Aiming for Respect at Rensselaer Senior Board of the Polytechnic Responds to Recent Campus Postering
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
The Rensselaer Polytechnic
Wednesday, September 6, 2017 Volume CXXXVII, No. 1 • poly.rpi.edu FEATURES Page 8 SPORTS Page 3 EDITORIAL Page 6 Sidney Running through your Kochman woes, sans sixes Tyler Rose tinted lenses, or Carney lack thereof MashUp! teaches freshmen Men’s soccer takes home wins NRB Geography, acronyms, mixing, production skills against Sage, New Paltz Editorial and headaches CAMPUS EVENT Rensselaer welcomes 1700 to Troy PRESS PASS 2017 Serving the Rensselaer community since 1885 Inside Comics . 4 Editorial/Opinion . 6 Features . 8 Sports . 3 Connect Visit us online at: poly.rpi.edu Like us on Facebook: Sidney Kochman/The Polytechnic facebook.com/thepolytechnic DURING WELCOME FEST ON TUESDAY, AUGUST 29, MEMBERS OF THE INCOMING CLASS OF 2021 MADE their way down the Approach Follow us on Twitter and Instagram: and through Downtown Troy to kick off their first year at Rensselaer. Along the way, they were greeted by President Shirley Ann Jackson, @RPIPoly who handed out metal water bottles emblazoned with the Rensselaer seal and “Class of 2021.” Students high-fived and bumped fists with Grand Marshal Justin Etzine ’18, President of the Union Matthew Rand ’19, and members of the president’s cabinet. Troy Mayor Patrick Madden also spoke to greet the incoming class before dinner was served in Riverfront Park along the Hudson River. 2 • News Wednesday, September 6, 2017 poly.rpi.edu STUDENT SENATE Rules and Elections kicks off freshman campaigns Jonathan Caicedo/The Polytechnic THE STUDENT SENATE VOTED to approve the freshman elections handbook and nominated students to serve on a campus safety advisory committee. (file photo) David Raab A few senators noticed there were some errors within RPI community appointed by the president. -
Students Told to Leave Campus Division of Student Life Presents
Wednesday, March 21, 2018 Volume CXXXVIII, No. 22 • poly.rpi.edu FEATURES Page 8 FEATURES Page 8 EDITORIAL Page 4 Anna The importance of Koenig body positivity Staff Exercise your civic Red Sparrow relies on violence and The Neighbourhood’s new Editorial duty as a student graphic imagery album disappoints CAMPUS SECURITY Students told to leave campus Courtesy of Google THE MARKER PICTURED above indicates where two students were asked to leave either campus or stop handing out "Renew Rensselaer " buttons. Darby Burns were—which was by the cross- People’s and Burdett Avenue. the Student Bill of Rights which Senior Reporter walk just before the entrance to the According to the Washington appear to directly contradict your Houston Fieldhouse. Free Beacon, Vice President claim…Would you please direct WHILE HANDING OUT "RENEW RENSSELAER" Gardner said that, when he held for Strategic Communications me to the policy requiring prior buttons to the student population, out a tax map that he had brought Richie Hunter said in an email authorization to distribute materi- graduate student Michael Gardner and told the officers that it was that students can distribute ma- als on campus?” was ordered by Public Safety officers public property, he was informed terials on campus, but must have Hunter responded with the to either stop or leave campus. that it “is private now,” because prior authorization to do so. The section of the handbook related A couple of hours before the start “RPI has eminent domain over this Beacon article can be found at to the reservation of buildings, of the Big Red Freakout hockey property during hockey games.” poly.rpi.edu/s/eminent. -
PRODUKTIONSBOLAG Sverige
Uppdaterad 2012-10-23 (Svenska produktionsbolag och organisationer) B R A N S C H K O N T A K T E N SVERIGE__________________________ Tegelviksgatan 77 116 47 Stockholm PRODUKTIONSBOLAG Sverige Tel 070-7177670 Producent: Anne Ingvar Bolag som sysslar med långfilmsproduktion för bio E-post: [email protected] och/eller TV-produktion. Det bästa sättet att skapa Mobil 070-7177670 kontakt är att ringa först och höra om de tar emot manus. I Sverige och övriga Skandinavien behövs ATMO MEDIA NETWORK inte representation i form av agent eller manager. Götgatan 9 Men å andra sidan krävs att du är lite driven för att 116 46 Stockholm få ditt manus läst. Med andra ord: sälj dig själv. Ge Tel +46 (0)8 462 26 90 inte upp. Ligg på konstant. Producent: Kristina Åberg Producent: Kristina Åberg ACNE FILM [email protected] Lilla Nygatan 23 Telefon +46 (0)8 4622690 111 28 Stockholm Mobil +46 (0)70 768 31 33 Tel: 08-555 799 00 Filmer: Metropia, Gitmo, E-post: [email protected] Webbsida: http://www.acne.se/film AUTO IMAGES [email protected] Jakob Nilsgatan 19 Producent: Richard Björlin 211 21 Malmö [email protected] Tel: 040–661 01 60 Mobil 0736-999906 [email protected] Filmer: Bitchkram (2012), Känn ingen sorg (2013) www.autoimages.se Producent: Kristina Åberg ACTION FILM [email protected] Kungsholmsgatan 9 Telefon +46 (0)8 4622690 112 27 STOCKHOLM Mobil +46 (0)70 768 31 33 Tel: 08-673 28 38 E-post: [email protected] BOB FILM SWEDEN Webb: http://www.actionfilm.se/ Hökens gata 10 Anders Jacobsson Mobil 0708-15 33 25 11646 STOCKHOLM Hendrik Wadling Mobil 0705-33 80 16 Tel: 08-556 930 90 Ove Valeskog Mobil 0707-31 47 73 Webb: www.bobfilm.se Producenter: Jan Blomgren ANAGRAM FILMPRODUKTION [email protected] Lilla Fiskaregatan 5 Anna Croneman 222 22 Lund [email protected] Tel 046-159750 Mobil 070-5928168 Producent: Martin Persson Malin Nevander, utvecklingsansvarig [email protected] Karolina Heimburg, produktionschef Mobil 070-7710291 Filmer: Flimmer, Bröderna Hårdrock, Bröllopsfotografen, I skuggan av värmen, Ping- ANNE INGVAR FILM pongkingen, Lilla spöket Laban. -
Analyse Ludique De La Franchise Saw
Université de Montréal Analyse ludique de la franchise Saw Par Janie Brien Département d’études cinématographiques Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade M.A. en études cinématographiques Décembre 2012 © Janie Brien, 2012 Université de Montréal Faculté des études supérieures Ce mémoire intitulé : Analyse ludique de la franchise Saw présenté par : Janie Brien a été évalué(e) par un jury composé des personnes suivantes : Carl Therrien président-rapporteur Bernard Perron directeur de recherche Richard Bégin membre du jury i Résumé La saga Saw est une franchise qui a marqué le cinéma d’horreur des années 2000. Le présent mémoire tâchera d’en faire une étude détaillée et rigoureuse en utilisant la notion de jeu. En élaborant tout d’abord un survol du cinéma d’horreur contemporain et en observant la réception critique de la saga à travers l’étude de différents articles, ce travail tentera en majeure partie d’analyser la franchise Saw en rapport avec l’approche ludique du cinéma en général et celle adoptée par Bernard Perron. Cette étude, qui s’élaborera tant au niveau diégétique que spectatoriel, aura pour but de montrer l’importance de la place qu’occupe la notion de jeu dans cette série de films. Mots-clés Cinéma d’horreur, jeu, puzzle, torture. ii Abstract The Saw saga is a franchise that marked the horror film industry in the 2000’s. This report will try and give a thorough and detailled study while using the idea of a game. At the same time taking a cursory glance at contemporary horror films and observing how the critics were received by studying different articles. -
SELECTED FILMOGRAPHY Features
SELECTED FILMOGRAPHY Features Saw: The Organ Donor 2020 Serendipity Prod./Twisted Pictures/Lionsgate Death of a Ladies Man 2020 Corey Marr Prod. Inc./Don Carmody Prod./MCP American Hangman 2019 Hangman Justice Productions/Prod./Port Pictures Level 16 2018 Markham Street Films Jigsaw 2017 Twisted Pictures/Burg Koules Hoffman Productions A Dog’s Purpose 2017 Dreamworks/Walden Media/Amblin Ent./Reliance Ent. The Bye Bye Man 2017 Huayi Brothers Media/Intrepid Pictures/STX Ent. The Girl King 2015 Tryptych Media/Marianna Films Dolphin Tail 2 2014 Alcon Entertainment/Warner Bros. Entertainment The Hundred-Foot Journey 2014 Amblin Entertainment/Dreamworks Studios Map to the Stars 2014 Prospero Pictures/Sentient Entertainment Gallows Hill 2014 Launchpad Productions/A Bigger Boat Productions Ghosts of the Pacific 2014 The American Film Company Deadweight 2013 Neophyte Productions/BUCK Productions Wolves 2013 Copperheart Entertainment/TF1 Nurse 3D (3D Stereoscopic) 2012 Lionsgate Entertainment Still 2012 Mulmer Feed Company/Mongrel Media The Barrens 2012 The Genre Co./Empire Film and Ent./Anchor Bay Films Tall Man 2012 Minds Eye Ent./Radar Films/Image Entertainment Shark Night (3D Stereoscopic) 2011 Incentive Filmed Ent./Sierra Pictures The Day 2011 Parlay Media/Faction M/Anchor Bay Films Moon Point 2011 Federgreen Ent./Mythic Productions Harry Potter and the Deathly Hallows Part 1 (3D Stereoscopic) 2010 IMAX/Warner Bros. (2D-3D Conversion) Saw VII 2010 Lionsgate/Twisted Pictures/A Bigger Boat Mothers Day 2010 Rat Ent./Troma Ent./The Genre Co. Toilet -
Members of the Rensselaer Polytechnic Institute Board of Trustees
Lonni J. Friedman ’98 • Peter Flade ’13 Librarian, RSFA • Jeffrey Morton ’14 Equipment Chair, UPAC Lights • Gino Pellicano ’08 Business Manager, RPI Players • Michael DiBiccari ’10 • Arienne Poux Simon ’98 • Dr. Nimit Dhulekar ’15 President, Quizbowl Club • Bill McCormick ’10 President, Institute of Industrial Engineers • Jon H. Stevens ’84 Vice President of Marketing, RPI-Sage Ski Club • Paul Sicard ’79 President, Graduate Council Robert Langan ’14 Vice President, Rensselaer Music Association • Joan Bomfim ’96 ’99 President, W2SZ • Michael J. Franke ’10 Conductor, RPI Pep Band • Glenn Duffy ’11 Director, Swing Band • Dan Burt ’69 • Ben Levinn ’06 ’09 Editor in Chief, The Polytechnic • Stacie Manning ’08 Vice President, Rensselaer Music Association • Roddy Yagan ’12 Sigma Chi • Michael Fitzgerald ’00 President, RPI Players • Mark Kehmna ’10 Vincent Terranova ’13 Qualified Projectionist, UPAC Cinema • Jarell Bozarth ’07 • Jake Weiss ’15 • Jessica Mallow ’10 Senator • Christina Groves ’12 • Dr. James R. O’Donnell Jr. ’85 ’87 ’92 Vice Chair, Union Executive Board • Morin Adler ’10 • Cody J. Phillips ’09 Treasurer, RPA • Anasha Cummings ’12 2012 Poly Person of the Year • Jay J. Webb ’61 Former RAA President • Karen (Daniels) Yurek ’01 RPI Pep Band David Towle ’79 President, Sigma Phi Epsilon • John A. Krob ’78 • Kyle Sherman ’10 RPI Swimming & Diving • Maher Tahhan ’12 RPI Crew Team • Robert Pinelli ’93 Upsilon Pi Epsilon • Colton Fisher ’14 ’15 Union Executive Board • David Wolstencroft ’04 President, Macintosh Users Group • Joseph Greco 134th Grand Marshal • Eric Ray ’15 Union Executive Board • Kevin Panko ’02 UPAC Lights Jessica Johnson ’11 Social Chair, ARDA Theme Housing • Douglas Koekkoek ’87 RPI Ambulance/Rensselaer Rescue • Andrew Morrison 97th President of the Union • Alan Longhini ’10 Vice President, RPI Flying Club • Dr. -
The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication. -
The Contemporary American Horror Film Remake, 2003-2013
RE-ANIMATED: THE CONTEMPORARY AMERICAN HORROR FILM REMAKE, 2003-2013 Thesis submitted by Laura Mee In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2014 Abstract This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake. -
The Studio System and Conglomerate Hollywood
TCHC01 6/22/07 02:16 PM Page 11 PART I THE STRUCTURE OF THE INDUSTRY TCHC01 6/22/07 02:16 PM Page 12 TCHC01 6/22/07 02:16 PM Page 13 CHAPTER 1 THE STUDIO SYSTEM AND CONGLOMERATE HOLLYWOOD TOM SCHATZ Introduction In August 1995 Neal Gabler, an astute Hollywood observer, wrote an op-ed piece for The New York Times entitled “Revenge of the Studio System” in response to recent events that, in his view, signaled an industry-wide transformation (Gabler 1995). The previous year had seen the Seagram buyout of MCA-Universal, Time Warner’s purchase of the massive Turner Broadcasting System, and the launch of Dream- Works, the first new movie studio since the classical era. Then on August 1 came the bombshell that provoked Gabler’s editorial. Disney announced the acquisition of ABC and its parent conglomerate, Cap Cities, in a $19 billion deal – the second- largest merger in US history, which created the world’s largest media company. Disney CEO Michael Eisner also disclosed a quarter-billion-dollar deal with Mike Ovitz of Hollywood’s top talent agency, Creative Artists, to leave CAA and run the Disney empire. For Gabler, the Disney deals confirmed “a fundamental shift in the balance of power in Hollywood – really the third revolution in the relationship between industry forces.” Revolution I occurred nearly a century before with the formation of the Hollywood studios and the creation of a “system” that enabled them to con- trol the movie industry from the 1920s through the 1940s. Revolution II came with the postwar rise of television and the dismantling of the studio system by the courts, which allowed a new breed of talent brokers, “most notably Lew Wasserman of the Music Corporation of America [MCA],” to usurp control of the film industry. -
Tom's Celebrity Address List
Tom's Celebrity Address List - NOT FOR SALE 5/1/2017 Last Name First Name C/O (if applicable) Street Address City State Zip Code Zip_4 Country 10,000 Maniacs Paradise Artists PO Box 1821 Ojai CA 93024 -1821 USA 5 Seconds of Summer PO Box 603 Leichhardt NSW 2040 Australia 98 Degrees Spirit Media PO Box 43591 Phoenix AZ 85080 -3591 USA Aaron Catrin Harrispearson Management 64-66 Millman Street Bloomsbury, London WC1N 3EF UK Abbot Russ Harvey Voices 54-55 Margaret Street, 4th Floor London W1W 8SH UK Abbott Christie McGhee Entertainment 8730 W Sunset Blvd Ste 200 Los Angeles CA 90069 -2275 USA Abbott Diahanne 460 W Avenue 46 Los Angeles CA 90065 -5006 USA Abbott Vinnie Paul The Clubhouse 2250 Manana Dr Dallas TX 75220 -7100 USA ABC Television 77 W 66th St New York NY 10023 -6201 USA Aberg Siv 16 Mechanic St Carmel NY 10512 -2212 USA Abraham Spencer The Abraham Group, LLC 600 14th St NW Ste 500 Washington DC 20005 -2011 USA Abrahams Jonathan Untitled Entertainment 331 N Maple Dr Fl 2 Beverly Hills CA 90210 -3827 USA Abram Norm 259 Elizabeth Ridge Rd Carlisle MA 01741 -1328 USA Abramovich Roman Chelsea Football Club Stamford Bridge, Fulham Road London SW6 1HS UK Abril Victoria 41, 43 Rue de Cronstadt Paris 75015 France Abt Katharina Agentur Volker Stoerzel Konigsallee 140 Bochum 44789 Germany Acaba Joseph NASC - JSC, Astronaut Office, Mail Code CB 2101 Nasa Pkwy # 1 Houston TX 77058 -3607 USA Acaba Joseph 2620 Loganberry Cir Seabrook TX 77586 -1525 USA Acconci Vito 20 Jay St Ste 215 Brooklyn NY 11201 -8319 USA Ace of Base Nortullsgatan 53 Stockholm 11345 Sweden Ackroyd David 273 N Many Lakes Dr Kalispell MT 59901 -8344 USA Acton Anna Rolf Kruger Management 205 Chudleigh Road London SE4 1EG UK Acton Loren W. -
ID Name 112495 1 AMERICA 100003 1 EYED DOG LTD 104562 10 BY
ID name 112495 1 AMERICA 100003 1 EYED DOG LTD 104562 10 BY 10 ENTERTAINMENT 119140 100.000VOLTS.TV 119962 101ST STREET ENTERTAINMENT 114635 101ST STREET PRODUCTIONS 118840 101ST STREET TELEVISION 113543 11TH STREET PRODUCTIONS 119499 127 WALL PRODUCTIONS 115680 13 PRODUCTION 106472 1492 PICTURES 100008 1492 PRODUCTIONS 106474 18 HUSKY 119951 1895 FILMS 117848 18TH STREET FILM 106475 19 ENTERTAINMENT 100010 19 TELEVISION 110681 1OP1 TV EN VIDEO PRODUCTIES BV 113969 2 ROOSTERS MEDIA 112499 21 LAPS ENTERTAINMENT 119887 211 PRODUCTIONS 118463 22 PLATES 117840 24 DOC 104567 24FPS FEAUTURES 108082 24FPS PRODUCTIONS 110683 26 FILMS 118974 2LE MEDIA 109600 2MEDIA PRODUCTIONS 109601 3 ART ENTERTAINMENT 100018 3 ARTS ENTERTAINMENT 119967 3 BALL ENTERTAINMENT 110687 3 BALL PRODUCTIONS 113973 3 DOGS AND A PONY 113947 3 IN THE BOX 100022 3 SISTERS ENTERTAINMENT 119621 333 PRODUCTIONS 117690 343 INDUSTRIES 117595 360 PICTURES 119197 3DD ENTERTAINMENT LIMITED 112504 3J S ENTERTAINMENT 112505 4 BY 2 119495 4 EVER CHRISTMAS PRODUCTIONS 100026 4 TO 6 FOOT 106483 40 ACRES AND A MULE FILMWORKS Videma: unknown rightsholders as per June 30, 2020 1 118263 43 FILMS 113199 44 BLUE PRODUCTIONS 119462 5STAR BROADCASTING LTD 118045 72 PRODUCTIONS 106485 777 FILMS CORPORATION 114377 7ATE9 ENTERTAINMENT 118343 8:38 PRODUCTIONS 119790 87ELEVEN 118206 8816522 CANADA INC. 117620 9 STORY MEDIA GROUP 119415 9.14 PICTURES 119682 93 METROS 118591 9STORIES 100050 A BAND APART 119060 A BETTY PRODUCTION 116506 A GRAND ELEPHANT 118201 A PLUS IMAGE 3 119777 A RED ARROW STUDIOS COMPANY 104576 A S PANORAMA FILM INT 115151 A SCHOOL PRODUCTIONS 119436 A SINGLE SHOT PRODUCTIONS 104581 A SMITH AND CO 112509 A SON OF NATE AND JILL PRODUCTIONS 104578 A TEAM PRODUCTIONS 110698 A VERY GOOD PRODUCTION INC 117624 A&E INDIEFILMS 119788 A&E NETWORK 119722 A+E NETWORKS 116416 A.