Approved Electives 2021-22

Total Page:16

File Type:pdf, Size:1020Kb

Approved Electives 2021-22 Gender Studies Chester New Hall Phone 905.525.9140 & 1280 Main Street West Ext. 24491 Feminist Research Hamilton, Ontario, Canada Fax: 905.777.8316 L8S 4L9 Email [email protected] GSFR Electives 2021-2022 Preferred Electives These courses have been pre-approved by the GSFR Director to count towards your GSFR program in 2021-22. In some but not all courses, seats have been reserved for GSFR students. You will need department consent to enroll. Please see each course for who to contact for help enrolling; please include your McMaster student number in all email requests for elective seats. Fall 2021/Term 1 (September-December 2021) A decision has not yet been made about whether Fall 2021/Term 1 courses will be in person or online GENDRST 708 Creating and Embodying Theory – Dr. Grace Kehler Day/Time TBD Contact: Angela Zaya, [email protected] This course focuses on a range of creative texts (such as film, painting, short stories, novels, and autobiography), looking to their prompts to engage with the pressing everyday issues of ongoingness and revitalization in the face of violence, loneliness, loss, disability, and racial and sexual/gender discrimination. All of the primary texts will be accompanied by theoretical ones, but the impetus is to explore how the creative invites particular theoretical and embodied engagement. Possible textual pairings include: • the diary, paintings, and sketches of Frida Kahlo (Mexican); the documentary The Life and Times of Frida Kahlo; and critical writing by Carlos Fuentes (Introduction to Kahlo’s Diary) and excerpts from either Tobin Siebers’ Disability Aesthetics (2010) or Eli Clare’s Brilliant Imperfection: Grappling with Cure (2017) • The Road Forward (2017), a musical-documentary by Marie Clements (Canadian Métis), and Leanne Betasamosake Simpson’s “Nishnaabeg Brilliance as Radical Resurgence Theory” (2017) • Casey Plett’s transgender novel Little Fish (2018) along with excerpts from Gayle Salamon’s Assuming a Body: Transgender and Rhetorics of Materiality (2010) • Stories from Shani Mootoo’s (Trinidadian-Canadian) Out on Main Street (1993) and excerpts from Thiefing Sugar: Eroticism between Women in Caribbean Literature by Omise’eke Natasha Tinsley (2010) • Honeyland (2019), a documentary set in North Macedonia, along with Franklin Ginn and Kelsey Green’s “The Smell of Selfless Love: Sharing Vulnerability with Bees in Alternative Apiculture” (2014) 1 Gender Studies Chester New Hall Phone 905.525.9140 & 1280 Main Street West Ext. 24491 Feminist Research Hamilton, Ontario, Canada Fax: 905.777.8316 L8S 4L9 Email [email protected] GENDERST 6QA3 Queerness in the Archives: Lesbian and Gay Writing, Art and Activism in Canada – Dr. Amber Dean Day/Time TBD Contact: Angela Zaya, [email protected] Please note this course is only available to MA students (not PhD diploma students) This course examines lesbian and gay writing, art and activism in Canada during the period 1969 to 1989. The course will include a trip to the Canadian Lesbian and Gay Archives in Toronto, and students will be trained in archival research methods. In 1969, then Prime Minister Pierre Elliott Trudeau famously proclaimed his view that “there’s no place for the state in the bedrooms of the nation” as sweeping changes to the Criminal Code of Canada effectively decriminalized “homosexuality.” Taking this year as our starting point we will explore the next two decades of queer life in Canada, a time of intensive lesbian and gay cultural production and activism. We will focus on fiction, journalism, theatre, film, visual and media art, and documentation of activism such as responses to decriminalization in 1969, to the Toronto bathhouse raids of 1981, to state censorship of lesbian and gay materials deemed “obscene,” and early organizing in response to AIDS. In the early 1990s, lesbian and gay activism in Canada increasingly begins to focus on achieving equal rights and state protection from discrimination; while these issues were also pursued, discussed and debated in the two decades prior, we will consider whether and how the art, activism and writing from 1969-1989 anticipates, invites, defends against, or worries about this shift in focus toward greater inclusion of lesbians and gays and away from an emphasis on gay and lesbian identity and culture as different from (and existing in tension with) so- called mainstream or “heteronormative” culture and values. The 1990s also saw the rise of queer theory as a field and the productive questioning of the categories of “gay” and “lesbian” in the interests of securing an understanding of “queer” as antinormative and subjectless. We will explore what might be read as “queer” about the writing, activism and art of lesbians and gays before the emergence of queer theory as a field, challenging ourselves to reconsider dominant stories about the origins and rise of both LGBTQ rights claims and queer theorizing. CMSTMM 707 Theoretical Issues in Media, Culture, and Communication – Dr. Lyndsey Beutin Day/Time TBD Contact: Cassandra Weimann, [email protected] This course analyzes how the key concepts underpinning media, cultural, and communication studies – concepts like liberalism, democratic participation, the public sphere, privacy and surveillance, and social inequity – are fundamentally shaped by race, gender, and global white supremacy. Students will be introduced to recent conversations in Black studies, Indigenous studies, critical ethnic studies, and disability studies. Students will learn how to apply theoretical frameworks to specific research case studies. ENGLISH/CULTRST 708 Selfie/Culture – Dr. Sarah Brophy Day/Time TBD Contact: Ilona Forgo-Smith [email protected] 2 Gender Studies Chester New Hall Phone 905.525.9140 & 1280 Main Street West Ext. 24491 Feminist Research Hamilton, Ontario, Canada Fax: 905.777.8316 L8S 4L9 Email [email protected] A critical study of the uses of digital vernacular photography, especially selfies, informed by auto/biography studies, cultural theory, comparative decolonial and feminist studies, and visual and digital media studies. HISTORY 766 Comparative Perspectives on Health and Medicine in the Colonial World – Dr. Juanita De Barros Wednesdays 2:30-5:30pm Contact: Aurelia Gatto [email protected] Concentrating on the nineteenth and twentieth centuries, this comparative course explores the history of health and medicine in the colonial world. Topics include public health, responses to epidemics, the roles of indigenous healthcare workers, interactions between imperial centres and colonies, and global health organizations. LABRST 740 Labour Geography (Special Topics in Labour Studies) – Dr. Suzanne Mills Day/Time TBD Contact: Megan Stokes, [email protected] Space is critical to how work is organized as well as to how workers and worker movements leverage power. This course will ask: How have workers shaped the geography of capitalism? How do unions use space to gain power and further their interests? To what extent do workers who characterized as marginalized have agency? We will adopt a spatial lens that is attentive to how social categories such as gender, racialization, Indigeneity, and sexual orientation shape worker experiences. We will begin by examining the geography of capitalism and key concepts in labour geography such as scale and place before moving on to discuss key debates and emerging topics in labour geography. LABRST 791 Contemporary Issues in Labour Studies – Dr. Judy Fudge Day/Time TBD Contact: Megan Stokes, [email protected] In 2016, the United Nations adopted Target 8.7 as one of its Sustainable Development Goals, calling on all governments to take immediate and effective measures to end forced labour, modern slavery and human trafficking, as well as child labour in all its forms. Migrant workers and transnational supply chains are seen as two vectors that make forced labour a truly global problem, and there is a growing global consensus that “fair recruitment” initiatives and laws regulating supply chains are required. What does the contemporary focus on forced labour reveal about conventional understandings of global capitalism and labour exploitation? Who are the social actors shaping the “modern slavery” policy space? What are the governance mechanisms that have been developed to regulate forced labour? We will explore these questions throughout the seminar, drawing upon a range of theoretical lenses (such as feminism, Marxism, critical race and postcolonial theory) and different disciplinary perspectives (political economy, geography, anthropology, sociology and law, for instance). A key component of the seminar will be interrogating the relationship between theory and policy, and developing skills of policy analysis and policy writing using initiatives designed to eliminate forced labour in supply and labour chains as our focus. 3 Gender Studies Chester New Hall Phone 905.525.9140 & 1280 Main Street West Ext. 24491 Feminist Research Hamilton, Ontario, Canada Fax: 905.777.8316 L8S 4L9 Email [email protected] LABRST 793 Advanced Labour Studies Theory – Dr. Stephanie Ross Day/Time TBD Contact: Megan Stokes, [email protected] In this seminar, students will deepen their knowledge of select thinkers in classical and contemporary labour studies theory. Class time will be divided between the work of key theorists in the areas of labour process theory, the sociology of work and labour markets and that of theorists who challenge or extend these conceptualizations. The focus on contemporary labour studies theory will examine how
Recommended publications
  • Rogan's List 2019
    Rogan’s List 2019 Greetings WFU parents! Fond thanks to the many of you who recommended this book or that movie or the new restaurant in your home city. Keep ‘em coming! Parents who’ve seen this previously skip this graf, but if you’re new to this odd enterprise: three inspirations converged a dozen-plus years ago. As a still-singleton, felt a response was necessary to my expanding circle of married-with-kids friends’ annual Holiday Letters, tinged with a certain “here’s how life works”-ness. And I loved pal Drew Littman’s roundup of his fave movies/books of the year (Drew also originated the B game/A game you’ll see on next page). Third, I grew up with Roger Angell’s annual New Yorker rhyming ‘poem’ of boldface names, & added my own pale imitation after Angell stopped…then NYer’s Ian Frazier picked up the tradition. Shifted therefore to a ‘found poem’ of lines from songs by millennial/rising-generation musicians; this year’s is after the best-of music page below. Speaking of poems, a stanza from one long beloved, WS Merwin’s To the New Year: so this is the sound of you here and now whether or not anyone hears it this is where we have come with our age our knowledge such as it is and our hopes such as they are invisible before us untouched and still possible On to my favorites of 2019. To adapt a venerable Welsh saying, may the best artistic creations of the decade just ending be the worst of the next.
    [Show full text]
  • Network Review #37 Cannes 2021
    Network Review #37 Cannes 2021 Statistical Yearbook 2020 Cinema Reopening in Europe Europa Cinemas Network Review President: Nico Simon. General Director: Claude-Eric Poiroux Head of International Relations—Network Review. Editor: Fatima Djoumer [email protected]. Press: Charles McDonald [email protected]. Deputy Editors: Nicolas Edmery, Sonia Ragone. Contributors to this Issue: Pavel Sladky, Melanie Goodfellow, Birgit Heidsiek, Ste- fano Radice, Gunnar Rehlin, Anna Tatarska, Elisabet Cabeza, Kaleem Aftab, Jesus Silva Vilas. English Proofreader: Tara Judah. Translation: Cinescript. Graphic Design: Change is good, Paris. Print: Intelligence Publishing. Cover: Bergman Island by Mia Hansen-Løve © DR CG Cinéma-Les Films du Losange. Founded in 1992, Europa Cinemas is the first international film theatre network for the circulation of European films. Europa Cinemas 54 rue Beaubourg 75003 Paris, France T + 33 1 42 71 53 70 [email protected] The French version of the Network Review is available online at https://www.europa-cinemas.org/publications 2 Contents 4 Editorial by Claude-Eric Poiroux 6 Interview with Lucia Recalde 8 2020: Films, Facts & Figures 10 Top 50 30 European movies by admissions Czech Republic in the Europa Cinemas Network Czech exhibitors try to keep positive attitude while cinemas reopen 12 Country Focus 2020 32 France 30 French Resistance Cinema Reopening in Europe 34 46 Germany The 27 Times Cinema initiative Cinema is going to have a triumphant return and the LUX Audience Award 36 Italy Reopening
    [Show full text]
  • Embargoed Until 12:00PM ET / 9:00AM PT on Tuesday, April 23Rd, 2019
    Embargoed Until 12:00PM ET / 9:00AM PT on Tuesday, April 23rd, 2019 FOR IMMEDIATE RELEASE 24th ANNUAL NANTUCKET FILM FESTIVAL ANNOUNCES FEATURE FILM LINEUP DANNY BOYLE’S YESTERDAY TO OPEN FESTIVAL ALEX HOLMES’ MAIDEN TO CLOSE FESTIVAL LULU WANG’S THE FAREWELL TO SCREEN AS CENTERPIECE DISNEY•PIXAR’S TOY STORY 4 PRESENTED AS OPENING FAMILY FILM IMAGES AVAILABLE HERE New York, NY (April 23, 2019) – The Nantucket Film Festival (NFF) proudly announced its feature film lineup today. The opening night selection for its 2019 festival is Universal Pictures’ YESTERDAY, a Working Title production written by Oscar nominee Richard Curtis (Four Weddings and a Funeral, Love Actually, and Notting Hill) from a story by Jack Barth and Richard Curtis, and directed by Academy Award® winner Danny Boyle (Slumdog Millionaire, Trainspotting, 28 Days Later). The film tells the story of Jack Malik (Himesh Patel), a struggling singer-songwriter in a tiny English seaside town who wakes up after a freak accident to discover that The Beatles have never existed, and only he remembers their songs. Sony Pictures Classics’ MAIDEN, directed by Alex Holmes, will close the festival. This immersive documentary recounts the thrilling story of Tracy Edwards, a 24-year-old charter boat cook who became the skipper of the first ever all-female crew to enter the Whitbread Round the World Yacht Race. The 24th Nantucket Film Festival runs June 19-24, 2019, and celebrates the art of screenwriting and storytelling in cinema. A24’s THE FAREWELL, written and directed by Lulu Wang, will screen as the festival’s Centerpiece film.
    [Show full text]
  • Programme Aux Écrans Du Réel 2020
    Prix des places : à la séance : 6 € plein tarif gratuit demandeurs d’emploi 3 € étudiants, lycéens, scolaires Carte 5 séances : 20 € Pass Festival : 35 € pour toutes les séances du festival Les détenteurs de Pass sont prioritaires sous réserve d’arriver 1/4 heure avant la séance. Billetterie : vente de cartes et pass sur place. Sophie Averty, réalisatrice Jean-Michel Carré, réalisateur Jean-Louis Comolli, réalisateur Ariane Doublet, réalisatrice Cinéma Les Cinéastes 42 place des Comtes du Maine Denis Gheerbrant, réalisateur 72000 Le Mans Comité de parrainage Cinéma LE ROYAL Jean-Pierre Jeancolas, critique 409 Avenue Félix Geneslay et historien du cinéma 72100 Le Mans Sergueï Loznitsa, réalisateur (parking à proximité) Bernard Martino, réalisateur (bus) SETRAM ligne n°5 Gazonfier-Oasis Philippe Molins, réalisateur direction Oasis Philippe Pilard, cinéaste arrêt Château d’eau Claire Simon, réalisatrice Partenariat ChrOma - Association Cinéambul - Addoc - La Plateforme - Adéfi - ACOR (Association des Cinémas de l’Ouest pour la Recherche) - MJC Jacques Prévert - Documentaire sur grand Écran Séance d’ouverture jeudi 26 novembre 20 h 30 Femmes d’Argentine (Que Sea Ley) Les 2020, 86 min Cinéastes Réalisation : Juan SOLANAS 42 place des En Argentine, une femme meurt chaque semaine Comtes du des suites d’un avortement clandestin. Ce film nous Maine plonge au coeur de la lutte des femmes argentines Le Mans qui se battent pour ce droit fondamental malgré une forte opposition tant médicale que religieuse et politique. Ces scènes de lutte alternent avec des témoignages singuliers et bouleversants de femmes de toutes conditions aux prises avec ce système meurtrier. 1 Le mot de la présidente En dépit d’un contexte devenu très difficile pour la Culture et en particulier les festivals, l’équipe de Chroma s’est employée à préparer tout au long de l’année 2020, cette 21e édition des « Écrans du Réel ».
    [Show full text]
  • Subtitling Films in 24 Eu Languages
    QA-01-19-612-EN-N SUBTITLING FILMS IN 24 EU LANGUAGES @luxprize ISBN 978-92-846-5317-1 doi:10.2861/786982 #luxprize © European Union, 2019 LUX PRIZE Manuscript completed in July 2019 Produced by the Directorate-General for Communication, European Parliament .EU Should you notice any errors or omissions, please let us know by sending an e-mail to [email protected] OUR STORIES Cinema is one of our most powerful cultural forms. It can evoke memories of people, places, events and moments in our lives. It moves ILLUMINATED BY THE and inspires us, enriching and encouraging debate. As a source of emotion, it allows us to reflect on ourselves and on our own identities. EMOTION OF FILM Most European films are only shown in the country in which they were produced and are rarely distributed across borders. This is even more striking when we consider that more than 60 % of all films released in the EU are European, but they only account for one third of the cinema audience. The European Parliament created the LUX FILM PRIZE to enhance the distribution of high-quality European films and to stimulate European debate. The distribution of LUX films across Europe has been made easier by the European Parliament’s support in subtitling the three films of the official competition in the EU’s 24 official languages, helping to produce a national copy of the final films for each country. This has resulted in a larger audience, boosting the films’ market chances. At a time when new borders are being drawn across Europe, countries are building walls, society is becoming more and more divided and perspectives are narrowing, cinema, as a cultural mass medium, can be viewed as an opportunity to better understand each other, to cross these borders and, above all else, to share experiences.
    [Show full text]
  • SLOVO Honeyland
    SLOVO Film review Honeyland Tamara Kotevska, Ljubomir Stefanov, 2018 Screenwriters: Tamara Kotevska, Ljubomir Stefanov Place: North Macedonia Studios: Trice Films, Apolo Media Length: 87 minutes Language: Balkan Gagauz Turkish Alex Figurski, University College London. Honeyland is a film from the countryside gone global. Set in the rural Balkans, a woman tending to wild bees has her way of life disrupted by rowdy new neighbours, bringing with them the demands of modernity and need for greater yields. And so this uniquely North Macedonian documentary – featuring a variety of cultural references and showcasing the country’s glorious stone-washed landscapes – carries an ecological message of worldwide relevance: Is our consumerism destroying the planet? The protagonist is Hatidže Muratova, a lone beekeeper in the near-abandoned village of Bekirlija. She is completely at one with her surroundings. She hikes up and down steep mountains, facing wild bees with minimal protective gear. She harvests the honey using wisdom passed on by previous generations and keeps her hive well-fed: “half for them, half for me”. Every so often, she travels to Skopje, the capital, to sell her produce directly to the market stall vendors, bringing back bananas and chestnut-coloured hair dye. Her quiet life is disturbed when a large family moves in next door, with the intention of earning extra income by producing their own honey. However, without Hatidže’s local knowledge and driven by consumer demand for ever increasing quantities of honey, they pay little attention to the damage they are doing to the beehive and the environment around them. Contrasting the lives of Hatidže and the family next door, Honeyland is a film about a traditional way of life which we may feel we can never go back to and, on the other hand, a mass consumption culture which cannot be sustainable for long.
    [Show full text]
  • 35 Years of Nominees and Winners 36
    3635 Years of Nominees and Winners 2021 Nominees (Winners in bold) BEST FEATURE JOHN CASSAVETES AWARD BEST MALE LEAD (Award given to the producer) (Award given to the best feature made for under *RIZ AHMED - Sound of Metal $500,000; award given to the writer, director, *NOMADLAND and producer) CHADWICK BOSEMAN - Ma Rainey’s Black Bottom PRODUCERS: Mollye Asher, Dan Janvey, ADARSH GOURAV - The White Tiger Frances McDormand, Peter Spears, Chloé Zhao *RESIDUE WRITER/DIRECTOR: Merawi Gerima ROB MORGAN - Bull FIRST COW PRODUCERS: Neil Kopp, Vincent Savino, THE KILLING OF TWO LOVERS STEVEN YEUN - Minari Anish Savjani WRITER/DIRECTOR/PRODUCER: Robert Machoian PRODUCERS: Scott Christopherson, BEST SUPPORTING FEMALE MA RAINEY’S BLACK BOTTOM Clayne Crawford PRODUCERS: Todd Black, Denzel Washington, *YUH-JUNG YOUN - Minari Dany Wolf LA LEYENDA NEGRA ALEXIS CHIKAEZE - Miss Juneteenth WRITER/DIRECTOR: Patricia Vidal Delgado MINARI YERI HAN - Minari PRODUCERS: Alicia Herder, Marcel Perez PRODUCERS: Dede Gardner, Jeremy Kleiner, VALERIE MAHAFFEY - French Exit Christina Oh LINGUA FRANCA WRITER/DIRECTOR/PRODUCER: Isabel Sandoval TALIA RYDER - Never Rarely Sometimes Always NEVER RARELY SOMETIMES ALWAYS PRODUCERS: Darlene Catly Malimas, Jhett Tolentino, PRODUCERS: Sara Murphy, Adele Romanski Carlo Velayo BEST SUPPORTING MALE BEST FIRST FEATURE SAINT FRANCES *PAUL RACI - Sound of Metal (Award given to the director and producer) DIRECTOR/PRODUCER: Alex Thompson COLMAN DOMINGO - Ma Rainey’s Black Bottom WRITER: Kelly O’Sullivan *SOUND OF METAL ORION LEE - First
    [Show full text]
  • Index to Volume 29 January to December 2019 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard
    [Show full text]
  • Sundance Press Release
    Media Contact: Spencer Alcorn [email protected] 2021 Sundance Film Festival Will Meet Audiences Where They Are Festival Offers Robust Online Platform and Announces Screening Partnerships with Independent Cinemas and Cultural Organizations PARK CITY, UTAH — The nonprofit Sundance Institute today unveiled plans for the seven-day 2021 Sundance Film Festival, offered digitally via a custom-designed online platform (festival.sundance.org) alongside drive-ins, independent arthouses, and a network of local community partnerships. The online expression of the Sundance Film Festival will provide global access for storytellers and audiences alike to come together, experience artists new work, connect with one another, and participate in conversation. All films in the program will be available online in the United States, with certain films opting for global availability. The full talks and events program, as well as the New Frontier section for XR and emerging media, will be available globally. The Festival runs January 28 through February 3, 2021. “Even under these impossible circumstances artists are still finding paths to make bold and vital work in whatever ways they can,” says Tabitha Jackson, in her first year as Festival Director. “So Sundance, as a festival of discovery, will bring that work to its first audiences in whatever ways we can. The core of our Festival in the form of an online platform and socially distanced cinematic experiences is responsive to the pandemic and gives us the opportunity to reach new audiences, safely, where they are. And thanks to a constellation of independent cinema communities across the U.S. we are not putting on our Festival alone.
    [Show full text]
  • Documentary Films Audiences in Europe Findings from the Moving Docs Survey
    1 Credit: Moving Docs DOCUMENTARY FILMS AUDIENCES IN EUROPE FINDINGS FROM THE MOVING DOCS SURVEY HUW D JONES July 2020 2 CONTENTS Project team .............................................................................................................................................................................. 3 Acknowledgements ................................................................................................................................................................... 4 Foreword ................................................................................................................................................................................... 5 Key findings ............................................................................................................................................................................... 6 Introduction .............................................................................................................................................................................. 8 Study method ............................................................................................................................................................................ 9 1. Who watches documentaries? ........................................................................................................................................ 11 2. Where are documentaries viewed? ...............................................................................................................................
    [Show full text]
  • 2019 Spring Meet Media Guide
    SANTA ANITA PARK 2019 SPRING MEDIA GUIDE Table of Contents Meet-At-A-Glance . 2 The Gold Cup at Santa Anita . 24-25 Information Resources . 3 Honeymoon Stakes . 26-27 Santa Anita on Radio . 4 Kona Gold Stakes . 27 Frank Mirahmadi Biography . 5 Lazaro Barrera Stakes . 28 Jay Slender Biography . 5 Melair Stakes . 28 Santa Anita Spring Attendance and Handle . 6 Monrovia Stakes . 29 Santa Anita Spring Opening Day Statistics . 6 San Juan Capistrano Stakes . 30-31 Santa Anita Spring Meet Attendance . 7 Santa Barbara Stakes . 33-33 Santa Anita Spring 2018 Meet Handle, Payoffs & Top Five Days . 7 Santa Margarita Stakes . 34-35 Santa Anita Spring Meet Annual Media Poll . 8 Santa Maria Stakes . 36-37 Santa Anita Track Records . 9 Senorita Stake . 38-39 Leaders at Previous Santa Anita Spring Meets . 10 Shoemaker Mile . 40-41 Santa Anita 2018 Spring Meet Standings . 11 Singletary Stakes . 42 Roster of Santa Anita Jockeys . 12 Snow Chief Stakes . 42 Roster of Santa Anita Trainers . 13 Summertime Oaks . 43-44 2018 Santa Anita Spring Meet Stakes Winners . 14 Thor's Echo Stakes . 44 2018 Santa Anita Spring Meet Longest Priced Stakes Winners . 14 Tokyo City Cup . 44-45 Stakes Histories . 15 Triple Bend Stakes . 46-47 Affirmed Stakes . 16 Wilshire Stakes . 48 American Stakes . 17-18 Satellite Wagering Directory . 49 Charles Whittingham Stakes . 18-19 Los Angeles Turf Inc . Club Officers/Administration . 50-51 Daytona Stakes . 20 Visitors Guide/Map of Los Angeles Freeways . 52 Desert Stormer Stakes . 20 Local Hotels and Restaurants . 53 Dream of Summer Stakes . 20 Racing/Publicity Contacts and Credits .
    [Show full text]
  • Xefp European World Sales Companies
    °efp guide european world sales companies presented by °efp european film promotion film sales support 21/22 ° efp european film promotion updated guide presents 2021 / 22 european world sales companies europe! welcome 5 films. Dear producers, filmmakers, programmers and industry professionals, we are delighted to present to you the 2021 / 22 talent. online guide of Europe’s most prolific world sales companies. This compendium gives you °efp president up-to-date profiles of each company, useful Markéta Šantrochová for your work at international film festivals and markets where the sales agents represent spirit. Europe’s rich diversity of films. Promoting European films and talent to the world is what drives all of EFP’s activities. As gender balance, diversity & inclusion and °efp managing director sustainability are important to us, we want Sonja Heinen Europe’s diverse films to travel in the most environmentally respectful manner to the farthest corners of the world. With our Film Sales Support (FSS) initiative – backed by Creative Europe – MEDIA of the European Union – which complements EFP’s manifold international promotion programmes, FSS incentivises sales agents to invest in primarily innovative digital promotion campaigns as 5 welcome they reach out to audiences beyond Europe. 6 about film sales support 8 european world sales companies Let’s keep up the good work on promoting Europe’s rich cinema! 100 about °efp – what we do 102 °efp – the network Markéta Šantrochová & Sonja Heinen 104 partners and imprint September 2021 °efp – film 7 sales support EFP (European Film Promotion) is the international network of national FSS is backed by the Creative Europe – MEDIA film promotion institutes from 37 countries from throughout Europe, Programme of the EU, our longstanding partner, each representing their national films and talent abroad.
    [Show full text]