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“There's Evil in the Woods”: the Function of Puritan New England As
“There’s Evil in the Woods”: The Function of Puritan New England as a Gothic Setting from Hawthorne’s Stories to Eggers’ The Witch (2015) Laura Broersen S1719904 Leiden University MA Thesis Literary Studies Supervisor: Dr. E.J. van Leeuwen Second Reader: Dr. L.E.M. Fikkers 17 June 2020 Table of Contents Introduction .............................................................................................................................. 5 Chapter 1: “Errand into the Wilderness”: Seventeenth-Century American Puritanism .............................................................................................................................. 12 1.1. The Origins and Doctrines of American Puritanism .......................................................... 13 1.2. The American Gothic ............................................................................................................. 15 1.3. Non-Conformists ..................................................................................................................... 17 1.4. Girard’s Scapegoating Mechanism ....................................................................................... 18 Chapter 2: Liberty like an Iron Cage: Nathaniel Hawthorne’s Works of Historical Puritan Fiction ....................................................................................................................... 22 2.1. Short Stories ............................................................................................................................. 26 2.2. The Scarlet -
January 2020 the Lighthouse Robert Eggers the Irish Film Institute
JANUARY 2020 THE LIGHTHOUSE ROBERT EGGERS THE IRISH FILM INSTITUTE The Irish Film Institute is Ireland’s EXHIBIT national cultural institution for film. It aims to exhibit the finest in independent, Irish and international cinema, preserve PRESERVE Ireland’s moving image heritage at the Irish Film Archive, and encourage EDUCATE engagement with film through its various educational programmes. THE NIGHT WINTER MENU OF IDEAS 2020 Fancy some healthy and hearty food this January? Look The Night of Ideas is a worldwide initiative, spearheaded by no further than the IFI Café Bar’s delicious winter menu, Institut Français, that celebrates the constant stream of ideas featuring new dishes including Wicklow Lamb Stew, between countries, cultures, and generations. The IFI and Vegetarian Lasagne, and Warm Winter Veg with Harissa the French Embassy are proud to present this third edition in Yoghurt and Beetroot Crisps. Book your table by emailing Ireland, the theme of which is ‘Being Alive’. For more details on [email protected] or by ringing 01-6798712. the event, please see page 15. NAME YOUR SEAT COMING SOON Parasite Naming a seat in the newly refurbished Cinema 1 is a Coming to the IFI in February are two of the year’s most fantastic way to demonstrate your own passion for film, anticipated new releases: Bong Joon Ho’s Parasite, winner of celebrate the memory of someone who loved the IFI, or the 2019 Palme d’Or and hotly tipped for Oscar glory, follows the gift a unique birthday or anniversary present to the film sinister relationship between an unemployed family and their fan in your life! The only limit is 50 characters and your patrons; and Céline Sciamma’s stunning Portrait of a Lady on Fire, imagination. -
Vengeance Is Ours: Safe Spaces and Critical Empathy in Horror Films David S
Bridgewater State University Virtual Commons - Bridgewater State University Honors Program Theses and Projects Undergraduate Honors Program 5-8-2018 Vengeance is Ours: Safe Spaces and Critical Empathy in Horror Films David S. Hooker Follow this and additional works at: http://vc.bridgew.edu/honors_proj Part of the Film and Media Studies Commons Recommended Citation Hooker, David S.. (2018). Vengeance is Ours: Safe Spaces and Critical Empathy in Horror Films. In BSU Honors Program Theses and Projects. Item 282. Available at: http://vc.bridgew.edu/honors_proj/282 Copyright © 2018 David S. Hooker This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Vengeance is Ours Safe Spaces and Critical Empathy in Horror Films David S. Hooker Submitted in Partial Completion of the Requirements for Departmental Honors in English Bridgewater State University May 8, 2018 Dr. John Mulrooney, Thesis Advisor Prof. Evan Dardano, Committee Member Prof. Nicole Williams, Committee Member Hooker 1 Abstract Many genres of film seek to bring viewers to heightened emotional states, perhaps this is most true of horror films. Although often displaying extreme violence, such films paradoxically provide openings for critically empathetic viewings which allow viewers with diverse backgrounds and experiences to identify with victims and survivors and transcend elements of subjective identity. This project analyzes the capacity of horror films, including those of William Friedkin, David Cronenberg, Brian DePalma and others, to offer viewers space in which to be critically empathetic. Regarding gender issues in the genre as outlined by such scholars as Carol J. Clover, and the emerging scholarship on critical empathy, such as that of Todd DeStigter, this project offers new ways of thinking about horror both on screen and off. -
21St CENTURY TERROR [email protected]
21st CENTURY TERROR [email protected] www.mondomoviehouse.wordpress.com Week 7: Death Becomes Her The Vampire • Nosferatu (1922) – a dark shadow cast by the 1st World War • Dracula (1931) – the vampire as ultimate capitalist – the shadow of the 1929 crash • Dracula (1958) – the shaking off of post war sexual repression – the vampire as sex symbol Daughters of Darkness (1971) Harry Kumel • No fangs • No Garlic • No Castles • No stakes The Mid-80s Vampire Resurgence • Fright Night (1985) • Vamp (1986) • The Lost Boys (1987) The Vampire’s Kiss (1988) • Even though large studio offerings such as The Lost Boys and Fright Night easily eclipsed more independent features like The Vamp and The Vampire’s Kiss –the most successful vampire films barely counted as ‘blockbusters’ Near Dark (1987) Kathryn Bigelow • None of the ‘gothic’ tropes of other more clichéd vampire films Let the Right One in (2008) Tomas Alfredson • Directed by Tomas Alfredson • Produced by Carl Molinder and John Nordling • Screenplay by John Ajvide Lindqvist • Based on his novel, Let the Right One in • Cinematography by Hoyte van Hoytema • Edited by Tomas Alfredson and Daniel Jonsäter • The washed out colours provide a more blank background on which to overlay the horror • Blood spatters over ‘virgin’ white snow provide a juxtaposition reflecting the other polarizing elements within the narrative • Innocence/loss of innocence • Adult/childhood • Life/death • The paedophile element of the storyline which is explicit within the original novel is played down in the film -
Uk / 2018 / 1.66 / 5.1
HIGH LIFE 110 min / Germany – France – USA – Poland – UK / 2018 / 1.66 / 5.1 EVA DIEDERIX [email protected] SILVIA SIMONUTTI [email protected] FANNY BEAUVILLE [email protected] OLPHA BEN SALAH [email protected] PHOTOS AND PRESS KIT CAN BE DOWNLOADED FROM https://www.wildbunch.biz/movie/high-life/ Deep space. Monte and his daughter Willow live together aboard a spacecraft, in complete isolation. A man whose strict self-discipline is a shield against desire, Monte fathered her against his will. His sperm was used to inseminate the young woman who gave birth to her. They were members of a crew of prisoners – death row inmates. Guinea pigs sent on a mission. Now only Monte and Willow remain. Through his daughter, he experiences the birth of an all-powerful love. Together, father and daughter approach their destination – the black hole in which time and space cease to exist. How did High Life come about? A while back, an English producer asked me if I wanted to participate in a collection of films called Femmes Fatales. At first, I wasn’t that interested, but after thinking it over, I agreed. The project took ages to get off the ground. There was no money. It took 6 or 7 years to hammer out a coproduction: France, Germany, Poland and eventually America. During that time, I went to England and the States to meet with actors. The actor I dreamed of for the lead role of Monte was Philip Seymour Hoffman, because of his age, his weariness – but he died mid- route. -
Following Is a Listing of Public Relations Firms Who Have Represented Films at Previous Sundance Film Festivals
Following is a listing of public relations firms who have represented films at previous Sundance Film Festivals. This is just a sample of the firms that can help promote your film and is a good guide to start your search for representation. 11th Street Lot 11th Street Lot Marketing & PR offers strategic marketing and publicity services to independent films at every stage of release, from festival premiere to digital distribution, including traditional publicity (film reviews, regional and trade coverage, interviews and features); digital marketing (social media, email marketing, etc); and creative, custom audience-building initiatives. Contact: Lisa Trifone P: 646.926-4012 E: [email protected] www.11thstreetlot.com 42West 42West is a US entertainment public relations and consulting firm. A full service bi-coastal agency, 42West handles film release campaigns, awards campaigns, online marketing and publicity, strategic communications, personal publicity, and integrated promotions and marketing. With a presence at Sundance, Cannes, Toronto, Venice, Tribeca, SXSW, New York and Los Angeles film festivals, 42West plays a key role in supporting the sales of acquisition titles as well as launching a film through a festival publicity campaign. Past Sundance Films the company has represented include Joanna Hogg’s THE SOUVENIR (winner of World Cinema Grand Jury Prize: Dramatic), Lee Cronin’s THE HOLE IN THE GROUND, Paul Dano’s WILDLIFE, Sara Colangelo’s THE KINDERGARTEN TEACHER (winner of Director in U.S. competition), Maggie Bett’s NOVITIATE -
Language of Darkness
ARTS-UG 1611 | FALL 2018 CLASS : TUESDAYS + THURSDAYS, 6:20 PM - 9:00 PM 194 MERCER STREET, ROOM 208 instructor Pedro Cristiani 1 Washington Pl, Room 431 (212) 992.7772 office hours : Wednesdays, 3:00 - 4:30 PM [email protected] “Horror is a reaction— it’s not a genre.” — John Carpenter course description From Murnau’s Nosferatu to Bryan Fuller’s Hannibal, horror has proven to spawn its own storytelling archetypes, serving as strong subtext for race, faith, politics and sexuality. This seven week arts workshop gives the participants the screenwriter’s tools and weapons to research, develop and execute an original genre feature outline. We will explore how different horror auteurs deliver a unique vision from the same source material, as well as how this particular genre has transcended and influenced even the most “respected” mainstream directors. The sessions will not only cover the question of subverting narrative components and theme, but also creating “mood” and the “sense of the ominous”. Students will research and settle on an original horror source [literary, folkloric or real-life], and will be guided throughout the stages of creating their own unique mythology, as part of the fully- developed feature outline— which will then generate a short film script in proper industry- standard format. In-class screening excerpts will include Dracula [Todd Browning and F. F. Coppola], The Thing [John Carpenter], Ringu [Hideo Nakata], Get Out [Jordan Peele], Let The Right One In [Tomas Alfredson], Rosemary’s Baby [Roman Polanski], The Fly [David Cronenberg], American Psycho [Mary Harron], Ju-On [Takashi Shimizu], The Shining [Stanley Kubrick], The Autopsy of Jane Doe [André Øvredal]. -
Classified by Genre: Rhetorical Genrefication in Cinema by © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St
Classified by Genre: Rhetorical Genrefication in Cinema By © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St. Louis, 2010 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Catherine Preston Co-Chair: Joshua Miner Michael Baskett Ron Wilson Amy Devitt Date Defended: 26 April 2019 ii The dissertation committee for Carl Joseph Swanson certifies that this is the approved version of the following dissertation: Classified by Genre: Rhetorical Genrefication in Cinema Chair: Catherine Preston Co-Chair: Joshua Miner Date Approved: 26 April 2019 iii Abstract This dissertation argues for a rethinking and expansion of film genre theory. As the variety of media exhibition platforms expands and as discourse about films permeates a greater number of communication media, the use of generic terms has never been more multiform or observable. Fundamental problems in the very conception of film genre have yet to be addressed adequately, and film genre study has carried on despite its untenable theoretical footing. Synthesizing pragmatic genre theory, constructivist film theory, Bourdieusian fan studies, and rhetorical genre studies, the dissertation aims to work through the radical implications of pragmatic genre theory and account for genres role in interpretation, evaluation, and rhetorical framing as part of broader, recurring social activities. This model rejects textualist and realist foundations for film genre; only pragmatic genre use can serve as a foundation for understanding film genres. From this perspective, the concept of genre is reconstructed according to its interpretive and rhetorical functions rather than a priori assumptions about the text or transtextual structures. -
Most Anticipated Movies of 2021, Paul Thomas Anderson to Park
From Paul Thomas Anderson To Park Chan-Wook, 46 Movies (And A TV Series) That Could Light Up Film Festivals In 2021 Andreas Wiseman (L-R) Paul Thomas Anderson, Denzel Washington, Tilda Swinton and Park Chan Wook Mega Film lovers roll up. Here’s our annual list of movies that could have festivals drooling in 2021. In the age of Covid-19, could has never felt more operative. With Sundance and Berlin reimagining their events next year, traditional festival paths are already diminishing, but here’s to hoping that the pandemic eases, and we get to see at least some of these anticipated movies in theaters and at marquee film events in the next 12 months. There is a bumper crop to choose from with so many having been held back or delayed from 2020. The Power Of The Dog Could Jane Campion, the first woman to ever win the Palme d’Or, be back in Cannes this year with her new drama starring Benedict Cumberbatch, Jesse Plemons, Kirsten Dunst and Thomasin McKenzie? That will of course depend on whether Netflix and the French fest can bury the hatchet on their disagreement over the streamer’s windowing policy, but either way this is going to be a hot festival title next year. Pic follows a pair of brothers who own a large ranch in Montana and are pitted against each other when one of them gets married. It’s based on the book by Thomas Savage. Producers include See-Saw, which was behind Campion’s Top of the Lake. Related Story The Beatles, The Velvet Underground & Billie Eilish… Music Documentaries To Watch For In 2021 Macbeth Denzel Washington is playing the titular Shakespeare protagonist in a rare Joel Coen solo venture away from brother Ethan. -
Anya Taylor-Joy
Anya Taylor-Joy Anya's credits include playing lead roles in Robert Egger’s THE VVITCH, which won her rave reviews for her performance at the Sundance Film Festival and M. Night Shyamalan's critical and box office hit, SPLIT with James McAvoy. She was also the co-lead in Focus Features' critically acclaimed THOROUGHBREDS and won the Breakthrough Actor Award at The Gotham Award and Best Female Newcomer Award at The Empires for her performance in THE VVITCH and was nominated for 2017's EE BAFTA Rising Star Award. Agents Kat Gosling Associate Agent Tom Holcroft Roles Film Production Character Director Company UNTITLED DAVID O.RUSSELL David O'Russell Canterbury Classic THE NORTHMAN Robert Eggers New Regency Productions LAST NIGHT IN SOHO Edgar Wright Film4 EMMA Autumn de Wilde Working Title HERE ARE THE YOUNG MEN Jen Eoin Macken Hail Mary Pictures PLAYMOBIL: THE MOVIE Lino DiSalvo Lionsgate RADIOACTIVE Marjane Satrapi Studio Canal GLASS M. Night Shyamalan Universal THE NEW MUTANTS Josh Boone Fox MARROWBONE Sergio G. Sanchez Independent THOROUGHBRED Corey Findlay Focus Features United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Character Director Company BARRY Vikram Gandhi Netflix SPLIT M. Night Shyamalan Universal MORGAN Luke Scott Twentieth Century Fox *THE VVITCH Robert Eggers A24 VIKINGS QUEST Todor Chapkanov Independent VAMPIRE ACADEMY:BLOOD Mark Waters The Weinstein Company SISTERS Television Production Character Director Company THE QUEENS GAMBIT Beth Harmon Various Netflix THE DARK CRYSTAL: AGE OF Louis Leterrier Netflix RESISTANCE PEAKY BLINDERS V Various BBC/Netflix THE MINIATURIST Guillem Morales BBC ATLANTIS II Lawrence Gough BBC ENDEAVOUR II Guiseppe Capatondi ITV United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected]. -
Download the Book of Projects
1 Produced by Associazione Nazionale Industrie CinematograficheCinematograficchehe AudiovisiveAudiovvisivisive e Multimediali Supported by Promoted by Thanks to Soprintendenza per il Colosseo, il Museo Nazionale Romano e l Area Arc heologica di Roma Official Partner With the participation of Technical Partners Layout of the Terme di Diocleziano GROUND FLOOR Hall IX Rai Com Area “Casa Italia” Chiostro di Michelangelo and Chiostro Piccolo Events Area MIDWAY Conference Room FIRST FLOOR Sale delle piccole mostre - Co-Production Meetings 4 The 2015 edition of New Cinema Network will present 23 international projects selected by the committee composed of Anne Lai, Paul Federbush, Matthew Baker and Iole Giannattasio. This year New Cinema Network is part of the first edition of MIA – Mercato Internazionale Audiovisivo - and is glad to strengthen its support of high quality independent projects in the frame of this new platform dedicated to the audiovisual industry. The New Cinema Network 2015 Selection Committee: MATTHEW BAKER Born in London, England, to a filmmaking family, Matthew Baker worked briefly in casting before joining Jeremy Thomas’s production company, Recorded Picture Company in August, 2000. He worked in development for RPC until 2004, when he officially moved over to HanWay Films, RPC’s sister sales company, to handle acquisitions. Whilst at RPC he worked on projects including The Dreamers, directed by Bernardo Bertolucci, Sexy Beast, directed by Jonathan Glazer, Young Adam, directed by David Mackenzie and Rabbit-Proof Fence, directed by Philip Noyce. Recent films include Brooklyn, (dir. John Crowley), Anomalisa (dir. Charlie Kaufman and Duke Johnson) and Carol (dir. Todd Haynes). PAUL FEDERBUSH Paul Federbush is the International Director of the Feature Film Program at Sundance Institute. -
BJH Directors to Watch
BONG JOON HO’s Upcoming Directors for 2020 1. Ali Abbas 1 Ali Abbasi is an Iranian-Swedish writer and director. His feature BORDER won the Un Certain Regard award at the 2018 Cannes Film Festival, which NEON later acquired. BORDER was later selected for the Telluride and Toronto film festivals. Ali’s first feature, SHELLEY, premiered in the Panorama section of the 2016 Berlinale. After spending the first 20 years of his life in Iran, Ali studied architecture in Sweden before moving to his current home, Copenhagen, where he studied at the National Film School of Denmark. BORDER Trailer: SHELLEY Trailer: PRESS: New Yorker: I Accidentally Walked Into Border And It Kind of Changed My Life Ali Abbas Ali Abbasi is an Iranian-Swedish writer and director. His feature BORDER won the Un Certain Regard award at the 2018 Cannes Film Festival, which NEON later acquired. Ali’s first feature, SHELLEY, premiered in the Panorama section of the 2016 Berlinale. BORDER Trailer SHELLY Trailer PRESS: New Yorker: I Accidentally Walked Into Border And It Kind of Changed My Life 2 BONG JOON HO’s Upcoming Directors for 2020 1. Ali Abbas Ali Abbasi is an Iranian-Swedish writer and director. His feature BORDER won the Un Certain Regard award at the 2018 Cannes Film Festival, which NEON later acquired. BORDER was later selected for the Telluride and Toronto film festivals. Ali’s first feature, SHELLEY, premiered in the Panorama section of the 2016 Berlinale. After spending the first 20 years of his life in Iran, Ali studied architecture in Sweden before moving to his current home, Copenhagen, where he studied at the National Film School of Denmark.