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DVD Movie List by Genre – Dec 2020
Action # Movie Name Year Director Stars Category mins 560 2012 2009 Roland Emmerich John Cusack, Thandie Newton, Chiwetel Ejiofor Action 158 min 356 10'000 BC 2008 Roland Emmerich Steven Strait, Camilla Bella, Cliff Curtis Action 109 min 408 12 Rounds 2009 Renny Harlin John Cena, Ashley Scott, Aidan Gillen Action 108 min 766 13 hours 2016 Michael Bay John Krasinski, Pablo Schreiber, James Badge Dale Action 144 min 231 A Knight's Tale 2001 Brian Helgeland Heath Ledger, Mark Addy, Rufus Sewell Action 132 min 272 Agent Cody Banks 2003 Harald Zwart Frankie Muniz, Hilary Duff, Andrew Francis Action 102 min 761 American Gangster 2007 Ridley Scott Denzel Washington, Russell Crowe, Chiwetel Ejiofor Action 113 min 817 American Sniper 2014 Clint Eastwood Bradley Cooper, Sienna Miller, Kyle Gallner Action 133 min 409 Armageddon 1998 Michael Bay Bruce Willis, Billy Bob Thornton, Ben Affleck Action 151 min 517 Avengers - Infinity War 2018 Anthony & Joe RussoRobert Downey Jr., Chris Hemsworth, Mark Ruffalo Action 149 min 865 Avengers- Endgame 2019 Tony & Joe Russo Robert Downey Jr, Chris Evans, Mark Ruffalo Action 181 mins 592 Bait 2000 Antoine Fuqua Jamie Foxx, David Morse, Robert Pastorelli Action 119 min 478 Battle of Britain 1969 Guy Hamilton Michael Caine, Trevor Howard, Harry Andrews Action 132 min 551 Beowulf 2007 Robert Zemeckis Ray Winstone, Crispin Glover, Angelina Jolie Action 115 min 747 Best of the Best 1989 Robert Radler Eric Roberts, James Earl Jones, Sally Kirkland Action 97 min 518 Black Panther 2018 Ryan Coogler Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o Action 134 min 526 Blade 1998 Stephen Norrington Wesley Snipes, Stephen Dorff, Kris Kristofferson Action 120 min 531 Blade 2 2002 Guillermo del Toro Wesley Snipes, Kris Kristofferson, Ron Perlman Action 117 min 527 Blade Trinity 2004 David S. -
Movie Catalog Movie
AVENGERS BY THE NUMBERS On-Board Inside front cover EVERYTHING GAME OF THRONES MOVIE CATALOG Pages 36-38 © 2019 Marvel © 2019 Universal City Studios Productions LLLP. All Rights Reserved. © 2019 Paramount Pictures © 2019 Warner Bros. Ent. All rights reserved. © 2019 RJD Filmworks, Inc. All Rights Reserved. © Lions Gate Entertainment, Inc. STX Entertainment 2019 © © Amazon Studios © 2019 Disney Enterprises, inc. © 2019 STX Entertainment 2019 © © Lions Gate Entertainment, Inc. © 2019 Warner Bros. Ent. All rights reserved. July/August 2019 | 1.877.660.7245 | swank.com/on-board-movies H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H ExperienceH H H H H H H H H H H H H H H H HTHE H ADVENTURESH H H H H H H H of the AVENGERS H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H © 2019 Marvel © 2019 Marvel © 2019 Marvel © 2019 Universal City Studios Productions LLLP. All Rights Reserved. © 2019 Marvel H HH H H H H H HH HH H HH HH H 2008H H H H H H HH H H H H 2008H H H H H H H H H H2010 H H H H H H H H H2011 H H H H H H H H H2011 H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H © 2019 Marvel © 2019 Marvel © 2019 Marvel © 2019 Marvel © 2019 Marvel © 2019 Marvel © 2019 Marvel H H H H H2012 H H H H H H H H H2013 H H H H H H H H H2013 H H H H H H H H H2014 H H H H H H H H H 2014H H H H H H H H H 2015H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H © 2019 Marvel © 2019 Marvel © 2019 Marvel © 2019 Marvel © 2019 Columbia Pictures Industries, Inc. -
Awards & Nominations
VICKI HIATT MUSIC SUPERVISOR / EDITOR AWARDS & NOMINATIONS GOLDEN REEL AWARD ALI NOMINATION (2001) Best Sound Editing -Music, Feature Film, Domestic and Foreign GOLDEN REEL AWARD THE ROAD TO EL DORADO NOMINATION (2000) Best Sound Editing-Music, Animation FEATURE FILM THE ARK & THE AARDVARK Keith Kjarvak, Kurt Rauer, prod. Unified Pictures John Stevenson, dir. Music Editor HOTEL TRANSYLVANIA 3 Michelle Murdocca, prod. Sony Pictures Animation Gendy Tartakovsy, dir. Music Editor SURF’S UP 2: WAVEMANIA Toby Chu, Composer Sony Pictures Animation Michelle Wong, prod. Music Editor Henry Wu, dir. HALF MAGIC Alex Wurman, Composer Magic Bubble Productions Bill Sheinberg, prod. Music Consultant Heather Graham, dir. HOW TO TRAIN YOUR DRAGON 3 John Powell, Composer DreamWorks Animation Bonnie Arnold, prod. Music Editor Dean DeBlois, dir. LIFE BRIEFLY Tom Howe, Composer Thousand Dream Prods. Erika Armin, James Brubaker, prods. Music Editor Dan Ireland, dir. EMOJI Michelle Raimo, prod. Sony Pictures Animation Anthony Leondis, dir. Music Editor BOSS BABY Denise Nolan Cascino, Ramsey Ann Naito, prods. DreamWorks Animation Tom McGrath, dir. Music Editor The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 VICKI HIATT MUSIC SUPERVISOR / EDITOR INDISCRETION Toby Chu, Composer Granfallon Productions Alexandra Baranska, Thomas Beach, Laura Boersma, prods. Music Supervisor John Stewart Muller, dir. SO B. IT Nick Urata, Composer Branded Pictures J. Todd Harris, Orien Richman, prods. Music Supervisor Stephen Gyllenhaal, dir. CAPTAIN UNDERPANTS Teddy Shapiro, Composer DreamWorks Animation Mark Swift, prod. Music Editor David Soren, dir. TROLLS Christophe Beck, Composer DreamWorks Animation Gina Shay, prod. Music Editor Mike Mitchell, dir. FLAWED DOGS Berkeley Breathed, exec. prod. DreamWorks Animation Noah Baumbauch, dir. -
Domestication in Contemporary Polish Dubbing Urszula Leszczyńska, University of Warsaw, and Agnieszka Szarkowska, University of Warsaw/University College London
The Journal of Specialised Translation Issue 30 – July 2018 “I don't understand, but it makes me laugh.” Domestication in contemporary Polish dubbing Urszula Leszczyńska, University of Warsaw, and Agnieszka Szarkowska, University of Warsaw/University College London ABSTRACT Despite being (in)famous for its use of voice-over in fiction films, Poland also has a long- standing dubbing tradition. Contemporary Polish dubbing is largely domesticated: culture- bound items from the original are often replaced with elements of Polish culture, which is supposed to increase viewers’ enjoyment of the film. In this study, we examined whether Polish viewers can identify references to Polish culture in the contemporary Polish dubbing of foreign animated films and whether they enjoy them. With this goal in mind, we conducted an online survey and tested 201 participants. Given that many references relate to items from the near or distant past, we predicted that viewers may not fully understand them. The results show that, paradoxically, although viewers do not fully recognise references to Polish culture in contemporary Polish dubbing, they welcome such allusions, declaring that they make films more accessible. The most difficult category of cultural references to identify in our study turned out to be allusions to the canon of Polish literature, whereas the best scores were achieved in the case of references to social campaigns and films. Younger participants had more difficulties in recognising cultural allusions dating from before the 1990s compared to older participants. The vast majority of participants declared they enjoy domestication in contemporary Polish dubbing. KEYWORDS Dubbing, domestication, invisibility, ageing of translation, animated films, audiovisual translation, cultural references. -
Don't Miss Our Fantastic Family Shows!
DON’T MISS OUR FANTASTIC FAMILY SHOWS! All FRECKLE PRODUCTIONS AND ROSE THEATRE KINGSTON PRESENT seats £3 WITH BRAND NEW SONGS FROM JOE STILGOE · DIRECTED BY EMMA KILBEY THURSDAY 6 – SATURDAY 8 FEBRUARY SEE WEBSITE FOR TIMES THE AMAZING BUBBLE MAN FRIDAY 10 APRIL 2PM RAPUNZEL: Spring 2020 Programme A TANGLED A chance to see a film on the big screen on MUSICAL Saturday mornings at 10.30am ADVENTURE Children under 12 must be accompanied by a parent/carer and no unaccompanied adults will be admitted SATURDAY 25 APRIL Book early for the best seats! 2PM & 5PM Box Office 01403 750220 www.thecapitolhorsham.com 14 March SPIES IN DISGUISE (PG) 102 MINUTES Directors: Troy Quane, Nick Bruno Starring: (voices of) Karen Gillan, Will Smith, Tom Holland, Rashida Jones In this animated action adventure, top spy Lance Sterling (Will Smith) is accidentally turned into a pigeon by a young scientist, Walter (Tom Holland). If this odd couple can’t learn to work as a team, the whole world is in peril. 25 January UGLYDOLLS (U) 85 MINUTES Director: Kelly Asbury Starring:(voices of) Kelly Clarkson, Nick Jonas, Janelle Monae, Pitbull, Emma Roberts, Lizzo An animated adventure in which the free-spirited UglyDolls confront what it means to be different, struggle with a desire to be loved, and ultimately discover who you truly are is what matters most. 29 February THE ADDAMS FAMILY (PG) 87 MINUTES 1 February Directors: Greg Tiernan, Conrad Vernon ALADDIN (PG) Starring: (voices of) Oscar Isaac, Charlize Theron, Chloe Grace Moretz, Bette Midler 127 MINUTES The Addams Family is back on the big screen in the first animated comedy about the kookiest family on the block. -
King's Research Portal
King’s Research Portal DOI: 10.1177/1746847716661456 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Holliday, C. (2016). “I’m not a real boy, I’m a puppet”: Computer-Animated Films and Anthropomorphic Subjectivity . Animation: An Interdisciplinary Journal, 11(3), 246-262. https://doi.org/10.1177/1746847716661456 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
2020 Movie Catalog
Catalog © 2019 Paramount Pictures © 2019 Disney Enterprises Inc. 2020 © 2019 Warner Bros. Ent. All rights reserved. © 2019 CMTG, Inc. All Rights Reserved. © Lions Gate Entertainment, Inc. © 2019 Universal City Studios Productions LLLP. All Rights Reserved. RESOURCEYour Movie The 2020 Swank Movie Catalog features all the films you’ll want to feature in your upcoming movie program. To make it easier for you to select titles based on your audience, we’ve ordered the titles by rating! This year, find all our new G and PG-rated content in the first section followed by new PG-13 titles. TABLE OF Contents G/PG New Releases .............................................................................................................................. 1 PG-13 New Releases ...........................................................................................................................16 2020 Programming Calendar ...........................................................................................................30 Coming Soon ........................................................................................................................................32 Top 50 All-Time Favorites ..................................................................................................................34 Top 20 Halloween ...............................................................................................................................36 Top 20 Holiday .....................................................................................................................................37 -
Animation Guide
Animation Guide Summer 2017 Preface & Acknowledgements This text represents the work of a group of 28 teachers enrolled in a Media Studies course at the University of British Columbia in the summer of 2017, instructed by Dr. Rachel Ralph. The challenge for the group was to write a Media Studies text that appealed to students in a range from grades 8-12 in the school system, providing teachers with an interesting, diverse, and rich resource for use in the classroom. The individual sections can be adopted and integrated into any number of subjects or adopted as a textbook for New Media Studies in the schools. Many of the Media Study Guides span provincial curricula, exploring commonalities and differences. We acknowledge the support of family and friends and the various cultural agents and artists whose illustrations or texts were incorporated into the sections of the book. We acknowledge the work of students who contributed towards publishing this textbook. We hope you are as inspired with the insights within each section, as we were producing these, and we encourage you to continue learning about media, culture, and technology. Table of Contents Media Guide and Major Themes……………………..……….……………………..……………....Page Preface and Acknowledgments…………….………..………..………..………….………………………………2 Cars (Friendship, Community and Environment, Diversity).……..………..………………….……..……4 Finding Dory (Abilities and Disabilities, Family & Friendship, Identity) …………………….………………….…12 Inside Out (Emotions, Memories, Family, Grief/Loss) ………………………………………….………..………….…22 The Legend -
Gnomeo & Juliet
A LITTLE ADVENTURE GOES A LAWN WAY. ©2010 Touchstone Pictures. All Rights Reserved. GnomeoAndJuliet.com Technical Supervisor . Robert Pringle TOUCHSTONE PICTURES CG Supervisor . .Avi J . KatZ Presents Sound Design . Glenn Freemantle A Tom Sayers ROCKET PICTURES Production Pre-Production Manager . Fleur Jago Production Manager . Tony Matthews Executive Music Producer . .Chris Montan GNOMEO & JULIET Music Supervisors . .Kaylin Frank and Matt Walker Post-Production Supervisor . Cheryl Murphy Directed by . KELLY ASBURY Produced by . .BAKER BLOODWORTH Production Accountant . .Greig Hutchinson STEVE HAMILTON SHAW DAVID FURNISH Casting Director . Gail Stevens, C .D .G . Executive Producer . ELTON JOHN Casting Associate . Colin Jones Co-Producer . IGOR KHAIT Story by . .Rob Sprackling STORY and John Smith Andy Riley Assistant Production Manager . Stewart Cassidy Kojima and Kevin Cecil Kelly Asbury Story Artists . Nelson Yokota Steve Hamilton Shaw Scott Santoro Screenplay by . A. ndy Riley and Kevin Cecil Charlie Bonifacio Mark Burton Patrick Collins Emily Cook Ricardo Curtis and Kathy Greenberg Gary Dunn Steve Hamilton Shaw Warren Leonhardt Kelly Asbury Johnny Rice Based on an Original Screenplay by . .Rob Sprackling Dean Roberts and John Smith Darren Vandenburg Original Songs: Andreas von Andrian Music by . .ELTON JOHN Production Assistants . Amanda MCNeice Lyrics by . BERNIE TAUPIN Jennifer Shoesmith Original Score Composed by . .JAMES NEWTON HOWARD and CHRIS BACON Additional Story . Lyndon Ruddy Editor . CATHERINE APPLE Jean Paul Vermeulen Production Design and Art Direction by . KAREN DEJONG Mark Walton Visual Effects Supervisor . COREY D . SMITH Jim Kammerud Animation Supervisor . henry F . anderson iii David Lowery Story Supervisor . D. AVID STOTEN Associate Producer . Kara Lord Piersimoni EDITORIAL Character Design by . Gary Dunn Assistant Production Manager . -
The Fairy Tale and Its Uses in Contemporary New Media and Popular Culture Introduction
humanities Editorial The Fairy Tale and Its Uses in Contemporary New Media and Popular Culture Introduction Claudia Schwabe Department of Languages, Philosophy and Communication Studies, Utah State University, Logan, UT 84322, USA; [email protected] Academic Editor: Albrecht Classen Received: 13 September 2016; Accepted: 19 September 2016; Published: 27 September 2016 Abstract: Ever since the beginning of the 21st century, the fairy tale has not only become a staple of the small and silver screen around the globe, it has also migrated into new media, overwhelming audiences with imaginative and spectacular retellings along the way. Indeed, modern fairy-tale adaptations pervading contemporary popular culture drastically subvert, shatter, and alter the public’s understanding of the classic fairy tale. Because of the phenomenally increasing proliferation of fairy-tale transformations in today’s “old” and “new” media, we must reflect upon the significance of the fairy tale for society and its social uses in a nuanced fashion. How, why, and for whom have fairy-tale narratives, characters, and motifs metamorphosed in recent decades? What significant intermedial and intertextual relationships exist nowadays in connection with the fairy tale? This special issue features 11 illuminating articles of 13 scholars in the fields of folklore and fairy-tale studies tackling these and other relevant questions. Keywords: fairy tale; new media; popular culture; film; television; adaptation; paratexts; intertextuality; intermediality; digital humanities Following the increasing influence of visual culture on fairy-tale productions since the 20th century, the digital revolution has contributed significantly to the dissemination of the fairy tale and has solidified its presence in late-20th-century and 21st-century popular culture. -
Appearance and Body Images in Disney's Feature Films
‘The Fairest One of All’: Appearance and Body Images in Disney’s Feature Films Masterarbeit zur Erlangung des akademischen Grades Master of Arts (MA) an der Karl-Franzens-Universität Graz vorgelegt von Lisa BUCHEGGER am Institut für Amerikanistik Begutachter: Univ.-Prof. Dr. M.A. Stefan BRANDT Graz, 2020 Lisa Buchegger Table of Contents Introduction 3 1. Creating Life at the Stroke of a Pen – The Power of Animation 9 2. Beauty and the Biz – Disney’s Animated Features, Cultural Values, and Body Esteem 12 3. Beautiful Princesses, Dashing Heroes, and Ugly Villains – The Equation of Appearance and Character 3.1. The Beauty-Goodness-Heterosexuality Stereotype in Disney Films 19 3.2. Real-Life Models for Disney Characters 22 4. Judging A Book by Its Cover – Body Images of Disney Characters Across Time 4.1. Pretty Princesses and Gentle Ladies – Body Images of Disney Heroines 4.1.1. The Three-Women-Model 24 4.1.2. The Disney Princess Line and the Feminine Beauty Ideal 26 4.1.3. From Chaste to Seductive to Practical – The Changing Bodies of 32 Disney’s Heroines 4.2. Handsome Princes and Athletic Leaders – Body Images of Disney Heroes 4.2.1. Body Images and Double Standards 40 4.2.2. Plain Stock Figures, Soft Heroes, and Postfeminist Men 42 4.3. Androgynous Witches, Hypermasculine Scoundrels, and Gender-Bending Mischief-Makers – Body Images of Disney Villains 4.3.1. The Villain as the Grotesque and Ugly ‘Other’ 49 4.3.2. Queering Villains Across Animation 54 4.3.3. The Villain in Disguise 62 5. -
8. Minutella OK
Vincenza M inutella Università di Torino British Dialects in Animated Films: The Case of Gnomeo & Juliet and its Creative Italian Dubbing Abstract Gnomeo & Juliet (Kelly Asbury, 2011) is a humorous animated adaptation of Shakespeare’s tragedy in which the feuding families are portrayed as garden gnomes who, after racing and fighting on lawnmowers, stealing orchids and chatting with the Bard’s statue, live happily ever after, accompanied by Elton John’s songs. The film is set in the UK and most of the characters speak British English. This paper examines how dialects are exploited in the original English version to define characters and analyses the creative domestication process whereby the story is turned into an Italian tale by using Italian regional dialects. 1. Introduction This article sets up to explore how characters are linguistically connoted through the use of British (and other) dialects in the original English version of the animated film Gnomeo & Juliet (Asbury, 2011) and to analyse the strategies adopted by Italian dubbing professionals to transfer the story to Italy. The paper will describe how various dialects are employed for characterisation in the original version and how in the Italian dubbed version creative transfer, domestication and localisation take place, since added connotations and humour are conveyed through the use of Italian regional dialects. Gnomeo & Juliet was chosen for various reasons. Firstly, because it is an extremely interesting and funny adaptation of Shakespeare’s Romeo and Juliet which exploits intertextual allusions and visual as well as verbal humour to a great extent. Its humour is multilayered: while its primary audience are children, several allusions or jokes are directed at adults and may thus not be grasped by children.