Abbie Cornish: Sky's the Limit HARPER's BAZAAR
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2007 ANNUAL REPORT IN SEARCH OF LASTING SOLUTIONS TO HIV/AIDS THE FOUNDATION FOR AIDS RESEARCH amfAR, THE FOUNDatION F O R A ID S R E S E ar C H , I S DEDICatED TO ENDING THE GLOBAL AIDS EPIDEMIC T H R O U G H I N N O V at I V E RESEARCH. Cover photos (from top): TREAT Asia Community Programs Manager Jennifer I-Ching Ho holds an HIV-positive child (photo: Karl Grobl); Dr. Nolwenn Jouvenet, Aaron Diamond AIDS Research Center (photo: Dr. Rowena Johnston); Shan Grant, Miguel Rivera, and Robert Green (photo: Winnie McCroy). FROM THE CHAIRMAN 02 A Global Force Against a Global Epidemic FROM THE CHIEF EXECUTIVE OFFICER 03 Good Research Drives Good Policy PEOPLE LIVING WITH HIV/AIDS 04 MAJOR ACCOMPLISHMENTS 06 RESEARCH 08 GLOBAL INITIATIVES 15 PUBLIC POLICY 22 EDUCATION AND INFORMATION 26 GIVING 30 Individual Giving Institutional Giving In-Kind Contributions Planned Giving Volunteer Support Workplace Giving FINANCIAL SUMMARY 44 From the Treasurer and the Chair of the Finance and Budget Committee Statement of Activities and Changes in Net Assets Statement of Financial Position LEADERSHIP AND ADVISORY COMMITTEES 46 ACKNOWLEDGMENTS FROM THE CHAIRMAN A Global FORCE AGAINST A Global EPIDEMIC Of the 33 million people living with HIV/AIDS, more than 90 percent are in the develop- ing world. For most of its 23 years at the leading edge of the fight against AIDS, amfAR has brought AIDS research, prevention, and education to countries hard hit by the epidemic. A global health threat demands nothing less than a global response. -
Crash- Amundo
Stress Free - The Sentinel Sedation Dentistry George Blashford, DMD tvweek 35 Westminster Dr. Carlisle (717) 243-2372 www.blashforddentistry.com January 19 - 25, 2019 Don Cheadle and Andrew Crash- Rannells star in “Black Monday” amundo COVER STORY .................................................................................................................2 VIDEO RELEASES .............................................................................................................9 CROSSWORD ..................................................................................................................3 COOKING HIGHLIGHTS ....................................................................................................12 SPORTS.........................................................................................................................4 SUDOKU .....................................................................................................................13 FEATURE STORY ...............................................................................................................5 WORD SEARCH / CABLE GUIDE .........................................................................................19 READY FOR A LIFT? Facelift | Neck Lift | Brow Lift | Eyelid Lift | Fractional Skin Resurfacing PicoSure® Skin Treatments | Volumizers | Botox® Surgical and non-surgical options to achieve natural and desired results! Leo D. Farrell, M.D. Deborah M. Farrell, M.D. www.Since1853.com MODEL Fredricksen Outpatient Center, 630 -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Windmill Theatre, GIRL ASLEEP Is a Journey Into the Absurd, Scary and Beautiful Heart of the Teenage Mind
1 WINNER ADEL AIDE FILM FESTIVAL FOXTEL MOVIES AUDIENCE AWARDS MOST POPULAR FEATURE Girl Asleep bags most popular feature at Adelaide Film Festival. IF MAGAZINE It’s in Myers’s commitment to eccentricity that Girl Asleep – an art-house film made firmly with a teenage audience in its sight – finds its heart. THE GUARDIAN AUSTRALIA Girl Asleep is the stylish, formally exuberant debut of theatre director Rosemary Myers. A funny and imaginative portrait of growing pains. THE HOLLYWOOD REPORTER With the endless production of superhero films and film remakes these days, it is refreshing to see a film with such raw acting and originality from start to finish. It’s hard not to fall in love with the characters in Girl Asleep, and be left with the warmth of the film long after the credits have stop rolling. THE UPSIDE NEWS Inventive and confidently executed... bright and occasionally subversive take on teen growing pains that gives fresh legs to a familiar genre. We’re lucky to call this one our own. RIP IT UP Profoundly funny. SCENESTR Wildly funny and deeply moving in equal measure, it is a work rich in larrikin character but universal in its themes and appeal. As Greta embraces her blossoming self, so to does Australian cinema welcome another memorable movie heroine. SCREEN SPACE A memorable, comic balance of poise and chaos. ADELAIDE REVIEW Colourful, eccentric... production about a girl navigating the pitfalls of puberty with a casual side of magical realism... one for fans of coming-of-age dramas and colourful Wes Anderson-style quirkfests. -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
Sxsw Film Festival Announces 2018 Features and Opening Night Film a Quiet Place
SXSW FILM FESTIVAL ANNOUNCES 2018 FEATURES AND OPENING NIGHT FILM A QUIET PLACE Film Festival Celebrates 25th Edition Austin, Texas, January 31, 2018 – The South by Southwest® (SXSW®) Conference and Festivals announced the features lineup and opening night film for the 25th edition of the Film Festival, running March 9-18, 2018 in Austin, Texas. The acclaimed program draws thousands of fans, filmmakers, press, and industry leaders every year to immerse themselves in the most innovative, smart and entertaining new films of the year. During the nine days of SXSW 132 features will be shown, with additional titles yet to be announced. The full lineup will include 44 films from first-time filmmakers, 86 World Premieres, 11 North American Premieres and 5 U.S. Premieres. These films were selected from 2,458 feature-length film submissions, with a total of 8,160 films submitted this year. “2018 marks the 25th edition of the SXSW Film Festival and my tenth year at the helm. As we look back on the body of work of talent discovered, careers launched and wonderful films we’ve enjoyed, we couldn’t be more excited about the future,” said Janet Pierson, Director of Film. “This year’s slate, while peppered with works from many of our alumni, remains focused on new voices, new directors and a range of films that entertain and enlighten.” “We are particularly pleased to present John Krasinski’s A Quiet Place as our Opening Night Film,” Pierson added.“Not only do we love its originality, suspense and amazing cast, we love seeing artists stretch and explore. -
Professionalism. Does It Exist?
T h e V o ic e , For students, By Students 5 March 30, 2011 www.fsuvoice.com OPINION MOVIEREVIEW Professionalism. Limitless reaches its limits Does it exist? By Brianna Murrell with no one present, Morra steals his money and the secret stash of the drug. He begins It is a basic part of our modern era that eludes remaining ethical in your decision Voice sta ff writer we are forced to adapt constantly to multiple making and conduct, following protocol and to create a new image for himself With the social environments. We transition from our procedure, respecting the chain of command, Officially released in movie theaters on drug he is able to complete his book and family setting, to the workplace, back to the and refraining from non-constructive critical March 18, Limitless is a film filled with ac then enters the stock market. Taking an exceedingly unusual amount of the drug, home, and maybe, when we have free time, comments, gossip, and excessive communi tion, adventure, and suspense. It is based on Morra begins to experience the side effects. to various entertainment outlets with our cations. the book The Dark Fields by Alan Glynn Throughout the rest of the movie, Morra is friends. Each of these environments, though, 4. Your relationships. Being collegial with the screenplay by Leslie Dixon. Di confronted by individuals, good and bad, is its own micro-culture of behavioral rou means maintaining an attitude of friendli rected by Neil Burger, the movie’s cast in tines, beliefs, values, and expectations, and ness, honesty, and openness, being courte cludes Bradley Cooper, Robert De Niro and who are linked to the drug. -
By DAVID LESER Two Years After Heath Ledger Scandalised Sections
By DAVID LESER Two years after Heath Ledger scandalised sections of middle America with his near- miraculous performance as a gay cowboy, he would light up the screen with another tour de force, this time as the lovelorn, heroin-soaked poet, Dan, in the Australian cult movie, Candy. Little known outside Australia, this film was based on a loosely autobiographical book of the same name written by Australian author, Luke Davies. In the film Ledger somehow managed to find his way inside the twisted, twilight world of the drug addict. I pull the syringe from her arm and drop it on the table and hold my thumb down over the tiny hole I’ve made. I release the tie with my other hand. Candy looks down at her arm like a child who’s relieved that the innoculation is over. Then she says, mmmm, and her facial muscles relax and she lies back on the bed and says, that is heaps better. Heaps better. Fuck oh God. Fuck fuck fuck. This is the best. Oh God, this is awesome. This was – as the New York Times commented of Ledger’s role – acting of the first order. “Ledger looks and plays the part of the scheming user exceptionally well. He’s deep in the character’s skin right from the start.” Ledger and his co-star, Abbie Cornish – who recently appeared opposite Cate Blanchett in Elizabeth: The Golden Age - had received their tutoring from an expert, a heroin addict belonging to a Sydney group called “Proud Users.” “Abbie and Heath got lots of lessons with a prosthetic arm on how to inject,” the film’s producer, Margaret Fink told Vanity Fair. -
Candy Talent: Heath Ledger, Abbie Cornish
Candy Talent: Heath Ledger, Abbie Cornish, Geoffrey Rush, Noni Hazlehurst, Tony Martin, Tom Budge. Director/producer/editor: Neil Armfield Duration: MA (15+) Classification: 108 minutes We rate it: Five stars. It’s my pleasure to announce that Australian cinema audiences can once again rejoice in the arrival of a sterling new Australian film. Candy, based on Luke Davies’ well-received 1997 novel, is the first big-screen feature- film effort from acclaimed theatre director Neil Armfield, and it’s a pretty stunning piece. Davies’ harrowing, immensely moving and often brutal novel gave us vivid portraits of its two central characters, young lovers whose lives were defined by their addiction to heroin. Far from being mere grunge wallowing, Candy told the deeply-felt story of a particular kind of doomed love: love played out against the looming backdrop of an unsustainable addiction. The novel’s appearance in 1997 was quite an event; Davies was rightly recognised as a major new literary presence in Australia, and his subsequent releases have confirmed the promise his debut made to readers. With the level of interest generated by Candy, a film adaptation was a likely thing. Enter Neil Armfield, gifted director of Belvoir St.’s Company B Theatre Group, and the man responsible for some of the most visionary Australian theatre of the last twenty years. Having directed television milestones like Edens Lost in the late 1980s, Armfield has long been in the running as Australia’s “man most overdue to direct a big-screen feature”. Candy is the film that has brought Armfield to the Australian cinema. -
The Burqa in Vogue: Fashioning Afghanistan Ellen Mclarney
The Burqa in Vogue: Fashioning Afghanistan Ellen McLarney Journal of Middle East Women's Studies, Volume 5, Number 1, Winter 2009, pp. 1-20 (Article) Published by Indiana University Press For additional information about this article http://muse.jhu.edu/journals/jmw/summary/v005/5.1.mclarney.html Access Provided by Duke University Libraries at 12/16/10 9:17PM GMT ELLEN McLARNEY 1 THE BURQA IN VOGUE: Fashioning Afghanistan Ellen McLarney ABSTRACT In the months leading up to 9/11 and in its immediate aft ermath, the media demonized the burqa as “Afghanistan’s veil of terror,” a tool of extremists and the epitome of political and sexual repression. Around the time of Afghanistan’s presidential and parliamentary elections in 2004 and 2005, there were noticeable shift s in apprehen- sions of the burqa in the Western media. In Fall 2006, burqa images even appeared on the Paris runways and in Vogue fashion spreads. Th is article charts the burqa’s evolution from “shock to chic” and the process of its commodifi cation in the Western media. Th e article specifi cally analyzes Vogue magazine’s appropriation of the burqa as haute couture. I’ve long believed that the content of fashion does not materialize spon- taneously but, in ways both mysterious and uncanny, emerges from the fabric of the times. Th at fabric has recently been darkly threaded by war and uncertainty. (Wintour 2004) n the months leading up to 9/11 and in its immediate aftermath, Amer- Iican and British media demonized the burqa as “Afghanistan’s veil of terror,” a tool of extremists and the epitome of political and sexual repres- sion (Shah 2001). -
All the Fun of the Fare
FEATURE FoCUS n MArkEt bUzz n AlliAnCE FilMS n CnC n zEntropA n EUropE’S FilM tAx CrEditS n SightSEErS (Clockwise from left) Speranza13 Media’s Romeo & Juliet; Recreation’s Red Hook Summer; Jennifer Lawrence; Arnold Schwarzenegger; Exclusive Media’s Look Of Love; Matt Damon; Kristen Stewart; Liam Hemsworth All the fun of the fare As the Cannes Marché opens for business, Screen looks at the hottest titles debuting at the market — at all stages of production — from the US, Europe and across Asia US sellers thriller Lone Survivor, which starts shooting Sep- tional and along with head of sales Nadine de Bar- tember 15. ros will take point on the Robert Rodriguez duo By Jeremy Kay Panorama Media, the new player backed by Frank Miller’s Sin City: A Dame To Kill For in 3D Lionsgate’s Patrick Wachsberger and Helen Lee Megan Ellison and run by Marc Butan and sales and Machete Kills (both in pre-production). Kim will kick off pre-sales on Catching Fire, the head Kim Fox, will introduce buyers to Kathryn Camela Galano’s Speranza13 Media will show a aptly named sequel to this year’s $625m-plus Bigelow’s Osama Bin Laden project Zero Dark promo from Romeo & Juliet based on Julian Fel- indie global behemoth The Hunger Games. The Thirty, currently shooting. lowes’ adapted screenplay. Hailee Steinfeld from merger with Summit has added thriller Red 2 (in Stuart Ford and sales chief Jonathan Deckter of True Grit stars alongside Douglas Booth. pre-production) to the pipeline. Other hot titles IM Global arrive on the Croisette with Robert The Solution Entertainment Group principal are Roman Polanski’s thriller D and Denis Ville- Luketic’s corporate espionage thriller Paranoia, to Lisa Wilson arrives with thriller Grand Piano neuve’s Prisoners. -
PORTFOLIO-KEYNOTE-PDF.Pdf
contents celebrities feature films tv commercials tv series short films print contact celebrities Kevin Bacon Heath Ledger Mia Wasikowska Sam Worthington Abbie Cornish Guy Pearce John Cleese Bryan Brown Radha Mitchell Michael Vartan Ryan Kwanten Emily Browning Sophie Lowe Heath Ledger Emily Browning Abbie Cornish feature films 6 Miranda Drive (coming soon) What Lola Wants Wolf Creek 2 Mine Games Red Hill Wolf Creek Rogue Savages Crossing Director: Rupert Glasson Starring: Sophie Lowe, Beau Knapp, Robert Taylor, Dale Dickey Prod co: What Lola Wants, LLC Director: Greg Mclean Starring: John Jarratt, Ryan Corr, Philippe Klaus, Shannon Ashlyn Prod co: Emu Creek Pictures Director: Richard Gray Starring: Joseph Cross, Briana Evigan, Julianna Guill, Ethan Peck, Alex Meraz, Rafi Gavron, Rebecca Da Costa Prod Co: Zero Gravity Management, Vitamin A Films, Oak Street Films Rebecca Da Costa as Rose Julianna Guill as Claire Briana Evigan as Lyla Julianna Guill as Claire Director: Patrick Hughes Starring: Ryan Kwanten, Steve Bisley, Tommy E Lewis Ryan Kwanten as Shane Cooper Tommy E Lewis as Jimmy Conway Prod co: Hughes House Film Ken Connley as Joseph Carlin Director: Greg Mclean Starring: John Jarratt, Kestie Morassi, Casandra McGrath, Nathan Phillips John Jarratt as Mick Taylor Prod co: Emu Creek Pictures Director: Greg Mclean Starring: Michael Varatan, Radha Mitchell, Sam Worthington, Mia Wasikowska Prod co: Miramax Films Michael Vartan as Pete McKell Sam Worthington as Neil Mia Wasikowska as Sherry Radha Mitchell as Kate Ryan Director: Kevin James