change is a more important national security issue than Islamic terrorism. This is the same Obama that said ISIS is the Junior varsity of terrorists and that ISIS was contained. Then the Paris attacks occurred, and then the attacks in San Bernadino, California. Just as Obama has been wrong about ISIS, is he wrong about climate change? A first response to this paper may be to question its need. After all, isn’t anthropogenic global warming (AGW) a fact? The simple answer is that, contrary to the statement of President Obama, the debate over anthropogenic global warming, aka climate change, is not settled. There is a growing body of scientists and academics worldwide who are coming out against the claims that man-made emissions of CO 2 are causing drastic shifts in climate that are behind recent extreme weather events, and against the prediction of more devastation to come unless mankind steps up to stop the harmful emissions. -
DLEH Zapicolamelae Colorín, Colorado.Pdf
UNIVERSIDAD DE SALAMANCA FACULTAD DE FILOLOGÍA DEPARTAMENTO DE LITERATURA ESPAÑOLA E HISPANOAMERICANA Tesis Doctoral “¿COLORÍN, COLORADO?”: LAS REESCRITURAS CONTEMPORÁNEAS DE LOS CUENTOS DE HADAS EN LA LITERATURA HISPÁNICA Autora: Elena Zapico Lamela Directora: Francisca Noguerol Jiménez 2015 Tesis Doctoral UNIVERSIDAD DE SALAMANCA FACULTAD DE FILOLOGÍA DEPARTAMENTO DE LITERATURA ESPAÑOLA E HISPANOAMERICANA “¿COLORÍN, COLORADO?”: LAS REESCRITURAS CONTEMPORÁNEAS DE LOS CUENTOS DE HADAS EN LA LITERATURA HISPÁNICA Autora: Elena Zapico Lamela Tesis doctoral dirigida por la Doctora Francisca Noguerol Jiménez, presentada en el Departamento de Literatura Española e Hispanoamericana de la Facultad de Filología, Universidad de Salamanca. VºBº La directora de la Tesis La autora Fdo.: Francisca Noguerol Jiménez Fdo.: Elena Zapico Lamela ÍNDICE I. Índice ............................................................................................................................. 3 II. Introducción…………………………………………………………………………. 5 III. El cuento tradicional y sus enfoques críticos III. 1. El enfoque antropológico…………………………………………………14 III. 2. El enfoque psicológico y psicoanalítico…………………………………. 27 III. 3. El enfoque feminista …………………………………………………….. 37 IV. Historia de una corriente literaria: Las reescrituras contemporáneas de los cuentos de hadas………………………………………………………………………..54 IV.1. Las revisiones en la literatura anglófona IV. 1.1. Las revisiones poéticas de Anne Sexton y Olga Broumas...........72 IV. 1.2. Las versiones góticas de Angela Carter y Tanith Lee…………..85 IV. 1.3. El punto de vista masculino: Donald Barthelme y Robert Coover …………………………………………………………………………..116 IV.2. Las revisiones en la literatura hispánica IV. 2.1. La Bella Durmiente puertorriqueña de Rosario Ferré………... 126 IV. 2.2. Los cuentos descienden al Hades: Aportaciones de Luisa Valenzuela……………………………………………………………... 153 IV. 2.3. Carmen Martín Gaite: Más allá de Caperucita…………………. 191 IV. 2.4. Ana María Shua: Ficciones y minificciones…………………. -
The Portrayal of Women in Futuristic Science Fiction Movies
Rochester Institute of Technology RIT Scholar Works Theses 2005 Realm of Possibilities: The Portrayal of Women in Futuristic Science Fiction Movies Aru Basu Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Basu, Aru, "Realm of Possibilities: The Portrayal of Women in Futuristic Science Fiction Movies" (2005). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. REALM OF POSSIBILITIES: THE PORTRAYAL OF WOMEN IN FUTURISTIC SCIENCE FICTION MOVIES By Aru Basu Paper Presented in Partial Fulfillment of the Master of Science Degree in COMMUNICATION &MEDIA TECHNOLOGIES Rochester Institute of Technology March 10, 2005 ThesisfDissertation Author Permission Statement Title of thesis or dissertation: REALM OF POSSIBILITIES: THE PORTRAYAL OF WOMEN IN FUTURISTIC SCIENCE FICTION MOVIES Name of author: Aru Basu Degree: Master of Science (MS) Program: Communication & Media Technologies College: College of Liberal Arts I understand that I must submit a print copy of my thesis or dissertation to the RIT Archives, per current RIT guidelines for the completion of my degree. I hereby grant to the Rochester Institute of Technology and its agents the non-exclusive license to archive and make accessible my thesis or dissertation in whole or in part in al forms of media in perpetuity. I retain all other ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. -
Amongst Friends: the Australian Cult Film Experience Renee Michelle Middlemost University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2013 Amongst friends: the Australian cult film experience Renee Michelle Middlemost University of Wollongong Recommended Citation Middlemost, Renee Michelle, Amongst friends: the Australian cult film experience, Doctor of Philosophy thesis, School of Social Sciences, Media and Communication, University of Wollongong, 2013. http://ro.uow.edu.au/theses/4063 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Amongst Friends: The Australian Cult Film Experience A thesis submitted in fulfillment of the requirements for the award of the degree DOCTOR OF PHILOSOPHY From UNIVERSITY OF WOLLONGONG By Renee Michelle MIDDLEMOST (B Arts (Honours) School of Social Sciences, Media and Communications Faculty of Law, Humanities and The Arts 2013 1 Certification I, Renee Michelle Middlemost, declare that this thesis, submitted in fulfillment of the requirements for the award of Doctor of Philosophy, in the Department of Social Sciences, Media and Communications, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Renee Middlemost December 2013 2 Table of Contents Title 1 Certification 2 Table of Contents 3 List of Special Names or Abbreviations 6 Abstract 7 Acknowledgements 8 Introduction -
Nosferatu. Revista De Cine (Donostia Kultura)
Nosferatu. Revista de cine (Donostia Kultura) Título: No diga bajo presupuesto, diga ... Roger Connan Autor/es: Valencia, Manuel Citar como: Valencia, M. (1994). No diga bajo presupuesto, diga ... Roger Connan. Nosferatu. Revista de cine. (14):79-89. Documento descargado de: http://hdl.handle.net/10251/40892 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: Roger Corman :rj c--~- ~ c• 4 e :) ·~ No diga bajo presupuesto, diga ... Roger Corman Manuel Valencia í, bajo presupuesto, por céntimo, Ed. Laertes, Barcelona, los niveles de audiencia empeza que como bien explica el 1992), jamás realizó una pelícu ron a bajar, los estudios estimu Spropio Corman en su es la de serie B: "La serie B databa laban al público a ir al cine con pléndida y socarrona autobio de la Depresión, sólo fue un su el incentivo de los programas grafía (Cómo hice cien films en i·eso hasta principios de los años dobles, donde podían verse dos Hollywood y nunca perdí ni un cincuenta. En los treinta, cuando películas al precio de una. -
Mad Max, Reaganism and the Road Warrior
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Waterloo Library Journal Publishing Service (University of Waterloo, Canada) Mad Max, Reaganism and The Road Warrior By J. Emmett Winn Fall 1997 Issue of KINEMA IN 1981 THE AUSTRALIAN-MADE FILM The Road Warrior drove into the US film market.(1) The film was well received and quickly became, at that time, the most popular Australian movie ever releasedin the US, and since its debut has played regularly on US cable television.(2) Much has been written about the international success of this film and its predecessor, Mad Max, and the last in the trilogy Mad Max Beyond Thunderdome.(3) Contributing to that body of research, this paper addresses the American success of this Australian film within the cultural/political context of the US at the time of its North American release,and discusses its resonance with Reaganism. The fundamental goal of this examination is to situate the films in the larger context of cultural hegemony. The importance of this study lies in the critique of these films as they aid us in understanding the hegemonic process and the American box office triumph of The Road Warrior. I investigate how the trilogy in general, and The Road Warrior specifically, resonates with the social field of its time. These films entered the US during a period of renewed nationalistic interest and conservatism linked with the Reagan/Bush administrations. As Stuart Hall explains, the meanings of cultural products are partially provided by their time. In his article ”Notes on Deconstructing ’The Popular’” he states: The meaning of a cultural symbol is given in part by the social field into which it is incorporated, the practices which it articulates and is made to resonate. -
The Omega Man
The Omega Man Score Analysis by Dirk Wickenden Originally published in Legend, issue 24 (1997) The Goldsmith Film Music Society journal Text reproduced by permission of the author, Dirk Wickenden, including minor updates in 2013 THE FILM – BACKGROUND The Omega Man (1971) is based on author Richard Matheson’s classic novel I Am Legend. There had been a previously filmed version starring the late Vincent Price in 1964, an American-Italian co-production entitled THE LAST MAN ON EARTH [since publication of this article sixteen years ago, there has been a third version of the property using the book’s title, starring Will Smith but in the opinion of this writer, not as enjoyable as the Chuck Heston flick]. The Omega Man was a Warner Bros, production and starred Charlton Heston at his ultra-cool best as Robert Neville, with Anthony Zerbe (COOL HAND LUKE, THE DEAD ZONE, PAPILLON) as Matthias. Also featured were Rosalind Cash (AMAZING GRACE, TALES FROM THE HOOD) as Lisa and Paul Koslo (ROOSTER COGBURN, JOE KIDD) as Dutch. Eric Laneuville as Lisa’s brother Richie would go on to star in the television series St. Elsewhere and would go on to direct some episodes, as well as the TV movies The Mighty Pawns (featuring Rosalind Cash), and The Ernest Green Story. The film was directed by Boris Sagal, who had previously helmed GUNS OF DIABLO and the Elvis Presley starrer GIRL HAPPY and later directed the television mini-series MASADA. Production duties were handled by Walter Seltzer, who also produced the later SOYLENT GREEN, again featuring Heston.