Movies Wes Anderson Directed
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Philosophy Physics Media and Film Studies
MA*E299*63 This Exploration Term project will examine the intimate relationship Number Theory between independent cinema and film festivals, with a focus on the Doug Riley Sundance Film Festival in Park City, Utah. Film festivals have been central Prerequisites: MA 231 (for mathematical maturity) to international and independent cinema since the 1930s. Sundance Open To: All Students is the largest independent film festival in the United States and has Grading System: Letter launched the careers of filmmakers like Paul Thomas Anderson, Kevin Max. Enrollment: 16 Smith, and Quentin Tarantino. During this project, students will study Meeting Times: M W Th 10:00 am–12:00 pm, 1:30 pm–3:30 pm the history of film festivals and the ways in which they have influenced the landscape of contemporary cinema. The class will then travel to the Number Theory is the study of relationships and patterns among the Sundance Film Festival for the last two weeks of the term to attend film integers and is one of the oldest sub-disciplines of mathematics, tracing screenings, panels, workshops and to interact with film producers and its roots back to Euclid’s Elements. Surprisingly, some of the ideas distributers. explored then have repercussions today with algorithms that allow Estimated Student Fees: $3200 secure commerce on the internet. In this project we will explore some number theoretic concepts, mostly based on modular arithmetic, and PHILOSOPHY build to the RSA public-key encryption algorithm and the quadratic sieve factoring algorithm. Mornings will be spent in lecture introducing ideas. PL*E299*66 Afternoons will be spent on group work and student presentations, with Philosophy and Film some computational work as well. -
EE British Academy Film Awards Sunday 8 February 2015
EE British Academy Film Awards Sunday 8 February 2015 Previous Nominations and Wins in EE British Academy Film Awards only. Includes this year’s nominations. Wins in bold. Leading Actor Benedict Cumberbatch 1 nomination Leading Actor in 2015: The Imitation Game Eddie Redmayne 1 nomination Leading Actor in 2015: The Theory of Everything Orange Wednesdays Rising Star Award Nominee in 2012 Jake Gyllenhaal 2 nominations / 1 win Supporting Actor in 2006: Brokeback Mountain Leading Actor in 2015: Nightcrawler Michael Keaton 1 nomination Leading Actor in 2015: Birdman Ralph Fiennes 6 nominations / 1 win Supporting Actor in 1994: Schindler’s List Leading Actor in 1997: The English Patient Leading Actor in 2000: The End of The Affair Leading Actor in 2006: The Constant Gardener Outstanding Debut by a British Writer, Director or Producer in 2012: Coriolanus (as Director) Leading Actor in 2015: The Grand Budapest Hotel Leading Actress Amy Adams 5 nominations Supporting Actress in 2009: Doubt Supporting Actress in 2011: The Fighter Supporting Actress in 2013: The Master Leading Actress in 2014: American Hustle Leading Actress in 2015: Big Eyes Felicity Jones 1 nomination Leading Actress in 2015: The Theory of Everything Julianne Moore 4 nominations Leading Actress in 2000: The End of the Affair Supporting Actress in 2003: The Hours Leading Actress in 2011: The Kids are All Right Leading Actress in 2015: Still Alice Reese Witherspoon 2 nominations / 1 win Leading Actress in 2006: Walk the Line Leading Actress in 2015: Wild Rosamund Pike 1 nomination Leading Actress in 2015: Gone Girl Supporting Actor Edward Norton 2 nominations Supporting Actor in 1997: Primal Fear Supporting Actor in 2015: Birdman Ethan Hawke 1 nomination Supporting Actor in 2015: Boyhood J. -
Crazy Narrative in Film. Analysing Alejandro González Iñárritu's Film
Case study – media image CRAZY NARRATIVE IN FILM. ANALYSING ALEJANDRO GONZÁLEZ IÑÁRRITU’S FILM NARRATIVE TECHNIQUE Antoaneta MIHOC1 1. M.A., independent researcher, Germany. Corresponding author: [email protected] Abstract Regarding films, many critics have expressed their dissatisfaction with narrative and its Non-linear film narrative breaks the mainstream linearity. While the linear film narrative limits conventions of narrative structure and deceives the audience’s expectations. Alejandro González Iñárritu is the viewer’s participation in the film as the one of the directors that have adopted the fragmentary narrative gives no control to the public, the narration for his films, as a means of experimentation, postmodernist one breaks the mainstream con- creating a narrative puzzle that has to be reassembled by the spectators. His films could be included in the category ventions of narrative structure and destroys the of what has been called ‘hyperlink cinema.’ In hyperlink audience’s expectations in order to create a work cinema the action resides in separate stories, but a in which a less-recognizable internal logic forms connection or influence between those disparate stories is the film’s means of expression. gradually revealed to the audience. This paper will analyse the non-linear narrative technique used by the In the Story of the Lost Reflection, Paul Coates Mexican film director Alejandro González Iñárritu in his states that, trilogy: Amores perros1 , 21 Grams2 and Babel3 . Film emerges from the Trojan horse of Keywords: Non-linear Film Narrative, Hyperlink Cinema, Postmodernism. melodrama and reveals its true identity as the art form of a post-individual society. -
MOZART in the JUNGLE Season 2 Q&A Jason Schwartzman (Creator
MOZART IN THE JUNGLE Season 2 Q&A Jason Schwartzman (Creator, Writer, Executive Producer) Paul Weitz (Executive Producer) What’s exciting about the new season? Jason Schwartzman: We’re joined by so many more guest stars and luminaries from the classical music world: Gustavo Dudamel, Joshua Bell, Lang Lang and Emanuel Ax. Paul Weitz: Basically people in the classical music world saw Season 1 and it’s kind of a guilty pleasure for them but we started to get incoming calls from people who wanted to be on the show. Schwartzman: We also have Dermot Mulroney and Gretchen Mol. The cast feels like there’s a lot more going on, more epic in that way. Why does the show appeal to non-classical fans? Weitz: It’s a show about a large, dysfunctional family and two outsiders who are entering the family. There’s Hailey, a young oboist who has been practicing since the age of 5 and has been the “good girl” for most of her life. And now as we enter Season 2, she’s questioning what she wants out of this. Does she want to be an instrument of orchestra or does she want to one day have a solo career. How, if you’re not used to it, are you the person who breaks up in a relationship? Are you able to have an ill-advised fling now and then and take ownership of your sexuality? She’s reinventing herself in a positive way. And Gael Garcia Bernal’s character, Rodrigo, is the other character. He’s a superstar, but he’s fairly isolated. -
LIST of MOVIES from PAST SFFR MOVIE NIGHTS (Ordered from Recent to Old) *See Editing Instructions at Bottom of Document
LIST OF MOVIES FROM PAST SFFR MOVIE NIGHTS (Ordered from recent to old) *See editing Instructions at bottom of document 2020: Jan – Judy Feb – Papi Chulo Mar - Girl Apr - GAME OVER, MAN May - Circus of Books 2019: Jan – Mario Feb – Boy Erased Mar – Cakemaker Apr - The Sum of Us May – The Pass June – Fun in Boys Shorts July – The Way He Looks Aug – Teen Spirit Sept – Walk on the Wild Side Oct – Rocketman Nov – Toy Story 4 2018: Jan – Stronger Feb – God’s Own Country Mar -Beach Rats Apr -The Shape of Water May -Cuatras Lunas( 4 Moons) June -The Infamous T and Gay USA July – Padmaavat Aug – (no movie night) Sep – The Unknown Cyclist Oct - Love, Simon Nov – Man in an Orange Shirt Dec – Mama Mia 2 2017: Dec – Eat with Me Nov – Wonder Woman (2017 version) Oct – Invaders from Mars Sep – Handsome Devil Aug – Girls Trip (at Westfield San Francisco Centre) Jul – Beauty and the Beast (2017 live-action remake) Jun – San Francisco International LGBT Film Festival selections May – Lion Apr – La La Land Mar – The Heat Feb – Sausage Party Jan – Friday the 13th 2016: Dec - Grandma Nov – Alamo Draft House Movie Oct - Saved Sep – Looking the Movie Aug – Fourth Man Out, Saving Face July – Hail, Caesar June – International Film festival selections May – Selected shorts from LGBT Film Festival Apr - Bhaag Milkha Bhaag (Run, Milkha, Run) Mar – Trainwreck Feb – Inside Out Jan – Best In Show 2015: Dec - Do I Sound Gay? Nov - The best of the Golden Girls / Boys Oct - Love Songs Sep - A Single Man Aug – Bad Education Jul – Five Dances Jun - Broad City series May – Reaching for the Moon Apr - Boyhood Mar - And Then Came Lola Feb – Looking (Season 2, Episodes 1-4) Jan – The Grand Budapest Hotel 2014: Dec – Bad Santa Nov – Mrs. -
The Grand Budapest Hotel” Jamie L
Cinesthesia Volume 6 | Issue 1 Article 1 4-21-2017 Faint Glimmers of Civilization: Mediated Nostalgia and “The Grand Budapest Hotel” Jamie L. Bick Grand Valley State University, [email protected] Follow this and additional works at: http://scholarworks.gvsu.edu/cine Part of the Other Film and Media Studies Commons Recommended Citation Bick, Jamie L. (2017) "Faint Glimmers of Civilization: Mediated Nostalgia and “The Grand Budapest Hotel”," Cinesthesia: Vol. 6 : Iss. 1 , Article 1. Available at: http://scholarworks.gvsu.edu/cine/vol6/iss1/1 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Cinesthesia by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Bick: Mediated Nostalgia and "The Grand Budapest Hotel" Faint Glimmers of Civilization: Mediated Nostalgia and The Grand Budapest Hotel by Jamie Bick As a tool of an uncritical, backwards-gazing “media-defined past” (Lizardi 137), mediated nostalgia is increasingly concerned with how “persuasion through the pop culture of preceding generations” can be used to integrate an often-unlived past into the modern viewer's identity and worldview (De Revere, par. 5). Mediated nostalgia is akin to the neologism “legislated nostalgia,” coined by Douglas Coupland in his 1991 novel Generation X, and described as the process of “forc[ing] a body of people to have memories they do not actually possess” (Coupland 41); corporations likely use this process to market and sell a viewer's nostalgia back to them. While the nostalgic assimilation sought by the viewer is ultimately achieved through the repeated psychological absorption of various media, often with the aid of democratized media technologies like the Internet, the embrace of mediated nostalgia by film is not entirely nefarious and capitalistic. -
A Gentleman's Gentleman & Other Characters of In-Betweenness
A Gentleman’s Gentleman & Other Characters of In-betweenness Problematized Binary Oppositions in Wes Anderson’s The Grand Budapest Hotel, The Royal Tenenbaums & Fantastic Mr. Fox Tess Kamphorst (10994297) | MA Thesis Comparative Cultural Analysis | 15 June 2016 UvA | Supervisor: prof. dr. M.D. Rosello | Second reader: dr. N. Martin Kamphorst 2 Table of Contents Acknowledgements 3 Introduction 4 1. The Grand Budapest Hotel 10 1.1 Introducing the film & M. Gustave 10 1.2 In between classes 12 1.3 In between the Subaltern and the powerful 18 2. The Royal Tenenbaums 22 2.1 Introducing the film & Margot Tenenbaum 22 2.2 In between visibility and invisibility 23 2.3 In between family and outsider 29 3. Fantastic Mr. Fox 35 3.1 Introducing the film & Mr. Fox 35 3.2 In between human and animal 37 3.3 In between locations: underground and aboveground 43 Conclusion 49 Works Cited 54 Kamphorst 3 Acknowledgements Hereby, I would like to use the opportunity to express my gratitude to my supervisor Mireille Rosello, who provided me with very useful comments and surprising new insights that really encouraged me to take my research to a higher level after every feedback session. Also, I am highly grateful to Marilyn for proof-reading this thesis. Evertjan, thank you so much for all your moral support and the indispensable reminder that you should never change your object. Maaike, thank you for all our days of studying together and the much needed accompanying coffee breaks – even when your own thesis was already finished. Lieke, thank you for a wonderful (study) time in Boston and the willingness to ride the New York subway for an hour to see the Tenenbaum house in real life. -
Greenberg (2011)
Greenberg (2011) “You like me so much more than you think you do.” Major Credits: Director: Noah Baumbach Screenplay: Noah Baumbach, from a story by Baumbach and Jennifer Jason Leigh Cinematography: Harris Savides Music: James Murphy Principal Cast: Ben Stiller (Roger Greenberg), Greta Gerwig (Florence), Rhys Ifans (Ivan), Jennifer Jason Leigh (Beth) Production Background: Baumbach, the son of two prominent New York writers whose divorce he chronicled in his earlier feature The Squid and the Whale (2005), co-wrote the screenplay with his then-wife, Jennifer Jason Leigh, who plays the role of Greenberg’s former girlfriend. His friend and sometime collaborator (they wrote The Life Aquatic with Steve Zissou together), Wes Anderson, co-produced Greenberg with Leigh. Most of Baumbach’s films to date deal with characters who are disappointed in their lives, which do not conform to their ideal conceptions of themselves. At whatever age—a father in his 40s, his pretentious teenage son (The Squid and the Whale), a college graduate in her late twenties (Frances Ha, 2012)—they struggle to act like grownups. The casting of Greta Gerwig developed into an enduring romantic and creative partnership: Gerwig co-wrote and starred in his next two films, Frances Ha and Mistress America (2015). You can read about Baumbach and Gerwig in Ian Parker’s fine article published in New Yorker, April 29, 2013. Cinematic Qualities: 1. Screenplay: Like the work of one of his favorite filmmakers, Woody Allen, Baumbach’s dramedy combines literate observation (“All the men dress up as children and the children dress as superheroes”) and bitter commentary (“Life is wasted on… people”) with poignant confession (“It’s huge to finally embrace the life you never planned on”). -
The Chancellor Search Quietly Continues
INDEPENDENT SINCE 1956 INSIDE NEWS The The Aldermanic race and UWM UWM PAGE 3 EDITORIAL Dean blows the Iowa caucus January 28, 2004 The weekly campus newspaper of UWM Volume 48 | Issue 16 PAGE 25 UWM Dance Team wins NEWS Hip Hop Championships The SA Spotlight: Know what's PAGE 8 going on at UWM! PAGE 2 Men's Basketball hits SPORTS eight conference wins What you missed in UWM PAGE 18 athletics PAGES 18-19 Greenstreet to Veto override sent to Assembly Governor Doyle re-examines Conceal and Carry Bill continue progress very surprised that the veto was overridden," said Carpen ter. "I hold no ill will but I in plenary address think it was a terrible deci sion. By Nathan Hal! "It is one of the worst pieces Staff Writer of legislation I have seen writ ten in the last 20 years. It has The spring semester plenary a lot of flaws," said Carpenter. speech, titled "Building Bridges, Some Bill supporters are Laying Foundations—A Progress confident that the Assembly Report," was held on Thursday, will uphold the veto override; Jan. 22 in Bolton Hall. Interim others say it will be close. Chancellor Bob Greenstreet and "I think it will be a close call Provost/ Vice Chancellor for Aca in the assembly," said Rolf Lind- demic Affairs John Wanat gave gren the author of a brief report on the state of the recalldoyle.com. "I think it will university to an audience of come down to one vote." approximately 150 people, Carpenter agreed with Lind- including administrators, facul Greenstreet gren. -
Isle of Dogs (Dir
Nick Davis Film Discussion Group April 2018 Isle of Dogs (dir. Wes Anderson, 2018) Dog Cast Chief (the main dog): Bryan Cranston: One of the only non-Anderson vets in the U.S. cast Rex (a semi-leader): Edward Norton: Moonrise Kingdom (12); Grand Budapest Hotel (14) Duke (gossip fan): Jeff Goldblum: fantastic in underseen British gem Le Week-end (13) Boss (mascot jersey): Bill Murray: rebooted career by starring in Anderson’s Rushmore (98) King (in their crew): Bob Balaban: hilarious in a very different dog movie, Best in Show (00) Spots (Atari’s dog): Liev Schreiber: oft-cast as dour antiheroes: Ray Donovan (13-18), etc. Nutmeg (Chief’s crush): Scarlett Johansson: controversially appeared in Ghost in the Shell (17) Jupiter (wise hermit): F. Murray Abraham: won Best Actor Oscar as Salieri in Amadeus (84) Oracle (TV prophet): Tilda Swinton: an Anderson regular since Moonrise Kingdom (12) Gondo (lead “cannibal”): Harvey Keitel: untrue rumors of cruelty a riff on his usual typecasting Peppermint (Spots’ girl): Kara Hayward: the young female co-lead of Moonrise Kingdom (12) Human Cast Atari (young pilot): Koyu Rankin: Japanese-Scottish-Canadian, in his first feature film Kobayashi (evil mayor): Kunichi Nomura: enlisted as Japanese cultural consultant, then cast Prof. Watanabe: Akiro Ito: actor/dancer; briefly appears as translator in Birdman (14) Interpreter Nelson: Frances McDormand: another veteran of Moonrise Kingdom (12) Tracy (U.S. student): Greta Gerwig: the Oscar-nominated writer-director of Lady Bird (17) Yoko Ono (scientist): Yoko Ono: 83-year-old avant-garde musician and performance artist Narrator: Courtney B. -
Post-Postmodern Cinema at the Turn of the Millennium: Paul Thomas Anderson’S Magnolia
Revista de Estudios Norteamericanos, vol. 24, 2020. Seville, Spain, ISSN 1133-309-X, pp. 1-21. DOI: http://dx.doi.org/10.12795/REN.2020.i24.01 POST-POSTMODERN CINEMA AT THE TURN OF THE MILLENNIUM: PAUL THOMAS ANDERSON’S MAGNOLIA JESÚS BOLAÑO QUINTERO Universidad de Cádiz [email protected] Received: 20 May 2020 Accepted: 26 July 2020 KEYWORDS Magnolia; Paul Thomas Anderson; post-postmodern cinema; New Sincerity; French New Wave; Jean-Luc Godard; Vivre sa Vie PALABRAS CLAVE Magnolia; Paul Thomas Anderson; cine post-postmoderno; Nueva Sinceridad; Nouvelle Vague; Jean-Luc Godard; Vivir su vida ABSTRACT Starting with an analysis of the significance of the French New Wave for postmodern cinema, this essay sets out to make a study of Paul Thomas Anderson’s Magnolia (1999) as the film that marks the beginning of what could be considered a paradigm shift in American cinema at the end of the 20th century. Building from the much- debated passing of postmodernism, this study focuses on several key postmodern aspects that take a different slant in this movie. The film points out the value of aspects that had lost their meaning within the fiction typical of postmodernism—such as the absence of causality; sincere honesty as opposed to destructive irony; or the loss of faith in Lyotardian meta-narratives. We shall look at the nature of the paradigm shift to link it to the desire to overcome postmodern values through a recovery of Romantic ideas. RESUMEN Partiendo de un análisis del significado de la Nouvelle Vague para el cine postmoderno, este trabajo presenta un estudio de Magnolia (1999), de Paul Thomas Anderson, como obra sobre la que pivota lo que se podría tratar como un cambio de paradigma en el cine estadounidense de finales del siglo XX. -
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