The Cinema Special Effects That Are Saving Real Lives
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International Production Notes
INTERNATIONAL PRODUCTION NOTES PUBLICITY CONTACT Julia Benaroya Lionsgate +1 310-255-3095 [email protected] US RELEASE DATE: SEPTEMBER 28, 2018 RUNNING TIME: 89 MINUTES TABLE OF CONTENTS PRODUCTION INFORMATION ..................................... 4 ABOUT THE CAST ................................................ 14 ABOUT THE FILMMAKERS ..................................... 18 END CREDITS ...................................................... 26 3 PRODUCTION INFORMATION In this terrifying thrill ride, college student Natalie is visiting her childhood best friend Brooke and her roommate Taylor. If it was any other time of year these three and their boyfriends might be heading to a concert or bar, but it is Halloween which means that like everyone else they will be bound for Hell Fest – a sprawling labyrinth of rides, games and mazes that travels the country and happens to be in town. Every year thousands follow Hell Fest to experience fear at the ghoulish carnival of nightmares. But for one visitor, Hell Fest is not the attraction – it is a hunting ground. An opportunity to slay in plain view of a gawking audience, too caught up in the terrifyingly fun atmosphere to recognize the horrific reality playing out before their eyes. As the body count and frenzied excitement of the crowds continue to rise, he turns his masked gaze to Natalie, Brooke, Taylor and their boyfriends who will fight to survive the night. CBS FILMS and TUCKER TOOLEY ENTERTAINMENT present a VALHALLA MOTION PICTURES production HELL FEST Starring Amy Forsyth, Reign Edwards, Bex Taylor-Klaus and Tony Todd. Casting by Deanna Brigidi, CSA and Lisa Mae Fincannon. Music by Bear McCreary. Costume Designer Eulyn C. Hufkie. Editors Gregory Plotkin, ACE and David Egan. -
11 Maggio 2011
DISTRIBUZIONE • VIDEA - C.D.E. S.p.A. UFFICIO STAMPA • ORNATO COMUNICAZIONE Via Livigno, 50 - 00188 - Roma Via Flaminia 954 - 00191 Roma Tel. 06.331851 - Fax 06.33185255 Tel. 06.3341017 - 06.33213374 [email protected] [email protected] 11 MAGGIO 2011 BEASTLY SINOSSI Beastly è un romanzo per ragazzi che insegna a guardare al di là delle false apparenze per scoprire la vera bellezza interiore. Il diciassettenne Kyle (Alex Pettyfer) è il principe bello, viziato, superficiale e incredibilmente popolare del suo liceo. Sicuro e pieno di sé, Kyle scioccamente sceglie come bersaglio delle sue umiliazioni Kendra (Mary-Kate Olsen), una compagna di classe che si veste dark e che si vocifera sia una strega. Kendra, per nulla turbata dal comportamento crudele di Kyle, decide di dargli una lezione: lo trasforma in un orribile mostro, il suo aspetto esteriore rispecchierà esattamente il suo modo di essere. Kyle ha un anno per trovare una ragazza che guardi oltre e che s’innamori di lui; se no ci riuscirà rimarrà per sempre “bestia”. La sua milgiore chance per dimostrare che l’amore va sempre al di là delle apparenze potrebbe essere Lindy (Vaness Hudgens), una comapagna di classe a cui Kyle non ha mai prestato attenzione. Vanessa Hudgens (High School Musical) ed Alex Pettyfer (Sono il Numero Quattro) sono le star di Beastly, della CBS Films, la casa di produzione cinematografica della CBS Corporation. Daniel Barnz (Phoebe in Wonderland) ha diretto questo film che è uscito negli Stati Uniti, in Canada e a Porto Rico il 4 marzo, 2011. Susan Cartsonis (Sapori e Dissapori, Aquamarine, What Women Want) ha prodotto il film con la sua casa cinematografica Storefront Pictures. -
Post-Human Pop : from Simulation to Assimilation Cookney, DJ
Post-human pop : from simulation to assimilation Cookney, DJ Title Post-human pop : from simulation to assimilation Authors Cookney, DJ Type Book Section URL This version is available at: http://usir.salford.ac.uk/id/eprint/50695/ Published Date 2012 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. Post-Human Pop: From Simulation to Assimilation Daniel Cookney University of Salford, School of Media, Music and Performance, Adelphi Campus, Peru Street, Salford, M3 6EQ [email protected] Abstract: The following chapter discusses the adoption of the robot as a primary representational form by, two music acts, Kraftwerk and Daft Punk. While this process might be interpreted as one of extreme dehumanisation and sacrifice, the paper questions whether this deployment of ‘the post-human’ is presented as the antithesis of the extremities and excesses associated with Debord’s ‘spectacle’. It additionally observes a number of key stages in the careers of both bands to highlight media relations and the impact of technology: development that has been characterised by shifting positions surrounding subservience and authorship. It illustrates how the approaches can linked to Baudrillard’s phases of the simulacra yet it contends an explicit rejection of the spectacle simply through the use of these simulations while additionally identifying how the continuation of these forms have become increasingly incompatible with abstinence.