40 Years Strong 2017-18 Annual Report
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Sculpting Women from Pygmalion to Vertigo to the Skin I Live In
1 This is an Accepted Manuscript of an article published by Taylor & Francis Group in Quarterly Review of Film and Video Sculpting Women from Pygmalion to Vertigo to The Skin I Live in They would be displeased to have anybody call them docile, yet in a way they are . They submit themselves to manly behavior with all its risks and cruelties, its complicated burdens and deliberate frauds. Its rules, which in some cases you benefited from, as a woman, and then some that you didn’t. -“Too Much Happiness”, Alice Munro (294) One day I'll grow up, I'll be a beautiful woman. One day I'll grow up, I'll be a beautiful girl. But for today I am a child, for today I am a boy. -“For Today I Am a Boy”, Antony and the Johnsons The two images below (Figure 1) are from key moments in Alfred Hitchcock’s Vertigo (1958) and Pedro Almodóvar’s La piel que habito (The Skin I Live in, 2011). It is possible that there is a conscious citation here on the part of Almodóvar, but in any case the parallels are striking, and they reveal a great deal about gender as it is constructed in the mid- 20th century and the early 21st. Both shots show a woman gazed at from behind, as she herself is gazing at artwork that is especially significant for her sense of self. In the larger context of the films, both women are haunted by idealized images of femininity, which are necessary to prop up the crumbling masculinity of men who want to reshape their clothes, hair and bodies. -
Uncut! First Time In
45833_AFI_AGS 3/30/04 11:38 AM Page 1 THE AMERICAN FILM INSTITUTE GUIDE April 23 - June 13, 2004 ★ TO THEATRE AND MEMBER EVENTS VOLUME 1 • ISSUE 10 AFIPREVIEW UNCUT! FIRST TIME IN DC! GODZILLA!GODZILLA! Plus: Great World War II Films, Filmfest DC, Val Lewton Centennial, Three by Alfred Hitchcock, Natalie Wood Tribute MC5*A TRUE TESTIMONIAL POINT OF ORDER A STREETCAR NAMED DESIRE CITY LIGHTS GODSEND SYLVIA BLOWUP DARK VICTORY SEPARATE BUT EQUAL STORMY WEATHER CAT ON A HOT TIN ROOF WAR AND PEACE PHOTO NEEDED WORD WARS 45833_AFI_AGS 3/30/04 11:39 AM Page 2 Features 2, 3, 4, 7, 13 2 POINT OF ORDER MEMBERS ONLY SPECIAL EVENT! 3 MC5 *A TRUE TESTIMONIAL, GODZILLA GODSEND MEMBERS ONLY 4WORD WARS, CITY LIGHTS ●M ADVANCE SCREENING! 7 KIRIKOU AND THE SORCERESS Wednesday, April 28, 7:30 13 WAR AND PEACE, BLOWUP When an only child, Adam (Cameron Bright), is tragically killed 13 Two by Tennessee Williams—CAT ON A HOT on his eighth birthday, bereaved parents Rebecca Romijn-Stamos TIN ROOF and A STREETCAR NAMED DESIRE and Greg Kinnear are befriended by Robert De Niro—one of Romijn-Stamos’s former teachers and a doctor on the forefront of Filmfest DC 4 genetic research. He offers a unique solution: reverse the laws of nature by cloning their son. The desperate couple agrees to the The Greatest Generation 6-7 experiment, and, for a while, all goes well under 6Featured Showcase—America Celebrates the the doctor’s watchful eye. Greatest Generation, including THE BRIDGE ON The “new” Adam grows THE RIVER KWAI, CASABLANCA, and SAVING into a healthy and happy PRIVATE RYAN young boy—until his Film Series 5, 11, 12, 14 eighth birthday, when things start to go horri- 5 Three by Alfred Hitchcock: NORTH BY bly wrong. -
Filmic Bodies As Terministic (Silver) Screens: Embodied Social Anxieties in Videodrome
FILMIC BODIES AS TERMINISTIC (SILVER) SCREENS: EMBODIED SOCIAL ANXIETIES IN VIDEODROME BY DANIEL STEVEN BAGWELL A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Communication May 2014 Winston-Salem, North Carolina Approved By: Ron Von Burg, Ph.D., Advisor Mary Dalton, Ph.D., Chair R. Jarrod Atchison, Ph.D. ACKNOWLEDGMENTS A number of people have contributed to my incredible time at Wake Forest, which I wouldn’t trade for the world. My non-Deac family and friends are too numerous to mention, but nonetheless have my love and thanks for their consistent support. I send a hearty shout-out, appreciative snap, and Roll Tide to every member of the Wake Debate team; working and laughing with you all has been the most fun of my academic career, and I’m a better person for it. My GTA cohort has been a blast to work with and made every class entertaining. I wouldn’t be at Wake without Dr. Louden, for which I’m eternally grateful. No student could survive without Patty and Kimberly, both of whom I suspect might have superpowers. I couldn’t have picked a better committee. RonVon has been an incredibly helpful and patient advisor, whose copious notes were more than welcome (and necessary); Mary Dalton has endured a fair share of my film rants and is the most fun professor that I’ve had the pleasure of knowing; Jarrod is brilliant and is one of the only people with a knowledge of super-violent films that rivals my own. -
Being Gender/Doing Gender, in Alice Munro and Pedro Almadovar
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-25-2017 10:00 AM Being Gender/Doing Gender, in Alice Munro and Pedro Almadovar Bahareh Nadimi Farrokh The Univesity of Western Ontario Supervisor Professor Christine Roulston The University of Western Ontario Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Bahareh Nadimi Farrokh 2017 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons Recommended Citation Nadimi Farrokh, Bahareh, "Being Gender/Doing Gender, in Alice Munro and Pedro Almadovar" (2017). Electronic Thesis and Dissertation Repository. 5000. https://ir.lib.uwo.ca/etd/5000 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract In this thesis, I compare the short stories, “Boys and Girls” and “The Albanian Virgin”, by Alice Munro, with two films, La Mala Educación and La Piel Que Habito, by Pedro Almodóvar. This comparison analyzes how these authors conceive gender as a doing and a performance, and as culturally constructed rather than biologically determined. My main theoretical framework is Judith Butler’s theory of gender performativity as developed in Gender Trouble: Feminism and the Subversion of Identity. In my first chapter, I compare “Boys and Girls” with La Mala Educación, and in the second chapter, I compare “The Albanian Virgin” with La Piel Que Habito, to illustrate the multiple ways in which gender is constructed according to Munro and Almodóvar. -
Michael Brueggemeyer Resume'
MICHAEL BRUEGGEMEYER PROFILE Michael is a seven-time EMMY recipient for Directing, in the PSW region. He has been directing projects including commercials, corporate videos and films for over 25 years. His work has helped to make companies successful, won awards, and stood out from the crowd. EXPERIENCE DIRECTOR, FILMS http://www.imdb.com/name/nm0115726/ THE LIST — 2015 Winner, Best Film, Best Directing, Best Ensemble Acting, Audience Award, Los Angeles 48 Hour Film Project. COVERAGE — 2013 Winner, Direction, Short Form, 2016 PSW EMMY Awards. Official Selection of the Cannes Film Festival. Winner, Best Film, Best Directing, Best Writing, Best Musical Score, Best Use of Genre, Los Angeles 48 Hour Film Project. INMATE 14658 — 2013 Winner, Direction, Short Form, 2016 PSW EMMY Awards. Runner-Up, Best Film, Winner, Best Cinematography, Best Actress, San Diego 48 Hour Film project. THE HEIRESS LETHAL - 2010 Official Selection of the Cannes Film Festival. Winner, Best Film, Best Directing, San Diego 48 Hour Film project. TOP 100 FINALIST, PROJECT GREENLIGHT, 2015 DIRECTOR, COMMERCIALS www.amalgamatedgrommets.com Directed commercial or corporate projects for Cochlear, Qualcomm, Wells Fargo, Teradata, California Peace Officers Standards and Training (POST), and many others. Recipient of seven PSW EMMY Awards, 2014-2017, for Spot and Short Form Direction, two Silver Telly awards, numerous Bronze Telly awards, a Platinum Marcom award, a Silver Reel award and many others. EDUCATION AND TRAINING San Diego State University — B.S., Radio And Television, 1987 Member, Local 600, Director Of Photography, 1995-1999 www.brueggemeyer.com 858-437-2302 www.amalgamatedgrommets.com. -
Bruce Jackson & Diane Christian Video Introduction To
Virtual May 5, 2020 (XL:14) Pedro Almodóvar: PAIN AND GORY (2019, 113m) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Bruce Jackson & Diane Christian video introduction to this week’s film Click here to find the film online. (UB students received instructions how to view the film through UB’s library services.) Videos: “Pedro Almodóvar and Antonio Banderas on Pain and Glory (New York Film Festival, 45:00 min.) “How Antonio Banderas Became Pedro Almodóvar in ‘Pain & Glory’” (Variety, 4:40) “PAIN AND GLORY Cast & Crew Q&A” (TIFF 2019, 24:13) CAST Antonio Banderas...Salvador Mallo “Pedro Almodóvar on his new film ‘Pain and Glory, Penélope Cruz...Jacinta Mallo Penelope Cruz and his sexuality” (27:23) Raúl Arévalo...Venancio Mallo Leonardo Sbaraglia...Federico Delgado DIRECTOR Pedro Almodóvar Asier Etxeandia...Alberto Crespo WRITER Pedro Almodóvar Cecilia Roth...Zulema PRODUCERS Agustín Almodóvar, Ricardo Marco Pedro Casablanc...Doctor Galindo Budé, and Ignacio Salazar-Simpson Nora Navas...Mercedes CINEMATOGRAPHER José Luis Alcaine Susi Sánchez...Beata EDITOR Teresa Font Julieta Serrano...Jacinta Mallo (old age) MUSIC Alberto Iglesias Julián López...the Presenter Paqui Horcajo...Mercedes The film won Best Actor (Antonio Banderas) and Best Rosalía...Rosita Composer and was nominated for the Palme d'Or and Marisol Muriel...Mari the Queer Palm at the 2019 Cannes Film Festival. It César Vicente...Eduardo was also nominated for two Oscars at the 2020 Asier Flores...Salvador Mallo (child) Academy Awards (Best Performance by an Actor for Agustín Almodóvar...the priest Banderas and Best International Feature Film). -
The Skin I Live in Study Notes Century Fox / Pathé ©Twentieth
The Skin I Live In Study Notes Pathé / Fox Century ©Twentieth Directed by: Pedro Almovador Certificate: 15 Running time: 117 mins Release date: 18 March 2011 Synopsis: A brilliant plastic surgeon, haunted by past tragedies, creates a type of synthetic skin that withstands any kind of damage. His guinea pig: a mysterious and volatile woman who holds the key to his obsession. (http://www.imdb.com/title/tt1189073/) These Study Notes are suitable for students of Media and Film Studies & related subjects at GCSE, AS/A2 or equivalent. 1 www.filmeducation.org www.nationalschoolsfilmweek.org ©Film Education July 2011. Film Education is not responsible for the content of external websites. Before Viewing: Spanish Cinema after Franco Spanish cinema flourished after the demise of the country’s long-reigning dictator Francisco Franco in 1975. Before this turn of events, censorship and oppression were rife under the Franco regime and film schools were closed, stifling creativity. Filmmakers often had to hide their political expression and anger deep within the meaning of their films. But in the late 1970s, Pedro Almodóvar was part of the rapidly emerging Spanish film and culture renaissance (la Movida) which celebrated and explored diversity, counter-culture attitudes and new-found freedoms. z Investigate the impact Franco had upon film production, exhibition and export in Spain. How could you characterise Spanish cinema during his forty-year reign? z How would you categorise the themes and style of Almodóvar’s work at this early stage? According to your research, what was he best known for? You can find out more about Almodóvar and la Movida in Sight and Sound (July 2011, volume 21, issue 7) Almodóvar as Auteur Almodóvar ’s films are linked by themes that are both personal and universal. -
The Skin and the Protean Body in Pedro Almodóvar's Body Horror
humanities Article Destruction, Reconstruction and Resistance: The Skin and the Protean Body in Pedro Almodóvar’s Body Horror The Skin I Live In Subarna Mondal Department of English, The Sanskrit College and University, Kolkata 700073, India; [email protected] Abstract: The instinct to tame and preserve and the longing for eternal beauty makes skin a crucial element in the genre of the Body Horror. By applying a gendered reading to the art of destruction and reconstruction of an ephemeral body, this paper explores the significant role of skin that clothes a protean body in Almodóvar’s unconventional Body Horror, “The Skin I Live In” (2011). Helpless vulnerable female bodies stretched on beds and close shots of naked perfect skin of those bodies are a frequent feature in Almodóvar films. Skin stained and blotched in “Tie Me Up! Tie Me Down!” (1989), nurtured and replenished in “Talk to Her” (2002), patched up and stitched in “The Skin I Live In”, becomes a key ingredient in Almodóvar’s films that celebrate the fluidity of human anatomy and sexuality. The article situates “The Skin I Live In” in the filmic continuum of Body Horrors that focus primarily on skin, beginning with Alfred Hitchcock’s “Psycho” (1960), and touching on films like Jonathan Demme’s “The Silence of the Lambs” (1991) and Tom Tykwer’s “Perfume: The Story of a Murderer” (2006) and attempts to understand how the exploited bodies that have been culturally and socially subjugated have shaped the course of the history of Body Horrors in cinema. In “The Skin I Live In” the destruction of Vicente’s body and its recreation into Vera follow a mad scientist’s urge to dominate an unattainable body, but this ghastly assault on the body has the onscreen appearance of a routine surgical operation by an expert cosmetologist in a well-lit, sanitized mise-en-scène, Citation: Mondal, Subarna. -
Please Sign Page 10**
SAG-AFTRA 48 Hour Film Project Agreement Rev. 9/20 SCREEN ACTORS GUILD-AMERICAN FEDERATION OF TELEVISION AND RADIO ARTISTS INFORMATION SHEET AND APPLICATION SHORT FILM LETTER AGREEMENT FOR THE 48 HOUR FILM PROJECT 2021 (or the Special Genre competition) TITLE: “____________________________________________________________________________” FILMMAKER Legally Responsible Party (Producer): ________________________________ SS/Fed.ID#: _______________________________ Address: _________________________________ City: ____________________________________ State: ___________ Zip _____________________ Phone: _____________________________________ BUDGET: Project financed by: _________________________________________________________ Cash expenditures $_____________ ) + Crew deferrals $_____________ ) + Equipment deferrals $_____________ ) + Above the line Deferrals (other than performers) $_____________ ) = Total Budget $_______________ PRODUCTION: Shooting Location: _________________________________________________ Total # shoot days _____________ Dates: Start _________ Finish ____________ Edited running time ________________________ # of Performers ____________________________________________ Professional ________________ Non – Professional _______________ Is there a prior lien on the film? ______________________________________________________ Do you have a distribution agreement? ________________________________________________ **PLEASE SIGN PAGE 10** 1 of 11 SAG-AFTRA 48 Hour Film Project Agreement Rev. 9/20 1. Scope If Producer intends to employ -
Academy Invites 774 to Membership
MEDIA CONTACT [email protected] June 28, 2017 FOR IMMEDIATE RELEASE ACADEMY INVITES 774 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 774 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitations will be the only additions to the Academy’s membership in 2017. 30 individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2017 invitees are: Actors Riz Ahmed – “Rogue One: A Star Wars Story,” “Nightcrawler” Debbie Allen – “Fame,” “Ragtime” Elena Anaya – “Wonder Woman,” “The Skin I Live In” Aishwarya Rai Bachchan – “Jodhaa Akbar,” “Devdas” Amitabh Bachchan – “The Great Gatsby,” “Kabhi Khushi Kabhie Gham…” Monica Bellucci – “Spectre,” “Bram Stoker’s Dracula” Gil Birmingham – “Hell or High Water,” “Twilight” series Nazanin Boniadi – “Ben-Hur,” “Iron Man” Daniel Brühl – “The Zookeeper’s Wife,” “Inglourious Basterds” Maggie Cheung – “Hero,” “In the Mood for Love” John Cho – “Star Trek” series, “Harold & Kumar” series Priyanka Chopra – “Baywatch,” “Barfi!” Matt Craven – “X-Men: First Class,” “A Few Good Men” Terry Crews – “The Expendables” series, “Draft Day” Warwick Davis – “Rogue One: A Star Wars Story,” “Harry Potter” series Colman Domingo – “The Birth of a Nation,” “Selma” Adam -
Introduction: Global Melodrama
Notes Introduction: Global Melodrama 1. Marc Augé, Non-Places: An Introduction to Supermodernity (New York: Verso, 2006): 29. 2. Peter Brooks, The Melodramatic Imagination (New Haven, CT: Yale University Press, 1976). 3. Jacky Bratton, Jim Cook, and Christine Gledhill, eds. Melodrama: Stage Picture Screen (London: BFI, 1994): 1. 4. Homi K. Bhabha, “Introduction: Narrating the Nation,” in Nation and Narra- tion, ed. Homi K. Bhabha (New York: Routledge, 1990). 5. Works such as Frederic Jameson’s The Geopolitical Aesthetic (Bloomington: Indiana University Press, 1992) and Simon During’s “Popular Culture on a Global Scale: A Challenge for Cultural Studies?,” Critical Inquiry 23.4 (1997): 808–833, are some of the first examples of cultural critics taking up the ques- tion of how film narratives shift in order to address the changes brought about by the new world system. 6. See Laura E. Ruberto and Kristi M. Wilson, Italian Neorealism and Global Cin- ema (Detroit, MI: Wayne State University Press, 2007) and Saverio Giovacchini and Robert Sklar, Global Neorealism: The Transnational History of a Film Style (Jackson: University Press of Mississippi, 2012). 7. Laura Mulvey, “ ‘It Will Be a Magnificent Obsession’: The Melodrama’s Role in the Development of Contemporary Film Theory,” in Melodrama: Stage Picture Screen, 121–133. 8. Take, for example, Barbara Klinger’s work on the films of Douglas Sirk. Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk (Bloomington: Indiana University Press, 1994). Or other directors not working in Hollywood, some influenced by Sirk, who have prompted such analy- ses: Rainer Werner Fassbinder, Pedro Almodóvar, Atom Egoyan, and Lars von Trier, to name a few. -
The Decadent Image of the Journalist in Pedro Almodóvar Cinema
Vivat Academia. Revista de Comunicación. March 15, 2019 / June 15, 2019 nº 146, 137-160 ISSN: 1575-2844 http://doi.org/10.15178/va.2019.146.137-160 RESEARCH Received: 12/01/2018 --- Accepted: 11/10/2018 --- Published: 15/03/2019 THE DECADENT IMAGE OF THE JOURNALIST IN PEDRO ALMODÓVAR CINEMA La imagen decadente del periodista en el cine de Pedro Almodóvar Cristina San José de la Rosa1: University of Valladolid. Spain. [email protected] ABSTRACT Journalism and journalists play key roles in the cinema of Pedro Almodóvar. The director uses the character communicator with superficial presenters in most cases and occasionally precise serious informants. This study analyzes the presence of means of communication or journalists in his last 17 films and affects the prevalence of frivolity and satire before the camera as it is shown four emblematic titles to Ticos: Distant Heels (1991), Kika (1993) Talk to her (2002) and Return (2006). The data is extracted from the doctoral thesis The journalists in the Spanish cinema (1942-2012), in which the professional and personal profile of the informers which appear as protagonists or secondary in Spanish films is analyzed during the seventy years2. KEY WORDS: journalism – cinema – Almodóvar – gender – villains. RESUMEN Periodismo y periodistas juegan papeles clave en el cine de Pedro Almodóvar. El director emplea el personaje del comunicador con superficiales presentadoras en la mayoría de los casos y alguna vez puntual serios informadores. Este estudio analiza la presencia de medios de comunicación o periodistas en sus últimas 17 películas e incide 1Cristina San José de la Rosa: Licenciada en Ciencias de la Información por la Universidad Pontifica de Salamanca y licenciada en Filología Hispánica por la Universidad de Salamanca y la UNED.