DOCSLIB.ORG

Screening Love and Sex in the Ancient World

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Screening Love and Sex in the Ancient World Copyrighted Material - 9781137299598 Screening Love and Sex in the Ancient World Edited by Monica S. Cyrino Copyrighted Material - 9781137299598 pal-cyrino-book.indb iii 1/10/13 10:19 AM Copyrighted Material - 9781137299598 SCREENING LOVE AND SEX IN THE ANCIENT WORLD Copyright © Monica Cyrino, 2013. All rights reserved. First published in 2013 by PALGRAVE MACMILLAN® in the United States— a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978- 1- 137- 29959- 8 Library of Congress Cataloging- in- Publication Data is available from the Library of Congress. A catalogue record of the book is available from the British Library. Design by Scribe Inc. First edition: February 2013 10 9 8 7 6 5 4 3 2 1 Copyrighted Material - 9781137299598 pal-cyrino-book.indb iv 1/10/13 10:19 AM Copyrighted Material - 9781137299598 Contents List of Illustrations vii Acknowledgments ix Introduction: Screening Love and Sex in the Ancient World 1 Monica S. Cyrino Part 1: Screening Love and Sex in Ancient Myth and Literature 1 G. W. Pabst’s Hesiodic Myth of Sex in Die Büchse der Pandora (1929) 11 Lorenzo F. Garcia Jr. 2 Kiss Me Deadly (1955): Pandora and Prometheus in Robert Aldrich’s Cinematic Subversion of Spillane 25 Paula James 3 Perversions of the Phaeacians: The Gothic Odyssey of Angels & Insects (1996) 39 Meredith Safran 4 Woman Trouble: True Love and Homecoming in Pedro Almodóvar’s Volver (2006) 55 Corinne Pache 5 Sappho and Pocahontas in Terrence Malick’s The New World (2005) 69 Seán Easton 6 Soul Fuck: Possession and the Female Body in Antiquity and in Cinema 85 Kirsten Day 7 Ancient Allusions and Modern Anxieties in Seven Brides for Seven Brothers (1954) 99 Christopher M. McDonough Copyrighted Material - 9781137299598 pal-cyrino-book.indb v 1/10/13 10:19 AM Copyrighted Material - 9781137299598 vi contents Part 2: Screening Love and Sex in Ancient History 8 Gorgo at the Limits of Liberation in Zack Snyder’s 300 (2007) 113 Vincent Tomasso 9 Oliver Stone’s Unmanning of Alexander the Great in Alexander (2004) 127 Jerry B. Pierce 10 The Order of Orgies: Sex and the Cinematic Roman 143 Stacie Raucci 11 Partnership and Love in Spartacus: Blood and Sand (2010) 157 Antony Augoustakis 12 Objects of Desire: Female Gazes and Male Bodies in Spartacus: Blood and Sand (2010) 167 Anise K. Strong 13 Glenn Close Channels Theda Bara in Maxie (1985): A Chapter in the Social History of the Snake Bra 183 Gregory N. Daugherty 14 Virility and Licentiousness in Rome’s Mark Antony (2005– 7) 195 Rachael Kelly 15 Love, Rebellion, and Cleavage: Boadicea’s Hammered Breastplate in The Viking Queen (1967) 211 Alison Futrell 16 Subverting Sex and Love in Alejandro Amenábar’s Agora (2009) 227 Joanna Paul Filmography 243 Bibliography 247 List of Contributors 263 Index 267 Copyrighted Material - 9781137299598 pal-cyrino-book.indb vi 1/10/13 10:19 AM Copyrighted Material - 9781137299598 Introduction4 Screening Love and Sex in the Ancient World Monica S. Cyrino Love and sex attracted the earliest filmmakers to screen the mythol- ogy, literature, and history of the ancient world. Images and narratives of torrid romance, provocative sexualities, and erotic excess have been a mainstay of screen depictions of ancient Greece and Rome since the beginning of cinema in the early twentieth century. Vibrant scenes of baths, orgies, and brothels were first borrowed from nineteenth- century paintings, photographic tableaux vivants, and stage plays, and given new life in the nascent medium of film, and then they were later reanimated on ancient- themed television series. By seizing the oppor- tunity to exhibit scantily clad dancing girls and bare- chested muscle men mingling with pagan abandon at bacchanals, banquets, and gladiator games, cinematic entrepreneurs are able to satisfy both their artistic and commercial senses. Characters, themes, and plots centered on romance and sexuality continue to appear in the most recent recre- ations of antiquity in blockbuster movies and on premium cable tele- vision. Today, filmmakers and television producers regularly return to classical antiquity as a persistent, powerful source of historical, lit- erary, and mythological models for representing sexuality— its prob- lems, pleasures, and intimate link to gender roles—to be celebrated on the screen, as well as for negative paradigms to be confronted, censured, or covertly savored. Screening the history, imagined and “real,” of famous ancient bat- tles and political intrigues has always been infused with a heavy dose of Copyrighted Material - 9781137299598 pal-cyrino-book.indb 1 1/10/13 10:19 AM Copyrighted Material - 9781137299598 2 Monica S. Cyrino love and sex. Although the notorious— and visually titillating— sexual debauchery of ancient Rome has especially captivated filmmakers throughout the first century of cinema and television, the complicated erotic inclinations of the ancient Greeks have also received screen time. The artistic preference for screening antiquity as a time of sexual exploration and excitement— where the lack of erotic inhibition is set against the rise of powerful warriors, politicians, and femmes fatales, as well as the birth of great empires and their eventual decay and destruction— has provided the historical framework for literally hun- dreds of films and television programs set in the ancient Greek and Roman worlds. From the various cinematic versions of Cleopatra as a spectacle of sex and power (such as Cecil B. DeMille’s in 1934 and Joseph L. Mankiewicz’s in 1963), to the eye- popping exposure of buff male physicality in Zack Snyder’s 300 (2007), to the recent cable television adaptation of the Spartacus story with its unparalleled dis- play of graphic nudity, sex, and violence (Spartacus: Blood and Sand on Starz, 2010), these recreations transport the viewer back to an imagined ancient world brimming with enormous romantic passions and sexual appetites. While purporting to offer a morally edifying illustration of the dangers of overreaching power and erotic license, the process of screening antiquity has at the same time allowed film- makers and television producers to exploit the audience’s pervasive and prurient fascination with the unbridled and alluring sexualities of the ancient Greeks and Romans. Modern fascination with and anxi- eties about love and sex are thereby projected back vividly onto the ancient world onscreen. Along with ancient historical accounts, the narratives and motifs of classical mythology and literature have also provided a wide range of thematic material for filmmakers and television producers to engage with topics of love and sexuality, gender and power, erotic desire and jealousy, loss and reunion. In using the archetypal characters and plot outlines from ancient myth and literature, rather than strict “history,” writers and directors find themselves more free to adapt stories and images of romance and sexuality to the screen, often locating them in a temporal setting far removed from antiquity, or even in the mod- ern day. For example, the Greek myth of the first woman, Pandora, together with the erotic danger she brought to mankind, has inspired the cinematic narratives of numerous films, from the silent film clas- sic of consuming female sexuality in G. W. Pabst’s Die Büchse der Pandora (1929), to the evocative name of the lush tropical moon, Pandora, lethal but valuable to humans, in James Cameron’s futuris- tic adventure Avatar (2009), while the epic tale of Homer’s Odyssey, Copyrighted Material - 9781137299598 pal-cyrino-book.indb 2 1/10/13 10:19 AM Copyrighted Material - 9781137299598 Screening Love and Sex in the Ancient World 3 with its exotic, sexually adventurous travel narrative embedded within a frame of enduring conjugal love, has been reimagined countless times in films such as Mervyn LeRoy’s romantic drama, Homecom- ing (1948), the Coen brothers’ caper comedy, O Brother, Where Art Thou? (2000), and Anthony Minghella’s Civil War love story, Cold Mountain (2003). Films like these allow viewers to enjoy the essence of an ancient literary work or myth distilled into its most basic narra- tive and authentic archetypal paradigms of love, sexuality, and gender that resonate deeply with the contemporary world. Moreover, since these films are not bound by any obligation to recreate a genuine ancient setting or a precise historical context, the filmmaker can take a more direct and innovative approach to the timeless themes and char- acters, just as the ancient authors and mythographers did. This volume of essays has the ambitious aim of engaging with these two reception strands for screening love and sex in the ancient world, both the mythic/literary approach, and the historical one; in doing so, the chapters seek to demonstrate the importance of understanding the many different ways in which filmmakers and television produc- ers use the past to explore contemporary issues of love and sexuality. In 16 original and compelling essays, the contributors to this proj- ect address the question of how love and sex are portrayed in films that refer to the ancient Greek and Roman worlds, either directly in the context of ancient history, or indirectly through allusion to clas- sical mythology and literature. These 16 chapters are organized into two sections: the first half focuses on films that evoke characters and themes from ancient myths and literature, and the second half deals with onscreen representations of subjects rooted (more or less) in his- torical accounts from antiquity.
Load more

Recommended publications
  • International Casting Directors Network Index
    International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy.
    [Show full text]
  • New Jersey in Focus: the World War I Era 1910-1920
    New Jersey in Focus: The World War I Era 1910-1920 Exhibit at the Monmouth County Library Headquarters 125 Symmes Drive Manalapan, New Jersey October 2015 Organized by The Monmouth County Archives Division of the Monmouth County Clerk Christine Giordano Hanlon Gary D. Saretzky, Curator Eugene Osovitz, Preparer Produced by the Monmouth County Archives 125 Symmes Drive Manalapan, NJ 07726 New Jersey in Focus: The World War I Era, 1910-1920 About one hundred years ago, during the 1910-1920 decade in America, the economy boomed and the Gross National Product more than doubled. Ten million Americans bought automobiles, most for the first time. Ford’s Model T, produced with then revolutionary assembly line methods, transformed family life for owners. Such personal “machines” led to paved roads and the first traffic light, reduced the need for blacksmiths and horses, increased the demand for auto mechanics and gas stations, and, when not caught up in traffic jams, sped up daily life. Some owners braved dirt roads to drive to the Jersey Shore, where thousands thronged to see the annual Baby Parade in Asbury Park. While roads at the start of the decade were barely adequate for travel in the emerging auto boom, New Jersey became a leader in the advocacy and construction of improved thoroughfares. Better road and rail transportation facilitated both industrial and agricultural production, bringing such new products as commercially grown blueberries from Whitesbog, New Jersey, to urban dwellers. In the air, history was made in 1912, when the first flight to deliver mail between two government post offices landed in South Amboy.
    [Show full text]
  • The Honorable Mentions Movies- LIST 1
    The Honorable mentions Movies- LIST 1: 1. A Dog's Life by Charlie Chaplin (1918) 2. Gone with the Wind Victor Fleming, George Cukor, Sam Wood (1940) 3. Sunset Boulevard by Billy Wilder (1950) 4. On the Waterfront by Elia Kazan (1954) 5. Through the Glass Darkly by Ingmar Bergman (1961) 6. La Notte by Michelangelo Antonioni (1961) 7. An Autumn Afternoon by Yasujirō Ozu (1962) 8. From Russia with Love by Terence Young (1963) 9. Shadows of Forgotten Ancestors by Sergei Parajanov (1965) 10. Stolen Kisses by François Truffaut (1968) 11. The Godfather Part II by Francis Ford Coppola (1974) 12. The Mirror by Andrei Tarkovsky (1975) 13. 1900 by Bernardo Bertolucci (1976) 14. Sophie's Choice by Alan J. Pakula (1982) 15. Nostalghia by Andrei Tarkovsky (1983) 16. Paris, Texas by Wim Wenders (1984) 17. The Color Purple by Steven Spielberg (1985) 18. The Last Emperor by Bernardo Bertolucci (1987) 19. Where Is the Friend's Home? by Abbas Kiarostami (1987) 20. My Neighbor Totoro by Hayao Miyazaki (1988) 21. The Sheltering Sky by Bernardo Bertolucci (1990) 22. The Decalogue by Krzysztof Kieślowski (1990) 23. The Silence of the Lambs by Jonathan Demme (1991) 24. Three Colors: Red by Krzysztof Kieślowski (1994) 25. Legends of the Fall by Edward Zwick (1994) 26. The English Patient by Anthony Minghella (1996) 27. Lost highway by David Lynch (1997) 28. Life Is Beautiful by Roberto Benigni (1997) 29. Magnolia by Paul Thomas Anderson (1999) 30. Malèna by Giuseppe Tornatore (2000) 31. Gladiator by Ridley Scott (2000) 32. The Lord of the Rings: The Fellowship of the Ring by Peter Jackson (2001) 33.
    [Show full text]
  • The Local and the Global in Anthony Minghella's Breaking and Entering
    CULTURA , LENGUAJE Y REPRESENTACIÓN / CULTURE , LANGUAGE AND REPRESENTATION ˙ ISSN 1697-7750 · VOL . XI \ 2013, pp. 111-124 REVISTA DE ESTUDIOS CULTURALES DE LA UNIVERSITAT JAUME I / CULTURAL STUDIES JOURNAL OF UNIVERSITAT JAUME I DOI : HTTP ://DX .DOI .ORG /10.6035/CLR .2013.11.7 Cosmopolitan (Dis)encounters: The Local and the Global in Anthony Minghella’s Breaking and Entering and Rachid Bouchareb’s London River CAROLINA SÁNCHEZ - PALENCIA UNIVERSIDAD DE SEVILLA AB STRA C T : Through the postcolonial reading of Breaking and Entering (Anthony Minghella, 2006) and London River (Rachid Bouchareb, 2009), I mean to analyse the multiethnic urban geography of London as the site where the legacies of Empire are confronted on its home ground. In the tradition of filmmakers like Stephen Frears, Ken Loach, Michael Winterbottom or Mike Leigh, who have faithfully documented the city’s transformation from an imperial capital to a global cosmopolis, Minghella and Bouchareb demonstrate how the dream of a white, pure, uncontaminated city is presently «out of focus», while simultaneously confirming that colonialism persists under different forms. In both films the city’s imperial icons are visually deconstructed and resignified by those on whom the metropolitan meanings were traditionally imposed and now reclaim their legitimate space in the new hybrid and polyglot London. Nevertheless, despite the overwhelming presence of the multicultural rhetoric in contemporary visual culture, their focus is not on the carnival of transcultural consumption where questions of class, power and authority conveniently seem to disappear, but on the troubled lives of its agents, who experience the materially local urban reality as inevitably conditioned by the global forces –international war on terror, media coverage, black market, immigration mafias, corporate business– that transcend the local.
    [Show full text]
  • March 2015 Questions
    March 2015 Questions General Knowledge 1 Which Swiss-born actor was the first person to be presented with an Oscar when he won the award for Best Actor, at the 1929 ceremony? 2 Which adaptation of a Jane Austen novel, directed by Ang Lee, won the Best Film BAFTA in 1996? 3 Name the biopic, due to be released in October of this year, which will be directed by Danny Boyle, written by Aaron Sorkin and star Michael Fassbender as the title character. 4 Which actor links the films Separate Tables, The Pink Panther and A Matter of Life & Death? 5 Greg Dyke is the current chair of the BFI; but which award-winning film director did Dyke succeed in the role in 2008? The 2015 Academy Awards 1 Name the Mexican director of Birdman or (The Unexpected Virtue of Ignorance), which won both the Best Film and Best Director awards at this year’s Academy Awards. 2 Which Polish film, directed by Paweł Pawlikowski, was the winner of the Best Foreign Language Film award, ahead of entries from Russia, Estonia and Argentina? 3 John Travolta presented the award for Best Original Song at this year’s ceremony alongside which singer, whose name he had mangled at last year’s awards? 4 Each year the Academy presents the Jean Hersholt Humanitarian Award to a specific individual; who was the recipient of the 2015 award? 5 Which film, directed by Don Hall and Chris Williams, won this year’s award for Best Animated Feature? BFI Flare: London LGBT Film Festival 2015 1 Who takes the title role in I Am Michael, a film about Michael Glatze, a pioneering gay rights activist who later denounced his homosexuality and which will open this year’s London LGBT Film Festival? 2 Name the new U.S.
    [Show full text]
  • Ambler Theater
    Ambler Theater Previews5 9 A MARCH - MAY 2007 Charlton Heston and Janet Leigh in TOUCH OF EVIL TOUCH Charlton Heston and Janet Leigh in INCLUDES OUR MAIN ATTRACTIONS AND SPECIAL PROGRAMS A MBLER T HEATER.ORG 215 345 7855 Welcome to the nonprofit Ambler Theater The Ambler Theater is a nonprofit, tax-exempt 501(c)(3) organization. ADMISSION When will films play? Main Attractions General ............................................................$8.00 Film Booking. Our main films play week-to-week from Friday Members .........................................................$4.50 through Thursday. Every Monday we determine what new films Support the Ambler Theater. Seniors (62+) will start on Friday, what current films will end on Thursday, Children under 18 and and what current films will continue through Friday for another Please help us raise the remaining $50,000 Students w/valid I.D. .....................................$6.00 week. All films are subject to this week-to-week decision-mak- needed to meet our capital campaign goal. Matinee (before 5:30 pm) ...............................$6.00 ing process. We try to play all of our Main Attractions films as Wed Early Matinee (before 2:30 pm) ...............$5.00 soon as possible. (For more info on the business of booking It’s been over a year since we kicked off our capital campaign by relighting our Affiliated Theaters Members* ...........................$5.50 films and why some films play longer or sooner than others, neon tower. Today the campaign is almost complete. In order to finish, though, *Affiliated Theaters Members visit our website.) we need your help in raising the final $50,000. We are happy to announce that the Ambler Theater, the County When Will a Film’s Run Start? YOUR GIFT WILL BE DOUBLED BY A MATCHING GRANT Theater, and the Bryn Mawr Film Institute have reciprocal After we decide on Monday (Tuesday at the latest) what new The Theater has received a $500,000 matching state challenge grant.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • The Artist This February 'Love Is in the Air' in the Library. What Better Way To
    This February ‘love is in the air’ in the library. What better way to enjoy Valentine’s Day than curled up on your couch watching a movie? From modern favourites to timeless classics, there are countless movies in the romance genre, so here at the Learning Curve we’re here to help you narrow them down. Get ready to laugh, cry, swoon, and everything in between with your favourite hunks, lovers, and heroines. Whether you're taking some ‘me time’ or cuddled up with that special someone, here at the library we have a great selection of DVDs. These can all be found on popular streaming services or borrowed from the library using our Click & Collect Service once lockdown is over. Be sure to have popcorn and tissues at the ready! The Artist Director: Michel Hazanavicius Actors: Jean Dujardin, Bérénice Bejo, John Goodman, James Cromwell, Penelope Ann Miller The Artist is a love letter and homage to classic black-and-white silent films. The film is enormously likable and is anchored by a charming performance from Jean Dujardin, as silent movie star George Valentin. In late-1920s Hollywood, as Valentin wonders if the arrival of talking pictures will cause him to fade into oblivion, he makes an intense connection with Peppy Miller, a young dancer set for a big break. As one career declines, another flourishes, and by channelling elements of A Star Is Born and Singing in the Rain, The Artist tells the engaging story with humour, melodrama, romance, and--most importantly--silence. As wonderful as the performances by Dujardin and Bérénice Bejo (Miller) are, the real star of The Artist is cinematographer Guillaume Schiffman.
    [Show full text]
  • Marilyn Monroe's Star Canon: Postwar American Culture and the Semiotics
    University of Kentucky UKnowledge Theses and Dissertations--English English 2016 MARILYN MONROE’S STAR CANON: POSTWAR AMERICAN CULTURE AND THE SEMIOTICS OF STARDOM Amanda Konkle University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.038 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Konkle, Amanda, "MARILYN MONROE’S STAR CANON: POSTWAR AMERICAN CULTURE AND THE SEMIOTICS OF STARDOM" (2016). Theses and Dissertations--English. 28. https://uknowledge.uky.edu/english_etds/28 This Doctoral Dissertation is brought to you for free and open access by the English at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--English by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Includes Our Main Attractions and Special
    County Theater 59 PreviewsMARCH - MAY 2007 Janet Leigh and Charlton Heston in TOUCH OF EVIL TOUCH Janet Leigh and Charlton Heston in INCLUDES OUR MAIN ATTRACTIONS AND SPECIAL PROGRAMS C OUNTY T HEATER.ORG 215 345 6789 Welcome to the nonprofit County Theater The County Theater is a nonprofit, tax-exempt 501(c)(3) organization. To our 4,200+ members, thank you. ADMISSION When will films play? Main Attractions General ............................................................$8.00 Film Booking. Our main films play week-to-week from Friday Members .........................................................$4.50 through Thursday. Every Monday we determine what new films Seniors (62+) will start on Friday, what current films will end on Thursday, Children under 18 and and what current films will continue through Friday for another Students w/valid I.D. .....................................$6.00 week. All films are subject to this week-to-week decision-mak- Early Matinee ..................................................$5.00 ing process. We try to play all of our Main Attraction films as (shows prior to 2:30 pm) soon as possible. (For more info on the business of booking Late Matinee ...................................................$6.00 films and why some films play longer or sooner than others, (shows starting between 2:30 & 5:30 pm) visit our website.) Wed Early Matinee (before 2:30 pm) ...............$4.50 When Will a Film’s Run Start? Affiliated Theaters Members* ...........................$5.50 After we decide on Monday (Tuesday at the latest) what new *Affiliated Theaters Members films will start on Friday, we immediately let you know on our We are happy to announce that the Ambler Theater, the County website and on our hotline.
    [Show full text]
  • 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
    [Show full text]
  • Grant Rosenmeyer
    COME AS YOU ARE Distributor: Executive Producers: Samuel Goldwyn Films Franklin Leonard, Ted Reilly & Kelly Waller Production Company: CAYA Film, Chicago Media Produced by: Angels, The Black List & Grant Rosenmeyer, Barrett Meridian Entertainment Stuart, Jacqueline "JJ" Ingram Directed by: Richard Wong Theatrical & VOD Release: February 14, 2020 Written by: Erik Linthorst Run Time: 106 minutes Starring: Grant Rosenmeyer, Hayden Szeto, Ravi Patel, Gabourey Sidibe, Janeane Garofalo & C.S. Lee PRESS CONTACT PRODIGY PUBLIC RELATIONS Rob Fleming | [email protected] 310-857-2020 ext 132 | 530-591-0895 Nicki Durazo | [email protected] 310-857-2020 ext 705 | 310-947-9714 Press Materials: https://www.dropbox.com/sh/vfebat6396gt9q7/A ABHRlvWh-kOV0PC-wEoXb2ga?dl=0 http://www.samuelgoldwynfilms.com/come-as-you- are/ SYNOPSIS Inspired by a true story - three young men with disabilities (Grant Rosenmeyer, Hayden Szeto, Ravi Patel) flee their overbearing parents for a road trip to a brothel in Montreal that caters to people with special needs, in order to lose their virginity and embrace their independence. Gabourey Sidibe stars as their nurse driver, Janeane Garofalo and C.S. Lee also star as concerned parents hot on their trail. A remake of the award winning, critically acclaimed 2011 LOGLINE Belgian film HASTA LA VISTA. Three young men with disabilities embark on a road trip to a brothel in Montreal catering to people with special needs to lose their virginity and embrace their independence. Inspired by a true story and remake of the Belgian film HASTA LA VISTA. The first time I picked up the script for COME AS YOU ARE, it was just past 11pm (that's late for me).
    [Show full text]