DOCSLIB.ORG

Download the Donnie Darko Book Free Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download the Donnie Darko Book Free Ebook THE DONNIE DARKO BOOK DOWNLOAD FREE BOOK Richard Kelly, Jake Gyllenhaal | 208 pages | 31 Oct 2003 | FABER & FABER | 9780571221240 | English | London, United Kingdom The Donnie Darko Book: Introduction by Jake Gyllenhaal He later finds Cunningham's wallet and address and Frank suggests setting his house on fire, which Donnie does. Faber and Faber. The book then contains the The Donnie Darko Book shooting script for the film followed by renderings of several pages from The Philosophy of Time Travel taken from the Hi-ReS! Lists with This Book. If the Ensurance Trap is successful, the Living Receiver is left with no choice but to use his Fourth The Donnie Darko Book Power to send the Artifact back in time into the Primary Universe before the Black hole collapses upon itself. Error rating book. Jan 22, Leo Robertson rated it really liked it. Artifacts returned to the Primary Universe are often The Donnie Darko Book to religious Iconography, as their appearance on Earth seems to defy logical explanation. Theatrical release poster. Members save with free shipping everyday! That means that the narrative of the movie the class watches mirrors, echoes, rhymes with the peril their own world faces. Young Adult. Learn More. May 13, Like the whole spectrum of human emotion. Categories :. Product Details About the Author. I found it insightful how certain aspects of the film were discussed by the director, without giving away too much of what you discern with every watch. I hope that when the world comes to an end, I can breathe a sigh of relief, because there will be so much to look The Donnie Darko Book to. And I thought this book would have more depth on time travel and possibly what the story is about in the movie, but similar to the movie it holds most of the secrets and ambiguity which is what probably makes this movie come alive. Donnie wakes up the next morning on a local golf course and returns home to discover a jet engine has crashed into his bedroom. In the dubious prattle that follows, one seeks to examine the phrase, "the miracle of storytelling," spoken in "Donnie Darko" The Donnie Darko Book the lens of Beauvoir's parallel phrase, "the The Donnie Darko Book of literature" written in her ess Review: "Donnie Darko Book" seen through the lens of Ong's "The Art of Being" Find here the transcendent theme and perhaps two others for the Good Reads team's friendly notice; and that transcendent theme is the concept of 'miracle,' as well The Donnie Darko Book 'deus ex machina' and realism. In the film, it was written by Roberta Sparrowan ominous elderly woman with a mysterious background, and essentially explains most of what transpires during the events of the movie. See 1 question about The Donnie Darko Book…. Jun 07, Giorgi Komakhidze rated it it was amazing Shelves: philosophyenglishsci-fiplays. Gyllenhaal claims he still does not really understand the movie, but that in a deeper sense it was never meant to be understood. It will not answer all the questions raised by the film - which is excellent - but it will broaden the knowledge of this classic. Film portal. When he refuses The Collected Stories of Caroline Gordon. American Slavery: 10th The Donnie Darko Book Edition. Most additional features are exclusive to the two-DVD set: the director's commentary assisted by Kevin Smith[25] excerpts from the storyboard, a minute production diary, " 1 fan video", a "cult The Donnie Darko Book video interviewing English fans, and the new director's cut trailer. March 31, History. I can only hope that the answers will come to me in my sleep. I've never really seen the point of reading a screenplay, unless you're an actor or a film studies student, and The Donnie Darko Book don't; The Donnie Darko Book doesn't seem to add much to my experience of watching the film. It was an incredible experience to remember the movie's scenes as the reading progressed and this served to value the interpretations, the photography, the direction. Mar 18, Rebecca McNutt rated it liked it. These surrounding the Living Receiver, known as the Manipulated, will fear him and try to destroy him. The Manipulated Dead are more powerful than the Living Receiver. Ricky and Seth flee when an oncoming car runs over Gretchen, killing her. It was subsequently held back for almost a year for international release. This exact original script can be found in The Donnie Darko Book. Retrieved June 23, The Living Receiver is chosen to guide the Artifact into position for its journey back to the Primary Universe. The Donnie Darko Book The interview with Richard Kelly really helped me to understand his intuitions in doing the movie and thought process in scripting it. Science Fiction. Frank begins to influence Donnie's The Donnie Darko Book through his sleepwalking episodes, including causing him to flood his high school by breaking a water main. The Philosophy of Time Travel pictures, towards the end of the book, were interesting and helpful. March 31, Call this foreshadowing. To create our Harlem Hustle. Like the whole spectrum of human emotion. Redirected from The Donnie Darko Book. This scene, for example, particularly caught my attention page 5 of the shooting script : view spoiler [ROSE You know Share this book Facebook. Learn about the virtual Library Leaders Forum happening this The Donnie Darko Book. USA Today. Donnie Darko will never surrender up all its mysteries, but this book will be an indispensable guide into its intriguing world. A bubble appears on his chest and he follows it to his parents' closet where he finds and takes a The Donnie Darko Book. They are slipping away. Jun 07, Giorgi Komakhidze rated it it was amazing Shelves: philosophyenglishsci-fiplays. Chicago Sun-Times. By the grace of God, they are:. Read more Other Editions 3. Around town, those whose lives Donnie would have touched wake up from troubled dreams. Parallel worlds that seemingly move together, yet one of the worlds is a countdown, that is, it counts backwards for the other. Kitty arranges for Cunningham to speak at a school assembly, where Donnie The Donnie Darko Book him. Indie Wire. The official Donnie Darko website, donniedarko. Written in English — pages. The Living Receiver is chosen to guide the Artifact into position for its journey back to the Primary Universe. The Donnie Darko Book to the film's advertising featuring a crashing plane and the September 11 attacks that transpired a month before, the film was scarcely advertised. I've never really seen the point of reading a screenplay, unless you're an actor or a film studies student, and still don't; it doesn't seem to add much to my experience of watching the film. Start a Wiki. New York. Farmer, I just don't get this. The Collected Stories of Caroline Gordon. And he cares for them. Donnie Darko was filmed in 28 days which, by coincidence, virtually matches the time that transpires in the film from October 2,to the weekend before Halloween on Monday, October 31, As a result of this, some questions that I had from watching the film cleared up. When the Manipulated awaken from their Journey into the Tangent The Donnie Darko Book, they are often haunted by the experience in their dreams. And I thought this book would have more depth on time travel and possibly what the story is about in the movie, but similar to the movie it holds most of the secrets and ambiguity which is what probably makes this movie come alive. Firefighters discover a hoard of child pornography there. American Repertory Theatre. And, that any claim each might make to agency, at least in the unspeakably corrupt alternative world that spans most of the movie, is false: hence, a divinity unknown and perhaps unsuspected by them shapes their ends. April 24, These surrounding the Living Receiver, known as the Manipulated, will fear him and try to destroy The Donnie Darko Book. Subjects Donnie Darkofilmsmotion picturesmoviescult moviesscreenplayscreenplaysscriptscripts. Kelly said The Donnie Darko Book took almost six months to sell the film. Retrieved August 30, The Living Receiver The Donnie Darko Book often tormented by terrifying dreams, visions and auditory hallucinations during his time within the Tangent Universe. September 15, The Philosophy of Time Travel Main article: Donnie Darko soundtrack. Hustle's personal Harlem was sorely in need of a renaissance. In the film, it was written by Roberta Sparrowan ominous elderly woman with a mysterious background, and essentially explains most of what transpires during the events of the movie. Error rating book. Trivia About The Donnie Darko Need another excuse to treat yourself to a new book this week? Events of the previous 28 days rewind. Just a moment while we sign you in to your Goodreads account. Retrieved December 2, Cunningham is arrested, and Kitty, who wishes to testify in his defense, asks Rose to take her place as chaperone for their daughters' The Donnie Darko Book troupe on its trip to Los Angeles. The A. Contained within these pages are an in-depth interview with Richard Kelly who recounts the gestation of the film; the screenplay; photos and drawings from the film and artwork inspired by it. Jun 07, Giorgi Komakhidze rated it it was amazing Shelves: philosophyenglishsci- fiplays. Set in a trailer park called ParadiseYou're just wasting your The Donnie Darko Book talents if you don't get yourself something besides a little ole harmonica to play. It almost went straight to home video, but was theatrically released by Drew Barrymore's production company, Flower Films.
Load more

Recommended publications
  • Counter-Apocalyptic Play in Richard Kelly's Southland Tales
    University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Law, Humanities and the Arts 2014 "If you can hold on...": counter-apocalyptic play in Richard Kelly’s Southland Tales Marcus O'Donnell University of Wollongong, [email protected] Publication Details O'Donnell, M. ""If you can hold on...": counter-apocalyptic play in Richard Kelly’s Southland Tales." Journal of Religion and Film 18 .2 (2014): 1-35. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] "If you can hold on...": counter-apocalyptic play in Richard Kelly’s Southland Tales Abstract Richard Kelly’s Southland Tales (2006) presents a dystopic, post-apocalyptic, near-future through an aesthetic, which fuses contemporary postmodern screens with the phantasmagorical of traditional apocalyptic visions. This article argues that Southland Tales is an example of what feminist theologian Catherine Keller calls the “counter-apocalyptic” (Keller 1996:19-20). Through strategies of ironic parody Kelly both describes and questions the apocalyptic and its easy polarities. In situating the film as counter-apocalyptic the paper argues that the film both resists the apocalyptic impulse however it is also located within it. In this sense it produces a unique take on the genre of the post-apocalyptic film and a powerful fluid critique of the post 9/11 security state. Keywords play, apocalyptic, counter, tales, hold, southland, can, you, if, kelly, richard Disciplines Arts and Humanities | Law Publication Details O'Donnell, M. ""If you can hold on...": counter-apocalyptic play in Richard Kelly’s Southland Tales." Journal of Religion and Film 18 .2 (2014): 1-35.
    [Show full text]
  • Donnie Darko: a Film Review -- an Avid Movie Watchers View Point
    Film: Donnie Darko Rating: 9.3/10 by Quentin Cooper Director: Richard Kelly Release Date: January 19th, 2001 for Advanced Comp Genre: Science Fiction East TN State U Run Time on Film: 113 minutes Budget: 4.5 Million USD December 2018 Box Office: 7.5 Million USD Contact Info: [email protected] Donnie Darko: A Film Review An Avid Movie Watchers View Point Rating Scale: (Scale of 1-10) 1 – Hot Garbage These can become 10’s while watching under the influence of alcohol and in the presence of friends as you make fun of the 2 – Garbage film for being horrible. Stay away at all costs unless you’re trying to laugh at bad acting. 3 – Bad 4 – Sort of Bad If a score falls within the range It will vary person to person, but typically stays within this category. If it leans on the 5 – Meh higher end of the scale its suitable for a niche crowd. 6 – Okay 7 – Good Enjoyable films. Feel as if you’ve got your moneys worth at the movie theatre. 8 – Great 9 – Fantastic MUST SEE FILM. THE UNICORN OF FILMS. IS ANYTHING REALLY 10 – Perfect PEERFECT? NOT SURE Appendix: Categories the Film is being Rated on Dialogue Flow Story Cinematography Categories the Film is being Rated on: Dialogue – In movies there is a style of talking where it just doesn’t seem to be practical or feels forced. Donnie Darko isn’t one of those films that falls into this trap of falsehood. The film presents a followable dialogue that has a good flow throughout the cast of character and resonated with me in creating believable characters.
    [Show full text]
  • Film & Literature
    Name_____________________ Date__________________ Film & Literature Mr. Corbo Film & Literature “Underneath their surfaces, all movies, even the most blatantly commercial ones, contain layers of complexity and meaning that can be studied, analyzed and appreciated.” --Richard Barsam, Looking at Movies Curriculum Outline Form and Function: To equip students, by raising their awareness of the development and complexities of the cinema, to read and write about films as trained and informed viewers. From this base, students can progress to a deeper understanding of film and the proper in-depth study of cinema. By the end of this course, you will have a deeper sense of the major components of film form and function and also an understanding of the “language” of film. You will write essays which will discuss and analyze several of the films we will study using accurate vocabulary and language relating to cinematic methods and techniques. Just as an author uses literary devices to convey ideas in a story or novel, filmmakers use specific techniques to present their ideas on screen in the world of the film. Tentative Film List: The Godfather (dir: Francis Ford Coppola); Rushmore (dir: Wes Anderson); Do the Right Thing (dir: Spike Lee); The Dark Knight (dir: Christopher Nolan); Psycho (dir: Alfred Hitchcock); The Graduate (dir: Mike Nichols); Office Space (dir: Mike Judge); Donnie Darko (dir: Richard Kelly); The Hurt Locker (dir: Kathryn Bigelow); The Ice Storm (dir: Ang Lee); Bicycle Thives (dir: Vittorio di Sica); On the Waterfront (dir: Elia Kazan); Traffic (dir: Steven Soderbergh); Batman (dir: Tim Burton); GoodFellas (dir: Martin Scorsese); Mean Girls (dir: Mark Waters); Pulp Fiction (dir: Quentin Tarantino); The Silence of the Lambs (dir: Jonathan Demme); The Third Man (dir: Carol Reed); The Lord of the Rings trilogy (dir: Peter Jackson); The Wizard of Oz (dir: Victor Fleming); Edward Scissorhands (dir: Tim Burton); Raiders of the Lost Ark (dir: Steven Spielberg); Star Wars trilogy (dirs: George Lucas, et.
    [Show full text]
  • The Donnie Darko (2001) Case
    doi: http://dx.doi.org/10.5007/1984- 8412.2020.e70764 SUBVERTING THE CHRONOTOPE: THE DONNIE DARKO (2001) CASE SUBVERTENDO O CRONOTOPO: O CASO DONNIE DARKO (2001) SUBVERTIENDO EL CHRONOTOPE: EL CASO DONNIE DARKO (2001) Marcia Tiemy Morita Kawamoto* Instituto Federal de Santa Catarina | Campus Gaspar ABSTRACT: This paper analyzes the film Donnie Darko (2001) by director and screenwriter Richard Kelly through the theoretical perspective of Mikhail Bakhtin’s (1981) chronotope. The latter defines it as an intermingling between temporal and spatial relations, artistically assimilated in literature (BAKHTIN, 1981), but in this study it is applied to film studies. Gilles Deleuze’s (1986, 1989) concepts of movement-image and time-image also contribute to the analysis. The film presents sequences of chronotope disruption, which are associated to the main’s characters mental state. Film techniques as parallelism, superimposition and ellipsis contribute to this break in the time and space association. Lastly, the analysis discusses Garret Stewart’s (2007) proposal that the digital cinema contributes to a disruptive cinematography, especially in relation to time-space constructions. KEYWORDS: Film studies. Chronotope. Science fiction. RESUMO: Este artigo analisa o filme Donnie Darko (2001) do diretor e roteirista Richard Kelly através da perspectiva teórica do cronotopo de Mikhail Bakhtin (1981). Este último define-o como um entrelaçamento entre relações temporais e espaciais, artisticamente assimiladas na literatura (BAKHTIN, 1981), mas neste estudo é aplicado aos estudos de filmes. Os conceitos de imagem-movimento e imagem-tempo de Gilles Deleuze (1986, 1989) também contribuem para a análise. O filme apresenta sequências de interrupção cronotópica, que estão associadas ao estado mental do personagem principal.
    [Show full text]
  • Amongst Friends: the Australian Cult Film Experience Renee Michelle Middlemost University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2013 Amongst friends: the Australian cult film experience Renee Michelle Middlemost University of Wollongong Recommended Citation Middlemost, Renee Michelle, Amongst friends: the Australian cult film experience, Doctor of Philosophy thesis, School of Social Sciences, Media and Communication, University of Wollongong, 2013. http://ro.uow.edu.au/theses/4063 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Amongst Friends: The Australian Cult Film Experience A thesis submitted in fulfillment of the requirements for the award of the degree DOCTOR OF PHILOSOPHY From UNIVERSITY OF WOLLONGONG By Renee Michelle MIDDLEMOST (B Arts (Honours) School of Social Sciences, Media and Communications Faculty of Law, Humanities and The Arts 2013 1 Certification I, Renee Michelle Middlemost, declare that this thesis, submitted in fulfillment of the requirements for the award of Doctor of Philosophy, in the Department of Social Sciences, Media and Communications, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Renee Middlemost December 2013 2 Table of Contents Title 1 Certification 2 Table of Contents 3 List of Special Names or Abbreviations 6 Abstract 7 Acknowledgements 8 Introduction
    [Show full text]
  • The Mind-Game Film Thomas Elsaesser
    9781405168625_4_001.qxd 8/10/08 11:58 AM Page 13 1 The Mind-Game Film Thomas Elsaesser Playing Games In December 2006, Lars von Trier’s The Boss of It All was released. The film is a comedy about the head of an IT company hiring a failed actor to play the “boss of it all,” in order to cover up a sell-out. Von Trier announced that there were a number of (“five to seven”) out-of-place objects scattered throughout, called Lookeys: “For the casual observer, [they are] just a glitch or a mistake. For the initiated, [they are] a riddle to be solved. All Lookeys can be decoded by a system that is unique. [. .] It’s a basic mind game, played with movies” (in Brown 2006). Von Trier went on to offer a prize to the first spectator to spot all the Lookeys and uncover the rules by which they were generated. “Mind-game, played with movies” fits quite well a group of films I found myself increasingly intrigued by, not only because of their often weird details and the fact that they are brain-teasers as well as fun to watch, but also because they seemed to cross the usual boundaries of mainstream Hollywood, independent, auteur film and international art cinema. I also realized I was not alone: while the films I have in mind generally attract minority audiences, their appeal manifests itself as a “cult” following. Spectators can get passionately involved in the worlds that the films cre- ate – they study the characters’ inner lives and back-stories and become experts in the minutiae of a scene, or adept at explaining the improbabil- ity of an event.
    [Show full text]
  • Post-Cinematic Affect
    Post-Cinematic Affect Steven Shaviro 0 BOO KS Winchester, UK Washington, USA r First published by 0-Books, 2010 O Books ls an imprint of John Hunt Publishing Ltd., The Bothy, Deershot Lodge, Park Lane, Ropley, CONTENTS Hants, S024 OBE, UK [email protected] www.o-books.com For distributor details and how to order please visit the 'Ordering' section on oUr website. Text copyright Steven Shaviro 2009 Preface vii ISBN: 978 1 84694 431 4 1 Introduction All rights reserved. Except for brief quotations in critical articles or reviews, no part of 1 this book may be reproduced in any manner without prior written permission from 2 Corporate Cannibal the publishers. 11 3 Boarding Gate The rights of Steven Shaviro as author have been asserted in accordance with the Copyright, 35 1988. 4 Designs and Patents Act Southland Tales 64 5 A CIP catalogue record for this book is available from the British Library. Gamer 93 6 Coda Design: Stuart Davies 131 Printed In the UK by CPI Antony Rowe Works Cited 140 Endnotes 153 We operate a distinctive and ethical publishing philosophy in all areas of its business, from its global network of authors to production and worldwide distribution. Preface This book is an expanded version of an essay that originally appeared in the online journal Film-Philosophy. Earlier versions of portions of this book were delivered as talks sponsored by the Affective Publics Reading Group at the University of Chicago, by the film and media departments at Goldsmiths College, Anglia Ruskin University, University of the West of England, and Salford University, by the "Emerging Encounters in Film Theory" conference at Kings College, by the Experience Music Project Pop Conference, by the Nordic Summer University, by the Reality Hackers lecture series at Trinity University, San Antonio, and by the War and Media Symposium and the Humanities Center at Wayne State University.
    [Show full text]
  • Cinemeducation Movies Have Long Been Utilized to Highlight Varied
    Cinemeducation Movies have long been utilized to highlight varied areas in the field of psychiatry, including the role of the psychiatrist, issues in medical ethics, and the stigma toward people with mental illness. Furthermore, courses designed to teach psychopathology to trainees have traditionally used examples from art and literature to emphasize major teaching points. The integration of creative methods to teach psychiatry residents is essential as course directors are met with the challenge of captivating trainees with increasing demands on time and resources. Teachers must continue to strive to create learning environments that give residents opportunities to apply, analyze, synthesize, and evaluate information (1). To reach this goal, the use of film for teaching may have advantages over traditional didactics. Films are efficient, as they present a controlled patient scenario that can be used repeatedly from year to year. Psychiatry residency curricula that have incorporated viewing contemporary films were found to be useful and enjoyable pertaining to the field of psychiatry in general (2) as well as specific issues within psychiatry, such as acculturation (3). The construction of a formal movie club has also been shown to be a novel way to teach psychiatry residents various aspects of psychiatry (4). Introducing REDRUMTM Building on Kalra et al. (4), we created REDRUMTM (Reviewing [Mental] Disorders with a Reverent Understanding of the Macabre), a Psychopathology curriculum for PGY-1 and -2 residents at Rutgers Robert Wood Johnson Medical School. REDRUMTM teaches topics in mental illnesses by use of the horror genre. We chose this genre in part because of its immense popularity; the tropes that are portrayed resonate with people at an unconscious level.
    [Show full text]
  • I Certify That the Thesis Entitled Twisted Things
    I certify that the thesis entitled Twisted Things: Playing with Time submitted for the degree of Doctor of Philosophy is the result of my own work and that where reference is made to the work of others, due acknowledgment is given. I also certify that any material in the thesis which has been accepted for a degree or diploma by any university or institution is identified in the text. ʹI certify that I am the student named below and that the information provided in the form is correctʹ Full Name: Virginia Stewart Murray Signed ..................................................................................…….… Date .................................................................................…….…… Twisted Things: Playing with Time by Virginia Stewart Murray (BA Dip Ed) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Deakin University January 2012 Table of Contents Volume One Creative Component Introduction to Thesis 1 Preface: Neither Fish nor Fowl 3 TWISTED THINGS 7 Volume Two Exegesis Playing with time: an exegesis in three chapters Introduction 127 Chapter One: On the Beach: A Contextual History Part 1 141 Part II 158 Chapter 2: Glamour and Celebrity: 1950s Australian Style 172 Chapter 3: The Role of the Unconscious: Playing with Time in Film 236 Camera Consciousness and Reterritorialisation in 12 Monkeys 249 Sheets of the Past in Jacob’s Ladder 257 Incompossible Worlds in Donnie Darko 264 Suddenly Thirty and the Peaks of the Present 269 Conclusion 280 Works Cited 287 Filmography 299 Works Consulted
    [Show full text]
  • Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode.
    [Show full text]
  • Mise En Page 1
    WWW.SOUTHLANDTALES-LEFILM.COM Cannes 2006 - SELECTION OFFICIELLE - en Compétition PAN-EUROPEENNE EDITION et WILD BUNCH présentent une production CHERRY ROAD, PERSISTEN ENTERTAINMENT en association avec INFERNO DISTRIBUTION DISTRIBUTION PAN-EUROPEENNE EDITION WILD BUNCH 26, rue des Carmes - 75005 Paris Tél : +33 1 53 10 42 50 Fax : +33 1 53 10 42 69 [email protected] www.pan-europeenne.com à Cannes du 17 au 28 Mai 3, av. du Maréchal Foch Tél : +33 8 71 49 32 98 Fax : +33 4 93 68 19 03 un film de VENTES INTERNATIONALES WILD BUNCH 99, rue de la Verrerie 75004 Paris Tél : +33 1 53 01 50 25 Fax :+33 1 53 01 50 49 avec [email protected] www.wildbunch.biz à Cannes du 17 au 28 Mai : Sales Office 23 rue Macé, 4ème étage Marketing Office 5, Square Merimée, 1er étage Tél : +33 4 93 68 82 75 Fax:+33 4 93 68 82 94 Durée : 2h31 / Format : 2.35 / Son : Dolby SRD Projection Presse : Dimanche 21 Mai 8h30 - Grand Théâtre Lumière Projection Officielle : Dimanche 21 Mai 22h00 - Grand Théâtre Lumière RELATIONS PRESSE Richard Kelly, The Rock et Sarah Michelle Gellar sont à Cannes du XX au XX mai. BOSSA NOVA Michel Burstein 32, bld Saint-Germain - 75005 Paris Les textes et photos de ce dossier Tél : +33 1 43 26 26 26 de presse sont téléchargeables sur Fax : +33 1 43 26 26 36 www.southlandtales-lefilm.com [email protected] www.bossa-nova.info à Cannes du 17 au 28 Mai Hotel Majestic / DDA Office - Suite Royan Tél : +33 4 93 68 26 94 Fax : +33 4 97 06 85 86 2008, Californie.
    [Show full text]
  • RELG 325-01 Religion in Contemporary American Film
    RELG 325 Religion in Film COASTAL CAROLINA UNIVERSITY DEPARTMENT OF PHILOSOPHY AND RELIGIOUS STUDIES Spring 2022 MWF 11:00 - 11:50 - Prince 103 Final Examination: Friday, December 9, 11:00 in our regular classroom Professor: Dr. Ronald Green Office: AOC2 Phone: 349-2782 Office hours in AOC2: M-W-F 12:00-2:00 and Tuesday 9:20-10:20 Course Description: A critical study of religion through the medium of film. Students view films from around the world and analyze cinematic representations of religious narratives, beliefs, practices, communities, and institutions. Issues such as censorship, blasphemy, and political activism through film are also explored. S. Course Objectives: In the process of this study, students will come to 1. think critically about representations of religions in film; 2. broaden their understanding of the term “religious” and realize its significance in the plot, narrative, and imagery of films; 3. foster insights into the perspectives of various religious groups. Student Learning Outcomes: On completion of this course, students will have 1. demonstrated knowledge of the beliefs, practices, narratives and important persons associated with major religious traditions of the world. 2. expressed themselves on issues concerning representations of religions in film. 3. fostered appreciation of global diversity through understanding how religions contribute to and are affected by individual and collective behaviors. 4. gained knowledge of the cultures, languages and social structures of other countries of the world (Goal 5B of the CCU Core Curriculum). Required Texts: The reading materials for our course consists entirely of academic articles available at the following internet sites plus two handouts.
    [Show full text]