DOCSLIB.ORG

Il Report Del Week Report Del Weekend

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Il Report Del Week Report Del Weekend IL REPORT DEL WEEKEND (19-22/04) Numeri e confronti dal box office nazionale ed estero FOCUS: IL BOX OFFICE NELLE AGENZIE PER GENERE E NAZIONALITA’ -primo trimestre 2018- Come già anticipato il primo trimestre è stato di segno negativo rispetto all’analogo periodo del 2017 per nove agenzie su dodici. GBO PER AGENZIA - PRIMO TRIMESTRE 2018 Agenzia Incasso % sul tot. Diff. 18/17 LOMBARDIA 39.176.569 20,15% +0,04% LAZIO 31.496.201 16,20% -1,77% VENETO 21.622.863 11,12% -4,92% EMILIA ROMAGNA 20.252.498 10,42% -2,57% CAMPANIA 14.895.893 7,66% -20,48% PIEMONTE 14.647.883 7,53% -5,53% TOSCANA 14.224.866 7,32% +0,77% PUGLIA 10.689.481 5,50% -6,43% MARCHE 9.388.448 4,83% -0,94% SICILIA 8.921.345 4,59% -28,79% LIGURIA 5.655.520 2,91% -4,40% SARDEGNA 3.469.255 1,78% +0,54% 194.440.821 100,00% -5,57% Tra le agenzie crescono Toscana (+0,77%), Sardegna (+0,54%) e Lombardia (+0,04%) mentre quelle con le diminuzioni più significative sono Sicilia (-28,79%) e Campania (-20,48%). Nel 2017 “L’ora legale” e “Mister Felicità”, i primi due incassi italiani dell’anno usciti in sala a gennaio, avevano registrato i loro risultati migliori rispettivamente presso le aree di queste due agenzie (31,03% dell’incasso per il film di Ficarra e Picone in Sicilia; 39,62% in Campania per il film di Siani). % GBO PER GENERE E AGENZIA – 1° TRIMESTRE 2018 % EMILIA genere sul tot. CAMPANIA ROMAGNA LAZIO LIGURIA LOMBARDIA MARCHE PIEMONTE PUGLIA SARDEGNA SICILIA TOSCANA VENETO ANIMAZIONE 8,91% 6,81% 8,80% 8,54% 9,95% 9,16% 9,78% 9,79% 7,37% 11,82% 7,91% 9,19% 9,81% AVVENTURA/AZIONE 16,94% 13,64% 17,62% 13,18% 16,63% 19,01% 17,29% 18,33% 15,14% 18,92% 16,86% 15,99% 20,50% BIOGRAFICO 0,63% 0,37% 0,66% 0,71% 1,51% 0,48% 0,67% 0,62% 0,48% 0,98% 0,65% 0,75% 0,59% COMMEDIA 20,27% 28,55% 17,55% 28,05% 19,59% 15,87% 23,36% 18,17% 23,02% 14,89% 20,13% 20,14% 13,70% DOCUMENTARIO 1,29% 0,81% 1,37% 1,37% 1,42% 1,26% 1,33% 1,16% 1,20% 1,25% 1,09% 1,39% 1,62% COPYRIGHT CINETEL - Vietata ogni duplicazione o cessione a terzi anche a titolo gratuito. DRAMMATICO 38,23% 39,02% 39,37% 35,75% 36,80% 38,98% 35,96% 38,04% 40,53% 37,26% 40,15% 38,17% 38,58% FANTASTICO 8,09% 5,42% 8,77% 7,89% 8,94% 9,17% 6,57% 8,21% 5,42% 6,96% 6,89% 9,02% 9,35% HORROR 2,42% 3,17% 2,51% 1,86% 2,03% 2,37% 2,27% 2,15% 3,20% 3,99% 3,52% 2,09% 2,17% MUSICALE 0,37% 0,21% 0,28% 0,44% 0,41% 0,32% 0,31% 0,43% 0,38% 0,36% 0,18% 0,67% 0,42% STORICO 0,02% 0,01% 0,00% 0,01% 0,02% 0,04% 0,01% 0,02% 0,01% 0,01% 0,02% 0,01% 0,03% THRILLER 2,49% 1,76% 2,63% 1,86% 2,30% 3,02% 2,00% 2,78% 3,01% 2,94% 2,40% 2,19% 2,83% WESTERN 0,35% 0,23% 0,44% 0,33% 0,39% 0,31% 0,44% 0,32% 0,25% 0,63% 0,21% 0,39% 0,40% Tra i generi vince il “drammatico” sia in generale in Italia che anche in tutte le agenzie. Il genere “commedia”, come di consueto, è comunque molto gradito nelle aree del centro-sud dove è il secondo preferito (ad eccezione della Sardegna) a differenza del nord Italia dove invece è terzo dopo il genere “avventura/azione”. % GBO PER GENERE E AGENZIA: DIFF. SUL TOTALE ITALIA – 1° TRIMESTRE 2018 % EMILIA genere sul tot. CAMPANIA ROMAGNA LAZIO LIGURIA LOMBARDIA MARCHE PIEMONTE PUGLIA SARDEGNA SICILIA TOSCANA VENETO ANIMAZIONE 8,91% -2,10% -0,11% -0,37% +1,04% +0,26% +0,87% +0,88% -1,54% +2,91% -1,00% +0,28% +0,90% AVVENTURA/AZIONE 16,94% -3,30% +0,68% -3,76% -0,31% +2,08% +0,35% +1,39% -1,80% +1,98% -0,07% -0,95% +3,56% BIOGRAFICO 0,63% -0,25% +0,03% +0,08% +0,89% -0,15% +0,05% -0,00% -0,15% +0,36% +0,03% +0,12% -0,03% COMMEDIA 20,27% +8,28% -2,73% +7,78% -0,68% -4,40% +3,09% -2,11% +2,74% -5,39% -0,15% -0,13% -6,58% DOCUMENTARIO 1,29% -0,48% +0,08% +0,08% +0,12% -0,03% +0,03% -0,13% -0,10% -0,04% -0,21% +0,10% +0,32% DRAMMATICO 38,23% +0,79% +1,15% -2,47% -1,42% +0,76% -2,27% -0,19% +2,31% -0,97% +1,92% -0,05% +0,36% FANTASTICO 8,09% -2,66% +0,68% -0,19% +0,85% +1,08% -1,52% +0,12% -2,67% -1,13% -1,20% +0,93% +1,26% HORROR 2,42% +0,76% +0,09% -0,55% -0,38% -0,05% -0,14% -0,27% +0,78% +1,57% +1,10% -0,32% -0,25% MUSICALE 0,37% -0,16% -0,09% +0,07% +0,04% -0,05% -0,06% +0,06% +0,01% -0,01% -0,20% +0,30% +0,05% STORICO 0,02% -0,01% -0,01% -0,01% +0,00% +0,02% 0,00% 0,00% -0,01% -0,01% +0,00% -0,01% +0,02% THRILLER 2,49% -0,73% +0,14% -0,64% -0,20% +0,53% -0,49% +0,28% +0,51% +0,45% -0,09% -0,30% +0,33% WESTERN 0,35% -0,11% +0,10% -0,01% +0,05% -0,03% +0,09% -0,02% -0,09% +0,28% -0,14% 0,04% +0,05% Vedendo più nel dettaglio i risultati regionali alla luce di quello nazionale si evidenzia come in Campania e Lazio il genere “commedia” registri la differenza positiva maggiore rispetto alla “quota Italia” (più di 7 punti in percentuale). Sempre in rapporto alla quota nazionale il genere registra invece i risultati peggiori in Veneto (-6,58), Sardegna (-5,39) e Lombardia (-4,40). In Campania il genere che registra performance minori rispetto alle quote nazionali è quello di “avventura/azione” (3,3 punti in percentuali in meno) così come nel Lazio (3,76 in meno). Lo stesso genere registra invece le performance migliori rispetto alla “quota Italia” in Veneto (+ 3,56 punti in % in più) e in Lombardia (+2,08 in più) mentre la Sardegna si conferma quale area che maggiormente risponde positivamente al genere “animazione” (+2,91 punti in % in più) rispetto alla quota nazionale. % GBO PER NAZIONALITA’ E AGENZIA – 1° TRIMESTRE 2018 % EMILIA Nazionalità sul tot. CAMPANIA ROMAGNA LAZIO LIGURIA LOMBARDIA MARCHE PIEMONTE PUGLIA SARDEGNA SICILIA TOSCANA VENETO ITA+COP 32,03% 44,09% 28,86% 40,50% 30,34% 26,43% 36,53% 28,83% 37,16% 26,29% 32,42% 33,40% 22,48% USA 51,47% 44,15% 53,32% 44,83% 51,87% 56,35% 47,94% 52,70% 46,96% 55,41% 53,08% 50,31% 57,94% ALTRI 16,49% 11,76% 17,82% 14,66% 17,79% 17,22% 15,54% 18,48% 15,88% 18,29% 14,50% 16,29% 19,58% Prevale, oltre che in generale in Italia, anche in tutte le aree delle dodici agenzie il cinema di produzione statunitense seppure con valori diversi a seconda della zona. Spinta anche da risultati locali molto importanti di alcuni film (in particolare “Una festa esagerata” e “Finalmente sposi”) la produzione italiana ha quasi eguagliato il risultato di quella americana nell’area dell’agenzia campana. Ottimo il risultato, ben superiore al 32% di quota nazionale, nel Lazio (40,50%) e nelle Marche (36,58%). Molto forte invece il risultato del cinema statunitense in Veneto (57,94% del COPYRIGHT CINETEL - Vietata ogni duplicazione o cessione a terzi anche a titolo gratuito. totale), Lombardia (56,35%) e Sardegna (55,41%). Il Veneto è anche l’area dove ci sono meno punti in % di differenza tra il cinema italiano e quello di altra nazionalità (22,4% v. 19,5%). % GBO PER NAZIONALITA’ E AGENZIA: DIFF. SUL TOTALE ITALIA – 1° TRIMESTRE 2018 % EMILIA Nazionalità sul tot. CAMPANIA ROMAGNA LAZIO LIGURIA LOMBARDIA MARCHE PIEMONTE PUGLIA SARDEGNA SICILIA TOSCANA VENETO ITA+COP 32,03% +12,06% -3,17% +8,47% -1,69% -5,60% +4,50% -3,20% +5,13% -5,74% +0,39% +1,37% -9,55% USA 51,47% -7,33% +1,84% -6,64% +0,40% +4,87% -3,54% +1,22% -4,51% +3,94% +1,60% -1,16% +6,47% ALTRI 16,49% -4,74% +1,33% -1,83% +1,30% +0,72% -0,96% +1,98% -0,62% +1,80% -1,99% -0,21% +3,08% Vedendo più nel dettaglio le quote di zona rispetto a quella nazionale il cinema italiano registra performance migliori in tutto il centro-sud ad eccezione della Sardegna (-5,74 punti in percentuali in meno). Risultato decisamente inferiore alla media per il cinema statunitense, tra queste aree, in Campania (-7,33 punti in percentuali in meno) e nel Lazio (- 6,64). In Campania è invece meno “forte” che nel resto d’Italia il cinema di “altra nazionalità”.
Load more

Recommended publications
  • Cold War II: Hollywood's Renewed Obsession with Russia
    H-USA Edited Collection: Cold War II: Hollywood’s Renewed Obsession with Russia Discussion published by Tatiana Konrad on Monday, August 13, 2018 Date: October 1, 2018 The Cold War, with its bald confrontation between the United States and the Soviet Union, has been widely depicted in film. Starting even before the conflict actually began with Ernst Lubitsch’s portrayals of communism in Ninotschka (1939), and ranging from Stanley Kubrick’s openly “Cold War” Dr. Strangelove (1963) to Fred Schepisi’s The Russia House (1990), Hollywood’s obsession with the Cold War, the Soviets/Russians, communism, and the political and ideological differences between the U.S. and Russia were pronounced. This obsession has persisted even after the fall of the Berlin Wall and the breakup of the Soviet Union. Cold War tropes continue to be (ab)used, as can be seen in multiple representations of evil Russians on screen, including Wolfgang Petersen’s Air Force One (1997), Jon Favreau’s Iron Man 2 (2010), Phillip Noyce’s Salt (2010), Brad Bird’s Mission: Impossible – Ghost Protocol (2011), John Moore’s A Good Day to Die Hard (2013), and Antoine Fuqua’s The Equalizer (2014), to name just a few. All these films portray Russians in a rather similar manner: as members of the mafia or as plain criminals. Yet recently Hollywood cinema has made a striking turn regarding its portrayals of Russians, returning to the images of the Cold War. This turn and the films that resulted from it are what the collection proposes to examine. The sanctions imposed on Russia during the Ukrainian crisis in 2014 by several Western countries, including the United States, along with Trump’s admiration for Putin, Russian attempts to influence the 2016 American election, the fatal poisoning in the UK, etc., have led to a tense relationship between Russia and the Western world.
    [Show full text]
  • Regional St. Patrick's Day Events Consolidation Update SEAT Might
    Volume 19, Issue #5 April 2018 Consolidation Update SEAT might cut TRCC Route Regional St. Patrick’s Day Events Advisor The Current is the official student publication of Three Rivers Community College. The Kevin Amenta Current is written, edited, and designed solely by students. The Current staff is producing five issues this Spring which Editor are free of charge. We encourage students, Cheryl Gibson faculty, staff, and other readers to contribute to future issues. Front Cover Email submissions, responses, and ideas to: [email protected] Cheryl Gibson or to Kevin Amenta at: [email protected] Staff Only submissions with proper contact Catalina Anzola information will be accepted. The Current reserves the right to edit submissions. Views Katherine Collins expressed are those of the writers and are not to be considered those of The Current, TRCC, the Kenzie Costello faculty, staff or administration. Mark Dunning Cheryl Gibson Ashley Hanson Abigail Moran Find and Like us on Facebook! www.facebook.com/ George Simones TRCCTheCurrent Special Thanks: Dr. Mary Ellen Jukoski, Robert Allen Painter, Kenzie Costello, Shelley Reynolds, Alexa Shelton, Kathryn Gaffney and the TRCC Copy Center 2 The Current CONTENTS 4 Editorial 5 Writer’s Guild Contest 12 6 College Consolidation 8 Transportation Budget Cuts 18 10 Veterans Resource Fair 12 Regional St. Patty’s Events 14 Rights of the Undocumented 17 TRCC Baseball 18 Food on the Go 20 At the Movies 20 22 GamerCon is Back! Trinity COMPLETE IDP YOUR DEGREE Fall in love with learning again! Trinity’s Individualized Degree Program (IDP) offers: • Excellent need-based, year-round financial aid • Accessible academic advising • Full-time or part-time study • Faculty-guided undergraduate research • Phi Theta Kappa (PTK) Scholars Program • 41 majors and many minors Contact us to arrange for a personalized visit.
    [Show full text]
  • Fox Studios Australia
    Submission 92 FOX STUDIOS AUSTRALIA Fox Studios Australia’s submission to the House Standing Committee on Communications and the Arts Inquiry into Factors Contributing to the Growth and Sustainability of the Australian Film and Television Industry Overview 20th Century Fox appreciates the opportunity to respond to the House Standing Committee on Communications and the Arts Inquiry into the factors contributing to the growth and sustainability of the Australian film and television industry. Film and TV production is a global business, but 20th Century Fox is extremely proud to be a vital member of the Australian arts community. Moreover, it has proven to be excellent business to further align and integrate ourselves with all of the talent and creativity that is bursting out of Australia. We are extremely proud of our presence in Australia and our contributions to truly make Sydney - a City of Film. The Fox Studios Lot not only provides the critical infrastructure for major international productions, these productions are also attracted to the ecosystem on the Fox campus of cutting edge businesses across the creative, digital and knowledge sectors which employs over 2,500 people directly and has become a global centre of excellence. Animal Logic situated on the Fox campus is a great example of this. The Studio has attracted over $2B historically in production from the US and UK and increasingly from China and India since 1999 and helped establish Australia and NSW as the Creative/Digital industries Hub. Economically Deloitte estimates the sector contributes $3B in GDP contribution and over 22,000 jobs. For more comprehensive comments on this inquiry, 20th Century Fox would like to direct you to the submission by the Australian Film & TV Bodies.
    [Show full text]
  • Film Schedule Summary Governors Crossing 14 1402 Hurley Drive Report Dates: Friday, March 02, 2018 - Thursday, March 08, 2018 Sevierville, TN 37862
    Film Schedule Summary Governors Crossing 14 1402 Hurley Drive Report Dates: Friday, March 02, 2018 - Thursday, March 08, 2018 Sevierville, TN 37862 **************************************************************STARTING FRIDAY, MAR 02*************************************************************** DEATH WISH R 1 Hours 47 Minutes FRIDAY - THURSDAY 12:00 pm 02:20 pm 04:40 pm 07:00 pm 09:25 pm Bruce Willis, Vincent DOnofrio, Dean Norris, Elisabeth Shue, Jack Kesy, Beau Knapp --------------------------------------------------------------------------------------------------------------------------------------------------------------- RED SPARROW R 2 Hours 20 Minutes FRIDAY - THURSDAY 01:00 pm 04:00 pm 06:55 pm 09:50 pm Jennifer Lawrence, Joel Edgerton, Jeremy Irons, Matthias Schoenaerts, Ciaran Hinds, Joely Richardson --------------------------------------------------------------------------------------------------------------------------------------------------------------- ************************************************************************CONTINUING************************************************************************ GAME NIGHT R 1 Hours 40 Minutes FRIDAY - THURSDAY 12:20 pm 02:35 pm 04:50 pm 07:05 pm 09:20 pm Rachel McAdams, Jason Bateman, Kyle Chandler, Jesse Plemons, Jeffrey Wright, Billy Magnussen --------------------------------------------------------------------------------------------------------------------------------------------------------------- EVERY DAY PG13 1 Hours 35 Minutes FRIDAY - THURSDAY 12:50 pm 03:00 pm 05:10
    [Show full text]
  • Il Report Del Week Report Del Weekend
    IL REPORT DEL WEEKEND (26-29/04) Numeri e confronti dal box office nazionale ed estero FOCUS: IL BOX OFFICE IN EUROPA – marzo e il primo trimestre 2018 Nel mese di marzo del 2018 al box office in Italia si sono incassati 49.6mln di € per un numero di presenze pari a circa 7.8mln di biglietti venduti. Come già analizzato in precedenza si tratta di una diminuzione del 12,43% degli incassi e di un calo del 17,83% delle presenze rispetto allo stesso mese del 2017. Importante la quota della produzione italiana al box office che ha corrisposto (incluse le co-produzioni) il 25,62% del box office mensile per un incasso di 12.7mln di €. Nel 2017 la nostra cinematografia ottenne invece il 17,80% degli incassi per un box office di 10.1mln. ITALIA - MARZO 2018 # Titolo Nazione Distributore Data Uscita GBO ADM 1 LA FORMA DELL'ACQUA - THE SHAPE OF WATER USA Fox 14/02/2018 € 4.495.499 701.158 2 RED SPARROW GBR Fox 01/03/2018 € 3.303.382 497.767 3 TOMB RAIDER USA Warner 15/03/2018 € 2.998.269 451.110 4 METTI LA NONNA IN FREEZER ITA 01 Distribution 15/03/2018 € 2.846.293 450.595 5 IL FILO NASCOSTO USA Universal 22/02/2018 € 2.323.263 367.616 6 PUOI BACIARE LO SPOSO ITA Medusa 01/03/2018 € 2.304.529 362.209 7 A CASA TUTTI BENE ITA 01 Distribution 14/02/2018 € 2.071.568 323.618 8 IL SOLE A MEZZANOTTE - MIDNIGHT SUN USA Eagle Pictures 22/03/2018 € 2.061.703 313.666 9 BLACK PANTHER USA Walt Disney 14/02/2018 € 1.880.485 281.399 10 PACIFIC RIM: LA RIVOLTA USA Universal 22/03/2018 € 1.787.032 265.442 GBO ADM mar-18 49.685.504 7.810.391 mar-17 56.737.460 9.504.913 diff.
    [Show full text]
  • The Surprise Drop: the Cloverfield Paradox, Unreal, and Evolving Patterns in Streaming Media Distribution and Reception
    . Volume 16, Issue 2 November 2019 The Surprise Drop: The Cloverfield Paradox, UnREAL, and evolving patterns in streaming media distribution and reception Cory Barker, Bradley University, USA Abstract: This article examines the surprise release, a recent phenomenon where albums, films, and TV series are distributed to digital retailers and streaming platforms without notice. This approach to distribution arises out of the modern media ecosystem, where niche consumer groups access vast content libraries on personalized devices. Surprise ‘drops’ aim to redefine the ephemerality of media objects and shift consumers’ shortened attention spans into temporary moments of interest. Utilizing a cross-industry comparison between early surprise releases in music (namely from Beyoncé and U2) and more recent examples in film (Netflix’s The Cloverfield Paradox) and television (Hulu’s UnREAL season four), this article explores how media conglomerates exploit the technical process of digital distribution for discursive and cultural value. Critical analysis of promotional materials (trailers, interviews, and social media ephemera) reveals how surprise releases make distribution the centerpiece of multi-platform publicity campaigns that aim to leverage fan conversation into clicks, streams, and downloads. More than typical releases, surprise drops are framed as gifts, or ways for artists to give back to passionate fans. The contrast between industries also highlights how the function of surprise releases has evolved from artists’ expression of influence in music to an effort to redefine troubled projects in film and television. Keywords: Digital Distribution; Streaming Video; Marketing and Promotion; Gift Economy; Affective Cycles; Netflix; Hulu; Ephemeral Media; Surprise Releases The first trailer for The Cloverfield Paradox (2018), the third instalment in the J.J.
    [Show full text]
  • Lawsuit and Retracts Comments About Refugees in Twin Falls, Idaho, L.A
    UNITED STATES DISTRICT COURT FOR THE WESTERN DISTRICT OF VIRGINIA Charlottesville Division _______________________________________ ) BRENNAN M. GILMORE, ) ) Plaintiff ) Case No. ______________ ) v. ) ) ALEXANDER (“ALEX”) E. JONES; ) INFOWARS, LLC, a Texas Limited Liability ) JURY TRIAL DEMANDED Company; FREE SPEECH SYSTEMS, LLC, a ) Texas Limited Liability Company; LEE ) STRANAHAN; LEE ANN MCADOO A/K/A ) LEE ANN FLEISSNER; ) SCOTT CREIGHTON; JAMES (“JIM”) ) HOFT; ALLEN B. WEST; and DERRICK ) WILBURN, ) ) Defendants. ) __________________________________________) COMPLAINT NOW COMES Plaintiff Brennan Gilmore, by and through undersigned counsel, and alleges upon knowledge and belief as follows: I. INTRODUCTION Brennan Gilmore works to provide jobs and training in rural areas, participates in local politics, and plays music around the Commonwealth of Virginia. As a Foreign Service Officer, Mr. Gilmore has devoted his career to promoting United States interests and to protecting American citizens through diplomatic efforts abroad. On August 12, 2017, Mr. Gilmore witnessed firsthand James Alex Fields Jr., a neo-Nazi, deliberately drive his Dodge Challenger into a crowd of peaceful protesters, killing Heather Heyer and injuring many others. Mr. Gilmore, who had been filming the protesters as they moved up the street, happened to catch Fields’ attack on video. Mr. 1 Gilmore posted the video on Twitter, where it attracted the attention of the press. After discussing what he had witnessed that day with a number of reporters, Mr. Gilmore soon became the target of right-wing conspiracy theories. Supporters of the alt-right and the “Unite the Right rally,” including the defendants, created a new identity for Mr. Gilmore—the organizer and orchestrator of Fields’ attack and a traitor to the United States.
    [Show full text]
  • Mary Magdalene
    APRIL 2018 MARY MAGDALENE “possibly Britain’s most beautiful cinema..” (BBC) Britain’s Best Cinema – Guardian Film Awards APRIL 2018 • ISSUE 157 www.therexberkhamsted.com 01442 877759 Mon-Sat 10.30-6.30pm Sun 4.30-5.30pm BEST IN APRIL CONTENTS Films At A Glance 16-17 Rants & Pants 26-27 BOX OFFICE: 01442 877759 Mon to Sat 10.30-6.30 Sun 4.30-5.30 All The President’s Men A fantastic thriller from desk to typewriter to phone… Cinematic tension is created from nothing. Ahead of its time. See page 19 SEAT PRICES Circle £9.50 FILMS OF THE MONTH Concessions/ABL £8.00 Back Row £8.00 Table £11.50 Concessions/ABL £10.00 Royal Box Seat (Seats 6) £13.00 Whole Royal Box £73.00 Matinees - Upstairs £5, Downstairs £6.50, Royal Box £10 Disabled and flat access: through Three Billboards Sweet Country the gate on High Street (right of The end of it’s delicious run for a ..Is, of course, anything but, and apartments) while. Don’t miss one last nothing of the kind. A gripping tale chance before Mildred takes of slavery, injustice and dignity, the summer off. told with passion and nerve. Director: James Hannaway See page 11 See page 22 01442 877999 Advertising: Chloe Butler 01442 877999 Artwork: Demiurge Design 01296 668739 The Rex High Street (Three Close Lane) Berkhamsted, Herts HP4 2FG www.therexberkhamsted.com You Were Never Here Peter Rabbit EXCLUSIVE REX OFFER A tough tale well told. It’s brutality A non-Beatrix Potter take on the “ Unhesitatingly The Rex is only matched by its beauty.
    [Show full text]
  • The Russian Woman As Sexual Subject
    THE RUSSIAN WOMAN AS SEXUAL SUBJECT: EVOLVING IMAGES IN U.S. TELEVISION AND FILM, 2012-2016 by AUDREY JANE BLACK A THESIS Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2016 THESIS APPROVAL PAGE Student: Audrey Jane Black Title: The Russian Woman as Sexual Subject: Evolving Images in U.S. Television and Film, 2012-2016 This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Journalism and Communication by: Gretchen Soderlund Chairperson Chris Chávez Member Katya Hokanson Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2016 ii © 2016 Audrey Jane Black iii THESIS ABSTRACT Audrey Jane Black Master of Arts School of Journalism and Communication June 2016 Title: The Russian Woman as Sexual Subject: Evolving Images in U.S. Television and Film, 2012-2016 In American entertainment media Russian women overwhelmingly appear in sexualized contexts. For the past 25 years, since the Soviet Union was dissolved, there has been a consistent drive to represent on only a handful of narrative categories. These can be reduced essentially to sex trafficking, mail-order brides, and sexual espionage. Despite this limited repertoire, over the past five years there has been significant variation in approaches taken to those categories. This study offers a surveyed textual analysis of how the construction of the Russian woman as sexual subject has evolved to meet new understandings and imperatives.
    [Show full text]
  • Dr. Ed's Movie Reviews 2018
    Dr. Ed’s Movie Reviews 2018 Yardeni Research, Inc. Dr. Edward Yardeni 516-972-7683 [email protected] Please visit our sites at www.yardeni.com blog.yardeni.com thinking outside the box “A Quiet Place” (- -) is a very odd film combining aspects of a sci-fi thriller and a horror movie. It is neither thrilling nor horrifying. Aliens invade our planet and devour any human that makes a noise. They have a great sense of hearing, but are blind as bats. It would be great if every movie theater had one of these aliens to terminate anyone talking during the movie. “A Simple Favor” (+ + +) is a really clever and entertaining movie. Stephanie is a widowed, single mum who runs a mommy vlog. She seeks to uncover the truth behind the disappearance of her best friend. Anna Kendrick plays the part as a quirky nerd with lots of bravado and comic energy. “A Star Is Born” (+ +) is a remake of the 1954 classic with Judy Garland and the 1976 remake with Barbara Streisand. It stars Lady Gaga and Bradley Cooper, who also directed the film. The movie is a bit slow at times, but Lady Gaga really is an amazing singer, and also a very good actress in her first movie role. Cooper is convincing as a self-destructive rock star heading toward oblivion. Coincidentally, FRBNY President John Williams recently suggested that the star quality of the neutral rate of interest, or r- star, is fading: “[A]t times r-star has actually gotten too much attention in commentary about Fed policy.
    [Show full text]
  • P30-32 Layout 1
    30 Established 1961 Tuesday, March 13, 2018 Lifestyle Features Lights, camera, action! Young Zimbabweans ditch drugs for performing arts immy Gata,19, recites an anti-drugs poem at the Zimbabwe Civil Liberties and Drug Network. “Theatre in the Park” in Zimbabwe’s capital Established seven years ago, the national network JHarare, jumping and gesturing on the stage, as advocates for strategies to address problems spectators clap and cheer on the former addict. linked to drug use in Zimbabwe and across Before finding his passion for the spoken word, Southern Africa. Gata regularly took BronCleer, a cough syrup often smuggled in from South Africa that contains Community care codeine, a painkiller similar to morphine. If enough A pioneer of the idea of using theatre to tackle is drunk, it also intoxicates like alcohol. “Since drug problems, Ernest Nyatanga, founder and Ngoma Yorira Theatre Association took me in to president of the Ngoma Yorira Theatre Association, learn about film-making and acting and poetry, I said his organization pays former addicts for their have had no time for (BronCleer),” said Gata, a acting. “Rewarding former drug users for their per- trained motor mechanic. There are no accurate fig- formances in theatre helps to motivate them and ures on the number of drug users in Zimbabwe. The cultivate in them a desire to work for themselves,” Ministry of Health and Child Care says about 3,000 he told Thomson Reuters Foundation. Recently the people nationwide are suffering mental illness association shot films highlighting social and eco- directly related to drug abuse. nomic issues facing the country, such as “The For 19-year-old Innocent Ndaramashe, an Delinquent” which depicts a misled young man who emerging R&B and hip-hop music star who was Former drug addict Innocent Ndaramashe, now an takes drugs while in school.
    [Show full text]
  • Dancer, Spy and Monster in Recent Cold War Nostalgia Films
    Towards A Bodily Analysis of Postmodern Nostalgia: Dancer, Spy and Monster in Recent Cold War Nostalgia Films Kaixuan Yao (6488838) RMA Comparative Literary Studies October 2020 Thesis Supervisor: dr. Kári Driscoll Second Reader: dr. Birgit M. Kaiser 36124 words Abstract This thesis reads the recent Cold War nostalgia films and explores both the historicizing potential of nostalgia films and how they contribute to the memory studies of the Cold War. The end of the Cold War, though ironically proclaimed as ‘the end of history,’ makes it necessary to ask the philosophical question about our place in history as we have since entered into an increasingly complex social-political landscape. The emergent political discourse of Cold War nostalgia signals the difficulty of making sense of history in the current era. Given this historical background, we cannot ignore the simultaneity of the rise of nostalgic political discourse and the flourishing ‘nostalgia’ of the Cold War in the Hollywood mass cultural productions. But we also notice that these films are not truly nostalgic on a political-ideological level, but on an audio-visual one. In other words, as cinematic remediations, they are interested in and play with the way cultural memories of the Cold War were mediated. Paying careful attention to the rift between the cinematic form and the political discourse of Cold War nostalgia, this thesis reads the selected films and explore new ways of historicizing the Cold War by firstly clarifying the questions with regard to the relationship between cinematic nostalgia and history. The selected films heavily feature the cultural figures of dancer, spy and monster, pointing not only to the common memory of the Cold War but also to shared terms of historicizing strategies.
    [Show full text]