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PROGRAM November 18-20, 2015 THANKS to the 2015 Children, Youth & Media Conference Sponsors
Toronto PROGRAM November 18-20, 2015 THANKS tO tHe 2015 ChIlDrEn, YoUtH & MeDiA CoNfErEnCe sponsors MAIN SPONSOR PRESTIGE SPONSORS EXCELLENCE SPONSORS 2 SPECIAL THANKS Youth Media Alliance would like to warmly thank its 2015 Children, Youth & Media Conference advisory committee: NATALIE DUMOULIN / 9 Story Media Group MARTHA SEPULVEDA / RACHEL MARCUS / Guru Studio Breakthrough Entertainment MICHELLE MELANSON CUPERUS / CLAUDIA SICONDOLFO Radical Sheep Productions JULIE STALL / Portfolio Entertainment LYNN OLDERSHAW / Kids’ CBC TRAVIS WILLIAMS / Mercury Filmworks MIK PERLUS / marblemedia SUZANNE WILSON / TVO Kids JAMIE PIEKARZ / Corus Entertainment And the volunteers: KELLY LYNNE ASHTON, KAYLA LATHAM, HENRIKA LUONG, TATIANA MARQUES, JAYNA RAN and MARCELA LUCIA ROJAS. TABLE OF CONTENTS Words from Chair .............................................................................p. 4 Words from Executive Director ............................................................p. 5 Schedule and Venue ..........................................................................p. 6 General Conference ..........................................................................p. 8 Workshop with Sheena Macrae ............................................................p. 12 Workshop with Linda Schuyler .............................................................p. 12 Prix Jeunesse Screening ....................................................................p. 13 Speakers’ Biographies .......................................................................p. -
Quentin Tarantino's KILL BILL: VOL
Presents QUENTIN TARANTINO’S DEATH PROOF Only at the Grindhouse Final Production Notes as of 5/15/07 International Press Contacts: PREMIER PR (CANNES FILM FESTIVAL) THE WEINSTEIN COMPANY Matthew Sanders / Emma Robinson Jill DiRaffaele Villa Ste Hélène 5700 Wilshire Blvd., Suite 600 45, Bd d’Alsace Los Angeles, CA 90036 06400 Cannes Tel: 323 207 3092 Tel: +33 493 99 03 02 [email protected] [email protected] [email protected] From the longtime collaborators (FROM DUSK TILL DAWN, FOUR ROOMS, SIN CITY), two of the most renowned filmmakers this summer present two original, complete grindhouse films packed to the gills with guns and guts. Quentin Tarantino’s DEATH PROOF is a white knuckle ride behind the wheel of a psycho serial killer’s roving, revving, racing death machine. Robert Rodriguez’s PLANET TERROR is a heart-pounding trip to a town ravaged by a mysterious plague. Inspired by the unique distribution of independent horror classics of the sixties and seventies, these are two shockingly bold features replete with missing reels and plenty of exploitative mayhem. The impetus for grindhouse films began in the US during a time before the multiplex and state-of- the-art home theaters ruled the movie-going experience. The origins of the term “Grindhouse” are fuzzy: some cite the types of films shown (as in “Bump-and-Grind”) in run down former movie palaces; others point to a method of presentation -- movies were “grinded out” in ancient projectors one after another. Frequently, the movies were grouped by exploitation subgenre. Splatter, slasher, sexploitation, blaxploitation, cannibal and mondo movies would be grouped together and shown with graphic trailers. -
Crash- Amundo
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Signature Redacted
Perspectives on Film Distribution in the U.S.: Present and Future By Loubna Berrada Master in Management HEC Paris, 2016 SUBMITTED TO THE MIT SLOAN SCHOOL OF MANAGEMENT IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN MANAGEMENT STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2016 OFTECHNOLOGY 2016 Loubna Berrada. All rights reserved. JUN 08 201 The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic LIBRARIES copies of this thesis document in whole or in part ARCHIVES in any medium now known or hereafter created. Signature of Author: Signature redE cted MIT Sloan School of Management May 6, 2016 Certified by: Signature redacted Juanjuan Zhang Epoch Foundation Professor of International Management Professor of Marketing MIT Sloan School of Management Thesis Supervisor Accepted by: Signature redacted Rodrigo S. Verdi Associate Professor of Accounting Program Director, M.S. in Management Studies Program MIT Sloan School of Management 2 Perspectives on Film Distribution in the U.S.: Present and Future By Loubna Berrada Submitted to MIT Sloan School of Management on May 6, 2016 in Partial fulfillment of the requirements for the Degree of Master of Science in Management Studies. Abstract I believe film has the power to transform people's lives and minds and to enlighten today's generation like any other medium. This is why I wanted to write my thesis about film distribution as it will determine the future of the industry itself. The way films are distributed, accessed and consumed will be critical in shaping our future entertainment culture and the way we approach content. -
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Literally, Right Before Aaron
SCREEN MEDIA FILMS PRESENTS LITERALLY, RIGHT BEFORE AARON A RIZK PICTURES PRODUCTION & IS THIS REEL FILM Directed, Written, and Edited by Ryan Eggold Theatrical Release Date: September 29, 2017 Running Time: 101 minutes Rating: Not rated Trailer: https://youtu.be/5zxz7JqyPyY Official Website: www.rightbeforeaaron.com Facebook: www.facebook.com/screenmediafilm Twitter: www.twitter.com/screenmediafilm To Download Materials: https://www.dropbox.com/sh/lb294xlzpd7uv0k/AABUTe- K5qWhBgZlIiOtubh_a?dl=0 Publicity/Press Contact: New York Los Angeles Falco Ink. Prodigy PR [email protected] Alex Klenert, [email protected] [email protected] Hanna Frankel, [email protected] Produced by Cassandra Kulukundis, Ryan Eggold, Alexandra Rizk Keane, Nancy Leopardi, Ross Kohn Co-Produced by Marcus Cole Associate Produced by Sean Rappleyea Starring Justin Long, Cobie Smulders, Ryan Hansen, John Cho, Kristen Schaal, Dana Delany, Peter Gallagher, Lea Thompson, and Luis Guzmán SYNOPSIS After Adam (Justin Long) gets a call from his ex-girlfriend Allison (Cobie Smulders) telling him she is getting married, Adam realizes he is just not ready to say goodbye. Against the advice of his best friend Mark (John Cho), Adam decides to drive back home to San Francisco to attend the wedding in hopes of convincing himself and everyone else, including her charming fiancé Aaron (Ryan Hansen), that he is truly happy for her. After a series of embarrassing, hilarious, and humbling situations, Adam discovers the comedy in romance, the tragedy of letting go and the hard truth about growing up. RYAN EGGOLD, DIRECTOR STATEMENT The disparity between the fantasy of love and the reality of relationships has always fascinated me. -
The South According to Quentin Tarantino
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2015 The South According To Quentin Tarantino Michael Henley University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the American Studies Commons Recommended Citation Henley, Michael, "The South According To Quentin Tarantino" (2015). Electronic Theses and Dissertations. 887. https://egrove.olemiss.edu/etd/887 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. THE SOUTH ACCORDING TO QUENTIN TARANTINO A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of the Center for the Study of Southern Culture The University of Mississippi by MICHAEL LEE HENLEY August 2015 Copyright Michael Lee Henley 2015 ALL RIGHTS RESERVED ABSTRACT This thesis explores the filmmaker Quentin Tarantino’s portrayal of the South and southerners in his films Pulp Fiction (1994), Death Proof (2007), and Django Unchained (2012). In order to do so, it explores and explains Tarantino’s mixture of genres, influences, and filmmaking styles in which he places the South and its inhabitants into current trends in southern studies which aim to examine the South as a place that is defined by cultural reproductions, lacking authenticity, and cultural distinctiveness. Like Godard before him, Tarantino’s movies are commentaries on film history itself. In short, Tarantino’s films actively reimagine the South and southerners in a way that is not nostalgic for a “southern way of life,” nor meant to exploit lower class whites. -
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Feminism, Speech and Sound in Quentin Tarantino's Death Proof
Listen to the Chick Habit: Feminism, Speech and Sound in Quentin Tarantino’s Death Proof by Danielle Barr It is tempting to misread Quentin Tarantino’s Death Proof (2007) as a simple, relatively tame exploitation flm, especially if one is familiar with his earlier, testosterone-motored flms like Reservoir Dogs (1992). Yet this film functions differently, exercising a feminist agenda of sorts that manifests in the redistribution of the primacy of voice, music, sound, and noise, to produce a unique soundscape that foregrounds the female voice. To this effect, Tarantino blurs the distinctions between dialogue and song, between music and noise, efectively presenting an alternative to the way we traditionally hear flm and flm characters. We could argue that Death Proof’s women’s corporeal and aural fgurations challenge Western phallocentric language: they privilege a form of ‘female writing’ of woman and her experiences/desires. Trough rhythmically pleasing orchestrations of female linguistic authority Death Proof ofers a new/diferent/self-defned woman. In so doing, Tarantino disrupts a passive male-centric spectatorship, as he calls attention to the way in which we typically hear female voices, particularly in mainstream cinema. Death Proof is roughly divided into two parts (or super segments) each showcasing two diverse yet convergent groups of women (referred to as the Girls1 and Girls2) and their sadistic stalker, Stuntman Mike. Te Girls1—radio personality Jungle Julia Lucai, 1 Caméra Stylo Shanna and Arlene—casually drive around town and arrive at a bar where they eventually encounter the aging Stuntman Mike. In the second super segment, Te Girls2—Kim, Abernathy, Lee, and Zoë — ‘test drive’ a vintage 1970s Dodge Challenger. -
Genre, Justice & Quentin Tarantino
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 11-6-2015 Genre, Justice & Quentin Tarantino Eric Michael Blake University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Film and Media Studies Commons, and the Theory and Criticism Commons Scholar Commons Citation Blake, Eric Michael, "Genre, Justice & Quentin Tarantino" (2015). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/5911 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Genre, Justice, & Quentin Tarantino by Eric M. Blake A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Humanities and Cultural Studies With a concentration in Film Studies College of Arts & Sciences University of South Florida Major Professor: Andrew Berish, Ph.D. Amy Rust, Ph.D. Daniel Belgrad, Ph.D. Date of Approval: October 23, 2015 Keywords: Cinema, Film, Film Studies, Realism, Postmodernism, Crime Film Copyright © 2015, Eric M. Blake TABLE OF CONTENTS Abstract ................................................................................................................................. ii Introduction ..................................................................................................................................1 -
Julie & Julia (2009)
Julie & Julia (2009) Streep e Adams sontuose interpreti di ricette che salvano la vita. Un film di Nora Ephron con Amy Adams, Meryl Streep, Jane Lynch, Stanley Tucci, Vanessa Ferlito, Mary Lynn Rajskub, Dave Annable, Chris Messina, Lindsay Felton, Catherine Haena Kim. Genere Commedia durata 118 minuti. Produzione USA 2009. Uscita nelle sale: venerdì 23 ottobre 2009 Julia Child cambia il modo di mangiare in America con il suo libro sulla cucina francese; 50 anni più tardi Julie Powell cambia la sua vita proprio grazie a quelle ricette. Stefano Cocci - www.mymovies.it 1949. Julia Child si è appena trasferita a Parigi per seguire il marito addetto culturale dell'ambasciata americana. Nella nuova città è ammaliata dalla cucina francese e per combattere la noia inizia un corso professionale per diventare cuoca. La passione la travolgerà, tanto da scrivere un libro che, dopo le tortuose vicende per pubblicarlo, diventerà la Bibbia per qualsiasi americano che voglia imparare a cucinare. Tutt'oggi la Child è una leggenda negli Stati Uniti. Nel 2002, Julie Powell si è appena trasferita nel Queens, sopra una pizzeria. All'università era tra le più promettenti ma la sua vita, alla soglia dei 30 anni, è in un limbo da quando ha rinunciato a completare il suo romanzo. Riuscirà a trovare un senso alla sua esistenza grazie al libro di Julia Child, aprirà un blog e racconterà la sua sfida: completare le 524 ricette della sua eroina in 365 giorni. Ha fortissimi toni femminili 'Julie & Julia'. Nora Ephron lo ha tratto dal libro autobiografico della Powell, facendone un film che segue in parallelo le esistenze di due personaggi che, benché siano separati da 50 anni, hanno moltissimi punti di contatto. -
Keefus Ciancia
KEEFUS CIANCIA COMPOSER Invariably pushing music to places beyond the norm, veering flawlessly in and out of contrasting musical genres, Keefus Ciancia has worked as a composer and producer on numerous standout productions, including the BAFTA and Emmy award winning Killing Eve and True Detective, The Fall, Strangerland, The Ladykillers and London Spy. Keefus and co-composer David Holmes won the BAFTA Original Music Award in 2019 for their score to Killing Eve and their music has recently been nominated a second time in the BAFTA 2020 Awards. They also received an Ivor Novello in 2016 for Best Television Soundtrack for their score on the TV series, London Spy. Keefus was nominated for an Emmy for True Detective in 2019 and also received an Emmy nomination for his work with Everlast for co-writing and producing the theme song for the hit television series Saving Grace. Keefus is a pianist, raised playing classical music yet influenced by two older musician brothers who broadened his listening palette to a wild, eclectic array of sounds forming his love and attraction to film scores early on. He moved to Los Angeles and began to work with Lonnie "Meganut" Marshall from LA’s underground scene of burgeoning bands. Marshall and Ciancia started the multi genre experimental group ‘Weapon Of Choice’ that flourished for three albums. During that time, he recorded for the West Coast hip-hop scene with artists Ice Cube, Dr. Dre, South Central Cartel and E40. In the early nineties, Keefus met singer Jade Vincent and together they formed their own 10-piece experimental film-noir big band, ‘The Jade Vincent Experiment’ later to become Vincent & Mr.