Leijptttnn Bpraui Suspends Bus Service
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Last Show – a Prairie Home Companion»
KirchenKino – 21. Mai 2007 in Bern Impulsreferat «The Last Show – A Prairie Home Companion» Charles Martig «The Last Show» (USA 2006) ist ein Film des Abschieds – ein wehmütiger Blick zurück auf eine Lebenswelt, die es nicht mehr gibt. Eingeführt werden wir durch eine Stimme aus dem Off: Es handelt sich um einen schwarz gekleideten, etwas dubiosen Privatde- tektiv mit dem sprechenden Namen «Guy noir». Diese Kunstfigur, die direkt dem Film noir entsprungen scheint, weiss, dass heute Abend die letzte Vorstellung der Live- Radio-Show statt findet. Er kommentiert dieses Faktum mit einem lakonischen Ton in der Stimme und mit einer seltsam überheblichen Distanziertheit. Mit dem Hausdetektiv betreten wir das Fitzgerald Theater in St. Paul, Minnesota und lungern mit ihm hinter den Kulissen herum. Der eitle Trottel vom Dienst steht eigentlich allen im Weg und be- wegt sich so ungeschickt durch das Set, dass wir bald Schmunzeln, bald Mitleid haben mit dieser Figur. Es handelt sich um eine umwerfende Satire des «Private Eye», der alles im Griff haben will und doch immer nur von den Ereignissen getrieben wird. Denn am Lauf der Dinge kann auch er nichts ändern. Es handelt sich um eine satirische Ü- berhöhung des Privatdetektivs, den Robert Altman bereits in den «The Long Goodbye» aufs Korn nahm. Mit «Guy Noir» sind wir bereits mitten in der Geschichte. Sie spielt sich vor allem hinter den Kulissen ab. Da befinden wir uns unverhofft in den Requisiten und Garderoben von «A Prairie Home Companion» – wörtlich beim Gefährten in der Prärie, der das eigentli- che Zuhause in den weiten des mittleren Westens ausmacht. -
Carlos Montezuma Papers: Guide to Microfilm Collection
GUIDE TO THE SCHOLARLY RESOURCES MICROFILM EDITION OF THE PAPERS OF CARLOS MONTEZUMA, M.D. including THE PAPERS OF MARIA KELLER MONTEZUMA MOORE and THE PAPERS OF JOSEPH W. LATIMER The Papers of Carlos Montezuma microfilm edition described and indexed in this guide was made possible through grants from the National Historical Publications and Records Commission. Also, the support of the American Historical Association, Klein Independent School District (Spring, Texas) and the University of Wisconsin-LaCrosse is gratefully acknowledged. Researchers citing materials in this edition of the Papers of Carlos Montezuma should use the following format: Papers of Carlos Montezuma, John William Larner, Jr., Editor, Scholarly Resources Inc. Quotations for publication or further reproduction of materials contained within the Scholarly Resources edition of the pa1ers of Carlos Montezuma, except for purposes of scholarly criticism or comment, require specific permission from owners of original documents and copyright holders. Each document's repository is indicated by an acronym target; acronyms are decoded in the section of the guide entitled “Acronyms Decoded”. ~ 1984 by Scholarly Resources Inc. All rights reserved First published 1984 Printed in the United States of America SCHOLARLY RESOURCES INC. 104 Greenhill Avenue Wilmington, Delaware 19805 GUIDE AND INDEX to the PAPERS OF CARLOS MONTEZUMA, M.D., 1871-1952 including the papers of MARIA KELLER MONTEZUMA MOORE, 1910-1952 and JOSEPH W. LATIMER, 1911-1934 Editor John William Larner, Jr. Assistant Editor Thomas C. Huppert Editorial Assistants Sammetta P. Banks Thelma M. Schwartz “It is that crawling, sneaking, squeezing, lapping, and sucking, devilish vampire of civilization.” Carlos Montezuma, Fragment State Historical Society of Wisconsin Box 10, Folder 4 PREFACE The Papers of Carlos Montezuma offer researchers an important collection of Native American history sources from the 1890s through the 1920s, most of the material created by Indians themselves. -
“So Much Water So Close to Home”: Een Vergelijkende Analyse Van
Faculteit Letteren en Wijsbegeerte Academiejaar 2008-2009 “So Much Water So Close to Home”: een vergelijkende analyse van Raymond Carvers kortverhaal met de filmadaptaties Short Cuts (1993) van Robert Altman en Jindabyne (2006) van Ray Lawrence Verhandeling voorgelegd aan de Faculteit Letteren en Wijsbegeerte voor het verkrijgen van de graad van master in de taal- en letterkunde: vergelijkende moderne letterkunde door Jade Corbeij Promotor: prof. dr. Jürgen Pieters 0 Inhoudsopgave 1. Voorwoord ......................................................................................................................... 3 2. Inleiding ............................................................................................................................. 4 3. Raymond Carver ................................................................................................................ 6 3.1. Leven (Halpert 1995), (Champion 1999) en (Wikipedia.org).................................... 6 3.2. Werk ........................................................................................................................... 7 3.2.1. Overzicht ............................................................................................................ 7 3.2.2. Minimalist, precisionist of realist? ..................................................................... 8 3.2.3. Wereldbeeld ..................................................................................................... 11 3.2.3.2. De Carverchronotoop: wanhoop en ironie in Amerika -
Special Collections Library
SPECIAL COLLECTIONS LIBRARY UNIVERSITY OF MICHIGAN ROBERT ALTMAN ARCHIVE: PERSONAL AND EARLY PROJECTS, 1945-2007 21 linear feet Call No.: Altman ACQUISITION: The archive was acquired from the Altman family, 2007-2008, ACCESS: The records are open for research. PHOTOGRAPHS: COPYRIGHT: Permission to publish material from this collection must be obtained from the University of Michigan Special Collections Library and the individual copyright holder. PROCESSED BY: Personal series: Heather Norris, Ray Barker, 2011; Early Projects: Sarah Hegge, 2010 Robert Altman Archive Abstract The Robert Altman Personal series (14 linear feet, 3 oversized boxes) ranges in date from 1945-2007. The series includes correspondence, legal, and medical documents, topical and award-related material, early work, interviews and clippings, as well as photographs. The Early Projects series contains assorted materials from early projects including movies, TV, commercials, and short films (1 linear foot and 1 oversized box). Scope and Content Note The Robert Altman Personal series (14 linear feet, 3 oversized boxes) is comprised of personal material ranging in date from 1945-2007. The material consists of correspondence, legal and medical documents, topical and award related material, early work, interviews and clippings, as well as photographs. The correspondence sub-series include letters and cards from friends, co-workers and acquaintances, as well as fan mail. Early work is comprised of music, poetry, scripts, and short stories ranging in date from 1945-1965. Documents such as marriage certificates, birth certificates and passports can be found in the legal and other documents sub-series while Robert Altman's wills are in the legal-Jerome Walsh sub-series. -
John Williams Og Robert Altman
John Williams og Robert Altman: En liten klype modernisme The Long Goodbye | 1973 Ti år før John Williams ble introdusert for en ung og lovende Steven Spielberg, hadde han knyttet seg til en annen idiosynkratisk regissør: Robert Altman. Samarbeidet skulle thor joachim haga medieviter og redaktør for vare over flere tv-episoder, en kortfilm og to spillefilmer, men filmhistorisk har dette filmmusikk-nettstedet Celluloid kunstnerisk ambisiøse og eksperimentelle uttrykket stått fullstendig i skyggen av | 33 Tunes.no Williams’ mer kommersielle suksesser som Star Wars, Harry Potter og Jurassic Park. Av Thor Joachim Haga Jeg synes det er like morsomt hver gang: Når av Kraft Television Theater, en serie som hadde gått hovedsakelig krim- eller mysteriepreg. Forskjellen Selv om episoden er forholdsvis tradisjonelt fortalt, kritiske røster rakker ned på Williams’ forkjærlighet på amerikanske tv-skjermer siden slutten av 40- er at John Williams nå var involvert helt fra starten. er det lett å observere små, altmanske drypp i for det neoromantiske tonespråket og påståtte tallet. Som sedvanlig praksis på denne tiden hentet Han skrev et pulserende, nesten aleatorisk tema – klipperytme og iscenesettelse: håndholdte kameraer, mangel på originalitet, slamrer jeg Altman-sam- man inn episoder fra andre Revue-produserte et sted i krysningspunktet mellom jazz og samtids- uortodokse utsnitt eller fremmedgjørende lydklipp arbeidet demonstrativt på bordet: En oppvisning i serier for å fylle den tilmålte episodekvoten i den musikk – og gjorde for øvrig 17 episoder i sesong – som fra Smalleys uheldige drap til en flokk gjess abstrakte, dissonante uttrykksformer som ofte har tredje og siste sesongen – i dette tilfellet antologi- én og 2 episoder i sesong to. -
Interruptingmytrainofthought W
editorial input: scott woods and tim powis cover illustration: karen watts foreword: rob sheffield Copyright © 2014 Phil Dellio All rights reserved. No part of this publication may be reproduced or trans- mitted in any form or by any means, electronic or mechanical, including scanning, photocopying, recording or any information storage and retrieval system, without permission in writing from the publisher. Typesetting and layout by Vaughn Dragland ([email protected]) ISBN: 978-1-5010-7319-9 and your mother, and your dad patricia dellio (1932 – 2009) peter dellio (1934 – 2003) contents foreword i introduction iii the publications v show no traces 1 the last phase of yours and yours and mine 31 whole new kinds of weather 49 some place back there 73 rain gray town 105 long journeys wear me out 123 fragments falling everywhere 159 if anything should happen 201 always window shopping 269 constantly aware of all the changes that occur 291 people always live and die in 4/4 time 331 in and around the lake 361 a friend i’ve never seen 415 appendix 435 acknowledgements 437 foreword The first thing I noticed about Phil Dellio was that he sure liked Neil Diamond. The second thing I noticed was that I liked Neil Diamond a lot better after reading what Phil had to say. I was reading a copy of Phil’s fanzine Radio On for the first time, riding a Charlottesville city bus in early 1991, wondering if my mind was playing tricks on me. This guy had provoc- ative comments on recent hits by C&C Music Factory and the KLF; he also wrote about musty 1960s ballads by Herb Alpert or the Vogues. -
Sports Executives Address Athletic Issues GTE Call Waiting Ads
Scoring in the Rain Junior Chris Yankee score THE CHRONICLE to THURSDAY, SEPTEMBER 26,1991 DUKE UNIVERSITY DURHAM, NORTH CAROLINA CIRCULATION: 15,000 VOL. 87, NO. 20 Sports executives address athletic issues Grad dean By MIKE FINLON and GEOFFREY has forced schools to hire lawyers the main reasons that Florida "Basketball is quickly becom GREEN to insure their compliance with State was added over Syracuse ing a global sport. The NBA is advocates Universities must address de regulations. University, Corrigan said. best poised to exploit [this] and clining revenues in collegiate Schools are now trying to Professional sports leagues in become a worldwide leader." sports, the Atlantic Coast Con downscale their athletic opera the United States can only ex A great future lies ahead for rebudgeting ference Commissioner told a tions without sacrificing the qual pand revenues by seeking inter the NBA in Europe and Asia. The By MATT STEFFORA group of graduate students ity or quantity of different sports, national markets, said New York development overseas is continu A rebudgeting proposal Wednesday. Corrigan said. Knicks President David ing much as it did in the United put forth by the Graduate Six sports executives from It will take more than reducing Checketts. "Everybody is asking, States, Checketts said. School may draw more across the country explored this "NBA games will be shown on graduate students to the and other issues facing the future television in over 80 countries" if University and could be of professional and collegiate things go as planned, he added. implemented as early as the sports markets at the 1991 Sports "International and globally based 1992-93 year. -
Robert Altman - Muszkieter
Altman Rafał Syska Robert Altman - muszkieter Gracz Jego odporność na wszelkie niepowodzenia obrosła już anegdotami. Jako miłośnik przeróżnych gier hazardowych zawsze ryzykował i nierzadko przegrywał w pokera, w ruletkę, na wyścigach konnych. Zakładał własne wytwórnie filmowe i bankruto wał, kręcił dzieła, z których amerykańska publiczność wychodziła zakłopotana, cza sem firmował projekty interesujące wyłącznie garstkę pasjonatów. W chwilach klęski zwykł nonszalancko wzruszać ramionami i wracać do gry, by na rubieżach Holly woodu zrealizować kolejny film. Na gruncie amerykańskiego kina Robert Altman był postacią szczególną, emblematem filmowego autora, nestorem wśród klasyków kontestacji, a zarazem filmowcem do ostatnich lat życia zachwycającym żywotnością i pomysłowością. W swej postawie bywa wiązany z europejskim wyobrażeniem reżysera-indywi- dualisty, choć paradoksalnie tematyka jego utworów, społeczno-polityczna refleksja i barwna mitologia wypływały z amerykańskiej kultury, z niej czerpiąc materiał do satyr i ironii. Wprawdzie w filmografii Altmana Znajdziemy utwory reprezentujące niemal wszystkie gatunki filmowe, ale reżyser zawsze traktował tradycję kina holly woodzkiego jedynie w kategoriach matrycy zjadliwej krytyki. Stąd filmy Altmana rzadko stawały się komercyjnymi sukcesami, a sam reżyser nigdy nie sięgnął po I 214 Rafał Syska regulaminowego Oscara — choć przez krytykę już w latach siedemdziesiątych zo stał uznany za mistrza filmowej narracji, wprowadzającego niemal awangardowe rozwiązania dramaturgiczne i trudną do podrobienia poetykę. Robert Altman zajął więc poczesne miejsce w klubie wielkich-pominiętych (obok takich klasyków jak: Howard Hawks, Charles Chaplin czy Alfred Hitchcock — a współcześnie obok: Stanleya Kubricka, Sidneya Lumeta czy Johna Boormana), którzy choć wprowa dzili do twórczości hollywoodzkiego kina blask geniuszu, liczyć mogą co najwyżej na statuetkę za całokształt (co w przypadku Altmana zdarzyło się w 2006 roku). -