Refocus the Films of Paul Schrader
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DAN LEIGH Production Designer
(3/31/17) DAN LEIGH Production Designer FILM & TELEVISION DIRECTOR COMPANIES PRODUCERS “GYPSY” Sam Taylor-Johnson Netflix Rudd Simmons (TV Series) Scott Winant Universal Television Tim Bevan “THE FAMILY” Paul McGuigan ABC David Hoberman (Pilot / Series) Mandeville Todd Lieberman “FALLING WATER” Juan Carlos Fresnadillo USA Gale Anne Hurd (Pilot) Valhalla Entertainment Blake Masters “THE SLAP” Lisa Cholodenko NBC Rudd Simmons (TV Series) Michael Morris Universal Television Ken Olin “THE OUTCASTS” Peter Hutchings BCDF Pictures Brice Dal Farra Claude Dal Farra “JOHN WICK” David Leitch Thunder Road Pictures Basil Iwanyk Chad Stahelski “TRACERS” Daniel Benmayor Temple Hill Entertainment Wyck Godfrey FilmNation Entertainment D. Scott Lumpkin “THE AMERICANS” Gavin O'Connor DreamWorks Television Graham Yost (Pilot) Darryl Frank “VAMPS” Amy Heckerling Red Hour Adam Brightman Lucky Monkey Stuart Cornfeld Molly Hassell Lauren Versel “PERSON OF INTEREST” Various Bad Robot J.J. Abrams (TV Series) CBS Johanthan Nolan Bryan Burk Margot Lulick “WARRIOR” Gavin O’Connor Lionsgate Greg O’Connor Solaris “MARGARET” Kenneth Lonergan Mirage Enterprises Gary Gilbert Fox Searchlight Sydney Pollack Scott Rudin “BRIDE WARS” Gary Winick Firm Films Alan Riche New Regency Pictures Peter Riche Julie Yorn “THE BURNING PLAIN” Guillermo Arriaga 2929 Entertainment Laurie MacDonald Walter F. Parkes SANDRA MARSH & ASSOCIATES Tel: (310) 285-0303 Fax: (310) 285-0218 e-mail: [email protected] (3/31/17) DAN LEIGH Production Designer ---2-222---- FILM & TELEVISION COMPANIES -
GANGS of NEW YORK Außer Konkurrenz GANGS of NEW YORK GANGS of NEW YORK Regie:Martin Scorsese
Wettbewerb/IFB 2003 GANGS OF NEW YORK Außer Konkurrenz GANGS OF NEW YORK GANGS OF NEW YORK Regie:Martin Scorsese USA 2002 Darsteller Amsterdam Vallon Leonardo DiCaprio Länge 168 Min. Bill Cutting Daniel Day-Lewis Format 35 mm, Jenny Everdeane Cameron Diaz Cinemascope Boss Tweed Jim Boadbent Farbe Happy Jack John C.Reilly Johnny Sirocco Henry Thomas Stabliste Pfarrer Vallon Liam Neeson Buch Jay Cocks Walter „Monk“ Steven Zaillian McGinn Brendan Gleeson Kenneth Lonergan McGloin Gary Lewis Story Jay Cocks Shang Stephen Graham Kamera Michael Ballhaus Killoran Eddie Marsan Kameraführung Andrew Rowlands Reverend Raleigh Alec McCowen Kameraassistenz Tom Lappin Mr.Schermerhorn David Hemmings Schnitt Thelma Soonmaker Jimmy Spoils Larry Gilliard,Jr. Mitarbeit James Kwei Hell-Cat Maggie Cara Seymour Pat Buba P.T.Barnum Roger Ashton- Ton Ivan Sharrock Griffiths Musik Howard Shore Einarmiger Priester Peter Hugo Daly Production Design Dante Ferreti Daniel Day-Lewis, Leonardo DiCaprio Junger Amsterdam Cian McCormack Ausstattung Stefano Ortolani Junger Johnny Andrew Gallagher Kostüm Sandy Powell O’Connell Philip Kirk Regieassistenz Joseph Reidy GANGS OF NEW YORK Bills Gang Liam Carney Casting Ellen Lewis Das südliche Manhattan in den 60er Jahren des 19. Jahrhunderts, einer Zeit Gary McCormack Produktionsltg. Michael Hausman großer Unruhen in den USA – das Land steht kurz vor dem Bürgerkrieg. Für David McBlain Produzenten Alberto Grimaldi die arme Bevölkerung von New York tobt der Kampf allerdings schon lange Jennys Mädchen Katherine Wallach Harvey Weinstein – und zwar direkt vor ihrer Haustür. Korruption bestimmt die Politik, Gesetz- Carmen Hanlon Executive Producers Michael Ovitz Ilaria D’Elia Bob Weinstein losigkeit das Alltagsleben; rivalisierende Gangs kämpfen um die Vorherr- Gangmitglieder Nevan Finnegan Rick Yorn schaft auf den Straßen. -
Anton Yelchin May Be ‘Very Cynical’ About Fame, but with His Role in Romantic Indie Drama Like Crazy
anton yelchin may be ‘very cynical’ about fame, but with his role in romantic indie drama like crazy. it’s about to become unavoidable. by steve cummins. photographed crazy by hilary walsh ANTON YELCHIN LOOKS LIKE he’s in ready tolove kill me. Lips pursed, his green Such open self-analysis is at odds with eyes narrowing, he scowls when I other Hollywood stars of his ilk, but then suggest that signing up to star in Like there’s something different about the Crazy—a low-budget, largely improvised Russian-born actor. Dressed in a green indie movie with an unknown director— Harris Tweed sports jacket over a was, on paper, a risky move. Fixing his checked shirt and navy jeans, he’s eyes on mine, there’s an intense stare as animated, candid, and talkative when he tries to suss me out. And then, as faced with questions on his personal life, quickly as it arrived, it’s gone. where others are guarded. Talk to him It’s a telling moment. Later, as we sit about his work methods—his obsessive back in the sunshine during an abnormally note-taking and his ability to bring warm August day in Dublin, the 22-year- extraordinary depth to characters such as old actor (who’s in Ireland to promote the Jacob in Like Crazy and Porter in The horror movie Fright Night, in which he Beaver—and he becomes even more stars opposite Colin Farrell), will tell me engaged, words whizzing from his mouth that he doesn’t trust people, that his core and hands moving around impatiently. -
Death, Medicine, and Religious Solidarity in Martin Scorsese's Bringing out the Dead
Death, Medicine, and Religious Solidarity in Martin Scorsese's Bringing Out the Dead David M. Hammond, Beverly J. Smith Logos: A Journal of Catholic Thought and Culture, Volume 7, Number 3, Summer 2004, pp. 109-123 (Article) Published by Logos: A Journal of Catholic Thought and Culture DOI: https://doi.org/10.1353/log.2004.0027 For additional information about this article https://muse.jhu.edu/article/170325 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] 06-logos-hammond2-pp109-123 5/25/04 9:37 AM Page 109 David M. Hammond and Beverly J. Smith Death, Medicine, and Religious Solidarity in Martin Scorsese’s Bringing Out the Dead In this paper, we will discuss the portrait of medicine in Martin Scorsese’s film, Bringing Out the Dead. Medicine is frequently represented in films as a metaphor for religion, developing a rela- tionship anthropologists have explored for over a century. In a cul- ture of technology and secularization, it might seem this relationship would have necessarily faded. However, despite today’s unprece- dented attempts to frustrate death,1 medicine still must surrender to human mortality. Informed by a religious critique, Bringing Out the Dead suggests that medicine, ideally, is “less about saving lives than about bearing witness,” as Frank Pierce, the central character in the movie, puts it. To put this suggestion into context, we will describe the relationship between religion and medicine evident in the movie as seen from anthropological and theological perspectives. The essential claim of Scorsese’s film is that redemption is avail- able only by bearing witness to a common human solidarity. -
SILENCE 2H 41Min – Adventure, Drama, History – 13 Januray 2017 (USA)
Friday 29th September 2017 - ĊAK, Birkirkara SILENCE 2h 41min – Adventure, Drama, History – 13 Januray 2017 (USA) The story of a persecuted Jesuit priest during his mission in Japan & his internal conflict with the silence of God Director: Martin Scorsese Writers: Jay Cocks, Martin Scorsese (screenplay), Shusaku Endo (Novel by) Music by: Kathryn Kluge, Kim Allen Kluge Cast: Andrew Garfield ... Rodrigues Adam Driver ... Garupe Liam Neeson ... Ferreira Tadanobu Asano ... Interpreter Ciarán Hinds ... Father Valignano Issei Ogata ... Old Samurai / Inoue (as Issey Ogata) Shin'ya Tsukamoto ... Mokichi Yoshi Oida ... Ichizo Yôsuke Kubozuka ... Kichijiro (as Yosuke Kubozuka) Kaoru Endô ... Unzen Samurai (Uneme) Diego Calderón ... Prisoner Augustinian Friar #2 (as Diego Calderon) Rafael Kading ... Prisoner Augustinian Friar #1 The story The story of two Catholic missionaries Padre Sebastiao Rodrigues and Padre Francisco Garupe, who face the ultimate test of faith when they travel to Japan in search of their missing mentor Padre Cristovao Ferreira - at a time when Catholicism was outlawed and their presence forbidden. They heard that Padre Ferreira has apostatized and now living as a Japanese man. They didn't believe these rumours and had to check it out themselves, so they went looking for him putting at risk their own lives. The film tells also the story of the interior conflict of Padre Rodrigues seeing all the Christians' suffering and not understanding the silence of God in front of this persecution. Director Martin Charles Scorsese was born on November 17, 1942 in Queens, New York City, to Catherine Scorsese (née Cappa) and Charles Scorsese, who both worked in Manhattan's garment district, and whose families both came from Palermo, Sicily. -
NEO-NOIR / RETRO-NOIR FILMS (1966 Thru 2010) Page 1 of 7
NEO-NOIR / RETRO-NOIR FILMS (1966 thru 2010) Page 1 of 7 H Absolute Power (1997) H Blondes Have More Guns (1995) H Across 110th Street (1972) H Blood and Wine (1996) H Addiction, The (1995) FS H Blood Simple (1985) h Adulthood (2008) H Blood Work (2002) H Affliction (1997) H Blow Out (1981) FS H After Dark, My Sweet (1990) h Blow-up (1967).Blowup H After Hours (1985) f H Blue Desert (1992) F H Against All Odds (1984) f H Blue Steel (1990) f H Alligator Eyes (1990) SCH Blue Velvet (1986) H All the President’s Men (1976) H Bodily Harm (1995) H Along Come a Spider (2001) H Body and Soul (1981) H Ambushed (1998) f H Body Chemistry (1990) H American Gangster (2007) H Body Double (1984) H American Gigolo (1980) f H Bodyguard, The (1992) H Anderson Tapes, The (1971) FSCH Body Heat (1981) S H Angel Heart (1987) H Body of Evidence (1992) f H Another 48 Hrs. (1990) H Body Snatchers (1993) F H At Close Range (1986) H Bone Collector, The (1999) f H Atlantic City (1980) H Bonnie & Clyde (1967) f H Bad Boys (1983) F H Border, The (1982) F H Bad Influence (1990) F H Bound (1996) F H Badlands (1973) H Bourne Identity, The (2002) F H Bad Lieutenant (1992) H Bourne Supremacy, The (2004) h Bank Job, The (2008) H Bourne Ultimatum, The (2007) F H Basic Instinct (1992) H Boyz n the Hood (1991) H Basic Instinct 2 (2006) H Break (2009) H Batman Begins (2005) H Breakdown (1997) F H Bedroom Window, The (1987) F H Breathless (1983) H Before the Devil Knows You’re Dead (2007) H Bright Angel (1991) H Best Laid Plans (1999) H Bringing Out the Dead (1999) F H Best -
Complicated Views: Mainstream Cinema's Representation of Non
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e. -
Film, Philosophy Andreligion
FILM, PHILOSOPHY AND RELIGION Edited by William H. U. Anderson Concordia University of Edmonton Alberta, Canada Series in Philosophy of Religion Copyright © 2022 by the authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, Suite 1200, C/Sancti Espiritu 17, Wilmington, Delaware 19801 Malaga, 29006 United States Spain Series in Philosophy of Religion Library of Congress Control Number: 2021942573 ISBN: 978-1-64889-292-9 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Cover design by Vernon Press. Cover image: "Rendered cinema fimstrip", iStock.com/gl0ck To all the students who have educated me throughout the years and are a constant source of inspiration. It’s like a splinter in your mind. ~ The Matrix Table of contents List of Contributors xi Acknowledgements xv Introduction xvii William H. -
1 Evolving Authorship, Developing Contexts: 'Life Lessons'
Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009). -
RSVP by May 3Rd to the Jewish Federation At
S D I P A g R 0 r h 1 t o D 2 0 . 1 8 2 y s N r r a , d s A i y r e e R a v p i b n a G M n r m A F le d u f • Raf n O N ing ! a 0 t t , i h r xc ig 7 N E N 5 g y 7 er O 1 v h 5 I E s es T i , iz e r r P A a w m R y I e M u j / E a l y . 2 n - D 6 o , a w E V s F s w 2 i 010 N H w S I North W E J Sunday, May 2 nd ELI & BEN rd R Monday, May 3 CAMERA OBSCURA A Tuesday, May 4 th F SPRING OF 1941 Wednesday, May 5 th O WHITE BALANCE H MIDDLE EASTERN DINNER S ADAM RESURRECTED Thursday, May 6 th E NORA’S WILL Admission: $ 6.00 per film H Flex pass tickets (eight admissions): $ 36.00 available at the Jewish Federation until April 30th T This program is sponsored by the Jewish Federation of Grand Rapids, Celebration! Cinema, the Rosenzweig-Coopersmith Foundation and private donors. See information on pages 6-7 INTERNATIONAL NEWS . JDC P ROGRAMS The American Jewish Joint Distribution Committee By partnering with local municipalities and organizations around the world, JDC provides critical and innovative services such as relief and welfare, Jewish education, community and leadership development, and non-sectarian aid for the world’s most vulnerable populations in over 70 countries. -
Remembering World War II: an Analysis of British and American Portrayals of the War in Television and Film Renee Thiele Abstract Methods Future Work
Remembering World War II: An Analysis of British and American Portrayals of the War in Television and Film Renee Thiele Abstract Methods Future Work How do American and British society view World War II through the lens of media? • Film and television portrayals of World War II 1. Analyze a wider range of film and television examples • British and American cinematic perspective • Realizing that WWII portrayals are multi-faceted 2. Determine if the American cinema or the British cinemas was more • Interpretations of World War II • WWII portrayals offer different points of view, intent/objectives, and truth in fiction. historically accurate • Foyle’s War Analyzing films for themes, emphasized material, and historical truthfulness • Battle of Britain • 3. Expand the research focus to include other cinematic cultures • Hogan’s Heroes 4. Conduct surveys to see what messages and themes various audience • Schindler’s List • Historical value Conclusions members are pulling from the selected media • Messages/themes 5. Examine the media to see which portrayals are skewed the most by bias FOYLE’S WAR: Introduction • Historical authenticity with consulting Foyle’s War—very References Foyle’s War: historically grounded picture historian (Imperial War Museum) Primary Sources: • Feasible basis of crime in Britain of World War II PBS British television series (2002-2015) “Article 1—No Title.” The Manchester Guardian (1901-1959), Mar 28, 1941. • http://ezproxy.liberty.edu/login?qurl=https%3A%2F%2Fwww.proquest.com%2Fhistorical- • Additional war front (Homefront): May 1940- January 1947 • True depiction of Britain newspapers%2Farticle-1-no-title%2Fdocview%2F484985757%2Fse- 2%3Faccountid%3D12085. • Sacrifices of war Clary, Robert. -
Christianity and the Climate Crisis in Auteur Cinema
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 3-10-2021 "Will God Forgive Us?": Christianity and the Climate Crisis in Auteur Cinema Margaret Alice Parson Louisiana State University Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Rhetoric Commons Recommended Citation Parson, Margaret Alice, ""Will God Forgive Us?": Christianity and the Climate Crisis in Auteur Cinema" (2021). LSU Doctoral Dissertations. 5477. https://digitalcommons.lsu.edu/gradschool_dissertations/5477 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “WILL GOD FORGIVE US?”: CHRISTIANITY AND THE CLIMATE CRISIS IN AUTEUR CINEMA A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Communication Studies by Margaret Alice Parson B.A., Otterbein University, 2015 M.A., Ball State University, 2017 May 2021 For Tegan ii ACKNOWLEDGEMENTS This dissertation, as with all dissertations, is a communal act. Without the massive support of my community, it never would have come into being. Most significantly, Dr. Bryan McCann. This project was completed because of your empathy and guidance. I can never thank you enough. The other members of my committee, Drs. Mack, Saas, and Shaffer have all offered their expertise and kindness in this project’s growth, and I of course am indebted to them for their comments and encouragement.