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Deliver Us to Cinema: the Prince of Egypt and Cinematic Depictions of Religious Texts
Deliver Us to Cinema: The Prince of Egypt and Cinematic Depictions of Religious Texts Kadii Lott Introduction There is a pervasive Hollywood culture of appropriating and commodifying biblical concepts and imagery into films that do not explicitly address the Abrahamic belief systems that consider the Old and New Testaments as sacred texts. Many such films received mixed reviews. Christian and Jewish groups have heavily criticised particular adaptations of scriptural stories, including Life of Brian,1 The Last Temptation of Christ,2 The Passion of Christ,3 and Noah,4 for their blasphemous or ill-intentioned treatment of biblical figures. Despite the protectiveness of religious people Kadii Lott received First Class Honours in Studies in Religion at the University of Sydney in 2020. 1 The 1979 religious satire reimagined the fictional life of a man named Brian who gets mistaken for Jesus. The film was considered blasphemous by some Christians who protested against the release and the film was banned in many countries upon its release, including in Ireland and Norway. See Ben Dowell, ‘BBC to dramatise unholy row over Monty Python’s Life of Brian’, The Guardian (21 June 2011), https://www.theguardian.com/media/ 2011/jun/21/bbc-monty-python-life-of-brian. Accessed 13 July 2020. 2 Scorsese’s depicted Jesus Christ dealing with worldly temptations like everyone else. This caused outrage amongst some Christian groups, even leading to an incident in Paris where a theatre showing the film was set on fire. See Steven Greenhouse, ‘Police Suspect Arson In Fire at Paris Theater’, The New York Times (25 October 1988), p. -
In Production Preview 8 X 1 Hour Commissioned by &
In production preview LUCA GUADAGNINO’S WE ARE WHO WE ARE 8 x 1 hour Commissioned by & Could be nice to include the Walt Whitman poem that Caitlin reads out to the class, and that is repeated as a refrain throughout the show I am he that aches with amorous love Does the earth gravitate? Does not all matter, aching, attract all matter? A brand new exploration into the So the body of me, to all I meet, “True and Real. complex world of adolescence, friendship and first loves - a story about teenagers, or know Forever and ever” outsiders and embracing difference. I Am He That Aches with Love, Walt Whitman Sometimes, when she kisses me, I feel like she doesn’t know it’s me. She does’t acknowledge me FROM DIRECTOR and she’s kissing a mirror. MAGGIE LUCA GUADAGNINO Call Me By Your Name, I Am Love, Suspiria FRASER: Americans can only be happy in America MAGGIE: This is America STARRING “I’m always looking for stuff that means something” FRASER CHLOE SEVIGNY Queen & Slim, The Act, Kids, Boys “Have you ever really been in love with anyone? Do you know what it feels like?” BRITNEY Don’t Cry, Big Love “It’s exhausting to have to be his mother and father at the same time. To be everything all the JACK DYLAN GRAZER time.” SARAH IT, IT Chapter 2, Me Myself and I, Shazam “I’ve been a lot of things. And I stopped being a lot of things. Truth is sometimes I no longer know JORDAN KRISTINE SEAMON who I am.” JENNY KID CUDI FRASER: “Just because my moms are lesbians doesn’t mean I’m gay.” Westworld, How to Make it in America CAITLIN: “You don’t have to not-be-gay either.” ALICE BRAGA I Am Legend, Queen of the South CAITLIN: “Since you got here everything’s mixed up” FRANCESCA SCORSESE FRASER: “Mixed up good or mixed up bad?” The Departed, The Aviator CAITLIN: “Mixed up full of life” “True and Real. -
Film Guide April 2018
FILM GUIDE APRIL 2018 www.loftcinema.org BEST F(R)IENDS & THE DISASTER ARTIST W/ GREG SESTERO IN PERSON! LAWRENCE OF ARABIA PRESENTED IN 70MM • SUNDAY, APRIL 15 AT NOON! ENJOY BEER & WINE AT THE LOFT CINEMA! We also offer Fresco Pizza*, Tucson Tamale Factory Tamales, Burritos from Tumerico, Ethiopian Wraps from Cafe Desta and Sandwiches from the 4th Ave. Deli, along with organic popcorn, craft chocolate bars, vegan cookies and more! *Pizza served after 5pm daily. APRIL 2018 SPECIAL ENGAGEMENTS 4-23 JOURNALISM ON SCREEN 6 BEER OF THE MONTH: LOFT MEMBERSHIPS 8 FIRESTONE LAGER LOFT JR. 12 BY FIRESTONE WALKER BREWING CO. ESSENTIAL CINEMA 14 ONLY $3.50 ALL THROUGH APRIL! SCIENCE ON SCREEN 16 NATIONAL THEATRE LIVE 17 NEW AT THE LOFT CINEMA! MONTH-LONG SERIES 19-20 The Loft Cinema now offers Closed Captions and Audio LOFT STAFF SELECTS 21 Descriptions for films whenever they are available. Check our COMMUNITY RENTALS 23-24 website to see which films offer this technology. NEW FILMS 25-34 REEL READS SELECTION 32 FILM GUIDES ARE AVAILABLE AT: MONDO MONDAYS 35 • aLoft Hotel • Espresso Art • Revolutionary Grounds • Antigone Books • Fantasy Comics • Rincon Market CULT CLASSICS 36 • Aqua Vita • First American Title • Rocco’s Little Chicago • Art Institute of Tucson • Fresco Pizza • Rogue Theatre THE LOFT CINEMA • AZ Title Security • Fronimos • Santa Barbara Ice Cream 3233 E. Speedway Blvd. • Bentley’s • Heroes & Villains • Shot in the Dark Café Tucson, AZ 85716 • Black Crown Coffee • Hotel Congress • Southern AZ AIDS • Bookman’s • How Sweet It Was -
Maria Djurkovic Production Designer
MARIA DJURKOVIC PRODUCTION DESIGNER FILM & TELEVISION THE LITTLE DRUMMER GIRL Director: Park Chan-Wook Production Company: AMC Networks & BBC Nominated, Best Production Design, BAFTA Awards (2019) Official Selection, London Film Festival (2018) RED SPARROW Director: Francis Lawrence Production Company: Chernin Entertainment THE SNOWMAN Director: Tomas Alfredson Production Company: Working Title GOLD Director: Stephen Gaghan Production Company: Black Bear Pictures NEW WORLD (Pilot) Director: Gus Van Sant Production Company: HBO A BIGGER SPLASH Director: Luca Guadagnino Production Company: Frenesy Film Official Selection, Venice Film Festival (2015) Official Selection, London Film Festival (2015) LUX ARTISTS | 1 THE IMITATION GAME Director: Morten Tyldum Production Company: The Weinstein Co. Nominated, Best Production Design, Director & Picture, Academy Awards (2015) Nominated, Best Production Design & Film, BAFTA Awards (2015) Winner, Peoples Choice Award, Toronto Film Festival (2014) Official Selection, London Film Festival (2014) THE INVISIBLE WOMAN Director: Ralph Fiennes Production Company: BBC Films Official Selection, Toronto Film Festival (2013) TINKER TAILOR SOLDIER SPY Director: Tomas Alfredson Production Company: Working Title & Studio Canal Winner, Best Production Design, British Independent Film Awards (2014) Winner, Best Production Design, London Critics Circle Film Awards (2012) Winner, Best Production Design, European Film Awards (2012) Winner, Best Adapted Screenplay & British Film, BAFTA Awards (2012) Nominated, Best Production -
6182 Rhodes & Singer.Indd
Consuming Images 6182_Rhodes & Singer.indd i 18/12/19 3:04 PM Robert Abel’s Bubbles (1974) 6182_Rhodes & Singer.indd ii 18/12/19 3:04 PM Consuming Images Film Art and the American Television Commercial Gary D. Rhodes and Robert Singer 6182_Rhodes & Singer.indd iii 18/12/19 3:04 PM Dedicated to Barry Salt and Gerald “Jerry” Schnitzer Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Gary D. Rhodes and Robert Singer, 2020 Edinburgh University Press Ltd The Tun—Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13 Monotype Ehrhardt by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 6068 2 (hardback) ISBN 978 1 4744 6070 5 (webready PDF) ISBN 978 1 4744 6071 2 (epub) The right of Gary D. Rhodes and Robert Singer to be identified as authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 6182_Rhodes & Singer.indd iv 18/12/19 3:04 PM Contents List of Figures vi Acknowledgments ix Introduction 1 1. Origins 16 2. Narrative 36 3. Mise-en-scène 62 4. -
2017 Producers Book Finalists
PRODUCERS BOOK & PRINT SOURCE LIST Pre-Festival Edition THE 2017 PRODUCERS BOOK A LETTER FROM THE SCREENPLAY & FILM COMPETITION DIRECTORS Hello! Each year, we prepare our annual Producers Book which contains loglines and contact information for the year’s top scripts in our various Script Competitions. Please feel free to reach out to any of the writers listed here to request a copy of their scripts. Also included is our Print Source List containing information for all films selected for the 2017 Festival. This year’s Semifinalists and Finalists were chosen from a field of 9,487 scripts entered in our Screenplay, Digital Series, Playwriting, and Fiction Podcast Competitions. Each year we are amazed by the professional quality and talent that we receive and this year wasn’t any different. The Competition is open to feature-length scripts in the genres of drama, comedy, sci-fi, and horror; teleplay pilots and specs, short scripts, stage plays, fiction podcast scripts, and digital series scripts. Year after year, our strive in programming the Austin Film Festival film slate is to discover and champion the writers and those who can translate amazing stories to the screen. We received over 5,000 film submissions this year and had the task of whittling it down to 182 films that embody our mission and passion for storytelling. It was a harrowing task, but it led to our strongest year of film yet. We’re so proud of this year’s diverse group of filmmakers and unique voices and can’t wait for these works to be seen, shared, and loved. -
Friday 14 February 2020, London. BFI Southbank's TILDA SWINTON
Friday 14 February 2020, London. BFI Southbank’s TILDA SWINTON season, programmed in partnership with the performer and filmmaker herself, will run from 1 – 18 March 2020, celebrating the extraordinary, convention-defying career of one of cinema’s finest and most deft chameleons. The BFI today announce that a number of Swinton’s closest collaborators will join her on stage during the season to speak about their work together including Wes Anderson (Isle of Dogs, The French Dispatch, The Grand Budapest Hotel, Moonrise Kingdom), Bong Joon-ho (Snowpiercer, Okja), Sally Potter (Orlando) and Joanna Hogg (The Souvenir, Caprice). Also announced today is Tilda Swinton’s Film Equipment (28 February – 26 April) a free exhibit to accompany the season which has been curated in close collaboration with BFI and Swinton’s personal archive. Alongside a programme of feature film screenings, shorts and personal favourites, the season will include Tilda Swinton in Conversation with host Mark Kermode on 3 March, during which Swinton will look back on her wide- reaching career as a performer across independent and Hollywood cinema, as well as producer, director and general ally of maverick free spirits everywhere. On the same evening will be Tilda Swinton and Wes Anderson on stage: A Magical Tour of Cinema – a unique chance to hear from two of the most fervent disciples of the church of make believe, as Swinton and Anderson take to the BFI stage to discuss their many collaborations and their film passions. The event will offer a glimpse into their intimate partnership as the two long-time co-conspirators and voracious cinephiles select and explore personal favourite gems from throughout cinema’s history. -
The Importance and Achievements of Luca Guadagnino's Call Me By
To Speak or to Die: The Importance and Achievements of Luca Guadagnino’s Call Me by Your Name (2017) Treball de Fi de Grau/ BA dissertation Author: Alex Dalmau Barreal Supervisor: Dr. Sara Martín Alegre Departament de Filologia Anglesa i de Germanística Grau d‘Estudis Anglesos June 2020 CONTENTS 0. Introduction .................................................................................................................. 1 0.1 Luca Guadagnino‘s Life and Work ........................................................................ 1 0.2 Guadagnino‘s Call Me by Your Name .................................................................... 2 1. Adapting a Novel: A Work of Respect ......................................................................... 6 1.1 Differences and similarities .................................................................................... 6 1.2 Controversies while Adapting .............................................................................. 12 2. A Film with a Legacy ................................................................................................. 17 2.1 Importance within the LGBT community ............................................................ 17 2.2 Impact within the film industry ............................................................................ 21 3. Conclusions and further research ............................................................................... 27 Works Cited ................................................................................................................... -
The Top Ten of '10: TRW's Box Office Picks
10 ARTS February 1, 2011 THE RETRIEVER WEEKLY The Top Ten of ‘10: TRW’s box office picks > from TITLE [10] COURTESY SUSHIXAV.BLOGSPOT.COM Here are some of the best movies of 2010 along with some which should have stayed on the storyboard. Daniel Supanick Shop, Winter’s Bone, The Fighter, The thrillers I’ve seen in a long time. It’s produces the best, most exhilarating Network isn’t completely a movie for STAFF WRITER King’s Speech, Blue Valentine, and It’s probably the year’s most perfect and psychological horror thriller of the its time, but it’s still damn good. Kind of a Funny Story were also con- effective thriller, and it’s wildly cre- year. 1. Scott Pilgrim vs. the World- It kills 2010 wasn’t a bad year for cin- sidered for my top ten list, which ative to boot. 4. Toy Story 3- Toy Story 3 feels me to think that Vampires Suck made ema. It just wasn’t a very good one, includes... 7. Restrepo- This documentary like the perfect ending to a fun and more money in two weeks than this either. If there’s any way to classify 10. Let Me In- Let Me In is an ex- about a platoon of American sol- wonderful ride, and is quite moving movie made in its entire run. Scott this year, it would probably have to ample of how horror, and also vam- diers stationed in the most danger- on its own. In a way it’s a movie for Pilgrim is the most visually and aes- be as the Year of the Cash Grab. -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
Call Me by Your Name
Presents CALL ME BY YOUR NAME A film by Luca Guadagnino (131 min., USA/Italy/France/Brazil, 2017) Languages: English, Italian, French, German w/ English subtitles Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com @MongrelMedia MongrelMedia CALL ME BY YOUR NAME The Cast Oliver ARMIE HAMMER Elio TIMOTHÉE CHALAMET Mr. Perlman MICHAEL STUHLBARG Annella AMIRA CASAR Marzia ESTHER GARREL Chiara VICTOIRE DU BOIS Mafalda VANDA CAPRIOLO Anchise ANTONIO RIMOLDI Art Historian 1 ELENA BUCCI Art Historian 2 MARCO SGROSSO Mounir ANDRÉ ACIMAN Isaac PETER SPEARS 2 CALL ME BY YOUR NAME The Filmmakers Director LUCA GUADAGNINO Screenplay JAMES IVORY Based on the Novel Call Me By Your Name by ANDRÉ ACIMAN Producers PETER SPEARS LUCA GUADAGNINO EMILIE GEORGES RODRIGO TEIXERA MARCO MORABITO JAMES IVORY HOWARD ROSENMAN Executive Producers DEREK SIMONDS TOM DOLBY MARGARETHE BAILLOU FRANCESCO MELZI D’ERIL NAIMA ABED NICHOLAS KAISER SOPHIE MAS LOURENÇO SANT’ANNA Director of Photography SAYOMBHU MUKDEEPROM Editor WALTER FASANO Production Designer SAMUEL DESHORS Costume Designer GIULIA PIERSANTI Songs “Mystery of Love” and “Visions of Gideon” Written and Performed by SUFJAN STEVENS Production Sound Mixer YVES-MARIE OMNES Re-Recording Mixer JEAN-PIERRE LAFORCE Music Supervisor ROBIN URDANG Music Consultant GERRY GERSHMAN Casting / Line Producer STELLA SAVINO Main Titles -
4.4 Metamorphosis and Modulation: Darren Aronofsky's BLACK SWAN
4.4 Metamorphosis and Modulation: Darren Aronofsky’s BLACK SWAN BY STEEN CHRISTIANSEN Black Swan (Darren Aronofsky 2010) tells the story of Nina Sayers (Natalie Portman), a ballerina who dreams of dancing the Swan Queen in Swan Lake. When she wins the lead role, Nina slowly begins losing her mind, in a curious and intense mix of melodrama and horror. Pressured by the ballet director Thomas Leroy (Vincent Cassel) and her overbearing mother (Barbara Hershey), Nina first finds escape in her friendship with understudy Lily (Mila Kunis), but begins to suspect that Lily wants to kill her to get her role. Slowly Nina’s body also begins to change, culminating in the opening performance, where Nina’s body transforms into a terrifying hybrid figure of swan-woman, before Nina falls to her death. In this chapter, I wish to investigate how digital morphing works as a way of figuring biopower, registering the cultural forces of gender, sexuality, and desire. Black Swan is exemplary in this regard as Nina becomes the locus of stratifications of power, turning biopower into felt sensations rather than pure abstractions of power. In this analysis, I am tracing the co-construction of an aesthetic logic (the digital morph) and a cultural logic (biopower and corporeal forces). I will read Black Swan and its morphing both as a distinctive formal device of post-cinema, and as an articulation of a certain “structure of feeling.” Structure of feeling is a term coined by Raymond Williams in his Marxism and Literature (1977). Williams employs it to designate a certain cultural mood, a concern “with meanings | 1 4.4 Metamorphosis and Modulation: Darren Aronofsky’s BLACK SWAN and values as they are actively lived and felt” (Williams 132).