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Festival JULIUS 2014
www.cineclubvic.com Programació setembre / desembre 2014 Shane Carruth (2013) Shane Carruth Upstream Color. Color. Upstream Sessions de dimarts. 22h C 16 de setembre C 23 de setembre F 30 de setembre C 7 d’octubre Borgman 4a Mostra Internacional Homenatge Eli Wallach 10.000 KM Alex van Warmerdam de Cinema Etnogràfic El bueno, el feo y el malo Carlos Marques-Marcet Il buono, il brutto, il cattivo Holanda-Bèlgica, 2013 Family Tour Catalunya-Espanya, 2014 Liliana Torres Sergio Leone Catalunya, 2013 Itàlia-Espanya-Alemanya, 1966 F 14 d’octubre C 21 d’octubre C 28 d’octubre C 4 de novembre 25 aniversari Dia Mundial de la Salut Mental Per estrenar De cavalls i homes Hross í oss Haz lo que debas Oh Boy Joven y alocada Do the Right Thing Jan Ole Gerster Marialy Rivas Benedikt Erlingsson Spike Lee Alemanya, 2012 Xile, 2012 Islàndia-Alemanya-Noruega, 2013 EUA, 1989 C 11 de novembre C 18 de novembre F 25 de novembre C 2 de desembre Gangs of Wasseypur. Part 1 Gangs of Wasseypur. Part 2 Centenari Primera Guerra Mundial Upstream Color Anurag Kashyap Anurag Kashyap Capitán Conan Shane Carruth Índia, 2012 Índia, 2012 Capitán Conan EUA, 2013 Bertrand Tavernier França, 1996 F 9 de desembre F 16 de desembre Sessió especial Julius 2014 Centenari Primera Guerra Mundial El hombre que mató a Bon Nadal Joyeux Noël Liberty Valance The Man Who Shot Liberty Valance Christian Carion John Ford Fra-Al-Ang-Bel, 2005 EUA, 1962 Totes les pel·lícules es projectaran a l’Espai de Teatre i Cinema - ETC (Passeig de la Generalitat, 46 de Vic) Sessions de dijous. -
Crazy Narrative in Film. Analysing Alejandro González Iñárritu's Film
Case study – media image CRAZY NARRATIVE IN FILM. ANALYSING ALEJANDRO GONZÁLEZ IÑÁRRITU’S FILM NARRATIVE TECHNIQUE Antoaneta MIHOC1 1. M.A., independent researcher, Germany. Corresponding author: [email protected] Abstract Regarding films, many critics have expressed their dissatisfaction with narrative and its Non-linear film narrative breaks the mainstream linearity. While the linear film narrative limits conventions of narrative structure and deceives the audience’s expectations. Alejandro González Iñárritu is the viewer’s participation in the film as the one of the directors that have adopted the fragmentary narrative gives no control to the public, the narration for his films, as a means of experimentation, postmodernist one breaks the mainstream con- creating a narrative puzzle that has to be reassembled by the spectators. His films could be included in the category ventions of narrative structure and destroys the of what has been called ‘hyperlink cinema.’ In hyperlink audience’s expectations in order to create a work cinema the action resides in separate stories, but a in which a less-recognizable internal logic forms connection or influence between those disparate stories is the film’s means of expression. gradually revealed to the audience. This paper will analyse the non-linear narrative technique used by the In the Story of the Lost Reflection, Paul Coates Mexican film director Alejandro González Iñárritu in his states that, trilogy: Amores perros1 , 21 Grams2 and Babel3 . Film emerges from the Trojan horse of Keywords: Non-linear Film Narrative, Hyperlink Cinema, Postmodernism. melodrama and reveals its true identity as the art form of a post-individual society. -
Why No Wonder Woman?
Why No Wonder Woman? A REPORT ON THE HISTORY OF WONDER WOMAN AND A CALL TO ACTION!! Created for Wonder Woman Fans Everywhere Introduction by Jacki Zehner with Report Written by Laura Moore April 15th, 2013 Wonder Woman - p. 2 April 15th, 2013 AN INTRODUCTION AND FRAMING “The destiny of the world is determined less by battles that are lost and won than by the stories it loves and believes in” – Harold Goddard. I believe in the story of Wonder Woman. I always have. Not the literal baby being made from clay story, but the metaphorical one. I believe in a story where a woman is the hero and not the victim. I believe in a story where a woman is strong and not weak. Where a woman can fall in love with a man, but she doesnʼt need a man. Where a woman can stand on her own two feet. And above all else, I believe in a story where a woman has superpowers that she uses to help others, and yes, I believe that a woman can help save the world. “Wonder Woman was created as a distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to ʻa world torn by the hatred of men.ʼ”1 While the story of Wonder Woman began back in 1941, I did not discover her until much later, and my introduction didnʼt come at the hands of comic books. Instead, when I was a little girl I used to watch the television show starring Lynda Carter, and the animated television series, Super Friends. -
BABEL and the GLOBAL HOLLYWOOD GAZE Deborah Shaw
02_shaw:SITUATIONS 10/16/11 12:40 PM Page 11 BABEL AND THE GLOBAL HOLLYWOOD GAZE Deborah Shaw BABEL AND THE GLOBAL HOLLYWOOD GAZE n popular imaginaries, “world cinema” and Hollywood commercial cinema appear to be two opposing forms of filmic production obeying Idiverse political and aesthetic laws. However, definitions of world cin- ema have been vague and often contradictory, while some leftist discourses have a simplistic take on the evils of reactionary Hollywood, seeing it in rather monolithic terms. In this article, I examine some of the ways in which the term “world cinema” has been used, and I explore the film Babel (2006), the last of the three films of the collaboration between the Mexicans Alejandro González Iñárritu and screenwriter Guillermo Arriaga.1 Babel sets out to be a new sort of film that attempts to create a “world cinema” gaze within a commercial Hollywood framework. I exam- ine how it approaches this and ask whether the film succeeds in this attempt. I explore the tensions between progressive and conservative political agendas, and pay particular attention to the ways “other” cul- tures are seen in a film with “Third World” pretensions and U.S money behind it. I frame my analysis around a key question: does the Iñárritu-led outfit successfully create a paradigmatic “transnational world cinema” text that de-centers U.S. hegemony, or is this a utopian project doomed to failure in a film funded predominantly by major U.S. studios?2 I examine the ways in which the film engages with the tourist gaze and ask whether the film replaces this gaze with a world cinema gaze or merely reproduces it in new ways. -
"/Title/Tt3702160/": {"Director": [["Kimberly Jessy"]], "Plot": ["\Nbeautiful D Anger Is an Animated 3D Made for TV/Short Film
{"/title/tt3702160/": {"director": [["Kimberly Jessy"]], "plot": ["\nBeautiful D anger is an Animated 3D Made for TV/Short Film. It's a Thriller that combines, M TV's Teen Wolf, Pretty Little Liars, Gossip Girl, Sorcery, Twilight, in one film , Epic fight scenes, No-one is who you think they are, Alternate Universes, Teen Young Adult Action Good Verses Evil, flick with tons of Cliff Hangers! It takes place In Dark Oak, CA were the typical mean girl with magical powers tries to t ake over the school with her mean girl clique. Brooke Charles Takes on Kimberly Jesika and her good girl team. Death Becomes Brook cause she keeps coming back, Think Katherine Vampire Diaries. Kimberly has magical powers and so does her cla n. It's a match to the death. No one is who they seem or who they appear to be! Excitement and sitting on the edge of your seat. Written by\nKimb erly Jessy "], "imdb_rating": [], "mpaa_rating": [], "poster_link": [], "stars": [["Kimberly Jessy"], ["Helena Evans"], ["Chloe Benoit"]], "title": "Beautiful D anger 3D Animated Teen Thriller", "genre": [[" Animation"]], "release_date": [], "writer": [["Kimberly Jesika"], ["Doll Face Animated Films"]]}, "/title/tt25692 02/": {"director": [["Emily Gossett"]], "plot": ["\nThe last year of high school has been barely tolerable for Maggie Masters. After being dumped by her three y ear relationship with Chad, to be traded in for a football dream at UF, she has to succumb to her mother leaving for a better life. Maggie is left to pick up th e remains of her fragmented life. When fate intervenes by the touch from the mys terious and handsome Caleb Jacobson, whom she saves, leaves Maggie breathless, s tartled and captivated. -
El Hollywood: Alejandro González Iñarritu
EL HOLLYWOOD : ALEJANDRO GONZ ÁLEZ I ÑARRITU, ALFONSO CUAR ÓN, AND GUILLERMO DEL TORO By ANA-MARIA LUNGU Bachelor of Arts in Film Edinburgh Napier University Edinburgh, United Kingdom 2016 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS July, 2018 EL HOLLYWOOD : ALEJANDRO GONZ ÁLEZ I ÑARRITU, ALFONSO CUAR ÓN, AND GUILLERMO DEL TORO Thesis Approved: Dr. Jeff Menne Thesis Adviser Dr. Stacy Takacs Dr. Graig Uhlin ii ACKNOWLEDGEMENTS I would like to express my gratitude to my committee, Dr. Jeff Menne, Dr. Stacy Takacs, and Dr. Graig Uhlin for their guidance throughout my time at Oklahoma State, especially during the thesis writing process. I would like to thank my colleagues Dillon Hawkins, Jared Ashburn, Skyler Osburn and my husband Jacob for their continuous support and their dedication to reading my work and providing helpful comments. iii Acknowledgements reflect the views of the author and are not endorsed by committee members or Oklahoma State University. Name: ANA-MARIA LUNGU Date of Degree: AUGUST, 2018 Title of Study: THESIS Major Field: ENGLISH Abstract: The three Mexican filmmakers, Alfonso Cuarón, Alejandro González Iñárritu, and Guillermo del Toro, dubbed The Three Amigos by scholar Deborah Shaw, have received a lot of critical attention in recent years. While the term Three Amigos and the scholarship that analyzes their early works from a transnational perspective seeks to other them and distinguish them from Hollywood, I argue that the three filmmakers did not depart from a place of difference, and that they embraced Hollywood filmmaking all along, from the beginning of their careers, to the most recent Academy Award recognitions. -
Guillermo Arriaga, El Cazador De Historias
Guillermo Arriaga, el cazador de historias Luis José Galvis Díaz Guillermo Arriaga, el cazador de historias Guillermo Arriaga, Entrevista ULIBRO 2017. Foto: Andrés Serrano Aunque quisiera pasar inadvertido, esconder los 1.88 La T3RA: En tu más reciente novela, “El salvaje”, hay metros de su estatura es una tarea difícil para el escritor un componente narrativo que es la cacería. Uno de mexicano Guillermo Arriaga. Aunque por su apariencia los personajes es Amaruq, un nativo en el río Yukón puede lucir más como boxeador que como escritor, él no que persigue a un lobo y, asimismo, en Ciudad de pudo pasar inadvertido en su visita a la Feria del Libro, México hay una cacería humana al personaje de Carlos, el Ulibro 2017, de la Universidad Autónoma de Bucaramanga, hermano de Juan Guillermo el protagonista de la novela. donde presentó su más reciente novela, “El Salvaje”. Esa ¿Por qué la pasión por la cacería en tu vida y en tus misma estatura fue la causante de tantas peleas en su obras? adolescencia, porque los jóvenes más grandes de su barrio lo buscaban para pelear, aunque él fuera mucho menor que ellos. Y aunque lo rompieron a puñetazos con GA: Cuando digo que soy cazador, las opiniones son tal dureza que quedó con la pérdida del sentido del olfato, muy divididas. Hay quien me mienta la madre, quien Guillermo aprendió a defenderse para sobrevivir y estas me insulta, quien no entiende, pero no es una afición experiencias de su barrio, en Ciudad de México, las contó la cacería. La cacería es un rito y una forma que tanto a la literatura como al cine. -
Masculinity in Iñárritu's Films
Representation of Latinos in Hollywood: Masculinity in Iñárritu’s Films Mohammad A. Mousavi1 Samar Sadeghi2 Abstract: This paper studies the image of Latinos in the United States of America through the Hollywood films production by the well-known Mexican director,Alejandro González Iñárritu. Using content analysis of the Latinos characters in the three films directed by him and in collaboration with screenwriter Guillermo Arriaga, the present paper examines the masculinity frame to see whether the Latinos are portrayed positively or negatively in Hollywood movies. Semiotics in films and the Character theory are used as the theoretical framework. The reason for choosing this director is to control the research for the racializationthat might exist if we pick a non-Latino director. The hypothesis is that the portrayal of the main characters is a violent masculinity and a negative one. Regardless of the intentional or unintentional reasons behind it, the effect of such portrayal on the overall picture of Latinos is a negative one in the sense that according to the representation theory, using Goffman Character and Christian Metz’s Semiotics theories, people tend to accept something that is repeated enough for them as the reality and therefore act upon it. Key words: Hollywood, Masculinity, Latinos, Semiotic, Character theory, Iñárritu. 1- Associate Professor, Faculty of World Studies, University of Tehran, e-mail: [email protected] 2- MA Student, North American Studies, Faculty of World Studies, University of Tehran, e-mail: [email protected] International Journal of Women’s Research, Vol.2, No.1, Spring 2013, pp. 95 - 110 . Received: November 24, 2012 , Accepted January 10, 2013 International Journal of Women’s Research Volume 2, No. -
Between the Panels
Between the Panels How the interactions between commerce and art shape superhero comic book film adaptations (2000-13) Tim Stafford Between The Panels: How the interactions between commerce and art shape superhero comic book film adaptations (2000-13) Tim Stafford Submitted to the University of Hertfordshire in partial fulfilment of the requirements of the degree of PhD January 2018 Acknowledgments I would like to thank my Principal Supervisor, Professor Keith Randle and my Second Supervisors, Visiting Professor Richard Miller and Dr Mariana Dodourova for their support and guidance during this project. I would also like to thank Greg Pan at Marvel for granting permission to reproduce the three selected comic book panels and Roni Lubliner at Universal for granting permission to use the still from Hulk. This thesis is dedicated in its entirety to my parents, Terry and Sheila Stafford, to Derek Watson, my best friend and guide in the world of comic books and to Hugh Jackman, who started the whole thing off. Between the Panels Contents List of figures 1 Abstract 3 Introduction 5 Research questions 8 Introduction to the conceptual framework and methodology 9 Thesis structure 12 Chapter One: Up, up and away: superheroes and their adaptations 14 Origin story: A brief history of superhero adaptations 14 The superhero film renaissance: 2000 to the present 20 Why are superhero films so popular? 26 i) The studio perspective 26 ii) The audience perspective 29 iii) The role of comic book readers 31 The theory of adaptation 34 The role of the director -
2021 Harry Potter and the Order of the Phoenix
How can fine-tuning your perspective help orchestrate growth? At EY we believe supporting the business of arts is instrumental in helping organisations grow, innovate and become more accessible to local communities. Learn more at ey.com/au/growth FRIDAY 26 MARCH, 7.30PM & SATURDAY 27 MARCH 2021, 1.00PM & 7.30PM RIVERSIDE THEATRE, PERTH CONVENTION AND EXHIBITION CENTRE WASO AT THE MOVIES PRESENTED BY © 2019 Ernst & Young, Australia. All Rights Reserved. Liability limited by a scheme approved under Professional Standards Legislation. SCORE no. AU00003646. PH1008715. ED None. SE21_HP5_ProgramCover v3.indd 1 8/1/21 11:38 am The West Australian Symphony Orchestra respectfully acknowledges the Traditional Owners, Custodians and Elders of the Indigenous Nations across Western Australia on whose Lands we work. WIZARDING WORLD and all related trademarks, characters, names, and indicia are © & ™ Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s21) WASO AT THE MOVIES PRESENTED BY Harry Potter and the Order of the Phoenix™ Directed by David Yates Head of Publicity and Communications Produced by David Heyman and Andrew P. Alderete David Barron Senior Marketing Manager Brittany Fonseca Written by Michael Goldenberg Senior Social Media Manager Si Peng Based on “Harry Potter and the Order Project Manager Gabe Cheng of the Phoenix” by J.K. Rowling Worldwide Representation WME Entertainment Harry Potter and the Order of the Phoenix™ Music Preparation JoAnn Kane Music In Concert produced by CineConcerts Service Justin Freer President/Founder/Producer Sound Remixing Justin Moshkevich, Brady Beaubien Co-Founder/Producer Igloo Music Studios Managing Director Jeffery Sells Merchandise by Araca West Australian Symphony Orchestra West Australian Symphony Orchestra our creative state, and they are also (WASO) thrives on the enthusiasm, supported by hundreds of visiting passion and support of our entire artists, alongside the volunteers of the community. -
“I'm Just a Cowboy”: Transnational Identities of the Borderlands In
European journal of American studies 1 (2012) Varia ................................................................................................................................................................................................................................................................................................ Matthew Carter “I’m Just a Cowboy”: Transnational Identities of the Borderlands in Tommy Lee Jones’ The Three Burials of Melquiades Estrada. ................................................................................................................................................................................................................................................................................................ Warning The contents of this site is subject to the French law on intellectual property and is the exclusive property of the publisher. The works on this site can be accessed and reproduced on paper or digital media, provided that they are strictly used for personal, scientific or educational purposes excluding any commercial exploitation. Reproduction must necessarily mention the editor, the journal name, the author and the document reference. Any other reproduction is strictly forbidden without permission of the publisher, except in cases provided by legislation in force in France. Revues.org is a platform for journals in the humanites and social sciences run by the CLEO, Centre for open electronic publishing (CNRS, EHESS, UP, UAPV). ............................................................................................................................................................................................................................................................................................... -
GUILLERMO ARRIAGA SCREENWRITING MASTERCLASS Kristian B
GUILLERMO ARRIAGA SCREENWRITING MASTERCLASS Kristian B. Walters har vært på en Masterclass med Guillermo Arriaga, som blant annet har skrevet manus til Babel. Arriaga står for en ikke lineær dramaturgi og en del av hans skriveråd vil sikkert være befriende for mange, som ikke liker å jobbe med treatment, outline mm Vi har fått lov til å legge Kristians blogg fra masterclass´ut her: Non linear feature screenplay construction London, Regent’s College 28th-29th January 2012. Guillermo has written Babel, 21 Grams, Amores Perros, The Three Burials of Melquiades Estrada. He has won best screenplay at Cannes and has been Oscar and Bafta nominated. He also wrote and directed The Burning Plain starring Jennifer Lawrence, Charlize Theron and Kim Basinger in 2008. After reading a great many screenwriting books and been on several masterclasses I jumped at the chance to participate in Arriaga’s class because of his non linear approach to screenwriting. The only screenwriting book I’ve read where this is covered extensively is Linda Aronson’s excellent The 21st Century Screenplay. Arriaga is a charming teacher with a devilish gleam in his eye and a penchant for really, really, nasty and/or rude jokes – by his own admission – and we got a few samples of that. He also ‘breaks the rules’ in his writing method and often contradicts most other books on the subject – which is great and felt like a breath of fresh air. When his big break came in 2003 with 21 Grams he was referred to as the Mexican Quentin Tarantino – which confused him because he had never heard of Quentin or seen his films.