Comunicato Pirellifilm230306eng
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
New York / New York Film Festival, September 23 - October 9, 1994]
Document generated on 09/29/2021 7:21 p.m. ETC New York New York Film Festival, September 23 - October 9, 1994 Steven Kaplan La critique d’art : enjeux actuels 1 Number 29, February–May 1995 URI: https://id.erudit.org/iderudit/35725ac See table of contents Publisher(s) Revue d'art contemporain ETC inc. ISSN 0835-7641 (print) 1923-3205 (digital) Explore this journal Cite this review Kaplan, S. (1995). Review of [New York / New York Film Festival, September 23 - October 9, 1994]. ETC, (29), 23–27. Tous droits réservés © Revue d'art contemporain ETC inc., 1995 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ nm/AiMiiEi NEW YORK New York Film Festival, September 23 - October 9,1994 ike the universe at large, film festivals often find the invidious structure of white overseer (coach, recruiter) it reassuring to start up with a big bang. The recent feeding off the talents and aspirations of a black underclass. 32nd edition of the New York Film Festival opened As Arthur Agee and William Gates progress from the with the explosive Pulp Fiction, fresh from its hood to a lily white suburban Catholic school (a basketball success at Cannes, continuing the virtual powerhouse which graduated Isiah Thomas) and hence to Ldeification of writer-director Quentin Tarantino among college, we are aware of the sacrifices they and their the hip media establishment, and poising him for entry families make, the difficulties of growing up black and into a wider marketplace. -
Ghost World: Screenplay Free
FREE GHOST WORLD: SCREENPLAY PDF Daniel Clowes,Terry Zwigoff | 80 pages | 31 May 2001 | Fantagraphics | 9781560974277 | English | Seattle, United States Ghost World Script - transcript from the screenplay and/or Daniel Clowes movie We MOVE through Ghost World: Screenplay city in a series of brief shots that. Eventually we find ourselves. As we track past at window-level we see:. A large, hirsute MAN, wearing only Lycra jogging shorts. A Ghost World: Screenplay old woman staring out the window. The source of the. The room is cluttered with heaps of. A modern high school auditorium. Over the entrance a Ghost World: Screenplay. A graduation ceremony is in progress. At first. High school is like the training. It is a time for young people to. After all, that which. In coming to terms with. I've learned for one thing that I. I love each and every one of you. Daniel Gillespie Clowes born April 14, is an American cartoonist, illustrator, and screenwriter. Most of Clowes's work first appeared in Eightball, a solo anthology comic book series. An Eightball issue typically contained several short pieces and a chapter of a longer narrative that Ghost World: Screenplay later collected and published as a graphic novel, such as Like a Velvet Glove Cast in IronGhost Worldand David Boring We're doing our best to make sure our content is useful, accurate and safe. If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly. -
Lightning in a Bottle
LIGHTNING IN A BOTTLE A Sony Pictures Classics Release 106 minutes EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS STEVE BEEMAN LEE GINSBERG CARMELO PIRRONE 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, ANGELA GRESHAM SUITE 1005 SUITE 200 550 MADISON AVENUE, NEW YORK, NY 10024 LOS ANGELES, CA 90046 8TH FLOOR PHONE: (212) 445-7100 PHONE: (323) 655-0593 NEW YORK, NY 10022 FAX: (212) 445-0623 FAX: (323) 655-7302 PHONE: (212) 833-8833 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com 1 Volkswagen of America presents A Vulcan Production in Association with Cappa Productions & Jigsaw Productions Director of Photography – Lisa Rinzler Edited by – Bob Eisenhardt and Keith Salmon Musical Director – Steve Jordan Co-Producer - Richard Hutton Executive Producer - Martin Scorsese Executive Producers - Paul G. Allen and Jody Patton Producer- Jack Gulick Producer - Margaret Bodde Produced by Alex Gibney Directed by Antoine Fuqua Old or new, mainstream or underground, music is in our veins. Always has been, always will be. Whether it was a VW Bug on its way to Woodstock or a VW Bus road-tripping to one of the very first blues festivals. So here's to that spirit of nostalgia, and the soul of the blues. We're proud to sponsor of LIGHTNING IN A BOTTLE. Stay tuned. Drivers Wanted. A Presentation of Vulcan Productions The Blues Music Foundation Dolby Digital Columbia Records Legacy Recordings Soundtrack album available on Columbia Records/Legacy Recordings/Sony Music Soundtrax Copyright © 2004 Blues Music Foundation, All Rights Reserved. -
Amfar Gala Hong Kong Amfar Gala Hong Kong
Jackie Chan at amfAR Gala Hong Kong amfAR Gala Hong Kong March 26, 2018 Shaw Studios, Hong Kong Event produced by Andy Boose/AAB Productions and Josh Wood/Josh Wood Productions A Golden Opportunity With amfAR’s TREAT Asia program improving HIV treatment and care throughout the Asia-Pacic region for the past 16 years, Hong Kong is a natural venue for the Foundation’s newest international fundraising gala. In its rst three years, the amfAR Gala Hong Kong has established itself as one of the city’s premier charity events and has raised more than $11.5 million. Memorable Moments Jackie Chan surprised guests at the 2017 event and auctioned an opportunity for one lucky guest to appear in his upcoming lm with Sylvester Stallone and to attend the movie’s premiere in Beijing. This once-in-a-lifetime role sold for the highest amount of the evening, $300,000. Event Chair Pansy Ho, a driving force behind the Charlize Theron success of amfAR Gala Hong Kong, summoned all of the Event Co-Chairs in attendance at the 2016 event to the stage for a spectacular group photograph. Uma Thurman presented UN Goodwill Ambassador Victoria Beckham with amfAR’s Award of Courage at the second annual gala in March 2016. Academy Award-winning actor Adrien Brody was in attendance at the 2016 event and donated one of his original artworks, which sold for $100,000 in the live auction. Robin Thicke rounded out the 2015 event, getting the audience on their feet with his chart- topping hits “Blurred Lines,” “Give It To You,” and “Magic,” and a rendition of Michael Jackson’s -
Conto Alla Rovescia Di Un FESTIVAL
ESPERIENZE FRANCESCANE Conto alla rovescia di un FESTIVAL Si mette a fuoco il programma della manifestazione di settembre di Chiara Vecchio Nepita giornalista, responsabile comunicazione Festival Francescano Appuntamento da non perdere Si avvicina un appuntamento atteso da tutti coloro che ispirano la propria vita alla figura di San Francesco, ne condividono i valori o anche solo ne sono incuriositi. Alla fine dell’estate, precisamente il 25, 26 e 27 settembre, si terrà a Reggio Emilia il primo Festival Francescano, pensato dai cappuccini dell’Emilia-Romagna per festeggiare gli ottocento anni della nascita della Regola francescana. Il programma del Festival, che prevede molte attività anche per i bambini e i ragazzi, si divide in quattro principali tipologie di iniziative: lezioni magistrali, spettacoli, mostre e cinema. Le lezioni magistrali hanno il compito di illustrare, da punti di vista differenti, le questioni legate al francescanesimo. Oltre a Giovanni Salonia, direttore dell’Istituto di Gestalt e a Chiara Frugoni, docente di Storia medievale all’Università di Roma II e Pisa, i cui contributi sono stati anticipati nello scorso numero della rivista, parteciperanno: Stefano Zamagni, docente di Economia presso l’Università degli Studi di Bologna; Lucio Saggioro, docente di Teologia della Comunicazione presso lo Studio Teologico di Venezia; Orlando Todisco, docente di Storia della Filosofia medievale presso l’Università di Cassino e al Seraphicum di Roma; Fulvio De Giorgi, docente di Storia della Pedagogia presso l’Università di Modena e Reggio Emilia; Giorgio Zanetti, docente di Letteratura italiana presso l’Università di Modena e Reggio Emilia. Il mondo del giornalismo è rappresentato da Gabriella Caramore, collaboratrice dagli inizi degli anni Ottanta di Rai Radio Tre (sua la conduzione della trasmissione “Uomini e Profeti”) e autrice de “La fatica della luce”, un libro di domande sul religioso. -
Faculty Film Festival TUESDAY, OCTOBER 25, Gaines Theater, 6:30PM : CRUMB
5/11/2015 Christopher Newport University Mail Reminder! 'CNU @ the Movies', CRUMB, tonight at 6:30pm Susan Barber <[email protected]> Reminder! 'CNU @ the Movies', CRUMB, tonight at 6:30pm 1 message Personal Announcement Do Not Reply Tue, Oct 25, 2011 at <[email protected]> 10:50 AM ReplyTo: [email protected] To: [email protected], [email protected], [email protected] Dear Faculty, Students, and Staff: Reminder: Crumb, Tonight, 6:30pm, Gaines! Come check out Terry Zwigoff's compelling documentary about countercultural icon, Robert Crumb, whose graphic comix in the 1960s introduced one of the most talented comic artists of the 20th century to the world. Through an exploration of his life and backgroundwarts and all, the film supports the connection between artistic expression and basic human survival. Follow this link to the IMDB and see below for our original blurb! CNU @ the Movies: Faculty Film Festival TUESDAY, OCTOBER 25, Gaines Theater, 6:30PM : CRUMB Terry Zwigoff, 1994, featuring Robert Crumb. This film launched the directorial career of Terry Zwigoff ("Ghost World," "Bad Santa," "Art School Confidential") and is often referred to as one of the best documentaries ever made. The father of underground comics, Robert Crumb is a beguiling combination of madness and artistic genius, at once the strangest person you might ever meet and probably the funniest. "Crumb" juxtaposes his heartbreaking family story with his remarkable artistic achievement, treating you to Crumb's incredible and hilarious https://mail.google.com/mail/u/0/?ui=2&ik=283ac54fb8&view=pt&cat=Archives&search=cat&th=1333b8fbda00abf7&siml=1333b8fbda00abf7 1/2 5/11/2015 Christopher Newport University Mail Reminder! 'CNU @ the Movies', CRUMB, tonight at 6:30pm vision, wit and wisdom all the while. -
Naples and the Nation in Cultural Representations of the Allied Occupation. California Italian Studies, 7(2)
Glynn, R. (2017). Naples and the Nation in Cultural Representations of the Allied Occupation. California Italian Studies, 7(2). https://escholarship.org/uc/item/1vp8t8dz Publisher's PDF, also known as Version of record License (if available): CC BY-NC Link to publication record in Explore Bristol Research PDF-document This is the final published version of the article (version of record). It first appeared online via University of California at https://escholarship.org/uc/item/1vp8t8dz . Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ UC Berkeley California Italian Studies Title Naples and the Nation in Cultural Representations of the Allied Occupation Permalink https://escholarship.org/uc/item/1vp8t8dz Journal California Italian Studies, 7(2) Author Glynn, Ruth Publication Date 2017-01-01 License CC BY-NC 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Naples and the Nation in Cultural Representations of the Allied Occupation Ruth Glynn The Allied Occupation in 1943–45 represents a key moment in the history of Naples and its relationship with the outside world. The arrival of the American Fifth Army on October 1, 1943 represented the military liberation of the city from both Nazi fascism and starvation, and inaugurated an extraordinary socio-cultural encounter between the international troops of the Allied forces and a war-weary population. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Gigi Hadid Photographed by Helena Christensen Exclusively for the May 2019 Issue of Vogue Czechoslovakia
Gigi Hadid photographed by Helena Christensen exclusively for the May 2019 issue of Vogue Czechoslovakia The May issue of VOGUE CS features a photo shoot with one of the most sought after models in the world - Gigi Hadid. It is the first time Gigi has invited a magazine to her family farm located near New York. Helena Christensen, the Danish supermodel and icon of the nineties - who is also a successful photographer, shot the American model there for the Czechoslovak edition of the world‘s most important fashion magazine. Gigi wore clothes from several Czech fashion designers throughout the cover story. “I am delighted that thanks to the friendship of Eva Herzigova, Helena Christensen and Gigi Hadid, we could photograph Gigi in her secret place, where she has not yet invited any other photographer or jour- nalist. We tried to show Gigi as she’s never been seen before, with her horses, in a place she loves,” says Andrea Běhounková, Editor-in-Chief of Vogue CS. “I wanted her to be as much of herself as possible on her farm among horses, surrounded by nature. Gigi finds not only inspiration, but above all peace and security, in this environment. I wanted to capture her essence, the little girl that still remains in her. The wind blows in her hair, her eyes are full of expectations that something special will happen,” says Helena Christensen. Gigi Hadid personally invited Helena Christensen and the Vogue CS team to her farm located near New York which she shares with her mother and siblings. To capture the intimate and dreamlike atmosphere of the place, Helena Christensen combined digital photography with expired Polaroids. -
Morneault Thesis
A Barthesean Analysis of Revisionist Stagings of Verdi's La Traviata Item Type text; Electronic Thesis Authors Morneault, Gwyndolyn E. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 23:11:34 Link to Item http://hdl.handle.net/10150/636931 A BARTHESEAN ANALYSIS OF REVISIONIST STAGINGS OF VERDI’S LA TRAVIATA by Gwyndolyn Morneault ____________________________ Copyright © Gwyndolyn Morneault 2019 A Thesis Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC WITH A MAJOR IN MUSICOLOGY In the Graduate College THE UNIVERSITY OF ARIZONA 2019 3 Table of Contents LIST OF FIGURES ..................................................................................................................................................... 4 ABSTRACT .................................................................................................................................................................. 5 CHAPTER I: REVISIONIST DIRECTORS ............................................................................................................ 6 Revising La Traviata ................................................................................................................................................ -
William Paley
WILLIAM PALEY Editor PROJECTS DIRECTORS PRODUCERS/STUDIOS THE RESIDENT Season 1 Phillip Noyce Amy Holden James, Todd Harthan, Rob Corn & Various Directors Fuqua Films / 3 Arts / Fox ICE Pilot Antoine Fuqua Antoine Fuqua eOne / The Audience Network FUTURE WORLD James Franco Vince Jolivette / Rabbit Bandini Productions & Bruce Thierry Cheung COIN HEIST Emily Hagins Marshall Lewy / Netflix / Adaptive Studios ALONE Matthew Coppola Mark Kassen, Iliana Nikolic Like Minded Entertainment SIREN Jesse Peyronel Ludo Poppe, Meg Thomson Mauna Kea Films ADDITIONAL/ASSISTANT EDITOR DIRECTORS PRODUCERS/STUDIOS LIKE.SHARE.FOLLOW Glenn Gers Adam Hendricks / Blumhouse / HBO Additional Editor TOTEM Marcel Sarmiento John Lang / Blumhouse / HBO Additional Editor LOW RIDERS Ricardo de Montreuil Phil Dawe / Universal / Blumhouse Additional Editor THE MAGNIFICENT SEVEN Antoine Fuqua Todd Black / MGM / Sony Additional Editor SOUTHPAW Antoine Fuqua Todd Black, Jason Blumenthal Additional Editor The Weinstein Company THE EQUALIZER Antoine Fuqua Jason Blumenthal, Todd Black 1st Assistant Editor Columbia Pictures SLEEPY HOLLOW Pilot Len Wiseman April Nocifora 1st Assistant Editor 20th Century Fox OLYMPUS HAS FALLEN Antoine Fuqua Millennium 1st Assistant Editor 21 & OVER Jon Lucas Relativity 1st Assistant Editor & Scott Moore TRANSFORMERS: DARK OF THE MOON Michael Bay Paramount Pictures 3rd Assistant Editor MONTE CARLO Tom Bezucha 20th Century Fox 1st Assistant Editor AVATAR James Cameron Jon Landau Assistant Visual Effects Editor 20th Century Fox THE FAMILY TREE Vivi Friedman Driving Lessons LLC 1st Assistant Editor STREET KINGS David Ayer Fox Searchlight 2nd Assistant Editor BREACH Billy Ray Universal Studios Assistant Editor . -
Film M315-001 Directing for Camera
FILM M315-001 DIRECTING FOR CAMERA Course Term: SPRING 2021 Course Location: CM Building, Rm 422/402 Class hours: MW, 3:30-4:45 Screening: W, 4:55-7:35 Instructor: Miles Doleac, PhD Office Location: CM Building 412 Phone: 504-865-3430 Email: [email protected] Office hours: Tu/Th, 11:15-1:00, M-W 2:00-3:15 or by appointment “To make a film is easy; to make a good film is war. To make a very good film is a miracle.” -Alejandro Gonzalez Inarritu REQUIRED TEXTS: Lumet, Sidney. Making Movies. New York: Vintage Books, 1996. Rabiger, Michael and Hurbis-Cherrier, Mick. Directing: Film Techniques and Aesthetics, 6th edition. London: Routledge Press, 2020. Weston, Judith. Directing Actors: Creating Memorable Performances for Film & Television. Studio City: Michael Wiese Books, 1999 COURSE AIM: This course aspires to answer seemingly simple questions: What does a director do? What is the director’s relationship and responsibility to the film? How should a director talk to actors and achieve the desired performance from said actors? How should they communicate their vision to cinematographers? In addition, the course screens and examines films from directors, who have been considered influential and/or pathbreaking in the medium and seeks to unpack, understand, and analyze the reasons for their significance. Directors are often likened to conductors. The best of them are able to deliver a clear, consistent vision, while enlisting cast and crew members to contribute their own unique talents and perspectives to serving that vision. We will cover every element of the directing process from script analysis to the editing room as we try to uncover the secrets to that elusive brand of direction that leads to the telling of coherent, entertaining, surprising, and inevitable stories.