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Missing & Maligned
Missing & Maligned: The Reality of Muslims in Popular Global Movies Al-Baab Khan, Dr. Katherine Pieper, Dr. Stacy L. Smith, Marc Choueiti, Kevin Yao & Artur Tofan with assistance from Nooria Bahaduri Arshmah Majid Habeeba Kamel Nadira Noor Hajar Kamel Myrah Sarwar Jalen Layfield Shaneen Upal June 2021 Riz Ahmed MISSING & MALIGNED: THE REALITY OF MUSLIMS IN POPULAR GLOBAL MOVIES USC ANNENBERG INCLUSION INITIATIVE @Inclusionists MUSLIM CHARACTERS ARE MISSING IN POPULAR FILM Percentage of Muslim characters across 200 popular films, 2017-2019 1.1% 5.6% 1.6% OF 8,965 OF CHARACTERS OF CHARACTERS SPEAKING IN 100 U.S. FILMS IN 32 AUSTRALIAN CHARACTERS WERE MUSLIM FILMS WERE MUSLIM WERE MUSLIM 1.1% 0 24% OF THE OF CHARACTERS CHARACTERS IN 5 GLOBAL IN 63 U.K. FILMS NEW ZEALAND FILMS POPULATION WERE MUSLIM WERE MUSLIM IS MUSLIM AN ON SCREEN POPULATION CRISIS FOR MUSLIM GIRLS & WOMEN Percentage of Muslim female characters across 200 popular films by country, 2017-2019 U.S. U.K. AUSTRALIA NEW ZEALAND OVERALL .% .% .% .% WERE WERE WERE WERE WERE FEMALE FEMALE FEMALE FEMALE FEMALE © ANNENBERG INCLUSION INITIATIVE THE EPIDEMIC OF INVISIBILITY FACES MUSLIM CHARACTERS Number and percentage of 200 films missing Muslim characters, 2017-2019 films we .% OF FILMS re m DID NOT FEATURE i s EVEN ONE s i n MUSLIM SPEAKING g CHARACTER M u s .% OF AUSTRALIAN FILMS l i m % OF U.S. FILMS 181 c h a .% OF U.K. FILMS r a c t e s r % OF NEW ZEALAND FILMS MUSLIM CHARACTERS ARE RACIALLY PROFILED IN FILM Race/ethnicity of Muslim characters across 200 films, 2017-2019 66.7% MUSLIMS ARE THE MOST RACIALLY & ETHNICALLY DIVERSE RELIGIOUS GROUP IN THE WORLD 20.8% 5.6% 4.2% 2.8% Middle Eastern/ Asian Black/ White/ Multiracial/ North African African American Caucasian Multiethnic © ANNENBERG INCLUSION INITIATIVE MUSLIM LEADS ARE LEFT OUT OF FILMS Films with Muslim lead/co lead or ensemble lead characters Across 200 films from 2017 to 2019.. -
The Only Defense Is Excess: Translating and Surpassing Hollywood’S Conventions to Establish a Relevant Mexican Cinema”*
ANAGRAMAS - UNIVERSIDAD DE MEDELLIN “The Only Defense is Excess: Translating and Surpassing Hollywood’s Conventions to Establish a Relevant Mexican Cinema”* Paula Barreiro Posada** Recibido: 27 de enero de 2011 Aprobado: 4 de marzo de 2011 Abstract Mexico is one of the countries which has adapted American cinematographic genres with success and productivity. This country has seen in Hollywood an effective structure for approaching the audience. With the purpose of approaching national and international audiences, Meximo has not only adopted some of Hollywood cinematographic genres, but it has also combined them with Mexican genres such as “Cabaretera” in order to reflect its social context and national identity. The Melodrama and the Film Noir were two of the Hollywood genres which exercised a stronger influence on the Golden Age of Mexican Cinema. Influence of these genres is specifically evident in style and narrative of the film Aventurera (1949). This film shows the links between Hollywood and Mexican cinema, displaying how some Hollywood conventions were translated and reformed in order to create its own Mexican Cinema. Most countries intending to create their own cinema have to face Hollywood influence. This industry has always been seen as a leading industry in technology, innovation, and economic capacity, and as the Nemesis of local cinema. This case study on Aventurera shows that Mexican cinema reached progress until exceeding conventions of cinematographic genres taken from Hollywood, creating stories which went beyond the local interest. Key words: cinematographic genres, melodrama, film noir, Mexican cinema, cabaretera. * La presente investigación fue desarrollada como tesis de grado para la maestría en Media Arts que completé en el 2010 en la Universidad de Arizona, Estados Unidos. -
FILMS MANK Makeup Artist Netflix Director: David Fincher SUN DOGS
KRIS EVANS Member Academy of Makeup Artist Motion Picture Arts and Sciences IATSE 706, 798 and 891 BAFTA Los Angeles [email protected] (323) 251-4013 FILMS MANK Makeup Artist Netflix Director: David Fincher SUN DOGS Makeup Department Head Fabrica De Cine Director: Jennifer Morrison Cast: Ed O’Neill, Allison Janney, Melissa Benoist, Michael Angarano FREE STATE OF JONES Key Makeup STX Entertainment Director: Gary Ross Cast: Mahershala Ali, Matthew McConaughey, GuGu Mbatha-Raw THE PERFECT GUY Key Makeup Screen Gems Director: David M Rosenthal Cast: Sanaa Lathan, Michael Ealy, Morris Chestnut NIGHTCRAWLER Key Makeup, Additional Photography Bold Films Director: Dan Gilroy HUNGER GAMES MOCKINGJAY PART 1 & 2 Background Makeup Supervisor Lionsgate Director: Francis Lawrence THE HUNGER GAMES: CATCHING FIRE Background Makeup Supervisor Lionsgate Director: Francis Lawrence THE FACE OF LOVE Assistant Department Head Mockingbird Pictures Director: Arie Posen THE RELUCTANT FUNDAMENTALIST Makeup Department Head Cine Mosaic Director: Mira Nair Cast: Riz Ahmed, Kate Hudson, Kiefer Sutherland ABRAHAM LINCOLN VAMPIRE HUNTER 2012 Special Effects Makeup Artists th 20 Century Fox Director: Timur Bekmambetov THE AMAZING SPIDER-MAN 2012 Makeup Artist Columbia Pictures Director: Marc Webb THE HUNGER GAMES Background Makeup Supervisor Lionsgate Director: Gary Ross THE RUM DIARY Key Makeup Warner Independent Pictures Director: Bruce Robinson Cast: Amber Heard, Giovanni Ribisi, Amaury Nolasco, Richard Jenkins 1 KRIS EVANS Member Academy of Makeup Artist -
Tops Globes Noms As Female Directors Break Through
20 Friday Lifestyle | Features Friday, February 5, 2021 Netflix’s ‘Mank’ tops Globes noms as female directors break through This video screen grab shows Taraji P Henson during the Golden This video screen grab shows Sarah Jessica Parker during the In this file photo shows Golden Globe statues are set by the Globes nominations. Golden Globes nominations. stage ahead of the 77th Annual Golden Globe Awards nomina- tions announcement in Beverly Hills.—AFP photos etflix’s “Mank,” a black-and-white drama that dives into Hollywood’s List of key Golden Globe nominees NGolden Age with the making of “Citizen Kane,” on Wednesday topped the ere are the nominees in key Young Woman” BEST FOREIGN LANGUAGE Eugene Levy, “Schitt’s Creek” nominations for the pandemic-delayed categories for the 78th Golden FILM Jason Sudeikis, “Ted Lasso” Golden Globes, as female directors finally HGlobe Awards, which will be BEST ACTOR, MUSICAL OR “Another Round” Ramy Youssef, “Ramy” broke through with multiple nods. “Mank” handed out in Beverly Hills on Febru- COMEDY “La Llorona” earned six nominations, including best ary 28. Netflix’s “Mank”-set in Hol- Sacha Baron Cohen, “Borat Sub- “The Life Ahead” BEST MUSICAL OR COMEDY drama, followed by fellow Netflix movie lywood’s Golden Age about the sequent Moviefilm” “Minari” ACTRESS “The Trial of the Chicago 7” on five, in an making of “Citizen Kane”-led all James Corden, “The Prom” “Two of Us” Lily Collins, “Emily in Paris” announcement that offered an important, films with six nominations. The Lin-Manuel Miranda, “Hamilton” Kaley Cuoco, “The Flight Atten- early glimpse into the movies leading this streaming service crushed the com- Dev Patel, “The Personal History BEST ANIMATED FEATURE dant” year’s unique awards season. -
MORE THAN BIBI, SELENA, JUAN, and VICENTE: MEDIA's RACIAL FORMATION of MEXICAN IMMIGRANTS' GENDER IDENTITY a Dissertation B
MORE THAN BIBI, SELENA, JUAN, AND VICENTE: MEDIA’S RACIAL FORMATION OF MEXICAN IMMIGRANTS’ GENDER IDENTITY A Dissertation by ARLETT SOPHIA LOMELI Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Rogelio Saenz Co-Committee Chair, Joseph Jewell Committee Members, Holly Foster Sarah Gatson Antonio La Pastina Head of Department, Jane Sell May 2015 Major Subject: Sociology Copyright 2015 Arlett Sophia Lomeli ABSTRACT This dissertation analyzes the gendered racialization of identities of Mexican immigrants in the media and focuses on how newspapers in particular provide a significant platform in which to reinforce, transform and/or challenge historic depictions of immigrant identities. Through the use of the Ethnographic Content Analysis protocol, Critical Discourse Analysis, and the intersectional theories composited by Omi and Winant’s Racial formation theory with Patricia Collin’s family social hierarchies, this dissertation provides a connection of racialization from individual gender depictions and family gender-roles to group generalizations. Selecting three Lower Rio Grande Valley, Texas newspapers, this dissertation examines how urban/rural locations along the U.S. and Mexico border portray Mexican immigrants and immigration policy during the 2012 presidential election. This dissertation recognizes Mexican immigrants’ identity is primarily gender neutral, but once further data is reviewed, women have -
WEEKEND SUGGESTIONS Week 1
INTERNATIONAL NETWORK OF NORWAY Oslo Chamber of Commerce WEEKEND SUGGESTIONS Week 1 HI EVERYBODY! Happy New Year! We hope you all had a great holiday season with family and friends. The year has just started and things are still quiet, so why not take the chance and enjoy some quiet time at home after the season’s rush? Enjoy your weekend! Photo: pixabay.com OSLO CHAMBER OF COMMERCE EVENTS Both Oslo Chamber of Commerce and INN members are welcome to thIs event: International Forum, February 4 at 17.00 Emirates has grown from a small airline with a few leased aircraft and 3 destinations in October 1985, to becoming one of the world’s largest international airlines and largest operator of both Airbus 380 and Boeing 777. With an ambitious and welcoming slogan - “Hello Tomorrow”- Emirates continues to grow, continuously investing in new aircraft and new routes. Come and join us for an exciting presentation by Emirates Norway CEO, Terje Grue. Click here for more information and registration. Address: Bygdøy allé 2 How to get there: Buses 30/31 to Skovveien INN MEMBER EVENTS International Potluck Dinner, January 13 at 17.30 We challenge you to gather at our premises for an international potluck! A potluck is a gathering of people where each person contributes with a dish of food to be shared among the group. You may bring any form of food, ranging from starters to desserts. INN will provide the drinks. Let us enjoy some time together with good international food! Click here for more information and registration. -
PROGRAM CINEMA AUGUSTA 24Th NOV-2016.Xlsx
CINEMA AUGUSTA PROGRAM COMING ATTRACTIONS PHONE 86489999 TO CHECK SESSION TIMES VISIT OUR WEB PAGE www.cinemaaugusta.com www.cinemaaugusta.com MOVIE START END . Nov 21st Mon CINEMA CLOSED FANTASTIC BEASTS AND WERE TO FIND THEM (M) Nov 22nd Tue CINEMA CLOSED Ezra Miller, Eddie Redmayne, Colin Farrell. The adventures of writer Newt Scamander in New Yorks Nov 23rd Wed HACKSAW RIDGE (MA) 4.00pm 6.20pm secret community of witches and wizards seventy years ARRIVAL (M) 6.30pm 8.30pm before Harry Potter reads his book in school. FANTASTIC BEASTS (M) 8.40pm 11.00pm TROLLS (G) Lovable and friendly, the trolls love to play around. UNDERWORLD: BLOOD WARS (MA) Nov 24th Thu FANTASTIC BEASTS (M) 6.30pm 8.50pm Kate Beckinsale, Theo James. ARRIVAL (M) 9.00pm 11.00pm Vampire death dealer, Selene (Kate Beckinsale) fights to end the eternal war between the Lycan clan and the Vampire Nov 25th Fri TROLLS (G) 4.45pm 6.20pm faction that betrayed her. FANTASTIC BEASTS (M) 3D 6.30pm 8.50pm BAD SANTA 2 (MA) ARRIVAL (M) 9.00pm 11.00pm Billy Bob Thornton, Kathy Bates. Fueled by cheap whiskey, greed and hatred, Willie teams up once Nov 26th Sat TROLLS (G) 10.30am 12.10pm again with his angry little sidekick, Marcus, to knock off a Chicago FANTASTIC BEASTS (M) 12.20pm 2.35pm charity on Christmas Eve. TROLLS (G) 2.45pm 4.20pm ROGUE ONE: A STAR WARS STORY (CTC) HACKSAW RIDGE (MA) 4.30pm 6.50pm Felicity Jones, Riz Ahmed, Ben Mendelsohn. FANTASTIC BEASTS (M) 3D 7.00pm 9.20pm Rebels set out on a mission to steal the plans for the Death Star. -
Emmy Nominations
69th Emmy Awards Nominations Announcements July 13, 2017 (A complete list of nominations, supplemental facts and figures may be found at Emmys.com) Emmy Noms to date Previous Wins to Category Nominee Program Network 69th Emmy Noms Total (across all date (across all categories) categories) LEAD ACTRESS IN A DRAMA SERIES Viola Davis How To Get Away With Murder ABC 1 3 1 Claire Foy The Crown Netflix 1 1 NA Elisabeth Moss The Handmaid's Tale Hulu 1 8 0 Keri Russell The Americans FX Networks 1 2 0 Evan Rachel Wood Westworld HBO 1 2 0 Robin Wright House Of Cards Netflix 1 6 0 LEAD ACTOR IN A DRAMA SERIES Sterling K. Brown This Is Us NBC 1 2 1 Anthony Hopkins Westworld HBO 1 5 2 Bob Odenkirk Better Call Saul AMC 1 11 2 Matthew Rhys The Americans FX Networks 2* 3 0 Liev Schreiber Ray Donovan Showtime 3* 6 0 Kevin Spacey House Of Cards Netflix 1 11 0 Milo Ventimiglia This Is Us NBC 1 1 NA * NOTE: Matthew Rhys is also nominated for Guest Actor In A Comedy Series for Girls * NOTE: Liev Schreiber also nominamted twice as Narrator for Muhammad Ali: Only One and Uconn: The March To Madness LEAD ACTRESS IN A LIMITED SERIES OR A MOVIE Carrie Coon Fargo FX Networks 1 1 NA Felicity Huffman American Crime ABC 1 5 1 Nicole Kidman Big Little Lies HBO 1 2 0 Jessica Lange FEUD: Bette And Joan FX Networks 1 8 3 Susan Sarandon FEUD: Bette And Joan FX Networks 1 5 0 Reese Witherspoon Big Little Lies HBO 1 1 NA LEAD ACTOR IN A LIMITED SERIES OR A MOVIE Riz Ahmed The Night Of HBO 2* 2 NA Benedict Cumberbatch Sherlock: The Lying Detective (Masterpiece) PBS 1 5 1 -
The Reluctant Fundamentalist
Mongrel Media Presents The Reluctant Fundamentalist A film by Mira Nair (128 min., USA, 2012) Language: English and Urdu Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html SYNOPSIS 2011, Lahore. At a café a Pakistani man named Changez (Riz Ahmed) tells Bobby (Liev Schreiber), an American journalist, about his experiences in the United States. Roll back ten years, and we find a younger Changez fresh from Princeton, seeking his fortune on Wall Street. The American Dream seems well within his grasp, complete with a smart and gorgeous artist girlfriend, Erica (Kate Hudson). But when the Twin Towers are attacked, a cultural divide slowly begins to crack open between Changez and Erica. Changez’s dream soon begins to slip into nightmare: he is transformed from a well-educated, upwardly mobile businessman to a scapegoat and perceived enemy. Taking us through the culturally rich and beguiling worlds of New York, Lahore and Istanbul, The Reluctant Fundamentalist is a story about conflicting ideologies where perception and suspicion have the power to determine life or death. A MULTI-LAYERED VISION “Looks can be deceiving.” Changez Khan “An Indian director making a film about a Pakistani man. That’s not an easy thing to do,” says novelist and co-screenwriter Mohsin Hamid of The Reluctant Fundamentalist, the new film from award-winning filmmaker Mira Nair, based on Hamid’s acclaimed novel of the same name. -
“Golden Age”: Sônia Braga, Gael García Bernal, and Ricardo Darín
New Latin-American Stardom, the local/global stars of Latin American Cinema’s new “Golden Age”: Sônia Braga, Gael García Bernal, and Ricardo Darín Dolores Tierney, Victoria Ruétalo and Roberto Carlos Ortiz Editors’ Introduction The Latin American star system, like that in other regions, has emulated the Hollywood model in large measure because of its power to mobilize movie-going audiences. Various contributors to this collection have underscored particular ways in which regional film cultures have borrowed certain of Hollywood’s strategies to promote local star culture. Maite Conde’s discussion of fan magazines in Brazil in the 1920s (see Chapter 5), for instance, provides an early example of the ways the Hollywood star paradigm self-consciously served local interests in shaping a Brazilian national audience. Similarly, in Chapter 23 Alejandro Kelly’s focus on photography in star construction and the commercial promotion of particular stars helps us better appreciate the rich visual influence of cinema in shaping popular tastes and commodity culture in the region. In recent decades, with seminal works by Viera, López, Paranaguá and Tuñón, Latin American star studies have expanded their scope, generating sophisticated discourses on the ways in which individual stars maneuver their celebrity persona within the social, cultural and even moral projects of national and transnational communities. The authors of this chapter argue for a substantive alteration of that meta-discourse on stardom in which key Latin America actors are seen as not merely as ‘star texts’ but, to extend the metaphor, as centers of 1 ‘constellations’ of intermedial artistic and market networks in ways that transcend their status as mere entertainers. -
Hollywood Foreign Press Association 2017 Golden Globe Awards for the Year Ended December 31, 2016 Press Release
HOLLYWOOD FOREIGN PRESS ASSOCIATION 2017 GOLDEN GLOBE AWARDS FOR THE YEAR ENDED DECEMBER 31, 2016 PRESS RELEASE 1. BEST MOTION PICTURE – DRAMA a. HACKSAW RIDGE Pandemonium Films / Permut Productions; Lionsgate b. HELL OR HIGH WATER Sidney Kimmel Entertainment / Film 44 / LBI Entertainment / OddLot Entertainment; CBS Films / Lionsgate c. LION See-Saw Films; The Weinstein Co. d. MANCHESTER BY THE SEA Pearl Street Films / The Media Farm / K Period Media / The A | Middleton Project / B Story; Amazon Studios e. MOONLIGHT A24 / Plan B / Pastel; A24 2. BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA a. AMY ADAMS ARRIVAL b. JESSICA CHASTAIN MISS SLOANE c. ISABELLE HUPPERT ELLE d. RUTH NEGGA LOVING e. NATALIE PORTMAN JACKIE 3. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA a. CASEY AFFLECK MANCHESTER BY THE SEA b. JOEL EDGERTON LOVING c. ANDREW GARFIELD HACKSAW RIDGE d. VIGGO MORTENSEN CAPTAIN FANTASTIC e. DENZEL WASHINGTON FENCES HOLLYWOOD FOREIGN PRESS ASSOCIATION 2017 GOLDEN GLOBE AWARDS FOR THE YEAR ENDED DECEMBER 31, 2016 PRESS RELEASE 4. BEST MOTION PICTURE – MUSICAL OR COMEDY a. 20TH CENTURY WOMEN Annapurna; A24 b. DEADPOOL Twentieth Century Fox; Twentieth Century Fox c. FLORENCE FOSTER JENKINS Paramount Pictures / Pathe / BBC Films; Paramount Pictures d. LA LA LAND Impostor Pictures / Gilbert Films / Marc Platt Productions; Lionsgate e. SING STREET Cosmo Films; The Weinstein Co. 5. BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – MUSICAL OR COMEDY a. ANNETTE BENING 20TH CENTURY WOMEN b. LILY COLLINS RULES DON'T APPLY c. HAILEE STEINFELD THE EDGE OF SEVENTEEN d. EMMA STONE LA LA LAND e. -
A Look at Race-Based Casting and How It Legalizes Racism, Despite Title VII Laws Latonja Sinckler
Journal of Gender, Social Policy & the Law Volume 22 | Issue 4 Article 3 2014 And the Oscar Goes to; Well, It Can't Be You, Can It: A Look at Race-Based Casting and How It Legalizes Racism, Despite Title VII Laws Latonja Sinckler Follow this and additional works at: http://digitalcommons.wcl.american.edu/jgspl Part of the Law Commons Recommended Citation Sinckler, Latonja. "And the Oscar Goes to; Well, It Can't Be You, Can It: A Look at Race-Based Casting and How It Legalizes Racism, Despite Title VII Laws." American University Journal of Gender Social Policy and Law 22, no. 4 (2014): 857-891. 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 Journal of Gender, Social Policy & the Law by an authorized administrator of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. Sinckler: And the Oscar Goes to; Well, It Can't Be You, Can It: A Look at R AND THE OSCAR GOES TO . WELL, IT CAN’T BE YOU, CAN IT?: A LOOK AT RACE-BASED CASTING AND HOW IT LEGALIZES RACISM, DESPITE TITLE VII LAWS LATONJA SINCKLER I. Introduction ............................................................................................ 858 II. Background ........................................................................................... 862 A. Justifications for Race-Based Casting........................................ 862 1. Authenticity ......................................................................... 862 2. Marketability ....................................................................... 869 B. Stereotyping and Supporting Roles for Minorities .................... 876 III. Analysis ............................................................................................... 878 A. Title VII and the BFOQ Exception ............................................ 878 B.