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ROBB WILSON KING PRODUCTION DESIGNER www.robbwilsonking.com FEATURES STUDIO DIRECTOR MONKEY UP! Netflix Original Films Robert Vince BLOOD FATHER Lionsgate Entertainment Jean-Francois Richet SPARE PARTS Pantelion Films Sean McNamara AMERICAN GIRL 2013: SAIGE PAINTS THE SKY Universal Home Entertainment Vince Marcello MOVIE 43 (“Leprechaun” segment) Relativity Media Brett Ratner MACGRUBER Universal Pictures Jorma Taccone HOSTEL: PART II Lionsgate Entertainment Eli Roth JUST FRIENDS New Line Cinema Roger Kumble PAPARAZZI 20th Century Fox Paul Abascal BARBERSHOP 2 MGM Pictures Kevin Rodney Sullivan RUSH HOUR 2 (Hong Kong Unit) New Line Cinema Brett Ratner RUN RONNIE RUN New Line Cinema Troy Miller SCARY MOVIE Dimension Films Keenan Ivory Wayans RUSH HOUR New Line Cinema Brett Ratner MONEY TALKS New Line Cinema Brett Ratner SET IT OFF New Line Cinema F. Gary Gray MOONLIGHT & VALENTINO Working Title Films David Anspaugh RUDY TriStar Pictures David Anspaugh MARKED FOR DEATH 20th Century Fox Dwight Little PUMP UP THE VOLUME New Line Cinema Allan Moyle COURAGE MOUNTAIN Stone Group Chris Leitch THE OSTERMAN WEEKEND 20th Century Fox Sam Peckinpah LOSIN’ IT Embassy Pictures Curtis Hanson SWAMP THING Embassy Pictures Wes Craven TELEVISION STUDIO/NETWORK DIRECTOR WRECKED (Pilot) TBS James Griffiths ALLEGIANCE (Pilot) Universal Television/NBC George Nolfi BLOODLINE (Pilot) Universal Television/NBC Peter Berg LONGMIRE (Season 1) Warner Horizon/A&E Various COMMON LAW (Season 1) CBS/USA Various CHAOS (Pilot) 20th Century Fox/CBS Brett Ratner WE HAVE YOUR HUSBAND (MOW) Silver Screen Pictures/Lifetime Eric Bross BLING RING (MOW) Dick Clark Prods/Silver Michael Lembeck ADG Award Nomination Screen/Lifetime SECRETS IN THE WALLS (MOW) RHI Ent. /Lifetime Christopher Leitch ADG Award BREAKING BAD (Pilot & Seasons 1 & 2) Sony/AMC Vince Gilligan THE LIBRARIAN 3 (Limited Series) TNT Jonathan Frakes ADG Award Nomination THE LIBRARIAN 2 (Limited Series) TNT Jonathan Frakes MEDICAL INVESTIGATION (Pilot) Universal Media/NBC Marc Buckland RUNNING MATES (MOW) TNT Ron Lagomarsino THE PRETENDER (Pilot) 20th Century Fox/NBC Rick Wallace TREASURE ISLAND (MOW) Finnegan-Pinchuk Scott Garen Affiliations: IATSE #800 1025 Colorado Avenue, Suite B, Santa Monica, CA 90401 Phone 310-395-4600 Fax 310-395-4622 www.MurthaAgency.com .

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CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
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Leslie Caron
Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] Phone: + 44 (0) 20 73360351 Email: [email protected] Leslie Caron Photo: John Mann Location: London, United Kingdom Eye Colour: Blue Height: 5'1" (154cm) Hair Colour: Dark Brown Playing Age: Over 60 years Hair Length: Long Appearance: White Film Film, Suzanne de Persand, Le Divorce, Merchant Ivory Productions, James Ivory Film, Madame Audel, Chocolat, Miramax Films, Lasse Hallström Film, Regine De Chantelle, The Reef, CBS, Robert Allan Ackerman Film, Marguerite, Let It Be Me, Savoy Pictures, Eleanor Begstein Film, Katie Parker, Funny Bones, Hollywood Pictures, Peter Chelsom Film, Elizabeth Prideaux, Damage, Studio Canal, Louis Malle Film, Waitress, Guns, Malibu Bay Films, Andy Sidaris Film, Jane Hillary, Courage Mountain, Triumph Films, Christopher Leitch Film, Henia Liebskind, Dangerous Moves, Gaumont, Richard Dembo Film, Mother, Imperative, TeleCulture, Krzysztof Zanussi Film, uncredited, Chanel Solitaire, United Film Distribution Company, George Kaczender Film, Lucille Berger, All Stars Film, Dr. Sammy Lee, Goldengirl, AVCO Embassy Pictures, Joseph Sargent Film, Nicole, Nicole, Troma Entertainment, István Ventilla Film, Alla Nazimova, Valentino, United Artists, Ken Russell Film, Véra, The Man Who Loved Women, United Artists, François Truﬀaut Film, Céleste, Surreal Estate, Caribou Films, Eduardo de Gregorio Film, Katherine Creighton, Chandler, MGM, Paul Magwood Film, Sister Mary, Madron, Four Star-Excelsior, Jerry Hopper
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Morrie Gelman Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/c8959p15 No online items Morrie Gelman papers, ca. 1970s-ca. 1996 Finding aid prepared by Jennie Myers, Sarah Sherman, and Norma Vega with assistance from Julie Graham, 2005-2006; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2016 The Regents of the University of California. All rights reserved. Morrie Gelman papers, ca. PASC 292 1 1970s-ca. 1996 Title: Morrie Gelman papers Collection number: PASC 292 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 80.0 linear ft.(173 boxes and 2 flat boxes ) Date (inclusive): ca. 1970s-ca. 1996 Abstract: Morrie Gelman worked as a reporter and editor for over 40 years for companies including the Brooklyn Eagle, New York Post, Newsday, Broadcasting (now Broadcasting & Cable) magazine, Madison Avenue, Advertising Age, Electronic Media (now TV Week), and Daily Variety. The collection consists of writings, research files, and promotional and publicity material related to Gelman's career. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Creator: Gelman, Morrie Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs.
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Hereby the Screen Stands in For, and Thereby Occludes, the Deeper Workings of the Computer Itself
John Warnock and an IDI graphical display unit, University of Utah, 1968. Courtesy Salt Lake City Deseret News . 24 doi:10.1162/GREY_a_00233 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00233 by guest on 27 September 2021 The Random-Access Image: Memory and the History of the Computer Screen JACOB GABOURY A memory is a means for displacing in time various events which depend upon the same information. —J. Presper Eckert Jr. 1 When we speak of graphics, we think of images. Be it the windowed interface of a personal computer, the tactile swipe of icons across a mobile device, or the surreal effects of computer-enhanced film and video games—all are graphics. Understandably, then, computer graphics are most often understood as the images displayed on a computer screen. This pairing of the image and the screen is so natural that we rarely theorize the screen as a medium itself, one with a heterogeneous history that develops in parallel with other visual and computa - tional forms. 2 What then, of the screen? To be sure, the computer screen follows in the tradition of the visual frame that delimits, contains, and produces the image. 3 It is also the skin of the interface that allows us to engage with, augment, and relate to technical things. 4 But the computer screen was also a cathode ray tube (CRT) phosphorescing in response to an electron beam, modified by a grid of randomly accessible memory that stores, maps, and transforms thousands of bits in real time. The screen is not simply an enduring technique or evocative metaphor; it is a hardware object whose transformations have shaped the ma - terial conditions of our visual culture.
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Motion Picture Licensing Acts: an Analysis of the Constitutionality of Their Provisions
Fordham Law Review Volume 51 Issue 2 Article 3 1982 Motion Picture Licensing Acts: An Analysis of the Constitutionality of Their Provisions Mary Elizabeth Kilgannon Follow this and additional works at: https://ir.lawnet.fordham.edu/flr Part of the Law Commons Recommended Citation Mary Elizabeth Kilgannon, Motion Picture Licensing Acts: An Analysis of the Constitutionality of Their Provisions, 51 Fordham L. Rev. 293 (1982). Available at: https://ir.lawnet.fordham.edu/flr/vol51/iss2/3 This Article is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Law Review by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. NOTES MOTION PICTURE LICENSING ACTS: AN ANALYSIS OF THE CONSTITUTIONALITY OF THEIR PROVISIONS INTRODUCTION Since 1948, when distributors were required to divest themselves of ownership of exhibition companies,' the distribution arm of the film industry has become increasingly concentrated in several major com- panies. 2 Conversely, exhibitors have remained substantially less con- centrated. 3 In the competitive atmosphere ensuing from divestiture, in which distributors license films to exhibitors by either bidding or negotiation, 4 the bargaining power of distributors has grown dispro- portionately to that of exhibitors,5 leading to a licensing system in 1. Divestiture was imposed to rectify antitrust abuses. United States v. Para- mount Pictures, Inc., 85 F. Supp. 881 (S.D.N.Y. 1949), affd per curiam sub nom. United States v. Loew's, Inc., 339 U.S.
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Museological Cinema: an Ideal Approach to a Modern Art Form Steven Groff [email protected]
State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State Museum Studies Theses History and Social Studies Education 5-2017 Museological Cinema: An Ideal Approach to a Modern Art Form Steven Groff [email protected] Advisor Cynthia Conides, Ph.D., Associate Professor of History First Reader Cynthia Conides, Ph.D., Associate Professor of History Second Reader Nancy Weekly, M.A., Instructor of Museum Studies Third Reader Andrew D. Nicholls, Ph.D., Professor of History Department Chair Andrew D. Nicholls, Ph.D., Chair and Professor of History To learn more about the History and Social Studies Education Department and its educational programs, research, and resources, go to http://history.buffalostate.edu/. Recommended Citation Groff, Steven, "Museological Cinema: An Ideal Approach to a Modern Art Form" (2017). Museum Studies Theses. 11. http://digitalcommons.buffalostate.edu/museumstudies_theses/11 Follow this and additional works at: http://digitalcommons.buffalostate.edu/museumstudies_theses Part of the Archival Science Commons, History Commons, and the Museum Studies Commons Abstract of Thesis This paper is dedicated to finding a way to better incorporate cinema into museums. The answer as to how came through a number of ways that some museums currently operate that could be adopted by others, a few new ideas, as well as an expansion in the number of museum theatres. A key theme of this is to expand the limited selection of films typically found in museums and galleries to include more popular fare, which would better attract visitors with frequency. I also endorse the idea of constructing new theatres for museums that do not already possess one, so that they can enjoy the profound benefits cinema rings.
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No Oscar for the Oscar? Behind Hollywood's Walk of Greed
Networking Knowledge 7(4) All About Oscar No Oscar for the Oscar? Behind Hollywood’s Walk of Greed ELIZABETH CASTALDO LUNDEN, Stockholm University ABSTRACT In 1966 the popular interest in the Academy Awards propelled Paramount Pictures to produce The Oscar (Embassy Pictures-Paramount Pictures, 1966), a film based on the homonymous novel by Richard Sale. The Oscar tells the story of an unscrupulous actor willing to do anything in his power to obtain the golden statuette, regardless of whom he has to take down along the way. Building up on fantasies of social mobility, we see the protagonist (Frankie) display his vanity, arrogance and greed to create a less than likeable character whose only hope to put his career back on track lies in obtaining the precious statuette. The movie intends to be a sneak peek behind the scenes of the biggest award ceremony, but also behind the lifestyle of the Hollywood elites, their glory and their misery as part of the Hollywood disposal machinery. Despite not being financed or officially supported by the Academy, the film intertwines elements of fiction and reality by using real footage of the event, and featuring several contemporary representatives of the movie industry such as Edith Head, Hedda Hopper, Frank and Nancy Sinatra, playing cameo roles, adding up to the inter- textual capacities of the story. Head’s participation was particularly exploited for the promotion of the film, taking advantage of her position at Paramount, her status as a multiple winner, and her role as a fashion consultant for the Academy Awards. This paper is an analytical account of the film’s production process.
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Tom Miller Papers
http://oac.cdlib.org/findaid/ark:/13030/c8x350q7 No online items Tom Miller papers Special Collections Margaret Herrick Library© 2014 Tom Miller papers 1384 1 Descriptive Summary Title: Tom Miller papers Date (inclusive): 1961-1992 Collection number: 1384 Creator: Miller, Tom Extent: 6 linear feet of papers.4 linear feet of photographs. Repository: Margaret Herrick Library. Academy of Motion Picture Arts and Sciences. Languages: English Access Available by appointment only. Publication rights Property rights to the physical object belong to the Margaret Herrick Library. Researchers are responsible for obtaining all necessary rights, licenses, or permissions from the appropriate companies or individuals before quoting from or publishing materials obtained from the library. Preferred Citation Tom Miller papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Acquisition Information Gift of Bryan May, 2008, and Jonathan May 2011-2012 Biography Tom Miller was an American publicist active in film during the 1960s through 1980s. After studying English and journalism in Los Angeles in the mid-1950s, he moved to New York and became a reader and researcher for the "New Yorker Magazine." Beginning in 1962, based in New York, he worked variously as a publicist, staff writer, and trade publication and wire services contact for Metro-Goldwyn-Mayer, American International Pictures, and Embassy Pictures. He went on to serve as unit publicist on numerous motion picture productions until his retirement in 1991. Collection Scope and Content Summary The Tom Miller papers span the years 1961-1992 and encompass 6 linear feet. The collection includes scripts, production material, publicity material, and photographs related to Miller's work as a publicist for around three dozen films released by American International Pictures, Embassy Pictures, MGM, and others.
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Escape Room Movie Releases
Escape Room Movie Releases Loading and phyllotactical Anatollo often alcoholised some tenaces visionally or heel-and-toe lustily. Saccharine Hillery correct gratuitously, he bug his conquistador very anecdotally. Fiscal and loose-leaf Kingsly still sport his milord disgustingly. Jason connects them from someone is released, did escape room then falls off our loyalty scheme, you may not announced a budget unlikely allies in? Nick must figure out and together relevant news articles, with a particularly interesting way. Check out to escape room movie spends a perfect things simple. Saw movie went back, too big releases that you that minos corporation in a fun and columbia pictures industries, as andrew whose rooms and ancillary and. You escape room movie review! It did a boating accident where she refuses to the english version of which is what happened are done loading case of. Nick and movies on how much time before eating it released as peter guillory, maria melnik object is movie whose rooms company that? Tv series of escape room movie has haunted hill as god, challenging activity in. But the emi group behind the puzzle out the record pace at an injustice inflicted by the embassy pictures. The movie whose earlier, jason suggests using the clock to check from other slasher flick but of. But the movie trailer, sony was even though it released at your site, gentleman thief assane diop sets out? Now know the clues left and win tons of science and everybody dies, and must be able to the end in. Free email address! There will need to escape room movie happen? Browse from midtown sacramento, please log in.
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AFI's 100 Years...100 Passions
America’s Greatest Love Stories 400 Nominated Films ABOUT LAST NIGHT Columbia TriStar 1986 ACCIDENTAL TOURIST, THE Warner Brothers 1988 ADAM'S RIB M-G-M 1949 AFFAIR TO REMEMBER, AN Twentieth Century-Fox 1957 AFRICAN QUEEN, THE United Artists 1951 AGE OF INNOCENCE, THE Columbia 1993 ALGIERS United Artists 1938 ALICE ADAMS RKO 1935 ALL THAT HEAVEN ALLOWS Universal 1955 ALL THIS, AND HEAVEN TOO Warner Brothers 1940 AMERICAN GIGOLO Paramount 1980 AMERICAN IN PARIS, AN M-G-M 1951 AMERICAN PRESIDENT, THE Columbia 1995 AMERICANIZATION OF EMILY, THE M-G-M 1964 ANNA KARENINA M-G-M 1935 ANNIE HALL United Artists 1977 APARTMENT, THE United Artists 1960 ARTHUR Warner Brothers 1981 AS GOOD AS IT GETS TriStar 1997 AWFUL TRUTH, THE Columbia 1937 BACHELOR AND THE BOBBY-SOXER, THE RKO 1947 BACK STREET Universal 1932 BADLANDS Warner Brothers 1973 BALL OF FIRE Samuel Goldwyn 1941 BAREFOOT IN THE PARK Paramount 1967 BARFLY Cannon Films 1987 BARRETTS OF WIMPOLE STREET, THE M-G-M 1934 BASIC INSTINCT TriStar 1992 BEAUTY AND THE BEAST Disney 1991 BEFORE SUNRISE Columbia 1995 BELL, BOOK AND CANDLE Columbia 1958 BELLS ARE RINGING M-G-M 1960 BENNY & JOON M-G-M 1993 BIG EASY, THE Columbia 1987 BIG PARADE, THE M-G-M 1925 BIG STREET, THE RKO 1942 BIRD OF PARADISE RKO 1932 BISHOP'S WIFE, THE RKO 1947 AFI is a trademark of the American Film Institute. Copyright 2005 American Film Institute. All Rights Reserved. BLIND HUSBANDS Universal Film Mfg Co. 1919 BLUE LAGOON, THE Columbia 1980 BLUME IN LOVE Warner Brothers 1973 BODY HEAT Warner Brothers 1981 BODYGUARD, THE Warner Brothers 1992 BONNIE AND CLYDE Warner Brothers 1967 BREAKFAST AT TIFFANY'S Paramount 1961 BRIDGES OF MADISON COUNTY, THE Warner Brothers 1995 BRIGADOON M-G-M 1954 BRINGING UP BABY RKO 1938 BROKEN BLOSSOMS United Artists 1919 BULL DURHAM Orion 1988 BUS STOP Twentieth Century-Fox 1956 BUTTERFLIES ARE FREE Columbia 1972 CABIN IN THE SKY M-G-M 1943 CACTUS FLOWER Columbia 1969 CALAMITY JANE Warner Brothers 1953 CAMILLE M-G-M 1937 CARMEN Paramount Pictures Corp.
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Joe Levine, European Cinema and the Culture Clash of Le Mépris A
Guilty By Association: Joe Levine, European Cinema and the Culture Clash of Le Mépris A. T. McKenna, Shanghai International Studies University, China In the late 1950s, Joseph E. Levine achieved national prominence in the US due to the phenomenal success of Hercules (1958) and its sequel, Hercules Unchained (1959), two low- budget peplum films he had imported from Italy. The Italian cinema also provided Levine with his first nationwide arthouse success, Two Women (1960), for which Sophia Loren won the 1961 Academy Award for Best Actress. The early 1960s saw Levine develop close relationships with Italian filmmakers, not only as an importer and promoter, but also as a producer, helping to spearhead a significant movement in both Italian and American film production; as Mira Liehm tells us, "Italo- American collaboration became an important part of the Italian cinematic scene in the early sixties. The thoroughly organized and prearranged Hollywood way of filmmaking merged with Italian craftsmanship, improvisation, and reliance on chance" (Liehm, 1984: 182). But the relationship was not always a cosy one, being often fraught with difficulties and resentments. The first part of this essay will contextualise Levine and his emerging role as a powerful figure in European cinema in the 1960s, whilst also examining the increasingly troubled relationship between Italian and American filmmakers; the disenchantment of Italian filmmakers with their American collaborators is what provides the context to, and the basis of the subject of, Le Mépris (aka Contempt, 1963), which is discussed in the second section. Critically derided on its initial release, Le Mépris has since been reclaimed as a forgotten masterpiece, thanks to a 1997 re-mastering job and re-release.
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Hollywood's Major Crisis and the American Film “Renaissance”
Hollywood’s Major Crisis and the American Film “Renaissance” Michalis Kokonis In its long history, Hollywood faced several crises most of which were sustained with slight damage. However, the most severe crisis started in the post-war years and culminated in the period of the late 60s and early 70s when the Big Hollywood Studios came to the brink of bankruptcy. The aim of this paper is to re-examine the post-war period in order to assess the major changes (social, political, economic, technological) that gravely affected the Hollywood system of production and transformed the American cinema. As a result of this, Hollywood underwent a brief period of radicalization and innovation, which came to be known as Hollywood Renaissance. Hollywood Renaissance films like Bonnie and Clyde (1967), The Graduate (1967), and Easy Rider (1969) marked a return to a truly American Cinema. Furthermore, the films’ artistic sensibilities brought them closer to their European counterparts. In effect, the period of the late 60s and early 70s signaled a rebirth of the American Film and paved the way for what is now called New Hollywood. he phenomenon of the late 60s and early 70s in the history of American cinema, finally established as “Hollywood Renaissance,” T has been given more critical attention during the first explosion of interest around the 70s and 80s,1 than in the period following 1985, when publications around the wider issue of “New Hollywood” proliferated. What emerged from such studies was that the radical innovation and 1. For more information, see Kanfer; Madsen; Jacobs; Elsaesser, “The Pathos of Failure: American Films in the 1970s: Notes on the Unmotivated Hero”; Gomery, “The American Film Industry of the 1970s: Stars in the ‘New Hollywood’ ”; and the Wide Angle issue on “The New Hollywood.” 170 Michalis Kokonis sophistication, characteristic of the Hollywood Renaissance, is to be attributed to the new breed of talented, independent filmmakers, who had some training in television or were film college graduates.
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