BEATRIX ARUNA PASZTOR Costume Designer

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BEATRIX ARUNA PASZTOR Costume Designer HOLMES & WATSON - Columbia Pictures - Etan Cohen, director WOMAN IN GOLD - The Weinstein Company - Simon Curtis, director RED 2 - Summit Entertainment - Dean Parisot, director GREAT EXPECTATIONS - BBC Films - Mike Newell, director JOHNNY ENGLISH 2 - Universal Pictures - Oliver Parker, director IRONCLAD - Mythic International Entertainment - Jonathan English, director YOU WILL MEET A TALL DARK STRANGER - Gravier Productions - Woody Allen, director THE SECRET OF MOONACRE - Spice Factory - Gabor Csupo, director THE BROTHERS BLOOM - The Weinstein Company/Endgame - Rian Johnson, director THE HUNTING PARTY - The Weinstein Company - Richard Shepard, director BASIC INSTINCT 2 - MGM - Michael Caton-Jones, director AEON FLUX - Paramount - Karyn Kusama, director ALFIE - Paramount - Charles Shyer, director VANITY FAIR - Focus Features - Mira Nair, director IN THE CUT - Screen Gems - Jane Campion, director THE RECRUIT - Spyglass Entertainment - Roger Donaldson, director BLACK SHEEP - Disney - Joel Schumacher, director JOHN Q - New Line Cinema - Nick Cassavetes, director MONKEY BONE - 20th Century Fox - Henry Selick, director WONDER BOYS - Paramount - Curtis Hanson, director PSYCHO - Universal - Gus Van Sant, director GOOD WILL HUNTING - Miramax - Gus Van Sant, director U TURN - TriStar - Oliver Stone, director SHE’S SO LOVELY - Miramax - Nick Cassavetes, director EXCESS BAGGAGE - Columbia - Marco Brambilla, director 'TIL THERE WAS YOU - Paramount - Scott Winant, director TO DIE FOR - Columbia - Gus Van Sant, director EVEN COWGIRLS GET THE BLUES - Fine Line Pictures - Gus Van Sant, director INDECENT PROPOSAL - Paramount - Adrian Lyne, director AMERICAN HEART - Avenue Pictures - Martin Bell, director MY OWN PRIVATE IDAHO - Avenue Pictures - Gus Van Sant, director THE FISHER KING - TriStar - Terry Gilliam, director ROCK & ROLL HIGH SCHOOL FOREVER - New Horizons - Deborah Brock, director GHOULIES GO TO COLLEGE - Vestron - John Buechler, director INDIGO - Commercial Pictures - Murdo Laird, director THE MUSIC BOX (Costume Consultant) - I.P.S. Films - Costa-Gavras, director DRUGSTORE COWBOY - Avenue Pictures - Gus Van Sant, director THE BLOODHOUNDS OF BROADWAY - American Playhouse/Columbia - Howard Brookner, dir. .

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Les Meilleurs Films De 24 Images De 2005
Document generated on 09/28/2021 7:05 a.m. 24 images Les meilleurs films de 24 images de 2005 Jean Pierre Lefebvre Number 126, March–April 2006 URI: https://id.erudit.org/iderudit/8904ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this document (2006). Les meilleurs films de 24 images de 2005. 24 images, (126), 48–49. Tous droits réservés © 24/30 I/S, 2006 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Pouvaient être retenus les longs métrages présentés au Québec pour la première fois en de 2005, que ce soit à l'occasion d'une présentation lors d'un festival, d'une rétrospective ou d'une sortie en salles. Veuillez noter qu'une exception a été faite pour Sarabandqui 2005 avait bénéficié d'une unique projection en 2004 avant sa sortie en salles en 2005. La neuvaîne de Bernard Émond Plus tranquille et assuré que lent et austère, La neuvaine s'inscrit parfaitement dans le cinéma de la déflation qui a tant marqué les oeuvres de 2005 : récit flottant fait de microcellules de densité, rythme languide créant une nouvelle pulsion, images occupées uniquement à dire vrai, proposition de mise en scène aussi élégante que modeste.
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Sight & Sound Films of 2007
Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic
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Gus Van Sant Retrospective Carte B
30.06 — 26.08.2018 English Exhibition An exhibition produced by Gus Van Sant 22.06 — 16.09.2018 Galleries A CONVERSATION LA TERRAZA D and E WITH GUS VAN SANT MAGNÉTICA CARTE BLANCHE PREVIEW OF For Gus Van Sant GUS VAN SANT’S LATEST FILM In the months of July and August, the Terrace of La Casa Encendida will once again transform into La Terraza Magnética. This year the programme will have an early start on Saturday, 30 June, with a double session to kick off the film cycle Carte Blanche for Gus Van Sant, a survey of the films that have most influenced the American director’s creative output, selected by Van Sant himself filmoteca espaÑola: for the exhibition. With this Carte Blanche, the director plunges us into his pecu- GUS VAN SANT liar world through his cinematographic and musical influences. The drowsy, sometimes melancholy, experimental and psychedelic atmospheres of his films will inspire an eclectic soundtrack RETROSPECTIVE that will fill with sound the sunsets at La Terraza Magnética. La Casa Encendida Opening hours facebook.com/lacasaencendida Ronda de Valencia, 2 Tuesday to Sunday twitter.com/lacasaencendida 28012 Madrid from 10 am to 10 pm. instagram.com/lacasaencendida T 902 430 322 The exhibition spaces youtube.com/lacasaencendida close at 9:45 pm vimeo.com/lacasaencendida blog.lacasaencendida.es lacasaencendida.es With the collaboration of Cervezas Alhambra “When I shoot my films, the tension between the story and abstraction is essential. Because I learned cinema through films made by painters. Through their way of reworking cinema and not sticking to the traditional rules that govern it.
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REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld.
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Half Title>NEW TRANSNATIONALISMS in CONTEMPORARY LATIN AMERICAN
<half title>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS</half title> i Traditions in World Cinema General Editors Linda Badley (Middle Tennessee State University) R. Barton Palmer (Clemson University) Founding Editor Steven Jay Schneider (New York University) Titles in the series include: Traditions in World Cinema Linda Badley, R. Barton Palmer, and Steven Jay Schneider (eds) Japanese Horror Cinema Jay McRoy (ed.) New Punk Cinema Nicholas Rombes (ed.) African Filmmaking Roy Armes Palestinian Cinema Nurith Gertz and George Khleifi Czech and Slovak Cinema Peter Hames The New Neapolitan Cinema Alex Marlow-Mann American Smart Cinema Claire Perkins The International Film Musical Corey Creekmur and Linda Mokdad (eds) Italian Neorealist Cinema Torunn Haaland Magic Realist Cinema in East Central Europe Aga Skrodzka Italian Post-Neorealist Cinema Luca Barattoni Spanish Horror Film Antonio Lázaro-Reboll Post-beur Cinema ii Will Higbee New Taiwanese Cinema in Focus Flannery Wilson International Noir Homer B. Pettey and R. Barton Palmer (eds) Films on Ice Scott MacKenzie and Anna Westerståhl Stenport (eds) Nordic Genre Film Tommy Gustafsson and Pietari Kääpä (eds) Contemporary Japanese Cinema Since Hana-Bi Adam Bingham Chinese Martial Arts Cinema (2nd edition) Stephen Teo Slow Cinema Tiago de Luca and Nuno Barradas Jorge Expressionism in Cinema Olaf Brill and Gary D. Rhodes (eds) French Language Road Cinema: Borders,Diasporas, Migration and ‘NewEurope’ Michael Gott Transnational Film Remakes Iain Robert Smith and Constantine Verevis Coming-of-age Cinema in New Zealand Alistair Fox New Transnationalisms in Contemporary Latin American Cinemas Dolores Tierney www.euppublishing.com/series/tiwc iii <title page>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS Dolores Tierney <EUP title page logo> </title page> iv <imprint page> Edinburgh University Press is one of the leading university presses in the UK.
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The City in Crisis Urban Nightmares in U.S
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80S 90S Hand-Out
FILM 160 NOIR’S LEGACY 70s REVIVAL Hickey and Boggs (Robert Culp, 1972) The Long Goodbye (Robert Altman, 1973) Chinatown (Roman Polanski, 1974) Night Moves (Arthur Penn, 1975) Farewell My Lovely (Dick Richards, 1975) The Drowning Pool (Stuart Rosenberg, 1975) The Big Sleep (Michael Winner, 1978) RE- MAKES Remake Original Body Heat (Lawrence Kasdan, 1981) Double Indemnity (Billy Wilder, 1944) Postman Always Rings Twice (Bob Rafelson, 1981) Postman Always Rings Twice (Garnett, 1946) Breathless (Jim McBride, 1983) Breathless (Jean-Luc Godard, 1959) Against All Odds (Taylor Hackford, 1984) Out of the Past (Jacques Tourneur, 1947) The Morning After (Sidney Lumet, 1986) The Blue Gardenia (Fritz Lang, 1953) No Way Out (Roger Donaldson, 1987) The Big Clock (John Farrow, 1948) DOA (Morton & Jankel, 1988) DOA (Rudolf Maté, 1949) Narrow Margin (Peter Hyams, 1988) Narrow Margin (Richard Fleischer, 1951) Cape Fear (Martin Scorsese, 1991) Cape Fear (J. Lee Thompson, 1962) Night and the City (Irwin Winkler, 1992) Night and the City (Jules Dassin, 1950) Kiss of Death (Barbet Schroeder 1995) Kiss of Death (Henry Hathaway, 1947) The Underneath (Steven Soderbergh, 1995) Criss Cross (Robert Siodmak, 1949) The Limey (Steven Soderbergh, 1999) Point Blank (John Boorman, 1967) The Deep End (McGehee & Siegel, 2001) Reckless Moment (Max Ophuls, 1946) The Good Thief (Neil Jordan, 2001) Bob le flambeur (Jean-Pierre Melville, 1955) NEO - NOIRS Blood Simple (Coen Brothers, 1984) LA Confidential (Curtis Hanson, 1997) Blue Velvet (David Lynch, 1986) Lost Highway (David
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PAJ77/No.03 Chin-C
AIN’T NO SUNSHINE The Cinema in 2003 Larry Qualls and Daryl Chin s 2003 came to a close, the usual plethora of critics’ awards found themselves usurped by the decision of the Motion Picture Producers Association of A America to disallow the distribution of screeners to its members, and to any organization which adheres to MPAA guidelines (which includes the Motion Picture Academy of Arts and Sciences). This became the rallying cry of the Independent Feature Project, as those producers who had created some of the most notable “independent” films of the year tried to find a way to guarantee visibility during award season. This issue soon swamped all discussions of year-end appraisals, as everyone, from critics to filmmakers to studio executives, seemed to weigh in with an opinion on the matter of screeners. Yet, despite this media tempest, the actual situation of film continues to be precarious. As an example, in the summer of 2003 the distribution of films proved even more restrictive, as theatres throughout the United States were block-booked with the endless cycle of sequels that came from the studios (Legally Blonde 2, Charlie’s Angels: Full Throttle, Terminator 3, The Matrix Revolutions, X-2: X-Men United, etc.). A number of smaller films, such as the nature documentary Winged Migration and the New Zealand coming-of-age saga Whale Rider, managed to infiltrate the summer doldrums, but the continued conglomeration of distribution and exhibition has brought the motion picture industry to a stultifying crisis. And the issue of the screeners was the rallying cry for those working on the fringes of the industry, the “independent” producers and directors and small distributors.
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Author Final Version.Pdf
Macquarie University ResearchOnline This is the author version of an article published as: Millard, Kathryn (2010) After the typewriter : the screenplay in a digital era Journal of screenwriting, Vol. 1, No. 1 (2010), p.11-25 Access to the published version: http://dx.doi.org/10.1386/josc.1.1.11/1 Copyright: 2010 Intellect Ltd Article. After the Typewriter: the Screenplay in a Digital Era Kathryn Millard Macquarie University Abstract This paper aims to contribute to contemporary debates about (1) screenwriting as a process of developing the screen idea, (2) the ways in which formatting conventions from an earlier era of cinema may restrict innovation in screenwriting, and (3) shifting practices of screenwriting in a digital era in which images and sound play a potentially more significant role. Additionally, it questions the use of terms such as ‘blueprint’ to describe the relationship between the screenplay and the proposed film that it represents. After the Typewriter: the Screenplay in a Digital Era draws on the author’s body of practice-led research as a writer and director of feature films and documentaries, as well as histories of screenwriting, film production, comics and the graphic arts. Keywords Screenwriting; Scriptwriting; Screen Practice Research; Digital Cinema; Independent Film; Script development. Biography [email protected] Kathryn Millard is a writer, filmmaker and is Associate Professor at Macquarie University, Sydney. Her credits as writer, producer and director include award-winning features, documentaries and essay films. Kathryn publishes on topics including screenwriting, screen history, colour, photography, creativity and collaboration. Her feature- length essay film about Chaplin imitators, The Boot Cake, was released in 2008.
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Film M315-001 Directing for Camera
FILM M315-001 DIRECTING FOR CAMERA Course Term: SPRING 2021 Course Location: CM Building, Rm 422/402 Class hours: MW, 3:30-4:45 Screening: W, 4:55-7:35 Instructor: Miles Doleac, PhD Office Location: CM Building 412 Phone: 504-865-3430 Email: [email protected] Office hours: Tu/Th, 11:15-1:00, M-W 2:00-3:15 or by appointment “To make a film is easy; to make a good film is war. To make a very good film is a miracle.” -Alejandro Gonzalez Inarritu REQUIRED TEXTS: Lumet, Sidney. Making Movies. New York: Vintage Books, 1996. Rabiger, Michael and Hurbis-Cherrier, Mick. Directing: Film Techniques and Aesthetics, 6th edition. London: Routledge Press, 2020. Weston, Judith. Directing Actors: Creating Memorable Performances for Film & Television. Studio City: Michael Wiese Books, 1999 COURSE AIM: This course aspires to answer seemingly simple questions: What does a director do? What is the director’s relationship and responsibility to the film? How should a director talk to actors and achieve the desired performance from said actors? How should they communicate their vision to cinematographers? In addition, the course screens and examines films from directors, who have been considered influential and/or pathbreaking in the medium and seeks to unpack, understand, and analyze the reasons for their significance. Directors are often likened to conductors. The best of them are able to deliver a clear, consistent vision, while enlisting cast and crew members to contribute their own unique talents and perspectives to serving that vision. We will cover every element of the directing process from script analysis to the editing room as we try to uncover the secrets to that elusive brand of direction that leads to the telling of coherent, entertaining, surprising, and inevitable stories.
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