Durch Das Feuer Parasite Japannual 2019
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Pulp Fiction © Jami Bernard the a List: the National Society of Film Critics’ 100 Essential Films, 2002
Pulp Fiction © Jami Bernard The A List: The National Society of Film Critics’ 100 Essential Films, 2002 When Quentin Tarantino traveled for the first time to Amsterdam and Paris, flush with the critical success of “Reservoir Dogs” and still piecing together the quilt of “Pulp Fiction,” he was tickled by the absence of any Quarter Pounders with Cheese on the European culinary scene, a casualty of the metric system. It was just the kind of thing that comes up among friends who are stoned or killing Harvey Keitel (left) and Quentin Tarantino attempt to resolve “The Bonnie Situation.” time. Later, when every nook and cranny Courtesy Library of Congress of “Pulp Fiction” had become quoted and quantified, this minor burger observation entered pop (something a new generation certainly related to through culture with a flourish as part of what fans call the video games, which are similarly structured). Travolta “Tarantinoverse.” gets to stare down Willis (whom he dismisses as “Punchy”), something that could only happen in a movie With its interlocking story structure, looping time frame, directed by an ardent fan of “Welcome Back Kotter.” In and electric jolts, “Pulp Fiction” uses the grammar of film each grouping, the alpha male is soon determined, and to explore the amusement park of the Tarantinoverse, a the scene involves appeasing him. (In the segment called stylized merging of the mundane with the unthinkable, “The Bonnie Situation,” for example, even the big crime all set in a 1970s time warp. Tarantino is the first of a boss is so inexplicably afraid of upsetting Bonnie, a night slacker generation to be idolized and deconstructed as nurse, that he sends in his top guy, played by Harvey Kei- much for his attitude, quirks, and knowledge of pop- tel, to keep from getting on her bad side.) culture arcana as for his output, which as of this writing has been Jack-Rabbit slim. -
Oscar-Winning 'Slumdog Millionaire:' a Boost for India's Global Image?
ISAS Brief No. 98 – Date: 27 February 2009 469A Bukit Timah Road #07-01, Tower Block, Singapore 259770 Tel: 6516 6179 / 6516 4239 Fax: 6776 7505 / 6314 5447 Email: [email protected] Website: www.isas.nus.edu.sg Oscar-winning ‘Slumdog Millionaire’: A Boost for India’s Global Image? Bibek Debroy∗ Culture is difficult to define. This is more so in a large and heterogeneous country like India, where there is no common language and religion. There are sub-cultures within the country. Joseph Nye’s ‘soft power’ expression draws on a country’s cross-border cultural influences and is one enunciated with the American context in mind. Almost tautologically, soft power implies the existence of a relatively large country and the term is, therefore, now also being used for China and India. In the Indian case, most instances of practice of soft power are linked to language and literature (including Indians writing in English), music, dance, cuisine, fashion, entertainment and even sport, and there is no denying that this kind of cross-border influence has been increasing over time, with some trigger provided by the diaspora. The film and television industry’s influence is no less important. In the last few years, India has produced the largest number of feature films in the world, with 1,164 films produced in 2007. The United States came second with 453, Japan third with 407 and China fourth with 402. Ticket sales are higher for Bollywood than for Hollywood, though revenue figures are much higher for the latter. Indian film production is usually equated with Hindi-language Bollywood, often described as the largest film-producing centre in the world. -
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. -
Editor Recommended Texts Here Are Some Ideas for Texts and Films That
Editor recommended texts Here are some ideas for texts and films that our language editors have recommended. These are just suggestions though so if there is a particular author or film you would rather look at, you may do so! English translations can be found in libraries and online bookstores but we encourage giving the texts in their original versions a go too - especially for 6th form submissions! Many of the films can be found online (Amazon, Mubi, Youtube, Netflix) or can be bought on DVD. FRENCH o TEXTS: Monsieur Ibrahim et les fleurs du coran, Eric Schmitt Stupeur et tremblements, Amélie Nothomb Le Petit Prince, Antoine de Saint Exupéry Boule de Suif, Guy de Maupassant Oran, langue morte Assia Djebar (collection of short stories) Le Silence de la mer, Vercors (Jean Bruller) (A-level) Candide, Voltaire (A-Level) o FILMS: Entre les murs, Laurent Cantet (15) https://www.imdb.com/title/tt1068646/ Portrait de la jeune fille en feu, Céline Sciamma (15) https://www.imdb.com/title/tt8613070/ Stupeur et tremblements, Alain Corneau (12A) https://www.imdb.com/title/tt0318725/ Les misérables (2019), Ladj Ly (15) https://www.imdb.com/title/tt10199590/?ref_=tt_pg Amélie, Jean-Pierre Jeunet (15) https://www.imdb.com/title/tt0211915/?ref_=tt_pg Populaire, Régis Roinsard (12A) https://www.imdb.com/title/tt2070776/ Les Choristes, Christophe Barratier (12A) https://www.imdb.com/title/tt0372824/?ref_=fn_al_tt_1 Kirikou et les bêtes sauvages, Michel Ocelot, Bénédicte Galup (U) https://www.imdb.com/title/tt0455142/?ref_=fn_al_tt_1 -
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. -
INFORMATION THURSDAY NIGHT SPECIAL - DINNER and FILM Presented by Members of Hastings Pride
39a High Street | Hastings | TN34 3ER | [email protected] | www.electricpalacecinema.com | [email protected] | 3ER TN34 | Hastings | Street High 39a CALENDAR OCTOBER CINEMA Sat 1 July 8pm 20th Century Women Sun 2 July 8pm 20th Century Women Thu 6 July 11am & 8pm Toni Erdmann JULY Fri 7 July 8pm Queen of Katwe Sat 8 July 8pm Queen of Katwe Sun 9 July 7.30pm 8½ Thu 13 July 11am & 8pm Cezanne et Moi Fri 14 July 8pm Hidden Figures Sat 15 July 8pm Hidden Figures Sun 16 July 8pm Duck Soup Thu 20 July 11am & 8pm Certain Women Fri 21 July 8pm Certain Women Sat 22 July 8pm Certain Women Sun 23 July 8pm The Earrings of Madame De Thu 27 July 11am & 8pm A Quiet Passion Fri 28 July 8pm A Quiet Passion Sat 29 July 8pm A Quiet Passion Sun 30 July 8pm The Green Slime NOVEMBER JULY | AUGUST| SEPTEMBER | 2017 | SEPTEMBER AUGUST| | JULY Thu 3 Aug 11am & 8pm Letters From Baghdad Fri 4 Aug 8pm Random Acts Sat 5 Aug Closed for Carnival Night Sun 6 Aug 8pm We Love This Town! Thu 10 Aug 11am & 8pm Frantz AUGUST Fri 11 Aug 8pm The Lost City of Z Sat 12 Aug 8pm The Lost City of Z Sun 13 Aug 8pm Paths of the Soul Thu 17 Aug 11am & 8pm The Handmaiden Fri 18 Aug 8pm The Handmaiden Sat 19 Aug 8pm David Lynch: The Art Life Sun 20 Aug 8pm Invisible Invaders Thu 24 Aug 11am & 8pm The Sense of An Ending Fri 25 Aug 8pm The Sense of An Ending Sat 26 Aug 8pm Who’s Gonna Love Me Now? Sun 27 Aug 8pm The Sense of An Ending Thu 31 Aug 11am & 8pm Their Finest Fri 1 Sept 8pm Their Finest Sat 2 Sept 8pm Monterey Pop Sun 3 Sept 8pm Their Finest Thu 7 Sept -
Switchblade Comb" by Mobius Vanchocstraw
00:00:00 Music Music "Switchblade Comb" by Mobius VanChocStraw. A jaunty, jazzy tune reminiscent of the opening theme of a movie. Music continues at a lower volume as April introduces herself and her guest, and then it fades out. 00:00:08 April Wolfe Host Welcome to Switchblade Sisters, where women get together to slice and dice our favorite action and genre films. I'm April Wolfe. Every week, I invite a new female filmmaker on—a writer, director, actor, or producer—and we talk in-depth about one of their fave genre films, perhaps one that influenced their own work in some small way, and today I'm very excited to have writer-director Alice Waddington here with me. Hi, Alice! 00:00:28 Alice Guest Hi, April! How are you? Waddington [Music fades out.] 00:00:30 April Host Oh, I'm quite well. [Alice laughs.] Despite fires raging. 00:00:32 Alice Guest Oh my goodness. 00:00:33 April Host But I gotta say your pink jumpsuit—pink corduroy jumpsuit is really livening up the place. 00:00:39 Alice Guest [Laughs.] Thank you so much. I'm—you know, I am on my Logan's Run stuff already. So. [Laughs.] 00:00:44 April Host Absolutely. I mean, Halloween should be year-round. [Alice laughs.] Okay, so for those of you who are not as familiar with Alice's work, please let me give you an introduction. Alice Waddington was born in a rural background, but she was raised in the big city of Bilbao, Spain. -
ARGENTINA (Pop: 44.3 Million; GDP: $912 Billion)
ARGENTINA (Pop: 44.3 million; GDP: $912 billion) (1) ARGENTINA: THEATRICAL MARKET OVERVIEW, 2010-17 2010 2011 2012 2013 2014 2015 2016 2017 Screens 827 800 800 866 867 875 933 963 Theatrical admissions (millions) 38.2 42.5 46.3 46.9 44.2 50.4 50.1 47.5 Per capita attendance 0.94 1.00 1.10 1.10 1.10 1.20 1.20 0.93 Box office (EUR millions*) 127.6 174.6 164.7 188.6 194.0 194.9 254.7 194.2 Average ticket price (EUR*) 3.36 4.70 4.66 4.80 4.29 4.02 5.05 4.08 Releases 290 313 310 370 322 325 403 433 Domestic releases 75 108 102 134 96 79 150 165 US releases 127 119 114 134 129 136 136 129 European releases** 60 56 72 59 82 62 85 91 German releases 7 3 4 4 5 11 4 11 Domestic market share 7.89% 5.40% 6.32% 15.10% 29.80% 14.50% 37.2% 13.1% German market share 0.14% 0.73% 1.43% 0.33% 0.44% 0.12% 0.13% 1.00% *EUR equivalents are calculated throughout at the exchange rate for December 31 of the year in question. **Excluding German majority films Market Study Argentina 2010-2017, published May 2018, by Split Screen for German Films 1 Argentina: Theatrical Market Shares 2010-17 40 35 30 25 20 Domestic 15 German 10 5 Percentage of annual box office Percentage annual of box 0 2010 2011 2012 2013 2014 2015 2016 2017 Argentina: Theatrical Releases 2010-17 500 400 Total 300 Domestic 200 US 100 European German 0 2010 2011 2012 2013 2014 2015 2016 2017 Market Study Argentina 2010-2017, published May 2018, by Split Screen for German Films 2 (2) ARGENTINA: THEATRICAL RELEASES OF GERMAN FILMS, 2010-17 Title Distributor Release date Admissions 2010 German films -
Media Release. Tiff Reveals Best Films of the Decade
November 27, 2019 MEDIA RELEASE. TIFF REVEALS BEST FILMS OF THE DECADE Featuring works by Lucrecia Martel, Barry Jenkins, Jean-Luc Godard, and more TORONTO — TIFF today unveiled The Best of the Decade: An Alternative View, featuring a total of 19 films figuring in the top 10 list — the first two of which were directed by women. All films will play at TIFF Bell Lightbox January 23 through March 11, 2020 to mark the 30th anniversary of TIFF’s Cinematheque. TIFF asked film curators, historians, and archivists from Canada and around the world to choose the best films of the 2010s — any length, genre, or format. TIFF created its first Best of the Decade poll at the turn of the millennium in 2000, and sparked a huge sensation when a relatively unknown film, Victor Erice’s The Quince Tree Sun (Dream of Light), placed first. The 2010 survey named Apichatpong Weerasethakul’s Syndromes and a Century the best film of the 2000s. “Many of the films in the poll’s top 10 address the perilous era we have just lived through, with such prescient works as Film Socialisme, Neighboring Sounds, and Sieranevada predicting various types of ecological, political, and social calamity,” said Senior Programmer James Quandt. “The film of the decade, Lucrecia Martel’s astonishing Zama, transforms an existential novel into a fiercely political work that comments on both its racist, colonialist period setting and our own dire times.” The Best of the Decade: An Alternative View comprises: 1 Zama (2017), dir. Lucrecia Martel 2 Toni Erdmann (2016), dir. Maren Ade 3 Adieu au langage (2014), dir. -
Constituting Brokeback Mountain(S): Rhetorical
CONSTITUTING BROKEBACK MOUNTAIN(S): RHETORICAL STRATEGY IN THE LGBT MOVEMENT by JON B. HOFFMAN (Under the Direction of Christine Harold) ABSTRACT This project contributes to the study of modern social movements by analyzing two strands of rhetoric around the movie Brokeback Mountain and their implications for the LGBT movement. I identify the key distinction as one of rhetorical strategy as opposed to an ethical orientation for which Michael Warner has argued. Through close textual analysis, I outline the limits and possibilities of both assimilationist and integrationist rhetoric as strategic options for LGBT advocacy. I argue that rather than privileging one over the other, a more effective political discourse must be self-conscious of the strategic value of any given rhetoric. INDEX WORDS: Brokeback Mountain, Gay, Lesbian, LGBT, Rhetoric, Public Sphere CONSTITUTING BROKEBACK MOUNTAIN(S): RHETORICAL STRATEGY IN THE LGBT MOVEMENT by JON B. HOFFMAN B.A., Luther College, 2005 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2007 © 2007 Jon B. Hoffman Some Rights Reserved Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License CONSTITUTING BROKEBACK MOUNTAIN(S): RHETORICAL STRATEGY IN THE LGBT MOVEMENT by JON B. HOFFMAN Major Professor: Christine Harold Committee: John Murphy Vanessa Beasley Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2007 TABLE OF CONTENTS -
FILM 103L.01: Introduction to Film
University of Montana ScholarWorks at University of Montana Syllabi Course Syllabi Spring 2-1-2017 FILM 103L.01: Introduction to Film Bryan Bello The University Of Montana Follow this and additional works at: https://scholarworks.umt.edu/syllabi Let us know how access to this document benefits ou.y Recommended Citation Bello, Bryan, "FILM 103L.01: Introduction to Film" (2017). Syllabi. 4844. https://scholarworks.umt.edu/syllabi/4844 This Syllabus is brought to you for free and open access by the Course Syllabi at ScholarWorks at University of Montana. It has been accepted for inclusion in Syllabi by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Introduction to Film FILM 103 Professor: Bryan Bello Office hours: M & W 9-10:30 and by appointment in LA 128 Readings: Understanding Movies Readings on Moodle Assignments: Weekly essay quizzes or take home review essays, midterm exam, and in-class comprehensive final exam Course Goals/Objectives: This class requires the students to assess film from three different perspectives: 1) Aesthetics - Students will learn the conventions involved in putting together a film, and the aesthetic commitments involved in using these conventions. 2) Ethics - Many, if not most films, have at their center some ethical issue or dilemma. Students will learn to identify, characterize and write clearly about the filmic expressions of these dilemmas. 3) Politics of Film - Students will learn to be critical viewers of film and to look for the social significance in the apparently neutral image and in the medium itself. I. -
Fantastic Arcade Added to Festival
1 THE DAILY TEXAN NEWS PAGE 6 SPORTS PAGE 7 TOMORROW’S WEATHER UT gets ready to move High Low to new data center Lone Star State showdown 91 73 Thursday, September 23, 2010 Serving the University of Texas at Austin community since 1900 www.dailytexanonline.com Friendship TODAY Fantastic Arcade added to Festival from Navy raises $15m Calendar for building Free Henna By Collin Eaton Students help drum up Daily Texan Staff donations to aid flood victims in About 40 years ago, a young Na- Pakistan by offering free henna val officer named William Powers tattoos for donors. Stop by in Jr. was on a tour in Bahrain when front of the FAC from 9 a.m. to James Mulva, the man who would 5 p.m. become the chairman and CEO of ConocoPhilips, came to the island Craziest Cake fresh from UT’s Na- Competition val Re- Austin’s creative bakers serve Offi- compete for the title of the cer Train- craziest cake. The competition is ing Corps. at the AT&T Executive Education On two and Conference Center from different 7 to 10 p.m. and will offer sides of free cake samples. RSVP by the island, e-mailing rsvp@austinmonthly. Powers com. and Mul- va occa- sionally Delfos Danza James Mulva met each Conoco Philips CEO Contemporánea other at The Teresa Lozano Long events Institute of Latin American during their tours. But eight years Studies and the Department ago, it was at a Texas Exes event hon- of Theater and Dance presents Thomas Allison | Daily Texan Staff oring Mulva that UT President Pow- contemporary dance by Tech director Kody McKay Sandel demos one of eight custom-made arcade-style games for the upcoming Fantastic Arcade at The Highball.