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Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
DOCUMENTARY FILMS Page 1 of 10
DOCUMENTARY FILMS Page 1 of 10 DOCUMENTARY FILMS Documentary Films, strictly speaking, are non-fictional, "slice of life" factual works of art - and sometimes known as cinema verite. For many years, as films became more narrative- based, documentaries branched out and took many forms since their early beginnings - some of which have been termed propagandistic or non-objective. Documentary films have comprised a very broad and diverse category of films. Examples of documentary forms include the following: z 'biographical' films about a living or dead person (Madonna, John Lennon, Muhammad Ali - When We Were Kings (1996), Robert Crumb, Stephen Hawking in A Brief History of Time (1992), or Glenn Gould) z a well-known event (Waco, Texas incident, the Holocaust, the Shackleton expedition to the Antarctic) z a concert or rock festival (Woodstock or Altamont rock concerts, Madonna: Truth or Dare (1991), Stop Making Sense (1984)) z a comedy show (Richard Pryor or Eddie Murphy shows) z a live performance (Cuban musicians as in Buena Vista Social Club (1998), or the stage show Cirque du Soleil-Journey of Man (2000)) z a sociological or ethnographic examination following the lives of individuals over a period of time (e.g., Michael Apted's series of films: 28 Up (1984), 35 Up (1992) and 42 Up (1999), or Steve James' Hoop Dreams (1994)) z an expose including interviews (e.g., Michael Moore's social concerns films) z a sports documentary (extreme sports, such as Extreme (1999) or To the Limit (1989), or surfing, such as in The Endless Summer (1966)) -
In Cinematography
Sean O’Connor DSG 610 Prof. Hogencamp June 10, 2018 What is Cinematography? In Cinematography: Theory and Practice, Brown defines cinematography simply as the film director and director of photography (DP) collaborating on “the same basic task: storytelling with the camera”1. However, based on further readings in his book and others, as well as the documentary film Visions of Light, cinematography seems much more complicated than that short and simple statement. The medium seems essentially a balancing act, between the artistic and creative aspects of visual storytelling as well as the logistical elements of completing a day’s worth of shooting, getting the light just right, and coordinating several crewmembers operating cameras, lights, and other equipment. Therefore, the duties of a cinematographer range from the creative to the technical, and they are all essential. In terms of creative and artistic choices, Mercado attests that every item contained in the frame, from actors to props, matters: “Anything and everything that is included in the composition of a shot will be interpreted by an audience as being there for a specific purpose that is directly related and necessary to understand the story they are watching.”2 There is no place for arbitrary choices for the cinematographer: every aspect of the framing, lighting, and motion of a shot must have purpose, which that cinematographer must decide creatively based on the story and characters of the film. Because of this, cinematography contributes heavily to story by visually enforcing or affirming the emotions, conflict, and even structure of the story. “There has to be,” continues Mercado, “a direct connection between what takes place in the story and the use of a particular composition.”3 Regarding the notion of visual structure accompanying story structure, Block writes, “Progressions are fundamental to story or musical structure, and they’re fundamental to visual structure. -
The Doolittle Family in America, 1856
TheDoolittlefamilyinAmerica WilliamFrederickDoolittle,LouiseS.Brown,MalissaR.Doolittle THE DOOLITTLE F AMILY IN A MERICA (PART I V.) YCOMPILED B WILLIAM F REDERICK DOOLITTLE, M. D. Sacred d ust of our forefathers, slumber in peace! Your g raves be the shrine to which patriots wend, And swear tireless vigilance never to cease Till f reedom's long struggle with tyranny end. :" ' :,. - -' ; ., :; .—Anon. 1804 Thb S avebs ft Wa1ts Pr1nt1ng Co., Cleveland Look w here we may, the wide earth o'er, Those l ighted faces smile no more. We t read the paths their feet have worn, We s it beneath their orchard trees, We h ear, like them, the hum of bees And rustle of the bladed corn ; We turn the pages that they read, Their w ritten words we linger o'er, But in the sun they cast no shade, No voice is heard, no sign is made, No s tep is on the conscious floor! Yet Love will dream and Faith will trust (Since He who knows our need is just,) That somehow, somewhere, meet we must. Alas for him who never sees The stars shine through his cypress-trees ! Who, hopeless, lays his dead away, \Tor looks to see the breaking day \cross the mournful marbles play ! >Vho hath not learned in hours of faith, The t ruth to flesh and sense unknown, That Life is ever lord of Death, ; #..;£jtfl Love" ca:1 -nt ver lose its own! V°vOl' THE D OOLITTLE FAMILY V.PART I SIXTH G ENERATION. The l ife given us by Nature is short, but the memory of a well-spent life is eternal. -
Cinematography
MEDIA ACTIVITY 2 Your preparation guide to get you ready for September Video Production: Cinematography: In the first term at the college we look at the world of cinematogrpahy within video production. The aim is to give you a the practical skills to be able to film asthethicly pleasing visuals and understand the narrative meaning behind each choice made. Cinematograpahy is the film makers tool kit when it comes to how a film looks, so before you start working on your own visuals, we think it is important to understand the history behind the craft. Below is a link to a documentry all about cinematography, which can be viewed through YouTube, though its an older piece the information is a relavent today as it ever was. Give it watch and see if you can complete the quiz below, most of the anwsers to the questions can be found within the documentry itself though a little bit of internet research may be required. Visions of Light - https://www.youtube.com/watch?v=dXeuk1tO32k The film covers the art of cinematography since the conception of cinema at the turn of the 20th century. Many filmmakers and cinematographers present their views and discuss why the art of cinematography is important within the craft of filmmaking. 1. In what year was “Birth of a Nation” released? 2. What was the nickname for early films the first used sound? 3. Colour tints were used in early black and white films to represent time of day, can you identify which times of the day the following colours represent? Blue: Red: 4. -
Charlottesville to Monticello & Beyond
Charlottesville to Monticello & Beyond Restoring Pedestrian and Bicycle Connections Maura Harris Caroline Herre Peter Krebs Joel Lehman Julie Murphy Department of Urban and Environmental Planning University of Virginia School of Architecture May 2017 Charlottesville to Monticello & Beyond Restoring Pedestrian and Bicycle Connections Maura Harris, Caroline Herre, Peter Krebs, Joel Lehman, and Julie Murphy Department of Urban and Environmental Planning University of Virginia School of Architecture May 2017 Sponsored by the Thomas Jefferson Planning District Commission Info & Inquiries: http://cvilletomonticello.weebly.com/ Acknowledgments This report was written to satisfy the course requirements of PLAN- 6010 Planning Process and Practice, under the direction of professors Ellen Bassett and Kathy Galvin, as well as Will Cockrell at the Thomas Jefferson Planning District Commission, our sponsor. We received guidance from an extraordinary advisory committee: Niya Bates, Monticello, Public Historian Sara Bon-Harper, James Monroe’s Highland Will Cockrell, Thomas Jefferson Planning District Commission Chris Gensic, City of Charlottesville, Parks Carly Griffith, Center for Cultural Landscapes Neal Halvorson-Taylor, Morven Farms, Sustainability Dan Mahon, Albemarle County, Parks Kevin McDermott, Albemarle County Transportation Planner Fred Missel, UVa Foundation Andrew Mondschein, UVa School of Architecture Peter Ohlms, Virginia Transportation Research Council Amanda Poncy, Charlottesville Bicycle/Pedestrian Coordinator Julie Roller, Monticello Trail Manager Liz Russell, Monticello, Planning We received substantial research support from the UVa School of Architecture and a host of stakeholders and community groups. Thank you—this would not have happened without you. Cover Photos: Thomas Jefferson Foundation, Peter Krebs, Julie Murphy. Executive Summary Thomas Jefferson’s Monticello is an important source of Charlottesville’s Stakeholders requested five areas of investigation: history, cultural identity and economic vitality. -
American Association for Higher Education (AAHE) Bulletin, 1992-93
DOCUMENT RESUME ED 360 898 HE 026 632 AUTHOR Marchese. Theodore J., Ed. TITLE American Associationfor Higher Education (AAHE) Bulletin, 1992-93. INSTITUTION American Associationfor Higher Education, Washington, D.C. REPORT NO ISSN-0162-7910 PUB DATE 93 NOTE 187p.; Published 10 times a year, coinciding with academic year. AVAILABLE FROMAmerican Association for Higher Education, One Dupont Circle, Suite 600, Washington, DC 20036-1110 ($3.50 each issue, 1-10 copies, $2.50 11 copies or more). PUB TYPE Collected Works Serials (022) Collected Works Conference Proceedings (021) JOURNAL CIT AAHE Bulletin; v45 n1-10 Sep 1992-Jun 1993 EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Access to Education; *College Administration; *College Instruction; Conferences; Cultural Pluralism; *Educational Change; *Educational Quality; Financial Exigency; Group Discussion; Higher Education; Instructional Improvement; Management Teams; *Public Opinion; Public Relations; *School Community Relationship; Student Financial Aid IDENTIFIERS American Association for Higher Education; Diversity Concept; Total Quality Management ABSTRACT The 10 issues of this organizational bulletin for the 1992/93 school year present articles, panel discussions, interview:, and essays on issues concerning the advancement of higher education. Among the topics and issues discussed are the following: an interview with Parker J. Palmer concerning community and commitment in higher education; conference notes on the 1993 National Conference on Higher Education--Reinventing Community: Moving -
FY12 Titles Added to the Collection.Xlsx
For more information about each title, visit the library catalog at http://pamug.iii.com/search~S6 FY12 Titles added to the Collection PCAD Library CALL # TITLE N325.W49 101 Things to Learn in Art School DVD PN1995.9.T75T84 12 Angry Men PN1995.9.S26T8 2001: A Space Odyssey N34.I545 A-Z of Visual Ideas: How to Solve Any Creative Brief DVD PN1992.77.A1 Abbott &Costello Show: Complete Series DVD PN1997.2.A23 Abduction DVD N6537.H64 About Jenny Holzer PN1590.W64A38 Acting Out: Feminist Performances TK5105.8885.D74L66 Adobe Dreamweaver CS5 Bible BH81.R44 Aesthetic Life: The Past and Present of Artistic Culture DVD PN1995.9.C55A38 After Hours K564.H8C36 After We Die: The Life & Times of the Human Cadaver TR139.M623 After Weegee: Essays on Contemporary Jewish American Photographers TR655.H477 Afterwards: Contemporary Photography Confronting the Past BF315.K296 Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to Present DVD HV1431.A3564 Aging Out N6888.D8P75 Albrect Durer's Renaissance: Humanism, Reformation, and the Art of Faith NX549.C22A4 Alexandre Cabanel: The Tradition of Beauty TR140.S7H639 Alfred Stieglitz: A Legacy of Light DVD ND1329.N36A824 Alice Neel GV1785.B348B47 Alicia Alonso: Prima Ballerina DVD PN1997.A323 All About Eve N7710.L35 Allegory TR685.A48 Altered Images: New Visionaries in 21st Century Photography DVD PN1995.9.H6A4475 American Haunting DVD PN1997.A343 American in Paris ND1471.M39 American Painters on Technique: The Colonial Period to 1860 PN6727.P4A74 American Splendor: -
Discentes Matrícula Nome Campus 1702090240
Planilha1 LISTA DE VOTANTES – DISCENTES MATRÍCULA NOME CAMPUS CAMPUS 1702090240 ALESSANDRA DA SILVA LEMES JAGUARÃO ABDOU HALIQUE ATANDA ADECHINAN CAMPUS 1901030001 BOUARI ALEGRETE CAMPUS SÃO 1701580519 ABEL DEMUTTI GUEDES GABRIEL 131151474 ABIEZER BUSTAMANTE BAUTISTA CAMPUS ITAQUI CAMPUS 1701570608 ABIEZER DA COSTA SILVA JAGUARÃO CAMPUS 1801570850 ABILENE PEDROLLO FUMAGALLI URUGUAIANA CAMPUS 141152395 ABNER ARTHUR LEITE AGUILAR ALEGRETE 1906110344 ABNER GILEAD ARAUJO GUEDES CAMPUS BAGÉ PRO-REITORIA DE PESQUISA, POS- GRADUACAO E INOVACAO - 1802500018 ABNER GILEAD ARAUJO GUEDES PROPPI CAMPUS SANTANA DO 1901570641 ABNER ROCHA FERREIRA LIVRAMENTO CAMPUS 1901570396 ABRAHAN ESTEVAN SILVA MENDES URUGUAIANA 121150520 ACACIO DA ROCHA GUEDES DA LUZ CAMPUS ITAQUI CAMPUS SÃO 141151830 ADALBERTO LENCINA SILVA BORJA CAMPUS 1702090082 ADALMIR JUNIOR BITTENCOURT FACCO JAGUARÃO CAMPUS SANTANA DO 161152513 ADAM GERONIMO GUEDES BARBOSA LIVRAMENTO CAMPUS 1701560419 ADAO JESUS DA SILVA DA ROSA ALEGRETE 161150095 ADAO MARLOS PEREIRA LOPES CAMPUS ITAQUI CAMPUS 1901560407 ADAO SELOI COELHO DA SILVA JUNIOR JAGUARÃO CAMPUS SANTANA DO 152150049 ADELAR NUNES SAUCEDO LIVRAMENTO CAMPUS SÃO 1906110041 ADELINA ESCOBAR INDA BORJA CAMPUS DOM 151151423 ADEMAR ENRIQUE RODRIGUEZ BONETTE PEDRITO 1801580042 ADEMAR PEREIRA FAO CAMPUS ITAQUI CAMPUS SÃO 1913530088 ADEMILSON VIANA BORJA CAMPUS DOM 131152106 ADEMIR DA SILVA BANDEIRA PEDRITO 1901560504 ADERSON ALVES DA SILVA CAMPUS BAGÉ CAMPUS SÃO 161152975 ADILBERTO VIEIRA ROMERO GABRIEL CAMPUS SÃO 1701570135 ADILSON HELENO DORNELLES -
Vladimír Darida
Čekání na jízdní řád 10 Vymazal asijskou legendu 42 Škorpil uzavřel kruh 44 JOSEF JINDŘIŠEK „Když jsem Tomáši Rosickému po zápase se Spartou řekl, že mi je devětatřicet, spadla mu brada. Prý budu hrát do padesáti…“ směje se kapitán Bohemians. FOTBALOVÝ TÝDENÍK | 53. ROČNÍK | VYCHÁZÍ V ÚTERÝ 9. 6. 2020 | 23 /2020 VLADIMÍR DARIDA Lamač rekordů Pavel Horváth „Záchrana? Budeme se rvát dál!“ 23/2020 AKTUÁLNĚ Úterý 9.6.2020 3 OBSAH Můj týden Josef Jindřišek: „Prý budu fotbalový Jágr!“ ........................ 4 Aktuálně Čekání na jízdní řád ............................................................. 10 Rozhovor Vladimír Darida: český lamač bundesligových rekordů ..................... 14 Vážení čtenáři! Jako jediná z Top 5 nejprestižnějších evrop- ských lig se v postkoronavirové době rozeběhla německá bundesliga. A v ní dělá radost českým fanouškům a samozřejmě i příznivcům berlínské Herthy Vladimír Darida. Drobný reprezentační zá- ložník se rozehrál ke skvělým výkonům a výrazně se podílí na obrození modrobílých barev, takže se tradiční bundesligový klub nyní konečně nemusí dívat v tabulce pod sebe, ale dokonce může mír- ně pokukovat po pohárových příčkách. A k nim jim pomáhá i maratónec „Dary“, který už podruhé za sebou překonal bundesligový rekord v počtu naběhaných kilometrů za zápas. A v rozhovoru pro Gól prohlásil, že po rekordních 14,7 km se ani necítil být unavený… Únavu „z věku“ necítí veterán Bohemians Josef Jindřišek. Devětatřicetiletý kapitán „Kolkanů“ ra- dostně prozradil v rubrice Můj týden, že v pondělí podepsal ve vršovickém klubu novou roční smlou- FORTUNA:LIGA Rozhovor vu. V Příbrami se od března vpravuje do prvoligo- Pavel Horváth: „Záchrana? Budeme se rvát dál!“ .................................. 32 vého trenérského řemesla Pavel Horváth. Ještě FORTUNA:LIGA Fotostory nedávná hráčská legenda Plzně se pokouší dostat Jak výsledky 1:0 přinesly bod Slovanu a Spartě .................................... -
2008 Updated Nomination
NPS Fo~10-900 OMB No. 1024-0018 (Rev. Aug. 2002) 1 1 United States Department of the Interior National Park Service NATlONAP REGISTER OF HISTORIC PLACES REG1'STRATIONFORM This form is for use in nominatingor requesting determinations for individualpropert~esand d~~trlcfs.See instruclions in How to Complete the Nafional Register of Historic Places ReqiPlBhon Form {Nat~onalReoater Brsll~tin16A). Complete each ltom by marking X in tkappropriate box or by entenng the lnformat~on requested. If any Item does not apply to the property bwng documented, enter "NIAfor "no! appl~cable.' For funetms, architectural class~ticalon,rnalenak, and areas ofsrgniffmnce enter only categories and subcategories from the c~slnretions Place add!t~onalentries and narrative Items on contrnuat~onsheets (NPS Form 10-900a) Use a typewr~ter."uordprocessor,or p om puler, to complete all nterns. ------------------------------------------------------------3----r-------------------c-----.----------------------------=====P===_I= T. Name of Propew ---------------------------------------------------------------------------------------------------I----------------I-----------------------------Y3----.-YP-CCL--- historfcname James Momoe Birthplace (updated nomination) other namestsite number Virq~niaDept. of Historic Resources: 096-0046:44WM0038 ----------------------------------------------------------------------------------------------------1--1-11-~1_--------~~-------------------------------1-3-I-L---.c 2. Location -----------------------------------------------------------------------------------------------------------------------&------------"--------------------------------- -
Bundesliga-Kader Gültig Ab Nächsten Spieltag
Bundesliga-Kader Gültig ab nächsten Spieltag Bayern München RasenBallsport Leipzig Borussia Dortmund www.fcbayern.de www.dierotenbullen.com www.bvb.de T 1 Manuel Neuer 1 Peter Gulacsi (A) 1 Gregor Kobel (A) o 26 Sven Ulreich 13 Philipp Tschauner 25 Luca Unbehaun r 36 Christian Früchtl 31 Josep Martinez (A) 35 Marwin Hitz (A) w 38 Roman Bürki (A) a 40 Stefan Drljaca r t 2 Dayot Upamecano (A) 2 Mohamed Simakan (A) 2 Mateu Morey (A) 3 Omar Richards (A) 3 Angelino (A) 4 Soumalia Coulibaly (A) 4 Niklas Süle 4 Willi Orban 5 Dan-Alex Zagadou (A) 5 Benjamin Pavard (A) 16 Lukas Klostermann 13 Raphael Guerreiro (A) 19 Alphonso Davies (A) 22 Nordi Mukiele (A) 14 Nico Schulz 20 Bouna Sarr (A) 23 Marcel Halstenberg 15 Mats Hummels A 21 Lucas Hernandez (A) 32 Josko Gvardiol (A) 16 Manuel Akanji (A) b 23 Tanguy Nianzou (A) 39 Benjamin Henrichs 24 Thomas Meunier (A) w 37 Kilian Sinkbeil 43 Marcelo Saracchi (A) 29 Marcel Schmelzer e 43 Bright Arrey-Mbi 34 Marin Pongracic (A) h 44 Josip Stanisic r 6 Joshua Kimmich 8 Amadou Haidara (A) 7 Giovanni Reyna (A) 8 Leon Goretzka 10 Emil Forsberg (A) 8 Mahmoud Dahoud 17 Michael Cuisance (A) 14 Tyler Adams (A) 10 Thorgan Hazard (A) 18 Marcel Sabitzer (A) 17 Dominik Szoboszlai (A) 11 Marco Reus 22 Marc Roca (A) 18 Christopher Nkunku (A) 19 Julian Brandt 24 Corentin Tolisso (A) 25 Dani Olmo (A) 20 Reinier Jesus (A) M 26 Ilaix Moriba (A) 22 Jude Bellingham (A) i 27 Konrad Laimer (A) 23 Emre Can t 37 Sidney Raebiger 28 Axel Witsel (A) t 44 Kevin Kampl (A) 30 Felix Passlack e 32 Abdoulaye Kamara (A) l 37 Tobias Raschl