Cine De Accion.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Cine De Accion.Pdf Cine de acción Jungla de Cristal = Die Hard / dirigida por John McTiernan ; guión de Jeb Stuart y Steven e. de Souza ; producida por Lawrence Gordon y Joel Silver ; música de Frank J. Urioste Ano de realización: 1995 Duración: 127 min. Localización: CINE 791-A JUN Kill Bill. Volumen 1 / escrita y dirigida por Quentin Tarantino ; música original de The RZA ; producida por Lawrence Bender Ano de realización: 2003 Duración: 106 min. Localización: CINE 791-A KIL (1) Reservoir dogs / escrita y dirigida por Quentin Tarantino ; producida por Lawrence Bender Ano de realización: 1992 Duración: 99 min. Localización: CINE 791-A RES Sanjuro / Akira Kurosawa Ano de realización:1962 Duración: 96 min. Localización: CINE 791-A SAN Escape from Alcatraz / [produced and directed by Don Siegel] Ano de realización: 1979 Duración: 107 min. Localización: CINE 791-A FUG Tropa de élite / dirigida por José Padilha Ano de realización: 2007 Duración: 110 min. Localización: CINE 791-A TRO (1) Heat / producida por Michael Mann, Art Linson ; escrita y dirigida por Michael Mann Ano de realización: 1995 Duración: 165 min. Localización: CINE 791-A HEA El caso Bourne = The Bourne identity /directed by Doug Liman ; screenplay by Tony Gilroy and William Blake Herron ; music by John Powell Ano de realización: 2002 Duración: 114 min. Localización: CINE 791-A BOU (1) Pulp Fiction / un film de Quentin Tarantino ; [guión, Quentin Tarantino, Roger Avary]. El indomable Will Hunting / un film de Gus Van Sant ; [guión, Matt Damon, Ben Affleck] Ano de realización: 1994 Duración: 140 min. Localización: CINE 791-A PUL Casino Royale / directed by Martin Campbell ; screenplay by Neal Purvis & Robert Wade and Paul Haggis ; produced by Michael G. Wilson and Barbara Broccoli Ano de realización: 2006 Duración: 139 min. Localización: CINE 791-A CER El último Samurái / [directed by Edward Zwick] Ano de realización: 2003 Duración: 148 min. Localización: CINE 791-A ULT The italian job / directed by F. Gary Gray ; screenplay by Donna Powers ; produced by Donald de Line Ano de realización: 2003 Duración: 106 min. Localización: CINE 791-A ITA Apocalypto / dirigida por Mel Gibson; producción Mel Gibson, Bruce Davey; prod. ejecutivo Ned Dowd; guión Mel Gibson, Farhad Safina Ano de realización: 2006 Duración: 138 min. Localización: CINE 791-A APO Skyfall / dirigida por Sam Mendes ; escrita por Neal Purvis y [sic] Robert Wade y John Logan ; música de Thomas Newman Ano de realización: 2012 Duración: 137 min. Localización: CINE 791-A SKY El último mohicano : la aventura / [Dirigida por] Michael Mann Ano de realización: 1992 Duración: 108 min. Localización: CINE 791-A ULT Kick-Ass / directed by Matthew Vaughn ; screenplay by Jane Goldman & Matthew Vaughn ; music composed by John Murphy... [et al.] Ano de realización: 2010 Duración: 113 min. Localización: CINE 791-A KIC (1) John Wick : pacto de sangre / dirigida por Chad Stahelski ; escrita por Dereck Kolstad ; música de Tyler Bates y Joel J. Richard Ano de realización: 2017 Duración: 115 min. Localización: CINE 791-A JOH Arma letal = Lethal Weapon / directed by Richard Donner ; music by Michael Kamen and Eric Clapton ; written by Shane Black. Arma letal. 2 = Lethal Weapon. 2 / directed by Richard Donner ; screeenplay by Jeffrey Boam ; music by Michael Kamen, Eric Clapton and David Sanborn. Arma letal. 3 = Lethal weapon. 3 / directed by Richard Donner ; screenplay by Jeffrey Boam & Robert Mark Kamen ; music by Michael Kamen, Eric Clapton and David Sanborn. Arma letal. 4 = Lethal weapon. 4 / directed by Richard Donner ; screenplay by Channing Gibson; music by Michael Kamen, Eric Clapton and David Sanborn Ano de realización: 1987 - 1998 Duración: 113, 114, 116, 122 min. Localización: CINE 791-A ARM (1-4) Master & Commander : al otro lado del mundo / dirigida por Peter Weir Ano de realización: 2003 Duración: 123 min. Localización: CINE 791-A MAS Curse of the Golden Flower = La Maldición de la Flor Dorada / una película de Zhang Yimou Ano de realización: 2006 Duración: 109 min. Localización: CINE 791-A MAL Drive / dirección Nicolas Winding Refn ; guión Hossein Amini ; música Cliff Martinez Ano de realización: 2011 Duración: 100 min. Localización: CINE 791-A DRI Sicario / dirigida por Denis Villeneuve ; escrita por Taylor Sheridan ; música de Jóhann Jóhannsson Ano de realización: 2015 Duración: 116 min. Localización: CINE 791-A SIC Corre, Lola, corre = Run Lola, run / guión y dirección, Tom Tykwer Ano de realización: 1998 Duración: 72 min. Localización: CINE 791-A COR Vivir y morir en Los Ángeles / dirigida por William Friedkin ; guión de William Freidkin y Gerald Petievich ; música compuesta e interpretada por Wang Chung Ano de realización: 1985 Duración: 116 min. Localización: CINE 791-A VIV In the line of fire = En la línea de fuego = Nel centro del mirino / directed by Wolfgang Petersen ; written by Jeff Maguire ; produced by Jeff Apple Ano de realización: 1993 Duración: 123 min. Localización: CINE 791-A ENL Jackie Brown / escrita y dirigida por Quentin Tarantino ; producida por Lawrence Bender Ano de realización: 1997 Duración: 165 min. Localización: CINE 791-A JAC Hatari! / directed and produced by Howard Hawks; screenplay by Leigh Brackett Ano de realización: 1962 Duración: 151 min. Localización: CINE 791-A HAT El maquinista de la General / director Buster Keaton y Clyde Bruckman ; guión Al Boasberg, Charles Smith... [et al.] Ano de realización: 1926 Duración: 76 min. Localización: CINE 791-C MAQ El Señor de los Anillos. El retorno del rey / Directed by Peter Jackson ; screenplay by Fran Walsh, Fhilippa Boyens & Peter Jackson ; producers, Barrie M. Osborne, Peter Jackson, Fran Walsh, Tim Saders ; music by Howard Shore Ano de realización: 2003 Duración: 240 min. Localización: CINE 791-FT SEÑ (3) El caballero oscuro / una película de Christopher Nolan Ano de realización: 2008 Duración: 147 min. Localización: CINE 791-FT CAB Blade runner: [montaje final] / directed by Ridley Scott ; produced by Michael Deeley ; screenplay by Hampton Fancher and David Peoples Ano de realización: 1982 Duración: 117 min. Localización: CINE 791-FT BLA Yojimbo / dirección y producción Akira Kurosawa ; guión Ryuzo Kikushima, Akira Kurosawa ; música Masaru Sato Ano de realización: 1961 Duración: 110 min. Localización: CINE 791-H YOJ El Señor de los Anillos. La Comunidad del Anillo / Directed by Peter Jackson ; screenplay by Fran Walsh, Fhilippa Boyens & Peter Jackson ; producers, Barrie M. Osborne, Peter Jackson, Fran Walsh, Tim Saders ; music by Howard Shore Ano de realización: 2001 Duración: 200 min. Localización: CINE 791-FT SEÑ (1) Origen = Inception / written and directed by Christopher Nolan ; music by Hans Zimmer Ano de realización: 2010 Duración: 142 min. Localización: CINE 791-FT ORI Matrix / written and directed by The Wachowski Brothers ; produced by Joel Silver Ano de realización: 1999 Duración: 131min. Localización: CINE 791-FT MAT Gladiator / una película de Ridley Scott ; [guión, David Franzoni, John Logan y William Nicholson ; música, Hans Zimmer y Lisa Gerrard] Ano de realización: 2000 Duración: 164 min. Localización: CINE 791-H GLA Akira / una película de Katsuhiro Otomo ; guión, Katsuhiro Otomo, Izo Hashimoto ; música, Shoji Yamashiro Ano de realización: 1988 Duración: 124 min. Localización: CINE 791-DA AKI V de Vendetta /[directed by James McTeigue] Ano de realización: 2005 Duración: 128min. Localización: CINE 791-FT VDE Vengadores : Infinity War / directed by Anthony and Joe Russo ; screenplay by Christopher Markus and Stephen McFeely ; music by Alan Silvestri Ano de realización: 2018 Duración: 149 min. Localización: CINE 791-FT VEN El caballero oscuro : la leyenda renace / una película de Christopher Nolan ; music by Hans Zimmer Ano de realización: 2012 Duración: 160 min. Localización: CINE 791-FT CAB Terminator / dirigido por James Cameron; producido por Gale Anne Hurd; escrito por James Cameron Ano de realización: 1984 Duración: 108 min. Localización: CINE 791-FT TER La huida = The gateway / directed by Sam Peckinpah ; screenplay by Walter Hill ; produced by David Foster and Mitchell Brower ; director of photography, Lucien Ballard ; music, Quincy Jones Ano de realización: 1972 Duración: 120 min. Localización: CINE 791-A HUI Los cañones de Navarone / Written and produced by Carl Foreman ; directed by J. Lee Thompson Ano de realización: 1961 Duración: 150 min. Localización: CINE 791-H CAÑ Vengadores : Endgame / directed by Anthony and Joe Russo ; screenplay by Christopher Markus & Stephen McFeely ; music by Alan Silvestri Ano de realización: 2019 Duración: 172 min. Localización: CINE 791-FT VEN Bonnie y Clyde / director Arthur Penn; textos Gregorio Belinchón Ano de realización: 1959 Duración: 111 min. Localización: CINE 791-S BON Aliens : el regreso / dirigida por James Cameron ; producida por Gale Anne Hurd ; guión de James Cameron Ano de realización: 1986 Duración: 150 min. Localización: CINE 791-FT ALI Zatoichi / escrita, dirigida y editada por Takeshi Kitano ; música, Keiichi Suzuki Ano de realización: 2003 Duración: 116 min. Localización: CINE 791-A ZAT Harry el Sucio = Dirty Harry / [produced and directed by Don Siegel] Ano de realización: 1971 Duración: 98 min. Localización: CINE 791-S HAR Avatar / guión y dirigida por James Cameron ; producida por James Cameron, Jon Landau ; música de James Horner Ano de realización: 2009 Duración: 171 min. Localización: CINE 791-FT AVA 300 / directed by Zack Snyder ; screenplay by Zack Snyder & Kurt Johnstad and Michael B. Cordon ; music by Tyler Bates Ano de realización: 2006 Duración: 112min. Localización: CINE 791-H TRE.
Recommended publications
  • Hole a Remediative Approach to the Filmmaking of the Coen Brothers
    University of Dundee DOCTOR OF PHILOSOPHY Going Down the 'Wabbit' Hole A Remediative Approach to the Filmmaking of the Coen Brothers Barrie, Gregg Award date: 2020 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Gregg Barrie PhD Film Studies Thesis University of Dundee February 2021 Word Count – 99,996 Words 1 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Table of Contents Table of Figures ..................................................................................................................................... 2 Declaration ............................................................................................................................................
    [Show full text]
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [Show full text]
  • L3702 LETHAL WEAPON 2 (USA, 1989) (Other Titles: Arma Lethale 2; Arme Fatale 2; Brennpunkt L.A.; Dodbringende Veben 2)
    L3702 LETHAL WEAPON 2 (USA, 1989) (Other titles: Arma lethale 2; Arme fatale 2; Brennpunkt L.A.; Dodbringende veben 2) Credits: director, Richard Donner ; writer, Jeffrey Boam. Cast: Mel Gibson, Danny Glover, Joe Pesci, Joss Ackland. Summary: Police thriller set in contemporary Los Angeles. Detectives Riggs (Gibson) and Murtaugh (Glover) must guard a free-wheeling witness (Pesci) in a drug money laundering scheme run by South African diplomats. A comedy of car chases, gun battles, and under-water escapes. Ansen, David. “The arts: Movies: Gibson and Glover return: ‘Lethal weapon 2’ serves up sadism with a smile” 114 Newsweek (Jul 17, 1989), p. 53. [Reprinted in Film review annual 1990] Avins, Mimi. “Shot by shot” Premiere 2/12 (Aug 1989), p. 72-6. Baumann, Paul D. “Screen: Scorching the screen” Commonweal 116 (Oct 6, 1989), p. 529-30. Blair, Iain. “Movies: Mel’s lethal appeal: He’s got killer looks, but shucks, Gibson’s just one of the guys” Chicago tribune (Jul 9, 1989), Arts, p. 4. Blois, Marco de. “Lethal weapon II” 24 images 44-45 (autumn 1989), p. 109. Broeske, Pat H. “A high-caliber Danny Glover” Los Angeles times (Jul 11, 1989), Calendar, p. 1. “Business: Talk about placements” Newsweek 114 (Jul 31, 1989), p. 50. Carr, Jay. “Three stooges with guns” Boston globe (Jul 7, 1989), Arts and film, p. 41. Christensen, Johs H. “Dodbringende veben 2” Levende billeder 5 (Sep 1989), p. 47. Clark, Mike. “‘Lethal 2’ is loaded with bang and blanks” USA today (Jul 7, 1989), p. 1D. Cliff, Paul. “Movie trax” Film monthly 1 (Dec 1989), p.
    [Show full text]
  • Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
    DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß.
    [Show full text]
  • Starlog Magazine Issue
    'ne Interview Mel 1 THE SCIENCE FICTION UNIVERSE Brooks UGUST INNERSPACE #121 Joe Dante's fantastic voyage with Steven Spielberg 08 John Lithgow Peter Weller '71896H9112 1 ALIENS -v> The Motion Picture GROUP, ! CANNON INC.*sra ,GOLAN-GLOBUS..K?mEDWARO R. PRESSMAN FILM CORPORATION .GARY G0D0ARO™ DOLPH LUNOGREN • PRANK fANGELLA MASTERS OF THE UNIVERSE the MOTION ORE ™»COURTENEY COX • JAMES TOIKAN • CHRISTINA PICKLES,* MEG FOSTERS V "SBILL CONTIgS JULIE WEISS Z ANNE V. COATES, ACE. SK RICHARD EDLUND7K WILLIAM STOUT SMNIA BAER B EDWARD R PRESSMAN»™,„ ELLIOT SCHICK -S DAVID ODEll^MENAHEM GOUNJfOMM GLOBUS^TGARY GOODARD *B«xw*H<*-*mm i;-* poiBYsriniol CANNON HJ I COMING TO EARTH THIS AUGUST AUGUST 1987 NUMBER 121 THE SCIENCE FICTION UNIVERSE Christopher Reeve—Page 37 beJohn Uthgow—Page 16 Galaxy Rangers—Page 65 MEL BROOKS SPACEBALLS: THE DIRECTOR The master of genre spoofs cant even give the "Star wars" saga an even break Karen Allen—Page 23 Peter weller—Page 45 14 DAVID CERROLD'S GENERATIONS A view from the bridge at those 37 CHRISTOPHER REEVE who serve behind "Star Trek: The THE MAN INSIDE Next Generation" "SUPERMAN IV" 16 ACTING! GENIUS! in this fourth film flight, the Man JOHN LITHGOW! of Steel regains his humanity Planet 10's favorite loony is 45 PETER WELLER just wild about "Harry & the CODENAME: ROBOCOP Hendersons" The "Buckaroo Banzai" star strikes 20 OF SHARKS & "STAR TREK" back as a cyborg centurion in search of heart "Corbomite Maneuver" & a "Colossus" director Joseph 50 TRIBUTE Sargent puts the bite on Remembering Ray Bolger, "Jaws:
    [Show full text]
  • Film Locations in San Francisco
    Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros.
    [Show full text]
  • Hofstra University Film Library Holdings
    Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987.
    [Show full text]
  • October 6-16, 2016 | Mvff.Com
    OCTOBER 6-16, 2016 | MVFF.COM INKS NOTES CHANGES FROM PREVIOUS ROUND MILL VALLEY FILM FESTIVAL Finished size 8.25” square 39 Regular Program Cover contact: JEFF ENSSLEN MVFF_RegularProgramCover_2015-06-09.ai 831 Montgomery St. San Francisco, CA 94133 CMYK tel 415.675.7777 fax 415.675.7778 09 June 2016 APPROVALS SUBSTRATE AE: _____________________________________________________ Date: ________________________ DD:_____________________________________________________ Date: ________________________ LD: _____________________________________________________ Date: ________________________ P1: _____________________________________________________ Date: ________________________ WHITE P2: _____________________________________________________ Date: ________________________ CELEBRATE FILM 24 FRAMES PER SECOND | 365 DAYS A YEAR THE CALIFORNIA FILM INSTITUTE CELEBRATES FILM YEAR-ROUND AT THE NON-PROFIT CHRISTOPHER B. SMITH RAFAEL FILM CENTER, THROUGH CFI EDUCATION, AND DURING THE ANNUAL MILL VALLEY FILM FESTIVAL. WE THANK YOU FOR YOUR SUPPORT THROUGHOUT THE YEAR. CALIFORNIA FILM INSTITUTE CHRISTOPHER B. SMITH RAFAEL FILM CENTER | MILL VALLEY FILM FESTIVAL | CFI EDUCATION The California Film Institute is a 501(c)3 nonprofit organization. TABLE OF CONTENTS Sponsors 2 20% OFF FOR NEW MEMBERS CFI Supporters 4 Opening Night 6 Centerpiece Ensemble Spotlight 7 Closing Night 7 Tributes & Spotlights 8 Star Wars Trilogy Event 10 EXPERIENCE THE ENGAGING Special Premieres & Party 11 POWER OF CINEMA MVFF Music 12 YEAR ROUND Behind the Screens: 14 Panels | Master
    [Show full text]
  • A Case Study on Film Authorship: Exploring the Theoretical and Practical Sides in Film Production
    A Case Study on Film Authorship by David Tregde — 5 A Case Study on Film Authorship: Exploring the Theoretical and Practical Sides in Film Production David Tregde* Media Arts and Entertainment Elon University Abstract Film authorship has been a topic of debate in film theory since the Cahiers du Cinema critics first birthed auteur theory. Andrew Sarris used this theory to categorize directors based on their level of artistic au- thorship, solidifying the idea that a director is the sole author of a film. In The Schreiber Theory, David Kipen argues that a writer is responsible for creating the world of the movie and should be considered the author of a film. However, collaborative theories, such as those proposed by Paul Sellors, provide a more practical framework for studying film authorship. Rarely are any film authorship theories compared with specific exam- ples. To compare theory to practice, this research took a two-fold approach. First, theory is explored through primary and secondary sources to give a background and understanding of the main arguments in authorship. Second, this research documents the production of two feature films (Blade Runner & The Man Who Killed Don Quixote) as case studies through analysis of in-depth documentaries. By examining these productions, this study observes theory in practice rather than studying the finished products. I. The Problem of Authorship “Authorship does matter,” says Janet Staiger, because it addresses the issue of acknowledging credit behind a motion picture (Gerstner and Staiger 27). When addressing the responsible parties for a film, it is important to know why such analysis is needed.
    [Show full text]
  • Of Undergraduate Research in Communications
    ofElon Undergraduate Journal Research in Communications EJ Fall 2 0 1 3 Issue School of Communications Elon University The World of Journals Welcome to the nation’s only journal devoted to undergraduate research in communications. The website of the Council on Undergraduate Research lists about 120 undergraduate research journals nationwide (http://www.cur.org/resources/students/undergraduate_journals/). Some of these focus on a discipline (e.g., Journal of Undergraduate Research in Physics). Others are university-based and multidisci- plinary (e.g., MIT Undergraduate Research Journal). The Elon Journal is the only one with a focus on undergraduate research in journalism, media and communications. The School of Communications at Elon University is the creator and publisher of the online journal. The first issue was published in Spring 2010. The journal is published twice a year, with spring and fall issues, under the editorship of Dr. Byung Lee, associate professor in the School of Communications. The three purposes of the journal are: 1. To publish the best undergraduate research in Elon’s School of Communications each term, 2. To serve as a repository for quality work to benefit future students seeking models for how to do undergraduate research well, and 3. To advance the university’s priority to emphasize undergraduate student research. Articles and other materials in the journal may be freely downloaded, reproduced and redistributed without permission as long as the author and source are properly cited. Student authors retain copyright own- ership of their works. Celebrating Student Research This journal reflects what we enjoy seeing in our students -- intellectual maturing.
    [Show full text]
  • Family & Domesticity in the Films of Steven Spielberg
    Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Why Did I Marry A Sentimentalist?: Family & Domesticity in the Films of Steven Spielberg Emmet Dotan Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Other Film and Media Studies Commons, and the Theory and Criticism Commons This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation Dotan, Emmet, "Why Did I Marry A Sentimentalist?: Family & Domesticity in the Films of Steven Spielberg" (2017). Senior Projects Spring 2017. 232. https://digitalcommons.bard.edu/senproj_s2017/232 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Why Did I Marry A Sentimentalist?: Family & Domesticity in the Films of Steven Spielberg Senior Project Submitted to The Division of Arts of Bard College by Emmet Dotan Annandale-on-Hudson, New York May 2017 Acknowledgements I want to thank my advisor, Ed Halter, for pushing me to understand why I love the films that I love. I would also like to thank Natan Dotan for always reminding me why I do what I do.
    [Show full text]
  • Matthew Weisman 14527 Dickens Street Sherman Oaks, CA 91 403
    Y LIBRARY OF CONGRESS L MAR 15 ?993 Greg Lucc MOTION P.ICTURE, BROADCASTING RECORW) SOUW 91VlS!C)N Committee for Film Preservation and Public Access 2747 Shannesy Drive Medford, Oregon 97504 Dear Greg; I have been a staunch supporter of our committee's work toward film preservation through copyright reform and I thought I was fairly sophistlcated as to the issues involved. The motion picture has been validated as the art form of the century. The long neglected issue of film preservatfon has been finally giver1 some acceptance (though we all know more work is needed). However, your recent statement, 'Preservation Without Access is Pointless' was a true eye opener. As you know. I am a major film buff. It amazes me to think that so many of the works which I had assumed were 'lost' either by negligence or indifference were in fact sitting in vaults, properly preserved - at the expense of, well -- a of us. This should be good news. But. it is very bad news when we realize that the original owners, (many of whom are 'lost' themselves or could care less) still have the final say as to when or even if these films will ever be made available to the It seems clear enough. If the public has to bear the expense or preserving these films, many of whfch are in the public domain or will soon be. shouldn't the public be given an opportunity to have reasonable access to them? Since the original owners have in effect abandoned these works, then shouldn't entrepreneurial types, who are willrng to bear the expense, have these materials made available in order to release these tltles, especially to video7 The issue seems bogged down by laws which were created before the realities of the electronic revolution.
    [Show full text]