Disobedience
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« Hopenhagen » Foutu, Paris Perdu ? Les Politiciens Sont Incapables De Sauver Le Climat
woxx déi aner wochenzeitung l’autre hebdomadaire 1345/15 ISSN 2354-4597 2.20 € 13.11.2015 « Hopenhagen » foutu, Paris perdu ? Les politiciens sont incapables de sauver le climat. Et misent sans grand espoir sur « les gens ». Une table ronde nous l’a rappelé. Regards p. 8 EDITO NEWS REGARDS 0 1 3 4 5 Zum Glück gibt’s das Auto! S. 2 Mental-Health-Strategie S. 4 En toute discrétion p. 6 Im Stau stehen müssen Fußgänger und Eine intellektuelle Beeinträchtigung Même après la décision de la justice Busgäste. Wer gemütlich im Sitzen an bringt oft auch psychische Probleme européenne de l’invalider, le Luxem- den Baustellen vorbei will, greift aufs mit sich. Wie am besten helfen? Das bourg - entre autres - reste obsédé par 5 453000 211009 Privatauto zurück. zeigen die angelsächsischen Länder. la rétention des données. 2 NEWS woxx | 13 11 2015 | Nr 1345 EDITORIAL Verkehrspolitik Verkehrt NEWS Zurück zum Auto! r aymond klein Die alternative Verkehrspolitik hat aufgehoben wäre, bequem sitzend, manches erreicht. Doch Busspuren mit Heizung und Radio. Unterm Strich und Fahrradwege sind nur dann steigen derzeit wohl mehr Passagiere, attraktiv, wenn sie ein zügiges Radfahrer und Fußgänger aufs Auto Vorankommen ermöglichen. Zurzeit um als umgekehrt. leider Fehlanzeige. Dass dies gerade zu einer Zeit passiert, in der die alternative Ver- Niemand mag Baustellen. Sie lär- kehrspolitik durchaus Fortschritte men, sie stinken und vor allem: Sie vermelden kann, ist tragisch. Das behindern den Verkehr. Mittelfristig hauptstädtische Bussystem wurde sollen die Arbeiten, die in diesen Mo- über Jahre hinweg optimiert, es gibt naten die Hauptstadt lahmlegen, mit so viele Radwege wie nie zuvor, und dazu dienen, die Lebensqualität zu sogar für die Sorgen der Fußgänger verbessern. -
Laurel Canyon Pressbook Revised
FRANCES McDORMAND CHRISTIAN BALE KATE BECKINSALE NATASCHA McELHONE and ALESSANDRO NIVOLA in “LAUREL CANYON” a film by Lisa Cholodenko 103 Minutes. Rated R by the MPAA. A Sony Pictures Classics Release. EAST COAST: WEST COAST: EXHIBITOR CONTACTS: MAGIC LANTERN, INC. BLOCK -KORENBROT SONY PICTURES CLASSICS JESSICA UZZAN MELODY KORENBROT CARMELO PIRRONE AMY GORDON ZIGGY KOZLOWSKI MARISSA MANNE 250 WEST 57TH STREET 8271 MELROSE AVENUE, 550 MADISON AVENUE, SUITE 1718 SUITE 200 8TH FLOOR NEW YORK, NY 10107 LOS ANGELES, CA 90046 NEW YORK, NY 10022 PHONE: (212) 586-7233 PHONE: (323) 655-0593 PHONE: (212) 833-8833 FAX: (212) 586-7282 FAX: (323) 655-7302 FAX: (212) 833-8844 www.magiclanternpr.com Visit the Sony Pictures Classics internet site at: http:/www.sonyclassics.com 1 LAUREL CANYON Cast Jane FRANCES McDORMAND Sam CHRISTIAN BALE Alex KATE BECKINSALE Sara NATASCHA McELHONE Ian ALESSANDRO NIVOLA Fripp LOUIS KNOX BARLOW Rowan RUSSELL POLLARD Dean IMAAD WASIF Mickey MICKEY PETRALIA Claudia MELISSA DE SOUSA Darla ALEXANDRA CARTER China MICHELLE DEMIRJIAN Wyatt RICK GONZALEZ Mr. Elliot DENNIS HOWARD Mrs. Elliot CATHERINE McGOOHAN Woman 1 JUDITH MONTGOMERY Woman 2 PATRICIA PLACE Cambridge party guest #1 WILLO HAUSMAN Cambridge party guest #2 GREG WOLFSON Cambridge party guest #3 BRANDY NIGHTINGALE stewardess CATHARINE SCOTT Tom MARCUS ASHLEY Hospital patient #1 LYLE KANOUSE Hospital patient #2 MARCIA CHOLODENKO Gloria GINA DOCTOR Landlord LAURI JOHNSON Manager TOM GRIFFITHS ER doctor REEF KARIM Elderly man LOU CUTELL Elderly man’s dog ZEUS Justin NICK KIRIAZIS Laura HEIDI SULZMAN Mark ARIEL FELIX Debby MARIE BLANCO Room service guy TED KOLAND Concierge PHILIP PAVEL Doctor MARK ROGERSON Soft rocker JUSTIN MELDAL-JOHNSEN Mark Linkous HIMSELF Daniel Lanois HIMSELF 2 LAUREL CANYON Filmmakers Written and Directed By LISA CHOLODENKO Producers SUSAN A. -
How Hollywood Casting Directors' Performances Of
1 Tiffany Matzas 5/15/2019 MMUF Final Essay Working Hard in Hollywood: How Hollywood Casting Directors’ Performances of Gatekeeping Invest in Whiteness Following the “Oscars So White” controversies of 2015 and 2016, film and television casting has become increasingly exposed to public scrutiny. Consider the backlash when a press release revealed that Ghost in the Shell had cast Scarlett Johansson, a white actress, to play the role of an Asian character.1 Or the social media outrage when the creators of Crazy Rich Asians and To All The Boys I’ve Loved Before revealed that multiple studios insisted on restricting the casting of main characters of color to white actors.2 These responses are indicative both of the ways in which casting has become an especially contentious arena for the success of a film and of the ways in which casting remains relatively conservative in its insistence on centering whiteness on-screen. Casting in film and television is an especially critical moment for understanding Hollywood’s relationship to race. It is where decisions are made about the aesthetics of the final product. Decisions centering whiteness from producers, directors, writers, and studios are often obscured in the final product, but casting decisions are one place where race in Hollywood is rendered hypervisible. 1 Eliza Berman, “A Comprehensive Guide to the Ghost in the Shell Controversy,” Time, March 29, 2017, http://time.com/4714367/ghost-in-the-shell-controversy-scarlett-johansson/. 2 Heidi Saman and Smith Kelley, “'It's Taken On A Whole Other Life,' Says 'Crazy Rich Asians' Author Kevin Kwan,” NPR, August 20, 2018, https://www.npr.org/2018/08/20/638967374/its-taken-on-a-whole-other-life-says- crazy-rich-asians-author-kevin-kwan; Sam Gillette, “Why To All The Boys I’ve Loved Before Author Jenny Han Had to Fight for an Asian American Star,” People, August 22, 2018, https://people.com/books/to-all-the-boys-ive- loved-before-asian-american-representation/. -
Sep 16 – Feb 17 020 7452 3000 Nationaltheatre.Org.Uk Find Us Online How to Book the Plays
This cover was created with the Lighting Department. Lighting is used to create moments of stage magic. The choices a Lighting Designer makes about how a set and actors are lit have a major impact on the mood and atmosphere of a scene. The National’s Lighting department deploys everything from flood or spotlight to complex automated lights, controlled via a lighting data network. Sep 16 – Feb 17 020 7452 3000 nationaltheatre.org.uk Find us online How to book The plays Online Select your own seat online nationaltheatre.org.uk By phone 020 7452 3000 Mon – Sat: 9.30am – 8pm In person South Bank, London, SE1 9PX Mon – Sat: 9.30am – 11pm See p29 for Sunday and holiday opening times Hedda Gabler LOVE Amadeus Playing from 5 December 6 December – 10 January Playing from 19 October Other ways Friday Rush to get tickets £20 tickets are released online every Friday at 1pm for the following week’s performances Day Tickets £15 / £18 tickets available in person on the day of the performance No booking fee online or in person. A £2.50 fee per transaction for phone bookings. If you choose to have your tickets sent by post, a £1 fee applies per transaction. Postage costs may vary for group and overseas bookings. Peter Pan The Red Barn A Pacifist’s Guide to Playing from 16 November 6 October – 17 January the War on Cancer 14 October – 29 November Access symbols used in this brochure Captioned Touch Tour British Sign Language Relaxed Performance Audio-Described TRAVELEX £15 TICKETS The National Theatre NT Future is Partner for Sponsored by in partnership -
Smoothing the Wrinkles Hollywood, “Successful Aging” and the New Visibility of Older Female Stars Josephine Dolan
Template: Royal A, Font: , Date: 07/09/2013; 3B2 version: 9.1.406/W Unicode (May 24 2007) (APS_OT) Dir: //integrafs1/kcg/2-Pagination/TandF/GEN_RAPS/ApplicationFiles/9780415527699.3d 31 Smoothing the wrinkles Hollywood, “successful aging” and the new visibility of older female stars Josephine Dolan For decades, feminist scholarship has consistently critiqued the patriarchal underpinnings of Hollywood’s relationship with women, in terms of both its industrial practices and its representational systems. During its pioneering era, Hollywood was dominated by women who occupied every aspect of the filmmaking process, both off and on screen; but the consolidation of the studio system in the 1920s and 1930s served to reduce the scope of opportunities for women working in off-screen roles. Off screen, a pattern of gendered employment was effectively established, one that continues to confine women to so-called “feminine” crafts such as scriptwriting and costume. Celebrated exceptions like Ida Lupino, Dorothy Arzner, Norah Ephron, Nancy Meyers, and Katherine Bigelow have found various ways to succeed as producers and directors in Hollywood’s continuing male-dominated culture. More typically, as recently as 2011, “women comprised only 18% of directors, executive producers, cinematographers and editors working on the top 250 domestic grossing films” (Lauzen 2012: 1). At the same time, on-screen representations came to be increasingly predicated on a gendered star system that privileges hetero-masculine desires, and are dominated by historically specific discourses of idealized and fetishized feminine beauty that, in turn, severely limit the number and types of roles available to women. As far back as 1973 Molly Haskell observed that the elision of beauty and youth that underpins Hollywood casting impacted upon the professional longevity of female stars, who, at the first visible signs of aging, were deemed “too old or over-ripe for a part,” except as a marginalized mother or older sister. -
Uartes Ediciones
1 UArtes Ediciones FUERA DE CAMPO REVISTA DE CINE Volumen 2, Número 3 Septiembre, 2018 ISSN 2477-9202 FUERA DE CAMPO REVISTA DE CINE Volumen 2, Número 3 Septiembre, 2018 ISSN 2477-9202 UNIVERSIDAD DE LAS ARTES Rector, Ramiro Noriega Consejero de Investigación y Relaciones Internacionales, Raúl Vallejo Vicerrectora Académica, María Paulina Soto D.R. © Universidad de las Artes UARTES EDICIONES Director, Mario Fernando Montenegro Concepción Gráfica, Maria Mercedes Salgado Diagramación, José Ignacio Quintana Jiménez Corrección de texto, Marelis Loreto Amoretti UArtes Ediciones FUERA DE CAMPO. REVISTA DE CINE Universidad de las Artes Volumen 2, Número 3. Septiembre, 2018 ISSN 2477-9202 CONSEJO EDITORIAL Arturo Serrano (Director) Universidad Nacional de Educación (Ecuador) Juan Martín Cueva (Editor Asociado) Universidad de las Artes (Ecuador) Jorge Flores Velasco Universidad de las Artes (Ecuador) Pablo Gamba Universidad Central de Venezuela (Venezuela) Oliver Gaycken University of Maryland (EEUU) Yarí Pérez Marín University of Durham (Reino Unido) CONSEJO ASESOR Margot Benacerraf Directora de cine (Venezuela) Colin MacCabe University of Pittsburgh (EEUU) Gerry McCulloch Goldsmiths. University of London (Reino Unido) Joseph Moure Universidad Paris 1 Panthéon-Sorbonne (Francia) Marc Nicholas (†) École Nationale Supérieure des métiers de l’image et du son (La Fémis) (Francia) Paul Schroeder Amherst College (EEUU) Alquimia Peña Fundación del Nuevo Cine Latinoamericano (Cuba) Marta Díaz Universidad de las Artes (Ecuador) Fuera de Campo es una revista cuatrimestral arbitrada de cine editada por la Universidad de las Artes a orillas del manso Río Guayas en la ciudad de Guayaquil, Ecuador. Todos los textos incluidos en la sección Artículos han sido sometidos al arbitraje ciego de dos expertos ajenos a la Universidad de las Artes. -
Production Notes
A Film by John Madden Production Notes Synopsis Even the best secret agents carry a debt from a past mission. Rachel Singer must now face up to hers… Filmed on location in Tel Aviv, the U.K., and Budapest, the espionage thriller The Debt is directed by Academy Award nominee John Madden (Shakespeare in Love). The screenplay, by Matthew Vaughn & Jane Goldman and Peter Straughan, is adapted from the 2007 Israeli film Ha-Hov [The Debt]. At the 2011 Beaune International Thriller Film Festival, The Debt was honoured with the Special Police [Jury] Prize. The story begins in 1997, as shocking news reaches retired Mossad secret agents Rachel (played by Academy Award winner Helen Mirren) and Stephan (two-time Academy Award nominee Tom Wilkinson) about their former colleague David (Ciarán Hinds of the upcoming Tinker, Tailor, Soldier, Spy). All three have been venerated for decades by Israel because of the secret mission that they embarked on for their country back in 1965-1966, when the trio (portrayed, respectively, by Jessica Chastain [The Tree of Life, The Help], Marton Csokas [The Lord of the Rings, Dream House], and Sam Worthington [Avatar, Clash of the Titans]) tracked down Nazi war criminal Dieter Vogel (Jesper Christensen of Casino Royale and Quantum of Solace), the feared Surgeon of Birkenau, in East Berlin. While Rachel found herself grappling with romantic feelings during the mission, the net around Vogel was tightened by using her as bait. At great risk, and at considerable personal cost, the team’s mission was accomplished – or was it? The suspense builds in and across two different time periods, with startling action and surprising revelations that compel Rachel to take matters into her own hands. -
Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442
English 252: Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442-07-387-1551 61/63 Cartwright Gardens London, UK WC1H 9EL [*Optional events — seen by some] Wednesday December 28 *1:00 p.m. Beauties and Beasts. Retold by Carol Ann Duffy (Poet Laureate). Adapted by Tim Supple. Dir Melly Still. Design by Melly Still and Anna Fleischle. Lighting by Chris Davey. Composer and Music Director, Chris Davey. Sound design by Matt McKenzie. Cast: Justin Avoth, Michelle Bonnard, Jake Harders, Rhiannon Harper- Rafferty, Jack Tarlton, Jason Thorpe, Kelly Williams. Hampstead Theatre *7.30 p.m. Little Women: The Musical (2005). Dir. Nicola Samer. Musical Director Sarah Latto. Produced by Samuel Julyan. Book by Peter Layton. Music and Lyrics by Lionel Siegal. Design: Natalie Moggridge. Lighting: Mark Summers. Choreography Abigail Rosser. Music Arranger: Steve Edis. Dialect Coach: Maeve Diamond. Costume supervisor: Tori Jennings. Based on the book by Louisa May Alcott (1868). Cast: Charlotte Newton John (Jo March), Nicola Delaney (Marmee, Mrs. March), Claire Chambers (Meg), Laura Hope London (Beth), Caroline Rodgers (Amy), Anton Tweedale (Laurie [Teddy] Laurence), Liam Redican (Professor Bhaer), Glenn Lloyd (Seamus & Publisher’s Assistant), Jane Quinn (Miss Crocker), Myra Sands (Aunt March), Tom Feary-Campbell (John Brooke & Publisher). The Lost Theatre (Wandsworth, South London) Thursday December 29 *3:00 p.m. Ariel Dorfman. Death and the Maiden (1990). Dir. Peter McKintosh. Produced by Creative Management & Lyndi Adler. Cast: Thandie Newton (Paulina Salas), Tom Goodman-Hill (her husband Geraldo), Anthony Calf (the doctor who tortured her). [Dorfman is a Chilean playwright who writes about torture under General Pinochet and its aftermath. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Disobedience: a Novel by Naomi Alderman ZIP
[BmA27.BOOK] Disobedience: A Novel by Naomi Alderman ZIP F.R.E.E Disobedience: A Novel [E.P.U.B] Information: Ebook download for mobile, ebooks download novels, ebooks library, book spot, books online to read, ebook download sites without registration, ebooks download for android, ebooks for android, ebooks for ipad, ebooks for kindle, ebooks online, ebooks pdf, epub ebooks, online books download, online library novels, online public library, read books online free no download full book, read entire books online, read full length books online, read popular books online. Required a terrific electronic book? Disobedience: A Novel, the best one! Wan na get it? Find this outstanding electronic book by below now. D0wnl0ad or review online is available. Why we are the best site for d0wnl0ading this Disobedience: A Novel Naturally, you can pick the book in various report kinds and also media. Search for ppt, txt, pdf, word, rar, zip, and kindle? Why not? Get them right here, currently! [F.r.e.e R.e.a.d D.o.w.n.l.o.a.d] Disobedience: A Novel DOC Available: Disobedience: A Novel, by Naomi Alderman PDF. Disobedience: A Novel, by Naomi Alderman ePub. Disobedience: A Novel, by Naomi Alderman DOC. Disobedience: A Novel, by Naomi Alderman RTF. Disobedience: A Novel, by Naomi Alderman WORD. Disobedience: A Novel, by Naomi Alderman PPT. Disobedience: A Novel, by Naomi Alderman TXT. Disobedience: A Novel, by Naomi Alderman Ebook. Disobedience: A Novel, by Naomi Alderman iBooks. Disobedience: A Novel, by Naomi Alderman Kindle. Disobedience: A Novel, by Naomi Alderman Rar. Disobedience: A Novel, by Naomi Alderman Zip. -
Disobedience
Film4 e FilmNation Entertainment presentano una produzione Element Pictures, LC6 Productions e Braven Films DISOBEDIENCE Un film di Sebastián Lelio Con Rachel Weisz, Rachel McAdams, Alessandro Nivola Uscita: 25 ottobre Distribuzione Ufficio Stampa Studio PUNTOeVIRGOLA [email protected] DURATA 114 INTERPRETI Rachel Weisz, Rachel McAdams, Alessandro Nivola REGIA Sebastián Lelio SCENEGGIATURA Sebastián Lelio and Rebecca Lenkiewicz BASATO SUL ROMANZO DI Naomi Alderman DIRETTORE DELLA FOTOGRAFIA Danny Cohen BSC MONTAGGIO Nathan Nugent MUSICA Matthew Herbert COSTUMI Odile Dicks-Mireaux CASTING Nina Gold CAPELLI E MAKE-UP Marese Langan LINE PRODUCER Rachel Dargavel PRODUCTION DESIGNER Sarah Finlay PRODUTTORI Frida Torresblanco, Ed Guiney and Rachel Weisz PRODUTTORI ESECUTIVI Rose Garnett, Daniel Battsek, Ben Browning, Glen Basner, Andrew Lowe, Eric Laufer, Giovanna Randall Esce in sala il 25 ottobre, distribuito da Cinema di Valerio De Paolis, “Disobedience”, dal regista premio Oscar® Sebastián Lelio, tratto dall’omonimo best seller di Naomi Alderman (pubblicato in Italia da Nottetempo col titolo Disobbedienza), con il premio Oscar® Rachel Weisz, la candidata all’Oscar® Rachel McAdams e Alessandro Nivola. Ambientato nella comunità ebraica ortodossa della Londra contemporanea il film racconta la storia della emancipata e anticonformista Ronit che torna a casa per i funerali del padre. L’incontro con la più timida Esti, con cui ha aveva avuto un amore giovanile, ora sposata con suo cugino Dovid, riaccende una passione proibita. «Mi sono subito innamorato dei tre personaggi protagonisti – dice il regista Sebastián Lelio - Questa è una storia d’amore tra tutti e tre. Disobedience è un viaggio molto intenso in cui i personaggi attraversano situazioni tumultuose. La storia esplora l’intero spettro di emozioni di Ronit, Esti e Dovid. -
Education Resource Pack
EDUCATION RESOURCE PACK created by Anna Ledwich commissioned by Mousetrap Theatre Projects Six Characters in Search of an Author Education Resource Pack Contents Introduction 3 Luigi Pirandello - a biography 4 Six Characters in Search of an Author From disaster to success 5 A Synopsis 6 The cast 9 Who’s who: The Characters 10 Who’s who: The Film-makers 11 Docu-Drama and Drama-Documentary Is it fact or fiction? 12 Docu-Drama Glossary 13 The Production The Director 14 The Designer 15 Interview with Rupert Goold and Ben Power 16 Further Resources Bibliography and Weblinks 18 Mousetrap Theatre Projects 19 w w w. m o u s e t r a p . o r g . u k 2 Six Characters in Search of an Author Education Resource Pack Introduction This pack has been developed to help you to get the best out of your visit to see Six Characters in Search of an Author. It is full of essential material to enable students to understand the narrative and themes of the play as well as the contemporary context of this production. There are suggestions for follow up activities and an interview with Ben Power and Rupert Goold. With thanks to: Elaine Grant Ben Power Kelly Duffy Rehearsal and show photography: Manuel Harlan Main Six Characters Image Design: Aka Creative Advertising Produced by Michael Edwards and Carole Winter for MJE Productions The Gielgud Theatre is a Delfont Mackintosh Theatre w w w. m o u s e t r a p . o r g . u k 3 Six Characters in Search of an Author Education Resource Pack Luigi Pirandello A Biography psychological shock.