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1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
Working Class
>>brief encounters Indie poster boy Steve Buscemi on filmmaking, celebrity culture, and putting out fires By Harlan Jacobson There are endless things to say about Buscemi, closing in on 50 later this year— from his early days as a stand-up come- dian in the East Village in the Eighties to his work both in front of and behind the camera on The Sopranos to his still unre- alized dream project, an adaptation of William Burroughs’s Queer—and it’s a lit- tle odd interviewing him about Interview. In the real world, Buscemi is hard to reach, doesn’t do much publicity, wouldn’t meet in person—in short, the whole process of setting up the interview took on many of the trappings of how art and media have been derailed by celebrity culture, which of course is at the heart of Interview. Get him on the phone, or see him at Sundance responding to audience questions, how- ever, and he’s a straight shooter, earnest and open. The face of the new indepen- dent and quasi-independent American cinema for nearly 20 years, he remembers where he came from when the gates finally swing open. Before his murder Van Gogh was planning to remake Interview in English.Why did you step in? I didn’t know his work at all. Bruce Weiss, the producer, called me about the project, explaining that Theo wanted to remake Working Class Act three of his own films in the States, and that they were trying to honor that using steve buscemi’s career is an american spin-off of the American directors. -
Staging the Urban Soundscape in Fiction Film
Echoes of the city : staging the urban soundscape in fiction film Citation for published version (APA): Aalbers, J. F. W. (2013). Echoes of the city : staging the urban soundscape in fiction film. Maastricht University. https://doi.org/10.26481/dis.20131213ja Document status and date: Published: 01/01/2013 DOI: 10.26481/dis.20131213ja Document Version: Publisher's PDF, also known as Version of record Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. -
MONSTERS INC 3D Press Kit
©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor . -
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. -
The Dead Don't Die — They Rise from Their Graves and Savagely Attack and Feast on the Living, and the Citizens of the Town Must Battle for Their Survival
THE DEAD DON’T DIE The Greatest Zombie Cast Ever Disassembled Bill Murray ~ Cliff Robertson Adam Driver ~ Ronnie Peterson Tilda Swinton ~ Zelda Wintson Chloë Sevigny ~ Mindy Morrison Steve Buscemi ~ Farmer Miller Danny Glover ~ Hank Thompson Caleb Landry Jones ~ Bobby Wiggins Rosie Perez ~ Posie Juarez Iggy Pop ~ Coffee Zombie Sara Driver ~ Coffee Zombie RZA ~ Dean Carol Kane ~ Mallory O’Brien Austin Butler ~ Jack Luka Sabbat ~ Zach Selena Gomez ~ Zoe and Tom Waits ~ Hermit Bob The Filmmakers Written and Directed by Jim Jarmusch Produced by Joshua Astrachan Carter Logan TABLE OF CONTENTS I. Synopsis . 4 II. “The Dead Don’t Die” Music and Lyrics by Sturgill Simpson 5 III. About the Production . 6 IV. Zombie Apocalypse Now . 8 V. State of the Nation . 11 VI. A Family Affair . 15 VII. Day For Night . 18 VIII. Bringing the Undead to Life . 20 IX. Anatomy of a Scene: Coffee! . 23 X. A Flurry of Zombies . 27 XI. Finding Centerville . 29 XII. Ghosts Inside a Dream . 31 XIII. About the Filmmaker – Jim Jarmusch . 33 XIV. About the Cast . 33 XV. About the Filmmakers . 49 XVI. Credits . 54 2 SYNOPSIS In the sleepy small town of Centerville, something is not quite right. The moon hangs large and low in the sky, the hours of daylight are becoming unpredictable, and animals are beginning to exhibit unusual behaviors. No one quite knows why. News reports are scary and scientists are concerned. But no one foresees the strangest and most dangerous repercussion that will soon start plaguing Centerville: The Dead Don't Die — they rise from their graves and savagely attack and feast on the living, and the citizens of the town must battle for their survival. -
Arxiv:2006.07283V3 [Cs.SI] 21 Dec 2020 Public Support Is Essential for the Success of Policy Measures
Dutch General Public Reaction on Governmental COVID-19 Measures and Announcements in Twitter Data Shihan Wang1, Marijn Schraagen1, Erik Tjong Kim Sang2, and Mehdi Dastani1 1 Intelligent Systems, Utrecht University, The Netherlands s.wang2, m.p.schraagen, [email protected] 2 Netherlands eScience Center [email protected] Abstract. Public sentiment (the opinions, attitudes or feelings expressed by the public) is a factor of interest for government, as it directly influ- ences the implementation of policies. Given the unprecedented nature of the COVID-19 crisis, having an up-to-date representation of public senti- ment on governmental measures and announcements is crucial. While the `staying-at-home' policy makes face-to-face interactions and interviews challenging, analysing real-time Twitter data that reflects public opinion toward policy measures is a cost-effective way to access public sentiment. In this context, we collect streaming data using the Twitter API start- ing from the COVID-19 outbreak in the Netherlands in February 2020, and track Dutch general public reactions on governmental measures and announcements. We provide temporal analysis of tweet frequency and public sentiment over the past nice months. We also identify public at- titudes towards two Dutch policies in case studies: one regarding social distancing and one regarding wearing face masks. By presenting those preliminary results, we aim to provide visibility into the social media dis- cussions around COVID-19 to the general public, scientists and policy makers. The data collection and analysis will be updated and expanded over time. Keywords: COVID-19 · sentiment analysis · Twitter data analysis · Dutch policy measures · natural language processing 1 Introduction arXiv:2006.07283v3 [cs.SI] 21 Dec 2020 Public support is essential for the success of policy measures. -
Chapter 4 Researching International Cultural Industries in the Netherlands
Where Corporate Culture and Local Markets Meet Music and Film Majors in the Netherlands, 1990-2005 Miriam van de Kamp The research for this book was conducted at the Faculty of History and Arts (FHKW) at the Erasmus University Rotterdam. It was co-financed by TNO Information and Communication Technology, Delft. Publisher: ERMeCC, Erasmus Research Centre for Media, Communication and Culture Printer: Ipskamp Drukkers, Enschede Cover design: Koen Verspaget ISBN: 978-90-76665-18-4 © 2009 Miriam van de Kamp Where Corporate Culture and Local Markets Meet Music and Film Majors in the Netherlands, 1990-2005 Waar bedrijfscultuur en lokale markten elkaar ontmoeten Muziek- en filmmajors in de Nederlandse markt, 1990-2005 Thesis to obtain the degree of Doctor from the Erasmus University Rotterdam by command of the rector magnificus Prof.dr. S.W.J. Lamberts and in accordance with the decision of the Doctorate Board The public defence shall be held on Thursday 25 June 2009 at 11.00 o’clock by Maria Cornelia van de Kamp born in Alphen aan den Rijn Doctoral Committee Supervisors: Prof.dr. A. M. Bevers Prof.dr. P.W.M. Rutten Other members: Prof.dr. V.A.J. Frissen Prof.dr. M.S.S.E. Janssen Prof.dr. W.C. Uricchio Co-supervisor: Dr. H.J.C.J. Hitters Contents ACKNOWLEDGEMENTS 11 INTRODUCTION 13 Three complex relationships 14 Theoretical embeddedness 15 Scope 16 Key terms 19 Outline 20 CHAPTER 1 CULTURAL GLOBALISATION 21 Globalisation 21 Approaches of cultural globalisation 22 Cultural imperialism 22 Interactive approaches on global-local relationships 24 -
L'altra Cara Del Glamour, Al Desembre En L'aula De Cinema De La
L’altra cara del glamour, al desembre en l’Aula de Cinema de la Universitat de València L'Aula de Cinema de la Universitat de València tanca la seua programació per a 2013 en la Facultat de Filologia, Traducció i Comunicació amb el cicle cinematogràfic L'altra cara del glamour. Durant el mes de desembre, cada dimecres a les 18 hores, es projectarà una pel·lícula que retrate el costat menys glamurós i conegut del món del cinema. Directors bloquejats, estrelles vingudes a menys i rodatges caòtics seran els protagonistes del cicle, que pretén desmuntar la imatge seductora i fascinant difosa en bona mesura per la pròpia indústria del cinema. El dimecres 4 de desembre s'obrirà el cicle L'altra cara del glamour amb la projecció de l'aclamada Fellini 8 ½ (8 ½, Federico Fellini, 1963). Punt d'inflexió en la filmografia del mític realitzador italià, la pel·lícula ens explica la sobtada crisi creativa que travessa un director de cinema (interpretat pel seu actor fetitxe, Marcello Mastroianni), que es veurà pressionat per productors, actors i la seua dona. La segona sessió tindrà lloc el dimecres 11, en la qual es projectarà la recent JCVD (J.C.V.D., Mabrouk El Mechri, 2008). Un títol compost per sigles que corresponen al nom del seu protagonista, l'estrella d'acció Jean-Claude Van Damme, que s'interpreta a si mateix en un exercici d'autocrítica en el qual ironitza sobre la seua carrera. El cicle conclourà el dimecres 18 amb Vivir rodando (Living in Oblivion, 1995), una sàtira lloada en els cercles de cinema independent que narra precisament les dificultats de realitzar una pel·lícula de baix pressupost. -
AFI PREVIEW Is Published by the Age 46
ISSUE 72 AFI SILVER THEATRE AND CULTURAL CENTER AFI.com/Silver JULY 2–SEPTEMBER 16, 2015 ‘90s Cinema Now Best of the ‘80s Ingrid Bergman Centennial Tell It Like It Is: Black Independents in New York Tell It Like It Is: Contents Black Independents in New York, 1968–1986 Tell It Like It Is: Black Independents in New York, 1968–1986 ........................2 July 4–September 5 Keepin’ It Real: ‘90s Cinema Now ............4 In early 1968, William Greaves began shooting in Central Park, and the resulting film, SYMBIOPSYCHOTAXIPLASM: TAKE ONE, came to be considered one of the major works of American independent cinema. Later that year, following Ingrid Bergman Centennial .......................9 a staff strike, WNET’s newly created program BLACK JOURNAL (with Greaves as executive producer) was established “under black editorial control,” becoming the first nationally syndicated newsmagazine of its kind, and home base for a Best of Totally Awesome: new generation of filmmakers redefining documentary. 1968 also marked the production of the first Hollywood studio film Great Films of the 1980s .....................13 directed by an African American, Gordon Park’s THE LEARNING TREE. Shortly thereafter, actor/playwright/screenwriter/ novelist Bill Gunn directed the studio-backed STOP, which remains unreleased by Warner Bros. to this day. Gunn, rejected Bugs Bunny 75th Anniversary ...............14 by the industry that had courted him, then directed the independent classic GANJA AND HESS, ushering in a new type of horror film — which Ishmael Reed called “what might be the country’s most intellectual and sophisticated horror films.” Calendar ............................................15 This survey is comprised of key films produced between 1968 and 1986, when Spike Lee’s first feature, the independently Special Engagements ............12-14, 16 produced SHE’S GOTTA HAVE IT, was released theatrically — and followed by a new era of studio filmmaking by black directors. -
Movieguide.Pdf
Movies Without Nudity A guide to nudity in 8,345 movies From www.movieswithoutnudity.com Red - Contains Nudity Movies I Own 300: Rise of an Empire (2014) A. I. - Artificial Intelligence (2001) A La Mala (aka Falling for Mala) (2014) A-X-L (2018) A.C.O.D. (2013) [Male rear nudity] Abandon (2002) The Abandoned (2007) Abe Lincoln in Illinois (1940) Abel's Field (2012) The Abolitionists (2016) Abominable (2019) Abominable (2020) About a Boy (2002) About Adam (2001) About Last Night (1986) About Last Night (2014) About Schmidt (2002) About Time (2013) Above and Beyond (2014) Above Suspicion (1995) Above the Rim (1994) Abraham (1994) [Full nudity of boys playing in water] The Absent-Minded Professor (1961) Absolute Power (1997) Absolutely Fabulous: The Movie (2016) An Acceptable Loss (2019) Accepted (2006) The Accountant (2016) Ace in the Hole (1951) Ace Ventura: When Nature Calls (1995) [male rear nudity] Achilles' Love (2000) Across the Moon (1995) Across the Universe (2007) Action Jackson (1988) Action Point (2018) Acts of Violence (2018) Ad Astra (2019) Adam (2009) Adam at 6 A.M. (1970) Adam Had Four Sons (1941) Adam Sandler's Eight Crazy Nights (2002) Adam's Apples (2007) Adam's Rib (1949) Adaptation (2002) The Addams Family (2019) Addams Family Values (1993) Addicted (2014) Addicted to Love (1997) [Depends on who you ask, but dark shadows obscure any nudity.] The Adjuster (1991) The Adjustment Bureau (2011) The Admiral: Roaring Currents (aka Myeong-ryang) (2014) Admission (2013) Adrenaline Rush (2002) Adrift (2018) Adult Beginners (2015) Adult Life Skills (2019) [Drawings of penises] Adventures in Dinosaur City (1992) Adventures of Baron Munchausen (1989) Adventures of Buckaroo Banzai Across the 8th Dimension (1984) The Adventures of Elmo In Grouchland (1999) The Adventures of Huck Finn (1993) Adventures of Icabod and Mr.