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First-Run Smoking Presentations in U.S. Movies 1999-2006
First-Run Smoking Presentations in U.S. Movies 1999-2006 Jonathan R. Polansky Stanton Glantz, PhD CENTER FOR TOBAccO CONTROL RESEARCH AND EDUCATION UNIVERSITY OF CALIFORNIA, SAN FRANCISCO SAN FRANCISCO, CA 94143 April 2007 EXECUTIVE SUMMARY Smoking among American adults fell by half between 1950 and 2002, yet smoking on U.S. movie screens reached historic heights in 2002, topping levels observed a half century earlier.1 Tobacco’s comeback in movies has serious public health implications, because smoking on screen stimulates adolescents to start smoking,2,3 accounting for an estimated 52% of adolescent smoking initiation. Equally important, researchers have observed a dose-response relationship between teens’ exposure to on-screen smoking and smoking initiation: the greater teens’ exposure to smoking in movies, the more likely they are to start smoking. Conversely, if their exposure to smoking in movies were reduced, proportionately fewer teens would likely start smoking. To track smoking trends at the movies, previous analyses have studied the U.S. motion picture industry’s top-grossing films with the heaviest advertising support, deepest audience penetration, and highest box office earnings.4,5 This report is unique in examining the U.S. movie industry’s total output, and also in identifying smoking movies, tobacco incidents, and tobacco impressions with the companies that produced and/or distributed the films — and with their parent corporations, which claim responsibility for tobacco content choices. Examining Hollywood’s product line-up, before and after the public voted at the box office, sheds light on individual studios’ content decisions and industry-wide production patterns amenable to policy reform. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960S and Early 1970S
TV/Series 12 | 2017 Littérature et séries télévisées/Literature and TV series Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/2200 DOI: 10.4000/tvseries.2200 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s », TV/Series [Online], 12 | 2017, Online since 20 September 2017, connection on 01 May 2019. URL : http://journals.openedition.org/tvseries/2200 ; DOI : 10.4000/tvseries.2200 This text was automatically generated on 1 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Light Shadows: Loose Adaptations of Gothic Literature in American TV Series o... 1 Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy 1 In the late 1960’s and early 1970’s, in a somewhat failed attempt to wrestle some high ratings away from the network leader CBS, ABC would produce a spate of supernatural sitcoms, soap operas and investigative dramas, adapting and borrowing heavily from major works of Gothic literature of the nineteenth and early twentieth century. The trend began in 1964, when ABC produced the sitcom The Addams Family (1964-66), based on works of cartoonist Charles Addams, and CBS countered with its own The Munsters (CBS, 1964-66) –both satirical inversions of the American ideal sitcom family in which various monsters and freaks from Gothic literature and classic horror films form a family of misfits that somehow thrive in middle-class, suburban America. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
Prädikate 1993-2002
Filmprädikate (1993 - 2002) 1993 BESONDERS WERTVOLL 1993-01-18 WIEDERSEHEN IN HOWARDS END 1993-02-10 GESTOHLENE KINDER 1993-02-15 EHEMÄNNER UND EHEFRAUEN 1993-02-15 EIN GANZ NORMALER HELD 1993-03-24 EHEMÄNNER UND EHEFRAUEN 1993-03-24 EIN GANZ NORMALER HELD 1993-05-13 FALLING DOWN - EIN GANZ NORMALER TAG 1993-06-02 DIE REISE - DAS ABENTEUER, JUNG ZU SEIN 1993-07-07 BENNY & JOON 1993-07-26 THE PIANO 1993-07-29 BENNY & JOON 1993-08-17 VIEL LÄRM UM NICHTS 1993-09-29 FIORILE 1993-10-29 ZEIT DER UNSCHULD 1993-11-03 DREI FARBEN BLAU 1993-11-16 DAS PIANO 1993-11-25 ZEIT DER UNSCHULD 1993-12-21 SHORT CUTS WERTVOLL 1993-01-11 GLENGARRY GLEN ROSS 1993-01-11 STALINGRAD 1993-01-19 DER REPORTER 1993-01-27 VERHÄNGNIS 1993-02-05 SOMMERSBY 1993-02-08 DER DUFT DER FRAUEN 1993-02-08 WATERLAND 1993-02-11 GLENGARRY GLEN ROSS 1993-03-08 ORLANDO 1993-03-10 VERZAUBERTER APRIL 1993-03-11 LORENZOS ÖL 1993-03-11 DER DUFT DER FRAUEN 1993-03-26 SOMMERSBY 1993-04-21 AUS DER MITTE ENTSPINGT EIN FLUSS 1993-04-28 LORENZOS ÖL 1993-05-13 DER REPORTER 1993-07-05 BITTERSÜSSE SCHOKOLADE 1993-07-14 DAVE - BESSER ALS DAS ORIGINAL ERLAUBT 1993-07-26 BORN YESTERDAY - BLONDINEN KÜSST MAN NICHT 1993-07-26 DIE KRISE 1993-08-17 IN WEITER FERNE, SO NAH! 1993-08-17 SCHLAFLOS IN SEATTLE 1993-09-22 INDIEN 1993-09-29 DAS GEISTERHAUS 1993-09-30 KINDERSPIELE PDF created with pdfFactory trial version www.pdffactory.com 1993-10-05 SCHLAFLOS IN SEATTLE 1993-10-13 JUSTIZ 1993-11-03 DER MANN OHNE GESICHT 1993-11-18 PASSION FISH SEHENSWERT 1993-01-11 BRAM STOKER'S DRACULA 1993-01-14 SNEAKERS -
FIRST CENTURY AVANT-GARDE FILM RUTH NOVACZEK a Thesis
NEW VERNACULARS AND FEMININE ECRITURE; TWENTY- FIRST CENTURY AVANT-GARDE FILM RUTH NOVACZEK A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy March 2015 Acknowledgements Thanks to Chris Kraus, Eileen Myles and Rachel Garfield for boosting my morale in times of great uncertainty. To my supervisors Michael Mazière and Rosie Thomas for rigorous critique and sound advice. To Jelena Stojkovic, Alisa Lebow and Basak Ertur for camaraderie and encouragement. To my father Alfred for support. To Lucy Harris and Sophie Mayer for excellent editorial consultancy. To Anya Lewin, Gillian Wylde, Cathy Gelbin, Mark Pringle and Helen Pritchard who helped a lot one way or another. And to all the filmmakers, writers, artists and poets who make this work what it is. Abstract New Vernaculars and Feminine Ecriture; Twenty First Century Avant-Garde Film. Ruth Novaczek This practice-based research project explores the parameters of – and aims to construct – a new film language for a feminine écriture within a twenty first century avant-garde practice. My two films, Radio and The New World, together with my contextualising thesis, ask how new vernaculars might construct subjectivity in the contemporary moment. Both films draw on classical and independent cinema to revisit the remix in a feminist context. Using appropriated and live-action footage the five short films that comprise Radio are collaged and subjective, representing an imagined world of short, chaptered ‘songs’ inside a radio set. The New World also uses both live-action and found footage to inscribe a feminist transnational world, in which the narrative is continuous and its trajectory bridges, rather than juxtaposes, the stories it tells. -
Les Américains Et Les Autres André Roy
Document généré le 2 oct. 2021 04:49 24 images Les américains et les autres André Roy Numéro 66, avril–mai 1993 URI : https://id.erudit.org/iderudit/22745ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer cet article Roy, A. (1993). Les américains et les autres. 24 images, (66), 50–51. Tous droits réservés © 24 images inc., 1993 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ 43e festival de Berlin sélection officielle, qui a croulé sous l'académisme, avec Le té légraphiste, du Norvégien Erik Gustavson et Chagrin damour, du Suédois Nils Malmros, pour donner deux exemples extrêmes. LES AMÉRICAINS ET LES AUTRES On a surtout eu comme impres sion que les cinéastes avaient par André Roy envie de présenter un travail propre, convenu, sans aucune audace. Les deux films qui ont eu conjointement l'Ours d'or le n n'a cessé, au fil des ans, Vito, Love Field, de Jonathan quentée et les cinéastes ont pro prouvent amplement. O d'accuser le Festival de Kaplan, Malcolm X, de Spike testé contre cette ghettoïsation La noce, du Taïwanais Ang Berlin, surtout avec sa compé Lee, Toys, de Barry Levinson et de leur cinéma. -
Children of Glory
ANDREW G. VAJNA PRESENTS CHILDREN OF GLORY Cast: Iván Feny ı Kata Dobó Sándor Csányi Károly Gesztesi Original Story by: Joe Eszterhas Writing Credits by : Joe Eszterhas Eva Gárdos Géza Bereményi Réka Divinyi Co-Producers : Clive Parsons S. Tamás Zákonyi Cinematography by : Buda Gulyás Production Desing by : János Szabolcs Costume Desing by : Beatrix Aruna Pásztor Original Music by : Nick Glennie-Smith Producer: Andrew G. Vajna Directed by : Krisztina Goda Website: www.szabadsagszerelemafilm.hu SYNOPSIS The year is 1956. While Hungary is only a small slave nation within the massive Soviet Block, it is also a superpower – its national water polo team is invincible. Even locked behind the Iron Curtain, the players feel like kings. Thriving on success and enjoying the attention of every girl in the country, they stand self-assured and unified. The team has lost only once in 1955, when a referee in Moscow simply did not let them win. The team are now bracing themselves for a rematch due to take place at the 1956 Olympic Games in Melbourne. History, however, throws a major obstacle in team’s path, and a revolution breaks out in Budapest and the young star of the team, Karcsi (Iván Feny ı) and his friend, Tibi (Sándor Csányi) get embroiled in the events occurring out on the streets. At first, they are only out for adventure, but a fiery student - Viki Falk (Kata Dobó) - from the Technical University catches Karcsi’s eye and in following her steps he finds himself right at the heart of the uprising - the Kossuth square and the subsequent siege of the National Radio station. -
Introduction: Shakespeare, Spectro-Textuality, Spectro-Mediality 1
Notes Introduction: Shakespeare, Spectro-Textuality, Spectro-Mediality 1 . “Inhabiting,” as distinct from “residing,” suggests haunting; it is an uncanny form of “residing.” See also, for instance, Derrida’s musings about the verb “to inhabit” in Monolingualism (58). For reflections on this, see especially chapter 4 in this book. 2 . Questions of survival are of course central to Derrida’s work. Derrida’s “classical” formulation of the relationship between the living-on of a text and (un)translat- ability is in Parages (147–48). See also “Des Tours” on “the necessary and impos- sible task of translation” (171) and its relation with the surviving dimension of the work (182), a reading of Walter Benjamin’s “The Task of the Translator.” In one of his posthumously published seminars, he stresses that survival—or, as he prefers to call it, “survivance”—is “neither life nor death pure and simple,” and that it is “not thinkable on the basis of the opposition between life and death” (Beast II 130). “Survivance” is a trace structure of iterability, a “living dead machine” (131). To Derrida, what is commonly called “human life” may be seen as one of the outputs of this structure that exceeds the “human.” For a cogent “posthumanist” understanding of Derrida’s work, and the notion of the trace in particular, see Wolfe. 3 . There are of course significant exceptions, and this book is indebted to these studies. Examples are Wilson; Lehmann, Shakespeare Remains ; Joughin, “Shakespeare’s Genius” and “Philosophical Shakespeares”; and Fernie, “Introduction.” Richard Burt’s work is often informed by Derrida’s writings. -
“Gotti” Star, William Demeo
Interviews: Q and A With “Gotti” Star, William DeMeo Author : Robert D. Cobb In case you missed it, one movie slipped in under the radar tat received buzz, that started John Travolta and Kelly Preston, yet however, most moviegoers missed it entirely. That movie was, Gotti. Gotti, directed by Entourage alum, Kevin Connolly, chronicled the infamous New York City crime boss, John Gotti and his three decades-long reign as leader of the Gambino Crime Family starred John Travolta as John Gotti, Kelly Preston as his loyal wife, Victoria Gotti, Stacey Keach as Neil Dellacroce, Spencer Lofranco as John John Gotti Jr. and Pruitt Taylor Vince as Angelo Ruggiero. 1 / 6 One other star who stole the show was William DeMeo. Brooklyn born and bred, the 47-year-old native of Bensonhurst is a actor, producer, director and writer, whose credits include A Bronx Tale, Boss of Bosses, Analyze That, First Kill and HBO’s hit gangster culture tour de force, The Sopranos as recurring character Jason Molinaro, portrayed infamous Gambino crime boss and enforcer, Sammy “The Bull” Gravano, who would ultimately turn state’s evidence and become a informant against Gotti. As a producer and director, DeMeo has produced documentaries such as Cruising 86th St, which focused on the story of his Bensonhurst neighborhood from the 70’s-90’s and is currently working on a TV series, The Neighborhood that is set in 1980’s Brooklyn, that follows the story of a mob solider looking to leave his life of crime behind. With Gotti recently being released on Blu-Ray and DVD, INSCMagazine had a chance to catch up with William to ask him some question on filming “Gotti” and being in his old neighborhood again. -
Film Press Kit Collection
http://oac.cdlib.org/findaid/ark:/13030/kt8b69s3fs No online items Guide to the Film Press Kit Collection Department of Special Collections Davidson Library University of California, Santa Barbara Santa Barbara, CA 93106 Phone: (805) 893-3062 Fax: (805) 893-5749 Email: [email protected] URL: http://www.library.ucsb.edu/speccoll/speccoll.html © 2011 The Regents of the University of California. All rights reserved. Guide to the Film Press Kit PA Mss 39 1 Collection Guide to the Film Press Kit Collection Collection number: PA Mss 39 Department of Special Collections Davidson Library University of California, Santa Barbara Processed by: Staff, Department of Special Collections, Davidson Library Date Completed: 10/21/2011 Encoded by: Zachary Liebhaber © 2011 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Film Press Kit collection Dates: 1975-2005 Collection number: PA Mss 39 Creator: University of California, Santa Barbara, Arts and Lectures Collection Size: 9 linear ft.(28 boxes). Repository: University of California, Santa Barbara. Library. Dept. of Special Collections Santa Barbara, CA 93106 Abstract: Press kits for motion pictures, mostly independent releases, including promotional material, clippings, and advertising materials. Physical location: For current information on the location of these materials, please consult the library's online catalog. Languages: Languages represented in the collection: English Access The use of the collection is unrestricted. Many of these films were shown by the UCSB Arts and Lectures series. Publication Rights Copyright has not been assigned to the Department of Special Collections, UCSB. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections.