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Legendary Sports Group Sports & Entertainment Wall Art To contact us call: 18x24 Classic Movie Line 484.231.8733 Two photos featuring great moments from the Big Screen, double matted with a laser engraved nameplate. Movie Framed Art Available Titles CMLAN001 Apocalypse Now CMLAFGM001 A Few Good Men CMLAT001 Analyze This CMLAC001 Abbott & Costello CMLBHC001 Beverly Hills Cop CMLBAT001 Breakfast at Tiffany’s CMLB001 Bullitt CMLBH001 Brave Heart CMLCS001 Caddy Shack CMLCW001 Castatway CMLC002 Casablanca CMLCCF001 Charlie Choc Factory Depp CMLCCF002 Charlie Choc Fact Orig CMLCK001 Cincinnati Kid CMLCK002 Citizen Kane CMLCHL001 Cool Hand Luke CMLCT001 Crimson Tide Washington CMLCT002 Crimson Tide Hackman CMLCOM001 Color of Money CMLTD001 The Departed CMLDH001 Die Hard CMLDD001 Dirty Dozen CMLDH001 Dirty Harry CMLET001 E T CML48001 48 Hours CMLFC001 French Connection CMLFG001 Forrest Gump CMLTF001 The Fugitive CMLTG001 The Graduate CMLGHD001 Ground Hogs Day CMLGWT001 Gone with the Wind CMLGS001 Grease MLGF001 Godfather Brando Only CMLGF001 Godfather Pacino Only CMLGF003 Godfather Family CMLGF004 Godfather II Pacino CMLGF005 Godfather II DeNiro CMLGF006 Goodfellas All CMLGF007 Goodfellas Liotta/Bracco CMLHP001 Harry Potter CMLH001 Heat CMLH002 The Hustler Gleason CMLH003 The Hustler Newman CMLH004 The Hustler Newman Gleas CMLH005 Hooisers CMLIJ001 Indiana Jones CMLINV001 Invincible CMLJW001 John Wayne War CMLJW002 John Wayne Western CMLJM001 Jerry McGuire CMLJP001 Jurassic Park CMLMTP001 Meet The Parents CMLN001 The Natural CMLOAT001 Once Upon a Time in America CMLOE001 Oceans 11 New CML002 Oceans 11 Old CMLPA001 Poseidon Adventure CMLPF001 Pulp Fiction Travolta CMLPF2 Pulp Fiction Willis CMLP001 Patton CMLPW001 Pretty Woman CMLPC001 Pirates of the Caribbean CMLRD001 Reservoir Dogs CMLRD002 Rounders CMLRH001 Robin & the 7 Hoods CMLR001 Rocky CMLR002 Rocky II CMLR003 Rocky III CMLR004 Rocky IV CMLRWC001 Rebel Without a Cause CMLRM001 Rain Man CMLSNF001 Saturday Night Fever CMLSP001 Sopranos CMLSL001 Schindler’s List CMLSW001 Star wars CMLTS002 The Sting CMLSH001 The Shinning CMLT001 Terminator CMLT002 Terminator II CMLTD002 Training Day CMLT003 Titanic CMLUF001 Unforgiven CMLUT001 Untouchables CMLWs001 Wall Street CMLWZ001 Wizard of Oz CMLWW001 Willy Wonka CMLYF001 Young Frankenstein Available at East Coast Game Rooms 252-261-1172 .

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TOP GUN (1986) and the Emergence of the Post-Cinematic by MICHAEL LOREN SIEGEL
5.4 Ride into the Danger Zone: TOP GUN (1986) and the Emergence of the Post-Cinematic BY MICHAEL LOREN SIEGEL Introduction The work of British-born filmmaker Tony Scott has undergone a major critical revision in the last few years. While Scott’s tragic suicide in 2012 certainly drew renewed vigor to this reassessment, it was well underway long before his death. Already by the mid-2000s, Scott’s brash, unapologetically superficial, and yet undeniably visionary films had been appropriated by auteurists and film theorists alike to support a wide range of arguments.[1] Regardless of what we may think of the idea of using auteurism and theory to “rescue” directors who were for decades considered little more than action hacks—an especially meaningful question in the digital age, given the extent to which auteur theory’s acceptance has increased in direct proportion to the growth of online, theoretically informed film criticism—it would be difficult to deny the visual, aural, narrative, thematic, and energetic consistency of Scott’s films, from his first effort, The Hunger (1983), all the way through to his last, Unstoppable (2011). The extreme scale and artistic ambition of his films, the intensity of their aesthetic and affective engagement with Ride into the Danger Zone the present (a present defined, as they constantly remind us, by machines, mass media, masculinity, and militarization), and, indeed, the consistency of their audiovisual design and affect (their bristling, painterly flatness, the exaggerated sense of perpetual transformation and becoming that is conveyed by their soundtracks and montage, the hyperbolic and damaged masculinity of their protagonists)—all of this would have eventually provoked the kind of critical reassessment we are seeing today, even without the new mythos produced around Scott upon his death.
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Eddie Murphy in the Cut: Race, Class, Culture, and 1980S Film Comedy
Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-10-2019 Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy Gail A. McFarland Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation McFarland, Gail A., "Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy." Thesis, Georgia State University, 2019. https://scholarworks.gsu.edu/aas_theses/59 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EDDIE MURPHY IN THE CUT: RACE, CLASS, CULTURE, AND 1980S FILM COMEDY by GAIL A. MCFARLAND Under the Direction of Lia T. Bascomb, PhD ABSTRACT Race, class, and politics in film comedy have been debated in the field of African American culture and aesthetics, with scholars and filmmakers arguing the merits of narrative space without adequately addressing the issue of subversive agency of aesthetic expression by black film comedians. With special attention to the 1980-1989 work of comedian Eddie Murphy, this study will look at the film and television work found in this moment as an incisive cut in traditional Hollywood industry and narrative practices in order to show black comedic agency through aesthetic and cinematic narrative subversion. Through close examination of the film, Beverly Hills Cop (Brest, 1984), this project works to shed new light on the cinematic and standup trickster influences of comedy, and the little recognized existence of the 1980s as a decade that defines a base period for chronicling and inspecting the black aesthetic narrative subversion of American film comedy.
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SPIKE LEE Presentation
A SPIKE LEE presentation A film by NATE PARKER a TARAK BEN AMMAR / MARK BURG Production Releasing on VOD January 15th Publicity Contact: MPRM Communications [email protected] LOGLINE: After witnessing his son murdered by a white police officer who goes uncharged, Marine veteran Lincoln ‘Linc’ Jefferson takes justice into his own hands in a series of events he hopes will finally lead to justice for his son. SETUP: Lincoln Jefferson is a Marine veteran who has served two combat tours in Iraq. Now stateside, he works as a custodian in a prestigious California high school- a job he secured only to ensure enrollment in the school to his 14-year old son KJ, following his divorce. One night, Lincoln and his son are stopped by police and an altercation leads to the fatal shooting of Lincoln’s unarmed son. Lincoln, hopeful the system will provide a trial, is dismayed to learn the officer responsible for pulling the trigger will go uncharged and will return to active duty without an indictment. Disillusioned by the fact he was denied a fair trial for the death of his only son, Lincoln desperately takes the matter into his own hands in a series of events he hopes will finally lead to justice for his son. SYNOPSIS: AMERICAN SKIN weaves a layered story in the tradition of Sidney Lumet’s 12 Angry Men and Dog Day Afternoon, that follows a Black Iraqi War Vet, who after being denied of a fair trial following the shooting death of his teenage son (his only child) by a white police officer, desperately seeks justice and accountability for his son’s death.
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Federal Communications Commission FCC 18-80 STATEMENT OF
Federal Communications Commission FCC 18-80 STATEMENT OF COMMISSIONER BRENDAN CARR Re: Leased Commercial Access, MB Docket No. 07-42; Modernization of Media Regulation Initiative, MB Docket No. 17-105 Beverly Hills Cop. Ghostbusters. Indiana Jones and the Temple of Doom. Karate Kid. Police Academy. These films were all released in 1984, the same year that Congress passed the leased access provisions of the Communications Act that we apply today. Those provisions require cable operators to set aside channel capacity for use by unaffiliated programmers. While those films have now aged into classics, the same can’t be said for their sequels. And, unfortunately, the FCC’s attempts to update our leased access rules have met a similarly notorious fate. Our 2008 leased access order has been stayed by the U.S. Court of Appeals for the Sixth Circuit for a decade. So, I welcome the chance to launch this proceeding and take a fresh look at our approach. After all, a lot has changed since 1984. Back then, cable accounted for 98% of the pay TV market. Now, over 99% of homes have access to at least three competing video providers. Satellite providers alone now have around 30% of all subscribers. And these figures do not even account for the strong competition consumers are seeing from online streaming services like Sling, Netflix, and Amazon. Given these marketplace changes, I asked my colleagues to add a new section to the item that seeks comment on the First Amendment implications of our leased access regime. With relatively lower barriers to distributing content, including through online platforms, and a greater number of distribution options, I am interested in hearing from commenters about whether our approach remains consistent with the First Amendment.
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February 22, 2019 The Man Who Built a Billion‐Dollar Fortune Off ‘Pirates of the Caribbean’ By Tom Metcalf ‘Top Gun’ producer joins Spielberg, Lucas in billionaire club CSI and ‘Pirates of the Caribbean’ franchises drive fortune Johnny Depp as Captain Jack Sparrow and Jerry Bruckheimer Photographer: Mark Davis/Getty Images While the glitz and glamour of show business will be on full display Sunday at the Academy Awards, one of Hollywood’s most successful producers will be merely a bystander this year. Don’t weep for Jerry Bruckheimer, however. The man behind classic acon films like “Top Gun” and “Beverly Hills Cop” has won a Hollywood status far rarer than an Oscar ‐‐ membership in the three‐comma club. While stars sll reap plenty of income, the real riches are reserved for those who control the content. The creaves who’ve vaulted into the ranks of billionairedom remains thin, largely the preserve of household names like Steven Spielberg and George Lucas, who had the wherewithal to enter film producon and se‐ cured rights to what they produced. Bruckheimer has been just as successful on the small screen, producing the “CSI: Crime Scene Invesgaon” franchise. He’s sll at it, with a pilot in the works for CBS and “L.A.’s Finest,” a spinoff of “Bad Boys,” for Char‐ ter Communicaons’ new Spectrum Originals, set to air in May. “Jerry is in a league all of his own,” said Lloyd Greif, chief execuve officer of Los Angeles‐based investment bank Greif & Co. “He’s king of the acon film and he’s enjoyed similar success in television.” The TV business is changing, with a new breed of streaming services such as Nelix Inc.
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Beverly Hills, and Are You Ready for This? I Was a Security Guard
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Approved Movie List 10-9-12
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WORST COOKS in AMERICA: CELEBRITY EDITION Contestant Bios (2018)
Contact: Lauren Sklar Phone: 646-336-3745; Email: [email protected] WORST COOKS IN AMERICA: CELEBRITY EDITION Contestant Bios (2018) CATHERINE BACH Catherine Bach is a true American original. Kicking butt in short-shorts as Daisy Duke in the Dukes of Hazzard was the breakout role that made her a pop icon and sex symbol—and got those shorts into the Smithsonian. However, throughout her career, Catherine has proven her acting chops working alongside some of the best in the business: legends such as Robert Mitchum (African Skies), her mentor Burt Lancaster (The Midnight Man), Clint Eastwood (Thunderbolt and Lightfoot) and Burt Reynolds (Hustle, Cannonball Run II). Catherine has a unique focus and creative energy that enables her to see opportunities for success when it comes to character work and taking the banal to the extraordinary. It is thanks to Catherine’s own sense of style and imagination that Daisy Dukes are now part of the popular vernacular—her character was initially supposed to wear a poodle skirt, but Catherine asked the producers for a shot at creating the character’s wardrobe, with the idea of a more edgy look for an independent character. Catherine’s famous pin-up poster that she styled has outpaced other contemporary beauties and sold over 5 million copies. Catherine is not afraid of adventure and activism; while portraying the lead in African Skies, the first American show filmed in South Africa after Apartheid, she spearheaded the cause of preserving the endangered Black Rhinoceros and testified before U.S. Congress to protect them. She was instrumental in lobbying for the Black Rhino and Tiger Preservation act, which was passed in 1996.
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Authorship and Post-Classical Hollywood" (2015)
Old Dominion University ODU Digital Commons Communication & Theatre Arts Faculty Communication & Theatre Arts Publications 2015 Understanding Tony Scott: Authorship and Post- Classical Hollywood Robert Arnett Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/communication_fac_pubs Part of the Film Production Commons Repository Citation Arnett, Robert, "Understanding Tony Scott: Authorship and Post-Classical Hollywood" (2015). Communication & Theatre Arts Faculty Publications. 20. https://digitalcommons.odu.edu/communication_fac_pubs/20 Original Publication Citation Arnett, R. (2015). Understanding Tony Scott: Authorship and Post-Classical Hollywood. Film Criticism, 39(3), 48-67. This Article is brought to you for free and open access by the Communication & Theatre Arts at ODU Digital Commons. It has been accepted for inclusion in Communication & Theatre Arts Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. Understanding Tony Scott: Authorship and Post-Classical Hollywood Robert Arnett Few directors represent post-classical Hollywood cinema better than Tony Scott. His Hollywood career arcs from the 1980s and the iconic Top Gun (1984) to 2010, with the underrated Unstoppable. Scott’s films innovated the fragmentation and excessiveness of the post-classical Hollywood films, including the ability to overwhelm to an extent that negates for many critics and academics the possibility of any substance. Of Tony Scott, David Thomson, in his massive The New Biographical Dictionary o f Film (2003), managed about 100— dismissive—words, issuing, in effect, a challenge: those that see something in Tony Scott have “the advantage over me” (794).1 What Thomson and others fail to see in Tony Scott’s all-too-short career is a Hollywood director with a distinct authorship in the post-classical context.
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Blockbusters and Bombs at the Movies Since 1975
Good News Psychiatric Rehabilitation Group Every Day my not be good But This is a news letter meant to bring you all good there is news and pay it forward stories found in the me- dia. The purpose is to help with coping and heal- something good ing by hearing positive news to make you feel in every day! - positive and happy. Unknown Positive Feel Good Quotes Keep looking up….that’s the secret to life! - Charlie Brown We become what we think about.—Emily Nightingale Don’t give up, great things take time. Things work out best for those who make the best of things work out.— John Wooden Falling down is an accident, staying down is a choice. If you never try you’ll never know. My Weekend Getaway Hello Folks, Tina here As I mentioned in the last news letter I would fill you in on our trip to Lancaster, PA. So, Duane and I didn’t get to go to Lancaster, we instead went to Amish country in Ohio. We visited the cities of Walnut Creek, Sugar Creek, Berlin & Millersburg. We went on a horse and buggy ride at Yoder's Country Home around on the farm with a Amish man guiding the horse. Sugar creek, is also known as of Little Switzerland Ohio and has the worlds largest cuckoo clock. There are many shops in this town within walking distance . one of the stores we like to visit is Heini’s Cheese Chalet . it is a store with many different kinds of cheeses among many different beef sticks, spreads and jel- ly's .
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Hagerty “Porsche at the Movies” Gimmick Rally Trivia Questions
Hagerty “Porsche at the Movies” Gimmick Rally Trivia Questions Warm up Laps - Your Easy-Peasy Playlist 1. This film’s opening credits featured the Chesney Hawkes song "The One and Only" and had Michael J Fox’s character zooming down I-95S in his faux Speedster to find himself and true love a) For Love or Money b) Doc Hollywood c) Back to the Future d) Interstate 60: Episodes of the Road 2. The Bus Boys sang a great rendition of ‘The Boys are Back in Town’ for the ending credits in this buddy movie that featured a Speedster owned by Eddie Murphy’s character, and a 1964 Cadillac DeVille Convertible driven by Nick Nolte’s character: a) Beverly Hills Cop b) 48 Hours c) Trading Places d) Down and Out in Beverly Hills 3. Mannish Boy (I’m a Man) by Muddy Waters was the perfect song track for Joel Goodson’s descent and loss of innocence in his amoral pursuit of cold hard cash - to resurrect his father’s Porsche in this immensely popular Eighties classic: a) Risky Business b) The Girl Next Door c) My Cousin Vinny d) For Love or Money 4. ‘Take my Breath Away’ by Berlin, the Academy Award winning song from this film, was the musical backdrop for the Speedster chase and love scenes between Kelly McGillis’ and Tom Cruise’s characters: a) Mission Impossible b) Witness c) Top Gun d) Days of Thunder 5. Her rendition of ‘Real Gone’ rocked the opening credits to the movie ‘Cars’ featuring our very own Sally Carrera, and her tribute to the ‘King of Cool’ had her flirting with Dale Earnhardt in the music video for ‘Steve McQueen’.
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West Michigan Film Tour
TRAVERSE CITY AREA LUDINGTON AREA 15. Oval Beach 698 Water Street, Saugatuck Home to the largest film festival in the 8. Former Ludington State Bank Midwest and Brauer Productions, a feature Oval Beach is rated by Conde Naste’s Traveler 124 South James Street film company whose credits include Magazine as one of the 25 best shorelines in the Deadrise, Escanaba In Da Moonlight, This building was used for the bank robbery world. MTV ranked Oval Beach as one of the Dogman, and Super Sucker. scene in 30 Minutes or Less as well as the top five beaches in the country. Virginia, starring Northwestern Bank in Mickey Matson and the Ed Harris and Jennifer Connelly, filmed here. 1. Bowers Harbor Yacht Club Copperhead Conspiracy. 14039 Peninsula Drive 16. Fenn Valley Vineyards The main location for Hide Away starring 9. Cartier Mansion B&B 310 Butler Street, Saugatuck 409 East Ludington Avenue Josh Lucas. There is a narrow band along the shore where 2. Downtown Traverse City Built of Roman-pressed brick and trimmed with cold tender grape varieties are successfully 100 East Front Street Bedford limestone, the three-story mansion was grown. Most people who live around here know 1 the home of Warren Cartier, mayor of Ludington, 6 15 This is where the car crash scene in Hide Away the lake effect as heavy winter snowfall, but partner of the lumber firm Rath & Cartier, and was filmed. here, milder winter temperatures lead to great founder of the Ludington State Bank. This is the Michigan wine. It is no wonder that The Lake MANISTEE large mansion used in Mickey Matson.
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