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GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months. -
DAN LEIGH Production Designer
(3/31/17) DAN LEIGH Production Designer FILM & TELEVISION DIRECTOR COMPANIES PRODUCERS “GYPSY” Sam Taylor-Johnson Netflix Rudd Simmons (TV Series) Scott Winant Universal Television Tim Bevan “THE FAMILY” Paul McGuigan ABC David Hoberman (Pilot / Series) Mandeville Todd Lieberman “FALLING WATER” Juan Carlos Fresnadillo USA Gale Anne Hurd (Pilot) Valhalla Entertainment Blake Masters “THE SLAP” Lisa Cholodenko NBC Rudd Simmons (TV Series) Michael Morris Universal Television Ken Olin “THE OUTCASTS” Peter Hutchings BCDF Pictures Brice Dal Farra Claude Dal Farra “JOHN WICK” David Leitch Thunder Road Pictures Basil Iwanyk Chad Stahelski “TRACERS” Daniel Benmayor Temple Hill Entertainment Wyck Godfrey FilmNation Entertainment D. Scott Lumpkin “THE AMERICANS” Gavin O'Connor DreamWorks Television Graham Yost (Pilot) Darryl Frank “VAMPS” Amy Heckerling Red Hour Adam Brightman Lucky Monkey Stuart Cornfeld Molly Hassell Lauren Versel “PERSON OF INTEREST” Various Bad Robot J.J. Abrams (TV Series) CBS Johanthan Nolan Bryan Burk Margot Lulick “WARRIOR” Gavin O’Connor Lionsgate Greg O’Connor Solaris “MARGARET” Kenneth Lonergan Mirage Enterprises Gary Gilbert Fox Searchlight Sydney Pollack Scott Rudin “BRIDE WARS” Gary Winick Firm Films Alan Riche New Regency Pictures Peter Riche Julie Yorn “THE BURNING PLAIN” Guillermo Arriaga 2929 Entertainment Laurie MacDonald Walter F. Parkes SANDRA MARSH & ASSOCIATES Tel: (310) 285-0303 Fax: (310) 285-0218 e-mail: [email protected] (3/31/17) DAN LEIGH Production Designer ---2-222---- FILM & TELEVISION COMPANIES -
Vertov: Between the Organism and the Machine
Vertov: Between the Organism and the Machine MALCOLM TURVEY In every living being, we find that those things which we call parts are inseparable from the Whole to such an extent, that they can only be conceived in and with the latter; and the parts can neither be the measure of the Whole, nor the Whole be the measure of the parts. — Goethe I The standard reading of the work of Dziga Vertov argues that, due to his affiliation with the Constructivist group of avant-garde artists that emerged in the Soviet Union after the Bolshevik Revolution of 1917, Vertov employed the machine as the model for both his films and the new Soviet society depicted in them. In The Material Ghost, Gilberto Perez writes: [Vertov’s] Man with a Movie Camera [1929] pictures the city as a vast machine seen by the omnipresent seeing machine that is the camera. The structure of Vertov’s films, their aggregate space pieced together in the cutting room out of all the manifold things the mechanical eye can see, suggests the constructions of the engineer so prized in [the] new Soviet society.1 The centrality of the machine to Constructivist theory and practice, as well as to Vertov’s work, is beyond dispute. However, it has obscured the influence of other models on Vertov as he came to make Man with a Movie Camera in the late 1920s, including one that is often thought of as antithetical to the machine, namely, the organism. Most obviously, Man with a Movie Camera is structured according to the daily cycle of a complex living organism such as an animal or human being—sleep, 1. -
Lista Distribuidores Correccion
• 12 Yard Productions • Alex Bowen Producciones • 2929 Entertainment • All3media International • 3DD Enterteinment • Allegro Pictures • 9 Story Enterprises • Alley Cat Films • A&E Channel Home Video • Alliance Atlantos Releasing • Aardman • Alphablocks Limited • Abduction Films • Altadena Film • Acacia • AMC Networks (Walking Dead Only) • ACC Action Concept Cinema • American Cinema Independent • ACI • American Portrait Films • Acorn Group • Andrea Films • Acorn Media • Andres Wood Producciones • Actaeon Films • Anglia Television • Action Concept • Animal Planet Video • Action Concept • Animalia Productions • Action Concept Film and Stuntproduktion • Annapurna Productions • Action Image • Apollo Media Filmmanagement • Adness Entertainment • Arte France • After Dark Films • Artemis Films • Ager Film • Associated Television • AIM Group • Athena • Akkord Film Produktion • Atlantic 2000 • Alain Siritzky Productions • Atlantic Productions • Alameda Films • August Entertaiment • Alcine Pictures • AV Pictures • Alcon Entertainment • AWOL Animation • Berlin Amimation Film • Best Film and Video • Best Picture Show • Betty TV • B & B Company • Beyond International • Baby Cow Productions • Big Bright House of Tunes • Bandai Visual • Big Idea Entertainment • Banjiay Internartional • Big Light Productions • Bankside Films • Big Talk Productions • Bard Entertainment • Billy Graham Evangelistic Association / World Wide • Bardel Distribution • Pictures • BBC Worldwide • Bio Channel • BBL Distribution • BKN International • BBP Music Publishing c/o Black -
{Septcmber 1966} A. J. Davis
{septcmber 1966} SA TURN IB lliFLIGHT PHOTOGRAPHIC lNSTRUMENTATION SYSTEM by A. J. Davis t>,L. ttas&ler, Jr. MEASURING BRANCH ASTRIONICS LA.BORATORY GEORGE C. MARSHALL SPACE FLIGHT CENTER Huntsville, Alabama Fon INTERNA L USE ONLY MSFC • Form \094 (Mny 1961) GEORGE C. MARSHALL SPACE FLIGHT CENTER SATURN IB INFLIGHT PHOTOGRAPHIC INSTRUMENTATION SYSTEM By A. J. Davis P. L. Hassler, Jr. Measuring Branch Astrionics Laboratory George C. Marshall Space Flight Center H1mtsville, Alabama ABSTRACT This Internal Note presents the development of the Saturn inflight photo graphic instrumentation program from its original development req_uirement concept to the flight hardware application on Saturn vehicles. A comprehensive description of the inflight photographic instrumentation system is given along with data concerning testing, operation, application, and evaluation of the system after recovery. This Internal Note shows that the system has been successfully developed, that valuable information has been obtained from film retrieved from recovered capsules, and that the system can be used·with a high degree of reliability. NASA-GEORGE C. MARSHALL SPACE FLIGHT CENTER INTERNAL NOTE SATURN ID INFLIGHT PHOTOGRAPHIC WSTRUMENTATION SYSTEM by A. J. Davis P. L. Hassler, Jr. ASTRIONICS LABORATORY PROPULSION AND VEHICLE ENGINEERING LABORATORY TABLE Or CONTENTS Fage SECTION I. INTRODUCTION 1 A. Project Hi.story 1 B. Inflight Photographic Instru�entation System 1 SECTION II. CAMERA AND OPTICAL AIDS 6 A. Camera . 6 B. Timer 7 c. Fiberoptic Bundle 9 D. Lenses . 10 E. Film . 11 F. Lighting . 13 G. Support Structure 21 H. Testing 28 SECTION III. CAPSULE EJECTION SYSTEM 36 A. Component Description 36 B. System Operation . 36 C. -
Big Names Open Expo
THE OFFICIAL PUBLICATION OF LICENSING EXPO June 10, 2015 Day 2 Breaking News Cartoon Network Inks ‘Ben Big Names Open Expo 10’ Master Toy Partner Licensing Expo kicked off with multiple conversations with top digital talent such as Playmates Toys will serve as the master toy summits, celebrity appearances, theatrical Andrea Brooks, Amanda Steele, Tati Westbrook, partner for Cartoon Network’s brand-new reveals, educational seminars and much, much Samantha Woolfe, Hanah Hart, Missy Lynn and “Ben 10” series. more. Lia Marie Johnson, The series will premiere on CN channels in On Monday, alongside international territories in fall 2016 and in Licensing Expo executives from North America in 2017. Products will follow. hosted the YouTube, rst-ever Digital AwesomenessTV, Prominent Signs Hagar Summit, part of United Talent New brand management and development the Licensing Agency, The Honest consortium Prominent Brand + Talent has University Company, Style signed on to represent musician Sammy Hagar. educational series Haul, Re nery29 Prominent will look to extend Hagar’s (organized by the and more. Sammy’s Island brand into multiple lifestyle International Licensing Expo categories. Dow Famulak, Global Brands Group; Richard Barry, Toys ‘R’ Licensing Industry Us; Lisa Harper, Hot Topic; and Mike Fitzsimmons, 2015 of cially Merchandisers’ Delivery Agent launched Tuesday Not-to-Be Missed Events: Association). The Digital Summit was opened with a panel-style keynote that included top-level Q Nitro Circus Live performances–11 am, 1 with a keynote Q&A that featured YouTube’s executives Dow Famulak of Global Brands Group, pm and 4 pm, booth #A62 (in the Sports director of content partnerships, Malik Ducard. -
Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking
Kimberly Owczarski Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking In June 2005, Warner Bros. Pictures announced Are Marshall (2006), and Trick ‘r’ Treat (2006)2— a multi-film co-financing and co-production not a single one grossed more than $75 million agreement with Legendary Pictures, a new total worldwide at the box office. In 2007, though, company backed by $500 million in private 300 was a surprise hit at the box office and secured equity funding from corporate investors including Legendary’s footing in Hollywood (see Table 1 divisions of Bank of America and AIG.1 Slate for a breakdown of Legendary’s performance at financing, which involves an investment in a the box office). Since then, Legendary has been a specified number of studio films ranging from a partner on several high-profile Warner Bros. films mere handful to dozens of pictures, was hardly a including The Dark Knight, Inception, Watchmen, new phenomenon in Hollywood as several studios Clash of the Titans, and The Hangoverand its sequel. had these types of deals in place by 2005. But In an interview with the Wall Street Journal, the sheer size of the Legendary deal—twenty five Legendary founder Thomas Tull likened his films—was certainly ambitious for a nascent firm. company’s involvement in film production to The first film released as part of this deal wasBatman an entrepreneurial endeavor, stating: “We treat Begins (2005), a rebooting of Warner Bros.’ film each film like a start-up.”3 Tull’s equation of franchise. Although Batman Begins had a strong filmmaking with Wall Street investment is performance at the box office ($205 million in particularly apt, as each film poses the potential domestic theaters and $167 million in international for a great windfall or loss just as investing in a theaters), it was not until two years later that the new business enterprise does for stockholders. -
Jean Harlow ~ 20 Films
Jean Harlow ~ 20 Films Harlean Harlow Carpenter - later Jean Harlow - was born in Kansas City, Missouri on 3 March 1911. After being signed by director Howard Hughes, Harlow's first major appearance was in Hell's Angels (1930), followed by a series of critically unsuccessful films, before signing with Metro-Goldwyn- Mayer in 1932. Harlow became a leading lady for MGM, starring in a string of hit films including Red Dust (1932), Dinner At Eight (1933), Reckless (1935) and Suzy (1936). Among her frequent co-stars were William Powell, Spencer Tracy and, in six films, Clark Gable. Harlow's popularity rivalled and soon surpassed that of her MGM colleagues Joan Crawford and Norma Shearer. By the late 1930s she had become one of the biggest movie stars in the world, often nicknamed "The Blonde Bombshell" and "The Platinum Blonde" and popular for her "Laughing Vamp" movie persona. She died of uraemic poisoning on 7 June 1937, at the age of 26, during the filming of Saratoga. The film was completed using doubles and released a little over a month after Harlow's death. In her brief life she married and lost three husbands (two divorces, one suicide) and chalked up 22 feature film credits (plus another 21 short / bit-part non-credits, including Chaplin's City Lights). The American Film Institute (damning with faint praise?) ranked her the 22nd greatest female star in Hollywood history. LIBERTY, BACON GRABBERS and NEW YORK NIGHTS (all 1929) (1) Liberty (2) Bacon Grabbers (3) New York Nights (Harlow left-screen) A lucky few aspiring actresses seem to take the giant step from obscurity to the big time in a single bound - Lauren Bacall may be the best example of that - but for many more the road to recognition and riches is long and grinding. -
First Media Partners with HBO GO to Offer Unlimited Access to All Available Content on HBO with One Subscription
PRESS RELEASE First Media partners with HBO GO to Offer Unlimited Access to All Available Content on HBO with One Subscription Jakarta, May 16th 2018 – First Media, a leader and pioneer in the cable TV industry and broadband Internet in Indonesia, presents HBO GO, an Internet-based service from HBO to bring the best mobile experience. HBO GO allows First Media customers to enjoy exclusive entertainment from HBO Originals: HBO series, HBO movies, documentaries, as well as Hollywood blockbusters through various devices (computers, tablets and smartphones). HBO GO is available for download from both the Google Play and the App Store, or visit the website at www.hbogoasia.com. "We are very excited to be the first partner in Indonesia to launch HBO GO on First Media. Aside from offering a vast array of premium channels, it is also our commitment to our subscribers to offer the best entertainment on the go (to be viewed anywhere and anytime) which includes the best of HBO Originals: HBO series, HBO movies, documentaries, as well as Hollywood blockbusters,” said Meena Kumari Adnani, Executive Vice President of Content Development and Business Affairs at First Media. Based on SVOD Report Statista 2018 the penetration of users Streaming video on demand (SVOD) accessed through the internet in Indonesia in 2018 reached 3.7% and is predicted to reach 7.9% by 2022. Internet access from mobile device users, by 2017, 28.78% of the population accesses the internet via mobile devices and is expected to reach 38.22% by 2021 (Mobile internet Statista 2017). This shows the growing trend of accessing internet video content via mobile. -
Film Vocabulary
Film Vocabulary Film-making terms are not always so easy to grasp. Here are some words that you might want to incorporate in your review. 3D. A film that has a three-dimensional, stereoscopic form or appearance, giving the life- like illusion of depth; often achieved by viewers donning special red/blue (or green) or polarized lens glasses; when 3-D images are made interactive so that users feel involved with the scene, the experience is called virtual reality. ADAPTATION. the presentation of one art form through another medium; a film based upon, derived from a stage play, short story, book, article, history, novel, video game, comic strip or similar, which basically preserves both the setting and dialogue of the original. ANIMATION. Animation is the technique in which each frame of a film is produced individually, whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly making small changes to a model unit and then photographing the result with a special animation camera. When the frames are strung together and the resulting film is viewed at a speed of 16 or more frames per second, there is an illusion of continuous movement . Generating such a film is very labor intensive and tedious, though the development of computer animation has greatly sped up the process. ANTAGONIST. An antagonist is a character, group of characters, or an institution, that represents the opposition against which the protagonist must contend. In the classic style of story wherein the action consists of a hero fighting a villain, the two can be regarded as protagonist and antagonist, respectively. -
Control Content, Not Innovation: Why Hollywood Should Ebrace Peer-To-Peer Technology Despite the MGM V
Loyola of Los Angeles Entertainment Law Review Volume 25 Number 3 Article 2 6-1-2005 Control Content, Not Innovation: Why Hollywood Should Ebrace Peer-to-Peer Technology Despite the MGM v. Grokster Battle Timothy K. Andrews Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Timothy K. Andrews, Control Content, Not Innovation: Why Hollywood Should Ebrace Peer-to-Peer Technology Despite the MGM v. Grokster Battle, 25 Loy. L.A. Ent. L. Rev. 383 (2005). Available at: https://digitalcommons.lmu.edu/elr/vol25/iss3/2 This Notes and Comments is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. CONTROL CONTENT, NOT INNOVATION: WHY HOLLYWOOD SHOULD EMBRACE PEER- TO-PEER TECHNOLOGY DESPITE THE MGM V. GROKSTER BATTLE Written December 2, 2004* I. INTRODUCTION Despite Napster's legal defeat in 20011 and thousands of lawsuits against individual file sharers,2 peer-to-peer ("P2P") file sharing has continued to flourish. Estimates of the economic impact of illegal file sharing on music album sales vary considerably. The recording industry largely blames P2P file sharing for the drop in revenue from sales of CDs from $13.2 billion in 2001 to $11.2 billion in 2003. 5 However, a recent * This Comment was written prior to the decision of the United States Supreme Court handed down on June 27, 2005. -
I Just Looked Back on the Pegboard from December 2018 to Refresh Myself on the Final Issue of What Was a Very Busy Year. This Y
ANIMATION GUILD AND AFFILIATED ELECTRONIC AND GRAPHIC ARTS Los Angeles, California, December 2019 Vol. 48, No13 I just looked back on The Pegboard from December 2018 to refresh myself on the fi nal issue of what was a very busy year. This year was a little less hectic: with our main contract (the Master Agreement) settled, we only had four smaller contracts to work out with the major studios, plus a lot of individual deals. We did, however, get a lot done besides our usual collective baragining. Highlights include taking the biggest delegation in our Local’s history to the District 2 Convention in Hono- lulu, Hawai’i, holding an election for Offi cers and E-Board and seeing member engagement and committee participation take off like a rocket. My original intention for this article was to write about the outgoing and incoming Executive Board members, changes at the Guild over the last few years and some events to look forward to in 2020. A lot of little things have happened this week, though, that have reminded me about something very important: a union is made up of working people stand- ing together to make things better for themselves and others. I decided to throw out that fi rst article and start fresh with a little insight into what kind of stuff happens behind the scenes here at the Animation Guild. We just had an election that saw many members getting involved for the fi rst time. Our former Business Rep, Jason MacLeod, decided that a single incredibly productive three-year term was enough for a mere mor- tal, so he is off to a new phase of his career and we welcomed our former MEMBERS MAKE IT HAPPEN (continued on page 3) IN THIS ISSUE Members Make It Happen .........................................