2020 New Members.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

2020 New Members.Pdf WEDNESDAY JULY 1 2020 arlier this year, Parasite rewrote history by becoming E the first non-English language film to win Best Picture. The moment served as a fitting culmination to a five- year effort to diversify our organization and expand our definition of the “best.” Since 2015, we have tripled the number of members from underrepresented communities, doubled the number of women and nearly tripled the number of international members within our ranks. We are proud of these accomplishments, but our efforts are far from over. Our goals with Aperture 2025 are to further the dialogue and challenge our history to create a more equitable and inclusive community. Now, we are thrilled to invite 819 new members to the Academy and look forward to their contributions to our shared future. The Academy Cast and crew of PARASITE celebrate their historic night. ACADEMY BRANCHES ACTORS CASTING DIRECTORS CINEMATOGRAPHERS COSTUME DESIGNERS DIRECTORS DOCUMENTARY EXECUTIVES FILM EDITORS MAKEUP ARTISTS AND HAIRSTYLISTS MARKETING AND PUBLIC RELATIONS MUSIC PRODUCERS PRODUCTION DESIGN SHORT FILMS AND FEATURE ANIMATION SOUND VISUAL EFFECTS WRITERS MEMBERS-AT-LARGE ASSOCIATES ZENDAYA COLEMAN (ACTORS) 5 2020 GLOBAL MEMBERSHIP AT A GLANCE 819 NEW MEMBERS 68 COUNTRIES SINCE 2015, THE ACADEMY HAS NEARLY TRIPLED THE NUMBER OF INTERNATIONAL MEMBERS FROM 724 TO 2107 ACADEMY AWARD KEY * Academy Award Nominee ** Academy Award Winner ** Scientific and Technical Award Recipient 7 NEW ACADEMY MEMBERS ACTORS Yalitza Aparicio * Mackenzie Davis Roma Terminator: Dark Fate Tully Awkwafina The Farewell Ana de Armas Crazy Rich Asians Knives Out Blade Runner 2049 Zazie Beetz Joker Kaitlyn Dever High Flying Bird Booksmart Detroit Alia Bhatt Gully Boy Cynthia Erivo *(Dual Invitee) Raazi Harriet Widows Bobby Cannavale The Irishman Pierfrancesco Favino The Station Agent The Traitor Rush Choi Woo-Shik Parasite Beanie Feldstein The Divine Fury Booksmart Lady Bird Zendaya Coleman Spider-Man: Far from Home Zack Gottsagen ROMA (2018) The Greatest Showman The Peanut Butter Falcon Yalitza Aparicio, Academy Award nominee for Actress in a Leading Role Tyne Daly David Gyasi The Ballad of Buster Scruggs Maleficent: Mistress of Evil Spider-Man: Homecoming Interstellar 9 NEW ACADEMY MEMBERS ACTORS Adèle Haenel Eva Longoria Niecy Nash Lakeith Stanfield Portrait of a Lady on Fire Overboard Downsizing Knives Out BPM (Beats Per Minute) Harsh Times Selma Sorry to Bother You Kelvin Harrison Jr. Natasha Lyonne Genevieve Nnaji Yul Vazquez Waves Honey Boy Lionheart Gringo Luce American Pie Road to Yesterday Last Flag Flying Brian Tyree Henry Tzi Ma Park So-Dam John David Washington If Beale Street Could Talk The Farewell Parasite BlacKkKlansman Widows Arrival The Priests Monsters and Men Huang Jue George MacKay Teyonah Parris Olivia Wilde Long Day’s Journey into Night 1917 If Beale Street Could Talk Meadowland The Lady in the Portrait Captain Fantastic Chi-Raq Rush Jang Hye-Jin Tim McGraw Florence Pugh * Constance Wu Parasite Country Strong Little Women Hustlers Poetry The Blind Side Lady Macbeth Crazy Rich Asians Jo Yeo-Jeong Thomasin McKenzie Hrithik Roshan Wu Jing Parasite Jojo Rabbit Super 30 The Wandering Earth The Target Leave No Trace Jodhaa Akbar Wolf Warrior James Saito Udo Kier Ben Mendelsohn Zhao Tao Always Be My Maybe The Painted Bird Ready Player One Ash Is Purest White Big Eyes Shadow of the Vampire Animal Kingdom Mountains May Depart Lee Jung-Eun Rob Morgan Alexander Siddig Parasite Just Mercy Cairo Time Okja Mudbound Syriana 11 NEW ACADEMY MEMBERS CASTING DIRECTORS Orit Azoulay Camilla-Valentine Isola Magdalena Szwarcbart The Kindergarten Teacher The Man Who Killed Don Quixote Cold War The Band’s Visit Goya’s Ghosts Schindler’s List Libia Batista Tess Joseph Toshie Tabata Eres Tú Papá? Aladdin Shoplifters Viva Lion Tokyo Tribe Javier Braier Julia Kim Sarah Teper The Two Popes The Last Black Man in San Francisco BPM (Beats Per Minute) Wild Tales Starlet Eastern Boys Anja Dihrberg Eva Leira Hila Yuval A Hidden Life Pain and Glory A Tale of Love and Darkness Clouds of Sils Maria Biutiful Beaufort Leïla Fournier Kirsty McGregor BPM (Beats Per Minute) Lion Eastern Boys Animal Kingdom Timka Grin Yesi Ramirez With Mom The Hate U Give In the Land of Blood and Honey Moonlight Des Hamilton Yolanda Serrano Jojo Rabbit Pain and Glory Melancholia Biutiful Carla Hool Nandini Shrikent A Better Life Gully Boy Sin Nombre Life of Pi JOJO RABBIT (2019) 13 NEW ACADEMY MEMBERS CINEMATOGRAPHERS Todd Banhazl Trent Opaloch Blow the Man Down Avengers: Endgame Hustlers District 9 Jarin Blaschke * Larkin Seiple The Lighthouse Luce The Witch Kin Nicola Daley Ken Seng Pin Cushion Terminator: Dark Fate I Am a Girl Deadpool Óscar Faura Vladimír Smutný Jurassic World: Fallen Kingdom The Painted Bird The Imitation Game Kolya Takeshi Hamada Jörg Widmer Sakura Guardian in the North A Hidden Life Departures Pina Chayse Irvin Jasper Wolf BlacKkKlansman Instinct Hannah Monos Ron Johanson Katsumi Yanagijima Freedom Battle Royale THE LIGHTHOUSE (2019) The Woman Inside Dear Doctor Jarin Blaschke, Academy Award nominee for Cinematography Polly Morgan Lucy in the Sky The Truth about Emanuel 15 NEW ACADEMY MEMBERS COSTUME DESIGNERS Massimo Cantini Parrini Eimer Ní Mhaoldomhnaigh Dogman Love & Friendship Tale of Tales Becoming Jane Choi Seyeon Dayna Pink Parasite Bumblebee 13 Okja Seeking a Friend for the End of the World Lisy Christl * White House Down Dorota Roqueplo BRANCHES INVITED THE MAJORITY OF THEIR CANDIDATES Anonymous Hiszpanka FROM INTERNATIONAL REGIONS The Mill and the Cross Caroline De Vivaise Shadow of the Vampire Judy Shrewsbury ACTORS Germinal High Life CASTING DIRECTORS Let the Sunshine In Nicoletta Ercole CINEMATOGRAPHERS Letters to Juliet Amy Westcott COSTUME DESIGNERS Under the Tuscan Sun Black Swan DIRECTORS The Wrestler DOCUMENTARY Catherine George FILM EDITORS Okja Denise Wingate Snowpiercer Live Free or Die Hard MAKEUP ARTISTS AND HAIRSTYLISTS Wedding Crashers MUSIC Danielle Hollowell PRODUCERS Girls Trip SHORT FILMS AND FEATURE ANIMATION Undercover Brother VISUAL EFFECTS Neeta Lulla WRITERS Jodhaa Akbar Devdas 2020 MEMBERSHIP AT A GLANCE 17 NEW ACADEMY MEMBERS DIRECTORS Ali Abbasi Sebastián Cordero Border Europa Report Shelley Crónicas Levan Akin Terence Davies And Then We Danced The House of Mirth The Circle The Long Day Closes Francesca Archibugi Sophie Deraspe A Question of the Heart Antigone Tomorrow A Gay Girl in Damascus: The Amina Profile Ari Aster Midsommar Mati Diop (Dual Invitee) Hereditary Atlantics A Thousand Suns Icíar Bolláin Even the Rain Robert Eggers Take My Eyes The Lighthouse The Witch Kat Candler Hellion Luis Estrada Jumping off Bridges The Perfect Dictatorship Herod’s Law Felipe Cazals El Año de la Peste Sydney Freeland HONEYLAND (2019) Canoa: A Shameful Memory Deidra & Laney Rob a Train Tamara Kotevska, Academy Award nominee for Documentary Feature Drunktown’s Finest Ljubo Stefanov, Academy Award nominee for Documentary Feature Cristina Comencini Latin Lover Bette Gordon Don’t Tell Handsome Harry Variety 19 NEW ACADEMY MEMBERS DIRECTORS Maggie Greenwald John H. Lee Maria Tognazzi Sophie and the Rising Sun Operation Chromite Me, Myself & Her The Ballad of Little Jo 71: Into the Fire A Five Star Life Megan Griffiths Ladj Ly (Dual Invitee) Jorge Alí Triana Sadie Les Misérables Bolívar Soy Yo The Night Stalker A Time to Die Victoria Mahoney Alma Har’el Yelling to the Sky Matthew Vaughn Honey Boy Kick-Ass Bombay Beach Samira Makhmalbaf Layer Cake At Five in the Afternoon Sterlin Harjo The Apple Lulu Wang (Dual Invitee) Mekko The Farewell Barking Water Mai Masri Posthumous 3000 Nights Kathleen Hepburn 33 Days Wash Westmoreland The Body Remembers When the Still Alice World Broke Open Akin Omotoso Quinceañera Never Steady, Never Still Vaya Tell Me Sweet Something Andrés Wood Jan Komasa Araña Corpus Christi Matt Reeves Violeta Went to Heaven Warsaw ‘44 Dawn of the Planet of the Apes Cloverfield Tamara Kotevska (Dual Invitee) Honeyland Ljubo Stefanov (Dual Invitee) Honeyland Alejandro Landes Monos Elle-Máijá Tailfeathers Porfirio The Body Remembers When the World Broke Open ćəsnaʔəm, the city before the city 21 NEW ACADEMY MEMBERS DOCUMENTARY Shirley Abraham Malek Bensmaïl Paola Castillo Maria Cuomo Cole The Hour of Lynching The Battle of Algiers, a Film within Beyond My Grandfather Allende Newtown The Cinema Travellers History Genoveva Living for 32 La Chine Est Encore Loin Joelle Alexis (China Is Still Far) Daniel Chalfen Emma Davie The Green Prince The Infiltrators Becoming Animal A Film Unfinished Sara Bernstein Silenced I Am Breathing Rebuilding Paradise Cristina Amaral The Inventor: Out for Blood in Silicon Chaowei Chang Adam Del Deo Um Filme de Verão (A Summer Film) Valley Chong Tian (The Rocking Sky) Quincy Person The Road to Fame Every Little Step Yael Bitton Liran Atzmor Advocate Lisa Kleiner Chanoff Whitney Dow King Bibi Machines Life Overtakes Me When the Drum Is Beating The Law in These Parts Watchers of the Sky Two Towns of Jasper Garrett Bradley Violeta Ayala Time Alison Chernick Kelly Duane de La Vega Cocaine Prison Alone Itzhak The Return The Bolivian Case Matthew Barney: No Restraint Better This World Salem Brahimi Julia Bacha Abd El-Kader Kasper Collin Sandi DuBowski Naila and the Uprising Africa Is Back I Called Him Morgan A Jihad for Love Budrus My Name Is Albert Ayler Trembling before G-d Vincent Carelli Robert Bahar Martírio Inadelso Cossa Carol Dysinger ** The Silence of Others Corumbiara: They Shoot Indians, A Memory in Three Acts Learning to Skateboard in a Made in L.A. Don’t They? Xilunguine, the Promised Land Warzone (If You’re a Girl) Camp Victory, Afghanistan Nels Bangerter Almudena Carracedo Laura Coxson Cameraperson The Silence of Others The Proposal Paz Encina Let the Fire Burn Made in L.A. Iris Memory Exercises Paraguayan Hammock 23 NEW ACADEMY MEMBERS DOCUMENTARY Ali Essafi Tala Hadid Sheikhates Blues House in the Fields Général, Nous Voilà! Windsleepers Ina Fichman Amelia Hapsari The Oslo Diaries Rising in Silence The Wanted 18 Fight like Ahok David France John Haptas * The Death and Life of Marsha P.
Recommended publications
  • GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
    Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months.
    [Show full text]
  • (POST)COLONIAL AFRICA by Katherine Lynn Coverdale the F
    ABSTRACT AN EXPLORATION OF IDENTITY IN CLAIRE DENIS’ AND MATI DIOP’S (POST)COLONIAL AFRICA by Katherine Lynn Coverdale The focus of this thesis is aimed at two female French directors: Claire Denis and Mati Diop. Both auteurs utilize framing to create and subsequently break down ideological boundaries of class and race. Denis’ films Chocolat and White Material show the impossibility of a distinct identity in a racialized post-colonial society for someone who is Other. With the help of Laura Mulvey and Richard Dyer, the first chapter of this work on Claire Denis offers a case study of the relationship between the camera and race seen through a deep analysis of several sequences of those two films. Both films provide an opportunity to analyze how the protagonists’ bodies are perceived on screen as a representation of a racial bias held in reality, as seen in the juxtaposition of light and dark skin tones. The second chapter analyzes themes of migration and the symbolism of the ocean in Diop’s film Atlantique. I argue that these motifs serve to demonstrate how to break out of the identity assigned by society in this more modern post-colonial temporality. All three films are an example of the lasting violence due to colonization and its seemingly inescapable ramifications, specifically as associated with identity. AN EXPLORATION OF IDENTITY IN CLAIRE DENIS’ AND MATI DIOP’S (POST)COLONIAL AFRICA A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts by Katherine Lynn Coverdale Miami University Oxford, Ohio 2020 Advisor: Dr.
    [Show full text]
  • Maternal Identities and Abject Equivalence in Biutiful Ryan, Lorraine
    University of Birmingham Maternal Identities and Abject Equivalence in Biutiful Ryan, Lorraine DOI: 10.1353/mln.2018.0025 Document Version Peer reviewed version Citation for published version (Harvard): Ryan, L 2018, 'Maternal Identities and Abject Equivalence in Biutiful', MLN - Modern Language Notes, vol. 133, no. 2, pp. 388-410. https://doi.org/10.1353/mln.2018.0025 Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility: 20/12/2017 10.1353/mln.2018.0025 Copyright © 2018 Johns Hopkins University Press General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive.
    [Show full text]
  • Mourning the Fallen
    TONIGHT Showers & T-storms. Low of 48. Search for The Westfield News The WestfieldNews “COURAGESearch forIS TheTHE Westfield MOST IMPORTANT News OF Westfield350.com The WestfieldNews ALL THE VIRTUES, BECAUSE WITHOUT Serving Westfield, Southwick, and surrounding Hilltowns COURAGE“TIME YOU IS THECAN’ TONLY PRAC TICE ANY OTHER VIRTUE CONSISTENTLY. WEATHER CRITIC WITHOUT YOU CAN PRACTICE ANY VIRTUE TONIGHT AMBITION ERRATICALLY, BUT.” NOTHING Partly Cloudy. CONSISTENTLYJOHN WITHOUT STEINBECK COURAGE.” Low of 55. Search for The Westfield News Westfield350.comWestfield350.org Thewww.thewestfieldnews.com WestfieldNews — Maya ANGELOU Serving Westfield, Southwick, and surrounding Hilltowns “TIME IS THE ONLY WEATHERVOL. 86 NO. 151 TUESDAY, JUNE 27, 2017 75CRITIC centsWITHOUT VOL. 88 NO. 122 TUESDAY, MAY 28, 2019 75 Cents TONIGHT AMBITION.” Partly Cloudy. JOHN STEINBECK Low of 55. www.thewestfieldnews.com VOL. 86 NO. 151 MourningTUESDAY, JUNE 27, 2017 the fallen 75 cents By PETER CURRIER Correspondent WESTFIELD- The city held its annual Memorial Day Parade Monday morning, with 29 groups representing the branches of the military, elected officials, first responders and other public services. The parade began on North Elm Street near the Mestek prop- erty and continued south to their destination at Westfield Middle School. Once there, a ceremony was held across the street at Parker Memorial Park. The ceremony began with State Representative John Velis (left) speaks of his experi- remarks from Master of Ceremony Cindy Lacoste, Past ences as a veteran at the ceremony. Cindy Lacoste (right) Commander of American Legion Post 124 in Westfield. She was the Master of Ceremony for the day. (Photo by Peter introduced Westfield High School band member Madison Currier) Curbello, who sang the National Anthem.
    [Show full text]
  • LATEX for Beginners
    LATEX for Beginners Workbook Edition 5, March 2014 Document Reference: 3722-2014 Preface This is an absolute beginners guide to writing documents in LATEX using TeXworks. It assumes no prior knowledge of LATEX, or any other computing language. This workbook is designed to be used at the `LATEX for Beginners' student iSkills seminar, and also for self-paced study. Its aim is to introduce an absolute beginner to LATEX and teach the basic commands, so that they can create a simple document and find out whether LATEX will be useful to them. If you require this document in an alternative format, such as large print, please email [email protected]. Copyright c IS 2014 Permission is granted to any individual or institution to use, copy or redis- tribute this document whole or in part, so long as it is not sold for profit and provided that the above copyright notice and this permission notice appear in all copies. Where any part of this document is included in another document, due ac- knowledgement is required. i ii Contents 1 Introduction 1 1.1 What is LATEX?..........................1 1.2 Before You Start . .2 2 Document Structure 3 2.1 Essentials . .3 2.2 Troubleshooting . .5 2.3 Creating a Title . .5 2.4 Sections . .6 2.5 Labelling . .7 2.6 Table of Contents . .8 3 Typesetting Text 11 3.1 Font Effects . 11 3.2 Coloured Text . 11 3.3 Font Sizes . 12 3.4 Lists . 13 3.5 Comments & Spacing . 14 3.6 Special Characters . 15 4 Tables 17 4.1 Practical .
    [Show full text]
  • Crazy Narrative in Film. Analysing Alejandro González Iñárritu's Film
    Case study – media image CRAZY NARRATIVE IN FILM. ANALYSING ALEJANDRO GONZÁLEZ IÑÁRRITU’S FILM NARRATIVE TECHNIQUE Antoaneta MIHOC1 1. M.A., independent researcher, Germany. Corresponding author: [email protected] Abstract Regarding films, many critics have expressed their dissatisfaction with narrative and its Non-linear film narrative breaks the mainstream linearity. While the linear film narrative limits conventions of narrative structure and deceives the audience’s expectations. Alejandro González Iñárritu is the viewer’s participation in the film as the one of the directors that have adopted the fragmentary narrative gives no control to the public, the narration for his films, as a means of experimentation, postmodernist one breaks the mainstream con- creating a narrative puzzle that has to be reassembled by the spectators. His films could be included in the category ventions of narrative structure and destroys the of what has been called ‘hyperlink cinema.’ In hyperlink audience’s expectations in order to create a work cinema the action resides in separate stories, but a in which a less-recognizable internal logic forms connection or influence between those disparate stories is the film’s means of expression. gradually revealed to the audience. This paper will analyse the non-linear narrative technique used by the In the Story of the Lost Reflection, Paul Coates Mexican film director Alejandro González Iñárritu in his states that, trilogy: Amores perros1 , 21 Grams2 and Babel3 . Film emerges from the Trojan horse of Keywords: Non-linear Film Narrative, Hyperlink Cinema, Postmodernism. melodrama and reveals its true identity as the art form of a post-individual society.
    [Show full text]
  • Evidence from Rio De Janeiro's Favelas
    Drug Battles and School Achievement: Evidence from Rio de Janeiro's Favelas Joana Monteiro and Rudi Rocha∗ July 2013 Abstract This paper examines the effects of armed conflicts between drug gangs in Rio de Janeiro's favelas on student achievement. We explore variation in violence that occurs across time and space when gangs battle over territo- ries. Within-school estimates indicate that students from schools exposed to violence score less in math exams. Our findings suggest that the effect of vio- lence increases with conflict intensity, duration, and proximity to exam dates; and decreases with the distance between the school and the conflict location. Finally, we find that school supply is an important mechanism driving the achievement results; armed conflicts are associated with higher teacher absen- teeism, principal turnover, and temporary school closings. JEL: I25, K42, O12 Key words: slum, violence, drug gangs, student achievement. ∗Monteiro: Brazilian Institute of Economics, Get´ulioVargas Foundation (IBRE/FGV), Rio de Janeiro, Brazil ([email protected]). Rocha: Institute of Economics, Federal University of Rio de Janeiro (IE/UFRJ), Rio de Janeiro, Brazil ([email protected]). We thank Filipe Campante, Ign´acioCano, Melissa Dell, Claudio Ferraz, S´ergioFerreira, Asim Khwaja, Horacio Larreguy, Joana Naritomi, Rohini Pande, Dan Posner, Heather Schofield, Rodrigo Soares, David Yanagizawa-Drott and seminar participants at the 2012 NEUDC, MIT Political Economy Breakfast, the 33rd Meeting of the Brazilian Econometric Society, the 1st Meeting of AL CAPONE-Lacea, PUC-Rio, and Harvard Development Lunch for helpful comments. We are extremely grateful to Paulo Ferraz for his support over the project and Disque-Den´unciafor providing access to data.
    [Show full text]
  • Statistical Yearbook 2019
    STATISTICAL YEARBOOK 2019 Welcome to the 2019 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2018. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s-length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience development, and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 Contents Film at the cinema
    [Show full text]
  • Annual Report and Accounts 2004/2005
    THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to
    [Show full text]
  • LIST of MOVIES from PAST SFFR MOVIE NIGHTS (Ordered from Recent to Old) *See Editing Instructions at Bottom of Document
    LIST OF MOVIES FROM PAST SFFR MOVIE NIGHTS (Ordered from recent to old) *See editing Instructions at bottom of document 2020: Jan – Judy Feb – Papi Chulo Mar - Girl Apr - GAME OVER, MAN May - Circus of Books 2019: Jan – Mario Feb – Boy Erased Mar – Cakemaker Apr - The Sum of Us May – The Pass June – Fun in Boys Shorts July – The Way He Looks Aug – Teen Spirit Sept – Walk on the Wild Side Oct – Rocketman Nov – Toy Story 4 2018: Jan – Stronger Feb – God’s Own Country Mar -Beach Rats Apr -The Shape of Water May -Cuatras Lunas( 4 Moons) June -The Infamous T and Gay USA July – Padmaavat Aug – (no movie night) Sep – The Unknown Cyclist Oct - Love, Simon Nov – Man in an Orange Shirt Dec – Mama Mia 2 2017: Dec – Eat with Me Nov – Wonder Woman (2017 version) Oct – Invaders from Mars Sep – Handsome Devil Aug – Girls Trip (at Westfield San Francisco Centre) Jul – Beauty and the Beast (2017 live-action remake) Jun – San Francisco International LGBT Film Festival selections May – Lion Apr – La La Land Mar – The Heat Feb – Sausage Party Jan – Friday the 13th 2016: Dec - Grandma Nov – Alamo Draft House Movie Oct - Saved Sep – Looking the Movie Aug – Fourth Man Out, Saving Face July – Hail, Caesar June – International Film festival selections May – Selected shorts from LGBT Film Festival Apr - Bhaag Milkha Bhaag (Run, Milkha, Run) Mar – Trainwreck Feb – Inside Out Jan – Best In Show 2015: Dec - Do I Sound Gay? Nov - The best of the Golden Girls / Boys Oct - Love Songs Sep - A Single Man Aug – Bad Education Jul – Five Dances Jun - Broad City series May – Reaching for the Moon Apr - Boyhood Mar - And Then Came Lola Feb – Looking (Season 2, Episodes 1-4) Jan – The Grand Budapest Hotel 2014: Dec – Bad Santa Nov – Mrs.
    [Show full text]
  • Downloaded As A
    Programme £2 2 3 Welcome 02 WELCOME Welcome to the 20th Keswick Film Festival To have reached this milestone is 04 OUR GUESTS testament to the hard work and commitment of a lot of people, involved not only in the Festival but also in the 08 THIS YEAR’S FILMS Keswick Film Club. The only reason that we are able to have this wonderful weekend of cinematic over-indulgence is because the Film Club is doing what it does best, year in and year out. So, to all those people who over 20 Contents years have sat through (and chaired) committee meetings, put up posters, introduced films, booked films, designed 15 PROGRAMME a website, distributed leaflets, worked the Box Office, counted votes or filed annual returns, we are in your debt. 39 TICKETS Here’s to the next 20 years! & TRAVEL Ticket costs, discounts, Ian Payne booking information, and Festival Director public transport details Please note: We want to make sure that everyone gets to see the films they want to see. However buying a Festival Pass does not guarantee entry into a screening. If there is a film you particularly want to see, you must book a seat (free of charge) to guarantee entry by contacting the Theatre Box Office. You can do this, either by phone or in person. As usual and due to the smaller capacities in the Studio, all films in the Studio must be booked in advance. 4 5 OUR GUESTS James Gardner Mike Tweddle Jellyfish – Thursday 28th February Sparrowhawk – Friday 1st March Farm, having numerous hit singles/ and Sunday 3rd March Starting with a background in punk albums both in Britain and Europe.
    [Show full text]
  • Blackbourn Veronica a 20101
    The Beloved and Other Monsters: Biopolitics and the Rhetoric of Reconciliation in Post-1994 South African Literature by Veronica A. Blackbourn A thesis submitted to the Department of English Language and Literature In conformity with the requirements for the degree of Doctor of Philosophy Queen‘s University Kingston, Ontario, Canada (December, 2010) Copyright © Veronica A. Blackbourn, 2010 Abstract This dissertation examines the use of inter-racial relationships as emblems of political reconciliation in South African fiction from and about the transition from apartheid to democracy. Positive representations of the relationships that apartheid prohibited would seem to constitute a rejection of apartheid itself, but through an analysis of novels by Lewis DeSoto, Elleke Boehmer, Zoë Wicomb, Marlene van Niekerk, Ivan Vladislavić, and J.M. Coetzee, I argue that the trope of the redemptive inter-racial relationship in fact reinscribes what Foucault would designate a biopolitical obsession with race as a foundational construct of the nation. Chapter 2 examines an attempt to write against the legacy of apartheid by repurposing the quintessentially South African genre of the plaasroman, but Lewis DeSoto‘s A Blade of Grass (2003) fails to reverse the narrative effects created by the plaasroman structure, implicated as the plaasroman is and has been in a biopolitical framework. Chapter 3 examines Elleke Boehmer‘s rewriting of South African history to insist on the genealogical ―truth‖ of the racial mixing of the country and its inhabitants, but Bloodlines (2000) yet retains the obsession with racial constructs that it seeks to dispute. Zoë Wicomb‘s Playing in the Light (2006), meanwhile, invokes genealogical ―truth‖ as a corrective to apartheid constructions of race, but ultimately disallows the possibility of genealogical and historical narratives as correctives rather than continuations of apartheid.
    [Show full text]