The World's Hottest Production Facilities 12:30 PM PDT 5/6/2010 by Empty, AP
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To Buy Your Textbooks and Course Materials At
5 REASONS to buy your textbooks and course materials at SAVINGS: 1 Prices up to 75% off, daily coupons, and free shipping on orders over $25 CHOICE: 2 Multiple format options including textbook, eBook and eChapter rentals CONVENIENCE: 3 Anytime, anywhere access of eBooks or eChapters via mobile devices SERVICE: 4 Free eBook access while your text ships, and instant access to online homework products STUDY TOOLS: 5 Study tools* for your text, plus writing, research, career and job search resources *availability varies Find your course materials and start saving at: www.cengagebrain.com Source Code: 14M-AA0107 Engaged with you. www.cengage.com www.MyEbookNiche.eCrater.com Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. Fundamentals of MANAGEMENT Eighth Edition Ricky W. Griffin Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States www.MyEbookNiche.eCrater.com Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. -
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Mark Parascandola ONCE UPON A TIME IN SHANGHAI Cofounders: Taj Forer and Michael Itkoff Creative Director: Ursula Damm Copy Editors: Nancy Hubbard, Barbara Richard © 2019 Daylight Community Arts Foundation Photographs and text © 2019 by Mark Parascandola Once Upon a Time in Shanghai and Notes on the Locations © 2019 by Mark Parascandola Once Upon a Time in Shanghai: Images of a Film Industry in Transition © 2019 by Michael Berry All rights reserved. ISBN 978-1-942084-74-7 Printed by OFSET YAPIMEVI, Istanbul No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior permission in writing of copyright holders and of the publisher. Daylight Books E-mail: [email protected] Web: www.daylightbooks.org 4 5 ONCE UPON A TIME IN SHANGHAI: IMAGES OF A FILM INDUSTRY IN TRANSITION Michael Berry THE SOCIALIST PERIOD Once upon a time, the Chinese film industry was a state-run affair. From the late centers, even more screenings took place in auditoriums of various “work units,” 1940s well into the 1980s, Chinese cinema represented the epitome of “national as well as open air screenings in many rural areas. Admission was often free and cinema.” Films were produced by one of a handful of state-owned film studios— tickets were distributed to employees of various hospitals, factories, schools, and Changchun Film Studio, Beijing Film Studio, Shanghai Film Studio, Xi’an Film other work units. While these films were an important part of popular culture Studio, etc.—and the resulting films were dubbed in pitch-perfect Mandarin during the height of the socialist period, film was also a powerful tool for education Chinese, shot entirely on location in China by a local cast and crew, and produced and propaganda—in fact, one could argue that from 1949 (the founding of the almost exclusively for mainland Chinese film audiences. -
International Emerging Talent Film Festival Festival International Des Espoirs Du Cinéma
International Emerging Talent Film Festival Festival International des Espoirs du Cinéma OFFICIAL CATALOG - CATALOGUE OFFICIEL To Our Guests: In 2003, a small seed was planted: to create a new and innovative platform that was dedicated to promoting and supporting new and emerging fi lmmakers from around the world. It took the dedication and effort of many people to bring the Festival to life in this, the inaugural edition of the International Emerging Talent Film Festival. Over the years, ideas have grown, changed, and have been molded into IETFF 2007, a platform dedicated to new and emerging fi lmmakers on an international scale, now focused on nurturing and promoting new fi lmmakers from the developing nations of the world. Through our Film Pro meetings, we offer these new cinema talents the opportunity to interact with some of the leaders of the international motion picture industry. We owe a special debt of gratitude to our sponsors, advertisers, donors and to our home, the Principality of Monaco. And we couldn’t be more pleased by the programs we offer here in the beautiful Grimaldi Forum. During the course of the Festival, we are presenting 25 short and feature fi lms, including eleven Feature Films and eleven short fi lms in our Offi cial Competition. Amongst the feature fi lms, there are two World Premieres, two International Premieres, four European Premieres and two French Premieres. In addition, we have three Special Screenings, six amazing conversations and panels and an extraordinary assemblage of fi lmmakers, VIP guests, fi lm industry representatives and world press. The IETFF is an organization that will provide fi lm education as a means of expression in developing nations through its Global Film Expression. -
Confucius Kong Zi (China-Hong Kong) by DEREK ELLEY
Confucius Kong Zi (China-Hong Kong) By DEREK ELLEY 'Confucius' A China Film Group release of a Beijing Dadi Century, China Film Group Corp. (China)/Dadi Entertainment (Hong Kong) production. (International sales: Dadi Entertainment, Hong Kong.) Produced by Han Sanping, Chui Po-chu, Rachel Liu. Executive producers, Han, Liu, John Sham. Directed by Hu Mei. Screenplay, Chan Khan, He Yanjiang, Jiang Qitao, Hu. Though he was probably the last person on most people's lists to play the venerable Chinese philosopher, Chow Yun-fat makes a commanding screen presence as "Confucius." Combining calm sagacity with a potent physicality that more than fills helmer Hu Mei's big visual stage, Chow carries the biopic almost single-handedly and prevents it from becoming overly respectful. Released Jan. 22 in China amid the "Avatar" tsunami, "Confucius" hauled a very wise but not heaven-storming 99.5 million yuan ($14.6 million) in its first three frames. Beyond Asia, this entertaining, often thoughtful pic mostly will be seen, alas, on the smallscreen. The media brouhaha over the 2D version of "Avatar" being bumped off many screens to make way for "Confucius" -- supposedly for political/patriotic reasons -- has obscured the fact that the pic is an exceptionally good-looking and largely well-played historical drama. Released at any other time -- its original date was last fall, to coincide with the 2,560th anniversary of the sage's birth -- the film would never have been bruised by what became a fabricated Hollywood-vs.-China media-cultural war. Since "Curse of the Golden Flower," Chow has shown he can bring a physical heft to mature costume-drama roles that's equaled only in Chinese-speaking cinema by mainlanders such as Zhang Fengyi, Wang Xueqi or Hu Jun. -
Shanghai and Beijing Travel Report 2010
Shanghai International Film Festival and Market, Shanghai and Beijing meetings Report by Chris Oliver and Ross Matthews To report that the China screen landscape is undergoing change is not new news. All facets of the screen industry development, production, distribution, exhibition and broadcasting are going through change – a change that is in a positive direction. The change in the way the Chinese industry is engaging with the rest of world’s screen industries, including the way Government instrumentalities are relating to other countries (eg treaties) will be of real benefit to the Chinese and the international screen industry. Australia is well placed to benefit from those changes if (that’s capital IF) Australian producers/players understand the rules of engagement with Chinese producers, broadcasters and exhibitors and the Chinese government departments involved in implementing government policy. Why should Australia engage with China? There are obvious commercial reasons. Firstly, the Chinese gross box office (GBO) has increased by at least 30 per cent in the last year to US$909 million – and has now surpassed Australia to be number six in the world. According to those we had discussions with in China and what can be gleaned from the screen press, the China GBO will grow by at least a further 40 per cent in the 2010 calendar year! Secondly, China’s population has an ever-increasing level of Abbreviations disposable income to underpin AIDC Australian International Documentary Conference the cinema ticket price of $6–10: CCTV China Central Television TRAVELREPORT it’s been reported that middle CFCC China Film Co-production Corporation class numbers will exceed those CFGC China Film Group Corporation in the US by 2020. -
Title 10 Years Beautiful Wasteland 10,000 Maniacs More Than This
M & M MUSIC Title Title 10 Years 2 Pistols & T Pain & Tay Dizm Beautiful She Got It Wasteland 20 Fingers 10,000 Maniacs Short Dick Man More Than This 21st Century Girls Trouble Me 21st Century Girls 100 Proof Aged In Soul 2Play & Thomes Jules & Jucxi D Somebody's Been Sleeping Careless Whisper 10Cc 3 A M Donna Busted Dreadlock Holiday 3 Doors Down I'm Mandy Away From The Sun I'm Not In Love Be Like That Rubber Bullets Behind Those Eyes 112 Better Life It's Over Now Citizen Soldier Peaches & Cream Duck & Run Right Here For You Every Time You Go U Already Know Here By Me 112 & Ludacris Here Without You Hot & Wet It's Not My Time 12 Gauge Kryptonite Dunkie Butt Landing In London 12 Stones Let Me Be Myself We Are One Let Me Go 1910 Fruitgum Co Live For Today Simon Says Loser 2 Live Crew Road I'm On Doo Wah Diddy So I Need You Me So Horny When I'm Gone We Want Some P-Y When You're Young 2 Pac 3 Of A Kind California Love Baby Cakes Until The End Of Time Ikaw Ay Bayani 2 Pac & Eminem 3 Of Hearts One Day At A Time Love Is Enough 2 Pac & Notorious B.I.G. 30 Seconds To Mars Runnin (Dying To Live) Kill 2 Pistols & Ray J 311 You Know Me All Mixed Up Song List Generator® Printed 12/7/2012 Page 1 of 410 Licensed to Melissa Ben M & M MUSIC Title Title 311 411 Amber Teardrops Beyond The Grey Sky 44 Creatures (For A While) When Your Heart Stops Beating Don't Tread On Me 5 6 7 8 First Straw Steps Hey You 50 Cent Love Song 21 Questions 38 Special Amusement Park Caught Up In You Best Friend Fantasy Girl Candy Shop Hold On Loosely Disco Inferno If I'd Been -
A Study of Beijing's Competitive Advantage As An
A Study of Beijing‘s Competitive Advantage as an Emergent Media Capital Angela Lin Huang Bachelor of Law / Master of Law A dissertation presented in fulfilment of the requirements for the degree of Doctor of Philosophy Creative Industries Faculty, Queensland University of Technology 2012 1 Keywords Media capital Media industries Media market Media cluster Media policy China Beijing Institution i Abstract The development of creative industries has been connected to urban development since the end of the 20th century. However, the causality of why creative industries always cluster and develop in certain cities hasn‘t been adequately demonstrated, especially as to how various resources grow, interact and nurture the creative capacity of the locality. Therefore it is vital to observe how the local institutional environment nurtures creative industries and how creative industries consequently change the environment in order to better address the connection between creative industries and localities. In Beijing, the relocation of CCTV, BTV and Phoenix to Chaoyang District raises the possibility of a new era for Chinese media, one in which the stodginess of propaganda content will give way to exciting new forms and genres. The mixing of media companies in an open commercial environment (away from the political power district of Xicheng) holds the promise of more freedom of expression and, ultimately, to a ‗media capital‘ (Curtin, 2003). These are the dreams of many media practitioners in Beijing. But just how realistic are their expectations? This study adopts the concept of ‗media capital‘ to demonstrate how participants, including state-media organisations, private media companies and international media conglomerates, are seeking out space and networks to survive in Beijing. -
DIRECTOR of WORLD-RENOWNED FILM FEST COMES to the PHILIPPINES Sundance Film Festival Director Geoff Gilmore to Grace Philippine Shores
DIRECTOR OF WORLD-RENOWNED FILM FEST COMES TO THE PHILIPPINES Sundance Film Festival Director Geoff Gilmore to grace Philippine shores Cebu, PHILIPPINES (May 21, 2007) – Geoff Gilmore, Director of the Sundance Film Festival and an icon in the international independent filmmaking scene, will be in Manila and Cebu on May 26 and 28, respectively, to conduct workshops on independent filmmaking aptly named Sundance in Manila! and Sundance in Cebu! Gilmore is also set to deliver the keynote speech at the commencement exercises of the Batch 3-06 One-Year Immersion students of the International Academy of Film and Television (IAFT). As Director of Sundance for seventeen years now, Gilmore has been responsible for the film selection in all sections of the Festival, as well as overseeing its overall artistic direction of and general management. Apart from directing the Sundance Film Festival, Gilmore directs the annual Sundance Independent Producers Conference, a four-day forum on the production, financing, marketing and distribution of independent film. He is also a programming consultant for Robert Redford, the Sundance Group, the recently created Sundance Film Series, and – since its establishment in 1996 – the Sundance Channel. In addition, Gilmore has been a vital component of numerous committees ranging from the National Endowment for the Arts, to the California Arts Council; and international film juries including the Sarajevo Film Festival, the Locarno Film Festival, the Berlin International Film Festival, the Moscow Film Festival, the Shanghai Film Festival, and the Jerusalem International Film Festival. He has served on the Board of the Independent Feature Project and was a member of the Independent Spirit Awards Committee. -
Bigfoot Entertainment Breaks Ground at Cebu City's
BIGFOOT ENTERTAINMENT BREAKS GROUND AT CEBU CITY’S SRP Production powerhouse goes full-steam ahead with its long-awaited expansion Cebu, PHILIPPINES (May 8, 2007) – Bigfoot Entertainment is making a mark in the international film industry as it breaks ground at its expansion site at the South Road Properties (SRP). Bigfoot’s 2-hectare property at SRP will soon house state-of-the-art filmmaking facilities that will equal such famous film outfits as Universal Studios and Warner Brothers Studios. First phase of the development is the construction of the country’s first Quad Shooting Building, comprising four separate studios and a helicopter pad. With a total floor area of 4,800 square meters, each of the four studio will measure 30 x 40 meters, with a 10-meter clear height connected in the interior walls and an elephant door access. All studios will be complete with Film Production facilities: from the Director’s Office and Production Offices, to Star Dressing Rooms and Suites; Wardrobe, Hair and Makeup, Camera and Equipment Rooms; and Craft and Set Shops and electrical provisions. Bigfoot’s SRP facilities will have a Fabrication and Mill Building, which will house a complete set of facilities and equipment for the construction of individually fabricated elements – from props, slide sets and swing sets, to full sets. The Fabrication and Mill Building will have an Art and Design Office; and Carpentry, Plaster and Mold, Metal and Steel Works, Glass Works, and Painting Areas. It will also serve as the storage area for completed props. Also set to rise on the site is Bigfoot’s Executive Hotel that will serve not only Bigfoot Entertainment, but the public as well. -
BIGFOOT ENTERTAINMENT DIPS ITS FEET in the IDOL SERIES International Entertainment Company Joins Forces with Major Network to Find the Country’S Best Young Talent
BIGFOOT ENTERTAINMENT DIPS ITS FEET IN THE IDOL SERIES International entertainment company joins forces with major network to find the country’s best young talent CEBU, PHILIPPINES (July 4, 2006) – In its drive to bring Hollywood to Asia, Bigfoot Entertainment finds an ally in ABC-5, as they co-host the Cebu leg of the inaugural season of Philippine Idol auditions this month. A franchise of the popular TV “Idol” series, Philippine Idol will roll out in Cebu on July 4 to July 10, with the pre-casting taking place simultaneously at SM City, Cebu and at Bigfoot Entertainment’s world class facilities in Lapu Lapu, Mactan Island. The 19,000 square-meter compound at Mactan, Cebu is also home to the campus of the International Academy of Film and Television (IAFT), Bigfoot Entertainment’s professional training institution for aspiring filmmakers. IAFT’s One Year Immersion Program and short-term workshops combine theory and application training under the directions of leading Hollywood filmmakers serving as faculty mentors. Bigfoot Entertainment also offers state-of-the-art production services to local and international production companies in terms of filming and post production requirements. “Here at Bigfoot Entertainment, the Philippine Idol judges, contestants and crew will be able to witness first-hand the range of our sophisticated offerings, such as the first NC24-rated sound stage in the country,” explains Butch Maddul, Facilities & Equipment Supervisor for Bigfoot Entertainment. Pre-casting at Bigfoot will be in three of the Bigfoot facilities’ world-class studios, such as: the Automatic Dialogue Replacement (ADR), and Foley Studios, and Soundstage 1. -
Negotiating Transnational Collaborations with the Chinese Film Industry
University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2019 Negotiating Transnational Collaborations with the Chinese Film Industry Kai Ruo Soh University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Soh, Kai Ruo, Negotiating Transnational Collaborations with the Chinese Film Industry, Doctor of Philosophy thesis, School of the Arts, English and Media, University of Wollongong, 2019. -
High Court Judgment Template
Neutral Citation Number: [2019] EWHC 769 (Ch) Case No: CH-2018-000205 IN THE HIGH COURT OF JUSTICE BUSINESS AND PROPERTY COURTS OF ENGLAND AND WALES CHANCERY DIVISION Royal Courts of Justice 7 Rolls Building, Fetter Lane, EC4A 1NL Date: 29th March 2019 Before: THE HON MR JUSTICE HENRY CARR - - - - - - - - - - - - - - - - - - - - - Between: TRUMP INTERNATIONAL LIMITED Appellant - and – DTTM OPERATIONS LLC Respondent COMPTROLLER GENERAL OF PATENTS, Intervener DESIGNS AND TRADE MARKS - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Denise McFarland (instructed by Appleyard Lees (Attorneys)) for the Appellant Ian Bartlett from Beck Greener for the Respondent Nicholas Saunders QC (instructed by The Treasury Solicitor) for the Intervener Hearing dates: 28 February 2019 - - - - - - - - - - - - - - - - - - - - - Approved Judgment I direct that pursuant to CPR PD 39A para 6.1 no official shorthand note shall be taken of this Judgment and that copies of this version as handed down may be treated as authentic. ............................. MR JUSTICE HENRY CARR MR JUSTICE HENRY CARR Double-click to enter the short title Approved Judgment MR JUSTICE HENRY CARR: Introduction 1. Attempts to register well-known trade marks by parties who have no connection with such marks (“third-party trade marks”) are a global problem. In many jurisdictions, applications to register such marks have been rejected on the basis that they were filed in bad faith. For a recent discussion of the scale of the problem in China, including a comparative law analysis, see Jyh-An Lee, Hui Huang: Post-Application Evidence of Bad Faith in China’s Trademark Law, Journal of Intellectual Property Law & Practice, Volume 13, Issue 5, 1 May 2018 pages 400 - 407. 2. On 30 October 2016, the Appellant (“Trump International”) applied to register the words “TRUMP TV” as a UK trade mark (“the Application”).