Methode Theroux
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Transcript a Pinewood Dialogue with Michael Moore
TRANSCRIPT A PINEWOOD DIALOGUE WITH MICHAEL MOORE Michael Moore is the most famous, controversial, and commercially successful documentary filmmaker working today. The notoriety surrounding his films has obscured the fact that he is a gifted director who uses a wide range of cinematic techniques to engage, entertain, and provoke his audience. Sicko , his widely acclaimed, no-holds barred attack on the American healthcare system, uses the issue of healthcare to explore larger questions about what kind of country America is. In this discussion presented by the Museum of the Moving Image in collaboration with Variety , Moore spoke passionately about the many questions raised by his film. A Pinewood Dialogue following a screening of this country and say to those on the other side of Sicko , moderated by Chief Curator David the political fence, “Look, aren’t there some issues Schwartz (June 28, 2007): where we can find some common ground and work together on this? And it shouldn’t be about DAVID SCHWARTZ: Congratulations on the film. The Democrat or Republican. If the polar ice caps are film was rushed into the theaters last week and I melting, that affects all of us. If 47 million people understand that you went to some of the don’t have health insurance, that affects all of us. screenings at the Lincoln Square [theater]. The film Can’t we agree to fix this?” So I do hope that that has gotten really an amazing response. will happen. Having said that, that may make my most subversive film, because I am attempting to MICHAEL MOORE: Well… (Applause) reach deep into mainstream America with this movie. -
RTS TV Jobs Guide 2018
TV JOBS GUIDE HOWHOW TOTO TELETELE VVGETGET INTO INTO II SS II ON ON HOW TO SURVIVE AS A FREELANCER LOUIS THEROUX’S INTERVIEW TIPS WRITE THE NEXT LINE OF DUTY HOW TO GET THE PERFECT SHOT 5 Smart moves 6 A running start A foot in the door is the It’s the ultimate entry- first step, says Holly Close. level job and a hard Now you need to graft, but it can open keep it up all kinds of futures there 8 Cast your net wide Without you, the show would have no exclusives, no guests and no archive footage 12 Headline snapper Covering the news is all about hitting deadlines in the Story first face of unforseen 10 events Good storytelling is central to editing – and editing is central to all TV shows 14 Hear this! It’s all about knowing what’s possible, says Strictly’s Tony Revell It’s all in the light 13 The pros shed light on shooting Centre of big-budget 16 attention dramas Keep it raw, rather than falsely polished – you can be yourself and still stand out, says Chris Stark 2 20 Write now Line of Duty creator Jed Mercurio Making headlines took time out of filming 18 series 5 to share his advice for writers Follow your curiosity, says who want to see their work on screen Louis Theroux – but don’t forget your audience 22 Freelance survival guide Job hunting How to make a success 24 What employers of self-employment – are looking for in and who to turn to for your CV, letter advice and support and interview 26 Get in training 28 Love TV? So do we Find out about a wide variety The RTS is committed to of training schemes from helping young people make broadcasters, producers and their way in television professional organisations Television is not an industry for the faint hearted, but the results can be hugely rewarding. -
Documentary Films Audiences in Europe Findings from the Moving Docs Survey
1 Credit: Moving Docs DOCUMENTARY FILMS AUDIENCES IN EUROPE FINDINGS FROM THE MOVING DOCS SURVEY HUW D JONES July 2020 2 CONTENTS Project team .............................................................................................................................................................................. 3 Acknowledgements ................................................................................................................................................................... 4 Foreword ................................................................................................................................................................................... 5 Key findings ............................................................................................................................................................................... 6 Introduction .............................................................................................................................................................................. 8 Study method ............................................................................................................................................................................ 9 1. Who watches documentaries? ........................................................................................................................................ 11 2. Where are documentaries viewed? ............................................................................................................................... -
The Cable Network in an Era of Digital Media: Bravo and the Constraints of Consumer Citizenship
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses Fall August 2014 The Cable Network in an Era of Digital Media: Bravo and the Constraints of Consumer Citizenship Alison D. Brzenchek University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Communication Technology and New Media Commons, Critical and Cultural Studies Commons, Cultural History Commons, Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, History of Science, Technology, and Medicine Commons, and the Political Economy Commons Recommended Citation Brzenchek, Alison D., "The Cable Network in an Era of Digital Media: Bravo and the Constraints of Consumer Citizenship" (2014). Doctoral Dissertations. 55. https://doi.org/10.7275/bjgn-vg94 https://scholarworks.umass.edu/dissertations_2/55 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE CABLE NETWORK IN AN ERA OF DIGITAL MEDIA: BRAVO AND THE CONSTRAINTS OF CONSUMER CITIZENSHIP A Dissertation Presented by ALISON D. BRZENCHEK Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2014 Department -
Introduction Matthew H
Michael Moore: Filmmaker, Newsmaker, Cultural Icon Matthew H. Bernstein, Editor http://press.umich.edu/titleDetailDesc.do?id=192221 The University of Michigan Press, 2010 Introduction matthew h. bernstein With the premiere of his popular debut ‹lm Roger & Me in late 1989, Michael Moore proved himself an astonishingly successful non‹ction ‹lmmaker. Thir- teen years later, Bowling for Columbine’s extraordinary box of‹ce performance and its Academy Award for Best Documentary con‹rmed Moore’s standing as a cultural commentator to be reckoned with. In the intervening years, Moore diversi‹ed his output: he became a best-selling book author, TV show pro- ducer, and media personality. When Fahrenheit 9/11 premiered in June 2004, following its winning the Palme D’Or at Cannes, Moore certi‹ed his status as a ‹lmmaker, newsmaker, icon, and political celebrity larger than any one of the ‹lms, books or TV shows he produced or the website established and main- tained in his name. For 20 years and counting, Moore has served as a comic, unof‹cial, har- ried, and harrying spokesperson for the disenfranchised working class and liberal and leftist Americans—a single-handed critic of corporate America and an answer to the rise of Fox News. He had also become a lightning rod for conservative criticism and personal attacks long before he attempted to in›uence the outcome of the 2004 American presidential election with Fahrenheit 9/11. And while 2007’s Sicko was not nearly so ambitious as the 2004 opus—and it’s worth recalling that no other theatrical non‹ction ‹lm has ever tried to dethrone a sitting American president—Moore’s 2007 movie inaugurated a more intensive phase in America’s ongoing efforts at healthcare reform that the Obama administration and Congress have begun to address through legislation. -
Downsize This! Downsize This!
Moore, Michael − Downsize This! Downsize This! Michael Moore Grateful acknowledgment is made to the following for permission to reprint the following photographs: John Abbot Photography: photos of David Hoag, President of LTV, and Ralph Larsen, CEO of Johnson /> Archive Photos: photos of Oklahoma building (Chris Smith), Helmut Werner (Hillery), and Keun Hee Lee (Hankyorch). Michael R. Honeywell: photo of William Stavropoulos, Dow Chemical, CEO (M. H. Photo). Black Star: photos of Dwayne Andreas (John Harrington), Edward Brennan (Rob Nelson), and Hillary Clinton (Dennis Brack). Luther S. Miller: photo of David Levan. SABA: photos of Oklahoma City bombing (Jim Argo/SABA photo); Daniel Tellep (Chris Brown/SABA photo); Jan Timmer (Leimdorfer/ R.E.A./SABA photo); Phil Knight (Mark Peterson/SABA photo); and Bill Rutledge (LaraJ. Regan/SABA photo). UPI/Corbis−Bettman: photo of Art Modell. Impact Visuals: photo of Uzi (Russ Marshall). ISBN 0−517−70739−X To my wife, Kathleen, and my daughter, Natalie two very funny people I love immensely. Contents • The Etiquette of Downsizing • Let's All Hop in a Ryder Truck • Would Pat Buchanan Take a Check from Satan? • "Don't Vote—It Only Encourages Them" • Democrat? Republican? Can You Tell the Difference? • Not on the Mayflower? Then Leave! • Big Welfare Mamas • Let's Dump on Orange County • How to Conduct the Rodney King Commemorative Riot • Pagan Babies • Germany Still Hasn't Paid for Its Sins—and I Intend to Collect • So You Want to Kill the President! • Show Trials I'd Like to See • If Clinton Had Balls . • Steve Forbes Was an Alien • Corporate Crooks Trading Cards • Why Are Union Leaders So F#!@ing Stupid? • Balance the Budget? Balance My Checkbook! • Mike's Penal Systems, Inc. -
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Rennie, Allan (2012) Representing Performance: Documentary film, performance theory, and the Real. MPhil(R) thesis. http://theses.gla.ac.uk/3572/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] 1 ‘Representing Performance: Documentary Film, Performance Theory and the Real’ Allan Rennie 0601966 Supervisors: Dr Karen Lury Dr Katie Gough MPhil Thesis School of Creative Arts Theatre, Film and Television Department Abstract: This thesis explores the points of intersection between documentary theory and performance theory. Documentary discourse – both practice and theory – concerns itself with the search for an origin; an object in the real world with which the filmmaking apparatus interacts. The object is the nucleus of the documentary text. The fact that the object is taken from the historical world provides the text and its argument with immediacy and relevance. Writing on documentary focuses on the relationship forged between this object and the documentary text. The cynosure of documentary theory is an examination of the practices and processes deployed by the filmmaker in the representation of reality. -
Newsletter September 2018
FOREST FRIENDS IRELAND NEWSLETTER – SEPTEMBER 2018 Issue 28 Forest Friends Ireland WE PLANT TREES … IN THIS ISSUE Summer’s gone …. Well, we’ve left Lughnasa behind and we Some elements of the Cross Border are moving through the Autumnal Equinox Project are already in place. The Centre for towards the great festival of Samháin, Forest Biodiversity is a project at the initial marking the end of the harvest and the stages. This issue summarises our progress beginning of Winter. The leaves are this season. changing colour and the days are beginning Saving Mother Earth to look just a little bit shorter but we still Carbon Offsets For Urban In this article John Haughton examines the have a lot of work to do so let’s jump right Bolivian model for the conservation of Mother Trees – Page 10 Earth as a desirable starting point based on a in to this season’s newsletter. We have a lot Urban trees improve air and water quality, of ground to cover. deep ecological perspective at the bedrock of reduce energy costs and improve human environmental conservation. health, and offer the benefit of storing Saving Mother Earth - Page 2 carbon. But in cities across the world, they Bolivia is further advanced than most with are disappearing. regard to adopting a model for saving Mother Earth and has now established laws You probably noticed the felling of trees in pertaining to the 'Law of Mother Earth'. your own locality and U.S. Forest Service scientists report that metropolitan areas in The Wake and Death of the U.S. -
Humorous Treatment of Actuality
HUMOROUS TREATMENT OF ACTUALITY ! Karianne Holt Vårdal Master of Arts Documentary Production University of Stavanger Spring 2015 !!Page "1 of "59 Abstract ! This essay is a close reading of the humor and irony used in Michael Moore's feature documen- taries; Roger and Me, Bowling for Columbine and Sicko. Based on existing theories on humor and the documentary, my analysis is a reading of carefully chosen scenes to illustrate the different methods used to create humor and irony, as well as a attempt to describe why we laugh at these par- ticular scenes. A review of critical discourse surrounding Moore's films and their use of humor, identifies issues with the comedy/documentary hybridization, yet also that Moore's signature style of documentary is one of the latest manifestations in the evolution of the feature documentary film. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !!Page "2 of "59 Table of Contents! Chapter 1 Introduction .........................................................................................................................4 1.2 Background and Motivation .......................................................................................................4 1.3 Selection of Films ......................................................................................................................5 1.4 Research Problem ......................................................................................................................5 1.5 Essay Structure ...........................................................................................................................6 -
Broadcasting the BUSINESSWEEKLY of TELEVISIR,E
Dec. 30, 1968:Our 38th Year:504 Broadcasting THE BUSINESSWEEKLY OF TELEVISIR,E. AND RADIO Special report: Detailed lock at 1968. p17 Shots of lunar surface highlight Apollo coverage. p42 Pastore says broadcasters are doing responsible job. p46 Nielsen reveals new computerized spot -TV service. p49 LIBRARY CHI g. YLVISAKEB CCNCORDIA COLLEGE -LEAD IVIINNES- MOOD. $ ea Tgrili:E111.1.1REPRESENTING KARD -TV- KANSAS STATE NETWORK KCOP -LOS ANGELES, CALIFORNIA KPTV- PORTLAND, OREGON KTNT -TV- SEATTLE- TACOMA, WASHINGTON WTCN- MINNEAPOLIS, MINNESOTA OPENS ACROSS THE COUNTRY JANUARY 1, 1969 WITH THE MOST EFFECTIVE TELEVISION STATION REPRESENTATIVE SALES TEAM. AL MARINI ROB SCHNEIDER PRESIDENT VICE PRESIDENT AND SALES PLANNING ANO GENERAL MANAGER DEVELOPMENT DAN KELLY DIRECTOR OF NEW YORK DETROIT CHICAGO SAN FRANCISCO LOS ANGE-LS-1 LEN TRONICK MARRY GOOSIL LLOYD WERNER DON WICKES GERRY VELON SALES MANAGER SALES MANAGER SALES MANAGER SALES MANAGER SALES MANAGER MS MADISON AVENUE DAVID STOTT MUDDING PRUDENTIAL PLAZA 350 NSOME STREET ZII PLAU SAN? III. -3.",, .15..1;.'"' 213456 1711 Tube Camera TK-42 -401111111106, Tube Camera TK-44A r 4 -Tube Color or 3 -Tube Color? ...at RCA You Choose The TK -42 "Best of the 4 -Tube Cameras" The TK -42 is the 4 -tube design, and the only one -- -----~--z employing a 41/2-inch image orthicon for resolution unequalled by any 4 -tube camera ... and sharpest color _ pictures. With a high degree of technical sophistication, the TK -42 has earned the reputation for producing the very finest of color pictures. 41/2-inch I.O. in luminance channel; three vidicons in chrominance channels The TK -44A "Best of the 3 -Tube Cameras" The TK -44A is the latest in 3 -tube design employing lead oxide tubes. -
Television 2.0: Reconceptualizing TV As an Engagement Medium
Television 2.0: Reconceptualizing TV as an Engagement Medium by Ivan D. Askwith B.A. Individualized Study (Technology, Media & Culture) Gallatin School of Individualized Study New York University, 2003 SUBMITTED TO THE PROGRAM IN COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER 2007 © 2007 Ivan D. Askwith. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: Program in Comparative Media Studies 10 August 2007 Certified by: //I Henry Jenkins III Peter d;l orez Professor of Humanities Professor of Comparative Media Studies and Literature Co-Director, Comparative Media Studies Accepted by: -:?Z7 MASSACHUSETTS INS - Cee~<Fo < Henryjenkins III OF TECHNOLOGY Petee Florez Professor of Humanities Professor of Comparative Media Studies and Literature IAUG 7 4 2007 Co-Director, Comparative Media Studies VM0E =ES LIIRARIES Television 2.0: Reconceptualizing TV as an Engagement Medium by Ivan D. Askwith Submitted to the Program in Comparative Media Studies on August 10, 2007, in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies ABSTRACT Television is in a period of dramatic change. As the mass audience continues to fragment into ever-smaller niche audiences and communities of interest, and new technologies shift control over the television viewing experience from network programmers into the hands of media consumers, television's traditional business models prove themselves increasingly untenable. -
Fahrenheit 9/11: O Medo Como Arma De Guerra
FAHRENHEIT 9/11: O MEDO COMO ARMA DE GUERRA Lilian VICTORINO1 “A democracia periga quando está sendo negligenciado o seu princípio essencial: o predomínio do bem comum sobre os interesses de indivíduos ou de grupos particulares.” Anatol Rosenfeld Resumo: Este artigo apresenta alguns aspectos do discurso fílmico construído no documentário Fahrenheit 9/11 do diretor Michael Moore. A partir dos principais grupos estabelecidos pelo filme e seus personagens principais são observadas as proposições de sentido entre o filme e a sua relação com a sociedade. O filme aponta para históricas relações entre empresários, americanos e sauditas, do setor petrolífero e de armamentos, que, aliados à influência política da família Bush e membros do partido republicano, encontraram nos ataques cometidos em 11 de setembro de 2001, o ponto de ebulição para uma lucrativa guerra contra o Iraque sob o pretexto de levar democracia e liberdade ao povo. Para a legitimação da guerra, o filme sugere a cultura do medo, ostensivamente cultivada entre os estadunidenses, como importante arma para mobilizar a opinião pública e os membros do Senado, a fim de aprovarem os orçamentos necessários para o ataque contra uma nação que, segundo o filme, nunca representou ameaça aos EUA. Palavras-chave: Cinema Documental. Estados Unidos. 11 de Setembro. Guerra. Medo 41 Estreando nos cinemas em 2004, Fahrenheit 9/11 é um documentário estadunidense cuja ácida crítica, aliada à “comedic license” que caracteriza a direção de Michael Moore, incide sobre o governo do republicano George