Aleta Chappelle

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Aleta Chappelle Ms. Aleta Chappelle began her career in the film industry at Francis Ford Coppola's ZOETROPE STUDIOS, where she assisted in the casting of THE OUTSIDERS, RUMBLE FISH, PEGGY SUE GOT MARRIED, and THE COTTON CLUB. She soon advanced to the level of Casting Director, with more then 25 feature film credits. A few of these credits include: GODFATHER 3, SOMEWHERE, DRUMLINE, NUTTY PROFESSOR, SISTER ACT 2, NEW YORK STORIES – ZOE, BOOMERANG, BEVERLY HILLS COP 2 and RAMBLING ROSE. The CASTING SOCIETY of AMERICA nominated her for a Best Casting Award for two of the HBO films she cast: LIFE SUPPORT and INTRODUCING DOROTHY DANDRIDGE starring Halle Berry. She won a BLACK REEL and URBAN WORLD FILM FESTIVAL Best Ensemble Casting Award for the feature film MOOZ-LUM. The POCONO MOUNTAIN FILM FESTIVAL presented her with the Lifetime Career Achievement in Casting Award in 2014. Ms. Chappelle’s feature film directing debut was the hit comedy GOOSED starring Jennifer Tilly, Joan Rivers, Thomas Haden Church and Damon Wayans. The film was executive produced by her mentor Francis Ford Coppola. She has also directed several short films and documentary projects. Her most recent feature film ROMEO & JULIET IN HARLEM, has screened at film festivals from London to Los Angeles, and enjoys a record breaking educational distribution release. For the stage Ms. Chappelle has numerous directing credits, including the Off, Off Broadway production of THE CONCEPT OF LOVE starring Julianna Margulies, the Off Broadway production of her original play THE MARY ELLEN PLEASANT STORY and for the Tivoli Shakespeare in the Park Festival ROMEO & JULIET and MACBETH. In 2005 she founded and continues to direct the HARLEM CHILDREN’S THEATRE. http://m.imdb.com/name/nm0152635/ https://youtu.be/SisA_-lwEhQ Agent contact: Kevin Huvane.

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Gorinski2018.Pdf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Automatic Movie Analysis and Summarisation Philip John Gorinski I V N E R U S E I T H Y T O H F G E R D I N B U Doctor of Philosophy Institute for Language, Cognition and Computation School of Informatics University of Edinburgh 2017 Abstract Automatic movie analysis is the task of employing Machine Learning methods to the field of screenplays, movie scripts, and motion pictures to facilitate or enable vari- ous tasks throughout the entirety of a movie’s life-cycle. From helping with making informed decisions about a new movie script with respect to aspects such as its origi- nality, similarity to other movies, or even commercial viability, all the way to offering consumers new and interesting ways of viewing the final movie, many stages in the life-cycle of a movie stand to benefit from Machine Learning techniques that promise to reduce human effort, time, or both.
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Francis Coppola La Nostalgie De L’Innocence Marcel Jean
Document generated on 09/29/2021 4:15 p.m. Séquences La revue de cinéma Francis Coppola La nostalgie de l’innocence Marcel Jean Number 132, January 1988 URI: https://id.erudit.org/iderudit/50687ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Jean, M. (1988). Francis Coppola : la nostalgie de l’innocence. Séquences, (132), 28–31. Tous droits réservés © La revue Séquences Inc., 1988 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/ ETUDE FRANCIS COPPOLA Marcel Jean LA NOSTALGIE DE L'INNOCENCE Il est pour le moins étrange que, depuis quelques années, la sortie de chaque nouveau film de Francis Ford Coppola se fasse dans l'ombre, sans que ni la critique ni le public américains ne soient véritablement au rendez-vous. Étrange, parce que Coppola, de l'ensemble des cinéastes américains, est sans doute l'un des plus talentueux, sans compter que sa feuille de route est des plus impressionnantes: deux Oscars du meilleur film (Le Parrain I et II) et deux Palme d'or du Festival de Cannes [The Conversation et Apocalypse Now), peu de cinéastes peuvent se vanter d'avoir amassé autant de prestigieuses récompenses.
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Movie Posters (From 1975 - 2008)
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