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Tom Fleischman CAS
Career Achievement Award Recipient Tom Fleischman CAS CAS Award Nominees Production Equipment FOMO How the CAS Started Remembering Jim Alexander WINTER 2020 CINEMA AUDIO SOCIETY AWARDS NOMINEE OUTSTANDING ACHIEVEMENT IN SOUND MIXING MPSE GOLDEN REEL AWARDS NOMINEE FEATURE - ADR/DIALOGUE PHILIP STOCKTON, MPSE, EUGENE GEARTY, MARISSA LITTLEFIELD “EXQUISITELY MADE, EVERY DETAIL CAREFULLY CONSIDERED. IT FEELS UTTERLY TRANSPORTING.” NETFLIXGUILDS.COM CAS QUARTERLY, COVER 2 NETFLIX: THE IRISHMAN PUB DATE 12/30/19 BLEED: 8.625” X 11.125” TRIM: 8.375” X 10.875” CINEMA AUDIO SOCIETY AWARDS NOMINEE OUTSTANDING ACHIEVEMENT IN SOUND MIXING MPSE GOLDEN REEL AWARDS NOMINEE FEATURES FEATURE - ADR/DIALOGUE Production Sound Equipment Purchases . 20 PHILIP STOCKTON, MPSE, EUGENE GEARTY, MARISSA LITTLEFIELD Ever have a “Fear of Missing Out”? 147th AES Convention . 26 Career Achievement Recipient . 34 Re-recording mixer Tom Fleischman CAS CAS Filmmaker Award . 44 34 Director, producer, and writer James Mangold CAS Award Nominations . 46 Outstanding Product Nominees . 50 Student Recognition Award Finalists . 52 The Start of the CAS . 54 Bob Hoyt had a vision A Case Study in Multilanguage Production Sound . 60 Possession 54 The “Sound” of Genre Storytelling . 64 Mixing approaches infl uenced by genre Remembering a Legend . 68 Production sound mixer Jim Alexander “EXQUISITELY MADE, DEPARTMENTS EVERY DETAIL The President’s Letter . 4 From the Editor . 6 CAREFULLY CONSIDERED. 60 Collaborators . 9 Meet the people behind the words IT FEELS UTTERLY Technically Speaking -
Rotunda Library, Special Collections, and Archives
Longwood University Digital Commons @ Longwood University Rotunda Library, Special Collections, and Archives 9-30-2019 Rotunda - Vol 98, no. 5 - Sep 30, 2019 Longwood University Follow this and additional works at: https://digitalcommons.longwood.edu/rotunda The ROTUNDA Providing discounts for pizza since 1920 MAKING A CHANGE NEWS PAGE 3 Dissecting LU’s banded tuition policy OPINIONS PAGE 6 Keeping the suicide prevention discussion alive SPORTS PAGE 11 WSOC attempts to find SEPTEMBER 30, 2019 common ground VOL 98. ISSUE 5 SHANNON HENSHAW | CONTRIBUTOR 02 > NEWS TheRotundaOnline.com EDITORIAL BOARD 2019 In SGA: Upchurch updates, TJ WENGERT voter registration managing editor information by Allison Turner | News Staff | JEFF HALLIDAY, CLINT WRIGHT AND ASHLEY JONES @allisonkturner . organizational advisers Longwood University Chief of Police Col. Robert R. Beach informs senate NEWS about precautions students can take when approached for information ROTUNDA relating to voter registration. ALLISON TURNER staff STUDIOS ELLIE STUCK n this week’s Student this year, to ensure nothing A&E staff Government Association dangerous is being brought JACOB DILANDRO ADDIE CLARKE I(SGA) meeting, Susan to campus. An e-mail editor staff Sullivan, director of the regarding all Oktoberfest LEDANIEL JACKSON SUTTON REEKES university center and student information will be sent out staff staff activities, came to senate soon, according to Beach. LIAM WELLS OPINIONS staff to give an update on the In the Advisers Report, TAIYA JARRETT XARIAH GODFREY Upchurch University Center, Vice President for Student staff staff just shy of the one year Affairs Dr. Tim Pierson DAVINA APPLEWHITE JEN HALL anniversary of its opening. discussed that the university staff staff There is now a printer has contractors working on a SPORTS LAYOUT located on the third floor “punch list” for Frazer Hall, KURT MARTIN ANGELI LEONG in room 305, the clubs and which is a list of tasks still editor editor organizations space, that all needed to complete. -
Arbeitsergebnisse Eines Englisch-Leistungskurses Des
Arbeitsergebnisse eines Englisch‐Leistungskurses des Albrecht‐Dürer‐Gymnasiums im Rahmen der Teilnahme am Berlinale Schulprojekt 2010 zum Film Road, Movie von Dev Bengal Berlin, 22.03.2010 Inhaltsübersicht S. 2 1 . Vorbereitung, Durchführung und Auswertung des Projekts S. 3 ‐ 4 2. The Role of Religion in “Road, Movie” S. 5 ‐ 8 3. Social Order and the Caste System in India and “Road, Movie” S. 8 ‐ 11 4. Water Issues in India and in “Road, Movie” S. 11 ‐ 12 5. The Representation of Masculinity in” Road, Movie” S. 12 ‐ 14 6. Fairy Tale Elements in “Road, Movie” S. 14 ‐ 15 7. The Truck as a `character´ in “Road, Movie” S. 16 ‐ 17 8. Films in Films, as shown in “Road, Movie” S. 17 ‐ 18 9. Quellen S. 18 ‐ 19 1. Vorbereitung, Durchführung und Auswertung des Projekts Die Teilnahme des Englisch‐Leistungskurses erfolgte im Rahmen des 4. Kurssemesters zum Thema „Herausforderungen der Gegenwart“ mit dem Unterthema „Urban, Suburban and Rural Lifestyles.“ Im vorhergehenden Unterricht hatten sich die Schüler mit Fragen der Besiedlungsgeschichte der USA, der Raumerschließung und der Raumüberwindung auf dem nordamerikanischen Kontinent und der u.a. daraus abzuleitenden typischen Siedlungs‐ und Mobilitätsmuster beschäftigt. Unter anderem wurden in Kurzreferaten amerikanische Road Movies vorgestellt und auf ihre kulturellen Implikationen hin gedeutet (Freiheitsdrang, Initiation, Suche nach Identität etc.). Die Möglichkeit einer Vertiefung dieser Thematik am Beispiel des indischen Films Road, Movie traf auf großes Interesse der Schülerinnen und Schüler, wobei insbesondere von Bedeutung war, dass es sich bei Road, Movie nicht um einen Bollywood Film handelt, sondern um eine kleinere Produktion. Der Kinobesuch der Schülerinnen und Schüler erfolgte im Rahmen der Berlinale am 12.02. -
Every Good Boy Deserves Fun: One Dog's Journey to the North
Every Good Boy Deserves Fun: One Dog’s Journey to the North “North...of all geographical terms it is the most personal, the most emotional, the most elusive. And perhaps the one which evokes the most powerful feelings” (Davidson, 2009) Davidson’s description of the powerful symbolism of the North as a destination, as a dream, echoes the romantic hyperbole of the early polar explorers searching for the last untamed wilderness in an increasingly industrial world; “the great adventure of the ice, deep and pure as infinity...nature itself in its profundity” (Nansen,1894). It establishes North as the direction of adventures. This chapter will examine The North as the site of mystery and adventure… one of the last wildernesses to explore but one which is paradoxically comfortable; populated only sparsely by oddly familiar characters. Through the examination of the author’s own short animation North, it will look at the use of narrative devices and media references to reflect on the symbolism of the North –and investigate the British relationship with it; not with the media construct of The North-South divide but rather with a broader, more complex idea of a conceptual, an imagined North-ness. This is seen in relation to certain stereotypes of iconic Britishness – our relationship with the sea, and its poetic evocation through the shipping forecast, with our dogs... and with our TV-facing sofas. Drawing on its author’s own travel experiences, and field research in Norway and Iceland, the short animation North can be viewed as a Road Movie, a Hero’s Journey, with Colin the dog as unlikely hero. -
The Last Suit* Shalom Bollywood: the Untold Story of Indian Cinema an Act of Defiance and Then She Arrived Scandal in Ivansk* He
W E D NESDAY, OCTOBER 10 — 7:00 PM W E D NESDAY, NOVEMBER 28 — 7:00 PM W E D NESDAY, FEBRUARY 6 — 7:00 PM W E D NESDAY, APRIL 10 — 7:00 PM THE LAST SUIT* SHALOM BOLLYWOOD: THE UNTOLD AND THEN SHE ARRIVED HEADING HOME: THE TALE Argentina/Spain|2018|Narrative|Spanish, German, Polish STORY OF INDIAN CINEMA Israel|2017|Comedy/Drama|Hebrew with OF TEAM ISRAEL Yiddish with English Subtitles|Director: Pablo Solarz Australia/India|2018|Documentary|English, Hindi with English subtitles|Director: Roee Florentin Israel, Japan, South Korea, USA|2017|Documentary| English subtitles|Director: Danny Ben-Moshe English|Director: Daniel Miller, Jeremy Newberger This charming romantic An aging Jewish tailor leaves SHALOM BOLLYWOOD reveals and Seth Kramer comedy, based on a true his life in Argentina to the unlikely story of the 2000- HEADING HOME: THE story, follows 30-year-old embark on a journey back year-old Indian Jewish com- TALE OF TEAM ISRAEL is Dan Freilich, who has through time and halfway munity and its formative place the David-and-Goliath everything he could ever around the world in the in shaping the world's largest story of Israel’s national hope for and then some: bittersweet road movie THE film industry. When Indian baseball team as it the perfect job at his LAST SUIT. At 88, Abraham cinema began 100 years ago it competes for the first father’s law firm, the Bursztein is seeing his place was taboo for Hindu and time in the World perfect loving family, and in the world rapidly disap- Islamic women to perform on Baseball Classic. -
World Cinema Through G G Obal
COSTANZO “A wonderful textbook as well as a scholarly tour-de-force. Costanzo brings new meaning to the concept of global genres and offers up examples that convincingly demonstrate cinematic border crossings and cultural connections amongst far- flung places.” David Desser, University of Illinois at Urbana–Champaign, USA “Costanzo revitalizes both world cinema and genre studies with his stimulating, WORLD insightful cross cultural approach to warrior heroes, wedding films, horror and road WORLD CINEMA movies. It’s a well-written, scholarly work that’s as inventive as it is enjoyable.” Diane Carson, Past President, University Film and Video Association (UFVA) “William Costanzo has cut the clearest path yet through the forest of World CINEMA Cinema. Key genres take us confidently place to place, era to era; while maps, timelines, and surveys of national industries position a rich array of films, many analyzed with real mastery.” Dudley Andrew, Professor of Film and Comparative Literature, Yale University, USA THROUGH World Cinema through Global Genres offers a new response to recent trends in internationalism that shape the increasingly global character of movies. Costanzo is able to render the complex forces of global filmmaking accessible to students; instead of tracing the long histories of cinema country by country, this innovative textbook uses engaging, recent films like Hero (China), Monsoon THROUGH THROUGH G LOBAL Wedding (India), and Central Station (Brazil) as entry points, linking them to comparable American and European films. The book’s cluster-based organization allows students to acquire a progressively sharper understanding of core issues about genre, aesthetics, industry, culture, history, film theory, and representation that apply to all films around the world. -
Festival of New Cinema, Digital Culture & Art Manchester & Across
29 Aug – 02 Sep 2012 Festival of New Cinema, Digital Culture & Art Manchester & across the North West andfestival.org.uk Exhibitions Festival of New Cinema, Digital Culture and Art This summer, Abandon Normal Devices invites you to experience a festival that highlights the complexities, gradations and anomalies encountered when we examine success as an ideal. AND 2012 is as much about work evolving over time, artists experimenting, and setting ambitious parameters, as it is about finished exhibitions. The experience of success can be fleeting and addictive. A strategy for survival; a money-spinner and a motivator: Rewards can have us going around in circles, travelling far but getting nowhere. We have become the status chasing generation; #winning is our meme. Through unusual strategies, the artists and filmmakers working in this year’s festival reveal alternative ways of being by offering rich counterpoints to perfection and undermining accepted logic. During a kaleidoscopic five days, unlikely monuments will be inflated, failed technological dreams will be resurrected and extinct industries will be salvaged and rebuilt. We share artworks, which hold a mirror to celebrity culture and shirk responsibility for the financial crash. Alongside these are a number of events that focus on self-improvement, from workshops to enhance your charisma, make-overs that better-prepare you for 2020 and teenagers on-site and online ready to solve all your problems. This, plus a cacophony of late-night actions and events make up our festival in 2012. We accept that, whenever we strive for something new, there is always the chance we will fail, but in a hyper-competitive Olympic year, AND’s attention is drawn to subtlety, humour, vulnerability and tenacity. -
Mapping out the Greek Road Movie
FILMICON: Journal of Greek Film Studies ISSUE 4, December 2017 Junctions, Dead-ends and Uncertain Trajectories: Mapping Out the Greek Road Movie Vasiliki Petsa University of Peloponnese ABSTRACT This article sets out to discuss a corpus of contemporary Greek films foregrounding mobility and travel as variations of a national version of the road movie genre. Following a textual approach in the definition of genres, I first critically engage with the aesthetic conventions and cultural significance of the road and travel film within the American and European cinematic traditions. Thus framing my discussion, I then chart an itinerary of the Greek road movie across a broad stylistic gamut and thematic repertoire, firmly situating it amid specific socio-cultural contexts. I show how, in consecutive periods, traversing the New Greek Cinema and the Contemporary Greek Cinema, as well as significant socio-political transitions, the Greek travel and road film in its various embodiments has been brought on to reflect on a series of crises marking the Greek cultural sphere. I argue that, by positing the journey as common narrative device, Greek film-makers have articulated filmic interrogations regarding the vicissitudes of contemporary Greek society as well as national identity, in its intersection with history, but also sexuality, ethnicity and gender. KEYWORDS history identity mobility subjectivity road movie 29 MAPPING OUT THE GREEK ROAD MOVIE ISSUE 4, December 2017 Ever since its designation and theoretical substantiation as a distinct cinematic genre in the postwar years, the road movie has become a contested site of conflicting viewpoints and shifting boundaries in Film and Cultural Studies.1 The only points of convergence seem to be the genre’s core motif, namely subjects on the move by means of individual or mass vehicularity, its conscious hybridity and the centrality of mobility as narrative drive. -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
Imperialism and Exploration in the American Road Movie Andy Wright Pitzer College
Claremont Colleges Scholarship @ Claremont Pitzer Senior Theses Pitzer Student Scholarship 2016 Off The Road: Imperialism And Exploration in the American Road Movie Andy Wright Pitzer College Recommended Citation Wright, Andy, "Off The Road: Imperialism And Exploration in the American Road Movie" (2016). Pitzer Senior Theses. Paper 75. http://scholarship.claremont.edu/pitzer_theses/75 This Open Access Senior Thesis is brought to you for free and open access by the Pitzer Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pitzer Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Wright 1 OFF THE ROAD Imperialism And Exploration In The American Road Movie “Road movies are too cool to address serious socio-political issues. Instead, they express the fury and suffering at the extremities of a civilized life, and give their restless protagonists the false hope of a one-way ticket to nowhere.” –Michael Atkinson, quoted in “The Road Movie Book” (1). “‘Imperialism’ means the practice, the theory, and the attitudes of a dominating metropolitan center ruling a distant territory; ‘colonialism’, which is almost always a consequence of imperialism, is the implanting of settlements on distant territory” –Edward Said, Culture and Imperialism (9) “I am still a little bit scared of flying, but I am definitely far more scared of all the disgusting trash in between places” -Cy Amundson, This Is Not Happening “This is gonna be exactly like Eurotrip, except it’s not gonna suck” -Kumar Patel, Harold and Kumar Escape From Guantanamo Bay Wright 2 Off The Road Abstract: This essay explores the imperialist nature of the American road movie as it is defined by the film’s era of release, specifically through the lens of how road movies abuse the lands that are travelled through. -
1 the Road Movie Spring 2005 Professor Karen
1 The Road Movie Spring 2005 Professor Karen Beckman Office: Jaffe 209 Office hours: Tuesday 2-4pm Email: [email protected] Screenings: Wednesday Jaffe 201, 7pm Course Description In this course we will study the changing shape of the Road Movie genre over the course of the twentieth century. Though our primary focus will be on international adaptations of the genre since the 1960s, we will historicize the modern permutations of the genre by beginning with a consideration of the simultaneous emergence of moving pictures and high-speed forms of transportation. In addition to considering the limits and possibilities of genre as a category of analysis, we will grapple with a number of questions that will persist throughout the course: What is the relationship between cinema and the automobile? Is the road trip a peculiarly American fantasy, and what happens when non- US filmmakers adopt the genre? How does gender emerge as a concern of this genre? What role do urban and rural spaces play in shaping the journeys attempted within these films? What kinds of border-crossings does this genre enact or prohibit? And finally, do the often-radical fantasies of characters within this genre necessarily translate into films with radical politics? Required Books (available at Penn Book Center, corner of Walnut and 34th, and on reserve at Rosengarten, Van Pelt Library, with screened movies): David Laderman, Driving Visions: Exploring the Road Movie (Austin: U of Texas P, 2002) Steven Cohan and Ina Rae Hark, eds., The Road Movie Book (London and New York: Routledge, 1997) Paul Virilio, The Art of the Motor (Minneapolis: U of Minnesota P, 1995) (recommended) Lynne Kirby, Parallel Tracks: The Railroad and Silent Cinema (Durham: Duke UP, 1997) All other readings will be available on electronic reserve on course Blackboard site. -
Empty Spaces and Backward Glances: Edgar Ulmer's <Em>Detour</Em
Kino: The Western Undergraduate Journal of Film Studies Volume 3 | Issue 1 Article 3 2012 Empty Spaces and Backward Glances: Edgar Ulmer's Detour and the Exilic Experience Jessica Davis University of Western Ontario Keywords Detour, exile cinema, émigré cinema, emigre, film noir, road movie Cover Page Footnote This paper was originally written for “German Exile Cinema: From Berlin to Hollywood,” an undergraduate course taught by Dr. Tobias Nagl at the University of Western Ontario in 2011. Recommended Citation Davis, Jessica (2012) "Empty Spaces and Backward Glances: Edgar Ulmer's Detour and the Exilic Experience," Kino: The Western Undergraduate Journal of Film Studies: Vol. 3 : Iss. 1 , Article 3. Davis: Empty Spaces and Backward Glances Empty Spaces and Backward Glances: Edgar Ulmer’s Detour and the Exilic Experience by Jessica Davis In many ways, the American road should be the perfect place for an émigré in exile to affirm a sense of identity and celebrate America as their new utopian home. As Andrew Cross suggests in his article “Driving the American Landscape,” the long- distance journey across the American road provides direct access to American culture for those Europeans wishing to experience it on its “home turf” (249). Similarly, the road film, espousing values of freedom and self-fulfillment, also offers this point of access to American culture. The road film’s intimate link to American culture also makes it the perfect genre to undermine the myth of the road and expose the difficulties of living in exile. Exiled director Edgar Ulmer’s noir road film, Detour (1945) does just this.