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The Diviners' Is Magicai
The Observer • Augustana College • Rock Island, IL • Friday, Feb. 12, 1993 ARTS First terrific film ofnew year... The Diviners' is magicai Dante explores By Angela Mikoslavic Special to the Observer fear in "Matinee" "Mant!" ("Part man, part hat a magicai event By Brian Crowley ant...all terror!"). As the town the theatre is! Itisaplace Staff Repórter creates an uproar over the where characters have the graphic violence of "Mant!", the potential to exist, where /\dvertisements for "Matinee" world teeters on near-destruc- actors breathe life into the sell the film as a screw-ball com- tion nearly one hundred miles likes of a 17 year old edy full of pratfalls and sight- away. "idiot-boy", and a charis- gags. Thepreviewsletyouknow To give more details would matic preacher who has that "Matinee" was directed by ruin the fun of the film. Dante given up the faith. It is a Joe Dante, most famous for the and Haas move the film along at place where the combina- light-weight "Gremlins" and a quick pace that never lets it- tion of lighting and a "Innerspace." Judging by the self fali into slap-stick or high painted backdrop create way the promotional people have drama. A perfect balance of for us the spark of a storm sold this film, you would think goofiness and sentiment is and the beauty of a sunset. that "Matinee" is just another maintained as every aspect of The elements of costume: wacky comedy starring John American life in the sixties is overalls, a work shirt, an Goodman. tackled. (The duo did the same apron, or a staw hat sig- for theeightiesin "Gremlins 2".) nify the typesof people we FilmReview The performances also comple- will meet in this small Susanna Turunen / Observer ment the tone of the picture, with town. -
L'estate Di Martino (2010)
Mario Mazzarotto presents Martino’s summer a film by MASSIMO NATALE produced by MOVIMENTO FILM in collaboration con RAI CINEMA release date: 19 november 2010 film press office VIVIANA RONZITTI Via Domenichino 4 - 00184 ROMA 06 4819524 - 333 2393414 [email protected] press material at: www.kinoweb.it non-contractual credits . technical crew director MASSIMO NATALE based on “LUGLIO 80” by Giorgio Fabbri Winner of the Premio Solinas 2007 artistic collaboration GIUSEPPE EUSEPI photography VLADAN RADOVIC A.I.C. editing PAOLA FREDDI music ROBERTO COLAVALLE Edizioni musicali RAI TRADE set designer SABRINA BALESTRA costumes ALESSIA CONDÒ continuity SAMUELA ZAMPAGNI sound MICHELE TARANTOLA LUCA BERTOLIN sound editor MARTA BILLINSGLEY sound effects editor MIRKO PERRI sound mixer FRANCESCO CUCINELLI assistant director GIUSEPPE EUSEPI coordination GIACOMO DI NIRO executive producer LINDA VIANELLO for INTELFILM s.r.l. produced by MARIO MAZZAROTTO for MOVIMENTO FILM in collaboration with RAI CINEMA this film is recognised as being of cultural interest by the GENERAL DIRECTORATE for the CINEMA of the MINISTRY of CULTURE a film made in collaboration with APULIA FILM COMMISSION distribution MOVIMENTO FILM nationality ITALIAN of production 2010 location Apulia duration 87’ 2 . artistic crew TREAT WILLIAMS Captain Jeff Clark LUIGI CIARDO Martino MATILDE MAGGIO Silvia PIETRO MASOTTI Massimo SIMONE BORRELLI Andrea MATTEO PIANEZZI Luca RENATA MALINCONICO Serena BENJAMIN FRANCORSI soldier 1 DAVID HARTCHER soldier 2 with SILVIA DELFINO Martino’s mother also featuring MARCELLO PRAYER Martino’s father 3 . synopsis MARTIN’S SUMMER is a fantasy film where the dream of a peaceful world might become a reality. The summer of 1980 is a bloody one, scarred by the tragedy of Ustica on 27 June and the Bologna Station bomb on 2 August: tragic episodes that provide a backdrop to the story of Martino (Luigi Ciardo) and his relationship with Captain Clark (Treat Williams), an American soldier, and Silvia (Matilde Maggio) his brother’s girlfriend. -
Bamcinématek Presents Joe Dante at the Movies, 18 Days of 40 Genre-Busting Films, Aug 5—24
BAMcinématek presents Joe Dante at the Movies, 18 days of 40 genre-busting films, Aug 5—24 “One of the undisputed masters of modern genre cinema.” —Tom Huddleston, Time Out London Dante to appear in person at select screenings Aug 5—Aug 7 The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Jul 18, 2016/Brooklyn, NY—From Friday, August 5, through Wednesday, August 24, BAMcinématek presents Joe Dante at the Movies, a sprawling collection of Dante’s essential film and television work along with offbeat favorites hand-picked by the director. Additionally, Dante will appear in person at the August 5 screening of Gremlins (1984), August 6 screening of Matinee (1990), and the August 7 free screening of rarely seen The Movie Orgy (1968). Original and unapologetically entertaining, the films of Joe Dante both celebrate and skewer American culture. Dante got his start working for Roger Corman, and an appreciation for unpretentious, low-budget ingenuity runs throughout his films. The series kicks off with the essential box-office sensation Gremlins (1984—Aug 5, 8 & 20), with Zach Galligan and Phoebe Cates. Billy (Galligan) finds out the hard way what happens when you feed a Mogwai after midnight and mini terrors take over his all-American town. Continuing the necessary viewing is the “uninhibited and uproarious monster bash,” (Michael Sragow, New Yorker) Gremlins 2: The New Batch (1990—Aug 6 & 20). Dante’s sequel to his commercial hit plays like a spoof of the original, with occasional bursts of horror and celebrity cameos. In The Howling (1981), a news anchor finds herself the target of a shape-shifting serial killer in Dante’s take on the werewolf genre. -
10700990.Pdf
The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date. -
Gorinski2018.Pdf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Automatic Movie Analysis and Summarisation Philip John Gorinski I V N E R U S E I T H Y T O H F G E R D I N B U Doctor of Philosophy Institute for Language, Cognition and Computation School of Informatics University of Edinburgh 2017 Abstract Automatic movie analysis is the task of employing Machine Learning methods to the field of screenplays, movie scripts, and motion pictures to facilitate or enable vari- ous tasks throughout the entirety of a movie’s life-cycle. From helping with making informed decisions about a new movie script with respect to aspects such as its origi- nality, similarity to other movies, or even commercial viability, all the way to offering consumers new and interesting ways of viewing the final movie, many stages in the life-cycle of a movie stand to benefit from Machine Learning techniques that promise to reduce human effort, time, or both. -
Come Il Vento Pressbook
una co produzione italo/francese INTELFILM /LES FILMS DU PRESENT “Una vita al limite in cerca di amore e giustizia” un film di MARCO SIMON PUCCIONI con VALERIA GOLINO FILIPPO TIMI FRANCESCO SCIANNA CHIARA CASELLI prodotto da GIAMPIETRO PREZIOSA e MARCO S. PUCCIONI co prodotto da ANDREA IERVOLINO SAURO e ANNA FALCHI PATRICE NEZAN in associazione con Red Carpet, Amovie e Revolver Film di interesse culturale sostenuto dal MiBac, Eurimages, Media, Regione Toscana, Regione Lazio, Regione Sicila, Sicilia Film Commission, Marche Cinema Multimedia e Film Commission Marche. In collaborazione con Rai Cinema. In associazione con Modonutti, Blomor e Eos s.p.a come da norme per il tax credit esterno. distribuito da Ufficio stampa PIERLUIGI MANZO e ALESSIO PICCIRILLO +39.347.0133173 +39.393.9328580 [email protected] COME IL VENTO presentazione “Perché vento sono stata” Questa è la storia di una donna guidata dal suo senso di giustizia e dal suo dolore interiore, che visse e morì per il suo lavoro. La sceneggiatura è liberamente ispirata alla vita di Armida Miserere una delle prime donne a dirigere un carcere in Italia, una donna che ha iniziato a lavorare a metà degli anni ottanta, subito dopo l’entrata in vigore della legge Gozzini e ha saputo affermarsi in un ambiente ancora militarizzato e maschilista ottenendo stima e rispetto degli agenti come della popolazione carceraria. Ciò che rende particolarmente interessante la sua vicenda umana sono le sue apparenti contraddizioni: si era fatta la reputazione di “dura” (era soprannominata “fimmina bestia” dai detenuti dell’Ucciardone) perché doveva confrontarsi con personalità molto forti, ma la sua vita è stata il continuo tentativo di mantenere vivo il suo lato più umano e femminile. -
Catalogo Catalogue 2019.Pdf
IN UN MONDO CHE CAMBIA, PUOI AMARE IL CINEMA FESTA DEL CINEMA DI ROMA DA UN’ALTRA PROSPETTIVA. 17-27 Ottobre 2019 PRODOTTO DA MAIN PARTNER Promosso da Partner Istituzionali Messaggio pubblicitario con finalità promozionale. WE LOVE CINEMA In collaborazione con BNL Main Partner della Festa del Cinema di Roma, dal 17 al 27 ottobre. Seguila da un altro punto di vista, su welovecinema.it e con la nostra app. by BNL - BNP PARIBAS welovecinema.it Sponsor Uffi ciali Auto Uffi ciale La banca per un mondo che cambia Partner Partner Tecnico Main Media Partner TV Uffi ciale Media Partner Sponsor FOOD PROMOTION & EVENTS MANAGEMENT Sponsor Tecnici PRODUZIONI E ALLESTIMENTI L'APP DELLA REGIONE LAZIO CON SCONTI E PROMOZIONI PER I GIOVANI DAI 14 AI 29 ANNI su cinema, eventi, libri, concerti, teatro, sport, turismo, pub e ristoranti SCARICA L’APP DAGLI STORE SCOPRI DI PIÙ NELLO SPAZIO DELLA REGIONE LAZIO ALLA FESTA AUDITORIUM PARCO DELLA MUSICA VIVILE STAGIONI DELLE ARTI CONCERTI FESTIVAL RASSEGNE VIALE PIETRO DE COUBERTIN • 00196 ROMA INFO: 06 8024 1281 • BIGLIETTERIA: 892 101 (SERVIZIO A PAGAMENTO) PROGRAMMAZIONE E BIGLIETTI SU AUDITORIUM.COM Siamo con il CINEMA ITALIANO ovunque voglia arrivare. cinecittaluce.it festadelcinema_165 X240 .indd 1 18/09/19 09:20 esecutivo-pagina-cinema.pdf 1 17/09/2019 09:47:37 C M Y CM MY CY CMY K Lavoriamo ogni giorno per valorizzare il set più bello del mondo. Mazda CX-30 Cat FestaCinema 165x240.indd 1 01/10/19 10:13 SIAE_per_FestaCinemaRoma_2019_165x240.pdf 1 10/09/19 11:47 SOGNI IDEE ARTE EeMOZIONI 14A EDIZIONE | 14TH EDITION -
Joe Dante, O Horror E O Baixo Orçamento: Piranhas, Gritos De Horror E Desenhos Animados Sérgio Eduardo Alpendre De Oliveira 1
JOE DANTE, O HORROR E O BAIXO ORÇAMENTO: PIRANHAS, GRITOS DE HORROR E DESENHOS ANIMADOS SÉRGIO EDUARDO ALPENDRE DE OLIVEIRA 1 1 Sérgio Alpendre é crítico de cinema, professor, pesquisador e jornalista. Colaborador da Folha de S. Paulo desde 2008. Doutorando em comunicação pela 2015 Anhembi-Morumbi; Mestre em Meios e Processos Audiovisuais pela ECA – USP. Coordenador do Núcleo de História e Crítica da Escola Inspiratorium. Edita a Revista Interlúdio (www.revistainterludio.com.br) e o blog Chip Hazard (chiphazard.zip.net). Fundou e editou a Revista Paisà, publicação impressa sobre cinema (2005-2008). Foi redator fixo da Contracampo (revista eletrônica de crítica JULHO DEZEMBRO JULHO | de cinema - 2000-2010). Foi curador das mostras Retrospectiva do Cinema Paulista e Tarkovski e seus Herdeiros, editando também os catálogos de tais mostras. Participa de seleções e júris em festivais de cinema, além de ministrar cursos de história do cinema e oficinas de crítica por todo o Brasil. ANO4 •8 ED email: [email protected] 1 Resumo Neste artigo estudaremos os dois primeiros longas que Joe Dante realizou após Hollywood Boulevard (codirigido por Allan Arkush), sua estreia no cinema: Piranha (1978) e Grito de horror (1981). São dois longas de horror, de baixo orçamento, que exploram duas vertentes distintas do gênero: catástrofes naturais (provocadas por experimentos genéticos) e o filme de lobisomem. O primeiro teve produção da New World Pictures, de Roger Corman; o segundo, da Avco Embassy. Ambos mostraram o talento que o diretor iria desenvolver em projetos futuros, trabalhando com maior orçamento. Palavras-chave: Cinema; EUA; Exploitation; Horror; Joe Dante. Abstract In this article we study the first two feature films directed by Joe Dante after his debut Hollywood Boulevard (a collaboration with Allan Arkush): Piranha (1978) and The Howling (1981). -
Æg Savner Film!
INTERVIEW Æ G SAVNER FILM! aramount Studios, Los Angeles, P 17/1-1996. Det første jeg får øje på, da Joe Dante viser mig ind på sit kontor, er væggen bag hans skrivebord, hvor to plakater på far vestrålende vis reklamerer for fil mene Joumey to the Seventh Planet (1961) og Planet of the Vampires 1965). Jeg hopper af overraskelse over det uventede syn, og Dante spørger forbløffet om årsagen til min jubel. Ekstatisk må jeg forklare, dels at jeg er en stor fan af Mario Bava, som instruerede Planet of the Vampires (egl. Terrore Nello Spazio), dels at Joumey to the Seventh Planet er lavet i mit hjemland (med danske skue spillere og det hele), og dels at jeg netop aftenen forinden i Hollywood har spist middag med Ib Melchior, som skrev manuskriptet til begge film. Dante nikker forstående, han kender udmærket Melchior, var fak tisk klipper på Melchior-filmatise- ringen Death Race 2000 (1975). Jeg ihukommer, at Dante samler på gamle filmkopier, og beder ham holde udkig efter en dansksproget kopi af Joumey to the Seventh Planet, da en sådan måske dukker op en gang og ville udfylde et grimt hul i Det Danske Filmmuseums samling. Efter således at have overstået de indledende høflighedsfraser, sætter vi os ned og starter interviewet. For filmglade børn var 1950’eme en verden a f celluloid- - Okay, opvarmningsspørgsmål: Hvad arbejder du på for tiden? skygger, matinéforestillinger, drive-in-biografer, Cinema- - Lad mig se... Et langt stykke tid Scope og 3D. Samt en hel masse film, hvis farver og har jeg arbejdet på en film ved navn originalkopier i dag er ved at gå tabt1 Imens stormer The Phantom (efter tegneserien af samme navn), som i øjeblikket er filmindustrien fremad mod nye måder at lave film på, ved at blive optaget — uden mig? Så med LaserDisc, Omnimax, HDTV, videobriller, dér spildte jeg en masse tid. -
Toute La Mémoire Du Monde Toute La Mémoire Du Monde La Mémoire Toute Festival
TOUTE LA MÉMOIRE DU MONDE TOUTE LA MÉMOIRE DU MONDE LA MÉMOIRE TOUTE FESTIVAL FESTIVAL INTERNATIONAL 5ÈME DU FILM RESTAURÉ ÉDITION 1ER - 5 MARS À LA CINÉMATHÈQUE FRANÇAISE / FONDATION JÉRÔME SEYDOUX-PATHÉ / CHRISTINE 21 / LA FILMOTHÈQUE / MÉLIÈS Gremlins de Joe Dante 23 Durant cinq jours, le public est invité à assister à des projections de prestige en présence de comédiens et techniciens du cinéma, et découvrir des perles cachées. C’est aussi l’occasion de rencontrer des cinéastes de renom attentifs aux enjeux de patrimoine, la possibilité d’écouter des spécialistes des questions Grands Mécènes techniques et esthétiques liées au répertoire et à sa restauration. Le festival se de La Cinémathèque française propose d’être le grand rendez-vous annuel parisien consacré à la célébration du patrimoine cinématographique. JOE DANTE. PARRAIN DU FESTIVAL Après des débuts comme monteur, Joe Dante intègre la fameuse écurie de Roger Corman. Il y réalise entre autres Piranhas, parodie inspirée des Dents de la mer, remarquée par Spielberg qui, après Hurlements, lui propose de tourner Gremlins. Le triomphe commercial du film où Dante mêle le divertissement et la satire fait de lui l’un des cinéastes les plus importants de sa génération. Amis de La Cinémathèque française Cinéphile fervent, Joe Dante puise principalement dans la science-fiction, les films d’horreur et le fantastique pour développer une œuvre subversive et cri- tique envers l’Amérique et les valeurs qu’elle prétend incarner. WES ANDERSON. INVITÉ D’HONNEUR Sophistiquée et élégante, son œuvre frappe par son souci de la précision, dans l’écriture du scénario, la réalisation des décors et costumes, le choix des cadres En partenariat avec ou des effets visuels. -
NETFLIX – CATALOGO USA 20 Dicembre 2015 1. 009-1: the End Of
NETFLIX – CATALOGO USA 20 dicembre 2015 1. 009-1: The End of the Beginning (2013) , 85 imdb 2. 1,000 Times Good Night (2013) , 117 imdb 3. 1000 to 1: The Cory Weissman Story (2014) , 98 imdbAvailable in HD on your TV 4. 1001 Grams (2014) , 90 imdb 5. 100 Bloody Acres (2012) , 1hr 30m imdbAvailable in HD on your TV 6. 10.0 Earthquake (2014) , 87 imdb 7. 100 Ghost Street: Richard Speck (2012) , 1hr 23m imdbAvailable in HD on your TV 8. 100, The - Season 1 (2014) 4.3, 1 Season imdbClosed Captions: [ Available in HD on your TV 9. 100, The - Season 2 (2014) , 41 imdbAvailable in HD on your TV 10. 101 Dalmatians (1996) 3.6, 1hr 42m imdbClosed Captions: [ 11. 10 Questions for the Dalai Lama (2006) 3.9, 1hr 27m imdbClosed Captions: [ 12. 10 Rules for Sleeping Around (2013) , 1hr 34m imdbAvailable in HD on your TV 13. 11 Blocks (2015) , 78 imdb 14. 12/12/12 (2012) 2.4, 1hr 25m imdbClosed Captions: [ Available in HD on your TV 15. 12 Dates of Christmas (2011) 3.8, 1hr 26m imdbClosed Captions: [ Available in HD on your TV 16. 12 Horas 2 Minutos (2012) , 70 imdb 17. 12 Segundos (2013) , 85 imdb 18. 13 Assassins (2010) , 2hr 5m imdbAvailable in HD on your TV 19. 13 Going on 30 (2004) 3.5, 1hr 37m imdbClosed Captions: [ Available in HD on your TV 20. 13 Sins (2014) 3.6, 1hr 32m imdbClosed Captions: [ Available in HD on your TV 21. 14 Blades (2010) , 113 imdbAvailable in HD on your TV 22. -
To Download Press Cv
CONSULTANTS Launched in early 2010, WOLF is a boutique PR and Marketing firm specialised in helping filmmakers effectively communicate and achieve their vision. Through many years experience working for sales agents and producers, launching hundreds of films, we understand the demands of the market and offer an intelligent, fast, no-nonsense creative service. In our fragmented industry we‘re here to help join the dots. Marketing and communications are an integral part of the storytelling process, and our approach encompasses the entire production cycle: from overcoming initial obstacles to getting a new project noticed to preparing completed films for launch at major international film festivals. What‘s unique about WOLF is that we‘re hands-on designers, marketing consultants and international publicists all rolled into one, with an intimate knowledge of all the major festivals and markets. Our expertise and flexibility help directors, producers, sales agents and other partners around the world create effective strategies tailored to each project‘s needs, giving the film the best possible start on the way to finding its audience. Recent highlights of WOLF‘s slate as International Publicists include UNDINE by Christian Petzold (Silver Bear for Best Actress, Berlin 2020), MARTIN EDEN by Pietro Marcello (Platform Prize, TIFF 2019 & Coppa Volpi, Venice 2019), BABYTEETH by Shannon Murphy (Marcello Mastroianni Award, Venice 2019), THE CLIMB by Michael Angelo Covino, (Jury Coup de Coeur, Cannes Un Certain Regard 2019), SO LONG, MY SON by Wang Xiaoshuai (Silver Bears for Best Actor & Best Actress, Berlin 2019), BORDER by Ali Abbasi (Un Certain Regard Prize, Cannes 2018), WOMAN AT WAR by Benedikt Erlingsson (SACD Award, Cannes Critics‘ Week 2018), TOUCH ME NOT by Adina Pintilie (Golden Bear & Best First Feature, Berlin 2018), CUSTODY by Xavier Legrand (Best Director & Best First Feature, Venice 2017) and VR projects by Baobab Studios and director Eric Darnell (MADAGASCAR).