Nna( Acpherson REALTOR
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Michael John Bateman Cce Editor Canadian and Uk Citizenship / Bc Resident / Iatse 891 / Acfc Online Reel
MICHAEL JOHN BATEMAN CCE EDITOR CANADIAN AND UK CITIZENSHIP / BC RESIDENT / IATSE 891 / ACFC ONLINE REEL TELEVISION NETWORK/CO DIRECTOR PRODUCERS MALIBU RESCUE Netflix Savage Steve Holland P: Amy Sydorick (Movie/Pilot) PROJECT MC2 S3 Netflix Various P: Mary Sparacio, (Series) Sadaf Cohen Muncy, Shauna Phelan THE CHRISTMAS CONSULTANT Lifetime Movie Network John Bradshaw P: Raymond Massey (Movie) GOOD MORNING KILLER (Movie) RPI Group Productions Maggie Greenwald EP: Frank Von Zerneck for TNT HICCUPS (Comedy Pilot) Penflo Production Inc. David Storey EP: Brent Butt, David Storey for CTV DO YOU KNOW ME? (Movie) Hallmark Ent/ Penelope Buitenhuis P: Robert Halmi Sr., Shan Tam, Lifetime Matthew O’Connor,Lisa Richardson LUNA: THE WAY HOME (Movie) CTV/ Screen Siren Don McBrearty P: Trish Dolman, Anne Marie LaTraverse A GIRL LIKE ME: Lifetime/Braun Ent/ Agnieszka Holland P: Zev Braun, Philip Krupp, THE GWEN ARAUJO STORY Sony Pictures Fran Rosati (Movie) FINAL DAYS: PLANET EARTH Hallmark Entertainment Rob Lieberman P: Robert Halmi Sr., (Mini Series) Matthew O’Connor KINGDOM HOSPITAL (Series) Sony Pictures/ Craig Baxley EP: Mark Carliner, Stephen King, Drama Fantasy Horror ABC Network Lars von Trier TOM STONE (Series) CBC Television Various P: Tom Cox, Doug McLeod Comedy THE OVERCOAT (Movie) Alliance/CBC Morris Panych P: Lael McCall, Richard Craven THE IMMORTAL (Series) Space Various P: Michael Grais Time Travel Sci Fi NOTHING TOO GOOD Alliance/CBC Various P: Charles Glazer, FOR A COWBOY (Series) Davie Barlow One hour Period Comedy DEAD MAN'S GUN S2 (Series, 22 ep) MGM/Showtime Various P: Larry Sugar, Henry Winkler Western Action Anthology **Winner American Heritage Award SO WEIRD (Series Pilot) Disney Channel Shawn Levy P: Larry Sugar, Henry Winkler Shawn Levy DEAD MAN'S GUN S1 (Series, 22 ep) Buena Vista/Showtime Various P: Larry Sugar, Henry Winkler Western Action Anthology **Winner American Heritage Award Represented by Barbara J. -
Hollywood Studio Magazine (November 1971)
NOVEMBER 1971/50CENTS the fi'ightened Swedish Citing Director Marvin Paige pave| the pmeback trail Hortywobd Par^rama-an artist's tribute lOlTm^OblVie Studio in a garage "Gunsmoke’s” Doc Adams Milburn Stone's 50 years of Showbiz wmgmMrn ■ Cpafted Colop Another Don Ray TV Super Special iS'^'rir ...gathered from around the world into an exciting collection of high-fashion jewelry for both men and women, (^ome in soon and THE FERNDALE let us tell yoii about these lovely stones. Our membership in the American Gem Society GP-600 23 inch diagonal picture $495 is your assurance of correct gem identifica¬ Reg. $659, Special tion and value. The (SMtobelli^eivelers 3 generations of master craftsmen 4479 LANKERSHIM- (at Moorpark) NEW 1972 BUICKS AND OPELS ON DISPLAY FLEET DISCOUNT TO ALL STUDIO EMPLOYEES See me about our Lease Plan THE HAVILAND This dealership has been personally contacted and has agreed to GP-618 give employees of all Studios the best possible deal, consistent 23 inch diagonal picture $475 with ethical business practices. Reg. $625, Special YOU MUST SEE or call me personally NO DOWN for a "Studio employees' deal." Low monthly payments Harry L. Harris Special consideration to STUDIO employees FINE SELECTION OF USED CARS 21 YEARS DEPENDABLE SERVICE Harvey Tyrrell Buick BUICK AND OPEL AUTHORIZED SALES & SERVICE DON RAY & SERVICE KADETT tT AND APPLIANCES ■■uMaBankamerica . Easy FinancingaH COMPLETE MECHANICAL REPAIRS • BODY AND PAINT DEPT. FREE PICK-UP and DELIVERY Poplar 3-9431 TR 7-4692 4645 Lankershim Blvd. North Hollywood, Calif. 4257 LANKERSHIM BLVD. North Hollywood* Los Angejes* West Valley NORTH HOLLYWOOD 766-521 1 - 877-5361 - 984-3430 STUDIO I P.O. -
Master Class with Andrea Martin: Selected Filmography 1 the Higher
Master Class with Andrea Martin: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Films and Television Series mentioned or discussed during the Master Class 8½. Dir. Federico Fellini, 1963, Italy and France. 138 mins. Production Co.: Cineriz / Francinex. American Dad! (2005-2012). 7 seasons, 133 episodes. Creators: Seth MacFarlane, Mike Barker, and Matt Weitzman. U.S.A. Originally aired on Fox. 20th Century Fox Television / Atlantic Creative / Fuzzy Door Productions / Underdog Productions. Auntie Mame. Dir. Morton DaCosta, 1958, U.S.A. 143 mins. Production Co.: Warner Bros. Pictures. Breaking Upwards. Dir. Daryl Wein, 2009, U.S.A. 88mins. Production Co.: Daryl Wein Films. Bridesmaids. Dir. Paul Feig, 2011, U.S.A. 125 mins. Production Co.: Universal Pictures / Relativity Media / Apatow Productions. Cannibal Girls. Dir. Ivan Reitman, 1973, Canada. 84 mins. Production Co.: Scary Pictures Productions. The Cleveland Show (2009-2012). 3 seasons, 65 episodes. Creators: Richard Appel, Seth MacFarlane, and Mike Henry. U.S.A. Originally aired on Fox. Production Co.: Persons Unknown Productions / Happy Jack Productions / Fuzzy Door Productions / 20th Century Fox Television. Club Paradise. Dir. Harold Ramis, 1986, U.S.A. -
Hallmark Collection
Hallmark Collection 20000 Leagues Under The Sea In 1867, Professor Aronnax (Richard Crenna), renowned marine biologist, is summoned by the Navy to identify the mysterious sea creature that disabled the steamship Scotia in die North Atlantic. He agrees to undertake an expedition. His daughter, Sophie (Julie Cox), also a brilliant marine biologist, disguised as a man, comes as her father's assistant. On ship, she becomes smitten with harpoonist Ned Land (Paul Gross). At night, the shimmering green sea beast is spotted. When Ned tries to spear it, the monster rams their ship. Aronnax, Sophie and Ned are thrown overboard. Floundering, they cling to a huge hull which rises from the deeps. The "sea beast" is a sleek futuristic submarine, commanded by Captain Nemo. He invites them aboard, but warns if they enter the Nautilus, they will not be free to leave. The submarine is a marvel of technology, with electricity harnessed for use on board. Nemo provides his guests diving suits equipped with oxygen for exploration of die dazzling undersea world. Aronnax learns Nemo was destined to be the king to lead his people into the modern scientific world, but was forced from his land by enemies. Now, he is hoping to halt shipping between the United States and Europe as a way of regaining his throne. Ned makes several escape attempts, but Sophie and her father find the opportunities for scientific study too great to leave. Sophie rejects Nemo's marriage proposal calling him selfish. He shows his generosity, revealing gold bars he will drop near his former country for pearl divers to find and use to help the unfortunate. -
Conddun Funrieuis Photo: Greg Hulbert Canada Couircil Announces New Program to Help Independent Filmmakers
condDun FunriEuis Photo: Greg Hulbert Canada Couircil announces new program to help independent filmmakers Ms. Penni Jaques, recently appointed film Officer of the Canada Council, came to Toronto in late October to ex plain the Council's tentative Aid to Film and Video Artists program, which is al ready accepting applications. Her visit coincided with the Council's series of open meetings held in this area, designed to gauge response to its pro grams from the art and academic com munities across Canada. Director Andre Michael Spencer of the CFDC and Penni Jaques of the Canada Council at the S.F. U. Forum in Fortier revealed that the Canada Coun British Columbia cil gives away $45 million annually to the arts, humanities and social sciences, 36 per cent of it in Ontario. Film, photography and video might get up to one million dollars of this production grants: up to $25,000, up to buy time to pursue a program of Ap amount during the coming year. We sus $10,000, and up to $5,000 will be given prenticeship Research or Advanced pect that this is still disproportionate to out to cover partial or total production Study in their respective fields, may also what other art forms are getting, but costs. Ms. Jaques cautioned potential apply for a Senior or regular Art Grant, then certain staunch classicists refuse to applicants against assuming that asking or a Short Term Grant. Finally, Project recognize them as such. No comparable for the highest amount is the wisest Cost grants of up to $2,000 are available grants are planned in film, for instance, course; in fact the $25 thousand grant to the professional artist to help defray to the huge amounts of money given to will be the hardest one to get, with the cost of a particular project, with the estabhshed theatre, music, literature, chances progressively improving as the exception of film or video production. -
Taylor Doctoralthesis Complete
21st Century Zombies: New Media, Cinema, and Performance By Joanne Marie Taylor A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter Glazer, Chair Professor Brandi Wilkins Catanese Professor Kristen Whissel Fall 2011 21st Century Zombies: New Media, Cinema, and Performance © 2011 by Joanne Marie Taylor Abstract 21st Century Zombies: New Media, Cinema, and Performance by Joanne Marie Taylor Doctor of Philosophy in Performance Studies and a Designated Emphasis in Film Studies University of California, Berkeley Professor Peter Glazer, Chair This project began with a desire to define and articulate what I have termed cinematic performance, which itself emerged from an examination of how liveness, as a privileged performance studies concept, functions in the 21st century. Given the relative youth of the discipline, performance studies has remained steadfast in delimiting its objects as those that are live—shared air performance—and not bound by textuality; only recently has the discipline considered the mediated, but still solely within the circumscription of shared air performance. The cinema, as cultural object, permeates our lives—it is pervasive and ubiquitous—it sets the bar for quality acting, and shapes our expectations and ideologies. The cinema, and the cinematic text, is a complex performance whose individual components combine to produce a sum greater than the total of its parts. The cinema itself is a performance—not just the acting—participating in a cultural dialogue, continually reshaping and challenging notions of liveness, made more urgent with the ever-increasing use of digital technologies that seem to further segregate what is generally considered real performance from the final, constructed cinematic text. -
Automobility in the Road Narratives of Donald Shebib and Alistair Macleod Christopher Armstrong
Document generated on 09/30/2021 10:18 a.m. Studies in Canadian Literature Études en littérature canadienne “The Lines We Drive On” Automobility in the Road Narratives of Donald Shebib and Alistair MacLeod Christopher Armstrong Volume 43, Number 2, 2018 URI: https://id.erudit.org/iderudit/1062914ar DOI: https://doi.org/10.7202/1062914ar See table of contents Publisher(s) University of New Brunswick, Dept. of English ISSN 0380-6995 (print) 1718-7850 (digital) Explore this journal Cite this article Armstrong, C. (2018). “The Lines We Drive On”: Automobility in the Road Narratives of Donald Shebib and Alistair MacLeod. Studies in Canadian Literature / Études en littérature canadienne, 43(2). https://doi.org/10.7202/1062914ar All Rights Reserved ©, 2018 Studies in Canadian Literature / Études en This document is protected by copyright law. Use of the services of Érudit littérature canadienne (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/ “The Lines We Drive On”1: Automobility in the Road Narratives of Donald Shebib and Alistair MacLeod Christopher J. Armstrong OIN’ DOWN THE ROAD, Donald Shebib’s landmark feature film about two economic migrants from Cape Breton, like many road movies, is a staging of “our desire for modernity, our desire Gto be perceived as moving . -
Filmkrantindex 0-166
Inhoud/Toelichting 1 INDEX NR 0 T/M 166 T/M 0 INDEX NR Deze index op de nummers 0 tot en met 166 van de Filmkrant is ingedeeld in de hieronder vermelde categorieën. Elke categorie is gealfabetiseerd: op trefwoord, op titel of op naam. De alfabetisering volgt het 'computer-systeem', d.w.z. dat begonnen wordt met leestekens ('Crocodile' Dundee), vervolgens cijfers (06) en daarna letters (A demain). Artikelen .............................................................................. 2 Filmrecensies ................................................................... 20 U vindt hier artikelen en series (b.v. Flashback) die buiten In deze categorie vindt u uitsluitend echte recensies met alle andere categorieën vallen. Géén filmbesprekingen of credits. de inhoud van de rubrieken 'Nieuws' of 'Geruchten- machine'. Films op video ................................................................ 37 Sinds kort de rubriek waar films worden besproken die Boekrecensies ................................................................... 8 wel op video maar niet in de bioscoop worden uitge- Hier vindt u echte boekrecensies, niet de rubrieken van bracht. U vindt hier geen credits, alleen de uitbreng- Jan Hilkemeijer en Anita Snoek. datum en de distributeur. Columns ............................................................................... 10 Interviews .......................................................................... 39 Persoonlijke notities van Jan Beijsterbos, Jan Heijs, Ian U treft hier, naast interviews met filmmakers over hun Kerkhof, -
Toronto's Postproduction Sound Industry, 1968 to 2005
Wilfrid Laurier University Scholars Commons @ Laurier Theses and Dissertations (Comprehensive) 2016 The Struggle To Be Heard: Toronto's Postproduction Sound Industry, 1968 to 2005 Katherine E. Quanz Wilfrid Laurier University, [email protected] Follow this and additional works at: https://scholars.wlu.ca/etd Part of the Audio Arts and Acoustics Commons, Canadian History Commons, and the Film and Media Studies Commons Recommended Citation Quanz, Katherine E., "The Struggle To Be Heard: Toronto's Postproduction Sound Industry, 1968 to 2005" (2016). Theses and Dissertations (Comprehensive). 1866. https://scholars.wlu.ca/etd/1866 This Dissertation is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in Theses and Dissertations (Comprehensive) by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. The Struggle To Be Heard: Toronto's Postproduction Sound Industry, 1968 to 2005 by Katherine Elizabeth Quanz B.F.A., in Film and Video Production, York University, 2005 M.A., in English and Film Studies, Wilfrid Laurier University, 2008 THESIS Submitted to the Department of English and Film Studies in partial fulfillment of the requirements for Doctor of Philosophy Wilfrid Laurier University © 2016 Abstract This dissertation examines how economic and technological changes shaped the sounds of Canadian cinema, from the modern industry’s founding in the late 1960s to the widespread adoption of digital editing software in the early 2000s. By focusing on the labour and craft practices that coalesced in Toronto’s postproduction companies, I argue that such practices engendered a critical shift in the sonic style of Canadian film sound. -
Moving Images
CHAPTER 7 MOVING IMAGES Contents 7.0 GENERAL RULES 7.0A Preliminary rule 7.0A1 Scope 7.0B Sources of information 7.0C Punctuation 7.0D Levels of detail in the description 7.0E Language and script of the description 7.0F Inaccuracies 7.0G Accents and other diacritical marks 7.1 TITLE AND STATEMENT OF RESPONSIBILITY AREA 7.1A Preliminary rule 7.1B Title proper 7.1C General material designation 7.1D Parallel titles 7.1E Other title information 7.1F Statements of responsibility 7.2 EDITION AREA 7.2A Preliminary rule 7.2B Edition statement 7.2C Statements of responsibility relating to the edition 7.3 CLASS OF MATERIAL SPECIFIC DETAILS AREA 7.3A Preliminary rule Revised version — July 2008 7-1 MOVING IMAGES 7.4 DATE(S) OF CREATION, INCLUDING PUBLICATION, DISTRIBUTION, ETC., AREA 7.4A Preliminary rule 7.4B Date(s) of creation 7.4C Place of publication, distribution, etc. 7.4D Name of publisher, distributor, etc. 7.4E Statement of function of publisher, distributor, etc. 7.4F Date of publication, distribution, etc. 7.4G Place of manufacture, name of manufacturer, date of manufacture 7.5 PHYSICAL DESCRIPTION AREA 7.5A Preliminary rule 7.5B Extent of descriptive unit (including specific material designation) 7.5C Other physical details 7.5D Dimensions 7.5E Accompanying material 7.6 PUBLISHER'S SERIES AREA 7.6A Preliminary rule 7.6B Publisher's series statement 7.7 ARCHIVAL DESCRIPTION AREA 7.7A Preliminary rule 7.7B Administrative history / Biographical sketch 7.7C Custodial history 7.7D Scope and content 7.8 NOTE AREA 7.8A Preliminary rule 7.8B Notes 7.9 STANDARD NUMBER AREA 7.9A Preliminary rule 7.9B Standard number Revised version — July 2008 7-2 MOVING IMAGES 7.0 GENERAL RULES 7.0A. -
Zombies: New Media, Cinema, and Performance
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title 21st Century Zombies: New Media, Cinema, and Performance Permalink https://escholarship.org/uc/item/9hq1z1t7 Author Taylor, Joanne Marie Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California 21st Century Zombies: New Media, Cinema, and Performance By Joanne Marie Taylor A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter Glazer, Chair Professor Brandi Wilkins Catanese Professor Kristen Whissel Fall 2011 21st Century Zombies: New Media, Cinema, and Performance © 2011 by Joanne Marie Taylor Abstract 21st Century Zombies: New Media, Cinema, and Performance by Joanne Marie Taylor Doctor of Philosophy in Performance Studies and a Designated Emphasis in Film Studies University of California, Berkeley Professor Peter Glazer, Chair This project began with a desire to define and articulate what I have termed cinematic performance, which itself emerged from an examination of how liveness, as a privileged performance studies concept, functions in the 21st century. Given the relative youth of the discipline, performance studies has remained steadfast in delimiting its objects as those that are live—shared air performance—and not bound by textuality; only recently has the discipline considered the mediated, but still solely within the circumscription of shared air performance. The cinema, as cultural object, permeates our lives—it is pervasive and ubiquitous—it sets the bar for quality acting, and shapes our expectations and ideologies. -
Production Guide
• • PRODUCTION GUIDE by Jose Arroyo Clare Walker, Ginetle D'Amico pub. Suzanne Vil Sheila Petzold d. Wayne Moss, Richard Mortimer leneuve, Theresa Burke I.p. Patrick Bauchau, CAMBIUM FILM AND sc. Ken Sobel. pub. BarbaraChernin,(416) 975- Domini Blythe, Catherine Colvey. Jonathan 6776. he following is a list of films in production (actually before cameras) Crombie , Guylaine St. Onge, Monique Mercure. VIDEO PRODUCTIONS and In negotiation In Canada. Needless to say, the films which are WHAT'S NEW Emile Genest , Pier Kohl. LTD. A weekly hall-hour series produced by CBC TV Tstill in the project stage are subject to changes. A third category, In children's department in Toronto. A frank. fun Pre-Production, will be used to indicate films which are in active pre-pro DIAMONDS (416) 964-8750 fast-paced show for and about feenagers. the duction, having set a date for the beginning of principal photography and A fast-paced, light mystery-adventure series. LUBA world they live in, theIr interests and concerns. being engaged in casting and crewing. Films are listed by the name of the Principal photography on the 13 one-hour One-hour music special on singer/songwriter The show looks at news events and issues. company which initiated the project, or with which the project is popularly episodes began July 19 in Toronto. The series is 'Luba '. the 2nd in a collection of Specials on inter movies and music, always asking and answering produced by Alliance Entertainment Corporation questions from the viewpoint of kids. exec . .p. associated. This is not necessarily the name of the production company.