DOCSLIB.ORG

6.9 Courts Mais Trash

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
6.9 Courts Mais Trash Summary 1. EDITO ................................................................................................................................. 4 2. NEWS ................................................................................................................................. 5 2.1 The BIFFF Guild ......................................................................................................... 5 2.2 The Vampire Ball at the Beaux-Arts ............................................................................ 8 2.3 Body Painting Contest 2.0 ........................................................................................... 9 2.4 Tarquin : the comeback! ............................................................................................ 10 2.5 Prosthetic Reality ...................................................................................................... 11 2.6 Fantasy & Manga Market .......................................................................................... 12 2.7 Boulevard du polar .................................................................................................... 13 2.8 Gaming Madness Zone .............................................................................................. 17 2.9 VR Screening Room .................................................................................................. 18 2.10 Sharing Box ........................................................................................................... 19 2.11 iGoTo ......................................................................................................................... 20 2.12 SÉMA Éditions ..................................................................................................... 21 2.13 The 501st FanWars Garrison comes to the BIFFF ................................................. 23 3. BIF MARKET .................................................................................................................. 24 4. THE OFF OF THE FESTIVAL ....................................................................................... 25 4.1 Zombifff Day ............................................................................................................. 25 4.2 35th Make Up Contest ............................................................................................... 28 4.3 3rd international Art Contest ..................................................................................... 29 4.4 Artbifff ....................................................................................................................... 30 4.5 Animations ................................................................................................................. 34 TaKaPa ................................................................................................................................. 34 Puck Company ..................................................................................................................... 35 Art&Smile ............................................................................................................................ 35 Magic Land Theatre ............................................................................................................. 36 Tultétar Co. ........................................................................................................................... 36 Predator ................................................................................................................................ 36 4.6 PointCulture ............................................................................................................... 37 5. MASTERCLASS .............................................................................................................. 39 5.1 Guillermo del Toro .................................................................................................... 39 5.2 League of Human Rights ........................................................................................... 40 5.3 Deon Meyer ............................................................................................................... 41 6. APPETIZERS ................................................................................................................... 42 6.1 Belgian Short Film Competitions .............................................................................. 43 6.2 Belgian short film: non-competitive section ............................................................. 48 6.3 European Short Film Competition (Méliès) .............................................................. 50 6.4 International Shorts .................................................................................................... 52 6.5 The year of the Contestation ...................................................................................... 54 6.6 Kim Jee-woon retrospective ...................................................................................... 55 6.7 Cronos Retrospective ................................................................................................. 56 6.8 Mexico Focus ............................................................................................................ 57 6.9 Courts mais Trash ...................................................................................................... 58 6.10 Mad in Belgium ..................................................................................................... 60 6.11 Fantastikids ................................................................................................................ 62 6.12 50 years of Belgian cinema: "Tueurs" by François Troukens ............................... 63 6.13 Special Screening « I Kill Giants » ........................................................................ 64 7. THE MAIN COURSE ...................................................................................................... 65 7.1 Opening / Closing : .................................................................................................... 65 7.2 Midnight X-Tremes ................................................................................................... 67 7.3 Fantastic Night ........................................................................................................... 73 7.4 7th Orbit Competition ................................................................................................ 75 7.5 Thriller Competition .................................................................................................. 82 7.6 European Competition ............................................................................................... 87 7.7 Critics' Prize ............................................................................................................... 95 7.8 International Competition ........................................................................................ 100 7.9 Out of competition ................................................................................................... 108 7.10 Schedule of BIFFF 2018 ...................................................................................... 125 8. KNIGHTS OF THE ORDER OF THE RAVEN ............................................................. 127 9. KNIGHT OF THE ORDER OF THE RAVEN 2018 ...................................................... 129 10. PRACTICAL INFORMATION .................................................................................. 130 11. THE PARTNERS ........................................................................................................ 133 1. EDITO The BIFFF stands for 36 years of passion, self-denial, sweat, and sometimes blood. Hundreds of hours that make you feel like your eyes will give in or that make you want to light a candle. Since 1983, the BIFFF has been a fierce defender of genre movies, a section of the cinema that is now the most popular in the world. Thanks to its co-productions and talented technicians, Belgium is increasingly asserting itself as a key player in cinematic fantasy art. This year, we are proud to present eleven Belgian films, six of which are world premieres! Internationally, Belgium is holding a set of winning co-production cards: Muse (Jaume Balagueró), I Kill Giants (co-produced by Chris Colombus of Harry Potter fame), Mandy (with Nicolas Cage), and The Man Who Killed Don Quixote (Terry Gilliam). Quite something, isn’t it? All this justifies, more than ever, the BIFFF’s risky bet to create the first European genre film market in 2017. For its second edition, the BIF Market is again welcoming sellers and buyers from all over the world. We will also be launching the “Work in Progress” section and offer a perfect forum for Belgian professionals to showcase their talents in an international context. But above all, the BIFFF remains a popular festival, made for and by the public. Of all Belgian film festivals, we have the highest percentage of paying spectators. Our reputation exceeds national boundaries, which becomes evident from the number of submissions (nearly 2,000 films!) from the four corners of the globe. This year, we’re having a record number of twelve world premieres, thirteen international premieres, and nine European premieres. Thirty-five debut films will be programmed alongside work by top names such as Ryuhei Kitamura, John Cameron Mitchell, Paco Plaza, Lloyd Kaufman,
Load more

Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • Paper Number: 63 May 2007 Before and After the Fall: Mapping Hong
    Paper Number: 63 May 2007 Before and after the Fall: Mapping Hong Kong Cantopop in the Global Era Stephen Yiu-wai Chu Hong Kong Baptist University The author welcome comments from readers. Contact details: Stephen Yiu-wai Chu, Department of Chinese Language and Literature, Hong Kong Baptist University, Hong Kong Email: [email protected] David C. Lam Institute for East-West Studies (LEWI) Hong Kong Baptist University (HKBU) LEWI Working Paper Series is an endeavour of David C. Lam Institute for East-West Studies (LEWI), a consortium with 28 member universities, to foster dialogue among scholars in the field of East-West studies. Globalisation has multiplied and accelerated inter-cultural, inter-ethnic, and inter-religious encounters, intentionally or not. In a world where time and place are increasingly compressed and interaction between East and West grows in density, numbers, and spread, East-West studies has gained a renewed mandate. LEWI’s Working Paper Series provides a forum for the speedy and informal exchange of ideas, as scholars and academic institutions attempt to grapple with issues of an inter-cultural and global nature. Circulation of this series is free of charge. Comments should be addressed directly to authors. Abstracts of papers can be downloaded from the LEWI web page at http://www.hkbu.edu.hk/~lewi/publications.html. Manuscript Submission: Scholars in East-West studies at member universities who are interested in submitting a paper for publication should send an article manuscript, preferably in a Word file via e-mail, as well as a submission form (available online) to the Series Secretary at the address below.
    [Show full text]
  • Notes for Chapter Re-Drafts
    Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 Jonathan Wroot PhD Thesis Submitted to the University of East Anglia For the qualification of PhD in Film Studies 2013 1 Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 2 Acknowledgements Thanks needed to be expressed to a number of people over the last three years – and I apologise if I forget anyone here. First of all, thank you to Rayna Denison and Keith Johnston for agreeing to oversee this research – which required reining in my enthusiasm as much as attempting to tease it out of me and turn it into coherent writing. Thanks to Mark Jancovich, who helped me get started with the PhD at UEA. A big thank you also to Andrew Kirkham and Adam Torel for doing what they do at 4Digital Asia, Third Window, and their other ventures – if they did not do it, this thesis would not exist. Also, a big thank you to my numerous other friends and family – whose support was invaluable, despite the distance between most of them and Norwich. And finally, the biggest thank you of all goes to Christina, for constantly being there with her support and encouragement. 3 Abstract The thesis will examine how DVD distribution can affect Japanese film dissemination in the UK. The media discourse concerning 4Digital Asia and Third Window proposes that this is the principal factor influencing their films’ presence in the UK from 2008 to 2010.
    [Show full text]
  • Delegates Guide
    Delegates Guide 15–20 March, 2019 Cultural Partners Supported by Friends of Qumra Media Partners Cover: ‘Six Months and One Day’, directed by Yassine Ouahrani 1 QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 13 Qumra Project Delegates 15 Industry Delegates 63 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Aya Al-Blouchi Quay Chu Anthea Devotta Mayar Hamdan Qumra Master Classes Development Qumra Industry Senior Qumra Shorts Coordinator Senior Coordinator Executive Coordinator Development Assistant Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Meriem Mesraoua Qumra Industry Qumra Talks Senior Qumra Pass Senior Grants Senior Coordinator Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Vanessa Paradis Majid Al-Remaihi Nina Rodriguez Alanoud Al Saiari Grants Coordinator Film Programming Qumra Industry Senior Qumra Pass Coordinator Assistant Coordinator Film Workshops & Labs Coordinator Wesam Said Rawda Al-Thani Jana Wehbe Ania Wojtowicz Grants Coordinator Film Programming Qumra Industry Senior Qumra Shorts Coordinator Assistant Coordinator Film Workshops & Labs Senior Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Head of Grants Qumra Industry Industry Advisor Manager Film Training Senior Manager 4 5 Qumra Masters Eugenio Caballero Kiyoshi Kurosawa In 2015 and 2016 he worked on the film ‘A at Cannes in 2003, ‘Doppelganger’ (2002), Monster Calls’, directed by J.A. Bayona, ‘Loft’ (2005), and ‘Retribution’ (2006), which earning him a Goya on his third nomination screened at that year’s Venice Film Festival.
    [Show full text]
  • The Project Gutenberg Etext Notre-Dame De Paris, by Victor Hugo #3 in Our Series by Victor Hugo
    The Project Gutenberg Etext Notre-Dame de Paris, by Victor Hugo #3 in our series by Victor Hugo Copyright laws are changing all over the world, be sure to check the copyright laws for your country before posting these files!! Please take a look at the important information in this header. We encourage you to keep this file on your own disk, keeping an electronic path open for the next readers. Do not remove this. *It must legally be the first thing seen when opening the book.* In fact, our legal advisors said we can't even change margins. **Welcome To The World of Free Plain Vanilla Electronic Texts** **Etexts Readable By Both Humans and By Computers, Since 1971** *These Etexts Prepared By Hundreds of Volunteers and Donations* Information on contacting Project Gutenberg to get Etexts, and further information is included below. We need your donations. Title: Notre-Dame de Paris Also known as: Title: The Hunchback of Notre Dame Author: Victor Hugo April, 2001 [Etext #2603] The Project Gutenberg Etext Notre-Dame de Paris, by Victor Hugo *****This file should be named hback10.txt or hback10.zip****** Corrected EDITIONS of our etexts get a new NUMBER, hback11.txt VERSIONS based on separate sources get new LETTER, hback10a.txt Translated by Isabel F. Hapgood Etext scanned by Peter Snow Cao Yi Guan Miao Fang Cao Jie 2# Chengdu, Sichuan 610041 CHINA [email protected] Project Gutenberg Etexts are usually created from multiple editions, all of which are in the Public Domain in the United States, unless a copyright notice is included.
    [Show full text]
  • Final Copy 2019 05 07 Lash
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Lash, Dominic Title: Lost and Found Studies in Confusing Films General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Lost and Found studies in confusing films Dominic John Alleyne Lash A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts Department of Film and Television December 2018 76,403 words abstract This thesis uses the concepts of disorientation and confusion as a means of providing detailed critical accounts of four difficult films, as well as of addressing some more general issues in the criticism and theory of narrative film.
    [Show full text]
  • Warriors As the Feminised Other
    Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle.
    [Show full text]
  • Kiyoshi Kurosawa We Vanish Avant Que Nous Disparaissions
    FROM THE DIRECTOR OF SHOKUZAI AND TOKYO SONATA A FILM BY BEFORE KIYOSHI KUROSAWA WE VANISH AVANT QUE NOUS DISPARAISSIONS 6/6 Jury Prize UN VRAI TSUNAMI D’HUMOUR ABSURDE À LA BECKETT SO FILM YOU WON’T SEE ANYTHING ELSE QUITE LIKE IT THIS YEAR ROGEREBERT.COM MASAMI NAGASAWA RYUHEI MATSUDA MAHIRO TAKASUGI YURI TSUNEMATSU HIROKI HASEGAWA DIRECTED BY KIYOSHI KUROSAWA ORIGINAL PLAY BY TOMOHIRO MAEKAWA “BEFORE WE VANISH AKA SANPO SURU SHINRYAKUSHA” WRITTEN BY SACHIKO TANAKA AND KIYOSHI KUROSAWA MUSIC BY YUSUKE HAYASHI PRODUCTION YOSHIO NAKAYAMA MASANARI NAGAYAMA EIJI OMURA TADASHI OSUMI MASAYA YABUSHITA YOSUKE MIYAKE HIDEKI OHYAGI MIYUKI MATSUDA YOSHIKI SAKURAI EXECUTIVE PRODUCERS DAISUKE KADOYA YOSHINORI CHIBA TAKEHIKO AOKI PRODUCERS YUJI ISHIDA NAOTO FUJIMURA YUMI ARAKAWA TOMOMI TAKASHIMA LINE PRODUCER NOBUHIRO IIZUKA ASSOCIATE PRODUCER RYO OTAKI CINEMATOGRAPHER AKIKO ASHIZAWA PRODUCTION DESIGNER NORIFUMI ATAKA LIGHTING DIRECTOR HIDENORI NAGATA SOUND MIXER SHINJI WATANABE VIDEO ENGINEER & DIGITAL IMAGING TECHNICIAN KEIGO KAGAMIHARA SET DECORATOR TOMOYA YAMADA EDITOR KOICHI TAKAHASHI SOUND EDITOR KENJI SHIBASAKI SCRIPT SUPERVISOR YUKARI YAGINUMA COSTUME DESIGNER HARUKI KOKETSU HAIR&MAKE-UP H A M A MUSIC PRODUCER TORU WADA VFX PRODUCER SHUJI ASANO VFX DIRECTOR JUN YOKOISHI ASSISTANT DIRECTOR TAKASHI KITANO PRODUCTION MANAGER AKIRA SAGARA PRESENTED BY “BEFORE WE VANISH” FILM PARTNERS (NIPPON TELEVISION/NIKKATSU/WOWOW/YOMIURI TELECASTING/PONY CANYON/NIPPON PLANNING CENTER /OFFICE SAKU/ HIRATA OFFICE) PLANNED BY NIKKATSU PRODUCTION DJANGO FILM PRESENTED BY NIKKATSU IN ASSOCIATION WITH WILD BUNCH © 2017 “BEFORE WE VANISH” FILM PARTNERS / DOLBY / 129MINS / CINEMASCOPE / JAPAN WWW.IMAGINEFILM.BE .
    [Show full text]
  • 学生の方は当日券が500円でご購入いただけます。 Advance Tickets Go on Sale from Saturday October 8 Via Ticket PIA and Lawson Ticket! Same Day Tickets Available to Students for Only 500 Yen!
    世界中から最新の話題作・注目作を一挙上映！ あなたの観たい映画はココにある。 The latest and most talked-about films from around the world! All the films you want to see are right here! 前売券は10月8日（土）より チケットぴあ・ローソンチケットにて発売！ 学生の方は当日券が500円でご購入いただけます。 Advance tickets go on sale from Saturday October 8 via Ticket PIA and Lawson Ticket! Same day tickets available to students for only 500 yen! Believe! The power of films. How to purchase tickets 信じよう。映画の力。 チケット購入方法 今年、第24回を迎える東京国際映画祭は、引き続き「エコロジー」をテーマとした取り組みを展開します。今回の震災によって、日 本は課題先進国として世界中から大きな関心を集めています。そして、この課題に立ち向かう姿は、世界中から注目を集めています。 地球のために何ができるかをテーマとする東京国際映画祭は、「映画祭だからできる」「映画を通じてできる」ことを真摯に考え、日 本の未来に対して、夢や希望を持てる機会を提供することが役割だと思っています。 This year marks the 24th edition of Tokyo International Film Festival (TIFF). After the March 11th earthquake and tsunami, the whole world is watching Japan to see how we will remain strong and overcome the challenges we face. As a festival that asks how people and nature can co-exist, TIFF must consider its role in this time of crisis チラシや公式サイト（ ）などで、観たい作品と日時が決まったら、チケットを買おう！ and use the power of ­lms to encourage and support the people and reassure them of Japan's future. www.tiff-jp.net 公式オープニング OFFICIAL OPENING 3D上映 3D screening 当日券にはオトクな学生料金（500円） 前売券完売の上映も当日券を 三銃士／王妃の首飾りとダ・ヴィンチの飛行船 （ドイツ＝フランス＝イギリス） もあります（。劇場窓口で学生証要提示） 若干枚数販売いたします。 THE THREE MUSKETEERS (Germany=France=UK) ■監督：ポール・W・S・アンダーソン ［2011/111min./English］ 10/8（土）から一般販売 （土）ー （日） ■出演：ローガン・ラーマン、ミラ・ジョヴォヴィッチ、 当日券を買う 10/22 10/30 オーランド・ブルーム、クリストフ・ヴァルツ 10.22 Sat 16:30 at Roppongi 2 ※公式&特別オープニング・公式クロージング作品の当日学生料金はございません。 ■Director：Paul W.S. Anderson 10.22 Sat 20:30 at Roppongi 2 ※詳細はP19をご参照ください。 ■ ： Cast Logan Lerman, Milla Jovovich, 10.22 Sat 20:40 at Roppongi 5 Orlando Bloom, Christoph Waltz ●ゲスト：ポール・W・S・アンダーソン、ローガン・ラーマ © 2011 Constantin Film Produktion GmbH, NEF ン、ミラ・ジョヴォヴィッチ、ガブリエラ・ワイルド Productions, S.A.S.
    [Show full text]
  • How Superman Developed Into a Jesus Figure
    HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE CRISIS ON INFINITE TEXTS: HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE By ROBERT REVINGTON, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Robert Revington, September 2018 MA Thesis—Robert Revington; McMaster University, Religious Studies McMaster University MASTER OF ARTS (2018) Hamilton, Ontario, Religious Studies TITLE: Crisis on Infinite Texts: How Superman Developed into a Jesus Figure AUTHOR: Robert Revington, B.A., M.A (McMaster University) SUPERVISOR: Professor Travis Kroeker NUMBER OF PAGES: vi, 143 ii MA Thesis—Robert Revington; McMaster University, Religious Studies LAY ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists. iii MA Thesis—Robert Revington; McMaster University, Religious Studies ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations.
    [Show full text]
  • FLORENCE AS CHRIST-FIGURE in DOMBEY and SON Sarah Flenniken John Carroll University, [email protected]
    John Carroll University Carroll Collected Masters Essays Theses, Essays, and Senior Honors Projects Spring 2017 TOUCHED BY LOVE: FLORENCE AS CHRIST-FIGURE IN DOMBEY AND SON Sarah Flenniken John Carroll University, [email protected] Follow this and additional works at: http://collected.jcu.edu/mastersessays Part of the English Language and Literature Commons Recommended Citation Flenniken, Sarah, "TOUCHED BY LOVE: FLORENCE AS CHRIST-FIGURE IN DOMBEY AND SON" (2017). Masters Essays. 61. http://collected.jcu.edu/mastersessays/61 This Essay is brought to you for free and open access by the Theses, Essays, and Senior Honors Projects at Carroll Collected. It has been accepted for inclusion in Masters Essays by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. TOUCHED BY LOVE: FLORENCE AS CHRIST-FIGURE IN DOMBEY AND SON An Essay Submitted to the Office of Graduate Studies College of Arts & Sciences of John Carroll University in Partial Fulfillment of the Requirements for the Degree of Master of Arts By Sarah Flenniken 2017 The essay of Sarah Flenniken is hereby accepted: ______________________________________________ __________________ Advisor- Dr. John McBratney Date I certify that this is the original document ______________________________________________ __________________ Author- Sarah E. Flenniken Date A recent movement in Victorian literary criticism involves a fascination with tactile imagery. Heather Tilley wrote an introduction to an essay collection that purports to “deepen our understanding of the interconnections Victorians made between mind, body, and self, and the ways in which each came into being through tactile modes” (5). According to Tilley, “who touched whom, and how, counted in nineteenth-century society” and literature; in the collection she introduces, “contributors variously consider the ways in which an increasingly delineated touch sense enabled the articulation and differing experience of individual subjectivity” across a wide range of novels and even disciplines (1, 7).
    [Show full text]
  • Obituaries of Members of the Mexican Film Community Mexico on a Musical Tour Are Also Included So That the Contributions of These People in 1960, and Remained
    The Mexican Film Bulletin Halloween Special Fall 2020 T T hh ee MM e e xx ii c c aa n n FF i i l l mm BB u u ll l l ee t t ii nn Special Halloween Issue Fall 2020 AAnnnnuuaall HHaalllloowweeeenn IIssssuuee Angelita Castany Although we are officially "on hiatus" in terms of Actress, singer and dancer Angelita Castany died in regular publication, The Mexican Film Bulletin will Mexico City on 29 September 2020 at the age of 86. continue to appear with special issues. This is our María de los Ángeles traditional "Halloween Issue," with reviews of (mostly) Hernández was born in fantasy-oriented movies made in Mexico. However, Cuba in 1934. She visited obituaries of members of the Mexican film community Mexico on a musical tour are also included so that the contributions of these people in 1960, and remained. She will be remembered. The 2020 Ariel results appear in married comic actor Xavier this issue as well. López "Chabelo" (having been married briefly in Cuba), but the couple divorced after 3 years. Castany's third OObbiittuuaarriieess husband was Italian impresario Cesar Tony Camargo Portaluppi, who died in 2011 after 35 years of Singer Tony Camargo died on 5 marriage. August 2020 in Mérida; he was 94 Castany (sometimes years old. Antonio Camargo billed as Angelita Castagni or Castani) appeared in the Carrasco was born in Guadalajara Cuban film Honor o gloria o la vida de Roberto Ortiz in and began singing professionally at 1952; in Mexico, she made some brief appearances in age 16.
    [Show full text]