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Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
WIC Template
1 Talking Point 6 Week in 60 Seconds 7 Property Week in China 8 Aviation 9 Chinese Models 11 Economy 13 Chinese Character 19 October 2012 15 Society and Culture Issue 168 19 And Finally www.weekinchina.com 20 The Back Page What we learned in the debate m o c . n i e t s p e a t i n e b . w w w As Obama and Romney vie to appear toughest on China, Huawei and other Chinese firms cry foul at US treatment Brought to you by Week in China Talking Point 19 October 2012 Phoney claims? Why Huawei, ZTE and Sany are livid over their treatment in the US Not welcome: a new intelligence report from Washington says Huawei and ZTE pose a security threat to the US merican presidents past, pres - first employed Lincoln’s aphorism ers are “strongly encouraged to seek Aent and (perhaps) even future last year in an open letter to the US other vendors for their projects”. have all been drawn into the divi - government requesting an investi - This reflects longstanding Ameri - sive China debate in the last month. gation into any concerns that Wash - can concerns that information trav - This week saw Barack Obama bat - ington might have about its elling through Chinese-made tling it out with contender Mitt operations. The hope was that a for - networks could be snooped on, or Romney to talk toughest on trade mal review would clear the air. But even that crucial infrastructure politics and China. Romney in par - the report’s findings – announced could be disrupted or turned off ticular has been making headlines this month – only look like stoking through pre-installed “kill switches”. -
Asians & Pacific Islanders Across 1300 Popular Films (2021)
The Prevalence and Portrayal of Asian and Pacific Islanders across 1,300 Popular Films Dr. Nancy Wang Yuen, Dr. Stacy L. Smith, Dr. Katherine Pieper, Marc Choueiti, Kevin Yao & Dana Dinh with assistance from Connie Deng Wendy Liu Erin Ewalt Annaliese Schauer Stacy Gunarian Seeret Singh Eddie Jang Annie Nguyen Chanel Kaleo Brandon Tam Gloria Lee Grace Zhu May 2021 ASIANS & PACIFIC ISLANDERS ACROSS , POPULAR FILMS DR. NANCY WANG YUEN, DR. STACY L. SMITH & ANNENBERG INCLUSION INITIATIVE @NancyWangYuen @Inclusionists API CHARACTERS ARE ABSENT IN POPULAR FILMS API speaking characters across 1,300 top movies, 2007-2019, in percentages 9.6 Percentage of 8.4 API characters overall 5.9% 7.5 7.2 5.6 5.8 5.1 5.2 5.1 4.9 4.9 4.7 Ratio of API males to API females 3.5 1.7 : 1 Total number of speaking characters 51,159 ‘ ‘ ‘ ‘‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ A total of 3,034 API speaking characters appeared across 1,300 films API LEADS/CO LEADS ARE RARE IN FILM Of the 1,300 top films from 2007-2019... And of those 44 films*... Films had an Asian lead/co lead Films Depicted an API Lead 29 or Co Lead 44 Films had a Native Hawaiian/Pacific 21 Islander lead/co lead *Excludes films w/ensemble leads OF THE 44 FILMS OF THE 44 FILMS OF THE 44 FILMS OF THE 44 FILMS WITH API WITH API WITH API WITH API LEADS/CO LEADS LEADS/CO LEADS LEADS/CO LEADS LEADS/CO LEADS 6 0 0 14 WERE WERE WOMEN WERE WERE GIRLS/WOMEN 40+YEARS OF AGE LGBTQ DWAYNE JOHNSON © ANNENBERG INCLUSION INITIATIVE TOP FILMS CONSISTENTLY LACK API LEADS/CO LEADS Of the individual lead/co leads across 1,300 top-grossing films.. -
Journal of Asian Studies Contemporary Chinese Cinema Special Edition
the iafor journal of asian studies Contemporary Chinese Cinema Special Edition Volume 2 – Issue 1 – Spring 2016 Editor: Seiko Yasumoto ISSN: 2187-6037 The IAFOR Journal of Asian Studies Volume 2 – Issue – I IAFOR Publications Executive Editor: Joseph Haldane The International Academic Forum The IAFOR Journal of Asian Studies Editor: Seiko Yasumoto, University of Sydney, Australia Associate Editor: Jason Bainbridge, Swinburne University, Australia Published by The International Academic Forum (IAFOR), Japan Executive Editor: Joseph Haldane Editorial Assistance: Rachel Dyer IAFOR Publications. Sakae 1-16-26-201, Naka-ward, Aichi, Japan 460-0008 Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 IAFOR Publications © Copyright 2016 ISSN: 2187-6037 Online: joas.iafor.org Cover image: Flickr Creative Commons/Guy Gorek The IAFOR Journal of Asian Studies Volume 2 – Issue I – Spring 2016 Edited by Seiko Yasumoto Table of Contents Notes on contributors 1 Welcome and Introduction 4 From Recording to Ritual: Weimar Villa and 24 City 10 Dr. Jinhee Choi Contested identities: exploring the cultural, historical and 25 political complexities of the ‘three Chinas’ Dr. Qiao Li & Prof. Ros Jennings Sounds, Swords and Forests: An Exploration into the Representations 41 of Music and Martial Arts in Contemporary Kung Fu Films Brent Keogh Sentimentalism in Under the Hawthorn Tree 53 Jing Meng Changes Manifest: Time, Memory, and a Changing Hong Kong 65 Emma Tipson The Taste of Ice Kacang: Xiaoqingxin Film as the Possible 74 Prospect of Taiwan Popular Cinema Panpan Yang Subtitling Chinese Humour: the English Version of A Woman, a 85 Gun and a Noodle Shop (2009) Yilei Yuan The IAFOR Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 Notes on Contributers Dr. -
Zhang Ziyi and China's Celebrity–Philanthropy Scandals
Zhang Ziyi and China’s Celebrity–Philanthropy Scandals Elaine Jeffreys, University of Technology Sydney Zhang Ziyi is arguably China’s most famous female celebrity, being ranked after basketball player, Yao Ming, at number two on Forbes’s (mainland) China Celebrity List in 2009 and 2010 (‘2010 Forbes China Celebrity List’ 2010).1 Forbes issued its inaugural list of China’s top 100 power-ranking celebrities in 2004, demonstrating the growing importance of the People’s Republic of China (PRC) in global cultural markets. As with the US list, China’s celebrities are ranked by combining income from salaries and endorsements with the number of times they appear in various media formats (Jeffreys & Edwards 2010: 2). Zhang Ziyi rose to international fame via her starring role in Ang Lee’s martial arts movie, Crouching Tiger, Hidden Dragon (2000). A global cinematic phenomenon in 2000 and 2001, Crouching Tiger earned more than US$200 million worldwide, becoming the most commercially successful foreign-language film in US history and the first Chinese-language film to find a broad American audience (Klein 2004: 18). Since then, Zhang has gone on to enjoy critical acclaim for her starring roles in Hollywood films, such as Memoirs of a Geisha (dir. Rob Marshall 2005), and in Chinese-language blockbusters, such as Hero (dir. Zhang Yimou 2002) and House of Flying Daggers (dir. Zhang Yimou 2004). Voted as one of the ‘most beautiful people in the world’ by many fashion and celebrity magazines, she has appeared as the ‘face’ of 1 Forbes extended its China list in 2010 to include celebrities from Taiwan and Hong Kong, as well as mainland China. -
Miramax's Asian Experiment: Creating a Model for Crossover Hits Lisa Dombrowski , Wesleyan University, US
Miramax's Asian Experiment: Creating a Model for Crossover Hits Lisa Dombrowski , Wesleyan University, US Prior to 1996, no commercial Chinese-language film had scored a breakout hit in the United States since the end of the 1970s kung fu craze. In the intervening period, the dominant distribution model for Asian films in America involved showcasing subtitled, auteur-driven art cinema in a handful of theaters in New York and Los Angeles, then building to ever more screens in a platform fashion, targeting college towns and urban theaters near affluent, older audiences. With the American fan base for Hong Kong action films steadily growing through video and specialized exhibition during the 1980s, Miramax chieftain Harvey Weinstein recognized the opportunity to market more commercial Chinese-language films to a wider audience outside the art cinema model as a means of generating crossover hits. Beginning in 1995, Weinstein positioned Miramax to become the primary distributor of Hong Kong action films in the United States. Miramax's acquisition and distribution strategy for Hong Kong action films was grounded in a specific set of assumptions regarding how to appeal to mass-market American tastes. The company targeted action-oriented films featuring recognizable genre conventions and brand- name stars, considering such titles both favorites of hardcore Hong Kong film fans and accessible enough to attract new viewers. Rather than booking its Hong Kong theatrical acquisitions into art cinemas, Miramax favored wide releases to multiplexes accompanied by marketing campaigns designed to highlight the action and hide the "foreignness" of the films. Miramax initially adopted a strategy of dubbing, re-scoring, re-editing, and often re-titling its Hong Kong theatrical and video/DVD releases in order to make them more appealing to mainstream American audiences. -
Product Guide
AFM PRODUCTPRODUCTwww.thebusinessoffilmdaily.comGUIDEGUIDE AFM AT YOUR FINGERTIPS – THE PDA CULTURE IS HAPPENING! THE FUTURE US NOW SOURCE - SELECT - DOWNLOAD©ONLY WHAT YOU NEED! WHEN YOU NEED IT! GET IT! SEND IT! FILE IT!© DO YOUR PART TO COMBAT GLOBAL WARMING In 1983 The Business of Film innovated the concept of The PRODUCT GUIDE. • In 1990 we innovated and introduced 10 days before the major2010 markets the Pre-Market PRODUCT GUIDE that synced to the first generation of PDA’s - Information On The Go. • 2010: The Internet has rapidly changed the way the film business is conducted worldwide. BUYERS are buying for multiple platforms and need an ever wider selection of Product. R-W-C-B to be launched at AFM 2010 is created and designed specifically for BUYERS & ACQUISITION Executives to Source that needed Product. • The AFM 2010 PRODUCT GUIDE SEARCH is published below by regions Europe – North America - Rest Of The World, (alphabetically by company). • The Unabridged Comprehensive PRODUCT GUIDE SEARCH contains over 3000 titles from 190 countries available to download to your PDA/iPhone/iPad@ http://www.thebusinessoffilm.com/AFM2010ProductGuide/Europe.doc http://www.thebusinessoffilm.com/AFM2010ProductGuide/NorthAmerica.doc http://www.thebusinessoffilm.com/AFM2010ProductGuide/RestWorld.doc The Business of Film Daily OnLine Editions AFM. To better access filmed entertainment product@AFM. This PRODUCT GUIDE SEARCH is divided into three territories: Europe- North Amerca and the Rest of the World Territory:EUROPEDiaries”), Ruta Gedmintas, Oliver -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Hong Kong Cinema Since 1997: The Response of Filmmakers Following the Political Handover from Britain to the People’s Republic of China by Sherry Xiaorui Xu Thesis for the degree of Doctor of Philosophy December 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy HONG KONG CINEMA SINCE 1997: THE RESPONSE OF FILMMAKERS FOLLOWING THE POLITICAL HANDOVER FROM BRITAIN TO THE PEOPLE’S REPUBLIC OF CHINA by Sherry Xiaorui Xu This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema. -
Movie Data Analysis.Pdf
FinalProject 25/08/2018, 930 PM COGS108 Final Project Group Members: Yanyi Wang Ziwen Zeng Lingfei Lu Yuhan Wang Yuqing Deng Introduction and Background Movie revenue is one of the most important measure of good and bad movies. Revenue is also the most important and intuitionistic feedback to producers, directors and actors. Therefore it is worth for us to put effort on analyzing what factors correlate to revenue, so that producers, directors and actors know how to get higher revenue on next movie by focusing on most correlated factors. Our project focuses on anaylzing all kinds of factors that correlated to revenue, for example, genres, elements in the movie, popularity, release month, runtime, vote average, vote count on website and cast etc. After analysis, we can clearly know what are the crucial factors to a movie's revenue and our analysis can be used as a guide for people shooting movies who want to earn higher renveue for their next movie. They can focus on those most correlated factors, for example, shooting specific genre and hire some actors who have higher average revenue. Reasrch Question: Various factors blend together to create a high revenue for movie, but what are the most important aspect contribute to higher revenue? What aspects should people put more effort on and what factors should people focus on when they try to higher the revenue of a movie? http://localhost:8888/nbconvert/html/Desktop/MyProjects/Pr_085/FinalProject.ipynb?download=false Page 1 of 62 FinalProject 25/08/2018, 930 PM Hypothesis: We predict that the following factors contribute the most to movie revenue. -
Why Support Amfar?
Photo: Getty/Wireimage Photo: Getty/Wireimage Photo: Getty/Wireimage amfAR? Why Support Photo: Kevin Tachman Photo: Kevin Tachman Photo: WireImage An Internationally Recognized Brand amfAR’s international fundraising events are renowned for their ability to attract the world’s leading public figures and to garner global media coverage. Anchored by amfAR’s signature Cinema charitable events in the world. Since the Against AIDS series, the Foundation routinely first Cinema Against AIDS Cannes in 1993, holds gala fundraising events in Cannes, these amfAR benefits have played a pivotal New York, Dallas, Los Angeles, Milan, role in focusing attention on the fight Toronto, and other major cities. The Cinema against AIDS and have generated more than Against AIDS galas are among the most $70 million in support for the Foundation’s high-profile and consistently successful AIDS research programs. amfAR’s gala events attract A-list celebrities and the press attention that goes along with their star power. In just the past few years these events have drawn a glittering guest list including: Prince Albert Alan Cumming Milla Jovovich Lionel Richie of Monaco Matt Damon Caroline Kennedy Carine Roitfeld Woody Allen Benicio Del Toro Nicole Kidman Meg Ryan Ben Affleck Catherine Deneuve Beyoncé Knowles Zoe Saldana Marc Anthony Johnny Depp Lady Gaga Susan Sarandon Giorgio Armani Leonardo DiCaprio Karl Lagerfeld Claudia Schiffer Lance Armstrong Faye Dunaway Jude Law Julian Schnabel Lauren Bacall Kirsten Dunst Jennifer Jason Leigh Hedi Slimane Javier Bardem Rupert Everett Annie Lennox Sylvester Stallone Ellen Barkin Richard Gere Juliette Lewis Rod Stewart Harry Belafonte Danny Glover Gong Li Sharon Stone Gael García Bernal Ryan Gosling Laura Linney Mira Sorvino Mary J. -
China Erasing H&M from Internet Amid Xinjiang Backlash
4C RECORDS/NEWS TEXARKANA GAZETTE ✯ SUNDAY, MARCH 28, 2021 China erasing H&M from internet amid Xinjiang backlash The Associated Press peared from app stores. Rein said the outpour- over a year earlier as con- also is known as Victoria H&M’s announcement HONG KONG — H&M It wasn’t clear whether ing of anger at H&M is sumer demand rebounded Song, and actor Huang last year that it no longer disappeared from the inter- companies received orders the harshest he has seen from the coronavirus, while Xuan announced earlier would use Xinjiang cotton net in China as the gov- to erase H&M’s online pres- against a foreign brand. He North American sales fell they were ending endorse- cited the BCI’s move to stop ernment raised pressure on ence, but Chinese enter- said companies are espe- 10%. ment deals with H&M. licensing cotton from the shoe and clothing brands prises are expected to fall cially sensitive because An H&M outlet in In Hong Kong, pro-Beijing region because it was dif- and announced sanctions in line without being told. this comes at a time when Shanghai had only a hand- lawmaker Regina Ip said in a ficult to trace how it was Friday against British offi- Regulators have broad pow- Chinese anti-monopoly and ful of customers on Friday Twitter post that she would produced. cials in a spiraling fight ers to punish companies other regulators are step- afternoon. stop buying Burberry, one It was unclear why the over complaints of abuses that fail to support official ping up scrutiny of internet “I wasn’t aware of the of her favorite brands. -
Introduction to Neorealism: Yesterday, Today Starts Wednesday 12 October 2011 18.30 – 20.30 8 Weeks Italian Neorealism Was
Introduction to Neorealism: Yesterday, Today Starts Wednesday 12 October 2011 18.30 – 20.30 8 weeks Italian Neorealism was undoubtedly one of the most revolutionary cinematic styles of the twentieth century, and despite being borne out of the ruins of the aftermath of World War II, Neorealism has continued to influence contemporary film directors, both within Italy and in the international film industry. This course will look at the distinguishing features which made Neorealism such a unique phenomenon and course participants will trace these features in contemporary films in order to explore the notion of a reinvigorated neo- neorealism. Beginner’s level - no prior knowledge necessary. Course tutor: Adalgisa Serio, freelance lecturer and writer, also working for the Open University and CDLCI. Week 1 Introduction – Roma Citta` Aperta (Rome, Open City) The Annexe Wed 12 Oct 18:30 – 20:30 We start by trying to illustrate the main features which characterise and define Neorealism using the most significant films as illustrative examples – from Bicycle Thieves (Ladri di Biciclette) by Vittorio De Sica, to The Earth will Tremble (La terra Trema) by Luchino Visconti. We will then concentrate to analyse Rossellini’s masterpiece “Roma Citta` Aperta” (1945), considered by most critics as the cinematic manifesto of Neorealism. Week 2 Roma Citta` Aperta (Rome, Open City) The Annexe Wed 19 Oct 18:30 – 20:30 Continue from week 1 Week 3 Screening: Paisà (Paisan) Cinema Wed 26 Oct 18:10 Dir Roberto Rossellini / IT 1946/ 120 mins Carmela Sazio, Gar Moore, William Tubbs, Robert Van Loon Part of Rossellini’s War trilogy, the film, for the content and cinematic choices, is one of the most powerful examples of Neorealism.