708 resultados para Ken Loach
Resumo:
Se proponen una serie de actividades para alumnos de 2õ Ciclo de ESO, Bachillerato y FP a partir del visionado de la película 'Mi nombre es Joe'. Se señalan unas breves puntualizaciones sobre la trayectoria personal y profesional del director de la película, Ken Loach, así como diversas opiniones de expertos en crítica cinematográfica. La actividad consiste en la contestación de las preguntas formuladas a partir de la selección de las secuencias principales de la película.
Resumo:
The television studio play is often perceived as a somewhat compromised, problematic mode in which spatial and technological constraints inhibit the signifying and aesthetic capacity of dramatic texts. Leah Panos examines the function of the studio in the 1970s television dramas of socialist playwright Trevor Griffiths, and argues that the established verbal and visual conventions of the studio play, in its confined and ‘alienated’ space, connect with and reinforce various aspects of Griffiths's particular approach and agenda. As well as suggesting ways in which the idealist, theoretical focus of the intellectual New Left is reflexively replicated within the studio, Panos explores how the ‘intimate’ visual language of the television studio allows Griffiths to create a ‘humanized’ Marxist discourse through which he examines dialectically his dramatic characters' experiences, ideas, morality, and political objectives. Leah Panos recently completed her doctoral thesis, ‘Dramatizing New Left Contradictions: Television Texts of Ken Loach, Jim Allen, and Trevor Griffiths’, at the University of Reading and is now a Postdoctoral Researcher on the AHRC funded project, ‘Spaces of Television: Production, Site and Style’, which runs from July 2010 to March 2014.
Resumo:
Bertolt Brecht's dramaturgy was as influential upon the development of British drama on television between the 1950s and the 1970s as it was in the theatre. His influence was made manifest through the work of writers, directors and producers such as Tony Garnett, Ken Loach, John McGrath and Dennis Potter, whose attempts to create original Brechtian forms of television drama were reflected in the frequent reference to Brecht in contemporary debate concerning the political and aesthetic direction and value of television drama. While this discussion has been framed thus far around how Brechtian techniques and theory were applied to the newer media of television, this article examines these arguments from another perspective. Through detailed analysis of a 1964 BBC production of The Life of Galileo, I assess how the primary, canonical sources of Brecht's stage plays were realised on television during this period, locating Brecht's drama in the wider context of British television drama in general during the 1960s and 1970s. I pay particular attention to the use of the television studio as a site that could replicate or reinvent the theatrical space of the stage, and the responsiveness of the television audience towards Brechtian dramaturgy.
Resumo:
That Kenneth Frampton has had a significant impact on architectural thinking in Australia was recently demonstrated by his visit, which included two well-attended public lectures and a one-day symposium dedicated to his thinking and writing. Billed as part of the Year of the Built Environment celebrations, these were hosted by the New South Wales chapter of the RAIA, the UNSW Faculty of the Built Environment and the Museum of Contemporary Art. Richard Francis-Jones of FJMT coordinated the symposium, which comprised presentations divided into two sessions, entitled - predictably through no doubt with good intentions - 'Theory' and 'Practice', with four academics and four practitioners in each. Frampton sat to the side throughout, and delivered his own response between them,noting his discomfort in seemingly straddling this divide, as an architect first, then writer and academic, later. Predictably, the familiar Critical Regionalism argument was the mainstay of the day, perhaps the easiest to handle and now almost automatic, despite the fact that Frampton noted when questioned that he hasn't talked much about it in the last 10 years.
Resumo:
Histories of representation of Blackness are quite distinct in Australia and in America. Indigenous Australian identities have been consistently 'fatal', in Baudrillard's use of that term. So, while Black American representation includes intensely banal images of middle-class, materialistic individuals, such histories are largely absent in the Australian context. This implies that the few such representations which do occur — and particularly those of everyday game shows such as Sale of the Century and Family Feud — are particularly important for presenting a trivial, unexciting version of Aboriginality. This also clarifies the distinction between American and Australian versions of Blackness, and suggests that the latter set of representations might be more usefully viewed in relation to Native American rather than Black American images. The status of indigeneity might prove to be more relevant to Australian Aboriginal representation than the previously favoured identity of skin colour (Blackness).
Resumo:
Ken Talbot was one of Australian mining’s most successful entrepreneurs and rose to the top of his industry to become one of Australia’s wealthiest men. Although the nation’s resources industry is synonymous with global names such as Xstrata, BHP Billiton and Rio Tinto, Ken was an individual who made a big impact on the development and growth of the sector. This case study examines Ken’s achievements, his transition from employee to entrepreneur, and the qualities that enabled him to succeed at such a high level. In particular, it focuses on his Jellinbah and Coppabella mining developments that directly led to the creation of Macarthur Coal and the Talbot Group. By the time of his premature death in an African plane crash in 2010, Ken had amassed a fortune estimated at almost $1 billion and was aged just 59. The last publically available Talbot Group annual report for calendar year 2009 showed that the investment portfolio of the group returned 113 per cent that year. Even throughout the global financial crisis the portfolio made a positive return on investment of no less than 10 per cent. Ken’s sense of mateship and his tremendous people skills were keys to his success in the mining industry and the wider community. In addition to excelling in business, he is also remembered for his philanthropy and leaving 30 per cent of his estate to charity through the Talbot Family Foundation.
Resumo:
Digital Image
Resumo:
Digital Image
Resumo:
Spined loach, Cobitis taenia, is a predominant fish in the river systems of the southern Caspian Sea basin. Although there is evidence of the geographical divergence of this taxon, but no information is available on morphological differences within the species populations. This study was designed to evaluate some biological factors including; morphometric and meristic characters, length-weight, age-growth, condition factor, diet, reproduction, variation and differentiation, in the Babolrud, Talar and Siahrud Rivers in south of the Caspian Sea basin. Age, sex ratio, fecundity, ova diameter and gonadosomatic index were estimated. Also, regression analyses was tested the relation between fecundity and fish length, weight, gonad weight, and also age. Totally 858 fish of which 721 were matures, were collected from these rivers by electrofishing. 37 morphometric characters, 9 meristic characters and 78 truss network system characters were estimated. Resulats of DFA analysis based on data of morphometric and meristic showd that these populations are highly (94.5%) varios from each other. In discriminate function analysis, the proportion of individuals correctly classified into their original groups was 61%, 65.4% and 86.5% for upstream and downstream, respectively. Clustering based on Euclidean distances among groups of centroids using an UPGMA and also principal component analysis’ results for morphometric data indicated that these populations from these three rivers were clearly distinct from each other. Regression equations between length and weight in these three populations were significantly different from Folton factor (b=3), that showed the fish has a negative Alometric growth process. Condition factor was estimated between 0.8912 to 1.2736 and 0.8131 to 1.4489 for males and females, respectively. Sex ratio (female: male) in these populations was 1.2816:1. The difference between the number of females and males was significant and females were more than males. The female and male specimens reach maturity by Tl more than 40 and 30 mm and at the age of 2+ and 1+, respectively. The mean of ova diameter was 0.5824±0.2882. The spawning took place from May to late July, at the water temperature from 18.7 to 24.0°C. The GSI values average at the beginning of the reproduction period was about 9%, with ranged from 2 to 26% in ripe mature females. The absolute and relative fecundity were 2109±792 and 579±208 respectively. The absolute fecundity was significantly related to body weight and gonads weight. Based on the pattern of gonado-somatic index, it was concluded that this fish has prolong active reproductive period, which is a type of adaptation by short-lived small fishes to environmental conditions. The macroscopic and histological results showed that the female and male have 5 and 4 stages in their maturation process, respectively. The RLG index was about 0.4732, which showed the fish is a carnivorous species. Significant difference was observed between fishes with different length and diet. The main foods of the fish were Trichoptera, Chironomidae larvae and Ephemeroptera which were their prefered food as well, however it was estimated that the food selection and diet are affected by environmental conditions.
Resumo:
A new species of hillstream loach genus Balitora Gray is discovered from Nanting River drainage, which drains to Salween, Yongde County, Yunnan, China. Balitora nantingensis can be distinguished from B. lancangjiangensis by a triangle-like blotch in nape absent vs. present; area from halfway of pelvicfin ray to anus covered by scales vs. no scales in this area; the first pectoral ray thickened vs. not; posterior end of pelvic-fin surpasses middle point from posterior end of pelvic-fin base to anal-fin origin vs. the end from posterior extremity of pelvic-fins to anus; fewer lateral line scales, 59-64 vs. 66-70; slightly longer head, SL 4.2-5.1 (4.6) times of HL vs. 5.0-5.9 (5.4); slightly larger eyes, HL 4.0-6.4 (5. 1) times of eye diameter vs. 5.5-7.5 (6.3). Balitora nantingensis can be distinguished from B. burmanica by body rounded vs. slender in dorsal view; pointed snout vs. blunt in dorsal view; a deeper body, body depth 12.5-16.9% of SL vs. 10-12%; a deeper caudal-peduncle, length of caudal-peduncle 2.0-2.8 times of its depth vs. 3.0-4.2; a shorter caudal-peduncle, 14.3-15.6% of SL vs. 16-21%; the average ratio of body width at pelvic-fin origin and distance between inner pelvic-fin base 2.0 vs. 3.4; body width 1.1-1.5 times of body depth vs. 1.5-1.6; posterior end of pelvic-fin almost one or slight more than one eye diameter from anus vs. closet to anus; outside rays of pelvic-fin extend more posteriorly than inside rays and make posterior outline of fin acclivitous and straight vs. the outside ones almost equal to the inside ones and make the fin slightly convex.
Resumo:
Schistura cryptofasciata is distinguished from its congeners by following combination characters: lateral line complete; 8(1)/(2) branched dorsal-fin rays; 9+8 branched caudal-fin rays; no sexual dimorphism; 8-11 indistinct bars, wider than interspaces; caudal-peduncle length 44.1-16.5% standard length, 68.1-90.4% dorsal head length; anterior portion of body scaleless; air bladder entirely embedded in bony capsule; lateral head length 104-122% dorsal head length; lower jaw with a notch at symphysis; lower lip completely interrupted; interorbital width 1.9-2.2 times eye diameter; pelvic-fin origin ventral to dorsal-fin origin; anus 1.0-1.5 eye diameters in front of anal-fin origin; the widest part of black basal caudal bar is the midlateral, and then the upper and lower ends.