Glbtq Revivals and Classics
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Generation Kill and the New Screen Combat Magdalena Yüksel and Colleen Kennedy-Karpat
15 Generation Kill and the New Screen Combat Magdalena Yüksel and Colleen Kennedy-Karpat No one could accuse the American cultural industries of giving the Iraq War the silent treatment. Between the 24-hour news cycle and fictionalized enter- tainment, war narratives have played a significant and evolving role in the media landscape since the declaration of war in 2003. Iraq War films, on the whole, have failed to impress audiences and critics, with notable exceptions like Kathryn Bigelow’s The Hurt Locker (2008), which won the Oscar for Best Picture, and her follow-up Zero Dark Thirty (2012), which tripled its budget in worldwide box office intake.1 Television, however, has fared better as a vehicle for profitable, war-inspired entertainment, which is perhaps best exemplified by the nine seasons of Fox’s 24 (2001–2010). Situated squarely between these two formats lies the television miniseries, combining seriality with the closed narrative of feature filmmaking to bring to the small screen— and, probably more significantly, to the DVD market—a time-limited story that cultivates a broader and deeper narrative development than a single film, yet maintains a coherent thematic and creative agenda. As a pioneer in both the miniseries format and the more nebulous category of quality television, HBO has taken fresh approaches to representing combat as it unfolds in the twenty-first century.2 These innovations build on yet also depart from the precedent set by Band of Brothers (2001), Steven Spielberg’s WWII project that established HBO’s interest in war-themed miniseries, and the subsequent companion project, The Pacific (2010).3 Stylistically, both Band of Brothers and The Pacific depict WWII combat in ways that recall Spielberg’s blockbuster Saving Private Ryan (1998). -
Rules of Engagement: Performance and Identity in the War on Terror
RULES OF ENGAGEMENT: PERFORMANCE AND IDENTITY IN THE WAR ON TERROR A Thesis by EMILY JO PIEPENBRINK Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2012 Major Subject: Performance Studies Rules of Engagement: Performance and Identity in the War on Terror Copyright 2012 Emily Jo Piepenbrink RULES OF ENGAGEMENT: PERFORMANCE AND IDENTITY IN THE WAR ON TERROR A Thesis by EMILY JO PIEPENBRINK Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Approved by: Chair of Committee, Kirsten Pullen Committee Members, Judith Hamera Joseph G. Dawson Head of Department, Judith Hamera May 2012 Major Subject: Performance Studies iii ABSTRACT Rules of Engagement: Performance and Identity in the War on Terror. (May 2012) Emily Jo Piepenbrink, B.A., Texas A&M University Chair of Advisory Committee: Dr. Kirsten Pullen War and war-fighters have become immortalized through performance; generations of service-men and women are defined by actions on the battlefield artfully altered on stage and screen. This reciprocal relationship, whether war-fighters intentionally participate or not, has imbued the entertainment industry with the power to characterize war-fighters in lasting ways. Performance enters the military in other ways as well: war-fighters reenact moments from war films; combat training takes on theatrical tactics and rhetoric; war-fighters of the War on Terror record and stage their own war performances. We accept that current war performances will inevitably affect the perception and reputation of war-fighters, not only for the duration of the war but for decades afterward, but do we fully understand the cost of the relationship between today’s war-fighters and performance’s role in the military? In this MA thesis, based on ethnographic fieldwork with veterans of the War on Terror, I explore the intersection between war-fighters, war, and performance. -
SG the Fitzgerald Brochure New.Indd
FOR LEASE Maryland DC • Virginia Online 605 South Eden Street, Ste 200 1600 Wilson Boulevard, Ste 930 www.segallgroup.com Baltimore, MD 21231 Arlington, VA 22209 Member of 410.753.3000 202.833.3830 Where the Midtown neighborhoods of Mt Vernon, Station North and Bolton The Opportunity Hill meet, you will fi nd The Fitzgerald. Inspired by F. Scott Fitzgerald and Approximately 19,000 square feet of prime space is available on the energy of his era, this Baltimore development offers more than just two levels – 14,359 on the ground fl oor and 5,069 square feet on a somewhere to hang your hat. The developer, Bozzuto Group, blended Mezzanine level open to the fl oor below. These two areas are currently connected by elevator and escalator and, due to Oliver Street’s rising stunning features with fantastic amenities in a culturally rich environment. slope, both at street grade. Entertainment, grocery or fi tness uses are Sandwiched between the Maryland Institute College of Art (MICA) and the sought for the larger portion or the entirety, while the smaller area can University of Baltimore, The Fitzgerald is a mixed use project consisting of be demised for a café that caters to this culturally rich party of the City. almost 25,000 square feet of dynamic urban retail space, 275 residential units and a 1,250 space parking garage that serves University of Baltimore Quick Facts students as well as area visitors. The project’s retail component is ideal for LLocationocation Retail space in Luxury Apartment Building entertainment, service, retail and restaurant uses to serve students and faculty, 19,428 square feet SSizeize neighborhood residents, out of town visitors, local offi ce workers and patrons (14,359 lower level and 5,069 Mezzanine) of the great local entertainment and cultural venues including the Lyric Opera DDeliveryelivery Immediate House & Theater, The Meyerhoff Symphony Hall, and the Parkway, Centre and RRentalental RRateate Negotiable Charles Theatres in the nearby “Station North” Arts District. -
New World Documentaries
January / February 2014 www.winnipegcinematheque.com New World Documentaries Doc’s joyous, romantic, heartbreaking and extraordinarily eventful journey. In his later years, Doc was a mentor to generations of younger songwriters and a fierce advocate for downtrodden musicians. He wrote a thousand songs – including some of the most recorded songs in the history of popular music – but his most lasting gift may have been his uniquely generous spirit. Passages from Doc’s private journals are read by his close friend, Lou Reed. When Jews Were Funny Directed by Alan Zweig 2013, Canada, 90 min Friday, January 10 / 9 pm Saturday – Sunday, January 11 – 12 / 7 pm Wednesday – Friday, January 15 – 17 / 7 pm Saturday, January 18 / 9 pm Best Canadian Feature: 2013 Toronto International Film Festival “The film begins with a question: Why were so many comedians Zweig watched on television in the 1950’s and 60’s Jewish? Zweig presents a casual first person history of Jewish stand up, unearthing some amazing ↑ The Summit archival footage (with a phemonenal bit by the legendary Jackie Mason) and interviewing The Summit some of America’s most successful and Directed by Nick Ryan influential comics, including Elon Gold, Howie 2012, USA, 99 min Mandel, Shelly Berman, Jack Carter, Shecky Greene, David Steinberg and Super Dave Friday – Sunday, January 3 – 5 / 7 pm Osborne… funny and heartfelt.”—TIFF Wednesday – Thursday, January 8 – 9 / 7 pm “Hilarious from start to finish, and at times K2 in the Himalayas is known to climbers very touching.”— THE FILM REEL as the most difficult of mountains, a savage peak, the second highest in the world, with the Insightful and often hilarious, the latest from power to cloud men’s minds. -
Artists Are a Tool for Gentrification’: Maintaining Artists and Creative Production in Arts Districts
International Journal of Cultural Policy ISSN: 1028-6632 (Print) 1477-2833 (Online) Journal homepage: http://www.tandfonline.com/loi/gcul20 ‘Artists are a tool for gentrification’: maintaining artists and creative production in arts districts Meghan Ashlin Rich To cite this article: Meghan Ashlin Rich (2017): ‘Artists are a tool for gentrification’: maintaining artists and creative production in arts districts, International Journal of Cultural Policy, DOI: 10.1080/10286632.2017.1372754 To link to this article: https://doi.org/10.1080/10286632.2017.1372754 Published online: 06 Sep 2017. Submit your article to this journal Article views: 263 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=gcul20 INTERNATIONAL JOURNAL OF CULTURAL POLICY, 2017 https://doi.org/10.1080/10286632.2017.1372754 ‘Artists are a tool for gentrification’: maintaining artists and creative production in arts districts Meghan Ashlin Rich Department of Sociology/Criminal Justice, University of Scranton, Scranton, PA, USA ABSTRACT ARTICLE HISTORY This study investigates the relationship between arts-themed development Received 7 June 2017 and the strategies used by neighborhood stakeholders, including artists Accepted 16 August 2017 and other marginalized populations, to maintain their place in gentrifying KEYWORDS arts and cultural districts. Using a case study of a state-sanctioned Arts & Artist communities; creative Entertainment District in Baltimore, MD (U.S.A.), I find that the organizations placemaking; gentrification; that are ‘thoughtful’ in their development actively seek to maintain the urban planning and policy production of arts and the residency of artists in the neighborhood into perpetuity. -
Why Every Show Needs to Be More Like the Wire (“Not Just the Facts, Ma’Am”)
DIALOGUE WHY EVERY SHOW NEEDS TO BE MORE LIKE THE WIRE (“NOT JUST THE FACTS, MA’AM”) NEIL LANDAU University of California, Los Angeles (UCLA) The Wire (HBO, 2002-2008) upends the traditional po- ed the cop-drama universe. It was a pioneering season-long lice procedural by moving past basic plot points and “twists” procedural. Here are my top 10 reasons why Every Show in the case, diving deep into the lives of both the cops and Needs to Be More Like The Wire. the criminals they pursue. It comments on today’s America, employing characters who defy stereotype. In the words of — creator David Simon: 1. “THIS AMERICA, MAN” The grand theme here is nothing less than a nation- al existentialism: It is a police story set amid the As David Simon explains: dysfunction and indifference of an urban depart- ment—one that has failed to come to terms with In the first story arc, the episodes begin what the permanent nature of urban drug culture, one would seem to be the straightforward, albeit pro- in which thinking cops, and thinking street players, tracted, pursuit of a violent drug crew that controls must make their way independent of simple expla- a high-rise housing project. But within a brief span nations (Simon 2000: 2). of time, the officers who undertake the pursuit are forced to acknowledge truths about their de- Given the current political climate in the US and interna- partment, their role, the drug war and the city as tionally, it is timely to revisit the The Wire and how it expand- a whole. -
The Wire the Complete Guide
The Wire The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Tue, 29 Jan 2013 02:03:03 UTC Contents Articles Overview 1 The Wire 1 David Simon 24 Writers and directors 36 Awards and nominations 38 Seasons and episodes 42 List of The Wire episodes 42 Season 1 46 Season 2 54 Season 3 61 Season 4 70 Season 5 79 Characters 86 List of The Wire characters 86 Police 95 Police of The Wire 95 Jimmy McNulty 118 Kima Greggs 124 Bunk Moreland 128 Lester Freamon 131 Herc Hauk 135 Roland Pryzbylewski 138 Ellis Carver 141 Leander Sydnor 145 Beadie Russell 147 Cedric Daniels 150 William Rawls 156 Ervin Burrell 160 Stanislaus Valchek 165 Jay Landsman 168 Law enforcement 172 Law enforcement characters of The Wire 172 Rhonda Pearlman 178 Maurice Levy 181 Street-level characters 184 Street-level characters of The Wire 184 Omar Little 190 Bubbles 196 Dennis "Cutty" Wise 199 Stringer Bell 202 Avon Barksdale 206 Marlo Stanfield 212 Proposition Joe 218 Spiros Vondas 222 The Greek 224 Chris Partlow 226 Snoop (The Wire) 230 Wee-Bey Brice 232 Bodie Broadus 235 Poot Carr 239 D'Angelo Barksdale 242 Cheese Wagstaff 245 Wallace 247 Docks 249 Characters from the docks of The Wire 249 Frank Sobotka 254 Nick Sobotka 256 Ziggy Sobotka 258 Sergei Malatov 261 Politicians 263 Politicians of The Wire 263 Tommy Carcetti 271 Clarence Royce 275 Clay Davis 279 Norman Wilson 282 School 284 School system of The Wire 284 Howard "Bunny" Colvin 290 Michael Lee 293 Duquan "Dukie" Weems 296 Namond Brice 298 Randy Wagstaff 301 Journalists 304 Journalists of The Wire 304 Augustus Haynes 309 Scott Templeton 312 Alma Gutierrez 315 Miscellany 317 And All the Pieces Matter — Five Years of Music from The Wire 317 References Article Sources and Contributors 320 Image Sources, Licenses and Contributors 324 Article Licenses License 325 1 Overview The Wire The Wire Second season intertitle Genre Crime drama Format Serial drama Created by David Simon Starring Dominic West John Doman Idris Elba Frankie Faison Larry Gilliard, Jr. -
Amongst Friends: the Australian Cult Film Experience Renee Michelle Middlemost University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2013 Amongst friends: the Australian cult film experience Renee Michelle Middlemost University of Wollongong Recommended Citation Middlemost, Renee Michelle, Amongst friends: the Australian cult film experience, Doctor of Philosophy thesis, School of Social Sciences, Media and Communication, University of Wollongong, 2013. http://ro.uow.edu.au/theses/4063 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Amongst Friends: The Australian Cult Film Experience A thesis submitted in fulfillment of the requirements for the award of the degree DOCTOR OF PHILOSOPHY From UNIVERSITY OF WOLLONGONG By Renee Michelle MIDDLEMOST (B Arts (Honours) School of Social Sciences, Media and Communications Faculty of Law, Humanities and The Arts 2013 1 Certification I, Renee Michelle Middlemost, declare that this thesis, submitted in fulfillment of the requirements for the award of Doctor of Philosophy, in the Department of Social Sciences, Media and Communications, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Renee Middlemost December 2013 2 Table of Contents Title 1 Certification 2 Table of Contents 3 List of Special Names or Abbreviations 6 Abstract 7 Acknowledgements 8 Introduction -
Sunday Morning Grid 6/26/16 Latimes.Com/Tv Times
SUNDAY MORNING GRID 6/26/16 LATIMES.COM/TV TIMES 7 am 7:30 8 am 8:30 9 am 9:30 10 am 10:30 11 am 11:30 12 pm 12:30 2 CBS CBS News Sunday Face the Nation (N) Paid Program Boss Paid PGA Tour Golf 4 NBC News (N) Å Meet the Press (N) (TVG) News Paid Red Bull Signature Series From Detroit. (N) Å Beach Volleyball 5 CW News (N) Å News (N) Å In Touch Paid Program 7 ABC News (N) Å This Week News (N) News (N) News Å Incredible Dog Challenge Paid 9 KCAL News (N) Joel Osteen Schuller Pastor Mike Woodlands Amazing Paid Program 11 FOX In Touch Paid Fox News Sunday Midday Paid Program Earth 2050 FabLab 13 MyNet Paid Program Paid Program 18 KSCI Paid Program Church Faith Dr. Willar Paid Program 22 KWHY Local Local Local Local Local Local Local Local Local Local Local Local 24 KVCR Painting Painting Joy of Paint Wyland’s Paint This Painting Kitchen Mexico Martha Ellie’s Real Baking Project 28 KCET Wunderkind 1001 Nights Bug Bites Bug Bites Edisons Biz Kid$ Ed Slott’s Retirement Road Map... From Forever Happy Yoga With Sarah 30 ION Jeremiah Youssef In Touch Tomorrow Never Dies ››› (1997) Pierce Brosnan. (PG-13) The World Is Not Enough ›› (1999) 34 KMEX Conexión Paid Program Un recuerdo para Rubé Al Punto (N) (TVG) Netas Divinas (TV14) República Deportiva (N) 40 KTBN Walk in the Win Walk Prince Carpenter Jesse In Touch PowerPoint It Is Written Pathway Super Kelinda John Hagee 46 KFTR Paid Program Firehouse Dog ›› (2007) Josh Hutcherson. -
Maryland Film Festival Director of Development the Maryland Film Festival (Mdff) Seeks a Seasoned Director of Development To
Maryland Film Festival Director of Development The Maryland Film Festival (MdFF) seeks a seasoned Director of Development to create and implement the fund development strategy and plans to maximize contributed revenue from individuals, corporations, foundations and government sources. The mission of the Maryland Film Festival (MdFF) is to bring films, filmmakers, and audiences together in a friendly, inclusive atmosphere that reflects the unique aspects of our community, while participating in and adding to the larger film dialogue across the country and across the world. Film for Everyone. In the fall of 2018 MdFF adopted a five-year plan to fully realize its role in Baltimore and the field as a respite for filmmakers, a world-class destination for cinema, and a stalwart advocate for the democratizing the power of story, as told through film, and expressed through each individual storyteller’s voice. The SNF Parkway functions as a multi-disciplinary film, community, and education hub serving a broad cross- section of the Baltimore public and beyond. MdFF leverages the powerful assets of the Johns Hopkins University, Maryland Institute College of Art and surrounding campus communities to function as a vibrant, regional nerve center for dialogue, discussion, and debate on the key issues of the day, with film as the central axis in broad public discussions. Through programming, education and community ventures, MdFF is establishing a year-round a platform for all voices that are reflective of the diverse population of greater Baltimore and the nation. The five-year strategic plan has recently been extended through 2025 with a revised model season to account for online screenings, hybrid programming, and the return of in-person movie-watching at the SNF Parkway. -
September 23, 2011 | Volume IX Issue 10 CHA-CHA HEELS, LIQUID EYELINER, AND
OUT September 23, 2011 | Volume IX Issue 10 CHA-CHA HEELS, LIQUID EYELINER, AND... The Most Beautiful Woman in the World B y chucK Duncan If you’re a native of Baltimore (and even if you’re not), you certainly know John Waters and Divine. From John’s ear- ly short films from the late 60s to his 1972 calling card, Emmett C. Burns, Pink Flamingos, through 1988’s Hairspray, Waters and his Jr., Announces PAC muse Divine showed the rest of the world what the “reel” to Oppose Marriage Baltimore was like (and there was more than a little of the “real” in those films too). Equality Unfortunately, shortly after the release of Hairspray, Divine passed away suddenly at the true By Dana LaRocca height of his career (he was in Hollywood On September 9, Delegate Emmett C. Susan Lowe, preparing to tape an episode of Married Burns, Jr. (D-Baltimore County) met Mink Stole and Jeffrey … with Children at the time of his death), with eight other clergy at a church in Schwarz depriving the world of his talent and what west Baltimore to announce the for- during their might have come from his true “overnight” mation of “Progressive Clergy in interview stardom. Action” a political action committee. sessions in Today, Divine is a cult figure to many, The group is working with the help of Baltimore his legion of fans from around the world the Maryland Family Alliance, an af- photo: courtesy of Jeffrey Schwarz —continued on page 16 filiate of the Family Research Council (FRC). Delegate Burns has long been and Developed by a Combined Arms Center- an opponent of marriage equality. -
The Evolution of Fat Female Characters in Contemporary American Film a Thesis Presented to the Faculty Of
Changing Shape: The Evolution of Fat Female Characters in Contemporary American Film A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Laura E. Pohlman April 2016 © 2016 Laura E. Pohlman. All Rights Reserved. 2 This thesis titled Changing Shape: The Evolution of Fat Female Characters in Contemporary American Film by LAURA E. POHLMAN has been approved for the School of Film and the College of Fine Arts by Ofer Eliaz Assistant Professor of Film Studies Elizabeth Sayrs Interim Dean, College of Fine Arts 3 Abstract LAURA E. POHLMAN, M.A., April 2016, Film Changing Shape: The Evolution of Fat Female Characters in Contemporary American Film Director of Thesis: Ofer Eliaz The purpose of this thesis is to elucidate the fluid conception of fat women within contemporary American culture from the early 1970s to the present. Due to their non- normative embodiment, fat women typically face denigration and marginalization. Most mainstream film narratives reify the negative social positioning of fat women, often through assimilationist characters that resign themselves to fatphobia or otherwise compensate for their fatness. On the flipside, carnival and camp narratives foster liberatory fat characterization, as exemplified by the figure of “the unruly woman.” In his portrayal of both assimilationist and liberationist women, Divine functions as a barometer for subsequent fat characterization. Overall, this thesis critiques fat assimilation, argues for the importance of fat liberation, and projects a future where fat acceptance becomes the norm. 4 Table of Contents Page Abstract ..............................................................................................................................