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New York / New York Film Festival, September 23 - October 9, 1994]
Document generated on 09/29/2021 7:21 p.m. ETC New York New York Film Festival, September 23 - October 9, 1994 Steven Kaplan La critique d’art : enjeux actuels 1 Number 29, February–May 1995 URI: https://id.erudit.org/iderudit/35725ac See table of contents Publisher(s) Revue d'art contemporain ETC inc. ISSN 0835-7641 (print) 1923-3205 (digital) Explore this journal Cite this review Kaplan, S. (1995). Review of [New York / New York Film Festival, September 23 - October 9, 1994]. ETC, (29), 23–27. Tous droits réservés © Revue d'art contemporain ETC inc., 1995 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ nm/AiMiiEi NEW YORK New York Film Festival, September 23 - October 9,1994 ike the universe at large, film festivals often find the invidious structure of white overseer (coach, recruiter) it reassuring to start up with a big bang. The recent feeding off the talents and aspirations of a black underclass. 32nd edition of the New York Film Festival opened As Arthur Agee and William Gates progress from the with the explosive Pulp Fiction, fresh from its hood to a lily white suburban Catholic school (a basketball success at Cannes, continuing the virtual powerhouse which graduated Isiah Thomas) and hence to Ldeification of writer-director Quentin Tarantino among college, we are aware of the sacrifices they and their the hip media establishment, and poising him for entry families make, the difficulties of growing up black and into a wider marketplace. -
FALLEN MASTERS by MAURIE ALIOFF by Exorcist—Mania, the Wicker Man Tanked at the Box Office
The Cinar story began with a horror movie. Soon after meeting for the first time in New Orleans in the early 1970s, company founders Micheline Charest and Ron Weinberg happened to see the now legendary British picture, The Wicker Man. Impressed by the film's strange power, the two movie lovers also saw an opportunity in it. Written by Anthony Shaffer (Sleuth, Frenzy), and directed by one—shot wonder Robin Hardy, The Wicker Man cooks up a delirious alternate reality that feels like it was made under the influence of a witch's spell. The story focuses on a police investigator (Edward Woodward), who travels to a remote Scottish island where he discovers that the local people, among them an aris- tocrat played by Christopher Lee, are devo- tees of a neo—pagan cult. The oddly named Sergeant Howie, a strictly orthodox Christian who intends to remain a virgin until his wedding night, is horrified by the island's un—Christian hedonism. Released in England on a double bill with Nicolas Roeg's Don't Look Now, and swamped FALLEN MASTERS BY MAURIE ALIOFF by Exorcist—mania, The Wicker Man tanked at the box office. Charest and Weinberg picked up the rights from Warner Bros., stashed a print in their car trunk and travelled the midnight—movie circuit. The Quebecoise (Charest) and the New Yorker (Weinberg) helped turn a unique film into a cult item and for their efforts netted about $250,000. Ironically, the couple's even- tual rise and fall, from hugely successful producers and distributors of wholesome children's shows to industry outcasts accused of fraud, originated with a story about moral righteousness destroyed by amoral devotion to the material world. -
Folklore in Film, Television and Museum Exhibits
Folklore in Film, Television and Museum Exhibits RODGERS, Diane <http://orcid.org/0000-0002-3117-4308> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/27614/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version RODGERS, Diane (2020). Folklore in Film, Television and Museum Exhibits. Folklore Museums Network. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Folklore in Film, Television and Museum Exhibits Folklore is a living, evolving part of our everyday lives and is present in the cultural artefacts that surround us. Significant elements of this cultural fabric are film and television, streamed into homes via a number of devices and from across many different countries and decades. My research interest lies in how folklore is communicated onscreen in this way, not only by what is represented on screen, but how and in what contexts. Examination of such texts can suggest to us how customs and rituals change over time and evolutions of belief and attitude, which directly affect how people may experience relevant archive material. For example, consider the representation of Voodoo in Dr. Terror’s House of Horrors (1965) or shrunken heads in numerous cinematic examples, including Tim Burton’s Beetlejuice (1994). Texts like these may be the very first experience many people have with concepts about such physical artefacts, before having come into close contact with them in a museum and, perhaps, even before questions about racism or colonialism are raised for them (the Pitt Rivers museum in Oxford recently removed its famous collection of shrunken heads as part of a decolonisation process). -
DOCUMENTARY FILMS Page 1 of 10
DOCUMENTARY FILMS Page 1 of 10 DOCUMENTARY FILMS Documentary Films, strictly speaking, are non-fictional, "slice of life" factual works of art - and sometimes known as cinema verite. For many years, as films became more narrative- based, documentaries branched out and took many forms since their early beginnings - some of which have been termed propagandistic or non-objective. Documentary films have comprised a very broad and diverse category of films. Examples of documentary forms include the following: z 'biographical' films about a living or dead person (Madonna, John Lennon, Muhammad Ali - When We Were Kings (1996), Robert Crumb, Stephen Hawking in A Brief History of Time (1992), or Glenn Gould) z a well-known event (Waco, Texas incident, the Holocaust, the Shackleton expedition to the Antarctic) z a concert or rock festival (Woodstock or Altamont rock concerts, Madonna: Truth or Dare (1991), Stop Making Sense (1984)) z a comedy show (Richard Pryor or Eddie Murphy shows) z a live performance (Cuban musicians as in Buena Vista Social Club (1998), or the stage show Cirque du Soleil-Journey of Man (2000)) z a sociological or ethnographic examination following the lives of individuals over a period of time (e.g., Michael Apted's series of films: 28 Up (1984), 35 Up (1992) and 42 Up (1999), or Steve James' Hoop Dreams (1994)) z an expose including interviews (e.g., Michael Moore's social concerns films) z a sports documentary (extreme sports, such as Extreme (1999) or To the Limit (1989), or surfing, such as in The Endless Summer (1966)) -
Rogan's List 2019
Rogan’s List 2019 Greetings WFU parents! Fond thanks to the many of you who recommended this book or that movie or the new restaurant in your home city. Keep ‘em coming! Parents who’ve seen this previously skip this graf, but if you’re new to this odd enterprise: three inspirations converged a dozen-plus years ago. As a still-singleton, felt a response was necessary to my expanding circle of married-with-kids friends’ annual Holiday Letters, tinged with a certain “here’s how life works”-ness. And I loved pal Drew Littman’s roundup of his fave movies/books of the year (Drew also originated the B game/A game you’ll see on next page). Third, I grew up with Roger Angell’s annual New Yorker rhyming ‘poem’ of boldface names, & added my own pale imitation after Angell stopped…then NYer’s Ian Frazier picked up the tradition. Shifted therefore to a ‘found poem’ of lines from songs by millennial/rising-generation musicians; this year’s is after the best-of music page below. Speaking of poems, a stanza from one long beloved, WS Merwin’s To the New Year: so this is the sound of you here and now whether or not anyone hears it this is where we have come with our age our knowledge such as it is and our hopes such as they are invisible before us untouched and still possible On to my favorites of 2019. To adapt a venerable Welsh saying, may the best artistic creations of the decade just ending be the worst of the next. -
Film Reviews
Page 117 FILM REVIEWS Year of the Remake: The Omen 666 and The Wicker Man Jenny McDonnell The current trend for remakes of 1970s horror movies continued throughout 2006, with the release on 6 June of John Moore’s The Omen 666 (a sceneforscene reconstruction of Richard Donner’s 1976 The Omen) and the release on 1 September of Neil LaBute’s The Wicker Man (a reimagining of Robin Hardy’s 1973 film of the same name). In addition, audiences were treated to remakes of The Hills Have Eyes, Black Christmas (due Christmas 2006) and When a Stranger Calls (a film that had previously been ‘remade’ as the opening sequence of Scream). Finally, there was Pulse, a remake of the Japanese film Kairo, and another addition to the body of remakes of nonEnglish language horror films such as The Ring, The Grudge and Dark Water. Unsurprisingly, this slew of remakes has raised eyebrows and questions alike about Hollywood’s apparent inability to produce innovative material. As the remakes have mounted in recent years, from Planet of the Apes to King Kong, the cries have grown ever louder: Hollywood, it would appear, has run out of fresh ideas and has contributed to its evergrowing bank balance by quarrying the classics. Amid these accusations of Hollywood’s imaginative and moral bankruptcy to commercial ends in tampering with the films on which generations of cinephiles have been reared, it can prove difficult to keep a level head when viewing films like The Omen 666 and The Wicker Man. -
UK-Films-For-Sale-TIFF-2017.Pdf
10X10 TAltitude Film Sales Cast: Luke Evans, Kelly Reilly Vicki Brown Genre: Thriller [email protected] Director: Suzi Ewing Market Office: UK Film Centre Status: Post-Production Home Office tel: +44 20 7478 7612 Synopsis: After meticulous planning and preparation, Lewis snatches Cathy off the busy streets and locks her away in a soundproofed room measuring 10 feet by 10 feet. His motive - to have Cathy confess to a dark secret that she is determined to keep hidden. But, Cathy has no intention of giving up so easily. All The Devil's Men TGFM Films Cast: Milo Gibson, Gbenga Akinnagbe, Sylvia Hoeks, Morgan Spector, Edoardo Bussi +44 7511 816295 William Fichtner [email protected] Genre: Action/Adventure Market Office: UK Film Centre Director: Matthew Hope Home Office tel: +44 20 7186 6300 Status: Post-Production Synopsis: A battle-scarred War on Terror bounty hunter is forced to go to London on a manhunt for a disavowed CIA operative, which leads him into a deadly running battle with a former military comrade and his private army. Apostasy Discovery TCornerstone Films Genre: Drama David Charles +44 7827 948 674 Director: Daniel Kokotajlo [email protected] Status: Completed Market Office: UK Film Centre Home Office tel: +44 20 3457 7257 Synopsis: Family and faith come into conflict for two Jehovah’s Witness sisters in Manchester, when one is condemned for fornication and the other pressured to shun her sibling. This fresh, unadorned first feature from director Dan Kokotajlo carries an unmistakable note of authenticity from its very first scenes. Set in a Jehovah's Witness community in England, the film's strength and power lies in its directness. -
Network Review #37 Cannes 2021
Network Review #37 Cannes 2021 Statistical Yearbook 2020 Cinema Reopening in Europe Europa Cinemas Network Review President: Nico Simon. General Director: Claude-Eric Poiroux Head of International Relations—Network Review. Editor: Fatima Djoumer [email protected]. Press: Charles McDonald [email protected]. Deputy Editors: Nicolas Edmery, Sonia Ragone. Contributors to this Issue: Pavel Sladky, Melanie Goodfellow, Birgit Heidsiek, Ste- fano Radice, Gunnar Rehlin, Anna Tatarska, Elisabet Cabeza, Kaleem Aftab, Jesus Silva Vilas. English Proofreader: Tara Judah. Translation: Cinescript. Graphic Design: Change is good, Paris. Print: Intelligence Publishing. Cover: Bergman Island by Mia Hansen-Løve © DR CG Cinéma-Les Films du Losange. Founded in 1992, Europa Cinemas is the first international film theatre network for the circulation of European films. Europa Cinemas 54 rue Beaubourg 75003 Paris, France T + 33 1 42 71 53 70 [email protected] The French version of the Network Review is available online at https://www.europa-cinemas.org/publications 2 Contents 4 Editorial by Claude-Eric Poiroux 6 Interview with Lucia Recalde 8 2020: Films, Facts & Figures 10 Top 50 30 European movies by admissions Czech Republic in the Europa Cinemas Network Czech exhibitors try to keep positive attitude while cinemas reopen 12 Country Focus 2020 32 France 30 French Resistance Cinema Reopening in Europe 34 46 Germany The 27 Times Cinema initiative Cinema is going to have a triumphant return and the LUX Audience Award 36 Italy Reopening -
Embargoed Until 12:00PM ET / 9:00AM PT on Tuesday, April 23Rd, 2019
Embargoed Until 12:00PM ET / 9:00AM PT on Tuesday, April 23rd, 2019 FOR IMMEDIATE RELEASE 24th ANNUAL NANTUCKET FILM FESTIVAL ANNOUNCES FEATURE FILM LINEUP DANNY BOYLE’S YESTERDAY TO OPEN FESTIVAL ALEX HOLMES’ MAIDEN TO CLOSE FESTIVAL LULU WANG’S THE FAREWELL TO SCREEN AS CENTERPIECE DISNEY•PIXAR’S TOY STORY 4 PRESENTED AS OPENING FAMILY FILM IMAGES AVAILABLE HERE New York, NY (April 23, 2019) – The Nantucket Film Festival (NFF) proudly announced its feature film lineup today. The opening night selection for its 2019 festival is Universal Pictures’ YESTERDAY, a Working Title production written by Oscar nominee Richard Curtis (Four Weddings and a Funeral, Love Actually, and Notting Hill) from a story by Jack Barth and Richard Curtis, and directed by Academy Award® winner Danny Boyle (Slumdog Millionaire, Trainspotting, 28 Days Later). The film tells the story of Jack Malik (Himesh Patel), a struggling singer-songwriter in a tiny English seaside town who wakes up after a freak accident to discover that The Beatles have never existed, and only he remembers their songs. Sony Pictures Classics’ MAIDEN, directed by Alex Holmes, will close the festival. This immersive documentary recounts the thrilling story of Tracy Edwards, a 24-year-old charter boat cook who became the skipper of the first ever all-female crew to enter the Whitbread Round the World Yacht Race. The 24th Nantucket Film Festival runs June 19-24, 2019, and celebrates the art of screenwriting and storytelling in cinema. A24’s THE FAREWELL, written and directed by Lulu Wang, will screen as the festival’s Centerpiece film. -
Approved Electives 2021-22
Gender Studies Chester New Hall Phone 905.525.9140 & 1280 Main Street West Ext. 24491 Feminist Research Hamilton, Ontario, Canada Fax: 905.777.8316 L8S 4L9 Email [email protected] GSFR Electives 2021-2022 Preferred Electives These courses have been pre-approved by the GSFR Director to count towards your GSFR program in 2021-22. In some but not all courses, seats have been reserved for GSFR students. You will need department consent to enroll. Please see each course for who to contact for help enrolling; please include your McMaster student number in all email requests for elective seats. Fall 2021/Term 1 (September-December 2021) A decision has not yet been made about whether Fall 2021/Term 1 courses will be in person or online GENDRST 708 Creating and Embodying Theory – Dr. Grace Kehler Day/Time TBD Contact: Angela Zaya, [email protected] This course focuses on a range of creative texts (such as film, painting, short stories, novels, and autobiography), looking to their prompts to engage with the pressing everyday issues of ongoingness and revitalization in the face of violence, loneliness, loss, disability, and racial and sexual/gender discrimination. All of the primary texts will be accompanied by theoretical ones, but the impetus is to explore how the creative invites particular theoretical and embodied engagement. Possible textual pairings include: • the diary, paintings, and sketches of Frida Kahlo (Mexican); the documentary The Life and Times of Frida Kahlo; and critical writing by Carlos Fuentes (Introduction to Kahlo’s Diary) and -
The Wicker Husband Education Pack
EDUCATION PACK 1 1 Contents Introduction Introduction ......................................................................................................................................................................... 3 Section 1: The Watermill’s Production of The Wicker Husband ........................................................................ 4 A Brief Synopsis.................................................................................................................................................................. 5 Character Profiles…………………………………………………………………………………………………………………………....…8 Note from the Writer…………………………………………..………………………..…….……………………………..…………….10 Interview with the Director ………………………….……………………………………………………………………..………….. 13 Section 2: Behind the Scenes of The Watermill’s The Wicker Husband …………………………………..… ...... 15 Meet the Cast ................................................................................................................................................................... 16 An Interview with The Musical Director .................................................................................................................. .20 The Design Process ......................................................................................................................................................... 21 The Wicker Husband Costume Design ...................................................................................................................... 23 Be a Costume Designer……………………………………………………………………………………………………………………..25 -
The Wicker Man, Grande-Bretagne 1973, 88 Minutes Patrice Doré
Document généré le 24 sept. 2021 14:11 Séquences La revue de cinéma The Wicker Man, Grande-Bretagne 1973, 88 minutes Patrice Doré James Bond 007 Numéro 246, novembre 2006, janvier 2007 URI : https://id.erudit.org/iderudit/47627ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Doré, P. (2006). Compte rendu de [The Wicker Man, Grande-Bretagne 1973, 88 minutes]. Séquences, (246), 39–39. Tous droits réservés © La revue Séquences Inc., 2006 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ L'ÉCRAN DVD I PANORAMIOUE gj] KOKO, LE GORILLE QUI PARLE THE SCARLET EMPRESS FILM>On savait les singes capables de quelques grimaces bien FILM > À défaut d'accommoder la vrai inspirées. Pour sa part, Koko, un gorille femelle de sept ans, passe semblance historique pour donner vie à la quelques heures par jour devant un ordinateur, favorise les Grande Catherine, Josef Von Sternberg chandails rouges aux jaunes, reconnaît les différents animaux dans (L'Ange Bleu, Shanghai Express) a su y les illustrés, ment comme un ministre et possède un vocabulaire mettre les formes.