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Final Copy 2019 05 07 Lash
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Lash, Dominic Title: Lost and Found Studies in Confusing Films General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Lost and Found studies in confusing films Dominic John Alleyne Lash A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts Department of Film and Television December 2018 76,403 words abstract This thesis uses the concepts of disorientation and confusion as a means of providing detailed critical accounts of four difficult films, as well as of addressing some more general issues in the criticism and theory of narrative film. -
Ilan Eshkeri
ILAN ESHKERI AWARDS AND NOMINATIONS BRITISH ACADEMY GAMES AWARDS Ghost of Tsushima NOMINATION (2021) Music DICE AWARDS NOMINATION (2021) Ghost of Tsushima Outstanding Achievement in Original Music Composition INTERNATIONAL FILM-MUSIC Ghost of Tsushima CRITICS ASSOCIATION NOMINATION (2020) Best Original Score for a Video Game or Interactive Media SCL AWARDS NOMINATION (2021) Ghost of Tsushima Outstanding Original Score for Interactive Media MUSIC IN VISUAL MEDIA AWARD Ghost of Tsushima (2020) Outstanding Score – Video Game MUSIC IN VISUAL MEDIA AWARD “The Way of the Ghost" from Ghost of (2020) Tsushima Outstanding Song – Video Game HOLLYWOOD MUSIC IN MEDIA “Feels Like Summer” from SHAUN THE NOMINATION (2015) SHEEP Song-Animated Film *shared INTERNATIONAL FILM MUSIC STARDUST CRITICS ASSOCIATION AWARD (2007) Breakout Composer of the Year INTERNATIONAL FILM MUSIC STARDUST CRITICS ASSOCIATION NOMINATION (2007) Best Original Score-Fantasy/Science Fiction WORLD SOUNDTRACK AWARD HANNIBAL RISING NOMINATION (2007) Discovery Of The Year WORLD SOUNDTRACK AWARD LAYER CAKE NOMINATION (2004) Discovery Of The Year The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 ILAN ESHKERI FEATURE FILM FARMING Francois Ivernel, Andrew Levitas, Miranda Groundswell Productions Ballestros, Michael London, Charles de Rosen, Charles Steel, Janice Williams, James Wilson, prods. Adewale Akinnouoye-Agbaje, dir. THE WHITE CROW Carolyn Marks Blackwood, Ralph Fiennes, Sony Pictures Classics Francois Ivernel, Andrew Levitas, Gabrielle Tana, prods. Ralph Fiennes, dir. SWALLOWS AND AMAZONS Nick Barton, Nick O’Hagan, Joe Oppenheimer, Orion Pictures prod. Philippa Lowthorpe dir. THE EXCEPTION Judith Tossell, Bill Haber, Jim Seibel, prods. Egoli Tossell Film David Leveaux, dir. MEASURE OF A MAN Christian Taylor, prod. Great Point Media Jim Loach, dir. -
Rose La Rose and the Re-Ownership of American Burlesque, 1935-1972
TAUGHT IT TO THE TRADE: ROSE LA ROSE AND THE RE-OWNERSHIP OF AMERICAN BURLESQUE, 1935-1972 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Elizabeth Wellman Graduate Program in Theatre The Ohio State University 2015 Dissertation Committee: Jennifer Schlueter, Advisor Beth Kattelman Joy Reilly Copyright by Elizabeth Wellman 2015 ABSTRACT Declaring burlesque dead has been a habit of the twentieth century. Robert C. Allen quoted an 1890s letter from the first burlesque star of the American stage, Lydia Thompson in Horrible Prettiness: Burlesque and American Culture (1991): “[B]urlesque as she knew it ‘has been retired for a time,’ its glories now ‘merely memories of the stage.’”1 In 1931, Bernard Sobel opined in Burleycue: An Underground History of Burlesque Days, “Alas! You will never get a chance to see one of the real burlesque shows again. They are gone forever…”2 In 1938, The Billboard published an editorial that began, “On every hand the cry is ‘Burlesque is dead.’”3 In fact, burlesque had been declared dead so often that editorials began popping up insisting it could be revived, as Joe Schoenfeld’s 1943 op-ed in Variety did: “[It] may be in a state of putrefaction, but it is a lusty and kicking decomposition.”4 It is this “lusty and kicking decomposition” which characterizes the published history of burlesque. Since its modern inception in the late nineteenth century, American burlesque has both been framed and framed itself within this narrative of degeneration. -
David Pimm Director of Photography
David Pimm Director of Photography www.davidpimm.com Film & Television Director Production Co Producers RAGDOLL Toby Macdonald Sid Gentle Films Lizzie Rusbridger MY NAME IS LEON Lynette Linton Douglas Road Carol Harding Productions BOXING DAY Aml Ameen Film 4 Joy Gharoro-Akpojotor BFI Damian Jones PANDEMONIUM Ella Jones BBC Studios Tom Jordan Pilot SAVE ME TOO Jim Loach World Productions Lizzie Rusbridger Winner: BAFTA, Best Drama, 2021 Coky Giedroyc Sky Atlantic GET HAPPY Simon Amstell Tiger Aspect Katie Churchill Taster Pippa Brown URBAN MYTH: MADONNA & BASQUIAT Adam Wimpenny Wild Card Films Adam Morane-Griffiths Sarah Solemani Joe Hill BENJAMIN Simon Amstell Open Palm Pictures Louise Simpson Official Selection: London Film Festival, 2018 Alexandra Breede LOVE ME NOT Alexandros Avranas Faliro House Productions Christos V. Official Selection: San Sebastian, 2017 Les Films Du Lendemain Konstantakopoulos Lelia Andronikou LADY MACBETH William Oldroyd Sixty Six Pictures Fodhla Cronin O'Reilly Additional Photography IFeatures SHIELD 5 Anthony Wilcox Lorton Entertainment Mark Hopkins Web Series Declan Reddington Choice Award, Raindance, 2016 Selected Short Films TONI WITH AN I Marco Alessi BBC Films Ksenia Harwood Nomination, BAFTA, Short Film, 2020 Official selection: Berlin, 2020 SARAH CHONG IS GOING TO KILL HERSELF Ella Jones Creative England Alexandra Blue Official Selection: Loco Film Festival, 2016 Big Talk Productions PATRIOT Eva Riley NFTS Michelangelo Fano Nomination: Cannes Film Festival, 2015 Official Selection: Telluride Film Festival, 2015 OUT OF SIGHT Nick Rowland NFTS Nick Rowland Official Selection: Sundance, 2015 Commercial credits include: SNAPPY SHOPPER/Greenroom/Richard Pengelly SCOTTISH POWER GOGGLEBOX IDENTS/Greenroom/Richard Pengelly KIA/Recipe/Michael O Kelly AXA/Recipe/Michael O Kelly Xero/Brave Spark/Michal J. -
THE Permanent Crisis of FILM Criticism
mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter film criticism since its origins. net amateurs and the lack of authorita of tive critics, many journalists and acade Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, coeditor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. -
To Stick Distinct Tranquillity
0123456789 THE EMPIRE INTERVIEW IN CONVERSATION WITH explosion and you’re the director, you get special effects in and they make it explode and you just choose the camera positions. It’s much harder to do a good scene in a council flat than it is to blow up a car — from the director’s point of view. Ken EMPIRE: Because in a flat you don’t have anything to rely on but faces and emotion? LOACH: And quite a constricting location. From the directing point of view, the endless chases and Loach technical stuff are quite tedious, because they all take a hugely long time. showed the ’60s could be sour as well as Swinging — EMPIRE: So that wasn’t the part that was the most to the Palme d’Or-winning The Wind That Shakes The engaging for you… Barley (2006), which deals with the sensitive politics LOACH: It was the easiest part, in some ways. of Ireland’s partition within a gripping combat The difficult part was deciding whether this was context and a touching family tragedy. Even in his the right film to make about war, and about this Words: Nev Pierce Portrait: Mitch Jenkins lesser features it’s rare to find moments that don’t particular war. feel true. Famously, he films everything in sequence, EMPIRE: Why difficult? handing screenplay pages to actors only a day or so in LOACH: Well, because we’re still quite close to advance, so they discover their character’s journey as the actual event of it. And to do something about HE PENSIONER WITH THE the production progresses. -
Director: Harry Wootliff Producers: Tristan Goligher, Valentina Brazzini, Ben Jackson, Ruth Wilson and Jude Law
Kahleen Crawford Casting: As casting directors (selected credits) True Things About Me (2020) Director: Harry Wootliff Producers: Tristan Goligher, Valentina Brazzini, Ben Jackson, Ruth Wilson and Jude Law. Feature film. Cast inc: Ruth Wilson, Tom Brooke and Hayley Squires Vigil (2020) Directors: James Strong, Isabelle Sieb Producer: Angie Daniell, Simon Heath and Jake Lushington, World Productions. 6 part Television series. Cast inc: Suranne Jones, Rose Leslie, Shaun Evans, Paterson Joseph and Gary Lewis His Dark Materials S1 and S2 (2019-Present) Directors inc: Tom Hooper. Producers: Jane Tranter and Julie Gardner, Bad Wolf, Dan McCulloch and Laurie Borg. BBC TV series based upon the Philip Pullman books, adapted by Jack Thorne. Currently casting. Cast inc: Ruth Wilson, James McAvoy, Dafne Keen, Amir Wilson, Andrew Scott, Simone Kirby and Lin-Manuel Miranda The Nest (2020) Directors: Andy De Emmony, Simen Elsvick Producers: Clare Kerr, Susan Hogg, Simon Lewis, Studio Lambert Television series Cast inc: Martin Compston, Sophie Rundle and Mirren Mack The North Water (2020) Director: Andrew Haigh Producers: Iain Canning, Jamie Laurenson and Kate Ogborn, See-Saw. BBC Television. Cast inc: Colin Farrell, Jack O’Connell, Stephen Graham and Tom Courtenay I Hate Suzie (2020) Directors: Georgi Banks-Davies and Anthony Neilson Produces: Andrea Dewsbery and Julie Gardner. 8-part Television series for Sky Atlantic created by Billie Piper and Lucy Prebble, written by Lucy Prebble. Cast inc: Billie Piper, Laila Farzad, Dan Ings, and introducing Matthew -
Festival 2019
om .c 17 st October camfilmfe 24 . October www ge 2019 AL IV ST FE Cambrid FILM The space to invent. If you’re not looking for a job, we’re looking for you. You’re bright, and you’ve got your head down, inventing a response to a complex scientific and engineering challenge. Look up and see the company with the space and culture in which you can thrive. ttp.com/film AL I came to Cambridge and made projection - though I never lost my it my home and stayed longer personal preference for 70mm celluloid. than I ever imagined. It has been an extraordinary personal FESTIV journey, but I hope that many of you who It has offered me opportunities that have shared it with me have had some I could only have dreamed of and given memorable experiences along the way. me experiences that have been the envy I hope to speak to many of you during the of many. I started work at the Arts Cinema Festival, before or after you have sampled FILM in the early 80s, and have worked on one of the many delights we have lined the Cambridge Film Festival ever since. up, and that you will enjoy the Cambridge I co-founded City Screen with Lyn Goleby OMe Film Festival for many years to come. GE and developed the more recent Arts And at the end of all this, who is my Picturehouse, welcoming so many guests favourite fi lmmaker? Buster Keaton! to the city and screening fi lms from most A genius and inspiration. -
How Well Has American Beauty Aged?: a Critical Review of the Suburban Film Genre
49th Parallel, Issue 39 (2017) Richard Andrew Voeltz ISSN: 1753-5794 How Well Has American Beauty Aged?: A Critical Review of the Suburban Film Genre RICHARD ANDREW VOELTZ, CAMERON UNIVERSITY American Beauty (1999) directed by Sam Mendes has been considered by many film scholars to be the epitome of Hollywood’s assault on suburbs as a perversion of the American dream. The film received many awards and was highly praised when it was released---winning five Academy Awards. This paper examines how American Beauty represents the culmination and caricature of a suburban trope in Hollywood that goes back to the 1940s where the supposed suburban paradise represents superficiality, conformity, and submerged sexuality. The film recounts all this as being correct, but the redemptive, happy Hollywood ending reveals that even in the sordid suburbs beauty and happiness can be found. Within the context of other suburban films, the examination of the critical and popular appeal of American Beauty, as well as its diegetic elements, demonstrates how the reality of suburbia has changed yet Hollywood seems locked into now antiquated tropes. The longevity and viability of time honored genre formulas has been called into question meaning that the suburban film genre will have to become less exclusive if it is to survive. It was other people who decided American Beauty was going to win an Academy Award. I felt at the time it was slightly over praised. 1 --Sam Mendes, director of American Beauty American Beauty is just a bad, pretty movie. 2 --Sarah Fonder, film critic American Beauty was released in 1999, and directed by Sam Mendes from a screenplay by Alan Ball. -
Ed Rutherford Director of Photography
Ed Rutherford Director of Photography Agents Silvia Llaguno Associate Agent Shannon Black [email protected] +44 (0) 20 3214 0889 Andrew Naylor Assistant [email protected] Lizzie Quinn +44 (0) 203 214 0899 [email protected] +44 (0)20 3214 0911 Credits Television Production Company Notes THE SERPENT QUEEN Lionsgate Television / 3 Arts Dir: Stacie Passon 2021 Entertainment / Starz Exec Prods: Erwin Stoff, Francis Lawrence, Justin Haythe US Drama Republic / BBC Dir: Lisa Siwe 2020 Prod: Hannah Pescod LITTLE BIRDS Warp Films / Sky Atlantic Dir: Stacie Passon 2020 Exec Prods: Ruth McCance, Peter Carlton * Nominated: Best Photography - Drama & Comedy, RTS Craft & Design Awards 2020 * Nominated: Best Photography & Lighting: Fiction, BAFTA Craft Awards 2021 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes ENDEAVOUR Mammoth Screen / ITV Dir: Leanne Welham SERIES 6, EPISODE 3 - Prod: Deanne Cunningham "Confection" 2019 CHEAT Two Brothers Pictures / ITV Dir: Louise Hooper 2018 Prod: Lydia Hampson VANITY FAIR Amazon Studios / Mammoth Dir: James Strong 2018 Screen / ITV Prod: Julia Stannard VICTORIA Mammoth Screen / ITV / Dir: Jim Loach SERIES 2, EPS 5 & 6 Masterpiece Theatre Prod: Paul Frift 2017 QUACKS Lucky Giant / BBC Dir: Andy De Emmony 2017 Prod: Imogen Cooper ENDEAVOUR Mammoth Screen / ITV Dir: Jim Loach SERIES 4, EPISODE 4 - Prod: Helen Ziegler "Harvest" 2017 THE LAST HOTEL Sky Arts Dir: Enda Walsh 2016 Prod: -
Magazine Media
edia agazine Menglish and media centre issue 52M | april 2015 Owen Jones interview SOCIAL MEDIA AND SURVEILLANCE MOCKINGJAY – Ideology and Dystopia THE EVOLUTION OF RUSSELL BRAND The Last of Us – a Game-changer? CLOSE ANALYSIS MM MM This magazine is not to be photocopied. Why not subscribe to our web package which includes a downloadable and printable PDF of the current issue or encourage your students to take out their own £12 subscription? MediaMagazine is As this issue of MediaMag goes to the printers, the country has been revving up for the 7th May published by the election, and with any luck most sensible A2 Media English and Media students will have been following the press coverage, Centre, a non-profit those contentious TV debates, and the Twitter storms making organisation. generated by ill-advised MPs, tabloid pundits and The Centre publishes online opinion-formers. We’ll be revisiting it all in a wide range of hindsight in our September issue, so there’ll be classroom materials plenty of material for next year’s A2 students; but this and runs courses for edition also features the ideas of two people – Owen Jones and Russell Brand – teachers. If you’re who have approached the political process from very different perspectives, and studying English simple introductions to some key theorists such as Zizek, Gramsci and Althusser. at A Level, look You’ll have loads of ammunition here to debate issues about the Media and out for emagazine, Democracy, ideology, power, and politics and the media. Do read Lydia Kendall’s also published application of these ideas to the dystopian world of Mockingjay, and Sean Richardson’s piece on John Carpenter’s neglected masterpiece They Live. -
Oranges and Sunshine
BFFS SOUTH WEST GROUP Oranges and Sunshine Cert 15 UK 2010 104 mins Crew Director Jim Loach Screenplay Rona Munro Original story (Title: Empty Cradles) Margaret Humphreys Cinematographer Denson Baker Film Editor Dany Cooper Music Lisa Gerrard Cast Emily Watson Margaret Humphreys Hugo Weaving Jack David Wenham Len Richard Dillane Merv Reviews Synopsis ...The danger of Oranges and Sunshine, which takes Humphreys's Nottingham, the late 1980's. Margaret book, 'Empty Cradles', as inspiration, is that by honouring the Humphreys is a wife and a mother, and extraordinary feats of Humphreys - a wife and mother of two - this also a social worker, responsible for would become a tale of a woman against the machine, even drowning ensuring that the families within her out the stories of the migrants. catchment are given the best possible care. Loach doesn't do that. He makes wise decisions. He doesn't focus too In 1986, on separate occasions a few much on Humphreys's family life. He avoids both easy emotional days apart, two women seek her help. showdowns and cascades of horror stories. And he has an eye for a The first says she had been forcibly sent contradictory character who can direct us to the truth by the back to Australia as a child and was now route. searching for the mother she'd never met. Like his father, Loach has made a film uncluttered by an obvious The second, an English woman, had director's stamp, peopled by sympathetic characters and driven by a been contacted by a middle-aged desire to say something about the world without losing sight of human Australian who said he was her brother.