David Fincher's Zodiac
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GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months. -
The Church Today, February 15, 2016
CHURCH TODAY Volume XLVII, No. 2 www.diocesealex.org Serving the Diocese of Alexandria, Louisiana Since 1970 February 15, 2016 O N T H E INSIDE Vatican says foot-washing on Holy Thursday not limited to just men Following a request by Pope Francis, the Vatican issued a decree specifying that the Holy Thursday foot-washing ritual can include “all members of the people of God,” including women -- a practice already observed by the pope and many priests around the world. Read more on pg. 3. Local high school students brave winter storm in D.C to March for Life Despite predictions of the ‘worst winter storm in Washington, D.C. history,” almost 100 students from Central Louisiana braved the frigid temperatures to participate in the 43rd Annual March for Life in Washington, D.C. Read about their inspiring story on pgs. 15-17. Use these 40 days of Lent to draw closer to Jesus Whether it’s attending a Lent- en mission, a Lenten conference sponsored by the Diocese of Alex- andria, or going to confession, the LENT AT EPHESUS. This is the CD cover of “Lent at Ephesus” by the season of Lent is an opportunity Benedictines of Mary, Queen of the Apostles, a contemplative order based to draw closer to Jesus. View the in Missouri. The CD is a compilation of poignant chants, elaborate harmo- schedule of Lenten events, pg. 18 nies and inspiring hymns of glory and redemption. (CNS) PAGE 2 CHURCH TODAY FEBRUARY 15, 2016 Pope Francis: God wants to save you; will you let him? By Carol Glatz This is the way that families condemn anybody,” not even Catholic News Service try to work out their conflicts, those whom many think deserve he said. -
FILMS MANK Makeup Artist Netflix Director: David Fincher SUN DOGS
KRIS EVANS Member Academy of Makeup Artist Motion Picture Arts and Sciences IATSE 706, 798 and 891 BAFTA Los Angeles [email protected] (323) 251-4013 FILMS MANK Makeup Artist Netflix Director: David Fincher SUN DOGS Makeup Department Head Fabrica De Cine Director: Jennifer Morrison Cast: Ed O’Neill, Allison Janney, Melissa Benoist, Michael Angarano FREE STATE OF JONES Key Makeup STX Entertainment Director: Gary Ross Cast: Mahershala Ali, Matthew McConaughey, GuGu Mbatha-Raw THE PERFECT GUY Key Makeup Screen Gems Director: David M Rosenthal Cast: Sanaa Lathan, Michael Ealy, Morris Chestnut NIGHTCRAWLER Key Makeup, Additional Photography Bold Films Director: Dan Gilroy HUNGER GAMES MOCKINGJAY PART 1 & 2 Background Makeup Supervisor Lionsgate Director: Francis Lawrence THE HUNGER GAMES: CATCHING FIRE Background Makeup Supervisor Lionsgate Director: Francis Lawrence THE FACE OF LOVE Assistant Department Head Mockingbird Pictures Director: Arie Posen THE RELUCTANT FUNDAMENTALIST Makeup Department Head Cine Mosaic Director: Mira Nair Cast: Riz Ahmed, Kate Hudson, Kiefer Sutherland ABRAHAM LINCOLN VAMPIRE HUNTER 2012 Special Effects Makeup Artists th 20 Century Fox Director: Timur Bekmambetov THE AMAZING SPIDER-MAN 2012 Makeup Artist Columbia Pictures Director: Marc Webb THE HUNGER GAMES Background Makeup Supervisor Lionsgate Director: Gary Ross THE RUM DIARY Key Makeup Warner Independent Pictures Director: Bruce Robinson Cast: Amber Heard, Giovanni Ribisi, Amaury Nolasco, Richard Jenkins 1 KRIS EVANS Member Academy of Makeup Artist -
Finalists Announced for the 2007 Sundance/Nhk International Filmmakers Awards
FOR IMMEDIATE RELEASE For More Information Contact: November 17, 2006 Patrick Hubley, 435.658.3456 [email protected] FINALISTS ANNOUNCED FOR THE 2007 SUNDANCE/NHK INTERNATIONAL FILMMAKERS AWARDS New Projects from Emerging Filmmakers from Europe, Latin America, the United States and Japan Selected Los Angeles, CA–Sundance Institute and NHK (Japan Broadcasting Corporation) announced today the 12 finalists for the 2007 Sundance/NHK International Filmmakers Awards. These annual awards recognize emerging artists in international cinema and are presented to film directors from four global regions (Europe, Latin America, the United States, and Japan) to support them in realizing their next projects. The four winners, selected by members of an international jury, will be announced during the 2007 Sundance Film Festival at Park City, Utah, which runs January 18-28. The awards will be presented at the Festival Awards Ceremony on Saturday, January 27. The 12 finalists for the 2007 Sundance/NHK International Filmmakers Awards are: EUROPE LATIN AMERICA • Jens Jonsson / THE PING-PONG KING (Sweden) • Lucía Cedrón / AGNUS DEI (Argentina) • Dagur Kári / THE GOOD HEART (Iceland) • Jorge Gaggero / DOG SECURITY (Argentina) • Ursula Meier / HOME (Switzerland) • Josué Méndez / DIOSES (Peru) JAPAN UNITED STATES • Isamu Hirabayashi / THE CARE AND FEEDING OF • Caran Hartsfield / BURY ME STANDING INSECTS • Jake Mahaffy / FREE IN DEED • Tomoko Kana / TWO BY THE RIVER • Kazuo Ohno / MR. CRUMPACKER AND THE MAN FROM • Yoshinori Saitou / CHICKEN CHOICE THE LETTER The winning director from each region will receive a $10,000 award and a guarantee from NHK to purchase the Japanese television broadcast rights upon completion of their project. In addition, Sundance Institute will work closely with the award recipients throughout the year, providing ongoing resources and support in seeking out opportunities to finance and distribute their projects. -
Martel's Aquatic Zoopoetics
The Cine-Files, Issue 14 (spring 2019) Martel’s Aquatic Zoopoetics Lucy Bollington In his monograph Formas comunes: animalidad, cultura, biopolítica, Argentine animal theorist Gabriel Giorgi suggests that a change is underway in the deployment of the nonhuman animal figure within Latin American literature and installation art. Whereas historically, Giorgi contends, the animal functioned as a separate sign that denoted barbarity, different categories of alterity, and the “failure” of civilization, from the 1960s onwards there has been an increasing “destabilisation of the distance […] holding apart the human and the animal,” with cultural texts frequently articulating a “new proximity” between the two “that is at once an area of ethical interrogation and a horizon of politicisation.”1 In the contemporary period, the figure of the animal erupts into the internal spaces “of the home, prisons and cities,” writes Giorgi, and is often bound up with intimate explorations of the body, with its “desires, illnesses, passions and affects.”2 Giorgi charges that this human-nonhuman entanglement calls into question existing ontological definitions of the “human” and often challenges the destructive biopolitics that posit certain lives as more liveable than others.3 Internationally-acclaimed New Argentine Cinema director Lucrecia Martel stages such a coming home of the animal, in the sense meant by Giorgi. Animals proliferate in and around the domestic spaces Martel frames, provoke significant multifurcations in narrative meaning, and appear in relation to the movements, characteristics, affects and sociopolitical status of a variety of human bodies. Martel’s rich zoopoetical imaginary has attracted critical attention previously, particularly in relation to the ways in which the animals the director frames enter into symbolic exchange with her child and adolescent protagonists. -
L3702 LETHAL WEAPON 2 (USA, 1989) (Other Titles: Arma Lethale 2; Arme Fatale 2; Brennpunkt L.A.; Dodbringende Veben 2)
L3702 LETHAL WEAPON 2 (USA, 1989) (Other titles: Arma lethale 2; Arme fatale 2; Brennpunkt L.A.; Dodbringende veben 2) Credits: director, Richard Donner ; writer, Jeffrey Boam. Cast: Mel Gibson, Danny Glover, Joe Pesci, Joss Ackland. Summary: Police thriller set in contemporary Los Angeles. Detectives Riggs (Gibson) and Murtaugh (Glover) must guard a free-wheeling witness (Pesci) in a drug money laundering scheme run by South African diplomats. A comedy of car chases, gun battles, and under-water escapes. Ansen, David. “The arts: Movies: Gibson and Glover return: ‘Lethal weapon 2’ serves up sadism with a smile” 114 Newsweek (Jul 17, 1989), p. 53. [Reprinted in Film review annual 1990] Avins, Mimi. “Shot by shot” Premiere 2/12 (Aug 1989), p. 72-6. Baumann, Paul D. “Screen: Scorching the screen” Commonweal 116 (Oct 6, 1989), p. 529-30. Blair, Iain. “Movies: Mel’s lethal appeal: He’s got killer looks, but shucks, Gibson’s just one of the guys” Chicago tribune (Jul 9, 1989), Arts, p. 4. Blois, Marco de. “Lethal weapon II” 24 images 44-45 (autumn 1989), p. 109. Broeske, Pat H. “A high-caliber Danny Glover” Los Angeles times (Jul 11, 1989), Calendar, p. 1. “Business: Talk about placements” Newsweek 114 (Jul 31, 1989), p. 50. Carr, Jay. “Three stooges with guns” Boston globe (Jul 7, 1989), Arts and film, p. 41. Christensen, Johs H. “Dodbringende veben 2” Levende billeder 5 (Sep 1989), p. 47. Clark, Mike. “‘Lethal 2’ is loaded with bang and blanks” USA today (Jul 7, 1989), p. 1D. Cliff, Paul. “Movie trax” Film monthly 1 (Dec 1989), p. -
Crash- Amundo
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Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
View the Full Song List
PARTY WITH THE PEOPLE 2020 Song List POPULAR SONGS & DANCE HITS ▪ Lizzo - Truth Hurts ▪ The Outfield - Your Love ▪ Tones And I - Dance Monkey ▪ Vanilla Ice - Ice Ice Baby ▪ Lil Nas X - Old Town Road ▪ Queen - We Will Rock You ▪ Walk The Moon - Shut Up And Dance ▪ Wilson Pickett - Midnight Hour ▪ Cardi B - Bodak Yellow, I Like It ▪ Eddie Floyd - Knock On Wood ▪ Chainsmokers - Closer ▪ Nelly - Hot In Here ▪ Shawn Mendes - Nothing Holding Me Back ▪ Lauryn Hill - That Thing ▪ Camila Cabello - Havana ▪ Spice Girls - Tell Me What You Want ▪ OMI - Cheerleader ▪ Guns & Roses - Paradise City ▪ Taylor Swift - Shake It Off ▪ Journey - Don’t Stop Believing, Anyway You Want It ▪ Daft Punk - Get Lucky ▪ Natalie Cole - This Will Be ▪ Pitbull - Fireball ▪ Barry White - My First My Last My Everything ▪ DJ Khaled - All I Do Is Win ▪ King Harvest - Dancing In The Moonlight ▪ Dr Dre, Queen Pen - No Diggity ▪ Isley Brothers - Shout ▪ House Of Pain - Jump Around ▪ 112 - Cupid ▪ Earth Wind & Fire - September, In The Stone, Boogie ▪ Tavares - Heaven Must Be Missing An Angel Wonderland ▪ Neil Diamond - Sweet Caroline ▪ DNCE - Cake By The Ocean ▪ Def Leppard - Pour Some Sugar On Me ▪ Liam Payne - Strip That Down ▪ O’Jay - Love Train ▪ The Romantics -Talking In Your Sleep ▪ Jackie Wilson - Higher And Higher ▪ Bryan Adams - Summer Of 69 ▪ Ashford & Simpson - Ain’t No Stopping Us Now ▪ Sir Mix-A-Lot – Baby Got Back ▪ Kenny Loggins - Footloose ▪ Faith Evans - Love Like This ▪ Cheryl Lynn - Got To Be Real ▪ Coldplay - Something Just Like This ▪ Emotions - Best Of My Love ▪ Calvin Harris - Feel So Close ▪ James Brown - I Feel Good, Sex Machine ▪ Lady Gaga - Poker Face, Just Dance ▪ Van Morrison - Brown Eyed Girl ▪ TLC - No Scrub ▪ Sly & The Family Stone - Dance To The Music, I Want ▪ Ginuwine - Pony To Take You Higher ▪ Montell Jordan - This Is How We Do It ▪ ABBA - Dancing Queen ▪ V.I.C. -
An Introduction to Film
An Introduction to Film (Faith & Film: Elements of Filmmaking) The Special Nature of the Art of the Cinema The Effects of Flow 1. Flow: “Anything that makes you conscious of the camera pulls you out of the experience” (see Boorstin, Making Movies Work, 31). Contrast this to the flow of a sermon. Should a sermon ever draw attention to itself as a mode of persuasion (to lose flow but add to the credibility)? 2. The essence of the art of Cinema is the FLOW that we experience when we’re transported into an imaginary but vividly real world of make-believe (cinema’s “illusionism”). FLOW engages our curiosity, interest, desire, and intellect by causing us to become concerned, focused, Questioning, and open to new realities and interpretations. To get to the “what” of the movies” we first have to get past the “wow of the how” (the illusion). 3. Flow occurs when a movie appeals powerfully in three areas in good balance (in Boorstin, How Movies Work): a) The voyeuristic element: this world is real (Lord of the Rings, Star Wars trilogies, Godfather, Harry Potter films) b) The vicarious element: I empathize with the feelings of the characters (Sixth Sense, Philadelphia, Contact, Precious, Shawshank Redemption) c) The visceral element: I am caught up in experiencing this (Devil, thriller movies, Toy Story 3) 4. For the viewers to experience this flow, they must be willing to “suspend their belief.” (They know the movie is not real, but they are willing to accept this.) In addition, all the elements of the movie should cooperate to keep viewers absorbed in the movie, not expel them out of it. -
First Friday News & Views
MARCH 2007 First Friday VOLUME 12 News & Views ISSUE 3 THE MONTHLY NEWSLETTER OF THE A Haggard Miracle FIRST FRIDAY by Jonathan Wilson BREAKFAST CLUB, INC. fter three weeks of intense counseling, the not-so-Reverend Ted Haggard would have folks believe he’s 100% heterosexual. If such success is to be be- lieved, his counselors have something they need to take on the road. I think INSIDE Ted’ll be an excellent show pony so long as they keep him on a short leash and away from temptation. They dare not turn their backs on him. “Dreamgirls” Movie Re- 2 view by Gary Kaufman When interviewed, even the head of Exodus International, a group that touts the idea that homosexuality can be “cured,” doubted Ted’s conversion. No matter that the knowledgeable, even those who want to believe, doubt the account. We need to keep in mind the audience Hag- February Speaker Review 3 by Bruce Carr gard is playing to. These are people who profess to believe the earth is about 6000 years old; Methuselah lived 900 years; Jonah lived seven days in the belly of a whale, and survived; and Jesus was born of a virgin and went on to walk on water, turn water into wine, raise the dead, Briefs & Shorts 3 cure leprosy, and restore sight to the blind. In the ranks of the gullible, these folks are the crème From the Editor 4 de la crème. For them, Haggard’s conversion from gay to straight in record time would be no more than a minor miracle. -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs.