Foreign Rights Catalogue London 2016
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Johanna Sapakie Johanna Sapakie’S Passion for Dance and Love for Choreography Have Always Played an Important Role in Her Life
Johanna Sapakie Johanna Sapakie’s passion for dance and love for choreography have always played an important role in her life. Her diligent work ethic and dedication to the craft have gotten her far in the ever-expanding world of entertainment. While coming from a strong ballet background, Johanna is an athletic aerialist and dancer schooled in a variety of forms including contemporary, jazz, hip-hop, lyrical, tap, modern, partnering, point work and aerial & pole acrobatics. She was trained from a very young age and has worked with such master teachers as Joe Tremaine, Debbie Allen, Liz Imperio, Marguerite Derricks, Wade Robson and Savion Glover. More recently, on the performance side of her career, Johanna has been involved in many projects on stage and on camera including the newest Cirque Du Soleil shows in Las Vegas Michael Jackson ONE with Jamie King and Viva ELVIS with Vincent Paterson, Super Bowl LIV with Jennifer Lopez, Dancing With the Stars, the Arabesque Festival at the Kennedy Center, "One Love..." with Franco Dragone, Songs of Soul and Inspiration with, among others, Debbie Allen, Queen Latifah and Chaka Khan, MEIFF with Otis Salid, The Mexican Billboard Awards with Liz Imperio, Miss USA, The MTV Movie Awards, New Year’s Eve Live at Mandalay Bay, the first animated ring tone for "Boom di Boom di", the lead female pole acrobat in That Rogue Romeo’s music video "Domino", Jazz Dance World Congress, The Professional Dancers’ Society Benefit with Dick Van Dyke, Steps In Time for Disney’s California Adventure, Mental Head Circus with Terry Beeman, the Hysterica Dance Company with Bubba Carr, NY’s Performance Outlet with Dee Caspary, Gucci, Redken, Volvo and Tarbell Realty industrials, a featured female aerialist in Argentum Silvereye, photography for the Dance Resource Center and much more. -
Catalogue-2018 Web W Covers.Pdf
A LOOK TO THE FUTURE 22 years in Hollywood… The COLCOA French Film this year. The French NeWave 2.0 lineup on Saturday is Festival has become a reference for many and a composed of first films written and directed by women. landmark with a non-stop growing popularity year after The Focus on a Filmmaker day will be offered to writer, year. This longevity has several reasons: the continued director, actor Mélanie Laurent and one of our panels will support of its creator, the Franco-American Cultural address the role of women in the French film industry. Fund (a unique partnership between DGA, MPA, SACEM and WGA West); the faithfulness of our audience and The future is also about new talent highlighted at sponsors; the interest of professionals (American and the festival. A large number of filmmakers invited to French filmmakers, distributors, producers, agents, COLCOA this year are newcomers. The popular compe- journalists); our unique location – the Directors Guild of tition dedicated to short films is back with a record 23 America in Hollywood – and, of course, the involvement films selected, and first films represent a significant part of a dedicated team. of the cinema selection. As in 2017, you will also be able to discover the work of new talent through our Television, Now, because of the continuing digital (r)evolution in Digital Series and Virtual Reality selections. the film and television series industry, the life of a film or series depends on people who spread the word and The future is, ultimately, about a new generation of foreign create a buzz. -
Democratic Information in an Age of Corporate Power
14 09/2016 N°14 Democratic Information in an Age of Corporate Power Democratic Information in an Age of Corporate Power The Passerelle Collection The Passerelle Collection, realised in the framework of the Coredem initiative (Communauté des sites de ressources documentaires pour une démocratie mondiale– Community of Sites of Documentary Resources for a Global Democracy), aims at presenting current topics through analyses, propos- als and experiences based both on field work and research. Each issue is an attempt to weave together various contribu- tions on a specific issue by civil society organisations, media, trade unions, social movements, citizens, academics, etc. The publication of new issues of Passerelle is often associated to public conferences, «Coredem’s Wednesdays» which pursue a similar objective: creating space for dialogue, sharing and build- ing common ground between the promoters of social change. All issues are available online at: www.coredem.info Coredem, a Collective Initiative Coredem (Community of Sites of Documentary Resources for a Global Democracy) is a space for exchanging knowl- edge and practices by and for actors of social change. More than 30 activist organisations and networks share informa- tion and analysis online by pooling it thanks to the search engine Scrutari. Coredem is open to any organisation, net- work, social movement or media which consider that the experiences, proposals and analysis they set forth are building blocks for fairer, more sustainable and more responsible societies. Ritimo, the Publisher The organisation Ritimo is in charge of Coredem and of publishing the Passerelle Collection. Ritimo is a network for information and documentation on international solidarity and sustainable development. -
The Lack of Recognition for the Film Choreographer in Hollywood
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 6-2020 The Lack of Recognition for the Film Choreographer in Hollywood Claire Ross Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Dance Commons, and the Film and Media Studies Commons The Lack of Recognition for the Film Choreographer in Hollywood Claire Ross Commercial Dance Major Art & Entertainment Management Minor Virginia Cox, MS Dyson College of Arts and Sciences Presentation Date: June 2020 Graduation Date: May 2020 1 Abstract The following research directly addresses why the film choreographer has lacked adequate recognition within the Academy Awards, popularly known as the Oscars, presented by the Academy of Motion Picture Arts and Sciences. Additionally, this study aims to fill the research gap in relation to the minimal documentation that exists regarding the role and contributions of the film choreographer within the film industry. In order to move forward in assessing how the film choreographer can be recognized within the Oscars, one must address why they have not been sufficiently recognized within the history of the Academy Awards. By assessing the film choreographer’s value within the film industry through semi-structured interviews and data analysis methodologies, it was concluded their lack of recognition within the Oscars is due to the lack of dance’s presence in film, the undefined role of a film choreographer, and the general lack of awareness revolving around their contributions to film. All of which directly contribute to the film choreographer’s disproportionately perceived value within the film industry. Overall, this research intends to increase the dialogue revolving around the film choreographer as well as validate their value within the film industry. -
Episode 064: Vincent Paterson Special If Using Any of the Below
The MJCast – Episode 064: Vincent Paterson Special If using any of the below text, please reference The MJCast and display the following podcast URL. Thank-you. http://www.themjcast.com/episode-064-vincent-paterson-special/ Q (The MJCast): We got something pretty cool today to share with everyone, haven't we? Jamon (The MJCast): Yeah, we do. We've got an interview with one of Michael's chief collaborators, an amazing choreographer by the name of Vincent Paterson. He has a documentary that is titled "The Man Behind the Throne", and I think that's a really accurate way of describing him. He's a guy that often isn't in the limelight around Michael's career, but is somebody that had a crucial, crucial role in the in the visual aspects of a lot of Michael's art. Q: And a huge footprint in pop culture, I believe, so-- Jamon: Absolutely. Q: Yeah, well, I guess we should just get to the show. Jamon: Let's do it! [Intro] Q: Ladies and gentlemen, welcome to the MJCast! I'm Q, and I'm here today with my co-host and Jamon Bull. Now, when people talk about Michael Jackson's career, names often mentioned: studio geniuses Berry Gordy, Quincy Jones, and Bruce Swedien. For me, a name that should certainly be mentioned right alongside, and of just as much importance is choreographer and director Vincent Paterson. Jamon: Yeah, Vincent Paterson began his career with Michael working as an assistant choreographer and lead dancer on the "Beat It" and "Thriller" short films, before continuing on to ideate and choreograph the timeless masterpiece of film "Smooth Criminal". -
“Flowers in the Desert”: Cirque Du Soleil in Las Vegas, 1993
“FLOWERS IN THE DESERT”: CIRQUE DU SOLEIL IN LAS VEGAS, 1993-2012 by ANNE MARGARET TOEWE B.S., The College of William and Mary, 1987 M.F.A., Tulane University, 1991 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Theatre & Dance 2013 This thesis entitled: “Flowers in the Desert”: Cirque du Soleil in Las Vegas 1993 – 2012 written by Anne Margaret Toewe has been approved for the Department of Theatre & Dance ______________________________________________ Dr. Oliver Gerland (Committee Chair) ______________________________________________ Dr. Bud Coleman (Committee Member) Date_______________________________ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. iii Toewe, Anne Margaret (Ph.D., Department of Theatre & Dance) “Flowers in the Desert”: Cirque du Soleil in Las Vegas 1993 – 2012 Dissertation directed by Professor Oliver Gerland This dissertation examines Cirque du Soleil from its inception as a small band of street performers to the global entertainment machine it is today. The study focuses most closely on the years 1993 – 2012 and the shows that Cirque has produced in Las Vegas. Driven by Las Vegas’s culture of spectacle, Cirque uses elaborate stage technology to support the wordless acrobatics for which it is renowned. By so doing, the company has raised the bar for spectacular entertainment in Las Vegas I explore the beginning of Cirque du Soleil in Québec and the development of its world-tours. -
États Généraux Du Film Documentaire Lussas, 20-26 Août 2017
états généraux du film documentaire lussas, 20-26 août 2017 _ ÉDITO D’une forme d’errance peuvent naître les plus belles associations : les idées mûrissent parfois longuement avant de prendre forme, de pouvoir être formulées. Les programmations sont un processus de sédimentation, au cours duquel des films, des œuvres se déposent, s’ancrent dans la mémoire. Puis cette accumulation de traces dessine un chemin. C’est un cheminement semblable qui nous a conduits cette année à deux ateliers autour de la mémoire. Des cinémas qui arpentent, explorent, déambulent pour faire surgir une mémoire des lieux ou bien qui composent le territoire d’une mémoire où l’Histoire s’immisce. Les nombreux réalisateurs conviés partageront avec nous leur expérience et leur réflexion pour articuler toujours plus étroitement « une archéologie de la mémoire et une cartographie sensible des territoires », la démarche archéologique d’un cinéma qui tente de déceler et de révéler dans le présent d’un territoire les stigmates de l’Histoire mais aussi d’une mémoire. Les films libanais récents de la « Route du doc » portent encore les traces de l’Histoire tragique et violente des guerres traversées par ce pays, terre d’accueil autant que de départs, et tentent de trouver une manière de surmonter le réel, de l’affronter, une tentative d’inscription de soi dans le monde, quand la mémoire et l’Histoire ne sont plus seulement affaire d’héritage mais construction au présent. L’« Histoire de doc » consacrée à la Pologne repose sur une exploration du cinéma à travers l’Histoire et celle des formes cinématographiques. -
Anna Netrebko · Rolando Villazón in Jules Massenet‘S Manon Jules Massenet‘S Manon from the Staatsoper Unter Den Linden
UNITEL and CLASSICA present Anna Netrebko · Rolando Villazón in Jules Massenet‘s Manon Jules Massenet‘s Manon from the Staatsoper Unter den Linden rom “dream team“ of the opera stage to “dream team“ of F classic and pop – Anna Netrebko and Rolando Villazón have long since conquered the entire world of music. Yet while their CD “Duets“ ranked third on the pop charts, the opera stage remains their preferred venue. And in Jules Massenet‘s Music by Jules Massenet “Manon,“ they have found a drama worthy of their combined Libretto by Henri Meilhac talents. and Philippe Gille Manon, the tragic heroine of Massenet‘s work, is torn Conducted by Daniel Barenboim between flirtatiousness and profound love, between frivolity Chorus Staatsopernchor and deep commitment. Netrebko seems predestined for this Chorus Master Eberhard Friedrich role, with her body language alternating between girlish, Orchestra Staatskapelle Berlin introspective and carefree, and her voice radiating brilliance, Manon Lescaut Anna Netrebko warmth, mystery and longing. As the impoverished young Le Chevalier Des Grieux Rolando Villazón nobleman Des Grieux, Rolando Villazón compellingly depicts Lescaut Alfredo Daza the burning passion of an ultimately doomed lover with his Le Comte Des Grieux Christof Fischesser glowing, supple, slender tenor voice. Guillot de Morfontaine Rémy Corazza The glittering production‘s distinctly Hollywood touch is due De Brétigny Arttu Kataja to director Vincent Paterson, who makes his operatic debut Poussette Hanan Alattar with “Manon.“ Paterson knows what stars want: he worked Javotte Gal James his way up from dancer to director of music video clips and Rosette Silvia de la Muela internationally renowned choreographer who has worked Publican Matthias Vieweg with Madonna, Michael Jackson and Paul McCartney, and Directed by Vincent Paterson staged several Broadway musicals. -
Table of Contents
ANASTASIA LESTER LITERARY AGENT PRESENTS : SPRING2015 FICTION TABLE OF CONTENTS FICTION .............................................................................................. 3 BEST-SELLERS 2015 ..................................................................................... 3 HIGHLIGHT SPRING 2015 .......................................................................... 9 DISCOVERED WRITER ............................................................................. 19 LITERARY FICTION .................................................................................. 20 SHORT STORIES ......................................................................................... 27 NON-FRANCOPHONE AUTHORS ........................................................... 27 DEBUT NOVEL ............................................................................................ 28 WOMEN WRITING ..................................................................................... 32 CONTEMPORARY UP-MARKET COMMERCIAL TRENDS ............. 38 BIOGRAPHICAL & HISTORICAL NOVEL ........................................... 44 COMMERCIAL FICTION .......................................................................... 50 LITERARY CRIME & SUSPENSE NOVELS ........................................... 56 THRILLERS .................................................................................................. 61 SCIENCE-FICTION & FANTASY ............................................................. 65 YOUNG ADULT & CROSSE OVER ......................................................... -
Moving Grammars of the Political, Affirm Different Verbs in Its Wake
Moving Grammars ofthe Political: Beyond Sovereign Thought and Action A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN POLITICAL SCIENCE DECEMBER 2004 By Geoffrey Alexander Wallace Whitehall Dissertation Committee: Michael J. Shapiro, Chairperson Kathy Ferguson Jon Goldberg-Hiller Jon Goss Sankaran Krishna Nevzat Soguk ACKNOWLEDGEMENTS I would like to thank my entire committee for the generosity ofoffering their time to this project. iii ABSTRACT This dissertation challenges the failure of the contemporary political imagination. Effectively to do politics today is to say I oppose. With this failure in mind, the dissertation explores what it can mean to affirm new horizons of political possibility by being attentive to political grammars. I ask what it means to exceed the political grammar of sovereignty and, by moving grammars of the political, affirm different verbs in its wake. In the wake of sovereignty, I explore the following types of questions: 1) how can what exceeds accepted structures of intelligibility be appreciated. 2) How can difference be politicized without reducing it to the logic ofthe same? 3) How is it possible to think about a politics of time? How is language, grammatically and rhetorically, a set of limits that holds people to singular identities and calibrates political action to predetermined positions? With these questions in mind, the general question being asked is: how can different linguistic practices open up competing political grammars? To this end, the dissertation pushes Gilles Deleuze beyond his inherited political grammar. Specifically, I amplify Deleuze's philosophy, which celebrates creating concepts above all else, into a moving politics. -
Shaping Immigration News: a French-American Comparison Rodney Benson Index More Information
Cambridge University Press 978-0-521-88767-0 - Shaping Immigration News: A French-American Comparison Rodney Benson Index More information Index ABC, 10, 69, 172 balanced news coverage, 16, 18, 26, 131, audience of, 11, 64 142–144, 147, 151, 157, 168, 202 immigration coverage, 178, 184, 191 economic motivations for, 29, 157 Abramson, Jill, 96 as an indicator of internal pluralism, 142 ACLU (American Civil Liberties Union), Barnhurst, Kevin G., 16, 26, 48, 149, 78, 88, 241 205, 209 Adams, Paul, 202 BBC (British Broadcasting Corporation), 30, 37, Adorno, Theodor W., 21 42, 174, 203, 205 advertising, 11, 15, 22, 28, 31, 37–38, 42, Beau, Nicolas, 104, 112, 113 43–44, 45, 47, 103, 132–133, 152, Benford, Robert D., 5 156–157, 162–163, 164, 171, 173, 174, Bennett, W. Lance, 36, 132, 155, 156 175, 192, 196, 204, 223–224 Benoît, Jean, 112 AFL-CIO, 71, 74, 75, 76, 94 Berezin, Mabel, 213 Albert Londres Prize, 29 Bernard, Philippe, 3, 58, 104, 107, 112, 171 Albert, Pierre, 15, 39, 43, 44, 45, 223, 224 Bernstein, Harry, 68, 76–77, 90 Alexander, Jeffrey C., 13, 15, 32, 149 Bernstein, Nina, 35, 76, 81–82, 89, 90, 91–92, Alexis de Tocqueville, 141 124, 127, 167, 213 Altheide, David L., 21, 26 Best, Joel, 233 American Immigration Lawyers Association, beur movement, 110, 112–113, 114 88, 241 Beuve-Méry, Hubert, 31, 47, 116 Amnesty International, 106, 241 Bleich, Erik, 110, 239 anecdotal lead, 50, 88, 89, 170, 178 Blumler, Jay G., 203, 204 Antenne 2. See France 2 Boczkowski, Pablo J., 14, 23, 198, 205 Arizona Republic, 12, 50, 82, 210 Bonnafous, Simone, 6, 111, 120, 229, 230 Arte, 11, 24, 42, 125, 172, 174, 175, 185, 188, Borjas, George, 238 192, 208, 224, 225 Bosk, Charles L., 87 audience of, 43, 64, 65, 173, 174, 198 Boudana, Sandrine, 51 funding of, 42, 43, 173 Bourdieu, Pierre, 10, 11, 12, 13, 14, 23, 24, 27, immigration coverage, 175, 176, 178, 32, 37, 48, 64, 102, 127, 152, 192, 200, 179, 184, 185, 186, 188, 189, 192, 234 193, 198 and field theory, 12–14, 23, 127 Aufderheide, Patricia, 41, 193, 208 and scientific knowledge, 234 Aujourd’hui en France. -
Lebenslauf Alexander Donesch + Photo 2019
ALEXANDER DONESCH Kontakt:+43/676/9481826 [email protected] Stimmlage: Bariton Größe: 187cm Konfektion: 94 Haarfarbe: dunkelbraun Augenfarbe: braun Fremdsprachen: englisch,italienisch,französisch Dialekte: kärntnerisch, wienerisch Theater / Musical / Operette Frank Wildhorn „Der Graf von Monte Christo“ (Edmond Dantès) Theater Freiberg 2020 Regie Stefan Haufe John Kander „Cabaret“ (Clifford Bradshaw) TIPI am Kanzleramt Berlin 2019 ML Damian Omansen Regie Choreographie Vincent Paterson Frank Wildhorn “Jekyll und Hyde” (Dr. Henry Jekyll / Edward Hyde) Theater Freiberg 2019 ML Juheon Han Regie Stefan Haufe Andrew Lloyd Webber „Sunset Boulevard“ (Ensemble) Vereinigte Bühnen Bozen (I) 2019 ML Stephen Lloyd Regie Rudolf Frey Jerome Kern „Showboat“ (Pete / Jake ) Bühne Baden 2019 Regie Michael Lakner ML Michael Zehetner Michael Schanze „Scrooge“ (Jacob Marley /Mr. Fezziwig) Museumsquartier Wien 2018 Regie Christoph Weyers Davis/Wright/Forrest „Grand Hotel“ Chauffeur/Ensemble Bühne Baden 2017 ML Michael Zehetner Regie Werner Sobotka Ralph Benatzky „Im weißen Rössl“ (Sigismund Sülzheimer / Johann) Tschauner Bühne Wien 2017 ML & Regie Markus Richter Homer „Odyssee“ Odysseus, Achilleus Theater am akademischen Gymnasium Wien 2017 Regie Georg Zlabinger Henry Mancini & Leslie Bricusse „Victor&Victoria“ Richard Di Nardo/ Juke Bühne Baden 2017 ML Franz Josef Breznik Regie Alexandra Frankmann-Koepp Walter Bockmayer „Sissi Beuteljahre einer Kaiserin“ (Sissi) Tschauner Bühne Wien 2016 Regie/ML Markus Richter Euripidides/Grillparzer/Müller „Medea“ (Phryxus/Jason)Theater am akademischen Gymnasium 2016 Regie Georg Zlabinger Andrew Lloyd Webber „Jesus Christ Superstar“ (König Herodes) Dom Wiener Neustadt 2015 ML W. Zwittkovits William Shakespeare „Der Widerspenstigen Zähmnung“ (Petruchio) Sommerspiele Mödling 2015 Regie Nicole Fendesack Aischylos „Orestie“ (Agamemnon/Apollon) Theater am akademischen Gymnasium Wien 2014 Regie Georg Zlabinger Andrew Lloyd Webber „Jesus Christ Superstar“ (Apostel) Stadttheater Baden 2014 ML Franz Josef Breznik Regie Dr.