Dossier De Presse Wonder Wheel
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Wonder Wheel Metropole Press Kit.Pdf
Amazon Studios présente En association avec Gravier Productions Une production Perdido Durée : 1h41 AU CINÉMA DÈS LE 15 DÉCEMBRE DISTRIBUTION PRESSE MÉTROPOLE FILMS STAR PR 5360 St-Laurent Bonne Smith Montréal, QC H1T 2S1 Tel: 416-488-4436 Twitter: info@métropolefilms.com Bonne@starpr2 [email protected] Photos, vidéos et dossier de presse téléchargeables sur www.métropolefilms.com SYNOPSIS WONDER WHEEL croise les trajectoires de quatre personnages, dans l’effervescence du parc d’attraction de Coney Island, dans les années 50 : Ginny, ex-actrice lunatique reconvertie serveuse ; Humpty, opérateur de manège marié à Ginny ; Mickey, séduisant maître- nageur aspirant à devenir dramaturge ; et Carolina, fille de Humpty longtemps disparue de la circulation qui se réfugie chez son père pour fuir les gangsters à ses trousses. NOTES DE PRODUCTION Woody Allen a toujours éprouvé une grande tendresse pour Coney Island. des situations, à la fois complexes, profondes, intenses, déroutantes et fortes. Ce n’est d’ailleurs pas un hasard si, dans ANNIE HALL, le petit Alvy Singer Je me suis toujours intéressé aux problèmes des femmes. Au fil des siècles, les grandit à proximité du parc d’attraction. Le cinéaste en garde des souvenirs hommes ont eu tendance à exprimer moins volontiers leurs souffrances : le d’enfance joyeux : « Quand je suis né, l’époque florissante de Coney Island était mot d’ordre masculin consiste à ne pas avouer qu’on souffre. C’est comme dans déjà révolue depuis un bon moment, mais c’était encore un endroit magique le base-ball où, quand un “batteur” est touché par un “lanceur”, il est censé ne pour moi, confie-t-il. -
Woody Allen: Wihi and Blake's Approach Throughout Is Chrono- Interpreting Sacred and Profane Logical, Which Imposes a Necessarily Rigid Documents of the by Richard A
Equally important are the avenues of fur- concems of Judaism are actually treated by ther study that McDantiell suggests in the Allen ''with extreme seriousness," comic book's conclusion: exces.s in ritual and or otherwise. He cites "Annie Hall" (1977) decoration as failh expression in the United and "Hannah and Her Sislers" (1986) for States; the use of food in maintaining soli- their references to the Holocaust and con- darity and celebrating economic and spiri- cem over a Jewish anxiety-ridden outsider tual abundance; an exploration of the mate- status, which supposedly trigger funda- s TO rial cultures of American Jews, Buddhists, mental theological questions about the m Muslims and Native Americans. McDan- Deity and free will. PlítSS nelTs book is an excellent resource for Certainly Allen's history as a screen- scholars of religion interested in material writer has seen him retum again and again Responses to 101 Questions Christianity, for sociologists and anthro- to wrestle with the ethical plight of how to on the Church Rkhanl n MiHrii-n pologists exploring the wider field of mate- live a decent life in a vicious universe with- A complete mini-course on the Church in rial culture and religious practice and for out meaning or human scale, subject always a format ;iiid style readily accessiblu to the specialists in women's studies concerned to the existential Angst Freud posited as general reader The book touches on every intrinsic to the human condition. Blake major aspect of the mystery of the with the gendering of religious practices in ("biirch—its ruiturc, mission, ministries the United States. -
DIGITAL ORIGINAL SERIES Global Demand Report
DIGITAL ORIGINAL SERIES Global Demand Report Trends in 2016 Copyright © 2017 Parrot Analytics. All rights reserved. Digital Original Series — Global Demand Report | Trends in 2016 Executive Summary } This year saw the release of several new, popular digital } The release of popular titles such as The Grand Tour originals. Three first-season titles — Stranger Things, and The Man in the High Castle caused demand Marvel’s Luke Cage, and Gilmore Girls: A Year in the for Amazon Video to grow by over six times in some Life — had the highest peak demand in 2016 in seven markets, such as the UK, Sweden, and Japan, in Q4 of out of the ten markets. All three ranked within the 2016, illustrating the importance of hit titles for SVOD top ten titles by peak demand in nine out of the ten platforms. markets. } Drama series had the most total demand over the } As a percentage of all demand for digital original series year in these markets, indicating both the number and this year, Netflix had the highest share in Brazil and popularity of titles in this genre. third-highest share in Mexico, suggesting that the other platforms have yet to appeal to Latin American } However, some markets had preferences for other markets. genres. Science fiction was especially popular in Brazil, while France, Mexico, and Sweden had strong } Non-Netflix platforms had the highest share in Japan, demand for comedy-dramas. where Hulu and Amazon Video (as well as Netflix) have been available since 2015. Digital Original Series with Highest Peak Demand in 2016 Orange Is Marvels Stranger Things Gilmore Girls Club De Cuervos The New Black Luke Cage United Kingdom France United States Germany Mexico Brazil Sweden Russia Australia Japan 2 Copyright © 2017 Parrot Analytics. -
WOODY ALLEN Produttori LETTY ARONSON, P.G.A
CON JIM BELUSHI JUNO TEMPLE JUSTIN TIMBERLAKE KATE WINSLET durata 101 minuti USCITA 28 DICEMBRE 2017 Foto e altro materiale stampa: ep.frenetic.ch/fr/1100 UFFICIO STAMPA DISTRIBUZIONE Sarah Hubmann FRENETIC FILMS AG Tel. 044 488 44 03 Lagerstrasse 102 • 8004 Zürich [email protected] Tél. 044 488 44 00 • Fax 044 488 44 11 www.frenetic.ch 2 CAST ARTISTICO Humpty JIM BELUSHI Carolina JUNO TEMPLE Mickey JUSTIN TIMBERLAKE Ginny KATE WINSLET Con (in ordine alfabetico) Ryan MAX CASELLA Richie JACK GORE Jake DAVID KRUMHOLTZ E con (in ordine di apparizione) Venditore ambulante ROBERT C. KIRK Amico di Humpty TOMMY NOHILLY Angelo TONY SIRICO Nick STEVEN R. SCHIRRIPA Barista da Ruby’s JOHN DOUMANIAN Uomo che flirta da Ruby’s THOMAS GUIRY Compagni di pesca GREGORY DANN, BOBBY SLAYTON, MICHAEL ZEGARSKI Amica di Ginny GENEVA CARR Cliente da Ruby’s ED JEWETT Ospiti della festa di compleanno DEBI MAZAR, DANIELLE FERLAND Psichiatra MADDIE CORMAN Rappresentante di orologi JACOB BERGER Tiny JENNA STERN Marinaio al telefono MICHAEL STRIANO John JOHN MAINIERI 3 CAST TECNICO Sceneggiatura/Regia WOODY ALLEN Produttori LETTY ARONSON, p.g.a. ERIKA ARONSON, p.g.a. EDWARD WALSON Co-Produttore HELEN ROBIN Produttori esecutivi ADAM B. STERN MARK ATTANASIO Produttore esecutivo RONALD L. CHEZ Cinematografia VITTORIO STORARO AIC, ASC Scene SANTO LOQUASTO Montaggio ALISA LEPSELTER ACE Costumi SUZY BENZINGER Casting PATRICIA DiCERTO Effetti speciali visivi BRAINSTORM DIGITAL Supervisione effetti visivi ERAN DINUR Supervisore/Produttore effetti speciali sul set RICHARD FRIEDLANDER Produttore effetti speciali GLENN ALLEN 4 SINOSSI Tra fragili speranze e nuovi sogni, le vite di quattro personaggi si intrecciano nel frenetico mondo del parco divertimenti. -
Information to Users
INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell information Company 300 Nortti Zeeb Road Ann Arbor Ml 48106-1346 USA 313 761-4700 800 521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. -
SNEAKY PETE : La Série Amazon Original Sera Disponible Exclusivement Sur Prime Video Le 27 Janvier 2017
SNEAKY PETE : la série Amazon Original sera disponible exclusivement sur Prime Video le 27 janvier 2017 La série Amazon Original Sneaky Pete, produite par Graham Yost et Bryan Cranston tous deux nominés aux Golden Globes et aux Emmy Awards, arrive en exclusivité sur Amazon Prime Video en France et en Belgique le 27 janvier. Récemment reconduite pour une seconde saison, la série a été la deuxième série la plus regardée en streaming le jour de son lancement aux Etats-Unis et au Royaume- Uni, derrière The Man in the High Castle. Les visuels de la série Sneaky Pete sont disponibles ici. Seattle, le 25 janvier - Avec la participation de Giovanni Ribisi (Avatar), Marin Ireland (Effets secondaires), Margo Martindale, actrice trois fois récompensée aux Emmy Awards (The Americans), Peter Gerety (Suspect numéro 1), Libe Barer (Parenthood), Shane McRae (Still Alice) and Michael Drayer (Mr. Robot), Sneaky Pete raconte l’histoire d'un escroc, Marius (Ribisi), qui, à sa sortie de prison, est traqué par le gangster vicieux qu'il a autrefois volé. Co-produite avec Sony Pictures Television, la série rassemble un grand nombre de producteurs exécutifs reconnus : Graham Yost (The Americans), Bryan Cranston (Breaking Bad), Michael Dinner et Fred Golan (Justified), James Degus (All The Way) et Seth Gordon (Comment tuer son Boss?). Dans Sneaky Pete, Marius est un escroc qui n’a personne vers qui se tourner. Pour échapper à son passé, il usurpe l’identité de Pete - son camarade de cellule - et prend sa place au sein de son étrange famille, qui n’a aucune raison de se douter qu’il n’est pas le proche qu’ils ont perdu de vue. -
AMAZON PRIME VIDEO OFFICIALLY COMING to CANADA Author: BILL HARRIS and MARK DANIELL Source: Toronto Sun Date: 14/12/2016
IN THE NEWS AMAZON PRIME VIDEO OFFICIALLY COMING TO CANADA Author: BILL HARRIS AND MARK DANIELL Source: Toronto Sun Date: 14/12/2016 TORONTO - The Amazon has overflowed, all the way up into Canada. Canadians now have a new option when it comes to streaming, thanks to Amazon Prime Video. Amazon announced Wednesday that it is bringing its video streaming service north of the border as part of a rollout in more than 200 countries and territories. Amazon Prime Video is the home of such shows as the Emmy-winning Transparent, Mozart in the Jungle, The Man in the High Castle, The Grand Tour, Woody Allen’s Crisis in Six Scenes and David E. Kelley’s Goliath featuring Billy Bob Thornton, among others. And the Seattle-based company is promising even more original programming in 2017. If you already are a member of Amazon Prime in Canada, you will be able to access the streaming service at no additional cost. If you’re new, membership will set you back $79 per year after a 30-day free trial. The service also includes free same-day shipping for some orders (you know, books, Blu-rays, doodads) in Toronto and Vancouver. The announcement comes after Shomi, the short-lived streaming service initiated by Rogers and Shaw, shuttered at the end of November. Shomi, which launched in 2014, was the Canadian outlet for Amazon’s Transparent and Mozart in the Jungle. But many of the shows on the Amazon docket — including some that are filmed in Canada — have not been available here previously. -
TV Shows (VOD)
TV Shows (VOD) 11.22.63 12 Monkeys 13 Reasons Why 2 Broke Girls 24 24 Legacy 3% 30 Rock 8 Simple Rules 9-1-1 90210 A Discovery of Witches A Million Little Things A Place To Call Home A Series of Unfortunate Events... APB Absentia Adventure Time Africa Eye to Eye with the Unk... Aftermath (2016) Agatha Christies Poirot Alex, Inc. Alexa and Katie Alias Alias Grace All American (2018) All or Nothing: Manchester Cit... Altered Carbon American Crime American Crime Story American Dad! American Gods American Horror Story American Housewife American Playboy The Hugh Hefn...American Vandal Americas Got Talent Americas Next Top Model Anachnu BaMapa Ananda Ancient Aliens And Then There Were None Angels in America Anger Management Animal Kingdom (2016) Anne with an E Anthony Bourdain Parts Unknown...Apple Tree Yard Aquarius (2015) Archer (2009) Arrested Development Arrow Ascension Ash vs Evil Dead Atlanta Atypical Avatar The Last Airbender Awkward. Baby Daddy Babylon Berlin Bad Blood (2017) Bad Education Ballers Band of Brothers Banshee Barbarians Rising Barry Bates Motel Battlestar Galactica (2003) Beauty and the Beast (2012) Being Human Berlin Station Better Call Saul Better Things Beyond Big Brother Big Little Lies Big Love Big Mouth Bill Nye Saves the World Billions Bitten Black Lightning Black Mirror Black Sails Blindspot Blood Drive Bloodline Blue Bloods Blue Mountain State Blue Natalie Blue Planet II BoJack Horseman Boardwalk Empire Bobs Burgers Bodyguard (2018) Bones Borgen Bosch BrainDead Breaking Bad Brickleberry Britannia Broad City Broadchurch Broken (2017) Brooklyn Nine-Nine Bull (2016) Bulletproof Burn Notice CSI Crime Scene Investigation CSI Miami CSI NY Cable Girls Californication Call the Midwife Cardinal Carl Webers The Family Busines.. -
Religion, God and the Meaninglessness of It All in Woody Allen’S Thought and Films
Religion, God and the Meaninglessness of it all in Woody Allen’s Thought and Films “I just wanted to illustrate, in an entertaining way, that there is no God.” (Woody Allen on Crimes and Misdemeanors)1 Johanna Petsche In his films dating from 1975 to 1989 Woody Allen rigorously explores themes of religion, God, morality and death as he compulsively examines and questions his atheistic outlook. At the core of these films lies Allen’s existential dilemma in which his intellectual tendency towards atheism conflicts with his emotional need for meaning, objective moral values and justice, all of which he strongly associates with the existence of God. There will be an analysis of Allen’s treatment of religious and existential themes in Hannah and Her Sisters (1986) and Crimes and Misdemeanors (1989), with a focus on the various ways that he portrays his existential dilemma. Allen absorbs and integrates into his films an assortment of philosophical ideas and biblical themes. References will be made to Camus, Kierkegaard, Wittgenstein and Kant, and to passages from Genesis, the Book of Job, Ecclesiastes and the Book of Jeremiah. First however it is necessary to consider Allen’s Jewish background as, despite his protestations to the contrary, it clearly plays a significant role in his life and films. Born Allan Stewart Konigsberg in 1935, Allen was raised in a middle-class Jewish community in Flatbush, Brooklyn. For at least part of his childhood his family spoke Yiddish, “a convenient secret language, rich in terms of irony and scepticism, and as such central to Jewish humour”.2 Allen’s parents are of European Jewish descent and although they were born and raised on the Lower East Side of Manhattan, their lives were always dominated by the shtetl their parents fled but whose ways they continued to embrace.3 Allen attended both synagogue and Hebrew school until he was bar mitzvahed at the age of thirteen, but by twenty had anglicised his name and completely disengaged from the Jewish faith. -
Woody Allen Rewrites a Streetcar Named Desire
Loyola University Chicago Loyola eCommons English: Faculty Publications and Other Works Faculty Publications 2015 White Woods and Blue Jasmine: Woody Allen Rewrites A Streetcar Named Desire Verna Foster Loyola University Chicago, [email protected] Follow this and additional works at: https://ecommons.luc.edu/english_facpubs Part of the English Language and Literature Commons Recommended Citation Foster, Verna. White Woods and Blue Jasmine: Woody Allen Rewrites A Streetcar Named Desire. Literature/Film Quarterly, 43, 3: 188-201, 2015. Retrieved from Loyola eCommons, English: Faculty Publications and Other Works, This Article is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in English: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © Literature/Film Quarterly, 2015. White Woods and Blue Jasmine: Woody Allen Rewrites A Streetcar Named Desire Most of Woody Allen's allusions to Tennessee Williams in his films and writings have been to A Streetcar Named Desire. 1 So it is not surprising that Streetcar (1947) is written all over Allen's recent film, Blue Jasmine (2013). Allen goes beyond adopting and adapting plot lines and characters from Williams's play. He has so deeply assimilated the earlier work that motifs and lines of dialogue, often transferred to different characters or situations, become the imaginative counters with which he constructs his own screenplay. The film's reviewers almost invariably commented on the parallels with Streetcar, many noting, too, that Cate Blanchett, who plays the title character, """"-. -
Lucrecia's Step Back: Discursive Disputes Between Films and TV Series
33 Lucrecia’s step back: Discursive disputes between films and TV series O passo atrás de Lucrecia: Disputas discursivas entre filmes e séries MARCEL VIEIRA BARRETO SILVAa Universidade Federal da Paraíba, Programa de Pós-graduação em Comunicação. João Pessoa – PB, Brazil ABSTRACT a Associate Professor at the Cinema and Audiovisual Course This paper intends to analyze the discursive disputes that permeate the comparative and at the Programa de Pós- debate between films and TV series in the contemporary cultural criticism. We take from Graduação em Comunicação from the Universidade Federal the arguments of Argentinean filmmaker Lucrecia Martel against TV series in order to da Paraíba. Orcid: https://orcid. understand, diachronically, the historical tensions between cinema and television and org/0000-0001-6156-3059. E-mail: [email protected] its perpetuity in the current scenario. To do so, we come up here with three dominant axis in the comparative evaluation: espectatorial experience, style and narrative. With this, we aim to discuss the arguments of an aprioristic superiority of film over TV series, without forgetting the distinctive nature of this ongoing symbolic dispute. Keywords: Serial fiction, film, cinema and television, discursive disputes, cultural criticism RESUMO O objetivo deste artigo é analisar as disputas discursivas que permeiam o debate comparativo entre filmes e séries no contexto da crítica cultural contemporânea. Partimos dos argumentos da diretora Lucrecia Martel contra as séries televisivas para compreender, diacronicamente, as tensões históricas entre cinema e televisão e a sua perenidade no cenário atual. Para isso, proporemos aqui três eixos dominantes na avaliação comparativa: experiência espectatorial, estilo e narrativa. -
Roche Crimes and Misdemeano
Acknowledgements FUm and Philosophy is published by the Society for the Philosophic Study of the Contemporary Visual Arts. We wish to thank the following for their support of this issue: the Rev. Edmund P. Joyce, C.S.C. Endowment of the University of Notre Dame; the office of the Vice President of Academic Affairs of Keene State College; the office of the Dean of Arts & Humanities of Keene State College; the office of College Relations of Keene State College; and the members of the Society for the Philosophic Study of the Contemporary Visual Arts. For their support, encouragement, and suggestions for this issue, we are grateful to the following individuals: Kendall D'Andrade, Pauline Dionne, Daniel Flory, Robert Golden, Nancy Haggarty, Michael Haines, John Halter, Ronald LeBlanc, Mike Lee, Thomas Magnell, Michael Matros, Joan Norcross, Mark W. Roche, Daniel Shaw, Kevin Stoehr, and Jean Whitcomb. As always, my thanks and love to Wendy Smith and Catherine Lee for all their help and support. This issue is dedicated to the memory of Henry Babcock Veatch. ISSN 1073-0427 Contents: Film & Philosophy special edition 2000 Special Issue on Woody Allen 2 Acknowledgements 3 Sander Lee: Editorial Introduction 7 VrrroRio Hosle: Why Do We Laugh at and with Woody Allen? 51 Maurice Yacowar: Text /Subtext in Everyone Says I Love You 57 Mary Nichols: Woody Allen's Search for Virtue for a Liberal Society: The Case of Mighty Aphrodite 68 Mark W. Roche: Justice and the Withdrawal of God in Woody Allen's Crimes and Misdemeanors 84 Ronald Leblanc: Deconstructing Dostoevsky: God, Guilt, and Morality in Woody Allen's Crimes and Misdemeanors 102 William C.