CHAPTER I INTRODUCTION A. Background of the Study Freedom
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Film Adaptation As an Act of Communication: Adopting a Translation-Oriented Approach to the Analysis of Adaptation Shifts Katerina Perdikaki
Document generated on 09/30/2021 1:10 p.m. Meta Journal des traducteurs Translators’ Journal Film Adaptation as an Act of Communication: Adopting a Translation-oriented Approach to the Analysis of Adaptation Shifts Katerina Perdikaki Volume 62, Number 1, April 2017 Article abstract Contemporary theoretical trends in Adaptation Studies and Translation Studies URI: https://id.erudit.org/iderudit/1040464ar (Aragay 2005; Catrysse 2014; Milton 2009; Venuti 2007) envisage synergies DOI: https://doi.org/10.7202/1040464ar between the two areas that can contribute to the sociocultural and artistic value of adaptations. This suggests the application of theoretical insights See table of contents derived from Translation Studies to the adaptation of novels for the screen (i.e., film adaptations). It is argued that the process of transposing a novel into a filmic product entails an act of bidirectional communication between the book, Publisher(s) the novel and the involved contexts of production and reception. Particular emphasis is placed on the role that context plays in this communication. Les Presses de l’Université de Montréal Context here is taken to include paratextual material pertinent to the adapted text and to the film. Such paratext may lead to fruitful analyses of adaptations ISSN and, thus, surpass the myopic criterion of fidelity which has traditionally dominated Adaptation Studies. The analysis uses examples of adaptation shifts 0026-0452 (print) (i.e., changes between the source novel and the film adaptation) from the film 1492-1421 (digital) P.S. I Love You (LaGravenese 2007), which are examined against interviews of the author, the director and the cast, the film trailer and one film review. -
February 7, 2021
VILLANOVA THEATRE PRESENTS STREAMING JANUARY 28 - FEBRUARY 7, 2021 About Villanova University Since 1842, Villanova University’s Augustinian Catholic intellectual tradition has been the cornerstone of an academic community in which students learn to think critically, act compassionately and succeed while serving others. There are more than 10,000 undergraduate, graduate and law students in the University’s six colleges – the College of Liberal Arts and Sciences, the Villanova School of Business, the College of Engineering, the M. Louise Fitzpatrick College of Nursing, the College of Professional Studies and the Villanova University School of Law. As students grow intellectually, Villanova prepares them to become ethical leaders who create positive change everywhere life takes them. In Gratitude The faculty, staff and students of Villanova Theatre extend sincere gratitude to those generous benefactors who have established endowed funds in support of our efforts: Marianne M. and Charles P. Connolly Jr. ’70 Dorothy Ann and Bernard A. Coyne, Ph.D. ̓55 Patricia M. ’78 and Joseph C. Franzetti ’78 The Donald R. Kurz Family Peter J. Lavezzoli ’60 Patricia A. Maskinas Msgr. Joseph F. X. McCahon ’65 Mary Anne C. Morgan ̓70 and Family & Friends of Brian G. Morgan ̓67, ̓70 Anthony T. Ponturo ’74 Eric J. Schaeffer and Susan Trimble Schaeffer ’78 The Thomas and Tracey Gravina Foundation For information about how you can support the Theatre Department, please contact Heather Potts-Brown, Director of Annual Giving, at (610) 519-4583. gratefully acknowledges the generous support of our many patrons & subscribers. We wish to offer special thanks to our donors. 20-21 Benefactors A Running Friend William R. -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10. -
Composing in Their Own Language
INTERNATIONAL JOURNAL OF CRITICAL PEDAGOGY COMPOSING IN THEIR OWN LANGUAGE: FEMINIST PEDAGOGY IN RICHARD LAGRAVENESE’S FREEDOM WRITERS LEAH DINATALE THE UNIVERSITY OF ALABAMA Abstract This paper explores Richard LaGravenese’s 2007 film adaptation of Erin Gruwell’s teaching memoir, The Freedom Writers Diary: How a Teacher and 150 Teens Used Writing to Change Themselves and the World Around Them. LaGravenese’s adaptation chronicles the challenges and triumphs Gruwell faces as she earns her disenfranchised students’ trust and respect both inside and outside of the classroom. Gruwell uses feminist pedagogical practices in order to transgress institutional practices that seek to silence her Students’ Right to their Own Language. My purpose in analyzing this popular culture film is to discuss how feminist pedagogy is presented in Freedom Writers. While a considerable amount of scholarship has analyzed the way educators are both positively and negatively portrayed in film, there has been no attempt to critically assess how feminist pedagogical practices work to challenge traditional educational ideologies in film. My analysis also seeks to identify and evaluate some of Gruwell’s exemplary teaching practices in order to analyze the ways in which feminist pedagogy might enhance other theoretical approaches and pedagogical practices in education. Keywords: feminist pedagogy, composition practices, methodology 86 | International Journal of Critical Pedagogy | Vol. 8 No. 1, 2017 Critics have often dismissed Richard LaGravenese’s 2007 drama, Freedom Writers as yet another stereotypical Hollywood teacher movie that follows the trope of the white savior film. Erin Gruwell, the film’s white, upper-middle class protagonist, displays extraordinary personal pedagogy and makes a difference in the lives of troubled inner-city youth (Cammarota, 2011; Hughey, 2014; Pimentel, 2010). -
Freedom Writers: Development Hours, Continental Breakfast, Creating Kids at Hope Lunch on Your Own
September 20, 2018 Roosevelt University Erin Gruwell Goodman Center ISBE Approved Provider Presents: with Rick Miller 501 S. Wabash, Chicago 8:30 a.m. – 3:30 p.m. Registration includes: 5 Professional Freedom Writers: Development Hours, Continental Breakfast, Creating Kids at Hope Lunch on your own By fostering an educational philosophy that values and promotes diversity, Erin transformed her students’ lives. She encouraged them to re-think rigid beliefs about themselves and others, reconsider daily decisions, and ultimately re-chart their futures. Erin and her students captured their collective journey in their best selling book The Freedom Writers Diary and in the inspiring movie, Freedom Writers. Erin founded the Freedom Writers Foundation where she currently teaches educators around the world how to implement her innovative lesson plans into their own Erin Gruwell is a teacher, an education activist, classrooms. She created the Freedom Writers Methodology, a and the founder of the Freedom Writers progressive teaching philosophy and curricula designed to Foundation. She created the Freedom Writer achieve excellence from all students. Erin continues to fight for Methods, a progressive teaching philosophy and equality in education and inspires teachers and students all curricula designed to achieve excellence from all over the world with her work. students. By fostering an educational philosophy that values and promotes diversity, Gruwell transformed her students’ lives. She encouraged During the workshop educators are exposed to a pedagogical them to re-think rigid beliefs about themselves framework (Freedom Writers Methodology) through which they and others, reconsider daily decisions, and can engage students in the learning process, enlighten them ultimately re-chart their futures. -
Engelse Taal En Cultuur
Janssen/4360990 AAVE as a class-marker in American film _________________________________________________________________________________________________________ BA Thesis By Mees Janssen s4360990 Supervisor: Jarret Geenen Second Reader: Mathilde Roza Department of English Language and Culture Janssen/4360990 ENGELSE TAAL EN CULTUUR Teacher who will receive this document: J. Geenen Title of document: AAVE as a class-marker in American film Name of course: Bachelor Thesis American Studies resit Date of submission: 08-08-2018 The work submitted here is the sole responsibility of the undersigned, who has neither committed plagiarism nor colluded in its production. Signed Name of student: Mees Janssen Student number: s4360990 2 Janssen/4360990 Table of Contents 1. Introduction ............................................................................................................ 1 2. Literature review ........................................................................................................ 3 2.1. Dialects within the United States ........................................................................ 3 2.2. Dialectically based social stratification .............................................................. 5 2.3. Social stratification and AAVE .......................................................................... 6 2.4. African American representation in American film ........................................... 9 2.5. Stereotyped representation through accent ..................................................... -
COACH CARTER AS a Reflection on the Sports – Academic Debate
‘I LEARNED ALL ABOUT LIFE WITH A BALL AT MY FEET’: COACH CARTER AS A REFLECTION ON THE SPORTS – ACADEMICS DEBATE AND EDUCATION HO MANH TOAN 11413016 ‘I learned all about life with a ball at my feet’: Coach Carter as a reflection on the sports – academics debate and education ABSTRACT How does Coach Carter (Carter, 2005) reflect the debate between sports and academics in reality? The research examines the case of a sports movie Coach Carter, which possesses many characteristics of the education film genre but has often been excluded from the academic realm. This exclusion reflects a debate on sports versus academia and the priority of academics in an education system. The film follows formulas of a conventional sports film but creates its main conflict around sports – academics tension with the spirit of an education film. In conclusion, Coach Carter denies supporting the myth that success can be easily found in sports and advocates for a balance between sports and academics. KEYWORDS Education; cinema; film; movie; sports; academic; school; Coach Carter. 1 ACKNOWLEDGEMENT Upon the finish and submission of this thesis, I would like to express my gratitude to my advisor Professor Joseph Progler for his guidance, suggestions, and advice since the beginning until the finishing of this thesis. ‘A teacher like you cannot be found’. I would like to thank my older brother Ho Manh Tung and his wife Nguyen Hong Kong, my friend Nguyen Hai Phong for their feedbacks in the editing process. In addition, I would like to express my appreciation to my friends Nguyen Ngoc Phu, Yuki Ueno, Phung Anh Hao, Hoang Minh Dong, Pham Tran Hai, Dang Minh Phuong, and Nguyen Viet Dung for their mental support and great friendship throughout the years of college and the intense period of writing. -
Video Windows Grosses MAJOR 3 13 17.Xlsx
THEATRICAL VIDEO ANNOUNCEMENT TITLE VIDEO RELEASE VIDEO WINDOW GROSS (in millions) DISTRIBUTOR RELEASE ANNOUNCEMENT WINDOW DISNEY Fantasia/2000 1/1/00 8/24/00 7 mo 23 Days 11/14/00 10 mo 13 Days 60.5 Disney Down to You 1/21/00 5/31/00 4 mo 10 Days 7/11/00 5 mo 20 Days 20.3 Disney Gun Shy 2/4/00 4/11/00 2 mo 7 Days 6/20/00 4 mo 16 Days 1.6 Disney Scream 3 2/4/00 5/13/00 3 mo 9 Days 7/4/00 5 mo 89.1 Disney The Tigger Movie 2/11/00 5/31/00 3 mo 20 Days 8/22/00 6 mo 11 Days 45.5 Disney Reindeer Games 2/25/00 6/2/00 3 mo 8 Days 8/8/00 5 mo 14 Days 23.3 Disney Mission to Mars 3/10/00 7/4/00 3 mo 24 Days 9/12/00 6 mo 2 Days 60.8 Disney High Fidelity 3/31/00 7/4/00 3 mo 4 Days 9/19/00 5 mo 19 Days 27.2 Disney East is East 4/14/00 7/4/00 2 mo 16 Days 9/12/00 4 mo 29 Days 4.1 Disney Keeping the Faith 4/14/00 7/4/00 2 mo 16 Days 10/17/00 6 mo 3 Days 37 Disney Committed 4/28/00 9/7/00 4 mo 10 Days 10/10/00 5 mo 12 Days 0.04 Disney Hamlet 5/12/00 9/18/00 4 mo 6 Days 11/14/00 6 mo 2 Days 1.5 Disney Dinosaur 5/19/00 10/19/00 5 mo 1/30/01 8 mo 11 Days 137.7 Disney Shanghai Noon 5/26/00 8/12/00 2 mo 17 Days 11/14/00 5 mo 19 Days 56.9 Disney Gone in 60 Seconds 6/9/00 9/18/00 3 mo 9 Days 12/12/00 6 mo 3 Days 101.6 Disney Love’s Labour’s Lost 6/9/00 10/19/00 4 mo 10 Days 12/19/00 6 mo 10 Days 0.2 Disney Boys and Girls 6/16/00 9/18/00 3 mo 2 Days 11/14/00 4 mo 29 Days 21.7 Disney Disney’s The Kid 7/7/00 11/28/00 4 mo 21 Days 1/16/01 6 mo 9 Days 69.6 Disney Scary Movie 7/7/00 9/18/00 2 mo 11 Days 1212/00 5 mo 5 Days 157 Disney Coyote Ugly 8/4/00 11/28/00 3 -
Exposure to On-Screen Tobacco in Movies Among Ontario Youth, 2004-2013
Exposure to On-Screen Tobacco in Movies Among Ontario Youth, 2004-2013 1434 Top-grossing Movies Released in the Domestic Market (Canada and US), 2004-2013, in Alphabetic Order by Year Movie Title (Alpha Order) OFRB MPAA Tobacco Ontario, OFRB Detail OFRB Detail OFRB Rating Rating Incidents In-Theatre Observation Observation Content Bold = tobacco incidents at at Bracket Tobacco "Tobacco "Illustrated" Advisory Shaded = lower rating in Ontario Releasea Releasea (TUTD)b Impressionsc Use" d "Tobacco Use" 2004 13 Going on 30 PG PG-13 1-9 1,722,000 50 First Dates PG PG-13 0 0 After the Sunset PG PG-13 10-29 2,959,000 Against the Ropes 14A PG-13 30-49 1,229,000 Agent Cody Banks 2: Destination London G PG 10-29 1,569,000 Alamo, The PG PG-13 10-29 3,029,000 Alexander 14A R 0 0 Alfie 14A R 50+ 14,074,000 Alien vs. Predator PG PG-13 0 0 Along Came Polly PG PG-13 0 0 Anacondas: The Hunt for the Blood Orchid PG PG-13 1-9 387,000 Anchorman PG PG-13 50+ 53,243,000 Around the World in 80 Days PG PG 10-29 2,212,000 Aviator, The 14A PG-13 50+ 65,960,000 Barbershop 2: Back in Business PG PG-13 30-49 12,771,000 Big Fish PG PG-13 1-9 1,628,000 Blade: Trinity 18A R 10-29 7,726,000 Bourne Supremacy, The PG PG-13 1-9 5,408,000 Breakin' All the Rules PG PG-13 10-29 1,235,000 Bridget Jones: The Edge of Reason 14A R 50+ 21,736,000 Butterfly Effect, The 14A R 50+ 24,794,000 Calendar Girls PG PG-13 1-9 1,715,000 Catch that Kid G PG 0 0 Ontario Tobacco Research Unit 1 Exposure to On-Screen Tobacco in Movies Among Ontario Youth, 2004-2013 Movie Title (Alpha Order) OFRB -
Blue Crime “Shades of Blue” & APPRAISERS MA R.S
FINAL-1 Sat, Jun 9, 2018 5:07:40 PM Your Weekly Guide to TV Entertainment for the week of June 16 - 22, 2018 HARTNETT’S ALL SOFT CLOTH CAR WASH $ 00 OFF 3ANY CAR WASH! EXPIRES 6/30/18 BUMPER SPECIALISTSHartnett's Car Wash H1artnett x 5` Auto Body, Inc. Ray Liotta and Jennifer Lopez star in COLLISION REPAIR SPECIALISTS Blue crime “Shades of Blue” & APPRAISERS MA R.S. #2313 R. ALAN HARTNETT LIC. #2037 DANA F. HARTNETT LIC. #9482 15 WATER STREET DANVERS (Exit 23, Rte. 128) TEL. (978) 774-2474 FAX (978) 750-4663 Open 7 Days Mon.-Fri. 8-7, Sat. 8-6, Sun. 8-4 ** Gift Certificates Available ** Choosing the right OLD FASHIONED SERVICE Attorney is no accident FREE REGISTRY SERVICE Free Consultation PERSONAL INJURYCLAIMS • Automobile Accident Victims • Work Accidents • Slip &Fall • Motorcycle &Pedestrian Accidents John Doyle Forlizzi• Wrongfu Lawl Death Office INSURANCEDoyle Insurance AGENCY • Dog Attacks • Injuries2 x to 3 Children Voted #1 1 x 3 With 35 years experience on the North Insurance Shore we have aproven record of recovery Agency No Fee Unless Successful Det. Harlee Santos (Jennifer Lopez, “Lila & Eve,” 2015) and her supervisor, Lt. Matt The LawOffice of Wozniak (Ray Liotta, “Goodfellas,” 1990) will do all that they can to confront Agent STEPHEN M. FORLIZZI Robert Stahl (Warren Kole, “Stalker”) and protect their crew, which includes Tess Naza- Auto • Homeowners rio (Drea de Matteo, “The Sopranos”), Marcus Tufo (Hampton Fluker, “Major Crimes”) 978.739.4898 Business • Life Insurance Harthorne Office Park •Suite 106 www.ForlizziLaw.com and Carlos Espada (Vincent Laresca, “Graceland”), in the final season of “Shades of 978-777-6344 491 Maple Street, Danvers, MA 01923 [email protected] Blue,” which premieres Sunday, June 17, on NBC. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Films in the AMC A
Films in the AMC "O" (Tim Blake Nelson, 2001, USA, 90 min) “O” (Othello) (2001,J.Hartnett/J. Stiles/M. Phifer; 90 min.) 11'09"01 - September 11 (Ken Loach et al., USA, 2002, 123 min.) 12 Angry Men (Sidney Lumet, 1957, USA, 92 min.) 12 Years a Slave (Steve McQueen, 2013, USA, UK, 134 min.) 2001: A Space Oddisey (Stanley Kubrick, 1968, USA, 141min.) 2012 (Roland Emmerich, 2009, USA, 158 min) 21 Grams (Alejandro González Iñárritu, 2003, USA, 120 min.) 25th hour (Spike Lee, 2002, USA, 129 min. - German Title: 25 Stunden) 32A (Marian Quinn, 2007, IRL, 89 min.) 500 years later (Owen Alik Shahadah, 2005, UK/USA, 106min.) 7 Zwerge Part 1 + 2 (Sven Unterwaldt) 8 Mile (Curtis Hanson, 2002, USA, 106 min.) A brief history of time (Errol Morris, 1991, UK/Japan; USA, 80min.) German Title: Eine A kurze Geschichte der Zeit. Based on the book by Stephen Hawking A Cat in Paris (Felicioli; Gagnol, 62 min.) A Collection of 2005 Academy Award Nominated Short Films (5 Live Action Short Films and 3 Animated Short Films) A Day Without A Mexican (Sergio Arau, 2004, USA, 100min.) A Midsummernight's Dream (Michael Hoffman, 1999, Italy/UK/USA, 115 min.) A Street Cat Named Bob (Spottiswoode, 2016, 99 min.) A Streetcar Named Desire (Elia Kazan, 1951, USA, 120 min.) A Thousand Acres (Jocelyn Moonhouse, 1997, USA, 101min.) (Loosely based on King Lear) A United Kingdom (Asante, 106 min.) A Way of Life (Amma Asante, 2004, UK, 87 min.) About a Boy (Chris Weitz, 2002, GB, 97 min.) About Schmidt (Alexander Payne, 2002, USA, 120 min.) Acadie Liberté (Tim Radford, 1993, Canada/USA,