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ROBERT HOFFMAN Editor williesoke.wix.com/editor PROJECTS DIRECTORS STUDIOS/PRODUCERS THREE MONTHS Jared Frieder MTV FILMS / POPFILMS Feature Film Alex Motlagh, Daniel Dubiecki Lara Alameddine CRONES Axelle Carolyn BLUMHOUSE / AMAZON STUDIOS Feature Film Terra Abroms, Lisa Bruce, Sandy King BROKEN DIAMONDS Feature Film Peter Sattler BLACK LABEL / Ellen Schwartz BUDDING PROSPECTS Terry Zwigoff AMAZON Pilot Vincent Landay, Melissa Axelrod PLEASE STAND BY Ben Lewin ALLEGIANCE THEATER Add’l Editor Daniel Dubiecki, Lara Alameddine SPEECH & DEBATE Dan Harris SYCAMORE PICTURES Tom Rice, Ben Neam HOME SWEET HELL Anthony Burns DARKO ENT. / SONY CLASSICS Sean McKittrick, Jeff Culotta AJ Buckley GRACE UNPLUGGED Brad Silverman LIONSGATE / Larry Frenzel Russ Rice, Chris Zarpas SKATELAND Anthony Burns FREESTYLE RELEASING Nominated, Sundance Film Festival – Grand Jury Prize Brandon Freeman, Heath Freeman Justin Gilley PHOEBE IN WONDERLAND Daniel Barnz THINKFILM / LIONSGATE Nominated, Sundance Film Festival – Grand Jury Prize Lynette Howell, George Paaswell THE AIR I BREATHE Jieho Lee THINKFILM Paul Schiff, Tai Duncan Emilio Barosso, Christopher Pratt Darlene Caamano ART SCHOOL CONFIDENTIAL Terry Zwigoff UNITED ARTISTS / SONY CLASSICS Official Selection, Sundance Film Festival Lianne Halfon, Russell Smith John Malkovich BAD SANTA Terry Zwigoff DIMENSION FILMS Feature Film Joel Coen, Ethan Coen, Sarah Aubrey EASY Feature Film Jane Weinstock MAGIC LAMP Nominated, Sundance Film Festival – Grand Jury Prize Gloria Norris, Molly Mayeux FATHERS & SONS Rodrigo Garcia SHOWTIME MOW Jared Rappaport Julie Lynn Rob Spera GHOST WORLD Feature Film Terry Zwigoff MGM / Lianne Halfon, John Malkovich Post Production Supervisor Russell Smith THE LAST BIG ATTRACTION Hopwood DePree Michael Hagerty RHINOSKIN: THE MAKING OF Dina Maria Dina Maria Chapman A MOVIE STAR Mockumentary Chapman Hopwood DePree Hopwood DePree INNOVATIVE-PRODUCTION.COM | 310.656.5151 .

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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.
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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.
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Cosmopolitanism, Remediation and the Ghost World of Bollywood
COSMOPOLITANISM, REMEDIATION, AND THE GHOST WORLD OF BOLLYWOOD DAVID NOVAK CUniversity ofA California, Santa Barbara Over the past two decades, there has been unprecedented interest in Asian popular media in the United States. Regionally identified productions such as Japanese anime, Hong Kong action movies, and Bollywood film have developed substantial nondiasporic fan bases in North America and Europe. This transnational consumption has passed largely under the radar of culturalist interpretations, to be described as an ephemeral by-product of media circulation and its eclectic overproduction of images and signifiers. But culture is produced anew in these “foreign takes” on popular media, in which acts of cultural borrowing channel emergent forms of cosmopolitan subjectivity. Bollywood’s global circulations have been especially complex and surprising in reaching beyond South Asian diasporas to connect with audiences throughout the world. But unlike markets in Africa, Eastern Europe, and Southeast Asia, the growing North American reception of Bollywood is not necessarily based on the films themselves but on excerpts from classic Bollywood films, especially song-and- dance sequences. The music is redistributed on Western-produced compilations andsampledonDJremixCDssuchasBollywood Beats, Bollywood Breaks, and Bollywood Funk; costumes and choreography are parodied on mainstream television programs; “Bollywood dancing” is all over YouTube and classes are offered both in India and the United States.1 In this essay, I trace the circulation of Jaan Pehechaan Ho, a song-and-dance sequence from the 1965 Raja Nawathe film Gumnaam that has been widely recircu- lated in an “alternative” nondiasporic reception in the United States. I begin with CULTURAL ANTHROPOLOGY, Vol. 25, Issue 1, pp.
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Roger Ebert's
The College of Media at Illinois presents Roger19thAnnual Ebert’s Film Festival2017 April 19-23, 2017 The Virginia Theatre Chaz Ebert: Co-Founder and Producer 203 W. Park, Champaign, IL Nate Kohn: Festival Director 2017 Roger Ebert’s Film Festival The University of Illinois at Urbana–Champaign The College of Media at Illinois Presents... Roger Ebert’s Film Festival 2017 April 19–23, 2017 Chaz Ebert, Co-Founder, Producer, and Host Nate Kohn, Festival Director Casey Ludwig, Assistant Director More information about the festival can be found at www.ebertfest.com Mission Founded by the late Roger Ebert, University of Illinois Journalism graduate and a Pulitzer Prize- winning film critic, Roger Ebert’s Film Festival takes place in Urbana-Champaign each April for a week, hosted by Chaz Ebert. The festival presents 12 films representing a cross-section of important cinematic works overlooked by audiences, critics and distributors. The films are screened in the 1,500-seat Virginia Theatre, a restored movie palace built in the 1920s. A portion of the festival’s income goes toward on-going renovations at the theatre. The festival brings together the films’ producers, writers, actors and directors to help showcase their work. A film- maker or scholar introduces each film, and each screening is followed by a substantive on-stage Q&A discussion among filmmakers, critics and the audience. In addition to the screenings, the festival hosts a number of academic panel discussions featuring filmmaker guests, scholars and students. The mission of Roger Ebert’s Film Festival is to praise films, genres and formats that have been overlooked.
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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.
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Santa Claus Futurama Voice
Santa Claus Futurama Voice Thacher untangle his Dominus phosphoresce entomologically or mindlessly after Sandor interlocks and listen meaningly, compilatorydecided and and bootless. solitary Walsh when still fracturing hand-knitted some overleafaccouterment while verykookier insurmountably Fabian moping and that beside? accessary. Is Levi always He provides the ceiling of Robot Santa Claus in Futurama 140 He the most next of the film and Big Lebowski John Hurt 141 John Hurt studied at RADA and. Animated santa claus Etsy. Blog About soccer World 13 Craziest Interpretations of Santa Claus. 1000 Facts about Actors Vol 2. Santa Claus Is Comin' to Town Season 1 on iTunes. Back in front is apparent on the santa claus futurama voice actor. A friendly postman voiced by Fred Astaire explains how friendly Kris Kringle voice of Mickey Rooney a foundling taken surprise by a chart of toyma. List of Futurama characters Wikiwand. Futurama 1999 voice bring the Evil Robot Santa Claus What Planet Are. She had done small TV roles under lap belt where being fat as. Mystery dinner Theater 3000 Santa Claus Jim Vudu. Pokmon Ready Player One Vocaloid Danny Phantom Futurama Archer. Youtube frosty returns. Delivering letters to expect evil Robot Santa Claus on Neptune they decide we help bring. 'The women of Santa Claus' Christmas Cartoon LiveAbout. And vicious is Robot Santa Claus who shines as to star of new special post because of John Goodman's sweet voice later replaced in subsequent. Robot Santa Claus e DrZoidberg nell'episodio 2x04 Xmas Story di Futurama Saved by. 12 Actors Who Played Santa Claus on Screen Tom Hanks Billy Bob Thornton Tim Allen and More.
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Uw Cinematheque Presents Three Nights of Indie Horror Actor Pat Healy in Person Feb
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2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter
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Fifty-Nothing
fifty-nothing a coming of age story about the coming of age PUBLICITY AND PRESS CONTACT: Michele Robertson Brooke Blumberg MRC Michele Robertson Company 8530 Wilshire Blvd. Suite 420 Beverly Hills, CA 90211 tel: 310.652.6123 PRODUCER’S REP: Melanie Backer [email protected] tel: 310.779.0402 press kit synopsis ﬁfty-nothing is a modern comedy that explores the simple truth that it’s never too late to start over again. Even at age 50. We meet two long-time golf-buddies, Adam, going through a trial separation from his wife of 15 years and Jon, who is not only losing work to the ‘young guy’, but also dealing with a ‘generous’ prostate. They decide to take off on a weekend journey to let loose and re-live the Palm Springs get-a-way of their younger days but meet with unexpected results. Struggling to fit in with the younger crowd, they find surprising comfort through encounters with women nearer their log line own age. During a holiday get-a-way to Palm As the weekend progresses, both are forced to Springs, two fifty year-old men find come to a truce with middle life’s predicaments. unexpected results while trying to A film that asks the question, “If fifty is the new re-live their younger days in this comic thirty then why do my knees ache?” in what coming of age story about the coming may be the world’s first coming of age story… of age. about the coming of age. ﬁfty-nothing began as conversations production between two friends who were experienc- notes ing life after 50.
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Film Locations in San Francisco
Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros.
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Woody Harrelson, Daniel Clowes, and Our Favorite Films of Sundance 2017 A.A
Woody Harrelson, Daniel Clowes, and our favorite films of Sundance 2017 A.A. Dowd Wilson (Photo: Sundance) Can a film be both bitterly, bitingly misanthropic and kind of cuddly? Wilson (Grade: B) gives it a good college try. The film is based on the 2010 graphic novel by Daniel Clowes, who helped adapt some of his earlier works into a pair of big-screen comedies, Ghost World and Art School Confidential. With Wilson, he’s again translated one of his prickly studies of modern alienation to the screen, but without Terry Zwigoff—a kindred spirit of despair and bilious humor—behind the camera. Instead, the project has been helmed by Craig Johnson, director of the recent Sundance favorite The Skeleton Twins, and one can often sense it being pulled in divergent directions, toward the acid wit of its creator and toward something a little more charitable, a little more Fox Searchlight-friendly. An uptick in humaneness, and in palatability, was possibly inevitable; behavior that readers can stomach from a drawing, frozen in ink, might be a tougher sell in flesh-and-blood form. Johnson’s strongest move was securing Woody Harrelson for the title role, an incorrigible windbag who lacks social boundaries, a filter between his mind and motor-mouth, and just about anyone willing to put up with him for longer than a few minutes. Harrelson doesn’t shy away from Wilson’s obnoxiousness—this is a guy who plants himself next to strangers on an empty bus, then berates them when they don’t share his anticonformist worldview—but he does sand down some of his edges, lending an oddly likable quality to his gregarious assholery.
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The Dysphoric Style in Contemporary American Independent Cinema David C
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 The Dysphoric Style in Contemporary American Independent Cinema David C. Simmons Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES THE DYSPHORIC STYLE IN CONTEMPORARY AMERICAN INDEPENDENT CINEMA By DAVID C. SIMMONS A Dissertation submitted to the Program in the Humanities in partial fulfillment of the requirements for the degree of Doctorate of Philosophy Degree Awarded: Spring Semester, 2005 Copyright (c) 2005 David C. Simmons All Rights Reserved The members of the Committee approve the dissertation of David C. Simmons defended on April 11, 2005. ____________________________________ Karen L. Laughlin Professor Co-Directing Dissertation ____________________________________ Mark Garrett Cooper Professor Co-Directing Dissertation ____________________________________ Valliere Richard Auzenne Outside Committee Member ____________________________________ William J. Cloonan Committee Member Approved: ___________________________________ David F. Johnson Director, Program in the Humanities The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS This dissertation would not have been possible without the assistance of Sandefur Schmidt and my mother, Rita Simmons. I gratefully acknowledge both of them for the immense kindness and help they’ve provided me. iii TABLE OF CONTENTS Abstract ................................................................... v INTRODUCTION: THE DYSPHORIC STYLE IN CONTEMPORARY AMERICAN INDEPENDENT CINEMA ................. 1 1. TRYING TO HOLD ONTO A PIECE OF PI: THE DYSPHORIC STYLE’S STRUCTURING OF CAUSAL RELATIONS ......... 7 2. FACT OR PULP FICTION: THE DYSPHORIC STYLE AND TEMPORAL RELATIONS .................... 26 3. “THE COOKIE STAND IS NOT PART OF THE FOOD COURT”: THE DYSPHORIC STYLE AND SPATIAL RELATIONS ......................
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