Space, Vision, Power, by Sean Carter and Klaus Dodds. Wallflower, 2014, 126 Pp
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Filmliste Liste de filme DVD Münchhaldenstrasse 10, Postfach 919, 8034 Zürich Tel: 044/ 422 38 33, Fax: 044/ 422 37 93 www.praesens.com, [email protected] Filmnr Original Titel Regie 20001 A TIME TO KILL Joel Schumacher 20002 JUMANJI 20003 LEGENDS OF THE FALL Edward Zwick 20004 MARS ATTACKS! Tim Burton 20005 MAVERICK Richard Donner 20006 OUTBREAK Wolfgang Petersen 20007 BATMAN & ROBIN Joel Schumacher 20008 CONTACT Robert Zemeckis 20009 BODYGUARD Mick Jackson 20010 COP LAND James Mangold 20011 PELICAN BRIEF,THE Alan J.Pakula 20012 KLIENT, DER Joel Schumacher 20013 ADDICTED TO LOVE Griffin Dunne 20014 ARMAGEDDON Michael Bay 20015 SPACE JAM Joe Pytka 20016 CONAIR Simon West 20017 HORSE WHISPERER,THE Robert Redford 20018 LETHAL WEAPON 4 Richard Donner 20019 LION KING 2 20020 ROCKY HORROR PICTURE SHOW Jim Sharman 20021 X‐FILES 20022 GATTACA Andrew Niccol 20023 STARSHIP TROOPERS Paul Verhoeven 20024 YOU'VE GOT MAIL Nora Ephron 20025 NET,THE Irwin Winkler 20026 RED CORNER Jon Avnet 20027 WILD WILD WEST Barry Sonnenfeld 20028 EYES WIDE SHUT Stanley Kubrick 20029 ENEMY OF THE STATE Tony Scott 20030 LIAR,LIAR/Der Dummschwätzer Tom Shadyac 20031 MATRIX Wachowski Brothers 20032 AUF DER FLUCHT Andrew Davis 20033 TRUMAN SHOW, THE Peter Weir 20034 IRON GIANT,THE 20035 OUT OF SIGHT Steven Soderbergh 20036 SOMETHING ABOUT MARY Bobby &Peter Farrelly 20037 TITANIC James Cameron 20038 RUNAWAY BRIDE Garry Marshall 20039 NOTTING HILL Roger Michell 20040 TWISTER Jan DeBont 20041 PATCH ADAMS Tom Shadyac 20042 PLEASANTVILLE Gary Ross 20043 FIGHT CLUB, THE David -
International Casting Directors Network Index
International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy. -
Executive Producer)
PRODUCTION BIOGRAPHIES STEVEN SODERBERGH (Executive Producer) Steven Soderbergh has produced or executive-produced a wide range of projects, most recently Gregory Jacobs' Magic Mike XXL, as well as his own series "The Knick" on Cinemax, and the current Amazon Studios series "Red Oaks." Previously, he produced or executive-produced Jacobs' films Wind Chill and Criminal; Laura Poitras' Citizenfour; Marina Zenovich's Roman Polanski: Odd Man Out, Roman Polanski: Wanted and Desired, and Who Is Bernard Tapie?; Lynne Ramsay's We Need to Talk About Kevin; the HBO documentary His Way, directed by Douglas McGrath; Lodge Kerrigan's Rebecca H. (Return to the Dogs) and Keane; Brian Koppelman and David Levien's Solitary Man; Todd Haynes' I'm Not There and Far From Heaven; Tony Gilroy's Michael Clayton; George Clooney's Good Night and Good Luck and Confessions of a Dangerous Mind; Scott Z. Burns' Pu-239; Richard Linklater's A Scanner Darkly; Rob Reiner's Rumor Has It...; Stephen Gaghan'sSyriana; John Maybury's The Jacket; Christopher Nolan's Insomnia; Godfrey Reggio's Naqoyqatsi; Anthony and Joseph Russo's Welcome to Collinwood; Gary Ross' Pleasantville; and Greg Mottola's The Daytrippers. LODGE KERRIGAN (Co-Creator, Executive Producer, Writer, Director) Co-Creators and Executive Producers Lodge Kerrigan and Amy Seimetz wrote and directed all 13 episodes of “The Girlfriend Experience.” Prior to “The Girlfriend Experience,” Kerrigan wrote and directed the features Rebecca H. (Return to the Dogs), Keane, Claire Dolan and Clean, Shaven. His directorial credits also include episodes of “The Killing” (AMC / Netflix), “The Americans” (FX), “Bates Motel” (A&E) and “Homeland” (Showtime). -
BABEL and the GLOBAL HOLLYWOOD GAZE Deborah Shaw
02_shaw:SITUATIONS 10/16/11 12:40 PM Page 11 BABEL AND THE GLOBAL HOLLYWOOD GAZE Deborah Shaw BABEL AND THE GLOBAL HOLLYWOOD GAZE n popular imaginaries, “world cinema” and Hollywood commercial cinema appear to be two opposing forms of filmic production obeying Idiverse political and aesthetic laws. However, definitions of world cin- ema have been vague and often contradictory, while some leftist discourses have a simplistic take on the evils of reactionary Hollywood, seeing it in rather monolithic terms. In this article, I examine some of the ways in which the term “world cinema” has been used, and I explore the film Babel (2006), the last of the three films of the collaboration between the Mexicans Alejandro González Iñárritu and screenwriter Guillermo Arriaga.1 Babel sets out to be a new sort of film that attempts to create a “world cinema” gaze within a commercial Hollywood framework. I exam- ine how it approaches this and ask whether the film succeeds in this attempt. I explore the tensions between progressive and conservative political agendas, and pay particular attention to the ways “other” cul- tures are seen in a film with “Third World” pretensions and U.S money behind it. I frame my analysis around a key question: does the Iñárritu-led outfit successfully create a paradigmatic “transnational world cinema” text that de-centers U.S. hegemony, or is this a utopian project doomed to failure in a film funded predominantly by major U.S. studios?2 I examine the ways in which the film engages with the tourist gaze and ask whether the film replaces this gaze with a world cinema gaze or merely reproduces it in new ways. -
THE PHILOSOPHY of STEVEN SODERBERGH the Philosophy of Popular Culture
THE PHILOSOPHY OF STEVEN SODERBERGH The Philosophy of Popular Culture Th e books published in the Philosophy of Popular Culture series will illuminate and explore philosophical themes and ideas that occur in popular culture. Th e goal of this series is to demonstrate how philosophical inquiry has been reinvigorated by increased scholarly interest in the intersection of popular culture and philosophy, as well as to explore through philosophical analysis beloved modes of entertainment, such as movies, TV shows, and music. Philosophical concepts will be made accessible to the general reader through examples in popular culture. Th is series seeks to publish both established and emerging scholars who will engage a major area of popular culture for philosophical interpretation and examine the philosophical underpinnings of its themes. Eschewing ephemeral trends of philosophical and cultural theory, authors will establish and elaborate on connections between traditional philosophical ideas from important thinkers and the ever-expanding world of popular culture. Series Editor Mark T. Conard, Marymount Manhattan College, NY Books in the Series Th e Philosophy of Stanley Kubrick, edited by Jerold J. Abrams Football and Philosophy, edited by Michael W. Austin Tennis and Philosophy, edited by David Baggett Th e Philosophy of the Coen Brothers, edited by Mark T. Conard Th e Philosophy of Film Noir, edited by Mark T. Conard Th e Philosophy of Martin Scorsese, edited by Mark T. Conard Th e Philosophy of Neo-Noir, edited by Mark T. Conard Th e Philosophy of Horror, edited by Th omas Fahy Th e Philosophy of Th e X-Files, edited by Dean A. -
Reading for Fictional Worlds in Literature and Film
Reading for Fictional Worlds in Literature and Film Danielle Simard Doctor of Philosophy University of York English and Related Literature March, 2020 2 Abstract The aim of this thesis is to establish a critical methodology which reads for fictional worlds in literature and film. Close readings of literary and cinematic texts are presented in support of the proposition that the fictional world is, and arguably should be, central to the critical process. These readings demonstrate how fictional world-centric readings challenge the conclusions generated by approaches which prioritise the author, the reader and the viewer. I establish a definition of independent fictional worlds, and show how characters rather than narrative are the means by which readers access the fictional world in order to analyse it. This interdisciplinary project engages predominantly with theoretical and critical work on literature and film to consider four distinct groups of contemporary novels and films. These texts demand readings that pose potential problems for my approach, and therefore test the scope and viability of my thesis. I evaluate character and narrative through Fight Club (novel, Chuck Palahniuk [1996] film, David Fincher [1999]); genre, context, and intertextuality in Solaris (novel, Stanisław Lem [1961] film, Andrei Tarkovsky [1974] film, Steven Soderbergh [2002]); mythic thinking and character’s authority with American Gods (novel, Neil Gaiman [2001]) and Anansi Boys (novel, Neil Gaiman [2005]); and temporality and nationality in Cronos (film, Guillermo -
Arabic Films
Arabic Films Call # HQ1170 .A12 2007 DVD Catalog record http://library.ohio-state.edu/record=b6528747~S7 TITLE 3 times divorced / a film by Ibtisam Sahl Mara'ana a Women Make Movies release First Hand Films produced for The Second Authority for Television & Radio the New Israeli Foundation for Cinema & Film Gon Productions Ltd Synopsis Khitam, a Gaza-born Palestinian woman, was married off in an arranged match to an Israeli Palestinian, followed him to Israel and bore him six children. When her husband divorced her in absentia in the Sharia Muslim court and gained custody of the children, Khitam was left with nothing. She cannot contact her children, has no property and no citizenship. Although married to an Israeli, a draconian law passed in 2002 barring any Palestinian from gaining Israeli citizenship has made her an illegal resident there. Now she is out on a dual battle, the most crucial of her life: against the court which always rules in favor of the husband, and against the state in a last-ditch effort to gain citizenship and reunite with her children Format DVD format Call # DS119.76 .A18 2008 DVD Catalog record http://library.ohio-state.edu/record=b6514808~S7 TITLE 9 star hotel / Eden Productions Synopsis A look at some of the many Palestinians who illegally cross the border into Israel, and how they share their food, belongings, and stories, as well as a fear of the soldiers and police Format DVD format Call # PN1997 .A127 2000z DVD Catalog record http://library.ohio-state.edu/record=b6482369~S7 TITLE 24 sāʻat ḥubb = 24 hours of love / Aflām al-Miṣrī tuqaddimu qiṣṣah wa-sīnāryū wa-ḥiwār, Fārūq Saʻīd افﻻم المرصي تقدم ؛ قصة وسيناريوا وحوار, فاروق سعيد ؛ / hours of love ساعة حب = ikhrāj, Aḥmad Fuʼād; 24 24 اخراج, احمد فؤاد Synopsis In this comedy three navy officers on a 24 hour pass go home to their wives, but since their wives doubt their loyalty instead of being welcomed they are ignored. -
Moviefone Blog 12/15/10 2:41 AM
The 50 Best Movies of 2008 - The Moviefone Blog 12/15/10 2:41 AM AOL Mail Sign in / Register Help Feedback Movie Times Movies DVD Trailers Reviews Blog Enter ZIP/Postal Code - Search Movies LOCATION: Set Your Location FAVORITE THEATERS: Add Theaters Download Apps Call Moviefone The 50 Best Movies of 2008 By Moviefone Staff (Subscribe to Moviefone Staff's posts) 647 Comments Posted Dec 19th 2008 6:00PM Filed under: Features, Best Movies Ever, Best and Worst Like 17 likes. Sign Up to see what your friends | Email like. ADVERTISEMENT Follow Us Newsletter Facebook Twitter RSS Hot Topics Most movie critics make it an annual tradition to rank their top 10 films of the year. Coming Soon DVDs Fall Movies Free Movies Online New Releases Reviews We think that's way too limiting -- what with instantly classic superhero flicks ('The Dark Knight,' 'Iron Man'), top-notch comedies ('Tropic Thunder,' 'Role Models'), Trailers and Clips Weekend Guide fantastic family fare ('WALL-E,' 'Kung Fu Panda') and must-see Oscar contenders ('Milk,' 'Slumdog Millionaire') all in the running. Believe it or not, we've got 42 more where those came from ... Presenting our third Most Popular Articles annual list of the year's 50 best movies. 'Narnia: Dawn Treader' Barely Treads 50. 'Indiana Jones and the Kingdom of the Crystal Water, Wins Weak Box Office Skull' The alien-themed plot (not to mention that scene where Shia LaBeouf channels Tarzan) incurred the wrath of some diehard Indy fans -- and earned the flick a hilariously controversial send-up courtesy of Tom Hardy Is Moviefone's Breakout Star 'South Park.' But at its essence, 'Crystal Skull' keeps of 2010 up with the previous 'Jones'es, delivering a long- awaited, and whip-cracking, fourth dose of our http://blog.moviefone.com/2008/12/19/best-movies-of-2008/ Page 1 of 18 The 50 Best Movies of 2008 - The Moviefone Blog 12/15/10 2:41 AM favorite globe-trotting archaeologist. -
Capt. Lance H. Julian
CAPT. LANCE H. JULIAN Marine Consultant/Coordinator Marine Team International, INC *Marine Director, **Marine Consultant, ***Marine Coordinator www.marineteam.net PROJECT (PARTIAL LIST) DIRECTOR STUDIO / PRODUCTION CO. SILENCE*** Martin Scorcese Paramount / AI Film BLACKHAT*** Michael Mann Universal / Forward Pass ESCAPE PLAN** Mikael Hafstrom Summit Entertainment / Emett-Furla Films PERCY JACKSON: SEA OF MONSTERS** Thor Freudenthal Fox 2000 / Prod: Chris Columbus CYBER** Michael Mann Warner Bros./Forward Pass; Prod: Thomas Tull, Jon Jashni SUPERMAN: MAN OF STEEL** Zack Snyder Warner Bros.; Prod: Christopher Nolan BULLET TO THE HEAD** New Orleans Walter Hill Warner Bros./Dark Castle Ent; Prod: Joel Silver, Al Gough, Miles Millar HANGOVER 2*** Thailand Todd Phillips Warner Bros.; Prod: Daniel Goldberg RED** Southeast Louisiana Robert Schwenkte Summit Ent.; Prod: Lorenzo Di Bonaventura, Mark Vahradian THE HUNGRY RABBIT JUMPS** New Orleans Roger Donaldson Endgame Ent.; Prod: James Stern, Ram Bergman MEDIEVAL*** Croatia Rob Cohan Fox; Prod: Chris Symes, Kurt Williams ‘XXX’ – Return of Xander Cage*** Australia Ericson Core Sony; Prod: Lloyd Phillips, Joe Roth THE ZONE** Andy Davis EP: Peter MacGregor-Scott; Prod: Wolf Schmidt BOND 22: QUANTUM OF SOLACE*** Panama Marc Forster MGM; Prod: Barbara Broccoli, Michael Wilson THE PACIFIC*** Carl Franklin & Timothy HBO/DreamWorks; Prod: Tom Hanks, Gary Goetzman, Gold Coast Australia Van Patten Steven Spielberg FOOL’S GOLD*** Andrew Tennant Warner Bros./De Line Pictures; Gold Coast Australia & Eleuthera, -
Resurrection
Resurrection LORETTO (“RHETT”) KING The death has already happened, the deceased already passed from this world. But for Antigone, the heroine of Sophocles’s eponymous tragedy, a funeral for her brother Polyneices is worth her own life. She cannot “live and suffer in the knowledge that Polyneices [is] lying above ground insulted and defiled” (Heaney 21). Hence, under penalty of death, she breaks the edict of King Creon; she dresses and buries her brother, following the higher law of the gods. But her funeral rites are interrupted. In Seamus Heaney’s interpre- tation, The Burial at Thebes, a guard describes the scene: “A whirlwind. Out of nowhere. Leaves whipped off trees. Flying sand and dust . like the sky was vomiting black air . But then it clears out and [Antigone’s] standing, crying her eyes out” (19). A chain of deaths will follow, demonstrating that the “gods’ law” of burial cannot be denied (6). Nature has turned to chaos; the forces of fate have marked Thebes for devastation. Antigone’s imperative is no longer just personal. The gods won’t permit a secret sorrow; rites must be per- formed. The service had broken into uncontrollable fragments. The crowd erupt- ed into wild, abandoned singing, the preacher called us all to rise, and the closed, dead eyes seemed to peer at me over the edge of the coffin. The grief rose up and down in waves, thundering toward me. It was the third funeral I’d ever been to, and I realized I didn’t understand why I was there. I was shaken by the suddenness of death, utterly overwhelmed by the sensory over- load. -
80S 90S Hand-Out
FILM 160 NOIR’S LEGACY 70s REVIVAL Hickey and Boggs (Robert Culp, 1972) The Long Goodbye (Robert Altman, 1973) Chinatown (Roman Polanski, 1974) Night Moves (Arthur Penn, 1975) Farewell My Lovely (Dick Richards, 1975) The Drowning Pool (Stuart Rosenberg, 1975) The Big Sleep (Michael Winner, 1978) RE- MAKES Remake Original Body Heat (Lawrence Kasdan, 1981) Double Indemnity (Billy Wilder, 1944) Postman Always Rings Twice (Bob Rafelson, 1981) Postman Always Rings Twice (Garnett, 1946) Breathless (Jim McBride, 1983) Breathless (Jean-Luc Godard, 1959) Against All Odds (Taylor Hackford, 1984) Out of the Past (Jacques Tourneur, 1947) The Morning After (Sidney Lumet, 1986) The Blue Gardenia (Fritz Lang, 1953) No Way Out (Roger Donaldson, 1987) The Big Clock (John Farrow, 1948) DOA (Morton & Jankel, 1988) DOA (Rudolf Maté, 1949) Narrow Margin (Peter Hyams, 1988) Narrow Margin (Richard Fleischer, 1951) Cape Fear (Martin Scorsese, 1991) Cape Fear (J. Lee Thompson, 1962) Night and the City (Irwin Winkler, 1992) Night and the City (Jules Dassin, 1950) Kiss of Death (Barbet Schroeder 1995) Kiss of Death (Henry Hathaway, 1947) The Underneath (Steven Soderbergh, 1995) Criss Cross (Robert Siodmak, 1949) The Limey (Steven Soderbergh, 1999) Point Blank (John Boorman, 1967) The Deep End (McGehee & Siegel, 2001) Reckless Moment (Max Ophuls, 1946) The Good Thief (Neil Jordan, 2001) Bob le flambeur (Jean-Pierre Melville, 1955) NEO - NOIRS Blood Simple (Coen Brothers, 1984) LA Confidential (Curtis Hanson, 1997) Blue Velvet (David Lynch, 1986) Lost Highway (David -
UNDER EMBARGO UNTIL March 14 at 3Pm ET/12Pm PT Images/Video
UNDER EMBARGO UNTIL March 14 at 3pm ET/12pm PT Images/Video: https://www.dropbox.com/sh/3uol0ajltadpdyq/AAC2Gw5jxUcPbpjXZYyP7sTCa?dl=0 TRIBECA FILM FESTIVAL® TO CLOSE WITH WORLD PREMIERE OF DANNY BOYLE’S YESTERDAY; GALAS TO INCLUDE SPECIAL SCREENINGS HONORING THE 40th ANNIVERSARY OF APOCALYPSE NOW AND THE 30 YEARS SINCE SAY ANYTHING… BECAME A CULT CLASSIC Galas Include World Premiere of ‘Between Me and My Mind’ featuring Phish’s Trey Anastasio with special music performance; Tribeca/ESPN Sports Film Festival World Premiere of ‘The Good, The Bad, The Hungry’ NEW YORK, NY – March 14, 2019 – The Tribeca Film Festival, presented by AT&T, announced today that Oscar-winning director Danny Boyle’s Yesterday, from Universal Pictures and Working Title, will world premiere as the closing night selection of the Festival’s 18th edition. Tribeca also announced this year’s Gala Anniversaries, including a never-before- seen restored version of Francis Ford Coppola’s cinematic masterpiece, Apocalypse Now, and the 30th anniversary and cast reunion of the iconic ‘80s coming-of-age film Say Anything… There will be additional Galas with the world premiere of Between Me and My Mind about Phish lead singer Trey Anastasio, followed by a special musical performance by the Trey Anastasio Band at the Beacon Theatre, as well as Tribeca/ESPN Sports Film Festival opener The Good, The Bad, The Hungry. Tickets for events at the Beacon Theatre go on sale March 19 at 11:00AM ET; Single tickets for all other Festival events go on sale March 26 at 11:00AM ET. The Tribeca Film Festival takes place from April 24 - May 5, 2019.