The Legend of Red Hand Press Kit 30Th January 2018
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LIBRARY "Something like Diaz’s equivalent "Emotionally and visually powerful" of Jean-Luc Godard’s Alphaville" THE HALT ANG HUPA 2019 | PHILIPPINES | SCI-FI | 278 MIN. DIRECTOR LAV DIAZ CAST PIOLO PASCUAL JOEL LAMANGAN SHAINA MAGDAYAO Manilla, 2034. As a result of massive volcanic eruptions in the Celebes Sea in 2031, Southeast Asia has literally been in the dark for the last three years, zero sunlight. Madmen control countries, communities, enclaves and new bubble cities. Cataclysmic epidemics ravage the continent. Millions have died and millions more have left. "A dreamy, dreary love story packaged "A professional, polished as a murder mystery" but overly cautious directorial debut" SUMMER OF CHANGSHA LIU YU TIAN 2019 | CHINA | CRIME | 120 MIN. DIRECTOR ZU FENG China, nowadays, in the city of Changsha. A Bin is a police detective. During the investigation of a bizarre murder case, he meets Li Xue, a surgeon. As they get to know each other, A Bin happens to be more and more attracted to this mysterious woman, while both are struggling with their own love stories and sins. Could a love affair help them find redemption? ROMULUS & ROMULUS: THE FIRST KING IL PRIMO RE 2019 | ITALY, BELGIUM | EPIC ACTION | 116 MIN. DIRECTOR MATTEO ROVERE CAST ALESSANDRO BORGHI ALESSIO LAPICE FABRIZIO RONGIONE Romulus and Remus are 18-year-old shepherds twin brothers living in peace near the Tiber river. Convinced that he is bigger than gods’ will, Remus believes he is meant to become king of the city he and his brother will found. But their tragic destiny is already written… This incredible journey will lead these two brothers to creating one of the greatest empires the world has ever seen, Rome. -
It 2.007 Vc Italian Films On
1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute. -
The 48 Stars That People Like Less Than Anne Hathaway by Nate Jones
The 48 Stars That People Like Less Than Anne Hathaway By Nate Jones Spend a few minutes reading blog comments, and you might assume that Anne Hathaway’s approval rating falls somewhere between that of Boko Haram and paper cuts — but you'd actually be completely wrong. According to E-Poll likability data we factored into Vulture's Most Valuable Stars list, the braying hordes of Hathaway haters are merely a very vocal minority. The numbers say that most people actually like her. Even more shocking? Who they like her more than. In calculating their E-Score Celebrity rankings, E-Poll asked people how much they like a particular celebrity on a six-point scale, which ranged from "like a lot" to "dislike a lot." The resulting Likability percentage is the number of respondents who indicated they either "like" Anne Hathaway or "like Anne Hathaway a lot." Hathaway's 2014 Likability percentage was 67 percent — up from 66 percent in 2013 — which doesn't quite make her Will Smith (85 percent), Sandra Bullock (83 percent), Jennifer Lawrence (76 percent), or even Liam Neeson (79 percent), but it does put her well above plenty of stars whose appeal has never been so furiously impugned on Twitter. Why? Well, why not? Anne Hathaway is a talented actress and seemingly a nice person. The objections to her boiled down to two main points: She tries too hard, and she's overexposed. But she's been absent from the screen since 2012'sLes Misérables, so it's hard to call her overexposed now. And trying too hard isn't the worst thing in the world, especially when you consider the alternative. -
Separate and Consolidated Interim Financial Statements As at 30 June 2020
Separate and Consolidated Interim Financial Statements as at 30 June 2020 Separate and Consolidated Interim Financial Statements as at 30 June 2020 Contents 7 Introduction 17 Report on Operations 171 Interim Separate Financial Statements as at 30 June 2020 239 Interim Consolidated Financial Statements as at 30 June 2020 303 Corporate Directory 4 Contents Introduction 7 Corporate Officers 8 Organisational Structure 9 Introduction from the Chairman of the Board of Directors 11 Financial Highlights 12 Report on Operations 17 Mission 18 Market scenario 18 The Rai Group 24 Television 41 Radio 97 RaiPlay and Digital 107 Public broadcasting service function 116 TV production 119 Technological activities 120 Transmission and distribution activities 129 Sales activities 130 Other activities 135 Changes in the regulatory framework 143 Corporate governance 148 Corporate Governance Report - the Rai Control Governance Model and the Internal Control and Risk Management System (SCIGR) 150 Other information 155 Human Resources and Organisation 155 Safety & Security 159 Intercompany Relations 161 Significant events occurring after 30 June 2020 168 Outlook of operations 168 5 Interim Separate Financial Statements as at 30 June 2020 171 Analysis of the results and performance of operating results, financial position and cash flows for the first half of 2020 172 Financial Statements of Rai SpA 186 Notes to the Interim Separate Financial Statements as at 30 June 2020 191 Certification pursuant to article 154-bis of Italian Legislative Decree 58/98 235 Independent -
Unbelievable Bodies: Audience Readings of Action Heroines As a Post-Feminist Visual Metaphor
Unbelievable Bodies: Audience Readings of Action Heroines as a Post-Feminist Visual Metaphor Jennifer McClearen A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2013 Committee: Ralina Joseph, Chair LeiLani Nishime Program Authorized to Offer Degree: Communication ©Copyright 2013 Jennifer McClearen Running head: AUDIENCE READINGS OF ACTION HEROINES University of Washington Abstract Unbelievable Bodies: Audience Readings of Action Heroines as a Post-Feminist Visual Metaphor Jennifer McClearen Chair of Supervisory Committee: Associate Professor Ralina Joseph Department of Communication In this paper, I employ a feminist approach to audience research and examine the individual interviews of 11 undergraduate women who regularly watch and enjoy action heroine films. Participants in the study articulate action heroines as visual metaphors for career and academic success and take pleasure in seeing women succeed against adversity. However, they are reluctant to believe that the female bodies onscreen are physically capable of the action they perform when compared with male counterparts—a belief based on post-feminist assumptions of the limits of female physical abilities and the persistent representations of thin action heroines in film. I argue that post-feminist ideology encourages women to imagine action heroines as successful in intellectual arenas; yet, the ideology simultaneously disciplines action heroine bodies to render them unbelievable as physically powerful women. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Suburra O Las Entrañas De Roma”
CARMELITANO, Luigi (2016): “Suburra o las entrañas de Roma”. Ángulo Recto. Revista de estudios sobre la ciudad como espacio plural, vol. 8, núm. 1-2, pp. 161- 163. ISSN: 1989-4015. Suburra o las entrañas de Roma Luigi CARMELITANO Título: Suburra Director: Stefano Sollima Guión: Giancarlo De Cataldo, Carlo Bonini, Stefano Rulli y Sandro Petraglia. Intérpretes: Pierfrancesco Favino, Greta Scarano, Elio Germano, Claudio Amendola, Alessandro Borghi, Jean-Hugues Anglade. Género: drama Año: 2015 Duración: 130 minutos Idioma: italiano Si la película de Paolo Sorrentino La grande bellezza (2013) ofrecía una imagen de la ciudad eterna entre la decadencia y el desencanto, proporcionando al espectador un conocimiento superficial de la verdadera alma romana contemporánea, con Suburra de Stefano Sollima descubrimos las entrañas profundas de Roma. Bajo un aspecto de ciudad durmiente, cansada de sobrevivir en el siglo XXI gracias a las herencias de un pasado glorioso, Roma oculta en realidad unas dinámicas muy activas que se entretejen entre los fuertes poderes que componen la realidad italiana. El mundo político, los aparatos eclesiásticos y, sobre todo, la mafia animan el escenario romano convirtiéndolo en el lugar privilegiado de una lucha donde cada uno de ellos persigue su propio objetivo. En el caso de los dos primeros, se trata de mantener el statu quo, es decir, evitar cualquier cambio que pueda poner en riesgo la conservación de privilegios adquiridos a lo largo del tiempo. Por todo ello, todo acontecimiento capaz de tambalear el precario equilibrio -
Proposed 13-Weeksemesternow Underinvestigation Committeef;Onnedto Analyzeprosandcons
.'-:;),)1 \'.~ 0.:'· ... '...... '..t:» '~... ~ ~, ....: -_.- - ' . .. 1932 * The Students' Voice for 50 Years ·1982 .. Volume 83 No.4 Baruch College, CUNY October 25, 1982 Proposed 13-WeekSemesterNow UnderInvestigation CommitteeF;onnedto AnalyzeProsandCons. Committee members are con 198~. .By S~ven Appenzeller of Bragen pointed out that, tacting their colleagues at the in to compensate for the shorter se stitutions operating under the new A committee of faculty mem mester, class length and!or class schedule, and will present their bers and administration officials meeting frequency may be in findings at a committee meeting at is considering a proposal that creased. Classes presently meet the end of this month. A vote will would shorten the academic se ing twice a week may meet three be taken to decide the matter on mester at Baruch from 14 to 13 or four times a week.: January 6th. The committee is weeks. The 13-week semester is Dr. Ronald Aaron, Associate presently in use at four responsible for deciding whether Dean of Students, is concerned CUNY schools-Hostos Com to proceed with the plan, but not that, "presently some students munity, Kingsborough Communi for the actual implementation. have all their classes scheduled < 'Student input is important in ty, Manhattan Community, and for two days. As an educator. I deciding this issue," Dr. Henry Hunter Colleges. The impetus for don't think that is ideal." Wilson, Dean of Students, said at the change came from the CUNY At Hunter College where the Council of Faculty Senate a meeting of student representa program has already been in ef tives, where faculty and adminis Presidents, which recommended fect for a year, the students are ProfessorTracy Bragen will chair committee which will decide whetber to im tration representatives were also plement a 13-week semester. -
Papa Vip. Esplode Al Teatro Di Bellaria Il Romanzo Fantateologico Su
GIÙ IL CAPPELLO Nasce oggi Guido Reni pittore sublime ALBUM ci deliziò dal 1575 al 1642 MARTEDÌ 4. NOVEMBRE 2014 l contentino. Più che per farmi del teatro (è nel mito il suo Mercuzio nel Ro- contento, per contenermi. La sta- meo e Giulietta di Franco Zeffirelli), tra l’altro gione teatrale di Bellaria, quella che si volto cinematografico (ha lavorato per Marco attua al Teatro Astra, è la più snob del- Bellocchio, Liliana Cavani, Francesco Rosi, la Riviera. Mi piace? Ve lo dico dopo. Luigi Comencini, Pupi Avati, ne Il divo di Pao- Intanto vi dico che ci sono anche io. lo Sorrentino e nell’ultimo di Mario Martone, Sabato 10 gennaio 2015, nello stesso Il giovane favoloso) che non disdegna la fic- giorno in cui Giulio Cesare varca tion (attualmente è nel cast di Squadra anti- il Rubicone, io passo alla scena mafia), perfino riminese. Graziosi ha già letto con Rinuncio, ore 21,15. Sarà un il romanzo, quando gli telefono, stretto tra l’E- massacro. A firmare la stagione, Simone Bru- dipo in compagnia di Bassetti e Il ritorno a ca- scia, colto, dandy, efficace cavaliere delle feste. sa di Pinter, dice, in immensa generosità, yes. Che più di una volta ho pugnalato con la pen- Fuori scena. Cosa succederà sul palco? Che na. Vorrà darmi il contentino?, mi domando. un uomo, ai confini del tempo e del mondo, Mettermi la museruola, tenermi a bada con confida a una bolgia di morti il suo incontro un incarico. Non so. Sa bene che se pensa di straordinario con Benedetto XVI. -
Lunedì 05 Martedì 13 Mercoledì 25 Giovedì 35 Venerdì 45 Sabato 57
lunedì 05 martedì 13 mercoledì 25 giovedì 35 venerdì 45 sabato 57 Una iniziativa promossa da Regione Lazio Associazione Produttori Televisivi Camera di Commercio di Roma In collaborazione con Provincia di Roma Sviluppo Lazio ICE RAI e MEDIASET RomaFictionFest Il festival È da qualche anno che circola l’idea di organizzare anche in Italia un festival interamente dedicato alla fiction televisiva italiana e internazionale. Io stesso fui artefice, nel 2001, del progetto di creare al Lido di Venezia un evento del genere. Nacque nel marzo del 2002, e anche allora coinvolse l’APT, l’associazione dei produttori televisivi. Un discreto programma di telefilm, serie e miniserie, molta buona volontà ma scarsissimi mezzi. Durò una sola edizione. Venezia forse non era la città più adatta, la stagione era certamente sbagliata e, soprattutto, i finanziamenti risultarono risibili. Quando la Regione Lazio e l’APT decisero di dar vita su solide basi al festival della televisione a Roma - la città del cinema, ma anche, e sempre di più, della fiction televisiva, un’industria che nel Lazio dà lavoro a quasi centomila persone: da qui soprattutto l’attenzione della Regione - compresi che era stata fatta, finalmente, la scelta giusta. E a fine gennaio scorso accettai l’invito a dirigerlo. Ed ecco il RomaFictionFest, alla sua prima difficile, come tutte le prime, ma esaltante edizione con qualche centinaio di titoli - prescelti con un immenso lavoro fra le oltre tremila ore pervenuteci da tutto il mondo - inseriti in un programma intenso e variegato che consente di cogliere e mettere a confronto le tendenze, le tematiche, i linguaggi, le potenzialità e le differenti culture delle televisioni di gran parte del globo. -
Teatro Astra Bellaria Igea Marina
stagione teatrale per 14.15 aspera ad astratemporary emporium of the arts Bellaria Igea Marina info abbonamenti e biglietteria Teatro Astra Isola dei Platani Viale Paolo Guidi 77/E Bellaria Igea Marina (Rimini) mobile 339 4355515 [email protected] sabato 15 novembre 2014 spettacolo venerdì 26 dicembre 2014 docufilm | Bellaria Film Festival SIMONE CRISTICCHI AETERNA MAGAZZINO 18 Requiem Op. KV. 626 di W. A. Mozart di e con Simone Cristicchi di Leonardo Carrano (Italia, 2012 - 58’) per aspera Antonio Calenda regia opening act, live set Al Porto Vecchio di Trieste c’è un luogo della memoria che racconta una pa- LUCA QUADRELLI. LACRIMOSA gina dolorosa della storia d’Italia, affidata non a un monumento ma a tante piccole, umili testimonianze di quotidianità. Una sedia porta un nome, una Nella serata di Santo Stefano, il Teatro Astra presenta un ambizioso progetto che unisce sigla, un numero e la scritta Servizio Esodo. E poi armadi, materassi, stoviglie, il cinema di animazione e uno dei capolavori della musica di tutti i tempi. Si tratta fotografie, giocattoli ammucchiati in quel luogo al Porto, dove gli esuli - senza casa, di Aeterna, film che traduce in immagini lo splendido Requiem di Mozart. Per prossimi a lunghi periodi in campo profughi o a estenuanti viaggi verso mete lontane ciascuno dei quattordici movimenti della celebre Messa è stata realizzata una - lasciavano le loro proprietà, in attesa di poterne rientrare in possesso: il Magazzino 18. Appartenevano video-animazione sperimentale, così da comporre un insieme organico ma va- ad astra a quegli italiani costretti all’esodo in seguito al trattato di pace di Parigi del 1947, che sottraeva Istria e la riegato quanto a tecniche d’animazione e linguaggi espressivi. -
ROMA(Nzo) Criminale” “ROMA(Nzo) Livio Lepratto
kvarter Volume 22. Spring 2021 • on the web akademiskacademic quarter “ROMA(nzo) criminale” Portrayals of Rome in Third-millennium Crime Genre Screenwriting Livio Lepratto received his Ph.D. in History of Visual and Performance Arts from the University of Parma in 2017. From 2016 to 2019 he was a member of a SIR research group, studying Italian film criticism in post-war cultural and popular magazines. From 2017 he has been a Research Assistant at the Department of Humanities, Social and Cultural Enterprises (DUSIC) of the University of Parma. Abstract In recent years, the city of Rome continues to be ‘read’ by Italian cinema as a privileged habitat for the setting of crime narratives. Some emblematic examples are such recent Italian films as Suburra (Id., Stefano Sollima, 2015), Lo chiamavano Jeeg Robot (They Call Me Jeeg, Gabriele Mainetti, 2015), Non essere cattivo (Don’t Be Bad, Clau- dio Caligari, 2015) and Dogman (Id., Matteo Garrone, 2018), which offer the opportunity to explore the creative processes behind the adaptation of successful cross over into television crime narratives and trans/cross-mediated crime narratives such as adaptations, since they are stories and creative processes that transcend the bor- ders between countries and media. My contribution seeks to engage with scholarly debates about Italian crime narratives, investigating how the case study of the representation of “criminal Rome” provides its own individual contribution to the distinct imagery of contemporary Italian noir. Keywords: Rome, crime, suburb, non-place, contemporary Italian cinema. Volume 22 96 “ROMA(nzo) criminale” kvarter Livio Lepratto akademiskacademic quarter As highlighted elsewhere in this special issue (Re and Coviello 2021), in recent years Italian crime screenwriting has been gradu- ally shifting farther away from setting its narrative locations in the symbolic and productive centre of the country, i.e.