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Autor/Director Título 51 O Bufón De El Rey DVD 52 Cándido Pazo DVD 53
Hoja1 Número Tipo de Autor/Director Título Observacións Rexistro material 51 Manuel Guede Oliva O Bufón de El Rey DVD 52 Cándido Pazo Nau de amores DVD 53 Antón Reixa El lápiz del carpintero DVD Maiores de 13 anos 54 Autores Varios Lorenzo Varela, un poeta … DVD 55 Autores Varios Manuel Lugrís Freire DVD 56 José Luis Cuerda A lingua das bolboretas DVD 57 José Luis Cuerda La lengua de las mariposas DVD 58 Mareas vivas DVD 59 Chano Piñeiro Sempre Xonxa DVD 60 Ángel de la Cruz/M. Gómez El bosque animado DVD 61 Orson Welles Ciudadano Kane DVD 62 Autores Varios Animales al límite 1: temperatura extrema DVD 64 Keüchi Hara Shinchan- En busca de las bolas perdidas DVD 65 Xoán Cejudo A burla do galo DVD 88 Jorge Coira Entre bateas DVD Maiores de 18 anos 89 Autores Varios As leis de Celavella DVD 90 Keith Goudier Astérix, el golpe de menhir DVD 91 Marcos Nine Pensando en Soledad DVD 92 Gerardo Herrero Heroína DVD Maiores de 13 anos 93 Adolfo Aristarain Martín Hache DVD Maiores de 18 anos 94 Iciar Bollain Te doy mis ojos DVD 95 Alejandro Amenábar Mar adentro DVD 96 Fernando Colomo Al sur de Granada DVD 97 Fabián Bielinsky Nueve reinas DVD 98 Enrique Urbizu La caja 507 DVD 99 Juan José Campanella El hijo de la novia DVD Página 1 Hoja1 100 Alfonso Cuarón Y tu mamá también DVD 101 Javier Fesser La gran aventura de Mortadelo y Filemón DVD 102 Adolfo Aristarain Un lugar en el mundo DVD 103 Alex de la Iglesia Crimen ferpecto DVD Maiores de 18 anos 104 Guillermo del Toro El espinazo del diablo DVD Maiores de 13 anos 105 Juan José Campanella Luna de Avellaneda DVD 106 Montxo Armendáriz Historias del Kronen DVD Maiores de 18 anos 107 Alejandro González Iñárritu Amores perros DVD Maiores de 18 anos 108 Fernando Fernán Gómez El viaje a ninguna parte DVD 109 Adolfo Aristarain Roma DVD Maiores de 13 anos 110 Eduard Cortés La vida de nadie DVD Maiores de 13 anos 111 Tomás Gutierrez Alea/Juan C. -
Brian Baker “Here on the Outside”: Mobility and Bio-Politics in Michael
MOBILITY AND BIO-POLITICS IN CODE 46 115 Brian Baker “Here on the Outside”: Mobility and Bio-politics in Michael Winterbottom’s Code 46 This article takes as its focus the representation of mobility and bio-politics in contemporary sf cinema. Globalized networks of mobility in late capitalism have been haunted by the figure of the globally mobile terrorist and by the possibility of global pandemics such as the SARS epidemic of 2002-03 or the H1N1 swine flu panic of 2009 which resulted in the UK government stockpiling anti-viral drugs in case of the spread of a “killer virus.” In an increasingly mobilized world, anxieties about movement of people, transmission of data and disease, and terrorism produce systems for policing and regulating mobility. These anxieties are articulated in contemporary spy thrillers, zombie films, and outbreak or transmission narratives.1 In what follows, Michael Winterbottom’s Code 46 (2003) serves as a diagnostic text for the analysis of figurations of globalized mobility and bio-politics, and this article uses the work of Giorgio Agamben, Michel Foucault, and Hannah Arendt to investigate Code 46’s mapping of exclusion and inclusion, of the refugee and the citizen, within regulatory systems for the control of mobility in a near-future, post-catastrophic world of globalized capital. Code 46 begins with shots of the desert, of roads, and of dispersed settlements taken from a low-flying airplane. These vertical shots (desert analogues of the vertical shots of Manhattan or other North American cities that are a staple of contemporary crime film and television) render landscape as geometry, not as lived space from a human perspective (using perspective) but from an impersonal, “God’s eye” point of view. -
Spirited Away Picture Book Free Ebook
FREESPIRITED AWAY PICTURE BOOK EBOOK Hayao Miyazaki | 170 pages | 01 Sep 2008 | Viz Media, Subs. of Shogakukan Inc | 9781569317969 | English | San Francisco, United States VIZ | See Spirited Away Picture Book Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. This illustrated book tells the story of the animated feature film Spirited Away. Driving to their new home, Mom, Dad, and their daughter Chihiro take a wrong turn. In a strange abandoned amusement park, while Chihiro wanders away, her parents Spirited Away Picture Book into pigs. She must then find her way in a world inhabited by ghosts, demons, and strange gods. Get A Copy. Hardcoverpages. More Details Original Title. Other Editions 1. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Spirited Away Spirited Away Picture Book Bookplease sign up. Be the first to ask a question about Spirited Away Picture Book. Lists with This Book. Community Reviews. Showing Average rating 4. Rating details. Sort order. Start your review of Spirited Away Picture Book. I bought this picture book a long time ago. I was looking for some in depth books or manga on my favorite movie of all time, Spirited Away by Hayao Miyazaki. I will be adding several gifs of the movie toward the end but they are in no kind of order. -
Statistical Yearbook 2019
STATISTICAL YEARBOOK 2019 Welcome to the 2019 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2018. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s-length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience development, and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 Contents Film at the cinema -
The Face of an Angel Synopsis
THE FACE OF AN ANGEL SYNOPSIS The brutal murder of a Bri1sh student in Tuscany leads to the trial and convic1on of her American flatmate and Italian boyfriend in controversial circumstances. The media feeding frenzy around the case aracts once successful, but now struggling filmmaker Thomas, to be commissioned to write a film - 'The Face of an Angel', based on a book by Simone Ford an American journalist who covered the case. From Rome they head to Siena to research the film. Thomas has recently separated from his wife in a bi=er divorce and leI his 9-year-old daughter in Los Angeles. This unravelling of his own life, and the dark mediaeval atmosphere surrounding the case, begins to drag him down into his own personal hell. Like Dante journeying through the Inferno in the Divine Comedy, with Simone as his guide to the tragedy of the murder, Thomas starts a relaonship with a student Melanie. This is a beau1ful, unrequited love, where she acts as a guide to his own heart. He comes to realise the most important thing in his life is not solving an unsolvable crime, or wri1ng the film, but returning to the daughter he has leI behind. | THE FACE OF AN ANGEL | 1 SHEET | 15.10.2013 | 1!5 THE FACE OF AN ANGEL CAST DANIEL BRÜHL KATE BECKINSALE In 2003 Daniel Brühl took the leading role in the box office smash Good English actress Kate Beckinsale is revealing herself to be one of films’ Bye Lenin!, which became one of Germany’s biggest box office hits of all most versale and charismac actresses. -
Network Review #37 Cannes 2021
Network Review #37 Cannes 2021 Statistical Yearbook 2020 Cinema Reopening in Europe Europa Cinemas Network Review President: Nico Simon. General Director: Claude-Eric Poiroux Head of International Relations—Network Review. Editor: Fatima Djoumer [email protected]. Press: Charles McDonald [email protected]. Deputy Editors: Nicolas Edmery, Sonia Ragone. Contributors to this Issue: Pavel Sladky, Melanie Goodfellow, Birgit Heidsiek, Ste- fano Radice, Gunnar Rehlin, Anna Tatarska, Elisabet Cabeza, Kaleem Aftab, Jesus Silva Vilas. English Proofreader: Tara Judah. Translation: Cinescript. Graphic Design: Change is good, Paris. Print: Intelligence Publishing. Cover: Bergman Island by Mia Hansen-Løve © DR CG Cinéma-Les Films du Losange. Founded in 1992, Europa Cinemas is the first international film theatre network for the circulation of European films. Europa Cinemas 54 rue Beaubourg 75003 Paris, France T + 33 1 42 71 53 70 [email protected] The French version of the Network Review is available online at https://www.europa-cinemas.org/publications 2 Contents 4 Editorial by Claude-Eric Poiroux 6 Interview with Lucia Recalde 8 2020: Films, Facts & Figures 10 Top 50 30 European movies by admissions Czech Republic in the Europa Cinemas Network Czech exhibitors try to keep positive attitude while cinemas reopen 12 Country Focus 2020 32 France 30 French Resistance Cinema Reopening in Europe 34 46 Germany The 27 Times Cinema initiative Cinema is going to have a triumphant return and the LUX Audience Award 36 Italy Reopening -
The Killer Inside Me
THE KILLER INSIDE ME Un film de Michael Winterbottom Avec Casey Affleck, Kate Hudson, Jessica Alba, Simon Baker et Bill Pullman Durée: 120 minutes Sortie: le 01 septembre 2010 Téléchargez des photos: www.frenetic.ch/presse RELATIONS PRESSE DISTRIBUTION Eric Bouzigon FRENETIC FILMS AG prochaine ag Bachstrasse 9 • 8038 Zürich Tél. 079 320 63 82 Tél. 044 488 44 00 • Fax 044 488 44 11 [email protected] [email protected] • www.frenetic.ch SYNOPSIS Based on the novel by legendary pulp writer Jim Thompson, Michael Winterbottom’s THE KILLER INSIDE ME tells the story of handsome, charming, unassuming small town sheriff’s deputy Lou Ford. Lou has a bunch of problems. Woman problems. Law enforcement problems. An ever-growing pile of murder victims in his west Texas jurisdiction. And the fact he’s a sadist, a psychopath, a killer. Suspicion begins to fall on Lou, and it’s only a matter of time before he runs out of alibis. But in Thompson’s savage, bleak, blacker than noir universe nothing is ever what it seems, and it turns out that the investigators pursuing him might have a secret of their own. CAST Lou Ford.........................................................................................................................................CASEY AFFLECK Joyce Lakeland ..................................................................................................................................JESSICA ALBA Amy Stanton..................................................................................................................................... -
Adding Value Report Vol.1
ADDING VALUE a report by Northern Ireland Screen NORTHERN BOOSTING CELEBRATING ENHANCING CONTENTS THE THE THE IRELAND OUR OUR OUR CHILDREN'S ECONOMIC CULTURAL EDUCATIONAL SCREEN ECONOMY CULTURE EDUCATION VALUE VALUE VALUE 08 Large-scale Production 44 Writers 84 Creative Learning Centres 18 Independent Film 46 Short Film 90 Moving Image Arts (MIA) 22 Animation 48 ILBF / CCG 92 After School FilmClub 26 Factual / Entertainment 56 USBF 30 Television Drama 64 Film Culture 34 Gaming and Mobile 74 Heritage and Archive 38 Skills Development 78 Awards 04 05 INTROduCTION As the government-backed lead Of course certain activity intersects In a similar vein, the work of the agency in Northern Ireland for the film, more than one area and the inter- Education Department, with regard to television and digital content industry, connectivity of the agency’s work will its intervention through FilmClub, has Northern Ireland Screen is committed become apparent. For example, the value in both education and culture; as to maximising the economic, cultural development and production funding for children learn through film in a pure and educational value of the screen indigenous projects made in Northern educational sense as well as gain a wider industries for the benefit of Northern Ireland by Northern Ireland film-makers appreciation of film culture and of the Ireland. This goal is pursued through our and shown at a Northern Ireland festival, culture of Northern Ireland through mission to accelerate the development will have value in all areas. An obvious watching content-relevant films. of a dynamic and sustainable screen case in point is the feature film Good industry and culture in Northern Ireland. -
The Local and the Global in Anthony Minghella's Breaking and Entering
CULTURA , LENGUAJE Y REPRESENTACIÓN / CULTURE , LANGUAGE AND REPRESENTATION ˙ ISSN 1697-7750 · VOL . XI \ 2013, pp. 111-124 REVISTA DE ESTUDIOS CULTURALES DE LA UNIVERSITAT JAUME I / CULTURAL STUDIES JOURNAL OF UNIVERSITAT JAUME I DOI : HTTP ://DX .DOI .ORG /10.6035/CLR .2013.11.7 Cosmopolitan (Dis)encounters: The Local and the Global in Anthony Minghella’s Breaking and Entering and Rachid Bouchareb’s London River CAROLINA SÁNCHEZ - PALENCIA UNIVERSIDAD DE SEVILLA AB STRA C T : Through the postcolonial reading of Breaking and Entering (Anthony Minghella, 2006) and London River (Rachid Bouchareb, 2009), I mean to analyse the multiethnic urban geography of London as the site where the legacies of Empire are confronted on its home ground. In the tradition of filmmakers like Stephen Frears, Ken Loach, Michael Winterbottom or Mike Leigh, who have faithfully documented the city’s transformation from an imperial capital to a global cosmopolis, Minghella and Bouchareb demonstrate how the dream of a white, pure, uncontaminated city is presently «out of focus», while simultaneously confirming that colonialism persists under different forms. In both films the city’s imperial icons are visually deconstructed and resignified by those on whom the metropolitan meanings were traditionally imposed and now reclaim their legitimate space in the new hybrid and polyglot London. Nevertheless, despite the overwhelming presence of the multicultural rhetoric in contemporary visual culture, their focus is not on the carnival of transcultural consumption where questions of class, power and authority conveniently seem to disappear, but on the troubled lives of its agents, who experience the materially local urban reality as inevitably conditioned by the global forces –international war on terror, media coverage, black market, immigration mafias, corporate business– that transcend the local. -
Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context.