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Premiererne Eastmancolor(?)
Muo, Ma San. Udi: Panorama. Prem: 15.3.76 World Cinema. Karatevold. DERSU UZALA Dersu Uzala. USSR/Japan 1975. P-selskab: Sovex- port/Mosfilm. Instr: Akira Kurosawa. Manus: Akira Kurosawa, Yuri Nagibin. Efter: rejseskildring af Vladimir Arsenjev (1872-1930), da. overs. 1946: »Jægeren fra den sibiriske urskov«. Foto: Asakadru Nakat, Yuri Gantman, Fjodor Dobrovravov. Farve: Premiererne Eastmancolor(?). Medv: Maxim Munzuk (Dersu Uzala), Yuri Nagibin (Arsenjev). Længde: 137 min. 3840 m. Censur: Rød. Udi: Posthusteatret. Prem: 1.1.-31.3.76/ved Claus Hesselberg 15.3.76 Alexandra. Tilkendt en Oscar som bedste udenlandske film. Anm. Kos. 130. DET FRÆKKE ER OGSÅ GODT Quirk. USA. Farve: Eastmancolor(?). Længde: 75 min. 2000 m. Censur: Hvid. Fb.u.16. Udi: Dansk- Anvendte forkortelser: Svensk. Prem: 23.2.76 Carlton. Porno. Adapt: = Adaption Komp: = Komponist DIAMANTKUPPET Ark: = Filmarkitekt Kost: = Kostumer Diamonds. USA/lsrael 1975. P-selskab: AmeriEuro Arr: = Musikarrangør Medv: = Medvirkende skuespillere Productions. P: Menahem Golan. Ex-P: Harry N. As-P: = Associate Producer P: Producere Blum. As-P: Yoram Globus. P-leder: Arik Dichner. Instr: Instr-ass: = P-leder: = Produktionsleder Menahem Golan. Zion Chen, Ass: Assistent Shmuel Firstenberg, Roger Richman. Manus: David Dekor: = Scenedekorationer Prem: = Dansk premiere Paulsen, Menahem Golan, Ken Globus. Efter: for Dir: = Dirigent P-selskab: = Produktionsselskab tælling af Menahem Golan. Foto: Adam Greenberg. Dist: = Udlejer i oprindelsesland P-sup: = Produktions-superviser Farve: Eastmancolor. Klip: Dov Hoenig. Ark: Kuli Ex-P: = Executive Producer P-tegn: = Produktionstegner (design) Sander. Dekor: Alfred Gershoni. Sp-E: Hanz Kram Foto: = Cheffotograf Rekvis: = Rekvisitør sky. Musik: Roy Budd. Sang: »Diamonds« af Roy Budd, Jack Fishman. Solister: The Three Degrees. -
Bigelow Masculinity
Networking Knowledge: Journal of the MeCCSA Postgraduate Network, Vol. 4, No. 1 (2011) Article TOUGH GUY IN DRAG? HOW THE EXTERNAL, CRITICAL DISCOURSES SURROUNDING KATHRYN BIGELOW DEMONSTRATE THE WIDER PROBLEMS OF THE GENDER QUESTION. RONA MURRAY, De Montford University ABSTRACT This article argues that the various approaches adopted towards Kathryn Bigelow’s work, and their tendency to focus on a gendered discourse, obscures the wider political discourses these texts contain. In particular, by analysing the representation of masculinity across the films, it is possible to see how the work of this director and her collaborators is equally representative of its cultural context and how it uses the trope of the male body as a site for a dialectical study of the uses and status of male strength within an imperialistically-minded western society. KEYWORDS Counter-cultural, feminism, feminist, gender, masculinity, western. ISSN 1755-9944 1 Networking Knowledge: Journal of the MeCCSA Postgraduate Network, Vol. 4, No. 1 (2011) Whether the director Kathryn Bigelow likes it or not, gender has been made to lie at the heart of her work, not simply as it figures in her texts but also as it is used to initiate discussion about her own function/place as an auteur? Her career illustrates how the personal becomes the political not via individual agency but in the way she has come to stand as a particular cultural symbol – as a woman directing men in male-orientated action genres. As this persona has become increasingly loaded with various significances, it has begun to alter the interpretations of her films. -
Zero Dark Thirty Error
Issue 7 | Movie: A Journal of Film Criticism | 23 troop carrier with no clear sense of destination, speaks again understated performances further serve to create what might as much to a national as a personal loss of purpose, afer the be described as a reality afect. quest is over. Te 9/11 sequence ofers an extreme version of the real- Te flm’s epilogue has received considerable critical atten- ist aesthetic and the rejection of spectacle. From the second tion1; the prologue less so. And where critics do mention it, plane hitting the tower, to the falling man, to the rubble details are ofen misremembered. In an interview with Kyle of ground zero, there are any number of iconic images the Buchanan, screenwriter Mark Boal refects on the difculties flmmakers might have selected to represent the destruction of writing the ‘opening scene’ of Zero Dark Tirty (2013). Te wrought by the attacks. However, what such images have in scene he is referring to in this discussion, however, is the infa- common, what potentially makes them efective as a form of mous torture scene that begins the narrative proper (to which cultural shorthand, also renders them problematic in terms I will return). It is as if he has momentarily forgotten the scene of eliciting a fresh response – and certainly in terms of the Intimacy, ‘truth’ and the gaze: that precedes it in the original shooting script as well as the slow-burn, reality afect. Teir very familiarity can render flm. Given this oversight by the writer himself, it is under- such images hackneyed and over-determined. -
Female Director Takes Hollywood by Storm: Is She a Beauty Or a Visionary?
Western Oregon University Digital Commons@WOU Honors Senior Theses/Projects Student Scholarship 6-1-2016 Female Director Takes Hollywood by Storm: Is She a Beauty or a Visionary? Courtney Richardson Western Oregon University Follow this and additional works at: https://digitalcommons.wou.edu/honors_theses Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Richardson, Courtney, "Female Director Takes Hollywood by Storm: Is She a Beauty or a Visionary?" (2016). Honors Senior Theses/Projects. 107. https://digitalcommons.wou.edu/honors_theses/107 This Undergraduate Honors Thesis/Project is brought to you for free and open access by the Student Scholarship at Digital Commons@WOU. It has been accepted for inclusion in Honors Senior Theses/Projects by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected], [email protected], [email protected]. Female Director Takes Hollywood by Storm: Is She a Beauty or a Visionary? By Courtney Richardson An Honors Thesis Submitted in Partial Fulfillment of the Requirements for Graduation from the Western Oregon University Honors Program Dr. Shaun Huston, Thesis Advisor Dr. Gavin Keulks, Honors Program Director Western Oregon University June 2016 2 Acknowledgements First I would like to say a big thank you to my advisor Dr. Shaun Huston. He agreed to step in when my original advisor backed out suddenly and without telling me and really saved the day. Honestly, that was the most stressful part of the entire process and knowing that he was available if I needed his help was a great relief. Second, a thank you to my Honors advisor Dr. -
The “Genre Bender”: the Creative Leadership of Kathryn Bigelow
THE “GENRE BENDER”: THE CREATIVE LEADERSHIP OF KATHRYN BIGELOW Olga Epitropaki and Charalampos Mainemelis ABSTRACT In the present chapter, we present the case study of the only woman film director who has ever won an Academy Award for Best Director, Kathryn Bigelow. We analyzed 43 written interviews of Kathryn Bigelow that have appeared in the popular press in the period 1988 2013 and outlined eight main themes emerging regarding her exercise ofÀ leadership in the cinematic context. We utilize three theoretical frameworks: (a) paradoxical leadership theory (Lewis, Andriopoulos, & Smith, 2014; Smith & Lewis, 2012); (b) ambidextrous leadership theory (Rosing, Frese, & Bausch, 2011), and (c) role congruity theory (Eagley & Karau, 2002) and show how Bigelow, as a woman artist/leader working in a complex organizational system that emphasizes radical innovation, exercised paradoxical and ambidextrous leadership and challenged Downloaded by Doctor Charalampos Mainemelis At 07:19 09 March 2016 (PT) Leadership Lessons from Compelling Contexts Monographs in Leadership and Management, Volume 8, 275 300 À Copyright r 2016 by Emerald Group Publishing Limited All rights of reproduction in any form reserved ISSN: 1479-3571/doi:10.1108/S1479-357120160000008009 275 276 OLGA EPITROPAKI AND CHARALAMPOS MAINEMELIS existing conventions about genre, gender, and leadership. The case study implications for teaching and practice are discussed. Keywords: Creative leadership; ambidextrous leadership; paradoxical leadership; role congruity theory; director; film industry She’s acting out desires. She represents what people want to see, and it’s upsetting, because they don’t know exactly what to do with it. Cultural theorist Sylve´ re Lotringer INTRODUCTION Organizations are abounding with tensions and conflicting demands (e.g., flexibility vs. -
Blurring the Boundaries: Auteurism & Kathryn Bigelow Brenda Wilson
Blurring the Boundaries: Auteurism & Kathryn Bigelow Brenda Wilson Born in California in 1952, Katherine Bigelow is one of group of outsiders living by different rules are presented the few women directors working in Hollywood today. She here as whole- heartedly cool. And the aesthetic style of is exceptional because she works primarily within the the film is indicative of Bigelow's increasingly idiosyncratic traditionally male- dominated genres of the action cinema. choices that create arresting images and innovative action Bigelow's films often reflect a different approach to these sequences. Strange Days (1995) is the film in Bigelow's genres as she consistently explores themes of violence, oeuvre that has received the most critical and theoretical voyeurism and sexual politics. Ultimately she seems to be attention, and so for the purposes of this analysis it will be concerned with calling the boundaries between particular referred to but not fully theorized. Strange Days is a neo- genres into question. Bigelow's visual style echoes this noir science fiction film that presents the future on the eve thematic complexity, often introducing elements of an art- of the new millennium, a dystopic Los Angeles which is on house aesthetic. Bigelow emerged from the New York art the verge of erupting into a race war. The film was a critical scene in the 1970s, having won a Whitney Scholarship to if not commercial success, building upon recognizable study painting. She later transferred to the Columbia Film Bigelow motifs. The film is a rich tapestry of narrative program. Critics such as Yvonne Tasker have commented threads, stunning visuals and soundtrack, all of which on the amalgamation of spectacle and adrenaline with compete for attention. -
A Look at the Forthcoming Remake of Point Break | DIY
10/28/2015 A look at the forthcoming remake of Point Break | DIY PREVIEW: A LOOK AT THE FORTHCOMING REMAKE OF POINT BREAK This week, DIY were among the very first people in the world to see footage from the upcoming Point Break. By Christa Ktorides on 27th October 2015 This week, DIY were among the very first people in the world to see footage from the upcoming Point Break, the highly anticipated remake of the http://diymag.com/2015/10/27/a-look-at-the-forthcoming-remake-of-point-break 1/6 10/28/2015 A look at the forthcoming remake of Point Break | DIY 1991 action classic courtesy of Warner Bros. Pictures. Screening in the rather luxurious new Picturehouse Central in London, we’re treated to some extended scenes of the unfinished film in the company of director Ericson Core, star Édgar Ramírez and renowned extreme athletes Xavier De Le Rue and Chris Sharma. So why re-make the cult film now? Core explains: “Pretty much every one of our extreme athletes who participated in the film came to it because they were highly influenced by the original film and pursued their various sports partially charged with that sort of spirit of that original film. Ramírez for his part reveals a long-standing relationship with the original Keanu Reeves/Patrick Swayze starrer: “I belong to the generation of the first one, I was 13 years old when that came out. I was very attracted to the movie, very inspired by it. Little did I know that eventually, a few years later I would be playing Bodhi which was definitely the character I was impressed by.” First up we’re shown the opening sequence of the film where YouTube superstar and extreme motorcross rider, Johnny Utah (Luke Bracey) is performing a seemingly impossible stunt for the cameras with his friend Jeff (Max Thieriot). -
06 SM 9/7 (TV Guide)
Page 6 THE NORTON TELEGRAM Tuesday, September 7, 2004 Monday Evening September 13, 2004 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 KHGI/ABC The Benefactor Monday Night Football: Packers @ Panthers Jimmy K KBSH/CBS Still Stand Yes Dear Raymond Two Men CSI Miami Local Late Show Late Late KSNK/NBC Fear Factor Las Vegas TBA Local Tonight Show Conan FOX North Shore Renovate My Family Local Local Local Local Local Local Cable Channels A&E Parole Squad Plots Gotti Airline Airline Crossing Jordan Parole Squad AMC The Blues Brothers Tough Guys Date With ANIM Growing Up Oranguta That's My Baby Animal Cops Houston Growing Up Oranguta That's My Baby CNN Paula Zahn Now Larry King Live Newsnight Lou Dobbs Larry King DISC Monster House Monster Garage American Chopper Monster House Monster Garage Norton TV DISN Disney Movie: TBA Raven Sis Bug Juice Lizzie Boy Meets Even E! THS E!ES Dr. 90210 Howard Stern SNL ESPN Monday Night Countdown World Series of Poker Sportscenter ESPN2 Poker Kurt Brow UCA College Cheerleading Who's #1 FAM Great Outdoors Whose Lin The 700 Club Funniest Funniest FX Point Break Fear Factor Point Break HGTV Smrt Dsgn Decor Ce Organize Dsgn Chal Dsgn Dim Dsgn Dme To Go Hunters Smrt Dsgn Decor Ce HIST Civil War Combat Civil War Combat Quarries Tactical To Practical Civil War Combat LIFE It Had To Be You IDo(But I Don't) How Clea Golden Nanny Nanny MTV MTV Special Road Rules The Osbo Real World Video Clash Listings: NICK SpongeBo Drake Full Hous Full Hous Threes Threes Threes Threes Threes Threes SCI Stargate SG-1 Stargate -
The Instrument Ofchoice
The instrument of choice. As an editor at the keys, you need a system that helps make every session a fine performance: The Grass ValleyGroup Editing System. Designed to take the best from your production system to the screen. Built to grow as you grow. So if you demand an instrument with capabilities equal to your own, there's only one choice: The Grass Valley Group Editing System. Grass Valley Grou-@ ~'r'V""t'\lAt)"'l..IV \,IIJIIiI From the Editor used to be common agreement that twO things were certain for everyone _ death and taxes. Now you can't be certain IChange.of WHICHMy dictionarytaxes. rambles for approximately 700 words explaining what you can do with that single word, "change." you can run dailies late at night with a director, or habits can change, and the director can take a video cassette home for relaxed viewing after a 12 hour day. For easier viewing some editors are changing from the use of an 8 plate Kem to the use of tWO4 plate models interlocked together. A f¡\m editor works in a cutting room, but when the editing on the sarne show is changed to video tape, he or she is then working in an editing bay. Change is obvious in some (hings, such as more dialogue TV series going to video tape editing. Some change is not so obvious, such s as the faster delivery of difficult film optical because computer camera controls can prograrn so many things with the sarne pass throughIf RiptheVanopticalWinklecamera.had been an editor before his "big sleep," one drowsy glance at a 1986cutting schedulewould snap him awake. -
The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication. -
Premiererne Overton Jr., Bill Mccaughey, Mike Kohut, Lyle J
son. P-tegn: Albert Brenner. Dekor: Marvin March. P-ill: Leon Harris. Kost: Patricia Norris, Ann Roth. Makeup: Charles Schram. Sp-E : Robert Dawson, Augie Lohman. Musik: Claude Bolling. Musikere: Hubert Laws, Bud Shank, Tommy Tedesco, Ralph Grierson, Chuck Domanico, Shelly Manne. Tone: Al Premiererne Overton Jr., Bill McCaughey, Mike Kohut, Lyle J. Burbridge, Sam Shaw. Medv: Alan Alda (Bill War 1.4.-30.6.79 / ved Claus Hesselberg ren), Michael Caine (Sidney Cochran), Bill Cosby (Dr. Willia Panama), Jane Fonda (Hannah Warren), Walter Matthau (Marvin Michaels), Elaine May (Mil- Anvendte forkortelser: lie Michaels), Richard Pryor (Dr. Chauncey Gump), Maggie Smith (Diana Barrie), Gloria Gifford (Lola Adapt: = Adaption Komp: = Komponist Gump), Sheila Frazier (Bettina Panama), Herbert Ark: = Filmarkitekt Kost: = Kostumer Edelman (Harry Michaels). På hotellet: Denise Ga- Arr: = Musikarrangør Medv: = Medvirkende skuespillere lik (Bunny), David Sheehan (Sig selv), Michael Boyle (Receptionist), Len Lawson (Frank), Dino Ar- As-P: = Associate Producer P: = Producere dito (Blikkenslager), Jerry Ziman (Mand ved telefon), Ass: = Assistent P-leder: = Produktionsleder Clint Young (Dørvogter), David Matthau (Piccolo). Dekor- = Scenedekorationer Prem: = Dansk premiere Ved Oscar-festen: Army Archerd (Sig selv), Paolo Dir: = Dirigent P-selskab: = Produktionsselskab Frediani (Smuk skuespiller), Judith Hannah Brown Dist: = Udlejer i oprindelsesland P-sup: = Produktions-superviser (Oscar-vinder), Gary Hendrix (Vinderens ledsager), Ex-P: = Executive Producer P-tegn: = Produktionstegner (design) Christopher Pennock (Politimand). Længde: 103 Foto: = Cheffotograf Rekvis: = Rekvisitør min., 2820 m. Censur: Rød. Udi: Columbia-Fox Prem: 27.4.1979 ABCinema, Cinema 1-5. Indspil Instr: = Instruktør Sp-E: = Specielle effekter ningen startet 20.3.78. Anm. Kos. 142. Kamera: =Kameraoperatør Udi: = Dansk udlejning CHEFENS LIDERLIGE LYSTER Couples complices. -
Kellett to Arrive with Procession
Call (906) 932-4449 Ironwood, MI This Is My Crew Volleyball Soto lifts Nats to 4-3 comeback Mercer beats archrival Redsautosales.com wild-card win over Brewers Washburn SPORTS • 9 SPORTS • 9 DAILY GLOBE Wednesday, October 2, 2019 Few showers yourdailyglobe.com | High: 48 | Low: 40 | Details, page 2 WWII POW COMING HOME Schools Kellett to arrive celebrate with procession homecoming By TOM LAVENTURE Funeral Honors Team, said [email protected] members from the Upper week IRONWOOD – Members of Peninsula who train with the By TOM LAVENTURE the Wisconsin and Michigan team will take part in both the [email protected] Patriot Guard Riders will escort ceremony to receive the IRONWOOD – Area schools the funeral coach with the remains on Thursday, and for are celebrating homecoming this remains of a POW/MIA soldier the funeral home service Satur- week with parades, dress-up from World War II to Ironwood day, and the burial service fol- days and activities all leading up on Thursday. lowing at Riverside Cemetery. to the big games on Friday. “We will have the Patriot “There will be full military The Gogebic Miners, a triad Guard coming on Thursday,” honors provided,” Larson said. football team of Ironwood, Besse- said Michael Patrick, director of John Curran, the Wisconsin mer and Wakefield-Marenisco McKevitt-Patrick Funeral State Captain, said the family school districts, has Luther L. Home, Inc., who is handling has expressed that the Patriot Wright hosting home games this arrangements on behalf of the Guard escort would be wel- year to include the homecoming family of Walter Kellett, a come.