Where to Invade Next” to 13 Locations in the Puget Sound and Western Washington Areas
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Sicko: Sos Saúde - Uma Breve Análise Do Modelo De Gestão Público Ou Privado
SICKO: SOS SAÚDE - UMA BREVE ANÁLISE DO MODELO DE GESTÃO PÚBLICO OU PRIVADO Maria Helena da Silva1, e-mail: [email protected] Marcella Nascimento Tenório Cavalcante1, e-mail: [email protected] Daniel Oliveira1, e-mail: daniel [email protected] Centro Universitário Tiradentes/Medicina/Alagoas, AL. 4.06.00.00-9 - Saúde Coletiva 4.06.02.00-1 - Saúde Pública RESUMO: Introdução; O dilema da oferta de serviço público versus privado é recorrente. Tem-se por exemplo, a questão da saúde de milhões de estadunidenses que vivem em um modelo totalmente neoliberal. No Brasil, apesar da oferta particular, grande parte do atendimento é fornecido pelo Sistema Único de Saúde (SUS), sendo este considerado o maior sistema de saúde gratuito e universal existente. Objetivos; Discorrer, a partir do documentário assistido, a relação entre a escassez de amparo social referente à saúde nos sistemas neoliberais, a exemplo dos Estados Unidos da América – EUA, frente ao Brasil onde se possui direitos consolidados de saúde gratuita, apesar da crescente oferta privada destes serviços. Metodologia; Análise documental do filme SiCKO - Where to Invade Next (Onde invadir agora) de autoria do diretor Michael Moore, gravado em vários países no ano de 2015. Foram verificadas as etapas de contexto, autoria, autenticidade e confiabilidade, natureza do documentário, os conceitos- chave e a lógica proposta pelo autor. Resultados; Para alguns países, a exemplo dos EUA, a questão da saúde é tida como mercadoria, destacando-se uma visão puramente biológica e não sistêmica da mesma. Tal ponto de vista, corrobora para a suposta necessidade de privatização, pois uma população não atendida nas suas carências, como qualidade de vida, emprego e lazer, torna- se doente e acredita que saúde é realmente um ponto focal, uma demanda a ser comprada, e não dependente da interligação de fatores que fazem a doença acontecer. -
Downloaded Is a VH1 Rockdoc About Napster and the Digital Revolution
MAGNOLIA PICTURES AND GREAT POINT MEDIA A TROUPER PRODUCTION IN ASSOCIATION WITH ZIPPER BROS FILMS AND ROXBOURNE MEDIA LIMITED Present ZAPPA A film by Alex Winter USA – 129 minutes THE FIRST ALL-ACCESS DOCUMENTARY ON THE LIFE AND TIMES OF FRANK ZAPPA Official Selection 2020 SXSW – World Premiere 2020 CPH:DOX FINAL PRESS NOTES Distributor Contact: Press Contact NY/Nat’l: Press Contact LA/Nat’l: George Nicholis Tiffany Malloy Sara Tehrani Rebecca Fisher Tiffical Public Relations DDA PR Magnolia Pictures [email protected] [email protected] (212) 924-6701 201.925.1122 [email protected] 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com SYNOPSIS With unfettered access to the Zappa Vault, and the archival footage contained within, ZAPPA explores the private life behind the mammoth musical career that never shied away from the political turbulence of its time. Alex Winter's assembly features appearances by Frank's widow Gail Zappa and several of Frank's musical collaborators including Mike Keneally, Ian Underwood, Steve Vai, Pamela Des Barres, Bunk Gardner, David Harrington, Scott Thunes, Ruth Underwood, Ray White and others. 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com DIRECTOR’S STATEMENT – ALEX WINTER It seemed striking to me and producer Glen Zipper that there had yet to be a definitive, all-access documentary on the life and times of Frank Zappa. We set out to make that film, to tell a story that is not a music doc, or a conventional biopic, but the dramatic saga of a great American artist and thinker; a film that would set out to convey the scope of Zappa’s prodigious and varied creative output, and the breadth of his extraordinary personal and political life. -
Journey to the Academy Awards: an Investigation of Oscar-Shortlisted and Nominated Documentaries (2014-2016) PRELIMINARY KEY
Journey to the Academy Awards: An Investigation of Oscar-Shortlisted and Nominated Documentaries (2014-2016) PRELIMINARY KEY FINDINGS By Caty Borum Chattoo, Co-Director, Center for Media & Social Impact American University School of Communication | Washington, D.C. February 2016 OVERVIEW For a documentary filmmaker, being recognized by the Academy of Motion Picture Arts & Sciences for an Oscar nomination in the Best Documentary Feature category is often the pinnacle moment in a career. Beyond the celebratory achievement, the acknowledgment can open up doors for funding and opportunities for next films and career opportunities. The formal recognition happens in three phases: It begins in December with the Academy’s announcement of a shortlist—15 films that advance to a formal nomination for the Academy’s Best Documentary Feature Award. Then, in mid-January, the final list of five official nominations is announced. Finally, at the end of February each year, the one winner is announced at the Academy Awards ceremony. Beyond a film’s narrative and technical prowess, the marketing campaigns that help a documentary make it to the shortlist and then the final nomination list are increasingly expensive and insular, from advertisements in entertainment trade outlets to lavish events to build buzz among Academy members and industry influencers. What does it take for a documentary film and its director and producer to make it to the top—the Oscars shortlist, the nomination and the win? Which film directors are recognized—in terms of race and gender? -
CINEMA from JULY 1 Riverside Cinema Riverside Cinema Sharmill Films WHERE to INVADE NEXT GOD WILLING (SE DIO VUOLE) LEONARDO DA VINCI – the GENIUS in MILAN
RIVERSIDE CINEMA FROM JULY 1 Riverside Cinema Riverside Cinema Sharmill Films WHERE TO INVADE NEXT GOD WILLING (SE DIO VUOLE) LEONARDO DA VINCI – THE GENIUS IN MILAN Filmmaker Michael Moore visits various countries This recent Italian box-office success won Based on the stunning exhibition, Leonardo da to examine how Europeans view work, education, Best New Director for Edoardo Falcone at the Vinci – The Genius in Milan uses a combination health care, sex, equality and other issues. From recent Italian Oscars and tells the hilarious story of documentary interviews and mise-en- cafeteria food to sex education, Moore looks at of an atheist surgeon with a God-complex, a scènes to tell the story of the artist’s world and the benefits of schooling in France, Finland and charismatic priest, a dysfunctional family and an the treasures he left us, against the stunning Slovenia. In Italy, he marvels at how workers announcement that takes everyone by surprise! backdrop of Leonardo’s Milan. enjoy reasonable hours and generous vacation SATURDAY 2 JULY 4:30PM Drawing upon Leonardo’s legendary work as an time. In Portugal, Moore notes the effects of the SUNDAY 10 JULY 10:30AM artist, architect and scientist, audiences will be decriminalization of drugs. Through his travels, we TICKETS: SIDEKICKS MEMBERS ADULT $12, immersed in the story of Leonardo the man, in the discover just how different America is from the context of what was a truly legendary period in the rest of the world. CONC $9 SINGLE TICKETS ADULT $15, CONC $12, city’s history, and for the history of art. -
Un Film De Michael Moore
n°7 - Décembre 2003 Un film de Michael Moore Etats-Unis - 2002 - 120mn Ecrit, produit et réalisé par : Michael Moore Chef documentaliste : Carl Deal Monteur associé : T. Woody Richman Animation : Harold Moss Son : Francisco Latorre et James Demer Cameramen : Brian Danitz et Michael Macdonough Le matin du 20 avril 1999 à Littleton dans le Colorado, deux Musique originale : adolescents, p i sto lets automatiques en mains, se rendent dans le u r Jeff Gibbs lycée de Columbine et tuent froidement un pro fe sseur, douze élèves, en b le ssent grièvement vingt-trois autres avant finalement de re to u r n e r P roduction : le u rs armes co n t re eux... Jenipher Ritchie Cette tragédie sert de pierre angulaire à Michael Moore pour Coordination : mener son enquête sur les raisons de cet engouement typique des Rehya Young E tats-Unis pour les quelques 250 millions d’armes à feu ré p a r t i e s sur le territoire et responsables de plus de 11000 décès par an. Directeurs de production : Tia Lessin et Siobhan Oldham Du Michigan - où la chasse re ste très populaire et dont il est o r i g i n a i re, jusqu’au Canada - pays limitrophe où les chiffres de Coproducteur et chef monteur : morts par balle demeurent pourtant ex t rêmement bas, Michael Kurt Engfehr M o o re promène sa ca m é ra à la re c h e rche de témoignages et pose ce t te même question aux défe n s e u rs, détra c te u rs ou victimes : Producteur : q u e l le est la motivation qui pousse la plupart des foye rs américa i n s Wolfram Tichy à posséder une arme chez eux ? Producteurs associés : Charles Bishop et Michael Donovan Plan Séquence est une opération dirigée par Sylviane Fessier animée par Nicolas Lenys Produit par: soutenue par le Conseil Général de la Somme Kathleen Glynn et Jim Czarnecki la D.R.A.C. -
News Release Samuel Proctor Oral History Program (SPOHP), University of Florida, December 11, 2013
News Release Samuel Proctor Oral History Program (SPOHP), University of Florida, December 11, 2013 Film Screening & Symposium on Landmark Hurricane Katrina Film at UF Gainesville, FL—On January 15, producer and filmmaker Tia Lessin will present a symposium at the University of Florida on her 2008 film, “Trouble the Water,” which focuses on Hurricane Katrina. The movie chronicles the experiences of a young couple, Scott and Kimberly Rivers Roberts from the Ninth Ward in New Orleans, through the storm and after as they rebuild their lives and community. “Trouble the Water” has been the recipient of numerous accolades, including the Kathleen Bryan Human Rights Award. The symposium will begin at UF on the afternoon of January 15 at 2:30 p.m. at Ustler Hall, where Lessin will lead a panel on “Trouble the Water” as discussant. The panel will feature as speakers Professor Sharon Austin, Director of UF’s African American Studies program, Professor Barbara Mennel from UF’s English Department, and Professor Churchill Roberts of UF’s Journalism College. The panel will be moderated by Professor Judith Page, Director of UF’s Center for Women’s Studies and professor in the Department of Languages, Literatures and Cultures. In the evening, Lessin will give a public screening of the film, “Trouble the Water,” in the MacKay Auditorium at Pugh Hall at 6:00 p.m. Following the movie, she will answer questions about the film’s creation and production, as well as the social impacts of Katrina in New Orleans and throughout the Southeast. The event will be followed by a reception. -
Bowling for Columbine Discussion Guide
www.influencefilmclub.com Bowling for Columbine Discussion Guide Director: Michael Moore Year: 2002 Time: 120 min You might know this director from: Where to Invade Next (2015) Capitalism: A Love Story (2009) Slacker Uprising (2007) Sicko (2007) Fahrenheit 9/11 (2004) The Big One (1997) Roger & Me (1989) FILM SUMMARY Guns are a fixed feature of American culture. Like cheeseburgers, Hollywood, James Dean, and the Star- Spangled Banner, the concept of what makes the U.S.A. the infamous country it is can be traced back to guns. But when Americans begin wielding these lethal weapons against one another and the media perpetuates an overriding sensation of fear and insecurity, people begin to ask: what’s happening to us? When the lives of 12 students and one teacher were taken by two students on April 20, 1999, in the Columbine High School massacre, everyone listened up. Children, the supposedly innocent of the world, were suddenly wielding immense power. The U.S. was in a state of shock, fear reigned, and gun sales increased. Michael Moore made BOWLING FOR COLUMBINE, his attempt at understanding what was going on in his homeland. The obvious culprits present themselves time and again. Poverty, racial inequality, a history of violence, aggression on the television, a propensity for war, an obsession with the right to own a weapon offer themselves as the reasons why such an atrocity could take place. Moore travels across the continental United States, asking the average American about their relationship with guns. Then he crosses the Canadian border, to explore the relationship this northern neighbor has to with guns without the corresponding violence. -
Documentary Film 3. Filmmakers' Theories Introduction
Component 2 Global filmmaking perspectives Section B: Documentary Film 3. Filmmakers’ Theories Introduction (from the specification) The documentary film will be explored in relation to key filmmakers from the genre. The documentary film studied may either directly embody aspects of these theories or work in a way that strongly challenges these theories. In either case, the theories will provide a means of exploring different approaches to documentary film and filmmaking. Two of the following filmmakers' theories must be chosen for study: Peter Watkins Watkins established his reputation with two docu-dramas from the 1960s, Culloden and The War Game. Both document events from the past using actors and reconstruction. In asking questions of conventional documentary, Watkins reflects his deep concern with mainstream media, which he has called the ‘monoform’. Nick Broomfield Broomfield, like Michael Moore, has developed a participatory, performative mode of documentary filmmaking. Broomfield is an investigative documentarist with a distinctive interview technique which he uses to expose people's real views. Like Watson, he keeps the filmmaking presence to a minimum, normally with a crew of no more than three. He describes his films as 'like a rollercoaster ride. They’re like a diary into the future.' 1 Kim Longinotto Longinotto has said 'I don’t think of films as documents or records of things. I try to make them as like the experience of watching a fiction film as possible, though, of course, nothing is ever set up.' Her work is about finding characters that the audience will identify with – 'you can make this jump into someone else’s experience'. -
Following Is a Listing of Public Relations Firms Who Have Represented Films at Previous Sundance Film Festivals
Following is a listing of public relations firms who have represented films at previous Sundance Film Festivals. This is just a sample of the firms that can help promote your film and is a good guide to start your search for representation. 11th Street Lot 11th Street Lot Marketing & PR offers strategic marketing and publicity services to independent films at every stage of release, from festival premiere to digital distribution, including traditional publicity (film reviews, regional and trade coverage, interviews and features); digital marketing (social media, email marketing, etc); and creative, custom audience-building initiatives. Contact: Lisa Trifone P: 646.926-4012 E: [email protected] www.11thstreetlot.com 42West 42West is a US entertainment public relations and consulting firm. A full service bi-coastal agency, 42West handles film release campaigns, awards campaigns, online marketing and publicity, strategic communications, personal publicity, and integrated promotions and marketing. With a presence at Sundance, Cannes, Toronto, Venice, Tribeca, SXSW, New York and Los Angeles film festivals, 42West plays a key role in supporting the sales of acquisition titles as well as launching a film through a festival publicity campaign. Past Sundance Films the company has represented include Joanna Hogg’s THE SOUVENIR (winner of World Cinema Grand Jury Prize: Dramatic), Lee Cronin’s THE HOLE IN THE GROUND, Paul Dano’s WILDLIFE, Sara Colangelo’s THE KINDERGARTEN TEACHER (winner of Director in U.S. competition), Maggie Bett’s NOVITIATE -
Parker Posey to Host 2012 Sundance Film Festival Awards Ceremony
FOR IMMEDIATE RELEASE Media Contacts: January 10, 2012 Sarah Eaton 310.360.1981 [email protected] Casey De La Rosa 310.360.1981 [email protected] PARKER POSEY TO HOST 2012 SUNDANCE FILM FESTIVAL AWARDS CEREMONY JURY MEMBERS ANNOUNCED Charles Ferguson, Nick Fraser, Mike Judge, Justin Lin, Anthony Mackie, Cliff Martinez, Julia Ormond, Dee Rees and Lynn Shelton Among Jurors Park City, UT — Sundance Institute announced today the 23 members of the six juries awarding prizes at the 2012 Sundance Film Festival, as well as the host of the Awards Ceremony on January 28. The Festival takes place January 19 through 29 in Park City, Salt Lake City, Ogden and Sundance, Utah. Actress and writer Parker Posey will serve as the host of the 2012 Sundance Film Festival Awards Ceremony, set to take place January 28 at 7:00 p.m. MT at the Basin Recreation Field House in Park City, Utah and live-streamed at www.sundance.org/festival. Named "Queen of the Indies" by TIME Magazine, Posey has appeared in more than a dozen films at the Sundance Film Festival, including Party Girl (1995), House of Yes (1997) and Broken English (2007). Posey also appears in Price Check in the out-of-competition Premieres section at this year’s Festival. Awards for short films will also be announced at a separate ceremony on January 24 at Park City’s Jupiter Bowl. Photos and extended biographies of the jurors and Awards Ceremony host, in addition to the complete Festival lineup and schedule, are available at www.sundance.org/festival. -
Where to Invade Next Gala
BERLINALE SPECIAL WHERE TO INVADE NEXT GALA Michael Moore Wo einmarschieren? Der oscarprämierte Dokumentarfilmer Michael USA 2015 Moore bietet dem Pentagon an, ab sofort das Einmarschieren in ferne 119 Min. · DCP · Farbe Länder als Ein-Mann-Armee zu übernehmen. Bei seinem Feldzug folgt der Regisseur drei Regeln: niemanden erschießen, kein Öl erbeuten Regie, Buch Michael Moore Kamera Richard Rowley, Jayme Roy und etwas nach Hause bringen, was den Amerikanern nutzt. Denn Schnitt Pablo Proenza, Woody Richman, seinem Recherche-Vorstoß liegt eine ganz eigene Agenda zugrunde, Tyler Walk er ist überzeugt, dass Lösungen für drängende soziale Probleme Ton Francisco Latorre, Hilary Stewart der USA woanders bereits existieren. So sammelt er Beispiele für Produzenten Tia Lessin, Carl Deal, bessere Lebens- und Arbeitsbedingungen: die Urlaubsregelung in Michael Moore 1954 in Flint, USA, geboren. Mit seinem Italien, das Schulessen in Frankreich, das Bildungssystem in Finnland, ersten Dokumentarfilm ROGER & ME (1989) Executive Producer Mark Shapiro, wurde er zum Wegbereiter für das moderne die Vergangenheitsbewältigung in Deutschland, die Gleichstellung Will Staeger Dokumentarfilmschaffen. Mit BOWLING FOR der Frauen in Island. Gewohnt subversiv, aber auch ausgelassen und Produktion COLUMBINE (Oscar 2003) und FAHRENHEIT fröhlich vertritt der Regisseur von FAHRENHEIT 9/11 und BOWLING Dog Eat Dog Films 9/11 (Goldene Palme in Cannes 2004) schuf er FOR COLUMBINE die Interessen seines Landes. Bei seiner ebenso New York, USA weitere Dokumentationen, die Kassenerfolge heiteren wie nachdenklichen globalen Invasion entstand ein Film tia@elsewherefilms.org wurden. Er ist auch als Sachbuchautor über die USA ohne eine einzige Einstellung auf US-amerikanischem erfolgreich. Michael Moore lebt in Traverse City, Boden. Weltvertrieb Michigan, wo er das Traverse City Film Festival Bloom Media gründete. -
CMSI Journey to the Academy Awards -- Race and Gender in a Decade of Documentary 2008-2017 (2-20-17)
! Journey to the Academy Awards: A Decade of Race & Gender in Oscar-Shortlisted Documentaries (2008-2017) PRELIMINARY KEY FINDINGS Caty Borum Chattoo, Nesima Aberra, Michele Alexander, Chandler Green1 February 2017 In the Best Documentary Feature category of the Academy Awards, 2017 is a year of firsts. For the first time, four of the five Oscar-nominated documentary directors in the category are people of color (Roger Ross Williams, for Life, Animated; Ezra Edelman, for O.J.: Made in America; Ava DuVernay, for 13th; and Raoul Peck, for I Am Not Your Negro). In fact, 2017 reveals the largest percentage of Oscar-shortlisted documentary directors of color over at least the past decade. Almost a third (29%) of this year’s 17 credited Oscar-shortlisted documentary directors (in the Best Documentary Feature category) are people of color, up from 18 percent in 2016, none in 2015, and 17 percent in 2014. The percentage of recognized women documentary directors, while an increase from last year (24 percent of recognized shortlisted directors in 2017 are women, compared to 18 percent in 2016), remains at relatively the same low level of recognition over the past decade. In 2016, as a response to widespread criticism and negative media coverage, the Academy of Motion Picture Arts & Sciences welcomed a record number of new members to become part of the voting class to bestow Academy Awards: 683 film professionals (46 percent women, 41 percent people of color) were invited in.2 According to the Academy, prior to this new 2016 class, its membership was 92 percent white and 75 percent male.3 To represent the documentary category, 42 new documentary creative professionals (directors and producers) were invited as new members.