DOCSLIB.ORG

Reaching for the Stars

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Reaching for the Stars Reaching for the Stars by applying a theoretically substantiated approach to star power in the context of box office success prediction. Daniel Lang (40294) STOCKHOLM SCHOOL OF ECONOMICS Master Thesis in Business & Economics, Marketing & Media Management Fall 2013 Abstract: This thesis explores the effect of stars on the box office revenue of motion pictures. This is done by deriving a two-dimensional measure of stardom from the theoretical foundations provided by Sherwin Rosen and Moshe Adler. The two dimensions used and operationalized are talent on the one hand and consumption capital, a measure of previous knowledge of the movie cast’s actors, on the other hand. Alongside previously established predictors of movie success these are entered in a regression to determine their influence on movie revenue. Both dimensions are shown to exert influence on the box office with consumption capital wielding the greater power. Keywords: Motion picture, movie, star power, box office, talent, consumption capital Supervisor: Anna Nyberg & Per Andersson Opponent: Leah Steffensen Examiner: Daniel Tolstoy Presentation: Stockholm, December 18th, 2013 Reaching for the Stars Daniel Lang, 2013 A special thanks to Anna Nyberg & Per Andersson for their caring advice and tutelage Patric Andersson & Per Hedberg for discussion and council Christian Opitz & Kay Hofmann for introducing me to this fascinating topic Charlotta Knigge & Lars Velten for reflection and advice on methodology My family & friends for enduring me during the last months ii Reaching for the Stars Daniel Lang, 2013 Table of contents 1 Introduction ........................................................................................................................... 1 1.1 The “Dream Factory” ....................................................................................................... 1 1.2 Hollywood nightmares ..................................................................................................... 2 1.3 Dream catchers ................................................................................................................. 3 1.4 Effectiveness of stars ........................................................................................................ 4 1.5 Purpose Statement ............................................................................................................ 5 1.6 Delimitations .................................................................................................................... 6 1.7 Disposition ........................................................................................................................ 6 2 Literature review ................................................................................................................... 7 2.1 Broad box office prediction models ................................................................................. 7 2.2 Focussed prediction models.............................................................................................. 8 2.2.1 Critical reviews .......................................................................................................... 8 2.2.2 Awards ....................................................................................................................... 9 2.2.3 Word of mouth and consumer ratings ........................................................................ 9 2.2.4 Prequels .................................................................................................................... 10 2.2.5 User activity and search behaviour .......................................................................... 11 2.2.6 Star power ................................................................................................................ 11 2.3 The research gap ............................................................................................................. 13 2.3.1 Star power operationalization .................................................................................. 13 2.3.2 Temporal alignment ................................................................................................. 14 2.3.3 Requirements to fill the void .................................................................................... 16 2.4 The stars .......................................................................................................................... 16 2.4.1 Defining the star ability ........................................................................................... 16 2.4.2 Rosen’s proposal ...................................................................................................... 17 2.4.3 Adler’s response ....................................................................................................... 17 2.5 Application to movies ..................................................................................................... 18 2.6 Hypotheses...................................................................................................................... 19 2.7 Proposed effect architecture ........................................................................................... 20 3 Data compilation ................................................................................................................. 21 3.1 Research strategy ............................................................................................................ 21 3.2 Research design .............................................................................................................. 21 3.3 Initial data set.................................................................................................................. 22 3.4 Movie-related variables .................................................................................................. 22 3.4.1 Box office revenue ................................................................................................... 22 3.4.2 Budget ...................................................................................................................... 23 3.4.3 MPAA-rating ........................................................................................................... 23 3.4.4 Genre ........................................................................................................................ 24 3.4.5 Time of release ......................................................................................................... 25 3.4.6 Studio ....................................................................................................................... 25 3.4.7 Prequels .................................................................................................................... 25 3.4.8 Material source ......................................................................................................... 26 iii Reaching for the Stars Daniel Lang, 2013 3.4.9 Overview of movie-related variables ....................................................................... 26 3.5 Attribution of stars to movies ......................................................................................... 27 3.6 Star-related variables ...................................................................................................... 29 3.6.1 Consumption capital ................................................................................................ 29 3.6.2 Talent ....................................................................................................................... 30 3.6.3 Age and gender ........................................................................................................ 31 3.7 Aggregation to final dataset ............................................................................................ 32 4 Data analysis ........................................................................................................................ 33 4.1 Description of data .......................................................................................................... 33 4.2 Factor analysis ................................................................................................................ 34 4.3 Regression analysis......................................................................................................... 37 4.3.1 Assumptions of linear regression ............................................................................. 37 4.3.2 Trimming towards final model ................................................................................ 39 4.3.3 Final regression model ............................................................................................. 41 4.3.4 Implication for hypotheses ....................................................................................... 43 4.3.5 Outlier analysis ........................................................................................................ 45 5 Discussion ............................................................................................................................. 48 5.1 Findings .......................................................................................................................... 48 5.1.1 Consumption capital ................................................................................................ 48 5.1.2 Talent ......................................................................................................................
Load more

Recommended publications
  • 9780367508234 Text.Pdf
    Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019).
    [Show full text]
  • Mona Lisa Smile Is the Title of a 2003 Film Directed by Mike Newell and Starring Julia
    1 Mona Lisa Smile is the title of a 2003 film directed by Mike Newell and starring Julia Roberts as novice art professor Katherine Ann Watson at Wellesley, a private women's liberal arts college west of Boston, during the school year 1953/54. She is free-thinking and unorthodox in her teaching methods and a product of a state university rather than one of the elite colleges, so she is initially not respected by students or most other faculty members. It is hoped that perhaps she will make up in brains what she lacks in pedigree. She is referred to as "Bohemian" but she would probably not appear so in a less stuffy and tradition-bound place. Her artistic tastes would seem modern and her feminism was perhaps a bit ahead of the main wave, but she also shows herself to be bound by a number of social conventions. The four main students whose stories thread throughout the movie are Betty (Kirsten Dunst), Joan (Julia Stiles), Giselle (Maggie Gyllenhaal), and Connie (Ginnifer Goodwin). Betty is by far the most traditional in her plans and outlook. She is the most bigoted, bad- tempered, rude, and least open to change. She is also the one who ends up with the most change in circumstances, going from a young student with no plans other than a perfect marriage to a divorcing woman moving to Greenwich Village. Joan blossoms during the year and actually considers her options, marriage or law school, carefully. After eloping, Joan makes an impassioned speech to Professor Watson pointing out the professor's own stereotyping, telling her that it is wrong to assume housewives have no depth and no intellect.
    [Show full text]
  • 776-SELL Only.Nodealers/Businesses 29 Good for Auto, Boat &RV!
    Saturday, September 26, 2020 The Eagle ● theeagle.com B3 SATURDAY EVENING A Suddenlink B DirecTV C Dish Network SEPTEMBER 26, 2020 A B C 3:30 4 PM 4:30 5 PM 5:30 6 PM 6:30 7 PM 7:30 8 PM 8:30 9 PM 9:30 10 PM 10:30 11 PM 11:30 12 AM 12:30 (2:30) NCAA Football (L) 'TVG' Football Football Pre-game (L) /(:35) NCAA Football Florida State at Miami Site: Hard (:50) 13 News (:35) Extra (:05) (:35) Ins. (:05) Wipeout 'TVPG' (13) KTRK 3-- Score. (L) Score. (L) Rock Stadium--Miami Gardens, Fla. (L)'TVG' Scoreb. at 10 (N) Points Texans Ed. (N) Cook's Into the Museum Newsho- The Parks and Bluegrass F.Drake "Healing Midsomer (:35) Midsomer Appear- Austin City Limits Bluegrass AChef's Nova "A to Z: The (15) KAMU 41512 Country Outdoors Access ur. (N) Bookmark Wildlife Under Hands" 'TV14' Murders Murders 'TVPG' ances "Billie Eilish" 'TVPG' Under Life First Alphabet" 'TVG' (2:30) NCAA Football Mississippi State University at News 3at Bucket Bull "The Sovereigns" S.W.A.T. 'TV14' 48 Hours 'TVPG' News 3at (:35) NCIS: New (:35) Castle "Head (:35) NCIS (3) KBTX 5350 Louisiana State University Site: Tiger Stadium(L) 'TVG' 6Sat. (N) List (N) 'TV14' 10 (N) Orleans 'TV14' Case" 'TVPG' Friends Friends Friends Mike & Mike & Two and a Two and a Pawn Pawn Pawn Pawn ABC13Eyewitness Amer.Ninja "Houston Am.Ninja "Pittsburgh ABC 13 Eyewitness (39) KIAH --- Molly Molly Half Men Half Men Stars Stars Stars Stars (N) Finals"2/2 'TVPG' Finals" 'TVPG' News at 9:00 p.m.
    [Show full text]
  • Richard Linklater
    8 Monday April 22 2013 | the times arts artscomedy DESPINA SPYROU; GRAEME ROBERTSON “Studioshave financedfourofmy [23]films.Idon’thave aproblemwith Find thenextbig thing Theone-nightstand Hollywood,butthe airwe breathe hereisn’tpermeatedbybusiness. My familylifeishere.” Linklateris unmarried(“Iam Go to Edinburgh anti-institutionalineveryareaofmy life”).He andTina,hispartnerof andjoin thepanel thatsparked aclassic 20years,have threemuch-cherished daughters—19-year-oldLorelei, an actress,and the8-year-old“fascinating” that decides who identicaltwinsCharlotte andAlina. “That’s abig gapbetweenchildren,”he is thestand-up ThedirectorRichard Linklater tells Tim Teeman says.“Tinasaid:‘I wantmorekidsand ifyoudon’tI’ll gohave themwith comedianof2013 thebittersweet story of abrief encounterwitha someoneelse’,” Linklaterlaughs. He quotesastatisticthat70 percentof oyouwant togo tothe strangerthatgaveusBeforeSunrise andits sequels marriedmen and72percentofmarried EdinburghFestivalFringefor women havestrayed.Isheoneofthe afortnight andstay there hosewhoracefor chanceonenight inVienna.Lehrhaupt, monogamousones?“No, of coursenot!” free?Thinkyoucouldhandle theexitasamovie’s Linklaterrevealsforthefirsttime,was heroars.“Anyonewhowantsto bewith D morethan 100hours of closingcredits rollwill thewoman with“crazy, cute,wonderful mehastoacceptthecomplexityofbeing comedyintwoweeks?Thenyouhave miss,at theendof We talked energy”hemetonenight inOctober ahuman.Itrynotto live inastraitjacket. whatittakesto beaFoster’sEdinburgh RichardLinklater’s aboutart, 1989who inspiredthefilms.“What
    [Show full text]
  • Over His Long Career, the Icon of American Cinema Defined a Style of Filmmaking That Embraced the Burnished Heights of Society, Culture, and Sophistication
    JAMES IVORY OVER HIS LONG CAREER, THE ICON OF AMERICAN CINEMA DEFINED A STYLE OF FILMMAKING THAT EMBRACED THE BURNISHED HEIGHTS OF SOCIETY, CULTURE, AND SOPHISTICATION. BUT JAMES IVORY AND HIS LATE PARTNER, ISMAIL MERCHANT, WERE ALSO INVETERATE OUTSIDERS WHOSE ART WAS AS POLITICALLY PROVOCATIVE AS IT WAS VISUALLY MANNERED. AT AGE 88, THE WRITER-DIRECTOR IS STILL BRINGING STORIES TO THE SCREEN THAT FEW OTHERS WOULD DARE. By CHRISTOPHER BOLLEN Photography SEBASTIAN KIM JAMES IVORY IN CLAVERACK, NY, FEBRUARY 2017. COAT: JEFFREY RUDES. SHIRT: IVORY’S OWN. On a mantle in James Ivory’s country house in but also managed to provoke, astonish, and seduce. the depths of winter. It just got to be too much, and I IVORY: I go all the time. I suppose it’s the place I love IVORY: I saw this collection of Indian miniature upstate New York sits a framed photo of actress In the case of Maurice, perhaps because the film was remember deciding to go back to New York to work most in the world. When I went to Europe for the paintings in the gallery of a dealer in San Francisco. Maggie Smith, dressed up in 1920s finery, from the so disarmingly refined and the quality of the act- on Surviving Picasso. first time, I went to Paris and then to Venice. So after I was so captivated by them. I thought, “Gosh, I’ll set of Ivory’s 1981 filmQuartet . By the fireplace in an ing and directing so strong, its central gay love story BOLLEN: The winters up here can be bleak.
    [Show full text]
  • CTBL Alphabetic Descriptive Video List
    CTBL Alphabetic Descriptive Video List Number Movie Title Rating Cartoon VO 14 101 Dalmatians G No VO 245 40 Year Old Virgin R No VO 31 A Beautiful Mind PG-13 No VO 203 A Christmas Carol PG No VO 285 Abilene Town G No VO 33 Addams Family PG-13 No VO 32 Aladdin G Yes VO 4 Alice in Wonder Land G Yes VO 89 Alien R No VO 204 Amelia Earhart: The Price of Courage G No VO 262 America Quilts Creatively G No VO 272 America Sews with Sue Hausmann: G No Episode #2201 VO 273 America Sews with Sue Hausmann: G No Episode #2202 VO 274 America Sews with Sue Hausmann: G No Episode #2203 VO 275 America Sews with Sue Hausmann: G No Episode #2204 VO 288 American Empire R No VO 121 Amistad R No VO 15 Anne of Avonlea G No VO 27 Anne of Green Gables G No VO 159 Anne of Green Gables the Continuing Story NR No VO 83 Apollo 13 PG No VO 232 Autism is a World (DVD) G No VO 113 Babe G No VO 78 Bambi G Yes VO 87 Basic Instinct R No VO 248 Batman Begins PG-13 No VO 7 Beaches PG No VO 1 Beauty and the Beast G Yes VO 311 Becket R No VO 6 Beethoven PG No J:\Videos\Video_list_Alpha.doc 9/11/08 VO 160 Bells of St. Mary’s NR No VO 20 Beverly Hills Cop R No VO 79 Big PG No VO 163 Big Bear NR No VO 289 Blackbeard, The Pirate R No VO 118 Blue Hawaii NR No VO 290 Border Cop R No VO 63 Breakfast at Tiffany's NR No VO 180 Bridget Jones’ Diary R No VO 183 Broadcast News R No VO 254 Brokeback Mountain R No VO 199 Bruce Almighty Pg-13 No VO 77 Butch Cassidy and the Sun Dance Kid PG No VO 158 Bye Bye Blues PG No VO 164 Call of the Wild PG No VO 291 Captain Kidd R No VO 94 Casablanca
    [Show full text]
  • ACTA-PERIODICA-XI.Pdf
    11. KÖTET Oknyomozó tudomány -Multidiszciplinaritás@Edutus - Magyar Tudomány Ünnepe 2016 .november 15-16. A MAGYAR TUDOMÁNY ÜNNEPE 2016 KONFERENCIA KÖTETE 2016. november 15-16. Edutus Fõiskola, Tatabánya, Stúdium tér 1. Edutus Fõiskola, Budapest Villányi út 11-13. Főszerkesztő: Dr. Jandala Csilla rektor Felelős szerkesztő: HavrelkánéVállas Krisztina Lektorálta: Dr. Bartók István, Dr. Belyó Pál Ph.D, Dr. Jandala Csilla MINDEN JOG FENNTARTVA A mű egészének, vagy bármely részének másolása, sokszorosítása, valamint információszolgáltató rendszerben történő tárolása és továbbítása csak a kiadó engedélyével megengedett ACTA PERIODICA 11. KÖTET EDUTUS FŐISKOLA KIADÁSA www.edutus.hu ISSN 2063-501X 2 Oknyomozó tudomány -Multidiszciplinaritás@Edutus - Magyar Tudomány Ünnepe 2016 .november 15-16. Tartalomjegyzék DR. BARTÓK ISTVÁN - AZ ÚJ IPARI FORRADALOM ÉS A VÁLLALATOK - IPAR 4.0 – ................................................................................................................................................................ 5 DR.BELYÓ PÁL PH.D- A „REJTETT GAZDASÁG” ALAKULÁSA (KUTATÁS A VÁLLALKOZÁSOK ÉS A LAKOSSÁG KÖRÉBEN) ................................................................. 15 BORBÁS LAJOS PH.D - FICZERE PÉTER PH.D. - ADDITÍV GYÁRTÁSTECHNOLÓGIÁK: LEHETŐSÉGEK ÉS KÉRDŐJELEK ..................................... 30 DR. FEKETE MÁTYÁS PH.D – A FALUSI TURIZMUS FEJLŐDÉSE MAGYARORSZÁGON ÉS AZ EURÓPAI UNIÓBAN - A FATOSZ ÉS AZ EUROGITES PARTNERKAPCSOLATA ..............................................................................................................
    [Show full text]
  • How the Motion Picture Industry Miscalculates Box Office Receipts
    How the motion picture industry miscalculates box office receipts S. Eric Anderson, Loma Linda University Stewart Albertson, Loma Linda University David Shavlik, Loma Linda University INTRODUCTION when movie grosses are adjusted for inflation, the Sound of Music was a more popular movie Box office grosses, once of interest only to than Titanic even though the box office gross movie industry executives, are now widely was over $400 million less. So why is it then publicized and immediately reported by movie that box office grosses are often the only industry tracking companies. The numbers reported, when the numbers have instantaneous tracking and reporting hurts little meaning? The motion picture industry, movies with weak openings, but helps movies aware that inflation helps movies grow bigger, with big openings become even bigger as has little interest in reporting highest grossing people flock to see what all the fuss is about. box office numbers with inflation-adjusted Due to inflation, the highest grossing movies dollars that will show the motion picture tend to be the more recent releases, which the industry is stagnant at best. They are able to motion picture industry is taking full get away with it since most don’t know how advantage of when promoting new movies. to handle those inflation-adjusting As a result, the motion picture industry has calculations. developed “highest grossing “ movie lists from almost every angle imaginable - opening Inflation-adjusted gross calculations are day, opening weekend, opening day non- inaccurate weekend, opening day during the fall, winter and spring, opening day Memorial weekend, Some tracking companies have begun second weekend of release, fewest screens, reporting box office grosses with the less etc.
    [Show full text]
  • Mona Lisa Smile Dirección
    FICHA TÉCNICA La sonrisa de Mona Lisa Título en inglés: Mona Lisa Smile Dirección: Mike Newell Dirección artística: Mike Newell Producción: Juan Gordon y Pau Calpe Guion: Lawrence Konner, Mark Rosenthal Música: Rachel Portman Fotografía: Anastas N. Michos Montaje: Mick Audsley País: Estados Unidos Año: 2003 Género: Comedia, Drama, Romance. Duración: 117 minutos Idiomas: Italiano, Inglés Protagonistas: Julia Roberts (Katherine Watson), Kirsten Dunst (Betty Warren), Julia Stiles (Joan Brandwyn) Maggie Gyllenhaal (Giselle Levy), Marcia Gay Harden (Nancy Abbey), Dominic West (Bill Dunbar), Topher Grace (Tommy Donegal), Ginnifer Goodwin (Connie Baker), Juliet Stevenson (Amanda Armstrong), John Slattery (Paul Moore), Christopher Joseph Burke (guardian). Premios: Nominada en Globos de Oro, EE.UU. 2004, por Mejor canción original. Nominada en Premios de la Asociación de Críticos de Cine Broadcast. 2004 por mejor canción. Nominada en Premios de la Sociedad de Críticos de Cine de Phoenix (PFCS). 2004 al Premio por mejor uso de música previamente publicada o grabada Nominada en Premios Satélite 2004, por Golden Satellite Award por Mejor canción original. Sinopsis: Katherine Watson es una profesora de historia del arte que viaja desde California al campus de la universidad de Wellesley en Nueva Inglaterra en el año 1953. Estamos en plena postguerra y la profesora Watson tiene en su clase a las mejores estudiantes del país a las que espera abrir muchas puertas, aprovechando las oportunidades que se les ofrezcan. Sin embargo, poco después de su llegada, Katherine se da cuenta de que la prestigiosa institución es bastante conservadora y parece tener otro tipo de prioridades que no son precisamente académicas. La propuesta de matrimonio de una joven está considerado como un premio mayor que una buena educación.
    [Show full text]
  • Today's TV Programming Aces on Bridge Decodaquote® Celebrity
    KITSAPSUN «Saturday, April 16,2016 «9A Today’s TV programming MOVIES NEW 4/16/16 11:00 11:30 NOON 12:30 1:00 1:30 2:00 2:30 3:00 3:30 4:00 4:30 5:00 5:30 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 [KBTC] Fit Quilting Quilt Motor Rough Woods. House Old Steves Pépin Simply Cook Kitchen Cooking Antiques Keep Up Keep Up Time/By Time/By Vicar of Dibley Dwarf Dwarf Dr. Who [KOMO] Games NBA NBA Basketball First Round: Teams TBA. Rescue Wildlife Rock- Cougar Rise News ABC KOMO 4News Wheel J’pardy! Funny Videos Funny Videos 20/20 (TVPG) News [KING] Soccer Goal NHL Hockey New York Rangers at Pittsburgh Penguins. Ruf- Astrob Biz Kid$ Kds News Boxing Premier Boxing Champions. (N) Car Raw XTERRA Champ. Dateline NBC News [KONG] Old Home Hazel House Garden Garden Paid Paid GT Paid Paid Paid Raw Best Made Holly Access Hollywood Movie: Benny &Joon (1993) ‘PG’ News Hiring Holly [KIRO] Sexy CIZE! PGA Tour Golf RBC Heritage, Third Round. (N) Paid Easy Chan Sports News News News News Ent. Tonight Movie: Hear My Song (2014) ‘NR’ 48 Hours (TVPG) News [KCTS] 30 Days to aYounger Heart In Defense of Food (TVPG) Aging Backwards Suze Orman’s Financial Solutions Week News Dave Matthews Band: Live Dave Matthews Band: Live Celtic Thunder Legacy [KMYQ] Paid Outages Paid Green Laughs Laughs Bones (TV14) Bones (TV14) Elementary Person of Interest Laughs Pre- MLS Soccer: Union at Sounders Post Wanted Ray Ray Anger [KSTW] Dream Hatched Words Paid Arthri Paid Paid Paid Paid Body Middle King Fam Fam Mike Mike Broke Broke Rizzoli &Isles The Closer (TV14) The Good Wife Band [KBCB] Jimmy Swaggart Living Waters Donnie Swaggart (TVG) Message-Cross FWC Donnie Frances and Friends (TVG) Family Worship Center Service (TVG) Crossfire Service Jimmy Swaggart (TVG) [KCPQ] Soccer Pre AMA Supercross Racing UFC Fight Night UFC Fight Night Teixeira vs.
    [Show full text]
  • An Uncertain Homecoming Views of Syrian Refugees in Jordan on Return, Justice, and Coexistence
    An Uncertain Homecoming Views of Syrian Refugees in Jordan on Return, Justice, and Coexistence INTERNATIONAL CENTER FOR TRANSITIONAL JUSTICE An Uncertain Homecoming Views of Syrian Refugees in Jordan on Return, Justice, and Coexistence RESEARCH REPORT Acknowledgments The International Center for Transitional Justice (ICTJ) acknowledges the support of the UK Department for International Development, which funded this research and publication. ICTJ and the authors of the report also gratefully acknowledge all of those who generously gave their time to be interviewed for this report and contributed their experiences and insights. About the Authors Cilina Nasser wrote sections V through XII of this report and led the development of the Introduction and Recommendations. Nasser is a Beirut-based independent researcher and expert on human rights who also works on transitional justice issues. She has worked extensively on investigating human rights abuses and violations of international humanitarian law, primarily in Syria, but also in other countries in the Middle East and North Africa region, such as Yemen, Libya, and Saudi Arabia. She was a researcher at Amnesty International focusing on countries in crisis and conflict from 2009 to 2015 and, before that, a journalist who covered major events in Lebanon. Zeina Jallad Charpentier wrote sections III, XIII, and XIV of this report. Jallad Charpentier is a legal consultant, researcher, and lecturer in law, whose work focuses on the intersection between international law, human rights law, social mobility, access to justice and resilience of disenfranchised populations, refugees, and impact litigation. She has worked in the United States, Tunisia, Morocco, Egypt, Jordan, Lebanon, Palestine, and Turkey.
    [Show full text]
  • The Secret Scripture
    Presents THE SECRET SCRIPTURE Directed by JIM SHERIDAN/ In cinemas 7 December 2017 Starring ROONEY MARA, VANESSA REDGRAVE, JACK REYNOR, THEO JAMES and ERIC BANA PUBLICITY REQUESTS: Transmission Films / Amy Burgess / +61 2 8333 9000 / [email protected] IMAGES High res images and poster available to download via the DOWNLOAD MEDIA tab at: http://www.transmissionfilms.com.au/films/the-secret-scripture Distributed in Australia by Transmission Films Ingenious Senior Film Fund Voltage Pictures and Ferndale Films present with the participation of Bord Scannán na hÉireann/ the Irish Film Board A Noel Pearson production A Jim Sheridan film Rooney Mara Vanessa Redgrave Jack Reynor Theo James and Eric Bana THE SECRET SCRIPTURE Six-time Academy Award© nominee and acclaimed writer-director Jim Sheridan returns to Irish themes and settings with The Secret Scripture, a feature film based on Sebastian Barry’s Man Booker Prize-winning novel and featuring a stellar international cast featuring Rooney Mara, Vanessa Redgrave, Jack Reynor, Theo James and Eric Bana. Centering on the reminiscences of Rose McNulty, a woman who has spent over fifty years in state institutions, The Secret Scripture is a deeply moving story of love lost and redeemed, against the backdrop of an emerging Irish state in which female sexuality and independence unsettles the colluding patriarchies of church and nationalist politics. Demonstrating Sheridan’s trademark skill with actors, his profound sense of story, and depth of feeling for Irish social history, The Secret Scripture marks a return to personal themes for the writer-director as well as a reunion with producer Noel Pearson, almost a quarter of a century after their breakout success with My Left Foot.
    [Show full text]