930 research outputs found
Udenomssnak: Sådan gør Martin Henriksen:Henriksens trick: omdefinering
No full textEU-kommissionens formand José Manuel Barroso forslog i går onsdag, at EU-landene skal hjælpes med at behandle de mange asylansøgninger fra nordafrikanske flygtninge. Det forslag debatterede Martin Henriksen (DF) i Deadline 17 aftenen før – men ikke uden først at omdefinere debatten fra fælles asylbehandling til integration. I artiklen afsløres hans trick og der anvises mulige modtricks. <br/
Barnhart, Spitznagel, and Trick at the 2014 Festival
No full textFestival Artistic Director, Jeff Barnhart, Ragtime artist, Martin Spitznagel, and Stephanie Trick during Saturday night\u27s concerthttps://scholarsjunction.msstate.edu/cht-ragtime/1900/thumbnail.jp
Spitznagel, Blais, Barnhart, Tichenor, and Trick at the 2014 Festival
No full textRagtime artists, Martin Spitznagel, Mimi Blais, Festival Artistic Director, Jeff Barnhart, Ragtime artist, Virginia Tichenor, and Stephanie Trick (l to r) during Saturday evening\u27s concerthttps://scholarsjunction.msstate.edu/cht-ragtime/1910/thumbnail.jp
Barnhart, Tichenor, Trick, Blais, and Spitznagel at the 2014 Festival
No full textFestival Artistic Director, Jeff Barnhart, Ragtime artists, Virginia Tichenor, Stephanie Trick, Mimi Blais, and Martin Spitznagel (l to r) at the end of the evening performancehttps://scholarsjunction.msstate.edu/cht-ragtime/1912/thumbnail.jp
THE TRICK AND GAG AS THE BASIC BASIS OF ECCENTRIC MUSIC IN CLASSIC AND MODERN NUMBERS
No full textThe article explores the specifics of gag and trick in the genres of musical eccentrics and clownery as means of expression in the circus and variety. By establishing relationships and distinctive features between the trick and gag, the author discovers an innovative approach to the theoretical understanding of the clown genre and musical eccentrics.The problem of the relationship of main assets of expressiveness is considered separately in clowning and musical eccentric numbers, which gives the author the opportunity to identify discrepancies in the theoretical conclusions of Slavsky R. regarding the definition of the term "gag”. The article proves the failure of the substitution of the term gag for the term comic trick with reference to a musical eccentric.Keywords: trick classification, trick functions, dramatic gag, gag as a comic trick, walkthrough and storyline gages, basic and auxiliary means of expression, clown and musical eccentricity in the system of original circus genre
Barnhart, Templeton, Spitznagel, Trick, Tichenor, Blais, Coleman, Cunetto
No full textFestival Artistic Director, Jeff Barnhart, Festival Coordinator, Chip Templeton, Ragtime artists, Martin Spitznagel, Stephanie Trick, Virginia Tichenor, Mimi Blais, Dean of Libraries and Festival Coordinator Frances Coleman, Festival Coordinator Stephen Cunetto (l to r) pose for a photograph after the Saturday evening concerthttps://scholarsjunction.msstate.edu/cht-ragtime/1913/thumbnail.jp
A Trick Question: Are Early Animated Drawings a Film Genre or a Special Effect?
No full text By abandoning a linear understanding of film history, the author revisits animated film history by placing its emergence within the lineage of trick films. Analysis of discourses on the first animated cartoons — such as the critical and publicity discourses found in trade papers — reveals that these films were seen like any other trick films, not as a distinct type. How, then, can we explain the popularity of the first animated cartoons in the mid-1910s when trick films had almost disappeared? How can we account for the popularity of a variety of ‘trick films’ —animated drawings — precisely when these same trick films had almost ceased to exist? This article addresses these issues by looking at the process by which a major shift occurred in the way we look at the earliest animated drawings. More precisely, the author tries to outline the context of the transition from the perception that animated drawings were trick films to their eventual consecration as a genre within the institution. </jats:p
Mr James W. Wallack as Benedick
No full textThe TIFF was created at 1200 dpi and 8-bit grayscale.James William Wallack (1795-1864) in the role of Benedick. This can be no trick. Act 2 Scene 3. Enteredd according to Act of Congress AD 1855 by Martin & Johnson in the district office of the district of the Southern district of New York
Reducing Noneconomic Damages by Trick
No full textIn this Article, Professor Little takes issue with the Jeffrey O\u27Connell and Robert Joost freedom to choose no-fault plan. The author demonstrates why presenting this plan in the guise of freedom of choice is a charlatan\u27s trick that would not fool most lawyers and judges. In effect, it benefits the rich at the expense of the ppor. He then presents some different approaches for solving the problem O\u27Connell and Joost want solved. His plans would induce early settlement attempts that would be beneficial both in bringing tort litigation under control and in reducing costs
Spirited Away
No full textAt first sight the fields of magic and science do not have much of an overlap. This notion however is completely untrue for the fairly long period between 1860 and 1930. A surprisingly high number of scientists and inventors of this time were fascinated by spiritualism and believed in the existence of paranormal forces. Marie Curie for example regarded mediumistic séances as "scientific experiments" and thought it possible to discover in spiritualism the source of an unknown energy that would reveal the secret of radioactivity. Thomas Ava Edison for his part announced an extension to his phonograph in 1921 that would extract thoughts and feelings from dead bodies in order to store and play them back. He claimed that this was possible due the existence of "life units" - tiny energy particles that are the scientifically proved equivalent to the human soul Away from ideological judgment these examples illuminate an interesting crossover between the utopian vision of a boundless technology that helps to reveal even more mysteries of the immaterial world and an anti-modernist thought-space that is filled and nourished by ghost stories, an animistic world outlook and a dazzling array of esoteric philosophies. In this context the praxis of the commercial magical show plays a very interesting and intermediate roll that connects and correlates these two assumed opposite spheres
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