Fall 1975 3 Letter from the President Robert H
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Rape and the Virgin Spring Abstract
Silence and Fury: Rape and The Virgin Spring Alexandra Heller-Nicholas Abstract This article is a reconsideration of The Virgin Spring that focuses upon the rape at the centre of the film’s action, despite the film’s surface attempts to marginalise all but its narrative functionality. While the deployment of this rape supports critical observations that rape on-screen commonly underscores the seriousness of broader thematic concerns, it is argued that the visceral impact of this brutal scene actively undermines its narrative intent. No matter how central the journey of the vengeful father’s mission from vengeance to redemption is to the story, this ultimately pales next to the shocking impact of the rape and murder of the girl herself. James R. Alexander identifies Ingmar Bergman’s The Virgin Spring as “the basic template” for the contemporary rape-revenge film[1 ], and despite spawning a vast range of imitations[2 ], the film stands as a major entry in the canon of European art cinema. Yet while the sumptuous black and white cinematography of long-time Bergman collaborator Sven Nykvist combined with lead actor Max von Sydow’s trademark icy sobriety to garner it the Academy Award for Best Foreign film in 1960, even fifty years later the film’s representation of the rape and murder of a young girl remain shocking. The film evokes a range of issues that have been critically debated: What is its placement in a more general auteurist treatment of Bergman? What is its influence on later rape-revenge films? How does it fit into a broader understanding of Swedish national cinema, or European art film in general? But while the film hinges around the rape and murder, that act more often than not is of critical interest only in how it functions in these more dominant debates. -
Name Date File # Coker, Luna 1930 7386 Edgerton, Patti Mae 1930 7387 Best, Minnie Jordan 1930 7388 Jutice, H.A
Wayne County Estates, 1930-1968 C.R.103.508.174-C.R.103.508.366 Name Date File # Coker, Luna 1930 7386 Edgerton, Patti Mae 1930 7387 Best, Minnie Jordan 1930 7388 Jutice, H.A. 1930 7389 Worley, D.L. 1930 7390 Jutice, Katherine 1930 7391 Darden, Patsy 1930 7392 Royall, John O. 1930 7393 Foss, Fannie Loftin 1930 7394 Baker,Salina Faircloth 1930 7395 Harris, Leila Hanis 1930 7396 Partin, Hubert W. 1930 7397 Smith, S.N. 1930 7398 Yelverton,William Forrest 1930 7399 Mumford, M.M. 1930 7400 Moore, Hazel M. 1930 7401 Yelverton, Lucy 1930 7402 Powell, Hallie 1930 7403 Howell, Margaret Lee 1930 7404 Sheppard, Willie 1930 7405 Hinson, Richard 1930 7407 Bedford, Mazelle 1930 7408 Strickland, Wilbert 1930 7409 Goodlow, Mariah 1930 7410 Mumford, Sallie 1930 7411 Sasser, P.H. 1930 7412 Whitley, Fannie 1930 7413 Capps, W.L. 1930 7415 Hargrove, Louvenia 1930 7416 Everett, Johnnie Mae 1930 7417 Griswold, Louvenia C. 1930 7418 Bizzell, Anna C. 1930 7419 Parker, Joe A. 1930 7420 Newsome, D.N. 1930 7421 Hollowell, Leonard C. 1930 7422 Smummerlin, Athaleen 1930 7423 Thompson, Clarence D. 1930 7424 Edwards, Catherine 1930 7425 Casey, Emma 1930 7426 Watston, Flossie 1930 7427 Simmons, Jim (Col) 1930 7428 Johoson, J.W. 1930 7429 Smith, S.S. 1930 7430 Williams, George W., Sr. 1930 7431 Yelverton, W. Ernest 1930 7432 Emery, Marcus, Jr. 1930 7433 Jones. J.J. (Col) 1930 7434 Parker, L.W. 1930 7435 Hollowell, W.R. 1930 7436 Wilson, Naomi 1930 7437 Johnson, Mary 1930 7438 Wayne County Estates, 1930-1968 C.R.103.508.174-C.R.103.508.366 Name Date File # Lewis, W.M. -
Sunday 25Th July 2021 Trinity 8 (Green)
SUNDAY 25TH JULY 2021 TRINITY 8 (GREEN) Serving the people of Ashburton, Bickington, Buckland-in-the-Moor, Holne, Huccaby, Leusdon, Postbridge and Widecombe-in-the-Moor th Sunday 25 July 2021 • 9am Breakfast Church, St Andrew’s Ashburton • 10.30am Time & Talents Communion, St Andrew’s Ashburton & Live via Facebook • 10.30am Parish Communion, St Pancras, Widecombe-in-the-Moor • 12pm Parish Communion, St John the Baptist, Leusdon • 5pm Evening Worship, St Mary’s Holne • 6pm Evening Prayer, St Gabriel’s, Postbridge • 6pm Community Songs of Praise, St Peter’s, Buckland-in-the-Moor All our online services are available via Facebook, YouTube & our website PRINCE OF WALES AND DUCHESS OF CORNWALL VISIT EXETER CATHEDRAL IN FIRST POST- WE’RE OPEN! LOCKDOWN ROYAL VISIT The Prince of Wales and the Duchess of Cornwall have ASHBURTON: Daily 10am-4pm visited Exeter Cathedral on the first stage of their HOLNE: Daily 10am-4:30pm summer tour of the South West. The Royal visit was the first since lockdown restrictions HUCCABY: Daily eased and the Prince and Duchess were shown around BUCKLAND: Daily the Cathedral by the Bishop of Exeter, the Right WIDECOMBE: Daily 9am-5pm Reverend Robert Atwell, and the Dean, the Very LEUSDON: Daily 9am-5pm Reverend Jonathan Greener. POSTBRIDGE: Daily, Dawn to dusk Bishop Robert said, “It was a fantastic visit and special in all sorts of ways, which was reflected by the BICKINGTON: By appointment – 01626 821213 hundreds of people who came. SUNDAY 25TH JULY 2021 TRINITY 8 (GREEN) “He engaged really well with all sorts of people. He is hugely interested in our cathedral and its significance in MIDWEEK COMMUNION CANCELLED terms of architecture and heritage and conservation. -
Stanley Kubrick's a Clockwork Orange (Cambridge Film Handbooks)
P1: JDU CB540-02 CB540-V1.cls March 6, 2003 14:33 JANET STAIGER 2 The Cultural Productions of A Clockwork Orange This is Stanley Kubrick. He produced, wrote the screenplay for and directed A Clockwork Orange. I’m not sure that Kubrick sees himself as a practitioner of the Ludovico Technique, but I think he comes very close. Has it occurred to anyone that, after having our eyes metaphorically clamped open to witness the horrors that Kubrick parades across the screen, like Alex and his adored 9th, none of us will ever again be able to hear “Singin’ in the Rain” without a vague feeling of nausea?1 – Susan Rice What precisely might be the effects of watching A Clockwork Orange has preoccupied several decades of film scholars. Does the film ro- manticize and then excuse violence? Could it create a questioning of authorities? Is its effect more devastating, as Susan Rice suggests: the unsettling of a pure pleasure in watching Gene Kelly dance? And why did A Clockwork Orange become such a favorite among the cult audiences of the 1970s and later? This essay will not answer any of these questions. What it will at- tempt is to place the U.S. public critical reception of A Clockwork Orange in parts of its cultural context with the hope that under- standing some of the dynamics and tensions existing within the moment of the film’s release will provide a description of some as- sociations available to a film viewer of the era. These contextual as- sociations would have a bearing on eventually answering questions about effect. -
University International
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
Bishop Robert 17 March 2020
Received today from Bishop Robert address to Clergy and Churchwardens You will all have seen or heard yesterday’s announcements of the Government in relation to the Coronavirus pandemic. We are entering a very challenging time in the life our nation. This is unchartered territory for all of us and we need to stay in touch with one another and support one another to the best of our ability. I am conscious of the additional strain that will be placed upon you in the coming weeks, as you endeavour to care for your congregations and local communities. Thank you for all you are doing. Be assured of my prayers for you and your people. Attached to this email you will find the joint letter that the Archbishops of Canterbury and York have issued today. Public services are suspended, but this does not mean that ‘the Church of England has shut up shop’. In fact, it is precisely at this time of national crisis that as Christians we need to reach out to our neighbours in their need. Within the constraints set out by the Government, we need to find new ways of serving our communities, new ways of being Church. Our church buildings are one of the glories of Devon. Although we cannot hold public services for the time being, they need to remain open. Indeed, we anticipate that people will want to use them, to light a candle, to pray for loved ones. The Cathedral will be open without charge from 10am to 4pm every day. People are free to meet to pray inside our churches, provided they observe public health guidelines: https://www.churchofengland.org/more/media- centre/news/archbishops-call-church-england-become-radically- different-public-worship I know you have many questions about church life, funerals, baptisms, weddings, meetings and small groups. -
Allen Rostron, the Law and Order Theme in Political and Popular Culture
OCULREV Fall 2012 Rostron 323-395 (Do Not Delete) 12/17/2012 10:59 AM OKLAHOMA CITY UNIVERSITY LAW REVIEW VOLUME 37 FALL 2012 NUMBER 3 ARTICLES THE LAW AND ORDER THEME IN POLITICAL AND POPULAR CULTURE Allen Rostron I. INTRODUCTION “Law and order” became a potent theme in American politics in the 1960s. With that simple phrase, politicians evoked a litany of troubles plaguing the country, from street crime to racial unrest, urban riots, and unruly student protests. Calling for law and order became a shorthand way of expressing contempt for everything that was wrong with the modern permissive society and calling for a return to the discipline and values of the past. The law and order rallying cry also signified intense opposition to the Supreme Court’s expansion of the constitutional rights of accused criminals. In the eyes of law and order conservatives, judges needed to stop coddling criminals and letting them go free on legal technicalities. In 1968, Richard Nixon made himself the law and order candidate and won the White House, and his administration continued to trumpet the law and order theme and blame weak-kneed liberals, The William R. Jacques Constitutional Law Scholar and Professor of Law, University of Missouri–Kansas City School of Law. B.A. 1991, University of Virginia; J.D. 1994, Yale Law School. The UMKC Law Foundation generously supported the research and writing of this Article. 323 OCULREV Fall 2012 Rostron 323-395 (Do Not Delete) 12/17/2012 10:59 AM 324 Oklahoma City University Law Review [Vol. 37 particularly judges, for society’s ills. -
THE Permanent Crisis of FILM Criticism
mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter film criticism since its origins. net amateurs and the lack of authorita of tive critics, many journalists and acade Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, coeditor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. -
The National Film Preserve Ltd. Presents the This Festival Is Dedicated To
THE NATIONAL FILM PRESERVE LTD. PRESENTS THE THIS FESTIVAL IS DEDICATED TO Stanley Kauffmann 1916–2013 Peter O’Toole 1932–2013 THE NATIONAL FILM PRESERVE LTD. PRESENTS THE Julie Huntsinger | Directors Tom Luddy Kim Morgan | Guest Directors Guy Maddin Gary Meyer | Senior Curator Mara Fortes | Curator Kirsten Laursen | Chief of Staff Brandt Garber | Production Manager Karen Schwartzman | SVP, Partnerships Erika Moss Gordon | VP, Filmanthropy & Education Melissa DeMicco | Development Manager Joanna Lyons | Events Manager Bärbel Hacke | Hosts Manager Shannon Mitchell | VP, Publicity Justin Bradshaw | Media Manager Jannette Angelle Bivona | Executive Assistant Marc McDonald | Theater Operations Manager Lucy Lerner | SHOWCorps Manager Erica Gioga | Housing/Travel Manager Beth Calderello | Operations Manager Chapin Cutler | Technical Director Ross Krantz | Technical Wizard Barbara Grassia | Projection and Inspection Annette Insdorf | Moderator Mark Danner | Resident Curators Pierre Rissient Peter Sellars Paolo Cherchi Usai Publications Editor Jason Silverman (JS) Chief Writer Larry Gross (LG) Prized Program Contributors Sheerly Avni (SA), Paolo Cherchi Usai (PCU), Jesse Dubus (JD), Geoff Dyer (GD), Gian Luca Farinelli (GLF), Mara Fortes (MF), Scott Foundas (SF), Guy Maddin (GM), Leonard Maltin (LM), Jonathan Marlow (JM), Todd McCarthy (TM), Gary Meyer (GaM), Kim Morgan (KM), Errol Morris (EM), David Thomson (DT), Peter von Bagh (PvB) Tribute Curator Short Films Curators Student Prints Curator Chris Robinson Jonathan Marlow Gregory Nava and Bill Pence 1 Guest Directors Sponsored by Audible.com The National Film Preserve, Ltd. Each year, Telluride’s Guest Director serves as a key collaborator in the A Colorado 501(c)(3) nonprofit, tax-exempt educational corporation Festival’s programming decisions, bringing new ideas and overlooked films. -
2015 Annual Meeting & Reports
2015 Annual Meeting & Reports St. Andrew’s Annual Parish Meeting Sunday, January 25, 2015 10:30 am in the Parish Hall Service Times for January 25: 8:00 am - Holy Eucharist (Chapel) 9:00 am - Holy Eucharist (Church) 9:00 am - Church School No Forum or 9:15 am Family Eucharist Version 2 - Uploaded 01/26/15 at 10:00 am 1 2015 Annual Reports Table of Contents Vision Statement 3 Parish Statistics 3 Meeting Agenda 4 Minutes of the 2014 Annual Meeting 5 Report of the Nominating Committee 6 Reports of the St. Andrew’s Vestry 6 St. Andrew’s Vestry and Diocesan Convention Delegates Report of the Senior Warden Report of the Stewardship Committee 8 Report of St. Andrew’s Finances 9 Treasurer’s Report Reports from St. Andrew’s Clergy 10 Priest Associate: The Reverend Sally Webster Priest Associate: The Reverend Charles Witke Report of the Church School at St. Andrew’s 10 Director of Children and Youth Ministry: Carol Andrews-Ferguson Reports of Outreach at St. Andrew’s 13 Episcopal Health Ministries Oasis Outreach Ministry Reports of Parish Life at St. Andrew’s 15 Bible Study Coffee Hour Eucharistic Bread Bakers Funeral Receptions History and Memorials Committee Parish Callers Saint Andrew’s Single Adults Reports of Theatre at St. Andrew’s 17 Director of Theatrical Ministries: Nancy Heusel Reports of Music at St. Andrew’s 18 Director of Music: Dr. Deborah Friauff Sample Ballots 20 2 Vision Statement Approved by the Vestry, January 25, 2011 The mission of St. Andrew’s Church is to embody God’s love for the world through Jesus Christ. -
The Annual Report of St
GENEThe Annual Report of St. Ignatius College Preparatory,SI San Francisco,S Fall 2016 the 47th annual fashion show NOVEMBER 5–6, 2016 October 2016 A.M.D.G. genesis For the Annual Report, I have the job of reflecting on the past year, and as someone who arrived at SI in late June from my previous job as president A Report to Concerned Individuals Vol. 53, No. 3 Fall 2016 of Brophy College Prep in Phoenix, I am faced with the challenge of only Edward A. Reese, S.J. hearing about the year from others. However, I was on hand for two great President events — the Broadway Auction in March, which proved to be a wonderful Mr. Patrick M. Ruff introduction to the current SI family, and the June 28 Day of Giving, which Principal helped me see what a generous community of donors this school has. Mr. Joseph A. Vollert ’84 When I walked into the auction back in March, I was greeted by people in Vice President for Advancement costumes from Broadway shows and saw a documentary that illustrated the Mr. Ken Stupi ’78 Vice President for Finance & Administration vast talent our West Coast school has given to the East Coast. Adam Jacobs Ms. Marielle A. Murphy ’93 ’97 is still starring in the title role in Aladdin; Darren Criss ’05 had his face Director of Advancement posted larger than life in Times Square when he performed in How to Succeed Mr. Timothy A. Reardon ’86 In Business Without Really Trying; and Bartlett Sher ’77 is still going strong Director of Alumni Relations as a Tony Award winning director and head of the Lincoln Center Theatre. -
The Baptist Ministers' Journal
The Baptist Ministers' Journal April 1996 ISSN 0968 - 2406 Vol254 Contents .......................................................................................................... 1 Editorial . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 2 In Praise of Erasmus ........................................................................................ 3 by Revd John F.V. Nicholson Wired for Sound: 26 Years in Local Broadcasting ......................................... 8 by Revd Jim A. Pollard Homosexuality:AChristianView ........................................................... : ...... 11 by Revd Keigh G.. Riglin Minister, Amersham Free Church, Bucks Patterns of Christian Giving: Treetrunk or Rabbit's Ears? ........................... 16 by Revd Fred Stainthorpe 1 Corinthians 7: A Paradigm for Pastoral Counselling ................................ 19 by Revd Mike A. Smith Minister, Golcar Baptist Church, Huddersfield Roots That Go Deep: Benedict and Ignatius ................................................. 21 by Revd Brian A. Howden Tutor, Northern Baptist College, Manchester Review Section ............................................................................................... 27 Of Interest To You .......................................................................................... 30 "The views and opinions expressed do not necessarily reflect those of the Editorial Board" Baptist Ministers' Journal April 1996 Editorial We are not seeing