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Hole a Remediative Approach to the Filmmaking of the Coen Brothers
University of Dundee DOCTOR OF PHILOSOPHY Going Down the 'Wabbit' Hole A Remediative Approach to the Filmmaking of the Coen Brothers Barrie, Gregg Award date: 2020 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Gregg Barrie PhD Film Studies Thesis University of Dundee February 2021 Word Count – 99,996 Words 1 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Table of Contents Table of Figures ..................................................................................................................................... 2 Declaration ............................................................................................................................................ -
Coming-Of-Age Film in the Age of Activism
Coming-of-Age Film in the Age of Activism Agency and Intersectionality in Moonlight, Lady Bird, and Call Me By Your Name 29 – 06 – 2018 Supervisor: Anne Salden dr. M.A.M.B. (Marie) Lous Baronian [email protected] Second Reader: student number: 11927364 dr. A.M. (Abe) Geil Master Media Studies (Film Studies) University of Amsterdam Acknowledgements First and foremost, I would like to thank Marie Baronian for her first-rate supervision and constant support. Throughout this process she inspired and encouraged me, which is why she plays an important part in the completion of my thesis. I would also like to thank Veerle Spronck and Rosa Wevers, who proved that they are not only the best friends, but also the best academic proof-readers I could ever wish for. Lastly, I would like to express my gratitude towards my classmate and dear friend Moon van den Broek, who was always there for me when I needed advice (or just a hug) during these months, even though she had her own thesis to write too. Abstract The journey of ‘coming of age’ has been an inspiring human process for writers and filmmakers for centuries long, as its narrative format demonstrates great possibilities for both pedagogy and entertainment. The transformation from the origins of the genre, the German Bildungsroman, to classic coming-of-age cinema in the 1950s and 1980s in America saw few representational changes. Classic coming-of-age films relied heavily on the traditional Bildungsroman and its restrictive cultural norms of representation. However, in the present Age of Activism recent coming-of-age films seem to break with this tendency and broaden the portrayal of identity formation by incorporating diversity in its representations. -
Cinematic Sessions : the Ethics of Therapy in Hollywood Film
Smith ScholarWorks Theses, Dissertations, and Projects 2011 Cinematic sessions : the ethics of therapy in Hollywood film Meredith Kendra Flouton-Barnes Smith College Follow this and additional works at: https://scholarworks.smith.edu/theses Part of the Social and Behavioral Sciences Commons Recommended Citation Flouton-Barnes, Meredith Kendra, "Cinematic sessions : the ethics of therapy in Hollywood film" (2011). Masters Thesis, Smith College, Northampton, MA. https://scholarworks.smith.edu/theses/552 This Masters Thesis has been accepted for inclusion in Theses, Dissertations, and Projects by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected]. Meredith K. Flouton-Barnes Cinematic Sessions: The Ethics of Therapy in Hollywood Film ABSTRACT This qualitative study was undertaken to examine how the therapeutic process is depicted in modern films produced for American audiences over the past two decades, with special reference to how the conventions of ethics in therapy are treated, and to discuss the implications of these findings for clinical practice. A sample of 50 films that featured at least one scene of individual therapy was identified and surveyed using a coding scheme developed for this project. The domains of interest included: clinician, client, and session demographics, and adherence to ethical standards as portrayed in therapy scenes. This study was undertaken to contribute a more recent voice to the growing clinical discussion about the representation of mental health practitioners in film and to call attention to the specific strengths and shortcomings therein. The findings are discussed from a social learning theory framework and the implications for social work practice are discussed. -
Reframe and Imdbpro Announce New Collaboration to Recognize Standout Gender-Balanced Film and TV Projects
FOR IMMEDIATE RELEASE Media Contacts: June 7, 2018 For Sundance Institute: Jenelle Scott 310.360.1972 [email protected] For Women In Film: Catherine Olim 310.967.7242 [email protected] For IMDbPro: Casey De La Rosa 310.573.0632 [email protected] ReFrame and IMDbPro Announce New Collaboration to Recognize Standout Gender-balanced Film and TV Projects The ReFrame Stamp is being Awarded to 12 Films from 2017 including Everything, Everything; Girls Trip; Lady Bird; The Post; and Wonder Woman Los Angeles, CA — ReFrame™, a coalition of industry professionals and partner companies founded by Women In Film and Sundance Institute whose mission is to increase the number of women of all backgrounds working in film, TV and media, and IMDbPro (http://www.imdbpro.com/), the leading information resource for the entertainment industry, today announced a new collaboration that leverages the authoritative data and professional resources of IMDbPro to recognize standout, gender- balanced film and TV projects. ReFrame is using IMDbPro data to determine recipients of a new ReFrame Stamp, and IMDbPro is providing digital promotion of ReFrame activities (imdb.com/reframe). Also announced today was the first class of ReFrame Stamp feature film recipients based on an extensive analysis of IMDbPro data on the top 100 domestic-grossing films of 2017. The recipients include Warner Bros.’ Everything, Everything, Universal’s Girls Trip, A24’s Lady Bird, Twentieth Century Fox’s The Post and Warner Bros.’ Wonder Woman. The ReFrame Stamp serves as a mark of distinction for projects that have demonstrated success in gender-balanced film and TV productions based on criteria developed by ReFrame in consultation with ReFrame Ambassadors (complete list below), producers and other industry experts. -
Greenberg (2011)
Greenberg (2011) “You like me so much more than you think you do.” Major Credits: Director: Noah Baumbach Screenplay: Noah Baumbach, from a story by Baumbach and Jennifer Jason Leigh Cinematography: Harris Savides Music: James Murphy Principal Cast: Ben Stiller (Roger Greenberg), Greta Gerwig (Florence), Rhys Ifans (Ivan), Jennifer Jason Leigh (Beth) Production Background: Baumbach, the son of two prominent New York writers whose divorce he chronicled in his earlier feature The Squid and the Whale (2005), co-wrote the screenplay with his then-wife, Jennifer Jason Leigh, who plays the role of Greenberg’s former girlfriend. His friend and sometime collaborator (they wrote The Life Aquatic with Steve Zissou together), Wes Anderson, co-produced Greenberg with Leigh. Most of Baumbach’s films to date deal with characters who are disappointed in their lives, which do not conform to their ideal conceptions of themselves. At whatever age—a father in his 40s, his pretentious teenage son (The Squid and the Whale), a college graduate in her late twenties (Frances Ha, 2012)—they struggle to act like grownups. The casting of Greta Gerwig developed into an enduring romantic and creative partnership: Gerwig co-wrote and starred in his next two films, Frances Ha and Mistress America (2015). You can read about Baumbach and Gerwig in Ian Parker’s fine article published in New Yorker, April 29, 2013. Cinematic Qualities: 1. Screenplay: Like the work of one of his favorite filmmakers, Woody Allen, Baumbach’s dramedy combines literate observation (“All the men dress up as children and the children dress as superheroes”) and bitter commentary (“Life is wasted on… people”) with poignant confession (“It’s huge to finally embrace the life you never planned on”). -
Post-Postmodern Cinema at the Turn of the Millennium: Paul Thomas Anderson’S Magnolia
Revista de Estudios Norteamericanos, vol. 24, 2020. Seville, Spain, ISSN 1133-309-X, pp. 1-21. DOI: http://dx.doi.org/10.12795/REN.2020.i24.01 POST-POSTMODERN CINEMA AT THE TURN OF THE MILLENNIUM: PAUL THOMAS ANDERSON’S MAGNOLIA JESÚS BOLAÑO QUINTERO Universidad de Cádiz [email protected] Received: 20 May 2020 Accepted: 26 July 2020 KEYWORDS Magnolia; Paul Thomas Anderson; post-postmodern cinema; New Sincerity; French New Wave; Jean-Luc Godard; Vivre sa Vie PALABRAS CLAVE Magnolia; Paul Thomas Anderson; cine post-postmoderno; Nueva Sinceridad; Nouvelle Vague; Jean-Luc Godard; Vivir su vida ABSTRACT Starting with an analysis of the significance of the French New Wave for postmodern cinema, this essay sets out to make a study of Paul Thomas Anderson’s Magnolia (1999) as the film that marks the beginning of what could be considered a paradigm shift in American cinema at the end of the 20th century. Building from the much- debated passing of postmodernism, this study focuses on several key postmodern aspects that take a different slant in this movie. The film points out the value of aspects that had lost their meaning within the fiction typical of postmodernism—such as the absence of causality; sincere honesty as opposed to destructive irony; or the loss of faith in Lyotardian meta-narratives. We shall look at the nature of the paradigm shift to link it to the desire to overcome postmodern values through a recovery of Romantic ideas. RESUMEN Partiendo de un análisis del significado de la Nouvelle Vague para el cine postmoderno, este trabajo presenta un estudio de Magnolia (1999), de Paul Thomas Anderson, como obra sobre la que pivota lo que se podría tratar como un cambio de paradigma en el cine estadounidense de finales del siglo XX. -
Documentarists and Documentary/Narrative Filmmakers Those Listed Are Directors, Unless Otherwise Noted
1 COM 321, Documentary Form in Film & Television 1/15/14 Documentarists and Documentary/Narrative Filmmakers Those listed are directors, unless otherwise noted. Documentary/Narrative Filmmakers—Many have done both: Name & Key Documentaries Key Narrative Works Nation Allen, Woody Zelig, 1983 (mockumentary) Annie Hall, 1977 US Manhattan, 1979 Altman, Robert The James Dean Story, 1957 M*A*S*H, 1970 US The Player, 1992 Short Cuts, 1993 Anderson, Lindsay Thursday’s Children, 1954 (with Guy if. , 1968 Britain Brenton) O Lucky Man!, 1973 Anger, Kenneth Kustom Kar Kommandos, 1963 Fireworks, 1947 US Scorpio Rising, 1964 Apted, Michael The Up! series (1970‐2012 so far) Gorillas in the Mist, 1988 Britain Nell, 1994 The World is Not Enough, 1999 Brakhage, Stan The Act of Seeing with One’s Own Dog Star Man, 1962 US Eyes, 1971 Mothlight, 1963 Bunuel, Luis Las Hurdes (Land Without Bread), Un Chien Andalou, 1928 (with Salvador Spain/France 1933 (mockumentary?) Dali) L’Age D’Or, 1930 The Discreet Charm of the Bourgeoisie, 1972 Cameron, James Expedition Bismarck, 2002 Titanic, 1997 US Ghosts of the Abyss, 2003 Avatar, 2009 Capra, Frank Why We Fight series, 1942‐44 Mr. Deeds Goes to Town, 1936 US Mr. Smith Goes to Washington, 1939 It’s a Wonderful Life, 1946 Chukrai, Grigori Pamyat, 1971 Ballad of a Soldier, 1959 Soviet Union Cooper, Merian C. Grass: A Nation’s Battle for Life, 1925 The Four Feathers, 1929 US (with Ernest B. Schoedsack) King Kong, 1933 Chang: A Drama of the Wilderness, 1927 (with Ernest B. Schoedsack) Demme, Jonathan Stop Making Sense, -
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. -
Embargoed Until 12:00PM ET / 9:00AM PT on Tuesday, April 23Rd, 2019
Embargoed Until 12:00PM ET / 9:00AM PT on Tuesday, April 23rd, 2019 FOR IMMEDIATE RELEASE 24th ANNUAL NANTUCKET FILM FESTIVAL ANNOUNCES FEATURE FILM LINEUP DANNY BOYLE’S YESTERDAY TO OPEN FESTIVAL ALEX HOLMES’ MAIDEN TO CLOSE FESTIVAL LULU WANG’S THE FAREWELL TO SCREEN AS CENTERPIECE DISNEY•PIXAR’S TOY STORY 4 PRESENTED AS OPENING FAMILY FILM IMAGES AVAILABLE HERE New York, NY (April 23, 2019) – The Nantucket Film Festival (NFF) proudly announced its feature film lineup today. The opening night selection for its 2019 festival is Universal Pictures’ YESTERDAY, a Working Title production written by Oscar nominee Richard Curtis (Four Weddings and a Funeral, Love Actually, and Notting Hill) from a story by Jack Barth and Richard Curtis, and directed by Academy Award® winner Danny Boyle (Slumdog Millionaire, Trainspotting, 28 Days Later). The film tells the story of Jack Malik (Himesh Patel), a struggling singer-songwriter in a tiny English seaside town who wakes up after a freak accident to discover that The Beatles have never existed, and only he remembers their songs. Sony Pictures Classics’ MAIDEN, directed by Alex Holmes, will close the festival. This immersive documentary recounts the thrilling story of Tracy Edwards, a 24-year-old charter boat cook who became the skipper of the first ever all-female crew to enter the Whitbread Round the World Yacht Race. The 24th Nantucket Film Festival runs June 19-24, 2019, and celebrates the art of screenwriting and storytelling in cinema. A24’s THE FAREWELL, written and directed by Lulu Wang, will screen as the festival’s Centerpiece film. -
Starz’S €˜America to Me’ Docuseries Explores Race in Schools
Starz’s ‘America to Me’ Docuseries Explores Race in Schools 06.29.2018 Filmmaker Steve James (Hoop Dreams, The Interrupters, Life Itself, Abacus: Small Enough to Jail) spent a year inside suburban Chicago's Oak Park and River Forest High School, exploring the grapple with decades-long racial and educational inequities. America to Me follows students, teachers and administrators at one of the country's highest performing and diverse public schools, digging into many of the stereotypes and challenges that today's teenagers face, and looking at what has succeeded and failed in the quest to achieve racial equality in our educational system. The 10-part series also serves as the launch of a social impact campaign focusing on the issues highlighted in each episode. Starz partnered with series producer Participant Media to encourage candid conversations about racism through a downloadable Community Conversation Toolkit and elevate student voices through a national spoken-word poetry contest. Alongside the release of each new episode, the campaign will also host a high-profile screening event in one city across the country. Over the course of 10 weeks, these 10 events will seed a national dialogue anchored by the series, and kick off activities across the country to inspire students, teachers, parents and community leaders to develop local initiatives that address inequities in their own communities, says Starz. James directed and executive produced the series, along with executive producers Gordon Quinn (The Trials of Muhammad Ali), Betsy Steinberg (Edith+Eddie) and Justine Nagan (Minding the Gap) at his longtime production home, Kartemquin Films. -
Cinematic Representations of the City
UC Center French Language and Culture Program Courses – Summer 2014 PCC 105. Paris Scenes: Cinematic Representations of the City Prof. Carole Viers-Andronico Lecture contact: [email protected] Wednesday 15h00-17h00 Visits (or Lecture) Office Hours Thursday 15h00-17h00 By appointment COURSE DESCRIPTION The city of Paris has long served as muse to foreign and domestic filmmakers. Cinematic representations have framed and reframed not only how we see and understand many of the ville lumière’s most famous monuments and districts but also how we comprehend aspects of French history and culture. This course, therefore, will take an interdisciplinary approach to cinematic representation by relying on methodologies from comparative literature, philosophies of aesthetics, film studies, history, and urban studies. Throughout the course, students will study the ways in which cinematic representations attribute meaning to monuments and districts. They will analyze how these representations constitute scenes of re-presentation; that is, how they provide interpretations of cultural, historical, and socio-political events. Through a combination of viewings, related readings, and site visits to scene locations, students will engage in discussions about how the meanings of such sites become manifold depending on how they are framed and thus seen/scened. The course will be organized around case studies of both well-known and lesser-known sites, such as the Eiffel Tower, the Montmartre district, and the Latin Quarter district. 4.0 UC quarter units. Suggested subject areas for this course: Film / Comparative Literature / Urban Studies Goals The overriding goal of this course is to provide students with the tools to reflect critically on cinematic representations of Paris as a city in history. -
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