Eyes of Laura Mars - Bd

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EYES OF LAURA MARS - BD Short Synopsis: She saw all life through the camera’s eye. Then suddenly she saw death! This riveting tale of murder and suspense stars Faye Dunaway as Laura Mars, New York's most controversial fashion photographer. World renowned for her sensational, erotic portraits of models in settings of glorified urban violence, Laura Mars exhibits a mystifying psychic ability. In her mind's eye, as if through the lens of her camera, she "witnesses" a series of bizarre murders with terrifying clarity. All of the victims are people Laura has known. Police detective John Neville (Tommy Lee Jones) discovers a striking similarity between Laura's works and classified police photographs of the murders and he attempts to unravel the events which have taken control of Laura's mind. the film builds to a spine-tingling climax when the eyes of Laura Mars reveal the identity of the killer. Critic Quotes/Reviews: “a very stylish thriller.” – Variety Target Audience: John Carpenter fans, Mystery buffs Notable Cast/Crew: Faye Dunaway (Network), Tommy Lee Jones (The Fugitive), Brad Dourif (One Flew Over the Cuckoo's Nest), Rene Auberjonois (TV's Benson), Raul Julia (The Addams Family) Key selling points: • Screenplay written by legendary John Carpenter • Directed by Irvin Kershner (The Empire Strikes Back) • Includes audio commentary by Director Irvin Kershner • Features a best-selling soundtrack featuring Barbra Streisand’s “Love Theme From ‘Eyes of Laura Mars’ (Prisoner)” Clip Link: https://youtu.be/kBWxgEZg3R8 Website Link: https://www.millcreekent.com/eyes-of-laura-mars-blu-ray.html Title UPC Item # Format Genre SRP Aspect Ratio Rating Runtime # Disc Eyes of Laura Mars – BD 683904633934 63393 Blu-ray Thriller $14.98 Widescreen R 1 hr 44 min 1.

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Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive
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REJECTED WOMEN IN FILM NOIR By CAROLYN A. KELLEY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Carolyn A. Kelley 2 To my mother and father, Elaine and Thomas Kelley 3 ACKNOWLEDGMENTS I want to thank my parents, Thomas and Elaine Kelley, for their unwavering love and support. You are the kindest, most generous people I know. I am proud to be your daughter. To my sister, Christine Kelley-Connors, thank you for always making me laugh and for helping me keep my perspective. I thank my ―second parents,‖ Madeline and Stuart Sheets, for always listening to me and for giving me excellent advice. I thank Ted Kingsbury for introducing me to classic Hollywood films through his Thursday night screenings at the Wellesley library. To Professors Patrick Murphy, Edward O‘Shea, Jean Chambers, and Steven Abraham of Oswego State University, and Julian Wolfreys of Loughborough University, I thank you for your support, friendship, advice and generosity in sharing your knowledge. Thanks also go out to Professors Pamela Gilbert, Kenneth Kidd, and Chris Snodgrass of the University of Florida for your thoughtful guidance, wisdom and patience. To my dissertation committee members, Robert Ray, Marsha Bryant, and Louise Newman, I appreciate your generous devotion to helping me shape this project and your helpful, insightful input. And, to my Dissertation Director, Maureen Turim, I thank you for your guidance, patience, intelligence, and kindness. Finally, to everyone listed on this page, please know this project would not have been possible without you, and I am extremely grateful to you all.
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