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Friday, January 26, 2018 5 From Left, Chef Bassam AlAlawi, and Mahmood AlSharqawi Cult Hollywood burger gets a Bahraini twist Harpreet Kaur/DTNN (BACA) by Graffiti Artist initiative focused on blending philosophy is to try working AlSharqawi told DT News. producers also get benefitted [email protected] Mahmood AlSharqawi alias the genres of street food and on prevailing ideas to add “We took elements of these and known.” ahrain got a rare blend of Huvil and Chef Bassam street art. a message of harmony and movies to present our Shouq Al Alawi, the curator tastes from cult director AlAlawi, the owner of The experiment, now in its positivity. Chef Bassam artwork and if you see there of the week-long event that BQuentin Tarantino’s movies Darrasin café. third edition, sheds light on the AlAlawi said he developed will be characters of these concluded yesterday, told this week. What started off as an creative processes that take his knowledge of cooking three artists portrayed in my DT News that the current The Big Kahuna Burger experimental project to bridge place when two individuals on his own. For him, food graffiti.” edition is challenging. “The from Pulp Fiction and the the culture of art and food from different creative preparation has always been Chef Bassam AlAlawi artists are pushing their hot slice of apple strudel has now turned into a creative disciplines collaborate. They a way of expressing creativity said, “I would first like to limits to come up with covered in whipped cream movement where artists could create a painting, an and comfort. thank BACA for providing something creative and from Inglourious Basterds from all over the Kingdom installation, a video, or a “We were inspired by artists like us a platform to unique.” were prepared at the ‘Food is come to experiment their cake. Human imagination is the creations of Quentin experiment with our works. The event was organized Culture’ initiative organized ideas blending food and the only limit. Tarantino including Kill Bill, Moreover, I have tried to as part of the year-long by the Bahrain Authority culture. Artist Mahmood Pulp fiction and Inglorious incorporate local produce Muharraq Capital of Islamic for Culture and Antiquities This year, the BACA AlSharqawi’s creative Bastards,” Mahmood into my cooking so that local Culture 2018 programme. Aluminium Bahrain (Alba) Chief Executive Officer Tim Murray held the final session of the much-awaited annual ‘Town Hall Meetings’ yesterday at the Alba Oasis Hall with a special tribute to the Company’s female employees. Speaking at the last session of Town Hall Meeting, CEO Tim Murray said: “Town Hall Meeting is not only the most efficient form of direct communication but also the ideal platform to bolster synergy across the Company to realise its annual objectives.” The Town Hall Meetings commenced on 14 January 2018 and covered more than 90% of Alba’s employees. .

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Universitat Pompeu Fabra Departament De Traducció I
Universitat Pompeu Fabra Departament de Traducció i Ciències del Llenguatge Programa Oficial de Doctorat Pluricentric dubbing in French and Spanish The translation of linguistic variation and prefabricated orality in films Presentat per Pascale Trencia Supervisió del projecte per Dra. Victòria Alsina, Dra. Jenny Brumme i Dra. Kristin Reinke Barcelona, setembre de 2019 Dedicatòria i Agraïments A mis padres, Guy y Lise, a mi hermana Marion, a Guillermo, a mis directoras, Vicky, Jenny y Kristin, y a todos los que han cruzado mi camino durante estos cincos años de estudios doctorales. Esta tesis lleva un poco de cada uno de vosotros. Resum El present estudi examina com es tradueix el discurs fílmic, especialment els elements marcadors de la variació lingüística, al francès i al castellà, dues llengües pluricèntriques, és a dir, llengües que tenen més d’un centre normatiu. El fet que diverses nacions adoptin mesures per promoure la indústria nacional del doblatge, en general per motius econòmics i culturals, en ocasions porta a duplicar les varietats de doblatge. Per tant, una qüestió clau és saber com es comparen aquestes versions doblades i com aconsegueixen transmetre la variació lingüística i la oralitat prefabricada a través de les seves respectives traduccions. L’objectiu d’aquesta investigació consisteix a examinar quines són les principals diferències i similituds entre el discurs fílmic doblat de Quebec i de França (per al francés) i d’Espanya i Amèrica Llatina (per a l’espanyol), sobre la base d’un estudi de la pel·lícula Death Proof (2007) de Quentin Tarantino. Aquesta pel·lícula va ser seleccionada pel seu alt nivell de variació lingüística i la importància que Tarantino dóna a la llengua (no estàndard) de les seves pel·lícules.
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The South According to Quentin Tarantino
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2015 The South According To Quentin Tarantino Michael Henley University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the American Studies Commons Recommended Citation Henley, Michael, "The South According To Quentin Tarantino" (2015). Electronic Theses and Dissertations. 887. https://egrove.olemiss.edu/etd/887 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. THE SOUTH ACCORDING TO QUENTIN TARANTINO A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of the Center for the Study of Southern Culture The University of Mississippi by MICHAEL LEE HENLEY August 2015 Copyright Michael Lee Henley 2015 ALL RIGHTS RESERVED ABSTRACT This thesis explores the filmmaker Quentin Tarantino’s portrayal of the South and southerners in his films Pulp Fiction (1994), Death Proof (2007), and Django Unchained (2012). In order to do so, it explores and explains Tarantino’s mixture of genres, influences, and filmmaking styles in which he places the South and its inhabitants into current trends in southern studies which aim to examine the South as a place that is defined by cultural reproductions, lacking authenticity, and cultural distinctiveness. Like Godard before him, Tarantino’s movies are commentaries on film history itself. In short, Tarantino’s films actively reimagine the South and southerners in a way that is not nostalgic for a “southern way of life,” nor meant to exploit lower class whites.
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Recepcija Nasilja U Kinematografiji (Na Primjeru Quentina Tarantina)
Recepcija nasilja u kinematografiji (na primjeru Quentina Tarantina) Kaparić, Mirna Master's thesis / Diplomski rad 2019 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University North / Sveučilište Sjever Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:122:100360 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-10 Repository / Repozitorij: University North Digital Repository Diplomski rad broj 8/NOVD/2019 Recepcija nasilja u kinematografiji (na primjeru Quentina Tarantina) Mirna Kaparić, 0553/336D Koprivnica, rujan 2019. godine Odjel za Komunikologiju, medije i novinarstvo Diplomski rad broj 8/NOVD/2019 Recepcija nasilja u kinematografiji (na primjeru Quentina Tarantina) Studentica Mirna Kaparić, 0553/336D Mentorica Izv. prof. dr. sc. Iva Rosanda Žigo Koprivnica, rujan 2019. godine Predgovor Prilikom gledanja Pasa iz rezervoara Quentina Tarantina, iako staroga osamnaest godina, filmski su prizori neugodni, a one osjetljivije mogu dovesti do prekrivanja očiju i skretanja pogleda u stranu. Čuveni eksplicitni prizor osakaćenoga uha na premijeri 1992. godine dio gledateljstva prisilio je na odlazak iz kinodvorane jer nisu nesmetano mogli nastaviti pratiti radnju. Nakon zgražanja javlja se negodovanje uz pitanje – prizor je potpuno nebitan za priču, zašto je izražen toliko jasno i nedvosmisleno? Izuzev toga, cijelom radnjom osjeti se mačizam; nadmoć, grubost i obespravljenost potlačenih od strane skupine muškaraca bez ijednoga ženskog lika. Nasilje ove vrste u filmovima potaklo je mnoga znanstvena istraživanja i proučavanja, osobito američke kinematografije gdje su prizori nasilja najčešći. Istražujući Tarantina i njegov rad, uviđa se veličina njegova dugogodišnjeg stvaralaštva i vrsnoća istoga, dobiva dojam o načinu na koji djeluje, zašto ga gledateljstvo cijeni te u koju se svrhu i zbog čega odvažno koristi nasiljem, a krajnji je razlog upravo izazivanje gore opisanoga osjećaja.
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Words by Jaideep
Samuel L Jackson sported a Jheri curl wig to play hitman Jules Winnfield wenty years on, it isn’t any easier to try to summarise Pulp Fiction than when it first exploded in our faces. Let’s say: Samuel L Jackson has an epiphany, John Travolta accidentally blows a kid’s brains out, Christopher Walken presents a gold watch that’s been stored up his backside to the young son of his late wartime friend, Ving Rhames gets jumped on a pommel horse, Bruce Willis rides a chopper named Grace, and Uma Thurman learns a thing or two about snorting heroin. There’s also a mysterious briefcase that glows inside, Big Kahuna Burgers and a 1992 Acura NSX driven by Harvey Keitel. Pulp Fiction made us look at movies differently, to obsess over details and semiotics like never before, even though its writer- director Quentin Tarantino seemed like a regular movie nerd; that guy we’ve all heard of who watches films non-stop on a couch in his basement. Pulp Fiction landed a sucker punch. And it felt like an emphatic flip of the middle finger at scurrilous critics and arch intellectuals, perhaps, or just to ensure its presence was felt. This was straight-up dope packaged for dead-end cinephiles to deliberate on issues of post-modernism and the makings of neo-noir, while we were winding VHS ribbons to shreds. Pulp Fiction, for us, was the introduction to everything from De Palma to Hitchcock, Fellini to Kurosawa. It was a lava pool bubbling over with cinematic and cultural references, into which we dipped to emerge lippier, if not smarter, and somewhat wise to the arcane world of celluloid.
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Bayside Brewery Sandy, Three Years Later
THE PIONEER Informing LIU Post for over 50 years Volume 68, Issue 7 www.liupostpioneer.com October 28 , 2015 Bayside Brewery Sandy, By Thomas Scavetta Three Years Assistant Sports Editor Later Three years ago, while working nights, By Joseph Iemma senior Accounting major, Anthony LoSardo came Staff Writer up with the idea, Bayside Brewery. Bayside Brew- ery’s philosophy is to start big and think even It has been three years since Su- bigger. Their long-term goal is to launch New per Storm Sandy ravaged America’s east- York’s largest craft beer opening. He mentioned ern seaboard. In terms of force, North how inventing his own strategies and recipes have Carolina, South Carolina, and Virginia contributed to developing this business. Now, were hit hardest by the storm. Sandy LoSardo’s student-run organization is beginning made landfall in the Carolinas when she to blossom here at Post after being established in was bordering category three status. 2013. However, these states were prepared for “Bayside Brewery is a business that will Sandy, since they had been hit by hurri- help us build financial success and make higher canes before. The tristate area, including quality beer. Our market segment is called, ‘Better New York, was not prepared. Beer’ because we are striving to develop a Sandy shut off the power on LIU more quality beer with no forced carbonation, no Post’s campus for three days. “We didn’t GMO’s and no white cane sugar to speed up know when we’d have power again,” said production,” said LoSardo.
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“Bury, Burn Or Dump”: Black Humour in the Late Twentieth Century
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Kill Bill« Und Die Offenen Rechnungen Der Kulturwissenschaften
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Grado En Publicidad Y Relaciones Públicas Curso 2018-2019
Grado en Publicidad y Relaciones Públicas Curso 2018-2019 TRABAJO FIN DE GRADO Análisis comparativo entre el product placement y la publicidad ficticia en la filmografía de Quentin Tarantino Autor: Guillermo Gilmartín Burgos Tutor: Alejandro Buitrago Alonso Segovia, julio 2019 Resumen: El presente trabajo fin de grado se desarrolla con el propósito de llevar a cabo un análisis comparativo entre el product placement y la publicidad ficticia dentro de la filmografía de Quentin Tarantino. Fijado este objetivo, las razones por las cuales se ha elegido este tema y este objeto de estudio han sido por un lado el desconocimiento de esta técnica publicitaria y por otro lado la gran capacidad narrativa de dicho cineasta. Además, Tarantino es un referente en cuanto a la creación de branding ficticio. Para este estudio, en primer lugar, se ha realizado una aproximación teórica de los conceptos más importantes. En este caso han sido el emplazamiento de producto, sus características, su historia y su uso y, por otro lado, se ha estudiado la figura de Quentin Tarantino, sus inicios, su técnica narrativa y su cine. Tras ello se ha elegido la metodología de la investigación, en este caso un exhaustivo análisis de las ocho películas más importantes del director. Para ello, se ha diseñado una plantilla de análisis capaz de recoger todos los datos necesarios para el estudio de las marcas que salen en dichos filmes. Una vez hecha la investigación, se han plasmado los resultados llevando a cabo un estudio película por película. Posteriormente, se ha llegado a una serie de conclusiones que afirman la existencia y eficacia del product placement y la publicidad ficticia en el cine, ya sea en términos comerciales o narrativos.
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The Violence in Quentin Tarantino Films Wh
1 Angela Shen Mr. Taylor AP English Literature April 11, 2016 That Is a Tasty Burger: The Violence in Quentin Tarantino Films When we see Samuel L. Jackson taking a bite of that juicy Big Kahuna Burger in Brett's Los Angeles apartment before he brutally lays his vengeance upon the traitor,1 we know that we are watching a Tarantino movie. Quentin Tarantino, one of America's most recognizable film directors and screenwriters, promises his audience blood-pumping movie experiences. Despite the movies’ huge commercial success, Quentin Tarantino's films are often considered disturbing for their excessively violent content and controversial morality. Violent actions in most cultures and societies are illegal and restricted by law enforcement; however, Tarantino presents a different universe parallel to ours, known as the “Realer than Real” universe according to the director, where violence is highly valued and government regulation does not interfere with the vengeful actions of the protagonists.2 In this universe, Tarantino uses violence as what he calls a “color”3 that helps him to create drama and tension with characters; painted with this “color” of blood, compassion, loyalty, and love are amplified through the director’s strategic choice of ultraviolence. We often cringe into those soft red chairs when we see graphic violence scenes on 1 Tarantino, Quentin, dir. Pulp Fiction. Screenplay by Quentin Tarantino and Roger Avary. 1994. Film. 2 Gray, Ali. "The Intricate, Expensive Universe of Quentin Tarantino." ING US. N.p., 17 Jan. 2013. Web. 4 Feb. 2016. 3 Hari, Johann. "The Tragedy of Tarantino: He Has Proved His Critics Right." Independent.
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