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Komiks and Retelling the Lore of the Folk
philippine studies Ateneo de Manila University • Loyola Heights, Quezon City • 1108 Philippines The Komiks and Retelling the Lore of the Folk Soledad S. Reyes Philippine Studies vol. 57 no. 3 (2009): 389–417 Copyright © Ateneo de Manila University Philippine Studies is published by the Ateneo de Manila University. Contents may not be copied or sent via email or other means to multiple sites and posted to a listserv without the copyright holder’s written permission. Users may download and print articles for individual, noncom- mercial use only. However, unless prior permission has been obtained, you may not download an entire issue of a journal, or download multiple copies of articles. Please contact the publisher for any further use of this work at [email protected]. http://www.philippinestudies.net SOledad S. REYES The Komiks and Retelling the Lore of the Folk Komiks (comics), which emerged in the 1920s, have captured the Filipinos’ imagination, subsequently becoming materials for major motion pictures, yet marginalized in cultural studies. This article offers a diachronic analysis of the komiks between the 1930s and the 1970s to reveal the relationship between selected komiks characters and the folk tradition embodied in epics and legends. It also explains the komiks writers’ fascination with the remote past and their construction of heroes and heroines. In illuminating the worldview of writers and readers and the meanings generated when texts and readers interact, this article problematizes the supposition that popular culture is unalloyed escapism. Keywords: PhiliPPine KomiKs • folKlore • romance mode • heroes • PoPular culture PHILIPPINE STUDIES 57, NO. 3 (2009) 389–417 © Ateneo de Manila University he history of the komiks (comics) in the Philippines consti- Resurrecting the Komiks in the Twenty-First Century tutes a narrative full of color and spectacle interspersed with With the emergence and proliferation of new forms, undoubtedly brought indescribable gloom and eerie silence. -
Petit Vent De Marais Sur Le Vieux Nice ?
Cannes : quand le mimosa fait son cinéma + de 1.000 annonces Commune et Conservatoire Ventes de commerces, du Littoral expérimentent droits au bail, locaux, entreprises, licences IV... du côté de la Croix-des-Gardes. disponibles sur www.tribuca.fr p.4 en dernières pages numériques Stéphane Reynaud, mimosiste La mairie ? Un clic et tout droit… Encore une première mondiale pour notre bonne ville de Nice, avec l’expérimentation d’un bureau de mairie virtuel multipliable à l’envi. L’actualité économique et juridique - Annonces Légales N° 679 du 1er mars 2013 / 0,70 a l www.tribuca.fr l Siège : Nice > 15, rue A. Mari 06300 - 04 92 17 55 00 l Cannes > 13, bd Carnot 06400 – 04 93 39 38 88 l Antibes > 32, avenue R. Soleau 06600 – 04 93 34 00 50 ISSN 1625-2489 © photo ville de Nice p.5 Petit vent de Marais Michel Dessus rempile à la Chambre d’agriculture sur le vieux Nice ? Le président sortant a été réélu pour un mandat de six ans à la tête Ceux qui y croient depuis des lustres ne sont plus seuls, et c’est bien. de la Chambre consulaire. p.4 Le Carlton fête ses 100 ans tout en amour et glamour Le palace du 7e art s’offre un impeccable anniversaire en BD. p.27 ors les bonnes petites tables qui attirent Excellent pari, ce duo de grands pros à indiscutablement une belle clientèle vers l’accueil confondant a parfaitement tissé sa toile la vieille ville, il existe d’autres secteurs et solidement fidélisé. Depuis cinq ans, le mouve- H d’activités qui pourraient bien eux-aussi ment s’est nettement accéléré, dans les secteurs participer à un changement d’image sal- de la mode et de l’art de vivre. -
Doug Scholz-Carlson CV
DOUG SCHOLZ-CARLSON dougscholzcarlson.com 3608 PILLSBURY AVENUE SOUTH | MINNEAPOLIS, MN, 55409 | [email protected] | 612.644.6376 Artistic Director (2013-present) Great River Shakespeare Festival Associate Director (2006-13) Founding Company member (2004-06) Founding Co-Artistic Director (2000-04) Minnesota Shakespeare Project and Minnesota Shakespeare Festival at Grand Marais Director: Park Square Theatre The Pirates of Penzance (original adaptation) The Liar The Snow Queen (original adaptation) Johnny Baseball (Midwest Premier) Great River Shakespeare Festival Richard III As You Like It Romeo and Juliet Macbeth Minnesota Opera La Fanciulla del West Memory Boy (Project Opera - World Premier) Madison Opera Romeo and Juliet The Barber of Seville The Turn of the Screw The Tender Land Pittsburgh Opera Lucia di Lammermoor Austin Opera Romeo et Juliette Lucia di Lammermoor Portland Opera Lucia di Lammermoor Palm Beach Opera The Turn of the Screw Brundibar Opera Theater of St. Louis The Barber of Seville (Opera on the Go) The Pirates of Penzance (Opera on the Go) The Very Last Green Thing Brundibar Minnesota Opera (Resident Artist Program) The Rape of Lucretia Minnesota Orchestra and the Minnesota Opera Scenes from La Boheme Seattle Police Department Lily Loves Charlie, OK? Director (cont): Guthrie/University of Minnesota BFA Cymbeline Henry VI Part 1 and 2 Romeo and Juliet University of Iowa The Crucible New Breath Productions Rags Minnesota Shakespeare Project Hamlet Minnesota Shakespeare Festival at Grand Marais Hamlet Pericles, Prince of Tyre Macbeth Theater 3 (touring, Port Jefferson, NY) Hamlet A Midsummer Night’s Dream Romeo and Juliet St. Olaf College Ruddigore Great Expectations The Great River Shakespeare Festival Cymbeline (Apprentice Company) As You Like It Gilbert & Sullivan Very Light Opera Company The Sorcerer Institute of Vocal Artistry, Minneapolis Hansel and Gretel St. -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
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Teresa de Lauretis Futurism: A Postmodern View* The importance of Modernism and of the artistic movements of the first twenty or so years of this century need not be stressed. It is now widely acknowledged that the "historical avant-garde" was the crucible for most of the art forms and theories of art that made up the contemporary esthetic climate. This is evidenced, more than by the recently coined academic terms "neoavanguardia" and "postmodernism," 1 by objective trends in the culture of the last two decades: the demand for closer ties between artistic perfor- mance and real-life interaction, which presupposes a view of art as social communicative behavior; the antitraditionalist thrust toward interdisciplinary or even non-disciplinary academic curri- cula; the experimental character of all artistic production; the increased awareness of the material qualities of art and its depen- dence on physical and technological possibilities, on the one hand; on the other, its dependence on social conventions or semiotic codes that can be exposed, broken, rearranged, transformed. I think we can agree that the multi-directional thrust of the arts and their expansion to the social and the pragmatic domain, the attempts to break down distinctions between highbrow and popular art, the widening of the esthetic sphere to encompass an unprecedented range of phenomena, the sense of fast, continual movement in the culture, of rapid obsolescence and a potential transformability of forms are issues characteristic of our time. Many were already implicit, often explicit, in the project of the historical avant-garde. But whereas this connection has been established and pursued for Surrealism and Dada, for example, Italian Futurism has remained rather peripheral in the current reassessment; indeed one could say that it has been marginalized and effectively ignored. -
DBA PRESS 6 3 15-Reduced-Size1
MOUSSE 47 LIVING YOUR UNLIVED LIFE 182 183 NICE TO MEET YOU N. SIELEWICZ DP of audio from robot nurse youtube videos, phone sex recordings, Yes, and the sound piece you did at Yale Union seemed like it also and a large composite text read by Vanessa Place and Tom Blood engaged with some of these important issues, but in a diferent about abuse in adult residential homes, mentally ill prisoners, and way. PM the physical properties of loading dock rubber bumpers. The piece is called Files. Alex Fleming and I made it and DP Anthony Tran wrote the software, which, in addition to animating Have you found art to be the best way to approach these extremely and structuring the piece, logged every fle played in sequence on complex and signifcant issues? Can I ask fnally, what do you ide- Yale Union’s website during the entire exhibition. Samples were ally hope to accomplish with your practice? PM played as a Markov chain changed states. A Markov chain is the for- Yes, I believe in art’s mative math behind many needs for calculating probability, how of- and artists’ capacities to approach these issues. And more than ap- ten a state will change: a kind of pre-existent form letter that afects proach them, I believe in their capacity to understand them and show policy and business as it applies to people’s lives—search engines how they work, which includes showing what metaphors they rely on. and life insurance policy risk assessments, among them. Momo I hope to accomplish not only an art practice. -
Spy Films, American Foreign Policy, and the New Frontier of the 1960S
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses Spring 2019 Bondmania: Spy Films, American Foreign Policy, and the New Frontier of the 1960s Luke Pearsons Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Cultural History Commons, History of Gender Commons, Political History Commons, and the United States History Commons Recommended Citation Pearsons, Luke, "Bondmania: Spy Films, American Foreign Policy, and the New Frontier of the 1960s" (2019). All Master's Theses. 1202. https://digitalcommons.cwu.edu/etd/1202 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. BONDMANIA: SPY FILMS, AMERICAN FOREIGN POLICY, AND THE NEW FRONTIER OF THE 1960s __________________________________ A Thesis Presented to The Graduate Faculty Central Washington University ___________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts History ___________________________________ by Luke Thomas Pearsons May 2019 CENTRAL WASHINGTON UNIVERSITY Graduate Studies We hereby approve the thesis of Luke Thomas Pearsons Candidate for the degree of Master of Arts APPROVED FOR THE GRADUATE FACULTY ______________ _________________________________________ Dr. Stephen Moore, Committee Chair ______________ _________________________________________ Dr. Daniel Herman ______________ _________________________________________ Dr. Chong Eun Ahn ______________ _________________________________________ Dean of Graduate Studies ii ABSTRACT BONDMANIA: SPY FILMS, AMERICAN FOREIGN POLICY, AND THE NEW FRONTIER OF THE 1960s by Luke Thomas Pearsons May 2019 The topic of this thesis are spy films that were produced during the Cold War, with a specific focus on the James Bond films and their numerous imitators. -
Superhero Film Films and Movies List
Superhero Film Films and Movies List Batman https://www.listvote.com/lists/film/movies/batman-205575/actors The Masked Marvel https://www.listvote.com/lists/film/movies/the-masked-marvel-7750532/actors The Spider Returns https://www.listvote.com/lists/film/movies/the-spider-returns-7765841/actors https://www.listvote.com/lists/film/movies/de-superjhemp-ret%C3%B6rns- De Superjhemp retörns 60056469/actors https://www.listvote.com/lists/film/movies/the-invisible-boy-%E2%80%93-second- The Invisible Boy – Second Generation generation-43303083/actors Jian Bing Man https://www.listvote.com/lists/film/movies/jian-bing-man-20683503/actors Wapakman https://www.listvote.com/lists/film/movies/wapakman-7968223/actors https://www.listvote.com/lists/film/movies/gandarrapiddo%3A-the-revenger-squad- Gandarrapiddo: The Revenger Squad 39060256/actors Most Welcome 2 https://www.listvote.com/lists/film/movies/most-welcome-2-15040778/actors The Return of the Six-Million-Dollar Man https://www.listvote.com/lists/film/movies/the-return-of-the-six-million-dollar-man- and the Bionic Woman and-the-bionic-woman-3988997/actors Volta https://www.listvote.com/lists/film/movies/volta-7940705/actors https://www.listvote.com/lists/film/movies/superargo-versus-diabolicus- Superargo Versus Diabolicus 20814784/actors Fearless Frank https://www.listvote.com/lists/film/movies/fearless-frank-5439479/actors Darna https://www.listvote.com/lists/film/movies/darna-5224082/actors Guardians of the Night – The Vampire https://www.listvote.com/lists/film/movies/guardians-of-the-night-%E2%80%93- -
THE ÜLKÜ VERSION of KEMALISM, 1933-1936 a Phd Dissertation B
THE PECULIARITIES OF TURKISH REVOLUTIONARY IDEOLOGY IN THE 1930s: THE ÜLKÜ VERSION OF KEMALISM, 1933-1936 A PhD Dissertation by ERTAN AYDIN In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN POLITICAL SCIENCE AND PUBLIC ADMINISTRATION in THE DEPARTMENT OF POLITICAL SCIENCE AND PUBLIC ADMINISTRATION BILKENT UNIVERSITY ANKARA, TURKEY September, 2003 I certify that I have read this thesis and have found that it is fully adequate, in scope an in quality, as a thesis for the degree of Doctor of Philosophy in Political Science and Public Administration. ----------------------------------------------- Associate Prof. Dr. Ümit Cizre (Supervisor) I certify that I have read this thesis and have found that it is fully adequate, in scope an in quality, as a thesis for the degree of Doctor of Philosophy in Political Science and Public Administration. ----------------------------------------------- Prof. Dr. Ahmet Davutoğlu (Examining Committee Member) I certify that I have read this thesis and have found that it is fully adequate, in scope an in quality, as a thesis for the degree of Doctor of Philosophy in Political Science and Public Administration. ----------------------------------------------- Assistant Prof. Dr. Nur Bilge-Criss (Examining Committee Member) I certify that I have read this thesis and have found that it is fully adequate, in scope an in quality, as a thesis for the degree of Doctor of Philosophy in Political Science and Public Administration. ----------------------------------------------- Assist. Prof. Dr. Ömer Faruk Gençkaya (Examining Committee Member) I certify that I have read this thesis and have found that it is fully adequate, in scope an in quality, as a thesis for the degree of Doctor of Philosophy in Political Science and Public Administration. -
La “Funzione-Baruchello” Nella Poesia Della Neoavanguardia: Il Problema Delle Scritture, Tra Sintassi Disegnativa E Statuto Del Personaggio
p i a n o b . A R T I E C U L T U R E V I S I V E ISSN 2531-9876 132 La “funzione-Baruchello” nella poesia della Neoavanguardia: il problema delle scritture, tra sintassi disegnativa e statuto del personaggio CHIARA PORTESINE «Fino ad essere assimilato come l’unico pittore del gruppo»: una mappatura bibliografica Servendosi di una formula sintetica ma programmatica, si potrebbe as- serire che i disegni baruchelliani funzionino, in un certo senso, come manuale di ‘uso e manutenzione’ per verificare alcuni problemi (narrativi, formali e, in un certo senso, ideologici) che hanno caratterizzato il dibat- tito estetico promosso dalla Neoavanguardia. Se Baruchello si qualifica, notoriamente, come artista-scrittore e artista degli scrittori – collezio- nando una serie di collaborazioni a quattro mani con i letterati coevi1 –, all’interno del Gruppo 63 le «occasioni dell’arte» (Vivaldi, 1973) diventano progetti circostanziati e ascrivibili a un preciso contesto di sociologia let- teraria2. I risultati di queste co-operazioni verbo-visive, infatti, non si con- cludono con la pubblicazione di specifici libri d’artista, ma si inseriscono attivamente all’interno di eventi pubblici (rappresentazioni teatrali, pre- sentazioni di mostre o libri, ecc.), contribuendo a strutturare quella di- mensione costitutivamente interdisciplinare della Neoavanguardia oggi riconosciuta dalla critica specialistica come una delle componenti più ca- ratterizzanti del movimento (cfr. ad esempio Chirumbolo, Moroni, Somi- gli, 2010; Fastelli, 2018 e Lo Monaco, 2020). I legami coltivati all’interno di 1 Per rimanere all’interno del periodo cronologico isolato nel contributo, si vedano almeno Alphabets d’Éros, con testo di Gilbert Lascault e disegni di Baruchello (Baruchello, Lascault, 1976) e Fabula di Luigi Fontanella (Baruchello, Fontanella, 1979). -
Synopsis and Write Ups
Synopsis and Write Ups SET A KUDETA! KUDETA! A coma patient and a disgruntled fallen angel join forces in a plot to remove Lucifer from power. It’s good versus evil and all the grays in between. About the playwright Jimmy Flores is a freelance graphic designer who dabbles in filmmaking. He has written scripts for indie productions such as Auraeus Solito’s Tuli and Boy, Lawrence Fajardo’s Raket ni Nanay and X-Deal, and just recently, Supremo and Mariposa Sa Hawla ng Gabi for Richard Somes. Kudeta! Kudeta! is his first foray into stage plays. About the director Ariel’s (ARIEL S.R. YONZON) love for the theatre grew through a chiaroscuro of different arts in the palette of his life – good literature, appreciation of fine music of the masters, excellent grasp of language, among others, that all blended beautifully together in his journey, first at the MET (Manila Metropolitan Theater) in the early 80’s and, later, on to campus theatre at the University of the Philippines, through the U.P. Anak-Tibawan, as actor and stage manager. But, his reverence for the arts was bound to bring him to the country’s Cultural Center of the Philippines, where some of the world’s best artists perform. As one who has had the privilege of climbing up the ranks, first as Theatre Usher (as he was then a working student), then, as Project Coordinator (for the CCP Musical and Dramatic Arts Divisions), and, finally, as Head of the CCP Theatre Operations Department, he brings a unique understanding of theatre production work, grasping fully what every facet of theatre entails and giving both artists and stage personnel all that is necessary to give the audiences stellar productions. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.