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Me and Orson Welles Press Kit Draft
presents ME AND ORSON WELLES Directed by Richard Linklater Based on the novel by Robert Kaplow Starring: Claire Danes, Zac Efron and Christian McKay www.meandorsonwelles.com.au National release date: July 29, 2010 Running time: 114 minutes Rating: PG PUBLICITY: Philippa Harris NIX Co t: 02 9211 6650 m: 0409 901 809 e: [email protected] (See last page for state publicity and materials contacts) Synopsis Based in real theatrical history, ME AND ORSON WELLES is a romantic coming‐of‐age story about teenage student Richard Samuels (ZAC EFRON) who lucks into a role in “Julius Caesar” as it’s being re‐imagined by a brilliant, impetuous young director named Orson Welles (impressive newcomer CHRISTIAN MCKAY) at his newly founded Mercury Theatre in New York City, 1937. The rollercoaster week leading up to opening night has Richard make his Broadway debut, find romance with an ambitious older woman (CLAIRE DANES) and eXperience the dark side of genius after daring to cross the brilliant and charismatic‐but‐ sometimes‐cruel Welles, all‐the‐while miXing with everyone from starlets to stagehands in behind‐the‐scenes adventures bound to change his life. All’s fair in love and theatre. Directed by Richard Linklater, the Oscar Nominated director of BEFORE SUNRISE and THE SCHOOL OF ROCK. PRODUCTION I NFORMATION Zac Efron, Ben Chaplin, Claire Danes, Zoe Kazan, Eddie Marsan, Christian McKay, Kelly Reilly and James Tupper lead a talented ensemble cast of stage and screen actors in the coming‐of‐age romantic drama ME AND ORSON WELLES. Oscar®‐nominated director Richard Linklater (“School of Rock”, “Before Sunset”) is at the helm of the CinemaNX and Detour Filmproduction, filmed in the Isle of Man, at Pinewood Studios, on various London locations and in New York City. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end. -
Review Essay Faith and Film
RELIGION and the ARTS Religion and the Arts 13 (2009) 595–603 brill.nl/rart Review Essay Faith and Film David McNutt University of Cambridge Austin, Ron. In a New Light: Spirituality and the Media Arts. Grand Rapids MI: William B. Eerdmans Publishing Company, 2007. Pp. x + 95 + illus- trations. $12.00 paper. Humphries-Brooks, Stephenson. Cinematic Savior: Hollywood’s Making of the American Christ. London and Westport CT: Praeger Publishers, 2006. Pp. x + 160. $39.95 cloth. Malone, Peter, ed. Th rough a Catholic Lens: Religious Perspectives of Nine- teen Film Directors From Around the World. Communication, Culture, and Religion Series, eds. Paul J. Soukup, S.J. and Fran Plude. Lanham MD, Boulder CO, New York, and Plymouth, England: Sheed and Ward Books Division of Rowman and Littlefi eld Publishers, 2007. Pp. vi + 272. $25.95 paper. Walsh, Richard. Finding St. Paul in Film. New York and London: T. and T. Clark, 2005. Pp. vi + 218 + illustrations. $29.95 paper. * he dynamic relationship between religious faith and fi lm may be seen Tthrough a number of diff erent lenses. Th is essay will evaluate four examples of the growing number of recent books that address this connec- tion. Th e titles featured here include a volume about Hollywood’s portray- als of Jesus Christ on screen, an interpretation of fi lms in light of the fi gure and theology of Paul, a study of the infl uence of Catholicism upon the © Koninklijke Brill NV, Leiden, 2009 DOI: 10.1163/107992609X12524941450244 596 D. McNutt / Religion and the Arts 13 (2009) 595–603 work of directors from around the world, and a book investigating the pos- sibility of developing one’s spirituality through fi lmmaking. -
JOHN J. ROSS–WILLIAM C. BLAKLEY LAW LIBRARY NEW ACQUISITIONS LIST: February 2009
JOHN J. ROSS–WILLIAM C. BLAKLEY LAW LIBRARY NEW ACQUISITIONS LIST: February 2009 Annotations and citations (Law) -- Arizona. SHEPARD'S ARIZONA CITATIONS : EVERY STATE & FEDERAL CITATION. 5th ed. Colorado Springs, Colo. : LexisNexis, 2008. CORE. LOCATION = LAW CORE. KFA2459 .S53 2008 Online. LOCATION = LAW ONLINE ACCESS. Antitrust law -- European Union countries -- Congresses. EUROPEAN COMPETITION LAW ANNUAL 2007 : A REFORMED APPROACH TO ARTICLE 82 EC / EDITED BY CLAUS-DIETER EHLERMANN AND MEL MARQUIS. Oxford : Hart, 2008. KJE6456 .E88 2007. LOCATION = LAW FOREIGN & INTERNAT. Consolidation and merger of corporations -- Law and legislation -- United States. ACQUISITIONS UNDER THE HART-SCOTT-RODINO ANTITRUST IMPROVEMENTS ACT / STEPHEN M. AXINN ... [ET AL.]. 3rd ed. New York, N.Y. : Law Journal Press, c2008- KF1655 .A74 2008. LOCATION = LAW TREATISES. Consumer credit -- Law and legislation -- United States -- Popular works. THE AMERICAN BAR ASSOCIATION GUIDE TO CREDIT & BANKRUPTCY. 1st ed. New York : Random House Reference, c2006. KF1524.6 .A46 2006. LOCATION = LAW TREATISES. Construction industry -- Law and legislation -- Arizona. ARIZONA CONSTRUCTION LAW ANNOTATED : ARIZONA CONSTITUTION, STATUTES, AND REGULATIONS WITH ANNOTATIONS AND COMMENTARY. [Eagan, Minn.] : Thomson/West, c2008- KFA2469 .A75. LOCATION = LAW RESERVE. 1 Court administration -- United States. THE USE OF COURTROOMS IN U.S. DISTRICT COURTS : A REPORT TO THE JUDICIAL CONFERENCE COMMITTEE ON COURT ADMINISTRATION & CASE MANAGEMENT. Washington, DC : Federal Judicial Center, [2008] JU 13.2:C 83/9. LOCATION = LAW GOV DOCS STACKS. Discrimination in employment -- Law and legislation -- United States. EMPLOYMENT DISCRIMINATION : LAW AND PRACTICE / CHARLES A. SULLIVAN, LAUREN M. WALTER. 4th ed. Austin : Wolters Kluwer Law & Business ; Frederick, MD : Aspen Pub., c2009. KF3464 .S84 2009. LOCATION = LAW TREATISES. -
Broadcasting Taste: a History of Film Talk, International Criticism, and English-Canadian Media a Thesis in the Department of Co
Broadcasting Taste: A History of Film Talk, International Criticism, and English-Canadian Media A Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication Studies) at Concordia University Montreal, Quebec, Canada December 2016 © Zoë Constantinides, 2016 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Zoë Constantinides Entitled: Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media and submitted in partial fulfillment of the requirements for the degree of PhD in Communication Studies complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: __________________________________________ Beverly Best Chair __________________________________________ Peter Urquhart External Examiner __________________________________________ Haidee Wasson External to Program __________________________________________ Monika Kin Gagnon Examiner __________________________________________ William Buxton Examiner __________________________________________ Charles R. Acland Thesis Supervisor Approved by __________________________________________ Yasmin Jiwani Graduate Program Director __________________________________________ André Roy Dean of Faculty Abstract Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media Zoë Constantinides, -
The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d. -
Norman Jewison: Commercial Success, Critical Failure
Norman Jewison: Commercial Success, Critical Failure An Honors Thesi s (1 D c199) by Ant.hnny L. Beeson Thes is Di reel.or Hall SUit.e Univprsit:,,- ('lune i e ,I nd i ana February, 1987 f'>...;pec\.pd dat(~ of graduation: >Ja;.- 19M! Sc '2.0 \! ·1 ' ... 1he.:;i:J L.D .. d\J·f2;'( I ;;';;"1 I QS7 , BJ.f4 Table of Contents In t roduc~ T i. on .. Commen t a 1':'>- on: F. i . ;:-; . r ..... 6 .And Jusr.icp for Ai ] 0 1:2 T h p f 0 \J r f, Lm s j n rom par j s r' n . l ;) Jewison as a riirertor. 1 I Cone 1 us jon .•.• 1 H R i. hI i og raph:v •. I~ Introduction The f ~ I m s () f '\ 0 r man J tCO~'; i son are a stu d :.~ 1 n C Cl n t nl s t s . h 11 i ] e r-tlmost Cill of t.he fi Ims in Ci (1irr>ctin!:!, car'eer hhi('h t)(~gan In 1::lt:i2 hCi n=~ been successful, thpy ha\e alsn bf~en (-h('> c.;llh.)(·et ni neg;-lt \\-P, !'-.()met JOlt'S revIews from film C I' j t. I rs . for I-',pst J) reet.or, In the Heat Flddler' un tl:e h'o(~f, oid not go unsC'athpd. ( Fin I p r, 2 (i ( - 2 () 8 i (,\1 0 cit z, 1 H b - j 9 j ) fn the se(' t -j ons on :.. 0 r m Ci 'I ,J e his () n in the I ~1 i-~; e d i T. -
Roger Ebert's
The College of Media at Illinois presents Roger19thAnnual Ebert’s Film Festival2017 April 19-23, 2017 The Virginia Theatre Chaz Ebert: Co-Founder and Producer 203 W. Park, Champaign, IL Nate Kohn: Festival Director 2017 Roger Ebert’s Film Festival The University of Illinois at Urbana–Champaign The College of Media at Illinois Presents... Roger Ebert’s Film Festival 2017 April 19–23, 2017 Chaz Ebert, Co-Founder, Producer, and Host Nate Kohn, Festival Director Casey Ludwig, Assistant Director More information about the festival can be found at www.ebertfest.com Mission Founded by the late Roger Ebert, University of Illinois Journalism graduate and a Pulitzer Prize- winning film critic, Roger Ebert’s Film Festival takes place in Urbana-Champaign each April for a week, hosted by Chaz Ebert. The festival presents 12 films representing a cross-section of important cinematic works overlooked by audiences, critics and distributors. The films are screened in the 1,500-seat Virginia Theatre, a restored movie palace built in the 1920s. A portion of the festival’s income goes toward on-going renovations at the theatre. The festival brings together the films’ producers, writers, actors and directors to help showcase their work. A film- maker or scholar introduces each film, and each screening is followed by a substantive on-stage Q&A discussion among filmmakers, critics and the audience. In addition to the screenings, the festival hosts a number of academic panel discussions featuring filmmaker guests, scholars and students. The mission of Roger Ebert’s Film Festival is to praise films, genres and formats that have been overlooked. -
1 I Give Permission for Public Access to My Thesis and for Any Copying To
1 I give permission for public access to my thesis and for any copying to be done at the discretion of the archives librarian and/or the College librarian. 2 In the Spirit of Solo: Neo-Neorealism and American Identity in Independent Cinema after September 11 Joanna Arcieri April 29, 2010 Presented to the Film Studies Department of Mount Holyoke in partial fulfillment of the degree of Bachelor of Arts with honors. 3 Awknowledgements This project would not have been possible without the assistance, support, and encouragement of a number of people. Robin Blaetz, my thesis advisor, has been a wonderful mentor throughout my four years at Mount Holyoke. Without her guidance and patience throughout this year, particularly while working on my thesis, most certainly would not exist. My two other readers, Elizabeth Young and Stephen Jones, have been a great help with this project. Professor Young was initially my academic advisor and working with her on this project almost made up for never having taken a class with her. It was in Professor Jones’ seminar on Nationalism where I first began think to critically about national identity and its relationship to the cinema. I am grateful for the patience and understanding of my friends at Mount Holyoke – Ruth Canter, Melanie Bowden, Hillary Ossip, Chrissy Kleespies, Erica Catalano, Michele Kuhnle, Allison Payne, Diana Bilbao, Margaret Knoerzer, and Ariel Hahn. Without our dinner breaks or late-night venting sessions, the completion our projects would have seemed unlikely. Likewise, my friends beyond Mount Holyoke – Heather Patterson, Vincent Pettit, Chelsea Cantero, and Mark Stewart – have all contributed to this project in ways, which may have seemed small at the time but were nonetheless greatly important. -
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar, ITVS 415
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar, ITVS 415-356-8383 x 244 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit pbs.org/pressroom/ For the program companion website, visit pbs.org/independentlens/goodbye-solo RAMIN BAHRANI’S ACCLAIMED FEATURE FILM GOODBYE SOLO TO PREMIERE ON THE PBS SERIES INDEPENDENT LENS ON TUESDAY, JUNE 1, 2010 “Wonderful, moving and mysterious. Startlingly new and bracingly real. An almost perfect film.” – A.O. Scott, The New York Times “Original, profound and stirring. A masterwork. Ramin Bahrani is the new great American director.” – Roger Ebert, Chicago Sun-Times (San Francisco, CA)—The Emmy® Award-winning PBS series Independent Lens, hosted by Maggie Gyllen- haal, concludes its Fall 2009/Spring 2010 season with the broadcast premiere of Ramin Bahrani’s critically ac- claimed Goodbye Solo. The film, an Independent Spirit Award nominee, and winner of the International Critics Prize at the Venice Film Festival, premieres on Tuesday, June 1, 2010 at 10 PM (check local listings). On the lonely roads of Winston-Salem, North Carolina, two men forge an improbable friendship that will change both of their lives forever. Solo is a Senegalese cab driver working to provide a better life for his young family. William is a tough, Southern, good ol’ boy with a lifetime of regrets. One man’s American dream is just beginning, while the other’s is quickly winding down. But despite their differences, both men soon realize they need each other more than either is willing to admit. -
Poetics of Protest: a Fluxed History of the 1968 DNC (A Dialogue for Six Academic Voices)
Liminalities: A Journal of Performance Studies Vol. 8, No. 4, September 2012 Poetics of Protest: A Fluxed History of the 1968 DNC (A Dialogue for Six Academic Voices) Tom Lavazzi Commentator/Over Voice (CO; as described below)/Conductor (“Panel Chair”) Documents (“objective”) Fluxedout (Fluxed; Fluxus attitude) New Historical Left (NHL; based on “old” and “new” New Left and New Historicist voices) The Institute for Cultural Studies (TICS; an institutionalized postmodern academic voice) Yippedout (Yipped; Yippie! Doubling occasionally as “Lecturer”) Poetics of Protest is staged as a typical (atypical) academic conference panel presentation. At the front of the room are two long tables, one for the panelists and another for props. Props overflowing the table may also be ranged around the room, redeploying chalkboard ledges, windowsills, and floor margins, marking the space’s boundaries. Redeployed, theoretically fortified cereals (i.e., empty boxes)—Zizek 0sTM, Blau PopsTM, Lucky Deleuze, Baudrillard PuffsTM, Foucault Flakes, etc.—are suspended from the ceiling. There is also a podium, a data projector and projection screen1 displaying an interactive image map of Chicago, circa 1968, highlighting the Amphitheatre and key riot and protest sites, and, optionally, a video monitor on which the audience may view muted interviews with Yippies. Projected on the podium and the floor directly in front of the podium—slow motion and stop-action scenes from Brett Morgen’s animated documentary of the Chicago 8 trial, Chicago 102; the panelists pause, at intervals, to act out—or rather, act with, re-act (to), comment on via serial tableau vivant--fragments of these scenes, Tom Lavazzi is Professor of English at KBCC-CUNY. -
Scms 2017 Conference Program
SCMS 2017 CONFERENCE PROGRAM FAIRMONT CHICAGO MILLENNIUM PARK March 22–26, 2017 Letter from the President Dear Friends and Colleagues, On behalf of the Board of Directors, the Host and Program Committees, and the Home Office staff, let me welcome everyone to SCMS 2017 in Chicago! Because of its Midwestern location and huge hub airport, not to say its wealth of great restaurants, nightlife, museums, shopping, and architecture, Chicago is always an exciting setting for an SCMS conference. This year at the Fairmont Chicago hotel we are in the heart of the city, close to the Loop, the river, and the Magnificent Mile. You can see the nearby Millennium Park from our hotel and the Art Institute on Michigan Avenue is but a short walk away. Included with the inexpensive hotel rate, moreover, are several amenities that I hope you will enjoy. I know from previewing the program that, as always, it boasts an impressive display of the best, most stimulating work presently being done in our field, which is at once singular in its focus on visual and digital media and yet quite diverse in its scope, intellectual interests and goals, and methodologies. This year we introduced our new policy limiting members to a single role, and I am happy to say that we achieved our goal of having fewer panels overall with no apparent loss of quality in the program or member participation. With this conference we have made presentation abstracts available online on a voluntary basis, and I urge you to let them help you navigate your way through the program.