Pariah (2011): Coming out in the Middle
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Fabulous! the Story of Queer Cinema
The Independent Film Channel Presents: An Orchard Films Production Fabulous! The Story of Queer Cinema Directed and Produced by Lisa Ades & Lesli Klainberg PUBLICITY AND ARTWORK, PLEASE CONTACT: Sophie Evans Manager, Consumer PR Kristen Andersen – PR Coordinator T: (917) 542-6336 T: (917) 542-6339 E: [email protected] E: [email protected] Synopsis: Fabulous! The Story of Queer Cinema explores the emergence of gay and lesbian films from the beginning of the gay rights movement in the 1960s to the “New Queer Cinema” of the 90s, the proliferation and influence of gay and lesbian films festivals, the discovery by the film business of the gay market; the explosion of gay images in the mainstream media and the current phenomenon of all things gay. The story of gay and lesbian cinema is closely related to the world surrounding it, and the use of popular culture is a backdrop against which the film examines important cultural, political and social moments- and movements that intersect with gay life. “Sex on the screen means something different for gay and lesbian audiences than for straight audiences because we’ve never been allowed to see it. If bodies that we can’t imagine being together are together, if women are rolling around in bed, if men are doing something more in the locker room than just simply taking a shower…all of these groundbreaking scenes of explicit sexuality have a meaning and a power that go beyond similar scenes for heterosexuals. It has to be there for audiences because for so long we were told ‘Oh no, they aren’t really gay because we have no proof that they ever did that’ there’s a sense that’s like – show me the money!” - B. -
10.9 De Jesus Precarious Girlhood Dissertation Draft
! ! "#$%&#'()*!+'#,-((./!"#(0,$1&2'3'45!6$%(47'5)#$.!8#(9$*!(7!:$1'4'4$!;$<$,(91$42! '4!"(*2=>??@!6$%$**'(4&#A!B'4$1&! ! ! ;$*'#C$!.$!D$*)*! ! ! ! ! E!8-$*'*! F4!2-$!! G$,!H(99$4-$'1!I%-((,!(7!B'4$1&! ! ! ! ! "#$*$42$.!'4!"'&,!:),7',,1$42!(7!2-$!6$J)'#$1$42*! :(#!2-$!;$5#$$!(7! ;(%2(#!(7!"-',(*(9-A!K:',1!&4.!G(<'45!F1&5$!I2).'$*L! &2!B(4%(#.'&!M4'<$#*'2A! G(42#$&,N!O)$0$%N!B&4&.&! ! ! ! ! ! P%2(0$#!>?Q@! ! R!;$*'#C$!.$!D$*)*N!>?Q@ ! ! CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Desirée de Jesus Entitled: Precarious Girlhood: Problematizing Reconfigured Tropes of Feminine Development in Post-2009 Recessionary Cinema and submitted in partial fulfillment of the requirements for the degree of Film and Moving Image Studies complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Lorrie Blair External Examiner Dr. Carrie Rentschler External to Program Dr. Gada Mahrouse Examiner Dr. Rosanna Maule Examiner Dr. Catherine Russell Thesis Supervisor Dr. Masha Salazkina Approved by Dr. Masha Salazkina Chair of Department or Graduate Program Director December 4, 2019 Dr. Rebecca Duclos Dean Faculty of Fine Arts ! ! "#$%&"'%! ()*+,)-./0!1-)23..45!().62*7,8-9-:;!&*+.:<-;/)*4!%).=*0!.<!>*7-:-:*!?*@*2.=7*:8!-:! (.08ABCCD!&*+*00-.:,)E!'-:*7,! ! ?*0-)F*!4*!G*0/0! '.:+.)4-,!H:-@*)0-8EI!BCJD! ! !"##"$%&'()*+(,--.(/#"01#(2+3+44%"&5()*+6+($14(1(4%'&%7%31&)(3*1&'+(%&()*+(3%&+81)%3(9+:%3)%"&( -
Graphic Design and the Cinema: an Application of Graphic Design to the Art of Filmmaking
The University of Southern Mississippi The Aquila Digital Community Honors Theses Honors College Spring 5-2016 Graphic Design and the Cinema: An Application of Graphic Design to the Art of Filmmaking Kacey B. Holifield University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/honors_theses Part of the Graphic Design Commons Recommended Citation Holifield, Kacey B., "Graphic Design and the Cinema: An Application of Graphic Design to the Art of Filmmaking" (2016). Honors Theses. 403. https://aquila.usm.edu/honors_theses/403 This Honors College Thesis is brought to you for free and open access by the Honors College at The Aquila Digital Community. It has been accepted for inclusion in Honors Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi Graphic Design and the Cinema: An Application of Graphic Design to the Art of Filmmaking by Kacey Brenn Holifield A Thesis Submitted to the Honors College of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Bachelor of Fine Arts of Graphic Design in the Department of Art and Design May 2016 ii Approved by _______________________________ Jennifer Courts, Ph.D., Thesis Adviser Assistant Professor of Art History _______________________________ Howard M. Paine, Ph.D., Chair Department of Art and Design _______________________________ Ellen Weinauer, Ph.D., Dean Honors College iii Abstract When the public considers different art forms such as painting, drawing and sculpture, it is easy to understand the common elements that unite them. Each is a non- moving art form that begins at the drawing board. -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
Sundance Institute Expands Support to Writers and Creators of Series for TV and Online Platforms
FOR IMMEDIATE RELEASE Media Contact: March 19, 2014 Casey De La Rosa 310.360.1981 [email protected] Sundance Institute Expands Support to Writers and Creators of Series for TV and Online Platforms First ‘Sundance Institute Episodic Story Lab’ to Be Held in Fall 2014 at the Sundance Resort, with Norman and Lyn Lear as Founding Supporters Los Angeles, CA — Sundance Institute today announced a significant expansion of its renowned labs for independent artists to include dedicated support for writers and creators of series for television and online platforms. The first Sundance Institute Episodic Story Lab will be held in Fall 2014 at the Sundance Resort in Sundance, Utah. Building on the Institute’s 30-year legacy of developing new work from storytellers with distinctive and risk-taking stories, this new initiative addresses the need for more opportunities for learning and mentorship of singular and diverse voices in scripted TV and online series. In collaboration with accomplished mentors, writers at the six-day, immersive Episodic Story Lab will work on developing stories and characters that play out over multiple episodes and will also have the opportunity to better understand the landscape for production and distribution of serialized stories. Both drama and comedy writing will be supported at the Lab, which has been organized under the leadership of Michelle Satter, Founding Director of the Institute’s Feature Film Program. The Lab is made possible by generous support and guidance from television producer Norman Lear and his wife, Institute Trustee Lyn Lear. The Institute cites the growth of great writing and bold content in recent years as inspiration for the Lab. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
12 Anni Schiavo – Scheda Verifiche
12 ANNI SCHIAVO – SCHEDA VERIFICHE 12 YEARS A SLAVE (Scheda a cura di Simonetta Della Croce) CREDITI Regia: Steve McQueen. Soggetto: dall’autobiografia 12 anni schiavo di Solomon Northup. Sceneggiatura: John Ridley. Fotografia: Sean Bobbitt. Musiche: Hans Zimmer. Montaggio: Joe Walker. Scenografia: Adam Stockhausen. Arredamento: Alice Baker. Costumi: Patricia Norris. Interpreti: Chiwetel Ejiofor (Solomon Northup/Platt), Michael Fassbender (Edwin Epps), Benedict Cumberbatch (William Ford), Paul Dano (Tibeats), Garret Dillahunt (Armsby), Paul Giamatti (Freeman), Scoot McNairy (Brown), Lupita Nyong'O (Patsey), Adepero Oduye (Eliza), Sarah Paulson (Sig.ra Epps), Brad Pitt (Bass), Alfre Woodard (Harriet Shaw), Chris Chalk (Clemens Ray), Taran Killam (Hamilton), Bill Camp (Radburn), Dwight Henry (Zio Abram), Bryan Batt (Giudice Turner), Quvenzhané Wallis (Margaret Northup), Cameron Zeigler (Alonzo Northup), Tony Bentley (Sig. Moon), Christopher Berry (James Burch), Mister Mackey Jr. (Randall). Origine: USA. Anno di edizione: 2014. Durata: 133’. Sinossi Nel 1841, Solomon Northup – un nero nato libero nel nord dello stato di New York – viene rapito e portato in una piantagione di cotone in Louisiana, dove è obbligato a lavorare in schiavitù per dodici anni, sperimentando sulla propria pelle la feroce crudeltà del perfido padrone Edwin Epps. Allo stesso tempo, però, gesti di inaspettata gentilezza gli permetteranno di trovare la forza di sopravvivere e di non perdere la propria dignità fino all'incontro con Bass, un abolizionista canadese, che lo aiuterà a tornare un uomo libero. 1 Unità 1 - (Minutaggio da 00:00 a 06:08) 1. Come inizia il film? 2. Com'è la struttura narrativa del film? 3. La sessualità è spesso evidenziata in “12 anni schiavo”. -
Re-Imagining Queer Cinema Finding the Accent in Queer Filmmaking
Re-Imagining Queer Cinema Finding the Accent in Queer Filmmaking MA Programme in Film Studies Supervisor: Maryn C. Wilkinson Second reader: Marie-Aude Baronian MA thesis by: Yunus Emre Duyar Amsterdam, 26th June 2015 Word Count: 17,825 2 3 Table of Contents INTRODUCTION ...................................................................................................................................... 7 1. Queer Films and Beyond............................................................................................................. 14 1.1 Queer Culture and Film ............................................................................................................ 15 1.2 Gender Performativity and Film ............................................................................................. 17 1.3 Queer and the Rural .................................................................................................................. 20 2. Queer Filmmaking as Accented Cinema ................................................................................... 24 2.1. Accented Style ........................................................................................................................... 25 2.2. Mode of Production .................................................................................................................. 31 2.3. Chronotopes of Homeland and Life in Exile .......................................................................... 35 2.4. Journeying, Border Crossing and Identity Crossing............................................................ -
Winter 2016 January – May 2016 OVERVIEW All Year, Winter 2016 at All Free the Power Plant
exhibitions / programs / events 1 Winter 2016 January – May 2016 OVERVIEW all year, Winter 2016 at all free The Power Plant As we enter the The Power Plant’s first For our Winter 2016 Season, The Power The Power Plant remains committed to welcom- Plant is pleased to present three solo ing a diverse public, and our seasonal roster exhibition season of 2016, we pause of education and public programs provide more to acknowledge the importance of the exhibitions by artists Patrick Bernatchez, opportunities to engage wider audiences with aLL YEAR, aLL FREE program. Leslie Hewitt and Aude Moreau, along- our current exhibitions. We welcome our French- speaking visitors to engage with artist Aude Thanks to the support of BMO Financial Group, side our Fleck Clerestory Commission Moreau and curator Louise Déry in our In Conver- the gallery is able to eliminate admission fees, by Carlos Amorales. sation series, a lecture presented in French with enabling all visitors, young and old, to access Alliance Française de Toronto. The season’s our exhibitions. Carlos Amorales’ Black Cloud, which launched our International Lecture Series will bring Sven Lütticken, Join us again this Winter and all year long at Fall 2015 Fleck Clerestory Commission Program, German author and lecturer of art history at the The Power Plant, where admission is always FREE. recreates an ecological phenomenon of the Industrial Vrije Universiteit Amsterdam, and James Lingwood Revolution by attaching thousands of black moths and Michael Morris, Co-Directors of London-based to the gallery walls, recalling The Power Plant’s past arts organisation Artangel, to Toronto. -
JACOLBY SATTERWHITE: Blessed Avenue by Osman Can Yerebakan April 4Th, 2018
JACOLBY SATTERWHITE: Blessed Avenue by Osman Can Yerebakan April 4th, 2018 GAVIN BROWN’S ENTERPRISE | MARCH, 10 – MAY 6, 2018 Jacolby Satterwhite, Blessed Avenue, 2018. 3D animation and video, 19:20. Edition of 5 with 2 APs. Courtesy Gavin Brown’s enterprise, New York/ Rome. On the third floor of an unassuming Chinatown building, a dark hallway leads to Blessed Avenue, Jacolby Satterwhite’s psychedelic quest into queer desire and memory, a twenty- minute digital animation created with Maya computer software. In order to do justice to the film’s bizarre rituals performed by Juliana Huxtable, Lourdes Leon Ciccone, and DeSe Escobar alongside Satterwhite, Gavin Brown’s enterprise orchestrated the gallery similar to an underground club, from glow-sticks occasionally available at the entrance to the pitch-dark atmosphere elevating the film’s visual and audial impact. The exhibition's titular piece runs on a large, two-sided screen, which emanates enough light to let visitors inspect a pop-up retail installation that displays merchandise complimenting the film. Including cameos by aforementioned “downtown figures” alongside many others, Blessed Avenue is a heady plunge into an otherworldly realm where computer aesthetics merge with an array of bodily postures from bondage routines to nocturnal choreographies. We watch Satterwhite and his friends act out the power dynamics embedded in S&M with the physical vigor of ballroom dancing. The back drop to the party is a digital universe Satterwhite illustrated based on sketches made by his late mother Patricia—a self-made artist who found solace in art as a respite from schizophrenia—created over the years with the hope of selling them on QVC. -
ENG 2300: Film Analysis Spring 2021 Syllabus
ENG 2300: Film Analysis Spring 2021 Syllabus Course Info Instructor Mandy Moore Sections 7308 (Class # 13395) and M159 (Class # 30594) Class Meetings T 5-6 (11:45 a.m. - 1:40 p.m.) in TUR 2336/online R 6 (12:50 p.m. - 1:40 p.m.) in MAT 0003/online Zoom: https://ufl.zoom.us/j/99186684382 (T) and https://ufl.zoom.us/j/99816474119 (R) Screening Period T E1-E3 (7:20 p.m. - 10:10 p.m.) Note: we will NOT meet during the screening period. Instead, you are expected to use this time to watch the films on your own. Class Website Canvas Instructor Info Pronouns she/her Please call me… Mandy (preferred) or Ms. Moore Contact me… Via Canvas message (to ensure privacy for FERPA reasons) Email [email protected] Office Hours via R 11:30 a.m. – 12:30 p.m. or by appointment Zoom Zoom: https://ufl.zoom.us/j/91242704224 COVID-19 Adjustments Due to the COVID-19 crisis, we will use HyFlex learning, with some students attending face- to-face (F2F) and others attending simultaneously via Zoom. Please remain flexible as we navigate this new technology and the shifting pandemic situation. F2F students: you are required to be officially “Cleared” on one.uf to return to campus before you may attend class. I have access to your Cleared/Not Cleared status on my one.uf roster and may also ask you to pull up that information on your phone. If you suspect you have been exposed to COVID, you should report for testing and observe an obligatory two-week quarantine period. -
1 Slapstick After Fordism: WALL-E, Automatism and Pixar's Fun Factory Animation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Andrews Research Repository Slapstick After Fordism: WALL-E, Automatism and Pixar’s Fun Factory animation: an interdisciplinary journal 11:1 (March 2016) Paul Flaig, University of Aberdeen In his recent The World Beyond Your Head, Matthew Crawford (2015) argues for a reclaiming of the real against the solipsism of contemporary, technologically cocooned life. Opposing digitally induced distraction, he insists on confronting the contingencies of an obstinately material, non- human world, one that rudely insists beyond our representational schema and cognitive certainties. In this Crawford joins an increasingly vocal chorus of critics questioning the ongoing transformation of human subjectivity via digital mediation and online connectivity (see Turkle 2012 and Carr 2011). Yet to mount this critique Crawford turns to a surprising example: Mickey Mouse Clubhouse, the Disney Channel’s first entirely computer animated television series, running from 2006 to the present. Given the proclaimed philosophical stakes of his book, which draws on Heidegger’s concept of “Being-in-the-World” and critiques Kantian Aufklärung, what peeks Crawford’s interest in Mickey Mouse Clubhouse, aimed at teaching pre-schoolers rudimentary concepts, facts and vocabulary? Specifically, it is the contrast between Clubhouse and Mickey’s first adventures in Disney shorts of the twenties and thirties. In the latter, “the most prominent source of hilarity is the capacity of material stuff to generate frustration,” thus offering to its viewers “a rich phenomenology of what it is like to be an embodied agent in a world of artifacts and inexorable physical laws” (70).