Review : "The Man from Hong Kong" -- Brian Trenchard Smith

Synopsis and review of the Australian action film The Man from Hong Kong (Brian Trenchard Smith, 1975). Includes cast and credits. Australia’s first martial arts action film was a coproduction between Hong Kong production company Golden Harvest and director Brian Trenchard Smith’s Movie Company, with significant investment from BEF Distributors, a subsidiary of the Australian exhibition chain Greater Union. Two years previously, Golden Harvest had coproduced the Bruce Lee smash hit Enter the Dragon, with Warner Bros. The Man from Hong Kong was its first partnership with an Australian producer, and the first coproduction between Hong Kong and Australian based companies. Although the film was almost entirely set in Sydney, much of the production was shot in a Hong Kong studio, where sets including Wilton’s gloriously decorated apartment were built...

Distribution Revolution: Conversations about the Digital Future of Film and Television

Distribution Revolution is a collection of interviews with leading film and TV professionals concerning the many ways that digital delivery systems are transforming the entertainment business. These interviews provide lively insider accounts from studio executives, distribution professionals, and creative talent of the tumultuous transformation of film and TV in the digital era. The first section features interviews with top executives at major Hollywood studios, providing a window into the big-picture concerns of media conglomerates with respect to changing business models, revenue streams, and audience behaviors. The second focuses on innovative enterprises that are providing path-breaking models for new modes of content creation, curation, and distribution—creatively meshing the strategies and practices of Hollywood and Silicon Valley. And the final section offers insights from creative talent whose professional practices, compensation, and everyday working conditions have been transformed over the past ten years. Taken together, these interviews demonstrate that virtually every aspect of the film and television businesses is being affected by the digital distribution revolution, a revolution that has likely just begun. Interviewees include: • Gary Newman, Chairman, 20th Century Fox Television • Kelly Summers, Former Vice President, Global Business Development and New Media Strategy, Walt Disney Studios • Thomas Gewecke, Chief Digital Officer and Executive Vice President, Strategy and Business Development, Warner Bros. Entertainment • Ted Sarandos, Chief Content Officer, Netflix • Felicia D. Henderson, Writer-Producer, Soul Food, Gossip Girl • Dick Wolf, Executive Producer and Creator, Law & Order

Portrait of Albert Einstein in the Southern California desert Portraits; Men

Verso: "Er sinnt in der Wueste"

About infamy: the filthiness of Art and its diogenic disease

In this paper, we postulate the direct relationship that exists between waste production and artistic objects; its manufacturing system, consumption, and subsequent waste. What arises in this relationship then, is another character of interest –and that will serve as a reference to compare its modus operandi with the place of artists and the arts–, in this sick world, the Diogenes. The obsessed that lives among the garbage. The absurdity of the conquest of the infinite of the illogical within the logical. The amount clouded and blinded, nothing is enjoyed, nothing is appreciated; the countless abandons its place in the memory –memorable– and there only exists a pathological accumulation, mountains of garbage, desires to hold on to vital faith of the belief of doing Something for themselves. Working just to work and building something that will not last, like a sand castle, accumulation of detritus and dust. A new logic is born, the enjoyment of diseases and emptiness, the destruction of a world without a history. «Artists of the world, abandon! You have nothing to lose but your own professions!» (Kaprow, 2007, p. 37).

Coco Chanel. El éxito y la perdurabilidad de su marca, en relación con el liderazgo

Este trabajo de investigación consiste en establecer si Coco Chanel puede ser considerada un líder, y de ser así se determinarán las características de su liderazgo. Coco Chanel además de ser una diseñadora exitosa que marcó tendencias entre 1901 y 1971, también fue una administradora que posicionó una marca y un estilo a nivel mundial. Lo anterior es particularmente relevante en una sociedad y en un tiempo en el que la gran mayoría de empresarios eran hombres. Para lograr el objetivo, se describirán diferentes momentos y situaciones de la vida de Chanel, las cuales le dejaron enseñanzas y experiencias que contribuyeron a su desarrollo como persona, a marcar una época con tendencias revolucionarias y a posicionar su marca, la cuales a pesar del tiempo siguen intactas. Para caracterizar a Chanel, se analizarán sus decisiones y la repercusión tanto a nivel personal como empresarial, su entorno, documentos académicos, documentales, biografías, páginas web oficiales y videos que permitirán establecer el tipo de discurso y lenguaje utilizado por ella para la toma de decisiones en su vida y en su marca, las características de su empresa y del contexto que influyó en el éxito de su marca y en qué medida tal éxito se debió a procesos de liderazgo; de igual forma se establecerá si ella utilizó comprensión descriptiva, (lenguaje que sigue a la realidad) o comprensión generativa (la realidad que sigue al lenguaje) (Barbosa, 2009). A lo largo de esta investigación, se podrá reflexionar en torno a las habilidades que resultan esenciales en un líder y si estas podrían utilizarse en el entorno cambiante al que nos enfrentamos hoy en día.

Talks upon practical subjects /

Pages 156-160 are advertisements.

Re-Visiting Sylvia Townsend Warner

Sylvia Townsend Warner was born in 1893 in Harrow and died in Dorset in 1978. Her writing career was both productive and diverse, spanning poems, short stories, novels, music reviews, a biography, translations of Proust, and a guide to Somerset. But this list, impressive as it is, does not do justice to the idiosyncrasy and heterogeneity of her work. While she is well known mostly for the seven novels she published, those works are all radically different in style and content. Indeed, Townsend Warner's singularity has, it could be argued, made it difficult to place her in the various fields and sub-fields of 20th-century literary studies. She shares as many similarities as differences with the high modernists who dominated the literary landscape of the interwar period. Likewise she fits, yet also resists, the more recent formulations of intermodernist and middlebrow scholarship that have attempted to interrogate and expand the horizons of mid-20th century literature.

Receipt - Rigg Bros.

Receipt from Rigg Bros. Marble and Granite Dealers, Niagara Falls - H.K. Woodruff, Dec. 11, 1922.

Letter with the letterhead “H.H. Warner and Co.” of Rochester, N.Y. from the H.H. Warner Co

Letter with the letterhead “H.H. Warner and Co.” of Rochester, N.Y. from the H.H. Warner Co. The writer asks why Mr. Woodruff did not stop there on his way home from Pennsylvania regarding his shooting share at Point Mouillee [a game area in Monroe County, Michigan]. This letter is accompanied by an envelope, May 19, 1886.

Letter (typed) from the H.H. Warner Co. to S.D. Woodruff which was enclosed with a payment of $2,500.00 for the shooting share transferred to Mr. Warner

Letter (typed) from the H.H. Warner Co. to S.D. Woodruff which was enclosed with a payment of $2,500.00 for the shooting share transferred to Mr. Warner. The letter also requests that Mr. Woodruff send a note explaining the general customs of the club, May 21, 1886.