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He Dreams of Giants
From the makers of Lost In La Mancha comes A Tale of Obsession… He Dreams of Giants A film by Keith Fulton and Lou Pepe RUNNING TIME: 84 minutes United Kingdom, 2019, DCP, 5.1 Dolby Digital Surround, Aspect Ratio16:9 PRESS CONTACT: Cinetic Media Ryan Werner and Charlie Olsky 1 SYNOPSIS “Why does anyone create? It’s hard. Life is hard. Art is hard. Doing anything worthwhile is hard.” – Terry Gilliam From the team behind Lost in La Mancha and The Hamster Factor, HE DREAMS OF GIANTS is the culmination of a trilogy of documentaries that have followed film director Terry Gilliam over a twenty-five-year period. Charting Gilliam’s final, beleaguered quest to adapt Don Quixote, this documentary is a potent study of creative obsession. For over thirty years, Terry Gilliam has dreamed of creating a screen adaptation of Cervantes’ masterpiece. When he first attempted the production in 2000, Gilliam already had the reputation of being a bit of a Quixote himself: a filmmaker whose stories of visionary dreamers raging against gigantic forces mirrored his own artistic battles with the Hollywood machine. The collapse of that infamous and ill-fated production – as documented in Lost in La Mancha – only further cemented Gilliam’s reputation as an idealist chasing an impossible dream. HE DREAMS OF GIANTS picks up Gilliam’s story seventeen years later as he finally mounts the production once again and struggles to finish it. Facing him are a host of new obstacles: budget constraints, a history of compromise and heightened expectations, all compounded by self-doubt, the toll of aging, and the nagging existential question: What is left for an artist when he completes the quest that has defined a large part of his career? 2 Combining immersive verité footage of Gilliam’s production with intimate interviews and archival footage from the director’s entire career, HE DREAMS OF GIANTS is a revealing character study of a late-career artist, and a meditation on the value of creativity in the face of mortality. -
From Synthespian to Convergence Character: Reframing the Digital Human in Contemporary Hollywood Cinema by Jessica L. Aldred
From Synthespian to Convergence Character: Reframing the Digital Human in Contemporary Hollywood Cinema by Jessica L. Aldred A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2012 Jessica L. Aldred Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du 1+1 Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-94206-2 Our file Notre reference ISBN: 978-0-494-94206-2 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
AFI Preview 12
THE AMERICAN FILM INSTITUTE GUIDE July 30-Sept. 9, 2004 ★ TO THEATRE AND MEMBER EVENTS VOLUME 1 • ISSUE 12 AFIPREVIEW CELEBRATE THE GOLDEN AGE OF MGM MUSICALS! MEET ME IN ST. LOUIS FEATURED SHOWCASE Plus: JOHNNYCRY-BABY LAWRENCE OF ARABIA PIRATES OF THE ORWELL ROLLS IN HIS GRAVE CARIBBEAN LA DOLCE VITA EDWARD SCISSORHANDS And... And More! August at the Kennedy Center: DEPP The Films of Charlie Chaplin THE MANCHURIAN CANDIDATE Kurosawa’s SEVEN SAMURAI NOW PLAYING FEATURED FILMS Features Now Opening! Featuring FAHRENHEIT 9/11 Director Michael Moore 2ORWELL ROLLS IN HIS GRAVE Expanding on his Orwellian Metaphor! 3LA DOLCE VITA 3LAWRENCE OF ARABIA Washington Area Premiere Engagement! Featured Showcase ORWELL ROLLS IN HIS GRAVE 4 Johnny Depp: Master of Quirk Opens Friday, July 30 “WAR IS PEACE,” “FREEDOM IS SLAVERY,” Film Series “IGNORANCE IS STRENGTH…” Has America 5 Bloody Hell: entered an Orwellian world of double-speak British Horror Films, Part 2 where outright lies can pass for the truth? Are 6 The Golden Age of MGM: The Freed its citizens being sold a bill of goods by a hand- Unit and the MGM Musical ful of transnational media corporations and political elites whose interests have little in Calendar 8-9 common with the interests of the American people? Director Robert Kane Pappas uses sear- ing testimony from the best and the brightest About AFI Silver/ to suggest this is the case. Pappas asks some Kennedy Center Theatres 10 troubling questions about the size of media 7Letter From the Director monopolies, how they got that way, who decides what airs and what doesn’t, and why Special Screenings and Events some news stories go unreported (or underreported) by the mainstream media. -
“Isn't It Swell... Nowadays?”: the Reception History of Chicago On
“Isn’t It Swell . Nowadays?”: The Reception History of Chicago on Stage and Screen A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Michael M. Kennedy BM, Butler University, 2004 MM, University of Hartford, 2008 Committee Chair: bruce d. mcclung, PhD Abstract The musical Chicago represents an anomaly in Broadway history: its 1996 revival far surpassed the modest success of the original 1975 production. Despite the original production’s box-office accomplishments, it received disparaging reviews regarding the cynicism of the work’s content. The musical celebrates the crimes and acquittals of two murderesses, and is based on Maurine Dallas Watkins’s coverage as a Chicago Tribune reporter of two 1924 murder cases, from which she generated a 1926 Broadway play. The 1975 Broadway production of Chicago: A Musical Vaudeville utilized this historical source material to comment on contemporary American society, highlighting parallels between the U.S. justice system and the entertainment industry, which critics and audiences of the post-Watergate era deemed as too cynical. Although Chicago initially achieved a mixed reception, the revival’s producers made few changes to John Kander’s music, Fred Ebb’s lyrics, and Ebb and Bob Fosse’s book, aside from simplifying the title to Chicago: The Musical. This suggests that the musical’s newfound success can be attributed to a societal shift in the perception of its subject matter. With further success from Chicago’s 2002 film adaptation, the originally dark and sardonic material became a smash hit and found itself as mainstream entertainment at the turn of the millennium. -
Tuesday Morning, Oct. 2
TUESDAY MORNING, OCT. 2 FRO 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 COM 4:30 KATU News This Morning (N) Good Morning America (N) (cc) AM Northwest (cc) The View Jenny McCarthy; Keke Live! With Kelly and Michael (N) (cc) 2/KATU 2 2 (cc) (Cont’d) Palmer. (N) (cc) (TV14) (TVPG) KOIN Local 6 at 6am (N) (cc) CBS This Morning (N) (cc) Let’s Make a Deal (N) (cc) (TVPG) The Price Is Right (N) (cc) (TVG) The Young and the Restless (N) (cc) 6/KOIN 6 6 (TV14) NewsChannel 8 at Sunrise at 6:00 Today Jackie Evancho performs; Rachel Bilson. (N) (cc) The Jeff Probst Show (N) (cc) 8/KGW 8 8 AM (N) (cc) Sit and Be Fit Wild Kratts (cc) Curious George Cat in the Hat Dinosaur Train: Dinosaurs A to Z Sesame Street The A Team. Big A Daniel Tiger’s Sid the Science WordWorld (TVY) Barney & Friends 10/KOPB 10 10 (cc) (TVG) (TVY) (TVY) Knows a Lot (cc) (TVY) looks for members. (TVY) Neighborhood Kid (TVY) (TVY) Good Day Oregon-6 (N) Good Day Oregon (N) MORE Good Day Oregon The 700 Club (cc) (TVPG) Better (cc) (TVPG) 12/KPTV 12 12 Positive Living Public Affairs Paid Paid Paid Paid Through the Bible Paid Paid Paid Criminal Minds A killer who 22/KPXG 5 5 strikes before Halloween. (TV14) Creflo Dollar (cc) John Hagee Breakthrough This Is Your Day Believer’s Voice Billy Graham Classic Crusades Doctor to Doctor Behind the Sid Roth’s It’s Life Today With Today: Marilyn & 24/KNMT 20 20 (TVG) Today (cc) (TVG) W/Rod Parsley (cc) (TVG) of Victory (cc) (cc) Scenes (cc) Supernatural! James Robison Sarah Eye Opener (N) (cc) The Steve Wilkos Show (cc) (TV14) The Bill Cunningham Show Back- Jerry Springer A photo causes a The Steve Wilkos Show (cc) (TV14) 32/KRCW 3 3 stabbed and Betrayed! (TV14) guest to doubt her man. -
Fake News & Film: How Alternative Facts Influence the National Discourse
297 GELTZER (DO NOT DELETE) 5/5/2018 1:36 PM FAKE NEWS & FILM: HOW ALTERNATIVE FACTS INFLUENCE THE NATIONAL DISCOURSE Jeremy Geltzer I. INTRODUCTION Aliens invade New Jersey! Hitler loves the Jews! 9/11 was a false flag operation! Ludicrous, preposterous, and ridiculous statements all, and yet each of these reports was at one point passed off and positioned as a truthful account. Fake news is not a new political tool. In 1782, Benjamin Franklin published a claim that George III “furnished the Savages with hatchets and scalping knives, and engages them to fall upon our defen[s]eless farmers, and murder them with their wives and children.”1 While there is little evidence the King of England actually commissioned indigenous Americans to murder colonial families, Franklin’s publications riled a country still engaged in revolution. In contemporary America, the trope “fake news” gained greater visibility after the 2016 Presidential Election. Political factions weaponized the rallying cry of “fake news” as a method of branding reports considered critical and events deemed unfavorable. By simply labeling credible information “fake news,” authenticity could be discredited. While this phrase cast a pall on objective journalism, a door was simultaneously Jeremy Geltzer is an attorney and author of multiple books, including DIRTY WORDS & FILTHY PICTURES: FILM AND THE FIRST AMENDMENT (The University of Texas Press, 2016) and FILM CENSORSHIP IN AMERICA: A STATE-BY-STATE HISTORY (McFarland, 2017). Geltzer would like to thank his wife Heather and son Jackson as well as Professor Epstein and the staff of Southwestern Law Review, with a special acknowledgement to Rosio Flores and Robert Rhoten for their excellent assistance. -
The Critical-Industrial Practices of Contemporary Horror Cinema
Off-Screen Scares: The Critical-Industrial Practices of Contemporary Horror Cinema A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joseph F Tompkins IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Richard Leppert, Adviser January 2013 © Joseph F Tompkins, 2013 Acknowledgements I would like to extend my thanks to the many friends, colleagues, teachers, and family members who provided the necessary support and advice to usher me through both the dissertation writing process and my time as a graduate student. I am grateful to the members of my dissertation committee: Mary Vavrus, Gil Rodman, John Mowitt and Gary Thomas, for their lasting guidance, scholarly advice, and critical feedback. In particular, this project was hatched in Mary Vavrus’s Political Economy of Media seminar, and for that, I’m especially indebted. Also, to Gary Thomas, who taught me, among other things, the power of good, clean prose as well as the radical possibilities of making the classroom into a vitalizing, “heterotopian” space—a rampart against the “mechanical encrustation on the living.” I would also like to convey my sincerest appreciation to my mentor, Richard Leppert, who, since my earliest days as an undergraduate, has been a source of both professional guidance and companionship. Richard is my model—as an educator and a friend. I would also like to thank Jochen Schulte-Sasse, Robin Brown, Cesare Casarino, Liz Kotz, Keya Ganguly, Timothy Brennan, Siobhan Craig, and Laurie Ouellette for their sage advice during my graduate studies. Many friends and colleagues provided me intellectual and emotional support throughout the years: Mathew Stoddard, Tony Nadler, Alice Leppert, Manny Wessels, Mark Martinez, Doyle “Mickey” Greene, Kathie Smith, and Eleanor McGough. -
KCRW Brand Sizzle Reel KCRW Branfrdo Ms Ikzczlrew Reel from KCRW on Vimeo
ON AIR ECLECTIC 24 NEWS 24 SANTA BARBARA KCRW ON AIR Liza Richardson STAR Rahsaan Roland Kirk "The Creole Love Call" 00:03:05 | 02:00:00 FACEBOOK TWITTER EMAIL COPY LINK STAR DOWNLOAD HIDE MINIPLAYER DONATE! DONATE! UP NEXT NPR'S MORNING EDITION Nine Months After Sandy, Baby Boom (6 am 9 am) LIVE STREAM ELECTIC 24 KCRW’s signature music blend. YOU MIGHT LIKE TOM SCHNABEL’S RHYTHM PLANET KCRW’s signature music blend. KCRW Brand Sizzle Reel KCRW Branfrdo mS iKzCzlReW Reel from KCRW on Vimeo. 01:21 WE ARE HUMAN INSPIRATION. ABOUT KCRW KCRW creates and curates a unique mix of content centered around music discovery, NPR news, cultural exploration and informed public affairs. KCRW is driven by the spirit of Los Angeles and delivers in innovative ways on the radio, digitally and in person to diverse, curious communities around the corner and around the world. A community service of Santa Monica College, KCRW can be found on the air in Los Angeles, Santa Barbara, Ventura, Mojave, Palm Springs, and via five KCRWdeveloped smartphone apps and online at KCRW.com. Music Worldrenowned for its music programming, KCRW DJs are given one directive: “play what you love.” Many established and emerging artists have made their U.S. live performance debut on flagship music program Morning Becomes Eclectic hosted by music director Jason Bentley, including Beck, Adele, Massive Attack, Gotye, Sigur Ros, Edward Sharpe and the Magnetic Zeroes, Coldplay, among dozens of others. Over 20 years of audio and video instudio performance archives are available on KCRW.com and through the KCRW Radio smartphone app. -
Film Independent at Lacma, with the New York Times As Presenting Sponsor, Kicks Off October 13
FILM INDEPENDENT AT LACMA, WITH THE NEW YORK TIMES AS PRESENTING SPONSOR, KICKS OFF OCTOBER 13 Launch of Film Series to Include World Premiere of The Rum Diary & Martha Marcy May Marlene, Modern Times & Accattone Jason Reitman to Serve as Guest Artist & Present Live Read of The Breakfast Club Screenplay with Surprise Cast Ovation is Premier Sponsor Los Angeles (September 13, 2011) — Film Independent, the non-profit arts organization that produces the Spirit Awards and the Los Angeles Film Festival, and The Los Angeles County Museum of Art (LACMA) celebrates the launch of the Film Independent at LACMA Film Series, presented by The New York Times , on Thursday, October 13. The inclusive series offers unique film experiences, bringing together Film Independent’s large community of filmmakers and wide spectrum of audiences, with LACMA’s commitment to presenting cinema in an artistic and historical context. The new program will present classic and contemporary narrative and documentary films, artists and their influences, emerging auteurs, international showcases, special guest-curated programs, in addition to conversations with artists, curators and special guests. Film Independent at LACMA is under the curatorial leadership of esteemed film critic Elvis Mitchell in collaboration with LACMA Film Coordinator Bernardo Rondeau and Film Independent’s programming team. Film Independent at LACMA has The New York Times as presenting sponsor and Ovation, the only television network dedicated to all forms of artistic expression, as a premier sponsor. The series is also made possible by grants from the Hollywood Foreign Press Association ® and the Academy of Motion Picture Arts and Sciences. Barco, a worldwide leader in digital cinema, has generously supported the new film series by outfitting LACMA’s Bing Theater with a new, top-of-the-line digital cinema projector. -
Selling the Splat Pack: the Dvd Revolution and the American Horror Film
SELLING THE SPLAT PACK: THE DVD REVOLUTION AND THE AMERICAN HORROR FILM Mark Bernard A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2010 Committee: Dr. Cynthia Baron, Advisor Dr. Scott A. Magelssen Graduate Faculty Representative Dr. Paul McDonald Dr. Maisha Wester ii ABSTRACT Dr. Cynthia Baron, Advisor In 2006, journalists began writing about the emergence of a group of young filmmakers who specialized in horror films featuring torture and graphic violence. Because of their gory and bloody movies, these directors came to be known as “the Splat Pack,” and they were depicted by the press as subversive outsiders rebelling against the Hollywood machine. However, what many discussions of the Splat Pack ignore is how the success of this group of directors was brought about and enabled by the industrial structure of Hollywood at the middle of the first decade of the twenty-first century. Drawing from political economy methodology, this study seeks to understand and illuminate the industrial changes and realignments that gave rise to the Splat Pack, first by looking at how industrial changes have affected the content of horror films of the past, and secondly by examining how the advent of DVD technology made way for the gory, “Unrated” films of the Splat Pack. DVD played a major role in the rise of the Splat Pack by changing the way horror films were presented to their potential audiences and by leading to an industry acceptance of “Unrated” films. With this in mind, this study then turns to an analysis of several key films directed by the Splat Pack and uses the commodity form of the DVD as a lens through which to interpret these films. -
Short Film Distribution
Distributed by INDICAN PICTURES* Starring Kareem Abdul-Jabbar, Sean ‘P Diddy’ Combs, Toni Morrison, Colin Powell, Susan Rice, Chris Rock, Slash, Russell Simmons, Serena Williams and many more in “THE BLACK LIST: VOL. 1” Produced by TIMOTHY GREENFIELD-SANDERS, MICHAEL SLAP SLOANE & ELVIS MITCHELL Edited by LUKAS HAUSER Composer NEAL EVANS Director of Photography GRAHAM WILLOUGHBY Interviews by ELVIS MITCHELL Executive Producers CHRIS MCKEE, SCOTT RICHMAN, PAYNE BROWN, TOMMY WALKER Directed by TIMOTHY GREENFIELD-SANDERS Press Contact: Running Time: 92 min Jarvis Wallstreet Rated: NR 323-650-0832 * A division of 2K4 Pictures, Inc. Part of a multimedia initiative, The Black List: Volume One is the brainchild of renowned portrait photographer/filmmaker Timothy Greenfield-Sanders and acclaimed NPR radio host, journalist and former New York Times film critic Elvis Mitchell, with Greenfield-Sanders directing and Mitchell conducting the interviews. The Black List: Volume One premiered on HBO in August, 2008; and has been shown multiple times on the premium channel. It will receive an elaborate series of Encore airings starting in late January, 2009 as part of HBO's Black History Month celebration leading up to the premiere of Black List: Volume Two which bow on HBO on February 26, 2009. The Black List's interviewees come from a diverse collection of disciplines from the worlds of the arts, sports, politics, business and government, and include, in order of appearance: Slash, former Guns N' Roses guitarist; Toni Morrison, author and Nobel laureate; -
Pression Is That They Were Making Another One for the Fire, One of the Docs They Were Involved In, and a Well-Liked, Well-Known Doc on This Topic
76 mins / Color & B+W / 2013 /NTSC A Feature Length Documentary Written, Produced, Directed & Edited by Rob Kuhns FIRST RUN FEATURES 630 Ninth Avenue, Suite 1213, New York, NY 10036 (212) 243-0600 / Fax (212) 989-7649 / [email protected] www.firstrunfeatures.com “It’s taken me 45 years to stop biting my fingernails after first seeing Night of the Living Dead. Having just watched Rob Kuhns’ mesmerizing documentary about that classic horror story I finally understand why I was not only scared out of my wits, but was simultaneously watching a cinematic breakthrough and cultural phenomenon. Birth of the Living Dead is immensely watchable and abundantly enlightening – with one ah-hah moment after another – and when you’ve seen it, you’ll be thinking and talking all night (first lock your doors).” -Bill Moyers Synopsis In 1968 a young college drop-out named George A. Romero directed “Night of the Living Dead,” a loW budget horror film that shocked the World, became an icon of the counterculture, and spaWned a zombie industry Worth billions of dollars that continues to this day. “Birth of the Living Dead,” a neW documentary, shoWs how Romero gathered an unlikely team of Pittsburghers -- policemen, iron Workers, teachers, ad-men, houseWives and a roller-rink oWner -- to shoot, With a revolutionary guerrilla, run-and-gun style, his seminal film. During that process Romero and his team created an entirely neW and horribly chilling monster – one that Was undead and feasted upon human flesh. This neW documentary also immerses audiences into the singular time in Which “Night” Was shot.