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101 Dalmatians II: Patch's London Adventure Animation Family Comedy2003 74 minG Coll.# 1 C Barry Bostwick, Jason Alexander, The endearing tale of Disney's animated classic '101 Dalmatians' continues in the delightful, all-new movie, '101 Dalmatians II: Patch's London A Martin Short, Bobby Lockwood, Adventure'. It's a fun-filled adventure fresh with irresistible original music and loveable new characters, voiced by Jason Alexander, Martin Short and S Susan Blakeslee, Samuel West, Barry Bostwick. Maurice LaMarche, Jeff Bennett, T D.Jim Kammerud P. Carolyn Bates C. W. Garrett K. SchiffM. Geoff Foster 102 Dalmatians Family 2000 100 min G Coll.# 2 C Eric Idle, Glenn Close, Gerard Get ready for outrageous fun in Disney's '102 Dalmatians'. It's a brand-new, hilarious adventure, starring the audacious Oddball, the spotless A Depardieu, Ioan Gruffudd, Alice Dalmatian puppy on a search for her rightful spots, and Waddlesworth, the wisecracking, delusional macaw who thinks he's a Rottweiler. Barking S Evans, Tim McInnerny, Ben mad, this unlikely duo leads a posse of puppies on a mission to outfox the wildly wicked, ever-scheming Cruella De Vil. Filled with chases, close Crompton, Carol MacReady, Ian calls, hilarious antics and thrilling escapes all the way from London through the streets of Paris - and a Parisian bakery - this adventure-packed tale T D.Kevin Lima P. Edward S. Feldman C. Adrian BiddleW. Dodie SmithM. David Newman 16 Blocks: Widescreen Edition Action Suspense/Thriller Drama 2005 102 min PG-13 Coll.# 390 C Bruce Willis, Mos Def, David From 'Lethal Weapon' director Richard Donner comes "a hard-to-beat thriller" (Gene Shalit, 'Today'/NBC-TV). -
A Study of Home Moviemaking As Visual Communication
Studies in Visual Communication Volume 2 Issue 2 Fall 1975 Article 5 1975 Cinéma Naïveté: A Study of Home Moviemaking as Visual Communication Richard Chalfen Recommended Citation Chalfen, R. (1975). Cinéma Naïveté: A Study of Home Moviemaking as Visual Communication. 2 (2), 87-103. Retrieved from https://repository.upenn.edu/svc/vol2/iss2/5 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/svc/vol2/iss2/5 For more information, please contact [email protected]. Cinéma Naïveté: A Study of Home Moviemaking as Visual Communication This contents is available in Studies in Visual Communication: https://repository.upenn.edu/svc/vol2/iss2/5 CINEMA NA.iVETE: A STUDY OF HOME MOVIEMAKING AS VISUAL COMMUNICATION 1 RICHARD CHALFEN In comparison with other types of films, home movies are stereotypically !hought of as films of everyday life, of com monplace family activities, of life around the house, and the like. At face value, such films seem to be extremely rich in Those home movies on TV_:_~ore bombshells to come? ethnographic data, and as such, should be valued by social scientists as native views of initimate realities. 2 One objective Figure 7 of this paper is to examine this proposition as data about the problematic relationship between the symbolic reality of the home movie medium, the stated cultural and technical pre behavior organized within social and cultural contexts. Be scriptions about its use, and the reality of everyday life. A ~aviors surrounding filmmaking are understood as promoted, related objective is to better understand the notion of l1mited, or restricted primarily by social norms rather than as symbolic manipulation as it applies to one genre of film com limitations primarily imposed by psychological or technical munication-namely, home movies. -
The BG News February 8, 1980
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 2-8-1980 The BG News February 8, 1980 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News February 8, 1980" (1980). BG News (Student Newspaper). 3703. https://scholarworks.bgsu.edu/bg-news/3703 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. The GHews Bowling 'Green Stole University I fri- Area stores boycott Iranian, Soviet goods day 2-8-8Q Hossein Vatan moved his Iranian Vatan said his boycott is costing available. But when the U.S. Em- "IT'LL PROBABLY be by Paula Window bassy in Tehran was seized, he took managing editor imported jewelry, silver, copper him $20,000-S25,000. But he said he something we'll have to give and rock gift items from his store, thinks the sacrifice is worth the the exclusive Iranian delicacy off away," he said. Vatan's Import & Gifts, 109 N Main price. his shelves and put it in the freezer. A 4-ounce can of Russian caviar Items from Iran and Russia St., to his warehouse last "Sure it's a lot of money," he To replace toe Iranian brand, costs $29 and a 7-ounce tin is $49.49. -
Raging Bull (1980)
The Buffalo Film Seminars 4/19/2000 Angelika 8 Theater RAGING BULL (1980) Director Martin Scorsese Producers Robert Chartoff and Irwin Winkler Music Robbie Robertson and Pietro Mascagni Cinematographer Michael Chapman Film Editor Thelma Schoonmaker Sound Best David J. Kimball, Les Lazarowitz, Donald O. Mitchell and Bill Nicholson. Script Paul Schrader and Mardik Martin (the shooting script was by Scorsese and De Niro), loosely based on the book by Jake LaMotta, Joseph Carter& Peter Savage Robert De Niro Jake La Motta Frank Topham Toppy Cathy Moriarty Vickie La Motta Charles Scorsese Charlie - Man with Como Joe Pesci Joey La Motta Don Dunphy Himself/Radio Announcer Frank Vincent Salvy Bill Hanrahan Eddie Eagan Nicholas Colasanto Tommy Como Rita Bennett Emma - Miss 48's Theresa Saldana Lenore Johnny Barnes Sugar Ray Robinson Mario Gallo Mario Louis R aftis Marcel Cerdan Frank Adonis Patsy Johnny Turner Laurent Dauthuille Joseph Bono Guido Martin Scorsese Barbizon Stagehand De Niro and Schoonmaker won Academy Awards for this picture and nominations went to Scorsese, Chapman, Chartoff and Winkler, Pesci, Moriarty, and the four sound editors. The Awards for best director and best picture that year went to Ordinary People directed b y Robert R edford. Raging Bull is on the American Film Institute’s list of 100 Greatest American Films and has frequently been listed as the best film of the 1980s; Ordinary People hasn’t made either list. MARTIN SCORSESE was going to be a priest but beca me a filmmaker instead. He’s a 1 964 gradu ate of the NYU film program . In 1997 he received the American Film Institute Life Achievement Award. -
Notable Alumni in Entertainment Motion Pictures, Television and Music
Notable Alumni in Entertainment Motion Pictures, Television and Music UNION IN THE WORLD Daniel Andelman ’97, executive producer Alan Horn ’64, CEO, Disney Studios; of new media, The Phantom Gourmet former president and COO, Warner Brothers; co-founder, Castle Rock David Andelman ’92, CEO, The Phantom Entertainment; producer (Seinfeld, Gourmet When Harry Met Sally, City Slickers, A Few Good Men, Shawshank Michael Andelman ’94, VP of business Redemption, The Green Mile, The development, The Phantom Gourmet; Bucket List) co-host, Saturday Shakeup, The Zone Pakk Hui ’00, film composer whose Robert Bernhardt ’73, music director, credits include The Fast and the Chattanooga Symphony and Opera; Furious, The Killing Room, Final conductor Destination 5, Law-Abiding Citizen and Transformers: Prime. Helena Binder ’76, opera director (Glimmerglass); choreographer Ilene Landress ’83, co-executive producer for HBO’s The Sopranos, Girls Steven Cole ’71, opera singer and Mildred Pierce (Metropolitan Opera, Carnegie Hall) Michael Losure ’04, visual effects Robert Chartoff ’55, Hollywood artist, Dreamworks Animation producer (the Rocky series, Raging Bull, The Right Stuff); Academy Leonard Coles MacKenzie Jr. ’41, Award winner (Rocky, 1976) composer (“Chiquita Banana” jingle) Deborah Davis ’73, author and New York Bryan McGuirk ’85, president, Media and Times best seller, Strapless: Enterprise Services, SES AMERICOM, John Singer Sargent and the Fall of Inc.; former executive positions with Madame X OpenTV, TViFusion Jeffrey DeMunn ’69, television, film and John Milford ’50, actor/civil engineer; stage actor (The Green Mile, Law and credited with original design Order, The Shawshank Redemption, for the Hollywood Walk of Fame The Majestic) Phil Robinson ’71, screenwriter and George DiCenzo ’62, television, film and director (Field of Dreams, Sneakers, stage actor (Dynasty, Murder She Wrote, Sum of All Fears) Law and Order, Back to the Future, Close Encounters of the Third Kind) Peter Schlessel ’83, producer and Union College president of GK Films, LLC. -
British Films 1971-1981
Preface This is a reproduction of the original 1983 publication, issued now in the interests of historical research. We have resisted the temptations of hindsight to change, or comment on, the text other than to correct spelling errors. The document therefore represents the period in which it was created, as well as the hard work of former colleagues of the BFI. Researchers will notice that the continuing debate about the definitions as to what constitutes a “British” production was topical, even then, and that criteria being considered in 1983 are still valid. Also note that the Dept of Trade registration scheme ceased in May 1985 and that the Eady Levy was abolished in the same year. Finally, please note that we have included reminders in one or two places to indicate where information could be misleading if taken for current. David Sharp Deputy Head (User Services) BFI National Library August 2005 ISBN: 0 85170 149 3 © BFI Information Services 2005 British Films 1971 – 1981: - back cover text to original 1983 publication. What makes a film British? Is it the source of its finance or the nationality of the production company and/or a certain percentage of its cast and crew? Is it possible to define a British content? These were the questions which had to be addressed in compiling British Films 1971 – 1981. The publication includes commercial features either made and/or released in Britain between 1971 and 1981 and lists them alphabetically and by year of registration (where appropriate). Information given for each film includes production company, studio and/or major location, running time, director and references to trade paper production charts and Monthly Film Bulletin reviews as source of more detailed information. -
Overdrive Poster Aafi
OVERDR IVE L.A. MOD ERN, 1960-2000 FEB 8-APR 17 CO-PRESENTED WITH THE NATIONAL BUILDING MUSEUM HARPER THE SAVAGE EYE In the latter half of the Feb 8* & 10 Mar 15† twentieth century, Los Angeles evolved into one of the most influ- POINT BLANK THE DRIVER ential industrial, eco- Feb 8*-11 Mar 16†, 21, 25 & 27 nomic and creative capitals in the world. THE SPLIT SMOG Between 1960 and Feb 9 & 12 Mar 22* 2000, Hollywood reflected the upheaval caused by L.A.’s rapid growth in films that wrestled with REPO MAN competing images of the city as a land that Feb 15-17 LOST HIGHWAY Mar 30 & Apr 1 scholar Mike Davis described as either “sun- shine” or “noir.” This duality was nothing new to THEY LIVE movies set in the City of Angels; the question Feb 21, 22 & 26 MULHOLLAND DR. simply became more pronounced—and of even Mar 31 & Apr 2 greater consequence—as the city expanded in size and global stature. The earnest and cynical L.A. STORY HEAT Feb 22* & 25 questioning evident in films of the 1960s and Apr 9 '70s is followed by postmodern irony and even- tually even nostalgia in films of the 1980s and LOS ANGELES PLAYS ITSELF JACKIE BROWN '90s, as the landscape of modern L.A. becomes Feb 23* Apr 11 & 12 increasingly familiar, with its iconic skyline of glass towers and horizontal blanket of street- THE PLAYER THE BIG LEBOWSKI lights and freeways spreading from the Holly- Feb 28 & Mar 6 Apr 11, 12, 15 & 17 wood Hills to Santa Monica and beyond. -
Crime Wave for Clara CRIME WAVE
Crime Wave For Clara CRIME WAVE The Filmgoers’ Guide to the Great Crime Movies HOWARD HUGHES Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Published in 2006 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com In the United States and Canada distributed by Palgrave Macmillan, a division of St. Martin’s Press, 175 Fifth Avenue, New York NY 10010 Copyright © Howard Hughes, 2006 The right of Howard Hughes to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. The TCM logo and trademark and all related elements are trademarks of and © Turner Entertainment Networks International Limited. A Time Warner Company. All rights reserved. © and TM 2006 Turner Entertainment Networks International Limited. ISBN 10: 1 84511 219 9 EAN 13: 978 1 84511 219 6 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Typeset in Ehrhardt by Dexter Haven Associates Ltd, London Printed and bound in Great Britain by TJ International, -
Gustoća Informacija I Vizualna Aktivnost U Dinamičnim Slikama
Filozofski fakultet Kristian Đokić GUSTOĆA INFORMACIJA I VIZUALNA AKTIVNOST U DINAMIČNIM SLIKAMA DOKTORSKI RAD Mentor: Prof. dr.sc. Tomislava Lauc Zagreb, 2018. Faculty of Humanities and Social Sciences Kristian Đokić INFORMATION DENSITY AND VISUAL ACTIVITY IN DYNAMIC PICTURES DOCTORAL THESIS Supervisor: Prof. dr.sc. Tomislava Lauc Zagreb, 2018. Informacije o mentorici Dr. sc. Tomislava Lauc je redovita profesorica na Odsjeku za informacijske i komunikacijske znanosti Filozofskog fakulteta Sveučilišta u Zagrebu. Nositeljica je kolegija na preddiplomskom, diplomskom i poslijediplomskom studiju. Njeno područje interesa je multimedijski instrukcijski dizajn. Zahvala Zahvaljujem se mentorici prof.dr.sc. Tomislavi Lauc za sav trud i sate provedene u nastojanjima da u realne okvire postavi moje često preambiciozne ideje. Zahvaljujem se supruzi Ivani i djeci Marku i Jakovu na strpljenju svih ovih godina rada na disertaciji. Kristian Đokić SAŽETAK Zbog velikog utjecaja na društvo vizualni mediji tema su kontinuiranog istraživanja u ovom i u prošlom stoljeću. U ovoj disertaciji predložen je i provjeren model mjerenja vizualne aktivnosti medija koji se temelji na algoritmima za uklanjanje pozadine poznatim u području računalnog vida. Algoritmi za uklanjanje pozadine obrađuju video sadržaje na način da se kao izlaz obrade dobije dvobojni video sadržaj, pri čemu je jedna boja detektirani pokretni objekt, dok je druga nepomična pozadina. Koristeći omjer broja točaka detektiranih pokretnih objekata i ukupnog broja točaka u nekom video sadržaju može se kvantificirati količina pokreta, što je ključna ideja ove disertacije. S obzirom da je dostupno nekoliko desetaka različitih algoritama za uklanjanje pozadine, za izbor odgovarajućeg algoritma korišten je Model ograničenog kapaciteta obrade motiviranih posredovanih poruka, kojim je moguće kvantificirati gustoću informacija video sadržaja. -
Politicising Stardom: Jane Fonda, IPC Films and Hollywood, 1977-1982
1 Politicising Stardom: Jane Fonda, IPC Films and Hollywood, 1977-1982 James Michael Rafferty Queen Mary, University of London Thesis submitted for the qualification of Doctorate of Philosophy (PhD) 2 Abstract This thesis is an empirical analysis of Jane Fonda’s films, stardom, and political activism during the most commercially successful period of her career. At the outset, Fonda’s early stardom is situated in relation to contemporaneous moral and political ideologies in the United States and how she functioned as both an agent and symbol of these ideologies. Her anti-war activism in the early-1970s constituted the apex of Fonda’s radicalisation and the nadir of her popular appeal; a central question of this thesis, therefore, is how her stardom was rehabilitated for the American mainstream to the point of becoming Hollywood’s most bankable actress. As the star and producer of IPC Films, Fonda developed political projects using commercial formats, namely Coming Home (1978), The China Syndrome (1979), Nine to Five (1980), and Rollover (1981). The final IPC film, On Golden Pond (1981), signalled an ideological breach in this political strategy by favouring a familial spectacle, and duly outperformed its predecessors significantly. The first and last chapters of this work provide historical parameters for IPC in Fonda’s career, while the remaining chapters are structured by the conceptual and political aspects of each IPC project. Julia (1977) is discussed as an IPC prototype through its dramatisation of political consciousness. Coming Home, The China Syndrome, Nine to Five, and Rollover all exhibit this motif whereas On Golden Pond employs melodramatic nostalgia. -
Screening the LAPD
1 Screening the L.A.P.D.: Cinematic Representations of Policing and Discourses of Law Enforcement in Los Angeles, 1948-2003. by Robert Bevan University College London Ph.D. Thesis 2 Declaration I, Robert Bevan, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Thesis Abstract This thesis examines cinematic representations of the L.A.P.D. within the context of discourses of law enforcement in Los Angeles and contends that these feature films constitute a significant strand within such discourse. This contention, which is based upon the various identifiable ways in which the films engage with contemporary issues, acknowledges that the nature of such engagement is constrained by the need to produce a commercially viable fictional entertainment. In four main chronological segments, I argue that it is also influenced by the increasing ethnic and gendered diversity of film-makers, by their growing freedom to screen even the most sensitive issues and by the changing racial and spatial politics of Los Angeles. In the 1940s and 1950s, the major studios were prepared to illustrate some disputed matters, such as wire-tapping, but represented L.A.P.D. officers as white paragons of virtue and ignored their fractious relationships with minority communities. In the aftermath of the Watts riot of 1965, racial tensions were more difficult to ignore and, under a more liberal censorship regime, film-makers―led by two independent African American directors―began to depict instances of police racism and brutality. -
CHARTOFF-WINKLER and IRWIN WINKLER November 16 - December 6, 1990
The Museum of Modern Art For Immediate Release November 1990 CHARTOFF-WINKLER AND IRWIN WINKLER November 16 - December 6, 1990 The Museum of Modern Art pays tribute to film producers Irwin Winkler and Robert Chartoff in CHARTOFF-WINKLER AND IRWIN WINKLER, an exhibition of sixteen films opening on November 16, 1990. Between 1967 and 1985, Chartoff and Winkler produced over twenty-five features by such directors as Costa- Gavras, Philip Kaufman, Sydney Pollack, Martin Scorsese, and Bertrand Tavernier. For the past five years, Winkler has produced films on his own, including Scorsese's critically acclaimed GoodFellas (1990). Both producers will be present to introduce the screening of Pollack's They Shoot Horses, Don't They? (1969), at 6:00 p.m. on Friday, November 16. Chartoff and Winkler are known for the diversity of their projects and for an ability to balance commercial entertainment with thoughtful drama. Their works are distinguished by an understanding of characters who are willing to take risks and sympathy for individuals who find themselves at odds with society. Among the films included in the series are John Boorman's Point Blank (1967), about a man's vengeance after his unfaithful wife and her boyfriend attempt to murder him; Stuart Hagmann's The Strawberry Statement (1970), a dramatization of student riots at Columbia University; Martin Scorsese's Raging Bull (1980), a compelling portrait of boxer Jake LaMotta; Philip Kaufman's The Right Stuff (1983), an adaptation of Tom Wolfe's book -more- 11 West 53 Street, New York, NY. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 about the birth of America's space program; and Bertrand Tavernier's 'Round Midnight (1986), a portrayal of the jazz scene in Paris in the 1950s.