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Jurassic Park June 30, 1992
JURASSIC PARK screenplay by David Koepp based upon the novel by Michael Crichton and on adaptations by Michael Crichton and Malia Scotch Marmo AMBLIN ENTERTAINMENT May 26, 1992 JUNE 30, 1992 -- STEVEN SPIELBERG ONLY! THIS MATERIAL IS THE PROPERTY OF AMBLIN ENTERTAINMENT AND IS INTENDED AND RESTRICTED SOLELY FOR USE BY AMBLIN PERSONNEL. DISTRIBUTION OR DISCLOSURE OF THIS MATERIAL TO UNAUTHORIZED PERSONS IS PROHIBITED. THE SALE, COPYING, OR REPRODUCTION OF THIS MATERIAL IN ANY FORM IS ALSO PROHIBITED. 1 EXT JUNGLE NIGHT 1 An eyeball, big, yellowish, distinctly inhuman, stares raptly between wooden slats, part of a large crate. The eye darts from side to side, alert as hell. FROM INSIDE THE CRATE, we get glimpses of what's on the other side of those wooden slats -- jungle foliage, MEN with rifles, searing searchlights. The view is herky-jerky as the crate is lowered into the thick of the foliage. IN THE JUNGLE, the crate THUDS to the jungle floor and the ropes that held it aloft are unhitched and drop like so many dead snakes. A legend tries to place us -- ISLA NUBLAR 120 MILES WEST OF COSTA RICA -- but to us it's still the middle of nowhere. It's quiet for a second. A ROAR rises up from the jungle, deafening. The trees shake as something very, very large plows ahead through them, right at us. Every head gathered in this little clearing snaps, turning in the direction of the sound as it bursts through the trees. It's a bulldozer. It drops its scoop and pushes forward, into the back end of the crate, shoving it across the jungle floor toward an impressive fenced structure that towers over an enclosed section of thick jungle. -
To Download 2014 Woodstock Film
NARRATIVES WORLD PREMIERE NEW YORK PREMIERE COURTESY OF ALL RELATIVE AMIR A & SAM ARWAD FMUNFIL BEFORE I DISAPPEAR Directed by J.C. Khoury Directed by Sean Mullin Directed by Directed by Shawn Christensen USA / 2013 / 85 minutes USA / 2013 / 88 minutes Samer Najari and Dominique Chila USA / 2014 / 98 minutes In English, and Arabic with subtitles Canada / 2013 / 105 minutes Upstate Films I RHINEBECK In English, and French and Arabic with Upstate Films WOODSTOCK Sat Oct 18 • 7:30PM Upstate Films WOODSTOCK subtitles Thur Oct 16 • 7:00PM Thur Oct 16 • 4:30PM WOODSTOCK Playhouse Upstate Films WOODSTOCK ROSENDALE Theatre Sun Oct 19 • 5:15PM Orpheum Theater SAUGERTIES Fri Oct 17 • 4:45PM Fri Oct 17 • 6:30PM Fri Oct 17 • 7:00PM COURTESY OF FILMBUFF Orpheum Theater SAUGERTIES COURTESY OF IFCFILMS Reminiscent of classic Hollywood Sun Oct 19 • 12:30PM When Harry, a graduate student romances, where the leads hold Before I Disappear follows Richie in New York City, meets Grace, their own and the chemistry runs Rarely does a film combine such (Shawn Christensen), a man who he immediately falls for her. With high (think Hepburn and Grant, Bogie high quality elements. With Arwad, is very much inclined to commit the help of some dating tips from a and Bacall), Sam and Amira spar with directors Dominique Chila and Samer suicide. After facing his end and de- seductive divorcee, Harry successfully their wits and embrace with their Najari have crafted a visually stunning, ciding to take his own life, he receives courts Grace. But when he’s introduced hearts. -
Family & Domesticity in the Films of Steven Spielberg
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Why Did I Marry A Sentimentalist?: Family & Domesticity in the Films of Steven Spielberg Emmet Dotan Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Other Film and Media Studies Commons, and the Theory and Criticism Commons This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation Dotan, Emmet, "Why Did I Marry A Sentimentalist?: Family & Domesticity in the Films of Steven Spielberg" (2017). Senior Projects Spring 2017. 232. https://digitalcommons.bard.edu/senproj_s2017/232 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. 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. For more information, please contact [email protected]. Why Did I Marry A Sentimentalist?: Family & Domesticity in the Films of Steven Spielberg Senior Project Submitted to The Division of Arts of Bard College by Emmet Dotan Annandale-on-Hudson, New York May 2017 Acknowledgements I want to thank my advisor, Ed Halter, for pushing me to understand why I love the films that I love. I would also like to thank Natan Dotan for always reminding me why I do what I do. -
The Sou 'Wester Vol
The Sou 'wester Vol. 80 No. 5 Rhodes College Thursday, February 20, 1992 Mock Team RhodesTrial The Difference Rhodes Mock MakingTrial Team Making The Difference by Susan Ewart judiciary savvy. The other crucial ele- Co-Editor ment is witness characterization. The "Objection!", "Overruled . case, like a play, needs more than a continue counselor," and "'didn't you great script to be powerful; it needs say" sounds like an episode of LA characters that come alive. Marion Law, but these words came from the Morrison, portrayed by Julia Tarver, Orgill Room last Thursday as the gives her testimony dressed in a brown Mock Trial Team geared up and per- dress and orthopedic shoes, while car- formed for the general public. In the rying a straw purse. The characteriza- tion fictional state of Midlands, Jerry Ryan is thorough from the accents to the nervous twitches. Pohlmann points out is brought up on charges that Jerry that the other teams are often coached abused or neglected Marion Morrison, a dependent elderly person. The court as lawyers by lawyers and forget the finishing touches that make the dif- scene is brought to life with a play be- ference in competition where teams tween scripts (ie., each witness's af- are "as sharp" in court room fidavit) and improvisation. procedures. Professor Pohlmann believes that The two Mock Trial Teams have two things make the team successful. already won Ist and 2nd at the regional One element is that the lawyers have tournament and will be leaving this learned the language of the court weekend to defend their "two years room, the procedures, and the running" national title. -
Bollettino Gennaio 2016
Biblioteca comunale “Paolo Guidotti” – Vergato (BO) BOLLETTINO NOVITA’ Gennaio 2016 Libri e multimediali acquisiti in biblioteca dal 1 al 31 gennaio 2016 Biblioteca comunale “Paolo Guidotti” Galleria 1° Maggio, 86/A 40038 Vergato [email protected] tel. 051.91.05.59 NARRATIVA 25043 LET MUR 853 Chirú / Michela Murgia. - Torino : Einaudi, 2015. - 191 p. ; 23 cm 25041 LET GHO 823 Diluvio di fuoco / Amitav Ghosh ; traduzione e cura di Anna Nadotti e Norman Gobetti. - Vicenza : Neri Pozza, 2015. - 703 p. : [2] c. geog. ; 21 cm 25042 LET SMI 823 Il leone d’oro : romanzo / di Wilbur Smith con Giles Kristian ; traduzione di Sara Caraffini. - Milano : Longanesi, 2015. - 493 p. ; 22 cm 25046 LET SID 823 Lingua d’amore / Bapsi Sidhwa ; traduzione dall’inglese di Chiara Brovelli. - Vicenza : Pozza, 2015. - 222 p. ; 22 cm. 25044 LET HAR 895.6 La strana biblioteca / Murakami Haruki ; illustrato da Lorenzo Ceccotti ; traduzione di Antonietta Pastore. - Torino : Einaudi, 2015. - 73 p. : ill. ; 23 cm. 25040 LET LEE 813 Va’, metti una sentinella / Harper Lee ; traduzione di Vincenzo Mantovani. - Milano : Feltrinelli, 2015. - 269 p. ; 22 cm 2 SAGGISTICA VARIA 25045 PSI 155.6 REC Le mani della madre : desiderio, fantasmi ed eredità del materno / Massimo Recalcati. - Milano : Feltrinelli, 2015. - 187 p. ; 23 cm. 25047 ART 796.52 KRA Aria sottile / Jon Krakauer ; traduzione di Lidia Perria. - 10. ed. - Milano : Corbaccio, 2003. - 346 p., [16] p. di tav. : ill. ; 21 cm. 25048 TEC 646.2 BUR Reinventa i tuoi vestiti per negati / di Miranda Caroligne Burns ; traduzione di Patrizia Rognoni. - Segrate : Mondadori, 2010. - XI, 384 p. -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit History Recycling Postmoderne Theorien und das Motiv der Zeitreise im US-amerikanischen Film der 1980er Jahre Verfasserin Jill Amanda Meißner Angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, September 2011 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Mag. Thomas Ballhausen Eidesstattliche Erklärung Ich versichere, dass ich die vorliegende Arbeit selbstständig und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt habe. Die aus fremden Quellen direkt oder indirekt übernommenen Ausführungen sind als solche kenntlich gemacht. Die Arbeit wurde bisher in gleicher oder ähnlicher Form keiner anderen Prüfungsbehörde vorgelegt und auch noch nicht veröffentlicht. Wien, am 01.09.2011 .................................... Jill Meißner Danksagung Danke all jenen, die zum Gelingen dieser Arbeit beigetragen und mit mir geduldig über Zeitreisefilme diskutiert haben! Besonderer Dank gilt an dieser Stelle meinem Betreuer Mag. Thomas Ballhausen, der mir geholfen hat, aus einer vagen Idee eine Diplomarbeit zu formen und mir stets mit Rat und Tat zur Seite stand. Ohne mich zeitlich unter Druck zu setzen, hat er mich darin unterstützt, eine Arbeit zu schreiben, auf die ich stolz sein kann. Danke an Tanja Wittrien und Margrita Hägele, die mir ihre Arbeiten zur Verfügung gestellt haben! Besonders möchte ich mich auch bei meinen Freundinnen Eva, Julia und Jana für das geduldige Korrekturlesen dieser Arbeit bedanken. Danke an meine Kollegen und Freunde Katharina L., Dominik, Elias, Desiree und Katharina Z., die das gleiche durchgemacht und mich stets motiviert haben! Danke an Hanna und Veronika, die sich geduldig meine Probleme angehört haben! Danke an meine Mutter und meine Schwester Janis, die mir immer wieder Mut gemacht und an mich geglaubt haben! Janis hat außerdem eine wunderbare Zeichnung zum Thema dieser Diplomarbeit angefertigt, welche sich vor dem Anhang befindet. -
Summer Blockbusters
Clockwise from top: Back to the Future; Grease; Who Framed Roger Rabbit C OURTESY : U NIVERSAL H OME E NTERTAINMENT ; P ARAMOUNT H OME E NTERTAINMENT ; B UENA V ISTA H OME E NTERTAINMENT 86 Script magazine WWW.SCRIPTMAG.COM BY RAY MO R TON L e g e n d s o f Screenwriting Legendary Summer Blockbusters Since this issue of Script is all about the blockbuster, we thought it might be fun to take a look back at the biggest hits of summers past and the writers who penned them. The summer season (which from the pre-air-conditioning era on had always been considered a slow period) became a key time for movies starting in the mid-1970s. n the wake of the successes of Jaws and Star polish from his American Graffiti collaborators 1982 E.T.: The Extra-Terrestrial: Director Wars, the weeks between Memorial Day Gloria Katz & Willard Huyck. Steven Spielberg asked screenwriter Melissa and Labor Day proved they could be 1978 Grease: Producer Allan Carr adapted Mathison (The Black Stallion) on a character lucrative ones indeed. Since then, studios Jim Jacobs and Warren Casey’s book for their from an unproduced script called Night Skies Ihave commissioned writers to create screen- 1971 stage musical (changing the location that John Sayles had written for Spielberg as plays (often in the sci-fi or fantasy genres) from Chicago to Los Angeles and the national- a follow-up to Close Encounters of the Third for films that have the potential to empty the ity of the female lead from American to Austra- Kind. -
Independent Producers, Industry Advisors to Convene at 2019 Sundance Institute Creative Producing Labs & Summit
FOR IMMEDIATE RELEASE Media Contact: July 19, 2019 Spencer Alcorn 310.360.1981 [email protected] Independent Producers, Industry Advisors to Convene at 2019 Sundance Institute Creative Producing Labs & Summit Los Angeles — Sundance Institute today announced Fellows and Advisors for the five-day 2019 Creative Producing Labs, as well as the three-day Creative Producing Summit which immediately follows; both take place at Utah’s Sundance Mountain Resort. The Labs begins July 29, and the Summit August 2. These are the flagship convenings for the Institute’s Creative Producing Program, which champions and develops current and rising generations of producers across fiction and nonfiction film. The program, which recognizes the need for a flexible, robust support system and community in an evolving industry, features year-round mentorship, granting, education and opportunities to connect with potential financiers in addition to the annual Labs and Summit. The Institute’s annual Producers Awards, supported by Amazon Studios, recognize both Fiction and Nonfiction producers at the Sundance Film Festival’s Producers Lunch. “Within a shifting landscape, independent producers continue to create exceptional work,” said the Institute’s Anne Lai, Director, Creative Producing and Artist Support and Kristin Feeley, Director, Labs & Artist Support, Creative Producing. “We recognize the importance of a space for meaningful dialogue and discovery between producers and forward-thinking industry. Creating a sustainable future where -
Introduction 1 Innovations in 1920S and 1930S Hollywood
Notes Introduction 1. Otis Ferguson, “Life Goes to the Pictures,” in Robert Wilson, The Film Criticism of Otis Ferguson (Philadelphia: Temple University Press, 1971), 4. 2. Those Who Made It is the latest entry in a select group of comparable interview collections that features Hollywood personnel speaking out about their work behind the camera. One of the earliest was Austin C. Andrew Sarris’s Interviews with Film Directors (1967), an anthology conducted by a variety of interviewers; Leonard Maltin’s Behind the Camera (1971), featuring five interviews with cinema- tographers Hal Mohr, Conrad Hall, Hal Rosson, Lucien Ballard, and Arthur Miller; Kevin Brownlow’s three volumes of interviews chronicling the silent era, The Parade’s Gone By, The War the West and the Wilderness, Behind the Mask of Innocence ( 1968–1990); and Joseph McBride’s two- volume Filmmakers on Filmmakingg (1983), derived from a series of seminars conducted by the American Film Institute. My own previous contribution to this series is my edited volume, Introduction to the Photoplay (1977), an annotated collection of Hollywood n otables— including pro- ducer Irving Thalberg, art director William Cameron Menzies, scriptwriter Clara Beranger— speaking out at a seminar at USC in 1929 on topics relating to the dawn of sound. All, save Brownlow’s Parade’s Gone By, are long out of print. 3. Jean- Luc Godard, Introduction a une veritable histoire du cinema (Paris: Albatros, 1980), 100. 4. William Hazlitt’s “On the Conversation of Authors” was first published in the London Magazine, September, 1820 and reprinted in P.P. Howe, ed., The Best of Hazlittt (London: Methuen, 1947). -
Julia Roberts, Erin Brockovich and Oscar Winning Legitimation
Julia Roberts and Erin Brockovich: The cultural and commercial paradoxes of Oscar winning acting Paul McDonald University of Portsmouth In his study of the Academy Awards, Emanuel Levy describes the Oscars as ‘an institutionalized yardstick of artistic quality…. a legitimized measure of cinematic excellence’.1 Amongst the categories honoured, conferment of the Best Actress and Actor awards annually operate as a benchmark of quality for the art of film performance. Yet when considered in the context of Hollywood, the recognition of artistic esteem is always locked into conditions of highly commercialized production where the star operates as a key sign of economic value. This tension between art and commerce creates a fundamental paradox in the status of the Oscars: by celebrating artistic achievements, the awards demonstrate disinterest in the commerce of the market, yet at the same time the awards only take place within a context of production dominated by commercial concerns. At the 73rd Academy Awards ceremony, the Oscar for Best Actress in a Leading Role went to Julia Roberts for Erin Brockovich. As the eponymous heroine, Roberts appeared in the true life tale of a working class single mother employed as a legal assistant who through her own investigations brings a major and successful legal claim against Pacific Gas and Electric after exposing how the company has contaminated the water supply serving the local community of Hinkley. Here I want to use the example of Roberts’s performance as Brockovich to think about how Oscar winning acting negotiates a position for the film actor between artistic legitimacy and commercial success. -
Iiênäã MICHAEL DOUGLAS FRANÇOIS TRUFFAUT STEVEN
AFI SILVER THEATRE AND CULTURAL CENTER PROGRAM GUIDE AND MOVIE CALENDAR JULY 2 - SEPTEMBER 3 Totally Awesome ÀiÊÃÊvÊÌ iÊnäÃÀiÊÃÊvÊÌ iÊnäà MICHAEL DOUGLAS FRANÇOISÎ TRUFFAUT STEVEN SPIELBERG THIN MAN SPECIAL ENGAGEMENTS CONTENTS same day as GHOSTBUSTERS—unthinkable in today’s climate of 2 Totally Awesome 3: cautious scheduling—the film was a box office hit and remains a cult classic. DIR Joe Dante; SCR Chris Columbus; PROD Michael Finnell. More Films of the 1980s US, 1984, color, 106 min. RATED PG 6 Special Engagement: 25th Anniversary! LAWRENCE OF ARABIA BREAKIN’ Fri, July 10, 9:30; Mon, July 13, 9:45 Poppin’, lockin’, cross-cultural love a la WEST SIDE STORY, and Ice-T! 7 The Thin Man at 75 July 2 - September 3 Classically trained dancer Kelly (Lucinda Dickey) befriends Ozone and Turbo (legendary breakdancers Adolfo Quinones and Michael 8 The Films of François Truffaut, Now in its third year, the summer retrospective of 1980s Chambers), and these misfits take the establishment by storm when Part I films has become one of AFI Silver’s most successful series they join forces to enter a dance contest. DIR Joel Silberg; SCR/PROD ever…and there’s plenty more where that came from! Allen DeBevoise; SCR Charles Parker, Gerald Scaife; PROD David Zito. US, 1984, color, 90 min. RATED PG 10 AFI Life Achievement Award Here’s another season of '80s-era summer fun—some of Retrospective: Michael Douglas the enduring and influential cultural phenomena that 25th Anniversary! helped make us what we are today—including big hits, BREAKIN’ 2: ELECTRIC BOOGALOO cult classics and quite a few of today’s stars, back when 13 Steven Spielberg Retrospective, Sat, July 11, 9:45; Wed, July 15, 10:30 they were just starting out. -
1 Creative Advisors' Biographies BILL WHEELER Artistic Director Bill
Creative Advisors’ Biographies BILL WHEELER Artistic Director Bill Wheeler started writing while enrolled in the Playwrights Horizon program at N.Y.U. His screenplay The Prime Gig was selected for the Sundance Institute’s Screenwriters Lab. The Prime Gig featured Vince Vaughn and Ed Harris and debuted on IFC. Since then, Bill has written screenplays for a wide range of partners, Mirage Enterprises, Mayhem Pictures, Steven Soderbergh’s Section 8, New Regency and Disney. Current projects include an adaptation of the futurist manga Ghost in the Shell for DreamWorks, and a pilot about the adventures of the fictional pastor of a Georgia megachurch for HBO. His film The Hoax, directed by Lasse Hallstrom and starring Richard Gere, was released by Miramax. It was named by both Newsweek and the Los Angeles Times as one of the ten best films of 2007. Most recently, Bill adapted for the screen Mohsin Hamid's novel The Reluctant Fundamentalist. Directed by Mira Nair, the film features Liev Schrieber, Kate Hudson and Rizwan Ahmed. “The Reluctant Fundamentalist” was the opening night film at the 2012 Venice Film Festival and will be released in theaters in April. ANJUM RAJABALI Anjum Rajabali’s first film, Drohkaal (1992), was written in collaboration with director Govind Nihalani. Subsequently, nine more films written by him have been released, including Ghulam, The Legend of Bhagat Singh, and Raajneeti. Along the way, he was also the Commissioning Editor of a TV channel, set up and headed the script department of a couple of production houses, and has been a script doctor and consultant to several films, including Gangaajal and Apaharan.