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Autobituary: the Life And/As Death of David Bowie & the Specters From
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 17 | 2018 Paysages et héritages de David Bowie Autobituary: the Life and/as Death of David Bowie & the Specters from Mourning Jake Cowan Electronic version URL: http://journals.openedition.org/miranda/13374 DOI: 10.4000/miranda.13374 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Jake Cowan, “Autobituary: the Life and/as Death of David Bowie & the Specters from Mourning”, Miranda [Online], 17 | 2018, Online since 20 September 2018, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/13374 ; DOI: https://doi.org/10.4000/miranda.13374 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Autobituary: the Life and/as Death of David Bowie & the Specters from Mournin... 1 Autobituary: the Life and/as Death of David Bowie & the Specters from Mourning Jake Cowan La mort m’attend dans un grand lit Tendu aux toiles de l’oubli Pour mieux fermer le temps qui passé — Jacques Brel, « La Mort » 1 For all his otherworldly strangeness and space-aged shimmer, the co(s)mic grandeur and alien figure(s) with which he was identified, there was nothing more constant in David Bowie’s half-century of song than death, that most and least familiar of subjects. From “Please Mr. Gravedigger,” the theatrical closing number on his 1967 self-titled debut album, to virtually every track on his final record nearly 50 years later, the protean musician mused perpetually on all matters of mortality: the loss of loved ones (“Jump They Say,” about his brother’s suicide), the apocalyptic end of the world (“Five Years”), his own impending passing. -
Loving the Alien: David Bowie
Loving the alien: David Bowie Der Verwandlungskünstler des Glamrock und die Dekonstruktion der Gendervorstellungen von Dirk Frank 1 Udias volese laccus moluptatus, cum dolorat eos nus aut ea et de delibuscit, quosapi endellab invera doluptur? Cabor aut mintore scimiliquos autent aperror ecatemquae dolorerro corro et quibus aspis es et officides et harchil et iscil inctet plab incia cullam inihic tore velite Der Anfang 2016 gestorbene habe immer genau das Gegenteil versucht.« (zit. David Bowie hat wohl wie kaum ein n. Lachner, David Bowie, S. 166) anderer Künstler die Popmusik Bowie begnügt sich nicht damit, ein einmal etabliertes Image zu bedienen und damit die als Gesamtkunstwerk verstanden und sie Erwartungen seines Publikums zu erfüllen, wie textlich, musikalisch und visuell mit viele seiner Generationsgenossen. Frisur, Klei dem Neuen und Fremden konfrontiert. dung, Bühnenoutfit, aber auch die Covergestal tung, kurzum: Sein komplettes visuelles Image ie unterschiedlichen Farben seiner Augen war ihm wichtig. Der Musiktheoretiker und galten vielen Betrachtern bereits als physi Komponist Thomas Krämer schreibt zuspitzend, Dsche Manifestation seiner Andersartigkeit. das sei der eigentliche Kern seiner künstleri Dabei hatte diese Besonderheit eine vergleichs schen Existenz gewesen – die Musik werde quasi weise banale Ursache: Nach einer Schulhof drum herum konstruiert (Krämer, S. 187). prügelei mit seinem Freund George Underwood Der am 8. Januar 1947 im Londoner Arbei 1 Der Verwandlungskünstler (der später unter anderem das Cover des Bowie terstadtteil Brixton geborene David Robert und seine Alben: Auf dem Albums Aladdin Sane entwirft) im Alter von Jones wächst relativ behütet auf, wenngleich in Album »Diamond Dogs« (1974) posiert Bowie als Mensch- 15 Jahren bleibt die Pupille seines linken Auges seiner Familie einige Fälle von psychischen Hund-Zwitter. -
Episode 289 – Talking Sammo Hung | Whistlekickmartialartsradio.Com
Episode 289 – Talking Sammo Hung | whistlekickMartialArtsRadio.com Jeremy Lesniak: Hey there, thanks for tuning in. Welcome, this is whistlekick martial arts radio and today were going to talk all about the man that I believe is the most underrated martial arts actor of today, possibly of all time, Sammo Hung. If you're new to the show you may not know my voice I'm Jeremy Lesniak, I'm the founder of whistlekick we make apparel and sparring gear and training aids and we produce things like this show. I wanna thank you for stopping by, if you want to check out the show notes for this or any of the other episodes we've done, you can find those over at whistlekickmartialartsradio.com. You find our products at whistlekick.com or on Amazon or maybe if you're one of the lucky ones, at your martial arts school because we do offer wholesale accounts. Thank you to everyone who has supported us through purchases and even if you aren’t wearing a whistlekick shirt or something like that right now, thank you for taking the time out of your day to listen to this episode. As I said, here on today's episode, were talking about one of the most respected martial arts actor still working today, a man who has been active in the film industry for almost 60 years. None other the Sammo Hung. Also known as Hung Kam Bow i'll admit my pronunciation is not always the best I'm doing what I can. Hung originates from Hong Kong where he is known not only as an actor but also as an action choreographer, producer, and director. -
Deathcheaters
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Goldsmith, Ben (2015) Deathcheaters. In Ryan, M, Lealand, G, & Goldsmith, B (Eds.) Directory of World Cinema: Australia and New Zealand 2. Intellect Ltd, United Kingdom, pp. 56-57. This file was downloaded from: https://eprints.qut.edu.au/81217/ c Copyright 2015 Intellect Ltd. This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. http:// www.intellectbooks.co.uk/ books/ view-Book,id=4951/ Pre-publication draft of chapter in Ben Goldsmith, Mark David Ryan and Geoff Lealand (eds) Directory of World Cinema: Australia -
Legenden David Bowie Släpper Ny Singel Och Samling
2014-09-09 15:49 CEST LEGENDEN DAVID BOWIE SLÄPPER NY SINGEL OCH SAMLING Nya Deluxe samlingen ”Nothing Has Changed” som släpps den 17 november via Parlophone innehåller den nya singeln ”Sue (Or In A Season Of Crime)”. ALBUM: 3CD, 2CD, DUBBEL VINYL OCH DIGITAL DOWNLOAD SINGEL: LIMITERAD UPPLAGA OM 10" vinyl och digital download Femtio år efter sin första inspelning fortsätter David Bowie att vara i spetsen för samtida kultur som musiker, konstnär och ikon. ”Nothing Has Changed” samlar för första gången all Bowie’s musik från åren 1964-2014. Albumet (uppkallat efter en text från öppningsspåret "Sunday" från albumet "Heathen”) samlar låtarna från varje period av Bowies karriär – allt från hans tidigaste inkarnationer som "Liza Jane" och "Can’t Help Thinking About Me” enda fram till James Murphys "Hello Steve Reich Mix" av "Love Is Lost" från förra året. Albumet innehåller Bowies första nya musik sedan han släppte det kritikerrosade albumet ”The Next Day" förra året. Den nya singeln "SUE (Or In A Season Of Crime) spelades in särskilt för ”Nothing Has Changed” tillsammans med långtida samarbetspartnern Tony Visconti och kommer att släppas i en begränsad upplaga (10" singel och digital nedladdning) samma dag som albumet. Vid sidan av det helt nya spåret innehåller albumet den tidigare outgivna låten "Let Me Sleep Beside You" som togs fram från inspelningarna till mytomspunna albumet "TOY" som aldrig släpptes, låten "Your Turn To Drive" som gör debut på CD samt den fantastiska 2001 nyinspelningen av låten "Shadow Man" från år 1971. DAVID BOWIE -
George Lazenby -- Trivia
George Lazenby -- Trivia Was the highest paid male model in Europe prior to playing James Bond. Except for TV commercials, he had no previous acting experience when he was cast as James Bond. Bond producer Albert R. Broccoli, remarked that Lazenby could have been the best Bond had he not quit after just one film. He was a martial arts instructor in the Australian army, and holds more than one black belt in the martial arts. He studied martial arts under Bruce Lee himself. He was set to co-star in the biggest budgeted action/martial arts film of all time in 1973, along with Bruce Lee. However, Lee died two weeks before the film was to begin shooting. (The film, originally titled "Shrine of Ultimate Bliss," was eventually made, but on a considerably smaller budget, and was given a limited theatrical release, excluding the U.S.) Broke a stuntman's nose during a Bond fight screen test, and it was this physical strength that finalized his selection as Bond. Was considered by producer Kevin McClory to play James Bond 007 in Never Say Never Again (1983) but was dropped from consideration when Sean Connery confirmed he wanted the role. He was offered a seven-movie deal by the Bond producers, but quit the role because he felt that the tuxedo-clad Bond would die out in the new hippie culture that had permeated society in the late 1960s and early 1970s. Was the #1 male fashion model in the world from 1964 to 1968. His agent, Maggie Smith, told him that he should apply for Bond, since in her opinion, his arrogance would surely win him the role. -
Martial Arts Cinema and Hong Kong Modernity
Martial Arts Cinema and Hong Kong Modernity Aesthetics, Representation, Circulation Man-Fung Yip Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-71-7 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any infor- mation storage or retrieval system, without prior permission in writing from the publisher. An earlier version of Chapter 2 “In the Realm of the Senses” was published as “In the Realm of the Senses: Sensory Realism, Speed, and Hong Kong Martial Arts Cinema,” Cinema Journal 53 (4): 76–97. Copyright © 2014 by the University of Texas Press. All rights reserved. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Paramount Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii Notes on Transliteration x Introduction: Martial Arts Cinema and Hong Kong Modernity 1 1. Body Semiotics 24 2. In the Realm of the Senses 56 3. Myth and Masculinity 85 4. Th e Diffi culty of Diff erence 115 5. Marginal Cinema, Minor Transnationalism 145 Epilogue 186 Filmography 197 Bibliography 203 Index 215 Introduction Martial Arts Cinema and Hong Kong Modernity Made at a time when confi dence was dwindling in Hong Kong due to a battered economy and in the aft ermath of the SARS epidemic outbreak,1 Kung Fu Hustle (Gongfu, 2004), the highly acclaimed action comedy by Stephen Chow, can be seen as an attempt to revitalize the positive energy and tenacious resolve—what is commonly referred to as the “Hong Kong spirit” (Xianggang jingshen)—that has allegedly pro- pelled the city’s amazing socioeconomic growth. -
Delivering Content in Academic Libraries
Insights – 29(2), July 2016 Where are we now? Delivering content | Joanna Ball Where are we now? Delivering content in academic libraries Changes in scholarly communications and new business models are presenting academic libraries with challenges and opportunities which impact the way they approach the delivery of content. Libraries are re-evaluating internal processes and structures, enhancing and developing the skills within their teams, and embracing new possibilities for strengthening and enhancing partnerships with publishers and the academic community. This will not only enable them to manage in the current unstable and unpredictable environment, but empower them to influence and drive forward changes in the development of content and models. Under pressure The transformation of academic content presents both a direct challenge and new opportunities to the role of libraries. The content that we deliver is evolving and diversifying, not only from print to digital, but also from the traditional formats of book and journal article to new media such as research data and learning materials. Much of it is not even purchased or licensed by us, given the increase in what is available in the public domain or as open access (OA). Libraries are no longer defined by the collections within our buildings; the scope of the content we deliver and who we deliver it to is becoming difficult to define. JOANNA BALL Our focus is just as much about exposing and delivering university-generated outputs to the Head of Library outside world as providing licensed and purchased content to our own user communities. Content Delivery and Digital Strategy How we deliver that content is also changing: the traditional purchase and subscription University of Sussex models we have worked with comfortably for many years have been overtaken by a shifting landscape of demand-driven and e-textbook services. -
Captain Fantastic
CONTINUING INTO SEPTEMBER WHAT’S ON SEPTEMBER 2016 01 WHAT’S ON SEPTEMBER 2016 02 WHAT’S ON SEPTEMBER 2016 03 SEPTEMBER 2016 04 WHEN IT’S ON 05 06 SILVER FAMILY MOVIE BRINGING SEPTEMBER 2016 BOX OFFICE 0115 952 6611 BOOK ONLINE WWW.BROADWAY.ORG.UK SCREEN MATINEES UP BABY! Programmed with senior citizens in mind! Programmed with the younger viewer This exclusive screening is for you and Thu 1 Julieta 15 See Web 3:30 6:00 8:30 Fri 9 Captain Fantastic 15 p2 2:45 5:30 8:15 Sat 17 Bridget Jones’s Baby p2 1:00 3:30 6:00 8:30 Tue 27 The Girl With All The Gifts 15 p3 2:45 5:30 8:15 Everyone pays £5.00 and there’s free in mind. All tickets are £3.70 (unless your baby (up to one year of age). Tickets David Brent 15 See Web 3:00 5:30 8:00 Café Society 12A p1 3:15 5:45 8:00 Captain Fantastic 15 p2 2:45 5:30 8:15 Bridget Jones’s Baby p2 3:30 6:00 8:30 When Marnie Was... U See Web 12:15 Hell or High Water 15 p2 3:30 6:00 8:30 Hunt for the Wilderpeople 12A p2 3:15 5:45 8:00 Hunt for the Wilderpeople 12A p2 TIME TBC tea/coffee and biscuits. otherwise stated). are £5.00 for adults, babies go FREE. Sing Street 12A See Web 2:45 Things to Come 12A p1 6:15 Hell or High Water 15 p2 TIME TBC My Skinny Sister 15 p7 6:00 Love & Friendship U See Web 5:15 Julieta 15 See Web 3:45 8:45 The Singing Ringing Tree U p4 12:30 Films TBC - See Web TIME TBC Asterix and Obelix: Queen of Earth 15 p2 5:15 8:30 Doctor Butcher MD 18 p8 9:30 Bridget Jones’s Baby - Mansion of the Gods See Web 1:00 Films TBC - See Web Bringing Up Baby Screenings p4 10:30 1:30 Ingrid Bergman in her -
DAVID BOWIE Sound + Vision
DAVID BOWIE Sound + Vision Seine 70 besten Songs aus den Jahren 1969‐1994 in einer 4‐CD‐Box! VÖ: 19.09. DAVID BOWIE - das Chamäleon der Popmusik. Kein anderer Musiker hat so viele Inkarnationen durchlebt wie BOWIE, a.k.a David Robert Jones, der Mann mit den verschiedenfarbigen Augen. Alle diese Wandlungen waren nicht nur enorm erfolgreich, jede von ihnen öffnete der Popmusik auch neue Dimensionen, die bald zu ganzen Modeströmungen wurden. Ob es der Glamrock aus der Ziggy-Stardust-Phase war, die legendäre Zusammenarbeit mit Brian Eno auf den Kultalben Low und Heroes, die zum Vorläufer der New Wave in den Achtzigern wurde oder seine Rückkehr zu griffigem Rock in den späten achtziger Jahren mit der Formation Tin Machine – was immer auch passierte: BOWIE war schon vorher da. Das 4CD-Boxset Sound + Vision wirft einen geballten Blick auf BOWIEs Schaffen in den Jahren 1969 bis 1994, sprich: Von einer akustischen Demo-Version seines ersten großen Hits Space Oddity (auch bekannt als „Major Tom“) bis hin zum Soundtrack The Buddha Of Suburbia (1993), der von den Fans als das unterschätzteste Album in BOWIEs Kanon gilt und für die gleichnamige TV-Serie komponiert wurde, die auf einem Roman von Hanif Kureishi beruht. Seit fünf Jahrzehnten ist DAVID BOWIE wohl der vielseitigste Popstar, der immer wieder überrascht, indem er sich konstant neu erfindet - ein einzigartiges Phänomen der zeitgenössischen Kultur, das mit der umfangreich gestalteten Ausstellung „David Bowie Is“ gefeiert wird, die im Londoner Victoria & Albert Museum startete, bis zum 24. August im Berliner Martin-Gropius-Bau zu sehen ist und danach auch in Paris, Chicago und Groningen gezeigt werden wird. -
22 September (Thursday)
22 September (Thursday) 9.00 Registration (Hall, Anfiteatro III, Faculdade de Letras da Universidade de Lisboa / School of Arts and Humanities, University of Lisbon) 09.30-10.00 Welcome session 10.00-11.15 Panel 1 Title: David Bowie in the making I: identity(ies), narratives, persona(ae) and representation Chair: TBA Elizabeth McCarthy, Dun Laoghaire Institute of Art Design and Technology, Dublin, Ireland Telling Lies and Ch-Ch-Ch-Changing Your Mind – The Interviews of David Bowie Susan Ingram, York University, Canada Bowie After Berlin, Berlin After Bowie Cecilia Gosso, University of Turin, Italy Social Change and Resilience through Pop Culture: David Bowie’s Politics *** 11.15-11.30 Coffee break *** 11.30-12.45 Panel 2 Title: David Bowie in the making II: identity(ies), albums and intertextuality Chair: TBA Danika Drury-Melnyk, Catholic University of Leuven, Belgium Look Back in Anger: The Nomadic Identity and Subversive Persistence of Lodger Dene October, University of the Arts London, England It’s Nothing to See: Bowie and the Transition-Transmission of Remediation Margarida Pereira Martins, CEAUL/ULICES-FLUL, Portugal ‘Throw me tomorrow, now that I’ve really got a chance.’ Stepping down and moving on in Bowie’s album hours… *** 12.50-13.55 Lunch *** 14.00-15.00 Keynote lecture, Will Brooker, Kingston University, England Being Bowie – Documentary screening and discussion *** 15.00-15.05 Break *** 15.05-16.35 Panel 3 Title: Bowie on Screen: the role of music and the construction of narratives Chair: TBA Marie Bennett, University of Winchester, England Is there Life on Mars? The fictional Sam Tyler meets the music of David Bowie Sanna Qvick, University of Turku, Finland Goblin King as a reluctant guide in the Labyrinth: An audio-visual study of the role of songs as a narrative strategy Cande Sánchez-Olmos, University of Alicante, Spain Bowie and brand-building. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.