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In the Same Breath
IN THE SAME BREATH A film by Nanfu Wang #InTheSameBreathHBO DEBUTS 2021 ON HBO SUNDANCE FILM FESTIVAL SCREENING SCHEDULE Thursday, January 28 at 5:00 PM PT / 6:00 PM MT – Online (WORLD PREMIERE) For press materials, please visit: ftp://ftp.homeboxoffice.com username: documr password: qq3DjpQ4 Running Time: 95 min Press Contact Press Contact HBO Documentary Films Cinetic Marketing Asheba Edghill / Hayley Hanson Rachel Allen / Ryan Werner Asheba cell: 347-721-1539 Rachel cell: 937-241-9737 Hayley cell: 201-207-7853 Ryan cell: 917-254-7653 [email protected] [email protected] [email protected] [email protected] LOGLINE Nanfu Wang's deeply personal IN THE SAME BREATH recounts the origin and spread of the novel coronavirus from the earliest days of the outbreak in Wuhan to its rampage across the United States. SHORT SYNOPSIS IN THE SAME BREATH, directed by Nanfu Wang (“One Child Nation”), recounts the origin and spread of the novel coronavirus from the earliest days of the outbreak in Wuhan to its rampage across the United States. In a deeply personal approach, Wang, who was born in China and now lives in the United States, explores the parallel campaigns of misinformation waged by leadership and the devastating impact on citizens of both countries. Emotional first-hand accounts and startling, on-the-ground footage weave a revelatory picture of cover-ups and misinformation while also highlighting the strength and resilience of the healthcare workers, activists and family members who risked everything to communicate the truth. DIRECTOR’S STATEMENT I spent a lot of my childhood in hospitals taking care of my father, who had rheumatic heart disease. -
The New Yorker
Kindle Edition, 2015 © The New Yorker COMMENT SEARCH AND RESCUE BY PHILIP GOUREVITCH On the evening of May 22, 1988, a hundred and ten Vietnamese men, women, and children huddled aboard a leaky forty-five-foot junk bound for Malaysia. For the price of an ounce of gold each—the traffickers’ fee for orchestrating the escape—they became boat people, joining the million or so others who had taken their chances on the South China Sea to flee Vietnam after the Communist takeover. No one knows how many of them died, but estimates rose as high as one in three. The group on the junk were told that their voyage would take four or five days, but on the third day the engine quit working. For the next two weeks, they drifted, while dozens of ships passed them by. They ran out of food and potable water, and some of them died. Then an American warship appeared, the U.S.S. Dubuque, under the command of Captain Alexander Balian, who stopped to inspect the boat and to give its occupants tinned meat, water, and a map. The rations didn’t last long. The nearest land was the Philippines, more than two hundred miles away, and it took eighteen days to get there. By then, only fifty-two of the boat people were left alive to tell how they had made it—by eating their dead shipmates. It was an extraordinary story, and it had an extraordinary consequence: Captain Balian, a much decorated Vietnam War veteran, was relieved of his command and court- martialled, for failing to offer adequate assistance to the passengers. -
Co-Optation of the American Dream: a History of the Failed Independent Experiment
Cinesthesia Volume 10 Issue 1 Dynamics of Power: Corruption, Co- Article 3 optation, and the Collective December 2019 Co-optation of the American Dream: A History of the Failed Independent Experiment Kyle Macciomei Grand Valley State University, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/cine Recommended Citation Macciomei, Kyle (2019) "Co-optation of the American Dream: A History of the Failed Independent Experiment," Cinesthesia: Vol. 10 : Iss. 1 , Article 3. Available at: https://scholarworks.gvsu.edu/cine/vol10/iss1/3 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]. Macciomei: Co-optation of the American Dream Independent cinema has been an aspect of the American film industry since the inception of the art form itself. The aspects and perceptions of independent film have altered drastically over the years, but in general it can be used to describe American films produced and distributed outside of the Hollywood major studio system. But as American film history has revealed time and time again, independent studios always struggle to maintain their freedom from the Hollywood industrial complex. American independent cinema has been heavily integrated with major Hollywood studios who have attempted to tap into the niche markets present in filmgoers searching for theatrical experiences outside of the mainstream. From this, we can say that the American independent film industry has a long history of co-optation, acquisition, and the stifling of competition from the major film studios present in Hollywood, all of whom pose a threat to the autonomy that is sought after in these markets by filmmakers and film audiences. -
Memetic Proliferation and Fan Participation in the Simpsons
THE UNIVERSITY OF HULL Craptacular Science and the Worst Audience Ever: Memetic Proliferation and Fan Participation in The Simpsons being a Thesis submitted for the Degree of PhD Film Studies in the University of Hull by Jemma Diane Gilboy, BFA, BA (Hons) (University of Regina), MScRes (University of Edinburgh) April 2016 Craptacular Science and the Worst Audience Ever: Memetic Proliferation and Fan Participation in The Simpsons by Jemma D. Gilboy University of Hull 201108684 Abstract (Thesis Summary) The objective of this thesis is to establish meme theory as an analytical paradigm within the fields of screen and fan studies. Meme theory is an emerging framework founded upon the broad concept of a “meme”, a unit of culture that, if successful, proliferates among a given group of people. Created as a cultural analogue to genetics, memetics has developed into a cultural theory and, as the concept of memes is increasingly applied to online behaviours and activities, its relevance to the area of media studies materialises. The landscapes of media production and spectatorship are in constant fluctuation in response to rapid technological progress. The internet provides global citizens with unprecedented access to media texts (and their producers), information, and other individuals and collectives who share similar knowledge and interests. The unprecedented speed with (and extent to) which information and media content spread among individuals and communities warrants the consideration of a modern analytical paradigm that can accommodate and keep up with developments. Meme theory fills this gap as it is compatible with existing frameworks and offers researchers a new perspective on the factors driving the popularity and spread (or lack of popular engagement with) a given media text and its audience. -
Glenn-Garland-Editor-Credits.Pdf
GLENN GARLAND, ACE Editor Television PROJECT DIRECTOR STUDIO / PRODUCTION CO. WELCOME TO THE BLUMHOUSE: BLACK BOX Emmanuel Osei-Kuffour Amazon / Blumhouse Productions EP: Jay Ellis, Jason Blum, Aaron Bergman PARADISE CITY*** (series) Ash Avildsen Sumerian Films EP: Lorenzo Antonucci PREACHER (season 3) Various AMC / Sony Pictures Television EP: Sam Catlin, Seth Rogen, Evan Goldberg ALTERED CARBON** (series) Various Netflix / Skydance EP: Laeta Kalogridis, James Middleton, Steve Blackman STAN AGAINST EVIL (series) Various IFC / Radical Media EP: Dana Gould, Frank Scherma, Tom Lassally BANSHEE (series) Ole Christian Madsen HBO / Cinemax Magnus Martens EP: Alan Ball THE VAMPIRE DIARIES (series) Various CW / Warner Bros. Television EP: Julie Plec, Kevin Williamson Feature Films PROJECT DIRECTOR STUDIO / PRODUCTION CO. BROKE Carlyle Eubank Wild West Entertainment Prod: Wyatt Russell, Alex Hertzberg, Peter Billingsley THE TURNING Floria Sigismondi Amblin Partners 3 FROM HELL Rob Zombie Lionsgate FAMILY Laura Steinel Sony Pictures / Annapurna Pictures Official Selection: SXSW Film Festival Prod: Kit Giordano, Sue Naegle, Jeremy Garelick SILENCIO Lorena Villarreal 5100 Films / Prod: Beau Genot 31 Rob Zombie Lionsgate / Saban Films Official Selection: Sundance Film Festival Prod: Mike Elliot, Andy Gould THE QUIET ONES John Pogue Lionsgate / Exclusive Media LORDS OF SALEM Rob Zombie Blumhouse / Anchor Bay Entertainment LOVE & HONOR Danny Mooney IFC Films / Red 56 HALLOWEEN 2 Rob Zombie Dimension Films BUNRAKU* Guy Moshe Snoot Entertainment Official -
Valerio Bonelli Editor
VALERIO BONELLI EDITOR FILM & TELEVISION CYRANO Director: Joe Wright Production Company: Working Title Films SANPA: SINS OF THE SAVIOR Director: Cosima Spender Production Company: Netflix THE WOMAN IN THE WINDOW Director: Joe Wright Production Company: Netflix THE BOY WHO HARNESSED THE WIND Director: Chiwetel Ejiofor Production Company: Potboiler Productions & Netflix Nominated, Best Debut Director and Best Supporting Actor, BIFA Awards (2019) Official Selection, Sundance Film Festival (2019) Official Selection, Berlin Film Festival (2019) DARKEST HOUR Director: Joe Wright Production Company: Working Title Films Nominated, Best Picture & Best Actor, Academy Awards (2018) Winner, Best Leading Actor, BAFTA Awards (2018) Official Selection, Toronto Film Festival (2017) BLACK MIRROR: NOSE DIVE Director: Joe Wright Production Company: Netflix Official Selection, Toronto Film Festival (2016) Official Selection, London Film Festival (2016) LUX ARTISTS | 1 FLORENCE FOSTER JENKINS Director: Stephen Frears Production Company: Pathe THE MARTIAN (Co-editor) Director: Ridley Scott Production Company: 20th Century Fox Official Selection, Toronto Film Festival (2015) THE PROGRAM Director: Stephen Frears Production Company: Working Title Films Official Selection, Toronto Film Festival (2015) Official Selection, London Film Festival (2015) PALIO Director: Cosima Spender Production Company: Playmaker Films Winner, Best Documentary Editing, Tribeca Film Festival (2015) Nominated, Best Documentary, BIFA Awards (2015) Nominated, Best Documentary, Tribeca Film -
The Look of Silence and Last Day of Freedom Take Top Honors at the 2015 IDA Documentary Association Awards
Amy Grey / Ashley Mariner Phone: 818-508-1000 Dish Communications [email protected] / [email protected] The Look of Silence and Last Day of Freedom Take Top Honors at the 2015 IDA Documentary Association Awards Best of Enemies, Listen to Me Marlon & HBO’s The Jinx Also Pick Up Awards LOS ANGELES, December 5, 2015 – Winners in the International Documentary Association’s 2015 IDA Documentary Awards were announced during tonight’s program at the Paramount Theatre, giving Joshua Oppenheimer’s THE LOOK OF SILENCE top honors with the Best Feature Award. This critically acclaimed, powerful companion piece to the Oscar®-nominated The Act of Killing, follows a family of survivors of the Indonesian genocide who discover how their son was murdered and the identities of the killers. Also announced in the ceremony was the Best Short Award, which honored LAST DAY OF FREEDOM, directed by Dee Hibbert-Jones and Nomi Talisman. The film is an animated account of Bill Babbitt’s decision to support and help his brother in the face of war, crime and capital execution. Grammy-nominated comedian Tig Notaro hosted the ceremony, which gathered the documentary community to honor the best nonfiction films and programming of 2015. IDA’s Career Achievement Award was presented to Gordon Quinn, Founder and Artistic Director of Kartemquin Films. He has produced, directed and/or been cinematographer on over 55 films across five decades. A longtime activist for public and community media, Quinn was integral to the creation of ITVS, public access television in Chicago; in developing the Documentary Filmmakers Statement of Best Practice in Fair Use; and in forming the Indie Caucus to support diverse independent voices on Public Television. -
Programma Bifronte, Metà USA E Metà Italiano; Metà Operistico E Metà Da Cinematografo, Con Le Musiche Di Leonard Bernstein 8½ a Far Da Contrappeso a Guerre Stellari
RAVENNA FESTIVAL 2012 Nobilissima Visione Sotto l’Alto Patronato del Presidente della Repubblica Italiana con il patrocinio di Senato della Repubblica Camera dei Deputati Presidenza del Consiglio dei Ministri Ministero per i Beni e le Attività Culturali Comune di Ravenna con il contributo di Yoko Nagae Ceschina Koichi Suzuki Hormoz Vasfi partner RAVENNA FESTIVAL 2012 Nobilissima Visione direzione artistica Cristina Mazzavillani Muti Franco Masotti Angelo Nicastro FONDAZIONE RAVENNA FESTIVAL RAVENNA MANIFESTAZIONI RINGRAZIA Soci Associazione Amici di Ravenna Festival Comune di Ravenna Regione Emilia Romagna Apt Servizi Emilia Romagna Provincia di Ravenna Autorità Portuale di Ravenna Camera di Commercio di Ravenna Banca Popolare di Ravenna Fondazione Cassa di Risparmio di Ravenna BH Audio Confindustria Ravenna Camera di Commercio di Ravenna Confcommercio Ravenna Cassa dei Risparmi di Forlì e della Romagna Confesercenti Ravenna Cassa di Risparmio di Ravenna CNA Ravenna CAT Consorzio Alta Tecnologia Confartigianato Ravenna CCC Consorzio Cooperative Costruzioni Archidiocesi di Ravenna-Cervia Circolo Amici del Teatro “Romolo Valli” - Rimini Fondazione Arturo Toscanini Cmc Ravenna Cna Ravenna Consiglio di Amministrazione Comune di Cervia Presidente Fabrizio Matteucci Comune di Ravenna Vicepresidente Vicario Mario Salvagiani Comune di Russi Vicepresidente Lanfranco Gualtieri Confartigianato Provincia di Ravenna Confindustria Ravenna Sovrintendente Antonio De Rosa Coop Adriatica Cooperativa Bagnini Cervia Consiglieri Credito Cooperativo Ravennate -
68Th EMMY® AWARDS NOMINATIONS for Programs Airing June 1, 2015 – May 31, 2016
EMBARGOED UNTIL 8:40AM PT ON JULY 14, 2016 68th EMMY® AWARDS NOMINATIONS For Programs Airing June 1, 2015 – May 31, 2016 Los Angeles, CA, July 14, 2016– Nominations for the 68th Emmy® Awards were announced today by the Television Academy in a ceremony hosted by Television Academy Chairman and CEO Bruce Rosenblum along with Anthony Anderson from the ABC series black-ish and Lauren Graham from Parenthood and the upcoming Netflix revival, Gilmore Girls. "Television dominates the entertainment conversation and is enjoying the most spectacular run in its history with breakthrough creativity, emerging platforms and dynamic new opportunities for our industry's storytellers," said Rosenblum. “From favorites like Game of Thrones, Veep, and House of Cards to nominations newcomers like black-ish, Master of None, The Americans and Mr. Robot, television has never been more impactful in its storytelling, sheer breadth of series and quality of performances by an incredibly diverse array of talented performers. “The Television Academy is thrilled to once again honor the very best that television has to offer.” This year’s Drama and Comedy Series nominees include first-timers as well as returning programs to the Emmy competition: black-ish and Master of None are new in the Outstanding Comedy Series category, and Mr. Robot and The Americans in the Outstanding Drama Series competition. Additionally, both Veep and Game of Thrones return to vie for their second Emmy in Outstanding Comedy Series and Outstanding Drama Series respectively. While Game of Thrones again tallied the most nominations (23), limited series The People v. O.J. Simpson: American Crime Story and Fargo received 22 nominations and 18 nominations respectively. -
Ten Years Supporting, Delivering & Promoting the Whole Spectrum of Animation
TEN YEARS SUPPORTING, DELIVERING & PROMOTING THE WHOLE SPECTRUM OF ANIMATION Directors Message Wow – we made it to our 10th anniversary!! Who would have thought it? From very humble beginnings – our first festival in 2004 screened at the now-defunct Rupert Street Cinema in Piccadilly – to LIAF 2013, 10 days at 3 different venues. We have survived - sort of. Over 10 years we’ve received more than 12,000 entries, screened more than 2,500 films, and had some of the most talented animators in the world come and hang out with us. And we’ve had a ball on the way. It’s time to blow our own trumpet. As well as being the largest festival of it’s kind in the UK in terms of films and programmes screened, we have a substantial touring component and we run satellite events all year-round. We’ve screened at festivals, cinemas, theatres and colleges all around the world and in the UK and hopefully we have spread the word that animation is a valid artform that is only limited by the animator’s imagination. In short, our maxim is that in animation anything can happen. Long may this be. There are far too may people to thank here (hopefully you know who you are) but the guidance and immense work-rate of my co-Director Malcolm Turner has to be acknowledged. Way back when in our ground zero - actually in the year 1999 - I still vividly recall that very first meeting Malcolm and I had with our then-colleague Susi Allender in the back garden of our Melbourne flat. -
Mount Zion United Methodist Church : a History, 185
Mount Zton United Mcthod\5tChurch -A ll<5\0Yf IS50-I9SZ TranccsRogtrs Z. Smith Reynolds Library Wake Forest University Circulation Department Please return this book promptly. To avoid a fine it must be returned by the closing hour of the latest date stamped below. WAKE FOREST UNIVERSITY LIBRARY BX8481 N6 R6 1 982x EWFF Rogers / Mount Zion United Methodist Church : a history, 185 3 D3T1 0373™ I WAKE FOREST COL Z. THE SMITH REYNOLDS I CALL NO. ACCE BX34S1 N6 R6 1982x FROM THE NORTH CAROLINA COLL United Methodist Church A History; \150-}<IS2 Upper Crab tree Community Haywood County, North Carolina Compiled and Written by Frances Nichols Rogers Cover illustration by Hiram McCracken, Black Mountain, N.C. -- Original Mount Zion bell tower and steeple. Calligraphy by Lynn Palmer, Rush Fork, N.C. CONTENTS PA^ace. i Introduction ti Coyino.cJU.ovUi tii YESTERDAY The Log Ch.un.ch 7 The. Community 4 The Civil Man. and Re.co via tAuction Vq.oa^ 5 A New Vay, A Mm ChuAch . 7 The. CowhtAiie.ti.on 13 Th e Ce.ntu.Aij TuAn& 20 The Bell .22 The ChuAch Moved On 23 The WeAl&y Bible Class 26 WoAld UJaA 11 2S Renovations 29 TODAY The Fellowship Hall and Educational Building 37 A "Coming Home" 33 VnogAams 34 The. FutuAe. 36 Footnotes 38 ImpoAtant Ve.ople. 41 Souacca 50 Wms Digitized by the Internet Archive in 2013 http://archive.org/details/mountzionunitedm1982roge PREFACE In commemoration of the 132nd anniversary of tzhe founding of Mount Zion , the 100th anniversary of the construction of the the present building, and in celebration of the new Fellowship Hall and Educational Building, this history has been written for presentation to the friends of the Church. -
Printable Syllabus Here
ART 4101 MOVING IMAGE ART OSU ART & TECHNOLOGY SPRING 2021 JANUARY 11- APRIL 23 SYLLABUS CLASS SESSIONS Tuesdays & Thursdays 8:10AM - 10:55AM EST Hybrid Delivery Method Located on ~*~The Internet~*~ ++ occasionally Hopkins Hall 156 INSTRUCTOR Dalena Tran [email protected] Oice hours by appointment DESCRIPTION This studio course critically engages with moving images. We will generate, manipulate, and animate digital imagery into durative, artistic projects. To develop a broader context around moving images, we will watch, read, create, critique, and discuss. We will screen time-based works and study a collection of texts in relationship to historical, contemporary, and experimental uses of time-based digital media. The developments in digital imaging, computer simulation, and animation has shied notions of cinema and techniques of film/artmaking into ever-evolving forms. In the beginning of this course, we will create a constellation of short, experimental projects that aim to familiarize our art practices with various media, soware, techniques, contexts, and implications of animated computer imaging. The later duration of this course is aimed at synthesizing the relevant technical and creative concepts learned throughout the course into a self-directed, final project. Final works will be publicly exhibited at the end of the semester. Experimentation with media, non-traditional tools, platforms, and methods are encouraged. LEARNING GOALS Create original art using digital imaging, computer animation, and sequencing tools such as Blender,