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Martin Neužil
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Martin Neužil Violence and humour in In Bruges and The Guard Bachelor’s Diploma Thesis Supervisor: Stephen Paul Hardy, Ph. D. 2018 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Martin Neužil 2 I would like to thank my supervisor, Stephen Paul Hardy, for his unending patience and guidance. Also huge thanks to my family and friends for their support and encouragement. 3 Table of Contents Page Introduction ..................................................................................................................... 5 Irish Movie Industry ....................................................................................................... 7 In Bruges ........................................................................................................................ 10 The Guard ..................................................................................................................... 20 Comparison ................................................................................................................... 30 Conclusion ..................................................................................................................... 40 Works Cited ................................................................................................................... 41 Resumé .......................................................................................................................... -
Treasure Island by Robert Louis Stevenson Adapted by Bryony Lavery
TREASURE ISLAND BY ROBERT LOUIS STEVENSON ADAPTED BY BRYONY LAVERY DRAMATISTS PLAY SERVICE INC. TREASURE ISLAND Copyright © 2016, Bryony Lavery All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of TREASURE ISLAND is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan- American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for TREASURE ISLAND are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee. Inquiries concerning all other rights should be addressed to United Agents, 12-26 Lexington Street, London, England, W1F 0LE. -
Juno and the Paycock by Sean O’ Casey
FACTFILE: GCSE DRAMA Component 3 Knowledge and Understanding of Drama, Exploration of the Set Text Juno and the Paycock by Sean O’ Casey Social • The play deals with inner-city Dublin working class people in 1922; • The living conditions of the Boyle family is a two-roomed tenancy in a tenement house in a street within walking distance of the city centre. The conditions are very cramped for four adults and there is a bed in the living room and kitchen. Bathroom facilities were shared with all the residents of the tenement which could be up to ten families; • Mary is trying to lift herself out of the working class and Charles Bentham seems to offer her that opportunity as he speaks and dresses better than all the other characters; • Jerry Devine represents the Labour Movement which was growing at the time just as communism was growing in Russia; • The play is set just after the Civil War in Ireland and the social unrest continued as Robbie Tancred’s funeral takes place during the play and Johnny Boyle is taken away and shot for not continuing to fight for the cause. Cultural • O’Casey himself lived in Dorset Street, north Dublin and his family was ‘shabby-genteel’ but he set his plays in the working-class culture which he would have seen in the streets close by; • His father died when he was six and his plays are dominated by hard-working and strong women such as Juno Boyle; • His interest grew in the Irish nationalist cause and he joined the Gaelic League and became General Secretary of the Irish Citizen Army so became steeped in the culture -
Movie Museum FEBRUARY 2009 COMING ATTRACTIONS
Movie Museum FEBRUARY 2009 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY VICKY CRISTINA IN BRUGES BOTTLE SHOCK ARSENIC AND IN BRUGES BARCELONA (2008-UK/Belgium) (2008) OLD LACE (2008-UK/Belgium) (2008-Spain/US) in widescreen in widescreen in widescreen in Catalan/English/Spanish w/ (1944) with Chris Pine, Alan with Cary Grant, Josephine English subtitles in widescreen with Colin Farrell, Brendan with Colin Farrell, Brendan Hull, Jean Adair, Raymond with Rebecca Hall, Scarlett Gleeson, Ralph Fiennes, Rickman, Bill Pullman, Gleeson, Ralph Fiennes, Johansson, Javier Bardem, Clémence Poésy, Eric Godon, Rachael Taylor, Freddy Massey, Peter Lorre, Priscilla Clémence Poésy, Eric Godon, Penelopé Cruz, Chris Ciarán Hinds. Rodriguez, Dennis Farina. Lane, John Alexander, Jack Ciarán Hinds. Messina, Patricia Clarkson. Carson, John Ridgely. Written and Directed by Written and Directed by Directed and Co-written by Written and Directed by Woody Allen. Martin McDonagh. Randall Miller. Directed by Martin McDonagh. Frank Capra. 12:30, 2:30, 4:30, 6:30 12:30, 2:30, 4:30, 6:30 12:30, 2:30, 4:30, 6:30 12:30, 2:30, 4:30, 6:30 & 8:30pm 5 & 8:30pm 6 & 8:30pm 7 12:30, 3, 5:30 & 8pm 8 & 8:30pm 9 Lincoln's 200th Birthday THE VISITOR Valentine's Day THE VISITOR Presidents' Day 2 for 1 YOUNG MR. LINCOLN (2007) OUT OF AFRICA (2007) THE TALL TARGET (1951) (1939) in widescreen (1985) in widescreen with Dick Powell, Paula Raymond, Adolphe Menjou. with Henry Fonda, Alice with Richard Jenkins, Haaz in widescreen with Richard Jenkins, Haaz Directed by Anthony Mann. -
A Rough Guide
A ROUGH GUIDE THE IRISH FILM BOARD The Irish Film Board (IFB) is the national development agency for the Irish film and television industry, investing in talent, creativity and enterprise. We support the industry by funding projects and training and by promoting Ireland as a location for international production. 4 GLENDALOUGH, CO. WICKLOW CONTENTS Making Film & TV in Ireland 6 The Irish Producer 8 Irish Sources of Finance 10 Ireland & International Co-production 12 Location Location Location 16 Urban Ireland 18 Rural Ireland 22 Film Studios 26 Post-production, CGI & VFX 28 Case Study: VFX 30 IFB Location Services 34 Support Networks 36 Irish Talent 40 Irish Short Films at the Oscars 42 Case Study: Feature Film 44 Case Study: Television Drama 50 Animation 56 Case Study: Animation 60 International Awards 66 IFB Contact Details 72 6 MAKING FILM & TV IN IRELAND 6 THE IRISH PRODUCER 8 IRISH SOURCES OF FINANCE 10 IRELAND & INTERNATIONAL CO-PRODUCTION 12 8 CLIFFS OF MOHER, CO. CLARE MAKING FILM & TV IN IRELAND orld class film and television drama is made Ireland’s film and television industry is built on in Ireland year after year. talented Irish producers, directors, writers, cast, crew and service providers, backed by consistent Irish W government support, delivered by a competitive tax Recent projects include Lenny Abrahamson’s Frank, two films by John Michael McDonagh, Calvary and incentive and Irish Film Board (IFB) project funding. The Guard, Neil Jordan’s Byzantium, Rodrigo Garcia’s Albert Nobbs, Steven Soderbergh’s Haywire, James We hope this guidebook answers your questions Mather and Stephen St Leger’s Lockout and Tom about making film and television in Ireland. -
A Cognitive Approach to Gestural Life in Stephen Sondheim's Musical Genres
“MY ARM IS COMPLETE”: A COGNITIVE APPROACH TO GESTURAL LIFE IN STEPHEN SONDHEIM’S MUSICAL GENRES by Diana Louise Calderazzo AB, Smith College, 1999 MA, University of Central Florida, 2005 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2012 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES DEPARTMENT OF THEATRE ARTS This dissertation was presented by Diana Louise Calderazzo It was defended on July 11, 2012 and approved by Marlene Behrmann, Professor, Department of Psychology, Carnegie Melon University Atillio Favorini, Professor, Department of Theatre Arts, University of Pittsburgh Kathleen George, Professor, Department of Theatre Arts, University of Pittsburgh Dissertation Director: Bruce McConachie, Professor, Department of Theatre Arts, University of Pittsburgh ii Copyright by Diana Louise Calderazzo 2012 iii “MY ARM IS COMPLETE”: A COGNITIVE APPROACH TO GESTURAL LIFE IN STEPHEN SONDHEIM’S MUSICAL GENRES Diana Louise Calderazzo, PhD University of Pittsburgh, 2012 Traditionally, musical theatre has been accepted more as a practical field than an academic one, as demonstrated by the relative scarcity of lengthy theory‐based publications addressing musicals as study topics. However, with increasing scholarly application of cognitive theories to such fields as theatre and music theory, musical theatre now has the potential to become the topic of scholarly analysis based on empirical data and scientific discussion. This dissertation seeks to contribute such an analysis, focusing on the implied gestural lives of the characters in three musicals by Stephen Sondheim, as these lives exemplify the composer’s tendency to challenge traditional audience expectations in terms of genre through his music and lyrics. -
The Dark Side of the Tune: a Study of Villains
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2008 The Dark Side Of The Tune: A Study Of Villains Michael Biggs University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Biggs, Michael, "The Dark Side Of The Tune: A Study Of Villains" (2008). Electronic Theses and Dissertations, 2004-2019. 3811. https://stars.library.ucf.edu/etd/3811 THE DARK SIDE OF THE TUNE: A STUDY OF VILLAINS by MICHAEL FREDERICK BIGGS II B.A. California State University, Chico, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2008 © 2008 Michael Biggs ii ABSTRACT On “championing” the villain, there is a naïve quality that must be maintained even though the actor has rehearsed his tragic ending several times. There is a subtle difference between “to charm” and “to seduce.” The need for fame, glory, power, money, or other objects of affection drives antagonists so blindly that they’ve no hope of regaining a consciousness about their actions. If and when they do become aware, they infrequently feel remorse. -
The British Academy Television Awards Sponsored by Pioneer
The British Academy Television Awards sponsored by Pioneer NOMINATIONS ANNOUNCED 11 APRIL 2007 ACTOR Programme Channel Jim Broadbent Longford Channel 4 Andy Serkis Longford Channel 4 Michael Sheen Kenneth Williams: Fantabulosa! BBC4 John Simm Life On Mars BBC1 ACTRESS Programme Channel Anne-Marie Duff The Virgin Queen BBC1 Samantha Morton Longford Channel 4 Ruth Wilson Jane Eyre BBC1 Victoria Wood Housewife 49 ITV1 ENTERTAINMENT PERFORMANCE Programme Channel Ant & Dec Saturday Night Takeaway ITV1 Stephen Fry QI BBC2 Paul Merton Have I Got News For You BBC1 Jonathan Ross Friday Night With Jonathan Ross BBC1 COMEDY PERFORMANCE Programme Channel Dawn French The Vicar of Dibley BBC1 Ricky Gervais Extra’s BBC2 Stephen Merchant Extra’s BBC2 Liz Smith The Royle Family: Queen of Sheba BBC1 SINGLE DRAMA Housewife 49 Victoria Wood, Piers Wenger, Gavin Millar, David Threlfall ITV1/ITV Productions/10.12.06 Kenneth Williams: Fantabulosa! Andy de Emmony, Ben Evans, Martyn Hesford BBC4/BBC Drama/13.03.06 Longford Peter Morgan, Tom Hooper, Helen Flint, Andy Harries C4/A Granada Production for C4 in assoc. with HBO/26.10.06 Road To Guantanamo Michael Winterbottom, Mat Whitecross C4/Revolution Films/09.03.06 DRAMA SERIES Life on Mars Production Team BBC1/Kudos Film & Television/09.01.06 Shameless Production Team C4/Company Pictures/01.01.06 Sugar Rush Production Team C4/Shine Productions/06.07.06 The Street Jimmy McGovern, Sita Williams, David Blair, Ken Horn BBC1/Granada Television Ltd/13.04.06 DRAMA SERIAL Low Winter Sun Greg Brenman, Adrian Shergold, -
Sweeney Todd the Demon Barber of Fleet Street a Musical Thriller
Reboot Theatre Company Presents Sweeney Todd The Demon Barber of Fleet Street A Musical Thriller Music and Lyrics by Stephen Sondheim Book by Hugh Wheeler From an adaptation by Christopher Bond. Originally directed on Broadway by Harold Prince. Orchestrations by Jonathan Tunic. Originally produced on Broadway by Richard Barr, Charles Woodward, Robert Fryer, Mary Lea Johnson, Martin Richards in association with Dean and Judy Manos Directed Music Direction by by Julia Griffin Aimee Hong With (In alphabetical order) Brittany Allyson, Justine Davis, Kylee Gano, Alyssa Keene, Vincent Milay, Mandy Rose Nichols, Jessica Robins, Cammi Smith, Kevin Tanner, Karin Terry, Harry Turpin, and Emily Welter Setting: LONDON Time: TODAY TWO ACTS ONE 15 MINUTE INTERMISSION Running Time: 2:45 Please turn off all cell phones during the show. The videotaping or photographing of this production is strictly prohibited. WARNINGS BLOOD, VIOLENCE, GUN SHOTS, & MEAT PIES “Sweeney Todd” is presented by special arrangement with Musical Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTISHOWS.com Director’s Note "In this day and age it is so very easily to be #literallyobsessed with the #blessed lives that we all watch through our instagrams and behind the safety of a screen. #nofilter It's easy to turn something into what you want it to be with enough of a filter. It's easy to get swept up in a trend. #fomo #yolo The tale of Sweeney Todd is in direct result of obsession, and possession, and seeing what you want to see. #lemmestopforaselfie A person of power wanting what they can't have, though they have no concept of what that "thing" is or means, destroys lives to get to his idea. -
The Production of Religious Broadcasting: the Case of The
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenGrey Repository The Production of Religious Broadcasting: The Case of the BBC Caitriona Noonan A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy. Centre for Cultural Policy Research Department of Theatre, Film and Television University of Glasgow Glasgow G12 8QQ December 2008 © Caitriona Noonan, 2008 Abstract This thesis examines the way in which media professionals negotiate the occupational challenges related to television and radio production. It has used the subject of religion and its treatment within the BBC as a microcosm to unpack some of the dilemmas of contemporary broadcasting. In recent years religious programmes have evolved in both form and content leading to what some observers claim is a “renaissance” in religious broadcasting. However, any claims of a renaissance have to be balanced against the complex institutional and commercial constraints that challenge its long-term viability. This research finds that despite the BBC’s public commitment to covering a religious brief, producers in this style of programming are subject to many of the same competitive forces as those in other areas of production. Furthermore those producers who work in-house within the BBC’s Department of Religion and Ethics believe that in practice they are being increasingly undermined through the internal culture of the Corporation and the strategic decisions it has adopted. This is not an intentional snub by the BBC but a product of the pressure the Corporation finds itself under in an increasingly competitive broadcasting ecology, hence the removal of the protection once afforded to both the department and the output. -
Ye Intruders Beware: Fantastical Pirates in the Golden Age of Illustration
YE INTRUDERS BEWARE: FANTASTICAL PIRATES IN THE GOLDEN AGE OF ILLUSTRATION Anne M. Loechle Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of the History of Art Indiana University November 2010 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _________________________________ Chairperson, Sarah Burns, Ph.D. __________________________________ Janet Kennedy, Ph.D. __________________________________ Patrick McNaughton, Ph.D. __________________________________ Beverly Stoeltje, Ph.D. November 9, 2010 ii ©2010 Anne M. Loechle ALL RIGHTS RESERVED iii Acknowledgments I am indebted to many people for the help and encouragement they have given me during the long duration of this project. From academic and financial to editorial and emotional, I was never lacking in support. I am truly thankful, not to mention lucky. Sarah Burns, my advisor and mentor, supported my ideas, cheered my successes, and patiently edited and helped me to revise my failures. I also owe her thanks for encouraging me to pursue an unorthodox topic. From the moment pirates came up during one of our meetings in the spring of 2005, I was hooked. She knew it, and she continuously suggested ways to expand the idea first into an independent study, and then into this dissertation. My dissertation committee – Janet Kennedy, Patrick McNaughton, and Beverly Stoeltje – likewise deserves my thanks for their mentoring and enthusiasm. Other scholars have graciously shared with me their knowledge and input along the way. David M. Lubin read a version of my third chapter and gave me helpful advice, opening up to me new ways of thinking about Howard Pyle in particular. -
Treasure Island Exploring the Play at Home
Treasure Island Exploring the Play at Home If you’re watching Treasure Island at home and would like to find out more out the production, there are a number of different resources that you can explore and activities you might like to try. About the Production Treasure Island was first performed at the National Theatre in 2014. The production was directed by Polly Findlay. Based on the 1883 novel by Robert Louis Stevenson, this stage production was adapted by Bryony Lavery. You can find full details of the cast and production team below: Cast Jim Hawkins: Patsy Ferran Grandma: Gillian Hanna Bill Bones: Aidan Kelly Dr Livesey: Alexandra Maher Squire Trelawny/Voice of the Parrot: Nick Fletcher Mrs Crossley: Alexandra Maher Red Ruth: Heather Dutton Job Anderson: Raj Bajaj Silent Sue: Lena Kaur Black Dog: Daniel Coonan Blind Pew: David Sterne Captain Smollett: Paul Dodds Long John Silver: Arthur Darvill Lucky Mickey: Jonathan Livingstone Joan the Goat: Claire-Louise Cordwell Israel Hands: Angela de Castro Dick the Dandy: David Langham Killigrew the Kind: Alastair Parker George Badger: Oliver Birch Grey: Tim Samuels Ben Gunn: Joshua James Shanty Singer: Roger Wilson Parrot (Captain Flint): Ben Thompson Production team Director: Polly Findlay Adaptation: Bryony Lavery Designer: Lizzie Clachan Lighting Designer: Bruno Poet Composer: John Tams Fight Director: Bret Yount Movement Director: Jack Murphy Music and Sound Designer: Dan Jones Illusions: Chris Fisher Comedy Consultant: Clive Mendus Creative Associate: Carolina Valdés You might like to use the internet to research some of these artists to find out more about their careers. If you would like to find out about careers in the theatre, there’s lots of useful information on the Discover Creative Careers website.