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The Media World: a New Collaboration Was Born
The Media World: A New Collaboration Was Born MeCCSA and AMPE Joint Annual Conference. 5- 7 January 2005, University of Lincoln A report by Serena Formica, University of Nottingham, UK There was much anticipation and expectation leading up to the 2005 MeCCSA conference at the University of Lincoln. This was due to the event being the first joint MeCCSA (Media, Communications and Cultural Studies Association) and AMPE (Association of Media Practice Educators) conference. The purpose of this union was to highlight the common features of both organisations, such as interest in media, Cultural Studies, pedagogy -- all of them reflected in the numerous panels throughout the three-day meeting. Plenary sessions interspersed the many panels, the first of which was presented by Ursula Maier-Rabler (Director of the Centre for Advanced Studies and Research in Information and Communication Technologies and Society, University of Salzburg), who presented a paper entitled "Why do ICTs Matter? The Cultural-Social Milieu as Invisible Underpinning of New Information and Communication Technologies". Dr. Maier-Rabler highlighted the increasing importance of ICTs, considered as a Digital Network, characterised by its universality and non-linearity of contents. As Paul Virilio pointed out, ICTs are permeated by a constant acceleration, which emphasises its element of 'unfinishedness'. The cultural milieu surrounding ICTs was presented as divided into four major social-geographical areas: Social- conservative, Social-democratic, Protestant-liberal and Liberal-conservative. Maier-Rabler observed that the former belong to a collective form of State, whereas the latter belong to a form that is more individualistic. Furthermore, Dr. Maier-Rabler analysed ICTs' perspectives in terms of communication and infrastructure -- media (defined by a shift from programmes to services, media systems to infrastructure and recipient to users) and network (at a technical and social level). -
Baltasar Kormákur
THE DEEP EEN FILM VAN BALTASAR KORMÁKUR WILD BUNCH WILLEMSSTRAAT 24B – 1015 JD – AMSTERDAM WWW.WILDBUNCH.NL [email protected] WILDBUNCHblx THE DEEP – BALTASAR KORMÁKUR PROJECT SUMMARY EEN PRODUCTIE VAN BLUEEYES PRODUCTIONS, FILMHUSET AS TAAL IJSLANDS LENGTE 95 MINUTEN ORIGINELE TITEL DJUPID GENRE DRAMA LAND VAN HERKOMST IJSLAND FILMMAKER BALTASAR KORMÁKUR HOOFDROLLEN ÓLAFUR DARRI ÓLAFSSON, JÓHANN G. JÓHANNSSON, BJÖRN THORS RELEASEDATUM 25 APRIL 2013 FESTIVALS TORONTO INTERNATIONAL FILMFESTIVAL – SPECIAL PRESENTATION KIJKWIJZER SYNOPSIS Als op een koude nacht in 1984 een vissersboot met zijn gehele bemanning aan boord zinkt, is er slechts één iemand die de schipbreuk op miraculeuze wijze weet te overleven. Het is wetenschappelijk onverklaarbaar aangezien Gulli zes uur in het ijskoude water heeft gelegen. Terwijl zijn bovennatuurlijke wil om te overleven hem tot nationale held van IJsland heeft gebombardeerd, herinnert Gulli de zwarte nacht als het moment waarop hij zijn vrienden en collega’s verloor. Gebaseerd op een waargebeurd verhaal. CAST GULLI ÓLAFUR DARRI ÓLAFSSON PALLI JÓHANN G. JÓHANNSSON HALLA PORBJÖRG HELGA PORGILSDÓTTIR GULLI’S FATHER THEODÓR JÚLÍUSSON GULLI’S MOTHER MARÍA SIGURDARDÓTTIR HANNES BJÖRN THORS LÁRUS PRÖSTUR LEÓ GUNNARSSON ERLINGUR GUDJÓN PEDERSEN RAGGI WALTER GRÍMSSON JÓN STEFÁN HALLUR STEFÁNSON CREW DIRECTOR BALTASAR KORMÁKUR SCREENPLAY BALTASAR KORMÁKUR JÓN ATLI JÓNASSON PRODUCER BALTASAR KORMÁKUR AGNES JOHANSEN EXECUTIVE PRODUCER LILJA PÁLMADÓTTIR DAVID LINDE CINEMATOGRAHER BERGSTEINN BJÖRGÚLFSSON EDITOR SVERRIR KRISTJÁNSSON ELÍSABET RONALDSDÓTTIR SOUND KJARTAN KJARTÁNSSON INGVAR LUNDBERG PRODUCTION DESIGNER ATLI GEIR GRÉTARSSON THE DEEP – BALTASAR KORMÁKUR THE DEEP - DIRECTOR’S NOTES I was just a teenager when this actually happened. Like everyone else in our small country I felt for all the people of the Westmann Islands who again had lost men at sea, but I was also fascinated by the news on the sole survivor. -
Mona Lisa Smile Dirección
FICHA TÉCNICA La sonrisa de Mona Lisa Título en inglés: Mona Lisa Smile Dirección: Mike Newell Dirección artística: Mike Newell Producción: Juan Gordon y Pau Calpe Guion: Lawrence Konner, Mark Rosenthal Música: Rachel Portman Fotografía: Anastas N. Michos Montaje: Mick Audsley País: Estados Unidos Año: 2003 Género: Comedia, Drama, Romance. Duración: 117 minutos Idiomas: Italiano, Inglés Protagonistas: Julia Roberts (Katherine Watson), Kirsten Dunst (Betty Warren), Julia Stiles (Joan Brandwyn) Maggie Gyllenhaal (Giselle Levy), Marcia Gay Harden (Nancy Abbey), Dominic West (Bill Dunbar), Topher Grace (Tommy Donegal), Ginnifer Goodwin (Connie Baker), Juliet Stevenson (Amanda Armstrong), John Slattery (Paul Moore), Christopher Joseph Burke (guardian). Premios: Nominada en Globos de Oro, EE.UU. 2004, por Mejor canción original. Nominada en Premios de la Asociación de Críticos de Cine Broadcast. 2004 por mejor canción. Nominada en Premios de la Sociedad de Críticos de Cine de Phoenix (PFCS). 2004 al Premio por mejor uso de música previamente publicada o grabada Nominada en Premios Satélite 2004, por Golden Satellite Award por Mejor canción original. Sinopsis: Katherine Watson es una profesora de historia del arte que viaja desde California al campus de la universidad de Wellesley en Nueva Inglaterra en el año 1953. Estamos en plena postguerra y la profesora Watson tiene en su clase a las mejores estudiantes del país a las que espera abrir muchas puertas, aprovechando las oportunidades que se les ofrezcan. Sin embargo, poco después de su llegada, Katherine se da cuenta de que la prestigiosa institución es bastante conservadora y parece tener otro tipo de prioridades que no son precisamente académicas. La propuesta de matrimonio de una joven está considerado como un premio mayor que una buena educación. -
He Dreams of Giants
From the makers of Lost In La Mancha comes A Tale of Obsession… He Dreams of Giants A film by Keith Fulton and Lou Pepe RUNNING TIME: 84 minutes United Kingdom, 2019, DCP, 5.1 Dolby Digital Surround, Aspect Ratio16:9 PRESS CONTACT: Cinetic Media Ryan Werner and Charlie Olsky 1 SYNOPSIS “Why does anyone create? It’s hard. Life is hard. Art is hard. Doing anything worthwhile is hard.” – Terry Gilliam From the team behind Lost in La Mancha and The Hamster Factor, HE DREAMS OF GIANTS is the culmination of a trilogy of documentaries that have followed film director Terry Gilliam over a twenty-five-year period. Charting Gilliam’s final, beleaguered quest to adapt Don Quixote, this documentary is a potent study of creative obsession. For over thirty years, Terry Gilliam has dreamed of creating a screen adaptation of Cervantes’ masterpiece. When he first attempted the production in 2000, Gilliam already had the reputation of being a bit of a Quixote himself: a filmmaker whose stories of visionary dreamers raging against gigantic forces mirrored his own artistic battles with the Hollywood machine. The collapse of that infamous and ill-fated production – as documented in Lost in La Mancha – only further cemented Gilliam’s reputation as an idealist chasing an impossible dream. HE DREAMS OF GIANTS picks up Gilliam’s story seventeen years later as he finally mounts the production once again and struggles to finish it. Facing him are a host of new obstacles: budget constraints, a history of compromise and heightened expectations, all compounded by self-doubt, the toll of aging, and the nagging existential question: What is left for an artist when he completes the quest that has defined a large part of his career? 2 Combining immersive verité footage of Gilliam’s production with intimate interviews and archival footage from the director’s entire career, HE DREAMS OF GIANTS is a revealing character study of a late-career artist, and a meditation on the value of creativity in the face of mortality. -
CHAPTER I INTRODUCTION A. Background of the Study Love In
CHAPTER I INTRODUCTION A. Background of the Study Love in the Time of Cholera is a film that was directed by England director, Mike Newell, which in screen writer is Ronald Harwood and Gabriel Garcia Marquez, then producer by Scott Steindorff and editor by Mick Audsley. It was released in November 16, 2007 in English and there is some filming location at Cartagena (Colombia), London (UK) and Twickenham Film Studios, England (UK). Information about box office from imdb.com that budget Love in the Time of Cholera movie $45,000,000 (estimated) while in opening weekend $1,924,860 (USA) 852 screens and RUR 346,488 (Russia) 3 screens. The category of this film is drama romance in 139 minute of duration of this film. Love in the Time of Cholera was production by New Line Cinema, Stone Village Pictures, Grosvenor Park Media. Mike Newell is one of famous director. Mike Newell was born on March 28, 1942 in St. Albans, Hertfordshire, England. He was raised the son of amateur actors who exposed him early in life to the theatrical world. After receiving his education from St. Albans School, he attended the University of Cambridge, where he majored in English. Following his graduation in the early 1960s, Newell joined Granada Television as a 1 2 production trainee and spent a few years learning his craft with the intention of entering the theatre world. Instead he begin directing television helming the gangster series “Spindoe” (ITV, 1968) and the crime serial “Big Breadwinner Hog” (ITV, 1969) along with fellow director Michael Apted. -
Mensonge, Pouvoir Et Quelques Mots Latins / Dangerous Liaisons De Stephen Frears]
Document generated on 10/01/2021 2:04 a.m. 24 images Mensonge, pouvoir et quelques mots latins Dangerous Liaisons de Stephen Frears Maurice Tourigny Jeune cinéma québécois Number 42, Spring 1989 URI: https://id.erudit.org/iderudit/22829ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Tourigny, M. (1989). Review of [Mensonge, pouvoir et quelques mots latins / Dangerous Liaisons de Stephen Frears]. 24 images, (42), 74–74. Tous droits réservés © 24 images inc., 1989 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ DANGEROUSLIAISON S DE STEPHEN FREARS POUVOIR ET QUELQUES MOTS LATINS par Maurice Tourigny La marquised eMerteui l (Glenn Close),l evicomt e de Valmont(Joh nMalkovich ) et lavertueus e madame deTourvel . n 1782,Pierr e Choderlos deLaclos , dide Dangerous Liaisons. chaque affectation de ses personnages un militaire parisien, publiait un Frearss'attaqu e à u ngenr ee nvoi ed e magnifiquement rendus par une Glenn E roman,Le sliaison s dangereuses, disparition (sil'o n exceptequelque socca Close brillante en marquise glaciale,désil collection de lettres que s'échangent la sionnelles extravagances) parce qu'habi lusionnée, en quelque sorte déchue, marquise de Merteuil et levicomt e de Val- tuellement trop coûteux: le film d'épo réduite à s'amuser de la déchéance des mont, ex-amantsdevenu s complices. -
SURVIVAL MOVIES. a THEOLOGICAL PERSPECTIVE – Phd THESIS –
“BABEŞ-BOLYAI” UNIVERSITY, CLUJ-NAPOCA FACULTY OF THEATRE AND FILM SURVIVAL MOVIES. A THEOLOGICAL PERSPECTIVE – PhD THESIS – – SUMMARY– SCIENTIFIC COORDINATORS: Prof. Univ. Habil. DORU-AUREL POP, PhD Fr. Prof. Univ. IOAN CHIRILĂ, PhD PhD STUDENT: IOAN BUTEANU CLUJ-NAPOCA 2021 1 TABLE OF CONTENTS Introduction ................................................................................................................................................... 4 Chapter 1. Research Methodologies. The Fundaments of Anthropology and Film Studies from Christian Perspectives................................................................................................................................................. 11 1.1 Overview. The relation between Theology and Film Studies ........................................................... 12 1.2 The Orthodox Christian Anthropological Approach to Film Studies ............................................... 17 1.2.1 Conceptual delineations ............................................................................................................. 17 1.2.2 Presentation of the image of God in man through some elements that compose it ................... 20 1.2.3 Conclusions. Christian Anthropology and Survival Movies ...................................................... 25 1.3. The Method ...................................................................................................................................... 28 Chapter 2. Survival movies defined through genre elements .................................................................... -
Investigating Nordic Noir
Investigating Nordic Noir By Sofia Alexi A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts Victoria University of Wellington 2017 3 Abstract Alexi Sofia, Film Studies, Victoria University of Wellington Abstract of Master’s Thesis, Submitted 10 April 2017: “Investigating Nordic noir” Scandinavian crime films and television series have become popular in recent years. This thesis explores some of the key texts in ‘Nordic noir’ through a discussion of detectives, the environment, and visual style. The emphasis in the project is on textual analysis. The first chapter examines the figures of Wallander and Lund in Wallander and Forbrydelsen respectively. I argue that the conflicts Nordic detectives often have between work and the domestic sphere are an indication of how gender stereotypes are challenged in the Scandinavian crime genre. The second chapter considers the role of the natural and built environments in Nordic noir. Features such as forests and water play a crucial role in Forbrydelsen because of the ways in which they create uncertainty, anticipation, and suspense. The urban spaces of Bron/Broen develop a sense of anonymity that recalls the function of the city in classic film noir. Rather than developing links between Sweden and Denmark, the series suggests that the Øresund bridge that spans the two countries is ultimately a disconnecting, centrifugal force that functions as what Marc Augé would call a ‘non-place’. The final chapter considers the role of colour and light in the films Insomnia and Jar City. My analysis demonstrates that Nordic noir encompasses more than naturalism and realism. -
The Zero Theorem
The Zero Theorem Production Notes For further information http://www.facebook.com/Terry.Gilliam http://www.terrygilliamweb.com http://www.smart.co.uk/dreams Production Notes by Phil Stubbs The Zero Theorem Production Notes SYNOPSIS Set in a future London, THE ZERO THEOREM stars double Academy Award® winner Christoph Waltz as Qohen Leth, an eccentric and reclusive computer genius plagued with existential angst. He lives in isolation in a burnt-out chapel, waiting for a phone call which he is convinced will provide him with answers he has long sought. Qohen works on a mysterious project, delegated to him by Management (Matt Damon), aimed at discovering the purpose of existence - or the lack thereof - once and for all. But his solitary existence is disturbed by visits from the flirtatious Bainsley (Mélanie Thierry), and Bob (Lucas Hedges), Management’s wunderkind son. Yet it is only once he experiences the power of love and desire that he is able to understand his very reason for being. VOLTAGE PICTURES presents an ASIA & EUROPE / ZANUCK INDEPENDENT production in association with ZEPHYR FILMS, MEDIAPRO PICTURES LE PACTE and WILD SIDE FILMS THE ZERO THEOREM CHRISTOPH WALTZ DAVID THEWLIS MELANIE THIERRY LUCAS HEDGES a TERRY GILLIAM film 2 The Zero Theorem Production Notes DIRECTOR’S STATEMENT When I made BRAZIL in 1984, I was trying to paint a picture of the world I thought we were living in then. THE ZERO THEOREM is a glimpse of the world I think we are living in now. Pat Rushin’s script intrigued me with the many pertinent questions raised in his funny, philosophic and touching tale. -
Nominated to the Icelandic Theatre Awards 2004 As Best Actor for “Keith” in “Brim”
Ólafur Egill Egilsson - 12-10-77 Nominations and awards: Nominated to the Icelandic theatre awards 2004 as best actor for “Keith” in “Brim” Received the Icelandic theatre awards 2005 as best actor for “Lljovtsik” in “Black Milk” and for “Fagin” in “Oliver Twist.” Nominated to the Icelandic theatre awards 2006 as best actor for “The Waiter” in “Celebration.” Nominated to the Icelandic film awards in 2008 for best screenplay for “White Night Wedding” Nominated to the Nordic council film awards in 2008 “White Night Wedding” Nominated to the Icelandic film awards in 2010 as best actor for “Keith” in “Brim” Nominated to the Icelandic film awards in 2010 for best screenplay for “Brim” Nominated to the Nordic council film awards in 2010 “Brim” Nominated to the Icelandic film awards in 2010 for best screenplay for “Summerland” Nominated to the “Dagblaðið” cultural awards 2011 for the adaptation “People in the basement” Received the Icelandic theatre awards 2011 as playwright of the year for “People in the basement” Received the American “Fantastic Fest” best screenplay award 2011 for “Summerland” Work: Angels of the universe. - Actor. Oli. - Stage play. National theatre ‘13 Planes - Icelandic voice over. ‘13 - Animation. Pixar Monsters University - Icelandic voice over. - Animation. Pixar ‘13 Les Miserables - Thenadier. - Musical. The national theatre ‘13 Vikings – Magal Magistry - Actor. Snorri. - Short film. Zikk Zakk prod. ‘12 Fjallkonan Hrópar á Vægð – Herdís Þorvaldsdóttir - Screenplay - Documentary – Fjallkonan ehf. ‘12 The Silence – Andrés Indriðason - Actor. The man - Radio play. National radio ‘12 World’s light – Halldór Laxness - Actor. Örn Úlfar - Stage play. National Theatre ‘12 Answer to Helga’s letter – Bergsveinn Birgisson - Adaptation from the book by Bergsveinn Birgisson. -
Lay the Favourite
LAY THE FAVOURITE EEN FILM VAN STEPHEN FREARS WILD BUNCH WILLEMSSTRAAT 24 B – 1015 JD – AMSTERDAM WWW.WILDBUNCH.NL [email protected] WILDBUNCHblx LAY THE FAVOURITE – STEPHEN FREARS PROJECT SUMMARY EEN PRODUCTIE VAN RUBY FILMS, EMMETT/FURLA FILMS & WILD BUNCH IN SAMENWERKING MET JACKSON INVESTMENT GROUP, LIPSYNC & RANDOM HOUSE FILMS TAAL ENGELS LENGTE 94 MINUTEN GENRE DRAMA LAND VAN HERKOMST USA REGISSEUR STEPHEN FREARS HOOFDROLLEN BRUCE WILLIS, REBECCA HALL, CATHERINE ZETA-JONES VINCE VAUGHN & JOSHUA JACKSON GEBASEERD OP HET BOEK: ‘LAY THE FAVOURITE: A MEMOIR OF GAMBLING’ VAN BETH RAYMER DVD RELEASEDATUM 18 JUNI 2013 KIJKWIJZER SYNOPSIS Vrolijke dromer Beth besluit aan een nieuwe carrière te beginnen en vertrekt naar Las Vegas om serveerster te worden. Eenmaal daar wordt ze al snel opgemerkt door Dink, een van de meest succesvolle gokkers van de stad. Als hij haar een baan aanbiedt, blijkt Beth een natuurtalent te zijn en een aanwinst voor zijn team. Het snelle leven in de gokwereld bevalt haar goed en dat ze ondertussen voor Dink gevallen is lijkt het alleen maar beter te maken, totdat zijn vrouw -de prachtige maar jaloerse Tulip- ten tonele verschijnt. CAST DINK BRUCE WILLIS BETH REBECCA HALL TULIP CATHERINE ZETA-JONES JEREMY JOSHUA JACKSON ROSIE VINCE VAUGHN DARREN JOEL MURRAY HOLLY LAUREN PREPON FRANKIE FRANK GRILLO DAVE GREENBERG JOHN CARROLL LYNCH MARCIA GREENBERG ANDREA FRANKLE CREW DIRECTOR STEPHEN FREARS SCREENWRITER D.V. DEVINCENTIS PRODUCERS ANTHONY BREGMAN RANDALL EMMETT EXECUTIVE PRODUCERS AGNÈS MENTRE JAMES W. SKOTCHDOPOLE RICHARD JACKSON CURTIS JACKSON D.O.P. MICHAEL MCDONOUGH EDITOR MICK AUDSLEY COSTUME DESIGNER CHRISTOPHER PETERSON MUSIC JAMES SEYMOUR BRETT CASTING VICTORIA THOMAS LAY THE FAVOURITE – STEPHEN FREARS ABOUT THE PRODUCTION Luck, as anyone who has ever dropped a coin into a slot machine knows, can be a tricky dance partner. -
Rights-Agency Please Address All Enquiries Regarding Foreign Rights Department: UA MATTHIASDOTTIR [email protected] Or VALGERDUR BENEDIKTSDOTTIR [email protected] Fiction
ALAN WEISMAN | ALBERT CAMUS| ALEKSIS KIWI | ALESSANDRO BARICCO | ALEX GARLAND | ALEXANDRE DUMAS | ALEXANDER MCCALL SMITH AÐALSTEINN ÁSBERG SIGURÐSSON | AGNAR ÞÓRÐARSON | ALDÍS GUÐMUNDSDÓTTIR | ANDREA RÓBERTSDÓTTIR | ANDRÉS INDRIÐASON ANDRI SNÆR MAGNASON | ANNA CYNTHIA LEPLAR | ANNA VALDIMARSDÓTTIR | ARI TRAUSTI GUÐMUNDSSON | ARNALDUR INDRIÐASON ALICE SEBOLD | ALLISON PEARSON | AMY TAN | ANALOLI RYBAKOV | ANDRÉ KAMINSKI | ANNE HOOPER | ANNE B. RAAGDE | ANNIE PROULX ARNBJÖRG L. JÓHANNSDÓTTIR | AUÐUR JÓNSDÓTTIR | ÁLFHEIÐUR STEINÞÓRSDÓTTIR | ÁLFRÚN GUNNLAUGSDÓTTIR | ÁRMANN KR. EINARSSON ANWAR ACCAWI | ANTOINE DE SAINT-EXUPÉRY | ARTHUR S. GOLDEN | ARTO PAASILINNA | ARTURO PÉREZ-REVERTE | ARUNDHATI ROY ÁRMANN HALLDÓRSSON | ÁRMANN JAKOBSSON | ÁRNI ÁRNASON | ÁRNI BERGMANN | ÁRNI BJÖRNSSON | ÁRNI IBSEN | ÁRNI HEIMIR INGÓLFSSON ÁRNI ÞÓRARINSSON | ÁSDÍS ARNALDS | ÁSLAUG JÓNSDÓTTIR | ÁSTRÁÐUR EYSTEINSSON | BALDUR SVEINSSON | BERGLJÓT ARNALDS ASTRID LINDGREN | AUGUST STRINDBERG | ÅSNE SEIERSTAD | ÅKE EDWARDSON | BARBARA MUJICA | BENJAMIN LEBERT | BEN RICE BERGÞÓR PÁLSSON | BIRGIR SIGURÐSSON | BIRNA ANNA BJÖRNSDÓTTIR | BJARNI BJARNASON | BJÖRK BJARKADÓTTIR | BJÖRN TH. BJÖRNSSON BERNHARD SCHLINK | BERTOLD BRECHT | BILL BRYSON | BORIS AKUNIN | BRUCE CHATWIN | BRUNO SCHULZ | CAMILO JOSÉ CELA | CARLO BJÖRN INGI HRAFNSSON | BJÖRN HRÓARSSON | BJÖRN SIGURBJÖRNSSON | BRAGI ÓLAFSSON | BRIAN PILKINGTON | BRYNHILDUR ÞÓRARINSDÓTTIR BUBBI MORTHENS | BÖÐVAR GUÐMUNDSSON | CLARE DICKENS | DANÍEL BERGMANN | DAVÍÐ ÞÓR BJÖRGVINSSON | DAVÍÐ ODDSSON LUCARELLI | CARLOS