DOCSLIB.ORG

Selected Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Selected Bibliography Selected Bibliography 4 Film Favorites: Lethal Weapon, Lethal Weapon 2, Lethal Weapon 3, Lethal Weapon 4. Los Angeles: Warner Bros., 2014. DVD. 24: The Complete Series. 2001–2010. Produced by Robert Cochran and Joel Surnow. Los Angeles: 20th Century Fox Entertainment, 2010. DVD. 48 Hours. DVD. Directed by Walter Hill. Paramount Pictures, 1999. A Good Day to Die Hard. Directed by John Moore. 20th Century Fox, 2013. Amazon Prime. A Stranger Among Us. Directed by Sidney Lumet. Hollywood Pictures, 1992. A Thief of Time. DVD. Directed by Chris Eyre. PBS Home Video, 2004. Abalos, David T. The Latino Male: A Radical Redefinition. Boulder, CO: Lynne Rienner Publishers, 2002. Abbott, Megan E. The Street Was Mine: White Masculinity in Hardboiled Fiction and Film Noir. New York: Palgrave Macmillan, 2002. Adams, Rachel, and David Savran, eds. The Masculinity Studies Reader, Keyworks in Cultural Studies. Malden, MA: Blackwell Publishers, 2002. Alias—Seasons 1–5, Complete Series. 2001–2006. Produced by J. J. Abrams. Burbank, CA: Buena Vista Home Entertainment, 2006. DVD. Allen, Judith A. “Men Interminably in Crisis? Historians on Masculinity, Sexual Boundaries, and Manhood.” Radical History Review no. 82 (Winter 2002). Allen, Robert C., and Douglas Gomery. Film History: Theory and Practice. New York: Random House, 1985. © The Author(s) 2019 259 M. Yaquinto, Policing the World on Screen, https://doi.org/10.1007/978-3-030-24805-5 260 Selected Bibliography Allen, Theodore W. The Invention of the White Race. New York: Verso, 1997. Alpert, Geoffrey P., and Roger G. Dunham. Policing Urban America. Prospect Heights, IL: Waveland Press, 1997. Alsultany, Evelyn. Arabs and Muslims in the Media: Race and Representation After 9/11. New York University Press, 2012. Ames, Christopher. “Restoring the Black Man’s Lethal Weapon: Race and Sexuality in Contemporary Cop Films.” Journal of Popular Film and Television 20, no. 3 (1992). Anderson, Benedict. Imagined Communities: Reflections on the Origins and Spread of Nationalism. New York: Verso, 1991. Angel Eyes. Director Luis Mandoki. Franchise Pictures, 2001. Anzaldúa, Gloria. Borderlands/La Frontera: The New Mestiza. San Francisco, CA: Aunt Lute Books, 2012. Apel, Dora. Imagery of Lynching: Black Men, White Women, and the Mob. New Brunswick, NJ: Rutgers University Press, 2004. Arrigo, Jean Maria. “A Utilitarian Argument Against Torture Interrogation of Terrorists.” Science and Engineering Ethics 10 (2004). Arroyo, José, ed. Action/Spectacle Cinema: A Sight and Sound Reader. London: British Film Institute, 2000. Asensio, Marysol, ed. Latina/o Sexualities: Probing Powers, Passions, Practices, and Policies. New Brunswick, NJ: Rutgers University Press, 2009. Ashley, Bob, ed. Reading Popular Narrative: A Source Book. London: Leicester University Press, 1997. Augé, Étienne. “Hollywood Movies: Terrorism 101.” Cercles 5 (2002): 147–63. Avila-Saavedra, Guillermo. “Ethnic Otherness Versus Cultural Assimilation: U.S. Latino Comedians and the Politics of Identity.” Mass Communication and Society 14, no. 3 (2011). Back, Les, and John Solomos, eds. Theories of Race and Racism: A Reader. New York: Routledge, 2000. Baker, Aaron, and Juliann Vitullo. “Screening the Italian-American Male.” In Masculinity: Bodies, Movies, Culture, edited by Peter Lehman. New York: Routledge, 2001. Balio, Tino. “Hollywood Production Trends in the Era of Globalisation, 1990–99.” In Genre and Contemporary Hollywood, edited by Steve Neale. London: British Film Institute, 2002. Banet-Weiser, Sarah, Cynthia Chris, and Anthony Freitas. Cable Visions: Television Beyond Broadcasting. New York: New York University Press, 2007. Barney Miller: The Complete Series. 1974–1982. Los Angeles: Shout! Factory, 2011. DVD. Selected Bibliography 261 Barthes, Roland. “Introduction to the Structural Analysis of Narratives.” In Reading Popular Narrative: A Source Book, edited by Bob Ashley. London: Leicester University Press, 1997. Basinger, Jeanine. A Woman’s View: How Hollywood Spoke to Women 1930–1960. Middletown, CT: Wesleyan University Press, 1995. Baudrillard, Jean. Symbolic Exchange and Death. Thousand Oaks, CA: Sage, 1976. Bederman, Gail. Manliness & Civilization: A Cultural History of Gender and Race in the United States, 1880–1917. Chicago: University of Chicago Press, 1995. Beiner, Ronald, ed. Theorizing Nationalism. Albany: State University of New York Press, 1999. Bell, Derrick A. Race, Racism, and American Law. Middletown: Little, Brown, 1980. Benjamin, Walter. “The Storyteller.” In Reading Popular Narrative, edited by Bob Ashley. London: Leicester University Press, 1997. Berger, Maurice, Brian Wallis, and Simon Watson, eds. Constructing Masculinity. New York: Routledge, 1995. Bernardi, Daniel, ed. Classic Hollywood, Classic Whiteness. Minneapolis: University of Minnesota Press, 2001. Betrayed. DVD. Directed by Costa-Gavras. MGM Home Entertainment, 2000. Beverly Hills Cop. Directed by Martin Brest. Paramount Pictures, 1984. Bhabha, Homi K., ed. Nation in Narration. New York: Routledge, 1990. Bigsby, C. W. E., ed. Superculture: American Popular Culture and Europe. Bowling Green, OH: Bowling Green Popular Press, 1975. Billig, Michael. Banal Nationalism. Thousand Oaks, CA: Sage Publications, 1995. Bingham, Dennis. Acting Male: Masculinities in the Films of James Stewart, Jack Nicholson, and Clint Eastwood. New Brunswick, NJ: Rutgers University Press, 1994. Black Rain. DVD. Directed by Ridley Scott. Paramount Pictures, 1999. Black Widow. Directed by Bob Rafelson. Americent Films, 1987. Blue Bloods. Produced by Leonard Goldberg, Brian Burns, Mitchell Burgess, Robin Green, Siobhan Byrne O’Connor, Ian Biederman, and Kevin Wade. CBS Television Studios. Columbia Broadcasting System, New York, 2010– present (2019). Blue Steel. DVD. Directed by Kathryn Bigelow. MGM Home Entertainment, 2002. Boal, Mark. Zero Dark Thirty: The Shooting Script. New York: Newmarket Press, 2014. Bodnar, John. Blue-Collar Hollywood: Liberalism, Democracy, and the Working People in American Film. Baltimore, MD: Johns Hopkins University Press, 2003. 262 Selected Bibliography Boggs, Carl, and Tom Pollard. The Hollywood War Machine: U.S. Militarism and Popular Culture. New York: Routledge, 2007. Bogle, Donald. Toms, Coons, Mulattoes, Mammies & Bucks: An Interpretive History of Blacks in American Films. New York: Continuum, 2002. ———. Bright Boulevards, Bold Dreams: The Story of Black Hollywood. New York: HarperCollins, 2007. Bolton, Jr., Kenneth, and Joe R. Feagin. Black in Blue: African-American Police Officers and Racism. New York: Routledge, 2002. The Bone Collector. Directed by Phillip Noyce. Columbia Pictures Corporation, 1999. Bonnie and Clyde. Directed by Arthur Penn. Warner Bros., 1967. Boorstin, Daniel J. The Americans: The National Experience. New York: Vintage, 1967. The Border. DVD. Directed by Tony Richardson. MCA Home Video, 2004. Borderline. Directed by Jerrold Freedman. Incorporated Television Corporation, 1980. Bordwell, David. The Case of Film Noir. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. Edited by David Bordwell, Janet Staiger, and Kristin Thompson. New York: Columbia University Press, 1985. Bordwell, David, Janet Staiger, and Kristin Thompson. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Columbia University Press, 1985. Bound by Honor (also marketed as Blood in Blood Out). Directed by Taylor Hackford. Hollywood Pictures, 1993. Bourdieu, Pierre. On Television and Journalism. Translated by Priscilla Parkhurst Ferguson. London: Pluto Press, 1998. Bowden, Mark. The Finish: The Killing of Osama bin Laden. Atlantic Monthly Press, 2012. Bowles, Scott. “LAPD Agrees to List of Reforms: U.S. Will Be Watching.” USA Today, October 3, 2000, 1A. Bowser, Benjamin P., ed. Racism and Anti-Racism in World Perspective. Edited by John H. Stanfield II, Sage Series on Race and Ethnic Relations. Thousand Oaks, CA: Sage Publications, 1995. Boyar, Jay. “Less Than Role Model.” Houston Chronicle, September 30, 2001. Boyd, Todd. Am I Black Enough for You? Popular Culture from the ‘Hood and Beyond. Bloomington: Indiana University Press, 1997. Brass, Paul R. Ethnicity and Nationalism: Theory and Comparison. Newbury Park, CA: Sage Publications, 1991. Selected Bibliography 263 Bresler, Robert J., ed. Us vs. Them: American Political and Cultural Conflict from WWII to Watergate. New York: Scholarly Resources, 2000. The Bronze Screen: One Hundred Years of Latino Cinema. Directed by Nancy Alicia de los Santos. Bronze Screen Productions, 2001. Brown, Anna. “The Changing Categories the U.S. Has Used to Measure Race.” June 12, 2015. Available online at: pewresearch.org. Buchanan, Patrick J. “Whose War? A Neoconservative Clique Seeks to Ensnare Our Country in a Series of Wars That are Not in America’s Interest.” The American Conservative, May 24, 2003. Buffington, Robert M. Criminal and Citizen in Modern Mexico. Lincoln: University of Nebraska Press, 2000. Bullitt. Directed by Peter Yates. Solar Productions, 1968. Burr, Ty. “Good Cop/Bad Cop: Dark Blue Gives Pale Portrayal of Racism.” Boston Globe, February 21, 2003. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1990. Cagney & Lacey: The Complete Series—30th Anniversary. 1982–1988. Produced by Barbara Avedon and Barbara Corday. Toronto, ON, Canada: Visual Entertainment, 2012. DVD. Calhoun, Craig. Nationalism. Minneapolis: University of Minnesota Press, 1997. Captain America: The First Avenger. DVD. Directed by Joe Johnston. Marvel,
Load more

Recommended publications
  • Cold War II: Hollywood's Renewed Obsession with Russia
    H-USA Edited Collection: Cold War II: Hollywood’s Renewed Obsession with Russia Discussion published by Tatiana Konrad on Monday, August 13, 2018 Date: October 1, 2018 The Cold War, with its bald confrontation between the United States and the Soviet Union, has been widely depicted in film. Starting even before the conflict actually began with Ernst Lubitsch’s portrayals of communism in Ninotschka (1939), and ranging from Stanley Kubrick’s openly “Cold War” Dr. Strangelove (1963) to Fred Schepisi’s The Russia House (1990), Hollywood’s obsession with the Cold War, the Soviets/Russians, communism, and the political and ideological differences between the U.S. and Russia were pronounced. This obsession has persisted even after the fall of the Berlin Wall and the breakup of the Soviet Union. Cold War tropes continue to be (ab)used, as can be seen in multiple representations of evil Russians on screen, including Wolfgang Petersen’s Air Force One (1997), Jon Favreau’s Iron Man 2 (2010), Phillip Noyce’s Salt (2010), Brad Bird’s Mission: Impossible – Ghost Protocol (2011), John Moore’s A Good Day to Die Hard (2013), and Antoine Fuqua’s The Equalizer (2014), to name just a few. All these films portray Russians in a rather similar manner: as members of the mafia or as plain criminals. Yet recently Hollywood cinema has made a striking turn regarding its portrayals of Russians, returning to the images of the Cold War. This turn and the films that resulted from it are what the collection proposes to examine. The sanctions imposed on Russia during the Ukrainian crisis in 2014 by several Western countries, including the United States, along with Trump’s admiration for Putin, Russian attempts to influence the 2016 American election, the fatal poisoning in the UK, etc., have led to a tense relationship between Russia and the Western world.
    [Show full text]
  • Pr-Dvd-Holdings-As-Of-September-18
    CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
    [Show full text]
  • Bad Cops: a Study of Career-Ending Misconduct Among New York City Police Officers
    The author(s) shown below used Federal funds provided by the U.S. Department of Justice and prepared the following final report: Document Title: Bad Cops: A Study of Career-Ending Misconduct Among New York City Police Officers Author(s): James J. Fyfe ; Robert Kane Document No.: 215795 Date Received: September 2006 Award Number: 96-IJ-CX-0053 This report has not been published by the U.S. Department of Justice. To provide better customer service, NCJRS has made this Federally- funded grant final report available electronically in addition to traditional paper copies. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. This document is a research report submitted to the U.S. Department of Justice. This report has not been published by the Department. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. Bad Cops: A Study of Career-Ending Misconduct Among New York City Police Officers James J. Fyfe John Jay College of Criminal Justice and New York City Police Department Robert Kane American University Final Version Submitted to the United States Department of Justice, National Institute of Justice February 2005 This project was supported by Grant No. 1996-IJ-CX-0053 awarded by the National Institute of Justice, Office of Justice Programs, U.S. Department of Justice. Points of views in this document are those of the authors and do not necessarily represent the official position or policies of the U.S.
    [Show full text]
  • Co-Produced with the Black Film Institute of the University of the District of Columbia the Vision
    Co-produced with the Black Film Institute of the University of the District of Columbia the vision. the voice. From LA to London and Martinique to Mali. We bring you the world ofBlack film. Ifyou're concerned about Black images in commercial film and tele­ vision, you already know that Hollywood does not reflect the multi- cultural nature 'ofcontemporary society. You know thatwhen Blacks are not absent they are confined to predictable, one-dimensional roles. You may argue that movies and television shape our reality or that they simply reflect that reality. In any case, no one can deny the need to take a closer look atwhat is COIning out of this powerful medium. Black Film Review is the forum you've been looking for. Four times a year, we bringyou film criticiSIn froIn a Black perspective. We look behind the surface and challenge ordinary assurnptiorls about the Black image. We feature actors all.d actresses th t go agaul.st the graill., all.d we fill you Ul. Oll. the rich history ofBlacks Ul. Arnericall. filrnrnakul.g - a history thatgoes back to 19101 And, Black Film Review is the only magazine that bringsyou news, reviews and in-deptll interviews frOtn tlle tnost vibrant tnovetnent in contelllporary film. You know about Spike Lee butwIlat about EuzIlan Palcy or lsaacJulien? Souletnayne Cisse or CIl.arles Burnette? Tllrougll­ out tIle African cliaspora, Black fi1rnInakers are giving us alternatives to tlle static itnages tIlat are proeluceel in Hollywood anel giving birtll to a wIlole new cinetna...be tIlere! Interview:- ----------- --- - - - - - - 4 VDL.G NO.2 by Pat Aufderheide Malian filmmaker Cheikh Oumar Sissoko discusses his latest film, Finzan, aself­ conscious experiment in storytelling 2 2 E e Street, NW as ing on, DC 20006 MO· BETTER BLUES 2 2 466-2753 The Music 6 o by Eugene Holley, Jr.
    [Show full text]
  • Cablelabs Studio Code List 05/01/2006
    CableLabs Studio Code List 05/01/2006 Studio Name Code Last Update 05/05/2006 1 120 Degree Films 120D 2 1st National FSN 3 2 Silks Releasing 2SR 4 20th Century Fox FOX 5 21st Century 21ST 6 2nd Generation 2GN 7 4th & Broadway 4TH 8 50th Street 50TH 9 7th Planet Prods 7PP 10 8X Entertainment 8X 11 A.D.G. ADG 12 A.I.P. Studios AIPS 13 Abramorama Entertainment ABR 14 Academy ACD 15 Access Motion Picture Group ACM 16 ADV Films ADV 17 AFD Theatrical AFDT 18 Alive ALV 19 Alliance Atlantis Communications AA 20 Alliance International Pictures AIP 21 Almi ALM 22 American International Pictures AINT 23 American Vacation Production AVP 24 American World Pictures AWP 25 American Zoetrope AZO 26 Amoon AMO 27 Andora Pictures AND 28 Angelika ANG 29 A-Pix APIX 30 Apollo APO 31 Apple and Honey Film Corp. AHFC 32 Arab Films ARAB 33 Arcangelo Entertainment ARC 34 Arenaplex ARN 35 Arenas Entertainment ARNS 36 Aries ARI 37 Ariztical Entertainment ARIZ 38 Arrival Pictures ARR 39 Arrow Releasing ARW 40 Arthouse Films AHF 41 Artificial Eye ARTI 42 Artisan ARTS 43 Artist View Ent. ARV 44 Artistic License ARTL 45 Artists Releasing Corp ARP 46 ArtMattan Productions AMP 47 Artrution Productions ART 48 ASA Communications ASA 49 Ascot ASC 50 Associated Film Distribution AFD 51 Astor Pictures AST 1 CableLabs Studio Code List 05/01/2006 Studio Name Code Last Update 05/05/2006 52 Astral Films ASRL 53 At An Angle ANGL 54 Atlantic ATL 55 Atopia ATP 56 Attitude Films ATT 57 Avalanche Films AVF 58 Avatar Films AVA 59 Avco Embassy AEM 60 Avenue AVE 61 B&W Prods.
    [Show full text]
  • Writing Dialogue & Advice from the Pros
    Writing Dialogue & Advice from the Pros Writing great dialogue is considered an art form. Listening to real-life conversations, watching award- winning films, and learning from the masters will help you craft dialogue that shines on the page. The following writing thoughts and advice are excerpts from Karl Iglesias’ book, The 101 Habits of Highly Successful Screenwriters. Enjoy! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Writing Unrealistic and Boring Dialogue In real life, dialogue is mostly polite conversation. In film, polite conversation is considered bad dialogue, unless it’s witty, sarcastic, or has a unique voice. The reason is that polite chat lacks tension, and tension is the key to dramatic storytelling. As Alfred Hitchcock once said, “Drama is real life with all the boring parts cut out of it.” The key to good dialogue is to understand that it’s not conversation, it’s action. What characters say in a scene should be said to get what they want in the scene. And to determine whether or not your dialogue sounds realistic, read it out loud. Garrison Keillor once advised, “If you read your work out loud, it helps to know what’s bad.” Try it. It works. Dialogue always sounds better in your head. Better to be embarrassed in your room than on the set. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Read Your Dialogue Out Loud Writing authentic, well-crafted dialogue that sparkles, individualizes characters, and entertains the reader is the ultimate challenge for screenwriters, who otherwise may have solid script elements. It’s crucial to attracting talent, which can green-light your script. Writing great dialogue can also sell the writer, for those who excel in this area are highly sought after to the tune of six figures per week for dialogue rewrites.
    [Show full text]
  • A Good Day to Die Hard, Limited to Onlyone Application Per Household
    MEDIA PROMOTION COVERAGE Front Page Coverage Full Page Coverage Reader Offer HaveFREE TEA BAGS a Yippee drink Ki-Yay! on us! Make Mine a Builders tea is sold through *Morrisons, *Ocado and *Staples and selected *Asda and *Tesco stores *Packs cannot be redeemed through any of these retailers o celebrate the DigitalHD™, Blu-ray McClane, the heroic New York cop with a knack Terms and conditions and DVD release of Bruce Willis’s for being in the wrong place at the right time. Offer closing date: Sunday 30 June 2013. Applications His latest predicament takes him all the way received after this date will not be processed. Offer is strictly action movie A Good Day to Die Hard, limited to onlyone application per household. Multiple we’re giving away a FREE pack of to Russia to track down his estranged son, Jack applications from the same address will not be processed. TMake Mine a Builders tea – the thirst-quenching (Jai Courtney), who has been imprisoned in Offer availability is strictly subject to while stocks last. Offer Moscow and is awaiting a life sentence. But the item will be despatched after the closing date – please strong cuppa that’s built on flavour, not frills. allow up to a further 10 days for the item to be received. For Yippee Ki-Yay! John McClane is back, this mission takes a deadly turn as father and son full terms and conditions please visit www.promooffers. time with his son – and twice the excitement. must join forces to thwart a nuclear weapons co.uk/diehard5 and view ‘Terms and Conditions’.
    [Show full text]
  • Table of Contents
    Table of Contents PART I. Introduction 5 A. Overview 5 B. Historical Background 6 PART II. The Study 16 A. Background 16 B. Independence 18 C. The Scope of the Monitoring 19 D. Methodology 23 1. Rationale and Definitions of Violence 23 2. The Monitoring Process 25 3. The Weekly Meetings 26 4. Criteria 27 E. Operating Premises and Stipulations 32 PART III. Findings in Broadcast Network Television 39 A. Prime Time Series 40 1. Programs with Frequent Issues 41 2. Programs with Occasional Issues 49 3. Interesting Violence Issues in Prime Time Series 54 4. Programs that Deal with Violence Well 58 B. Made for Television Movies and Mini-Series 61 1. Leading Examples of MOWs and Mini-Series that Raised Concerns 62 2. Other Titles Raising Concerns about Violence 67 3. Issues Raised by Made-for-Television Movies and Mini-Series 68 C. Theatrical Motion Pictures on Broadcast Network Television 71 1. Theatrical Films that Raise Concerns 74 2. Additional Theatrical Films that Raise Concerns 80 3. Issues Arising out of Theatrical Films on Television 81 D. On-Air Promotions, Previews, Recaps, Teasers and Advertisements 84 E. Children’s Television on the Broadcast Networks 94 PART IV. Findings in Other Television Media 102 A. Local Independent Television Programming and Syndication 104 B. Public Television 111 C. Cable Television 114 1. Home Box Office (HBO) 116 2. Showtime 119 3. The Disney Channel 123 4. Nickelodeon 124 5. Music Television (MTV) 125 6. TBS (The Atlanta Superstation) 126 7. The USA Network 129 8. Turner Network Television (TNT) 130 D.
    [Show full text]
  • A Dangerous Method
    A David Cronenberg Film A DANGEROUS METHOD Starring Keira Knightley Viggo Mortensen Michael Fassbender Sarah Gadon and Vincent Cassel Directed by David Cronenberg Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Official Selection 2011 Venice Film Festival 2011 Toronto International Film Festival, Gala Presentation 2011 New York Film Festival, Gala Presentation www.adangerousmethodfilm.com 99min | Rated R | Release Date (NY & LA): 11/23/11 East Coast Publicity West Coast Publicity Distributor Donna Daniels PR Block Korenbrot Sony Pictures Classics Donna Daniels Ziggy Kozlowski Carmelo Pirrone 77 Park Ave, #12A Jennifer Malone Lindsay Macik New York, NY 10016 Rebecca Fisher 550 Madison Ave 347-254-7054, ext 101 110 S. Fairfax Ave, #310 New York, NY 10022 Los Angeles, CA 90036 212-833-8833 tel 323-634-7001 tel 212-833-8844 fax 323-634-7030 fax A DANGEROUS METHOD Directed by David Cronenberg Produced by Jeremy Thomas Co-Produced by Marco Mehlitz Martin Katz Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Executive Producers Thomas Sterchi Matthias Zimmermann Karl Spoerri Stephan Mallmann Peter Watson Associate Producer Richard Mansell Tiana Alexandra-Silliphant Director of Photography Peter Suschitzky, ASC Edited by Ronald Sanders, CCE, ACE Production Designer James McAteer Costume Designer Denise Cronenberg Music Composed and Adapted by Howard Shore Supervising Sound Editors Wayne Griffin Michael O’Farrell Casting by Deirdre Bowen 2 CAST Sabina Spielrein Keira Knightley Sigmund Freud Viggo Mortensen Carl Jung Michael Fassbender Otto Gross Vincent Cassel Emma Jung Sarah Gadon Professor Eugen Bleuler André M.
    [Show full text]
  • PADRAIC Mckinley Editor
    PADRAIC McKINLEY Editor FEATURES DIRECTORS PRODUCERS/STUDIOS BOSS LEVEL Joe Carnahan Scott Putman, Frank Grillo Emmett/Furla/Oasis Films WHEELMAN Jeremy Rush George Parra, Frank Grillo / Netflix PRIDE AND PREJUDICE Burr Steers Sue Baden-Powell, Marc Butan, Lauren Selig AND ZOMBIES Allison Shearmur / Lionsgate WILD CARD Simon West Steve Chasman, Brian Pitt, Jib Polhemus Recut Jason Statham / Lionsgate HOMEFRONT Gary Fleder Avi Lerner, John Thompson Open Road Films / Millennium CHARLIE ST. CLOUD Burr Steers Michael Fottrell, Marc Platt Universal Pictures 17 AGAIN Burr Steers Jennifer Gibgot, Adam Shankman Dara Weintraub / New Line Cinema THE EXPRESS Gary Fleder Derek Dauchy, John Davis, Arne Schmidt Davis Entertainment / Universal Pictures ALFIE Charles Shyer Sean Daniel, Diana Phillips, Elaine Pope Paramount Pictures IF ONLY Gil Junger Basil Iwanyk, Jeffrey Silver, Scott Strauss Tapestry Films / Sony IGBY GOES DOWN Burr Steers Lisa Tornell, David Rubin, Marco Weber MGM TELEVISION AMERICAN GODS Season 2 Various Directors Jesse Alexander, Reid Shane Editor, Executive Producer Dante DiLoreto / Fremantle Media / Starz FIGHT WORLD Docu-Series Padraic McKinley Todd Lubin, John Gerstel / Matador / Netflix Editor, Director KINGDOM Pilot & Series Various Directors Byron Balasco, Adam Davidson Supervising Editor, Producer, Director Endemol USA / DirecTV ANIMAL KINGDOM Christopher Chulack Terri Murphy, Lou Wells One Episode Warner Bros. / TNT BEAUTY AND THE BEAST Pilot Gary Fleder Sherri Cooper, Jennifer Levin, Tony Thomas Paul Junger Witt / CBS
    [Show full text]
  • 2021 Primetime Emmy® Awards Ballot
    2021 Primetime Emmy® Awards Ballot Outstanding Directing For A Comedy Series A.P. Bio Gary Meets Dave Jack loses Helen’s money that she needs for the school mascot Pam the Ram’s surgery so he tells her it was stolen. The students help Jack try get the cash back. Meanwhile, Stef, Mary and Michelle run into trouble with their mall-walking group. Richie Keen, Directed by A.P. Bio Katie Holmes Day Jack vows to ruin the local holiday, Katie Holmes Day, because he’s jealous that a fellow Toledoan achieved their dreams. Meanwhile, Durbin is determined not to flub his line in the pageant this year. Mary and Stef run the holiday rummage sale. Anu Valia, Directed by B Positive Pilot Drew, a recently divorced father, discovers he needs a kidney and finds his donor in the last person he ever would've imagined. James Burrows, Directed by black-ish Our Wedding Dre Dre's (Anthony Anderson) intimate wedding plans for Pops (Laurence Fishburne) and Ruby (Jenifer Lewis) go awry when Pops' brother, Uncle Norman, (Danny Glover) shows up unexpectedly for the festivities. Meanwhile Ruby refuses Bow's (Tracee Ellis Ross) offer to help with preparations. Eric Dean Seaton, Directed by black-ish Please, Baby, Please Dre tries to soothe baby DeVante back to sleep by reading him a bedtime story that becomes a story expressing his own concerns about the state of our country. Kenya Barris, Directed by Breeders No Fear Luke’s anxiety is becoming a problem at home and school. Would a medical diagnosis make his life easier or harder? Ally faces further tension after her mother Leah is robbed.
    [Show full text]
  • Clint Eastwood Et Les Années 1980 Julien Fonfrède
    Document generated on 09/28/2021 9:57 a.m. 24 images Papy fait de la résistance Clint Eastwood et les années 1980 Julien Fonfrède Années 1980 – Laboratoire d’un cinéma populaire Number 183, August–September 2017 URI: https://id.erudit.org/iderudit/85996ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article Fonfrède, J. (2017). Papy fait de la résistance : Clint Eastwood et les années 1980. 24 images, (183), 31–31. Tous droits réservés © 24/30 I/S, 2017 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Années 1980 – Laboratoire d’un cinéma populaire PAPY FAIT DE LA RÉSISTANCE CLINT EASTWOOD ET LES ANNÉES 1980 par Julien Fonfrède es réalisateurs, acteurs et actrices phares D des décennies précédant les années 1980, nombreux sont ceux et celles qui sont tombés dans l’oubli au cours de cette période. Le cinéma rajeunit alors. Une nouvelle génération de réali- sateurs, de spectateurs, de sujets et de visages débarque. Difficile, pour beaucoup, de s’adapter aux changements. Pour Clint Eastwood, ce ne sera en revanche pas le cas.
    [Show full text]