SING YOUR SONG Gala SING YOUR SONG SING YOUR SONG
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SLIFF Program 2008
STAFF Executive Director Cliff Froehlich Artistic Director Chris Clark Operations Supervisor Brian Spath Co-Curators Bobbie Lautenschlager TABLE OF (New Filmmakers Forum), ARTISTS/FILMMAKERS Brian Woodman (Documentaries) Program Cover/Poster Tim Lane CONTENTS Marketing Consultants Filmmaker Awards Tom Huck Cheri Hutchings/Claire de Lune Tribute Reels Brian Woodman and Productions, Nina Thompson/ Kathy Corley (Michael Apted) and Niche Marketing RD Zurick (Paul Schrader) Venue/Ticket Info 12 Venue Supervisor/Plaza Frontenac Brian Woodman FESTIVAL TRAILER Sidebars 13 Print Traffic Coordinator Stephe Raven Produced by Coolfire Media Guest Transportation CineLogistics, (www.coolfiremedia.com) Special Events 16 Jamie Koogler Animation/Editorial Patrick Vaughan Interns Corey Bowman, Andrew Heitz, Sound Design Brent Johnson Awards 18 Janelle Jones, Jacob Massa, Illustration Tim Lane Sarah Powers, Anthony Sanchez, Producer David Johnson Sponsors 20 Brett Vandegriffe Program Design/Production David Kroll Film Descriptions 24 Web Design Brett Smith Features 24 BOARD OF DIRECTORS Board Members Chris Benson, Kathy Chair J. Kim Tucci Corley, Tony Davis, Amit Dhawan, Documentaries 47 Vice Chair/Development Jilanne Barnes Carrie Houk, David Houlle, David Vice Chair/Membership Sharon Tucci Johnson, Joneal Joplin, Jay Kanzler, Shorts 58 Treasurer Barry Worth McGraw Milhaven, Scott Phillips, Secretary Delcia Corlew Charles Poole, Eric Rhone, Chip Film Schedule 36 Rosenbloom, Rachelle Rowe, Mary Strauss, Elizabeth Tucker, Vince Volpe, Jane von Kaenel, Jean -
Study on the Role of Banks in the European Film Industry – Final Report
Ref. Ares(2013)3022427 - 10/09/2013 Study on the Role of Banks in the European Film Industry – Final Report Study on the Role of Banks in the European Film Industry FINAL REPORT 12 MAY 2009 Study on the Role of Banks in the European Film Industry – Final Report Notice This document is the final report of a study on the role of banks in the European film industry. Opinions given in this report are those of its authors; this report does not necessarily reflect the point of view of the European Commission, and the Commission cannot be considered liable for the accuracy of the information in the report. Neither the European Commission, nor any person acting under its responsibility, can be held liable for any subsequent utilization made of this report. Reproduction is authorized subject to citing the source. Study on the Role of Banks in the European Film Industry – Final Report © peacefulfish May 2009 Authors: Thierry Baujard Marc Lauriac Marc Robert Soizic Cadio peacefulfish May 2009 2 Study on the Role of Banks in the European Film Industry – Final Report CONTENTS LIST OF TABLES ...................................................................................................... 7 LIST OF CHARTS ................................................................................................... 10 LIST OF FIGURES ................................................................................................... 10 A EXECUTIVE SUMMARY ....................................................................................... 11 1 Foreword ................................................................................................. -
Immunitary Gaming Mapping the First-Person Shooter
Immunitary Gaming Mapping the First-Person Shooter Robert Andrew Cenci Doctoral Thesis Department of Media and Communications Goldsmiths, University of London 1 Declaration of Authorship I hereby declare that all the material contained in this thesis is my own work. …………………………………………………………………… Robert Andrew Cenci 2 Abstract Videogames have been theorised as an action-based medium. The original contribution to knowledge this thesis makes is to reconfigure this claim by considering popular multiplayer FPS games as reaction-based – particularly, immune reactions. I take up Roberto Esposito’s claim that the individual in contemporary biopolitics is defined negatively against the other, controlled and ultimately negated via their reactions to power’s capacity to incessantly generate threats. By inciting insecurity and self-protective gestures, FPS games like Activision’s Call of Duty franchise and EA’s Battlefield series vividly dramatise Esposito’s thought, producing an immunitary gaming. Immunitary Gaming locates the FPS within key moments of change as well as evolution in Western image systems including the emergence of linear perspective, cartography and the early years of the cinema. The FPS appropriates these image systems, but also alters their politics. Giorgio Agamben has argued that the apparatuses of late modernity no longer subjectify like their forebears, but desubjectify the individual, producing an impotent neoliberal body politic. I trace a similar development here. My work also seeks to capture the player’s movements via autoethnographic writing that communicates the viscerally and intensity of the experience. The FPS is framed as capable of giving insight into both the present and the future of our technological and political milieu and ‘sensorium,’ in Walter Benjamin’s terms. -
Archaeology, Heritage & Video Games
Boom & Politopoulos (eds) & Politopoulos Boom Ariese-Vandemeulebroucke, Mol, THE INTERACTIVE PAST THE Video games, even though they are one of the present’s quintessential media and cultural forms, also have a surprising and many-sided relation with the past. From seminal series like Sid Meier’s Civilization INTERACTIVE or Assassin’s Creed to innovative indies like Never Alone and Herald, games have integrated heritages and histories as key components of ARCHAEOLOGY, their design, narrative, and play. This has allowed hundreds of millions HERITAGE & VIDEO GAMES of people to experience humanity’s diverse heritage through the thrill PAST of interactive and playful discovery, exploration, and (re-)creation. Just as video games have embraced the past, games themselves are also PAST THE INTERACTIVE emerging as an exciting new field of inquiry in disciplines that study the past. Games and other interactive media are not only becoming more and more important as tools for knowledge dissemination and heritage communication, but they also provide a creative space for theoretical and methodological innovations. The Interactive Past brings together a diverse group of thinkers — including archaeologists, heritage scholars, game creators, conservators and more — who explore the interface of video games and the past in a series of unique and engaging writings. They address such topics as how thinking about and creating games can inform on archaeological method and theory, how to leverage games for the communication of powerful and positive narratives, how games can be studied archaeologically and the challenges they present in terms of conservation, and why the deaths of virtual Romans and the treatment of video game chickens matters. -
The Hope and Wonder of C
Fox 2000 Pictures e Walden Media presentano regia di Michael Apted dall’omonimo romanzo di C.S. Lewis distribuito da 20th Century Fox Italia nelle sale dal 17 dicembre 2010 CAST & CREDITS Le cronache di Narnia.Il viaggio del veliero - Narnia: The Voyage of the Dawn Treader Regia: Michael Apted Sceneggiatura: Christopher Markus, Stephen McFeely,,Michael Petroni tratto dall’omonimo romanzo di C.S. Lewis Fotografia: Dante Spinotti Montaggio: Rick Shaine Musiche originali: David Arnold Interpreti e personaggi: Ben Barnes (Re Caspian) Skandar Keynes (Edmund Pevensie) Georgie Henley(Lucy Pevensie) Will Poulter (Eustace Clarence Scrubb) Laura Brent (Lilliandil) Gary Sweet (Lord Drinian) Arthur Angel (Rhince) Tilda Swinton (White Witch) Reepicheep (voce italiana, Francesco Prando) Aslan (voce italiana, Alessandro Rossi) Produzione: Fox 2000 Pictures e Walden Media Distribuzione: 20th Century Fox Italia Origine: Gran Bretagna Anno: 2010 Durata: 115’ 2 Edizione italiana a cura della CVD Direzione del Doppiaggio e Dialoghi Italiani Maura Vespini Le Voci: Caspian Emiliano Coltorti Lucy Lilian Caputo Eustace Manuel Meli Edmund Mattia Ward Reepicheep Francesco Prando Aslan Alessandro Rossi La Strega Bianca Franca D’Amato Susan Letizia Ciampa Peter Flavio Aquilone Coriakin Luca Biagini Liliandil ILaria Stagni Drinian Stefano De Sando Capo dei tontopodi Carlo Valli Tontopode 1 Fabrizio Vidale tontopode 2 Paolo Lombardi Tontopode 3 Roberto Draghetti Assistente al doppiaggio Roberta Schiavon Fonico doppiaggio Giovanbattista Mariani Fonico mix Roberto Moroni Sonorizzazione Technicolor S.p.A. la canzone there’s a place for us È eseguita da Sonohra 3 Con il film in 3D Le cronache di Narnia. Il viaggio del veliero, si torna, a bordo del fantastico Veliero, nel meraviglioso mondo di C. -
Visual Global Politics by Roland Bleiker.Pdf
“This book is a landmark step in addressing the role of visuality in global politics. Rich, diverse, and innovative, it represents a vital contribution to understanding some of the most pressing analytic and political questions of our time.” Michael C Williams, University of Ottawa, Canada “This sparkling collection of essays brings the visual aspects of global politics to the fore, challenging the traditional scholarly focus on texts. It illuminates the power of images in shaping the way we interpret and respond to global phenomena. The book will quickly become an indispensable resource for all scholars of international politics and law.” Hilary Charlesworth, Melbourne Law School, Australia “This is a wonderful anthology. Typically these alphabetical collections are best for reference, but I was surprised to find myself reading through from one to the next. Many of the entries speak to each another, and together they paint the best available picture of images as ‘political forces.’ Visual culture studies has often made the promise of being political in a way that art history hasn’t, but this is the only book that puts the politics first. It will be a useful reference for the current political moment, in which each of us has the responsibility to witness, interpret, and also produce political images.” James Elkins, School of the Art Institute of Chicago, USA “We live in an age of the visual turn in politics, one in which images work upon several registers of life. But the professoriate still mostly responds to politics through the hegemony of the textual. Visual Global Politics takes several huge steps to redress this imbalance. -
56 up Discussion Guide
www.influencefilmclub.com 56 Up Discussion Guide Directors: Michael Apted, Paul Almond Year: 2012 Time: 144 min You might know Michael Apted from: Bending the Light (2014) Chasing Mavericks (2012) The Power of the Game (2007) Married in America (2003) Me & Isaac Newton (1999) The World is Not Enough (1999) Moving the Mountain (1994) Incident at Oglala (1992) Gorillas in the Mist (1988) Bring on the Night (1985) Gorky Park (1983) Coal Miner’s Daughter (1980) The Triple Echo (1972) FILM SUMMARY The Jesuit maxim: “Give me a child until he is seven, and I will give you the man” forms the premise for over 48 years of filming the British “Up Series.” What began as a brief examination of social class in 1960’s Britain became a mirror for the masses, an on-screen measurement of the aging process and all the steps a human life may encounter on the passage from youth to old age. In 1964, Granada Television sent Michael Apted on a mission to locate a cross-section of British society in the form of 7-year-old children. From children’s homes to pre-prep schools, 23-year-old Apted hand-picked participants. Through interviews and group footage, the program displayed the children on their own terms, delving into their perspective on the society in which they lived through close-up interviews. The program was due to end there. Intrigued by the idea of catching up with the children seven years down the line, Apted’s “Seven Up!” series took shape. By reinvestigating their lives every seven years, the series took on a life of its own, revealing issues far beyond the original “social class in Britain is still firmly in place” premise.