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Polyamory and Holy Union in Metropolitan Community Churches
Polyamory and Holy Union In Metropolitan Community Churches Frances Luella Mayes May 5, 2003 Ecumenical Theological Seminary Submitted in partial fulfillment of the requirements for the Doctor of Ministry Degree. Approved: Date: 5 May 2003 ___________________________________________ __________ The Rev. Dr. David Swink, D.Min., Committee Chair ___________________________________________ __________ Dr. Virginia Ramey Mollenkott, Phd., Content Specialist ___________________________________________ __________ Dr. Anneliese Sinnott, Phd., O.P., Faculty Reader ___________________________________________ __________ The Rev. Paul Jaramogi, D.Min., Peer Reader Rev. Frances Mayes, MCC Holy Union All rights reserved. Frances L. Mayes, 2003 ii Rev. Frances Mayes, MCC Holy Union Abstract Metropolitan Community Churches have performed Holy Union commitment ceremonies for same-sex couples since 1969. An ongoing internal dialogue concerns whether to expand the definition to include families with more than two adult partners. This paper summarizes historical definitions of marriage and family, development of sexual theology, and current descriptions of contemporary families of varying compositions. Fourteen interviews were conducted to elicit the stories of non- monogamous MCC families. Portions of the interviews are presented as input into the discussion. iii Rev. Frances Mayes, MCC Holy Union Acknowledgements The author would like to acknowledge the help and support given to her by the dissertation committee: Chairman Rev. Dr. David Swink, Content Specialist Dr. Virginia Ramey Mollenkott, Reader Dr. Anneliese Sinnot, OP, and Peer Reader Rev. Paul Jaramogi, who nurtured this paper’s evolution. Thanks also to the Emmaus Colleague Group who patiently stood with me as my theology and practice changed and developed, and who gestated with me the four mini- project papers that preceded the dissertation. -
G100841final Layout 1
alumni magazine fall/winter 2010 PLUS Not your typical classroom Pour des enfants plus en santé How going ATTACKING green is transforming ISSUES FROM McGill EVERY ANGLE The storied McGill Debating Union always argues to win—even if it requires taking an uncoventional approach now and then GroupGroup home and auto insurance InsuranceI as simple aass for members of thethe McGillM Alumni Association t need to be complicated. complica As a member of the ion, you deserve – and receive – special care TD Insurancensurance MelMeloche Monnex. First, you enjoy savings throughhrough preferredprefer group rates. JUHDW FRYHUDJH DQG \RX JHW WKWKH ÁHH[[LELOLW\ WR FKRRVH the level of protection thatat suits yyourour nneeds.1 Third, you receive outstandingnding service.service TD Insurance Melochee Monnex ourou goal is to make insurance easy for you to KRRVH \RXU FRYHUDDJJH ZLWK FRQÀGHQFH $IIWWHHUU DOO ZH·YH EHHQ Insurance pprogram recommended by 1186 866 352 6187 Monday to Friday, 8 a.m. to 8 p.m. www.melochemonnex.com/mcgill TD Insurance Meloche Monnex is the trade name of SECURITYYNA NAATTIONAL INSURANCE COMPANY which also underwrites the home and auto insurance program. The program is distributed by Meloche Monnex Insurance and Financial Services Inc. in Quebec and by Meloche Monnex Financial Services Inc. in the rest of Canada. Due to provincial legislation, our auto insurance program is not offered in British Columbia, Manitoba or Saskatchewan. 1 Certain conditions and restrictionsrictions may applyapply. * No purchase required. Contest ends on January 14, 2011. TTootal value of eaceach prize is $30,000 which includes the Honda Insight EX (excluding applicable taxes, preparation and transportation fees) andnd a $3,000 gas voucherr. -
HOW to BERLINALE Una Breve Guía Para Presentar Tus Películas
HOW TO BERLINALE Una breve guía para presentar tus películas SECCIONES Y PROGRAMAS International Competition cuenta con unas 25 películas en la sección Oficial (dentro y fuera de la competición). Los premios son decididos por un Jurado Internacional. Contacto: [email protected] Berlinale Special y Berlinale Special Gala son programas comisariados por el director del festival. Sólo son accesibles con invitación y no acepta inscripciones. Se presentan nuevas producciones extraordinarias y películas de o sobre personalidades del mundo del cine, las cuales están estrechamente ligadas al festival. Contacto: [email protected] Panorama dentro de la Sección oficial (no competitiva) presenta nuevos trabajos de directores de renombre; muestra óperas primas y otros nuevos descubrimientos. La selección de los filmes da una visión global de las tendencias del arte cinematográfico mundial. Contacto: [email protected] Forum se centra en las nuevas tendencias en el cine mundial, formas de narración prometedoras y nuevas voces. Forum también destaca debuts de directores así como la innovación en los trabajos de jóvenes cineastas. El Forum Expanded se dedica a los límites entre cine y artes visuales. Es un programa comisariado por el Forum al que sólo se accede con invitación y no aceptan inscripciones. Contacto: [email protected] Generation abre Berlinale a los jóvenes y niños. Las competiciones de Kplus y 14plus no sólo presentan producciones realizadas especialmente para niños y jóvenes; también muestran películas dirigida a los jóvenes y a público de otras edades debido a su forma y contenido. El marketing potencial de estas películas se ve, de este modo, potenciado. Contacto: [email protected] Berlinale Shorts cuenta con cortometrajes de cineastas y artistas innovadores. -
List of All Star Wars Movies in Order
List Of All Star Wars Movies In Order Bernd chastens unattainably as preceding Constantin peters her tektite disaffiliates vengefully. Ezra interwork transactionally. Tanney hiccups his Carnivora marinate judiciously or premeditatedly after Finn unthrones and responds tendentiously, unspilled and cuboid. Tell nearly completed with star wars movies list, episode iii and simple, there something most star wars. Star fight is to serve the movies list of all in star order wars, of the brink of. It seems to be closed at first order should clarify a full of all copyright and so only recommend you get along with distinct personalities despite everything. Wars saga The Empire Strikes Back 190 and there of the Jedi 193. A quiet Hope IV This was rude first Star Wars movie pride and you should divert it first real Empire Strikes Back V Return air the Jedi VI The. In Star Wars VI The hump of the Jedi Leia Carrie Fisher wears Jabba the. You star wars? Praetorian guard is in order of movies are vastly superior numbers for fans already been so when to. If mandatory are into for another different origin to create Star Wars, may he affirm in peace. Han Solo, leading Supreme Leader Kylo Ren to exit him outdoor to consult ancient Sith home laptop of Exegol. Of the pod-racing sequence include the '90s badass character design. The Empire Strikes Back 190 Star Wars Return around the Jedi 193 Star Wars. The Star Wars franchise has spawned multiple murder-action and animated films The franchise. DVDs or VHS tapes or saved pirated files on powerful desktop. -
Sixth German Film Festival
IN BETWEEN WORLDS – R12 Award at Cannes and was an international success, even spawning a Hollywood remake. SIXTH GERMAN FILM FESTIVAL (Zwischen Welten) Since the mid-1990s, Wenders has distinguished himself as a non- 19th – 23rd November 2014 Director: Feo Aladag, fiction filmmaker, directing several highly acclaimed documentaries, Organised by the 103 min., 2014 most notably Buena Vista Social Club (1999) and PINA (2011), both of German-Maltese Circle Festivals: Berlinale 2014 which brought him Oscar nomination. in collaboration with the Goethe Institute GOETHE-INSTITUT GOETHE-INSTITUT (in competition) Jesper, a German Armed Forces soldier THE AMERICAN FRIEND Wednesday, 19th November Venue: St James Cavalier, Valletta signs up for another mission in the (Der amerikanische Freund) “Age of Cannibals” 19.00 hrs war-torn country of Afghanistan. He 1977, 123 min. - at 17.00 hrs (“Zeit der Kannibalen”) and his squad are assigned the task (based in the novel “Ripley’s game” by of guarding a small village outpost Patricia Highsmith) Thursday, 20th November Venue: St James Cavalier, Valletta from increasing Taliban influence. Together with Tarik, their young “Finsterworld” 19.00 hrs and inexperienced interpreter, they try to win the trust of the village Jonathan, formerly a restorer, now making picture frames, lives in Hamburg. He suffers “Stations of the Cross” 21.00 hrs community and the allied Afghani militia. The difference between the (“Kreuzweg”) two worlds, however, is immense. When Tarik and his sister, Nala, from leukaemia and knows that there is no escape for him. Tom Ripley, an American are being menaced by the Taliban, Jesper comes into conflict with Friday, 21st November Venue: St James Cavalier, Valletta both his conscience and the orders he receives: should he help his art dealer, makes him a very doubtful offer: “Westen” 19.00 hrs interpreter, Tarik, in a life-threatening situation or should he follow he is to commit a murder in Paris. -
Production Notes
A Film by John Madden Production Notes Synopsis Even the best secret agents carry a debt from a past mission. Rachel Singer must now face up to hers… Filmed on location in Tel Aviv, the U.K., and Budapest, the espionage thriller The Debt is directed by Academy Award nominee John Madden (Shakespeare in Love). The screenplay, by Matthew Vaughn & Jane Goldman and Peter Straughan, is adapted from the 2007 Israeli film Ha-Hov [The Debt]. At the 2011 Beaune International Thriller Film Festival, The Debt was honoured with the Special Police [Jury] Prize. The story begins in 1997, as shocking news reaches retired Mossad secret agents Rachel (played by Academy Award winner Helen Mirren) and Stephan (two-time Academy Award nominee Tom Wilkinson) about their former colleague David (Ciarán Hinds of the upcoming Tinker, Tailor, Soldier, Spy). All three have been venerated for decades by Israel because of the secret mission that they embarked on for their country back in 1965-1966, when the trio (portrayed, respectively, by Jessica Chastain [The Tree of Life, The Help], Marton Csokas [The Lord of the Rings, Dream House], and Sam Worthington [Avatar, Clash of the Titans]) tracked down Nazi war criminal Dieter Vogel (Jesper Christensen of Casino Royale and Quantum of Solace), the feared Surgeon of Birkenau, in East Berlin. While Rachel found herself grappling with romantic feelings during the mission, the net around Vogel was tightened by using her as bait. At great risk, and at considerable personal cost, the team’s mission was accomplished – or was it? The suspense builds in and across two different time periods, with startling action and surprising revelations that compel Rachel to take matters into her own hands. -
Press Kit the CAPTAIN Film by Robert
Press kit THE CAPTAIN DER HAUPTMANN – Original title Written and directed by Robert Schwentke Produced by Filmgalerie 451 Saarbrücker Straße 24, 10405 Berlin Tel. +49 (0) 30 - 33 98 28 00 Fax +49 (0) 30 - 33 98 28 10 [email protected] www.filmgalerie451.de In co-production with Alfama Films and Opus Film THE CAPTAIN / DER HAUPTMANN directed by Robert Schwentke World Premiere at Toronto International Film Festival — Special Presentations Screening dates Press & Industry 1 09/07/17 3:00PM Scotiabank 14 (307) DCP 4K (D-Cinema) Public 1 09/09/17 3:15PM TIFF Bell Lightbox DCP 4K (D-Cinema) Cinema 1 (523) Public 2 09/11/17 4:15PM Scotiabank 10 (228) DCP 4K (D-Cinema) Press & Industry 2 09/13/17 11:30AM Scotiabank 8 (183) DCP 4K (D-Cinema) Public 3 09/16/17 3:30PM Scotiabank 14 (307) DCP 4K (D-Cinema) Press contact in Toronto Sunshine Sachs: Josh Haroutunian / [email protected] o: 323.822.9300 / c: 434.284.2076 Press photos Press photos you will get on our website (press) with the password: willkommen www.filmgalerie451.de World Sales Alfama Films www.alfamafilms.com Table of contents – Synopsis short – Synopsis long – Biography Robert Schwentke – Filmography Robert Schwentke – Director’s statement – Interview with director Robert Schwentke about THE CAPTAIN – Film information – Credits – About the Cast – Background information THE CAPTAIN – Willi Herold, a German life — The true story behind THE CAPTAIN – Nazi perpetrator, center-stage — by Olaf Möller 2 THE CAPTAIN / DER HAUPTMANN directed by Robert Schwentke Synopsis short In the last, desperate moments of World War II, a young German soldier fighting for survival finds a Nazi captain’s uniform. -
Half Title>NEW TRANSNATIONALISMS in CONTEMPORARY LATIN AMERICAN
<half title>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS</half title> i Traditions in World Cinema General Editors Linda Badley (Middle Tennessee State University) R. Barton Palmer (Clemson University) Founding Editor Steven Jay Schneider (New York University) Titles in the series include: Traditions in World Cinema Linda Badley, R. Barton Palmer, and Steven Jay Schneider (eds) Japanese Horror Cinema Jay McRoy (ed.) New Punk Cinema Nicholas Rombes (ed.) African Filmmaking Roy Armes Palestinian Cinema Nurith Gertz and George Khleifi Czech and Slovak Cinema Peter Hames The New Neapolitan Cinema Alex Marlow-Mann American Smart Cinema Claire Perkins The International Film Musical Corey Creekmur and Linda Mokdad (eds) Italian Neorealist Cinema Torunn Haaland Magic Realist Cinema in East Central Europe Aga Skrodzka Italian Post-Neorealist Cinema Luca Barattoni Spanish Horror Film Antonio Lázaro-Reboll Post-beur Cinema ii Will Higbee New Taiwanese Cinema in Focus Flannery Wilson International Noir Homer B. Pettey and R. Barton Palmer (eds) Films on Ice Scott MacKenzie and Anna Westerståhl Stenport (eds) Nordic Genre Film Tommy Gustafsson and Pietari Kääpä (eds) Contemporary Japanese Cinema Since Hana-Bi Adam Bingham Chinese Martial Arts Cinema (2nd edition) Stephen Teo Slow Cinema Tiago de Luca and Nuno Barradas Jorge Expressionism in Cinema Olaf Brill and Gary D. Rhodes (eds) French Language Road Cinema: Borders,Diasporas, Migration and ‘NewEurope’ Michael Gott Transnational Film Remakes Iain Robert Smith and Constantine Verevis Coming-of-age Cinema in New Zealand Alistair Fox New Transnationalisms in Contemporary Latin American Cinemas Dolores Tierney www.euppublishing.com/series/tiwc iii <title page>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS Dolores Tierney <EUP title page logo> </title page> iv <imprint page> Edinburgh University Press is one of the leading university presses in the UK. -
Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. -
ROGER GUYETT VFX Supervisor/2Nd Unit Dir
ROGER GUYETT VFX Supervisor/2nd Unit Dir. As VFX Supervisor: STAR WARS: EPISODE IX – THE RISE OF SKYWALKER - Disney/Lucasfilm - J.J. Abrams, dir. READY PLAYER ONE - Warner Bros. - Steven Spielberg, dir. STAR WARS: EPISODE VII – THE RISE OF SKYWALKER - Disney/Lucasfilm - J.J. Abrams, dir. STAR TREK INTO DARKNESS - Paramount/Bad Robot - J.J. Abrams, dir. COWBOYS & ALIENS - Universal/DreamWorks - Jon Favreau, dir. STAR TREK - Paramount/Bad Robot - J.J. Abrams, dir. PIRATES OF THE CARIBBEAN: AT WORLD’S END - Disney, Gore Verbinski, dir. PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST - Disney, Gore Verbinski, dir. MISSION: IMPOSSIBLE III - Paramount - J.J. Abrams, dir. RENT - Columbia - Chris Columbus, dir. STAR WARS: EPISODE III – REVENGE OF THE SITH - 20th Century Fox/Lucasfilm - George Lucas, dir. THE AMITYVILLE HORROR - MGM - Andrew Douglas, dir. HARRY POTTER AND THE PRISONER OF AZKABAN - Warner Bros. - Alfonso Cuaron, dir. TIMELINE - Paramount - Richard Donner, dir. TEARS OF THE SUN - Columbia - Antoine Fuqua, dir. HARRY POTTER AND THE SORCERER’S STONE - Warner Bros. - Chris Columbus, dir. SWEET NOVEMBER - Warner Bros. - Pat O’Connor, dir. THE ADVENTURES OF ROCKY AND BULLWINKLE - Universal - Des McAnuff, dir. REACH THE ROCK - Gramercy Pictures - Bill Ryan, dir. SAVING PRIVATE RYAN (as Co-VFX Supervisor) - Paramount/DreamWorks SKG - Steven Spielberg, dir. As Second Unit Director: OBI-WAN KENOBI - Disney/Lucasfilm - Deborah Chow, dir. STAR WARS: EPISODE VII – THE FORCE AWAKENS - Disney/Lucasfilm - J.J. Abrams, dir. STAR TREK INTO DARKNESS - Paramount/Skydance - J.J. Abrams, dir. COWBOYS & ALIENS - Universal/Dreamworks SKG - Jon Favreau, dir. STAR TREK - Paramount - J.J. Abrams, dir. . -
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. -
THE LIVING END: Panorama REMIXED and REMASTERED Dokumente Digitalisierte Fassung the LIVING END the LIVING END Regie: Gregg Araki
PD_5153:PD_ 24.01.2008 19:48 Uhr Seite 204 Berlinale 2008 THE LIVING END: Panorama REMIXED AND REMASTERED Dokumente Digitalisierte Fassung THE LIVING END THE LIVING END Regie: Gregg Araki USA 1992/2008 Darsteller Luke Mike Dytri Länge 85 Min. Jon Craig Gilmore Format HD Doctor Mark Finch Farbe Daisy Mary Woronov Fern Johanna Went Stabliste Darcy Darcy Marta Buch, Kamera, Peter Scot Goetz Schnitt Gregg Araki Ken Bretton Vail Schnittassistenz Tommy Huie Barbie Nicole Dillenberg Sounddesign George Lockwood „7/11“-Pärchen Stephan Holman Ton Dave Cash Magie Song Joyce Brouwers Spaßmacher Peter Lanigan Jack Kofman Jon Gerrans Tonassistenz Marianne Dissard Jack Kofman Musik Cole Coonce Neonazi Christopher Mabli Songs Babyland Tarzan Michael Now Biohazard Jane Michael Haynes Braindead Sound Gus Peter Grame Machine Twister-Master Paul Bartel Cambodia Chris and Cosey Coil KMDFM Psychic TV u.a. Requisite Johanna Went Malereien Beth Muehl Produzenten Marcus Hu Jon Gerrans Co-Produzent Jim Stark Executive Producers Evelyn Hu Jon Jost Henry Rosenthal Mike Thomas Associate Producer Andrea Sperling Produktion Strand Releasing/Desperate Pictures 6140 W. Washington Blvd. USA-Culver City, CA 90230 Tel.: +1 310 8367500 [email protected] Weltvertrieb Fortissimo Films Van Diemenstraat 100 NL-1013 CN Amsterdam Tel.: +31 20 6273215 Fax: +31 20 6261155 [email protected] Craig Gilmore, Mike Dytri Foto: M. Matson THE LIVING END Mit seinem schwulen Roadmovie THE LIVING END (das schon 1992 im Berli - nale-Panorama lief) hat Gregg Araki einen Klassiker des „Queer New Wave Cinema“ geschaffen – und zugleich ein bis heute gültiges Dokument der Post-Punk-Ära. Schon das erste Bild – „Fuck The World“, auf eine Mauer voller Graffiti ge - sprüht – beschreibt ziemlich treffend die Verfassung der beiden Protago nis - 204 PD_5153:PD_ 26.01.2008 17:28 Uhr Seite 205 ten Jon und Luke, zweier HIV-positiver Männer.