DOCSLIB.ORG

RANKING DOS FILMES MAIS VISTOS: 01-01-2018 a 21-02-2018 | TOP FILMS: 01-01-2018 to 21-02-2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RANKING DOS FILMES MAIS VISTOS: 01-01-2018 a 21-02-2018 | TOP FILMS: 01-01-2018 to 21-02-2018 RANKING DOS FILMES MAIS VISTOS: 01-01-2018 a 21-02-2018 | TOP FILMS: 01-01-2018 to 21-02-2018 Nº TÍTULO | TITLE REALIZADOR | DIRECTOR DISTRIBUIDOR | DISTRIBUTOR REC.BRUTA ESPECTADORES SESSÕES 1 As Cinquenta Sombras Livre James Foley NOS Lusomundo Audiovisuais € 1.646.197,64 296.662 5.283 2 Jumanji: Bem-Vindos à Selva Jake Kasdan Big Picture 2 Films € 950.092,81 175.935 7.518 3 The Post Steven Spielberg NOS Lusomundo Audiovisuais € 889.439,94 163.741 5.996 4 Ferdinando Carlos Saldanha Big Picture 2 Films € 761.822,71 154.485 6.073 5 Maze Runner: A Cura Mortal Wes Ball Big Picture 2 Films € 833.736,59 147.140 5.714 6 The Commuter - O Passageiro Jaume Collet-Serra NOS Lusomundo Audiovisuais € 639.922,30 117.206 5.975 7 Black Panther Ryan Coogler NOS Lusomundo Audiovisuais € 577.366,21 98.024 2.015 8 A Hora Mais Negra Joe Wright NOS Lusomundo Audiovisuais € 508.027,70 92.802 4.223 9 A Forma da Água Guillermo Del Toro Big Picture 2 Films € 481.598,80 89.217 3.099 10 Três Cartazes à Beira da Estrada Martin McDonagh Big Picture 2 Films € 477.180,50 88.352 4.249 11 Patrulha de Gnomos Peter Lepeniotis, Shelly Shenoy NOS Lusomundo Audiovisuais € 393.219,80 78.767 3.787 12 Star Wars: Episódio VIII - Os Últimos Jedi Rian Johnson NOS Lusomundo Audiovisuais € 479.197,83 75.272 4.461 13 O Grande Showman Michael Gracey Big Picture 2 Films € 369.846,61 69.124 4.629 14 Jogo da Alta-Roda Aaron Sorkin NOS Lusomundo Audiovisuais € 336.841,93 62.718 3.625 15 Insidious: A Última Chave Adam Robitel Big Picture 2 Films € 331.044,75 60.542 2.973 16 Bad Investigate Luís Ismael NOS Lusomundo Audiovisuais € 237.926,63 44.636 2.921 17 Coco Lee Unkrich, Adrian Molina NOS Lusomundo Audiovisuais € 192.603,60 39.163 2.040 18 Todo o Dinheiro do Mundo Ridley Scott Cinemundo € 185.763,76 34.759 2.035 19 Tad e o Segredo do Rei Midas Enrique Gato, David Alonso NOS Lusomundo Audiovisuais € 164.793,93 33.937 3.520 20 Covil de Ladrões Christian Gudegast Cinemundo € 160.069,01 29.771 1.729 21 Linha Fantasma Paul Thomas Anderson NOS Lusomundo Audiovisuais € 155.139,24 28.955 1.610 22 15:17 Destino Paris Clint Eastwood NOS Lusomundo Audiovisuais € 136.751,15 25.632 1.381 23 Chama-me Pelo Teu Nome Luca Guadagnino Big Picture 2 Films € 116.567,77 21.745 1.053 24 Um Desastre de Artista James Franco NOS Lusomundo Audiovisuais € 97.701,03 18.465 1.637 25 Suburbicon George Clooney NOS Lusomundo Audiovisuais € 85.009,01 15.862 1.412 26 Wonder - Encantador Stephen Chbosky Pris Audiovisuais € 70.873,85 13.560 764 27 47 Metros de Terror Johannes Roberts Lanterna de Pedra Filmes € 63.614,34 12.089 1.514 28 Paddington 2 Paul King NOS Lusomundo Audiovisuais € 52.196,25 11.678 728 29 Roda Gigante Woody Allen NOS Lusomundo Audiovisuais € 56.312,07 10.618 601 30 Abelha Maia: Os Jogos de Mel Alexs Stadermann, Noel Cleary, Sergio Delfino Films4you € 47.151,17 9.450 1.501 31 As Estrelas Não Morrem em Liverpool Paul McGuigan NOS Lusomundo Audiovisuais € 44.149,87 8.271 841 32 A Estrela de Natal Timothy Reckart Big Picture 2 Films € 35.486,23 7.193 817 33 Uma Mulher Não Chora Fatih Akin Midas Filmes € 33.270,59 6.612 599 34 Um Ritmo Perfeito 3 Trish Sie NOS Lusomundo Audiovisuais € 30.409,75 5.942 645 35 Entre Rivais Ron Shelton NOS Lusomundo Audiovisuais € 28.766,94 5.737 405 36 Mudbound - As Lamas do Mississípi Dee Rees Pris Audiovisuais € 30.305,78 5.704 842 37 O Sacrifício de Um Cervo Sagrado Yorgos Lanthimos Pris Audiovisuais € 28.666,08 5.550 651 38 O Meu Belo Sol Interior Claire Denis Midas Filmes € 26.624,51 5.176 258 39 Ele Vem à Noite Trey Edward Shults NOS Lusomundo Audiovisuais € 28.001,91 5.165 617 40 Preciso Casar Contigo Pá! Tarek Boudali Cinemundo € 26.037,59 4.877 613.
Load more

Recommended publications
  • Sundance Institute Expands Support to Writers and Creators of Series for TV and Online Platforms
    FOR IMMEDIATE RELEASE Media Contact: March 19, 2014 Casey De La Rosa 310.360.1981 [email protected] Sundance Institute Expands Support to Writers and Creators of Series for TV and Online Platforms First ‘Sundance Institute Episodic Story Lab’ to Be Held in Fall 2014 at the Sundance Resort, with Norman and Lyn Lear as Founding Supporters Los Angeles, CA — Sundance Institute today announced a significant expansion of its renowned labs for independent artists to include dedicated support for writers and creators of series for television and online platforms. The first Sundance Institute Episodic Story Lab will be held in Fall 2014 at the Sundance Resort in Sundance, Utah. Building on the Institute’s 30-year legacy of developing new work from storytellers with distinctive and risk-taking stories, this new initiative addresses the need for more opportunities for learning and mentorship of singular and diverse voices in scripted TV and online series. In collaboration with accomplished mentors, writers at the six-day, immersive Episodic Story Lab will work on developing stories and characters that play out over multiple episodes and will also have the opportunity to better understand the landscape for production and distribution of serialized stories. Both drama and comedy writing will be supported at the Lab, which has been organized under the leadership of Michelle Satter, Founding Director of the Institute’s Feature Film Program. The Lab is made possible by generous support and guidance from television producer Norman Lear and his wife, Institute Trustee Lyn Lear. The Institute cites the growth of great writing and bold content in recent years as inspiration for the Lab.
    [Show full text]
  • 10 Surprising Facts About Oscar Winner Ruth E. Carter and Her Designs
    10 Surprising Facts About Oscar Winner Ruth E. Carter and Her Designs hollywoodreporter.com/lists/10-surprising-facts-oscar-winner-ruth-e-carter-her-designs-1191544 The Hollywood Reporter The Academy Award-winning costume designer for 'Black Panther' fashioned a headpiece out of a Pier 1 place mat, trimmed 150 blankets with a men's shaver, misspelled a word on Bill Nunn's famous 'Do the Right Thing' tee, was more convincing than Oprah and originally studied special education. Ruth E. Carter in an Oscars sweatshirt after her first nomination for "Malcolm X' and after her 2019 win for 'Black Panther.' Courtesy of Ruth E. Carter; Dan MacMedan/Getty Images Three-time best costume Oscar nominee Ruth E. Carter (whose career has spanned over 35 years and 40 films) brought in a well-deserved first win at the 91st Academy Awards on Feb. 24 for her Afrofuturistic designs in Ryan Coogler’s blockbuster film Black Panther. 1/10 Carter is the first black woman to win this award and was previously nominated for her work in Spike Lee’s Malcolm X (1992) and Steven Spielberg’s Amistad (1997). "I have gone through so much to get here!” Carter told The Hollywood Reporter by email. “At times the movie industry can be pretty unkind. But it is about sticking with it, keeping a faith and growing as an artist. This award is for resilience and I have to say that feels wonderful!" To create over 700 costumes for Black Panther, Carter oversaw teams in Atlanta and Los Angeles, as well as shoppers in Africa.
    [Show full text]
  • Fotokem and SPY Combine Talent and Services on Sundance Winner Fruitvale
    Media Contacts: ignite strategic communications Chris Purse – [email protected] / 323.806.9696 Lisa Muldowney – [email protected] / 760.212.4130 FotoKem and SPY Combine Talent and Services on Sundance Winner Fruitvale BURBANK and SAN FRANCISCO, January 31, 2013 – FotoKem and SPY (a FotoKem company) combined in-house talent and key post-production services for the Sundance winning film Fruitvale, written and directed by Ryan Coogler with cinematography by Rachel Morrison. The film won the festival’s coveted Grand Jury Prize and Audience Award for a drama, and was acquired by The Weinstein Company soon after its premiere screening. Providing end-to-end services for the Super 16 mm project, FotoKem and SPY worked closely with the filmmakers from start to finish. Fruitvale was processed and transferred at FotoKem in Burbank. The files were delivered to SPY’s headquarters in San Francisco, where colorist Chris Martin color graded the film with Coogler and Morrison. The two facilities are securely connected by a high-speed network offering real-time interface capabilities between the locations to provide the creative community with easy access to the full breadth of post- production services that FotoKem and its companies offer. Fruitvale follows the final day of 22-year old Oscar Grant, who was gunned down by a police officer at the Fruitvale stop of an Oakland transit line. The tragedy was caught on video, and the incident made national headlines. The movie was shot on location in San Francisco. The Super 16 footage was then shipped to Burbank, scanned to HDCAM SR, and conformed at SPY.
    [Show full text]
  • Film Streams at the Ruth Sokolof Theater 2013 Annual Report
    “For six years, Film Streams’ Ruth Sokolof Theater has spoiled us by providing access to the type of movies Omaha hadn’t seen in theaters before. Trust me! Their inclusion of a repertory theater means a chance to see all-time classics and smaller, overlooked films in the setting their creators intended.” — Ryan Syrek, The Reader Film Streams at the Ruth Sokolof Theater 2013 Annual Report Safety Last! 1923 First-Run Films Dear Friends Nebraska Shakespeare, and a dozen other terrific local organizations. We welcomed of Film Streams, seven filmmakers, including acclaimed new films director Steve James (HOOP DREAMS and premiered in 2013 THE INTERRUPTERS), who presented his own 58 work as well as two films that inspired him. 15 foreign features from Austria, Belgium, Brazil, Chile, China, Denmark, France, In 2013, Alexander Payne All of these programs are enhancing Israel, Luxembourg, Mexico, Norway, Portugal, Siberia, Spain, and the UK. released his glorious latest the cultural environment of our city, 25 documentaries on topics as diverse as education inequality; and none of them could happen without Indonesian genocide; global climate change; urban farming; film, NEBRASKA, and incredible support from all of you. the financial crisis; and music icons Big Star, Kathleen Hanna, and Low. The latest films from Pedro Almodovar, Noah Baumbach, brought the benefits of its We began the year with a Strategic Planning Derek Cianfrance, Michael Haneke, Werner Herzog, Nicole Holofcener, well-deserved acclaim to his process, engaging dozens of Film Streams Alexander Payne, Margarethe von Trotta, and Joss Whedon. stakeholders and community members. Films that garnered 29 Academy Award Nominations, home state in 100 ways.
    [Show full text]
  • Vibing with Blackness: Critical Considerations of Black Panther and Exceptional Black Positionings
    arts Article Vibing with Blackness: Critical Considerations of Black Panther and Exceptional Black Positionings Derilene (Dee) Marco Media Studies Department, University of the Witwatersrand, Johannesburg 2000, South Africa; [email protected] Received: 12 September 2018; Accepted: 15 November 2018; Published: 21 November 2018 Abstract: This article considers different ways in which Blackness is represented as exceptional in the 2018 film Black Panther. It also considers other iterations of Black visibility and legibility in the current popular culture context which appears to privilege Black narratives in interesting ways. The essay uses conceptual lenses from diaspora studies, Afro science fiction and Black feminist studies to critically engage the film and to critically question the notion of Black exceptionalism. Keywords: Afrofuturism; blackness; Black exceptionalism; cinema; post-apartheid; Black Panther film 1. Introduction How do you know I’m real? I’m not real. I come to you as myth, because that’s what black people are—myths. Ra(2017) Gabi Ngcobo holds the position as the first Black curator of the Berlin Biennale. In various articles from South African and other global publications, the overarching message about the Biennale was its (and its curator’s) exceptionalism. This exceptionalism, it seems, is to be read as a slightly nervous celebration of Ngcobo as Black and an equally anxious reception of her all black team and a host of seemingly ‘unknown artists’ who were on the show. Ngcobo herself confronts this geographical and psychological positional through the following—a position that I wish to use in this article as a basis and space for reflection: ..
    [Show full text]
  • The Antelope Run with It
    feature sports news In this Dr. Hartman reveals love Loper women’s softball Olympics are over - find out 2 for martial arts, maps, 4 falters on the road at the 5 how the US medal count issue... myths Kelly Laws invitational stacked up the antelope Run with it. University of Nebraska at Kearney Volume 119, Issue 16| 2.28.18 | www.unkantelope.com Traversing Lopers place second, history of qualify five for nationals the cosmos Berrier will give planetarium Wrestling team went through wide array 2 presentation on history of of highs, lows at regional tournament galaxies on March 2 at 7 p.m. ANDREA STACHURA JD RADER Antelope Staff JMC 315 1 Assistant professor Dr. Joel Berrier The Lopers took the mat in Las will give a presentation in Nebraska’s Vegas, New Mexico, at New Mexico newest and largest star theater on Highlands University this past weekend March 2 at 7 p.m. In his show, he will be to compete among eight other ranked covering the topic of his research: the teams at the regional tournament. formation and evolution of galaxies in the The Super Region IV/West Regional universe; he has seven years of research is made up of 15 teams, with the top four experience. wrestlers at each weight class qualifying Berrier is an assistant professor in for the national tournament. the University of Nebraska at Kearney’s The Lopers came in second to Cali- physics department. Through the plane- fornia Baptist by two team points, while tarium presentation, Dr. Berrier hopes to 3 convey a sense of scale for the size of the tournament.
    [Show full text]
  • LIKE MICHAEL B JORDAN... from the Visionary of the REVOLUTION
    LIKE MICHAEL B JORDAN... From the visionary of the REVOLUTION – Ross In addition to the projects that we (The Revolution) are working on and the collaboration with other creators, I am looking for a singular actor for an isolated set of projects. Obviously the title of this endeavor will not be 'Like Michael B Jordan', but the vision is certainly in the universe that Michael B Jordan followed. Let me explain: Young director Ryan Coogler created FRUITVALE STATION and cast his muse Michael B Jordan to play the lead. Visionary (Coogler) and interpreter (Jordan) created critical and commercial buzz with this first endeavor. Then they went bigger with their second project which was a spinoff of the iconic Rocky series entitled Creed. The buzz for their second endeavor was bigger and so was their profile. Next they took on the biggest African American film of all time in the billion dollar earning Black Panther. Even before there was a 'Michael B and Ryan Coogler', I dreamed of this type of pairing. I was originally inspired by Scorcese and Dicaprio and Tim Burton and Depp. I studied those pairings meticulously. So when Ryan and Michael came along, I knew exactly what they were doing. The difficulty for me is finding the right person with the right work ethic who clicks with me. I have auditioned over 20,000 actors in my career for various projects and believe it only 4 have caught my eye organically in a Dicaprio/Scorcese - Coogler/Jordan kind of way. But I've also never made a huge effort to find one either.
    [Show full text]
  • Transatlantica, 1 | 2018 “Queen of the Fields”: Slavery’S Graphic Violence and the Black Female Body I
    Transatlantica Revue d’études américaines. American Studies Journal 1 | 2018 Slavery on Screen / American Women Writers Abroad: 1849-1976 “Queen of the fields”: Slavery’s Graphic Violence and the Black Female Body in 12 Years a Slave (Steve McQueen, 2013) Hélène Charlery Electronic version URL: http://journals.openedition.org/transatlantica/12453 DOI: 10.4000/transatlantica.12453 ISSN: 1765-2766 Publisher AFEA Electronic reference Hélène Charlery, ““Queen of the fields”: Slavery’s Graphic Violence and the Black Female Body in 12 Years a Slave (Steve McQueen, 2013)”, Transatlantica [Online], 1 | 2018, Online since 12 September 2019, connection on 29 April 2021. URL: http://journals.openedition.org/transatlantica/12453 ; DOI: https://doi.org/10.4000/transatlantica.12453 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. “Queen of the fields”: Slavery’s Graphic Violence and the Black Female Body i... 1 “Queen of the fields”: Slavery’s Graphic Violence and the Black Female Body in 12 Years a Slave (Steve McQueen, 2013) Hélène Charlery 1 One among at least ten prominent movies by and about black Americans released the same year, 12 Years a Slave confirmed that 2013 was “a breakout year for black films” (Cieply).1 Noting movies such as 12 Years a Slave, Fruitvale Station (Ryan Coogler), Mandela: Long Walk to Freedom (Justin Chadwick), The Butler (Lee Daniels) and 42 (Brian Helgeland), both mainstream media outlets and black-oriented news community websites endorsed the idea that 2013 marked a “black film renaissance” (BBC) or a “renaissance of black cinema” (The Grio) (Penrice; Brook).
    [Show full text]
  • Dga Independent Filmmakers
    Ti West directing In a Valley of Violence INDEPENDENTDGA FILMMAKERS Nicole Holofcener directing Enough Said Dee Rees directing Mudbound It’s YOUR film. The Directors Guild of America is a powerful force that can help you realize your Rodrigo Garcia directing Last Days in the Desert vision regardless of budget. Find out what the DGA is all about. Ryan Coogler directing Creed GREETINGS FROM DGA PRESIDENT THOMAS SCHLAMME Dear Filmmaker: What is independent filmmaking today? Traditionally, independent We support our members working in independent film by films are those that are produced outside of the studio system. More protecting their rights, as well as providing them with the realistically, in the current landscape, with streaming services, day and flexibility to do projects they are passionate about. The Guild’s date releases and ever-changing distribution models, independent has Independent Directors Committees are a concrete embodiment taken on a feeling of otherness – something not mainstream. of this commitment. These Committees – one based in New York and the other based in Los Angeles – host regular gatherings for And here you are. You’ve made a movie that caught attention and it’s independent and low-budget directors. The Committees have playing at a festival or maybe you’ve been lucky enough to secure a also established the very successful Director’s Finder Screening distribution deal. As a director, you may think your responsibilities end Series, which regularly showcases unreleased independent films once the film is completed. Ideally, you’ve handled every creative choice directed by DGA members for an audience of independent during pre-production, through production and into post.
    [Show full text]
  • Ryan Coogler Is Best Known As Director and Co-Writer of the Marvel
    Ryan Coogler is best known as director and co-writer of the Marvel film Black Panther, which broke numerous box office records and became one of the highest- grossing films of all time. Coogler's films have received significant critical acclaim and commercial success. In 2013, he was included on Time's list of the 30 people under 30 who are changing the world. Coogler remembers the first moment it occurred to him to become a film director. Growing up in Oakland, Coogler was on a football scholarship to Saint Mary’s College in the East Bay, where he had to take a creative writing class. The assignment was to write about a personal experience, and Coogler wrote about the time his father almost bled to death in his arms. He handed it in, and the professor called him into her office. She asked what Coogler wanted to do with his life. “Play ball, become a doctor and be a positive influence in my community,” he replied. He remembers her saying, “I think you should become a screenwriter. You can reach more people.” Coogler thought she was crazy but gave it a shot. Saint Mary’s cancelled its football program, and the young wide receiver got another scholarship, this time to Sacramento State. There he changed his major to finance while taking every film class he could. By graduation he was “in love with filmmaking.” One of his professors had told him about USC film school. “It was either go there or play wide receiver. I was short, my prospects weren’t the highest, so I took a risk and drove to L.A.” Of his features, he says Fruitvale is the closest to his heart.
    [Show full text]
  • COREY CASTELLANO Make-Up Artist IATSE 706 and 798
    COREY CASTELLANO Make-Up Artist IATSE 706 and 798 FILM THE DEVIL ALL THE TIME Department Head Netflix Director: Antonio Campos GOODBYE STRANGER Department Head Disney Director: Charlie Bean THE DIRT Department Head Netflix Director: Jeff Tremaine THE FIRST PURGE Department Head Blumhouse Productions Director: Gerard McMurray Cast: Y’Lan Noel, Lex Scott Davis, Marissa Tomei THE OLD MAN AND THE GUN Department Head Fox Searchlight Pictures Director: David Lowery Cast: Robert Redford OUR SOULS AT NIGHT Department Head Netflix Director: Ritesh Batra Cast: Robert Redford, Bruce Dern, Phyllis Somerville THREE BILLBOARDS OUTSIDE EBBING, Department Head MISSOURI Director: Martin McDonagh Fox Searchlight Pictures Cast: Frances McDormand, Woody Harrelson, Sam Rockwell, Peter Dinklage, Kerry Condon, Kathryn Newton CREED Department Head/ MGM Special Make-Up Effects Designer Director: Ryan Coogler Cast: Sylvester Stallone, Michael B Jordan, Graham McTavish, Ritchie Coster PARANOIA Co-Department Head Relativity Media Director: Robert Luketic Cast: Liam Hemsworth, Amber Heard, Embeth Davidtz ALL IS LOST Department Head Before The Door Pictures Director: J.C Chandor Cast: Robert Redford LINCOLN Principal Make-Up Artist and Prosthetic Design DreamWorks Pictures Director: Steven Spielberg Cast: David Strathairn, Joseph Gordon Levitt, Jackie Earle Haley, Elizabeth Marvel THE MILTON AGENCY Corey Castellano 6715 Hollywood Blvd #206, Los Angeles, CA 90028 Make-Up Telephone: 323.466.4441 Facsimile: 323.460.4442 IATSE 706 and 798 [email protected] www.miltonagency.com
    [Show full text]
  • Author Functions, Auteur Fictions Understanding Authorship in Conglomerate Hollywood Commerce, Culture, and Narrative
    Author Functions, Auteur Fictions Understanding Authorship in Conglomerate Hollywood Commerce, Culture, and Narrative VOLUME II: APPENDICES Thomas James Wardak A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities School of English Literature March 2017 Bibliography ‘2009 WORLDWIDE GROSSES’, Box Office Mojo (n.d.) <http://www.boxofficemojo.com/yearly/chart/?view2=worldwide&yr=2009> [accessed 13 March 2017]. ‘2015 WORLDWIDE GROSSES’, Box Office Mojo (n.d.) <http://www.boxofficemojo.com/yearly/chart/?view2=worldwide&yr=2015> [accessed 13 March 2017]. ‘3D screens—2004 onwards’, UK Cinema association (n.d.) <http://www.cinemauk.org.uk/the- industry/facts-and-figures/uk-cinema-industry-infrastructure/3d-screens/> [accessed 13 March 2017]. ‘ABOUT REDDIT’, Reddit (13 April 2016) <https://web.archive.org/web/20160413011025/https://www.reddit.com/about/> [accessed 13 March 2017]. ‘Box office revenue in North America from 1980 to 2015 (in billion U.S. dollars)’, Statista: The Statistics Portal (2016) <http://www.statista.com/statistics/187069/north-american-box- office-gross-revenue-since-1980/> [accessed 13 March 2017]. ‘Comic Book Sales by Year’, Comichron (n.d.) <http://www.comichron.com/yearlycomicssales.html> [accessed 13 March 2017]. ‘Footfall Breakdown for each Station’, Network Rail (n.d.) <https://web.archive.org/web/20160910230139/https://www.networkrail.co.uk/Footfa llBreakdownForEachStation.pdf> [accessed 13 March 2017]. ‘John Ford’s Young Mr. Lincoln: A collective text by the Editors of Cahiers du Cinéma’, trans. Helen Lackner and Diana Matias, Screen, 13.3 (1972), 5-44. ‘Monthly reach of Empire magazine in the United Kingdom (UK) from October 2012 to September 2015 (in 1,000s)’, Statista: The Statistics Portal (n.d.) <http://www.statista.com/statistics/413664/empire-monthly-reach-uk/> [accessed 13 March 2017].
    [Show full text]