The Guardian, October 15, 1987
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Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive -
1 Evolving Authorship, Developing Contexts: 'Life Lessons'
Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009). -
Club 20, Wilderness Society Lock Horns
Registration In with the new, but not out with the old. Mesa's 1978 registration has brought both the old and the new to campus. In addition to the 1,100 students who pre-registered at the end of last year, 1,200 new and returning students regis tered for classes on Tuesday. Betsy Sneed, Mesa College registrar, says she expects that 90 per cent of the pre registered students will attend Mesa this fall. Included In that figure are 350 freshmen. Concerning total enrollment at Mesa, Sneed says, ''We're hopeful of 2,800 this term in day school students." THE· GRITERION .... Ve>I. 44 No. 33 Mesa College student newspaper Grand Junction, qo. Friday, September 1, 1978 12 Pages Tnis Week .. Club 20, Wilderness Society lock horns by TAM MY FREEBURG be devoted to three minute of the environment-they only meet-ing may submit written ought to be setting the guide Criterion Editor testimonies by individuals. understand the extraction of testimony, and it will be added lines and rules" for the areas resources and how.much mon- . to Club 20's report. All corre under consideration with The debate on wilderness is 'Not interested' f!'1 can be raised" by extract- spondence· relating to RAREII RARE II, "Not making them warming up. Perry Moyle, the regional . ing those resources. must be received by the Forest black or white." He feels mul"!' As the Oct. 1 deadline nears Service by Oct. I. tiple use of land-such as for submitting all written test- representative of the Wilder Vanderhoof says that since , imony concerning the Road ness Society for Colorado and the Forest Service will accept only written testimony con less Area Review and Evalua Kansas, says his organ lzation "Club 20 does not understand the tion, phase two, [RARE II] to Is not making any efforts to cerning RAREII, there will be the U.S. -
Suspense Fills the Eyes of L.Aura Mars
Retriever, September 18, 1978 9 · oo ~ wm~ w~=========================================:~===================== Suspense fills the eyes of l.aura Mars By Paul Strohl case with mysteries. Everytime I had the Faye Dunaway carries a heavy acting more sympathy for the other victims suspect, my villain would be killed--! Amidst the deluge of summer film load and comes across as unrealistic, but then for the heroine. This is a sign of suppose that's why its fun, but still with a good supporting case she still weak characterization, and Laura Mars releases an intriguing film has crept frustrating! looks pretty good. Brad Dourif (thd ,is definitely a weak character. Too bad. out--The Eyes of Laura Mars. Despite ·-The film uses many of the popular the redundant phrasing, ie, 'A Great ·chauffer) and Rene Auberjonois (hel thriller methods: a curvaceous main manager) add the sympathetic touches Tommy Lee Jones is an atypical police Mystery Suspense Thriller,' used to character, scantily-clad fashion models, advertise it, the film tells a good story needed for audience empathy. They are detective who goes through many and does mystify the audience--a changes, and he handles them well. His whodunit of high calibre. love conquers all, and that is refreshing To complement the solid script, the for a police character. acting and directing is above average- reminscent of classics~ like Wait Until Visually the film flows weil, Director Dark or A Turn of the Screw. You will Irvin Kershner succeeds in portraying definitely be on the edge of your seat, the interior turmoil of the psychic world and not because of cheap Jaws-type of Laura Mars. -
The Museum of Modern Art Presents a Discussion of the HBO Series the Sopranos with the Series Writer/Director David Chase and No
MoMA | press | Releases | 2001 | Discussion on The Sopranos Page 1 of 3 For Immediate Release February 2001 THE MUSEUM OF MODERN ART HOSTS DISCUSSION ON THE SOPRANOS Discussion with David Chase and media writer Ken Auletta February 12, 2001 The Sopranos February 3-13, 2001 The Roy and Niuta Titus Theatre 1 The Museum of Modern Art presents a discussion of the HBO series The Sopranos with the series writer/director David Chase and noted media writer and author Ken Auletta, February 12, 2001 at 6:00 p.m. at the Roy and Niuta Titus Theatre 1. Recording the domestic dramas and business anxieties of family living the bourgeois life in a pleasant New Jersey suburb, The Sopranos is a saga of middle-class life in America at the turn of the century. Chronicled in twenty-six hour-long episodes, the first two seasons from the series will be shown in two four-day sequences at The Museum of Modern Art, from February 3-13 at the Roy and Niuta Titus Theatre 1. "The Sopranos is a cynical yet deeply felt look at this particular family man," remarks Laurence Kardish, Senior Curator, Department of Film and Video, who organized the program. "David Chase and his team have created a series distinguished by its bone-dry humor and understated, quirky, and stinging perspective - not usually seen on television." Renowned for his savvy profiles of power players in the media, Ken Auletta will join David Chase for a discussion of The Sopranos at The Museum on February 12. The Department of Film and Video gratefully acknowledges HBO for making the series available for public viewing. -
Eyes of Laura Mars - Bd
EYES OF LAURA MARS - BD Short Synopsis: She saw all life through the camera’s eye. Then suddenly she saw death! This riveting tale of murder and suspense stars Faye Dunaway as Laura Mars, New York's most controversial fashion photographer. World renowned for her sensational, erotic portraits of models in settings of glorified urban violence, Laura Mars exhibits a mystifying psychic ability. In her mind's eye, as if through the lens of her camera, she "witnesses" a series of bizarre murders with terrifying clarity. All of the victims are people Laura has known. Police detective John Neville (Tommy Lee Jones) discovers a striking similarity between Laura's works and classified police photographs of the murders and he attempts to unravel the events which have taken control of Laura's mind. the film builds to a spine-tingling climax when the eyes of Laura Mars reveal the identity of the killer. Critic Quotes/Reviews: “a very stylish thriller.” – Variety Target Audience: John Carpenter fans, Mystery buffs Notable Cast/Crew: Faye Dunaway (Network), Tommy Lee Jones (The Fugitive), Brad Dourif (One Flew Over the Cuckoo's Nest), Rene Auberjonois (TV's Benson), Raul Julia (The Addams Family) Key selling points: • Screenplay written by legendary John Carpenter • Directed by Irvin Kershner (The Empire Strikes Back) • Includes audio commentary by Director Irvin Kershner • Features a best-selling soundtrack featuring Barbra Streisand’s “Love Theme From ‘Eyes of Laura Mars’ (Prisoner)” Clip Link: https://youtu.be/kBWxgEZg3R8 Website Link: https://www.millcreekent.com/eyes-of-laura-mars-blu-ray.html Title UPC Item # Format Genre SRP Aspect Ratio Rating Runtime # Disc Eyes of Laura Mars – BD 683904633934 63393 Blu-ray Thriller $14.98 Widescreen R 1 hr 44 min 1. -
Dangerio, Alan
Alan Dangerio Hair Stylist IATSE LOCAL 706 & 798 FEATURE FILMS (Partial Credits): Ocean’s Eight department head – Universal PIctures Dir: Gary Ross – LP: Mike Tadross Cast: Anne Hathaway, Helena Bonham Carter, Mindy Kaling, Sarah Paulson Wonderstruck Hairstylist for Julianne Moore – Amazon Studios Dir: Todd Haynes – LP: Brian Bell Crisis in Six Scenes d epartment head – Amazon Studios (series) Dir: Woody Allen – UPM: Helen Robin Cast: Miley Cyrus, Michael Rapaport, Elaine May, Joy Hehr The Girl on the Train department head – Universal PIctures Dir: Tate Taylor – LP: Celia Costas Cast: Rebecca Ferguson, Edgar Ramierez, Luke Evans, Lisa Kudrow Can You Ever Forgive Hairstylist for Julianne Moore/department head – Fox Searchlight Me Dir: Nicole Holofcener – LP: Pamela Hirsch Zoolander 2 department head – Paramount Pictures Dir: Ben Stiller – LP: Clayton Townsend Cast: Ben Stiller, Kristen Wiig, Penelope Cruz, Owen Wilson Ricki And The Flash Hairstylist for Meryl Streep / department head – TriStar Pictures Dir: Jonathan Demme – LP: Ron Bozman Train Wreck department head – Universal Pictures Dir: Judd Apatow – UPM: Dana Robin Cast: Tilda Swinton, Amy Schumer, Brie Larson, Bill Hader, LeBron James Run All Night Department Head – Warner Bros. Dir: Jaume Collet-Serra – UPM: Ray Quinlan Cast: Joel Kinnaman, Ed Harris, Vincent D’Onofrio, Common, Genesis Rodriquez Seventh Son Hairstylist for Julianne Moore – Universal Pictures Dir: Sergei Bodrov – LP: Brent O’Connor Maps to the Stars Hairstylist for Julianne Moore – Prospero PIctures Dir: David Cronenberg – LP: Joseph Boccia This is Where I Leave Department Head –Warner Bros. You Dir: Shawn Levy – LP: Mary McLaglen Cast: Rose Byrne, Tina Fay, Jane Fonda, Connie Britton, Timothy Olyphant Winter’s Tale Department Head –Warner Bros. -
Camilla Huey
CAMILLA HUEY FILM Sex and the City 2 Special Couture Projects & Costume Construction New Line Cinema Director: Michael Patrick King Producers: M.P. King, John P. Melfi, Sarah Jessica Parker, Darren Star Designer: Patricia Field & Molly Rogers, Asst. Cast: Sarah Jessica Parker, Kristin Davis, Kim Cattrall, Cynthia Nixon Confessions of a Shopaholic Special Projects & Costume Construction Touchstone Pictures Director: P.J. Hogan Producer: Jerry Bruckheimer Designer: Patricia Field & Molly Rogers, Asst. Cast: Isla Fisher, Krysten Ritter, Joan Cusack Sex and the City Special Couture Projects & Costume Construction New Line Cinema Director: Michael Patrick King Producers: M.P. King, John P. Melfi, Sarah Jessica Parker, Darren Star Designer: Patricia Field & Molly Rogers, Asst. Cast: Sarah Jessica Parker, Kristin Davis, Kim Cattrall, Cynthia Nixon The Devil Wears Prada Special Couture Projects & Costume Construction 20th Centruy Fox Director: David Frankel Producer: Wendy Finerman Designer: Patricia Field & Molly Rogers, Asst. Cast: Meryl Streep, Anne Hathaway, Emily Blunt Day On Fire Costume Designer Lodestar Director: Jay Anania Producer: William Fisch, Larry Rattner, Susan P Rosgers, Ten Travis Cast: Carmen Chaplin, Olympia Dukakis, Judy Kuhn, Alyssa Sutherland Issaquena Costume Designer Alluvial Films Director: Lance Hammer Producers: Lance Hammer, Emily Lundin Cast: Katie Allen, Oriana Carpenter, Biana Chapman The Guru Marisa Tomei’s Wardrobe & Turbans Universal Pictures Director: Daisy von Scherler Mayer Producer: Tim Bevan, Eric Fellner, Michael London Designer: Michael Clancey & Pilar Limosner, Asst. Cast: Heather Graham, Marisa Tomei, Christine Baranski My Best Friend’s Wedding Lobster & Waitress Costumes Tristan Pictures Director: P.J. Hogan Producer: Ronald Bass & Jerry Zucker Designer: Jeffrey Kurland Cast: Julia Roberts, Dermot Mulroney, Cameron Diaz, Rupert Everrett. -
Sotto Assedio White House Down
Columbia Pictures presenta una produzione Mythology Entertainment / Centropolis Entertainment SOTTO ASSEDIO WHITE HOUSE DOWN Channing Tatum Jamie Foxx Maggie Gyllenhaal Jason Clarke Richard Jenkins e James Woods Diretto da: Roland Emmerich Scritto da: James Vanderbilt Prodotto da: Bradley J. Fischer, Harald Kloser, James Vanderbilt, Larry Franco e Laeta Kalogridis Executive Producers: Ute Emmerich, Channing Tatum e Reid Carolin Direttore della fotografia: Anna J. Foerster Scenografie: Kirk M. Petruccelli Montaggio di: Adam Wolfe Costumi di: Lisy Christl Supervisione agli effetti visivi e Co-produzione: Volker Engel e Marc Weigert Musiche di: Thomas Wander & Harald Kloser Data d’uscita: 26 settembre 2013 Distribuzione: Warner Bros. Pictures Italia Durata: 2 ore e 10 minuti Materiali stampa: www.cristianacaimmi.com/materialiwhd.zip 1 SOTTO ASSEDIO - WHITE HOUSE DOWN Informazioni sulla Produzione Nel film della Columbia Pictures “Sotto Assedio – White House Down” (White House Down), l'agente della polizia di Washington John Cale (Channing Tatum), si vede negato il lavoro dei suoi sogni con i Servizi Segreti per la protezione del Presidente James Sawyer (Jamie Foxx). Non volendo deludere la sua bambina con questa notizia, John la porta a fare una visita alla Casa Bianca, quando l'intero complesso viene preso d'assalto da un gruppo armato paramilitare. Con il governo nazionale nel caos, ed il tempo che passa inesorabile, ora sta a Cale salvare sua figlia, il Presidente, e l’intero Paese. Columbia Pictures presenta una produzione Mythology Entertainment / Centropolis Entertainment, “Sotto Assedio – White House Down” (White House Down). Il film è interpretato da Channing Tatum, Jamie Foxx, Maggie Gyllenhaal, Jason Clarke, Richard Jenkins e James Woods. -
Current P SYCHIATRY
CP_0606_Editorial.FinalREV 5/18/06 11:42 AM Page 15 Current p SYCHIATRY From the editor Psychiatry seesaws with stars’ ups and downs ane Pauley is well-known for hosting NBC television’s Today Show but also J for developing manic symptoms from corticosteroid therapy. Dr. Michael Cerullo (page 43) mentions® herDowden case in his excellent Health discussion Media of how to treat steroid-induced mania or mixed bipolar symptoms and reduce the risk in patients who requireCopyright sustained corticosteroids. Jane (we are on a first-nameFor personal basis, aren’t we?)use revealed only in her autobiography1 that she developed mania after taking corticosteroids for urticaria. In this case, a widely admired broadcaster’s revelation probably helped reduce the stigma of psychiatric illness. But last year Hollywood celebs Tom Cruise and Brooke Shields debated the merits of antidepressant therapy for postpartum depression. That highly publicized exchange—he on the “con” side, she on the “pro”—certainly raised public awareness of depression in new mothers, but its effects on psychiatry’s image might have been more negative than positive. And what do we make of actress Lorraine Bracco, who plays a psychiatrist on the HBO TV series, The Sopranos? Her character, Dr. Jennifer Melfi, treats mobster Tony Soprano’s panic attacks but not his, well, antisocial traits. Speaking at last year’s American Psychiatric Association meeting, Bracco stated that “in real life, I’m actually someone who has suffered from depression and had to seek the help of a psychiatrist.” So we have a real patient portraying a psychiatrist treating an imaginary patient and then lecturing to real psychiatrists. -
Dismemberment Diaries
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-2-2019 Dismemberment Diaries Elizabeth B. Englander CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/485 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Dismemberment Diaries by Elizabeth Englander Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts Studio Art, Hunter College The City University of New York 2019 Thesis Sponsor: May 13, 2019 Date Signature Thomas Weaver May 13, 2019 Date Signature of Second Reader Susan Crile 1 Acknowledgments I would like to thank all of the thoughtful faculty, staff, and students at Hunter College. I am particularly indebted to my thesis advisor, Thomas Weaver, for his close reading and helpful suggestions. Jenna Gribbon asked me to collaborate on our thesis exhibition; while that work is documented but not discussed in this text, our dialogue informed my writing and I am grateful to her for the enriching opportunity to work together. I am also grateful to Entrance and Kimberly-Klark. In providing me the opportunity to exhibit the work discussed in this text, they allowed me to fully realize it. I must also thank my family and friends for putting up with me as a graduate student. Finally, I would like to thank you, tireless reader, for the patience with which I am sure you will peruse this text. -
University of Florida Thesis Or Dissertation Formatting
REJECTED WOMEN IN FILM NOIR By CAROLYN A. KELLEY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Carolyn A. Kelley 2 To my mother and father, Elaine and Thomas Kelley 3 ACKNOWLEDGMENTS I want to thank my parents, Thomas and Elaine Kelley, for their unwavering love and support. You are the kindest, most generous people I know. I am proud to be your daughter. To my sister, Christine Kelley-Connors, thank you for always making me laugh and for helping me keep my perspective. I thank my ―second parents,‖ Madeline and Stuart Sheets, for always listening to me and for giving me excellent advice. I thank Ted Kingsbury for introducing me to classic Hollywood films through his Thursday night screenings at the Wellesley library. To Professors Patrick Murphy, Edward O‘Shea, Jean Chambers, and Steven Abraham of Oswego State University, and Julian Wolfreys of Loughborough University, I thank you for your support, friendship, advice and generosity in sharing your knowledge. Thanks also go out to Professors Pamela Gilbert, Kenneth Kidd, and Chris Snodgrass of the University of Florida for your thoughtful guidance, wisdom and patience. To my dissertation committee members, Robert Ray, Marsha Bryant, and Louise Newman, I appreciate your generous devotion to helping me shape this project and your helpful, insightful input. And, to my Dissertation Director, Maureen Turim, I thank you for your guidance, patience, intelligence, and kindness. Finally, to everyone listed on this page, please know this project would not have been possible without you, and I am extremely grateful to you all.