12,190 research outputs found
Century Productions records, undated, 1983-1987
No full textThe collection contains items related to the production of "Hannah Senesh: Portrait of a Woman Warrior." These include the script, photographs (both of Senesh and the stage production), props, stage and lighting plots, costumes, and promotional material. Types of material include blueprints, clippings, correspondence, newspaper articles, notes, photographs, playbills, posters, press reviews, programs, and scripts. A treatment for a film production of the play is also located in the records. The correspondence consists of a letter from Catherine Szenes to Lori Wilner and a letter from two classmates, Olga Patcai and Magda Somjen, to Lori Wilner. The records are valuable to researchers studying Jewish theater, idealism, theater arts, and Zionism. The documents are predominantly in English, with some Hungarian.Donated By Perry Bruskin of Century Productions,Century Productions produced the one-woman show, "Hannah Senesh: Portrait of a Woman Warrior," written and directed by David Schechter and starring Lori Wilner as Senesh. The script was based on the diaries and poems of the WWII Hungarian-Jewish paratrooper Hannah Senesh, with songs and music composed and arranged by Steven Lutvak with additional music by Schecter and Elizabeth Swados. “Hannah Senesh” ran at the Cherry Hill Theater in New York City from 1984-1985 and traveled throughout the U.S. and Israel until 1987
The vanishing author in computer-generated works: a critical analysis of recent Australian case law
No full textAbstract
The use of software is ubiquitous in the creation of many copyright works, yet the requirement in copyright law that every work have a human author who engages in independent intellectual effort means that its use may prevent copyright subsistence. Several recent Australian cases have refocused attention on authorship as an essential criterion of copyright subsistence, and these cases suggest that much computer-produced output may be authorless and thus lack copyright protection. This article, the first in a two-part series, analyses how each case deals with the question of authorship of computer-produced works and why the use of software diminishes copyright protection for a significant number of computer-generated works. The article critiques the application of conventional notions of human authorship developed in the pre-computer age to modern productions and suggests alternative approaches to authorship that satisfy both the major objectives of copyright policy and the need to adapt to the computer age. The article argues that, without a broader judicial approach to authorship of computer-generated works, Parliament must remedy the lacuna in protection for these ‘authorless’ works. Possible solutions for reform are suggested. In a forthcoming article, the author comprehensively examines those reform proposals
Representations of Voodoo : the history and influence of Haitian Vodou within the cultural productions of Britain and America since 1850
No full textThis thesis is the first major investigation into the representations of Vodou
within the cultural productions of Britain and America. It also opens up
opportunities for further research to be undertaken in the representations of
Vodou, Haiti and the culture and religions of other Caribbean countries.
This thesis explores the representations of 'Voodoo,' the widely accepted and
recognised term for the re-imagined religion, in Britain and America since 1850.
The history of the Caribbean and Haiti is examined before considering the
influence that the religion of Haitian Vodou has had on cultural production.
Through a historical perspective the thesis will consider the evolution of Vodou
during the horrors of slavery. The historiographic representations form the basis
of the productions and are explored to contextualise Vodou in the British and
American imagination. All genres of literature are examined, from the first
mention of Vodou in the eighteenth century through to the present day. This is
followed by an examination of the cultural reproductions of Vodou in film,
animation, theatre and television to explore the diversity of the representations.
The wider societal influences are considered throughout this work to
contextualise the productions of 'Voodoo'.
This thesis argues that the cultural reproductions of Vodou since 1850 have not
changed greatly, despite various efforts to redress the misrepresentations, they
remain rooted in colonialism. It will argue that many of the cultural productions
are reliant on previous representations. They do not in the majority introduce
authenticity, instead opting for the more sensational approach. Many of the
representations will be shown to be derogatory to the religion, culture and people
of Haiti and the diaspora. This is despite Vodou as a religion having survived,
gained strength and continuing to thrive in the twenty-first century
Oceanie [cartographic material] /
No full textAlso shows Australia and the Malay Archipelago.; Facsimile.; "Reproduced from an original in the Map Collection, State Library of Victoria by permission of the Library Council of Victoria."; Includes text and ill.; Also available online http://nla.gov.au/nla.map-vn6095047; Original version: A Paris : Chez A. Combelle, [184-?]. In upper left: Atlas universel illustré
How has the art education that I have received impacted on my practice as an art maker?
No full textThis thesis is a written account of my analysis of the art education that I received during my undergraduate Interdisciplinary Art and Design BA(hon)s degree and University Campus Barnsley. The investigation and written thesis were undertaken as part of a Practice led research degree at Huddersfield University. The aim of the research was twofold. First to develop an understanding of the History of Art Education in the area of South Yorkshire and secondly to return to analyse the art work I made as part of my undergraduate degree. This study then became the focus of the series of practical Paintings and drawings which were the main focal point of the Master degree.
The thesis is an account of my analysis of how my art practice developed in response to the practical type of education that I received. It identifies specific art makers and art movements that have had a direct impact on how my painting process matured and changed. The thesis goes on to identify the specific genre of literature that influenced my practical development and the use of metaphor in paintings and drawings . It then goes on to give a written account of the specific examples of visual metaphors in my practical Masters work and analyses their origins, continued development and what they represent.
The issue of class and social equality is identified and the metaphor clearly dissected and explained. The thesis then outlines the development of the class metaphor into an education metaphor which represents my belief that a university education can aid the act of social mobility. This theory is justified by my experience of having returned to full time higher education as a working class mature woman and having achieved a level of social mobility which was aided by my gaining a first class BA(hon)s degree which enabled me to apply for and complete a Masters Degree
Gothic television
No full textThis thesis examines forms of Gothic fiction on television, and defines the ways in which television produces Gothic drama which is medium-specific (e.g. formally distinct from versions of the genre in other media). This work employs a textual analysis to explore Gothic television, and combines this with archival research and an examination of the changing climate of television production in a range of national and historical contexts. The thesis is organised into four case studies, each dealing with different national industries during different periods: British anthology drama of the 1960s and 70s (e.g. Mystery and Imagination (ABC/Thames, 1966-70), Ghost Story for Christmas (BBC1, 1971-78)); Danish art television in the mid-nineties (Riget (Danmarks Radio/Zentropa, 1994); British adaptations of female Gothic literature, (e.g. Rebecca (BBC2, 1979), The Wyvern Mystery (BBC1/The Television Production Company, 2000); and big-budget, effects-laden series from North America in the 1990s (e.g. American Gothic (CBS/Renaissance, 1995-96), Millennium (20th Century Fox/10:13, 1996-1999). I argue that Gothic television plays on the genre's inherent fascination with the domestic/familial, to produce television drama with an overt consciousness of the contexts in which the programmes are being viewed, a consciousness which is locatable within the text itself; as such, the thesis defines the Gothic as a genre which is well suited to presentation on television.
Furthermore, an examination is offered of the 'model' viewer as presented within the television text, enabling an understanding of the ways in which conceptions of television viewership are inscribed into television drama at the moment of production. I also interrogate the notion that television is an 'uncanny' medium by locating the precise sources of uncanniness with Gothic television, and delineate the ways in which innovations in television production have been showcased through the representation of the supernatural and the uncanny with Gothic Television
1950 Third Annual Wistaria Pageant titled "Half Century" at the University of Bridgeport May 7, 1950
No full textThis booklet details the Third Annual Wistaria Pageant at the University of Bridgeport with the production titled "Half Century" written and staged by Albert Dickason through the Office of Campus Productions. The weekend of the event also included a band concert, a motor parade and a square dance on Friday. A baseball game, a picnic and a formal dance on Saturday. Finally, the Wistaria Pageant and an open house on Sunday
Replica productions – teatralne kopiuj-wklej?
No full textThe article discusses the phenomenon of replica productions of original productions in
musical theatre. The author describes the rules operative in licensing musical titles of non-replica
type, i.e., most of the productions in Polish musical theatre. The agreements between theatres and
agencies managing copyrights for musicals usually require preserving the original text and music,
but grant freedom in matters concerned with staging, though in certain cases the agencies also reserve
the right to control other aspects of the production and its promotional framework. Then, the
author describes the phenomenon of replica productions itself, i.e. their appearance in the world’s
greatest musical centers with staging resembling the original productions, most frequently prepared
by the same team as responsible for the latter. The final part of the text discusses cases of interference
of musical agencies in non-replica staging which reinterpret the message of the original works
Music for classical guitar by South African composers : a historical survey, notes on selected works and a general catalogue
No full textIncludes abstract.Includes bibliographical references (leaves 296-309).This is the first comprehensive investigation of music for, or including, the classical guitar by South African composers. The focus of this research has been, firstly, to uncover as much of the repertoire as possible, and, secondly, to collate, study, catalogue and report on the information. A brief historical survey of the guitar in South Africa provides the context within which this study was conducted. The primary sources of quantitative data collection were through the archival catalogues of the South African Music Rights Organisation and through personal contact with guitarists, composers and guitar teachers. Other sources consulted were publishers, broadcasting corporations, recording companies, libraries and the internet. The body of the dissertation comprises biographical sketches, background notes, analyses and technical notes on 17 selected solo and chamber works dating from 1947 to 2007 by some of South Africa's most prominent composers and guitaristcomposers. The repertoire ranges in style from the traditional and ethnically inspired to the experimental and abstract. As this is an empirical survey, each selected entry includes details on instrumentation, duration, level of difficulty, number of pages, scordatura, commissions or requests, sources or publishers, premières and recordings. A biography of each composer is provided as well as background notes which offer an overview of the selected work. The notes discuss historical, cultural, musical and extra-musical influences, and frequently include references to interview material. The commentaries on the selected works, with musical examples, include an analytical component describing structure, form, stylistic and compositional elements, while the technical observations include performance suggestions and a grading for each work
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