1. Introducing the Splat Pack
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Un Film Di Darren Lynn Bousman
LIONSGATE e TWISTED PICTURES Presentano una produzione BURG/KOULES/HOFFMAN un film di Darren Lynn Bousman Con Tobin Bell Shawnee Smith Donnie Wahlberg Angus Macfayden Bahar Soomekh Dina Meyer Un’esclusiva per l’Italia Rai Cinema Distribuzione Uscita: 9 marzo 2007 Durata : 107’ SAW III CAST ARTISTICO JIGSAW TOBIN BELL AMANDA SHAWNEE SMITH JEFF ANGUS MACFAYDEN ERIC MATTHEWS DONNIE WAHLBERG LYNN BAHAR SOOMEKH KERRY DINA MEYER CAST TECNICO REGIA DARREN LYNN BOUSMAN SCENEGGIATURA LEIGH WHANNELL SOGGETTO LEIGH WHANNELL AND JAMES WAN PRODUTTORI GREGG HOFFMAN OREN KOULES MARK BURG COPRODUTTORE GREG COPELAND PRODUTTORI ESECUTIVI DANIEL JASON HEFFNER JAMES WAN LEIGH WHANNELL STACY TESTRO PETER BLOCK JASON CONSTANTINE DIRETTORE DELLA FOTOGRAFIA DAVID A. ARMSTRONG SCENOGRAFIE DAVID HACKL COSTUMI ALEX KAVANAUGH COORDINATORE EFFETTI SPECIALI TIM GOOD MONTAGGIO KEVIN GREUTERT MUSICHE CHARLIE CLOUSER CASTING STEPHANIE GORIN, C.S.A., C.D.C. - 2 - SAW III SINOSSI Assieme alla sua nuova apprendista Amanda (Shawnee Smith), l’Enigmista, il burattinaio che si cela dietro i giochi crudeli e contorti che hanno terrorizzato un’intera comunità e sconcertato la polizia, è riuscito ancora una volta ad evitare la cattura e a svanire nel nulla. Mentre gli agenti locali si danno da fare per trovarlo, la dottoressa Lynn Denlon (Bahar Soomekh) e Jeff (Angus Macfayden) non sanno che stanno per diventare le ultime pedine della sua perversa scacchiera. Dalla Twisted Pictures e dalla Lionsgate arriva il capitolo più inquietante e psicologicamente intenso di questa serie horror. Saw III vede protagonisti Shawnee Smith e Tobin Bell. Il film è diretto da Darren Lynn Bousman (Saw II), da un soggetto dei creatori originali della serie Leigh Whannell e James Wan (Saw, Saw II), mentre la sceneggiatura è affidata a Whannell. -
Finn Ballard: No Trespassing: the Post-Millennial
Page 15 No Trespassing: The postmillennial roadhorror movie Finn Ballard Since the turn of the century, there has been released throughout America and Europe a spate of films unified by the same basic plotline: a group of teenagers go roadtripping into the wilderness, and are summarily slaughtered by locals. These films may collectively be termed ‘roadhorror’, due to their blurring of the aesthetic of the road movie with the tension and gore of horror cinema. The thematic of this subgenre has long been established in fiction; from the earliest oral lore, there has been evident a preoccupation with the potential terror of inadvertently trespassing into a hostile environment. This was a particular concern of the folkloric Warnmärchen or ‘warning tale’ of medieval Europe, which educated both children and adults of the dangers of straying into the wilderness. Pioneers carried such tales to the fledging United States, but in a nation conceptualised by progress, by the shining of light upon darkness and the pushing back of frontiers, the fear of the wilderness was diminished in impact. In more recent history, the development of the automobile consolidated the joint American traditions of mobility and discovery, as the leisure activity of the road trip became popular. The wilderness therefore became a source of fascination rather than fear, and the road trip became a transcendental voyage of discovery and of escape from the urban, made fashionable by writers such as Jack Kerouac and by those filmmakers such as Dennis Hopper ( Easy Rider, 1969) who influenced the evolution of the American road movie. -
Movie Database
Integrated Movie Database Group 9: Muhammad Rizwan Saeed Santhoshi Priyanka Gooty Agraharam Ran Ao Outline • Background • Project Description • Demo • Conclusion 2 Background • Semantic Web – Gives meaning to data • Ontologies – Concepts – Relationships – Attributes • Benefits 3 Background • Semantic Web – Gives meaning to data • Ontologies – Concepts – Relationships – Attributes • Benefits – Facilitates organization, integration and retrieval of data 4 Project Description • Integrated Movie Database Movies Querying Books RDF Repository People 5 Project Description • Integrated Movie Database – Project Phases • Data Acquisition • Data Modeling • Data Linking • Querying 6 Data Acquisition • Datasets – IMDB.com – BoxOfficeMojo.com – RottenTomatoes.com – Wikipedia.org – GoodReads.com • Java based crawlers using jsoup library 7 Data Acquisition: Challenge • Crawlers require a list of URLs to extract data from. • How to generate a set of URLs for the crawler? – User-created movie list on IMDB • Can be exported via CSV – DBpedia 1. Using foaf:isPrimaryTopicOf of dbo:Film or schema:Movie classes to get corresponding Wikipedia Page. 2. Crawl Wikipedia Page to get IMDB and RottenTomatoes link 8 Data Acquisition: IMDB • Crawled 4 types of pages – Main Page • Title, Release Date, Genre, MPAA Rating, IMDB User Rating – Casting • List of Cast Members (Actors/Actresses) – Critics • Metacritic Score – Awards • List of Academy Awards (won) – Records generated for 36,549 movies – Casting Records generated: 856,407 9 Data Acquisition: BoxOfficeMojo • BoxOfficeMojo -
Quentin Tarantino's KILL BILL: VOL
Presents QUENTIN TARANTINO’S DEATH PROOF Only at the Grindhouse Final Production Notes as of 5/15/07 International Press Contacts: PREMIER PR (CANNES FILM FESTIVAL) THE WEINSTEIN COMPANY Matthew Sanders / Emma Robinson Jill DiRaffaele Villa Ste Hélène 5700 Wilshire Blvd., Suite 600 45, Bd d’Alsace Los Angeles, CA 90036 06400 Cannes Tel: 323 207 3092 Tel: +33 493 99 03 02 [email protected] [email protected] [email protected] From the longtime collaborators (FROM DUSK TILL DAWN, FOUR ROOMS, SIN CITY), two of the most renowned filmmakers this summer present two original, complete grindhouse films packed to the gills with guns and guts. Quentin Tarantino’s DEATH PROOF is a white knuckle ride behind the wheel of a psycho serial killer’s roving, revving, racing death machine. Robert Rodriguez’s PLANET TERROR is a heart-pounding trip to a town ravaged by a mysterious plague. Inspired by the unique distribution of independent horror classics of the sixties and seventies, these are two shockingly bold features replete with missing reels and plenty of exploitative mayhem. The impetus for grindhouse films began in the US during a time before the multiplex and state-of- the-art home theaters ruled the movie-going experience. The origins of the term “Grindhouse” are fuzzy: some cite the types of films shown (as in “Bump-and-Grind”) in run down former movie palaces; others point to a method of presentation -- movies were “grinded out” in ancient projectors one after another. Frequently, the movies were grouped by exploitation subgenre. Splatter, slasher, sexploitation, blaxploitation, cannibal and mondo movies would be grouped together and shown with graphic trailers. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
GARY KRAUSE Music Editor FILM CREDITS
GARY KRAUSE Music Editor Emmy Award winning Music Editor, Gary L. Krause has been an active member of the Motion Picture Editors Guild, Academy of Television Arts and Sciences, and Motion Picture Sound Editors for over 20 years. His career has allowed him to work at movie studios, scoring stages, and recording studios all over the globe including Walt Disney Studios, Warner Bros. Studios, Universal Pictures Studios, Paramount Pictures Studios, Sony Pictures Studios, Twentieth Century Fox Studios, Lucas Film/ Skywalker Ranch, Barbra Streisand Scoring Stage, Clint Eastwood Scoring Stage, Paramount Scoring Stage, Todd AO Scoring Stage, Capitol Records, The Village Studios, Conway Studios, Abbey Road, Studio City Sound, and Signet Sound. He has worked directly with many prominent film makers which include Justin Lin, James Wan, F. Gary Gray, Francis Lawrence, Sylvester Stallone, William Friedken, Richard Donner, Bill Paxton, Alex Kurtzman, Peter Lenkov, and Brian Tyler. Gary began his career as a musician working at the world famous West LA Music, ushering in the digital recording era. While there he worked with many prominent artists, producers and composers such as Hans Zimmer’s Remote Control (formerly known as Media Ventures), Columbia Pictures, David Foster, Brenda Russell, Christopher Cross, Greg Wells, Anthony Hopkins, Ronald and Nancy Reagan, Donny Osmond, Ringo Star, John Debney, Danny Elfman, William Ross and Charlie Fox. He left West LA Music to join Todd AO Sound in 1996, where he collaborated with many talented colleagues and honed his editorial and mixing skills working on many film and television projects. He segued from sound editorial to music editorial in the late 90’s - early 2000’s to assist A-List composer Brian Tyler with the launch of his then nascent career. -
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Grand Guignol and new French extremity: horror, history and cultural context HICKS, Oliver Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/28912/ 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/28912/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Grand-Guignol and New French Extremity: Horror, History and Cultural Context Oliver Hicks A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of MA English by Research December 2020 Candidate Declaration I hereby declare that: 1. I have not been enrolled for another award of the University, or other academic or professional organisation, whilst undertaking my research degree. 2. None of the material contained in the thesis has been used in any other submission for an academic award. 3. I am aware of and understand the University's policy on plagiarism and certify that this thesis is my own work. The use of all published or other sources of material consulted have been properly and fully acknowledged. 4. The work undertaken towards the thesis has been conducted in accordance with the SHU Principles of Integrity in Research and the SHU Research Ethics Policy. -
THE DESCENT 2 Revisions by James Watkins
THE DESCENT 2 revisions by James Watkins 26th January 2008 Christian Colson Celador Films 39 Long Acre London WC2E 9LG Tel: +44 (0)207 8456988 EXT. APPALACHIAN MOUNTAINS - DUSK [HELICOPTER SHOTS] Storm clouds scud over a mountain range. Imposing peaks, impassable pine forest. A phone line RINGS OVER, CONNECTS to... VOICEMAIL MESSAGES. Ghost voices. SARAH CARTER (O.S.) Hi, this is Sarah Carter. I’m away for the rest of the month and won’t be picking up messages. BETH (O.S.) Hi, this is Beth. I’m in America, so please don’t leave me a message as it’s so expensive to pick them up! EXT. FOREST CLEARING - DUSK Two abandoned 4x4 jeeps. On one bumper, a ‘Rock chic’ sticker. Inside, a cellphone GLOWS on the dashboard. HOLLY (O.S.) Hey, this is Holly’s phone. No shit! Leave a fuckin’ message. Unless you’re Bobby Flynn- Bobby piss off you stalker creep. EXT. LOG CABIN - NIGHT A backwoods cabin. Dark forest encroaching all around. REBECCA (O.S.) Hi, this is Rebecca Van Ney. I’m out of the office until the 13th. In emergencies, you can reach me via Juno Kaplan on- INT. LOG CABIN - DUSK [STEADICAM] Eerily empty ROOMS, CORRIDORS. Party leftovers. The girls’ suitcases, clothes, cosmetics, photo albums, medication... A cellphone VIBRATES... JUNO KAPLAN (O.S.) This is Juno. I can’t make the phone right now. Please leave a short message and I’ll get back to you when I can. A long message BEEP. 2. INT. BOREHAM CAVERNS - DARKNESS Black screen. A MAN’S VOICE- MOUNTAIN RESCUE RANGER (O.S.) This is Pulaskie Mountain Rescue. -
Part A– Standard Prize Draw Terms – Spiral: from the Book of Saw Entrants Who Find All Four (4) Letters with Each Letter Hi
Part A– Standard Prize Draw Terms – Spiral: From The Book of Saw Entrants who find all four (4) letters with each letter hidden within the four (4) Spiral: From The Book of Saw images on the Lionsgate UK Instagram main feed and comment the correct word these four (4) letters spell out on the competition post with the caption: ‘We want to play a game. The rules are simple: we’ve hidden 4 letters across our #Spiral Instagram feed posts. Find them all and comment below the word they create to be in with the chance of winning a Saw Blu-ray boxset and Saw 4K on Blu-ray. Win or lose, make your choice. T&Cs at link in bio, 18+ UK only’ could win (A) one (1) Saw: Legacy Collection 2021 edition, a Blu-ray boxset that contains eight (8) discs (Saw, Saw II, Saw III, Saw IV, Saw V, Saw VI, Saw: The Final Chapter and Jigsaw), and (B) one (1) Saw 4K on Blu-ray (the “Prize”). There are five (5) Prizes to be won by five (5) Entrants who follow the Entry Mechanics and are selected at random per clause 13 (the “Winners”). Each Winner will receive one (1) Prize. 1. Promoter: The Promoter is Lions Gate International (UK) Limited of registered office address 5th Floor 45 Mortimer Street, London, W1W 8HJ 2. Eligibility (a) To enter this Prize Draw you must be aged 18 years old or over with a registered Instagram account during the Opening and Closing Date; (b) By entering the Prize Draw, you confirm that you are 18 years old or over. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
06 10-19-10 TV Guide.Indd 1 10/19/10 7:30:34 AM
Page 6 THE NORTON TELEGRAM Tuesday, October 19, 2010 Monday Evening October 25, 2010 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 KHGI/ABC Dancing With Stars Castle Local Nightline Jimmy Kimmel Live WEEK OF FRIDAY , OCT . 22 THROUGH THURSDAY , OCT . 28 KBSH/CBS How I Met Rules Two Men Mike Hawaii Five-0 Local Late Show Letterman Late KSNK/NBC Chuck The Event Chase Local Tonight Show w/Leno Late FOX House Lie to Me Local Cable Channels A&E Intervention Hoarders Hoarders Intervention Intervention AMC Halloween Halloween II Halloween ANIM Pit Bulls-Parole Pit Bulls River Monsters Pit Bulls-Parole Pit Bulls CNN Parker Spitzer Larry King Live Anderson Cooper 360 Larry King Live DISC Swamp Loggers American Chopper American Chopper Swamp Loggers American Chopper DISN Halloweentown II: Revenge Deck Wizards Wizards Sonny Sonny Hannah Hannah E! What's Eating You Kardashian Fashion The Soup Chelsea E! News Chelsea Norton TV ESPN Countdown NFL Football SportsCenter ESPN2 MLB Special 2010 Poker 2010 Poker E:60 NASCAR Now FAM TMNT Funniest Home Videos The 700 Club My Wife My Wife FX Made of Honor Two Men Two Men Halloween: Resurrection HGTV Property First House Designed House Hunters My First My First House Designed HIST Pawn Pawn American American Pawn Pawn American Pickers Pawn Pawn LIFE Reba Reba Gracie's Choice How I Met How I Met Gracie's Choice Listings: MTV Jersey Shore Jersey Shore World Buried World Buried My Super 2 NICK My Wife My Wife Chris Chris George Lopez The Nanny The Nanny The Nanny The Nanny SCI Scare Scare Scare Scare Scare Scare Gundam Gundam Darkness Darkness For your SPIKE UFC Fight Night Halloween BlueMount Most Amazing Videos TBS Fam. -
Negotiating the Non-Narrative, Aesthetic and Erotic in New Extreme Gore
NEGOTIATING THE NON-NARRATIVE, AESTHETIC AND EROTIC IN NEW EXTREME GORE. A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in Communication, Culture, and Technology By Colva Weissenstein, B.A. Washington, DC April 18, 2011 Copyright 2011 by Colva Weissenstein All Rights Reserved ii NEGOTIATING THE NON-NARRATIVE, AESTHETIC AND EROTIC IN NEW EXTREME GORE. Colva O. Weissenstein, B.A. Thesis Advisor: Garrison LeMasters, Ph.D. ABSTRACT This thesis is about the economic and aesthetic elements of New Extreme Gore films produced in the 2000s. The thesis seeks to evaluate film in terms of its aesthetic project rather than a traditional reading of horror as a cathartic genre. The aesthetic project of these films manifests in terms of an erotic and visually constructed affective experience. It examines the films from a thick descriptive and scene analysis methodology in order to express the aesthetic over narrative elements of the films. The thesis is organized in terms of the economic location of the New Extreme Gore films in terms of the film industry at large. It then negotiates a move to define and analyze the aesthetic and stylistic elements of the images of bodily destruction and gore present in these productions. Finally, to consider the erotic manifestations of New Extreme Gore it explores the relationship between the real and the artificial in horror and hardcore pornography. New Extreme Gore operates in terms of a kind of aesthetic, gore-driven pornography. Further, the films in question are inherently tied to their economic circumstances as a result of the significant visual effects technology and the unstable financial success of hyper- violent films.