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A Critical Companion to Terry Gilliam
H-Film A Critical Companion to Terry Gilliam Discussion published by Elif Sendur on Thursday, March 5, 2020 original authorship: [email protected] A Critical Companion to Terry Gilliam Edited by Ian Bekker, Sabine Planka and Philip van der Merwe Terry Gilliam is not only popular for being part of the Monty Python-troup but also for the movies he has directed in his own style, such as Time Bandits (1981), Brazil (1985), The Fisher King (1991), 12 Monkeys (1995) and The Imaginarium of Doctor Parnassus (2009). From dystopian to fantastic and magical settings, and worlds often populated by bizarre figures, Gilliam’s movies are united by their bizarreness in various ways. In this regard his oeuvre offers an incredibly fertile ground for critical examination, analysis and discussion. This anthology is designed to honour the year of Terry Gilliam’s eightieth birthday and is expected to be part of the A Critical Companion to Popular Directors series edited by Adam Barkman and Antonio Sanna. The goal is to showcase previously-unpublished essays that explore Gilliam’soeuvre from multidisciplinary perspectives. Contributions should focus on movies directed by Gilliam, starting with his debut (together with Terry Jones) Monty Python and the Holy Grail (1975), followed by his first solo debut Jabberwocky (1977), right up until his latest movie, The Man Who Killed Don Quixote (2018). We are particularly interested in interdisciplinary approaches to the subject which can illuminate the diverse facets of this director’s work as well as his visual style. There are several themes worth exploring when analyzing Gilliam’s works, utilizing any number of theoretical frameworks of one’s choosing. -
The Future of Copyright and the Artist/Record Label Relationship in the Music Industry
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Saskatchewan's Research Archive A Change is Gonna Come: The Future of Copyright and the Artist/Record Label Relationship in the Music Industry A Thesis Submitted to the College of Graduate Studies And Research in Partial Fulfillment of the Requirements for the Degree Of Masters of Laws in the College of Law University of Saskatchewan Saskatoon By Kurt Dahl © Copyright Kurt Dahl, September 2009. All rights reserved Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Dean of the College of Law University of Saskatchewan 15 Campus Drive Saskatoon, Saskatchewan S7N 5A6 i ABSTRACT The purpose of my research is to examine the music industry from both the perspective of a musician and a lawyer, and draw real conclusions regarding where the music industry is heading in the 21st century. -
Sabina Stumberger
Divided God Sabina Stumberger Sabina Štumberger, visual anthropologist and video maker / researcher in the field of minority group issues; university lecturer in the field of visual art. Creative director and owner of an interactive media and video production company vmedia, Soho - London, UK, dealing with interactive media, DVD creation, screen design, graphic design and content production. She is actively managing the company since 2000, while remaining in the role of the designer and video content producer/maker. Some notable projects include Ghost in the Shell (Manga), Withnail and I (Handmade), Time Bandits (Handmade) inclusive of the documentary featuring work of Terry Gilliam and Michael Palin (Monty Python). Some notable clients include British Film Institute, Universal Films, Fox, Granada Television, Sony Pictures and Paramount. Some private projects: ‘We Have No Word for War’, 1995, featuring the culture of travelers; shown on festivals in Europe and overseas, NL; script and field collaboration; editor for the documentary ‘Bosnian Muslims – The Fate of World’, 1995, featuring the history of war in Bosnia; documentary projects of the Romani gatherings in Camargue, France; direction, script and edit, between 1990 and 1995. Part of the foundation group of the field project in the Romani settlements in Krsko, Slovenia in the capacity of anthropologist, researcher and video maker targeting the stereotypes between the settlers' and the Romani communities. By living within the community she became a cultural/social mediator between the two cultures and initiated the interactive creative projects in Romani settlements by using photographic and video camera as objects of communication and research.She is a visiting lecturer at the Communications for Illustrations department at the School of Art and Design, Derby since 2006 and a practicing visual artist focusing on site-specific and public art, exhibiting in the UK and overseas since 1990. -
He Dreams of Giants
From the makers of Lost In La Mancha comes A Tale of Obsession… He Dreams of Giants A film by Keith Fulton and Lou Pepe RUNNING TIME: 84 minutes United Kingdom, 2019, DCP, 5.1 Dolby Digital Surround, Aspect Ratio16:9 PRESS CONTACT: Cinetic Media Ryan Werner and Charlie Olsky 1 SYNOPSIS “Why does anyone create? It’s hard. Life is hard. Art is hard. Doing anything worthwhile is hard.” – Terry Gilliam From the team behind Lost in La Mancha and The Hamster Factor, HE DREAMS OF GIANTS is the culmination of a trilogy of documentaries that have followed film director Terry Gilliam over a twenty-five-year period. Charting Gilliam’s final, beleaguered quest to adapt Don Quixote, this documentary is a potent study of creative obsession. For over thirty years, Terry Gilliam has dreamed of creating a screen adaptation of Cervantes’ masterpiece. When he first attempted the production in 2000, Gilliam already had the reputation of being a bit of a Quixote himself: a filmmaker whose stories of visionary dreamers raging against gigantic forces mirrored his own artistic battles with the Hollywood machine. The collapse of that infamous and ill-fated production – as documented in Lost in La Mancha – only further cemented Gilliam’s reputation as an idealist chasing an impossible dream. HE DREAMS OF GIANTS picks up Gilliam’s story seventeen years later as he finally mounts the production once again and struggles to finish it. Facing him are a host of new obstacles: budget constraints, a history of compromise and heightened expectations, all compounded by self-doubt, the toll of aging, and the nagging existential question: What is left for an artist when he completes the quest that has defined a large part of his career? 2 Combining immersive verité footage of Gilliam’s production with intimate interviews and archival footage from the director’s entire career, HE DREAMS OF GIANTS is a revealing character study of a late-career artist, and a meditation on the value of creativity in the face of mortality. -
Martha Sturdy and Walter Murch Receive Eci Honorary Doctor of Letters
/ / p u b l i s h e d Fall 06 Visions> // published by emily carr institute foundation + development office // President’s New CIRO Message appointed 02 02 New Director ECI at for IDS SIGGRaPH 03 03 Delectable Emily award martha sturdy Designs Winner and walter murch 06 07 receive eci honorary doctor of letters lEfT To RIGHT: ECI BoaRD CHaIR, DR. GEoRGE pEDERSEN, walTER MURCH, Governor General, and is a member of the Royal > Animation Grad wins MaRTHa STURDy aND ECI pRESIDENT DR. RoN BURNETT. Canadian academy of arts. Her work has been $20,000 award published in international magazines such as ECI Gets matching Grant at the Institute’s 77th convocation on May 6th, Architectural Digest, Metropolitan Home, and Vogue. 2006, Martha Sturdy and walter Murch were each Every graduating student hopes their grad conferred an Honorary Doctor of letters degree. walter Murch is an award-winning film editor and project will launch their careers. For Joel sound mixer, based in California. He received an Furtado, his big break came in the form of an ECI alumna, Martha Sturdy is an internationally- academy award for best sound for Apocalypse Now, Electronic Arts’ Reveal 06: Canadian 3D renowned leading designer of furniture, home two British academy awards in 1975 for film editing Animation Showdown. accessories, jewelry and wall sculptures. Based in and sound mixing for The Conversation, as well as Congratulations to Joel, B.C., she is known for creating distinctive artwork numerous nominations from both academies. walter whose animated short using casting resin, brass and steel that is that is directed and co-wrote the film return to oz in 1985, film Tree for Two bold, clean and simple. -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
Licensing Rules Repertoire Definition
CIS14-0091R40 Source language: English 30/06/2021 The most recent updates are marked in red Licensing Rules Repertoire Definition This document sets out the repertoire definitions claimed directly by European Licensors in Europe and in some cases outside Europe. the repertoires are defined per Licensor / territory / types of on-line exploitations and DSPs with starting dates when necessary. Differences with the last version of this document are written in red. The document is a snap shot of the current information available to the TOWGE and is updated on an ongoing basis. Please note that the repertoires are the repertoires applied by the Licensors and are not precedential nor can they bind other licensing entities. The applicable repertoire will always be the one set out in the respective representation agreement between Licensors. Towge best practices on repertoires update are: • to communicate an update preferably 3 months but no later than 1 month before the starting period of the repertoire in order to allow enough time for Towge to communicate a new "repertoire definition document" to both Licensors and Licensees, which will allow these to adapt their programs accordingly • to not re-process invoices that have already been generated by Licensors and processed by Licensees Date of Publication Repertoire Licensing Body Pan-European Repertoire Definition DSPs Use Type Start Date Notes End Date Contact licensing Apr-19 WCM Anglo-American ICE Warner Chappell Music Publishing repertoire (mechanical and CP rights) licensable under the PEDL arrangement where the 7 Digital Ltd all digital 01/01/2010 Steve.Meixner repertoire author/composer of the Musical Work (or part thereof as applicable) is non-society or a member of PRS, IMRO, ASCAP, BMI, Amazon Music Unlimited (Steve.Meixner@u SESAC, SOCAN, SAMRO or APRA. -
Australian School of Business
Australian School of Business Marketing MARK6021 Integrated Marketing Communications Master of Marketing Elective Course 3 UOC (units of credit) Course Outline Semester 2, 2013 Part A: Course-Specific Information Part B: Key Policies, Student Responsibilities and Support MARK6021 Integrated Marketing Communications Table of Contents 1 1 STAFF CONTACT DETAILS 4 2 COURSE DETAILS 4 2.1 Teaching Times and Locations 4 2.2 Units of Credit 4 2.3 Summary of Course 4 2.4 Course Aims and Relationship to Other Courses 5 2.5 Student Learning Outcomes 5 3 LEARNING AND TEACHING ACTIVITIES 7 3.1 Approach to Learning and Teaching in the Course 7 3.2 Learning Activities and Teaching Strategies 8 4 ASSESSMENT 8 4.1 Formal Requirements 8 4.2 Assessment Details 8 9 4.3 Assignment Submission Procedure 16 17 5 COURSE RESOURCES 17 . Shimp, TA, Andrews, JC (2013). Advertising, promotion, and other aspects of integrated marketing communications. Mason: Cengage. 17 LIBRARY DATABASES VIA SIRIUS : 18 HTTP://SIRIUS.LIBRARY.UNSW.EDU.AU 18 GOOGLE SCHOLAR: 18 6 COURSE EVALUATION AND DEVELOPMENT 19 7 COURSE SCHEDULE 20 PART B: KEY POLICIES, STUDENT RESPONSIBILITIES AND SUPPORT 23 1 PROGRAM LEARNING GOALS AND OUTCOMES 23 2 ACADEMIC HONESTY AND PLAGIARISM 24 3 STUDENT RESPONSIBILITIES AND CONDUCT 24 3.1 Workload 24 3.2 Attendance 25 3.3 General Conduct and Behaviour 25 3.4 Occupational Health and Safety 25 3.5 Keeping Informed 25 4 SPECIAL CONSIDERATION AND SUPPLEMENTARY EXAMINATIONS 25 MARK6021 Integrated Marketing Communications 2 5 STUDENT RESOURCES AND SUPPORT 26 MARK6021 Integrated Marketing Communications 3 PART A: COURSE-SPECIFIC INFORMATION 1 STAFF CONTACT DETAILS Lecturer in Charge: Nicole Lasky Nicole Lasky has a strong background in both university teaching and industry. -
BC's Music Sector
BC’s Music Sector FROM ADVERSITY TO OPPORTUNITY www.MusicCanada.com /MusicCanada @Music_Canada BC’S MUSIC SECTOR: FROM ADVERSITY TO OPPORTUNITY A roadmap to reclaim BC’s proud music heritage and ignite its potential as a cultural and economic driver. FORWARD | MICHAEL BUBLÉ It’s never been easy for artists to get a start in We all have a role to play. Record labels and music. But it’s probably never been tougher other music businesses need to do a better than it is right now. job. Consumers have to rethink how they consume. Governments at all levels have to My story began like so many other kids recalibrate their involvement with music. And with a dream. I was inspired by some of successful artists have to speak up. the greatest singers – Ella Fitzgerald, Tony Bennett and Frank Sinatra – listening to my We all have to pull together and take action. grandfather’s record collection while growing up in Burnaby. I progressed from talent I am proud of the fact that BC gave me a competitions, to regular shows at local music start in a career that has given me more venues, to a wedding gig that would put me than I could have ever imagined. After in the right room with the right people – the touring around the world, I am always right BC people. grateful to come home to BC where I am raising my family. I want young artists to When I look back, I realize how lucky I was. have the same opportunities I had without There was a thriving music ecosystem in BC having to move elsewhere. -
Martin Gay Producer Paper Nathan Adam Mark Endert Mark Endert
Martin Gay Producer Paper Nathan Adam Mark Endert Mark Endert grew up idolizing producers rather than the musicians admired by his peers. “...Even when I was very young I wanted to work in the behind-the-scenes part of record making.”2, reflects Endert in his Nettwerk profile online. From the beginning, Endert chased his dreams in the record-making process and the recordings themselves, and it was this single- minded dedication that drove him to his success, as well as the doorstep of a nearby studio that would be very impressed with his well-educated interview. At the age of 17, he began working at The Village Recorder studio in LA as “tea boy”2. It was not long, however, before Endert was setting up Sony Music Studios in LA and took the role of chief engineer. He took to a freelance work strategy soon after his “claim to fame” work on Fiona Apple’s debut album “Tidal”2. Soon, he was working with Madonna, becoming a widely-known producer in the industry. Like many widely-successful producers, Mark Endert wears many hats. His resume includes roles under such titles as Producer, Co-Producer, Mixer, Recordist, and Additional Production1. In a “Sound On Sound” article from Sept. 2007, Endert was praised for his versatility and involvement in Maroon 5’s blahhhh single from their second album, “It Won’t Be Long Before Soon”. As Producer, Co-Producer, and Mixer, Endert was a very significant influence on the multi-platinum album. Mark began to take and increased interest in mixing after working on the production end for the majority of his early career. -
Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin -
MONTY PYTHON at 50 , a Month-Long Season Celebra
Tuesday 16 July 2019, London. The BFI today announces full details of IT’S… MONTY PYTHON AT 50, a month-long season celebrating Monty Python – their roots, influences and subsequent work both as a group, and as individuals. The season, which takes place from 1 September – 1 October at BFI Southbank, forms part of the 50th anniversary celebrations of the beloved comedy group, whose seminal series Monty Python’s Flying Circus first aired on 5th October 1969. The season will include all the Monty Python feature films; oddities and unseen curios from the depths of the BFI National Archive and from Michael Palin’s personal collection of super 8mm films; back-to-back screenings of the entire series of Monty Python’s Flying Circus in a unique big-screen outing; and screenings of post-Python TV (Fawlty Towers, Out of the Trees, Ripping Yarns) and films (Jabberwocky, A Fish Called Wanda, Time Bandits, Wind in the Willows and more). There will also be rare screenings of pre-Python shows At Last the 1948 Show and Do Not Adjust Your Set, both of which will be released on BFI DVD on Monday 16 September, and a free exhibition of Python-related material from the BFI National Archive and The Monty Python Archive, and a Python takeover in the BFI Shop. Reflecting on the legacy and approaching celebrations, the Pythons commented: “Python has survived because we live in an increasingly Pythonesque world. Extreme silliness seems more relevant now than it ever was.” IT’S… MONTY PYTHON AT 50 programmers Justin Johnson and Dick Fiddy said: “We are delighted to share what is undoubtedly one of the most absurd seasons ever presented by the BFI, but even more delighted that it has been put together with help from the Pythons themselves and marked with their golden stamp of silliness.