350 research outputs found
Linklater, K A, 403410
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/399564Surname: LINKLATER. Given Name(s) or Initials: K A. Military Service Number or Last Known Location: 403410. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 54163.217455
Item: [2016.0049.31857] "Linklater, K A, 403410
Portrait of Francis Linklater
No full textPortrait of Francis W. Linklater of Hillsboro. Author of Spirit of Religious Freedom [?]. He attended Pacific University for a period in the early 1900s, but did not graduate with a degree.[back] Francis W. Linklater/Hillsboro - /Spirit of Religious Freedom/students and alumni K -
Insolvency – Multiple receivers a recipe for chaos?
No full textThe author provides a case note and analysis of the findings of Rimer J. in the decision of Gwembe Valley Department Co. Ltd (in receivership) v Koshy & Ors, concerning a farming project in Zambia. Article by Linda Linklater (Barrister, Chancery House Chambers, Leeds). Published in Amicus Curiae - Journal of the Institute of Advanced Legal Studies and its Society for Advanced Legal Studies. The Journal is produced by the Society for Advanced Legal Studies at the Institute of Advanced Legal Studies, University of London
Insolvency – Multiple receivers a recipe for chaos?
No full textThe author provides a case note and analysis of the findings of Rimer J. in the decision of Gwembe Valley Department Co. Ltd (in receivership) v Koshy & Ors, concerning a farming project in Zambia. Article by Linda Linklater (Barrister, Chancery House Chambers, Leeds). Published in Amicus Curiae - Journal of the Institute of Advanced Legal Studies and its Society for Advanced Legal Studies. The Journal is produced by the Society for Advanced Legal Studies at the Institute of Advanced Legal Studies, University of London
Kristin Linklater, Freeing the Natural Voice, in Orkney
No full textThis chapter is based on an interview with Kristin Linklater, master voice teacher for over 50 years in the United States and widely known internationally. On retiring as Emerita Professor after 16 years at Columbia University in New York, Kristin returned to her island birthplace on the Mainland, Orkney, north of Scotland to set up the Kristin Linklater Voice Centre (KLVC). The KLVC opened in 2014 and has offered residential workshops for students from over 35 different countries led by Kristin and increasingly by her fellow teachers and colleagues. The interview explores practice as research, charting how her teaching has developed since her return to her birthplace, drawing students and colleagues from around world to form a workshop laboratory and ‘community of practice’ on this remote island. It highlights how a particular regional landscape, Orkney, has shaped her and how, after returning to live there after 70 years of living away, Kristin is beginning to shape Orkney. © The Author(s) 2020
Quand le cinéma ne suffit pas, la rotoscopie au service d’une adaptation cinématographique. A Scanner Darkly par Richard Linklater, d’après Philip K. Dick
No full textInternational audienceA Scanner Darkly (2006), American filmmaker Richard Linklater’s adaptation of Philip K. Dick’s science-fiction novel, remains a unique cinematic experience in contemporary cinema. Linklater’s film breaks new ground thanks to the use of the digital rotoscoping process, which enables him to conceptualise and develop a new radical, almost experimental aesthetics that closely associates form and substance.A Scanner Darkly (2006), l’adaptation du roman de science-fiction de Philip K. Dick par le cinéaste américain Richard Linklater demeure une expérience cinématographique singulière dans le cinéma contemporain. Grâce à une utilisation numérique du procédé ancien de la rotoscopie, l’œuvre cinématographique de Linklater arpente un territoire novateur tout en développant une esthétique conceptuelle radicale et presque expérimentale, permettant d’associer étroitement forme et fond
Features of authors style in the films of Richard Linklater
No full textMultimediju komunikācijaInformācijas un komunikācijas zinātnesMultimedia CommunicationInformation and Communication SciencesBakalaura darba “Autorkino iezīmes Ričarda Linkleitera filmās” mērķis ir noskaidrot, kādas autorkino iezīmes novērojamas režisora Ričarda Linkleitera filmās. Ar kvalitatīvās kontentanalīzes palīdzību tiek sasniegts mērķis un sniegta atbilde uz pētniecisko jautājumu – Kuras Ričarda Linkleitera filmu iezīmes ļauj viņu uzskatīt par autorkino režisoru?
Pētījuma teorijas daļa sastāv no četrām nodaļām un to apakšnodaļām. Pirmajā nodaļā apkopota informācija par autorkino teoriju. Otrajā nodaļā tiek apskatīts Holivudas klasiskā stila jēdziens, lai pētījumā varētu nošķirt šī stila iezīmes no autorkino iezīmēm. Trešajā nodaļā apkopota režisora Ričarda Linkleitera biogrāfija. Savukārt trešajā nodaļā aprakstīti tie kino valodas elementi, kuri sastāda kategorijas filmu analīzei pētījuma daļā.
Pētījumam tika mērķtiecīgi atlasītas četras amerikāņu neatkarīgā kino režisora Ričarda Linkleitera filmas, kuras saistītas ar unikālu laika ritējuma atspoguļojumu (Pirms saullēkta (Before Sunrise, 1995), Pirms saulrieta (Before Sunset, 2004), Pirms pusnakts (Before Midnight, 2013) un Puikas gadi (Boyhood, 2014)). Pētījumā tiek izmantota kvalitatīvā kontentanalīze, tika izveidotas kino valodas kategorijas, kuras ir attiecināmas uz pētījumam izvēlētajām filmām. Katra filma tika analizēta atsevišķi un katra analīze tika sadalīta sistemātiski, izdalot galvenās kino valodas kategorijas – naratīvs, laiks un telpa, mizanscēna, skaņa, kameras darbs un montāža. Pēc tam filmas tika salīdzinātas savā starpā un tika veikti secinājumi par attiecīgajiem R. Linkleitera filmu kino valodas elementiem un to atbilstību autorkino teorijai.The objective of the bachelor’s thesis “Features of author’s style in the films of Richard Linklater” is to find out what features of author’s style are there to be found in Richard Linklater films. With the help of qualitative content analysis, the objective is reached and an answer to the research question (which features of Richard Linklater films make him an author?) is provided.
The theoretical part consists of four chapters and their subchapters. First chapter is on author cinema. Second one provides information on Hollywood’s classical style, so that it’s clearer which features can be considered author’s style. Third chapter is dedicated to Richard Linklater’s biography. The fourth chapter is on the film language elements that make up the categories for the film analysis’ in the research part of the bachelor’s thesis.
The films for the research were selected purposefully. Four films directed by American independent cinema director Richard Linklater that have to do with a unique representation of time were selected (Before Sunrise (1995), Before Sunset (2004), Before Midnight (2013) and Boyhood (2014)). The research method used was qualitative content analysis, film language categories that are applicable to the selected films were made. Each film was analyzed separately, and each analysis was divided systematically by dividing the main categories of film language – narrative, time and space, Mise-en-scène, sound, camera work and editing. After that the films were compered to each other and conclusions about the film language features of Richard Linklater films and their match to author’s style were made
Review of 'Richard Linklater ' by David T. Johnson
No full textIn her 2006 summary of the history of debates on authorship in general and in cinema in particular, Pam Cook observes that ‘the function of the author/artist at one time limited to art cinema has extended to popular commercial cinema’ and moreover that: ‘Art cinema could provide a means of critical entry into commercial cinema, not in terms of the confirmation of traditional auteur analysis, but in the interests of understanding the relationship between art cinema and commercial cinema in order to question the conventional division between “art” and “entertainment”’ (1). By ‘traditional’ auteur analysis Cook means the kind of ahistorical approaches associated with the New Wave politique des auteurs, long since out of favour, that accorded to the film director a God-like status transcending industrial and other contextual circumscriptions. Instead, she emphasises the rise of the notion of the author as marketing category in contemporary scholarship. However, her comments about the usefulness of the art cinema author paradigm, most closely associated with the work of David Bordwell, for approaching more mainstream cinemas are acutely relevant to the films of Richard Linklater and to David T. Johnson’s unapologetically auteurist analysis of the
Practices of emancipation : an analysis of security, dialogue and change in post-war Vukovar
No full textThe thesis analyses the Croatian city of Vukovar as a way of animating theoretical
debates about the relationship between security, emancipation and practice. It claims
that emancipation must be understood through experiences of security and insecurity
as they are lived.
Located in security studies, it begins with a critical reading of the Welsh School.
Ken Booth's original move to associate security with emancipation opened up new
possibilities for reimagining the field and for practicing security, but subsequent
developments orientated the security as emancipation move towards closure. A
genuinely open way of exploring this move is the context of Andrew Linklater's
adaptation of Habermasian discourse ethics. In this way an engagement between
Booth and Linklater is opened which runs throughout the thesis.
The second part introduces Vukovar. It details the violence of late-1991 seen in the
city, and outlines how the emergence of Croatian democracy represents a form of
settlement. Yet patterns of memorialisation and reconstruction in Vukovar entrench
a pro-Croat narrative of settlement at the expense of non-Croats who are unjustly
excluded. Furthermore, interviews with leaders of local civil society, religious and
political groups suggest that difference and contestation, rather than settlement,
characterise the post-war period in Vukovar.
The third part presents an analysis of the emancipatory practices which take place
within the local context of contestation. Interviews with NGOs in Vukovar support
Booth's emphasis on civil society groups as agents of emancipation. Subsequent
interviews challenge his view in important ways as the human limits of emancipatory
practices are revealed. However, even when such limitations are taken into account,
certain civil society practices show how Booth and Linklater's respective
understandings of emancipatory practice are played out in what are termed microdialogic
communities. These alternative dialogues open new spaces and allow
dominant understandings of the war to be challenged
Pedagogy of Moss Model in School Leadership Approaches for Indigenous 2SLGBTQ+ K–12 Students
No full textThe research problem of the study was the insufficient knowledge regarding principals’ and assistant principals’ perceptions of their roles and needs in creating safe, decolonial, and culturally responsive educational environments for Indigenous 2SLGBTQ+ K–12 students in Northern Canadian communities. The purpose of this basic qualitative study was to explore the perceptions of school principals/assistant principals regarding their role and needs in creating safe, decolonial, and culturally responsive educational environments for Indigenous 2SLGBTQ+ K–12 students in Northern Canadian communities. Using tribal critical race theory and cis-heteronormative queer theory as the conceptual framework, semistructured interviews were conducted with 10 experienced principals/assistant principals. Qualitative content analysis was used employing deductive and inductive coding. Two themes emerged related to establishing culturally responsive educational environments for Indigenous 2SLGBTQ+ K–12 students in Northern Canadian communities: (a) honoring students’ humanity and (b) relational systemic growth. Honoring students’ humanity entails affirming Indigenous 2SLGBTQ+ identities, while relational systemic growth involves community-driven collaboration for decolonial, culturally responsive school environments. The findings support a possible model—the pedagogy of moss: A symbiotic growth model. The study’s findings offer insights into practices and supports needed to nurture responsive school environments for Indigenous 2SLGBTQ+ students, contributing to positive social change by nurturing resilience, empathy, and collective growth within Northern Canadian communities and beyond
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