Alumna Dances Her Way Into UMBC's Heart to Explore the World of Dance

Total Page:16

File Type:pdf, Size:1020Kb

Alumna Dances Her Way Into UMBC's Heart to Explore the World of Dance RETRIEVER Highlights FEBRUARY 9, 1993 PAGE 7 Alumna dances her way into UMBC's heart to explore the world of dance. 1989, uses whole wheat dough The source for a'l of these Scott Forbes This freedom has allowed her to and fluffy white dough as the dances is McMahon's imagina- Retriever Staff Writer continue to develop new ideas in symbols for the kneading which tion. "All of my works come dance—the ideas she will bring takes place between two worlds, directly from what's going on in Imagination is the essential with her to the UMBC stage People's interpretations of this my personal life," she admits, component needed to under- tomorrow night. piece are very diverse, according adding that she hopes to trans- stand Karen McMahon's style of After graduating from UMBC, to McMahon. Some people see late these personal experiences dance. So tomorrow at 7:30 p.m., McMahon moved to Philadelphia it as representing a contest into universal experiences that bring your imagination to the to enroll in Temple University's between the working class and audiences can identify with. To UMBC Theatre, where McMahon Master's of Fine Arts Program, the non-working class, while help interpret that active imagi- will continue the 1993 Progres- While in Philadelphia, she disco- others see it as dealing with the nation, two other dancers will sions series with a solo dance vered that the area gives financial problems of rape. Karen hopes perform with her on a couple of concert. support to many artists' projects, that the dance speaks like a numbers. "I'm excited to come back to This discovery gave her the poem, without causing an urge Judging from her long, impres- the theatre," McMahon said, after means to complete her Master's to strangle meaning out of every sive resume, many people and explaining that her former Degree at Temple. Now, she gesture. "Just take what you organizations have already iden- instructor, Professor Liz Walton, instructs children's dance work- can," she says, stating the main tified Karen McMahon as an invited her to perform in this shops that concentrate on crea- aspect of performance art. outstanding artist. In 1992, she series. tive movement. Another of was chosen as one of six Phila- Professor Walton instructed This s le of McManon delphia artists to be promoted McMahon when the dancer was danceM will.!l be ,theh "Vm not doingo formance 'sart p«-pie- nationally in the city's Project STRETCH. The Community Edu- tember 1982-May 1986. "Karen '"> "" " ■•■'«'■«' "Early Snow," cation Center awarded her with was one of the best students we theatre. McMa- Vtf\\\) hjnh T prill anc* tne exPe" a third year performance grant, ever had," Professor Walton hon spoke of the how"t/rv highMg'i I* canClf#! rience is akin to as part of the Center's Intimate recalled. She also shared her differences npf rn\J lt>0 " watching an Space Grant for 1990-92. enthusiasm about McMahon's between her per- Sget my'*%7 leg."'*'£>• abstract film, Another gift came in 1991, when success as a Philadelphia-based formances and "You watch the she was awarded a one-year independent artist. the many traditional styles of images and take what you want fellowship for the development of McMahon is equally enthusias- dance you see in productions like without figuring out what it all new work from the Pennsylvania tic about her alma mater. "The the musical 42ndSheet. Her work means," she said. The piece is Council on the Arts Fellowship. great thing about UMBC," she focuses on states of energy. about relationships and vulnera- exclaimed, "is that the dance "It's like looking at a modern bility, and was conceived last So that viewers can understand department is small, but the painting. You get used to seeing year. "Between Blue Rock," McMahon's style and personality facilities are beautiful." Many of it and being open to it," she crafted in 1991, deals with frus- more thoroughly, an informal the dance departments instruc- explained. McMahon hopes that trations and the way a person question and answer period will tors were big influences on her, people will come with an open may try too hard to achieve in a occur immediately following the and she remembers being able to mind, without any expectations certain field. Finally, the person concert. Following it will be a y work comfortably alongside as to what may or may not occur, gives up and releases his anxie- reception where audience other artists in the Fine Arts "See if you like it," is her response ties into another space. Balti- members can speak with Karen Building. For example, while to people who do not understand more film maker and former McMahon and her associates. choreographing a few pieces, what she's doing on stage. UMBC instructor Boots Shelton. Tickets for the Dance Concert she sought the assistance of "My work also has natural who has worked with director campus musicians, and found pedestrian gestures. I'm not John Waters, collaborated with are $15 and $10 for students and them eager to help her. The doing tricks, it's not how high I McMahon on yet another piece, senior citizens. Because seating dance department, she said, can get my leg. (My work) is not a 1988 creation called "Frames of is limited, reservations are photo credited to PATENTED PHOTOS PATENTED PHOTOS 215-238-9192 encouraged her, as well as all of spectacle," she said. One piece, Mind." Boots also filmed Karen's strongly recommended. For Karen Mahon performs "No Wonder We Knead," one of her its students, to experiment and "No Wonder We Knead" from version of this dance. more information call 455-2476. many original dance creations. In the face of fiscal disaster, Hollywood puts excellence Theatre Dept. shoots for the stars more expletives of course!) when I more on the thespians, the audience first with Sommersby heard the term. gets more "into" the plot instead of A "studio production" is a play being distracted by superfluous that stresses less of a demand on scenery. Pete Fitzpatrick the technical aspects of theatre and Retriever Staff Writer concentrates more on the actors. King Lear This type of production doesn't The second feature of the semes- Jack Sommersby has returned demand a large budget, which will ter, a William Shakespeare classic, to Vine Hill. sooth the fat cats at this institution will be a mainstage production, After five years of fighting the known as UMS. Hey Frank which in a nutshell means that it long and bloody Civil War, and Perdue! will receive the full treatment. "King being held in the horrid conditions One of the positive aspects of a of a military prison, he has come studio production is with the focus (see PREVIEW, page 8) back to his wife, Laurel, and a son he hardly knows. His plantation has been ransacked by Union Brian Lehrer soldiers, and his fields left fallow Retriever Staff Writer Community Calendar because all the slaves have been Coming off a brilliant and trying Off-Campus Activities set free. first semester, UMBC's theatre The town is elated over the department is catapulting into the return of their favorite son. Mrs. new year with high hopes that the Feb. 10 — "Will Intellectuals Go by Enoch Pratt Free Library. For! Sommersby is not quite as happy. spring will be as successful as the the Way of the Dinosaurs?". A more information call 396-5494. j When she last saw her husband, fall. Last semester is a hard act to lecture with Benjamin Solomon he was a drunkard who was cruel follow, considering that the depart- Carson, the director of Pediatric Feb 13 — The Baltimore Museum and often abusive toward her. ment's production of The Tutor has Neurosurgery at the Johns Hop- of Art Honors Black History! Believing her husband dead, she received national recognition and kins University and Hospital. At Month with a gallery talk about i had begun to make plans to marry three of its actors competed indi- the Johns Hopkins University artist Alma Thomas. 1 p.m. at the] Orin, a man who has been helping vidually in the Irene Ryan Compe- Homewood Campus, in the Gar- Baltimore Museum of Art. Onj her tend the farm. tition. rett Room of the Eisenhower Feb. 14, there will be a second! It soon becomes apparent that The Theatre department is also Library. For more information gallery talk about African Art,] Jack is not the man he once was. facing what may prove t,o be an even call 516-7157. also at 1 p.m. For more informa- The townspeople attribute his bigger challenge than putting on tion call 396-6300. change to the war. After all, one of its excellent productions. At Feb. 12 - Exhibits of African and almost everyone lost someone or the end of last semester, the UMS African-American Culture. Day- Feb 13 — Origins of Women's! was somehow affected by the war Board of Regents slated the theatre long event in the Glass Pavilion Oppression and the Family as af — why should Jack be an excep- major as one of many to be cut from of the Homewood Campus of Pillar of Class Rule, a seminar! tion? And much to her surprise, UMBC, stating that it was a dupli- Johns Hopkins University. For hosted by the Socialist Worker's! Laurel begins to fall in love with cate department (to those offered more information call 516-7160. Party. 2905 Greenmount Avenue.! the man she once resented bitterly.
Recommended publications
  • Memory, History, and Entrapment in the Temporal Gateway Film
    Lives in Limbo: Memory, History, and Entrapment in the Temporal Gateway Film Sarah Casey Benyahia A thesis submitted for the Degree of Doctor of Philosophy (PhD) Department of Literature, Film, and Theatre Studies University of Essex October 2018 Abstract This thesis examines the ways in which contemporary cinema from a range of different countries, incorporating a variety of styles and genres, explores the relationship to the past of people living in the present who are affected by traumatic national histories. These films, which I’ve grouped under the term ‘temporal gateway’, focus on the ways in which characters’ experiences of temporality are fragmented, and cause and effect relationships are loosened as a result of their situations. Rather than a recreation of historical events, these films are concerned with questions of how to remember the past without being defined and trapped by it: often exploring past events at a remove through techniques of flashback and mise-en-abyme. This thesis argues that a fuller understanding of how relationships to the past are represented in what have traditionally been seen as different ‘national’ cinemas is enabled by the hybridity and indeterminacy of the temporal gateway films, which don’t fit neatly into existing categories discussed and defined in memory studies. This thesis employs an interdisciplinary approach in order to draw out the features of the temporal gateway film, demonstrating how the central protagonist, the character whose life is in limbo, personifies the experience of living through the past in the present. This experience relates to the specifics of a post-trauma society but also to a wider encounter with disrupted temporality as a feature of contemporary life.
    [Show full text]
  • Exploring Films About Ethical Leadership: Can Lessons Be Learned?
    EXPLORING FILMS ABOUT ETHICAL LEADERSHIP: CAN LESSONS BE LEARNED? By Richard J. Stillman II University of Colorado at Denver and Health Sciences Center Public Administration and Management Volume Eleven, Number 3, pp. 103-305 2006 104 DEDICATED TO THOSE ETHICAL LEADERS WHO LOST THEIR LIVES IN THE 9/11 TERROIST ATTACKS — MAY THEIR HEORISM BE REMEMBERED 105 TABLE OF CONTENTS Preface 106 Advancing Our Understanding of Ethical Leadership through Films 108 Notes on Selecting Films about Ethical Leadership 142 Index by Subject 301 106 PREFACE In his preface to James M cG regor B urns‘ Pulitzer–prizewinning book, Leadership (1978), the author w rote that ―… an im m ense reservoir of data and analysis and theories have developed,‖ but ―w e have no school of leadership.‖ R ather, ―… scholars have worked in separate disciplines and sub-disciplines in pursuit of different and often related questions and problem s.‖ (p.3) B urns argued that the tim e w as ripe to draw together this vast accumulation of research and analysis from humanities and social sciences in order to arrive at a conceptual synthesis, even an intellectual breakthrough for understanding of this critically important subject. Of course, that was the aim of his magisterial scholarly work, and while unquestionably impressive, his tome turned out to be by no means the last word on the topic. Indeed over the intervening quarter century, quite to the contrary, we witnessed a continuously increasing outpouring of specialized political science, historical, philosophical, psychological, and other disciplinary studies with clearly ―no school of leadership‖with a single unifying theory emerging.
    [Show full text]
  • Film Front Weimar’ 30-10-2002 14:10 Pagina 1
    * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933. These films shed light on the way Ger- many chose to remember its recent past. A body of twenty-five films is analysed. For insight into the understanding and reception of these films at the time, hundreds of film reviews, censorship re- ports and some popular history books are discussed. This is the first rigorous study of these hitherto unacknowledged war films. The chapters are ordered themati- cally: war documentaries, films on the causes of the war, the front life, the war at sea and the home front. Bernadette Kester is a researcher at the Institute of Military History (RNLA) in the Netherlands and teaches at the International School for Humanities and Social Sciences at the University of Am- sterdam. She received her PhD in History FilmFilm FrontFront of Society at the Erasmus University of Rotterdam. She has regular publications on subjects concerning historical representation. WeimarWeimar Representations of the First World War ISBN 90-5356-597-3
    [Show full text]
  • Mary in Film
    PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas
    [Show full text]
  • Feature Films
    Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243
    [Show full text]
  • Farmers Market Promotion Program (FMPP) Final Performance Report
    Farmers Market Promotion Program (FMPP) Final Performance Report The final performance report summarizes the outcome of your FMPP award objectives. As stated in the FMPP Terms and Conditions, you will not be eligible for future FMPP or Local Food Promotion Program grant funding unless all close-out procedures are completed, including satisfactory submission of this final performance report. This final report will be made available to the public once it is approved by FMPP staff. Write the report in a way that promotes your project's accomplishments, as this document will serve as not only a learning tool, but a promotional tool to support local and regional food programs. Particularly, recipients are expected to provide both qualitative and quantitative results to convey the activities and accomplishments of the work. The report is limited to 10 pages and is due within 90 days of the project’s performance period end date, or sooner if the project is complete. Provide answers to each question, or answer “not applicable” where necessary. It is recommended that you email or fax your completed performance report to FMPP staff to avoid delays: FMPP Phone: 202-690-4152; Email: [email protected]; Fax: 202-690-4152 Should you need to mail your documents via hard copy, contact FMPP staff to obtain mailing instructions. Report Date Range: September 30, 2014- September 29, 2016 (e.g. September 30, 20XX-September 29, 20XX) Authorized Representative Name: Bonnie Riedesel Authorized Representative Phone: 540-885-5174 Authorized Representative Email: [email protected] Recipient Organization Name: Central Shenandoah Planning District Commission Project Title as Stated on Grant Agreement: Shenandoah Valley Fields of Gold Agritourism Program Grant Agreement Number: 14-FMPPX-VA-0096 (e.g.
    [Show full text]
  • July August LOGLINE Final Assembly
    LOGLINE March / April 2013 The Screenwriter’s eZine Volume 6: Number 2 !"#$%&'()*#+,* Letter from the Editor The PAGE International Screenwriting Awards Are you ready to show the world what you’re capable of? The 2013 PAGE Awards competition LO could be your entrée as a professional screenwriter. Winners in 10 categories are spotlighted 7510 Sunset Blvd. #610 Hollywood, CA 90046 for producers and representatives eager to find new talent. In just the last couple of years, www.pageawards.com PAGE Award winners have gotten movies made and landed TV jobs. A contest submission is an investment in your career and a statement of faith in your ability to write for a demanding industry that is also desperate to find new voices. The Late Entry Deadline is April 1, 2013. -.*/'%&*%&&"(,* For a peek behind the curtain at the criteria used by industry gatekeepers when evaluating material, check out our exclusive eBook The Insiders’ Guide to Screenwriting. Penned by 10 Latest News from PAGE Judges in unpretentious style, it breaks down in detail each key aspect of the script — the PAGE Awards 1 premise, structure, pacing, etc. Indispensible to beginners and veteran writers alike! Spring is a time of natural renewal, and screenwriters are always seeking new information, fresh inspiration and just a few handy tips. In this issue, Tobin Addington makes a stirring The Writer’s Perspective argument for embracing your individuality as a writer. PAGE Judge Helen Truong tells you what A Story Only You 2 movie execs REALLY want. Our resident genre doyen John Truby discusses the groundbreaking Could Tell sitcom Girls.
    [Show full text]
  • Gone with the Wind and the Imagined Geographies of the American South Taulby H. Edmondson Dissertation Submitt
    The Wind Goes On: Gone with the Wind and the Imagined Geographies of the American South Taulby H. Edmondson Dissertation submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In Social, Political, Ethical, and Cultural Thought Emily M. Satterwhite, Co-Chair David P. Cline, Co-Chair Marian B. Mollin Scott G. Nelson February 13, 2018 Blacksburg, Virginia Keywords: Gone with the Wind, Mass Media and History, US South, Slavery, Civil War, Reconstruction, African American History, Memory, Race Relations, Whiteness, Nationalism, Tourism, Audiences Copyright: Taulby H. Edmondson 2018 The Wind Goes On: Gone with the Wind and the Imagined Geographies of the American South Taulby H. Edmondson ABSTRACT Published in 1936, Margaret Mitchell’s Gone with the Wind achieved massive literary success before being adapted into a motion picture of the same name in 1939. The novel and film have amassed numerous accolades, inspired frequent reissues, and sustained mass popularity. This dissertation analyzes evidence of audience reception in order to assess the effects of Gone with the Wind’s version of Lost Cause collective memory on the construction of the Old South, Civil War, and Lost Cause in the American imagination from 1936 to 2016. By utilizing the concept of prosthetic memory in conjunction with older, still-existing forms of collective cultural memory, Gone with the Wind is framed as a newly theorized mass cultural phenomenon that perpetuates Lost Cause historical narratives by reaching those who not only identify closely with it, but also by informing what nonidentifying consumers seeking historical authenticity think about the Old South and Civil War.
    [Show full text]
  • Movies and Mental Illness Using Films to Understand Psychopathology 3Rd Revised and Expanded Edition 2010, Xii + 340 Pages ISBN: 978-0-88937-371-6, US $49.00
    New Resources for Clinicians Visit www.hogrefe.com for • Free sample chapters • Full tables of contents • Secure online ordering • Examination copies for teachers • Many other titles available Danny Wedding, Mary Ann Boyd, Ryan M. Niemiec NEW EDITION! Movies and Mental Illness Using Films to Understand Psychopathology 3rd revised and expanded edition 2010, xii + 340 pages ISBN: 978-0-88937-371-6, US $49.00 The popular and critically acclaimed teaching tool - movies as an aid to learning about mental illness - has just got even better! Now with even more practical features and expanded contents: full film index, “Authors’ Picks”, sample syllabus, more international films. Films are a powerful medium for teaching students of psychology, social work, medicine, nursing, counseling, and even literature or media studies about mental illness and psychopathology. Movies and Mental Illness, now available in an updated edition, has established a great reputation as an enjoyable and highly memorable supplementary teaching tool for abnormal psychology classes. Written by experienced clinicians and teachers, who are themselves movie aficionados, this book is superb not just for psychology or media studies classes, but also for anyone interested in the portrayal of mental health issues in movies. The core clinical chapters each use a fabricated case history and Mini-Mental State Examination along with synopses and scenes from one or two specific, often well-known “A classic resource and an authoritative guide… Like the very movies it films to explain, teach, and encourage discussion recommends, [this book] is a powerful medium for teaching students, about the most important disorders encountered in engaging patients, and educating the public.
    [Show full text]
  • Download the Product Guide
    PRODUCTPRODUCT GUIDEGUIDE CANNES 2007 111 PICTURES x 2.5’ Budget: $ 1.3M LA CENA PER FARLI CONOSCERE Language: English Year of Production: 2005, Country of (A DINNER FOR THEM TO MEET) 111 Pictures, 1st Floor 111, Wardour Producer: Marilyn Higgins Origin: Turkey Sentimental Comedy (99’) Street, London, W1F OUH United Cast: A range of celebrities including 90 years ago the Gallipoli legend was Language: Italian With English Subtitles Kingdom. Tel: 44.207.758.0690. Fax: Johnny Depp, Jodie Foster, Tom Hanks, written in blood on the shores of Turkey. Director: Pupi Avati 44.207.734.2819. Will Smith and Jennifer Aniston. Not all the blood was Australian. Tolga Production: DUEA FILM in http://www.111pictures.com Delivery Status: Completed Ornek attempts to explain Gallipoli from collaboration with MEDUSA FILM and At Cannes: Alki David (President), Tony Year of Production: 2007, Country of all sides. SKY Lytle (Director of Sales), Eroulla Origin: USA THE HITTITES (THE EMPIRE THAT Cast: Diego Abatantuomo, Francesca Constatine (Vice President of Sales) Featuring Hollywood’s most talked about CHANGED THE ANCIENT WORLD) Neri, Inés sastre Office: 45 la Croisette, Tel: 0493.68.7193 film, music and television stars, Documentary (120 min) Status: Screening FISHTALES including Nicole Kidman, Orlando Language: English Country of Origin: Italy Family Comedy (95 min) Bloom, Halle Berry, Daniel Craig and Director: Tolga Ornek A man, four women and a dinner, to Language: English Scarlet Johansson; Superstars is the Writer: Tolga Ornek discover love, and rediscover
    [Show full text]
  • Sommersby Jocelyne Hébert
    Document generated on 09/26/2021 1:52 p.m. Séquences La revue de cinéma Sommersby Jocelyne Hébert Number 164, May 1993 URI: https://id.erudit.org/iderudit/59537ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Hébert, J. (1993). Review of [Sommersby ]. Séquences, (164), 56–57. Tous droits réservés © La revue Séquences Inc., 1993 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ partir de ce moment-là que Victor une bonne comédie. Il faut aussi que Sommersby cesse ses crises d'hystérie. Et je trouve le rythme soit là. Toutes les répliques génial que la réalisatrice ait songé à ce doivent être dites sur le bon ton et au Vous connaissez l'histoire: après retour vers la mère quand le grand bon moment. Il faut aussi savoir une absence de plusieurs années, un garçon d'environ trente ans se articuler, car le rythme est très rapide. homme revient dans son village natal. retrouve seul. Lorsqu'il voit que le Il est intéressant de noter que le retour Accueilli chaleureusement, reconnu monde s'écroule autour de lui, il veut cyclique de certaines phrases ponctue de tous et accepté par son épouse, il retourner dans le sein maternel.
    [Show full text]
  • Sherlock Holmes: Behind the Canonical Screen Info Sheet
    Sherlock Holmes: Behind the Canonical Screen Edited & introduced by Lyndsay Faye and Ashley Polasek Order it at: www.bakerstreetjournal.com 272 pages, 10" x 7" trade paperback, December 2015 With 42 color and 38 b&w illustrations Contributor Biographies Lyndsay Faye, BSI (“Kitty Winter”) is the internationally bestselling author of the Edgar Award- nominated Timothy Wilde Trilogy, as well as the critically acclaimed pastiche Dust and Shadow: an Account of the Ripper Killings by Dr. John H. Watson. She is a guest writer for the Eisner Award- nominated comic Watson and Holmes, has written numerous short stories for Sherlockian anthologies as well as The Strand Magazine, and “The Case of Colonel Warburton’s Madness” was selected by Otto Penzler and Lee Child for Best American Mystery Stories 2010. An Adventuress of Sherlock Holmes, Baker Street Babe, and Curious Collector, Faye is also a proud volunteer mentor for Girls Write Now and a director-at-large for Mystery Writers of America. Her work has been translated into fourteen languages, and The Gods of Gotham was honored by the American Library Association for Best Historical Fiction. She lives in Queens with her husband and cats. Ashley D. Polasek, Ph.D., FRSA is an internationally recognized expert in the study of Sherlock Holmes adaptations. Both her MA thesis and doctoral dissertation interrogated the subject of Holmes on screen, and she has published several academic articles in leading journals and presented numerous papers exploring various aspects of Sherlockian film and television throughout the U.S., U.K., and Europe. As a frequent reviewer for Oxford UP’s Adaptation, and a member of both the Association of Adaptation Studies and the Literature/Film Association, she is proud to be a point of contact for scholars seeking to publish about Holmes’ screen afterlives.
    [Show full text]