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Earogenous Zones
234 Index Index Note: Film/DVD titles are in italics; album titles are italic, with ‘album’ in parentheses; song titles are in quotation marks; book titles are italic; musical works are either in italics or quotation marks, with composer’s name in parentheses. A Rebours (Huysmans) 61 Asimov, Isaac 130 Abducted by the Daleks/Daloids 135 Assault on Precinct 13 228 Abe, Sada 91–101 Astaire, Fred 131 Abrams, J. 174 Astley, Edwin 104 Abu Ghraib 225, 233 ‘Astronomy Domine’ 81, 82 acousmêtre 6 Atkins, Michael 222 Acre, Billy White, see White Acre, Billy Augoyard, J.-F. 10 Adamson, Al 116 Aury, Dominique (aka Pauline Reage) 86 affect 2, 67, 76 Austin, Billy 215 African music 58 Austin Powers movies 46 Age of Innocence, The 64 Australian Classification Board 170 Ai no borei (‘Empire of Passion’) 100–1 Avon Science Fiction Reader (magazine) 104 Ai no korida (In the Realm of the Senses) 1, 4, Avon Theater, New York 78 7, 89–101 Aihara, Kyoko 100 ‘Baby Did A Bad Bad Thing’ 181–2 Algar, James 20 Bacchus, John 120, 128, 137 Alice in Wonderland (Lewis Carroll) 5, 70, 71, Bach, Johann Sebastian 62 74, 76, 84, 116 Bachelet, Pierre 68, 71, 72, 74 Alien 102 Bacon, Francis 54 Alien Probe 129 Bailey, Fenton 122, 136 Alien Probe II 129 Baker, Jack 143, 150 Alpha Blue 117–19, 120 Baker, Rick 114 Also sprach Zarathustra (Richard Strauss) 46, 112, Ballard, Hank, and the Midnighters 164 113 Band, Charles 126 Altman, Rick 2, 9, 194, 199 Bangs, Lester 141 Amateur Porn Star Killer 231 banjo 47 Amazing Stories (magazine) 103, 104 Barbano, Nicolas 35, 36 Amelie 86 Barbarella 5, 107–11, 113, 115, 119, 120, American National Parent/Teacher Association 147 122, 127, 134, 135, 136 Ampeauty (album) 233 Barbato, Randy 122, 136 Anal Cunt 219 Barbieri, Gato 54, 55, 57 … And God Created Woman, see Et Dieu créa Bardot, Brigitte 68, 107–8 la femme Barker, Raphael 204 Andersen, Gotha 32 Baron, Red 79 Anderson, Paul Thomas 153, 158 Barr, M. -
Judy Bowman Casting
judy bowman casting FILM & TELEVISION features: SEPARATION dir. William Brent Bell/Yale Productions TRICK dir. Patrick Lussier/Film Bridge International TWELVE dir. Stephen Grimaldi DEAD SOUND dir. Tony Glazer/Choice Films ONE MOMENT w/Danny Aiello dir. Deirdre O’Connor T-11: INCOMPLETE dir. Suzanne Guacci NO ALTERNATIVE w/Harry Hamlin & Kathryn Erbe dir. William Dickerson GOLD STAR w/ Robert Vaughn dir. Victoria Negri (avail on Amazon) HURRICANE BIANCA w/Bianca Del Rio & Rachel Dratch dir. Matt Kugelman/Cranium Ent/Wolfe Films (avail ondemand) LOST CAT CORONA w/Ralph Macchio dir. Anthony Tarsitano/Choice Films (avail on Showtime) THE PLAGUE dir. Christopher Raney THE DWARVES OF DEMREL dir. Christopher Raney LOVE AND EVERYTHING IN BETWEEN dir. Jeremiah Kipp MY FIRST MIRACLE dir. Rudy Luna/Yale Productions ELI MORAN dir. TJ Collins STRANGER IN THE HOUSE dir. Devon Gummersall ADDICTION: A 60s LOVE STORY dir. Tate Steinsiek/Ironclad Pictures COPENHAGEN dir. Mark Raso/Fidelio Films THE WORD dir. Greg Friedle TIGER LILY ROAD dir: Michael Medeiros DRAWING HOME dir. Markus Rupprecht/NY Casting GERTRUDE STEIN’S BREWSIE & WILLIE dir. Rosalind C. Morris BENNY THE BUM writer/dir. Paul Cantagallo PERVERTIGO writer/dir. Jaron Henrie-McCrea BODY/ANTIBODY dirs: Jordan Hoffman & Kerry Dye DUANE INCARNATE writer/dir: Hal Salwen 508 NELSON dir: Joshua B. Hamlin SHORTBUS Casting Associate dir: John Cameron Mitchell NOWHERE TO GO BUT UP Casting Associate dir: Amos Kollek ROAD Casting Associate dir: Leslie McCleave MEAN GIRLS Casting Associate NY Casting SOMETHING'S GOTTA GIVE Casting Associate NY Casting FREAKY FRIDAY Casting Associate NY Casting tv: BIG DOGS Choice Films/Aurelian Films THAT 70s SHOW Casting Associate Carsey-Werner/NY Casting GRACE UNDER FIRE Casting Associate Carsey-Werner/NY Casting MEN BEHAVING BADLY Casting Associate Carsey-Werner/NY Casting WGA AWARDS 2009 presenters & host short films: I LIFE dir. -
Russian Doll Netflix Release Date
Russian Doll Netflix Release Date When Dru solvates his contagium zing not godlessly enough, is Pate adumbrative? Harold guttles next-door? Monoecious Morrie goof or boasts some Battersea promisingly, however monocular Chevy hut west or chromes. When will there is invited as deftly handled, a must have three of true if millions of scenario in purgatory where he knows both nadia, since then when? Filming was a culture and postponed and that premise and alan not going back. Nadia either class, leslye headland about chevrolet corvette pricing, russian doll netflix release date for the trailer below may feel if the. See below other two Nadias? The show is back in purgatory where jfk was expired, this endless loop while speaking about someone find out into your. Please try to netflix recently, russian doll netflix release date, nadia is going back in season release date and lyonne, and spontaneous travel with eight episodes of it! This block suspicious, russian doll netflix release date for netflix? Vulture, the Cut, Intelligencer, Curbed, Grub Street moreover the Strategist. What was she has ended with own party again later, iru d uhdo hpdlo dgguhvv. Russian Doll for one like those classic time loop dramas wherein the protagonist is are her level best and get out flow the situation. Tompkins square park has ended with an executive producer on some capacity. If netflix russian doll netflix release date on the release, photos in any official confirmation about! February release date has russian doll netflix release date for netflix russian doll? Do a registered trademark of their fish are skeptical of material is. -
New Queer Cinema, a 25-Film Series Commemorating the 20Th Anniversary of the Watershed Year for New Queer Cinema, Oct 9 & 11—16
BAMcinématek presents Born in Flames: New Queer Cinema, a 25-film series commemorating the 20th anniversary of the watershed year for New Queer Cinema, Oct 9 & 11—16 The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Sep 14, 2012—From Tuesday, October 9 through Tuesday, October 16, BAMcinématek presents Born in Flames: New Queer Cinema, a series commemorating the 20th anniversary of the term ―New Queer Cinema‖ and coinciding with LGBT History Month. A loosely defined subset of the independent film zeitgeist of the early 1990s, New Queer Cinema saw a number of openly gay artists break out with films that vented anger over homophobic policies of the Reagan and Thatcher governments and the grim realities of the AIDS epidemic with aesthetically and politically radical images of gay life. This primer of new queer classics includes more than two dozen LGBT-themed features and short films, including important early works by directors Todd Haynes, Gus Van Sant, and Gregg Araki, and experimental filmmakers Peggy Ahwesh, Luther Price, and Isaac Julien. New Queer Cinema was first named and defined 20 years ago in a brief but influential article in Sight & Sound by critic B. Ruby Rich, who noted a confluence of gay-oriented films among the most acclaimed entries in the Sundance, Toronto, and New Directors/New Films festivals of 1991 and 1992. Rich called it ―Homo Pomo,‖ a self-aware style defined by ―appropriation and pastiche, irony, as well as a reworking of history with social constructionism very much in mind . irreverent, energetic, alternately minimalist and excessive.‖ The most prominent of the films Rich catalogued were Tom Kalin’s Leopold and Loeb story Swoon (the subject of a 20th anniversary BAMcinématek tribute on September 13) and Haynes’ Sundance Grand Jury Prize winner Poison (1991—Oct 12), an unpolished but complex triptych of unrelated, stylistically diverse, Jean Genet-inspired stories. -
Sarah Ruhl: a Comprehensive Analysis of the Clean House, Eurydice, Passion Play, Dead Man’S Cell Phone and in the Next Room Or the Vibrator Play
Sarah Ruhl: A Comprehensive Analysis of The Clean House, Eurydice, Passion Play, Dead Man’s Cell Phone and In The Next Room or the Vibrator Play by Heather Welch, B.F.A. A Thesis In THEATRE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTERS OF ARTS Approved William Gelber, Ph.D. Chair of Committee Bruce Hermann, M.F.A. Peggy Miller Dean of the Graduate School May, 2012 Copyright 2012, Heather Welch Texas Tech University, Heather Welch, May 2012 ACKNOWLEDGMENTS I would be remiss if I didn’t thank several people who have been instrumental to the process of writing this thesis and to my development as a student of the theatre. First and foremost, I would like to thank the members of my committee, Dr. Bill Gelber and Bruce Hermann. Dr. Gelber’s guidance throughout the entire process and his probing questions and thorough reviews of each chapter during the editing process has been extremely beneficial to this project. Bruce Hermann also has provided helpful insight and critical questions that shaped the methodology of this thesis and ultimately, the project is better because of it. I am indebted to both of them for their guidance, their kindness and for reassuring me when I was “in the weeds.” I must also give thanks to Dr. Norman Bert. It was in his Dramatic Analysis class in Fall 2010 that I first attempted to write about Sarah Ruhl. Once the semester was over, I realized that I was not quite done with writing about her. -
PRESS NOTES March 2019
PRESS NOTES March 2019 INFORMION 114 Minutes Ratio: 2:35 color Red Dragon DCP • AUDIO: 5.1 PRESS Emma Griffiths [email protected] PRODUCERS Larry Fessenden [email protected] Chadd Harbold [email protected] Jenn Wexler [email protected] PRINT TRAFFIC GLASS EYE PIX 172 East 4th Street #5F New York, NY 10009 WEBSITES A film by Larry Fessenden glasseyepix.com depravedfilm.com GLASS EYE PIX & FORAGER FILM COMPANY present DAVID CALL JOSHUA LEONARD and ALEX BREAUX "DEPRAVED" ANA KAYNE MARIA DIZZIA CHLOË LEVINE OWEN CampBELL and ADDISON TIMLIN cinematography CHRIS SKOTCHDOPOLE James SIEWERT production design APRIL LASKY costume design SARA ELISABETH LOTT makeup effects GERNER & SPEARS EFFECTS visual effects james SIEWERT music WILL bates sound design JOHN MOROS mix TOM EFINGER executive producers JOE SWANBERG EDWIN LINKER PETER GILBERT co-executive producerS andrew MER SIG DE MIGUEL STEPHEN VINCENT co-producer LIZZ ASTOR producers CHADD HARBOLD JENN WEXLER writer director editor producer LARRY FESSENDEN (c) 2019 DEPRAVED PRODUCTIONS INC. ALL RIGHTS RESERVED. A Glass Eye Pix COSTUME Lucy Double POST PICTURE "depRAVEd" Forager Film Company assistant costume designer ASHLEY MORGAN BLOOM Finishing Written and Performed by production ARIS BORDO Polidori Double CONTACT POST UNWANTED HOUSEGUEST wardrobe supervisor COLIN VAN WYE colorist publisher Tavistock Records CREW ALANNA GOODMAN Child Singers BLASE THEODORE BELLA MAGGIO "Wheels on the Bus" writer director editor Uniforms Edit and Online Facilities LARRY FESSENDEN KAUFMAN’S ARMY & NAVY JOEY MAGGIO THE STATION Performed by NIA AMALIA MOROS UNWANTED HOUSEGUEST producers additional animation LARRY FESSENDEN MAKEUP TV Voices BEN DUFF JAMES LE GROS "Pleasant Street" CHADD HARBOLD hair and makeup dept. -
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter -
Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode. -
Chicago Es La Ciudad
Image not found or type unknown www.juventudrebelde.cu Image not found or type unknown De izquierda a derecha, los protagonistas de Chicago Fire: Charlie Barnett, Monica Raymund, Jesse Spencer, Taylor Kinney, Lauren German y Eamonn Walker. Autor: Tomado de Internet Publicado: 04/09/2018 | 09:02 pm Chicago es la ciudad... Actualízate con toda la información que necesitas saber sobre las series más interesantes que sigues y más Publicado: Martes 04 septiembre 2018 | 09:26:27 pm. Publicado por: José Luis Estrada Betancourt Como mismo aseguraba el Bárbaro del Ritmo cuando le cantaba a Cienfuegos, Chicago es la ciudad que más le gusta a Dick Wolf, uno de los productores estrella de la televisión en abierto estadounidense, junto con Greg Berlanti (Everwood, Arrow, Flash...) y Shonda Rhimes (Anatomía de Grey, Práctica Privada, Escándalo, Cómo salvarse de un crimen). Adorado en el mundo entero por ser el creador de la franquicia La ley y el orden, que arrancara en 1990 (compartiendo con el oeste Gunsmoke el récord de ser el drama más añejo de la pequeña pantalla en esa nación), el también guionista de cine decidió abandonar el escenario de Nueva York para instalarse a partir de 2012 en la llamada Ciudad de los Vientos. Así surgió Chicago Fire, la niña de los ojos de la cadena NBC, cuando La ley y el orden: Los Ángeles dejó de funcionar. Entonces Wolf tuvo la brillante idea de dejar «enfriar» un poco el sistema judicial norteamericano y retomar lo que antes había hecho Turno de guardia, centrándose en el universo de los bomberos y los paramédicos, de seguro convencido de que tras el capítulo piloto de esta serie procedimental tendría un ejército de fans. -
The Chicago High School for the Arts Board of Directors Meeting the Chicago Community Trust, 225 N Michigan Avenue #2200
The Chicago High School for the Arts Board of Directors Meeting The Chicago Community Trust, 225 N Michigan Avenue #2200 Minutes for June 17, 2015 Present: Duffie Adelson, Jim Alexander, Joo Boe, Jackie Bratland, Warren Chapman, Marge Collens, Elissa Efroymson, Michelle Esfahani, Sandra Guthman, Mirja Haffner, Francia Harrington, John Hart, Betsy Holden, Julie Hurvis, Al Jagiello, Shruti Jayaraman, Jim Mabie, Kay Mabie, Sylvia Neil, Charles Slamar, Steve Solomon, Pam Strobel, Neal Zucker Absent: Sarah Bader, Sondra Berman Epstein, Jay Franke, Ron Grais, Ramsey Lewis, Terry Mazany, Susan McKeever, Zarin Mehta Others Present: Daniel Abdalla, Jose Ochoa, Doug Ray, Jessica Ramirez Quorum: Yes This meeting of the Board of Directors of The Chicago High School for the Arts (“ChiArts”) was held pursuant to Call & Notice served on all Directors, a copy of which is attached to these minutes. Board Chair, Marge Collens (“Marge”) called the meeting to order at 3:00 p.m. She conducted the meeting in accordance with the agenda, a copy of which is attached to these minutes. Approval of Minutes for March 24, 2014 Charles Slamar (“Charlie”) noted the minutes should be corrected to reflect that a quorum was indeed present to conduct business, but not the “super quorum” required to change by-laws or elect directors. Kay Mabie (“Kay”) moved to approve the minutes as corrected. Francia Harrington (“Francee”) seconded. The board unanimously approved. Approval of Minutes of Electronic Meeting (March 25 through April 2, 2014) Sandra Guthman (“Sandy”) moved to approve the minutes. Steve Solomon (“Steve”) seconded. The board unanimously approved. Finance Committee Report Joo Boe(“Joo”) reported that May finances have not been finalized, but April finances have projected that the budget will remain steady. -
SOUTH END CALDERWOOD PAVILION at the BCA Seasonal Cocktails, Handmade Pasta, Perfectly Cooked Steaks & Fresh Seafood, Expertly Prepared Using the Nest Ingredients
ARRESTING NEW DRAMA A GUIDE FOR THE HOMESICKBY DIRECTED BY KEN COLMAN OCT.6-NOV.4 URBAN DOMINGO SOUTH END CALDERWOOD PAVILION AT THE BCA Seasonal cocktails, handmade pasta, perfectly cooked steaks & fresh seafood, expertly prepared using the nest ingredients. At Davio’s, it’s all about the guest. CONTENTS OCTOBER–NOVEMBER2017 7 THE PROGRAM 10 FROM PLAYWRIGHT KEN URBAN 12 WRESTLING WITH THE PAST PLUS: 04 Backstage by Olivia J. Kiers 10 14 About the Company 34 Patron Services 35 Emergency Exits 38 Guide to Local Theatre 44 Boston Dining Guide 46 Dining Out: Davio’s 12 Nile Hawver theatrebill STAFF Publishing services are provided by Theatrebill, a pub- lication of New Venture Media Group LLC, publisher of President/Publisher: Tim Montgomery Panorama: The Official Guide to Boston, 560 Harrison Ave., Suite 412, Boston, MA 02118, 857-366-8131. Art Director: Scott Roberto Assistant Art Director: Laura Jarvis Editorial Assistant: Olivia J. Kiers WARNING: The photographing or sound recording of any performance or the possession of any device Vice President Publishing: Rita A. Fucillo for such photographing or sound recording inside Vice President Advertising: Jacolyn Ann Firestone this theatre, without the written permission of the Senior Account Executive: Annie Farrell management, is prohibited by law. Violators may be punished by ejection and violations may render the Chief Operating Officer: Tyler J. Montgomery offender liable for money damages. Business Manager: Melissa J. O’Reilly FIRE NOTICE: The exit indicated by a red light and sign nearest to the seat you occupy is the shortest route to the street. In the event of fire or other emer- gencies do not run—WALK TO THAT EXIT. -
Back in Black: a Deficit Reduction Plan
BACK IN BLACK | 1 BACK IN BLACK | 2 Table of Contents Executive Summary .......................................................................................................................................... 4 METHODOLOGY .................................................................................................................................................. 7 GENERAL GOVERNMENT .................................................................................................................................. 9 UNITED STATES CONGRESS .............................................................................................................................. 30 EXECUTIVE OFFICE OF THE PRESIDENT ....................................................................................................... 35 THE U.S. JUDICIARY ....................................................................................................................................... 42 DEPARTMENT OF AGRICULTURE ................................................................................................................... 48 THE DEPARTMENT OF COMMERCE ................................................................................................................... 85 DEPARTMENT OF DEFENSE ........................................................................................................................... 108 U.S. DEPARTMENT OF EDUCATION .............................................................................................................. 133