This Summer the AJR's Refugee Voices Team Made A
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Lost Prince Pack Latest
Miranda Richardson Miranda Richardson Miranda Richardson portrays Queen Mary, the Stranger,The Crying Game, Enchanted April, Damage, emotionally repressed mother of Prince John.A Empire Of The Sun,The Apostle and Spider (Official fundamentally inhibited character, she is a loving Selection, Cannes 2002), as well as the mother but has great difficulty communicating with unforgettable Queenie in the BBC’s Blackadder. She her son. says:“Mary had an absolute belief in the idea of duty. She thought that her husband’s word was the The actress, one of Britain’s most gifted screen law and believed in the divine right of kings. performers, immersed herself in research for the Although that view seems old-fashioned to us now, role and emerged with a clearer, more sympathetic she thought it could not be questioned. Ultimately, I idea about this often-maligned monarch. think this film understands Mary. It portrays her most sympathetically.” ‘’When people hear I’m playing Mary, they say, ‘Wasn’t she a dragon?’ But I’ve learnt from my For all that, Mary’s rigid adherence to the research that she wasn’t just a crabby old bag. She Edwardian code of ethics created a barrier may never have laughed in public, but that was between her and her independent-minded son, because she was shy. She felt she wasn’t able to Johnnie.“She loved him as fully as she could,” express her emotions in public.” Richardson reflects.“She knew that he was a free spirit who was able to be himself. Mary could never Miranda has gained a towering reputation for a be herself because she was always so serious, number of films, including Tom And Viv, Dance With A dedicated, dutiful and aware of her destiny. -
Adrian Edmondson Actor
Adrian Edmondson Actor Showreel Agents Lindy King Associate Agent Joel Keating [email protected] 0203 214 0871 Assistant Tessa Schiller [email protected] Lucia Pallaris Assistant [email protected] Eleanor Kirby +44 (0) 20 3214 0909 [email protected] Roles Television Production Character Director Company OUT OF HER MIND Lewis Ben Blaine & BBC Chris Blaine SAVE ME TOO Gideon Charles Kim Loach/Coky Sky Giedroyc EASTENDERS Daniel Cook Various BBC SUMMER OF ROCKETS Max Dennis Stephen Poliakoff BBC BANCROFT (Series 1 & Superintendent Cliff John Hayes ITV 2) Walker CHEAT William Louise Hooper Two Brothers Pictures RETRIBUTION Peter Elliot William McGregor BBC Scotland United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Character Director Company STRIKE BACK James McKitterick Bill Eagles Sky One URBAN MYTHS Leslie Conn Jim O'Hanlon Sky Arts UPSTART CROW Sergeant Dogberry Richard Boden BBC SAVE ME Gideon Charles Various Gone Productions Ltd GENIUS David Hilbert Various EUE/Sokolow/National Geographic Channel ONE OF US Peter Elliott William McGregor BBC WAR AND PEACE Count Ilya Rostov Tom Harper BBC MISS AUSTEN REGRETS Henry Austen Jeremy Lovering BBC CHERNOBYL Legasov Nick Murphy BBC PREY DCI Warner Nick Murphy Red Production Company THE BLEAK OLD SHOP Headmaster Ben Gosling Fuller BBC OF STUFF Wackville RONJA, THE ROBBER'S Noodle Pete NHK Enterprises DAUGHTER HOLBY CITY Percy 'Abra' Durrant Various BBC JONATHAN -
Susannah Buxton - Costume Designer
SUSANNAH BUXTON - COSTUME DESIGNER THE TIME OF THEIR LIVES Director: Roger Goldby. Producer: Sarah Sulick. Starring: Joan Collins and Pauline Collins. Bright Pictures. POLDARK (Series 2) Directors: Charles Palmer and Will Sinclair. Producer: Margaret Mitchell. Starring: Aiden Turner and Eleanor Tomlinson. Mammoth Screen. LA TRAVIATA AND THE WOMEN OF LONDON Director: Tim Kirby. Producer: Tim Kirby. Starring: Gabriela Istoc, Edgaras Montvidas and Stephen Gadd. Reef Television. GALAVANT Directors: Chris Koch, John Fortenberry and James Griffiths. Producers: Chris Koch and Helen Flint. Executive Producer: Dan Fogelman. Starring: Timothy Omundson, Joshua Sasse, Mallory Jansen, Karen David Hugh Bonneville, Ricky Gervais, Rutger Hauer and Vinnie Jones. ABC Studios. LORD LUCAN Director: Adrian Shergold. Producer: Chris Clough. Starring: Christopher Ecclestone, Michael Gambon, Anna Walton and Rory Kinnear. ITV. BURTON & TAYLOR Director: Richard Laxton. Producer: Lachlan MacKinnon. Starring: Helena Bonham-Carter and Dominic West. BBC. RTS CRAFT AND DESIGN AWARD 2013 – Best Costume Design. 4929 Wilshire Blvd., Ste. 259 Los Angeles, CA 90010 ph 323.782.1854 fx 323.345.5690 [email protected] DOWNTON ABBEY (Series I, Series II, Christmas Special) Directors: Brian Percival, Brian Kelly and Ben Bolt. Series Producer: Liz Trubridge. Executive Producer: Gareth Neame. Starring Hugh Bonneville, Jim Carter, Brendan Coyle, Michelle Dockery, Joanne Froggatt, Phyllis Logan, Maggie Smith and Elizabeth McGovern. Carnival Film & Television. EMMY Nomination 2012 – Outstanding Costumes for a Series. BAFTA Nomination 2012 – Best Costume Design. COSTUME DESIGNERS GUILD (USA) AWARD 2012 – Outstanding Made for TV Movie or MiniSeries. EMMY AWARD 2011 – Outstanding Costume Design. (Series 1). Emmy Award 2011 – Outstanding Mini-Series. Golden Globe Award 2012 – Best Mini Series or Motion Picture made for TV. -
An Accidental Warrior Riting About German Jews in Service in His Sword of Honour Trilogy
VOLUME 15 NO.8 AUGUST 2015 journal The Association of Jewish Refugees An accidental warrior riting about German Jews in service in his Sword of Honour trilogy. It British uniform in last month’s was the same impenetrable and blinkered issue of the Journal brought bureaucracy that saw Lynton shipped off to Wto mind one of the most remarkable and Canada on the SS Ettrick, in the improbable entertaining autobiographical texts by a company of Hans Kahle, a convinced Jewish refugee who served in the British Communist who had commanded a division Army in the Second World War. Mark in the Spanish Civil War, and Fritz Lingen, a Lynton, author of Accidental Journey: grandson of Kaiser Wilhelm II. Lynton spent A Cambridge Internee’s Memoir of World War II several months in Canada, unable to return (Woodstock, NY: Overlook Press, 1995), to Britain until 1941 since the Home Office, was born Max-Otto Ludwig Loewenstein in believing him to have drowned when the SS Stuttgart in 1920, moving to Berlin two years Arandora Star was sunk on its way to Canada later when his father was appointed head in July 1940, had ‘mislaid’ him there. But at of a major German car manufacturer. The least the Canadian camps provided modern Loewensteins were a fairly typical assimilated comforts, equipped as they were with ‘every German-Jewish family, proudly patriotic – gadget known in the Western Hemisphere, Max-Otto’s father had won the Iron Cross some of which, I suspect, may not have in the First World War – well educated, reached England to this day’. -
Additional Research Notes
Additional Research Notes Below is more information related to Joe’s story, including concen tration camps, ship transporting dislocated persons, camp for dislocated persons, camp commandants/other Nazi officials and their fate, and famous shoe companies. 1. Concentration Camps A. Auschwitz/Birkenau, Poland (Concentration Camp) Author’s Note : Joe arrived at Auschwitz on April 30, 1942 and was housed at its sister camp, Birkenau, or “Auschwitz II,” where two days a week he was forced to move the bodies of the dead from the gas chamber to open pits. He was also required to do daily calisthenics and work in many other areas around the camp, including snow removal on the massive grounds. Joe was eventually assigned to a slave labor crew working in a nearby coal mine. For a short while, the inmate miners were forced to walk several miles each day to the coal mine and back. When Joe was finally moved from Birkenau to a camp near the coal mine, he le Auschwitz for the last time, but the mining camp remained under the authority of Auschwitz. Joe permanently lost the hearing in one ear from the repeated explosions of dynamite. Documents provided by the United States Holocaust Memorial Museum in Washington, D.C., show that in June 1944, Joe (Juzek Rubinsztein) was sent from the Auschwitz complex (we believe from the Jawischowitz Sub-camp/Brzeszcze Coal Mine) to Buchenwald, Germany. His official number while at Auschwitz was 34207. At Buchenwald, his number was 117.666. 1, 2 e Auschwitz Concentration Camp, located thirty-seven miles west of Krakow, near the Polish city of Oswiecim, was in an area annexed by Nazi Germany in 1939 aer its invasion of Poland. -
CAST BIOS TOM RILEY (Leonardo Da Vinci) Tom Has Been Seen in A
CAST BIOS TOM RILEY (Leonardo da Vinci) Tom has been seen in a variety of TV roles, recently portraying Dr. Laurence Shepherd opposite James Nesbitt and Sarah Parish in ITV1’s critically acclaimed six-part medical drama series “Monroe.” Tom has completed filming the highly anticipated second season which premiered autumn 2012. In 2010, Tom played the role of Gavin Sorensen in the ITV thriller “Bouquet of Barbed Wire,” and was also cast in the role of Mr. Wickham in the ITV four-part series “Lost in Austen,” alongside Hugh Bonneville and Gemma Arterton. Other television appearances include his roles in Agatha Christie’s “Poirot: Appointment with Death” as Raymond Boynton, as Philip Horton in “Inspector Lewis: And the Moonbeams Kiss the Sea” and as Dr. James Walton in an episode of the BBC series “Casualty 1906,” a role that he later reprised in “Casualty 1907.” Among his film credits, Tom played the leading roles of Freddie Butler in the Irish film Happy Ever Afters, and the role of Joe Clarke in Stephen Surjik’s British Comedy, I Want Candy. Tom has also been seen as Romeo in St Trinian’s 2: The Legend of Fritton’s Gold alongside Colin Firth and Rupert Everett and as the lead role in Santiago Amigorena’s A Few Days in September. Tom’s significant theater experiences originate from numerous productions at the Royal Court Theatre, including “Paradise Regained,” “The Vertical Hour,” “Posh,” “Censorship,” “Victory,” “The Entertainer” and “The Woman Before.” Tom has also appeared on stage in the Donmar Warehouse theatre’s production of “A House Not Meant to Stand” and in the Riverside Studios’ 2010 production of “Hurts Given and Received” by Howard Barker, for which Tom received outstanding reviews and a nomination for best performance in the new Off West End Theatre Awards. -
Thesis Title the Lagermuseum Creative Manuscript and 'Encountering Auschwitz: Touring the Auschwitz-Birkenau State Museum' C
Thesis Title The Lagermuseum Creative Manuscript and ‘Encountering Auschwitz: Touring the Auschwitz-Birkenau State Museum’ Critical Thesis Author Dr Claire Griffiths, BA (Hons), MA, PhD Qualification Creative and Critical Writing PhD Institution University of East Anglia, Norwich School of Literature, Drama and Creative Writing Date January 2015 Word Count 91,102 (excluding appendices) This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract The Lagermuseum My creative manuscript – an extract of a longer novel – seeks to illuminate a little- known aspect of the history of the Auschwitz concentration and death camp complex, namely the trade and display of prisoner artworks. However, it is also concerned with exposing the governing paradigms inherent to contemporary encounters with the Holocaust, calling attention to the curatorial processes present in all interrogations of this most contentious historical subject. Questions relating to ownership, display and representational hierarchies permeate the text, characterised by a shape-shifting curator figure and artworks which refuse to adhere to the canon he creates for them. The Lagermuseum is thus in constant dialogue with my critical thesis, examining the fictional devices which often remain unacknowledged within established -
Non Stop Joe the Latest Stroke of Inspiration from Fremantlemedia France
13 November 2008 week 46 Non Stop Joe The latest stroke of inspiration from FremantleMedia France Germany United Kingdom Antonia Rados returns TalkbackThames producing for to Mediengruppe the big screen RTL Deutschland FremantleMedia teaming up Belgium with YouTube First annual ACT conference week 4 COVER: Montage with photos from Non Stop Joe’s candidates Non Stop Joe 2 week 46 the RTL Group intranet A world first Non Stop Joe, the new ‘global media’ game show from FremantleMedia France Bruno Henriquet, Creative Director and Edouard Duprey, Programme Director of France - 12 November 2008 FremantleMedia France If you thought there was nothing new under the Backstage asked Edouard Duprey, Programme sun – that you’d seen and heard it all – then you Director at FremantleMedia France, and Bruno were wrong! The buzz is running rampant in the Henriquet, Creative Director, to shed some light small world that is the French media industry. on the innovative concept underlying their The tone is set right latest ‘baby’. from the start. Its own website descri- So, now that bes Non Stop Joe you’ve aroused a as “one of the cra- lot curiosity, let’s ziest events this talk about the autumn”. There’s no concept. What is doubt that Non Stop Joe and FremantleMedia how does it work? France is pulling out Edouard Duprey: all the stops with “Before SFR, no brand had the guts to Non Stop Joe is a this new show that go for a ‘triple play’: Internet, mobile game show where, has seemingly phone and television. This is a date to for the first time emerged straight remember in the history of communi- ever, nothing is writ- from the unfettered cation.” ten down ahead of minds of its creative time. -
Images 2021 CEU SYLLABUS 11Weeks.Pdf
Syllabus “IMAGES: KNOWLEDGE, HISTORY, POLITICS” Instructor: Ulrich Meurer, [email protected] | Visual Theory & Practice | Core course | Credits: 2.0 | Winter 2020/21 Zoom-link: https://ceu-edu.zoom.us/j/97544043324?pwd=eVV5d3VGSHlQZkZMdTJvYkNhVTJ5UT09 Meeting-ID: 975 4404 3324 / Passcode: 648382 Link for registering for in-class presentation: https://doodle.com/poll/35a6zk5yfsvpdmm8 COURSE DESCRIPTION: “It is a commonplace of modern cultural criticism” – states W. J. T. Mitchell – “that images have a power in our world undreamed of by the ancient idolaters.” In fact, the sheer multitude, sensory demand, and increasing impact of images are at the very core of current notions of culture and the visual; they inform the theoretical understanding of the present (as well as its relation to the past), the social & political significance of media, or the epistemological potential of imaging technologies. Against this background, the course addresses the image both as a representational sign that depicts a physical/mental “reality” and as an experience, operation or visual event in its own right. After a concise introduction that addresses the ‘truth-content’ and ‘operative value’ of images, the course will focus on the use of photography, film, and electronic media in three selected fields: through a series of case studies, it analyzes the capacity of modern “techno-images” for the production of (scientific) knowledge; their ability to display, translate or reconstruct the past, e.g. as historical source material, and finally, their entanglement with political representations of power and equality. While the first section covers theoretical reflections from Plato to the present, the subsequent examples from a limited set of discourses will, however, constantly return to basic issues of pictorial signification and of the visual as “informational excess”. -
Lindsay Duncan Photo: Fatimah Namdar
Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] Lindsay Duncan Photo: Fatimah Namdar Height: 5'6" (167cm) Other: Equity Playing Age: 56 - 65 years Television 2020, Television, Around The World In 80 Days, Federation Entertainment, Steve Barron 2019, Television, Ysabeau, A Discovery of Witches 2, Bad Wolf 2018, Television, Ysabeau, A Discovery Of Witches, Bad Wolf, Various 2016, Television, Maud Poliakof, Carnage, BBC, Simon Amstell 2016, Television, Grace, The Leftovers, HBO, Various 2015, Television, Frau Bellinghaussen, Close To The Enemy, BBC2 / Little Island, Stephen Poliakoff 2013, Television, Anjelica Rosen, The Honourable Woman, Drama Republic / BBC2, Hugo Blick 2013, Television, Lady Smallwood, Sherlock, Hartswood Films, Nick Hurran 2013, Television, Justice McNeil, Lawless, Sky, John Jones 2013, Television, Lydia, Us & Them, Hat Trick, Simon Hynd 2012, Television, 'The Director', Spy, Hat Trick/Sky, John Henderson 2011, Television, Monika Westin, Wallander, Left Bank Pictures, Charles Martin 2011, Television, Alex Cairns, Black Mirror - The National Anthem, Zeppotron, Otto Bathurst 2011, Television, Absolutely Fabulous, BBC 2011, Television, Lily, White Heat, BBC2 Television, John Alexander 2011, Television, Duchess of York, Richard II, BBC2, Neal St Productions, Rupert Goold 2011, Television, Queen Annis, Merlin, Shine, BBC, Alex Pillai 2011, Television, Kathleen Isherwood, Christopher & His Kind, Mammoth, BBC, Geoffrey Sax 2011, Television, Narrator, Come Fly -
Loki Production Brief
PRODUCTION BRIEF “I am Loki, and I am burdened with glorious purpose.” —Loki arvel Studios’ “Loki,” an original live-action series created exclusively for Disney+, features the mercurial God of Mischief as he steps out of his brother’s shadow. The series, described as a crime-thriller meets epic-adventure, takes place after the events Mof “Avengers: Endgame.” “‘Loki’ is intriguingly different with a bold creative swing,” says Kevin Feige, President, Marvel Studios and Chief Creative Officer, Marvel. “This series breaks new ground for the Marvel Cinematic Universe before it, and lays the groundwork for things to come.” The starting point of the series is the moment in “Avengers: Endgame” when the 2012 Loki takes the Tesseract—from there Loki lands in the hands of the Time Variance Authority (TVA), which is outside of the timeline, concurrent to the current day Marvel Cinematic Universe. In his cross-timeline journey, Loki finds himself a fish out of water as he tries to navigate—and manipulate—his way through the bureaucratic nightmare that is the Time Variance Authority and its by-the-numbers mentality. This is Loki as you have never seen him. Stripped of his self- proclaimed majesty but with his ego still intact, Loki faces consequences he never thought could happen to such a supreme being as himself. In that, there is a lot of humor as he is taken down a few pegs and struggles to find his footing in the unforgiving bureaucracy of the Time Variance Authority. As the series progresses, we see different sides of Loki as he is drawn into helping to solve a serious crime with an agent 1 of the TVA, Mobius, who needs his “unique Loki perspective” to locate the culprits and mend the timeline. -
1956 – Year of Change
VOLUME 13 NO.10 OCTOBER 2013 journal The Association of Jewish Refugees 1956 – year of change hich were the defining transitional the resolutely lower-class Jimmy Porter, to downtrodden, inarticulate characters in years in the history of post-war and its action takes place in the cramped, down-at-heel, sometimes sordid settings, WEurope? Many would nominate shabby, provincial flat occupied by Porter was epitomised by Wesker’s The Kitchen, 1968, the year of mass student unrest; and his wife. With its direct onslaught set in the basement kitchen of a restaurant. others would opt for 1973, the year of on the class-obsessed conformity and Like the strange and menacing early the oil price rise that put an end to the smug complacency of post-war Britain, plays of Harold Pinter, The Birthday period of high growth rates, Europe’s its distrust of established standards and Party (1958) and The Caretaker (1960), post-war ‘economic miracle’. But for values, and its general lack of respect these dramas broke decisively with the Britain, where student unrest was on well-made play’s focus on upper- and a modest scale and where the dismal middle-class characters and settings. I performance of the economy made the can still recall the sense of excitement I German Wirtschaftswunder a distant felt when, as a 14-year-old boy, I was taken prospect, neither of these years appears to to see Lindsay Anderson’s production of represent a historical turning-point. Willis Hall’s The Long and the Short and Instead, 1956 stands out as a year of the Tall at the Royal Court in 1959.