PROGRAM TA Guide to CITR Fm 102 REGULAR PROGRAMS
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BTN6916 LMW NORTHERN SOUL ENTS GUIDE SK.Indd
22-25 SEPT 2017 20-23 SEPT 2019 SKEGNESS RESORT GLORIACELEBRATING 60 YEARS JONES OF MOTOWN BOBBY BROOKS WILSON BRENDA HOLLOWAY EDDIE HOLMAN CHRIS CLARK THE FLIRTATIONS TOMMY HUNT THE SIGNATURES FT. STEFAN TAYLOR PAUL STUART DAVIES•JOHNNY BOY PLUS MANY MORE WELCOME TO THE HIGHLIGHTS As well as incredible headliners and legendary DJs, there are loads WORLD’S BIGGEST AND more soulful events to get involved in: BEST NORTHERN SOUL ★ Dance competition with Russ Winstanley and Sharon Sullivan ★ Artist meet and greets SURVIVORS WEEKENDER ★ Shhhh... Battle of the DJs Silent Disco ★ Tune in to Northern Soul BBC – Butlin’s Broadcasting Company Original Wigan Casino jock and founder of the Soul Survivors Weekender, with Russ! Russ Winstanley, has curated another jam-packed few days for you. It’s an ★ incredible line-up with soul legends fl own in from around the world plus a Northern Soul Awards and Dance Competition host of your favourite soul spinners. We’re celebrating Motown Records 60th Anniversary in 2019. To mark this special occasion we have some of the original Motown ladies gracing the stage to celebrate this milestone birthday. SATURDAY 14.00 REDS Meet and Greet with Eddie Holman, Bobby Brooks Wilson, Tommy Hunt Brenda Holloway, Chris Clark and Gloria Jones will also be joining us for a Q&A session, together with Motown afi cionado, Sharon Davies, on Sunday afternoon in Reds. Not to be missed!! SUNDAY 14.00 REDS Don’t miss the Northern Soul dance classes, DJ Battles, Northern Soul Q&A with Brenda Holloway, Chris Clark, Gloria Jones and Sharon Davis awards and dance competitions across the weekend and be sure to look Hosted by Russ Winstanley and Ian Levine, followed by a meet and greet out for limited edition, souvenir vinyl and merch in the Skyline record stall. -
Here Comes Television
September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business. -
Dennis Morris: Pil - First Issue to Metal Box 23 March - 15 May 2016 ICA Fox Reading Room
ICA For immediate release: 13 January 2016 Dennis Morris: PiL - First Issue to Metal Box 23 March - 15 May 2016 ICA Fox Reading Room Album cover image from PiL’s first album Public Image: First Issue (1978). © Dennis Morris – all rights reserved. The ICA presents rarely seen photographs and ephemera relating to the early stages of the band Public Image Ltd’s (PiL) design from 1978-79 with a focus on the design of the album Metal Box. Original band members included John Lydon (aka Johnny Rotten - vocals), Keith Levene (lead guitar), Jah Wobble (bass) and Jim Walker (drums). Working closely with photographer and designer Dennis Morris, the display explores the evolution of the band’s identity, from their influential journey to Jamaica in 1978 to the design of the iconic Metal Box. Set against a backdrop of political and social upheaval in the UK, the years 1978-79 marked a period that hailed the end of the Sex Pistols and the subsequent shift from Punk to New Wave. Morris sought to capture this era by creating a strong visual identity for the band. His subsequent designs further aligned PiL with a style and attitude that announced a new chapter in music history. For PiL’s debut single Public Image, Morris designed a record sleeve in the format of a single folded sheet of tabloid newspaper featuring fictional content about the band. His unique approach to design was further illustrated by the debut PiL album, Public Image: First Issue (1978). In a very un-Punk manner, its cover and sleeve design imitated the layout of popular glossy magazines. -
Jobs and Education
Vol. 3 Issue 3 JuneJune1998 1998 J OBS AND E DUCATION ¥ Animation on the Internet ¥ Glenn VilppuÕs Life Drawing ¥ CanadaÕs Golden Age? ¥ Below the Radar WHO IS JARED? Plus: Jerry BeckÕs Essential Library, ASIFA and Festivals TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 4 Editor’s Notebook It’s the drawing stupid! 6 Letters: [email protected] 7 Dig This! 1001 Nights: An Animation Symphony EDUCATION & TRAINING 8 The Essential Animation Reference Library Animation historian Jerry Beck describes the ideal library of “essential” books on animation. 10 Whose Golden Age?: Canadian Animation In The 1990s Art vs. industry and the future of the independent filmmaker: Chris Robinson investigates this tricky bal- ance in the current Canadian animation climate. 15 Here’s A How de do Diary: March The first installment of Barry Purves’ production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive. 20 Survey: It Takes Three to Tango Through a series of pointed questions we take a look at the relationship between educators, industry representatives and students. School profiles are included. 1998 33 What’s In Your LunchBox? Kellie-Bea Rainey tests out Animation Toolworks’ Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike! INTERNETINTERNET ANIMATIONANIMATION 38 Who The Heck is Jared? Well, do you know? Wendy Jackson introduces us to this very funny little yellow fellow. 39 Below The Digital Radar Kit Laybourne muses about the evolution of independent animation and looks “below the radar” for the growth of new emerging domains of digital animation. -
What's It Like to Be Black and Irish?
“What’s it like to be black and Irish?” “Like a pint of Guinness.” The above quote is taken from an interview with Phil Lynott, the charismatic lead singer of the Celtic rock band Thin Lizzy, on Gay Byrne’s ‘The Late Late Show’. Lynott’s often playful and bold responses to such questions about his identity served to mask his overwhelming feelings of insecurity and ambivalent sense of belonging. As an illegitimate black child brought up in the 1950s in a strict Catholic family in Crumlin, a working-class district of Dublin, Lynott was seen to have a “paradoxical personality” (Bridgeman, qtd. in Thomson 4): his upbringing imbued him “with an acute sense of national and gender identity” (Smyth 39), yet his skin color and illegitimacy made him the target of racial and social abuse in a predominantly white and conservative Ireland. For Lynott, becoming a rockstar offered an opportunity to reinvent himself and be whoever he wanted to be. While he played up to the rock and roll lifestyle in which he was embedded, Lynott is often considered to have been a man trapped inside a caricature (Thomson 301). Geldof (qtd. in Putterford 182) believes that this rocker persona was Lynott’s ultimate downfall and led to his untimely death at just 36 years of age in 1986. For all his swagger and bravado, behind the mask, Lynott was a troubled, young man searching for a place to belong. While many books have been written about the life of Phil Lynott (e.g. Putterford; Lynott; Thomson), few have drawn attention to the notion of identity and the way in which music provided Lynott with an outlet to explore his self. -
2010 Program
FESTIVAL PASS $40 (DCAS members/seniors and students), $50 (general public) Note: A festival pass does not guarantee entry into a screening. Please arrive 15 minutes prior to a screening to ensure entry. PASSES & TICKETS SINGLE SCREENING ADMISSION The Dawson City International Short Film Festival is presented by the $6 (DCAS members/seniors & students), $7 (general public) KLONDIKE INSTITUTE OF ART AND CULTURE. We gratefully acknowledge the support of KIAC’s funding agencies and partners for making this possible. DCAS (Dawson City Arts Society) membership: $15 For further information on KIAC and its programs, All events take place at The Odd Fellows Hall, please visit our website at www.kiac.ca 2nd & Princess unless otherwise noted. www.dawsonfilmfest.com Festival Producer: Dan Sokolowski Programming: Dan Sokolowski, Kerry Barber, Tara Rudnickas Projectionists: Florian Boulais, Megan Graham, Aaron Burnie Executive Director: Karen DuBois Front of House Manager: Karen MacKay Programs Manager: Tara Rudnickas Concession Manager: Georgia Fraser Programs Coordinator: Jenna Roebuck Cover and Poster Artworks: Veronica Verkley Administrative Assistant: Kerry Barber Program Design: Dan Sokolowski Gallery Director: Lance Blomgren Festival Committee Klondike Institute of Art and Culture Lulu Keating: Chair, Florian Boulais, Gail Calder, Suzanne Crocker, Box 8000, Dawson City, Yukon Y0B 1G0 Canada Stephanie Davidson, Kit Hepburn, Bill Kendrick, Gord MacRae, tel: 867 993 5005 Daisyanne Maguire, John Overell, Evelyn Pollock, Meg Walker fax: 867 993 5838 [email protected] www.kiac.ca 2010 DAWSON CITY INTERNATIONAL SHORT FILM FESTIVAL 1 ALL SCREENINGS and EVENTS in the ODD FELLOWS HALL BALLROOM unless otherwise noted. Thursday, 7 pm — Thursday, 9:30 pm Feature film by artists in residence Stefan Popescu and Katherine Berger. -
Mon Sept 27 | 8:30 Pm Jack H. Skirball Series $9 [Students $7, Calarts $5]
FILM AT REDCAT PRESENTS Mon Sept 27 | 8:30 pm Jack H. Skirball Series $9 [students $7, CalArts $5] THE BEST OF OTTAWA 2009 This selection of 12 outstanding films from the Ottawa International Animation Festival 2009, most of which are Los Angeles premieres, reflects the vitality of experimental animation today and includes work from Canada, England, Estonia, France, Germany, Poland, and the United States. Each filmmaker demonstrates a passion for telling stories, whether abstract or figurative, and the works showcase the rich possibilities of animation as personal art. Films include Eric Dyer’s mesmerizing The Bellow’s March, Diego Maclean’s haunting The Art of Drowning, and David OReilly’s sci-fi drama Please Say Something, as well as works by Jake Armstrong, Bastien Dubois, Julian Grey, Rao Heidmets, Stephen Irwin, Gary Leib, Ian Miller, Marv Newland, and Michal Socha. Two new films by American animators who continue to delight, disturb, and enlighten— Myth Labs by Martha Colburn and Presentation Theme by Jim Trainor—will also be screened. In person: Suzan Pitt, Ottawa International Animation Festival jury member “Martha Colburn’s animations charge the frame with such ferocity that it almost hurts to watch… Tacitly these unconscious imaginings give rise to strikingly clear associations, which is why the work is so illuminating—not just for its ideational and aesthetic lushness but for its approach.” – Dena Beard, Berkeley Art museum/Pacific Film Archive Program (TRT 81 min.) Julian Grey: OIAF 2009 Signal Film Head Gear Animation | Canada | 2009 | 0:45 The bouncing ball leads the audience to the 2009 edition of the Ottawa International Animation Festival. -
2012–2013 NFB Annual Report
Annual Report T R L REPO A NNU 20 1 2 A 201 3 TABLE 03 Governance OF CONTENTS 04 Management 01 Message from 05 Summary of the NFB Activities 02 Awards Received 06 Financial Statements Annex I NFB Across Canada Annex II Productions Annex III Independent Film Projects Supported by ACIC and FAP Photos from French Program productions are featured in the French-language version of this annual report at http://onf-nfb.gc.ca/rapports-annuels. © 2013 National Film Board of Canada ©Published 2013 National by: Film Board of Canada Corporate Communications PublishedP.O. Box 6100,by: Station Centre-ville CorporateMontreal, CommunicationsQuebec H3C 3H5 P.O. Box 6100, Station Centre-ville Montreal,Phone:© 2012 514-283-2469 NationalQuebec H3CFilm Board3H5 of Canada Fax: 514-496-4372 Phone:Internet:Published 514-283-2469 onf-nfb.gc.ca by: Fax:Corporate 514-496-4372 Communications Internet:ISBN:P.O. Box 0-7722-1272-4 onf-nfb.gc.ca 6100, Station Centre-ville Montreal, Quebec H3C 3H5 4th quarter 2013 ISBN: 0-7722-1272-4 4thPhone: quarter 514-283-2469 2013 GraphicFax: 514-496-4372 design: Oblik Communication-design GraphicInternet: design: ONF-NFB.gc.ca Oblik Communication-design ISBN: 0-7722-1271-6 4th quarter 2012 Cover: Stories We Tell, Sarah Polley Graphic design: Folio et Garetti Cover: Stories We Tell, Sarah Polley Cover: Soldier Brother Printed in Canada/100% recycled paper Printed in Canada/100% recycled paper Printed in Canada/100% recycled paper 2012–2013 NFB Annual Report 2012–2013 93 Independent film projects IN NUMBERS supported by the NFB (FAP and ACIC) 76 Original NFB films and 135 co-productions Awards 8 491 New productions on Interactive websites NFB.ca/ONF.ca 83 33,721 Digital documents supporting DVD units (and other products) interactive works sold in Canada * 7,957 2 Public installations Public and private screenings at the NFB mediatheques (Montreal and Toronto) and other community screenings 3 Applications for tablets 6,126 Television broadcasts in Canada * The NFB mediatheques were closed on September 1, 2012, and the public screening program was expanded. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
Vol. 49 No. 2, September 26, 1996
-NEWS- Jewel provides opportunity for reflection - PAGE 11 -SPORTS- President Murray receives award for triumphs Football team defeats Iona 30-7 and eN Food Girl reviews Bugaboo Creek - PAGE 6 in education and service -PAGE 3 improves record to 1-1 - PAGE 16 Volume 49, Number 2 The Student Newspaper of Marist College September 26,1996 WMCR forced to change radio band Marist radio station changes frequencies and attempts to become FCC certified by TOM SCHWAB WXHD was poorly funded, a roof of Champagnat. StaffWriter company named Shawangnk "He's helped us out before," stepped in and teamed them up said Melichar. "He looked all over When Charlie Melichar, presi with WFMU. Finally, during the the band for a new station, and dent of Marist College Radio, re Summer and 10 years later, the only clear station he could turned to Marist earlier this WFMU transmitted its signal via find was 88.1." month, he was shocked at what satellite to its new simulcasting Melichar said he thinks the tem he heard playing on 90.1. station, WXHD. porary loss of the station helped "The first thing I heard was a "We weren't on the air, so they more than it hurt. song about some guy's mule, and didn't know we"existed,"-said "We were at a stage where I was I almost had a heart attack," said Melichar. "No one up here was pushing for people to be aware Melichar. paying attention, and now they of the station," said Melichar. WMCR had been replaced in have it." "Once this happened, people all directly by WFMU, located in Ken Freidman, station manager over campus were fighting East Orange, NJ. -
GRANADA TELEVISION Film Funding to Match with Private Investment for the Pro Duction of Overnight from a Screenplay H E Wrote Himself
• elM E MA~ • chopper and Beaver aircraft in ities for 16mm, 35mm, inter lating film library. the series. locking systems, slide shows, With the intention of be VANCOUVER VISTAS Vancouver crews predo professional Super 8 and Dolby coming a focal point of access by Rona Gilbertson minate, but the d irectorship sound, a production studio, a for local filmmakers and the • • will be split b e tween east and film studies library and a eircu- The National Film Board is in screen test." Written by Ka west talent. So far, only half have been selected. John M. - pre-production on a series of threen Neilson, the first 20 six one-hour programs to air minutes were shot in February Eckert of Toronto w ill act as nationally which explores the of this year. From h e re, the the new line producer and Harold Tichenor of Vancouver, historical upheaval in the edited version w ill serve to global economy since the In petition for Telefilm and private as the production manager. dustrial Revolution. funding. The WI'iter's Department will again rely on the consulting The Political Economy Series Th e first draft of the feature length screenplay will be fi and contributing expertise of challenges Canadians with an John Dugan, who will coordi nished by May 31, and Sandy unlaundered look at the issues nate from Los Angeles. Hopes Flanagan of the Reel West that mark the new world order are to make the series more Digest will team with Schmidt and options for making Canada action and adventure oriented. -
FICTIONS a Written Creative Work Submitted to The
LOVE’S DOORWAY TO LIFE: FICTIONS A Written Creative Work submitted to the faculty of San Francisco State University < In partial fulfillment of the requirements for the Degree JO!} CO Master of Fine Arts In Creative Writing by Andrew Gavin Murphy San Francisco, California May 2017 Copyright by Andrew Gavin Murphy 2017 CERTIFICATION OF APPROVAL I certify that I have read Love’s Doorway to Life: Fictions by Andrew Gavin Murphy, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Fine Arts Creative Writing at San Francisco State University. M Peter Omer Professor of Creative Writing Michelle Carter Professor of Creative Writing LOVE’S DOORWAY TO LIFE: FICTIONS Andrew Gavin Murphy San Francisco, California 2017 A collection of fictions based in and around the north of Ireland, interwoven with the author’s personal history in Ireland and the United States. I certify that the Abstract is a correct representation of the content of this written creative work. S '/9 /± T_ Chair, Thesis Committee Date ACKNOWLEDGEMENTS The author wishes to thank all the faculty of the Creative Writing and English Department at San Francisco State University for their generosity inside the classroom. He also wishes to thank his fellow graduate and undergraduate students who provided inspiration, peer support, and creative validation. Finally, the title of this manuscript is borrowed from Patrick Kavanagh’s poem, “Innocence.” TABLE OF CONTENTS A Belfast Story.....................................................................................................................1