Drama Movies
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GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months. -
Copyrighted Material
Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle -
(POST)COLONIAL AFRICA by Katherine Lynn Coverdale the F
ABSTRACT AN EXPLORATION OF IDENTITY IN CLAIRE DENIS’ AND MATI DIOP’S (POST)COLONIAL AFRICA by Katherine Lynn Coverdale The focus of this thesis is aimed at two female French directors: Claire Denis and Mati Diop. Both auteurs utilize framing to create and subsequently break down ideological boundaries of class and race. Denis’ films Chocolat and White Material show the impossibility of a distinct identity in a racialized post-colonial society for someone who is Other. With the help of Laura Mulvey and Richard Dyer, the first chapter of this work on Claire Denis offers a case study of the relationship between the camera and race seen through a deep analysis of several sequences of those two films. Both films provide an opportunity to analyze how the protagonists’ bodies are perceived on screen as a representation of a racial bias held in reality, as seen in the juxtaposition of light and dark skin tones. The second chapter analyzes themes of migration and the symbolism of the ocean in Diop’s film Atlantique. I argue that these motifs serve to demonstrate how to break out of the identity assigned by society in this more modern post-colonial temporality. All three films are an example of the lasting violence due to colonization and its seemingly inescapable ramifications, specifically as associated with identity. AN EXPLORATION OF IDENTITY IN CLAIRE DENIS’ AND MATI DIOP’S (POST)COLONIAL AFRICA A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts by Katherine Lynn Coverdale Miami University Oxford, Ohio 2020 Advisor: Dr. -
Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
It's a Woman's World: Almodóvar's Fighting Girls Vs. the Struggles Of
It’s a Woman’s World: Almodóvar’s Fighting Girls vs. the Struggles of the 90s Casey Watson Marshall University Spanish Capstone Watson 2 Pedro Almodóvar is a well-known director that centers his films around his home country of Spain. Almodóvar was one of the heads of the arts movement called La Movida Madrileña. Dr. Mark Allinson wrote the book A Spanish Labyrinth: Films of Pedro Almodóvar, which analyzes Almodóvar’s background and breaks down his films, “Pedro Almodóvar symbolized free and democratic Spain – as its chronicler and as its agent provocateur…” (Allinson 3). Almodóvar has been seen as a provocateur for his shock-filled and controversial films. His films have been seen as a starter of a movement of liberating Spain from its oppressed past and a look into the dark sides of the world. Almodóvar used his film, All about My Mother to fight against the oppression of women and the LGBTQ community from Spain’s history and to bring forth the struggles that were faced in the 1990s. The oppression of these groups is rooted in Spain’s history that goes back to the coup d’état of the Republic and the dictatorship of Franco. The Republic, 1931-1939, was a golden age of for women in Spain. “According to the historian Mirta Núñez (2004), the Republic prompted women to have and seek an autonomous presence in the public sphere, a presence not subordinated to men. It pushed them to seek and find paid employment in order to make a living on their own, and it also tried to instill equality in early education” (Ayerra 247). -
Bill's Guide to Week Two of the 47Th Annual Chicago International Film
Bill’s Guide to Week Two of the 47th Annual Chicago International Film Festival By Bill Stamets Special for Films for Two® My recommended films in Week Two (in “must see” order): 1.) Pina: German director Wim Wenders previously profiled Japanese film director Yasujiro Ozu, Japanese fashion designer Yohji Yamamoto and Cuban musicians. His latest documentary introduces cinefiles to the choreography of German avant-gardist Pina Bausch. In his first use of 3-D cinematography, Wenders evokes the volume of the stage, even for performances staged in non-theatrical settings, including a tramway and an escalator. Four different works are presented. Some are revisited via archival 2-D footage. Seeing various versions adds more figurative depth to our appreciation of Bausch's work than the 3-D adds literal depth to our onscreen perception. Bausch's death during the making of the film may have lent an elegiac note to the laudatory interviews with members of her international company Tanztheater Wuppertal. They do not speak on camera during looking-into-the lens portrait sessions. The soundtrack excerpts their comments, apparently recorded off- camera, to underscore their role as voiceless dancers. Wenders channels Bausch's tactile and theoretical grasp of the body as metaphysical material for art. 2.) The Descendants: Alexander Payne (Sideways, About Schmidt, Election, Citizen Ruth) directs George Clooney as Matt King, an Hawaiian lawyer dealing with his wife hospitalized in a coma and their 10-year-old and 17- year-old daughters. Payne and his co-writers start from Kaui Hart Hemmings' 2008 novel for a truly touching male melodrama, as Clooney's character reconciles his mixed emotions about his wife. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
Fact Or Fiction: Hollywood Looks at the News
FACT OR FICTION: HOLLYWOOD LOOKS AT THE NEWS Loren Ghiglione Dean, Medill School of Journalism, Northwestern University Joe Saltzman Director of the IJPC, associate dean, and professor of journalism USC Annenberg School for Communication Curators “Hollywood Looks at the News: the Image of the Journalist in Film and Television” exhibit Newseum, Washington D.C. 2005 “Listen to me. Print that story, you’re a dead man.” “It’s not just me anymore. You’d have to stop every newspaper in the country now and you’re not big enough for that job. People like you have tried it before with bullets, prison, censorship. As long as even one newspaper will print the truth, you’re finished.” “Hey, Hutcheson, that noise, what’s that racket?” “That’s the press, baby. The press. And there’s nothing you can do about it. Nothing.” Mobster threatening Hutcheson, managing editor of the Day and the editor’s response in Deadline U.S.A. (1952) “You left the camera and you went to help him…why didn’t you take the camera if you were going to be so humane?” “…because I can’t hold a camera and help somebody at the same time. “Yes, and by not having your camera, you lost footage that nobody else would have had. You see, you have to make a decision whether you are going to be part of the story or whether you’re going to be there to record the story.” Max Brackett, veteran television reporter, to neophyte producer-technician Laurie in Mad City (1997) An editor risks his life to expose crime and print the truth. -
Download the List of History Films and Videos (PDF)
Video List in Alphabetical Order Department of History # Title of Video Description Producer/Dir Year 532 1984 Who controls the past controls the future Istanb ul Int. 1984 Film 540 12 Years a Slave In 1841, Northup an accomplished, free citizen of New Dolby 2013 York, is kidnapped and sold into slavery. Stripped of his identity and deprived of dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength to survive. Approx. 134 mins., color. 460 4 Months, 3 Weeks and Two college roommates have 24 hours to make the IFC Films 2 Days 235 500 Nations Story of America’s original inhabitants; filmed at actual TIG 2004 locations from jungles of Central American to the Productions Canadian Artic. Color; 372 mins. 166 Abraham Lincoln (2 This intimate portrait of Lincoln, using authentic stills of Simitar 1994 tapes) the time, will help in understanding the complexities of our Entertainment 16th President of the United States. (94 min.) 402 Abe Lincoln in Illinois “Handsome, dignified, human and moving. WB 2009 (DVD) 430 Afghan Star This timely and moving film follows the dramatic stories Zeitgest video 2009 of your young finalists—two men and two very brave women—as they hazard everything to become the nation’s favorite performer. By observing the Afghani people’s relationship to their pop culture. Afghan Star is the perfect window into a country’s tenuous, ongoing struggle for modernity. What Americans consider frivolous entertainment is downright revolutionary in this embattled part of the world. Approx. 88 min. Color with English subtitles 369 Africa 4 DVDs This epic series presents Africa through the eyes of its National 2001 Episode 1 Episode people, conveying the diversity and beauty of the land and Geographic 5 the compelling personal stories of the people who shape Episode 2 Episode its future. -
CTBL Alphabetic Descriptive Video List
CTBL Alphabetic Descriptive Video List Number Movie Title Rating Cartoon VO 14 101 Dalmatians G No VO 245 40 Year Old Virgin R No VO 31 A Beautiful Mind PG-13 No VO 203 A Christmas Carol PG No VO 285 Abilene Town G No VO 33 Addams Family PG-13 No VO 32 Aladdin G Yes VO 4 Alice in Wonder Land G Yes VO 89 Alien R No VO 204 Amelia Earhart: The Price of Courage G No VO 262 America Quilts Creatively G No VO 272 America Sews with Sue Hausmann: G No Episode #2201 VO 273 America Sews with Sue Hausmann: G No Episode #2202 VO 274 America Sews with Sue Hausmann: G No Episode #2203 VO 275 America Sews with Sue Hausmann: G No Episode #2204 VO 288 American Empire R No VO 121 Amistad R No VO 15 Anne of Avonlea G No VO 27 Anne of Green Gables G No VO 159 Anne of Green Gables the Continuing Story NR No VO 83 Apollo 13 PG No VO 232 Autism is a World (DVD) G No VO 113 Babe G No VO 78 Bambi G Yes VO 87 Basic Instinct R No VO 248 Batman Begins PG-13 No VO 7 Beaches PG No VO 1 Beauty and the Beast G Yes VO 311 Becket R No VO 6 Beethoven PG No J:\Videos\Video_list_Alpha.doc 9/11/08 VO 160 Bells of St. Mary’s NR No VO 20 Beverly Hills Cop R No VO 79 Big PG No VO 163 Big Bear NR No VO 289 Blackbeard, The Pirate R No VO 118 Blue Hawaii NR No VO 290 Border Cop R No VO 63 Breakfast at Tiffany's NR No VO 180 Bridget Jones’ Diary R No VO 183 Broadcast News R No VO 254 Brokeback Mountain R No VO 199 Bruce Almighty Pg-13 No VO 77 Butch Cassidy and the Sun Dance Kid PG No VO 158 Bye Bye Blues PG No VO 164 Call of the Wild PG No VO 291 Captain Kidd R No VO 94 Casablanca -
The Filmic Qualities of Tennessee Williams' Plays and Stories, Their
PEDRO ALMODÓVAR’S “HOMAGE” TO TENNESSEE WILLIAMS MICHAEL S. D. HOOPER “A Streetcar Named Desire has marked my life.”1 The filmic qualities of Tennessee Williams’ plays and stories, their perceived adaptability and the writer’s own willingness to explore the possibilities of an emergent Hollywood cinema in the early part of his career have contributed in no small part to the wide reach of his success and reputation. Indeed, his experimentation with dramatic forms, evident as early as 1944 with The Glass Menagerie and its “plastic theatre”,2 has been seen as an extension of the techniques Williams no doubt assimilated from a youth spent in movie houses: The drama of Tennessee Williams derives its lyric naturalism from the adaptation of the modern short story for the cinematic theatre. Throughout the canon, film techniques undermine the conventions of stage realism. Music comes out of nowhere. Lighting is symbolic.3 Williams often seems to have had one eye on a broader canvas, one which eschews the limitations of theatrical mimesis and which measurably assisted the transition of his work to the big screen. Notwithstanding these artistic overlaps, we have, in the post-war Hollywood versions of his plays, a second Tennessee Williams, one that may, for a variety of reasons, have reached a receptive public 1 Manuela in Todo sobre mi madre, directed by Pedro Almodóvar, El Deseo, 1999. 2 In his “Production Notes” for The Glass Menagerie, Williams writes about this as a concept that “must take the place of the exhausted theatre of realistic conventions”. See Tennessee Williams, The Glass Menagerie, in The Theatre of Tennessee Williams, New York: New Directions, 1971, I, 131. -
Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, Or Shakesploi Meets the Camp
Colby Quarterly Volume 37 Issue 1 March Article 7 March 2001 Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, or Shakesploi Meets the Camp Richard Burt Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 37, no.1, March 2001, p.78-106 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Burt: Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, or Shakesploi Meets (the) Camp by RICHARD BURT II cinema eI'anna piu forte (Cinema is the strongest weapon) -Mussolini's motto Every day I'll read something that is right out of Titus Andronicus, so when people think this is "over the top," they're absolutely wrong. What could be more "over the top" than the Holocaust? -Julie Taymor "Belsen Was a Gas." -Johnny Rotten SHAKESPEARE NACH AUSCHWITZ? NE MORNING in the summer of 2000, I was channel surfing the trash talk O. shows to get my daily fix of mass media junk via the hype-o of my tele vision set. After "Transsexual Love Secrets" on Springer got a bit boring, I lighted on the Maury Povich Show.! The day's topic was "My seven-year-old child drinks, smokes, swears, and hits me!" Father figure Pavich's final solu tion, like Sally Jessie Raphael's with much older kids on similar episodes of her show, was to send the young offenders to boot camp.