Film Facts and Figures of the Netherlands
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TORONTO INTERNATIONAL FILM FESTIVAL SELEZIONE UFFICIALE 2006 Un Film Di PAUL VERHOEVEN UN KOLOSSAL BELLICO in CUI SUCCEDE DAVVERO OGNI COSA
presenta un film di PAUL VERHOEVEN TORONTO INTERNATIONAL FILM FESTIVAL SELEZIONE UFFICIALE 2006 un film di PAUL VERHOEVEN UN KOLOSSAL BELLICO IN CUI SUCCEDE DAVVERO OGNI COSA. RITMO DA GRAN SPETTACOLO DI VITA E MORTE. (CORRIERE DELLA SERA) MOLTO SPETTACOLARE (LA STAMPA) GIRATO BENISSIMO, GRANDE RITMO, NON ANNOIA MAI (IL MESSAGGERO) IMMAGINI FORTI E DI GRANDE VALORE FIGURATIVO (IL TEMPO) TRADIZIONALE E INNOVATIVO. BELLO. (IL GIORNALE) VERHOEVEN AUTENTICA FORZA VISIONARIA (IL MANIFESTO) 10 MINUTI DI APPLAUSI AL FESTIVAL DI VENEZIA PREMIO ARCA CINEMAGIOVANI MIGLIOR FILM Dutch Film Festival PREMIO MIGLIOR FILM PREMIO MIGLIOR REGISTA PREMIO MIGLIORE ATTRICE Platinum Award MASSIMO CAMPIONE DI INCASSI IN OLANDA Oscar 2007 MIGLIOR FILM STRANIERO CANDIDATO UFFICIALE PER L’ OLANDA CAST ARTISTICO RachelSteinn/Ellis De Vries CARICE VAN HOUTEN Ludwig Müntze SEBASTIAN KOCH Hans Akkermans THOM HOFFMAN Ronnie HALINA REIJN Ufficiale Franken WALDEMAR KOBUS Gerben Kuipers DEREK DE LINT GeneraleSS Käutner CHRISTIAN BERKEL VanGein PETER BLOK Rob MICHIEL HUISMAN Tim Kuipers RONALD ARMBRUST voci italiane RachelSteinn/Ellis De Vries CHIARA COLIZZI Ludwig Müntze LUCA WARD Hans Akkermans MASSIMO LODOLO Ronnie LAURA BOCCANERA Ufficiale Franken MASSIMO CORVO Gerben Kuipers GINO LA MONICA dialoghi e direzione del doppiaggio MASSIMO CORVO stabilimento di doppiaggio TECHNICOLOR SOUND SERVICES CAST TECNICO regia: PAUL VERHOEVEN storia originale: GERARD SOETEMAN sceneggiatura: GERARD SOETEMAN direttore della fotografia: PAUL VERHOEVEN luci: KARLWALTER LINDENLAUB, ACS, -
Kinepolis Group Business Update Q1 2016 Regulatory Release - 11 May 2016
Kinepolis Group Business Update Q1 2016 Regulatory release - 11 May 2016 First quarter 20161 Compared to the same period last year, Kinepolis registered in the first quarter of 2016 more visitors, higher revenue per visitor in all countries and a positive contribution of the recently acquired cinemas to the turnover and EBITDA development at Group level. The net current profit also rose, both overall and per visitor. This generated the following figures: A rise in visitor numbers of 26.8% to 6.7 million, thanks to the expansion of the Group, a strong film offer and recovering consumer confidence in Spain. A stronger increase in total revenue compared to visitor numbers, due to the higher revenue per visitor. A rise in current2 EBITDA3, both overall and per visitor, thanks to the rise in total re- venue and a further improvement in operating efficiency. An increase in net current profit, in spite of the increased tax burden. A decrease in the net financial debt compared to 31 December 2015, thanks to the favourable operating cash flow and in spite of investments in the further expansion of the Group. Between 1 January and 31 March 2016, Kinepolis welcomed 6.7 million visitors, 26.8% more than in the same period last year. This rise is due to the addition of acquired and new cinemas, after the acquisi- tion of nine Utopolis cinemas4 and the cinema in Bourgoin (France) in 2015, as well as the acquisition of the cinema in Rouen (France) and the opening of Kinepolis Dordrecht (the Netherlands) at the begin- ning of 2016. -
Entertainment & Media Outlook for the Netherlands 2016-2020
Entertainment & Media Outlook for the Netherlands 2016-2020 ‘The converging media landscape’ www.pwc.nl/outlook TV B PwC Entertainment & Media Outlook for the Netherlands 2016-2020 At PwC, our purpose is to build trust in society and solve important problems. We’re a network of firms Entertainment & Media Outlook in 157 countries with more than 208,000 people. At PwC in the Netherlands over 4,400 people work together. We’re committed to delivering quality in for the Netherlands 2016-2020 assurance, tax and advisory services. Tell us what matters to you and find out more by visiting us at www.pwc.nl. Entertainment & Media Outlook for the Netherlands 2016-2020 16th annual edition, October 2016 Each year, PwC’s global and local teams of entertainment and media experts generate unbiased, in-depth forecasts for 13 industry segments. The Entertainment & Media Outlook for the Netherlands 2016-2020 combines thorough knowledge of the Dutch market with a truly global perspective – a powerful tool for understanding critical business issues. To learn more about the challenges and opportunities ahead for the entertainment and media industry, please contact Ennèl van Eeden via +31 (0)88 792 45 40 or [email protected] TV 2 PwC Entertainment & Media Outlook for the Netherlands 2016-2020 Welcome to the PwC Entertainment & Media Outlook for the Netherlands 2016-2020 Dear Outlook reader, Hardly any industry is more impacted by technological developments, globalisation, digitisation and changing consumer behaviour than the Entertainment and Media industry. Not a single day passes by without the emergence of interesting and often unexpected new developments. -
Film Facts & Figures
FILM FACTS & FIGURES OF THE NETHERLANDS JUNE 2020 ISSUE GHF 2015 2016 2017 2018 2019 THEY CALL ME BABU 27+29+31+34+39TOTAL REVENUES DUTCH MARKET (M) € CONTENT 31+25+27+35+29DUTCH FEATURES PRODUCED NL Key Trends 2015-2019 2 28+22+22+28+40TOTAL DUTCH FILM PRODUCTION ACTIVITY (M) € Review of 2019 4 Chapter 1 Production and Financing 7 37+40+43+48+49FEATURE LENGTH FILMS RELEASED Chapter 2 Releases 19 Chapter 3 International Performance and Festivals 23 Chapter 4 Distribution 31 28+26+27+33+27DUTCH FEATURES RELEASED (MAJ) Chapter 5 Exhibition 37 Chapter 6 DVD/Blu-ray/VOD 43 43+54+49+45+57INT. FILM FESTIVALS W. DUTCH FILM SELECTION Chapter 7 Television/MEDIA 47 Key figures of the Netherlands 2019 64 33+34+36+36+38ADMISSIONS TOTAL (M) 31+21+21+20+23ADMISSIONS DUTCH FILMS (M) 28+29+30+31+35BOX OFFICE TOTAL (M) € NL KEY TRENDS 2015-2019 19+12+12+11+12LOCAL MARKET SHARE DUTCH FILMS (ADM) 2015 2016 2017 2018 2019 Total revenues Dutch market (M) € 532 579 628 688 781 Dutch features produced (min & maj) 62 49 54 57 58 29+24+21+22+24MARKET SHARE EU FILMS (ADM) Total Dutch film production activity (M) € 136.9 105.9 108.3 140.9 201.1 Feature length films released 371 407 432 480 492 Dutch features released (maj & min) 55 51 54 66 55 29+24+21+22+24MARKET SHARE US FILMS (ADM) Int. film festivals w. Dutch film selection 432 540 491 452 569 Admissions total (M) 33 34.2 36.0 35.7 38.0 Admissions Dutch films (M) 6.2 4.2 4.3 3.9 4.5 Box office total (M) € 275.8 287.7 301.9 312.3 347.6 Local market share Dutch films (adm) 18.8% 12.3% 12.0% 11.2% 11.8% 27+28+21+22+24NUMBER -
Starship Troopers “Le Futurestmaintenant”,Pourraitêtreladevise De CRITIQUE Se Dressecontrel’Espècehumaine
STARSHIP TROOPERS DE PAUL VERHOEVEN FICHE TECHNIQUE USA - 1997 - 2h15 fi che fi lm che fi fi Réalisateur : Paul Verhoeven Scénario : Ed Neumeier d’après le roman de Robert A. Heinlein Montage : Mark Goldblatt Caroline Ross Musique : Basil Poledouris Au XXIVème siècle, une fédération musclée fait régner sur Terre l’ordre et la vertu… exhortant sans relâche la jeu- nesse à la lutte, au devoir, à l’abnégation et au sacrifice de SYNOPSIS soi. Mais aux confins de la galaxie, une armée d’anarchistes Interprètes : se dresse contre l’espèce humaine. Casper Van Dien (Johnny Rico) CRITIQUE Dina Meyer “Le futur est maintenant”, pourrait être la devise de (Dizzy Flores) Starship Troopers, film de science-fiction extrême qui Denise Richards relègue Le Jour le plus long au rang de promenade cham- (Carmen Ibanez) pêtre. Dans ce monde futuriste, où la Terre est devenue un Jake Busey régime fasciste, des étudiants de bonne famille, tout droit sortis d'un épisode de Beverly Hills, n'ont qu'un seul rêve : (Ace Levy) intégrer la glorieuse armée de la Fédération, chargée de Michael Ironside faire régner l'ordre sur la galaxie. Mais nous ne sommes (Jean Rasczak) pas dans Star Trek, et l'interdiction d'ingérence n'a pas droit de cité. Aussi, quand les dirigeants découvrent qu'une peuplade d'arachnides déverse sur notre planète une horde de météores, il ne leur en faut pasplus pour 1 titiller la fibre ultra-nationaliste si les valeurs morales du « plus à Philip K. Dick, auteur du Maître de leurs compatriotes et déclen- jamais ça » étouffaient toute vel- du haut château, pendant litté- cher une guerre des étoiles parti- léité critique sur la résurgence raire de Starship Troopers, qui culièrement violente, sans passer d'un fascisme bien pensant ? Il imaginait la victoire écrasante de par la case diplomatie. -
Development Programme Book of Projects 2009
Dvbook of projects 2009 Development Programme MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI DIREZIONE GENERALE PER IL CINEMA In 2008, the specific aspects of the so-called TorinoFilmLab invites filmmakers to enter a “cinema system” rooted within Torino and Piedmont collaborative process throughout the whole path - characterised by numbers of successful initiatives that brings a story from the intimacy of the artist’s such as Film Commission Torino Piemonte, the mind to the possibility of sharing it with the public. National Cinema Museum, the Torino Film Festival, Script&Pitch Workshops - represented a strong At every step, there are chances to explore, to doubt, basis for the creation of a permanent international to change, to improve, and at every step, there is laboratory, TorinoFilmLab, destined to accompany someone that can listen, help, bring advice. There talents for a reasonable amount of time through is a whole bunch of people out there that can different steps: starting from when the film’s make a filmmakers’ life, if not easier, at least richer story and structure are first thought of, following in opportunities, and this mostly before the film is through the development stage, up to the process made. People who share a passion for stories, and of financing and possibly rewarding some of the are willing to help creating the right context so that selected projects with a production grant. stories can travel far: scriptwriters, story editors, directors, directors of photography, sound designers, TorinoFilmLab Thanks to the support of the Italian Ministero per producers, sales agents, distributors, financiers. i Beni e le Attività Culturali, the Regione Piemonte TorinoFilmLab works to facilitate these encounters, and Città di Torino we have found the necessary each one at the right time. -
Appendix 1: Selected Films
Appendix 1: Selected Films The very random selection of films in this appendix may appear to be arbitrary, but it is an attempt to suggest, from a varied collection of titles not otherwise fully covered in this volume, that approaches to the treatment of sex in the cinema can represent a broad church indeed. Not all the films listed below are accomplished – and some are frankly maladroit – but they all have areas of interest in the ways in which they utilise some form of erotic expression. Barbarella (1968, directed by Roger Vadim) This French/Italian adaptation of the witty and transgressive science fiction comic strip embraces its own trash ethos with gusto, and creates an eccentric, utterly arti- ficial world for its foolhardy female astronaut, who Jane Fonda plays as basically a female Candide in space. The film is full of off- kilter sexuality, such as the evil Black Queen played by Anita Pallenberg as a predatory lesbian, while the opening scene features a space- suited figure stripping in zero gravity under the credits to reveal a naked Jane Fonda. Her peekaboo outfits in the film are cleverly designed, but belong firmly to the actress’s pre- feminist persona – although it might be argued that Barbarella herself, rather than being the sexual plaything for men one might imagine, in fact uses men to grant herself sexual gratification. The Blood Rose/La Rose Écorchée (aka Ravaged, 1970, directed by Claude Mulot) The delirious The Blood Rose was trumpeted as ‘The First Sex Horror Film Ever Made’. In its uncut European version, Claude Mulot’s film begins very much like an arthouse movie of the kind made by such directors as Alain Resnais: unortho- dox editing and tricks with time and the film’s chronology are used to destabilise the viewer. -
Rutger Hauer
Rutger Hauer Beroep: Acteur Geboortedatum: 23 januari 1944 Geschat vermogen: 11 miljoen euro, nattevingerwerk 16 | zaterdag 19 oktober 2013 | fd persoonlijk pagina 16, 19-10-2013 © Het Financieele Dagblad Bijlage ‘ Het publiek krijgt nooit meer dan 49 procent te zien van mij’ Op de mulo wilde Rutger Hauer niet deugen en ook later, als gevierd acteur, liet hij zich niets door een ander voorschrijven. Aan carrièreplanning heeft hij nooit gedaan; filmrollen koos hij puur op intuïtie. Gesprek met een onconventionele filmster. Door Frits Conijn FOTO: DALHOFF CASPER/POLFOTO pagina 17, 19-10-2013 © Het Financieele Dagblad Bijlage nverwachte wendingen zijn hoofdrollen. Die klus gaf hem niet alleen de Rutger Hauer wel toever- mogelijkheid samen met zijn grote voorbeeld trouwd. Eind vorig jaar – op Marlon Brando te acteren, maar zou hem ook zijn 68ste – verbond hij zich ongeveer twee miljoen dollar opleveren. Oaan True Blood, een soort soap De verleiding was groot, maar uiteindelijk met vampiers, weerwolven sloeg Hauer het aanbod af. Het script rammelde, en feeën. Normaal gesproken vindt Hauer te- aan de kostuums was onvoldoende aandacht be- levisieseries te weinig diepgang hebben, maar steed en Hauer wilde dat de producenten meer dankzij de fantasiefiguren kreeg zijn creativi- tijd voor de voorbereiding zouden nemen. Maar teit nu toch voldoende ruimte. Dus verbleef hij dat voorstel was onbespreekbaar, hij moest bin- lange tijd in Los Angeles en ging hij elke dag met nen drie dagen beslissen. ‘Onder dergelijke om- veel plezier naar zijn werk om de rol van de vijf- standigheden wil ik niet werken. Na twee dagen duizend jaar oude grootvader Niall Brigant voor chagrijnen en twijfelen, wist ik dat ik de juiste zijn rekening te nemen. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Humour and Irony in Dutch Post-War Fiction Film FRAMING FILM
HUMOUR AND IRONY IN DUTCH POST-WAR FICTION FILM FRAMING FILM FRAMING FILM is a book series dedicated to theoretical and analytical studies in restoration, collection, archival, and exhibition practices in line with the existing archive of EYE Filmmuseum. With this series, Amsterdam University Press and EYE aim to support the academic research community, as well as practitioners in archive and restoration. SERIES EDITORS Giovanna Fossati, EYE Filmmuseum & University of Amsterdam, the Netherlands Leo van Hee, EYE Filmmuseum Frank Kessler, Utrecht University, the Netherlands Patricia Pisters, University of Amsterdam, the Netherlands Dan Streible, New York University, United States Nanna Verhoeff, Utrecht University, the Netherlands EDITORIAL BOARD Richard Abel, University of Michigan, United States Jane Gaines, Columbia University, United States Tom Gunning, University of Chicago, United States Vinzenz Hediger, Goethe University Frankfurt, Germany Martin Koerber, Deutsche Kinemathek, Germany Ann-Sophie Lehmann, University of Groningen, the Netherlands Charles Musser, Yale University, United States Julia Noordegraaf, University of Amsterdam, the Netherlands William Uricchio, Massachusetts Institute of Technology, United States Linda Williams, University of California at Berkeley, United States PETER VERSTRATEN HUMOUR AND IRONY IN DUTCH POST-WAR FICTION FILM AMSTERDAM UNIVERSITY PRESS This publication is made possible by grants from the Nederlands Filmfonds and the Netherlands Society of Cinematographers. Published by EYE Filmmuseum / Amsterdam University Press Cover illustration: Borgman © Drafthouse Films. Design: Brandon Schaefer. Cover design and lay-out: Magenta Ontwerpers, Bussum Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 943 0 e-isbn 978 90 4852 837 0 doi 10.5117/9789089649430 nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) P. -
June 28, 2017 Learning Support Services Room 259 DUTCH FILMS
University of Wisconsin - Madison Rev: June 28, 2017 Learning Support Services Room 259 DUTCH FILMS ON VIDEO/DVD (Various distributors) TYPE OF PROGRAM: Dutch culture and civilization ; films ACCESSION DATE: Beginning August 1999 DESCRIPTION: A series of films either produced in Dutch countries, directed by Dutch directors, or about Dutch subjects: most are subtitled in English. VIDEOTAPES AND DVDs ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for preview purposes or to show in class. See the Media Catalog for films in other languages. AUDIENCE: Students of Dutch languages and literature. FORMAT: VHS ; NTSC ; DVD CONTENT CALL NUMBER Antonia’s Line DU2.001.015 1995. In Dutch with English subtitles. 102 min. Color. Directed by Marleen Gorris. In this recasting in a woman’s image of a story from the book of Genesis, an 88-yr.-old Dutchwoman recalls her past on the last day of her life, filled with colorful characters like a Russian midwife-undertaker, a Danish recluse, a mentally disabled girl, a village idiot and a mad Madonna who howls at the moon. The Assault DU2.001.001 1986. Holland. English dubbed. 126 min. Color. Directed by Fonz Rademakers. With Derek De Lint, Marc Van Uchelen. Epic tale of a young buy who witnesses the brutal massacre of his family in the final days of WWII. The only survivor, the nightmarish memory haunts him until he uncovers and faces the truth. De Bevrijding DU2.001.017 1989. DVD format (requires region free player.) Black Book DU2.001.040 DVD. -
Film Facts & Figures
FILM FACTS & FIGURES OF THE NETHERLANDS MAY 2017 ISSUE WATERBOYS CONTENT Introduction - Year 2016 in review 04 Chapter 1 Production and Financing 07 Chapter 2 Releases 17 Chapter 3 International Performance and Festivals 20 Chapter 4 Distribution 27 Chapter 5 Exhibition 33 Chapter 6 DVD / Blu Ray / VOD 40 Chapter 7 Television 44 Key Figures of the Netherlands 52 FACTS AND FIGURES 3 12.3% 15.8% THE 18.8% NETHERLANDS YEAR 2016 IN REVIEW MARKET SHARES IN THE 20.6% 20.9% THE NETHERLANDS THE 1.7% OTHERS THE NETHERLANDS ADMISSIONS FOR NETHERLANDS 1.2% OTHERS NETHERLANDS 11.6% 3.2 % OTHERS After reaching a cinema visitor share of 18.8% the previous year, DOMESTIC PRODUCTIONS 1.7% OTHERS EUROPE 9.4% 5.9% OTHERS 10.2% the Dutch share dropped to 12.3% in 2016. Mainly format driven EUROPE 19.9% EUROPE 8.6%EUROPE commercial films suffered from audience decrease. Dutch arthouse 12.3% market share for Dutch EUROPE and cross over films however managed to double their audience films in 2016 numbers and documentaries tripled theirs. The market share for domestic films in the Netherlands Total revenues increased to € 579 million, fueled by a strong box dropped to 12.3% in 2016. US and European product office and VOD growth. Although no market data are registered, the increased again to respectively 74% and 11.6%. significant VOD results are reached mainly through SVOD services. Not only in the Netherlands did the market share In this issue the Fund provides its own VOD turnover estimates that for domestic films drop but also in other European are provided in consultation with the sector, due to the lack of available countries.