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Mad Tiger a Film by Jonathan Yi and Michael Haertlein
presents Mad Tiger A film by Jonathan Yi and Michael Haertlein “MAD TIGER promises something much crazier than your average concert documentary, and possibly more endearing, whether or not punk rock is your jam.” - Indiewire “… a super film that comes fully loaded with energy, attitude, and lunacy. Very highly recommended for punk fans and Peelander expats” - JBSpins USA and Japan / 2015 / Documentary / English 82 min / 1.78 / 5.1 and stereo Press Contacts: Emma Griffiths | EMMA GRIFFITHS PR | tel : 917-806-0599 | [email protected] Genevieve Villaflor | Film Movement | tel: (212) 941-7744 x215 | [email protected] Film Movement Theatrical Contact: Clemence Taillandier | tel: (212) 941-7715 | [email protected] Select Press for Mad Tiger “10 Must-See Documentaries at DOC NYC” – Indiewire "This entertaining doc chronicles midlife crises of the hipster variety." – Frank Scheck, The Hollywood Reporter “Fantastic portrait of a band and its leader that works on so many different levels. What I love about the film is that what starts out with a look at a band changes into a look at what it takes to be in a band and how the relationships outside of the band are forced to change because of the dynamics of the band. What’s even better is that as the film goes on it morphs again and becomes Kengo's quest to find himself...or maybe that's what it was about all along. Either way, or anyway it's amazing. It’s so good I can't wait to see it again.” – Steve Kopian, Unseen Film. “The members of Peelander-Z unmask themselves for revealing new doc MAD TIGER.. -
The Storyworld Dynamics of Supernatural
PRODUCTIONS / MARKETS / STRATEGIES ANGELS, DEMONS AND WHATEVER COMES NEXT: THE STORYWORLD DYNAMICS OF SUPERNATURAL FLORENT FAVARD Name Florent Favard the series with an analysis of its writing, production and Academic centre IECA, Université de Lorraine reception contexts, and divides the long-running series into E-mail address [email protected] four eras, each defined by a specific showrunner. It starts by exploring the context of the series’ creation, before KEYWORDS cataloguing the shifting dynamics of the storyworld during Storyworld; narratology; writing; ethos; showrunner. the four eras: the ‘stealth teleological’ approach of series creator Eric Kripke; the complex reconfigurations of the Sera Gamble era; the ‘mythology reboot’ of the Jeremy ABSTRACT Carver era; and the ever-increasing stakes and expansionist This paper explores the narrative dynamics of the fantasy dynamics of the Andrew Dabb era. The aim of this paper television series Supernatural (2005-) in order to better is to show how ‘periodising’ a long-running series by using understand how this particular program has become a close-reading and studying the dynamics of a storyworld backbone of The CW network. Combining formal and can expand and complete analysis focused on audiences contextual narratologies, it blends a close-reading of and the genesis of the text. 19 SERIES VOLUME IV, Nº 2, WINTER 2018: 19-26 DOI https://doi.org/10.6092/issn.2421-454X/8164 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X INVESTIGATING THE CW PRODUCTIONS / MARKETS / STRATEGIES > FLORENT FAVARD ANGELS, DEMONS AND WHATEVER COMES NEXT: THE STORYWORLD DYNAMICS OF SUPERNATURAL The Apocalypse has just been averted. -
Variety Announces This Year's 10 Actors to Watch
VARIETY ANNOUNCES THIS YEAR’S 10 ACTORS TO WATCH Marks Five Years of Collaboration With The Hamptons International Film Festival Variety is pleased to announce its annual list of 10 Actors to Watch, an honor the publication has bestowed since 1998. Past honorees include many future Oscar winners and nominees such as Viola Davis, Taraji P. Henson, Octavia Spencer, Brie Larson, Lupita Nyong’o, Michael Shannon and Melissa Leo. This year’s honorees will be feted in the Oct. 4 issue of Variety, in conjunction with coverage of the Hamptons International Film Festival, which runs Oct. 6-10. This marks the fifth year Variety has collaborated with the festival to present Actors to Watch. "The Hamptons International Film Festival has had the privilege of honoring rising talent for over 15 years. We are thrilled to once again partner with Variety to recognize this group of ten diverse, talented actors for the incredible work they have done in their careers," says David Nugent, HIFF Artistic Director. "As we have seen our previous honorees blossom over the years, with just this year Brie Larson and Alicia Vikander both taking home Academy Awards, we know this class has a bright future ahead of them." Added Vice President/Executive Editor of Variety Steven Gaydos, “As the Fall film awards season approaches, there may be questions about which films will ultimately shine as prize winners, but there is no doubt that once again this year's releases feature astounding new talents filled with creative courage and unlimited potential for bright careers. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
CNTV 457 Fall 2021 Syllabus.Docx
CNTV 457 The Entertainment Entrepreneur: Getting your First Project Made Units: 2 Term: Fall 2021 Day—Time: Tuesdays, 7-10pm Location: SCA 110 Professors Sam Canter CEO/Partner, Psycho Films E-mail: [email protected] Office: (303)956-0609 Christian Sutton Partner/Director, Psycho Films E-mail: [email protected] Course Description This course will cover the practical aspects of why it is essential to be entrepreneurial within the changing landscape of the entertainment industry. Whether you strive to be a content creator, producer, writer, director, executive, or form your own business/creative venture, this course will help you identify how and why you should be creating your own projects. The content of this course will cover the benefits and pitfalls of developing your own content, companies, and/or partnerships. We will also explore the practical and real obstacles and opportunities you face as you leave USC SCA and begin to work in the entertainment industry. Where should I work? How do I make my projects? How do I start my own company or brand? In addition, key aspects of the producing process from both a creative and business executive side will be covered in the Film, TV, VR, and digital media spaces. The class will be broken down into 3 sections, “The Creative Process,” “Development and Production,” and “Marketing and Selling your Project.” Each class will feature panels or select speakers of industry professionals. Including top talent, producers, directors, studio executives, heads of production companies, lawyers, agents, managers, etc. In addition to seasoned veterans of the entertainment industry, this course will also include a series of guest speakers, all who began forging their own path in the industry during or immediately after college. -
The Curious Case of Chinese Film Censorship: an Analysis of The
THE CURIOUS CASE OF CHINESE FILM CENSORSHIP: AN ANALYSIS OF THE FILM ADMINISTRATION REGULATIONS by SHUO XU 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 December 2017 THESIS APPROVAL PAGE Student: Shuo Xu Title: The Curious Case of Chinese Film Censorship: An Analysis of Film Administration Regulations 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: Gabriela Martínez Chairperson Chris Chávez Member Daniel Steinhart Member and Sara D. Hodges Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2017 ii © 2017 Shuo Xu iii THESIS ABSTRACT Shuo Xu Master of Arts School of Journalism and Communication December 2017 Title: The Curious Case of Chinese Film Censorship: An Analysis of Film Administration Regulations The commercialization and global transformation of the Chinese film industry demonstrates that this industry has been experiencing drastic changes within the new social and economic environment of China in which film has become a commodity generating high revenues. However, the Chinese government still exerts control over the industry which is perceived as an ideological tool. They believe that the films display and contain beliefs and values of certain social groups as well as external constraints of politics, economy, culture, and ideology. This study will look at how such films are banned by the Chinese film censorship system through analyzing their essential cinematic elements, including narrative, filming, editing, sound, color, and sponsor and publisher. -
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Live Nation Revenue Wiped out by COVID; CEO Michael Rapino Sees Live Events in Full Swing Next Summer by Jill Goldsmith August 5, 2020 5:05Pm
6/8/2020 Live Nation Revenue Wiped Out By COVID – Deadline TIP US HOME / BUSINESS / BREAKING NEWS Live Nation Revenue Wiped Out By COVID; CEO Michael Rapino Sees Live Events In Full Swing Next Summer By Jill Goldsmith August 5, 2020 5:05pm Courtesy Paramount Pictures https://deadline.com/2020/08/live-nation-revenue-wiped-out-by-covid-ceo-michael-rapino-sees-live-events-in-full-swing-next-summer-1203005595/ 1/10 6/8/2020 Live Nation Revenue Wiped Out By COVID – Deadline Let’s get this over with. Live Nation, which makes a living on live events, saw revenue plunge 98% last TIP US quarter to $74 million and swung to a loss of $588 million from a profit of $176 million the year before. It was the first full COVID-19 quarter and the company was expected to bleed red ink. CEO Michael Rapino can only look ahead. And he did as the company reported financial results for the three months ended in June. He said he expects live events to “return at scale in the summer of 2021,” with ticket sales ramping up in the quarters leading up to summer shows. He noted that 86% of fans opted to keep tickets for rescheduled shows and that two-thirds of fans are keeping tickets for canceled festivals so they can go to next year’s show. The company cited strong early ticket sales for festivals in the U.K. next summer, for example, with Download and Isle of Wight pacing well ahead of last year. ADVERTISEMENT RELATED STORY AMC Entertainment Q2 Revenues Plunge, Swings To The Red In "Most Challenging Quarter In 100-Year History" - CEO Adam Aron Between tickets held by fans for rescheduled shows and festival sales, the company, which owns Ticketmaster, said it’s already sold 19 million tickets to more than four thousand concerts and festivals scheduled for 2021, “creating a strong baseload of demand that is pacing well ahead of this point last year.” Can Live Nation last that long? Rapino says yes. -
(2 Credits) TECHNOLOGY's IMPACT on ENTERTAINMENT and MEDIA
BEMT DRAFT SYLLABUS COURSE IS UNDER REVISION TO GO DEEPER ON FEWER SUBJECT AREAS MKTG–UB.0023.04 (2 credits) TECHNOLOGY’S IMPACT ON ENTERTAINMENT AND MEDIA Spring 2018 |Wednesdays 6:30p -7:45pm Classroom: UC24 Professor: Scott Schiller Office Hours : By Appointment Phone: 917-513-7469 Email: [email protected] TF: Charlie Walters Email [email protected] COURSE BACKGROUND From the eyes of most consumers, media is very simple today: You want your content, your searches, your clicks, your social media comments. Whatever. Whenever. Wherever. Everyone’s a media publisher; everyone’s a media company. Technology has changed consumer behavior and expectations forever and is forcing dramatic evolutions of all forms of media and entertainment. How did this happen? Why did this happen? What will happen next? This course is designed to provide you with a r eal-world perspective for understanding the entertainment and media industry through the eyes of the technology -driven disruption that it is currently experiencing. By the end of this class, we hope that you will be conversant in the major issues, challenges, and opportunities that currently consume the management teams and investors/boards of media entities – both large and small. Through group work, class discussions and the investigation of real -life examples, you will further develop the skills/currency needed to succeed in any fast -moving business today. Having been fortunate to work at some of the most esteemed companies in media, I have experienced the dramatic changes that have consumed the media ecosystem. Today, with more content than ever, the proliferation of social media to distribute it, on- demand content like Netflix and Amazon, technology such as gaming computers and consoles, smartphones, and hardware like Roku and Amazon Fire, media players are all fighting for market share and revenues like never before. -
Incongruous Surrealism Within Narrative Animated Film
University of Central Florida STARS Electronic Theses and Dissertations, 2020- 2021 Incongruous Surrealism within Narrative Animated Film Daniel McCabe University of Central Florida Part of the Film and Media Studies Commons Find similar works at: https://stars.library.ucf.edu/etd2020 University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2020- by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation McCabe, Daniel, "Incongruous Surrealism within Narrative Animated Film" (2021). Electronic Theses and Dissertations, 2020-. 529. https://stars.library.ucf.edu/etd2020/529 INCONGRUOUS SURREALISM WITHIN NARRATIVE ANIMATED FILM by DANIEL MCCABE B.A. University of Central Florida, 2018 B.S.B.A. University of Central Florida, 2018 A thesis submitted in partial fulfillment of the requirements for the degree of Masters of Fine Arts in the School of Visual Arts and Design in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2021 © Daniel Francis McCabe 2021 ii ABSTRACT A pop music video is a form of media containing incongruous surrealistic imagery with a narrative structure supplied by song lyrics. The lyrics’ presence allows filmmakers to digress from sequential imagery through introduction of nonlinear visual elements. I will analyze these surrealist film elements through several post-modern philosophies to better understand how this animated audio-visual synthesis resides in the larger world of art theory and its relationship to the popular music video. -
2012 Annual Report
2012 ANNUAL REPORT Table of Contents Letter from the President & CEO ......................................................................................................................5 About The Paley Center for Media ................................................................................................................... 7 Board Lists Board of Trustees ........................................................................................................................................8 Los Angeles Board of Governors ................................................................................................................ 10 Public Programs Media As Community Events ......................................................................................................................14 INSIDEMEDIA/ONSTAGE Events ................................................................................................................15 PALEYDOCFEST ......................................................................................................................................20 PALEYFEST: Fall TV Preview Parties ...........................................................................................................21 PALEYFEST: William S. Paley Television Festival ......................................................................................... 22 Special Screenings .................................................................................................................................... 23 Robert M. -
MADE in HOLLYWOOD, CENSORED by BEIJING the U.S
MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence 1 MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence TABLE OF CONTENTS EXECUTIVE SUMMARY I. INTRODUCTION 1 REPORT METHODOLOGY 5 PART I: HOW (AND WHY) BEIJING IS 6 ABLE TO INFLUENCE HOLLYWOOD PART II: THE WAY THIS INFLUENCE PLAYS OUT 20 PART III: ENTERING THE CHINESE MARKET 33 PART IV: LOOKING TOWARD SOLUTIONS 43 RECOMMENDATIONS 47 ACKNOWLEDGEMENTS 53 ENDNOTES 54 Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence MADE IN HOLLYWOOD, CENSORED BY BEIJING EXECUTIVE SUMMARY ade in Hollywood, Censored by Beijing system is inconsistent with international norms of Mdescribes the ways in which the Chinese artistic freedom. government and its ruling Chinese Communist There are countless stories to be told about China, Party successfully influence Hollywood films, and those that are non-controversial from Beijing’s warns how this type of influence has increasingly perspective are no less valid. But there are also become normalized in Hollywood, and explains stories to be told about the ongoing crimes against the implications of this influence on freedom of humanity in Xinjiang, the ongoing struggle of Tibetans expression and on the types of stories that global to maintain their language and culture in the face of audiences are exposed to on the big screen. both societal changes and government policy, the Hollywood is one of the world’s most significant prodemocracy movement in Hong Kong, and honest, storytelling centers, a cinematic powerhouse whose everyday stories about how government policies movies are watched by millions across the globe.