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I CHINESE INVESTMENT in the UNITED STATES: IMPACTS AND
i CHINESE INVESTMENT IN THE UNITED STATES: IMPACTS AND ISSUES FOR POLICYMAKERS HEARING BEFORE THE U.S.-CHINA ECONOMIC AND SECURITY REVIEW COMMISSION ONE HUNDRED FIFTEENTH CONGRESS FIRST SESSION THURSDAY, JANUARY 26, 2017 Printed for use of the United States-China Economic and Security Review Commission Available via the World Wide Web: www.uscc.gov UNITED STATES-CHINA ECONOMIC AND SECURITY REVIEW COMMISSION WASHINGTON: 2017 ii U.S.-CHINA ECONOMIC AND SECURITY REVIEW COMMISSION CAROLYN BARTHOLOMEW, CHAIRMAN HON. DENNIS C. SHEA, VICE CHAIRMAN Commissioners: ROBIN CLEVELAND HON. JONATHAN STIVERS HON. BYRON L. DORGAN HON. JAMES TALENT HON. CARTE P. GOODWIN DR. KATHERINE C. TOBIN DANIEL M. SLANE MICHAEL R. WESSEL MICHAEL R. DANIS, Executive Director The Commission was created on October 30, 2000 by the Floyd D. Spence National Defense Authorization Act for 2001 § 1238, Public Law No. 106-398, 114 STAT. 1654A-334 (2000) (codified at 22 U.S.C. § 7002 (2001), as amended by the Treasury and General Government Appropriations Act for 2002 § 645 (regarding employment status of staff) & § 648 (regarding changing annual report due date from March to June), Public Law No. 107-67, 115 STAT. 514 (Nov. 12, 2001); as amended by Division P of the “Consolidated Appropriations Resolution, 2003,” Pub L. No. 108-7 (Feb. 20, 2003) (regarding Commission name change, terms of Commissioners, and responsibilities of the Commission); as amended by Public Law No. 109- 108 (H.R. 2862) (Nov. 22, 2005) (regarding responsibilities of Commission and applicability of FACA); as amended by Division J of the “Consolidated Appropriations Act, 2008,” Public Law Nol. -
New Line Cinema Logo History
New line cinema logo history Continue Share The New Line redirects here. For other purposes, see Contents 1973-1987 1987-2001-present 2011-present New Line Cinema is an American film company. It was founded in 1967 and later became an independent film studio. It did not have an on-screen logo until 1973. 1973-1987 1987-2001-present logo design and letters were changed in 2001 after the purchase of Time Warner AOL. 2011-present In 2008, Time Warner reorganized New Line Cinema to pass from independent studio to subsidiary of Warner Bros. Entertainment. Three years later, the logo scheme was changed from blue to yellow, and is being shown alongside the Warner Bros. Pictures logo to reflect the new organization. Note Due to the fact that New Line began as an independent before becoming a subordinate to Warner Bros., it has always maintained the copyright to its films to the point of having gifts or presentation of a loan, not to mention WB. Community content is available under CC-BY-SA unless otherwise stated. Part of Warner Bros. Entertainment Warner Bros. Pictures Group: Warner Bros. Pictures Group Warner Bros. Animation (Warner Bros. Classic Animation) New Line Cinema (en) Castle Rock Entertainment (en) Cartoon Network Movies Hbo Films HBO Movies HBO Documentary Films (en) CNN Films Van Film Productions Productions (en) Warner Max Spyglass Media Group16 (en) Flagship Entertainment Warner Bros. Television Group: Production Studio: Warner Bros. Tv Studio Bros. International Television (en) Warner Bros. World Television Distribution (en) Telepicture Blue Tape Content (en) Eye Works Volper Organization HBO Entertainment (en) HBO Enterprises (en) HBO Kids (en) T.M. -
The London School of Economics and Political Science a Neoliberalizing
The London School of Economics and Political Science A neoliberalizing Chinese cinema: political economy of the Chinese film industry in post-WTO China Xiaoxi Zhu A thesis submitted to the Department of Media and Communications of the London School of Economics for the degree of Doctor of Philosophy London, March 2019 1 Declaration I certify that the thesis I have presented for examination for the MPhil/PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 71012 words. 2 Abstract This thesis aims to investigate the industry restructuration of the Chinese film industry in the context of China integrating into the global neoliberal capitalist system since its WTO entry in 2002. By interrogating the power dynamics between the Party-state, domestic capital and transnational media capital, this thesis explores respective roles each of the three stakeholders have played in shaping the commercialization and marketization of the Chinese film industry. Methodically, this thesis primarily relies on elite interviews with industry professionals, together with critical discourse analysis of one key policy document, and secondary data collected from news outlets, trade publications, industry reports, etc. -
Feature Films
THEODORE SHAPIRO FEATURE FILMS THE GOOD HOUSE Robert De Niro, Jane Rosenthal, Aaron Ryder, Amblin Partners Berry Welsh, prods. Maya Forbes, Wallace Wolodarsky, dir. TROLLS WORLD TOUR Gina Shay, prods. Dreamworks Animation Walt Dohrn, David P. Smith, dir. BOMBSHELL A.J Dix, Aaron L. Gilbert, Robert Graf, Beth Lionsgate Kono, Charles Randolph, Margaret Riley, Jay Roach, prods. Jay Roach, dir. LAST CHRISTMAS Emma Thompson, David Livingstone, Jessie Universal Pictures Henderson, Erik Baiers, prods. Paul Feig, dir. SPIES IN DISGUISE Michael J. Travers, Peter Chernin, Jenno 20th Century Fox Animation Topping, Bruce Anderson, prods. Troy Quane, dir. A SIMPLE FAVOR Paul Feig, Jessie Henderson, prods. Lionsgate Paul Feig, dir. DESTROYER Fred Berger, Phil Hay, Matt Manfredi, prods. Annapurna Pictures Karyn Kusama, dir. CAPTAIN UNDERPANTS Mireille Soria, Mark Swift, prods. Dreamworks Animation David Soren, dir. SNATCHED Paul Feig, Peter Chernin, Jessie Henderson, 20th Century Fox Jenno Topping, prods. *Co-score with Chris P. Bacon Jonathan Levine, dir. THE POLKA KING Ben Stiller, Jack Black, David Permut, Stuart Electric Dynamite Cornfeld, Shivani Rawat, Monica Levinson, Wallace Wolodarsky, Priyanka Mattoo, Spencer Berman, prods. Maya Forbes, Wallace Wolodarsky, dirs. WHY HIM? Shawn Levy, Ben Stiller, Stuart Cornfeld, 20th Century Fox Dan Levine, prods. John Hamburg, dir. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 THEODORE SHAPIRO COLLATERAL BEAUTY Anthony Bregman, Bard Dorros, Kevin Scott New Line Cinema Frakes, Allan Loeb, prods. David Frankel, dir. OFFICE CHRISTMAS PARTY Scott Stuber, Guymon Casady, Daniel Rappaport, prods. DreamWorks Pictures Josh Gordon, Will Speck, dirs. GHOSTBUSTERS Amy Pascal, Ivan Reitman, prods. Columbia Pictures Paul Feig, dir. CENTRAL INTELLIGENCE Peter Principato, Scott Stuber, Paul Young, prods. -
Academy Invites 774 to Membership
MEDIA CONTACT [email protected] June 28, 2017 FOR IMMEDIATE RELEASE ACADEMY INVITES 774 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 774 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitations will be the only additions to the Academy’s membership in 2017. 30 individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2017 invitees are: Actors Riz Ahmed – “Rogue One: A Star Wars Story,” “Nightcrawler” Debbie Allen – “Fame,” “Ragtime” Elena Anaya – “Wonder Woman,” “The Skin I Live In” Aishwarya Rai Bachchan – “Jodhaa Akbar,” “Devdas” Amitabh Bachchan – “The Great Gatsby,” “Kabhi Khushi Kabhie Gham…” Monica Bellucci – “Spectre,” “Bram Stoker’s Dracula” Gil Birmingham – “Hell or High Water,” “Twilight” series Nazanin Boniadi – “Ben-Hur,” “Iron Man” Daniel Brühl – “The Zookeeper’s Wife,” “Inglourious Basterds” Maggie Cheung – “Hero,” “In the Mood for Love” John Cho – “Star Trek” series, “Harold & Kumar” series Priyanka Chopra – “Baywatch,” “Barfi!” Matt Craven – “X-Men: First Class,” “A Few Good Men” Terry Crews – “The Expendables” series, “Draft Day” Warwick Davis – “Rogue One: A Star Wars Story,” “Harry Potter” series Colman Domingo – “The Birth of a Nation,” “Selma” Adam -
To Get the File
Business of Culture in India S. Ananth Research Fellow Krisani Knowledge Resources Hyderabad Project Commissioned by Culture: Industries and Diversity in Asia (CIDASIA) Research Programme Centre for the Study of Culture and Society Bangalore May 2008 2 CONTENTS 1. Introduction 2. Newspaper Industry in India 3. Filmed Entertainment Market in India 4. Film Distribution – Multiplex Phenomenon 5. Funding the Film Business 6. Overseas Market for Indian Films 7. Home Video Market 8. Television Market in India 9. Cable TV Market in India 10. DTH Market in India 11. IPTV Market in India 12. Radio Market in India 13. Music Market in India 14. Internet Usage in India 15. Gaming Market in India Global Gaming Market 16. Animation Sector in India 17. Amusement Parks in India 18. Retail Market in India 19. Luxury Market in India Luxury Watch Segment in India Luxury Car Segment in India 20. Wedding Market in India 21. Gambling Market in India 22. Advertising Market in India 23. Out of Home Advertising Market in India 24. Art Market in India 25. Sports Market in India Horse Racing In India 26. Entertainment Companies in India 27. Emerging Trends in the Culture Industry 28. Select Bibliography 3 Business of Culture in Contemporary India Introduction This report titled the ‘Business of Culture in India’ attempts to compile statistical information as well as analyse the most important business trends in Culture Industry of contemporary India. The report is meant to provide a snapshot of the major components of the culture industry, the economics of the various components as well as a brief sketch of the regulatory environment in the industry. -
PDF ATF Dec12
> 2 < PRENSARIO INTERNATIONAL Commentary THE NEW DIMENSIONS OF ASIA We are really pleased about this ATF issue of world with the dynamics they have for Asian local Prensario, as this is the first time we include so projects. More collaboration deals, co-productions many (and so interesting) local reports and main and win-win business relationships are needed, with broadcaster interviews to show the new stages that companies from the West… buying and selling. With content business is taking in Asia. Our feedback in this, plus the strength and the capabilities of the the region is going upper and upper, and we are region, the future will be brilliant for sure. pleased about that, too. Please read (if you can) our central report. There THE BASICS you have new and different twists of business devel- For those reading Prensario International opments in Asia, within the region and below the for the first time… we are a print publication with interaction with the world. We stress that Asia is more than 20 years in the media industry, covering Prensario today one of the best regions of the world to proceed the whole international market. We’ve been focused International with content business today, considering the size of on Asian matters for at least 15 years, and we’ve been ©2012 EDITORIAL PRENSARIO SRL PAYMENTS TO THE ORDER OF the market and the vanguard media ventures we see attending ATF in Singapore for the last 5 years. EDITORIAL PRENSARIO SRL in its main territories; the problems of the U.S. and As well, we’ve strongly developed our online OR BY CREDIT CARD. -
Arvold. Charlottesville, VA ● a Tlanta, GA 434.529.8442 404.626.1038
arvold. Charlottesville, VA ● A tlanta, GA 434.529.8442 404.626.1038 Erica Arvold, CSA CASTING DIRECTOR - FILM THE BLACK PHONE ( location CD) Dir: Scott Derrickson Blumhouse feature Prod: Jason Blum, Christopher Warner RED NOTICE (location CD) Dir: Rawson Marshall Thurber Netflix feature Prod: Beau Flynn, Dany Garcia, Hiram Garcia, Dwayne Johnson, Scott Sheldon FREAKY (location CD) Dir: Christopher Landon Blumhouse Productions feature Prod: Jason Blum, Adam Hendricks THE DAYLONG BROTHERS Dir: Brandon McCormick Triple Horse Studios feature Prod: Nicholas Kirk, Karl Horstmann, Rachel H. Allen BURDEN OF PROOF Dir: Cynthia Hill HBO Documentary Films Prod: Dawn Dreyer ∞ HARRIET ( location CD) Dir: Kasi Lemmons Stay Gold Features feature Prod: Debra Martin Chase, Daniela Taplin Lundberg, Shea Kammer CHARM CITY KINGS (location CD) Dir: Angel Manuel Soto Seven Heads Productions feature Prod: Marc Bienstock, Clarence Hammond, Caleeb Pinkett THE EVENING HOUR ( location CD) Dir: Braden King Secret Engine feature Prod: Lucas Joaquin, Derrick Tseng THE KING OF CRIMES Dir: Michael Duni The John Marshall Foundation feature Prod: Joni Albrecht, Christina Garnett THE GIANT (location CD) Dir: David Raboy Kudzu Enterprises feature Prod: Daniel Dewes, Rachael Fung, Clement Lepoutre MEDEA, SOUTH CAROLINA Dir: Daniel Wyland NextPix feature Prod: Don Thompson, Anne Clements JACQUELINE AND JILLY Dir: Victoria Rowell Days Ferry Productions feature Prod: Victoria Rowell, Jonathan Ortiz YES GOD YES (location CD) Dir: Karen Maine Vibe Productions feature Prod: Katie Cordeal, Colleen Hammond, Chris Columbus TEACHER’S PET Dir: Isaac Deitz Tub-O-Popcorn Productions feature Prod: Isaac Deitz A WRINKLE IN TIME (lead search) Dir: Ava DuVernay Walt Disney Pictures feature Casting Executive: Randi Hiller EPISODES Dir: Peter Hertsgaard Invizion Inc. -
TRANS-PACIFIC PARTNERS: the Commercial, Capital and Cultural Exchange Between Hong Kong and California
TRANS-PACIFIC PARTNERS: The commercial, capital and cultural exchange between Hong Kong and California LAEDC Hong Kong Report 0918.indd 3 9/18/19 1:35 PM TRANS-PACIFIC PARTNERS: The commercial, capital and cultural exchange between Hong Kong and California Los Angeles County Economic Development Corporation 444 S. Flower Street, 37th Floor • Los Angeles, CA 90071 (888) 4-LAEDC-1 • www.LAEDC.org Supported by: HONG KONG TRADE DEVELOPMENT COUNCIL (HKTDC) SEPTEMBER 2019 This research was commissioned by the Hong Kong Trade Development Council. The LAEDC Institute for Applied Economics provides objective economic and policy research for public agencies and private firms. The group focuses on economic impact studies, regional industry analyses, economic forecasts and issue studies, particularly in workforce development, transportation, infrastructure and environmental policy. LAEDC has made every reasonable effort to ensure that the data contained herein reflect the most accurate and timely information possible and they are believed to be reliable. The report is provided solely for informational purposes and is not to be construed as providing advice, recommendations, endorsements, representations or warranties of any kind whatsoever. LAEDC Hong Kong Report 0918.indd 4 9/18/19 1:35 PM Los Angeles County Economic Development Corporation Table of 4 – Looking Back and Thinking Ahead 20 US-Hong Kong Relations 20 Impacts of Trade War 20 Contents 5 – Tourists & Students – Crossing Shores 23 Tourism between Hong Kong and California 23 1 - Introduction -
WILLIAM O. HUNTER Production Designer
(3/6/17) WILLIAM O. HUNTER Production Designer www.williamohunter.com FILM & TELEVISION DIRECTOR COMPANIES PRODUCER “RYAN HANSEN SOLVES Rawson Marshall Thurber NBC/Universal TV Beau Bauman CRIMES ON TELEVISION” Tracey Baird (Pilot) “MARVEL’S MOST WANTED” Billy Gierhart ABC Jeffrey Bell (Pilot) Marvel Paul Zbyszewski “SAME KIND OF DIFFERENT Michael Carney Paramount Pictures Ron Hall AS ME” Darren Moorman Mary Parent “MAX STEEL” Stewart Hendler Mattel Entertainment Bill O'Dowd Open Road Films Julia Pistor Dolphin Entertainment AS ART DIRECTOR: “DAWN OF THE PLANET OF Matt Reeves 20 th Century Fox Peter Chernin THE APES” Chernin Entertainment Dylan Clark “THE AVENGERS” Joss Whedon Marvel Studios Kevin Feige Paramount Studios “THE INFORMANT” Steven Soderbergh Warner Brothers Jennifer Fox Groundswell Productions Gregory Jacobs “OCEANS 13” Steven Soderbergh Warner Bros. Pictures Jerry Weintraub (Assistant Art Director) Jerry Weintraub Prods. AS SET DESIGNER: “GREEN LANTERN” Martin Campbell Warner Brothers Donald DeLine (Lead Set Designer) DeLine Pictures Greg Berlanti “SUCKER PUNCH” Zack Snyder Warner Brothers Zack Snyder Legendary Entertainment Deborah Snyder “ALICE IN WONDERLAND” Tim Burton Walt Disney Pictures Richard Zanuck (Lead Set Designer) Roth Films Joe Roth “STAR TREK” JJ Abrams Paramount Pictures JJ Abrams Bad Robot Damon Lindelof “RACE TO WITCH Andy Fickman Walt Disney Pictures Andrew Gunn MOUNTAIN” Gunn Pictures (cont.) SANDRA MARSH & ASSOCIATES Tel: (310) 285-0303 Fax: (310) 285-0218 e-mail: [email protected] (3/6/17) WILLIAM -
Conference Program
PRESENTED BY: IN PARTNERSHIP WITH: October 6, 2017 | Carnesale Commons | UCLA CONFERENCE PROGRAM #UCLALEVRAGE ABOUT OUR PARTNER: VIVE is a first-of-its-kind virtual reality platform, built an optimized for room-scale VR and true-to-life interactions. Built on the SteamVR platform, Vive delivers on the promise of VR with game-changing technology and best-in-class content. Vive has created the strongest ecosystem for VR hardware and software, bringing VR to consumers, developers and enterprises alike. The Vive ecosystem is built around the best VR hardware in market, supported by Vive X, a $100 million accelerator for VR and related technology start-ups, Viveport, a global platform and app store for VR that operates in more than 30 countries, and Vive Studios, its VR content development and publishing initiative. For more information on Vive, please visit https://www.vive.com. WITH THANKS TO OUR SPONSORS: ABOUT THE UCLA ANDERSON CENTER FOR MEMES: The Center for Management of Enterprise in Media, Entertainment & Sports provides students with the world class academic resources and network that are essential to manage and thrive in increasingly complex industries. As the leading center for business thought leadership in media, entertainment & sports, MEMES provides the academic foundation and relevant industry perspective to manage and thrive in an increasingly complex business environment. We offer: Academic Excellence A unique teaching model that partners world-class faculty and leading industry executives to deliver a wide range of courses that bridge academic theory and practical application. Students have the opportunity to engage in real-world projects with leading media, entertainment and sports companies, providing hands-on, valuable experience. -
IMAX CHINA HOLDING, INC. IMAX CHINA Sole Global Coordinator and Sole Sponsor Joint Bookrunners
IMAX CHINA HOLDING, INC. IMAX CHINA HOLDING, INC. GLOBAL OFFERING Incorporated in the Cayman Islands with limited liability Stock code : 1970 Sole Global Coordinator and Sole Sponsor Joint Bookrunners imax_cover_Final_AW.indd 1 22/9/2015 下午2:51 IMPORTANT If you are in any doubt about any of the contents of this prospectus, you should obtain independent professional advice. IMAX CHINA HOLDING, INC. (Incorporated in the Cayman Islands with limited liability) GLOBAL OFFERING Number of Offer Shares : 62,000,000 Shares (comprising 17,825,000 New under the Global Offering Shares and 44,175,000 Sale Shares and subject to the Over-allotment Option) Number of Hong Kong Offer Shares : 6,200,000 New Shares (subject to reallocation) Number of International Offer Shares : 55,800,000 Shares (comprising 11,625,000 New Shares and 44,175,000 Sale Shares and subject to reallocation and the Over-allotment Option) Maximum Offer Price : HK$34.50 per Offer Share plus brokerage of 1.0%, SFC transaction levy of 0.0027% and Stock Exchange trading fee of 0.005% (payable in full on application in Hong Kong dollars and subject to refund) Nominal value : US$0.0001 per Share Stock Code : 1970 Sole Global Coordinator and Sole Sponsor Joint Bookrunners Hong Kong Exchanges and Clearing Limited, The Stock Exchange of Hong Kong Limited and Hong Kong Securities Clearing Company Limited take no responsibility for the contents of this prospectus, make no representation as to its accuracy or completeness and expressly disclaim any liability whatsoever for any loss howsoever arising from or in reliance upon the whole or any part of the contents of this prospectus.