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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 Nightingale
SCREEN AUSTRALIA SCREEN TASMANIA AND SOUTH AUSTRALIAN FILM CORPORATION present in association with ADELAIDE FILM FESTIVAL BRON CREATIVE And FILMNATION ENTERTAINMENT a CAUSEWAY FILMS and MADE UP STORIES production THE NIGHTINGALE PRODUCTION NOTES Running Time: 136 mins AUSTRALIAN PUBLICITY REQUESTS: Amy Burgess / National Publicity Manager, Transmission Films 02 8333 9000, [email protected] Images: High res images and poster available to download via the DOWNLOAD MEDIA tab at: https://www.transmissionfilms.com.au/films/the-nightingale Starring Aisling Franciosi, Sam Claflin and Baykali Ganambarr Writer and Director: Jennifer Kent Producers: Kristina Ceyton p.g.a., Bruna Papandrea p.g.a., Steve Hutensky p.g.a. and Jennifer Kent p.g.a. Executive Producers: Brenda Gilbert, Jason Cloth, Andrew Pollack, Aaron L. Gilbert, Ben Browning and Alison Cohen Associate Producer: Jim Everett Director of Photography: Radek Ladczuk Editor: Simon Njoo Production Designer: Alex Holmes Costume Designer: Margot Wilson APDG Hair and Makeup Designer: Nikki Gooley Sound Designer: Robert Mackenzie Composer: Jed Kurzel Visual Effects Supervisor: Marty Pepper Casting Director: Nikki Barrett CSA Distributed in Australia and New Zealand by Transmission Films International Sales: FilmNation Entertainment, US Sales: Endeavor Content The Nightingale Production Notes 2 INDEX SYNOPSES 3 DIRECTOR’S STATEMENT 4 CAST AND CHARACTER LIST 4 GENESIS OF THE FILM 5 CASTING AND CHARACTERS Clare – Portrayed by Aisling Franciosi 8 Hawkins – Portrayed by Sam Claflin 10 Billy -
KONTRUKSI TERORISME DALAM FILM HOTEL MUMBAI (Studi Analisis Wacana Kritis Model Teun A.Van Dijk)
KONTRUKSI TERORISME DALAM FILM HOTEL MUMBAI (Studi Analisis Wacana Kritis Model Teun A.Van Dijk) Abstract Enguine Jessica Tista, Gusti Wedar. 2020.Kontruksi Terorisme Dalam Film Hotel Mumbai (Studi Analisis Wacana Kritis Teun A. Van Djik).Skripsi, Program Studi Ilmu Komunikasi, Fakultas Ilmu Sosial Dan Ilmu Politik, Universitas Muhammadiyah Jember. Pembimbing: Ari Susanti,S.Sos.,M.Med.Kom. The film has a strong reality about the reality that occurs in everyday life. Hotel Mumbai is one of the films that recorded the reality of terrorism attacks in the city of Mumbai on 26/11 in 2008. This research uses qualitative research methods. Where researchers will explain the analysis of critical discourse using theories from Teun A, van Dijk in which there are 3 models of approaches namely; The level of text structure, the level of social cognition and the social context in the film. The results of this study, at the text level, the thematic Macro structure is obtained the theme referred to in this structure is an outline contained in the Mumbai Hotel film. The film tells the true story, an attack on a group of young men (terrorists) against hotel guests who are labeled infidels, a film that depicts brutal acts of terror that are based on the spirit of jihad against the 10 young men (terrorists) to be able to kill more than 160 people in the city Mumbai. The level of social cognition, analyzed by looking at how the film must be narrated. Social representations that include humans, social roles and events in the mumbai hotel film are depicted with a tense, helpless atmosphere and even society and law enforcement are afraid to act for a variety of reasons behind them. -
2019 AACTA AWARDS PRESENTED by FOXTEL All Nominees – by Category FEATURE FILM
2019 AACTA AWARDS PRESENTED BY FOXTEL All Nominees – by Category FEATURE FILM AACTA AWARD FOR BEST FILM PRESENTED BY FOXTEL HOTEL MUMBAI Basil Iwanyk, Gary Hamilton, Julie Ryan, Jomon Thomas – Hotel Mumbai Double Guess Productions JUDY & PUNCH Michele Bennett, Nash Edgerton, Danny Gabai – Vice Media LLC, Blue-Tongue Films, Pariah Productions THE KING Brad Pitt, Dede Gardner, Jeremy Kleiner, Liz Watts, David Michôd, Joel Edgerton – Plan B Entertainment, Porchlight Films, A Yoki Inc, Blue-Tongue Films THE NIGHTINGALE Kristina Ceyton, Bruna Papandrea, Steve Hutensky, Jennifer Kent – Causeway Films, Made Up Stories RIDE LIKE A GIRL Richard Keddie, Rachel Griffiths, Susie Montague – The Film Company, Magdalene Media TOP END WEDDING Rosemary Blight, Kylie du Fresne, Kate Croser – Goalpost Pictures AACTA AWARD FOR BEST INDIE FILM PRESENTED BY EVENT CINEMAS ACUTE MISFORTUNE Thomas M. Wright, Virginia Kay, Jamie Houge, Liz Kearney – Arenamedia, Plot Media, Blackheath Films BOOK WEEK Heath Davis, Joanne Weatherstone – Crash House Productions BUOYANCY Rodd Rathjen, Samantha Jennings, Kristina Ceyton, Rita Walsh – Causeway Films EMU RUNNER Imogen Thomas, Victor Evatt, Antonia Barnard, John Fink – Emu Runner Film SEQUIN IN A BLUE ROOM Samuel Van Grinsven, Sophie Hattch, Linus Gibson AACTA AWARD FOR BEST DIRECTION HOTEL MUMBAI Anthony Maras – Hotel Mumbai Double Guess Productions JUDY & PUNCH Mirrah Foulkes – Vice Media LLC, Blue-Tongue Films, Pariah Productions THE KING David Michôd – Plan B Entertainment, Porchlight Films, A Yoki Inc, -
Racial Tragedy, Australian History, and the New Australian Cinema: Fred Schepisi's the Chant of Jimmie Blacksmith Revisited
FILMHISTORIA Online Vol. 28, núms. 1-2 (2018) · ISSN: 2014-668X Racial Tragedy, Australian History, and the New Australian Cinema: Fred Schepisi’s The Chant of Jimmie Blacksmith Revisited ROBERT J. CARDULLO University of Michigan Abstract The Chant of Jimmie Blacksmith (1978) broke ground in its native country for dealing bluntly with one of the most tragic aspects of Australian history: the racist treatment of the aboriginal population. Adapted faithfully from the 1972 novel by Thomas Keneally, the film concerns a young man of mixed race in turn-of-the-century Australia who feels torn between the values and aspirations of white society, on the one hand, and his aboriginal roots, on the other, and who ultimately takes to violence against his perceived white oppressors. This essay re-views The Chant of Jimmie Blacksmith from the following angles: its historical context; its place in the New Australian Cinema; its graphic violence; and the subsequent careers of the film’s director, Fred Schepisi, and its star, Tommy Lewis. Keywords: The Chant of Jimmie Blacksmith; Fred Schepisi; Thomas Keneally; New Australian Cinema; racism and colonialism Prior to the late 1970s, Australia was something of a cinematic backwater. Occasionally, Hollywood and British production companies would turn up to use the country as a backdrop for films that ranged from the classic (On the Beach [1959]) to the egregious (Ned Kelly [1970], starring Mick Jagger). But the local movie scene, for the most part, was sleepy and unimaginative and very few Australian films traveled abroad. Then, without warning, Australia suddenly experienced an efflorescence of imaginative filmmaking, as movies such as Picnic at Hanging Rock (1975), The Getting of Wisdom (1977), My Brilliant Career (1979), and Breaker Morant (1980) began to be shown all over the world. -
A Level Film Studies Candidate Style Answers
Qualification Accredited A LEVEL Candidate Style Answers FILM STUDIES H410 For first teaching in 2017 H410/02 Critical approaches to film Version 1 www.ocr.org.uk/filmstudies A Level Film Studies Candidate Style Answers Contents Introduction 3 Section A Question 2: Level 5 answer 4 Commentary 6 Section A Question 2: Level 3 answer 7 Commentary 7 Section B Question 4: Level 5 answer 8 Commentary 10 Section B Question 4: Level 3 answer 11 Commentary 11 Section C Question 5: Level 5 answer 12 Commentary 14 Section C Question 5: Level 3 answer 15 Commentary 16 Section C Question 7: Level 5 answer 17 Commentary 19 Section C Question 7: Level 3 answer 20 Commentary 21 Section C Question 10: Level 5 answer 22 Commentary 24 Section C Question 10: Level 3 answer 25 Commentary 25 2 © OCR 2018 A Level Film Studies Candidate Style Answers Introduction Please note that this resource is provided for advice and guidance only and does not in any way constitute an indication of grade boundaries or endorsed answers. Whilst a senior examiner has provided a possible level for each Assessment Objective when marking these answers, in a live series the mark a response would get depends on the whole process of standardisation, which considers the big picture of the year’s scripts. Therefore the level awarded here should be considered to be only an estimation of what would be awarded. How levels and marks correspond to grade boundaries depends on the Awarding process that happens after all/most of the scripts are marked and depends on a number of factors, including candidate performance across the board. -
When Good Mothers Go Bad: Genre and Gender in the Babadook
Irish Journal of Gothic and Horror Studies 15 (Autumn 2016) When Good Mothers Go Bad: Genre and Gender in The Babadook Paula Quigley David Ehrlich: There are a number of films about grief, but part of what makes The Babadook so interesting is that the horror genre allows it to have this element of audience interaction. I wonder if you’re attracted to the horror genre because of how palpable it encourages you to make a story? Jennifer Kent: I think so. Can you imagine this story as a domestic drama? It would be so melodramatic and stupid. I like films where I’m forced to feel something. –Interview with Jennifer Kent, December 20141 For a film that has been described as ‘startlingly original’ and widely celebrated for its ‘emotional realism’, Jennifer Kent’s The Babadook (2014) is in many ways very generic.2 While this might seem like a shortcoming, on the contrary, the film’s restaging of familiar generic tropes facilitates a highly effective cinematic experience. This article considers the ways in which The Babadook repurposes the horror film to produce a moving exploration of maternal ambivalence, mobilising elements of the maternal melodrama and female gothic in the process. In so doing, the film foregrounds issues of genre and gender that inhere and overlap in these categories. In particular, the film’s focus on the protagonist’s conflicted experience of motherhood explores what Molly Haskell identifies as the great unspoken of the ‘woman’s film’, namely, women’s guilt for their ‘inadmissible feelings’ about motherhood.3 Considering the film in this light draws on Sue Thornham’s reading of We Need To Talk About Kevin (dir. -
STEVEN JONES-EVANS, APDG Production Designer
STEVEN JONES-EVANS, APDG Production Designer FEATURES CARMEN Benjamin Millepied Sony Pictures Classic / Rumble Films RELIC Natalie Erika James Carver Films / Nine Stories / AGBO Official Selection, Sundance Film Festival (2020) Official Selection, SXSW (2020) HOTEL MUMBAI Anthony Maras Thunder Road Pictures / Bleeker Street Media Winner, Best Production Design, APDG Awards (2019) Nominated, Best Production Design, BFDG Awards (2019) Nominated, Best Production Design, AACTA Awards (2019) Nominated, Best Film, AACTA Awards (2019) BREATH Simon Baker Gran Via Prods. / FilmRise Nominated, Best Film, AACTA Awards (2018) THE DAUGHTER Simon Stone Screen Australia / Kino Lorber Nominated, Best Production Design, AACTA Awards (2016) Nominated, Best Film, AACTA Awards (2016) PARTISAN Ariel Kleiman Animal Kingdom / Well Go USA Ent. Winner, Best Production Design, APDG Awards (2015) Nominated, Best Production Design, AACTA Awards (2015) Nominated Grand Jury Prize, Sundance Film Festival (2015) THE RAILWAY MAN Jonathan Teplitzky Lionsgate UK / The Weinstein Company Nominated, Best Production Design, APDG Awards (2014) Nominated, Best Production Design, FCCA Awards (2014) Nominated, Best International Film, Saturn Awards (2015) Nominated, Best Film, AACTA Awards (2015) ADORE (Additional Design) Anne Fontaine Screen Australia / Gaumont BURNING MAN Jonathan Teplitzky Screen Australia / Archer Street Prods. / Latitude Media Nominated, Best Production Design, AACTA Awards (2013) Nominated, Best Production Design, AFCA Awards (2013) Nominated, Best Film, AACTA Awards (2013) Nominated, Best Film, AFCA Awards (2013) THE HUNTER Daniel Nettheim Screen Australia / Porchlight Films / Magnolia Pictures Nominated, Best Production Design, AACTA Awards (2012) Nominated, Best Film, AACTA Awards (2012) THE TREE Julie Bertuccelli Screen Australia / Canal+ / Zeitgeist Films UNTHINKABLE Gregor Jordan Sidney Kimmel Ent. / Sony Pictures Home Ent. -
Academy Invites 842 to Membership
MEDIA CONTACT [email protected] July 1, 2019 FOR IMMEDIATE RELEASE ACADEMY INVITES 842 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 842 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. The 2019 class is 50% women, 29% people of color, and represents 59 countries. Those who accept the invitations will be the only additions to the Academy’s membership in 2019. Six individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2019 invitees are: Actors Adewale Akinnuoye-Agbaje – “Suicide Squad,” “Trumbo” Yareli Arizmendi – “A Day without a Mexican,” “Like Water for Chocolate” Claes Bang – “The Girl in the Spider’s Web,” “The Square” Jamie Bell – “Rocketman,” “Billy Elliot” Bob Bergen – “The Secret Life of Pets,” “WALL-E” Bruno Bichir – “Crónica de un Desayuno,” “Principio y Fin” Claire Bloom – “The King’s Speech,” “Limelight” Héctor Bonilla – “7:19 La Hora del Temblor,” “Rojo Amanecer” Juan Diego Botto – “Ismael,” “Vete de Mí” Sterling K. Brown – “Black Panther,” “Marshall” Gemma Chan – “Crazy Rich Asians,” “Mary Queen of Scots” Rosalind Chao – “I Am Sam,” “The Joy Luck Club” Camille Cottin – “Larguées,” “Allied” Kenneth Cranham – “Maleficent,” “Layer Cake” Marina de Tavira – “Roma,” “La Zona (The -
International & Festivals
COMPANY CV – INTERNATIONAL & FESTIVALS INTERNATIONAL CAMPAIGNS / JUNKETS / TOURS (selected) Below we list the key elements of the international campaigns we have handled, but our work often also involves working closely with the local distributors and the film-makers and their representatives to ensure that all publicity opportunities are maximised. We have set up face-to-face and telephone interviews for actors and film-makers, working around their schedules to ensure that the key territories in particular are given as much access as possible, highlighting syndication opportunities, supplying information on special photography, incorporating international press into UK schedules that we are running, and looking at creative ways of scheduling press. THE AFTERMATH / James Kent / Fox Searchlight • International campaign support COLETTE / Wash Westmoreland / HanWay Films • International campaign BEAUTIFUL BOY / Felix van Groeningen / FilmNation • International campaign THE FAVOURITE / Yorgos Lanthimos / Fox Searchlight • International campaign support SUSPIRIA / Luca Guadagnino / Amazon Studios • International campaign LIFE ITSELF / Dan Fogelman / FilmNation • International campaign DISOBEDIENCE / Sebastián Lelio / FilmNation • International campaign THE CHILDREN ACT / Richard Eyre / FilmNation • International campaign DON’T WORRY, HE WON’T GET FAR ON FOOT / Gus Van Sant / Amazon Studios & FilmNation • International campaign ISLE OF DOGS / Wes Anderson / Fox Searchlight • International campaign THREE BILLBOARDS OUTSIDE EBBING, MISSOURI / -
Turn Your Idea Into a Screenplay with AACTA Pitch: Regional Landscapes in Partnership with Screenworks
Media Release For immediate release Turn Your Idea into a Screenplay with AACTA Pitch: Regional Landscapes in partnership with Screenworks Have a great idea for the next classic Aussie film? Inspired by Australia’s diverse and unique landscapes? It’s time to get writing for the chance to develop your idea into a market-ready screenplay and get it in front of key industry figures! Entries are now open for AACTA Pitch: Regional Landscapes in partnership with Screenworks, a national pitching competition held in March at Screenworks 2020 Business of Producing seminar in Ballina, aimed to discover and develop an original feature film idea that celebrates Australia’s stunning regional areas. AACTA (The Australian Academy of Cinema and Television Arts), in partnership with Screenworks and with support from the Australian Writers’ Guild are looking for original and unique story concepts in which the regional setting lends itself as a central character to the narrative. Location as character has long been a defining feature of Australian filmmaking, where our lush rainforests, crisp blue coastlines, picturesque country towns, boundless bushlands and the spectacular outback offer local and international audiences a deeper insight into uniquely Australian environments and perspectives. “With domestic and international demand for unique content stronger than ever, AACTA Pitch is a fantastic opportunity for Australian screenwriters and creatives to showcase their talent through the distinctive lens of Australia’s rich landscapes,” said Australian -
Following Is a Listing of Public Relations Firms Who Have Represented Films at Previous Sundance Film Festivals
Following is a listing of public relations firms who have represented films at previous Sundance Film Festivals. This is just a sample of the firms that can help promote your film and is a good guide to start your search for representation. 11th Street Lot 11th Street Lot Marketing & PR offers strategic marketing and publicity services to independent films at every stage of release, from festival premiere to digital distribution, including traditional publicity (film reviews, regional and trade coverage, interviews and features); digital marketing (social media, email marketing, etc); and creative, custom audience-building initiatives. Contact: Lisa Trifone P: 646.926-4012 E: [email protected] www.11thstreetlot.com 42West 42West is a US entertainment public relations and consulting firm. A full service bi-coastal agency, 42West handles film release campaigns, awards campaigns, online marketing and publicity, strategic communications, personal publicity, and integrated promotions and marketing. With a presence at Sundance, Cannes, Toronto, Venice, Tribeca, SXSW, New York and Los Angeles film festivals, 42West plays a key role in supporting the sales of acquisition titles as well as launching a film through a festival publicity campaign. Past Sundance Films the company has represented include Joanna Hogg’s THE SOUVENIR (winner of World Cinema Grand Jury Prize: Dramatic), Lee Cronin’s THE HOLE IN THE GROUND, Paul Dano’s WILDLIFE, Sara Colangelo’s THE KINDERGARTEN TEACHER (winner of Director in U.S. competition), Maggie Bett’s NOVITIATE