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12Th Irish Screen Studies Seminar Dublin City University, 11 May 2016
12th Irish Screen Studies Seminar Dublin City University, 11 May 2016 A Report by Loretta Goff, University College Cork Since its inauguration in 2003, the annual Irish Screen Studies Seminar has acted as a platform for researchers in the area of film and screen cultures to share their work. The seminar is specifically aimed at postgraduate and postdoctoral scholars working out of Irish universities and colleges or with Irish topics, but covers screen culture in the broadest sense, ranging from the audio to the visual, film, television and digital media to transmedia and gaming. This diversity of topic was reflected at the 12th Irish Screen Studies Seminar, which was a one-day event featuring four panels and a keynote address by Catherine Grant (Sussex). The day began with the “Screen: Migration, Policy, and Practice” panel, including papers addressing each of the panel’s subheadings, with a particular theme of transmediality running throughout them. Cormac Mc Garry (NUI Galway) addressed the topic of media migration with his paper titled “Comic Books in the Digital Age: The Great Screen Migration?”, where he explained transmedia approaches to comics in association with the horizontal integration of media conglomerates. The “big two” comics producers, Marvel and DC, are subsidiaries of Disney and Time Warner respectively, who have slated comic film release dates as far in advance as 2020, and who simultaneously produce games, TV shows and even motion and Guided View comics across their various subsidiaries to reinforce viewer commitments across channels. Maria O’Brien (Dublin City University) then shed some light on tax incentive policies (or lack thereof) for video game production, as compared to film, in her paper “Video Games in the 2013 Cinema Communication Negotiations: A Political Economic Perspective”. -
Sunday Morning Grid 9/24/17 Latimes.Com/Tv Times
SUNDAY MORNING GRID 9/24/17 LATIMES.COM/TV TIMES 7 am 7:30 8 am 8:30 9 am 9:30 10 am 10:30 11 am 11:30 12 pm 12:30 2 CBS CBS News Sunday Face the Nation (N) The NFL Today (N) Å Football Houston Texans at New England Patriots. (N) Å 4 NBC Today in L.A. Weekend Meet the Press (N) (TVG) NBC4 News Presidents Cup 2017 TOUR Championship Final Round. (N) Å 5 CW KTLA 5 Morning News at 7 (N) Å KTLA News at 9 In Touch Paid Program 7 ABC News This Week News Rock-Park Outback Jack Hanna Ocean Sea Rescue Basketball 9 KCAL KCAL 9 News Sunday (N) Joel Osteen Schuller Mike Webb Paid Program REAL-Diego Paid 11 FOX Fox News Sunday FOX NFL Kickoff (N) FOX NFL Sunday (N) Football New York Giants at Philadelphia Eagles. (N) Å 13 MyNet Paid Matter Fred Jordan Paid Program MLS Soccer LA Galaxy at Sporting Kansas City. (N) 18 KSCI Paid Program Paid Program 22 KWHY Paid Program Paid Program 24 KVCR Paint With Painting Joy of Paint Wyland’s Paint This Oil Painting Milk Street Mexican Cooking Jazzy Baking Project 28 KCET 1001 Nights 1001 Nights Mixed Nutz Edisons DW News: Live Coverage of German Election 2017 Å 30 ION Jeremiah Youseff In Touch Law Order: CI Law Order: CI Law Order: CI Law Order: CI 34 KMEX Conexión Paid Program Como Dice el Dicho La Comadrita (1978, Comedia) María Elena Velasco. República Deportiva 40 KTBN James Win Walk Prince Carpenter Jesse In Touch PowerPoint It Is Written Jeffress Super Kelinda John Hagee 46 KFTR Paid Program Recuerda y Gana The Reef ›› (2006, Niños) (G) Remember the Titans ››› (2000, Drama) Denzel Washington. -
The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d. -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
Innovators: Filmmakers
NBER WORKING PAPER SERIES INNOVATORS: FILMMAKERS David W. Galenson Working Paper 15930 http://www.nber.org/papers/w15930 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 April 2010 The views expressed herein are those of the author and do not necessarily reflect the views of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2010 by David W. Galenson. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. Innovators: Filmmakers David W. Galenson NBER Working Paper No. 15930 April 2010 JEL No. Z11 ABSTRACT John Ford and Alfred Hitchcock were experimental filmmakers: both believed images were more important to movies than words, and considered movies a form of entertainment. Their styles developed gradually over long careers, and both made the films that are generally considered their greatest during their late 50s and 60s. In contrast, Orson Welles and Jean-Luc Godard were conceptual filmmakers: both believed words were more important to their films than images, and both wanted to use film to educate their audiences. Their greatest innovations came in their first films, as Welles made the revolutionary Citizen Kane when he was 26, and Godard made the equally revolutionary Breathless when he was 30. Film thus provides yet another example of an art in which the most important practitioners have had radically different goals and methods, and have followed sharply contrasting life cycles of creativity. -
Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing -
RAY ZIMMERMAN Producer
(6/25/12) RAY ZIMMERMAN Producer From 1995 through 2005, Ray served as Sr. Vice President for Sony / Tristar / Columbia Pictures, supervising and managing all aspects of the physical production of approximately 100 films including: Jerry Maguire, My Best Friend’s Wedding, Starship Troopers, The Mask of Zorro, Godzilla, Memoirs of a Geisha, Charlie’s Angels: Full Throttle, Panic Room, Big Fish, Vertical Limit, Men in Black II, As Good As It Gets, Stepmom, Ali, Spiderman 2, Hitch, The Da Vinci Code, The Pursuit of Happyness, Hollow Man, Talladega Nights, Bad Boys 2 , and many more. During his tenure at Sony, Ray was responsible for the oversight of over $500 million per year in film productions with budgets ranging from $6 million to $250 million. He worked closely with the filmmakers to create the production plan, schedule, budget and approach, and legal/corporate/tax structure for each film. FILM & TELEVISION DIRECTOR COMPANY PRODUCERS “COWBOYS & ALIENS” Jon Favreau Universal Brian Grazer (Unit Production Manager) Dreamworks Ron Howard “THE CHRONICLES OF Andrew Adamson Disney Andrew Adamson NARNIA: PRINCE CASPIAN” Walden Media Mark Johnson (Production Executive) Philip Steuer “BOTTLE ROCKET” Wes Anderson Columbia Cynthia Hargrave (Co-producer) Gracie Films Polly Platt “TRUE CRIME” Pat Verducci Trimark Pictures Jonathan Furie (Co-producer) Andrew Hersh “HEATSEEKER” Albert Pyun Filmwerks Tom Karnowski (Co-producer) Trimark Pictures Gary Schmoeller “SPITFIRE” Albert Pyun Filmwerks Tom Karnowski (Co-producer) Trimark Pictures Gary Schmoeller “HONG KONG 97” Albert Pyun Filmwerks Tom Karnowski (Co-producer) Trimark Pictures Gary Schmoeller “LEPRECHAUN 2” Rodman Flender Planet Productions Donald P. Borchers (Production manager) “INCIDENT AT OGLALA” Michael Apted Spanish Fork Motion Arthur Chobanian (Production Supervisor) Picture “DESIRE AND HELL AT Alien Castle Planet Productions Donald P. -
3. Groundhog Day (1993) 4. Airplane! (1980) 5. Tootsie
1. ANNIE HALL (1977) 11. THIS IS SPINAL Tap (1984) Written by Woody Allen and Marshall Brickman Written by Christopher Guest & Michael McKean & Rob Reiner & Harry Shearer 2. SOME LIKE IT HOT (1959) Screenplay by Billy Wilder & I.A.L. Diamond, Based on the 12. THE PRODUCERS (1967) German film Fanfare of Love by Robert Thoeren and M. Logan Written by Mel Brooks 3. GROUNDHOG DaY (1993) 13. THE BIG LEBOWSKI (1998) Screenplay by Danny Rubin and Harold Ramis, Written by Ethan Coen & Joel Coen Story by Danny Rubin 14. GHOSTBUSTERS (1984) 4. AIRplaNE! (1980) Written by Dan Aykroyd and Harold Ramis Written by James Abrahams & David Zucker & Jerry Zucker 15. WHEN HARRY MET SALLY... (1989) 5. TOOTSIE (1982) Written by Nora Ephron Screenplay by Larry Gelbart and Murray Schisgal, Story by Don McGuire and Larry Gelbart 16. BRIDESMAIDS (2011) Written by Annie Mumolo & Kristen Wiig 6. YOUNG FRANKENSTEIN (1974) Screenplay by Gene Wilder and Mel Brooks, Screen Story by 17. DUCK SOUP (1933) Gene Wilder and Mel Brooks, Based on Characters in the Novel Story by Bert Kalmar and Harry Ruby, Additional Dialogue by Frankenstein by Mary Wollstonecraft Shelley Arthur Sheekman and Nat Perrin 7. DR. STRANGELOVE OR: HOW I LEARNED TO STOP 18. There’s SOMETHING ABOUT MARY (1998) WORRYING AND LOVE THE BOMB (1964) Screenplay by John J. Strauss & Ed Decter and Peter Farrelly & Screenplay by Stanley Kubrick and Peter George and Bobby Farrelly, Story by Ed Decter & John J. Strauss Terry Southern 19. THE JERK (1979) 8. BlaZING SADDLES (1974) Screenplay by Steve Martin, Carl Gottlieb, Michael Elias, Screenplay by Mel Brooks, Norman Steinberg Story by Steve Martin & Carl Gottlieb Andrew Bergman, Richard Pryor, Alan Uger, Story by Andrew Bergman 20. -
Lecture 2 1970S Hollywood.Pdf
FILM IN THE 1970s THE FILM SCHOOL GENERATION AND THE BIRTH OF THE NEW HOLLYWOOD ROGER CORMAN - Born in 1926 - Known as “King of the Bs” – his best-known film is The Little Shop of Horrors (1962) - Made many low-budget exploitation films, and used the profits to finance and distribute prestigious films – many of them directed by his protégés, who went on to become some of the most influential directors of the 1970s and beyond - Honorary Academy Award in 2009 “for his rich engendering of films and filmmakers” PETER BOGDANOVICH - Born in 1939 - Film programmer at MoMA, wrote about film for Esquire; worked with Orson Welles, John Ford, and other classic Hollywood directors - 1971 – directed The Last Picture Show – followed up with successes What’s Up, Doc?, Paper Moon - Later films didn’t fulfill his early promise, but he continues to be an influential voice on the subject of film history FRANCIS - Born in 1939 FORD - MFA from UCLA (1966) – first major COPPOLA director to graduate from a prominent university film program - Screenwriter – Patton – won first Oscar - 1969 – established American Zoetrope with his protégé George Lucas - 1972 – The Godfather - 1974 – The Godfather Part 2 and The Conversation MARTIN SCORSESE - Born in 1942 - B.S. (1964) and M.A. (1968) from NYU - Worked with Corman; and, as his student project, edited Woodstock (1970) - Rose to fame in 1973 – Mean Streets – not a commercial hit, but had a dynamic style, and set a template for character types and themes and settings he would return to throughout his career GEORGE LUCAS - Born in 1944 - USC graduate – won 1965 National Student Film Festival with THX-1138 - Apprenticed with Coppola, and later collaborated with him - First major success – American Graffiti (1973) - Invested those profits into Lucasfilm, Ltd. -
March 28, 2001 (III:10) Notable Recent Job Has Been Playing Tony Soprano’S Psychiatrist’S Psychiatrist
PETER BOGDANOVICH (30 July 1939, Kingston, New York, USA ) most March 28, 2001 (III:10) notable recent job has been playing Tony Soprano’s psychiatrist’s psychiatrist. “Many French cineasts and film critics went on to become major filmmakers, but in America only one such scholar made that transition: Peter Bogdanovich. This lifelong film buff wrote dozens of articles, books, and program notes about Hollywood before settling there in the mid 1960s. He fell in with producer Roger Corman, becoming a jack-of-all-trades on The Wild Angels (1966) and reworking a Russian sci-fi epic into Voyage to the Planet of Prehistoric Women (1967). Bogd anov ich's first real film was the suspenseful Targets (1968), which he directed, produced, and cowrote with then-wife Polly Platt. After making a documentary, Directed by John Ford (1971), he directed the melancholy Larry McMurtry story The Last Picture Show (1971), which becam e a major critical and commercial hit…. “Celebrated as Hollywood's latest wunderkind, he made two more big hits: the screwball farce What's U p, Doc? (1972) and another period piece, Paper Moon (1973), which brought an Oscar to debuting Tatum O'Neal. Both films were very much dependent on references to earlier films and directors, but there was no denying his superb craftsmanship and assu red handling of actors. Bu t it was perceived that his relationship with Cybill Shepherd led to his undoing. Two Shepherd vehicles-Daisy Miller (1974) and At Long Last Love (1975)-were major stiffs, and the well-intentioned Nickelodeon (1976) was pronounced D.O.A. -
Tobacco Control Policy Making: United States
UCSF Tobacco Control Policy Making: United States Title Tobacco product placement and its reporting to the Federal Trade Commission Permalink https://escholarship.org/uc/item/7kd981j3 Authors Polansky, Jonathan R Glantz, Stanton A, PhD Publication Date 2016-07-01 eScholarship.org Powered by the California Digital Library University of California Tobacco product placement and its reporting to the Federal Trade Commission Jonathan R. Polansky Onbeyond LLC, Fairfax, California Stanton A. Glantz, PhD University of California, San Francisco ___________________________ University of California, San Francisco This publication is available at www.escholarship.org/uc/item/7kd981j3 July 2016 Tobacco product placement and its reporting to the FTC | 2 Summary of findings The historical record strongly suggests that asking tobacco companies to report their product placement activities and expenditures did not capture all activity in this area. This report compares expenditures for product placement described in internal documents from American Tobacco, Brown & Williamson, Liggett & Myers, Philip Morris and RJ Reynolds tobacco companies with reports the companies were required to submit to the US Federal Trade Commission in the “endorsements and testimonials” category of cigarette promotion and advertising. During that time, in their internal documents, American Tobacco, Brown & Williamson, Philip Morris and RJ Reynolds, or their contracted product placement agents, listed 750 motion pictures as engaged for product placement, 600 of which were released widely to theaters (Appendix). Substantial discrepancies exist between product placement spending described in the internal industry records and the spending reported to the Federal Trade Commission in the “endorsements and testimonials” category. Nearly half (47 percent; $2.3 million of about $5 million) of spending for on-screen product placement described in internal industry records between 1978 and 1994 was not reported in to the FTC in the “endorsements and testimonials” category. -
RFC's Library's Book Guide
RFC’s Library’s Book Guide 2017 Since the beginning of our journey at the Royal Film Commission – Jordan (RFC), we have been keen to provide everything that promotes cinema culture in Jordan; hence, the Film Library was established at the RFC’s Film House in Jabal Amman. The Film Library offers access to a wide and valuable variety of Jordanian, Arab and International movies: the “must see” movies for any cinephile. There are some 2000 titles available from 59 countries. In addition, the Film Library has 2500 books related to various aspects of the audiovisual field. These books tackle artistic, technical, theoretical and historical aspects of cinema and filmmaking. The collec- tion of books is bilingual (English and Arabic). Visitors can watch movies using the private viewing stations available and read books or consult periodi- cals in a calm and relaxed atmosphere. Library members are, in addition, allowed to borrow films and/or books. Membership fees: 20 JOD per year; 10 JOD for students. Working hours: The Film Library is open on weekdays from 9:00 AM until 8:00 PM. From 3:00 PM until 8:00 PM on Saturdays. It is closed on Fridays. RFC’s Library’s Book Guide 2 About People In Cinema 1 A Double Life: George Cukor Patrick McGilligan 2 A Hitchcock Reader Marshall Dentelbaum & Leland Poague 3 A life Elia Kazan 4 A Man With a Camera Nestor Almenros 5 Abbas Kiarostami Saeed-Vafa & Rosenbaum 6 About John Ford Lindsay Anderson 7 Adventures with D.W. Griffith Karl Brown 8 Alexander Dovzhenko Marco Carynnk 9 All About Almodovar Epps And Kakoudeki