City Planning Division Alcohol Exemption Permit Application (Third Street Promenade Area)
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Inhospitable World Cinema in the Time of the Anthropocene
Inhospitable World Cinema in the Time of the Anthropocene Jennifer Fay Press University Oxford 1 iv 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. © Oxford University Press 2018 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. CIP data is on file at the Library of Congress Press ISBN 978–0–19–069678–8 (pbk.) ISBN 978– 0– 19– 069677– 1 (hbk.) 9 8 7 6 5 4 3 2 1 Paperback printed by WebCom, Inc., Canada Hardback printed by Bridgeport National Bindery, Inc., United States of America University Oxford CONTENTS Acknowledgments ix Introduction 1 PART I: On Location . 21 1. Buster Keaton’s Climate Change 23 Press 2. Nuclear Conditioning 59 3. The Ecologies of Film Noir 97 PART II: . -
PDF Download Buster Keaton : the Persistence of Comedy Ebook Free
BUSTER KEATON : THE PERSISTENCE OF COMEDY PDF, EPUB, EBOOK Imogen Sara Smith | 284 pages | 24 Nov 2013 | Createspace Independent Publishing Platform | 9781494285593 | English | none Buster Keaton : The Persistence of Comedy PDF Book For the businessmen who were to make the final decision, one fact loomed above all others: features made more money. What about when the door hits him and he walks up and down holding his face? She has written on topics ranging from photography and painting to cinema history. Schenck Director: Edward F. The best book on Keaton in print-- and I've read most of them. Options as a Strategic Investment by Lawrence G. Dark Passages Hotel Noir From the squalid to the generic, cheap hotels serve as a quintessential habitat for the lonely, transitory people in crime cinema. Opposing qualities of irony and sweetness, logic and absurdity, passion and impassiveness don't just coexist in Keaton's films and character, they are fused so completely that it is impossible to see where one ends and the other begins. He briefly launches into an Erich von Stroheim impression during one of these scenes. Trade Paperback Books. Subscribe today. Yes it's magic but it's not often a good biography because it can be fawning, obsequious or just plain sickening. In addition, the two codirected The Rough House , a comedy short in which they also starred. Show More Show Less. Please refer to the appropriate style manual or other sources if you have any questions. Hart and, well, I am a bit annoyed. At least, this is how it has appeared to scholars. -
December 4, 1975 CONCORDIA UNIVERSITY Volume 2, Number 13 Who Must Involuntarily Inhale the Con Tribution of the , Smokers to the Atmosphere
Rector's Statement On Smoking Smoking, whic_h may be a pleasure for some people, is a source of serious discomfort for their fellows. Further, medical authorities express their concern about the effect of smoking on the health not only of those who smoke but also those December 4, 1975 CONCORDIA UNIVERSITY Volume 2, number 13 who must involuntarily inhale the con tribution of the , smokers to the atmosphere. addition to the Non-Print Area and wiJl As you are doubtless aware, a Library Changes accommodate 12 people when the considerable number of our students have sound-proofing work is complete. Bookings The Concordia . Library Letter noted joined together in an effort to persuade the can be arranged at the Non-Print desk. some major clfanges in library operations university to ban smoking in the class The Audio-Visual department in the this year. rooms. I believe they are entirely right in Norr~ Building has moved from the "Perhaps the most noticeable change," their aim. However, I would hope it is sub-basement to the fourth floor close to the letter said, "has been effected in the possible to achieve this by an appeal to the Non-Print Area. From here it will be Vanier Library (at Loyola) through the reason and to concern for others rather possible to borrow equipment and pur instalJation of carpeting. Aside from the than by regulation. chase audio visual supplies and materials. aesthetic improvement, it is expected that Smoking is prohibited by City by-laws in There's bad news for students in the there will be an observable decrease in the theatres and in halls used for showing films recordings department. -
Cinefiles Document #13758
Document Citation Title The films of Buster Keaton Author(s) Raymond Rohauer Source Audio Film Center Date Type distributor materials Language English Pagination No. of Pages 24 Subjects Keaton, Buster (1895-1966), Piqua, Kansas, United States Film Subjects The blacksmith, Keaton, Buster, 1922 College, Horne, James W., 1927 Battling Butler, Keaton, Buster, 1926 Go west, Keaton, Buster, 1925 Seven chances, Keaton, Buster, 1925 The Navigator, Keaton, Buster, 1924 Our hospitality, Keaton, Buster, 1923 Cops, Keaton, Buster, 1922 The balloonatic, Keaton, Buster, 1923 Convict 13, Keaton, Buster, 1920 The electric house, Keaton, Buster, 1922 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) One week, Keaton, Buster, 1920 Day dreams, Keaton, Buster, 1922 The playhouse, Keaton, Buster, 1921 The General, Keaton, Buster, 1927 The frozen north, Keaton, Buster, 1922 My wife's relations, Keaton, Buster, 1922 The paleface, Keaton, Buster, 1921 The boat, Keaton, Buster, 1921 The goat, Keaton, Buster, 1921 Sherlock, Jr., Keaton, Buster, 1924 The high sign, Keaton, Buster, 1921 The haunted house, Keaton, Buster, 1921 Steamboat Bill, Jr., Reisner, Charles F., 1928 Neighbors, Keaton, Buster, 1920 The scarecrow, Keaton, Buster, 1920 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. -
Charlie Chaplin & Buster Keaton
SCIO. Revista de Filosofía, n.º 13, Noviembre de 2017, 77-96, ISSN: 1887-9853 CHARLIE CHAPLIN & BUSTER KEATON COMIC ANTIHERO EXTREMES DURING THE 1920S CHARLIE CHAPLIN Y BUSTER KEATON LOS DOS EXTREMOS DEL ANTIHÉROE CÓMICO DURANTE LOS AÑOS VEINTE Wes Gehringa Fechas de recepción y aceptación: 3 de abril de 2017, 13 de septiembre de 2017 In pantomime, strolling players use incomprehensible lan- guage... not for what it means but for the sake of life. [writer, actor, director Leon] Chancerel is quite right to insist upon the importance of mime. The body in the theatre... (Camus, 1962, p. 199). Abstract: The essay is a revisionist look at James Agee’s famous article “Comedy’s Greatest Era” –keying on Buster Keaton and Charlie Chaplin– ‘the comedy auteurs’ of the 1920s. However, while Chaplin was the giant of the era, period literature showcases that Keaton was a popular but more cult-like figure. (See my forthcoming book: Buster Keaton in his own time, McFarland Press). However, Keaton is now considered on a par with Chaplin. While the inspired comedy of Chaplin will be forever timeless, Keaton now seems to speak to today. At least a Wes D. Gehring is Ball State University’s “Distinguished Professor of Film”, Muncie, Indiana, USA. He is also the Associate Media Editor of USA TODAY Magazine for which he also writes the col- umn “Reel World”. He is the author of 36 books, including award-winning biographies of James Dean, Steve McQueen, Robert Wise, Red Skelton, and Charlie Chaplin. Correspondence: 3754 North Lakeside Drive, Muncie. Indiana 47304, United Sate of America. -
Christian Hospitality
Christian Hospitality A Handbook for Parishes To obtain more copies of Christian Hospitality please contact: Archdiocese of Louisville (502) 585-3291 Created by agencies of the Archdiocese of Louisville. Photographs provided by THE RECORD. 5th Revision 2013 Permission is granted to duplicate any part of this book, as needed, for non-commercial use for parishes, schools, and other church related agencies. Otherwise, no part of this publication may be reproduced in any manner without prior written permission of the Archdiocese of Louisville. Dear Sisters and Brothers in Christ: Welcome to the fourth revised edition of Christian Hospitality. First published in 1994, this handbook has served as a helpful resource for many parishes in our Archdiocese and beyond. Hospitality is a vital part of our baptismal call to invite all to come to know the good news of Jesus Christ. This ministry requires a welcoming spirit that offers opportunities for us to develop relationships of mutuality and solidarity. With its sections on liturgical hospitality, multicultural realities, welcoming persons with special needs, and reaching out beyond our parish boundaries, this handbook offers solid suggestions and food for thought in many areas of ministry and challenges us to deepen our practice of how to welcome all in Jesus’ name. I thank the many archdiocesan agencies that worked together to update and develop this material. As we present it again for use by parishes, let us seek the intercession of St. Benedict, the great monk and scholar whose ministry provides us with a deep sense of hospitality based upon reverence for the dignity of every person and upon our common journey toward union with our God. -
8 Movies We Think You Should Watch at the International Silent Film Festival Manila 2018 - When in Manila
3.1.2019 8 Movies We Think You Should Watch at the International Silent Film Festival Manila 2018 - When In Manila HOME ENTERTAINMENT AND CELEBRITY NEWS 8 MOVIES WE THINK YOU SHOULD WATCH AT THE INTERNATIONAL SILENT FILM FESTIVAL MANILA 2018 HOME TRENDING EAT ADVENTURE PARTIES ART STYLE STUFF INTEREST ADVOCACIES ENTERTAINMENT AND CELEBRITY NEWS 8 Movies We Think You Should Watch at the International Silent Film Festival Manila 2018 BY FRANCINE DAROY • AUGUST 27, 2018 Ihr Event in Sie sind auf der Suche nach dem perfekten Ort für Ihre Salzburg Veranstaltung? " Movies have always been a part of our culture. For every milestone, historical event, or scientific discovery; there is always a movie ready to reflect reality from an artistic and sometimes exaggerated standpoint. What if movies did not have language, though? While it is said that language is the medium of conversation, it is also said that images are more powerful than words. Silent films evoke a feeling of both antiquity and timelessness. Though cinematography was very simple and the concept of “green screen” was unknown then, even a person unfamiliar with silent films can follow the storyline. The pure sincerity of the acting alone is enough to reveal a character’s disposition, such as a grimace pertaining to disdain or a grin representing sly joy. Silent films do not need extemporaneous effects to convey a powerful message that will last for centuries, making the experience seem novel though actually vintage. Starting 2007, Manila has been host to this one of a kind experience of watching silent films produced a century ago. -
Festival Schedule
Festival Schedule © Poster design by Michael Zhang CHICAGOFILMFESTIVAL.COM1 uncommonCOMMON GROUND FOR THE THE LATEST CHAPTER OF CHICAGO’S HISTORIC CARBIDE & CARBON BUILDING stjanehotel.com2 54th Chicago International Film Festival It All Starts Here OCTOBER 10-21, 2018 AMC RIVER EAST 21• 322 E. Illinois St. Attending the Festival is as easy as...going to a movie! Use this guide and our website to decide what you’d like to see and purchase your tickets online, by phone, or at the Festival Box Office. Buy early to guarantee your seat. Festival films sell out fast! Online chicagofilmfestival.com/festival/tickets/ Phone 312-332-3456 (FILM) Monday-Friday: 10:00am to 6:00pm CLOSED Saturday and Sunday In Person Festival Box Office | AMC River East | 322 E. Illinois St. September 18-20: Members Pre-Sale (noon-8:00pm) September 20: Festival Pass Early Redemption (noon-8:00pm) September 21- Monday-Thursday: 4:00pm-8:00pm Get Tickets October 10: Friday-Sunday: noon-8:00pm October 11-21: Open daily one hour before the start of the first screening until the start of the last screening. ALL TICKETS AND PASSES ARE SUBJECT TO ADDITIONAL SERVICE CHARGES. Join Cinema/Chicago to enjoy films throughout the year, and gain access to unbeatable Festival perks. From discounts to VIP experiences, members can have it all. EARLY ACCESS to tickets before they go on sale to the general public. FREE advance screenings throughout the year. CONCIERGE ticket service at premium levels. JOIN chicagofilmfestival.com/membership Prices Members General Regular Screenings $12 and Students, Seniors (with valid ID) $15 Gala Presentations $17 $20 Matinees Through 5:00pm, Monday-Friday $8 $8 Plan and Save Late Night Films after 10:00pm $10 $10 Moviegoer Pass 10 Regular Screenings* $110 $140 Passport Pass 20 Regular Screenings* $205 $265 *Passes are not valid for Opening Night, Gala Presentations, Centerpiece, Tributes, Special Events, or Closing Night. -
INVITED to the FEAST?: PROBLEMS of HOSPITALITY, COLONIALITY and IDENTITY in the MUSIC CLASSROOM. ELEANOR M. JOHNSTON a Dissertat
INVITED TO THE FEAST?: PROBLEMS OF HOSPITALITY, COLONIALITY AND IDENTITY IN THE MUSIC CLASSROOM. ELEANOR M. JOHNSTON A Dissertation submitted to the Faculty of Graduate Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Education York University Toronto, Ontario July 2020 © Eleanor M. Johnston, 2020 i Abstract This study sought to understand the complicated interactions of student, teacher, curriculum and curricular objects in one junior music classroom in Ontario. This work was taken up under Derrida’s call for cities of refuge in On Cosmopolitanism and Forgiveness while mindful of the ways in which colonial structures can appear cosmopolitan, as in the trope of music as universal language. It explored how changing the music that was studied might affect their perception of their own and others’ belonging in the music room. This in turn, asks us to consider how curricular choices affect behavior, engagement and success in our students. Through ethnographically informed methods including interviews and observations, surveys and a curricular intervention using global pop music, student and teacher attitudes and engagement with diverse musics and cultures were examined. Three major themes emerged in the analysis; complex and conflicted identities in students who believed much of their tastes and selves did not belong at school, a rapid fluidity in musical taste, and the omnipresent shadow of a Western cultural framework of music curriculum, academic success, and schooling behavior and expectations. Several pedagogical and curricular implications were explored, including engaging students through academic approaches to music, student belonging and hospitality practices, and the difficulties of reception of multicultural approaches within the school. -
Lumière Festival2016
LUMIÈRE FESTIVAL2016 WELCOME CATHERINE DENEUVE LUMIÈRE AWARD 2016 The program! From Saturday 8 to Sunday 16 October © Patrick Swirc - Modds Swirc © Patrick WELCOME to the Lumière festival! AM R G PRO E H Invitations to actresses and T actors, filmmakers, film music composers. RETROSPECTIVES Restored prints on the big screen in the theater: See films Catherine Deneuve: Lumière Award 2016 Buster Keaton, Part 1 in optimal conditions. An iconic incarnation of the accomplished actress and movie Inventive, a daredevil, touching, hilarious, Buster Keaton was star, this extraordinary actress shook up the art of the actor, all of these things at once, and revolutionized burlesque Huge film screenings at inspired filmmakers for five decades, through her amazing, comedy ofthe early 20th century, during the same era as the Halle Tony Garnier, the daring filmography, exploring all genres and forms. Films« carte Charlie Chaplin. His introverted but reckless character, forever Auditorium of Lyon and the Lyon blanche» (personal picks), a master class and presentation impassible and searching for love, would bring him great of the Lumière Award. notoriety. The Keaton Project, led by the Bologna Film Library Conference Center. and Cohen Films, allows us to dive into his work, currently Marcel Carné under restoration. Silent films accompanied by music to A discovery of silent films with Marcel Carné contributed some of his most successful films to discover with the whole family. cinema concerts. the cinema and invented poetic realism with Jacques Prévert. In his body of work, we come across Jean Gabin, Michèle Quentin Tarantino: 1970 Morgan, Louis Jouvet, Arletty, Simone Signoret, then rediscover Three years after receiving the Lumière Award, the cinephile Buster Keaton in The Cameraman Master classes and the opportunity to attend special Jacques Brel, Annie Girardot or Maurice Ronet. -
Humour and Enjoyment Reducers in Cinema and Theatre Comedy
http://dx.doi.org/10.7592/EJHR2014.2.3.sover European Journal of Humour Research 2 (3) 86–97 www.europeanjournalofhumour.org Humour and enjoyment reducers in cinema and theatre comedy Arie Sover Ashkelon Academic College, Israel Abstract In this research, I am trying to define a new concept which I shall call Enjoyment Reducer, referring to verbal or visual content, incorporated into comic situations, which may offend or disturb the viewer’s enjoyment. There are comic situations that are only partially enjoyable and, at times, even cause embarrassment to the point of adversely affecting our enjoyment. These types of comic situations include what I term Enjoyment Reducers since they operate contrary to the function for which the comic situations were intended, which is to cause the viewer enjoyment. It should be noted that practically every comic situation includes Enjoyment Reducers because they are based on incongruities which disrupt our normal order or values. The fact that we laugh at humorous situations means that their enjoyable effect is stronger than the Enjoyment Reducers’ effect. Additionally, Enjoyment Reducers are both culture-dependent and contingent upon the viewer’s personality traits. Therefore, what one person perceives as an Enjoyment Reducer might be understood differently by another. The research findings reveal various types of Enjoyment Reducers that relate to human values, prohibitions and taboos. In addition, I will refer to another concept that is quite known, Enjoyment Enhancers, which might shed light on the main focus of the present research, which is Enjoyment Reducers. This research focuses mainly on comedy film, although the results are also relevant to theatre and all types of comic shows. -
My Husband Church Planter
My Husband wants to be a Church Planter... So What Will That Make Me? My Husband wants to be a Church Planter... So What Will That Make Me? Compiled and Edited by John M. Bailey and Sherri Jachelski The North American Mission Board (NAMB) is the Southern Baptist Convention (SBC) mission agency which, in cooperation with state conventions, assists SBC churches in reaching the United States, Canada, and their territories with the gospel of Jesus Christ. The Board oversees the work of more than 5,000 missionaries who are supported through the Cooperative Program and the Annie Armstrong Easter Offering® for North American missions. 1 Copyright © 2007 by the North American Mission Board of the Southern Baptist Convention. All rights reserved. No part of this publication may be reproduced in any form without prior written permission of the publisher. All inquiries should be addressed to: Editorial & Visual Promotion Team Director, North American Mission Board, 4200 North Point Pkwy., Alpharetta, GA 30022-4176; fax (770) 410-6006; or e-mail to [email protected]. Scripture quotations marked (NIV) are taken from the HOLY BIBLE, NEW INTERNATIONAL VERSION®. NIV®. Copyright © 1973, 1978, 1984 by International Bible Society. Used by permission of Zondervan. All rights reserved. Scripture quotations marked (ESV) are from the Holy Bible, English Standard Version®, copyright © 2001 by Crossway Bibles, a publishing ministry of Good News publishers. Used by permission. All rights reserved. Scriptures marked as (CEV) are taken from the Holy Bible, Contemporary English Version, copyright © 1995 by American Bible Society. Used by permission. Scripture quotations marked (NLT) are taken from the Holy Bible, New Living Translation, copyright © 1996, 2004.