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Mark Ferguson Hair Brown - Light Eyes Brown Height 6'3'' / 191 cm DOB 1961 FEATURE FILM 2010 My Wedding & Other Secrets, 'Mr White' South Pacific Pictures, Dir: Roseanne Liang 2003 Spooked, 'Bill Roberts' Silverscreen Productions, Dir: Geoff Murphy 2000 Lord of the Rings: The Fellowship of the Rings, 'Gil Galad' Universal Pictures, Dir: Peter Jackson 2000 Lord of the Rings: The Fellowship of the Rings, 'Witchking' Universal Pictures, Dir: Peter Jackson TELEVISION 2017 800 Words: season III, 'Steve' South Pacific Pictures/ Channel 7 (Australia), Dir: Various 2016 800 Words: season II, 'Steve' Weld Productions, Dir: Various directors 2013 The Blue Rose, 'Terry' South Pacific Pictures, Dir: Various directors 2011 Spartacus: Vengeance, 'Dominus' Pacific Renaissance Pictures, Dir: Various directors 2007 The Million Dollar Con Man, 'Barry Minkow' Isola Productions, Dir: Stephen McQuillan 2007 Amazing Extraordinary Friends, 'Mr Terrific' Greenstone Pictures, Dir: Various directors 2006 Orange Roughies, 'Foley' Screenworks, Dir: Chris Bailey 2004 P. E. T. Detectives, 'Nathan' Screentime Communicado, Dir: Various directors 2001 Spin Doctors: season I - III, 'Andrew' Comedia Pictures, Dir: Various directors 2000 Cleopatra 2525, 'Confessor' Pacific Renaissance Pictures, Dir: Various directors 1998 Xena: Warrior Princess, 'Dagnine' Pacific Renaissance Pictures, Dir: Various directors 96-97 Letter to Blanchy: season II - III, 'Morrie' Isambard, Dir: Various directors 1997 Double Booking, 'Neville' South Pacific Pictures, Dir: Various directors 1996 Xena: Warrior Princess, 'John Smythe' Pacific Renaissance Pictures, Dir: Various directors 1996 Every Woman's Dream, 'Bank Officer' Dream Productions 95-96 Xena: Warrior Princess, 'Krykus' Pacific Renaissance Pictures, Dir: Various directors 1995 Dead Certs, 'Phil Gerard' Cinco Cine Film Productions, Dir: Various directors 1995 Melody Rules, 'Aaron' TV3, Dir: Various directors 1994 Hercules, 'Craesus' Pacific Renaissance Pictures, Dir: Various directors 1994 High Tide, 'Harper' Straight Throw, Dir: Various directors 1994 Hercules (tele-feature), 'Hades' Pacific Renaissance Pictures, Dir: Various directors 1993 Neighbourhood Network, 'Norcambe' Tucker Films 92-94 Shortland Street, 'Daryl Neilson (core cast)' South Pacific Pictures, Dir: Various directors 1992 The Further Adventures of Black Beauty, 'Masters' Straight Throw 1992 Sinking of the Rainbow Warrior, 'Det. Neil Morris' South Pacific Pictures 1984 Sons & Daughters, 'Paul Sheppard' Grundy Television Productions 1981 A Country Practice, 'Andrew McPherson' JNP Productions PRESENTING 2001 Big Brother, 'Presenter' Southern Star 00-01 The Mole, 'Presenter' Southern Star 1999 Scared Scriptless, 'Presenter' Unknown Production Company TRAINING 1981 NIDA Graduate Sydney, Australia SKILLS Scuba Full Licence Horse Riding MC Presenter Theatre Sports Voice Artist p. +64 9 376 5233 f. +64 9 376 0136 PO Box 56 460 Dominion Road Auckland 1446 New Zealand [email protected] www.aucklandactors.co.nz .

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T Kilmartin 19
TERRI KILMARTIN 1st Assistant Director [email protected] 0274-302-703 TELEVISION DRAMA & FEATURE FILMS 2018 “The Wilds” Pilot ABC Signature NZ Susanna Fogel “Fresh Eggs” Eps 5 & 6 Warner Bros International Josh Frizzell “Alibi” fish.ent & PLUS6FOUR David De Lautour 2017 “Murder Is Forever” Stephen David Entertainment Colin Teague, David O'Neill “Ash vs Evil Dead” Season 3 Starz Evil Productions Ltd Daniel Nettheim, Mark Beesley 2016 “Wanted” Series 2 Match Box NZ Ltd Peter Salmon “1953 The Hugh Hefner Story” Stephen David Entertainment Johnny St Ours- X Unit “The Brokenwood Mysteries 3” South Pacific Pictures Murray Keane, Mark Beesley Richie McCaw Documentary Dark Doris One Ltd Justin Pemberton-drama shoot “Ash vs Evil Dead” Season 1 & 2 Publicity Shoot - Starz Frank Ockenfels III Photographer 2015 “Filthy Rich” Final Episode Filthy Productions Peter Berger “800 Words” 1st Season South Pacific Pictures Pino Amenta 2014 “Westside” 1st Season South Pacific Pictures Mark Beesley, Simon Bennett 2007 “We’re Here To Help” FF South Pacific Pictures Ltd Jonothan Cullinane 2006 “30 Days of Night” FF 2nd UNIT 30 Days of Night (NZ) Ltd Charlie Haskell 2005 “The Chronicles of Narnia-The Lion, the Witch & the Wardrobe” FF - Autumn UNIT & Lamp Post Productions Ltd Andrew Adamson 2004 - Greenscreen UNIT Lamp Post Productions Ltd Rpin Suwannath 2004 “River Queen” FF 2nd UNIT Silverscreen (RQ) Ltd Paul Grinder 2003-04 “Boogeyman” FF 2nd UNIT Pacific Renaissance Pictures Paul Grinder 2003 “Serial Killers” Landtry Films Mike Smith 2003 “Street Legal”
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Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened.
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Xavier Aldana Reyes, 'The Cultural Capital of the Gothic Horror
1 Originally published in/as: Xavier Aldana Reyes, ‘The Cultural Capital of the Gothic Horror Adaptation: The Case of Dario Argento’s The Phantom of the Opera and Dracula 3D’, Journal of Italian Cinema and Media Studies, 5.2 (2017), 229–44. DOI link: 10.1386/jicms.5.2.229_1 Title: ‘The Cultural Capital of the Gothic Horror Adaptation: The Case of Dario Argento’s The Phantom of the Opera and Dracula 3D’ Author: Xavier Aldana Reyes Affiliation: Manchester Metropolitan University Abstract: Dario Argento is the best-known living Italian horror director, but despite this his career is perceived to be at an all-time low. I propose that the nadir of Argento’s filmography coincides, in part, with his embrace of the gothic adaptation and that at least two of his late films, The Phantom of the Opera (1998) and Dracula 3D (2012), are born out of the tensions between his desire to achieve auteur status by choosing respectable and literary sources as his primary material and the bloody and excessive nature of the product that he has come to be known for. My contention is that to understand the role that these films play within the director’s oeuvre, as well as their negative reception among critics, it is crucial to consider how they negotiate the dichotomy between the positive critical discourse currently surrounding gothic cinema and the negative one applied to visceral horror. Keywords: Dario Argento, Gothic, adaptation, horror, cultural capital, auteurism, Dracula, Phantom of the Opera Dario Argento is, arguably, the best-known living Italian horror director.
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THE ARMY of DARKNESS Property Of: Western Renaissance
THE ARMY OF DARKNESS Property of: Western Renaissance Pictures, Inc. 6381 Hollywood Blvd., Suite 680 Hollywood, California 90028 THE ARMY OF DARKNESS Screenplay by Sam Raimi and Ivan Raimi January 3, 1991 Registered with the Writers Guild of America, 1991 c 1991 by Sam and Ivan Raimi. All rights reserved. Shooting Script 2/26/91 ------------------------------------------------------------------------------ 1 GRAINY BLACK AND WHITE - CLOSE-UP - A MAN'S DESPERATE FACE 1 This is Ash, mid twenties, square jaw firmly set and a pair of haunted eyes which dart about quickly in fear. Ash speaks to the CAMERA with urgency: ASH Why would you say that I am insane? I wouldn't say that I've lost my mind simply because I've heard the voices and seen the godless things moving in the woods. If anything, I think more clearly now than ever before. I know now that there is such a thing as a living Evil. A dark and shapeless thing that lives not in the spaces we know, but between them. In the Dark. In the night. And it wants the exact same thing as you and I: a chance at warm life on this Earth. It doesn't care that is already had that chance ...once. Now listen closely because there isn't much time. Listen and believe, because it's all true. DISSOLVE TO: 2 EXT. A LOG CABIN - NIGHT 2 nestled in a dark forest. Through the window, we see the tiny figure of Ash picking up a book from a desk. ASH (V.O.) I first saw the damn thing at that blasted cabin.
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Warrior Princess Brian H
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 When Discourses Collide: Hegemony, Domestinormativity, and the Active Audience in Xena: Warrior Princess Brian H. Myers Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES WHEN DISCOURSES COLLIDE: HEGEMONY, DOMESTINORMATIVITY, AND THE ACTIVE AUDIENCE IN XENA: WARRIOR PRINCESS By BRIAN H. MYERS A Thesis submitted to the Department of English in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2008 The members of the Committee approve the Thesis of Brian H. Myers defended on March 26, 2008. Leigh Edwards Professor Directing Thesis Jennifer Proffitt Committee Member Caroline Joan Picart Committee Member Approved: R.M. Berry, Chair, Department of English Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii This thesis is dedicated to my parents, who may not always understand my obsessions but have always encouraged me to pursue them, and to Nanny and Grandpa, who I hope will look down on this with pride. iii ACKNOWLEDGEMENTS As is the case with any work of this size, more people went into it than can possibly be included on a title page. My first thanks, of course, must go to the members of my thesis committee, whose advice and comments frequently saved me from myself in both the writing of this thesis and in the grander realm of life.
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Tim Wong Sgnz:Hitz Resume 2020
STUNT COORDINATOR & FIGHT COORDINATOR FEATURES TITLE COMPANY DESCRIPTION Blacklight Cosmos Pictures Stunt Coordinator The Suicide Squad Warner Bros. Stunt Coordinator Shadow in the Cloud Four Knights Film Stunt & Fight Choreographer The Legend of Baron Toa Brown Sugar Action Consultant Feng Shen Trilogy: Film 1 Wuxi Fengshen Pictures Co. Stunt & Fight Choreographer Triple Frontier NETFLIX Stunt Coordinator X-Men: Dark Phoenix 20th Century Fox Stunt Coordinator Ghost in the Shell Dreamworks SKG NZ Stunt Coordinator Fight Choreographer Pete's Dragon Walt Disney Pictures Assistant Stunt Coordinator Crouching Tiger Hidden Dragon 2 Netflix / Weinstein Company Assistant Stunt Coordinator Fight Choreographer Splinter Unit Gods of Egypt Summit Entertainment Fight Choreographer Outcast Midsummer Films Assistant Stunt Coordinator The Hobbit: Battle of the Five Armies Warner Bros. New Zealand Stunt Coordinator Fight Coordinator Realiti Index Films Stunt Coordinator The Hobbit: The Desolation of Smaug Warner Bros. Assistant Stunt / Fight Coordinator The Hobbit: An Unexpected Journey Warner Bros. Assistant Stunt / Fight Coordinator Yogi Bear Warner Bros. Additional Stunt Coordinator My Wedding & Other Secrets South Pacific Pictures Stunt Coordinator Tracker Eden Films Co-Stunt Coordinator Fight Coordinator The Adventures of Tintin Columbia Pictures Stunt Coordinator 2nd Unit Under the Mountain 120dB Films Stunt Coordinator The Warriors Way Rogue Assistant Stunt Coordinator Rain of the Children Wayward Films Stunt Coordinator The Water Horse Revolution
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Benedict Paxton-Crick: Script Supervisor
Benedict Paxton-Crick - Continuity / Script Supervisor Email: [email protected] Agent: Top Technicians Management Web: www.thatcontinuityguy.com [email protected] Phone: +64 22 687 7128 (New Zealand) +61 2 9958 1611 +61 402 282 797 (Australia) Nationality: Australian / British Dual Citizenship Residency: NSW / Victoria - on Victorian Electoral Roll ___________________ FEATURE 2016 SAFE NEIGHBORHOOD (2ND UNIT) – Storm Vision / Best Medicine. Dir Chris Peckover, Prod Shane Abbess / Brion Hambel / Brett Thornquest. DP Carl Robertson. Line Prod Jacqui Fifer. Editor Julie-Anne de Ruvo. 2015 BAD GIRL – Curious Films. Dir Fin Edquist, Prod Bruno Charlesworth / Steve Kearney / Tenille Kennedy. DP Gavin Head. Line Prod Ann Folland. Editor Simon Njoo. 1st AD Brad Holyoake. DOWN UNDER – Riot Films / StudioCanal. Dir Abe Forsythe, Prod Jodi Matterson, DP Lachlan Milne. Editor Drew Thompson, 1st AD Hamish Gough, PM Ilana Lazar. 2014 TERMINUS – Storm Alley / Contrarian Vision. Dir Marc Furmie, Prod Brett Thornquest / Tim Maddocks, DP Kieran Fowler. Editor Gabriel Dowrick, 1st AD Marc Ashton, PM Margaret Tillson. 2013 THE INFINITE MAN – Hedone Productions. Dir Hugh Sullivan, Prod Kate Croser / Sandy Cameron. DP Marden Dean, 1st AD Drew Bailey. 2012 AROUND THE BLOCK – Tree / Kick Pictures. Dir Sarah Spillane, Prod Su Armstrong / Brian Rosen, DP Martin McGrath. Editor Veronika Jenet, 1st AD Matt Enfield, PM Mim Davis. 2010 THE REEF – Prodigy Movies / Lightning Entertainment. Dir Andrew Traucki, Prod Michael Robertson, DP Daniel Ardilley. Line Prod Tiare Tomaszewski, Editor Peter Crombie, 1st AD Drew Bailey. 2009 CONCEALED – New Thought Productions. Dir Shane T. Hall, Prod Jacqui Fifer / Lyall Sumner, DP Oliver Lawrance. 2008 THREE BLIND MICE – Dirty Rat Films / Odin’s Eye Entertainment.
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Season Two- Production Biographies
-SEASON TWO- PRODUCTION BIOGRAPHIES SAM RAIMI (EXECUTIVE PRODUCER) Sam Raimi has directed one the industry’s most successful film franchises ever—the blockbuster Spider-Man trilogy, which has grossed $2.5 billion at the global box office. All three films reside in the industry’s top 25 highest grossing titles of all time. In addition to the franchise’s commercial success, Spider-Man (2002) won that year’s People’s Choice Award as Favorite Motion Picture, earned a pair of Oscar® nominations (for VFX and Best Sound) and also collected two Grammy® nominations (for Best Score and Chad Kroeger’s song, “Hero”). The sequel, Spider-Man 2 (2004) won the Academy Award® for Best Visual Effects (with two more nominations, Best Sound and Sound Editing) and two BAFTA nominations (for VFX and Best Sound), among dozens of other honors. Most recently, Raimi is known for directing Oz the Great and the Powerful, a commanding prequel to one of Hollywood’s most beloved stories. Grossing nearly a quarter of a billion dollars at the worldwide box office, Oz has also been elected for awards across the board, including a nomination at the People’s Choice Awards for Favorite Family Movie, and winning Film Music at the BMI Film & TV Awards. Apart from creating one of Hollywood’s landmark film series, Raimi’s eclectic resume includes the gothic thriller The Gift, starring Cate Blanchett, Hilary Swank, Keanu Reeves, Greg Kinnear, and Giovanni Ribisi; the acclaimed suspense thriller A Simple Plan, which starred Bill Paxton, Billy Bob Thornton, and Bridget Fonda (for which Thornton earned an Academy Award® nomination for Best Supporting Actor and Scott B.
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PRODUCTION BIOGRAPHIES SAM RAIMI (Executive Producer/Director, Episode 101)
PRODUCTION BIOGRAPHIES SAM RAIMI (Executive Producer/Director, Episode 101) Sam Raimi has directed one the industry’s most successful film franchises ever—the blockbuster Spider-Man trilogy, which has grossed $2.5 billion at the global box office. All three films reside in the industry’s Top 25 highest grossing titles of all time. In addition to the franchise’s commercial success, Spider-Man (2002) won that year’s People’s Choice Award as Favorite Motion Picture, earned a pair of Oscar® nominations (for VFX and Best Sound) and also collected two GRAMMY® nominations (for Best Score and Chad Kroeger’s song “Hero”). The sequel (2004) won the Academy Award® for Best Visual Effects (with two more nominations, Best Sound and Sound Editing) and two BAFTA nominations (for VFX and Best Sound), among dozens of other honors. Most recently, Raimi is known for directing Oz the Great and the Powerful, a commanding prequel to one of Hollywood’s most beloved stories. Grossing nearly a quarter of a billion dollars at the worldwide box office, Oz has also been elected for awards across the board, including a nomination at the People’s Choice Awards for Favorite Family Movie, and winning Film Music at the BMI Film & TV Awards. Apart from creating one of Hollywood’s landmark film series, Raimi’s eclectic resume includes the gothic thriller The Gift, starring Cate Blanchett, Hilary Swank, Keanu Reeves, Greg Kinnear and Giovanni Ribisi; the acclaimed suspense thriller A Simple Plan, which starred Bill Paxton, Billy Bob Thornton and Bridget Fonda (for which Thornton earned an Academy Award® nomination for Best Supporting Actor and Scott B.
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Exevildeade91.Pdf
“A ridiculous amount of fun.” —Variety “Wickedly campy good time.” —Associated Press “Good, clean, dirty fun: hilariously bloody and bloody hilarious.” —The Toronto Star Musical comedy Book and lyrics by George Reinblatt. Music by Frank Cipolla, Christopher Bond, Melissa Morris and George Reinblatt. Music supervision by Frank Cipolla. Additional lyrics by Christopher Bond. Additional music by Rob Daleman. © Dramatic Publishing Company “Fan-freaking-tastic.” —Ain’t It Cool News “A demented delight.” —NOW Magazine Musical comedy. Book and lyrics by George Reinblatt. Music by Frank Cipolla, Christopher Bond, Melissa Morris and George Reinblatt. Music supervision by Frank Cipolla. Additional lyrics by Christopher Bond. Additional music by Rob Daleman. Cast: 4m., 3w., 1 either gender. This hilarious show takes all the elements of the cult classic films The Evil Dead, Evil Dead 2 and Army of Darkness and combines them into one of the craziest theatrical experiences of all time. Five college students go to an abandoned cabin in the woods and accidentally unleash an evil force that turns them all into demons. It’s all up to Ash (a housewares employee turned demon-killing hero) and his chainsaw to save the day. Blood flies. Limbs are dismembered. Demons tell bad jokes … and all to music. Titles like “All the Men in My Life Keep Getting Killed by Candarian Demons” will have audiences rolling in their seats. This show has fun with the horror genre, and it appeals to a wide audience. It’s the only show with a “splatter zone”—a section of the audience that gets covered in fake blood.
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OMC | Data Export
Joel Gordon, "Entry on: Hercules: The Legendary Journeys (Series, S00E02): Hercules and the Lost Kingdom by Sam Raimi, Robert Tapert, Christian Williams ", peer-reviewed by Elizabeth Hale and Elzbieta Olechowska. Our Mythical Childhood Survey (Warsaw: University of Warsaw, 2019). Link: http://omc.obta.al.uw.edu.pl/myth-survey/item/753. Entry version as of October 05, 2021. Sam Raimi , Robert Tapert , Christian Williams Hercules: The Legendary Journeys (Series, S00E02): Hercules and the Lost Kingdom TAGS: Deianeira Hera Hercules Lydia Omphale Sacrifice Sea-Serpent Troy Zeus We are still trying to obtain permission for posting the original cover. General information Hercules: The Legendary Journeys (Series, S00E02): Hercules Title of the work and the Lost Kingdom Studio/Production Company MCA Television, Renaissance Pictures Country of the First Edition New Zealand, United Kingdom Country/countries of popularity USA, New Zealand, Australia Original Language English Hercules and the Lost Kingdom. Directed by Harley Cokeliss; First Edition Details written by Christian Williams. USA, (Universal) Action Pack Weds 8-10pm (syndicated television); 2 May 1994. 91 mins. Running time 90-91 mins. Format TV; also VHS, DVD and digital streaming (Amazon) Date of the First DVD or VHS VHS June 17, 1997; DVD June 24, 2003 Action and adventure fiction, B films, Mythological fiction, Genre Television series Target Audience Crossover Joel Gordon, University of Otago (Classics), Author of the Entry [email protected] 1 This Project has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 Research and Innovation Programme under grant agreement No 681202, Our Mythical Childhood..
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Mediating Relationships with Parasocial Others: Relating, Connecting, and Making
Mediating Relationships with Parasocial Others: Relating, Connecting, and Making Meanings A dissertation presented to the faculty of the Scripps College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy John Marc Cuellar August 2020 © 2020 John Marc Cuellar. All Rights Reserved. This dissertation titled Mediating Relationships with Parasocial Others: Relating, Connecting, and Making Meanings by JOHN MARC CUELLAR has been approved for the School of Communication Studies and the Scripps College of Communication by William K. Rawlins Professor of Communication Studies Scott Titsworth Dean, Scripps College of Communication ii Abstract CUELLAR, JOHN MARC, Ph.D., August 2020, Communication Studies Mediating Relationships with Parasocial Others: Relating, Connecting, and Making Meanings Director of Dissertation: William K. Rawlins I explore connections made with mediated others, parasocial relationships, in this study. I was guided by Bakhtinian understandings of mediation between consummated parties. To investigate, I interviewed participants who connected with a parasocial figure(s). Engaging in crystallization, I layered my story onto the stories of others who make mediated connections, using autoethnography as an additional methodological tool. I interpretively categorized the themes using Rawlins’ dialectical perspective as a lens through which to analyze the findings. The themes that emerged included three overarching dialectical features: The Dialectic of the Freedom to be Independent and the Freedom to be Dependent, the Dialectic of Judgment and Acceptance, and the Dialectic of the Ideal and the Real. The first overarching dialectic encompassed three subthemes: the Dialectic of Pride and the Need for Recognition, the Dialectic of Availability and Disengagement, and the Dialectic of Stalker and Fan (Stan).
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