Dvds Just a Tiny Bit of Comfort 007, 4-4-2009
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Image – Action – Space
Image – Action – Space IMAGE – ACTION – SPACE SITUATING THE SCREEN IN VISUAL PRACTICE Luisa Feiersinger, Kathrin Friedrich, Moritz Queisner (Eds.) This publication was made possible by the Image Knowledge Gestaltung. An Interdisciplinary Laboratory Cluster of Excellence at the Humboldt-Universität zu Berlin (EXC 1027/1) with financial support from the German Research Foundation as part of the Excellence Initiative. The editors like to thank Sarah Scheidmantel, Paul Schulmeister, Lisa Weber as well as Jacob Watson, Roisin Cronin and Stefan Ernsting (Translabor GbR) for their help in editing and proofreading the texts. This work is licensed under a Creative Commons Attribution-NonCommercial-No-Derivatives 4.0 License. For details go to https://creativecommons.org/licenses/by-nc-nd/4.0/. Copyrights for figures have been acknowledged according to best knowledge and ability. In case of legal claims please contact the editors. ISBN 978-3-11-046366-8 e-ISBN (PDF) 978-3-11-046497-9 e-ISBN (EPUB) 978-3-11-046377-4 Library of Congress Control Number: 2018956404 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche National bibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographic data are available on the internet at http://dnb.dnb.de. © 2018 Luisa Feiersinger, Kathrin Friedrich, Moritz Queisner, published by Walter de Gruyter GmbH, Berlin/Boston The book is published with open access at www.degruyter.com, https://www.doabooks.org and https://www.oapen.org. Cover illustration: Malte Euler Typesetting and design: Andreas Eberlein, aromaBerlin Printing and binding: Beltz Bad Langensalza GmbH, Bad Langensalza Printed in Germany www.degruyter.com Inhalt 7 Editorial 115 Nina Franz and Moritz Queisner Image – Action – Space. -
SPRING 2016 Author's Titles Catalogue
SPRING 2016 Sandra Bruna author’s titles catalogue Sandra Bruna Agencia Literaria Gal·la Placídia 2, 5-2 Barcelona 08006 T +34 93 217 74 06 F +34 93 415 86 25 [email protected] Sandra Bruna adult fiction, non fiction, young adult & children titles catalogue our agents Sandra Bruna. Director Natàlia Berenguer Sandra started working at a literary agency at a Natàlia has been fond of books and stories since very young age and combined a Bachelor’s de- she was a little whirlwind girl. After studying a gree in Spanish with her job at the agency. After Master in Publishing at IDEC/UPF to get into the ten years of experience she decided to embark mess of this book business, in 2001 she started on a solo adventure, and she started up her own her book career in Planeta Group as an intern in agency in 2001. The beginnings were slow, but Editorial Crítica and she left the group six years more than ten years after Sandra Bruna Agencia later being the junior publisher of the Interna- Literaria has grown to currently become a con- tional Fiction books of Editorial Planeta. It was solidated agency with 130 Spanish and Catalan then, in 2007, that she decided to jump and authors, and a list of more than 30 publishers change the side of the negociation table by and agents represented for the Spanish and joining the SB team, where boredom or routine Portuguese speaking markets, both for adult and are, definitely, unknown words. children & YA titles. [email protected] [email protected] Berta Bruna Anna Gurguí B.A. -
4 | 2017 Volume 8 (2017) Issue 4 ISSN 2190-3387
4 | 2017 Volume 8 (2017) Issue 4 ISSN 2190-3387 Editorial: A Christmas Gift by Séverine Dusollier Designing Competitive Markets for Industrial Data – Between Propertisation and Access Law and Electronic Commerce Information Technology, Intellectual Property, Journal of by Josef Drexl From Cyberpunk to Regulation – Digitised Memories as Personal and Sensitive Data within the EU Data Protection Law by Krzysztof Garstka Copyright, Doctrine and Evidence-Based Reform by Stef van Gompel Non-Commercial Quotation and Freedom of Panorama: Useful and Lawful? by Eleonora Rosati Where is the Harm in a Privacy Violation? Calculating the Damages Afforded in Privacy Cases by the European Court of Human Rights by Bart van der Sloot Editors: Thomas Dreier Axel Metzger Gerald Spindler Lucie Guibault Miquel Peguera www.jipitec.eu Séverine Dusollier Chris Reed Karin Sein Journal of Intellectual Property, Information Technology and Electronic Commerce Law Table Of Contents Volume 8 Issue 4 December 2017 www.jipitec.eu [email protected] A joint publication of: Articles Prof. Dr. Thomas Dreier, M. C. J., KIT - Karlsruher Institut für Technologie, Zentrum für Angewandte Rechtswissenschaft (ZAR), Vincenz-Prießnitz-Str. 3, Editorial: A Christmas Gift 76131 Karlsruhe Germany by Séverine Dusollier 255 Prof. Dr. Axel Metzger, LL. M., Humboldt-Universität zu Designing Competitive Markets for Industrial Data – Between Berlin, Unter den Linden 6, Propertisation and Access 10099 Berlin by Josef Drexl 257 Prof. Dr. Gerald Spindler, Dipl.-Ökonom, Georg-August- From Cyberpunk to Regulation – Digitised Memories as Personal Universität Göttingen, and Sensitive Data within the EU Data Protection Law Platz der Göttinger Sieben 6, by Krzysztof Garstka 293 37073 Göttingen Copyright, Doctrine and Evidence-Based Reform Karlsruhe Institute of Technology, by Stef van Gompel 304 Humboldt-Universität zu Berlin and Georg-August-Universität Non-Commercial Quotation and Freedom of Panorama: Göttingen are corporations under Useful and Lawful? public law, and represented by their respective presidents. -
46-49 Alumni Books
ALUMNI BOOKS PROFILES AND REVIEWS guys, and historical figures Neal Stephenson’s new (Alan Turing, Douglas novel, Anathem, charts the MacArthur, Isaac Newton, adventures of a group of and Louis XIV, to name hyperintellectual monks out a few). to save their world from an Stephenson’s new extraplanetary menace. novel, Anathem (William Morrow, 2008), is his most ambitious project yet: it seeks to completely reshape the history of scientific and philosophical thought. Set 4,000 years in the future on a planet called Arbre, the novel chronicles the adventures of a cadre of hyperintellectual monks who must save their world from an extraplanetary menace. With Snow Crash, Stephenson (CAS’81) was writing alongside the young upstarts of sci-fi (they call it cyberpunk for a reason), but with Anathem, he is vying for a position among spec-fic’s old guard: Asimov, Clarke, Heinlein, and Huxley. Stephenson spoke with Bostonia about his work. Devin Hahn I understand that you started writing about halfway through your undergrad A Voice from the Future /// career. Yeah. I had tried to write some short Speculative fi ction writer stories much earlier, because the conventional wisdom is that the way Neal Stephenson talks about his you get into writing is by starting with little stuff and then working your way new book, his infl uences, and why up to novels. So I tried to write a couple of short stories, and they just didn’t go he can’t write short. By Devin Hahn anywhere. So based on that I thought that maybe being a writer just wasn’t in the cards for me. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
Think Film! on Current Practices and Challenges in Film Culture: a Documentation of a Student Symposium 2020
Repositorium für die Medienwissenschaft Adriane Meusch, Bianka-Isabell Scharmann u.a. (Hg.) Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium 2020 https://doi.org/10.25969/mediarep/13589 Veröffentlichungsversion / published version Konferenzbeitrag / conference object Empfohlene Zitierung / Suggested Citation: Meusch, Adriane; Scharmann, Bianka-Isabell (Hg.): Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium. Frankfurt am Main: Zenodo 2020. DOI: https://doi.org/10.25969/mediarep/13589. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5281/zenodo.3662799 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung 4.0/ Lizenz zur Verfügung gestellt. Nähere Attribution 4.0/ License. For more information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by/4.0/ http://creativecommons.org/licenses/by/4.0/ THINK THINK FILM! Edited by Adriane MeuschandBianka- Adriane Edited by Isabell Scharmann On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Edited by Adriane Meusch & Bianka- Isabell Scharmann Frankfurt am Main, 2020 Editors Adriane Meusch and Bianka-Isabell Scharmann, in collaboration with Michelle Rafaela Kamolz https://thinkfilmsymposium.wordpress.com Copy Editor Carly Crane Graphic Design Muriel Serf (mmm.do) Bibliographic information of the German Library The German Library catalogues this publication in the German National Bibliography; detailed bibliographic information can be found on the Internet website: http://dnb.d-nb.de. -
Mary in Film
PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas -
Cultural Identity Construction in Russian-Jewish Post-Immigration Literature
Cultural Identity Construction in Russian-Jewish Post-Immigration Literature by Regan Cathryn Treewater A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Department of Comparative Literature University of Alberta © Regan Cathryn Treewater, 2017 ii Abstract The following dissertation examines narratives of immigration to Western Europe, Israel and North America authored by Russian-speaking writers of Jewish decent, born in the Soviet Union after World War II. The project seeks to investigate representations of resettlement experiences and cultural identity construction in the literature of the post- 1970s Russian-Jewish diaspora. The seven authors whose selected works comprise the corpus of analysis write in Russian, German and English, reflecting the complex performative nature of their own multilayered identities. The authors included are Dina Rubina, Liudmila Ulitskaia, Wladimir Kaminer, Lara Vapnyar, Gary Shteyngart, Irina Reyn, and David Bezmozgis. The corpus is a selection of fictional and semi- autobiographical narratives that focus on cultural displacement and the subsequent renegotiation of ‘self’ following immigration. In the 1970s and final years of Communist rule, over one million Soviet citizens of Jewish heritage immigrated to Western Europe, Israel and North America. Inhospitable government policies towards Soviet citizens identified as Jewish and social traditions of anti-Semitism precipitated this mass exodus. After escaping prejudice within the Soviet system, these Jewish immigrants were marginalized in their adopted homelands as Russians. The following study of displacement and relocation draws on Homi Bhabha’s theories of othering and unhomeliness. The analyzed works demonstrate both culturally based othering and unhomely experiences pre- and post-immigration resulting from relegation to the periphery of society. -
Shinmai Maou No Testament Porn Compilation
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Bombay Talkies
A Cinematic Imagination: Josef Wirsching and The Bombay Talkies Debashree Mukherjee Encounters, Exile, Belonging The story of how Josef Wirsching came to work in Bombay is fascinating and full of meandering details. In brief, it’s a story of creative confluence and, well, serendipity … the right people with the right ideas getting together at the right time. Thus, the theme of encounters – cultural, personal, intermedial – is key to understanding Josef Wirsching’s career and its significance. Born in Munich in 1903, Wirsching experienced all the cultural ferment of the interwar years. Cinema was still a fledgling art form at the time, and was radically influenced by Munich’s robust theatre and photography scene. For example, the Ostermayr brothers (Franz, Peter, Ottmarr) ran a photography studio, studied acting, and worked at Max Reinhardt’s Kammertheater before they turned wholeheartedly to filmmaking. Josef Wirsching himself was slated to take over his father’s costume and set design studios, but had a career epiphany when he was gifted a still camera on his 16th birthday. Against initial family resistance, Josef enrolled in a prestigious 1 industrial arts school to study photography and subsequently joined Weiss-Blau-Film as an apprentice photographer. By the early 1920s, Peter Ostermayr’s Emelka film company had 51 Projects / Processes become a greatly desired destination for young people wanting to make a name in cinema. Josef Wirsching joined Emelka at this time, as did another young man named Alfred Hitchcock. Back in India, at the turn of the century, Indian artists were actively trying to forge an aesthetic language that could be simultaneously nationalist as well as modern. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.