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Home Editorial Authors' Responses Guidelines For
Home Search Every Field Editorial Search Authors' OLIVER! A DICKENSIAN MUSICAL Responses By Marc Napolitano (Oxford University Press), xiv + 288 pp. Guidelines Reviewed by Jeremy Tambling on 2015-08-24. For Click here for a PDF version. Reviewers Click here to buy the book on Amazon. About Us Masthead Lionel Bart's Oliver! opened at the New Theatre in London's West End, mid 1960; since then, with revivals, and the 1968 film directed by Carol Reed, and with innumerable school and other amateur productions, it may have been the most Feedback famous musical since the second World War. That in itself justifies a monograph, especially since Oliver! was English, not American, and the "musical" is considered an American form: a point central to this study by Professor Napolitano, an academic at West Point. We can agree that Guys and Dolls, West Side Story, Kiss Me Kate, and more complexly, Showboat, exemplify the form at its best, where linguistic skill in deftly handled words and rhymes are as central as the tune, and the tune must carry complex verbal rhythms that find their correlative in dance. In Oklahoma!, My Fair Lady, and A Little Night Music, which Napolitano calls "integrated musicals" (26), or "book musicals," the music comes from the words and the situation. The best English example prior to Oliver! was Salad Days (1954) by Julian Slade and Dorothy Reynolds, though here the tunefulness of the score is musically more developed than either lyrics or libretto. By contrast with the "integrated musical," the "mega-musical" has been defined as "a suspension of the book in favour of music" (Scott McMillin, The Musical as Drama [2006], qtd. -
Audience Insights Table of Contents
GOODSPEED MUSICALS AUDIENCE INSIGHTS TABLE OF CONTENTS JUNE 29 - SEPT 8, 2018 THE GOODSPEED Production History.................................................................................................................................................................................3 Synopsis.......................................................................................................................................................................................................4 Characters......................................................................................................................................................................................................5 Meet the Writer........................................................................................................................................................................................6 Meet the Creative Team.......................................................................................................................................................................7 Director's Vision......................................................................................................................................................................................8 The Kids Company of Oliver!............................................................................................................................................................10 Dickens and the Poor..........................................................................................................................................................................11 -
Jerusalema and the South African Gangster Film
Safundi ISSN: 1753-3171 (Print) 1543-1304 (Online) Journal homepage: http://www.tandfonline.com/loi/rsaf20 At the End of the Rainbow: Jerusalema and the South African Gangster Film Lesley Marx To cite this article: Lesley Marx (2010) At the End of the Rainbow: Jerusalema and the South African Gangster Film, Safundi, 11:3, 261-278, DOI: 10.1080/17533171003787388 To link to this article: http://dx.doi.org/10.1080/17533171003787388 Published online: 18 Jun 2010. Submit your article to this journal Article views: 317 View related articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsaf20 Download by: [University of Cape Town Libraries] Date: 08 January 2016, At: 00:38 Safundi: The Journal of South African and American Studies Vol. 11, No. 3, July 2010, 261–278 At the End of the Rainbow: Jerusalema and the South African Gangster Film Lesley Marx Between Oliver Schmitz’s Mapantsula, released in 1988, and Ralph Ziman’s Jerusalema, released twenty years later, lies the history of a country torn apart by systematic racist oppression for half a century. Reborn under the sign of truth and reconciliation, the brave new world carries not only the scars of the old, but has given birth to mutations of poverty, disease, crime and rampant violence. Since the glory days of classic Hollywood, when Cagney, Raft, Robinson and Bogart scowled their way across the screen, the gangster film has been the genre par excellence to engage with these themes of economic inequity and class stratification, and to explore the possibilities of violence both to transform and to destroy.1 The genre emerged as a powerful expression of economic frustration during the Depression, a period that challenged the founding ideals of America as well as the preferred image of American heroic masculinity forged on the frontier. -
Depicting and Exploring the Urban Underworld in Oliver Twist (1838), Twist (2003) and Boy Called Twist (2004) Clémence Folléa
Normative Ideology, Transgressive Aesthetics: Depicting and Exploring the Urban Underworld in Oliver Twist (1838), Twist (2003) and Boy Called Twist (2004) Clémence Folléa To cite this version: Clémence Folléa. Normative Ideology, Transgressive Aesthetics: Depicting and Exploring the Urban Underworld in Oliver Twist (1838), Twist (2003) and Boy Called Twist (2004). Cahiers Victoriens et Edouardiens, Montpellier : Centre d’études et de recherches victoriennes et édouardiennes, 2014, Norms and Transgressions in Victorian and Edwardian Times, 79, pp.1-11. 10.4000/cve.1145. hal- 01421062 HAL Id: hal-01421062 https://hal.archives-ouvertes.fr/hal-01421062 Submitted on 21 Dec 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Cahiers victoriens et édouardiens 79 Printemps | 2014 Norms and Transgressions in Victorian and Edwardian Times — Appellations(s)/Naming/Labelling/ Addressing Normative Ideology, Transgressive Aesthetics: Depicting and Exploring the Urban Underworld in Oliver Twist (1838), Twist (2003) and Boy Called Twist (2004) Idéologie normative, -
EDITORIAL Screenwriters James Schamus, Michael France and John Turman CA 90049 (310) 447-2080 Were Thinking Is Unclear
screenwritersmonthly.com | Screenwriter’s Monthly Give ‘em some credit! Johnny Depp's performance as Captain Jack Sparrow in Pirates of the Caribbean: The Curse of the Black Pearl is amazing. As film critic after film critic stumbled over Screenwriter’s Monthly can be found themselves to call his performance everything from "original" to at the following fine locations: "eccentric," they forgot one thing: the screenwriters, Ted Elliott and Terry Rossio, who did one heck of a job creating Sparrow on paper first. Sure, some critics mentioned the writers when they declared the film "cliché" and attacked it. Since the previous Walt Disney Los Angeles film based on one of its theme park attractions was the unbear- able The Country Bears, Pirates of the Caribbean is surprisingly Above The Fold 370 N. Fairfax Ave. Los Angeles, CA 90036 entertaining. But let’s face it. This wasn't intended to be serious (323) 935-8525 filmmaking. Not much is anymore in Hollywood. Recently the USA Today ran an article asking, basically, “What’s wrong with Hollywood?” Blockbusters are failing because Above The Fold 1257 3rd St. Promenade Santa Monica, CA attendance is down 3.3% from last year. It’s anyone’s guess why 90401 (310) 393-2690 this is happening, and frankly, it doesn’t matter, because next year the industry will be back in full force with the same schlep of Above The Fold 226 N. Larchmont Blvd. Los Angeles, CA 90004 sequels, comic book heroes and mindless action-adventure (323) 464-NEWS extravaganzas. But maybe if we turn our backs to Hollywood’s fast food service, they will serve us something different. -
Oliver Twist
APPENDIX B Summary of Charles Dickens’s Oliver Twist In a parish workhouse, a nameless young woman dies after giving birth. Her son, Oliver Twist—as named by the beadle, Mr. Bumble—is sent to a separate branch of the workhouse with other orphaned infants and raised by the monstrous Mrs. Mann. Oliver miraculously survives the horrors of the “baby farm,” and, on his ninth birthday, is transferred to the central workhouse. After three months of slow starvation, the boys draw lots to see who will ask for more gruel; Oliver draws the long straw and carries out this unenviable task. Bumble and the board of directors severely punish Oliver and plan to turn him out of the workhouse. After a failed attempt to apprentice him to a brutal chimney sweep, Bumble eventually manages to unload Oliver on Mr. Sowerberry, the undertaker. On top of his depressing new trade, Oliver must deal with the bullying of his fel- low apprentice, Noah Claypole. Oliver finally fights back against Noah when his rival taunts him about his deceased mother. This second “rebellion” earns Oliver a stern rebuke from Bumble and a brutal beating from Sowerberry. Consumed by the misery of his life, Oliver decides to run away, though he first returns to the baby farm to bid goodbye to his friend, Dick. Oliver barely survives the seventy-five mile walk to London. On arriving at Barnett, he encounters a strangely attired cockney boy who introduces himself as Jack Dawkins (though he goes by the name of the Artful Dodger). The Dodger invites Oliver to come and lodge with a respectable old gentleman, and he conducts a wary Oliver through the slums of London to a dilapidated flat. -
The Man Who Invented Christmas Film Adaptations of Dickens’ a Christmas Carol Dr Christine Corton
10TH DECEMBER 2019 The Man Who Invented Christmas Film Adaptations of Dickens’ A Christmas Carol Dr Christine Corton A Christmas Carol is now over 175 years old. Written in 1843, it is certainly the most televised of Dickens’s works and equals if not beats, its closest rival, Oliver Twist (1837-39) for cinema releases. It’s had a huge influence on the way we understand the Christmas festival. It was written at a time when the festival was being revived after centuries of neglect. And its impact was almost immediate. A Christmas Carol quickly achieved iconic status, far more so than any of Dickens’s other Christmas stories. You have to have been living on some far-off planet not to have heard of the story – the word ‘Scrooge’ has come to represent miserliness and ‘Bah, Humbug’ is a phrase often resorted to when indicating someone is a curmudgeon. Even, Field Marshall Montgomery concluded his Christmas Eve message to the Eighth Army on the battlefield with Tiny Tim’s blessing. In 1836 Dickens described Christmas at Dingley Dell in The Pickwick Papers in which of course one of the most famous of the interpolated tales appears, The Story of the Goblins who Stole a Sexton and for those who know the tale, the miserable and mean Gabriel Grub is not a million miles away from Scrooge. Both Mr Pickwick’s Christmas at Wardle’s (1901) and Gabriel Grub: The Surly Sexton (1904) were used as the basis for silent films at around the same time as the first silent version of the 11 minute long: Scrooge: Or Marley’s Ghost which was released in 1901. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Domestic Violence in Nineteenth-Century British Fiction Lynn Renee Wingert Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2007 Battered, bruised, and abused women: domestic violence in nineteenth-century British fiction Lynn Renee Wingert Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the English Language and Literature Commons Recommended Citation Wingert, Lynn Renee, "Battered, bruised, and abused women: domestic violence in nineteenth-century British fiction" (2007). Retrospective Theses and Dissertations. 14667. https://lib.dr.iastate.edu/rtd/14667 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Battered, bruised, and abused women: domestic violence in nineteenth-century British fiction by Lynn Renee Wingert A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: English (Literature) Program of Study Committee: Kathy Hickok, Major Professor Linda Shenk Amy Bix Iowa State University Ames, Iowa 2007 Copyright © Lynn Renee Wingert, 2007. All rights reserved. UMI Number: 1447519 Copyright 2007 by Wingert, Lynn Renee All rights reserved. UMI Microform 1447519 Copyright 2008 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 ii TABLE OF CONTENTS Introduction 1 Chapter 1. -
Sunday Morning Grid 2/17/19 Latimes.Com/Tv Times
SUNDAY MORNING GRID 2/17/19 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) Bull Riding College Basketball Ohio State at Michigan State. (N) PGA Golf 4 NBC Today in L.A. Weekend Meet the Press (N) (TVG) Hockey Day Hockey New York Rangers at Pittsburgh Penguins. (N) Hockey: Blues at Wild 5 CW KTLA 5 Morning News at 7 (N) Å KTLA News at 9 KTLA 5 News at 10am In Touch Paid Program 7 ABC News This Week News News News Paid American Paid 9 KCAL KCAL 9 News Sunday (N) Joel Osteen Jentzen Mike Webb Paid Program 1 1 FOX Planet Weird Fox News Sunday News PBC Face NASCAR RaceDay (N) 2019 Daytona 500 (N) 1 3 MyNet Paid Program Fred Jordan Freethought Paid Program News Paid 1 8 KSCI Paid Program Buddhism Paid Program 2 2 KWHY Paid Program Paid Program 2 4 KVCR Paint Painting Joy of Paint Wyland’s Paint This Painting Kitchen Mexican Martha Christina Baking How To 2 8 KCET Zula Patrol Zula Patrol Mixed Nutz Edisons Curios -ity Biz Kid$ Grand Canyon Huell’s California Adventures: Huell & Louie 3 0 ION Jeremiah Youseff In Touch Paid NCIS: Los Angeles Å NCIS: Los Angeles Å NCIS: Los Angeles Å NCIS: Los Angeles Å 3 4 KMEX Conexión Paid Program Fútbol Fútbol Mexicano Primera División (N) República Deportiva (N) 4 0 KTBN Jeffress Win Walk Prince Carpenter Intend Min. -
“Bill Sikes' Murder of Nancy Is the Most Horrible Crime in the Novel.” To
“Bill Sikes’ murder of Nancy is the most horrible crime in the novel.” To what extent do you agree with this view? • Spend 20 mins planning your response • Consider: Your clear argument, quotes to support, writer’s methods, writer’s intention and context Student Response • On the next slide is a student response. For each AO, write their strengths and next steps. An examiner’s commentary is on the slide after but don’t look at that until you have attempted it yourself. • AO1- SPAG, terminology and argument • AO2- Writer’s methods • AO3- Context • AO4- Understanding of crime writing genre • AO5- Sense of debate Oliver Twist Dickens presents criminals as products of their society.’ To what extent do you agree with this view? Remember to include in your answer relevant detailed exploration of Dickens’ authorial methods. In some ways the criminals in the novel could be seen as products of society especially the likes of Nancy who is murdered and Fagin who is hanged. On the other hand, some people might argue that they are not products because they choose this life for themselves and many of them do really terrible things like Sikes who kills Nancy and Fagin who uses the boys. In this essay, I am going to look at both points of view. Firstly, it could be argued that Nancy is a victim, and therefore a product of her society, as like a lot of individuals who live at the bottom rung of society, the only way in which she is able to survive is by turning to criminal or immoral activity - in her case prostitution and involvement with more hardened criminals such as Sikes and Fagin. -
Hunger for Life in Oliver Twist Novel
www.ijcrt.org © 2018 IJCRT | Volume 6, Issue 4 October 2018 | ISSN: 2320-2882 HUNGER FOR LIFE IN OLIVER TWIST NOVEL Karabasappa Channappa Nandihally Assistant Professor Of English Government First Grade College, U.G.&P.G.Centre Dental College Road,Vidyanagar,Davanagere. Abstract This novel focusing on Poverty is a prominent concern in Oliver Twist. Throughout the novel, Dickens enlarged on this theme, describing slums so decrepit that whole rows of houses are on the point of ruin. In an early chapter, Oliver attends a pauper's funeral with Mr. Sowerberry and sees a whole family crowded together in one miserable room.This prevalent misery makes Oliver's encounters with charity and love more poignant. Oliver owes his life several times over to kindness both large and small.[14] The apparent plague of poverty that Dickens describes also conveyed to his middle-class readers how much of the London population was stricken with poverty and disease. Nonetheless, in Oliver Twist, he delivers a somewhat mixed message about social caste and social injustice. Oliver's illegitimate workhouse origins place him at the nadir of society; as an orphan without friends, he is routinely despised. His "sturdy spirit" keeps him alive despite the torment he must endure. Most of his associates, however, deserve their place among society's dregs and seem very much at home in the depths. Noah Claypole, a charity boy like Oliver, is idle, stupid, and cowardly; Sikes is a thug; Fagin lives by corrupting children, and the Artful Dodger seems born for a life of crime. Many of the middle-class people Oliver encounters—Mrs.