Cathy Elliott Thesis Final Version Mar 2013
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PBIFF 2012 Film Announcement-1
FOR IMMEDIATE RELEASE National Press Contact: March 13, 2012 Carol Marshall Carol Marshall Public Relations, Inc. 818/760‐6450 [email protected] Local Press Contact: Profile Marketing & PR Joanne Polin [email protected] 561‐350‐8784 Hillary Reynolds [email protected] 954‐815‐1186 17th PALM BEACH INTERNATIONAL FILM FESTIVAL UNVEILS 2012 LINE‐UP * * * “ROBOT & FRANK” OPENS FESTIVAL THURSDAY, APRIL 12; CLOSES WITH “SASSY PANTS” * * * Festival Presents 40 World and U.S. Premiere Feature Films BOCA RATON, FL – The Palm Beach International Film Festival (PBIFF) announced its highly anticipated film line‐up for the 17th edition, April 12‐19, 2012, featuring 25 World Premieres, 14 U.S. Premieres and 2 North American Premieres. PBIFF (www.pbifilmfest.org) will present features, documentaries and short films from the U.S. and around the world, including Netherlands, Spain, Argentina, Tanzania, Italy, France, England, Israel, Thailand, Guinea‐Bissau, Portugal, Australia, Canada, Romania and Sweden, and will play host to filmmakers, producers, and actors to represent and discuss their films. “We are excited about this year’s program,” comments PBIFF Director Randi Emerman, “which reflects our ongoing mission to engage with the community, expanding and enhancing its knowledge of the world through the unique lens of independent film.† We encourage people to take this opportunity to enjoy these diversely international stories.ʺ Opening Night kicks off with Robot & Frank, directed by Jake Schreier. Set in the near future, Frank, a retired cat burglar, has two grown kids who are concerned he can no longer live alone.† They are tempted to place him in a nursing home until Frankʹs son chooses a different option: against the old manʹs wishes, he buys Frank a walking, talking humanoid robot programmed to improve his physical and mental health. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Catalogo 2009
Alto Patronato Presidente della Repubblica Catalogo 2009 Opere che vogliono essere guardate con occhi diversi. Film Festival Internazionale di Milano 9 a edizione 7 - 19 MAGGIO 2009 WWW.MIFF.IT Fai un salto di qualità. C o m u n i c a zione i n t e g rata . P u b b l i c h e r e lazioni AdPage1 www.sofonisba.it Eventi . A r t e . Web & Multimedia solut ion . Golf Benvenuto Welcome Mario Monicelli (Premio alla Carriera MIFF 2007) Un saluto ai partecipanti della 9a edizione del MIFF- Film Festival Internazionale di Milano. Evento di valore volto a celebrare il cinema indipendente di tutto il mondo, il MIFF è cresciuto, si è guadagnato il rispetto dei filmmaker internazionali e quest’anno si trasforma in un nuovo evento i MIFF Award. In questa edizione, significativa perché segna la nascita di un formato innovativo di uno degli avvenimenti culturali più importanti, e a me più cari, della città di Milano, vi auguro buona fortuna. Infine mi com- plimento con lo staff che ha saputo andare oltre, non fermandosi davanti alle avversità di un anno difficile, riconfermando la passione e la volontà verso obiettivi di valore che continuano ad alimentare la libertà artistica del grande schermo. My greetings to the participants of the 9th edition of MIFF-Film Fes- tival Internazionale di Milano. An event conceived to celebrates the exceptional independent cin- ema from around the world, MIFF has matured over the years, earn- ing the respect in the international film community. This year, especially, is a crucial point for the festival as it marks the birth of a new format. -
Ireland and Latin America: a Cultural History
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2010 Ireland and Latin America: a cultural history Murray, Edmundo Abstract: According to Declan Kiberd, “postcolonial writing does not begin only when the occupier withdraws: rather it is initiated at that very moment when a native writer formulates a text committed to cultural resistance.” The Irish in Latin America – a continent emerging from indigenous cultures, colonisation, and migrations – may be regarded as colonised in Ireland and as colonisers in their new home. They are a counterexample to the standard pattern of identities in the major English-speaking destinations of the Irish Diaspora. Using literary sources, the press, correspondence, music, sports, and other cultural representations, in this thesis I search the attitudes and shared values signifying identities among the immigrants and their families. Their fragmentary and wide-ranging cultures provide a rich context to study the protean process of adaptation to, or rejection of, the new countries. Evolving from oppressed to oppressors, the Irish in Latin America swiftly became ingleses. Subsequently, in order to join the local middle classes they became vaqueros, llaneros, huasos, and gauchos so they could show signs of their effective integration to the native culture, as seen by the Latin American elites. Eventually, some Irish groups separated from the English mainstream culture and shaped their own community negotiating among Irishness, Englishness, and local identities in Brazil, Uruguay, Peru, Cuba, and other places in the region. These identities were not only unmoored in the emigrants’ minds but also manoeuvred by the political needs of community and religious leaders. -
Family Court Judges
AN INDEPENDENT REPORT ON CORRUPTION AND WASTE IN THE NEW YORK FAMILY COURT SYSTEM "The family courts are operating a kidnapping and extortion racket." – Dr Stephen Baskerville “Our state court system in New York is absolutely insane. It has enabled political people to control the courts, and they don’t want to give it up — so it’s very hard to get legitimate change that would be beneficial to the public.” – The Hon. David Saxe, NY Appellate Division Justice (retired, 2017) “There is no system ever devised by mankind that is guaranteed to rip husband and wife or father, mother and child apart so bitterly than our present Family Court System.” -- NY Supreme Court Judge Brian Lindsay After an exhaustive survey of litigants, attorneys and judges in New York State’s family and matrimonial courts, and with the cooperation of numerous organizations and individuals, the Families Civil Liberties Union presents this wide-reaching report into the family court system of New York. It reveals corruption, cronyism, racketeering, waste and abuse that require urgent public attention. This report is timely and relevant because the New York judiciary has just been granted $3.1 bn in new public funding for the coming year, an increase of 3.4% -- higher than any other government entity. This money was signed off on by both the NY Legislature and Governor Cuomo. This report shows why all funding for the judiciary should be frozen until the evidence of systematic fraud in the judiciary is fully investigated. The report begins with a survey of the judges who have most egregiously failed to perform their constitutional and statutory duties in 2017 and 2018. -
Marin Filmmakers
THE TIBURON INTERNATIONAL FILM FESTIVAL THANKS ALL OF OUR SPONSORS FOR THEIR GENEROUS SUPPORT PREMIER SPONSORS OFFICIAL SPONSORS Payless Storage FOUNDATIONS & CONSULATES MEDIA SPONSORS EVENT SPONSORS INDUSTRY PARTNERS OFFICIAL LIMOUSINE SERVICE FRIENDS OF THE FESTIVAL CONTRIBUTING SPONSORS • Lunch:Lunch: No Dinner:Dinner: 5 ToTo G & CateCater Appadana New Morning Cafe TIFF SUPPORTERS 2 MARCH 19-27, 2009 8th Annual TIBURON TIBURON, CALIFORNIA FILMInternational FESTIVAL WELCOME... INSIDE ...to the 8th Annual Tiburon International Film Festival (TIFF). Program Overview............................4 A committment to the true spirit of independent fi lm and independent fi lmmaking has always been at the core of what fuels this festival, and Events.................................................5 that undoubtedly continues in 2009. This year’s line-up of fi lms is once again a celebration of global cinema, a transcendence of life into art that brings the world to its community in the greater Bay Area and beyond. Special Programs..................7, 10-13 Since last year, historic change has swept through America, in spite of the turmoil facing the country on many fronts. The message Tributes...............................................8 of hope and thoughtful understanding of all issues our new President embodies is precisely that which the TIFF has been a champion of since its inception. Film remains an incredible medium of expression; one that allows us all to gain a Feature Films...................................14 greater understanding of one another and our shared humanity. The fi lms in this program are both serious and light-hearted, but all provide a window to the world, allowing us to explore those Short Films.......................................33 distant places of struggle, strife, and laughter with our global neighbors. -
@Mongrelmedia Mongrelmedia
Presents NARCOPOLIS A film by Justin Trefgarne (96 min., UK, 2015) Language: English Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com @MongrelMedia MongrelMedia 1 N a R c o p o l I s __________________________________________________ TSquared Films’ “Narcopolis” is the debut feature film of writer-director Justin Trefgarne. 2022: London. The world’s economic outlook is still precarious and to appease a restless population the authorities have decriminalised all classes of recreational drugs. The ‘Drecks’ are an elite unit created by an over- stretched police force to keep the black market dealers off the streets and the licensed drug companies rich. Dreck and recovering addict Frank Grieves is called to investigate an unidentifiable corpse out in the Kindle District, an industrial wasteland beyond the teeming Central City. The victim had been injected through the eye socket with a substance that cannot be traced on any of the licenced databases. As he starts to dig deeper, Grieves soon suspects that Ambro, the largest and most profitable of all the licensed drugs companies, is behind the new, experimental drug. When his superiors promptly warn him off any further investigation, Grieves soon learns that Ambro’s influence runs deep within the establishment. Nonetheless, Grieves returns to the crime scene for another look, where he discovers a young woman being attacked by a masked assailant. Grieves fails to apprehend the attacker, but soon learns that the young woman, Eva, has also been using this mysterious drug. -
A Told by an Idiot and Theatre Royal Plymouth
A Told by an Idiot and Theatre Royal Plymouth production with Royal & Derngate, Northampton and Unity Theatre, Liverpool created by Told by an Idiot The Strange Tale of Charlie Chaplin and Stan Laurel was first performed on Thursday 14th November 2019 at The Drum, Theatre Royal Plymouth. DIRECTOR’S NOTE “ Without him I would never have made a film. With Keaton he was the master of us all. His work is always contemporary, yet eternal, and what he brought to the cinema and to his time is irreplaceable” Jacques Tati on Chaplin “ They made us laugh because in them we kind of saw ourselves - ridiculous, frustrated, up to our necks in trouble, but nevertheless ourselves” Danny Kaye on Laurel and Hardy At Told by an Idiot we have often been fascinated by the deconstruction of an iconic figure and the idea of creating a ‘true fantasy’ has always appealed to us. As a company who has consistently sought to inhabit the space between laughter and pain, we were intrigued to uncover a hidden and poignant chapter of comedy history. In some ways we set out to create a comically unreliable tribute to two extraordinary artists. We were determined to value fiction over fact, fantasy over reality, and shine a very unusual light on a pair of show business legends. Paul Hunter Writer and Director of The Strange Tale of Charlie Chaplin and Stan Laurel CAST Sara Alexander Films include: Tim Burton’s Sweeney Todd; Hilary & Jackie; Pianist, Hannah Chaplin (Charlie’s Mother) Susie Gold; Sherman (short); The Tales of Despereaux (cartoon); Gullivers Travels; Gli Zii (short); Muppets Most Sara is Brit-Sardinian and a graduate of the University of Wanted; Men Who Sleep in Cars. -
Ethnic Minorities in British Politics: Candidate Selection and Clan Politics in the Labour Party
Akhtar, P. and Peace, T. (2019) Ethnic minorities in British politics: candidate selection and clan politics in the Labour Party. Journal of Ethnic and Migration Studies, 45(11), pp. 1902-1918. (doi:10.1080/1369183X.2018.1443804) There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/157522/ Deposited on: 02 March 2018 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Ethnic Minorities in British Politics: candidate selection and clan politics in the Labour Party Authors: Dr Parveen Akhtar and Dr Timothy Peace To be published in: Journal of Ethnic and Migration Studies Abstract In increasingly diverse polities, the question of how minorities engage with national and local political processes is important. In the UK, the Labour Party has traditionally benefited electorally from ethnic minority communities, often through ethnicity-based voting blocs. However, little attention has been paid to how the Party’s candidate selection process, for local and national elections, is influenced by strategic party membership and nomination. We argue that community clan or kinship (biraderi) networks found amongst British Pakistanis have been mobilised for this purpose. We examine the cases of Bradford and Birmingham with respect to the nominations for Prospective Candidates at both parliamentary and local council level. We show the continued importance of biraderi connections in spite of Labour Party attempts to ‘clean up’ selection contests through impositions of the National Executive Committee (NEC). Such practices favour the selection of candidates with strong biraderi links and, as such, often marginalise female candidates. -
LOCANTRO Theatre
Tony Locantro Programmes – Theatre MSS 792 T3743.L Theatre Date Performance Details Albery Theatre 1997 Pygmalion Bernard Shaw Dir: Ray Cooney Roy Marsden, Carli Norris, Michael Elphick 2004 Endgame Samuel Beckett Dir: Matthew Warchus Michael Gambon, Lee Evans, Liz Smith, Geoffrey Hutchins Suddenly Last Summer Tennessee Williams Dir: Michael Grandage Diana Rigg, Victoria Hamilton 2006 Blackbird Dir: Peter Stein Roger Allam, Jodhi May Theatre Date Performance Details Aldwych Theatre 1966 Belcher’s Luck by David Mercer Dir: David Jones Helen Fraser, Sebastian Shaw, John Hurt Royal Shakespeare Company 1964 (The) Birds by Aristophanes Dir: Karolos Koun Greek Art Theatre Company 1983 Charley’s Aunt by Brandon Thomas Dir: Peter James & Peter Wilson Griff Rhys Jones, Maxine Audley, Bernard Bresslaw 1961(?) Comedy of Errors by W. Shakespeare Christmas Season R.S.C. Diana Rigg 1966 Compagna dei Giovani World Theatre Season Rules of the Game & Six Characters in Search of an Author by Luigi Pirandello Dir: Giorgio de Lullo (in Italian) 1964-67 Royal Shakespeare Company World Theatre Season Brochures 1964-69 Royal Shakespeare Company Repertoire Brochures 1964 Royal Shakespeare Theatre Club Repertoire Brochure Theatre Date Performance Details Ambassadors 1960 (The) Mousetrap Agatha Christie Dir: Peter Saunders Anthony Oliver, David Aylmer 1983 Theatre of Comedy Company Repertoire Brochure (including the Shaftesbury Theatre) Theatre Date Performance Details Alexandra – Undated (The) Platinum Cat Birmingham Roger Longrigg Dir: Beverley Cross Kenneth -
Democracy Promotion As Foreign Policy
DEMOCRACY PROMOTION AS FOREIGN POLICY AS FOREIGN PROMOTION DEMOCRACY series editors JENNY EDKINS AND NICK VAUGHAN-WILLIAMS This book looks at democracy promotion as a form of foreign policy. Elliott asks why democracy was seen to be the answer to the 7/7 bombings in London, and why it should be promoted not in Britain, but in Pakistan. The book provides a detailed answer to these questions, examining the logic and the modes of thinking that made such a response possible through analysis of the stories we tell about ourselves: stories about time, history, development, civilisation and the ineluctable spread of democracy. Elliott argues that these narratives have become a key tool in enabling practices that differentiate selves from others, friends from enemies, the domestic from the foreign, civilisation from the barbarian. They operate with a particular conception of time and constitute a British, democratic, national identity by positing an “other” that is barbaric, alien, despotic, violent and backward. Such understandings are useful in the wake of disaster, because they leave us with something to do: danger can be managed by bringing certain people and places up-to-date. However, this book shows that there are other stories to be told, and that it is possible to read stories about history against the grain and author alternative, less oppressive, versions. Providing a genealogy drawing on material from colonial and postcolonial Britain and Pakistan, including legislation, political discourse, popular culture and government projects, this book will be of interest to scholars and students focusing on democracy promotion, genealogy, critical border studies, poststructural IR, postcolonial politics, discourse analysis, identity/subjectivity, and “the war on terror”. -
Final Copy 2012 01 23 Boyd
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Boyd, Jade Title: The Experience of Colour in the Theatre of Federico García Lorca General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. The Experience of Colour in the Theatre of Federico García Lorca Jade Leanne Jessie Boyd “A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in Hispanic, Portuguese, and Latin American Studies in the Faculty of Arts, School of Modern Languages, September 2019.” Word Count: 79,664 Abstract Colour in the theatre of Federico García Lorca (1898-1936) is a powerful and equivocal force which is centred on his aesthetic concerns and on the audience experience.