EXPERIMENTER Yale University, 1961

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When: Wed, Nov. 30, 2016 Time: 1:30 pm – 3:30pm Where: McKissick Theater Hendrix Student Center A question and answer session will follow the movie. Popcorn and drinks will be provided. Register at http://www.clemson.edu/orc/ (not required) This event qualifies for 2 hours of advanced RCR (Responsible Conduct of Research) credit hours. EXPERIMENTER Yale University, 1961. Stanley Milgram (Peter Sarsgaard) designs a psychology experiment that remains relevant to this day, in which people think they’re delivering painful electric shocks to an affable stranger (Jim Gaffigan) strapped into a chair in another room. Disregarding his pleas for mercy, the majority of subjects do not stop the experiment, administering what they think are near-fatal electric shocks, simply because they’ve been told to. With Nazi Adolf Eichmann’s trial airing in living rooms across America, Milgram’s exploration of authority and conformity strikes a nerve in popular culture and the scientific community. Celebrated in some circles, he is also accused of being a deceptive, manipulative monster. His wife Sasha (Winona Ryder) anchors him through it all. EXPERIMENTER invites us inside Milgram’s whirring mind in this bracing portrait of a brilliant man whose conscience and creative spirit continue to be resonant, poignant, and inspirational. Magnolia Pictures, B.B. Film Productions, F.J. Productions and Intrinsic Value in association with Jeff Rice Films, 2B Productions, Parnasses Enterprises A MAGNOLIA PICTURES RELEASE A film by Michael Almereyda 98 minutes Starring: Peter Sarsgaard, Winona Ryder, Jim Gaffigan, Edoardo Ballerini, Kellan Lutz, Dennis Haysbert, Danny Abeckaser, Taryn Manning, Anton Yelchin .

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Cinematic Hamlet Arose from Two Convictions
INTRODUCTION Cinematic Hamlet arose from two convictions. The first was a belief, confirmed by the responses of hundreds of university students with whom I have studied the films, that theHamlet s of Lau- rence Olivier, Franco Zeffirelli, Kenneth Branagh, and Michael Almereyda are remarkably success- ful films.1 Numerous filmHamlet s have been made using Shakespeare’s language, but only the four included in this book represent for me out- standing successes. One might admire the fine acting of Nicol Williamson in Tony Richard- son’s 1969 production, or the creative use of ex- treme close-ups of Ian McKellen in Peter Wood’s Hallmark Hall of Fame television production of 1 Introduction 1971, but only four English-language films have thoroughly transformed Shakespeare’s theatrical text into truly effective moving pictures. All four succeed as popularizing treatments accessible to what Olivier’s collabora- tor Alan Dent called “un-Shakespeare-minded audiences.”2 They succeed as highly intelligent and original interpretations of the play capable of delight- ing any audience. Most of all, they are innovative and eloquent translations from the Elizabethan dramatic to the modern cinematic medium. It is clear that these directors have approached adapting Hamlet much as actors have long approached playing the title role, as the ultimate challenge that allows, as Almereyda observes, one’s “reflexes as a film-maker” to be “tested, battered and bettered.”3 An essential factor in the success of the films after Olivier’s is the chal- lenge of tradition. The three films that followed the groundbreaking 1948 version are what a scholar of film remakes labels “true remakes”: works that pay respectful tribute to their predecessors while laboring to surpass them.4 As each has acknowledged explicitly and as my analyses demonstrate, the three later filmmakers self-consciously defined their places in a vigorously evolving tradition of Hamlet films.
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December 2020 Download
December 2020 Program Updates from VP and Program Director Doron Weber FILM Son of Monarchs Awarded 2021 Sloan Feature Film Prize at Sundance Son of Monarchs has been chosen as the Sloan Feature Film Prize winner at the 2021 Sundance Film Festival, to be awarded in January at this year’s virtual festival. The feature film, directed and written by filmmaker and scientist Alexis Gambis, follows a Mexican biologist who studies butterflies at a NYC lab as he returns home to the Monarch forests of Michoacán. The film was cited by the jury “for its poetic, multilayered portrait of a scientist’s growth and self-discovery as he migrates between Mexico and NYC working on transforming nature and uncovering the fluid boundaries that unite past and present and all living things.” This year’s Sloan jury included MIT researcher and protagonist of the new Sloan documentary Coded Bias Joy Buolamwini, Associate Professor in Chemistry at CUNY Hunter College and the CUNY Graduate Center Mandë Holford, and Sloan-supported filmmakers Aneesh Chaganty (Searching), Lydia Dean Pilcher (Radium Girls), and Lena Vurma (Adventures of a Mathematician). Son of Monarchs will be included in the 2021 Sundance Film Festival program and will be recognized at the closing night award ceremony as the Sloan winner. The Sloan Feature Film Prize, one of only six juried prizes at Sundance, is supported by a 2019 grant to the Sundance Institute. Ammonite Wins Sloan Science in Cinema Award at SFFILM This year’s SFFILM Sloan Science in Cinema Prize, which recognizes the compelling depiction of science in a narrative feature film, was awarded to Ammonite.
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2020 Sundance Film Festival: 118 Feature Films Announced
FOR IMMEDIATE RELEASE Media Contact: December 4, 2019 Spencer Alcorn 310.360.1981 [email protected] 2020 SUNDANCE FILM FESTIVAL: 118 FEATURE FILMS ANNOUNCED Drawn From a Record High of 15,100 Submissions Across The Program, Including 3,853 Features, Selected Films Represent 27 Countries Once Upon A Time in Venezuela, photo by John Marquez; The Mountains Are a Dream That Call to Me, photo by Jake Magee; Bloody Nose, Empty Pockets, courtesy of Sundance Institute; Beast Beast, photo by Kristian Zuniga; I Carry You With Me, photo by Alejandro López; Ema, courtesy of Sundance Institute. Park City, UT — The nonprofit Sundance Institute announced today the showcase of new independent feature films selected across all categories for the 2020 Sundance Film Festival. The Festival hosts screenings in Park City, Salt Lake City and at Sundance Mountain Resort, from January 23–February 2, 2020. The Sundance Film Festival is Sundance Institute’s flagship public program, widely regarded as the largest American independent film festival and attended by more than 120,000 people and 1,300 accredited press, and powered by more than 2,000 volunteers last year. Sundance Institute also presents public programs throughout the year and around the world, including Festivals in Hong Kong and London, an international short film tour, an indigenous shorts program, a free summer screening series in Utah, and more. Alongside these public programs, the majority of the nonprofit Institute's resources support independent artists around the world as they make and develop new work, via Labs, direct grants, fellowships, residencies and other strategic and tactical interventions.
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Experimenter Dp 2
!2 w w w . s e p t i e m e f a c t o r y . c o m Présente EXPERIMENTER réalisé par MICHAEL ALMEREYDA Avec PETER SARSGAARD WINONA RYDER USA - 2015 Durée : 1H30 – Format : 1:85 – Son : DOLBY 5.1 SORTIE NATIONALE LE 18 NOVEMBRE 2015 DISTRIBUTION RELATIONS PRESSE SEPTIEME FACTORY BOSSA NOVA 20, rue du Neuhof Michel Burstein 67100 Strasbourg 32, Bld Saint Germain [email protected] 75005 Paris [email protected] Tel : 01 43 26 26 26 [email protected] www.bossa-nova.info !3 !4 Synopsis Yale Université, 1961, Stanley Milgram (Peter Sarsgaard) conduit une expérience de psychologie - encore majeure aujourd’hui - dans laquelle des volontaires croient qu’ils administrent des décharges électriques douloureuses à un parfait inconnu (Jim Gaffigan) attaché à une chaise, dans une autre pièce. Malgré les demandes de la victime d’arrêter, la majorité des volontaires continuent l’expérience, infligeant ce qu’elles croient être des décharges presque mortelles, simplement parce qu’un scientifique leur a demandé de le faire. A l'époque où le procès du Nazi Eichmann est diffusé à la télévision jusque dans les foyers de millions d'américains, la théorie développée par le scientifique Milgram, qui explore la tendance des individus à se soumettre à une autorité, provoque une vive émotion dans l'opinion publique et la communauté scientifique. Célébré par nombre de ses confrères il est vilipendé par d'autres. Stanley Milgram est alors accusé de tromperie et de manipulation. Son épouse Sasha (Winona Ryder) le soutient dans cette période de trouble.
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Program Updates from the VP and Program Director Doron Weber
June 2017 Program Updates from the VP and Program Director Doron Weber FILM Sloan Presents World Premiere of Bombshell: The Hedy Lamarr Story at Tribeca Film Festival Sloan and Tribeca Film Institute co-hosted the world premiere screening of Bombshell: The Hedy Lamarr Story as part of the Foundation’s signature 14-year film partnership with Tribeca. The sold-out screening was followed by an all-female panel of scientists and filmmakers, including Oscar-winning actress and executive producer Susan Sarandon, award- winning actress and producer Diane Kruger, director Alex Dean, patent attorney Patricia Rogowski, and UCLA Associate Professor and electrical engineer Danijela Cabric. (The panel is pictured at left with Sloan Vice President, Programs and Program Director Doron Weber.) Sloan funded the film with a major production grant in 2015 for an American Masters documentary on the remarkable life and scientific achievements of Hedy Lamarr. Based on the Sloan-supported book Hedy’s Folly by Richard Rhodes and produced by Susan Sarandon and her company Reframed Pictures, Bombshell tells the little-known story of Lamarr, a major Hollywood star from the 1930s through the 1950s, who was also a pioneering inventor. Together with composer George Antheil, she developed a key “frequency-hopping” innovation that led to future advances like Wi-Fi and cell phones. The film features original material, including a newly discovered audio interview with Lamarr that serves as a voiceover. Sloan has long supported books, films, and plays about Lamarr, beginning with an Ensemble Studio Theatre/Sloan commission in 2000 of the play Frequency Hopping by Elyse Singer, produced in New York in 2008.
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Ethan Hawke Sparks 'Tesla' Biopic Take Me out to The
CALENDAR E WEDNESDAY,AUGUST 26, 2020 :: LATIMES.COM/CALENDAR MOVIE REVIEW Ethan Take Hawke me out sparks to the ‘Tesla’ e-ball biopic game ‘Blaseball’ is the new Michael Almereyda’s word-of-mouth unconventional film baseball-inspired gives the pioneering video game hit. scientist his due. TODD MARTENS GAME CRITIC VICTORY JUSTIN CHANG Melanie Ramos rolls for the opening credits on July 5, a few days after rain canceled a first attempt. FILM CRITIC Baseball right now is weird. The past few years have It’s nice, of course, for brought a fresh resurgence fans to have something to of interest in the life and lega- watch, but with empty stadi- cy of Nikola Tesla, the popu- ums, games postponed be- larity of an Elon Musk elec- cause of players becoming tric car being only the best- sick with COVID-19 and au- known example. You can diences represented either find Tesla’s tall, dark-suited by cardboard cutouts or vir- frame and mustachioed tual avatars, something feels frown in graphic novels and ... off. video games; you can hear But thereis a version of his innovations extolled in baseball that has taken the the lyrics of rock songs and summer by storm, an online even a 2018 stage musical. universe where teams such The movies have done as the Baltimore Crabs, the their part to exploit his con- Hades Tigers and the siderable mystique without Charleston Shoe Thieves necessarily drawing him in seem as popular and hated from the sidelines: David as the Dodgers, Yankees or Bowie played him as the the Cubs, complete with fan- drollest of enigmas in “The run Twitter accounts and Prestige” (2006), and Nicho- social media feeds that act las Hoult gave us a peek at as fictional news networks.
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SHAKESPEARE in PERFORMANCE Some Screen Productions
SHAKESPEARE IN PERFORMANCE some screen productions PLAY date production DIRECTOR CAST company As You 2006 BBC Films / Kenneth Branagh Rosalind: Bryce Dallas Howard Like It HBO Films Celia: Romola Gerai Orlando: David Oyelewo Jaques: Kevin Kline Hamlet 1948 Two Cities Laurence Olivier Hamlet: Laurence Olivier 1980 BBC TVI Rodney Bennett Hamlet: Derek Jacobi Time-Life 1991 Warner Franco ~effirelli Hamlet: Mel Gibson 1997 Renaissance Kenneth Branagh Hamlet: Kenneth Branagh 2000 Miramax Michael Almereyda Hamlet: Ethan Hawke 1965 Alpine Films, Orson Welles Falstaff: Orson Welles Intemacional Henry IV: John Gielgud Chimes at Films Hal: Keith Baxter Midni~ht Doll Tearsheet: Jeanne Moreau Henry V 1944 Two Cities Laurence Olivier Henry: Laurence Olivier Chorus: Leslie Banks 1989 Renaissance Kenneth Branagh Henry: Kenneth Branagh Films Chorus: Derek Jacobi Julius 1953 MGM Joseph L Caesar: Louis Calhern Caesar Manluewicz Brutus: James Mason Antony: Marlon Brando ~assiis:John Gielgud 1978 BBC TV I Herbert Wise Caesar: Charles Gray Time-Life Brutus: kchard ~asco Antony: Keith Michell Cassius: David Collings King Lear 1971 Filmways I Peter Brook Lear: Paul Scofield AtheneILatenla Love's 2000 Miramax Kenneth Branagh Berowne: Kenneth Branagh Labour's and others Lost Macbeth 1948 Republic Orson Welles Macbeth: Orson Welles Lady Macbeth: Jeanette Nolan 1971 Playboy / Roman Polanslu Macbe th: Jon Finch Columbia Lady Macbeth: Francesca Annis 1998 Granada TV 1 Michael Bogdanov Macbeth: Sean Pertwee Channel 4 TV Lady Macbeth: Greta Scacchi 2000 RSC/ Gregory
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Elsie Walker
EnterText 1.2 ELSIE WALKER A “Harsh World” of Soundbite Shakespeare: Michael Almereyda’s Hamlet (2000) There has been an explosion of Shakespearean films since the mid-1990s: Richard Loncraine’s Richard III (1995), Oliver Parker’s Othello (1995), Adrian Noble’s A Midsummer Night’s Dream (1996), Baz Luhrmann’s Romeo + Juliet (1997), Michael Hoffman’s A Midsummer Night’s Dream (1999), Kenneth Branagh’s Hamlet (1997) and Love’s Labour’s Lost (2000), Julie Taymor’s Titus (2000) and Michael Almereyda’s Hamlet (2000) to name a few. Mark Thornton Burnett and Ramona Wray attribute this phenomenon in part to fin-de-siècle nostalgia.1 Some of these adaptations of ‘classic’ works are an antidote for the anxieties of the present: thus, many of the films (such as Hoffman’s Dream, Kenneth Branagh’s films) take place in an unspecified, romanticised past. However Luhrmann’s Walker: A “Harsh World” of Soundbite Shakespeare 317 EnterText 1.2 Romeo + Juliet and Almereyda’s Hamlet both feature a modern mise-en-scène, and they are more self-conscious re-evaluations of and dialogues with the past in the light of the present.2 In Luhrmann’s film, there is a central conflict between postmodernism and Romanticism. Luhrmann’s setting for Romeo + Juliet is an antagonistic, voracious city in which different cultures, texts, architectures, and personalities clash and jostle for supremacy. Romantic, metaphysical absolutes, like the love Romeo and Juliet seek to create and preserve, can not endure in this cinematic world. There is seemingly no possibility of an absolute, enduring ‘positive’ to counteract all the ‘negatives’ Luhrmann presents in his collage city of gangs, drugs, violence, oppressive media, intergenerational conflict, warring corporate owners, faithlessness, fragmentation, chaos and despair.3 Within Almereyda’s Hamlet there is a similar tension: Shakespeare’s words embody the kind of idealism and integrity that is impermissible or unbelievable in a broken, postmodern world.
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Michael Almereyda's Hamlet – an Attempt at Hamlet
Michel Almereyda’s Hamlet... 109 MICHAEL ALMEREYDA’S HAMLET – AN ATTEMPT AT HAMLET Magdalena Cieœlak University of Lodz Michael Almereyda’s film adaptation of Shakespeare’s Hamlet is a unique combination of two approaches: commenting on both the play’s stage/screen existence and its place in the global culture of today, and discovering such aspects of the play that have not been shown, or at least highlighted, before. On the one hand, Almereyda seems to be too aware of Shakespeare’s position as a cultural icon and of the play’s history of criticism and performance to believe that he can create an entirely new film version of Hamlet. Therefore, he chooses to acknowledge the achievements of his predecessors and refers not only to the iconography of Shakespeare on stage and screen but to various other cultural influences, from ancient sculpture and classical painting to popular cinema and high technology. Yet, on the other hand, the film attempts to update the play for our times and take on an original and innovative interpretation. Almereyda centres the film around Hamlet more clearly and intensely than any other recent film director, brings out the father- son relationship and focuses on father figures (old Hamlet and Polonius), and casts a comparatively young actor for the role. Moreover, moving the action of the film to New York 2000, he saturates the film with media and technology, thus creating alternative worlds that enable him to develop the plot on various levels of cinematic reality. In my paper, I will discuss one of the most vital 110 Magdalena Cieœlak points distinguishing Almereyda’s film from earlier screen productions, that is the way he focuses on Hamlet as a character, especially by exploring and externalising Hamlet’s personality through the use of his video diary, and through defining his room and outfit.
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Metatheatricality and Postmodern Media Pastiche in Hamlet (2000)
Metatheatricality and postmodern media pastiche in Hamlet (2000) Pradipta Mukherjee Vidyasagar College for Women, Kolkata, India Abstract In Michael Almereyda’s low-budget Hamlet (2000) the modernisation is ingenious and stylish. The film is a commentary on earlier film versions as well as an attempt to produce a distinctly contemporary or even postmodern version of the Shakespearean play. Almereyda presents a radical shift of period and milieu, offering a broadly allusive and richly reimagined retelling of its source material. Events of the play are translated into the world of big business in New York City, scenes take place in the skyscraper Head Quarter of the Denmark Corporation. The urban setting, saturated with the vacant images of late capitalism leaves Hamlet in an Un-Shakespearean universe. The aesthetic strategies, frame of reference and experimental modes of Almereyda’s film offer interesting challenges. Keywords: cityscape, technology, experimental, alienation, visual narrative, self- referentiality, self-reflexivity. Michael Almereyda’s millennial film of Hamlet (2000) offers a stunning contemporary vision of the Shakespearean playtext. In screenplay, style, setting, film score, and casting, Almereyda’s film, like Baz Luhrmann’s William Shakespeare’s Romeo +Juliet (1996) foregrounds a postmodern aesthetics. Almereyda’s is equally radical and interesting in his use of the Shakespearean material. Fragmentation, alienation and discontinuity characterize Almereyda’s audacious attempt to appropriate the Shakespearean play for a twenty-first century culture. The film repeatedly highlights issues about alienation, paranoia, spying, self-absorption, communication and generational conflict that are alive in Shakespeare’s text. Both Almereyda and Luhrmann’s films are dominated by landscapes and/or modern cityscapes with images from consumer culture.
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Tesla Biopic, Starring Ethan Hawke: Eccentric Portrayal
Books & arts The heart of Halpern’s book is the conflict that even extraordinarily rational intellect His passion for publicity seems insatiable.” between human intuitions of deep connec- can come up short when confronted with the Albert Einstein spent his final years trying to tions in the Universe, and the scientific case for subjective depths of one’s own being. reconcile relativity with quantum mechanics, such links. He sweeps the reader from the early It’s also shocking to see the unglamorous but even his dogmatism was imbued with grace. Greeks to modern physics — from the works sides of Pauli and German theorist Werner Connections between seemingly disparate of Plato and Empedocles, Johannes Kepler, Heisenberg. The charm and energy of youth elements and characters coalesce and connect Galileo Galilei, Isaac Newton, James Clerk behind them — along with their Nobel prizes in the book’s second half, a pleasing echo of Maxwell and others, to the arrival of relativ- — they struggled to remain relevant. Late in the story. For example, Heisenberg and Pauli’s ity and quantum mechanics — building a case their careers, the duo developed the idea of a attempts recall Plato’s idea of a timeless realm for potential connections without causality. A single field “from which all matter, energy, and of perfect forms underlying our observed real- coda deals with the most recent experiments natural interactions would coalesce as special ity. Rightly or wrongly, with much to uncover on entanglement, involving satellites, and nods cases”. When Pauli presented their ill-formed about how the Universe works, the allure of to complex theoretical work that connects theory at a 1958 conference of the American acausal connections remains.
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Universidade Do Estado Do Rio De Janeiro Centro De Educação E Humanidades Instituto De Letras
Universidade do Estado do Rio de Janeiro Centro de Educação e Humanidades Instituto de Letras Diego Santos Ferreira Holding mirrors up to Hamlet: what Franco Zeffirelli’s and Michael Almereyda’s filmic adaptations of the play tell us about it Rio de Janeiro 2012 Diego Santos Ferreira Holding mirrors up to Hamlet: what Franco Zeffirelli’s and Michael Almereyda’s filmic adaptations of the play tell us about it Dissertação apresentada, como requisito parcial para a obtenção do título de Mestre, ao Programa de Pós-graduação em Letras, da Universidade do Estado do Rio de Janeiro. Área de concentração: Literaturas de Língua Inglesa. Orientadora: Profª. Dra. Fernanda Teixeira de Medeiros Rio de Janeiro 2012 CATALOGAÇÃO NA FONTE UERJ/REDE SIRIUS/CEHB F383 Ferreira, Diego Santos. Holding mirrors up to Hamlet: what Franco Zeffirelli’s and Michael Almereyda’s filmic adaptations of the play tell us about it / Diego Santos Ferreira. – 2012. 102 f.: il. Orientadora: Fernanda Teixeira de Medeiros. Dissertação (mestrado) – Universidade do Estado do Rio de Janeiro, Instituto de Letras. 1. Shakespeare, William, 1564-1616. Hamlet – Adaptações para cinema e vídeo - Teses 2. Cinema e literatura - Teses. 3. Adaptações para o cinema – Teses. 4. Zeffirelli, Franco, 1924- - Crítica e interpretação - Teses. 5. Almereyda, Michael – Crítica e interpretação - Teses. I. Medeiros, Fernanda Teixeira de. II. Universidade do Estado do Rio de Janeiro. Instituto de Letras. III. Título. CDU 820-2.04:791.43 Autorizo, apenas para fins acadêmicos e científicos, a reprodução total ou parcial desta dissertação desde que citada a fonte __________________________ __________________ Assinatura Data Diego Santos Ferreira Holding mirrors up to Hamlet: what Franco Zeffirelli’s and Michael Almereyda’s filmic adaptatios of the play tell us about it Dissertação apresentada, como requisito parcial para a obtenção do título de Mestre, ao Programa de Pós-graduação em Letras, da Universidade do Estado do Rio de Janeiro.
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