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Joel Devlin Director of Photography
Joel Devlin Director of Photography Credits include: WILLOW Director: Debs Paterson High Fantasy Action Adventure Drama Series Showrunner: Wendy Mericle Writer/Executive Producer: Jon Kasdan Executive Producers: Ron Howard, Kathleen Kennedy Roopesh Parekh, Michelle Rejwan Producer: Tommy Harper Featuring: Ellie Bamber, Erin Kellyman, Warwick Davis Production Co: Imagine Entertainment / Lucasfilm / Disney+ ALEX RIDER Director: Rebecca Gatward Action Adventure Spy Series Producer: Richard Burrell Featuring: Otto Farrant, Vicky McClure, Stephen Dillane Production Co: Eleventh Hour Films / Amazon ITV Studios / Sony Pictures Television THE BEAST MUST DIE Director: Dome Karukoski Crime Drama Producer: Sarada McDermott Featuring: Jared Harris, Cush Jumbo, Billy Howle Production Co: New Regency Television International / BritBox THE SPANISH PRINCESS Director: Rebecca Gatward Tudor Period Drama Series Showrunner: Matthew Graham Featuring: Charlotte Hope, Ruari O’Connor, Olly Rix Production Co: New Pictures / Starz! HIS DARK MATERIALS: THE SUBTLE KNIFE Director: Leanne Welham Epic Fantasy Adventure Drama Series Series Producer: Roopesh Parekh Adaptation of Philip Pullman’s award-winning novel. Featuring: Dafne Keen, Ruth Wilson, Lin-Manuel Miranda ‘Will’s World’ for HIS DARK MATERIALS: NORTHERN LIGHTS Director Will McGregor Producer: Laurie Borg Production Co: Bad Wolf / HBO / BBC One THE TRIAL OF CHRISTINE KEELER Directors: Andrea Harkin, Leanne Welham Dramatisation of the infamous Profumo Affair Producer: Rebecca Ferguson that rocked the British -
Tops Globes Noms As Female Directors Break Through
20 Friday Lifestyle | Features Friday, February 5, 2021 Netflix’s ‘Mank’ tops Globes noms as female directors break through This video screen grab shows Taraji P Henson during the Golden This video screen grab shows Sarah Jessica Parker during the In this file photo shows Golden Globe statues are set by the Globes nominations. Golden Globes nominations. stage ahead of the 77th Annual Golden Globe Awards nomina- tions announcement in Beverly Hills.—AFP photos etflix’s “Mank,” a black-and-white drama that dives into Hollywood’s List of key Golden Globe nominees NGolden Age with the making of “Citizen Kane,” on Wednesday topped the ere are the nominees in key Young Woman” BEST FOREIGN LANGUAGE Eugene Levy, “Schitt’s Creek” nominations for the pandemic-delayed categories for the 78th Golden FILM Jason Sudeikis, “Ted Lasso” Golden Globes, as female directors finally HGlobe Awards, which will be BEST ACTOR, MUSICAL OR “Another Round” Ramy Youssef, “Ramy” broke through with multiple nods. “Mank” handed out in Beverly Hills on Febru- COMEDY “La Llorona” earned six nominations, including best ary 28. Netflix’s “Mank”-set in Hol- Sacha Baron Cohen, “Borat Sub- “The Life Ahead” BEST MUSICAL OR COMEDY drama, followed by fellow Netflix movie lywood’s Golden Age about the sequent Moviefilm” “Minari” ACTRESS “The Trial of the Chicago 7” on five, in an making of “Citizen Kane”-led all James Corden, “The Prom” “Two of Us” Lily Collins, “Emily in Paris” announcement that offered an important, films with six nominations. The Lin-Manuel Miranda, “Hamilton” Kaley Cuoco, “The Flight Atten- early glimpse into the movies leading this streaming service crushed the com- Dev Patel, “The Personal History BEST ANIMATED FEATURE dant” year’s unique awards season. -
Venantino Venantini
CAROL LEVI & COMPANY Srl Via Giuseppe Pisanelli, 2 – 00196 Roma Tel. +39 06 36 00 24 30 Fax +39 06 36 00 24 38 [email protected] VENANTINO VENANTINI Credits 1 Conoscenza lingue: Francese, inglese, spagnolo, portoghese Cinema "Odissea nuda" regia di F. Rossi con E.M. Salemo (ruolo co-protagonista) "La pastasciutta nel deserto" regia di Bracaglia (ruolo protagonista) "La guerra continua" con J. Palance, G. Ralli e S. Reggiani (ruolo co-protagonista) "La battaglia di Anzio" con E. Dimytrik, R. Mitchum e P. Falk "I diavoli della guerra" con G. Madison (ruolo protagonista) "The captive city" con B. Gazzara eD. Niven "Il tormento e l'estasi" (Agony and Ecstasy) con R. Harrison "Les tontons flingueurs" con L. Ventura e B. Blier "Galia" protogonista con M. Darc "Le comlaud" con B.L. Funes "Le grand sauterelle" con H. Kruger e M. Darc (ruolo co-protagonista) "Vicre la nuit" regia di M. Camus (ruolo Orfeo Negro) con J. Perrin "La folie des grandeurs" con Y. Montand "Lady Hamilton" con M. Mercier "Bandidos" con E.M. Salemo "La araucana" di J. Coll con E. Martinelli (ruolo co-protagonista) "Lion's share" di D. Hamilton (ruolo protagonista) "Coralba" di D. D'Anza, con R. Brazzi (ruolo co-protagonista) "Dio li fa e poi li accoppia" di Steno "La moglie del prete di D. Risi con S. Loren e M. Mastroianni "Lucky star" con S. Loren "L'altra metà del cielo" di F. Rossi con M. Vitti e A. Celentano (ruolo co-protagonista) "Primo amore" di D. Risi con O. Muti e U. -
LE TEMPS DES NABABS Une Série Documentaire De Florence Strauss Les Films D’Ici Et Le Pacte Présentent
COMMENT PRODUISAIT-ON AVANT LA TÉLÉVISION ? LE TEMPS DES NABABS Une série documentaire de Florence Strauss Les Films d’Ici et Le Pacte présentent COMMENT PRODUISAIT-ON AVANT LA TÉLÉVISION ? LE TEMPS DES NABABS Une série documentaire de Florence Strauss 8 x 52min – France – 2019 – Flat - stéréo À PARTIR DU 12 OCTOBRE SUR CINÉ + CLASSIC RELATIONS PRESSE Marie Queysanne Assistée de Fatiha Zeroual Tél. : 01 42 77 03 63 [email protected] [email protected] SYNOPSIS LISTE DES ÉPISODES Pierre Braunberger, Anatole Dauman, Robert Dorfmann, les frères ÉPISODE 1 : LES ROMANESQUES Hakim, Mag Bodard, Alain Poiré, Pierre Cottrell, Albina du Boisrouvray, Robert et Raymond Hakim - Casque d’Or Jacques Perrin, Jean-Pierre Rassam et bien d’autres… Ils ont toujours André Paulvé - La Belle et la Bête oeuvré dans l’ombre et sont restés inconnus du grand public. Pourtant Alexandre Mnouchkine et Georges Dancigers - Fanfan La Tulipe ils ont produit des films que nous connaissons tous, deLa Grande Henri Deutschmeister - French Cancan vadrouille à La Grande bouffe, de Fanfan la tulipe à La Maman et la putain, de Casque d’or à La Belle et la bête. ÉPISODE 2 : LES TENACES Robert Dorfmann - Jeux interdits Autodidactes, passionnés, joueurs, ils ont financé le cinéma avec une Pierre Braunberger - Une Histoire d’eau inventivité exceptionnelle à une époque où ni télévisions, ni soficas ou Anatole Dauman - Nuit et brouillard autres n’existaient. Partis de rien, ils pouvaient tout gagner… ou bien tout perdre. Ce sont des personnages hauts en couleur, au parcours ÉPISODE 3 : LES AUDACIEUX souvent digne d’une fiction. -
Fleabag’ from London’S West End Expands Distribution in U.S
MEDIA ALERT – September 20, 2019 ‘Fleabag’ from London’s West End Expands Distribution in U.S. Cinemas Monday, November 18 for One Night See the critically acclaimed, award-winning one woman show that inspired the network series with BAFTA winner and Emmy nominee Phoebe Waller-Bridge • WHAT: Fathom Events, BY Experience and National Theatre Live release “Fleabag” in cinemas on Monday, November 18, 2019 at 7:00 p.m. local time, captured live from Wyndham’s Theatre London during its sell out West End run. • WHERE: Tickets for these events can be purchased online by visiting www.FathomEvents.com or at participating theater box offices. Fans throughout the U.S. will be able to enjoy the events in nearly 500 movie theaters through Fathom’s Digital Broadcast Network (DBN). For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change). • WHO: Fathom Events, BY Experience and National Theatre Live “Filthy, funny, snarky and touching” Daily Telegraph “Witty, filthy and supreme” The Guardian “Gloriously Disruptive. Phoebe Waller-Bridge is a name to reckon with” The New York Times Fleabag Written by Phoebe Waller-Bridge and directed by Vicky Jones, Fleabag is a rip-roaring look at some sort of woman living her sort of life. Fleabag may appear emotionally unfiltered and oversexed, but that’s just the tip of the iceberg. With family and friendships under strain and a guinea pig café struggling to keep afloat, Fleabag suddenly finds herself with nothing to lose. Fleabag was adapted into a BBC Three Television series in partnership with Amazon Prime Video in 2016 and earned Phoebe a BAFTA Award for Best Female Comedy Performance. -
ERMANNO Di FEBO-ORSINI Production Designer
ERMANNO Di FEBO-ORSINI production designer FEATURES COMPANY DIRECTOR Naked Wayans Alvarez Prod. Michael Tiddes Why We’re Killing Gunther Miscellaneous Ent. Taran Killam Within The Safran Company Phil Claydon Fifty Shades of Black IM Global Michael Tiddes The Talk (short) OGO Films Joe Otting Revenge of the Green Dragons 7th Floor Andrew Loo A Haunted House 2 Baby Way Prod. Michael Tiddes The Release (short) 3 Ring Circus John Sideropoulosr Piranha 3DD Dimension Films John Gulager I don’t know how she does it (re-shoot) Douglas McGrath White Frog Chris Lee Prod. Quentin Lee Children of the corn Dimension Films Joel Soisson Hellraiser: Revelation Dimension Extreme Victor Garcia Circle of eight Paramount Digital Stephen Cragg The Collector LD Entertainment Marcus Dunstan Pulse 2 Afterlife Dimension Films Joel Soisson Pulse 3 Dimension Films Joel Soisson Feast 2 Sloppy Seconds Dimension Films John Gulager Feast 3 The Happy Finish Dimension Films John Gulager Already dead SDJS Joe Otting Pulse The Weinstein Co. Jim Sonzero He was a quiet man Neo art and logic Frank Cappello Feast Dimension Films John Gulager Fanboys (re-shoot) The Weinstein Co. Kyle Newman/Scott Mosier Hannibal Rising (re-shoot) Young Hannibal Prod. Peter Webber TELEVISION (Art Dir.) COMPANY DIRECTOR Kelly Clarkson’s Xmas Warner Digital Glenn Clements The Great Escape Fox Television Richard Bakewell Issues Sony Pictures TV Matt Oates Hollywood is like … Alloy Entertainment Janice Cookie Home Purchasing Club Generate Brian K. Robert Hollywood Defined Moviola Online Dion Scoppettuolo MUSIC VIDEO COMPANY DIRECTOR Artist: Faith Evans Propaganda Films Marcus Reboy Artist: Terrible People Surface to Air Lionel C. -
DERNIER AMOUR Primo Amore
LES ACACIAS présentent LES ANNÉES 70 DE DINO RISI DERNIER AMOUR Primo amore Italie - 1978 - Durée 1h55 VERSION RESTAURÉE AU CINÉMA LE 22 JANVIER 2020 DISTRIBUTION PRESSE LES ACACIAS ÉTIENNE LERBRET Tél. 01 56 69 29 30 Tél. 01 53 75 17 07 [email protected] [email protected] DOSSIER DE PRESSE ET PHOTOS TÉLÉCHARGEABLES SUR WWW.ACACIASFILMS.COM SYNOPSIS Ugo Cremonesi, dit Picchio, vieux comédien de music-hall, arrive à la «Villa Serena», une maison de retraite pour artistes de la scène. Il a l'intention de n'y rester que très peu de temps : il attend l'argent de sa retraite qui lui permettra de remonter une « troupe ». Picchio y retrouve tous ses vieux amis. Il rencontre aussi une jeune servante, Renata, qu'il commence à courtiser. Un jour, l'argent arrive. Picchio part pour Rome, emmenant avec lui Renata, à qui il a promis une carrière fulgu - rante dans le music-hall... LES DERNIERS JOURS Dernier amour , écrit par Risi et Ruggerro Maccari, est un des films les plus personnels de l’auteur de Parfum de femme . Un des plus personnels, et l’un des plus désespérés. Un des plus agressifs aussi, Ugo Tognazzi — et, précise Risi, « ce n’est pas l’effet du hasard » — y interprète un comédien sur le retour, Ugo Crémonesi, spécialiste des « avant-spectacle s» qui vient finir ses jours dans une maison de repos pour comédiens où il rencontre son dernier amour sous les traits d’une jeune (et belle, puisqu’il s’agit d’Ornella Muti) servante. Cremonesi est un « cabot » qui ressemble assez au personnage de Vittorio Gassman dans La Carrière d’une femme de chambre , avec ce souci de la « composition » et des « deux vi - sage s » qui sont une des constantes du cinéma italien. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Tom Stoppard
Tom Stoppard: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Stoppard, Tom Title: Tom Stoppard Papers 1939-2000 (bulk 1970-2000) Dates: 1939-2000 (bulk 1970-2000) Extent: 149 document cases, 9 oversize boxes, 9 oversize folders, 10 galley folders (62 linear feet) Abstract: The papers of this British playwright consist of typescript and handwritten drafts, revision pages, outlines, and notes; production material, including cast lists, set drawings, schedules, and photographs; theatre programs; posters; advertisements; clippings; page and galley proofs; dust jackets; correspondence; legal documents and financial papers, including passports, contracts, and royalty and account statements; itineraries; appointment books and diary sheets; photographs; sheet music; sound recordings; a scrapbook; artwork; minutes of meetings; and publications. Call Number: Manuscript Collection MS-4062 Language English Access Open for research Administrative Information Acquisition Purchases and gifts, 1991-2000 Processed by Katherine Mosley, 1993-2000 Repository: Harry Ransom Center, University of Texas at Austin Stoppard, Tom Manuscript Collection MS-4062 Biographical Sketch Playwright Tom Stoppard was born Tomas Straussler in Zlin, Czechoslovakia, on July 3, 1937. However, he lived in Czechoslovakia only until 1939, when his family moved to Singapore. Stoppard, his mother, and his older brother were evacuated to India shortly before the Japanese invasion of Singapore in 1941; his father, Eugene Straussler, remained behind and was killed. In 1946, Stoppard's mother, Martha, married British army officer Kenneth Stoppard and the family moved to England, eventually settling in Bristol. Stoppard left school at the age of seventeen and began working as a journalist, first with the Western Daily Press (1954-58) and then with the Bristol Evening World (1958-60). -
Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode. -
Emmy Award Winners
CATEGORY 2035 2034 2033 2032 Outstanding Drama Title Title Title Title Lead Actor Drama Name, Title Name, Title Name, Title Name, Title Lead Actress—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actor—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actress—Drama Name, Title Name, Title Name, Title Name, Title Outstanding Comedy Title Title Title Title Lead Actor—Comedy Name, Title Name, Title Name, Title Name, Title Lead Actress—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actor—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actress—Comedy Name, Title Name, Title Name, Title Name, Title Outstanding Limited Series Title Title Title Title Outstanding TV Movie Name, Title Name, Title Name, Title Name, Title Lead Actor—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Lead Actress—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Supp. Actor—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Supp. Actress—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title CATEGORY 2031 2030 2029 2028 Outstanding Drama Title Title Title Title Lead Actor—Drama Name, Title Name, Title Name, Title Name, Title Lead Actress—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actor—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actress—Drama Name, Title Name, Title Name, Title Name, Title Outstanding Comedy Title Title Title Title Lead Actor—Comedy Name, Title Name, Title Name, Title Name, Title Lead Actress—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actor—Comedy Name, Title Name, Title Name, Title Name, Title Supp. -
VARIAÇÕES SOBRE O MESMO TONTO O Herói Cômico E a Construção Dramatúrgica Do Humor No Cinema De Francis Veber
LEONARDO ANTUNES CUNHA VARIAÇÕES SOBRE O MESMO TONTO O herói cômico e a construção dramatúrgica do humor no cinema de Francis Veber Tese apresentada ao programa de Pós-Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito para a obtenção do título de Doutor em Artes. Área de concentração: “Arte e tecnologia da imagem”. Orientadora: Profª. Drª. Ana Lúcia Andrade. Belo Horizonte Escola de Belas Artes/UFMG 2011 Dedico esta tese à memória de Jacques Brel e Jacques Villeret, soberbos Pignons que não se cansam de me divertir. 2 AGRADECIMENTOS Agradeço à minha mulher e aos meus filhos, que me aguentaram rindo sozinho de tantas comédias francesas sem legenda. Aos meus pais, que me levaram pra assistir a “Um convidado bem trapalhão” e outras trapalhadas no cinema. Aos amigos da revista Filmes Polvo, pelas ideias, risos e chumbo trocados. À minha orientadora Ana Lúcia Andrade, pela liberdade, lucidez, gentileza e bom humor. A Paulo Pereira, César Guimarães, Heitor Capuzzo e todos os professores que partilharam comigo sua paixão pelo cinema. Aos professores Claus Clüver, Ernani Maletta, Maria do Céu e Mariana Muniz, que me abriram janelas inesperadas nesta pesquisa. Ao Programa de Pós-Graduação da EBA-UFMG, por abraçar sem preconceito esta pesquisa sobre a comédia popular. 3 “O riso é melhor que a prece para a saúde da alma” Henri Gougaud, humorista francês. “A tragédia é construída em torno de uma constatação implacável: os homens morrem. A comédia é construída em torno de outra constatação, igualmente implacável: os homens são tolos” Gerald Mast, professor norte-americano.