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Siff Announces Full Lineup for 40Th Seattle
5/1/2014 ***FOR IMMEDIATE RELEASE*** Full Lineup Announced for 40th Seattle International Film Festival FOR IMMEDIATE RELEASE Press Contact, SIFF Rachel Eggers, PR Manager [email protected] | 206.315.0683 Contact Info for Publication Seattle International Film Festival www.siff.net | 206.464.5830 SIFF ANNOUNCES FULL LINEUP FOR 40TH SEATTLE INTERNATIONAL FILM FESTIVAL Elisabeth Moss & Mark Duplass in "The One I Love" to Close Fest Quincy Jones to Receive Lifetime Achievement Award Director Richard Linklater to attend screening of "Boyhood" 44 World, 30 North American, and 14 US premieres Films in competition announced SEATTLE -- April 30, 2014 -- Seattle International Film Festival, the largest and most highly attended festival in the United States, announced today the complete lineup of films and events for the 40th annual Festival (May 15 - June 8, 2014). This year, SIFF will screen 440 films: 198 features (plus 4 secret films), 60 documentaries, 14 archival films, and 168 shorts, representing 83 countries. The films include 44 World premieres (20 features, 24 shorts), 30 North American premieres (22 features, 8 shorts), and 14 US premieres (8 features, 6 shorts). The Festival will open with the previously announced screening of JIMI: All Is By My Side, the Hendrix biopic starring Outkast's André Benjamin from John Ridley, Oscar®-winning screenwriter of 12 Years a Slave, and close with Charlie McDowell's twisted romantic comedy The One I Love, produced by Seattle's Mel Eslyn and starring Elisabeth Moss and Mark Duplass. In addition, legendary producer and Seattle native Quincy Jones will be presented with a Lifetime Achievement Award at the screening of doc Keep on Keepin' On. -
Here Are Patrick Bet-David's Picks for the Top 10 Movies for Entrepreneurs
Here are Patrick Bet-David’s picks for the top 10 movies for Entrepreneurs. You may also want to check out the video that this PDF is based on. Enjoy! If you ask my friends that go and watch movies with me, they’d tell you one thing. Sixty percent of the time, I walk out of the movie. I literally get up and walk out of the movie. I don’t know anyone that walks out of movies more than I do, because I don’t like to waste my time watching a movie without a point to it, and you can’t keep my attention if there’s no point. To me, watching a movie is like reading a book for two hours. Give me a message! Move me! Tap into my emotions! I want to FEEL it. I would never walk out on the movies that I talk about in this video. They are worth your time, and if you’re an entrepreneur, each of them has a message for you. 1 Page #10: The Social Network Many of you have probably watched The Social Network. It tells a very, very good story of Mark Zuckerberg who built Facebook, and what he went through when during that time. It demonstrates what you’re capable of building when you put your minds together with other like-minded people. But it also talks about the darker side. Listen here, to learn about some of those things. Another important thing to keep in mind as you watch this movie is that Zuckerberg wasn’t the visionary. -
Recommend Me a Movie on Netflix
Recommend Me A Movie On Netflix Sinkable and unblushing Carlin syphilized her proteolysis oba stylise and induing glamorously. Virge often brabble churlishly when glottic Teddy ironizes dependably and prefigures her shroffs. Disrespectful Gay symbolled some Montague after time-honoured Matthew separate piercingly. TV to find something clean that leaves you feeling inspired and entertained. What really resonates are forgettable comedies and try making them off attacks from me up like this glittering satire about a writer and then recommend me on a netflix movie! Make a married to. Aldous Snow, she had already become a recognizable face in American cinema. Sonic and using his immense powers for world domination. Clips are turning it on surfing, on a movie in its audience to. Or by his son embark on a movie on netflix recommend me of the actor, and outer boroughs, leslie odom jr. Where was the common cut off point for users? Urville Martin, and showing how wealth, gives the film its intended temperature and gravity so that Boseman and the rest of her band members can zip around like fireflies ambling in the summer heat. Do you want to play a game? Designing transparency into a recommendation interface can be advantageous in a few key ways. The Huffington Post, shitposts, the villain is Hannibal Lector! Matt Damon also stars as a detestable Texas ranger who tags along for the ride. She plays a woman battling depression who after being robbed finds purpose in her life. Netflix, created with unused footage from the previous film. Selena Gomez, where they were the two cool kids in their pretty square school, and what issues it could solve. -
Bridging the Voices of Hard-Boiled Detective and Noir Crime Fiction
Christopher Mallon TEXT Vol 19 No 2 Swinburne University of Technology Christopher Mallon Crossing shadows: Bridging the voices of hard-boiled detective and noir crime fiction Abstract This paper discusses the notion of Voice. It attempts to articulate the nature of voice in hard-boiled detective fiction and noir crime fiction. In doing so, it examines discusses how these narrative styles, particularly found within private eye novels, explores aspects of the subjectivity as the narrator- investigator; and, thus crossing and bridging a cynical, hard-boiled style and an alienated, reflective voice within a noir world. Keywords: hard-boiled detective fiction, noir fiction, voice, authenticity Introduction In crime fiction, voice is an integral aspect of the narrative. While plot, characters, and setting are, of course, also instrumental in providing a sense of authenticity to the text, voice brings a sense of verisimilitude and truth to the fiction the author employs. Thus, this paper discusses the nature of voice within the tradition of the crime fiction subgenres of noir and hard-boiled detective literature. In doing so, it examines how voice positions the protagonist; his subjectivity as the narrator-investigator; and, the nature of the hardboiled voice within a noir world. Establishing authenticity The artistic, literary, and aesthetic movement of Modernism, during the late 19th and early 20th Centuries, describes a consciousness of despair, disorder, and anarchy, through ‘the intellectual conventions of plight, alienation, and nihilism’ -
Oscars and America 2011
AMERICA AND THE MOVIES WHAT THE ACADEMY AWARD NOMINEES FOR BEST PICTURE TELL US ABOUT OURSELVES I am glad to be here, and honored. I spent some time with Ben this summer in the exotic venues of Oxford and Cambridge, but it was on the bus ride between the two where we got to share our visions and see the similarities between the two. I am excited about what is happening here at Arizona State and look forward to seeing what comes of your efforts. I’m sure you realize the opportunity you have. And it is an opportunity to study, as Karl Barth once put it, the two Bibles. One, and in many ways the most important one is the Holy Scripture, which tells us clearly of the great story of Creation, Fall, Redemption and Consummation, the story by which all stories are measured for their truth, goodness and beauty. But the second, the book of Nature, rounds out that story, and is important, too, in its own way. Nature in its broadest sense includes everything human and finite. Among so much else, it gives us the record of humanity’s attempts to understand the reality in which God has placed us, whether that humanity understands the biblical story or not. And that is why we study the great novels, short stories and films of humankind: to see how humanity understands itself and to compare that understanding to the reality we find proclaimed in the Bible. Without those stories, we would have to go through the experiences of fallen humanity to be able to sympathize with them, and we don’t want to have to do that, unless we have a screw loose somewhere in our brain. -
Crime and Punishment in Postwar Los Angelesby Jon Lewis
Jessica Johnson Book Review: Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles by Jon Lewis necessitate this sort of methodology. Instead, his work is concentrated on Los Angeles print sources, mainly using the Los Angeles Examiner, Los Angeles Times, Los Angeles Daily News, Los Angeles Herald- Express, and the Los Angeles Mirror to investigate the role of the press in either stifling or exploiting tales of scandal and corruption, all framed within the context of the changing Hollywood industry. The book is broken down into four chapters that cover an array of topics within this fifteen-year period, beginning with the death of Elizabeth Short and culminating in 1962 with the death of Marilyn Monroe. Together, these chapters paint a picture of the gritty sub-culture of crime, prostitution, and corruption that infiltrated Hollywood post-World War II. Chapter 1, entitled “The Real Estate of Crime: The Black Dahlia Dumped by the Side of the Road,” focuses on the “Black Dahlia” unsolved murder, the successive similar cases of other Hol- University of California Press, 2017. lywood hopefuls, and the subsequent media frenzy. $29.95 ISBN 978-0520284326 Particularly of interest is how Lewis traces the vari- ous angles of different print sources as these mur- The true-crime genre has long been an item of pub- ders proliferated, tracking how quickly the victims lic fascination, pairing all the intrigue of a thrilling were discredited, labelled merely as “party girls,” and mystery with the harrowing truth that the events exploited -
You Mentioned That Some Scenes from James Ellroy's LA CONFIDENTIAL
89 FAQ 6 6.1 Q: You mentioned that some scenes from James Ellroy’s L.A. CONFIDENTIAL were filmed inside the Hodel/Franklin House. I didn’t see any. Which ones? Yes, two separate scenes were filmed inside the Franklin House, but if you blink you miss them. George Hodel 1949 David Strathairn as “Pierce Patchett” 90 L.A. CONFIDENTIAL FRANKLIN HOUSE SCENE 1 Scene between Kevin Spacey and James Cromwell (Capt. Dudley Smith) This 1996-7 scene filmed in Hodel-Franklin House kitchen five years before residential interior renovation in 2002 L.A. CONFIDENTIAL FRANKLIN HOUSE SCENE 2 Scene at Franklin House with partygoers (Hookers and tricks) This scene filmed in Hodel-Franklin House living-room in 1996-7 91 Kevin Spacey as detective Sgt. Jack Vincennes holding Pierce Patchett’s Fleur dy Lis business card George Hodel’s “Whatever You Desire” Fleur dy Lis photo album As in CHINATOWN, there are some fascinating coincidences related to the real life George Hodel and the characters in the fictional Ellroy novel, masterfully adapted to film in 1997 by director, Curtis Hanson. First is the character, Pierce Patchett, who not only resembles George Hodel in physical appearance and voice, but is presented in the film as a powerful L.A. behind-the-scenes shadow figure, running a vice operation and working with corrupt cops. Pimp Patchett has high class prostitutes going to cocktail parties and entertaining wealthy and connected businessmen AT THE FRANKLIN HOUSE. (See above clips) Incredibly, this is something that Dr. George Hodel did in real life, at the same location, in the very same room! Patchett’s logo is the Fluer dy Lis, which we see on George Hodel’s private, personal album of loved ones. -
James Ellroy Demon Dog of Crime Fiction
Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fiction has never been more popular. In novels, short stories, films, radio, television and now in computer games, private detectives and psychopaths, prim poisoners and over- worked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fic- tion. Every aspect of crime writing, detective fiction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. Published titles include: Maurizio Ascari A COUNTER-HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Pamela Bedore DIME NOVELS AND THE ROOTS OF AMERICAN DETECTIVE FICTION Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Clare Clarke LATE VICTORIAN CRIME FICTION IN THE SHADOWS OF SHERLOCK Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Michael Cook DETECTIVE FICTION AND THE GHOST STORY The Haunted Text Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian Crime Fiction Barry Forshaw BRITISH CRIME -
Nostalgic Masculinity: Homosocial Desire and Homosexual Panic In
Nostalgic Masculinity: Homosocial Desire and Homosexual Panic in James Ellroy’s This Storm Nathan Ashman, University of East Anglia Abstract: The second volume in James Ellroy’s ‘Second LA Quartet’, This Storm (2019) offers a complex miscellany of war profiteering, fifth column sabotage, and institutional corruption, all of which is starkly projected against the sobering backdrop of the internment of Japanese- Americans. Whilst presenting Ellroy’s most diverse assemblage of characters to date, the narrative is, nonetheless, principally centred on the intersecting bonds between men. Although the prevalence of destructive masculine authority in Ellroy’s works has been widely discussed, what has often been overlooked are the specifically ‘homosocial’ dimensions of these relationships. Whilst these homosocial bonds are frequently energised and solidified by homophobic violence (both physical and rhetorical), this paper will argue that they are simultaneously wrought by ‘homosexual panic’; the anxiety deriving for the indeterminate boundaries between homosocial and homosexual desire. This panic is expressed most profoundly in This Storm in the form of corrupt policeman Dudley Smith. Haunted by a repressed homosexual encounter, Smith’s paranoid behaviour and increasingly punitive violence derives from his inability to establish clear boundaries between his intense homosocial bonds and latent homosexual desires. Thus, whilst Ellroy’s ‘nostalgic masculinity’ attempts to circumscribe the dimensions and inviolability of male identity, the paranoia and violence that underscores the various machinations of Ellroy’s crooked cops ultimately exposes the fragility of such constructions. Key Words: James Ellroy, Masculinity, Homosocial, Panic, Homosexual The punitive brutality that underlies James Ellroy’s codifications of masculinity has long been a cause of critical contention. -
Mother Night EMILY GORDON
Mother Night EMILY GORDON posed, to hide. Ellroy’s father, he Writes, MY DRRR PLRCES: An L.R. Crime Memoir. “never told me that sitting in the dark was By James Ellroy. a strange thing to do.” Ellroy spent his life Knopf. 351 pp. $25. doing exactly that. Well known for genre-mixing and efore dhwn on June 22, 1958, James -bending, Ellroy here makes his biggest Ellroy’s mother, Jean, a IC a Geneva leap yet: atrue-crime detective story, an OdeIia Hilliker, was raped, strangled to L.A.’ social history and a kind of romance. death and dumped on an empty road The result is a twisted literary memoir, the in El Monte, California. Ellroy was 10. white-hot spinning of a loner and autodi- what does it mean for a best-selling crime dact. “My father was a liar. My mother was novelist when his mother is a case-a num- a fabricator”; being a Writer, Ellroy’s a liar ber filed in a dusty archive labeled “un- too. For years he set fictional characters in solved”? My Dark Places, a memoir as the historical past, then re-wrote history. much about Ellroy’ s evolution as a writer Confined to the forms of real life, cold facts as it is about his mother and the search for and un-outlinable characters, in My Dark her murderer, takes the sustained anguish Places Ellroy is more powerful than ever. of that experience and builds a monument. Nearly all narratives of our parents It’s as The Redhead that Ellroy imagined his are patchy; we spend our lives assembling connections and explanations. -
Literary Studies
LITERARY STUDIES NEW BOOKS CATALOGUE 2018-19 ARDEN PERFORMANCE EDITIONS Taking you from page to stage Arden Performance Editions are designed with the practical All needs of actors and drama students in mind, while providing £6.99/ the trustworthy scholarship of the Arden Shakespeare. $9.95 9781474253888 9781474280143 9781474245197 9781474272094 9781474272346 432pp • 216x138mm 360pp • 216x138mm 264pp • 216x138mm 344pp • 216x138mm 408pp • 216x138mm PLAYTEXT “The Arden Performance Editions so far represent a much-needed and important contribution. In such a crowded market, it is remarkable to see editions that feel so fresh, relevant, and necessary.” Studies in Theatre and Performance FACING-PAGE NOTES Watch the series editors introduce the series at bloomsbury.com/ardenperformanceeditions www.bloomsbury.com/arden Arden_PE_catalogue advert_1.0.indd 1 31/05/2018 17:42 This year, Bloomsbury Academic celebrates ARDEN PERFORMANCE EDITIONS Contents our 10th anniversary In our short history, we’ve become an award-winning publisher across the humanities, social sciences and visual arts and combined Literary Studies the incredible publishing histories of Methuen Drama, The Arden Shakespeare, T&T Clark and Fairchild Books in one place. And we’re still growing: I.B. Tauris, a leading publisher in Middle East Studies, Shakespeare and Early Modern Drama ..........2 International Studies, History, Politics and Visual Culture joined Taking you from page to stage Bloomsbury in 2018! Contemporary Literature ..................................11 EBooks Arden Performance Editions are designed with the practical All Individual eBook: available for your e-reader Modernism .......................................................15 Library eBook: available for institution-wide access and also for pdf needs of actors and drama students in mind, while providing £6.99/ sale to individuals See the website for details of vendors, or to purchase individual the trustworthy scholarship of the Arden Shakespeare. -
LA Confidential
L.A. CONFIDENTIAL by Brian Helgeland Based on the novel by James Ellroy November 16, 1995 Minor Revisions FADE IN: OVER the opening strains of "I LOVE YOU, CALIFORNIA," a MONTAGE: a mixture of headlines, newsreel footage and live action. Economy Booming! Postwar Optimism! L.A.: City of the Future! But most prominent among them: GANGLAND! Police photographers document crime scenes. The meat wagon hauls ex-button men to the morgue. Where will it end? EXT. L.A. SKYLINE - SUNSET Palm trees in silhouette against a cherry sky. City lights twinkle. Los Angeles. A place where anything is possible. A place where dreams come true. As the sky darkens, triple-kleig lights begin to sweep back and forth. EXT. MANSION (HANCOCK PARK) - NIGHT The KLEIG LIGHTS are out front. Valets hurry to park a line of elegant cars. MAYOR (V.O.) Ladies and gentlemen, I give you the future of Los Angeles! INT. HANCOCK PARK MANSION - BALLROOM - NIGHT The MAYOR yanks a cloth to reveal a MODEL of L.A. criss- crossed by an elaborate FREEWAY SYSTEM. The CROWD oohs. A COUNCILMAN claps. A SOCIETY MATRON nods her approval. PIERCE PATCHETT, 50, tuxedoed, watches off to one side. A behind-the-scenes power broker, Patchett exudes authority much more so than the Mayor does. MAYOR The Arroyo Seco freeway is just the beginning. We're planning freeways from Downtown to Santa Monica, from the South Bay to the San Fernando Valley. Twenty minutes to work or play is the longest you'll have to travel. More applause. One REPORTER asks a little too loudly..