Festivalkatalog Festival Catalogue 50
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2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. -
Ca' Foscari Short Film Festival 7
Short ca’ foscari short film festival 7 1 15 - 18 MARZO 2017 AUDITORIUM SANTA MARGHERITA - VENEZIA INDICE CONTENTS × Michele Bugliesi Saluti del Rettore, Università Ca’ Foscari Venezia × Michele Bugliesi Greetings from the Rector, Ca’ Foscari University of Venice × Flavio Gregori Saluti del Prorettore alle attività e rapporti culturali, × Flavio Gregori Greetings from the Vice Rector for Cultural activities and relationships, Università Ca’ Foscari Venezia Ca’ Foscari University of Venice × Board × Board × Ringraziamenti × Acknowledgements × Comitato Scientifico × Scientific Board × Giuria Internazionale × International Jury × Catherine Breillat × Catherine Breillat × Małgorzata Zajączkowska × Małgorzata Zajączkowska × Barry Purves × Barry Purves × Giuria Levi Colonna Sonora × Levi Soundtrack Jury × Concorso Internazionale × International Competition × Concorso Istituti Superiori Veneto × Veneto High Schools’ Competition × Premi e menzioni speciali × Prizes and special awards × Programmi Speciali × Special programs × Concorso Music Video × Music Video Competition × Il mondo di Giorgio Carpinteri × The World of Giorgio Carpinteri × Desiderio in movimento - Tentazioni di celluloide × Desire on the move - Celluloid temptations × Film making all’Università Waseda × Film-making at Waseda University Waseda Students Waseda Students Il mondo di Hiroshi Takahashi The World of Hiroshi Takahashi × Workshop: Anymation × Workshop: Anymation × Il mondo di Iimen Masako × The World of Iimen Masako × C’era una volta… la Svizzera × Once upon a time… Switzerland -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Photography and Cinema
Photography and Cinema David Campany Photography and Cinema EXPOSURES is a series of books on photography designed to explore the rich history of the medium from thematic perspectives. Each title presents a striking collection of approximately80 images and an engaging, accessible text that offers intriguing insights into a specific theme or subject. Series editors: Mark Haworth-Booth and Peter Hamilton Also published Photography and Australia Helen Ennis Photography and Spirit John Harvey Photography and Cinema David Campany reaktion books For Polly Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx www.reaktionbooks.co.uk First published 2008 Copyright © David Campany 2008 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in China by C&C Offset Printing Co., Ltd British Library Cataloguing in Publication Data Campany, David Photography and cinema. – (Exposures) 1. Photography – History 2. Motion pictures – History I. Title 770.9 isbn–13: 978 1 86189 351 2 Contents Introduction 7 one Stillness 22 two Paper Cinema 60 three Photography in Film 94 four Art and the Film Still 119 Afterword 146 References 148 Select Bibliography 154 Acknowledgements 156 Photo Acknowledgements 157 Index 158 ‘ . everything starts in the middle . ’ Graham Lee, 1967 Introduction Opening Movement On 11 June 1895 the French Congress of Photographic Societies (Congrès des sociétés photographiques de France) was gathered in Lyon. Photography had been in existence for about sixty years, but cinema was a new inven- tion. -
The Soviet Woman in Estonian Art Jürgen Habermas
1 2010 1 Let’s refuse to be what we are (supposed to be)! Let’s Refuse to Be What We Are (Supposed to Be)! Airi Triisberg 5 Eva gives birth to earth Airi Triisberg Johannes Saar 7 Around the Golden Soldier Agne Narusyte 10 An artist and his double Anu Allas Based on the title Let’s Talk About Nationalism!, of identity is almost exclusively addressed as an it would be tempting to look at this exhibition* instrument for engendering normativity rather 13 Work-based solidarity is killed Interview with Eiki Nestor in relation to theories of public space, as it than a potential tool of empowerment that I is precisely the medium of talk that consti- find problematic in this context. At the same 16 Forum Marge Monko tutes a core notion in the liberal concept of time, it should also be noted that even the the public sphere, most notably elaborated by Habermasian definition of the public sphere 18 Art and Identity: The Soviet Woman in Estonian Art Jürgen Habermas. The curatorial statement by appears to be quite operative, insofar as it Michael Schwab Rael Artel seems to support the parallel with allows a conceptual distinction from the state 21 The queue as a social statement Habermas, insofar as it stresses the importance which has effectively been put to use in the Maria-Kristiina Soomre of contemporary art as a site for holding public framework of Let’s Talk About Nationalism! in 24 Five pictures of Flo Kasearu discussions. Nevertheless, the curator’s preoc- order to criticize the ideological and institu- Kaido Ole cupation with conflict actually indicates a dif- tional manifestations of the state. -
ALBUMS BARRY WHITE, "WHAT AM I GONNA DO with BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50S YOU" (Prod
DEDICATED TO THE NEEDS OF THE MUSIC RECORD INCUSTRY SLEEPERS ALBUMS BARRY WHITE, "WHAT AM I GONNA DO WITH BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50s YOU" (prod. by Barry White/Soul TO ME" (prod.by Baker,Harris, and'60schestnutsrevved up with Unitd. & Barry WhiteProd.)(Sa- Young/WMOT Prod. & BobbyEli) '70s savvy!Fast paced pleasers sat- Vette/January, BMI). In advance of (WMOT/Friday'sChild,BMI).The urate the Lennon/Spector produced set, his eagerly awaited fourth album, "Sideshow"men choosean up - which beats with fun fromstartto the White Knight of sensual soul tempo mood from their "Magic of finish. The entire album's boss, with the deliversatasteinsupersingles theBlue" album forarighteous niftiest nuggets being the Chuck Berry - fashion.He'sdoingmoregreat change of pace. Every ounce of their authored "You Can't Catch Me," Lee thingsinthe wake of currenthit bounce is weighted to provide them Dorsey's "Ya Ya" hit and "Be-Bop-A- string. 20th Century 2177. top pop and soul action. Atco 71::14. Lula." Apple SK -3419 (Capitol) (5.98). DIANA ROSS, "SORRY DOESN'T AILWAYS MAKE TAMIKO JONES, "TOUCH ME BABY (REACHING RETURN TO FOREVER FEATURING CHICK 1116111113FOICER IT RIGHT" (prod. by Michael Masser) OUT FOR YOUR LOVE)" (prod. by COREA, "NO MYSTERY." No whodunnits (Jobete,ASCAP;StoneDiamond, TamikoJones) (Bushka, ASCAP). here!This fabulous four man troupe BMI). Lyrical changes on the "Love Super song from JohnnyBristol's further establishes their barrier -break- Story" philosophy,country -tinged debut album helps the Jones gal ingcapabilitiesby transcending the with Masser-Holdridge arrange- to prove her solo power in an un- limitations of categorical classification ments, give Diana her first product deniably hit fashion. -
Curriculum Vitae
Curriculum Vitae ROMUALD KARMAKAR DIRECTOR – PRODUCER Pantera Film GmbH Uhlandstrasse 160 10719 Berlin, Germany Ph +493068810141 [email protected] www.romuald-karmakar.de BACKGROUND Born 1965 in Wiesbaden, Germany. French citizen. Lives and works in Berlin. EDUCATION Higher education entrance qualification (Abitur), Oskar-von-Miller-Gymnasium, Munich (Germany), 1984 HONORS AND AWARDS – Best Music Documentary, DENK ICH AN DEUTSCHLAND IN DER NACHT, Dock of the Bay 2018, Festival de Cine Documental Musical de Donostia/San Sebastián – Preis der deutschen Filmkritik 2017, "Beste Musik“, DENK ICH AN DEUTSCHLAND IN DER NACHT – Invitation to “documenta 14”, Athens / Kassel, 2017 – Member of the International Jury of the 7th DMZ Int. Documentary Film Festival, Korea, 2015 – Member of the artistic board to join Chris Dercon (Tate Modern), the director to-be of Volksbühne, Berlin, 2015 – DEFA-Foundation Award for „Outstanding Achievement in German Film“, 2014 – Tutor of a student’s closing project (“Temperatur des Willens”, Peter Baranowski, 2017) at the University of Film and Television, Munich, SS 2014 – Seminar on „Filming Controversial Persons“ (Umstrittene Personen filmen) at the University of Film and Television, Munich, WS 2013/14 – Invitation to the German Pavilion at the Art Biennale in Venice, 2013, together with Ai Weiwei, Santu Mofokeng and Dayanita Singh – Fellow at the Radcliffe Institute for Advanced Study, Harvard University, 2012-2013 – Member of the Jury for the art competition of „NS-Dokumentationszentrum München“, 2012 – Jury President of „Dialogue en perspective“ in the Perspektive Deutsches Kino section of the Berlin Int. Film Festival, 2011 – Retrospective at the Jeonju Int. Film Festival, Korea, 2010 – Retrospective at the Austrian Film Museum, Vienna, 2010 CV. -
Guide to the Maria Lind Manifesta Papers MSS.005 Finding Aid Prepared by Ann Butler; Collection Processed by Lydia Aikenhead in Summer 2011
CCS Bard Archives Phone: 845.758.7567 Center for Curatorial Studies Fax: 845.758.2442 Bard College Email: [email protected] Annandale-on-Hudson, NY 12504 Guide to the Maria Lind Manifesta Papers MSS.005 Finding aid prepared by Ann Butler; Collection processed by Lydia Aikenhead in Summer 2011. This finding aid was produced using the Archivists' Toolkit July 14, 2015 Guide to the Maria Lind Manifesta Papers MSS.005 Table of Contents Summary Information..................................................................................................................................3 Biographical/Historical note.........................................................................................................................4 Scope and Contents note........................................................................................................................... 4 Arrangement note....................................................................................................................................... 7 Administrative Information...........................................................................................................................7 Controlled Access Headings.......................................................................................................................8 Collection Inventory...................................................................................................................................10 Series I: Manifesta 2...........................................................................................................................10 -
The Rules of the Sovereign Order 2012
SOVEREIGN ORDER OF ST. JOHN OF JERUSALEM, KNIGHTS HOSPITALLER THE RULES OF THE SOVEREIGN ORDER 2012 Under The Constitution of H.M. King Peter II of 1964 And including references RULES TABLE OF CONTENTS I NAME, TRADITION [Const. Art. 1] 4 II PURPOSE [Const. Art 2] 6 III` LEGAL STATUS [Const. Art. 3] 7 IV FINANCE [Const. Art. 4] 10 V HEREDITARY PROTECTOR & HEREDITARY KNIGHTS [Const. Art.5] 11 VI GOVERNMENT 12 A. GRAND MASTER [Const. Art 10] B. SOVEREIGN COUNCIL [Const. Art. 7] C. PETIT CONSEIL [Const. Art. 8] D. COURTS OF THE ORDER [Const. Art. 9] VII THE PROVINCES OF THE ORDER [Const. Art. 11] 33 A. GRAND PRIORIES [Const. Art. 11.5] B. PRIORIES [Const. Art. 11.2] C. COMMANDERIES VIII MEMBERSHIIP [Const. Art. 12 as amended] 41 A. INVESTITURE B. KNIGHTS & DAMES [Const. Art. 12 & 14] C. CLERGY OF THE ORDER [Const. Art. 13] ECCLESIASTICAL COUNCIL D. SQUIRES, DEMOISELLES, DONATS, SERVING BROTHERS & SISTERS OF THE ORDER [Cont. Art. 15] IX RANKS, TITLES & AWARDS [Const. Art. 12] 50 A. RANKS B. TITLES C. AWARDS X REGALIA & INSIGNIA [Const. Art. 3] 57 A. REGALIA B. INSIGNIA RULE LOCATION PAGE RULE LOCATION PAGE ADMINISTRATIVE PROCEDURES APPENDIX 12 106 AGE LIMITS RANKS, TITLES & AWARDS 54 AIMS NAME, TRADITION 4 AMENDMENT GOVERNMENT 13 AMENDMENTS OF KKPII CONSTITUTION APPENDIX 15 115 ANNUAL REPORT FINANCE 10 ARMS OF THE ORDER REGALIA & INSIGNIA 58 ASPIRANT MEMBERSHIP 43 AUDITORS FINANCE 10 AUDIT COMMITTEE OF SOVEREIGN COUNCIL GOVERNMENT 24 AUXILIARY JUDGE GOVERNMENT 30 BADGE REGALIA & INSIGNIA 58 BAILIFF RANKS, TITLES, AWARDS 51 BAILIFF EMERITUS RANKS, TITLES, AWARDS 53 BALLOT GOVERNMENT 14 1 Page RULE LOCATION PAGE BEATITUDES MEMBERSHIP—INVESTITURE 46 BY-LAWS FOR TAX-FREE CORPORATE STATUS LEGAL STATUS 7 CAPE REGALIA & INSIGNIA 57 CERTIFICATE OF MERIT RANKS, TITLES, AWARDS 55 CHAINS OF OFFICE REGALIA, TITLES, AWARDS 58 CHAPLAIN PROVINCES OF THE ORDER 34 CHAPTER GENERAL PROVINCES OF THE ORDER 33 CHARITABLE STATUS LEGAL STATUS 7 CHARITABLE WORK PURPOSE 6 CHARTER APPENDIX 60 CHARTER OF ALLIANCE LEGAL STATUS 9 CHIVALRY NAME, TRADITION 4 CHIVALRIC ORDER VS. -
ACADEMIC STUDIES in PHILOLOGY-2019-2.Pdf
ACADEMIC STUDIES IN PHILOLOGY-2019/2 FİLOLOJİDE AKADEMİK ÇALIŞMALAR-2019/2 Editor Prof. Dr. Zehra GÖRE Cetinje 2019 Editor Prof. Dr. Zehra GÖRE First Edition •© September 2019 /Cetinje-Montenegro ISBN • 978-9940-540-97-5 © copyright All Rights Reserved Ivpe web: www.ivpe.me Tel. +382 41 234 709 e-mail: [email protected] Print Ivpe Cetinje, Montenegro İÇİNDEKİLER ÖN SÖZ ................................................................................................... 2 HAKEMLER ........................................................................................... 3 ÇEVİRİBİLİM .......................................................................................... 4 A TRANSLATION CRITICISM On “CHICK-LIT”: WHILE TRANSLATING BRIDGET JONES’s DIARY Into TURKISH… ............ 5 Melâhat Özgüs (1906-2001) Leben und Werk: Porträt einer Übersetzerin in Zeiten gesellschaftlichen Wandels ..................................................... 40 DÜNYA DİLLERİ VE EDEBİYATLARI....................................................... 52 A STRUCTURALIST ANALYSIS OF WOMEN’S POSITION IN GEORGE ELIOT’S MIDDLEMARCH .................................................. 53 Homage Paid to the King: Marlowe and Shakespeare`s Collaboration” in Defense of Daemonologie……………………………… .................. 75 Von der Sprache zur Kulturellen Zugehörigkeit. Eine Neu-Orientierung in deutsch-türkischen Hip-Hop-Texten .................................................. 94 DOĞU BATI DİVANINDA TEPEGÖZ .............................................. 122 TÜRK HALK BİLİMİ ....................................................................... -
Download Issue
SUSUSSSSEXEX 1 JEWIJEWISSHH NEWNEWSS WHAt’S INSIDE.... CHAG SHAVUOT SAMEACH | JEWISH ARTS SOCIETY EXHIBITION | PEKING TO Whats PARIS RALLY | ZION MUSEUM | WHAT’S ON | AND MORE june 2016 • IYAR-SIVAn 5776 • ISSue 264 2 Pause for thought 3 When one sleeps in an awkward However, it can also be an and our Jewish identity? Would we position, waking up usually brings admirable trait where perseverance have survived without being “stiff- the pain of having a stiff neck. It is is necessary to overcome necked”? an ailment that the Torah uses as difficulties. Looking at it another Perhaps the key is to know when a collective insult when a lack of way, it displays a commitment to it is appropriate to be stiff-necked. communal faith by the Israelites is what is important. For example, We need to use that attribute to displayed. ensure our place in our society, our But thinking about the phrase, “a Perhaps the key is to know country and our world. But, by the stiff-necked people”, we wonder when it is appropriate to be same token, we need to ensure that whether it truly is an insult. Yes, stubbornness does not stop us from it refers to a stubbornness where stiff-necked. treating each other with respect and a leap of faith may be too much understanding differences can make to undertake, or, a commitment us stronger both as individuals and would the Jewish people have to old ways. At the same time, as a community. survived so many tragedies, so obstinacy can be a barrier to many episodes of persecution had And it will strengthen our already progress, or, to looking towards the we not been committed to our faith stiff necks. -
Jahresbericht 2010 (PDF)
JAHRESBERICHT 2010 Zum Geleit Das vorliegende Heft über die Aktivitäten des Österreichi- schen Filmmuseums im Jahr 2010 ist das zweite seiner Art. Die überaus positiven Reaktionen, die wir vor einem Jahr zum „Debüt“ des Jahresberichts erhalten haben, bestärk- ten uns in der Annahme, dass es unbedingt eines solchen Innehaltens zum Zwecke des Überblicks bedarf: Im Alltag der Filmmuseumsmitarbeiter – und erst recht im Alltag jener Menschen, die das Filmmuseum besuchen – ist selten Alexander Horwath genug Zeit und Raum, um die tatsächliche Vielfalt, die Pro- © DAN DENNEHY, WALKER ART CENTER duktivität und die inneren Zusammenhänge der Museums- arbeit ermessen zu können. Ziel dieses Berichts ist es also, zumindest ansatzweise das vielgliedrige Netzwerk vorzustellen, das unserer Arbeit 55.388 Besucher/innen; die Aktivitäten außer Haus sind zu Grunde liegt. Seine Adressaten sind all jene, die an den dabei nicht inkludiert). Die Auslastung – 48,68 Prozent – lag Angeboten und Tätigkeitsfeldern des Filmmuseums inter- erneut weit über jener aller anderen Kinosäle Österreichs. essiert sind, die unsere „Ausstellungen auf der Kinolein- Die Zahl der Jahresmitglieder ist leicht auf 7600 zurückge- wand“ wahrnehmen, in Projekte des Hauses involviert sind gangen. In den Sammlungen des Filmmuseums befinden oder das Filmmuseum als Fördernde Mitglieder unterstüt- sich per Dezember 2010 unter anderem 25.500 Filme, zen. Wir wollen damit auch jene Bereiche hervorstreichen, 20.000 Filmbücher und 350.000 Filmfotografien. Das Ge- die weniger stark im Licht der Öffentlichkeit stehen als die samtjahresbudget betrug ca. 1,9 Millionen Euro. Es setzt Filmpräsentationen und Publikationen – also die Sammlun- sich aus drei annähernd gleich großen Teilen zusammen: gen, die Aktivitäten „außer Haus“, die Vermittlungs- und For- den Jahresförderungen durch die Republik Österreich und schungsarbeit.