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Race, Markets, and Hollywood's Perpetual Antitrust Dilemma
Michigan Journal of Race and Law Volume 18 2012 Race, Markets, and Hollywood's Perpetual Antitrust Dilemma Hosea H. Harvey Temple University, James E. Beasley School of Law Follow this and additional works at: https://repository.law.umich.edu/mjrl Part of the Antitrust and Trade Regulation Commons, Civil Rights and Discrimination Commons, Entertainment, Arts, and Sports Law Commons, and the Law and Race Commons Recommended Citation Hosea H. Harvey, Race, Markets, and Hollywood's Perpetual Antitrust Dilemma, 18 MICH. J. RACE & L. 1 (2012). Available at: https://repository.law.umich.edu/mjrl/vol18/iss1/1 This Article is brought to you for free and open access by the Journals at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in Michigan Journal of Race and Law by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. RACE, MARKETS, AND HOLLYWOOD'S PERPETUAL ANTITRUST DILEMMA Hosea H. Harvey* This Article focuses on the oft-neglected intersection of racially skewed outcomes and anti-competitive markets. Through historical, contextual, and empirical analysis, the Article describes the state of Hollywood motion-picture distributionfrom its anti- competitive beginnings through the industry's role in creating an anti-competitive, racially divided market at the end of the last century. The Article's evidence suggests that race-based inefficiencies have plagued the film distribution process and such inefficiencies might likely be caused by the anti-competitive structure of the market itself, and not merely by overt or intentional racial-discrimination.After explaining why traditional anti-discrimination laws are ineffective remedies for such inefficiencies, the Article asks whether antitrust remedies and market mechanisms mght provide more robust solutions. -
Kameo Team Founded in the Early Stages of the Pandemic, After a Brief Intermission, Hollywood Is Back in Business
Human Interest Lights, Camera, Testing! lex Ostebo did not spend her pan- demic binge-watching movies. In fact, when stay-at-home orders A brought film productions to a grind- ing halt in spring of 2020, the producer and founder of LA-based Creative Picnic thought she’d be back behind the camera soon enough. But as weeks turned to months, she wondered what productions would look like when they were finally able to return. Studios would sure- ly have to provide safeguards against the coro- navirus and of course, frequent testing. At the time though, no lab option was as fast and as flexible as a time-strapped film production would require. “Our entire industry,” she recalls, “is based on being together.” And that entire industry need- ed a solution. “Film sets are all about safety,” she says, so it seemed logical that testing would become es- sential. “The challenge was to get the right peo- ple and the right labs.” The Kameo Team Founded in the early stages of the pandemic, After a brief intermission, Hollywood is back in business. Some productions started filming again last summer, thanks to an LA start-up -- founded by a veteran producer -- that provides reliable, flexible covid testing for the entertainment industry. Ostebo launched Kameo specifically for the partner labs to ensure they would always meet production industry she knows so well. In fact, the industry’s time-sensitive needs for results. Kameo is a play on the word cameo, a short – They even hired out-of-work movie producers but meaningful -- guest appearance. -
Carol Raskin
Carol Raskin Artistic Images Make-Up and Hair Artists, Inc. Miami – Office: (305) 216-4985 Miami - Cell: (305) 216-4985 Los Angeles - Office: (310) 597-1801 FILMS DATE FILM DIRECTOR PRODUCTION ROLE 2019 Fear of Rain Castille Landon Pinstripe Productions Department Head Hair (Kathrine Heigl, Madison Iseman, Israel Broussard, Harry Connick Jr.) 2018 Critical Thinking John Leguizamo Critical Thinking LLC Department Head Hair (John Leguizamo, Michael Williams, Corwin Tuggles, Zora Casebere, Ramses Jimenez, William Hochman) The Last Thing He Wanted Dee Rees Elena McMahon Productions Additional Hair (Miami) (Anne Hathaway, Ben Affleck, Willem Dafoe, Toby Jones, Rosie Perez) Waves Trey Edward Shults Ultralight Beam LLC Key Hair (Sterling K. Brown, Kevin Harrison, Jr., Alexa Demie, Renee Goldsberry) The One and Only Ivan Thea Sharrock Big Time Mall Productions/Headliner Additional Hair (Bryan Cranston, Ariana Greenblatt, Ramon Rodriguez) (U. S. unit) 2017 The Florida Project Sean Baker The Florida Project, Inc. Department Head Hair (Willem Dafoe, Bria Vinaite, Mela Murder, Brooklynn Prince) Untitled Detroit City Yann Demange Detroit City Productions, LLC Additional Hair (Miami) (Richie Merritt Jr., Matthew McConaughey, Taylour Paige, Eddie Marsan, Alan Bomar Jones) 2016 Baywatch Seth Gordon Paramount Worldwide Additional Hair (Florida) (Dwayne Johnson, Zac Efron, Alexandra Daddario, David Hasselhoff) Production, Inc. 2015 The Infiltrator Brad Furman Good Films Production Department Head Hair (Bryan Cranston, John Leguizamo, Benjamin Bratt, Olympia -
BFI CELEBRATES BRITISH FILM at CANNES British Entry for Cannes 2011 Official Competition We’Ve Got to Talk About Kevin Dir
London May 10 2011: For immediate release BFI CELEBRATES BRITISH FILM AT CANNES British entry for Cannes 2011 Official Competition We’ve Got to Talk About Kevin dir. Lynne Ramsay UK Film Centre supports delegates with packed events programme 320 British films for sale in the market A Clockwork Orange in Cannes Classics The UK film industry comes to Cannes celebrating the selection of Lynne Ramsay’s We Need to Talk About Kevin for the official competition line-up at this year’s festival, Duane Hopkins’s short film, Cigarette at Night, in the Directors’ Fortnight and the restoration of Stanley Kubrick’s A Clockwork Orange, restored by Warner Bros; in Cannes Classics. Lynne Ramsay’s We Need To Talk About Kevin starring Tilda Swinton was co-funded by the UK Film Council, whose film funding activities have now transferred to the BFI. Duane Hopkins is a director who was supported by the UK Film Council with his short Love Me and Leave Me Alone and his first feature Better Things. Actor Malcolm McDowell will be present for the screening of A Clockwork Orange. ITV Studios’ restoration of A Night to Remember will be screened in the Cinema on the Beach, complete with deckchairs. British acting talent will be seen in many films across the festival including Carey Mulligan in competition film Drive, and Tom Hiddleston & Michael Sheen in Woody Allen's opening night Midnight in Paris The UK Film Centre offers a unique range of opportunities for film professionals, with events that include Tilda Swinton, Lynne Ramsay and Luc Roeg discussing We Need to Talk About Kevin, The King’s Speech producers Iain Canning and Gareth Unwin discussing the secrets of the film’s success, BBC Film’s Christine Langan In the Spotlight and directors Nicolas Winding Refn and Shekhar Kapur in conversation. -
Jeff Cardoni
JEFF CARDONI FEATURE FILM PARADISE COVE Sherry Klein, prod. Sunset Pictures Martin Guigui, dir. CAN YOU KEEP A SECRET Brian Keady, Alexandra Daddario, prods. BCDF Pictures Elise Duran, dir. FURLOUGH Jen Gatien, Adam Davenport, prods. Deer Jen Productions Laurie Collyer, dir. MALICIOUS Brett Forbes, Patrick Rizzotti, prods. Fortress Features Michael Winnick, dir. STATUS UPDATE Jennifer Gibgot, Adam Shankman, Nicolas Chartier, Offspring Entertainment Dom Rustam, prods. Scott Speer, dir. THE FEMALE BRAIN Erika Olde, Michael Roiff, prods. Night and Day Pictures Whitney Cummings, dir. ONCE UPON A TIME IN VENICE Nicolas Chartier, Lauren Ford, Zev Foreman, Mark Voltage Pictures Cullen, Robb Cullen, prods. Mark Cullen, Robb Cullen, dirs. MIDDLE SCHOOL: THE WORST YEARS Jonathan King, James Patterson, Jeff Skoll, Steve OF MY LIFE Bowen, Michael Flynn, exec. prods. CBS Films Steve Carr, dir. MIKE AND DAVE NEED WEDDING Peter Chernin, Jonathan Levine, David Ready, Jenno DATES Topping, prods. Twentieth Century Fox Jake Szymanski, dir. ALL YOU EVER WISHED FOR Barry Morrow, David Nichols, Julia Rask, prods. House of Film Barry Morrow, dir. BAD KIDS OF CRESTVIEW ACADEMY James R. Hallam, Brad Keller, Barry Wernick, prods. Sony Pictures Home Entertainment Ben Browder, dir. THE CONFIRMATION Todd Hoffman, Bob Nelson, prods. Lighthouse Pictures Bob Nelson, dir. THE BETTER HALF Shay Roehm, prod. 28th Productions Michael Winnick, dir. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 JEFF CARDONI STEP UP: ALL IN Jennifer Gibgot, Adam Shankman, prods. Summit Entertainment Trish Sie, dir. MISS MEADOWS Eric Brenner, Rob Carliner, prods. Eagle Films Karen Leigh Hopkins, dir. A PERFECT MAN Kees Van oostrum, prod. IFC Films Kees Van Oostrum, dir. -
A Large Scale Study on Mobile Application Usage
Falling Asleep with Angry Birds, Facebook and Kindle – A Large Scale Study on Mobile Application Usage Matthias Bohmer¨ Brent Hecht Johannes Schoning¨ DFKI GmbH Northwestern University DFKI GmbH Saarbrucken,¨ Germany Evanston, IL, USA Saarbrucken,¨ Germany [email protected] [email protected] [email protected] Antonio Kruger¨ Gernot Bauer DFKI GmbH Fachhochschule Munster¨ Saarbrucken,¨ Germany Munster,¨ Germany [email protected] [email protected] ABSTRACT music, sightseeing, and navigating. In this way, the mobile While applications for mobile devices have become ex- phone has become increasingly analogous to a “Swiss Army tremely important in the last few years, little public infor- Knife” [15, 17] in that mobile phones provide a plethora of mation exists on mobile application usage behavior. We de- readily-accessible tools for everyday life. The number of scribe a large-scale deployment-based research study that available applications for mobile phones – so called “apps” logged detailed application usage information from over – is steadily increasing. Today, there are more than 370,000 4,100 users of Android-powered mobile devices. We present apps available for the Android platform and 425,000 for Ap- two types of results from analyzing this data: basic descrip- ple’s iPhone1. The iPhone platform has seen more than 10 tive statistics and contextual descriptive statistics. In the case billion app downloads2. of the former, we find that the average session with an appli- cation lasts less than a minute, even though users spend al- Despite these large numbers, there is little public research most an hour a day using their phones. -
Download Press Release As PDF File
JULIEN’S AUCTIONS - PROPERTY FROM THE COLLECTION OF STEVE MARTIN PRESS RELEASE For Immediate Release: JULIEN’S AUCTIONS ANNOUNCES PROPERTY FROM THE COLLECTION OF STEVE MARTIN Emmy, Grammy and Academy Award Winning Hollywood Legend’s Trademark White Suit Costume, Iconic Arrow through the Head Piece, 1976 Gibson Flying V “Toot Uncommons” Electric Guitar, Props and Costumes from Dirty Rotten Scoundrels, Dead Men Don’t Wear Plaid, Little Shop of Horrors and More to Dazzle the Auction Stage at Julien’s Auctions in Beverly Hills All of Steve Martin’s Proceeds of the Auction to be Donated to BenefitThe Motion Picture Home in Honor of Roddy McDowall SATURDAY, JULY 18, 2020 Los Angeles, California – (June 23rd, 2020) – Julien’s Auctions, the world-record breaking auction house to the stars, has announced PROPERTY FROM THE COLLECTION OF STEVE MARTIN, an exclusive auction event celebrating the distinguished career of the legendary American actor, comedian, writer, playwright, producer, musician, and composer, taking place Saturday, July 18th, 2020 at Julien’s Auctions in Beverly Hills and live online at juliensauctions.com. It was also announced today that all of Steve Martin’s proceeds he receives from the auction will be donated by him to benefit The Motion Picture Home in honor of Roddy McDowall, the late legendary stage, film and television actor and philanthropist for the Motion Picture & Television Fund’s Country House and Hospital. MPTF supports working and retired members of the entertainment community with a safety net of health and social -
Sara Daddy Writer, Children's, Preschool, 6+ Years, Animation, Live Action, Head Writer, Series Developer, Showrunner Agent: Jean Kitson - [email protected]
Sara Daddy Writer, Children's, Preschool, 6+ years, Animation, Live Action, Head Writer, Series Developer, Showrunner Agent: Jean Kitson - [email protected] Sara is a Head Writer/Screenwriter/Development Producer with over 16 years’ experience in children’s television, working for 8 years in the BBC’s children’s department, covering both CBeebies and CBBC, and for the past 8 years as a freelance scriptwriter and developer working for a range of companies including Nickelodeon, Disney Jnr, Sprout, Netflix, The Jim Henson Company, Sesame Workshop, Penguin, Sixteen South and Cartoon Saloon. Sara has a proven track record in the development of children’s programmes, including Broadcast Award winner and BAFTA-nominated Lily’s Driftwood Bay and RTS and Kidscreen-winner, Puffin Rock. She was nominated for a Manimation Industry Excellence Award: Writing for Animation and Best Writing in a Pre-school Programme award at Dingle Animation Festival for Puffin Rock. Sara was Head Writer on ‘Claude‘ which won the Royal Television Society NI Award for Best Children’s / Animated Series, and was nominated for three awards at the Irish Animation Awards 2019 and for Best Preschool Show at the Broadcast Awards 2019. Work Current Sol Paper Owl / S4C / BBC 22′ animated special, with funding from the first YACF fund award, launched simultaneously on CITV, CITV’s VOD ITV Hub, Channel 4’s VOD service All 4, and Channel 5’s VOD My 5 on 21st December 2020. Watch it in Irish, Welsh or Scots Gaelic with English subtitles on All 4 here. Winner: Children’s Award at the Sandford St Martin Awards for excellence in religious and ethics programmes, 2021 Untitled Maramedia Lead Writer, writing 8 episodes of exciting new live-action / animated property Puffin Rock (Feature) Dog Ears Ltd / Cartoon Saloon Animated feature film in production, based on the Emmy- nominated series. -
The Nutty Professor – from Julius Kelp to Sherman Klump
THE NUTTY PROFESSOR – FROM JULIUS KELP TO SHERMAN KLUMP: A TEXTUAL ANALYSIS OF SCIENCE AND SCIENTISTS IN TWO POPULAR FILMS by BEVERLY D. HARVEY (Under the Direction of Jay Hamilton) ABSTRACT This thesis examines the representation of science and scientists in two popular Hollywood films of the same title – The Nutty Professor. One version was released in 1963, starring Jerry Lewis, and the other was released in 1996, with Eddie Murphy. This study is a textual analysis with an emphasis on the “how” of representation within the two films, which serve as cultural artifacts of their respective time periods. In an attempt to gain a more in-depth understanding of the chosen representations of science and scientists in both films, I also study the historical context of the periods surrounding the production and release of each film. One goal of this thesis is to note any changes or similarities in the representation of science and scientists between the two films, which were produced and released more than thirty years apart. INDEX WORDS: representation; textual analysis; popular culture; film; Hollywood THE NUTTY PROFESSOR – FROM JULIUS KELP TO SHERMAN KLUMP: A TEXTUAL ANALYSIS OF SCIENCE AND SCIENTISTS IN TWO POPULAR FILMS by BEVERLY D. HARVEY B.A., Florida Atlantic University, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2006 © 2006 Beverly D. Harvey All Rights Reserved THE NUTTY PROFESSOR – FROM JULIUS KELP TO SHERMAN KLUMP: A TEXTUAL ANALYSIS OF SCIENCE AND SCIENTISTS IN TWO POPULAR FILMS by BEVERLY D. -
Power Money & Power in Goodfellas a Film Student ENG
Running head: Power 1 Purpose: Use this modeled example of the Week 3 Written Assignment to explore the elements that make this an exemplary submission. Hover over the number or scroll to the end of the text to read about what the student has done well in this assignment. Money & Power in Goodfellas A Film Student ENG 225: Introduction to Film Professor Director Stardate 2259.55 Power 2 Money & Power in Goodfellas Martin Scorsese’s film Goodfellas (1990) is a gangster drama that shows the audience what it is like to be a part of the Mafia. This film is mainly told from the point of view of Henry Hill, played by Ray Liotta, who knew as a child that he wanted to be a part of the crime family. This film shows Henry Hill’s “thirst for and rise to power,” which is its major theme (Goodykoontz & Jacobs, 2014, Ch. 4.2, para. 12). The movie Goodfellas shows the power that comes with money, the power of choice, and the power of persuasion, all of which are established through cinematography, acting, costuming, and design. With money comes power. This is shown in “The Long Take” scene in which Henry Hill and his date are walking into the Copacabana nightclub. Scorcese uses a continuous tracking shot to show Henry gladhanding the nightclub staff the resulting respect he is given, not only by the staff of the nightclub, but the other patrons inside. This cinematographic technique portrays Henry Hill as a man of importance. The camera stays low, making him look tall, and stays with him through the back entrance, a hallway, the kitchen, and into the dining room where he is given his own table in front of everyone else. -
Conquering the Colon: the Adventure of Advanced Punctuation
Oregon State Bar Bulletin — APRIL 2010 April Issue The Legal Writer Conquering the Colon: The Adventures of Advanced Punctuation By Suzanne E. Rowe Perhaps the only punctuation mark more terrifying than the semicolon is the colon. Most writers avoid the colon for fear of misusing it. Most readers feel intimidated by the brave writer who dared try to master the colon’s nuances. When is a colon appropriate? How many spaces follow it? Does the word after a colon need to be capitalized? This article will bring you closer to conquering your fear of the colon. When to Use a Colon Colon usage varies from the exciting to the mundane. In the first two explanations below, think of the colon as the pause — or the drum roll — between an introduction and the exciting details. Picture someone on stage with an envelope saying, “And the winner is…!” The remaining explanations are more mundane, but perhaps easier. Lists One common use of a colon is to introduce a list. The nominees for best actress were impressive: Sandra Bullock, Helen Mirren, Carey Mulligan, Gabourey Sidibe and Meryl Streep. Be sure that the introductory sentence preceding the colon is truly a sentence. A colon would be incorrect in the following example. The nominees were Sandra Bullock, Helen Mirren, Carey Mulligan, Gabourey Sidibe and Meryl Streep. Independent clauses In the use that inspires the most fear, a colon separates two independent clauses when the second clause expands or illustrates the idea in the first clause. (Remember that an independent clause is just a complete sentence.) The drum roll — the colon — comes after the first sentence. -
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.