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See It Big! Action Features More Than 30 Action Movie Favorites on the Big
FOR IMMEDIATE RELEASE ‘SEE IT BIG! ACTION’ FEATURES MORE THAN 30 ACTION MOVIE FAVORITES ON THE BIG SCREEN April 19–July 7, 2019 Astoria, New York, April 16, 2019—Museum of the Moving Image presents See It Big! Action, a major screening series featuring more than 30 action films, from April 19 through July 7, 2019. Programmed by Curator of Film Eric Hynes and Reverse Shot editors Jeff Reichert and Michael Koresky, the series opens with cinematic swashbucklers and continues with movies from around the world featuring white- knuckle chase sequences and thrilling stuntwork. It highlights work from some of the form's greatest practitioners, including John Woo, Michael Mann, Steven Spielberg, Akira Kurosawa, Kathryn Bigelow, Jackie Chan, and much more. As the curators note, “In a sense, all movies are ’action’ movies; cinema is movement and light, after all. Since nearly the very beginning, spectacle and stunt work have been essential parts of the form. There is nothing quite like watching physical feats, pulse-pounding drama, and epic confrontations on a large screen alongside other astonished moviegoers. See It Big! Action offers up some of our favorites of the genre.” In all, 32 films will be shown, many of them in 35mm prints. Among the highlights are two classic Technicolor swashbucklers, Michael Curtiz’s The Adventures of Robin Hood and Jacques Tourneur’s Anne of the Indies (April 20); Kurosawa’s Seven Samurai (April 21); back-to-back screenings of Mad Max: Fury Road and Aliens on Mother’s Day (May 12); all six Mission: Impossible films -
Edmond Press
International Press International Sales Venice: wild bunch The PR Contact Ltd. Venice Phil Symes - Mobile: 347 643 1171 Vincent Maraval Ronaldo Mourao - Mobile: 347 643 0966 Tel: +336 11 91 23 93 Email: [email protected] Email: [email protected] Fax: 041 5265277 Carole Baraton 62nd Mostra Venice Film Festival: Tel: +336 20 36 77 72 Hotel Villa Pannonia Email: [email protected] Via Doge D. Michiel 48 Gaël Nouaile 30126 Venezia Lido Tel: +336 21 23 04 72 Tel: 041 5260162 Email: [email protected] Fax: 041 5265277 Silva Simonutti London: Tel: +33 6 82 13 18 84 The PR Contact Ltd. Email: [email protected] 32 Newman Street London, W1T 1PU Paris: Tel: + 44 (0) 207 323 1200 Wild Bunch Fax: + 44 (0) 207 323 1070 99, rue de la Verrerie - 75004 Paris Email: [email protected] tel: + 33 1 53 01 50 20 fax: +33 1 53 01 50 49 www.wildbunch.biz French Press: French Distribution : Pan Européenne / Wild Bunch Michel Burstein / Bossa Nova Tel: +33 1 43 26 26 26 Fax: +33 1 43 26 26 36 High resolution images are available to download from 32 bd st germain - 75005 Paris the press section at www.wildbunch.biz [email protected] www.bossa-nova.info Synopsis Cast and Crew “You are not where you belong.” Edmond: William H. Macy Thus begins a brutal descent into a contemporary urban hell Glenna: Julia Stiles in David Mamet's savage black comedy, when his encounter B-Girl: Denise Richards with a fortune-teller leads businessman Edmond (William H. -
FOR IMMEDIATE RELEASE September 18, 2014 Press/Media Contact: Philip Sokoloff, (626) 683-9205
PHILIP SOKOLOFF Publicity for the theatre P.O. Box 94387 Pasadena, CA 91109-4387 (626) 683-9205 fax (626) 683-9172 e-mail: [email protected] FOR IMMEDIATE RELEASE September 18, 2014 Press/media contact: Philip Sokoloff, (626) 683-9205 BACK FROM THE UNDEAD! STUART GORDON DIRECTS “RE-ANIMATOR™ THE MUSICAL” AT STEVE ALLEN THEATER; OPENS OCTOBER 17 FOR A HALLOWEEN RUN WHAT: “Re-Animator™ The Musical.” Revival of the award-winning musical hit. WHO: Book by Dennis Paoli, Stuart Gordon and William J. Norris. Music and lyrics by Mark Nutter. Adapted from the story by H.P. Lovecraft. Based on the film “H.P. Lovecraft’s Re- Animator” produced by Brian Yuzna. Musical director: Peter Adams. Choreography by Cynthia Carle. Directed by Stuart Gordon. Produced by Dean Schramm and Stuart Gordon. Presented by The Schramm Group LLC and Red Hen Productions in association with Trepany House. WHERE: The Steve Allen Theater, 4773 Hollywood Blvd., Hollywood, CA 90027. Parking lot behind building. WHEN: Previews Oct. 10, 11, 12 . Opens October 17, 2014, runs through November 2. Fridays through Sundays at 8:00 p.m. ADMISSION: $25. Previews $20. RESERVATIONS: 800-595-4849 ONLINE TICKETING: www.trepanyhouse.org * * * * * * “Re-Animator™ the Musical” has been re-animated, with new songs and new performers just in time for Halloween. “RE-ANIMATOR™ the Musical” tells the story of Herbert West, a brilliant young medical student who has created a glowing green serum that can bring the dead back to life. What should be a medical breakthrough results in hideous monstrosities and ghastly consequences. “I guess he just wasn’t fresh enough,” is West’s constant refrain in his quest for fresh subjects. -
'Jaws'. In: Hunter, IQ and Melia, Matthew, (Eds.) the 'Jaws' Book : New Perspectives on the Classic Summer Blockbuster
This is the accepted manuscript version of Melia, Matthew [Author] (2020) Relocating the western in 'Jaws'. In: Hunter, IQ and Melia, Matthew, (eds.) The 'Jaws' book : new perspectives on the classic summer blockbuster. London, U.K. For more details see: https://www.bloomsbury.com/uk/the-jaws-book-9781501347528/ 12 Relocating the Western in Jaws Matthew Melia Introduction During the Jaws 40th Anniversary Symposium1 Carl Gottlieb, the film’s screenwriter, refuted the suggestion that Jaws was a ‘Revisionist’ or ‘Post’ Western, and claimed that the influence of the Western genre had not entered the screenwriting or production processes. Yet the Western is such a ubiquitous presence in American visual culture that its narratives, tropes, style and forms can be broadly transposed across a variety of non-Western genre films, including Jaws. Star Wars (1977), for instance, a film with which Jaws shares a similar intermedial cultural position between the Hollywood Renaissance and the New Blockbuster, was a ‘Western movie set in Outer Space’.2 Matthew Carter has noted the ubiquitous presence of the frontier mythos in US popular culture and how contemporary ‘film scholars have recently taken account of the “migration” of the themes of frontier mythology from the Western into numerous other Hollywood genres’.3 This chapter will not claim that Jaws is a Western, but that the Western is a distinct yet largely unrecognised part of its extensive cross-generic hybridity. Gottlieb has admitted the influence of the ‘Sensorama’ pictures of proto-exploitation auteur William Castle (the shocking appearance of Ben Gardner’s head is testament to this) as well as The Thing from Another World (1951),4 while Spielberg suggested that they were simply trying to make a Roger Corman picture.5 Critical writing on Jaws has tended to exclude the Western from the film’s generic DNA. -
“War of the Worlds Special!” Summer 2011
“WAR OF THE WORLDS SPECIAL!” SUMMER 2011 ® WPS36587 WORLD'S FOREMOST ADULT ILLUSTRATED MAGAZINE RETAILER: DISPLAY UNTIL JULY 25, 2011 SUMMER 2011 $6.95 HM0811_C001.indd 1 5/3/11 2:38 PM www.wotw-goliath.com © 2011 Tripod Entertainment Sdn Bhd. All rights reserved. HM0811_C004_WotW.indd 4 4/29/11 11:04 AM 08/11 HM0811_C002-P001_Zenescope-Ad.indd 3 4/29/11 10:56 AM war of the worlds special summER 2011 VOlumE 35 • nO. 5 COVER BY studiO ClimB 5 Gallery on War of the Worlds 9 st. PEtERsBuRg stORY: JOE PEaRsOn, sCRiPt: daVid aBRamOWitz & gaVin YaP, lEttERing: REmY "Eisu" mOkhtaR, aRt: PuPPEtEER lEE 25 lEgaCY WRitER: Chi-REn ChOOng, aRt: WankOk lEOng 59 diVinE Wind aRt BY kROmOsOmlaB, COlOR BY maYalOCa, WRittEn BY lEOn tan 73 thE Oath WRitER: JOE PEaRsOn, aRtist: Oh Wang Jing, lEttERER: ChEng ChEE siOng, COlORist: POPia 100 thE PatiEnt WRitER: gaVin YaP, aRt: REmY "Eisu" mOkhtaR, COlORs: ammaR "gECkO" Jamal 113 thE CaPtain sCRiPt: na'a muRad & gaVin YaP, aRt: slaium 9. st. PEtERsBuRg publisher & editor-in-chief warehouse manager kEVin Eastman JOhn maRtin vice president/executive director web development hOWaRd JuROFskY Right anglE, inC. managing editor translators dEBRa YanOVER miguEl guERRa, designers miChaEl giORdani, andRiJ BORYs assOCiatEs & JaCinthE lEClERC customer service manager website FiOna RussEll WWW.hEaVYmEtal.COm 413-527-7481 advertising assistant to the publisher hEaVY mEtal PamEla aRVanEtEs (516) 594-2130 Heavy Metal is published nine times per year by Metal Mammoth, Inc. Retailer Display Allowances: A retailer display allowance is authorized to all retailers with an existing Heavy Metal Authorization agreement. -
A Paródia Do Drama Shakespeariano Como Evolução Das Histórias Em Quadrinhos
LEONARDO VINICIUS MACEDO PEREIRA AI DE TI, YORICK BROWN: A PARÓDIA DO DRAMA SHAKESPEARIANO COMO EVOLUÇÃO DAS HISTÓRIAS EM QUADRINHOS Dissertação apresentada à Universidade Federal de Viçosa, como parte das exigências do Programa de Pós-Graduação em Letras, para obtenção do título de Magister Scientiae. VIÇOSA MINAS GERAIS – BRASIL 2015 Ficha catalográfica preparada pela Biblioteca Central da Universidade Federal de Viçosa - Câmpus Viçosa T Pereira, Leonardo Vinícius Macedo, 1981- P434a Ai de ti, Yorick Brown : a paródia do drama shakespeariano 2015 como evolução das histórias em quadrinhos / Leonardo Vinícius Macedo Pereira. – Viçosa, MG, 2015. viii, 124f. : il. (algumas color.) ; 29 cm. Inclui anexos. Orientador: Sirlei Santos Dudalski. Dissertação (mestrado) - Universidade Federal de Viçosa. Referências bibliográficas: f.105-115. 1. Literatura comparada. 2. Literatura - Adaptação. 3. Histórias em quadrinhos. 4. Paródia. 5. Shakespeare, William,1564-1616 . I. Universidade Federal de Viçosa. Departamento de Letras. Programa de Pós-graduação em Letras. II. Título. CDD 22. ed. 809 LEONARDO VINICIUS MACEDO PEREIRA AI DE TI, YORICK BROWN: A PARÓDIA DO DRAMA SHAKESPEARIANO COMO EVOLUÇÃO DAS HISTÓRIAS EM QUADRINHOS Dissertação apresentada à Universidade Federal de Viçosa, como parte das exigências do Programa de Pós-Graduação em Letras, para obtenção do título de Magister Scientiae. APROVADA: 13 de março de 2015. __________________________ __________________________ Fulvio Torres Flores Nilson Adauto Guimarães da Silva ____________________________ -
Concevoir Et Animer Pour L'acceptation De Robots
Concevoir et animer pour l’acceptation de robots zoomorphiques Adrien Gomez To cite this version: Adrien Gomez. Concevoir et animer pour l’acceptation de robots zoomorphiques. Art et histoire de l’art. Université Toulouse le Mirail - Toulouse II, 2018. Français. NNT : 2018TOU20048. tel- 02466318 HAL Id: tel-02466318 https://tel.archives-ouvertes.fr/tel-02466318 Submitted on 4 Feb 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Délivré par Université Toulouse – Jean Jaurès Adrien Gomez Le 30 Août 2018 Concevoir et Animer pour l’Acceptation de Robots Zoomorphiques École doctorale et discipline ou spécialité ED ALLPH@: Études audiovisuelles Unité de recherche LARA (Université Toulouse Jean Jaurès) – LIRMM (Université Montpellier) Directeur(s) de Thèse M. Gilles METHEL M. René Zapata Co-encadrant de Thèse M. Sébastien Druon Jury Chu-Yin Chen, Professeure, université Paris 8 Sylvie Lelandais, Professeure, Université Evry-Val d’Essonnes Gilles Methel, Professeur, Université Toulouse2-Jean Jaurès René Zapata, Professeur, LIRMM Montpellier Sébastien -
Japanese Animation Guide: the History of Robot Anime
Commissioned by Japan's Agency for Cultural Affairs Manga, Animation, Games, and Media Art Information Bureau Japanese Animation Guide: The History of Robot Anime Compiled by Mori Building Co., Ltd. 2013 Commissioned by Japan's Agency for Cultural Affairs Manga, Animation, Games, and Media Art Information Bureau Japanese Animation Guide: The History of Robot Anime Compiled by Mori Building Co., Ltd. 2013 Addition to the Release of this Report This report on robot anime was prepared based on information available through 2012, and at that time, with the exception of a handful of long-running series (Gundam, Macross, Evangelion, etc.) and some kiddie fare, no original new robot anime shows debuted at all. But as of today that situation has changed, and so I feel the need to add two points to this document. At the start of the anime season in April of 2013, three all-new robot anime series debuted. These were Production I.G.'s “Gargantia on the Verdurous Planet," Sunrise's “Valvrave the Liberator," and Dogakobo and Orange's “Majestic Prince of the Galactic Fleet." Each was broadcast in a late-night timeslot and succeeded in building fanbases. The second new development is the debut of the director Guillermo Del Toro's film “Pacific Rim," which was released in Japan on August 9, 2013. The plot involves humanity using giant robots controlled by human pilots to defend Earth’s cities from gigantic “kaiju.” At the end of the credits, the director dedicates the film to the memory of “monster masters” Ishiro Honda (who oversaw many of the “Godzilla” films) and Ray Harryhausen (who pioneered stop-motion animation techniques.) The film clearly took a great deal of inspiration from Japanese robot anime shows. -
The Interaction Between Politics and Popular Culture at the End of Wars
Conflict, Culture, Closure: The interaction between politics and popular culture at the end of wars Cahir O’Doherty A thesis submitted for the degree of Doctor of Philosophy School of Geography, Politics and Sociology Newcastle University August 2019 ii Abstract In this thesis I engage with the topic of how popular culture and politics interact at the end of conflict. Using contemporary Hollywood action cinema from 2000 to 2014 and political speeches from the Bush and Obama administrations, I pose the question of how do these seemingly disparate fields forge intense connections between and through each other in order to create conditions of success in the War on Terror. I utilise the end of wars assemblage to argue that through intense and affective encounters between cinema screen and audiences, certain conditions of success emerge from the assemblage. These conditions include American exceptionalism and the values it exemplifies; the use of technology in warfare as co-productive of moral subjectivities; the necessity of sacrifice; and the centrality of the urban landscape and built environment. I then proceed to assess the resilience of the end of wars assemblage and its conditions of success by engaging with cinematic and political artefacts that have the potential to destabilise the assemblage through genre inversion and alternative temporalities. Ultimately, I argue that the assemblage and its conditions of success are strongly resilient to change and critique. The conditions of success that emerge from the assemblage through intense affective encounters can then be politically deployed make a claim that a war has ended or will end. Because audiences have been pre-primed to connect these conditions to victory, such a claim has greater persuasive power. -
Alejandro Jodorowsky
Alejandro Jodorowsky Filmmaker, writer, mime, master of tarot, psychomagician, Alejandro Jodorowsky is an artist whose robust sense of living is matched only by the exceptional breadth of his creative practice. Author of dozens of books – from philosophy to poetry – and, with the French artist Moebius, the highly praised L’incal series of graphic novels, Jodorowsky’s works are marked by a great generosity as well as a remarkable ability to provoke. His first film, Fando y Lis (1967), shocked its audience into a riot when it premiered at the Acapulco Film Festival and was subsequently banned in Mexico. His following two films, El Topo (1970) and The Holy Mountain (1973) – beloved and supported by John Lennon – became immediate cult classics, initiating in the United States the “midnight movie” phenomenon in which his films would play for years. Jodorowsky’s recent film, The Dance of Reality (2013) – based on his 2001 autobiography – is a surreal exploration of the dream territories and traumas of his childhood. “The story of my life,” he writes, “is a constant effort to expand the imagination and its limitations, to capture its therapeutic and transformative potential.” Alejandro and I met at his apartment in Paris the evening after his 85th birthday. In his office, surrounded by walls of books and esoteric objects, we discussed his films, his influences, chance and intention, gravity and reality. Photography by Interview by Giasco Michael Bertoli Nardone MICHAEL NARDONE — For The Dance of Reality, you returned to your of scissors, another time all cups. Often it was clothes, and, yes, oc- homeland to shoot a deeply autobiographical work, yet it’s one that uses that casionally, women’s underwear. -
9. List of Film Genres and Sub-Genres PDF HANDOUT
9. List of film genres and sub-genres PDF HANDOUT The following list of film genres and sub-genres has been adapted from “Film Sub-Genres Types (and Hybrids)” written by Tim Dirks29. Genre Film sub-genres types and hybrids Action or adventure • Action or Adventure Comedy • Literature/Folklore Adventure • Action/Adventure Drama Heroes • Alien Invasion • Martial Arts Action (Kung-Fu) • Animal • Man- or Woman-In-Peril • Biker • Man vs. Nature • Blaxploitation • Mountain • Blockbusters • Period Action Films • Buddy • Political Conspiracies, Thrillers • Buddy Cops (or Odd Couple) • Poliziotteschi (Italian) • Caper • Prison • Chase Films or Thrillers • Psychological Thriller • Comic-Book Action • Quest • Confined Space Action • Rape and Revenge Films • Conspiracy Thriller (Paranoid • Road Thriller) • Romantic Adventures • Cop Action • Sci-Fi Action/Adventure • Costume Adventures • Samurai • Crime Films • Sea Adventures • Desert Epics • Searches/Expeditions for Lost • Disaster or Doomsday Continents • Epic Adventure Films • Serialized films • Erotic Thrillers • Space Adventures • Escape • Sports—Action • Espionage • Spy • Exploitation (ie Nunsploitation, • Straight Action/Conflict Naziploitation • Super-Heroes • Family-oriented Adventure • Surfing or Surf Films • Fantasy Adventure • Survival • Futuristic • Swashbuckler • Girls With Guns • Sword and Sorcery (or “Sword and • Guy Films Sandal”) • Heist—Caper Films • (Action) Suspense Thrillers • Heroic Bloodshed Films • Techno-Thrillers • Historical Spectacles • Treasure Hunts • Hong Kong • Undercover -
Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-20-2012 12:00 AM Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century Sean C. Fitzpatrick The University of Western Ontario Supervisor Dr. Christopher E. Gittings The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Sean C. Fitzpatrick 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Fitzpatrick, Sean C., "Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century" (2012). Electronic Thesis and Dissertation Repository. 784. https://ir.lib.uwo.ca/etd/784 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. FIGHTING, SCREAMING, AND LAUGHING FOR AN AUDIENCE: STARS, GENRE, AND THE QUESTION OF CONSTRUCTING A POPULAR ANGLOPHONE CANADIAN CINEMA IN THE TWENTY-FIRST CENTURY (Spine title: Fighting, Screaming, and Laughing for an Audience) (Thesis format: Monograph OR Integrated-Article) by Sean Fitzpatrick Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Sean Fitzpatrick 2012 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ ______________________________ Dr.