Laurence Dorman Production Designer

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Laurence Dorman Production Designer www.laurencedorman.co.uk Film & Television Director Production Co. Producers KILLING EVE Damon Thomas Sid Gentle Films Elinor Day Series 2 & 3 Terry McDonough Nige Watson Miranda Bowen Nomination: Emmys, Outstanding Production Design for a Narrative Contemporary Program, 2020 Nomination: BAFTA Craft, Production Design, 2020 Nomination: Emmys, Outstanding Production Design for a Narrative Contemporary Program, 2019 Gurinder Chadha Bend It Films Deepak Nayar Pathé Paul Ritchie Gurinder Chadha A ROYAL NIGHT OUT Julian Jarrold Ecosse Films Robert Bernstein Douglas Rae DOM HEMINGWAY Richard Shepard Recorded Picture Company Jeremy Thomas BBC Films CREATION Jon Amiel Recorded Picture Company Jeremy Thomas ME AND ORSON WELLES Richard Linklater CinemaNX Ann Carli Marc Samuelson FRANKLYN Gerald McMorrow Recorded Picture Company Jeremy Thomas FLASHBACKS OF A FOOL Baillie Walsh Left Turn Films Damon Bryant Lene Bausager GOAL! Danny Cannon Goal Productions Mike Jefferies Milkshake Films Matt Barrelle ASYLUM David Mackenzie Seven Arts Pictures Peter Hoffman YOUNG ADAM David Mackenzie Recorded Picture Company Jeremy Thomas StudioCanal Alexandra Stone Nomination: Outstanding Technical Achievement (Production Design), Evening Standard British Film Award 2013 SILENT CRY Julian Richards Little Wings Productions Peter La Terrier Tim Dennison PERFECT STRANGERS Stephen Poliakoff Talkback Productions John Chapman PANDAEMONIUM Julien Temple Mariner Films MILK William Brookfield Gummfluh Films Ltd Meg Thompson George Duffield BRAMWELL Paul Unwin Whitby Davison Productions Tim Whitby TV Movie Tim Whitby Carlton Television Harriet Davison COMING HOME Giles Foster Portman Productions David Cunliffe Telemuenchen PHOTOGRAPHING Nick Willing Dog Star Films Michele Camarda FAIRIES THE YOUNG AMERICANS Danny Cannon Working Title Films Alison Owen - 1 - Paul Trijbits BRAMWELL David Tucker Whitby Davison Productions Tim Whitby Series 1 & 2 Laura Simms Carlton Television Harriet Davison Paul Unwin (short) John Roberts NFTS Michele Camarda Winner: Honorary Foreign Film Award, Student Academy Awards 1992 - 2 - .

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Takeshi Kitano
UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL SÉRGIO LUIZ LIMA GRECCO TAKESHI KITANO UM CINEASTA DE DOIS MUNDOS: HOLLYWOOD E O TRADICIONAL CINEMA JAPONÊS Porto Alegre 2007 SÉRGIO LUIZ LIMA GRECCO TAKESHI KITANO UM CINEASTA DE DOIS MUNDOS: HOLLYWOOD E O TRADICIONAL CINEMA JAPONÊS Monografia em Comunicação Social Para a formação no curso de Comunicação Social – Publicidade e Propaganda Universidade Federal do Rio Grande do Sul Faculdade de Biblioteconomia e Comunicação Social (FABICO) Cinema Orientadora: Profa. Dra. Miriam de Souza Rossini Porto Alegre 2007 AGRADECIMENTO Agradeço a ajuda das pessoas que, das mais diversas maneiras, tornaram esta monografia possível: Aiko Tsukamoto, Ana Paula Wisnievski da Cunha, Bruno Storchi Bergmann, Mariana Yatsuda Ikuta, Mariana Pacheco Corrêa, minha orientadora Miriam Rossini, e aos meus pais: Sérgio Luiz Grecco e Lucimar Soares de Lima Grecco. Muito obrigado! RESUMO Este trabalho tem como objetivo estudar e entender o cinema de Takeshi Kitano através de suas duas influências principais, o cinema hollywoodiano e o cinema tradicional japonês. Para isso, foi primeiramente estudada a cultura do homem atual, dando destaque para o Japão globalizado, onde convivem o passado tradicional e a cultura ocidental e tecnológica atual. Depois, buscou-se compreender as diferentes particularidades e aspectos das escolas de cinema norte-americana e japonesa, suas conexões com suas respectivas culturas, e suas influências nos trabalhos de Kitano. No final, fez-se uma análise, baseada nos estudos anteriores, de um dos filmes de Takeshi Kitano: Brother, de 2000. PALAVRAS-CHAVE: cinema, cultura, tradição, globalização, Japão, Hollywood. SUMÁRIO INTRODUÇÃO ...................................................................................................................... 5 1 CULTURA E TRADIÇÃO: O LOCAL E O GLOBAL NA CONTEMPORANEIDADE ................................................................................................
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Uk Producers in Cannes 2009
UK PRODUCERS IN CANNES 2009 Produced by Export Development www.ukfilmcouncil.org/exportteam The UK Film Council The UK Film Council is the Government-backed lead agency for film in the UK ensuring the economic, cultural and educational aspects of films are effectively represented at home and abroad. Our goal is to help make the UK a global hub for film in the digital age, with the world’s most imaginative, diverse and vibrant film culture, underpinned by a flourishing, competitive film industry. We invest Government grant-in-aid and Lottery money in developing new filmmakers, in funding new British films and in getting a wider choice of films to audiences throughout the UK. We also invest in skills training, promoting Britain as an international filmmaking location and in raising the profile of British films abroad. The UK Film Council Export Development team Our Export Development team supports the export of UK films and talent and services internationally in a number of different ways: Promoting a clear export strategy Consulting and working with industry and government Undertaking export research Supporting export development schemes and projects Providing export information The team is located within the UK Film Council’s Production Finance Division and is part of the International Group. Over the forthcoming year, Export Development will be delivering umbrella stands at the Toronto International Film Festival and Hong Kong Filmart; and supporting the UK stands at the Pusan Asian Film Market; American Film Market and the European Film Market, Berlin;. The team will also be leading Research & Development delegations to Japan and China.
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Ewan Mcgregor Tilda Swinton
Presents Ewan McGregor Tilda Swinton YOUNG ADAM “…the best performance of Ewan McGregor's career” Peter Bradshaw, The Guardian WINNER of 4 SCOTTISH BAFTA AWARDS Best Actor (Ewan McGregor) | Best Actress (Tilda Swinton) Best Director (David Mackenzie) | Best Film Nationally in Select Cinemas April 7, 2005 Rating: MA High Level Sex Scenes, Nudity Running Time: 94 minutes www.madman.com.au/incinemas ALL IMAGES AVAILABLE AT: www.image.net Exhibitor contact (and VIC publicity): Publicity (all states excluding VIC) Anna McLeish Edweana Wenkart Theatrical Distribution Manager Director Madman Cinema Tsuki Publicity [email protected] | +61 3 9417 0977 [email protected] | +61 3 8354 1830 RECORDED PICTURE COMPANY, HANWAY, FILM COUNCIL, SCOTTISH SCREEN and SVENO MEDIA present a JEREMY THOMAS production a film by DAVID MACKENZIE EWAN MCGREGOR, TILDA SWINTON, PETER MULLAN, EMILY MORTIMER YOUNG ADAM Casting by DES HAMILTON Costume designer JACQUELINE DURRAN Production designer LAURENCE DORMAN Film editor COLIN MONIE Director of photography GILES NUTTGENS Music by DAVID BYRNE Associate producers PETER WATSON, STEPHAN MALLMANN, GILLIAN BERRIE Based on the novel by ALEXANDER TROCCHI Co-producers ALEXANDRA STONE, NICK O’HAGAN, JIM REEVE Produced by JEREMY THOMAS Written and directed by DAVID MACKENZIE YOUNG ADAM Written and directed by the award-winning short filmmaker David Mackenzie, Young Adam is a hauntingly faithful adaptation of the novel by the Scottish Beat writer Alexander Trocchi. Featuring a strong cast headed by Ewan McGregor, Tilda Swinton, Peter Mullan and Emily Mortimer, Young Adam is a moody, sensual thriller that takes place on the canals between Glasgow and Edinburgh during the 1950s.
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The Future: the Fall and Rise of the British Film Industry in the 1980S
THE FALL AND RISE OF THE BRITISH FILM INDUSTRY IN THE 1980S AN INFORMATION BRIEFING National Library Back to the Future the fall and rise of the British Film Industry in the 1980s an information briefing contents THIS PDF IS FULLY NAVIGABLE BY USING THE “BOOKMARKS” FACILITY IN ADOBE ACROBAT READER SECTION I: REPORT Introduction . .1 Britain in the 1980s . .1 Production . .1 Exhibition . .3 TV and Film . .5 Video . .7 “Video Nasties” & Regulation . .8 LEADING COMPANIES Merchant Ivory . .9 HandMade Films . .11 BFI Production Board . .12 Channel Four . .13 Goldcrest . .14 Palace Pictures . .15 Bibliography . .17 SECTION II: STATISTICS NOTES TO TABLE . .18 TABLE: UK FILM PRODUCTIONS 1980 - 1990 . .19 Written and Researched by: Phil Wickham Erinna Mettler Additional Research by: Elena Marcarini Design/Layout: Ian O’Sullivan © 2005 BFI INFORMATION SERVICES BFI NATIONAL LIBRARY 21 Stephen Street London W1T 1LN ISBN: 1-84457-108-4 Phil Wickham is an Information Officer in the Information Services of the BFI National Library. He writes and lectures extensively on British film and television. Erinna Mettler worked as an Information Officer in the Information Services of the BFI National Library from 1990 – 2004. Ian O’Sullivan is also an Information Officer in the Information Services of the BFI National Library and has designed a number of publications for the BFI. Elena Marcarini has worked as an Information Officer in the Information Services Unit of the BFI National Library. The opinions contained within this Information Briefing are those of the authors and are not expressed on behalf of the British Film Institute. Information Services BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel: + 44 (0) 20 7255 1444 Fax: + 44 (0) 20 7436 0165 Try the BFI website for film and television information 24 hours a day, 52 weeks a year… Film & TV Info – www.bfi.org.uk/filmtvinfo - contains a range of information to help find answers to your queries.
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UNIVERSITY OF SHEFFIELD KITANO TAKESHI: AUTHORSHIP1 GENRE & STARDOM IN JAPANESE CINEMA PHD THESIS ADAM R BINGHAM 2009 VOL II 213 The Return of the Kids! A Scene at the Sea [1991], Kids Return [1996] & Dolls [2002] It is possible to sub-divide and compartmentally categorise the oeuvre of Kitano Takeshi in several distinct and mutually compatible ways. Thus far, the tendency in the critical discourse on his work has been, rather too readily and too easily, to focus on those aspects of his films deemed salient authorial determinants - such as the violence and tenderness - and apply this to the body of work as a whole. Thus, for better or for worse, one repeatedly finds in reviews of films such as Ana natsu, ichiban shizukana umi ... (A Scene at the Sea, 1991) and Kikujiro no natsu (Kikujiro, 1999) a focus on their lack of the violent material found in other, better known Kitano films. Similarly, a number of reviews and essays about Hana-Bi [1997] concentrated on its perceived Zen qualities, and in the US this quality of quietude and mono no aware was then read into other works that were released in the wake of 1997, even San tai yon, ekkusu ...jugatsu (Boiling Point, 1990). It is, of course, the central tenet of film authorship to evaluate one of a perceived auteur's films against the oeuvre in general. However, as the aforementioned example of Hana-Bi can amply attest, it is nonetheless the case that the common critical conceptions of Kitano Takeshi or even 'Beat' Takeshi that have gained consensus opinion have often been lazily employed, rehashed and repeated.
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Hoods and Yakuza the Shared Myth of the American and Japanese Gangster Film
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Download the Book of Projects
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The Global Dimension of Bertolucci's The
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978-952-03-0574-1.Pdf (1.986Mb)
CHRISTOS ANGELIS CHRISTOS Acta Universitatis Tamperensis 2326 CHRISTOS ANGELIS ”Time is Everything with Him” ”Time ”Time is Everything with Him” The Concept of the Eternal Now in Nineteenth-Century Gothic AUT 2326 AUT CHRISTOS ANGELIS ”Time is Everything with Him” The Concept of the Eternal Now in Nineteenth-Century Gothic ACADEMIC DISSERTATION To be presented, with the permission of the Faculty Council of the Faculty of Communication Sciences of the University of Tampere, for public discussion in the auditorium Pinni B 1097, Kanslerinrinne 1, Tampere, on 25 November 2017, at 12 o’clock. UNIVERSITY OF TAMPERE CHRISTOS ANGELIS “Time is Everything with Him” The Concept of the Eternal Now in Nineteenth-Century Gothic Acta Universitatis Tamperensis 2326 Tampere University Press Tampere 2017 ACADEMIC DISSERTATION University of Tampere Faculty of Communication Sciences Finland The originality of this thesis has been checked using the Turnitin OriginalityCheck service in accordance with the quality management system of the University of Tampere. Copyright ©2017 Tampere University Press and the author Cover design by Mikko Reinikka Acta Universitatis Tamperensis 2326 Acta Electronica Universitatis Tamperensis 1830 ISBN 978-952-03-0573-4 (print) ISBN 978-952-03-0574-1 (pdf) ISSN-L 1455-1616 ISSN 1456-954X ISSN 1455-1616 http://tampub.uta.fi Suomen Yliopistopaino Oy – Juvenes Print 441 729 Tampere 2017 Painotuote Acknowledgments This project would not have been possible without the help and influence of a significant number of people who played important roles through this process. To refer to them all by name would have been impossible. Still, I would like to thank the School of Language, Translation and Literary Studies and the Department of English of the University of Tampere (currently the Faculty of Communication Sciences) – the teaching as well as the administrative members of the staff – for their invaluable support and inspiration through these years.
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