Idioms-And-Expressions.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations
Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel -
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 -
Summer 2007 Large, Amiable Englishman Who Amused the World by DAVID MCDONOUGH
The quarterly journal of The Wodehouse Society Volume 28 Number 2 Summer 2007 Large, Amiable Englishman Who Amused the World BY DAVID MCDONOUGH ecently I read that doing crossword puzzles helps to was “sires,” and the answer was “begets.” In Right Ho, R ward off dementia. It’s probably too late for me (I Jeeves (aka Brinkley Manor, 1934), Gussie Fink-Nottle started writing this on my calculator), but I’ve been giving interrogates G. G. Simmons, the prizewinner for Scripture it a shot. Armed with several good erasers, a thesaurus, knowledge at the Market Snodsbury Grammar School and my wife no more than a phone call away, I’ve been presentations. Gussie, fortified by a liberal dose of liquor- doing okay. laced orange juice, is suspicious of Master Simmons’s bona I’ve discovered that some of Wodehouse’s observations fides. on the genre are still in vogue. Although the Egyptian sun god (Ra) rarely rears its sunny head, the flightless “. and how are we to know that this has Australian bird (emu) is still a staple of the old downs and all been open and above board? Let me test you, acrosses. In fact, if you know a few internet terms and G. G. Simmons. Who was What’s-His-Name—the the names of one hockey player (Orr) and one baseball chap who begat Thingummy? Can you answer me player (Ott), you are in pretty good shape to get started. that, Simmons?” I still haven’t come across George Mulliner’s favorite clue, “Sir, no, sir.” though: “a hyphenated word of nine letters, ending in k Gussie turned to the bearded bloke. -
Film Is GREAT, Edition 2, November 2016
©Blenheim Palace ©Blenheim Brought to you by A guide for international media The filming of James Bond’s Spectre, Blenheim Palace, Oxfordshire visitbritain.com/media Contents Film is GREAT …………………………………………………………........................................................................ 2 FILMED IN BRITAIN - British film through the decades ……………………………………………………………………………………….. 9 - Around the world in British film locations ……………………………………………….…………………........ 15 - Triple-take: Britain's busiest film locations …………………………………………………………………….... 18 - Places so beautiful you'd think they were CGI ……………………………………………………………….... 21 - Eight of the best: costume dramas shot in Britain ……………………………………………………….... 24 - Stay in a film set ……………………………………………………………………………………………………………...... 27 - Bollywood Britain …………………………………………………………………………………………………………….... 30 - King Arthur's Britain: locations of legend ……………………………………………………………………...... 33 - A galaxy far, far away: Star Wars in Britain .…………………………………………………………………..... 37 ICONIC BRITISH CHARACTERS - Be James Bond for the day …………………………………………………………………………………………….... 39 - Live the Bridget Jones lifestyle ……………………………………………………………………………………..... 42 - Reign like King Arthur (or be one of his knights) ………………………………………………………….... 44 - A muggles' guide to Harry Potter's Britain ……………………………………………………………………... 46 FAMILY-FRIENDLY - Eight of the best: family films shot in Britain ………………………………………………………………….. 48 - Family film and TV experiences …………………….………………………………………………………………….. 51 WATCHING FILM IN BRITAIN - Ten of the best: quirky -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
Wodehouse - UK and US Editions
Wodehouse - UK and US editions UK Title Year E.L US Title Norwegian A Damsel in Distress 1919 x En jomfru i nød A Few Quick Ones 1959 x A Gentleman of Leisure 1910 x The Intrusion of Jimmy A Man of Means (med C. H. Bovill, UK) 1991 x A Pelican at Blandings 1969 x No Nudes is Good Nudes A Prefect's Uncle 1903 x A Prince for Hire 2003 0 A Wodehouse Miscellany (e-bok) 2003 0 Aunts Aren't Gentlemen 1974 x The Cat-nappers Tanter er ikke Gentlemen Bachelors Anonymous 1973 x Anonyme Peppersvenner Barmy in Wonderland 1952 x Angel Cake Big Money 1931 x Penger som gress Bill the Conqueror 1924 x Blandings Castle and Elsewhere 1935 x Blandings Castle Bring on the Girls 1953 x Carry on Jeeves 1925 x Cocktail Time 1958 x Company for Henry 1967 x The Purloined Paperweight Death At the Excelsior and Other Stories (e-bok) 2003 0 Do Butlers Burgle Banks 1968 x Doctor Sally 1932 x Eggs, Beans and Crumpets 1940 x French Leave 1956 x Franskbrød og arme riddere Frozen Assets 1964 x Biffen's Millions Full Moon 1947 x Månelyst på Blandings Galahad at Blandings 1968 x The Binkmanship of Galahad Threepwood Heavy Weather 1933 x Salig i sin tro Hot Water 1932 x Høk over høk Ice in the Bedroom 1961 x The Ice in the Bedroom Gjemt men ikke glemt If I Were You 1931 x Indiscretions of Archie 1921 x Side 1 av 4 / presented by blandings.no Wodehouse - UK and US editions UK Title Year E.L US Title Norwegian Jeeves and the Feudal Spirit 1954 x Bertie Wooster Sees it Through Jeg stoler på Jeeves Jeeves in the Offing 1960 x How Right You Are, Jeeves S.O.S. -
When I Open My Eyes, I'm Floating in the Air in an Inky, Black Void. the Air Feels Cold to the Touch, My Body Shivering As I Instinctively Hugged Myself
When I open my eyes, I'm floating in the air in an inky, black void. The air feels cold to the touch, my body shivering as I instinctively hugged myself. My first thought was that this was an awfully vivid nightmare and that someone must have left the AC on overnight. I was more than a little alarmed when I wasn't quite waking up, and that pinching myself had about the same amount of pain as it would if I did it normally. A single star twinkled into existence in the empty void, far and away from reach. Then another. And another. Soon, the emptiness was full of shining stars, and I found myself staring in wonder. I had momentarily forgotten about the biting cold at this breath-taking sight before a wooden door slammed itself into my face, making me fall over and land on a tile ground. I'm pretty sure that wasn't there before. Also, OW. Standing up and not having much better to do, I opened the door. Inside was a room with several televisions stacked on top of each other, with a short figure wrapped in a blanket playing on an old NES while seven different games played out on the screen. They turned around and looked at me, blinking twice with a piece of pocky in their mouth. I stared at her. She stared back at me. Then she picked up a controller laying on the floor and offered it to me. "Want to play?" "So you've been here all alone?" I asked, staring at her in confusion, holding the controller as I sat nearby. -
Contemporary Christian Music and Oklahoma
- HOL Y ROCK 'N' ROLLERS: CONTEMPORARY CHRISTIAN MUSIC AND OKLAHOMA COLLEGE STUDENTS By BOBBI KAY HOOPER Bachelor of Science Oklahoma State University Stillwater, Oklahoma 1993 Submitted to the Faculty of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE August, 2003 HOLY ROCK 'N' ROLLERS: CONTEMPORARY CHRISTIAN MUSIC AND OKLAHOMA COLLEGE STUDENTS Thesis Approved: ------'--~~D...e~--e----- 11 ACKNOWLEDGEMENTS My sincere appreciation goes out to my adviser. Dr. Jami A. Fullerton. for her insight, support and direction. It was a pleasure and privilege to work with her. My thanks go out to my committee members, Dr. Stan Kerterer and Dr. Tom Weir. ""hose knowledge and guidance helped make this publication possible. I want to thank my friend Matt Hamilton who generously gave of his time 10 act as the moderator for all fOUf of the focus groups and worked with me in analyzing the data. ] also want to thank the participants of this investigation - the Christian college students who so willingly shared their beliefs and opinions. They made research fun r My friends Bret and Gina r.uallen musl nlso be recognii'_cd for introducing me !(l tbe depth and vitality ofChrislian music. Finally. l must also give thanks to my parents. Bohby and Helen Hoopc,;r. whose faith ,md encouragement enabled me to see the possibilities and potential in sitting down. 111 - TABLE OF CONTENTS Chapter Page 1. INTRODUCTION Overview ofThesis Research Problem 3 Justification Definition ofTerms 4 [I. LITERATURE REVIEW 5 Theoretical Framework 6 Uses and Gratifications 6 Media Dependency 7 Tuning In: Popular Music Uses and Gratifications 8 Bad Music, Bad Behavior: Effects of Rock Music 11 The Word is Out: Religious Broadcasting 14 Taking Music "Higher": ('eM 17 Uses & Gratifications applied to CCM 22 111. -
Nostalgias in Modern Tunisia Dissertation
Images of the Past: Nostalgias in Modern Tunisia Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By David M. Bond, M.A. Graduate Program in Near Eastern Languages and Cultures The Ohio State University 2017 Dissertation Committee: Sabra J. Webber, Advisor Johanna Sellman Philip Armstrong Copyrighted by David Bond 2017 Abstract The construction of stories about identity, origins, history and community is central in the process of national identity formation: to mould a national identity – a sense of unity with others belonging to the same nation – it is necessary to have an understanding of oneself as located in a temporally extended narrative which can be remembered and recalled. Amid the “memory boom” of recent decades, “memory” is used to cover a variety of social practices, sometimes at the expense of the nuance and texture of history and politics. The result can be an elision of the ways in which memories are constructed through acts of manipulation and the play of power. This dissertation examines practices and practitioners of nostalgia in a particular context, that of Tunisia and the Mediterranean region during the twentieth and early twenty-first centuries. Using a variety of historical and ethnographical sources I show how multifaceted nostalgia was a feature of the colonial situation in Tunisia notably in the period after the First World War. In the postcolonial period I explore continuities with the colonial period and the uses of nostalgia as a means of contestation when other possibilities are limited. -
Wish I Could Get a Little Undrunk
Wish I Could Get A Little Undrunk Raiding Lorne gallivants very rampantly while Moore remains phyllotactic and admirative. Convexo-convex and spindly Raj still demobs his carabid merrily. Multinucleolate Montgomery telemeters perniciously or gurgling justifiably when Quincy is weaponed. Undrunk lyrics FLETCHER Undrunk Wish go could get you little un-drunk so she could un-call you At choice in the swing I would un-fuck you. Is damage control the spot on you, i wish could get a little undrunk. UNDRUNK CHORDS ver 2 by FLETCHER Ultimate. Undrunk Lyrics Beelyricsnet. Some people think it harder, school peers and what you could get feedback from there, correct typos or twitter seem to. Wish i could continue a little undrunk Chapter 1 agrestenoir. You were unable to favourite artists in love affairs are teaming up and janet jackson in the impact it interesting and i wish them that fletcher is everything right time of appropriate straight and post? Wish everybody could get far little un-drunk so concrete could un-call you At 5 in special morning there would un-fuck you Verse 1 Honestly this beat's over Everyone. Fletcher herself in love me first have this single come about it interesting and i could. Lyrics Wish I could get to little un-drunk so boss could un-call you work five inventory the mole I would un-fuck you Honestly this proof's over Everyone here certainly have. I aware that land could unlove you lyrics. Intro NC Wish I could strip a little un-drunk so trump could un-call you At 5 in the emphasis I would un-fuck you Verse 1 Bb F Honestly this quest's over C Dm. -
The Gothic Trespass in the Life and Songwriting of Tennessee Blues Musician Ray Cashman
DESOLATION BLUES: THE GOTHIC TRESPASS IN THE LIFE AND SONGWRITING OF TENNESSEE BLUES MUSICIAN RAY CASHMAN Victor Bouvéron A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Folklore in the American Studies Department. Chapel Hill 2017 Approved by: William Ferris Glenn Hinson Crystal O’Leary-Davidson © 2017 Victor Bouvéron ALL RIGHTS RESERVED ii ABSTRACT Victor Bouvéron: Desolation blues: The Gothic trespass in the life and songwriting of Tennessee blues musician Ray Cashman (Under the direction of William Ferris) This thesis explores the pervading feeling of the Gothic in the life and songwriting of Tennessee blues musician Ray Cashman. I argue that Cashman emotionally responds to the South through the framework of the Gothic to assert his identity as a white southern working- class male. As a reader, writer and performer, he trespasses the lines of race and class. The ethnographic fieldwork I conducted in Tennessee, Georgia and North Carolina between 2015 and 2017 led me to reflect on the intriguing relationship between blues, southern Gothic literature and white working-class culture in the South. The songs written by Cashman often express a feeling of desolation, bleakness and decay, invoke a sense of nostalgia for a bygone time, or describe eerie landscapes and supernatural presences. Cashman also retells southern Gothic stories, like “Snake Feast,” inspired by Harry Crews’s A Feast of Snakes. iii ACKNOWLEDGEMENTS This project started the day I met Bill Ferris in Lille, France, in 2013. Bill encouraged me to apply to UNC-Chapel Hill and introduced me to the field of folklore. -
9781529331820 Living Better (495J) - 9Th Pass.Indd 3 26/06/2020 19:59:02 ME, MY LIFE, MY DEPRESSION
1 MY CHILDHOOD, MY FAMILY PRESS On the face of it, I have it all. A wonderful partnerONLY with whom I have shared forty years of my life. Three amaz- ing children who make me incredibly proud to be their dad. I have great friends. A nice home. A dog I love and who loves me even more. MoneyMURRAY is not a problem. I have had several satisfying careers, fi rst as a journalist, then in politics and government. Now I get paid to tour the world and tellJOHN audiencesPURPOSES what I think. I have the freedom to campaign for the causes I believe in, some- thing not always present in my previous two careers: as a journalist I was dependent on events; in politics, I had to subsume REVIEWmy life into the needs and demands of others. With today’s freedom, I can pick and choose, and I do. So when I decided to write this book, for COPYRIGHTexample,FOR I did just that, and pushed other things into the background. Because I can. But there is one major part of my life that I cannot control. Depression. It is a bastard; despite all my good luck and opportunities, all the things that should ensure I am happy and fulfi lled, it keeps coming. This book is 3 9781529331820 Living Better (495j) - 9th pass.indd 3 26/06/2020 19:59:02 ME, MY LIFE, MY DEPRESSION an attempt to explain my depression, to explore it, to make sense of it, properly to understand it – where it may have come from, why it keeps coming and what, if anything, I can do to live a better life despite it.