The Girlfriend Experience
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Executive Producer)
PRODUCTION BIOGRAPHIES STEVEN SODERBERGH (Executive Producer) Steven Soderbergh has produced or executive-produced a wide range of projects, most recently Gregory Jacobs' Magic Mike XXL, as well as his own series "The Knick" on Cinemax, and the current Amazon Studios series "Red Oaks." Previously, he produced or executive-produced Jacobs' films Wind Chill and Criminal; Laura Poitras' Citizenfour; Marina Zenovich's Roman Polanski: Odd Man Out, Roman Polanski: Wanted and Desired, and Who Is Bernard Tapie?; Lynne Ramsay's We Need to Talk About Kevin; the HBO documentary His Way, directed by Douglas McGrath; Lodge Kerrigan's Rebecca H. (Return to the Dogs) and Keane; Brian Koppelman and David Levien's Solitary Man; Todd Haynes' I'm Not There and Far From Heaven; Tony Gilroy's Michael Clayton; George Clooney's Good Night and Good Luck and Confessions of a Dangerous Mind; Scott Z. Burns' Pu-239; Richard Linklater's A Scanner Darkly; Rob Reiner's Rumor Has It...; Stephen Gaghan'sSyriana; John Maybury's The Jacket; Christopher Nolan's Insomnia; Godfrey Reggio's Naqoyqatsi; Anthony and Joseph Russo's Welcome to Collinwood; Gary Ross' Pleasantville; and Greg Mottola's The Daytrippers. LODGE KERRIGAN (Co-Creator, Executive Producer, Writer, Director) Co-Creators and Executive Producers Lodge Kerrigan and Amy Seimetz wrote and directed all 13 episodes of “The Girlfriend Experience.” Prior to “The Girlfriend Experience,” Kerrigan wrote and directed the features Rebecca H. (Return to the Dogs), Keane, Claire Dolan and Clean, Shaven. His directorial credits also include episodes of “The Killing” (AMC / Netflix), “The Americans” (FX), “Bates Motel” (A&E) and “Homeland” (Showtime). -
Smith, Kerrie
Kerrie Smith Hair Stylist / Colorist Journeyman IATSE Local 798 Feature Film and Television Credits (partial credits): Flesh and Bone Hair department head – Starz (series season 1) Dir: Various – LP: Jon Melfi John Wick Hair department head – Thunder Road Pictures Dir: David Leitch and Chad Stahelski – UPM: Holly Rymon Cast: Keanu Reeves, Michelle Moyahan, Willem Dafoe, Adrianne Palicki St. Vincent de Hairstylist for Naomi Watts – The Weinstein Company Van Nuys Dir: Theodore Melfi – LP: G. Mac Brown And So It Goes Hairstylist for Michael Douglas – Castle Rock Entertainment Dir: Rob Reiner – LP: Jared Goldman A Walk Among The Hair department head – Dreamworks Tombstones Dir: Scott Frank – LP: Kerry Orent Cast: Ruth Wilson, Boyd Holbrook, Dan Stevens Need for Speed Hair Designer for Imogen Poots - Dreamworks Dir: Scott Waugh – LP: Tim Moore The Delivery Man Hair department head - Dreamworks Dir: Ken Scott – UPM: Holly Ryman Cast: Chris Pratt, Cobie Smulders, Britt Robertson Behind the Candelabra Hairstylist for Michael Douglas – HBO Films Dir: Steven Soderbergh – LP: Micheal Poliere *EMMY WIN 2013 – Outstanding Hairstylist for a Miniseries or a Movie Side Effects Hair department head - Open Road Films Dir: Steven Soderbergh – LP: Micheal Poliere Cast: Channing Tatum, Rooney Mara, Jude Law, Catherine Zeta-Jones Now You See Me Hair department head – Summit Entertainment Dir: Louis Leterrier – LP: Stan Wlodkowski Cast: Isla Fisher, Mark Ruffalo, Woody Harrelson, Dave Franco, Jesse Eisenberg, Michael Caine, Melanie Laurent Broken City Hair -
“Girls Don't Watch Porn”: a Narrative Analysis of Women's
“GIRLS DON’T WATCH PORN”: A NARRATIVE ANALYSIS OF WOMEN’S NEGOTIATIONS WITH ‘PROBLEMATIC SPACES’ by Tara Dawn Snape B.A., University Of British Columbia, 2008 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE COLLEGE OF GRADUATE STUDIES (Interdisciplinary Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Okanagan) July 2010 © Tara Dawn Snape, 2010 Abstract This research investigates the various strategies women use to negotiate, rationalize and story their sexual identities and their relationship to potentially problematic spaces. I interviewed ten women between the ages of nineteen and thirty looking for stories from, arguably, the first generation to watch pornographic films before engaging in sexual activities themselves. After listening to women’s stories, two spaces stood out as places of fracture, tension, and also possibility – mainstream, heterosexual pornography and heterosexual anal sex. I am interested in conceptualizing women who engage in socially ‘problematic’ sites as outside the traditional dichotomy of cultural victims who are unaware of their own subordination or as subjects that are entirely resistant and agentic. For example, when porn is viewed as something only men watch, it reinforces perceptions that women are not as sexual as men. This feeds into heteronormative assumptions of women’s sexuality as biologically passive. When women in the audience are considered, questions of agency, self-reflexivity and the possibility for resistant relationships with pornography are absent. Using a narrative methodology, this research works to conceptualize women’s participation in and/or avoidance of pornography and anal sex as indicative of continual and active negotiations with postfeminist and heteronormative definitions of gender, sexuality and sex. -
Sex Issue 2008
TUDENT IFE THE SINDEPENDENT NEWSPAPER OF WASHINGTON UNIVERSITY L IN ST. LOUIS SINCE 1878 SPECIAL ISSUE WEDNESDAY, FEBRUARY 13, 2008 WWW.STUDLIFE.COM X2 STUDENT LIFE | NEWS Senior News Editor / Sam Guzik / [email protected] WEDNESDAY | FEBRUARY 13, 2008 Student Life When did you lose Ahh. Another year, another Sex Issue survey. While the results vary each year, the main purpose of survey remains constant: to discover students’ expectations, experiences and your virginity? opinions on relationships and sex. 1.67% However, there were some notable changes made this year. 2008 marked the fi rst time 14 and under Student Life conducted the survey online, leading to an unprecedented 1550 undergradu- 10.11% ate responses collected. The survey has a theoretical margin of error of two percent. 15-16 We also sorted some of the data based on gender, relationship status and other factors to see if there were any interesting delineations. However, no generalizations were made 40.50% based on sexual orientation because the number of respondents who chose options other 28.40% Still a virgin than heterosexual was too low to supply suffi cient data for an accurate analysis. 17-18 Data complied by David Brody and Shweta Murthi Graphic design by Joe Rigodanzo and Anna Dinndorf 17.45% 19-20 1.80% 21-22 The average WU student has sex _______ I do 24% Are you a Virgin? less often than 60% Freshmen 55% 65% Sophmores more often 55% Juniors than Art School 21% Seniors 50% as often sexuality as 45% 40% 88% of Art and Architec- ture students identify as 35% heterosexual, the lowest 30% percentage of any school. -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
Montclair Film Announces APRIL 2018 Cinema505 Program
For Immediate Release MONTCLAIR FILM ANNOUNCES APRIL LINEUP EVERYTHING’S FINE UNTIL IT’S NOT performance, Taylor Mac: Influences Film Series, FESTINEMA partnership with FIAF Headline Month’s Program MARCH 22, 2018, MONTCLAIR, NJ - Montclair Film today announced the organization’s April 2018 film lineup, featuring a live performance of Montclair native Doreen Oliver’s powerful one woman show EVE- RYTHING’S FINE UNTIL IT’S NOT, presented in partnership with Vanguard Theater Company in recogni- tion of Autism Awareness Month. This performance, exploring Oliver’s personal experience as a parent grappling with an autism diagnosis for her young son, will be preceded by the short film COLOR MY MIND, which examines the impact of a childhood autism diagnosis on African-American parents. Perfor- mances take place April 6 and 7 at Cinema505. “We are thrilled to partner with Montclair Film, pairing an award-winning play with a groundbreaking short film, to shine a light on how autism affects families across communities,” said Vanguard Theater Managing Director Jessica Sporn. In advance of Taylor Mac’s performance of A 24-DECADE HISTORY OF POPULAR MUSIC (ABRIDGED) at The 2018 Montclair Film Festival on May 4 at The Wellmont Theater, Taylor has curated a program of films that have served as an inspiration throughout the years, including the rarely-screened MIRACLE IN MILAN by legendary Italian neo-realist director Vittorio De Sica, Robert Bresson’s masterpiece A MAN ESCAPED, Charlie Chaplin’s beloved THE GOLD RUSH, and Stephen Frears’ coming of age classic MY BEAUTIFUL LAUNDRETTE. Montclair Film will also be partnering with the French Institute Alliance Française (FIAF) Montclair to pre- sent FESTINEMA, a weekend of French films for families, featuring four films geared toward young audi- ences, including LE ROI ET L’OISEAU (ages 7-12), SWAGGER (ages 16-18), LES 4 SAISONS DE LÉON (ages 4-6), and POLINA DANSER SA VIE (ages 13-15). -
Speed Kills / Hannibal Production in Association with Saban Films, the Pimienta Film Company and Blue Rider Pictures
HANNIBAL CLASSICS PRESENTS A SPEED KILLS / HANNIBAL PRODUCTION IN ASSOCIATION WITH SABAN FILMS, THE PIMIENTA FILM COMPANY AND BLUE RIDER PICTURES JOHN TRAVOLTA SPEED KILLS KATHERYN WINNICK JENNIFER ESPOSITO MICHAEL WESTON JORDI MOLLA AMAURY NOLASCO MATTHEW MODINE With James Remar And Kellan Lutz Directed by Jodi Scurfield Story by Paul Castro and David Aaron Cohen & John Luessenhop Screenplay by David Aaron Cohen & John Luessenhop Based upon the book “Speed Kills” by Arthur J. Harris Produced by RICHARD RIONDA DEL CASTRO, pga LUILLO RUIZ OSCAR GENERALE Executive Producers PATRICIA EBERLE RENE BESSON CAM CANNON MOSHE DIAMANT LUIS A. REIFKOHL WALTER JOSTEN ALASTAIR BURLINGHAM CHARLIE DOMBECK WAYNE MARC GODFREY ROBERT JONES ANSON DOWNES LINDA FAVILA LINDSEY ROTH FAROUK HADEF JOE LEMMON MARTIN J. BARAB WILLIAM V. BROMILEY JR NESS SABAN SHANAN BECKER JAMAL SANNAN VLADIMIRE FERNANDES CLAITON FERNANDES EUZEBIO MUNHOZ JR. BALAN MELARKODE RANDALL EMMETT GEORGE FURLA GRACE COLLINS GUY GRIFFITHE ROBERT A. FERRETTI SILVIO SARDI “SPEED KILLS” SYNOPSIS When he is forced to suddenly retire from the construction business in the early 1960s, Ben Aronoff immediately leaves the harsh winters of New Jersey behind and settles his family in sunny Miami Beach, Florida. Once there, he falls in love with the intense sport of off-shore powerboat racing. He not only races boats and wins multiple championship, he builds the boats and sells them to high-powered clientele. But his long-established mob ties catch up with him when Meyer Lansky forces him to build boats for his drug-running operations. Ben lives a double life, rubbing shoulders with kings and politicians while at the same time laundering money for the mob through his legitimate business. -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
Pornstars Twitter Followers Count
Pornstars Twitter Followers Count Historical data report by SocialMediaPornstars.com. Report generated on Aug 2021. Timestamp: 1628079062. Pornstar Username Followers Sunny Leone SunnyLeone 6021024 Tori Black misstoriblack 500985 Alexis Texas Alexis_Texas 1125136 Julia Ann therealJuliaAnn 626708 Jessica Jaymes jessicajaymes 205455 Lexi Belle OMGitsLexi 384231 Jayden Jaymes JaydenMichele 829094 Priya Rai priyaanjalirai 184653 Nicole Aniston XNicoleAnistonX 703402 Sophie Dee sophiedee 1125730 Brandi Love brandi_love 835927 Phoenix Marie PMarizzle 608959 Madison Ivy Madison420Ivy 627118 Asa Akira AsaAkira 818767 Holly Halston xxxhollyhalston 112066 Kortney Kane K0RTNEYKANE 13016 Christy Mack christymack 704614 Sasha Grey sashagrey 1461981 Kelly Divine kellydivine 377120 Dani Daniels akaDaniDaniels 739597 Kiara Mia mysexykiaramia 436898 Bridgette B iamspanishdoll 20368 Veronica Avluv veronicaavluvxx 270515 Jada Stevens jadastevens420 320114 Ariella Ferrera ariellaferrera 359124 Ava Addams avaaddams 838930 Karen Fisher sexykarenfisher 355449 Rachel Starr rachelstarrxxx 547651 Crissy Moran realcrissymoran 3000 Ashlynn Brooke ashlynnbrookie 14713 Lela Star lelastartm 394752 Samantha Saint misssaintxxx 635212 Janet Mason janetmasonxxx 161736 Nikki Benz nikkibenz 944875 Shyla Stylez msshylastylez 398029 Audrey Bitoni audreybitonix 412463 Shay Laren shaylaren 32772 Hanna Hilton thehannahilton 14110 Luscious Lopez luscious_lopez 71203 Malena Morgan malmorganxxx 6513 Cody Lane codylanewicked 8943 Jenni Lee jennileeonline 35269 Chanel Preston chanelpreston -
A Corpus-Based Approach to the Language of Audio
UNIVERSITÀ DEGLI STUDI DI NAPOLI FEDERICO II FACOLTÀ DI SCIENZE POLITICHE DIPARTIMENTO DI TEORIE E METODI DELLE SCIENZE UMANE E SOCIALI SCUOLA DI DOTTORATO IN SCIENZE PSICOLOGICHE, PEDAGOGICHE E LINGUISTICHE DOTTORATO DI RICERCA IN LINGUA INGLESE PER SCOPI SPECIALI XXIII CICLO TESI DI DOTTORATO The Language of Filmic Audio Description: a Corpus-Based Analysis of Adjectives CANDIDATA dott.ssa Saveria Arma RELATORE COORDINATORE Prof.ssa Giuditta Caliendo Prof.ssa Gabriella Di Martino NAPOLI 2011 1 The language of filmic audio description. A corpus-based analysis of adjectives Acknowledgements 7 Introduction 10 1 Introduction to audio description 15 1.1 For a definition of audio description 15 1.2 What can be audio described? 24 1.3 How is audio description produced? 25 1.3.1 The audio description process 25 1.3.2 Special guidelines for special genres 28 1.4 What should audio description describe? 33 1.5 Short story of audio description in Europe 40 1.6 Research on audio description: the state of the art 53 1.7 Technical delivery of audio description 71 1.8 Norms and legislation: the European Union framework 84 2 The target audience. Blindness and visual impairment 94 2 2.1 Blindness and visual impairment 94 2.2 Facts and figures about blindness 98 2.3 Blindness as a gender-related concern and costs of blindness 103 2.4 How the human eye works 106 2.5 Blindness-related eye pathologies 107 2.6 The development of visually impaired people 117 2.7 Facilitating knowledge acquisition for visually impaired people 121 2.8 Facilitating access to -
THE PHILOSOPHY of STEVEN SODERBERGH the Philosophy of Popular Culture
THE PHILOSOPHY OF STEVEN SODERBERGH The Philosophy of Popular Culture Th e books published in the Philosophy of Popular Culture series will illuminate and explore philosophical themes and ideas that occur in popular culture. Th e goal of this series is to demonstrate how philosophical inquiry has been reinvigorated by increased scholarly interest in the intersection of popular culture and philosophy, as well as to explore through philosophical analysis beloved modes of entertainment, such as movies, TV shows, and music. Philosophical concepts will be made accessible to the general reader through examples in popular culture. Th is series seeks to publish both established and emerging scholars who will engage a major area of popular culture for philosophical interpretation and examine the philosophical underpinnings of its themes. Eschewing ephemeral trends of philosophical and cultural theory, authors will establish and elaborate on connections between traditional philosophical ideas from important thinkers and the ever-expanding world of popular culture. Series Editor Mark T. Conard, Marymount Manhattan College, NY Books in the Series Th e Philosophy of Stanley Kubrick, edited by Jerold J. Abrams Football and Philosophy, edited by Michael W. Austin Tennis and Philosophy, edited by David Baggett Th e Philosophy of the Coen Brothers, edited by Mark T. Conard Th e Philosophy of Film Noir, edited by Mark T. Conard Th e Philosophy of Martin Scorsese, edited by Mark T. Conard Th e Philosophy of Neo-Noir, edited by Mark T. Conard Th e Philosophy of Horror, edited by Th omas Fahy Th e Philosophy of Th e X-Files, edited by Dean A. -
Gorinski2018.Pdf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Automatic Movie Analysis and Summarisation Philip John Gorinski I V N E R U S E I T H Y T O H F G E R D I N B U Doctor of Philosophy Institute for Language, Cognition and Computation School of Informatics University of Edinburgh 2017 Abstract Automatic movie analysis is the task of employing Machine Learning methods to the field of screenplays, movie scripts, and motion pictures to facilitate or enable vari- ous tasks throughout the entirety of a movie’s life-cycle. From helping with making informed decisions about a new movie script with respect to aspects such as its origi- nality, similarity to other movies, or even commercial viability, all the way to offering consumers new and interesting ways of viewing the final movie, many stages in the life-cycle of a movie stand to benefit from Machine Learning techniques that promise to reduce human effort, time, or both.