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DAVON SLININGER CINEMATOGRAPHY FIRST MAN | CAMERA OPERATOR —> Dir. Damien Chazelle / Lions Gate Films 2015 LA LA LAND | 2ND UNIT DP —> Dir. Damien Chazelle / Lions Gate Films 2015 JUSTINE | DIRECTOR OF PHOTOGRAPHY —> Dir. Stephanie Turner / FootballBrat Prod. 2018 WHITE BOY RICK | ADDTL CAMERA OPERATOR —> Dir. Yann Demange / Columbia Pictures 2018 BATTLE OF THE SEXES | ADDTL CAMERA OPERATOR —> Dir. J. Dayton & V. Faris / Fox Searchlight 2016 JOY | 2ND UNIT DP —> Dir. David O. Russell / Twentieth Century Fox 2015 AMERICAN HUSTLE | 2ND UNIT DP —> Dir. David O. Russell / Sony Pictures 2013 JOSIE | CAMERA OPERATOR —> Dir.. Eric England / Screen Media Films 2018 PROMISED LAND | 2ND UNIT DP —> Dir. Gus Van Sant / Focus Features 2012 MANSON FAMILY VACATION | CAMERA OPERATOR —> Dir. J. Davis / Logolite /Lucky Hat Ent. 2015 ———— COMMERCIALS • APPLE- iPHONE 5s - “DREAMS” | 2ND UNIT DP DIR. VINCENT HAYCOCK / DP LINUS SANDGREN - PARK PICTURES 2017 • CADILLAC - “PLAYGROUND” | CAMERA OPERATOR DIR. JARON ALBERTIN / DP LINUS SANDGREN - SMUGGLER 2017 • CAPITAL ONE - “WISEMAN” | CAMERA OPERATOR DIR. CLAY WEINER / DP LINUS SANDGREN - BISCUIT 2017 • VOLVO - “MADE BY SWEDEN” | 2ND UNIT DP DIR. MAX VITALE / DP LINUS SANDGREN - CALLBOY STOCKHOLM 2015 • BMW X4 - “WAVE” | 2ND UNIT DP DIR. SEBASTIAN STRASSER / DP LINUS SANDGREN - RADICAL MEDIA 2014 • HENNESSY - “MANNY PACQUIAO” | CAMERA OPERATOR DIR. JOHNNY GREEN / DP LINUS SANDGREN - ANONYMOUS CONTENT 2012 • CANON. - “INSPIRED” | 2ND UNIT DP DIR. NICOLI FUGLSIG / DP LINUS SANDGREN - MJZ 2012 • GATORADE - “WIN FROM WITHIN” | 2ND UNIT DP DIR. JARON ALBERTI / DP LINUS SANDGREN - SMUGGLER 2011 • CONVERSE - “HISTORY MADE AND IN THE MAKING” | CAMERA OPERATOR DIR. BRIAN BELETIC / DP LINUS SANDGREN- SMUGGLER 2011 • CHEVROLET - “MISSED OPPORTUNITIES” | CAMERA OPERATOR DIR. NACHO GAYAN / DP LINUS SANDGREN - STINK 2011 -——— INDEPENDENT PROJECTS Diddie Wah Diddie - Director of Photography - Short Film, Dir. Joshua Erkman Surrogate - Director of Photography - Short Film, Dir. Olivia Hamilton Bethany Adoption Services - Director of Photography - Documentary Short, Dir. Jason Locy Japanese Sandman - Independent short flm - Director of Photography ———— EDUCATION University of California Los Angeles - Master of Fine Arts, 2002 University of California Riverside - Bachelor of Arts, 1998 Malmö Konsthögskolan Sweden (Art Academy) - Fellowship 1997, Artist In Residence.

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Les Meilleurs Films De 24 Images De 2005
Document generated on 09/28/2021 7:05 a.m. 24 images Les meilleurs films de 24 images de 2005 Jean Pierre Lefebvre Number 126, March–April 2006 URI: https://id.erudit.org/iderudit/8904ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this document (2006). Les meilleurs films de 24 images de 2005. 24 images, (126), 48–49. Tous droits réservés © 24/30 I/S, 2006 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/ Pouvaient être retenus les longs métrages présentés au Québec pour la première fois en de 2005, que ce soit à l'occasion d'une présentation lors d'un festival, d'une rétrospective ou d'une sortie en salles. Veuillez noter qu'une exception a été faite pour Sarabandqui 2005 avait bénéficié d'une unique projection en 2004 avant sa sortie en salles en 2005. La neuvaîne de Bernard Émond Plus tranquille et assuré que lent et austère, La neuvaine s'inscrit parfaitement dans le cinéma de la déflation qui a tant marqué les oeuvres de 2005 : récit flottant fait de microcellules de densité, rythme languide créant une nouvelle pulsion, images occupées uniquement à dire vrai, proposition de mise en scène aussi élégante que modeste.
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Sight & Sound Films of 2007
Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic
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Gus Van Sant Retrospective Carte B
30.06 — 26.08.2018 English Exhibition An exhibition produced by Gus Van Sant 22.06 — 16.09.2018 Galleries A CONVERSATION LA TERRAZA D and E WITH GUS VAN SANT MAGNÉTICA CARTE BLANCHE PREVIEW OF For Gus Van Sant GUS VAN SANT’S LATEST FILM In the months of July and August, the Terrace of La Casa Encendida will once again transform into La Terraza Magnética. This year the programme will have an early start on Saturday, 30 June, with a double session to kick off the film cycle Carte Blanche for Gus Van Sant, a survey of the films that have most influenced the American director’s creative output, selected by Van Sant himself filmoteca espaÑola: for the exhibition. With this Carte Blanche, the director plunges us into his pecu- GUS VAN SANT liar world through his cinematographic and musical influences. The drowsy, sometimes melancholy, experimental and psychedelic atmospheres of his films will inspire an eclectic soundtrack RETROSPECTIVE that will fill with sound the sunsets at La Terraza Magnética. La Casa Encendida Opening hours facebook.com/lacasaencendida Ronda de Valencia, 2 Tuesday to Sunday twitter.com/lacasaencendida 28012 Madrid from 10 am to 10 pm. instagram.com/lacasaencendida T 902 430 322 The exhibition spaces youtube.com/lacasaencendida close at 9:45 pm vimeo.com/lacasaencendida blog.lacasaencendida.es lacasaencendida.es With the collaboration of Cervezas Alhambra “When I shoot my films, the tension between the story and abstraction is essential. Because I learned cinema through films made by painters. Through their way of reworking cinema and not sticking to the traditional rules that govern it.
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British Society of Cinematographers
Best Cinematography in a Theatrical Feature Film 2020 Erik Messerschmidt ASC Mank (2020) Sean Bobbitt BSC Judas and the Black Messiah (2021) Joshua James Richards Nomadland (2020) Alwin Kuchler BSC The Mauritanian (2021) Dariusz Wolski ASC News of the World (2020) 2019 Roger Deakins CBE ASC BSC 1917 (2019) Rodrigo Prieto ASC AMC The Irishman (2019) Lawrence Sher ASC Joker (2019) Jarin Blaschke The Lighthouse (2019) Robert Richardson ASC Once Upon a Time … in Hollywood (2019) 2018 Alfonso Cuarón Roma (2018) Linus Sandgren ASC FSF First Man (2018) Lukasz Zal PSC Cold War(2018) Robbie Ryan BSC ISC The Favourite (2018) Seamus McGarvey ASC BSC Bad Times at the El Royale (2018) 2017 Roger Deakins CBE ASC BSC Blade Runner 2049 (2017) Ben Davis BSC Three Billboards outside of Ebbing, Missouri (2017) Bruno Delbonnel ASC AFC Darkest Hour (2017) Dan Laustsen DFF The Shape of Water (2017) 2016 Seamus McGarvey ASC BSC Nocturnal Animals (2016) Bradford Young ASC Arrival (2016) Linus Sandgren FSF La La Land (2016) Greig Frasier ASC ACS Lion (2016) James Laxton Moonlight (2016) 2015 Ed Lachman ASC Carol (2015) Roger Deakins CBE ASC BSC Sicario (2015) Emmanuel Lubezki ASC AMC The Revenant (2015) Janusz Kaminski Bridge of Spies (2015) John Seale ASC ACS Mad Max : Fury Road (2015) 2014 Dick Pope BSC Mr. Turner (2014) Rob Hardy BSC Ex Machina (2014) Emmanuel Lubezki AMC ASC Birdman or (The Unexpected Virtue of Ignorance) (2014) Robert Yeoman ASC The Grand Budapest Hotel (2014) Lukasz Zal PSC & Ida (2013) Ryszard Lenczewski PSC 2013 Phedon Papamichael ASC
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PAJ77/No.03 Chin-C
AIN’T NO SUNSHINE The Cinema in 2003 Larry Qualls and Daryl Chin s 2003 came to a close, the usual plethora of critics’ awards found themselves usurped by the decision of the Motion Picture Producers Association of A America to disallow the distribution of screeners to its members, and to any organization which adheres to MPAA guidelines (which includes the Motion Picture Academy of Arts and Sciences). This became the rallying cry of the Independent Feature Project, as those producers who had created some of the most notable “independent” films of the year tried to find a way to guarantee visibility during award season. This issue soon swamped all discussions of year-end appraisals, as everyone, from critics to filmmakers to studio executives, seemed to weigh in with an opinion on the matter of screeners. Yet, despite this media tempest, the actual situation of film continues to be precarious. As an example, in the summer of 2003 the distribution of films proved even more restrictive, as theatres throughout the United States were block-booked with the endless cycle of sequels that came from the studios (Legally Blonde 2, Charlie’s Angels: Full Throttle, Terminator 3, The Matrix Revolutions, X-2: X-Men United, etc.). A number of smaller films, such as the nature documentary Winged Migration and the New Zealand coming-of-age saga Whale Rider, managed to infiltrate the summer doldrums, but the continued conglomeration of distribution and exhibition has brought the motion picture industry to a stultifying crisis. And the issue of the screeners was the rallying cry for those working on the fringes of the industry, the “independent” producers and directors and small distributors.
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Macquarie University ResearchOnline This is the author version of an article published as: Millard, Kathryn (2010) After the typewriter : the screenplay in a digital era Journal of screenwriting, Vol. 1, No. 1 (2010), p.11-25 Access to the published version: http://dx.doi.org/10.1386/josc.1.1.11/1 Copyright: 2010 Intellect Ltd Article. After the Typewriter: the Screenplay in a Digital Era Kathryn Millard Macquarie University Abstract This paper aims to contribute to contemporary debates about (1) screenwriting as a process of developing the screen idea, (2) the ways in which formatting conventions from an earlier era of cinema may restrict innovation in screenwriting, and (3) shifting practices of screenwriting in a digital era in which images and sound play a potentially more significant role. Additionally, it questions the use of terms such as ‘blueprint’ to describe the relationship between the screenplay and the proposed film that it represents. After the Typewriter: the Screenplay in a Digital Era draws on the author’s body of practice-led research as a writer and director of feature films and documentaries, as well as histories of screenwriting, film production, comics and the graphic arts. Keywords Screenwriting; Scriptwriting; Screen Practice Research; Digital Cinema; Independent Film; Script development. Biography [email protected] Kathryn Millard is a writer, filmmaker and is Associate Professor at Macquarie University, Sydney. Her credits as writer, producer and director include award-winning features, documentaries and essay films. Kathryn publishes on topics including screenwriting, screen history, colour, photography, creativity and collaboration. Her feature- length essay film about Chaplin imitators, The Boot Cake, was released in 2008.
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And the Ship Sails On
And The Ship Sails On by Serge Toubiana at the occasion of the end of his term as Director-General of the Cinémathèque française. Within just a few days, I shall come to the end of my term as Director-General of the Cinémathèque française. As of February 1st, 2016, Frédéric Bonnaud will take up the reins and assume full responsibility for this great institution. We shall have spent a great deal of time in each other's company over the past month, with a view to inducting Frédéric into the way the place works. He has been able to learn the range of our activities, meet the teams and discover all our on-going projects. This friendly transition from one director-general to the next is designed to allow Frédéric to function at full-steam from day one. The handover will have been, both in reality and in the perception, a peaceful moment in the life of the Cinémathèque, perhaps the first easy handover in its long and sometimes turbulent history. That's the way we want it - we being Costa-Gavras, chairman of our board, and the regulatory authority, represented by Fleur Pellerin, Minister of Culture and Communication, and Frédérique Bredin, Chairperson of the CNC, France's National Centre for Cinema and Animation. The peaceful nature of this handover offers further proof that the Cinémathèque has entered into a period of maturity and is now sufficiently grounded and self-confident to start out on the next chapter without trepidation. But let me step back in time. Since moving into the Frank Gehry building at 51 rue de Bercy, at the behest of the Ministry of Culture, the Cinémathèque française has undergone a profound transformation.
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Sven Vosloo Sasc
svengali cinematography Sven Vosloo sasc Director of Photography Curriculum Vitae - Features Personal Information Nationality: South African I D Number: 650923 5110 081 Date of Birth: 23 September 1965 Passport: South African 1stLanguage: English Contact Information Email: [email protected] Website: www.svenvosloo.co.za Telephone: + 27 (0) 82 557 1166 svengali cinematography 2018 Production Title: American Monster 3 Production Co.: Arrow Media / Trilogy Creative Studios Directors: Bill Thomas, Neil Rawles, Nick Davies, Stephen Oxenham DOP: Paul Jenkins Position: B camera operator & 2nd unit DP 2017 Production Title: Deep Blue Sea II Production Co.: Warner Brothers / Film Afrika Director: Darrin Scott DOP: Thomas Callaway Position: A camera operator & 2nd unit DP Production Title: Maze Runner : The Death Cure (2nd unit) Production Co.: 20th Century Fox / Light Stuff Trading - OOA Director: Vic Armstrong DOP: Josh Bleibtreu Position: 2nd unit camera operator Production Title: Maze Runner : The Death Cure (main unit) Production Co.: 20th Century Fox / Light Stuff Trading - OOA Director: Wes Ball DOP: Gyula Pados Position: Additional camera operator (daily) Production Title: Outlander Season 3 (block 6) Production Co.: Left Bank Pictures / Film Afrika Director: Charlotte Brandstrom DOP: Alisdair Walker Position: Additional camera operator (daily) Production Title: The Kissing Booth Production Co.: Komixx Entertainment / Out of Africa Entertainment Director: Vince Marcello DOP: Anastas Michos Position: A camera operator Production Title:
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Promotional Websites in the Film Industry. the Case of the Spanish Cinema Las Páginas Webs Promocionales En La Industria Cinematográfica
Promotional websites in the film industry. The case of the Spanish cinema Las páginas webs promocionales en la industria cinematográfica. El caso del cine español Sergio Jesús Villén Higueras holds a PhD in Audiovisual Communication and Advertising from the University of Malaga, receiving the European mention. He is a member of various research groups in which he analyses the promotional strategies of the cultural industries on websites and social networks; the ecosystem of Chinese social media and, particularly, the impact of Wechat on young Chinese students; and the cultural and technological transformations that the contemporary Chinese film industry has experimented. University of Málaga, Spain [email protected] ORCID: 0000-0002-6813-3614 Francisco Javier Ruiz del Olmo is a full professor at the University of Malaga. He develops his teaching and research work in the Faculty of Communication Sciences and the Faculty of Fine Arts. He has investigated the communicative models of audio-visual media and the representation of contemporary audio-visual forms, as well as the technical and social uses of them; a second research line is related to communication and new media. Both work lines have in common a significant interest in the qualitative methodologies. University of Málaga, Spain [email protected] ORCID: 0000-0002-1953-1798 ISSN: 1696-019X / e-ISSN: 2386-3978 Received: 09/06/2018 - Accepted: 18/09/2018 Recibido: 09/06/2018 - Aceptado: 18/09/2018 Abstract: Resumen: The development of web languages and the new communicative El desarrollo de los lenguajes web y las nuevas necesidades comuni- needs of the film industry have fostered the evolution of official cativas de la industria cinematográfica han favorecido la evolución movie websites.
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2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
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35 Years of Nominees and Winners 36
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Bamcinématek Presents Indie 80S, a Comprehensive, 60+ Film Series Highlighting the Decade Between 70S New Hollywood and the 90S Indie Boom, Jul 17—Aug 27
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