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January 2021 New Free Movies on Residence Life Cinema reslifemovies.uakron.edu Annabelle Friday Night Lights Mortal (2020) Annabelle: Creation Friendsgiving (2020) My Big Fat Greek Wedding Annabelle Comes Home From Russia with Love My Bloody Valentine Austin Powers in Goldmember Fury Notting Hill Austin Powers: International Game Night No Way Out Man/Mystery Glorias, The (2020) October Sky Austin Powers: The Spy Who Goldfinger Panther Shagged Me Baby Driver GoodFellas Professionals, The Babyteeth (2020) Hacksaw Ridge Raisin in the Sun, A Barbershop Hobbit: An Unexpected Journey Ready Player One Barbershop 2: Back in Business Hobbit: The Desolation of Smaug Relic (2020) Barbershop: The Next Cut Hobbit 3: The Battle/Five Armies Rent Batman Begins House Party Rental, The (2020) Beauty Shop House Party 2 Rocketman Be the Light (2020) How to Succeed in Business Same Time, Next Year Without Really Trying Bill & Ted Face the Music (2020) Secret Garden, The (2020) How to Train Your Dragon Blockers Seven How to Train Your Dragon 2 Broken Hearts Gallery, The(2020) Shazam! How to Train Your Dragon: The Bullitt She’s All That Hidden World Singin’ in the Rain Casablanca Intern, The Spontaneous (2020) Casino Iron Giant, The Suicide Squad Charlie Bartlett Iron Mask (2020) Summer Catch Chinatown Justice League Summerland (2020) Conjuring, The Lawrence of Arabia Tenet (2020) Conjuring 2 Lego DC Shazam:Magic and Dark Knight, The Monsters (2020) Tijuana Jackson: Purpose over Prison (2020) Dark Knight Rises, The Lord of the Rings: The Fellowship/Ring Unhinged (2020) Dating Amber (2020) Lord of the Rings: The Return/King Untouchables, The Death of Me (2020) Lord of the Rings: The Two Towers Warm Bodies Doctor Zhivago Made in Italy (2020) War with Grandpa, The (2020) Dr. No Mad Max: Fury Road West Side Story Echo Boomers (2020) Magic Mike Wild Bunch, The Fatima (2020) Major League Words on Bathroom Walls (2020) Finding Forrester Midnight Cowboy Yentl Flood, The (2020) Plus 400 More Films! reslifemovies.uakron.edu .

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For Release: on Approval Motion Picture Sound Editors to Honor
For Release: On Approval Motion Picture Sound Editors to Honor George Miller with Filmmaker Award 68th MPSE Golden Reel Awards to be held as a global, virtual event on April 16th Studio City, California – February 10, 2021 – The Motion Picture Sound Editors (MPSE) will honor Academy Award-winner George Miller with its annual Filmmaker Award. The Australian writer, director and producer is responsible for some of the most successful and beloved films of recent decades including Mad Max, Mad Max 2: Road Warrior, Mad Max Beyond Thunderdome and Mad Max: Fury Road. In 2007, he won the Academy Award for Best Animated Feature for the smash hit Happy Feet. He also earned Oscar nominations for Babe and Lorenzo’s Oil. Miller will be presented with the MPSE FilmmaKer Award at the 68th MPSE Golden Reel Awards, set for April 16th as an international virtual event. Miller is being honored for a career noteworthy for its incredibly broad scope and consistent excellence. “George Miller redefined the action genre through his Mad Max films, and he has been just as successful in bringing us such wonderfully different films as The Witches of Eastwick, Lorenzo’s Oil, Babe and Happy Feet,” said MPSE President MarK Lanza. “He represents the art of filmmaking at its best. We are proud to present him with MPSE’s highest honor.” Miller called the award “a lovely thing,” adding, “It’s a big pat on the back. I was originally drawn to film through the visual sense, but I learned to recognize sound, emphatically, as integral to the apprehension of the story.
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Films Winning 4 Or More Awards Without Winning Best Picture
FILMS WINNING 4 OR MORE AWARDS WITHOUT WINNING BEST PICTURE Best Picture winner indicated by brackets Highlighted film titles were not nominated in the Best Picture category [Updated thru 88th Awards (2/16)] 8 AWARDS Cabaret, Allied Artists, 1972. [The Godfather] 7 AWARDS Gravity, Warner Bros., 2013. [12 Years a Slave] 6 AWARDS A Place in the Sun, Paramount, 1951. [An American in Paris] Star Wars, 20th Century-Fox, 1977 (plus 1 Special Achievement Award). [Annie Hall] Mad Max: Fury Road, Warner Bros., 2015 [Spotlight] 5 AWARDS Wilson, 20th Century-Fox, 1944. [Going My Way] The Bad and the Beautiful, Metro-Goldwyn-Mayer, 1952. [The Greatest Show on Earth] The King and I, 20th Century-Fox, 1956. [Around the World in 80 Days] Mary Poppins, Buena Vista Distribution Company, 1964. [My Fair Lady] Doctor Zhivago, Metro-Goldwyn-Mayer, 1965. [The Sound of Music] Who's Afraid of Virginia Woolf?, Warner Bros., 1966. [A Man for All Seasons] Saving Private Ryan, DreamWorks, 1998. [Shakespeare in Love] The Aviator, Miramax, Initial Entertainment Group and Warner Bros., 2004. [Million Dollar Baby] Hugo, Paramount, 2011. [The Artist] 4 AWARDS The Informer, RKO Radio, 1935. [Mutiny on the Bounty] Anthony Adverse, Warner Bros., 1936. [The Great Ziegfeld] The Song of Bernadette, 20th Century-Fox, 1943. [Casablanca] The Heiress, Paramount, 1949. [All the King’s Men] A Streetcar Named Desire, Warner Bros., 1951. [An American in Paris] High Noon, United Artists, 1952. [The Greatest Show on Earth] Sayonara, Warner Bros., 1957. [The Bridge on the River Kwai] Spartacus, Universal-International, 1960. [The Apartment] Cleopatra, 20th Century-Fox, 1963.
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HH Available Entries.Pages
Greetings! If Hollywood Heroines: The Most Inﬂuential Women in Film History sounds like a project you would like be involved with, whether on a small or large-scale level, I would love to have you on-board! Please look at the list of names below and send your top 3 choices in descending order to [email protected]. If you’re interested in writing more than one entry, please send me your top 5 choices. You’ll notice there are several women who will have a “D," “P," “W,” and/or “A" following their name which signals that they rightfully belong to more than one category. Due to the organization of the book, names have been placed in categories for which they have been most formally recognized, however, all their roles should be addressed in their individual entry. Each entry is brief, 1000 words (approximately 4 double-spaced pages) unless otherwise noted with an asterisk. Contributors receive full credit for any entry they write. Deadlines will be assigned throughout November and early December 2017. Please let me know if you have any questions and I’m excited to begin working with you! Sincerely, Laura Bauer Laura L. S. Bauer l 310.600.3610 Film Studies Editor, Women's Studies: An Interdisciplinary Journal Ph.D. Program l English Department l Claremont Graduate University Cross-reference Key ENTRIES STILL AVAILABLE Screenwriter - W Director - D as of 9/8/17 Producer - P Actor - A DIRECTORS Lois Weber (P, W, A) *1500 Major early Hollywood female director-screenwriter Penny Marshall (P, A) Big, A League of Their Own, Renaissance Man Martha
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Giant Zombie Hand, Gratis Zombie Gelato and Mad Max Bootleg Art Await You at GRAPHIC This Weekend
MEDIA RELEASE TUESDAY 6 OCTOBER SYDNEY OPERA HOUSE PRESENTS Giant zombie hand, gratis zombie gelato and Mad Max bootleg art await you at GRAPHIC this weekend A giant zombie hand atop the Opera House steps. Gelato Messina’s brand new The Walking Dead ice cream flavour. Bootleg art inspired by the post-apocalyptic world of Mad Max. Get it all free at the Sydney Opera House when GRAPHIC takes over from Saturday 10 – Sunday 11 October. In the Mad Max Artist Alley the heroes, villains and wastelands of Mad Max: Fury Road will appear as reinterpreted by underground illustrators, including Sydney’s Chris Yee, James Jirat Patradoon and Georgia Hill, Melbourne’s Maddy Young and Paris’ own Ilk. The Mad Max Artist Alley, in the Concert Hall’s harbourside Northern Foyer, is co-curated by cult art collectives The Opening Hours and Goodspace, in collaboration with GRAPHIC. Looming over the Forecourt from the top of the Opera House steps, a four-metre-tall zombie hand straight out of The Walking Dead will count down to the Season 6 premiere on Sunday morning. Gelato Messina will be serving free cups of ‘Carl’s Chocolate Pudding’, the perfect blend of gruesome and delicious, from their ‘Alexandria Ice Scream’ pop-up store between midday and 4.00pm over the weekend. Since its inception in 2010, GRAPHIC has evolved into a festival like no other, commissioning and presenting new works from some of the world’s most respected artists including, but not limited to, Neil Gaiman (2010), Shaun Tan (2010), Gotye (2011), Pixar’s Lee Unkrich (2012) and Art Spiegelman (2013).
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Arxiv:1805.06576V5 [Stat.ML] 11 Nov 2018
Mad Max: Affine Spline Insights into Deep Learning RANDALL BALESTRIERO, RICHARD BARANIUK Rice University, Houston, Texas, USA [email protected], [email protected] We build a rigorous bridge between deep networks (DNs) and approximation theory via spline functions and operators. Our key result is that a large class of DNs can be written as a composition of max- affine spline operators (MASOs), which provide a powerful portal through which to view and analyze their inner workings. For instance, conditioned on the input signal, the output of a MASO DN can be written as a simple affine transformation of the input. This implies that a DN constructs a set of signal- dependent, class-specific templates against which the signal is compared via a simple inner product; we explore the links to the classical theory of optimal classification via matched filters and the effects of data memorization. Going further, we propose a simple penalty term that can be added to the cost function of any DN learning algorithm to force the templates to be orthogonal with each other; this leads to significantly improved classification performance and reduced overfitting with no change to the DN architecture. The spline partition of the input signal space that is implicitly induced by a MASO directly links DNs to the theory of vector quantization (VQ) and K-means clustering, which opens up new geometric avenue to study how DNs organize signals in a hierarchical fashion. To validate the utility of the VQ interpretation, we develop and validate a new distance metric for signals and images that quantifies the difference between their VQ encodings.
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A Level Film Studies Candidate Style Answers
Qualification Accredited A LEVEL Candidate Style Answers FILM STUDIES H410 For first teaching in 2017 H410/02 Critical approaches to film Version 1 www.ocr.org.uk/filmstudies A Level Film Studies Candidate Style Answers Contents Introduction 3 Section A Question 2: Level 5 answer 4 Commentary 6 Section A Question 2: Level 3 answer 7 Commentary 7 Section B Question 4: Level 5 answer 8 Commentary 10 Section B Question 4: Level 3 answer 11 Commentary 11 Section C Question 5: Level 5 answer 12 Commentary 14 Section C Question 5: Level 3 answer 15 Commentary 16 Section C Question 7: Level 5 answer 17 Commentary 19 Section C Question 7: Level 3 answer 20 Commentary 21 Section C Question 10: Level 5 answer 22 Commentary 24 Section C Question 10: Level 3 answer 25 Commentary 25 2 © OCR 2018 A Level Film Studies Candidate Style Answers Introduction Please note that this resource is provided for advice and guidance only and does not in any way constitute an indication of grade boundaries or endorsed answers. Whilst a senior examiner has provided a possible level for each Assessment Objective when marking these answers, in a live series the mark a response would get depends on the whole process of standardisation, which considers the big picture of the year’s scripts. Therefore the level awarded here should be considered to be only an estimation of what would be awarded. How levels and marks correspond to grade boundaries depends on the Awarding process that happens after all/most of the scripts are marked and depends on a number of factors, including candidate performance across the board.
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National Film Registry Titles Listed by Release Date
National Film Registry Titles 1989-2017: Listed by Year of Release Year Year Title Released Inducted Newark Athlete 1891 2010 Blacksmith Scene 1893 1995 Dickson Experimental Sound Film 1894-1895 2003 Edison Kinetoscopic Record of a Sneeze 1894 2015 The Kiss 1896 1999 Rip Van Winkle 1896 1995 Corbett-Fitzsimmons Title Fight 1897 2012 Demolishing and Building Up the Star Theatre 1901 2002 President McKinley Inauguration Footage 1901 2000 The Great Train Robbery 1903 1990 Life of an American Fireman 1903 2016 Westinghouse Works 1904 1904 1998 Interior New York Subway, 14th Street to 42nd Street 1905 2017 Dream of a Rarebit Fiend 1906 2015 San Francisco Earthquake and Fire, April 18, 1906 1906 2005 A Trip Down Market Street 1906 2010 A Corner in Wheat 1909 1994 Lady Helen’s Escapade 1909 2004 Princess Nicotine; or, The Smoke Fairy 1909 2003 Jeffries-Johnson World’s Championship Boxing Contest 1910 2005 White Fawn’s Devotion 1910 2008 Little Nemo 1911 2009 The Cry of the Children 1912 2011 A Cure for Pokeritis 1912 2011 From the Manger to the Cross 1912 1998 The Land Beyond the Sunset 1912 2000 Musketeers of Pig Alley 1912 2016 Bert Williams Lime Kiln Club Field Day 1913 2014 The Evidence of the Film 1913 2001 Matrimony’s Speed Limit 1913 2003 Preservation of the Sign Language 1913 2010 Traffic in Souls 1913 2006 The Bargain 1914 2010 The Exploits of Elaine 1914 1994 Gertie The Dinosaur 1914 1991 In the Land of the Head Hunters 1914 1999 Mabel’s Blunder 1914 2009 1 National Film Registry Titles 1989-2017: Listed by Year of Release Year Year
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Mad Max Tail Credits
Max Mel Gibson (Rockatansky, a cop with a Bronze badge, hence 'The Bronze') Jessie Joanne Samuel (Rockatansky) Toecutter Hugh Keays-Byrne Jim Goose Steve Bisley (Jimmy the Goose) Johnny the Boy Tim Burns Fifi Roger Ward (Captain Fifi MacAffee, aka "Fif") Cast in alphabetical order: Nurse Lisa Aldenhoven Mudguts David Bracks Clunk Bertrand Cadart Underground Mechanic David Cameron (Barry) Singer Robina Chaffey Sarse Stephen Clark Toddler Mathew Constantine Ziggy Jerry Day Station Master Reg Evans Diabando Howard Eynon Benno Max Fairchild Grinner John Farndale Senior Doctor Peter Felmingham May Swaisey Sheila Florence (sic, aka Florance) Starbuck Nic Gazzana Lair Hunter Gibb Nightrider Vince Gil (sic, aka Vincent Gill, aka Crawford Montegamo, per subtitles, also Montizano) Silvertongue Andrew Gilmore Labatouche Jonathon Hardy (sic, aka Jonathan) Sprog Brendan Heath Cundalini Paul Johnstone Grease Rat Nick Lathouris Charlie John Ley Roop Steve Millichamp Junior Doctor Phil Motherwell Scuttle George Novak Bubba Zanetti Geoff Parry Nightrider's Girl Lulu Pinkus TV Newsreader Neil Thompson Midge Billy Tisdall People's Observer Gil Tucker Girl in Chevvy Kim Sullivan with John Arnold Tom Broadbridge Peter Culpan Peter Ford Clive Hearne Telford Jackson Kristine Kaman Joan Letch Kerry Miller Janine Ogden Di Trelour Vernon Weaver Paul Young Brendan Young Associate Producer Bill Miller Editors Tony Paterson Cliff Hayes Director of Photography David Eggby Art Director Jon Dowding Asst. Art Director Steve Amezdroz Stunt Co-ordinator Grant Page Costume Designer Clare Griffin Sound Recordist Gary Wilkins Production Co-ordinator Jenny Day Special Effects Chris Murray Casting Mitch Consultancy First Assistant Director Ian Goddard Second Asst. Director Steve Connard Third Assistant Director Des Sheridan Production Asst.
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Mad Max Fury Road Introduction
2019-2020 Local to Global Film Series 2019 Mad Max Fury Road Introduction Lynne Stahl Follow this and additional works at: https://researchrepository.wvu.edu/l2g_film-2019_20 Part of the Film and Media Studies Commons Transcript--Introduction to Mad Max: Fury Road Lynne Stahl, WVU Libraries 9/4/2019 Thank you all for coming! I’m Lynne Stahl, the Humanities Librarian, and I’m excited to see so many people here because film studies seems to happen in sort of isolated pockets at WVU. I’m not an event planner, so I’ve been a bit stressed out until I realized that even if no one showed up I’d still get to watch Mad Max on a big screen. It’s hard to speak insightfully about a film without spoiling the plot, but it seems selfish to spoil the plot solely to make my intro comprehensible, so as a compromise I’ll just give a very brief outline and then tell you way more than you ever wanted to know about the film’s production history. We tend to view films as a discrete units of consumption and self-contained narratives that stop at the edge of the screen after 90 minutes--but often the many tipping points and variables and iterations that make up the negative spaces around the movies we watch are just as illuminating, if not more so. Mad Max: Fury Road takes place in a post-apocalyptic desert world in which oil and water are scarce and tightly controlled by tyrannical private groups and individuals.
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The Depiction of the City Apartment
1 MIT Student Paper 3 4/20/15 Heaven and “El”: The Depiction of the City Apartment There seems to be one ubiquitous scene in a film featuring a city: the depiction of the apartment. The city is a predominantly public space, but the apartment becomes a place where the urbanite can have a measure of privacy and control. In a city designed, constructed, managed, and populated by strangers, the apartment becomes a place where the character can create on his own and he can make a space his. Three films where the apartment plays the role of establishing a character’s place in the city are King Vidor’s The Crowd, What-his face’s The Naked City and John Schlesinger’s Midnight Cowboy, though they have three different variations in the theme of creating and belonging in a place in the city. John Sims in The Crowd seeks a domestic refuge from the bustling and stifling crowd of New York. Garza in The Naked City also seeks privacy, but from the police and his arrest. Finally Ratso Rizzo in Midnight Cowboy seeks a place where he can be different and not persecuted for it. The need of privacy from an apartment appears ultimately integral to understanding the experiences of these characters and their lives in New York. The Sims’ apartment is characterized in two contradictory ways from the first few sequences. First, John Sim’s song “It’s heavenly inside our flat/but outside it is El!” creates the image of the apartment as refuge from the city.
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A Single Frame” Select Images from the Society of Motion Picture Still Photographers
FOR IMMEDIATE RELEASE The SMPSP and DigitalFusion present: “A Single Frame” Select Images from the Society of Motion Picture Still Photographers On view at DigitalFusion, 3535 Hayden Avenue, Culver City, CA 90232 October 6, 2018 through Fall, 2019 9/01/2018- The SMPSP in conjunction with DigitalFusion is pleased to announce an exhibition of images shot by unit still photographers on productions around the world. “A Single Frame” spans nearly 50 years and offers a glimpse on set and behind the scenes on films such as ”Jaws” (1977), “Goodfellas” (1990), “Mad Max: Fury Road” (2015) and ”Hidden Figures” (2016), among many others. Featured are such cinema icons as Martin Scorsese, Jodie Foster, Charlize Theron, Dwayne Johnson and father-daughter Oscar winners Francis Ford Coppola and a young Sofia Coppola on the set of “Apocalypse Now.” Curated by DF Studio’s Greg Dyro and produced along with the SMPSP’s exhibition committee, this striking exhibit of 42 images explores and honors the artistry and cultural importance of unit photography. The SMPSP and DigitalFusion thank Epson for their generous sponsorship of this exhibition. About the Society of Motion Picture Still Photographers… The SMPSP was founded in Los Angeles in 1995 as a non-profit honorary organization dedicated to the art of motion picture still photography. Today, the membership includes a global roster shooting on set from LA to Rio, from Warsaw to Tehran. They share an interest in promoting the archival preservation of unit still photography and raising awareness of its intrinsic value. The organization also provides a forum for its members to exchange ideas and to examine the issues facing photographers today.
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Mad Max» Series 147-151
236 Δόξα / Докса.– 2015. – Вип. 2 (24). Δόξα / Докса.– 2015. – Вип. 2 (24). 237 5. Hardashchuk T. V. (2001) Suchasnyi ekolohizm: teoretychni zasady ta UDC 1-929.1/.3)+778.5 Konstantin Rayhert praktychni implikatsii [Modern environmentalism: the theoretical THE SOCIAL CRITICISM OF AUSTRALIAN ROADKILL foundations and practical implications], Praktychna filosofiia, № 1, pp. CULTURE IN GEORGE MILLER’S «MAD MAX» SERIES 147-151. Film series “Mad Max” is the George Miller’s social critical statement about 6. Ivanenko I. (2002) Pryroda yak zasib konstruiuvannia konfliktu v drami- the Australian car culture that is based on auto-fetishism. The Australian car feierii «Lisova pisnia» Lesi Ukrainky [Nature as a means of constructing culture is a kind of consumerism. The car murder culture, within what car is the conflict in Lesya Ukrainka’s fйerie «Forest Song»], Slobozhanshchyna, considered as a weapon of murder, is embedded into the Australian car culture. № 22, pp. 136–145. Keywords: Australia, culture, car, murder, consumerism. 7. Kontseptualni vymiry ekolohichnoi svidomosti: monohrafiia (2003) [Conceptual dimensions of environmental awareness: Monograms] / George Miller’s Mad Maxis a bright representative of Ozploitation1and [Kyselov M. M., Derkach V. L., Tolstoukhov A. V. ta in.], K., Vyd-vo the significant and emblematic film series in the history of Western popular „Parapan”, 312 p. culture. In particular the second film of the series influenced violently on Post- 8. Meterlink M. (2006) Synii ptakh: kazka [The Blue Bird: Tale] / perekazav apocalyptic thematic in cinema (for example: Lance Hool’s Steel Dawn(1987) z fr. L. Yakhnin ; per. z ros. Iu. Nadzbruchanets ; khudozh. I. Bodrova. K., starring Patrick Swayze, Lee H.
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