Not the First: Myths of Jaws
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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. -
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. -
Mustang Daily, January 10, 1975
Mustang Daly Volume 39: Number 2 California Polytechnic State University, San Luis Obispo Friday, January 10, 1975 Group claims state colleges Suit charges are slighted • Funding policies racial bias called unjustified BY TOM McCABtIiY at Cal Poly Controversy is growing as a group persists in its attempts to win more money for the system by MARK GROSSI from the State Education fund. Cal Poly has been charged with According to Acala, the whole The Committee for Equal racial discrimination against state university and colleges Treatment in Higher Education Mexican-American employees in system will oe affected by the (CETHE) is gaining recognition a class action suit filed Thursday decision. as it continues to publicize its in San Francisco U.S. District “We were looking for the best belief that each student who Court by the Mexican-American case to bring to court. Cal Poly attends a branch of the Legal Defense and Education represents the best case of University of California (UC) Fund (MALDEF). discrimination in the California annually receives close to $300 The case cited in the suit is that state university and colleges more than do students who are of Dr. Manuel Guerra, demoted sytem.” enrolled in comparable programs head of Poly’s Foreign Language Guerra was demoted from at a state college or university. Department. According to Carlos photo by DAVID STUBBS department head, the suit According to CETHE co Alcala, national director of charges, after Kennedy learned founder J. William Leasure, the educational litigation for he had filed a complaint with the discrepency in funding is due to Steve Archer sings praises to God in a performance here MALDEF, $810,000 in damages Thursday. -
Old Loves Bloom, New Romances Bud Coordinate School
tHGH SCHOOL LIB DARIEN, rONN. \iiiiiiiiI.-. Volume LXXV, Number 7 Darien High School, Darien, Connecticut February 11, 1975 Committee To Examine Options, Coordinate School Involvement mittee on Options or Coordinating By SUE ALLARD Committee comprised ofstaffmembers Open-ended morning, co-op teaching, and students whose duty it will be to alternative high school programs,final oversee the entire operation. According ..: exams, and a pass·fail optionfor a sixth to Mr. Catania, members of the Com ;; subject are but a few ofthe possible sub mittee on Options will not necessarily jects open for investigation and action do the work in individualcommittees: by separatecommittees under a new ad "Its object is to try to give overall direc hoc committee associated with the tion and c<HJrdination to all activities." School Council. "With imagination and co-operative In addition to Mrs. Marshall as effort we could get a lot of things done chairperson of the Coordinating Com that we'd like to do," stated Salvatore mittee, other faculty members include: Jose Leon and Christl Anastasio of the Foreign Language Department Catania, DHS principal. This new William Jacobs, John Rallo, James both are organizing excursions abroad during April vacation. system, a network of committees, was Nicholson, Donald MacAusland, Jim Clark) introduced at a recent faculty meeting. David Herbert, Joan Walsh, Matthew Many teachers have expressed a desire Tirrell, David Hartkopf, and Marjorie Teachers To Lead Tours to become involved in different Ro demann. Mr. Catania will serve as programs. This system is designed to an ex-officio member. try to get some objectives realized by Four seniors and two juniors, from Europe - A 'Great Escape' providing "an effective mechanism to both the School Council and Neirad, support and coordinate these ideas and will also serve on the Coordinating Several members of the faculty have During April vacation Jose Leon of integrate projects into the existing Committee. -
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. -
Recommended Films: a Preparation for a Level Film Studies
Preparation for A-Level Film Studies: First and foremost a knowledge of film is needed for this course, often in lessons, teachers will reference films other than the ones being studied. Ideally you should be watching films regularly, not just the big mainstream films, but also a range of films both old and new. We have put together a list of highly useful films to have watched. We recommend you begin watching some these, as and where you can. There are also a great many online lists of ‘greatest films of all time’, which are worth looking through. Citizen Kane: Orson Welles 1941 Arguably the greatest film ever made and often features at the top of film critic and film historian lists. Welles is also regarded as one the greatest filmmakers and in this film: he directed, wrote and starred. It pioneered numerous film making techniques and is oft parodied, it is one of the best. It’s a Wonderful Life: Frank Capra, 1946 One of my personal favourite films and one I watch every Christmas. It’s a Wonderful Life is another film which often appears high on lists of greatest films, it is a genuinely happy and uplifting film without being too sweet. James Stewart is one of the best actors of his generation and this is one of his strongest performances. Casablanca: Michael Curtiz, 1942 This is a masterclass in storytelling, staring Humphrey Bogart and Ingrid Bergman. It probably has some of the most memorable lines of dialogue for its time including, ‘here’s looking at you’ and ‘of all the gin joints in all the towns in all the world, she walks into mine’. -
PAUL HIRSCH, ACE Editor
PAUL HIRSCH, ACE Editor PROJECTS Partial List DIRECTORS STUDIOS/PRODUCERS NUTCRACKER AND THE FOUR REALMS Lasse Hallstrom DISNEY / Mark Gordon Add’l Editor THE MUMMY 4 Alex Kurtzman UNIVERSAL / Sarah Bradshaw Alex Kurtzman Roberto Orci WARCRAFT Duncan Jones LEGENDARY / UNIVERSAL PICTURES Stuart Fenegan, Chuck Roven, Jon Jashni THE GREAT GATSBY Add’l Editor Baz Luhrmann RED WAGON / WARNER BROS. Marc Solomon LIFE OF PI Add’l Editor Ang Lee 20TH CENTURY FOX / Ted Gagliano MISSION: IMPOSSIBLE – GHOST Brad Bird BAD ROBOT / PARAMOUNT PROTOCOL J.J. Abrams, Jeffrey Chernov Winner, Best Editing – Saturn Awards SOURCE CODE Duncan Jones SUMMIT ENTERTAINMENT Hawk Koch, Mark Gordon DEAD OF NIGHT Kevin Munroe Gil Adler, Ashok Amritraj LOVE RANCH Taylor Hackford DIBELLA ENTERTAINMENT Marty Katz RIGHTEOUS KILL Jon Avnet EMMETT/FURLA FILMS OVERTURE FILMS / Rob Cowan RAY Taylor Hackford UNIVERSAL PICTURES Nomination, Best Editing - Academy Awards Barbara Hall, Howard Baldwin Winner, Best Editing – A.C.E. Eddie Awards MISSION TO MARS Brian De Palma DISNEY / Sam Mercer, Tom Jacobson MIGHTY JOE YOUNG Ron Underwood RKO PICTURES / Michael Fottrell Ralph Winter, Tom Jacobson MISSION: IMPOSSIBLE Brian De Palma PARAMOUNT PICTURES Paula Wagner FALLING DOWN Joel WARNER BROS. Schumacher Bill Beasley, Dan Kolsrud STEEL MAGNOLIAS Herbert Ross TRISTAR / Ray Stark, Victoria White PLANES, TRAINS & AUTOMOBILES John Hughes PARAMOUNT / John Hughes Michael Chinich, Neil Machlis FERRIS BUELLER’S DAY OFF John Hughes PARAMOUNT / Tom Jacobson FOOTLOOSE Herbert Ross PARAMOUNT / Daniel Melnick Lewis Rachmil, Craig Zadan BLOW OUT Brian De Palma CINEMA 77 / Fred Caruso, George Litto STAR WARS V: Irvin Kershner 20TH CENTURY FOX THE EMPIRE STRIKES BACK Gary Kurtz, George Lucas THE FURY Brian De Palma 20TH CENTURY FOX Ron Preissman, Frank Yablans STAR WARS IV: A NEW HOPE George Lucas 20TH CENTURY FOX Winner, Best Editing - Academy Awards Gary Kurtz Nomination, Best Editing – BAFTA Awards Nomination, Best Editing – A.C.E. -
The Ithacan, 1977-11-03
Ithaca College Digital Commons @ IC The thI acan, 1977-78 The thI acan: 1970/71 to 1979/80 11-3-1977 The thI acan, 1977-11-03 The thI acan Follow this and additional works at: http://digitalcommons.ithaca.edu/ithacan_1977-78 Recommended Citation The thI acan, "The thI acan, 1977-11-03" (1977). The Ithacan, 1977-78. 11. http://digitalcommons.ithaca.edu/ithacan_1977-78/11 This Newspaper is brought to you for free and open access by the The thI acan: 1970/71 to 1979/80 at Digital Commons @ IC. It has been accepted for inclusion in The thI acan, 1977-78 by an authorized administrator of Digital Commons @ IC. ), NOV 4 1977 Nov~r~Ll~Zl ,.. LIBRAAY Vol. 51 /a>~~dil:lal~ Ithaca College published independently by the students of Ithaca College Ithaca, New York CONGRESS. SAYS NO TO COLBY by Corey Taylor was willing to accept, because of appear. The debate raged on for Vincent Belligosi, you have to Student Congress, with its her public position against Colby. LC. Student Ron Chuger about two hours. In addressing pay them too." Morton retorted, largest turnout· all year, voted Brown remained in the chair for man rapped Altschuler saying, the issue of free speech. Dick "It misses the point to compare 33-13, to cancel an invitation to the meeting, as no one accepted. "he doesn't know what he's Lory stated, "the people with the Colby with GregQry, you are former CIA direstor William Brown set down strict rules talking about, l'd like a crack at power like Colby say no, you comparing the oppressor and the Colby for an appearance at concerning the order of speakers him" (in reference to Colby). -
October 9, 2012 (XXV:6) David Miller, LONELY ARE the BRAVE (1962, 107 Min)
October 9, 2012 (XXV:6) David Miller, LONELY ARE THE BRAVE (1962, 107 min) Directed by David Miller Screenplay by Dalton Trumbo Based on the novel, The Brave Cowboy, by Edward Abbey Produced by Edward Lewis Original Music by Jerry Goldsmith Cinematography by Philip H. Lathrop Film Editing by Leon Barsha Art Direction by Alexander Golitzen and Robert Emmet Smith Set Decoration by George Milo Makeup by Larry Germain, Dave Grayson, and Bud Westmore Kirk Douglas…John W. "Jack" Burns Gena Rowlands…Jerry Bondi Walter Matthau…Sheriff Morey Johnson Michael Kane…Paul Bondi Carroll O'Connor…Hinton William Schallert…Harry George Kennedy…Deputy Sheriff Gutierrez Karl Swenson…Rev. Hoskins William Mims…First Deputy Arraigning Burns Martin Garralaga…Old Man Lalo Rios…Prisoner Bill Bixby…Airman in Helicopter Bill Raisch…One Arm Table Tennis, 1936 Let's Dance, 1935 A Sports Parade Subject: Crew DAVID MILLER (November 28, 1909, Paterson, New Jersey – April Racing, and 1935 Trained Hoofs. 14, 1992, Los Angeles, California) has 52 directing credits, among them 1981 “Goldie and the Boxer Go to Hollywood”, 1979 “Goldie DALTON TRUMBO (James Dalton Trumbo, December 9, 1905, and the Boxer”, 1979 “Love for Rent”, 1979 “The Best Place to Be”, Montrose, Colorado – September 10, 1976, Los Angeles, California) 1976 Bittersweet Love, 1973 Executive Action, 1969 Hail, Hero!, won best writing Oscars for The Brave One (1956) and Roman 1968 Hammerhead, 1963 Captain Newman, M.D., 1962 Lonely Are Holiday (1953). He was blacklisted for many years and, until Kirk the Brave, 1961 Back Street, 1960 Midnight Lace, 1959 Happy Douglas insisted he be given screen credit for Spartacus was often to Anniversary, 1957 The Story of Esther Costello, 1956 Diane, 1951 write under a pseudonym. -
Blockbusters Als Event Movies: Over De Lancering Van the Lord of the Rings: the Return of the King
Daniel Biltereyst Blockbusters als event movies: over de lancering van The Lord of the Rings: The Return of the King Films als Titanic en The Lord of the Rings worden veelal gezien als mijlpalen in de geschiedenis van de hedendaagse blockbusterfilmcultuur. In de litera- tuur over New Hollywood en blockbusters worden dit soort films veelal aan- geduid als event movies. Aan de hand van de lancering van The Return of the King in België tracht deze bijdrage enkele cruciale dimensies in het eventkarakter van hedendaagse blockbusters te begrijpen. Inleiding Titanic (1997) van de Amerikaanse filmregisseur James Cameron wordt in de literatuur over de hedendaagse ‘filmed entertainment industry’ in vele opzichten beschouwd als een absolute mijlpaal. Titanic was niet alleen een grandioze spektakelfilm met ongeziene special effects en bijzondere produc- tiemiddelen. Camerons film brak ook alle records inzake productie-, distri- butie- en releasebudgetten en releasestrategieën. Titanic werd het school- voorbeeld van de manier waarop de Amerikaanse filmindustrie een wereldpubliek wil bereiken. De productiehuizen achter dit succesvolle megaspektakel (Paramount en 20th Century Fox) slaagden erin om de film te laten uitgroeien tot een wereldwijde hype en een publieke gebeurtenis (of event) van de eerste orde. De film staat symbool voor de manier waarop Hollywood op een geïntegreerde wijze invulling tracht te geven aan de defi- nitie van blockbusters als event movies (o.a. Elsaesser, 2001; Blanchet, 2003, pp. 255-256; Neale, 2003, p. 47; Stringer, 2003, p. 2). Binnen het onderzoek en de literatuur over hedendaagse populaire (film)cultuur groeit de interesse voor het fenomeen van de global block- busters (Stringer, 2003). -
DESERT SKY CINEMS CLASSIC FILM SERIES Miscellaneous
DESERT SKY CINEMS CLASSIC FILM SERIES Miscellaneous Musicals • Gypsy (1962) 2:52 Tuesday Aug. 20 • Westside Story (1961) 2:32 Tuesday Aug. 27 • An American in Paris (1951) 1:55 Tuesday Sept. 3 • Singing in the Rain (1952) 1:03 Tuesday Sept. 10 • Camelot (1960) 2:59 Tuesday Sept. 17 • Gigi (1973) 1:59 Tuesday Sept. 24 War is Hell • Patton (1970) 2:51 Tuesday Oct. 1 • The Bridge over the River Kwai (1957) 2:47 Tuesday Oct. 8 • M*A*S*H (1970) 1:56 Tuesday Oct. 15 • Mutiny on the Bounty (1935) 3:05 Tuesday Oct. 22 • Tora! Tora! Tora! (1970) 2:25 Tuesday Oct. 29 • Sergeant York (1941) 2:14 Tuesday Nov. 5 • Midway (1976) 2:22 Tuesday Nov. 12 • In Harms in Way (1965) 2:47 Tuesday Nov. 19 Hitchcock Presents • Rear Window (1954) 1:15 Tuesday Nov. 26 • Vertigo (1958) 2:09 Tuesday Dec. 3 • North by Northwest (1959) 2:16 Tuesday Dec. 10 • The Birds (1963) 1:59 Tuesday Dec. 17 • Psycho (1960) 1:49 Tuesday Dec. 24 • Man Who Knew Too Much (1956) 1:15 Tuesday Dec. 31 2014 The Sixties • Breakfast at Tiffany’s (1961) 1:55 Tuesday Jan. 7 • Easy Rider (1969) 1:35 Tuesday Jan. 14 • To Sir With Love (1967) 1:45 Tuesday Jan. 21 • The Apartment (1960) 2:05 Tuesday Jan. 28 • To Kill a Mockingbird (1962) 2:10 Tuesday Feb. 4 • The Manchurian Candidate (1962) 2:09 Tuesday Feb. 11 • The Hustler (1961) 2:15 Tuesday Feb. 18 A Tribute to Jimmy Stewart • Mr. Smith Goes to Washington (1939) 2:09 Tuesday Feb.