Open Access in Order to Make a Midnight Movie
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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. -
Feature • the Worst Movie Ever!
------------------------------------------Feature • The Worst Movie Ever! ----------------------------------------- Glenn Berggoetz: A Man With a Plan By Greg Locke with the film showing in L.A., with the name of the film up line between being so bad that something’s humorous and so on a marquee, at least a few dozen people would stop in each bad it’s just stupid. [We shot] The Worst Movie Ever! over The idea of the midnight movie dates back to the 1930s night to see the film. As it turned out, the theater never put the course of two days – a weekend. I love trying to do com- when independent roadshows would screen exploitation the title of the film up on the marquee, so passers-by were pletely bizarre, inane things in my films but have the charac- films at midnight for the sauced, the horny and the lonely. not made aware of the film screening there. As it turned out, ters act as if those things are the most natural, normal things The word-of-mouth phenomenon really began to hit its only one man happened to wander into the theater looking to in the world.” stride in the 50s when local television stations would screen see a movie at midnight who decided that a film titled The Outside of describing the weird world of Glenn Berg- low-budget genre films long after all the “normal” people Worst Movie Ever! was worth his $11. goetz, the movie in question is hard to give an impression of were tucked neatly into bed. By the 1970s theaters around “When I received the box office number on Monday, I with mere words. -
Best Enjoyed As Property, Shoe and Hairdo Porn.”
”Best enjoyed as property, shoe and hairdo porn.” Creating New Vocabulary in Present-Day English: A Study on Film-Related Neologisms in Total Film Rauno Sainio Tampere University School of Language, Translation and Literary Studies English Philology Pro Gradu Thesis May 2011 ii Tampereen yliopisto Englantilainen filologia Kieli-, käännös- ja kirjallisuustieteiden yksikkö SAINIO, RAUNO: ”Best enjoyed as property, shoe and hairdo porn.” Creating New Vocabulary in Present-Day English: A Study on Film-Related Neologisms in Total Film Pro gradu -tutkielma, 135 sivua + liite (6 sivua) Kevät 2011 Tämän pro gradu -tutkielman tarkoituksena oli tutustua eri menetelmiin, joiden avulla englannin kielen sanastoa voidaan laajentaa. Lähdekirjallisuudesta kerättyä tietoa käsiteltiin tutkielman teoriaosuudessa, minkä jälkeen empiirinen osuus selvitti, kuinka kyseisiä menetelmiä sovelletaan käytännössä nykyenglannissa. Tämän selvittämiseksi käytiin manuaalisesti läpi korpusaineisto, joka koostui isobritannialaisen Total Film -elokuvalehden yhden vuoden aikana julkaistuista numeroista. Elokuvajournalismissa käytettävä kieli valittiin tutkimuksen kohteeksi kirjoittajan henkilökohtaisen kiinnostuksen vuoksi sekä siksi, että elokuva on paitsi merkittävä, myös jatkuvasti kehittyvä taiteen ja populaarikulttuurin muoto. Niinpä tämän tutkielman tarkoitus on myös tutustuttaa lukija sellaiseen sanastoon, jota alaa käsittelevä lehdistö nykypäivänä Isossa-Britanniassa käyttää. Korpuksen pohjalta koottu, 466 elokuva-aiheista uudissanaa käsittävä sanaluettelo analysoitiin -
Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation
Intellectual Property Brief Volume 8 Issue 2 Article 1 2016 Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation Mynda Rae Krato George Washington University Follow this and additional works at: https://digitalcommons.wcl.american.edu/ipbrief Part of the Intellectual Property Law Commons Recommended Citation Krato, Mynda Rae (2016) "Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation," Intellectual Property Brief: Vol. 8 : Iss. 2 , Article 1. Available at: https://digitalcommons.wcl.american.edu/ipbrief/vol8/iss2/1 This Article is brought to you for free and open access by the Washington College of Law Journals & Law Reviews at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in Intellectual Property Brief by an authorized editor of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. Fictious Flattery: Fair Use, Fan Fiction, and the Business of Imitation This article is available in Intellectual Property Brief: https://digitalcommons.wcl.american.edu/ipbrief/vol8/iss2/1 FICTITIOUS FLATTERY: FAIR USE, FANFICTION, AND THE BUSINESS OF IMITATION Mynda Rae Krato INTRODUCTION ............. 92 L Background............................................................. 94 A. Foundational Statutory and Case Law..................................94 B. Fanfiction Case Law..............................................96 C. Popular Culture and the Power of Fandoms ............................. -
Dora Budor New Galerie
DORA BUDOR NEW GALERIE Selected press June 2015 From Mousse magazine Interview MOUSSE 49 52 D. BUDOR THE WAY THEY HAVE SEX IS TO CUDDLE, THEN THIS STRANGE ECTOPLASM BY KATHY NOBLE Kathy Noble met with Dora Budor —an artist of Croatian origin based in New York—to discuss the influence of cinema on her work, interweaving the staged fiction of film with lived experience: ranging from cyberpunk and symbiogenesis, to the endless worries and politics of being a human body and mind, via physical scars, infection, illness, ageing, the survival of our psyche, and the body’s lymphatic relationship to physical environments—all of which manifest in Budor’s work. Discussing ideas related to science fiction —from the disturbing visions of David Cronenberg, to popular Hollywood blockbusters—they consider cinema as a space in which alternative worlds can be constructed to form a social commentary that addresses contemporaneous issues and anxieties; from ecological apocalypse to the evolution of artificial intelligence. And situated this in a wider consideration of the affect of conscious and unconscious fantasy in relation to “real” experience. Opposite - Mental Parasite Retreat 1, 2014. Courtesy: the artist and New Galerie, Paris DORA BUDOR NEW GALERIE June 2015 From Mousse magazine Interview MOUSSE 49 THE WAY THEY HAVE SEX (...) 53 52 D. BUDOR K. NOBLE THE WAY THEYLIQUID COMES HAVE SEX ISOUT TO OF CUDDLE, THENDIFFERENT THIS STRANGEPARTS OF ECTOPLASMTHEIR BODIES Dora Budor (b. 1984 in Croatia) lives and works in New York. Her work considers the representation of emotional and physical experience within the ideological subtexts that occur in mainstream cinema—particularly within Hollywood production methods, where ideas transfer between different states of materialization, fictionalization and digitalization. -
The Cultural Traffic of Classic Indonesian Exploitation Cinema
The Cultural Traffic of Classic Indonesian Exploitation Cinema Ekky Imanjaya Thesis submitted for the degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies December 2016 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract Classic Indonesian exploitation films (originally produced, distributed, and exhibited in the New Order’s Indonesia from 1979 to 1995) are commonly negligible in both national and transnational cinema contexts, in the discourses of film criticism, journalism, and studies. Nonetheless, in the 2000s, there has been a global interest in re-circulating and consuming this kind of films. The films are internationally considered as “cult movies” and celebrated by global fans. This thesis will focus on the cultural traffic of the films, from late 1970s to early 2010s, from Indonesia to other countries. By analyzing the global flows of the films I will argue that despite the marginal status of the films, classic Indonesian exploitation films become the center of a taste battle among a variety of interest groups and agencies. The process will include challenging the official history of Indonesian cinema by investigating the framework of cultural traffic as well as politics of taste, and highlighting the significance of exploitation and B-films, paving the way into some findings that recommend accommodating the movies in serious discourses on cinema, nationally and globally. -
American Independent Cinema 1St Edition Pdf, Epub, Ebook
AMERICAN INDEPENDENT CINEMA 1ST EDITION PDF, EPUB, EBOOK Geoff King | 9780253218261 | | | | | American Independent Cinema 1st edition PDF Book About this product. Hollywood was producing these three different classes of feature films by means of three different types of producers. The Suburbs. Skip to main content. Further information: Sundance Institute. In , the same year that United Artists, bought out by MGM, ceased to exist as a venue for independent filmmakers, Sterling Van Wagenen left the film festival to help found the Sundance Institute with Robert Redford. While the kinds of films produced by Poverty Row studios only grew in popularity, they would eventually become increasingly available both from major production companies and from independent producers who no longer needed to rely on a studio's ability to package and release their work. Yannis Tzioumakis. Seeing Lynch as a fellow studio convert, George Lucas , a fan of Eraserhead and now the darling of the studios, offered Lynch the opportunity to direct his next Star Wars sequel, Return of the Jedi Rick marked it as to-read Jan 05, This change would further widen the divide between commercial and non-commercial films. Thanks for telling us about the problem. Until his so-called "retirement" as a director in he continued to produce films even after this date he would produce up to seven movies a year, matching and often exceeding the five-per-year schedule that the executives at United Artists had once thought impossible. Very few of these filmmakers ever independently financed or independently released a film of their own, or ever worked on an independently financed production during the height of the generation's influence. -
University of Namibia (Unam)
, ... .... * TODAY: WALVIS ELECTIONS ON CARDS * READERS' LETTERS * RUGBY CLASH * "'" Bringing Africa South Vol.3 No.413 N$1.50 (GST Inc.) Friday May 20 1.994 Princess Diana to the rescue Improve your chess LONDON: The Princes of Wales (left) helped skills and ~ \Vin N$100 save the life of a drown ing tramp in a dramatic rescue in London's Re THIS week The Namibian already an 'expert' -check it out gent's Park, the Daily launches a new weekly Chess too. Mail reported yesterday. competition . in the popular It could win you N$I 00. The incident happened Weekender supplement. The Don-t miss out out on the new ~ late on Sunday after Prin City Savings and Investment The Namibian/CSIB competi cess Diana had been jog Bank - "the bank we can call tion. You can also still win N$I SO ging and was being our own--- has kindly agreed to in the Spot the Word competi driven home by her .s ponsor a prize of N$I 00 each tion. chauffeur, when a tour week. Today's W eekender is back ist leapt out and shouted: Chess is a fast-growing sport to its full fo rmat with all your "Quick, there's a man in in Namibia with many young regular favourites, plus articles the water." people and schools taking it onJackson Kaujeua's new book_ Diana jumped out of up. If you haven't caught on to alternative technology, music her car and told the the latest craze check page 10 reviews, an arts round-up and of The Weekender. -
Dora Budor New Galerie
DORA BUDOR NEW GALERIE Selected press No. 49, 2016 September - October From Flash Art feature Desperate Things Boško Blagojević on the work of Dora Budor What does a thing know of its own production? The heart-lung machine diagram, a medical device used Previous page: language here isn’t mine, but rather comes from the to sustain the body during open-heart surgery — calls Mental Parasite Retreat 1 (2014) title of a recent work by the New York–based Croa- to mind familiar systems and narratives. In it we see Courtesy of the Artist tian artist Dora Budor (b. 1984). I’ve turned her title an ecology shaped by human endeavor, the folly of and New Galerie, Paris into a question. The work that it refers to (What Does technological ambition and the tension between the Photography by a Thing Know of Its Own Production, 2016) is a kind of organic and inorganic. But what to make of the skin Aurélien Mole sculptural relief incorporating a disarray of materials: prop’s past life and its relation to its present reality? laboratory glassware, cement, silicone tubing, rocks, At New Galerie in Paris in early 2015, Budor pre- resin, soil and other similarly brown, earthly colored sented Mental Parasite Retreat 1 (2014), by now one of things making their way into what looks like topsoil her more well-known works. A freestanding sculpture, taken from some far-off, dystopic junkyard. All of it consists of a cinema chair reupholstered with silicone this is wall-bound and framed in an elegant stained and implanted with a prosthetic cyborg chest in its walnut — a sculpture in the drag of painting. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
Content, Media & Entertainment
Content, Media & Entertainment Chicago | Los Angeles | New York | Washington, DC Jenner & Block LLP jenner.com CONTENTS 2 ADVancED MEDIA | CONTENT PROTECTION 8 COpyRIGHT and ENTERTAInmENT LITIGATION 13 BUSINESS LITIGATION FOR ENTERTAINMENT SECTOR COMPANIES 17 IP TRanSacTIONS 18 COpyRIGHT POLIcy and COunSELING 21 ROyalTY and RaTE-SETTING LITIGATION 22 MEDIA AND FIRST AMENDMENT 25 TRADEMARK AND UNFAIR COMPETITION 27 PRIVacy and InfORmaTION GOVERnancE 29 OuR TEam ©2012 Jenner & Block LLP. Jenner & Block is an Illinois Limited Liability Partnership including professional corporations. This publication is not intended to provide legal advice but to provide information on legal matters. Transmission is not intended to create and receipt does not establish an attorney-client relationship. Readers should seek specific legal advice before taking any action with respect to matters mentioned in this publication. The attorney responsible for this publication is Steven B. Fabrizio. Attorney Advertising. Prior results do not guarantee a similar outcome. Content, Media & Entertainment Jenner & Block’s Content, Media & Entertainment practice unites a set of highly skilled and nationally known attorneys who use their legal experience and business savvy to help content providers A nationwide leader in succeed. Whether they are known as copyright lawyers, business helping content creators litigators, First Amendment advocates, IP transactional attorneys, trademark litigators, privacy attorneys, or something else, these safeguard their intellectual lawyers have one thing in common: They understand the highly complex and constantly changing challenges distinct to companies property on the internet and in the content, media and entertainment industries. in other advanced media The Content, Media & Entertainment practice and its attorneys are widely recognized as among the best in the country. -
Science Fiction/San Francisco Issue 46 Date: June 13, 2007 Editors: Jean Martin, Chris Garcia Email: [email protected] Copy Editor: David Moyce Layout Editor: Eva Kent
Science Fiction/San Francisco Issue 46 Date: June 13, 2007 Editors: Jean Martin, Chris Garcia email: [email protected] Copy Editor: David Moyce Layout Editor: Eva Kent TOC News and Notes .......................................................... Christopher J. Garcia ............................................................................................................... 2-4 Letters Of Comment .................................................. Jean Martin and Christopher J. Garcia ................................................................................... 5-9 Editorial ..................................................................... Christopher J. Garcia ............................................................................................................... 10 BayCon Survives, Thrives ........................................... Christopher J. Garcia ........................... Photos by Jim Bull and Jean Martin ........................... 11-16 BayCon Relocates, Rocks ........................................... España Sheriff ...................................... Photos by Jim Bull ...................................................... 17-20 Advice for the Convention Bound .............................. Dr. Noe ............................................... Photos by Jim Bull and Howeird ................................ 21-25 Space Cowboys Ball .................................................... Glenn D. “Mr. Persephone” Martin ..... Photos by Patrick White, Mike Smithwick, Jim Bull ... 26-28 BASFA Minutes: