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Customizable • Ease of Access Cost Effective • Large Film Library
CUSTOMIZABLE • EASE OF ACCESS COST EFFECTIVE • LARGE FILM LIBRARY www.criterionondemand.com Criterion-on-Demand is the ONLY customizable on-line Feature Film Solution focused specifically on the Post Secondary Market. LARGE FILM LIBRARY Numerous Titles are Available Multiple Genres for Educational from Studios including: and Research purposes: • 20th Century Fox • Foreign Language • Warner Brothers • Literary Adaptations • Paramount Pictures • Justice • Alliance Films • Classics • Dreamworks • Environmental Titles • Mongrel Media • Social Issues • Lionsgate Films • Animation Studies • Maple Pictures • Academy Award Winners, • Paramount Vantage etc. • Fox Searchlight and many more... KEY FEATURES • 1,000’s of Titles in Multiple Languages • Unlimited 24-7 Access with No Hidden Fees • MARC Records Compatible • Available to Store and Access Third Party Content • Single Sign-on • Same Language Sub-Titles • Supports Distance Learning • Features Both “Current” and “Hard-to-Find” Titles • “Easy-to-Use” Search Engine • Download or Streaming Capabilities CUSTOMIZATION • Criterion Pictures has the rights to over 15000 titles • Criterion-on-Demand Updates Titles Quarterly • Criterion-on-Demand is customizable. If a title is missing, Criterion will add it to the platform providing the rights are available. Requested titles will be added within 2-6 weeks of the request. For more information contact Suzanne Hitchon at 1-800-565-1996 or via email at [email protected] LARGE FILM LIBRARY A Small Sample of titles Available: Avatar 127 Hours 2009 • 150 min • Color • 20th Century Fox 2010 • 93 min • Color • 20th Century Fox Director: James Cameron Director: Danny Boyle Cast: Sam Worthington, Sigourney Weaver, Cast: James Franco, Amber Tamblyn, Kate Mara, Michelle Rodriguez, Zoe Saldana, Giovanni Ribisi, Clemence Poesy, Kate Burton, Lizzy Caplan CCH Pounder, Laz Alonso, Joel Moore, 127 HOURS is the new film from Danny Boyle, Wes Studi, Stephen Lang the Academy Award winning director of last Avatar is the story of an ex-Marine who finds year’s Best Picture, SLUMDOG MILLIONAIRE. -
Sundance Institute Presents Institute Sundance U.S
1 Check website or mobile app for full description and content information. description app for full Check website or mobile #sundance • sundance.org/festival sundance.org/festival Sundance Institute Presents Institute Sundance The U.S. Dramatic Competition Films As You Are The Birth of a Nation U.S. Dramatic Competition Dramatic U.S. Many of these films have not yet been rated by the Motion Picture Association of America. Read the full descriptions online and choose responsibly. Films are generally followed by a Q&A with the director and selected members of the cast and crew. All films are shown in 35mm, DCP, or HDCAM. Special thanks to Dolby Laboratories, Inc., for its support of our U.S.A., 2016, 110 min., color U.S.A., 2016, 117 min., color digital cinema projection. As You Are is a telling and retelling of a Set against the antebellum South, this story relationship between three teenagers as it follows Nat Turner, a literate slave and traces the course of their friendship through preacher whose financially strained owner, PROGRAMMERS a construction of disparate memories Samuel Turner, accepts an offer to use prompted by a police investigation. Nat’s preaching to subdue unruly slaves. Director, Associate Programmers Sundance Film Festival Lauren Cioffi, Adam Montgomery, After witnessing countless atrocities against 2 John Cooper Harry Vaughn fellow slaves, Nat devises a plan to lead his DIRECTOR: Miles Joris-Peyrafitte people to freedom. Director of Programming Shorts Programmers SCREENWRITERS: Miles Joris-Peyrafitte, Trevor Groth Dilcia Barrera, Emily Doe, Madison Harrison Ernesto Foronda, Jon Korn, PRINCIPAL CAST: Owen Campbell, DIRECTOR/SCREENWRITER: Nate Parker Senior Programmers Katie Metcalfe, Lisa Ogdie, Charlie Heaton, Amandla Stenberg, PRINCIPAL CAST: Nate Parker, David Courier, Shari Frilot, Adam Piron, Mike Plante, Kim Yutani, John Scurti, Scott Cohen, Armie Hammer, Aja Naomi King, Caroline Libresco, John Nein, Landon Zakheim Mary Stuart Masterson Jackie Earle Haley, Gabrielle Union, Mike Plante, Charlie Reff, Kim Yutani Mark Boone Jr. -
Sight & Sound Films of 2007
Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic -
Game of Thrones
OF MONSTERS Best looks on the small screen By Joe Nazzaro hoto by Jordin Althaus/AMC AND MEN P elevision really has become the new frontier as far as high-quality drama is concerned. Not only have numerous filmmakers made the increasingly effortless jump from big to small screen, but with the growing influence of on-demand programming, Tpay (and basic) cable and new means of content delivery popping up all the time, the quality gap between film and television is virtually imperceptible. With that in mind, Make-Up Artist catches up with a handful of today’s top small-screen series, from a departing favorite to a surprise streaming sensation. GAME OF THRONES ith Season Five of the fantasy series airing on HBO, and Season Six headed into production, it’s a busy time for prosthetic supervisor WBarrie Gower, who won an Emmy for the fourth-season episode “The Children” with make-up department head Jane Walker. “Going into Season Five, we felt much more confident about whatever they could throw at us, but it was probably double the amount of work as Season Four,” Gower says. “Episode eight, which is called ‘Hardhome,’ was on the scale of a huge movie, so this season has been a massive undertaking. “Our main returning character this season was the king of the White Walkers, called the Night’s King, played by Richard Brake, as well as three new White Walkers, all played by stuntmen, each wearing bespoke silicone prosthetics and lace wigs. We also had a new giant this season called Wun Wun, played by Ian Whyte, a major character in episode eight. -
Film & Literature
Name_____________________ Date__________________ Film & Literature Mr. Corbo Film & Literature “Underneath their surfaces, all movies, even the most blatantly commercial ones, contain layers of complexity and meaning that can be studied, analyzed and appreciated.” --Richard Barsam, Looking at Movies Curriculum Outline Form and Function: To equip students, by raising their awareness of the development and complexities of the cinema, to read and write about films as trained and informed viewers. From this base, students can progress to a deeper understanding of film and the proper in-depth study of cinema. By the end of this course, you will have a deeper sense of the major components of film form and function and also an understanding of the “language” of film. You will write essays which will discuss and analyze several of the films we will study using accurate vocabulary and language relating to cinematic methods and techniques. Just as an author uses literary devices to convey ideas in a story or novel, filmmakers use specific techniques to present their ideas on screen in the world of the film. Tentative Film List: The Godfather (dir: Francis Ford Coppola); Rushmore (dir: Wes Anderson); Do the Right Thing (dir: Spike Lee); The Dark Knight (dir: Christopher Nolan); Psycho (dir: Alfred Hitchcock); The Graduate (dir: Mike Nichols); Office Space (dir: Mike Judge); Donnie Darko (dir: Richard Kelly); The Hurt Locker (dir: Kathryn Bigelow); The Ice Storm (dir: Ang Lee); Bicycle Thives (dir: Vittorio di Sica); On the Waterfront (dir: Elia Kazan); Traffic (dir: Steven Soderbergh); Batman (dir: Tim Burton); GoodFellas (dir: Martin Scorsese); Mean Girls (dir: Mark Waters); Pulp Fiction (dir: Quentin Tarantino); The Silence of the Lambs (dir: Jonathan Demme); The Third Man (dir: Carol Reed); The Lord of the Rings trilogy (dir: Peter Jackson); The Wizard of Oz (dir: Victor Fleming); Edward Scissorhands (dir: Tim Burton); Raiders of the Lost Ark (dir: Steven Spielberg); Star Wars trilogy (dirs: George Lucas, et. -
Valerio Bonelli Editor
VALERIO BONELLI EDITOR FILM & TELEVISION CYRANO Director: Joe Wright Production Company: Working Title Films SANPA: SINS OF THE SAVIOR Director: Cosima Spender Production Company: Netflix THE WOMAN IN THE WINDOW Director: Joe Wright Production Company: Netflix THE BOY WHO HARNESSED THE WIND Director: Chiwetel Ejiofor Production Company: Potboiler Productions & Netflix Nominated, Best Debut Director and Best Supporting Actor, BIFA Awards (2019) Official Selection, Sundance Film Festival (2019) Official Selection, Berlin Film Festival (2019) DARKEST HOUR Director: Joe Wright Production Company: Working Title Films Nominated, Best Picture & Best Actor, Academy Awards (2018) Winner, Best Leading Actor, BAFTA Awards (2018) Official Selection, Toronto Film Festival (2017) BLACK MIRROR: NOSE DIVE Director: Joe Wright Production Company: Netflix Official Selection, Toronto Film Festival (2016) Official Selection, London Film Festival (2016) LUX ARTISTS | 1 FLORENCE FOSTER JENKINS Director: Stephen Frears Production Company: Pathe THE MARTIAN (Co-editor) Director: Ridley Scott Production Company: 20th Century Fox Official Selection, Toronto Film Festival (2015) THE PROGRAM Director: Stephen Frears Production Company: Working Title Films Official Selection, Toronto Film Festival (2015) Official Selection, London Film Festival (2015) PALIO Director: Cosima Spender Production Company: Playmaker Films Winner, Best Documentary Editing, Tribeca Film Festival (2015) Nominated, Best Documentary, BIFA Awards (2015) Nominated, Best Documentary, Tribeca Film -
Delegates Guide
Delegates Guide 9–14 March, 2018 Cultural Partners Supported by Friends of Qumra Media Partner QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 14 Qumra Project Delegates 17 Industry Delegates 57 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Jaser Alagha Aya Al-Blouchi Quay Chu Anthea Devotta Qumra Industry Qumra Master Classes Development Qumra Industry Senior Coordinator Senior Coordinator Executive Coordinator Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Mayar Hamdan Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Qumra Shorts Coordinator Qumra Production Qumra Talks Senior Qumra Pass Senior Development Assistant Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Meriem Mesraoua Vanessa Paradis Nina Rodriguez Alanoud Al Saiari Grants Senior Coordinator Grants Coordinator Qumra Industry Senior Qumra Pass Coordinator Coordinator Film Workshops & Labs Coordinator Wesam Said Eliza Subotowicz Rawda Al-Thani Jana Wehbe Grants Assistant Grants Senior Coordinator Film Programming Qumra Industry Senior Assistant Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Chadi Zeneddine Head of Grants Qumra Industry Industry Advisor Film Programmer Ania Wojtowicz Manager Qumra Shorts Coordinator Film Training Senior Film Workshops & Labs Senior Coordinator -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
THE INNOCENTS Directed by Jack Clayton UKUS, 1961, 100 Mins, Cert 12A
THE INNOCENTS Directed by Jack Clayton UKUS, 1961, 100 mins, Cert 12A Starring Deborah Kerr, Peter Wyngarde, Michael Redgrave Martin Stephens, Pamela Franklin Opening on 13 December 2013 at BFI Southbank, IFI Dublin, QFT Belfast & selected cinemas nationwide 24 October 2013 – The second of three films to be released by the BFI in cinemas nationwide as part of GOTHIC: The DarK Heart of Film is Jack Clayton’s 1961 feature The Innocents, now widely considered to be one of the greatest of all cinematic tales of terror. This celebrated adaptation of Henry James’s The Turn of the Screw (1898) was scripted by William Archibald (whose play of the book had been on Broadway) and Truman Capote, with additional scenes and dialogue by John Mortimer. A brilliant exercise in psychological horror, The Innocents tells of an impressionable and repressed governess, Miss Giddens (Deborah Kerr), who agrees to tutor two orphaned children, Miles (Martin Stephens) and Flora (Pamela Franklin). On arrival at Bly House, she becomes convinced that the children are possessed by the perverse spirits of former governess Miss Jessel (Clytie Jessop) and her Heathclifflike lover Quint (Peter Wyngarde), who both met with mysterious deaths. The sinister atmosphere of The Innocents is carefully created – not through shocK tactics – but through its cinematography, soundtrack, and decor: Freddie Francis’ beautiful CinemaScope photography, with its eerily indistinct long shots and mysterious manifestations at the edges of the frame; Georges Auric’s eVocative and spooky soundtrack; and the grand yet decaying Bly House, with spiders crawling from dilapidated statues, ants from the eyes of dolls, and rooms coVered in dust sheets. -
Educational Newsletter
Educational Newsletter http://campaign.r20.constantcontact.com/render?llr=zg5n4wcab&v=001K... The content in this preview is based on the last saved version of your email - any changes made to your email that have not been saved will not be shown in this preview. February 2012 Educational Newsletter French Consulate in Boston Our Academic News In This Issue Formation pour professeurs de français Offre de formation "Réaliser une "Voyages en Francophonie" production audiovisuelle" Our 2011 Contest! Nous avons la possibilité de faire SPCD Grant intervenir à Boston un formateur du The Green Connection Centre de liaison de l'enseignement et des médias d'information (CLEMI) sur le CampusArt thème suivant : "Réaliser une production Hewmingway Grant Program audiovisuelle en classe de français langue étrangère" (détails ICI ). Elle La FEMIS pourrait accueillir une trentaine de Merrimack College Language professeurs de middle schools et high schools. La formation se Programs déroulerait sur deux fois 3 heures en "afterschool" les 27 et 28 "Voyages en Francophonie" février, ou le 28 février sur 6 heures en journée (il est possible de n'assister qu'à la première session, mais en faisant l'impasse Printemps des Poètes sur la partie pratique). Tous les frais sont pris en charge par les "A Preview of 2012 in France" services culturels de l'ambassade de France. Si cette formation Clermont-Ferrand International Short intéresse un nombre suffisant d'entre vous, nous serions Film Festival heureux de l'organiser. Dans ce cas, merci de le faire savoir rapidement à Guillaume Prigent compte tenu des délais très Providence French Film Festival courts. -
The Eddie Awards Issue
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE EDDIE AWARDS ISSUE IN THIS ISSUE Golden Eddie Honoree GUILLERMO DEL TORO Career Achievement Honorees JERROLD L. LUDWIG, ACE and CRAIG MCKAY, ACE PLUS ALL THE WINNERS... FEATURING DUMBO HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD AND MUCH MORE! US $8.95 / Canada $8.95 QTR 1 / 2019 / VOL 69 Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. All other trademarks are the property of their respective owners. Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. -
It's Only the End of the World
IT’S ONLY THE END OF THE WORLD Director’s Note It was in 2010, or perhaps 2011 already, I can’t Four years later, right after Mommy, I caught myself remember. But shortly after I Killed My Mother, I was thinking about the big document with the blue cover, at Anne Dorval’s, sitting at her perennial kitchen island. stored in the living room’s library - on the top shelf, It’s become, over the years, the inescapable hangout naturally. It was so tall it largely peeked out from the where we so often end up to catch up, confide and stack of books it was flanked with, its head high, as confess, look at photos, read stuff or, most of the though it knew it couldn’t be enduringly ignored. time, linger on silently. That’s about where and when she mentioned an extraordinary play she had had the Early that summer, I reread - or read, really - It’s Only indescribable pleasure of doing in the early 2000’s. the End of the World. Around page 6, I knew it was “Never had I had the opportunity of saying and acting going to be my next film. things written and thought in such way, in a vernacular so exhaustively particular” she told me. What’s more, And my first as a man. I could finally understand the she was convinced I had the dire obligation of reading words, the emotions, the silences, the hesitations, the it. She’d even give me her own personal script, left insecurity, the heartbreakingly-real flaws of Jean-Luc as is, scribbled all over a decade earlier ; cues, stage Lagarce’s characters.