Open Government Information Awareness

Total Page:16

File Type:pdf, Size:1020Kb

Open Government Information Awareness Open Government Information Awareness Ryan McKinley B.A., Computer Science &Visual Arts University of California at San Diego, June 2000 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences at the Massachusetts Institute of Technology August 2003 @ Massachusetts Institute of Technology All rights reserved Author: Ryan McKinley Program in Media Arts and Sciences August 20, 2003 Certified by: Chris Csikszentmihalyi Assistant Professor of Media Arts and Sciences Thesis Supervisor ROTCH Accepted by: Dr. Andew B. Lippman Chair, Departmental Committee on Graduate Studies Program in Media Arts and Sciences MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEP 2 9 2003 LIBRARIES 2 Open Government Information Awareness Ryan McKinley Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on August 20, 2003 in partial fulfillment of the requirements for the degree of Master of Science in Media Arts and Sciences. Abstract "Knowledge will forever govern ignorance, In the United States, there is a widening gap between a citizen's and a people who mean to be their own ability to monitor his or her government and the government's governors, must arm themselves with ability to monitor a citizen. Average citizens have limited access the power knowledge gives. A popular to important government records, while available information is government without popular information or often illegible. Meanwhile, the government's eagerness and means the means of acquiring it, is but a prologue to to oversee a citizen's personal activity is rapidly increasing. As the a farce or a tragedy or perhaps both." government broadens internal surveillance, and collaborates with - James Madison private institutions to access data on the public, it is crucial that we maintain a symmetry of accountability. If we believe the United States should be a government "of the people, by the people, and for the people" it is of central importance to provide citizens with the power to oversee their government. At least as much effort should be spent building tools to facilitate citizens supervising their government as tools to help the government monitor individuals. In this thesis, I discuss the motivations, design, and implementation of Government Information Awareness, a citizen run database on our government. Fundamentally, this system relies on an organizational structure that accepts information from an anonymous population, stores it, and represents it with enough context to maintain legibility. My work in this thesis is offering a framework for a system that could help citizens pool their collective knowledge, and through this process, create a more informed public capable of self-rule. 4 Open Government Information Awareness Ryan McKinley Chris Csikszentmihalyi Assistant Professor of Media Arts and Sciences Fukutake Career Development Professor Massachusetts Institute of Technology 6Uess 6 Open Government Information Awareness Ryan McKinley Dan Ariely Ass ie Professor of Media and Management Science assachusetts Institute of Technology Thesi Readr - I Thesis Reader -V 8 Open Government Information Awareness Ryan McKinley Joseph Dumit Associate Professor of Anthropology and Science &Technology Studies Massachusetts Institute of Technology Thes s Reader 10 Acknowledgements an incomplete list... i am afraid. Mom, Dad, Ali, Greg, Geoff... Gian Pangaro Hayes Raffel Jamie Rollins David Steinmiller Simon Greenwold Michelle Hulbinka Simon Shiessl Saoirce Higgins Kelly Dobson James Patten Megan Galbraith Leo Burd Robert Cook Stacy Slotnik Brian Whitman Justin Manor Igor Vamos Richard Pell Jason Taylor Ben Recht Tad Hirsch Esra Ozkan Parul Vora Michael Smith-Welch Linda Peterson John DiFrancesco Jim Youll Jon Ferguson The Cube (anyone listing to the music) - particularly Roz & Mitch. Mi familia Fernandez Ostolaza Balagu6 Chris. wow. thank you. Aisling Geraldine Mary Kelliher. the best. Contents 1. Introduction.......................................14 2. Background........................................23 2.1- Lessons from Madison.................23 2.2 - Political Action............................................25 2.2.1 - Mark Lombardi (1951-2000)............25 2.2.2 - They Rule......................................28 2.2.3 - OpenSecrets.org...........................29 2.2.4 - FirstGov.gov..................................32 2.2.5 - The New York Times....................33 2.2.6 - Conclusion.....................................36 2.3 - Technical ..................................................... 36 2.3.1 - Semantic Web...............................37 2.3.2 - Trust systems............................................40 2.4 - Conclusions.................................................40 3. Implementation................................ 45 3.1 - System Ethics and Guidelines...........46 3.2 - Data Model.................................................49 3.3 - Circle of Trust / Area of Concern...............50 3.4 - Components...............................................51 3.4.1 - GovDatum.....................................52 3.4.2 - DataStore.........................53 3.4.3 - CitizenDB......................................54 3.4.4 - Extensions..................57 3.4.5 - Perspective: Web Interface.........................58 3.4.6 - Aggregation .................................. 62 3.4.7 - Listener - CodeOrange.................63 3.5 - July 4th (oh my)..........................................64 3.5.1 - Caching..........................................66 3.5.2 - Load Balancing.............................66 3.5.3 - Network Data Source...............................67 3.6 - Conclusions.................................................67 4. Evaluation.........................................69 4.1 - System Logs.....................................................70 4.2 - User Survey.................................................71 4.2.1 - Demographics...............................73 4.2.2 - Correlations .................................. 86 4.2.3 - Survey conclusions..........86 4.3 - Dialog - media, coverage...............87 4.4 - conclusions....................................91 5. Future Work............................93 5.1 - Development Community.............93 5.2 - Distribute Risk.............................94 5.3 - Data Gathering Campaign............96 5.4 - Conclusions....................................97 6. References...............................98 7. Appendix..................................101 A - MIT Press Release..............................101 B - AP Article............................................103 C - Boston Globe Article.......................o6 D - Washington Post Article....................109 E - Survey Part 1.......................................112 F - Survey Part 2.......................................114 G - Professions..........................................117 H - No Vote..........................................118 I - Influences.............................................122 J - Important Information.......................128 K - What Information..............................134 L - News Sources......................................138 1 - Introduction Since January of 2001, the United States has seen a dramatic increase in government secrecy, decreased access to public records, and the most ambitious effort to build a centralized intelligence agency since J. Edgar Hoover's FBI under the McCarthy era. Between February and May of 2001, Vice President Dick Cheney held meetings with as many as 400 people from 150 corporations, trade associations, environmental groups and labor unions, to devise a new energy policy. The task force report recommended a dramatic increase in drilling for oil and gas, construction of many more power plants, and reviving the nuclear power program. In May of 2001, the General Accounting Office (GAO), the auditing and investigative arm of Congress, requested to know who was involved in the meetings, and what were their criteria for determining the nation's energy policy. Cheney's response has been that he requires secrecy to be able to solicit council from the country's most important individuals and organizations, while the GAO argues that they need access to this information in order to assess accountability - particularly considering the ENRON scandal and Cheney's former post as the CEO of the Halliburton Corporation. All requests have been denied. Eventually the GAO sued Cheney, but the case was thrown out of court. On October 12, 2001, Attorney General John Ashcroft issued a memorandum to the heads of all departments and agencies that overrode the Department of Justice Freedom of Information Act (FOIA) policy instituted in 1993. In this memo, he urges agencies to carefully consider "institutional, commercial, and personal privacy interests that could be implicated by disclosure of the information" [Ashcroft, 2001]. Later he states, "When you carefully consider FOIA requests and decide to withhold records, in whole or in part, you can be assured that the Department of Justice will defend your decisions unless they lack a sound legal basis or present an unwarranted risk of adverse impact on the ability of other agencies to protect other important records" [Ashcroft, 2001]. The Freedom of Information Act was passed in 1974 in the aftermath of the Watergate scandal. It provides a mechanism for any American to investigate the government's
Recommended publications
  • Pusher III, L'ange De La Mort Ciné-Club Universitaire Activités Culturelles Nicolas Winding Refn Culture.Unige.Ch
    Viølences - le nouveau cinéma danois Pusher III, l'ange de la mort Ciné-club universitaire Activités culturelles Nicolas Winding Refn culture.unige.ch Lundi 29 janvier 2018 à 20h | Auditorium Arditi âge légal: 16 ans Générique: DK, 2005, Coul., DVD, 104’, vo st fr Nicolas Winding Refn: Il y a une réponse très Interprétation: Zlatko Burić, Marinela Dekic, Slavko simple: je devais un million de dollars. C'est Labovic, Ilyas Agac tout. J'étais tellement endetté! Pour m'en sortir très rapidement et ne pas être hanté Milo, un trafiquant de drogue serbe, suit le reste de ma vie, je devais trouver quelque une thérapie de groupe pour soigner sa chose que je pourrais facilement financer et toxicomanie. Tandis qu’il s’occupe du banquet dont je savais qu'il aurait un attrait interna- pour les 25 ans de sa fille, il doit aussi veiller à tional. Je me suis donc forcé à retourner au ses affaires en cours. premier [Pusher] - quelque chose que j'avais toujours juré de ne jamais faire. Mais je pense Dans ce troisième volet de la trilogie, Refn joue que mon refus venait aussi de ma peur de ne avec tous les codes du genre, et passe d’un même pas pouvoir faire mieux que le premier. souffle de la comédie mélancolique au drame le plus cru et le plus abject. R.F.: En castant et en travaillant avec des crimi- nels, avez-vous vu une conscience grandissante Une entrevue de Russ Fischer avec Nicolas chez eux, au fur et à mesure que les films Winding Refn, traduction par Cerise Dumont, progressaient? membre du comité du Ciné-club universitaire N.W.R.: Les gens avec qui je travaillais avaient Pusher (1996) a commencé comme l'un des déjà cette conscience d’eux-mêmes je pense, innombrables films de truands du milieu des et ils pouvaient regarder leur vie de l'extérieur, années 90, dans le sillage de Tarantino.
    [Show full text]
  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
    [Show full text]
  • The Criminal Underworlds of Nicolas Winding Refn
    The Philosophical Journal of Conflict and Violence Vol. IV, Issue 2/2020 © The Authors 2020 Available online at http://trivent-publishing.eu/ Slicing Up Eyeballs: The Criminal Underworlds of Nicolas Winding Refn M. Blake Wilson Department of Criminal Justice, California State University, Stanislaus, USA Abstract: From Buñuel and Dali’s Un Chien Andalou to recent works by Danish filmmaker Nicolas Winding Refn, the cinematic destruction of the eye has become iconic due to its striking effect upon film spectators’ visceral experiences as well as its ability to influence their symbolic or fetishistic desires. By exploiting the natural discomfort and disgust produced by these types of images and then situating them within an aesthetic and psychoanalytic framework, Refn and other filmmakers provide a visual showcase for a unique type of cinematic violence, one which demands that viewers reappraise the value of their own eyes as well as the values which reflect social attitudes towards law enforcement, crime, and justice. Keywords: Eyes; Film; Film Noir; Jacques Lacan; Philosophy; Nicolas Winding Refn; Violence. DOI: 10.22618/TP.PJCV.20204.2.1763002 The PJCV Journal is published by Trivent Publishing This is an Open Access article distributed in accordance with the Creative Commons Attribution Non Commercial (CC- BY-NC-ND 4.0) license, which permits others to copy or share the article, provided original work is properly cited and that this is not done for commercial purposes. Users may not remix, transform, or build upon the material and may not distribute the modified material (http://creativecommons.org/licenses/by-nc/4.0/) Slicing Up Eyeballs: The Criminal Underworlds of Nicolas Winding Refn M.
    [Show full text]
  • TRANSIENT SPACES in NICOLAS WINDING REFN's – Drive, Only God Forgives & the Neon Demon –
    UNIVERSITÉ TOULOUSE II JEAN JAURÈS Mémoire de Master 2 Recherche Département Études du Monde Anglophone TRANSIENT SPACES IN NICOLAS WINDING REFN'S – Drive, Only God Forgives & The Neon Demon – Lola PONS | n° étudiant : 21300462 Sous la direction de M. David ROCHE 2016/2018 ACKNOWLEDGEMENTS I would first like to express my gratitude to M. David Roche, for his precious advice, and especially for his trust, patience, and understanding. His guidance enabled me to successfully complete this thesis as well as the one preceeding it. I would also like to thank Flo for his uncanny ability to make an appearance at the right time, and Unnie for her constant support in the face of my dramatic whining. Finally, I would also like to thank the professors of the Film Studies Department of the DEMA for sparking my interest in Film Studies and Cinema (and for keeping the spark very much alive over the past five years). CONTENTS INTRODUCTION.................................................................................................................................. 1 CHAPTER 1: SHAPING TRANSIENCE AND TRANSIENT SPACES......................................................... 9 ➢ TRANSIENT CHARACTERS...................................................................................................... 9 ➢ TRANSIENCE AND CORPOREALITY......................................................................................... 20 ➢ TRANSIENT SPACES................................................................................................................ 27
    [Show full text]
  • W Poszukiwaniu Duchowości Dalekiego Wschodu – Synkretyczna Wizja Filmu Only God Forgives Na Tle Twórczości Nicolasa Windinga Refna
    MAREK SFUGIER W POSZUKIWANIU DUCHOWOŚCI DALEKIEGO WSCHODU – SYNKRETYCZNA WIZJA FILMU ONLY GOD FORGIVES NA TLE TWÓRCZOŚCI NICOLASA WINDINGA REFNA I jeżeli twa prawa ręka stanie ci się powodem upadku, odetnij ją i odrzuć od siebie. Bo lepiej dla ciebie, jeżeli stracisz jeden ze swych członków, niż żeby całe ciało twoje miało pójść do piekła. Kazanie na górze, Mt 5,301 Wstęp Lata 90. minionego wieku obfitowały w liczne debiuty filmowe reżyserów młodego pokolenia. Spośród nich wszystkich do niewątpliwie udanych należy zaliczyć film Pusher2 Nicolasa Windinga Refna. Urodzony w 1970 r. w Danii reżyser wpisuje się w grono twórców, którzy mimo braku wykształcenia w sztuce kinematograficznej odnieśli ogromny sukces na arenie międzynarodowej. Wyrzucony z nowojorskiej Amerykańskiej Akademii Sztuk Dramatycznych, zrezygnował z prestiżowej Duń- skiej Szkoły Filmowej, aby oddać się całkowicie realizacji wspomnianego już pełno- metrażowego debiutu. Podobnie jak Quentin Tarantino czy Kevin Smith pozostał przy tym samoukiem, działającym raczej intuicyjnie niż z wyuczonym schematy- zmem. Ważniejsze od rzemiosła okazały się pasja oraz potrzeba twórczej ekspre- sji – zaszczepione u młodego Nicolasa poprzez seanse kinowe, a także utrwalone w domowym zaciszu dzięki telewizorowi oraz kasetom wideo. Ponadto dla osoby cierpiącej na dysleksję i ślepotę barw kinematografia stanowiła w okresie dojrzewa- nia swego rodzaju audiowizualny filtr, dzięki któremu Refn doświadczał otaczającej go rzeczywistości. Szczególną fascynację znalazł zaś w amerykańskim kinie gatun- kowym, tak znienawidzonym przez matkę i ojczyma. 1 Cyt. za: Pismo Święte Nowego Testamentu, tłum. z j. greckiego S. Kowalski, Warszawa 1988, s. 23. 2 Pusher (pol. Diler), scen. N. Winding Refn i J. Dahl, reż. N. Winding Refn, Dania 1996, 105 min.
    [Show full text]
  • Crónicas De La América Profunda
    Joe Bageant es uno de los «nuevos periodistas» más leídos de Estados Unidos. Su retrato de los blancos pobres norteamericanos es una obra maestra de ternura y brutalidad, de cariño y espanto. Porque, desmintiendo tópicos y sugiriendo incómodos paralelismos para todo lector occidental, Crónicas de la América profunda nos abre los ojos al desalentador espectáculo de una gente embrutecida, endeudada, fundamentalista cristiana y amante de la caza, a la que no le alcanza ni para pagar las medicinas. Personas que, sin embargo, en defensa del «estilo de vida americano», votan a los republicanos «porque tienen más pelotas», y de este modo acaban decidiendo el destino de un mundo que ni conocen ni comprenden. Joe Bageant Crónicas de la América profunda Escenas de la lucha de clases en el corazón del Imperio ePUB v1.0 chungalitos 08.07.12 Título original: Deerhunting with Jesus: Dispatches from America's Class War Joe Bageant, 2007 Retoque portada: Preferido Corrección de erratas: noelez Editor original: chungalitos (v1.0) ePub base v2.0 NOTA DEL AUTOR Si bien las cosas que cuenta este libro son reales —desde las palizas propinadas a chimpancés en las ferias ambulantes hasta las peleas de lucha libre en los parkings de caravanas poblados por fundamentalistas—, los nombres y señas particulares de muchas de las personas mencionadas han sido cambiados a fin de proteger su intimidad. INTRODUCCIÓN Cuando despertaron la mañana del 2 de noviembre de 2004, millones de votantes del Partido Demócrata norteamericano contemplaron un nuevo orden. El humo de las hogueras neoconservadoras se elevaba sobre todas las ciudades del Sur y del Este.
    [Show full text]
  • Pusher Og Svartur Á Leik Pusher Og Svartur Á Leik Pusher Og Svartur Á Leik
    Hugvísindasvið Pusher og Svartur á leik En komparativ filmanalyse med fokus på beskuerens reception af virkelighedspræsentationen og den realitet filmene udspringer af Ritgerð til B.A.-prófs í dönsku Þorbjörg Erla Sigurðardóttir September 2012 Háskóli Íslands Hugvísindasvið Danska Pusher og Svartur á leik En komparativ filmanalyse med fokus på beskuerens reception af virkelighedspræsentationen og den realitet filmene udspringer af Ritgerð til B.A.-prófs í dönsku Þorbjörg Erla Sigurðardóttir Kt.: 170967-4969 Leiðbeinandi: Þórhildur Oddsdóttir og Susanne Antoinette Elgum September 2012 Resumé I år havde den islandske film Svartur a leik (2012) premiere og en af den allerstørste islandske publikumsmagnet i islandsk filmhistorie. Filmen tegner et sort billede af Reykjavik’s underverden og skildrer desuden de radikale ændringer som fandt sted i den kriminelle underverden omkring årtusindeskiftet. Svartur a leik siges at være under indflydelse af Pusher (1996) som fik kæmpe succes både i Danmark og udenlands. Filmene anses for at være, hver i sit land „den første realistiske kortlægning af narkotikahandel som foregår i forbrydermiljøet“ men på hver sin måde og fra forskellig synsvinkel. Opgaven går ud på komparativ filmanalyse med hensyn til indhold, stil, miljø og samfund samt den virkelighed filmene har deres rødder og udspringer af. I den første del er der lagt vægt på baggrundsemne som knyttes til filmene, både direkte og indirekte. Dernæst kommer selve filmanalysen hvor fokussen ligger på værkanalysen eller filmens indhold og i kølvandet følger så den filmtekniske analyse. Derefter er filmene sat i et perspektiv i relation til dens virkelighed og samfundsmæssige forhold. Jeg vil endvidere se på hvilke områder filmene adskiller sig, og på hvilke områder de ligner hinanden, og i hvor høj grad vi befinder os i en realistisk verden i filmene.
    [Show full text]
  • The Neon Demon a Film by Nicolas Winding Refn
    69TH CANNES INTERNATIONAL FILM FESTIVAL - OFFICIAL SELECTION - COMPETITION GAUMONT, WILD BUNCH & NICOLAS WINDING REFN PRESENT A SPACE ROCKET PRODUCTION IN ASSOCIATION WITH VENDIAN ENTERTAINMENT LLC AND BOLD FILMS LLC THE NEON DEMON A FILM BY NICOLAS WINDING REFN STARRING ELLE FANNING / KARL GLUSMAN / JENA MALONE / BELLA HEATHCOTE / ABBEY LEE / DESMOND HARRINGTON WITH CHRISTINA HENDRICKS & KEANU REEVES USA, DENMARK & FRANCE - 117 MIN - COLOR - 2.39 - 5.1 INTERNATIONAL SALES: INTERNATIONAL PRESS: GAUMONT WILD BUNCH GAUMONT 30 avenue Charles de Gaulle - 92200 Neuilly sur Seine 65 rue de Dunkerque - 75009 Paris 30 avenue Charles de Gaulle - 92200 Neuilly sur Seine IN CANNES: IN CANNES: Contact: Sophie Bollotte / [email protected] 2 rue Bivouac Napoleon, 6th Floor 4 La Croisette, 1st Floor IN CANNES: Phone: +33 4 93 68 90 20 Phone: +33 4 93 30 17 00 2 rue Bivouac Napoleon, 6th Floor Phone: +33 4 93 68 90 20 THE STORY When aspiring model Jesse moves to Los Angeles, her youth and vitality are devoured by a group of beauty-obsessed women who will use any means necessary to get what she has. FRAGMENTS BY NWR THE DEMON RISES “For a number of years, I’ve had this interest in making a film about beauty, because, in my life, I’m surrounded by it,” NWR says, referring to his wife, filmmaker LIV CORFIXEN (MY LIFE DIRECTED BY NICOLAS WINDING REFN), his two young daughters, and, presumably, the myriad actresses and models he’s encountered directing both feature films and fashion advertisements for brands like Gucci, YXL, H&M and Hennessey. “And I see a lot of female empowerment with beauty.” “The currency of beauty continues to rise and never falls.
    [Show full text]
  • Frankie Wilde Dossier De Presse
    JUSQU’AU BOUT DE LA NUIT AVEC LE MEILLEUR DJ DU MONDE SWIFT présente une production VERTIGO FILMS FRANKIE WILDE (It's all gone Pete Tong) un film de Michael Dowse avec Paul Kaye Beatriz Batarda Kate Magowan Mike Wilmot avec la participation de Paul Van Dyk, Carl Cox, , DJ Tiesto, Sarah Main, Charlie Chester et Pete Tong Royaume-Uni / Canada - 2005 - Durée : 1h33 SORTIE LE 28 SEPTEMBRE 05 Distribution Relations Presse SWIFT BOSSA NOVA / Michel Burstein 50, rue de Ponthieu 32, bd Saint-Germain 75008 Paris 75005 Paris Tél : 01 56 59 17 17 Tél : 01 43 26 26 26 Fax : 01 45 63 70 66 Fax : 01 43 26 26 36 swiftprod@ swiftprod.com [email protected] www.bossa-nova.info SYNOPSIS Frankie Wilde est le king DJ, le numéro un à Ibiza, La Mecque du clubbing international. Voilà dix ans que Frankie mixe au sommet et qu’il fait les couvertures des magazines, sans oublier de s’autodétruire consciencieusement, comme une vraie rock star, avec tous les excès réglementaires : beaucoup de sexe, de la drogue à foison et des nuits blanches comme la poudre. Pourtant, le poison est déjà dans la machine pour Frankie : les années passées à se plonger dans le son à fond et dans les substances chimiques finissent par attaquer son outil de travail : ses oreilles. Frankie devient sourd, et le peu d’audition qu’il lui reste risque de bientôt s’évanouir sans espoir de retour. Démasqué par son manager Max, humilié lors d’une soirée où il montre à ses fans qu’il a perdu sa capacité à mixer, incapable de finir l’enregistrement de son album solo attendu depuis des mois par son label, Frankie plonge dans son enfer intérieur.
    [Show full text]
  • A Film by Nicolas Winding Refn Bold Films and Oddlot Entertainment Present a Marc Platt/Motel Movies Production
    A FILM BY NICOLAS WINDING REFN BOLD FILMS AND ODDLOT ENTERTAINMENT PRESENT A MARC PLATT/MOTEL MOVIES PRODUCTION A FILM BY NICOLAS WINDING REFN INTERNATIONAL PUBLICITY CONTACT Alyson DEWAR STARRING [email protected] PR WORKS RYAN GOSLING, CAREY MULLIGAN, BRYAN CRANSTON, RON PERLMAN, Tel: +1 323.936.8394 CHRISTINA HENDRICKS, OSCAR ISAAC AND ALBERT BROOKS US DISTRIBUTOR FILMDISTRICT PUBLICITY CONTACTS Jeanne R. BERNEY [email protected] Tel: +1 917.763.6829 INTERNATIONAL SALES SIERRA/AFFINITY U.S RELEASE DATE : 9460 Wilshire Blvd 5th Floor SEPT. 16TH, 2011 Beverly Hills, CA 90212 Tel: (310) 777-4569 Fax: (310) 777-8892 [email protected] Running time : 100 min - Format : 2.35 - Dolby SRD - 2011 www.sierra-affinity.com Contact: Joey MONTEIRO [email protected] THE STORY Driver (RYAN GOSLING) is a stunt driver by day and a getaway driver by night. Doesn’t matter what job he does, Driver is most comfortable behind the wheel of a car. Shannon (BRYAN CRANSTON) is part mentor, part manager for Driver. Since he knows what a great talent Driver is behind the wheel, he either peddles him to fi lm and television directors in the entertainment business or thieves who need an accomplished getaway driver, taking a cut for his own pockets. Always looking to make a buck, Shannon’s current plan is funding a stock car that Driver can race on the professional circuit. Since Bernie Rose (ALBERT BROOKS) is the wealthiest guy he knows, even if the sources of his money are questionable, Shannon proposes he be their investor. After seeing Driver in action at the speedway, Bernie Rose insists Nino (RON PERLMAN) partners with them as well.
    [Show full text]
  • Drive / NICOLAS WINDING REFN / in COMPETITION Drive / NICOLAS WINDING REFN / in COMPETITION / FILM#72 / PAGE 11
    Film is published# by the Danish72 Film institute / may 2011 Cannes issue 2011 MELANCHOLIA Out Of bOuNds VOLCANO dRIVE PAGE 2 / fILM#72 / cannes IssuE editorial / short news / fILM#72 / PAGE 3 dfI = dANIsH fILM 09 12 INternational We’ll admit it. We Danes can get a little smug sometimes. Maybe it’s part of being from a small country. We’re so proud when someone does well. It rubs off on everyone. We all feel a little bigger, a little more important. When Noma, for the second year running, is crowned as the best restaurant in the world. When Copenhagen is named the coolest city on Earth. When the TV series The Killing beats Mad Men in Britain. When Susanne Bier wins an Oscar and there is a Danish imprint on at least half a dozen films this year at Cannes, we just can’t seem to stop 05 14 16 cheering. We quickly start believing that we have the world’s most creative film industry, the most visionary politicians, the smartest film institute – and the world’s best Film Act! Nothing less will do. But can Danish film keep doing so well? A favourite pastime of the Danish media is regularly proclaiming a crisis in Danish film. NOW the party is over! We’re headed Jim Sturgess and Anne Hathaway in One Day Photo: SF Film INsIdE for a cliff. And so on. Then, in short order and with a sigh of relief, it is announced that NOW we have turned a corner, the self-proclaimed crisis has lifted.
    [Show full text]
  • Bronson Madman0
    Presents A film by Nicolas Winding Refn UK / 2008 / Colour / 1.85 / Dolby SRD / 93 minutes / English /MA (Strong coarse language, violence and nudity) Publicity: Gabrielle Oldaker, Theatrical Marketing Manager | Madman Cinema, 1-35 Wellington Street, Collingwood, VIC, 3006 | Ph. Ph. 03 9419 5444 | [email protected] | www.madman.com.au/incinemas BRONSON Press Notes…Page 2 of 24 Vertigo Films presents in association with Aramid Entertainment, Str8jacket Creations and EM Media A Vertigo Films/4DH Film Production A Film By Nicolas Winding Refn BRONSON Starring Tom Hardy Matt King James Lance Kelly Adams And Amanda Burton Directed by Nicolas Winding Refn Screenplay by Brock Norman Brock, Nicolas Winding Refn Produced by Rupert Preston Produced by Danny Hansford Director of Photography Larry Smith BSC Editor Mat Newman Co-Producer Jane Hooks 1st Assistant Director Jamie MacDermott Stunt Coordinator Julian Spencer Music Supervisor Lol Hammond Casting Director Des Hamilton Executive Producers Allan Niblo, James Richardson, Nick Love, Rob Morgan, Simon Fawcett, Suzanne Alizart, Kate Ogborn, Paul Martin, Thor Sigurjonsson BRONSON Press Notes…Page 3 of 24 ABOUT CHARLES BRONSON Born Michael Peterson in 1952, his name was changed by his fight promoter in 1987. Bronson was born in Aberystwyth in West Wales, before moving to Merseyside, and later Luton, which is often referred to as his home town. He is now 56 years of age. He was originally sentenced to 7 years in 1974 (aged 19) for a bungled armed robbery - a robbery in which no one was hurt. He has spent 34 years in prison, 30 of those years have been spent in solitary confinement.
    [Show full text]