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Just How Nasty Were the Video Nasties? Identifying Contributors of the Video Nasty Moral Panic
Stephen Gerard Doheny Just how nasty were the video nasties? Identifying contributors of the video nasty moral panic in the 1980s DIPLOMA THESIS submitted in fulfilment of the requirements for the degree of Magister der Philosophie Programme: Teacher Training Programme Subject: English Subject: Geography and Economics Alpen-Adria-Universität Klagenfurt Evaluator Univ.-Prof. Dr. Jörg Helbig, M.A. Alpen-Adria-Universität Klagenfurt Institut für Anglistik und Amerikanistik Klagenfurt, May 2019 i Affidavit I hereby declare in lieu of an oath that - the submitted academic paper is entirely my own work and that no auxiliary materials have been used other than those indicated, - I have fully disclosed all assistance received from third parties during the process of writing the thesis, including any significant advice from supervisors, - any contents taken from the works of third parties or my own works that have been included either literally or in spirit have been appropriately marked and the respective source of the information has been clearly identified with precise bibliographical references (e.g. in footnotes), - to date, I have not submitted this paper to an examining authority either in Austria or abroad and that - when passing on copies of the academic thesis (e.g. in bound, printed or digital form), I will ensure that each copy is fully consistent with the submitted digital version. I understand that the digital version of the academic thesis submitted will be used for the purpose of conducting a plagiarism assessment. I am aware that a declaration contrary to the facts will have legal consequences. Stephen G. Doheny “m.p.” Köttmannsdorf: 1st May 2019 Dedication I I would like to dedicate this work to my wife and children, for their support and understanding over the last six years. -
“Grunge Killed Glam Metal” Narrative by Holly Johnson
The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way. -
Diapositive 1
From Body-space to Technospace: The Virtualization of Urban Experience in Music Videos Christophe Den Tandt Université Libre de Bruxelles Postcolonialism and Postmodernity Research Group January 2010 Music videos: expanding the realm of performance . Music videos transport performers “out of a musical context—into the everyday (the street, the home) [or] into the fantastic (the dream, the wilderness)” (Simon Frith, Performing Rites: On the Value of Popular Music, 1996, p. 225) The Cardigans: “For What It’s Worth” Placebo: “The Bitter End” The New Radicals. “You Get What You Give” Music videos: expanding the realm of performance Into the streets: Dancing in the streets (carnivalesque appropriation) Roaming the streets (alienated subjects in the asphalt Jungle) Dancing in the virtual streets (exploring virtualized urban space) Dancing in the streets Lavigne, Avril. “Sk8ter Boy.” Music video. Dir. Francis Lawrence. 2002. Dancing in the streets Appropriation of urban space Generational solidarity Subcultural channels Carnivalesque empowerment Roaming the streets Avril Lavigne: “I’m With You” Faithless: “Insomnia.” Dir. Lindy Heymann. (1996). Placebo: “The Bitter End” John Huston’s The Asphalt Jungle (1950) Dancing in the virtual streets The Red Hot Chili Peppers. Californication. Music video. Dirs. Jonathan Dayton and Valerie Faris. 2000. Dancing in the virtual streets Postmodern pastiche Computer graphics / virtual reality Cf. Cyberpunk SF: William Gibson’s Neuromancer (1984); Virtual Light (1993); Andy and Larry Wachowski. The Matrix. 1998 Jean Baudrillard. Simulation and Simulacra ? Body-space vs. technospace How can videos map the issues involved in the virtualization of urban experience? Music videos = performing artists transposed out of customary performance space to new locales Performance, agency (body-space) defined with regard to the technologies of the informational megalopolis (techno-space). -
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
Statistical Yearbook 2019
STATISTICAL YEARBOOK 2019 Welcome to the 2019 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2018. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s-length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience development, and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 Contents Film at the cinema -
MORGAN KENNEDY Production Designer
MORGAN KENNEDY Production Designer COMMERCIALS (partial list) Ford, *Ikea, Coca Cola, McDonald’s, Beats, Vodafone, Yves Saint Laurent, Philips, Kit Kat, Jagermeister, Nikon, Malibu, Orange, KVIFF, Suzuki, Hugo Boss, Davidoff, Google Chrome, O2, Orbis, Schwarma, Johnny Walker, HP, Pot Noodle, Bud Ice, Sainsbury’s, Boots, Adidas, Rimmel, Freesat, Activia, 3 Mobile, Samsung, Halifax, Deichmann Shoes, Heineken, AMD, Sudafed, British Gas, ESP, Baileys, Green Giant, Chivas Regal, H&M, Carmignac, Hugo Boss, Nike, Volvo, Head & Shoulders, Crunchy Nut, Capital FM, Kellogg’s, Cinzano, Grazia, Daygum, Dove, EA Games, TJ Maxx, Special K, Grancereale, Kronenbourg, Telefonia, Olay, Nintendo, Daks, RSPCA, Cadbury’s, WH Smith *2013 British Arrow Craft Awards Nomination – Best Production Design MUSIC VIDEOS (partial list) *Dua Lipa, Taylor Swift, 50 Cent & Justin Timberlake, Muse, Oasis, The Kooks, Alesha Dixon, Take That, Snow Patrol, **Biffy Clyro, Pete Doherty, Glas Vegas, Kasabian, Imogen Heap, Guillemots, Il Divo, Kings of Leon, Shania Twain, The Streets, Sugababes, Lucia Silvas, Funeral for a Friend, Candice, Agent Provocateur *2017 UK Music Video Awards Nomination – Best Pop Video “IDGAF” **2010 NME Awards Winner – Best Music Video “Captain” DIRECTORS (partial list) Chris Applebaum, Arni & Kinski, Casper Balslev, Katie Bell, Ben & Joe, Steve Bendelack, Big TV!, Sarah Chatflied, Simon Cole, Patrick Daughters, Es Devlin, Eden Diebel, Sara Dunlop, Steve Dunn, Sean Ellis, Zac Emerson, Scott, Fatima, Luke Forsythe, Romain Gavras, Paul Gore, Ben Gregor, -
The Inner Workings of Alma Deutscher's Musical Genius
II. LaRouche on Education The Inner Workings of Alma Deutscher’s Musical Genius by Michelle Rasmussen I want to write beautiful music—music that makes the world a better place. —Alma Deutscher May 19—When I think about 12-year-old Alma Deutscher, the budding English composer, violin- ist, and pianist, I cannot help but be reminded of Robert Schumann’s first public statement about Frédéric Chopin: “Hats off, gentlemen, a genius.”1 Our political movement is dedicated to the proposition that all children can become ge- niuses, if their creative potential is developed. Alma is proof of that. We are convinced that the most important challenge of humanity is to de- velop a strategy to unleash the creativity of every man, woman and child, and that a crucial method Alex Nightingale Smith/almadeutscher.com “If the world is so ugly, then what’s the point of making it even uglier, to achieve this, is by reliving the creative discov- with ugly music? . So, if you want to hear how ugly the modern world eries of the past. Alma is also proof of that. And is, then you don’t need to come to my concert in July. You can just switch we are determined to create a new global renais- on the television.” sance, for which new musical compositions, based on the principles of the greatest classical music, In addition to the beautiful music, Alma also re- will help lead the way. Again, Alma’s young musical wrote the plot. The evil step-mother runs an opera com- mind and soul already prove that it is possible. -
Maital Sabban Make-Up Artist
6356 W. 6th Street • Los Angeles, CA 90048 • Phone 323.935.8455 • Fax 323.935.3143 MAITAL SABBAN MAKE-UP ARTIST DIRECTORS & PHOTOGRAPHERS: Alberto Tolot David La Chapelle Kevin Kerslake Allan Fis David Steinberg Kieran Walsh Anastacia & Ian David Tsay Kinka Usher Andrew McPherson Davis Factor Larson & Talbert Andrew Southam Dick Buckley Lauren Greenfield Andy Morahan Dominique Guillemont Lita Wilson Angela Alvarado Rosa Eika Aoshima Lorenzo Agius Angelina Venturella Emily Shur Mark Anderson Anghel Decca Fatima Mark Seliger Annie Leibovitz Francis Lawrence Martin Scholler Anouk Besson Frank Samuels Mary Ellen Mark Anthea Benton Gavin Bond Matthew Rolston Anthony Mandler Geoff Moore Meirt Avis Arnold Turner Giuliano Bekor Memo del Bosque Art Streiber Graham Michael Martin Blake Little Gustavo Garzon Michael Muller Bob Giraldi Helmut Newton Michel Gondry Brian Bowen Smith Henman Mike Ruiz Cam Archer Herb Ritts Miranda Penn Turin Carl Rinsch Jack Guy Moshe Brakha Charles Jensen James Houston Nancy Bardawil Chris Applebaum Jeff Berlin Nigel Dick Chris Floyd Jeff Katz Noriyuki Tanaka Chris Fortuna Jeff Lipsky Norman Jean Roy Chris McPherson Jeremy Goldberg Omar Cruz Christopher Beyer Jerry Avenaim Pablo Alfaro Christy Bush Jim Gable Patrick Anderson Craid De Cristo Jim Wright Patrick Demarchelier Craig Cutler John Russo Paul Hunter Danny Ducovny Joseph Kahn Randall Mesdon David Hogan Joseph Murray Randee St. Nicholas David Kellogg Joseph Pluchino Rankin 6356 W. 6th Street • Los Angeles, CA 90048 • Phone 323.935.8455 • Fax 323.935.3143 MAITAL SABBAN MAKE-UP ARTIST (CONT’D.) DIRECTORS & PHOTOGRAPHERS (CONT’D.): Rent Sidon Stephan Kyndt Tom Gatsoulis Richard McLaren Steve Ramser Tony Duran Robert Ascroft Steve Shaw Traktor Robert Fleischauer Steven Lippman Wayne Isham Robert Rodriguez Steven Ziegler Walter Iooss Roger Erickson Stylewar Willie Maldonado Sheryl Nield The Malloy Bros. -
British Isles
FILMS FROM THE BRITISH ISLES BRITISHBRITISH FILM FESTIVAL 2015 FESTIVAL PROGRAMME BRITISHFILMFESTIVAL.COM.AU FESTIVAL SPONSORS CONTENTS OPENING NIGHT Youth .................................................................................................................6 PRINCIPAL SPONSOR CLOSING NIGHT The Man Who Knew Infinity ............................................................7 45 Years ..........................................................................................................9 Absolutely Anything .............................................................................11 Bill ........................................................................................................................12 Brooklyn .........................................................................................................13 Dare To Be Wild ........................................................................................14 Dark Horse: The Incredible True Story Of Dream Alliance ...................15 Elstree 1976 ..................................................................................................16 Filmed In Supermarionation ...........................................................17 Get Santa .......................................................................................................18 How To Make Love Like An Englishman................................20 MAJOR SPONSORS Kajaki: Kilo Two Bravo .........................................................................21 Kill Your Friends .......................................................................................22 -
Alma Deutcher.Indd
如 • 歌 • 文 • 化 Ruge Artists Management 扫描关注微信订阅号 COMPOSER/PIANIST/PIANIST Alma Deutcher ARTISTIC ACHIEVEMENTS Alma Deutscher, born 2005, is a composer, violinist and pianist. She started playing the piano when she was two years old and the violin when she was three. Soon afterwards she started improvising simple melodies on the piano. Her attempts at composition started aged four, when she began writing an opera about a pirate called Don Alonzo.When she was 6, she composed her first full piano sonata, and at 7 she composed a very short opera called The Sweeper of Dreams. There followed various compositions for violin, piano, and chamber ensembles. Aged 9, Alma wrote a Concerto for violin and orchestra, which she premiered in 2015. Her first piece for symphony orchestra, Dance of the Solent Mermaids was also premiered in 2015. Aged 10, Alma finished a full length opera, Cinderella. A chamber version of the opera wasperformed in 2015, and the full version will be premiered in Vienna in December 2016. As a soloist on both violin and piano, Alma has performed in England, Germany, Austria, Italy, Switzerland, Spain, Uruguay, USA, Israel, and Japan. She has also performed in prestigious events, including Google's Zeitgeist, alongside speakers such as Physicist Stephen Hawking. Alma’s first CD, The Music of Alma Deutscher was released in 2013, featuring a selection of her early compositions up to age 8. Alma has featured prominently in the international press and broadcast media, including the Ellen Degeneres Show in the US. Her YouTube channel has more than 3 million views. -
Mozart Requiem September 2018
Music of the Baroque Chorus and Orchestra Jane Glover, Music Director Soprano Violin 1 Oboe Laura Amend Gina DiBello, Anne Bach, principal Alyssa Bennett Elliott Golub Honorary Erica Anderson Bethany Clearfield Concertmaster Chair Rosalind Lee Kathleen Brauer, Hannah Dixon co-assistant Basset Horn McConnell concertmaster Susan Warner, principal Susan Nelson Teresa Fream Daniel Won Bahareh Poureslami Martin Davids Emily Yiannias Michael Shelton Jeri-Lou Zike Bassoon William Buchman, Alto principal Ilana Goldstein Violin 2 Lewis Kirk Julia Hardin Sharon Polifrone, Amanda Koopman principal Maggie Mascal Ann Palen Trumpet Quinn Middleman Rika Seko Barbara Butler, co- Anna VanDeKerchove Paul Vanderwerf principal Helen Kim Charles Geyer, co- principal Tenor Channing Philbrick Sam Grosby Viola Patrick Muehleise Elizabeth Hagen, Josh R. Pritchett principal Trombone Ryan Townsend Strand Claudia Lasareff- Reed Capshaw, principal Zachary Vanderburg Mironoff David Binder Christopher Windle Benton Wedge Jared Rodin Amy Hess Bass Timpani Cornelius Bouknight Cello Douglas Waddell Cody Michael Bradley Barbara Haffner, Corey Grigg principal Jan Jarvis Judy Stone Organ Nicholas Lin Mark Brandfonbrener Stephen Alltop Dylan Martin Bass Collins Trier, principal Michael Hovnanian The Mozart Requiem Jane Glover, conductor William Jon Gray, chorus director Saturday, September 15, 2018, 7:30 PM Harris Theater for Music and Dance, Chicago Sunday, September 16, 2018, 3:00 PM North Shore Center for the Performing Arts, Skokie Coronation Anthem No. 1, “Zadok the Priest” -
Complicated Views: Mainstream Cinema's Representation of Non
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.