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See It Big! Action Features More Than 30 Action Movie Favorites on the Big
FOR IMMEDIATE RELEASE ‘SEE IT BIG! ACTION’ FEATURES MORE THAN 30 ACTION MOVIE FAVORITES ON THE BIG SCREEN April 19–July 7, 2019 Astoria, New York, April 16, 2019—Museum of the Moving Image presents See It Big! Action, a major screening series featuring more than 30 action films, from April 19 through July 7, 2019. Programmed by Curator of Film Eric Hynes and Reverse Shot editors Jeff Reichert and Michael Koresky, the series opens with cinematic swashbucklers and continues with movies from around the world featuring white- knuckle chase sequences and thrilling stuntwork. It highlights work from some of the form's greatest practitioners, including John Woo, Michael Mann, Steven Spielberg, Akira Kurosawa, Kathryn Bigelow, Jackie Chan, and much more. As the curators note, “In a sense, all movies are ’action’ movies; cinema is movement and light, after all. Since nearly the very beginning, spectacle and stunt work have been essential parts of the form. There is nothing quite like watching physical feats, pulse-pounding drama, and epic confrontations on a large screen alongside other astonished moviegoers. See It Big! Action offers up some of our favorites of the genre.” In all, 32 films will be shown, many of them in 35mm prints. Among the highlights are two classic Technicolor swashbucklers, Michael Curtiz’s The Adventures of Robin Hood and Jacques Tourneur’s Anne of the Indies (April 20); Kurosawa’s Seven Samurai (April 21); back-to-back screenings of Mad Max: Fury Road and Aliens on Mother’s Day (May 12); all six Mission: Impossible films -
Precio Maketa Punk-Oi! Oi! Core 24 ¡Sorprendete!
GRUPO NOMBRE DEL MATERIAL AÑO GENERO LUGAR ID ~ Precio Maketa Punk-Oi! Oi! Core 24 ¡Sorprendete! La Opera De Los Pobres 2003 Punk Rock España 37 100% Pure British Oi! Música Punk HC Cd 1 Punk Rock, HC Varios 6 100% Pure British Oi! Música Punk HC Cd 2 Punk Rock, HC Varios 6 100% Pure British Oi! Música Punk HC Cd 1 Punk Rock, HC Varios 10 100% Pure British Oi! Música Punk HC Cd 2 Punk Rock, HC Varios 10 1ª Komunion 1ª Komunion 1991 Punk Rock Castellón 26 2 Minutos Valentin Alsina Punk Rock Argentina 1 2 Minutos Postal 97 1997 Punk Rock Argentina 1 2 Minutos Volvió la alegría vieja Punk Rock Argentina 2 2 Minutos Valentin Alsina Punk rock Argentina 12 2 Minutos 8 rolas Punk Rock Argentina 13 2 Minutos Postal ´97 1997 Punk Rock Argentina 32 2 Minutos Valentin Alsina Punk Rock Argentina 32 2 Minutos Volvio la alegria vieja 1995 Punk Rock Argentina 32 2 Minutos Dos Minutos De Advertencia 1999 Punk Rock Argentina 33 2 Minutos Novedades 1999 Punk Rock Argentina 33 2 Minutos Superocho 2004 Punk Rock Argentina 47 2Tone Club Where Going Ska Francia 37 2Tone Club Now Is The Time!! Ska Francia 37 37 hostias Cantando basjo la lluvia ácida Punk Rock Madrid, España 26 4 Skins The best of the 4 skins Punk Rock 27 4 Vientos Sentimental Rocksteady Rocksteady 23 5 Years Of Oi! Sweat & Beers! 5 Years Of Oi! Sweat & Beers! Rock 32 5MDR Stato Di Allerta 2008 Punk Rock Italia 46 7 Seconds The Crew 1984 Punk Rock, HC USA 27 7 Seconds Walk Together, Rock Together 1985 Punk Rock, HC USA 27 7 Seconds New Wind 1986 Punk Rock, HC USA 27 7 Seconds Live! One Plus One -
Scandinavian Cinema from the Silent Era Prof
© Lynn R. Wilkinson UGS302 (64115): Nordic Light: Scandinavian Cinema from the Silent Era Prof. Lynn Wilkinson to the 2000s COURSE DESCRIPTION: Ingmar Bergman is perhaps the best known Scandinavian filmmaker, but Northern Europe has a remarkable tradition of filmmakers and filmmaking. Including films from Sweden, Denmark, and Iceland, this course will provide an introduction to some of the masterpieces of Scandinavian film from the Golden Age of silent film through the 2000s and to the culture of Scandinavia. ASSIGNMENTS AND GRADING: One two-page paper (5%); one five-page paper which may be rewritten (20%); one storyboard (10%) accompanied by a five-page essay (20%); five quizzes (20%; you may drop the lowest grade); one class presentation (5%). Class participation will count 20%. REQUIRED TEXTS: Bordwell and Thompson: Film Art: An Introduction. 10th edition (2009) McGraw Hill: ISBN 10: 0073386162 Earlier editions on reserve: PN 1995 B617 2004 TEXT; PN1995 B617 2001 TEXT Recommended: Tytti Soila et al.: Nordic National Cinemas Routledge: ISBN-10: 0415081955 On Reserve: PN 1993.5 s2 s65 1998; also available as an electronic resource Braudy and Cohen: Film Theory and Criticism. 6th edition (FTC on syllabus) Oxford Univ. Press: ISBN 10 0195158172 On reserve: PN 1994 M364 2004 Mette Hjort: Purity and Provocation: Dogme 95 British Film Institute On reserve: PN1995.9 E96 P87 2003 Mette Hjort: Italian for Beginners University of Washington Press, 2010 PN 1997 I51555 H56 2010 Björn Norðfjörð: Dagur Kári’s Nói the Albino University of Washington -
Dangerously Free: Outlaws and Nation-Making in Literature of the Indian Territory
DANGEROUSLY FREE: OUTLAWS AND NATION-MAKING IN LITERATURE OF THE INDIAN TERRITORY by Jenna Hunnef A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Jenna Hunnef 2016 Dangerously Free: Outlaws and Nation-Making in Literature of the Indian Territory Jenna Hunnef Doctor of Philosophy Department of English University of Toronto 2016 Abstract In this dissertation, I examine how literary representations of outlaws and outlawry have contributed to the shaping of national identity in the United States. I analyze a series of texts set in the former Indian Territory (now part of the state of Oklahoma) for traces of what I call “outlaw rhetorics,” that is, the political expression in literature of marginalized realities and competing visions of nationhood. Outlaw rhetorics elicit new ways to think the nation differently—to imagine the nation otherwise; as such, I demonstrate that outlaw narratives are as capable of challenging the nation’s claims to territorial or imaginative title as they are of asserting them. Borrowing from Abenaki scholar Lisa Brooks’s definition of “nation” as “the multifaceted, lived experience of families who gather in particular places,” this dissertation draws an analogous relationship between outlaws and domestic spaces wherein they are both considered simultaneously exempt from and constitutive of civic life. In the same way that the outlaw’s alternately celebrated and marginal status endows him or her with the power to support and eschew the stories a nation tells about itself, so the liminality and centrality of domestic life have proven effective as a means of consolidating and dissenting from the status quo of the nation-state. -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
Berkeley Art Museum·Pacific Film Archive W in Ter 20 19
WINTER 2019–20 WINTER BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE ROSIE LEE TOMPKINS RON NAGLE EDIE FAKE TAISO YOSHITOSHI GEOGRAPHIES OF CALIFORNIA AGNÈS VARDA FEDERICO FELLINI DAVID LYNCH ABBAS KIAROSTAMI J. HOBERMAN ROMANIAN CINEMA DOCUMENTARY VOICES OUT OF THE VAULT 1 / 2 / 3 / 4 / 5 / 6 CALENDAR DEC 11/WED 22/SUN 10/FRI 7:00 Full: Strange Connections P. 4 1:00 Christ Stopped at Eboli P. 21 6:30 Blue Velvet LYNCH P. 26 1/SUN 7:00 The King of Comedy 7:00 Full: Howl & Beat P. 4 Introduction & book signing by 25/WED 2:00 Guided Tour: Strange P. 5 J. Hoberman AFTERIMAGE P. 17 BAMPFA Closed 11/SAT 4:30 Five Dedicated to Ozu Lands of Promise and Peril: 11:30, 1:00 Great Cosmic Eyes Introduction by Donna Geographies of California opens P. 11 26/THU GALLERY + STUDIO P. 7 Honarpisheh KIAROSTAMI P. 16 12:00 Fanny and Alexander P. 21 1:30 The Tiger of Eschnapur P. 25 7:00 Amazing Grace P. 14 12/THU 7:00 Varda by Agnès VARDA P. 22 3:00 Guts ROUNDTABLE READING P. 7 7:00 River’s Edge 2/MON Introduction by J. Hoberman 3:45 The Indian Tomb P. 25 27/FRI 6:30 Art, Health, and Equity in the City AFTERIMAGE P. 17 6:00 Cléo from 5 to 7 VARDA P. 23 2:00 Tokyo Twilight P. 15 of Richmond ARTS + DESIGN P. 5 8:00 Eraserhead LYNCH P. 26 13/FRI 5:00 Amazing Grace P. -
Table of Contents
Table of Contents PART I. Introduction 5 A. Overview 5 B. Historical Background 6 PART II. The Study 16 A. Background 16 B. Independence 18 C. The Scope of the Monitoring 19 D. Methodology 23 1. Rationale and Definitions of Violence 23 2. The Monitoring Process 25 3. The Weekly Meetings 26 4. Criteria 27 E. Operating Premises and Stipulations 32 PART III. Findings in Broadcast Network Television 39 A. Prime Time Series 40 1. Programs with Frequent Issues 41 2. Programs with Occasional Issues 49 3. Interesting Violence Issues in Prime Time Series 54 4. Programs that Deal with Violence Well 58 B. Made for Television Movies and Mini-Series 61 1. Leading Examples of MOWs and Mini-Series that Raised Concerns 62 2. Other Titles Raising Concerns about Violence 67 3. Issues Raised by Made-for-Television Movies and Mini-Series 68 C. Theatrical Motion Pictures on Broadcast Network Television 71 1. Theatrical Films that Raise Concerns 74 2. Additional Theatrical Films that Raise Concerns 80 3. Issues Arising out of Theatrical Films on Television 81 D. On-Air Promotions, Previews, Recaps, Teasers and Advertisements 84 E. Children’s Television on the Broadcast Networks 94 PART IV. Findings in Other Television Media 102 A. Local Independent Television Programming and Syndication 104 B. Public Television 111 C. Cable Television 114 1. Home Box Office (HBO) 116 2. Showtime 119 3. The Disney Channel 123 4. Nickelodeon 124 5. Music Television (MTV) 125 6. TBS (The Atlanta Superstation) 126 7. The USA Network 129 8. Turner Network Television (TNT) 130 D. -
King Creole Written By
Free Music resources from www.traditionalmusic.co.uk for personal education purposes only King Creole Written by: Jerry Leiber/Mike Stoller **Capo 1** Intro: (repeat a few times) E------------------------------------------- B------------------------------------------- G------------------------------------------- D------------------------------------------- A---0---0----------------0---0-------------- E-------------0--2--0------------0---2---0-- Verse 1: (all A) There's a man in New Orleans who plays rock and roll He's a guitar man with a great big soul He lays down a beat like a ton of coal He goes by the name of King Creole Chorus: D You know he's gone, gone, gone A Jumpin' like a catfish on a pole E7 You know he's gone, gone, gone D A Hip shaking King Creole Verse 2: (all A) When the king starts to do it it's as good as done He holds his guitar like a tommy gun He starts to growl from way down his throat He bends a string and that's all she wrote CHORUS Verse 3: (all A) Well, he sings a song about a crawdad hole He sings a song about a jelly roll He sings a song about a pork and greens He sings some blues about New Orleans CHORUS Instrumental: A D A E7 D A Verse 4: (all A) Well he plays something evil then he plays something sweet No matter how he plays you got to get up on your feet When he gets the rockin' fever baby heaven sakes He don't stop playin' til his guitar breaks CHORUS E7 You know he's gone, gone, gone D A Hip shaking King Creole Chords: A = x02220 D = xx0232 E7 = 020100 Free Music resources from www.traditionalmusic.co.uk for personal education purposes only Free Music resources from www.traditionalmusic.co.uk for personal education purposes only Free Music resources from www.traditionalmusic.co.uk for personal education purposes only. -
Jay Dupuis Live As ELVIS” with the King Creole Orchestra St
Golden Opportunity “Jay Dupuis Live as ELVIS” With the King Creole Orchestra St. John Theatre, Reserve LA December 14, 2019 (Saturday) 7:00 p.m. $32.00 per person (includes ticket and transportation) $25.00 per person (Ticket only) Departure: 5:00 p.m. – Center for Primary Care & Wellness Departure: 5:30 p.m. – Ochsner Kenner Jay was born on the evening of October 18, 1974 in Baton Rouge, Louisiana, where he lived most of his childhood life. Growing up in a house where his father was a professional musician made it very easy for Jay to follow in his dad’s footsteps. It was no surprise that Jay had an ear for music but, at the early age of three, his mom put on a record of Elvis Presley singing ‘Hound Dog’. As he listened, his eyes lit up and his hips started to move as he smiled with excitement. Begging his mom to play it over and over, Jay became a huge fan of the King of Rock ‘n Roll. Shortly after, Jay would put on performances for his parents, family and friends at social gatherings. “I would put on white pants and a white dress shirt to mimic a jumpsuit, flip up my collar, pretend I was the King and put on a show in my parents living room. I was never shy.” When Jay wasn’t imitating Elvis, he was doing extensive studio work, surrounded by professional musicians, or on stage performing in front of live audiences. Elvis has always been one of the biggest influences in his life and entertaining career, he can’t remember a time where he wasn’t an Elvis fan. -
Favorite Movies
Favorites as of June 2011 Favorite Movies - 00s The Boondock Saints Kiss Kiss, Bang Bang Lord of War The Machinist The Prestige The Punisher Harold and Kumar Go to White Castle The Butterfly Effect Confessions of a Dangerous Mind The Ring We Were Soldiers Ghost World Snatch Memento Serendipity Shoot „Em Up Taken Rules of Attraction Resident Evil & (Apocalypse) American Psycho Favorite Movies - 90s Fight Club PI Election The Usual Suspects Reservoir Dogs The Player Gattaca True Romance Freeway Dogfight ----------------------------- Free Enterprise Groundhog Day Goodwill Hunting The Inner Circle Dark City From Dusk till Dawn Reality Bites Sixth Sense Chasing Amy Fear and Loathing in Las Vegas Avalon/Liberty Heights American Beauty Go Something About Mary Office Space Oleanna Forrest Gump Wild Things Pulp Fiction Scream 1 & 2 Lock, Stock, & Two Smoking Barrels Favorites as of June 2011 Favorite Movies - 80s The Sure Thing Valley Girl Real Genius Terminator Baby Its You Breakfast Club 48 Hours Amadeus A Fish Called Wanda Jacob's Ladder -------------------- Repo Man Into the Night Die Hard Insignificance Field of Dreams Sixteen Candles One Crazy Summer Better Off Dead Weird Science The Empire Strikes Back Aliens Raiders of the Lost Ark/Temple of Doom Robocop The Hitcher The Manhattan Project Heartbreak Ridge Peggy Sue Got Married Favorites as of June 2011 Favorite Movies - Previous Citizen Kane (1941) Casablanca (1943) Dead of Night (1945) Its a Wonderful Life (1946) Curse of the Demon (1957) Touch of Evil (1958) Psycho (1960) David and Lisa -
![Anna Karenina the Truth of Stories “ How Glorious Fall the Valiant, Sword [Mallet] in Hand, in Front of Battle for Their Native Land.” —Tyrtaeus, Spartan Poet the St](https://docslib.b-cdn.net/cover/5886/anna-karenina-the-truth-of-stories-how-glorious-fall-the-valiant-sword-mallet-in-hand-in-front-of-battle-for-their-native-land-tyrtaeus-spartan-poet-the-st-435886.webp)
Anna Karenina the Truth of Stories “ How Glorious Fall the Valiant, Sword [Mallet] in Hand, in Front of Battle for Their Native Land.” —Tyrtaeus, Spartan Poet the St
The CollegeSUMMER 2014 • ST. JOHN’S COLLEGE • ANNAPOLIS • SANTA FE Anna Karenina The Truth of Stories “ How glorious fall the valiant, sword [mallet] in hand, in front of battle for their native land.” —Tyrtaeus, Spartan poet The St. John’s croquet team greets the cheering crowd in Annapolis. ii | The College | st. john’s college | summer 2014 from the editor The College is published by St. John’s College, Annapolis, MD, Why Stories? and Santa Fe, NM [email protected] “ He stepped down, trying not to is not just the suspense, but the connection made Known office of publication: through storytelling that matters: “Storytelling Communications Office look long at her, as if she were ought to be done by people who want to make St. John’s College the sun, yet he saw her, like the other people feel a little bit less alone.” 60 College Avenue In this issue we meet Johnnies who are story- Annapolis, MD 21401 sun, even without looking.” tellers in modern and ancient forms, filmmakers, Periodicals postage paid Leo Tolstoy, ANNA KARENINA poets, even a fabric artist. N. Scott Momaday, at Annapolis, MD Pulitzer Prize winner and artist-in-residence on Postmaster: Send address “Emotions are what pull us in—the character’s the Santa Fe campus, says, “Poetry is the high- changes to The College vulnerabilities, desires, and fears,” says screen- est expression of language.” Along with student Magazine, Communications writer Jeremy Leven (A64); he is one of several poets, he shares insights on this elegant form Office, St. John’s College, 60 College Avenue, alumni profiled in this issue of The College who and how it touches our spirits and hearts. -
The Queen of Sheba Visits Solomon
General Church Paper f the Seventh-day Adventists JUNE 29, 1978 The queen of Sheba visits Solomon See article op, page 10 THIS WEEK Re mew Contents Veronica Morrish of Greenbelt, membership (see also "SAD General Articles Pages 3-12 Maryland, learned to build a new Passes 400,000 Membership Columns attitude for herself. In "The Mark," p. 19). For the Younger Set 9 Garment of Praise" (p. 4), Mrs. The index of articles, authors, %IF For this Generation 14 Morrish, who teaches preschool and subjects that we publish 128th Year of Continuous Publication children in her home, describes twice yearly begins on page 27. Focus on Education 15 EDITOR Family Living 13 how she recovered faith in God This index has proved to be a Kenneth H. Wood From the Editors 15 and expelled her hatred for those valuable aid to many researchers. ASSOCIATE EDITORS Newsfront 17-26 who so maliciously wronged her. Art and photo credits: J. J. Blanco, Don F. Neufeld News Notes On page 6 the REVIEW editor Cover, Herbert Rudeen; p. 3, ASSISTANT EDITOR 25 Jocelyn Fay Index 27-31 continues his report on the trip he Gene Ahrens; p. 4, Tom Dun- and his wife, Miriam Wood, bebin; p. 9, Harold Munson; p. ASSISTANT TO THE EDITOR Back Page 32 Eugene F. Durand made recently to South America, 10, Gert Busch; p. 11, NASA; ADMINISTRATIVE SECRETARY In her darkness and despair a division that has just surpassed all other photos, courtesy of the Corinne Russ following her husband's murder, the 400,000 mark in church respective authors.