Trinity Tripod, 2001-10-02
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The Ballads of the Southern Mountains and the Escape from Old Europe
B AR B ARA C HING Happily Ever After in the Marketplace: The Ballads of the Southern Mountains and the Escape from Old Europe Between 1882 and 1898, Harvard English Professor Francis J. Child published The English and Scottish Popular Ballads, a five volume col- lection of ballad lyrics that he believed to pre-date the printing press. While ballad collections had been published before, the scope and pur- ported antiquity of Child’s project captured the public imagination; within a decade, folklorists and amateur folk song collectors excitedly reported finding versions of the ballads in the Appalachians. Many enthused about the ‘purity’ of their discoveries – due to the supposed isolation of the British immigrants from the corrupting influences of modernization. When Englishman Cecil Sharp visited the mountains in search of English ballads, he described the people he encountered as “just English peasant folk [who] do not seem to me to have taken on any distinctive American traits” (cited in Whisnant 116). Even during the mid-century folk revival, Kentuckian Jean Thomas, founder of the American Folk Song Festival, wrote in the liner notes to a 1960 Folk- ways album featuring highlights from the festival that at the close of the Elizabethan era, English, Scotch, and Scotch Irish wearied of the tyranny of their kings and spurred by undaunted courage and love of inde- pendence they braved the perils of uncharted seas to seek freedom in a new world. Some tarried in the colonies but the braver, bolder, more venturesome of spirit pressed deep into the Appalachians bringing with them – hope in their hearts, song on their lips – the song their Anglo-Saxon forbears had gathered from the wander- ing minstrels of Shakespeare’s time. -
Filming Feminist Frontiers/Frontier Feminisms 1979-1993
FILMING FEMINIST FRONTIERS/FRONTIER FEMINISMS 1979-1993 KATHLEEN CUMMINS A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN WOMEN’S, FEMINIST AND GENDER STUDIES YORK UNIVERSITY TORONTO, ONTARIO November 2014 © Kathleen Cummins, 2014 ii ABSTRACT Filming Feminist Frontiers/Frontier Feminisms is a transnational qualitative study that examines ten landmark feature films directed by women that re-imagined the frontiers of Canada, Australia, New Zealand, and the U.S through a feminist lens. As feminist feature films they countered Eurocentric and masculinist myths of white settlement and expansionism in the grand narrative tradition. Produced between 1979 and 1993, these films reflect many of the key debates that animated feminist scholarship between 1970 and 1990. Frontier spaces are re-imagined as places where feminist identities can be forged outside white settler patriarchal constructs, debunking frontier myths embedded in frontier historiography and the Western. A central way these filmmakers debunked frontier myths was to push the boundaries of what constitutes a frontier. Despite their common aim to demystify dominant frontier myths, these films do not collectively form a coherent or monolithic feminist revisionist frontier. Instead, this body of work reflects and is marked by difference, although not in regard to nation or time periods. Rather the differences that emerge across this body of work reflect the differences within feminism itself. As a means of understanding these differences, this study examines these films through four central themes that were at the centre of feminist debates during the 1970s, 80s, and 90s. -
The Music Never Stopped Based Upon “The Last Hippie” by Oliver Sacks, M.D
The Music Never Stopped Based upon “The Last Hippie” by Oliver Sacks, M.D. Official website: http://themusicneverstopped-movie.com Publicity Materials: www.roadsideattractionspublicity.com Production Notes Directed by Jim Kohlberg Screenplay by Gwyn Lurie & Gary Marks Produced by Julie W. Noll, Jim Kohlberg, Peter Newman, Greg Johnson Starring: J.K. Simmons Lou Taylor Pucci Cara Seymour Julia Ormond Running Time: 105 minutes Press Contacts: New York Marian Koltai-Levine – [email protected] – 212.373.6130 Nina Baron – [email protected] – 212.373.6150 George Nicholis – [email protected] – 212.373.6113 Lee Meltzer – [email protected] – 212-373-6142 Los Angeles Rachel Aberly – [email protected] - 310.795-0143 Denisse Montfort – [email protected] – 310.854.7242 "THE MUSIC NEVER STOPPED" Essential Pictures presents THE MUSIC NEVER STOPPED Based on a true story Directed by JIM KOHLBERG Screenplay by GWYN LURIE & GARY MARKS Based upon the essay 'The Last Hippie' by OLIVER SACKS Produced by JULIE W. NOLL JIM KOHLBERG PETER NEWMAN GREG JOHNSON Co-Producer GEORGE PAASWELL Executive Producer NEAL MORITZ Executive Producer BRAD LUFF Music Producer SUSAN JACOBS Director of Photography STEPHEN KAZMIERSKI Editor KEITH REAMER Production Designer JENNIFER DEHGHAN Costume Designer JACKI ROACH Original Music by PAUL CANTELON Casting by ANTONIA DAUPHIN, CSA J.K. SIMMONS LOU TAYLOR PUCCI CARA SEYMOUR with JULIA ORMOND TAMMY BLANCHARD MIA MAESTRO SCOTT ADSIT JAMES URBANIAK PEGGY GORMLEY MAX ANTISELL An Essential Pictures Production in association with Peter Newman/InterAL Productions A film by Jim Kohlberg SYNOPSIS “The Music Never Stopped,” based on the case study “The Last Hippie” by Dr. -
REAMER, Keith
KEITH REAMER, A.C.E. EDITOR Member: I.A.T.S.E./Local 700, M.P.E.G. New York local www.keithreamer.com FEATURES FINDING 52 (Documentary) Gigantic Pictures/Alldayeveryday/ Prod: Adrian Grenier, Jonathan Shukat, Dir: Joshua Zeman (Consulting Editor) ShowKat Productions Lucy Sumner, Leonardo DiCaprio BAYOU CAVIAR Brittany House Productions Prod: Anjul Nigam, Todd Lewis Dir: Cuba Gooding Jr. THE CHINA HUSTLE (Documentary) Jigsaw Prod: Jed Rothstein, Sarah Gibson Dir: Jed Rothstein *Toronto International Film Festival 2017 – TIFF Docs SOPHIE AND THE RISING SUN Sophie Film Prod: Brenda Goodman Dir: Maggie Greenwald *Sundance Film Festival 2016 – Premiere BILL TRAYLOR: CHASING GHOSTS (Documentary) Breakaway Films NY Prod: Sam Pollard Dir: Jeffrey Wolf LEARNING TO DRIVE Learning to Drive, LLC. Prod: Susan Leber, Dana Friedman Dir: Isabel Coixet *Toronto International Film Festival 2014 Daniel Hammond UNTITLED BILL COSBY DOC Anonymous Content Prod: Maureen Ryan Dir: Jamey Phillips INNOCENCE Killer Films Prod: Pamela Koffler, Christine Vachon Dir: Hilary Brougher Declan Baldwin BEFORE THE SPRING, AFTER THE FALL Prod: Allyson Luchak, Liz Garbus Dir: Jed Rothstein (Documentary) Fisher Stevens THE LAST KEEPERS TAL Entertainment Inc. Prod: Carly Hugo, Matthew Parker Dir: Maggie Greenwald EXPOSED (Documentary) Schulberg Productions Prod: Sandra Schulberg Dir: Beth B. *Berlin Film Festival 2013 – Premiere & Competition THE MUSIC NEVER STOPPED Roadside Attractions Prod: Julie W. Noll, Peter Newman Dir: Jim Kohlberg *Sundance Film Festival 2011 – Premiere AMREEKA National Geographic Ent. Prod: Christina Piovesan, Paul Barkin Dir: Cherien Dabis *Cannes Film Festival 2009 – Winner, International Critics Prize, Director’s Fortnight *Sundance Film Festival 2009 – Dramatic Competition CHOOSE IFC Midnight Prod: Allen Bain, Jesse Scolaro Dir: Marcus Graves HOMECOMING Paper Street Films Prod: Austin Stark, Jim Young Dir: Morgan J. -
Stephanie's Resume
STEPHANIE GORIN CASTING DIRECTOR CSA/C.D.C 2014 EMMY WINNER, BEST CASTING for a MINI-SERIES 2014 ARTIOS WINNER, BEST CASTING for a MINI-SERIES 3 EMMY NOMINATIONS 3 GEMINI NOMINATIONS 4 ARTIOS AWARD NOMINATIONS 62 Ellerbeck St., Toronto ON Canada M4K 2V1 PH: 416-778-6916 Email: [email protected] FEATURE FILMS, MOVIES OF THE WEEK, EPISODICS (selected) ROCKY HORROR PICTURE SHOW T.V. Feature 2016 Director: Kenny Ortega Executive Producers: Lou Adler, Gail Berman, Kenny Ortega / FOX 21 TELEVISION STUDIOS RACE – Co-Casting Feature 2015 Director: Stephen Hopkins Producers: Jean-Charles Levy, Luc Seguin, Karsten Brunig, Nicolas Manuel / Focus Features/Forecast Pictures FARGO (Seasons 1-2) Mini-Series 2014-2015 Director: Various Executive Producers: Joel & Ethan Coen, Noah Hawley, Warren Littlefield & John Cameron, Geyer Kosinski / MGM / FX *Emmy winner for casting – 2014 *Artios winner – 2014 HEROES REBORN T.V. Series 2015 Directors: Various Executive Producers: Tim Kring, Peter Elkoff, James Middleton / NBC OPERATION INSANITY Feature 2015 Director: Erik Canuel Executive Producer: Arnie Zipursky, CCI Entertainment SHADOWHUNTERS T.V. Series 2015 Director: Various Executive Producers: McG, Marjorie David, Ed Decter, Michael Reisz, Don Carmody / ABC Family-FREEFORM PRIVATE EYES T.V. Series 2015 Director: Kelly Makin, Anne Wheeler Executive Producers: John Morayniss, Tecca Crosby, Rachel Fulford, Shawn Piller, Lloyd Segan, Jason Priestley Tassie Cameron, Shelley Eriksen, Alan McCullough THE PATRIOT Pilot 2015 Director: Steve Conrad Executive Producers: Charlie Gogolak, Glenn Ficarra, Dominic Garcia, Gil Bellows / AMAZON SLASHER Mini-Series 2015 Director: Craig David Wallace Executive Producers: Christina Jennings, Aaron Martin, Adam Haight / Chiller / SUPERCHANNEL CHEERLEADER DEATH SQUAD Pilot 2015 Director: Mark Waters Executive Producers: Marc Cherry, Neal Baer, Daniel Truly, Frank Siracusa, John Weber / CW / CBS SHOOT THE MESSENGER Series 2015 Directors: Sudz Sutherland, T.W. -
Productions in Ontario 2003
PRODUCTION IN with assistance from Ontario Media Development Corporation (OMDC) CHANCE CLEAN THEATRICAL FILMS Company: Rushlight Entertainment/ Company: Rhombus Media Inc. Nickelodeon Films (NY) Producer: Niv Fichman, Daniel Iron, Producer: Michael Currie, Soojin Kwon, Sari Friedland AURORA BOREALIS Alan Vukadin Director: Olivier Assayas Company: Front and Center Productions, Inc. Executive Producer: Marcus Schwartz Writer: Olivier Assayas Producer: Scott Disharoon, Sherri Saito Director: James Cohen Line Producer: Frederic Sauvagnac Executive Producer: Rick Bieber Writer: James Cohen Production Designer: Bill Fleming Director: James Burke Production Manager: Alan Vukadin Director of Photography: Eric Gautier Writer: Brent Boyd Production Designer: Katie Macgregor Key Cast: Maggie Cheung, Nick Nolte, Production Manager: Marty Dejczak Director of Photography: Mark A. Feenstra Martha Henry Production Designer: Taavo Soodor Key Cast: Amel Hesh, Serena Deparis Shooting Dates: Oct. 13 - 31/03 Director of Photography: Alar Kivilo Shooting Dates: Jan. 10 - 25/03 Key Cast: Joshua Jackson, Donald CONFESSIONS OF A TEENAGE Sutherland, Louise Fletcher, Juliette Lewis CHILDSTAR DRAMA QUEEN Shooting Dates: Nov. 3 - Dec. 19/03 Company: Rhombus Media Inc. Company: Confessions Productions Ltd. Producer: Niv Fichman, Daniel Iron, Producer: Jerry Leider and Bob Shapiro BAILEY Jennifer Jonas Director: Sara Sugarman Company: Devine Bailey Productions Ltd. Director: Don McKellar Writer: Gail Parent Producer: David Devine, Richard Mozer Writer: Don McKellar, -
The Singing Subject
OVERTURE: The Singing Subject Hollywood's soundtrack is engendered through a complex system of displacements which locate the male voice at the point of apparent textual origin, while establishing the diegetic containment ofthe female voice. 1 In The Acoustic Mirror, one of the few film theory books that considers the female voice in cinema, psychoanalytic film theorist Kaja Silverman ascribes the female voice a place firmly within the narrative of 'classic' Hollywood (and other realist) films. 2 But as a cinematic spectator, I have experienced films where a woman's singing voice has for me transcended such limitations. My first experience of such a feeling was motivated by Songcatcher (Maggie Greenwald, 2000), a story about a 19th century musicologist, Dr Lily Penleric (Janet McTeer), who travels to the Appalachian Mountains to collect folk ballads. In Songcatcher, the women characters' singing is pleasurable and moving, but also transports me emotionally beyond the narrative.3 Such experiences of singing scenes4 provide for me a feeling that is analogous to, but also different from, the 'transcendence' of numbers in classic Hollywood film musicals.s In the classical musical, singing performances are not only expected, because of the genre, but also assisted by the use of nondiegetic music to lift the musical experience beyond the 'real' world of the narrative to a space that is most often a utopian realm. However, in Songcatcher, singing remains of the diegesis and yet for me reaches beyond the narrative world. I Kaja Silverman. The Acoustic Mirror: The Female Voice in P5ychoanalysis and Cinema. Bloomington and Indianapolis. Indiana University Press. -
1 Academy Award ® Nominee Bryan Cranston, Acclaimed Actor And
Academy Award ® nominee Bryan Cranston, acclaimed actor and comedian Kevin Hart, and Academy Award ® Winner Nicole Kidman come together in STXfilms and Lantern Entertainment’s THE UPSIDE, an inspirational comedy based on the true-life friendship and lifelong bond forged between a wealthy man with quadriplegia and the ex-con he hires as his live- in care giver. Directed by Neil Burger (The Illusionist, Limitless), with a screenplay by Jon Hartmere, THE UPSIDE chronicles the unexpected friendship between Phillip Lacasse (Cranston), a Park Avenue billionaire left paralyzed after a paragliding accident, and ex-con Dell Scott (Kevin Hart), in need of a fresh start. Newly paroled and in desperate need of a job, Dell is frustrated by the menial opportunities available to an ex-con. After finding himself at the wrong job interview Dell uses his irreverent charisma to charm Phillip, who, despite protests from his chief-of-staff Yvonne (Nicole Kidman), offers him the home aid position. Despite a rocky start, the two quickly realize how much they can learn from each other’s experiences. From worlds apart, Phillip and Dell form an unlikely bond, bridging their differences and gaining invaluable wisdom in the process, giving each man a renewed sense of passion for all of life’s possibilities. 1 FILMMAKER’S VISION THE UPSIDE is inspired by the 2011 box office hit French film Les Intouchables. Producers Jason Blumenthal, Todd Black and Steve Tisch from Escape Artists were thrilled at the prospect of recreating the French classic, having seen it a few years back and absolutely loving the story. -
The Song Collector Free
FREE THE SONG COLLECTOR PDF Natasha Solomons | 400 pages | 24 Mar 2016 | Hodder & Stoughton General Division | 9781444736410 | English | London, United Kingdom Home - Natasha Solomons Build up your Halloween Watchlist with our list The Song Collector the most popular horror titles on Netflix in October. See the list. After being denied a promotion at the university where she teaches, Doctor Lily The Song Collector, a brilliant musicologist, impulsively visits her sister, who runs a struggling rural school in Appalachia. There she stumbles upon the discovery of her life - a treasure trove of ancient Scots-Irish ballads, songs that have been handed down from generation to generation, preserved intact by the seclusion of the mountains. With The Song Collector goal of securing her promotion, Lily ventures into the most isolated areas of the mountains to collect the songs and finds herself increasingly enchanted - not only by the rugged purity of the music, but also by the raw courage and endurance of the local people as they carve out meaningful lives against the harshest conditions. It is not, however, until she meets Tom - a handsome, hardened war veteran and talented musician - that she's forced to examine her motivations. Is the "Songcatcher," as Tom insists, no better than the men who exploit the people and extort their Written by Sujit R. Songcatcher is a film that shows the side of the mountain people that has been unknown for years. It's kind of The Song Collector an indie, female version of Oh Brother Where Art Thou, but with a The Song Collector touch and more and better music. -
Edited and with an Introduction by Olivia Carter Mather and J
ECHO: a music-centered journal www.echo.ucla.edu Volume 4 Issue 2 (Fall 2002) Edited and with an Introduction by Olivia Carter Mather and J. Lester Feder Introduction Why Now? A Millenial Folk Revival? 1. The success of the Coen Brothers’ 2000 movie, O Brother, Where Art Thou?, and its Appalachian- and Bluegrass-inflected soundtrack seemed to come out of the blue. When considered alongside other artifacts of popular culture from recent years—the re-release of the Harry Smith Anthology of American Folk Music, Moby’s album Play, and the popularity of the Dixie Chicks, to name a few—it is clear that the new interest in music drawing on “folk” or “roots” influences has obvious precedents. At the same time, O Brother’s popularity has spawned a wide array of “follow up” products and projects: new folk anthologies, books, concert tours, TV series, documentaries, women- in-bluegrass collections, soundtracks, and even church musicals. Taken as a package, it seems we are in the midst of a “folk revival”—a period when popular (and corporate) culture looks to music, art, and other cultural forms that are seen as “folkloric,” treated as if created by communities of music-makers without the interference or mediation of technology. 2. There have been many previous folk revivals in this century, the most (in)famous of which occurred in the late 50s and early 60s, including performers such as Pete Seeger and Joan Baez and collectors such as Alan Lomax. The 60s revival—whose presence is very much felt in the ECHO: a music-centered journal www.echo.ucla.edu Volume 4 Issue 2 (Fall 2002) current moment—itself looked to a revival of the early twentieth century, when collectors such as Cecil Sharp, Olive Dame Campbell, and John Lomax (Alan’s father) headed into the rural parts of the United States in search of “authentic” indigenous expressions. -
America's Roots Music
FREE Volume 1 Number 4 July/August 2001 A BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY “Don’t you know that Folk Music is illegal in Los Angeles?” –Warren Casey of the Wicked Tinkers AMERICA’S ROOTS MUSIC NEW FILM EXAMINES THE LIFE & MUSIC OF APPALACHIAN PEOPLE ike O Brother, Where Art Thou, singing ballads Songcatcher is a movie where the and young folks plot is built to showcase the fiddling away on music. As with O Brother... the the corner. music being trumpeted is from Songcatcher Appalachia. The haunting songs attempts to give us a glimpse into life in the Songcatcher in the film, as well as on the mountains at the turn of the century. Dr. Lily L soundtrack, represent some of Penleric (JANET MCTEER) is an academic WRITTEN & DIRECTED BY America’s most powerful musical folklorist. When she is passed over again for MAGGIE GREENWALD influences - the roots that later sprout into blue- university promotion, she leaves the universi- WITH JANET MCTEER, EMMY ROSSUM, grass, country music, folk singing, and eventually, the Southern- ty and heads to the mountains where her sister runs a local PAT CARROLL, AIDAN QUINN influenced rock ‘n roll of Elvis Presley. Appalachia remains a schoolhouse. Once there, she “discovers” the treasure-chest hotbed of creative music with new stars such as Iris DeMent ris- of music, sung with such expression and depth that she is at ing out of the old traditions with the rarest of gifts: a high lone- once inspired to tell the world (and make her statement to the some voice and a simple song that can shatter a person’s heart. -
Genre, Authorship and Contemporary Women Filmmakers
KATARZYNA PASZKIEWICZ GENRE, AUTHORSHIP AND CONTEMPORARY WOMEN FILMMAKERS Not for distribution or resale. For personal use only. Not for distribution or resale. For personal use only. GENRE, AUTHORSHIP AND CONTEMPORARY WOMEN FILMMAKERS Not for distribution or resale. For personal use only. Not for distribution or resale. For personal use only. GENRE, AUTHORSHIP AND CONTEMPORARY WOMEN FILMMAKERS Katarzyna Paszkiewicz Not for distribution or resale. For personal use only. Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Katarzyna Paszkiewicz, 2018 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 10/12.5pt Sabon by Servis Filmsetting Ltd, Stockport, Cheshire and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 2526 1 (hardback) ISBN 978 1 4744 2527 8 (webready PDF) ISBN 978 1 4744 2528 5 (epub) The right of Katarzyna Paszkiewicz to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Not for distribution or resale. For personal use only. CONTENTS List of Figures vi Acknowledgements viii Introduction: Impossible Liaisons? Genre and Feminist Film Criticism 1 1. Subversive Auteur, Subversive Genre 34 2.