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ENIOLA DAWODU Costume Designer enioladawodu.com PROJECTS Partial List DIRECTORS STUDIOS/PRODUCERS BLUE CAPRICE Alexandre Moors SIMONSAYS ENTERTAINMENT Official Selection – Sundance Film Festival Ty Walker, Stephen Tedeschi Aimee Schoof, Will Rowbotham Isen Robbins, Brian O’Caroll Kim Jackson STAND CLEAR OF THE CLOSING Sam Fleischner M SS NG P ECES DOORS Alexandra Byer, Luis A. Carrero Jr. Winner, Special Jury Prize – Andrew Neel, Dave Saltzman Tribeca Film Festival Craig Shilowich BIG WORDS Neil Drumming BIG WORDS FILMS / ARRAY Official Selection – Slamdance Film Festival Matthew Keene Smith PARIAH Dee Rees FOCUS FEATURES Feature Film Nekisa Cooper Official Selection – Sundance Film Festival Official Selection – TIFF ASSISTANT COSTUME DESIGNER GUAVA ISLAND Hiro Murai AMAZON / SILK PILLOW PROD. Jennifer Roth, Donald Glover Carman Cuba, Fam Uderorji THE IMMORTAL LIFE OF HENRIETTA George C. Wolfe HBO / CLOVER PRODUCTIONS LACKS Oprah Winfrey, Kathryn Dean WHERE IS KYRA? Andrew Dosunmu KILLER FILMS Official Selection – Sundance Film Festival Erika Hampson, Rhea Scott Christine Vachon, David Hinojosa QUEEN OF KATWE Mira Nair DISNEY Will Weiske, Lydia Dean Pilcher Genevieve Hofmeyr INSIDE AMY SCHUMER Various Directors JAX MEDIA / COMEDY CENTRAL Season 2 Ayesha Rokadia, Amy Schumer Dan Powell MOTHER OF GEORGE Andrew Dosunmu PARTS & LABOR Official Selection – Sundance Film Festival Tim Duff, Patrick Cunningham Carly Hugo, Saemi Kim, Lars Knudsen Chris Maybach, Matthew Parker Tony Okungbowa, Jay Van Joy REACHING FOR THE MOON Bruno Barreto TELECINE PRODUCTIONS Official Selection – Tribeca Film Festival Marcia Mayer, Paula Barreto Official Selection – Berlin International Film Festival Lucy Barreto Official Selection – Mardi Gras Film Festival Winner, Grande Prêmio do Cimena Brasilerio RESTLESS CITY Andrew Dosunmu PARTS & LABOR Official Selection – Sundance Film Festival Matthew Parker, Katie Mustard INNOVATIVE-PRODUCTION.COM | 310.656.5151 .

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Sundance Institute Expands Support to Writers and Creators of Series for TV and Online Platforms
FOR IMMEDIATE RELEASE Media Contact: March 19, 2014 Casey De La Rosa 310.360.1981 [email protected] Sundance Institute Expands Support to Writers and Creators of Series for TV and Online Platforms First ‘Sundance Institute Episodic Story Lab’ to Be Held in Fall 2014 at the Sundance Resort, with Norman and Lyn Lear as Founding Supporters Los Angeles, CA — Sundance Institute today announced a significant expansion of its renowned labs for independent artists to include dedicated support for writers and creators of series for television and online platforms. The first Sundance Institute Episodic Story Lab will be held in Fall 2014 at the Sundance Resort in Sundance, Utah. Building on the Institute’s 30-year legacy of developing new work from storytellers with distinctive and risk-taking stories, this new initiative addresses the need for more opportunities for learning and mentorship of singular and diverse voices in scripted TV and online series. In collaboration with accomplished mentors, writers at the six-day, immersive Episodic Story Lab will work on developing stories and characters that play out over multiple episodes and will also have the opportunity to better understand the landscape for production and distribution of serialized stories. Both drama and comedy writing will be supported at the Lab, which has been organized under the leadership of Michelle Satter, Founding Director of the Institute’s Feature Film Program. The Lab is made possible by generous support and guidance from television producer Norman Lear and his wife, Institute Trustee Lyn Lear. The Institute cites the growth of great writing and bold content in recent years as inspiration for the Lab.
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Unbecoming Adults: Adolescence and the Technologies of Difference in Post
Unbecoming Adults: Adolescence and the Technologies of Difference in Post-1960s US Ethnic Literature and Culture DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James K. Harris, M.A. Graduate Program in English The Ohio State University 2017 Dissertation Committee: Dr. Martin Joseph Ponce, Advisor Dr. Lynn Itagaki Dr. Jian Chen Copyright by James K. Harris 2017 Abstract Adolescence has always been a cultural construction. The designation of a separate space apart from the presumed innocence of childhood and the myths of autonomy and responsibility that come to define adulthood is a surprisingly modern phenomenon. As such, adolescence bears the traces of the ideologies of race, gender, sexuality, and nation that attend so much of the period that calls itself “modernity.” My dissertation asks how writers and artists of color imagine themselves into the archive of coming of age narratives in post-1960s US literature and culture. In thinking about the importance of identity in the period following the advent of nominal civil rights, I offer the “long(er) civil rights movement” as a way of resisting the move to periodize the struggles through which difference has historically accrued meaning in the US nation- state. Each chapter centers around a “technology,” the academy, the body, the entertainment industry, and the internet, which is essential to the formation of adolescent identity in the post-war era, alongside a key term in the lexicon of American culture that accrues added meanings when filtered through the experience of difference.
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Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone.
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Emerging Narrative
Emerging Narrative 25 Feature Scripts in Development Arrow Written and directed by Emily Carmichael, produced by Adam Spielberg and Josh Hetzler, cinematography by Ben Richardson. In a madcap alternate-reality Brooklyn, three science-fiction heroes face their greatest challenge yet: not saving the world anymore. (Sci- fi/Comedy) The Assumption Written and directed by Tom Quinn, produced by Steve Beal and Ellen Knechel. A young priest attempting to save his elementary school from closure becomes a local celebrity after a near-death experience. (Drama) Baby Lu Written and directed by Emily Ray Reese, produced by Tati Barrantes and Caroline Oliveira. A forbidden crush forces 13-year-old Lucinda and her mountain man father to confront her developing sexuality in a small town in Northern New Mexico. (Coming of Age) The Blandishments Written and directed by Kyle Smith. The Blandishments, a five-piece band from Indiana, weather the challenges that come with writing a hit alternative-rock song in 1993. (Comedy) Brooklyn Flee Written and directed by Alexandra Roxo, written and produced by Devon Kirkpatrick. When two girls meet online and agree to drive across country together, their impromptu adventure brings them much closer than they’d anticipated. (Comedy) Chicken Day Written by Melissa Brandt. A troublesome teenage girl must win a small town’s annual chicken competition in order to save the members of her dysfunctional family. (Drama) Cutlet Written and directed by Clay Liford, produced by Angie Meyer and Brock Williams. A road trip to an isolated farm becomes a nightmare for two siblings when they are forced to battle a mutated herd of carnivorous cattle.
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2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter
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Pariah (2011): Coming out in the Middle
Swarthmore College Works Film & Media Studies Faculty Works Film & Media Studies 2015 Pariah (2011): Coming Out In The Middle Patricia White Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-film-media Part of the Film and Media Studies Commons Recommended Citation Patricia White. (2015). "Pariah (2011): Coming Out In The Middle". US Independent Film After 1989: Possible Films. 133-143. https://works.swarthmore.edu/fac-film-media/50 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Film & Media Studies Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. chapter 13 Pariah (2011): Coming Out in the Middle Patricia White arly headlines from the 2011 Sundance Film Festival trumpeted Focus EFeatures’ acquisition of Dee Rees’ Pariah after the film screened on the festival’s opening night. The deal offered by the specialty division of Universal was reported to be in the ‘seven figure range’ (Fleming 2011). The film’s executive producer Spike Lee, the launch at the hit- making festival and the studio- affiliated distributor put this case study firmly within the realm of commercial- independent cinema that has evolved in the US since the 1980s (see Perkins 2012). Yet Pariah is as oriented toward community as it is toward commerce, and festival buzz is only one dimension of its publicity. Made by first- time director Dee Rees for under US$500,000, Pariah tells the story of a sensitive African American lesbian’s coming of age and to terms with parental and peer expectations in current- day Brooklyn.
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101 Films for Filmmakers
101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
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Dga Independent Filmmakers
Ti West directing In a Valley of Violence INDEPENDENTDGA FILMMAKERS Nicole Holofcener directing Enough Said Dee Rees directing Mudbound It’s YOUR film. The Directors Guild of America is a powerful force that can help you realize your Rodrigo Garcia directing Last Days in the Desert vision regardless of budget. Find out what the DGA is all about. Ryan Coogler directing Creed GREETINGS FROM DGA PRESIDENT THOMAS SCHLAMME Dear Filmmaker: What is independent filmmaking today? Traditionally, independent We support our members working in independent film by films are those that are produced outside of the studio system. More protecting their rights, as well as providing them with the realistically, in the current landscape, with streaming services, day and flexibility to do projects they are passionate about. The Guild’s date releases and ever-changing distribution models, independent has Independent Directors Committees are a concrete embodiment taken on a feeling of otherness – something not mainstream. of this commitment. These Committees – one based in New York and the other based in Los Angeles – host regular gatherings for And here you are. You’ve made a movie that caught attention and it’s independent and low-budget directors. The Committees have playing at a festival or maybe you’ve been lucky enough to secure a also established the very successful Director’s Finder Screening distribution deal. As a director, you may think your responsibilities end Series, which regularly showcases unreleased independent films once the film is completed. Ideally, you’ve handled every creative choice directed by DGA members for an audience of independent during pre-production, through production and into post.
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90Th Annual Academy Awards® Oscar® Nominations Fact Sheet
90TH ANNUAL ACADEMY AWARDS® OSCAR® NOMINATIONS FACT SHEET Best Motion Picture of the Year: Call Me by Your Name (Sony Pictures Classics) - Peter Spears, Luca Guadagnino, Emilie Georges and Marco Morabito, producers - This is the first nomination for all four. Darkest Hour (Focus Features) - Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten and Douglas Urbanski, producers - This is the fifth nomination for Tim Bevan. His previous Best Picture nominations were for Elizabeth (1998), Atonement (2007), Les Misérables (2012) and The Theory of Everything (2014). This is the sixth nomination for Eric Fellner. His previous Best Picture nominations were for Elizabeth (1998), Atonement (2007), Frost/Nixon (2008), Les Misérables (2012) and The Theory of Everything (2014). This is the second Best Picture nomination for both Lisa Bruce and Anthony McCarten, who were previously nominated for The Theory of Everything (2014). This is the first nomination for Douglas Urbanski. Dunkirk (Warner Bros.) - Emma Thomas and Christopher Nolan, producers - This is the second Best Picture nomination for both. They were previously nominated for Inception (2010). Get Out (Universal) - Sean McKittrick, Jason Blum, Edward H. Hamm Jr. and Jordan Peele, producers - This is the second Best Picture nomination for Jason Blum, who was previously nominated for Whiplash (2014). This is the first Best Picture nomination for Sean McKittrick, Edward H. Hamm Jr. and Jordan Peele. Lady Bird (A24) - Scott Rudin, Eli Bush and Evelyn O'Neill, producers - This is the ninth nomination for Scott Rudin, who won for No Country for Old Men (2007). His other Best Picture nominations were for The Hours (2002), The Social Network (2010), True Grit (2010), Extremely Loud & Incredibly Close (2011), Captain Phillips (2013), The Grand Budapest Hotel (2014) and Fences (2016).
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US Independent Film After 1989 Possible Films
US Independent Film After 1989 US Independent Film ‘A stimulating new collection of essays that enriches greatly the constantly expanding literature on American independent cinema. Perkins and Verevis have gathered an impressive group of contributors whose thought-provoking discussion of often forgotten, though still important, films challenges existing canons while opening up new and exciting paths in American independent film US Independent Film After 1989 research, which future studies are bound to follow. Highly recommended!’ Yannis Tzioumakis, University of Liverpool Possible Films The terms ‘independent’ and ‘indie’ hold instant recognition and considerable cultural cachet in contemporary film and popular culture. As a brand of American filmmaking and a keynote of critical film discourse, indie Edited by Claire Perkins and Constantine Verevis denotes specific textual, industrial and reception practices that have been enthusiastically cultivated over the last two decades, underpinned by a canon of highly visible films such as Juno, Memento and Slacker and by influential figures Films Possible like Quentin Tarantino, Wes Anderson, Kevin Smith and Joel and Ethan Coen. Looking beyond the directors and works that have branded indie discourse in the 1990s and 2000s, US Independent Film After 1989: Possible Films attends to a group of 20 texts that have not been so fully subsumed by existing critical and promotional rhetoric. Through individual studies of films including All the Real Girls, The Exploding Girl, Laurel Canyon, Jesus’ Son, Old Joy, Primer Verevis Constantine and Perkins Claire Edited by and You Can Count on Me, leading cinema scholars consider how notions of indie practice, poetics and politics can be opened up to account for a larger body of work than the dominant canon admits.
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Sight & Sound Annual Index 2017
THE INTERNATIONAL FILM MAGAZINE Index to Volume 27 January to December 2017 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 6:52(r) Amour (2012) 5:17; 6:17 Armano Iannucci Shows, The 11:42 Ask the Dust 2:5 Bakewell, Sarah 9:32 Film review titles are also interview with Koreeda Amours de minuit, Les 9:14 Armisen, Fred 8:38 Asmara, Abigail 11:22 Balaban, Bob 5:54 included and are indicated by Hirokazu 7:8-9 Ampolsk, Alan G. 6:40 Armstrong, Jesse 11:41 Asquith, Anthony 2:9; 5:41, Balasz, Béla 8:40 (r) after the reference; age and cinema Amy 11:38 Army 2:24 46; 10:10, 18, 44 Balch, Antony 2:10 (b) after reference indicates Hotel Salvation 9:8-9, 66(r) An Seohyun 7:32 Army of Shadows, The Assange, Julian Balcon, Michael 2:10; 5:42 a book review Age of Innocence, The (1993) 2:18 Anchors Aweigh 1:25 key sequence showing Risk 8:50-1, 56(r) Balfour, Betty use of abstraction 2:34 Anderson, Adisa 6:42 Melville’s iconicism 9:32, 38 Assassin, The (1961) 3:58 survey of her career A Age of Shadows, The 4:72(r) Anderson, Gillian 3:15 Arnold, Andrea 1:42; 6:8; Assassin, The (2015) 1:44 and films 11:21 Abacus Small Enough to Jail 8:60(r) Agony of Love (1966) 11:19 Anderson, Joseph 11:46 7:51; 9:9; 11:11 Assassination (1964) 2:18 Balin, Mireille 4:52 Abandon Normal Devices Agosto (2014) 5:59 Anderson, Judith 3:35 Arnold, David 1:8 Assassination of the Duke Ball, Wes 3:19 Festival 2017, Castleton 9:7 Ahlberg, Marc 11:19 Anderson, Paul Thomas Aronofsky, Darren 4:57 of Guise, The 7:95 Ballad of Narayama, The Abdi, Barkhad 12:24 Ahmed, Riz 1:53 1:11; 2:30; 4:15 mother! 11:5, 14, 76(r) Assassination of Trotsky, The 1:39 (1958) 11:47 Abel, Tom 12:9 Ahwesh, Peggy 12:19 Anderson, Paul W.S.
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Medien Für Kinder & Jugendliche
berit pohle mediation und bildung Stand 10/20151 Medien für Kinder & Jugendliche: Bücher, Hörbücher, Musik-CDs, Malbücher, Vorschulhefte, Freund*innenschaftsbücher, Filme, Serien 1 Die Liste wird kontinuierlich erweitert und bearbeitet, die aktuelle Fassungen kann über [email protected] bezogen werden. 1 berit pohle mediation und bildung • Einleitung Seite 3 • Empfehlungslisten Seite 4 • Liste nicht zu empfehlender Medien Seite 4 • Bücher, in denen Schwarze Menschen gemeinsam mit weißen Menschen und/oder Menschen of color2 Hauptakteur*innen sind Klein- und Kindergartenkinder Seite 5 Englische Bücher für Kinder im Kindergartenalter & jünger Seite 16 Kinder im Grundschulalter Seite 19 Englische Bücher für Kinder im Grundschulalter Seite 24 Kinder ab 10 Jahren Seite 25 Kinder/Jugendliche ab 12 Jahren Seite 28 Jugendliche ab 14 Jahren Seite 30 Jugendliche ab 16 Jahren Seite 33 • Bücher mit Schwarzen3 Menschen als Hauptakteur*innen Klein- und Kindergartenkinder Seite 37 Englische Bücher für Kinder im Kindergartenalter Seite 40 Kinder im Grundschulalter Seite 47 Englische Bücher für Kinder im Grundschulalter Seite 49 Kinder ab 10 Jahren Seite 57 Englische Bücher für Kinder ab 10 Jahren Seite 60 Kinder/Jugendliche ab 12 Jahren Seite 62 Jugendliche ab 14 Jahren Seite 66 Jugendliche ab 16 Jahren Seite 70 • Bücher mit Schwarzen Menschen als Hauptakteur*innen, die mindestens einen weißen Elternteil haben Klein- und Kindergartenkinder Seite 72 Englische Bücher für Klein- und Kindergartenkinder Seite 73 Kinder im Grundschulalter Seite 74 Englische
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