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WORK IN PROGRESS – BELGRADE [Est. 2007] ANDJELKA ANGIE VLAISAVLJEVIC LINE PRODUCER / UPM Eastern European Based MINAMATA Infinitum Nihil, Metalwork Prod: Johnny Depp, Andrew Levitas Dir: Andrew Levitas CRAWL Paramount Pictures Prod: Sam Raimi, Craig Flores, Alex Aja Dir: Alexandre Aja ANNA EuropaCorp Prod: Luc Besson Dir: Luc Besson THE WHITE CROW BBC Films Prod: Ralph Fiennes, Gabrielle Tana Dir: Ralph Fiennes INTRIGO Trilogy Enderby Entertainment Prod: Rick Dugdale, Thomas Friedl Dir: Daniel Alfredson IBIZA Good Universe Prod: Will Ferrell, Nathan Kahane Dir: Alex Richancbak EXTINCTION Good Universe Prod: David Hoberman, Todd Lieberman Dir: Ben Young KRYPTON Warner Bros. / DC Ent. Prod: David Goyer Dir: Colm McCharty PAPILLON Red Granite Pictures Prod: Joy McFarland, Ram Bergman Dir: Michael Noer TAU Kaos Theory Entertainment Prod: David Goyer, Paris Latsis Dir: Frederico D'Alessandro MAYHEM Circle of Confusion Prod: Paris Caviani Dir: Joe Lynch AN ORDINARY MAN Enderby Entertainment Prod: Rick Dugdale, Ben Kingsley Dir: Brad Silberling THE LAST PANTHERS Warp Films /, Sky Atlantic, Canal +Creator: Jack Thorne Dir: Johan Renck THE FOREST Lava Bear Films Prod: David Goyer, David Linde Dir: Jason Zada EVERLY Anonimous Content Prod: Rob Paris, Adam Ripp Dir: Joe Lynch NOVEMBER MAN DAS Films Prod: Beau St.Clair, Sriram Das Dir: Rodger Donaldson 3 DAYS TO KILL Europacorp Prod: Luc Besson, Marc Libert Dir: McG IN SECRET LD Entartainment Prod: William Horberg, Mickey Liddell Dir: Charlie Stratton CHERNOBYL DIARIES Film Nation Prod: Oren Peli Dir: Bradley Parker THE RAVEN Intrepid Pictures Prod: Marc Evans Dir: James McTeigue LOCK OUT EuropaCorp Prod: Luc Besson Dir: J. Mather, S. St. Leger CORIUOLANUS Magnolia Mae Films/Artemis Films Prod: Colin Vaines, Gabrielle Tana Dir: Ralph Fiennes CAT RUN Lleju Productions Prod: Ram Bergman, Bill Perkins Dir: John Stockwell THE BIG PICTURE Europacorp Prod: Perre-Ange Le Pogam Dir: Eric Lartigau DISTRICT 13- Ultimatum Europacorp Prod: Luc Besson Dir: Patrick Alessandrin ROMANCE IN THE DARK Europacorp Prod: Luc Besson Dir: Rie Rasmussen THE BROTHERS BLOOM Endgame Ent. / Summit Ent. Prod: Ram Bergman Dir: Rian Johnson APA AGENCY [MATTHEW BIRCH] 405 S. BEVERLY DRIVE, BEVERLY HILLS CA 90212 TEL [310] 888 4200 apa-agency.com.

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Diplomarbeit / Diploma Thesis
DIPLOMARBEIT / DIPLOMA THESIS Titel der Diplomarbeit / Title of the Diploma Thesis „Representation of Kinship in Suzanne Collins’ The Hunger Games Trilogy“ verfasst von / submitted by Katharina Moritz angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Magistra der Philosophie (Mag. phil) Wien, 2017 / Vienna, 2017 Studienkennzahl lt. Studienblatt / A 190 344 313 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Lehramt UF Englisch UF Geschichte, Sozialkunde, degree programme as it appears on Polit.Bildg. the student record sheet: Betreut von / Supervisor: Univ.-Prof. Mag. Dr. Alexandra Ganser-Blumenau Acknowledgements Firstly, I would like to thank Univ.-Prof. Mag. Dr. Alexandra Ganser-Blumenau, who supervised this thesis. She was always there with helpful advice whenever I felt stuck. Secondly, I could not have done it without the support of my parents, siblings, friends and my love. Thank you for putting up with me and encouraging me when I was on the verge of giving up. Lastly, I want to thank YouTube for ending my agony by providing essential tutorials for Microsoft Word amateurs such as myself. Table of Contents 1 Introduction 1 2 Theoretical background 4 2.1 Young Adult Literature 4 2.2 Dystopian Literature 7 2.3 Kinship 12 2.3.1 Kinship trough time 13 2.3.2 Traditional notion of kinship 13 2.3.3 Current notion of kinship 15 2.3.4 Kinship and Gender 16 3 The Hunger Games trilogy by Suzanne Collins 18 3.1 The Hunger Games and media 18 3.2 Origin of The Hunger Games – Greek and Roman Mythology 20 3.3 Characters 26 3.3.1 Katniss Everdeen 26 3.3.2 Peeta Mellark 28 3.3.3 Gale Hawthorne 30 3.3.4 Primrose Everdeen 31 3.3.5 Mrs.
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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
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Finn Ballard: No Trespassing: the Post-Millennial
Page 15 No Trespassing: The postmillennial roadhorror movie Finn Ballard Since the turn of the century, there has been released throughout America and Europe a spate of films unified by the same basic plotline: a group of teenagers go roadtripping into the wilderness, and are summarily slaughtered by locals. These films may collectively be termed ‘roadhorror’, due to their blurring of the aesthetic of the road movie with the tension and gore of horror cinema. The thematic of this subgenre has long been established in fiction; from the earliest oral lore, there has been evident a preoccupation with the potential terror of inadvertently trespassing into a hostile environment. This was a particular concern of the folkloric Warnmärchen or ‘warning tale’ of medieval Europe, which educated both children and adults of the dangers of straying into the wilderness. Pioneers carried such tales to the fledging United States, but in a nation conceptualised by progress, by the shining of light upon darkness and the pushing back of frontiers, the fear of the wilderness was diminished in impact. In more recent history, the development of the automobile consolidated the joint American traditions of mobility and discovery, as the leisure activity of the road trip became popular. The wilderness therefore became a source of fascination rather than fear, and the road trip became a transcendental voyage of discovery and of escape from the urban, made fashionable by writers such as Jack Kerouac and by those filmmakers such as Dennis Hopper ( Easy Rider, 1969) who influenced the evolution of the American road movie.
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Proceedings Book 2.Indb
69 Changing Icons: The Symbols of New York City in Film TERRI MEYER BOAKE University of Waterloo These architectural symbols also begin to differ- entiate “new” cities, whose prominent building are entirely contemporary, from “old” cities, whose icons begin to show, even by silhouette, the evo- lution of the architectural style that has come to represent the culture or zeitgeist of the place. The icons of Dubai all reside in the present. The collec- tion of symbols that represents London is capable of placing it in the past through the use of Big Ben or St. Paul’s, or in the present, via the London Eye. Likewise for Paris, the past and present are contrasted through the Eiffel Tower and the Lou- vre Pyramid. Strikingly absent from the New York suite, are the paired rectangular images of the Twin Towers. Without an alternate “modern” icon, the city has lately come to be characterized by notable buildings of the past – The Empire State 1 Fig. 1. Silhouettes of well known City Icons. Building, Statue of Liberty and St. Patrick’s Ca- thedral – leaving the identity of the present, quite THE ICONS OF THE CITY unfi lled. Not that there are no other contempo- rary towers in New York. The Seagram Building, The architectural icons of the City have long served ATT and Citicorp Towers, and new Hearst Building to allow fi lm directors to identify the location of have important places in the creation of modern the primary setting in the fi lm. Whether the fi lm New York. But, situated in midtown, they lack a has been shot in the studio, on location, or been presence on the skyline and can never be ade- created entirely through CGI technologies, these quately charged with enough meaning to replace symbols of the City provide viewers with imme- the felled Twin Towers.
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The Cinema Media Guide 2017
Second Edition THE CINEMA MEDIA GUIDE 2017 1 WELCOME TO OUR WORLD CONTENTS. Our vision 1 ABC1 Adults 41 Foreword 2 War for the Planet of the Apes 43 Fast facts 3 Dunkirk 44 The cinema audience 5 American Made 45 The WOW factor 6 Victoria and Abdul 46 Cinema’s role in the media mix 7 Goodbye Christopher Robin 47 Building Box Office Brands 8 Blade Runner 2049 48 The return on investment 9 The Snowman 49 How to buy 11 Murder on the Orient Express 50 Buying routes 12 Suburbicon 51 Optimise your campaign 16 16-34 Men 53 Sponsorship opportunities 17 Spider-Man: Homecoming 55 The production process 19 Atomic Blonde 56 Our cinemas 21 The Dark Tower 57 Our cinema gallery 22 Kingsman: The Golden Circle 58 Cineworld 23 Thor: Ragnarok 59 ODEON 24 Justice League 60 Vue 25 16-34 Women 61 Curzon Cinemas 26 The Beguiled 63 Everyman Cinemas 27 It 64 Picturehouse Cinemas 28 Flatliners 65 Independents 29 A Bad Mom’s Christmas 66 2017 films by audience Mother! 67 Coming soon to a cinema near you 31 Pitch Perfect 3 68 Adults 33 Main Shoppers with Children 69 Valerian and the City of Cars 3 71 a Thousand Planets 35 Captain Underpants: The First Epic Movie 72 Battle of the Sexes 36 The LEGO Ninjago Movie 73 Paddington 2 37 My Little Pony: The Movie 74 Daddy’s Home 2 38 Ferdinand 75 Star Wars: The Last Jedi 39 Coming in 2018 77 Jumanji: Welcome to the Jungle 40 OUR VISION. FOREWORD.
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Negotiating the Non-Narrative, Aesthetic and Erotic in New Extreme Gore
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FY2013/2014 Consolidated Results: the Group Maintains a High Level of Operating Margin (€57.7 Millions)
FY2013/2014 consolidated results: the Group maintains a high level of operating margin (€57.7 millions) The operating margin remains high (€57.7 million, an operating margin ratio of 27.3% at 31 March 2014) International sales increased and performance of the TV series segment continued to improve The Group has continued its external growth operations, in particular through the launch of the Multiplex business line and the founding of a distribution joint venture in the USA, which lead to a reduced operating income for the financial year The statutory auditors have stated that they will issue a qualified opinion due to a divergence between their technical analysis and that of the Company over the recognition timing for the $45 million of revenue related to a buy-out agreement with Fox. The net income is impacted by a non-recurring expense (primarily non-cash) of €10.1 million, which is due to the partial cancellation of the free share plan Saint-Denis, 26 June 2014 – EuropaCorp, the producer and distributor of feature films and one of the leading independent film studios in Europe, today announces its consolidated annual results at 31 March 2014, which the Board of Directors approved on 25 June 2014, for FY2013/2014. Consolidated results adjusted for the impact of Consolidated results the cancelled part of the free share plan ** Consolidated financial FY FY Change FY statements (€m) 2013/14* 2012/13 2013/2014 2013/14 Revenue 211.8 185.8 26.0 211,8 Cost of sales -154.1 -129.7 -24.4 -154.1 Operating margin 57.7 56.1 1.6 57.7 % of revenue
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Walpole Public Library DVD List A
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The Phenomenological Aesthetics of the French Action Film
Les Sensations fortes: The phenomenological aesthetics of the French action film DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alexander Roesch Graduate Program in French and Italian The Ohio State University 2017 Dissertation Committee: Margaret Flinn, Advisor Patrick Bray Dana Renga Copyrighted by Matthew Alexander Roesch 2017 Abstract This dissertation treats les sensations fortes, or “thrills”, that can be accessed through the experience of viewing a French action film. Throughout the last few decades, French cinema has produced an increasing number of “genre” films, a trend that is remarked by the appearance of more generic variety and the increased labeling of these films – as generic variety – in France. Regardless of the critical or even public support for these projects, these films engage in a spectatorial experience that is unique to the action genre. But how do these films accomplish their experiential phenomenology? Starting with the appearance of Luc Besson in the 1980s, and following with the increased hybrid mixing of the genre with other popular genres, as well as the recurrence of sequels in the 2000s and 2010s, action films portray a growing emphasis on the importance of the film experience and its relation to everyday life. Rather than being direct copies of Hollywood or Hong Kong action cinema, French films are uniquely sensational based on their spectacular visuals, their narrative tendencies, and their presentation of the corporeal form. Relying on a phenomenological examination of the action film filtered through the philosophical texts of Maurice Merleau-Ponty, Paul Ricoeur, Mikel Dufrenne, and Jean- Luc Marion, in this dissertation I show that French action cinema is pre-eminently concerned with the thrill that comes from the experience, and less concerned with a ii political or ideological commentary on the state of French culture or cinema.
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Avengers Dissemble! Transmedia Superhero Franchises and Cultic Management
Taylor 1 Avengers dissemble! Transmedia superhero franchises and cultic management Aaron Taylor, University of Lethbridge Abstract Through a case study of The Avengers (2012) and other recently adapted Marvel Entertainment properties, it will be demonstrated that the reimagined, rebooted and serialized intermedial text is fundamentally fan oriented: a deliberately structured and marketed invitation to certain niche audiences to engage in comparative activities. That is, its preferred spectators are often those opinionated and outspoken fan cultures whose familiarity with the texts is addressed and whose influence within a more dispersed film- going community is acknowledged, courted and potentially colonized. These superhero franchises – neither remakes nor adaptations in the familiar sense – are also paradigmatic byproducts of an adaptive management system that is possible through the appropriation of the economics of continuity and the co-option of online cultic networking. In short, blockbuster intermediality is not only indicative of the economics of post-literary adaptation, but it also exemplifies a corporate strategy that aims for the strategic co- option of potentially unruly niche audiences. Keywords Marvel Comics superheroes post-cinematic adaptations Taylor 2 fandom transmedia cult cinema It is possible to identify a number of recent corporate trends that represent a paradigmatic shift in Hollywood’s attitudes towards and manufacturing of big budget adaptations. These contemporary blockbusters exemplify the new industrial logic of transmedia franchises – serially produced films with a shared diegetic universe that can extend within and beyond the cinematic medium into correlated media texts. Consequently, the narrative comprehension of single entries within such franchises requires an increasing degree of media literacy or at least a residual awareness of the intended interrelations between correlated media products.
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Luc Besson B.1959 Le Grand Bleu 1988
Cinéma du Look Spring 2021 Luc Besson b.1959 Le Grand Bleu 1988 The Big Blue: Film From Time Out: https://www.timeout.com/movies/the-big-blue Time Out says The action centres on the rivalry between free-divers Barr and Reno - they dive deep without an aqualung - which begins when they are little boys. The first time you see someone plunging into alien blackness is exciting, but the novelty soon wears off. The first half-hour is the best part of the movie. Going through her usual kooky routine, Arquette plays a New York insurance agent who encounters Barr in Peru, and is captivated by his wide- eyed innocence (which others might describe as bovine stupidity). Her sole purpose seems to be to reassure the audience that there is nothing funny going on between best buddies Barr, who talks to dolphins, and Reno, a macho mother's boy (a performance of much comic credibility). The ending is the worst part of the movie: Barr rejects the pregnant Arquette in favour of going under one last time to become a dolphin-man. Such bathos reeks of cod-Camus. What lies in between is a series of CinemaScopic swathes of blue seas and white cliffs. Besson's film is exactly like his hero: very pretty but very silly. Details Release details Rated: 15 Duration: 119 mins Cast and crew Director: Luc Besson Screenwriter: Luc Besson, Robert Garland, Marilyn Goldin, Jacques Mayol, Marc Perrier Cast: Rosanna Arquette, Jean-Marc Barr, Jean Reno, Paul Shenar, Sergio Castellitto, Jean Bouise, Griffin Dunne Luc Besson Filmography as Director Thirty years ago, Le Grand Bleu (The Big Blue) shook the Croisette Article sourced from Festival de Cannes: https://www.festival-cannes.com/en/72- editions/retrospective/2018/actualites/articles/thirty-years-ago-le-grand-bleu-the-big-blue-shook-the-croisette# In 1988, the Festival de Cannes opened to Le Grand Bleu (The Big Blue) by the young Luc Besson.
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