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Includes Our Main Attractions and Special
Princeton Garden Theatre Previews93G SEPTEMBER - DECEMBER 2015 Benedict Cumberbatch in rehearsal for HAMLET INCLUDES OUR MAIN ATTRACTIONS AND SPECIAL PROGRAMS P RINCETONG ARDENT HEATRE.ORG 609 279 1999 Welcome to the nonprofit Princeton Garden Theatre The Garden Theatre is a nonprofit, tax-exempt 501(c)(3) organization. Our management team. ADMISSION Nonprofit Renew Theaters joined the Princeton community as the new operator of the Garden Theatre in July of 2014. We General ............................................................$11.00 also run three golden-age movie theaters in Pennsylvania – the Members ...........................................................$6.00 County Theater in Doylestown, the Ambler Theater in Ambler, and Seniors (62+) & University Staff .........................$9.00 the Hiway Theater in Jenkintown. We are committed to excellent Students . ..........................................................$8.00 programming and to meaningful community outreach. Matinees Mon, Tues, Thurs & Fri before 4:30 How can you support Sat & Sun before 2:30 .....................................$8.00 the Garden Theatre? PRINCETON GARDEN THEATRE Wed Early Matinee before 2:30 ........................$7.00 Be a member. MEMBER Affiliated Theater Members* .............................$6.00 Become a member of the non- MEMBER You must present your membership card to obtain membership discounts. profit Garden Theatre and show The above ticket prices are subject to change. your support for good films and a cultural landmark. See back panel for a membership form or join online. Your financial support is tax-deductible. *Affiliated Theater Members Be a sponsor. All members of our theater are entitled to members tickets at all Receive prominent recognition for your business in exchange “Renew Theaters” (Ambler, County, Garden, and Hiway), as well for helping our nonprofit theater. Recognition comes in a variety as at participating “Art House Theaters” nationwide. -
Parasite”: Điện Ảnh Hàn Quốc Và Điện Ảnh VN Song Chi
Phim “Parasite”: Điện Ảnh Hàn Quốc và Điện Ảnh VN Song Chi "Parasite" và Đạo Diễn Bong Joon-Ho Oscars lần thứ 92 đã qua đi đúng một tuần. Nhưng có lẽ với đoàn làm phim “Parasite” nói riêng và những người dân Hàn Quốc nói chung, niềm hạnh phúc và tự hào sẽ còn đọng lại khá lâu, khi bộ phim cùng lúc đoạt 4 giải quan trọng: Best Original Screenplay, Best Director, Best International Feature Film và Best Picture. Lần đầu tiên điện ảnh Hàn Quốc đoạt giải Oscars, cũng là lần đầu tiên trong lịch sử Oscars, một bộ phim không nói tiếng Anh đã đoạt giải Best Picture. Trước đó bộ phim đã giành được hàng loạt giải thưởng lớn: là bộ phim Hàn Quốc đầu tiên đoạt Cành Cọ Vàng (Palme d'Or) tại Liên hoan phim Cannes tháng 5.2019, Quả cầu vàng cho Phim nói tiếng nước ngoài hay nhất (the Golden Globe Award for Best Foreign Language Film), Giải thưởng BAFTA cho Phim hay nhất không phải bằng tiếng Anh (the BAFTA Award for Best Film Not in the English Language). Như mọi giải thưởng lớn về văn học nghệ thuật, giải Best Picture của Oscars không phải năm nào cũng xứng đáng, có những năm rõ ràng phim đoạt giải không bằng một phim khác nằm trong số 5 lựa chọn cuối cùng. Nhưng năm nay chiến thắng của “Parasite” thật sự thuyết phục, mặc dù trước đó, khi “Parasites” lần lượt đoạt các giải Best Original Screenplay, Best Director, Best International Feature Film, tôi đã nghĩ có lẽ giải Best Picture sẽ thuộc về “1917” của Sam Mendes chăng. -
Yun Mi Hwang Phd Thesis
SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY Yun Mi Hwang A Thesis Submitted for the Degree of PhD at the University of St Andrews 2011 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/1924 This item is protected by original copyright This item is licensed under a Creative Commons Licence SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY YUN MI HWANG Thesis Submitted to the University of St Andrews for the Degree of PhD in Film Studies 2011 DECLARATIONS I, Yun Mi Hwang, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student and as a candidate for the degree of PhD in September 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2006 and 2010. I, Yun Mi Hwang, received assistance in the writing of this thesis in respect of language and grammar, which was provided by R.A.M Wright. Date …17 May 2011.… signature of candidate ……………… I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. -
D2492609215cd311123628ab69
Acknowledgements Publisher AN Cheongsook, Chairperson of KOFIC 206-46, Cheongnyangni-dong, Dongdaemun-gu. Seoul, Korea (130-010) Editor in Chief Daniel D. H. PARK, Director of International Promotion Department Editors KIM YeonSoo, Hyun-chang JUNG English Translators KIM YeonSoo, Darcy PAQUET Collaborators HUH Kyoung, KANG Byeong-woon, Darcy PAQUET Contributing Writer MOON Seok Cover and Book Design Design KongKam Film image and still photographs are provided by directors, producers, production & sales companies, JIFF (Jeonju International Film Festival), GIFF (Gwangju International Film Festival) and KIFV (The Association of Korean Independent Film & Video). Korean Film Council (KOFIC), December 2005 Korean Cinema 2005 Contents Foreword 04 A Review of Korean Cinema in 2005 06 Korean Film Council 12 Feature Films 20 Fiction 22 Animation 218 Documentary 224 Feature / Middle Length 226 Short 248 Short Films 258 Fiction 260 Animation 320 Films in Production 356 Appendix 386 Statistics 388 Index of 2005 Films 402 Addresses 412 Foreword The year 2005 saw the continued solid and sound prosperity of Korean films, both in terms of the domestic and international arenas, as well as industrial and artistic aspects. As of November, the market share for Korean films in the domestic market stood at 55 percent, which indicates that the yearly market share of Korean films will be over 50 percent for the third year in a row. In the international arena as well, Korean films were invited to major international film festivals including Cannes, Berlin, Venice, Locarno, and San Sebastian and received a warm reception from critics and audiences. It is often said that the current prosperity of Korean cinema is due to the strong commitment and policies introduced by the KIM Dae-joong government in 1999 to promote Korean films. -
6182 Rhodes & Singer.Indd
Consuming Images 6182_Rhodes & Singer.indd i 18/12/19 3:04 PM Robert Abel’s Bubbles (1974) 6182_Rhodes & Singer.indd ii 18/12/19 3:04 PM Consuming Images Film Art and the American Television Commercial Gary D. Rhodes and Robert Singer 6182_Rhodes & Singer.indd iii 18/12/19 3:04 PM Dedicated to Barry Salt and Gerald “Jerry” Schnitzer Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Gary D. Rhodes and Robert Singer, 2020 Edinburgh University Press Ltd The Tun—Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13 Monotype Ehrhardt by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 6068 2 (hardback) ISBN 978 1 4744 6070 5 (webready PDF) ISBN 978 1 4744 6071 2 (epub) The right of Gary D. Rhodes and Robert Singer to be identified as authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 6182_Rhodes & Singer.indd iv 18/12/19 3:04 PM Contents List of Figures vi Acknowledgments ix Introduction 1 1. Origins 16 2. Narrative 36 3. Mise-en-scène 62 4. -
To Film Sound Maps: the Evolution of Live Tone’S Creative Alliance with Bong Joon-Ho
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Nottingham From ‘Screenwriting for Sound’ to Film Sound Maps: The Evolution of Live Tone’s Creative Alliance with Bong Joon-ho Nikki J. Y. Lee and Julian Stringer Abstract: In his article ‘Screenwriting for Sound’, Randy Thom makes a persuasive case that sound designers should be involved in film production ‘as early as the screenplay…early participation of sound can make a big difference’. Drawing on a critically neglected yet internationally significant example of a creative alliance between a director and post- production team, this article demonstrates that early participation happens in innovative ways in today’s globally competitive South Korean film industry. This key argument is presented through close analysis of the ongoing collaboration between Live Tone - the leading audio postproduction studio in South Korea – and internationally acclaimed director Bong Joon-ho, who has worked with the company on all six of his feature films to date. Their creative alliance has recently ventured into new and ambitious territory as audio studio and director have risen to the challenge of designing the sound for the two biggest films in Korean movie history, Snowpiercer and Okja. Both of these large-scale multi-language movies were planned at the screenplay stage via coordinated use of Live Tone’s singular development of ‘film sound maps’. It is this close and efficient interaction between audio company and client that has helped Bong and Live Tone bring to maturity their plans for the two films’ highly challenging soundscapes. -
MR X - a Vision of Leos Carax a Film by Tessa Louise-Salomé
A PERSONAL, UNIQUE DOCUMENTARY ABOUT CULT FILMMAKER LEOS CARAX Following the releases of MAUVAIS SANG and BOY MEETS GIRL Carlotta Films US is proud to present : MR X - A Vision of Leos Carax A film by Tessa Louise-Salomé IN THEATERS AUGUST 15 2014 Director of Sales: Calantha Mansfield [email protected]/ 917.573.1851 A CARLOTTA FILMS US RELEASE carlottafilms-us.com “Leos Carax is a satellite that revolves around the sun, the moon, the solar system. He’s a shooting star of French cinema, yet he has this particularity of never burning out.” GILLES JACOB, president of the Cannes Film Festival In France, Leos Carax has long been branded as a mysterious, solitary filmmaker with an aversion to both the media and the public at large. Yet outside of his home country, his work takes precedence over this public image, and he is recognized as an icon of world cinema. Mr X tackles this complex artist—a cult figure from his first feature—by plunging the spectator into the poetic and visionary world of his films. By means of exclusive archival materials, interviews with his closest collaborators (such as Denis Lavant), and excerpts from his favorite films, this documentary attempts to put together a few pieces of the Carax puzzle. What emerges is an immersive and dreamlike portrait inspired by his singular artistic vision. Sit back and let yourself drift into the world of this unparalleled visual poet… “Tessa Louise-Salomé's documentary is an alluring if not especially illuminating tribute to singular filmmaker Leos Carax.” Guy LODGE TESSA LOUISE-SALOMÉ Tessa Louise-Salomé is a French producer, director, and editor born in 1980. -
Download Detailseite
W-1888_K 29.01.2006 20:50 Uhr Seite 36 Berlinale 2006 THE SCIENCE OF SLEEP Wettbewerb THE SCIENCE OF SLEEP Außer Konkurrenz THE SCIENCE OF SLEEP Regie: Michel Gondry Frankreich 2005 Darsteller Stéphane Miroux Gael García Bernal Länge 105 Min. Stéphanie Charlotte Gainsbourg Format 35 mm, 1:1.85 Guy Alain Chabat Farbe Christine Miroux Miou-Miou Monsieur Pouchet Pierre Vaneck Stabliste Zoé Emma de Caunes Buch Michel Gondry Martine Aurélia Petit Kamera Jean-Louis Bompoint Serge Sacha Bourdo Kameraassistenz Valério Villalba Sylvain Stéphane Metzger Schnitt Juliette Welfling Gérard Decourt Moyen Ton Guillaume Sciama Monsieur Persinnet Inigo Lezzi Jean Gargonne Ivana Yvette Petit Dominique Polizisten Jean-Michel Bernard Gaborieau Eric Mariotto Tonassistenz Jean-Pierre Milhau Ansager Bertrand Delpierre Olivier Burgaud Musik Jean-Michel Bernard Ausstattung Pierre Pell Stéphane Rosenbaum Charlotte Gainsbourg, Gael García Bernal Kostüm Florence Fontaine Maske Maya Benamer Regieassistenz Bertrand Delpierre THE SCIENCE OF SLEEP Casting Nathalie Guillaume Für den schüchternen und gehemmten Stéphane gewinnt das Leben end- Julie Navarro lich einen Sinn, als er sich von seiner Mutter überreden lässt, nach Frankreich, Produktionsltg. Inigo Lezzi das Land seiner Kindheit, zurückzukehren, wo angeblich ein ganz toller Job Aufnahmeleitung Attila Egry auf ihn wartet. Stéphane ist mit einer regen Fantasie begabt und stets droht Produzenten Georges Bermann Michel Gondry seine exaltierte Traumwelt aufs wirkliche Leben überzugreifen. Als der Job Frédéric Junqua seinen Erwartungen in gar keiner Weise entspricht, ist seine Enttäuschung entsprechend groß. Produktion Die Bekanntschaft mit Stéphanie, seiner attraktiven Nachbarin, tröstet ihn Partizan Films allerdings darüber hinweg. Binnen kurzem verliebt er sich in die junge Frau, c/o Gaumont 30, av. -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
Transcript Michel Gondry
TRANSCRIPT A PINEWOOD DIALOGUE WITH MICHEL GONDRY Michel Gondry is one of the most creative contemporary directors, known for his astonishingly inventive style that combines complex technological innovation with an almost childlike playfulness, and an ability to move fluidly between dream and reality. Gondry has directed feature films (Eternal Sunshine of the Spotless Mind, Be Kind Rewind, The Science of Sleep), documentaries (Dave Chappelle's Block Party), music videos for Bjork, Radiohead, The White Stripes, and Daft Punk, and numerous award-winning commercials. He is also an installation artist who has been featured at Deitch Projects. In this conversation with Chief Curator David Schwartz, Gondry discusses his remarkable career. A Pinewood Dialogue with Michel Gondry draw. And we started a band in maybe ’81, ’82, that moderated by Chief Curator David Schwartz lasted ten years; it was called Oui Oui. I had done (May 9, 2008): some experimentation with animation at an earlier age, and then one day I bought a film camera—I DAVID SCHWARTZ: Please welcome the birthday mean, I was flatmates with my friend Jean-Louis boy, Michel Gondry. (Applause) So what do you Bompoint, who is my DP now. He had some think of when you watch these videos; do you think equipment and he was a director, so he helped me of how hard they were to make? a little bit. That’s how it started. I was doing two minute animated pieces to fit our music, because MICHEL GONDRY: No, actually. I was thinking that the songs were quite minimalist and short, so they they look alright. -
List of Films Considered the Best
Create account Log in Article Talk Read View source View history Search List of films considered the best From Wikipedia, the free encyclopedia Main page This list needs additional citations for verification. Please Contents help improve this article by adding citations to reliable sources. Featured content Current events Unsourced material may be challenged and removed. (November Random article 2008) Donate to Wikipedia Wikimedia Shop While there is no general agreement upon the greatest film, many publications and organizations have tried to determine the films considered the best. Each film listed here has been mentioned Interaction in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources Help About Wikipedia focus on American films or were polls of English-speaking film-goers, but those considered the Community portal greatest within their respective countries are also included here. Many films are widely considered Recent changes among the best ever made, whether they appear at number one on each list or not. For example, Contact page many believe that Orson Welles' Citizen Kane is the best movie ever made, and it appears as #1 Tools on AFI's Best Movies list, whereas The Shawshank Redemption is #1 on the IMDB Top 250, whilst What links here Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. Related changes None of the surveys that produced these citations should be viewed as a scientific measure of the Upload file Special pages film-watching world. Each may suffer the effects of vote stacking or skewed demographics. -
Film at Lincoln Center New Releases Series November 2019
Film at Lincoln Center November 2019 New Releases Parasite Synonyms Varda by Agnès Series Poetry and Partition: The Films of Ritwik Ghatak Jessica Hausner: The Miracle Worker Rebel Spirit: The Films of Patricia Mazuy Relentless Invention: New Korean Cinema, 1996-2003 Members save $5 Tickets: filmlinc.org Elinor Bunin Munroe Film Center 144 West 65th Street, New York, NY Walter Reade Theater 165 West 65th Street, New York, NY NEW RELEASES: STRAIGHT FROM SOLD-OUT SCREENINGS AT NYFF! Playing This Month Showtimes at filmlinc.org Members save $5 on all tickets! Neon Courtesy of Kino Lorber HELD OVER BY POPULAR DEMAND! HELD OVER BY POPULAR DEMAND! OPENS NOVEMBER 22 “A dazzling work, gripping from beginning to “Astonishing, maddening, brilliant, hilarious, “A fascinating, informative, and reflective end, full of big bangs and small wonders.” obstinate, and altogether unmissable.” swan song that gives Varda the final word.” –Time Out New York –IndieWire –Tina Hassannia, Globe and Mail Parasite Synonyms Varda by Agnès Dir. Bong Joon Ho, South Korea, 132m In Bong Dir. Nadav Lapid, France/Israel/Germany, Dir. Agnès Varda, France, 120m When Agnès Joon Ho’s exhilarating new film, a threadbare 123m In his lacerating third feature, director Varda died earlier this year at age 90, the world family of four struggling to make ends meet Nadav Lapid’s camera races to keep up with the lost one of its most inspirational cinematic gradually hatches a scheme to work for, and as adventures of peripatetic Yoav (Tom Mercier), radicals. From her neorealist-tinged 1954 fea- a result infiltrate, the wealthy household of an a disillusioned Israeli who has absconded to ture debut La Pointe Courte to her New Wave entrepreneur, his seemingly frivolous wife, and Paris following his military training.