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More Movies to See
More movies to see: Audience polls Casablanca (1942) was voted the greatest film by readers of the Los Angeles Daily News in 1997.[9] It is also regarded the "best Hollywood movie of all time" by the influential Leonard Maltin's Movie Guide.[10] On April 7, 2006, the Writers' Guild of America declared Casablanca's screenplay the best ever written.[11] Gone with the Wind (1939) was voted the favorite film of Americans in a poll undertaken by Harris Interactive in 2008, and again in a follow-up poll in 2014. In both instances Star Wars was ranked in second place.[12][13] Gone with the Wind was also picked as the best film for Best in Film: The Greatest Movies of Our Time.[14] Himala (Miracle) (1982) by Ishmael Bernal won the 2008 CNN Asia Pacific Screen Awards Viewers Choice as "Best Asia-Pacific Film of All Time" (voted for by thousands of film fans around the world).[15][16][17][18] Raise the Red Lantern (1991) was voted the best Asian film in another audience poll conducted by MovieMail in 2000. It was followed by The Apu Trilogy (1955–1959) at second place.[19] Schindler's List (1993) was voted the best film ever made by the German film magazine Cinema.[20] Seven Samurai (1954) was voted #1 in an audience poll conducted by MovieMail in 2000. It was followed by The Third Man (1949) in second place.[19] Star Wars (1977) and its sequel The Empire Strikes Back (1980) were chosen as the greatest films by readers of Empire magazine in November 2001 and by voters in a Channel 4 (Film4) poll.[21] Star Wars is also the highest ranking sci-fi film in both versions of the American Film Institute's list of the 100 greatest movies of all time (ranked #15 in the original list, and #13 in the updated list). -
News Release. Vanguard Programme Seduces
August 9, 2016 .NEWS RELEASE. VANGUARD PROGRAMME SEDUCES AUDIENCES WITH DANGEROUSLY DARK AND SOPHISTICATED CINEMA New films from Ana Lily Amirpour, Fabrice Du Welz and Nacho Vigalondo TORONTO — The Toronto International Film Festival® announced today its Vanguard programme featuring dark and edgy films that twist genre and art house conventions together in a new way. Vanguard is generously sponsored by AXE. “At the Festival, everyone has the opportunity to indulge their different cinematic tastes. In the Vanguard lineup, art house and genre collide to surprise, delight and shock, with films that are a bit darker, a bit more transgressive and a bit more dangerous,” said Colin Geddes, International Programmer for the Festival. “Genre tropes and standards are taken to new levels and the settings of revenge tales, ghosts, aliens and dystopian futures serve as backdrops for stories of the human condition and complex moral decisions.” The 2016 selection includes Nacho Vigalondo’s twist on the Kaiju genre, Colossal; the first animated feature film from graphic novelist and animator Dash Shaw, My Entire High School Sinking Into the Sea; Fabrice Du Welz’s thrilling Message from the King; Sarah Adina Smith’s Buster's Mal Heart starring Rami Malek in his first leading role in a feature film; and The Bad Batch, the second feature from Ana Lily Amirpour starring Keanu Reeves, Jim Carrey and Giovanni Ribisi. The 41st Toronto International Film Festival runs from September 8 to 18, 2016. Films screening as part of the Vanguard programme include: The Bad Batch Ana Lily Amirpour, USA North American Premiere A savage dystopian cannibal fairy tale set in a Texas wasteland where society's rejects are just trying to make ends meat. -
(Literary) Special Effect: (Inter)Mediality in the Contemporary US-American Novel and the Digital Age
The (Literary) Special Effect: (Inter)Mediality in the Contemporary US-American Novel and the Digital Age Dissertation zur Erlangung des philosophischen Doktorgrades an der Philosophischen Fakultät der Georg-August-Universität Göttingen vorgelegt von Bogna Kazur aus Lodz, Polen Göttingen 2018 Contents 1 Introduction ......................................................................................................................... 3 2 The Question of Medium Specificity in the Digital Age .................................................. 29 3 House of Leaves (2000) and the Uncanny Dawn of the Digital........................................ 39 3.1 Digital Paranoia: Arriving on Ash Tree Lane ........................................................... 39 3.2 Writing about House of Leaves ................................................................................. 43 3.3 Intermedial Overabundance: Taming House of Leaves ............................................. 49 3.4 An “Explicit” Approach to the Digital Age ............................................................... 54 3.5 What Kind of Movie is THE NAVIDSON RECORD? ..................................................... 68 4 In the Midst of the Post-Cinematic Age: Marisha Pessl’s Night Film (2013) .................. 88 4.1 Meant for Adaptation: Night Film and the Fallacy of First Impressions ................... 88 4.2 The Post-Cinematic Reception of Film ..................................................................... 96 4.3 The Last Enigma: Cordova’s Underworld .............................................................. -
NEW BLOOD in CONTEMPORARY CINEMA W OMEN DIRECTORS and the POETICS of HORROR New Blood in Contemporary Cinema
PATRICIA PISTERS NEW BLOOD IN CONTEMPORARY CINEMA W OMEN DIRECTORS AND THE POETICS OF HORROR New Blood in Contemporary Cinema New Blood in Contemporary Cinema Women Directors and the Poetics of Horror Patricia Pisters 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 © Patricia Pisters, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road, 12(2f) Jackson’s Entry, Edinburgh EH8 8PJ Typeset in Monotype Ehrhardt 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 6695 0 (hardback) ISBN 978 1 4744 6697 4 (webready PDF) ISBN 978 1 4744 6698 1 (epub) The right of Patricia Pisters to be identified as the 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). Contents List of Figures vii Acknowledgements viii Introduction: Virginia’s Unruly Daughters and Carrie’s Crimson Sisters 1 Red Flags on the Red Carpet 1 The Bloody Difference: Virginia Woolf’s Unruly Daughters 5 Cinematic Poetics of Horror, Metaphors and Relations: A Note on Theory 11 Following a Trail of Blood: Carrie’s Crimson Sisters 16 Drop by Drop: Chapter Overview 18 1. -
101 Films for Filmmakers
101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers. -
2020 DISNEY ENTERPRISES, INC. CAST Stargirl Caraway
© 2020 DISNEY ENTERPRISES, INC. CAST Stargirl Caraway . GRACE VANDERWAAL Leo Borlock . GRAHAM VERCHERE DISNEY Archie . .GIANCARLO ESPOSITO presents Mr. Robineau . MAXIMILANO HERNANDEZ Kevin Singh . KARAN BRAR A Tess Reed . .ANNACHESKA BROWN GOTHAM GROUP Benny Burrito . COLLIN BLACKFORD Production Dori Dilson . ALLISON WENTWORTH Alan Ferko . JULIOCESAR CHAVEZ In Association with Mallory Franklin . ARTEMIS HAHNSCAPE ENTERTAINMENT Summer . JULIA FLORES Kim . GABRIELLA SURODJAWAN Hillary Kimble . .SHELBY SIMMONS Wayne Parnell. JOHN APOLINAR Zack James . .ALEX JAMES Gloria Borlock . .DARBY STANCHFIELD Leo Age 8 . ENZO CHARLES DE ANGELIS Cool Girl . CAYMAN GUAY Ana Caraway . .SARA ARRINGTON Principal Sutters . LUCINDA MARKER Band Leader . HANNAH KAUFFMANN Big Kid #1 . GAVIN WILLIAM WHITE Big Kid #2 . SEAN DENNIS Big Kid #3 . .DAVID TRUJILLO Ron Kovak . .TROY BROOKINS Mud Frog Fan . RYAN BEGAY Leo’s Dad . DAMIAN O’HARE Emcee . AUDRA CHARITY Kevin Age 8 . ATHARVA VERMA Teacher . JIMMY E. JONES Young Male Teacher . .ORION C. CARRINGTON Directed by . JULIA HART EMT . THOMAS SONS Screenplay by . KRISTIN HAHN Athletic Trainer . .ERIC ARCHULETA and JULIA HART WINTER DANCE BAND & JORDAN HOROWITZ Keyboard Player . REBECCA ANN ARSCOTT Based on the Novel by . .JERRY SPINELLI Lead Singer/Guitar . HERVE GASPARD Produced by . ELLEN GOLDSMITH-VEIN, p.g.a. Drummer . PAUL PALMER III LEE STOLLMAN, p.g.a. Bass . ARTHA MEADORS KRISTIN HAHN, p.g.a. Mudfrogs Marching Band Executive Producers . .JORDAN HOROWITZ ARMANDO ARELLANO VICTOR ARMIJO JIM POWERS ANDREW BLAIR VINCENT CONTE JERRY SPINELLI GISELLE CRUZ OSCAR GAMBOA EDDIE GAMARRA EDGAR HERNANDEZ GABE HICKS CATHERINE HARDWICKE CHRIS KINGSWADD SHANNON LATHAM JONATHAN LEVIN JULIO QUIROZ LOPEZ SPENSER LOTZ Director of Photography . BRYCE FORTNER GUS PEDROTTY ISIAH ROJAS Production Designer . -
1144 05/16 Issue One Thousand One Hundred Forty-Four Thursday, May Sixteen, Mmxix
#1144 05/16 issue one thousand one hundred forty-four thursday, may sixteen, mmxix “9-1-1: LONE STAR” Series / FOX TWENTIETH CENTURY FOX TELEVISION 10201 W. Pico Blvd, Bldg. 1, Los Angeles, CA 90064 [email protected] PHONE: 310-969-5511 FAX: 310-969-4886 STATUS: Summer 2019 PRODUCER: Ryan Murphy - Brad Falchuk - Tim Minear CAST: Rob Lowe RYAN MURPHY PRODUCTIONS 10201 W. Pico Blvd., Bldg. 12, The Loft, Los Angeles, CA 90035 310-369-3970 Follows a sophisticated New York cop (Lowe) who, along with his son, re-locates to Austin, and must try to balance saving those who are at their most vulnerable with solving the problems in his own life. “355” Feature Film 05-09-19 ê GENRE FILMS 10201 West Pico Boulevard Building 49, Los Angeles, CA 90035 PHONE: 310-369-2842 STATUS: July 8 LOCATION: Paris - London - Morocco PRODUCER: Kelly Carmichael WRITER: Theresa Rebeck DIRECTOR: Simon Kinberg LP: Richard Hewitt PM: Jennifer Wynne DP: Roger Deakins CAST: Jessica Chastain - Penelope Cruz - Lupita Nyong’o - Fan Bingbing - Sebastian Stan - Edgar Ramirez FRECKLE FILMS 205 West 57th St., New York, NY 10019 646-830-3365 [email protected] FILMNATION ENTERTAINMENT 150 W. 22nd Street, Suite 1025, New York, NY 10011 917-484-8900 [email protected] GOLDEN TITLE 29 Austin Road, 11/F, Tsim Sha Tsui, Kowloon, Hong Kong, China UNIVERSAL PICTURES 100 Universal City Plaza Universal City, CA 91608 818-777-1000 A large-scale espionage film about international agents in a grounded, edgy action thriller. The film involves these top agents from organizations around the world uniting to stop a global organization from acquiring a weapon that could plunge an already unstable world into total chaos. -
Filmen Der Iranischen Diaspora Zu Sehen, Zugleich Grenzen Sie Sich Gegen Diese Aber Durch Individuelle Und Innova- Tive Ästhetische Verfahren Ab
Neue Perspektiven der Medienästhetik Alena Strohmaier Medienraum Diaspora Verortungen zeitgenössischer iranischer Diasporafilme Neue Perspektiven der Medienästhetik Reihe herausgegeben von I. Ritzer, Bayreuth, Deutschland Die Reihe „Neue Perspektiven der Medienästhetik“ versteht sich als Brücken- schlag zwischen Ansätzen von Medientheorie und ästhetischer Theorie. Damit sollen ästhetische Qualitäten weder als determinierende Eigenschaften einer tech- nologisch-apparativen Medialität noch als Effekt dieses medialen Apriori begriffen sein. Stattdessen werden sowohl die Relevanz des Technologisch-Apparativen als auch die im Rahmen der apriorischen Konstellation sich entfaltende Potentialität an ästhetischen Verfahren ernst genommen. Die Frage nach medienästhetischen Qualitäten bedeutet demnach, die einem Medium zur Verfügung stehenden ästhe- tischen Optionen zu spezifzieren, um ihrer Rolle bei der Konstitution des jeweili- gen medialen Ausdrucks nachzuspüren. Dabei projektiert die Reihe insbesondere, entweder bislang vernachlässigte Medienphänomene oder bekannte Phänomene aus einer bislang vernachlässigten Perspektive zu betrachten. Weitere Bände in der Reihe http://www.springer.com/series/13443 Alena Strohmaier Medienraum Diaspora Verortungen zeitgenössischer iranischer Diasporafilme Mit einem Geleitwort von Prof. Dr. Ivo Ritzer Alena Strohmaier Marburg, Deutschland Zgl. Dissertation an der Philipps-Universität Marburg, 2018 ISSN 2524-3209 ISSN 2524-3217 (electronic) Neue Perspektiven der Medienästhetik ISBN 978-3-658-24605-1 ISBN 978-3-658-24606-8 -
Distracted Spectatorship, the Cinematic Experience and Franchise Films
Distracted Spectatorship, the Cinematic Experience and Franchise Films By Elizabeth Nichols BA, MA Lancaster University 2017 This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy This thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere P a g e | ii Contents List of Figures ........................................................................................................................... iv Abstract ...................................................................................................................................... v Introduction: Distracted Spectatorship and the Cinematic Experience ..................................... 1 Chapter One: Defining the Cinematic Experience ................................................................... 17 Section One: Defining the Cinematic ................................................................................... 17 Section Two: Defining Experience ...................................................................................... 22 Chapter Two: Defining Distracted Spectatorship .................................................................... 37 Section One: Defining Spectatorship ................................................................................... 37 Section Two: Defining Distraction ....................................................................................... 49 Section Three: Defining Distracted Spectatorship Throughout -
The Bad Batch
Presents THE BAD BATCH A film by Ana Lily Amirpour (118 min., USA, 2016) Language: English Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com @MongrelMedia MongrelMedia Synopsis: THE BAD BATCH follows Arlen (Waterhouse) after she's left in a Texas wasteland fenced off from civilization. While trying to navigate the unforgiving landscape, Arlen is captured by a savage band of cannibals led by the mysterious Miami Man (Momoa). With her life on the line, she makes her way to The Dream (Reeves). As she adjusts to life in 'the bad batch' Arlen discovers that being good or bad mostly depends on who's standing next to you. Starring SUKI WATERHOUSE (PRIDE AND PREJUDICE AND ZOMBIES), JASON MOMOA (JUSTICE LEAGUE, Game of Thrones), GIOVANI RIBISI (TED, Sneaky Pete), KEANU REEVES (JOHN WICK) ABOUT THE PRODUCTION “All of us here. We weren’t good enough, smart enough, young enough, healthy enough, wealthy enough, sane enough…Freaks, parasites. This here is The Bad Batch. We ain’t good. We’re bad.” – The Dream Writer/director Ana Lily Amirpour’s The Bad Batch brings to fruition a radical and nightmarish view of the margins of America, exploring the limits of survival and human understanding, in this dark adventure-romance, with a soaring musical score. It's an epic quest movie, a psychedelic western, a pop-fairy tale, set in a desert wasteland where human-eat-human has become a way of life for societies rejects. -
A Girl Walks Home Alone at Night
presents A GIRL WALKS HOME ALONE AT NIGHT a film by ANA LILY AMIRPOUR Official Selection – Sundance Film Festival 2014 2014 / 99 minutes / Color / in Farsi with English subtitles A Kino Lorber Release Kino Lorber, Inc. 333 West 39th St., Suite 503 New York, NY 10018 Press Contact: Rodrigo Brandão – [email protected] SYNOPSIS Strange things are afoot in Bad City. The Iranian ghost town, home to prostitutes, junkies, pimps, and other sordid souls, is a place that reeks of death and hopelessness, where a lonely vampire is stalking the towns' most unsavory inhabitants. But when boy meets girl, an unusual love story begins to blossom...blood red. The first Iranian Vampire Western, Ana Lily Amirpour's debut feature basks in the sheer pleasure of pulp. A joyful mash-up of genre, archetype and iconography, its prolific influences span spaghetti westerns, graphic novels, horror films, and the Iranian New Wave. Amped by a mix of Iranian rock, techno and Morricone-inspired riffs, its airy, anamorphic, black-and-white aesthetic and artfully drawn- out scenes combine the simmering tension of Sergio Leone with the weird surrealism of David Lynch. CREDITS Written and Directed by Ana Lily Amirpour Produced by Sina Sayyah, Justin Beganud, and Ana Lily Amirpour Co-Producer – Sheri “Shahrzad” Davani Executive Producers – Elijah Wood, Daniel Noah, Josh C. Waller, Nick Moceri, Ben Conrad, Alexei Tylevich, Reza Sixo Safai, Daniel Grove, Patrick Grove Editor – Alex O'Flinn Production Designer – Sergio De La Vega Director of Photography – Lyle Vincent Costume -
Department/Program Curriculum
ENGLISH (Div I) Chair: Associate Professor Bernard Rhie Alison A. Case, Dennis Meenan '54 Third Century Professor of English; on leave 2021-2022 Franny Choi, Arthur Levitt, Jr. '52 Artist-in-Residence Cassandra J. Cleghorn, Senior Lecturer in English and American Studies; affiliated with: American Studies Program Ezra D. Feldman, Visiting Assistant Professor of English; affiliated with: Science & Technology Studies, Graduate Program-Art History Jessica M. Fisher, Associate Professor of English; on leave Spring 2022 Stephen Fix, Robert G Scott '68 Professor of English; on leave Fall 2021 Matthew Gonzales, Mellon Postdoctoral Fellowship in Latinx Literatures Bethany Hicok, Lecturer in English; affiliated with: Women, Gender & Sexuality Stdy Kathryn R. Kent, Professor of English John E. Kleiner, Professor of English John K. Limon, John Hawley Roberts Professor of English Gage C. McWeeny, Professor of English, Director of Oakley Center for Humanities & Social Sciences; affiliated with: English Department Aamir Mufti, Margaret Bundy Scott Distinguished Visiting Professor Paul C. Park, Senior Lecturer in English James L. Pethica, Senior Lecturer in English and Theatre; affiliated with: Theatre Department Bernard J. Rhie, Chair and Associate Professor of English Shawn J. Rosenheim, Professor of English; on leave Fall 2021 James R. Shepard, J. Leland Miller Professor of American History, Literature, and Eloquence Karen L. Shepard, Senior Lecturer in English David L. Smith, John W Chandler Professor of English Anita R. Sokolsky, Professor of English Christian Thorne, Professor of English Stephen J. Tifft, Professor of English Emily Vasiliauskas, Associate Professor of English Ricardo A Wilson, Assistant Professor of English The study of English allows students to explore the critical role language and literature play in the shaping of human culture and social experience.