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Pr-Dvd-Holdings-As-Of-September-18
CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd. -
Multilingualism in Guizi Lai Le (Devils on the Doorstep)
Takeda, K. (2014). The interpreter as traitor: Multilingualism in Guizi lai le (Devils on the Doorstep ). Linguistica Antverpiensia, New Series. Themes in Translation Studies, 13 , 93–111. The interpreter as traitor: Multilingualism in Guizi lai le (Devils on the Doorstep )1 Kayoko Takeda Rikkyo University [email protected] This paper discusses ways in which multilingualism is represented in an award-winning Chinese film, Guizi lai le , and its subtitling. Known as Devils on the Doorstep in English, the movie approaches its multilingual setting realistically: Chinese villagers speak in Chinese, Japanese soldiers in Japanese, and interpreters mediate their communication. In examining the Chinese, Japanese and English subtitles of the film, the study focuses on the different strategies used by the translators to represent multilingualism and to subtitle offensive language. The behavior and fate of the Chinese interpreter in the film is also explored, with special attention to the power interpreters possess for controlling and manipulating information and the notion of the interpreter as traitor and war criminal in the context of conflict. Findings of this research invite further investigation into how the audience views multilingualism in cinema and how the identity and loyalty of interpreters is depicted in war-themed movies. Collaborative work by researchers from different language and cultural backgrounds should also be encouraged. 1. Introduction Multilingualism in movies is not a new phenomenon, as Gambier (2012, p. 46) and -
The Future: the Fall and Rise of the British Film Industry in the 1980S
THE FALL AND RISE OF THE BRITISH FILM INDUSTRY IN THE 1980S AN INFORMATION BRIEFING National Library Back to the Future the fall and rise of the British Film Industry in the 1980s an information briefing contents THIS PDF IS FULLY NAVIGABLE BY USING THE “BOOKMARKS” FACILITY IN ADOBE ACROBAT READER SECTION I: REPORT Introduction . .1 Britain in the 1980s . .1 Production . .1 Exhibition . .3 TV and Film . .5 Video . .7 “Video Nasties” & Regulation . .8 LEADING COMPANIES Merchant Ivory . .9 HandMade Films . .11 BFI Production Board . .12 Channel Four . .13 Goldcrest . .14 Palace Pictures . .15 Bibliography . .17 SECTION II: STATISTICS NOTES TO TABLE . .18 TABLE: UK FILM PRODUCTIONS 1980 - 1990 . .19 Written and Researched by: Phil Wickham Erinna Mettler Additional Research by: Elena Marcarini Design/Layout: Ian O’Sullivan © 2005 BFI INFORMATION SERVICES BFI NATIONAL LIBRARY 21 Stephen Street London W1T 1LN ISBN: 1-84457-108-4 Phil Wickham is an Information Officer in the Information Services of the BFI National Library. He writes and lectures extensively on British film and television. Erinna Mettler worked as an Information Officer in the Information Services of the BFI National Library from 1990 – 2004. Ian O’Sullivan is also an Information Officer in the Information Services of the BFI National Library and has designed a number of publications for the BFI. Elena Marcarini has worked as an Information Officer in the Information Services Unit of the BFI National Library. The opinions contained within this Information Briefing are those of the authors and are not expressed on behalf of the British Film Institute. Information Services BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel: + 44 (0) 20 7255 1444 Fax: + 44 (0) 20 7436 0165 Try the BFI website for film and television information 24 hours a day, 52 weeks a year… Film & TV Info – www.bfi.org.uk/filmtvinfo - contains a range of information to help find answers to your queries. -
Hofstra University Film Library Holdings
Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. -
Imaginarios Sociales Sobre Uso De Tecnología Y Relaciones Interpersonales En Jóvenes Universitarios a Través Del Cine De Ficción Como Recurso Didáctico
https://doi.org/10.17163/soph.n28.2020.06 SOCIAL IMAGINARIES ABOUT THE USE OF TECHNOLOGY AND INTERPERSONAL RELATIONSHIPS IN UNIVERSITY STUDENTS THROUGH FICTION FILMS AS A DIDACTIC RESOURCE Imaginarios sociales sobre uso de tecnología y relaciones interpersonales en jóvenes universitarios a través del cine de ficción como recurso didáctico * JULIO CUEVAS ROMO Universidad de Colima, México [email protected] Orcid Code: http://orcid.org/0000-0003-1325-4029 Abstract From the use of fiction cinema as a teaching resource, an educational experience is exposed with students of the Bachelor of Mathematics Teaching who participated in a film debate cycle focused on science fiction and possible worlds. Multiple have been the approaches that have been given to the cinema within the educational processes, however, to consolidate and systematize this potential, a categorization is proposed based on the didactic objectives starting from the most common uses. Through observing the film Her, the social imaginaries of young people are analyzed regarding the use and abuse of technology and how this impacts on interpersonal relationships. The work methodology focuses on what Torres (2015) proposed as a conceptualization of social imaginary and its potential within the processes of educational intervention, complemented by the construction of open question instruments with the proposed by Pérez-Millán (2014) to the analysis of audiovisual products. The results corroborate some aspects regarding the position of young people, regarding virtual spaces of socialization and their impact on face-to face spaces in previous research as Ruelas (2013) or Sosa (2018). Social imaginaries that are detonated from fictional narratives such as cinema can be used to carry out specific educational interventions. -
Toby Nicholas Reynolds
Starving sons and hungry daughters: A Post-Jungian Analysis of Fatherhood in Contemporary Cinema Toby Nicholas Reynolds Thesis Submitted for the Degree of Doctor of Philosophy in the School of Art, Media and American Studies University of East Anglia January 2018 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract To date, the onscreen father is a relatively under-explored area of cinematic masculinities. Adding to the existing literature on this (e.g. Bruzzi 2005, Hamad 2014), the thesis seeks to explore and analyse the presence and importance of the filmic father. It approaches this by examining the concept of ‘father hunger’, a term popularised by the mytho-poetic men’s movement from the early 1990s that posits that fathers are considered a vital link to the masculine continuum. By using a post-Jungian methodology in analysing how two auteur directors (Sam Mendes and Paul Thomas Anderson) symbolically mediate onscreen representations of father figures and ‘father hunger’ within their films, the thesis offers a new perspective on this area of cinematic masculinities. Auteur film theory was chosen for the project as one of the functions of the auteur, as held by Staiger (2003), is to act as a conscious analyser of historical and cultural citations; in other words the auteur can present and analyse perspectives on gender, in this case, masculinities and fathers. -
Hliebing Dissertation Revised 05092012 3
Copyright by Hans-Martin Liebing 2012 The Dissertation Committee for Hans-Martin Liebing certifies that this is the approved version of the following dissertation: Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood Committee: Thomas Schatz, Supervisor Hans-Bernhard Moeller Charles Ramírez Berg Joseph D. Straubhaar Howard Suber Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood by Hans-Martin Liebing, M.A.; M.F.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication In loving memory of Christa Liebing-Cornely and Martha and Robert Cornely Acknowledgements I would like to thank my committee members Tom Schatz, Charles Ramírez Berg, Joe Straubhaar, Bernd Moeller and Howard Suber for their generous support and inspiring insights during the dissertation writing process. Tom encouraged me to pursue this project and has supported it every step of the way. I can not thank him enough for making this journey exciting and memorable. Howard’s classes on Film Structure and Strategic Thinking at The University of California, Los Angeles, have shaped my perception of the entertainment industry, and having him on my committee has been a great privilege. Charles’ extensive knowledge about narrative strategies and Joe’s unparalleled global media expertise were invaluable for the writing of this dissertation. Bernd served as my guiding light in the complex European cinema arena and helped me keep perspective. I consider myself very fortunate for having such an accomplished and supportive group of individuals on my doctoral committee. -
The Decline of the British Film Industry: an Analysis of Market Structure, the Firm and Product Competition
The decline of the British film Industry: an analysis of market structure, the firm and product competition. A thesis submitted for the degree of Doctor of Philosophy By Stephen Romer Brunel University Department of Economics 1993 For John Carrol Romer and Dorothy Romer ACKNOWLEDGEMENTS I would like to thank Dr. David Burningham and Dr. Peter Swann of the Department of Economics at Brunel University for their careful supervision and for their tactful advice. CONTENTS Page Index to Tables and Figures 3 Chapter 1. Introduction to the Thesis 6 List of Interviewees 15 Chapter 2. An Overview of the British Film Industry 16 2.1 Demand Profile 17 2.2 The Industry's Output 36 2.3 The Structure of the Industry 56 2.4 Government Policy 68 Chapter 3. The Problems of the Industry 84 3.1 An Environment of Decline 85 3.2 The New Wave 112 3.3 The Performance of the Duopolists 127 3.4 Contemporary Case Studies 164 3.5 Structure, Conduct, Performance 182 Chapter 4. The Firm 199 4.1 Sources of Finance 200 -1- 4.2 The Financing Process, Risk and Film Investment 226 4.3 The Structure and Control of Production Costs 250 4.4 Surveys of Production Costs 274 4.5 The Economics of the Firm 291 Chapter 5. Product Competition 314 5.1 Background 315 5.2 Clustering Analysis 1: Genre, Budget and Censorship Certification 326 5.3 Clustering Analysis 2: Nostalgic and Literary Attributes in the 1980s 344 5.4 Clustering Analysis 3: Nostalgic and Literary Attributes in the Post War Period 361 5.5 The Economics of Product Competition 378 Chapter 6. -
British Films 1971-1981
Preface This is a reproduction of the original 1983 publication, issued now in the interests of historical research. We have resisted the temptations of hindsight to change, or comment on, the text other than to correct spelling errors. The document therefore represents the period in which it was created, as well as the hard work of former colleagues of the BFI. Researchers will notice that the continuing debate about the definitions as to what constitutes a “British” production was topical, even then, and that criteria being considered in 1983 are still valid. Also note that the Dept of Trade registration scheme ceased in May 1985 and that the Eady Levy was abolished in the same year. Finally, please note that we have included reminders in one or two places to indicate where information could be misleading if taken for current. David Sharp Deputy Head (User Services) BFI National Library August 2005 ISBN: 0 85170 149 3 © BFI Information Services 2005 British Films 1971 – 1981: - back cover text to original 1983 publication. What makes a film British? Is it the source of its finance or the nationality of the production company and/or a certain percentage of its cast and crew? Is it possible to define a British content? These were the questions which had to be addressed in compiling British Films 1971 – 1981. The publication includes commercial features either made and/or released in Britain between 1971 and 1981 and lists them alphabetically and by year of registration (where appropriate). Information given for each film includes production company, studio and/or major location, running time, director and references to trade paper production charts and Monthly Film Bulletin reviews as source of more detailed information. -
Classified by Genre: Rhetorical Genrefication in Cinema by © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St
Classified by Genre: Rhetorical Genrefication in Cinema By © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St. Louis, 2010 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Catherine Preston Co-Chair: Joshua Miner Michael Baskett Ron Wilson Amy Devitt Date Defended: 26 April 2019 ii The dissertation committee for Carl Joseph Swanson certifies that this is the approved version of the following dissertation: Classified by Genre: Rhetorical Genrefication in Cinema Chair: Catherine Preston Co-Chair: Joshua Miner Date Approved: 26 April 2019 iii Abstract This dissertation argues for a rethinking and expansion of film genre theory. As the variety of media exhibition platforms expands and as discourse about films permeates a greater number of communication media, the use of generic terms has never been more multiform or observable. Fundamental problems in the very conception of film genre have yet to be addressed adequately, and film genre study has carried on despite its untenable theoretical footing. Synthesizing pragmatic genre theory, constructivist film theory, Bourdieusian fan studies, and rhetorical genre studies, the dissertation aims to work through the radical implications of pragmatic genre theory and account for genres role in interpretation, evaluation, and rhetorical framing as part of broader, recurring social activities. This model rejects textualist and realist foundations for film genre; only pragmatic genre use can serve as a foundation for understanding film genres. From this perspective, the concept of genre is reconstructed according to its interpretive and rhetorical functions rather than a priori assumptions about the text or transtextual structures. -
Representations of Chinese Women Warriors in the Western Media
REPRESENTATIONS OF CHINESE WOMEN WARRIORS IN THE CINEMAS OF HONG KONG, MAINLAND CHINA AND TAIWAN SINCE 1980 A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Chinese at the University of Canterbury by Yunxiang Chen University of Canterbury 2007 CONTENTS ACKNOWLEDGEMENT .................................................................................. i ABSTRACT .................................................................................................... ii Introduction................................................................................................ 1 1. HERstory of Chinese women warriors ........................................... 13 1.1 Basic Imagery ...................................................................................... 13 1.2 Thematic Continuity.......................................................................... 17 1.3 A Brief History of Women Warriors in Chinese Cinemas....... .23 2. Western Influence .................................................................................. 43 2.1 Western Women Warriors ..............................................................44 2.2 Chinese Women Warriors in Hollywood ................................... 54 3. Hong Kong .................................................................................................61 3.1 Peking Opera Blue .................................................................................... 61 3.2 Dragon Inn ............................................................................................. -
Bertram Fields Partner
Bertram Fields Partner [email protected] Ph. 310-201-7454 Fax 310-553-0687 Bert Fields is one of the nation's leading entertainment attorneys, representing a who's who of Hollywood. Mr. Fields represents the industry’s top performers, directors, writers, producers, studios, talent agencies, book publishers and record companies. Clients have included DreamWorks, MGM, United Artists, Toho, James Cameron, Tom Cruise, Warren Beatty, Dustin Hoffman, Mike Nichols, Jeffrey Katzenberg, David Geffen, Jerry Bruckheimer, Joel Silver, The Beatles, Madonna, Sony Music and many others. In addition, he has represented such major authors as Mario Puzo, James Clavell, Tom Clancy, Clive Cussler and Richard Bach. Bert has represented virtually every major Hollywood studio and talent agency, and he has tried many of the landmark cases in the entertainment and communications industries over the past 30 years. His practice is international in scope and extends beyond the field of entertainment, having represented such diverse clients as Arizona cotton farmers, Las Vegas hotels and casinos, real estate developers and regional shopping centers, clothing designers, manufacturers, boxing promoters, investment firms and even a Japanese Bank. Bert has been the subject of numerous personal profiles in magazines and newspapers in the United States and the United Kingdom, such as the New Yorker Magazine, the New York Times, the London Sunday Times and Vanity Fair. Bert is the author, under a pseudonym, of two novels, the first published by Simon and Schuster and the second by Random House. His third book is a biographical work on Richard III published by ReganBooks/HarperCollins under his own name.