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DISNEYLAND Grand Opening on 7/17/1955 the Happiest Place on Earth Wasn't Anything of the Sort for 13 Months of Pandemic Closure
Monday, July 19, 2021 | No. 177 Film Flashback…DISNEYLAND Grand Opening on 7/17/1955 The Happiest Place on Earth wasn't anything of the sort for 13 months of pandemic closure. But, happily, Disneyland began coming back to life in late April and by June 15 wasn't facing any capacity restrictions. Now it's celebrating the 66th anniversary of its Grand Opening July 17, 1955. To help finance Disneyland's construction in Anaheim, Calif., which began July 16, 1954, Walt Disney struck a deal with the then fledgling ABC-TV Network to produce the legendary DISNEYLAND series. For helping Walt raise the $17M he needed -- about $135M today -- ABC also got the right to broadcast the opening day events. Originally, July 17 was just an International Press Preview and July 18 was to be the official launch. But July 17's been remembered over the years as the Big Day thanks to ABC's live coverage -- despite things not having gone well with the show hosted by Walt's Hollywood pals Art Linkletter, Bob Cummings & Ronald Reagan. Live TV was in its infancy then and the miles of camera cables it used had people tripping all over the park. In Frontierland, a camera caught Cummings kissing a dancer. Walt was reading a plaque in Tomorrowland on camera when a technician started talking to him, causing Walt to stop and start again from the beginning. Over in Fantasyland, Linkletter sent the coverage back to Cummings on a pirate ship, but Bob wasn't ready, so he sent it right back to Art, who no longer had his microphone. -
Oblivion – Note Di Produzione Oblivion – Note Di Produzione
Oblivion – Note di Produzione Oblivion – Note di Produzione UNIVERSAL PICTURES Presenta In Associazione con RELATIVITY MEDIA Una Produzione CHERNIN ENTERTAINMENT/MONOLITH PICTURES/RADICAL STUDIOS Un Film di JOSEPH KOSINSKI TOM CRUISE MORGAN FREEMAN OLGA KURYLENKO ANDREA RISEBOROUGH NIKOLAJ COSTER-WALDAU e MELISSA LEO Produttori Esecutivi DAVE MORRISON JESSE BERGER JUSTIN SPRINGER Prodotto da JOSEPH KOSINSKI PETER CHERNIN DYLAN CLARK BARRY LEVINE DUNCAN HENDERSON Tratto dalla Graphic Novel Originale Scritta da JOSEPH KOSINSKI Sceneggiatura di KARL GAJDUSEK e MICHAEL DEBRUYN Regia di JOSEPH KOSINSKI Uscita Italiana: 11 Aprile 2013 Durata del film: 156’ Il materiale fotografico è disponibile sul sito www.upimedia.com Ufficio Stampa Universal Pictures International Italy: Oblivion – Note di Produzione Cristina Casati – [email protected] Marina Caprioli – [email protected] Matilde Marinai – [email protected] Sp.le Giornalista, di seguito, troverà le Note sulla Produzione del film della Universal Pictures Oblivion. Nell’ambito del Suo lavoro, in caso di approfondimenti e spunti della trama di questo film, Le chiediamo di non rivelare i punti culminanti e la conclusione del film, affinché gli spettatori rimangano sorpresi dagli eventi durante la visione. La ringraziamo anticipatamente, augurandoLe una Buona Lettura. — Universal Pictures Publicity Department Oblivion – Note di Produzione Note di Produzione “Si può avere nostalgia di un luogo dove non sei mai stato? Piangere un tempo mai vissuto?” -Comandante Jack Harper TOM CRUISE è il protagonista di Oblivion, un evento cinematografico originale e rivoluzionario dal regista di TRON: Legacy, e dal produttore de l'Alba del Pianeta delle Scimmie. (Rise of the Planet of the Apes). In uno spettacolare pianeta Terra del futuro che si è evoluto fino a diventare irriconoscibile, un uomo si confronta col passato fino ad affrontare un viaggio di redenzione e ricerca, mentre si batterà per salvare l'umanità. -
Contrasting "Infernal Affairs" Hong Kong and "The Departed" Hollywood
Contrasting "Infernal Affairs" Hong Kong and "The Departed" Hollywood By Prof. Dr. SZE, Man Hung, Stephen and SHEN, Yiting (Graduate Student) Dept. of Film and TV Production, Kushan University of Technology, Tainan County, Taiwan) (Abstract) Film noir is a classical genre of Hollywood. It has its own special elements of evolution and mode of manifestation. It has not been a genre that could be found in Hong Kong for a long time. This article begins with the tracing of the reasons for the lack of film noir in Hong Kong, and its gradual development till the advent of "Infernal Affairs"(2002), which was adopted by Hollywood and resulted in the adapted "The Departed"(2006). Although the basic structure of the plot in both films is based on the interaction and events faced by the two protagonists, and thus bringing out the predicament and helplessness of the two under-covers from both the police and the underworld, the two films are different because of the different socio-cultural contexts, the studio systems of production and the ideas of artistic creativity. After investigating the different approaches of P. 1 Hong Kong and Hollywood studio systems, this article will also then analyze and contrast the two films, binging out their different modes of manifestation, characteristics, character portrayal, cinematic ideas social and artistic values. It will account for the mutation of one text in the two different social and cultural contexts of film production and audience. Contrasting "Infernal Affairs" Hong Kong and "The Departed" Hollywood By Prof. Dr. SZE, Man Hung, Stephen and SHEN, Yiting (Graduate Student) Dept. -
Las Adaptaciones Cinematográficas De Cómics En Estados Unidos (1978-2014)
UNIVERSITAT DE VALÈNCIA Facultat de Filologia, Traducció i Comunicació Departament de Teoria dels Llenguatges i Ciències de la Comunicació Programa de Doctorado en Comunicación Las adaptaciones cinematográficas de cómics en Estados Unidos (1978-2014) TESIS DOCTORAL Presentada por: Celestino Jorge López Catalán Dirigida por: Dr. Jenaro Talens i Dra. Susana Díaz València, 2016 Por Eva. 0. Índice. 1. Introducción ............................................................................................. 1 1.1. Planteamiento y justificación del tema de estudio ....................... 1 1.2. Selección del periodo de análisis ................................................. 9 1.3. Sinergias industriales entre el cine y el cómic ........................... 10 1.4. Los cómics que adaptan películas como género ........................ 17 2. 2. Comparación entre los modos narrativos del cine y el cómic .......... 39 2.1. El guion, el primer paso de la construcción de la historia ....... 41 2.2. La viñeta frente al plano: los componentes básicos esenciales del lenguaje ........................................................................................... 49 2.3. The gutter ................................................................................. 59 2.4. El tiempo .................................................................................. 68 2.5. El sonido ................................................................................... 72 3. Las películas que adaptan cómics entre 1978 y 2014 ........................... 75 -
“The Rook” Information Guide
The Return of “The Rook” Information Guide There is a clear void in today’s American pop culture that is The Rook. It all began in the early 1960’s. Bill, or his adventure hero alter-identity “Billy De” began working in comics before he grew his first whisker. His fascination with comic books was shared by his partner in crime Marty Arbunich. Together they created some of the very first comic book fanzines; Fantasy Hero, Fantasy Illustrated, Yancy Street Journal and Voice of Comicdom, starting at the ripe age of 14. Bill and Marty worked tirelessly to meet self-imposed deadlines as if their loyal fans relied on their publications. On one occasion Bill even snuck into Sacred Heart High School’s art room and used the Dot printer to mass produce their fanzine. Before Comic Con became the premier pop-culture comic event, there was the World Science Fiction Convention (now known as WorldCon) and in 1964 it was in Oakland. Although only 523 were in attendance, this show would have resounding impacts on Bill’s career in comics. Also in attendance was maybe the greatest science fiction fan of all time Forrest J. Ackerman, who contributed to the first science fiction fanzine, The Time Traveler. In the same year, The Time Travelers, a science fiction film, would go into production. The cast included Forry Ackerman. The Rook’s return to comics is nearly 50 years to the date of the event that would inspire Bill’s creative direction. Forrest Ackerman would later go on to create the highly popular alternative comic character Vampirella in 1969. -
The Colored Pill: a History Film Performance Exposing Race Based Medicines
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 2020 The Colored Pill: A History Film Performance Exposing Race Based Medicines Wanda Lakota Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Broadcast and Video Studies Commons, Film and Media Studies Commons, and the Medicine and Health Sciences Commons The Colored Pill: A History Film Performance Exposing Race Based Medicines __________ A Dissertation Presented to the Faculty of the College of Arts, Humanities and Social Sciences University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________ by Wanda Lakota June 2020 Advisor: Dr. Bernadette Marie Calafell ©Copyright by Wanda Lakota 2020 All Rights Reserved Author: Wanda Lakota Title: The Colored Pill: A History Film Performance Exposing Race Based Medicines Advisor: Dr. Bernadette Marie Calafell Degree Date: June 2020 ABSTRACT Of the 32 pharmaceuticals approved by the FDA in 2005, one medicine stood out. That medicine, BiDil®, was a heart failure medication that set a precedent for being the first approved race based drug for African Americans. Though BiDil®, was the first race specific medicine, racialized bodies have been used all throughout history to advance medical knowledge. The framework for race, history, and racialized drugs was so multi- tiered; it could not be conceptualized from a single perspective. For this reason, this study examines racialized medicine through performance, history, and discourse analysis. The focus of this work aimed to inform and build on a new foundation for social inquiry—using a history film performance to elevate knowledge about race based medicines. -
Social Deixis of the Main Character in the Hercules Movie Thesis
SOCIAL DEIXIS OF THE MAIN CHARACTER IN THE HERCULES MOVIE THESIS By: Uyunurrizqiyah Putri Utami NIM 15320008 DEPARTMENT OF ENGLISH LITERATURE FACULTY OF HUMANITIES UNIVERSITAS ISLAM NEGERI MAULANA MALIK IBRAHIM MALANG 2019 SOCIAL DEIXIS OF THE MAIN CHARACTER IN THE HERCULES MOVIE THESIS Presented to Universitas Islam Negeri Maulana Malik Ibrahim Malang in Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra (S.S.) By: Uyunurrizqiyah Putri Utami NIM 15320008 Advisor: Drs. H. Djoko Susanto, M.Ed., Ph.D. NIP 196705292000031 DEPARTMENT OF ENGLISH LITERATURE FACULTY OF HUMANITIES UNIVERSITAS ISLAM NEGERI MAULANA MALIK IBRAHIM MALANG 2019 i ii iii MOTTO َخ ْي ُرالنَّا ْس أَ ْن َفعُ ُه ْم ِللنَّا ْس “The best of the humans among you are the most useful for others” iv DEDICATION I dedicate this thesis to my beloved parents, the greatest parents in the world. My mother, Mrs. Widaiyah, as my angel in my life who always supported me and never stopped praying for my success. My father, Mr. Umar Faruq, the strongest person who always hugs me in every good way, who always teach me to be a strong woman. My brother, Muhammad Thoriqul Furqon A.P, and my sisters, Qorinatul Maulida D.C, Bilqis Fahira P.A, and Linda Ghabrillah S.W, who always support me. My honorable advisor, H. Djoko Susanto, M.Ed., Ph.D., who always lead me all this time. My friends, especially for Izzah Qurrota A, a million hug for you, Zulaihatul Karomah and Laili Kurnia W, who always supported me, and all of my friends that I cannot call one by one. -
Whither the Gender of Get Out: a Critique of the Cinematic (Im)Possibilities of the Black Political Imagination
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2018 Whither the Gender of Get Out: A Critique of the Cinematic (Im)Possibilities of the Black Political Imagination Daelena Tinnin University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Broadcast and Video Studies Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Tinnin, Daelena, "Whither the Gender of Get Out: A Critique of the Cinematic (Im)Possibilities of the Black Political Imagination" (2018). Electronic Theses and Dissertations. 1423. https://digitalcommons.du.edu/etd/1423 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. Whither the Gender of Get Out: A Critique of the Cinematic (Im) Possibilities of the Black Political Imagination __________ A Thesis Presented to the Faculty of Social Sciences University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Master or Arts __________ by Daelena Tinnin June 2018 Advisor: Dr. Armond R. Towns Author: Daelena Tinnin Title: Whither the Gender of Get Out: A Critique of the Cinematic (Im) Possibilities of the Black Political Imagination Advisor: Dr. Armond R. Towns Degree Date: June 2018 Abstract This thesis investigates the entanglements of spatialized racial-sexual violence, conceptualizations of black female subjectivity, questions of the limitations and excesses of media representations and the socioeconomic, cultural and spatiotemptoral relations that make black images visible and (im) possible as they are situated in the cinematic black political imagination. -
The Rich Stalk Strangers for Fun In
13 SUNDAY, NOVEMBER 17, 2019 CHARLIE’S ANGELS (PG-15)(ACTION) MOTICHOOR CHAKNACHOOR (PG-13) PLAYING WITH FIRE (PG)(ADVENTURE/COMEDY/FAMILY) ANGEL HAS FALLEN (PG-15)(ACTION/THRILLER/DRAMA) OASIS JUFFAIR : 11.00 AM + 1.30 + 4.00 + 6.30 + 9.00 + 11.30 PM From Friday 15th OASIS JUFFAIR (KIDS CINEMA):10.30 AM + 4.45 + 11.00 PM CITY CENTRE :2.15 +7.00 + 11.45 PM OASIS JUFFAIR (VIP): 10.30 AM + 1.00 + 3.30 + 6.00 + 8.30 + 11.00 PM OASIS JUFFAIR : 3.00 + 8.30 PM CITY CENTRE:11.15 AM + 1.30 + 3.45 + 6.00 + 8.15 + 10.30 PM GERARD BUTLER, MORGAN FREEMAN, JADA PINKETT SMITH CITY CENTRE:(12.45 MN THURS/FRI) CITY CENTRE:12.15 + 3.00 + 5.45 + 8.30 + 11.15 PM SEEF (II):12.15 + 2.30 + 4.45 + 7.00 + 9.15 + 11.30 PM CITY CENTRE (IMAX 2D) :10.30 AM + 1.00 + 3.30 + 6.00 + 8.30 + 11.00 PM SEEF (I): 12.45 + 3.30 + 6.15 + 9.00 + 11.45 PM WADI AL SAIL:10.30 AM + 3.45 + 9.00 PM KAITHI (PG-15)(TAMIL) CITY CENTRE (ATMOS):11.30 AM + 2.00 + 4.30 + 7.00 + 9.30 + 12.00 MN WADI AL SAIL:11.00 AM + 4.00 + 9.00 PM JOHN CENA, KEEGAN-MICHAEL KEY, JOHN LEGUIZAMO CITY CENTRE VIP (I) :11.00 AM + 1.30 + 4.00 + 6.30 + 9.00 + 11.30 PM OASIS JUFFAIR: 2.30 + 8.00 PM NAWAZUDDIN SIDDIQUI, ATHIYA SHETTY, SANJEEV VATSA AL HAMRA: 12.00 NOON. -
Blind Vaysha Accidents, Blunders Showcase Sparkling a Head Disappears THEODORE USHEV | CANADA and Calamities International Talents
PORTLAND INTERNATIONAL FILM FESTIVAL XL 2 PIFF XL Festival Venues Festival Program ADVANCE TICKET OUTLET 1119 SW Park Avenue at Main Welcome to the Northwest (inside the Portland Art Museum’s Film Center’s 40th Portland Mark Building) International Film Festival. This program is arranged by NW FILM CENTER (WH) section with the films in each Whitsell Auditorium section listed alphabetically. 1219 SW Park Avenue at Madison Showtimes and theater loca- (inside the Portland Art Museum) tions are listed at the bottom REGAL FOX TOWER (FOX) of each film descriptions. 846 SW Park Avenue at Taylor We hope the sections outlined below help you navigate your LAURELHURST THEATER (LH) PIFF experience. 2735 E Burnside Street CINEMA 21 (C21) MASTERS 4 616 NW 21st Avenue at Hoyt Exciting new works from some of VALLEY CINEMA (VC) the leading voices of national and 9360 SW Beaverton Hillsdale Hwy world cinema. EMPIRICAL THEATER NEW DIRECTORS 6 AT OMSI (OMSI) New and emerging filmmakers who 1945 SE Water Avenue represent the new generation of BAGDAD THEATER (BAG) master storytellers. 3702 SE Hawthorne Boulevard Cinema 21, Valley Theater, GLOBAL PANORAMA 9 Bagdad Theater, and Laurelhurst Award-winning films that tell stories Theater are all 21+ venues for that resonate beyond the unique films taking place after 5pm. cultures from which they emerge. Please check film times before bringing minors to screenings at these venues. No outside food DOCUMENTARY VIEWS 12 or beverages is allowed in any Fresh perspectives on the world theater. As a security policy, the we live in and the fascinating people, Portland Art Museum and Regal places, and stories that surround us. -
Copyright by Alexander Joseph Brannan 2021
Copyright by Alexander Joseph Brannan 2021 The Thesis Committee for Alexander Joseph Brannan Certifies that this is the approved version of the following Thesis: Artful Scares: A24 and the Elevated Horror Cycle APPROVED BY SUPERVISING COMMITTEE: Thomas Schatz, Supervisor Alisa Perren Artful Scares: A24 and the Elevated Horror Cycle by Alexander Joseph Brannan Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2021 Acknowledgements This project would not have been completed were it not for the aid and support of a number of fine folks. First and foremost, my committee members Thomas Schatz and Alisa Perren, who with incisive notes have molded my disparate web of ideas into a legible, linear thesis. My fellow graduate students, who have kept me sane during the COVID-19 pandemic with virtual happy hours and (socially distant) meetups in the park serving as brief respites from the most trying of academic years. In addition, I am grateful to the University of Texas at Austin and the department of Radio-Television-Film in the Moody College of Communications for all of the resources and opportunities they have provided to me. Finally, my parents, who have enough pride on my behalf to trump my doubts. Here’s hoping they don’t find these chapters too mind-numbingly dull. Onward and upward! iv Abstract Artful Scares: A24 and the Elevated Horror Cycle Alexander Joseph Brannan, M.A. The University of Texas at Austin, 2021 Supervisor: Thomas Schatz One notable cycle of production in horror cinema in the 2010s was so-called “elevated horror.” The independent company A24 has contributed heavily to this cycle. -
Screen Dreams
Screen Dreams: A practice-based investigation of filmic dream sequences, using the dream theories of Freud, Jung, Revonsuo and Hobson. Billy Glew August 2019 This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Film. Lancaster University – Faculty of Arts and Social Sciences Lancaster Institute for the Contemporary Arts Screen Dreams: A practice-based investigation of filmic dream sequences, using the dream theories of Freud, Jung, Revonsuo and Hobson. Billy Glew August 2019 This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Film. The complementary component of the submission is in the form of a film exhibition installed in room A23 of the LICA building. The exhibition will be documented through photographs and a copy of each exhibited film on a DVD included in the permanent binding of this thesis. Lancaster University – Faculty of Arts and Social Sciences Lancaster Institute for the Contemporary Arts Declaration of Authorship I declare that the thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere. Billy Glew August 2019 i Acknowledgements I would like to thank my supervisors, Dr Richard Rushton and Professor Emma Rose, for their support and guidance. Their advice has been invaluable during each stage of my research. Thank you to the teaching and administration staff at Lancaster University LICA for making me feel welcome – it has been a pleasure working with you all. Thanks to the Lancaster University technicians for your excellent work setting up my exhibition and for your help with booking vital equipment for my studies.