DOCSLIB.ORG

The Song Collector Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Song Collector Free FREE THE SONG COLLECTOR PDF Natasha Solomons | 400 pages | 24 Mar 2016 | Hodder & Stoughton General Division | 9781444736410 | English | London, United Kingdom Home - Natasha Solomons Build up your Halloween Watchlist with our list The Song Collector the most popular horror titles on Netflix in October. See the list. After being denied a promotion at the university where she teaches, Doctor Lily The Song Collector, a brilliant musicologist, impulsively visits her sister, who runs a struggling rural school in Appalachia. There she stumbles upon the discovery of her life - a treasure trove of ancient Scots-Irish ballads, songs that have been handed down from generation to generation, preserved intact by the seclusion of the mountains. With The Song Collector goal of securing her promotion, Lily ventures into the most isolated areas of the mountains to collect the songs and finds herself increasingly enchanted - not only by the rugged purity of the music, but also by the raw courage and endurance of the local people as they carve out meaningful lives against the harshest conditions. It is not, however, until she meets Tom - a handsome, hardened war veteran and talented musician - that she's forced to examine her motivations. Is the "Songcatcher," as Tom insists, no better than the men who exploit the people and extort their Written by Sujit R. Songcatcher is a film that shows the side of the mountain people that has been unknown for years. It's kind of The Song Collector an indie, female version of Oh Brother Where Art Thou, but with a The Song Collector touch and more and better music. The film is very enjoyable with some exceptional acting particularly in the case of Janet McTeer, Aidan Quinn and Emmy Rossum and features some lovely and moving renditions of classic ballads. Maggie Greenwald The Ballad of Little Jo, for which she wrote and directed is also both the director and writer of Songcatcher and she has done a fabulous job. The film's focus is on musicologist Lily Penleric Janet McTeer in the early s who has just been passed over for a permanent teaching position for the second time. She becomes embittered and decides to leave the The Song Collector and go to the mountains to visit her sister Jane Adams at her school in the mountains of North Carolina. After hearing Deladis sing these ballads Lily becomes obsessed with collecting and publishing the songs. With the help of Deladis and her boyfriend Fate Honeycutt don't you just love these names Lily goes around the mountain collecting songs. One of her first stops is at incorrigible Viney Butler Pat Carroll. The The Song Collector clash at first but they eventually become, no surprise, romantically involved. Along the way we also meet Lily's antagonist Earl Giddens David Patrick Kelly who's has been 'educated' down the mountain and wants to turn the mountain in a coal mine. While collecting the songs, Lily slowly begins to crack from her shell and she learns to love the people of the mountain. The photography in the film is spectacular. It's vibrant and bright with some terrific shots of the The Song Collector Carolina Mountains. Maggie Greenwald brings the beauty of the mountains out with long-range shots at sunset. As I stated earlier the acting in this film is superb so there are no complaints from me. Lily Penleric was played perfectly by Janet McTeer who seems to be able to convey so much emotion through her eyes. Tom Bledsoe was such a different character than I had ever seen Aidan Quinn play before and it was quite refreshing. He was great as a grumbling, dirty yet somehow attractive mountain man. And Emmy Rossum, in her feature film debut, gives a stunning performance as the angelic voiced ward. The music in the film is probably it's best asset. Greenwald had actual singers and musicians play the musical parts. Iris Dement and Taj Mahal were just two of the musicians in this film and they added an authenticity to the film. All the songs in this movie were amazing and as soon as I saw this film I went out and bought the soundtrack. The only problems I had with the film are that the plot sometimes seemed a little forced, a little contrived and that there were too many subplots. There were probably in total about seven or eight different plot lines weaved in and out throughout the film. In some films this might work but Greenwald doesn't quite pull it off. The lesbian subplot was not needed at all. It actually took away from the authenticity of the The Song Collector and didn't seem The Song Collector fit in with the time period, which was the late Victorian era. Overall I would definitely recommend The Song Collector movie, especially to those that really enjoyed movies like Oh Brother Where Art Thou. This film captivates the beauty of the Carolina Mountains and shows what the music of the mountains is really like. Looking for something The Song Collector watch? Choose an adventure below and discover your next favorite movie or TV show. Visit our What to Watch page. Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. After being denied a promotion at the university where she teaches, Doctor Lily Penleric, a brilliant musicologist, impulsively visits her sister, who runs a struggling rural school in Director: Maggie Greenwald. The Song Collector Maggie Greenwald. Available on Amazon. Added to Watchlist. From metacritic. The Best Horror Movies on Netflix. Mal rein schauen. Share this Rating Title: Songcatcher 7. The Song Collector the HTML below. You must be a registered user to use the IMDb rating plugin. User Polls Favorite lesbian couple in film? Lily Penleric Michael Davis Fate Honeycutt Jane Adams Elna Penleric E. Katherine Kerr Harriet Tolliver Emmy Rossum Deladis Slocumb Pat Carroll Viney Butler Stephanie Roth Haberle Alice Kincaid Aidan Quinn Tom Bledsoe Bart Hansard Hilliard Erin Blake Clanton Polly David Patrick Kelly Earl Giddens Kristin Hall Isabel Michael Harding Edit Storyline The Song Collector being denied a promotion at the university where she teaches, Doctor Lily Penleric, a brilliant musicologist, impulsively visits her sister, who runs a struggling rural school in Appalachia. Edit Did You Know? Trivia The picture is partially loosely based on English folk song collector Cecil J. Goofs Except for Dexter Speaks, when the other characters play banjo, we hear many more notes than they actually strum. Quotes Viney Butler : Alice, you're gonna have to keep Reese away from you. Well, if you The Song Collector want butter, you gotta pull the dasher out in time. Was this review helpful to you? Yes No Report this. Add The Song Collector first question. Language: English. Runtime: min. Sound Mix: Dolby Digital. Songcatcher () - IMDb Harry Fox-Talbot wants to be left in peace. Then one day he discovers that his troublesome four-year-old grandson is a piano prodigy. The Song Collector music returns and Fox is compelled to re-engage with life — and, ultimately, to confront an old family rift. Decades earlier, Fox and his brothers return to Hartgrove Hall after the war, determined to save their once grand home from ruin. But on the last night ofthe arrival of beautiful wartime singer Edie Rose tangles the threads of love The Song Collector duty, The Song Collector leads to a shattering betrayal. With poignancy, lyricism and humour, Natasha Solomons tells a captivating tale of passion and music, of roots, ancient songs and nostalgia for the old ways, of the ties that bind us to family and home and the ones we are prepared to sever. Here is the story of a man who discovers joy and creative renewal in the aftermath of grief and learns that it is never too late to seek forgiveness. Home About Books News Contact. I use cookies to ensure that I give you the The Song Collector experience on my website. If you continue to use this site I will assume that you are happy with this. Accept Privacy policy. Songcatcher - Wikipedia She lives in Dorset with her husband, the award-winning children's author David Solomons, and their two children. She is the New York Times best-selling author of four novels and her work has been translated into seventeen languages. If she's not writing in the The Song Collector, she can usually be found playing hide-and-seek in the garden. With poignancy, lyricism and humour, Natasha Solomons tells a captivating tale of passion and music, of roots, ancient songs and nostalgia for the old ways, of the ties that bind us to family and home The Song Collector the ones we are prepared to sever. As far as her Jewish community is concerned, she is The Song Collector. Until, on her The Song Collector birthday, she does something unexpected. In the spring of Elise Landau arrives at Tyneford, the great house on the bay. Jack Rosenblum is five foot three and a half inches of sheer tenacity and through study and application he intends to become a Very English Gentleman. Read more. Natasha Solomons. Natasha Solomons is a screenwriter and novelist. About me. My Other Books. The Song Collector With poignancy, lyricism and humour, Natasha Solomons tells a captivating tale of passion and music, of roots, The Song Collector songs and nostalgia for the old ways, of the ties that bind us to family and home and the ones we are prepared to sever.
Load more

Recommended publications
  • Myrtle's Only
    ! ! " Myrtle’s Only Son" Dale Rayburn" ! ! ! Title: The Cowboy and the Songcatcher" ! Overview" Students are introduced to history of American Folk Music through a study of folklorists in the field. Known as “songcatchers,” early folk music collectors John and Alan Lomax are !responsible for collecting and preserving thousands of folk songs, including Home on the Range. ! Students will listen to examples of traditional and contemporary folk music, choose a folk song, !study it in depth and write a personal essay about the song. ! After watching an interview with Alan Lomax, students will conduct a folklife field project of their own, using the Library of Congress resource Folklife and Fieldwork: A Layman’s Introduction !to Field Techniques.! ! ! Subjects" American History, Folklore, Musicology, Language Arts! ! Age Group" Secondary (Grades 6 - 12)! ! Standards" 21st Century Learning Skills:" • !Critical Thinking and Reasoning! • !Information Literacy! • !Collaboration! • !Invention! • !Self-Direction! !• Skills for Living in the World! Colorado Academic Standards:" Social Studies" • Regions have different issues and perspectives! • Use geography to research, gather data and ask questions! • Become familiar with the idea that people are interconnected by geography! History" • Develops moral understanding, defines identity and creates an appreciation of how things change while building skills in judgment and decision-making. ! • Enhances the ability to read varied sources and develop the skills to analyze, interpret and communicate. ! • The
    [Show full text]
  • Traditional Song
    3 TraditionalSong l3-9 Traditional Song Week realizes a dream of a comprehensive program completely devoted to traditional styles of singing. Unlike programs where singing takes a back seat to the instrumentalists, it is the entire focus of this week, which aims to help restore the power of songs within the larger traditional music scene. Here, finally, is a place where you can develop and grow in confidence about your singing, and have lots of fun with other folks devoted to their own song journeys. Come gather with us to explore various traditional song genres under the guidance of experienced, top-notch instructors. When singers gather together, magical moments are bound to happen! For Traditional Song Week’s ninth year and our celebration of The Swannanoa Gathering’s 25th Anniversary, we are proud to present a gathering of highly influential singers and musicians who have remained devoted over the years to preserving and promoting traditional song. Tuesday evening will be our big Hoedown for a Traditional Country, Honk-Tonk, Western Swing Song and Dance Night. Imagine singing to a house band of Josh Goforth, Robin and Linda Williams and Ranger Doug or Tim May, Tim O’Brien, and Mark Weems! So, bring your boots and hats, your voices and instruments, and get ready to bring on the fun! Our Community Gathering Time each day just after lunch affords us the opportunity to experience together, as one group, diverse topics concerning our shared love of traditional song. This year’s spotlight will feature folks who have been “on the road” and singing for quite a while.
    [Show full text]
  • The Ballads of the Southern Mountains and the Escape from Old Europe
    B AR B ARA C HING Happily Ever After in the Marketplace: The Ballads of the Southern Mountains and the Escape from Old Europe Between 1882 and 1898, Harvard English Professor Francis J. Child published The English and Scottish Popular Ballads, a five volume col- lection of ballad lyrics that he believed to pre-date the printing press. While ballad collections had been published before, the scope and pur- ported antiquity of Child’s project captured the public imagination; within a decade, folklorists and amateur folk song collectors excitedly reported finding versions of the ballads in the Appalachians. Many enthused about the ‘purity’ of their discoveries – due to the supposed isolation of the British immigrants from the corrupting influences of modernization. When Englishman Cecil Sharp visited the mountains in search of English ballads, he described the people he encountered as “just English peasant folk [who] do not seem to me to have taken on any distinctive American traits” (cited in Whisnant 116). Even during the mid-century folk revival, Kentuckian Jean Thomas, founder of the American Folk Song Festival, wrote in the liner notes to a 1960 Folk- ways album featuring highlights from the festival that at the close of the Elizabethan era, English, Scotch, and Scotch Irish wearied of the tyranny of their kings and spurred by undaunted courage and love of inde- pendence they braved the perils of uncharted seas to seek freedom in a new world. Some tarried in the colonies but the braver, bolder, more venturesome of spirit pressed deep into the Appalachians bringing with them – hope in their hearts, song on their lips – the song their Anglo-Saxon forbears had gathered from the wander- ing minstrels of Shakespeare’s time.
    [Show full text]
  • The Place of Music, Race and Gender in Producing Appalachian Space
    University of Kentucky UKnowledge Theses and Dissertations--Geography Geography 2012 PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE Deborah J. Thompson University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Thompson, Deborah J., "PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE" (2012). Theses and Dissertations--Geography. 1. https://uknowledge.uky.edu/geography_etds/1 This Doctoral Dissertation is brought to you for free and open access by the Geography at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Geography by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies.
    [Show full text]
  • Filming Feminist Frontiers/Frontier Feminisms 1979-1993
    FILMING FEMINIST FRONTIERS/FRONTIER FEMINISMS 1979-1993 KATHLEEN CUMMINS 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 WOMEN’S, FEMINIST AND GENDER STUDIES YORK UNIVERSITY TORONTO, ONTARIO November 2014 © Kathleen Cummins, 2014 ii ABSTRACT Filming Feminist Frontiers/Frontier Feminisms is a transnational qualitative study that examines ten landmark feature films directed by women that re-imagined the frontiers of Canada, Australia, New Zealand, and the U.S through a feminist lens. As feminist feature films they countered Eurocentric and masculinist myths of white settlement and expansionism in the grand narrative tradition. Produced between 1979 and 1993, these films reflect many of the key debates that animated feminist scholarship between 1970 and 1990. Frontier spaces are re-imagined as places where feminist identities can be forged outside white settler patriarchal constructs, debunking frontier myths embedded in frontier historiography and the Western. A central way these filmmakers debunked frontier myths was to push the boundaries of what constitutes a frontier. Despite their common aim to demystify dominant frontier myths, these films do not collectively form a coherent or monolithic feminist revisionist frontier. Instead, this body of work reflects and is marked by difference, although not in regard to nation or time periods. Rather the differences that emerge across this body of work reflect the differences within feminism itself. As a means of understanding these differences, this study examines these films through four central themes that were at the centre of feminist debates during the 1970s, 80s, and 90s.
    [Show full text]
  • The Music Never Stopped Based Upon “The Last Hippie” by Oliver Sacks, M.D
    The Music Never Stopped Based upon “The Last Hippie” by Oliver Sacks, M.D. Official website: http://themusicneverstopped-movie.com Publicity Materials: www.roadsideattractionspublicity.com Production Notes Directed by Jim Kohlberg Screenplay by Gwyn Lurie & Gary Marks Produced by Julie W. Noll, Jim Kohlberg, Peter Newman, Greg Johnson Starring: J.K. Simmons Lou Taylor Pucci Cara Seymour Julia Ormond Running Time: 105 minutes Press Contacts: New York Marian Koltai-Levine – [email protected] – 212.373.6130 Nina Baron – [email protected] – 212.373.6150 George Nicholis – [email protected] – 212.373.6113 Lee Meltzer – [email protected] – 212-373-6142 Los Angeles Rachel Aberly – [email protected] - 310.795-0143 Denisse Montfort – [email protected] – 310.854.7242 "THE MUSIC NEVER STOPPED" Essential Pictures presents THE MUSIC NEVER STOPPED Based on a true story Directed by JIM KOHLBERG Screenplay by GWYN LURIE & GARY MARKS Based upon the essay 'The Last Hippie' by OLIVER SACKS Produced by JULIE W. NOLL JIM KOHLBERG PETER NEWMAN GREG JOHNSON Co-Producer GEORGE PAASWELL Executive Producer NEAL MORITZ Executive Producer BRAD LUFF Music Producer SUSAN JACOBS Director of Photography STEPHEN KAZMIERSKI Editor KEITH REAMER Production Designer JENNIFER DEHGHAN Costume Designer JACKI ROACH Original Music by PAUL CANTELON Casting by ANTONIA DAUPHIN, CSA J.K. SIMMONS LOU TAYLOR PUCCI CARA SEYMOUR with JULIA ORMOND TAMMY BLANCHARD MIA MAESTRO SCOTT ADSIT JAMES URBANIAK PEGGY GORMLEY MAX ANTISELL An Essential Pictures Production in association with Peter Newman/InterAL Productions A film by Jim Kohlberg SYNOPSIS “The Music Never Stopped,” based on the case study “The Last Hippie” by Dr.
    [Show full text]
  • REAMER, Keith
    KEITH REAMER, A.C.E. EDITOR Member: I.A.T.S.E./Local 700, M.P.E.G. New York local www.keithreamer.com FEATURES FINDING 52 (Documentary) Gigantic Pictures/Alldayeveryday/ Prod: Adrian Grenier, Jonathan Shukat, Dir: Joshua Zeman (Consulting Editor) ShowKat Productions Lucy Sumner, Leonardo DiCaprio BAYOU CAVIAR Brittany House Productions Prod: Anjul Nigam, Todd Lewis Dir: Cuba Gooding Jr. THE CHINA HUSTLE (Documentary) Jigsaw Prod: Jed Rothstein, Sarah Gibson Dir: Jed Rothstein *Toronto International Film Festival 2017 – TIFF Docs SOPHIE AND THE RISING SUN Sophie Film Prod: Brenda Goodman Dir: Maggie Greenwald *Sundance Film Festival 2016 – Premiere BILL TRAYLOR: CHASING GHOSTS (Documentary) Breakaway Films NY Prod: Sam Pollard Dir: Jeffrey Wolf LEARNING TO DRIVE Learning to Drive, LLC. Prod: Susan Leber, Dana Friedman Dir: Isabel Coixet *Toronto International Film Festival 2014 Daniel Hammond UNTITLED BILL COSBY DOC Anonymous Content Prod: Maureen Ryan Dir: Jamey Phillips INNOCENCE Killer Films Prod: Pamela Koffler, Christine Vachon Dir: Hilary Brougher Declan Baldwin BEFORE THE SPRING, AFTER THE FALL Prod: Allyson Luchak, Liz Garbus Dir: Jed Rothstein (Documentary) Fisher Stevens THE LAST KEEPERS TAL Entertainment Inc. Prod: Carly Hugo, Matthew Parker Dir: Maggie Greenwald EXPOSED (Documentary) Schulberg Productions Prod: Sandra Schulberg Dir: Beth B. *Berlin Film Festival 2013 – Premiere & Competition THE MUSIC NEVER STOPPED Roadside Attractions Prod: Julie W. Noll, Peter Newman Dir: Jim Kohlberg *Sundance Film Festival 2011 – Premiere AMREEKA National Geographic Ent. Prod: Christina Piovesan, Paul Barkin Dir: Cherien Dabis *Cannes Film Festival 2009 – Winner, International Critics Prize, Director’s Fortnight *Sundance Film Festival 2009 – Dramatic Competition CHOOSE IFC Midnight Prod: Allen Bain, Jesse Scolaro Dir: Marcus Graves HOMECOMING Paper Street Films Prod: Austin Stark, Jim Young Dir: Morgan J.
    [Show full text]
  • SEM Annotated Bibliographies Musical Activism and Agency: Contestations and Confluences
    SEM Annotated Bibliographies Musical Activism and Agency: Contestations and Confluences Jennifer LeBlanc, Golam Rabbani and Margaret E. Walker, Queen’s University These three annotated bibliographies were created to complement the Pre-Conference Symposium, “Musical Activism and Agency: Contestations and Confluences, which took place on October 21 at the start of the Society for Ethnomusicology 2020 Virtual Annual Meeting.1 The themes of the pre-conference symposium circled around questions of responsible and respectful engagement as both scholars and practitioners challenge dominant narratives, power imbalances, and ecological issues. The three roundtables that made up the symposium, “Music Environment, Health and Displacement,” “Sites of Resistance,” and Confronting Extractionism: Responsible Research Ethics and Professional Practices” brought nineteen presenters into conversation with each other and the virtual audience, addressing topics ranging from Canadian politics to climate change. Focusing on the themes of activism, agency, and extractionism as they dialogue with and through musical and other performative practice, this selected bibliography casts a wide net, bringing together literature that engages with an array of topics and issues. The annotations were created by drawing on original abstracts, reviews and of course, the material itself. The bibliography, however, is a work in progress and will continue to be refined until it is published publicly in 2021. We apologise for any omissions and invite comments, additions, and suggestions for additions, which can be sent to Golam Rabbani at [email protected] . The inspiration for the pre-conference themes arose from the intended site of the 2020 SEM conference. The capital city of the settler-colonial nation of Canada, Ottawa sits on unceded territory of the Algonquin people.
    [Show full text]
  • Stephanie's Resume
    STEPHANIE GORIN CASTING DIRECTOR CSA/C.D.C 2014 EMMY WINNER, BEST CASTING for a MINI-SERIES 2014 ARTIOS WINNER, BEST CASTING for a MINI-SERIES 3 EMMY NOMINATIONS 3 GEMINI NOMINATIONS 4 ARTIOS AWARD NOMINATIONS 62 Ellerbeck St., Toronto ON Canada M4K 2V1 PH: 416-778-6916 Email: [email protected] FEATURE FILMS, MOVIES OF THE WEEK, EPISODICS (selected) ROCKY HORROR PICTURE SHOW T.V. Feature 2016 Director: Kenny Ortega Executive Producers: Lou Adler, Gail Berman, Kenny Ortega / FOX 21 TELEVISION STUDIOS RACE – Co-Casting Feature 2015 Director: Stephen Hopkins Producers: Jean-Charles Levy, Luc Seguin, Karsten Brunig, Nicolas Manuel / Focus Features/Forecast Pictures FARGO (Seasons 1-2) Mini-Series 2014-2015 Director: Various Executive Producers: Joel & Ethan Coen, Noah Hawley, Warren Littlefield & John Cameron, Geyer Kosinski / MGM / FX *Emmy winner for casting – 2014 *Artios winner – 2014 HEROES REBORN T.V. Series 2015 Directors: Various Executive Producers: Tim Kring, Peter Elkoff, James Middleton / NBC OPERATION INSANITY Feature 2015 Director: Erik Canuel Executive Producer: Arnie Zipursky, CCI Entertainment SHADOWHUNTERS T.V. Series 2015 Director: Various Executive Producers: McG, Marjorie David, Ed Decter, Michael Reisz, Don Carmody / ABC Family-FREEFORM PRIVATE EYES T.V. Series 2015 Director: Kelly Makin, Anne Wheeler Executive Producers: John Morayniss, Tecca Crosby, Rachel Fulford, Shawn Piller, Lloyd Segan, Jason Priestley Tassie Cameron, Shelley Eriksen, Alan McCullough THE PATRIOT Pilot 2015 Director: Steve Conrad Executive Producers: Charlie Gogolak, Glenn Ficarra, Dominic Garcia, Gil Bellows / AMAZON SLASHER Mini-Series 2015 Director: Craig David Wallace Executive Producers: Christina Jennings, Aaron Martin, Adam Haight / Chiller / SUPERCHANNEL CHEERLEADER DEATH SQUAD Pilot 2015 Director: Mark Waters Executive Producers: Marc Cherry, Neal Baer, Daniel Truly, Frank Siracusa, John Weber / CW / CBS SHOOT THE MESSENGER Series 2015 Directors: Sudz Sutherland, T.W.
    [Show full text]
  • ウィークエンド サンシャイン Playlist Archive Dj：ピーター・バラカン
    ウィークエンド サンシャイン PLAYLIST ARCHIVE DJ：ピーター・バラカン 2015 年 10 月 3 日放送 01. Can't You Hear Me Calling / Crooked Still // Shaken by a Low Sound 02. Barbara Allen / Deborah Packard // Happy Land - Musical Tribute to Laura Ingalls Wilder 03. Barbara Allen / Emmy Rossum // Songcatcher - Music from and Inspired by the Motion Picture 04. Barbara Allen / Joan Baez // Joan Baez, Vol. 2 05. Barbara Allen / Emmylou Harris // Songcatcher - Music from and Inspired by the Motion Picture 06. I Am a Man of Constant Sorrow / Roscoe Holcomb // An Untamed Sense Of Control 07. I Am a Man of Constant Sorrow / Ralph Stanley // Old Songs & Ballads 08. I Am a Man of Constant Sorrow / Bob Dylan // Bob Dylan 09. I Am a Man of Constant Sorrow / Soggy Bottom Boys // O Brother, Where Art Thou? 10. Little Maggie With A Dram Glass In Her Hand / Grayson & Whitter // The Rose Grew Round The Briar 11. Little Maggie/ Robert Plant // lullaby and... The Ceaseless Roar 12. Little Maggie / Ricky Skaggs and Kentucky Thunder // Bluegrass Rules! 13. Oh Susanna / Keith Little // Happy Land - Musical Tribute to Laura Ingalls Wilder 14. Oh Susanna / Joe Weed // The Music of Stephen Foster 15. Oh Susanna /Buddhiman Gandharba // The Mountain Music Project; A Musical Odyssey from Appalachia to Himalaya 16. Oh Susanna / Vern Williams Band // Bluegrass from the Gold Country 17. Single Girl, Married Girl / Haden Triplets // The Haden Triplets 18. Crossing Muddy Waters / I’m With Her // (single) 19. Walkin' Back To Georgia / I’m With Her // (not for sale) 20. Any Old Time / Sara Watkins // Sara Watkins 21.
    [Show full text]
  • Productions in Ontario 2003
    PRODUCTION IN with assistance from Ontario Media Development Corporation (OMDC) CHANCE CLEAN THEATRICAL FILMS Company: Rushlight Entertainment/ Company: Rhombus Media Inc. Nickelodeon Films (NY) Producer: Niv Fichman, Daniel Iron, Producer: Michael Currie, Soojin Kwon, Sari Friedland AURORA BOREALIS Alan Vukadin Director: Olivier Assayas Company: Front and Center Productions, Inc. Executive Producer: Marcus Schwartz Writer: Olivier Assayas Producer: Scott Disharoon, Sherri Saito Director: James Cohen Line Producer: Frederic Sauvagnac Executive Producer: Rick Bieber Writer: James Cohen Production Designer: Bill Fleming Director: James Burke Production Manager: Alan Vukadin Director of Photography: Eric Gautier Writer: Brent Boyd Production Designer: Katie Macgregor Key Cast: Maggie Cheung, Nick Nolte, Production Manager: Marty Dejczak Director of Photography: Mark A. Feenstra Martha Henry Production Designer: Taavo Soodor Key Cast: Amel Hesh, Serena Deparis Shooting Dates: Oct. 13 - 31/03 Director of Photography: Alar Kivilo Shooting Dates: Jan. 10 - 25/03 Key Cast: Joshua Jackson, Donald CONFESSIONS OF A TEENAGE Sutherland, Louise Fletcher, Juliette Lewis CHILDSTAR DRAMA QUEEN Shooting Dates: Nov. 3 - Dec. 19/03 Company: Rhombus Media Inc. Company: Confessions Productions Ltd. Producer: Niv Fichman, Daniel Iron, Producer: Jerry Leider and Bob Shapiro BAILEY Jennifer Jonas Director: Sara Sugarman Company: Devine Bailey Productions Ltd. Director: Don McKellar Writer: Gail Parent Producer: David Devine, Richard Mozer Writer: Don McKellar,
    [Show full text]
  • The Singing Subject
    OVERTURE: The Singing Subject Hollywood's soundtrack is engendered through a complex system of displacements which locate the male voice at the point of apparent textual origin, while establishing the diegetic containment ofthe female voice. 1 In The Acoustic Mirror, one of the few film theory books that considers the female voice in cinema, psychoanalytic film theorist Kaja Silverman ascribes the female voice a place firmly within the narrative of 'classic' Hollywood (and other realist) films. 2 But as a cinematic spectator, I have experienced films where a woman's singing voice has for me transcended such limitations. My first experience of such a feeling was motivated by Songcatcher (Maggie Greenwald, 2000), a story about a 19th century musicologist, Dr Lily Penleric (Janet McTeer), who travels to the Appalachian Mountains to collect folk ballads. In Songcatcher, the women characters' singing is pleasurable and moving, but also transports me emotionally beyond the narrative.3 Such experiences of singing scenes4 provide for me a feeling that is analogous to, but also different from, the 'transcendence' of numbers in classic Hollywood film musicals.s In the classical musical, singing performances are not only expected, because of the genre, but also assisted by the use of nondiegetic music to lift the musical experience beyond the 'real' world of the narrative to a space that is most often a utopian realm. However, in Songcatcher, singing remains of the diegesis and yet for me reaches beyond the narrative world. I Kaja Silverman. The Acoustic Mirror: The Female Voice in P5ychoanalysis and Cinema. Bloomington and Indianapolis. Indiana University Press.
    [Show full text]