Darling Companion” in Sony Pictures Classics
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English Management Sociology
Wintersession 2014 English CIN 372 W01: FILM GENRES: FILM NOIR (Fulfills LIT requirement or A&S elective): This course will closely examine the period of American filmmaking during and following WWII later labeled “Film Noir” as well as contemporary reinventions of the genre. The noir canon of films has been so categorized by their mood (bleakness, desperation, moral corruption), style (low-key and expressionistic lighting, deep focus), and characters (antiheroes, femmes fatales, doomed love). Exploring the cultural references to the more dark side of human nature, we will look at such films as They Live By Night and In a Lonely Place (Nicholas Ray), Touch of Evil (Orson Welles), Key Largo (John Huston), Mildred Pierce (Michael Curtiz), Double Indemnity and Sunset Boulevard (Billy Wilder), The Wrong Man (Alfred Hitchcock), Kiss Me Deadly (Robert Aldrich), and The Killing (Stanley Kubrick), as well as Post-noir and Neo Noir reinventions including Bonnie and Clyde (Arthur Penn), Chinatown (Roman Polanski), Blood Simple (Coen Bros.), Blade Runner (Ridley Scott), Pulp Fiction (Quentin Tarantino), Body Heat (Lawrence Kasdan), Lost Highway (David Lynch), Memento (Christopher Nolan), and A History of Violence (David Cronenberg), among others. We will also analyze how contemporary films, television dramas, and video games have incorporated certain aspects of noir; in particular, the male antihero (Breaking Bad, The Walking Dead), chiaroscuro lighting and cinematography as metaphor in television (Dexter, Mad Men), as well as the renewed interest in the genre as part of the game play in L.A. Noire. Management MG340A W01 Emotional Intelligence at Work PREQ: GB 215 The idea of emotional intelligence has been growing in interest during the last decade as an essential set of capacities and skills that complement and enhance the classic business focus on cognitive ability. -
The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d. -
RESOLUTION WHEREAS, National Community Development Week
RESOLUTION WHEREAS, National Community Development Week 2012 marks the 38 1h anniversary of the Community Development Block Grant Program (CDBG),and the 22nd anniversary of the HOME Investment Partnerships (HOME) Program, both focusing local and national attention on the important accomplishments of these vital community programs; and WHEREAS, the CDBG Program was enacted into law as part of the 1974 Housing Act and began operations in 1975 and the HOME Program was enacted into law as part of the Cranston-Gonzales Affordable Housing Act of 1990; and WHEREAS, the City of Los Angeles has been a participant in the CDBG and HOME Programs since their inception; and WH EREAS, the HOME Program is the largest Federal block grant to State and local governments designed exclusively to create affordable housing for low income households and is the largest source of funding for the City's Affordable Housing Trust Fund; and WHEREAS, throughout its history, the CDBG program has been a partnership among the federal, state and local governments, business and the nonprofit sector to carry out activities that improve the lives and neighborhoods of low- and moderate-income families; WHEREAS, the CDBG Program is a critical element in the City of Los Angeles' community and economic development strategies by creating jobs, stabil izing neighborhoods, providin g affordable housing, serving households in need, and providing the flexibility to build partnerships and projects that are essential to the economic and social vitality of Los Angeles; and WHEREAS, -
Kathryn J. Schubert Editor
Kathryn J. Schubert Editor Selected Film | TV WHAT BREAKS THE ICE (Post-Production) Producers | Michael Cuomo, Dustin Duke Dlouhy, Rebecca Eskreis & Michael W. Gray Credit Copy Meals Director | Rebecca Eskreis Cast | Sofia Hublitz, Brett Zimmerman, Shakira Barrera, Lukas Gage, Catherine Curtin ABOVE TO SHADOWS [Post-Production] Producers | Rob Baunoch III, Khris Baxter, Robyn K. Bennett, Mark Schacknies, Tara Sickmeier HIPZEE Director | Claudia Meyers. Producer: Rob Baunoch, Tara Sicmeier Cast | Alan Ritchson, Megan Fox, Jim Gaffigan, Olivia Thirlby DRIVER ED Producers | Helen Waters, Trish Harnetiaux Director | Amanda Cowper Cast | Jacob Ware *Premiered at Tribeca N.O.W. Showcase 2018* RUSSIAN AMERICAN [Post-Production] Producers | Michelle Booso, Molly Conners, Giulio Marantonio, Jane Oster Phiphen Pictures Director | David Gutnik Cast | FKA Twigs, Costa Ronin, Barney Harris, Sofia Vassilieva BEYOND THE NIGHT Producers | Robin C. Garvick, Erik S. Weigel NewAley Pictures, Reckless Productions Director | Jason Noto Cast | Azhy Robertson, Zane Holtz, Tommy Blanchard, Chance Kelly MARJORIE PRIME Producers | Michael Almereyda, Uri Singer Passage Pictures, FilmRise Director | Michael Almereyda. Cast | Lois Smith, Jon Hamm, Geena Davis, Tim Robbins *Premiered at Sundance Film Festival 2017* THE TRANSFIGURATION Producer | Susan Leber Transfiguration Productions, Strand Releasing Director | Michael O’Shea. Producer: Susan Leber. Cast | Eric Ruffin, Chloe Levin, Aaron Moten *Premiered at Cannes Film Festival 2016 – Un Certain Regard selection* -
Phantom Limbs
August 2013 PHANTOM LIMBS Set in present day rural Nebraska and the Desert Southwest, PHANTOM LIMBS is an intimate coming-of-age story and a contemporary mythology of the Great Plains as seen through the eyes of two sisters abandoned by every adult in their lives. Eleven years after their father’s mysterious death and their mother’s subsequent abandonment, serious wallflower Mabel (21), and capricious flirt Lily (18), barely subsist amidst drought and recession-ravaged farmland. Following years of raising her little sister while tending to their dying, now dead, grandmother, resourceful but haunted Mabel finds herself stuck, running an old junk shop in their decaying family home. Lily, meanwhile, flirts her way through life with her wise-cracking slacker boyfriend Jordan (19) attending her like a puppy dog. With sisterly and sexual tensions running high, the walls and weight of abandoment seem to be closing in when a brief letter arrives from the girls’ estranged and potentially dangerous mother. In spite of Mabel’s warnings, Lily and Jordan take off in a stolen car to confront the woman in the Desert Southwest. Meanwhile, without Lily to care for and obsessed with the past, Mabel desperately seeks to carve out her own identity. As the sisters extract themselves from their cocoon of co-dependency to confront how personal and regional history made them who they are, Mabel and Lily embark on separate paths riddled with emotional landmines, fragmented memory, burgeoning sexuality, and growth. Based on celebrated Nebraska author Timothy Schaffert’s novel The Phantom Limbs of the Rollow Sisters - called “Blithe, quirky, spirited and offbeat” by Janet Maslin, The New York Times, and “Boondocks-Gothic...quietly tragic” by The Washington Post - this feature film adaptation is a rich, dusty tale of self-reliance and an allegory of a generation abandoned by parents and leaders who’ve sucked America’s economies, cultures, communities, and the land itself dry. -
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. -
Life During Wartime
Life During Wartime By TODD MCCARTHY A Werc Werk Works production. (International sales: Fortissimo Films, Amsterdam.) Produced by Christine Kunewa Walker, Derrick Tseng. Executive producers, Elizabeth Redleaf, Mike S. Ryan. Co- producers, Ken Bailey, Andrew Peterson. Directed, written by Todd Solondz. Joy Jordan - Shirley Henderson Bill Maplewood - Ciaran Hinds Trish Maplewood - Allison Janney Harvey Weiner - Michael Lerner Billy Maplewood - Chris Marquette Mark Weiner - Rich Pecci Jacqueline - Charlotte Rampling Andy - Paul Reubens Helen Jordan - Ally Sheedy Timmy Maplewood - Dylan Riley Snyder Mona Jordan - Renee Taylor Allen - Michael Kenneth Williams Wanda - Gaby Hoffman In revisiting his darkly comic 1998 ensembler "Happiness," Todd Solondz may have made his best film with "Life During Wartime." The distinctive, boundary-pushing writer-director has had the eccentric inspiration to resurrect the same central characters a decade later, but using entirely different actors. Winning result, which reels off one riveting scene after another, stands as both a unique sort-of sequel and a film that requires no prior reference points; it's entirely satisfying either way, though even richer if you recall the antecedent. The resolutely niche filmmaker has never had a real breakout success and the confrontational nature of his latest won't change that fact, but his loyal following will be buoyed by this strong effort. A rare collection of sexual quagmires and perversions lay at the heart of "Happiness," and a most impressive aspect of the new film is how it so piercingly examines the residue and continuing ramifications of those dilemmas a decade later. Best remembered, no doubt, is the pedophile father, Dylan Baker's Bill Maplewood, a shrink and father of three kids who can't keep his mind or hands off young boys. -
Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing -
PERDONA E DIMENTICA Si Presenta Come Un’Audace Commedia Dall’Inaspettata Sonorità
Vania Traxler Protti presenta una distribuzione PPEERRDDOONNAA ee DDIIMMEENNTTIICCAA (life during wartime) una storia di perdono e i suoi limiti PREMIO MIGLIOR SCENEGGIATURA Ufficio Stampa: PAOLA PAPI [email protected] REGGI&SPIZZICHINO Communication Tel +39 06 97615933 [email protected] Maya Reggi Raffaella Spizzichino CAST ARTISTICO Joy …………………………………………………………………………… Shirley Henderson Bill…………………………………………………………………………………… Ciarán Hinds Trish ………………………………………………………………………………. Allison Janney Harvey ……………………………………………………………………………. Michael Lerner Billy……………………………………………………………………………… Chris Marquette Mark ……………………………………………………………………………………. Rich Pecci Jacqueline ………………………………………………………………….. Charlotte Rampling Andy ……………………………………………………………………………….. Paul Reubens Helen …………………………………………………………………………………. Ally Sheedy Timmy ………………………………………………………………………. Dylan Riley Snyder Mona ……………………………………………………………………………….. Renée Taylor Allen ………………………………………………………………… Michael Kenneth Williams CAST TECNICO Scritto e diretto da …………………………………...…………………………… Todd Solondz Prodotto da …………………………….……….. Christine Kunewa Walker - Derrick Tseng Produttore Esecutivo ………………………………………………………... Elizabeth Redleaf Fotografia ………………………………………………………………….. Ed Lachman, A.S.C. Montaggio ………………………………………………………….…………… Kevin Messman Scenografia ……………………………………………………..……………. Roshelle Berliner Costumi ………………………………………………………………………. Catherine George Musiche …………………………………………………………………………. Doug Bernheim Produttore Esecutivo ……………………………………………………………… Mike S. Ryan Casting ………………………………………………………………………………. -
80S 90S Hand-Out
FILM 160 NOIR’S LEGACY 70s REVIVAL Hickey and Boggs (Robert Culp, 1972) The Long Goodbye (Robert Altman, 1973) Chinatown (Roman Polanski, 1974) Night Moves (Arthur Penn, 1975) Farewell My Lovely (Dick Richards, 1975) The Drowning Pool (Stuart Rosenberg, 1975) The Big Sleep (Michael Winner, 1978) RE- MAKES Remake Original Body Heat (Lawrence Kasdan, 1981) Double Indemnity (Billy Wilder, 1944) Postman Always Rings Twice (Bob Rafelson, 1981) Postman Always Rings Twice (Garnett, 1946) Breathless (Jim McBride, 1983) Breathless (Jean-Luc Godard, 1959) Against All Odds (Taylor Hackford, 1984) Out of the Past (Jacques Tourneur, 1947) The Morning After (Sidney Lumet, 1986) The Blue Gardenia (Fritz Lang, 1953) No Way Out (Roger Donaldson, 1987) The Big Clock (John Farrow, 1948) DOA (Morton & Jankel, 1988) DOA (Rudolf Maté, 1949) Narrow Margin (Peter Hyams, 1988) Narrow Margin (Richard Fleischer, 1951) Cape Fear (Martin Scorsese, 1991) Cape Fear (J. Lee Thompson, 1962) Night and the City (Irwin Winkler, 1992) Night and the City (Jules Dassin, 1950) Kiss of Death (Barbet Schroeder 1995) Kiss of Death (Henry Hathaway, 1947) The Underneath (Steven Soderbergh, 1995) Criss Cross (Robert Siodmak, 1949) The Limey (Steven Soderbergh, 1999) Point Blank (John Boorman, 1967) The Deep End (McGehee & Siegel, 2001) Reckless Moment (Max Ophuls, 1946) The Good Thief (Neil Jordan, 2001) Bob le flambeur (Jean-Pierre Melville, 1955) NEO - NOIRS Blood Simple (Coen Brothers, 1984) LA Confidential (Curtis Hanson, 1997) Blue Velvet (David Lynch, 1986) Lost Highway (David -
Creative Conflict in Writing Return of the Jedi Ewoks
V. 12 – N. 1 - jan./ abr. 2021 ISSN: 2179-1465 / https://www.revistageminis.ufscar.br Brett Davies Meiji University EWOKS VERSUS DEAD HEROES: CREATIVE CONFLICT IN Tokyo, Japan WRITING RETURN OF THE JEDI EWOKS CONTRA HERÓIS MORTOS: CONFLITO CRIATIVO NA ESCRITA DE RETURN OF THE JEDI ABSTRACT The original Star Wars trilogy established a storytelling model that still influences Hollywood filmmaking today. However, the third episode in the saga, Return of the Jedi (1983), was received less favorably than its predecessors by critics. This article will examine historical record and analyze aspects of syuzhet (‘plot’) and fabula (‘story’) (BORDWELL, 1985, pp. 49-50) in the screenplay in order to establish why Return of the Jedi works less successfully as a narrative than the first two films. The results of the investigation suggest that this was due to a fundamental philosophical conflict between screenwriters George Lucas and Lawrence Kasdan. Keywors: Star Wars, George Lucas, Lawrence Kasdan, syuzhet, fabula. RESUMO A trilogia original de Star Wars estabeleceu um modelo de narrativa que ainda hoje influencia o cinema de Hollywood. No entanto, o terceiro episódio da saga, Return of the Jedi (1983), foi recebido pela crítica de forma menos favorável do que seus antecessores. Este artigo examinará o registro histórico e analisará aspectos de syuzhet ('enredo') e fabula ('história') (BORDWELL, 1985, pp. 49-50) no roteiro, a fim de estabelecer porque Return of the Jedi teve menos sucesso como narrativa em comparação aos dois primeiros filmes. Os resultados da investigação sugerem que isso se deveu a um conflito filosófico fundamental entre os roteiristas George Lucas e Lawrence Kasdan. -
Campaigns : Campaign Preview
Campaigns : Campaign preview https://app.e2ma.net/app2/campaigns/preview_print/6504494/ TAKE IT ON THE ROAD: THE MN PRODUCTION GUIDE IN TRAVEL-SIZED FORMAT! The new online MN Production Guide is an amazing representation Minnesota's talented crew and production services and support industry. Although Guide users can access and download all the information through the site, MFTVB will also print a travel-sized directory that will feature the categories and contact information for each business currently listed online. The deadline to have your information included in this directory is OCTOBER 15th! Visit the Guide to create your profile now. Look for the directory to be available in November. MN PRODUCTION NEWS Minneapolis-based production company Werc Werk Works (headed by Elizabeth Redleaf and Christine Walker) premiered its first film LIFE DURING WARTIME on September 3rd at the 66th Venice International Film LIFE DURING WARTIME, directed by Festival.The film was written and Todd Solondz, won Best Screenplay directed by Todd Solondz as a sequel to at the Venice Int'l Film Festival. his film HAPPINESS (1998) and stars Ally Sheedy, Allison Janney and Shirley Henderson. Solondz won an "Osella" for Best Screenplay at the festival. The film had its North American premiere on September 14th at the Toronto International Film Festival. Werc Werk Works also recently announced that it will produce the 1 of 4 7/1/14 4:21 PM Campaigns : Campaign preview https://app.e2ma.net/app2/campaigns/preview_print/6504494/ Midwest-set drama THE CONVINCER by Indie filmmakers Jill and Karen Sprecher (CLOCKWATCHERS, THIRTEEN CONVERSATIONS ABOUT ONE THING).