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Las Aportaciones Al Cine De Steven Spielberg Son Múltiples, Pero Sobresale Como Director Y Como Productor
Steven Spielberg Las aportaciones al cine de Steven Spielberg son múltiples, pero sobresale como director y como productor. La labor de un productor de cine puede conllevar cierto control sobre las diversas atribuciones de una película, pero a menudo es poco más que aportar el dinero y los medios que la hacen posible sin entrar mucho en los aspectos creativos de la misma como el guión o la dirección. Es por este motivo que no me voy a detener en la tarea de Spielberg como productor más allá de señalar sus dos productoras de cine y algunas de sus producciones o coproducciones a modo de ejemplo, para complementar el vistazo a la enorme influencia de Spielberg en el mundo cinematográfico: En 1981 creó la productora de cine “Amblin Entertainment” junto con Kathleen Kenndy y Frank Marshall. El logo de esta productora pasaría a ser la famosa silueta de la bicicleta con luna llena de fondo de “ET”, la primera producción de la firma dirigida por Spielberg. Otras películas destacadas con participación de esta productora y no dirigidas por Spielberg son “Gremlins”, “Los Goonies”, “Regreso al futuro”, “Esta casa es una ruina”, “Fievel y el nuevo mundo”, “¿Quién engañó a Roger Rabbit?”, “En busca del Valle Encantado”, “Los picapiedra”, “Casper”, “Men in balck”, “Banderas de nuestros padres” & “Cartas desde Iwo Jima” o las series de televisión “Cuentos asombrosos” y “Urgencias” entre muchas otras películas y series. En 1994 fundaría con Jeffrey Katzenberg y David Geffen la productora y distribuidora DreamWorks, que venderían al estudio Viacom en 2006 tras participar en éxitos como “Shrek”, “American Beauty”, “Náufrago”, “Gladiator” o “Una mente maravillosa”. -
Steven Spielberg's Early Career As a Television Director at Universal Studios
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Surugadai University Academic Information Repository Steven Spielberg's Early Career as a Television Director at Universal Studios 著者名(英) Tomohiro Shimahara journal or 駿河台大学論叢 publication title number 51 page range 47-61 year 2016-01 URL http://doi.org/10.15004/00001463 Steven Spielberg’s Early Career as a Television Director at Universal Studios SHIMAHARA Tomohiro Introduction Steven Spielberg (1946-) is one of the greatest movie directors and producers in the history of motion picture. In his four-decade career, Spielberg has been admired for making blockbusters such as Jaws (1975), Close Encounters of the Third Kind (1977), E.T.: the Extra-Terrestrial (1982), Indiana Jones series (1981, 1984, 1989, 2008), Schindler’s List (1993), Jurassic Park series (1993, 1997, 2001, 2015), Saving Private Ryan (1998), Lincoln (2012) and many other smash hits. Spielberg’s life as a filmmaker has been so brilliant that it looks like no one believes that there was any moment he spent at the bottom of the ladder in the movie industry. Much to the surprise of the skeptics, Spielberg was once just another director at Universal Television for the first couple years after launching himself into the cinema making world. Learning how to make good movies by trial and error, Spielberg made a breakthrough with his second feature-length telefilm Duel (1971) at the age of 25 and advanced into the big screen, where he would direct and produce more than 100 movies, including many great hits and some commercial or critical failures, in the next 40-something years. -
2017 Pioneer of the Year C H E R Y L B O O N E I S a A
1947 ADOLPH ZUKOR n 1948 GUS EYSSEL n 1949 CECIL B. DEMILLE n 1950 SPYROS P. SKOURAS n 1951 JACK, HARRY & ALBERT WARNER n 1952 NATE BLUMBERG n 1953 BARNEY BALABAN n 1954 SIMON FABIAN n 1955 HERMAN ROBBINS n 1956 ROBERT O’DONNELL n 1957 JOSEPH VOGEL n 1958 ROBERT BENJAMIN & ARTHUR B. KRIM n 1959 STEVE BROIDY n 1960 JOSEPH E. LEVINE n 1961 ABE MONTAGUE n 1962 MILTON RACKMIL n 1963 DARRYL F. ZANUCK n 1964 HAROLD J. MIRISCH n 1965 ROBERT O’BRIEN n 1966 WILLIAM R. FORMAN n 1967 LEONARD GOLDENSON n 1968 LAURENCE A. TISCH n 1969 HARRY BRANDT n 1970 IRVING H. LEVIN n 1971 SAMUEL Z. ARKOFF & JAMES H . NICHOLSON n 1972 LEO JAFFE n 1973 TED ASHLEY n 1974 HENRY MARTIN n 1975 E. CARDON WALKER n 1976 CARL PATRICK n 1977 SHERRILL C. CORWIN n 1978 DR. JULES STEIN n 1979 HENRY PLITT 2017 PIONEER OF THE YEAR CHERYL BOONE ISAACS n 1980 BOB HOPE n 1981 SALAH HASSANEIN n 1982 FRANK PRICE n 1983 BERNARD MYERSON n 1984 SIDNEY SHEINBERG n 1985 JOHN ROWLEY n 1986 MICHAEL FORMAN n 1987 FRANK G. MANCUSO n 1988 JACK VALENTI n 1989 ALLEN PINSKER n 1990 TERRY SEMEL n 1991 SUMNER REDSTONE n 1992 MIKE MEDAVOY n 1993 STANLEY DUR- WOOD n 1994 WALTER DUNN n 1995 ROBERT SHAYE n 1996 SHERRY LANSING n 1997 BRUCE CORWIN n 1998 BUD STONE n 1999 KURT C. HALL n 2000 ROBERT DOWLING n 2001 ROBERT REHME n 2002 JONA- THAN DOLGEN n 2003 MICHAEL EISNER n 2004 ALAN HORN n 2005– 2006 TRAVIS REID n 2007 JEFF BLAKE n 2008 MIKE CAMPBELL n 2009 MARC SHMUGER & DAVID LINDE n 2010 ROB MOORE n 2011 DICK COOK n 2012 JEFFREY KATZENBERG n 2013 KATHLEEN KENNEDY n 2014 TOM SHERAK n 2015 JIM GIANOPULOS n DONNA LANGLEY 2017 PIONEER OF THE YEAR CHERYL BOONE ISAACS 2017 PIONEER OF THE YEAR Welcome On behalf of the Board of Directors of the Will Rogers Motion Picture Pioneers Foundation, thank you for attending the 2017 Pioneer of the Year Dinner. -
Steven Spielberg Scrive E Dirige Il Suo Primo Lungometraggio Amatoriale, Firelight (1964), Che Sarà Proiettato in Un Cinema Cittadino
ESORDI DI UNA CARRIERA MOLTO PROMETTENTE • Dopo vari mediometraggi, appartenenti ai generi più disparati (western, noir, avventura), il diciassettenne Steven Spielberg scrive e dirige il suo primo lungometraggio amatoriale, Firelight (1964), che sarà proiettato in un cinema cittadino. Il budget del film è di 500 dollari . • Qui, per la prima volta, Spielberg si confronta con il genere della fantascienza . Il tema di Firelight sarà ampiamente ripreso e approfondito nel successivo Incontri ravvicinati del terzo tipo (Close Encounters of the Third Kind , 1977 ). • È lo stesso Spielberg a comporre la colonna sonora di Firelight , con il suo clarinetto, mentre la madre, Leah , un tempo promettente pianista, aggiunge un brano al piano. La Arcadia High School , la scuola pubblica frequentata da Steven e dalle sorelle a Phoenix , ha poi ricreato l’intera colonna sonora. • Il film è realizzato durante i week-end . Molte scene saranno girate a casa di Spielberg e nel suo garage. • Nel cast, compare anche la sorella del futuro regista, Nancy Spielberg. Oggi, Firelight è purtroppo considerato un film perduto. • O meglio, ci sono rimasti soltanto alcuni frammenti dell’intera pellicola. Tali estratti testimoniano già un precoce, seppure ancora grossolano, talento visivo da parte dell’esordiente regista . Firelight (1964) • Il giovane Spielberg attende l’inizio della premiere del suo primo lungometraggio . • Circa 500 persone assisteranno alla prima del film. Il costo del biglietto sarà di un dollaro. Alcune immagini dal film… • Durante il periodo trascorso in Arizona a causa del lavoro di Arnold, l’unione tra i coniugi Spielberg si deteriora . In un tentativo di salvare il matrimonio dal naufragio, la famiglia decide di trasferirsi a Saratoga, in California . -
Music Genres and Corporate Cultures
Music Genres and Corporate Cultures Music Genres and Corporate Cultures explores the workings of the music industry, tracing the often uneasy relationship between entertainment cor- porations and the artists they sign. Keith Negus examines the contrasting strategies of major labels like Sony and Universal in managing different genres, artists and staff, and assesses the various myths of corporate cul- ture. How do takeovers affect the treatment of artists? Why was Poly- Gram perceived as too European to attract US artists? Why and how did EMI Records attempt to change their corporate culture? Through a study of three major genres—rap, country and salsa—Negus investigates why the music industry recognises and rewards certain sounds, and how this influences both the creativity of musicians and their audiences. He explores why some artists get international promotion while others are neglected, and how performers are packaged as ‘world music’. Negus examines the tension between rap’s image as a spontaneous ‘music of the streets’ and the practicalities of the market, asks why execu- tives from New York feel uncomfortable when they visit the country music business in Nashville, and explains why the lack of soundscan sys- tems in Puerto Rican record shops affects salsa’s position on the US Bill- board chart. Drawing on extensive research and interviews with music industry per- sonnel in Britain, the United States and Japan, Music Genres and Corpo- rate Cultures shows how the creation, circulation and consumption of popular music is shaped by record companies and corporate business style while stressing that music production takes place within a broader cul- ture, not totally within the control of large corporations. -
Document Resume
DOCUMENT RESUME ED 380 367 SO 024 584 AUTHOR Harris, Laurie Lanzen, Ed. TITLE Biography Today: Profiles of People of Interest to Young Readers, 1994. REPORT NO ISSN-1058-2347 PUB DATE 94 NOTE 444p.; For volumes 1-2, see ED 363 546. AVAILABLE FROM Omnigraphics, Inc., Penobscot Building, Detroit, Michigan 48226. PUB TYPE Guides Classroom Use Instructional Materials (For Learner) (051) Collected Works Serials (022) JOURNAL CIT Biography Today; v3 n1-3 1994 EDRS PRICE MF01/PC18 Plus Postage. DESCRIPTORS Artists; Authors; *Biographies; Elementary Secondary Education; *Popular Culture; Profiles; Recreational Reading; *Role Models; *Student Interests; Supplementary Reading Materials ABSTRACT This document is the third volume of a series designed and written for the young reader aged 9 and above. It contains three issues and covers individuals that young people want to know about most: entertainers, athletes, writers, illustrators, cartoonists, and political leaders. The publication was created to appeal to young readers in a format they can enjoy reading and readily understand. Each issue contains approximately 20 sketches arranged alphabetically. Each entry combines at least one picture of the individual profiled, and bold-faced rubrics lead the reader to information on birth, youth, early memories, education, first jobs, marriage and family, career highlights, memorable experiences, hobbies, and honors and awards. Each of the entries ends with a list of easily accessible sources to lead the student to further reading on the individual and a current address. Obituary entries also are included, written to prcvide a perspective on an individual's entire career. Beginning with this volume, the magazine includes brief entries of approximately two pages each. -
C:\Documents and Settings\Stan Schroeder\My Documents\Shir
Shir Notes The Official Newsletter of Congregation Shir Ami Volume 9, Number 2, February 2011 Affiliated with United Synagogue of Conservative Judaism Events Rabbi’s Column of the Month We had just two photographs. Two pictures depicting Bonnie's mom with her family standing next to a Around the Rabbi’s Tisch tombstone of a relative. Thursdays Feb. 3, 10, 17, and 24 at 7:30 pm They seemed to take a lot of tombstone-and-family pictures around the turn of the century (20th, that is). In Our popular series of weekly this case, there is a photo of a big, elaborate tomb- discussions, led by Rabbi Vorspan at stone, almost as tall as the family standing around it. his home, continues. For more information call Rabbi Vorspan at Our plan was to visit the cemetery where Bonnie's mother's (818) 888-9817. family was buried in Belarus, each of us armed with the two ------------------------------------------ pictures of the tombstone, locate it and then have our own Shabbat Services picture taken standing next to it. at Temple Ner Maarav This was last summer. Bonnie, her brother and his wife, Saturday, February 5, 10:15 am and I went on a 7-day tour of Jewish Poland. After this Birthday Shabbat and Social Action Linen Shabbat organized tour accompanied by another two women from See flyer for items to be collected the east coast, we hired a separate guide to lead us through for Domestic Violence shelters the detail of going to Belarus, visiting Bonnie's father's birth city (Pinsk) Saturday, February 12, 10:15 am and her mother's (Sherashev). -
“The Creative Producer”: John Hughes, Synergy and Late 1980S Hollywood
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 MAINSTREAM MAVERICK? JOHN HUGHES AND NEW HOLLYWOOD CINEMA HOLLY CHARD SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF SUSSEX MAY 2014 2 I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another university for the award of any other degree. Signature:……………………………………… 3 UNIVERSITY OF SUSSEX HOLLY CHARD SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY MAINSTREAM MAVERICK? JOHN HUGHES AND NEW HOLLYWOOD CINEMA SUMMARY My thesis explores debates on the commercial and textual priorities of New Hollywood cinema through examination of the career of John Hughes. I argue that scrutiny of Hughes’ career and the products associated with him expose the inadequacy of established approaches to cinematic authorship and New Hollywood cinema. By mounting a historically grounded investigation of Hughes’ career, his status within the cinema industry, and his work as a commercially successful and agenda-setting filmmaker, I aim to reevaluate existing perspectives on post-1970s mainstream popular U.S. -
Carsey-Wolf Center at UC Santa Barbara
www-old.carseywolf.ucsb.edu Carsey-Wolf Center at UC Santa Barbara 15-18 minutes In October 2010, Tom Pollock, Founder of the Montecito Picture Company, sat down with MIP for an interview. In the excerpts below, Pollock describes his entry into the entertainment industry, the impact of the contract he negotiated for George Lucas' Star Wars, and his talent-driven strategy for managing Universal Pictures. Tom Pollock was the head of Universal/MCA from 1986 to 1995. He founded Montecito Picture Company with filmmaker Ivan Reitman in 1998 and continues to run the company today. Pollock has worked in the entertainment industry since the 1970s beginning as an entertainment lawyer for such talent as George Lucas. He used his relationships with talented filmmakers including Steven Spielberg and Martin Scorsese to revitalize Universal and make it the most acclaimed studio of the early 1990s. Negotiating Pre-Sale Financing and the Star Wars Contract Tuesday, August 9, 2011 MIP: How did you become involved with Tolo TV? TOM FRESTON: In 2005, when I was still with Viacom, an American Iranian woman named Sarah Takesh, who had been in Afghanistan, tracked me down in New York. She asked me out to brunch. She started a clothing business in Afghanistan and somehow found out I had done something similar in the ’70s. I agreed to meet her. I had been following things in Afghanistan ever since leaving but had never returned for a visit. I was enthralled with all the stories she told me of what it was like in Afghanistan now. There was a sense of optimism about the future. -
1 Tom Pollock, Montecito Picture Company October 22, 2010
Tom Pollock, Montecito Picture Company October 22, 2010 MIP: We would like to start by having you describe your career. In a nutshell can you describe its trajectory? What are the highlights? Tom Pollock: I’ve had three different careers, none of which were really planned, they all just sort of happened. There wasn’t any grand scheme when I was in college. Back then I really didn’t know what it was I wanted to do. I went to law school in large part because of the draft and the Vietnam War. I didn’t want to go to war, and if you were in school you were deferred. That included graduate school. I didn’t have any great desire to be a lawyer but it seemed like a better alternative than getting a Ph.D. It was in law school that I got really fascinated with the movies. I went to law school in New York at Columbia and then I came out to Los Angeles and got a job at a large firm that did entertainment work. I thought I would use my legal skills to get into the entertainment business. “Use what you got,” I figured, and what I had was a law degree. I worked for a firm called Mitchell Silberberg & Knupp, though I quit after six months because it wasn’t a terribly rewarding experience. I thought that was just my experience, but what I didn’t know then was that law firm partners are notorious for treating their associates with disdain. After that, I didn’t do anything much for a while. -
Accepted Manuscript Version
Research Archive Citation for published version: Tony Shaw, and Giora Goodman, ‘Hollywood’s Raid on Entebbe: Behind the Scenes of the United States-Israel Alliance’, Diplomatic History, dhx090, December 2017. DOI: https://doi.org/10.1093/dh/dhx090 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 The Author(s). Published by Oxford University Press on behalf of the Society for Historians of American Foreign Relations. All rights reserved. For permissions, please e-mail: [email protected] Content in the UH Research Archive is made available for personal research, educational, and non-commercial purposes only. Unless otherwise stated, all content is protected by copyright, and in the absence of an open license, permissions for further re-use should be sought from the publisher, the author, or other copyright holder. Enquiries If you believe this document infringes copyright, please contact the Research & Scholarly Communications Team at [email protected] Hollywood’s Raid on Entebbe: Behind the Scenes of the United States-Israel Alliance One by one, the camera settles on their frightened faces. At first, the hostages in the cramped, humid airport terminal thought it was just another announcement, something to relieve their boredom almost. But as the hijackers’ body language changes and the movie’s mournful soundtrack builds, it quickly dawns both on the hostages (and the audience) just what’s happening: Thirty years after the Second World War, and in the middle of Africa, the Jews are being selected, just like during the Holocaust. -
You've Seen the Movie, Now Play The
“YOU’VE SEEN THE MOVIE, NOW PLAY THE VIDEO GAME”: RECODING THE CINEMATIC IN DIGITAL MEDIA AND VIRTUAL CULTURE Stefan Hall 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 May 2011 Committee: Ronald Shields, Advisor Margaret M. Yacobucci Graduate Faculty Representative Donald Callen Lisa Alexander © 2011 Stefan Hall All Rights Reserved iii ABSTRACT Ronald Shields, Advisor Although seen as an emergent area of study, the history of video games shows that the medium has had a longevity that speaks to its status as a major cultural force, not only within American society but also globally. Much of video game production has been influenced by cinema, and perhaps nowhere is this seen more directly than in the topic of games based on movies. Functioning as franchise expansion, spaces for play, and story development, film-to-game translations have been a significant component of video game titles since the early days of the medium. As the technological possibilities of hardware development continued in both the film and video game industries, issues of media convergence and divergence between film and video games have grown in importance. This dissertation looks at the ways that this connection was established and has changed by looking at the relationship between film and video games in terms of economics, aesthetics, and narrative. Beginning in the 1970s, or roughly at the time of the second generation of home gaming consoles, and continuing to the release of the most recent consoles in 2005, it traces major areas of intersection between films and video games by identifying key titles and companies to consider both how and why the prevalence of video games has happened and continues to grow in power.