Sight & Sound Annual Index 2018
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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
Statistical Yearbook 2019
STATISTICAL YEARBOOK 2019 Welcome to the 2019 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2018. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s-length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience development, and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 Contents Film at the cinema -
International Casting Directors Network Index
International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy. -
Downloaded As A
Programme £2 2 3 Welcome 02 WELCOME Welcome to the 20th Keswick Film Festival To have reached this milestone is 04 OUR GUESTS testament to the hard work and commitment of a lot of people, involved not only in the Festival but also in the 08 THIS YEAR’S FILMS Keswick Film Club. The only reason that we are able to have this wonderful weekend of cinematic over-indulgence is because the Film Club is doing what it does best, year in and year out. So, to all those people who over 20 Contents years have sat through (and chaired) committee meetings, put up posters, introduced films, booked films, designed 15 PROGRAMME a website, distributed leaflets, worked the Box Office, counted votes or filed annual returns, we are in your debt. 39 TICKETS Here’s to the next 20 years! & TRAVEL Ticket costs, discounts, Ian Payne booking information, and Festival Director public transport details Please note: We want to make sure that everyone gets to see the films they want to see. However buying a Festival Pass does not guarantee entry into a screening. If there is a film you particularly want to see, you must book a seat (free of charge) to guarantee entry by contacting the Theatre Box Office. You can do this, either by phone or in person. As usual and due to the smaller capacities in the Studio, all films in the Studio must be booked in advance. 4 5 OUR GUESTS James Gardner Mike Tweddle Jellyfish – Thursday 28th February Sparrowhawk – Friday 1st March Farm, having numerous hit singles/ and Sunday 3rd March Starting with a background in punk albums both in Britain and Europe. -
Masters Title Page
MULTICULTURALISM AND ALIENATION IN CONTEMPORARY JAPANESE SOCIETY AS SEEN IN THE FILMS OF TAKASHI MIIKE Steven A. Balsomico A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Ronald E. Shields, Advisor Walter Grunden ii ABSTRACT Ronald E. Shields, Advisor Through his films, Takashi Miike reminds audiences of the diverse populations within Japan. He criticizes elements of the Japanese sociological structures that alienate minorities and outcasts. Through the socialization process, Japanese youth learn the importance of “fitting in” and attending to the needs of the group. Clear distinctions of who are “inside” and “outside” are made early on and that which is “outside” is characterized as outcast and forbidden. In three of his films, "Blues Harp," "Dead or Alive," and "Deadly Outlaw: Rekka," Miike includes individuals who have been situated as outsiders. In "Blues Harp," Chuji, due to his obvious heritage, cannot find a place in society, and thus exists on the fringes. In "Dead or Alive," Ryuichi has felt that the country in which he lives has placed him in a disadvantaged status: therefore, he must strike out on his own, attempting to achieve happiness through criminal means. In "Deadly Outlaw: Rekka," Kunisada, an outsider by blood and incarceration, cannot relate to his peers in the world. As a result, he lashes out against the world in violence, becoming an individual who is portrayed as a wild beast. When these outsiders attempt to form their own groups, they often face eventual failure. -
HOLLYWOOD – the Big Five Production Distribution Exhibition
HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927 -
Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections. -
Estaba En Casa, Pero... Screenbox
ESTABA EN CASA, PERO... SCREENBOX FICHA NÚM. 2.286 T.O.: ICH WAR ZUHAUSE, ABER NACIONALIDAD: ALEMANIA-SERBIA Estreno Screenbox: 04-09-2.020 DURACIÓN: 105’ Estreno España: 04-09-2.020 AÑO: 2.019 WWW.SCREENBOX.CAT TEL: 630 743 981 PI I MARGALL, 26. LLEIDA FICHA ARTÍSTICA Mutter Astrid: Maren Eggert FILMOGRAFÍA DE LA Phillip: Jakob Lassalle DIRECTORA: Flo: Clara Möller ANGELA SCHANELEC (Aalen, Lars: Franz Rogowski Alemania, 14-02-1.962) -Estaba en Casa, Pero... (2.019) FICHA TÉCNICA -Der traumhafte Weg (2.016) Directora: Angela Schanelec -Orly (2.010) Guion: Angela Schanelec -Nachmittag (Tarde) (2.007) Productora: Angela Schanelec -Marseille (2.004) Fotografía: Ivan Markovic -Mein langsames Leben (2.001) Montaje: Angela Schanelec -Plätze in Städten (1.998) -Das Glück meiner Schwester SINOPSIS (1.995) Astrid vive en Berlín junto a sus dos hijos, Flo y Phillip. Tras la PREMIOS Y PRESENCIA EN muerte de su esposo, un famoso FESTIVALES (selección) director teatral, intenta recompo- -Festival de Cine de Berlín: Premio ner su vida y sobrellevar su ausen- a la Mejor Directora (2.019) cia. En la intimidad, la familia libra -Festival de Cine de San Sebastián: una lucha cotidiana en donde las Premio Zabaltegi-Tabakalera (2.019) actividades más simples se con- -Festival de Cine de Mar del Plata: vierten en retos inesperados: la Premio a la Mejor Directora de la compra de una bicicleta, un baño Sección Competencia Internacional en la piscina o una representación (2.019) escolar de Hamlet. El frágil equi- -German Film Critics Association librio se derrumba cuando Phillip Awards: Premio al Mejor Montaje se escapa de casa.. -
National Conference
NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION In Memoriam We honor those members who passed away this last year: Mortimer W. Gamble V Mary Elizabeth “Mery-et” Lescher Martin J. Manning Douglas A. Noverr NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION APRIL 15–18, 2020 Philadelphia Marriott Downtown Philadelphia, PA Lynn Bartholome Executive Director Gloria Pizaña Executive Assistant Robin Hershkowitz Graduate Assistant Bowling Green State University Sandhiya John Editor, Wiley © 2020 Popular Culture Association Additional information about the PCA available at pcaaca.org. Table of Contents President’s Welcome ........................................................................................ 8 Registration and Check-In ............................................................................11 Exhibitors ..........................................................................................................12 Special Meetings and Events .........................................................................13 Area Chairs ......................................................................................................23 Leadership.........................................................................................................36 PCA Endowment ............................................................................................39 Bartholome Award Honoree: Gary Hoppenstand...................................42 Ray and Pat Browne Award -
Narcocorridos As a Symptomatic Lens for Modern Mexico
UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Vol. 1, No. 2 “Grave-Digging Crate Diggers: Retro “The Narcocorrido as an Ethnographic Fetishism and Fan Engagement with and Anthropological Lens to the War Horror Scores” on Drugs in Mexico” Spencer Slayton Samantha Cabral “Callowness of Youth: Finding Film’s “This Is Our Story: The Fight for Queer Extremity in Thomas Adès’s The Acceptance in Shrek the Musical” Exterminating Angel” Clarina Dimayuga Lori McMahan “Cats: Culturally Significant Cinema” Liv Slaby Spring 2020 Editor-in-Chief J.W. Clark Managing Editor Liv Slaby Review Editor Gabriel Deibel Technical Editors Torrey Bubien Alana Chester Matthew Gilbert Karen Thantrakul Graphic Designer Alexa Baruch Faculty Advisor Dr. Elisabeth Le Guin 1 UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Volume 1, Number 2 Spring 2020 Contents Grave-Digging Crate Diggers: Retro Fetishism and Fan Engagement 2 with Horror Scores Spencer Slayton Callowness of Youth: Finding Film’s Extremity in Thomas Adès’s 10 The Exterminating Angel Lori McMahan The Narcocorrido as an Ethnographic and Anthropological Lens to 18 the War on Drugs in Mexico Samantha Cabral This Is Our Story: The Fight for Queer Acceptance in Shrek the 28 Musical Clarina Dimayuga Cats: Culturally Significant Cinema 38 Liv Slaby Contributors 50 Closing notes 51 2 Grave-Digging Crate Diggers: Retro Fetishism and Fan Engagement with Horror Scores Spencer Slayton he horror genre is in the midst of a renaissance. The slasher craze of the late 70s and early 80s, revitalized in the mid-90s, is once again a popular genre for Treinterpretation by today’s filmmakers and film composers. -
Mitchum, O Herói Feio | As Aventuras De Jean -Pierre Léaud | Um Século De Cinema Romeno | Leonard Cohen – Na Morte De Um La
2017 MITCHUM, O HERÓI FEIO | AS AVENTURAS DE JEAN -PIERRE LÉAUD | UM SÉCULO DE CINEMA ROMENO | LEONARD COHEN – NA MORTE DE UM LADIES’ MAN | ALBERT SERRA - REALIZADOR CONVIDADO | VELOCIDADE, VIDA INTENSA, RENOVAÇÃOÇ CONSTANTE: UM PROGRAMA EM TORNO DE AMADEO | O QUE QUERO VER | DOUBLE BILL | CINEMATECA JÚNIOR [2] JANEIRO 2017 | CINEMATECA PORTUGUESA-MUSEU DO CINEMA CINEMATECA JÚNIOR SALÃO FOZ -RESTAURADORES ÍNDICE Terminadas as festas e as férias o desafio mantém -se: pais e filhos, netos e avós visitem a Cinemateca Júnior, e SALA M. FÉLIX RIBEIRO sobretudo tragam os mais pequenos ao cinema. O Salão Foz é vosso. MITCHUM, O HERÓI FEIO 3 Neste início de 2017 apresentam -se três filmes nunca antes programados nos “Sábados em Família” da Júnior. AS AVENTURAS DE JEAN -PIERRE LÉAUD 5 Começamos no dia 7, para os mais pequenos, com a célebre animação de Henry Selik, baseada no poema de UM SÉCULO DE CINEMA ROMENO 7 LEONARD COHEN – NA MORTE DE UM LADIES’ MAN 8 Tim Burton, O ESTRANHO MUNDO DE JACK, um divertidíssimo musical onde, guiadas pelo seu Rei, o esqueleto DOUBLE BILL 9 Jack, todas as personagens do dia de Halloween querem transformar-se em criaturas natalícias. A 14, o filme de ANTE -ESTREIAS 9 ficção científica SUPER 8, de J.J. Abrams, realizador que muitos consideram o herdeiro de Spielberg (produtor O QUE QUERO VER 10 do filme) e aqui segue as pisadas do seu mentor criando um universo onde as crianças de uma pequena cidade COM A LINHA DE SOMBRA 10 de subúrbio americana são as protagonistas na resolução de um grande mistério.