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Extreme Leadership Leaders, Teams and Situations Outside the Norm
JOBNAME: Giannantonio PAGE: 3 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 Extreme Leadership Leaders, Teams and Situations Outside the Norm Edited by Cristina M. Giannantonio Amy E. Hurley-Hanson Associate Professors of Management, George L. Argyros School of Business and Economics, Chapman University, USA NEW HORIZONS IN LEADERSHIP STUDIES Edward Elgar Cheltenham, UK + Northampton, MA, USA Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 1 / Date: 30/10 JOBNAME: Giannantonio PAGE: 4 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 © Cristina M. Giannantonio andAmy E. Hurley-Hanson 2013 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical or photocopying, recording, or otherwise without the prior permission of the publisher. Published by Edward Elgar Publishing Limited The Lypiatts 15 Lansdown Road Cheltenham Glos GL50 2JA UK Edward Elgar Publishing, Inc. William Pratt House 9 Dewey Court Northampton Massachusetts 01060 USA A catalogue record for this book is available from the British Library Library of Congress Control Number: 2013946802 This book is available electronically in the ElgarOnline.com Business Subject Collection, E-ISBN 978 1 78100 212 4 ISBN 978 1 78100 211 7 (cased) Typeset by Columns Design XML Ltd, Reading Printed and bound in Great Britain by T.J. International Ltd, Padstow Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 2 / Date: 30/10 JOBNAME: Giannantonio PAGE: 1 SESS: 5 OUTPUT: Wed Oct 30 14:57:46 2013 14. Extreme leadership as creative leadership: reflections on Francis Ford Coppola in The Godfather Charalampos Mainemelis and Olga Epitropaki INTRODUCTION How do extreme leadership situations arise? According to one view, they are triggered by environmental factors that have nothing or little to do with the leader. -
A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z MARCH 2021 Ho u The 39 Steps (1935) 3/5 c Blondie of the Follies (1932) 3/2 Czechoslovakia on Parade (1938) 3/27 a ADVENTURE u 6,000 Enemies (1939) 3/5 u Blood Simple (1984) 3/19 z Bonnie and Clyde (1967) 3/30, 3/31 –––––––––––––––––––––– D ––––––––––––––––––––––– –––––––––––––––––––––– ––––––––––––––––––––––– c COMEDY A D Born to Love (1931) 3/16 m Dancing Lady (1933) 3/23 a Adventure (1945) 3/4 D Bottles (1936) 3/13 D Dancing Sweeties (1930) 3/24 z CRIME a The Adventures of Huckleberry Finn (1960) 3/23 P c The Bowery Boys Meet the Monsters (1954) 3/26 m The Daughter of Rosie O’Grady (1950) 3/17 a The Adventures of Robin Hood (1938) 3/9 c Boy Meets Girl (1938) 3/4 w The Dawn Patrol (1938) 3/1 o DOCUMENTARY R The Age of Consent (1932) 3/10 h Brainstorm (1983) 3/30 P D Death’s Fireworks (1935) 3/20 D All Fall Down (1962) 3/30 c Breakfast at Tiffany’s (1961) 3/18 m The Desert Song (1943) 3/3 D DRAMA D Anatomy of a Murder (1959) 3/20 e The Bridge on the River Kwai (1957) 3/27 R Devotion (1946) 3/9 m Anchors Aweigh (1945) 3/9 P R Brief Encounter (1945) 3/25 D Diary of a Country Priest (1951) 3/14 e EPIC D Andy Hardy Comes Home (1958) 3/3 P Hc Bring on the Girls (1937) 3/6 e Doctor Zhivago (1965) 3/18 c Andy Hardy Gets Spring Fever (1939) 3/20 m Broadway to Hollywood (1933) 3/24 D Doom’s Brink (1935) 3/6 HORROR/SCIENCE-FICTION R The Angel Wore Red (1960) 3/21 z Brute Force (1947) 3/5 D Downstairs (1932) 3/6 D Anna Christie (1930) 3/29 z Bugsy Malone (1976) 3/23 P u The Dragon Murder Case (1934) 3/13 m MUSICAL c April In Paris -
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Boys, ballet and begonias: The Spanish Gardener and its analogues alison platt T S S, an American film of 1999 from an Indian director, M. Night Shyamalan, with an all-American star (Bruce Willis), seems a very long way from British cinema of the 1950s.1 But the boy in this film (Haley Joel Osment) seems almost a revenant from the British post-war era, with his lack of teenage quality, his innocence of youth culture and, more importantly, his anguished concern for and with the adult (Willis) whom he befriends. Here there is something of Carol Reed’s The Fallen Idol (1948), Anthony Pélissier’s The Rocking Horse Winner (1949), Philip Leacock’s The Spanish Gardener (1956) and other films of the period that centre upon the child/adult relationship or incorporate it as a theme: Anthony Asquith’s The Winslow Boy (1948) and The Browning Version (1951), and Philip Leacock’s The Kidnappers (1953). Perhaps the template for this type of isolated child is Pip in David Lean’s Great Expectations (1946). Anthony Wager as young Pip seems an irrevocably old-fashioned child victim, the Little Father Time of Hardy’s Jude the Obscure, as does John Howard Davies asking for more in Lean’s Oliver Twist (1948). This sensitive-looking child returns in The Sixth Sense and indeed in another film of 1999, Paul Thomas Anderson’s Magnolia. Neither of the children who feature in these films exemplifies today’s idea of ‘normal’ children in cinema, which is based on a concept of young, tough ‘kids’ that does not show children as people. -
"Sounds Like a Spy Story": the Espionage Thrillers of Alfred
University of Mary Washington Eagle Scholar Student Research Submissions 4-29-2016 "Sounds Like a Spy Story": The Espionage Thrillers of Alfred Hitchcock in Twentieth-Century English and American Society, from The Man Who Knew Too Much (1934) to Topaz (1969) Kimberly M. Humphries Follow this and additional works at: https://scholar.umw.edu/student_research Part of the History Commons Recommended Citation Humphries, Kimberly M., ""Sounds Like a Spy Story": The Espionage Thrillers of Alfred Hitchcock in Twentieth-Century English and American Society, from The Man Who Knew Too Much (1934) to Topaz (1969)" (2016). Student Research Submissions. 47. https://scholar.umw.edu/student_research/47 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. "SOUNDS LIKE A SPY STORY": THE ESPIONAGE THRILLERS OF ALFRED HITCHCOCK IN TWENTIETH-CENTURY ENGLISH AND AMERICAN SOCIETY, FROM THE MAN WHO KNEW TOO MUCH (1934) TO TOPAZ (1969) An honors paper submitted to the Department of History and American Studies of the University of Mary Washington in partial fulfillment of the requirements for Departmental Honors Kimberly M Humphries April 2016 By signing your name below, you affirm that this work is the complete and final version of your paper submitted in partial fulfillment of a degree from the University of Mary Washington. You affirm the University of Mary Washington honor pledge: "I hereby declare upon my word of honor that I have neither given nor received unauthorized help on this work." Kimberly M. -
Midas' Servant, Ceyx, Morpheus As Ceyx, Orpheus, Apollo, A, Philemon
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 Playing the Third Man (Midas' Servant, Ceyx, Morpheus as Ceyx, Orpheus, Apollo, A, Philemon) in Mary Zimmerman's Metamorphoses: a production thesis Ronald Ludlow Reeder Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Theatre and Performance Studies Commons Recommended Citation Reeder, Ronald Ludlow, "Playing the Third Man (Midas' Servant, Ceyx, Morpheus as Ceyx, Orpheus, Apollo, A, Philemon) in Mary Zimmerman's Metamorphoses: a production thesis" (2007). LSU Master's Theses. 3653. https://digitalcommons.lsu.edu/gradschool_theses/3653 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. PLAYING THE THIRD MAN (MIDAS’ SERVANT, CEYX, MORPHEUS AS CEYX, ORPHEUS, APOLLO, A, PHILEMON) IN MARY ZIMMERMAN’S METAMORPHOSES: A PRODUCTION THESIS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural And Mechanical College In partial fulfillment of the Requirements for the degree of Master of Fine Arts In The Department of Theatre By Ronald Ludlow Reeder B.F.A., University of Texas at Austin, 1991 B.S., University of Texas at Austin, 1994 May, 2007 TABLE OF CONTENTS ABSTRACT……………………………………………………………...………………iii -
Film & Literature
Name_____________________ Date__________________ Film & Literature Mr. Corbo Film & Literature “Underneath their surfaces, all movies, even the most blatantly commercial ones, contain layers of complexity and meaning that can be studied, analyzed and appreciated.” --Richard Barsam, Looking at Movies Curriculum Outline Form and Function: To equip students, by raising their awareness of the development and complexities of the cinema, to read and write about films as trained and informed viewers. From this base, students can progress to a deeper understanding of film and the proper in-depth study of cinema. By the end of this course, you will have a deeper sense of the major components of film form and function and also an understanding of the “language” of film. You will write essays which will discuss and analyze several of the films we will study using accurate vocabulary and language relating to cinematic methods and techniques. Just as an author uses literary devices to convey ideas in a story or novel, filmmakers use specific techniques to present their ideas on screen in the world of the film. Tentative Film List: The Godfather (dir: Francis Ford Coppola); Rushmore (dir: Wes Anderson); Do the Right Thing (dir: Spike Lee); The Dark Knight (dir: Christopher Nolan); Psycho (dir: Alfred Hitchcock); The Graduate (dir: Mike Nichols); Office Space (dir: Mike Judge); Donnie Darko (dir: Richard Kelly); The Hurt Locker (dir: Kathryn Bigelow); The Ice Storm (dir: Ang Lee); Bicycle Thives (dir: Vittorio di Sica); On the Waterfront (dir: Elia Kazan); Traffic (dir: Steven Soderbergh); Batman (dir: Tim Burton); GoodFellas (dir: Martin Scorsese); Mean Girls (dir: Mark Waters); Pulp Fiction (dir: Quentin Tarantino); The Silence of the Lambs (dir: Jonathan Demme); The Third Man (dir: Carol Reed); The Lord of the Rings trilogy (dir: Peter Jackson); The Wizard of Oz (dir: Victor Fleming); Edward Scissorhands (dir: Tim Burton); Raiders of the Lost Ark (dir: Steven Spielberg); Star Wars trilogy (dirs: George Lucas, et. -
7 1Stephen A
SLIPSTREAM A DATA RICH PRODUCTION ENVIRONMENT by Alan Lasky Bachelor of Fine Arts in Film Production New York University 1985 Submitted to the Media Arts & Sciences Section, School of Architecture & Planning in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE at the Massachusetts Institute of Technology September, 1990 c Massachusetts Institute of Technology, 1990 All Rights Reserved I Signature of Author Media Arts & Sciences Section Certified by '4 A Professor Glorianna Davenport Assistant Professor of Media Technology, MIT Media Laboratory Thesis Supervisor Accepted by I~ I ~ - -- 7 1Stephen A. Benton Chairperso,'h t fCommittee on Graduate Students OCT 0 4 1990 LIBRARIES iznteh Room 14-0551 77 Massachusetts Avenue Cambridge, MA 02139 Ph: 617.253.2800 MITLibraries Email: [email protected] Document Services http://libraries.mit.edu/docs DISCLAIMER OF QUALITY Due to the condition of the original material, there are unavoidable flaws in this reproduction. We have made every effort possible to provide you with the best copy available. If you are dissatisfied with this product and find it unusable, please contact Document Services as soon as possible. Thank you. Best copy available. SLIPSTREAM A DATA RICH PRODUCTION ENVIRONMENT by Alan Lasky Submitted to the Media Arts & Sciences Section, School of Architecture and Planning on August 10, 1990 in partial fulfillment of the requirements for the degree of Master of Science ABSTRACT Film Production has always been a complex and costly endeavour. Since the early days of cinema, methodologies for planning and tracking production information have been constantly evolving, yet no single system exists that integrates the many forms of production data. -
Photography and Cinema
Photography and Cinema David Campany Photography and Cinema EXPOSURES is a series of books on photography designed to explore the rich history of the medium from thematic perspectives. Each title presents a striking collection of approximately80 images and an engaging, accessible text that offers intriguing insights into a specific theme or subject. Series editors: Mark Haworth-Booth and Peter Hamilton Also published Photography and Australia Helen Ennis Photography and Spirit John Harvey Photography and Cinema David Campany reaktion books For Polly Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx www.reaktionbooks.co.uk First published 2008 Copyright © David Campany 2008 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in China by C&C Offset Printing Co., Ltd British Library Cataloguing in Publication Data Campany, David Photography and cinema. – (Exposures) 1. Photography – History 2. Motion pictures – History I. Title 770.9 isbn–13: 978 1 86189 351 2 Contents Introduction 7 one Stillness 22 two Paper Cinema 60 three Photography in Film 94 four Art and the Film Still 119 Afterword 146 References 148 Select Bibliography 154 Acknowledgements 156 Photo Acknowledgements 157 Index 158 ‘ . everything starts in the middle . ’ Graham Lee, 1967 Introduction Opening Movement On 11 June 1895 the French Congress of Photographic Societies (Congrès des sociétés photographiques de France) was gathered in Lyon. Photography had been in existence for about sixty years, but cinema was a new inven- tion. -
Teaching Social Issues with Film
Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film -
UNIVERSITY of CALIFORNIA Santa Barbara Bourgeois Like Me
UNIVERSITY OF CALIFORNIA Santa Barbara Bourgeois Like Me: Architecture, Literature, and the Making of the Middle Class in Post- War London A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Elizabeth Marly Floyd Committee in charge: Professor Maurizia Boscagli, Chair Professor Enda Duffy Professor Glyn Salton-Cox June 2019 The dissertation of Elizabeth Floyd is approved. _____________________________________________ Enda Duffy _____________________________________________ Glyn Salton-Cox _____________________________________________ Maurizia Boscagli, Committee Chair June 2019 Bourgeois Like Me: Architecture, Literature, and the Making of the Middle Class in Post- War Britain Copyright © 2019 by Elizabeth Floyd iii ACKNOWLEDGEMENTS This project would not have been possible without the incredible and unwavering support I have received from my colleagues, friends, and family during my time at UC Santa Barbara. First and foremost, I would like to thank my committee for their guidance and seeing this project through its many stages. My ever-engaging chair, Maurizia Boscagli, has been a constant source of intellectual inspiration. She has encouraged me to be a true interdisciplinary scholar and her rigor and high intellectual standards have served as an incredible example. I cannot thank her enough for seeing potential in my work, challenging my perspective, and making me a better scholar. Without her support and guidance, I could not have embarked on this project, let alone finish it. She has been an incredible mentor in teaching and advising, and I hope to one day follow her example and inspire as many students as she does with her engaging, thoughtful, and rigorous seminars. -
Apocalypse Now Redux — Remonter Les Ténèbres Un Maestro Et Son Ultime Chef-D’Oeuvre Apocalypse Now Redux, États-Unis 2001, 197 Minutes Charles-Stéphane Roy
Document généré le 27 sept. 2021 15:13 Séquences La revue de cinéma Apocalypse Now Redux — Remonter les ténèbres Un maestro et son ultime chef-d’oeuvre Apocalypse Now Redux, États-Unis 2001, 197 minutes Charles-Stéphane Roy Le cinéma québécois des années 90 Numéro 215, septembre–octobre 2001 URI : https://id.erudit.org/iderudit/59182ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Roy, C.-S. (2001). Compte rendu de [Apocalypse Now Redux — Remonter les ténèbres : un maestro et son ultime chef-d’oeuvre / Apocalypse Now Redux, États-Unis 2001, 197 minutes]. Séquences, (215), 49–49. Tous droits réservés © La revue Séquences Inc., 2000 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ APOCALYPSE NOW REDUX Remonter les ténèbres : un maestro et son ultime chef-d'œuvre annes, printemps 1979. Au cœur de l'ancien Palais du CFestival, Francis Ford Coppola se dirige nerveusement vers un microphone et s'adresse à un auditoire impatient. Dans un élan théâtral, il envoie une première missive : « My film is not about Vietnam. -
Paris Can Wait
LIFETIME FILMS AMERICAN ZOETROPE CORNER PIECE CAPITAL In association with PROTAGONIST PICTURES and TOHOKUSHINSHA FILM CORPORATION present PARIS CAN WAIT Written, Produced & Directed by ELEANOR COPPOLA Starring Diane Lane Arnaud Viard And Alec Baldwin Opens NY/LA 05/12/17 Rated PG 92 min East Coast Publicity West Coast Publicity Distributor 42 West Block-Korenbrot Sony Pictures Classics Scott Feinstein Eric Osuna Carmelo Pirrone 220 West 42nd St., 12th Fl. 6100 Wilshire Blvd., Ste 170 Maya Anand New York, NY 10036 Los Angeles, CA 90048 25 Madison Ave. 212-277-7555 tel 323-634-7001 tel New York, NY 10010 323-634-7030 fax 212-833-8833 tel 212-833-8844 fax CAST Anne Lockwood Diane LANE Jacques Clement Arnaud VIARD Michael Lockwood Alec BALDWIN Martine Elise TIELROOY Carole Elodie NAVARRE Mechanic Serge ONTENIENTE Philippe Pierre CUQ Musée Des Tissus Guard Cédric MONNET Concierge Aurore CLEMENT Suzanne Davia NELSON Alexandra Eleanor LAMBERT FILMMAKERS Written, Produced and Directed by ELEANOR COPPOLA Produced by FRED ROOS Executive Producers MICHAEL ZAKIN LISA HAMILTON DALY TANYA LOPEZ ROB SHARENOW MOLLY THOMPSON Director of Photography Crystel Fournier, Afc Production Designer ANNE SEIBEL, ADC Costume Designer MILENA CANONERO Editor GLEN SCANTLEBURY Sound Designer RICHARD BEGGS Music by LAURA KARPMAN Synopses LOG LINE A devoted American wife (Diane Lane) with a workaholic inattentive husband (Alec Baldwin) takes an unexpected journey from Cannes to Paris with a charming Frenchman (Arnaud Viard) that reawakens her sense of self and joie de vivre. LONG SYNOPSIS Eleanor Coppola’s feature film directorial and screenwriting debut at the age of 81 stars Academy Award® nominee Diane Lane as a Hollywood producer’s wife who unexpectedly takes a trip through France, which reawakens her sense of self and her joie de vivre.