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See It Big! Action Features More Than 30 Action Movie Favorites on the Big
FOR IMMEDIATE RELEASE ‘SEE IT BIG! ACTION’ FEATURES MORE THAN 30 ACTION MOVIE FAVORITES ON THE BIG SCREEN April 19–July 7, 2019 Astoria, New York, April 16, 2019—Museum of the Moving Image presents See It Big! Action, a major screening series featuring more than 30 action films, from April 19 through July 7, 2019. Programmed by Curator of Film Eric Hynes and Reverse Shot editors Jeff Reichert and Michael Koresky, the series opens with cinematic swashbucklers and continues with movies from around the world featuring white- knuckle chase sequences and thrilling stuntwork. It highlights work from some of the form's greatest practitioners, including John Woo, Michael Mann, Steven Spielberg, Akira Kurosawa, Kathryn Bigelow, Jackie Chan, and much more. As the curators note, “In a sense, all movies are ’action’ movies; cinema is movement and light, after all. Since nearly the very beginning, spectacle and stunt work have been essential parts of the form. There is nothing quite like watching physical feats, pulse-pounding drama, and epic confrontations on a large screen alongside other astonished moviegoers. See It Big! Action offers up some of our favorites of the genre.” In all, 32 films will be shown, many of them in 35mm prints. Among the highlights are two classic Technicolor swashbucklers, Michael Curtiz’s The Adventures of Robin Hood and Jacques Tourneur’s Anne of the Indies (April 20); Kurosawa’s Seven Samurai (April 21); back-to-back screenings of Mad Max: Fury Road and Aliens on Mother’s Day (May 12); all six Mission: Impossible films -
CALENDAR January 23
BOWDOIN COLLEGE / ROMANCE LANGUAGES AND Cinema Studies CINE 2116 / SPAN 3116: Spanish Cinema: Taboo and Tradition Spring 2019 / MW 10:05 Elena Cueto Asín. Sills Hall 210 – 725‐3312 – email: [email protected] Office hours: Monday 2:45‐4, or by appointment. This course introduces students to film produced in Spain, from the silent era to the present, focusing on the ways in which cinema can be a vehicle for promoting social and cultural values, as well as for exposing social, religious, sexual, or historical taboos in the form of counterculture, protest, or as a means for society to process change or cope with issues from the past. Looks at the role of film genre, authorship, and narrative in creating languages for perpetuating or contesting tradition, and how these apply to the specific Spanish context. GRADE Class Participation 40% Essays 60% MATERIALS Film available on reserve at the LMC or/and on‐line. Readings on‐line and posted on blackboard CALENDAR January 23. Introduction January 28 ¡Átame! - Tie Me Up! Tie Me Down! (Pedro Almodóvar 1989) Harmony Wu “The Perverse Pleasures of Almodovar’s Átame” Journal of Spanish Cultural Studies 5 (3) 2004: 261-271. Reviews and controversy: New York Times: February 11, April 22 and 23, June 24, May 4, May 24, July 20 of 1989 January 30 Silent Cinema: The Unconventional and the Conventional El perro andaluz- Un Chien Andalou (Luis Buñuel 1927) Jordan Cox “Suffering as a Form of Pleasure: An Exploration of Black Humor in Un Chien Andalou” Film Matters 5(3) 2014: 14-18 February 4 and 6 La aldea maldita- The Cursed Village (Florian Rey 1929) Tatjana Pavlović 100 years of Spanish cinema [electronic resource] Malden, MA: Wiley-Blackwell, 2009: 15-20 Sánchez Vidal, Agustin. -
Avance Largometrajes 2014Feature Films Preview
AVANCE / RESUMEN - CATÁLOGO CINE ESPAÑOL 2018 LARGOMETRAJES SPANISH CINEMA 2018 FEATURE FILMS PREVIEW / SUMMARY Largometrajes con participación española en la producción 2018 2018 Spanish Feature Films (Total: 263 - Ficción/Fiction 127 - Documental/Documentary 134 - Animación/Animation 2) ■ Ficción / Fiction…………………………………………Página/Page 2 ■ Documentales / Documentaries……………...Página/Page 28 ■ Animación / Animation……………………………..Página/Page 55 http://www.culturaydeporte.gob.es/cultura/areas/cine/mc/catalogodecine/inicio.html Publicación digital del Instituto de Cine y Artes Audiovisuales que recoge información sobre las películas cinematográficas con participación española en la producción, y cuyo criterio de selección se basa en haber sido calificadas por primera vez durante el año correspondiente. El contenido que se ofrece es meramente informativo y carece de efectos vinculantes para la Administración. El copyright de las imágenes pertenece a sus respectivos autores y/o productoras - distribuidoras. Digital publication of the Institute for Cinema and Audiovisual Arts (Instituto de Cine y Artes Audiovisuales), designed to promote Spanish films and mainly offering information on films with Spanish participation in production; the selection criteria are based on having been certified for the first time during the corresponding year. The content offered herein is merely informative and not legally binding as far as the Administration is concerned. © Ministerio de Cultura y Deporte 1 | 55 LARGOMETRAJES 2018 SPANISH FEATURE FILMS - FICCIÓN / FICTION #SEGUIDORES - #FOLLOWERS Dirección/Director: Iván Fernández de Córdoba Productoras/Prod. Companies: NAUTILUS FILMS & PROJECTS, S.L. Intérpretes/Cast: Sara Sálamo, Jaime Olías, Rodrigo Poisón, María Almudéver, Norma Ruiz y Aroa Ortigosa Drama 76’ No recomendada para menores de 12 años / Not recommended for audiences under 12 https://www.facebook.com/seguidoreslapelicula/ ; https://www.instagram.com/seguidoreslapelicula/ Tráiler: https://www.youtube.com/watch?v=RK5vUNlMJNc ¿QUÉ TE JUEGAS? - GET HER.. -
Rafael Azcona: Atrapados Por La Vida
Juan Carlos Frugone Rafael Azcona: atrapados por la vida 2003 - Reservados todos los derechos Permitido el uso sin fines comerciales Juan Carlos Frugone Rafael Azcona: atrapados por la vida Quiero expresar mi agradecimiento profundo a Cristina Olivares, Ignacio Darnaude Díaz, Fernando Lara y Manuela García de la Vega, quienes -de una u otra manera- me han ayudado para que este libro sea una realidad. También, por sus consejos, un agradecimiento para Luis Sanz y José Luis García Sánchez. Y ¿por qué no?, a Rafael Azcona, quien no concede nunca una entrevista, pero me concedió la riqueza irreproducible de muchas horas de su charla. Juan Carlos Frugone [5] Es absurdo preguntarle a un autor una explicación de su obra, ya que esta explicación bien puede ser lo que su obra buscaba. La invención de la fábula precede a la comprensión de su moraleja. JORGE LUIS BORGES [7] ¿Por qué Rafael Azcona? Rafael Azcona no sabe nada de cine. Porque ¿quién que sepa de cine puede negar su aporte indudable a muchas de las obras maestras del cine español e italiano de los últimos treinta años? Él lo niega. Todos sabemos que el cine es obra de un director, de la persona cuyo nombre figura a continuación de ese cartel que señala «un film de». Pero no deja de ser curioso que el común denominador de películas como El cochecito, El pisito, Plácido, El verdugo, Ana y los lobos, El jardín de las delicias, La prima Angélica, Break-up, La gran comilona, Tamaño natural, La escopeta nacional, El anacoreta, La corte de faraón y muchísimas más de la misma envergadura, sea el nombre y el apellido de Rafael Azcona. -
Rafa Nadal, Bertín Osborne Y Dani Rovira, Los Mejores Jefes Con Los Que Los Trabajadores Españoles Querrían Emplearse
#MejorJefeAdecco #EmpresasFelices II Encuesta Adecco sobre Mejores Jefes y Empresas más felices para trabajar Rafa Nadal, Bertín Osborne y Dani Rovira, los mejores jefes con los que los trabajadores españoles querrían emplearse Entre las empresas más felices para trabajar los españoles eligen Google, L´Oréal y Apple Madrid, 15 de marzo de 2016.- “Elige un trabajo que te guste y no tendrás que trabajar ni un día de tu vida”. Con esta frase atribuida, entre otros, al pensador chino Confucio, puede resumirse la idea de que la felicidad laboral es tan importante para las personas como su felicidad personal y que ambas están intrínsecamente ligadas. Realizar un trabajo que te hace feliz es una de las claves para conseguir el éxito personal con el que todo el mundo sueña. Y dentro de las relaciones laborales, la figura del líder o jefe, es una de las más influyentes en esa felicidad, así como el entorno de trabajo en el que se relacionen las personas (políticas de Recursos Humanos dentro de la empresa, reconocimiento a los trabajadores, condiciones salariales, posibilidades de desarrollo profesional, medidas a favor de la conciliación laboral y personal…). 1 #MejorJefeAdecco #EmpresasFelices Es por ello que Adecco, líder internacional en la gestión de Recursos Humanos, ha querido saber qué personalidades del mundo de la economía, la comunicación, el deporte, el mundo del espectáculo y el panorama internacional serían los jefes ideales con los que trabajar, para los españoles. De igual modo, ha querido conocer qué empresas consideran más felices para emplearse y presenta los resultados de la II Encuesta Adecco sobre Mejores Jefes y Empresas más felices para trabajar1 en la semana en la que se celebra el Día Internacional de la Felicidad. -
Teaching Speculative Fiction in College: a Pedagogy for Making English Studies Relevant
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Summer 8-7-2012 Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant James H. Shimkus Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Shimkus, James H., "Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/95 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. TEACHING SPECULATIVE FICTION IN COLLEGE: A PEDAGOGY FOR MAKING ENGLISH STUDIES RELEVANT by JAMES HAMMOND SHIMKUS Under the Direction of Dr. Elizabeth Burmester ABSTRACT Speculative fiction (science fiction, fantasy, and horror) has steadily gained popularity both in culture and as a subject for study in college. While many helpful resources on teaching a particular genre or teaching particular texts within a genre exist, college teachers who have not previously taught science fiction, fantasy, or horror will benefit from a broader pedagogical overview of speculative fiction, and that is what this resource provides. Teachers who have previously taught speculative fiction may also benefit from the selection of alternative texts presented here. This resource includes an argument for the consideration of more speculative fiction in college English classes, whether in composition, literature, or creative writing, as well as overviews of the main theoretical discussions and definitions of each genre. -
Exploring the Referral and Usage of Science Fiction in HCI Literature
Exploring the Referral and Usage of Science-Fiction in HCI Literature? Philipp Jordan1, Omar Mubin2, Mohammad Obaid3, and Paula Alexandra Silva4 1 University of Hawaii at Manoa, Honolulu, USA [email protected] 2 SCEM, Western Sydney University, Sydney, Australia [email protected] 3 Uppsala University, Uppsala, Sweden [email protected] 4 DigiMedia Research Center, University of Aveiro, Aveiro, Portugal [email protected] Abstract. Research on science fiction (sci-fi) in scientific publications has indicated the usage of sci-fi stories, movies or shows to inspire novel Human-Computer Interaction (HCI) research. Yet no studies have anal- ysed sci-fi in a top-ranked computer science conference at present. For that reason, we examine the CHI main track for the presence and nature of sci-fi referrals in relationship to HCI research. We search for six sci-fi terms in a dataset of 5812 CHI main proceedings and code the context of 175 sci-fi referrals in 83 papers indexed in the CHI main track. In our results, we categorize these papers into five contemporary HCI research themes wherein sci-fi and HCI interconnect: 1) Theoretical Design Re- search; 2) New Interactions; 3) Human-Body Modification or Extension; 4) Human-Robot Interaction and Artificial Intelligence; and 5) Visions of Computing and HCI. In conclusion, we discuss results and implications located in the promising arena of sci-fi and HCI research. Keywords: Design fiction, Future visions, HCI inspiraton, Popular cul- ture in science, Science fiction 1 Introduction Sci-fi has inspired many technological innovations. Its influence is present in the invention, conceptualization, design and application of interfaces and technology. -
7 1Stephen A
SLIPSTREAM A DATA RICH PRODUCTION ENVIRONMENT by Alan Lasky Bachelor of Fine Arts in Film Production New York University 1985 Submitted to the Media Arts & Sciences Section, School of Architecture & Planning in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE at the Massachusetts Institute of Technology September, 1990 c Massachusetts Institute of Technology, 1990 All Rights Reserved I Signature of Author Media Arts & Sciences Section Certified by '4 A Professor Glorianna Davenport Assistant Professor of Media Technology, MIT Media Laboratory Thesis Supervisor Accepted by I~ I ~ - -- 7 1Stephen A. Benton Chairperso,'h t fCommittee on Graduate Students OCT 0 4 1990 LIBRARIES iznteh Room 14-0551 77 Massachusetts Avenue Cambridge, MA 02139 Ph: 617.253.2800 MITLibraries Email: [email protected] Document Services http://libraries.mit.edu/docs DISCLAIMER OF QUALITY Due to the condition of the original material, there are unavoidable flaws in this reproduction. We have made every effort possible to provide you with the best copy available. If you are dissatisfied with this product and find it unusable, please contact Document Services as soon as possible. Thank you. Best copy available. SLIPSTREAM A DATA RICH PRODUCTION ENVIRONMENT by Alan Lasky Submitted to the Media Arts & Sciences Section, School of Architecture and Planning on August 10, 1990 in partial fulfillment of the requirements for the degree of Master of Science ABSTRACT Film Production has always been a complex and costly endeavour. Since the early days of cinema, methodologies for planning and tracking production information have been constantly evolving, yet no single system exists that integrates the many forms of production data. -
80 Years of Spanish Cinema Fall, 2013 Tuesday and Thursday, 9:00-10:20Am, Salomon 004
Brown University Department of Hispanic Studies HISP 1290J. Spain on Screen: 80 Years of Spanish Cinema Fall, 2013 Tuesday and Thursday, 9:00-10:20am, Salomon 004 Prof. Sarah Thomas 84 Prospect Street, #301 [email protected] Tel.: (401) 863-2915 Office hours: Thursdays, 11am-1pm Course description: Spain’s is one of the most dynamic and at the same time overlooked of European cinemas. In recent years, Spain has become more internationally visible on screen, especially thanks to filmmakers like Guillermo del Toro, Pedro Almodóvar, and Juan Antonio Bayona. But where does Spanish cinema come from? What themes arise time and again over the course of decades? And what – if anything – can Spain’s cinema tell us about the nation? Does cinema reflect a culture or serve to shape it? This course traces major historical and thematic developments in Spanish cinema from silent films of the 1930s to globalized commercial cinema of the 21st century. Focusing on issues such as landscape, history, memory, violence, sexuality, gender, and the politics of representation, this course will give students a solid training in film analysis and also provide a wide-ranging introduction to Spanish culture. By the end of the semester, students will have gained the skills to write and speak critically about film (in Spanish!), as well as a deeper understanding and appreciation of Spain’s culture, history, and cinema. Prerequisite: HISP 0730, 0740, or equivalent. Films, all written work and many readings are in Spanish. This is a writing-designated course (WRIT) so students should be prepared to craft essays through multiple drafts in workshops with their peers and consultation with the professor. -
8Th Lichtspielklub Short Film Festival Sputnik Kino # Badehaus Szimpla # Acudkino # Filmkunst 66
8th Lichtspielklub Short Film Festival Sputnik Kino # Badehaus Szimpla # Acudkino # Filmkunst 66 15.–19.1.2015 # The Programme “British Shorts” präsentiert zum 8. Mal die aufregendsten Kurzfilme Thu 15.1. 20:00 / Badehaus Szimpla aus Großbritannien und Irland. Von Drama, Comedy, Animation, Festival Opening & Festival Screening & Concert: Snøffeltøffs & Party Thriller, Experimentalfilm, Musikvideo bis Doku ist alles vertreten. Drama / Comedy / Animation / Music Video / Documentary (Concert details: page 20) Parties, Konzerte, Talks, ein Workshop mit 48-Stunden-Filmprojekt, ein Open Screening und eine Ausstellung ergänzen das Programm und wie immer werden ein Jury- und ein Publikumspreis vergeben. Dieses Jahr neu: Erstmals wird es eine Stand-Up-Comedy-Live- Show geben, wir setzen mit einem zusätzlichen Screening einen Schwerpunkt auf Animationen und die Retrospektive präsentiert ein Film konzert mit den ersten britischen Kurzfilmen der Filmge- schichte – inklusive zeitgemäßem Live-Soundtrack von Dirk Markham! British Shorts presents, for the 8th time, the most exciting short films from Great Britain and Ireland. From drama, comedy, animation, thriller, horror, experimental film and music videos to documentary films all gen- res are present. Concerts, parties, a free film workshop (including a 48- hour film project), the Open Screening, talks and an exhibition will create Light Half still: Film a great festival atmosphere and as always there will be jury and audience Die Trilogie “A United Howl” wird das Festival eröffnen: Drei Filme über Un- awards. New this year is a live stand-up comedy show and an additional angepasste, Außenseiter und Einzelgänger. The festival opens with Karan screening with animation films only. And our retrospective is all about Kandhari’s A United Howl – a trilogy of shorts about misfits, outsiders & loners. -
Diplomarbeit / Diploma Thesis
DIPLOMARBEIT / DIPLOMA THESIS Titel der Diplomarbeit / Title of the Diploma Thesis El género cinematográfico y la serialidad en Torrente, El brazo tonto de la ley, de Santiago Segura verfasst von / submitted by Evelyn Weinberger angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Magistra der Philosophie (Mag. Phil.) Wien, 2019 Studienkennzahl lt. Studienblatt / degree A 190 333 353 programme code as it appers on the student record sheet Lehramtsstudium UniStG Studienkennzahl lt. Studienblatt / degree UF Deutsch UniStG programme code as it appers on the student UF Spanisch UniStG record sheet Univ.-Prof. Dr. Jörg Türschmann Betreut von / Supervisor 1 Erklärung Ich erkläre eidesstattlich, dass ich die Arbeit selbständig angefertigt, keine anderen als die angegebenen Hilfsmittel benutzt und alle aus ungedruckten Quellen, gedruckter Literatur oder aus dem Internet im Wortlaut oder im wesentlichen Inhalt übernommenen Formulierungen und Konzepte gemäß den Richtlinien wissenschaftlicher Arbeiten zitiert, durch Fußnoten gekennzeichnet bzw. mit genauer Quellenangabe kenntlich gemacht habe. Ich habe mich bemüht, sämtliche Inhaber der Bildrechte ausfindig zu machen und ihre Zustimmung zur Verwendung der Bilder in dieser Arbeit eingeholt. Sollte dennoch eine Urheberrechtsverletzung bekannt werden, ersuche ich um Meldung bei mir. Wien, am 17.06.2019 2 3 Agradecimientos En primer lugar, me gustaría darle las gracias a mi supervisor, Univ.-Prof. Dr. Jörg Türschmann, que siempre ha dejado sus puertas abiertas para cualquier duda. Con sus consejos me ha animado a dar un paso más allá de lo obvio y me ha dado la posibilidad de elaborar este trabajo según mis ideas. En segundo lugar, quiero darles las gracias, especialmente, a Dr. -
L'espace Chez Rafael Azcona, Scenariste
UNIVERSITE SORBONNE NOUVELLE – PARIS 3 École Doctorale 267 - Arts & Médias EA 1484 - Communication, Information, Médias LABEX Industries culturelles et Création artistique CEISME Centre d’Études sur les Images et Sons Médiatiques THESE REALISEE AVEC LE SOUTIEN DU LABEX ICCA Thèse de Doctorat en Sciences de l’Information et de la Communication Julia Sabina GUTIERREZ L'ESPACE CHEZ RAFAEL AZCONA, SCENARISTE Thèse dirigée par M. le Professeur François JOST Soutenue le 18 octobre 2013 Jury : M. François JOST, Professeur, Université Paris 3 Présentée et soutenue publiquement Mme. Claude MURCIA, Professeur, Université Paris 7 M. Vicente SÁNCHEZ-BIOSCA,le Professeur,18 octobre Univ2013 ersidad de Valencia Résumé Au travers de cette recherche, nous nous sommes attachée à analyser la dimension narrative des scénarii, en nous penchant plus spécifiquement sur le travail de Rafael Azcona (1926-2008), auteur de comédies pour le cinéma et la télévision. Parce qu’il a créé et exploité à l'écran un univers personnel et aisément identifiable pour les spectateurs, ce scénariste est considéré, en Espagne au moins, comme un auteur au sens plein. Notre objectif est comprendre comment un style caractéristique a pu survivre à Rafael Azcona, alors même que son texte se dissolvait peu à peu dans tout le processus de la construction d’une œuvre audiovisuelle. Ce travail analytique est d’autant plus délicat que nous devons également tenir compte du fait qu'il a collaboré avec des cinéastes aux mondes très personnels comme Marco Ferreri, Carlos Saura ou Luis García Berlanga. La principale difficulté rencontrée face au travail de Rafael Azcona était de savoir quel est le scénario original d'un film.