JEFFREY A. PITTS Supervising Sound Editor, Sound Designer

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JEFFREY A. PITTS Supervising Sound Editor, Sound Designer LET IT SNOW Luke Snellin Netflix SE GRUDGE Nicolas Pesce Sony SD CORPORATE ANIMALS Patrick Brice Pacific Electric Picture Co SD, SSE INNOCENT MAN Clay Tweel Netflix SSE WAYNE SHORTER: ZERO Dorsay Alvi Brave World Pictures SSE GRAVITY TAG Jeff Tomsic Warner Bros. SE THE AMENDMENT Paul Brown Blue Forrest Entertainment SD BLINDSPOTTING Carlos López Estrada Lionsgate SD DEATH NOTE Adam Wingard Netflix SSE BLAIR WITCH Adam Wingard Lionsgate SD THE UNRAVELING Thomas Jakobsen One Eyed Films SD FAULTS Riley Stearns Snoot Entertainment SSE CAMP X-RAY Peter Sattler GNK Productions SD THE ANGRIEST MAN IN Phil Alden Robinson AMIB Productions SSE BROOKLYN MUPPETS MOST WANTED James Bobin DisneyToon Studios SSE BETTER LIVING THROUGH Geoff Moore, David Occupant Entertainment SD CHEMISTRY Posamentier RIDE ALONG Tim Story Universal SE THE GUEST Adam Wingard HanWay Films SE BIG SUR Director Michael Polish Ketchup Entertainment SD A BELFAST STORY Nathan Todd Atlas Entertainment SE JOBS Joshua Michael Stern Open Road Films SE GROWN UPS 2 Dennis Dugan Columbia Pictures SE ATLAS SHRUGGED 2: THE STRIKE John Putch Spotlight Pictures SSE PITCH PERFECT Jason Moore Universal SE HIT AND RUN David Palmer, Dax Shepard Open Road Films SSE SHOULD'VE BEEN ROMEO Marc Bennett Phillybrook Films SE YOU'RE NEXT Adam Wingard Lionsgate SSE Formosa Features www.FormosaGroup.com/Features 323.850.2800 [email protected] Page 1 SEVEN DAYS IN UTOPIA Matt Russell Prospect Park SD THE ROCK 'N' ROLL DREAMS OF Justin S. Monroe 10,001 SD DUNCAN CHRISTOPHER MOTHER'S DAY Darren Lynn Bousman Anchor Bay SE CAMP HELL George VanBuskirk New Films International SD DON'T FADE AWAY Luke Kasdan New Films International SE THE LOST TRIBE Roel Reiné Epic Picture Group SD DEDD BROTHERS Dustin Dugas Schuetter Crisis Entertainment SE TRAIN Gideon Raff Lionsgate SD THE WACKNESS Jonathan Levine Occupant Entertainment SE BATTLE FOR TERRA Aristomenis Tsirbas Lionsgate SE Title SE Sound Editor SD Sound Designer SSE Supervising Sound Editor Formosa Features www.FormosaGroup.com/Features 323.850.2800 [email protected] Page 2.

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The Speed of the VCR
Edinburgh Research Explorer The speed of the VCR Citation for published version: Davis, G 2018, 'The speed of the VCR: Ti West's slow horror', Screen, vol. 59, no. 1, pp. 41-58. https://doi.org/10.1093/screen/hjy003 Digital Object Identifier (DOI): 10.1093/screen/hjy003 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Screen Publisher Rights Statement: This is a pre-copyedited, author-produced PDF of an article accepted for publication in Screen following peer review. The version of record Glyn Davis; The speed of the VCR: Ti West’s slow horror, Screen, Volume 59, Issue 1, 1 March 2018, Pages 41–58 is available online at: https://doi.org/10.1093/screen/hjy003. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 The speed of the VCR: Ti West’s slow horror GLYN DAVIS In Ti West’s horror film The House of the Devil (2009), Samantha (Jocelin Donahue), a college student short of cash, takes on a babysitting job.
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2012 SUNDANCE FILM FESTIVAL ANNOUNCES FILMS in SPOTLIGHT, PARK CITY at MIDNIGHT, NEXT <=> and NEW FRONTIER
FOR IMMEDIATE RELEASE Media Contacts: December 1, 2011 Sarah Eaton 310.360.1981 [email protected] Casey De La Rosa 310.360.1981 [email protected] 2012 SUNDANCE FILM FESTIVAL ANNOUNCES FILMS IN SPOTLIGHT, PARK CITY AT MIDNIGHT, NEXT <=> AND NEW FRONTIER Park City, UT — Sundance Institute announced today the films selected to screen in the 2012 Sundance Film Festival out-of-competition sections Spotlight, Park City at Midnight, NEXT <=> and New Frontier. The Festival takes place from January 19 through 29 in Park City, Salt Lake City, Ogden and Sundance, Utah. The complete list of films is available at www.sundance.org/festival. Trevor Groth, Director of Programming for the Sundance Film Festival, said, “In many ways, the extremes of the Festival’s program are most readily apparent in our out-of-competition sections, which showcase the wildest comedies, the most terrifying horror films and uncompromised visions from singular voices springing up from around the country and the world. We hope audiences experiment with their film selections to an equal degree as these filmmakers have experimented with their storytelling.” SPOTLIGHT Regardless of where these films have played throughout the world, the Spotlight program is a tribute to the cinema we love. Corpo Celeste / Italy (Director and screenwriter: Alice Rohrwacher) — After moving back to southern Italy with her mother and older sister, 13-year-old Marta struggles to find her place, restlessly testing the boundaries of an unfamiliar city and the catechism of the Catholic church. Cast: Yle Vianello, Salvatore Cantalupo, Anita Caprioli, Renato Carpentiere. Declaration Of War / France (Director: Valérie Donzelli, Screenwriters: Jérémie Elkaïm, Valérie Donzelli) — A young couple embark upon a painful, enlightening journey when they discover that their newborn child is very ill.
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Supernatural Folklore in the Blair Witch Films: New Project, New Proof
129 Supernatural Folklore in the Blair Witch Films: New Project, New Proof Peter Turner (Oxford Brookes University) Found footage horror films can be significant examples of folk horror, juxtaposing modern technology with its capture of ancient monsters of folklore. These films frequently combine contemporary anxieties over digital technology (Blake and Aldana Reyes 2016) with more archaic fears such as witches, trolls and demons. Both The Blair Witch Project (Daniel Myrick and Eduardo Sánchez, 1999) and its second sequel Blair Witch (Adam Wingard, 2016) dramatise the search for proof of supernatural occurrences. Adam Scovell notes that the narrative of The Blair Witch Project ‘is quintessential Folk Horror through its use of rurality’. The film ‘basks in its rural/urban divide, where the naive students have completely underestimated both the landscape and the power of its folklore’ (2017: 117). The characters in these films are at once sceptical of the existence of a historical witch haunting the area and yet also open-minded enough to take their modern camera technology and try to capture evidence of a supernatural phenomenon—one rooted in the local folklore of Maryland’s woods. Developments in camera technology in the years between the production of The Blair Witch Project and Blair Witch complicate the capturing of proof, and I argue that this leads to different responses from viewers of the two films. While The Blair Witch Project and Blair Witch share many similarities in their representation of proof, there are notable differences regarding the diegetic technology that the characters have at their disposal. After exploring how an impression of authenticity is created in both films through a modern digital camera aesthetics that has substantively changed in the seventeen years between the release of these two films, I then examine how the folklore established in The Blair Witch Project is developed in the distinctive aesthetics of the 2016 sequel.
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An Investigation of Priming, Self-Consciousness, and Allegiance in the Diegetic Camera Horror Film
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Oxford Brookes University: RADAR An investigation of priming, self-consciousness, and allegiance in the diegetic camera horror film by Peter Turner A thesis submitted in partial fulfilment of the requirements of the award of Doctor of Philosophy by Oxford Brookes University Submitted June 2017 Statement of originality Some of the discussion of The Blair Witch Project throughout this thesis has formed the basis for a book, Devil’s Advocates: The Blair Witch Project (Auteur, 2014). Some of the discussion of priming in chapter four was also used in a conference paper, Behind the Camera: Priming the Spectator of Found Footage Horror, delivered at The Society for Cognitive Studies of the Moving Image in 2015. Sections on personal imagining also formed the basis of a conference paper, Personal Imagining and the Point-of-View Shot in Diegetic Camera Horror Films, delivered at The Society for Cognitive Studies of the Moving Image in 2017. Finally, significant amounts of Chapter 3 and Chapter 5 will be featured in two chapters of an upcoming edited collection on found footage horror films with the working title [Rec] Terror: Essays on Found Footage Horror Films. i Abstract The main research question underpinning this study asks why and how the diegetic camera technique has become so popular to both contemporary horror filmmakers and audiences. In order to answer this question, this thesis adopts a mainly cognitive theoretical framework in order to address the mental schemata and processes that are elicited and triggered by these films.
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LIONS GATE ENTERTAINMENT CORP. (Exact Name of Registrant As Specified in Its Charter)
Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 10-K (Mark One) ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended March 31, 2012 or TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File No.: 1-14880 LIONS GATE ENTERTAINMENT CORP. (Exact name of registrant as specified in its charter) British Columbia, Canada N/A (State or Other Jurisdiction of (I.R.S. Employer Incorporation or Organization) Identification No.) 1055 West Hastings Street, Suite 2200 2700 Colorado Avenue, Suite 200 Vancouver, British Columbia V6E 2E9 Santa Monica, California 90404 (877) 848-3866 (310) 449-9200 (Address of Principal Executive Offices, Zip Code) Registrant’s telephone number, including area code: (877) 848-3866 Securities registered pursuant to Section 12(b) of the Act: Title of Each Class Name of Each Exchange on Which Registered Common Shares, without par value New York Stock Exchange Securities registered pursuant to Section 12(g) of the Act: None ___________________________________________________________ Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes No Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Securities Exchange Act of 1934. Yes No Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or Section 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days.
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CATÁLOGO CATALOGUE Coordenação Editorial Publishing Coordination
13 MOSTRA MUNDIAL WORLD CINEMA 41 MÚSICA DO UNDERGROUND UNDERGROUND MUSIC 57 RETROSPECTIVA BÉLA TARR RETROSPECTIVE BÉLA TARR 79 RETROSPECTIVA CLAIRE DENIS RETROSPECTIVE CLAIRE DENIS CINESESC | CINE OLIDO INDIE 11 | POR UM CINEMA INQUIETO INDIE 11 | FOR A RESTLESS CINEMA Se considerarmos que o cinema é um exercício de criação por meio do mento é limitado, não os recur- If we consider the cinema an exercise of creation which enables us to construct such cinema tends to make aesthetic qual construímos realidades próximas às vividas ou imaginadas, nos sos. Com liberdade sutil, esse realities similar to the ones lived or imagined, by presenting ourselves with the choices that show us what is invis- colocando numa tarefa lúdica de desvendar suas camadas, é fatal per- cinema tende a fazer escolhas playful task of unraveling its layers, it is inevitable to realize how this is such a ible or imperceptible in our realities, ceber o quanto essa arte é complexa e dispendiosa. estéticas que mostram aquilo complex and expensive art. which, in turn, are always too hectic to que é invisível ou imperceptível let us see what they are made of. A nós espectadores, é posta a escolha de uma narrativa, decorrem inte- em nossas realidades atribula- To us, viewers, is given the choice of a narrative from which interactions between rações entre a linguagem visual e sonora; de repente, surgem tempos, das demais para que perceba- the audible and visual language take place; suddenly, there comes times, places In this edition, all these character- lugares e as pessoas em suas escolhas.
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Festival Guide 01 VENUE the Plaza Theatre (1133 Kensington Rd NW)
Festival Guide 01 www.calgaryundergroundfilm.com VENUE The Plaza Theatre (1133 Kensington Rd NW) www.theplaza.ca TICKETS $10 Regular Screenings $9 CJSW Members $8 CUFF Members, Students & Seniors $40 Punch Card (5 films) Lunch time! $100 Festival Pass (All films except Burlesque Assassins Fundraiser) Tickets available at the door. Come enjoy Advance tickets online or at Frosst Books (1018 – 9 Avenue SE). All evening screenings are licensed 18+ which means you Local’s new can drink beer during the film (!) but... no minors. menu today. Matinees are all ages. ........................... PARKING SPECIAL $2 evening & weekend rate at the VINCI Park parkade (100 - 10A Street NW - East of The Plaza next to Bernard Callebaut Chocolates). PARTIES Monday, April 11, 9:00 PM HILLBILLY BASH AFTER PARTY Molly Malone’s, 1153 Kensington Crescent NW Come join us for a party following Tucker & Dale Vs. Evil with drinks, food and good times! Director Eli Craig, cast and crew in attendance at both the screening and the after party. Thursday, April 14, 6:15 PM SHOW UP & SHIP OUT WITH THE SHIP & ANCHOR Ship & Anchor, 534 17th Avenue SW $20 (tickets available only at The Ship) Bus leaves from The Ship for The Plaza Theatre to see the movie Everyday Sunshine (P. 14) at 6:15 PM sharp & returns after the movie for a FREE drink & guaranteed entrance to the FISHBONE CONCERT! The full band will be in attendance for a Q&A after the screening. Sunday, April 17, 9:00 PM 48-HOUR MOVIE MAKING CHALLENGE AFTER PARTY Molly Malone’s, 1153 Kensington Crescent NW Please join
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REALITY and NARRATOLOGICAL STRATEGY in HORROR FICTION Z Oi 4 Master Of
METAFICTIONAL MONSTERS AND FOUND-FICTION NIGHTMARES: REALITY AND NARRATOLOGICAL STRATEGY IN HORROR FICTION A Thesis submitted to the faculty of San Francisco State University % In partial fulfillment of Z oi4 the requirements for 6 M L the Degree Master of Arts In English: Literature by Zoe Elizabeth Dumas San Francisco, California January 2019 Copyright by Zoe Elizabeth Dumas 2019 CERTIFICATION OF APPROVAL I certify that I have read METAFICTIONAL MONSTERS AND FOUND-FICTION NIGHTMARES: REALITY AND NARRATOLOGICAL STRATEGY IN HORROR FICTION by Zoe Elizabeth Dumas, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in English: Literature at San Francisco State University. Associate Professor Geoffrey Green, Ph.D. Associate Professor METAFICTIONAL MONSTERS AND FOUND-FICTION NIGHTMARES: REALITY AND NARRATOLOGICAL STRATEGY IN HORROR FICTION Zoe Elizabeth Dumas San Francisco, California 2019 As technology becomes ever-prevalent in modem society and our lives are documented for all to see on a daily basis, it is more important than ever that we understand the role of narrative in our media. This project explores works of horror fiction that work upon the conceit of being a found text that is in some way representative of the real world. I argue that these texts, rather than just being an adrenaline rush, are able to teach us how to be better readers of the world around us. I study a breadth of horror texts, focusing specifically on the film The Blair Witch Project, the novel House o f Leaves, and the Twitter story “Dear David.” Each text ushers in a new mode of horror, in which we never know who—or what—we can trust.
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Lens-Sense: on Seeing a World As Sensed by a Camera
Lens-sense: on seeing a world as sensed by a camera Can a camera sense what a human eye cannot? This question was of great concern to early film theorists. It has since been rejuvenated by recent trends in contemporary cinema that present the photographic lens as transcending the limitations of human vision. In this article, I propose that camera-centric vision offers us particular ways of seeing the world. More particularly, I suggest that camera-centric images raise speculative ideas about what the world may look and feel like to technologies of (digital) reproduction and visualisation. In what follows, I will investigate how found footage horror and the films of American director, Tony Scott, enact a camera-centric vision, concentrating my analysis on scenes from V/H/S/2 (Simon Barrett, Jason Eisener, Gareth Evans, Gregg Hale, Eduardo Sánchez, Timo Tjahjanto and Adam Wingard, 2013) and Déjà Vu (Tony Scott, 2006). Stylistically and thematically, these films seem far apart. Found footage horror deals with how non-human terrors appear to the human as well as how their appearances are effectuated by audio-visual recording technologies. The themes explored by Tony Scott do not concern monsters or invisible terrors but a making visible of tensions and atmospheres that do not necessarily reside within or originate from any particular human character. His films make visible the tensions evoked in a given narrative situation, as well as the performative affective potentials of these atmospheres. What found footage horror and Scott’s films have in common is their creative use of cinema as a medium of speculation.
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Berlin 2013 in Official Selection
BERLIN 2013 IN OFFICIAL SELECTION IN THE NAME OF CIRCLES BY MALGOSKA SZUMOWSKA BY SRDAN GOLUBOVIC IN COMPETITION IN FORUM STRAIGHT FROM SUNDANCE MIDNIGHT S-VHS NEW WE ARE WHAT WE ARE BY SIMON BARRETT, ADAM WINGARD, BY JIM MICKLE EDÚARDO SANCHEZ, GREGG HALE, TIMO TJAHJANTO, GARETH HUW EVANS, JASON EISENER MARKET SCREENING UPCOMING UNDER THE FOXFIRE THE PAST BACK IN CRIME RAINBOW BY LAURENT CANTET BY ASGHAR FARHADI BY GERMINAL ALVAREZ BY AGNÈS JAOUI CONTACTS IN BERLIN OFFICE IN PARIS LADE.FR MARTIN GROPIUS-BAU / STAND #30 9 Cité Paradis – 75010 Paris – France C Tel: +33 1 53 34 90 20 EMILIE GEORGES NICHOLAS KAISER Fax: +33 1 42 47 11 24 Jan 7 th > 13 th Feb. 7 th > 15 th emilie@memento-films.com nicholas@memento-films.com sales@memento-films.com festival@memento-films.com +33 6 62 08 83 43 +33 6 43 44 48 99 TUA / DESIGN: WWW. international.memento-films.com C TANJA MEISSNER NICK SHUMAKER ONTRA Feb. 7 th > 14 th Feb. 7 th > 15 th Join us on facebook C tanja@memento-films.com nick@memento-films.com +33 6 22 92 48 31 +1 646 648 0986 CREDITS NON IN BERLIN – COMPETITION IN THE NAME OF A FILM BY MALGOSKA SZUMOWSKA SCREENINGS FRI. FEB. 8th | 9:00 A.M. @ BERLINALE PALAST | Press Screening (English Sub) FRI. FEB. 8th | 4:00 P.M. @ BERLINALE PALAST | Gala Screening (German Sub) SAT. FEB. 9th | 9:30 A.M. @ FRIEDRICHSTADT-PALAST | Repetition Screening (English Sub) SAT. FEB. 9th | 1:00 P.M. @ CINESTAR 6 | Market Screening (English Sub.) TUE.
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Archived Clip
Home » Blogs » Jordan Gass-Poore''s blog Recent posts Review: You're Next Welcome to [Archived] Slackerwood By Jordan Gass-Poore' on August 22, 2013 - 2:00pm in Reviews New Releases Lone Star Cinema: Kid Blue NOW CLOSED: Au Revoir, and Don't ENJOY OUR Forget to Feed the Parrot ARCHIVES! Movies This Year: Our Reviews of Upcoming Releases Slackerwood: Where We're All Going (We Hope) About Slackerwood Debbie's Fantastic and Contributors Favorite Film Memories Venue guide Film on Tap: Pass the Bubbly Reviews Review: The Connection Archive by category Family dinners can be hell. Just ask the Davisons, or what's left of them, in the horror Archive by month flick You're Next, opening Friday. During a rare family dinner to celebrate the wedding Contact Recent reviews anniversary of Aubrey (Barbara Crampton) and Paul (Rob Moran), a mysterious gang Lone Star Cinema: Kid of masked murderers invades the Davisons' grand backwoods vacation home, only to find Blue Search out that one of the victims harbors a deadly secret themselves. Movies This Year: Our Reviews of Upcoming Director Adam Wingard may be best known for his low-budget horror films A Horrible Releases Way to Die (which also co-stars AJ Bowen) and V/H/S, and it's this keen sensibility to Review: The Connection Thanks to the make something visually grand out of nothing that puts You're Next ahead of other Review: In the Name of Austin recent horror and suspense films. But that's not saying much. Chronicle for My Daughter selecting us The blood-splattered "You're Next" on walls and glass is a schtick that's been done to Review: Poltergeist Best Austin death and that the movie could have done without (and would've been better if it had).
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[.Watch.] Godzilla Vs Kong (2021) Movie Online Full 13 March 2021
[.Watch.] Godzilla vs Kong (2021) Movie Online Full 13 March 2021 The runtime for the upcoming Adam Wingard-directed Godzilla vs. Kong has reportedly had its runtime revealed. The film serves as the latest installment for Legendary Entertainment's MonsterVerse, a shared cinematic universe for Godzilla, King Kong, and other iconic movie monsters. Godzilla vs. Kong is preceded by three films: Godzilla (2014), Kong: Skull Island (2017), and Godzilla: King of the Monsters (2019). The reception for the films has been mixed, but all three have been relative box office successes. Despite only containing a few movies, Legendary's MonsterVerse has been one of the more successful cinematic universes in modern cinema. One of Legendary's previous Godzilla films' more common criticisms has been the overstuffed story and bloated runtime. Gareth Edwards' Godzilla came in at 2 hours and 3 minutes. Michael Dougherty's Godzilla: King of the Monsters ran for 2 hours and 12 minutes - making the films the fourth and second-longest Godzilla movies in history, respectively. The vast majority of the Japanese Toho Godzilla films have runtimes under two hours. Both of Legendary's Godzilla movies have been criticized for lingering too much on the human stories - and the films ended up dragging because of it. Now, according to a French website called AlloCine, Godzilla vs. Kong's runtime has been revealed - the film will come in at 1 hour and 53 minutes. Assuming the runtime is correct, this not only makes it the shortest Legendary Godzilla film - but the shortest MonsterVerse film in general (Kong: Skull Island came in at 1 hour and 58 minutes).
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