GAUMONT: 2020 Universal Registration Document
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February 26, 2021 Amazon Warehouse Workers In
February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN; -
Familienmodelle in Video-On-Demand-Serien: Analyse 3 Der Beispiele
Familienmodelle in Video-on-Demand-Serien: Analyse 3 der Beispiele Das Gesamtbild einer TV-Familie konstituiert sich aus diversen Faktoren. Anhand dieser Faktoren möchte ich den folgenden analytischen Teil strukturieren. Der weitreichenden Analyse meines Korpus geht dabei die exemplarische Analyse der Serie Ozark voran (3.1), die strukturell von der Untersuchung des Korpus abweicht. Zu Beginn der Korpusanalyse sollen die familiären Rollenmuster und geschlechtlichen Konstruktionen analysiert werden, also die Positionen, die eine Figur innerhalb eines Familiengefüges bzw. innerhalb einer familienzentrierten Serienhandlung einnehmen kann (3.2). Dabei unterscheide ich zwischen weibli- chen und männlichen Rollen und thematisiere zudem Bedeutung sowie textinterne Wertung von Rollen, die von heteronormativen Strukturen abweichen. Bezüglich meiner Beispiele bedeutet dies konkret, die Darstellung homo- und transsexueller Charaktere zu untersuchen. Diese Charaktere zählen zwar auch in die Rollenbe- reiche der Mütter, Töchter, Söhne und Väter (und werden in diesem Rahmen auch genannt), nehmen in den analysierten Serien jedoch eine offenkundige Sonder- rolle ein. Ohne dabei in irgendeiner Weise eine ausgrenzende oder abwertende Strategie verfolgen zu wollen, ist dementsprechend eine eigenständige Untersu- chung notwendig. Nach dieser Analyse isolierter Rollen werde ich die möglichen Verhältnisse der Charaktere zueinander untersuchen (3.3). Dies schließt sowohl innerfamiliäre Beziehungen ein als auch Beziehungen von Familienmitgliedern zu außerfamiliären Charakteren. Aus den Beziehungen der Charaktere zueinander ergeben sich diverse Modelle von Familie, die durch die Texte ebenfalls unter- schiedlich gewichtet werden (3.4). Über die Rollen, Beziehungsgeflechte und Elektronisches Zusatzmaterial Die elektronische Version dieses Kapitels enthält Zusatzmaterial, das berechtigten Benutzern zur Verfügung steht https://doi.org/10.1007/978-3-658-34766-6_3. © Der/die Autor(en) 2021 89 J. -
Here Was Obviously No Way to Imagine the Event Taking Place Anywhere Else
New theatre, new dates, new profile, new partners: WELCOME TO THE 23rd AND REVAMPED VERSION OF COLCOA! COLCOA’s first edition took place in April 1997, eight Finally, the high profile and exclusive 23rd program, years after the DGA theaters were inaugurated. For 22 including North American and U.S Premieres of films years we have had the privilege to premiere French from the recent Cannes and Venice Film Festivals, is films in the most prestigious theater complex in proof that COLCOA has become a major event for Hollywood. professionals in France and in Hollywood. When the Directors Guild of America (co-creator This year, our schedule has been improved in order to of COLCOA with the MPA, La Sacem and the WGA see more films during the day and have more choices West) decided to upgrade both sound and projection between different films offered in our three theatres. As systems in their main theater last year, the FACF board an example, evening screenings in the Renoir theater made the logical decision to postpone the event from will start earlier and give you the opportunity to attend April to September. The DGA building has become part screenings in other theatres after 10:00 p.m. of the festival’s DNA and there was obviously no way to imagine the event taking place anywhere else. All our popular series are back (Film Noir Series, French NeWave 2.0, After 10, World Cinema, documentaries Today, your patience is fully rewarded. First, you will and classics, Focus on a filmmaker and on a composer, rediscover your favorite festival in a very unique and TV series) as well as our educational program, exclusive way: You will be the very first audience to supported by ELMA and offered to 3,000 high school enjoy the most optimal theatrical viewing experience in students. -
Filmographie Films De Fiction | Documentaires | Webdocumentaires
filmographie films de fiction | documentaires | webdocumentaires *Les films présentés sont classés par ordre chronologique. La guerre d’Algérie STORA Benjamin | Imaginaires de guerre : les images dans les guerres d’Algérie et du Viêt-nam Paris : La Découverte, 2004, 266 p. (Essais ; 174) [10F 791.436 58 TO] Au travers de l’anayse des images produites par les cinémas français et américains sur les guerres d’Al- gérie et du Vietnam, Benjamin Stora décrit la construction de l’imaginaire de guerre dans ces deux pays. - Présentation éditeur Films de fiction Le Petit soldat de Jean-Luc Godard France, 1960, 1h24. Avec Michel Subor, Anna Karina, Henri-Jacques Huet [CIN 791.43 GOD] Dans son premier film politique qui s’implante au coeur de la guerre d’Algérie, en 1958, Jean-Luc Godard ra- conte le cauchemar de Bruno Forestier, petit tueur à la solde de l’OAS, qui, tout à coup et sans raison appa- rente, hésite à honorer un contrat. Ses amis le soupçonnent alors de mener un double jeu, et pour le tester, lui ordonnent d’assassiner un journaliste… - Présentation Universal Studio Canal Video Le Petit Soldat est interdit pour trois ans. « Les paroles prêtées à une protagoniste du film et par lesquelles l’action de la France en Algérie est présentée comme dépourvue d’idéal, alors que la cause de la rébellion est défendue et exaltée, constituent à elles seules, dans les circonstances actuelles, un motif d’interdiction », estime Louis Terrenoire, ministre de l’Information. Jean Luc Godard parle de son film «Le Petit soldat» Cinéastes de notre temps, 15/07/1965, 06min02s (Archives Ina) http://www.ina.fr/art-et-culture/cinema/video/I05049323/jean-luc-godard-parle-de-son-film-le-petit-soldat.fr.html Le combat dans l’île d’Alain Cavalier France, 1961, 1h44. -
Alain Cavalier Le Cinéma En Vie ACTIVITÉS CULTURELLES CINÉ-CLUB UNIVERSITAIRE Sommaire Éditorial
La Revue du Ciné-club universitaire, , no Alain Cavalier le cinéma en vie ACTIVITÉS CULTURELLES CINÉ-CLUB UNIVERSITAIRE Sommaire Éditorial ..............................................................................1 Le combat dans l’île ...................................................... 3 Pater: mise en place et mise à mal de la fi ction ...................................................................... 7 Entretien avec Alain Cavalier ...................................15 Lieux saints .................................................................... 19 Cavalier, le Nouveau Roman et la déconstruction .............................................................23 Parcours d’un fi lmeur ................................................27 Filmographie ................................................................ 30 Programmation ............................................................32 Illustration 1ère de couverture: Alain Cavalier dans Le fi lmeur (2004) Remerciements Alain Cavalier, Françoise Widhoff , Bertrand Bacqué, Astrid Maury, Gabriela Bussmann, Jean Perret, Paola Titterington Groupe de travail du Ciné-club universitaire Recevoir gratuitement Lou Perret, Noémie Baume, Ana Luisa Castillo, Lionel Dewarrat, Nathalie Gregoletto, Pietro Guarato, Emilien Gür La Revue du Ciné-club universitaire Activités culturelles de l’Université chez vous? responsable: Ambroise Barras coordination: Christophe Campergue édition: Véronique Wild graphisme: Julien Jespersen Abonnez-vous! en 1 minute sur a-c.ch/revue Éditorial par Lou -
Nicolas Vanier Running Time 116 Min
RADAR FILMS ET STUDIOCANAL PRÉSENTENT FRANÇOIS CLUZET JEAN SCANDEL ÉRIC ELMOSNINO FRANÇOIS BERLÉAND VALÉRIE KARSENTI SCHOOL OF LIFE WITH THE FRIENDLY PARTICIPATION OF LAURENT GERRA ADAPTED SCREENPLAY & DIALOGUES JÉRÔME TONNERRE ET NICOLAS VANIER RUNNING TIME 116 MIN INTERNATIONAL MARKETING INTERNATIONAL PUBLICITY Lucie MICHAUT Alexandre BOURG [email protected] [email protected] Press kit & photos available at https://extranetstudiocanal.com · SYNOPSIS · Paris 1930. Paul always had only one and the same horizon: the high walls of the orphanage, a severe building on the outskirts of Paris. Entrusted to a cheerful lady of the countryside, Celestine and her husband, Borel, the somewhat rigid gamekeeper of a vast estate in Sologne, the child of the cities, recalcitrant and stubborn, arrives in a mysterious and worrying world, that of a sovereign and wild region. The immense forest, the misty ponds, the moors and the fields, everything here belongs to the Count of the Comte de La Salle. Fresnaye, a taciturn widower who lives alone in his mansion. The Count tolerates poachers on the estate, but Borel is relentlessly hunting them down and hounding the most cunning and elusive of them, Totoche. In the heart of the fairytale Sologne, next to the poacher, a great nature lover, Paul will learn about life but also the forest and its secrets. An even heavier secret weighs on the estate, because Paul did not come here by chance... · NICOLAS VANIER · Biographical references An adventurer, writer, photographer and director, but also a great defender of nature in all its diversity, Nicolas Vanier, this insatiable traveler of the cold has been following an extraordinary journey for over 30 years. -
ETHAN HAWKE the Truth a Film by KORE-EDA HIROKAZU 3B PRODUCTIONS, BUN-BUKU and M.I MOVIES Present
CATHERINE DENEUVE JULIETTE BINOCHE ETHAN HAWKE the truth a film by KORE-EDA HIROKAZU 3B PRODUCTIONS, BUN-BUKU and M.I MOVIES present CATHERINE DENEUVE JULIETTE BINOCHE ETHAN HAWKE the truth (la vérité) a film by KORE-EDA HIROKAZU 107 MIN – FRANCE – 2019 – 1.85 – 5.1 INTERNATIONAL PR MANLIN STERNER [email protected] mobile: +46 76 376 9933 SYNOPSIS Fabienne is a star – a star of French cinema. She reigns amongst men who love and admire her. When she publishes her memoirs, her daughter Lumir returns from New York to Paris with her husband and young child. The reunion between mother and daughter will quickly turn to confrontation: truths will be told, accounts settled, loves and resentments confessed. photo © Rinko Kawauchi © Rinko photo DIRECTOR’S NOTE If I dared to take on the challenge I wanted the story to take place I wanted a film that was not only THE TRUTH is the result of all the of shooting a first film abroad – in in autumn because I wanted to serious but also light-hearted, where efforts and the confidence that my a language that’s not my own and superimpose what the heroine drama and comedy coexist, as actors and crew put in me; it was with a totally French crew – it’s only goes through at the end of her life they do in real life. I hope that the made by the best of professionals, because I was lucky enough to meet onto the landscapes of Paris at the chemistry between the actors and the beginning with my director of actors and collaborators who wanted end of summer. -
This Year's Emmy Awards Noms Here
FOR IMMEDIATE RELEASE 2017 EMMY® AWARDS NOMINATIONS FOR PROGRAMS AIRING JUNE 1, 2016 – MAY 31, 2017 Los Angeles, CA, July 13, 2017– Nominations for the 69th Emmy® Awards were announced today by the Television Academy in a ceremony hosted by Television Academy Chairman and CEO Hayma Washington along with Anna Chlumsky from the HBO series Veep and Shemar Moore from CBS’ S.W.A.T. "It’s been a record-breaking year for television, continuing its explosive growth,” said Washington. “The Emmy Awards competition experienced a 15 percent increase in submissions for this year’s initial nomination round of online voting. The creativity and excellence in presenting great storytelling and characters across a multitude of ever-expanding entertainment platforms is staggering. “This sweeping array of television shows ranges from familiar favorites like black- ish and House of Cards to nominations newcomers like Westworld, This Is Us and Atlanta. The power of television and its talented performers – in front of and behind the camera – enthrall a worldwide audience. We are thrilled to once again honor the very best that television has to offer.” This year’s seven Drama Series nomInees include five first-timers dIstrIbuted across broadcast,Deadline cable and dIgItal Platforms: Better Call Saul, The Crown, The Handmaid’s Tale, House of Cards, Stranger Things, This Is Us and Westworld. NomInations were also sPread over dIstrIbution Platforms In the OutstandIng Comedy Series category, with newcomer Atlanta joined by the acclaimed black-ish, Master of None, Modern Family, Silicon Valley, Unbreakable Kimmy Schmidt and Veep. Saturday Night Live and Westworld led the tally for the most nomInations (22) In all categories, followed by Stranger Things and FEUD: Bette and Joan (18) and Veep (17). -
PRESS RELEASE Three Aces for Visions Du Réel 2017: the Prix Raiffeisen Maître Du Réel Goes to Alain Cavalier, While Stéphan
PRESS RELEASE Three aces for Visions du Réel 2017: the Prix Raiffeisen Maître du Réel goes to Alain Cavalier, while Stéphane Breton and Gianfranco Rosi are the guests for the Ateliers 25 January 2017, Nyon (Switzerland)—From 21 to 29 April 2017, Visions du Réel, Festival international de cinéma Nyon, is inviting three film aces for its 48th edition, as revealed by Claude Ruey, President, and Luciano Barisone, Artistic Director, in Solothurn. Three essential directors will indeed make their mark on the Festival: the Sesterce d’or Prix Raiffeisen Maître du Réel will be awarded to the French director Alain Cavalier, paying tribute to his entire career, and two renown filmmakers, the Frenchman Stéphane Breton and the Italian Gianfranco Rosi, will each present their work to the public during a Masterclass as part of the Festival’s Ateliers. MAÎTRE DU RÉEL—Alain Cavalier: the art of the portrait The French director Alain Cavalier is a regular at Visions du Réel: the guest of honour for an Atelier during the 2004 Festival and in frequent attendance at various editions with his films, he will be back this year as the Maître du Réel. A filmmaker with a remarkable career, he has directed great actors such as Romy Schneider, Alain Delon and Catherine Deneuve. He won French César Awards and the Cannes Jury Prize for Thérèse in 1986. The filmmaker then devoted himself to films that cross the borders between fiction and documentary, with very intimate works or films such as Pater—acclaimed at the Festival of Cannes in 2011—in which he and Vincent Lindon played the main protagonists. -
No Vember/De Cember 20 18
NOV/DEC 2018 NOVEMBER/DECEMBER 2018 NOVEMBER/DECEMBER Christmas atCINEMASTERS: GFT BILLY WILDER PETERLOO | WIDOWS | NAE PASARAN SUSPIRIA | SHOPLIFTERS | OUTLAW KING FRENCH FILM FESTIVAL | AFRICA IN MOTION THE OLD MAN AND THE GUN | UTØYA | SQIFF GLASGOWFILM.ORG | 0141 332 6535 12 ROSE STREET, GLASGOW, G3 6RB CONTENTS 3 Days in Quiberon 23 Possum + Q&A 21 White Christmas 17 Access Film Club: Blindspotting 28 Science Fair 21 CINEMASTERS: BILLY WILDER Scottish Animation: Access Film Club: Home Alone 28 7 The Apartment 15 Stories Brought to Life Anna and the Apocalypse + short 23 Double Indemnity 15 Shoplifters 22 Archive Film, Propaganda and The Private Life of Sherlock Holmes - 5 15 Spanish Civil War Sorry to Bother You 23 35mm Bad Reputation 20 Super November + Q&A 7 Some Like It Hot 15 Becoming Animal + Q&A 6 Suspiria 22 Sunset Boulevard 15 Been So Long + Q&A 6 Three Identical Strangers 23 COMEDY GENIUS Blue Black Permanent 24 Utøya - July 22 20 9 to 5 25 Blueprint: Scottish Independent Shorts 8 Visible Cinema: It’s A Wonderful Life 28 Shaun of the Dead 25 Calibre + Q&A 5 Visible Cinema: RCS Curates: Widows 28 South Park Sing-a-long - 35mm 25 21 Disobedience 23 Widows DID YOU MISS 22 The Wild Pear Tree 23 Distant Voices, Still Lives Black 47 25 20 Wildlife 22 Don’t Worry, He Won’t Get Far on Foot BlacKkKlansman 25 6 A Woman Captured + Q&A 5 Evelyn + Discussion C’est la vie 25 20 The Workshop 22 An Evening with Beverley Luff Linn Cold War 25 @glasgowfilm 24 Worlds of Ursula K Le Guin 7 The Evil Dead ESTONIA NOW Fahrenheit 11/9 20 AFRICA -
A Deconstruction and Qualitative Analysis of the Consumption of Traditional Entertainment Media by Elementary-Aged Children Diag
A DECONSTRUCTION AND QUALITATIVE ANALYSIS OF THE CONSUMPTION OF TRADITIONAL ENTERTAINMENT MEDIA BY ELEMENTARY-AGED CHILDREN DIAGNOSED WITH EMOTIONAL DISORDERS John Lloyd Lowdermilk III, B.S., M.S., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS August 2004 APPROVED: Lyndal M. Bullock, Major Professor Alan B. Albarran, Minor Professor Ron Fritch, Committee Member Bertina Combes, Committee Member and Graduate Coordinator of Special Education Jon Young, Chair of the Department of Technology and Cognition M. Jean Kellar, Dean of the College of Education Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Lowdermilk, John Lloyd, III, A deconstruction and qualitative analysis of the consumption of traditional entertainment media by elementary-aged children diagnosed with emotional disorders, Doctor of Philosophy (Special Education), August 2004, 116 pp., 3 tables, 86 titles. This qualitative study examined whether a connection exists between children with emotional disorders consumption of traditional entertainment media and their subsequent vegative/anti-social classroom behavior. Research participants included six first-grade children diagnosed with an emotional disorder and their teacher. They were interviewed using a semi- structured approach. The students were observed in the natural setting of their classroom for a total of twenty-four hours, over a four-day period. Transcripts and classroom observations were analyzed, looking for connections between behavior and consumption of traditional entertainment media. Findings from this study concluded that these students used traditional entertainment media as a method of temporally escaping from the environment of their respective households. TABLE OF CONTENTS Page ACKNOWLEDGEMENTS............................................. iv LIST OF TABLES.............................................. -
FETE DE FAMILLE DP Anglais.Indd
LES FILMS DU WORSO PRESENT Happy Birthday A FILM BY CÉDRIC KAHN WITH LUANA BAJRAMI LAETITIA COLOMBANI ISABEL AIMÉ GONZALEZ SOLA ALAIN ARTUR JOSHUA ROSINET MILAN HATALA SOLAL FERREIRA LES FILMS DU WORSO PRESENT Happy Birthday A FILM BY CÉDRIC KAHN 101 MIN – FRANCE – 2019 – 1.85 – 5.1 INTERNATIONAL SALES ELLE DRIVER 66 rue de Miromesnil 75008 Paris tél : 01 56 43 48 70 www.elledriver.fr SYNOPSIS « Today is my birthday and I would only like to talk about happy things. » Andrea doesn’t know it yet but the «surprise» arrival of her eldest daughter, Claire, who has disappeared for the past 3 years and is determined to take back what is due to her, will upset the program and trigger a family storm. INTERVIEW WITH CÉDRIC KAHN Your eleventh feature film is part of what place (the house), time (the film takes is almost a genre in itself: the family film. place in less than 24 hours) and action What was the origin of this project? (everything is organized around the mother’s birthday). The film is built in The origin, I don’t know exactly, but what three acts and the dialogues are abundant. I can say is that I had this story inside The theatricality also comes from the me for a long time, maybe even forever, characters themselves since we have the and it took me all this time and all these feeling that they stage themselves, that films to allow me to tell it. But from the they sometimes play a role that is imposed moment it became obvious, everything on them, with an almost vaudeville side went very fast.