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PARANORMAL ACTIVITY 3 - Delivers More Terrifying Suspense and Shocks with an Unrated Version on Blu-Ray™/DVD Combo Pack
Record-Setting* Prequel to the Phenomenally Popular Film Series - PARANORMAL ACTIVITY 3 - Delivers More Terrifying Suspense and Shocks With an Unrated Version on Blu-ray™/DVD Combo Pack Debuting January 24, 2012, Blu-ray/DVD Combo Includes Extended Scenes and Chilling Lost Tapes In A First, All Three Films Will be Available for Digital Download in a Seamless, Chronological Experience Prior to the Blu-ray/DVD Debut "A new level of terror."—Brad Miska, BloodyDisgusting.com HOLLYWOOD, Calif., Dec. 20, 2011 /PRNewswire/ -- The record-breaking franchise that has terrified audiences around the world returns with the scariest story yet as PARANORMAL ACTIVITY 3 debuts on January 24, 2012 from Paramount Home Entertainment in a Blu-ray/DVD combo pack with UltraViolet™ and a Digital Copy.PARANORMAL ACTIVITY 3 will also be available On Demand. "Terrifying" (Time) with "heart-pounding scares" (BloodyDisgusting.com), PARANORMAL ACTIVITY 3 takes audiences back to where it all began with the masterminds behind the first two films returning to craft a hauntingly chilling follow up. Directed by Henry Joost and Ariel Schulman, the filmmakers who created the unsettling sensation Catfish, PARANORMAL ACTIVITY 3 achieved the biggest theatrical debut for a horror film ever, ultimately earning more than $200 million worldwide. (Photo: http://photos.prnewswire.com/prnh/20111220/LA25840) Arriving on January 24th, the PARANORMAL ACTIVITY 3 Blu-ray/DVD combo pack includes both the theatrical version of the film and an unrated version with footage not seen in theaters, as well as Lost Tapes that reveal more footage not seen in the film. In addition, all Blu-ray and DVD releases available for purchase will be enabled with UltraViolet, a new way to collect, access and enjoy movies. -
Casual and Hardcore Players in HBO's Westworld (2016): the Immoral and Violent Player
Casual and Hardcore Players in HBO’s Westworld (2016): The Immoral and Violent Player MA Thesis Ellen Menger – 5689295 [email protected] Supervisor: Dr. René Glas Second reader: Dr. Jasper van Vught Utrecht University MA New Media & Digital Culture MCMV10009 - THE-Masterthesis/ MA NMDC May 8, 2017 Abstract This thesis approaches the HBO series Westworld (2016) through the lens of game studies and interprets the series as a commentary on the stereotype of casual and hardcore players and immoral violence in video games. By performing a textual analysis, this thesis explores how Westworld as a series makes use of the casual and hardcore player stereotype, looking at the way the series explores the construction of player categories and how it ties these to the dialogue about violence and immoral behaviour in video games. Keywords: Westworld, games, player types, Western, casual gamer, hardcore gamer, violence, ethics, morals SPOILER WARNING This thesis reveals certain plot twists that may spoil part of the storyline of the first season of HBO’s Westworld. If you have not watched the series, read at your own risk. Table of Contents 1. Introduction ........................................................................................................................ 1 2. Theoretical framework ....................................................................................................... 7 2.1. (Im)moral Behaviour in Game Worlds ....................................................................... 7 2.2. The Player as a Moral -
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
Keith Madden Costume Designer
KEITH MADDEN COSTUME DESIGNER FILM & TELEVISION IRONBANK Director: Dominic Cooke Production Company: FilmNation, 42 & SunnyMarch Cast: Benedict Cumberbatch THE GOOD LIAR Director: Bill Condon Production Company: Giant Films Cast: Helen Mirren, Ian McKellen, Russell Tovey, Jóhannes Haukur Jóhannesson PATRICK MELROSE Director: Edward Berger Production Company: Little Island Productions Cast: Benedict Cumberbatch, Jennifer Jason Leigh, Hugo Weaving Nominated, Best Actor in a TV Movie or Limited Series, Golden Globes (2019) ON CHESIL BEACH Director: Dominic Cooke Production Company: BBC Films Cast: Saoirse Ronan, Billy Howle, Emily Watson Official Selection, London Film Festival (2017) THE CHILD IN TIME Director: Julian Farino Production Company: BBC Cast: Benedict Cumberbatch, Kelly Macdonald, Stephen Campbell Moore VICEROY’S HOUSE Director: Gurinder Chadha Production Company: BBC Films Cast: Hugh Bonneville, Gillian Anderson, Michael Gambon Official Selection, Berlin Film Festival (2017) MR. HOLMES LUX ARTISTS | 1 Director: Bill Condon Production Company: Miramax Cast: Ian McKellen, Laura Linney, Philip Davis Official Selection, Berlin Film Festival (2015) LUX ARTISTS | 2 GOOD PEOPLE Director: Henrik Ruben Genz Production Company: Millennium Films Cast: James Franco, Kate Hudson, Omar Sy THE WOMAN IN BLACK Director: James Watkins Production Company: Cross Creek Pictures Cast: Daniel Radcliffe, Ciarán Hinds, Janet McTeer CENTURION Director: Neil Marshall Production Company: Panthé Pictures International Cast: Michael Fassbender, Dominic West, Olga Kurylenko PERRIER’S BOUNTY Director: Ian Fitzgibbon Production Company: Parallel Film Productions Cast: Gabriel Byrne, Cillian Murphy, Jodie Whittaker Official Selection, Toronto Film Festival (2009) EDEN LAKE Director: James Watkins Production Company: The Weinstein Company Cast: Michael Fassbender, Kelly Reilly, Jack O’Connell ARTISTS WEBSITE LUX ARTISTS | 3. -
Hellboy Premieres in Uk Cinemas 11 April After Part
HELLBOY PREMIERES IN UK CINEMAS 11 APRIL AFTER PART- FILMING IN BRISTOL >> Watch the trailer, featuring Bristol’s Waring House << BRISTOL, 9th April 2019: The highly anticipated third Hellboy movie is set to premiere in UK cinemas this week (11th April), after part-filming in Bristol in 2017. Lionsgate’s ‘R-rated reboot’ of the international film franchise is directed by Neil Marshall (The Descent, Game of Thrones) and stars David Harbour (Stranger Things), Milla Jovovich (Resident Evil series), Ian McShane (John Wick), Daniel Dae Kim (Hawaii Five-0) and Sasha Lane (American Honey). Principal photography mainly took place in Bulgaria, but it was Bristol and the surrounding area that provided the backdrop for the UK leg of the shoot. Bristol’s Bottle Yard Studios provided the UK production base, supplying offices, construction areas and prop stores. Night shoots for major scenes starring lead character Hellboy (David Harbour) took place in September 2017 at Waring House in Bristol’s Redcliffe area, which can be seen in the opening moments of the movie’s trailer. The demanding shoot featuring SWAT teams, firearms and armoured vehicles, was arranged with help from Bristol Film Office who assisted with location scouting, recces, arranging unit bases and parking. They also helped producers liaise with residents, advising on donations for the local community and ensuring translation needs were met so that communications were fully accessible. (left) UK crew Joel Stokes, Jade Stevenson & Hannah Bone and (right) 8 yr old fan Bobby from Southville with David Harbour during filming at Waring House (credit: Benjamin Greenacre) Hellboy’s Unit Production Manager (UK) Benjamin Greenacre says: “Hellboy was the fourth - and biggest - film that I’ve shot in my home city and Bristol never disappoints; it’s an exceptional place in which to make a movie. -
Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era
Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era. Edited by Murray Leeder. Bloomsbury Academic, 2015 (307 pages). Anton Karl Kozlovic Murray Leeder’s exciting new book sits comfortably alongside The Haunted Screen: Ghosts in Literature & Film (Kovacs), Ghost Images: Cinema of the Afterlife (Ruffles), Dark Places: The Haunted House in Film (Curtis), Popular Ghosts: The Haunted Spaces of Everyday Culture (Blanco and Peeren), The Spectralities Reader: Ghost and Haunting in Contemporary Cultural Theory (Blanco and Peeren), The Ghostly and the Ghosted in Literature and Film: Spectral Identities (Kröger and Anderson), and The Spectral Metaphor: Living Ghosts and the Agency of Invisibility (Peeren) amongst others. Within his Introduction Leeder claims that “[g]hosts have been with cinema since its first days” (4), that “cinematic double exposures, [were] the first conventional strategy for displaying ghosts on screen” (5), and that “[c]inema does not need to depict ghosts to be ghostly and haunted” (3). However, despite the above-listed texts and his own reference list (9–10), Leeder somewhat surprisingly goes on to claim that “this volume marks the first collection of essays specifically about cinematic ghosts” (9), and that the “principal focus here is on films featuring ‘non-figurative ghosts’—that is, ghosts supposed, at least diegetically, to be ‘real’— in contrast to ‘figurative ghosts’” (10). In what follows, his collection of fifteen essays is divided across three main parts chronologically examining the phenomenon. Part One of the book is devoted to the ghosts of precinema and silent cinema. In Chapter One, “Phantom Images and Modern Manifestations: Spirit Photography, Magic Theater, Trick Films, and Photography’s Uncanny”, Tom Gunning links “Freud’s uncanny, the hope to use modern technology to overcoming [sic] death or contact the afterlife, and the technologies and practices that led to cinema” (10). -
“Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ................................................................................................................................... -
7.1 the Post-Cinematic in PARANORMAL ACTIVITY and PARANORMAL ACTIVITY 2
7.1 The Post-Cinematic in PARANORMAL ACTIVITY and PARANORMAL ACTIVITY 2 BY THERESE GRISHAM, JULIA LEYDA, NICHOLAS ROMBES, AND STEVEN SHAVIRO Therese Grisham: I want to start at the most theoretical level, to find out where you position your thought with regard to the two films we are discussing, Paranormal Activity (Oren Peli, 2007) and Paranormal Activity 2 (Tod Williams, 2010). It would be helpful if you gave a brief definition of the “post-cinematic,” or an equivalent term you work with, and include some introductory remarks about these movies as post-cinematic. Nick Rombes: Great to be here, and thanks for this opening question, Therese. My thinking about post-cinema has certainly been influenced by Steven’s writing, especially in his Film- Philosophy essay, “Post-Cinematic Affect: On Grace Jones, Boarding Gate, and Southland Tales” and his book, Post-Cinematic Affect. Particularly right-on, I think, is Steven’s phrase about how the expressive nature of post-cinematic media gives rise to “a kind of ambient, free-floating sensibility that permeates our society today” (Post-Cinematic 2). My own still- in-progress mapping of post-cinema would begin with this phenomenon: the totalitarian immersion of our everyday lives in the slipstream of the digital, cinematic imaginary, as captured so well in the Paranormal films which, at their most fundamental level, tackle the question of how to navigate the private spaces of this new media landscape. I’d turn here to a concept used by some psychiatrists—limbic resonance—to describe how human beings seemingly “tune into” each other via neural attunement and mirror neurons. -
Cineworld.Pdf
Cineworld Unlimited Survey * 1. What is your gender? Female Male * 2. What Region do you live in? Scotland North East North West East Midlands West Midlands Wales East Anglia South East South West Ireland * 3. How many times have you been to the cinema in the past three months? 03 times 45 times 68 times 9+ times * 4. What Genre of films have you seen most in the last three months? Drama Romance Comedy Thriller SciFi Non English Language Animated Musical Family * 5. Who did you go to the cinema with most over the last three months? Partner/Husband or Wife Friends Children Date By yourself * 6. Who do you think is the sexiest actress of all time? Angeline Jolie Scarlett Johansson Natalie Portman Marilyn Monroe Grace Kelly Cameron Diaz Emma Stone Brigitte Bardot Halle Berry Julia Roberts * 7. Who to you think it the sexiest actress from the upcoming films this summer? Cary Mulligan The Great Gatsby Amy Adams Man of Steel Tao Okamoto The Wolverine Kristen Bell Stuck In Love Vera Farmiga The Conjuring * 8. Which of these superhero characters would you most like to date in real life? Tobey Maguire Spiderman Christian Bale Batman Robert Downey Jnr Iron Man Henry Cavil Superman Chris Evans Captain America Nicholas Cage Big Daddy (Kick Ass) Chris Hemsworth Thor Mark Ruffalo The Hulk Hugh Jackman Wolverine * 9. If you could play the part of a superheroes' love interest which character would you choose? Lois Lane Superman Pepper Pots Iron Man Jane Foster Thor Rachel Dawes Batman Mary Jane Spiderman Betty Ross the Hulk Penny Carter Captain America * 10. -
Set in Scotland a Film Fan's Odyssey
Set in Scotland A Film Fan’s Odyssey visitscotland.com Cover Image: Daniel Craig as James Bond 007 in Skyfall, filmed in Glen Coe. Picture: United Archives/TopFoto This page: Eilean Donan Castle Contents 01 * >> Foreword 02-03 A Aberdeen & Aberdeenshire 04-07 B Argyll & The Isles 08-11 C Ayrshire & Arran 12-15 D Dumfries & Galloway 16-19 E Dundee & Angus 20-23 F Edinburgh & The Lothians 24-27 G Glasgow & The Clyde Valley 28-31 H The Highlands & Skye 32-35 I The Kingdom of Fife 36-39 J Orkney 40-43 K The Outer Hebrides 44-47 L Perthshire 48-51 M Scottish Borders 52-55 N Shetland 56-59 O Stirling, Loch Lomond, The Trossachs & Forth Valley 60-63 Hooray for Bollywood 64-65 Licensed to Thrill 66-67 Locations Guide 68-69 Set in Scotland Christopher Lambert in Highlander. Picture: Studiocanal 03 Foreword 03 >> In a 2015 online poll by USA Today, Scotland was voted the world’s Best Cinematic Destination. And it’s easy to see why. Films from all around the world have been shot in Scotland. Its rich array of film locations include ancient mountain ranges, mysterious stone circles, lush green glens, deep lochs, castles, stately homes, and vibrant cities complete with festivals, bustling streets and colourful night life. Little wonder the country has attracted filmmakers and cinemagoers since the movies began. This guide provides an introduction to just some of the many Scottish locations seen on the silver screen. The Inaccessible Pinnacle. Numerous Holy Grail to Stardust, The Dark Knight Scottish stars have twinkled in Hollywood’s Rises, Prometheus, Cloud Atlas, World firmament, from Sean Connery to War Z and Brave, various hidden gems Tilda Swinton and Ewan McGregor. -
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ERMANNO Di FEBO-ORSINI Production Designer
ERMANNO Di FEBO-ORSINI production designer FEATURES COMPANY DIRECTOR Naked Wayans Alvarez Prod. Michael Tiddes Why We’re Killing Gunther Miscellaneous Ent. Taran Killam Within The Safran Company Phil Claydon Fifty Shades of Black IM Global Michael Tiddes The Talk (short) OGO Films Joe Otting Revenge of the Green Dragons 7th Floor Andrew Loo A Haunted House 2 Baby Way Prod. Michael Tiddes The Release (short) 3 Ring Circus John Sideropoulosr Piranha 3DD Dimension Films John Gulager I don’t know how she does it (re-shoot) Douglas McGrath White Frog Chris Lee Prod. Quentin Lee Children of the corn Dimension Films Joel Soisson Hellraiser: Revelation Dimension Extreme Victor Garcia Circle of eight Paramount Digital Stephen Cragg The Collector LD Entertainment Marcus Dunstan Pulse 2 Afterlife Dimension Films Joel Soisson Pulse 3 Dimension Films Joel Soisson Feast 2 Sloppy Seconds Dimension Films John Gulager Feast 3 The Happy Finish Dimension Films John Gulager Already dead SDJS Joe Otting Pulse The Weinstein Co. Jim Sonzero He was a quiet man Neo art and logic Frank Cappello Feast Dimension Films John Gulager Fanboys (re-shoot) The Weinstein Co. Kyle Newman/Scott Mosier Hannibal Rising (re-shoot) Young Hannibal Prod. Peter Webber TELEVISION (Art Dir.) COMPANY DIRECTOR Kelly Clarkson’s Xmas Warner Digital Glenn Clements The Great Escape Fox Television Richard Bakewell Issues Sony Pictures TV Matt Oates Hollywood is like … Alloy Entertainment Janice Cookie Home Purchasing Club Generate Brian K. Robert Hollywood Defined Moviola Online Dion Scoppettuolo MUSIC VIDEO COMPANY DIRECTOR Artist: Faith Evans Propaganda Films Marcus Reboy Artist: Terrible People Surface to Air Lionel C.