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The Face of an Angel Synopsis
THE FACE OF AN ANGEL SYNOPSIS The brutal murder of a Bri1sh student in Tuscany leads to the trial and convic1on of her American flatmate and Italian boyfriend in controversial circumstances. The media feeding frenzy around the case aracts once successful, but now struggling filmmaker Thomas, to be commissioned to write a film - 'The Face of an Angel', based on a book by Simone Ford an American journalist who covered the case. From Rome they head to Siena to research the film. Thomas has recently separated from his wife in a bi=er divorce and leI his 9-year-old daughter in Los Angeles. This unravelling of his own life, and the dark mediaeval atmosphere surrounding the case, begins to drag him down into his own personal hell. Like Dante journeying through the Inferno in the Divine Comedy, with Simone as his guide to the tragedy of the murder, Thomas starts a relaonship with a student Melanie. This is a beau1ful, unrequited love, where she acts as a guide to his own heart. He comes to realise the most important thing in his life is not solving an unsolvable crime, or wri1ng the film, but returning to the daughter he has leI behind. | THE FACE OF AN ANGEL | 1 SHEET | 15.10.2013 | 1!5 THE FACE OF AN ANGEL CAST DANIEL BRÜHL KATE BECKINSALE In 2003 Daniel Brühl took the leading role in the box office smash Good English actress Kate Beckinsale is revealing herself to be one of films’ Bye Lenin!, which became one of Germany’s biggest box office hits of all most versale and charismac actresses. -
9 SONGS-B+W-TOR
9 SONGS AFILMBYMICHAEL WINTERBOTTOM One summer, two people, eight bands, 9 Songs. Featuring exclusive live footage of Black Rebel Motorcycle Club The Von Bondies Elbow Primal Scream The Dandy Warhols Super Furry Animals Franz Ferdinand Michael Nyman “9 Songs” takes place in London in the autumn of 2003. Lisa, an American student in London for a year, meets Matt at a Black Rebel Motorcycle Club concert in Brixton. They fall in love. Explicit and intimate, 9 SONGS follows the course of their intense, passionate, highly sexual affair, as they make love, talk, go to concerts. And then part forever, when Lisa leaves to return to America. CAST Margo STILLEY AS LISA Kieran O’BRIEN AS MATT CREW DIRECTOR Michael WINTERBOTTOM DP Marcel ZYSKIND SOUND Stuart WILSON EDITORS Mat WHITECROSS / Michael WINTERBOTTOM SOUND EDITOR Joakim SUNDSTROM PRODUCERS Andrew EATON / Michael WINTERBOTTOM EXECUTIVE PRODUCER Andrew EATON ASSOCIATE PRODUCER Melissa PARMENTER PRODUCTION REVOLUTION FILMS ABOUT THE PRODUCTION IDEAS AND INSPIRATION Michael Winterbottom was initially inspired by acclaimed and controversial French author Michel Houellebecq’s sexually explicit novel “Platform” – “It’s a great book, full of explicit sex, and again I was thinking, how come books can do this but film, which is far better disposed to it, can’t?” The film is told in flashback. Matt, who is fascinated by Antarctica, is visiting the white continent and recalling his love affair with Lisa. In voice-over, he compares being in Antarctica to being ‘two people in a bed - claustrophobia and agoraphobia in the same place’. Images of ice and the never-ending Antarctic landscape are effectively cut in to shots of the crowded concerts. -
Presents a Film by Michael Winterbottom 104 Mins, UK, 2019
Presents GREED A film by Michael Winterbottom 104 mins, UK, 2019 Language: English Distribution Publicity Mongrel Media Inc Bonne Smith 217 – 136 Geary Ave Star PR Toronto, Ontario, Canada, M6H 4H1 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com Synopsis GREED tells the story of self-made British billionaire Sir Richard McCreadie (Steve Coogan), whose retail empire is in crisis. For 30 years he has ruled the world of retail fashion – bringing the high street to the catwalk and the catwalk to the high street – but after a damaging public inquiry, his image is tarnished. To save his reputation, he decides to bounce back with a highly publicized and extravagant party celebrating his 60th birthday on the Greek island of Mykonos. A satire on the grotesque inequality of wealth in the fashion industry, the film sees McCreadie’s rise and fall through the eyes of his biographer, Nick (David Mitchell). Cast SIR RICHARD MCCREADIE STEVE COOGAN SAMANTHA ISLA FISHER MARGARET SHIRLEY HENDERSON NICK DAVID MITCHELL FINN ASA BUTTERFIELD AMANDA DINITA GOHIL LILY SOPHIE COOKSON YOUNG RICHARD MCCREADIE JAMIE BLACKLEY NAOMI SHANINA SHAIK JULES JONNY SWEET MELANIE SARAH SOLEMANI SAM TIM KEY FRANK THE LION TAMER ASIM CHAUDHRY FABIAN OLLIE LOCKE CATHY PEARL MACKIE KAREEM KAREEM ALKABBANI Crew DIRECTOR MICHAEL WINTERBOTTOM SCREENWRITER MICHAEL WINTERBOTTOM ADDITIONAL MATERIAL SEAN GRAY EXECUTIVE PRODUCER DANIEL BATTSEK EXECUTIVE PRODUCER OLLIE MADDEN PRODUCER -
Relationships & Sexuality
A HANDBOOK FOR AND BY AUTISTIC PEOPLE relationships & sexuality Edited by Elesia Ashkenazy & Melanie Yergeau A project produced by Autism NOW, a national initiative of The Arc, and the Autistic Self Advocacy Network Copyright 2013 Autistic Self Advocacy Network and individual authors Requests for permission to use materials from this project in new publications should be directed to the Autistic Self Advocacy Network: Autistic Self Advocacy Network PO Box 66122 Washington, DC 20035 http://autisticadvocacy.org DESIGN Typeset in Arial Book and cover design: Melanie Yergeau | 2 Acknowledgments This book is but a first. In the months we spent planning and editing and poring over pages, we realized, all too quickly, how little has been said about autism and sexuality. And again, all too quickly, we recognized that any anthology on autistic relationships would represent but a sampling of our community’s diversity. And so, this book is a first. We are proud to say that it will not be the last. A truly collective effort, Relationships & Sexuality represents the skills, wisdom, and labor of many. First, we wish to thank our project’s sponsors, the Autistic Self Advocacy Network, The Arc, and the Autism NOW Center. Throughout the project, members from each organization lent time and advice. In particular, we’d like to thank Tonia Ferguson, Melody Latimer, and Ari Ne’eman for their continued expertise. We also thank Melanie Yergeau, who served as our typesetter, collator, and copy editor. Bethany Stevens, our inimitable reviewer, guided us through early drafts. Her always incisive comments shaped the direction and scope of this project, for which we cannot thank her enough. -
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Contradictions A Journal for Critical Thought Volume 2 number 2 (2018) THE EUROPEAN CAVE Jan Patočka and Cinema in Theo Angelopoulos’s Film Ulysses’ Gaze Alex Forbes Abstract: Th e image of a dismantled statue of Lenin from Ukraine being transported up the Danube in Th eo Angelopoulos’s 1995 fi lm Ulysses’ Gaze is the starting point for a dis- cussion of the fi lm’s urgent resonance with the questioning of “Europe” in the present day. Th is image foreshadows the destruction of Lenin statues in Ukraine during the ongoing civil war and is more than a fortuitous indicator of the historical context of the present Ukrainian crisis in the aftermath of the breakup of the Soviet Union in 1991. Exploring the territory of seven post-Cold War Eastern European states and ending amid the rubble and destruction of the besieged city of Sarajevo, Ulysses’ Gaze off ers a panoramic, yet highly subjective, depiction of a Europe undergoing a painful and as-yet-undecided transition. Th is article will show the strong connections between the understanding of Europe that emerges from the fi lm and that elucidated in the work of the Czech philosopher Jan Patočka. Both the fi lm and Patočka’s thought seek the European on a utopian level that transcends particular temporal and territorial borders, recalls Classical polity and philosophy, and consists primarily in introspective thinking. Th e recurrence, in today’s Europe, of questions from the immediate post-Cold War era indicates that the work of defi nition undertaken after 1989 is not yet completed and suggests that fi lms from that period may contain images that have the capacity to guide the process of understanding Europe in the present day. -
When Did You Last See Your Father?
WHEN DID YOU LAST SEE YOUR FATHER? Directed by Anand Tucker Starring Colin Firth Jim Broadbent Juliet Stevenson Official Selection 2007 Toronto International Film Festival East Coast Publicity West Coast Publicity Distributor IHOP Block Korenbrot Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Ziggy Kozlowski Leila Guenancia 853 7th Ave, 3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 212-247-2948 fax 323-634-7030 fax 212-833-8844 fax Visit the website at: www.whendidyoulastseeyourfathermovie.com Short Synopsis When Did You Last See Your Father? is an unflinching exploration of a father/son relationship, as Blake Morrison deals with his father Arthur’s terminal illness and imminent death. Blake’s memories of everything funny, embarrassing and upsetting about his childhood and teens are interspersed with tender and heart- rending scenes in the present, as he struggles to come to terms with his father, and their history of conflict, and learns to accept that one’s parents are not always accountable to their children. Directed by Anand Tucker (Hilary and Jackie), from a screenplay by David Nicholls, adapted from Blake Morrison’s novel of the same name, the film stars Colin Firth, Jim Broadbent, Juliet Stevenson, Gina McKee, Claire Skinner, and Matthew Beard. Long Synopsis Arthur Morrison (Jim Broadbent), and his wife Kim (Juliet Stevenson), are doctors in the same medical practice in the heart of the Yorkshire Dales, England. They have two children, Gillian (Claire Skinner), and her older brother Blake (Colin Firth)Blake is a forty - year-old established author, married with two children and confronted with the fact that his father is terminally ill. -
The Cinema of Michael Winterbottom, Deborah Allison (2013) Plymouth: Lexington, 224 Pp., ISBN: 798-0-7391-2583-0 (Pbk)
The Cinema of Michael Winterbottom, Deborah Allison (2013) Plymouth: Lexington, 224 pp., ISBN: 798-0-7391-2583-0 (pbk) About half-way through The Cinema of Michael Winterbottom, Deborah Allison cites Annette Kuhn’s observation that it is both more interesting and more important to discuss what film genres do than what they are (116). As part of the Genre Film Auteurs series, one of the principle objectives of Allison’s book is to investigate what it is that genre does in the work of Michael Winterbottom, one of the most extraordinarily prolific and controversial of contemporary British filmmakers. Thus, in each of the book’s eight chapters, Allison sets out to use genre as a ‘as a critical tool’ (x), focusing her attention on one of the director’s films and the variety of ways in which its dominant genre identity is constructed, inflected and, more often than not, inverted. In this way, despite a focus that is narrower than some auteur studies, Allison successfully unearths a variety of themes and characteristics that run throughout Winterbottom’s eclectic oeuvre. After a brief introduction setting out these objectives and their parameters, the first chapter begins with an investigation of Butterly Kiss (1995) and its relationship to the road movie. This is the earliest film discussed in the fifteen years of Winterbottom’s output covered in the book, and Allison’s discussion of it provides a useful foundation for the other chapters. Indeed, each chapter follows a broadly similar framework, beginning with a short plot synopsis before exploring each film in relation to its respective genre/s, discussing the ways in which the films draw on and challenge established genre codes and convention. -
Eastern European Film-5
EASTERN EUROPEAN CINEMA VS. HOLLYWOOD: BOSNIAN WAR FILMS HONORS THESIS Presented to the Honors Committee of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Stephanie Lauren Moore San Marcos, Texas May 2014 EASTERN EUROPEAN CINEMA VS. HOLLYWOOD: BOSNIAN WAR FILMS Thesis Supervisor: ________________________________ Kathleen R. McClancy, Ph.D, Department of English Second Reader: __________________________________ Peter Golato, Ph.D Department of Modern Languages Approved: ____________________________________ Heather C. Galloway, Ph.D. Dean, Honors College Abstract The Bosnian War was a conflict that occurred in a little known European country after the fall of the Iron Curtain and break-up of Yugoslavia in the early 1990s. The purpose of this study is to compare and contrast the films from the Hollywood and Eastern European arenas. This study will specifically examine the Hollywood blockbuster Behind Enemy Lines and the Serbian film, Pretty Village, Pretty Flame in contrast with one another. Each of these films creates a discourse which influences many other films about the war and how films about the conflict are presented. 1 Introduction The purpose of this thesis is to explore the differences that can be found between the film industries hailing from both Hollywood and the European film industry, specifically films from the former Yugoslavian republics. Hollywood's industry uses a plot and star driven style, while the European film industry is character and narrative driven. True Hollywood-style war films are films that rely heavily on the plot and star power of the film. Thomas Elsaesser, the author of European Cinema: Face to Face with Hollywood, characterizes Hollywood films as “a less particular place, (and as so often asserted) 'more a state of mind'; rather than restricting access, its lingua franca is English, and it wants to be a site available to all, the films are accessible from anywhere” (492). -
Some Thoughts on Europe, Balkan Cinema and Identity
Of Boundaries and Revolving Doors: Some Thoughts on Europe, Balkan Cinema and Identity KAREN VIRAG Recently, I was given a copy of University of Leicester professor Dina Iordanova’s impressive new book on Balkan cinema, Cinema of Flames: Balkan Film, Culture and the Media. Among the many issues addressed in this excellent and far-ranging work are cross-cultural representations of the Balkans; the relationship of the Balkans to the European cultural sphere; the siege of Sarajevo, perhaps the most emblematic conflict of the recent wars; the (im)possibility of taking sides in armed conflict; images of women and minorities; and how all these things affect and are affected by Balkan film. The power of Cinema of Flames can be measured in its manifold effects: first, I began a near orgy of Balkan film watching. I had seen some of the films before but was prompted to re-evaluate them in light of a broader cultural and historical awareness. Further, I was inspired to rethink previous assumptions about the meaning of boundaries, belonging and the notion of the state; in other words, to discover what all is in a name. And I was reminded that east and west are not just points on a compass. GO EAST, YOUNG WOMAN, GO EAST Some time back in the 1980s, when I told a friend that I was going to Hungary for the summer, she asked with great puzzlement, “Why would you go there?” Her reaction struck me as odd, a trip to Europe in the summer, a pilgrimage to the continent that gave us Michelangelo and Bach being a normal rite of passage for many Canadian university students. -
Grade 8: Module 1: Unit 2: Lesson 19 Launching Researching: Reading for Gist and Gathering Evidence Using the Research Guide
Grade 8: Module 1: Unit 2: Lesson 19 Launching Researching: Reading for Gist and Gathering Evidence Using the Research Guide This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Exempt third-party content is indicated by the footer: © (name of copyright holder). Used by permission and not subject to Creative Commons license. GRADE 8: MODULE 1: UNIT 2: LESSON 19 Launching Researching: Reading for Gist and Gathering Evidence Using the Research Guide Long-Term Targets Addressed (Based on NYSP12 ELA CCLS) I can conduct short research projects to answer a question. (W.8.7) I can use evidence from informational texts to support analysis, reflection, and research. (W.8.9) I can express my own ideas clearly during discussions, and I can build on other’s ideas during discussions. (SL.8.1) Supporting Learning Targets Ongoing Assessment • I can find the gist of informational texts. • Research Guide • I can select the strongest evidence in an informational text about who the refugees were, where they fled from, and why they had to flee. Created by Expeditionary Learning, on behalf of Public Consulting Group, Inc. © Public Consulting Group, Inc., with a perpetual license granted to Expeditionary Learning Outward Bound, Inc. NYS Common Core ELA Curriculum • G8:M1:U2:L19 • June 2014 • 1 GRADE 8: MODULE 1: UNIT 2: LESSON 19 Launching Researching: Reading for Gist and Gathering Evidence Using the Research Guide Agenda Teaching Notes 1. Opening • Although this lesson is in Unit 2, the research conducted will apply toward the final performance task and A. -
Nicole Pepperell
CONTRADICTIONS A Journal for Critical Thought 2018 /2 CONTRADICTIONS volume 2 2018 number 2 Editorial collective Barbora Černušáková, Miloš Caňko, Joseph Grim Feinberg (editor-in-chief), Roman Kanda, Ľubica Kobová, Petr Kužel, Ivan Landa, Jan Mervart, Dan Swain, Jiří Růžička, Pavel Siostrzonek, Šimon Svěrák International editorial board John Abromeit (Buff alo State University), Oliver Belcher (Durham University), Jana Beránková (Columbia University), Katarzyna Bielińska-Kowalewska (Institute of Philosophy and Sociology, Polish Academy of Sciences, Warsaw), Wojciech Burszta (University of Social Sciences and Humanities, Warsaw), Ľubomír Dunaj (University of Prešov), Elżbieta Durys (University of Lodz), Ingo Elbe (Carl von Ossietzky University of Oldenburg), Juraj Halas (Comenius University, Bratislava), Peter Hudis (Oakton Community College), Michael Löwy (Centre national de la recherche scientifi que, France), Moishe Postone (in memoriam), Nick Nesbitt (Princeton University), Peter Steiner (University of Pennsylvania), Richard Sťahel (University of Constantine the Philosopher, Nitra), Karolina Szymaniak (Jewish Historical Institute, Warsaw; University of Wrocław), G. M. Tamás (Central European University, Budapest; Institute for Human Sciences, Vienna), Francesco Tava (Catholic University of Leuven), Zhivka Valiavicharska (Pratt Institute, New York), Xinruo Zhang (Peking University) Czech copyediting and proofreading Pavla Toráčová Slovak copyediting and proofreading Silvia Ruppeldtová English copyediting and proofreading Greg Evans Citation -
Michael Winterbottom
Um filme de MICHAEL WINTERBOTTOM a VIAGEM ITÁLIATHE TRIP TO ITALY BREVE SINOPSE Dois homens, seis refeições em seis locais diferentes numa viagem por estrada por Itália. Ligúria, Toscana, Roma, Amalfi e a terminar em Capri. O The Observer pediu a Rob e Steve que fizessem mais uma série de críticas a restaurantes. Eles falam de coisas como a vida, o amor, o trabalho e o exílio. Discutem Byron e Shelley, poetas Românticos cujas vidas foram definidas pelo tempo que passaram em Itália. Veremos a viagem em que eles embarcam, os hotéis onde ficam, os restaurantes onde comem, as cozinhas e os chefs que preparam a comida e depois a conta no fim. SINOPSE LONGA Dois homens, seis refeições em seis locais diferentes numa viagem por estrada em Itália. Ligúria, Toscana, Roma, Amalfi e a terminar em Capri. O The Observer pediu a Rob e Steve que fizessem mais uma série de críticas a restaurantes. Rob, cansado das responsabilidades de ser pai de uma criança pequena, está desejoso de ter uma aventura. Steve tem vivido uma vida de abstinência e trabalho árduo em Los Angeles, mas agora, num hiato do seu emprego, teve tempo para regressar à Europa e quer ver os seus filhos. Eles falam de coisas como a vida, o amor, o trabalho e o exílio. Discutem Byron e Shelley, poetas Românticos cujas vidas foram definidas pelo tempo que passaram em Itália. Veremos a viagem em que eles embarcam, os hotéis onde ficam, os restaurantes onde comem, as cozinhas e os chefs que preparam a comida e depois a conta no fim.