DOCSLIB.ORG

Shadow Dancer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Shadow Dancer W-4590:Berlinale 2012 30.01.2012 18:14 Uhr Seite 32 WETTBEWERB AUSSER KONKURRENZ SHADOW DANCER James Marsh Schon in ihrer Kindheit hat Colette die blutigen Folgen des Nord - Großbritannien/Irland 2012 irlandkonflikts zu spüren bekommen. Ihr kleiner Bruder wurde seiner- Länge 100 Min. · Format 35 mm, Cinemascope, DCP · Farbe zeit von britischen Sicherheitskräften getötet. Jahre später ist Colette selbst Mutter und noch immer mit ihrer Familie in den Kampf verwi- STABLISTE ckelt. Bei dem Versuch, eine Bombe in einem Londoner U-Bahnhof zu Regie James Marsh deponieren, wird Colette festgenommen. Mac, ein Offizier des briti- Buch Tom Bradby, nach dem Roman von Tom schen Geheimdienstes, stellt sie vor die Wahl: Wenn sie ihre Familie Bradby ausspioniert, wird sie ihren kleinen Sohn wiedersehen, wenn sie Kamera Rob Hardy Foto: Jonathan Hession Jonathan Foto: schweigt, erwartet sie eine Haftstrafe von 25 Jahren. SHADOW DANCER Schnitt Jinx Godfrey ist ein Psychothriller im wahrsten Sinne des Wortes: Im Mittelpunkt Musik Dickon Hinchliffe BIOGRAFIE Geboren in Truro, Großbritannien, Production Design Jon Henson aufgewachsen in Cornwall und London. Marsh steht nicht die äußere Handlung, vielmehr reflektiert der Film die Gewissenskonflikte und das moralische Dilemma seiner Helden. Wäh - Kostüm Lorna Marie Mugan ist sowohl Dokumentarfilm- als auch Spiel - Maske Lynn Johnston, Eileen Buggy rend der Geheimdienstagent immer mehr um die Sicherheit von film regisseur. Mit MAN ON WIRE, einem Film Casting Nina Gold über den Hochseilkünstler Philippe Petit, Colette besorgt ist, beginnt diese ein riskantes Dop pel spiel zu treiben Produzent Chris Coen gewann er 2009 einen Oscar für den besten und Mac falsche Gefühle vorzuspielen. James Marsh zeigt den Nord - Executive Producers Joe Oppenheimer, Dokumentarfilm. Sein Film PROJECT NIM irlandkonflikt aus der Perspektive einer Frau, deren Alltag ein ein zi ger Brahim Chioua, Norman Merry, Vincent wurde 2011 mit einem Preis in Sundance Überlebenskampf ist – und die fest entschlossen ist, für sich und ihren Maraval, Tom Bradby, Rita Dagher ausgezeichnet. Sohn eine andere Zukunft zu schaffen. Associate Producer Katie Goodson-Thomas Co-Produktion Element Pictures, Dublin BIOGRAPHY Born in Truro in Great Britain, he Co-Produzenten Andrew Lowe, Ed Guiney, grew up in Cornwall and London. A documen- Camille Gatin tary and feature film director, he received an Academy Award in 2009 for Best Documentary DARSTELLER for his film MAN ON WIRE about high wire Mac Clive Owen artist Philippe Petit, and his recent documen- Collette Andrea Riseborough tary PROJECT NIM received an award at Kate Fletcher Gillian Anderson Sundance in 2011. Gerry Aidan Gillen Connor Domhnall Gleeson FILMOGRAFIE 1990 THE ANIMATOR OF Ma Bríd Brennan PRAGUE, TV-Dokumentation · 1996 THE Kevin Mulville David Wilmot BURGER & THE KING: THE LIFE & CUISINE OF Ian Gilmore Stuart Graham ELVIS PRESLEY, TV-Dokumentation · 1999 Brendan Martin Mccann WISCONSIN DEATH TRIP · 2005 THE TEAM, Dokumen tar film · THE KING · 2008 MAN ON PRODUKTION WIRE · 2009 RED RIDING: IN THE YEAR OF OUR Unanimous Entertainment LORD 1980 · 2011 PROJECT NIM, Dokumen - London, Großbritannien tarfilm · 2012 SHADOW DANCER +44 20 76365663 Clive Owen, Andrea Riseborough Foto: Rob Hardy [email protected] Even as a child, Collette was to experience at first hand the bloody WELTVERTRIEB consequences of the conflict in Northern Ireland when her little Wildbunch International brother was killed by British security forces. Years later, Collette is her- Paris, Frankreich self now a mother and, like the rest of her family, still involved in the +33 1 53015030 Republican cause. When she is arrested for her part in an aborted [email protected] IRA bomb plot in London, a British secret service officer offers her a choice: lose everything including her little son and go to prison for twenty-five years or return to Belfast to spy on her own family. SHADOW DANCER is a psychological thriller in the truest sense of the term: it does not merely focus on the external elements of the plot; it also explores the moral dilemmas that face its protagonists. When the secret service man begins to worry about Collette’s safety she decides to feign interest in the agent – a duplicitous, risky game. Director James Marsh depicts the conflict in Northern Ireland from the point of view of a woman whose daily life is a constant struggle for survival but who is nonetheless determined to create a better future for her- self and her son. 32 BERLINALE 2012.
Load more

Recommended publications
  • Man on Wire Discussion Guide
    www.influencefilmclub.com Man on Wire Discussion Guide Director: James Marsh Year: 2008 Time: 94 min You might know this director from: Project Nim (2011) Shadow Dancer (2012) The King (2005) FILM SUMMARY MAN ON WIRE is the story of French tightrope walker Philippe Petit who, on August 7, 1974, broke into the newly constructed Twin Towers of Manhattan. After months of painstaking preparations, he managed to enter the buildings during the night and string a wire between the two towers. For the next 45 minutes, Philippe Petit walked, danced, kneeled, and laid down on the wire - an expeirence he had dreamt of ever since he read about the Twin Towers six years before. Using contemporary interviews, archival footage, and Philippe’s own creations, this film tells the story of Philippe’s previous walks between towers such as the Notre Dame and the Sydney Harbour Bridge. Viewers learn about his passions, his friendships, and how he accomplished his Twin Towers walk, from getting the wire into the towers and hiding from guards to mounting the wire and taking the first step. The result is a story of daring, beauty, dedication to the point of insanity, loyalty and heartbreak, and the firm belief that nothing is impossible. Discussion Guide Man on Wire 1 www.influencefilmclub.com FILM THEMES On the surface, MAN ON WIRE may appear to be about one man’s determination to achieve his dream, but the story reveals a lot about human nature, from friendship and loyalty to dreaming beyond the norm “I must be a and achieving the impossible.
    [Show full text]
  • Read Ebook {PDF EPUB} Super Active Film Making by James Marsh
    Read Ebook {PDF EPUB} Super Active Film Making by James Marsh James Marsh is the author of super.activ Film Making (0.0 avg rating, 0 ratings, 0 reviews), Film Making (0.0 avg rating, 0 ratings, 0 reviews, published... Nov 07, 2014 · James Marsh: In terms of scale of filmmaking and resources, it absolutely was and it was so welcome to have a bigger budget. I’ve always worked very efficiently on small budgets, both in ... May 30, 2013 · Now, 50 Marsh consistently crafts films that viscerally delve into the human experience. His deft navigation between documentary and feature have inspired comparisons to Werner Herzog. Marsh’s third narrative feature, Shadow Dancer, is no different. Set in Belfast in the early ’90s, the morose, slow-burning thriller eschews political intricacies and instead focuses on Collette McVeigh (an vulnerable and nuanced Andrea Riseborough), a single mother and member of an active … Project Nim, is also directed by Marsh, but it doesn't have the same suspense that that film had. Man on Wire kept me interested in how Petit was able to achieve his goal, he was a very charismatic figure, and on the other hand Project Nim was kind of slow paced and didn't have any interesting characters…3.6/5(3K)Director: James MarshProduce Company: BBC Films, Red Box Films, Passion PicturesTeam of Artists Transformed Eddie Redmayne Into Stephen ...https://variety.com/2014/artisans/production/large...Nov 06, 2014 · He starts film at 21, an able- bodied, fresh-faceed, young man with whole world in front of him.
    [Show full text]
  • Top 30 Films
    March 2013 Top 30 Films By Eddie Ivermee Top 30 films as chosen by me, they may not be perfect or to everyone’s taste. Like all good art however they inspire debate. Why Do I Love Movies? Eddie Ivermee For that feeling you get when the lights get dim in the cinema Because of getting to see Heath Ledger on the big screen for the final time in The Dark Knight Because of Quentin Tarentino’s knack for rip roaring dialogue Because of the invention of the steadicam For saving me from the drudgery of nightly weekly TV sessions Because of Malik’s ability to make life seem more beautiful than it really is Because of Brando and Pacino together in The Godfather Because of the amazing combination of music and image, e.g. music in Jaws Because of the invention of other worlds, see Avatar, Star Wars, Alien etc. For making us laugh, cry, sad, happy, scared all in equal measure. For the ending of the Shawshank Redemption For allowing Jim Carey lose during the 1990’s For arranging a coffee date on screen of De Niro an Pacino For allowing Righteous Kill to go straight to DVD so I could turn it off For taking me back in time with classics like Psycho, Wizard of Oz ect For making dreams become reality see E.T, The Goonies, Spiderman, Superman For allowing Brad Pitt, Michael Fassbender, Tom Hardy and Joesph Gordon Levitt ply their trade on screen for our amusement. Because of making people Die Hard as Rambo strikes with a Lethal Weapon because he is a Predator who is also Rocky.
    [Show full text]
  • Pocket Product Guide 2006
    THENew Digital Platform MIPTV 2012 tm MIPTV POCKET ISSUE & PRODUCT OFFILMGUIDE New One Stop Product Guide Search at the Markets Paperless - Weightless - Green Read the Synopsis - Watch the Trailer BUSINESSC onnect to Seller - Buy Product MIPTVDaily Editions April 1-4, 2012 - Unabridged MIPTV Product Guide + Stills Cher Ami - Magus Entertainment - Booth 12.32 POD 32 (Mountain Road) STEP UP to 21st Century The DIGITAL Platform PUBLISHING Is The FUTURE MIPTV PRODUCT GUIDE 2012 Mountain, Nature, Extreme, Geography, 10 FRANCS Water, Surprising 10 Francs, 28 Rue de l'Equerre, Paris, Delivery Status: Screening France 75019 France, Tel: Year of Production: 2011 Country of +33.1.487.44.377. Fax: +33.1.487.48.265. Origin: Slovakia http://www.10francs.f - email: Only the best of the best are able to abseil [email protected] into depths The Iron Hole, but even that Distributor doesn't guarantee that they will ever man- At MIPTV: Yohann Cornu (Sales age to get back.That's up to nature to Executive), Christelle Quillévéré (Sales) decide. Office: MEDIA Stand N°H4.35, Tel: + GOOD MORNING LENIN ! 33.6.628.04.377. Fax: + 33.1.487.48.265 Documentary (50') BEING KOSHER Language: English, Polish Documentary (52' & 92') Director: Konrad Szolajski Language: German, English Producer: ZK Studio Ltd Director: Ruth Olsman Key Cast: Surprising, Travel, History, Producer: Indi Film Gmbh Human Stories, Daily Life, Humour, Key Cast: Surprising, Judaism, Religion, Politics, Business, Europe, Ethnology Tradition, Culture, Daily life, Education, Delivery Status: Screening Ethnology, Humour, Interviews Year of Production: 2010 Country of Delivery Status: Screening Origin: Poland Year of Production: 2010 Country of Western foreigners come to Poland to expe- Origin: Germany rience life under communism enacted by A tragicomic exploration of Jewish purity former steel mill workers who, in this way, laws ! From kosher food to ritual hygiene, escaped unemployment.
    [Show full text]
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar
    WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
    [Show full text]
  • The Great Documentaries II Instructor: Michael Fox Mondays, 12 Noon-1:30Pm, June 7-28, 2021 [email protected]
    The Great Documentaries II Instructor: Michael Fox Mondays, 12 noon-1:30pm, June 7-28, 2021 [email protected] With nonfiction films entrenched as a genre of mainstream movie entertainment, we examine standouts of the contemporary documentary. The five-session lineup is comprised of a trio of films about recent historical events bookended by personal documentaries. This lecture and discussion class (students will view the films on their own prior to class) encompasses perennial issues such as the responsibility of the filmmaker to his/her subject, the slipperiness of truth, the tools of storytelling and the use of poetry and metaphor in nonfiction. Four of the films can be streamed for free (three on Kanopy, one on Hoopla) and the other can be rented from Amazon Prime and other platforms. All the films are probably available via Netflix’s DVD plan. The Great Documentaries II is a historical survey that follows and builds on Documentary Touchstones I and II, which I taught at OLLI a few years ago. I’ve appended a list of those films and more information at the end of the syllabus, if you have never seen them and wish to journey further back into the history of documentaries. Most of the titles are available to watch for free on YouTube, although the quality of the prints varies. June 7 Sherman’s March (1986, Ross McElwee, 158 min) Kanopy After his girlfriend leaves him, McElwee voyages along the original route followed by Gen. William Sherman. Rather than cutting a swath of destruction designed to force the Confederate South into submission, McElwee searches for love, camera in hand, “training his lens with phallic resolve on every accessible woman he meets.” Grand Jury Prize at Sundance, named one of the Top 20 docs of all time by the International Documentary Association, added to the Library of Congress National Film Registry in 2000.
    [Show full text]
  • TEXAS KILLING FIELDS Starring
    ANCHOR BAY FILMS Presents In a BLUE LIGHT BLOCK/HANSON WATLEY ENTERTAINMENT Production In association with INFINITY MEDIA TEXAS KILLING FIELDS Starring: SAM WORTHINGTON JEFFREY DEAN MORGAN JESSICA CHASTAIN CHLOЁ GRACE MORETZ JASON CLARKE ANNABETH GISH SHERRYL LEE And STEPHEN GRAHAM PRESS NOTES Runtime is 105 minutes. Rated R for violence and language including some sexual references. FIELD NEW YORK LOS ANGELES LOS ANGELES ONLINE Sumyi Khong Betsy Rudnick Chris Libby Chris Regan Mac McLean Anchor Bay Films Falco Ink Ginsberg/Libby Ginsberg/Libby Click Communications 9242 Beverly Blvd 850 Seventh Avenue 6255 Sunset Blvd 6255 Sunset Blvd 13029-A Victory Blvd., #509 Beverly Hills, CA 90210 New York, NY 10019 Los Angeles, CA 90028 Los Angeles, CA 90028 North Hollywood, CA 91606 P: 424.204.4164 P: 212.445.7100 P: 323.645.6812 P: 323.645.6814 P: 818.392.8863 [email protected] [email protected] [email protected] [email protected] mac@clickcommunications TEXAS KILLING FIELDS Synopsis Inspired by true events, this tense and haunting thriller follows Detective Souder (Sam Worthington), a homicide detective in a small Texan town, and his partner, transplanted New York City cop Detective Heigh (Jeffrey Dean Morgan) as they track a sadistic serial killer dumping his victims’ mutilated bodies in a nearby marsh locals call “The Killing Fields.” Though the swampland crime scenes are outside their jurisdiction, Detective Heigh is unable to turn his back on solving the gruesome murders. Despite his partner’s warnings, he sets out to investigate the crimes. Before long, the killer changes the game and begins hunting the detectives, teasing them with possible clues at the crime scenes while always remaining one step ahead.
    [Show full text]
  • SHADOW DANCER Un Film De James Marsh
    Dossier pédagogique SHADOW DANCER Un film de James Marsh Fiche technique du film : Un film de James Marsh, d’après un scénario de Tom Bradby, produit par Chris Coen Avec : Andrea Riseborough, Clive Owen, Gillian Anderson, Aidan Gillen, Domhnall Gleeson, Brid Brennan, David Wilmot, Stuart Graham, Martin McCann Année : 2012 Langue : Anglais Pays : Irlande – Royaume Uni - France Durée : 102 minutes Producteurs : Andrew Lowe, Ed Guiney Synopsis : Collette, jeune veuve, est une républicaine, vivant à Belfast, avec sa mère et ses frères, de fervents activistes de l’IRA. Suite à son arrestation après un attentat avorté au cœur de Londres, Mac, un agent secret du MI5, lui offre le choix : passer 25 années en prison et ainsi perdre ce qu’elle a de plus cher, son fils, ou espionner sa propre famille. Elle décide de faire confiance à Mac, et retourne parmi les siens. Sommaire du dossier : Présentation Dans les programmes du lycée Activités Dossier pédagogique réalisé par Jean-Luc Breton, professeur d'anglais au Lycée Racine, Paris (75008) pour l'APLV (Association des Professeurs de Langues Vivantes) http://www.aplv-languesmodernes.org) contact : [email protected] Présentation : Le film de James Marsh (2012), qui sortira sur les écrans français le 6 février 2013, se prête particulièrement bien à une exploitation pédagogique, du fait de son inscription dans le contexte politique et culturel spécifique de l’Irlande du Nord des années 1990. L’un des mérites du film est de ne pas développer un discours didactique sur ce contexte, mais d’en suggérer constamment la prégnance, à travers les actions et les choix de la protagoniste et de ses proches.
    [Show full text]
  • An Open Letter in Support of Joe Berlinger and the Documentary Filmmaking Team of "Crude"
    May 12, 2010 An open letter in support of Joe Berlinger and the documentary filmmaking team of "Crude" As members of the documentary film community, we the undersigned strongly object to the Honorable Judge Lewis A. Kaplan's ruling last week in the case involving our colleague Joe Berlinger, the Chevron Corporation, and Berlinger's 600 hours of raw footage shot during production of his documentary film "Crude". Judge Kaplan sided with Chevron and ruled that Berlinger must turn over all of his raw footage to Chevron for their use in the lawsuit discussed in the film. Berlinger and his legal team plan to appeal the ruling. In cases such as these involving access to a journalist's work material, whether they involve a newspaper or online reporter, a radio interviewer, a television news producer, or a documentary filmmaker, it is understood that First Amendment protection of the journalist's privilege is never absolute. Typically, if such privilege is successfully rebutted in court, a turn-over order demanding a document or other thing is issued and the journalist must comply or face the consequences. Therefore, it is astounding to us that Judge Kaplan demanded that all of the footage shot during the production of the film be handed over to the attorneys of Chevron, given that the privilege exists primarily to protect against the wholesale exposure of press files to litigant scrutiny. While we commend Judge Kaplan for stating "that the qualified journalists' privilege applies to Berlinger's raw footage", we are nonetheless dismayed both by Chevron's attempts to go on a "fishing expedition" into the edit rooms and production offices of a fellow documentary filmmaker without any particular cause or agenda, and the judge's allowance of said intentions.
    [Show full text]
  • IB FILM SL & HL Year 1 Mr. London SUMMER READING
    IB FILM SL & HL year 1 Mr. London SUMMER READING & VIEWING WHAT YOU WILL NEED: ● Either a public library card (FREE)/a Netflix, Hulu, or FilmStruck account ($7.99 - $11 month - but usually these services offer a free trial!) ● Internet access ● A journal/notebook for jotting down observations ● Mr. London’s email: o [email protected] REQUIREMENTS (to be completed ​by the first day of class in August​): 1) Select 10 films​ from the list provided (though watch as many as you can!). You MUST watch 1 film from each of the categories, and the rest is your choice. 2) Write a response (1-2 pages each) for each film. a. If you have access to a computer/laptop, you may type up your responses in a continuing Google document, 12 point Open Sans, and double-spaced (to be shared with me by the first day of class). b. Each film’s response should be in paragraph form and should be about your observations, insights, comments, and connections that you are making between the readings and the films you watch. c. Also, your responses will be much richer if you research information about the films you watch ​before ​you write – ​simply stating your opinion will not give you much material to write about​, and you will not be able to go beyond your own opinion – for example, read online articles/reviews about each film by scholars/critics ​(New York Times, The Guardian, rogerebert.com, IMDB.com, filmsite.org, etc).​ You can also watch awesome video essays on YouTube. Click HERE​ for a great list of YouTube Channels.
    [Show full text]
  • Philippe Petit
    Philippe Petit Philippe Petit (French pronunciation: [filip pəti]; born 13 I started to discard those tricks and to reinvent August 1949) is a French high-wire artist who gained my art.[3] fame for his high-wire walk between the Twin Towers of the World Trade Center in New York City, on the morn- In June 1971, Petit secretly installed a cable between the [1] ing of August 7, 1974. For his unauthorized feat (which two towers of Notre Dame de Paris. On the morning of [2] he referred to as “le coup” ) 1,350 feet (400 metres) June 26, 1971, he “juggled balls” and “pranced back and above the ground, he rigged a 450-pound (200-kilogram) forth” as the crowd below applauded.[4] cable and used a custom-made 26-foot (8-metre) long, 55-pound (25-kilogram) balancing pole. He performed for 45 minutes, making eight passes along the wire. The next week, he celebrated his 25th birthday. All charges 2 World Trade Center walk were dismissed in exchange for his doing a performance in Central Park for children. Before his Twin Towers walk, Petit was known to New Yorkers for his frequent tightrope-walking performances Since then, Petit has lived in New York, where he has and magic shows in the parks of New York, especially been artist-in-residence at the Cathedral of St. John the Washington Square Park. Petit’s most famous perfor- Divine, also a location of other aerial performances. He mance was in August 1974, conducted on a wire between has done wire walking as part of official celebrations in the roofs of the Twin Towers of the World Trade Cen- New York, across the United States, and in France and ter in Manhattan, a quarter mile above the ground.
    [Show full text]
  • CMSI Journey to the Academy Awards -- Race and Gender in a Decade of Documentary 2008-2017 (2-20-17)
    ! Journey to the Academy Awards: A Decade of Race & Gender in Oscar-Shortlisted Documentaries (2008-2017) PRELIMINARY KEY FINDINGS Caty Borum Chattoo, Nesima Aberra, Michele Alexander, Chandler Green1 February 2017 In the Best Documentary Feature category of the Academy Awards, 2017 is a year of firsts. For the first time, four of the five Oscar-nominated documentary directors in the category are people of color (Roger Ross Williams, for Life, Animated; Ezra Edelman, for O.J.: Made in America; Ava DuVernay, for 13th; and Raoul Peck, for I Am Not Your Negro). In fact, 2017 reveals the largest percentage of Oscar-shortlisted documentary directors of color over at least the past decade. Almost a third (29%) of this year’s 17 credited Oscar-shortlisted documentary directors (in the Best Documentary Feature category) are people of color, up from 18 percent in 2016, none in 2015, and 17 percent in 2014. The percentage of recognized women documentary directors, while an increase from last year (24 percent of recognized shortlisted directors in 2017 are women, compared to 18 percent in 2016), remains at relatively the same low level of recognition over the past decade. In 2016, as a response to widespread criticism and negative media coverage, the Academy of Motion Picture Arts & Sciences welcomed a record number of new members to become part of the voting class to bestow Academy Awards: 683 film professionals (46 percent women, 41 percent people of color) were invited in.2 According to the Academy, prior to this new 2016 class, its membership was 92 percent white and 75 percent male.3 To represent the documentary category, 42 new documentary creative professionals (directors and producers) were invited as new members.
    [Show full text]