This Is Filmfour Not Some Cheesy Pseudo-Hollywood Thing!: The
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2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. -
Desiring Postcolonial Britain: Genre Fiction Since the Satanic Verses
Desiring Postcolonial Britain: Genre Fiction sinceThe Satanic Verses Sarah Post, BA (Hons), MA Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy November 2012 This thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere ProQuest Number: 11003747 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003747 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 1 Acknowledgements The completion of this project would not have been possible without the academic, financial and emotional support of a great number of people. I would like to thank all those that offered advice on early drafts of my work at conferences and through discussions in the department. Special thanks go to the Contemporary Gothic reading group at Lancaster for engendering lively debate that fed into my understanding of what the Gothic can do today. Equally, I could not have finished the project without financial support, for which I am grateful to the Lancaster English Department for a fee waiver and to Dr. -
Al Pacino Receives Bfi Fellowship
AL PACINO RECEIVES BFI FELLOWSHIP LONDON – 22:30, Wednesday 24 September 2014: Leading lights from the worlds of film, theatre and television gathered at the Corinthia Hotel London this evening to see legendary actor and director, Al Pacino receive a BFI Fellowship – the highest accolade the UK’s lead organisation for film can award. One of the world’s most popular and iconic stars of stage and screen, Pacino receives a BFI Fellowship in recognition of his outstanding achievement in film. The presentation was made this evening during an exclusive dinner hosted by BFI Chair, Greg Dyke and BFI CEO, Amanda Nevill, sponsored by Corinthia Hotel London and supported by Moët & Chandon, the official champagne partner of the Al Pacino BFI Fellowship Award Dinner. Speaking during the presentation, Al Pacino said: “This is such a great honour... the BFI is a wonderful thing, how it keeps films alive… it’s an honour to be here and receive this. I’m overwhelmed – people I’ve adored have received this award. I appreciate this so much, thank you.” BFI Chair, Greg Dyke said: “A true icon, Al Pacino is one of the greatest actors the world has ever seen, and a visionary director of stage and screen. His extraordinary body of work has made him one of the most recognisable and best-loved stars of the big screen, whose films enthral and delight audiences across the globe. We are thrilled to honour such a legend of cinema, and we thank the Corinthia Hotel London and Moët & Chandon for supporting this very special occasion.” Alongside BFI Chair Greg Dyke and BFI CEO Amanda Nevill, the Corinthia’s magnificent Ballroom was packed with talent from the worlds of film, theatre and television for Al Pacino’s BFI Fellowship presentation. -
Norwich Film Festival Is Accredited by Both the British Independent Film Awards and the British Academy of Film and Television Arts
NORWICH FILMFESTIVAL #NFF2019 6-17 NOVEMBER 2019 Supported by THANK YOU TO ALL OUR SUPPORTERS SPONSORS OF BEST SPONSORS OF BEST SPONSORS OF BEST DOCUMENTARY FILM EAST ANGLIAN FILM SHORT FILM THE TIMOTHY COLMAN TRUST NORWICH FILM FESTIVAL IS ACCREDITED BY BOTH THE BRITISH INDEPENDENT FILM AWARDS AND THE BRITISH ACADEMY OF FILM AND TELEVISION ARTS BIFA BAFTA QUALIFYING FESTIVAL QUALIFYING FESTIVAL BRITISH SHORT FILM BRITISH SHORT FILM CONTENTS WELCOME NOTES 4 OUR TEAM 5 FESTIVAL MAP 6 SUMMARY OF EVENTS 8 LAUNCH NIGHT 12 DAY ONE 13 DAY TWO 14 DAY THREE 15 DAY FOUR 18 DAY FIVE 21 DAY SIX 22 DAY SEVEN 24 DAY EIGHT 26 DAY NINE 30 DAY TEN 35 OFFICIAL SELECTION 38 OUR JUDGES 40 NOMINATED FILMS 42 FESTIVAL TIMETABLE 46 norwichfilmfestival.co.uk 3 WE’RE BACK and we’re incredibly excited to bring you the ninth Norwich Film Festival! We’ve had a record number of submissions this year, and we’ve spent months carefully choosing our Official Selection to present to you this month. We have 111 great short films, as well as 10 brilliant feature films, and a huge selection of industry sessions and talks. We’re extremely grateful for the continued support of our sponsors, partners, and friends, and we wouldn’t be where we are today without your help. We’re also proud of the ongoing commitment from our team of volunteers and the staff of all the venues hosting us across the city. The festival is what it is because of them, but also because of you, our audience. -
Independent Television Producers in England
Negotiating Dependence: Independent Television Producers in England Karl Rawstrone A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts and Creative Industries, University of the West of England, Bristol November 2020 77,900 words. Abstract The thesis analyses the independent television production sector focusing on the role of the producer. At its centre are four in-depth case studies which investigate the practices and contexts of the independent television producer in four different production cultures. The sample consists of a small self-owned company, a medium- sized family-owned company, a broadcaster-owned company and an independent- corporate partnership. The thesis contextualises these case studies through a history of four critical conjunctures in which the concept of ‘independence’ was debated and shifted in meaning, allowing the term to be operationalised to different ends. It gives particular attention to the birth of Channel 4 in 1982 and the subsequent rapid growth of an independent ‘sector’. Throughout, the thesis explores the tensions between the political, economic and social aims of independent television production and how these impact on the role of the producer. The thesis employs an empirical methodology to investigate the independent television producer’s role. It uses qualitative data, principally original interviews with both employers and employees in the four companies, to provide a nuanced and detailed analysis of the complexities of the producer’s role. Rather than independence, the thesis uses network analysis to argue that a television producer’s role is characterised by sets of negotiated dependencies, through which professional agency is exercised and professional identity constructed and performed. -
2012 Annual Report
2012 ANNUAL REPORT Table of Contents Letter from the President & CEO ......................................................................................................................5 About The Paley Center for Media ................................................................................................................... 7 Board Lists Board of Trustees ........................................................................................................................................8 Los Angeles Board of Governors ................................................................................................................ 10 Public Programs Media As Community Events ......................................................................................................................14 INSIDEMEDIA/ONSTAGE Events ................................................................................................................15 PALEYDOCFEST ......................................................................................................................................20 PALEYFEST: Fall TV Preview Parties ...........................................................................................................21 PALEYFEST: William S. Paley Television Festival ......................................................................................... 22 Special Screenings .................................................................................................................................... 23 Robert M. -
An Idiothole's Guide to the Show
AN ID I OTHOLE ’S GU I DE TO THE SHOW ABOUT THE SHOW AN INTRODUCT I ON The Adam and Joe Show is a BBC6 Music radio slot on Saturday morning that starts at an un-godly 9:00am and ends at a much more reasonable 12:00pm. To date I must confess I have only ever once dragged myself out of bed to listen to the show. It was hard, but worth it if only for the communal idea of us all being...um...awake at the same time. (Not sure if I could manage it again. My partner grumbled about my early morning homage the whole way through. “Adam & Joe! Stupid Adam and Joe! I’m going to call them and tell them they are ruining my life!“ said with no small level of venom.) The show is hosted by Adam Buxton, a comedian, actor and music buff & Joseph Murray Cornish a writer, occasional actor and movie fanatic. Once upon a time they used to be on TV hosting their home-made pop-culture laden show on Channel 4 which for some reason Channel 4 ended after four seasons (what fools!). Luckily all the shows have been archived online and are free to watch at leisure. (Go to the Useful Links page for the web link. The show features music broken up by listener interactive elements and a lot of chit-chat bewteen the duo (who have known each other since they were in school) that you can giggle at while on the way to work, at work or even as suggested by A&J, on the loo. -
FILM MANUFACTURERS INC. Presents MAPPLETHORPE: LOOK at the PICTURES a Film by Fenton Bailey & Randy Barbato
FILM MANUFACTURERS INC. Presents MAPPLETHORPE: LOOK AT THE PICTURES A film by Fenton Bailey & Randy BArbAto BERLINALE SCREENING SCHEDULE (PREMIERE) Sunday, February 14th at 5:00 PM @ (P&I SCREENING) Sunday, FebruAry 14th At 9:00 PM @ Running Time: 1:48:24 minutes For press materials, please visit: Press ContAct Press ContAct Public Insight Dogwoof Andrea Klasterer Yung Kha Office: +49/ 89/ 78 79 799-12 Office: +44(0)20 7253 6244 Andrea cell: +49 163 680 51 37 Yung cell: +44 7788546706 Email: [email protected] Email: [email protected] InternAtionAl Sales InternAtionAl Press DOGWOOF [email protected] Vesna Cudic [email protected] / +44 7977 051 577 www.mapplethorpefilm.com www.facebook.com/MapplethorpeFilm www.twitter.com/Mapplethorpedoc www.filminc.com MAPPLETHORPE: LOOK AT THE PICTURES A film by Fenton Bailey & Randy Barbato SHORT SYNOPSIS MAPPLETHORPE: LOOK AT THE PICTURES is the first definitive, feature length portrait of the controversial artist since his untimely death in 1989. A catalyst and an illuminator, but also a magnet for scandal, Robert Mapplethorpe had but one goal: to ‘make it’ as an artist and as an art celebrity. He could not have picked a better time: the Manhattan of Warhol’s Factory, Studio 54, and an era of unbridled hedonistic sexuality. His first solo exhibition in 1976 already unveils his subjects: flowers, portraits and nudes. Mapplethorpe quickly gains notoriety through his explicitly sexual photographs from the gay sadomasochistic scene as well as nude pictures of black men. Directors Fenton Bailey and Randy Barbato were given unrestricted access to Mapplethorpe’s archives for their documentary Mapplethorpe: Look at the Pictures, in which this exceptional artist talks candidly about himself in recently discovered interviews. -
Attack the Block // 27
präsentiert Eröööffffffnungsfffilllm dddes /slllaaashhh fffilllmfffestivvvaaallls 2011 www.slashfilmfestival.com Filmcasino 22.09 - 30.09 2011 KINOSTART: 2333.0 9.2011 88 Minuten // UK 2011 // HD // Color // 2,35:1 // Dolby SR-D FILMWEBSEITE www.attacktheblock-film.de (ab 10.08.11) Pressematerial online unter: www.capelight.de // Benutzer: press // Kennwort: pressarea oder www.polyfilm.at VERLEIH POLYFILM PRESSEKONTAKT : Margaretenstrasse 78 Alessandra Thiele 1050 Wien POLYFILM PRESSE Tel. +43 1 581 39 00 - 20 Tel + 43 1 581 39 00 -14 Fax + 43 1 581 39 00 - 39 Mob +43 676 398 38 13 [email protected] [email protected] http://www.polyfilm.at 1 INHALT VOR DER KAMERA – Die Besetzung // 03 HINTER DER KAMERA – Der Stab // 03 KURZINHALT & PRESSENOTIZ // 04 LANGINHALT // 05 PRODUKTIONSNOTIZEN // 08 BEGIN THE BLOCK // 10 DEVELOP THE BLOCK // 11 CAST THE BLOCK // 14 SHOOT THE BLOCK // 22 ATTACK THE BLOCK // 27 ADD SOUND TO THE BLOCK // 31 DIE BESETZUNG // 32 DER STAB // 37 2 DIE BESETZUNG Moses JOHN BOYEGA Sam JODIE WHITTAKER Pest ALEX ESMAIL Dennis FRANZ DRAMEH Jerome LEEON JONES Biggz SIMON HOWARD Brewis LUKE TREADAWAY Ron NICK FROST Hi-Hatz JUMAYN HUNTER DER STAB Regie, Drehbuch JOE CORNISH Produktion NIRA PARK JAMES WILSON Ausführende Produktion MATTHEW JUSTICE TESSA ROSS JENNY BORGARS WILL CLARKE OLIVER COURSON EDGAR WRIGHT 3 Kamera TOM TOWNEND Schnitt JONATHAN AMOS Szenenbild MARCUS ROWLAND Kostüm ROSA DIAS Haare und Makeup JANE WALKER Stuntkoordination PAUL HERBERT Monstereffekte MIKE ELIZALDE – SPECTRAL MOTION Visuelle Effekte DOUBLE NEGATIVE KURZINHALT & PRESSENOTIZ Auf dem Nachhauseweg wird die angehende Krankenschwester Sam (JODIE WHITTAKER) in einem Viertel in Süd-London mitten auf einer einsamen Straße von einer Gang maskierter Jugendlicher umstellt. -
Channel 4 and British Film: an Assessment Of
Channel 4 and British Film: An Assessment of Industrial and Cultural Impact, 1982-1998 Laura Mayne This thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 i Abstract This thesis is an historical investigation of Channel 4’s influence on the British film industry and on British film culture between 1982 and 1998. Combining archival research with interview testimony and secondary literature, this thesis presents the history of a broadcaster’s involvement in British film production, while also examining the cultural and industrial impact of this involvement over time. This study of the interdependence of film and television will aim to bring together aspects of what have hitherto been separate disciplinary fields, and as such will make an important contribution to film and television studies. In order to better understand this interdependence, this thesis will offer some original ideas about the relationship between film and television, examining the ways in which Channel 4’s funding methods led to new production practices. Aside from the important part the Channel played in funding (predominantly low-budget) films during periods when the industry was in decline and film finance was scarce, this partnership had profound effects on British cinema in the 1980s and 1990s. In exploring these effects, this thesis will look at the ways in which the film funding practices of the Channel changed the landscape of the film industry, offered opportunities to emerging new talent, altered perceptions of British film culture at home and abroad, fostered innovative aesthetic practices and brought new images of Britain to cinema and television screens. -
Academic Track
Confusion 2021 – Academic Track Friday 2nd April 2021 Session One: String Theory Made Easy Presented by: Maciej Matuszewski String theory is often considered to be one of the most difficult branches of modern physics. However, it is far from an impenetrable subject and the basic ideas can be readily understood by a layperson. String theory is the result of a long-time trend in physics to attempt to arrive at unified theories of seemingly distinct phenomena. The great successes of twentieth century physics have been general relativity – which explains how gravity behaves at large scales – and the standard model – which explains the subatomic world. However, it has been difficult to see how these two theories work together – for example, we do not know how gravity works for subatomic particles. String theory was created to describe subatomic particles called mesons – however it was also found to naturally ‘predict’ gravity. It is therefore hoped that it can be the missing ‘Theory of Everything’. Even if it is not correct as a fundamental theory in and of itself, the mathematics of string theory is very interesting. The so-called AdS/CFT correspondence is a trick that uses this new mathematics to simplify complicated calculations in areas such as high energy physics and solid state physics. My work has, in particular, looked at how the AdS/CFT correspondence can be used to make simpler, but hopefully still accurate, models of how mesons decay. This presentation will provide an accessible but detailed historical and scientific background which led up to string theory and the AdS/CFT correspondence, and then briefly outline the specifics of these theories themselves. -
1 "Documentary Films" an Entry in the Encylcopedia of International Media
1 "Documentary Films" An entry in the Encylcopedia of International Media and Communication, published by the Academic Press, San Diego, California, 2003 2 DOCUMENTARY FILMS Jeremy Murray-Brown, Boston University, USA I. Introduction II. Origins of the documentary III. The silent film era IV. The sound film V. The arrival of television VI. Deregulation: the 1980s and 1990s VII. Conclusion: Art and Facts GLOSSARY Camcorders Portable electronic cameras capable of recording video images. Film loop A short length of film running continuously with the action repeated every few seconds. Kinetoscope Box-like machine in which moving images could be viewed by one person at a time through a view-finder. Music track A musical score added to a film and projected synchronously with it. In the first sound films, often lasting for the entire film; later blended more subtly with dialogue and sound effects. Nickelodeon The first movie houses specializing in regular film programs, with an admission charge of five cents. On camera A person filmed standing in front of the camera and often looking and speaking into it. Silent film Film not accompanied by spoken dialogue or sound effects. Music and sound effects could be added live in the theater at each performance of the film. Sound film Film for which sound is recorded synchronously with the picture or added later to give this effect and projected synchronously with the picture. Video Magnetized tape capable of holding electronic images which can be scanned electronically and viewed on a television monitor or projected onto a screen. Work print The first print of a film taken from its original negative used for editing and thus not fit for public screening.