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Children's Books & Illustrated Books
CHILDREN’S BOOKS & ILLUSTRATED BOOKS ALEPH-BET BOOKS, INC. 85 OLD MILL RIVER RD. POUND RIDGE, NY 10576 (914) 764 - 7410 CATALOGUE 109 ALEPH - BET BOOKS - TERMS OF SALE Helen and Marc Younger 85 Old Mill River Rd. Pound Ridge, NY 10576 phone 914-764-7410 fax 914-764-1356 www.alephbet.com Email - [email protected] POSTAGE: UNITED STATES. 1st book $8.00, $2.00 for each additional book. OVERSEAS shipped by air at cost. PAYMENTS: Due with order. Libraries and those known to us will be billed. PHONE orders 9am to 10pm e.s.t. Phone Machine orders are secure. CREDIT CARDS: VISA, Mastercard, American Express. Please provide billing address. RETURNS - Returnable for any reason within 1 week of receipt for refund less shipping costs provided prior notice is received and items are shipped fastest method insured VISITS welcome by appointment. We are 1 hour north of New York City near New Canaan, CT. Our full stock of 8000 collectible and rare books is on view and available. Not all of our stock is on our web site COVER ILLUSTRATION - #377 - Beatrix Potter Original Art done for Anne Carroll Moore #328 - Velveteen Rabbit - 1st in dw #305 - Rare Cold War moveable #127 - First Mickey Mouse book #253 - Lawson Ferdinand drawing sgd by Leaf #254 - Ferdinand 1st edition signed in dw Helen & Marc Younger Pg 3 [email protected] ABC MANUSCRIPT WITH BOOK, DRAWINGS AND DUMMY RARE TUCK RAG 1. ABC.ABC MANUSCRIPT. Offered here is a fantastic group of items comprising “BLACK” ABC the various phases of the development of a book from rough dummy to published work. -
Cerimonia Di Premiazione
Ingresso libero a tutti gli eventi premio narrativa bergamo premiobg.it Giovedì 30 gennaio ore 18.00 Presentazione finalisti 2020 UBI Banca - Sala Funi Ingresso da via Roma, 2 Bergamo Sorteggio Giuria Popolare CON PIÙ DI 25 ANNI A cura di Andrea Cortellessa Giovedì 5 marzo Giovedì 12 marzo Incontri con gli ore 18.00 ore 18.00 autori finalisti a cura di Maria Tosca Finazzi EMANUELE TREVI FILIPPO TUENA Biblioteca Tiraboschi “Sogni e favole” “Le galanti” Via S. Bernardino, 74 - Bergamo Ponte alle Grazie 2019, pp. 224 il Saggiatore 2019, pp. 670 Giovedì 19 marzo Giovedì 26 marzo Giovedì 2 aprile ore 18.30 ore 18.00 ore 18.00 FERRUCCIO PARAZZOLI NADIA FUSINI TOMMASO PINCIO “Il grande peccatore” “Maria” “Il dono di saper vivere” Bompiani 2019, pp. 240 L’Arcipelago Einaudi 2019, pp. 136 Einaudi Stile Libero Big 2018, pp.195 Sabato 25 aprile ore 16.30 Cerimonia di premiazione Premio Nazionale di Narrativa Bergamo nomina vincitore XXXVI edizione Auditorium Piazza Libertà - Bergamo Saranno presenti i cinque autori finalisti Introduce il Presidente Massimo Rocchi Conduce la serata Letture di Intervento musicale di Max Pavan Niseem Onorato Matt Loqi Premiazione miglior giudizio critico delle scuole Premiazione miglior giudizio critico categoria singoli a cura di a cura di Associazione Premio Nazionale di Narrativa Bergamo Ubi Banca Da un’idea di Sandro Seghezzi e Lucio Klobas _ Presidente: Massimo Rocchi _ Presidente Onorario: Lucio Klobas _ Segretario Generale: Flavia Alborghetti _ Comitato Scientifico: Andrea Cortellessa, Silvia De Laude, Angelo Guglielmi, Michele Mari PREMIO NAZIONALE DI NARRATIVA BERGAMO _ Coordinatrice degli incontri con gli autori: Maria Tosca Finazzi Segreteria amministrativa e legale _ Segreteria Organizzativa: [email protected] Via Guido Galli, 8 - 24126 Bergamo - Tel. -
International Casting Directors Network Index
International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy. -
Problems in Translating Pessoa's Poetry Into English
Problems in translating Pessoa’s poetry into English John Pedro Schwartz* Keywords Translation, Rhyme, Meter, Personal infinitive, Verb tense. Abstract This paper focuses on five problems all translators of Fernando Pessoa’s poetry into English must grapple with. The first is whether or not to distinguish the poetry of Pessoa (orthonym), Álvaro de Campos, Alberto Caeiro and Ricardo Reis through the use of stylistic and lexical markers. The second is: to what degree should the translator imitate Pessoa’s occasional labyrinthine constructions? Third, every translator must decide at the outset whether or not to use rhyme and meter, where these occur in Pessoa’s poetry. The final two problems concern Portuguese grammar: how to translate the pretérito perfeito do indicativo [simple past tense], which lends itself in English to both simple past and present perfect tenses; and how to translate the personal infinitive, a form unique among all languages for handling a change in subject within a sentence. Palavras-chave Tradução, Rima, Métrica, Infinitivo pessoal, Tempo verbal. Resumo Este artigo foca-se nos cinco problemas com os quais qualquer tradutor da poesia pessoana tem de batalhar quando traduz para inglês. O primeiro é distinguir ou não a poesia de Pessoa (ortónimo), da de Álvaro de Campos, Alberto Caeiro e Ricardo Reis através de indicações estilísticas e lexicais. O segundo é até que ponto o tradutor deve imitar as construções labirínticas ocasionais. Terceiro, o tradutor tem de decidir no início se deve usar rima e métrica ou não, quando e onde estas ocorram na poesia de Pessoa. Os dois problemas finais referem-se à gramática portuguesa: como traduzir o pretérito perfeito do indicativo, que em inglês empresta-se ambos ao simple past tense e ao present perfect tense; e como traduzir o infinitivo pessoal, uma forma única de todos os idiomas para lidar com uma mudança de sujeito dentro de uma frase. -
Foreign Rights Autumn 2019
Foreign Rights Autumn 2019 Fiction Blanvalet ▪ Blessing ▪ btb ▪ Diana ▪ Goldmann ▪ Heyne Limes ▪ Luchterhand ▪ Penguin ▪ Wunderraum Contents Literary Fiction Abarbanell, Stephan: The Light of Those Days ............................................................................... 1 Barth, Rüdiger: House of Sharks ...................................................................................................... 2 Fatah, Sherko: Black September ..................................................................................................... 3 Henning, Peter: The Capable Ones .................................................................................................. 4 Kaminer, Wladimir: Tolstoy's Beard and Chechov's Shoes............................................................... 5 Keglevic, Peter: Wolfsegg ............................................................................................................... 6 Mora, Terézia: On the Rope.............................................................................................................. 7 Neudecker, Christiane: The God of the City ..................................................................................... 8 Ortheil, Hanns-Josef: He Who Dreamed of the Lions ...................................................................... 9 Sander, Gregor: Did Everything Just Right .....................................................................................10 Fiction Duken, Heike: When Life Gives You a Tortoise .............................................................................. -
Appendix a Stations Transitioning on June 12
APPENDIX A STATIONS TRANSITIONING ON JUNE 12 DMA CITY ST NETWORK CALLSIGN LICENSEE 1 ABILENE-SWEETWATER SWEETWATER TX ABC/CW (D KTXS-TV BLUESTONE LICENSE HOLDINGS INC. 2 ALBANY GA ALBANY GA NBC WALB WALB LICENSE SUBSIDIARY, LLC 3 ALBANY GA ALBANY GA FOX WFXL BARRINGTON ALBANY LICENSE LLC 4 ALBANY-SCHENECTADY-TROY ADAMS MA ABC WCDC-TV YOUNG BROADCASTING OF ALBANY, INC. 5 ALBANY-SCHENECTADY-TROY ALBANY NY NBC WNYT WNYT-TV, LLC 6 ALBANY-SCHENECTADY-TROY ALBANY NY ABC WTEN YOUNG BROADCASTING OF ALBANY, INC. 7 ALBANY-SCHENECTADY-TROY ALBANY NY FOX WXXA-TV NEWPORT TELEVISION LICENSE LLC 8 ALBANY-SCHENECTADY-TROY PITTSFIELD MA MYTV WNYA VENTURE TECHNOLOGIES GROUP, LLC 9 ALBANY-SCHENECTADY-TROY SCHENECTADY NY CW WCWN FREEDOM BROADCASTING OF NEW YORK LICENSEE, L.L.C. 10 ALBANY-SCHENECTADY-TROY SCHENECTADY NY CBS WRGB FREEDOM BROADCASTING OF NEW YORK LICENSEE, L.L.C. 11 ALBUQUERQUE-SANTA FE ALBUQUERQUE NM CW KASY-TV ACME TELEVISION LICENSES OF NEW MEXICO, LLC 12 ALBUQUERQUE-SANTA FE ALBUQUERQUE NM UNIVISION KLUZ-TV ENTRAVISION HOLDINGS, LLC 13 ALBUQUERQUE-SANTA FE ALBUQUERQUE NM PBS KNME-TV REGENTS OF THE UNIV. OF NM & BD.OF EDUC.OF CITY OF ALBUQ.,NM 14 ALBUQUERQUE-SANTA FE ALBUQUERQUE NM ABC KOAT-TV KOAT HEARST-ARGYLE TELEVISION, INC. 15 ALBUQUERQUE-SANTA FE ALBUQUERQUE NM NBC KOB-TV KOB-TV, LLC 16 ALBUQUERQUE-SANTA FE ALBUQUERQUE NM CBS KRQE LIN OF NEW MEXICO, LLC 17 ALBUQUERQUE-SANTA FE ALBUQUERQUE NM TELEFUTURKTFQ-TV TELEFUTURA ALBUQUERQUE LLC 18 ALBUQUERQUE-SANTA FE CARLSBAD NM ABC KOCT KOAT HEARST-ARGYLE TELEVISION, INC. -
Nicolas Mathieu Leurs Enfants Après Eux the Children Who Came After Them
RENTREE LITTERAIRE 2018 ACTES SUD Nicolas Mathieu Leurs enfants après eux The Children Who Came After Them First selection: Prix Goncourt 2018, Prix de Flore 2018, Prix Médicis 2018 Selection of le Prix France Culture Télérama des étudiants. Prix Blù/Jean-Marc Roberts Prix de la Feuille d'or de la ville de Nancy Prix des Medias France Bleu-France 3-L'Est Républicain *** Rights sold to: Germany (Hanser Berlin) *** August 1992. One afternoon during a heatwave in a lost valley somewhere in eastern France, with its dormant blast furnaces and its lake. 14-year-old Anthony and his cousin decide to steal a canoe to find out what it’s like on the other side at the famous naturist beach. The trip ultimately takes Anthony to his first love and a first summer that will determine everything that happens afterwards - the drama of life starts for him here. In this book, Nicolas Mathieu conjures up a valley, an era, adolescence, and the political journey of a young generation that has to forge its own path in a dying world. Four summers and four defining moments, from Smells Like Teen Spirit to the 1998 World Cup, which capture the hectic lives of those living in that intermediate France of the medium-sized cities and their quiet residential estates, astride the countryside and the concrete expanses of the outer suburbs. It is also the portrait of a France far-removed from the centres of globalisation, alternating between decency and rage. A France where almost everybody lives, and which many people would like to forget. -
Writing Dialogue & Advice from the Pros
Writing Dialogue & Advice from the Pros Writing great dialogue is considered an art form. Listening to real-life conversations, watching award- winning films, and learning from the masters will help you craft dialogue that shines on the page. The following writing thoughts and advice are excerpts from Karl Iglesias’ book, The 101 Habits of Highly Successful Screenwriters. Enjoy! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Writing Unrealistic and Boring Dialogue In real life, dialogue is mostly polite conversation. In film, polite conversation is considered bad dialogue, unless it’s witty, sarcastic, or has a unique voice. The reason is that polite chat lacks tension, and tension is the key to dramatic storytelling. As Alfred Hitchcock once said, “Drama is real life with all the boring parts cut out of it.” The key to good dialogue is to understand that it’s not conversation, it’s action. What characters say in a scene should be said to get what they want in the scene. And to determine whether or not your dialogue sounds realistic, read it out loud. Garrison Keillor once advised, “If you read your work out loud, it helps to know what’s bad.” Try it. It works. Dialogue always sounds better in your head. Better to be embarrassed in your room than on the set. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Read Your Dialogue Out Loud Writing authentic, well-crafted dialogue that sparkles, individualizes characters, and entertains the reader is the ultimate challenge for screenwriters, who otherwise may have solid script elements. It’s crucial to attracting talent, which can green-light your script. Writing great dialogue can also sell the writer, for those who excel in this area are highly sought after to the tune of six figures per week for dialogue rewrites. -
Federal Register/Vol. 85, No. 103/Thursday, May 28, 2020
32256 Federal Register / Vol. 85, No. 103 / Thursday, May 28, 2020 / Proposed Rules FEDERAL COMMUNICATIONS closes-headquarters-open-window-and- presentation of data or arguments COMMISSION changes-hand-delivery-policy. already reflected in the presenter’s 7. During the time the Commission’s written comments, memoranda, or other 47 CFR Part 1 building is closed to the general public filings in the proceeding, the presenter [MD Docket Nos. 19–105; MD Docket Nos. and until further notice, if more than may provide citations to such data or 20–105; FCC 20–64; FRS 16780] one docket or rulemaking number arguments in his or her prior comments, appears in the caption of a proceeding, memoranda, or other filings (specifying Assessment and Collection of paper filers need not submit two the relevant page and/or paragraph Regulatory Fees for Fiscal Year 2020. additional copies for each additional numbers where such data or arguments docket or rulemaking number; an can be found) in lieu of summarizing AGENCY: Federal Communications original and one copy are sufficient. them in the memorandum. Documents Commission. For detailed instructions for shown or given to Commission staff ACTION: Notice of proposed rulemaking. submitting comments and additional during ex parte meetings are deemed to be written ex parte presentations and SUMMARY: In this document, the Federal information on the rulemaking process, must be filed consistent with section Communications Commission see the SUPPLEMENTARY INFORMATION 1.1206(b) of the Commission’s rules. In (Commission) seeks comment on several section of this document. proceedings governed by section 1.49(f) proposals that will impact FY 2020 FOR FURTHER INFORMATION CONTACT: of the Commission’s rules or for which regulatory fees. -
4–9–02 Vol. 67 No. 68 Tuesday April 9, 2002 Pages 16969–17278
4–9–02 Tuesday Vol. 67 No. 68 April 9, 2002 Pages 16969–17278 VerDate 11-MAY-2000 22:30 Apr 08, 2002 Jkt 197001 PO 00000 Frm 00001 Fmt 4710 Sfmt 4710 E:\FR\FM\09APWS.LOC pfrm04 PsN: 09APWS 1 II Federal Register / Vol. 67, No. 68 / Tuesday, April 9, 2002 The FEDERAL REGISTER is published daily, Monday through SUBSCRIPTIONS AND COPIES Friday, except official holidays, by the Office of the Federal Register, National Archives and Records Administration, PUBLIC Washington, DC 20408, under the Federal Register Act (44 U.S.C. Subscriptions: Ch. 15) and the regulations of the Administrative Committee of Paper or fiche 202–512–1800 the Federal Register (1 CFR Ch. I). The Superintendent of Assistance with public subscriptions 202–512–1806 Documents, U.S. Government Printing Office, Washington, DC 20402 is the exclusive distributor of the official edition. General online information 202–512–1530; 1–888–293–6498 Single copies/back copies: The Federal Register provides a uniform system for making available to the public regulations and legal notices issued by Paper or fiche 202–512–1800 Federal agencies. These include Presidential proclamations and Assistance with public single copies 1–866–512–1800 Executive Orders, Federal agency documents having general (Toll-Free) applicability and legal effect, documents required to be published FEDERAL AGENCIES by act of Congress, and other Federal agency documents of public interest. Subscriptions: Paper or fiche 202–523–5243 Documents are on file for public inspection in the Office of the Federal Register the day before they are published, unless the Assistance with Federal agency subscriptions 202–523–5243 issuing agency requests earlier filing. -
Aan De Randen Van De Italiaanse Literatuur
Aan de randen van de Italiaanse literatuur. Een onderzoek naar de representatie van de Italiaanse literatuur in haar parateksten, uitgegeven door De Bezige Bij en Wereldbibliotheek in de periode 2001-2015 Masterscriptie MA Letterkunde – Literair Bedrijf Manouk Miltenburg s4472217 Begeleider: Maarten Steenmeijer Tweede lezer: Jos Joosten 20 juni 2016 Resume This thesis researches the question how the Italian literature published in the Netherlands in the period 2001-2015 is being represented in their paratexts. Two Dutch publishers, ‘De Bezige Bij’ and ‘Wereldbibliotheek’, did publish most Italian titles in the first fifteen years of the twenty-first century. In total 65 paratexts are being analysed according to a model based on the theory of paratexts by Gérard Genette and the theory of the World Republic of Letters by Pascale Casanova, which states that there are two types of literature, autonomous and heteronomous. Autonomous literature has a bigger chance of being internationally recognized as Great Literature, you could say it is denationalised. Heteronomous literature is an exposure of the national spirit and is in general not being recognised as Great Literature. This thesis uses the dichotomy of autonomy and heteronomy to analyse the representation of the Italian literature in their paratexts. It will turn out that the major part of the Italian titles is being represented as (predominantly) autonomous, but the titles being represented as heteronomous are as important as the autonomous literature. The thesis also researches the question which (stereo)typing gets shape in the paratexts. The analysis shows that there exist six types: contemporary Italian, contemporary universal, historical Italian, international historical, international timeless and classic. -
Guide to the Martin Klein Collection
Guide to The Martin Klein Collection The Francis Russell Hart Nautical Collections Compiled by Anna Britton The Francis Russell Hart Nautical Collection MIT Museum Cambridge, Massachusetts 1 © 2019 Massachusetts Institute of Technology All rights reserved. No portion of this book may be reproduced without written permission of the publisher. Published by The MIT Museum 265 Massachusetts Avenue Cambridge, Massachusetts 02139 TABLE OF CONTENTS 2 Acknowledgments 4 Biographical Note 5 Scope and Content 6 Series Description I: Technical Literature and Archival Material 7 Series Description II: Manuals 27 Series Description III: Slides 30 Appendix A: Artifacts 37 Appendix B: Sonar and Personal Files 38 Appendix C: Reference Books 40 Appendix D: Interviews and Transcripts 44 Acknowledgments The MIT Museum wishes to thank Martin Klein for his long service to the MIT Museum as a member of the Collections Committee and for his interest in assisting the Museum to acquire significant collections documenting undersea sensing technologies. Klein’s own extensive professional and personal collection of archives and slides is the core collection defined in this guide. 3 We also acknowledge Martin Klein’s major support in providing resources to catalog and digitize substantial elements of the Martin Klein Collection. He has also maintained a keen interest in the work and advised on priorities for digitization. The majority of the collection was processed and entered in the Museum’s database by Freya Levett between 2016 and 2017. Additional archival materials were digitized and added to the database by Anna Britton from 2018 to 2019. Anna Britton organized and compiled the content in this guide based on her knowledge of the collection, its database records, and related materials not yet cataloged.