HAPPY HALLOWEEN Last Week, Billy Linehan Sions
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The Narrative Functions of Television Dreams by Cynthia A. Burkhead A
Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process. -
Z Archeologii Mediów : "Dynastia" I "Koło Fortuny"
Telewizja buduje kapitalizm Mateusz Halawa Z ARCHEOLOGII MEDIÓW: DYNASTIA I KOŁO FORTUNY Dla Alexis Guzik z Małogoszczy, która ma już dziesięć lat. ilm zaczyna się widokiem ziemi z kosmosu i towarzyszącą mu kakofonią dźwięków komunika tów radiowych i telewizyjnych (wy)emitowanych przez ludzi w przestrzeń1. Im szerszy staje się kadr i im bardziej widz oddala się od Ziemi, tym starsze komunikaty słychać: zabójstwo najpierw F Roberta, później Johna Kennedy'ego, później zaś relacje z drugiej wojny światowej. Jak na archeologicznym wykopalisku: im starsza skorupa, tym głębiej (dalej) ją znajdujemy. Bohaterka, Eleanor Arroway, grana przez Jodie Foster, pracuje w programie poszukiwań cywilizacji pozaziemskiej (SETI). Pewnego dnia udaje jej się odebrać tajemniczy sygnał, który po zdekodowaniu okazuje się być przekazem telewizyjnym: przemówie niem Hitlera na otwarciu olimpiady w Berlinie w 1936 r. To pierwszy nadany przez ludzi przekaz, który zna lazł się w przestrzeni kosmicznej - zauważa Eleanor. Ktoś go usłyszał (pozaziemska cywilizacja?) i odesłał z powrotem zszokowanym naukowcom. To filmowy obraz archeologii obrazu telewizyjnego i fal dźwiękowych i wizja aktualizowania dawnego przekazu medialnego we współczesności. W przybliżeniu oddaje to, czym chcę się tu zająć. (Nawet z naj gorszej książki można się czegoś nauczyć, miał powiedzieć Pliniusz Starszy - zasada ta odnosi się również do kiepskich filmów science fiction). „Nośnikiem pamięci o przeszłości, przynajmniej potencjalnym - pisze historyk Marcin Kula - jest do słownie wszystko” (Kula, 2002: 7-8). W książce Nośniki pamięci historycznej badacz, zajmując się czę sto faktami i rzeczami pozornie pozbawionymi historycznego znaczenia, pokazuje, jak można rekonstru ować przeszłość z drobnych fragmentów tego, co pozostało. Próbuje też przewidzieć, co pozostanie z naszych czasów. -
Copyright by Jodi Heather Egerton 2006
Copyright by Jodi Heather Egerton 2006 The Dissertation Committee for Jodi Heather Egerton Certifies that this is the approved version of the following dissertation: “Kush mir in tokhes!”: Humor and Hollywood in Holocaust Films of the 1990s Committee: _________________________ Mia Carter, Co-Supervisor _________________________ Ann Cvetkovich, Co-Supervisor _________________________ Pascale Bos _________________________ John Ruszkiewicz _________________________ Phillip Barrish “Kush mir in tokhes!”: Humor and Hollywood in Holocaust Films of the 1990s by Jodi Heather Egerton, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2006 Dedication For Grandma Gertie and Grandma Gert, for filling me with our stories. For Owen, my beloved storyteller. For Arden, the next storyteller. Acknowledgements Thank you to Ann Cvetkovich and Mia Carter, for your unending support and insight, to Sabrina Barton and Phil Barrish, for guiding me especially in the early stages of the project, to Pascale Bos, for the scoop, and to John Ruszkiewicz, for helping me to discover who I am as a teacher and a scholar. Thank you to my early academic mentors, Abbe Blum, Nat Anderson, Alan Kuharski and Tom Blackburn, and my early academic colleagues Rachel Henighan, Megin Charner, and Liza Ewen, my Swarthmore community who continue to inspire me. Thank you to Joyce Montalbano, my second and fifth grade teacher, who honored the spark she saw in me and showed me the excitement of an intellectual challenge. Thank you to Eliana Schonberg and Ashley Shannon, because I can’t imagine any of this without you. -
The Last Laugh
THE LAST LAUGH A Tangerine Entertainment Production A film by Ferne Pearlstein Featuring: Mel Brooks, Carl Reiner, Sarah Silverman, Robert Clary, Rob Reiner, Susie Essman, Harry Shearer, Jeffrey Ross, Alan Zweibel, Gilbert Gottfried, Judy Gold, Larry Charles, David Steinberg, Abraham Foxman, Lisa Lampanelli, David Cross, Roz Weinman, Klara Firestone, Elly Gross, Deb Filler, Etgar Keret, Shalom Auslander, Jake Ehrenreich, Hanala Sagal and Renee Firestone Directed, Photographed and Edited by: Ferne Pearlstein Written by: Ferne Pearlstein and Robert Edwards Produced by: Ferne Pearlstein and Robert Edwards, Amy Hobby and Anne Hubbell, Jan Warner 2016 / USA / Color / Documentary / 85 minutes / English For clips, images, and press materials, please visit our DropBox: http://bit.ly/1V7DYcq U.S. Sales Contacts Publicity Contacts [email protected] / 212 625-1410 [email protected] Dan Braun / Submarine Janice Roland / Falco Ink Int’l Sales Contacts [email protected] [email protected] / 212 625-1410 Shannon Treusch / Falco Ink Amy Hobby / Tangerine Entertainment THE LAST LAUGH “The Holocaust itself is not funny. There's nothing funny about it. But survival, and what it takes to survive, there can be humor in that.” -Rob Reiner, Director “I am…privy to many of the films that are released on a yearly basis about the Holocaust. I cannot think of one project that has taken the approach of THE LAST LAUGH. THE LAST LAUGH dispels the notion that there is nothing new to say or to reveal on the subject because this aspect of survival is one that very few have explored in print and no one that I know of has examined in a feature documentary.” -Richard Tank, Executive Director at the Simon Wiesenthal Center SHORT SYNOPSIS THE LAST LAUGH is a feature documentary about what is taboo for humor, seen through the lens of the Holocaust and other seemingly off-limits topics, in a society that prizes free speech. -
Se Opp for Glamour, Intriger Og Legendariske Catfights: Nå Er Dynastiet Tilgjengelig På Viafree
Familien samlet. F.v: Sammy Jo Carrington, Claudia Blaisdel Carrington, Blake Carrington Krystle Carrington, Alexis Carrington og Fallon Carrington Colby. 20-03-2018 14:18 CET Se opp for glamour, intriger og legendariske catfights: Nå er Dynastiet tilgjengelig på Viafree. Tidenes mest ikoniske såpeoperaer har inntatt Viafree. Nå kan du fråtse i elleville intriger og herlig galskap i seriene Glamour, I gode og onde dager, og siste tilskudd på såpestammen, Dynastiet. Da Dynastiet ble sendt på TV på 80-tallet var det folketomme gater og folk satt klistret til skjermen for å få med seg feiden mellom de to steinrike familiene Carrington og Colby, og ikke minst de legendariske catfightene mellom sjefshurpa Alexis og den skinnhellige Krystle. Nå kan skandalene, de skyhøye skulderputene, det voluminøse håret, utroskapen og de ulidelige cliffhangerne gjenoppleves. Hver dag blir nye episoder av alle de tre seriene tilgjengelige for strømming på Viafree - helt gratis. Påsken er med andre ord reddet, og det er ingen grunn til å bli Blake om nebbet. Se innebygd innhold her Nordic Entertainment Group (NENT Group) er Nordens ledende underholdningsleverandør. Vi underholder millioner av mennesker hver dag med våre strømmetjenester, TV-kanaler og radiostasjoner, og våre produksjonsselskaper skaper nytt og spennende innhold for medieselskaper i hele verden. Vi gjør livet mer underholdende ved å tilby de beste og mest varierte opplevelsene – fra direktesendt radio og sport, til filmer, serier, musikk og egenproduserte programmer. Med hovedkvarter i Stockholm er NENT Group en del av Modern Times Group MTG AB, et ledende internasjonalt digitalt underholdningskonsern som er notert på Nasdaq Stockholm (‘MTGA’ og ‘MTGB’). -
The Parkes Institute for the Study of Jewish
The Parkes Institute for the study of Jewish/non-Jewish relations Annual Review 2015 - 2016 In summer 2016, Kathrin Pieren and Tony Kushner organised the first Parkes International Workshop on 1 Jewish Heritage, generously supported by the Rothschild Foundation Europe (Hanadiv). See page 13 for the full report. Here, the value of the hand-in-hand of museum work and academic research was illustrated by the excellent talk by Dr Alla Sokolova, Curator at the State Museum of the History Religions in St Petersburg and Lecturer at the European University of St Petersburg. She presented the results of a field study related to an exhibition of Jewish family heirlooms that she organised a few years ago. The exhibits, many of them everyday items such as photographs or pieces of clothing, were charged with meaning by the lenders, Jewish individuals, some of whom are shown in the pictures on this page. 3 3 4 7 2 1. Natalia F. shows her 2 father’s tallit 2. Boris F. with a Kiddush glass 3. Ulia O. with candlesticks and a wine decanter 4. The Holy Union Temple in Bucharest 5. Mrs. L. during the interview 6. Mr Futeran at his home in Tomash’pol 7. INGER Hersh (cover), KHASHCHEVATSKY M. (text), In Shveren Gang, Kharkov, 1929 5 In this review Report of the Director of the Parkes Institute, Professor Joachim Schlör 4 The Parkes Jubilee Celebrations 7 In memoriam David Cesarani (1956 to 2015) 8 Parkes Institute Outreach Report 2015-16 10 Conferences, Workshops, Lecturers and Seminars 13 Journals of the Parkes Institute 16 Development 17 Internationalisation -
ROCK of AGES Pk 5 24 12 Domestic
Under the direction of Adam Shankman (“Hairspray”), New Line Cinema’s feature film adaptation of the smash hit Broadway musical “Rock of Ages” comes to the big screen. “Rock of Ages” tells the story of small town girl Sherrie and city boy Drew, who meet on the Sunset Strip while pursuing their Hollywood dreams. Their rock ‘n’ roll romance is told through the heart-pounding hits of Def Leppard, Foreigner, Journey, Poison, REO Speedwagon, Twisted Sister and more. The movie musical stars Julianne Hough (“Burlesque”), with actor/singer Diego Boneta in his feature film debut, Russell Brand (“Arthur,” “Get Him to the Greek”), Oscar® nominee Paul Giamatti (“Cinderella Man”), Academy Award® winner Catherine Zeta- Jones (“Chicago”), Malin Akerman (“The Proposal”) and R&B queen Mary J. Blige, with Oscar® nominee Alec Baldwin (“The Cooler,” TV’s “30 Rock”), and Oscar® nominee Tom Cruise (“Mission: Impossible – Ghost Protocol,” “Magnolia,” “Jerry Maguire”) as Stacee Jaxx. Shankman directs “Rock of Ages” from a screenplay by Justin Theroux and Chris D’Arienzo and Allan Loeb, based on D’Arienzo’s musical of the same name. The film is being produced by Matthew Weaver, Scott Prisand, Carl Levin, Tobey Maguire, Garrett Grant and Jennifer Gibgot, with Toby Emmerich, Richard Brener, Michael Disco, Samuel J. Brown, Hillary Butorac Weaver, Janet Billig Rich, Shankman and D’Arienzo serving as executive producers. Rounding out the “Rock of Ages” creative team are director of photography Bojan Bazelli (“Hairspray”), production designer Jon Hutman (“It’s Complicated”), editor Emma 1 E. Hickox (“A Walk To Remember”), Oscar®-nominated costume designer Rita Ryack (“How the Grinch Stole Christmas,” “Hairspray”), Grammy-nominated music supervisor Matt Sullivan (“Dreamgirls,” “Nine”), and Emmy Award-winning choreographer Mia Michaels (“So You Think You Can Dance”). -
Pacific Palisades
Palisadian-Post Serving the Community Since 1928 20 Pages Thursday, August 24, 2017 ◆ Pacific Palisades, California $1.50 LAPD Using ‘Al Capone’ Playbook to Thwart Ruthless Ryderz By GABRIELLA BOCK and have to pay hefty fines […] Reporter they’ll tell their friends—a few rounds of this and they’ll go out n an effort to make Sunset seek out someplace else to ride.” Boulevard safer, the Los An- Spearheaded by Alphabet Igeles Police Department has for- Streets resident Paula Leonhaus- mulated a back-door approach to er, the task force was devised in crackdown on illegal motorbike the wake of the fatal crash on activity in Pacific Palisades. April 2 between members of the On Thursday, Aug. 17, Ruthless Ryderz and a vehicle LAPD made a guest appear- carrying four teenagers at the ance at the Sunset Corridor Task intersection of Sunset Boulevard Force’s commemorative meet- and Chautauqua Avenue. ing, revealing its plan for action. The incident, which is still Instead of focusing on speed under investigation, took the life crimes, which often don’t go to of 38-year-old Ruthless Ryder trial if not clocked by a radar David “Babyface” Babylon and gun, LAPD officers are citing injured four others. motorbike riders with equipment Since April, LAPD has con- violations. ducted 10 task force nights on This, say Palisadians, is in- Wednesday and Sunday eve- ventive thinking: “When the nings, most recently on Aug. cops could not arrest Al Capone 16, where officers issued several Pictured, from left, back row: Officers O’Dea and Basaker, and Sergeant Eun; front row: Jill Smith, Nina Madok and Paul Leonhauser for murder, they used tax eva- equipment violation citations, Rich Schmitt/Staff Photographer sion to bring him down. -
To What Extend Does Globalisation Equal Americanisation? : an Onomastic Response
To what extend does globalisation equal americanisation? : An onomastic response Autor(en): Chevalier, Sarah Objekttyp: Article Zeitschrift: SPELL : Swiss papers in English language and literature Band (Jahr): 15 (2002) PDF erstellt am: 03.10.2021 Persistenter Link: http://doi.org/10.5169/seals-100004 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch To What Extent Does Globalisation Equal Americanisation? An Onomastic Response Sarah Chevalier Introduction In recent Australian birth notices I came across the names Scarlet, Scout and Savannah. This eclectic trio may, at first sight, seem to reflect parental creativity. However such names are rarely products of the imagination; they are usually inspired by cultural influences. -
Linda Evans' Dynasty Dream!
GLGL 4949 016016 A0A0 GLOBE EDITORIAL DIRECTOR: Tony Frost EDITOR-IN-CHIEF: Jeffrey Rodack EXECUTIVE EDITOR: Pat Gregor MICKEY ROONEY’S SAD MANAGING EDITOR: Marty Gunther (Production) PHOTO EDITOR: Rochelle Paller ART DIRECTOR: Mauricio Buitrago SENIOR REPORTERS: Bob Burns, Jim Nelson, Shelby Loosch SENIOR WRITERS: Paul Francis, Patrice Sturtevant REPORTER: Jordan Rodack LONDON CORRESPONDENT: John Bell DEPUTY PHOTO EDITOR: Summer Federer DESIGNER: Katherine M. Reich WRITERS: Gary Greenberg, Kim Humphreys, Rafe Klinger COPY CHIEF: Bonnie Schultz GENERAL EDITOR: Susan Goldfarb COPY EDITORS: Kimberly Lippman, Tim Skelly EDITORIAL ASSISTANTS: Jennifer Creech, Bernadette Marshall AMI LIBRARY: Candy J. Cogswell (Library Manager) Library Associates: Kathleen Huebner, Rochelle Wagener Library Assistant: Maureen Sikorsky Abborino Mickey stars with Judy Garland in 1939’s Babes AMI RESEARCH CENTER: in Arms Mireya Throop (Director), Barbara Koskie (Deputy), Laurie Miller (Senior Researcher) EVASTATED by a bitter family feud CHAIRMAN, PRESIDENT and with his health declining, Hollywood & CHIEF EXECUTIVE OFFICER: legend Mickey Rooney is facing his sad last David Pecker EXECUTIVE V.P. & CHIEF MARKETING OFFICER: days, say sources. Kevin Hyson And those who saw the pint-size, EXECUTIVE V.P. CONSUMER MARKETING: D91-year-old star at the Nov. 12 L.A. premiere of the David W. Leckey new Muppets movie, in which he has a cameo role, EXECUTIVE V.P. CHIEF FINANCIAL OFFICER & TREASURER: were shocked by his appearance. if he’d suffered a stroke.” In February, Mic Chris Polimeni “Mickey smiled and waved for the crowd like New Jersey ophthalmologist Dr. Cary Silverman, from Aber and his wif EXECUTIVE V.P. HUMAN RESOURCES AND ADMINISTRATION: Daniel A. -
Movies, Memory, and Millennials: How Modern Films Have Influenced the Holocaust
Bellarmine University ScholarWorks@Bellarmine Undergraduate Theses Undergraduate Works 4-28-2017 Movies, Memory, and Millennials: How Modern Films Have Influenced the Holocaust Audrey M. Hehman Bellarmine University, [email protected] Follow this and additional works at: https://scholarworks.bellarmine.edu/ugrad_theses Part of the United States History Commons Recommended Citation Hehman, Audrey M., "Movies, Memory, and Millennials: How Modern Films Have Influenced the Holocaust" (2017). Undergraduate Theses. 22. https://scholarworks.bellarmine.edu/ugrad_theses/22 This Honors Thesis is brought to you for free and open access by the Undergraduate Works at ScholarWorks@Bellarmine. It has been accepted for inclusion in Undergraduate Theses by an authorized administrator of ScholarWorks@Bellarmine. For more information, please contact [email protected], [email protected]. 1 Movies, Memory, and Millennials: How Modern Films Have Influenced the Holocaust Discussion Audrey Hehman Bellarmine University Honors Thesis Advisor: Dr. Fedja Buric 2 Part I: There’s No Business Like Shoah Business “It’s a truism… that we never directly encounter events, only representations of events, which offer different versions of events. The more highly charged the event, the more evocative it is, the greater the incentive to become invested in different versions of it.”1 This is true of any historic event, but quite possibly the best event to fit this description is the Holocaust of the Jews in Europe. Those of us who did not endure the concentration camps have no way to know exactly how it felt to be in that situation. Elie Wiesel said this while criticizing the acclaimed mini-series Holocaust.2 We only know what we have seen in the representation of the event, so we have seen different versions of the Shoah3. -
1 42.347 Dr. Stallbaumer-Beishline Holocaust Through Hollywood's
1 42.347 Dr. Stallbaumer-Beishline Holocaust through Hollywood's Eyes Holocaust Films: “Imagining the Unimaginable” The average American's most extensive exposure to the Holocaust is through popular filmic presentations on either the "big screen" or television. These forums, as Ilan Avisar points out, must yield “to popular demands and conventional taste to assure commercial success."1 Subsequently, nearing the successful completion of this course means that you know more about the Holocaust than the average American. This assignment encourages you to think critically, given your broadened knowledge base, about how the movie-television industry has treated the subject. Film scholars have grappled with the unique challenge of Holocaust-themed films. Ponder their views as you formulate your own opinions about the films that you select to watch. Annette Insdorff, Indelible Shadows: Film and the Holocaust (1989) "How great a role are films playing in determining contemporary awareness of the Final Solution? . How do you show people being butchered? How much emotion is too much? How will viewers respond to light-hearted moments in the midst of suffering?" (xviii) "How do we lead a camera or a pen to penetrate history and create art, as opposed to merely recording events? What are the formal as well as moral responsibilities if we are to understand and communicate the complexities of the Holocaust through its filmic representations?" (xv) Ilan Avisar, Screening the Holocaust: Cinema's Images of the Unimaginable (1988) "'Art [including film making] takes the sting out of suffering.'" (viii) The need for popular reception of a film inevitably leads to "melodramatization or trivialization of the subject." (46) Hollywood/American filmmakers' "universalization [using the Holocaust to make statements about contemporary problems] is rooted in specific social concerns that seek to avoid burdening a basically indifferent public with unbearable facts of the Nazi genocide of the Jews.