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GIF ESSAY: Glass 1 Kimber Torres IDS 307T: Digital Writing Matthew
GIF ESSAY: Glass 1 Kimber Torres IDS 307T: Digital Writing Matthew Beale Paper 1: GIF Essay February 09, 2020 The Movie: Glass It’s been what seems like forever and now the trilogy will finally be complete. The movie trailer looks unbelievable. The sequel to the Unbreakable and Split has finally happened.This psychological thriller produced by M. Night Shyamalan, starring Bruce Willis and Samuel L. Jackson that can only get better with the addition of the young Mr. Charles Xavier himself, James McAvoy. The guy is a genius when it comes to his craft. His talent was shining in the first sequel: Split. I couldn’t wait to sit down with a large bowl of popcorn with layered butter and a box of snowcaps at my side to fully enjoy what was about to unfold. The lights fade in the movie theater and the opening credits begin. The trailers play showing the audience some amazing movies coming out in the near future. Looks like I’ll be coming back when some of these movies come out. The room grows pitch black and the first scene opens up with a dark scene, of course. It looks like a large dirty room, maybe a boarded-up factory. Kevin GIF ESSAY: Glass 2 (McAvoy) comes out of the shadows and into the only light in the room. Ms. Patricia, one ego that orchestrates some of his actions and controls the other personalities walked through a door was and is facing four girls tied to a pipe in what looks like a factory. -
When Dick and Nan Walden Met at A
the stallions picante jullyen v (*jullyen el jamaal x precious v) and macnificent rs (maclintock v x ravvens skylark). by GARY DEARTH hen Dick and Nan Walden met at a environmental attorney and consultant for over wedding in 1998, Dick was a lifelong fifteen years before she met Dick. Her professional W farmer and rancher, and Nan was a city background also included serving as Chief of Staff to girl. Dick grew up with ranch horses and had been Senator Bill Bradley and counsel to Senator Daniel riding since he was four years old. He attended the Patrick Moynihan. Thacher School in Ojai, California, where horses Nan was a typical horse crazy young girl. “I had are part of the curriculum. While there, he competed Breyer horses complete with handmade blankets in horse shows, gymkhanas, and packed out in the with their names embroidered on them. I read every Sespe wilderness. horse book written, including all the Walter Farley Meanwhile, Nan Stockholm Walden earned books. Dad bought me Shetland and Hackney ponies her B.A. in Environmental Studies from Stanford when I was a girl, but sadly, I had terrible childhood University. Later she graduated from the Stanford asthma,” she said. “When I was in law school at University Law School where she was the Stanford Stanford, I received a series of shots, which were Environmental Law Society President. She was an much improved by then. It changed my life.” KENNEALLY PHOTO KENNEALLY SONADO˜ > 1 < WORLD Dick was skeptical, “Green rider, high-energy horse, she will probably hurt or kill us both,” he thought. -
Statistical Yearbook 2019
STATISTICAL YEARBOOK 2019 Welcome to the 2019 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2018. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s-length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience development, and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 Contents Film at the cinema -
The Treasured Values Issue FR.Pdf
1888 2020 by Carl F. Bucherer L’ ÉDITION DES VALEURS PRÉCIEUSES FR_BUCH_Cover v2.indd 1 06/01/2020 09:31 HERITAGETOURBILLONDOUBLEPERIPHERALLIMITEDEDITION TOURBILLON SUSPENDU | ORROSEK 19_1040_CFB_Magazin_1888_Heritage_DE_FR_EN_CN._210x280.indd 1 27.09.19 08:58 FR_3_BUCH_IntroNR.indd 2 08/11/2019 16:10 BIENVENUE « Carl F. Bucherer produit avec passion des montres qui représentent l’avenir de l’horlogerie, tout en célébrant sa formidable histoire. » SASCHA MOERI PDG, CARL F. BUCHERER n 1923, quand un journaliste a demandé à l’alpiniste George Mallory pourquoi il voulait gravir l’Everest, il a répondu : « Parce qu’il est là. » Ces quelques mots entrés dans la légende résument la raison E pour laquelle l’homme cherche sans cesse à relever des défis apparemment insurmontables. Dans ce numéro, nous faisons connaissance avec Armin Schelbert, un Suisse de 74 ans qui, plusieurs fois par jour, gravit le Grand Mythen, dans les Alpes schwyzoises. Pour Armin, cette montagne est autant un défi permanent à relever qu’un moyen de créer des liens avec d’autres randonneurs. Chacun a en soi des valeurs qui alimentent ses passions. Chez Carl F. Bucherer, notre passion est de produire des montres qui représentent l’avenir de l’horlogerie, tout en ren- dant hommage à notre formidable histoire. Cet engagement se manifeste notamment dans notre récent partenariat avec la Fondation de la Haute Horlogerie (FHH), qui fait office d’autorité dans le secteur de l’horlogerie de luxe. Comme le reconnaît la FHH, notre volonté d’innovation est restée intacte depuis notre fondation en 1888 à Lucerne. qui utilisent le bois pour concevoir des structures de pointe, les Mais nous avons aussi un autre idéal : la protection de personnes que vous allez découvrir au fil des pages vivent et la nature. -
Rosillo, Tatiana Professor Nelson Film and Other Media Final Paper 2
Rosillo 1 Rosillo, Tatiana Professor Nelson Film and Other Media Final Paper 2 May 2018 A Stiletto in the Hand Is Worth a Gun in the Purse Mainstream American action films require the audience to empathize with a protagonist as he (and very seldom she) is put through a series of intense fight sequences and tension-filled personal exchanges to complete any manner of high stakes mission. The spy film is an exemplary subset of this genre, employing the formula in an interesting, if somewhat statist, romp through action genre conventions. Overwhelmingly, men have been the main creators, consumers, and centers of spy narratives. These narratives tend to leave women out on the margins, restricting female characters and excluding female creators and consumers. Recently, there has been a shift towards women playing larger roles and even leading spy films. However, this progress remains hampered by the lack of opportunities afforded to female directors and female driven scripts. The film Atomic Blonde (2017) exhibits this complex step in the move towards female- centric spy films with Charlize Theron as the titular blonde, Lorraine Broughton, with male director David Leitch at the helm. What warrants critical attention in Rosillo 2 Atomic Blonde are the modes of weaponized femininity constructed by Lorraine in her wardrobe and mannerisms; Lorraine cultivates an impenetrable, unflappable traditionally feminine aesthetic and uses this aesthetic as armor, weapon, and trap. Using these modes of weaponized femininity, the film examines the constructed nature of femininity and weaponized femininity’s interventions in those expectations. In order to understand the progress Atomic Blonde is attempting, one must examine the pre-established conventions of spy genres with regards to male and female roles. -
Downloaded As A
Programme £2 2 3 Welcome 02 WELCOME Welcome to the 20th Keswick Film Festival To have reached this milestone is 04 OUR GUESTS testament to the hard work and commitment of a lot of people, involved not only in the Festival but also in the 08 THIS YEAR’S FILMS Keswick Film Club. The only reason that we are able to have this wonderful weekend of cinematic over-indulgence is because the Film Club is doing what it does best, year in and year out. So, to all those people who over 20 Contents years have sat through (and chaired) committee meetings, put up posters, introduced films, booked films, designed 15 PROGRAMME a website, distributed leaflets, worked the Box Office, counted votes or filed annual returns, we are in your debt. 39 TICKETS Here’s to the next 20 years! & TRAVEL Ticket costs, discounts, Ian Payne booking information, and Festival Director public transport details Please note: We want to make sure that everyone gets to see the films they want to see. However buying a Festival Pass does not guarantee entry into a screening. If there is a film you particularly want to see, you must book a seat (free of charge) to guarantee entry by contacting the Theatre Box Office. You can do this, either by phone or in person. As usual and due to the smaller capacities in the Studio, all films in the Studio must be booked in advance. 4 5 OUR GUESTS James Gardner Mike Tweddle Jellyfish – Thursday 28th February Sparrowhawk – Friday 1st March Farm, having numerous hit singles/ and Sunday 3rd March Starting with a background in punk albums both in Britain and Europe. -
11Eyes Achannel Accel World Acchi Kocchi Ah! My Goddess Air Gear Air
11eyes AChannel Accel World Acchi Kocchi Ah! My Goddess Air Gear Air Master Amaenaideyo Angel Beats Angelic Layer Another Ao No Exorcist Appleseed XIII Aquarion Arakawa Under The Bridge Argento Soma Asobi no Iku yo Astarotte no Omocha Asu no Yoichi Asura Cryin' B Gata H Kei Baka to Test Bakemonogatari (and sequels) Baki the Grappler Bakugan Bamboo Blade Banner of Stars Basquash BASToF Syndrome Battle Girls: Time Paradox Beelzebub BenTo Betterman Big O Binbougami ga Black Blood Brothers Black Cat Black Lagoon Blassreiter Blood Lad Blood+ Bludgeoning Angel Dokurochan Blue Drop Bobobo Boku wa Tomodachi Sukunai Brave 10 Btooom Burst Angel Busou Renkin Busou Shinki C3 Campione Cardfight Vanguard Casshern Sins Cat Girl Nuku Nuku Chaos;Head Chobits Chrome Shelled Regios Chuunibyou demo Koi ga Shitai Clannad Claymore Code Geass Cowboy Bebop Coyote Ragtime Show Cuticle Tantei Inaba DFrag Dakara Boku wa, H ga Dekinai Dan Doh Dance in the Vampire Bund Danganronpa Danshi Koukousei no Nichijou Daphne in the Brilliant Blue Darker Than Black Date A Live Deadman Wonderland DearS Death Note Dennou Coil Denpa Onna to Seishun Otoko Densetsu no Yuusha no Densetsu Desert Punk Detroit Metal City Devil May Cry Devil Survivor 2 Diabolik Lovers Disgaea Dna2 Dokkoida Dog Days Dororon EnmaKun Meeramera Ebiten Eden of the East Elemental Gelade Elfen Lied Eureka 7 Eureka 7 AO Excel Saga Eyeshield 21 Fight Ippatsu! JuudenChan Fooly Cooly Fruits Basket Full Metal Alchemist Full Metal Panic Futari Milky Holmes GaRei Zero Gatchaman Crowds Genshiken Getbackers Ghost -
Sakura-Con 2013
1 of 12 SAKURA-CON 2013 Convention Events Schedule, March 29 revision FRIDAY - SATURDAY, March 29th - 30th (2 of 4) FRIDAY - SATURDAY, March 29th - 30th (3 of 4) FRIDAY - SATURDAY, March 29th - 30th (4 of 4) Panels 4 Panels 5 Panels 6 Panels 7 Panels 8 Workshop Karaoke Youth Console Gaming Arcade/Rock Theater 1 Theater 2 Theater 3 FUNimation Theater Anime Music Video Seattle Go Mahjong Miniatures Gaming Roleplaying Gaming Collectible Card Gaming Bold text in a heavy outlined box indicates revisions to the Pocket Programming Guide schedule. 4C-4 401 4C-1 Time 3AB 206 309 307-308 Time Time Matsuri: 310 606-609 Band: 6B 616-617 Time 615 620 618-619 Theater: 6A Center: 305 306 613 Time 604 612 Time Closed Closed Closed 7:00am Closed Closed Closed Closed 7:00am 7:00am Closed Closed Closed Closed 7:00am Closed Closed Closed Closed Closed Closed Closed 7:00am Closed Closed 7:00am FRIDAY - SATURDAY, March 29th - 30th (1 of 4) 7:30am 7:30am 7:30am 7:30am 7:30am 7:30am Main Stage Autographs Sakuradome Panels 1 Panels 2 Panels 3 Time 4A 4B 6E Time 6C 4C-2 4C-3 8:00am 8:00am 8:00am Swasey/Mignogna showcase: 8:00am The IDOLM@STER 1-4 Moyashimon 1-4 One Piece 237-248 8:00am 8:00am TO Film Collection: Elliptical 8:30am 8:30am Closed 8:30am 8:30am 8:30am 8:30am (SC-10, sub) (SC-13, sub) (SC-10, dub) 8:30am 8:30am Closed Closed Closed Closed Closed Orbit & Symbiotic Planet (SC-13, dub) 9:00am Located in the Contestants’ 9:00am A/V Tech Rehearsal 9:00am Open 9:00am 9:00am 9:00am AMV Showcase 9:00am 9:00am Green Room, right rear 9:30am 9:30am for Premieres -
2012-Loft-Film-Fest-Program
Festival Parties Join us as we cut the ribbon on our brand-new third screen! Ribbon cutting Friday November 9 at 5:00pm Open House 5:00 - 6:30pm Join the Loft staff, Board of Directors and local officials as we un- veil our new third screen (or what we affectionately call Screen 3)! You’ll be the first to step inside this new space for a behind-the- Loft Film Fest 2012 scenes tour! Join us for a champagne toast as we celebrate a job well done by an incredible team of dedicated people! loftfilmfest.com We will recognize the donors who made this phase of the project Inspired by film’s unique ability to entertain, engage, challenge and possible and we will especially honor those who have given their illuminate, The Loft Cinema will present its third annual international name to key parts of the project, including Bob Oldfather and film festival fromNovember 8th – 15th, 2012. Bookmans for the 3-D technology in Screen 3! Honoring Tucson’s richly diverse cultural community, The Loft Film Fest will present foreign films, documentaries and U.S. indies in a cin- You’re invited to The Loft Cinema’s ematic celebration of storytelling from around the world. 40th birthday party! The Loft Film Fest is an eight-day showcase of exclusive, one-time-only Friday November 15 from 5:30 - 7:30pm screenings and will feature: Yes, we know we don’t look 40, but The Loft is celebrating four • Festival favorites from Cannes, Sundance, Telluride, and more! decades of great film in Tucson! • Lively Q&A’s with talented filmmakers and actors Join us as we honor the last 40 years and toast the next 40! • Exciting retrospective screenings Where: The Lodge on the Desert • New international cinema 306 North Alvernon Way • Edgy Late Night movies When: 5:30 - 7:30pm, Thursday, November 15 (the actual 10th an- • Stimulating shorts from the filmmakers of tomorrow niversary of our purchase of The Loft as a nonprofit in 2002!) At the Loft Film Fest, audiences experience world-class film festival Who: Everyone! Loft Film Fest passholders get in free. -
Fu ~ !;; Uad When
• v ~fu_~ !;;_uad when <D'llCJ and §CdVJ?E juit don't iatii{y you! [ FROM THE EDITOR Sloppy Sentimentality from your favorite person Here we go again! I myself can't believe this is #5. What staned out as a.fun little hobby has mushroom-clouded into a rather popular underground extravaganza. I'm now gelling more out ofstate orders than Minnesota sales. I've got/en groovy reviews from Wisconsin, Chicago and California and people send me free books and eds to review. I've even had the pleasure ofpissing offsome tight-asses (and will no doubtedly do it again with this issue!) Yes, zinedom is the life! Thanks/or reading this shit! Big news! In special celebration of the 5th Anniversary Issue, I am very hooored to bring back one ofmy original co-editors to write some columns. And I can even reveal his true identity. Yes, the bitch Sarah Tynge-Mayhem from DB #1 is none other than Mssr. Michael Moeglin, the laziest, most talented· writer I personally know (besides Troy Tradup and Michael Dahl). He's back to wreak havoc on DB and to generally ... entenain! Welcome back Michael! About this issue: In addition to our regular columnists (write in to which ones you like and don't like), this is a retro anniversary of sequels. Hence, a new queer quiz, more men I'm embarrassed to like, and another drag hag review. Ifyou like these, go back and order back issues for the originals (SSP ALERT!!!) I always keep back issues in stock (WARNING! SSP ALERT!!!) and some loyal readers are even ordering complete sets for the perfect Christmas gift (WARNING! SSP JS NOW AT A TOXIC LEVEL!!!). -
Uartes Ediciones
1 UArtes Ediciones FUERA DE CAMPO REVISTA DE CINE Volumen 2, Número 3 Septiembre, 2018 ISSN 2477-9202 FUERA DE CAMPO REVISTA DE CINE Volumen 2, Número 3 Septiembre, 2018 ISSN 2477-9202 UNIVERSIDAD DE LAS ARTES Rector, Ramiro Noriega Consejero de Investigación y Relaciones Internacionales, Raúl Vallejo Vicerrectora Académica, María Paulina Soto D.R. © Universidad de las Artes UARTES EDICIONES Director, Mario Fernando Montenegro Concepción Gráfica, Maria Mercedes Salgado Diagramación, José Ignacio Quintana Jiménez Corrección de texto, Marelis Loreto Amoretti UArtes Ediciones FUERA DE CAMPO. REVISTA DE CINE Universidad de las Artes Volumen 2, Número 3. Septiembre, 2018 ISSN 2477-9202 CONSEJO EDITORIAL Arturo Serrano (Director) Universidad Nacional de Educación (Ecuador) Juan Martín Cueva (Editor Asociado) Universidad de las Artes (Ecuador) Jorge Flores Velasco Universidad de las Artes (Ecuador) Pablo Gamba Universidad Central de Venezuela (Venezuela) Oliver Gaycken University of Maryland (EEUU) Yarí Pérez Marín University of Durham (Reino Unido) CONSEJO ASESOR Margot Benacerraf Directora de cine (Venezuela) Colin MacCabe University of Pittsburgh (EEUU) Gerry McCulloch Goldsmiths. University of London (Reino Unido) Joseph Moure Universidad Paris 1 Panthéon-Sorbonne (Francia) Marc Nicholas (†) École Nationale Supérieure des métiers de l’image et du son (La Fémis) (Francia) Paul Schroeder Amherst College (EEUU) Alquimia Peña Fundación del Nuevo Cine Latinoamericano (Cuba) Marta Díaz Universidad de las Artes (Ecuador) Fuera de Campo es una revista cuatrimestral arbitrada de cine editada por la Universidad de las Artes a orillas del manso Río Guayas en la ciudad de Guayaquil, Ecuador. Todos los textos incluidos en la sección Artículos han sido sometidos al arbitraje ciego de dos expertos ajenos a la Universidad de las Artes. -
“Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ...................................................................................................................................