The Life Artistic: July / August 2016 Wes Anderson + Mark Mothersbaugh
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Gays Protest Mercury Over Editorial Policy
PZ SPARTAN DAILY 1) Vol. 98, No. 15 Published for San lose State University since 1934 Friday, February 14, 1992 Gays protest Mercury over editorial policy By John Perez official form and when we sent it into them, She would not comment further on the pol- received their answer. GLAAD. Daily staff writer they originally said nothing, only that it would icy. "(Tony) Ridder wrote back to us and said "The subject had to be let go because of our High noon, the time of gun-fights, will be be at their discretion whether they would run "After being turned down by Ann, we asked that the company doesn't interfere in the edito- lack of resources but it was brought back to the time for a shoot-out between GLAAD the picture with it or not. for her superior and she referred us to the pub- rial decisions of their local papers and that we our attention later on." (Gay Lesbian Alliance Against Defamation) "After hearing nothing for a while, we lisher of the paper, Larry links," Bonine said. would have to talk to the publisher of the "We went through the same steps that Mark and the San Jose Mercury News. received a letter from the Mercury saying that The response from links was the same. Mercury News, Larry links." Bonine said. and Scott went through and got the smite A protest will be held today in front of the our request to have the announcement printed "Jinks said in his letter that the Mercury "I have never talked to the press before," answer. -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
Distribution Agreement in Presenting This
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Tianyi Yao Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao Master of Arts Film and Media Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Tanine Allison Committee Member _________________________________________ Timothy Holland Committee Member _________________________________________ Michele Schreiber Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao B.A., Trinity College, 2015 Advisor: Matthew Bernstein, M.F.A., Ph.D. An abstract of -
Phantom of the Paradise De Brian De Palma (1974)
Thème de la musique avant toute chose. Fiche cinéma 1 Phantom of the Paradise de Brian de Palma (1974) Synopsis : Un compositeur talentueux, Wislow Leach, inconnu et pauvre, vient d’écrire l’œuvre de sa vie : Faust,l’opéra rock, il vient proposer sa musique à une Major ; celle de Swan. Il sera dépouillé de son œuvre, emprisonné à Sing Sing sans raison et, dans un acte de folie, voulant récupérer son bien, va être victime d’un accident terrible dans les presses de la maison de disque. Devenant le « phantom » de lui-même, et du théâtre « Paradise » où doit se jouer son œuvre, il signera finalement un contrat avec Swan qui sera aussi celui de sa mort et dans lequel, sans s’en rendre compte, il se dépouille de son œuvre et de son âme. Dans ce film Brian de Palma fait le portrait d’une industrie liée au monde de la musique peu glorieuse, il nous en montre tous les travers. Il est une évidence, ce film colle au thème de la musique avant toute chose. Nous sommes dans l’univers musical de la production : maison de disque « Death Records », interprétation de Juicy Fruits « juteux pour le producteur ». Le producteur Swan, pour lui la musique n’est qu’une question d’argent. I/Les thèmes évoqués : -La drogue : Être sous stupéfiants pour se dépasser et aussi pour profiter de l’autre. -Le sexe : Il n’est pas tant libéré que cela, on comprend rapidement que le sexe n’existe que pour le bénéfice que l’on peut en retirer «de la musique avant toute chose » mis en place d’une certaine ironie. -
1 I DETTE NUMMER: Omtale Af SAMTLIGE Film I Det Næste Halve År
Nr. 126 - Pr. 1. marts 2016 – 36 sider – Udarbejdet af Brancheforeningen Danske Biografer I DETTE NUMMER: Omtale af SAMTLIGE film i det næste halve år samt HIGHLIGHTS 2016-2019 Fuldstændig premiereliste på side 38 1 2016: Omtaler af kommende film det næste halve år: FLASKEPOST FRA P (1:49) (Nordisk) DK-premiere: 3/3-2016. (Thriller/krimi) Hjemmeside: - Trailer: http://dk.filmtrailer.com/cinema/50035/flaskepost-fra-p Med Nikolaj Lie Kaas, Fares Fares, Johanne Louise Schmidt og Søren Pilmark. Instr: Hans Petter Moland. (”Kammerat Pedersen” (1.218), ”En ganske rar mand” (11.943) og ”Kraftidioten” (9.327)). Efter en roman af Jussi Adler-Olsen. Politimanden Carl Mørck og hans kollega Assad på Afdeling Q er tilbage. Mørck modtager en mange år gammel flaskepost, der har stået og samlet støv i Skotland, og har noget at gøre med et forsvundet søskendepar, der aldrig er blevet meldt savnet. Carl Mørck og Assad bliver i efterforskningen viklet ind i en grufuld sag om en iskold morder og religiøs fanatisme. Filmatiseringen af den bedste bog om Afdeling Q. De to foregående i denne franchise blev set af hhv. 724.509 og 768.233. ANOMALISA (1:30) (UIP/Paramount) DK-premiere: 3/3-2016. (Stop-motion) 15 år Hjemmeside: https://www.facebook.com/Anomalisa/ Trailer: http://dk.filmtrailer.com/cinema/50259/anomalisa Originale stemmer: David Thewlis, Jennifer Jason Leigh og Tom Noonan. Instr.: Duke Johnson og Charlie Kaufman. (Synecdoche, New York” (2.428)) Filmen handler om Michael Stone. Under en forretningstur til Cincinnati bliver han overvældet af sin egen kedsommelige tilværelse. I et forsøg på at ruske lidt op i tingene, ringer han til sin gamle flamme Bella. -
Introduction
INTRODUCTION The wuxia film is the oldest genre in the Chinese cinema that has remained popular to the present day. Yet despite its longevity, its history has barely been told until fairly recently, as if there was some force denying that it ever existed. Indeed, the genre was as good as non-existent in China, its country of birth, for some fifty years, being proscribed over that time, while in Hong Kong, where it flowered, it was gen- erally derided by critics and largely neglected by film historians. In recent years, it has garnered a following not only among fans but serious scholars. David Bordwell, Zhang Zhen, David Desser and Leon Hunt have treated the wuxia film with the crit- ical respect that it deserves, addressing it in the contexts of larger studies of Hong Kong cinema (Bordwell), the Chinese cinema (Zhang), or the generic martial arts action film and the genre known as kung fu (Desser and Hunt).1 In China, Chen Mo and Jia Leilei have published specific histories, their books sharing the same title, ‘A History of the Chinese Wuxia Film’ , both issued in 2005.2 This book also offers a specific history of the wuxia film, the first in the English language to do so. It covers the evolution and expansion of the genre from its beginnings in the early Chinese cinema based in Shanghai to its transposition to the film industries in Hong Kong and Taiwan and its eventual shift back to the Mainland in its present phase of development. Subject and Terminology Before beginning this history, it is necessary first to settle the question ofterminology , in the process of which, the characteristics of the genre will also be outlined. -
Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)
UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff. -
Trans-Femme Portraits at the Dawn of the Sexual Revolution Program Curated by Dirty Looks’ Bradford Nordeen
Joseph Horning: Valerie (1975). Still courtesy of the curator. FILM AT REDCAT PRESENTS Mon May 3 | 8:00 PM | ONLINE Jack H. Skirball Series $10 [members $8] For tickets, please visit: The Girl Can’t Help It The Girl Can’t Help It: Trans-Femme Portraits at the Dawn of the Sexual Revolution Program curated by Dirty Looks’ Bradford Nordeen A platform for queer film, video, and performance founded in 2011 by CalArts alum, writer/curator Bradford Nordeen, Dirty Looks has dug deep into documents of trans history to assemble a program of archival drag and trans portrait films that spool from experimental cinema of the 1970s, activist video, and nightclub documents. Spanning decades of production, illuminating (lost?) queer histories and liminal spaces across America, The Girl Can’t Help It screens poignant testimonials and early rhetorics of trans- femme ideation. The centerpiece of the program, Joseph Horning’s short film Valerie, has not been screened publicly since its inclusion in the 24th Ann Arbor Film Festival in 1975. This program is not geoblocked. Ticket holders will have 72 hours to view the program once the screening has started. Program contains discussions of early gender reassignment surgeries, details of police persecution and some brief nudity. In person via Zoom: filmmaker Susan Milano; other filmmakers TBC; curator Bradford Nordeen “…a reminder of just how radical queer love, lust, and visibility can be.” - Hyperallergic “In our gay-marriage era, it’s reassuring to know spaces like those fostered by Dirty Looks can be a forum for queerer politics to make a comeback.” – Artforum The Program Joseph Horning Valerie, 16 min., 1975 This stunning, verité portrait of a Black transgender sex-worker living as a housewife in Ohio is a remarkable time capsule and a testament to a life of perseverance. -
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Conscious Arts Artist in focus – Spiritual Music One of Earth’s Angels LIA SCALLON “Although ‘The Sounds of Sirius’ may be described as music, I didn’t set out to become a singer or musician!”, says Lia. “Somehow, I’ve been gifted a way to tap into that river of creative soul energy, which expresses itself through me, in sacred song and sacred language. It’s a constant wonder to me and I feel blessed to be able to bring comfort, joy and even transformation to others. Because they touch people so deeply, I describe these ‘sounds’ as Soul Healing”. ne of eight children from an Irish, Catholic Acting also gave Lia the means to come to Australia. “I love family, Lia was educated at boarding school, this country”, says Lia. “It was in Australia that I started to Oby nuns. “From a young age, I was interested really grow up, to learn independent thought, to stand up in things spiritual, which created quite a deal of conflict for myself, to question the strict religious dogma I’d grown for me” says Lia. “I always felt that I had some sort of up with and to open up spiritually”. mission to perform and I became terrified that meant I Here too, Lia found the freedom to discover her gift would have to become a nun!” of channelled song. “1990 began a period of intense soul Instead of becoming a nun, Lia became an actress! She searching for me”, she says. “I became ill and knew I had to has shared the big screen with the likes of Cate Blanchett, go deep inside myself, for the answers. -
It All Begins with Glass
film festival guide IT ALL BEGINS WITH GLASS The selection of a lens is the moment that can defi ne a shoot. From Hollywood studios to exotic locations around the globe, amazing big screen content is dramatized every day through the selection of Canon cinema lenses. The technologies behind our PL and EF mount cinema lenses ensure clear, crisp motion capture to the most demanding shoots. Canon optics empower fi lmmakers to bring visions to life. Throughout the more than 75 years of Canon history, it’s why we’ve always placed Glass First. glassfi rst.com GLASS FIRST © 2015 Canon U.S.A., Inc. All rights reserved. Canon is a registered trademark of Canon Inc. in the United States and may also be a registered trademark or trademark in other countries. Canon_Glass First Ad_CINEQUEST 2016.indd 1 1/7/16 3:03 PM WELCOME unite at Film Festival! Join forces with eye in the sky artists, film lovers, and innova- pg 7 tors—from across the globe, from all walks of life. Experience the com- pelling power of ONE, through films, media innovations, events, and celebrations. Embrace old friend- james franco ships, create new pg 17 connections, band together. Radiate outward, forging original pathways into the future. Emerge as a close-knit community, bound by fresh and fortified fellowship, collaboration, inspiration, vision, rita moreno and creativity. Come together…Unite! pg 25 CINEQUEST FILM FESTIVAL 2016 MARCH 1 - 13 CINEQUEST FILM FESTIVAL PICTURE THE POSSIBILITIES CINEQUEST MAVERICKS STUDIO showcases premiere films, empowers global youth with the creates innovative and renowned and emerging artists, tools, confidence, and inspiration motion pictures, television, and and breakthrough technology— to form and create their dreams distribution paradigms.