DOCSLIB.ORG

Imagining the Techno-Capitalist Society in Television and Film», Barcelona, 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Imagining the Techno-Capitalist Society in Television and Film», Barcelona, 2020 Vol. VI Núm 11 Vol.2018 VIII No. 14 2020 and Film Society in Television Techno-Capitalist Imagining the Editors Albert Elduque and Gonzalo de Lucas (Universitat Pompeu Fabra, Spain). Associate Editors Núria Bou (Universitat Pompeu Fabra, Spain) and Xavier Pérez (Universitat Pompeu Fabra, Spain). Advisory Board Dudley Andrew (Yale University, United States), Jordi Balló (Universitat Pompeu Fabra, Spain), Raymond Bellour (Université Sorbonne-Paris III, France), Francisco Javier Benavente (Universitat Pompeu Fabra, Spain), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, France), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irleland), Gino Frezza (Università de Salerno, Italy), Chris Fujiwara (Edinburgh International Film Festival, United Kingdom), Jane Gaines (Columbia University, United States), Haden Guest (Harvard University, United States), Tom Gunning (University of Chicago, United States), John MacKay (Yale University, United States), Adrian Martin (Monash University, Australia), Cezar Migliorin (Universidade Federal Fluminense, Brazil), Alejandro Montiel (Universitat de València, Spain), Meaghan Morris (University of Sidney, Australia and Lignan University, Hong Kong), Raffaele Pinto (Universitat de Barcelona, Spain), Ivan Pintor (Universitat Pompeu Fabra, Spain), Àngel Quintana (Universitat de Girona, Spain), Joan Ramon Resina (Stanford University, United States), Eduardo A. Russo (Universidad Nacional de La Plata, Argentina), Glòria Salvadó (Universitat Pompeu Fabra, Spain), Yuri Tsivian (University of Chicago, United States), Vicente Sánchez-Biosca (Universitat de València, Spain), Jenaro Talens (Université de Genève, Switzerland and Universitat de València, Spain), Michael Witt (Roehampton University, United Kingdom). Guest Editors Camil Ungureanu (Universitat Pompeu Fabra, Spain), Sonia Arribas (Universitat Pompeu Fabra, Spain) and Rebecca Anne Peters (Universitat Pompeu Fabra, Spain). Contributors Himar Bethencourt Reyes, Ekin Erkan, Rebecca Anne Peters, Ida Marie Schober, Joseph Walderzak and Ling Zhang. Editorial Assistants Mario Barranco and Brunella Tedesco (Universitat Pompeu Fabra, Spain). English language reviewer Rebecca Anne Peters and Tamara Courage. Original design and layout Pau Masaló (original design), Núria Gómez Gabriel (website and PDF layouts). Publisher Center for Aesthetic Research on Audiovisual Media (CINEMA), Department of Communication, Universitat Pompeu Fabra (UPF). Place of publication Universitat Pompeu Fabra. Communication Campus - Poblenou. Roc Boronat, 138, 08018, Barcelona (Spain). E-mail [email protected] Website www.raco.cat/index.php/Comparativecinema Comparative Cinema, Volume 8, No. 14, «Imagining the Techno-Capitalist Society in Television and Film», Barcelona, 2020. Legal Deposit: B.29702-2012 ISSN: 2604-9821 Some rights are reserved. Published under a Creative Commons License (Attribution–NonCommercial–ShareAlike 4.0 International). Cover Photo Ex Machina (Alex Garland, 2015) Comparative Cinema is a scientific journal that addresses film studies from a comparative perspective. It is published by the Center for Aesthetic Research on Audiovisual Media (CINEMA) at the Universitat Pompeu Fabra (UPF), in Barcelona. Since its inception in 2012, it has investigated the conceptual and formal relations between films, material processes and production and exhibition practices, as well as the history of ideas and film criticism in different social and political contexts. Comparative Cinema tackles an original area of research by developing a series of methodologies for a comparative study of cinema. With this aim, it also explores the relations between cinema and comparative literature, as well as other contemporary arts such as painting, photography, music and dance, and audio-visual media. The journal is structured into monographic issues featuring articles, interviews and the re- publishing of crucial texts, which are sometimes complemented by audio-visual essays, either as part of a written article or as an autonomous work. Each issue also includes a book review section which analyses some of the most important works in film studies published in Spain and abroad. Comparative Cinema is published biannually in English, though it may include original versions of the texts in other languages. It is an open access, peer-reviewed publication which uses internal and external evaluation committees. As such, it is recognized by international indexes such as DOAJ (Directory of Open Access Journals) and Latindex (Regional Information System for Online Scientific Journals of Latin America, the Caribbean, Spain and Portugal). 5-7 Camil Ungureanu, Sonia Arribas & Rebecca Anne Peters Imagining the Techno-Capitalist Society in Television and Film 8-32 Rebecca Anne Peters When Your Motherboard Replaces the Pearly Gates: Black Mirror and the Technology of Today and Tomorrow 33-45 Joseph Walderzak Blaming the Poor: The False Allure of the Capitalist Critique in the comparative cinema comparative Age of Postmodernism 2020 46-61 Ida Marie Schober No. 14 No. Vol. VIII Vol. Loving the AI: Captivity and Ownership in Unbalanced Dystopian Relationships 62-81 Ling Zhang Foreshadowing the Future of Capitalism: Surveillance Technology and Digital Realism in Xu Bing’s Dragonfly Eyes 82-85 Ekin Erkan Schefer, Jean-Louis. 2016. The Ordinary Man of Cinema. 86-88 Himar Bethencourt Oter, Jorge and Santos Zunzunegui. eds. 2019. Ensayos de poética. Miradas sobre el contacto entre el cine y la poesía. New forms of authoritarianism, interpretations that envision populism, and inequality have possible future developments sprung up from the core of our from the seeds of the present— contemporary techno-capitalist e.g. Black Mirror (Charlie society—from the US and Brooker, 2011–present), Ex Europe to China. The corporate Machina (Alex Garland, capitalist dynamic has, further, 2014), Interstellar (Christopher comparative cinema comparative generated an unprecedented Nolan, 2014), Humans (Sam crisis of the environmental Vincent and Jonathan Brackley, conditions of society itself, 2015–18), Westworld (Lisa Joy which has led scholars to and Jonathan Nolan, 2016– characterize the current present), The Handmaid’s Tale age as the “capitalocene.” (Bruce Miller, 2017–present), 3% The permanent revolution of (Pedro Aguilera, 2016–present), technological capitalism is or Dragonfly Eyes (Qingting zhi throwing into question the very yan, Xu Bing, 2017). concept of the human, pointing The aim of this special towards a post-human society. issue is to use the tools of The specter of dystopia is cinema to engage some of haunting our social imaginaries engendering new apocalyptic the questions regarding the myths and narratives that have diagnosis of the current crisis of techno-capitalist 5 become even more relevant due to the current global pandemic. society and its consequences: what forms of narrative and And yet, the landscape of representation are used today social imagination is plural in cinema and television to and divided: AI, robotics, account for the present crisis neuroscience, biogenetics, and of techno-capitalism? How do evolutionary theory are breathing technological developments new life into eschatological shape (human) relations? How and salvation myths. In this are current myths (apocalyptic, situation of historical crisis and salvationist, etc.) interpreted openness, filmic imagination and constructed through film, and its capacity to read possible and what is the role of techno- futures into the “signs of times” scientific narratives? How do is a privileged site of experience technological developments and reflection. After the fashion shape the use of power in of postmodern fragmentation contemporary societies? and playful fictionalization, there has been a flourishing of (grand) In her article “When Your narratives drawing on scientific- Motherboard Replaces the technological inventions and Pearly Gates: Black Mirror and socio-historical ideas in order the Technology of Today and to anticipate and reflect the Tomorrow,” Rebecca Anne Peters Editorial in Society Techno-Capitalist Imagining the and Film Television coming post-human society. In considers five episodes from the particular, the predicament of anthology series Black Mirror. capitalist society has generated The article lays out an argument 2020 No. 14 No. for reading the use of the Vol. VIII Vol. a wave of filmic insights and DOI: 10.31009/cc.2020.v8.i14.01 technology within the series as a In her article “Loving the reflection of Christian concepts AI: Captivity and Ownership that haunt Western culture, in Unbalanced Dystopian positing that the specters Relationships,” Ida Marie of these ideas linger in our Schober analyzes what she idealized thinking of the god-like argues has become a trend in powers that technology might the dystopian and science fiction comparative cinema comparative give us. Likewise, these concepts genre of the last years, namely, endure in the persecutory role the depiction of a relationship that technology might play as a between a lonely male human moral enforcer, echoing one of character and a female man- the dimensions of the church made AI one. She concentrates throughout history. To construct on the spatial restrictions that her argument, she considers these AI female characters the episodes in relation to one endure, resorting to recent another and in the context of the psychoanalytic theory applied biblical concepts they mirror— to the visual arts, as well as to drawing from Christian
Load more

Recommended publications
  • THE LAND BEYOND the MAGIC MIRROR by E
    GREYHAWK CASTLE DUNGEON MODULE EX2 THE LAND BEYOND THE MAGIC MIRROR by E. Gary Gygax AN ADVENTURE IN A WONDROUS PLACE FOR CHARACTER LEVELS 9-12 No matter the skill and experience of your party, they will find themselves dazed and challenged when they pass into The Land Beyond the Magic Mirror! Distributed to the book trade in the United States by Random House, Inc. and in Canada by Random House of Canada Ltd. Distributed to the toy and hobby trade by regional distributors. Distributed in the United Kingdom by TSR Hobbies (UK) Ltd. AD&D and WORLD OF GREYHAWK are registered trademarks owned by TSR Hobbies, Inc. ©1983 TSR Hobbies, Inc. All Rights Reserved. TSR Hobbies, Inc. TSR Hobbies (UK) Ltd. POB 756 The Mill, Rathmore Road Lake Geneva, Cambridge CB14AD United Kingdom Printed in U.S.A. WI 53147 ISBN O 88038-025-X 9073 TABLE OF CONTENTS This module is the companion to Dungeonland and was originally part of the Greyhawk Castle dungeon complex. lt is designed so that it can be added to Dungeonland, used alone, or made part of virtually any campaign. It has an “EX” DUNGEON MASTERS PREFACE ...................... 2 designation to indicate that it is an extension of a regular THE LAND BEYOND THE MAGIC MIRROR ............. 4 dungeon level—in the case of this module, a far-removed .................... extension where all adventuring takes place on another plane The Magic Mirror House First Floor 4 of existence that is quite unusual, even for a typical AD&D™ The Cellar ......................................... 6 Second Floor ...................................... 7 universe. This particular scenario has been a consistent .........................................
    [Show full text]
  • Fundamental Protections for Non-Biological Intelligences Or: How We Learn to Stop Worrying and Love Our Robot Brethren
    Minnesota Journal of Law, Science & Technology Volume 19 Issue 1 Article 6 2018 Fundamental Protections for Non-Biological Intelligences or: How We Learn to Stop Worrying and Love Our Robot Brethren Ryan Dowell University of Minnesota Law School Follow this and additional works at: https://scholarship.law.umn.edu/mjlst Part of the Science and Technology Law Commons Recommended Citation Ryan Dowell, Fundamental Protections for Non-Biological Intelligences or: How We Learn to Stop Worrying and Love Our Robot Brethren, 19 MINN. J.L. SCI. & TECH. 305 (2018). Available at: https://scholarship.law.umn.edu/mjlst/vol19/iss1/6 The Minnesota Journal of Law, Science & Technology is published by the University of Minnesota Libraries Publishing. Note Fundamental Protections for Non-Biological Intelligences or: How We Learn to Stop Worrying and Love Our Robot Brethren Ryan Dowell* INTRODUCTION In the future, it is possible that humans will create machines that are thinking entities with faculties on par with humans. Computers are already more capable than humans at some tasks,1 but are not regarded as truly intelligent or able to think. Yet since the early days of computing, humans have contemplated the possibility of intelligent machines—those which reach some level of sentience.2 Intelligent machines could result from highly active and rapidly advancing fields of research, such as attempts to emulate the human brain, or to develop generalized artificial intelligence (AGI). If intelligent machines are created, it is uncertain whether intelligence would emerge through gradual development or a spontaneous © 2018 Ryan Dowell * JD Candidate 2018, University of Minnesota Law School; BS University of Kansas, 2013.
    [Show full text]
  • Written Evidence Submitted by Netflix
    Written evidence submitted by Netflix Submission to Digital, Culture, Media and Sport Committee inquiry The future of Public Service Broadcasting June 2020 Netflix in the UK 1. Netflix is a streaming subscription video on demand (SVoD) service that allows customers to watch a wide variety of TV shows, films, documentaries, and more over the internet and ad-free on any one of thousands of internet-connected devices at a time and place of their choice. We are a global service, offered in 190 countries with close to 180 million subscribers, of whom over 12 million are in the UK. 2. The UK is one of Netflix’s top three locations for production globally, along with the U.S. and Canada. In 2019 we invested over £400m1 here in local content, with over 50 different shows in production including co-productions with the public service broadcasters and in total over £500m in UK production - a third of all our production in Europe. We expect our investment here to continue growing; our long-term commitment to the UK creative community and our intention to increase our investment in production is also reflected in our announcement last year that we are creating a dedicated production hub in the UK, based at Shepperton Studios.2 3. Localised content is increasingly a priority for our business, both in the UK and around the world. Since 2019 we have appointed several UK-based commissioners overseeing scripted and unscripted content, including drama, comedy, factual, and kids and family - all of whom built their careers in the UK film and TV industry, including with the PSBs.
    [Show full text]
  • Black Mirror
    BLACK MIRROR "SAN JUNIPERO" FINAL SHOOTING SCRIPT Written By Charlie Brooker INCLUDING THE FOLLOWING REVISIONS: ** PINK REVISIONS - DATED 23.11.15 ** ** BLUE REVISIONS - DATED 02.12.15 ** Charlie Brooker C/o House of Tomorrow Shepherds Building Charecroft Way London W14 0EE (c) 2017 Black Mirror Drama Limited. All Rights Reserved This screenplay is the property of Black Mirror Drama Limited (“BMD”). Distribution or disclosure of any information of whatever nature in whatever form relating to the characters, story and screenplay itself obtained from any source including without limitation this screenplay or information received from BMD, to unauthorised persons, or the sale, copying or reproduction of this screenplay in any form is strictly prohibited. This Screenplay is intended to be read solely by BMD employees and individuals under contract to or individuals permitted by BMD. This screenplay contains confidential information and therefore is given for the review on a strictly confidential basis. By reading this screenplay you agree to be bound by a duty of confidence to BMD and its subsidiary companies. BLACK MIRROR "SAN JUNIPERO" 1. 1 EXT. SHORELINE - NIGHT 1 It’s 1987. Coastal California. Silhouetted mountains, moonlit sea. Lights twinkling near the shoreline. We move closer to see the lights of the town of San Junipero. Streetlights. Nightclubs and bars. Cars drifting up and down the main street. The vehicles date from 1987. There's a billboard advertising the movie The Witches of Eastwick. We move closer: 2 EXT. BARKER STREET - CONTINUOUS 2 This is San Junipero's main drag. Along the sidewalk we follow YORKIE, a slightly awkward woman in her early 20s, dressed so as not to stand out.
    [Show full text]
  • Bernhardt Hamlet Cast FINAL
    IMAGES AVAILABLE FOR DOWNLOAD HERE CAST ANNOUNCED FOR GEFFEN PLAYHOUSE WEST COAST PREMIERE OF “BERNHARDT/HAMLET” FEATURING GOLDEN GLOBE NOMINEE DIANE VENORA AS SARAH BERNHARDT WRITTEN BY THERESA REBECK AND DIRECTED BY SARNA LAPINE ALSO FEATURING NICK BORAINE, ALAN COX, ISAIAH JOHNSON, SHYLA LEFNER, RAYMOND McANALLY, LEVENIX RIDDLE, PAUL DAVID STORY, LUCAS VERBRUGGHE AND GRACE YOO PREVIEWS BEGIN APRIL 7 - OPENING NIGHT IS APRIL 16 LOS ANGELES (February 24, 2020) – Geffen Playhouse today announced the full cast for its West Coast premiere of Bernhardt/Hamlet, written by Theresa Rebeck (Dead Accounts, Seminar) and directed by Sarna Lapine (Sunday in the Park with George). The production features Diane Venora (Bird, Romeo + Juliet) as Sarah Bernhardt. In addition to Venora, the cast features Nick BoraIne (Homeland, Paradise Stop) as Louis, Alan Cox (The Dictator, Young Sherlock Holmes) as Constant Coquelin, Isaiah Johnson (Hamilton, David Makes Man) as Edmond Rostand, Shyla Lefner (Between Two Knees, The Way the Mountain Moved) as Rosamond, Raymond McAnally (Size Matters, Marvelous and the Black Hole) as Raoul, Rosencrantz, and others, Levenix Riddle (The Chi, Carlyle) as Francois, Guildenstern, and others, Paul David Story (The Caine Mutiny Court Martial, Equus) as Maurice, Lucas Verbrugghe (Icebergs, Lazy Eye) as Alphonse Mucha and Grace Yoo (Into The Woods, Root Beer Bandits) as Lysette. It’s 1899, and the legendary Sarah Bernhardt shocks the world by taking on the lead role in Hamlet. While her performance is destined to become one for the ages, Sarah first has to conVince a sea of naysayers that her right to play the part should be based on ability, not gender—a feat as difficult as mastering Shakespeare’s most Verbose tragic hero.
    [Show full text]
  • Why Hollywood Isn't As Liberal As We Think and Why It Matters
    Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2019 Why Hollywood Isn't As Liberal As We Think nda Why It Matters Amanda Daily Claremont McKenna College Recommended Citation Daily, Amanda, "Why Hollywood Isn't As Liberal As We Think nda Why It Matters" (2019). CMC Senior Theses. 2230. https://scholarship.claremont.edu/cmc_theses/2230 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. 1 Claremont McKenna College Why Hollywood Isn’t As Liberal As We Think And Why It Matters Submitted to Professor Jon Shields by Amanda Daily for Senior Thesis Fall 2018 and Spring 2019 April 29, 2019 2 3 Abstract Hollywood has long had a reputation as a liberal institution. Especially in 2019, it is viewed as a highly polarized sector of society sometimes hostile to those on the right side of the aisle. But just because the majority of those who work in Hollywood are liberal, that doesn’t necessarily mean our entertainment follows suit. I argue in my thesis that entertainment in Hollywood is far less partisan than people think it is and moreover, that our entertainment represents plenty of conservative themes and ideas. In doing so, I look at a combination of markets and artistic demands that restrain the politics of those in the entertainment industry and even create space for more conservative productions. Although normally art and markets are thought to be in tension with one another, in this case, they conspire to make our entertainment less one-sided politically.
    [Show full text]
  • The City of Prague Philharmonic Orchestra and Chorus
    WINTER 2017 - SPRING 2018 NEWS www.tadlowmusic.com THE CITY OF PRAGUE PHILHARMONIC ORCHESTRA AND CHORUS EUROPE’S MOST EXPERIENCED AND VERSATILE RECORDING ORCHESTRA: 70 YEARS OF QUALITY MUSIC MAKING The CoPPO have been recording local film and TV scores at Smecky Music Studios since 1946, and a large number of international productions since 1988. Over the years they have worked with many famous composers from Europe and America including: ELMER BERNSTEN * MICHEL LEGRAND * ANGELO BADALAMENTI * WOJCIECH KILAR * CARL DAVIS GABRIEL YARED * BRIAN TYLER * RACHEL PORTMAN * MYCHAEL DANNA * JEFF DANNA * NITIN SAWHNEY JAVIER NAVARRETE * LUDOVIC BOURCE * CHRISTOPHER GUNNING * INON ZUR * JOHANN JOHANNSSON * NATHANIEL MECHALY * PATRICK DOYLE * PHILIP GLASS * BEAR McCREARY * JOE HISAISHI In recent years they have continued this tradition of recording orchestral scores for international productions with composers now recording in Prague from: Australia * New Zealand * Japan * Indonesia * Malaysia * Singapore * China * Taiwan * Russia * Egypt * The Lebanon * Turkey * Brazil * Chile and India PRAGUE HAS BECOME THE CENTRE OF WORLDWIDE SCORING AND ORCHESTRAL RECORDINGS BECAUSE BEING 100% TOTAL BUYOUT ON ALL RECORDINGS AND THE QUALITY OF FINE MUSICIANS AND RECORDING FACILITIES TADLOW MUSIC The Complete Recording Package for FILM, TV, VIDEO GAMES SCORING AND FOR THE RECORD INDUSTRY in LONDON + PRAGUE Music Contractor / Producer : James Fitzpatrick imdb page: http://www.imdb.com/name/nm0280533/ NEW PHONE # : +44 (0) 797 181 4674 “It’s an absolute delight to work with Tadlow Music. The Prague musicians are great and I’ve had many happy experiences recording with them.” - Oscar Winning Composer RACHEL PORTMAN “Always a pleasure to work with James, as i have many times over the years.
    [Show full text]
  • Emmy Nominations
    69th Emmy Awards Nominations Announcements July 13, 2017 (A complete list of nominations, supplemental facts and figures may be found at Emmys.com) Emmy Noms to date Previous Wins to Category Nominee Program Network 69th Emmy Noms Total (across all date (across all categories) categories) LEAD ACTRESS IN A DRAMA SERIES Viola Davis How To Get Away With Murder ABC 1 3 1 Claire Foy The Crown Netflix 1 1 NA Elisabeth Moss The Handmaid's Tale Hulu 1 8 0 Keri Russell The Americans FX Networks 1 2 0 Evan Rachel Wood Westworld HBO 1 2 0 Robin Wright House Of Cards Netflix 1 6 0 LEAD ACTOR IN A DRAMA SERIES Sterling K. Brown This Is Us NBC 1 2 1 Anthony Hopkins Westworld HBO 1 5 2 Bob Odenkirk Better Call Saul AMC 1 11 2 Matthew Rhys The Americans FX Networks 2* 3 0 Liev Schreiber Ray Donovan Showtime 3* 6 0 Kevin Spacey House Of Cards Netflix 1 11 0 Milo Ventimiglia This Is Us NBC 1 1 NA * NOTE: Matthew Rhys is also nominated for Guest Actor In A Comedy Series for Girls * NOTE: Liev Schreiber also nominamted twice as Narrator for Muhammad Ali: Only One and Uconn: The March To Madness LEAD ACTRESS IN A LIMITED SERIES OR A MOVIE Carrie Coon Fargo FX Networks 1 1 NA Felicity Huffman American Crime ABC 1 5 1 Nicole Kidman Big Little Lies HBO 1 2 0 Jessica Lange FEUD: Bette And Joan FX Networks 1 8 3 Susan Sarandon FEUD: Bette And Joan FX Networks 1 5 0 Reese Witherspoon Big Little Lies HBO 1 1 NA LEAD ACTOR IN A LIMITED SERIES OR A MOVIE Riz Ahmed The Night Of HBO 2* 2 NA Benedict Cumberbatch Sherlock: The Lying Detective (Masterpiece) PBS 1 5 1
    [Show full text]
  • JAY ARTHUR 1ST AD Varied Route to A.D
    JAY ARTHUR 1ST AD Varied route to A.D. includes chronologically: Theatre Lighting, Morris Angels Costumier, Sound Engineer, Stills Photographer , offline/online editor, Music Video Director, P.M. Producer FEATURE FILMS Production Company Director Title BTB productions Vadim John Breaking the Bank Victor films Jake Gavin Hector Huge prods Ben Miller Huge Formosa Films Neil Thompson Clubbed Midas Films Malcolm Needs Charlie T.V.SERIES Production Company Director Title Well Street Productions Rei Green Top Boy Series 3 Black Mirror ?????? Series 5 Black Mirror David Slade “METALHEAD” series 4 In the Long Run Declan Lowney In the Long Run Objective Media Ben Taylor Ye Sweeney Privileged Productions Roy Forberg/James Lafferty The Royals Privileged Productions Menhaj Huda/ Roy Forberg The Royals Me+You Gordon Anderson Hoff the Record King Bert Mat Lipsey Ruby Robinson Heartswood Mat Lipsey Outlaws Avalon Mat Lipsey Wit Tank Nightjack Productions John Baird Babylon BBC/Avalon Ben Taylor Catastrophe - series 1 SKY / Bwark Ben Taylor 30 & Counting BBC Ben Taylor Cuckoo - Series 1 BBC Matt Lipsey Psychoville Tiger Aspect Gordon Anderson Katherine Tate Christmas Greenroom Vadim Jean Fresh! Kudos Gordon Anderson Moving Wallpaper Baby Cow Paul King The Mighty Boosh Warp Chris Waitt Fur T.V. Bwark J. Bobin /Gordon Anderson Inbetweeners – series 1 Baby Cow Prods Ben Miller Saxondale – series 1 Talkback James Bobin Modern MenModern Men Talkback Becky Martin Ladies and Gentlemen Talkback Graeme Linehan IT Crowd Talkback Chris Morris /Charlie Brooker Nathan
    [Show full text]
  • Danny Boyle Himesh Patel, Lily James
    UNIVERSAL PICTURES présente En association avec PERFECT WORLD PICTURES Une production WORKING TITLE Un fi lm de DANNY BOYLE HIMESH PATEL, LILY JAMES, avec ED SHEERAN et KATE MCKINNON Producteurs délégués NICK ANGEL, LEE BRAZIER, LIZA CHASIN Produit par, TIM BEVAN, ERIC FELLNER, MATTHEW JAMES WILKINSON, BERNARD BELLEW, RICHARD CURTIS, DANNY BOYLE Sur une idée originale de JACK BARTH et RICHARD CURTIS Scénario RICHARD CURTIS SORTIE : 3 JUILLET Durée 1h56 Matériel disponible sur www.upimedia.com Yesterday-lefi lm.com @Yesterday.lefi lm @UniversalFR #Yesterday DISTRIBUTION PRESSE Universal Pictures International Sylvie FORESTIER 21, rue François 1er Giulia GIÉ 75008 Paris assistées de Sophie GRECH Tél. : 01 40 69 66 56 www.universalpictures.fr SYNOPSIS Hier tout le monde connaissait les Beatles, mais aujourd’hui seul Jack se souvient de leurs chansons. Il est sur le point de devenir extrêmement célèbre. Jack Malik (Himesh Patel) est un auteur-compositeur interprète en galère, dont les rêves sont en train de sombrer dans la mer qui borde le petit village où il habite en Angleterre, en dépit des encouragements d’Ellie (Lily James), sa meilleure amie d’enfance qui n’a jamais cessé de croire en lui. Après un accident avec un bus pendant une étrange panne d’électricité, Jack se réveille dans un monde où il découvre que les Beatles n’ont jamais existé… ce qui va le mettre face à un sérieux cas de conscience. Poussé par Debra (Kate McKinnon) son agent américain et secondé de son ami Rocky (Joel Fry), roadie improvisé sur le tas, aussi adorable qu’imprévisible, la popularité du jeune homme va vite exploser quand il se met à chanter les titres du groupe le plus connu du monde à un public qui ne les a jamais entendus.
    [Show full text]
  • Catrin Meredydd Production Designer
    Catrin Meredydd Production Designer Winner of BAFTA Cymru award for Best Production Design 2017 for Damilola, Our Loved Boy. Winner of BAFTA Cymru award for Best Production Design 2019 for Black Mirror: Bandersnatch. Agents Madeleine Pudney Assistant 020 3214 0999 Eliza McWilliams [email protected] 020 3214 0999 Daniela Manunza Assistant [email protected] Lizzie Quinn [email protected] + 44 (0) 203 214 0911 Credits In Development Production Company Notes CHASING AGENT Great Point Media / Rabbit Track Dirs: Declan Lawn & Adam FREEGARD Pictures / The Development Partnership Patterson 2021 Prods: Michael Bronner, Kitty Kaletsky & Robert Taylor SOULMATES 2 AMC / Amazon Postponed 2020 Film Production Company Notes United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] MRS LOWRY AND SON Genesius Pictures Dir: Adrian Noble Prod: Debbie Gray Period Drama 1930's Starring Vanessa Redgrave & Timothy 2019 Spall IBOY Wigwam Films/ Pretty Dir: Adam Randall Pictures Prods: Lucan Toh, Oliver Roskill, Emily Leo, Contemporary Gail Mutrux 2016 With Bill Milner, Rory Kinnear, Miranda Richardson, Maisie Williams BELIEVE Bill and Ben Productions Dir: David Scheinmann Prods: Manuela Noble, Ben Timlett 1950's/1980's With Brian Cox, Toby Stephens, Natascha 2013 McElhone Television Production Company Notes CURSED Netflix Dirs: Jon East, Zetna Fuentes, Daniel Nettheim and Sarah O'Gorman 10 x 60 Medieval Drama Showrunners: Tom Wheeler and Frank Miller 2019
    [Show full text]
  • Eleanor Wyld
    www.hamiltonhodell.co.uk Eleanor Wyld Talent Representation Telephone Christopher Farrar +44 (0) 20 7636 1221 [email protected] Address Joshua Woodford Hamilton Hodell, [email protected] 20 Golden Square London, W1F 9JL, United Kingdom Theatre Title Role Director Theatre/Producer THE BALLAD OF CORONA V Arabella Maggie Norris The Big House LEOPOLDSTADT Nellie Patrick Marber Wyndham's Theatre RSC Stratford/Garrick Theatre, DON QUIXOTE Marcela Angus Jackson West End HAMLET Guildenstern Simon Godwin RSC (UK and USA Tour 2018) Lucy/Amelia/Mrs THE INVISIBLE MAN Ryan McBride Queens Theatre, Hornchurch Pike/Ensemble DON JUAN IN SOHO Dalia Patrick Marber Wyndham’s Theatre THE ALCHEMIST Various Polly Findlay RSC DR FAUSTUS Lucifer/Scholar Maria Aberg RSC Theatre Royal AFTER ELECTRA Miranda Samuel West Plymouth/Tricycle Theatre BEDROOM FARCE/SEPARATE TABLES Kate/Joan Gareth Machin Salisbury Playhouse Arcola Theatre/National VISITORS Kate Alice Hamilton Tour/Bush Theatre UNSCORCHED Emily Justin Audibert Finborough Theatre DANCES OF DEATH Judith Tom Littler Gate Theatre THE ASTRONAUT'S CHAIR Jo Green Simon Stokes Theatre Royal Plymouth SHIVERMAN Terri Tom Littler Theare 503 HIS TEETH Sarah Maggie Norris Only Connect Theatre RIGOR MORTIS Layla Kate Budgen Finborough Theatre ANTIGONE Antigone Tom Littler Southwark Playhouse THE DEEP BLUE SEA Anne Sarah Esdaile West Yorkshire Playhouse Brighton Dome/InService ROMEO AND JULIET Juliet Penelope Cobold Productions Television Title Role Director Production Company TRIGONOMETRY Lori Stella
    [Show full text]