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“Can We Get a Cleanup On Aisle 2?” Previous: The Antisocial Fantasies of Jude the Obscure by Matthew Risling “Can We Get a Cleanup On Aisle 2?”: How Film Critics Mopped Up the Transgressions of Jenny McCarthy’s Dirty Love Sara Swain Pivot is published through Open Journal Systems (OJS) at York University 2 Introduction Dirty Love (John Asher, 2005) is the consequence of Jenny McCarthy’s fearless foray into the risky territory of the gross-out comedy. The film endured a long and laborious gestation period under the threat of financial ruin. The project began as a sitcom pilot that McCarthy had initially penned for Fox Television. Fox passed, deeming the project “too edgy and too controversial for TV” “Can We Get a Cleanup On (qtd. in Kevin Aisle 2?”: Williamson). But McCarthy and her How Film Critics Mopped Up the production team could Transgressions of Jenny McCarthy’s not be dissuaded. They Dirty Love bought the rights back Sara Swain from Fox and McCarthy went to work transforming the script into a feature film (Kates). She insists that she never wanted to be a writer but because of the dearth of onscreen comedic roles for women, she was forced to take matters into her own hands (qtd. in Sobczynski). Dirty Love eventually debuted at the Sundance Film Festival in late January 2005, where it was warmly received. John Cooper, the Festival’s Programming Director, lauded the filmmakers in the program notes for so brazenly travelling “across a comic minefield where few dare to tread.” Soon after the film was picked up for distribution. -
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116 7 WHITE VULNERABILITY AND THE POLITICS OF REPRODUCTION IN TOP OF THE LAKE: CHINA GIRL JohannA gondouin, surucHi ThApAr-BjörKert And ingrid ryberg op of The Lake: China Girl (Australia, Jane Campion, 2017) is the sequel to Jane Campion and Gerard Lee’s crime series Top of the Lake from T2013, directed by Campion and Ariel Kleiman. After four years of absence, Inspector Robin Griffin (Elisabeth Moss) returns to the Sydney Police Force and comes to lead the murder case of an unidentified young Asian woman, found in a suitcase at Bondi Beach. The investigation connects Robin to a group of Thai sex workers, and a network of couples – including two of her closest colleagues – willing to pay these women large sums of money as surrogate mothers via illegal commercial arrangements. Moreover, on her return to Sydney, Robin makes contact with her now teenage daughter Mary (Alice Englert), whom she gave up for adoption at a young age. Worrying links between the murdered girl and Mary are revealed, as it turns out that one of the prime suspects is Mary’s boyfriend Puss (David Dencik). The circumstances surrounding the adoption are revealed in season one, set in the fictional town of Laketop, New Zealand. Visiting her dying mother, Robin becomes involved in the investigation of the disappearance of a preg- nant twelve- year- old, Tui. The case results in the exposure of a paedophile ring implicating a large number of men in the small community, among others the missing girl’s father and the police officer in charge. In the pro- cess, Robin’s traumatic past unfolds through flashbacks: the gang rape that she was the victim of as a teenager, and the following pregnancy and adoption. -
Mozart in the Jungle
UC San Diego UC San Diego Electronic Theses and Dissertations Title Avatars of the Work Ethic: The Figure of the Classical Musician in Discourses of Work Permalink https://escholarship.org/uc/item/71g9n4gd Author Sim, Yi Hong Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SAN DIEGO Avatars of the Work Ethic: The Figure of the Classical Musician in Discourses of Work A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Communication by Yi Hong Sim Committee in charge: Professor Robert Horwitz, Chair Professor Akosua Boatema Boateng Professor Amy Cimini Professor Nancy Guy Professor Daniel Hallin Professor Stefan Tanaka 2019 The Dissertation of Yi Hong Sim is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California San Diego 2019 iii EPIGRAPH On one side, the artist is kept to the level of the workingman, of the animal, of the creature whose sole affair is to get something to eat and somewhere to sleep. This is through necessity. On the other side, he is exalted to the height of beings who have no concern but with the excellence of their work, which they were born and divinely authorized to do. William Dean Howells, A Traveler from Altruria (1894) iv TABLE OF CONTENTS Signature Page ...................................................................................................................... -
Selected Academic Bibliography Career Overviews
Updated: August 2015 Sally Potter: Selected Academic Bibliography Career Overviews: Books The second, longer annotation for each of these books is quoted from: Lucy BOLTON, “Catherine Fowler, Sally Potter and Sophie Mayer, The Cinema of Sally Potter” [review] Screen 51:3 (2010), pp. 285-289. Please cite any quotation from Bolton’s review appropriately. Catherine FOWLER, Sally Potter (Contemporary Film Directors series). Chicago: University of Illinois, 2009. Fowler’s book offers an extended and detailed reading of Potter’s early performance work and Expanded Cinema events, staking a bold claim for reading the later features through the lens of the Expanded Cinema project, with its emphasis on performativity, liveness, and the deconstruction of classical asymmetric and gendered relations both on-screen and between screen and audience. Fowler offers both a career overview and a sustained close reading of individual films with particular awareness of camera movement, space, and performance as they shape the narrative opportunities that Potter newly imagines for her female characters. “By entitling the section on Potter’s evolution as a ‘Search for a “frame of her own”’, Fowler situates the director firmly in a feminist tradition. For Fowler, Potter’s films explore the tension for women between creativity and company, and Potter’s onscreen observers become ‘surrogate Sallys’ in this regard (p. 25). Fowler describes how Potter’s films engage with theory and criticism, as she deconstructs and troubles the gaze with her ‘ambivalent camera’ (p. 28), the movement of which is ‘designed to make seeing difficult’ (p. 193). For Fowler, Potter’s films have at their heart the desire to free women from the narrative conventions of patriarchal cinema, having an editing style and mise- en-scene that never objectifies or fetishizes women; rather, Fowler argues, Potter’s women are free to explore female friendships and different power relationships, uncoupled, as it were, from narratives that prescribe heterosexual union. -
Ann Patchett, Bel Canto (New York: Harpercollins Publishers, 2001
133 Reviews DOI: 10.2478/abcsj-2019-0010 American, British and Canadian Studies, Volume 32, June 2019 Ann Patchett, Bel Canto (New York: HarperCollins Publishers, 2001. $16.00 paperback). Pp. 318 ISBN 0-06-093441-7 and Bel Canto (Priority Pictures/ Depth of Field/ A-Line Pictures 2018), directed by Paul Weitz. Screenplay by Paul Weitz and Anthony Weintraub, based on the novel by Ann Patchett. 1h 40min. Starring Julianne Moore, Ken Watanabe, Sebastian Koch, Ryo Kase, Christopher Lambert. When Ann Patchett’s fourth novel, Bel Canto , was published in 2001, it was met with almost universal praise from critics, also winning the prestigious PEN/ Faulkner Award for Fiction, and rightfully so: it is a modern classic infused, from the first to the last page, with the author’s scintillating prose that unfolds gradually, to the beat of an inner rhythm reminding one of the architecture of classical opera. Unfortunately, as it is often the case in classical opera, whatever rare happy end exists is decidedly more bitter than sweet. The novel is inspired by a real-life hostage crisis taking place in the Peruvian capital Lima in 1996, when members of the Tupac Amaru revolutionary guerrillas stormed the Japanese Embassy in the middle of an official reception to celebrate the Emperor’s birthday and took almost six hundred high profile guests as hostages; the crisis dragged on for months before Peruvian security forces stormed the compound and killed all the rebels, releasing the remaining prisoners. By and large, Patchett preserved all the features of this dramatic incident in her novel, but added one more ingredient that she felt such a crisis required: a world-famous lyric soprano named Roxane Coss. -
Sony Pictures Classics Acquires Paul Weitz's Grandma
FOR IMMEDIATE RELEASE SONY PICTURES CLASSICS ACQUIRES PAUL WEITZ’S GRANDMA NEW YORK (January 27, 2015) - Sony Pictures Classics announced today that they acquired worldwide rights to GRANDMA. The film, written and directed by Paul Weitz, premieres Friday at the 2015 Sundance Film Festival and stars Lily Tomlin, Julia Garner, Marcia Gay Harden, Judy Greer, Laverne Cox and Sam Elliott. GRANDMA is produced by Andrew Miano, Weitz, Paris Kassidokostas-Latsis and Terry Dougas and executive produced by Stephanie Meurer, Dan Balgoyen and Danielle Renfrew Behrens. In GRANDMA, Lily Tomlin is Elle Reid. Elle has just gotten through breaking up with her girlfriend when Elle’s granddaughter Sage unexpectedly shows up needing $600 bucks before sundown. Temporarily broke, Grandma Elle and Sage spend the day trying to get their hands on the cash as their unannounced visits to old friends and flames end up rattling skeletons and digging up secrets. The deal was negotiated by WME GLOBAL and Alex Kohner of Morris Yorn Barnes Levine Krintzman Rubenstein Kohner & Gellman. ABOUT SONY PICTURES CLASSICS Michael Barker and Tom Bernard serve as co-presidents of Sony Pictures Classics—an autonomous division of Sony Pictures Entertainment they founded with Marcie Bloom in January 1992, which distributes, produces, and acquires independent films from around the world. Barker and Bernard have released prestigious films that have won 32 Academy Awards® (28 of those at Sony Pictures Classics) and have garnered 158 Academy Award® nominations (132 at Sony Pictures Classics) including Best Picture nominations for WHIPLASH, AMOUR, MIDNIGHT IN PARIS, AN EDUCATION, CAPOTE, HOWARDS END, AND CROUCHING TIGER, HIDDEN DRAGON. -
Being a Woman in the 1950S and the 1960S: Women and Everyday Life in Ginger and Rosa
Journalism and Mass Communication, Mar.-Apr. 2020, Vol. 10, No. 2, 102-116 doi: 10.17265/2160-6579/2020.02.004 D DAVID PUBLISHING Being a Woman in the 1950s and the 1960s: Women and Everyday Life in Ginger and Rosa Ezgi Sertalp Hacettepe University, Ankara, Turkey The present study aims to focus on the relationship between gender and everyday life and reflect on the meanings of being a woman in the 1950s and the 1960s over Sally Potter’s film Ginger and Rosa (2012a). The 1950s and the 1960s are marked with significant changes and transformations in terms of the social statuses and everyday lives of women in many countries all around the world. Women began to question their gendered roles and performances, resist “doing gender” and speak out “the problem that has no name” in these years, which would then evolve into the second-wave feminist movement—a significant historical period in women’s history. Therefore, an analysis of this specific period is considered significant to understand the relationship between gender and everyday life. Thus, the present study first addresses the relationship between gender and everyday life in general terms, discussing the social construction of gender and how we are taught to do gender through socialization. Then, it examines women’s practices, performances, relationships, conflicts, and resistances in their everyday lives throughout the 1950s and the 1960s over the film Ginger and Rosa. Considering the historical, social, and political developments at the time, this study tries to explore significant issues within feminist studies such as the relationship between mothers and daughters, and female friendship/sisterhood through the characters in the film, and comprehend what it meant to be a young girl, a woman, a wife, and a mother in both private and public spheres in these years based upon the director’s own experiences and memories. -
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BJOERN REHBEIN Make-Up Artist IATSE 798
BJOERN REHBEIN Make-Up Artist IATSE 798 FILM JUNGLE CRUISE Personal Make-Up Artist to Emily Blunt (ADDITONAL PHOTOGRAPHY) Director: Jaume Collet – Serra Crocus Productions, INC. BAD EDUCATION Personal Make-Up Artist to Mr. Hugh Jackman Automatik Entertainment Director: Corey Finley AVENGERS: INFINITY WAR Personal Make-Up Artist to Michael Douglas Marvel Director: Anthony and Joe Russo ANT-MAN AND THE WASP Personal Make-Up Artist to Michael Douglas Marvel Director: Peyton Reed CIGARETTE Personal Make-Up Artist to John Travolta Netflix Director: John Luessenhop THE LIFE AND DEATH OF JOHN GOTTI Department Head – New York Lionsgate Director: Kevin Connolly Cast: John Travolta SUBMERGENCE Make-Up Designer Waterstone Entertainment Director: Wim Wenders Cast: Alicia Vikander, James McAvoy, Charlotte Rampling DOCTOR STRANGE Department Head – New York Shoot Marvel Studios Director: Scott Derrickson MONEY MONSTER Department Head – Additional Photography New York Tri-Star Pictures Director: Jodie Foster Cast: Jack O'Connell, Dominic West, Caitriona Balfe THE TALE Personal Make-Up Artist to Laura Dern Blackbird Films Director: Jennifer Fox INDIGNATION Department Head FilmNation Director: James Schamus Cast: Sarah Gadon, Logan Lerman JOY Assistant Department Head Annapurna Pictures Director: David O. Russell Cast: Édgar Ramirez, Isabella Rossellini, Diane Ladd, Drena De Niro, Susan Lucci THE MILTON AGENCY Bjoern Rehein 6715 Hollywood Blvd #206, Los Angeles, CA 90028 Make-Up Telephone: 323.466.4441 Facsimile: 323.460.4442 IATSE 798 [email protected] -
Moma Sally Potter
MoMA CELEBRATES FOUR-DECADE CAREER OF SALLY POTTER WITH A TWO- WEEK RETROSPECTIVE OF HER DIVERSE, INDEPENDENT FILMS Exhibition Includes the Premiere of Potter’s Digitally Remastered Film, Orlando (1992), and Her Most Recent Feature, RAGE (2009) Sally Potter July 7–21, 2010 The Roy and Niuta Titus Theaters NEW YORK, June 8, 2010—A retrospective of the films of British director Sally Potter (b. 1949) at The Museum of Modern Art from July 7 through 21, 2010, celebrates her distinct, independent vision, showing all her feature films, documentaries, and shorts, and a selection of her experimental works made between the early 1970s and the present. Potter has consistently kept a radical edge in her filmmaking work, beginning with avant-garde short films and moving on to alternative dramatic features that embrace music, literature, dance, theater, and performance. Potter typically works on multiple elements of her films, from script and direction to sound design, editing, performance, and production. Her films elegantly blend poetry and politics, giving voice to women’s stories and romantic liaisons and exploring themes of desire and passion, self- expression, and the role of the individual in society. Considered together in this retrospective, Potter’s films reveal the common thread of transformation that runs through her work—in terms both of her characters’ journeys and her own ability to transcend genre and work with cutting- edge film forms. Sally Potter is organized by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art. The opening night, Wednesday, July 7, at 8:00 p.m., is the U.S. -
A Film by Sally Potter
Official Selection Toronto International Film Festival Telluride Film Festival Mongrel Media presents YES A film by Sally Potter with Joan Allen, Simon Abkarian, Sam Neill and Shirley Henderson (UK/USA, 95 minutes) Distribution 1028 Queen Street West Toronto, Ontario, Canada, M6J 1H6 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] www.mongrelmedia.com Publicity Bonne Smith Star PR Tel: 416-488-4436 Fax: 416-488-8438 E-mail: [email protected] High res stills may be downloaded from http://mongrelmedia.com/press.html CONTENTS MAIN CREDITS 3 SHORT SYNOPSIS 4 LONG SYNOPSIS 4-5 SALLY POTTER ON YES 6-10 SALLY POTTER ON THE CAST 11 ABOUT THE CREW 12-14 ABOUT THE MUSIC 15 CAST BIOGRAPHIES 16-18 CREW BIOGRAPHIES 19-21 DIRECTOR’S BIOGRAPHY 22 PRODUCERS’ BIOGRAPHIES 23 GREENESTREET FILMS 24-25 THE UK FILM COUNCIL 26 END CREDITS 27-31 2 GREENESTREET FILMS AND UK FILM COUNCIL PRESENT AN ADVENTURE PICTURES PRODUCTION IN ASSOCIATION WITH STUDIO FIERBERG A FILM BY SALLY POTTER Y E S Written and directed by SALLY POTTER Produced by CHRISTOPHER SHEPPARD ANDREW FIERBERG Executive Producers JOHN PENOTTI PAUL TRIJBITS FISHER STEVENS CEDRIC JEANSON JOAN ALLEN SIMON ABKARIAN SAM NEILL SHIRLEY HENDERSON SHEILA HANCOCK SAMANTHA BOND STEPHANIE LEONIDAS GARY LEWIS WIL JOHNSON RAYMOND WARING Director of Photography ALEXEI RODIONOV Editor DANIEL GODDARD Production Design CARLOS CONTI Costume Design JACQUELINE DURRAN Sound JEAN-PAUL MUGEL VINCENT TULLI Casting IRENE LAMB Line Producer NICK LAWS 3 SHORT SYNOPSIS YES is the story of a passionate love affair between an American woman (Joan Allen) and a Middle-Eastern man (Simon Abkarian) in which they confront some of the greatest conflicts of our generation – religious, political, and sexual. -
Sept Film Discussion Grandma
FILM: GRANDMA FDG RATING: 2.86 OO Film Discussion Group (FDG) Scale is 1-5 (5 is best) Paul Weitz: Director, writer Lily Tomlin: Actress: Elle (grandma) Julia Garner: Actress: Sage DATE: Sept. 20, 2015 DISCUSSION SUMMARY: GRANDMA I doubt if any of us have a Grandma as “hip” as Elle played by Lily Tomlin. Feisty, 70 year old Elle, a lesbian poet, is having trouble coping with the recent death of her long-term life partner, Violet. Realizing that her new relationship with a much younger woman, Olivia, isn’t fair, she brutally breaks off the relationship and returns to her bereavement for Vi. Unexpectedly, in the morning, her 18 year old granddaughter, Sage, arrives asking her Grandma to lend her $600. After some prying, Sage confesses that she needs the money for an abortion scheduled later that day. Elle has already cut up her credit cards after paying off all her debts so without enough cash, she embarks on a frenetic roadtrip with Sage, visiting the people she is currently close to (such as her tattoo artist) to borrow the money. The twosome visit others and then as a last resort, Elle visits a relationship from her past, Karl, (a mesmerizing performance by Sam Elliott) to try and get the cash Sage needs. We get a quick trip down memory lane as Elle and Karl reminisce, but ultimately a pivotal life decision is exposed which puts the brakes on any hope of getting the cash from Karl. The roadtrip allows Elle to vent her anger, resentment, and sorrow as we learn about the trials and tribulations of her free spirited life style.