Filmography 1963 Through 2018 Greg Macgillivray (Right) with His Friend and Filmmaking Partner of Eleven Years, Jim Freeman in 1976
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Widescreen Weekend 2007 Brochure
The Widescreen Weekend welcomes all those fans of large format and widescreen films – CinemaScope, VistaVision, 70mm, Cinerama and Imax – and presents an array of past classics from the vaults of the National Media Museum. A weekend to wallow in the best of cinema. HOW THE WEST WAS WON NEW TODD-AO PRINT MAYERLING (70mm) BLACK TIGHTS (70mm) Saturday 17 March THOSE MAGNIFICENT MEN IN THEIR Monday 19 March Sunday 18 March Pictureville Cinema Pictureville Cinema FLYING MACHINES Pictureville Cinema Dir. Terence Young France 1960 130 mins (PG) Dirs. Henry Hathaway, John Ford, George Marshall USA 1962 Dir. Terence Young France/GB 1968 140 mins (PG) Zizi Jeanmaire, Cyd Charisse, Roland Petit, Moira Shearer, 162 mins (U) or How I Flew from London to Paris in 25 hours 11 minutes Omar Sharif, Catherine Deneuve, James Mason, Ava Gardner, Maurice Chevalier Debbie Reynolds, Henry Fonda, James Stewart, Gregory Peck, (70mm) James Robertson Justice, Geneviève Page Carroll Baker, John Wayne, Richard Widmark, George Peppard Sunday 18 March A very rare screening of this 70mm title from 1960. Before Pictureville Cinema It is the last days of the Austro-Hungarian Empire. The world is going on to direct Bond films (see our UK premiere of the There are westerns and then there are WESTERNS. How the Dir. Ken Annakin GB 1965 133 mins (U) changing, and Archduke Rudolph (Sharif), the young son of new digital print of From Russia with Love), Terence Young West was Won is something very special on the deep curved Stuart Whitman, Sarah Miles, James Fox, Alberto Sordi, Robert Emperor Franz-Josef (Mason) finds himself desperately looking delivered this French ballet film. -
Thursday 15 October 11:00 an Introduction to Cinerama and Widescreen Cinema 18:00 Opening Night Delegate Reception (Kodak Gallery) 19:00 Oklahoma!
Thursday 15 October 11:00 An Introduction to Cinerama and Widescreen Cinema 18:00 Opening Night Delegate Reception (Kodak Gallery) 19:00 Oklahoma! Please allow 10 minutes for introductions Friday 16 October before all films during Widescreen Weekend. 09.45 Interstellar: Visual Effects for 70mm Filmmaking + Interstellar Intermissions are approximately 15 minutes. 14.45 BKSTS Widescreen Student Film of The Year IMAX SCREENINGS: See Picturehouse 17.00 Holiday In Spain (aka Scent of Mystery) listings for films and screening times in 19.45 Fiddler On The Roof the Museum’s newly refurbished digital IMAX cinema. Saturday 17 October 09.50 A Bridge Too Far 14:30 Screen Talk: Leslie Caron + Gigi 19:30 How The West Was Won Sunday 18 October 09.30 The Best of Cinerama 12.30 Widescreen Aesthetics And New Wave Cinema 14:50 Cineramacana and Todd-AO National Media Museum Pictureville, Bradford, West Yorkshire. BD1 1NQ 18.00 Keynote Speech: Douglas Trumbull – The State of Cinema www.nationalmediamuseum.org.uk/widescreen-weekend 20.00 2001: A Space Odyssey Picturehouse Box Office 0871 902 5756 (calls charged at 13p per minute + your provider’s access charge) 20.00 The Making of The Magnificent Seven with Brian Hannan plus book signing and The Magnificent Seven (Cubby Broccoli) Facebook: widescreenweekend Twitter: @widescreenwknd All screenings and events in Pictureville Cinema unless otherwise stated Widescreen Weekend Since its inception, cinema has been exploring, challenging and Tickets expanding technological boundaries in its continuous quest to provide Tickets for individual screenings and events the most immersive, engaging and entertaining spectacle possible. can be purchased from the Picturehouse box office at the National Media Museum or by We are privileged to have an unrivalled collection of ground-breaking phoning 0871 902 5756. -
Perceptual Realism and Embodied Experience in the Travelogue Genre
Athens Journal of Mass Media and Communications- Volume 3, Issue 3 – Pages 229-258 Perceptual Realism and Embodied Experience in the Travelogue Genre By Perla Carrillo Quiroga This paper draws two lines of analysis. On the one hand it discusses the history of the This paper draws two lines of analysis. On the one hand it discusses the history of the travelogue genre while drawing a parallel with a Bazanian teleology of cinematic realism. On the other, it incorporates phenomenological approaches with neuroscience’s discovery of mirror neurons and an embodied simulation mechanism in order to reflect upon the techniques and cinematic styles of the travelogue genre. In this article I discuss the travelogue film genre through a phenomenological approach to film studies. First I trace the history of the travelogue film by distinguishing three main categories, each one ascribed to a particular form of realism. The hyper-realistic travelogue, which is related to a perceptual form of realism; the first person travelogue, associated with realism as authenticity; and the travelogue as a traditional documentary which is related to a factual form of realism. I then discuss how these categories relate to Andre Bazin’s ideas on realism through notions such as montage, duration, the long take and his "myth of total cinema". I discuss the concept of perceptual realism as a key style in the travelogue genre evident in the use of extra-filmic technologies which have attempted to bring the spectator’s body closer into an immersion into filmic space by simulating the physical and sensorial experience of travelling. -
Amazon Adventure 3D Press Kit
Amazon Adventure 3D Press Kit SK Films: Facebook/Instagram/Youtube: Amber Hawtin @AmazonAdventureFilm Director, Sales & Marketing Twitter: @SKFilms Phone: 416.367.0440 ext. 3033 Cell: 416.930.5524 Email: [email protected] Website: www.amazonadventurefilm.com 1 National Press Release: FOR IMMEDIATE RELEASE AMAZON ADVENTURE 3D BRINGS AN EPIC AND INSPIRATIONAL STORY SET IN THE HEART OF THE AMAZON RAINFOREST TO IMAX® SCREENS WITH ITS WORLD PREMIERE AT THE SMITHSONIAN’S NATIONAL MUSEUM OF NATURAL HISTORY ON APRIL 18th. April 2017 -- SK Films, an award-winning producer and distributor of natural history entertainment, and HHMI Tangled Bank Studios, the acclaimed film production unit of the Howard Hughes Medical Institute, announced today the IMAX/Giant Screen film AMAZON ADVENTURE will launch on April 18, 2017 at the World Premiere event at the Smithsonian’s National Museum of Natural History in Washington, D.C. The film traces the extraordinary journey of naturalist and explorer Henry Walter Bates - the most influential scientist you’ve never heard of – who provided “the beautiful proof” to Charles Darwin for his then controversial theory of natural selection, the scientific explanation for the development of life on Earth. As a young man, Bates risked his life for science during his 11-year expedition into the Amazon rainforest. AMAZON ADVENTURE is a compelling detective story of peril, perseverance and, ultimately, success, drawing audiences into the fascinating world of animal mimicry, the astonishing phenomenon where one animal adopts the look of another, gaining an advantage to survive. "The Giant Screen is the ideal format to take audiences to places that they might not normally go and to see amazing creatures they might not normally see,” said Executive Producer Jonathan Barker, CEO of SK Films. -
MARK FREEMAN Encyclopedia of Science, Technology and Society Ooks&Sidtext=0816031231&Leftid=0
MARK FREEMAN Encyclopedia of Science, Technology and Society http://www.factsonfile.com/newfacts/FactsDetail.asp?PageValue=B ooks&SIDText=0816031231&LeftID=0 WIDESCREEN The scale of motion picture projection depends upon the inter- relationship of several factors: the size and aspect ratio of the screen; the gauge of the film; the type of lenses used for filming and projection; and the number of synchronized projectors used. These choices are in turn determined by engineering, marketing and aesthetic considerations. Aspect ratio is the width of the screen divided by the height. The classic standard aspect ratio was expressed as 1.33:1. Today most movies are screened as 1.85:1 or 2.35:1 (widescreen). Films shot in these ratios are cropped for television, which retains the classic ratio of 1.33:1. This cropping is accomplished either by removing a third of the image at the sides of the frame, or by "panning and scanning." In this process a technician determines which portion of a given frame should be included. "Letterboxing" creates a band of black above and below the televised film image. This allows the composition as originally photographed to be screened in video. The larger the film negative, the more resolution. Large film gauges allow greater resolution over a given size of projected image. In the 1890's film sizes varied from 12mm to as many as 80mm, before accepting Edison's 35mm standard. Today films continue to be screened in a variety of guages including Super 8mm, 16mm and Super 16mm, 35mm, 70mm and IMAX. Cinema and the fairground share a common history in the search for technologically based spectacles and attractions. -
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Unstill Life: The Emergence and Evolution of Time-Lapse Photography Permalink https://escholarship.org/uc/item/2q89f608 Author Boman, James Stephan Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Unstill Life: The Emergence and Evolution of Time-Lapse Photography A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Media Studies by James Stephan Boman Committee in charge: Professor Janet Walker, Chair Professor Charles Wolfe Professor Peter Bloom Professor Colin Gardner September 2019 The dissertation of James Stephan Boman is approved. ___________________________________________________ Peter Bloom ___________________________________________________ Charles Wolfe ___________________________________________________ Colin Gardner ___________________________________________________ Janet Walker, Committee Chair March 2019 Unstill Life: The Emergence and Evolution of Time-Lapse Photography Copyright © 2019 By James Stephan Boman iii ACKNOWLEDGMENTS I would like to thank my friends and colleagues at UC Santa Barbara, including the fellow members of my cohort—Alex Champlin, Wesley Jacks, Jennifer Hessler, and Thong Winh—as well as Rachel Fabian, with whom I shared work during our prospectus seminar. I would also like to acknowledge the diverse and outstanding faculty members with whom I had the pleasure to work as a student at UCSB, including Lisa Parks, Michael Curtin, Greg Siegel, and the rest of the faculty. Anna Brusutti was also very important to my development as a teacher. Ross Melnick has been a source of unflagging encouragement and a fount of advice in my evolution within and beyond graduate school. -
Spirit Adventure
SPIRITofofof ADVENTURE A MACGILLIVRAY FREEMAN FILM Executive Producers Alvin Townley and Burton Roberts From the Academy Award® nominated producers of EVEREST, the highest-grossing documentary of all time…. …and from the best-selling author of LEGACY OF HONOR…. …comes a motion picture that will reignite a Movement and inspire a nation with Scouting’s SPIRIT OF ADVENTURE. Addressing America’s challenges. As Scouting begins this new century, America needs its programs more than ever – yet too many youth and adults who could benefit from Scouting are not involved. For our country’s sake, Scouting need to reach these individuals. America’s challenges Scouting solutions Personal responsibility Scouts learn to take charge of their lives, make independent choices, and accept responsibility for actions or inactions. Health and fitness Scouting provides the exercise and outdoor activity today’s youth and families need. It develops healthy lifestyle habits. Leadership and motivation Scouting instills leadership skills and personal motivation via goal-oriented training, experiences, and advancement. Broad education Scouting skills and merit badges equip youth with the broad knowledge they need to reach their potential. Character In Scouting, youth find leaders, friends, and communities that instill strong values as they mature into unique individuals. Citizenship and service Scouts adopt principles of collective citizenship, learn about duty to others and our planet, and develop a spirit of service. Mentoring Scouting helps youth build relationships with adults who help them develop into successful young men and women. How can we instill these values in youth and families effectively? Show them Scouting in a new, exciting, and relevant way.. -
CONSIGNES Semaine Du 23 Au 27 Mars Travail À Faire Sur La
CONSIGNES Semaine du 23 au 27 mars Travail à faire sur la thématique des films Pour suivre le cours de cette semaine voici les étapes à suivre : 1- D’abord, vous lisez attentivement la trace écrite en page 2 puis vous la recopiez dans votre cahier. 2- Ensuite, vous compléter au crayon à papier la fiche en page 3. Pour faire cela, vous devez d’abord lire toutes les phrases à trou puis lire chaque proposition et ensuite essayez de compléter les trous. 3- Pour terminer, vous faites votre autocorrection grâce au corrigé qui se trouve en page 4 1 Monday, March 23rd Objectif : Parler des films Film vocabulary I know (vocabulaire de film que je connais) : - film (UK) / movie (USA) - actor = acteur / actress = actrice - a trailer = une bande annonce - a character = un personnage 1. Different types of films - Activity 2 a 1 page 66 (read, listen and translate the film types) An action film = un film d’action / a comedy = une comédie / a drama = un drame / an adventure film = un film d’aventure / an animation film = un film d’animation = un dessin animé / a fantasy film = un film fantastique / a musical = une comédie musicale/ a spy film = un film espionnage / a horror film = un film d’horreur / a science fiction film = un film de science fiction. - Activity 2 a 2 page 66 (listen to the film critic and classify the films) Johnny English Frankenweenie The Hobbit Les Misérables The Star Wars Reborn (French) series - A comedy, - An animation - A fantasy film - a musical - the series are film, science fiction - An action film - an adventure - a drama films and and - A comedy and film - adventure films - A spy film - A horror film 2. -
PAF 2015 ENG.Indd
14th Festival of Film Animation 3–6 12 2015 Olomouc www.pifpaf.cz Catalogue PAF 2015 Acknowledgement: www.pifpaf.cz Danniela Arriado, Jiří Bartoník, Jana Bébarová, Petr Bilík, Petr Bielesz, Martin Blažíček, Michal Blažíček, Authors: Martin Búřil, Filip Cenek, Eva Červenková, Martin Čihák, Alexander Campaz, Martin Čihák, Eliška Děcká, David Katarína Gatialová, Marie Geierová, Vladimír Havlík, Helán, Miloš Henkrich, Alexandr Jančík, Tomáš Javůrek, Tamara Hegerová, Štěpánka Ištvánková, Jana Jedličková, Nela Klajbanová, Martin Mazanec, Marie Meixnerová, Alexandr Jeništa, Anna Jílková, Lucie Klevarová, Jiří Neděla, Jonatán Pastirčák,Tomáš Pospiszyl, Jakub Korda, Jana Koulová, Petr Krátký, Zdeňka Krpálková, Pavel Ryška, Matěj Strnad, Lenka Střeláková, Josef Kuba, Jiří Lach, Richard Loskot, Ondřej Molnár, Barbora Trnková, Veronika Zýková Hana Myslivečková, NAMU, Lenka Petráňová, Jan Piskač, Mari Rossavik, Radim Schubert, Kateřina Skočdopolová, Translators: Matěj Strnad, Barbora Ševčíková, Jan Šrámek, Petr Vlček, Magda Bělková, Nikola Dřímalová, Helena Fikerová, Kateřina Vojkůvková, FAMU Center for Audiovisual Studies, Václav Hruška, Karolina Chmielová, Jindřich Klimeš, Café Tungsram and Ondřej Pilát, Zuzana Řezníčková, Samuel Liška, Marie Meixnerová, Michaela Štaffová Audio-Video Department at the Faculty of Fine Arts of Brnu University of Technology, Department of Theatre and Film Editor: Studies at the Faculty of Arts of Palacký University Olomouc, Veronika Zýková The One Minutes, The University of J. E. Purkyně Czech proofreading: Festival -
Mary Murillo
Mary Murillo Also Known As: Mary O’Connor, Mary Velle Lived: January 22, 1888 - February 4, 1944 Worked as: adapter, film company managing director, scenario writer, screenwriter, theatre actress Worked In: France, United Kingdom: England, United States by Christina Petersen In March 1918, Moving Picture World heralded British screenwriter Mary Murillo as a “remarkable example” of “the meteoric flights to fame and fortune which have marked the careers of many present day leaders in the motion picture profession” (1525). This was more than just promotional hyperbole, since, in just four years, Murillo had penned over thirty features, including a highly successful adaptation of East Lynne (1916) starring Theda Bara and the original story for Cheating the Public (1918), “which proved a sensation” at its New York debut according to Moving Picture World (1525). Murillo wrote or adapted over fifty films from 1913 to 1934 in the United States, England, and France, including slapstick comedies, melodramas, fairy tale adaptations, and vehicles for female stars such as Bara, Ethel Barrymore, Clara Kimball Young, Olga Petrova, and Norma Talmadge. As a scenarist, her range included several films focused on contemporary issues—gender equality, women’s suffrage, economic progressivism, and labor reform—while others, such as the child-oriented adaptation of Jack and the Beanstalk (1917), seem to have been meant to appeal as pure escapism. In the latter half of her career, Murillo left the United States for England where she joined several ventures, but never equaled her American output. Born in January 1888 and educated at the Sacred Heart Convent in Roehampton, England, Murillo immigrated to the United States in 1908 at the age of nineteen (“Mary Murillo, Script Writer” 1525; McKernan 2015, 80). -
Directors Guild of America Creative Rights Handbook 2011 - 2014
DIRECTORS GUILD OF AMERICA CREATIVE RIGHTS HANDBOOK 2011 - 2014 Los Angeles, CA (310) 289-2000 New York, NY (212) 581-0370 Chicago, IL (312) 644-5050 www.dga.org Taylor Hackford, President • Jay D. Roth, National Executive Director Dear Colleague, As Co-Chairs of the DGA Creative Rights Committee, we spend a lot of time talking to Directors about their Theatrical Creative Rights work problems. Often we nd that trouble begins with Committee TABLE OF CONTENTS those who are unclear about or unaware of creative Jonathan Mostow Steven Soderbergh rights protections they already have as members of the Co-Chair Co-Chair Directors Guild of America. David Ayer Taylor Hackford Donald Petrie CREATIVE RIGHTS CHECKLISTS Some DGA Directors have voiced frustration over Michael Bay John Lee Hancock Sam Raimi Checklists of DGA Directors’ creative rights, practices in the editing room; they did not know John Carpenter Curtis Hanson Brett Ratner codied in this handbook that the DGA Basic Agreement protects them from .…..................….…….…….…….…….….3 interference when they are preparing their cut. Some omas Carter Mary Lambert Jay Roach television Directors have expressed concern about being Martha Coolidge Jonathan Lynn Tom Shadyac excluded from the looping and dubbing process; they Wes Craven Michael Mann Brad Silberling were unaware that they, like feature Directors, have SUMMARY OF CREATIVE RIGHTS Andy Davis Frank Marshall Penelope Spheeris the right to participate in both. And many Directors A summary of a Director’s creative rights did not realize that, because they are Guild members, Roger Donaldson McG Betty omas under the Directors Guild of America Basic they have a right to additional cutting time if necessary David Fincher E. -
Interpretation in Recent Literary, Film and Cultural Criticism
t- \r- 9 Anxieties of Commentary: Interpretation in Recent Literary, Film and Cultural Criticism Noel Kitg A Dissertàtion Presented to the Faculty of Arts at the University of Adelaide In Candidacy for the Degree of Doctor of Philosophy March 7994 Nwo.rà"o\ \qq5 l1 @ 7994 Noel Ki^g Atl rights reserved lr1 Abstract This thesis claims that a distinctive anxiety of commentary has entered literary, film and cultural criticism over the last thirty years/ gathering particular force in relation to debates around postmodernism and fictocriticism and those debates which are concerned to determine the most appropriate ways of discussing popular cultural texts. I argue that one now regularly encounters the figure of the hesitant, self-diiioubting cultural critic, a person who wonders whether the critical discourse about to be produced will prove either redundant (since the work will already include its own commentary) or else prove a misdescription of some kind (since the criticism will be unable to convey the essence of , say, the popular cultural object). In order to understand the emergence of this figure of the self-doubting cultural critic as one who is no longer confident that available forms of critical description are adequate and/or as one who is worried that the critical writing produced will not connect with a readership that might also have formed a constituency, the thesis proposes notions of "critical occasions," "critical assemblages," "critical postures," and "critical alibis." These are presented as a way of indicating that "interpretative occasions" are simultaneously rhetorical and ethical. They are site-specific occasions in the sense that the critic activates a rhetorical-discursive apparatus and are also site-specific in the sense that the critic is using the cultural object (book, film) as an occasion to call him or herself into question as one who requires a further work of self-stylisation (which might take the form of a practice of self-problematisation).