DOCSLIB.ORG

Asia's Top Film Fest in Crisis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Asia's Top Film Fest in Crisis Lifestyle FRIDAY, APRIL 1, 2016 Asia’s top film fest in crisis he future of Asia’s top film festival is being Hundreds of South Korean actors, directors threatened by a bitter dispute over what and producers have staged street rallies for Torganizers are calling an unacceptable months urging the authorities to back off. “This political challenge to their artistic independence, festival is not a personal possession of state offi- with moviemakers pushing an “empty red carpet” cials, but a valued cultural heritage nurtured and boycott of this year’s event. The Busan enjoyed by movie fans,” an amalgam of Korean International Film Festival (BIFF) — held every filmmakers’ associations said in a joint statement October in the South Korean port of Busan- released in March. The group vowed to boycott marked its 20 anniversary last year, but celebra- the 2016 event unless the Busan city council-a tions were soured by a lingering row that has major BIFF sponsor and stakeholder-accepts since snowballed into a full-blown crisis. changes to the festival rules that they say would A flurry of official probes targeting its organiz- ensure its artistic independence. ers and an unprecedented cut in state funding have raised serious doubts over the event’s artis- ‘Empty red carpet’ tic and financial viability. Artistic director Lee “The world will witness the empty red carpet Yong-Kwan was forced to step down in February, for the first time in 20 years of BIFF’s history and even as his counterparts from other top interna- the audience from all over the world will stop tional film festivals like Cannes and Berlin wrote coming to Busan for the festival anymore,” the an open letter warning that political pressure was statement said. The council rejected the ultima- threatening BIFF’s future. Organizers say they tum, insisting the government probes and Lee’s have become targets of political retaliation for departure had nothing to do with the controver- screening a film in 2014 — in defiance of state sial documentary. “I was simply trying to overhaul opposition-about the government’s handling of the unreasonable operations of the festival that the Sewol ferry disaster. The scathing, highly have been dominated by a few,” Suh told a press emotive documentary slammed Seoul’s botched This file photo taken on October 1, 2015 shows visitors walking past a banner for the Busan conference. “These people are trying to frame my rescue efforts in the immediate aftermath of the International Film Festival (BIFF) at the Busan Cinema Center in Busan. — AFP efforts as political oppression and deceive many ferry sinking in April 2014 that claimed more than citizens,” he said. 300 lives, most of them school children. who serves as festival chairman and who deemed Global industry support With the dispute showing no signs of abat- the movie “too political”. The premiere went The same month saw the publication of an ing, the festival organizers fear its integrity is ‘Hefty price’ ahead after a barrage of protest from filmmakers open letter of protest to the mayor, signed by in peril. “For now we are trying our best to “We are paying a hefty price for screening the who accused Suh of compromising the festival’s more than 100 prominent overseas cineastes prepare for this year’s event but we are afraid movie that the government disliked,” a BIFF independence. including the directors of the Cannes, Berlin and the crisis is greatly hurting our reputation,” spokeswoman, Kim Jung-Yun, told AFP. But state funding was nearly halved to 800 Venice film festivals. “Our concern leads us to call said spokeswoman Kim. “Who would want to “Everyone is concerned about artistic and politi- million won ($700,000) for the 2015 event, while on you... not to damage the festival or its inde- come to see a film festival with no freedom of cal independence of the BIFF... this is the biggest BIFF director Lee became the target of a series of pendence, and to stop applying political pressure expression?” — AFP crisis we have ever faced,” Kim said. “Diving Bell” probes by state auditors and prosecutors over the to the festival’s leaders and programmers,” the (or “The Truth Will Not Sink With Sewol”) had its festival’s financial dealings. Lee was eventually letter said. “The events of the past year not only world premiere at the 2014 BIFF, against the compelled to leave in February after Suh refused threaten that independence but also put the wishes of the Busan city mayor, Suh Byung-Hoo, to renew his contract. entire future of BIFF at risk,” it added. Lawrence is ‘Dying’ to make more ‘X-Men’ movies ennifer Lawrence revealed that she’s Past” (2014) and now in “X-Men: eager to star in more “X-Men” films. “I am Apocalypse,” the latest chapter in the film Jdying to come back,” the Oscar-winning series. actress told Empire in an interview. “I love Related ‘X-Men: Apocalypse’ First Official these movies, I love being in them. I love Trailer Promises Death and Destruction In ensemble movies because it’s not on any- the ninth “X-Men” installment, which is set a one’s shoulders.” Lawrence’s admission decade after the events of “X-Men: Days of comes as a surprise, considering that last May Future Past,” the X-Men must unite to face British comedian Ronnie Corbett poses with his medal after she confirmed that the spring 2016 release immortal supervillain Apocalypse (played he received the honor Commander of the Order of the British of “X-Men: Apocalypse” would mark her final by Oscar Isaac), who awakens after thou- Empire (CBE) from Britain’s Queen Elizabeth II during an appearance in the sci-fi franchise. She’s sands of years with a plan to extinguish investiture ceremony at Buckingham Palace in central played sexy blue mutant Mystique in “X-Men: humanity.—Reuters London on February 16, 2012. — AFP First Class” (2011), “X-Men: Days of Future British comedy great Ronnie Corbett dies aged 85 DiCaprio’s Appian Way signs onnie Corbett, one of Britain’s most successful comedians first look deal with paramount best known for “The Two Ronnies”, his double-act show Rwith Ronnie Barker, has died aged 85, his publicist said yes- eonardo DiCaprio’s Appian Way Productions “I’ve had the pleasure of working with Brad and terday. The show ran on the BBC from 1971 to 1987 and was one has signed a three-year first-look deal with the team at Paramount Pictures on numerous proj- of the most popular light entertainment shows of the era. Its LParamount Pictures. Paramount Pictures and ects throughout my career. I cannot think of a bet- opening titles featured the two sets of spectacles worn by its Appian Way have four projects currently under ter home for Appian Way as we continue our stars and it regularly closed with one of the best-known catch- development, including: “The Devil in the White growth,” said DiCaprio. Paramount CEO Brad Grey phrases on British television: “It’s goodnight from me... and it’s City,” based on the book by Erik Larson with the added: “Leo is one of the great talents of our time. screen adaptation by Academy AwardR nominated goodnight from him.” He is a masterful actor, storyteller and producer, screenwriter Billy Ray, which will reunite DiCaprio with impeccable taste and skill that has shaped his A statement from his publicist said: “Ronnie Corbett CBE, one with Scorsese; “Sandcastle Empire,” a film adapta- extraordinary career. Our first project together was of the nation’s best-loved entertainers, passed away this morn- tion of the novel by Kayla Olson which depicts an ‘The Departed,’ before I came to Paramount. Since ing, surrounded by his loving family. “They have asked that their apocalyptic future with society on the brink of col- then, working with the legendary Martin Scorsese, privacy is respected at this very sad time.” Corbett’s other cele- lapse from climate change; a yet untitled film we have partnered on two wonderful pictures, brated roles included in 1960s satirical comedy show “The Frost based on a book proposal by New York Times jour- ‘Shutter Island’ and ‘The Wolf of Wall Street.’ We are Report” and “Sorry!”, a 1980s sitcom about a fortysomething nalist Jack Ewing about the recent Volkswagen both proud and excited to grow our relationships librarian who lives with his domineering mother and timid father. diesel emissions scandal; and a limited television with him, Rick Yorn, Jennifer Davisson and the Prime Minister David Cameron and British comedians rushed to series based on A. Scott Berg’s Pulitzer Prize-win- entire team at Appian Way.”—Reuters pay tribute to Corbett following his death. Leonardo DiCaprio ning biography of Charles Lindbergh..
Load more

Recommended publications
  • The Commuter Production Notes
    THE COMMUTER PRODUCTION NOTES RELEASE DATES Australia, New Zealand & Germany (STUDIOCANAL): January 11th 2018 US (Lionsgate): January 12th 2018 UK (STUDIOCANAL): January 19th 2018 France (STUDIOCANAL): January 24th 2018 CONTACTS [email protected] [email protected] [email protected] [email protected] 1 ABOUT THE PRODUCTION Following the worldwide success of Unknown, Non-Stop and Run All Night, star Liam Neeson and director Jaume Collet-Serra reunite for a fourth time with explosive thriller THE COMMUTER about one man‘s frantic quest to prevent disaster on a packed commuter train. The screenplay proved irresistible to both the director and star, not just for the bravura of the action and the thrill of the suspense but for the moral conundrum the protagonist is faced with and the consequences it has on him, the passengers on the train and his family at home. “THE COMMUTER asks the audience, if someone asked you to do something that seems insignifi- cant but you’re not sure of the outcome in exchange for a considerable financial reward, would you do it?” says Jaume Collet-Serra. “That‘s the philosophical choice that our central character - a man of 60 who’s just been fired, has no savings and is mortgaged to the hilt - is faced with. Is he think- ing just about himself or is he going to take into consideration the possible moral consequences of what he’s asked to do? That’s the question we want the audience to ask themselves.” For Neeson, it was also the story’s real-time narrative that gives it a thrilling momentum.
    [Show full text]
  • Grant Benjamin Leibowitz
    GRANT BENJAMIN LEIBOWITZ Eyes: Brown | Hair: Brown | Height: 6’2” | Weight: 180 lbs ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ SAG-e FEATURE FILMS / TELEVISION / SHORTS Boulder Buddz Feature- Supporting Boulder Independent Productions Rondo Feature - Supporting Rondo, LLC The Autumn Equinox Feature - Supporting Happy Day Productions ​ Dear Eleanor Feature - Featured Appian Way Productions ​ The Frame Feature - Featured Double Edge Films ​ My Haunted House TV - Lead Painless Television Sex Sent me to the ER TV - Guest Star GRB TV Interview- Bangkok Fashion Week TV - Self MTV Asia My First Sale TV ­ Guest Star High Noon Entertainment Relationship Goals Go90 Series ­ Guest Star BuzzFeed Motion Pictures Bad Roommates Trailer ­ Supporting Dark Hope Productions, LLC Perpetrators Short ­ Lead Bison Films Devotional Short ­ Lead E.P. Productions The S Word Short ­ Co-Lead Urban Lights Entertainment ​ The Beauty is in the Streets Short ­ Lead Ben Wilson Films The Dark Knight: A Parody Rises Short ­ Supporting AR Works Productions Bad Kid! Short ­ Supporting Harvard U VES This Boy Had One Short ­ Supporting AR Works Productions Who Says Short ­ Supporting Sam Merten Productions Killing the Cat Short ­ Co­Lead Project Upward Exposed Short ­ Lead DeVore Film Drugs Short ­ Co­Lead Beyond Concept Productions Jewels Short ­ Co­Lead Holy Carp! Films COMMERCIALS ­ Conflicts available upon request ​ PRINT Brooks Model Gil Cope Photography Lodge Casino Model GMAA Group Coleman Model The Coleman Company Swedish Match Model McCann Detroit Editorial Model We Drink it Black
    [Show full text]
  • Joséphine Magnard Tim Burton's Charlie and the Chocolate Factory
    Joséphine Magnard Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion ---------------------------------------------------------------------------------------------------------------------------------------------- MAGNARD Joséphine. Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion, sous la direction de Mehdi Achouche. - Lyon : Université Jean Moulin (Lyon 3), 2018. Mémoire soutenu le 18/06/2019. ---------------------------------------------------------------------------------------------------------------------------------------------- Document diffusé sous le contrat Creative Commons « Paternité – pas d’utilisation commerciale - pas de modification » : vous êtes libre de le reproduire, de le distribuer et de le communiquer au public à condition d’en mentionner le nom de l’auteur et de ne pas le modifier, le transformer, l’adapter ni l’utiliser à des fins commerciales. Master 2 Recherche Etudes Anglophones Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion A dissertation presented by Joséphine Magnard Year 2017-2018 Under the supervision of Mehdi Achouche, Senior Lecturer ABSTRACT The aim of this Master’s dissertation is to study to what extent Tim Burton plays with the codes of the fairy tale genre in his adaptation of Roald Dahl’s children’s book Charlie and the Chocolate Factory (1964). To that purpose, the characteristics of the fairy tale genre will be treated with a specific focus on morality. The analysis of specific themes that are part and parcel of the genre such as childhood, family and home will show that Tim Burton’s take on the tale challenges the fairy tale codes, providing its viewers with a more Tim Burtonesque, subversive approach where things are not as definable as they might seem.
    [Show full text]
  • Universidade Presbiteriana Mackenzie Emerson
    UNIVERSIDADE PRESBITERIANA MACKENZIE EMERSON RODRIGUES DE BRITO RELAÇÕES IMAGÉTICAS ENTRE ARTES PLÁSTICAS E CINEMA: UNIVERSOS PARALELOS? PROBLEMATIZANDO A ELABORAÇÃO DE “A GAROTA DINAMARQUESA” São Paulo 2018 EMERSON RODRIGUES DE BRITO RELAÇÕES IMAGÉTICAS ENTRE ARTES PLÁSTICAS E CINEMA: UNIVERSOS PARALELOS? PROBLEMATIZANDO A ELABORAÇÃO DE “A GAROTA DINAMARQUESA” Tese apresentada ao Programa de Pós-Graduação em Educação, Arte e História da Cultura da Universidade Presbiteriana Mackenzie como requisito parcial para a obtenção do título de Doutor. Orientador: Prof. Dr. Marcos Rizolli São Paulo 2018 2 3 EMERSON RODRIGUES DE BRITO RELAÇÕES IMAGÉTICAS ENTRE ARTES PLÁSTICAS E CINEMA: UNIVERSOS PARALELOS? PROBLEMATIZANDO A ELABORAÇÃO DE “A GAROTA DINAMARQUESA” Tese apresentada ao Programa de Pós-Graduação em Educação, Arte e História da Cultura da Universidade Presbiteriana Mackenzie como requisito parcial para a obtenção do título de Doutor. Aprovado em 08 agosto 2018 4 AGRADECIMENTOS A elaboração desta tese tornou-se possível graças ao auxílio da UNIVERSIDADE PRESBITERIANA MACKENZIE, Com carinho e agradecimento ao meu orientador Professor Doutor Marcos Rizolli, que dedicou sua confiança e profissionalismo. Agradeço imensamente ao amigo e Professor Doutor Paulo Roberto Monteiro de Araujo que com suas aulas sobre o humano e o olhar constante me auxiliaram com sabedoria e cuidados. Aos meus pais Antonio Brito e Maria Lucia Brito que me trouxeram uma visão religiosa. Aos amigos Leandro Fernandes e Lidiane Fontes com suas informações valiosas. E a Gerda Wegener e Lili Elbe pelo início de tudo. 5 “No princípio era o verbo, e o verbo estava com Deus, e o verbo era Deus.” João 1:1 6 Resumo A presente tese intitulada “Relações Imagéticas entre Artes Plásticas e Cinema: Universos Paralelos? Problematizando a Elaboração de A Garota Dinamarquesa”, teve como hipótese central a questão de leitura narrativa poética do filme como expressão simbólica de um tema religioso / criacionista por meio da Direção de Arte.
    [Show full text]
  • Rutherford MA.Pdf
    Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. Rutherford, J. (2017) White space: hegemonic representations of American Indians. M.A. thesis, Canterbury Christ Church University. Contact: [email protected] White Space Hegemonic Representations of American Indians By J N Rutherford Canterbury Christ Church University Thesis Submitted for the Degree of Masters by Research 2017 Contents (page) 1 Abstract 2 Introduction 4-14 Chronicling the Space: Hegemonic Narrative, Frontier Mythology and the ‘Noble Savage’ in American History Chapter One 16-38 ‘Going Native’: Performance and Ritual of the American Hero in The Revenant (2015) Chapter Two 40-59 Mediating the ‘White Man’s Indian’: American Designs of Masculinity and the Washington R*dskins Mascot Chapter Three 61-77 Fashioning an American Fantasy: Femininity, the ‘Hipster’ Headdress and ‘Playing Indian’ Conclusion 79-84 Outer Space: The Final Frontier and Indian-ness in Avatar (2009) Bibliography, Filmography, Internet & Other Media 86-103 1 Abstract: This thesis argues that American Indian stereotypes within American social and cultural space serve to maintain hegemony over America’s Indigenous populace.
    [Show full text]
  • Tbivision.Com April/May 2017
    Factual TBIvision.com April/May 2017 Distributed by Produced by NHNZ in co-production with PBS, CCTV9, ZDF, ZDF Enterprises, Discovery International, Channel 9 and Arte FactualpOFC AprMay17.indd 1 22/03/2017 17:55 Anzeige_Titelgestaltung_TBI_Big_Pacific_MIPTV2017_RZ_02.indd 1 13.03.17 22:23 FactualpIFC RGTV AprMay17.indd 1 16/03/2017 17:41 CONTENTS INSIDE THIS ISSUE This issue 12 2 2 Factual franchise building Channels and factual producers are increasingly looking to build doc series into fully-fledged franchises, TBI discovers 4 Viewpoint Derren Lawford, creative director, Woodcut Media 6 CNN thriving amid Trump media assault CNN boss Jeff Zucker issues a strong defence of the news channel amid attacks from Donald Trump and says recent events are good for business 8 8 Deep blue chip First there was Planet Earth and then Planet Earth II. Now there is Blue Planet II 10 NHK’s Phoenix to rise in Cannes Tokyo Phoenix: the rise of Modern Japan offers a unique insight into the Japanese capital. TBI hears from its French and Japanese producers 12 We’re going on a millennials hunt Factual shows are gaining fans, Emily Bright talks to execs about how docs can woo millennials 16 Last Word Thomas Viner, creative director, Pioneer Productions 10 Editor Stewart Clarke • [email protected] • @TBIstewart Television Business International (USPS 003-807) is published bi-monthly (Jan, Mar, Apr, Jun, Aug and Oct) by KNect365 TMT, Maple House,149 Tottenham Court Road, London, W1T 7AD, United Kingdom. The Deputy editor Jesse Whittock • [email protected] • @TBI_Jesse 2006 US Institutional subscription price is$255.
    [Show full text]
  • Friends, Colleagues Bid Goodbye to Proper Television's
    CHINA: LAND OF May + June 17 Volume 20, Issue 4 Realscreen is published 4 times a year by Brunico Communications Ltd., OPPORTUNITY? 100- 366 Adelaide Street West, Toronto, Ontario, Canada M5V 1R9 ews of the return of American Idol to ABC — one year after the farewell season Tel. 416-408-2300 Fax 416-408-0870 www.realscreen.com aired on Fox — has many in the industry focused on formats, and asking VP & Publisher Claire Macdonald [email protected] Nwhether there’s room for new ideas in the market. Editor at Large and Content Director Barry Walsh [email protected] A version of that question is bound to be on the minds of Syco Entertainment Managing Editor Darah Hansen [email protected] executives as they play a watch-and-wait game over the next few weeks. Research Editor Jessica Mach [email protected] The first of what is expected to be a number of large-scale formats developed in Associate Editor Meagan Kashty [email protected] Senior Writer Daniele Alcinii [email protected] China by the production arm of the Simon Cowell-fronted media company with Star Staff Writer Selina Chignall [email protected] China International Media was expected to launch in late May. Fingers are crossed Contributing Writers Michael Cascio, Ivana Kirkbride, Jessica Mach, the shiny floor offering (billed as a general talent show with a twist) will find a large Chris Palmer audience…and quickly. The chances of regional success are good. Celebrity-led Associate Publisher Carrie Gillis [email protected] reality TV continues to have strong traction with Chinese audiences, with singing Senior Account Manager Kerry Lanctot [email protected] Account Manager Kristen Skinner [email protected] competitions such as Come Sing with Me, Hidden Singer and I am a Singer among the Marketing & Publishing Coordinator Grace Li [email protected] country’s most-watched shows.
    [Show full text]
  • Lucrecia's Step Back: Discursive Disputes Between Films and TV Series
    33 Lucrecia’s step back: Discursive disputes between films and TV series O passo atrás de Lucrecia: Disputas discursivas entre filmes e séries MARCEL VIEIRA BARRETO SILVAa Universidade Federal da Paraíba, Programa de Pós-graduação em Comunicação. João Pessoa – PB, Brazil ABSTRACT a Associate Professor at the Cinema and Audiovisual Course This paper intends to analyze the discursive disputes that permeate the comparative and at the Programa de Pós- debate between films and TV series in the contemporary cultural criticism. We take from Graduação em Comunicação from the Universidade Federal the arguments of Argentinean filmmaker Lucrecia Martel against TV series in order to da Paraíba. Orcid: https://orcid. understand, diachronically, the historical tensions between cinema and television and org/0000-0001-6156-3059. E-mail: [email protected] its perpetuity in the current scenario. To do so, we come up here with three dominant axis in the comparative evaluation: espectatorial experience, style and narrative. With this, we aim to discuss the arguments of an aprioristic superiority of film over TV series, without forgetting the distinctive nature of this ongoing symbolic dispute. Keywords: Serial fiction, film, cinema and television, discursive disputes, cultural criticism RESUMO O objetivo deste artigo é analisar as disputas discursivas que permeiam o debate comparativo entre filmes e séries no contexto da crítica cultural contemporânea. Partimos dos argumentos da diretora Lucrecia Martel contra as séries televisivas para compreender, diacronicamente, as tensões históricas entre cinema e televisão e a sua perenidade no cenário atual. Para isso, proporemos aqui três eixos dominantes na avaliação comparativa: experiência espectatorial, estilo e narrativa.
    [Show full text]
  • FMS Newsletter!
    Welcome to the Spring 2016 FMS Newsletter! In this issue you’ll find our usual blend of features about FMS classes, profiles of alums, and news about FMS events. Click here for our new website Inside this Issue From the directors—page 2 FMS events — pages 3-5 From the classroom — pages 5-7 Internships— pages 8 Anderson Cooper, anchor of CNN’s AC360°, met with student members of Tufts media organizations, including the Tufts Daily and the Tufts Observer, to share insights on his career and the news Alumni news — pages 9-10 industry before taking the stage at the 11th Annual Edward R. Murrow Forum on Issues in Journalism (see page 3). FMS Newsletter Send us your news! Changed jobs? Gone back to school? Moved? We want to hear from you. Email us at [email protected]. Do you know someone who might be interested in receiving this newsletter? Volume 8, Issue 2 Feel free to pass it along. Spring/Summer 2016 2 FMS News Notes from the FMS Director The first year of FMS has been an enormously exciting and busy one. Film and Media Studies Our first cohort of seniors just graduated, and we are ending the year Tufts University with over 50 majors, making us larger than many departments at 95 Talbot Avenue Tufts. We introduced several classes in the spring semester, including Global History of Cinema and Media Theory, and we are continuing Medford, MA 02155 to add courses in new areas, such as History of Animation, which will [email protected] be taught in the fall by world-renowned anime expert, Susan Napier.
    [Show full text]
  • Biography of a Quest(Ion)
    THE DENIAL OF RELEVANCE: BIOGRAPHY OF A QUEST(ION) AMIDST THE MIN(D)FIELDS—GROPING AND STUMBLING Marion Turner VanBebber, JD, MS, BS Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Brian C. O’Connor, Major Professor James Duban, Committee Member Jodi L. Kearns, Committee Member Suliman Hawamdeh, Chair of the Department of Library and Information Science Herman Totten, Dean of the College of Information Mark Wardell, Dean of the Toulouse Graduate School VanBebber, Marion Turner. The Denial of Relevance: Biography of a Quest(ion) Amidst the Min(d)fields—Groping and Stumbling. Doctor of Philosophy (Information Science), August 2014, 251 pp., 15 figures, references, 226 titles. Early research on just why it might be the case that “the mass of men lead lives of quiet desperation” suggested that denial of relevance was a significant factor. Asking why denial of relevance would be significant and how it might be resolved began to raise issues of the very nature of questions. Pursuing the nature of questions, in light of denial of relevance and Thoreau’s “quiet desperation” provoked a journey of modeling questions and constructing a biography of the initial question of this research and its evolution. Engaging literature from philosophy, neuroscience, and retrieval then combined with deep interviews of successful lawyers to render a thick, biographical model of questioning. Copyright 2014 by Marion Turner VanBebber ii ACKNOWLEDGMENTS I am immensely grateful to so many mentors who have
    [Show full text]
  • Reel Forensic Experts: Forensic Psychiatrists As Portrayed on Screen
    ANALYSIS AND COMMENTARY Reel Forensic Experts: Forensic Psychiatrists as Portrayed on Screen Susan Hatters Friedman, MD, Cathleen A. Cerny, MD, Sherif Soliman, MD, and Sara G. West, MD The lay public is much more likely to have encountered a forensic psychiatrist on television or in the movies than to have encountered a real one. Thus, by way of popular culture, the jury’s perceptions and expectations of forensic expert witnesses may have been formed long before they take the stand. We describe a typology of five categories of forensic experts portrayed in fiction: Dr. Evil, The Professor, The Hired Gun, The Activist, and the Jack of All Trades. As art imitates life, these categories (aside from Dr. Evil) mirror real-life criticisms that have been made about forensic experts. J Am Acad Psychiatry Law 39:412–17, 2011 Attorney: Doctor, you assessed this patient. Could you give providing exposition and plot twists. Schneider the court your impression of the man? grouped film portrayals of psychiatrists into three Testifying psychiatrist: I’m sorry, I don’t do impressions. self-explanatory categories: Dr. Dippy (named for My expertise is in psychiatry.—Airplane II: The Sequel1 the first cinematic psychiatrist in Dr. Dippy’s Sani- We live in an age where entertainment is defined by tarium, 1906), Dr. Wonderful, and Dr. Evil. When water cooler moments, plots ripped from the head- Glen Gabbard, MD, and Krin Gabbard, PhD, pub- lines, and reality TV. Popular culture does not just lished their second edition of Psychiatry and the Cin- influence style trends and DVD sales.
    [Show full text]
  • Biography Tobias Corts – Director of Photography
    BIOGRAPHY TOBIAS CORTS – DIRECTOR OF PHOTOGRAPHY Tobias Corts is an award-winning Director of Photography and Cameraman, who lives in Munich, Germany. During his career as a cinematographer he has completed more than 50 documentaries for renown international networks as the BBC, National Geographic, PBS and NETFLIX, also a for public German TV stations as ZDF, BR/ARTE and ARD. After high-school diploma in Rosenheim, Germany, Tobias Corts studied at the School of Audio Engineering in Munich and finished his education as first camera assistent at ARRI Headquarters, Munich. He studied film and light in the United States at „THE MAINE WORKSHOPS“. In 2013 he completed his first feature film „Der blinde Fleck“ as Director of Photography. Richard Ladkani, Director and Cinematographer himself and Tobias Corts first met in 2002 to shoot the awarded series of the „Monasteries of the Danube River“ and the awarded documentary „The Devil´s Miner“ in 2005. The filmproject „Lost Mummies of New Guinea“ a co-operation between Ian Kerr and Tobias Corts in 2011 for National Georgraphic was awarded with an Emmy for Outstanding Cinematography in News Coverage/Documentary. „Zu Gast im Ikarus“ brought together the team of Nikolaus Summerer and Tobias Corts. The duo visually piloted the renown series for Servus TV from 2012-2013. The showrunner and director of the first 2 seasons was Austrian Director Sven Jansel, Edgelight GmbH. The feature-film „Der blinde Fleck“ was awarded in 2013 with the Bernhardt-Wicki Nachwuchspreis – Die Brücke and was nominated for the Max-Opühls-Preis in 2013. „Drawing against Oblivion“ won a Gold Medal – Camera in Documentary at New York Film Festival in 2014 and was nominated at Camerimage Film Festival in Poland for Golden Frog – Best Camera in Documentary Feature length in 2015.
    [Show full text]