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A Wishy-Washy, Sort-Of-Feeling: Episodes in the History of the Wishy-Washy Aesthetic
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-22-2014 12:00 AM A Wishy-Washy, Sort-of-Feeling: Episodes in the History of the Wishy-Washy Aesthetic Amy Gaizauskas The University of Western Ontario Supervisor Christine Sprengler The University of Western Ontario Graduate Program in Art History A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Amy Gaizauskas 2014 Follow this and additional works at: https://ir.lib.uwo.ca/etd Recommended Citation Gaizauskas, Amy, "A Wishy-Washy, Sort-of-Feeling: Episodes in the History of the Wishy-Washy Aesthetic" (2014). Electronic Thesis and Dissertation Repository. 2332. https://ir.lib.uwo.ca/etd/2332 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. A WISHY-WASHY, SORT-OF FEELING: EPISODES IN THE HISTORY OF THE WISHY-WASHY AESTHETIC Thesis Format: Monograph by Amy Gaizauskas Graduate Program in Art History A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Amy Gaizauskas 2014 Abstract Following Sianne Ngai’s Our Aesthetic Categories (2012), this thesis studies the wishy- washy as an aesthetic category. Consisting of three art world and visual culture case studies, this thesis reveals the surprising strength that lies behind the wishy-washy’s weak veneer. -
'Bad' Sound: What Puts the 'Mumble' Into Mumblecore?
Theorising ‘bad’ sound: what puts the ‘mumble’ into mumblecore? This is a pre-copyedited version of an article accepted for publication in The Velvet Light Trap following peer review. The definitive publisher-authenticated version is available through the University of Texas Press. Few film genres, styles or movements are named with respect to their sound quality; ‘mumblecore’ – a cycle of independent, very low-budget American movies that emerged in the middle of the last decade – is a rare exception. The label is somewhat pejorative – the ‘origin myth’ is that it was jokingly coined by a sound mixer, but has since stuck.1 Aymar Jean Christian observes that mumblecore directors are uncomfortable with the term and tend not to self-identify as mumblecore, making the term analogous to the subcultural term ‘hipster.’2 However, despite being named with reference to its sound, there has been little analysis of its soundtracks, either academically or in the popular press, beyond dismissing the sound as ‘bad,’ with no further comment. This particular notion of ‘bad’ sound bears closer examination; however, close attention to mumblecore’s audiovisual style needs to be contextualised within the broader category of American independent cinema, of which it is a part. Hence, the label is attached to more than just a style – as has been widely argued, American independent or ‘indie’ cinema is partly an economic category, partly a style and partly a discourse.3 As an economic category, given their very low budgets and self-financed status, mumblecore films can be categorised as ‘house indie,’ as delineated by a critic cited by Michael Z. -
Matthias Grunsky, Bvk DIRECTOR of PHOTOGRAPHY |
Matthias Grunsky, bvk DIRECTOR OF PHOTOGRAPHY | www.matthias-grunsky.com VERTRETUNG: Agentur Brandner| Bernhard Koch| +49.89.340 29597|[email protected] Sprachen: Deutsch und Englisch | Arbeitserlaubnis für EU und USA FILMOGRAFIE KINOFILM: Regie: Produktion/ Verleih I Drehorte: GESCHICHTEN VOM FRANZ Johannes Schmid Geyrhalter Film |Wien MARLENE Andreas Resch Resch Filme |Berlin/Bonn SUPPORT THE GIRLS Andrew Bujalski Magnolia Pictures | Austin, Texas INFINITY BABY Bob Byington Faliro House Productions | Austin, Texas SAINTS REST Noga Ashkenazi Lama Films | Grinnell, Iowa FOREVER A HUNGER Shelby Langley Lumus Productions | Rio de Janeiro THE HONOR FARM Karen Skloss The Folding Animals | Texas RESULTS Andrew Bujalski Magnolia Pictures |Austin, Texas COMPUTER CHESS Andrew Bujalski Kino Lorber | Austin, Texas MAN WITHOUT A HEAD Johnny Roc Screenworld Films | Los Angeles SORRY, THANKS Dia Sokol Anxious Engine | San Francisco BEESWAX Andrew Bujalski Cinema Guild | Austin, Texas NIGHTS AND WEEKENDS Joe Swanberg/ Greta Gerwig Filmscience/ IFC | Chicago/ New York PRETTY SEA Shelby Langley Lumus Productions | Rio de Janeiro AMERICAN ZOMBIE Grace Lee Cinema Libre|Los Angeles MUTUAL APPRECIATION Andrew Bujalski Good Bye Cruel Releasing | New York FUNNY HA HA Andrew Bujalski Good Bye Cruel Releasing | Boston FERNSEHEN: RAUS AUS DEM KORSETT Beate Thalberg Geyrhalter Film/ ZDF/ORF| Österreich A LIVRE OUVERT (1-6) Stéphanie Chuat / Véronique Reymond Pointprod/RTS/France 2 |Lausanne, CH DOKUMENTARFILM u.a.: SEARCH Angela Bedekovic / Matthias Grunsky -
Film Programs
ABOUT US ABOUT US We Treat Now in its eighth year, the Wisconsin Film Festival is Wisconsin’s premier Your Car independent film festival. Presented by the UW Arts Institute, this four-day annual festival takes place each spring Like A Classic in Madison, in the heart of Wisconsin’s capital city. The Festival presents the best new independent features from around the world, experimental films, documentaries, restorations, shorts, and the work of Wisconsin’s own filmmakers. CONTACT WISCONSIN FILM FESTIVAL UW Arts Institute 821 University Ave, Madison, WI 53706 (608) 262-9009; (877) 963-FILM [email protected]; www.wifilmfest.org DURING THE FESTIVAL: See www.wifilmfest.org or call (877) 963-FILM for updates. For additional questions or emergencies, call the Box Office / Will Call at (608) 265-2933. it’s about THE WISCONSIN FILM FESTIVAL the music IS PRESENTED BY THE UW ARTS INSTITUTE The Arts Institute works to make the arts more visible and effective at UW-Madison. Governed by arts faculty and staff, we represent the collective voice and strength of the arts at the University. The Arts Institute funds and supports projects with university- and community-wide impact, including artists residencies, awards and fellowships, public programs, and 255-3441 arts marketing and outreach. Created in 1998, the Arts Institute grew out of a university Arts Mon-Fri 7:30-5:30 Consortium and other collaborative efforts. An “intercollege unit,” the Arts Institute is sponsored by the College of Letters & Science, the School of Education, and the School of Human Ecology. ARTS INSTITUTE LEADERSHIP STAFF: Susan C. -
Alfred P. Sloan Feature Film Prize Awarded to Computer Chess at 2013 Sundance Film Festival
FOR IMMEDIATE RELEASE Media Contact: January 24, 2013 Casey De La Rosa 310.360.1981 [email protected] Alfred P. Sloan Feature Film Prize Awarded to Computer Chess at 2013 Sundance Film Festival Sundance Institute / Alfred P. Sloan Lab Fellowship Also Announced Park City, UT — Sundance Institute today announced the winner of the Alfred P. Sloan Feature Film Prize at the 2013 Sundance Film Festival, as well as the recipient of the Alfred P. Sloan Lab Fellowship, presented through the Sundance Institute Feature Film Program. These activities, as well as a panel at the Festival, are part of the Sundance Institute Science-in-Film Initiative, which is made possible by a grant from the Alfred P. Sloan Foundation. 2013 marks the 10th Anniversary of the Alfred P. Sloan Science in Film initiative, which supports the development and exhibition of new independent film projects that explore science and technology themes or that depict scientists, engineers and mathematicians in engaging and innovative ways. The initiative includes the Sundance Institute / Alfred P. Sloan Commissioning Grant, and a recipient for 2013 will be announced soon. “We are delighted to recognize Andrew Bujalski's quirky, original film, Computer Chess as this year's winner and to add it to our impressive ten year list of Sloan Sundance winners, " said Doron Weber, Vice President, Programs at the Alfred P. Sloan Foundation. "Coupled with Nicole Kassel's Screenwriting Lab fellowship for a script based on Barbara Kingsolver's ‘Prodigal Summer’ and a Commissioning Grant for another exciting science screenplay that we will announce shortly, it is clear that the 10-year partnership between Sloan and Sundance continues to set a new standard for science and technology films.” Said Keri Putnam, Executive Director, Sundance Institute, “The Alfred P. -
Andrew Bujalski
Burn Later Productions presents a Slater Films and Houston King Production SUPPORT THE GIRLS Written & Directed by Andrew Bujalski 91 minutes Starring: Regina Hall, Haley Lu Richardson, Shayna McHayle, James LeGros, Dylan Gelula, AJ Michalka, Brooklyn Decker, Jana Kramer, John Elvis and Lea DeLaria Official Selection 2018 SXSW Film Festival – World Premiere, Narrative Spotlight SXSW SCREENINGS Friday, March 9th at 9:00pm - ZACH Theatre (World Premiere) Sunday, March 11th at 2:00pm - Rollins Theatre at The Long Center Friday, March 16th at 7:00pm at Alamo Ritz 1 Saturday, March 17th at 11:30am - Alamo Lamar B LOGLINE The general manager at a highway-side “sports bar with curves” has her incurable optimism and faith–in her girls, her customers, and herself–tested over the course of a long, strange day. SYNOPSIS Lisa is the last person you'd expect to find in a highway-side "sports bar with curves,"-- but as general manager at Double Whammies, she's come to love the place and its customers. An incurable den mother, she nurtures and protects her girls fiercely--but over the course of one trying day, her optimism is battered from every direction...Double Whammies sells a big, weird American fantasy, but what happens when reality pokes a bunch of holes in it? 2 DIRECTOR’S STATEMENT – ANDREW BUJALSKI It seems like just about the simplest business concept you could imagine--"what if all the waitresses in this restaurant wore tight, cleavage-y halter tops?"--but I couldn't get over how bizarre it ultimately was. No culture besides present-day America would ever produce mass scale demand for such a place, that seems about 10% strip club and 90% TGI Friday's/Applebee's/Chili's/Cracker Barrel. -
Computer Chess
presents COMPUTER CHESS Written and Directed by Andrew Bujalski Produced by Houston King and Alex Lipschultz 92 minutes, Analog NTSC Video, USA, 2013 A Kino Lorber Release Kino Lorber, Inc. 333 West 39 Street, Suite 503 New York, NY 10018 (212) 629-6880 Press Contacts: Rodrigo Brandão – [email protected] Matt Barry – [email protected] Synopsis Set over the course of a weekend tournament for chess software programmers circa 1980, Computer Chess transports viewers to a nostalgic moment when the contest between technology and the human spirit seemed a little more up for grabs. We get to know the eccentric geniuses possessed of the vision to teach a metal box to defeat man, literally, at his own game, laying the groundwork for artificial intelligence as we know it and will come to know it in the future. Director’s Bio Andrew Bujalski has written and directed the films Funny Ha Ha, Mutual Appreciation and Beeswax, all of which have appeared on The New York Times critics’ “Top Ten of the Year” lists. Funny Ha Ha was also identified by A.O. Scott as one of the “Ten Most Influential Films of the ’00s.” Between duties to his own projects, Andrew has also worked as a screenwriter-for-hire and a teacher of film production at Boston University and the University of Texas. The Boston Globe describes him as “unerringly polite and somewhat disheveled.” Director’s Statement “What on Earth made me think that it was a good idea to make an existential comedy about the oddball geniuses who thought it important that a machine learn to defeat its -
Mood Indigo CONTINUED on PAGE 3
NOVEMBER / DECEMBER 2013 PROGRAM MOOD INDIGO CONTINUED ON PAGE 3 NEW WORLD DOCUMENtaRIES HARRY DEAN STANTON: PARTLY FICTION CANADIAN & INTERNATIONAL FEATURES BLACK AS HELL, STRONG AS DEATH, SWEET AS LOVE SHORTS & ARTIST TALKS JOHN HIRSCH: HAUNTED BY DREAMS SPECIAL EVENTS ARCHITECTURE+FILM: PHILIP JOHNSON AND JEAN NOUVEL WWW.WINNIPEGCINEMATHEQUE.COM NEW WORLD DOCUMENtaRIES BLACKFISH BLACKFISH MUSCLE SHOALS MEN WITH BEARDS DIR. GABRIELA COWPERTHWAITE DIR. GREG CAMALIER DIRS. DYLAN FRIES & MICHAEL SANDERS 2013 | USA | 83 MIN 2013 | USA | 111 MIN 2013 | CANADA | 74 MIN FRI NOV 8 & SAT NOV 9 - 7:00 PM THU NOV 14 TO SAT NOV 16 - 7:00 PM FRI NOV 15 & SAT NOV 16 - 9:00 PM SUN NOV 10 - 2:00 PM SUN NOV 17 - 2:00 PM SUN NOV 17 - 7:00 PM WED NOV 13 - 7:00 PM WED NOV 20 - 7:00 PM THU NOV 21 - 9:00 PM Back by popular demand, Blackfish is the riveting A panel about recording studios and the “Winnipeg Winnipeg filmmakers Dylan Fries and Michael story of Tilikum, a performing killer whale that sound” will follow the Nov 17 screening with several Sanders have created the definitive film about killed several people while in captivity. Along the guests including Mike Petkau, JP Peters & Lloyd Peterson. growing, maintaining and displaying a beard. way, director-producer Cowperthwaite compiles Featuring great archival footage and terrifically Tucked along the Tennessee River, the town of Muscle shocking footage and emotional interviews to entertaining interviews with various Winnipeggers Shoals, Alabama barely registers on a map. Thanks explore the creature’s extraordinary nature, the on their journey to experience the triumph and to one visionary record producer and a group of species’ cruel treatment in captivity, the lives and heartbreak of a world-class beard. -
Beeswax a Film by Andrew Bujalski
A Cinema Guild Release Beeswax A film by Andrew Bujalski 100 minutes / Shot on 16mm, Exhibited on 35mm / Dolby SR / 2009 Not Rated / Stills available at: www.cinemaguild.com/downloads Publicity: Sasha Berman Shotwell Media 2721 2nd St. # 205 Santa Monica, CA 90405 Tel. 310-450-5571 Fax 310-450-5577 Email: [email protected] The Cinema Guild, Inc. 115 West 30th Street, Suite 800 New York, NY 10001‐4061 Tel: (212) 685‐6242, Fax: (212) 685‐4717 www.cinemaguild.com CAST Tilly Hatcher……………………………………………………………………..…Jeannie Maggie Hatcher…………………………………………………………………..…Lauren Alex Karpovsky………………………………………………….….………………Merrill (in order of appearance) Katy O'Connor……………………………………………………....……..………Corinne David Zellner…………………………………………………….................................Scott Kyle Henry…………………………………………………….…......................... Michael Anne Dodge……………………………………………………...………..………Amanda Betty Blackwell………………………………………..………....………….. Lila - lawyer Bryan Poyser…………………………………………………………..Jason - study buddy Rebecca McInroy……………………………………………………Holly - office woman Nathan Zellner……………………………………………………................................ Lee Atietie Tonwe……………………………………………………...……………..... Emeka Nina Sokol………………………………………………………….. Naomi - office mom Jillian Glantz………………………………………………..… Wynonna - office daughter Janet Pierson………………………………………………………....…………….. ...Sally D.J. Taitelbaum……………………………………………………....………...…….. A.C. Becca Cohen……………………………………………..……...… Annemarie - customer Moss Gillespie………………………………………………...….......... Tony - young boy Chad Nichols…………………………………………………...……………………. -
Reprinted from Harvard Magazine. for More Information, Contact Harvard Magazine, Inc
40 S!"#!$%!& - O'#(%!& 2015 Reprinted from Harvard Magazine. For more information, contact Harvard Magazine, Inc. at 617-495-5746 I) #*+, +-#!&.+!/ with Andrew Bujalski—in a chichi Man- Swanberg and Mark and Jay Duplass, have gained more main- hattan hotel, the morning of the theatrical release of his latest stream attention. They have expanded their ambitions to pro- movie, Results—were a scene in one of his films, it might go some- ducing, while racking up nearly twice as many acting, writing, thing like this. and directing credits. They’ve been quicker to bring Hollywood The camera would measure every inch of awkward distance names on board their projects; they’ve got TV shows on premium between the interlocutors, each seated on the edge of a high- cable. While consistently championed by critics, Bujalski has re- backed leather chair. With an amused eye, it would take in the mained less known, less visible, than these peers. wall of blown-glass sculptures along the stairway, and the el- Results visibly departs from his previous work, and at first evators showing black and white movies on tiny screens to keep glance seems crafted to have an appeal that’s less cult, more com- guests entertained between floors. But the essentialBujals focus wouldki ismercial. a mast It’s a romanticer comedy, and has a concrete plot. It’s his be the conversation’s turns and tics: how the journalist tries and first film shot on digital video, and the images feel distinctly fails to talk around the “m-word”—“Well, no ofone usesth thee mtermid dlcontemporary,e depth thes colors brighter and sharper. -
Auckland Programme
AUCKLAND 18 July – 4 August BECAUSE WE LOVE THIS CITY, WE WANT IT TO BE BETTER. BECAUSE THE BEST SCHOOLS AREN’T GOOD ENOUGH AND THE WORST ONES NEED A REVOLUTION. BECAUSE THE POLITICIANS GET IT WRONG AND SO DO THE ACADEMICS AND THE LAWYERS AND THE COPS AND THE ARTISTS AND THE BANKS. NOT ALWAYS, BUT TOO OFTEN, SO THINGS NEED TO BE SAID. EXPOSED. ARGUED. LAUGHED AT. BECAUSE THERE ARE SO MANY GOOD THINGS TO EAT, AND WEAR, AND SEE AND HEAR AND BE A PART OF (AND SOMETIMES THEY’RE NOT AS GOOD AS THEY SHOULD BE EITHER, WHICH ALSO NEEDS TO BE SAID). BECAUSE WE CHERISH SO MANY OF THE PEOPLE OF THIS CITY, AND WE WANT TO TELL YOU ABOUT THEM AND SHOW THEM TO YOU. BECAUSE OF ALL THIS: 1 YEAR (10 ISSUES) $68 SAVE 31% ON RETAIL WWW.MAGSHOP.CO.NZ/METRO/D306META ISN'T IT TIME YOU SUBSCRIBED? OR CALL 0800-624-746 AND QUOTE D306META 45th AUCKLAND INTERNATIONAL FILM FESTIVAL Presented by New Zealand Film Festival Trust under the distinguished patronage of His Excellency Lieutenant General The Right Honourable Sir Jerry Mateparae, GNZM, QSO, Governor-General of New Zealand 5)&$*7*$5)&"53&r4,:$*5:5)&"53&r3*"-50$*/&."4/&8."3,&5 5)*%(&8":$*/&."4r&7&/5$*/&."426&&/453&&5 "$"%&.:$*/&."4r-*%0$*/&." www.nziff.co.nz Director: Bill Gosden Festival Management: Lynn Smart General Manager: Sharon Byrne Publicist (Auckland): Anders Falstie-Jensen Publicist (Wellington): Rebecca McMillan Programmer: Sandra Reid Assistant Programmer: Michael McDonnell Animation Programmer: Malcolm Turner Incredibly Strange Programmer: Anthony Timpson Guest & Ticketing Coordinator (Auckland): -
Mumblecore" Movement
A CINEMA OF RECESSION: MICRO-BUDGETING, MICRO- DRAMA, AND THE "MUMBLECORE" MOVEMENT Maria San Filippo (Cineaction 85 2011) Mumblecore appears to be the first significant movement of 21st century U.S. film, our delegate to the contemporary orientation in global art cinema towards what the New York Timesʼ A.O. Scott has deemed “neo-neo realism.”1 Even more significantly, mumblecore models a viable alternative to struggling forms of “specialty” (art and independent) cinema production and distribution in American media markets. In the last decade, the theatrical market has grown increasingly dependent on high-concept, low-risk projects geared at teens and families. This industrial climate has proven both boon and hindrance to specialty cinema, for which new modes of distribution, promotion, and consumption sustain demand even as theatrical exhibition encounters constraint. Producers, sellers, critics, and audiences of specialty cinema within U.S. markets have adapted substantially over the past decade, developing strategies for survival in the wake of challenges from competitive media, changing consumption behaviors, and the economic crisis. Another New York Times film critic who has spilled a good deal of ink waxing ecstatic about mumblecore, Dennis Lim claims that the movement “signals a paradigm shift in how movies are made and how they find an audience.”2 With an eye to offering both an observational document and a discursive analysis of mumblecoreʼs aesthetic congruity, promotion and distribution tactics, and reception histories through careful consideration of its origins, ontology, and evolution, I aim more broadly to illuminate how contemporary specialty cinema is adopting impressive strategies of survival. Mumblecoreʼs micro-budgeted minimalist aesthetic, localized D.I.Y.