DOCSLIB.ORG

Video-Windows-Grosse

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Video-Windows-Grosse TITLE THEATRICAL RELEASE VIDEO ANNOUNCEMENT ANNOUNCEMENT WINDOW VIDEO RELEASE VIDEO WINDOW GROSS (in millions) DISTRIBUTOR CBS FILMS (THROUGH 2014) Extraordinary Measures 1/22/10 3/29/10 2 mo 6 days 5/18/10 3 mo 26 days 12.1 CBS Films Back-Up Plan, The 4/23/10 6/21/10 1 mo 29 days 8/24/10 4 mo 3 days 36.1 CBS Films Faster 11/24/10 1/18/11 1 mo 25 days 3/1/11 3 mo 7 days 23.2 CBS Films Mechanic, The 1/28/11 3/28/11 1 mo 29 days 5/17/11 3 mo 19 days 29.1 CBS Films Beastly 3/4/11 6/28/11 3 mo 26 days 27.8 CBS Films Woman In Black, The 2/3/12 3/27/12 1 mo 23 days 5/22/12 3 mo 19 days 54.3 CBS Films Woman In Black, The EST 2/3/12 5/15/12 3 mo 12 days 54.3 CBS Films Salmon Fishing in th 3/9/12 6/5/12 2 mo 28 days 7/17/12 4 mo 10 days 9 CBS Films Salmon Fishing in th EST 3/9/12 7/10/12 4 mo 3 days 9 CBS Films Words, The 9/7/12 11/5/12 1 mo 29 days 12/24/12 3 mo 18 days 11.5 CBS Films Words, The EST 9/7/12 12/18/12 3 mo 12 days 11.5 CBS Films Seven Psychopaths 10/12/12 11/19/12 1 mo 8 days 1/29/13 3 mo 19 days 15 CBS Films Last Exorcism Part II, The 3/1/13 6/18/13 3 mo 19 days 15.2 CBS Films Kings Of Summer, The 5/31/13 8/25/13 2 mo 26 days 9/24/13 3 mo 26 days 1.3 CBS Films To Do List, The 7/26/13 10/1/13 2 mo 7 days 11/19/13 3 mo 26 days 3.5 CBS Films Last Vegas 11/1/13 1/7/14 2 mo 7 days 1/28/14 2 mo 28 days 63.9 CBS Films Inside Llewyn Davis 12/6/13 2/4/14 2 mo 3/11/14 3 mo 5 days 13.2 CBS Films Afflicted 4/4/14 4/4/14 0 7/1/14 2 mo 28 days 0.1 CBS Films Afflicted EST 4/4/14 4/4/14 0 0.1 CBS Films LIONSGATE (THROUGH 2011) Rambo 1/25/08 3/5/08 1 mo 20 days 5/27/08 4 mo 3 days 42.75 Lionsgate (through 2011) Eye, The 2/1/08 4/3/08 2 mo 2 days 6/3/08 4 mo 3 days 31.42 Lionsgate (through 2011) Witless Protection 2/22/08 4/12/08 1 mo 20 days 6/10/08 3 mo 19 days 4.16 Lionsgate (through 2011) Bank Job, The 3/7/08 4/18/08 1 mo 12 days 7/15/08 4 mo 10 days 30.06 Lionsgate (through 2011) Forbidden Kingdom, The 4/18/08 6/19/208 2 mo 2 days 9/9/08 4 mo 24 days 52.08 Lionsgate (through 2011) Midnight Meat Train 8/1/08 11/25/08 3 mo 26 days 2/17/09 6 mo 20 days 0.08 Lionsgate (through 2011) Disaster Movie 8/29/08 10/13/08 1 mo 25 days 1/6/09 4 mo 10 days 14.19 Lionsgate (through 2011) Bangkok Dangerous 9/5/08 10/13/08 1 mo 8 days 1/6/09 4 mo 3 days 15.29 Lionsgate (through 2011) Tyler Perry's Family That Preys 9/12/08 1/13/09 4 mo 3 days 37.1 Lionsgate (through 2011) My Best Friend's Girl 9/19/08 11/20/08 2 mo 2 days 1/13/09 3 mo 26 days 19.21 Lionsgate (through 2011) Lucky Ones, The 9/26/08 1/27/09 4 mo 3 days 0.26 Lionsgate (through 2011) Religulous 10/1/08 2/17/09 4 mo 19 days 13.01 Lionsgate (through 2011) W. 10/17/08 11/30/08 1 mo 14 days 2/10/09 3 mo 26 days 25.53 Lionsgate (through 2011) Saw V 10/24/08 11/30/08 1 mo 7 days 1/20/09 2 mo 28 days 56.79 Lionsgate (through 2011) Repo! The Genetic Opera 11/7/08 1/20/09 2 mo 14 days 1/20/09 2 mo 14 days 0.14 Lionsgate (through 2011) Transporter 3 11/26/08 1/12/09 1 mo 17 days 3/10/09 3mo 14 days 31.71 Lionsgate (through 2011) Punisher: War Zone 12/5/08 1/23/09 1 mo 19 days 3/17/09 3 mo 12 days 8.05 Lionsgate (through 2011) Spirit, The 12/25/08 2/10/09 1 mo 17 days 4/14/09 3 mo 20 days 19.8 Lionsgate (through 2011) My Bloody Valentine 3-D 1/16/09 3/3/09 1 mo 16 days 5/19/09 4 mo 3 days 51.54 Lionsgate (through 2011) New In Town 1/30/09 3/25/09 1 mo 24 days 5/26/09 3 mo 26 days 16.7 Lionsgate (through 2011) Tyler Perry's Madea Goes To Jail 2/20/09 4/16/09 1 mo 25 days 6/16/09 3 mo 26 days 0.001 Lionsgate (through 2011) Horsemen, The 3/6/09 7/14/09 4 mo 10 days Lionsgate (through 2011) Haunting in Connecticut, The 3/27/09 5/19/09 1 mo 23 days 7/14/09 3 mo 19 days 55.38 Lionsgate (through 2011) Crank High Voltage 4/17/09 6/15/09 1 mo 29 days 9/8/09 4 mo 24 days 13.68 Lionsgate (through 2011) Battle for Terra 3D 5/1/09 6/30/09 2 mo 9/22/09 4 mo 24 days 1.64 Lionsgate (through 2011) Gamer 9/4/09 10/26/09 1 mo 22 days 1/19/10 4 mo 17 days 20.5 Lionsgate (through 2011) Tyler Perry's I Can 9/11/09 1/12/10 4 mo 3 days 51.7 Lionsgate (through 2011) Blood Creek 9/18/09 1/19/10 4 mo 3 days Lionsgate (through 2011) More Than A Game 10/2/09 2/2/10 4 mo 3 days 0.95 Lionsgate (through 2011) Saw VI 10/23/09 12/8/09 1 mo 16 days 1/26/10 3 mo 5 days 27.6 Lionsgate (through 2011) Precious 11/6/09 1/11/10 2 mo 6 days 3/9/10 4 mo 3 days 47.1 Lionsgate (through 2011) Brothers 12/4/09 1/27/10 1 mo 24 days 3/23/10 3 mo 19 days 28.5 Lionsgate (through 2011) Daybreakers 1/8/10 3/11/10 2 m 2 days 5/11/10 4 mo 3 days 30.1 Lionsgate (through 2011) Spy Next Door, The 1/15/10 3/22/10 2 mo 6 days 5/18/10 4 mo 3 days 24.3 Lionsgate (through 2011) From Paris With Love 2/5/10 3/30/10 1 mo 23 days 6/8/10 4 mo 3 days 24 Lionsgate (through 2011) Tyler Perry's Why Di 4/1/10 8/31/10 5 mo 1 day 60 Lionsgate (through 2011) Kick Ass 4/16/10 6/10/10 1 mo 25 days 8/3/10 3 mo 19 days 48 Lionsgate (through 2011) Killers 6/4/10 9/7/10 3 mo 5 days 47 Lionsgate (through 2011) Expendables, The 8/13/10 10/5/10 1 mo 23 days 11/23/10 3 mo 12 days 103 Lionsgate (through 2011) Last Exorcism, The 8/27/10 11/3/10 2 mo 8 days 1/4/11 4 mo 10 days 41 Lionsgate (through 2011) Alpha and Omega 9/17/10 11/9/10 1 mo 23 days 1/11/11 3 mo 26 days 25.1 Lionsgate (through 2011) Buried 9/24/10 12/2/10 2 mo 9 days 1/18/11 3 mo 26 days 1 Lionsgate (through 2011) Saw 3D 10/29/10 12/20/10 1 mo 22 days 1/25/11 2 mo 28 days 45.7 Lionsgate (through 2011) For Colored Girls 11/5/10 2/8/11 3 mo 5 days 37.7 Lionsgate (through 2011) Next Three Days, The 11/19/10 1/11/11 1 mo 23 days 3/8/11 3 mo 19 days 21.1 Lionsgate (through 2011) Rabbit Hole 12/17/10 2/9/11 1 mo 24 days 4/19/11 4 mo 3 days 2.1 Lionsgate (through 2011) From Prada To Nada 1/28/11 5/3/11 3 mo 5 days 3 Lionsgate (through 2011) Lincoln Lawyer, The 3/18/11 5/11/11 1 mo 24 days 7/12/11 3 mo 26 days 58 Lionsgate (through 2011) No Eres Tu, Soy Yo 4/8/11 8/16/11 4 mo 10 days 1.3 Lionsgate (through 2011) Tyler Perry's Madea' 4/22/11 8/30/11 4 mo 10 days 53.3 Lionsgate (through 2011) Devil's Double, The 7/29/11 10/3/11 2 mo 6 days 11/22/11 3 mo 26 days 1.3 Lionsgate (through 2011) Conan The Barbarian 8/19/11 11/22/11 3 mo 5 days 21.2 Lionsgate (through 2011) Saving Private Perez 9/2/11 1/10/12 4 mo 10 days 1.4 Lionsgate (through 2011) Warrior 9/9/11 12/20/11 3 mo 12 days 13.6 Lionsgate (through 2011) Abduction 9/23/11 1/17/12 3 mo 26 days 28 Lionsgate (through 2011) Labios rojos 10/14/11 2/14/12 4 mo 3 days 0.136 Lionsgate (through 2011) Pastorela 12/2/11 4/10/12 4 mo 10 days 0.161 Lionsgate (through 2011) OPEN ROAD/GLOBAL ROAD Grey, The 1/27/12 3/20/12 1 mo 23 days 5/22/12 2 mo 26 days 51.6 Open Road Grey, The EST 1/27/12 5/1/12 3 mo 5 days 51.6 Open Road Silent House 3/9/12 5/22/12 2 mo 14 days 7/24/12 4 mo 17 days 12.8 Open Road Silent House EST 3/9/12 7/10/12 4 mo 3 days 12.8 Open Road Hit And Run 8/22/12 10/30/12 1 mo 9 days 1/8/13 4 mo 19 days 13.7 Open Road Hit And Run EST 8/22/12 12/18/12 3 mo 28 days 13.7 Open Road End Of Watch 9/21/12 11/21/12 1 mo 1 day 1/22/13 4 mo 3 days 41 Open Road End Of Watch EST 9/21/12 1/8/13 3 mo 19 days 41 Open Road Silent Hill: Revelat 10/26/12 12/12/12 1 mo 17 days 2/12/13 3 mo 19 days 17.5 Open Road Haunted House, A 1/11/13 2/19/13 1 mo 9 days 4/23/13 3 mo 12 days 40 Open Road Haunted House, A EST 1/11/13 4/11/13 3 mo 40 Open Road Side Effects 2/8/13 3/13/13 1 mo 3 days 5/21/13 3 mo 12 days 32.2 Open Road Side Effects EST 2/8/13 5/7/13 2 mo 28 days 32.2 Open Road Host, The 3/29/13 5/7/13 1 mo 9 days 7/9/13 3 mo 12 days 26.6 Open Road Jobs 8/16/13 9/25/13 1 mo 10 days 11/26/13 3 mo 12 days 16.1 Open Road Jobs EST 8/16/13 11/12/13 2 mo 28 days 16.1 Open Road Machete Kills 10/11/13 11/19/13 1 mo 9 days 1/21/14 3 mo 12 days 8 Open Road Machete Kills EST 10/11/13 1/7/14 2 mo 28 days 8 Open Road Homefront 11/27/13 1/15/14 1 mo 19 days 3/11/14 3 mo 14 days 20.2 Open Road Homefront EST 11/27/13 2/25/14 3 mo 20.2 Open Road Justin Bieber's Believe 12/25/13 2/13/14 1 mo 20 days 4/8/14 3 mo 14 days 6.2 Open Road Justin Bieber's Believe EST 12/25/13 3/25/14 3 mo 6.2 Open Road Nut Job, The 1/17/14 2/19/14 1 mo 3 days 4/15/14 2 mo 28 days 64.3 Open Road Nut Job, The EST 1/17/14 4/8/14 2 mo 21 days 64.3 Open Road Sabotage 3/28/14 5/20/14 1 mo 23 days 7/22/14 3 mo 26 days 10.5 Open Road Sabotage EST 3/28/14 7/8/14 3 mo 12 days 10.5 Open Road Haunted House 2, A 4/18/14 6/11/14 1 mo 24 days 8/12/14 3 mo 26 days 17.3 Open Road Haunted House 2, A EST 4/18/14 7/29/14 3 mo 12 days 17.3 Open Road Chef 5/9/14 7/14/14 2 mo 6 days 9/30/14 4 mo 24 days 31.4 Open Road Chef EST 5/9/14 9/16/14 4 mo 10 days 31.4 Open Road Fluffy Movie, The 7/25/14 8/19/14 25 days 10/21/14 2 mo 28 days 2.8 Open Road Fluffy Movie, The EST 7/25/14 10/7/14 2 mo 14 days 2.8 Open Road Nightcrawler 10/31/14 12/5/14 1 mo 5 days 2/10/15 3 mo 12 days 32.4 Open Road Nightcrawler EST 10/31/14 1/27/15 2 mo 28 days 32.4 Open Road Rosewater 11/14/14 12/15/14 1 mo 1 day 2/10/15 2 mo 28 days 3.1 Open Road The Loft 1/30/15 3/17/15 1 mo 16 days 5/26/15 3 mo 26 days 6 Open Road The Loft EST 1/30/15 5/12/15 3 mo 12 days 6 Open Road The Gunman 3/20/15 4/28/15 1 mo 9 days 6/30/15 3 mo 12 days 10.7 Open Road The Gunman EST 3/20/15 6/16/15 2 mo 28 days 10.7 Open Road Little Boy 4/24/15 6/16/15 1 mo 23 days 8/18/15 3 mo 26 days 6.5 Open Road Little Boy EST 4/24/15 8/4/15 3 mo 12 days 6.5 Open Road Dope 6/19/15 8/11/15 1 mo 23 days 10/13/15 3 mo 26 days 17.5 Open Road Dope EST 6/19/15 9/29/15 3 mo 12 days 17.5 Open Road Rock The Kasbah 10/23/15 12/3/15 1 mo 11 days 2/2/16 3 mo 12 days 3 Open Road Rock The Kasbah EST 10/23/15 1/26/16 3 mo 5 days 3
Load more

Recommended publications
  • Pr-Dvd-Holdings-As-Of-September-18
    CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
    [Show full text]
  • Co-Optation of the American Dream: a History of the Failed Independent Experiment
    Cinesthesia Volume 10 Issue 1 Dynamics of Power: Corruption, Co- Article 3 optation, and the Collective December 2019 Co-optation of the American Dream: A History of the Failed Independent Experiment Kyle Macciomei Grand Valley State University, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/cine Recommended Citation Macciomei, Kyle (2019) "Co-optation of the American Dream: A History of the Failed Independent Experiment," Cinesthesia: Vol. 10 : Iss. 1 , Article 3. Available at: https://scholarworks.gvsu.edu/cine/vol10/iss1/3 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Cinesthesia by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Macciomei: Co-optation of the American Dream Independent cinema has been an aspect of the American film industry since the inception of the art form itself. The aspects and perceptions of independent film have altered drastically over the years, but in general it can be used to describe American films produced and distributed outside of the Hollywood major studio system. But as American film history has revealed time and time again, independent studios always struggle to maintain their freedom from the Hollywood industrial complex. American independent cinema has been heavily integrated with major Hollywood studios who have attempted to tap into the niche markets present in filmgoers searching for theatrical experiences outside of the mainstream. From this, we can say that the American independent film industry has a long history of co-optation, acquisition, and the stifling of competition from the major film studios present in Hollywood, all of whom pose a threat to the autonomy that is sought after in these markets by filmmakers and film audiences.
    [Show full text]
  • Download-To-Own and Online Rental) and Then to Subscription Television And, Finally, a Screening on Broadcast Television
    Exporting Canadian Feature Films in Global Markets TRENDS, OPPORTUNITIES AND FUTURE DIRECTIONS MARIA DE ROSA | MARILYN BURGESS COMMUNICATIONS MDR (A DIVISION OF NORIBCO INC.) APRIL 2017 PRODUCED WITH THE ASSISTANCE OF 1 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Acknowledgements This study was commissioned by the Canadian Media Producers Association (CMPA), in partnership with the Association québécoise de la production médiatique (AQPM), the Cana- da Media Fund (CMF), and Telefilm Canada. The following report solely reflects the views of the authors. Findings, conclusions or recom- mendations expressed in this report are those of the authors and do not necessarily reflect the views of the funders of this report, who are in no way bound by any recommendations con- tained herein. 2 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Executive Summary Goals of the Study The goals of this study were three-fold: 1. To identify key trends in international sales of feature films generally and Canadian independent feature films specifically; 2. To provide intelligence on challenges and opportunities to increase foreign sales; 3. To identify policies, programs and initiatives to support foreign sales in other jurisdic- tions and make recommendations to ensure that Canadian initiatives are competitive. For the purpose of this study, Canadian film exports were defined as sales of rights. These included pre-sales, sold in advance of the completion of films and often used to finance pro- duction, and sales of rights to completed feature films. In other jurisdictions foreign sales are being measured in a number of ways, including the number of box office admissions, box of- fice revenues, and sales of rights.
    [Show full text]
  • 2013 Movie Catalog © Warner Bros
    1-800-876-5577 www.swank.com Swank Motion Pictures,Inc. Swank Motion 2013 Movie Catalog 2013 Movie © Warner Bros. © 2013 Disney © TriStar Pictures © Warner Bros. © NBC Universal © Columbia Pictures Industries, ©Inc. Summit Entertainment 2013 Movie Catalog Movie 2013 Inc. Pictures, Motion Swank 1-800-876-5577 www.swank.com MOVIES Swank Motion Pictures,Inc. Swank Motion 2013 Movie Catalog 2013 Movie © New Line Cinema © 2013 Disney © Columbia Pictures Industries, Inc. © Warner Bros. © 2013 Disney/Pixar © Summit Entertainment Promote Your movie event! Ask about FREE promotional materials to help make your next movie event a success! 2013 Movie Catalog 2013 Movie Catalog TABLE OF CONTENTS New Releases ......................................................... 1-34 Swank has rights to the largest collection of movies from the top Coming Soon .............................................................35 Hollywood & independent studios. Whether it’s blockbuster movies, All Time Favorites .............................................36-39 action and suspense, comedies or classic films,Swank has them all! Event Calendar .........................................................40 Sat., June 16th - 8:00pm Classics ...................................................................41-42 Disney 2012 © Date Night ........................................................... 43-44 TABLE TENT Sat., June 16th - 8:00pm TM & © Marvel & Subs 1-800-876-5577 | www.swank.com Environmental Films .............................................. 45 FLYER Faith-Based
    [Show full text]
  • Autry Press Release
    Contact: Keisha Raines 323.495.4370 [email protected] Images (L-R): Jennifer Jason Leigh as Daisy Domergue, Kurt Russell as John Ruth, and Samuel L. Jackson as Major Marquis Warren in The Hateful Eight™ (2015) / All images © The Weinstein Company The Autry Announces The Hateful Eight Costume Loan, Adding to Its Gallery of Western Film Artifacts and Memorabilia On View Beginning Tuesday, December 22, 2015 Los Angeles, CA (December 10, 2015)—Beginning the week of The Hateful Eight's release in 70mm, visitors to the Autry Museum of the American West can see a display of costumes worn by three of the film's actors: Samuel L. Jackson, Jennifer Jason Leigh, and Kurt Russell. The elaborate costumes and props—including a buffalo coat based on an object in the Autry's collections—will be on view for the first time starting Tuesday, December 22, 2015, in the Autry's Imagination Gallery. “While many of Quentin Tarantino’s films have incorporated Western elements, this film—set in Wyoming a decade or so after the Civil War—stands out for its time, place, and cast of characters. We look forward to presenting these costumes as part of our efforts to continue dialogue about the 'Western genre' in our exhibitions and related programs,” said W. Richard West, Jr., the Autry’s President and CEO. With a plot that follows the journey of a group of bounty hunters, outlaws, and fugitives, The Hateful Eight reinterprets the Western genre for a twenty-first century audience. Designed by Courtney Hoffman and on loan from Cine-Manic Productions, Inc., the display consists of the full costumes worn by Major Marquis "The Bounty Hunter" Warren (Jackson), John "The Hangman" Ruth (Russell), and Daisy "The Prisoner" Doumergue (Leigh), along with prop weapons and accessories.
    [Show full text]
  • Brick-Mansions-Dossier-De-Presse
    2 EUROPACORP PRESENTE Durée : 1h38 DISTRIBUTION PRESSE EuropaCorp Distribution Etienne Lerbret / Anaïs Lelong La Cité du Cinéma - 20, rue Ampère 36, rue de Ponthieu - 75008 Paris 93413 Saint-Denis Cedex Tél. : 01 53 75 17 07 Tél. : 01 55 99 50 00 [email protected] www.europacorp.com [email protected] 3 ’ai eu l’honneur et le plaisir de travailler avec Paul JWalker pendant plusieurs semaines sur mon film Brick Mansions, et cette aventure ensemble restera pour moi inoubliable . Paul était un homme avec un grand cœur et vraiment très sympathique. Un homme dont le charme et le charisme se faisaient sentir dés qu’il arrivait sur le plateau et dont le visage resplendissait à chaque fois sur l’écran. Son talent d’acteur était tellement intense, sensible, drôle et puissant, que cela a été magique de travailler avec lui. Je suis très fier et heureux d’avoir pu le connaître. Camille Delamarre 4 ar ce court texte, je souhaite rendre un dernier hommage Pà Paul Walker, qui nous a brusquement quitté le 30 novembre dernier dans des conditions tragiques alors qu’il œuvrait pour venir en aide aux victimes du typhon Haiyan qui venait de frapper les Philippines. La nouvelle de sa disparition a évidemment été un grand choc pour moi, et je compatis sincèrement à la peine de ses proches. J’ai rencontré Paul l’été dernier sur le tournage de Brick Mansions. Nous nous sommes très vite entendus, malgré la barrière de la langue, et le film doit beaucoup à cette complicité spontanée qui s’est immédiatement établie entre nous.
    [Show full text]
  • “No Reason to Be Seen”: Cinema, Exploitation, and the Political
    “No Reason to Be Seen”: Cinema, Exploitation, and the Political by Gordon Sullivan B.A., University of Central Florida, 2004 M.A., North Carolina State University, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Gordon Sullivan It was defended on October 20, 2017 and approved by Marcia Landy, Distinguished Professor, Department of English Jennifer Waldron, Associate Professor, Department of English Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Adam Lowenstein, Professor, Department of English ii Copyright © by Gordon Sullivan 2017 iii “NO REASON TO BE SEEN”: CINEMA, EXPLOITATION, AND THE POLITICAL Gordon Sullivan, PhD University of Pittsburgh, 2017 This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Rancière. For Rancière, the political is an “intervention into the visible and sayable,” where members of a community who are otherwise uncounted come to be seen as part of the community through a “redistribution of the sensible.” This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Rancière means by the political.
    [Show full text]
  • Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking
    Kimberly Owczarski Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking In June 2005, Warner Bros. Pictures announced Are Marshall (2006), and Trick ‘r’ Treat (2006)2— a multi-film co-financing and co-production not a single one grossed more than $75 million agreement with Legendary Pictures, a new total worldwide at the box office. In 2007, though, company backed by $500 million in private 300 was a surprise hit at the box office and secured equity funding from corporate investors including Legendary’s footing in Hollywood (see Table 1 divisions of Bank of America and AIG.1 Slate for a breakdown of Legendary’s performance at financing, which involves an investment in a the box office). Since then, Legendary has been a specified number of studio films ranging from a partner on several high-profile Warner Bros. films mere handful to dozens of pictures, was hardly a including The Dark Knight, Inception, Watchmen, new phenomenon in Hollywood as several studios Clash of the Titans, and The Hangoverand its sequel. had these types of deals in place by 2005. But In an interview with the Wall Street Journal, the sheer size of the Legendary deal—twenty five Legendary founder Thomas Tull likened his films—was certainly ambitious for a nascent firm. company’s involvement in film production to The first film released as part of this deal wasBatman an entrepreneurial endeavor, stating: “We treat Begins (2005), a rebooting of Warner Bros.’ film each film like a start-up.”3 Tull’s equation of franchise. Although Batman Begins had a strong filmmaking with Wall Street investment is performance at the box office ($205 million in particularly apt, as each film poses the potential domestic theaters and $167 million in international for a great windfall or loss just as investing in a theaters), it was not until two years later that the new business enterprise does for stockholders.
    [Show full text]
  • Motion Picture License List of MPL Participating Theatrical Distributors & Producers
    Motion Picture License List of MPL Participating Theatrical Distributors & Producers MAJOR HOLLYWOOD STUDIOS & AFFILIATED LABELS 20th Century Studios Paramount Pictures (f/k/a Twentieth Century Fox Film Corp.) Paramount Vantage Buena Vista Pictures Picturehouse Cannon Pictures Pixar Animation Studios Columbia Pictures Polygram Filmed Entertainment Dreamworks Animation SKG Republic Pictures Dreamworks Pictures RKO Pictures (Releases 2011 to present) Screen Gems PLEASE CHOOSE Dreamworks Pictures CATEGORY: (Releases prior to 2011) Searchlight Pictures (f/ka/a Fox Searchlight Pictures) Fine Line Features Sony Pictures Entertainment Focus Features Major Hollywood Studios STX Entertainment & Affiliated Labels Fox - Walden Touchstone Pictures Fox 2000 Films TV Tristar Pictures Fox Look Triumph Films Independent Hanna-Barbera United Artists Pictures Hollywood Pictures Faith-Based Universal Pictures Lionsgate Entertainment USA Films Lorimar Telepictures Children’s Walt Disney Pictures Metro-Goldwyn-Mayer (MGM) Studios Warner Bros. Pictures Spanish Language New Line Cinema Warner Bros. Television Nickelodeon Movies Foreign & International Warner Horizon Television Orion Pictures Warner Independent Pictures Paramount Classics TV 41 Entertaiment LLC Ditial Lifestyle Studios A&E Networks Productions DIY Netowrk Productions Abso Lutely Productions East West Documentaries Ltd Agatha Christie Productions Elle Driver Al Dakheel Inc Emporium Productions Alcon Television Endor Productions All-In-Production Gmbh Fabrik Entertainment Ambi Exclusive Acquisitions
    [Show full text]
  • Part A– Standard Prize Draw Terms – Spiral: from the Book of Saw Entrants Who Find All Four (4) Letters with Each Letter Hi
    Part A– Standard Prize Draw Terms – Spiral: From The Book of Saw Entrants who find all four (4) letters with each letter hidden within the four (4) Spiral: From The Book of Saw images on the Lionsgate UK Instagram main feed and comment the correct word these four (4) letters spell out on the competition post with the caption: ‘We want to play a game. The rules are simple: we’ve hidden 4 letters across our #Spiral Instagram feed posts. Find them all and comment below the word they create to be in with the chance of winning a Saw Blu-ray boxset and Saw 4K on Blu-ray. Win or lose, make your choice. T&Cs at link in bio, 18+ UK only’ could win (A) one (1) Saw: Legacy Collection 2021 edition, a Blu-ray boxset that contains eight (8) discs (Saw, Saw II, Saw III, Saw IV, Saw V, Saw VI, Saw: The Final Chapter and Jigsaw), and (B) one (1) Saw 4K on Blu-ray (the “Prize”). There are five (5) Prizes to be won by five (5) Entrants who follow the Entry Mechanics and are selected at random per clause 13 (the “Winners”). Each Winner will receive one (1) Prize. 1. Promoter: The Promoter is Lions Gate International (UK) Limited of registered office address 5th Floor 45 Mortimer Street, London, W1W 8HJ 2. Eligibility (a) To enter this Prize Draw you must be aged 18 years old or over with a registered Instagram account during the Opening and Closing Date; (b) By entering the Prize Draw, you confirm that you are 18 years old or over.
    [Show full text]
  • California Film Institute Sponsorship Opportunities
    MILL VALLEY FILM FESTIVAL | CALIFORNIA FILM INSTITUTE SPONSORSHIP OPPORTUNITIES THE CALIFORNIA FILM INSTITUTE celebrates film as art and education by presenting the annual MILL VALLEY FILM FESTIVAL, exhibiting film year-round at the non-profit CHRISTOPHER B. SMITH RAFAEL FILM CENTER, and building the next generation of filmmakers and film lovers through CFI EDUCATION. The MILL VALLEY FILM FESTIVAL is an The SMITH RAFAEL FILM CENTER is a CFI EDUCATION is building the next eleven-day celebration of the finest inde- beautifully restored Art Deco theater with generation of filmmakers and film lovers pendent and international films, tributes three screens and state-of-the-art presen- through its creative film programs which and galas. A hot stop on the Oscar® cir- tation, offering year-round programming annually serve over 8,000 students, educa- cuit, MVFF attracts the most talented and of internationally acclaimed screenings, tors, adults and families. Using film as an celebrated industry elite. The Festival an- special community events and in-person educational tool, programs reach across nually welcomes more than 200 filmmakers filmmaker appearances. In 2015, the Smith social, cultural and economic boundaries representing more than 50 countries, and Rafael Film Center welcomed 145,000 film to support and encourage youth toward hosts an audience of 68,000+ guests. lovers and 123 filmmaker guests. critical thinking, media literacy and a nuanced worldview. As a sponsor of CFI: THE RAFAEL, MVFF or CFI EDUCATION, you will contribute to the success of the mission and associate your business with distinctive and internationally recognized programs. Individual packages are designed around the unique needs of your company to more keenly focus on areas relevant to your brand such as product sampling, talent access and brand awareness, product placement, brand immersion and on-site activation.
    [Show full text]
  • Negotiating the Non-Narrative, Aesthetic and Erotic in New Extreme Gore
    NEGOTIATING THE NON-NARRATIVE, AESTHETIC AND EROTIC IN NEW EXTREME GORE. A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in Communication, Culture, and Technology By Colva Weissenstein, B.A. Washington, DC April 18, 2011 Copyright 2011 by Colva Weissenstein All Rights Reserved ii NEGOTIATING THE NON-NARRATIVE, AESTHETIC AND EROTIC IN NEW EXTREME GORE. Colva O. Weissenstein, B.A. Thesis Advisor: Garrison LeMasters, Ph.D. ABSTRACT This thesis is about the economic and aesthetic elements of New Extreme Gore films produced in the 2000s. The thesis seeks to evaluate film in terms of its aesthetic project rather than a traditional reading of horror as a cathartic genre. The aesthetic project of these films manifests in terms of an erotic and visually constructed affective experience. It examines the films from a thick descriptive and scene analysis methodology in order to express the aesthetic over narrative elements of the films. The thesis is organized in terms of the economic location of the New Extreme Gore films in terms of the film industry at large. It then negotiates a move to define and analyze the aesthetic and stylistic elements of the images of bodily destruction and gore present in these productions. Finally, to consider the erotic manifestations of New Extreme Gore it explores the relationship between the real and the artificial in horror and hardcore pornography. New Extreme Gore operates in terms of a kind of aesthetic, gore-driven pornography. Further, the films in question are inherently tied to their economic circumstances as a result of the significant visual effects technology and the unstable financial success of hyper- violent films.
    [Show full text]