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The Cinema of Oliver Stone
Interviews Stone on Stone Between 2010 and 2014 we interviewed Oliver Stone on a number of occasions, either personally or in correspondence by email. He was always ready to engage with us, quite literally. Stone thrives on the cut- and- thrust of debate about his films, about himself and per- ceptions of him that have adorned media outlets around the world throughout his career – and, of course, about the state of America. What follows are transcripts from some of those interviews, with- out redaction. Stone is always at his most fascinating when a ques- tion leads him down a line of theory or thinking that can expound on almost any topic to do with his films, or with the issues in the world at large. Here, that line of thinking appears on the page as he spoke, and gives credence to the notion of a filmmaker who, whether loved or loathed, admired or admonished, is always ready to fight his corner and battle for what he believes is a worthwhile, even noble, cause. Oliver Stone’s career has been defined by battle and the will to overcome criticism and or adversity. The following reflections demonstrate why he remains the most talked about, and combative, filmmaker of his generation. Interview with Oliver Stone, 19 January 2010 In relation to the Classification and Ratings Administration Interviewer: How do you see the issue of cinematic censorship? Oliver Stone: The ratings thing is very much a limited game. If you talk to Joan Graves, you’ll get the facts. The rules are the rules. -
Investigating Box Office Revenues of Motion Picture Sequels ⁎ Suman Basuroy A,1, Subimal Chatterjee B
Available online at www.sciencedirect.com Journal of Business Research 61 (2008) 798–803 Fast and frequent: Investigating box office revenues of motion picture sequels ⁎ Suman Basuroy a,1, Subimal Chatterjee b, a College of Business, Florida Atlantic University, Jupiter, Florida 33458, United States b School of Management, Binghamton University, Binghamton, New York 13902, United States Received 26 October 2006; accepted 21 July 2007 Abstract This paper conceptualizes film sequels as brand extensions of a hedonic product and tests (1) how their box office revenues compare to that of their parent films, and (2) if the time interval between the sequel and the parent, and the number of intervening sequels, affect the revenues earned by the sequels at the box office. Using a random sample of 167 films released between 1991 and 1993, we find that sequels do not match the box office revenues of the parent films. However, they do better than their contemporaneous non-sequels, more so when they are released sooner (rather than later) after their parents, and when more (rather than fewer) intervening sequels come before them. Like other extensions of hedonic products, sequels exhibit satiation to the extent that their weekly box office collections fall faster over time relative to contemporaneous non- sequels. Managerial implications of the results are discussed. © 2007 Elsevier Inc. All rights reserved. Keywords: Sequels; Brand extensions; Box office revenues; Satiation 1. Introduction Spider-Man and Shrek, as well as Ocean's Thirteen, The Bourne Ultimatum, Rush Hour 3, the fourth edition of Die The study of motion picture sequels is important, both from a Hard and the fifth edition of Harry Potter. -
View That Includes Their Perceptions of Time, in Which Their Own Future Is Naturally Hidden from Them
Reading In and Out of Order: Living In and Around an Extended Fiction DOI https://doi.org/10.32393/jlmms/2020.0001 Published on Fri, 01/24/2020 - 00:00 Many series books recount the life of a character growing up over a sequence of titles, offering a strong sense of clear progression. Readers, however, may encounter this series out of order, or they may encounter numerous adapted versions of a story. Either way, they have to decide their own interpretative priorities. Back to top Introduction The concept of a sequence implies an orderly progression. A series of books conveys the sense of a logical advancement through a character’s life or a succession of events, intelligibly assembled into a system that is sometimes even numbered for maximum clarity. Such a sequence of novels frequently uses time as an organizer—either moving through part of a character’s lifespan or manipulating the calendar to run on a repeat cycle through (for example) Nancy Drew’s eighteenth summer. We know that life is not as tidy as the stories conveyed in books. But, in the case of series, even the material presentation of the books is misleading; despite the neat row of ascending numbers on the books’ spines, readers encounter a series of titles in partial, messy, sometimes consuming, and sometimes unsatisfying ways. Furthermore, in the clutter and circularity of contemporary culture, book series in their pristine order on the shelf frequently do not represent the only versions of characters and events. Media adaptations, publishers’ reworkings, fan variations, and a plethora of consumables all offer forms of what we might call “re- presentation,” and there is no telling what route through this busy landscape of reiteration any particular reader may take, or what version of the story they may encounter before reaching the original version. -
Cataloging Standards for Fiction Series Young People Are Very Interested in Series, and They Have Become Nearly Ubiquitous in Children’S and YA Literature
Granite School District Library Media Cataloging Cataloging Standards for Fiction Series Young people are very interested in series, and they have become nearly ubiquitous in Children’s and YA Literature. To aid our students in finding and reading series, correct series information should be easily found in Destiny search results. Below is an example of how a series should appear in Destiny search results when it is cataloged according to our new district standards. When cataloged properly, series will show up grouped together and in proper order in search results, with the series title serving as the primary title (245 a) for each volume of the series. GSD Standards for Noting Series in MARC Records The MARC records provided by Alliance Plus or other vendors do not note series information in the way that we desire for proper rendering in Destiny. We want more details that will group series together as shown above. To obtain the desired views and search results in Destiny, several tags and subfields must be added or modified in the pre-made records. These changes are made in the “MARC Edit” mode when editing a title. Tag and Subfield Contents Example 245 a Series title The twilight saga 245 b Series subtitle [if applicable] Statement of responsibility [i.e. author, 245 c Stephenie Meyer illustrator, &c.] 245 n Book or Volume number in series Book 2, 245 p Title of this volume of series New moon 246 a Title of this volume of series New moon 490 a Series title Twilight saga 490 v Book or Volume number in series 2 Note: For searching and display to work properly, the series title and volume number must be entered in exactly the same way on every single title in the series. -
It's a Conspiracy
IT’S A CONSPIRACY! As a Cautionary Remembrance of the JFK Assassination—A Survey of Films With A Paranoid Edge Dan Akira Nishimura with Don Malcolm The only culture to enlist the imagination and change the charac- der. As it snows, he walks the streets of the town that will be forever ter of Americans was the one we had been given by the movies… changed. The banker Mr. Potter (Lionel Barrymore), a scrooge-like No movie star had the mind, courage or force to be national character, practically owns Bedford Falls. As he prepares to reshape leader… So the President nominated himself. He would fill the it in his own image, Potter doesn’t act alone. There’s also a board void. He would be the movie star come to life as President. of directors with identities shielded from the public (think MPAA). Who are these people? And what’s so wonderful about them? —Norman Mailer 3. Ace in the Hole (1951) resident John F. Kennedy was a movie fan. Ironically, one A former big city reporter of his favorites was The Manchurian Candidate (1962), lands a job for an Albu- directed by John Frankenheimer. With the president’s per- querque daily. Chuck Tatum mission, Frankenheimer was able to shoot scenes from (Kirk Douglas) is looking for Seven Days in May (1964) at the White House. Due to a ticket back to “the Apple.” Pthe events of November 1963, both films seem prescient. He thinks he’s found it when Was Lee Harvey Oswald a sleeper agent, a “Manchurian candidate?” Leo Mimosa (Richard Bene- Or was it a military coup as in the latter film? Or both? dict) is trapped in a cave Over the years, many films have dealt with political conspira- collapse. -
Oliver Stone Et Woody Allen Sèment Le Bonheur Sur La Croisette
Culture / Culture FESTIVAL DE CANNES Oliver Stone et Woody Allen sèment le bonheur sur la Croisette Les deux cinéastes américains, Oliver Stone et Woody Allen, qui ont présenté leur dernier film, respectivement, Wall Street : l'argent ne dort jamais, suite du filmWall Street, sorti en 1988, et You will meet a tall dark stranger, les deux présentés en Hors Compétition, ont ravi la vedette aux cinéastes en lice pour la plus haute distinction du festival : la Palme d'or. Commençons par Oliver Stone. Fidèle à lui-même, et toujours à l'avant-garde, il a exploré et dénoncé la dictature impitoyable de l'argent, imposée par les spéculateurs et grands banquiers de Wall Street. “Aléa moral, subprimes, intérêt, taux, bulle…” sont autant de mots barbares qui reviennent sans cesse dans le film. Pour rendre accessible ce monde complexe, il a imaginé une trame narrative simple et captivante. Il a mis en scène un jeune trader qui tente d'alerter le monde au sujet des dangers irréversibles de la spéculation financière. Dans le même temps, il cherche à venger la mort de son mentor, ruiné et poussé au suicide. L'une des remarques importantes que l'on puisse souligner est l'omniprésence des écrans, télévision et ordinateurs compris, quasiment propulsés au rang de personnages. Une présence qui permet la dénonciation de la sainte alliance entre le monde de la communication et celui de la finance qui rend le monde réduit à des bulles éphémères, davantage fragile et instable. Certains ont reproché au film sa fin quelque peu heureuse à la manière d'un conte. -
The Cinema of Oliver Stone
Conclusion Although we are clearly overreaching, it’s too easy to talk about the USA losing its grip because we happen to be rooting for another approach. It’s not going to go away that easily. This empire is Star Wars in the ‘evil empire’ sense of the words … We are virtually becoming a tyranny against the rest of the world. It’s not evident to people at home, because they don’t see the consensus in the media and they don’t see the harm the USA does abroad. We are not in decline. We are decayed and corrupt and immoral, but not in decline. The USA exerts its will in Europe, Asia, much of the Middle East, and still much of Latin America. The recent revela- tions that the NSA’s and the UK’s surveillance programmes are linked is big news.1 Oliver Stone has been a fixture in the Hollywood landscape since his Oscar- winning script for Midnight Express (Alan Parker, 1978). That high-profile foothold gave him the opportunity to build slowly towards his ambition of capturing on film what he had lived through in Vietnam during 1967 and 1968. The young Yale man who had entered the army was a cerebral romantic in search of adventure; but his experience, not just of combat but also of his return to a country that was already openly divided about the war, altered his perspective and the direction of his life. Enrolment at film school under the GI Bill seemed to offer a way of expressing his anger and disillusionment, and the same determination that had kept him alive in South-East Asia now drove him on to try and tell something of that experience on film. -
Arthur Penn's Bonnie and Clyde
Arthur Penn’s Bonnie and Clyde Edited by LESTER D. FRIEDMAN Syracuse University PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011-4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Ruiz de Alarco´n 13, 28014 Madrid, Spain ᭧ Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Printed in the United States of America Typeface Stone Serif 10/14 pt. System DeskTopPro/UX [BV] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication data Arthur Penn’s Bonnie and Clyde / edited by Lester D. Friedman. p. cm. – (Cambridge film handbooks series) Filmography: p. Includes bibliographical references and index. ISBN 0-521-59295-X – ISBN 0-521-59697-1 (pbk.) 1. Bonnie and Clyde (Motion picture) I. Friedman, Lester D. II. Series. PN1997.B6797 1999 791.43'72 – dc21 98-32173 CIP ISBN 0 521 59295 X hardback ISBN 0 521 59697 1 paperback LESTER D. FRIEDMAN Introduction ARTHUR PENN’S ENDURING GANGSTERS HISTORICAL PERSPECTIVES: COUNTERCULTURAL CINEMA Boy meets girl in small-town Texas. Their crime spree begins as girl goads boy into robbing a grocery store; they speed out of town in a stolen car, spirits high. -
Free Markets on Film: Hollywood and Capitalism
Free Markets on Film: Hollywood and Capitalism Robert Formaini Federal Reserve Bank of Dallas A wonderful example of the power of capitalism to create markets, and to transform an existing undertaking while creating fabulous wealth in the process, is the rise of the American film industry. Today, Hollywood makes films that generate in excess of seven billion dollars at the primary box office alone, then earn additional monies from video tapes, television rights, and foreign distribution. Despite the protectionist and censorial policies of many nations, America's film industry easily dominates the world's film production and distribution industry, and those who produce and work in the film industry are extremely well-compensated for their efforts. Given this, one might *The opinions expressed in this article are solely those of the author and are not necessarily shared by either the Federal Reserve Bank of Dallas or the Federal Reserve System. expect - a priori - that the film industry would be one of the most effective educational instruments for promoting the free market. But one would, alas, be quite mistaken. For Hollywood, from its earliest time right through to the present, is a single economic point-of-view town, and that viewpoint is, generally, anti-capitalist. Even so a few films which portray free enterprise either accurately, or at least with some affection and/or respect, sometimes in spite of the writers/directors' intentions. In this endeavor, I cannot be even close to exhaustive, nor will everyone agree with my choices and/or the reasons for those choices. I hope, however, that teachers of the principles of the market society will consider using some of these films in class to provoke discussion, or just to show students something that cuts against Hollywood=s relentlessly anti-capitalist zeitgeist. -
Through the Hollywood Lens: the Vietnam War
Osher Lifelong Learning Institute at W&M Summer 2020 Through the Hollywood Lens: The Vietnam War Scott A. Langhorst, Ph.D. First Lieutenant 4th Battalion, 9th Infantry Regiment 25th Division Tay Ninh, Vietnam (1969-70) Using Zoom tools - reminder • Use the menu bar (mouse over bottom/top of screen) to appear • Use icons to on menu bar open tools (click “on” click “off”) • Use “chat box” to ask questions or make comments • Use “participant” list for raising hand or other gestures • Make the session interactive by using the Zoom tools © Scott A. Langhorst, Ph.D. 1 Osher Lifelong Learning Institute at W&M Summer 2020 Questions or comments from last week? Cao Dai Temple Tay Ninh Apocalypse Now (1979) • Directed by Francis Ford Coppola • Vietnam adaptation of Joseph Conrad’s “Heart of Darkness” • Won 2 Oscars (Cinematography and Sound), nominated for 6 other Oscars, including Best Picture • Vietnam sequences filmed in the Philippines • Storyline: An allegory about the elements of the human psyche, and the struggle to maintain balance and sanity in the horrendous conditions of war. Captain Willard is assigned to assassinate a “mad” Colonel Kurtz and must complete a perilous journey up a river into the wild depths of Vietnam. © Scott A. Langhorst, Ph.D. 2 Osher Lifelong Learning Institute at W&M Summer 2020 What the movie got right • Visually stunning movie, visceral images • The “horror” of war • “…In this war, things get confused out there.” (LTG Corman) • Over-the-top battalion commander LTC Bill Kilgore (Robert Duvall) – yes, there were a few like him • Steaks and beer (and lobster) for unit stand-downs • “Round eyes” (e.g., Playboy Bunnies) in the most unlikely places • Effectiveness of M-79 “blooper” in skilled hands • Brown water Navy also played an important role in Vietnam What the movie got wrong • Too much dramatic license with storyline and allegory about journey “up the river” as a descent into an uncivilized hell • Very unlikely that Col. -
UC Riverside UCR Honors Capstones 2019-2020
UC Riverside UCR Honors Capstones 2019-2020 Title "When We're Human": An Intersectional Look at Speciesism and Racism in the Disney Animation Studios Film "The Princess and the Frog" Permalink https://escholarship.org/uc/item/0jk6h12b Author Vargas, Grisel Publication Date 2019-10-01 Data Availability The data associated with this publication are within the manuscript. eScholarship.org Powered by the California Digital Library University of California "WHEN WE'RE HUMAN" AN INTERSECTIONAL LOOK AT SPECIESISM AND RACISM IN THE DISNEY ANIMATION STUDIOS FILM "THE PRINCESS AND THE FROG" By Grisel Vargas A capstone project submitted for Graduation with University Honors December 4, 2019 University Honors University of California, Riverside APPROVED Dr. Vorris Nunley Department of English Dr. Richard Cardullo, Howard H Hays Jr. Chair, University Honors Abstract The research paper examines the Walt Disney Company’s use of speciesism by analyzing Ray the firefly, a character from their 2009 film “The Princess and the Frog”. When looking at Ray’s story alongside the story of Tiana as a princess in the franchise itself, I clarify parallels between Disney’s treatment of the insect and Disney’s first black princess. In discovering cases of speciesism specific to the Disney Princess franchise, I make the connection between Disney’s use of speciesism and racism. This conclusion is reached via analysis of the film in question, other films in the Disney oeuvre, articles written about “ The Princess and the Frog’, and papers that define animal studies, speciesism, and anthropocentrism. Understanding that there is animal in the human is significant towards understanding the needs of both humans and animals. -
Second Takes in Recognition of the Ways in Which the Sequel Recapitulates Features of an “Original,” but Additionally Offers Something New to Its Source
Introduction CAROLYN JESS-COOKE AND CONSTANTINE VEREVIS TONIGHT’S SCHEDULE FOR A LOCAL cinema reads as follows: Die Hard 4.0 (15) Hostel Part II (18) Directed by: Len Wiseman Directed by: Eli Roth Starring: Bruce Willis, Timothy Starring: Bijou Phillips, Lauren Olyphant, Maggie Q German, Roger Bart 11:00 13:50 17:10 20:10 21:20 21:30 Fantastic Four: Rise of the Silver Ocean’s Thirteen (PG) Surfer (PG) Directed by: Steven Soderbergh Directed by: Tim Story Starring: George Clooney, Brad Pitt, Starring: Ioan Gruffudd, Jessica Alba, Matt Damon Chris Evans 20:50 11:00 13:20 15:30 Pirates of the Caribbean: At Harry Potter and the Order of the World’s End (12A) Phoenix (12A) Directed by: Gore Verbinski Directed by: David Yates Starring: Johnny Depp, Orlando Starring: Daniel Radcliffe, Emma Bloom, Keira Knightley Watson, Rupert Grint 17:50 10:30 11:00 11:30 12:00 13:00 13:30 14:00 14:30 15:00 16:00 16:30 17:00 Shrek the Third (U) 17:30 18:00 19:00 19:30 20:00 20:30 Directed by: Chris Miller 21:00 Starring: Mike Myers, Eddie Murphy, Cameron Diaz 11:10 11:40 12:20 12:50 13:40 14:40 15:10 15:40 16:10 16:50 17:20 18:10 18:40 19:10 19:50 20:201 1 © 2010 State University of New York Press, Albany 2 Carolyn Jess-Cooke and Constantine Verevis TRIKINGLY, EVERY FILM LISTED here is a sequel. This being summer of 2007, it is not unusual for sequels to hold a strong cinematic Spresence—but every screening? And, looking at fi lm releases sched- duled for the coming months, the horizon is fi lled with sequels.