Publisher: Glissato Edizioni Musicali
Gran Vals (known as "nokia tune") by Francisco Tárrega. Arrangement for Woodwind Quartet (easy-intermediate) by Francesco Leone. Set of parts (5): Flute, Oboe, Bb Clarinet and Bassoon, included Bb Bass Clarinet instead Bassoon (score available separately). duration 3.00
“Reveals in fascinating detail the wild popularity, controversies, and complaints provoked by this film form . . . shap[ing] the media landscape of Africa.” —Brian Larkin, Barnard College Global Nollywood considers this first truly African cinema beyond its Nigerian origins. In fifteen lively essays, this volume traces the engagement of the Nigerian video film industry with the African continent and the rest of the world. Topics such as Nollywood as a theoretical construct, the development of a new, critical film language, and Nollywood’s transformation outside of Nigeria reveal the broader implications of this film form as it travels and develops. Highlighting controversies surrounding commodification, globalization, and the development of the film industry on a wider scale, Global Nollywood gives sustained attention to Nollywood as a uniquely African cultural production. “Offers original material with respect to the transnational presence of Nollywood.” ?Moradewun Adejunmobi, University of California, Davis “Unveils a fascinating variety of the ways in which Nollywood cinema is viewed and interpreted.” ?Research in African Literatures “Delightfully entertaining yet appropriately erudite. . . . A welcome addition to the fields of film, media, African, and cultural studies.” —Cinema Journal “Highly recommended.” ?Choice “[T]he cumulative effect of [these] studies is to provide invaluable information for those wishing to keep up with where African cinema is today.” ?Journal of African History “Global Nollywood represents the most up-to-date research on Nollywood as a transnational cultural practice and is a must-read for scholars and students of African screen media.” —African Studies Review “Ground-breaking. . . . It proves that, in spite of appearing to be a niche market, Nollywood . . . can no longer be excluded from the canon of African cinema in the field of film studies.” ?African AffairsShow book
A must-have for any aspiring actor or stage parent––the definitive guide to breaking into film, television, theater, and even YouTube from a top casting directorPacked with information that aspiring actors clamor for, this up-to-the-minute advice from a true expert is essential reading for anyone pursuing an acting career. Longtime casting director Jen Rudin demystifies the intimidating and constantly changing audition process, sharing insider tips on how to prepare for every type of audition, from musical theater, television (including reality TV), and film to voice-overs, animated movies, and even Web series. In this comprehensive guide, Rudin covers everything that today's actor needs to succeed on subjects like: finding an agent or manager, using technology to your advantage, understanding the world of child acting, living in New York versus L.A., turning a callback into an offer for the role, and many more.Every actor should walk into an audition room feeling confident and prepared, and this book is full of the dos and don'ts and surefire tricks to help turn rejection into that first big break. Complete with checklists, easy-to-follow game plans, and advice from successful actors, agents, and industry professionals, Confessions of a Casting Director is like having a private audition coach in your back pocket.Show book
Art Classic Stories is a special series of English fairy tales that combines the paintings of great painters with classic fairy tales.Show book
Lautrec studied with two of the most admired academic painters of the day, Léon Bonnat and Fernand Cormon. Lautrec’s time in the studios of Bonnat and Cormon had the advantage of introducing him to the nude as a subject. At that time life-drawing of the nude was the basis of all academic art training in nineteenth-century Paris. While still a student, Lautrec began to explore Parisian nightlife, which was to provide him with his greatest inspiration, and eventually undermined his health. Lautrec was an artist able to stamp his vision of the age in which he lived upon the imagination of future generations. Just as we see the English court of Charles I through the eyes of van Dyck and the Paris of Louis-Philippe through the eyes of Daumier, so we see the Paris of the 1890s and its most colourful personalities, through the eyes of Lautrec. The first great personality of Parisian nightlife whom Lautrec encountered – and a man who was to play an important role in helping Lautrec develop his artistic vision – was the cabaret singer Aristide Bruant. Bruant stood out as an heroic figure in what was the golden age of Parisian cabaret. Among the many other performers inspiring Lautrec in the 1890s were the dancers La Goulue and Valentin-le-Desossé (who both appear in the famous Moulin Rouge poster), and Jane Avril and Loïe Fuller, the singers Yvette Guilbert, May Belfort and Marcelle Lender, and the actress Réjane. Lautrec was, along with Degas, one of the great poets of the brothel. Degas explored the theme in the late 1870s in a series of monotype prints that are among his most remarkable and personal works. He depicts the somewhat ungainly posturing of the prostitutes and their clients with human warmth and a satirical humour that brings these prints closer to the art of Lautrec than anything else by Degas. However, the truthfulness with which Lautrec portrayed those aspects of life that most of his more respectable contemporaries preferred to sweep under the carpet naturally caused offence. The German critic Gensel probably spoke for many when he wrote: “There can of course be no talk of admiration for someone who is the master of the representation of all that is base and perverse. The only explanation as to how such filth – there can be no milder term for it – as Elles can be publicly exhibited without an outcry of indignations being heard is that one half of the general public does not understand the meaning of this cycle at all, and the other is ashamed of admitting that it does understand it.”Show book
Bobby Goldsboro describes the first song he ever wrote with a laugh as “one of the worst you’ve ever heard.” Though those first attempts at songwriting weren’t exactly successful, he went on to enjoy a wildly successful career including the chart-topping hit “Honey,” which sold more than a million copies in the United States. In the height of his popularity in 1973, Goldsboro sat down with Wink Martindale to discuss his wildly successful career that included 16 top 40 hits on the Billboard Hot 100 chart and 12 on the country chart with singles like “See the Funny Little Clown” and “Summer (The First Time).” He reflects on how his songwriting has changed over the years, what influences him both personally and musically and how he discovered he wanted to be in the music industry.Show book
"Why did we have to let her in? Could we not have just posted her a duvet through the letter-box?" Alice’s Mum comes to stay and Jon is not happy.A house-proud woman with a bosom as pronounced as her carefully annunciated consonants, she cleans, criticises, pokes and potters until not even Alice can take it anymore, forcing her to call on reinforcements with equally masterful diction.Written by Mark Adams and Julia Dawn. Directed by Dexter O’Neill and Helen Oakleigh. Fight for the Remote stars Andrew Hayden-Smith as Jon and Ayesha Antoina as Alice with Ellen Thomas as Mrs. Hamilton. THE CAST; ALICE - Ayesha Antoine; JON - Andrew Hayden-Smith; KEREN - Helen Oakleigh; GRUB - Daniel King; MARRIED DAVE - Nathiel King; CAMP RAYMOND - Keith Flood; HAPPY AZIZ - Neil D’Souza.Recorded at Orpheus Studios. Theme Tune by Manike Music. Post Production by Robbie Dunlop. Fantom Films Production 2011. www.fantomfilms.co.uk www.fightfortheremote.co.uk.Show book
