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Durham E-Theses
Durham E-Theses Pulling focus: New perspectives on the work of Gabriel Figueroa Higgins, Ceridwen Rhiannon How to cite: Higgins, Ceridwen Rhiannon (2007) Pulling focus: New perspectives on the work of Gabriel Figueroa, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2579/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Pulling Focus: New Perspectives on the Work of Gabriel Figueroa by Ceridwen Rhiannon Higgins University of Durham 2007 Submitted for Examination for Degree of PhD 1 1 JUN 2007 Abstract This thesis examines the work of Mexican cinematographer Gabriel Figueroa (1907 -1997) and suggests new critical perspectives on his films and the contexts within which they were made. Despite intense debate over a number of years, auteurist notions in film studies persist and critical attention continues to centre on the director as the sole giver of meaning to a film. -
Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. -
Movie Tv Sho Audio Radio
70 FILM REVIEWS MOVIES 71 NEW MOVIES ONBOARD 72 MOVIES TV SHOWS 74 TV SHOWS AUDIO Entertainment 76 AUDIO/RADIO RADIO © 2018 20TH CENTURY FOX. ALL RIGHTS RESERVED. BAD TIMES AT THE EL ROYALE FILM REVIEWS WANT HELP WITH WHAT TO WATCH THIS MONTH? FILMMAKER AND DIRECTOR KAM RASLAN MAKES THE CASE FOR THESE THREE MOVIES. THE INCREDIBLES Is The Incredibles the best animated movie ever? Yes. Yes, it is. It’s hilariously funny, exciting, moving and visually beautiful. A family of superheroes have to live in witness protection as normal people because superheroes have been deemed a menace to society. Naturally, Mr Incredible hates his boring life as an insurance salesman and his goingplacesmagazine.com children have to hide their superhero skills. But when an opportunity for a return to the old life comes knocking, Mr Incredible puts his entire family at risk, which sounds like a job LOGAN for Elastigirl. Is Logan the best superhero movie ever? EDGE OF TOMORROW Probably. A thunderous Hugh Jackman Because it was made all the way back in Is Edge of Tomorrow the best science fiction | 70 is Wolverine one last time as he plays a 2004, the animation for The Incredibles may movie ever? Maybe not, but it’s definitely | January 2019 January | reluctant father figure to the stunningly not seem quite as plush as, say, Zootopia, the best science fiction movie starring Tom intense young actress Dafne Keen. On a but director Brad Bird (who made his name Cruise, and when it comes to big-budget desperate journey from Mexico to the far with The Simpsons) created such a complete action Hollywood movies, nobody delivers north, the pair are perfectly matched as universe that you instantly forget. -
Annual Report 2015
Annual Report 2015 PARCO CO.,LTD. Annual Report 2015 The PARCO Group Value Creation Process Performance PARCO, together with its stakeholders, strives to create new lifestyles, guided by the Risks and Opportunities PARCO Group Corporate Mission and the sentiment embodied in the PARCO name. Strategy and Resource In business, PARCO leverages its capabilities as a comprehensive commercial Allocation space producer, while pursuing management strategies in step with the times, to Outlook Planning propose ways to enrich consumer lifestyles. This encapsulates the creation of new P14 Strategy value to which society can connect. PARCO views the tireless advancement of such value through “Incubation,” “Urban Revitalization” and “Trends Communica- tion” as its social role. By taking full advantage of its “Six Capitals” and keeping the PARCO Group Marketing business model revolving, the delivery of new value becomes synonymous with the brand value of the PARCO Group. Put differently, this results in a process for the creation of new value to which society at large can connect. Business Model Equal Partnership Strong in Comprehensive Shopping Complex Production Renovation Profit Structure for the Shopping Complex Business Mission and Vision P08 PARCO Business Model P03 Introduction Outputs Maintenance Superiority Services P34 Performance Initiatives by Segment Business Activities Strategy Produced by PARCO Brand PARCO Entertainment P14 Strategy PARCO Group CSR Cultivation of Major Urban Areas The Six Capitals Expansion of Core Targets Innovative Use -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
The German-Jewish Experience Revisited Perspectives on Jewish Texts and Contexts
The German-Jewish Experience Revisited Perspectives on Jewish Texts and Contexts Edited by Vivian Liska Editorial Board Robert Alter, Steven E. Aschheim, Richard I. Cohen, Mark H. Gelber, Moshe Halbertal, Geoffrey Hartman, Moshe Idel, Samuel Moyn, Ada Rapoport-Albert, Alvin Rosenfeld, David Ruderman, Bernd Witte Volume 3 The German-Jewish Experience Revisited Edited by Steven E. Aschheim Vivian Liska In cooperation with the Leo Baeck Institute Jerusalem In cooperation with the Leo Baeck Institute Jerusalem. An electronic version of this book is freely available, thanks to the support of libra- ries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative can be found at www.knowledgeunlatched.org This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. ISBN 978-3-11-037293-9 e-ISBN (PDF) 978-3-11-036719-5 e-ISBN (EPUB) 978-3-11-039332-3 ISSN 2199-6962 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2015 Walter de Gruyter GmbH, Berlin/Boston Cover image: bpk / Staatsbibliothek zu Berlin Typesetting: PTP-Berlin, Protago-TEX-Production GmbH, Berlin Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Preface The essays in this volume derive partially from the Robert Liberles International Summer Research Workshop of the Leo Baeck Institute Jerusalem, 11–25 July 2013. -
Lon Chaney (1Er Avril 1883 – 26 Août 1930), Surnommé « L'homme Aux
Lon Chaney (1er avril 1883 – 26 août 1930), surnommé « l’homme aux mille visages », est un acteur de cinéma américain du temps du muet. Il fut l’un des acteurs les plus polyvalents et les plus impressionnants de l’aube du cinéma. On se souvient de lui surtout pour ses compositions de personnages torturés, souvent grotesques et affectés, ainsi que pour son talent novateur en ce qui concerne le maquillage de cinéma. Lon Chaney naquit Leonidas Frank Chaney à Colorado Springs (Colorado), le fils de Frank H. Chaney et d’Emma Alice Kennedy, son père avait du sang français mais surtout anglais, tandis que sa mère avait des origines irlandaises. Les parents de Chaney étaient sourds tous les deux et, dès l’enfance, Chaney montra quelque talent pour la pantomime. Il commença à monter sur les planches en 1902 et tourna avec des troupes de vaudeville et de théâtre. En 1905, il fit la connaissance de la chanteuse Cleva Creighton et l’épousa alors qu’elle n’avait que seize ans. L’année suivante naquit celui qui restera leur unique enfant, Creighton Chaney, qui fut mieux connu bien plus tard sous le nom de Lon Chaney, Jr.. La famille Chaney poursuivit les tournées, avant de se fixer en Californie en 1910. Malheureusement, leur mariage commença à battre de l’aile et, en avril 1913, Cleva se rendit au Majestic Theatre, situé au centre de Los Angeles, où Lon travaillait à un spectacle, le Kolb and Dill show et, là, elle tenta de mettre fin à ses jours en avalant du bichlorure de mercure. -
JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres
Media Contacts: Emma Myers, [email protected], 917-499-3339 Shannon Jowett, [email protected], 212-715-1205 Asako Sugiyama, [email protected], 212-715-1249 JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres Dynamic 10th Edition Bursting with Nearly 30 Features, Over 20 Shorts, Special Sections, Industry Panel and Unprecedented Number of Special Guests July 14-24, 2016, at Japan Society "No other film showcase on Earth can compete with its culture-specific authority—or the quality of its titles." –Time Out New York “[A] cinematic cornucopia.” "Interest clearly lies with the idiosyncratic, the eccentric, the experimental and the weird, a taste that Japan rewards as richly as any country, even the United States." –The New York Times “JAPAN CUTS stands apart from film festivals that pander to contemporary trends, encouraging attendees to revisit the past through an eclectic slate of both new and repertory titles.” –The Village Voice New York, NY — JAPAN CUTS, North America’s largest festival of new Japanese film, returns for its 10th anniversary edition July 14-24, offering eleven days of impossible-to- see-anywhere-else screenings of the best new movies made in and around Japan, with special guest filmmakers and stars, post-screening Q&As, parties, giveaways and much more. This year’s expansive and eclectic slate of never before seen in NYC titles boasts 29 features (1 World Premiere, 1 International, 14 North American, 2 U.S., 6 New York, 1 NYC, and 1 Special Sneak Preview), 21 shorts (4 International Premieres, 9 North American, 1 U.S., 1 East Coast, 6 New York, plus a World Premiere of approximately 12 works produced in our Animation Film Workshop), and over 20 special guests—the most in the festival’s history. -
Poder Y Cambio Social Visto a Través Del Cine Mexicano Contemporáneo
SñbUotec@ ~~:~~:-~:.;:r_~ ~:~· ·::"""c:i r;:~ r.~t.\:~·.·; PODER Y CAMBIO SOCIAL VISTOS A TRAVÉS DEL CINE MEXICANO CONTEMPORÁNEO TESIS QUE PRESENTA ALONSO RUIZ BELMONT PARA OBTENER EL GRADO DE DOCTOR EN ESTUDIOS HUMANÍSTICOS CON ESPECIALIDAD EN ÉTICA DIRECTOR DE TESIS: JOSÉ F. FERNÁNDEZ SANTILLÁN OCTUBRE, 2008 CAMPUS CIUDAD DE MÉXICO RESUMEN Poder y cambio social vistos a través del cine mexicano contemporáneo. Definición del problema: A lo largo de la historia contemporánea, el cine ha sido usado en diversas coyunturas políticas y sociales como instrumento de legitimación política y como documento histórico. Con base en esta premisa, es posible hablar de una interacción entre las esferas de la sociedad y de la producción cultural. El presente trabajo de investigación pretende arrojar luz acerca de las derivaciones sociopolíticas del cine mexicano del último medio siglo. Procedimiento: Se realizó un análisis histórico y social comparativo de la producción cinematográfica en México y en otros países, así como de las repercusiones mediáticas que el cine nacional ha generado en los pasados cincuenta años. Resultados: Se halló que la cinematografía mexicana contemporánea es una efectiva herramienta de cuestionamiento simbólico del poder, así como un valioso documento histórico sociológico. Conclusiones: Actualmente, la cinematografía nacional es un vehículo efectivo de expresión cívica y un valioso elemento de la producción cultural que da cuenta de las aspiraciones democráticas y materiales de la sociedad mexicana. V ÍNDICE AGRADECIMIENTOS -
Ouff Escola 95 Outras Actividades Otras Actividades / Other Activities 105
Festival de Cine Internacional de Ourense Rúa da Canle nº 2 – 32004, Ourense, España Apartado 664 – 32080, Ourense, España (+34) 988 618 605 [email protected] www.ouff.org Saúda Alcalde Para salvar a distancia que nos separa de América precisaríamos a cinta de catro mil películas. O Festival de Cine de Ourense, o OUFF, non pretende cubrir o Atlánti- co de celuloide, senón abrirnos a fiestra dun audiovisual que comezaron a semen- tar, moitos anos atrás, destacados pioneiros do cine como Carlos Velo. Nesta vixésimo primeira edición, o OUFF vai pór o foco nese fervedoiro creador que é o cinema iberoamericano, un espello cóncavo no que confrontar as realidades a un lado e ao outro. Pero tamén nas óperas primas, unha alternativa aos novos creadores, talentos emerxentes coas súas renovadas formas e linguaxes sobre his- torias universais. Neste OUFF poderemos seguir a Valente e a Borges, que nun paseo por Bos Ai- res Sur visitaron o patio da Sociedade de Escritores, onde se filmara Invasión, con guión do arxentino: “En la película cuentan una milonga con letra de Jorge Luis Borges”, conta Valente. Que vos parece bailar xuntos esa milonga, que foi a primei- ra que filmou Hugo Santiago, co propio autor? Oportunidades únicas que cobran unha dimensión case máxica no interior dunha sala de cine. Mergullémonos xuntos neste océano de celuloide ollando as diferentes formas de interpretar o mundo a través dunha cámara e -esta é a verdadeira maxia do cine- sobre a pantalla branca. Jesús Vázquez Abad, alcalde de Ourense. 5 Para salvar la distancia que nos separa de América necesita- To bridge the gap that separates us from America we would need ríamos la cinta de casi cuatro mil películas. -
The Mexican Film Bulletin Vol
THE MEXICAN FILM BULLETIN VOL. 24 NO. 2 June 2018 TThhee MMeexxiiccaann FFiillmm BBuulllleettiinn VVoolluummee 2244 NNuummbbeerr 22 JJuunnee 22001188 otro idioma; Juan Pablo de Santiago, Sueño en otro 2018 Ariel Awards idioma; Miguel Rodarte, Tiempo compartido. The 60th Ariel Awards ceremony was held in the Best Supporting Actor: Héctor Holten, El vigilante; Palacio de Bellas Artes in Mexico City on 5 June 2018. Hernán Mendoza, Las hijas de Abril; Norman Delgadillo, Sueño en otro idioma won 6 Arieles, including Best Film. Los crímenes de Mar del Norte; Andrés Almeida, Tiempo La región salvaje received 5 awards, including Best compartido; Tenoch Huerta Vuelven. Director for Amat Escalante. Lifetime achievement Best Supporting Actress: Bernarda Trueba, La región Arieles de Oro went to actress Queta Lavat, whose career salvaje; Vico Escorcia, Los crímenes de Mar del Norte; dates back to the 1940s, and cinematographer Toni Kuhn. Norma Angélica, Sueño en otro idioma; Mónica Miguel, 2018 Arieles (Winners in Bold) Sueño en otro idioma; Mercedes Pascual, Tamara y la Best Film: Batallas íntimas (dir. Lucia Gajá); La Catarina. libertad del Diablo (dir. Everardo González); La región Best New Actress: Macarena Arias, Alba; Ruth Ramos, salvaje (dir. Amat La región salvaje; Ana Valeria Becerril, Las hijas de Escalante); Sueño Abril; Nicolasa Ortiz Monasterio, Sueño en otro idioma; en otro idioma Paola Lara, Vuelven. (dir. Ernesto Best New Actor: Luis Amaya Rodríguez, Ayúdame a Contreras); pasar la noche; Jesús Meza, La región salvaje; Máximo Tiempo Hollander, Los herederos; Luis de la Rosa, Mientras el compartido (dir. lobo no está; Juan Ramón López, Vuelven. Sebastián Best Original Screenplay: Everardo González, Diego Hofmann). -
Konvolutverzeichnis
Konvolutverzeichnis Bestand Gerd Oswald (1919 – 1989) Regisseur, Produzent Bestand Nr. 198053 Gliederung: 1. Werksbezug 2. Personenbezug 1. Werksbezug Abenteuer Am Lido PA-25715 Österreich, 1933, Regie: Oswald, Richard Enthält: Foto(s) sw Foto(s) sw 2 Stück Die Blume Von Hawaii PA-25716 Deutschland (Deutsches Reich), 1932, Regie: Oswald, Richard Enthält: Foto(s) sw Foto(s) sw 1 Stück Le Café Du Cadran PA-25717 Frankreich, 1947, Regie: Gehret, Jean Enthält: Foto(s) sw Foto(s) sw 1 Stück Carlos Und Elisabeth PA-25718 Deutschland (Deutsches Reich), 1923, Regie: Oswald, Richard Enthält: Graue Literatur Le Diable Au Corps PA-25719 Frankreich, 1946, Regie: Autant-Lara, Claude Enthält: Foto(s) sw Foto(s) sw 1 Stück Dreyfus PA-25720 Deutschland (Deutsches Reich), 1930, Regie: Oswald, Richard Enthält: Drehbuch (Schriftstück) Foto(s) sw Presseausschnitt(e) Foto(s) sw 1 Stück Ehe In Not PA-25721 Deutschland (Deutsches Reich), 1929, Regie: Oswald, Richard Enthält: Foto(s) sw Foto(s) sw 1 Stück Ein Lied Geht Um Die Welt PA-25722 Deutschland (Deutsches Reich), 1933, Regie: Oswald, Richard Enthält: Foto(s) sw Presseausschnitt(e) Foto(s) sw 1 Stück A Foreign Affair PA-25723 Vereinigte Staaten von Amerika, 1947, Regie: Wilder, Billy Enthält: Foto(s) sw Foto(s) sw 37 Stück Gräfin Mariza PA-25724 Deutschland (Deutsches Reich), 1932, Regie: Oswald, Richard Enthält: Foto(s) sw Presseausschnitt(e) Foto(s) sw 1 Stück Der Hauptmann Von Köpenick PA-25725 Deutschland (Deutsches Reich), 1931, Regie: Oswald, Richard Enthält: Graue Literatur Korrespondenz (Schriftstück)