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1 Nominations Announced for the 19Th Annual Screen Actors Guild
Nominations Announced for the 19th Annual Screen Actors Guild Awards® ------------------------------------------------------------------------------------------------------------------------------ Ceremony will be Simulcast Live on Sunday, Jan. 27, 2013 on TNT and TBS at 8 p.m. (ET)/5 p.m. (PT) LOS ANGELES (Dec. 12, 2012) — Nominees for the 19th Annual Screen Actors Guild Awards® for outstanding performances in 2012 in five film and eight primetime television categories as well as the SAG Awards honors for outstanding action performances by film and television stunt ensembles were announced this morning in Los Angeles at the Pacific Design Center’s SilverScreen Theater in West Hollywood. SAG-AFTRA Executive Vice President Ned Vaughn introduced Busy Philipps (TBS’ “Cougar Town” and the 19th Annual Screen Actors Guild Awards® Social Media Ambassador) and Taye Diggs (“Private Practice”) who announced the nominees for this year’s Actors®. SAG Awards® Committee Vice Chair Daryl Anderson and Committee Member Woody Schultz announced the stunt ensemble nominees. The 19th Annual Screen Actors Guild Awards® will be simulcast live nationally on TNT and TBS on Sunday, Jan. 27 at 8 p.m. (ET)/5 p.m. (PT) from the Los Angeles Shrine Exposition Center. An encore performance will air immediately following on TNT at 10 p.m. (ET)/7 p.m. (PT). Recipients of the stunt ensemble honors will be announced from the SAG Awards® red carpet during the tntdrama.com and tbs.com live pre-show webcasts, which begin at 6 p.m. (ET)/3 p.m. (PT). Of the top industry accolades presented to performers, only the Screen Actors Guild Awards® are selected solely by actors’ peers in SAG-AFTRA. -
Pledge Allegiance”: Gendered Surveillance, Crime Television, and Homeland
This is a repository copy of “Pledge Allegiance”: Gendered Surveillance, Crime Television, and Homeland. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/150191/ Version: Published Version Article: Steenberg, L and Tasker, Y (2015) “Pledge Allegiance”: Gendered Surveillance, Crime Television, and Homeland. Cinema Journal, 54 (4). pp. 132-138. ISSN 0009-7101 https://doi.org/10.1353/cj.2015.0042 This article is protected by copyright. Reproduced in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Cinema Journal 54 i No. 4 I Summer 2015 "Pledge Allegiance": Gendered Surveillance, Crime Television, and H o m e la n d by Lindsay Steenber g and Yvonne Tasker lthough there are numerous intertexts for the series, here we situate Homeland (Showtime, 2011—) in the generic context of American crime television. Homeland draws on and develops two of this genre’s most highly visible tropes: constant vigilance regardingA national borders (for which the phrase “homeland security” comes to serve as cultural shorthand) and the vital yet precariously placed female investigator. -
Phd Manuscript 190429 Plain Text
The Presence of Performance and the Stakes of Serial Drama: Accrual, Transience, Companionship Elliott Logan MPhil (University of Queensland, 2013) BA, Hons (University of Queensland, 2009) BA (University of Queensland, 2007) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2018 School of Communication and Arts Abstract This thesis shows how performance is a critically neglected but crucial aspect of serial television drama as an art form. One of serial drama’s obvious storytelling attractions is its ability to involve viewers in relationships between characters over long periods of time. Such involvement takes place through a recurring structure of episodes and seasons, whose unfolding reflects the extensive, ongoing history through which interpersonal bonds form and develop, deepen and decay. The characters we watch onscreen are embodied and performed by actors. Television studies, however, has persistently overlooked screen performance, hampering appreciation of serial drama’s affinity with long-term relationships as a resource for aesthetic significance. Redressing such neglect, this thesis directs new critical attention to expressive stylistic relationships between serial form, screen performance, and the subject of companionship in some recent US serial dramas. The focus of that attention is a particular aesthetic quality: the provisional, which emerges through serial drama’s distinctive tension between permanence and transience. In the first chapter, I argue that the provisional is central to an affinity between screen performance, seriality in television drama, and companionship as an aspect of human life. Chapters Two and Three then show how the art of the provisional in particular series has been underappreciated due to television studies’ neglect of performance and expressiveness as dimensions of serial form in television fiction. -
Modern Family"
Representation of Gender in "Modern Family" Vuković, Tamara Master's thesis / Diplomski rad 2016 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zadar / Sveučilište u Zadru Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:162:639538 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-26 Repository / Repozitorij: University of Zadar Institutional Repository of evaluation works Sveučilište u Zadru Odjel za anglistiku Diplomski sveučilišni studij engleskog jezika i književnosti; smjer: nastavnički (dvopredmetni) Tamara Vuković Representation of Gender in “Modern Family” Diplomski rad Zadar, 2016. Sveučilište u Zadru Odjel za anglistiku Diplomski sveučilišni studij engleskog jezika i književnosti; smjer: nastavnički (dvopredmetni) Representation of Gender in “Modern Family” Diplomski rad Student/ica: Mentor/ica: Tamara Vuković izv. prof. dr. sc. Senka Božić-Vrbančić Zadar, 2016. Izjava o akademskoj čestitosti Ja, Tamara Vuković, ovime izjavljujem da je moj diplomski rad pod naslovom Representation of Gender in „Modern Family“ rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj -
Resistance to Hegemonic Masculinity in Modern Family
Journal of Contemporary Rhetoric, Vol. 11, No.1/2, 2021, pp. 36-56. Modern Masculinities: Resistance to Hegemonic Masculinity in Modern Family Jennifer Y. Abbott∗ Cory Geraths+ Since its debut in 2009, the ABC television show Modern Family has captivated audiences and academics alike. The show professes a modern perspective on families, but many scholars have concluded that its male characters uphold problematic, normative expressions of gender. In contrast, we use the concept of hegemonic masculinity to argue that Modern Family resists normative expressions of masculinity by attuning viewers to the socially constructed nature of hegemonic masculinity and by authorizing feminine and flamboyant behaviors as appropriately manly. These coun- terhegemonic strategies work in tandem to scrutinize confining expectations for men and to offer viable alternatives. Taken together, their coexistence mitigates against an oppressive hybrid version of hegemonic masculinity. Conse- quently, our analysis introduces readers to the rhetorical power of hegemonic masculinity and strategies to resist it; considers the efficacy of these strategies while drawing a wide audience; and stresses the importance of diverse gender representation in popular media. Keywords: Modern Family, hegemonic masculinity, resistance, comedy, television, sitcom The ABC television show Modern Family concluded on April 8, 2020, securing its place in history as among the longest running and most successful domestic situation comedies. Beginning with its first season in 2009, and ending with its eleventh and final season in 2020, the series currently stands as the “third longest-running network sitcom in television history.”1 While ratings dipped ∗ Jennifer Y. Abbott (Ph.D., The Pennsylvania State University) is a Professor of Rhetoric at Wabash College and is affiliated with the college’s Gender Studies program. -
Navid Negahban
Navid Negahban Schlag Agentur Vivian Steinfath Phone: +49 30 327 79351 Email: [email protected] Website: http://www.schlag-agentur.de/ © Kraus & Perino Information Acting age 48 - 58 years Nationality American Year of birth 1964 Languages German: medium Height (cm) 183 Arabic: basic Eye color brown English: fluent Hair color Black Turkish: basic Stature athletic-muscular Persian (Farsi/Dari): native- Place of residence Los Angeles language Accents Arabic English Sport Handball, Soccer, Basketball Profession Actor Film 2021 Dark Corners Director: Richard Parry Producer: Secret Channel Films Distribution: Conduit Presents 2021 The first goodbye Director: Ali Mashayekhi Producer: Landed Entertainments See 2019 London Arabia Director: Daniel Jewel Producer: Daniel Jewel Film 2019 The Divorce Director: Lindsy Campbell Producer: ElDeCa Productions, Romany Road Pictures, VueQ Teleproductions 2019 Aladdin Director: Guy Ritchie Producer: Walt Disney Pictures Distribution: Walt Disney Studios 2019 In full bloom Director: Reza Ghassemi, Adam VillaSenor Producer: Cinesia Pictures Distribution: Dozo 2018 Operation: 12 Strong Director: Nicolai Fuglsig Producer: Alcon Entertainment Distribution: Concorde 2017 Price for Freedom Director: Dylan Bank Producer: Justice for All Productions Distribution: Lidoma Production 2017 American Assassin Director: Michael Cuesta Producer: CBS Films Distribution: Lionsgate 2017 Damascus Cover Director: Daniel Zelik Berk Producer: Cover Films Distribution: Vertical Entertainment Vita Navid Negahban by www.castupload.com -
Pocket Product Guide 2006
THENew Digital Platform EFM 2011 tm BERLIN POCKET ISSUE & PRODUCT OF FILM GUIDE New One Stop Product Guide Search at the Markets Paperless - Weightless - Green Read the Synopsis - Watch the Trailer BUSINESSConnect to Seller - Buy Product EFM 2011 Bumper Online - EFM Daily Editions - Unabridged EFM Product Guide + Stills The Visual is The Medium synopsisandtrailers.com makes it easy for you to Your Simplest Sales Tool read-watch-connect-buy like never before. S HOWCASING T RAILERS D AILY F EB 10-16 An end to site hopping. VISIT:thebusinessoffilmdaily.com For Buyers: Time is Money - View & Connect For Sellers: Attract Buyer Interest - Spend Your Time Promoting New Films November 2 - 9, 2011 Arrow Entertainment Sahamongkolfilm MGB Stand #120 MGB Stand #129 Vision Films Imageworks Ent. MGB Booth #127 Maritim Hotel Suite 9002 STEP UP to 21st Century The DIGITAL Platform PUBLISHING Is The FUTURE BERLIN PRODUCT GUIDE 2011 Writer: Laura Beccaria 6 SALES Producer: Abano Producion, Anera Films, 6 Sales, Alto de las cabañas 5 28231 Las Continental Producciones Rozas de Madrid. Tel: +34.91.636.10.54. Delivery Status: completed Fax: +34.91.710.35.93. www.6sales.es, E- Year of Production: 2010, Country of mail: [email protected] Origin: Spain Sales Agent Little MUMU’s journey towards her ulti- At EFM: Marina Fuentes (Partner), mate dream: to become a great star. Avraham Pirchi (Partner), Mar Abadin THE RUNWAY (Head of Sales) http://www.6sales.es/theRunaway.html Office: Washington Suite, office 100, Family comedy (100 min) Marriott Hotel, Tel: +49(0)30.22000.1127 -
Modern Family Season 2X01 Page.1 Home-Improvement Project That We've Undertaken Has Been a Gloria : Oh, I'm Sure One Won't Make a Difference
Modern Family 2x01 : The Old Wagon [OPENING CREDITS] Claire : Honey, do you need me to move the car? Cameron : "while the spray-tanned starlet claims to be six weeks Phil : Ho, no! It's nothing. I'm alright. Oh no! Iron cross sober, sources down under say she has been bar-hopping like a coked-up kangaroo." Claire : Oh God... Phil... You okay? Mitchell : Ah, what's daddy reading to you? Phil : Yes. I am. I am okay. Cameron : If I have to read "the very hungry caterpillar" One more Claire : Honey, why do we keep this car? time, I will snap. Phil : It's a classic! Mitchell : Oh, it's not that bad. Claire : No, it just sits here. And the seatbelts don't work. The Cameron : I will snap! doors stick. It leaks fluids. We haven't put fluids in it in 10 years. Mitchell : So, um, I laid the toolbox outside, And all the supplies Phil : Well, I'm gonna fix all that anyway. And then, uh, it's gonna are ready, And I think we are good to go! be Haley's car. Cameron : Terrific. Claire : Oh, we're not giving this car to Haley. It's way too easy to fit a mattress in the back. Mitchell : Aren't you gonna change into a working man's outfit? Phil : Remember? Cameron : No, I'm good, And I don't think workmen really call them "outfits." Claire : Oh, no. We're selling it. Phil : What?! Mitchell : We are building a princess castle for Lily. Uh, it's Claire : Mm-hmm. -
An Analysis of Puns Translated for the Polish Voiced-Over Version of the American TV Series Modern Family
University of Amsterdam Graduate School of Humanities MA program in Linguistic: Translation An analysis of puns translated for the Polish voiced-over version of the American TV series Modern Family. Aleksandra Slawuta Student number: 11107448 Supervisor: dhr. dr. Eric Metz Amsterdam 2017 1 Abstract This paper covers the subject of translatability of humor in audiovisual translation. Humor is always difficult to translate not only because of the possible cultural differences between the speakers of a source and target languages but also because everyone has different taste and is laughing at different jokes. This corpus-based thesis is analyzing the specific kind of jokes: puns. They are very language-specific, therefore difficult to translate. Nonetheless, there are certain strategies used to convey the humorous effect to other language. In this paper I am analyzing 80 puns found in the first and second season of the American TV series Modern Family and their Polish equivalents from the voiced-over translation. Basing on the theories coined by Hausmann, Delabastita, Newmark and Nash I am aiming to determine whether translation strategies used to translate puns manage to deliver funny rendering in the target language (Polish). Moreover, I am investing the possible reasons why, in many cases, the translation did not deliver a funny rendering. 2 Table of contents List of figures ................................................................................................................................ 5 1. Introduction ............................................................................................................................ -
NN Datenblatt
! " NAVID NEGAHBAN" ZUR PERSON Wohnort – Berlin & LA & New York Nationalität – US Spielalter – 45-60 Größe – 182cm Figur – Muskulös / Schlank Augen – Braun Sprachen - Persisch (1. Muttersprache) Englisch (2. Muttersprache) Deutsch (Hervorragend) Arabisch (Gut) Türkisch (Gut) Dialekte – Farsi, Arabisch, Russisch, Italienisch Sport – Fußball, Handball, Basketball Stimmlage – Bass / Bariton Führerschein – PKW Katy Steinfeld, Steinfeld PR & Management, Rosa-Luxemburg-Str.17, 10178 Berlin" Tel.: +49 30 847118713, Mobil: +49 172 8969413, E-mail: [email protected] FILM / TV (Auswahl) 2017 FILMING Aladdin Regie: Guy Ritchie, DISNEY, USA, Kino The Team II Regie: Kasper Gaardsøe, ZDF Horse Soldier Regie: Nicolai Fuglsig, USA, Kino 2016 Brain on Fire / HAUPTROLLE Regie: Gerard Barrett, USA, KINO Carving a Life Regie: Terry Ross, USA, KINO Damaskus Cover / HAUPTROLLE Regie: Daniel Zelik Berk, UK, KINO Osprey / HAUPTROLLE Regie: Wayne Slaten, USA, KINO Sand Castle Regie: Fernando Coimbra, USA, KINO 2015 Baba Joon / HAUPTROLLE Regie: Yuval Deslshad, Israel + USA Release, KINO, israelische Oscar Selection, 5 israelische Filmpreise The Messengers Regie: Eriq La Salle, Duane Clarke, Cherie Nowlan, Guy Norman Bee, 4 Episoden, US TV-Serie Law and Order Regie: Jean de Segonzac, 1 Episode, US TV-Serie Veep Regie: Becky Martin, 1 Episode, US TV-Serie, nominiert für Golden Globe, Gewinner von 25 Emmys, u. a. für beste Serie 2015 Day One / HAUPTROLLE Regie: Henry Hughes, US Kurzfilm, nominiert für den OSCAR (best short), Emmy Gewinner Scorpion Regie: Jann Turner, 1 Episode, US TV-Serie 2014 Tatort - Die Feigheit des Löwen / HAUPTROLLE Regie: Marvin Kren, TV, ARD Katy Steinfeld, Steinfeld PR & Management, Rosa-Luxemburg-Str.17, 10178 Berlin" Tel.: +49 30 847118713, Mobil: +49 172 8969413, E-mail: [email protected] American Sniper Regie: Clint Eastwood, USA, KINO, Oscar nominiert Person of Interest Regie: Richard J. -
The Popular Culture Studies Journal
THE POPULAR CULTURE STUDIES JOURNAL VOLUME 3 NUMBERS 1 & 2 2015 Editor BOB BATCHELOR Miami University Associate Editors KATHLEEN TURNER NORMA JONES Aurora University Kent State University Reviews Editor JENNIFER C. DUNN Dominican University Assistant Reviews Editor SAMANTHA LATHAM Independent Scholar Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture-studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2015 Midwest Popular and American Culture Association. All rights reserved. Cover photo credits Cover Artwork: "I Selfie, Therefore I Am" by Brent Jones © 2015 The Thinker, Main: Public Domain "The Thinker, Auguste Rodin" by Karora The Thinker Phone: Creative Commons "Wikimania15 Dschwen (77)" by Daniel Schwen under CC BY 3.0 Selfie Stick: "Casual man using a selfie stick shot in studio" by Wavebreakmedia licensed by PhotoDune EDITORIAL ADVISORY BOARD ANTHONY ADAH JUSTIN GARCIA Minnesota State University, Moorhead Millersville University AARON BARLOW ART HERBIG New York City College of Technology (CUNY) Indiana University - Faculty Editor, Academe, the magazine of the AAUP Purdue University, Fort Wayne JOSEF BENSON ANDREW F. HERRMANN University of Wisconsin Parkside East Tennessee State University PAUL BOOTH JARED JOHNSON DePaul University Thiel College GARY BURNS JESSE KAVADLO Northern Illinois University Maryville University of St. Louis KELLI S. BURNS KATHLEEN A. KENNEDY University of South Florida Missouri State University ANNE M. CANAVAN WILLIAM KIST Emporia State University Kent State University ERIN MAE CLARK LARRY Z. LESLIE Saint Mary’s University of Minnesota University of South Florida BRIAN COGAN MATTHEW MIHALKA Molloy College University of Arkansas - Fayetteville ASHLEY M. -
Star Channels, June 23-29
JUNE 23 - 29, 2019 staradvertiser.com MIND- BENDING Dan Stevens returns as powerful mutant David Haller, who teams up with another mutant to try to repair the damage he’s caused in the new season of Legion. The series is based on the Marvel Comics character known as Legion, who is the son of Prof. Charles Xavier, leader of the X-Men. Rachel Keller, Aubrey Plaza and Navid Negahban also star. Premiering Monday, June 24, on FX. JUST FOR STUDENTS! ¶ŌLELO’S JUNIOR ACADEMY FOR MEDIA SUMMER MEDIA CAMP | JULY 8 JULY 26 ¶Ōlelo’s Junior Academy for Media (JAM) is a fun and interactive yearlong media program that engages youth through hands-on learning and media training. There’s even room to advance to Graduate and Master classes once basic courses olelo.org are complete! For more information, visit olelo.org/JAM ON THE COVER | LEGION Mutants in wonderland ‘Legion’ travels through time explained why it made sense to end the show, cause of their introduction of an iconic X-Men despite its popularity and acclaim. character. “Game of Thrones” alum Harry Lloyd, in Season 3 “I feel like where we left him at the end of best known for his role as Viserys Targaryen the second season, again at his lowest point, in the HBO hit, has been cast as Prof. Xavier, By Kyla Brewer there’s only two ways that he can go — he can whom viewers see in flashbacks in “Legion’s” TV Media either get back to a healthy place, or he can early Season 3 teasers.