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Elephant Bibliography Elephant Editors
Elephant Volume 2 | Issue 3 Article 17 12-20-1987 Elephant Bibliography Elephant Editors Follow this and additional works at: https://digitalcommons.wayne.edu/elephant Recommended Citation Shoshani, J. (Ed.). (1987). Elephant Bibliography. Elephant, 2(3), 123-143. Doi: 10.22237/elephant/1521732144 This Elephant Bibliography is brought to you for free and open access by the Open Access Journals at DigitalCommons@WayneState. It has been accepted for inclusion in Elephant by an authorized editor of DigitalCommons@WayneState. Fall 1987 ELEPHANT BIBLIOGRAPHY: 1980 - PRESENT 123 ELEPHANT BIBLIOGRAPHY With the publication of this issue we have on file references for the past 68 years, with a total of 2446 references. Because of the technical problems and lack of time, we are publishing only references for 1980-1987; the rest (1920-1987) will appear at a later date. The references listed below were retrieved from different sources: Recent Literature of Mammalogy (published by the American Society of Mammalogists), Computer Bibliographic Search Services (CCBS, the same used in previous issues), books in our office, EIG questionnaires, publications and other literature crossing the editors' desks. This Bibliography does not include references listed in the Bibliographies of previous issues of Elephant. A total of 217 new references has been added in this issue. Most of the references were compiled on a computer using a special program developed by Gary L. King; the efforts of the King family have been invaluable. The references retrieved from the computer search may have been slightly altered. These alterations may be in the author's own title, hyphenation and word segmentation or translation into English of foreign titles. -
Sandesh Spring Issue-Electronic Final
“The Message” A Newsletter from IndUS of Fox Valley By Gurumukh Singh Dear Readers, s Indian immigration into North came back to Canada immediately and others The theme of our current America - the US and Canada - began returned after retirement and sponsored their issue is “Pioneers Across the on the West coast in the last decade of relatives to Canada. In fact, by the first decade Seven Seas”. We bring to the 19th century, almost all early immigrants of the 20th century, the Sikhs had their full- light lives of some were Punjabis from the central Punjab region. fledged village called Paldi - on Vancouver fascinating people who In fact, more than 90 percent of them were Island - in British Columbia. They found work traveled across the globe. Sikhs. Why did they leave their homes and at lumber mills and on road construction sites hearths to make a living in a far-off land? One, and farms. But then a recession from 1907 shrinking landholdings and worsening onwards led to tighter immigration controls by These early migrants not economic conditions. Two, massive Sikh Canada. The same year, Canada banned all new only contributed to the recruitment into the Indian army after the immigration and plans were mooted to send country they adopted, but defeat of the Sikh immigrants to Honduras. So these they struggled to keep their Khalsa Raj by conditions forced Sikh immigrants in Canada native culture intact. Our the British in to sneak into Washington and Oregon and on to lives are easier because of 1849, thus California and swell the ranks of their brethren them. -
London Underground Films Over a Century
The Scala Underground film map, station to station Film Underground Station Year 28 Days Later Bank 2002 30 is a Dangerous Age, Cynthia Barking 1968 80 Million Women Want-? Woodford 1913 A Clockwork Orange Fulham Broadway 1971 A Hard Day's Night Goodge Street 1964 A Kind of English Bethnal Green 1986 A Lizard in a Woman's Skin Wood Green 1971 A Matter of Life and Death Ruislip Gardens 1946 A Place to Go Old Street 1963 Abominable Dr. Phibes, The Stanmore 1971 Absolute Beginners White City 1986 Afraid of the Dark West Brompton 1991 Alfie Bayswater 1966 Alien North Acton 1979 All Neat in Black Stockings East Putney 1968 An American Werewolf in London Tottenham Court Road 1981 And Now for Something Completely Different Totteridge & Whetstone 1971 Animal Farm Highbury & Islington 1954 Another Year Wanstead 2010 Arsenal Stadium Mystery, The Arsenal 1939 Attack the Block Brixton 2011 Babymother Harlesden 1998 Bargee, The Moor Park 1964 Bed-Sitting Room, The Leyton 1969 Bedazzled Gunnersbury 1967 Belle Rickmansworth 2013 Berberian Sound Studio Bromley-by-Bow 2012 Beware of Mr. Baker Neasden 2012 Black Narcissus South Ruislip 1947 Blacksmith Scene Kenton 1893 Blowup North Greenwich 1966 Blue Lamp, The Royal Oak 1950 Bob Marley and the Wailers: Live! At the Rainbow Finsbury Park 1977 Boy Friend, The Preston Road 1971 Brazil Holland Park 1985 Breakfast on Pluto Leicester Square 2005 Breaking Glass Barkingside 1980 Breaking of Bumbo, The St. James's Park 1970 Bride of Frankenstein Dagenham Heathway 1931 Bright Young Things Broadgate (closed) 2003 -
Sabu Notice Biographique
Les Fiches de Monsieur Cinéma Histoire Illustrée du Cinéma Mondial SABU NOTICE BIOGRAPHIQUE C'est par un exceptionnel concours de perdu son aspect juvénile : il lui est désormais circonstances que Sabu Dastagir, humble impossible de retrouver les rôles qui firent sa cornac né aux Indes le 27 janvier 1924 (mais gloire ... Michael Powell qui l'avait dirigé dans la date n'a rien de certain), devint une vedette LE VOLEUR DE BAGDAD lui offre de internationale du cinéma. C'est Robert faire sa rentrée dans LE NARCISSE NOIR. Flaherty, venu tourner en 1936 sur le domaine A Hollywood, J'Universal puis la Columbia du maharadjah de Mysore, qui choisit Sabu lui proposent chacune un film, puis c'est le parmi un nombre considérable de préten silence... Aucune nouvelle proposition ne dants, pour incarner « Toomaï » dans ELE venant d'Hollywood, Sabu se reconvertit PHANT BOY d"après le récit de Rudyard dans le cirque et fait une tournée en Europe Kipling. Et c'est tout naturellement que le dans un numéro de dressage d'éléphants. A jeune acteur suivit l'équipe de réalisation en la même époque, il fait quelques apparitions Angleterre pour terminer le tournage ... dans des productions européennes d'impor Alexander Korda offre alors à Sabu un géné tance secondaire. reux contrat et lui fait incarner le bondissant C'est seulement en 1963 qu'Hollywood re VOLEUR DE BAGDAD, puis Mowgli l'en fait appel à lui pour un petit rôle dans MAS fant-loup dans une adaptation luxueuse du SACRL POUR UN FAUVE, le public a la LIVRE DE LA JUNGLE d'après Kipling. -
Coming Soon . . . Teaching the Contemporaneous Adaptation
Coming soon . Teaching the Contemporaneous Adaptation Rachel Carroll A range of pedagogic, disciplinary and institutional factors can be inform the construction of a curriculum for a course on film and television adaptations; among these factors, the availability of published scholarship on the set texts (whether literary, film or television) may be a key concern for tutors, students and validating committees alike. These pressures might mean that in some circumstances those adaptations which have attracted significant academic interest are more likely to be adopted than those which have been overlooked, and in this way emerging canons can become self-perpetuating. Of course, the very notion of the canon has been critically contested and its potential complicity in hierarchies of cultural power and value interrogated, especially in relation to gender, class and race. However, questions of canon persist, and perhaps especially so when a field of study is relatively new and where the existence of a demonstrable canon might be seen as a necessary condition for disciplinary credibility. In this context it may seem perverse to focus on adaptations which, by definition, offer no supporting critical apparatus. This chapter seeks to explore the value and benefits of teaching contemporaneous adaptations, by which I mean film or television adaptations whose release or broadcast is concurrent with the delivery of the teaching programme; it will do so through a focus on a specific case study in pedagogic practice - an active learning strategy presented under the title of ‘Adaptation Watch’.i Students participating in the Adaptation Watch exercise are asked to monitor the discourses of publicity and reception which precede and follow a film or television adaptation whose broadcast or release is concurrent with the course of the module.