For Immediate Release: EIGHT-TIME ACADEMY AWARD®- NOMINEE
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Information Packet for Prospective Students
Information Packet for Prospective Students This packet includes: ! Information about our major ! FAQs ! Press packet with news items on our students, faculty and alumni Be sure to visit our website for more information about our department: http://film.ucsc.edu/ For information about our facilities and to watch student films, visit SlugFilm: http://slugfilm.ucsc.edu/ If you have any questions, you can send an email to [email protected] Scroll Down for packet information More%information%can%be%found%on%the%UCSC%Admissions%website:%% UC Santa Cruz Undergraduate Admissions Film and Digital Media Introduction The Film and Digital Media major at UC Santa Cruz offers an integrated curriculum where students study the cultural impact of movies, television, video, and the Internet and also have the opportunity to pursue creating work in video and interactive digital media, if so desired. Graduates of the UC Santa Cruz Film and Digital Media program have enjoyed considerable success in the professional world and have gained admission to top graduate schools in the field. Degrees Offered ▪ B.A. ▪ M.A. ▪ Minor ▪ Ph.D. Study and Research Opportunities Department-sponsored independent field study opportunities (with faculty and department approval) Information for First-Year Students (Freshmen) High school students who plan to major in Film and Digital Media need no special preparation other than the courses required for UC admission. Freshmen interested in pursuing the major will find pertinent information on the advising web site, which includes a first-year academic plan. advising.ucsc.edu/summaries/summary-docs/FILM_FR.pdf Information for Transfers Transfer students should speak with an academic adviser at the department office prior to enrolling in classes to determine their status and to begin the declaration of major process as soon as possible. -
Estta474185 05/23/2012 in the United States
Trademark Trial and Appeal Board Electronic Filing System. http://estta.uspto.gov ESTTA Tracking number: ESTTA474185 Filing date: 05/23/2012 IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Proceeding 91198236 Party Plaintiff Lucasfilm Ltd., and Lucasfilm Entertainment Company Ltd. Correspondence ROSEMARY S TARLTON Address MORRISON & FOERSTER LLP 425 MARKET ST SAN FRANCISCO, CA 94105 UNITED STATES [email protected], [email protected], [email protected], [email protected] Submission Testimony For Plaintiff Filer's Name Rosemary S. Tarlton Filer's e-mail [email protected],[email protected],[email protected],[email protected] m Signature /Rosemary S. Tarlton/ Date 05/23/2012 Attachments Ex_89.pdf ( 2 pages )(84030 bytes ) Ex_90.pdf ( 2 pages )(119723 bytes ) Ex_91.pdf ( 3 pages )(439591 bytes ) Ex_92.pdf ( 2 pages )(63659 bytes ) Ex_93.pdf ( 2 pages )(251461 bytes ) Ex_94.pdf ( 3 pages )(535218 bytes ) Ex_95.pdf ( 9 pages )(2792159 bytes ) EXHIBIT 89 EXHIBIT 90 EXHIBIT 91 LUCASFILM R{igyãrs"[to¦kxyoz’"Xkrgzouty"""""Æ"""""nzzv@55puhy4r{igyãrs4ius5otzkxtynovy4nzsr""""Æ"""""{to¦kxyoz’xkrgzoutyFr{igyãrs4ius Internship Program R{igy"Roiktyotm"""""Æ""""""R{igy"Utrotk"""""Æ""""""R{igyGxzy"""""Æ""""""ORS"""""Æ""""""Yq’}grqkx"Yu{tj"""""Æ""""""R{igyãrs"Gtosgzout Jedi Academy Overview: ]k"gxk"ruuqotm"lux"g"lk}"muuj"Vgjg}gty'"Znk"R{igyãrs"iusvgtoky"gxk"ruuqotm"lux"mxkgz"ixkgzo¦k"zgrktz"" zu"puot"u{x"g}gxj"}ottotm"zkgsy4 Znk"Pkjo"Gigjks’"Vxumxgs"oy"g"y{sskx"otzkxtynov"zngz"R{igyãrs"x{ty"hkz}kkt"7837<"}kkqy"gz"znk"Rkzzkxsgt" -
Sundance Institute and Skywalker Sound Announce Independent Filmmakers and Film Composers for July Music and Sound Design Labs
FOR IMMEDIATE RELEASE Media Contact: June 30, 2015 Emel Shaikh 310.360.1981 [email protected] Stephen Kenneally Industrial Light & Magic / Skywalker Sound 415.746.2306 [email protected] Sundance Institute and Skywalker Sound Announce Independent Filmmakers and Film Composers for July Music and Sound Design Labs Fellows Include Kris Bowers, Germaine Franco, Danielle Eva Schwob and Jeremy Turner Creative Advisors Include Academy Award Winner Todd Boekelheide and Emmy Award Winner Laura Karpman Los Angeles, CA — Sundance Institute and Skywalker Sound today announced the independent narrative and documentary directors and composers selected for the Sundance Institute Music and Sound Design Labs at Skywalker Sound. This will be the third year the Music and Sound Design Labs take place at the Skywalker Ranch in northern California. The Labs are part of 24 residential labs the Institute hosts annually to discover and foster the talent of emerging independent artists in film, theatre, new media and episodic content. The Music and Sound Design Labs provide a space for composers, directors and sound designers to collaborate on the process of designing a soundtrack for film. Fellows participate in workshops and creative exercises under the guidance of leading film composers and film music professionals acting as Creative Advisors.The Music and Sound Design Lab for narrative feature films (July 7-21) is a joint initiative of the Institute’s Film Music Program and Feature Film Program, and the Music and Sound Design Lab for documentaries (July 22-30) is a joint initiative of the Film Music Program and Documentary Film Program. Peter Golub, Director of the Sundance Institute Film Music Program, said, "This year’s fellows include an outstanding group of composers whose work will deepen and enrich the experience of the diverse personal stories being told by these fiction and documentary filmmakers. -
THE “TENET” THEORY Written by Esmarelda Villalobos
THE “TENET” THEORY Written by Esmarelda VillaLobos WARNING: MAJOR SPOILERS AHEAD. “Tenet” begins with an attack on the arts. It is the first event in the film, right out of the gate, that sets the tone for the rest of the movie. In fact, in this film there are multiple attacks on art, but in the first few minutes of this topsy-turvy ride, we as the audience witness some kind of terrorist attack that occurs during the preparations for an orchestral performance somewhere in Russia, which, given the number of public shootings and horrific terrorist attacks that have plagued the world throughout the last decade, is not that far of a stretch from the truth. The first line of the film is “Time to wake up the Americans” to which we are now introduced to John David Washington’s character as The Protagonist. Through a series of what seems to be party-switching and criss-crossery (if that’s even a word), John David Washington is eventually caught. While under capture and interrogation, The Protagonist decides to sacrifice his own life for the good of the cause and swallow a cyanide pill given to him by the CIA. Cut to black. When we as the audience come back, John David Washington is in a hospital bed on a very large ship, somewhere beyond the sea. Now, on first viewing if you are to watch this film, you believe everything that is said – the cyanide pill is a fake, his taking it was a test to see if he would sacrifice himself in order to avoid torture and potentially give up secrets – which he did. -
ASC 100Th Reel 30-Second
E.T.: The Extra- John Seale, ASC, ACS Terrestrial (1982) Allen Daviau, ASC Enter the Dragon (1973) The Gold Rush (1925) Gil Hubbs, ASC Roland Totheroh, ASC The Godfather (1972) Citizen Kane (1941) Gordon Willis, ASC Gregg Toland, ASC ASC 100th Reel 30-Second The Tree of Life (2011) Apocalypse Now (1979) Clip Playlist Emmanuel Lubezki, ASC, Vittorio Storaro, ASC, AIC AMC The Dark Knight (2008) Link to Video here. Taxi Driver (1976) Wally Pfister, ASC Michael Chapman, ASC Close Encounters of the Kill Bill Vol. 1 (2003) Third Kind (1977) The Matrix (1999) Robert Richardson, ASC Vilmos Zsigmond, ASC, Bill Pope, ASC HSC King Kong (1933) Jurassic Park (1993) Edward Linden; J.O. Blade Runner 2049 Dead Cundey, ASC Taylor, ASC; Vernon L. (2017) Walker, ASC Roger Deakins, ASC, BSC Braveheart (1995) John Toll, ASC Star Trek (1966) Gone With the Wind "Where No Man Has (1939) The French Connection Gone Before" Ernest Haller, ASC (1971) Ernest Haller, ASC Owen Roizman, ASC Sunrise (1927) Footloose (2011) Charles Rosher, ASC Game of Thrones (2017) Amy Vincent, ASC Karl Struss, ASC “Dragonstone” Gregory Middleton, ASC Sunset Boulevard (1950) Titanic (1998) John F. Seitz, ASC Russell Carpenter, ASC The Sound of Music (1965) Psycho (1960) The Graduate (1967) Ted D. McCord, ASC John L. Russell, ASC Robert Surtees, ASC The Wizard of Oz (1939) For more background Singin’ in the Rain (1952) Harold Rosson, ASC on the American Harold Rosson, ASC Society of Rocky (1976) Cinematographers, The Color Purple (1985) James Crabe, ASC go to theasc.com. Allen Daviau, ASC Frankenstein (1931) Empire of the Sun (1987) Arthur Edeson, ASC Allen Daviau, ASC Platoon (1986) Black Panther (2018) Robert Richardson, ASC Rachel Morrison, ASC Mad Max: Fury Road (2015) . -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era
Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era. Edited by Murray Leeder. Bloomsbury Academic, 2015 (307 pages). Anton Karl Kozlovic Murray Leeder’s exciting new book sits comfortably alongside The Haunted Screen: Ghosts in Literature & Film (Kovacs), Ghost Images: Cinema of the Afterlife (Ruffles), Dark Places: The Haunted House in Film (Curtis), Popular Ghosts: The Haunted Spaces of Everyday Culture (Blanco and Peeren), The Spectralities Reader: Ghost and Haunting in Contemporary Cultural Theory (Blanco and Peeren), The Ghostly and the Ghosted in Literature and Film: Spectral Identities (Kröger and Anderson), and The Spectral Metaphor: Living Ghosts and the Agency of Invisibility (Peeren) amongst others. Within his Introduction Leeder claims that “[g]hosts have been with cinema since its first days” (4), that “cinematic double exposures, [were] the first conventional strategy for displaying ghosts on screen” (5), and that “[c]inema does not need to depict ghosts to be ghostly and haunted” (3). However, despite the above-listed texts and his own reference list (9–10), Leeder somewhat surprisingly goes on to claim that “this volume marks the first collection of essays specifically about cinematic ghosts” (9), and that the “principal focus here is on films featuring ‘non-figurative ghosts’—that is, ghosts supposed, at least diegetically, to be ‘real’— in contrast to ‘figurative ghosts’” (10). In what follows, his collection of fifteen essays is divided across three main parts chronologically examining the phenomenon. Part One of the book is devoted to the ghosts of precinema and silent cinema. In Chapter One, “Phantom Images and Modern Manifestations: Spirit Photography, Magic Theater, Trick Films, and Photography’s Uncanny”, Tom Gunning links “Freud’s uncanny, the hope to use modern technology to overcoming [sic] death or contact the afterlife, and the technologies and practices that led to cinema” (10). -
2. the Uncanny Child of the Millennial Turn
2. The Uncanny Child of the Millennial Turn Abstract Chapter Two focuses on two American films released in 1999, The Sixth Sense (M. Night Shyamalan) and Stir of Echoes (David Koepp) to il- lustrate how, at the cusp of the millennium, the uncanny child character became a precisely realized embodiment of the adult protagonist’s personal trauma. These films engage with anxieties of the period: in 1999, the im- minent transition into the new century – and millennium – was a strongly felt condition that unsettled a naturalized sense of temporal, personal, and historical progression. The chapter then turns to a later amplification of this trend, Insidious (James Wan, 2010), in which the uncanny child’s imbrication with the adult patriarch’s trauma is self-reflexively addressed. Keywords: Uncanny, Childhood, Trauma, Secret, Millennial turn, The Sixth Sense The uncanny child cycle was reignited in the U.S. at the cusp of the mil- lennium by The Sixth Sense (Shyamalan) and Stir of Echoes (Koepp), released within months of each other in 1999. In particular, The Sixth Sense was the second highest-grossing film of the year, earning $293 million at the box office behind only the highly anticipated Star Wars Episode 1: The Phantom Menace (George Lucas) (Kendrick, 2010, 142). As James Kendrick points out, the horror genre had not produced a blockbuster of this cultural and financial magnitude since Jaws (Steven Spielberg, 1975), and, prior to that, The Exorcist. He asserts that: the cycle of films that emerged in the wake of The Sixth Sense is particu- larly important and worthy of attention because, not only was it extremely concentrated, but it marked a decided shift in the horror genre as it was currently constituted, which served a dual function. -
The Honorable Mentions Movies – LIST 3
The Honorable mentions Movies – LIST 3: 1. Modern Times by Charles Chaplin (1936) 2. Pinocchio by Hamilton Luske et al. (1940) 3. Late Spring by Yasujirō Ozu (1949) 4. The Virgin Spring by Ingmar Bergman (1960) 5. Charade by Stanley Donen (1963) 6. The Soft Skin by François Truffaut (1964) 7. Who's Afraid of Virginia Woolf? by Mike Nichols (1966) 8. Dog Day Afternoon by Sidney Lumet (1975) 9. Love Unto Death by Alain Resnais (1984) 10. Kiki's Delivery Service by Hayao Miyazaki (1989) 11. Bram Stoker's Dracula by Francis Ford Coppola (1992) 12. Léon: The Professional by Luc Besson (1994) 13. Princess Mononoke by Hayao Miyazaki (1997) 14. Fight Club by David Fincher (1999) 15. Rosetta by Jean-Pierre Dardenne, Luc Dardenne (1999) 16. The Ninth Gate by Roman Polanski (1999) 17. O Brother, Where Art Thou? by Ethan Coen, Joel Coen (2000) 18. The Return Andrey Zvyagintsev (2003) 19. The Sea Inside by Alejandro Amenábar (2004) 20. Broken Flowers by Jim Jarmusch (2005) 21. Climates by Nuri Bilge Ceylan (2006) 22. The Prestige by Christopher Nolan (2006) 23. The Class by Laurent Cantet (2008) 24. Mother by Bong Joon-ho (2009) 25. Shutter Island by Martin Scorsese (2010) 26. The Tree of Life by Terrence Malick (2011) 27. The Artist by Michel Hazanavicius (2011) 28. Melancholia by Lars von Trier (2011) 29. Hugo by Martin Scorsese (2011) 30. Twice Born by Sergio Castellitto (2012) 31. August Osage county by John Wells (2013) 32. 12 Years a Slave by Steve McQueen (2013) 33. The Best Offer by Giuseppe Tornatore (2013) 34. -
Disneyland® Park
There’s magic to be found everywhere at The Happiest Place on Earth! Featuring two amazing Theme Parks—Disneyland® Park and Disney California Adventure® Park—plus three Disneyland® Resort Hotels and the Downtown Disney® District, the world-famous Disneyland® Resort is where Guests of all ages can discover wonder, joy and excitement around every turn. Plan enough days to experience attractions and entertainment in 1 both Parks. 5 INTERSTATE 4 5 2 3 6 Go back and forth between both Theme Parks with a Disneyland® Resort Park Hopper® 1 Disneyland® Hotel 4 Downtown Disney® District Ticket. Plus, when you buy a 3+ day ticket before you arrive, you get one Magic Morning* 2 Disney’s Paradise Pier® Hotel Disneyland® Park early admission to select experiences 5 at Disneyland® Park one hour before the Park opens to the general public on select days. 3 Disney’s Grand Californian Hotel® & Spa 6 Disney California Adventure® Park *Magic Morning allows one early admission (during the duration of the Theme Park ticket or Southern California CityPASS®) to select attractions, stores, entertainment and dining locations at Disneyland® Park one hour before the Park opens to the public on Tuesday, Thursday or Saturday. Each member of your travel party must have 3-day or longer Disneyland® Resort tickets. To enhance the Magic Morning experience, it is strongly recommended that Guests arrive at least one hour and 15 minutes prior to regular Park opening. Magic Morning admission is based on availability and does not operate daily. Applicable days and times of operation and all other elements including, but not limited to, operation of attractions, entertainment, stores and restaurants and appearances of Characters may vary and are subject to change without notice. -
An October Film List for Cooler Evenings and Candlelit Rooms
AUTUMN An October Film List For cooler evenings and candlelit rooms. For tricks and treats and witches with brooms. For magic and mischief and fall feelings too. And good ghosts and bad ghosts who scare with a “boo!” For dark haunted houses and shadows about. And things unexplained that might make you shout. For autumn bliss with colorful trees or creepier classics... you’ll want to watch these. FESTIVE HALLOWEEN ANIMATED FAVORITES GOOD AUTUMN FEELS BEETLEJUICE CORALINE AUTUMN IN NEW YORK CASPER CORPSE BRIDE BAREFOOT IN THE PARK CLUE FANTASTIC MR. FOX BREAKFAST AT TIFFANY’S DARK SHADOWS FRANKENWEENIE DEAD POET’S SOCIETY DOUBLE DOUBLE TOIL AND TROUBLE HOTEL TRANSYLVANIA MOVIES GOOD WILL HUNTING E.T. JAMES AND THE GIANT PEACH ONE FINE DAY EDWARD SCISSORHANDS MONSTER HOUSE PRACTICAL MAGIC GHOSTBUSTERS PARANORMAN THE CRAFT HALLOWEENTOWN THE GREAT PUMPKIN CHARLIE BROWN THE WITCHES OF EASTWICK HOCUS POCUS THE NIGHTMARE BEFORE CHRISTMAS WHEN HARRY MET SALLY LABYRINTH YOU’VE GOT MAIL SLEEPY HOLLOW THE ADAMS FAMILY MOVIES THE HAUNTED MANSION THE WITCHES SCARY MOVIES A HAUNTING IN CONNECTICUT RELIC THE LODGE A NIGHTMARE ON ELM STREET ROSEMARY’S BABY THE MOTHMAN PROPHECIES AMMITYVILLE HORROR THE AUTOPSY OF JANE DOE THE NUN ANNABELLE MOVIES THE BABADOOK THE OTHERS AS ABOVE SO BELOW THE BIRDS THE POSSESSION CARRIE THE BLACKCOAT’S DAUGHTER THE POSSESSION OF HANNAH GRACE HALLOWEEN MOVIES THE BLAIR WITCH PROJECT THE SHINING HOUSE ON HAUNTED HILL THE CONJURING MOVIES THE SIXTH SENSE INSIDIOUS MOVIES THE EXORCISM OF EMILY ROSE THE VILLAGE IT THE EXORCIST THE VISIT LIGHTS OUT THE GRUDGE THE WITCH MAMA THE HAUNTING THE WOMAN IN BLACK POLTERGEIST THE LAST EXORCISM It’s alljust a bit of hocus pocus.. -
10700990.Pdf
The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to 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. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date.