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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. -
Movie List Please Dial 0 to Request
Movie List Please dial 0 to request. 200 10 Cloverfield Lane - PG13 38 Cold Pursuit - R 219 13 Hours: The Secret Soldiers of Benghazi - R 46 Colette - R 202 5th Wave, The - PG13 75 Collateral Beauty - PG13 11 A Bad Mom’s Christmas - R 28 Commuter, The-PG13 62 A Christmas Story - PG 16 Concussion - PG13 48 A Dog’s Way Home - PG 83 Crazy Rich Asians - PG13 220 A Star is Born - R 20 Creed - PG13 32 A Walk Among the Tombstones - R 21 Creed 2 - PG13 4 Accountant, The - R 61 Criminal - R 19 Age of Adaline, The - PG13 17 Daddy’s Home - PG13 40 Aladdin - PG 33 Dark Tower, The - PG13 7 Alien:Covenant - R 67 Darkest Hour-PG13 2 All is Lost - PG13 52 Deadpool - R 9 Allied - R 53 Deadpool 2 - R (Uncut) 54 ALPHA - PG13 160 Death of a Nation - PG13 22 American Assassin - R 68 Den of Thieves-R (Unrated) 37 American Heist - R 34 Detroit - R 1 American Made - R 128 Disaster Artist, The - R 51 American Sniper - R 201 Do You Believe - PG13 76 Annihilation - R 94 Dr. Suess’ How the Grinch Stole Christmas - PG 5 Apollo 11 - G 233 Dracula Untold - PG13 23 Arctic - PG13 113 Drop, The - R 36 Assassin’s Creed - PG13 166 Dunkirk - PG13 39 Assignment, The - R 137 Edge of Seventeen, The - R 64 At First Light - NR 88 Elf - PG 110 Avengers:Infinity War - PG13 81 Everest - PG13 49 Batman Vs. Superman:Dawn of Justice - R 222 Everybody Wants Some!! - R 18 Before I Go To Sleep - R 101 Everything, Everything - PG13 59 Best of Me, The - PG13 55 Ex Machina - R 3 Big Short, The - R 26 Exodus Gods and Kings - PG13 50 Billy Lynn’s Long Halftime Walk - R 232 Eye In the Sky - -
Gravity (Cuaron, USA/UK, 2013) Introducing Some Key Points About Production, Distribution and Exhibition
Gravity (Cuaron, USA/UK, 2013) Introducing some key points about production, distribution and exhibition Production budgets and distribution There are various ways of describing high budget, mainstream films: – blockbusters (the word journalists tend to use) – high grossing films (industry terminology) – ‘tent-pole’ films – also industry terminology, used to describe the high grossing films the industry want to ‘hang’ their other releases on (once audiences have been drawn into the cinema, the idea is that they will return) – high concept films (possibly a more academic term to describe films based on one simple idea that can be easily pitched – often accompanied by a defining soundtrack). High budget films support a studio’s other releases during the year and tend to have budgets of at least $100 million and some can exceed $200 million. The highest budget film is usually quoted asSpider-Man 3 (2007), which had a budget of approximately $258 million. It’s often useful when looking at the US and UK film industries to have a rough idea of the approximate size of films’ production budgets. Generally speaking, the lower the budget, the lower the distribution spend – which means, screening on a more limited range of cinemas and spending less on marketing. The most common ways of describing film production budgets and release patterns are: high, medium and low budget and saturation, wide and limited release. The industry does, however, use more specific categories (such as key cities, selected cities etc.). You can see some of this detail on the UK Film Distributors’ Association’s ‘Launching Films’ website’. Gravity (Cuaron, USA/UK, 2013) Introducing some key points about production, distribution and exhibition Production Distribution Approximate number of screens - USA (UK) Saturation Wide release Limited release release 50 – 2500 max 4500 (500) 3000 (300) (50 – 250 max) ‘Blockbuster’/ $100m + high grossing films Some lower budget blockbusters given wide release Medium budget Approx. -
And American Sniper (2014) Representation, Reflectionism and Politics
UFR Langues, Littératures et Civilisations Étrangères Département Études du Monde Anglophone Master 2 Recherche, Études Anglophones The Figure of the Soldier in Green Zone (2010) and American Sniper (2014) Representation, Reflectionism and Politics Mémoire présenté et soutenu par Lucie Pebay Sous la direction de Zachary Baqué et David Roche Assesseur: Aurélie Guillain Septembre 2016 1 The Figure of the Soldier in Green Zone (2010) and American Sniper (2014) Representation, Reflectionism and Politics. 2 I would like to express my gratitude to all those who have made this thesis possible. I would like to thank Zachary Baqué and David Roche, for the all the help, patience, guidance, and advice they have provided me throughout the year. I have been extremely lucky to have supervisors who cared so much about my work, and who responded to my questions and queries so promptly. I would also like to acknowledge friends and family who were a constant support. 3 Table of Content Introduction..........................................................................................................................................5 I- Screening the Military....................................................................................................................12 1. Institutions.................................................................................................................................12 a. The Army, a Heterotopia.......................................................................................................12 b. -
2013 Movie Catalog © Warner Bros
1-800-876-5577 www.swank.com Swank Motion Pictures,Inc. Swank Motion 2013 Movie Catalog 2013 Movie © Warner Bros. © 2013 Disney © TriStar Pictures © Warner Bros. © NBC Universal © Columbia Pictures Industries, ©Inc. Summit Entertainment 2013 Movie Catalog Movie 2013 Inc. Pictures, Motion Swank 1-800-876-5577 www.swank.com MOVIES Swank Motion Pictures,Inc. Swank Motion 2013 Movie Catalog 2013 Movie © New Line Cinema © 2013 Disney © Columbia Pictures Industries, Inc. © Warner Bros. © 2013 Disney/Pixar © Summit Entertainment Promote Your movie event! Ask about FREE promotional materials to help make your next movie event a success! 2013 Movie Catalog 2013 Movie Catalog TABLE OF CONTENTS New Releases ......................................................... 1-34 Swank has rights to the largest collection of movies from the top Coming Soon .............................................................35 Hollywood & independent studios. Whether it’s blockbuster movies, All Time Favorites .............................................36-39 action and suspense, comedies or classic films,Swank has them all! Event Calendar .........................................................40 Sat., June 16th - 8:00pm Classics ...................................................................41-42 Disney 2012 © Date Night ........................................................... 43-44 TABLE TENT Sat., June 16th - 8:00pm TM & © Marvel & Subs 1-800-876-5577 | www.swank.com Environmental Films .............................................. 45 FLYER Faith-Based -
Paramount Consent Decree Review Public Comments 2018
COMMENTS OF THE NATIONAL ASSOCIATION OF THEATRE OWNERS U.S. DEPARTMENT OF JUSTICE, ANTITRUST DIVISION REVIEW OF PARAMOUNT CONSENT DECREES October 1, 2018 National Association of Theatre Owners 1705 N Street, N.W. Washington, D.C. 20036 (202) 962-0054 I. INTRODUCTION The National Association of Theatre Owners (“NATO”) respectfully submits the following comments in response to the U.S. Department of Justice Antitrust Division’s (the “Department”) announced intentions to review the Paramount Consent Decrees (the “Decrees”). Individual motion picture theater companies may comment on the five various provisions of the Decrees but NATO’s comment will focus on one seminal provision of the Decrees. Specifically, NATO urges the Department to maintain the prohibition on block booking, as that prohibition undoubtedly continues to support pro-competitive practices. NATO is the largest motion picture exhibition trade organization in the world, representing more than 33,000 movie screens in all 50 states, and additional cinemas in 96 countries worldwide. Our membership includes the largest cinema chains in the world and hundreds of independent theater owners. NATO and its members have a significant interest in preserving an open marketplace in the North American film industry. North America remains the biggest film-going market in the world: It accounts for roughly 30% of global revenue from only 5% of the global population. The strength of the American movie industry depends on the availability of a wide assortment of films catering to the varied tastes of moviegoers. Indeed, both global blockbusters and low- budget independent fare are necessary to the financial vitality and reputation of the American film industry. -
The Commutation Test and Chris Bacon's Score for Source Code As
The Commutation Test and Chris Bacon’s Score for Source Code as a Framework for Film Music Pedagogy Aaron Ziegel, Towson University he cinema, whether experienced at the neighborhood multiplex or streamed at home, is arguably the medium through which today’s col- lege-age Americans are most likely to encounter newly composed sym- Tphonic music. Given the ubiquity of the film-viewing experience, students are often eager to learn the tools and methodologies that can equip them to criti- cally assess and more fully comprehend the function of music in movies. The filmSource Code (2011), directed by Duncan Jones and scored by Chris Bacon, provides a particularly effective starting point through which this process can begin.1 This article will discuss the pedagogical potential found in the film’s main titles and the impact of applying a commutation test to this sequence. Although here I address one specific example, the methodology of the commu- tation test is easily adaptable to other circumstances, as the theoretical foun- dation will make clear. While variations on the commutation test are a regular occurrence in many film music classrooms, this essay aims to present an intro- ductory primer that may be of use to instructors interested in an entry point for incorporating film music studies into their teaching. With that in mind, the appendix presents one suggestion for how to create film clips for classroom use. The value of this classroom activity extends beyond providing students with an engaging and memorable learning experience. By situating this analysis I wish to express my gratitude to the many students at Towson University whose feedback and enthusiastic classroom participation, along with suggestions from the anonymous reviewers, helped me to refine the pedagogical approach described in this essay. -
Motion Picture License List of MPL Participating Theatrical Distributors & Producers
Motion Picture License List of MPL Participating Theatrical Distributors & Producers MAJOR HOLLYWOOD STUDIOS & AFFILIATED LABELS 20th Century Studios Paramount Pictures (f/k/a Twentieth Century Fox Film Corp.) Paramount Vantage Buena Vista Pictures Picturehouse Cannon Pictures Pixar Animation Studios Columbia Pictures Polygram Filmed Entertainment Dreamworks Animation SKG Republic Pictures Dreamworks Pictures RKO Pictures (Releases 2011 to present) Screen Gems PLEASE CHOOSE Dreamworks Pictures CATEGORY: (Releases prior to 2011) Searchlight Pictures (f/ka/a Fox Searchlight Pictures) Fine Line Features Sony Pictures Entertainment Focus Features Major Hollywood Studios STX Entertainment & Affiliated Labels Fox - Walden Touchstone Pictures Fox 2000 Films TV Tristar Pictures Fox Look Triumph Films Independent Hanna-Barbera United Artists Pictures Hollywood Pictures Faith-Based Universal Pictures Lionsgate Entertainment USA Films Lorimar Telepictures Children’s Walt Disney Pictures Metro-Goldwyn-Mayer (MGM) Studios Warner Bros. Pictures Spanish Language New Line Cinema Warner Bros. Television Nickelodeon Movies Foreign & International Warner Horizon Television Orion Pictures Warner Independent Pictures Paramount Classics TV 41 Entertaiment LLC Ditial Lifestyle Studios A&E Networks Productions DIY Netowrk Productions Abso Lutely Productions East West Documentaries Ltd Agatha Christie Productions Elle Driver Al Dakheel Inc Emporium Productions Alcon Television Endor Productions All-In-Production Gmbh Fabrik Entertainment Ambi Exclusive Acquisitions -
PDF of Credits
ALANA DA FONSECA EXECUTIVE MUSIC PRODUCER – SONGWRITER MOTION PICTURES EUROVISION (Music Producer, Vocal Arranger) David Dobkin, dir. Netflix THE ADDAMS FAMILY (Music Producer) Greg Tiernan, Conrad Vernon, dirs. MGM GOOD BOYS (Executive Music Producer) Gene Stupnitsky, dir. Universal Pictures PITCH PERFECT 3 (Executive Music Producer) Trish Sie, dir. Universal Pictures POMS (Executive Music Producer) Zara Hayes, dir. STX ISN’T IT ROMANTIC (Music Producer) Todd Strauss-Schulson, dir. Warner Bros. THE SECRET LIFE OF PETS (Producer “We Go Together”) Chris Renaud, dir. Universal Pictures PITCH PERFECT 2 (Arranger/Vocal Arranger) Elizabeth Banks, dir. Universal Pictures ALVIN AND THE CHIPMUNKS: THE ROAD CHIP (Executive Music Producer) Walt Becker, dir. Fox 2000 PITCH PERFECT (Additional Vocal Arranger) Jason Moore, dir. Universal Pictures HANNAH MONTANA: THE MOVIE (Producer “Let’s Do This”) Peter Chelsom dir. Walt Disney Studios 3349 Cahuenga Blvd. West Los Angeles, California 90068 Tel. 818-380-1918 Fax 818-380-2609 ALANA DA FONSECA EXECUTIVE MUSIC PRODUCER – SONGWRITER TELEVISION JULIE AND THE PHANTOMS (Vocal Arranger/Vocal Producer, Songwriter) Kenny Ortega, dir. Netflix TROLLS: THE BEAT GOES ON (Executive Music Producer, Songwriter) Hannah Friedman, creator Netflix DWA UNNANOUNCED SHOW (Executive Music Producer, Songwriter) DreamWorks Animation ALVINNN!!! AND THE CHIPMUNKS (Executive Music Producer, Songwriter) Janice Karman, creator Nickelodeon LIVE SHOW TROLLS LIVE TOURING SHOW (Music Producer) SONGWRITER NAKED (Writer “Nobody But You”) Michael Tiddes, dir. Netflix STAR (TV) (Writer “Honeysuckle”) Lee Daniels, Tom Donaghy, creators Fox ALVIN AND THE CHIPMUNKS: THE ROAD CHIP (Writer “Home”) Walt Becker, dir. Fox 2000 POWER (TV) (Writer “Old Flame”) Courtney A. Kemp, creator Starz FIFTY SHADES OF GREY (Writer “Awakening”) Sam Taylor-Johnson, dir. -
Films Winning 4 Or More Awards Without Winning Best Picture
FILMS WINNING 4 OR MORE AWARDS WITHOUT WINNING BEST PICTURE Best Picture winner indicated by brackets Highlighted film titles were not nominated in the Best Picture category [Updated thru 88th Awards (2/16)] 8 AWARDS Cabaret, Allied Artists, 1972. [The Godfather] 7 AWARDS Gravity, Warner Bros., 2013. [12 Years a Slave] 6 AWARDS A Place in the Sun, Paramount, 1951. [An American in Paris] Star Wars, 20th Century-Fox, 1977 (plus 1 Special Achievement Award). [Annie Hall] Mad Max: Fury Road, Warner Bros., 2015 [Spotlight] 5 AWARDS Wilson, 20th Century-Fox, 1944. [Going My Way] The Bad and the Beautiful, Metro-Goldwyn-Mayer, 1952. [The Greatest Show on Earth] The King and I, 20th Century-Fox, 1956. [Around the World in 80 Days] Mary Poppins, Buena Vista Distribution Company, 1964. [My Fair Lady] Doctor Zhivago, Metro-Goldwyn-Mayer, 1965. [The Sound of Music] Who's Afraid of Virginia Woolf?, Warner Bros., 1966. [A Man for All Seasons] Saving Private Ryan, DreamWorks, 1998. [Shakespeare in Love] The Aviator, Miramax, Initial Entertainment Group and Warner Bros., 2004. [Million Dollar Baby] Hugo, Paramount, 2011. [The Artist] 4 AWARDS The Informer, RKO Radio, 1935. [Mutiny on the Bounty] Anthony Adverse, Warner Bros., 1936. [The Great Ziegfeld] The Song of Bernadette, 20th Century-Fox, 1943. [Casablanca] The Heiress, Paramount, 1949. [All the King’s Men] A Streetcar Named Desire, Warner Bros., 1951. [An American in Paris] High Noon, United Artists, 1952. [The Greatest Show on Earth] Sayonara, Warner Bros., 1957. [The Bridge on the River Kwai] Spartacus, Universal-International, 1960. [The Apartment] Cleopatra, 20th Century-Fox, 1963. -
Netflix's Sense8 and Accompanying Twitter Communication Transnationale Ident
Transnational Identity in Online Discourse – Netflix’s Sense8 and accompanying Twitter communication Transnationale Identität im Online Diskurs – Netflix’s Sense8 und Anschlusskommunikation auf Twitter by Anna Carolin Antonia Rohmann A thesis presented to the University of Waterloo and the Universitaet Mannheim in fulfilment of the thesis requirement for the degree of Master of Arts in Intercultural German Studies Waterloo, Ontario, Canada / Mannheim, Germany, 2020 © Anna Carolin Antonia Rohmann 2020 Author’s declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, in- cluding any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. Ehrenwörtliche Erklärung Ich versichere, dass ich die Arbeit selbstständig und ohne Benutzung anderer als der angege- benen Hilfsmittel angefertigt habe. Alle Stellen, die wörtlich oder sinngemäß aus Veröffentli- chungen in schriftlicher oder elektronischer Form entnommen sind, habe ich als solche unter Angabe der Quelle kenntlich gemacht. Mir ist bekannt, dass im Falle einer falschen Versiche- rung die Arbeit mit „nicht ausreichend“ bewertet wird. Ich bin ferner damit einverstanden, dass meine Arbeit zum Zwecke eines Plagiatsabgleichs in elektronischer Form versendet und gespeichert werden kann. Mannheim, 10.08.2020 ii Abstract Digital media has become ubiquitous and immensely shapes communitarisation, and thus identity construction. As media does not rely on physical border crossing to bring us in con- tact with different subject positions, traditional forms of mobility are not necessary to include people in transnational discourse and narratives of transnational identification. However, scholarly attention has been focused on discourses of transnational identities tied to tradition- al transgressions of national space. -
DATE Name Company Address Dear , SWANK MOTION PICTURES, INC
10795 Watson Road Barbara Nelson Saint Louis, MO 63127-1012 Vice President 800-876-5577 314-984-6130 Email: [email protected] DATE Name Company Address Dear , SWANK MOTION PICTURES, INC. is the sole source for non-theatrical distribution and public performance licensing to Colleges and Universities, Elementary, High schools, Park and Recreation Departments, Cruise Ships, Hospitals and various other non-theater settings in either 35mm film, Pre-home DVD, DVD’s, Blu-Ray DVD and digital formats for the following studios: Warner Brothers The Weinstein Company Warner Independent Pictures A24 Films New Line Cinema Bleecker Street Media Columbia Pictures (Sony) STX Entertainment TriStar Pictures HBO Pictures Walt Disney Pictures CBS Films Marvel Entertainment Cohen Media Group Touchstone Hallmark Hall of Fame Universal Pictures IFC Films Focus Features Magnolia Pictures Paramount Pictures Monterey Media Lionsgate RLJ Entertainment Summit Entertainment Samuel Goldwyn Metro-Goldwyn Mayer United Artists Miramax The Orchard Studios listed are those supplying titles at the time of this printing, and since studios may vary from year to year, it is possible that one major studio may be added or one deleted. Any film that your organization licenses from Swank Motion Pictures for non-theatrical public performance and which is distributed by the motion picture studios listed above is fully in compliance with the Copyright Act as stated in Title 17 of the United States Code. Sincerely, Barbara J. Nelson VP, Sales and Studio Relations Worldwide Non-Theatrical Distributors of Motion Pictures www.swank.com .