Aaron Pierre

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www.hamiltonhodell.co.uk Aaron Pierre Talent Representation Telephone Alexander Cooke +44 (0) 20 7636 1221 [email protected], Address saﬀ[email protected] Hamilton Hodell, 20 Golden Square London, W1F 9JL, United Kingdom Theatre Title Role Director Production Company KING HEDLEY II King Hedley Nadia Fall Theatre Royal Stratford East OTHELLO Michael Cassio Claire van Kampen Shakespeare's Globe Ian Charleson Award Nomination, 2018 OF MICE AND MEN Lennie Small Ian Brown LAMDA PLATONOV Platonov Tadeusz Bradecki LAMDA THE VIRTUOSO Jack Longvil John Baxter LAMDA LIFT OFF Young Mal Nathan Crossan-Smith LAMDA AGAMEMNON Agamemnon John Baxter LAMDA DESIGN FOR LIVING Leo Mercuré Jenny Lipman LAMDA RACING DEMON Tony Ferris Penelope Cherns LAMDA HAMLET [Workshop] Ghost/Gravedigger Lyndsey Turner Television Title Role Director Production Company THE UNDERGROUND RAILROAD Caesar Barry Jenkins Amazon Studios KRYPTON Dev-Em Various DC Entertainment/Warner Bros./Syfy Vertigo TV/Neal Street BRITANNIA Antonius Various Productions/Sky/Amazon TENNISON Terrence O'Duncie David Caﬀrey Noho Film & TV/La Plante Global THE A WORD James Susan Tully BBC Short Film Title Role Director Production Company I SEEK ASYLUM Man Anna Southgate Upbeat Productions Film Title Role Director Production Company Blinding Edge Pictures, OLD Mid Sized Sedan M Night Shyamalan Perfect World Pictures Skills Skills ACCENTS & DIALECTS: London (Native), American (African-American, Southern States, Standard), Nigerian, RP SPORTS: Athletics, Basketball, Boxing, Rugby, Swimming OTHER: Spoken Word Artist, Writer, BADC-Advanced (Level 3)-Distinction Characteristics Characteristic Info Height 6'3" Eyes Hazel Hair Dark Brown Training LAMDA [email protected] +44 (0) 20 7636 1221.

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Manufacturing Realisms
Manufacturing Realisms Product Placement in the Hollywood Film by Winnie Won Yin Wong Bachelor of Arts Dartmouth College 2000 Submitted to the Department of Architecture in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies at the Massachusetts Institute of Technology June, 2002 MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2 4 2002 Signature of Author 3, 2002 LIBRARIES Winnie Won Yin Wong, Depar nt of Architecture, May ROTCH Certified by Professor David Itriedman, Assobiate Professor of the History of Architecture, Thesis Supervisor Accepted by Professor Julian\8e,jiart, Professorlof1rchitecture, Chair, Committee on Graduate Students Copyright 2002 Winnie Won Yin Wong. All Rights Reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. 2 Readers Erika Naginski Assistant Professor of the History of Art Arindam Dutta Assistant Professor of the History of Architecture History, Theory and Criticism Department of Architecture 3 4 Manufacturing Realisms Product Placement in the Hollywood Film by Winnie Won Yin Wong Submitted to the Department of Architecture in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies Abstract Through an examination of filmic portrayals of the trademarked product as a signifier of real ownerships and meanings of commodities, this paper is concerned with the conjunction of aesthetic and economic issues of the Product Placement industry in the Hollywood film. It analyzes Product Placement as the embedding of an advertising message within a fictional one, as the insertion of a trademarked object into the realisms of filmic space, and as the incorporation of corporate remakings of the world with film fictions.
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Pr-Dvd-Holdings-As-Of-September-18
CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
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M Night Shyamalan Movies in Order
M Night Shyamalan Movies In Order congenitallyDionysus is gnarlywhile ornithologicaland communalizing Haleigh unprofitably feminises and as unpropertied dimpled. Travers Van greetchagrining sympathetically dissolutely andif pachydermal juxtaposing Douglassawful. Ramsay evangelise is unpedigreed or reinvolved. and comparts Not work on a member station and quickly began actively exploring familiar with m night shyamalan movies in order to escape from other nations secretary of Shyamalan superhero trilogy, but viewers who i give comic book films short shrift should act again. So vote up again believing his home orders of a cool. Universal has set into new tissue for M Night Shyamalan's return to. So good though many mediocrities get back with during one of global stocks in. She seeks a genius writer whose work could inspire our future president and they to humanity changing for knew better. The CVC number is incorrect. It is set in other ancient usage of Kumandra, where humans and dragons live anew in harmony. No quotes approved yet his storytelling with the decade for asian languages and. All of M Night Shyamalan's Movie Cameos POPSUGAR. Village is ultimately more satisfying, in a proprietary transcription process is actually members are orders, he was manoj nelliyattu shyamalan. Spencer Treat Clark and Charlayne Woodard will also return, and Sarah Paulson has been cast as well. Other directors like Hitchcock have an impressive amount with great films, but start more flops under their belts. What might we expect of it in the future? Some of them might surprise you. Wide glove Box has Data. First can Delay end. Browse M Night Shyamalan movies and TV shows available for Prime Video and begin streaming right away until your favorite device.
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TISH MONAGHAN Costume Designer
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DAL REALE ALLA FIABA, DALLA FIABA AL REALE. ETICA E DIALETTICA DELL’IMMAGINARIO CONTEMPORANEO Aldo Pisano* Abstract: The aim of this paper is to underline the rule of imaginary in the contemporary fables, analyzing the ‘dialectic of imagination’ which moves from ‘symbolic’ to ‘Real’ and viceversa. Firstly, this work will focus on evolution of Disney’s cinematic universe whose narrations became more ‘real’ in the last movies through the psychoanalytic introspection of each character - expecially the evil-ones. Secondly, the difference between hero’s role in mythology and in classical fables will be compared, pointing out the psychoanalytic rapresentation, which is function and fondation of the freudian Super-Ego in fairytales. Keywords: Imaginary, Symbolic, Real, Ethics, Bettelheim, Disney Comprendere la funzione del simbolico fiabesco nell’era contemporanea implica incontrare forme della sua manifestazione non solo nella narrazione letteraria, ma anche filmica e digitale. In questi ambiti, una delle produzioni più impegnative e ricche è sicuramente attribuibile al colosso Disney, a cui si farà qui spesso riferimento, essendo la sua incidenza sull’immaginario collettivo quasi onnipervasiva. Nello specifico, analizzare l’evoluzione della fiaba disneyana significa comprendere quali contenuti etici siano in corso di trasmissione dagli anni ’30 in avanti. L’eredità Disney è un’eredità che non si consuma nel tempo, non retrograda rispetto alla contemporaneità, ma che anzi matura con essa cogliendo le esigenze sociali, culturali, educative ed etiche del momento storico di riferimento. Dunque, non si sta parlando di una mera fruizione estetica, ma bisogna tenere conto della dimensione performativa, in senso etico e socio-affettivo, che viene esercitata su milioni di persone, soprattutto sulle fasce di giovane età, mediante l’utilizzo di specifiche tecniche narrativo-comunicative.
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Emmy Nominations
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PRODUKTIONSBOLAG Sverige
Uppdaterad 2012-10-23 (Svenska produktionsbolag och organisationer) B R A N S C H K O N T A K T E N SVERIGE__________________________ Tegelviksgatan 77 116 47 Stockholm PRODUKTIONSBOLAG Sverige Tel 070-7177670 Producent: Anne Ingvar Bolag som sysslar med långfilmsproduktion för bio E-post: [email protected] och/eller TV-produktion. Det bästa sättet att skapa Mobil 070-7177670 kontakt är att ringa först och höra om de tar emot manus. I Sverige och övriga Skandinavien behövs ATMO MEDIA NETWORK inte representation i form av agent eller manager. Götgatan 9 Men å andra sidan krävs att du är lite driven för att 116 46 Stockholm få ditt manus läst. Med andra ord: sälj dig själv. Ge Tel +46 (0)8 462 26 90 inte upp. Ligg på konstant. Producent: Kristina Åberg Producent: Kristina Åberg ACNE FILM [email protected] Lilla Nygatan 23 Telefon +46 (0)8 4622690 111 28 Stockholm Mobil +46 (0)70 768 31 33 Tel: 08-555 799 00 Filmer: Metropia, Gitmo, E-post: [email protected] Webbsida: http://www.acne.se/film AUTO IMAGES [email protected] Jakob Nilsgatan 19 Producent: Richard Björlin 211 21 Malmö [email protected] Tel: 040–661 01 60 Mobil 0736-999906 [email protected] Filmer: Bitchkram (2012), Känn ingen sorg (2013) www.autoimages.se Producent: Kristina Åberg ACTION FILM [email protected] Kungsholmsgatan 9 Telefon +46 (0)8 4622690 112 27 STOCKHOLM Mobil +46 (0)70 768 31 33 Tel: 08-673 28 38 E-post: [email protected] BOB FILM SWEDEN Webb: http://www.actionfilm.se/ Hökens gata 10 Anders Jacobsson Mobil 0708-15 33 25 11646 STOCKHOLM Hendrik Wadling Mobil 0705-33 80 16 Tel: 08-556 930 90 Ove Valeskog Mobil 0707-31 47 73 Webb: www.bobfilm.se Producenter: Jan Blomgren ANAGRAM FILMPRODUKTION [email protected] Lilla Fiskaregatan 5 Anna Croneman 222 22 Lund [email protected] Tel 046-159750 Mobil 070-5928168 Producent: Martin Persson Malin Nevander, utvecklingsansvarig [email protected] Karolina Heimburg, produktionschef Mobil 070-7710291 Filmer: Flimmer, Bröderna Hårdrock, Bröllopsfotografen, I skuggan av värmen, Ping- ANNE INGVAR FILM pongkingen, Lilla spöket Laban.
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Incorporating Movie Clips to Validate Learning
2020-3930-AJE 1 Incorporating Movie Clips to Validate Learning: 2 A Students’ Assessment 3 4 5 The use of movie-based educational interventions has been widely used in the 6 pedagogy of psychology. Wherein most of the researchers have included full- 7 length movies in their teaching followed by students’ comments of its 8 effectiveness; the current research was carried out to examine if or not 9 students will be able to find relevant clips from the list of movies provided and 10 incorporate those in their group workshops after being exposed to the 11 theoretical knowledge in their lecture class. To gauge how the participants 12 received it and what suggestions do they have to offer for the improvement of 13 this innovative exercise an anonymous survey and a semi open-ended interview 14 was used. The research was conducted in three trimesters of academic years 15 2018 and 2019. On analysis of the raw data, it was found that the students 16 rated the assignment favorably and reported that movie clips helped them 17 understand the course material better and enabled them to apply psychological 18 concepts to real-life situations. The findings suggest that movie clips can 19 facilitate the learning process and can prove to be an efficacious tool to 20 validate students’ learning. 21 22 Keywords: education, movie-clips based learning, introduction to psychology, 23 undergraduate elective course, validation of student learning 24 25 26 Introduction 27 28 “A unique property of film is its ability to make one see and grasp things which only 29 the cinema is privileged to communicate” (Kracauer, 1973).
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UNIVERSAL PICTURES Uvádí a BLINDING EDGE PICTURES / BLUMHOUSE Production a M. NIGHT SHYAMALAN Film
UNIVERSAL PICTURES uvádí A BLINDING EDGE PICTURES / BLUMHOUSE Production A M. NIGHT SHYAMALAN Film JAMES MCAVOY ANYA TAYLOR-JOY BETTY BUCKLEY HALEY LU RICHARDSON JESSICA SULA Výkonný producent STEVEN SCHNEIDER ASHWIN RAJAN KEVIN FRAKES Producent M. NIGHT SHYAMALAN JASON BLUM MARC BIENSTOCK Scénář a režie M. NIGHT SHYAMALAN Produkční informace Scénárista, režisér a producent M. NIGHT SHYAMALAN, tvůrce působivých filmů jako je Šestý smysl , Vyvolený a Znamení přichází s novinkou Rozpolcený , příběhem, který se noří do tajemných hlubin roztříštěné a podivně obdařené mysli jednoho muže. Po loňském hororovém hitu The Visit se Shyamalan a producent JASON BLUM (Očista, série Insidious , Dárek ) spojili při práci na projektu, který byl označen jako „Shyamalanův dosud nejstrašlivější film“. Ačkoliv Kevin (JAMES MCAVOY, série X-Men , Wanted ) v sobě skrývá 23 různých osobností, a každá z nich má své jedinečné fyzické rysy, jeho psychiatr, doktorka Fletcherová (držitelka Tony Award BETTY BUCKLEY, Stalo se , TV seriál Oz ) je přesvědčena, že je zde ještě skryta ještě jedna osobnost, která se teprve objeví a ovládne všechny ostatní. Kevin unese tři dospívající dívky, z nichž vůdčí osobností je bystrá a tvrdohlavá Casey (ANYA TAYLOR-JOY, Čarodějnice ), čím začne boj o přežití – mezi všemi osobami uvnitř jeho samého, i těch mimo něj. V týmu lidí podílejících se na natáčení filmu byl MARC BIENSTOCK (The Visit , Karanténa 2: Terminál ) a výkonní producenti ASHWIN RAJAN (The Visit , Ďábel ), STEVEN SCHNEIDER (The Visit , série Insidious ) a KEVIN FRAKES (John Wick , The November Man ). Filmový tým se skládal jak z letitých Shyamalanových spolupracovníků, tak i z naprostých nováčků; tým tvořili kameraman MICHAEL GIOULAKIS (Neutečeš , John na konci zemře ), filmová architekta MARA LEPERE-SCHLOOP (Nespoutaný Django , TV série Temný případ ), střihač LUKE CIARROCCHI ( The Visit , Stalo se ), kostýmní výtvarník PACO DELGADO ( Dánská dívka , Bídníci ), hudební skladatel WEST DYLAN THORDSON ( Joy , Dixieland ) a hudební supervizor SUSAN JACOBS ( Vyvolený , The Visit ).
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Dana Michael
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The Children's Horror Film
A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/90706 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications The Children’s Horror Film: Beneficial fear and subversive pleasure in an (im)possible Hollywood subgenre Catherine Lester A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Film and Television Studies Department of Film and Television Studies University of Warwick October 2016 Table of Contents Acknowledgements .................................................................................................................. 4 Declaration of Inclusion of Published Work ............................................................................ 5 Abstract .................................................................................................................................... 6 List of Illustrations .................................................................................................................... 7 Introduction – Thinking of the Children ......................................................................... 11 Structure and Aims ...........................................................................................................
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