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Herbert Ponting and the First Documentary 1
Herbert Ponting And The First Documentary 1 Herbert Ponting And The First Documentary One evening in mid-winter of 1911, in the coldest, most isolated place on earth, some two dozen men of the British Expedition to the South Pole gathered for a slide show. They were hunkered down in a wooden building perched on the edge of Antarctica. For them winter ran from late April to late August. In these four months the sun disappeared entirely leaving them in increasing darkness, at the mercy of gales and blizzards. If you stepped outside in a blizzard, you could become disoriented within a few yards of the hut and no one would know you were lost or where to look for you. On this evening, they were enjoying themselves in the warmth of their well insulated hut. One of their number, who called himself a “camera artist,” was showing them some of the 500 slides he had brought with him to help occupy the long winter hours. The camera artist was Herbert Ponting, a well known professional photographer. In the language of his time he was classified as a “record photographer” rather than a “pictorialist.”i One who was interested in the actual world, and not in an invented one. The son of a successful English banker, Ponting had forsworn his father’s business at the age of eighteen to try his fortune in California. When fruit farming and gold mining failed him, he took up photography, turning in superb pictures of exotic people and places, which were displayed in the leading international magazines of the time. -
KPMG FICCI 2013, 2014 and 2015 – TV 16
#shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways. -
The Beloved: a Documentary Film on the History
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2018 The Beloved: A documentary film on the history and aftermath of Fremantle’s Rajneesh sannyasin community – and – Hidden Realities: Transcendental Structures in Documentary Film: An exegesis Joseph London Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Film and Media Studies Commons Recommended Citation London, J. (2018). The Beloved: A documentary film on the history and aftermath of Fremantle’s Rajneesh sannyasin community – and – Hidden Realities: Transcendental Structures in Documentary Film: An exegesis. https://ro.ecu.edu.au/theses/2130 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2130 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). -
Postmaster and the Merton Record 2019
Postmaster & The Merton Record 2019 Merton College Oxford OX1 4JD Telephone +44 (0)1865 276310 www.merton.ox.ac.uk Contents College News Edited by Timothy Foot (2011), Claire Spence-Parsons, Dr Duncan From the Acting Warden......................................................................4 Barker and Philippa Logan. JCR News .................................................................................................6 Front cover image MCR News ...............................................................................................8 St Alban’s Quad from the JCR, during the Merton Merton Sport ........................................................................................10 Society Garden Party 2019. Photograph by John Cairns. Hockey, Rugby, Tennis, Men’s Rowing, Women’s Rowing, Athletics, Cricket, Sports Overview, Blues & Haigh Awards Additional images (unless credited) 4: Ian Wallman Clubs & Societies ................................................................................22 8, 33: Valerian Chen (2016) Halsbury Society, History Society, Roger Bacon Society, 10, 13, 36, 37, 40, 86, 95, 116: John Cairns (www. Neave Society, Christian Union, Bodley Club, Mathematics Society, johncairns.co.uk) Tinbergen Society 12: Callum Schafer (Mansfield, 2017) 14, 15: Maria Salaru (St Antony’s, 2011) Interdisciplinary Groups ....................................................................32 16, 22, 23, 24, 80: Joseph Rhee (2018) Ockham Lectures, History of the Book Group 28, 32, 99, 103, 104, 108, 109: Timothy Foot -
Guest Biographies: * Distribution, Sales and Financing Executives * Other Panel & Roundtable Moderators/Speakers London
Guest biographies: * Distribution, sales and financing executives * Other Panel & Roundtable moderators/speakers London Production Finance Market (PFM) Company Profile The London Production Finance Market (PFM) occurs each October in association with The BFI London Film Festival and is supported by the London Development Agency, UK Film Council, UK Trade and Investment (UKTI), Skillset, City of London Corporation and Peacefulfish. The invitation-only PFM last year registered 50 producers and more than 150 projects with US$1.16 billion of production value and nearly 60 financing guests including UGC, Rai Cinema, Miramax, Studio Canal, Lionsgate, Nordisk, Ingenious, Celluloid Dreams, Aramid, Focus, Natixis, Bank of Ireland, Sony Pictures Classics, Warner Bros. and Paramount. Film London is the UK capital's film and media agency. It sustains, promotes and develops London as a major international film-making and film cultural capital. This includes all the screen industries based in London - film, television, video, commercials and new interactive media. Helena MacKenzie Helena Mackenzie started her career in the film industry at the age of 19 when she thought she would try and get a job in the entertainment industry as a way out of going to Medical School. It worked! Many years and a few jobs later she is now the Head of International at Film London. Her journey to Film London has crossed many paths of international production, distribution and international sales. At Film London, she devised and runs the Film Passport Programme, runs the London UK Film Focus and the Production Finance Market (PFM), as well as working with emerging markets such as China, India and Russia. -
The Big Picture: Money and Power in Hollywood Download Free Book
THE BIG PICTURE: MONEY AND POWER IN HOLLYWOOD DOWNLOAD FREE BOOK Edward C. Epstein | 402 pages | 10 Jan 2006 | Random House USA Inc | 9780812973822 | English | New York, United States The Hollywood Economist 2.0: The Hidden Financial Reality Behind the Movies The end of the Golden Age had been signaled by the majors' loss of a federal antitrust case that led to the divestiture of the Big Five's theater chains. First, mainland studios are giving Tinseltown a run for its money on their home turf. About Edward Jay Epstein. Further information: Metro- Goldwyn-Mayer. The average American visited the cinema 3. It can be very enlightening for folks who are starry eyed idealists about the film industry, which after all is about makin The second of two books that are about the history of the business of film in Hollywood. Such engagements could extend for many months while studios prepared the subsequent release to neighborhood theaters. Disney also exploited new technologies and delivery systems, creating synergies that were altogether unique among the studios, and that finally enabled the perpetual "mini-major" to ascend to major studio status. San Francisco Chronicle. While a THE Big Picture: Money and Power in Hollywood student at Cornell University inhe published the book Inquest, an influential critique of the Warren Commission probe into the THE Big Picture: Money and Power in Hollywood F. As their circuits expanded, these entrepreneurs began opening their own film exchanges and distributing movies to other theater owners, but they still made most of their money from tickets bought at their own box office—so called because the cash went into locked boxes. -
Sweet Country
Presents SWEET COUNTRY Directed by Warwick Thornton / In cinemas 25 January 2018 Starring HAMILTON MORRIS, BRYAN BROWN and SAM NEILL PUBLICITY REQUESTS: TM Publicity / Tracey Mair / +61 2 8333 9066 / [email protected] IMAGES High res images and poster available to download via the DOWNLOAD MEDIA tab at: http://www.transmissionfilms.com.au/films/sweet-country Distributed in Australia by Transmission Films SWEET COUNTRY is produced by Bunya Productions, with major production investment and development support from Screen Australia’s Indigenous Department, in association with the South Australian Film Corporation, Create NSW, Screen Territory and the Adelaide Film Festival. International sales are being handled by Memento and the Australian release by Transmission Films. © 2017 Retroflex Lateral Pty Ltd, Screen NSW, South Australian Film Corporation, Adelaide Film Festival and Screen Australia SHORT SYNOPSIS Inspired by real events, Sweet Country is a period western set in 1929 in the outback of the Northern Territory, Australia. When Aboriginal stockman Sam (Hamilton Morris) kills white station owner Harry March (Ewen Leslie) in self- defence, Sam and his wife Lizzie (Natassia Gorey-Furber) go on the run. They are pursued across the outback, through glorious but harsh desert country. Sergeant Fletcher (Bryan Brown) leads the posse with the help of Aboriginal tracker Archie (Gibson John) and local landowners Fred Smith (Sam Neill) and Mick Kennedy (Thomas M. Wright). Fletcher is desperate to capture Sam and put him on trial for murder – but Sam is an expert bushman and he has little difficulty outlasting them. Eventually, for the health of his pregnant wife, Sam decides to give himself up. -
CINEMA in AUSTRALIA an Industry Profile CINEMA in AUSTRALIA: an INDUSTRY PROFILE
CINEMA IN AUSTRALIA an industry profile CINEMA IN AUSTRALIA: AN INDUSTRY PROFILE Acknowledgments Spreading Fictions: Distributing Stories in the Online Age is a three-year Australian Research Council funded Linkage Project [LP100200656] supported by the Australian Broadcasting Corporation (ABC) and Screen Australia. The chief investigators are Jock Given, Professor of Media and Communications, The Swinburne Institute for Social Research, Swinburne University of Technology, Melbourne and Gerard Goggin, Professor of Media and Communications, The University of Sydney. Partner Investigators: Georgie McClean, Manager, Strategy and Research, Screen Australia Michael Brealey, Head of Strategy and Governance, ABC TV This report was researched and written by Jock Given, Rosemary Curtis and Marion McCutcheon. Many thanks to the ABC, Screen Australia and the Australian Research Council for their generous support of the project and to the following organisations for assistance with this report: Australian Film Television and Radio School Library Independent Cinemas Association of Australia [ICAA] IHS Screen Digest Motion Picture Distributors Association of Australia [MPDAA] National Association of Cinema Operators-Australasia [NACO] Rentrak Roy Morgan Research Val Morgan Cinema Network Any views expressed in this report are those of the authors and not necessarily those of the Industry Partners or other organisations. Publication editing and design: Screen Australia Published by The Swinburne Institute, Swinburne University of Technology, PO Box 218 -
About Endgame
MONGREL MEDIA, BBC FILMS, TELEFILM CANADA, BORD SCANNÁN NA hÉIREANN/THE IRISH FILM BOARD, SODEC and BFI Present A WILDGAZE FILMS/ FINOLA DWYER PRODUCTIONS / PARALLEL FILMS / ITEM 7 co-production Produced in association with INGENIOUS, BAI, RTE And HANWAY FILMS BROOKLYN Directed by JOHN CROWLEY Produced by FINOLA DWYER and AMANDA POSEY Screenplay by NICK HORNBY Adapted from the novel by COLM TÓIBÍN Starring SAOIRSE RONAN DOMHNALL GLEESON EMORY COHEN With JIM BROADBENT And JULIE WALTERS Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com 1 INTRODUCTION BROOKLYN is the story of Eilis, a young woman who moves from small-town Ireland to Brooklyn, NY where she strives to forge a new life for herself, finding work and first love in the process. When a family tragedy brings her back to Ireland, she finds herself confronting a terrible dilemma - a heart-breaking choice between two men and two countries. Adapted from Colm Tóibín’s New York Times Bestseller by Nick Hornby (Oscar® nominee for An Education) and directed by John Crowley (Intermission, Boy A), BROOKLYN is produced by Finola Dwyer and Amanda Posey (Quartet, Oscar® nominees for An Education). BROOKLYN stars Saoirse Ronan (The Grand Budapest Hotel and Oscar® nominee for Atonement), Domhnall Gleeson (About Time, Anna Karenina), Emory Cohen (The Place Beyond The Pines), Jim Broadbent (Oscar® winner for Iris) and Julie Walters (Oscar® nominee for Billy Elliot and Educating Rita). -
Screen Australia the Australian Broadcasting Corporation Et Screen NSW En Association Avec the Adelaide Film Festival Présentent Une Production Stranger Than Fiction
Screen Australia The Australian Broadcasting Corporation et Screen NSW En association avec The Adelaide Film Festival présentent Une production Stranger Than Fiction David Stratton A CINEMATIC LIFE (David Stratton, une vie de cinéma) Ou comment une histoire d'amour avec le cinéma australien a permis à un homme de se connaître et de mieux comprendre son pays d'adoption. Scénariste/réalisatrice : Sally Aitken Productrice : Jo-anne McGowan Productrice déléguée : Jennifer Peedom Au cinéma en Australie le 9 mars 2017 Projections-débats en présence de David Stratton dans tout le pays dès la fin février Distribution : Transmission Films Société de production : Stranger Than Fiction Films [email protected] +61 (0) 418 632 193 Informations diverses et techniques Format Documentaire long métrage Durée 1:37:44 Ratio 2:39:1 Son 5.1 Lieux de tournage : • Coffs Harbour/Sawtell, Bankstown, Camden, Sydney, les Blue Mountains et Broken Hill en Nouvelles-Galles du Sud • Melbourne et le mont Macedon (Hanging Rock) dans le Victoria • Brisbane et la Gold Coast dans le Queensland • Canberra dans le Territoire de la capitale australienne • Alice Springs et Uluru en Territoire du Nord • Los Angeles et Providence aux Etats-Unis • Londres et Devizes au Royaume-Uni Merci aux extraordinaires réalisateurs et acteurs à l'origine des films qui ont enrichi l'Australie. A la mémoire de Paul Cox 1940-2016 Avis aux spectateurs aborigènes et aux indigènes du détroit de Torrès : ce film contient des voix et des images de personnes décédées © Stranger Than Fiction Films, Australian Broadcasting Corporation, et Adelaide Film Festival. SYNOPSIS EN BREF “L'histoire d'amour du critique David Stratton avec le cinéma australien lui a permis de se connaître et de mieux comprendre son pays d'adoption. -
3D Detail Investigations
3D Detail inVestigations Fig. 106 Cinema wall construction 104 Fig. 107 Western facade detail, with hinged mesh screen for window cleaning. 105 BiBliogRaPHY Books Books. Journals. Interviews. Websites. Films September 15 from http://etd.ohiolink.edu/send-pdf.cgi/bubb%20cynthia%20lynne.pdf?ucin11553843083 Blunden, A. (1998). The Work of Art in the Age of Mechanical reproduction - Walter Benjamin. Retrieved March 6, 2008, from Barber, S. (2002). Projected Cities - Cinema and Urban Space Marxists: http://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm Bruno, G. (2007). Atlas of Emotion - Journeys in art, architecture, and film (2nd Edition, Paperback Version. 1st Edition . London: Reaktion Books Ltd. Tschumi, B. (2009). The New Acropolis Museum. Retreived June 15, 2009 from http://www.tschumi.com BFI (2009). The British film Institute. Retreived March 10, 2009 from http://www.bfi.org.uk Comte-Sponville, A. (2004). Time. In A. Comte-Sponville, The Little Book of Philosophy (F. Wynne, Trans., pp. 109-124). Davis, B (2006). Dream Factory. Retreived May 24, 2009 from ARTnet: http://www.artnet.com/magazineus/reviews/davis/ published in 2002 ed.). London: Verso. davis9-20-06 Hodge, B (2006). Skin + Bones - Parallel Practices in Fashion and Architecture. New York: Thames and Hudson Inc. Department of Trade and Industry. (n.d.). Film and Television Production Incentive. Retrieved February 22, 2009, from DTI: London: William Heinemann. Holm, D (1996). Manual for energy conscious design. Department Mineral and Energy- Directorate energy for Development. http://www.thedti.gov.za/film/filmincentive.htm Martin-Jones, D. (2006). Deleuze, Cinema and National Identity, Narrative Time in National Contexts, Edinburgh: Edinburgh El-Tibi,Directorfile S. -
Women's Tribute
N J M O T I O N P I C T U R E & T E L E V I S I O N C O M M I S S I O N STRONG WOMEN, POWERFUL IMAGES, JERSEY CONNECTIONS: A Tribute to Women Directors March is Women’s History Month, a time dedicated to celebrating the WOMEN IN FOCUS accomplishments of women and their contributions to the world in which we live, both historically and presently. In this spirit, the New Jersey Motion Picture and Television Commission wishes to pay tribute to women directors If you're doing who have worked in New Jersey, and helped to establish the state’s something outside of reputation as the birthplace of the film industry and a current day production dominant culture, center. Since the invention of the motion picture camera in West Orange, women have created movies and television programs that have entertained there's not an easy and amused us, enriched our minds and broadened our outlook. And so, we place for you. You will honor a century of cultural and artistic innovators who have pushed the have to do it yourself. boundaries of art and commerce. - Ava DuVernay “We are continuing to see a rising tide of women directors recognized for (Selma) their contributions to filmmaking,” said Secretary of State Tahesha Way. She notes that there were a record number of women working on major motion pictures in 2020. Women represented 16% of the directors working on the 100 highest-grossing films in 2020, up from 12% in 2019 and 4% in 2018, according to the Center for the Study of Women in Television.