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Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations
Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel -
Hold That Ghost in Late 1941 Milton Berle Was Said to Have Quipped, "Things Are Slow in Hollywood
Those Slap-Happy Screamsters Go A’haunting! Saturday, October 23 at 2 & 8 pm only Abbott and Costello’s Hold That Ghost In late 1941 Milton Berle was said to have quipped, "Things are slow in Hollywood. Abbott and Costello haven't made a picture all day." And he was right. fter the smash success of their first starring feature,Buck Privates, (1941) burlesque and Aradio comics Bud Abbott and Lou Costello were the number one box office attraction in the country--and literally saved Universal Studios from bankruptcy. In fact, the only movie that outgrossed Buck Privates at the time was Gone with the Wind. Anxious to keep the team working, Universal Studios had already completed production on their next film, a non-music spoof of two popular film genres of the era--the Haunted House movie and Gangster melodrama--then titled Oh Charlie! (a reference to a running gag in the film where a dead gangster's body keeps turning up). But when the huge box office returns fromBuck Privates began rolling in, Universal temporarily shelved Oh Charlie! to put the team in an- other service themed follow-up, In the Navy. When they returned to Oh Charlie! , Universal discovered test audiences for the film wondered why the Andrews Sisters, who had been in the two previous hits, were absent in this one. So additional re-shoots were required to include the trio, now making it a horror/ comedy, with a couple of songs thrown in. The title was eventually changed to Hold That Ghost and became the third smash hit for Abbott and Costello that year, continuing a string of successes that would keep them among the top box office attractions for the next ten years and would also serve as the inspiration for another classic, 1948's Abbott and Costello Meet Frankenstein. -
Pr-Dvd-Holdings-As-Of-September-18
CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd. -
Brooklyn Boy
41st Season • 392nd Production SEGERSTROM STAGE / SEPTEMBER 3 - OCTOBER 10, 2004 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR IN ASSOCIATION WITH Manhattan Theatre Club presents the world premiere of BROOKLYN BOY BY Donald Margulies SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINAL MUSIC AND SOUND DESIGN Ralph Funicello Jess Goldstein Chris Parry Michael Roth DRAMATURG PRODUCTION MANAGER STAGE MANAGER Jerry Patch Tom Aberger *Scott Harrison DIRECTED BY Daniel Sullivan HONORARY PRODUCERS CORPORATE PRODUCER Elaine and Martin Weinberg The Citigroup Private Bank Brooklyn Boy was commissioned and developed by South Coast Repertory Brooklyn Boy • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Eric Weiss .................................................................................... Adam Arkin* Manny Weiss ................................................................................ Allan Miller* Ira Zimmer ...................................................................................... Arye Gross* Nina .............................................................................................. Dana Reeve* Alison .......................................................................................... Ari Graynor* Melanie Fine ................................................................................ Mimi Lieber* Tyler Shaw .................................................................................... Kevin Isola* SETTING All scenes are set in the present in Brooklyn, -
Animation! [Page 8–9] 772535 293004 the TOWER 9> Playing in the Online Dark
9 euro | SPRING 2020 MODERN TIMES REVIEW THE EUROPEAN DOCUMENTARY MAGAZINE CPH:DOX THESSALONIKI DF ONE WORLD CINÉMA DU RÉEL Copenhagen, Denmark Thessaloniki, Greece Prague, Czech Paris, France Intellectually stimulating and emotionally engaging? [page 10–11] THE PAINTER AND THE THIEF THE PAINTER HUMAN IDFF MAJORDOCS BOOKS PHOTOGRAPHY Oslo, Norway Palma, Mallorca New Big Tech, New Left Cinema The Self Portrait; Dear Mr. Picasso Animation! [page 8–9] 772535 293004 THE TOWER 9> Playing in the online dark In its more halcyon early days, nature of these interactions. ABUSE: In a radical the internet was welcomed Still, the messages and shared psychosocial experiment, into households for its utopi- (albeit blurred for us) images an possibilities. A constantly are highly disturbing, the bra- the scope of online updating trove of searchable zenness and sheer volume of child abuse in the Czech information made bound en- the approaches enough to sha- Republic is uncovered. cyclopaedia sets all but obso- ke anyone’s trust in basic hu- lete; email and social media manity to the core («potential- BY CARMEN GRAY promised to connect citizens ly triggering» is a word applied of the world, no longer seg- to films liberally these days, Caught in the Net mented into tribes by physical but if any film warrants it, it is distance, in greater cultural un- surely this one). Director Vit Klusák, Barbora derstanding. The make-up artist recog- Chalupová In the rush of enthusiasm, nises one of the men and is Czech Republic, Slovakia the old truth was suspended, chilled to witness this behav- that tools are only as enlight- iour from someone she knows, ened as their users. -
Boogiepop in the Mirror: Pandora (Light Novel 4)
Table of Contents Color Inserts Copyrights and Credits Prologue 1 The Six - Our Gang 2 Kazumiya Mitsuo - Baby Talk 3 Nanane Kyoko - Aroma 4 Tenjiki Yuu - Stigma 5 Heart of the World 6 Koumoto Kouji - Whispering 7 Tsuji Nozomi - Automatic 8 Mikage Kasumi - Into Eyes 9 Blood Afterword About the Author and Illustrator Newsletter Prologue Two girls talked on their way home from school at sunset, taking a road that ran by the river. “Oh, really?” “Yes! There's absolutely nothing about that in the Bible.” “So how come everyone writes about it like it’s a big deal?” “Kirima-san! You know Kirima Seiichi always said not to believe what ‘everyone’ says!” “Fair, but… my dad wrote about this somewhere, right?” “No, he never did. I read this in a book by Malet.” “Kazuko, I swear you’re way smarter than my dad ever was.” “Th-that’s not true at all. But the point is, Cain may have killed his brother Abel, but he never felt guilty for it, and God forgave him. That’s all it says in the Bible. There was no lifelong burden like in the movie East of Eden.” “Wasn’t there a…sign? I thought he was marked in some way.” “Yeah, that part is from the Bible.” “So didn’t that lead to everyone pointing fingers at him? You’d think it would.” “That’s where everyone’s got it wrong. The mark God put on Cain was to prevent anyone from harming him because of his crime. Any injury inflicted on Cain would be paid back sevenfold. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
1 Guises of Transnationalism in Israel/Palestine
Guises of Transnationalism in Israel/Palestine: A few notes on 5 Broken Camerasi Yael Friedman University of Portsmouth The discussion of Israeli cinema is governed, predominantly, by the perspective of national cinema. The dominant framework of analysis tends to be that of Zionism and, by and large, both in critical writing and exhibition contexts, a very clear dichotomy is maintained between Israeli and Palestinian cinemas and between Israeli cinema and cinemas of the Middle East. Such a governing perspective often excludes or distorts a critical discussion of the transnational in films that emerge both from Israel and Palestine. The changes brought about by processes of globalisation to the production, circulation and reception of films around the world also shape contemporary cinema in Israel/Palestine to a considerable extent. Throughout the history of Palestinian cinema its production and exhibition contexts were distinctively transnational, while Israel’s small-scale national film industry increasingly shifts towards transnational modes of production. The survival and the recent success of Israeli cinema, both internationally and domestically, is largely dependent upon co-production agreements, the involvement of European funders, and the global festival circuit. Despite this prominent trend, only a few recent publications address Israeli cinema from a transnational perspective.ii This short article follows in a similar vain. It offers a critical discussion of the acclaimed documentary 5 Broken Cameras (Emad Burnat and Guy Davidi, Israel/Palestine/France/Netherland, 2011), whose joint Palestinian-Israeli direction and transnational context of production, challenge the national boundaries of both Israeli and Palestinian cinemas while, at the same time, probelmatizing the notion of the transnational. -
Industry Guide Focus Asia & Ttb / April 29Th - May 3Rd Ideazione E Realizzazione Organization
INDUSTRY GUIDE FOCUS ASIA & TTB / APRIL 29TH - MAY 3RD IDEAZIONE E REALIZZAZIONE ORGANIZATION CON / WITH CON IL CONTRIBUTO DI / WITH THE SUPPORT OF IN COLLABORAZIONE CON / IN COLLABORATION WITH CON LA PARTECIPAZIONE DI / WITH THE PARTICIPATION OF CON IL PATROCINIO DI / UNDER THE PATRONAGE OF FOCUS ASIA CON IL SUPPORTO DI/WITH THE SUPPORT OF IN COLLABORAZIONE CON/WITH COLLABORATION WITH INTERNATIONAL PARTNERS PROJECT MARKET PARTNERS TIES THAT BIND CON IL SUPPORTO DI/WITH THE SUPPORT OF CAMPUS CON LA PARTECIPAZIONE DI/WITH THE PARTICIPATION OF MAIN SPONSORS OFFICIAL SPONSORS FESTIVAL PARTNERS TECHNICAL PARTNERS ® MAIN MEDIA PARTNERS MEDIA PARTNERS CON / WITH FOCUS ASIA April 30/May 2, 2019 – Udine After the big success of the last edition, the Far East Film Festival is thrilled to welcome to Udine more than 200 international industry professionals taking part in FOCUS ASIA 2019! This year again, the programme will include a large number of events meant to foster professional and artistic exchanges between Asia and Europe. The All Genres Project Market will present 15 exciting projects in development coming from 10 different countries. The final line up will feature a large variety of genres and a great diversity of profiles of directors and producers, proving one of the main goals of the platform: to explore both the present and future generation of filmmakers from both continents. For the first time the market will include a Chinese focus, exposing 6 titles coming from China, Hong Kong and Taiwan. Thanks to the partnership with Trieste Science+Fiction Festival and European Film Promotion, Focus Asia 2019 will host the section Get Ready for Cannes offering to 12 international sales agents the chance to introduce their most recent line up to more than 40 buyers from Asia, Europe and North America. -
The Disney Bloodline
Get Your Free 150 MB Website Now! THE SKILL OF LYING, THE ART OF DECEIT The Disney Bloodline The Illuminati have refined the art of deception far beyond what the common man has imagined. The very life & liberty of humanity requires the unmasking of their deceptions. That is what this book is about. Honesty is a necessary ingredient for any society to function successfully. Deception has become a national pastime, starting with our business and political leaders and cascading down to the grass roots. The deceptions of the Illuminati's mind-control may be hidden, but in their wake they are leaving tidal waves of distrust that are destroying America. While the CIA pretend to have our nations best interest at heart, anyone who has seriously studied the consequences of deception on a society will tell you that deception will seriously damage any society until it collapses. Lies seriously damage a community, because trust and honesty are essential to communication and productivity. Trust in some form is a foundation upon which humans build relationships. When trust is shattered human institutions collapse. If a person distrusts the words of another person, he will have difficulty also trusting that the person will treat him fairly, have his best interests at heart, and refrain from harming him. With such fears, an atmosphere of death is created that will eventually work to destroy or wear down the cooperation that people need. The millions of victims of total mind- control are stripped of all trust, and they quietly spread their fears and distrust on a subconscious level throughout society. -
1 “Ann Hui's Allegorical Cinema” Jessica Siu-Yin Yeung to Cite This
This is the version of the chapter accepted for publication in Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary published by Palgrave Macmillan https://link.springer.com/chapter/10.1007/978-981-10-7766-1_6 Accepted version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/34754 “Ann Hui’s Allegorical Cinema” Jessica Siu-yin Yeung To cite this article: By Jessica Siu-yin Yeung (2018) “Ann Hui’s Allegorical Cinema”, Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary, ed. Jason S. Polley, Vinton Poon, and Lian-Hee Wee, 87-104, Singapore: Palgrave Macmillan, 2018. Allegorical cinema as a rhetorical approach in Hong Kong new cinema studies1 becomes more urgent and apt when, in 2004, the Closer Economic Partnership Arrangement (CEPA) begins financing mainland Chinese-Hong Kong co-produced films.2 Ackbar Abbas’s discussion on “allegories of 1997” (1997, 24 and 16–62) stimulates studies on Happy Together (1997) (Tambling 2003), the Infernal Affairs trilogy (2002–2003) (Marchetti 2007), Fu Bo (2003), and Isabella (2006) (Lee 2009). While the “allegories of 1997” are well- discussed, post-handover allegories remain underexamined. In this essay, I focus on allegorical strategies in Ann Hui’s post-CEPA oeuvre and interpret them as an auteurish shift from examinations of local Hong Kong issues (2008–2011) to a more allegorical mode of narration. This, however, does not mean Hui’s pre-CEPA films are not allegorical or that Hui is the only Hong Kong filmmaker making allegorical films after CEPA. Critics have interpreted Hui’s films as allegorical critiques of local geopolitics since the beginning of her career, around the time of the Sino-British Joint Declaration in 1984 (Stokes and Hoover 1999, 181 and 347 note 25), when 1997 came and went (Yau 2007, 133), and when the Umbrella Movement took place in 2014 (Ho 2017). -
Helen Christinson Caroline Craig Kate Jenkinson Katrina Milosevic Jacki
A A Helen Christinson CastKatrina Milosevic The Bride Bridesmaid Helen graduated from QUT’s Acting program in 2004. While at QUT A graduate of NIDA, Katrina has appeared in JULIUS CAESAR and she was fortunate enough to work with such directors as Michael ANToNY & CLEoPATRA for the Bell Shakespeare Co, MACBETH and Gow, Jennifer Flowers, Karen Crone and Sean Mee on shows in- FAT PIG for the STC, WoYZECK for the MTC, THE MAIDS for 20/20 cluding Live Acts on Stage, The Winter’s Tale, Roberto Zucco andThe Theatre, ALIvE AT WILLIAMSToWN PIER for Griffin Theatre and the Rocky Horror Picture Show. Ensemble’s premier production of David Williamson’s oPERAToR. After graduating from QUT Helen played the dual role of Ellen and Sarmitte in LaBoite’s The Drowning Bride, directed by Michael Her television credits include BIG SKY, THE GAMES, BLUE HEELERS Futcher. Helen has also worked at QTC, again under the direction and regular role, Sophie Novak in STINGERS for which she received of Michael Gow, playing Amanda in Private Lives, a co- production a 2004 Logie Award Nomination, and as victoria in the telemovie with STCSA, and the seductive widow- next- door, Fanny Wilton in Little oberon. Ibsen’s John Gabriel Borkman. She has also delved into her darker side playing Lena in the Stablemates’ production of Marius von Mayenberg’s The Cold Child, directed by Anthony Skuse. Helen’s film credits include Rapid Fear, Endurance Island, The Underdog’s Tale and Harrisville. She has also appeared in the short film The Pitch. Helen was thrilled last year to be cast in MTC’s The 39 Steps under the direction of Maria Aitken.