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9 SONGS-B+W-TOR
9 SONGS AFILMBYMICHAEL WINTERBOTTOM One summer, two people, eight bands, 9 Songs. Featuring exclusive live footage of Black Rebel Motorcycle Club The Von Bondies Elbow Primal Scream The Dandy Warhols Super Furry Animals Franz Ferdinand Michael Nyman “9 Songs” takes place in London in the autumn of 2003. Lisa, an American student in London for a year, meets Matt at a Black Rebel Motorcycle Club concert in Brixton. They fall in love. Explicit and intimate, 9 SONGS follows the course of their intense, passionate, highly sexual affair, as they make love, talk, go to concerts. And then part forever, when Lisa leaves to return to America. CAST Margo STILLEY AS LISA Kieran O’BRIEN AS MATT CREW DIRECTOR Michael WINTERBOTTOM DP Marcel ZYSKIND SOUND Stuart WILSON EDITORS Mat WHITECROSS / Michael WINTERBOTTOM SOUND EDITOR Joakim SUNDSTROM PRODUCERS Andrew EATON / Michael WINTERBOTTOM EXECUTIVE PRODUCER Andrew EATON ASSOCIATE PRODUCER Melissa PARMENTER PRODUCTION REVOLUTION FILMS ABOUT THE PRODUCTION IDEAS AND INSPIRATION Michael Winterbottom was initially inspired by acclaimed and controversial French author Michel Houellebecq’s sexually explicit novel “Platform” – “It’s a great book, full of explicit sex, and again I was thinking, how come books can do this but film, which is far better disposed to it, can’t?” The film is told in flashback. Matt, who is fascinated by Antarctica, is visiting the white continent and recalling his love affair with Lisa. In voice-over, he compares being in Antarctica to being ‘two people in a bed - claustrophobia and agoraphobia in the same place’. Images of ice and the never-ending Antarctic landscape are effectively cut in to shots of the crowded concerts. -
Cestrian 2010.Indd
CESTRIANThe The official magazine of the University of Chester Alumni Association 2010 HOLLYWOODBOUND BAFTA award-winning screenwriter returns to University Introduction by Professor T J Wheeler DL Vice-Chancellor and Principal of the University of Chester, Chair of the University of Chester Alumni Associati on The last year has proven to be an excepti onally busy one for the University. We have had major Estates developments with the creati on of a Gallery and Tutors’ Block for the Faculty of Arts and Media at our Kingsway campus, numerous enhancements on the main campuses at Chester and Warrington. However, the major Estates development that has dominated the agenda for the University has been the purchase, alterati on and refurbishment of our Riverside campus, which was formerly County Hall for Cheshire, located on the banks of Dee within the Walls and the City centre. The overall cost of the scheme will be about £15 million, with capital support from the NWDA/ERDF, HEFCE and the University’s funds. This massively impressive building will be the home for the Faculti es of Educati on and Children’s Services and Health and Social Care. In total, some 2,000 students will occupy the new campus from 1 September, with over 150 staff , including the University’s Marketi ng, Recruitment and Admissions Department and Business Development teams, being based there. Universiti es are more than bricks and mortar; they are about people, especially our students and the staff that support them. There have been so many initi ati ves that have been pursued by individual members of staff and students that it is impossible to pay tribute to them all, however, the University was delighted that its alumni garden received such prominent What’s inside recogniti on at the Royal Horti cultural Show at Tatt on. -
The Lookof Love
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How Joy Division Came to Sound Like Manchester: Myth and Ways of Listening in the Neoliberal City
Journal of Popular Music Studies, Volume 25, Issue 1, Pages 56–76 How Joy Division Came to Sound Like Manchester: Myth and Ways of Listening in the Neoliberal City Leonard Nevarez Vassar College Manchester, England, is among the most well-known cities today for the creation and celebration of popular music, thanks in no small part to the group Joy Division. Among the first bands to be associated with a postpunk aesthetic, Joy Division eschewed punk’syouthful rage and unrelenting din for an expansive, anthemic sound distinguished by its dynamic scope, machinic pulses, and by singer Ian Curtis’ssonorous baritone and existential lyrics. As the first significant band to sustain a career in Manchester, thus bypassing the music industry headquartered in London, Joy Division is also recognized as pioneering the DIY tradition that has famously characterized Manchester’s musical economy over the last four decades. The group didn’t achieve this alone; the role of Manchester label Factory Records is well documented, as, increasingly, is the foundation laid by the city’s networks of musicians, scene participants, and cultural institutions (see Crossley; Botta).´ Yet these local facts don’t quite explain the contemporary resonance of Joy Division’s Manchester roots for music fans and city boosters today. Perhaps more than any other Mancunian band, Joy Division are claimed to sound like Manchester, at least the Manchester of a certain era. That is, the group did not just originate from the late 1970s Manchester of deindustrialization, carceral housing estates, Thatcherism, and punk’s youthful refusal; nor do they simply illustrate a recurring Mancunian ethos of creative pluck and insouciant disregard for London’s cultural hegemony (Haslam, Manchester, England). -
PH the Look of Love
Großbritannien/USA 2013 / 99 Minuten / DCP, Cinemascope Regie Michael Winterbottom Mit Steve Coogan, Anna Friel, Tamsin Egerton, Imogen Poots KINOSTART: 29. August 2013 PRESSEHEFT 1 TECHNISCHE DATEN Jahr Großbritannien / USA 2012 Originaltitel The Look Of Love Filmlänge, Material 99 Minuten, 35 mm und digital Format 2.35 : 1 Ton Dolby SRD Pressematerial zum Download unter www.filmpresskit.de PRESSEBETREUUNG VERLEIH Alpenrepublik GmbH Panorama Entertainment / Amélie Linder Thalkirchner Str. 45 Thalkirchner Str. 45 80337 München 80337 München Tel: 089 30 90 679 47 Tel: 089 30 90 679 33 Fax 089 30 90 679 11 Fax: 089 30 90 679 11 [email protected] Amelie.Linder@Panorama- Entertainment.com VERTRIEB Central Film Verleih GmbH Keithstr. 2-4 10787 Berlin Tel: 030 / 21 49 2-0 [email protected] 2 BESETZUNG Paul Raymond Steve Coogan Jean Raymond Anna Friel Fiona Richmond Tamsin Egerton Debbie Raymond Imogen Poots Tony Power Chris Addison Carl Snitcher James Lance Howard Raymond Matthew Beard Jonathan Hodge Simon Bird Derry Liam Boyle STAB Regie Michael Winterbottom Drehbuch Matt Greenhalgh Produzentin Melissa Parmenter Kamera Hubert Taczanowski Szenenbild Jacqueline Abrahams Kostümbild Stephanie Collie Maskenbild Fiona Fellows Laura Schiavo Schnitt Mags Arnold Produktion Revolution Film Baby Cow Productions Film4 StudioCanal 3 KURZINHALT ‚Sex sells‘ – mit dieser Devise avanciert Paul Raymond zu einem der reichsten Männer Großbritanniens. Seine Karriere beginnt er als Betreiber eines Nightclubs, dessen Darbietungen so heiß sein sollen, dass kein "wirklicher Kerl" ihnen widerstehen kann. Von den ersten Ersparnissen kauft Raymond eine Immobilie, später ganze Straßenzüge des Londoner Bezirks Soho. Zu seinem ständig wachsenden Imperium gehören Erotikmagazine und Showbühnen. -
Masculinity, Memory and the 1980S in British Cinema, 2005 – 2010
The History Boys? : Masculinity, Memory and the 1980s in British Cinema, 2005 – 2010 Andy Pope The thesis is submitted in partial fulfilment of the requirements of the award of the degree of Doctor of Philosophy of the University of Portsmouth School of Media and Performing Arts – University of Portsmouth May 2015 Abstract This study will consider the function of cinema in British society’s ongoing relationship with the 1980s. Its focus on a key period of recent British film history acknowledges popular culture’s flourishing identification with this decade, reflected through a number of media including literature, music and fashion. I argue that with seventeen films set in the 1980s and produced between 2005 and 2010, British cinema is at the centre of this retrospective, providing a unique perspective on our relationship with the era. But what are the determinants of this mediated reminiscence and what does it say about the function of cinema in rendering the past? I contend that a key aspect of this channelling of popular and personal memory is the role of the writer and director. Nearly all male and mostly middle- aged, the films’ creative agents present narratives that foreground young male protagonists and specifically masculine themes. These thematic concerns, including patriarchal absence and homosocial groups, whilst anchored in the concerns of their 1980s socio-political landscape also highlight a contemporary need for the films’ authors to connect to a personal past. Through reference to sociological, cinematic and political discourse, amongst others, this study will also consider the role of memory in these films. It will contend that the films present a complex perspective of the 1980s, highlighting an ambivalent relationship with the period that transcends nostalgia. -
A Study to Understand Manchester's Emergence As
A STUDY TO UNDERSTAND MANCHESTER’S EMERGENCE AS A CREATIVE CITY. Jordan Strong History BA Honours dissertation Aberystwyth University 9th May 2014 1 Acknowledgements Throughout this piece of work I have had some fantastic support, critiques and feedback, never more so then from Barbara Jones of student support at the university. Her support, motivation and editing of this piece of work has been second to none. The process of writing a dissertation is a hard task as it is without the persistence of dyslexia, but with Barbara’s help, the process has been as smooth as one could hope. It has been a long, hard process with some laughs along the way, I am truly grateful for her help. I would also like to thank Dr. Richard Coopey, his supervision has been excellent, his guidance with source material has been extremely beneficial to this study. Furthermore I would like to thank Suzannah Reeves of Oldham sixth form college for helping me contact Dave Haslem, Also Dave himself for taking time out to email me. Finally those who helped me at the Museum of Science and Industry during in the couple of days I spent at the Rob Gretton Archive. 2 Table of content 1. Introduction p.3 2. Chapter One – ‘The scene is very humdrum’ p.7 3. Chapter Two – ‘Evidently Chickentown’ p.14 4. Chapter Three – ‘The Hacienda must be built’ p.25 5. Chapter Four – ‘I don’t have to see my soul he is already in me’ p.39 6. Conclusion p.44 3 Introduction On the 16th of August, 1819, eighteen people were massacred during a peaceful protest in Manchester’s St. -
Un Film Di Michael Winterbottom
presenta un film di Michael Winterbottom con Steve Andy Sean Paddy Lennie Shirley Simon COOGAN SERKIS HARRIS CONSIDINE JAMES HENDERSON PEGG Candidato alla Palma d’oro Miglior produzione di successo 55° Festival di Cannes British Independent Film Award 112 minuti - 35mm - colore www.officineUBU.com www.partypeoplemovie.com www.24hourpartypeople-themovie.com www.myspace.com/24hourpartypeoplethemovie 24 Hour Party People CAST STEVE COOGAN ANTHONY WILSON LENNIE JAMES ALAN ERASMUS SHIRLEY HENDERSON LINDSAY WILSON PADDY CONSIDINE ROB GRETTON ANDY SERKIS MARTIN HANNETT SEAN HARRIS IAN CURTIS JOHN SIMM BERNARD SUMNER RALF LITTLE PETER HOOK DANNY CUNNINGHAM SHAUN RYDER CHRIS COGHILL BEZ PAUL POPPLEWELL PAUL RYDER ENZO CILENTI PETE SAVILLE SIMON PEGG GIORNALISTA Officine UBU srl - v. Imbonati, 4 Milano - tel. 0287383020 - www.officineubu.com - http://tv.officineubu.com 2 24 Hour Party People CAST TECNICO Regia MICHAEL WINTERBOTTOM Sceneggiatura FRANK COTTRELL BOYCE Produttore ANDREW EATON Fotografia ROBBY MULLER Costumi NATALIE WARD, STEPHEN NOBLE Montaggio TREVOR WAITE Scenografia MARK TILDESLEY Supervisione musicale LIZ GALLACHER Produzione REVOLUTION FILMS Distribuzione Italiana Officine UBU via Imbonati, 4 20159 - Milano tel. 0269311631 fax 0260730784 [email protected] www.officineUBU.com Ufficio stampa [email protected] Le immagini in H.Q. del film sono scaricabili nell’Area Press: http://www.officineubu.com/press/login.php username: user - password: pass Officine UBU srl - v. Imbonati, 4 Milano - tel. 0287383020 - www.officineubu.com - http://tv.officineubu.com 3 24 Hour Party People EDIZIONE ITALIANA Direzione del Doppiaggio MONICA PARIANTE Dialoghi Italiani VITTORIO BESTOSO Assistente al Doppiaggio MICHELA UBERTI Fonico di Doppiaggio MICHELE CONTI Fonico di Mix ENZO CATERINO Doppiaggio eseguito presso DREAM & DREAM LE VOCI Tony Wilson CLAUDIO MONETA Alan LORENZO SCATTORIN Ian Curtis ALESSANDRO RIGOTTI Shaun Rider FEDERICO ZANANDREA Lindsay ELISABETTA SPINELLI Martin ALESSANDRO D'ERRICO Tonay MARCELLO CORTESE Officine UBU srl - v. -
1 Original Climax Films: Historicising the British Hardcore Pornography Film Business
Original Climax Films: Historicising the British Hardcore Pornography Film Business Oliver Carter, Birmingham Centre for Media and Cultural Research, Birmingham City University. [email protected] www.alteconomies.com Biography Dr. Oliver Carter is a senior lecturer in media and cultural theory at the Birmingham Centre for Media and Cultural Research, Birmingham City University. His research focuses on alternative economies of cultural production; informal forms of industry that are often removed from a formal cultural industries discourse. He is the author of the forthcoming monograph Making European Cult Cinema: Fan Enterprise in an Alternative Economy, published in 2018 by Amsterdam University Press. He is currently working on his latest book, which investigates the development of the British hardcore pornography business. The research for this publication informs the forthcoming documentary Hardcore Guaranteed: The Mike Freeman Story (Simon Fletcher 2018). You can out more about Oliver’s work by visiting www.alteconomies.com. 1 Original Climax Films: Historicising the British Hardcore Pornography Film Business This article presents findings from my research into the British hardcore pornography business. Porn studies has given little coverage to the British pornography business, with much of the academic literature focusing on the American adult entertainment industry. Recently, there has been a rising interest in the historical framework of porn cinemas in both popular culture, and in academic work. This article contributes to this debate, taking both a cultural and economic approach to explore the conditions that led to the emergence of British hardcore production as an alternative economy in the 1960s. In this economy entrepreneurs make use of new technologies to produce artefacts that are exchanged for an economic benefit, while circumventing laws to distribute their artefacts. -
Toonzetters Tegendraadse Muziek Uit Een Nieuwe Werkplaats
Toonzetters Tegendraadse muziek uit een nieuwe werkplaats Listen to the silence, let it ring on Eyes, dark grey lenses frightened of the sun We would have a fine time living in the night, Left to blind destruction, Waiting for our sight Robert de Vaan 301111 DT4 KAL2 Toonzetters INHOUD (BLZ/HST/TITEL) 2 0. VOOR 3 1. JONGERENCULTUUR IN DE 20e EEUW:MASSA EN TEGENCULTUUR 4 2. PUNK 6 3. NEW WAVE 6 4. TONY WILSON 7 5 CLUBS 8 6. FACTORY RECORDS 9 7 JOY DIVISION 11 8. NEW ORDER 12 9. ACHTER 13 B1 BIJLAGE 1: ONAFHANKELIJKE LABELS IN DE JAREN 80 14 B2 BIJLAGE 2: FACTORY CATALOGUS 21 B3 BIJLAGE 3: BRONNNEN 0. VOOR Er bestaan in mijn optiek maar twee stromingen binnen de muziek, te weten goede en slechte. De goede is doorgaans authentiek en de gevoelens die Ian Curtis, frontman van Joy Division, bezong leken mij als tiener in de jaren 80 oprecht, hij had er niet voor niets een einde aan gemaakt. De muziek hoorde bij de stroming New Wave, waar ik actief onderdeel van werd . Generatie Nix, de naam die mijn generatie meekreeg, zou toch geen werk vinden en de atoomoorlog zou spoedig beginnen. I wear black on the outside because black is how I feel on the inside zei Morrisey en daar kan ik me tot op de dag van vandaag in vinden... In dit referaat ga ik op zoek naar mijn muzikale en sociale roots en naar de achtergronden van het verhaal van een bijzondere en alternatieve onderneming. New Wave, de stroming voor de subcultuur der alternatieven waarvan Ian Curtis pionier was, vond zijn oorsprong halverwege de jaren 70 in de tegendraadse Punk. -
Making Rock History out of Ian Curtis and Joy Division
Liminalities: A Journal of Performance Studies Vol. 9, No. 4, November 2013 When Performance Lost Control: Making Rock History out of Ian Curtis and Joy Division J. Rubén Valdés Miyares 1. “Who is right, who can tell, and who gives a damn right now”1 This is a case study of the continuities between living, performing and writing. When Ian Curtis hanged himself at the age of 23, tortured by epilepsy, medication, fear and remorse; having just started a promising career as singer and songwriter for the band Joy Division, after releasing two intriguing long plays and a hit single called “Love Will Tear Us Apart”, and about to embark on their first American tour, he was stag- ing his ultimate performance. The act turned him into a cult figure, as it gave an eerie resonance to the increasingly gloomy lyrics he had written for his band. Music journalists began to write about Joy Division in a more vivid, dramatic way. People who had never seen the band perform live, or even heard of them while Curtis was alive, became fans. Joy Division was hailed in their native Manchester, England, as youthful symbols of the postmodern city, and in the rest of the world as founders of the gothic rock scene. They were subsequently the subject of biographies, biopics and documentaries which focused particularly on Curtis’s personality, and the main webpage devoted to the band (joydivisioncentral.com) lists about twenty Joy Division tribute bands performing their songs, while Youtube enables fans and critics to watch the band perform at several gigs on very low quality footage, and much more visually appealing clips of actor Sam Riley performing as Ian Curtis in the biopic about him, Control (2007). -
Article Factory Records and the Situationist Influence on Urban Space
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CLoK Article Factory records and the situationist influence on urban space Ingham, James Available at http://clok.uclan.ac.uk/15785/ Ingham, James (2016) Factory records and the situationist influence on urban space. Punk & Post Punk, 5 (2). pp. 163-179. ISSN 2044-1983 It is advisable to refer to the publisher’s version if you intend to cite from the work. http://dx.doi.org/10.1386/punk.5.2.163_1 For more information about UCLan’s research in this area go to http://www.uclan.ac.uk/researchgroups/ and search for <name of research Group>. For information about Research generally at UCLan please go to http://www.uclan.ac.uk/research/ All outputs in CLoK are protected by Intellectual Property Rights law, including Copyright law. Copyright, IPR and Moral Rights for the works on this site are retained by the individual authors and/or other copyright owners. Terms and conditions for use of this material are defined in the http://clok.uclan.ac.uk/policies/ CLoK Central Lancashire online Knowledge www.clok.uclan.ac.uk Factory records and the situationist influence on urban space James Ingham, University of Central Lancashire Abstract There has been a substantial amount of literature on Factory Records and Manchester, with some exploring the urban influence on music and its associated local identities. Writing on post-punk has also considered regional and local influences. This article proposes a new approach with a detailed consideration of the Situationist influence and wider European radical theory on Factory Records.