90Th Annual Academy Awards® Oscar® Nominations Fact Sheet
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List of Animated Films and Matched Comparisons [Posted As Supplied by Author]
Appendix : List of animated films and matched comparisons [posted as supplied by author] Animated Film Rating Release Match 1 Rating Match 2 Rating Date Snow White and the G 1937 Saratoga ‘Passed’ Stella Dallas G Seven Dwarfs Pinocchio G 1940 The Great Dictator G The Grapes of Wrath unrated Bambi G 1942 Mrs. Miniver G Yankee Doodle Dandy G Cinderella G 1950 Sunset Blvd. unrated All About Eve PG Peter Pan G 1953 The Robe unrated From Here to Eternity PG Lady and the Tramp G 1955 Mister Roberts unrated Rebel Without a Cause PG-13 Sleeping Beauty G 1959 Imitation of Life unrated Suddenly Last Summer unrated 101 Dalmatians G 1961 West Side Story unrated King of Kings PG-13 The Jungle Book G 1967 The Graduate G Guess Who’s Coming to Dinner unrated The Little Mermaid G 1989 Driving Miss Daisy PG Parenthood PG-13 Beauty and the Beast G 1991 Fried Green Tomatoes PG-13 Sleeping with the Enemy R Aladdin G 1992 The Bodyguard R A Few Good Men R The Lion King G 1994 Forrest Gump PG-13 Pulp Fiction R Pocahontas G 1995 While You Were PG Bridges of Madison County PG-13 Sleeping The Hunchback of Notre G 1996 Jerry Maguire R A Time to Kill R Dame Hercules G 1997 Titanic PG-13 As Good as it Gets PG-13 Animated Film Rating Release Match 1 Rating Match 2 Rating Date A Bug’s Life G 1998 Patch Adams PG-13 The Truman Show PG Mulan G 1998 You’ve Got Mail PG Shakespeare in Love R The Prince of Egypt PG 1998 Stepmom PG-13 City of Angels PG-13 Tarzan G 1999 The Sixth Sense PG-13 The Green Mile R Dinosaur PG 2000 What Lies Beneath PG-13 Erin Brockovich R Monsters, -
Copyrighted Material
Index Academy Awards (Oscars), 34, 57, Antares , 2 1 8 98, 103, 167, 184 Antonioni, Michelangelo, 80–90, Actors ’ Studio, 5 7 92–93, 118, 159, 170, 188, 193, Adaptation, 1, 3, 23–24, 69–70, 243, 255 98–100, 111, 121, 125, 145, 169, Ariel , 158–160 171, 178–179, 182, 184, 197–199, Aristotle, 2 4 , 80 201–204, 206, 273 Armstrong, Gillian, 121, 124, 129 A denauer, Konrad, 1 3 4 , 137 Armstrong, Louis, 180 A lbee, Edward, 113 L ’ Atalante, 63 Alexandra, 176 Atget, Eugène, 64 Aliyev, Arif, 175 Auteurism , 6 7 , 118, 142, 145, 147, All About Anna , 2 18 149, 175, 187, 195, 269 All My Sons , 52 Avant-gardism, 82 Amidei, Sergio, 36 L ’ A vventura ( The Adventure), 80–90, Anatomy of Hell, 2 18 243, 255, 270, 272, 274 And Life Goes On . , 186, 238 Anderson, Lindsay, 58 Baba, Masuru, 145 Andersson,COPYRIGHTED Karl, 27 Bach, MATERIAL Johann Sebastian, 92 Anne Pedersdotter , 2 3 , 25 Bagheri, Abdolhossein, 195 Ansah, Kwaw, 157 Baise-moi, 2 18 Film Analysis: A Casebook, First Edition. Bert Cardullo. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 284 Index Bal Poussière , 157 Bodrov, Sergei Jr., 184 Balabanov, Aleksei, 176, 184 Bolshevism, 5 The Ballad of Narayama , 147, Boogie , 234 149–150 Braine, John, 69–70 Ballad of a Soldier , 174, 183–184 Bram Stoker ’ s Dracula , 1 Bancroft, Anne, 114 Brando, Marlon, 5 4 , 56–57, 59 Banks, Russell, 197–198, 201–204, Brandt, Willy, 137 206 BRD Trilogy (Fassbinder), see FRG Barbarosa, 129 Trilogy Barker, Philip, 207 Breaker Morant, 120, 129 Barrett, Ray, 128 Breathless , 60, 62, 67 Battle -
EE British Academy Film Awards Sunday 12 February 2017 Previous Nominations and Wins in EE British Academy Film Awards Only
EE British Academy Film Awards Sunday 12 February 2017 Previous Nominations and Wins in EE British Academy Film Awards only. Includes this year’s nominations. Wins in bold. Years refer to year of presentation. Leading Actor Casey Affleck 1 nomination 2017: Leading Actor (Manchester by the Sea) Andrew Garfield 2 nominations 2017: Leading Actor (Hacksaw Ridge) 2011: Supporting Actor (The Social Network) Also Rising Star nomination in 2011, one nomination (1 win) at Television Awards in 2008 Ryan Gosling 1 nomination 2017: Leading Actor (La La Land) Jake Gyllenhaall 3 nominations/1 win 2017: Leading Actor (Nocturnal Animals) 2015: Leading Actor (Nightcrawler) 2006: Supporting Actor (Brokeback Mountain) Viggo Mortensen 2 nominations 2017: Leading Actor (Captain Fantastic) 2008: Leading Actor (Eastern Promises) Leading Actress Amy Adams 6 nominations 2017: Leading Actress (Arrival) 2015: Leading Actress (Big Eyes) 2014: Leading Actress (American Hustle) 2013: Supporting Actress (The Master) 2011: Supporting Actress (The Fighter) 2009: Supporting Actress (Doubt) Emily Blunt 2 nominations 2017: Leading Actress (Girl on the Train) 2007: Supporting Actress (The Devil Wears Prada) Also Rising Star nomination in 2007 and BAFTA Los Angeles Britannia Honouree in 2009 Natalie Portman 3 nominations/1 win 2017: Leading Actress (Jackie) 2011: Leading Actress (Black Swan) 2005: Supporting Actress (Closer) Meryl Streep 15 nominations / 2 wins 2017: Leading Actress (Florence Foster Jenkins) 2012: Leading Actress (The Iron Lady) 2010: Leading Actress (Julie -
Accepted Manuscript Version
Research Archive Citation for published version: Tony Shaw, and Tricia Jenkins, ‘An Act of War? The Interview Affair, the Sony Hack, and the Hollywood– Washington Power Nexus Today’, Journal of American Studies, April 2017. DOI: https://doi.org/10.1017/S0021875817000512 Document Version: This is the Accepted Manuscript version. The version in the University of Hertfordshire Research Archive may differ from the final published version. Copyright and Reuse: © 2017 Cambridge University Press and British Association for American Studies. This version is free to view and download for private research and study only. Not for re-distribution, re-sale or use in derivative works. Enquiries If you believe this document infringes copyright, please contact the Research & Scholarly Communications Team at [email protected] An Act of War? The Interview Affair, the Sony Hack, and the Hollywood/Washington Power Nexus Today An early quasi-police procedural showing J. Edgar Hoover’s Federal Bureau of Investigation “smashing” a communist sleeper cell in Boston, Alfred L. Werker’s 1952 docudrama Walk East on Beacon looks at first much like any other Red-baiting Hollywood production of the McCarthy era. On closer inspection, the movie offers us a keen insight into the Hollywood/Washington power nexus during the Cold War. Recently declassified documents reveal that the FBI’s top brass not only helped to inspire Walk East on Beacon but also to cast and market the film. More intriguingly, America’s most powerful military Cold War think tank, the RAND Corporation, was at the heart of the movie’s screenplay. Hollywood scriptwriter Leo Rosten worked as a part-time adviser on social sciences for RAND and based key elements of his plot for Walk East on Beacon on top-secret RAND projects, principally the military uses of satellites and computers. -
PADDISON Drawing the Movies.Indd
Who helped Cameron Crowe to visualize how he’d shoot the scenes for his latest movie ‘Elizabethtown’? Neil Paddison speaks to Alex Hillkurtz, the storyboard artist behind Crowe’s latest fi lm. ITH TEN YEARS experience a pile of storyboards in your hand, as a storyboard artist, work- you’re really prepared. Wing on movies as diverse as Almost Famous, Vanilla Sky and Lost How do you start work on a new in Space, Alex Hillkurtz is the ideal per- project? son to answer questions about what must be one of the most enviable jobs Usually I’ll meet with the director for in the fi lm industry. two or three hours at a time and we’ll go through one scene like this one [the Having just completed work on Eliza- bethtown, which will be released in Because when ‘Usually I’ll meet with the director for Australia this October, Hillkurtz took you’re working time out in January this year to talk on a fi lm there two or three hours at a time and we’ll about his work as a storyboard artist. are hundreds of go through one scene like this one different people So, what attracted you to the job? involved. Every- [the Vanilla Sky car crash]’ body needs to be ISSUE 39 I’ve been a fan of movies forever, and making the same movie; otherwise it’ll Vanilla Sky car crash, see pictures on SCREEN EDU I’ve always drawn, so when I learnt be just mass chaos. And fi lm produc- right]. -
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 -
Fighting for Women Existence in Popular Espionage Movies Salt (2010) and Zero Dark Thirty (2012)
Benita Amalina — Fighting For Women Existence in Popular Espionage Movies Salt (2010) and Zero Dark Thirty (2012) FIGHTING FOR WOMEN EXISTENCE IN POPULAR ESPIONAGE MOVIES SALT (2010) AND ZERO DARK THIRTY (2012) Benita Amalina [email protected] Abstract American spy movies have been considered one of the most profitable genre in Hollywood. These spy movies frequently create an assumption that this genre is exclusively masculine, as women have been made oblivious and restricted to either supporting roles or non-spy roles. In 2010 and 2012, portrayal of women in spy movies was finally changed after the release of Salt and Zero Dark Thirty, in which women became the leading spy protagonists. Through the post-nationalist American Studies perspective, this study discusses the importance of both movies in reinventing women’s identity representation in a masculine genre in response to the evolving American society. Keywords: American women, hegemony, representation, Hollywood, movies, popular culture Introduction The financial success and continuous power of this industry implies that there has been The American movie industry, often called good relations between the producers and and widely known as Hollywood, is one of the main target audience. The producers the most powerful cinematic industries in have been able to feed the audience with the world. In the more recent data, from all products that are suitable to their taste. Seen the movies released in 2012 Hollywood from the movies’ financial revenues as achieved $ 10 billion revenue in North previously mentioned, action movies are America alone, while grossing more than $ proven to yield more revenue thus become 34,7 billion worldwide (Kay, 2013). -
Powers of the Earth Vs. Godby Father Rick Bolte
May 2012 Powers of the Earth vs. God by Father Rick Bolte “Power corrupts; absolute power corrupts absolutely.” vision of God coming in power as we know it is that these That adage proves itself over and over again throughout predictions began in the Old Testament and applied as history. Even when good people and institutions gain much to Jesus’ first coming as to his second. One of the access to power, corruption comes in. We’ve seen this in reason the Jews missed Jesus as the long awaited Messiah our Catholic Church particularly with the Inquisition and was that his manifestations of power did not fit the earthly the corrupt popes of the Middle Ages. expressions they expected. This could happen to us as well. The Companion Defined in Webster’s, power is “a possession of control, Jesus’ expression of power is vastly different than the is the newsletter of authority, or influence over others.” We normally think of power the world recognizes. 1 John 4:8 tells us that “God St. Timothy Parish power as the ability to get things done regardless of the is love”. Jesus’ power was the power of love. This is not a P.O. Box 120 obstacles that may get in the way. Power comes from power the world gives must attention to. This is not a Union, KY 41091-0120 859.384.1100 leadership roles where we have the influence, authority, power that can force anyone to do anything. This doesn’t and the right connections to make things happen. Power seem to have any power over evil. -
CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and Counting…
5 JAN 18 1 FEB 18 1 | 5 JAN 18 - 1 FEB 18 88 LOTHIAN ROAD | FILMHOUSECinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and counting… As you’ll spot deep within this programme (and hinted at on the front cover) January 2018 sees the start of a series of films that lead up to celebrations in October marking the 40th birthday of Filmhouse as a public cinema on Lothian Road. We’ve chosen to screen a film from every year we’ve been bringing the very best cinema to the good people of Edinburgh, and while it is tremendous fun looking back through the history of what has shown here, it was quite an undertaking going through all the old programmes and choosing what to show, and a bit of a personal journey for me as one who started coming here as a customer in the mid-80s (I know, I must have started very young...). At that time, I’d no idea that Filmhouse had only been in existence for less than 10 years – it seemed like such an established, essential institution and impossible to imagine it not existing in a city such as Edinburgh. My only hope is that the cinema is as important today as I felt it was then, and that the giants on whose shoulders we currently stand feel we’re worthy of their legacy. I hope you can join us for at least some of the screenings on this trip down memory lane... And now, back to the now. -
Scene and Heard: a Profile of Laura Colella
Scene and Heard: A Profile of Laura Colella She sits quietly in a coffee shop, waiting. She is of small stature, and fine boned. She has striking eyes and a beautiful face, one that easily could be in front of the camera. Providence born and raised, no one she knew ever talked about becoming a filmmaker. She is definitely under the radar – but is soaring very high. This is Laura Colella. In her 44 years, she has managed to impress some very important people in the film world. One of those folks is Paul Thomas Anderson – the same Paul Thomas Anderson who wrote and directed The Master, There Will Be Blood, Boogie Nights and my personal favorite (and I believe his), Magnolia. Last February, he hosted a screening of her film Breakfast with Curtis in LA, and held a lengthy Q & A session afterward. In the same month, at the Independent Spirit Awards, the film was nominated for the John Cassavetes Award for Best Feature made for under $500,000, and won a $50,000 distribution grant from Jameson. Her love of film started early. She grew up heavily involved in theater, was in a few productions at Trinity Rep, and worked there as a production assistant. “My first year in college at Harvard, my boyfriend took me to the end-of-year film screenings at RISD, which opened up that world of possibility for me. I discovered the excellent film department at Harvard, which centered on 16MM production, became totally immersed in it, and never looked back.” Laura now has three features under her belt – Tax Day, her first, for which she received a special equipment grant through the Sundance Institute, portrays two women on their way to the post office on that dreaded day, April 15. -
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. -
John Caglione, Jr
JOHN CAGLIONE, JR. Make-Up Designer IATSE 798 and 706 FILM BROKEN CITY Personal Make-Up Artist to Russell Crowe Director: Allen Hughes PHIL SPECTOR Personal Make-Up Artist to Al Pacino Director: David Mamet TOWER HEIST Department Head Director: Brett Ratner ON THE ROAD Special Make-Up Effects Director: Walter Salles Cast: Viggo Mortensen THE SMURFS Department Head Director: Raja Gosnell YOU DON’T KNOW JACK Personal Make-Up Artist to Al Pacino Director: Barry Levinson Nominee: Emmy Award for Outstanding Make-Up for a Miniseries or Movie SALT Department Head Director: Philip Noyce STATE OF PLAY Personal Make-Up Artist to Russell Crowe Director: Kevin Macdonald THE DARK KNIGHT Personal Make-Up Artist to Heath Ledger Director: Christopher Nolan Nominee: Academy Award for Best Achievement in Make-Up Nominee: Saturn Award for Best Make-Up 3:10 TO YUMA Personal Make-Up Artist to Russell Crowe Director: James Mangold AMERICAN GANGSTER Personal Make-Up Artist to Russell Crowe Director: Ridley Scott THE DEPARTED Department Head Make-Up and Department Head Effects Make-Up Director: Martin Scorsese Cast: Vera Farmiga, Ray Winstone, Kristen Dalton TENDERNESS Department Head Director: John Polson Cast: Russell Crowe, Laura Dern, Jon Foster, Tonya Clarke THE MILTON AGENCY John Caglione, Jr. 6715 Hollywood Blvd #206, Los Angeles, CA 90028 Make-Up Telephone: 323.466.4441 Facsimile: 323.460.4442 IATSE 798 & 706 [email protected] www.miltonagency.com Page 1 of 4 MY SUPER EX-GIRLFRIEND Department Head Director: Ivan Reitman Cast: Luke Wilson, Anna