SEASON 7 Discussion Guide SEASON 7 Discussion Guide
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Manu Bennett. Height 185 Cm
Presenter Biography Manu Bennett. Height 185 cm Feature Film. 2017 Death Race 2050 Frankenstein Dir. G.J. Echternkamp Prd. Julie Corman 2016 Beta Test Creed Mirror Images LTD. Dir. Nicholas Gyeney Prd. Nicholas Gyeney, André Kirkman, Larenz Tate 2014 The Hobbit: The Battle of Five Armies Azog Warner Bros. Pictures Dir. Peter Jackson 2013 The Hobbit: The Desolation of Smaug Azog Warner Bros. Pictures Dir. Peter Jackson 2012 The Hobbit: An Unexpected Journey Azog Warner Bros. Pictures Dir. Peter Jackson 2011 Sinbad and the Minotaur (TV Movie) Sinbad 2007 30 Days of Night Billy Kitka Columbia Pictures Dir. David Slade Prd. Sam Raimi, Rob Tapert 2007 The Condemned Paco Dir. Scott Wiper 2006 The Marine Bennett Twentieth Century Fox Film Corporation Dir. John Bonito Prd. Joel Simon, Kathryn Sommer-Parry 2001 Lantana Steve Valdez (as Jon Bennett) Short Film. PO Box 78340, Grey Lynn, www.johnsonlaird.com Tel +64 9 376 0882 Auckland 1245, NewZealand. www.johnsonlaird.co.nz Fax +64 9 378 0881 Manu Bennett. Page 2 Short continued... 2006 Tango Trois Man Sydney Film School Dir. Gracie Otto Prd. Gracie Otto Television. 2016 American Dad Series 11 Patrucio - Voice 20th Century Fox Television 2015 Shannara Allanon MTV (Major Recurring Guest) 2013 Arrow Slade Wilson / Deathstroke 2012 Bikie Wars: Brothers in Arms Sunshine Dir. Various 2011 Spartacus: Gods of the Arena Crixus DeKnight Productions Dir. Various 2010 Spartacus: Blood and Sand Crixus DeKnight Productions Dir. Various 2008 The Strip Brandon Bell Knapman Wyld Television 2002 Mataku John South Pacific Pictures Dir. Michael Bennett, Peter Burger 2002 Street Legal Matt Urlich 2001 Head Start Dom 2000 Shortland Street Jack Hewitt South Pacific Pictures 2000 Tales of the South Seas David Legeure 2000 Xena: Warrior Princess Marc Antony 1999 BeastMaster Terron Leader 1998 The Violent Earth Wanatcha DuValier (as Jon Bennett) PO Box 78340, Grey Lynn, www.johnsonlaird.com Tel +64 9 376 0882 Auckland 1245, NewZealand. -
Kawea Mai Te Wā O Mua, Hei Konei, Hei Āpōpō Bring the Past to the Present for the Future
Kawea mai te wā o mua, hei konei, hei āpōpō Bring the past to the present for the future Maree Alicia Hiria Sheehan A thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Philosophy (MPhil) 2014 Te Ara Poutama Dedication He kupu poroporoākī ki tōku whaea.... Ko tō a Meremere-tū-ahiahi, ka kitea ngā whetū. Whetū ao, whetū marama, Meremere-tū-ahiahi ka rere i te pae. Kōpū i te ao, Pare- ārau i te pō. Tēnei rā te poroporoākī ki te whetū o tō māou whānau, kua wetongia e te ringa o aitua. E kore e whiti, e kore e whita, te whetū tē kānapanapa, tē puta. Ahakoa kua wahanguutia koe, ka pāorōro tonu tō reo waitī nāu anō i koha mai, hei reo waiata mō te hunga whakarongo mo ake tonu atu. Kei taku whaea, taku pou whakaīro, taku manatawa, taku mōtoi kahotea, taku toka tū moana, taku whetū, taku ao... moe mai rā koe i te hāneaneatanga o ō tātou mātua tupuna, kia au te moe, paimarire i Table of Contents Dedication i Attestation of Authorship ii Acknowledgements iii Abstract iv Preface v Chapter One: Introduction 1 1.1 The Exegesis 1 1.2 Artefact 2 1.3 The creation of Hei konei te wā o mua and Kia tu mahea 2 1.3.1 Hei konei te wā o mua 2 1.3.2 Kia tu mahea 6 Chapter Two: Literature review 9 2.1 Traditional waiata Maorī 10 2.2 Contemporary waiata Maorī 12 2.3 Creative processes of Western musical composition 15 2.4 Contemporary Western musical components 17 Chapter Three: Kaupapa Maorī theoretical framework 21 3.1 Kaupapa Maorī research 21 3.2 Hei Korowai framework 21 3.2.1 Wairua -
The Woman and the Gladiator on Television in the Twenty-First Century
NEW VOICES IN CLASSICAL RECEPTION STUDIES Conference Proceedings Volume Two REDIRECTING THE GAZE: THE WOMAN AND THE GLADIATOR ON TELEVISION IN THE TWENTY-FIRST CENTURY © Fiona Hobden, University of Liverpool and Amanda Potter, Open University INTRODUCTION Every woman loves a gladiator. This common knowledge underpins the first-century CE Roman poet Juvenal’s satirical portrait of Eppia, the runaway senator’s wife who abandoned her husband and family because she loved the ‘steel blade’, and whose life story should persuade Postumus away from the insanity of marriage, lest he find himself raising a gladiator’s son (Satire 6.80-113).1 And its broader truth is suggested in a boast made in graffiti at Pompeii that ‘Cresces the net-fighter is doctor to the night-time girls, the day-time girls, and all the others’ (CIL IV.4353).2 While there may be elements of fantasy in both proclamations, the satirist and seducer both trade on the allure of the gladiator to susceptible women. Sexual desire arises, moreover, in moments of viewing. Thus, for Ovid’s predatory lover, the games, where women ‘come to see and to themselves be seen’, offer a prime occasion to pursue an erotic advantage, as ‘Venus’s boy’ fights upon the forum sands (Ars Amatoria 1.97-9, 163-70). And it was the passing glimpse of a gladiator that led Faustina to conceive a passion that allegedly resulted in the birth of her gladiator-emperor son, Commodus (Historia Augusta, ‘Life of Marcus Aurelius’ 19.1-2). In the Roman imagination, visual encounters spark female desire; sexual encounters follow. -
Academy of Motion Picture Arts and Sciences
Academy of Motion Picture Arts and Sciences Reminder List of Eligible Releases for Distinguished Achievements during 2006 http://www.oscars.org/79academyawards/reminder/ Reminder List of Productions Eligible for Awards All films that have qualified for consideration for 2006 Academy Awards in the non-specialized categories are listed alphabetically by title. Voters making selections in their own branch categories list only film titles on their ballots, not the individuals responsible for the various achievements. For that reason, as well as for reasons of printing time and convenience of using this pamphlet, full credit rosters are not provided for the listed films. An exception to the above exists in the four Acting categories, where simply listing titles would not provide enough voting information. Actors Branch members filling out their Nominations ballots must indicate both titles and the particular performers they are voting for. For that reason, the Reminder List provides a listing of up to fifty cast members for each film. Pictures eligible in the Animated Feature Film, Documentary Feature and Foreign Language Film categories are also eligible in the Best Picture category, provided they meet the qualifications for the category. Foreign Language films are eligible for awards in other categories provided they meet the requirements of Awards Rules Two and Three. Copyright © 2006 by the Academy of Motion Picture Arts and Sciences Oscar statuette copyright 1941 by, and registered trademark of, Academy of Motion Picture Arts and Sciences. All rights reserved. ISBN 0-942102-49-5 First published in 2006 Printed in the United States of America ABOMINABLE Matt McCoy. -
Feb 18, 2014 FEATURE FILM MOVIE of the WEEK TV PILOT TV SERIES
Feb 18, 2014 VEILED THREATS CONTINUUM ~ SEASON 3 SOME ASSEMBLY REQUIRED FEATURE FILM WPM Productions Inc. Timely III Productions Inc. Toy Maker Productions Inc Exec. Prod: Tom Berry, Meyer Exec. Prod: Tom Rowe, Simon Exec. Prod: Tim Gamble, Dan PREGGOLAND Shwarzstein Barry, Pat Williams Signer, Howard Nemetz FakeFake A Baby ProductionsProductions Prod: Gilles LaPlante Prod: Holly Redford Prod: Alex Raffe, S. Lily Hui, Doug Exec. Prod:Prod: Robert Mitchell Director: Ron Oliver Director: Patrick Williams & Brons Prod:Prod: Kevin Eastwood, Dylan DOP: Neil Cervin Various SP: Jennica Harper Collingwood PD: Bob Bottieri DOP: Dave Pelletier Director: Various PM:PM: Aaron Au PM: Michele Futerman PD: Chris August DOP: Siobhan Devine PC:PC: Derek LoweLowe PC: Emmy Wu PM: Tia Buhl PD: Andrew Deskin LM:LM: Mark Gamache LM: Costa Vassos PC: Sarah Harris PM: Lucy MacLeod, Sched: Mar 17 -- Apr 11/14 ALM: John Knowlton LM: Alan Bartolic, Monty PC: Jennifer Pitcher 211 E Georgia St, Vancouver, BC, Cast: Erica Durance, Andrew Bannister Casting Dir: Maureen Webb V6A 4J7 Walker, Brandon Beemer ALM: Andrezej Dec-Williams, Extras: Sandra Ken-Freeman 778 -388-8355-388-8355 Extras: LA Hilts Sean Meade Sched: Aug 12 - Mar 7 2014 [email protected] Sched: Feb 3 - Feb 24/14 SPFX: Mike Walls **FULLY CREWED** **FULLY CREWED ** Publicist: Julia Frittaion SUPERNATURAL ~ S.9 THE AGE OF ADALINE Casting Dir: Sean Cossey Supernatural 5 Films Inc. Age Film Productions Inc. TV PILOT Cast: Rachel Nichols, Victor Exec. Prod: Robert Singer, Exec. Prod: Andre Lamal Webster, Erik Knudsen, Stephen Jeremy Carver, Phil Sgriccia, Prod: Gary Lucchesi, Mark IZOMBIE Lobo, Roger Cross, Lexa Doig, McG , Adam Glass Mikutowicz, David Kern Zombie I Films - A Division of Omari Newton, Luvia Petersen, Co-Exec: Nicole Snyder, Eric Director: Lee Krieger Hannah-rachel Prod. -
Arrow Episode 21
Arrow Episode 21 Arrow Episode 21 1 / 2 Arrow Episode 21 “The Undertaking” Recap & Review ... Ever since Malcolm Merlyn mentioned the Undertaking way back in episode 9 “Year's .... Josh recaps Season 3 Episode 21 of Arrow, titled Al Sah-him, where Ra's al Ghul sends Oliver to Starling City to eliminate his biggest threat to .... Use Up/Down Arrow keys to increase or decrease volume. “Asbury Pod #1: Laura Pople”. Rene, Black Siren, and other characters make major decisions during Oliver's trial in this week's strong episode of Arrow.. ... members introduced in various episodes. 21. since the beginning of season three, many fans have criticized that the core characters of team arrow—including .... Based on DC Comics' Green Arrow, an affluent playboy becomes a vengeful superhero, ... Watch Year's End. Episode 9 of Season 1. ... Episode 21 of Season 1.. The return of Colin Donnell to Arrow has been teased for quite some time, and luckily it's going to happen on season 6 episode 21 next week. arrow episode arrow episode, arrow episodes with flash, arrow episode 1, arrow episode invasion, arrow episodes season 1, arrow episodes ranked, arrow episode 2, arrow episodes with barry allen, arrow episode 1 cast, arrow episodes season 2, arrow episodes season 3, arrow episode 100 Oliver goes through a rigorous transformation. Meanwhile, the League of Assassins come after Nyssa and she arms herself to face them alone, but Laurel asks .... According to the description of "Arrow" Season 5, Episode 21, when Oliver returns to the Mayor's office he discovers that several dangerous ... -
Film & Tv Development // Rotorua Market Opportunity
FILM & TV DEVELOPMENT // ROTORUA MARKET OPPORTUNITY EXECUTIVE SUMMARY New Zealand is a significant player in the film production industry, both as a location for shooting and thanks to its world class post-production services. Our country's reputation far exceeds our size, and has become synonymous with films such as the Lord of the Rings and Hobbit Trilogies. However, the growing future of the industry is in streaming services, with online giants competing for increasingly diverse and unique stories to set them apart and attract subscribers. Gone is the need for set formats to meet broadcast schedules, with increased flexibility and international audiences seeking a wide range of voices. The door is open for our filmmakers to share their stories on the world stage. Rotorua is the home to a range of film makers, and as New Zealand's hub of Māori culture it is unsurprising that some of New Zealand's most well-known and successful indigenous productions have come from Rotorua. From the production of short films, to animation series, and as a filming location for Hollywood films to foreign reality TV shows, Rotorua offers a strong location for many filming services. Its strength lies in its people and their stories they are bringing to the world. THE GLOBAL INDUSTRY The global entertainment and media industry is valued at US$2 trillion (2017 – PwC estimate). The industry is still growing with huge increases in the audience and volume of content available online. The online streaming services industry is valued at US$30.29 Billion (2016 – Research & Markets) with a forecast CAGR of 18.3%, to reach market value of US$70 Billion by 2021. -
NZ Music Month Song of the Day Fact Sheet Use with Our NZ Music Month Song of the Day Calendar and Playlist on Spotify and Youtube!
NZ Music Month Song of the Day Fact Sheet Use with our NZ Music Month Song of the Day calendar and playlist on Spotify and YouTube! Get ready for NZ Music Month! Learn the 2015 Hook, Line and Sing-along Song “Stickytarday” by Bethlehem College. Download it at www.hooklineandsingalong.com D Pluck from Bethlehem College, “Stickytarday” D Pluck is a five-piece band consisting of Josh Dodanduwa, Jethro Wall, Samuel Tanner, Mackenzie Lines and Daniel Cossey (Year 10) from Tauranga’s Bethlehem College. The boys won the 2015 Hook, Line and Sing-along songwriting competition with their song “Stickytarday”. Recorded and produced by Ben King at Auckland’s prestigious Roundhead Studios, the song will be sung at schools May 29 all over the nation, as part of NZ Music Month. 1. Dragon, “April Sun in Cuba” Dragon was a rock band in the 1970s and were inducted into the NZ Music Hall of Fame in 2011. “April Sun in Cuba” was a hit both in New Zealand and Australia, reaching #9 and #2 on the charts respectively. 2. Prince Tui Teka, "E Ipo" Prince Tui Teka, born in the heart of Te Urewera, wrote this song with the help of Ngoi Pēwhairangi, a Maori educator, teacher, translator who also wrote the lyrics to “Poi E” for The Patea Maori Club. This was the first song in Te Reo to reach #1 on the charts! The song was based on a popular Indonesian melody that Teka had listened to while performing overseas. 3. Dave Dobbyn, "Slice of Heaven" “Slice of Heaven” was written for the movie Footrot Flats: The Dog’s Tale, which was based on the iconic New Zealand cartoon series. -
REVENGE of the SEQUEL Format: High
SURGE OF POWER: CONTACT: REVENGE OF THE SEQUEL Vincent J. Roth Format: High Definition 1080p Executive Producer Aspect ratio: 16:9 P.O. Box 80665 Running time: 90 minutes (1:29:36) San Diego, CA 92138 USA Completed: September 2017 Phone: 818-486-5425 Rated: PG-13 Fax: 866-508-4391 www.surgeofpower.org Email: [email protected] SURGE OF POWER: REVENGE OF THE SEQUEL SYNOPSIS Time has passed since Surge’s first big screen adventure. Surge has settled in as Big City’s superhero. His nemesis, the Metal Master, is out of jail again, trying to reconcile with his estranged parents (played by Linda Blair and Gil Gerard). Are they more concerned about their son being gay than being a supervillain? Metal Master is tempted to continue a life of crime by Augur (Eric Roberts), old arch enemy of Omen, the sage superhero from the first movie (played by Robert Picardo and Nichelle Nichols). Augur sends Metal Master on a mission to Las Vegas for a strange crystal with unique properties key to Augur’s diabolical scheme. Surge tracks Metal Master to Las Vegas and is out of his element in a strange town. Surge is soon aided by local college students, Wendy, Marvin and Todd, deploying their own talents to help Surge uncover Metal Master’s activities, which also puts Surge in awkward situations. Cut off from his support in Big City and in need of more help, Surge activates the artificial intelligence in his high-tech car, the Surgemobile (portrayed first by Bruce Vilanch, six-time Emmy Award winner, comedian and writer, and later another artificial intelligence personality played by Shannon Farnon, Wonder Woman from the Super Friends!). -
Pākehā Practice: Music and National Identity in Postcolonial Aotearoa/New Zealand by Liam Prince a Thesis Submitted to the Vi
Pākehā Practice: Music and National Identity in Postcolonial Aotearoa/New Zealand By Liam Prince A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Music in Musicology Victoria University of Wellington 2017 1 Abstract National discourses specific to Aotearoa/New Zealand — for example, biculturalism, which reimagines Māori-Pākehā relations as a partnership based on the Treaty of Waitangi — help to construct, express, and articulate connections between music and New Zealand identity. Yet unquestioned nationalisms — however benign or ‘official’ they seem — can marginalize some ways of being, knowing, organizing, and music-making, through their capacity to advance and reinforce undisclosed social values and political agendas. In this way, nationalism often disguises the consequences of those values and agendas. This thesis demonstrates how, by unproblematically invoking nationalisms for various purposes, significant New Zealand music-related institutions inadvertently reproduce Eurocentric national identity narratives which overlook the social, cultural, economic and political inequities of Aotearoa/NZ’s postcolonial present. Such narratives normalize conceptions of ‘New Zealand music’ dominated by historic and evolving cultural and economic connections between New Zealand society and the broader postcolonial Anglosphere. Consequently, identifications of ‘New Zealand’ culture and music often reflect dominant Pākehā norms, against which other musical traditions are contrasted. Several prominent ‘national’ institutions involved with music are examined through three cases studies. The first considers how state-supported music policies and agencies construct and legitimize economic, artistic and democratic ideologies as national values, and explores the consequences of a frequent failure to distinguish between a cultural identity, based on dominant Pākehā norms and values, and a culturally plural civic-based national identity. -
THE STATUS of CONTEMPORARY Maori MUSIC
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. THE STATUS OF CONTEMPORARY MAoRI MUSIC A thesis submitted in partial fulfilment of the requirements for the degree of Masters of Philosophy at Massey University, Palmerston North, New Zealand. by Angela Karini 2009 ABSTRACT Music has always been an integral part of day to day living in both traditional and contemporary Maori society. Significant to Maori music is a distinct philosophical and cultural perspective. Essentially these principles encapsulate the notion of Maori defining their own priorities, expressions, locality and collective aspirations within the realm of music making. For these reasons, the scope of Maori music extends beyond the individual artist and therefore performance. It is concerned with reasserting self determinationand collective purpose thus situating itself within the broader context of Maori development. This thesis examines the status of contemporary Maori music, its priorities, distinctive features, and social realities. The research undertaken highlights the historic decontextualisation of Maori worldview, language, music and culture emphasising how western approaches to music making are privileged rendering Maori music systems invalid. Significant to this research has been the determination of an ideological shift referred to as the augmented identity. This reconstruction situates contemporary Maori music in its own distinct space although adjacent to traditional Maori music culture and likewise western popular culture. In addition this study presents a pictorial framework in which to conceptualise the range of influences that assist in the reconstruction of an augmented identity. -
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