SCIS-Hongqiao Upper School Daily Bulletin
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Irish Gothic Fiction
THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. -
New Zealand Film Productions, 1990-2019
NEW ZEALAND FILM PRODUCTIONS, 1990-2019 TITLE PRODUCTION CO. PRODUCERS SCRIPT DIRECTOR DOP PROD DESIGNER COSTUME DESIGN EDITOR SOUND DESIGN 100 MEN * Documentary Department of Post Vincent Burke Paul Oremland Paul Oremland Stuart Boone 2017 220 MILES * Documentary Link Productions Andrew James, Richard Richard Allan Litt Richard Allan Litt 2018 Allan Litt 43,000 FEET * Feature Special Problems Amber Easby, Heather Matt Harris Campbell Hooper Andrew Stroud Campbell Hooper Bruce Langley 2012 Lee 50 WAYS OF SAYING MF Films Michele Fantl Stewart Main Stewart Main Simon Raby Ken Turner Kirsty Cameron Peter Roberts Peter Scholes FABULOUS * Feature 2005 5TH EYE, THE * CutCutCut Films Errol Wright Abi King-Jones, Errol Abi King-Jones Documentary 2016 Wright 6 DAYS * Feature 2017 General Film Corporation Matthew Metcalfe Glenn Standring Toa Fraser Aaron Morton Philip Ivey Liz McGregor Dan Kircher 7 DAYS I-X * Teleseries Thedownlowconcept Jon Bridges, Rob Brown Josh Samuels, Sam Smith, Nigel Carpenter Luke Thompson Jason Pengelly, 2010-18 Amanda Alison, Aaron Sacha Campbell, John Beard, Dean Butler, Ed Whiteside Caruthers, Alex Casey, Andrew Fergus, Dean Watson + various 800 WORDS I-III * South Pacific Pictures, Chris Bailey, John James Griffin, Maxine Mike Smith, Pino Fred Renata, Dave Gary Mackay, Greg Sarah Aldridge Eric De Beus, Paul Thomas Miskin Teleseries 2015-18 Seven Productions Holmes, Kelly Martin, Fleming, Timothy Balme, Amenta, Michael Hurst, Garbett Allison Sutorius, Gary Hunt Julie McGauran, Chris Kate McDermott, Natalie Murray Keane -
Hugo Results
TORCON 3 • The 61st World Science Fiction Convention August 28 to September 1, 2003 • Metro Toronto Convention Centre The 2003 Hugo Award Winner Rankings Best Novel Category (660 ballots counted) • Hominids by Robert J. Sawyer (Analog 1-4/02; Tor) • Kiln People by David Brin (Tor) • Bones of the Earth by Michael Swanwick (Eos) • The Scar by China Miéville (Macmillan; Del Rey) • The Years of Rice and Salt by Kim Stanley Robinson (Bantam) Best Novella Category (562 ballots counted. Six nominees on ballot due to a fifth place tie) • Coraline by Neil Gaiman (HarperCollins) • “Bronte’s Egg” by Richard Chwedyk (F&SF 8/02) • “Breathmoss” by Ian R. MacLeod (Asimov’s 5/02) • A Year in the Linear City by Paul Di Filippo (PS Publishing) • “The Political Officer” by Charles Coleman Finlay (F&SF 4/02) • “In Spirit” by Pat Forde (Analog 9/02) Best Novelette Category (529 ballots counted) • “Slow Life” by Michael Swanwick (Analog 12/02) • “The Wild Girls” by Ursula K. Le Guin (Asimov’s 3/02) • “Halo” by Charles Stross (Asimov’s 6/02) • “Presence” by Maureen F. McHugh (F&SF 3/02) • "Madonna of the Maquiladora" by Gregory Frost (Asimov's 5/02) Best Short Story Category (513 ballots counted) • “Falling Onto Mars” by Geoffrey A. Landis (Analog 7-8/02) • “‘Hello,’ Said the Stick” by Michael Swanwick (Analog 3/02) • “The Little Cat Laughed to See Such Sport” by Michael Swanwick (Asimov’s 10-11/02) • “Creation” by Jeffrey Ford (F&SF 5/02) • “Lambing Season” by Molly Gloss (Asimov’s 7/02) Best Related Book Category (432 ballots counted) • Better to Have Loved: The Life of Judith Merril, Judith Merril and Emily Pohl-Weary (Between the Lines) • Bradbury: An Illustrated Life, Jerry Weist (Morrow) • Dragonhenge, Bob Eggleton and John Grant (Paper Tiger) • Spectrum 9: The Best in Contemporary Fantastic Art, Cathy Fenner and Arnie Fenner, eds. -
Supreme Court of the State of Washington ______
No. 98317-8 ____________________________________________________________ SUPREME COURT OF THE STATE OF WASHINGTON ____________________________________________________________ SHYANNE COLVIN, SHANELL DUNCAN, TERRY KILL, LEONDIS BERRY, and THEODORE ROOSEVELT RHONE, Petitioners, v. JAY INSLEE, Governor of the State of Washington, and STEPHEN SINCLAIR, Secretary of the Washington State Department of Corrections, Respondents. ____________________________________________________________ DECLARATION OF JULIA BLADIN ____________________________________________________________ Nicholas Allen, WSBA #42990 Nicholas B. Straley, WSBA #25963 Janet S. Chung, WSBA #28535 COLUMBIA LEGAL SERVICES 101 Yesler Way, Suite 300 Seattle, WA 98104 Telephone: (206) 464-1122 Attorneys for Petitioners I, Julia Bladin, declare under penalty of perjury under the laws of the State of Washington that the following statements are true and correct to the best of my knowledge: 1. I am an employee of Columbia Legal Services (CLS) where I work as a Legal Assistant. 2. As a Legal Assistant, I am responsible for managing CLS’s attorney collect line, which allows people from institutions, including prisons to contact CLS to make confidential calls to CLS at no charge. 3. For the past several weeks, we have been hearing concerns from people who are in Department of Corrections facilities and their family members regarding fears about COVID-19. These concerns have been increasing, especially since DOC first confirmed cases among staff. 4. Since Monday, April 6, 2020 – the date -
Bfi-Opening-Our-Eyes-2011-07 0
Opening our eyes eyes our Opening How How Opening fi lm contributes to the culture of the UK the of culture the to contributes lm our eyes How film contributes to the culture of the UK A report for the BFI by Northern Alliance and Ipsos MediaCT July 2011 What’s inside: How and where we watch films The sorts of films we watch What films do Ju ly 2011 ly The cultural contribution www.bfi.org.uk of individual films What’s inside: About the study team P4 P10 The study was carried out for UK Film Council/ The UK Film Council/BFI steering group BFI by Northern Alliance in association with comprised Carol Comley, David Steele, Ipsos MediaCT. Nigel Algar, Sarah Schafer-Peek and Sean Perkins. Northern Alliance is a Chartered Accountancy All the study team are grateful for the assistance firm that provides accounting, tax, financial, provided by Bertrand Moullier of Narval Media management and business consulting services and the other companies and individuals who to private and public sector organisations and provided advice and information during the individuals, especially to those operating in the stakeholder consultation, David Ettridge for his media, entertainment and creative industries. assistance in sourcing still images and to Mark Executive summary Study method Northern Alliance staff and associates engaged in Errington and Philip Metson of Radley Yeldar the report were Catherine O’Shea, Chris Chandler, for their help in designing the published report. Ian Christie, Mike Kelly and Sarah Beinart. Grateful thanks are also given to all of the rights holders who directly or indirectly provided the Ipsos is one of the UK’s leading market research images used in the report. -
Shelflist - DVD
Shelflist - DVD TITLE PN1997 .T74 2001 12 angry men [dvd] / United Artists ; story and screenplay by Reginald Rose ; produced by Henry Fonda and Reginald Rose ; directed by Sidney Lumet. PN1997 .T836 2005 12 monkeys [dvd] / Universal Pictures and Atlas/Classico present an Atlas Entertainment production ; produced by Charles Roven ; screenplay by David Peoples & Janet Peoples ; directed by Terry Gilliam. PN1995.9.S26 T8 2001 2001, a space odyssey [dvd] / Metro-Goldwyn-Mayer presents a Stanley Kubrick production ; directed and produced by Stanley Kubrick ; screenplay by Stanley Kubrick and Arthur C. Clarke. PN1999.T8 A5 2002 20th Century Fox [dvd] : the blockbuster years / [produced by] Prometheus Entertainment in association with Van Ness Films, Inc., Fox Television Studios, Foxstar Productions and American Movie Classics ; directed by Kevin Burns and DS79.76.T84 2003 21 days to Baghdad [dvd] / produced by David Murdock, Mary Marsh, and Ted Duvall. PN1997.2.A1117 2004 21 grams [dvd] / a Focus Features presentation, a This is That production, a Y Productions production, an Alejandro GonzaL_lez InL_aL_rritu film ; produced by Alejandro GonzaL_lez InL_aL_rritu, Robert Salerno ; written by Guillermo PN1995.9.S87 F687 2006 400 blows [dvd] / Les Films du Carrosse, S.E.D.I.F. ; producer, Georges Charlot ; original story by FrancL'ois Truffaut ; adaptation by Marcel Moussy and FrancL'ois Truffaut ; directed by FrancL'ois Truffaut. PN1997 .F6789 2006 42nd street [dvd] / Warner Bros. Pictures, Inc. & the Vitaphone Corp. ; directed by Lloyd Bacon ; screen play by Rian James & James Seymour. HF6146.T42 C561 2006 47th annual Clio awards [dvd]. PN1997 .O88 2002 8 1/2 [dvd] / di Federico Fellini ; Angelo Rizzoli presenta ; ideato e diretto da Federico Fellini ; prodotto da Angelo Rizzoli ; soggetto, Federico Fellini, Ennio Flaiano ; sceneggiatura Federico Fellini .. -
Using Deleuze: the Cinema Books, Film Studies and Effect
USING DELEUZE: THE CINEMA BOOKS, FILM STUDIES AND EFFECT Dyrk Ashton A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2006 Committee: Cynthia Baron, Chair Patrick Pauken, Graduate Faculty Representative Donald Callen Jonathan Chambers Ronald Shields © 2006 Dyrk Ashton All Rights Reserved iii ABSTRACT Cynthia Baron, Advisor Since their publication, Deleuze’s Cinema 1: The Movement-Image (French 1983, English 1986) and Cinema 2: The Time-Image (French 1985, English 1989) have held a precarious position in Anglophone film studies. The difficulties of the cinema books are pointed out by many, a broad range of complaints have been leveled against them, and their usefulness has been widely questioned. There has, however, been an increase in interest in the cinema books among Anglophone film scholars over the last few years. Still, many of the “complaints” and “concerns” about the cinema books remain. A guiding principal of this dissertation is to provide a “way in” to Deleuze’s work in the cinema books, or a key to assist in unlocking and unpacking Deleuze’s cinema project. To this end, I have analyzed Deleuze’s approach in the cinema books, their style, methodology, rationale and theoretical framework, utilizing Theodor Adorno’s concept of “parataxis” because I believe it illuminates his metaphysics. I have also explicated key elements of Deleuze’s Bergson-inspired metaphysics, concentrating on what I feel are fundamental aspects that aid in a clarification of “movement-images” and “time-images.” A key concept that I utilized in this endeavor is Deleuze’s “crystal-image” because I maintain that the characteristics of crystal-images are the very foundation of all time- images. -
The Writer, Director, and Producer
The writer, director, and producer Specific learning outcomes Students will: • understand the process of developing this script. • examine how a scene in the play has been developed by the director. • understand the writer’s purpose in developing this play. [These learning outcomes relate to the Communication and Interpreting in Drama (CI) and Understanding Drama in Context (UC) strands in The Arts in the New Zealand Curriculum.] History of the play The Bellbird is set in Marlborough in the early 1870s. The idea for the play came from three letters Stephen Sinclair discovered while he was translating Māori manuscripts in the National Archives some years ago. The letters were in English, from a Pākehā woman who was writing to the Native Affairs Department appealing for assistance. The woman explained that she had been married to a Māori who had recently died. Her deceased husband’s family wanted nothing to do with her, and as she had married a Māori she was not welcomed back into the local Pākehā community. She had no one else she could turn to for support. The Bellbird, though based on a real-life situation, is fictional. The letters gave no information about the woman and her background, beyond the immediate urgency of her situation. The events in her life leading up to the letters, and all the other characters, are imaginary. There is extensive use of Māori throughout the play, however nothing of significance is conveyed in Māori that is not also either expressed in English or communicated non-verbally through the actions of the actors. -
The Caged Feminine and Gendered Space in the Lord of the Rings
Éowyn the Unintended: The Caged Feminine and Gendered Space in The Lord of the Rings by William Henry Harrison B. A. (Hon.), Carleton University, 1989 B. Th., St. Paul University/University of Ottawa, 1992 Ph. D. Boston College, 2000 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE COLLEGE OF GRADUATE STUDIES (English) THE UNIVERSITY OF BRITISH COLUMBIA (Okanagan) September 2013 © William Henry Harrison, 2013 ii Abstract As Alexandra Ganser points out, in the West, freedom of the road has tended to be a prerogative of males; this is as true in the novelistic imagination as it is in the streets. The Lord of the Rings (LotR) is a novel of the road. In it, J. R. R. Tolkien maintains a firm gendering of spaces, as Ganser theorizes. Women may not take to the road or enter the battlefield, except under male direction and supervision. Éowyn is the exception to this rule, but one that highlights the existence of the rule. Initially, Tolkien planned Éowyn as a warrior who would ride openly as a woman, beside Aragorn, the King whom Éowyn would marry. Éowyn was planned as a heroine, who overcomes a Nazgûl by her own strength. However, this is not the Éowyn whom Tolkien wrote. Instead, she feels caged in Rohan, but is refused permission to take the road or the battlefield. To escape, she disguises herself in the visible cage of male armour and goes to war. Once there, Éowyn fights the Nazgûl, but wins only because a male defeats the spell sustaining the enemy. -
THE LORD of the RINGS the Two Towers Screenplay by Fran Walsh & Philippa Boyens & Stephen Sinclair & Peter Jackson
THE LORD OF THE RINGS The Two Towers Screenplay by Fran Walsh & Philippa Boyens & Stephen Sinclair & Peter Jackson Based on the novels by J.R.R Tolkien © 2002 New Line Cinema 1. BLACK SCREEN. SUPER: New Line Cinema Presents SUPER: A Wingnut Films Production SUPER: THE LORD OF THE RINGS FADE IN ON: EXT. THE MISTY MOUNTAINS - DAY HIGH WIDE AERIAL ON: CAMERA flies over the snow-covered peaks of the Misty Mountains. As the tranquillity of the scene sinks in, voices disrupt the peacefulness. GANDALF (O.S.) You cannot pass! FRODO (O.S.) Gandalf! ON THE SOUNDTRACK: A faint crash sounds over the landscape. GANDALF (O.S.) I am the servant of the Secret Fire, wielder of the Flame of Anor! PAN CLOSER TO THE SIDE OF THE MOUNTAINS. GANDALF (O.S.)(CONT’D) Go back to the Shadow. The dark fire will not avail you, flame of Udûn! TRACK THROUGH THE SIDE OF THE MOUNTAIN TO: INT. BRIDGE OF KHAZAD-DÛM, MORIA - DAY WIDE ON: The BALROG slashes at GANDALF with its SWORD OF FLAME ...GANDALF blocks with GLAMDRING ... a ringing clash and the BALROG’S SWORD SHATTERS into MOLTEN FRAGMENTS! GANDALF (CONT’D) (booming) You shall not pass!! The BALROG places one foot onto the bridge. (CONTINUED) 2. CONTINUED: GANDALF CRIES ALOUD as he summons his LAST RESERVES OF STRENGTH!! He thumps the bridge with his staff...a blinding sheet of white flame springs up...the staff shatters...the bridge breaks... right at the BALROG’S feet. The stone bridge drops away into the GULF...from under the BALROG. -
Shane Krause Exegesis
Not Welcome: Writing Horror in Australia S.P. Krause A feature film screenplay and exegesis submitted for the requirements of the Master of Arts (Research). Faculty of Creative Industries Queensland University of Technology 2005 ii Keywords Producers, Projects, Writing, Pitching, Drama, Screenplay, Horror. iii iv Abstract “Not Welcome” is a thesis containing an original dark genre screenplay called Acolytes and an exegesis called “Not Welcome”: Writing Horror in Australia. The screenplay is about two boys, victims of years of bullying, who find a way to rid themselves of their bully for good, exchanging one problem for something much worse. But it’s an elaborate and calculated lie. The truth is Acolytes is about the concealment of a crime and not the vengeance of a victim. Acolytes is intentionally moody, oppressive and obtuse—it has a true crime-scene ambience. The power of the story lies in its truth— the truth that it seeks to uncover and the truth of the style of its telling—and, just as is the case with real-life crime, the “truth” is often murky and far from clear-cut. The accompanying exegesis explores the domestic funding and production climate for dark genre projects. It argues that Australian genre scriptwriters and filmmakers have often faced hostile funding agencies and genre-timid producers. It examines the requirements of dark genre scriptwriters and filmmakers in bringing their work from page to screen. It argues that the onus is on Australian dark genre writers and filmmakers to think beyond funding agencies and institutionalised Australian producers to realise their projects. -
Mini Project: Monologue Speech 50 Points You Will Select a Monologue from a Film That You Will Memorize and Present to the Class
Mini Project: Monologue Speech 50 Points You will select a monologue from a film that you will memorize and present to the class. The monologue you choose must be school appropriate, or you will receive a zero for this assignment. The objective of this assignment is to work on the skillset of delivering a speech. I’ve posted the specific standards this assignment meets below. Standards met for monologue speech project: 11-12.SL.6: Adapt speech to a variety of contexts and tasks, demonstrating a command of formal English when indicated or appropriate. 11-12.SL.3: Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric, assessing the stance, premises, links among ideas, word choice, points of emphasis, and tone used. Specifications: Please see rubric for everything you must do to achieve full points for this assignment. 7 Easy Monologue Memorization Tips Posted on July 28, 2015 by New York Film Academy Monologue memorization is a process, and the focus should always remain on the performance, not solely on the memorization of the text. However, without knowing the words, an actor cannot do in-depth work. With the following tips in your memorization arsenal, monologue preparation will be a painless process… It’s a Pick ‘em Game The first step in monologue memorization is the selection process. This is the foundation of preparation and affects all steps of the process, including memorization speed. Actors who are personally connected to the text they are memorizing are more motivated to explore the work, and will understand the monologue more easily.