DOCSLIB.ORG

Cinema Arts Centre Membership

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cinema Arts Centre Membership CINEMACINEMA ARTS December 2015 Long Island’s Film Window C E N T R E Long Island’s Film Window onon thethe WorldWorld CelebratingCelebrating 4241 YearsYears asas Long Long Island’s Island’s Leading Leading Independent Independent Cinema Cinema THE NUTCRACKER YOUTH CAROL THE DANISH GIRL Become a Cinema MEMBER Membership Matters! WE keep ALL funds raised by membership, but HALF of our ticket sales goes to the distributor SUPPORT LONG ISLAND’S LEADING NOT-FOR-PROFIT, INDEPENDENT CINEMA Individual Membership $55 Give the gift of Pay only $7.00 for regular tickets (save $5.00 each time) Pay only $6.00 for Mon-Fri matinees (save $6.00) Two FREE tickets upon joining or renewing MEMBERSHIP Cinema monthly Program Guide mailed to your home Member discounts on all Special Events and Workshops this Discounts at restaurants and businesses with membership card holiday season! Ability to purchase Express Passes (More Savings and No waiting on line!) Dual Membership $100 Same benefits as Individual Members, plus: Membership cards for two people Four FREE tickets instead of two upon joining or renewing Young Film Fan $30 Same benefits as Individual Members: Special invitation to free screening once per month (must provide e-mail address) Must be 25 or younger or be a full-time student, with valid ID Senior Membership $40 Same benefits as Individual Members: Must be 62 with valid ID Sponsor Membership $250 Same benefits as Dual Members, plus: Call ahead and purchase advance tickets by phone Name listed in Cinema Lobby Insider’s Newsletter from the CAC Programming Directors, mailed annually Call Ext. 18 or go to Other Membership Levels with additional benefits Call Rene Bouchard, Director of Development, 631.423.7610 x.18 for details on CinemaArtsCentre.org Patron, Director’s Circle and Cinema Friend membership levels as well as additional membership levels. Monthly payment plans available for Sponsor Membership and above; see CinemaArtsCentre.org for details. Sign up Online: cinemaartscentre.org/get-involved/become-a-member/ or use the form below: Join, Renew, or Extend your Cinema Arts Centre Membership Name(s)___________________________________Address____________________________________________________________ City____________________________________State____ZIP________Phone ___________________________________________ E-mail_____________________________________________ (receive our weekly schedule — will be kept confidential) Total amount enclosed: $______________ Payment: Check/Money Order Visa MasterCard Cash Credit Card #_________________________________________ Expiration Date __________/________ (code: Folio) Signature ______________________________________ Birthday: ________________________________________ Mail to: Cinema Arts Centre, P.O. Box 498, Huntington, NY 11743. Or call 631-423-7611. Or sign up on our website: www.cinemaartscentre.org Basic $55 Young Film Fan $30 Senior $40 Sponsor $250 Director’s Circle $1,000 Dual $100 Dual Senior $80 Patron $525 Cinema Friend $2500 Express Pass (Members Only): 5 Passes $35 / 10 Passes $64 / 20 Passes $122 Extra Tax-deductible donation: $_______ If your employer matches donations, please enclose a matching gift form For Office Use Only: rec’d: total amt.: level:__________ comps:______ ent:______ expass:____ ent:___/__ ty:____ mb#____________________________ exp:__________ 2 CINEMA ARTS CENTRE Long Island’s Film Window on the World Films listed are subject to change. Please check online for the latest schedule. Academy Awards Night ......................................23 As You Like It (National Theatre Live) ..........................13 The Audience (National Theatre Live) ..........................13 Branded To Kill (Seijun Suzuki Series). 15 Individual Membership $55 Carmen From Kawachi (Seijun Suzuki Series) ................... 15 Pay only $7.00 for regular tickets (save $5.00 each time) Carol ..........................................................7 Pay only $6.00 for Mon-Fri matinees (save $6.00) Chaplin Shorts (Anything But Silent) .............................9 Two FREE tickets upon joining or renewing The Danish Girl ................................................7 E.T. (Cinema For Kids and Families!) ............................17 Cinema monthly Program Guide mailed to your home Folk Music Society of Huntington (Meghan Cary and Member discounts on all Special Events and Workshops Michael Braunfeld) ...........................................20 Discounts at restaurants and businesses with membership card Gate of Flesh (Seijun Suzuki Series) ............................14 Ability to purchase Express Passes (More Savings and No waiting on line!) Grease Sing-A-Long (Cinema For Kids and Families!) ............17 Hamlet (National Theatre Live) ................................13 Dual Membership $100 Same benefits as Individual Members, plus: Hitchcock/Truffaut .............................................8 Membership cards for two people Home Alone (Cinema For Kids and Families!) ...................17 Four FREE tickets instead of two upon joining or renewing Iris (Creativity) ................................................18 Jane Eyre (National Theatre Live) ..............................13 Kid Flix Mix (Cinema For Kids and Families!) ....................17 Barbara Stanwyck & Fred McMurray in Young Film Fan $30 Same benefits as Individual Members: Les Liaisons Dangereuses (National Theatre Live) ..............13 Special invitation to free screening once per month (must provide e-mail address) REMEMBER THE NIGHT, p.18 A Little Bit of Folk: From Activism to Lyricism (Rock Legends Live) 16 Must be 25 or younger or be a full-time student, with valid ID The Lunchbox (Sunday Schmooze) ............................19 Macbeth ......................................................8 Since 1973 Senior Membership $40 Same benefits as Individual Members: Making Memories at the Movies. .10 Folio No. 508 Must be 62 with valid ID Mozart’s The Marraige of Figaro (Opera on Screen) .............11 Mustang .......................................................8 Same benefits as Dual Members, plus: Sponsor Membership $250 New Year’s Eve Party ...........................................6 Have the Weekly Film Schedule emailed to you. Call ahead and purchase advance tickets by phone A NIght at the Opera .........................................10 Please send your name & email address to Name listed in Cinema Lobby The Nutcracker (Ballet on Screen). .12 Insider’s Newsletter from the CAC Programming Directors, mailed annually Remember the Night(Classics). .18 [email protected] So’s Your Old Man (Anything But Silent) ...........................9 Website: CinemaArtsCentre.org Tokyo Drifter (Seijun Suzuki Series) ............................14 Other Membership Levels with additional benefits 24-Hour Information Lines: Call Rene Bouchard, Director of Development, 631.423.7610 x.18 for details on Trivia (Movie Trivia Night) .....................................21 Patron, Director’s Circle and Cinema Friend membership levels as well as We Came to Sweat: The Legend of Starlite (Out at the Movies) ..16 631-423-FILM(3456) 631-423-BOXO(2696) additional membership levels. Monthly payment plans available for Sponsor Willy Wonka & the Chocolate Factory (Cinema For Kids and Families!) 17 Membership and above; see CinemaArtsCentre.org for details. The Winter’s Tale (Kenneth Branagh Theater Company) .........12 Travel and General Information Lines: Youth ..........................................................7 631-423-7611 (M–F 10am–11pm, Sat-Sun 2–11pm) Fax: 631-423-5411 A EM LE Film passes F Female 35 35 mm D No Refunds for Advance Tickets the Bechdel I R director film print R Test E C T O mm ADMISSION THE EXPRESS PASS Public (All Times) ................................ $12.00 No Waiting On Line To Buy Tickets! Members .........................................$7.00 Go to Rear Box Office & Present your Member Card Mon–Fri before 5pm (members only) ...............$6.00 Swipe – and Voila! You’re In! Seniors(62)/Students(ID) ..........................$9.00 5 Passes for $35 / 10 Passes for $64 (Save 10%) Children under 12 ................................ $5.00 20 Passes for $122 (Save 15%) MEMBERS MUST SHOW THEIR CARD FOR MEMBER’S PRICES (Not valid for Special Events) We aim to be quick and efficient. Checking member The Express Pass is valid only with current membership status at the box office is time consuming. and can only be used for current members (i.e. 1 Express Pass Replace lost card: $3.00. maximum per show for a Single Membership, 2 for Dual Membership). CAC is partially funded by the Suffolk County Office of Cultural Affairs. CAC is a member of the Huntington Arts Council. 3 SPECIAL EVENTS CALENDAR A NIght at the Opera The Lunchbox Grease Sing-A-Long Gate of Flesh Sunday, 12/13, 12 noon Sunday, 11/29, 12 noon The Nutcracker (plus upcoming ballets) p.12 The Marriage of Figaro (plus upcoming operas) p.11 Ballet on Screen Opera on Screen Sunday, 12/13, 7 pm DECEMBER We Came to Sweat: The Legend of Starlight p.16 Out at the Movies Wednesday, 12/2, 7 pm (Encore) Wednesday, 12/16, 7:30 pm Hamlet p.13 Remember the Night p.18 National Theatre Live Classics Tuesday, 12/8, 2 pm (Live) and Thursday, 12/17, 8:30 pm, Open Mic at 7:30 pm Tuesday, 12/15, 7 pm (Encore) Meghan Cary and Michael Braunfeld p.20 Jane Eyre p.13 Folk Music Society: Hard Luck Cafe National Theatre Live Saturday, 12/26, 12 noon Monday, 12/21 at 7pm (Encore) E.T. The Extraterrestrial p.17 The Audience p.13 Cinema For Kids and Families!
Load more

Recommended publications
  • Japanese Cinema’S Logic], Tokyo: SanIchi Shobo¯
    14 DARK VISIONS OF JAPANESE FILM NOIR Suzuki Seijun’s Branded to Kill (1967) Daisuke Miyao I think that motion pictures should create events by themselves . They should not restrict themselves to merely recreating what has actually happened . Once such events created on the screen occur in reality, motion pictures begin to have a relationship with the society for the first time. (Suzuki Seijun quoted in Ueno 1991: 114) Suzuki Seijun’s 1967 film Branded to Kill (Koroshi no rakuin – hereafter Branded) – the story of a contract killer being dismissed by a gangster organization – created a controversial real life incident when Nikkatsu, one of Japan’s oldest film studios, dismissed Suzuki, then one if its contract directors, ten months after its release. On April 25, 1968, Suzuki was directing the television series Aisai-kun konbanwa: aru ketto¯ [Good Evening, Mr Devoted Husband: A Duel]. He received a telephone call from the secretary of Hori Kyu¯saku, the president of Nikkatsu, and was told that the studio would not pay his salary for April. Just like that, Suzuki Seijun was fired from Nikkatsu. To be sure, Branded had not been a financial and critical success. The film journal Kinema Junpo¯ reported that the release of Branded on a double feature with A Bug That Eats Flowers (Hana wo ku¯ mushi, Nishimura Sho¯goro¯, 1967) ‘resulted in less than 2,000 viewers at Asakusa and Shinjuku and about 500 in Yu¯rakucho¯ on the second day’ (quoted in Ueno 1986: 336). Indeed, Yamatoya Atsushi (1994: 38), one of Branded’s screenwriters, recalls that the Nikkatsu theater in Shinjuku where the film was originally screened was more or less empty on its opening day.
    [Show full text]
  • Main Screen: 1100 Seats (To Run Only 35Mm Film Prints)
    Location: Chandan Cinema, Juhu Main Screen: 1100 Seats (to run only 35mm film prints) Show Time 1st Show 2nd Show 3rd Show 4th Show 5th Show Date/Day 10.00 am 12.30 Noon 3.30 pm 5.30 pm 8.00 pm 21-10-.2010 No shows No shows No shows At: 7.00 p.m. Opening Function followed by the Inaugural Film Thursday THE SOCIAL NETWORK Dir.: David Fincher (USA / 2010 /35mm / Col. / 120’) 22-10-2010 10:30 am Inauguration of To start show by 1:30 p.m. POETRY ON THE PATH (NA PUTU) UNITED RED ARMY Friday Japanese Cinema followed by SUBMARINO Dir.: Lee Chang-dong Dir.: Jasmila Zbanic (Bosnia and Dir.: Kôji Wakamatsu ABOUT HER BROTHER (OTÔTO) Dir.: Thomas Vinterberg (South Korea / 2010 / 35mm / Col. / 139’) Herzegovina-Austria-Germany- (Japan / 2007 / 35mm / Col. / 190') Dir.: Yôji Yamada (Denmark-Sweden / 2010 / 35mm / Col. / Croatia / 2010 / 100’) (Japan / 2010 / 35mm / 35mm / 105') 126’) WC WC WC CJC CJC 23-10-2010 HOLD ME TIGHT (HOLD OM UNDERTOW (CONTRACORRIENTE) HONEY (BAL) R SANDCASTLE Saturday MIG) Dir.: Javier Fuentes-León Dir.: Semih Kaplanoglu Dir.: Michael Noer & Tobias Lindholm Dir.: Boo Junfeng Dir.: Kaspar Munk (Peru-Colombia/ 2009 / 35mm / Col. / (Turkey-Germany / 2010 / 35mm / Col. / 103') (Denmark / 2010 / 35mm / Col. / 90’) (Singapore / 2010 / 35mm / Col. / 92') (Denmark / 2010 / 35mm / Col. / 80') 100’) ATC WC WC IC-Presentation IC-Presentation 24-10-2010 ON TOUR (TOURNÉE) BUNRAKU MUNDANE HISTORY OUTRAGE CATERPILLAR Sunday Dir.: Mathieu Amalric Dir.: Guy Moshe Dir.: Anocha Suwichakornpong Dir.: Takeshi Kitano Dir.: Kôji Wakamatsu (France / 2010 / 35mm / Col.
    [Show full text]
  • Title Call # Category
    Title Call # Category 2LDK 42429 Thriller 30 seconds of sisterhood 42159 Documentary A 42455 Documentary A2 42620 Documentary Ai to kibo no machi = Town of love & hope 41124 Documentary Akage = Red lion 42424 Action Akahige = Red beard 34501 Drama Akai hashi no shita no nerui mizu = Warm water under bridge 36299 Comedy Akai tenshi = Red angel 45323 Drama Akarui mirai = Bright future 39767 Drama Akibiyori = Late autumn 47240 Akira 31919 Action Ako-Jo danzetsu = Swords of vengeance 42426 Adventure Akumu tantei = Nightmare detective 48023 Alive 46580 Action All about Lily Chou-Chou 39770 Always zoku san-chôme no yûhi 47161 Drama Anazahevun = Another heaven 37895 Crime Ankokugai no bijo = Underworld beauty 37011 Crime Antonio Gaudí 48050 Aragami = Raging god of battle 46563 Fantasy Arakimentari 42885 Documentary Astro boy (6 separate discs) 46711 Fantasy Atarashii kamisama 41105 Comedy Avatar, the last airbender = Jiang shi shen tong 45457 Adventure Bakuretsu toshi = Burst city 42646 Sci-fi Bakushū = Early summer 38189 Drama Bakuto gaijin butai = Sympathy for the underdog 39728 Crime Banshun = Late spring 43631 Drama Barefoot Gen = Hadashi no Gen 31326, 42410 Drama Batoru rowaiaru = Battle royale 39654, 43107 Action Battle of Okinawa 47785 War Bijitâ Q = Visitor Q 35443 Comedy Biruma no tategoto = Burmese harp 44665 War Blind beast 45334 Blind swordsman 44914 Documentary Blind woman's curse = Kaidan nobori ryu 46186 Blood : Last vampire 33560 Blood, Last vampire 33560 Animation Blue seed = Aokushimitama blue seed 41681-41684 Fantasy Blue submarine
    [Show full text]
  • The Last Samurai. Transcultural Motifs in Jim Jarmusch's Ghost
    Adam Uryniak Jagiellonian University in Kraków, Poland The Last Samurai. Transcultural Motifs in Jim Jarmusch’s Ghost Dog: The Way of the Samurai Abstract Ghost Dog: Way of the Samurai by - tions of USA, Europe and Japan. Jarmusch’s work can be example of contemporary culture trend named by Wolfgang WelschaJim Jarmusch transculturality. is a film combining According tocinematic his theory tradi the identity of the man is dependent on foreign elements absorbed by the culture in which he lives. Two main inspirations for the director are samurai tradition and bushido code origins of these elements, Jarmush is able to construct a coherent, multi-level narra- tive,on one at thehand, same and time tradition maintaining of gangster distance film ontowards the other. American Despite traditions. the culturally Referencing distant works by transgressive directors (J. P. Melville, Seijun Suzuki) Jarmusch becomes the spokesperson for the genre evolution and its often far-fetched influences. Ghost Dog combines the tradition of American gangster cinema and Japanese samurai (1999) is a collage of various film motifs and traditions. Jarmusch films. The shape of the plot refers to the Blaxploitation cinema, andyakuza direct moviesinspiration, by Seijun expressed Suzuki. by Allspecific this isquotations, spiced up arewith the references gloomy crime to Japanese novels literatureby Jean-Pierre and zen Melville, philosophy. as well In as an brutal interview and withblack Janusz humour-filled Wróblewski di- rector commented on his actions: 138 Adam Uryniak I mix styles up in order to get distance. Not in order to ridicule the hero. And why does the gangster style dominate? I will answer indirectly..
    [Show full text]
  • Sydney Film Festival 6-17 June 2012 Program Launch
    MEDIA RELEASE Wednesday 9 May, 2012 Sydney Film Festival 6-17 June 2012 Program Launch The 59th Sydney Film Festival program was officially launched today by The Hon Barry O’Farrell, MP, Premier of NSW. “It is with great pleasure that I welcome the new Sydney Film Festival Director, Nashen Moodley, to present the 2012 Sydney Film Festival program,” said NSW Premier Barry O’Farrell. “The Sydney Film Festival is a much-loved part of the arts calendar providing film-makers with a wonderful opportunity to showcase their work, as well as providing an injection into the State economy.” SFF Festival Director Nashen Moodley said, “I’m excited to present my first Sydney Film Festival program, opening with the world premiere of the uplifting Australian comedy Not Suitable for Children, a quintessentially Sydney film. The joy of a film festival is the breadth and diversity of program, and this year’s will span music documentaries, horror flicks and Bertolucci classics; and the Official Competition films made by exciting new talents and masters of the form, will continue to provoke, court controversy and broaden our understanding of the world.” “The NSW Government, through Destination NSW, is proud to support the Sydney Film Festival, one of Australia’s oldest films festivals and one of the most internationally recognised as well as a key event on the NSW Events Calendar,” said NSW Minister for Tourism, Major Events and the Arts, George Souris. “The NSW Government is committed to supporting creative industries, and the Sydney Film Festival firmly positions Sydney as Australia’s creative capital and global city for film.” This year SFF is proud to announce Blackfella Films as a new programming partner to jointly curate and present the best and newest Indigenous work from Australia and around the world.
    [Show full text]
  • Title Call # Category Lang./Notes
    Title Call # Category Lang./Notes K-19 : the widowmaker 45205 Kaajal 36701 Family/Musical Ka-annanā ʻishrūn mustaḥīl = Like 20 impossibles 41819 Ara Kaante 36702 Crime Hin Kabhi kabhie 33803 Drama/Musical Hin Kabhi khushi kabhie gham-- 36203 Drama/Musical Hin Kabot Thāo Sīsudāčhan = The king maker 43141 Kabul transit 47824 Documentary Kabuliwala 35724 Drama/Musical Hin Kadının adı yok 34302 Turk/VCD Kadosh =The sacred 30209 Heb Kaenmaŭl = Seaside village 37973 Kor Kagemusha = Shadow warrior 40289 Drama Jpn Kagerōza 42414 Fantasy Jpn Kaidan nobori ryu = Blind woman's curse 46186 Thriller Jpn Kaiju big battel 36973 Kairo = Pulse 42539 Horror Jpn Kaitei gunkan = Atragon 42425 Adventure Jpn Kākka... kākka... 37057 Tamil Kakushi ken oni no tsume = The hidden blade 43744 Romance Jpn Kakushi toride no san akunin = Hidden fortress 33161 Adventure Jpn Kal aaj aur kal 39597 Romance/Musical Hin Kal ho naa ho 41312, 42386 Romance Hin Kalyug 36119 Drama Hin Kama Sutra 45480 Kamata koshin-kyoku = Fall guy 39766 Comedy Jpn Kān Klūai 45239 Kantana Animation Thai Kanak Attack 41817 Drama Region 2 Kanal = Canal 36907, 40541 Pol Kandahar : Safar e Ghandehar 35473 Farsi Kangwŏn-do ŭi him = The power of Kangwon province 38158 Kor Kannathil muthamittal = Peck on the cheek 45098 Tamil Kansas City 46053 Kansas City confidential 36761 Kanto mushuku = Kanto warrior 36879 Crime Jpn Kanzo sensei = Dr. Akagi 35201 Comedy Jpn Kao = Face 41449 Drama Jpn Kaos 47213 Ita Kaosu = Chaos 36900 Mystery Jpn Karakkaze yarô = Afraid to die 45336 Crime Jpn Karakter = Character
    [Show full text]
  • Mubii Japan 90 Jaar Japanse Cinema
    Filmprogramma Mubii Japan 90 jaar Japanse cinema 25 september t/m 16 december 2015 EYE FILMMUSEUM AMSTERDAM eyefilm.nl/japan Ontdek de Japanse cinema in EYE Wie wil weten wat de Japanse film zo uniek maakt, is dit najaar in EYE op het goede adres. Met een overzicht van ruim veertig titels geeft het filmmuseum inzicht in meer dan negentig jaar fascineren- de filmgeschiedenis uit het Verre Oosten, van de vroege twintigste eeuw tot nu. De Japanse cinema geldt als een van de belangrijkste filmculturen van de wereldcinema, met als boegbeelden de beroemde regisseurs Yasujirō Ozu (1903-1963) en Akira Kurosawa (1910-1998). Er zijn echter meer makers die hebben bijgedragen tot de verrassende veelzijdigheid van de Japanse film; tot hen behoort bijvoorbeeld de in Nederland nog vrijwel onbekende Mikio Naruse, die zich – net als Ozu – een meester toont in de tekening van ogenschijnlijk gewone levens. Mūbii Japan (‘Mūbii’ is fonetisch Japans voor ‘movie’) laat zien dat de reikwijdte van de Japanse film groter is dan de lijst bekende namen. Het programma – met het thema van de tragische liefde als rode draad – is een ontdekkingsreis door de Japanse filmgeschiedenis, van Teinosuke Kinugasa’s stille avant-gardeklassieker A Page of Madness (1926) tot de recente arthousefilms van Hirokazu Kore-eda. Van klassiekers als Naked Youth (Nagisa Oshima) en Ran (Akira Kurosa- wa) zijn in EYE recente restauraties te zien; ook put het filmmuseum uit de eigen collectie met werk van meesters als Ozu en Shohei Imamura en besteedt het aandacht aan de Japanse genrefilm. Fraaie voorbeelden zijn de yakuzafilms (Seijun Suzuki, Takeshi Kitano) en koel gestileerde softpornotitels zoals Love Hotel van de in Nederland nauwelijks bekende Sōmai Shinji (1948-2001).
    [Show full text]
  • JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres
    Media Contacts: Emma Myers, [email protected], 917-499-3339 Shannon Jowett, [email protected], 212-715-1205 Asako Sugiyama, [email protected], 212-715-1249 JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres Dynamic 10th Edition Bursting with Nearly 30 Features, Over 20 Shorts, Special Sections, Industry Panel and Unprecedented Number of Special Guests July 14-24, 2016, at Japan Society "No other film showcase on Earth can compete with its culture-specific authority—or the quality of its titles." –Time Out New York “[A] cinematic cornucopia.” "Interest clearly lies with the idiosyncratic, the eccentric, the experimental and the weird, a taste that Japan rewards as richly as any country, even the United States." –The New York Times “JAPAN CUTS stands apart from film festivals that pander to contemporary trends, encouraging attendees to revisit the past through an eclectic slate of both new and repertory titles.” –The Village Voice New York, NY — JAPAN CUTS, North America’s largest festival of new Japanese film, returns for its 10th anniversary edition July 14-24, offering eleven days of impossible-to- see-anywhere-else screenings of the best new movies made in and around Japan, with special guest filmmakers and stars, post-screening Q&As, parties, giveaways and much more. This year’s expansive and eclectic slate of never before seen in NYC titles boasts 29 features (1 World Premiere, 1 International, 14 North American, 2 U.S., 6 New York, 1 NYC, and 1 Special Sneak Preview), 21 shorts (4 International Premieres, 9 North American, 1 U.S., 1 East Coast, 6 New York, plus a World Premiere of approximately 12 works produced in our Animation Film Workshop), and over 20 special guests—the most in the festival’s history.
    [Show full text]
  • Capt. Lance H. Julian
    CAPT. LANCE H. JULIAN Marine Consultant/Coordinator Marine Team International, INC *Marine Director, **Marine Consultant, ***Marine Coordinator www.marineteam.net PROJECT (PARTIAL LIST) DIRECTOR STUDIO / PRODUCTION CO. SILENCE*** Martin Scorcese Paramount / AI Film BLACKHAT*** Michael Mann Universal / Forward Pass ESCAPE PLAN** Mikael Hafstrom Summit Entertainment / Emett-Furla Films PERCY JACKSON: SEA OF MONSTERS** Thor Freudenthal Fox 2000 / Prod: Chris Columbus CYBER** Michael Mann Warner Bros./Forward Pass; Prod: Thomas Tull, Jon Jashni SUPERMAN: MAN OF STEEL** Zack Snyder Warner Bros.; Prod: Christopher Nolan BULLET TO THE HEAD** New Orleans Walter Hill Warner Bros./Dark Castle Ent; Prod: Joel Silver, Al Gough, Miles Millar HANGOVER 2*** Thailand Todd Phillips Warner Bros.; Prod: Daniel Goldberg RED** Southeast Louisiana Robert Schwenkte Summit Ent.; Prod: Lorenzo Di Bonaventura, Mark Vahradian THE HUNGRY RABBIT JUMPS** New Orleans Roger Donaldson Endgame Ent.; Prod: James Stern, Ram Bergman MEDIEVAL*** Croatia Rob Cohan Fox; Prod: Chris Symes, Kurt Williams ‘XXX’ – Return of Xander Cage*** Australia Ericson Core Sony; Prod: Lloyd Phillips, Joe Roth THE ZONE** Andy Davis EP: Peter MacGregor-Scott; Prod: Wolf Schmidt BOND 22: QUANTUM OF SOLACE*** Panama Marc Forster MGM; Prod: Barbara Broccoli, Michael Wilson THE PACIFIC*** Carl Franklin & Timothy HBO/DreamWorks; Prod: Tom Hanks, Gary Goetzman, Gold Coast Australia Van Patten Steven Spielberg FOOL’S GOLD*** Andrew Tennant Warner Bros./De Line Pictures; Gold Coast Australia & Eleuthera,
    [Show full text]
  • PAJ77/No.03 Chin-C
    AIN’T NO SUNSHINE The Cinema in 2003 Larry Qualls and Daryl Chin s 2003 came to a close, the usual plethora of critics’ awards found themselves usurped by the decision of the Motion Picture Producers Association of A America to disallow the distribution of screeners to its members, and to any organization which adheres to MPAA guidelines (which includes the Motion Picture Academy of Arts and Sciences). This became the rallying cry of the Independent Feature Project, as those producers who had created some of the most notable “independent” films of the year tried to find a way to guarantee visibility during award season. This issue soon swamped all discussions of year-end appraisals, as everyone, from critics to filmmakers to studio executives, seemed to weigh in with an opinion on the matter of screeners. Yet, despite this media tempest, the actual situation of film continues to be precarious. As an example, in the summer of 2003 the distribution of films proved even more restrictive, as theatres throughout the United States were block-booked with the endless cycle of sequels that came from the studios (Legally Blonde 2, Charlie’s Angels: Full Throttle, Terminator 3, The Matrix Revolutions, X-2: X-Men United, etc.). A number of smaller films, such as the nature documentary Winged Migration and the New Zealand coming-of-age saga Whale Rider, managed to infiltrate the summer doldrums, but the continued conglomeration of distribution and exhibition has brought the motion picture industry to a stultifying crisis. And the issue of the screeners was the rallying cry for those working on the fringes of the industry, the “independent” producers and directors and small distributors.
    [Show full text]
  • Wheeler Winston Dixon
    WHEELER WINSTON DIXON Curriculum Vitae EDUCATION: 1980 - 82 Ph.D. Rutgers University, New Brunswick, NJ Major Focus: 20th Century American and British Literature; Film Studies. 1976 - 80 M.A., M.Phil. Rutgers University, New Brunswick, NJ 1969 - 72 A.B. Livingston College, New Brunswick, NJ APPOINTMENTS HELD: 2010 – Present Coordinator, Film Studies Program 2003 – 2005 Coordinator, Film Studies Program 2000 – Present James P. Ryan Endowed Professor of Film Studies 1999 – 2003 Chairperson, Film Studies Program; Professor, English, University of Nebraska, Lincoln. 1997 Visiting Professor, Department of Communications, The New School University, New York, Summer, 1997. 1992 - 1998 Chairperson, Film Studies Minor; Professor, English, University of Nebraska, Lincoln. 1988 - 1992 Chairperson, Film Studies Program; Associate Professor, English, University of Nebraska, Lincoln. 1984 - 1988 Assistant Professor, English and Art, University of Nebraska - Lincoln. 1983 Visiting Professor, Film Studies, The New School for Social Research, New York, NY. 1974 - 1984 Instructor, English, Rutgers University, New Brunswick. 1969 - 1972 Instructor, Film Studies, Department of Art, Livingston College. COURSES TAUGHT: 2013 Film History, Film Genre: Action and Suspense, 1960s Outlaw Cinema 2012 Film History, Film Genre, Contemporary World Cinema, Science Fiction 2011 Film History, Film Genre, Film Theory 2010 Film History, Film Genre: The Musical, Noir Films 2009 Film History, Film Genre: The Western, Science Fiction Films 2008 Film History, Film Genre: Classic
    [Show full text]
  • Unseen Femininity: Women in Japanese New Wave Cinema
    UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA by Candice N. Wilson B.A. in English/Film, Middlebury College, Middlebury, 2001 M.A. in Cinema Studies, New York University, New York, 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 PhD in English/Film Studies University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Candice N. Wilson It was defended on April 27, 2015 and approved by Marcia Landy, Distinguished Professor, Film Studies Program Neepa Majumdar, Associate Professor, Film Studies Program Nancy Condee, Director, Graduate Studies (Slavic) and Global Studies (UCIS), Slavic Languages and Literatures Dissertation Advisor: Adam Lowenstein, Director, Film Studies Program ii Copyright © by Candice N. Wilson 2015 iii UNSEEN FEMININITY: WOMEN IN JAPANESE NEW WAVE CINEMA Candice N. Wilson, PhD University of Pittsburgh, 2015 During the mid-1950s to the early 1970s a subversive cinema, known as the Japanese New Wave, arose in Japan. This dissertation challenges critical trends that use French New Wave cinema and the oeuvre of Oshima Nagisa as templates to construct Japanese New Wave cinema as largely male-centered and avant-garde in its formal aesthetics. I argue instead for the centrality of the erotic woman to a questioning of national and postwar identity in Japan, and for the importance of popular cinema to an understanding of this New Wave movement. In short, this study aims to break new ground in Japanese New Wave scholarship by focusing on issues of gender and popular aesthetics.
    [Show full text]