Cannes Booklet

Total Page:16

File Type:pdf, Size:1020Kb

Cannes Booklet “I will take The Ring,” he said, “though i do not know the way.” --J.R.R. Tolkien,THE LORD OF THE RINGS INTRODUCTION TO THE LORD OF THE RINGS ማ4 ሞ TAKING ON TOLKIEN:PETER JACKSON BRINGS THE FANTASY TO LIFE ማ6 ሞ MANY CULTURES OF THE RING:THE CAST AND CHARACTERS ማ9 ሞ IMAGINING MIDDLE–EARTH:THE DESIGN ማ14 ሞ WETA GETS TO WORK ማ17 ሞ MIDDLE–EARTH DOWN UNDER:NEW ZEALAND ማ19 ሞ FROM HOBBITS TO ELVES:THE COSTUMES AND MAKE-UP ማ21 ሞ BREAKING DIGITAL GROUND:SPECIAL EFFECTS ማ23 ሞ INTO THE RING’S EVIL:STUNTS AND ACTION ማ24 ሞ THE CAST OF CHARACTERS ማ25 ሞ THE FILMMAKERS ማ29 ሞ One ring to rule them all. One ring to find them. One ring to bring them all And in the darkness bind them. For decades, four decades the words above have for cinema technology to I NTRODUCTION ignited imaginations and shaped reach the necessary level of the dreams of more then 100 million sophistication to bring them to life. readers around the globe. They were Such a vast project would require no first read in 1954, when J.R.R. Tolkien’s less than a visionary to mastermind it. The Fellowship of the Ring, the first volume in That visionary is Peter Jackson, who has his towering three-part epic, The Lord of the embarked upon an unprecedented feat to make Rings, was published. ¶ Tolkien’s work was to have three motion pictures simultaneously in order to a profound effect on generations of readers, defining capture Tolkien’s soaring epic in its entirety. ¶ For for many the archetypal struggle between good and the past several years, Jackson and a team of devoted evil, and was voted in many world-wide filmmakers have been filming all over the polls as being the “Book of the Century”. spectacular landscapes of New Zealand. It set the benchmark for the fantasy genre The result has been the deployment of a in its creation of an entirely new and logistical operation reminiscent of a full thrillingly believable universe. It introduced scale military campaign. A veritable army an unforgettable hero – the Hobbit Frodo of artists – including digital wizards, Baggins – caught up in a war of mythic medieval weapons experts, stone sculptors, proportions in Middle-Earth, a world full linguists, costumers, make-up designers, of magic and lore. Most of all, it blacksmiths and model builders – as celebrated the power of loyal friendship and individual well as an internationally-renowned cast of actors, courage, powers that held at bay even the most and literally thousands of extras have been devastating forces of darkness. ¶ Now, the legend gathered to make this ambitious dream come that Tolkien wrought is finally being brought to true. ¶ The result will be three separately life on the motion picture screen, an undertaking released installments that will mark the that has required nothing less than the most return of “cliffhanger cinema” for the first colossal movie production ever embarked time since the serial adventures of upon. The mythos, landscapes, and decades past. ¶ The adventure charactures Tolkien created are begins on December 19, 2001 nothing short of spectacular, with The Fellowship of THE LORD OF THE RINGS WWW.LORDOFTHERINGS.NET ©2000-2001 NEW LINE PRODUCTIONS, INC. and it has taken the Ring, ማ 4-a ሞ ማ 4-b ሞ INTRODUCTION which introduces movie audiences to the enchanted world of Middle-Earth and its memorable inhabitants – Humans, Hobbits, Elves, Dwarves, Wizards, Trolls and Orcs. In this part of the Trilogy, the shy, young Hobbit, Frodo Baggins inherits a ring but this ring is no mere trinket. It is the One Ring, an instrument of absolute power that would allow Sauron, the dark Lord of Mordor, to rule Middle-Earth and enslave its peoples – unless Frodo and a loyal fellowship of Hobbits, Humans, a Wizard, a Dwarf and an Elf must take the Ring across Middle-Earth to the Crack of Doom, where it first was forged, and destroy it forever. Such a journey means venturing deep into territory held by the Dark Lord, where he is amassing his army of Orcs. And it is not only external evils the Fellowship must combat, but also internal dissension and the corrupting influence of the Ring itself. The course of future history is entwined with the fate of the Fellowship. New Line Cinema presents the first installment of The Lord of The Rings Trilogy: The Fellowship of The Ring starring (in alphabetical order) Sean Astin, Sean Bean, Cate Blanchett, Orlando Bloom, Billy Boyd, Marton Csokas, Ian Holm, Christopher Lee, Ian McKellen, Dominic Monaghan, Viggo Mortensen, John Rhys-Davies, Andy Serkis, Liv Tyler, Hugo Weaving, and Elijah Wood. The film is directed by Peter Jackson and THE LORD OF THE RINGS produced by Barrie M. Osborne, Tim Sanders and WWW.LORDOFTHERINGS.NET Jackson, from a script by Fran Walsh, Philippa Boyens, ©2000-2001 NEW LINE PRODUCTIONS, INC. THE LORD OF THE RINGS WWW.LORDOFTHERINGS.NET ©2000-2001 NEW LINE PRODUCTIONS, INC. and Jackson. The executive producers are Mark Ordesky and Bob and Harvey Weinstein. ሞ ማ 5-a ሞ ማ 5-b ሞ TAKING ON T OLKIEN PETER JACKSON BRINGS THE FANTASY TO LIFE hen J.R.R. Tolkien published the first volume of “ The Lord of the Rings WThe Lord of the Rings, The London Sunday Times I am interested in was considered classic stated that the world would forever more be divided literature, a must-read into two types of people: “Those who have read The themes about friendship for a new generation Lord of the Rings and those who are going to.” and self-sacrifice. This starting to believe The praise extended beyond mere reviews. The in the notion of publishing world was taken by storm. Never before is a story of survival limitless imagination. in contemporary times had an author dared to create It also became a counter- an epic quest that rivaled the classic legends of Homer and courage, about a cultural symbol because and Chaucer in scope, yet was utterly accessible to of its prescient themes of readers of all ages and nationalities. The book stoked touching last stand environmental conscience hungry imaginations across the globe. and battles against the Tolkien’s Middle-Earth struck a chord because it that paved the way forces of corruption seemed at once to take readers into a fantastically for the ascent of and war. The Trilogy magical realm far, far away, while remaining joined Arthur C. grounded in powerfully humankind.” Clarke’s 2001: A Space real human themes. Odyssey as a literary The book immediately -- Peter Jackson icon of its time. developed a following Tolkien’s work also that went beyond became the godfather THE LORD OF THE RINGS WWW.LORDOFTHERINGS.NET ©2000-2001 NEW LINE PRODUCTIONS, INC. mere appreciation to of a new entertainment obsessive devotion. In 1965, genre – fantasy – which led to a burgeoning, lucrative market the paperback version came in books, videos, role-playing games, computer games, comic to America and was taken books and motion pictures. to heart, becoming a runaway Another person influenced by Tolkien in his formative THE LORD OF THE RINGS best-seller. By the late 1960s, years was director Peter Jackson, who became known for his WWW.LORDOFTHERINGS.NET ©2000-2001 NEW LINE PRODUCTIONS, INC. ማ 6-a ሞ ማ 6-b ሞ T AKING ON TOLKIEN own ability to visually Earth in a way that is believable and powerful,” he evoke the world of dreams, “I started with explains. “I wanted to take all the great moments from fantasies, and nightmares in the books and use modern technology to give audiences such films as Heavenly one goal: to take nights at the movies unlike anything they’ve Creatures and The Frighteners. experienced before.” Jackson had long felt that movie-goers into From the start, it was clearly a mammoth The Lord of the Rings was undertaking, but Jackson felt that if he was going to go ripe for its first complete the fantastical for it he had to give it everything and then some. “I’ve cinematic telling, but he also spent seven years of my life on this project so far,” he knew that to do it justice world of Middle notes, “pouring my heart into every single aspect of it. would take perhaps the most Earth in a way But I think that’s the least we owe to Tolkien and the ambitious production ever legions of fans around the globe. They deserve our very attempted in history. There that is believable best efforts.” was a chance, he felt, that Jackson began by working on a Trilogy of visual effects technology and powerful." screenplays with fellow writers Fran Walsh and Philippa had just about reached Boyens, a process that in itself took three years. For the the point where it could -- Peter Jackson first installment, The Fellowship of the Ring, they paid tackle the legends and particular attention to Tolkien’s many vivid descriptions landscapes of which Tolkien of characters and places, hoping to build a viscerally true dreamed–and do his brilliant and vibrant world that would pull audiences into the imagination justice. adventure as participants – and draw them into the suspense Jackson waited for someone else to take on the behemoth, of waiting to see what happens next. but when no one dared he decided to put his own burning “From the beginning I didn’t want to make your passion behind bringing Tolkien’s modern myth to the screen. standard fantasy film,” comments Jackson. “I wanted He began with his own ambitious quest: “I started with one something that felt much, much more real.
Recommended publications
  • Lord of the Rings, Star Wars, and Participatory Fandom: Mapping New Congruencies Between the Internet and Media Entertainment Culture Elana Shefrin
    Critical Studies in Media Communication Vol. 21, No. 3, September 2004, pp. 261–281 Lord of the Rings, Star Wars, and Participatory Fandom: Mapping New Congruencies between the Internet and Media Entertainment Culture Elana Shefrin The culture of media entertainment, as exemplified in the Lord of the Rings and Star Wars film franchises, is being infused with new modes of authorship, production, marketing, and consumption that are characterized by Internet fan clubs, online producer-consumer affiliations, and real-world legal controversies over the proprietary ownership of digital bits of information. To analyze these new interactive patterns being employed by two competing media franchises, Bourdieu’s theory of cultural production is supplemented with Jenkins’s study of participatory fandom. Then, the contested nature of computer-mediated communication is explored using a model that brackets the opposing potentialities of Internet influence on offline society. Hollywood newcomer Peter Jackson and Hollywood legend George Lucas are both engaged in projects that are mapping out new congruencies between the Internet and media entertainment culture. Operating within the genre of science fiction/fantasy filmmaking, Jackson and Lucas share sophisticated abilities for combining technol- ogy and mythology in the creation of authentic, self-contained alternate universes. Both cinematic universes—Jackson’s Middle-earth and Lucas’s far-away galaxy— have generated immense fan bases that have swelled the ranks of loyal audiences and have ensured the commercial success of the two media franchises. Additionally, a growing number of “active” or “participatory” fans (Jenkins, 1992) are exhibiting a sense of ownership that includes an investment in the creative development of these Elana Shefrin is a doctoral candidate in the Department of Communication at Georgia State University.
    [Show full text]
  • This Action Thriller Futuristic Historic Romantic Black Comedy Will Redefine Cinema As We Know It
    ..... this action thriller futuristic historic romantic black comedy will redefine cinema as we know it ..... XX 200-6 KODAK X GOLD 200-6 OO 200-6 KODAK O 1 2 GOLD 200-6 science-fiction (The Quiet Earth) while because he's produced some of the Meet the Feebles, while Philip Ivey composer for both action (Pitch Black, but the leading lady for this film, to Temuera Morrison, Robbie Magasiva, graduated from standing-in for Xena beaches or Wellywood's close DIRECTOR also spending time working on sequels best films to come out of this country, COSTUME (Out of the Blue, No. 2) is just Daredevil) and drama (The Basketball give it a certain edginess, has to be Alan Dale, and Rena Owen, with Lucy to stunt-doubling for Kill Bill's The proximity to green and blue screens, Twenty years ago, this would have (Fortress 2, Under Siege 2) in but because he's so damn brilliant. Trelise Cooper, Karen Walker and beginning to carve out a career as a Diaries, Strange Days). His almost 90 Kerry Fox, who starred in Shallow Grave Lawless, the late great Kevin Smith Bride, even scoring a speaking role in but there really is no doubt that the been an extremely short list. This Hollywood. But his CV pales in The Lovely Bones? Once PJ's finished Denise L'Estrange-Corbet might production designer after working as credits, dating back to 1989 chiller with Ewan McGregor and will next be and Nathaniel Lees as playing- Quentin Tarantino's Death Proof. South Island's mix of mountains, vast comes down to what kind of film you comparison to Donaldson who has with them, they'll be bloody gorgeous! dominate the catwalks, but with an art director on The Lord of the Dead Calm, make him the go-to guy seen in New Zealand thriller The against-type baddies.
    [Show full text]
  • DRAWING COSTUMES, PORTRAYING CHARACTERS Costume Sketches and Costume Concept Art in the Filmmaking Process
    Laura Malinen 2017 DRAWING COSTUMES, PORTRAYING CHARACTERS Costume sketches and costume concept art in the filmmaking process MA thesis Aalto University School of Arts, Design and Architecture Department of Film, Television and Scenography Master’s Degree Programme in Design for Theatre, Film and Television Major in Costume Design 30 credits Acknowledgements I would like to thank my supervisors Sofia Pantouvaki and Satu Kyösola for the invaluable help I got for this thesis. I would also like to thank Nick Keller, Anna Vilppunen and Merja Väisänen, for sharing their professional expertise with me. Author Laura Malinen Title of thesis Drawing Costumes, Portraying Characters – Costume sketches and costume concept art in the filmmaking process Department Department of Film, Television and Scenography Degree programme Master’s Degree Programme in Design for Theatre, Film and Television. Major in Costume Design Year 2017 Number of pages 85 Language English Abstract This thesis investigates the various types of drawing used in the process of costume design for film, focusing on costume sketches and costume concept art. The research question for this thesis is ‘how and why are costume sketches and costume concept art used when designing costumes for film?’ The terms ‘costume concept art’ and ‘costume sketch’ have largely been used interchangeably. My hypothesis is that even though costume sketch and costume concept art have similarities in the ways of usage and meaning, they are, in fact, two separate, albeit interlinked and complementary terms as well as two separate types of professional expertise. The focus of this thesis is on large-scale film productions, since they provide the most valuable information regarding costume sketches and costume concept art.
    [Show full text]
  • 00:00:05 Elliott Kalan Host the Movie That Will Make You R
    00:00:00 Dan McCoy Host On this episode we discuss—Mortal Engines! 00:00:05 Elliott Kalan Host The movie that will make you realize—cities that roll around on tank treads and harpoon other cities and then eat those cities? Are kinda boring. 00:00:13 Music Music Light, up-tempo, electric guitar with synth instruments. 00:00:40 Dan Host Hey, everyone, and welcome to The Flop House! I’m Dan McCoy. 00:00:43 Stuart Host Oh, hey there, Dan McCoy! I’m Stuart Wellingtown! Wellington 00:00:46 Elliott Host Hey there, Dan McCoy and Stuart Wellingtown! It’s me—Elliott Kalan! And I’m joined today by a very special guest: Brendan, say hi! 00:00:53 Brendan Guest Hi! I’m Brendan Hay! Hay 00:00:53 Elliott Host This is Brendan Hay. Uh, he’s the showrunner of the Netflix Animated Series Harvey Girls Forever. Third season is out now? 00:00:59 Brendan Guest Uh, yes! 00:01:01 Elliott Host And he is also, y’know, a great friend of ours! 00:01:03 Brendan Guest Aww! 00:01:04 Elliott Host He’s been a long-time friend of mine, uh, he was one of my groomsmen, and he has a boatload of stories from when he was the head writer of Star Wars: Detours, a Star Wars animated cartoon that never aired. [Dan laughs.] 00:01:15 Brendan Guest And never will! 00:01:16 Elliott Host We’re not here to talk about that, are we? 00:01:18 Brendan Guest I mean, we can, but I think Mortal Engines is far more fascinating.
    [Show full text]
  • West of Memphis
    Mongrel Media Presents WEST OF MEMPHIS A film by Amy Berg (146 min., USA, 2012) Language: English Official Selection Sundance Film Festival 2012 Toronto Film Festival 2012 Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html WEST OF MEMPHIS Synopsis A new documentary written and directed by Academy Award nominated filmmaker, Amy Berg (DELIVER US FROM EVIL) and produced by first time filmmakers Damien Echols and Lorri Davis, in collaboration with the multiple Academy Award winning team of Peter Jackson and Fran Walsh, WEST OF MEMPHIS tells the untold story behind an extraordinary and desperate fight to bring the truth to light; a fight to stop the State of Arkansas from killing an innocent man. Starting with a searing examination of the police investigation into the 1993 murders of three, eight year old boys Christopher Byers, Steven Branch and Michael Moore in the small town of West Memphis, Arkansas, the film goes on to uncover new evidence surrounding the arrest and conviction of the other three victims of this shocking crime – Damien Echols, Jason Baldwin and Jessie Misskelley. All three were teenagers when they became the target of the police investigation; all three went on to lose 18 years of their lives - imprisoned for crimes they did not commit. How the documentary came to be, is in itself a key part of the story of Damien Echols’ fight to save his own life.
    [Show full text]
  • Desenho E Cinema
    Faculdade de Belas Artes da Universidade do Porto Mestrado em Desenho e Técnicas de Impressão Dissertação de: Elisa Almeida Trindade Orientado por: Doutora Cristina Mateus 2013 Desenho e Cinema Agradecimentos: À minha orientadora Doutora Cristina Mateus, à minha família, aos meus amigos e a todos que tornaram possível este trabalho. Índice Resumo/Abstract 9 3.1. Storyboards 93 Introdução: Breve enquadramento histórico. 3.2. Cenários 99 Projeto e método 11 O gabinete do Dr. Caligari 103 Capítulo 1 Metropolis 104 Realizadores desenhadores 17 A Casa Encantada 106 George Méliès 19 Ken Adam 107 Alfred Hitchcock 21 Fritz Lang 25 3.2.1. Desenhos técnicos e Sergei Eisenstein 28 desenhos concetuais 109 Akira Kurosawa 31 Orson Welles 36 3.2.2. Desenhos de Artefactos 115 Saul Bass 37 Federico Fellini 41 3.3. Desenho de Guarda-roupa 119 Satyajit Ray 45 Collen Atwood 122 Roman Polanski 47 Ngila Dickson 124 Ridley Scott 49 Sandy Powell 125 Martin Scorsese 52 Jacqueline Durran 127 Peter Greenaway 55 Eiko Ishiola 128 Tim Burton 56 3.3.1. Outros Figurinos 129 1.1. Storyboards e outros realizadores 59 F.W. Murnau 61 Jonh Huston 62 3.3.2. Desenhos de outros personagens 133 Terry Gillian 63 Jane Campion 65 Capítulo 4 Told Haynes 66 Outros processos 137 Capítulo 2 Carlos Saura 139 O desenho como parte integrante do filme 67 Pedro Costa 141 Voyage dans la Lune 69 Peter Greenaway 142 A invenção de Hugo 70 Sang d’un poète 71 Capítulo 5 O contrato do desenhador 72 Do Cinema ao Desenho 143 A walk through H 72 Gustav Deutsch 145 O sol do marmeleiro 74 William Kentridge 147 American Splendor 74 Quentin Tarantino 148 Quem tramou Roger Rabbit? 75 Kill Bill 75 Harry Potter e os Talismãs da Morte 76 Detachment 76 Reflexões finais 149 Tabu 77 Argo 78 Bibliografia 153 Culpados por suspeita 80 Capítulo 3 Índice de imagens 158 Função do desenhador de produção e do diretor artístico 81 Henry Bumstead 85 Dante Ferretti 87 Stuart Craig 90 7 8 Resumo: Esta dissertação dá uma pequena contribuição para a análise da utilidade do desenho na arte do cinema, em algumas das suas vertentes.
    [Show full text]
  • Guest Biographies: * Distribution, Sales and Financing Executives * Other Panel & Roundtable Moderators/Speakers London
    Guest biographies: * Distribution, sales and financing executives * Other Panel & Roundtable moderators/speakers London Production Finance Market (PFM) Company Profile The London Production Finance Market (PFM) occurs each October in association with The BFI London Film Festival and is supported by the London Development Agency, UK Film Council, UK Trade and Investment (UKTI), Skillset, City of London Corporation and Peacefulfish. The invitation-only PFM last year registered 50 producers and more than 150 projects with US$1.16 billion of production value and nearly 60 financing guests including UGC, Rai Cinema, Miramax, Studio Canal, Lionsgate, Nordisk, Ingenious, Celluloid Dreams, Aramid, Focus, Natixis, Bank of Ireland, Sony Pictures Classics, Warner Bros. and Paramount. Film London is the UK capital's film and media agency. It sustains, promotes and develops London as a major international film-making and film cultural capital. This includes all the screen industries based in London - film, television, video, commercials and new interactive media. Helena MacKenzie Helena Mackenzie started her career in the film industry at the age of 19 when she thought she would try and get a job in the entertainment industry as a way out of going to Medical School. It worked! Many years and a few jobs later she is now the Head of International at Film London. Her journey to Film London has crossed many paths of international production, distribution and international sales. At Film London, she devised and runs the Film Passport Programme, runs the London UK Film Focus and the Production Finance Market (PFM), as well as working with emerging markets such as China, India and Russia.
    [Show full text]
  • Frodo Is Grea…Who Is That?!?: The
    FRODO IS GREA…WHO IS THAT?!?: THE PRODUCTION AND CONSUMPTION OF AN ONLINE CELEBRITY PARODY A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ANTHROPOLOGY UNIVERSITY OF CANTERBURY 2007 Yadana J. Saw Abstract My thesis analyses the phenomenon of Figwit, a non-speaking elf extra who appeared for only three-seconds in the first instalment of Peter Jackson’s 2001 Lord of the Rings movie trilogy. Figwit was initially generated as an online parody by female fans of the movie and as a foil to the ‘swooning, drooling girly’ fandom that was being directed towards the movie’s star actors. However, Figwit evolved into a bona fide, albeit minor, celebrity both on and offline as he attracted attention from worldwide media, a small speaking role in the final movie and genuine adulatory fandom as manifested in the production of Figwit merchandise. In my thesis I argue that Figwit’s creation and consequential community formation reflects a dynamic online-offline dialogic in which pre-existing offline and habitus- generated social practices and distinctions, ideal reflexive individuality and celebrity/fandom were dynamically reproduced within online technological frameworks. I also argue that online activity and interactivity is generated by users to strategically express and engage intensified reflexive individuality, affirming sociability and hyper-social distinctions. In this regard I have also argued that these various potentials and imaginaries were significantly enabled by digital architectures and genres of online communication and interactivity. In particular, I discuss the internet’s capacity for searchability, traceability, and rhetorical framing processes that facilitate continuous re-editing authorship possibilities, which are not necessarily replicable in face-to-face interactions.
    [Show full text]
  • Ultimate Movie Collectables London - Los Angeles
    Ultimate Movie Collectables London - Los Angeles Prop Store - London Office Prop Store - Los Angeles Office Great House Farm 9000 Fullbright Ave Chenies Chatsworth, CA 91311 Rickmansworth USA Hertfordshire Ph: +1 818 727 7829 WD36EP Fx: +1 818 727 7958 UK Contact: Ph: +44 1494 766485 Stephen Lane - Chief Executive Officer Fx: +44 1494 766487 [email protected] [INTRODUCTION] Prop Store Office: London Prop Store Office: Los Angeles How do you best serve your greatest passion in life? the pieces that they sought, but also establish the standards for finding, You make it your business. acquiring and preserving the props and costumes used in Hollywood’s most beloved films. In 1998, UK native Stephen Lane did just that. Stephen’s love for movies led him ENTER: THE PROP STORE OF LONDON to begin hunting for the same props and Stephen and his team came to market already looking beyond the business costumes that were used to create his of simply collecting and selling movie props. Instead, the Prop Store team favorite films. It was the early days of the set out like a band of movie archaeologists, looking to locate, research internet and an entire world of largely and preserve the treasure troves of important artifacts that hid in dark, isolated collectors was just beginning to sometimes forgotten corners all over the world. And it’s now thanks to come together. As Stephen began making Stephen’s vision and the hard work of his dedicated team that so many of friends and connections all over the world— film history’s most priceless artifacts have found their way into either the relationships that continue today—he loving hands of private collectors or, as one of Stephen’s greatest movie realized that he was participating in the explosion of a hobby that would heroes would say, “into a museum!” soon reach every corner of the globe.
    [Show full text]
  • New Zealand Movies 2016
    New zealand movies 2016 Continue In the early 1990s, the British Film Institute launched the Century of Cinema Series in an attempt to explore various examples of national cinemas around the world. The film, written and directed by Kiwi actor Sam Neill, has been a contributor to the project. Although his attitude to this topic has gradually changed, Sam Neill concluded in his documentary that the New zealand films are predominantly dark and brooding. This particular era of filmmaking began in the mid-1970s with the rise of the New Wave in cinema. Here, the themes that defined the way the New ealand public viewed themselves on screen put enormous creative pressure on local filmmakers. Since then, the national cinema of New york has experienced a number of unstable stages. Over the years, one of the greatest obstacles that the filmmakers of New York have had to overcome has been the high poppy syndrome of Kiwi culture. Local audiences have been impressed by the talents and creativity of their country's artists, so very few Kiwis will sit and watch New york made productions. National pride for the country's film industry has blossomed recently. Below is a list of the top ten examples of national cinema in New York. It is important to note that despite a key role in the creation of the influential film industry in New York, peter Jackson's Lord of the Rings and The Hobbit series were not included in this book. Instead, the films selected for the list are those that demonstrate the key characteristics of the country's culture.
    [Show full text]
  • Peter Jackson María Seijo-Richart, [email protected]
    Review of The Bloomsbury Companions to Contemporary Film-makers: Peter Jackson María Seijo-Richart, [email protected] Volume 5.2 (2016) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2016.152 | http://cinej.pitt.edu Book Review Alfio Leotta, The Bloomsbury Companions to Contemporary Film-makers: Peter Jackson, London: Bloomsbury Academic, 2016. xi + 285 pp. ISBN 9781623566531, $134.99 (Hbk) New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. Review of The Bloomsbury Companions to Contemporary Film-makers: Peter Jackson Alfio Leotta’s new book aims to analyse Peter Jackson as “auteur”, his double status of New Zealand and global filmmaker, and how his work has contributed to put his homeland on the map. This promising premise is marred by an unsatisfactory, fragmentary structure, which gives the impression that the book was completed hastily. It has four chapters, followed by a dictionary-like mishmash (“A-Z Films/ Themes/ Key Concepts”). Some sentences appear twice. Leotta introduces people and films (i.e. Andy Serkis, the mockumentary Forgotten Silver), apparently forgetting they had a whole section devoted to them previously in the book. In contrast to the excessive times he repeats personal details (i.e. the fact that Costa Botes introduced Jackson and his partner Fran Walsh), some information relevant to the discussion (i.e. the production companies owned by Jackson) is sparsely mentioned.
    [Show full text]
  • New Line Cinema, Jackie Chan, and the Anatomy of an Action Star Jesse
    New Line Cinema, Jackie Chan, and the Anatomy of an Action Star Jesse Balzer A Thesis in the Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montreal, Quebec, Canada April, 2014 © Jesse Balzer 2014 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Jesse Balzer Entitled: New Line Cinema, Jackie Chan, and the Anatomy of an Action Star and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Read and approved by the following jury members: Charles Acland External Examiner Marc Steinberg Examiner Haidee Wasson Supervisor Approved by April 14, 2014 Catherine Russell Date Graduate Program Director April 14, 2014 Catherine Wild Date Dean of Faculty Balzer iii ABSTRACT New Line Cinema, Jackie Chan, and the Anatomy of an Action Star Jesse Balzer Jackie Chan’s Hollywood career began in earnest with the theatrical wide release of Rumble in the Bronx in early 1996 by independent studio New Line Cinema. New Line released two more Chan films – Jackie Chan’s First Strike (1997) and Mr. Nice Guy (1998) – after they were acquired by the media conglomerate Time Warner. These three films, originally produced and distributed by the Golden Harvest studio in Hong Kong, were distributed and marketed by New Line for release in North America. New Line reedited, rescored, and dubbed these films in order to take advantage of the significant marketing synergies of their conglomerate parents at Time Warner.
    [Show full text]