SCI-FI the GALAXY VOL 2 WEEKEND 23Rd–25Th JUNE
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Exploring Films About Ethical Leadership: Can Lessons Be Learned?
EXPLORING FILMS ABOUT ETHICAL LEADERSHIP: CAN LESSONS BE LEARNED? By Richard J. Stillman II University of Colorado at Denver and Health Sciences Center Public Administration and Management Volume Eleven, Number 3, pp. 103-305 2006 104 DEDICATED TO THOSE ETHICAL LEADERS WHO LOST THEIR LIVES IN THE 9/11 TERROIST ATTACKS — MAY THEIR HEORISM BE REMEMBERED 105 TABLE OF CONTENTS Preface 106 Advancing Our Understanding of Ethical Leadership through Films 108 Notes on Selecting Films about Ethical Leadership 142 Index by Subject 301 106 PREFACE In his preface to James M cG regor B urns‘ Pulitzer–prizewinning book, Leadership (1978), the author w rote that ―… an im m ense reservoir of data and analysis and theories have developed,‖ but ―w e have no school of leadership.‖ R ather, ―… scholars have worked in separate disciplines and sub-disciplines in pursuit of different and often related questions and problem s.‖ (p.3) B urns argued that the tim e w as ripe to draw together this vast accumulation of research and analysis from humanities and social sciences in order to arrive at a conceptual synthesis, even an intellectual breakthrough for understanding of this critically important subject. Of course, that was the aim of his magisterial scholarly work, and while unquestionably impressive, his tome turned out to be by no means the last word on the topic. Indeed over the intervening quarter century, quite to the contrary, we witnessed a continuously increasing outpouring of specialized political science, historical, philosophical, psychological, and other disciplinary studies with clearly ―no school of leadership‖with a single unifying theory emerging. -
Historia De La Nefrología En El Cine: Enfermedad De Bright1: Historia De Una Pasión (2016)
RMC Medicina en fotogramas/ Medicine in Film Stills JMM Historia de la nefrología en el cine: enfermedad de Bright1: Historia de una pasión (2016) Ficha técnica Título original: A Quiet Passion. Otros títulos: Una serena pasión(Argentina). País: Reino Unido, Bélgica. Año: 2016. Director: Terence Davies. Fotografía: Florian Hoffmeister. Montaje: Pia Di Ciaula. Guion: Terence Davies. Intérpretes: Duncan Duff, Jennifer Ehle, Cynthia Nixon, Jodhi May, Joanna Bacon, Emma Bell, Sara Vertongen, Rose Williams, Benjamin Wainwright, Keith Carradine, Marieke Bresseleers, David Van Bouwel, Annette Badland, Steve Dan Mills, Catherine Bailey, Noémie Schellens, Miles Richardson, Eric Loren… Color: color. Duración: 125 minutos. Género: biográfico, drama. Idioma original: inglés. Productoras: Hurricane Films, Potemkino, WeatherVane Productions. Sinopsis: “Biopic de la obra y vida de la gran Emily Dickinsona, una poetisa que paso la mayor parte de su vida en casa de sus padres en Amherst, Massachusetts. La mansión en la que vivió sirve de telón de fondo al retrato de una mujer nada convencional de la que se sabe muy poco. Nacida en 1803, fue considerada una niña con talento, pero un trauma emocional la obligó a dejar los estudios. A partir de ese momento, se retiró de la sociedad y empezó a escribir poemas. A pesar de su vida solitaria, su obra transporta a sus lectores a su apa- sionante mundo. Esta es la historia de la poeta estadou- Cartel en español. nidense Emily Dickinson, desde su infancia hasta conver- tirse en la famosa artista que conocemos” (FilmAffinity). Acción: Amherst, Massachusetts, EEUU (1848-1886). Disponible: Historia de una pasión (DVD). Barcelona: CAMEO MEDIA S.L.; 2017. -
Hebden Bridge Picture House
Films start approx 30 mins after the programme start time stated below. Live Arts/special events actual start time is shown. MAY HEBDEN BRIDGE Mon 1 The Sense of an Ending (15) at 7.45pm TICKETS & CONTACT DETAILS Tues 2 The Sense of an Ending (15) at 7.45pm Weds 3 The Sense of an Ending (15) at 7.45pm Films (no advance booking) PICTURE HOUSE Thurs 4 The Sense of an Ending (15) at 10.30am We operate a cash only box office and do not accept card payments. Graduation (15) at 7.45pm There is no telephone booking facility. Fri 5 The Lost City of Z (15) at 7.45pm Adult £7 Sat 6 Molly Monster (U) at 1.30pm Senior - Over 60 £6 Friends Present: The Long Good Friday (18) at 4.30pm AT A GLANCE A AT Personal Shopper* (15) at 7.45pm Child & Young Adult (age 3-25) £5 Sun 7 Molly Monster (U) at 1.30pm & The Lost City of Z (15) at 4.30pm Passport to Leisure Card Holder £6 The Handmaiden (18) at 7.30pm Full Time Student £5 Mon 8 The Lost City of Z (15) at 7.45pm Tues 9 I am Not Your Negro (12A) at 7.45pm Family Matinee Ticket (everybody) £5 Weds 10 The Handmaiden (18) at 7.30pm Elevenses & Parent and Baby (everybody) £6 Thurs 11 Personal Shopper* (15) at 10.30am Under 3s Free NT Live: Obsession (15) at 7pm (Doors 6pm) Picture This Members enjoy £1 off all of the above prices Fri 12 Their Finest* (12A) at 7.45pm except Family Matinee Tickets Sat 13 Power Rangers (12A) at 1.00pm YSFF Presents The Lodger with Live Harp Score (U) at 4.30pm Live Arts (advance booking recommended)* Their Finest* (12A) at 7.45pm Adult £15 Sun 14 Power Rangers (12A) at 1.00pm -
Modern Languages Videos Use the Find
Modern Languages Videos Use the Find function to search this list Alpine Fire Director: Fredi M. Murer with Thomas Nock, Johanna Lier, Dorothea Moritz, Rolf Illig. 1986, 115 minutes, Romani with English subtitles. Surrounded by the beauty of the Swiss Alps, a family lives in sparse isolation from society. This is the story of a deaf-mute son and his sister who tries to teach him and tame his bad temper. Both are frustrated and going through adolescence without the usual emotional support of the parents. And so they turn to each other with hauntingly strange and tragic events. LLC Library CALL NO. MLFR 002 Castle: The Story of Its Construction – with book. With book. David MaCaulay. 1983, 60 minutes, English. LLC Library CALL NO. MLGP 029 Cathedral: The Story of Its Construction – with book. David MaCaulay: 1985, 60 minutes, English. LLC Library CALL NO. MLGP 030 Divine Renewal of Ise Shrine, The 198?, 60 minutes. Describes the ceremonies and rituals associated with the 60th reconstruction, moving, and dedication of the Grand Shrine of Ise in October, 1973. JCU Library CALL NO. BL2224.6.D58 Program 03&04 Program 03 Caravans of Gold. Program 04 Kings and Cities. LLC Library CALL NO. MLAF 002 Videos about Africa Cultural Comparisons La France, la Mauritania, et la Côte d’Ivoire LLC Library CALL NO. MLAF 007 Program 01&02 Program 01 Different But Equal. Program 02 Mastering a Continent. LLC Library CALL NO. MLAF 001 Program 05&06 Program 05 The Bible and the Gun. Program 06 This Magnificent African Cake. LLC Library CALL NO. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
A Quiet Passion Review - Terence Davies' Emily Dickinson Biopic Finds Beauty in the Little Things
sign in search jobs US edition home › arts › movies tv & radio music games books art & design stage classicalall Berlin film festival 2016 A Quiet Passion review - Terence Davies' Emily Dickinson biopic finds beauty in the little things The Sunset Song director’s film about the reclusive American poet overcomes the challenge of her closed, interior life, with the help of a great performance by Cynthia Nixon A Quiet Passion Photograph: Berlinale Andrew Pulver @Andrew_Pulver Sunday 14 February 2016 16.30 EST Shares Comments Save for later 1,427 5 n 2015 Terence Davies released Sunset Song, his expansive adaptation of Lewis Grassic Gibbon’s novel of Scottish hill-farm life; now, early in 2016, I another film has emerged: a biopic of 19th-century American poet Emily Dickinson, who died in 1886 after a lifetime of respectable frustration. On the face of it, the two couldn’t be more different: the former revels in its sweeping landscapes and full-blooded screaming matches, while the latter is a resolutely- controlled miniature, barely setting foot outside the Dickinson house in Amherst, Massachusetts. For all that, A Quiet Passion sees Davies returning again to some familiar themes. His Dickinson – superbly played with a sort of restless passivity by Cynthia Nixon – is, like Sunset Song’s Chris Guthrie, a figure trapped by history and circumstance, desperate to find an outlet for the Terence Davies on overwhelming emotions surging inside her. The religion, being gay and internal politics of the family plays a dominant his life in film: ‘Despair path in both – though in A Quiet Passion, the is awful because it’s Dickinson paterfamilias Edward (Keith Carradine) worse than any pain’ is a figure of stern rectitude, for sure, but a long way from the demonic, violent father-figures in Read more which Davies has previously specialised. -
A Quiet Passion Terence Davies, a Writer/Director of Sober Taste And
A Quiet Passion Terence Davies, a writer/director of sober taste and refinement (“The Deep Blue Sea,” “The House of Mirth”) who takes literature seriously, examines the sheltered, mysterious, yet vibrant life of Emily Dickinson in “A Quiet Passion,” trying to bridge the gap between the uneventful domestic life of the woman who became a recluse and the inward fervor of the poet. He chooses a highly stylized manner to tell his chronicle of the Amherst maid, and his effort results in hits and misses. The staging of “A Quiet Passion” seems perfectly appropriate (the film did exteriors in Amherst and interiors in Belgium). It is sedate and often striking: most scenes show a fixed camera view of a Victorian interior framed by doorways wherein the protagonists deliver their ever-articulate lines, usually with a minimum of invisible cuts. Occasionally, these stagings are intermingled with a leisurely 360-degree pan. Such straight-on filming can prove wonderful, such as a tour-de-force time lapse of the Dickinson family as each individual morphs into their characters 20 years later. But that fixed stare can also make Emily’s periodic torments (from symptom’s of Bright’s disease) excruciating to watch. Whether Cynthia Nixon’s writhing in these scenes, as the fevered Emily, shows good acting or just gratuitous voyeurism is up to the viewer to decide. Davies makes another decision on staging which is problematic. As Emily’s woes increase, with the loss of family members and the progression of her diseases, the film becomes as reclusive as the poet, where she decides to confine herself to her bedroom and wear only a white shift. -
Toni Erdmann
PROGRAMMER’S PICK BOOK EARLY BOOK EARLY PROGRAMMER’SBOOK EARLY PICK Moonlight (18) Jackie (15) Prevenge (15) It’s Only The End Of The Viceroy’s House (12A) Christine (15) Neruda (15) The Time Of Their Lives Fri 10 - Thu 16 March Fri 10 - Thu 16 March Fri 24 - Thu 30 March World (15) Fri 31 March - Thu 6 April Fri 14 - Thu 20 April Fri 14 - Wed 19 April (TBC) Dir. Barry Jenkins, US, 2016, 111 mins. Dir. Pablo Larrain, US, 2016, 100 mins. Dir. Alice Lowe, UK, 2016, 87 mins. Cast. Alice Fri 31 March - Wed 5 April Dir. Gurinder Chadha, UK, 2016, 106 mins. Dir. Antonio Campos, UK/US, 2016, 119 mins. Dir. Pablo Larrain, Chile/Argentina/France, 2016, Fri 21 - Thu 27 April Cast. Trevante Rhodes, Andre Holland, Janelle Cast. Natalie Portman, Peter Sarsgaard, Billy Crudup, John Hurt, Greta Gerwig. Lowe, Dan Renton Skinner, Kayvan Novak. Dir. Xavier Dolan, Canada/France, 2016, 99 mins, Cast. Gillian Anderson, Hugh Bonneville, Manish Cast. Rebecca Hall, Michael C. Hall, Tracy Letts. 108 mins, subtitled. Cast. Gael Garcia Bernal, Dir. Roger Goldby, UK, 2016, ? mins. Monae, Naomie Harris, Ashton Sanders. In 2012 Alice Lowe co-wrote and subtitled. Cast. Marion Cotillard, Lea Seydoux, Dayal, Huma Qureshi. Luis Gnecco. Cast. Joan Collins, Pauline Collins, Franco Nero. This is a searing and intimate portrait of Jackie Kennedy in the events starred in Ben Wheatley’s twisted Gaspard Ulliel, Vincent Cassel, Nathalie Baye. Campos’ acclaimed drama tells A timeless story of human leading up to and following the assassination of President Kennedy. The The Viceroy’s House in Delhi was Neruda is an ‘anti-bio’ of one of Joan Collins stars in this romcom Sightseers. -
LOCANTRO Theatre
Tony Locantro Programmes – Theatre MSS 792 T3743.L Theatre Date Performance Details Albery Theatre 1997 Pygmalion Bernard Shaw Dir: Ray Cooney Roy Marsden, Carli Norris, Michael Elphick 2004 Endgame Samuel Beckett Dir: Matthew Warchus Michael Gambon, Lee Evans, Liz Smith, Geoffrey Hutchins Suddenly Last Summer Tennessee Williams Dir: Michael Grandage Diana Rigg, Victoria Hamilton 2006 Blackbird Dir: Peter Stein Roger Allam, Jodhi May Theatre Date Performance Details Aldwych Theatre 1966 Belcher’s Luck by David Mercer Dir: David Jones Helen Fraser, Sebastian Shaw, John Hurt Royal Shakespeare Company 1964 (The) Birds by Aristophanes Dir: Karolos Koun Greek Art Theatre Company 1983 Charley’s Aunt by Brandon Thomas Dir: Peter James & Peter Wilson Griff Rhys Jones, Maxine Audley, Bernard Bresslaw 1961(?) Comedy of Errors by W. Shakespeare Christmas Season R.S.C. Diana Rigg 1966 Compagna dei Giovani World Theatre Season Rules of the Game & Six Characters in Search of an Author by Luigi Pirandello Dir: Giorgio de Lullo (in Italian) 1964-67 Royal Shakespeare Company World Theatre Season Brochures 1964-69 Royal Shakespeare Company Repertoire Brochures 1964 Royal Shakespeare Theatre Club Repertoire Brochure Theatre Date Performance Details Ambassadors 1960 (The) Mousetrap Agatha Christie Dir: Peter Saunders Anthony Oliver, David Aylmer 1983 Theatre of Comedy Company Repertoire Brochure (including the Shaftesbury Theatre) Theatre Date Performance Details Alexandra – Undated (The) Platinum Cat Birmingham Roger Longrigg Dir: Beverley Cross Kenneth -
A QUIET PASSION a Film by Terence Davies
presents A QUIET PASSION A film by Terence Davies 126 min | Belgium, United Kingdom | 2016 | PG-13 | 2.35:1 Official Website: http://www.musicboxfilms.com/quietpassion Press Materials: http://www.musicboxfilms.com/quietpassion-press Official Social Media Handle: @aquietpassion Official Hashtag: #AQuietPassion New York/National Press Contacts: Sophie Gluck & Associates Sophie Gluck: [email protected] | 212-595-2432 Aimee Morris: [email protected] | 212-595-2432 Los Angeles Press Contact: Shotwell Media Sasha Berman: [email protected] | 310-450-5571 Music Box Films Contacts Marketing and Social Media Becky Schultz | [email protected] | 312-508-5360 Regional Publicity Bianca Costello | [email protected] | 312-508-5362 Theatrical Booking Brian Andreotti | [email protected] | 312-508-5361 Exhibition Materials David Cook | [email protected] | 312-508-5363 FESTIVALS & AWARDS Special Gala Presentation – 2016 Berlinale International Film Festival Official Selection – 2016 Toronto International Film Festival Official Selection – 2016 New York Film Festival Official Selection – 2016 Chicago International Film Festival 2016 Modern Masters Selection – 2017 Palm Springs International Film Festival SUMMARY Cynthia Nixon delivers a triumphant performance as Emily Dickinson as she personifies the wit, intellectual independence and pathos of the poet whose genius only came to be recognized after her death. Acclaimed British director Terence Davies (House of Mirth, The Deep Blue Sea) exquisitely evokes Dickinson’s deep attachment to her close-knit family along with the manners, mores and spiritual convictions of her time that she struggled with and transcended in her poetry. LOGLINE Cynthia Nixon personifies the wit, intellectual independence, and pathos of 19th Century American poet Emily Dickinson in this masterful biographical drama from acclaimed director Terence Davies (House of Mirth). -
Artificial Eye Presents a Film by BARNABY SOUTHCOMBE Based
Artificial Eye Presents a film by BARNABY SOUTHCOMBE I, ANNA Based on the novel by ELSA LEWIN STARRING: CHARLOTTE RAMPLING, GABRIEL BYRNE, EDDIE MARSAN and HAYLEY ATWELL I, ANNA Running time: 93 minutes/ Certificate: TBC/ Images: On request Sound: Dolby SRD /Aspect Ratio: 2.35:1 1 For further information please contact: Jon Rushton: [email protected] Jake Garriock: [email protected]/ 02074389528 CONTENTS INTRO.................................................................................................................................................. 3 LOGLINE AND LOGLINE............................................................................................................................................. 3 THE DARKEST SECRETS ARE THE ONES WE HIDE FROM OURSELVES.........................3 SHORT SYNOPSIS............................................................................................................................. 3 LONG SYNOPSIS ..............................................................................................................................5 DIRECTOR’S STATEMENT...........................................................................................................7 BACKGROUND TO THE FILM....................................................................................................... 8 THE INFLUENCE OF NOIR............................................................................................................. 9 LONDON AS A CHARACTER...................................................................................................... -
A Masterly Emily Dickinson Movie
RICHARD BRODY FEBRUARY 22, 2016 A Masterly Emily Dickinson Movie BY RICHARD BRODY Cynthia Nixon and Jennifer Ehle in Terence Davies’s “A Quiet Passion,” about Emily Dickinson. IMAGE COURTESY DOUBLE DUTCH INTERNATIONAL efore last week’s trip to Berlin, I had never attended a major international film festival. (New York doesn’t count—it’s a self-described “festival of festivals,” featuring many movies that have already premièred.) For good Breason, these festivals are not part of my regular rounds: I usually write about movies that are available to many readers, because there’s a tease built into festival reviews—let me tell you about some wonderful movies that I’ve seen and that you can’t, or, at least, not yet. But, this time, I can report on a one-off screening that, far from being a tease, may help to resolve one. Last week, while writing in the magazine about the New York première (at Lincoln Center) of the British director Terence Davies’s superb new film, “Sunset Song,” I added that the meticulous filmmaker, who is now seventy, is picking up the pace of production, having already completed another feature, “A Quiet Passion,” a biopic about Emily Dickinson, starring Cynthia Nixon. What I didn’t know at the time was that, because of fortuitous scheduling, I’d get to attend a press screening of “A Quiet Passion” at the Berlin Film Festival. I’m thrilled to say that it’s an absolute drop-dead masterwork. Not that I don’t have other paradigms, ADVERTISEMENT but the Scorsese one seems to fit again: “A Quiet Passion” is like Davies’s “The Wolf of Wall Street.” It displays an urgent outpouring of pent-up creative energy from a director well advanced in his career but tapping into ideas, impulses, and talents that somehow have been kept under wraps throughout his decades of artistic activity.