DOCSLIB.ORG

The Question Concerning the Cooptation of the Sundance Film Festival: an Analysis of the Commodification of Independent Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Question Concerning the Cooptation of the Sundance Film Festival: an Analysis of the Commodification of Independent Cinema Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 12-2009 The Question Concerning the Cooptation of the Sundance Film Festival: An Analysis of the Commodification of Independent Cinema Matt Dee Cottrell Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Sociology Commons Recommended Citation Cottrell, Matt Dee, "The Question Concerning the Cooptation of the Sundance Film Festival: An Analysis of the Commodification of Independent Cinema" (2009). All Graduate Theses and Dissertations. 485. https://digitalcommons.usu.edu/etd/485 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE QUESTION CONCERNING THE COOPTATION OF THE SUNDANCE FILM FESTIVAL: AN ANALYSIS OF THE COMMODIFICATION OF INDEPENDENT CINEMA by Matt Dee Cottrell A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE in Sociology Approved: _______________________ _______________________ Christy Glass Richard S. Krannich Major Professor Committee Member _______________________ _______________________ Richley Crapo Byron R. Burnham Committee Member Dean of Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 2009 ii Copyright Matt Dee Cottrell 2009 All Rights Reserved iii ABSTRACT The Question Concerning the Cooptation of the Sundance Film Festival: An Analysis of the Commodification of Independent Cinema by Matt Dee Cottrell, Master of Science Utah State University, 2009 Major Professor: Dr. Christy Glass Department: Sociology, Social Work & Anthropology The Sundance Film Festival has transformed from being a fringe festival to a leading showcase for independent cinema. This research shows that studios now descend upon the festival to acquire films for commercial distribution. The Sundance Film Festival seems to currently operate as a marketplace for films rather than an independent festival. This research seeks to examine how Hollywood studios have been able to infiltrate and commodify independent projects from the Sundance Film Festival and what the potential ramifications are for emerging independent filmmakers seeking to have their projects screened at the festival. In other words, have Hollywood studios coopted the Sundance Film Festival and if so, what does this process look like? This research seeks to answer these questions through an analysis of Sundance Film Festival data and interviews with festival informants. (98 pages) iv ACKNOWLEDGMENTS This wouldn’t have been possible without Christy; thank you so very much for all your help and everything you have done for me. I want to thank you for your encouragement and willingness to help me through every aspect of this project. You have always been there for me and I just want to thank you for that. I also want to thank Kelly and Richley for their willingness to be on my committee and for their support. This has been an interesting process; thank you for sticking with me. A special thank you to Shannon. I also want to give a shot-out to Stephanie, Teresa, Jeremy, and all those in the north side cubes, peace. Thank you to G and Rick for helping me get this done. I want to give special love to Rose Park, 84116, Park Life, RPC, all those in the 801, and those along Riverside, Redwood, and Glendale, peace. I want to give a shot-out to all the scholars without colleges, peace. Thank you to Tee, Mos Def, Nas, Dead Prez, NWA and 2Pac, rest in peace, we’ll mourn you till we join you, Thug-Life. I would also like to thank the Salt Lake Film Society and the Salt Lake City Weekly. Also, I want to thank Tanya from the Sundance Institute for the help with the film guides. I want to thank all those in Sociology for the support and the chance to let me do this. I also want to say that USU and the Wu is for the children. A special shot-out to the RZA, the GZA, Raekwon the Chef, U-God, Ghostface Killah, Inspectah Deck, Method Man, Masta Killa, and the late Ol' Dirty Bastard for the inspiration. Peace to the Gods and Earths, Killah bees are on the swarm, word is bond. Read to the seeds. Yo, peace, I’m out. -Matt Dee Cottrell v CONTENTS Page ABSTRACT ....................................................................................................................... iii ACKNOWLEDGMENTS ................................................................................................. iv CONTENTS .........................................................................................................................v LIST OF FIGURES .......................................................................................................... vii RESEARCH QUESTION ....................................................................................................1 INTRODUCTION…. ..........................................................................................................2 THEORETICAL ORIENTATION ......................................................................................5 CULTURAL PRODUCTION OF FILM .................................................................8 THE RISE OF INDEPENDENT FILM .................................................................10 MARKET SUCCESS AND THE STUDIO ..........................................................13 APPROPRIATION OF SUNDANCE FILM ........................................................19 THE MATTER OF MARKETABILITY ..............................................................23 THEORETICAL AFTERTHOUGHTS .................................................................26 METHODOLOGY ............................................................................................................30 ROADMAP........................................................................................................................32 THE BIRTH OF THE SUNDANCE FILM FESTIVAL ...................................................33 QUANTITATIVE ANALYSIS... ......................................................................................36 SCREENINGS .......................................................................................................37 ATTENDANCE ....................................................................................................42 DISTRIBUTION....................................................................................................48 SPONSORSHIP .....................................................................................................51 QUALITATIVE ANALYSIS ............................................................................................56 CROSSOVER APPEAL IN INDEPENDENT FILM ...........................................57 OPPORTUNITIES AT SUNDANCE....................................................................61 POPULARIZATION AND ATTENTION ............................................................66 SUNDANCE FILM FESTIVAL AWARDS .........................................................70 CONCLUSION ..................................................................................................................73 RESEARCH IMPLICATIONS .........................................................................................81 vi RESEARCH LIMITATIONS ............................................................................................85 WORKS CITED ................................................................................................................90 vii LIST OF FIGURES Figure Page 1 Number of Films Screened Each Year from 1985 to 2008 ..................................38 2 Yearly Composition of Film Submissions from 1992 to 2008 ............................40 3 Number of Seats Purchased from 1983 to 1998 ...................................................43 4 Yearly Attendance from 1996 to 2007 .................................................................46 5 In-State and Out-of-State Attendance from 1996 to 2007....................................47 6 Yearly Submissions Compared to Films Screened from 1992 to 2008 ................49 7 Number of Festival Award Winners and Films Acquired for Distribution from 1985 to 2007 ..........................................................................................................50 8 Yearly Official Sponsorship levels from 1979 to 1998 ........................................52 9 Number of Distribution Sponsors from 1985 to 1998 ..........................................53 RESEARCH QUESTION The research presented here revolves around the question of whether the Sundance Film Festival has become commodified and how this may affect the types of independent films that are screened at the festival. Specifically, how has Hollywood studios been able to infiltrate and commodify independent projects such as those that are screened at the Sundance Film Festival and what are the potential ramifications for emerging independent filmmakers seeking to have their projects screened at the festival? In other words, has Hollywood studios coopted the Sundance Film Festival and if so, what does the process of cooptation look like? This research seeks to describe the process of studio cooptation of the Sundance Film Festival through analyzing historical trends in acquisition, distribution, and sponsorship. 2 INTRODUCTION The Sundance Film Festival has been described by those in
Load more

Recommended publications
  • In the Same Breath
    IN THE SAME BREATH A film by Nanfu Wang #InTheSameBreathHBO DEBUTS 2021 ON HBO SUNDANCE FILM FESTIVAL SCREENING SCHEDULE Thursday, January 28 at 5:00 PM PT / 6:00 PM MT – Online (WORLD PREMIERE) For press materials, please visit: ftp://ftp.homeboxoffice.com username: documr password: qq3DjpQ4 Running Time: 95 min Press Contact Press Contact HBO Documentary Films Cinetic Marketing Asheba Edghill / Hayley Hanson Rachel Allen / Ryan Werner Asheba cell: 347-721-1539 Rachel cell: 937-241-9737 Hayley cell: 201-207-7853 Ryan cell: 917-254-7653 [email protected] [email protected] [email protected] [email protected] LOGLINE Nanfu Wang's deeply personal IN THE SAME BREATH recounts the origin and spread of the novel coronavirus from the earliest days of the outbreak in Wuhan to its rampage across the United States. SHORT SYNOPSIS IN THE SAME BREATH, directed by Nanfu Wang (“One Child Nation”), recounts the origin and spread of the novel coronavirus from the earliest days of the outbreak in Wuhan to its rampage across the United States. In a deeply personal approach, Wang, who was born in China and now lives in the United States, explores the parallel campaigns of misinformation waged by leadership and the devastating impact on citizens of both countries. Emotional first-hand accounts and startling, on-the-ground footage weave a revelatory picture of cover-ups and misinformation while also highlighting the strength and resilience of the healthcare workers, activists and family members who risked everything to communicate the truth. DIRECTOR’S STATEMENT I spent a lot of my childhood in hospitals taking care of my father, who had rheumatic heart disease.
    [Show full text]
  • Montana Kaimin, February 14, 2003 Students of the Niu Versity of Montana, Missoula
    University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 2-14-2003 Montana Kaimin, February 14, 2003 Students of The niU versity of Montana, Missoula Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Students of The nivU ersity of Montana, Missoula, "Montana Kaimin, February 14, 2003" (2003). Montana Kaimin, 1898-present. 4668. https://scholarworks.umt.edu/studentnewspaper/4668 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. www.kaimin.org MONTANA KAIMIN Kaimin is a Salish word for paper Friday February 14, 2003 — Issue 62 Faculty Senate amends class policies Ed. dean Class auditing, passed by the Faculty Senate the Faculty Senate, said that doing that is already in place.” Thursday afternoon. the changes will be added into Lori Morin, assistant dean announces pass-no pass The proposal to not allow next year’s academic catalog of the School of Pharmacy, was rules to change students to switch to audit but she couldn’t say for sure in support of the proposal. after 15 days of instruction how current students will be “We have students who resignation Natalie Storey was made by deans and associ- affected.
    [Show full text]
  • Co-Optation of the American Dream: a History of the Failed Independent Experiment
    Cinesthesia Volume 10 Issue 1 Dynamics of Power: Corruption, Co- Article 3 optation, and the Collective December 2019 Co-optation of the American Dream: A History of the Failed Independent Experiment Kyle Macciomei Grand Valley State University, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/cine Recommended Citation Macciomei, Kyle (2019) "Co-optation of the American Dream: A History of the Failed Independent Experiment," Cinesthesia: Vol. 10 : Iss. 1 , Article 3. Available at: https://scholarworks.gvsu.edu/cine/vol10/iss1/3 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Cinesthesia by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Macciomei: Co-optation of the American Dream Independent cinema has been an aspect of the American film industry since the inception of the art form itself. The aspects and perceptions of independent film have altered drastically over the years, but in general it can be used to describe American films produced and distributed outside of the Hollywood major studio system. But as American film history has revealed time and time again, independent studios always struggle to maintain their freedom from the Hollywood industrial complex. American independent cinema has been heavily integrated with major Hollywood studios who have attempted to tap into the niche markets present in filmgoers searching for theatrical experiences outside of the mainstream. From this, we can say that the American independent film industry has a long history of co-optation, acquisition, and the stifling of competition from the major film studios present in Hollywood, all of whom pose a threat to the autonomy that is sought after in these markets by filmmakers and film audiences.
    [Show full text]
  • Westfield Filmmaker Basler Spices Estfield Filmmaker Basler Spices
    Page 20 Thursday, April 11, 2002 The Westfield Leader and THE TIMES of Scotch Plains – Fanwood A WATCHUNG COMMUNICATIONS, INC. PUBLICATION Artist of Pen & Ink By Michelle H. Le Poidevin the Week Father Ozzy Knows Best When It Comes to Acing Cable TV Ratings By MICHELLE H. Le POIDEVIN Specially Written for The Westfield Leader and The Times WWestfieldestfield FilmmakerFilmmaker BaslerBasler SpicesSpices Unless he’s carrying one toward his neighbor’s house because they’re playing their music too loud, Ozzy Osbourne isn’t likely to have any association with a Cleaver on his much ballyhooed MTV program, UpUp IndustryIndustry WWitithh JustJust AAdddd PepperPepper “The Osbournes.” For the man who proclaims himself the “Prince of UpUp IndustryIndustry WWitithh JustJust AAdddd PepperPepper (ahem...expletives) Darkness” manages to juggle his bad to the bone By KERRIANNE SPELLMAN CORT For a full description Specially Written for The Westfield Leader and The Times reputation, while doddering around the house, picking up dog drop- of the story, please visit pings and fretting over whether or not he the house can stand another WESTFIELD — Talent and per- www.justaddpepper.com/ sistence have proven to be a winning story. pet. The ironic concoction of these two personas makes the Tuesday combination for one local filmmaker. On Saturday, April night show a winning combo with all generations of viewers. It’s no Peter Paul Basler of Westfield paid 27, Basler’s work wonder that “The his dues like any Osbournes” rule the cable hopeful artist. Years of attending television charts. No- school, training, Robert Redford where else would you see studying abroad a man, who once bit off and working as a the head of a bat, cud- production assis- (1937- ) dling and cooing to a ter- tant on several films all paved the By MICHELLE H.
    [Show full text]
  • Animatricks Film Festival 2015
    Animatricks Film Festival 2015 A Marketing Plan Emmi Nilivaara Bachelor’s thesis April 2015 Degree Programme in Music and Media Management School of Business 2 Description Author(s) Type of publication Date Nilivaara, Emmi Bachelor’s thesis 17.4.2015 Language of publication: English Number of pages Permission for web 36+24 publication: x Title of publication Animatricks Film Festival 2015 A Marketing Plan Degree programme Music and Media Management Tutor(s) Miikkulainen, Ilari Assigned by Palikka Ry. Abstract The goal of the bachelor’s thesis was to create an efficient and implementable marketing plan for the Animatricks Film Festival 2015. The Animatricks Film Festival is an annual animation-related festival held in Helsinki, Finland. The festival is organized by Palikka Ry, a non-profit organization. It was agreed upon to create a marketing plan for the next Animatricks Film Festival (2015) as there had been no previous one(s). The bachelor’s thesis concentrates on describing the concept of marketing and marketing plan in the chapter of theoretical basis. The chapter on implementation presents the practicalities of creating a marketing plan for the Animatricks Film Festival 2015. As a result, a marketing plan for the Animatricks Film Festival 2015 was created based on the needs and wants of Palikka Ry. The implementation of the marketing plan started in January 2015. As the thesis was finished before the festival was being held, no definite or concrete proof on the success rate of the marketing plan was discovered. The marketing plan is attached to the bachelor’s thesis however, it is confidential and not published.
    [Show full text]
  • National Endowment for the Arts Annual Report 1990
    National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................
    [Show full text]
  • Over the Past Ten Years, Good Machine, a New York-Based
    MoMA | press | Releases | 2001 | Good Marchine: Tenth Anniversary Page 1 of 4 For Immediate Release February 2001 THE MUSEUM OF MODERN ART TO CELEBRATE TENTH ANNIVERSARY OF GOOD MACHINE, NEW YORK-BASED PRODUCTION COMPANY Good Machine: Tenth Anniversary February 13-23, 2001 The Roy and Niuta Titus Theatre 1 Over the past ten years, Good Machine, a New York-based production company helmed by Ted Hope, David Linde and James Schamus, has become one of the major forces in independent film culture worldwide. Dedicated to the work of emerging, innovative filmmakers, Good Machine has produced or co-produced films by, among others, Ang Lee, Todd Solondz, Nicole Holofcener, Ed Burns, Cheryl Dunye and Hal Hartley. Beginning with Tui Shou (Pushing Hands) (1992), the first collaboration between Good Machine and director Ang Lee, The Museum of Modern Art presents eight feature films and five shorts from February 13 through 23, 2001 at the Roy and Niuta Titus Theatre 1. "Good Machine proves that audiences do want to be entertained intelligently and engaged substantively," remarks Laurence Kardish, Senior Curator, Department of Film and Video, who organized the series. "Their achievements are reflected in this Tenth Anniversary series and are, in large part, due to Good Machine's collaborations with filmmakers and its respect for the creative process." In addition to producing and co-producing films, Good Machine has gone on to establish an international sales company involved in distributing diverse and unusual works such as Joan Chen's Xiu Xiu: The Sent-Down Girl (1998) and Lars Von Trier's Dancer in the Dark (2000).
    [Show full text]
  • Glenn-Garland-Editor-Credits.Pdf
    GLENN GARLAND, ACE Editor Television PROJECT DIRECTOR STUDIO / PRODUCTION CO. WELCOME TO THE BLUMHOUSE: BLACK BOX Emmanuel Osei-Kuffour Amazon / Blumhouse Productions EP: Jay Ellis, Jason Blum, Aaron Bergman PARADISE CITY*** (series) Ash Avildsen Sumerian Films EP: Lorenzo Antonucci PREACHER (season 3) Various AMC / Sony Pictures Television EP: Sam Catlin, Seth Rogen, Evan Goldberg ALTERED CARBON** (series) Various Netflix / Skydance EP: Laeta Kalogridis, James Middleton, Steve Blackman STAN AGAINST EVIL (series) Various IFC / Radical Media EP: Dana Gould, Frank Scherma, Tom Lassally BANSHEE (series) Ole Christian Madsen HBO / Cinemax Magnus Martens EP: Alan Ball THE VAMPIRE DIARIES (series) Various CW / Warner Bros. Television EP: Julie Plec, Kevin Williamson Feature Films PROJECT DIRECTOR STUDIO / PRODUCTION CO. BROKE Carlyle Eubank Wild West Entertainment Prod: Wyatt Russell, Alex Hertzberg, Peter Billingsley THE TURNING Floria Sigismondi Amblin Partners 3 FROM HELL Rob Zombie Lionsgate FAMILY Laura Steinel Sony Pictures / Annapurna Pictures Official Selection: SXSW Film Festival Prod: Kit Giordano, Sue Naegle, Jeremy Garelick SILENCIO Lorena Villarreal 5100 Films / Prod: Beau Genot 31 Rob Zombie Lionsgate / Saban Films Official Selection: Sundance Film Festival Prod: Mike Elliot, Andy Gould THE QUIET ONES John Pogue Lionsgate / Exclusive Media LORDS OF SALEM Rob Zombie Blumhouse / Anchor Bay Entertainment LOVE & HONOR Danny Mooney IFC Films / Red 56 HALLOWEEN 2 Rob Zombie Dimension Films BUNRAKU* Guy Moshe Snoot Entertainment Official
    [Show full text]
  • Trends of Pakistani Films: an Analytical Study of Restoration of Cinema
    Trends of Pakistani films: An analytical study of restoration of cinema Fouzia Naz* Sadia Mehmood** ABSTRACT People prefer to go to the cinema as compared to theaters because of its way of execution and performance. Background music, sound effects, lights, direction attract people, and its demonstrations relate people to their lives. It is true that films have a unique and powerful connection between human behavior and societal culture. Pakistani film industry faced the downfall and now it is doing its best to make the films on international standards. In this research article, the background of Pakistani cinema and causes of downfall will be discussed. The main idea of this research article is to identify and study the development of Pakistani film industry. Qualitative and quantitative data collection will be used as the research method of this research. This research article helps in observing different mass media theory based on Pakistani cinema. Moreover, it will be explained what filmmakers critiques and people say regarding revival or restoration. Keywords: downfall, revival, the impact of the Pakistani film industry, Lollywood *Assistant professor, Mass Communication, University of Karachi) **Assistant professor, Mass Communication, University of Karachi) 33 Jhss, Vol. 8, No. 2 , July to December, 2017 The definition of cinema can be explained as “another word of moving a picture”1This is the place where films are shown to the public. Most of the people who are not into the arts get confused in cinema and theater. The theater is the building where live performance is performed2. The similarity between cinema and theaters are both of them execute act and created for public entertainment.
    [Show full text]
  • Sundance Institute Announces Film Forward: Advancing Cultural Dialogue to Be Presented in Morocco September 27-30
    SUNDANCE INSTITUTE ANNOUNCES FILM FORWARD: ADVANCING CULTURAL DIALOGUE TO BE PRESENTED IN MOROCCO SEPTEMBER 27-30 Filmmakers Cherien Dabis (Amreeka ) and Emmy Award Winner Stanley Nelson ( Freedom Riders ) Featured Participants for Screenings and Workshops Co-Hosted by the U.S. Embassy in Rabat RABAT, MOROCCO (September 23, 2011) — Film Forward: Advancing Cultural Dialogue , a Sundance Institute initiative in partnership with U.S. federal cultural agencies, will be presented in the Kingdom of Morocco September 27-30, in collaboration with the U.S. Embassy in Rabat. A selection of films and film- related events will be presented at locations in Tangier, Tetouan, Salé and Casablanca. Filmmakers Cherien Dabis (Amreeka ) and Stanley Nelson ( Freedom Riders ), as well as Caroline Libresco, Senior Programmer at Sundance Institute, will travel to Morocco to represent the initiative and engage with audiences. “In just the first year of this program, we’ve taken films and filmmakers around the world and built a dialogue with audiences in Tunisia, Turkey, China, Kenya, Puerto Rico and several other locations in the U.S.,” said Keri Putnam, Sundance Institute Executive Director. “Though each location is different, audiences are finding common themes and sharing their own experiences. It speaks to the goal of the program – showing the power of film to transcend culture barriers.” Screenings, including some for students and underserved youth, will take place at locations including the Cinematheque de Tanger, the Tangier American Legation Museum in conjunction with the American Language Center, University Abdelmalek Essadi, Abi bakr Errazi Junior High School, Cinema Hollywood, and School of Metiers du Cinema. Private workshops will be held at University Abdelmalek Essadi in Tetouan by Stanley Nelson who will explore the filmmaking challenges he faced with creating a historical film and how to effectively use rich archival footage to create a singular cinematic experience.
    [Show full text]
  • VILNIAUS DAILĖS AKADEMIJA VILNIUS ACADEMY of ARTS TOMAS DAUKŠA Meno Projektas IŠ PUSIAUSVYROS IŠVESTA SISTEMA SU GRĮŽTAMUO
    VILNIAUS DAILĖS AKADEMIJA VILNIUS ACADEMY OF ARTS TOMAS DAUKŠA Meno projektas IŠ PUSIAUSVYROS IŠVESTA SISTEMA SU GRĮŽTAMUOJU RYŠIU Art Project SYSTEM DERIVED FROM EQUILIBRIUM WITH THE FEEDBACK LOOP Meno doktorantūra, Vaizduojamieji menai, Dailės kryptis (V 002) Art Doctorate, Visual Arts, Fine Arts (V 002) Vilnius, 2019 Meno projektas rengtas Vilniaus dailės akademijoje 2014–2019 metais KŪRYBINĖS DALIES VADOVAS: Prof. Konstantinas Bogdanas Vilniaus dailės akademija, dailė V 002 TIRIAMOSIOS DALIES VADOVĖ: Doc. dr. Agnė Narušytė Vilniaus dailės akademija, humanitariniai mokslai, menotyra H 003 KONSULTANTAS Prof. Henrik B. Andersen Vilniaus dailės akademija, dailė V 002 Meno projektas ginamas Vilniaus dailės akademijoje Meno doktorantūros dailės krypties gynimo taryboje: PIRMININKAS: Dr. Darius Žiūra Vaizduojamieji menai, dailė V 002 NARIAI: Doc. dr. Žygimantas Augustinas Vilniaus dailės akademija, vaizduojamieji menai, dailė V 002 Anders Kreuger Direktorius, Kohta kunsthalė, Helsinkis (Suomija) Dr. Tojana Račiūnaitė Vilniaus dailės akademija, humanitariniai mokslai, menotyra H 003 Prof. dr. Artūras Tereškinas Vytauto Didžiojo universitetas, socialiniai mokslai, sociologija S 005 Meno projektas ginamas viešame Meno doktorantūros dailės krypties gynimo tarybos posėdyje 2019 m. lapkričio 29 d. 14 val. Kūrybinių industrijų centre „Pakrantė“ (Vaidilutės g. 79, 10100-Vilnius). Su meno projektu galima susipažinti Lietuvos nacionalinėje Martyno Mažvydo, Vilniaus dailės akademijos bibliotekose. ISBN 978-609-447-326-5 2 The Artistic Research Project
    [Show full text]
  • ANGEL DEANGELIS Hair Stylist IATSE 798
    ANGEL DEANGELIS Hair Stylist IATSE 798 FILM HUSTLERS Department Head Director: Lorene Scafaria PRIVATE LIFE Department Head Director: Tamara Jenkins SHOW DOGS Department Head – Las Vegas Shoot Director: Raja Gosnell COLLATERAL BEAUTY Department Head Director: David Frankel Cast: Helen Mirren, Ed Norton, Keira Knightley THE AMAZING SPIDER-MAN 2 Department Head Director: Marc Webb Cast: Dane DeHaan THE HEAT Department Head Director: Paul Feig Cast: Melissa McCarthy MUHAMMAD ALI’S GREATEST FIGHT Department Head Director: Stephen Frears Cast: Christopher Plummer, Benjamin Walker, Frank Langella JACK REACHER Department Head Director: Christopher McQuarrie Cast: Rosamund Pike, Robert Duvall, Richard Jenkins, Werner Herzog, Jai Courtney, Joseph Sikora, GODS BEHAVING BADLY Department Head Director: Marc Turtletaub Cast: Alicia Silverstone, Edie Falco, Ebon Moss-Bachrach, Oliver Platt, Christopher Walken, Rosie Perez, Phylicia Rashad THE AMAZING SPIDER-MAN Key Hair (New York) Director: Marc Webb Cast: Embeth Davidtz NEW YEAR’S EVE Department Head Director: Garry Marshall Cast: Jessica Biel, Zac Efron, Cary Elwes, Alyssa Milano, Carla Gugino, Jon Bon Jovi, Sofia Vergara, Lea Michele, James Belushi, Abigail Breslin, Josh Duhamel, Cherry Jones, THE MILTON AGENCY 6715 Hollywood Blvd #206, Los Angeles, CA 90028 Angel DeAngelis Telephone: 323.466.4441 Facsimile: 323.460.4442 Hair [email protected] www.miltonagency.com Page 1 of 5 THE SITTER Department Head Director: David Gordon Green Cast: Jonah Hill, Ari Graynor PREMIUM RUSH Department Head
    [Show full text]