STEVE GRIFFIN Second Unit Director / Stunt Coordinator Stevegriffinfeatures.Com

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STEVE GRIFFIN Second Unit Director / Stunt Coordinator stevegriffinfeatures.com FEATURE FILMS DIRECTORS PRODUCERS/STUDIOS LEATHERFACE 3D Stunt Coordinator John Luessenhop Cyndi Brenner, Carl Mazzocone, Mark Burg / Lionsgate HUGO CABRET Stunts Martin Scorsese Graham King / Columbia Pics. / Warner Bros. MAD MAX: FURY ROAD Stunts George Miller Doug Mitchell / Warner Bros. I AM NUMBER FOUR Stunts D.J. Caruso Sue McNamara, Michael Bay / DreamWorks SKG THE GREEN HORNET Stunts Michel Gondry Neal Moritz / Sony/Columbia THE DEVIL’S DOUBLE Lee Tamahori Guy Tannahill, Catherine Vandeleene Assistant Stunt Coordinator Michael Fedun / Corsan GUN Second Unit Director / Stunt Coordinator Jessy Terrero Eileen Fields, Randall Emmett, George Furla / Image INCEPTION Stunts Christopher Nolan Emma Thomas / Warner Bros. KICK-ASS Stunt Coordinator - Add’l Photog. Matthew Vaughn Adam Bohling, Tarquin Pack, David Reid Plan B Entertainment / Lionsgate KNIFE EDGE 2nd Unit Director / Stunt Coord. Anthony Hickox Alexander O’Neal, Pippa Cross / Seven Arts Pics. NINE Stunt Coordinator Rob Marshall John DeLuca, Marc Platt / The Weinstein Company THE DESCENT: PART 2 Stunt Coordinator Jon Harris Christian Colson, Ivana MacKinnon DEFIANCE Stunt Coordinator Edward Zwick Marshall Herskovitz, Pieter Jan Brugge / Paramount MAMMA MIA! Stunt Coordinator Phyllida Lloyd Judy Craymer, Gary Goetzman / Universal Pics. DAY OF THE DEAD Steve Miner Israel Ringel, Randall Emmett, George Furla Second Unit Director / Stunt Coordinator Boaz Davidson / Millennium Films VIRGIN TERRITORY David Leland Lucio Trentini / Anchor Bay Entertainment 2nd Unit Director / Stunt Coordinator REDACTED Stunt Coordinator Brian De Palma Stephen Traynor, Joana Vicente / Magnolia Pictures THE LAST LEGION Doug Lefler Hester Hargett, Lucio Trentini 2nd Unit Director / Stunt Coordinator The Weinstein Company Nomination, Best Action in a Foreign Language Film – World Stunt Awards ‘08 BATMAN BEGINS Stunts Christopher Nolan Emma Thomas, Larry Franco, Charles Roven Warner Bros. SUBMERGED Tony Hickox Michael Flannigan, Randall Emmett, George Furla 2nd Unit Director / Stunt Coordinator Boaz Davidson / Nu Image SAHARA Stunt Coordinator - Boat Unit Breck Eisner Scott Thaler, Stephanie Austin, Howard Baldwin Karen Baldwin, Mace Neufeld / Paramount ALFIE Stunt Coordinator Charles Shyer Elaine Pope, Diana Phillips / Paramount THE MERCHANT OF VENICE Michael Radford Clive Waldron, Cary Brokaw, Michael Cowan Stunt Coordinator Jason Piette / Movision THE BOURNE SUPREMACY Stunts Paul Greengrass Frank Marshall, Patrick Crowley, Paul Sandberg Universal TERMINATOR 3: RISE OF THE Jonathan Mostow Oliver Hengst, Mario Kassar, Joel B. Michaels MACHINES Assistant Stunt Coordinator Colin Wilson / Warner Bros. CHARLIE’S ANGELS: FULL THROTTLE McG Leonard Goldberg, Nancy Juvonen, Patrick Crowley Stunts Sony / Columbia THE ITALIAN JOB Stunts F. Gary Gray Donald De Line / Paramount BOURNE IDENTITY Stunts Doug Liman Patrick Crowley, Frank Marshall / Universal LARA CROFT: TOMB RAIDER Simon West Colin Wilson, Lawrence Gordon, Lloyd Levin Assistant Stunt Coordinator Paramount SAVING PRIVATE RYAN Steven Spielberg Ian Bryce, Mark Gordon, Gary Levinsohn Assistant Stunt Coordinator DreamWorks SKG TITANIC Assistant Stunt Coordinator James Cameron Jon Landau, Sharon Mann / Paramount GOLDENEYE Martin Campbell Barbara Broccoli, Michael G. Wilson / United Artists Partial List Mr. Griffin is a member of SAG, AFTRA and British Equity. He also holds both UK and NZ passports and a US Green Card. He is local in Los Angeles and London. .

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A Book History Study of Michael Radford’s Filmic Production William Shakespeare’s The Merchant of Venice A thesis submitted in fulfilment of the requirements for the degree of MASTER OF ARTS of RHODES UNIVERSITY by BRYONY ROSE HUMPHRIES GREEN March 2008 ABSTRACT Falling within the ambit of the Department of English Literature but with interdisciplinary scope and method, the research undertaken in this thesis examines Michael Radford’s 2004 film production William Shakespeare’s The Merchant of Venice using the Book History approach to textual study. Previously applied almost exclusively to the study of books, Book History examines the text in terms of both its medium and its content, bringing together bibliographical, literary and historical approaches to the study of books within one theoretical paradigm. My research extends this interdisciplinary approach into the filmic medium by using a modified version of Robert Darnton’s “communication circuit” to examine the process of transmission of this Shakespearean film adaptation from creation to reception. The research is not intended as a complete Book History study and even less as a comprehensive investigation of William Shakespeare’s The Merchant of Venice . Rather, it uses a Shakespearean case study to bring together the two previously discrete fields of Book History and filmic investigation. Drawing on film studies, literary concepts, cultural and media studies, modern management theory as well as reception theories and with the use of both quantitative and qualitative data, I show Book History to be an eminently useful and constructive approach to the study of film. ii ACKNOWLEDGEMENTS I want to thank the Mandela Rhodes Foundation for the funding that allowed me to undertake a Master’s degree.
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