Fcad-2012 Depliantprog-210X260-Cmjn

Total Page:16

File Type:pdf, Size:1020Kb

Fcad-2012 Depliantprog-210X260-Cmjn LE FESTIVAL PRATIQUE | FOR YOUR INFORMATION DEAUVILLE SAISON 3 LES NUITS AMÉRICAINES | AMERICAN NIGHTS Cinéma du Casino ACCUEIL & INFORMATIONS | RECEPTION & INFORMATION 16h30 | GIRLS (Saison 1 | Pilote & Vagina Panic, 2 x 26’) 22h30 | HHK UN CRIME (A Crime, 1h43, p.103-142) HBO & Orange cinéma séries, p.148 | interdit – 12 ans | entrée libre | Nuit Centre International de Deauville (C.I.D) – Les Planches – 1, avenue Lucien Barrière 14801 Deauville – Tél. : 02 31 14 14 14 – www.festival-deauville.com | | Ven projection unique > Cinéma du Casino 00h30 | HHK MEAN STREETS (1h52, p.102-142) | interdit - 12 ans Accueil | Informations | Retrait accréditations | Achat Pass | Reception | Information | Accreditations | Purchase of Pass | Fri August 31 | 3 pm > 7 pm – 18h00 | NEWSROOM (Saison 1 | We Just Decided To & News Night, 75’ & 60’) Ven 31 er e 7 02h30 | HHK BAD LIEUTENANT (1h36, p.103-142) | interdit - 16 ans Ven 31 août | 15h > 19h – Du sam 1 au dim 9 sept. | 9h ou 30 mn avant la 1 séance du jour > 30 From Sat Sept. 1 to Sun Sept. 9 | 9 am or 30 min. before first screening of the day > 30 min. before HBO & Orange cinéma séries, p.149 | entrée libre | mn avant la dernière séance du jour last screening of the day Sam 1 projection unique > Cinéma du Casino 04h30 | HHK RESERVOIR DOGS (1h39, p.102-135-142) | interdit - 16 ans LIEUX DU FESTIVAL | FESTIVAL VENUES 01h00 | HWF L’EXORCISTE (The Exorcist, 2h13, p.86-142) | interdit - 12 ans C.I.D | Auditorium Michel d’Ornano | 1 497 places – Niveau -1 du C.I.D | 02 31 14 14 14 C.I.D | Auditorium Michel d’Ornano | 1,497 seats – Level -1 | 02 31 14 14 14 Nuit 10h30 | Rencontre franco-américaine : de l’écrit à l’écran(s), Cinéma du Casino | 460 places – Rue Edmond Blanc | 02 31 88 07 09 Cinéma du Casino | 460 seats – Rue Edmond Blanc | 02 31 88 07 09 de l’écran(s) à l’écrit | Franco-American panel: from the words to the screen(s), 03h30 | HWF CRUISING – LA CHASSE (Cruising, 1h43, p.87-142) | interdit - 16 ans Morny Club | 271 places – 23, rue du Général-de-Gaulle | 08 92 68 72 27 Morny Club / 271 seats – 23, rue du Général-de-Gaulle | 08 92 68 72 27 from the screen(s) to the words (p.146) | En anglais & français avec traduction Sam 1 C.I.D | Auditorium Lexington | 220 places – Niveau -2 du C.I.D | Masterclasses – Entrée libre – C.I.D | Lexington Room | 220 seats – Level -2 | Masterclasses – Free admission – Priority given to simultanée | In English & French with simultaneous translation 05h30 | HWF POLICE FÉDÉRALE LOS ANGELES Accréditations & Pass Festival prioritaires Accreditations and Festival Pass > Terrasses du C.I.D – Entrée libre Dim 2 (To Live and Die in L.A., 1h57, p.87-142) Théâtre du Casino | 400 places – Rue Edmond Blanc | Concert Hommage à John Williams Théâtre du Casino | 400 seats – Rue Edmond Blanc | A concert as a tribute to John Williams SNCF Intercités Le Desk | Informations et documentations. Entrée côté Royal du C.I.D : 10h > 18h SNCF Intercités Le Desk | Discover SNCF Intercités partnership with the Festival and get 12h30 | HOMELAND (Saison 1 | Pilote & Grace, 2 x 52’) (sauf vendredi 31 août : 14h > 18h) information about trains (schedules, stations…). Entrance on Royal side of the C.I.D: 10am > 6 pm Sam Showtime & Canal +, p.148 | entrée libre | projection unique > Cinéma du Casino 22h30 | HLN LOVE ACTUALLY (2h16, p.111-143) Numericable | Rendez-vous du 31 août au 8 sept. sur le stand Numericable (sur les Terrasses du (except Fri August 31: 2 pm > 6 pm) 8 Festival) et tentez de gagner des invitations aux projections du soir ! Numericable | Come on Numericable booth located on the Terraces of the Festival from August 31 Nuit 16h30 | Conversation avec le scénariste canadien René Balcer, 01h00 | HWF FRENCH CONNECTION (The French Connection, 1h44, p.86-142) Les Terrasses du Festival | À l’arrière du C.I.D en front de mer – Photo calls & conférences de to Sept. 8 and try to win a pass to the evening screening! animée par Alain Carrazé | Conversation with the Canadian screenwriter presse (cf. horaires LES AUTRES ÉVÈNEMENTS) The Festival Terraces | On the terrace to the rear of the C.I.D on the seafront. Photo calls & press Rene Balcer, moderated by Alain Carrazé (p.147) – 03h00 | CBL REFLETS DANS UN ŒIL D’OR Le Bar du Festival | Pour un moment de détente et d’échange ! | Du sam 1er au sam 8 sept. | 10h conferences (see schedule in OTHER EVENTS) Dim 2 En anglais avec traduction en français | In English with translation in French (Reflections in a Golden Eye, 1h48, p.134-142) > 18h – Dim 9 sept. | 10h > 13h | The Festival Bar | From Sat Sept. 1 to Sat Sept. 8 | 10 am > 6 pm – Sun Sept. 9 | 10 am > 1 pm | > CID / Auditorium Lexington– Entrée libre Lun 3 Les partenaires | Partners : Délicecook, Maison du Biscuit, Malongo, Michel Bréavoine, Aux saveurs gourmandes, Ikéa 05h00 | CBL LOST HIGHWAY (2h14, p.135-142) | interdit - 12 ans PASS DU FESTIVAL & TARIFS | FESTIVAL PASS & SALES Pass Festival | 150 € | Valable du sam 1er sept. au dim 9 sept. inclus et dans toutes les salles Nuit 23h00 | HPW LA GUERRE DES MONDES (War of the Worlds, 1h56, p.125-143) Festival Pass | 150 € | Valid from Sat Sept. 1 to Sun Sept. 9 inclusive and in all Festival screening Dim 11h00 | SHAMELESS (Saison 2 | Summertime & Summer Loving, 53’ & 52’) de projection du Festival. Nominatif, avec photo et non cessible. Donne accès à toutes les séances theaters. Strictly individual, with ID photo, and non-transferable. It permits access, to all blue Showtime & Canal +, p.149 | entrée libre | projection unique > Cinéma du Casino HPW bleues. Pour assister aux séances rouges, doit être accompagné d’une carte d’accès à retirer au 01h00 | VANILLA SKY (2h16, p.124-143) screenings. To attend the red screenings, it must be accompanied by an access card to be collected 9 Lun 3 préalable. Le catalogue officiel est remis gracieusement. Pour +1 € supplémentaire : accès aux Nuits beforehand. The official catalogue is offered. For +1 € extra: access to the American Nights program. HPW américaines. 03h30 | LE DERNIER SAMOURAÏ (The Last Samourai, 2h34, p.125-143) Day Pass | 30 € | Reduced rate (student under 26 / jobseeker*) | 12 € | Valid for screenings on the Mar 4 Pass Journée | 30 € | Tarif réduit (étudiant – 26 ans / demandeur d’emploi *) | 12 € | Valable pour same day (from Sat Sept. 1 to Sun Sept. 9 inclusive) and in all Festival screening theaters. Strictly les séances d’une même journée (à compter du sam 1er sept. au dim 9 sept. inclus) et dans toutes les En entrée libre, dans la limite des places disponibles individual and non-transferable. It allows access, to all blue screenings scheduled on the same day. salles de projection du Festival. Nominatif et non cessible. Donne accès à toutes les séances bleues Free admission, subject to availability of seating To attend red screenings, the Day Pass must be accompanied by an access card to be collected d’une même journée. Pour assister aux séances rouges, doit être accompagné d’une carte d’accès à 23h00 | HPW MISSION : IMPOSSIBLE (1h50, p.124-143) beforehand. For +1 € extra: access to the American Nights program. retirer au préalable. Pour +1 € supplémentaire : accès aux Nuits américaines. Nuit * on presentation of valid proof at the moment of purchase * sur présentation d’un justificatif en cours de validité au moment de l’achat 01h00 | HWF BUG (1h43, p.87-142) | interdit - 12 ans American Nights Pass | 10 € | Or special rate: +1 € extra with every other pass purchased. Pass Les Nuits américaines | 10 € | Ou tarif spécial : +1 € supplémentaire avec tout autre pass HIPPODROME Strictly individual and non-transferable. It allows access, subject to availability of seating, to the acheté. Nominatif et non cessible. Donne accès, dans la limite des places disponibles, aux Nuits DEAUVILLE Mar 4 03h00 | HHK MEAN STREETS (1h52, p.102-142) | interdit - 12 ans American Nights program. américaines. Direction TROUVILLE LA TOUQUES Accreditation | Reserved to professionals from the cinema and audiovisual industries and for Mer 5 Accréditation | Réservée aux professionnels du cinéma et de l’audiovisuel et aux journalistes qui 05h00 | HHK UN CRIME (A Crime, 1h43, p.103-142) those journalists who request it beforehand, and for Festival guests. Individual, personal, and non- en ont fait la demande préalablement ainsi qu’aux invités du Festival. Personnelle, nominative et non transferable. May be collected on site from the C.I.D Accreditations Desks at the Main Entrance cessible. À retirer sur place aux banques Accréditations du C.I.D – Entrée principale (merci de vous (please bring identification and proof of professional status upon collection). During the Festival, any ÉCOUTONS LE CINÉMA munir d’une pièce d’identité et d’un justificatif professionnel). Toute demande déposée sur place pour request lodged for an accreditation post-deadline will cost 30 €. Place Louis une accréditation hors délai est payante au tarif de 30 €. 22h30 | HMVP SWEET SWEETBACK’S BAADASSSSS SONG (1h37, p.118-143) Offi cial catalogue | 10 € | Festival poster | 5 € | Official catalogue and Festival poster | 12 € Armand Catalogue offi ciel | 10 € – Affi che du Festival | 5 € – Catalogue officiel + affiche du Festival |12 € On sale at C.I.D Reception and at the Deauville Tourist Information Centre Radio France partenaire du Festival En vente au C.I.D et à l’Office de Tourisme de Deauville Stade Nuit 00h30 | HMVP CINQ CENTS BALLES (12’, p.119-143) & Sales outlets | Before the Festival: C.I.D Reception – Deauville Tourist Information Centre – Points de vente | Avant le Festival : Accueil administration du C.I.D – Office de Tourisme de Deauville Rue Désiré le Hoc LE CONTE DU VENTRE PLEIN (Bellyful, 1h45, p.119-143) Pre-reservations on www.festival-deauville.com – www.fnac.com – www.ticketnet.com – www.
Recommended publications
  • Co-Produced with the Black Film Institute of the University of the District of Columbia the Vision
    Co-produced with the Black Film Institute of the University of the District of Columbia the vision. the voice. From LA to London and Martinique to Mali. We bring you the world ofBlack film. Ifyou're concerned about Black images in commercial film and tele­ vision, you already know that Hollywood does not reflect the multi- cultural nature 'ofcontemporary society. You know thatwhen Blacks are not absent they are confined to predictable, one-dimensional roles. You may argue that movies and television shape our reality or that they simply reflect that reality. In any case, no one can deny the need to take a closer look atwhat is COIning out of this powerful medium. Black Film Review is the forum you've been looking for. Four times a year, we bringyou film criticiSIn froIn a Black perspective. We look behind the surface and challenge ordinary assurnptiorls about the Black image. We feature actors all.d actresses th t go agaul.st the graill., all.d we fill you Ul. Oll. the rich history ofBlacks Ul. Arnericall. filrnrnakul.g - a history thatgoes back to 19101 And, Black Film Review is the only magazine that bringsyou news, reviews and in-deptll interviews frOtn tlle tnost vibrant tnovetnent in contelllporary film. You know about Spike Lee butwIlat about EuzIlan Palcy or lsaacJulien? Souletnayne Cisse or CIl.arles Burnette? Tllrougll­ out tIle African cliaspora, Black fi1rnInakers are giving us alternatives to tlle static itnages tIlat are proeluceel in Hollywood anel giving birtll to a wIlole new cinetna...be tIlere! Interview:- ----------- --- - - - - - - 4 VDL.G NO.2 by Pat Aufderheide Malian filmmaker Cheikh Oumar Sissoko discusses his latest film, Finzan, aself­ conscious experiment in storytelling 2 2 E e Street, NW as ing on, DC 20006 MO· BETTER BLUES 2 2 466-2753 The Music 6 o by Eugene Holley, Jr.
    [Show full text]
  • Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South
    Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Melvin Van Peebles
    Finding Aid to The HistoryMakers ® Video Oral History with Melvin Van Peebles Finding Aid to The HistoryMakers ® Video Oral History with Melvin Van Peebles Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Van Peebles, Melvin Title: The HistoryMakers® Video Oral History Interview with Melvin Van Peebles, Dates: September 9, 2006 Bulk Dates: 2006 Physical Description: 4 Betacam SP videocassettes (1:41:17). Abstract: Actor, film director, fiction writer, and playwright Melvin Van Peebles (1932 - ) is best known for his 1971 independent film, Sweet Sweetback's Baadasssss Song, which has been credited with helping start Hollywood's Blaxploitation era in the 1970s. He has also written novels and two Broadway plays, and acted in several films. Van Peebles was interviewed by The HistoryMakers® on September 9, 2006, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2006_100 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Filmmaker, author, and actor Melvin Van Peebles was born on August 21, 1932, in Chicago, Illinois. Growing up during World War II, he spent his adolescence with his father, a tailor. Van Peebles graduated from Township High School in Phoenix, Illinois, in 1949 and spent a year at West Virginia State College before transferring to Ohio Wesleyan University where he earned his B.A. degree in English literature in 1953. During the late 1950s, Van Peebles served three and a half years as a flight navigator in the United States Air Force.
    [Show full text]
  • Spectacle, Masculinity, and Music in Blaxploitation Cinema
    Spectacle, Masculinity, and Music in Blaxploitation Cinema Author Howell, Amanda Published 2005 Journal Title Screening the Past Copyright Statement © The Author(s) 2005. The attached file is posted here with permission of the copyright owner for your personal use only. No further distribution permitted. Please refer to the journal's website for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/4130 Link to published version http://www.latrobe.edu.au/screeningthepast/ Griffith Research Online https://research-repository.griffith.edu.au Spectacle, masculinity, and music in blaxploitation cinema Spectacle, masculinity, and music in blaxploitation cinema Amanda Howell "Blaxploitation" was a brief cycle of action films made specifically for black audiences in both the mainstream and independent sectors of the U.S. film industry during the early 1970s. Offering overblown fantasies of black power and heroism filmed on the sites of race rebellions of the late 1960s, blaxploitation films were objects of fierce debate among social leaders and commentators for the image of blackness they projected, in both its aesthetic character and its social and political utility. After some time spent as the "bad object" of African-American cinema history,[1] critical and theoretical interest in blaxploitation resurfaced in the 1990s, in part due to the way that its images-- and sounds--recirculated in contemporary film and music cultures. Since the early 1990s, a new generation of African-American filmmakers has focused
    [Show full text]
  • Blaxploitation and the Cinematic Image of the South
    Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
    [Show full text]
  • Transcript a Pinewood Dialogue with Melvin And
    TRANSCRIPT A PINEWOOD DIALOGUE WITH MELVIN AND MARIO VAN PEEBLES Legendary maverick Melvin Van Peebles is a novelist, composer, and filmmaker who has also worked in television, popular music, and theater. After spending the 1960s in Paris, he returned to the United States and made the groundbreaking 1971 film Sweet Sweetback’s Baadasssss Song . The stunning box-office success of this subversive and sexy film paved the way for filmmakers such as Mario Van Peebles, who directed New Jack City and Panther . Mario paid tribute to his father with his 2003 movie Baadasssss ; in this lively discussion, Van Peebles père et fils share a lifetime of experience and a playful father-son rivalry. A Pinewood Dialogue following a screening of course, when I made my first films, I went down to Sweet Sweetback’s Baadasssss Song , Hollywood and they offered me a job, but as an moderated by Chief Curator David Schwartz elevator operator. I said, “No, I don’t want—I want (May 8, 2004): to really be in front of the camera or doing creative things.” And that was—they offered me a job as a SCHWARTZ : Please welcome Melvin and Mario Van dancer. Peebles. (Applause) Anyway, long story short, I went to Holland. Melvin, your first experience in Hollywood was Through another fluke that’s too long to go into doing comedies. Of course, you did Watermelon here, my short films that had been turned down in Man . I guess you were with Universal for a while; Hollywood were seen in France, and France invited you were signed on.
    [Show full text]
  • Melvin Van Peebles Class of 1953
    Distinguished Achievement Citation Melvin Van Peebles Class of 1953 Today, we recognize Melvin Van Peebles for his groundbreaking and prolific work in film, theatre, music and literature. After graduating from Ohio Wesleyan in 1953 with a degree in English, Mel served as a navigator and bombardier in the U.S. Air Force Strategic Air Command. He soon found his calling to be an artist, and began an accomplished career that spanned the arts—and often redefined them. After making the short films “Sunlight” and “Three Pick-Up Men for Herrick” while living in San Francisco, Mel moved to Holland and then France, where he was a crime reporter and began writing novels. He made his debut as a stage writer, lyricist and composer with “Harlem Party.” Mel is best known for his work in feature films. He first adapted his French novel “The Story of a Three-Day Pass” into a film, which he also directed. Upon returning to the United States, he directed and scored “Watermelon Man,” a sharp-edged comedy about a white bigot who wakes up black one day. In 1971, Mel independently produced, directed, wrote, scored and starred in the controversial film “Sweet Sweetback’s Bassdasssss Song.” Opening to mixed reviews, the film has grossed over $15 million, and established Melvin Van Peebles as a pioneer among black filmmakers. In addition to directing or starring in a number of movies in the 1980s and 1990s, most recently he directed “Identity Crisis,” acted in “Posse,” produced, scripted and appeared in “Panther,” wrote and starred in the documentary “Classified X,” and wrote and directed the French film “A Bellyful.” His Broadway musicals include Tony-award-nominated “Ain’t Supposed to Die a Natural Death,” “Don’t Play Us Cheap,” and “Waltz of the Stork.” His ventures into the music industry include the albums “Br’er Soul” and “Ghetto Gothic.” A CD titled “The Melvin Van Peebles Collection” was released in 1999.
    [Show full text]
  • The Parallel Influences, Characteristics and Criticisms of the Blaxploitation Cinema and Gangsta Rap Movements Dustin Engels
    Engels: Baadassss Gangstas: The Parallel Influences, Characteristics and JOURNAL OF HIP HOP STUDIES . Baadassss Gangstas: The Parallel Influences, Characteristics and Criticisms of the Blaxploitation Cinema and Gangsta Rap Movements Dustin Engels Abstract Serving as two of the most visible African American cultural movements, blaxploitation cinema and gangsta rap played essential roles in giving African American artists an outlet to establish a new black identity for mainstream audiences. After exploring the similarities between the cultural and economic conditions that spawned both movements, this essay examines the parallel techniques by which the preeminent entries in both genres established themselves as culturally relevant for African American audiences. These techniques included a reliance on place and space to establish authenticity, as well as employing African American myths and folklore such as the Signifying Monkey and the badman. By establishing themselves as mainstream representations of black identity, the harshest critics and staunchest defenders of both movements came from within the African American community, a clear indication of the important role each would play in establishing a new era of black representation in popular culture. In October 2012, New Orleans rapper Curren$y released a mixtape online for his fans entitled Priest Andretti. Taking its name from the main character of the 1972 blaxploitation film Super Fly, this fourteen-track mixtape frequently pays homage to the blaxploitation movement that occurred in the early 1970s by incorporating clips from Super Fly throughout, as well as including songs entitled “Max Julien” (star of the 1973 film The Mack) and “Cleopatra Jones” (title character of the 1973 film Cleopatra Jones).
    [Show full text]
  • Sample Some of This
    Sample Some Of This, Sample Some Of That (169) ✔ KEELY SMITH / I Wish You Love [Capitol (LP)] JEHST / Bluebells [Low Life (EP)] RAMSEY LEWIS TRIO / Concierto De Aranjuez [Cadet (LP)] THE COUP / The Liberation Of Lonzo Williams [Wild Pitch (12")] EYEDEA & ABILITIES / E&A Day [Epitaph (LP)] CEE-KNOWLEDGE f/ Sun Ra's Arkestra / Space Is The Place [Counterflow (12")] JOHN DANKWORTH & HIS ORCHESTRA / Bernie's Tune ("Off Duty", O.S.T.) [Fontana (LP)] COMMON & MARK THE 45 KING / Car Horn (Madlib remix) [Madlib (LP)] GANG STARR / All For Da Ca$h [Cooltempo/Noo Trybe (LP)] JOHN DANKWORTH & HIS ORCHESTRA / Theme From "Return From The Ashes", O.S.T. [RCA (LP)] 7 NOTAS 7 COLORES / Este Es Un Trabajo Para Mis… [La Madre (LP)] QUASIMOTO / Astronaut [Antidote (12")] DJ ROB SWIFT / The Age Of Television [Om (LP)] JOHN DANKWORTH & HIS ORCHESTRA / Look Stranger (From BBC-TV Series) [RCA (LP)] THE LARGE PROFESSOR & PETE ROCK / The Rap World [Big Beat/Atlantic (LP)] JOHN DANKWORTH & HIS ORCHESTRA / Two-Piece Flower [Montana (LP)] GANG STARR f/ Inspectah Deck / Above The Clouds [Noo Trybe (LP)] Sample Some Of This, Sample Some Of That (168) ✔ GABOR SZABO / Ziggidy Zag [Salvation (LP)] MAKEBA MOONCYCLE / Judgement Day [B.U.K.A. (12")] GABOR SZABO / The Look Of Love [Buddah (LP)] DIAMOND D & SADAT X f/ C-Low, Severe & K-Terrible / Feel It [H.O.L.A. (12")] GABOR SZABO / Love Theme From "Spartacus" [Blue Thumb (LP)] BLACK STAR f/ Weldon Irvine / Astronomy (8th Light) [Rawkus (LP)] GABOR SZABO / Sombrero Man [Blue Thumb (LP)] ACEYALONE / The Hunt [Project Blowed (LP)] GABOR SZABO / Gloomy Day [Mercury (LP)] HEADNODIC f/ The Procussions / The Drive [Tres (12")] GABOR SZABO / The Biz [Orpheum Musicwerks (LP)] GHETTO PHILHARMONIC / Something 2 Funk About [Tuff City (LP)] GABOR SZABO / Macho [Salvation (LP)] B.A.
    [Show full text]
  • Course Outline
    COURSE OUTLINE SCHOOL OF LIBERAL ARTS AND SCIENCES COURSE NAME: POPCULTURE:PoliticsofMediaLiteracy COURSE CODE: GHUM 1180 CREDIT HOURS: 42(3hoursperweek) PREREQUISITES: None COREQUISITES: None PLAR ELIGIBLE: YES ( X ) NO ( ) EFFECTIVE DATE: January 2013 PROFESSOR: Judy Coleman PHONE: TBA EMAIL: [email protected] NOTE TO STUDENTS: Academic Departments at George Brown College will NOT retain historical copies of Course Outlines. We urge you to retain this Course Outline for your future reference. FOR OFFICE USE ONLY ORIGINATOR:__________________________________________________________________________ SIGNATURE DATE CHAIR:_________________________________________________________________________________ SIGNATURE DATE DATE OF REVISION:__________________________________________________ EQUITY STATEMENT: George Brown College values the talents and contributions of its students, staff and community partners and seeks to create a welcoming environment where equity, diversity and safety of all groups are fundamental. Language or activities which are inconsistent with this philosophy violate the College policy on the Prevention of Discrimination and Harassment and will not be tolerated. The commitment and cooperation of all students and staff are required to maintain this environment. Information and assistance are available through your Chair, Student Affairs, the Student Association or the Human Rights Advisor. STUDENT RESPONSIBILITIES: Students should obtain a copy of the Student Handbook and refer to it for additional information regarding
    [Show full text]
  • Filmes E Trilhas No Cinema Negro Dos EUA Dos Anos 1970: Uma Análise Sobre O Ciclo Blaxploitation
    UNIVERSIDADE ANHEMBI MORUMBI VICTOR MAKOTO OIWA Filmes e trilhas no cinema negro dos EUA dos anos 1970: Uma análise sobre o ciclo blaxploitation SÃO PAULO 2011 VICTOR MAKOTO OIWA Filmes e Trilhas no Cinema Negro dos EUA dos anos 1970: Uma Análise Sobre o Ciclo Blaxploitation Dissertação apresentada à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre do Programa de Mestrado em Comunicação Contemporânea da Universidade Anhembi Morumbi, sob a orientação da Profa. Dra. Laura Loguercio Cánepa SÃO PAULO 2011 VICTOR MAKOTO OIWA Filmes e Trilhas no Cinema Negro dos EUA dos anos 1970 Uma Análise Sobre o Ciclo Blaxploitation Dissertação de Mestrado apresentado à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre do Programa de Mestrado em Comunicação, área de concentração em Comunicação Contemporânea da Universidade Anhembi Morumbi, sob a orientação do Profa. Dra. Laura Loguercio Cánepa Aprovado em ____/____/____ ___________________________ ___________________________ ___________________________ Em memória de William H. Oiwa, Patric R. Oiwa e Eduardo J. Kitagawa AGRADECIMENTOS Agradeço primeiramente a Deus, Minha família toda, principalmente Yoji, Yoko e Mi pela paciência, ensinamentos e todos os momentos de alegrias e sofrimentos que passamos juntos. Vocês são a razão para eu continuar insistindo em acreditar nos velhos e bons valores. A minha orientadora Laura Cánepa, que se interessou pela minha pesquisa e me guiou nesta jornada, tornando possível a existência dessa dissertação. Aos professores Rogério Ferraraz, Maria Ignes e Luiz Vadico, pelo conhecimento. Ao coordenador Leonardo Vergueiro que propôs que eu fizesse o mestrado e pela oportunidade. Tambem aos colegas de trabalho André Salata, Thomas Gruetz, Cris Merlo, Bruno E., Mauricio de Caro Esposito e Theóphilo Pinto.
    [Show full text]
  • MAY DAY 2008 a World of Reasons for ALL Workers to Unite by Deirdre Griswold That Have Torn Apart Families and Left Them Destitute
    MUNDO OBRERO OTAN TORTURA 12 Workers and oppressed peoples of the world unite! workers.org MAY 1, 2008 VOL. 50, NO. 17 50¢ MAY DAY 2008 A world of reasons for ALL workers to unite By Deirdre Griswold that have torn apart families and left them destitute. This year, courageous longshore workers will be shutting YOUTH IN ACTION This May Day, International Workers’ Day, there will be plen- down the West Coast ports for eight hours on May 1 in a strike ty of reasons for workers in the United States—and around the against the war in Iraq and Afghanistan. Other unions are pledg- Anti-sweatshop sit-in 8 world—to take to the streets in protest over their conditions and ing their support, showing that workers in this country believe to raise their demands. this endless war, with its horrendous casualties and enormous NEPAL ELECTION There are of course the issues around disastrous layoffs, cost, is defi nitely an issue for the labor movement. shrinking pay, speedup, shortened hours and other deteriorat- In many parts of the country, particularly the Midwest, the 11 Red victory ing working conditions. epidemic of housing foreclosures and the demand for a morato- But also on the agenda are the many ways in which the work- rium will be raised as an urgent issue on May Day. Workers there AMERICAN AXLE ers and their communities fi nd themselves under assault from are being hit with a double whammy: losing jobs with union pay a billionaire class that uses racism, sexism, homophobia, immi- just as the cost of subprime mortgages is ballooning.
    [Show full text]