October 2019

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BEAUTY GENIUS @ninapark THE FINE ARTIST SADIE LUCY SINK Nina Park BOYNTON Park’s painterly approach to makeup is a favorite among the red carpet’s brightest stars. By Erin Reimel HOMETOWN: Chicago CURRENT LOCATION: New York City BIG BREAK: I don’t know if I’ve had a big break, but I of- ten feel like, “Wow, I can’t believe I’m actually here and experiencing this.” Last year was my first worldwide press tour, with Laura Harrier for BlacKkKlansman. It was like a reality show challenge, with four looks a day. BEST BEAUTY HACK: I like to use Schwarzkopf Göt2b Ultra Glued Invincible Styling Gel ($5) on eyebrows, especially for longer, coarser brows. I think brow gels leave a lot of residue and feel clumpy, but hair gel gives you a sleek look. I just put the tiniest amount on a spoolie and brush it through the brows, and then I fill them in with pencil afterward. BRIE BEST ADVICE YOU’VE RECEIVED: My friend and mentor LARSON Pati Dubroff, who’s also a makeup artist, told me to always go day by day and to not overthink things. That’s ZOË KRAVITZ helped me, because I can get overwhelmed and anx- ious. Other than that…don’t overpluck your eyebrows. WHAT INSPIRES YOU: I’ve always been inspired by oil paintings—the different tones or subtle things that you see but that aren’t aggressively thrown at you. I love to bring out someone’s brows or cheekbones or the shape of the eye. It depends on the person, but I think it’s finding little details that really speak to me. FROM LEFT, PARK’S HERO PRODUCTS: CHANEL SOLEIL TAN DE CHANEL ($48); CHANTECAILLE LIP CHIC IN PATIENCE ($38); HOURGLASS CAUTION EXTREME LASH MASCARA ($29). PARK: HAO ZENG; SINK AND BOYNTON: @NINAPARK; LARSON: FRAZER HARRISON/GETTY IMAGES; FRAZER HARRISON/GETTY LARSON: IMAGES; @NINAPARK; ZENG; SINK AND BOYNTON: HAO PARK: THEO WARGO/WIREIMAGE. KRAVITZ: HILL/GETTY IMAGES; TAYLOR WILLIAMS: HARRIER: KEVIN MAZUR/WIREIMAGE; ALLISON LAURA WILLIAMS HARRIER.

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Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx.
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Appendix 01. Synopsis of Blackkklansman Film the Film
Appendix 01. Synopsis of BlacKkKlansman Film The film starts with a small video of a battlefield lying everywhere with the bodies of Confederate soldiers as some try to support those injured and others weep over the dead. This then switches to another video by Dr. Kennebrew Beauregard (Alec Baldwin), who launches into a racial tirade about how African Americans take hold of the country and cause problems for white Protestant Americans. Colorado Springs, CO. 1979 John David Washington (Ron Stallworth) arrives at the local police station. Chief Bridges (Robert John Burke) and Mr. Turrerntine (Isiah Whitlock, Jr.) interview him about whether or not he should be eligible on the team. I want to know how Ron would respond if a white officer were to bully him, considering the current social and political environment surrounding African Americans, and Ron says he 'd turn the other cheek if he has to. Ron is then put on duty as the first black officer. The first task Ron does is to work inside the filing department. One Patrolman named Andy Landers (Frederick Weller) antagonizes him. Ron then goes to Bridges and asks to put him on an assignment to get out in the field, but Bridges refuses his application. Bridges later, though, changes his mind and wants to bring Ron to a Black Panther meeting to see if they intend on radicalizing themselves. Stokely Carmichael (Corey Hawkins), a popular activist, is said to speak there. Bridges has Flip Zimmerman (Adam Driver) detectives and Jimmy Creek (Michael Buscemi) sit in while Ron enters with a cable.
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Blackkklansman
BlacKkKlansman The movie is called BlacKkKlansman, it was directed by Spike Lee and released in France in August 22, 2018. The movie is based on a true story from the book Black Klansman, written by Ron Stallworth. Starring John David Washington, Adam Driver, Laura Harrier, Topher Grace as the main actors. The movie is set in the 70s where it follows the story of a young black man named Ron Stallworth, who just joined the police department of Colorado Springs, Colorado. After being subjected to the racist and tense environment of the department and a somewhat successful infiltration mission. Ron Stallworth is transferred to the intelligence division where he finds an advertisement for the local Ku Klux Klan. He decides to call and poses as a racist, anti-Semite, anti-Latino and homophobic white man looking to join the Klan, only to discover that he used his real name. He gains the accord of his chief to commence an infiltration of the KKK with the help of Flip Zimmerman a non-practicing Jewish officer. The pair create the two-man Ron Stallworth; the real Ron Stallworth handles the phone conversations while Zimmerman while meet the Klan's members in person. The duo begins to infiltrate the KKK to discover what the Klan is up to while making Ron Stallworth the first black man in the Klan. While I liked the movie, I believe that it struggles with its balance of drama and comedy. While trying to deliver the message that the Klan is a serious threat (especially during the last part), the movie depicts the Klan more as a good-for-nothing group with stereotypical characters that are more made to be laugh at than feared.
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Brecht, Emotion, and the Reflective Spectator: the Case of ‘Blackkklansman’
Repositorium für die Medienwissenschaft Carl Plantinga Brecht, emotion, and the reflective spectator: The case of BLACKKKLANSMAN 2019 https://doi.org/10.25969/mediarep/4192 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Plantinga, Carl: Brecht, emotion, and the reflective spectator: The case of BLACKKKLANSMAN. In: NECSUS. European Journal of Media Studies, Jg. 8 (2019), Nr. 1, S. 151–169. DOI: https://doi.org/10.25969/mediarep/4192. Erstmalig hier erschienen / Initial publication here: https://necsus-ejms.org/brecht-emotion-and-the-reflective-spectator-the-case-of-blackkklansman/ Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org Brecht, emotion, and the reflective spectator: The case of ‘BlacKkKlansman’ Carl Plantinga NECSUS 8 (1), Spring 2019: 151–169 URL: https://necsus-ejms.org/brecht-emotion-and-the-reflective- spectator-the-case-of-blackkklansman/ Keywords: Brecht, emotional engagement, emotional estrangement, Emotions, reflective spectatorship One enduring concern of film theory has been the question of what film structures and styles encourage critical, reflective, and active spectatorship. Neo-Brechtian theory has been influential in this regard, as many of Brecht’s theories regarding the epic theatre were incorporated into film theory in the 1970s, just as the field was being formalised as an academic discipline.
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Hollywood—The Power of Representation
HOLLYWOOD—THE POWER OF REPRESENTATION MARICA ORRÙ POPMEC RESEARCH GROUP For whoever is familiar with Ryan Murphy's work since Glee (2009)—which made him famous to the big public—his new work's references to themes like discrimination and minorities' representation in the media won't be anything new. Anyway, Hollywood— landed on Netflix earlier this year with a season composed of seven episodes—is an exquisite piece of work born by the idea of reconstructing a “what if” Hollywood of the 50s. Throughout the story, fiction mixes with real events and personalities of the time, giving them different lives, stories, and even opportunities to have more relevant roles in demolishing social prejudices and stereotypes. Hollywood deals with the vicissitudes of a group of actors, directors, producers, and writers who first desperately try to have a chance of working in the big movie industry and then—after being hired by a fictional production house named Ace Studios—try to realize the first movie in history (titled Meg) with a Black leading actress, a Black homosexual writer and an half-Asian director. Meg is the story of a young actress who fails to become the star she has always wanted to be and decides to commit suicide jumping from the Hollywood sign. The movie is fictional, but based on the true story of the late actress Peg Entwistle (on the topic see Zeruk 2013). As these facts are narrated, a series of topics regarding gender, race, and sexuality related discrimination are disseminated throughout the episodes, starting with a special attention to Asian representation in Hollywood productions and the exclusion of Asian actors and actresses from leading roles, in Episode 2.
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This Document Is for Planning Purposes, We Kindly Ask That You Do Not Link out to This Document in Your Coverage**
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Property Brothers Samira and Shawn Location
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15% Gen Z, 20% Gen Y, 11% Gen X
THE TRENDERA FILES Trendera THE NEW MEDIA ISSUE Volume 9, Issue 3, September 2018 NBCUniversal THE TRENDERA FILES: THE NEW MEDIA ISSUE CONTENTS INTRO 4 CONTENT OVERLOAD 39 40 Short Form Content 41 Long Form Content 42 Gaming MACRO TRENDS 43 Music 7 44 Internet Culture 8 Hype Machine 45 New Media: Who’s Doing It Right 12 Gaming the System 16 Why So Serious? NOW TRENDING 48 BY THE NUMBERS 49 Entertainment 20 51 Lifestyle 21 Methodology 54 Fashion / Retail / Shopping 22 Streaming & Mobile Reign TrenderaSupreme 57 Digital / Technology 26 TV Personalities & Shows 28 Entertainment Behaviors 30 Online Videos 32 Movies STANDOUT MARKETING 60 33 Gaming 35 Social Media 37 Putting It All Together NBCUniversal2 TABLE OF CONTENTS WHAT’S HOT 65 66 Gen Z Kids 68 Gen Z 13+ 70 Millennials 72 Who’s Hot 76 Digital Download KNOW THE SLANG 78 STATISTICS: GEN X, YTrendera & Z 81 NBCUniversal3 THE TRENDERA FILES: THE NEW MEDIA ISSUE You heard it here first: the golden age of entertainment is officially over. However, before the alarm bells start ringing, let us clarify: we are no longer in the golden age of entertainment because today, entertainment is everything. We live in an attention economy where viewership, clicks, and likes control influence, relevance, and the bottom line. Consequently, every experience, product, and piece of content is being created with the entertainment factor in mind—from news stories and video tutorials to influencer personas and bathrooms (yes, bathrooms). All of this sounds good in theory—after all, who doesn’t love to be entertained?! But for marketers and content creators, it means that creating compelling media has gotten that much harder.
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Sociology 3380-090, Race, Class, Gender and the American Dream Online, Fall 2021, University of Utah
Sociology 3380-090, Race, Class, Gender and the American Dream Online, Fall 2021, University of Utah Dr. Frank J. Page Office: Rm 429 Beh. Sci. Office Hours. Tuesday – Thursday 1pm – 5 pm or by appointment. Office Phone: 801-581-3075. Home Phone 801-278-6413 [email protected] Teaching Assistant; Sarah Dyer [email protected] Course Description This course is an introduction to the study of inequality in terms of race, class, ethnicity, gender and species from the standpoint of social science and sociology. It focuses on the social construction of stratification, inequality, oppression, race, class, ethnicity, gender, speciesism, environmental degradation, and how these phenomena intersect and influence identity and personal well-being. The class begins with an overview of society, basic sociological concepts and assumptions, methods, and the nature of social stratification and inequality. The course then highlights the many ways in which these factors interact to produce and perpetuate inequality, oppression, and suffering. It concludes with a discussion of present and future trends and possible strategies for effective social change that might ameliorate current conditions of injustice, prejudice, and discrimination. If given adequate notice, the syllabus may be changed and does not constitute a contract. My teaching assistant will be monitoring the discussion board and doing some of the grading. Course Goals The primary goal of this class is to give students a clear understanding of key sociological conceptions of power, authority, stratification, inequality, race, ethnicity, class, gender, intersectionality, and the nature of oppression. In emphasizing how these phenomena interact, students should acquire a better understanding of sexism, racism, ethnocentrism, ageism, speciesism, patriarchy, class bias, and environmental degradation.
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The New Mexico Film Office Announces Amblin Partners' "Bios" Wrapped Filming in New Mexico
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Descriptive Video Service Supplement: 2020
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BLACKKKLANSMAN De SPIKE LEE 2016 - N° 64
2016 - n° 18 2018 - n° 108 www.cinemas-du-grutli.ch projections pour les élèves du secondaire i BLACKKKlansMan de spiKe lee 2016 - n° 64 THÈMES: Racisme, Discrimination, droits civiques, RÉSERVATION: [email protected] groupuscules d’extrême droite, histoire des Etats-Unis DATES: Vendredi 21 décembre à 9h et 13h30 AGE SUGGÉRÉ: dès 12 ans D’autres séances peuvent être organisées sur demande, à TARIF: 5 francs par élève et gratuit pour les accompagnants partir de 40 élèves. Réalisation Spike Lee BLACKKKLANSMAN Scénario Charlie Wachtel Spike Lee - Etats-Unis - 2018 - vost - 135’ David Rabinowitz Kevin Willmott Au début des années 70, au plus fort de la lutte pour les droits civiques, plusieurs Spike Lee Ron Stallworth (roman) émeutes raciales éclatent dans les grandes villes des États-Unis. Ron Stallworth Image Chayse Irvin devient le premier officier Noir américain du Colorado Springs Police Department, Musique Terence Blanchard mais son arrivée est accueillie avec scepticisme, voire avec une franche hostilité. Avec John David Washington Prenant son courage à deux mains, Stallworth va tenter de faire bouger les lignes: Adam Driver il se fixe alors une mission des plus périlleuses : infiltrer le Ku Klux Klan pour en Laura Harrier dénoncer les exactions. Spike Lee a sorti le lasso pour capturer à l’Amérique de Donald Trump et au A Historical Romance of the Ku Klux le racisme blanc, ennemi historique mouvement Black Lives Matter qui se Klan, roman de Thomas Dixon Jr. paru des minorités aux Etats-Unis, dans un bat aujourd’hui contre les groupuscules en 1905, fit l’objet de vives controverses thriller aussi haletant que jubilatoire: néonazis, les suprémacistes blancs et en raison de son discours raciste.
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