Max Fulham Comedy Entertainer and Ventriloquist
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Oi Duck-Billed Platypus! This July! Text © Kes Gray, 2018
JULY 2019 EDITION Featuring buyer’s recommends and new titles in books, DVD & Blu-ray Cats sit on gnats, dogs sit on logs, and duck-billed platypuses sit on …? Find out in the hilarious Oi Duck-billed Platypus! this July! Text © Kes Gray, 2018. Illustrations © Jim Field, 2018. Gray, © Kes Text NEW for 2019 Oi Duck-billed Platypus! 9781444937336 PB | £6.99 Platypus Sales Brochure Cover v5.indd 1 19/03/2019 09:31 P. 11 Adult Titles P. 133 Children’s Titles P. 180 Entertainment Releases THIS PUBLICATION IS ALSO AVAILABLE DIGITALLY VIA OUR WEBSITE AT WWW.GARDNERS.COM “You need to read this book, Smarty’s a legend” Arthur Smith A Hitch in Time Andy Smart Andy Smart’s early adventures are a series of jaw-dropping ISBN: 978-0-7495-8189-3 feats and bizarre situations from RRP: £9.99 which, amazingly, he emerged Format: PB Pub date: 25 July 2019 unscathed. WELCOME JULY 2019 3 FRONT COVER Oi Duck-billed Platypus! by Kes Gray Age 1 to 5. A brilliantly funny, rhyming read-aloud picture book - jam-packed with animals and silliness, from the bestselling, multi-award-winning creators of ‘Oi Frog!’ Oi! Where are duck-billed platypuses meant to sit? And kookaburras and hippopotamuses and all the other animals with impossible-to-rhyme- with names... Over to you Frog! The laughter never ends with Oi Frog and Friends. Illustrated by Jim Field. 9781444937336 | Hachette Children’s | PB | £6.99 GARDNERS PUBLICATIONS ALSO INSIDE PAGE 4 Buyer’s Recommends PAGE 8 Recall List PAGE 11 Gardners Independent Booksellers Affiliate July Adult’s Key New Titles Programme publication includes a monthly selection of titles chosen specifically for PAGE 115 independent booksellers by our affiliate July Adult’s New Titles publishers. -
Matthew Rolston.Pages
!1 Talking Heads "by Matthew Rolston If masks are, as Spanish philosopher and poet George Santayana wrote in the early 1920s, “arrested expressions and admirable echoes of feeling” then the Vent Haven Museum in Fort Mitchell, Kentucky, must contain one of the world’s more unique and evocative collections. It is a place like no other. After discovering Vent Haven through an article by Edward Rothstein that appeared in the New York Times in June 2009, I became deeply intrigued by its inhabitants. I knew nothing of ventriloquism then, and still know very little, but I have learned of the poetry of these figures and the ways in which they were brought to life as an expression of their creators— the figure-makers and ventriloquists. " I began by approaching my subjects because of how they look, not necessarily because of their historic or cultural value.The faces that spoke to me most had expressions that I found enigmatic, pleading, Sphinx-like, hilarious, and disturbing—all at once. To me, the greatest portraits are mostly about finding a connection with the subject’s eyes. There’s an expression of yearning and desire in these eyes that I find disturbing. Matthew Rolston, Joe Flip, from the series “Talking Heads.” !2 Ventriloquism has ancient roots. Long before the music hall era, before vaudeville, radio, or television even existed, there was shamanism and there was ritual. When the shaman spoke to the tribe, channeling the voices of spirits—sometimes animist, sometimes divine —no doubt he or she used the same techniques as those used by modern ventriloquists. -
Monstrous Aunties: the Rabelaisian Older Asian Woman in British Cinema and Television Comedy
Monstrous Aunties: The Rabelaisian older Asian woman in British cinema and television comedy Estella Tincknell, University of the West of England Introduction Representations of older women of South Asian heritage in British cinema and television are limited in number and frequently confined to non-prestigious genres such as soap opera. Too often, such depictions do little more than reiterate familiar stereotypes of the subordinate ‘Asian wife’ or stage the discursive tensions around female submission and male tyranny supposedly characteristic of subcontinent identities. Such marginalisation is compounded in the relative neglect of screen representations of Asian identities generally, and of female and older Asian experiences specifically, within the fields of Film and Media analysis. These representations have only recently begun to be explored in more nuanced ways that acknowledge the complexity of colonial and post-colonial discoursesi. The decoupling of the relationship between Asian and Indian, Pakistani and Bangladeshi heritage, together with the foregrounding of religious rather than national-colonial identities, has further rendered the topic more complex. Yet there is an exception to this tendency. In the 1990s, British comedy films and TV shows began to carve out a space in which transgressive representations of aging Asian women appeared. From the subversively mischievous Pushpa (Zohra Segal) in Gurinder Chadha’s debut feature, Bhaji on the Beach (1993), to the bickering ‘competitive mothers’ of the ground-breaking sketch show, Goodness, Gracious Me (BBC 1998 – 2001, 2015), together 1 with the sexually-fixated grandmother, Ummi (Meera Syal), in The Kumars at Number 42 (BBC, 2001-6; Sky, 2014), a range of comic older female figures have overturned conventional discourses. -
Introduction in FOCUS: Revoicing the Screen
IN FOCUS: Revoicing the Screen Introduction by TESSA DWYER and JENNIFER o’mEARA, editors he paradoxes engendered by voice on-screen are manifold. Screen voices both leverage and disrupt associations with agency, presence, immediacy, and intimacy. Concurrently, they institute artifice and distance, otherness and uncanniness. Screen voices are always, to an extent, disembodied, partial, and Tunstable, their technological mediation facilitating manipulation, remix, and even subterfuge. The audiovisual nature of screen media places voice in relation to— yet separate from—the image, creating gaps and connections between different sensory modes, techniques, and technologies, allowing for further disjunction and mismatch. These elusive dynamics of screen voices—whether on-screen or off-screen, in dialogue or voice-over, as soundtrack or audioscape— have already been much commented on and theorized by such no- tables as Rick Altman, Michel Chion, Rey Chow, Mary Ann Doane, Kaja Silverman, and Mikhail Yampolsky, among others.1 Focusing primarily on cinema, these scholars have made seminal contribu- tions to the very ways that film and screen media are conceptual- ized through their focus on voice, voice recording and mixing, and postsynchronization as fundamental filmmaking processes. Altman 1 Rick Altman, “Moving Lips: Cinema as Ventriloquism,” Yale French Studies 60 (1980): 67–79; Rick Altman, Silent Film Sound (New York: Columbia University Press, 2004); Michel Chion, The Voice in Cinema, trans. Claudia Gorbman (New York: Columbia Univer- sity -
The Gossip Tree
December THE GOSSIP TREE 2018 Issue 298 News & Views from the Parish of FONTMELL MAGNA This issue is kindly Notices – December 2018 sponsored by The Village Shop and Post Office St. Andrew’s Church Sun 2nd 8.00am Holy Communion (BCP) Dear Customers, course meal with festive trimmings for 9.00am Sunday Breakfast (Village Hall Just a note to thank all those who have £25 per head. Bring your own wine or - see over) supported the Village Shop, Post purchase it from the shop. Bookings Sun 9th 9.30am Morning Worship Office, Tea Room, B + B and, on many only, as you can imagine! Sun 16th 9.30am Holy Communion with choir occasions, Rick and I personally. In Fri 21st 5.30pm See page 4 particular, we must once again thank Xmas opening times: Sun 23rd 4.00pm Candlelit Carol Service Mon 24th 11.30pm Midnight Communion (CW) all those who contributed towards our 24th Dec 9.00am to 2.00pm Tue 25th 9.30am Special Christmas Day service five-year anniversary present from the 25th Closed Sun 30th 10.00am Benefice Service at Shroton village, as well as those mischievous 26th Closed fairies who organised it all! I'm 27th to 31st (inc.) 9.00am to 1.00pm Prayers each Monday at 9.00am ashamed to say I have still not 1st January 2019 Closed displayed photos of the lovely times we Parish Council Meeting shared at your most gratefully received In the meantime, however, we are No meeting this month. Next meeting Mon 14th expense. Top of my New Year's following national trends and hosting January 2019 at 7.00pm in St. -
(Museum of Ventriloquial Objects): Reconfiguring Voice Agency in the Liminality of the Verbal and the Vocal
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UCL Discovery MUVE (Museum of Ventriloquial Objects) Reconfiguring Voice Agency in the Liminality of the Verbal and the Vocal Laura Malacart UCL PhD in Fine Art I, Laura Malacart confirm that the work presented in the thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Laura Malacart ABSTRACT MUVE (Museum of Ventriloquial Objects) Reconfiguring Voice Agency in the Liminality of the Verbal and the Vocal This project aims at reconfiguring power and agency in voice representation using the metaphor of ventriloquism. The analysis departs from ‘ventriloquial objects’, mostly moving image, housed in a fictional museum, MUVE. The museum’s architecture is metaphoric and reflects a critical approach couched in liminality. A ‘pseudo-fictional’ voice precedes and complements the ‘theoretical’ voice in the main body of work. After the Fiction, an introductory chapter defines the specific role that the trope of ventriloquism is going to fulfill in context. If the voice is already defined by liminality, between inside and outside the body, equally, a liminal trajectory can be found in the functional distinction between the verbal (emphasis on a semantic message) and the vocal (emphasis on sonorous properties) in the utterance. This liminal trajectory is harnessed along three specific moments corresponding to the three main chapters. They also represent the themes that define the museum rooms journeyed by the fictional visitor. Her encounters with the objects provide a context for the analysis and my practice is fully integrated in the analysis with two films (Voicings, Mi Piace). -
David Pendleton
ABOUT: David Pendleton As one of the nation’s premiere ventriloquists, David will make you believe that anything can talk! A 20-year veteran entertainer, David’s humor and stellar tech- nique keeps audiences laughing from start to finish. David brings to his show a wide range of comedic characters including lovable, It is rare to find but blunt Aunt Tilly, a 94 year-old spinster; quick-witted trouble-maker, Mack someone that is Elroy with his laid-back sidekick; Buford the Beagle; and rounding out the cast, Vern, a slightly misguided albino Vulture. Be prepared for a few surprise appear- able to hold the ances from members of the audience! attention of Throughout all his high-energy entertainment, David mixes in humorous truths multipule age levels of God’s plan for our lives. As comedy delights your heart, let the truths that are and make them all communicated change your life! Enjoy! laugh hysterically. Aunt Tilly and all of the Company made our Fall Festival a fabulous success as many families in our community participated. Thank you, David! - Donna Harris Christ Community Church, IN David Pendleton 8750 Harrison Parkway, Fishers IN 46038 [317] 915-0192 PH [317] 571-2078 FX www.anythingcantalk.com - Dave & Charile, 1970 HOW I GOT STARTED A lot of people ask me how I got started in ventriloquism. Actually, my story is not unlike many of the professional ventriloquists that I know working in the business today. I was fascinated by puppets of all kinds as a youngster and loved television shows that featured them. -
Vaudeville Ventriloquism
1557 .L87 1920 irAVDCVILLE BY LA VELLMA(DAVrDJ.LUSTIG) APMD eOBEQTW.DOrO&E Ventriloquial Figures In response to many requests, we are offering the best and lowest-priced figures of this kind, equally suitable for amateur and professional performers. The heads and bodies are made of wood, not heavy but very strong, with clean-working movements and nothing to get out of order. All our figures are neatly dressed, and at the price, not to be equalled. All figures are sent by express, well packed, upon receipt of remittance by Postal or Express Money Orders. Money sent loosely is at the sender's risk. Ventriloquial figures, boy, any style, mouth action on'y luUy dressed . - - . $12.00 Ventriloquial figures, girl figure, dressed - - - 1 4.00 Extra actions, winking, spitting, smoking, etc., each - 2.50 Fright wigs (hair stands up when frightened) - - 2.50 FOR PROMPT ATTENTION ADDRESS MARTIMA & COMPANY, Inc., Figure Dcpt. 493 Sixth Avenue, New York City Vaodevi Ve!0)tril©<qoifinr} A PRACTICAL TREATISE ON THE ART OF VENTRILOQUISM By DAVID J. LUSTIG (La Vellma) AND ROBERT W. DOIDGE PUBLISHER R. W. DOIDGE, 16 ELM STREET SOMERVILLE, MASS. OWn COnNELL UNIVERSITY LIBRARY 1924 087 818 864 PREFACE This book was written with an objei't in view. Namely to set right the many folks who have voiced a desire to become ventrilo- quists but after reading books on the subject have been at a loss just how to go about studying this fascinating art. The lessons arranged in this work are framed so that anyone possessing good vocal chords and who are willing to devote the necessary time and patience to study- ing the art can become ventriloquial entertainers. -
Michel Chion's Audio-Vision Bravely Sets out to Rectify
In Audio-Vision, the French composer-filmmaker-critic Michel Chion presents a reassessment of the audiovisual media since sound's revolutionary debut in 1927 and sheds light on the mutual influ ences of sound and image in audiovisual perception. Chion expands on the arguments from his influential trilogy on sound in cinema—La Voix au cinema, Le Son au cinema, and La Toile trouee—while providing an overview of the functions and aesthetics of sound in film and television. He considers the effects of evolving audiovisual technologies such as widescreen, multi- track sound, and Dolby stereo on audio-vision, influences of sound on the perception of space and time, and contemporary forms of audio-vision embodied in music videos, video art, and commercial television. His final chapter presents a model for audiovisual analysis of film. Walter Murch, who contributes the foreword, has been hon ored by both the British and American Motion Picture Academies for his sound design and picture editing. He is especially well- known for his work on The Godfather, The Conversation, and Apoc alypse Now. "Michel Chion is the leading French cinema scholar to study the sound track. ... I know of no writer in any language to have published as much in this area, and of such uniformly high quality, a, he." ALAN W|LUAMS RUTGERS UNIVERSITY MICHEL CHION is an experimental composer, a director of short films, and a critic for Cahiers du cinema. He has pub lished books on screenwriting, Jacques Tati, David Lynch, and Charlie Chaplin, in addition to his four books on film sound. -
Welcome: Tapra @ 10 Getting to Royal Holloway and Local Taxis Wifi Eating and Drinking Keynote Speakers Performance Practice
3 Welcome: TaPRA @ 10 5 Getting to Royal Holloway and local taxis 6 Wifi 6 Eating and Drinking 10 Keynote Speakers 12 Performance 14 Practice Gallery 19 Schedule 43 Abstracts and Biography 203 Working Group Conveners 204 Maps and Rooms 1 2 Welcome: TaPRA @ 10 This short prologue is by way of a welcome to the 10th anniversary conference for TaPRA at Royal Holloway. It is fitting that we should be here at the end of our ninth year, as two of the founder members of the executive, David Bradby and Jacky Bratton spent the larger part of their academic careers in the department and Royal Holloway has played an important role more generally in the work of TaPRA over the years, with staff convening working groups and a large contingent at every conference. TaPRA began at the University of Manchester in 2005. The organization, which had many different names in its first sixth months, came out of both a desire to celebrate our research and a frustration at the divisive nature of the (then) RAE. With a growing impatience at the lack of a national association for specifically UK-based theatre and performance research, the idea was to form an organization that could be membership based and conference lead, could be used by emerging scholars and more established scholars alike, as a place to try out their ideas. The original founders, David Bradby, Jacky Bratton, Maggie B.Gale, Viv Gardner and Baz Kershaw were joined by Maria Delgado, Brian Singleton, Kate Newey, Andy Lavender, Sophie Nield and Paul Allain – as the founding executive. -
Sitcom Humour As Ventriloquism Thomas C
+ Models LINGUA-2497; No. of Pages 18 Available online at www.sciencedirect.com ScienceDirect Lingua xxx (2017) xxx--xxx www.elsevier.com/locate/lingua Sitcom humour as ventriloquism Thomas C. Messerli Department of English, University of Basel, Nadelberg 6, 4051 Basel, Switzerland Received 8 February 2017; received in revised form 10 May 2017; accepted 11 May 2017 Abstract Ventriloquism has been used as a source domain to conceptualise a range of different aspects of discourse, meaning-making and understanding, and in Cooren's (e.g., 2010) view on a communicative constitution of reality even as a model for communication at large. In Telecinematic Discourse (TCD), the language of fictional film and television, the notion that characters onscreen speak on behalf of someone or something else is a particularly tangible representation of the duality of communicative levels by which TCD is usually characterised. Moreover, Goffman's (1986/1974) canonical understanding of ventriloquism, as well as the employment of the same term in neuroscience, film studies and narrative theory point to additional understandings of ventriloquism that are relevant for the understanding not just of TCD, but also for humour therein. This paper brings together such different views of ventriloquist effects and uses examples from sitcoms to demonstrate how ventriloquism can be used as an alternative to the traditional spatial understanding of the communicative setting of TCD. These examples originate from Anger Management and Two and a Half Men, which are regarded here as two connected acts of ventriloquism, staged by actor Charlie Sheen and producer Chuck Lorre as part of their public feud in 2011. -
Tapra @ 10 Getting to Royal Holloway and Local Taxis Wifi Eating
3 Welcome: TaPRA @ 10 5 Getting to Royal Holloway and local taxis 6 Wifi 6 Eating and Drinking 10 Keynote Speakers 12 Performance 14 Practice Gallery 19 Schedule 43 Abstracts and Biography 203 Working Group Conveners 204 Maps and Rooms 1 2 Welcome: TaPRA @ 10 This short prologue is by way of a welcome to the 10th anniversary conference for TaPRA at Royal Holloway. It is fitting that we should be here at the end of our ninth year, as two of the founder members of the executive, David Bradby and Jacky Bratton spent the larger part of their academic careers in the department and Royal Holloway has played an important role more generally in the work of TaPRA over the years, with staff convening working groups and a large contingent at every conference. TaPRA began at the University of Manchester in 2005. The organization, which had many different names in its first sixth months, came out of both a desire to celebrate our research and a frustration at the divisive nature of the (then) RAE. With a growing impatience at the lack of a national association for specifically UK-based theatre and performance research, the idea was to form an organization that could be membership based and conference lead, could be used by emerging scholars and more established scholars alike, as a place to try out their ideas. The original founders, David Bradby, Jacky Bratton, Maggie B.Gale, Viv Gardner and Baz Kershaw were joined by Maria Delgado, Brian Singleton, Kate Newey, Andy Lavender, Sophie Nield and Paul Allain – as the founding executive.