He Has a Flaming Skull, That His First Film Was a Critical Dud, and That He's
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Post-Cinematic Affect
Post-Cinematic Affect Steven Shaviro 0 BOO KS Winchester, UK Washington, USA r First published by 0-Books, 2010 O Books ls an imprint of John Hunt Publishing Ltd., The Bothy, Deershot Lodge, Park Lane, Ropley, CONTENTS Hants, S024 OBE, UK [email protected] www.o-books.com For distributor details and how to order please visit the 'Ordering' section on oUr website. Text copyright Steven Shaviro 2009 Preface vii ISBN: 978 1 84694 431 4 1 Introduction All rights reserved. Except for brief quotations in critical articles or reviews, no part of 1 this book may be reproduced in any manner without prior written permission from 2 Corporate Cannibal the publishers. 11 3 Boarding Gate The rights of Steven Shaviro as author have been asserted in accordance with the Copyright, 35 1988. 4 Designs and Patents Act Southland Tales 64 5 A CIP catalogue record for this book is available from the British Library. Gamer 93 6 Coda Design: Stuart Davies 131 Printed In the UK by CPI Antony Rowe Works Cited 140 Endnotes 153 We operate a distinctive and ethical publishing philosophy in all areas of its business, from its global network of authors to production and worldwide distribution. Preface This book is an expanded version of an essay that originally appeared in the online journal Film-Philosophy. Earlier versions of portions of this book were delivered as talks sponsored by the Affective Publics Reading Group at the University of Chicago, by the film and media departments at Goldsmiths College, Anglia Ruskin University, University of the West of England, and Salford University, by the "Emerging Encounters in Film Theory" conference at Kings College, by the Experience Music Project Pop Conference, by the Nordic Summer University, by the Reality Hackers lecture series at Trinity University, San Antonio, and by the War and Media Symposium and the Humanities Center at Wayne State University. -
'Mom & Dad' Premieres!
'MOM & DAD' PREMIERES! September 17, 2017 ‘Mom & Dad’: Film Review | TIFF 2017 - Hollywood Reporter Nicolas Cage and Selma Blair get their crazy on as parents hell-bent on killing their own children in Brian Taylor's black-comedy horror flick. The kind of rip-snorting, relatively cheap and cheerful black comedy the industry doesn’t make enough of anymore, Mom & Dad is a deliciously lurid throwback to cult fare like Parents, Heathers, Serial Mom, early Gregg Araki movies and other to-the-bone horror-driven skewerings of suburban pieties. Fueled by a great premise — something throws the instinct in parents to protect their kids into reverse, resulting in a worldwide epidemic of filicide — in an earlier era, this would have had a long life in repertory cinemas as a midnight special, but these days it will probably have a swift run around the theatrical circuit before hitting the streaming platforms. Even so, Mom & Dad will do no damage to the careers of leads Nicolas Cage and Selma Blair, both in top antic form here, and writer-director Brian Taylor (the Crank franchise, Ghost Rider: Spirit of Vengeance). End titles reveal that some tract-house covered stretch of Kentucky was used as a location, although this could be happening anywhere in America where families live in McMansions adorned with cheesy homiletic wall decorations extolling familial harmony, attend anonymous-looking high schools and work out at Zumba classes. The Ryan family — dad Brent (Cage), mom Kendall (Blair), high-school sophomore Carly (Anne Winters) and pre-adolescent Joshua (Zachary Arthur) — are typical affluent middle-class Americans, with typical middle-class American levels of dysfunction. -
Pathology (Film)
Pathology (film) Pathology is a 2008 medical thriller directed by Marc Schölermann and written by Mark Neveldine and Brian Taylor. The cast was announced on April 4, 2007 and filming started in May 2007. The film premiered April 11, 2008 in the United Kingdom and opened inlimited release in the United States on April 18, 2008. Plot The intro shows a camera recording faces of corpses, with their mouths being moved by medical students. Med school student Teddy Grey (Milo Ventimiglia) graduates top of his class from Harvard and joins one of the nation’s most prestigious Pathology programs. With talent and determination, Teddy is quickly noticed by the program’s privileged and elite band of pathology interns who invite him into their crowd. Intrigued by his new friends he joins them in their dangerous and secret after-hours game at the morgue of who can commit the perfect undetectable murder. As Teddy becomes seduced into their wild extracurricular activities, the danger becomes real and he must stay one step ahead of the game before he is the next victim. Eventually the group's leader, Jake Gallo, realizes that Teddy is sleeping with his girlfriend, Dr. Juliette Bath, while Gallo would murder people during their secret meetings. Not to mention, when Teddy catches several members of the group in lies, he realizes that what initially seemed like vigilante killings are, in actuality, just innocent people murdered for sport. When Teddy's fiancée Gwen arrives to stay with him in his apartment, Gallo, angered by Juliette's infidelity, kills her for the next game. -
The Vatican Tapes
präsentiert THE VATICAN TAPES mit Olivia Taylor Dudley, Michael Peña, Djimon Hounsou, Dougray Scott u.a. Regie: Mark Neveldine Kinostart: 30. Juli 2015 Bildformat: 1:1,85 Tonformat: 5.1 Laufzeit: 91 Minuten Presseheft Im Vertrieb von Im Verleih von VERLEIH Universum Film GmbH Neumarkter Str. 28 81673 München Tel: 089 / 41 36 96 35 Fax: 089 / 41 36 98 71 www.universumfilm.de PRESSEBETREUUNG public insight Andrea Klasterer, Mirja Bauer Tel. 089/ 78 79 79 9-0 E-mail: [email protected] Online-PR: Vollkontakt Anselm Klumpp Tel. 040 288018-38 E-mail: [email protected] Pressematerial steht unter www.universumfilm.de zum Download bereit. Facebook: www.facebook.com/VaticanTapes.DerFilm INHALT DIE BESETZUNG DIE FILMEMACHER KURZINHALT & PRESSENOTIZ PRODUKTIONSNOTIZEN ÜBER DIE BESETZUNG ÜBER DIE FILMEMACHER DIE BESETZUNG Olivia Taylor Dudley………………………………………………………………...………….Angela Michael Peña…………………………………………………………………………...Pater Lorenzo Djimon Hounsou…………………………………………………………………………..Vikar Imani Dougray Scott……………………………………………………………………………………Roger Peter Andersson……………………………………………………………………..Kardinal Bruuns Kathleen Robertsson…………………………………………………………………….Dr. Richards DIE FILMEMACHER Regie…………………………………………………………………………………..Mark Neveldine Produktion………………………………………………..………Tom Rosenberg & Gary Lucchesi Drehbuch, Ausführende Produktion……………………………………………Christopher Borrelli Drehbuch……………………………………………………………………………Michael C. Martin Kamera……………………………………………………………………………...Gerardo Madrazo KURZINHALT Angela Holmes (Olivia Taylor Dudley) führt ein glückliches -
HDTGM- Brian Taylor
HDTGM: A Conversation with Brian Taylor, director of GAMER By Blake J. Harris No matter how you feel about the films of Brian Taylor—a high-voltage assortment that includes Crank, Gamer and Ghost Rider: Spirit of Vengeance—they all, at first glance, inspire a shared singular question: how the fuck did this get made? Seriously. Just look at what these movies are about: • To avoid dying, a British hitman must keep adrenaline coursing through his body. • In a future where kids can control humans as if they were videogame characters, a wrongly imprisoned death row convict seeks freedom. • Years after making a deal with the Devil, a hell-on-wheels monster known as “The Ghost Rider” must save a young boy (and, ultimately, the world). To many, these films are considered “guilty pleasures.” Yet interestingly enough, they come from an unexpectedly honest place; a desire to provide viewers with an alternative to the four-quadrant, check-the-boxes, CGI-everything Hollywood Machine. This underlying, upend-the-system ethos was just one the many things I learned during my conversation with Taylor. But by no means was it the most interesting. Not compared to finding out how Crank was originally financed (by finding producers who “looked at it as a fuck- you-movie”), how Taylor has evolved since then (“I’m actually sober when I work”) and what it’s really like to work with the enigma that is Nic Cage. Below is a transcript of our conversation: [Note: an audio version of this conversation is also available as a special episode of the How Did This Get Made? podcast] LINK TO EARWOLF PAGE Brian Taylor: Let's get into it and see how it goes. -
Crank Pdf, Epub, Ebook
CRANK PDF, EPUB, EBOOK Ellen Hopkins | 272 pages | 31 Oct 2004 | SIMON & SCHUSTER | 9780689865190 | English | New York, United States Crank PDF Book Crank the engine to see if it will start. Orlando Edi Gathegi Quotes Eve : Take me now, in front of all these people! Archived from the original on July 29, Theatrical release poster. The wonderful reign of Queen Elizabeth has everyone worried about what will happen when her crank of a son takes the throne. Chelios phones Mafia surgeon Doc Miles, who informs Chelios that in order to survive he must keep his adrenaline pumping through constant excitement and danger, and he is unsure if the antidote exists. Written by Nick Riganas. The crank is a short lever which transmits the power from the connecting rod to the crank shaft. See more words from the same century Dictionary Entries near crank craniotomy craniotopography cranium crank crank arm crank axle crank brace. Automotive Slang. Learn More about crank. Build up your Halloween Watchlist with our list of the most popular horror titles on Netflix in October. Crazy Credits. Retrieved February 5, Play the game. Crank is all these things, and extremely entertaining too. Silverbirch Studios. Statistics for crank Look-up Popularity. While it's a very tacky and overly obvious thing indeed to end with the Jefferson Starship tune " Miracles " why not just give away the ending, huh? Accessed 21 Oct. Trivia Directors Mark Neveldine and Brian Taylor operated both "a" and "b" cameras, where one would get a wide shot and the other would get a closeup shot. -
2.5 Crazy Cameras, Discorrelated Images, and the Post-Perceptual Mediation of Post-Cinematic Affect
2.5 Crazy Cameras, Discorrelated Images, and the Post-Perceptual Mediation of Post-Cinematic Affect BY SHANE DENSON With the shift to a digital and more broadly post-cinematic media environment, moving images have undergone what I term their “discorrelation” from human embodied subjectivities and (phenomenological, narrative, and visual) perspectives. Clearly, we still look at—and we still perceive—images that in many ways resemble those of a properly cinematic age; yet many of these images are mediated in ways that subtly (or imperceptibly) undermine the distance of perspective, i.e. the spatial or quasi-spatial distance and relation between phenomenological subjects and the objects of their perception. At the center of these transformations are a set of strangely volatile mediators: post-cinema’s screens and cameras, above all, which serve not as mere “intermediaries” that would relay images neutrally between relatively fixed subjects and objects but which act instead as transformative, transductive “mediators” of the subject-object relation itself.[1] In other words, digital and post-cinematic media technologies do not just produce a new type of image; they establish entirely new configurations and parameters of perception and agency, placing spectators in an unprecedented relation to images and the infrastructure of their mediation. The transformation at stake here pertains to a level of being that is therefore logically prior to perception, as it concerns the establishment of a new material basis upon which images are produced and made available to perception.[2] Accordingly, a phenomenological and | 1 2.5 Crazy Cameras, Discorrelated Images, and the Post-Perceptual Mediation of Post-Cinematic Affect post-phenomenological analysis of post-cinematic images and their mediating cameras points to a break with human perceptibility as such and to the rise of a fundamentally post- perceptual media regime.