Reframe and Imdbpro Announce New Collaboration to Recognize Standout Gender-Balanced Film and TV Projects
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GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months. -
Accepted Manuscript Version
Research Archive Citation for published version: Tony Shaw, and Tricia Jenkins, ‘An Act of War? The Interview Affair, the Sony Hack, and the Hollywood– Washington Power Nexus Today’, Journal of American Studies, April 2017. DOI: https://doi.org/10.1017/S0021875817000512 Document Version: This is the Accepted Manuscript version. The version in the University of Hertfordshire Research Archive may differ from the final published version. Copyright and Reuse: © 2017 Cambridge University Press and British Association for American Studies. This version is free to view and download for private research and study only. Not for re-distribution, re-sale or use in derivative works. Enquiries If you believe this document infringes copyright, please contact the Research & Scholarly Communications Team at [email protected] An Act of War? The Interview Affair, the Sony Hack, and the Hollywood/Washington Power Nexus Today An early quasi-police procedural showing J. Edgar Hoover’s Federal Bureau of Investigation “smashing” a communist sleeper cell in Boston, Alfred L. Werker’s 1952 docudrama Walk East on Beacon looks at first much like any other Red-baiting Hollywood production of the McCarthy era. On closer inspection, the movie offers us a keen insight into the Hollywood/Washington power nexus during the Cold War. Recently declassified documents reveal that the FBI’s top brass not only helped to inspire Walk East on Beacon but also to cast and market the film. More intriguingly, America’s most powerful military Cold War think tank, the RAND Corporation, was at the heart of the movie’s screenplay. Hollywood scriptwriter Leo Rosten worked as a part-time adviser on social sciences for RAND and based key elements of his plot for Walk East on Beacon on top-secret RAND projects, principally the military uses of satellites and computers. -
The Cinema of Oliver Stone
Interviews Stone on Stone Between 2010 and 2014 we interviewed Oliver Stone on a number of occasions, either personally or in correspondence by email. He was always ready to engage with us, quite literally. Stone thrives on the cut- and- thrust of debate about his films, about himself and per- ceptions of him that have adorned media outlets around the world throughout his career – and, of course, about the state of America. What follows are transcripts from some of those interviews, with- out redaction. Stone is always at his most fascinating when a ques- tion leads him down a line of theory or thinking that can expound on almost any topic to do with his films, or with the issues in the world at large. Here, that line of thinking appears on the page as he spoke, and gives credence to the notion of a filmmaker who, whether loved or loathed, admired or admonished, is always ready to fight his corner and battle for what he believes is a worthwhile, even noble, cause. Oliver Stone’s career has been defined by battle and the will to overcome criticism and or adversity. The following reflections demonstrate why he remains the most talked about, and combative, filmmaker of his generation. Interview with Oliver Stone, 19 January 2010 In relation to the Classification and Ratings Administration Interviewer: How do you see the issue of cinematic censorship? Oliver Stone: The ratings thing is very much a limited game. If you talk to Joan Graves, you’ll get the facts. The rules are the rules. -
Coming-Of-Age Film in the Age of Activism
Coming-of-Age Film in the Age of Activism Agency and Intersectionality in Moonlight, Lady Bird, and Call Me By Your Name 29 – 06 – 2018 Supervisor: Anne Salden dr. M.A.M.B. (Marie) Lous Baronian [email protected] Second Reader: student number: 11927364 dr. A.M. (Abe) Geil Master Media Studies (Film Studies) University of Amsterdam Acknowledgements First and foremost, I would like to thank Marie Baronian for her first-rate supervision and constant support. Throughout this process she inspired and encouraged me, which is why she plays an important part in the completion of my thesis. I would also like to thank Veerle Spronck and Rosa Wevers, who proved that they are not only the best friends, but also the best academic proof-readers I could ever wish for. Lastly, I would like to express my gratitude towards my classmate and dear friend Moon van den Broek, who was always there for me when I needed advice (or just a hug) during these months, even though she had her own thesis to write too. Abstract The journey of ‘coming of age’ has been an inspiring human process for writers and filmmakers for centuries long, as its narrative format demonstrates great possibilities for both pedagogy and entertainment. The transformation from the origins of the genre, the German Bildungsroman, to classic coming-of-age cinema in the 1950s and 1980s in America saw few representational changes. Classic coming-of-age films relied heavily on the traditional Bildungsroman and its restrictive cultural norms of representation. However, in the present Age of Activism recent coming-of-age films seem to break with this tendency and broaden the portrayal of identity formation by incorporating diversity in its representations. -
Pr-Dvd-Holdings-As-Of-September-18
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. -
Fighting for Women Existence in Popular Espionage Movies Salt (2010) and Zero Dark Thirty (2012)
Benita Amalina — Fighting For Women Existence in Popular Espionage Movies Salt (2010) and Zero Dark Thirty (2012) FIGHTING FOR WOMEN EXISTENCE IN POPULAR ESPIONAGE MOVIES SALT (2010) AND ZERO DARK THIRTY (2012) Benita Amalina [email protected] Abstract American spy movies have been considered one of the most profitable genre in Hollywood. These spy movies frequently create an assumption that this genre is exclusively masculine, as women have been made oblivious and restricted to either supporting roles or non-spy roles. In 2010 and 2012, portrayal of women in spy movies was finally changed after the release of Salt and Zero Dark Thirty, in which women became the leading spy protagonists. Through the post-nationalist American Studies perspective, this study discusses the importance of both movies in reinventing women’s identity representation in a masculine genre in response to the evolving American society. Keywords: American women, hegemony, representation, Hollywood, movies, popular culture Introduction The financial success and continuous power of this industry implies that there has been The American movie industry, often called good relations between the producers and and widely known as Hollywood, is one of the main target audience. The producers the most powerful cinematic industries in have been able to feed the audience with the world. In the more recent data, from all products that are suitable to their taste. Seen the movies released in 2012 Hollywood from the movies’ financial revenues as achieved $ 10 billion revenue in North previously mentioned, action movies are America alone, while grossing more than $ proven to yield more revenue thus become 34,7 billion worldwide (Kay, 2013). -
Finding Lionel: Reconciling Multiple Identities As Black, Gay, and Gifted in Dear White People
Taboo: The Journal of Culture and Education Volume 19 Issue 1 Volume 19 Issue 1 - Winter 2020 Article 4 January 2001 Finding Lionel: Reconciling Multiple Identities as Black, Gay, and Gifted in Dear White People Christopher Sewell [email protected] Follow this and additional works at: https://digitalscholarship.unlv.edu/taboo Recommended Citation Sewell, C. (2020). Finding Lionel: Reconciling Multiple Identities as Black, Gay, and Gifted in Dear White People. Taboo: The Journal of Culture and Education, 19 (1). Retrieved from https://digitalscholarship.unlv.edu/taboo/vol19/iss1/4 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Taboo: The Journal of Culture and Education by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. 30 Taboo,Finding Winter Lionel 2020 Finding Lionel Reconciling Multiple Identities as Black, Gay,, and Gifted in Dear White People Christopher Sewell Abstract What does it mean to be a Black male looking to reconcile their intellectual, sexual, and racial identities? bell hooks (2004) notes that Black masculinity is inherently tied to notions of power; Black males, socialized to be dominant, find this power and dominance in tension with conceptions of power in soci- ety at large. -
Resources on Race, Racism, and How to Be an Anti-Racist Articles, Books, Podcasts, Movie Recommendations, and More
“Not everything that is faced can be changed, but nothing can be changed until it is faced.” – JAMES BALDWIN DIVERSITY & INCLUSION ————— Resources on Race, Racism, and How to be an Anti-Racist Articles, Books, Podcasts, Movie Recommendations, and More Below is a non-exhaustive list of resources on race, anti-racism, and allyship. It includes resources for those who are negatively impacted by racism, as well as resources for those who want to practice anti-racism and support diverse individuals and communities. We acknowledge that there are many resources listed below, and many not captured here. If after reviewing these resources you notice gaps, please email [email protected] with your suggestions. We will continue to update these resources in the coming weeks and months. EXPLORE Anguish and Action by Barack Obama The National Museum of African American History and Culture’s web portal, Talking About Race, Becoming a Parent in the Age of Black Lives which is designed to help individuals, families, and Matter. Writing for The Atlantic, Clint Smith communities talk about racism, racial identity and examines how having children has pushed him the way these forces shape society to re-evaluate his place in the Black Lives Matter movement: “Our children have raised the stakes of Antiracism Project ― The Project offers participants this fight, while also shifting the calculus of how we ways to examine the crucial and persistent issue move within it” of racism Check in on Your Black Employees, Now by Tonya Russell ARTICLES 75 Things White People Can Do For Racial Justice First, Listen. -
PAM WISE, A.C.E. EDITOR Local 700 Member of the Academy of Motion Picture Arts & Sciences
PAM WISE, A.C.E. EDITOR Local 700 Member of the Academy of Motion Picture Arts & Sciences FEATURES THE LAST SONG (Short) Duly Noted Inc./HBO Sponsored Prod: Effie Brown Dir: Sasie Sealy SHOULD’VE BEEN ROMEO Angel Baby Ent. Prod: Gregory Segal, Paul Ben-Victor Dir: Marc Bennett EVERY DAY Ambush Ent. Prod: Miranda Bailey, Amanda Marshall Dir: Richard Levine Cast: Helen Hunt, Liev Schreiber, Brian Dennehy, Eddie Izzard, Carla Gugino *Official Selection: Tribeca Film Festival 2010, Seattle Film Festival 2010 THEN SHE FOUND ME Killer Films Prod: Pamela Koffler, Christine Vachon Dir: Helen Hunt Cast: Helen Hunt, Bette Midler, Colin Firth, Matthew Broderick *Official Selection, Toronto International Film Festival 2007 *Audience Award, Palm Springs International Film Festival 2008 DARK MATTER Myriad Pics. Prod: Mary Salter, Janet Yang Dir: Chen Shi-Zheng Cast: Liu Ye, Meryl Streep, Bill Irwin, Blair Brown *Alfred P. Sloan Feature Film Prize, Sundance Film Festival 2007 TRANSAMERICA IFC Films Prod: Rene Bastian, Linda Moran Dir: Duncan Tucker Cast: Felicity Huffman, Kevin Zegers *Nominated for Best Actress, Academy Awards 2006 SECRETARY Lions Gate Prod: Andrew Fierberg, Amy Hobby Dir: Steven Shainberg Cast: Maggie Gyllenhaal, James Spader *Nominated for Best Feature, Independent Spirit Awards 2003 *Special Jury Prize, Sundance Film Festival 2002 THE QUICKIE Pandora Filmproduktion Prod: Karl Baumgartner Dir: Sergei Bodrov Cast: Vladimir Moshkov, Jennifer Jason Leigh, Dean Stockwell, Lesley Ann Warren, Henry Thomas *Official Selection Moscow International -
The Nightingale
SCREEN AUSTRALIA SCREEN TASMANIA AND SOUTH AUSTRALIAN FILM CORPORATION present in association with ADELAIDE FILM FESTIVAL BRON CREATIVE And FILMNATION ENTERTAINMENT a CAUSEWAY FILMS and MADE UP STORIES production THE NIGHTINGALE PRODUCTION NOTES Running Time: 136 mins AUSTRALIAN PUBLICITY REQUESTS: Amy Burgess / National Publicity Manager, Transmission Films 02 8333 9000, [email protected] Images: High res images and poster available to download via the DOWNLOAD MEDIA tab at: https://www.transmissionfilms.com.au/films/the-nightingale Starring Aisling Franciosi, Sam Claflin and Baykali Ganambarr Writer and Director: Jennifer Kent Producers: Kristina Ceyton p.g.a., Bruna Papandrea p.g.a., Steve Hutensky p.g.a. and Jennifer Kent p.g.a. Executive Producers: Brenda Gilbert, Jason Cloth, Andrew Pollack, Aaron L. Gilbert, Ben Browning and Alison Cohen Associate Producer: Jim Everett Director of Photography: Radek Ladczuk Editor: Simon Njoo Production Designer: Alex Holmes Costume Designer: Margot Wilson APDG Hair and Makeup Designer: Nikki Gooley Sound Designer: Robert Mackenzie Composer: Jed Kurzel Visual Effects Supervisor: Marty Pepper Casting Director: Nikki Barrett CSA Distributed in Australia and New Zealand by Transmission Films International Sales: FilmNation Entertainment, US Sales: Endeavor Content The Nightingale Production Notes 2 INDEX SYNOPSES 3 DIRECTOR’S STATEMENT 4 CAST AND CHARACTER LIST 4 GENESIS OF THE FILM 5 CASTING AND CHARACTERS Clare – Portrayed by Aisling Franciosi 8 Hawkins – Portrayed by Sam Claflin 10 Billy -
For Student Success
TRANSFORMING School Environments OUR VISION For Student Success Weaving SKILLS ROPES Relationships 2018 Annual Report Practices to Help All Students Our Vision for Student Success City Year has always been about nurturing and developing young people, from the talented students we serve to our dedicated AmeriCorps members. We put this commitment to work through service in schools across the country. Every day, our AmeriCorps members help students to develop the skills and mindsets needed to thrive in school and in life, while they themselves acquire valuable professional experience that prepares them to be leaders in their careers and communities. We believe that all students can succeed. Supporting the success of our students goes far beyond just making sure they know how to add fractions or write a persuasive essay—students also need to know how to work in teams, how to problem solve and how to work toward a goal. City Year AmeriCorps members model these behaviors and mindsets for students while partnering with teachers and schools to create supportive learning environments where students feel a sense of belonging and agency as they develop the social, emotional and academic skills that will help them succeed in and out of school. When our children succeed, we all benefit. From Our Leadership Table of Contents At City Year, we are committed to partnering Our 2018 Annual Report tells the story of how 2 What We Do 25 Campaign Feature: with teachers, parents, schools and school City Year AmeriCorps members help students 4 How Students Learn Jeannie & Jonathan Lavine districts, and communities to ensure that all build a wide range of academic and social- 26 National Corporate Partners children have access to a quality education that emotional skills to help them succeed in school 6 Alumni Profile: Andrea Encarnacao Martin 28 enables them to reach their potential, develop and beyond. -
26Th Annual Austin Film Festival & Writers
BADGES & PASSES EVERYONE FEELS LIKE 26TH ANNUAL LIMITED-TIME SAVINGS UP TO $50 IF A STAR IN AUSTIN PAID AUSTIN FILM FESTIVAL & YOU BUY BEFORE SEPTEMBER 20, 2019 US POSTAGE AUSTIN, TEXAS PERMIT NO. 1986 Always a top travel destination, Austin’s creative charm and quirky vibe create NON PROFIT ORG For a more detailed description of each Badge WRITERS CONFERENCE level, please visit austinfilmfestival.com. the perfect environment for this one-of-a-kind film festival. From its world-famous FILM PASS LONE STAR BADGE WEEKEND BADGE CONFERENCE BADGE PRODUCERS BADGE Congress Bridge bats to local brews over a breezy fall sunset, there are endless Before September 20, 2019 $65 $150 $275 $425 $650 OCTOBER 24 – 31, 2019 reasons Austin makes every “Best Place for…” list. COST Walk-Up $75 $150 $325 $475 $695 All Eight Days of Film 3 3 3 3 3 TEXAS-SIZED DISCOUNTS We’ve coordinated special budget-friendly Script Readings 3 3 3 3 3 deals for our Badgeholders to many of Priority Access to Films “AFF WAS (Admitted before Film Passes & GA) 3 3 3 3 Austin’s most popular hotels: INDELIBLE, A Exhibit Hall 3 3 3 3 CONFERENCE HEADQUARTERS TRUE REMINDER OF THE CORE All Panels on Thursday, October 24 3 3 The Driskill Hotel – $336 InterContinental Stephen F. Austin – $329 PASSION THAT All Panels on Friday, October 25 3 3 DREW ME TO THIS All Panels on Saturday, October 26 3 3 3 3 STAY LESS THAN 2 MILES AWAY WORLD…I CAME FILMS AND PANELS All Panels on Sunday, October 27 3 3 3 FROM THE CONFERENCE HOME WITH A La Quinta by Wyndham Austin Capitol – $209 RENEWED RIGOR Access