DOCSLIB.ORG

Lydia Marks Set Decoration Phone (212)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lydia Marks Set Decoration Phone (212) LYDIA MARKS SET DECORATION FILM Away We Go: Set Decorator: Focus Features. Production Designer: Jess Gonchor. Director: Sam Mendes. Producers: Ed Saxon, Mari-Jo Winkler Sex and the City: The Movie: Set Decorator: New Line/Avery Pix. Production Designer: Jeremy Conway. Director: Michael Patrick King. Producers: John Melfi and Jonathan Filley. UPM: Dana Robin. Synecdoche New York: Set Decorator: Mysterious Condition. Production Designer: Mark Friedberg. Director: Charlie Kaufman. Producer: Ray Angelic. UPM: Erica Kay. The Brave One: Set Decorator: Redemption Pictures/Warner Brothers. Production Designer: Kristy Zea. Director: Neil Jordan. Producer: Herb Gains. UPM: Ray Quinlan Night at the Museum: Set Decorator NY: 20th Century Fox. Production Designer Claude Pare, Director: Shawn Levy, Producer: Ira Shuman, UPM: Ray Quinlan Devil Wears Prada: Set Decorator. 20th Century Fox. Production Designer: Jess Gonchor. Director: David Frankel. Producer: Wendy Finerman. UPM: John Machione The Namesake: Set Decorator. Fox Searchlight. Production Designer: Stephanie Carroll. Director: Mira Nair. Producer: Lydia Pilcher. UPM: Lori Douglas Broken Flowers: Set Decorator. Exoskeletan. Production Designer: Mark Friedberg. Director: Jim Jarmusch, Producer: Ann Ruark, UPM: Gwen Bialic Patch: Art Director. Headquarters. Directed by Chris Romero Hysterical Blindness: Set Decorator. HBO. Production Designer: Stephanie Carroll, Director: Mira Nair, Producer: Lydia Pilcher You Can Count on Me: Set Decorator. Hart Sharp. Production Designer: Michael Shaw, Director: Kenneth Lonergan, Producer: Jill Footlick The Good Baby: Set Decorator. Kardana Films. Production Designer: Debbie DeVilla Director: Katherine Dieckmann. TELEVISION CLIENT POSITION PRODUCTION CO DIRECTOR/ART DIRECTOR Calvin Klein Set Decorator RSA Laurent Briet/Randal Peacock L!Oreal Set Decorator Believe Media Tryan George/Gabriel Abraham Chevrolet Set Decorator Hungryman Bryan Buckley/Jess Gonchor Heineken Set Decorator Biscuit Filmworks Noam Murro/Brock Houghton Target Set Decorator Epoch Matt Badger/Julian Laverdiere Maybelline Set Decorator Believe Media Sednaoui/Vincent Mazeau PHONE (212) 246 - 6013 CELL (917) 673 -3872 LYDIA MARKS SET DECORATION Microsoft Set Decorator HSI Gerard DeThame/ Cindy Gantz Davidoff Set Decorator Identity Media Mario Sorrenti/Gerard Santos Verizon Set Decorator Hungryman Bennett Miller/Mark Friedberg Pier1 Set Decorator DNA Liz Friedlander/Miriam Seger Sears Set Decorator Cyclops Albert Watson/Judy Rhee Verizon Set Decorator Artist!s Co Dave Ramser/Lisa Frantz Mercedes-Benz Set Decorator MJZ Victor/Garcia/Julian Laverdiere Staples Set Decorator Artists Co Spooner &French/Lisa Frantz Vaseline Set Decorator Space Program Janusz Kaminski T-Mobile Set Decorator Hungryman Scott Vincent/Bradlee Garlock Time Warner Set Decorator HKM Michael Karbelnikoff/lisa Frantz Covergirl Set Decorator RSA Malik Sayeed/Julian Laverdiere Hewlett Packard Set Decorator Radical Media Cindy Gantz Maybelline Set Decorator HSI ProductionsJim Sonzero/Gary Matteson Covergirl Set Decorator. Artist Company Regan Jackson Intel Set Decorator Epoch Films Jeff Preiss/Brock Houghton HFC Bank Set Decorator Hungry Man Hank Perlman/Tony Gasparro Dell Set Decorator Hungry Man Hank Perlman/Tony Gasparro Pizza Hut Set Decorator HKM Karbelnikoff/George Krivoback Jaguar Set Decorator 40 Acres and a Mule Spike Lee/Ron Norsworthy Chapstick Set Decorator Epoch Films Paula Greiff/ Vincent Mazeau Martha Stewart Set Decorator Giraldi Suarez Giraldi/ Pat DiGiacomo Kmart Got Milk Art Director Brand New School Robinson/Anclamo Crest Art Director Bravo Zulu John Mastromonaco Dymo Art Director MacGuffin Julian West Verizon Art Director Peliculas Ponder Mario Bazzi Ad Council Art Director Form Jesse Dylan PHONE (212) 246 - 6013 CELL (917) 673 -3872 LYDIA MARKS SET DECORATION Pampers Art Director Go Film Caitlin Felton Stearns & Foster Art Director Manarchy Films Dennis Manarchy MTV Art Director MTV Ron Norsworthy Mardi Gras 2002 As the World Turns Set Decorator CBS Patrick Howe Law&Order: Asst. Set Decorator Les Bloom Criminal Intent PHONE (212) 246 - 6013 CELL (917) 673 -3872 .
Load more

Recommended publications
  • CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and Counting…
    5 JAN 18 1 FEB 18 1 | 5 JAN 18 - 1 FEB 18 88 LOTHIAN ROAD | FILMHOUSECinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and counting… As you’ll spot deep within this programme (and hinted at on the front cover) January 2018 sees the start of a series of films that lead up to celebrations in October marking the 40th birthday of Filmhouse as a public cinema on Lothian Road. We’ve chosen to screen a film from every year we’ve been bringing the very best cinema to the good people of Edinburgh, and while it is tremendous fun looking back through the history of what has shown here, it was quite an undertaking going through all the old programmes and choosing what to show, and a bit of a personal journey for me as one who started coming here as a customer in the mid-80s (I know, I must have started very young...). At that time, I’d no idea that Filmhouse had only been in existence for less than 10 years – it seemed like such an established, essential institution and impossible to imagine it not existing in a city such as Edinburgh. My only hope is that the cinema is as important today as I felt it was then, and that the giants on whose shoulders we currently stand feel we’re worthy of their legacy. I hope you can join us for at least some of the screenings on this trip down memory lane... And now, back to the now.
    [Show full text]
  • Sundance Institute Presents Institute Sundance U.S
    1 Check website or mobile app for full description and content information. description app for full Check website or mobile #sundance • sundance.org/festival sundance.org/festival Sundance Institute Presents Institute Sundance The U.S. Dramatic Competition Films As You Are The Birth of a Nation U.S. Dramatic Competition Dramatic U.S. Many of these films have not yet been rated by the Motion Picture Association of America. Read the full descriptions online and choose responsibly. Films are generally followed by a Q&A with the director and selected members of the cast and crew. All films are shown in 35mm, DCP, or HDCAM. Special thanks to Dolby Laboratories, Inc., for its support of our U.S.A., 2016, 110 min., color U.S.A., 2016, 117 min., color digital cinema projection. As You Are is a telling and retelling of a Set against the antebellum South, this story relationship between three teenagers as it follows Nat Turner, a literate slave and traces the course of their friendship through preacher whose financially strained owner, PROGRAMMERS a construction of disparate memories Samuel Turner, accepts an offer to use prompted by a police investigation. Nat’s preaching to subdue unruly slaves. Director, Associate Programmers Sundance Film Festival Lauren Cioffi, Adam Montgomery, After witnessing countless atrocities against 2 John Cooper Harry Vaughn fellow slaves, Nat devises a plan to lead his DIRECTOR: Miles Joris-Peyrafitte people to freedom. Director of Programming Shorts Programmers SCREENWRITERS: Miles Joris-Peyrafitte, Trevor Groth Dilcia Barrera, Emily Doe, Madison Harrison Ernesto Foronda, Jon Korn, PRINCIPAL CAST: Owen Campbell, DIRECTOR/SCREENWRITER: Nate Parker Senior Programmers Katie Metcalfe, Lisa Ogdie, Charlie Heaton, Amandla Stenberg, PRINCIPAL CAST: Nate Parker, David Courier, Shari Frilot, Adam Piron, Mike Plante, Kim Yutani, John Scurti, Scott Cohen, Armie Hammer, Aja Naomi King, Caroline Libresco, John Nein, Landon Zakheim Mary Stuart Masterson Jackie Earle Haley, Gabrielle Union, Mike Plante, Charlie Reff, Kim Yutani Mark Boone Jr.
    [Show full text]
  • The Honorable Mentions Movies- LIST 1
    The Honorable mentions Movies- LIST 1: 1. A Dog's Life by Charlie Chaplin (1918) 2. Gone with the Wind Victor Fleming, George Cukor, Sam Wood (1940) 3. Sunset Boulevard by Billy Wilder (1950) 4. On the Waterfront by Elia Kazan (1954) 5. Through the Glass Darkly by Ingmar Bergman (1961) 6. La Notte by Michelangelo Antonioni (1961) 7. An Autumn Afternoon by Yasujirō Ozu (1962) 8. From Russia with Love by Terence Young (1963) 9. Shadows of Forgotten Ancestors by Sergei Parajanov (1965) 10. Stolen Kisses by François Truffaut (1968) 11. The Godfather Part II by Francis Ford Coppola (1974) 12. The Mirror by Andrei Tarkovsky (1975) 13. 1900 by Bernardo Bertolucci (1976) 14. Sophie's Choice by Alan J. Pakula (1982) 15. Nostalghia by Andrei Tarkovsky (1983) 16. Paris, Texas by Wim Wenders (1984) 17. The Color Purple by Steven Spielberg (1985) 18. The Last Emperor by Bernardo Bertolucci (1987) 19. Where Is the Friend's Home? by Abbas Kiarostami (1987) 20. My Neighbor Totoro by Hayao Miyazaki (1988) 21. The Sheltering Sky by Bernardo Bertolucci (1990) 22. The Decalogue by Krzysztof Kieślowski (1990) 23. The Silence of the Lambs by Jonathan Demme (1991) 24. Three Colors: Red by Krzysztof Kieślowski (1994) 25. Legends of the Fall by Edward Zwick (1994) 26. The English Patient by Anthony Minghella (1996) 27. Lost highway by David Lynch (1997) 28. Life Is Beautiful by Roberto Benigni (1997) 29. Magnolia by Paul Thomas Anderson (1999) 30. Malèna by Giuseppe Tornatore (2000) 31. Gladiator by Ridley Scott (2000) 32. The Lord of the Rings: The Fellowship of the Ring by Peter Jackson (2001) 33.
    [Show full text]
  • Post-Postmodern Cinema at the Turn of the Millennium: Paul Thomas Anderson’S Magnolia
    Revista de Estudios Norteamericanos, vol. 24, 2020. Seville, Spain, ISSN 1133-309-X, pp. 1-21. DOI: http://dx.doi.org/10.12795/REN.2020.i24.01 POST-POSTMODERN CINEMA AT THE TURN OF THE MILLENNIUM: PAUL THOMAS ANDERSON’S MAGNOLIA JESÚS BOLAÑO QUINTERO Universidad de Cádiz [email protected] Received: 20 May 2020 Accepted: 26 July 2020 KEYWORDS Magnolia; Paul Thomas Anderson; post-postmodern cinema; New Sincerity; French New Wave; Jean-Luc Godard; Vivre sa Vie PALABRAS CLAVE Magnolia; Paul Thomas Anderson; cine post-postmoderno; Nueva Sinceridad; Nouvelle Vague; Jean-Luc Godard; Vivir su vida ABSTRACT Starting with an analysis of the significance of the French New Wave for postmodern cinema, this essay sets out to make a study of Paul Thomas Anderson’s Magnolia (1999) as the film that marks the beginning of what could be considered a paradigm shift in American cinema at the end of the 20th century. Building from the much- debated passing of postmodernism, this study focuses on several key postmodern aspects that take a different slant in this movie. The film points out the value of aspects that had lost their meaning within the fiction typical of postmodernism—such as the absence of causality; sincere honesty as opposed to destructive irony; or the loss of faith in Lyotardian meta-narratives. We shall look at the nature of the paradigm shift to link it to the desire to overcome postmodern values through a recovery of Romantic ideas. RESUMEN Partiendo de un análisis del significado de la Nouvelle Vague para el cine postmoderno, este trabajo presenta un estudio de Magnolia (1999), de Paul Thomas Anderson, como obra sobre la que pivota lo que se podría tratar como un cambio de paradigma en el cine estadounidense de finales del siglo XX.
    [Show full text]
  • STEPHEN MOYER in for ITV, UK
    Issue #7 April 2017 The magazine celebrating television’s golden era of scripted programming LIVING WITH SECRETS STEPHEN MOYER IN for ITV, UK MIPTV Stand No: P3.C10 @all3media_int all3mediainternational.com Scripted OFC Apr17.indd 2 13/03/2017 16:39 Banijay Rights presents… Provocative, intense and addictive, an epic retelling A riveting new drama series Filled with wit, lust and moral of the story of Versailles. Brand new second season. based on the acclaimed dilemmas, this five-part series Winner – TVFI Prix Export Fiction Award 2017. author Åsa Larsson’s tells the amazing true story of CANAL+ CREATION ORIGINALE best-selling crime novels. a notorious criminal barrister. Sinister events engulf a group of friends Ellen follows a difficult teenage girl trying A husband searches for the truth when A country pub singer has a chance meeting when they visit the abandoned Black to take control of her life in a world that his wife is the victim of a head-on with a wealthy city hotelier which triggers Lake ski resort, the scene of a horrific would rather ignore her. Winner – Best car collision. Was it an accident or a series of events that will change her life crime. Single Drama Broadcast Awards 2017. something far more sinister? forever. New second series in production. MIPTV Stand C20.A banijayrights.com Banijay_TBI_DRAMA_DPS_AW.inddScriptedpIFC-01 Banijay Apr17.indd 2 1 15/03/2017 12:57 15/03/2017 12:07 Banijay Rights presents… Provocative, intense and addictive, an epic retelling A riveting new drama series Filled with wit, lust and moral of the story of Versailles.
    [Show full text]
  • Report from Edinbur H • Soul Man Review • Robert Hooks Three Critics Look at She's Gotta Have It • Peter Wang Interview
    Report From Edinbur h • Soul Man Review • Robert Hooks Three Critics Look at She's Gotta Have It • Peter Wang Interview World of Black Film Collectors Remembering Lorenzo Tucker- The Black. Gil Noble Plans Valentino Like It Is Archive Film Clips and News Early Black Independents Co-produced with the Black Film Institute of the University of the District of Columbia ••••••••••••••••••••••••••••••• Vol. 2, No. 4/Fa111986 'Peter Wang Breaks Cultural Barriers Black Film Review by Pat Aufderheide 10 SSt., NW An Interview with the director of A Great Wall p. 6 Washington, DC 20001 (202) 745-0455 Remembering lorenzo Tucker Editor and Publisher by Roy Campanella, II David Nicholson A personal reminiscence of one of the earliest stars of black film. ... p. 9 Consulting Editor Quick Takes From Edinburgh Tony Gittens by Clyde Taylor (Black Film Institute) Filmmakers debated an and aesthetics at the Edinburgh Festival p. 10 Associate EditorI Film Critic Anhur Johnson Film as a Force for Social Change Associate Editors by Charles Burnett Pat Aufderheide; Keith Boseman; Excerpts from a paper delivered at Edinburgh p. 12 Mark A. Reid; Saundra Sharp; A. Jacquie Taliaferro; Clyde Taylor Culture of Resistance Contributing Editors Excerpts from a paper p. 14 Bill Alexander; Carroll Parrott Special Section: Black Film History Blue; Roy Campanella, II; Darcy Collector's Dreams Demarco; Theresa furd; Karen by Saundra Sharp Jaehne; Phyllis Klotman; Paula Black film collectors seek to reclaim pieces of lost heritage p. 16 Matabane; Spencer Moon; An­ drew Szanton; Stan West. With a repon on effons to establish the Like It Is archive p.
    [Show full text]
  • Julianne Moore Stephen Dillane Eddie Redmayne
    JULIANNE MOORE STEPHEN DILLANE EDDIE REDMAYNE ELENA ANAYA Directed By Tom Kalin UNAX UGALDE Screenplay by Howard A. Rodman Based on the book by Natalie Robins & Steven M. L. Aronson BELÉN RUEDA HUGH DANCY Julianne Moore, Stephen Dillane, Eddie Redmayne Elena Anaya, Unax Ugalde, Belén Rueda, Hugh Dancy CANNES 2007 Directed by Tom Kalin Screenplay Howard A. Rodman Based on the book by Natalie Robins & Steven M.L Aronson FRENCH / INTERNATIONAL PRESS DREAMACHINE CANNES 4th Floor Villa Royale 41 la Croisette (1st door N° 29) T: + 33 (0) 4 93 38 88 35 WORLD SALES F: + 33 (0) 4 93 38 88 70 DREAMACHINE CANNES Magali Montet 2, La Croisette, 3rd floor M : + 33 (0) 6 71 63 36 16 T : + 33 (0) 4 93 38 64 58 E: [email protected] F : + 33 (0) 4 93 38 62 26 Gordon Spragg M : + 33 (0) 6 75 25 97 91 LONDON E: [email protected] 24 Hanway Street London W1T 1UH US PRESS T : + 44 (0) 207 290 0750 INTERNATIONAL HOUSE OF PUBLICITY F : + 44 (0) 207 290 0751 info@hanwayfilms.com CANNES Jeff Hill PARIS M: + 33 (0)6 74 04 7063 2 rue Turgot email: [email protected] 75009 Paris, France T : + 33 (0) 1 4970 0370 Jessica Uzzan F : + 33 (0) 1 4970 0371 M: + 33 (0)6 76 19 2669 [email protected] email: [email protected] www.dreamachinefilms.com Résidence All Suites – 12, rue Latour Maubourg T : + 33 (0) 4 93 94 90 00 SYNOPSIS “Savage Grace”, based on the award winning book, tells the incredible true story of Barbara Daly, who married above her class to Brooks Baekeland, the dashing heir to the Bakelite plastics fortune.
    [Show full text]
  • Not a Cinematic Hair out of Place: Examinations in Identity (Transformation) As Evidenced Through Haircuts in the Rc Ying Game Allen Herring III
    University of New Mexico UNM Digital Repository Foreign Languages & Literatures ETDs Electronic Theses and Dissertations 2-8-2011 Not a Cinematic Hair Out of Place: Examinations in Identity (Transformation) as Evidenced through Haircuts in The rC ying Game Allen Herring III Follow this and additional works at: https://digitalrepository.unm.edu/fll_etds Recommended Citation Herring, Allen III. "Not a Cinematic Hair Out of Place: Examinations in Identity (Transformation) as Evidenced through Haircuts in The rC ying Game." (2011). https://digitalrepository.unm.edu/fll_etds/109 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Foreign Languages & Literatures ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. ii Not a Cinematic Hair Out of Place Examinations of Identity (Transformation) as Evidenced through Haircuts in The Crying Game BY Allen Herring III Bachelors – English Bachelors – Economics THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts Comparative Literature & Cultural Studies The University of New Mexico Albuquerque, New Mexico December 2010 iii ©2010, Allen Herring III iv Not a Cinematic Hair Out of Place Examinations of Identity (Transformation) as Evidenced through Haircuts in The Crying Game BY Allen Herring III ABSTRACT OF THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of
    [Show full text]
  • Confessions of a Dangerous Mind
    CONFESSIONS OF A DANGEROUS MIND a screenplay by Charlie Kaufman based on CONFESSIONS OF A DANGEROUS MIND an unauthorized biography by Chuck Barris third draft (revised) May 5, 1998 MUSIC IN: OMINOUS ORCHESTRAL TEXT, WHITE ON BLACK: This film is a reenactment of actual events. It is based on Mr. Barris's private journals, public records, and hundreds of hours of taped interviews. FADE IN: EXT. NYC STREET - NIGHT SUBTITLE: NEW YORK CITY, FALL 1981 It's raining. A cab speeds down a dark, bumpy side-street. INT. CAB - CONTINUOUS Looking in his rearview mirror, the cab driver checks out his passenger: a sweaty young man in a gold blazer with a "P" insignia over his breast pocket. Several paper bags on the back seat hedge him in. The young man is immersed in the scrawled list he clutches in his hand. A passing street light momentarily illuminates the list and we glimpse a few of the entries: double-coated waterproof fuse (500 feet); .38 ammo (hollowpoint configuration); potato chips (Lays). GONG SHOW An excerpt from The Gong Show (reenacted). The video image fills the screen. We watch a fat man recite Hamlet, punctuating his soliloquy with loud belching noises. The audience is booing. Eventually the man gets gonged. Chuck Barris, age 50, hat pulled over his eyes, dances out from the wings to comfort the agitated performer. PERFORMER Why'd they do that? I wasn't done. BARRIS (AGE 50) I don't understand. Juice, why'd you gong this nice man? JAYE P. MORGAN Not to be. That is the answer.
    [Show full text]
  • Bullitt, Blow-Up, & Other Dynamite Movie Posters of the 20Th Century
    1632 MARKET STREET SAN FRANCISCO 94102 415 347 8366 TEL For immediate release Bullitt, Blow-Up, & Other Dynamite Movie Posters of the 20th Century Curated by Ralph DeLuca July 21 – September 24, 2016 FraenkelLAB 1632 Market Street FraenkelLAB is pleased to present Bullitt, Blow-Up, & Other Dynamite Movie Posters of the 20th Century, curated by Ralph DeLuca, from July 21 through September 24, 2016. Beginning with the earliest public screenings of films in the 1890s and throughout the 20th century, the design of eye-grabbing posters played a key role in attracting moviegoers. Bullitt, Blow-Up, & Other Dynamite Movie Posters at FraenkelLAB focuses on seldom-exhibited posters that incorporate photography to dramatize a variety of film genres, from Hollywood thrillers and musicals to influential and experimental films of the 1960s-1990s. Among the highlights of the exhibition are striking and inventive posters from the mid-20th century, including the classic films Gilda, Niagara, The Searchers, and All About Eve; Alfred Hitchcock’s Notorious, Rear Window, and Psycho; and B movies Cover Girl Killer, Captive Wild Woman, and Girl with an Itch. On view will be many significant posters from the 1960s, such as Russ Meyer’s cult exploitation film Faster Pussycat! Kill! Kill!; Michelangelo Antonioni’s Blow-Up; a 1968 poster for the first theatrical release of Un Chien Andalou (Dir. Luis Buñuel and Salvador Dalí, 1928); and a vintage Japanese poster for Buñuel’s Belle de Jour. The exhibition also features sensational posters for popular movies set in San Francisco: the 1947 film noir Dark Passage (starring Humphrey Bogart and Lauren Bacall); Steve McQueen as Bullitt (1968); and Clint Eastwood as Dirty Harry (1971).
    [Show full text]
  • 80S 90S Hand-Out
    FILM 160 NOIR’S LEGACY 70s REVIVAL Hickey and Boggs (Robert Culp, 1972) The Long Goodbye (Robert Altman, 1973) Chinatown (Roman Polanski, 1974) Night Moves (Arthur Penn, 1975) Farewell My Lovely (Dick Richards, 1975) The Drowning Pool (Stuart Rosenberg, 1975) The Big Sleep (Michael Winner, 1978) RE- MAKES Remake Original Body Heat (Lawrence Kasdan, 1981) Double Indemnity (Billy Wilder, 1944) Postman Always Rings Twice (Bob Rafelson, 1981) Postman Always Rings Twice (Garnett, 1946) Breathless (Jim McBride, 1983) Breathless (Jean-Luc Godard, 1959) Against All Odds (Taylor Hackford, 1984) Out of the Past (Jacques Tourneur, 1947) The Morning After (Sidney Lumet, 1986) The Blue Gardenia (Fritz Lang, 1953) No Way Out (Roger Donaldson, 1987) The Big Clock (John Farrow, 1948) DOA (Morton & Jankel, 1988) DOA (Rudolf Maté, 1949) Narrow Margin (Peter Hyams, 1988) Narrow Margin (Richard Fleischer, 1951) Cape Fear (Martin Scorsese, 1991) Cape Fear (J. Lee Thompson, 1962) Night and the City (Irwin Winkler, 1992) Night and the City (Jules Dassin, 1950) Kiss of Death (Barbet Schroeder 1995) Kiss of Death (Henry Hathaway, 1947) The Underneath (Steven Soderbergh, 1995) Criss Cross (Robert Siodmak, 1949) The Limey (Steven Soderbergh, 1999) Point Blank (John Boorman, 1967) The Deep End (McGehee & Siegel, 2001) Reckless Moment (Max Ophuls, 1946) The Good Thief (Neil Jordan, 2001) Bob le flambeur (Jean-Pierre Melville, 1955) NEO - NOIRS Blood Simple (Coen Brothers, 1984) LA Confidential (Curtis Hanson, 1997) Blue Velvet (David Lynch, 1986) Lost Highway (David
    [Show full text]
  • Screenwriting: the Feature Film
    Module Definition Form (MDF) Module Code: MOD003008 Version 3 Date amended 14/2/13 1. Module Title Screenwriting: The Feature Film 2a. Module Leader 2b. Department 2c. Faculty Judy Forshaw Department of English and Faculty of Arts, Law and Media Social Sciences 3a. Level 3b. Module Type 5 Standard Module 4a. Credits 4b. Study Hours 15 150 5. Restrictions Type Module Code Module Name Condition Pre- None requisites: Co- None requisites: Exclusions: None Courses to which this BA Film Studies; BA Writing; BA Writing and module is restricted Film Studies BA Film and Television Production LEARNING, TEACHING AND ASSESSMENT INFORMATION 6a. Module Description The module builds on the skills acquired by the students in Introduction to Screenwriting at Level 5. Having understood the short film format, students now have the opportunity to apply their skills to the more demanding task of understanding the Feature Film. Students will produce a portfolio including the first act of a screenplay with evidence of analytical story structure skills, some of which will include a focussed analysis of genre in a series of student managed presentations. A key element of the module is the study of the work of well known screenwriters, in particular Kaufman, Schrader, Mamet and Ball, whose work will be critically discussed as potential models. Established film-makers, including the Coen Brothers, Darren Aronsksy, Quentin Tarantino, Martin Scorsese, Charlie Kaufman, Paul Thomas Anderson and Gus Van Sant, will also be studied as examples of writer directors. Through small group work and discussion with the seminar leader, students develop an original screenplay idea.
    [Show full text]