Martin Mccann

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MARTIN MCCANN Film: Justice.net Jake Pol Cruchten Iris Productions Three Seconds Riley Andrea Di Stefano thefyzz Maze Oscar Stephen Burke Cyprus Avenue Films Lost in London Paddy Woody Harrelson Waypoint Entertainment Calibre Marcus Matt Palmer Wellington Films My Name is Emily Swimming Teacher Simon Fitzmaurice Newgrance Pictures The Rezort Lewis Steve Barker LWH Entertainment The Survivalist* The Survivialist Stephen Fingleton The Fyzz Facility Generation Z Lewis Steve Baker Matador Pictures X + Y Michael Morgan Matthews Origin '71 Paul Haggerty Yann Demange Crab Apple Films Falcon Sebastian Gabriel Range Mammoth / Sky Atlantic Shadow Dancer Brendan James Marshall Independent Whole Lotta Sole Jimbo Terry George Generator Entertainment Jump** Pearse Kieron J Walsh Cyprus Avenue Films Stand Off Jimbo Terry George Generator Entertainment Killing Bono Bono Nick Hamm Cinema Three SPV Ltd. Clash of the Titans Pheadrus Louis Leterrier Warner Bros Swansong: Story of Occi Byrne*** Occi Conor McDermottroe Zanzibar Films Closing the Ring Jimmy Lord Richard Attenborough Prospero Pictures/ Scion Films TV: Frankenstein Chronicles Renquist Alex Gabassi Rainmark Films The Fall Alavarez Allan Cubitt BBC Vera Jack Madden John Hays ITV London The Bastard Executioner Randulf Paris Barclay FX Productions Ripper Street Michael Donovan Chris Menaul Tiger Aspect Republic of Doyle Rory Bryne Stefan Scaini Universal Channel Falcon Simon Ortega Gabriel Range Lipsync Productions Titanic Conor Kieran Donnelly Independent The Pacific R V Burgin Various Dreamworks My Boy Jack Bowe Brian Kirk Ecosse Films Dry Your Eyes Various Michael McDowell BBC Pulling Moves Peer Brian Kirk BBC Northern Ireland Theatre: Pvt Wars Silvio Terry Keeley The Grand Opera House To Be Sure Liam Tim Loane Lyric Theatre, Belfast 1974 John Carol Moore Lyric Theatre, Belfast Clockwork Orange Alex Martin McSharry Rawlife Theatre Belfast Martin McCann 1 Markham Froggatt & Irwin Limited Registered Office: Millar Court, 43 Station Road, Kenilworth, Warwickshire CV8 1JD Registered in England N0. 7268133 Members of the PMA Psycho Beach Party Chicklet Forrest Lyn Harris Rawlife Theatre Belfast Charlotte’s Web Wilbur Richard Croxford Lyric Theatre, Belfast Flight Michael Lisa May Playhouse & On Tour Digger, Doc & Dedee Digger Philip Hardy Barnstorm Tour Oliver Artful Dodger Peter Kennedy Ulster Operatic Society Bugsy Malone Bugsy Malone Sam Fitzsimmons Group Theatre Anthony & Cleopatra Eros Thomas Finlay Group Theatre Awards: * The Survivalist Nominated - Best Actor in a Lead Role - IFTA 2016 ** Jump Nominated - Best Supporting Actor - IFTA 2013 *** Swansong: Occi Vs. The World Won - Best Actor - IFTA 2011 Martin McCann 2 Markham Froggatt & Irwin Limited Registered Office: Millar Court, 43 Station Road, Kenilworth, Warwickshire CV8 1JD Registered in England N0. 7268133 Members of the PMA.

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Adding Value Report Vol.1
ADDING VALUE a report by Northern Ireland Screen NORTHERN BOOSTING CELEBRATING ENHANCING CONTENTS THE THE THE IRELAND OUR OUR OUR CHILDREN'S ECONOMIC CULTURAL EDUCATIONAL SCREEN ECONOMY CULTURE EDUCATION VALUE VALUE VALUE 08 Large-scale Production 44 Writers 84 Creative Learning Centres 18 Independent Film 46 Short Film 90 Moving Image Arts (MIA) 22 Animation 48 ILBF / CCG 92 After School FilmClub 26 Factual / Entertainment 56 USBF 30 Television Drama 64 Film Culture 34 Gaming and Mobile 74 Heritage and Archive 38 Skills Development 78 Awards 04 05 INTROduCTION As the government-backed lead Of course certain activity intersects In a similar vein, the work of the agency in Northern Ireland for the film, more than one area and the inter- Education Department, with regard to television and digital content industry, connectivity of the agency’s work will its intervention through FilmClub, has Northern Ireland Screen is committed become apparent. For example, the value in both education and culture; as to maximising the economic, cultural development and production funding for children learn through film in a pure and educational value of the screen indigenous projects made in Northern educational sense as well as gain a wider industries for the benefit of Northern Ireland by Northern Ireland film-makers appreciation of film culture and of the Ireland. This goal is pursued through our and shown at a Northern Ireland festival, culture of Northern Ireland through mission to accelerate the development will have value in all areas. An obvious watching content-relevant films. of a dynamic and sustainable screen case in point is the feature film Good industry and culture in Northern Ireland.
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Denton Record-Chronicle | News for Denton County, Texas | Entertainment: Movies 04/08/2008 08:51 AM
New releases mostly on the gloomy side | Denton Record-Chronicle | News for Denton County, Texas | Entertainment: Movies 04/08/2008 08:51 AM New releases mostly on the gloomy side 11:15 AM CDT on Sunday, April 6, 2008 By Boo Allen/Film Critic Prepare this week for some brooding intensity: Rare appearances by two distinct artists mark There Will Be Blood, the fifth movie from writer/director Paul Thomas Anderson, his first since 2002. And, in an Oscar-winning performance, Daniel Day-Lewis returns to the screen for the first time since 2005. Lewis plays Daniel Plainview, a turn-of-the-20th-century oilman, mean, single-focused, and devoid of any limiting attributes such as honor, truth, or kindness. Anderson delivers an authentic portrait of this era, as shown in the DVD supplement The Story of Petroleum. Anderson dips into Upton Sinclair’s obscure novel Oil! for his source, staying with Plainview and the chronicling of his fortunes. This love of money sounds cautionary warnings, as the film’s various characters fall under the spell promised by the riches of an oil strike. Despite the film’s almost epic sweep, Anderson stays close to Daniel Plainview, knowing that the conflict buried in this intense man signals the greatest drama. The singular subplot has Paul Dano playing a smugly religious type involved in a constant, ill-fated feud with Plainview, a battle that further defines Plainview and his quest for supremacy. Oscar-winning cinematographer Robert Elswit works with Anderson to render his customary long takes, but the focus stays mostly on the era’s drabness.
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Some Mother's Son in the Grim Chronology of the British Conflict with the Irish Republican Army (IRA) in Northern Ireland
Some Mother’s Son In the grim chronology of the British conflict with the Irish Republican Army (IRA) in Northern Ireland, the winter/spring of 1981 stands out as a defining moment, punctuated particularly by the fasting death of IRA activist Bobby Sands on May 5, 1981, in the Maze Prison in Belfast. The events leading up to that hunger strike and its eventual resolution form the political context of a splendid new motion picture, Some Mother’s Son. While this actual context gives definition and weight to Some Mother’s Son, the film is much less about contemporary Northern Ireland politics than it is about the personal life-and-death battle of two women for the very bodies and souls of their politically committed sons. It is wrenching as is all real tragedy, with all its inevitability, its struggle, its ultimate calamity--but also its pity and catharsis. The dramatic core of the film, co-authored by Irishmen Terry George (who also directed) and Jim Sheridan (My Left Foot, The Field), is fictional, presenting two Belfast mothers, teacher and widow Kathleen Quigley (Helen Mirren), and farmer Annie Higgins (Fionnula Flanagan), who, though of differing backgrounds and views, come together to support their IRA-member sons in prison after the young men’s capture. There are class and taste differences between Kathleen and Annie: the former is more educated, high- toned, circumspect, and works in sensible heels, while the latter is earthier, tougher, more opinionated and sports rubber boots for work. Kathleen is prudent but no prude; more or less a pacifist, she doesn’t want any trouble.
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Conflict of Interests Between Ethnic As Reflected in Terry George’S Hotel Rwanda: a Sociological Perspective
0 CONFLICT OF INTERESTS BETWEEN ETHNIC AS REFLECTED IN TERRY GEORGE’S HOTEL RWANDA: A SOCIOLOGICAL PERSPECTIVE RESEARCH PAPER Submitted as a partial of the Requirements for Getting Bachelor Degree of Education in English Department by ASTRIA PAMUNGKAS A 320 050 164 SCHOOL OF TEACHER TRAINING AND EDUCATION MUHAMMADIYAH UNIVERSITY SURAKARTA 2009 1 CHAPTER I INTRODUCTION A. Background of the Study Sociology is scientific study of human behavior in groups and of the social forces that influences the behavior. It forces primary on the influence of the relationship upon people's attitude and behavior and how societies are established and change. As a field of study, sociology has extremely board scope. It deals with families, gangs, business firms, political parties and labor unions. It concerns with love, poverty, conformity, discrimination, alienation and community. This stud y is based on Sociological approach, because it deals with society and social behavior. The term sociology comes from the Greek word “socio” means “society” and “logos” means “science”. In her book, Ratna writes that Sociology means science of conversing the basic growth or on evaluation of society, generally, rational and empiric (Ratna, 2003:1). Literature is not a reflection of the social process, but the essence, the abridgement and summary of all history. The idea of Sociology of Literature that in literary work, the author and the society background are unity. Here, Ellek also states that literature represents life and social reality. It means that literature is a picture of reality in life. (Wellek and Warren, 1956: p.96). 1 2 Literature is the expression of society as well as speech as the expression of man.
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Hotel Rwanda, Reminds All of Us What One Person Can Accomplish When Moved to Act
DEAR EDUCATOR, In 1994 almost one million people were killed in a systematic genocide in the central African country of Rwanda. As the world stood by, a handful of brave, resourceful and inspiring individuals did all they could to save Rwandans from brutal deaths. Paul Rusesabagina, whose story is portrayed in the powerful and hopeful film Hotel Rwanda, reminds all of us what one person can accomplish when moved to act. Hotel Rwanda addresses a horrific issue: genocide. This is a difficult and upsetting topic. Yet, as the film shows, while people and governments chose to ignore the 1994 Rwandan genocide, one individual bravely risked his life and stood up to the horror, calling upon all of his resources to first save his family, then ended up saving 1,268 helpless refugees. Terry George, Hotel Rwanda’s director, takes us on Paul’s journey, showing the country’s struggle and how the world turned a blind eye. He leads us in the end to a place of hope and promise. The enclosed teacher’s guide, a companion piece to the film, is produced by Amnesty International USA in cooperation with United Artists. This guide is intended for use by high school age students and can be used in the traditional classroom or a community setting. The purpose of this educator’s guide is to explore the history of the crisis and generate debate on strategies that could have been pursued to prevent the genocide. It is also a tool for analyzing what will be effective in the future as the international community confronts similar conditions.
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Hotel Rwanda Production Notes
When the world closed its eyes, he opened his arms… PRODUCTION NOTES Ten years ago, some of the worst atrocities of the twentieth century took place in the central African nation of Rwanda – yet in an era of high-speed communication and round-the- clock news, the events went almost unnoticed by the rest of the world. Over one hundred days, almost one million people were brutally murdered by their own countrymen. In the midst of this genocide, one ordinary man, a hotel manager named Paul Rusesabagina – inspired by his love for his family and his humanity – summoned extraordinary courage and saved the lives of 1268 refugees by hiding them inside the Milles Collines hotel in Kigali. Hotel Rwanda is Paul’s remarkable story. United Artists is proud to present Don Cheadle, Sophie Okonedo, Joaquin Phoenix, and Nick Nolte in Hotel Rwanda, produced in association with Lions Gate Entertainment, a South Africa/United Kingdom/Italy co-production in association with The Industrial Development Corporation of South Africa, a Miracle Pictures/Seamus production produced in association with Inside Track. Directed by Terry George from a script by Keir Pearson & Terry George, Hotel Rwanda was produced by A. Kitman Ho and Terry George; executive produced by Hal Sadoff, Martin F. Katz, Duncan Reid, and Sam Bhembe; co-executive produced by Keir Pearson and Nicolas Meyer; and co-produced by Bridget Pickering and Luigi Musini. Hotel Rwanda’s behind-the-scenes crew includes director of photography Robert Fraisse, production designers Tony Burrough and Johnny Breedt, editor Naomi Geraghty, costume designer Ruy Filipe, and composer Andrea Guerra.
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Role of Developed Countries in the National Conflicts of the Third World Reflected in Terry George’S Hotel Rwanda Movie: a Sociological Approach
ROLE OF DEVELOPED COUNTRIES IN THE NATIONAL CONFLICTS OF THE THIRD WORLD REFLECTED IN TERRY GEORGE’S HOTEL RWANDA MOVIE: A SOCIOLOGICAL APPROACH RESEARCH PAPER Submitted as a Partial Fulfillment of Requirements For Getting Bachelor Degree of Education In English Department By: DWI NURYANTI A 320 030 239 SCHOOL OF TEACHER TRAINING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2008 CHAPTER I INTRODUCTION A. Background of the Study Hotel Rwanda (2004) was a historical movie that was released on September 11th, 2004, ten years after the humanitarian tragedy happened on April 6th, 1994 in Rwanda. Terry George as the director together with A. Kitman Ho, produced that movie and together with Keir Pearson wrote the script of the movie. Through the scenario, Terry portrayed the sorrow of Rwandans at that time. He also showed the intervention and role of developed countries in the national conflicts of Rwanda that caused the civil war and the genocide. Genocidal that happened in Rwanda as the impact of the national conflict. Genocide is the deliberate and systematic destruction of an ethnic, religious or national group (http://en.wikipedia.org/wiki/Genocide). Lions Gate Films and United Artist distributed that movie. It was starred by Don Cheadle as Paul Rusesabagina, Sophie Okonedo as Tatiana Rusesabagina, Joaquin Phoenix as Jack Daglish the cameraman, and Nick Nolte as Colonel Oliver. Its duration is about 121 minutes. This movie was nominated for three: Best Actor (Don Cheadle), Best Supporting Actress (Sophie Okonedo) and Best Original Screenplay for Terry George and Keir Pearson. It was also nominated for Best Picture, Best Actor and Best Original Song “Million Voices” in Golden Globe.
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Representations of the Rwandan Genocide
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Stellenbosch University SUNScholar Repository Bearing Witness to Trauma: Representations of the Rwandan Genocide Karin Samuel Thesis presented in partial fulfilment of the requirements for the degree of Master of English at the Stellenbosch University Supervisor: Dr. Meg Samuelson March 2010 DECLARATION By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the owner of the copyright thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. December 2009 Copyright © 2009 Stellenbosch University All rights reserved 2 ABSTRACT This thesis will examine representations of the Rwandan genocide and its aftermath in selected literary and filmic narratives. It aims in particular to explore the different ways in which narrative devices are used to convey trauma to the reader or viewer, thus enabling them to bear witness to it. These include language, discourse, image, structure and perspectives, on the one hand, and the framing of the genocide on screen, on the other hand. The thesis argues that these narrative devices are used to provide partial insight into the trauma of the genocide and/or to produce empathy or distance between readers and viewers and the victims, perpetrators and survivors of the genocide. Particular attention is paid to the ways in which the selected novels and films advance the human dimension of the genocide. This will shift both victims and perpetrators out of the domain of statistics and evoke emotional engagement from readers and viewers.
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Mapping the Landscape of Social Impact Entertainment
Bonnie Abaunza Neal Baer Diana Barrett Peter Bisanz Dustin Lance Black Johanna Blakley Caty Borum Chattoo Don Cheadle Wendy Cohen Nonny de la Peña Leonardo DiCaprio Geralyn Dreyfous Kathy Eldon Eve Ensler Oskar Eustis Mapping the landscape of Shirley Jo Finney social impact entertainment Beadie Finzi Terry George Holly Gordon Sandy Herz Reginald Hudlin Darnell Hunt Shamil Idriss Tabitha Jackson Miura Kite Michelle Kydd Lee Anthony Leiserowitz David Linde Tom McCarthy Cara Mertes Sean Metzger Pat Mitchell Shabnam Mogharabi Joshua Oppenheimer Elise Pearlstein Richard Ray Perez Gina Prince-Bythewood Ana-Christina Ramón James Redford Liba Wenig Rubenstein Edward Schiappa Cathy Schulman Teri Schwartz Ellen Scott Jess Search Fisher Stevens Carole Tomko Natalie Tran Amy Eldon Turteltaub Gus Van Sant Rainn Wilson Samantha Wright Welcome to the test — a major university research SIE’s work to date: the most effective Welcome center focused on the power of strategies for driving impact through entertainment and performing arts to storytelling; the question of when, inspire social impact. The structure of within the creative process, impact Note this new center would be built upon three should first be considered; the key role pillars: research, education and special of research to explore, contextualize initiatives, and public engagement, and help define the field; and the programming and exhibition. importance of partnering with the right allies across the entertainment At the time, there wasn’t a university and performing arts industries for new model fully focused on this topic that ideas, special projects and initiatives. I could draw upon for information as the field was in its infancy.
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Minorities, Human Rights Discussed at Dink Program
APRIL 15, 2017 Mirror-SpeTHE ARMENIAN ctator Volume LXXXVII, NO. 39, Issue 4483 $ 2.00 NEWS The First English Language Armenian Weekly in the United States Since 1932 INBRIEF Bipartisan Catholicos, President Offer Condolences to Congressional Copts in Egypt Group Urges YEREVAN — On April 9, Karekin II, Supreme Patriarch and Catholicos of All Armenians, sent a Trump to Affirm letter to Tawadros II, Pope of Alexandria and Patriarch of the See of St. Mark and leader of the Armenian Genocide Coptic Orthodox Church of Alexandria; following the Palm Sunday attack on the St. George’s Coptic WASHINGTON — A bipartisan letter Church in Tanta, Egypt, and the St. Mark’s Coptic signed by 84 Members of Congress was sent Church in Alexandria, Egypt in which many wor- to President Donald Trump urging him to shippers were killed or wounded. affirm the Armenian Genocide, reported the “At this difficult time, our thoughts and prayers Armenian Assembly of America (Assembly). are with the families and with you,” said the Armenian Caucus Co-Chair Representative Pontiff, condemning all acts of terrorism. Frank Pallone, Jr. (D-NJ) spearheaded the President Serzh Sargsyan offered his condo- ‘The Promise’ Opens Across letter asking the lences to Egyptian President Abdel Fattah el-Sisi White House to over the deadly blasts. honor the US and Canada on April 21 “More than 100 years “The Republic of Armenia strongly condemns United States’ have passed since the these inhumane acts and reaffirms its solidarity to historic leader- LOS ANGELES — For the first time, a big budget, wide-release feature film — fight against international terrorism.
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Hotel Rwanda
HOTEL RWANDA US, 2005, d. Terry George It is probably a blessing for the commercial success of Hotel Rwanda that Don Cheadle and Sophie Okenado were nominated for acting Oscars, otherwise the film might have received very limited release. This happened with director Terry George’s moving film about IRA prisoners in the late 1970s, Some Mother’s Son. It was considered not commercial enough to warrant a promotion budget. Along with Raoul Peck’s quite similar, Sometimes in April, it offers an opportunity for a world audience to learn something about the 1994 genocide in Rwanda and learn lessons about compassion and the need for political will for help and intervention. Shot principally in Rwanda, the film has an authentic look and feel, some of it with documentary vividness. This is a particular focus on Paul, the manager of the Mille Collines Hotel and his helping refugees. Sometimes in April, directed by Raoul Peck is well worth seeing as a companion piece, along with Michael Caton Jones’ Shooting Dogs, also known as Beyond the Gates. It ranges far more broadly, especially with US policy and the aftermath ten years later. This is, rather, the story of an ordinary man who is asked to be more heroic than he ever imagined. His story is placed firmly in context so that we understand something of the uprising, the Hutu hatred of Tutsis (‘rebel cockroaches’), the urgings of hate radio, the slowness of the world to respond. Don Cheadle (who can do comedy as well as con-man gangsters so well) is utterly persuasive as Paul.
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237 RACISM in TERRY GEORGE's MOVIE HOTEL RWANDA Abstract the Title of This Thesis Is Racism in Terry George's Movie Hotel Rw
Kurniati Delima Sari Sinaga, Amrin Saragih, Syamsul Bahri Linguistica Vol. 09, No. 01, March 2020, (237-242) RACISM IN TERRY GEORGE’S MOVIE HOTEL RWANDA 1 2 3 KURNIATI DELIMA SARI SINAGA . AMRIN SARAGIH , SYAMSUL BAHRI 123 UNIVERSITAS NEGERI MEDAN Abstract The title of this thesis is Racism in Terry George’s Movie Hotel Rwanda. This study is aimed to analyze what kinds of Hutu’s oppressions occurred in the movie, and what are linguistically realized toward racism. The writer applies the theories from Iris Marion Young about oppression in black America society (1990).Based on its form, Young was divided oppression into 5 types, they are (1) exploitation, (2) marginalization,(3)powerlessness, (4) culture imperialism, and (5) violence. Racism is a belief or doctrine that inherent differences among the various human races determine cultural or individual achievement. Oppression is when a person or group in a position of power controls the powerless in cruel and unfair ways. The writer focuses on the analysis of oppression based on Hotel Rwanda script, and finally oppression is found as the most dominant thing that the depict racism in the movie.. Keywords: oppression, racism INTRODUCTION Racism is the belief that a particular race is superior or inferior to another, that a person’s social and moral traits are predetermined by his or her inborn biological characteristics. Racial separatism is the belief, most of the time based on racism, that different races should remain segregated and apart from one another. Racism is discussed as a dehumanization related to the materiality of domination used by the world-system in the zone of non-being (violence and dispossession) as opposed to the materiality of domination in the zone of being (regulation and emancipation) (Grosfoguel:2016).Racism will be the main topic in this research.
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