Taste 2016: Your Guide to Dining in Broward and Palm Beach
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SEQUENCE 1.2 (2014) an Allegory of a 'Therapeutic' Reading of a Film
SEQUENCE 1.2 (2014) An Allegory of a ‘Therapeutic’ Reading of a Film: Of MELANCHOLIA Rupert Read SEQUENCE 1.2 (2014) Rupert Read Wittgenstein, Tractatus Logico-Philosophicus: 6.43 If good or bad willing changes the world, it can only change the limits of the world, not the facts; not the things that can be expressed in language. // In brief, the world must thereby become quite another, it must so to speak wax or wane as a whole. // The world of the happy is quite another than that of the unhappy. 6.431 As in death, too, the world does not change, but ceases. 6.4311 Death is not an event of life. Death is not lived through. // If by eternity is understood not endless temporal duration but timelessness, then he lives eternally who lives in the present. // Our life is endless in the way that our visual field is without limit. Heidegger, Being and Time: If I take death into my life, acknowledge it, and face it squarely, I will free myself from the anxiety of death and the pettiness of life - and only then will I be free to become myself. Wittgenstein, Remarks on the philosophy of psychology I: 20: [A]n interpretation becomes an expression of experience. And the interpretation is not an indirect description; no, it is the primary expression of the experience. 2 SEQUENCE 1.2 (2014) Rupert Read 1. This essay is a (more or less philosophical) i. Throughout this paper, I dance in a account or allegory of my viewing(s) of Lars von ‘dialogue’ with – am in ‘conversation’ Trier’s remarkable film, Melancholia (2011).1 It is with – Steven Shaviro’s fascinating personal, and philosophical. -
Brokeback and Outback
[CINEMA] ROKEBACK AND OUTBACK BRIAN MCFARLANE WELCOMES THE LATEST COMEBACK OF THE WESTERN IN TWO DISPARATE GUISES FROM time to time someone pronounces 'The Western is dead.' Most often, the only appropriate reply is 'Long live the Western!' for in the cinema's history of more than a century no genre has shown greater longevity or resilience. If it was not present at the birth of the movies, it was there shortly after the midwife left and, every time it has seemed headed for the doldrums, for instance in the late 1930s or the 1960s, someone—such as John Ford with Stagecoach (1939) or Sergio Leone and, later, Clint Eastwood—comes along and rescues it for art as well as box office. Western film historian and scholar Edward Buscombe, writing in The BFI Companion to the Western in 1988, not a prolific period for the Western, wrote: 'So far the genre has always managed to renew itself ... The Western may surprise us yet.' And so it is currently doing on our screens in two major inflections of the genre: the Australian/UK co-production, John Hillcoat's The Proposition, set in [65] BRIAN MCFARLANE outback Australia in the 1880s; and the US film, Ang Lee's Brokeback Mountain, set largely in Wyoming in 1963, lurching forwards to the 1980s. It was ever a char acteristic of the Western, and a truism of writing about it, that it reflected more about its time of production than of the period in which it was set, that it was a matter of America dreaming about its agrarian past. -
Michael Jackson's Gesamtkunstwerk
Liminalities: A Journal of Performance Studies Vol. 11, No. 5 (November 2015) Michael Jackson’s Gesamtkunstwerk: Artistic Interrelation, Immersion, and Interactivity From the Studio to the Stadium Sylvia J. Martin Michael Jackson produced art in its most total sense. Throughout his forty-year career Jackson merged art forms, melded genres and styles, and promoted an ethos of unity in his work. Jackson’s mastery of combined song and dance is generally acknowledged as the hallmark of his performance. Scholars have not- ed Jackson’s place in the lengthy soul tradition of enmeshed movement and mu- sic (Mercer 39; Neal 2012) with musicologist Jacqueline Warwick describing Jackson as “embodied musicality” (Warwick 249). Jackson’s colleagues have also attested that even when off-stage and off-camera, singing and dancing were frequently inseparable for Jackson. James Ingram, co-songwriter of the Thriller album hit “PYT,” was astonished when he observed Jackson burst into dance moves while recording that song, since in Ingram’s studio experience singers typically conserve their breath for recording (Smiley). Similarly, Bruce Swedien, Jackson’s longtime studio recording engineer, told National Public Radio, “Re- cording [with Jackson] was never a static event. We used to record with the lights out in the studio, and I had him on my drum platform. Michael would dance on that as he did the vocals” (Swedien ix-x). Surveying his life-long body of work, Jackson’s creative capacities, in fact, encompassed acting, directing, producing, staging, and design as well as lyri- cism, music composition, dance, and choreography—and many of these across genres (Brackett 2012). -
Dr. Richard Brown Faith, Selfhood and the Blues in the Lyrics of Nick Cave
Student ID: XXXXXX ENGL3372: Dissertation Supervisor: Dr. Richard Brown Faith, Selfhood and the Blues in the Lyrics of Nick Cave Table of Contents Introduction 2 Chapter One – ‘I went on down the road’: Cave and the holy blues 4 Chapter Two – ‘I got the abattoir blues’: Cave and the contemporary 15 Chapter Three – ‘Can you feel my heart beat?’: Cave and redemptive feeling 25 Conclusion 38 Bibliography 39 Appendix 44 Student ID: ENGL3372: Dissertation 12 May 2014 Faith, Selfhood and the Blues in the lyrics of Nick Cave Supervisor: Dr. Richard Brown INTRODUCTION And I only am escaped to tell thee. So runs the epigraph, taken from the Biblical book of Job, to the Australian songwriter Nick Cave’s collected lyrics.1 Using such a quotation invites anyone who listens to Cave’s songs to see them as instructive addresses, a feeling compounded by an on-record intensity matched by few in the history of popular music. From his earliest work in the late 1970s with his bands The Boys Next Door and The Birthday Party up to his most recent releases with long- time collaborators The Bad Seeds, it appears that he is intent on spreading some sort of message. This essay charts how Cave’s songs, which as Robert Eaglestone notes take religion as ‘a primary discourse that structures and shapes others’,2 consistently use the blues as a platform from which to deliver his dispatches. The first chapter draws particularly on recent writing by Andrew Warnes and Adam Gussow to elucidate why Cave’s earlier songs have the blues and his Christian faith dovetailing so frequently. -
ANSAMBL ( [email protected] ) Umelec
ANSAMBL (http://ansambl1.szm.sk; [email protected] ) Umelec Názov veľkosť v MB Kód Por.č. BETTER THAN EZRA Greatest Hits (2005) 42 OGG 841 CURTIS MAYFIELD Move On Up_The Gentleman Of Soul (2005) 32 OGG 841 DISHWALLA Dishwalla (2005) 32 OGG 841 K YOUNG Learn How To Love (2005) 36 WMA 841 VARIOUS ARTISTS Dance Charts 3 (2005) 38 OGG 841 VARIOUS ARTISTS Das Beste Aus 25 Jahren Popmusik (2CD 2005) 121 VBR 841 VARIOUS ARTISTS For DJs Only 2005 (2CD 2005) 178 CBR 841 VARIOUS ARTISTS Grammy Nominees 2005 (2005) 38 WMA 841 VARIOUS ARTISTS Playboy - The Mansion (2005) 74 CBR 841 VANILLA NINJA Blue Tattoo (2005) 76 VBR 841 WILL PRESTON It's My Will (2005) 29 OGG 841 BECK Guero (2005) 36 OGG 840 FELIX DA HOUSECAT Ft Devin Drazzle-The Neon Fever (2005) 46 CBR 840 LIFEHOUSE Lifehouse (2005) 31 OGG 840 VARIOUS ARTISTS 80s Collection Vol. 3 (2005) 36 OGG 840 VARIOUS ARTISTS Ice Princess OST (2005) 57 VBR 840 VARIOUS ARTISTS Lollihits_Fruhlings Spass! (2005) 45 OGG 840 VARIOUS ARTISTS Nordkraft OST (2005) 94 VBR 840 VARIOUS ARTISTS Play House Vol. 8 (2CD 2005) 186 VBR 840 VARIOUS ARTISTS RTL2 Pres. Party Power Charts Vol.1 (2CD 2005) 163 VBR 840 VARIOUS ARTISTS Essential R&B Spring 2005 (2CD 2005) 158 VBR 839 VARIOUS ARTISTS Remixland 2005 (2CD 2005) 205 CBR 839 VARIOUS ARTISTS RTL2 Praesentiert X-Trance Vol.1 (2CD 2005) 189 VBR 839 VARIOUS ARTISTS Trance 2005 Vol. 2 (2CD 2005) 159 VBR 839 HAGGARD Eppur Si Muove (2004) 46 CBR 838 MOONSORROW Kivenkantaja (2003) 74 CBR 838 OST John Ottman - Hide And Seek (2005) 23 OGG 838 TEMNOJAR Echo of Hyperborea (2003) 29 CBR 838 THE BRAVERY The Bravery (2005) 45 VBR 838 THRUDVANGAR Ahnenthron (2004) 62 VBR 838 VARIOUS ARTISTS 70's-80's Dance Collection (2005) 49 OGG 838 VARIOUS ARTISTS Future Trance Vol. -
Silje Lippmann.Pdf (843.5Kb)
Parental Strategies and Embodied Hope of Children in Post-Apocalyptic Works The Road and Bird Box: A study of Literary and Film Adaptation Strategies SILJE LIPPMANN SUPERVISOR Professor Michael John Prince University of Agder, 2020 Faculty of Humanities and Education Department of Foreign Languages and Translation S. Lippmann Spring 2020 Contents Acknowledgements…………………………………………………………………………….3 Abstract………………………………………………………………………….……………..4 Introduction…………………………………………………………..……….………………..5 Chapter One: Cormac McCarthy’s The Road……………………….…………..……………15 Chapter Two: John Hillcoat’s The Road……….……………………………………………..32 Chapter Three: Josh Malerman’s Bird Box…………………………………………………...42 Chapter Four: Susanne Bier’s Bird Box………………………………………………………53 Conclusion: The Embodied Hope of Children…………………………………...…………...66 Bibliography…………………………………………………………………………………..77 - 2 - S. Lippmann Spring 2020 Acknowledgements I would like to express my sincere gratitude to my supervisor, Dr. Michael J. Prince, for his invaluable guidance, motivation, and immense knowledge. I truly appreciate the enthusiasm and patience you have shown me during the process of writing this thesis. Your passion for literature and writing is truly inspiring. I also want to thank my partner and best friend, Andreas Thorkildsen, for his endless support and encouragement over the last year. Thank you for listening to me when I was feeling overwhelmed, and for always knowing when I needed another cup of coffee. - 3 - S. Lippmann Spring 2020 Abstract This thesis investigates alternate parental strategies in Post-Apocalyptic fiction by examining the core family units in Cormac McCarthy’s The Road and Josh Malerman’s Bird Box. Additionally, I will analyse their respective film adaptations directed by John Hillcoat and Susanne Bier, to conduct a comparative analysis of the story’s literary and visual depiction. -
Machinima As Digital Agency and Growing Commercial Incorporation
A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Megan R. Brown December 2012 © 2012 Megan R. Brown. All Rights Reserved 2 This thesis titled A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation by MEGAN R. BROWN has been approved for the School of Film and the College of Fine Arts by Louis-Georges Schwartz Associate Professor of Film Studies Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT BROWN, MEGAN R., M.A., December 2012, Film Studies A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation (128 pp.) Director of Thesis: Louis-Georges Schwartz. This thesis traces machinima, films created in real-time from videogame engines, from the exterior toward the interior, focusing on the manner in which the medium functions as a tool for marginalized expression in the face of commercial and corporate inclusion. I contextualize machinima in three distinct contexts: first, machinima as historiography, which allows its minority creators to articulate and distribute their interpretation of national and international events without mass media interference. Second, machinima as a form of fan fiction, in which filmmakers blur the line between consumers and producers, a feature which is slowly being warped as videogame studios begin to incorporate machinima into marketing techniques. Finally, the comparison between psychoanalytic film theory, which explains the psychological motivations behind cinema's appeal, applied to videogames and their resulting machinima, which knowingly disregard established theory and create agency through parody. -
Independent Talent Group
Talent Benoit Delhomme AFC Director of Photography http://www.benoitdelhomme.com/ Agents Sue Greenleaves Rachael Taylor 0207 636 6565 Vanessa Jones Commercials Film & TV Assistants: Cara McKenzie Alex Nicholson Credits 2013 THEORY OF EVERYTHING Dir: James Marsh Prods: Tim Bevan, Lisa Bruce, Eric Fellner, Anthony McCarten Working Title Films 2012 A MOST WANTED MAN Dir: Anton Corbijn Prods: Andrea Calderwood, Simon Cornwell, Malte Grunert, Stephen Calderwood, Gail Egan Amusement Park Films, Demarest Films, Film4, The Ink Factory, Potboiler Productions 2011 LAWLESS Dir: John Hillcoat VIEW TRAILER Prods: Michael Benaroya, Megan Ellison, Lucy Fisher, Douglas Wick Blum Hanson Allen Films, Annapurna Productions, Benaroya Pictures, Red Wagon Productions 2010 ONE DAY Dir: Lone Scherfig VIEW TRAILER Prod: Nina Jacobson Color Force, Random House Films 2010 SON OF NO ONE Dir: Dito Montiel Prods: Gary Howsam, Richard Rionda Del Castro Hannibal Pictures, Nu Image Films, Millennium Films 2009 CHATROOM Dir: Hideo Nakata Prods: Laura Hastings-Smith, Alison Owen, Paul Trijbits Ruby Films, Film4, WestEnd Films 2008 SHANGHAI Dir: Mikael Hafstrom Prods:Donna Gigliotti, Mike Medavoy, Barry Mendel, Jake Myers Living Films, Phoenix Pictures, The Weinstein Company 2007 THE BOY IN THE STRIPED Dir: Mark Herman PYJAMAS Prod: David Heyman Heyday Films, Miramax Films INDEPENDENT TALENT GROUP LTD 40 WHITFIELD STREET, LONDON, W1T 2RH TEL: +44 (0)20 7636 6565 FAX: +44 (0)20 7323 0101 EMAIL: [email protected] PAGE 1 OF 4 WEBSITE: WWW.INDEPENDENTTALENT.COM 2006 -
In This Issue
Winter 2011 ~ Editors Ll. Doug Davis Gordon College 419 College Drive A publication of the Science Fiction Research Association Barnesville, GA 30204 [email protected] "' In this issue Jason Embry Georgia Gwinnett College SFRA Review Business 100 University Center Lane Lawrenceville, GA 30043 Continuity of Leadership in Interesting Times 2 [email protected] SFRA Business Managing Editor "Come Gather'Round People .. :' 2 Janice M. Bogstad Calling All Hands 3 University of Wisconsin, Eau Claire January 2011 Meeting Minutes 4 lOS Garfield Avenue State of the Finances 5 Eau Claire, W1 54702-50 l 0 SFRA 2011 Update 5 [email protected] Remembering Neil Barron 6 Nonfiction Editor Feature Michael Klein Genre Fiction in the (Pre)College Composition Classroom 7 James Madison University MSC 2103 Harrisonburg, VA22807 Nonfiction Reviews [email protected] The Animal Fable in Science Fiction and Fantasy 11 Fiction Editor Animal Alterity: Science Fiction and the Question of the Animal 11 Jim Davis Fiction Reviews Troy University Smith274 The Wesleyan Anthology of Science Fiction 12 Troy, AL 36082 The Strange Affair of Spring Heeled Jack 14 [email protected] The Dervish House 15 Cinco de Mayo 17 Media Editor The Fuller Memorandum 17 Ritch Calvin Media Reviews SUNY Stony Brook WOSIS Melville Library The Road 17 Stony Brook, NY 11794-3360 Inception 18 [email protected] Scott Pilgrim vs. the World 20 Battlestar Galactica: The Plan 21 The SFRA Review (ISSN 1068-395X) Caprica: Season 1 22 is published four times a year by the Paradox 24 Science Ficiton Research Associa FreakAngels 25 tion (SFRA), and distributed to SFRA Don't Look Back 27 members. -
Malachy Mcanenny. Producer
020 8747 1203 | [email protected] | www.chapterspeople.co.uk MALACHY MCANENNY. PRODUCER COMMERCIALS YEAR PRODUCTION COMPANY PRODUCT/ TITLE DIRECTOR 2021 Anonymous Content Visa Pantera 2021 Anonymous Content Apple Watch Pantera 2021 Object and Animal Sainsbury’s Filip Nilsson 2021 Object and Animal Doritos Filip Nilsson 2020 Anonymous Content Dell Marco Prestini 2020 Serial Pictures Walgreens John Hillcoat 2019 Anonymous Content Mirinda Jason Koenig 2019 Somesuch Mini “60 years” George Belfield 2019 Somesuch Teisseire Max Weiland 2019 Serial Pictures Mazda John Hillcoat 2018 Anonymous Content Samsung Johnny Green 2018 Anonymous Content Sprite Karim Huu Do 2018 Serial Pictures Samsung John Hill Coat 2018 Caviar Just Eat Henry Schofield 2018 Stink Adidas Jovan 2017 Serial Pictures Ancestry.Com John Hillcoat 2017 Serial Pictures Samuel Adams Matthaus Bussman 2017 Serial Pictures Toyota “Mobility For All” John Hillcoat 2017 Ruffian Mordor- “Eat It Jerry” "Not Today Kevin” Timothy Bullock 2017 Ruffian Mordor: Shadow Of War Neil Huxley 2016 Stink MG - Childrens Charity Greg Brunkalla 2016 Iconoclast Haig Whiskey Nima Nourizadeh 2016 Park Pictures Marks & Spencers Christian & Patrick 2016 Radical Media House Of Fraser Dave Meyers 2015 Good Egg Nordstrom Tell No One 2015 Stink Camparisoda Neo 2015 Good Egg Replay Jeans Tell No One 2015 Somesuch/Anonymous Content Stella Artois Joachim Black 2015 Stink Guinness "Gangs of Cape Town" John Hillcoat 2015 Somesuch King Games Sam Hibbard 2015 Stink Polident Jonathan Entwistle 2014 Stink Uniqlo -
Os Melhores Guitarristas Do Mundo
OS MELHORES GUITARRISTAS DO MUNDO www.cliqueapostilas.com.br OS MELHORES GUITARRISTAS DO MUNDO PROLEGÔMENOS INTRODUÇÃO AS ORIGENS DA GUITARRA JAZZ, BLUES & ROCK 1955 – 1967 TOP 30 A –Z GRANDES COMPILAÇÕES BRASIL, CORDAS, SEÇÃO 4 G.E.D.I.E.P.F.P.G.E. JEFERSON ARAÚJO PEREIRA FONTES ATUALIZAÇÕES & OUTRAS HISTÓRIAS 210769 JAP FAQ COOL LINKS ROCK PROGRESSIVO CRÍTICOS DE ROCK 1 CRÍTICOS DE ROCK 2 GALERIA DE FOTOS 20 CONTATO webmaster: flying teapot http://voiceprint.com.br/gtrbook/ [08/03/2003 09:15:46] OS MELHORES GUITARRISTAS DO MUNDO www.cliqueapostilas.com.br OS MELHORES GUITARRISTAS DO MUNDO PROLEGÔMENOS Jeferson Araújo Pereira INTRODUÇÃO Os Melhores Guitarristas do Mundo AS ORIGENS DA GUITARRA J. A. Pereira, 2002. JAZZ, BLUES & ROCK Dados Internacionais de Catalogação 1955 – 1967 TOP 30 (Câmara Brasileira do Livro) A –Z O autor tentou – novamente – ser “adotado” por uma grande editora, mas... GRANDES A reprodução (parcial ou integral) deste livro está totalmente liberada: viva o e-book ! COMPILAÇÕES BRASIL, CORDAS, Este livro é dedicado aos verdadeiros guitar-fanáticos que já descobriram o maior segredo do universo: o SEÇÃO 4 planeta Terra foi criado, exclusivamente, para que os guitarristas pudessem fazer solos de guitarra! G.E.D.I.E.P.F.P.G.E. Realmente, é duro, é difícil, mas é preciso encarar a realidade: tudo o que surgiu (antes e depois) do solo de FONTES guitarra, é secundário! Love & Kisses: Cristina e Lucas Special Thanks: Alice e Sebastião, Monique, Marcos, Anderson e a grande família (Pereira, Roschel e Borba), Fabio Golfetti, -
Elektrická Kytara V 70
Masarykova univerzita Filozofická fakulta Ústav hudební vědy Jakub Vlček Elektrická kytara v 70. – 90. letech 20. století: Interpretační techniky a popularizace fenoménu Bakalářská diplomová práce Vedoucí práce: PhDr. Aleš Opekar, CSc 2009 Prohlašuji, ţe jsem tuto práci vypracoval samostatně a výhradně s pouţitím citovaných pramenů. V Brně dne 14. prosince 2009 ............................................ Jakub Vlček 2 Rád bych poděkoval vedoucímu práce PhDr. Aleši Opekarovi, CSc. za odborné vedení práce, připomínky a za poskytnutí potřebné literatury. Dále pak panu Petru Bartoňkovi za další nezbytné postřehy a poskytnutí audio nahrávek. 3 Obsah: 1. Úvod 1 2. Elektrická kytara - konstrukčních vlastností nástroje 2 2.1 Tělo, krk, hlavice – materiály a metody vzájemného spojení 7 2.2 Problematika hardwaru 11 3. Interpretační techniky a popularizace 15 3.1 Problematika ladění 17 3.2 Způsoby tvorby tónu a rozeznění struny 18 3.3 Čistota hry – problematika tlumení přeznívajících strun 20 3.4 Práce s tónem a intonace 21 3.5 Pokročilá hra pravou rukou, přecházení mezi strunami 24 3.6 Legatová hra, tapping, trsátková hra v kombinaci s legátem 32 3.7 Flaţolety, hra s pákou, vyuţití zpětné vazby 40 3.8 Experimentální pole elektrické kytary -killswitch a netradiční způsoby hry 44 5. Závěr 48 6. Resumé 48 7. Summary 49 8. Přílohy 50 9. Pouţité zdroje 54 4 1. Úvod Na úvod této práce bych chtěl zdůraznit, ţe i kdyţ to není přímo uvedeno v názvu, bude se celý text věnovat výhradně rockové a částečně bluesrockové oblasti kytarového výrazu s malými přesahy do ostatních hudebních ţánrů populární hudby. Důvodem pro toto omezení je fakt, ţe zařazení jazzového či popového přístupu by znamenalo psát práci o mnohem větším rozsahu.