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Editorial Necsus
EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org Editorial Necsus NECSUS 6 (2), Autumn 2017: 1–3 URL: https://necsus-ejms.org/editorial-necsus-autumn-2017/ Keywords: dress, editorial From the early days of film studies, costumes have been analysed as an im- portant element of the mise-en-scène and stardom, as they help shape identi- ties and define subjectivities, crafting the stars. There is no question that cos- tumes help create meaning, no less today than in the heyday of classical cin- ema. More recently, haute couture has entered film as a topic, just as fashion designers have become the subjects of biopics. In recent years, fashion films have become an interesting vehicle for large fashion brands that were able to attract prestigious auteurs (Roman Polanski, Wes Anderson, Martin Scorsese, Sofia Coppola, et al). Indeed, the whole ecosystem of fashion has been rup- tured by the effects of digital distribution, blogs, and social media. The special section of the Autumn 2017 issue of NECSUS is devoted to this key element in photographic practices and cinematic and audiovisual storytelling. #Dress investigates fashion and costume as theoretical and ana- lytical concerns in media studies, and the analyses demonstrate how dress and costume contribute to the production of meaning. #Dress also presents the many echoes of Roland Barthes’ seminal publication The Fashion System (1967) and the ‘language’ of fashion magazines as an analytical tool to address theoretical questions of identity, politics, and cultural history. Contributors to this special section include Marie Lous Baronian, Giuliana Bruno, Isabelle Freda, Šárka Gmiterková & Miroslava Papežová, and Frances Joseph. -
January 2012 at BFI Southbank
PRESS RELEASE November 2011 11/77 January 2012 at BFI Southbank Dickens on Screen, Woody Allen & the first London Comedy Film Festival Major Seasons: x Dickens on Screen Charles Dickens (1812-1870) is undoubtedly the greatest-ever English novelist, and as a key contribution to the worldwide celebrations of his 200th birthday – co-ordinated by Film London and The Charles Dickens Museum in partnership with the BFI – BFI Southbank will launch this comprehensive three-month survey of his works adapted for film and television x Wise Cracks: The Comedies of Woody Allen Woody Allen has also made his fair share of serious films, but since this month sees BFI Southbank celebrate the highlights of his peerless career as a writer-director of comedy films; with the inclusion of both Zelig (1983) and the Oscar-winning Hannah and Her Sisters (1986) on Extended Run 30 December - 19 January x Extended Run: L’Atalante (Dir, Jean Vigo, 1934) 20 January – 29 February Funny, heart-rending, erotic, suspenseful, exhilaratingly inventive... Jean Vigo’s only full- length feature satisfies on so many levels, it’s no surprise it’s widely regarded as one of the greatest films ever made Featured Events Highlights from our events calendar include: x LoCo presents: The London Comedy Film Festival 26 – 29 January LoCo joins forces with BFI Southbank to present the first London Comedy Film Festival, with features previews, classics, masterclasses and special guests in celebration of the genre x Plus previews of some of the best titles from the BFI London Film Festival: -
The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d. -
Modus Operandi Films and High Point Media Group Present
Modus Operandi Films and High Point Media Group Present A film by Craig McCall Worldwide Sales: High Point Media Group Contact in Cannes: Residences du Grand Hotel, Cormoran II, 3 rd Floor: Tel: +33 (0) 4 93 38 05 87 London Contact: Tel: +44 20 7424 6870. Fax +44 20 7435 3281 [email protected] CAMERAMAN: The Life & Work of Jack Cardiff page 1 of 27 © Modus Operandi Films 2010 HP PRESS KIT CAMERAMAN: The Life and Work of Jack Cardiff www.jackcardiff.com Contents: - Film Synopsis p 3 - 10 Facts About Jack p 4 - Jack Cardiff Filmography p 5 - Quotes about Jack p 6 - Director’s Notes p 7 - Interviewee’s p 8 - Bio’s of Key Crew p10 - Director's Q&A p14 - Credits p 19 CAMERAMAN: The Life & Work of Jack Cardiff page 2 of 27 © Modus Operandi Films 2010 HP PRESS KIT CAMERAMAN : The Life and Work of Jack Cardiff A Documentary Feature Film Logline: Celebrating the remarkable nine decade career of legendary cinematographer, Jack Cardiff, who provided the canvas for classics like The Red Shoes and The African Queen . Short Synopsis: Jack Cardiff’s career spanned an incredible nine of moving picture’s first ten decades and his work behind the camera altered the look of films forever through his use of Technicolor photography. Craig McCall’s passionate film about the legendary cinematographer reveals a unique figure in British and international cinema. Long Synopsis: Cameraman illuminates a unique figure in British and international cinema, Jack Cardiff, a man whose life and career are inextricably interwoven with the history of cinema spanning nine decades of moving pictures' ten. -
Sexual Harassment Confession by Marianne M. Jennings
nepe-37-02-03 Page 7 PDF Created: 2018-5-31: 9:14:AM Ethics at Work Sexual Harassment Confession Silent bystanders extend the problem By Marianne M. Jennings, JD ©iStockphoto.com/jvannice knew enough to do more than I did" was the Power confession offered by Hollywood director Quentin The Weinstein type of behavior cannot continue unless the “ Tarantino to a New York Times reporter. He then gave individual involved is powerful. The most likely source of I specific examples of producer Harvey Weinstein’s that power is the ability to control employment. Employees behavior with named actresses and offered his assurance allow bad or illegal behaviors to happen or continue that he was not speaking of knowledge through gossip or without reporting or disclosing them because of their fear of secondhand information. In fact, his one-time girlfriend Mira retaliation. Sorvino had told him about Mr. Weinstein’s advances with her. An employee at a company once remarked to me that he He added that if he had done something, he would not have was unwilling to report issues of noncompliance because been able to work with Mr. Weinstein. Mr. Weinstein and Mr. “the first whale to the surface always gets harpooned.” When Tarantino had a close business relationship that brought a subordinate engages in illegal or inappropriate behavior, both financial success and critical acclaim. Mr. Weinstein we disclose the actions and take appropriate steps. When had referred to his production company as “the house that someone above us in the organization, political world, or Quentin built” with Pulp Fiction, Inglourious Basterds, and industry engages in illegal or inappropriate behavior, we note Django Unchained being their biggest hits. -
12 Big Names from World Cinema in Conversation with Marrakech Audiences
The 18th edition of the Marrakech International Film Festival runs from 29 November to 7 December 2019 12 BIG NAMES FROM WORLD CINEMA IN CONVERSATION WITH MARRAKECH AUDIENCES Rabat, 14 November 2019. The “Conversation with” section is one of the highlights of the Marrakech International Film Festival and returns during the 18th edition for some fascinating exchanges with some of those who create the magic of cinema around the world. As its name suggests, “Conversation with” is a forum for free-flowing discussion with some of the great names in international filmmaking. These sessions are free and open to all: industry professionals, journalists, and the general public. During last year’s festival, the launch of this new section was a huge hit with Moroccan and internatiojnal film lovers. More than 3,000 people attended seven conversations with some legendary names of the big screen, offering some intense moments with artists, who generously shared their vision and their cinematic techniques and delivered some dazzling demonstrations and fascinating anecdotes to an audience of cinephiles. After the success of the previous edition, the Festival is recreating the experience and expanding from seven to 11 conversations at this year’s event. Once again, some of the biggest names in international filmmaking have confirmed their participation at this major FIFM event. They include US director, actor, producer, and all-around legend Robert Redford, along with Academy Award-winning French actor Marion Cotillard. Multi-award-winning Palestinian director Elia Suleiman will also be in attendance, along with independent British producer Jeremy Thomas (The Last Emperor, Only Lovers Left Alive) and celebrated US actor Harvey Keitel, star of some of the biggest hits in cinema history including Thelma and Louise, The Piano, and Pulp Fiction. -
Bertrand Tavernier's Coup De Torchon
N AHEM Y OUSAF A Southern Sheriff’s Revenge: Bertrand Tavernier’s Coup de Torchon This essay traces the story of a Texan small-town sheriff as first told and reworked by the American pulp fiction writer Jim Thompson in The Killer Inside Me (1952) and Pop. 1280 (1964), and transformed by French film director Bertrand Tavernier when he transposes this par- ticular ‘Southern’ sheriff’s story to colonial Senegal in 1938 in Coup de Torchon (Clean Slate, 1980). To begin, this essay considers why Thompson shifts his story from the American ‘West’ in the 1950s to the American ‘South’ in the 1960s before examining in some detail the ways in which Tavernier’s cross-cultural and trans-generic remake of Pop. 1280 successfully interrogates southern tropes in non-southern settings. The image of the Southern sheriff in twentieth-century fiction and film accrued mainly negative connotations, by focusing on the stakes sheriffs had in white supremacy and in maintaining a segregated sta- tus quo, or exploring their limited efforts to move beyond being either ineffectual or corrupt – or both. In novels such as Erskine Caldwell’s Trouble in July (1940) and Elizabeth Spencer’s The Voice at the Back Door (1956), for example, the small-town sheriff is mired in a moral dilemma. Spencer created Mississippi sheriff Duncan Harper while living in Italy. Thrust into office by the dying incumbent, he struggles against racist crimes that have been ignored in the past, the repercus- sions of which threaten the present. He dies having made a racially liberal plea to the town that after his death may choose to deem him merely eccentric. -
Reading for Fictional Worlds in Literature and Film
Reading for Fictional Worlds in Literature and Film Danielle Simard Doctor of Philosophy University of York English and Related Literature March, 2020 2 Abstract The aim of this thesis is to establish a critical methodology which reads for fictional worlds in literature and film. Close readings of literary and cinematic texts are presented in support of the proposition that the fictional world is, and arguably should be, central to the critical process. These readings demonstrate how fictional world-centric readings challenge the conclusions generated by approaches which prioritise the author, the reader and the viewer. I establish a definition of independent fictional worlds, and show how characters rather than narrative are the means by which readers access the fictional world in order to analyse it. This interdisciplinary project engages predominantly with theoretical and critical work on literature and film to consider four distinct groups of contemporary novels and films. These texts demand readings that pose potential problems for my approach, and therefore test the scope and viability of my thesis. I evaluate character and narrative through Fight Club (novel, Chuck Palahniuk [1996] film, David Fincher [1999]); genre, context, and intertextuality in Solaris (novel, Stanisław Lem [1961] film, Andrei Tarkovsky [1974] film, Steven Soderbergh [2002]); mythic thinking and character’s authority with American Gods (novel, Neil Gaiman [2001]) and Anansi Boys (novel, Neil Gaiman [2005]); and temporality and nationality in Cronos (film, Guillermo -
SHIRCORE Jenny
McKinney Macartney Management Ltd JENNY SHIRCORE - Make-Up and Hair Designer 2003 Women in Film Award for Best Technical Achievement Member of The Academy of Motion Picture Arts & Sciences THE DIG Director: Simon Stone. Producers: Murray Ferguson, Gabrielle Tana and Ellie Wood. Starring: Lily James, Ralph Fiennes and Carey Mulligan. BBC Films. BAFTA Nomination 2021 - Best Make-Up & Hair KINGSMAN: THE GREAT GAME Director: Matthew Vaughn. Producer: Matthew Vaughn. Starring: Ralph Fiennes and Tom Holland. Marv Films / Twentieth Century Fox. THE AERONAUTS Director: Tom Harper. Producers: Tom Harper, David Hoberman and Todd Lieberman. Starring: Felicity Jones and Eddie Redmayne. Amazon Studios. MARY QUEEN OF SCOTS Director: Josie Rourke. Producers: Tim Bevan, Eric Fellner and Debra Hayward. Starring: Margot Robbie, Saoirse Ronan and Joe Alwyn. Focus Features / Working Title Films. Academy Award Nomination 2019 - Best Make-Up & Hairstyling BAFTA Nomination 2019 - Best Make-Up & Hair THE NUTCRACKER & THE FOUR REALMS Director: Lasse Hallström. Producers: Mark Gordon, Larry J. Franco and Lindy Goldstein. Starring: Keira Knightley, Morgan Freeman, Helen Mirren and Misty Copeland. The Walt Disney Studios / The Mark Gordon Company. WILL Director: Shekhar Kapur. Exec. Producers: Alison Owen and Debra Hayward. Starring: Laurie Davidson, Colm Meaney and Mattias Inwood. TNT / Ninth Floor UK Productions. Gable House, 18 – 24 Turnham Green Terrace, London W4 1QP Tel: 020 8995 4747 E-mail: [email protected] www.mckinneymacartney.com VAT Reg. No: 685 1851 06 JENNY SHIRCORE Contd … 2 BEAUTY & THE BEAST Director: Bill Condon. Producers: Don Hahn, David Hoberman and Todd Lieberman. Starring: Emma Watson, Dan Stevens, Emma Thompson and Ian McKellen. Disney / Mandeville Films. -
Of Gods and Men
A Sony Pictures Classics Release Armada Films and Why Not Productions present OF GODS AND MEN A film by Xavier Beauvois Starring Lambert Wilson and Michael Lonsdale France's official selection for the 83rd Academy Award for Best Foreign Language Film 2010 Official Selections: Toronto International Film Festival | Telluride Film Festival | New York Film Festival Nominee: 2010 European Film Award for Best Film Nominee: 2010 Carlo di Palma European Cinematographer, European Film Award Winner: Grand Prix; Ecumenical Jury Prize - 2010Cannes Film Festival Winner: Best Foreign Language Film, 2010 National Board of Review Winner: FIPRESCI Award for Best Foreign Language Film of the Year, 2011 Palm Springs International Film Festival www.ofgodsandmenmovie.com Release Date (NY/LA): 02/25/2011 | TRT: 120 min MPAA: Rated PG-13 | Language: French East Coast Publicist West Coast Publicist Distributor Sophie Gluck & Associates Block-Korenbrot Sony Pictures Classics Sophie Gluck Ziggy Kozlowski Carmelo Pirrone 124 West 79th St. Melody Korenbrot Lindsay Macik New York, NY 10024 110 S. Fairfax Ave., Ste 310 550 Madison Avenue Phone (212) 595-2432 Los Angeles, CA 90036 New York, NY 10022 [email protected] Phone (323) 634-7001 Phone (212) 833-8833 Fax (323) 634-7030 Fax (212) 833-8844 SYNOPSIS Eight French Christian monks live in harmony with their Muslim brothers in a monastery perched in the mountains of North Africa in the 1990s. When a crew of foreign workers is massacred by an Islamic fundamentalist group, fear sweeps though the region. The army offers them protection, but the monks refuse. Should they leave? Despite the growing menace in their midst, they slowly realize that they have no choice but to stay… come what may. -
Something Interesting Is Happening. Harvey Weinstein Was the King of Hollywood
Something interesting is happening. Harvey Weinstein was the king of Hollywood. The King. He was also a bully that used his male power and privilege to harass and abuse women. His behavior was allowed to persist for years. Until now. Someone said something, and then someone else said something. Suddenly, a bigger conversation is happening. Why did it take years, decades, so many women impacted? Why are there so many examples, just like this one, in the worlds of politics, sports, families, and corporate environments? Let's make sure we keep this conversation going. Meet the boys and girls from Maine. Thousands of young people in Maine have worked with Maine Boys to Men and could talk with Harvey about the realities of male power and privilege, what empathy and emotional connectedness with others means, why gender equity in relationships is a good thing for everybody. They could talk with The Men Who Kept Harvey Weinstein Safe about what it means to be an ally; to stand up with women and girls to stop these actions before they become violent. They could explain the power that bystanders have and describe specific ways to disrupt sexist, disrespectful, and abusive behaviors long before they get to this point. In short, Harvey and so many others could learn a lot from the boys and girls from Maine! The Proof. A recent evaluation of our middle school Reducing Sexism and Violence Program (RSVP), led by the University of New Hampshire, demonstrated a significant decrease in the endorsement of attitudes supporting male power and privilege, a self- reported increase in emotional awareness, and a significant increase in the endorsement of gender equity in relationships! Multiple 3rd party evaluations of RSVP for High School, including a two- year study by the Maine Center for Public Health, showed that RSVP changes attitudes, behaviors, and beliefs about sexism, sexual harassment, and gender-based violence. -
1 Evolving Authorship, Developing Contexts: 'Life Lessons'
Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009).