Americans in Paris, Fall 2010
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Leslie Caron
COUNCIL FILE NO. t)q .~~f7:; COUNCIL DISTRICT NO. 13 APPROVAL FOR ACCELERATED PROCESSING DIRECT TO CITY COUNCIL The attached Council File may be processed directly to Council pursuant to the procedure approved June 26, 1990, (CF 83-1075-81) without being referred to the Public Works Committee because the action on the file checked below is deemed to be routine and/or administrative in nature: -} A. Future Street Acceptance. -} B. Quitclaim of Easement(s). -} C. Dedication of Easement(s). -} D. Release of Restriction(s) . ..10 E. Request for Star in Hollywood Walk of Fame. -} F. Brass Plaque(s) in San Pedro Sport Walk. -} G. Resolution to Vacate or Ordinance submitted in response to Council action. -} H. Approval of plans/specifications submitted by Los Angeles County Flood Control District. APPROVAL/DISAPPROVAL FOR ACCELERATED PROCESSING: APPROVED DISAPPROVED* Council Office of the District Public Works Committee Chairperson 'DISAPPROVED FILES WILL BE REFERRED TO THE PUBLIC WORKS COMMITTEE. Please return to Council Index Section, Room 615 City Hall City Clerk Processing: Date notice and report copy mailed to interested parties advising of Council date for this item. Date scheduled in Council. AFTER COUNCIL ACTION: ___ -f} Send copy of adopted report to the Real Estate Section, Development Services Division, Bureau of Engineering (Mail Stop No. 515) for further processing. __ ---J} Other: . .;~ ';, PLEASE DO NOT DETACH THIS APPROVAL SHEET FROM THE COUNCIL FILE ACCELERATED REVIEW PROCESS - E Office of the City Engineer Los Angeles California To the Honorable Council Of the City of Los Angeles NOV 242009 Honorable Members: C. D. No. 13 SUBJECT: Hollywood Boulevard and Vine Street - Walk of Fame Additional Name in Terrazzo Sidewalk- LESLIE CARON RECOMMENDATIONS: A. -
James Ivory in France
James Ivory in France James Ivory is seated next to the large desk of the late Ismail Merchant in their Manhattan office overlooking 57th Street and the Hearst building. On the wall hangs a large poster of Merchant’s book Paris: Filming and Feasting in France. It is a reminder of the seven films Merchant-Ivory Productions made in France, a source of inspiration for over 50 years. ....................................................Greta Scacchi and Nick Nolte in Jefferson in Paris © Seth Rubin When did you go to Paris for the first time? Jhabvala was reading. I had always been interested in Paris in James Ivory: It was in 1950, and I was 22. I the 1920’s, and I liked the story very much. Not only was it my had taken the boat train from Victoria Station first French film, but it was also my first feature in which I in London, and then we went to Cherbourg, thought there was a true overall harmony and an artistic then on the train again. We arrived at Gare du balance within the film itself of the acting, writing, Nord. There were very tall, late 19th-century photography, décor, and music. apartment buildings which I remember to this day, lining the track, which say to every And it brought you an award? traveler: Here is Paris! JI: It was Isabelle Adjani’s first English role, and she received for this film –and the movie Possession– the Best Actress You were following some college classmates Award at the Cannes Film Festival the following year. traveling to France? JI: I did not want to be left behind. -
Carol Ramsey
CAROL RAMSEY Costume Designer Selected Features: DADDY’S HOME 2 - Paramount - Sean Anders, director CENTRAL INTELLIGENCE - New Line Cinema - Rawson Marshall Thurber, director DADDY’S HOME - Paramount - Sean Anders, director HORRIBLE BOSSES 2 - New Line Cinema - Sean Anders, director IDENTITY THIEF - Universal - Seth Gordon, director HORRIBLE BOSSES - New Line Cinema - Seth Gordon, director THE OTHER GUYS - Columbia/Mosaic - Adam McKay, director THE CITY OF YOUR FINAL DESTINATION - Merchant/Ivory - James Ivory, director DECK THE HALLS - 20th Century Fox - John Whitesell, director STICK IT - Disney - Jessica Bendinger, director MEET THE FOCKERS - Universal - Jay Roach, director DODGE BALL: A TRUE UNDERDOG STORY - Red Hour/Fox - Rawson Thurber, director SCARY MOVIE 3 - Dimension Films - David Zucker, director BAD BOYS 2 (shared credit) - Columbia - Michael Bay, director LE DIVORCE - Merchant-Ivory - James Ivory, director TUCK EVERLASTING - Disney/Beacon - Jay Russell, director A SOLDIER'S DAUGHTER NEVER CRIES - Merchant-Ivory - James Ivory, director JUNGLE 2 JUNGLE - Buena Vista - John Pasquin, director SURVIVING PICASSO - Warner Bros. - James Ivory, director THE SANTA CLAUSE - Hollywood Pictures - John Pasquin, director FOREIGN STUDENT - Universal - Eva Sereny, director DRAGON: THE BRUCE LEE STORY - Universal - Rob Cohen, director CROSSING THE BRIDGE - Outlaw Productions - Mike Binder, director DON’T TELL MOM THE BABYSITTER’S DEAD - Outlaw Productions – Stephen Herek, director MR. AND MRS. BRIDGE - Miramax - James Ivory, director KING OF -
Video-Windows-Grosse
THEATRICAL VIDEO ANNOUNCEMENT TITLE VIDEO RELEASE VIDEO WINDOW GROSS (in millions) DISTRIBUTOR RELEASE ANNOUNCEMENT WINDOW DISNEY Fantasia/2000 1/1/00 8/24/00 7 mo 23 Days 11/14/00 10 mo 13 Days 60.5 Disney Down to You 1/21/00 5/31/00 4 mo 10 Days 7/11/00 5 mo 20 Days 20.3 Disney Gun Shy 2/4/00 4/11/00 2 mo 7 Days 6/20/00 4 mo 16 Days 1.6 Disney Scream 3 2/4/00 5/13/00 3 mo 9 Days 7/4/00 5 mo 89.1 Disney The Tigger Movie 2/11/00 5/31/00 3 mo 20 Days 8/22/00 6 mo 11 Days 45.5 Disney Reindeer Games 2/25/00 6/2/00 3 mo 8 Days 8/8/00 5 mo 14 Days 23.3 Disney Mission to Mars 3/10/00 7/4/00 3 mo 24 Days 9/12/00 6 mo 2 Days 60.8 Disney High Fidelity 3/31/00 7/4/00 3 mo 4 Days 9/19/00 5 mo 19 Days 27.2 Disney East is East 4/14/00 7/4/00 2 mo 16 Days 9/12/00 4 mo 29 Days 4.1 Disney Keeping the Faith 4/14/00 7/4/00 2 mo 16 Days 10/17/00 6 mo 3 Days 37 Disney Committed 4/28/00 9/7/00 4 mo 10 Days 10/10/00 5 mo 12 Days 0.04 Disney Hamlet 5/12/00 9/18/00 4 mo 6 Days 11/14/00 6 mo 2 Days 1.5 Disney Dinosaur 5/19/00 10/19/00 5 mo 1/30/01 8 mo 11 Days 137.7 Disney Shanghai Noon 5/26/00 8/12/00 2 mo 17 Days 11/14/00 5 mo 19 Days 56.9 Disney Gone in 60 Seconds 6/9/00 9/18/00 3 mo 9 Days 12/12/00 6 mo 3 Days 101.6 Disney Love’s Labour’s Lost 6/9/00 10/19/00 4 mo 10 Days 12/19/00 6 mo 10 Days 0.2 Disney Boys and Girls 6/16/00 9/18/00 3 mo 2 Days 11/14/00 4 mo 29 Days 21.7 Disney Disney’s The Kid 7/7/00 11/28/00 4 mo 21 Days 1/16/01 6 mo 9 Days 69.6 Disney Scary Movie 7/7/00 9/18/00 2 mo 11 Days 1212/00 5 mo 5 Days 157 Disney Coyote Ugly 8/4/00 11/28/00 3 -
The White Countess
Mongrel Media Presents THE WHITE COUNTESS A Film By James Ivory (2005, USA, 135 minutes) Distribution 1028 Queen Street West Toronto, Ontario, Canada, M6J 1H6 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] www.mongrelmedia.com Publicity Bonne Smith Star PR Tel: 416-488-4436 Fax: 416-488-8438 E-mail: [email protected] High res stills may be downloaded from http://www.mongrelmedia.com/press.html THE WHITE COUNTESS Brief Synopsis Shanghai, 1936 was a crossroads for political intrigue, refugees escaping turmoil, gathering military forces, international business, and underworld culture. Two people caught in this maelstrom forge a bond on the brink of the Japanese invasion: a beautiful Russian countess, reduced by circumstances to supporting her family as a bar girl and taxi dancer; and a blind former diplomat, devastated by the loss of his family in political violence and disillusioned by the world’s inability to make peace. The story revolves around “The White Countess,” the elegant nightclub created by the diplomat to shut out the chaos and tragedy that surround him. 2 Principal Cast Jackson Ralph Fiennes Sofia Natasha Richardson Aunt Sara Vanessa Redgrave Olga Lynn Redgrave Greshenka Madeleine Potter Uncle Peter John Wood Katya Madeleine Daly Matsuda Hiroyuki Sanada Samuel Allan Corduner Liu Luoyong Wang Principal Crew Director James Ivory Producer Ismail Merchant Original Screenplay Kazuo Ishiguro Co-Producer Paul Bradley Co-Producer Richard Hawley Director of Photography Christopher Doyle Music Richard Robbins Editor -
Useful Cites/Sites
Use of Videos and other Media in Family Law Naomi Cahn, GWU Law School 1) Why? a) It is fun, b) students may know (or not) the films, c) adds variety to the classroom d) helps students recognize and understand: i) varying familial relationships and their tensions ii) legal implications and perceptions e) provides evidence of cultural norms concerning the family 2) Why not? a) TECHNICAL issues b) Time-consuming to prepare c) Time-consuming in class d) Potentially trivializes the topic – too light-hearted 3) Whole films or shorter clips? a) If use the whole film, i) can stop and ask questions, or ii) discuss film later iii) either way, should help focus students on specific scenes b) If use shorter clips, then integrate into class i) Dramatize point already made ii) Focus questioning 4) Types of video a) Commercial movies b) Documentaries c) Specially made videos (by instructor, students, etc.) 5) Songs a) Background for each class b) Helps students see pervasiveness of family law issues in popular culture, examine images and stereotypes 6) Fair use? a) For suggested guidelines, see http://fairuse.stanford.edu/Copyright_and_Fair_Use_Overview/chapter7/7- c.html#2 b) Your institution’s guidelines 39 Source List Family Law Movies Compiled by: Kasia Solon (GW), Barbara Glesner-Fines (UMKC), Nancy Ver Steegh (Wm. Mitchell), and Naomi Cahn (GW) Divorce The Awful Truth (1937) Cary Grant & Irene Dunne [custody of pet] Divorce American Style (1967) Dick Van Dyke and Debbie Reynolds Divorce Italian Style (1962) Marcello Mastroianni Le Divorce (2003) -
Americans in Paris Syllabusv2
First-Year Seminar Fall 2010 Americans in Paris “America is my country and Paris is my hometown.” – Gertrude Stein Professor Suzanne Jones, Ryland Hall 307, 289-8307, email "[email protected]" Office Hours: TR 12-12:30, 2:45 – 3:15 p.m., and by appointment Course Description: American writers and artists – from Thomas Jefferson to Henry James, Edith Wharton to Ernest Hemingway, Scott Fitzgerald to Shay Youngblood – have viewed the French as a people who value art and creativity, the aesthete and the intellectual, more highly than Americans. Those Americans marginalized or discriminated against in the U.S., such as Josephine Baker and James Baldwin and a variety of jazz musicians, have judged Paris to be a place where they can live and love and create as they please. In this seminar we will discuss what Americans hope to find in Paris that they don’t find in the United States, we will locate where the Paris of their dreams departs from reality, and we will compare their quests across generations and demographic groups. We will also be on the lookout for how the writers’ narratives can sometimes be at odds with the structures, both film and fiction, that contain them. Throughout the semester we will attempt to think more complexly about American stereotypes of Paris and French people, both positive and negative; about why these stereotypes exist and what functions they serve for Americans. But we will also consider how Americans are perceived by the French and why, and the effects of misperceptions on both sides of the Atlantic. -
Ali Cherkaoui – First Assistant Director
ALI CHERKAOUI – FIRST ASSISTANT DIRECTOR DGA Member (Southern California Qualification List : UPM) AFAR Member cell fr : + 33 6 17 33 11 00 — cell us : +1 415 425 1558 — cell ma : +212 6 61 74 63 80 www.alitronics.com — [email protected] — skype : ‘alitronics‘ Talent Agency Agency for the Performing Arts (APA) - 405 S Beverly Dr. - Beverly Hills, CA 90212 - USA +1 (310) 888 4200 phone / +1 (310) 888 4242 fax / production.apa-agency.com Representative : Julian SAVODIVKER : +1 (310) 888 4256 - [email protected] - FIRST ASSISTANT DIRECTOR - THE LAST DUEL (Feature) directed by Ridley SCOTT January/March 2020 : First Assistant-Director : France Produced by : (us) / PENINSULA FILM ROYAL ICE (fr) Cast : Matt DAMON, Adam DRIVER, Jodie COMER, Ben AFFLECK… Prep & Shoot in Dordogne, Occitanie, Bourgogne - France GUNPOWDER MILKSHAKE (Feature) directed by Navot PAPUSHADO March/ August 2019 : First Assistant-Director Produced by : THE PICTURE COMPANY (us) / STUDIOCANAL (uk) / STUDIO BABELSBERG (de) Cast : Karen GILLIAN, Lena HEADEY, Chloe COLEMAN, Angela BASSET, Michel YEOH, Carla GUGINO, Paul GIAMATTI Prep & Shoot in Berlin, Germany THE SPY (TV Series in 6 Episodes - Netflix / OCS ) directed by Gideon RAFF January / August 2018 : First Assistant-Director Produced by : LEGENDE FILMS / NETFLIX / OCS Cast : Sacha BARON COHEN, Noah EMMERICH, Hadar RATZON ROTEM, Alexander SIDDIG, Nassim LYES Prep & Shoot in Morocco ( Fes, Azrou & Casablanca) and Budapest, Hungary THE BREITNER COMMANDO (QU’UN SANG IMPUR..) (Feature) directed by Abdel-Raouf -
Introduction: Depicting Love in Cinema
Notes Introduction: Depicting Love in Cinema 1 . Mike Featherstone. ‘Love and Eroticism: An Introduction’ Theory, Culture and Society 15, no. 1 (1998): 2. 2 . David Bordwell, Janet Staiger and Kristin Thompson. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Columbia University Press, 1985: 16. 3 . Kenneth MacKinnon. ‘Male Spectatorship and the Hollywood Love Story’ Journal of Gender Studies 12, no. 2 (2003): 125; James J. Dowd and Nicole R. Pallotta. ‘The End of Romance: Demystification of Love in the Post- Modern Age’ Sociological Perspectives 43, no. 4 (2000): 554. 4 . Stanley Cavell. Pursuits of Happiness: The Hollywood Comedy of Remarriage . Cambridge: Harvard University Press, 1981; Mark D. Rubinfeld. Bound to Bond: Gender, Genre and the Hollywood Romantic Comedy . Westport, Connecticut: Praeger, 2001; Tamar Jeffers McDonald. Romantic Comedy: Boy Meets Girl Meets Genre . London: Wallflower, 2007. 5 . See for example, McDonald. Romantic Comedy , the full title of whose monograph on the romantic comedy draws attention to the widely known structure of the genre. See also Stacey Abbott and Deborah Jermyn. ‘Introduction: A Lot Like Love’ in Falling in Love Again: Romantic Comedy in Contemporary Cinema , edited by Stacey Abbott and Deborah Jermyn, 1–8. London: I. B. Tauris, 2009; Kristine Brunovska Karnick. ‘Commitment and Reaffirmation in Hollywood Romantic Comedy’ in Classical Hollywood Comedy , edited by Kristine Brunovska Karnick and Henry Jenkins, 123–146. New York: Routledge, 1995. It ought to be noted that this formula is a simplistic overview of the genre and elements, such as the genders, are interchangeable. The purpose here, however, is to illustrate the familiarity audiences have with the genre via this formula, which gives a basic illus- tration to the importance of companionate love. -
Lo Que Queda Del Día
Lo que Queda del Día (THE REMAINS OF THE DAY) EN TORNO A LAS Nº 228 (ABRIL 2008) ÓPERAS SINOPSIS James Stevens es el perfecto mayordomo británico, un ideal que él lleva hasta el extremo al servicio de su señor, Lord Darlington, el cual ha sido captado por los nazis para intentar establecer una vía de co- municación con el gobierno británico. Emma Thompson es el ama de llaves de la mansión, una mujer joven y llena de vida que contempla horrorizada lo que sucede escaleras arriba. FICHA ARTÍSTICA James Stevens ..................................................... ANTHONY HOPKINS Mary Kenton ..........................................................EMMA THOMPSON Lord Darlington................................................................ JAMES FOX Charlie.......................................................................... BEN CHAPLIN Jack Lewis .......................................................CHRISTOPHER REEVE Reginald Cardinal.......................................................... HUGH GRANT FICHA TÉCNICA Duración....................... 134 min. Dirección ............... JAMES IVORY Fotografía .. T. PIERCE-ROBERTS Nacionalidad... EE. UU., R. Unido Productora ...........S. G. COMPANY Montaje .........ANDREW MARCUS Año de Producción .............. 1993 Productor..... ISMAEL MERCHANT Música ........ RICHARD ROBBINS (Color) ....JOHN CALLEY, MIKE NICHOLS Dir. Artística ......... JOHN RALPH Guión ...... R. PRAWER JHABVALA Vestuario.........JEANNE BEAVAN . (Basado en la novela de Kazuo Ishiguro) ........................... JOHN -
Two Essays in Business Forecasting and Decision-Making
TWO ESSAYS IN BUSINESS FORECASTING AND DECISION-MAKING Carmina Caringal Clarke Doctor of Philosophy, 2007 Australian Graduate School of Management University of New South Wales THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: CLARKE First name: CARMINA CARINGAL Other name/s: Abbreviation for degree as given in the University calendar: PH.D. School: AUSTRALIAN GRADUATE SCHOOL OF MANAGEMENT Faculty: AUSTRALIAN SCHOOL OF BUSINESS Title: TWO ESSAYS IN BUSINESS FORECASTING AND DECISION-MAKING Abstract 350 words maximum: (PLEASE TYPE) This dissertation is two essays in business decision-making. The first essay is motivated by recent field evidence suggesting significant reliance on conventional techniques (e.g. NPV and DCF) without assessment of the decision profile - its degree of uncertainty, ambiguity and knowledge distribution. However, without knowing the decision profile, the chosen decision might not be appropriate given the decision situation. Therefore, essay 1 develops a multi-faceted conceptualization of the decision profile and provides a prescriptive model for choosing appraisal methods based on this profile. Specifically, it prescribes the limited use of conventional methods to low ambiguity and uncertainty situations and using decision trees, real options, scenario planning and case-based methods as the level of uncertainty increases. In high ambiguity situations, however, the only viable approaches are case-based methods which do not have perfect information assumption that conventional alternative methods do. Case-based methods have been supported theoretically in case-based decisions and case-based reasoning literature but lags in its use in business decision-making. Possible reasons for this include a lack of concrete applications and developments of major concepts such as its case memory, similarity and prediction functions. -
LE JOLI MAI the LOVELY MONTH of MAY a Film by Chris Marker & Pierre Lhomme an Icarus Films Release
LE JOLI MAI THE LOVELY MONTH OF MAY A film by Chris Marker & Pierre Lhomme An Icarus Films Release “Mr. Marker has a penetrating camera and a penetrating mind. Both are employed with a searching persistence in this film, dissecting Paris, dissecting the people who live in Paris.” —Vincent Canby, The New York Times (1966) North American Theatrical Premiere Engagement Sept. 13 at Film Forum, NYC; Sept. 20 at Laemmle’s Playhouse 7 and Royal Theaters, Los Angeles; Oct. 15 at Magic Lantern’s Carlton Cinema, Toronto; Nov. 15 at Landmark’s Opera Plaza and Shattuck Cinemas, San Francisco; Dec. 6 at Landmark’s Kendall Square, Boston; and more. Icarus Films 1963, France, 145 mins. / 1.66:1 / B&W / DCP 32 Court Street, Floor 21 Brooklyn, NY 11201 USA Press Contact: Colin Beckett, [email protected] Tel 1.718.488.8900 Bookings Contact: Livia Bloom, [email protected] www.IcarusFilms.com ABOUT THE FILM Long unavailable in the U.S. and a major work in the oeuvre of filmmaker Chris Marker (1921-2012), LE JOLI MAI was awarded the International Critics Prize at the 1963 Cannes Film Festival and the “First Work” Prize at the 1963 Venice Film Festival. It premiered in North America in September 1963 at the first New York Film Festival. This restoration of LE JOLI MAI premiered at the Cannes Film Festival on May 16, 2013, 50 years after the film first premiered there. It was created according to the wishes of Marker, supervised by the film’s cinematographer and co-director, Pierre Lhomme (b.