The BG News August 24, 2005
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Alex Gibney Film
Mongrel Media Presents A Kennedy/Marshall Production In association with Jigsaw Productions and Matt Tolmach Productions An Alex Gibney Film The ARMSTRONG Lie Official Selection Toronto Film Festival 2013 Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html 2 THE ARMSTRONG LIE Written and Directed by ALEX GIBNEY Produced by FRANK MARSHALL MATT TOLMACH ALEX GIBNEY Director of Photography MARYSE ALBERTI Edited by ANDY GRIEVE TIM SQUYRES, A.C.E. Music by DAVID KAHNE Co-Producers JENNIE AMIAS MARK HIGGINS BETH HOWARD Associate Producers BRETT BANKS NICOLETTA BILLI Music Supervisor JOHN MCCULLOUGH 3 The ARMSTRONG Lie Synopsis In 2008, Academy Award® winning filmmaker Alex Gibney set out to make a documentary about Lance Armstrong’s comeback to the world of competitive cycling. Widely regarded as one of the most prominent figures in the history of sports, Armstrong had brought global attention to cycling as the man who had triumphed over cancer and went on to win bicycling’s greatest race, the Tour de France, a record seven consecutive times. Charting Armstrong’s life-story (and given unprecedented access to both the Tour and the man), Gibney began filming what he initially envisioned as the ultimate comeback story – Armstrong’s return from his 2005 retirement and his attempt to win his eighth Tour. -
Nov 10-14 2010
2010 $5.00/US Rehoboth beach Film Society nov 10-14 2010 PUblication 302-645-9095 / www.rehobothfilm.com 6 s T en T InsIde... Festival Dedication 7 A Word From the Governor 9 A Word From the Film Society President 10 Sponsors 12-13 A Word From the Festival Program Director 14 Board Members / Staff 15 Everything You Need to Know About the Festival 16-17 Table of Con Table Audience Awards/Film Guidance System 18 Film Schedule 20-21 Film Index 22 Film Planner 23-24 About the Cover 26 Reel Manners 27 Features 32-55 Documentaries 58-64 Shorts 66-72 Special Screenings 76 Regional Showcase 77-78 Country Spotlight: India Sidebar 80-81 Lights, Camera...ACTION! Sidebar 82 Difficult Films...Rewarding Viewing Sidebar 83 Seminars 86-89 Live in the Lounge 92-93 36 Hour Film Challenge 96 Children’s Cinema Corner 97 Fierberg Award 98 Our Thanks 100 Film Society Members 102-103 Contributors 104 Comment Form 105 Membership Application 106 Guide to Advertisers 108-109 Beyond the Festival Back Cover www.rehobothfilm.com 302-645-9095 107 Truitt avenue, Rehoboth beach, delaware 19971 The film society does its best to make this program accurate but always check the website for the most up-to-date information: www.rehobothfilm.com 7 f es TI fesTIval dedICaTIon val Dedicating the Rehoboth beach independent Film Festival is a special occasion as there have been only three such honors over the years. this year’s Festival is dedicated to the memory of founding board member lee Jones and long-time member and volunteer Roz Fierberg, both of whom passed d away earlier this year. -
Livestrong Or Lie Hard: a Pentadic Analysis of Deception and Reputation Management in 'The Armstrong Lie' Harper D
Brigham Young University BYU ScholarsArchive All Theses and Dissertations 2017-03-01 Livestrong or Lie Hard: A Pentadic Analysis of Deception and Reputation Management in 'The Armstrong Lie' Harper D. Anderson Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Communication Commons BYU ScholarsArchive Citation Anderson, Harper D., "Livestrong or Lie Hard: A Pentadic Analysis of Deception and Reputation Management in 'The Armstrong Lie'" (2017). All Theses and Dissertations. 6271. https://scholarsarchive.byu.edu/etd/6271 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in All Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Livestrong or Lie Hard: A Pentadic Analysis of Deception and Reputation Management in ‘The Armstrong Lie’ Harper D. Anderson A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Steven R. Thomsen, Chair Clark Callahan Robert Wakefield School of Communications Brigham Young University Copyright © 2017 Harper D. Anderson All Rights Reserved ABSTRACT Livestrong or Lie Hard: A Pentadic Analysis of Deception and Reputation Management in ‘The Armstrong Lie’ Harper D. Anderson School of Communications, BYU Master of Arts Kenneth Burke’s pentadic analysis has been a staple within the context of rhetorical criticism since the early days of critical communication studies. Throughout the years it has evolved from a heavy text criticism to application to film and documentary. The Armstrong Lie is another documentary that highlights the controversial actions of former seven-time Tour de France champion, Lance Armstrong. -
Postmodern Portraiture in Documentary Film and Television
OBSCENE INTIMACIES: POSTMODERN PORTRAITURE IN DOCUMENTARY FILM AND TELEVISION by Angela Walsh B.A., The University of British Columbia, 2012 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2015 © Angela Walsh, 2015 Abstract The past several decades have witnessed a steadily increasing output of documentaries which aim to explore the intimate lives of individual subjects. Although there has been no official scholarly study delineating these films as a documentary sub-genre, they have been variously termed portrait or biographical documentaries, and they are a persistent feature of both documentary film production and non-fiction television programming. This project aims to situate these films and television programs within broader cultural shifts that have occurred in the latter half of the twentieth century, including an upsurge in the ubiquity of images, distrust in the photographic medium’s ability to access the real, and dismantling of taste hierarchies. All of these changes fit under the broad paradigm of postmodern theory and culture, a societal condition that continues to evidence itself in the current age. Despite postmodernism’s proclamation that social relationships and individualism have collapsed, contemporary portraiture documentaries still aim to facilitate a sense of connection between viewer and subject. Postmodernism intersects here with what Richard Sennett has called the “intimate society,” which is characterized by a societal impetus toward personal revelation and emotional expression. I posit that portraiture documentaries represent the collision and working through of these two competing cultural features. -
Janis-Press Notes 10 26 15
JANIS: LITTLE GIRL BLUE Written and Directed by Amy J. Berg FilmRise NY Publicity LA Publicity Digital Publicity 34 35th Street Donna Daniels David Magdael Lee Meltzer Brooklyn, NY 11232 [email protected] dmagdael@tcdm- [email protected] 718.369.9090 et associates.com 212.373.6142 [email protected] 347.694.4650 213.624.7827 www.filmrise.com **** Official Selection 2015 Venice Film Festival 2015 Toronto International Film Festival 2015 DOC NYC 2015 BFI London Film Festival 2015 International Documentary Film Festival Amsterdam **** PBS and Content Media Corporation Present A FilmRise Release A Production of Disarming Films, Jigsaw Productions and THIRTEEN PRODUCTIONS LLC’s American Masters In association with Sony Music Entertainment and Union Entertainment Group Written and Directed by Amy J. Berg Narrated by Chan Marshall Produced by Alex Gibney Produced by Amy J. Berg Jeffrey Jampol Katherine LeBlond Running Time: 105 Minutes TAGLINE Oscar-nominated documentarian Amy Berg examines the meteoric rise and untimely fall of one of the most revered and iconic rock ‘n’ roll singers of all time: Janis Joplin. Joplin’s life story is Oscar-nominated documentarian Amy Berg examines the meteoric rise and untimely fall of one of the most revered and iconic rock ‘n’ roll singers of all time: Janis Joplin. Joplin’s life story is revealed for the first time on film through electrifying archival footage, revealing interviews with friends and family and rare personal letters, presenting an intimate and insightful portrait of a bright, complicated artist who changed music forever. SYNOPSIS Janis Joplin is one of the most revered and iconic rock and roll singers of all time, a tragic and misunderstood figure who thrilled millions of listeners and blazed new creative trails before her death in 1970 at age 27. -
CMSI Journey to the Academy Awards -- Race and Gender in a Decade of Documentary 2008-2017 (2-20-17)
! Journey to the Academy Awards: A Decade of Race & Gender in Oscar-Shortlisted Documentaries (2008-2017) PRELIMINARY KEY FINDINGS Caty Borum Chattoo, Nesima Aberra, Michele Alexander, Chandler Green1 February 2017 In the Best Documentary Feature category of the Academy Awards, 2017 is a year of firsts. For the first time, four of the five Oscar-nominated documentary directors in the category are people of color (Roger Ross Williams, for Life, Animated; Ezra Edelman, for O.J.: Made in America; Ava DuVernay, for 13th; and Raoul Peck, for I Am Not Your Negro). In fact, 2017 reveals the largest percentage of Oscar-shortlisted documentary directors of color over at least the past decade. Almost a third (29%) of this year’s 17 credited Oscar-shortlisted documentary directors (in the Best Documentary Feature category) are people of color, up from 18 percent in 2016, none in 2015, and 17 percent in 2014. The percentage of recognized women documentary directors, while an increase from last year (24 percent of recognized shortlisted directors in 2017 are women, compared to 18 percent in 2016), remains at relatively the same low level of recognition over the past decade. In 2016, as a response to widespread criticism and negative media coverage, the Academy of Motion Picture Arts & Sciences welcomed a record number of new members to become part of the voting class to bestow Academy Awards: 683 film professionals (46 percent women, 41 percent people of color) were invited in.2 According to the Academy, prior to this new 2016 class, its membership was 92 percent white and 75 percent male.3 To represent the documentary category, 42 new documentary creative professionals (directors and producers) were invited as new members. -
Cycling Independent Reform Commission's Report
CYCLING INDEPENDENT REFORM COMMISSION REPORT TO THE PRESIDENT OF THE UNION CYCLISTE INTERNATIONALE DR. DICK MARTY (PRESIDENT) MR. PETER NICHOLSON (VICE-PRESIDENT) PROF. DR. ULRICH HAAS (VICE-PRESIDENT) ACKNOWLEDGMENTS In the course of its mandate, the Commission was assisted by a Project Director and a team of specialists with legal, technical, investigative and analytical skills. The Commissioners wish to acknowledge and thank the following: Ms Aurélie Merle, Project Director Ms Erika Riedl, Anti-doping Consultant Mr Daniele Boccucci, Legal Consultant Ms Louise Reilly, Barrister Ms Kendrah Potts, Legal Counsel to the Commission The Commission sent many requests for assistance to UCI and the Cycling Anti-doping Foundation for archive documents and other information that were all answered in a professional and timely manner. The Commission would like to express its gratitude to UCI and Cycling Anti-doping Foundation staff members for their cooperation and time in assisting the CIRC in fulfilling its mandate. Similar thanks are due to the World Anti- doping Agency and to the many National Anti-doping Agencies for promptly sharing documents and information with the Commission. The Commission would also like to thank all the people who volunteered to cooperate with its mandate and those who responded positively to a request for an interview. Dick Marty Ulrich Haas Peter Nicholson Lausanne, February 2015 1 ABBREVIATIONS AAF Adverse Analytical Finding ABP Athlete Biological Passport ADAMS Anti-doping Administration and Management System ADC -
Reasoned Decision of the United States Anti-Doping Agency on Disqualification and Ineligibility
REPORT ON PROCEEDINGS UNDER THE WORLD ANTI-DOPING CODE AND THE USADA PROTOCOL UNITED STATES ANTI-DOPING AGENCY, Claimant, v. LANCE ARMSTRONG, Respondent. REASONED DECISION OF THE UNITED STATES ANTI-DOPING AGENCY ON DISQUALIFICATION AND INELIGIBILITY ____________________________ United States Anti-Doping Agency 5555 Tech Center Drive, Suite 200, Colorado Springs, CO 80919 ■ Tel: 719.785.2000 ■ Fax: 719.785.2001 [email protected] ■ www.usada.org TABLE OF CONTENTS I. SUMMARY OF USADA’S REASONED DECISION…………………………………………….5 II. CHARGES AGAINST LANCE ARMSTRONG…………………………………………………...7 III. BACKGROUND…………………………………………………………………………………… 9 A. Commencement of USADA’s Broad Investigation of Doping in Cycling……………………...9 B. Criminal Investigation…………………………………………………………………………. 11 C. USADA’s Notice of Anti-Doping Review Board Proceedings and Notice of Opportunity to Contest USADA’s Charges in Arbitration……………………………………………………...11 D. Armstrong’s Filing of Federal Lawsuit…………………………………………………………12 E. Federal Court’s Order Dismissing Armstrong Lawsuit…………………………………………13 F. Armstrong’s Refusal to Contest Charges Against Him in Arbitration Hearing Before Neutral Arbitrators……………………………………………………………………………………….13 IV. DISCUSSION OF THE EVIDENCE SUPPORTING USADA’S CHARGES………………...15 A. Introduction……………………………………………………………………………………..15 1. Standard of Proof……………………………………………………………………………15 2. Means of Proof: Non-Analytical Evidence and Laboratory Evidence……………………..15 B. Chronological Review of Evidence of Lance Armstrong’s Possession, Use, Trafficking and Administration of Banned Performance Enhancing Drugs and Other Relevant Events……..16 1. 1998…………………………………………………………………………………………16 a. Possession and use of EPO at the Vuelta a España…………………………………….18 b. Possession and use of cortisone………………………………………………………..19 c. Use of a saline infusion at the World Championships…………………………………20 2. 1999………………………………………………………………………………………..20 a. Focus on the Tour de France…………………………………………………………...21 b. The “A” Team………………………………………………………………………….22 c. -
Journey to the Academy Awards: a Decade of Race & Gender in Oscar-Shortlisted Documentaries (2008-2017)
Journey to the Academy Awards: A Decade of Race & Gender in Oscar-Shortlisted Documentaries (2008-2017) PRELIMINARY KEY FINDINGS Caty Borum Chattoo, Nesima Aberra, Michele Alexander, Chandler Green1 February 2017 In the Best Documentary Feature category of the Academy Awards, 2017 is a year of firsts. For the first time, four of the five Oscar-nominated documentary directors in the category are people of color (Roger Ross Williams, for Life, Animated; Ezra Edelman, for O.J.: Made in America; Ava DuVernay, for 13th; and Raoul Peck, for I Am Not Your Negro). In fact, 2017 reveals the largest percentage of Oscar-shortlisted documentary directors of color over at least the past decade. Almost a third (29 percent) of this year’s 17 credited Oscar-shortlisted documentary directors (in the Best Documentary Feature category) are people of color, up from 18 percent in 2016, none in 2015, and 17 percent in 2014. The percentage of recognized women documentary directors, while an increase from last year (24 percent of recognized shortlisted directors in 2017 are women, compared to 18 percent in 2016), remains at relatively the same low level of recognition over the past decade. In 2016, as a response to widespread criticism and negative media coverage, the Academy of Motion Picture Arts & Sciences welcomed a record number of new members to become part of the voting class to bestow Academy Awards: 683 film professionals (46 percent women, 41 percent people of color) were invited in.i According to the Academy, prior to this new 2016 class, its membership was 92 percent white and 75 percent male.ii To represent the documentary category, 42 new documentary creative professionals (directors and producers) were invited as new members. -
Catálogo (Pdf)
Ayuntamiento de Madrid Madrid Council Alcaldesa de Madrid Director General de Madrid Destino, Mayor of Madrid Cultura, Turismo y Negocio S.A. Ana Botella Serrano Managing director of Madrid Des- tino, Cultura, Turismo y Negocio S.A. Área de Gobierno de las Artes, Rafael Alegre Deportes y Turismo Government of Arts, Director de Cultura de Madrid Desti- Sports and Tourism Department no, Cultura, Turismo y Negocio S.A. Delegado del área de Gobierno de Cultural Director of Madrid Destino, las Artes, Deportes y Turismo Cultura, Turismo y Negocio S.A. Government Deputy of the Arts, Timothy Chapman Sports and Tourism Pedro Corral El Ayuntamiento de Madrid, su Área de Madrid City Council, the Municipal Depart- Gobierno de Las Artes, Deportes y Turismo y ment for the Arts, Sports and Tourism, and Madrid Destino, Cultura, Turismo y Negocio Madrid Destino, Cultura, Turismo y Negocio S.A., organizadores de DOCUMENTAMA- S.A., as organizers of DOCUMENTAMADRID DRID 14, no se responsabilizan ni coinciden 14, are not responsible for nor do they neces- necesariamente con las opiniones o las pro- sarily agree with the opinions and productions ducciones incluidas o derivadas del Festival. included in or resulting from the Festival. ÍNDICE INDEX Pedro Corral Mikel Olaciregui Bases Conditions Sección Oficial Largometraje Documental Official Selection. Feature Lenght Documentary Films Sección Oficial Cortometraje Documental Official Selection. Feature Short Documentary Films Panorama del Documental Español – Largometrajes Panorama of the Spanish Documentary -
Playing Badly: the Heroic Cheat and the Ethics of Play a DISSERTATION
Playing Badly: The Heroic Cheat and the Ethics of Play A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Adam Douglas Lindberg IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Advisor J ani Scandura May 2018 © Adam Lindberg 2018 Acknowledgements This project would not have been completed without financial support in various way s from the English Department of the University of Minnesota and its fa culty and staff. I would like to thank my committee – Professors Jani Scandura, Shevvy Craig, Tom Pepper, and Rita Raley – for their help and support during my coursework and throughout the writing of the dissertation. Similarly, I’d also like to acknowled ge the friendship and community I’ve found among the developers and scholars at Glitch, particularly Evva Kraikul and Nicolaas Van Meerten. I am grateful for the patience of Asher Lindberg, w ho would much rather be playing . S o would I . Last, nothing would have been possible without the extraordinary care and support of my father, Richard Lindberg. i Abstract This dissertation explains the work of hegemonic play in understanding what games are and w hat they do. This explanation is used to formalize a new theoretical and practical model for games criticism that can also be applied in literary, media, and social criticism. The present moment has been dubbed a “ludic age” as our algorithmically - informed world increasingly resembles game systems, a similarity exacerbated by an ongoing and intentional surge in deploying game concepts across every corner of organizable experience. Despite these signals to the value of reading games within ordinary experienc e, there persists a deeply held belief that the essential nature of games lies in their radical difference to non - game or “real” life. -
CMSI Journey to the Academy Awards -- Race and Gender in a Decade of Documentary 2008-2017
! Journey to the Academy Awards: A Decade of Race & Gender in Oscar-Shortlisted Documentaries (2008-2017) PRELIMINARY KEY FINDINGS Caty Borum Chattoo, Nesima Aberra, Michele Alexander, Chandler Green1 February 2017 In the Best Documentary Feature category of the Academy Awards, 2017 is a year of firsts. For the first time, four of the five Oscar-nominated documentary directors in the category are people of color (Roger Ross Williams, for Life, Animated; Ezra Edelman, for O.J.: Made in America; Ava DuVernay, for 13th; and Raoul Peck, for I Am Not Your Negro). In fact, 2017 reveals the largest percentage of Oscar-shortlisted documentary directors of color over at least the past decade. Almost a third (29%) of this year’s 17 credited Oscar-shortlisted documentary directors (in the Best Documentary Feature category) are people of color, up from 18 percent in 2016, none in 2015, and 17 percent in 2014. The percentage of recognized women documentary directors, while an increase from last year (24 percent of recognized shortlisted directors in 2017 are women, compared to 18 percent in 2016), remains at relatively the same low level of recognition over the past decade. In 2016, as a response to widespread criticism and negative media coverage, the Academy of Motion Picture Arts & Sciences welcomed a record number of new members to become part of the voting class to bestow Academy Awards: 683 film professionals (46 percent women, 41 percent people of color) were invited in.2 According to the Academy, prior to this new 2016 class, its membership was 92 percent white and 75 percent male.3 To represent the documentary category, 42 new documentary creative professionals (directors and producers) were invited as new members.