DOCSLIB.ORG

But, Can He Act? See If Ashton Kutcher Gets Debunk’D in Our Review of the Guardian by Peter Sobczynski

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MOVIE TIMES | INTERVIEWS | REVIEWS | CROSSWORD & GAMES We talk to Christian Volckman, Ugly whose new film just like you: Renaissance America Ferrera isn’t nearly stars in the as animated new TV show as you might Ugly Betty have heard… produced by none other than Ms. Salma Hayek But, can he act? See if Ashton Kutcher gets Debunk’d in our review of The Guardian by Peter Sobczynski We Are Scientists experiment with new sounds, new tours, new albums, and… Gila monsters?! See what frontman Keith Murray has to say about all this nonsense || SEPTEMBER 29-OCTOBER 5, 2006 ENTERTAINMENT TODAY a “Sensational!” WMK Productions, Inc. Presents —Chicago Tribune “A joyous celebration Three Mo’ Tenors that blows the roof off the house!” Fri.–Sat., Oct. 6–7, 8 pm —Boston Herald Three Mo’ Tenors, the highly acclaimed music sensation, returns to the Cerritos Center for the Performing Arts. This talented trio of African-American opera singers belts out Broadway’s best, and performs heaven-sent Gospel music in a concert event for the entire family. Tickets: $63/$50/$42 Friday $67/$55/$45 Saturday Conceived and Directed by Marion J. Caffey Call (562) 467-8804 today to reserve your seats or go on-line to www.cerritoscenter.com. The Center is located directly off the 91 freeway, 20 minutes east of downtown Long Beach, 15 minutes west of Anaheim, and 30 minutes southeast of downtown Los Angeles. Parking is free. Your Favorite Entertainers, Your Favorite Theater . || ENTERTAINMENT TODAY SEPTEMBER 29-OCTOBER 5, 2006 ENTERTAINMENTVOL. 38|NO. 51|SEPTEMBER 29-OCTOBER 5, 2006 TODAYINCE S 1967 PUBLISHER KRIS CHIN MANAGING EDITOR CECILIA TSAI EDITOR MATHEW KLICKSTEIN PRODUCTION DAVID TAGARDA GRAPHICS CONSULTANT AMAZING GRAPHICS TECHNICAL SUPERVISOR KATSUYUKI UENO WRITERS JESSE ALBA JOHN BARILONE FRANK BARRON KATE E. BROOKS JULIAN CAMILLIERI JOHN CRUMLISH WARREN CURRY ERIK DAVIS BROOKE DAMMKOEHLER CLAYSON DEBURGER JOSEPH FEINSTEIN SHIRLEY FIRESTONE JANOS GEREBEN KEVIN GILL MICHAEL GUILLÉN ORMLY GUMFUDGIN JONATHAN W. HICKMAN TRAVIS MICHAEL HOLDER KAT KRAMER LINDSAY KUHN M. Y. LEE MICHAEL LEVINE ERIC LURIO RUBEN MACBLUE SCOTT MANTZ TONY MEDLEY 5 UGLY BETTY DAWN MILLER 15 THE GUARDIAN MARIANNE MORO MIKE RESTAINO INDEX SEAN REYNOLDS CARMEN KARTINI ROHDE RICA ROMERO ANNIE ROLLINS 16 INTERVIEW WITH FILMMAKER CHRISTIAN VOLCKMAN BRAD SCHREIBER AARON SHELEY Michael Guillén chats with Volckman, whose Renaissance is gaining buzz across the board as a work that STEVEN SNYDER PETER SOBCZYNSKI boasts stunning visuals born of an intricate process that the director refuses to call “animation.” BILLIE STONE JOSEPH TRINH WIN-SIE TOW KIM VOYNAR MARCI WEINER MUSIC MOVIES RUSTY WHITE 10 They’re not really scientists: Jon Barilone chats with Keith Murray 18 Stop the hating: Forest Whitaker shows us all that even ruth- JONATHAN ZEITLIN of We Are Scientists; Super Mario Brothers finally in the classical less tyrant Idi Amin wasn’t all bad in The Last King of Scotland; CARTOONISTS spotlight: Joseph Trinh checks out Video Games Live at the Hol- Zedis Lapedis!: Yes, there’s an actual camp that kids can go PHIL CHO lywood Bowl, a night of video game music...played by an orchestra; to in order to become the next Billy Graham, and Jonathan MARK DARCOURT God only knows: Brad Auerbach reviews the 40th Anniversary DREW-MICHAEL W. Hickman has a word or two about its documentary; Kill yr ANNIE ROLLINS Edition of the Beach Boys’ Pet Sounds. idols: Jonathan Zeitlin finds out exactly how and why punk PHOTOGRAPHER rock died in the new documentary American Hardcore; Downey DREW RESSLER JOHN NGUYEN THEATER does Dito: Jon Barilone reviews A Guide to Recognizing Your 4 Fly, fly, fly: Joseph N. Feinstein reviews Sonia Flew at the Laguna Saints; PLUS: Mike Restaino’s DVD Reviews and Art Film of COMMUNICATIONS CONSULTANT THE WEBSTER GROUP Playhouse; Go ask Alice: Travis M. Holder reviews The Rabbit the Week with Aaron Sheley. Hole. SALES KIRT KISHITA ART CIRCULATION SUPERVISOR FOOD 6 Colony of ants?: The LA River Art Commune presents a series DANIEL ESPINOSA 8 Wagons West: Joseph Feinstein samples West at the Hotel of new paintings, and Lindsay Kuhn braves her way inside. EXECUTIVE OFFICE Angeleno. 2325 WEST VICTORY BLVD, SUITE 5 BURBANK, CA 91506-1226 TELEVISION OFFICE (818) 566-4030 Fax (818) 566-4295 6 Thanks for the memories: Some of television and film’s favorite 5 GOSSIP GUY with Erik Davis veterans are coming back to the small screen, and Frank Barron www.EntertainmentTodayOnline.com makes sure they can still hold water. 9 WEEKLY SPORTS WRAP-UP with Joseph Trinh Please send all LETTERS TO THE EDITOR to: 24 MOVIE TIMES & THEATER LOCATIONS Mathew Klickstein, Editor 9 WARMLY, ORMLY with Ormly Gumfudgin ENTERTAINMENT TODAY 27 EVENT LISTINGS Property of Entertainment Today. Reproduction without written consent is prohibited. All rights reserved. The views of the reviewers and writers of this publication are their own, and do not necessarily reflect those of 30-31 FROLICSOME FUN the management of Entertainment Today. ©2006 Professor Klickberg’s Insuperable Crossword Puzzle, Lady Katsura and Suki Yaki’s Astrological Forecast, Sudoku, and Comics. || SEPTEMBER 29-OCTOBER 5, 2006 ENTERTAINMENT TODAY by Joseph N. Feinstein Chris Webb added greatly to the drama and angst being enacted on Significant, meaningful dia- the stage. logue, distinguished performances, Lamont by Michael Photo and a talented cast all combine to Much of the strength of the make Sonia Flew at the Laguna play lies in what is not said: the Playhouse a most poignant play. word pictures and the feelings and meanings implied. The viewer The story tells of the dilem- takes the protagonist’s life experi- mas that arise in an ences, examines them, interfaith family when and slowly begins the Christian mother, to see why she has admirably played become the person by Judith Delgado, we discover on stage. decides she will not Another writer who light the Friday night succeeded at this was Shabbat candles that a guy named Wil- her husband, believ- liam Shakespeare. ably portrayed by Ms. Carrillo does Matt Gottlieb, has this character devel- requested in honor Marissa Chibas in Sonia Flew. opment with great of his father’s visit. skill. Sonia has just been informed by their son, Zach (Christian Barillas), At the end of the play, one “You forget it every once in a while...Sometimes, it’s kinda…what you have instead of your son, so you don’t want to let go of it either.” that he plans to join the Marines wonders if Sonia flew, or was she and expects to take an active part simply left to fly by erring parents by Travis Michael Holder whose own life will never be the same can crawl out from under and carry in the fighting. who deserve never to be forgiven? subsequent to Becca and Howie’s around like a brick in your pocket. You decide. P This has been a disappointing year son running into the street after You forget it every once in a while, but The history of Sonia’s life so far for theatre in our reclaimed des- the family dog—this could be the then you reach in for whatever reason, sweeps into her consciousness, Sonia Flew ert oasis, but, thank Terpsichore, the ensemble cast of the year in LA, led and there it is, which can be awful, and she begins to have renewed end of 2006 proves redemptive with with exquisite simplicity and palpable but not all the time. Sometimes it’s realizations of her past in Cuba Laguna Playhouse 606 Laguna Culture Clash’s Water & Power at the affection by director Carolyn Cantor, kinda…what you have instead of your that become the material for Act Canyon Rd. Laguna Tel. 949- Taper, the Edward Hopper-inspired who actually helmed the first reading son, so you don’t want to let go of it 2 of the play. In this Act, we come 497-2787, X-1 Nighthawks at the Douglas, and now of the play at SRC several years ago. either. So you carry it around, and it to understand the reasons for her David Lindsay-Abaire’s lyrical Rabbit Even as the play opens, with Becca doesn’t go away, which is…” attitudes and actions as we are Time: Two hours Playing until Hole at the Geffen. Although origi- sitting in her living room folding her made aware of her very sad life. Oct. 15 Tues. – Sat. @ 8:00 p.m.; nally commissioned by South Coast son’s clothes to donate to Goodwill, “What?” Becca asks. The incidental music created by Sat. & Sun. @ 2:00 p.m. Rep, this gently dynamic new play never does Cantor let the proceedings debuted at Manhattan Theatre Club slide into melodrama—as a matter of “Fine, actually.” earlier this year, resulting in three fact, without prior knowledge of the Drama League and five Tony nomi- storyline, it would be easy to assume I defy anyone not to have a tear nations. It’s a fascinating departure the boy is still just offstage ready to in your eye and a lump in your throat for Lindsay-Abaire, whose bizarrely slip into those trendy little T-shirts after the ambrosial Van Patten deliv- wonderful Fuddy Meers, Kimberly and jeans placed lovingly in a pile on ers that one incredibly straightfor- Akimbo, and Wonder of the World have the coffee table. ward, incredibly moving 11th-hour heralded him as one of our best—and speech; anyone who has ever coped quirkiest—new playwrights. It takes a couple of scenes before with death will understand it well the depth of Becca’s sorrow and the and surely find comfort in its sage As hilariously unpredictable as extent of how much her tragedy wisdom.
Recommended publications
  • Transgender Representation on American Narrative Television from 2004-2014

    Transgender Representation on American Narrative Television from 2004-2014

    TRANSJACKING TELEVISION: TRANSGENDER REPRESENTATION ON AMERICAN NARRATIVE TELEVISION FROM 2004-2014 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Kelly K. Ryan May 2021 Examining Committee Members: Jan Fernback, Advisory Chair, Media and Communication Nancy Morris, Media and Communication Fabienne Darling-Wolf, Media and Communication Ron Becker, External Member, Miami University ABSTRACT This study considers the case of representation of transgender people and issues on American fictional television from 2004 to 2014, a period which represents a steady surge in transgender television characters relative to what came before, and prefigures a more recent burgeoning of transgender characters since 2014. The study thus positions the period of analysis as an historical period in the changing representation of transgender characters. A discourse analysis is employed that not only assesses the way that transgender characters have been represented, but contextualizes American fictional television depictions of transgender people within the broader sociopolitical landscape in which those depictions have emerged and which they likely inform. Television representations and the social milieu in which they are situated are considered as parallel, mutually informing discourses, including the ways in which those representations have been engaged discursively through reviews, news coverage and, in some cases, blogs. ii To Desmond, Oonagh and Eamonn For everything. And to my mother, Elaine Keisling, Who would have read the whole thing. iii ACKNOWLEDGMENTS Throughout the research and writing of this dissertation, I have received a great deal of support and assistance, and therefore offer many thanks. To my Dissertation Chair, Jan Fernback, whose feedback on my writing and continued support and encouragement were invaluable to the completion of this project.
  • INSOMNIA Al Pacino. Robin Williams. Hilary Swank. Maura Tierney

    INSOMNIA Al Pacino. Robin Williams. Hilary Swank. Maura Tierney

    INSOMNIA Al Pacino. Robin Williams. Hilary Swank. Maura Tierney. Martin Donovan. Nicky Katt. Paul Dooley. Jonathan Jackson. Larry Holden. Katherine Isabelle. Oliver "Ole" Zemen. Jay Brazeau. Lorne Cardinal. James Hutson. Andrew Campbell. Paula Shaw. Crystal Lowe. Tasha Simms. Malcolm Boddington. Kerry Sandomirsky. Chris Guthior. Ian Tracey. Kate Robbins. Emily Jane Perkins. Dean Wray. INVINCIBLE Tim Roth. Jouko Ahola. Anna Gourari. Jacob Wein. Max Raabe. Gustav Peter Wöhler. Udo Kier. Herbert Golder. Gary Bart. Renate Krössner. Ben-Tzion Hershberg. Rebecca Wein. Raphael Wein. Daniel Wein. Chana Wein. Guntis Pilsums. Torsten Hammann. Jurgis Krasons. Klaus Stiglmeier. James Reeves. Ulrich Bergfelder. Jakov Rafalson. Leva Aleksandrova. Natalie Holtom. Karin Kern. Amanda Lawford. Francesca Marino. Beatrix Reiterer. Adrianne Richards. Sabine Schreitmiller. Kristy Wone. Rudolph Herzog. Les Bubb. Tina Bordhin. Sylvia Vas. Hans-Jürgen Schmiebusch. Joachim Paul Assböck. Alexander Duda. Klaus Haindl. Hark Bohm. Anthony Bramall. André Hennicke. Ilga Martinsone. Valerijs Iskevic. Juris Strenga. Grigorij Kravec. James Mitchell. Milena Gulbe. ITALIAN FOR BEGINNERS Anders W. Berthelson. Anette Støvelbaek. Peter Gantzler. Ann Eleonora Jørgensen. Lars Kaalund. Karen-Lise Mynster. Rikke Wölck. Elsebeth Steentoft. Sara Indrio Jensen. Bent Mejding. Claus Gerving. Jesper Christensen. Carlo Barsotti. Lene Tiemroth. Alex Nyborg Madsen. Steen Svare Hansen. Susanne Oldenburg. Martin Brygmann. IVANSXTC. Danny Huston. Peter Weller. Lisa Enos. Joanne Duckman. Angela Featherstone. Caroleen Feeney. Valeria Golino. Adam Krentzman. Heidi Jo Markel. James Merendino. Tiffani-Amber Thiessen. Morgan Vukovic. Crystal Atkins. Alex Butler. Robert Graham. Marilyn Heston. Courtney Kling. Hal Lieberman. Carol Rose. Victoria Silvstedt. Alison Taylor. Vladimir Tuchinsky. Camille Alick. Bobby Bell. Pria Chattergee. Dino DeConcini. Steve Dickman. Sofia Eng. Sarah Goldberg.
  • The Analysis of Transition in Woman Social Status—Comparing Cinderella with Ugly Betty

    The Analysis of Transition in Woman Social Status—Comparing Cinderella with Ugly Betty

    ISSN 1798-4769 Journal of Language Teaching and Research, Vol. 1, No. 5, pp. 746-752, September 2010 © 2010 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/jltr.1.5.746-752 The Analysis of Transition in Woman Social Status—Comparing Cinderella with Ugly Betty Tiping Su Huaiyin Normal University, Huai’an, China Email: [email protected] Qinyi Xue Huaiyin Normal University, Huai’an, China Email: [email protected] Abstract—Cinderella, a perfect fairly tale girl has been widely known to the world. Its popularity reveals the universal Cinderella Complex hidden behind the woman status. My thesis focuses its attention on the transition in woman status. First, it looks into the Cinderella paradigm as well as its complex in reality. Second, it finds the transcendence in modern Cinderella. The last part pursues the development of women status’ improvement. In current study, seldom people make comparisons between Cinderella and Ugly Betty. With its comparison and the exploration of feminism, it can be reached that woman status have been greatly improved under the influence of different factors like economic and political. And as a modern woman lives in the new century, she has to be independent in economy and optimistic in spirit. Index Terms—Cinderella Complex, Ugly Betty, feminist movement, feminine consciousness, women status I. INTRODUCTION Cinderella, a beautiful fairy tale widely known around the world, has become a basic literary archetype in the world literature. Its popularity reveals the universal Cinderella Complex hidden behind the human’s consciousness. With the development of feminine, women came to realize their inner power and the meaning of life.
  • Building Community by Producing Honk! Jr., a Musical Based on the Glu Y Duckling Heidi Louise Jensen

    Building Community by Producing Honk! Jr., a Musical Based on the Glu Y Duckling Heidi Louise Jensen

    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Theses Student Research 5-1-2013 Two hundred year old lesson in bullying: building community by producing Honk! Jr., a musical based on The glU y Duckling Heidi Louise Jensen Follow this and additional works at: http://digscholarship.unco.edu/theses Recommended Citation Jensen, Heidi Louise, "Two hundred year old lesson in bullying: building community by producing Honk! Jr., a musical based on The Ugly Duckling" (2013). Theses. Paper 38. This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2013 HEIDI LOUISE JENSEN ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School A TWO HUNDRED YEAR OLD LESSON IN BULLYING: BUILDING COMMUNITY BY PRODUCING HONK! JR., A MUSICAL BASED ON “THE UGLY DUCKLING” A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts Heidi Louise Jensen College of Performing and Visual Arts School of Theatre Arts and Dance Theatre Education May 2013 This Thesis by: Heidi Louise Jensen Entitled: A Two Hundred Year Old Lesson in Bullying: Building Community by Producing HONK! Jr., A Musical Based on “The Ugly Duckling”. has been approved as meeting the requirement for the Degree of Master of Arts in College of Performing and Visual Arts in School of Theatre and Dance, Program of Theatre Educator Intensive Accepted by the Thesis Committee _______________________________________________________ Gillian McNally, Associate Professor, M.F.A., Chair, Advisor _______________________________________________________ Mary J.
  • By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy

    By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy

    A MODERN FAMILY: THE PERFORMANCE OF “FAMILY” AND FAMILIALISM IN CONTEMPORARY TELEVISION SERIES by Jennifer M. Fogel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in The University of Michigan 2012 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Regina Morantz-Sanchez Associate Professor Bambi L. Haggins, Arizona State University © Jennifer M. Fogel 2012 ACKNOWLEDGEMENTS I owe my deepest gratitude to the members of my dissertation committee – Dr. Susan J. Douglas, Dr. Bambi L. Haggins, and Dr. Regina Morantz-Sanchez, who each contributed their time, expertise, encouragement, and comments throughout this entire process. These women who have mentored and guided me for a number of years have my utmost respect for the work they continue to contribute to our field. I owe my deepest gratitude to my advisor Dr. Amanda D. Lotz, who patiently refused to accept anything but my best work, motivated me to be a better teacher and academic, praised my successes, and will forever remain a friend and mentor. Without her constructive criticism, brainstorming sessions, and matching appreciation for good television, I would have been lost to the wolves of academia. One does not make a journey like this alone, and it would be remiss of me not to express my humble thanks to my parents and sister, without whom seven long and lonely years would not have passed by so quickly. They were both my inspiration and staunchest supporters. Without their tireless encouragement, laughter, and nurturing this dissertation would not have been possible.
  • October 21St 2013

    October 21St 2013

    California State University, San Bernardino CSUSB ScholarWorks Coyote Chronicle (1984-) Arthur E. Nelson University Archives 10-21-2013 October 21st 2013 CSUSB Follow this and additional works at: https://scholarworks.lib.csusb.edu/coyote-chronicle Recommended Citation CSUSB, "October 21st 2013" (2013). Coyote Chronicle (1984-). 113. https://scholarworks.lib.csusb.edu/coyote-chronicle/113 This Newspaper is brought to you for free and open access by the Arthur E. Nelson University Archives at CSUSB ScholarWorks. It has been accepted for inclusion in Coyote Chronicle (1984-) by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. Vol. XLVII, No. 4 COYOTECHRONICLE.NET THE INDEPENDENT STUDENT VOICE OF CALIFORNIA STATE UNIVERSITY, SAN BERNARDINO SINCE 1965 MONDAY, OCTOBER 21, 2013 Coyote Chronicle 05 10 08 14 Laziness gets in the CSUSB celebrates 18th Student artist illustrates Intramural Volleyball way of knowledge annual Pow Wow her style on campus now available! By DANIEL DEMARCO McConnell (Republican leader for Kentucky). Staff Writer Both the Senate and the House of Repre- sentatives approved the plan. On Oct. 16, 2013, President Barack According to Aljazeera, the Senate passed Obama signed a deal passed by Congress, end- the deal by 81 votes to 18 and the House passed ing the partial government shutdown. it, 285 votes to 144. Cutting it very close, Obama offi cially The shutdown began on Oct. 1, when Re- Shutdown signed the deal around 9:30 p.m. the night be- publicans refused to agree to temporary gov- fore the country lost its ability to continue bor- ernment funding which would push the debt rowing money.
  • 52 Officially-Selected Pilots and Series

    52 Officially-Selected Pilots and Series

    WOMEN OF COLOR, LATINO COMMUNITIES, MILLENNIALS, AND LESBIAN NUNS: THE NYTVF SELECTS 52 PILOTS FEATURING DIVERSE AND INDEPENDENT VOICES IN A MODERN WORLD *** As Official Artists, pilot creators will enjoy opportunities to pitch, network with, and learn from executives representing the top networks, studios, digital platforms and agencies Official Selections – including 37 World Festival Premieres – to be screened for the public from October 23-28; Industry Passes now on sale [NEW YORK, NY, August 15, 2017] – The NYTVF (www.nytvf.com) today announced the Official Selections for its flagship Independent Pilot Competition (IPC). 52 original television and digital pilots and series will be presented for industry executives and TV fans at the 13th Annual New York Television Festival, October 23-28, 2017 at The Helen Mills Theater and Event Space, with additional Festival events at SVA Theatre. This includes 37 World Festival Premieres. • The slate of in-competition projects represents the NYTVF's most diverse on record, with 56% of all selected pilots featuring persons of color above the line, and 44% with a person of color on the core creative team (creator, writer, director); • 71% of these pilots include a woman in a core creative role - including 50% with a female creator and 38% with a female director (up from 25% in 2016, and the largest number in the Festival’s history); • Nearly a third of selected projects (31%) hail from outside New York or Los Angeles, with international entries from the U.K., Canada, South Africa, and Israel; • Additionally, slightly less than half (46%) of these projects enter competition with no representation.
  • 1997 Sundance Film Festival Awards Jurors

    1997 Sundance Film Festival Awards Jurors

    1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J.
  • 'Perfect Fit': Industrial Strategies, Textual Negotiations and Celebrity

    'Perfect Fit': Industrial Strategies, Textual Negotiations and Celebrity

    ‘Perfect Fit’: Industrial Strategies, Textual Negotiations and Celebrity Culture in Fashion Television Helen Warner Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Film and Television Studies Submitted July 2010 ©This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author's prior, written consent. Helen Warner P a g e | 2 ABSTRACT According to the head of the American Costume Designers‟ Guild, Deborah Nadoolman Landis, fashion is emphatically „not costume‟. However, if this is the case, how do we approach costume in a television show like Sex and the City (1998-2004), which we know (via press articles and various other extra-textual materials) to be comprised of designer clothes? Once onscreen, are the clothes in Sex and the City to be interpreted as „costume‟, rather than „fashion‟? To be sure, it is important to tease out precise definitions of key terms, but to position fashion as the antithesis of costume is reductive. Landis‟ claim is based on the assumption that the purpose of costume is to tell a story. She thereby neglects to acknowledge that the audience may read certain costumes as fashion - which exists in a framework of discourses that can be located beyond the text. This is particularly relevant with regard to contemporary US television which, according to press reports, has witnessed an emergence of „fashion programming‟ - fictional programming with a narrative focus on fashion.
  • Zathura: a Space Adventure

    Zathura: a Space Adventure

    An intergalactic world of wonder is waiting just outside your front door in Columbia Pictures' heart-racing sci-fi family film Zathura: A Space Adventure. Zathura: A Space Adventure is the story of two squabbling brothers who are propelled into deepest, darkest space while playing a mysterious game they discovered in the basement of their old house. Now, they must overcome their differences and work together to complete the game or they will be trapped in outer space forever. SYNOPSIS After their father ( Tim Robbins ) leaves for work, leaving them in the care of their older sister ( Kristen Stewart ), six year-old Danny ( Jonah Bobo ) and ten-year old Walter ( Josh Hutcherson ) either get on each other‘s nerves or are totally bored. When their bickering escalates and Walter starts chasing him, Danny hides in a dumbwaiter. But Walter surprises him, and in retaliation, lowers Danny into their dark, scary basement, where he discovers an old tattered metal board game, —Zathura.“ After trying unsuccessfully to get his brother to play the game with him, Danny starts to play on his own. From his first move, Danny realizes this is no ordinary board game. His spaceship marker moves by itself and when it lands on a space, a card is ejected, which reads: —Meteor shower, take evasive action.“ The house is immediately pummeled from above by hot, molten meteors. When Danny and Walter look up through the gaping hole in their roof, they discover, to their horror, that they have been propelled into deepest, darkest outer space. And they are not alone.
  • White Ball-Breaking As Surplus Masculinity in Jackass

    White Ball-Breaking As Surplus Masculinity in Jackass

    College of Saint Benedict and Saint John's University DigitalCommons@CSB/SJU English Faculty Publications English 2015 The Leisured Testes: White Ball-breaking as Surplus Masculinity in Jackass Christina M. Tourino College of Saint Benedict/Saint John's University, [email protected] Follow this and additional works at: https://digitalcommons.csbsju.edu/english_pubs Part of the Film and Media Studies Commons, and the Gender and Sexuality Commons Recommended Citation Tourino, Christina M., "The Leisured Testes: White Ball-breaking as Surplus Masculinity in Jackass" (2015). English Faculty Publications. 21. https://digitalcommons.csbsju.edu/english_pubs/21 © 2015 Wiley Periodicals, Inc The Leisured Testes: White Ball-breaking as Surplus Masculinity in Jackass In Jackass: Number Two (2006), Bam Margera allows Ryan Dunn to brand his posterior with a hot iron depicting male genitalia. Bam cannot tolerate the pain enough to remain perfectly still, so the brand touches him several times, resulting in multiple images that seem blurry or in motion. Bam’s mother, who usually plays the role of game audience for his antics, balks when she learns that her son has been hurt as well as permanently marked. She asks Dunn why anyone would ever burn a friend. “Cause it was funny,” Dunn answers.1 Jackass mines the body in pain as well as the absurd and the taboo, often dealing with one or more of the body’s abject excretions. Jackass offers no compelling narrative arc or cliffhangers, presenting instead a series of discrete segments that explore variations on the singular eponymous focus of the show: playing the fool. This deliberate idiocy is the show’s greatest strength, and its excesses seem calculated to repeatedly provide the viewer with a mix of schadenfreude, horror, and disbelief.
  • Daily Eastern News: March 28, 2003 Eastern Illinois University

    Daily Eastern News: March 28, 2003 Eastern Illinois University

    Eastern Illinois University The Keep March 2003 3-28-2003 Daily Eastern News: March 28, 2003 Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/den_2003_mar Recommended Citation Eastern Illinois University, "Daily Eastern News: March 28, 2003" (2003). March. 14. http://thekeep.eiu.edu/den_2003_mar/14 This Article is brought to you for free and open access by the 2003 at The Keep. It has been accepted for inclusion in March by an authorized administrator of The Keep. For more information, please contact [email protected]. "Thll the troth March28,2003 + FRIDAY and don't be afraid. • VO LUME 87 . NUMBER 123 THE DA ILYEASTERN NEWS . COM THE DAILY Four for 400 Eastern baseball team has four chances this weekend to earn head coach Jim EASTERN NEWS <:rlh....,,t n his 400th career Student fees may be hiked • Fees may raise $70 next semester By Avian Carrasquillo STUDENT GOVERNMENT ED ITOR If approved students can expect to pay an extra $70.55 in fees per semester. The Student Senate Thition and Fee Review Committee met Thursday to make its final vote on student fees for next year. Following the committee's approval, the fee proposals must be approved by the Student Senate, vice president for student affairs, the President's Council and Eastern's Board of Trustees. The largest increase of the fees will come in the network fee, which will increase to $48 per semester to fund a 10-year network improvement project. The project, which could break ground as early as this summer would upgrade the campus infra­ structure for network upgrades, which will Tom Akers, head coach of Eastern's track and field team, watches high jumpers during practice Thursday afternoon.