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Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
John Collins Production Designer
John Collins Production Designer Credits include: BRASSIC Director: Rob Quinn, George Kane Comedy Drama Series Producer: Mags Conway Featuring: Joseph Gilgun, Michelle Keegan, Damien Molony Production Co: Calamity Films / Sky1 FEEL GOOD Director: Ally Pankiw Drama Series Producer: Kelly McGolpin Featuring: Mae Martin, Charlotte Richie, Sophie Thompson Production Co: Objective Fiction / Netflix THE BAY Directors: Robert Quinn, Lee Haven-Jones Crime Thriller Series Producers: Phil Leach, Margaret Conway, Alex Lamb Featuring: Morven Christie, Matthew McNulty, Louis Greatrex Production Co: Tall Story Pictures / ITV GIRLFRIENDS Directors: Kay Mellor, Dominic Leclerc Drama Series Producer: Josh Dynevor Featuring: Miranda Richardson, Phyllis Logan, Zoe Wanamaker Production Co: Rollem Productions / ITV LOVE, LIES AND RECORDS Directors: Dominic Leclerc, Cilla Ware Drama Producer: Yvonne Francas Featuring: Ashley Jensen, Katarina Cas, Kenny Doughty Production Co: Rollem Productions / BBC One LAST TANGO IN HALIFAX Director: Juliet May Drama Series Producer: Karen Lewis Featuring: Sarah Lancashire, Nicola Walker, Derek Jacobi Production Co: Red Production Company / Sky Living PARANOID Directors: Kenny Glenaan, John Duffy Detective Drama Series Producer: Tom Sherry Featuring: Indira Varma, Robert Glennister, Dino Fetscher Production Co: Red Production Company / ITV SILENT WITNESS Directors: Stuart Svassand Mystery Crime Drama Series Producer: Ceri Meryrick Featuring: Emilia Fox, Richard Lintern, David Caves Production Co: BBC One Creative Media Management -
Building Imaginary Worlds (On Reserve at the Library)
Syllabus Course Informaon Instructor: Professor April Pelt Email: [email protected] (mailto:[email protected]) Office Hours: By appointment Meeting Time: Wednesdays, 4:40-7:25 pm Classroom: Core Campus 163 A note on safety: Our class ends at 7:25 pm. If you do not feel safe walking across campus after dark, Tiger Transit (https://www.clemson.edu/cusafety/cupd/tiger-transit.html) offers rides to other locations on campus. Course Descripon Worldbuilding—the act of creating and populating a complex, fully realized fictional world—is at the heart of science fiction and fantasy. In this course, we will map the physical, political, historical, and socioeconomic landscapes of multiple imaginary worlds. In so doing, we will not only examine how these authors and filmmakers construct their fictional worlds, but we will also explore how and why these imaginary worlds both emulate and deviate from the world we inhabit. Learning Outcomes In this course, you will learn to: Perform close textual analysis of literary works in writing and in class discussions (including, but not limited to, identifying major themes and motifs in each work under discussion). Draw connections among literary works from different genres, cultures, and historical eras. Craft multimodal (aural, visual, and/or written) and analytical responses to assigned novels and plays. In addition to the outcomes listed above, this course will provide you with the opportunity to meet the following goals: Improve your writing skills through daily practice, required writing fellow conferences, and optional conferences with the instructor. Expand your vocabulary and reading comprehension abilities by adopting active reading strategies. -
Smart Cinema, DVD Add-Ons and the Re-Educated Viewer
MIT Conference May 13-15th 2011. Unstable Platforms: The Promise and Peril of Transition ‘Teaching Smart Cinema: DVD Add-ons and New Audience Pleasures’ Pat Brereton © [Extracts from ‘Cinema in Transformation: Smart Cinema, DVD Add-ons and New Audience Pleasures’ Palgrave Press 2011/2] Many scholars categorize new digital films, using concepts ranging from database narratives (Manovich), forking path narratives (Bordwell), multiple draft narratives (Branigan and Bordwell), twist films (Wilson 2006), complex narratives (Staiger, 2006), modular narratives (Cameron, 2006), puzzle films (Buckland, 2009) including Elsaesser‟s mind-games taxonomy. All of these terms help to flesh out this study‟s exploration of smart cinema, alongside new forms of digital film making and contemporary audience consumption. The term „Smart cinema‟ acquired popular currency in academic circles in the late 1990s. The most coherent explanation has been put forward by Jeffrey Sconce‟s essay (Screen 2002), who argues that smart films reflect the presence of a growing „culture of irony‟ and parody. Its intended audience is apparently the disillusioned yet highly educated new generation who display a form of ironic contempt and emotional distancing from their surroundings and socio-cultural existence. Smart movies like Donnie Darko broadly encapsulate what have been described as reflexive and playful postmodern texts, which in turn are augmented by the specific attributes of new digital media. These new attributes draw upon technological innovations facilitated by the computer and the internet, alongside the proliferation of video games and music videos, together with other new generational e-pleasures and e-cultural tastes. This paper will use films like Be Kind Rewind to demonstrate the importance of smart cinema for new generations, while drawing on the special issue on DVD add-ons for Convergence (2007) which I edited, that focused on how add-ons can strengthen the overall appeal of this consumer fan-driven medium and at the same time incorporate significant educational applications. -
Catrin Meredydd Production Designer
Catrin Meredydd Production Designer Winner of BAFTA Cymru award for Best Production Design 2017 for Damilola, Our Loved Boy. Winner of BAFTA Cymru award for Best Production Design 2019 for Black Mirror: Bandersnatch. Agents Madeleine Pudney Assistant 020 3214 0999 Eliza McWilliams [email protected] 020 3214 0999 Daniela Manunza Assistant [email protected] Lizzie Quinn [email protected] + 44 (0) 203 214 0911 Credits In Development Production Company Notes CHASING AGENT Great Point Media / Rabbit Track Dirs: Declan Lawn & Adam FREEGARD Pictures / The Development Partnership Patterson 2021 Prods: Michael Bronner, Kitty Kaletsky & Robert Taylor SOULMATES 2 AMC / Amazon Postponed 2020 Film Production Company Notes United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] MRS LOWRY AND SON Genesius Pictures Dir: Adrian Noble Prod: Debbie Gray Period Drama 1930's Starring Vanessa Redgrave & Timothy 2019 Spall IBOY Wigwam Films/ Pretty Dir: Adam Randall Pictures Prods: Lucan Toh, Oliver Roskill, Emily Leo, Contemporary Gail Mutrux 2016 With Bill Milner, Rory Kinnear, Miranda Richardson, Maisie Williams BELIEVE Bill and Ben Productions Dir: David Scheinmann Prods: Manuela Noble, Ben Timlett 1950's/1980's With Brian Cox, Toby Stephens, Natascha 2013 McElhone Television Production Company Notes CURSED Netflix Dirs: Jon East, Zetna Fuentes, Daniel Nettheim and Sarah O'Gorman 10 x 60 Medieval Drama Showrunners: Tom Wheeler and Frank Miller 2019 -
JOHN RODDA – Sound Mixer CORMORAN STRIKE (Series 2) Director: Susan Tully
McKinney Macartney Management Ltd JOHN RODDA – Sound Mixer CORMORAN STRIKE (Series 2) Director: Susan Tully. Producer: Jackie Larkin. Starring: Tom Burke and Holliday Grainger. BBC. COME AWAY Director: Brenda Chapman. Producers: Angelia Jolie, Leesa Khan, Andrea Keir, David Oyelowo and James Spring. Starring: Angelia Jolie, Michael Caine and Gugu Mbatha-Raw. GEM Entertainment. THE SPLIT (Series 2) Director: Paula van der Oest. Producer: Natasha Romaniuk. Starring: Nicola Walker. Sister Pictures/AMC. WILD BILL Director: Annie Griffin. Producer: Chris Thompson. Starring: Rob Lowe. 42 / Anonymous Content / Shiver / ITV. FISHERMAN’S FRIENDS Director: Chris Foggin. Producers: Meg Leonard, Nick Moorcroft and James Spring. Starring: Tuppence Middleton, James Purefoy and Daniel Mays. Fred Films. THE ABC MURDERS Director: Alex Gabassi. Producer: Farah Abushwesha. Starring: John Malkovich, Eamon Farren and Michael Shaeffer. Mammoth Screen/Amazon Prime Video. 2019 Association of Motion Picture Sound (AMPS) nomination – Excellence in Sound Gable House, 18 – 24 Turnham Green Terrace, London W4 1QP Tel: 020 8995 4747 E-mail: [email protected] www.mckinneymacartney.com VAT Reg. No: 685 1851 06 JOHN RODDA Contd … 2 BLACK MIRROR: USS CALLISTER Director: Toby Haynes. Producer: Louise Sutton. Starring: Jesse Plemons, Cristin Milioti and Jimmi Simpson. Netflix. 2018 Cinema Audio Society (CAS) – Outstanding Achievement in Sound Mixing 2018 Association of Motion Picture Sound (AMPS) – Excellence in Sound BAFTA Nomination – Best Sound THAT GOOD NIGHT Director: Eric Styles. Producers: Alan Latham and Charles Savage. Starring: John Hurt, Sofia Helin and Max Brown. Goldfinch Studios/Eagle Films. HANK ZIPZER’S CHRISTMAS CATASROPHE Director: Matt Bloom. Producer: Matthew Mulot. Starring: Nick James, Neil Fitzmaurice and Juliet Cowan. -
Content Identification for Audiovisual Archives Richard W
ARTICLE CONTENT IDENTIFICATION FOR AUDIOVISUAL ARCHIVES Richard W. Kroon, Entertainment Identifier Registry Association, USA Raymond Drewry, Motion Picture Laboratories, USA Andrea Leigh, Library of Congress, USA Stephen McConnachie, British Film Institute, UK 1. Abstract Digital archives exist within a complex global web of interests and agencies with ever-increasing — and often conflicting — demands placed on their limited resources. Issues with work identi- fication confront them during acquisition, reconciliation, and de-duplication of assets obtained from multiple sources. Furthermore, they must accommodate manual workflows and the re- sulting process delays, volume constraints, and costs of error correction. A curated system of unique, global identification for audiovisual works, their derivative versions, and physical and digital manifestations as provided by the Entertainment Identifier Registry Association (EIDR) can directly address many of these issues and enable the provision of systems and services that address many more. We identify several use case examples, including a federated system for archive search and retrieval, the collection of off-air television broadcasts, and addressing intellectual property rights assertions. 2. Why Identify? Archives do not exist in isolation; they are part of a wider ecosystem with each institution catering to a particular audience. The value of an audiovisual archive, however you choose to measure it, is always less than its value when part of a larger, interconnected network of ar- chives.32 Cooperation among archives helps fill the gaps in holdings and services that inevitably exist in any collection, while also providing opportunities for economies of scale, sharing costs, and collaboration on best practices. These advantages come at the cost of additional competi- tion for an archive’s already limited time and resources and sometimes may conflict with an individual archive’s priorities, but the overall effect of collaboration is still significantly positive. -
A Case Study on Film Authorship: Exploring the Theoretical and Practical Sides in Film Production
A Case Study on Film Authorship by David Tregde — 5 A Case Study on Film Authorship: Exploring the Theoretical and Practical Sides in Film Production David Tregde* Media Arts and Entertainment Elon University Abstract Film authorship has been a topic of debate in film theory since the Cahiers du Cinema critics first birthed auteur theory. Andrew Sarris used this theory to categorize directors based on their level of artistic au- thorship, solidifying the idea that a director is the sole author of a film. In The Schreiber Theory, David Kipen argues that a writer is responsible for creating the world of the movie and should be considered the author of a film. However, collaborative theories, such as those proposed by Paul Sellors, provide a more practical framework for studying film authorship. Rarely are any film authorship theories compared with specific exam- ples. To compare theory to practice, this research took a two-fold approach. First, theory is explored through primary and secondary sources to give a background and understanding of the main arguments in authorship. Second, this research documents the production of two feature films (Blade Runner & The Man Who Killed Don Quixote) as case studies through analysis of in-depth documentaries. By examining these productions, this study observes theory in practice rather than studying the finished products. I. The Problem of Authorship “Authorship does matter,” says Janet Staiger, because it addresses the issue of acknowledging credit behind a motion picture (Gerstner and Staiger 27). When addressing the responsible parties for a film, it is important to know why such analysis is needed. -
Loki Production Brief
PRODUCTION BRIEF “I am Loki, and I am burdened with glorious purpose.” —Loki arvel Studios’ “Loki,” an original live-action series created exclusively for Disney+, features the mercurial God of Mischief as he steps out of his brother’s shadow. The series, described as a crime-thriller meets epic-adventure, takes place after the events Mof “Avengers: Endgame.” “‘Loki’ is intriguingly different with a bold creative swing,” says Kevin Feige, President, Marvel Studios and Chief Creative Officer, Marvel. “This series breaks new ground for the Marvel Cinematic Universe before it, and lays the groundwork for things to come.” The starting point of the series is the moment in “Avengers: Endgame” when the 2012 Loki takes the Tesseract—from there Loki lands in the hands of the Time Variance Authority (TVA), which is outside of the timeline, concurrent to the current day Marvel Cinematic Universe. In his cross-timeline journey, Loki finds himself a fish out of water as he tries to navigate—and manipulate—his way through the bureaucratic nightmare that is the Time Variance Authority and its by-the-numbers mentality. This is Loki as you have never seen him. Stripped of his self- proclaimed majesty but with his ego still intact, Loki faces consequences he never thought could happen to such a supreme being as himself. In that, there is a lot of humor as he is taken down a few pegs and struggles to find his footing in the unforgiving bureaucracy of the Time Variance Authority. As the series progresses, we see different sides of Loki as he is drawn into helping to solve a serious crime with an agent 1 of the TVA, Mobius, who needs his “unique Loki perspective” to locate the culprits and mend the timeline. -
Avengers Endgame Ticket Sale Date
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February 2021 the Communitas Chronicle
VOLUME 5 • FEBRUARY 2021 THE COMMUNITAS CHRONICLE ISSUED BY YOUR PEERS IN EVAN'S GROUP & UPWARD Chocolate Lava Cakes Recipe Year Of The Ox - 2 - 5 Tommy's Experience With Yoga TAKE A Journey Jokes/Activities - 3 - 6 What To Watch/ Star Wars The Great Race - 4 PEEK! - 7 Calendar Update February Coloring Page -5 - 8 "Hip-Hop is more than music, it's a culture. It's bigger than hit songs" - Nelly This month we popped, locked and dropped during our Hip- Hop themed workout Wednesday! Thanks to Anna and Marisa, we are now ready to star in an Usher music video! Yeah! Yeah! Yeah! VOLUME 5 • FEBRUARY 2021 CHOCOLATE L AVA CAKES Cooked Up By: Evan's Group February is the month of love and to celebrate that love Americans buy a lot of chocolate, spending as much as 1 Billion dollars on chocolate for Valentines day! We figured chocolate is a great way to show someone you love them or to show yourself a little self love so we found a recipe for Molten Chocolate Lava Cakes! They’re quick and easy to make and very yummy. INGRED IENTS Baking Spray Custard cups (Large cupcake pans work well too) 1 Stick of butter 2 Oz of bittersweet chocolate 2 Oz Semisweet chocolate 1 and ¼ cup powdered sugar 2 Whole eggs 3 Egg Yokes 1 Teaspoon Vanilla ½ cup All purpose flower Step 1: Preheat your oven to 425 d egrees Fahrenheit. Step 2: Spray baking spray in your custard cups or large cupcake pan Step 3: Melt all the chocolate with y our stick of butter in a large bowl by placing it all in the microwave on high for 1 minute. -
Representations of British Chinese Identities and British Television Drama: Mapping the Field
Representations of British Chinese identities and British television drama: mapping the field Article Accepted Version Knox, S. (2019) Representations of British Chinese identities and British television drama: mapping the field. Journal of British Cinema and Television, 16 (2). pp. 125-145. ISSN 1755-1714 doi: https://doi.org/10.3366/jbctv.2019.0465 Available at http://centaur.reading.ac.uk/78894/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.3366/jbctv.2019.0465 Publisher: Edinburgh University Press All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Representations of British Chinese Identities and British Television Drama: Mapping the Field Abstract: While important scholarship exists on the television representations of Asian American identities, research in the UK has been focused on African Caribbean and South Asian identities. Very little scholarly attention has been paid to televisual representations of British Chinese identities, despite the British Chinese constituting one of the larger and fastest growing ethnic minority groups within contemporary Britain. Informed by an understanding of the complexity of the term ‘British Chinese’, this article explores the representation of British Chinese identities in British television drama. Despite the long-standing absence and invisibility of such identities in British television, as perceived within the popular imagination in Britain and British Chinese discourses, the article finds that a larger number of British Chinese actors have found notable employment in British television than is commonly acknowledged or remembered within the popular imagination.