Chasing Ice – a Documentary

Total Page:16

File Type:pdf, Size:1020Kb

Chasing Ice – a Documentary Chasing Ice – a documentary James Balog Review by JZ Murdock – Part I [The original for this article was for PerihelionSF.com] THE MULTIPLE AWARD WINNING documentary, “Chasing Ice” explores a topic so massive that many people cannot realistically grasp its significance. It is, after all, much easier to stick one’s head in the sand and deny its existence. Noted photographer James Balog and his Extreme Ice Survey (EIS) team have attempted to get those people to pull their heads out and to explain to the rest of us just what is happening to our world, using facts and hauntingly beautiful imagery. Difficult subjects are always easier to understand when they involve pretty pictures. “Chasing Ice” artfully uses the imagery of our planet’s disappearing glaciers like a velvet sledgehammer to drive that reality home. Balog’s filmic poem to the devastation that we are undeniably heading into is directed and produced by Jeff Orlowski, and beautifully edited by Davis Coombe. The film first reminds us of the storms that have flooded Texas and the Gulf waters, events all the more poignant after the devastations of Katrina and “superstorm” Sandy. Articles in recent years in magazines like “Scientific American” have regularly pointed out that although we may not see increases in the numbers of storms, we will surely see a rise in their size and power. These destructive weather patterns are not going away and we will be paying attention to them whether we want to believe in them or not. Melting glaciers are a major element in those changes. Chasing Ice Crew at Sundance 2012 Still, this film is not so much about climate change as it is about one man’s life and career exploring what is happening to our ice fields and sharing that information with the world. It’s about the effect this journey has had on James Balog, on his family, on those in his crew and their efforts to chase down these disappearing glaciers over a period of years, in mind numbing temperatures and through severe weather. Yet amidst all those frozen ice fields we feel a heartfelt warmth and at times, some refreshingly honest humor. All the while carrying us to a fearful, underlying message. Ice is beautiful. Balog discovered this back in 2005, and through the eyes of such an artist, ice is magnificent. While in Iceland on a National Geographic assignment about climate change, he became fascinated by the ice and intimately aware of the speed at which those glaciers were leaving us. We have all heard about the ice melting but to see it in a film such as this with your own eyes is really another thing altogether. It is so much more poignant. With painstaking care and a driving passion, we see the jaw-clenching risks the team took to capture these videos and the devastation they felt when technology failed them and time was lost. At one point in the film the EIS team travels to where thousands of Icelandic glacial ice core samples are stored. Extrapolating data from the cores, we are shown a graph charting the course of CO2, a major greenhouse gas, over hundreds of thousands of years. Glaciologists use these layered core samples to track, year by year, air quality and give us a carbon history of the planet. Glaciers trap carbon in the form of soot from such things as forest fires, and more recently from manmade wastes such as car exhausts, factories, jet fuel exhaust, and on and on. When the film presented the chart I actually heard gasps from the audience. Maintaining steady cyclical levels, the amount of CO2 in the atmosphere rises dramatically starting from the industrial revolution up to present. Records from the Antarctic aren’t any better. Disturbing projections for the future show that at these rates things can only get worse if we don’t do something about them. From this point on the film only got more interesting. If I have to criticize the film on any one point that would have to be for lack of even mentioning the southern Antarctic ice fields. In a joint study published in November 2012 by the British Antarctic Survey (BAS), a component of the Natural Environment Research Council (NERC), and NASA’s Jet Propulsion Laboratory, they have shown how, though the ice is melting in the Arctic, it seems to be relocating around some parts of the Antarctic. They have also shown that the Antarctic is actually growing slightly. These changes appear to be due to wind patterns and yes, due to climate change. What “Chasing Ice,” James Balog, and his EIS team have done is to bring awareness of this situation painfully and beautifully into focus. They lay it out in full context and in terms that we can all appreciate, capturing some amazing, first time ever events in HD video clarity. The last ten minutes of this film are not to be missed. At the conclusion of the nearly packed Seattle premiere that I attended, after the titles ended, after the images faded to black and the appropriately beautiful, original song, “Before My Time,” written by J. Ralph, sung by Scarlett Johansson, with the brilliant Joshua Bell accompanying on violin, the audience paused a moment in humbled silence. Then the theater erupted in applause. You could feel the emotional wave passing through the theater and not for the first time that evening. I have to admit that I was a little stunned by the film. I think everyone was. That, I believe, is the firmest testament I can offer to the quality and impact of this film. It deserves, at last count, its 23 awards. After 75 minutes of being taken to what seemed like a tragic, magical world it was, in the end, all real. We will have to bring the magic into play now, ourselves. If I really need to say any more than I already have, it would have to be simply this: see this film. (Directed by Jeff Orlowski. Produced by Submarine Deluxe. Rated PG-13.) —J.Z. Murdock Review by JZ Murdock – Part II The world as we know it is coming to an end. The ice caps are melting, the ocean levels are rising. And humans one might conjecture are purposefully increasing the speed with which this is all happening. At very least it IS all happening. There really is no question about that and these are not contentions up for debate. These-- are facts. That is what the documentary "Chasing Ice" is all about. That and sharing with us an unbelievably beautiful dance of time and nature in the form of video and photographs of a type which have never been seen before. James Balog, creator and Director of the Extreme Ice Survey (EIS), is a scientifically oriented documentarian. He is a long time, world renowned photographer famous for juxtapositions in his photographs using elements of nature and displaying them in ways that make them impossible to ignore. His photographs have graced the covers of The New Yorker, National Geographic, Life, American Photo, Vanity Fair, Sierra, Audubon, and Outside, and others. To give an example of what they found on the EIS over these past years, James Balog has said that regarding Glacier National Park in Montana, which used to have 150 glaciers, it now has twenty-six remaining. By the time our kids are in their fifties, it will need a new name. Perhaps, "Glacier Nostalgia Park" or as Balog has suggested himself, "Glacierless National Park". “Founded in 2007 by James Balog, the Extreme Ice Survey (EIS) is an innovative, long-term photography project that merges art and science to give a “visual voice” to the planet’s changing ecosystems. EIS imagery preserves a visual legacy, providing a unique baseline—useful in years, decades and even centuries to come—for revealing how climate change and other human activity impacts the planet.” From the Extreme Ice Survey web site - http://extremeicesurvey.org/ On Friday, November 16, 2012 at 7:30PM, I attended the premiere presentation of “Chasing Ice” at the perfect venue; the lovely, old fashioned Egyptian Theater in Seattle, WA. Introducing and essential to bringing the film to Seattle, was Bill Donnelly, a current Treasurer on the Board of Directors for Conservation Northwest; current Board President of Basel Action Network; and previous Treasurer on the Board of Directors of the Washington Environmental Council (2000-2010). Introduction by Bill Donnelly of “Chasing Ice”, the documentary by James Balog and his Extreme Ice Survey (EIS). “I'm Bill Donnelly and I've been working with my partner and cohort, ? on this effort, taking months getting to a moment like this. Thank you all for turning out. It's really remarkable that we've been sitting on having a couple of good events. We turned out about 1600 people for Bill McKibben a little over a week ago, for 350.org and December 13th is another opportunity that we have a hearing for Power Past Coal might be at the Convention Center. “We're going to have seventy-five minutes, seventy-six minutes of what I think is a dazzling film and a very good message of some beautiful cinematography, it's an adventure story, it's got pathos in it, and of course it tells us something about what is happening to our planet. At the end of the film, I hope you will stay with us for a few minutes because Svavar Jonatansson, who is a member of the crew, you will see him minimally, will be here to talk with you about the film, about the development of the film, and answer questions, hopefully, to your satisfaction.
Recommended publications
  • Racing Extinction
    Racing Extinction Directed by Academy Award® winner Louie Psihoyos And the team behind THE COVE RACING EXTINCTION will have a worldwide broadcast premiere on The Discovery Channel December 2nd. Publicity Materials Are Available at: www.racingextinction.com Running Time: 94 minutes Press Contacts: Discovery Channel: Sunshine Sachs Jackie Lamaj NY/LA/National Office: 212.548.5607 Office: 212.691.2800 Email: [email protected] Tiffany Malloy Email: [email protected] Jacque Seaman Vulcan Productions: Email: [email protected] Julia Pacetti Office: 718.399.0400 Email: [email protected] 1 RACING EXTINCTION Synopsis Short Synopsis Oscar®-winning director Louie Psihoyos (THE COVE) assembles a team of artists and activists on an undercover operation to expose the hidden world of endangered species and the race to protect them against mass extinction. Spanning the globe to infiltrate the world’s most dangerous black markets and using high tech tactics to document the link between carbon emissions and species extinction, RACING EXTINCTION reveals stunning, never-before seen images that truly change the way we see the world. Long Synopsis Scientists predict that humanity’s footprint on the planet may cause the loss of 50% of all species by the end of the century. They believe we have entered the sixth major extinction in Earth’s history, following the fifth great extinction which took out the dinosaurs. Our era is called the Anthropocene, or “Age of Man,” because evidence shows that humanity has sparked a cataclysmic change of the world’s natural environment and animal life. Yet, we are the only ones who can stop the change we have created.
    [Show full text]
  • Download A\J Documentary Reviews
    Going, Going … It’s impossible to properly describe The film also captures the largest glacial the sight of Alaska’s Columbia glacier calving event ever caught on tape – a Lower Chasing Ice, directed by Jeff Orlowski, retreating four kilometers in three years. Manhattan-sized hunk of ice collapsing in United States: Exposure LLC, 2012, In this sense, the film completely real- a frozen sea. 75 minutes. izes Balog’s gut-wrenching, spellbinding In one of many candid scenes, Balog Reviewed by Eric Rumble vision: to communicate our situation visu- talks about the “tension between the huge his quietly jarring documentary about ally, like no words or hockey stick graph enduring power of these glaciers, and their TNational Geographic photographer ever could. Director Orlowski adds other fragility.” His hope is that Chasing Ice’s James Balog’s work explores the challenge practical and understated material, prob- imagery will move the rest of us enough of bringing climate change into focus. In ing the cryoconite holes that melt giant ice to embrace a solution. search of a seductive, meaningful display sheets, rappelling into spectacular moulins Eric Rumble is editor of Alternatives. and panning vast landscapes with Balog’s The top photo is by James Balog, © 2009 James Balog/ of global warming’s impact, Balog realized Extreme Ice Survey; the photo of Balog is by Tad Pfeffer “the story is in the ice, somehow,” and created crew in view to convey the daunting scale. © 2007 Extreme Ice Survey. the Extreme Ice Survey (extremeicesurvey.org) in 2005. He launched the project with a small team, who built two dozen automated cam- Chasing Ice will be released in era rigs to endure Arctic punishment, and selected theatres later this fall.
    [Show full text]
  • Chasing Coral
    2019 IMPACT CASE STUDY: CHASING CORAL Exposing the indisputable and tragic death of coral reefs Galvanizing the climate movement and reaching beyond the choir Photo: New Cal Panorama 04 - March 2016 © The Ocean Agency / Richard Vevers 2 Chasing Coral | The Film 3 Chasing Coral is an Exposure Labs production, directed by Jeff Orlowski and produced by Larissa Rhodes. It tells the story of a team of divers, photographers, and scientists who set out on a thrilling ocean adventure to discover why coral reefs around the world are vanishing at an unprecedented rate. The film, for the first time, shows time-lapse THE FILM footage of the terrifying phenomenon. Coral reefs are home to a quarter camera designers, and renowned of all marine species, a remarkable marine biologists, the story unfolds ecosystem that sustains our as they invent the first time-lapse existence. Yet with carbon emissions cameras to record bleaching events warming the seas, a phenomenon as they happen. Unfortunately, called “coral bleaching”—a sign of the effort is anything but simple, mass coral death—has been and the team must doggedly battle accelerating around the world, and technical malfunctions and the the public has no idea of the scale forces of nature in pursuit of their or implication of the catastrophe golden fleece: documenting the silently raging underwater. indisputable and tragic transformation below the waves. Told through the collective will and wisdom of an ad man, a self- With its breathtaking photography, proclaimed coral nerd, top-notch nail-biting suspense, and startling emotion, Chasing Coral is a dramatic revelation that won’t have audiences With its breathtaking photography, sitting idle for long.
    [Show full text]
  • Impact Campaigns, Summarised in Impact Reports Which Are Published on Our Website
    @britdoc britdoc.org 2 The Art of Impact. STORIES CAN CONQUER FEAR, YOU KNOW. THEY CAN MAKE BEN OKRI POET THE HEART LARGER. 04 The Art of Impact. The Impact of Art. 05 OUR ABOUT FUNDS OUR BRITDOC p34 p06 FILMS p40 Helping good films be great Engaging new HELLO partners GOOD PITCH p82 IMPACT Sharing our FIELD GUIDE learning p124 We are a nonprofit, founded in 2005, committed to enabling great Building new documentary films and connecting audiences them to audiences. Doing and measuring Based in London and New York, we work with filmmakers and partners globally, reaching IMPACT DOC audiences all over the world. AWARD ACADEMY p118 p94 In this book you can find out SOMETHING more about what we do and IMPACT REAL how it fits into our five DISTRIBUTION p102 interconnected strategic areas. p106 06 The Art of Impact. The Impact of Art. 07 “For many years, BRITDOC has spotted and supported the most urgent projects – OUR MISSION OUR DRIVING PRINCIPLE nurturing them with love, ensuring they make a difference. But gradually We befriend great filmmakers, Great documentaries enrich BRITDOC became more support great films, broker the lives of individuals. They than a fund. It is, by now, new partnerships, build have a unique ability to the forum for our most important conversations new business models, share engage and connect people, in nonfiction cinema.” knowledge and develop transform communities and Joshua Oppenheimer Director audiences globally. improve societies. “ BRITDOC are experts in We aim to lead by example — That’s why we are dedicated collaboration, innovation and rapid prototyping.” innovate, share and be copied, to the Impact of Art, and the Cara Mertes and innovate again.
    [Show full text]
  • July 2016 Tamarack Hall
    COLUMBIA COLLEGE LIBRARY July 2016 Tamarack Hall NEW VIDEOS AGRICULTURE SF 408.6 .K54 B53 2013 Blackfish CALIFORNIA/U.S. HISTORY E 687 .M87 2016 Murder of a president E 757.3 .R667 2014 The Roosevelts : an intimate history CHILD DEVELOPMENT/EDUCATION LB 3011.5 .H37 2006 Early childhood environment rating scale, revised edition LB 3479 .U6 T86 2009 Two angry moms FIRE SCIENCE SD 421.32 .M9 A44 2014 The big burn GEOGRAPHY/ANTHROPOLOGY/RECREATION GB 2514 .S65 C495 2013 Chasing ice GV 199.44 .H55 M47 2015 Meru HEALTH AND MEDICINE RA 784 .I53 2016 In defense of food : an eater’s manifesto LANGUAGE AND LITERATURE/THEATRE PN 1992.77 .A63 2015 And then there were none PN 1992.77 .G37 2016 Game of thrones Season 5 PN 1992.77 .O73 2014 Orange is the new black Season 1 PN 1992.77 .O73 2015 Orange is the new black Season 2 PN 1992.77 .S56 2016 Show me a hero PN 1995.9 .A5 W33 2014 When Marnie was there PN 1995.9 .C5 K53 1921 The kid PN 1995.9 .C5 R45 1940 Remember the night PN 1995.9 .C5 B538 2012 The big wedding PN 1995.9 .C6 B69 2008 Bottle shock LANGUAGE AND LITERATURE/THEATRE, cont. PN 1995.9 .C6 D24 2015 Daddy’s home PN 1995.9 .C6 F57 1991 The fisher king PN 1995.9 .C6 G683 1987 Good morning, Vietnam PN 1995.9 .C6 I56 2015 The intern PN 1995.9 .C6 J35 1999 Jakob the liar PN 1995.9 .C6 L25 2015 The lady in the van PN 1995.9 .C6 L68 2015 Love the Coopers PN 1995.9 .C6 M57 2015 Miss you already PN 1995.9 .C6 S58 2015 Sisters PN 1995.9 .C6 T72 2015 Trainwreck PN 1995.9 .C6 V23 2015 Vacation PN 1995.9 .C6 W56 1962 Who’s got the action? PN 1995.9 .D7
    [Show full text]
  • Following Is a Listing of Public Relations Firms Who Have Represented Films at Previous Sundance Film Festivals
    Following is a listing of public relations firms who have represented films at previous Sundance Film Festivals. This is just a sample of the firms that can help promote your film and is a good guide to start your search for representation. 11th Street Lot 11th Street Lot Marketing & PR offers strategic marketing and publicity services to independent films at every stage of release, from festival premiere to digital distribution, including traditional publicity (film reviews, regional and trade coverage, interviews and features); digital marketing (social media, email marketing, etc); and creative, custom audience-building initiatives. Contact: Lisa Trifone P: 646.926-4012 E: [email protected] ​ www.11thstreetlot.com 42West 42West is a US entertainment public relations and consulting firm. A full service bi-coastal agency, ​ 42West handles film release campaigns, awards campaigns, online marketing and publicity, strategic communications, personal publicity, and integrated promotions and marketing. With a presence at Sundance, Cannes, Toronto, Venice, Tribeca, SXSW, New York and Los Angeles film festivals, 42West plays a key role in supporting the sales of acquisition titles as well as launching a film through a festival publicity campaign. Past Sundance Films the company has represented include Joanna Hogg’s THE SOUVENIR (winner of World Cinema Grand Jury Prize: Dramatic), Lee Cronin’s THE HOLE IN THE GROUND, Paul Dano’s WILDLIFE, Sara Colangelo’s THE KINDERGARTEN TEACHER (winner of Director in U.S. competition), Maggie Bett’s NOVITIATE
    [Show full text]
  • Mapping the Landscape of Social Impact Entertainment
    Bonnie Abaunza Neal Baer Diana Barrett Peter Bisanz Dustin Lance Black Johanna Blakley Caty Borum Chattoo Don Cheadle Wendy Cohen Nonny de la Peña Leonardo DiCaprio Geralyn Dreyfous Kathy Eldon Eve Ensler Oskar Eustis Mapping the landscape of Shirley Jo Finney social impact entertainment Beadie Finzi Terry George Holly Gordon Sandy Herz Reginald Hudlin Darnell Hunt Shamil Idriss Tabitha Jackson Miura Kite Michelle Kydd Lee Anthony Leiserowitz David Linde Tom McCarthy Cara Mertes Sean Metzger Pat Mitchell Shabnam Mogharabi Joshua Oppenheimer Elise Pearlstein Richard Ray Perez Gina Prince-Bythewood Ana-Christina Ramón James Redford Liba Wenig Rubenstein Edward Schiappa Cathy Schulman Teri Schwartz Ellen Scott Jess Search Fisher Stevens Carole Tomko Natalie Tran Amy Eldon Turteltaub Gus Van Sant Rainn Wilson Samantha Wright Welcome to the test — a major university research SIE’s work to date: the most effective Welcome center focused on the power of strategies for driving impact through entertainment and performing arts to storytelling; the question of when, inspire social impact. The structure of within the creative process, impact Note this new center would be built upon three should first be considered; the key role pillars: research, education and special of research to explore, contextualize initiatives, and public engagement, and help define the field; and the programming and exhibition. importance of partnering with the right allies across the entertainment At the time, there wasn’t a university and performing arts industries for new model fully focused on this topic that ideas, special projects and initiatives. I could draw upon for information as the field was in its infancy.
    [Show full text]
  • Visual Rhetoric in Environmental Documentaries
    VISUAL RHETORIC IN ENVIRONMENTAL DOCUMENTARIES by Claire Ahn BEd The University of Alberta, 2002 MEd The University of British Columbia, 2013 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Language and Literacy Education) THE UNIVERSITY OF BRITISH COLUMBIA (VANCOUVER) June 2018 © Claire Ahn, 2018 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: Visual rhetoric in environmental documentaries submitted by Claire Ahn in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Faculty of Education, Department of Language and Literacy Education Examining Committee: Teresa Dobson, Department of Language and Literacy Education Co-supervisor Kedrick James, Department of Language and Literacy Education Co-supervisor Carl Leggo, Department of Language and Literacy Education Supervisory Committee Member Margaret Early, Department of Language and Literacy Education University Examiner Michael Marker, Department of Educational Studies University Examiner ii Abstract Environmental issues are a growing, global concern. UNESCO (1997) notes the significant role media has in appealing to audiences to act in sustainable ways. Cox (2013) specifically remarks upon the powerful role images play in how viewers can perceive the environment. As we contemplate how best to engage people in reflecting on what it means to live in a sustainable fashion, it is important that we consider the merits of particular rhetorical modes in environmental communication and how those approaches may engender concern or hopelessness, engagement or disengagement. One form of environmental communication that relies heavily on images, and that is growing in popularity, is documentary film.
    [Show full text]
  • CMSI Journey to the Academy Awards -- Race and Gender in a Decade of Documentary 2008-2017 (2-20-17)
    ! Journey to the Academy Awards: A Decade of Race & Gender in Oscar-Shortlisted Documentaries (2008-2017) PRELIMINARY KEY FINDINGS Caty Borum Chattoo, Nesima Aberra, Michele Alexander, Chandler Green1 February 2017 In the Best Documentary Feature category of the Academy Awards, 2017 is a year of firsts. For the first time, four of the five Oscar-nominated documentary directors in the category are people of color (Roger Ross Williams, for Life, Animated; Ezra Edelman, for O.J.: Made in America; Ava DuVernay, for 13th; and Raoul Peck, for I Am Not Your Negro). In fact, 2017 reveals the largest percentage of Oscar-shortlisted documentary directors of color over at least the past decade. Almost a third (29%) of this year’s 17 credited Oscar-shortlisted documentary directors (in the Best Documentary Feature category) are people of color, up from 18 percent in 2016, none in 2015, and 17 percent in 2014. The percentage of recognized women documentary directors, while an increase from last year (24 percent of recognized shortlisted directors in 2017 are women, compared to 18 percent in 2016), remains at relatively the same low level of recognition over the past decade. In 2016, as a response to widespread criticism and negative media coverage, the Academy of Motion Picture Arts & Sciences welcomed a record number of new members to become part of the voting class to bestow Academy Awards: 683 film professionals (46 percent women, 41 percent people of color) were invited in.2 According to the Academy, prior to this new 2016 class, its membership was 92 percent white and 75 percent male.3 To represent the documentary category, 42 new documentary creative professionals (directors and producers) were invited as new members.
    [Show full text]
  • Run Time: 96 Minutes
    Run Time: 96 minutes Press Contacts: National Geographic Cinetic Marketing Chris Albert Emilie Spiegel 310.880.1250 212.204.7979 [email protected] [email protected] Kristin Montalbano MPRM 202.912.3244 Shelby Kimlick [email protected] 323.933.3399 [email protected] Synopsis From Academy Award®-winning filmmaker Fisher Stevens and Academy Award-winning actor, environmental activist and U.N. Messenger of Peace Leonardo DiCaprio, Before the Flood presents a riveting account of the dramatic changes now occurring around the world due to climate change, as well as the actions we as individuals and as a society can take to prevent catastrophic disruption of life on our planet. The film follows DiCaprio as he travels to five continents and the Arctic speaking to scientists, world leaders, activists and local residents to gain a deeper understanding of this complex issue and investigate concrete solutions to the most pressing environmental challenge of our time. About the Production In the late winter of 2014, Leonardo DiCaprio called actor and documentarian Fisher Stevens with an idea: he wanted to collaborate on a documentary that would explore the causes and effects of climate change around the world, and the urgent need to transition away from using fossil fuels — and he wanted to get started right away. “Time is not a luxury we have,” said DiCaprio. “Our natural world is quickly nearing unprecedented, irreversible and catastrophic change that threatens the very future of humankind. I didn’t want the film to scare people, or present them with statistics and facts that they already know, but to focus on what can and must be done immediately so that we can leave our planet a livable home for future generations.
    [Show full text]
  • Chasing Ice January 2013
    MAGAZINE CHASING ICE JANUARY 2013... “UnhesitatinglyTheRexisthebestcinemaIhaveeverseen…” (SundayTimes2012) “possiblyBritain’smostbeautifulcinema...”(BBC) JANUARY 2013 Issue 94 www.therexberkhamsted.com 01442 877759 Mon-Sat 10.30-6pm Sun 4.30-5.30pm To advertise email [email protected] INTRODUCTION Gallery 4-6 BEST IN JANUARY January Evenings 11 Coming Soon 25 January Films at a glance 25 January Matinees 27 Rants and Pants 44-45 SEAT PRICES (+ REX DONATION £1.00) Circle £8.00+1 Concessions £6.50+1 At Table £10.00+1 Concessions £8.50+1 Royal Box (seats 6) £12.00+1 or for the Box £66.00+1 The Hunt All matinees £5, £6.50, £10 (box) +1 Rumour can kill but hell is other people... BOX OFFICE: 01442 877759 Wed 23/Thu 24 7.30. Denmark 2012 Mon to Sat 10.30 – 6.00 Sun 4.30 – 6.30 FILMS OF THE MONTH Disabled and flat access: through the gate on High Street (right of apartments) Some of the girls and boys you see at the Box Office and Bar: Dayna Archer Ellen Manners Julia Childs Liam Parker Ally Clifton Amberly Rose Kitty Clucas Georgia Rose Nicola Darvell Sid Sagar Ashley Davis Alex Stephenson Romy Davis Liam Stephenson Alice Fishman Tina Thorpe Karina Gale Amy Tobin Ollie Gower Jordan Turner Lawrence of Arabia Elizabeth Hannaway Bethanné Wallman Exquisite: nothing like it before or since Billie Hendry-Hughes W. James Wallman Sun 13 4.30. UK 1962 Abigail Kellett Jack Whiting Amelia Kellett Olivia Wilson Lydia Kellett Roz Wilson Tatjana LeBoff Keymea Yazdanian Emily Main Ushers: Amy, Amy P, Annabel, Becca, Cameron, Ellen W, Ellie, Freya, Hannah, James, Katie, Lizzie, Luke, Meg, Patrick, Sophie, Zoe Sally Rowbotham In charge Alun Rees Chief projectionist (ret’d) Jon Waugh Projectionist Anna Shepherd Projectionist & writer Martin Coffill Projectionist Tu Seras Mon Fils Jacquie Rose Chief Admin Oliver Hicks Best Boy (ret’d) Father and son fight over vineyard..
    [Show full text]
  • This Is an Accepted Manuscript of a Book Chapter Published in DVD, Blu-Ray and Beyond in 2017 Available Online
    This is an Accepted Manuscript of a book chapter published in DVD, Blu-ray and Beyond in 2017 available online: https://www.palgrave.com/gb/book/9783319627571 The Rise of the Feature Documentary – Fact or Fiction? Shane O’Sullivan, Kingston University, UK The last fifteen years have seen the relentless rise of the feature documentary - from four titles released in UK cinemas in 2001 to one hundred and seventeen in 2015. Since Michael Moore’s muckraking polemics Bowling for Columbine (2002) and Fahrenheit 9/11 (2004) made a compelling case for documentary’s place on the big screen, Asif Kapadia’s success with archive-driven biopics of Senna (2010) and Amy (2015) has shown how strongly sport and music documentaries can perform at the UK box office. But without a ‘name’ director, star or subject, most documentaries struggle theatrically - a short platform cinema release provides the oxygen of press reviews and publicity to drive DVD and video on demand (VOD) sales in an increasingly saturated market.1 This chapter analyses key trends in documentary distribution since Michael Moore prised open cinema doors to nonfiction film in the early noughties, charting the rise of Dogwoof, the UK’s leading documentary distributor; the mechanics of documentary distribution and the strategies used to engage new audiences for documentary beyond its niche market; and the emergence of the Picturehouse chain as a powerful force in the fast-changing landscape of documentary distribution, where screen space is increasingly squeezed and releases are increasingly event-driven. In the literature on film distribution, Bloore (2009) and Finney (2010, 2014) apply Porter’s concept of the “value chain” (1985) to the independent film and the international film business.
    [Show full text]