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Uk Films for Sale in Cannes 2009
UK FILMS FOR SALE IN CANNES 2009 Supported by Produced by 1234 TMoviehouse Entertainment Cast: Ian Bonar, Lyndsey Marshal, Kieran Bew, Mathew Baynton Gary Phillips Genre: Drama Rés. Du Grand Hotel 47 La Croisette, 6Th Director: Giles Borg Floor Producer Simon Kearney Tel: +33 4 93 38 65 93 Status : Completed [email protected] Home Office Tel: +44 20 7836 5536 Synopsis Ardent musician Stevie (guitar, vocals) endures a day-job he despises and can't find a girlfriend but... at least he has his music! With friend Neil (drums) he's been kicking around for a while not achieving much but when the pair of misfits team-up with the more-experienced Billy (guitar) and his cute pal Emily (bass) the possibility they might be on to something really good presents itself. For Stevie this is the opportunity he's been waiting for with the band and just maybe... Emily too! 13 Hrs TEyeline Entertainment Cast: Isabella Calthorpe, Gemma Atkinson, Tom Felton, Joshua Duncan Napier-Bell Bowman Lerins Stand R10 Genre: Horror Tel: +33 4 92 99 33 02 Director: Jonathan Glendening [email protected] Writer: Adam Phillips Home Office Tel: +44 20 8144 2994 Producer Nick Napier-Bell, Romain Schroeder, Tom Reeve Status : Post-Production Synopsis A full moon hangs in the night sky and lightning streaks across dark storm clouds. Sarah Tyler returns to her troubled family home in the isolated countryside, for a much put-off visit. As the storm rages on, Sarah, her family and friends shore up for the night, cut off from the outside world. -
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. -
Julius Caesar
BAM 2013 Winter/Spring Season Brooklyn Academy of Music BAM, the Royal Shakespeare Company, Alan H. Fishman, and The Ohio State University present Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Julius Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Caesar Executive Producer Royal Shakespeare Company By William Shakespeare BAM Harvey Theater Apr 10—13, 16—20 & 23—27 at 7:30pm Apr 13, 20 & 27 at 2pm; Apr 14, 21 & 28 at 3pm Approximate running time: two hours and 40 minutes, including one intermission Directed by Gregory Doran Designed by Michael Vale Lighting designed by Vince Herbert Music by Akintayo Akinbode Sound designed by Jonathan Ruddick BAM 2013 Winter/Spring Season sponsor: Movement by Diane Alison-Mitchell Fights by Kev McCurdy Associate director Gbolahan Obisesan BAM 2013 Theater Sponsor Julius Caesar was made possible by a generous gift from Frederick Iseman The first performance of this production took place on May 28, 2012 at the Royal Shakespeare Theatre, Leadership support provided by The Peter Jay Stratford-upon-Avon. Sharp Foundation, Betsy & Ed Cohen / Arete Foundation, and the Hutchins Family Foundation The Royal Shakespeare Company in America is Major support for theater at BAM: presented in collaboration with The Ohio State University. The Corinthian Foundation The Gladys Krieble Delmas Foundation Stephanie & Timothy Ingrassia Donald R. Mullen, Jr. The Fan Fox & Leslie R. Samuels Foundation, Inc. Post-Show Talk: Members of the Royal Shakespeare Company The Morris and Alma Schapiro Fund Friday, April 26. Free to same day ticket holders The SHS Foundation The Shubert Foundation, Inc. -
Redefining Radio Art in the Light of New Media Technology Through
Title Radio After Radio: Redefining radio art in the light of new media technology through expanded practice Type Thesis URL http://ualresearchonline.arts.ac.uk/8748/ Date 2015 Citation Hall, Margaret A. (2015) Radio After Radio: Redefining radio art in the light of new media technology through expanded practice. PhD thesis, University of the Arts London. Creators Hall, Margaret A. Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author 1 Margaret Ann Hall Radio After Radio: Redefining radio art in the light of new media technology through expanded practice Thesis for PhD degree awarded by the University of the Arts London June 2015 2 Abstract I have been working in the field of radio art, and through creative practice have been considering how the convergence of new media technologies has redefined radio art, addressing the ways in which this has extended the boundaries of the art form. This practice- based research explores the rich history of radio as an artistic medium and the relationship between the artist and technology, emphasising the role of the artist as a mediator between broadcast institutions and a listening public. It considers how radio art might be defined in relation to sound art, music and media art, mapping its shifting parameters in the digital era and prompting a consideration of how radio appears to be moving from a dispersed „live‟ event to one consumed „on demand‟ by a segmented audience across multiple platforms. -
The Arts of Amnesia: the Case for Audio Drama, Part One
RadioDoc Review Volume 3 Issue 1 Article 5 January 2017 The Arts of Amnesia: The Case for Audio Drama, Part One Neil Verma North-Western University, Chicago Follow this and additional works at: https://ro.uow.edu.au/rdr Part of the Audio Arts and Acoustics Commons, Digital Humanities Commons, Radio Commons, and the Theatre and Performance Studies Commons Recommended Citation Verma, Neil, The Arts of Amnesia: The Case for Audio Drama, Part One, RadioDoc Review, 3(1), 2017. doi:10.14453/rdr.v3i1.5 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The Arts of Amnesia: The Case for Audio Drama, Part One Abstract This article examines what the relationship between audio drama and radio drama might illuminate about both forms. Drawing on some 40 podcasts and other audio forms that take a serial structure, I explore the rise of audio drama podcasts since 2015 and situate them in both a more recent historical context since the late 1990s and in a broader history stretching back to the first Golden Age of adio.r By listening closely to key works on Serendipity, Homecoming and other podcasts, I argue that contemporary audio has profound potential to change both how we listen and how we relate to the sound media of the past. This is Part One of a two-part series. Keywords Radio Drama, Audio Drama, Homecoming, Serendipity, Radio History, Podcasting This article is available in RadioDoc Review: https://ro.uow.edu.au/rdr/vol3/iss1/5 The Arts of Amnesia: The Case for Audio Drama, Part One By Neil Verma, Northwestern University Audio Drama / Radio Drama No genre stirs dust into the shafts of sunlight in the attic of media history quite like radio drama, so it is no surprise that the recent rise of fiction among podcasters has clouded a problem that has been vexing critical and historical thought that surrounds the medium. -
Doctor Who and the Politics of Casting Lorna Jowett, University
Doctor Who and the politics of casting Lorna Jowett, University of Northampton Abstract: This article argues that while long-running science fiction series Doctor Who (1963-89; 1996; 2005-) has started to address a lack of diversity in its casting, there are still significant imbalances. Characters appearing in single episodes are more likely to be colourblind cast than recurring and major characters, particularly the title character. This is problematic for the BBC as a public service broadcaster but is also indicative of larger inequalities in the television industry. Examining various examples of actors cast in Doctor Who, including Pearl Mackie who plays companion Bill Potts, the article argues that while steady progress is being made – in the series and in the industry – colourblind casting often comes into tension with commercial interests and more risk-averse decision-making. Keywords: colourblind casting, television industry, actors, inequality, diversity, race, LGBTQ+ 1 Doctor Who and the politics of casting Lorna Jowett The Britain I come from is the most successful, diverse, multicultural country on earth. But here’s my point: you wouldn’t know it if you turned on the TV. Too many of our creative decision-makers share the same background. They decide which stories get told, and those stories decide how Britain is viewed. (Idris Elba 2016) If anyone watches Bill and she makes them feel that there is more of a place for them then that’s fantastic. I remember not seeing people that looked like me on TV when I was little. My mum would shout: ‘Pearl! Come and see. -
30 March 2018 Page 1 of 13
Radio 4 Listings for 24 – 30 March 2018 Page 1 of 13 SATURDAY 24 MARCH 2018 high-welfare food production; Nick von Westenholz, Director Paul Waugh of the Huff Post asks if the NHS pay deal means of EU Exit and International Trade at the NFU; and Emily austerity is over. He hears reaction to the latest Brexit summit. SAT 00:00 Midnight News (b09vyw7y) Norton, a Norfolk farmer who also works as an agricultural And what do local elections hold in store for the two main The latest national and international news from BBC Radio 4. researcher for a UKIP MEP. parties? Followed by Weather. Presented by Sybil Ruscoe and produced by Emma Campbell. Editor: Peter Mulligan. SAT 00:30 Book of the Week (b09x0fw9) The Wood SAT 06:57 Weather (b09vyw8f) SAT 11:30 From Our Own Correspondent (b09vyw8k) Over twelve months, this is the story of Cockshutt Wood in The latest weather forecast. The USA's Invisible Army Shropshire, representative of all the small woods in our The US Air Force has a third of its drones stationed at landscape and the sanctuary they provide. Kandahar airbase in Afghanistan. Kate Adie introduces stories, SAT 07:00 Today (b09wlmrz) insight, and analysis from correspondents around the world: From January through to December, John Lewis-Stempel News and current affairs. Including Yesterday in Parliament, records the passage of the seasons in exquisite prose, as the Sports Desk, Weather and Thought for the Day. During almost two weeks with US Forces in Afghanistan, Justin cuckoo flits through the green shade in the silence and the wind Rowlatt gets a glimpse of the intensity of the air war that is a of winter. -
Linguaculture 1, 2014
LINGUACULTURE 1, 2014 THE HOLLOW CROWN:SHAKESPEARE, THE BBC, AND THE 2012 LONDON OLYMPICS RUTH M ORSE Université-Paris-Diderot Abstract During the summer of 2012, and to coincide with the Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. The BBC commission was conceived as part of the Cultural Olympiad which accompanied Britain’s successful hosting of the Games that summer. I discuss the financial, technical, aesthetic, and political choices made by the production team, not only in the context of the Coalition government (and its attacks on the BBC) but also in the light of theatrical and film tradition. I argue that the inclusion or exclusion of two key scenes suggest something more complex and balanced that the usual nationalism of the plays'; rather, the four nations are contextualised to comprehend and acknowledge the regions – apropos not only in the Olympic year, but in 2014's referendum on the Union of the crowns of England/Wales and Scotland. Keywords: Shakespeare, BBC, adaptation, politics, Britishness During the summer of 2012, to coincide with the London summer Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. An additional series, Shakespeare Unlocked, accompanied each play with a program fronted by a lead actor discussing the play and the process, illustrated by clips from the plays in which they had appeared (“The Hollow Crown”). The producer was the Neal Street Production Company in the person of Sam Mendes, a well-known stage and cinema director, celebrated not least for an Oscar for American Beauty, a rare honour for a first-time film director. -
Download a Program
Headlong Theatre, Birmingham Repertory Theatre, Liverpool Everyman and Playhouse, Lyric Hammersmith and West Yorkshire Playhouse present by Simon Schama Adapted for the stage by Caryl Phillips First performed on 14 September 2007 at Birmingham Repertory Theatre. Headlong Theatre, Birmingham Repertory Theatre, Liverpool Everyman and Playhouse, Lyric Hammersmith and West Yorkshire Playhouse present ROUGH CROSSINGS by Simon Schama Adapted for the stage by Caryl Phillips Isaac Peter Bankole Eliza Sharp Miranda Colchester David George Peter De Jersey Johnson / Sergeant Davy / American Officer Ian Drysdale Henry De Mane Dave Fishley Thomas Clarkson Andy Frame William Sharp / Redcoat / Lieutenant Rob Hastie Phyllis George Dawn Hope John Clarkson Ed Hughes Captain / Cornwallis / Falconbridge Mark Jax Ship’s Boy / Anna Maria Falconbridge Jessica Lloyd Granville Sharp Michael Matus Sally Peters Wunmi Mosaku James Somerset Ben Okafor Thomas Peters Patrick Robinson Buck Slave / Sierra Leone Settler Daniel Williams All other parts played by members of the company. Director Rupert Goold Designer Laura Hopkins Lighting Designer Paul Pyant Composer & Sound Designer Adam Cork Video & Projection Design Lorna Heavey Movement Director Liz Ranken Casting Consultant Kirsty Kinnear Assistant Director Vik Sivalingam Assistant Designer Simon Kenny Production Manager Spencer New Company Stage Manager Julia Reid Deputy Stage Manager Lucy McMahon Assistant Stage Manager Sarah Jane Davies Costume Supervisor Hilary Lewis Re-Lighter & Production Electrician Tom Snell -
Bbc Radio Hitchhiker's Guide to the Galaxy
Bbc radio hitchhiker's guide to the galaxy Continue The sci-fi comedy radio series Hitchhiker's Guide to the GalaxyOkus booklet is included in the collector's edition CD release of the first two hitchhiking radio series. GenreComic научная фантастика30 минутСтрана происхожденияВеликобритая СтанцияBBC Радио 4СиндикатесНПР, CBC Radio, BFBSStarringSimon JonesGeoffrey McGivernMark Wing-DaveySusan SheridanStephen MooreCreated byDouglas AdamsWritten byDouglas Adams (Серия 1-2) Джон Ллойд (соавтор серии 1)Дирк Мэггс (Серия 3-6)Продюсер Саймон Бретт (Пилот) Джеффри Перкинс (Серия 1)Брюс Хайман (Серия 1)Брюс Хайман (Серия 1)Брюс Хайман (Серия 3-6) Продюсер Саймон Бретт (Пилот) Джеффри Перкинс (Серия 1)Брюс Хайман (Серия 1)Брюс Хайман (Серия 1)Брюс Хайман (Серия 3-6) Продюсер Саймон Бретт (Пилот) Джеффри Перкинс (Серия 1)2) 3-5)Дирк Мэггс (Серия 3-6) Хелен Чаттвелл (Серия 3-6) Дэвид Морли (Серия 6) КомментируетПетер Джонс (Серия 1-2)Уильям Франклин (Серия 3-5)Джон Ллойд (Серия 6)Оригинальный релиз8 марта 1978 - 12 апреля 2018No. эпизодов32Авидо форматСтерео, surroundOpening тему Путешествие колдуна на EaglesWebsitewww.bbc.co.uk/radio4/hitchhikers Автостопом по Галактике является научно-фантастический комедийный радиосерии написан Дуглас Адамс (с некоторым материалом в первой серии provided by John Lloyd). It originally aired on BBC Radio 4 UK in 1978, followed by the BBC World Service, National Public Radio in the US and CBC Radio in Canada. The series was the first radio program to be released in stereo, and was innovative in the use of music and sound effects, winning a number of awards. The series tells the adventures of the hapless Englishman Arthur Dent and his friend Ford Prefect, an alien who writes for The Hitchhiker's Guide to the Galaxy, a pangalactic encyclopedia and a guidebook. -
December Next Wave Festival Engagements at the BAM Fisher
December Next Wave Festival engagements at the BAM Fisher Dec 2—5: Choreographer and dancer Souleymane Badolo—2015 Harkness Foundation Artist in Residence at the BAM Fisher— explores personal themes of tradition, identity, and artistry in the world premiere work Yimbégré, a BAM commission Dec 9—12: Alas, The Nymphs…, a collaborative dance-theater work based on the ancient Greek myth of Hylas, marks Hotel Savant Artistic Director John Jahnke Next Wave debut Dec 16—20: Written and performed by leading British actor Paterson Joseph, Sancho: An Act of Remembrance is based on the remarkable true story of Charles Ignatius—the first man of African origin to cast a vote in Britain Bloomberg Philanthropies is the Season Sponsor BAM Fisher (Fishman Space, 321 Ashland Pl) All tickets: $25 Brooklyn, NY/Oct 22, 2015—BAM Fisher performances as part of the 2015 Next Wave Festival conclude in December with two world premiere works: 2015 Harkness Foundation Artist in Residence at the BAM Fisher Souleymane Badolo’s Yimbégré, an exploration of the tension between tradition and artistic freedom from the Burkina Faso-born, Brooklyn-based choreographer and dancer; and innovative Hotel Savant artistic director John Jahnke’s Next Wave debut Alas, The Nymphs…, a dance-theater deconstruction of the Greek myth of Hylas. The Fisher season concludes with the New York premiere of Sancho, An Act of Remembrance written and performed by renowned British actor Paterson Joseph (Royal Shakespeare Company’s Julius Caesar, Winter/Spring 2013; HBO’s The Leftovers). Designed as an intimate and flexible performance space for both emerging and established artists, the BAM Fisher became part of the BAM campus in the fall of 2012. -
Sound for Hitchhiker's Guide to the Galaxy Issue 40
n another time and what seems like another galaxy, a highly intelligent, very tall life form called Douglas Adams created a story that became a cult hit on radio, television and in books. Adams always wanted to see a film version Iof The Hitchhiker’s Guide to the Galaxy. It is only now, sadly four years after his death, that the story of an intergalac- tic search for the meaning of life and the perfect cup of tea has reached the cinema screen. Sound for Hitchhiker’s initially relied on sound to create the strange worlds visited by its reluctant hero, Arthur Dent. In his introduction to a collection of the radio scripts, Adams wrote: “I wanted the voices and the effects and the music to be so seamlessly orchestrated as to create a coherent sound picture of a whole other world.” The TV version did its best with the computer graphics and effects technology of the time but the new film comes at a point when computer- generated effects are catching up to Adams’ imagi- nation. Director Garth Jennings Kevin Hilton traces the post production and producer Nick Goldsmith, work on the feature that Douglas Adams who constitute the music video team ‘Hammer and Tongs’, listened to the fans have been waiting for. original radio series in the knowledge that sound would play a significant role in the film. To give voice and sound to the various characters and worlds that Arthur and his friend Ford Prefect, who disconcertingly turns out to be an alien, encounter along the way, Ian Wilson was brought in as supervising sound editor.