LATimesPaWJan08
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Billy Frolick, a screenwriter, received an offer to write the first computer-animated feature film in Ukraine just before the writers strike began. He traveled to Kiev to work on the film, titled "Paws & Wires", where he received star treatment, being interviewed and photographed frequently. Frolick stayed in a luxury hotel, dined at top restaurants, and met with embassy and film industry officials. Though the Ukrainian animation studio is still developing, the technology is more advanced than other places. Frolick has now returned to alternating picketing with working on the film's first draft.
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The document lists and describes 8 of the most beautiful places in Romania. It discusses Peles Castle, built as a summer retreat for the Romanian monarch; Bran Castle, known as Dracula's Castle; Corvin Castle, a Gothic-Renaissance masterpiece commissioned in the 15th century; Neamt Citadel, an impressive 14th century structure; the Black Church, Romania's largest gothic church; the Sphinx of Bucegi, resembling an Egyptian sphinx; Cascada Bigar waterfall, one of the most unusual in the world; and the Danube Delta, the second largest river delta in Europe. Bibliographic references are provided.
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1 Profiles October 20, 2014 Issue of The New Yorker .docx
1
Profiles October 20, 2014 Issue of The New Yorker
The Holder of Secrets
Laura Poitras’s closeup view of Edward Snowden.
By George Packer
PART I
Poitras says that there is nothing she’d
“rather do than be behind the camera with
people, in real time, confronting life
decisions.” Credit Photograph by James Day
From the garden terrace of a sixth-floor
walkup on a quiet Berlin street, there was a
clear view to the TV Tower, in
Alexanderplatz. The tower, completed by the
East Germans in 1969, once served as the
biggest symbol of a regime that maintained
its power by spying relentlessly on its
citizens. It’s now a piece of harmless Cold
War kitsch—a soaring concrete column with
a shiny top resembling a disco ball. On the
front door of the apartment somebody had
affixed a sticker that mimicked the visual
style of the “Hope” campaign poster for
Barack Obama, with the words “Ein Bett für
Snowden” (“A Bed for Snowden”) next to the
face of the world’s most famous fugitive. The
sticker was part of a movement advocating
that Edward Snowden, who is living in exile
in Russia, be given political asylum in
Germany. The apartment’s interior had been
turned into a film studio, where Laura Poitras—the maker of documentaries who, last year,
helped Snowden leak documents exposing the fact that the National Security Agency collects
huge amounts of data on United States citizens—was in the final days of a three-year project
about surveillance in America.
Poitras was the first person to learn of Snowden’s trove of files, in early 2013, and for months it
remained their secret. From the beginning, the language of their correspondence was heightened.
Snowden wrote to Poitras, “You asked why I chose you. I didn’t. You chose yourself.” He was
referring to films of hers that were critical of the war on terror—in particular, a short piece on an
2
N.S.A. whistle-blower named William Binney. That June, they met in a hotel in Hong Kong, and
Poitras made and released a twelve-minute video in which Snowden introduced himself to the
world. Since then, he has given numerous interviews, and the journalist Glenn Greenwald,
Poitras’s reporting partner on the story, has published a book. But Poitras, guarding her privacy,
has said very little while she has finished work on her film. Anticipation kept building, and it
was global news when the Film Society of Lincoln Center announced that it would present the
première, on October 10th. (A wider release follows, on October 24th.)
Poitras is fifty years old, with brown eyes that habitually have a look of alarm, as if she were
staring at something from which she wanted to escape. Her features—strong nose; sensitive
mouth; a long wave of dark hair, parted in the middle—bring to mind a Victorian artist, a woman
of character whose intensity is kept under wraps. Inside the studio, the atmosphere was discreet
and tense: thoughts were conveyed in shorthand, words were swall ...
THE HOLLYWOOD ART - AMERICAN HITCHCOCK Volume I
The undisputed master of suspense, Alfred Hitchcock's early American film career is covered, from 1940's Oscar-winning Rebecca to 1952's Dial M For Murder.
Alfred Hitchcock
Alfred Hitchcock was a famous English film director born in 1899. He directed his first thriller, "The Lodger", in 1926 which was a commercial and critical success. Some of his most famous films include "The 39 Steps" from 1935, "Rebecca" from 1940 which won the Academy Award for Best Picture, and "Psycho" from 1960, which is considered his best known film. Throughout his career, Hitchcock became known for his use of techniques like close-ups, unique camera movements, and manipulated sounds to create suspense and engage audiences.
Alfred hitchcock
Alfred Hitchcock was a famous English film director born in 1899 who became known as the "master of suspense". He started his career making silent films in England before moving to Hollywood in 1939. Some of his most famous and influential films include Psycho (1960), which featured the iconic shower scene, Rear Window (1954), Vertigo (1958), and The Birds (1963). Hitchcock pioneered the psychological thriller genre and became one of the most acclaimed filmmakers of all time due to his innovative techniques and ability to keep audiences in suspense.
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The document is a student assignment from Laura Maffei for her English class. It provides a summary of the film "The Terminal" and answers questions about the plot. It discusses how the main character Viktor becomes stranded in an airport terminal after a coup in his home country. It describes how he survives by returning luggage carts and later gets jobs. It also explains how Viktor learns English and makes friends. The assignment includes proposing a hypothetical 2-day tour of New York City for Viktor.
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This document announces a series of lectures on important playwrights to be held at the Bard Graduate Center in New York City, including Samuel Beckett on September 12th, Edward Albee on October 9th, Clare Booth Luce on November 2nd, and Henrik Ibsen on December 4th. It provides brief biographies of each playwright, noting Beckett is famous for "Waiting for Godot", Albee wrote "Who's Afraid of Virginia Woolf?", Luce authored the hit play "The Women", and Ibsen is considered the father of realism and his play "A Doll's House" was groundbreaking for its portrayal of marriage norms. The series focuses on
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The Street of Crocodiles is a 21-minute stop-motion animation from 1986 directed by twin brothers Stephen and Timothy Quay, based on a novel by Polish writer Bruno Schulz. The animation depicts the strange and surreal world of Schulz's stories using puppets made from organic materials to create an eerie atmosphere. The Quay brothers were influenced by Central European artists and the political situation in Poland, creating a dark and mysterious film that reflects the settings and psychology of Schulz's work.
FEDOROV, A. FILM CRITICISM. МOSCOW: ICO “INFORMATION FOR ALL”. 2015. 382 P.
This document provides an overview of the history and current state of Russian cinema. It discusses how Russian filmmakers had to work under censorship during the Soviet era, but still managed to create masterpieces that commented on Russian culture and society through symbols and allegories. Popular genres included adaptations of classical literature and fairy tales. Notable directors included Tarkovsky, Mikhalkov, and Klimov. The author notes the paradoxes of Russian culture seeking both Westernization and traditional values. Today, Russian cinema is unpredictable, with some losing their way amid political and economic turmoil, while others find success working with Western producers and film stocks.
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Alfred Hitchcock was an influential English film director known for mastering the suspense and psychological thriller genres. After success in the UK, he moved to Hollywood where he developed his signature directorial style of using the camera to mimic a person's gaze and create a sense of voyeurism. His films often featured ordinary people drawn into frightening situations and employed techniques like misdirecting the audience and building tension by withholding danger from characters. Hitchcock died in 1980 at age 80, having directed over 50 films and pioneered important cinematic techniques that are still used today.
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Psychology influences cinema: The dawn of the psychological thriller genre
Alfred Hitchcock was a pioneering British film director and producer known as the "Master of Suspense" who helped pioneer the psychological thriller genre. Some of his most famous films include Psycho, The Birds, Vertigo, and Rear Window. He was fascinated with human psychology and frequently explored themes of fear, guilt, voyeurism, and paranoia. Hitchcock directed over 50 films spanning six decades and is considered one of the most influential filmmakers of all time.
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- Continent: Europe
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- Population: 47 million
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1 Profiles October 20, 2014 Issue of The New Yorker .docx
1 Profiles October 20, 2014 Issue of The New Yorker .docx
FEDOROV, A. FILM CRITICISM. МOSCOW: ICO “INFORMATION FOR ALL”. 2015. 382 P.
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Psychology influences cinema: The dawn of the psychological thriller genre
Psychology influences cinema: The dawn of the psychological thriller genre
LATimesPaWJan08
- 1. ! By Jay A. Fernandez, Special to The Times 4:38 PM PST, January 29, 2008 SCRIPTLAND Striking writer heads to the Ukraine for work ! Billy Frolick wields a mean-looking steak knife outside a Kiev restaurant as “Paws & Wires” producers Mikhail Dudko and Eugene Efuni look on. Billy Frolick is the toast of Ukraine as he signs to write its first computer-animated feature film. Screenwriters are famous for trading stories from their professional lives that are too ridiculous to be invented. But during the writers strike, it's been hard to find anyone telling even a bleakly amusing story, let alone an upbeat one. Then there's Billy Frolick, a 48-year-old screenwriter from the animation trenches ("Madagascar") who may have the most ridiculously smile-inducing story of the strike. As he says, "No example of professional screenwriting's emotional undulations could be more vivid or surreal than my last two months." !1
- 2. In the frantic weeks before the strike began on Nov. 5 -- when everyone was scrambling to finish jobs and gird themselves for a possible prolonged absence of income -- Frolick received a mysterious offer to work on a 3-D animated film. After some back and forth with the WGA about whether it would be considered struck work, Frolick's manager got the assignment cleared, and he quickly negotiated a deal with the hiring company that, unlike most studio agreements, miraculously included gross participation for Frolick. To enter a work stoppage with an approved, paid assignment -- let alone a blind, over-the- transom offer that required no pitch or meeting -- was an incredible stroke of good fortune. That it would also involve a promised "high-end, unforgettable, and luxurious trip" was a mystifying bonus. "While my closest friends were worrying about foreclosure and bankruptcy," Frolick says, "I was starting to feel like the only Jew being hidden in Nazi Germany." So Frolick spent the first week of the strike dutifully picketing with his guild brothers and sisters before packing his bags and boarding an Aerosvit plane. To Kiev. It turned out that Frolick had been hired to write the first computer-animated feature produced in Ukraine (not "the Ukraine," as he was quickly corrected), tentatively titled "Paws & Wires." The Ukrainians apparently considered this a momentous occasion. When he finally stepped onto the tarmac in Kiev, Frolick was greeted with a dozen roses and a row of shivering reporters who had been waiting two hours to shove microphones in his face. "What will feelm be about?" one asked. "About 80 minutes long," Frolick said to mute stares. In a way that dramatically upended the skewed hierarchy of the Hollywood system so embedded in the subtext of the current contract deadlock, Frolick was suddenly in the flopped position of being a big fish in a small, frozen pond. And the star treatment reflected that. Frolick was put up in the Boris Godunov Suite at the Opera, a five-star hotel. He was escorted to every great restaurant and nightclub in the city by a chauffeured Mercedes town car, from which he was frequently captured embarking and disembarking by paparazzi (yes, Frolick was an excellent American ambassador and kept his underwear !2
- 3. on). Over the week he was in Kiev, Frolick starred in half a dozen crowded news conferences, saw "Carmen" performed at the Kiev Opera House and dined with Richard Steffens, the U.S. Embassy's cultural attaché. He participated in a charity event for McDonald's (which has a tie-in to the movie) with the country's top athletes, politicians and celebrities. His picture was all over the local magazines. One night he was watching the news in his hotel room and saw coverage of the Writers Guild of America strike rally at Fox that he had marched in the week before. "The press coverage was staggering," Frolick says. "I was Chernobyl without the toxins. Billy Frolick is now to Ukraine what David Hasselhoff is to Germany." Frolick was also given a tour of the production offices of Umbrella Animation Works, "an emerging multi-platform multimedia company" financed by Ukrainian billionaires. Though its animators are still learning their English conjugations and the studio has yet to produce a movie, "the technology they have is unbelievable," says Frolick, who was shown some three-dimensional demos. "It's stereoscopic 3-D without glasses. . . . I'd never seen anything like that." Since returning to the States, Frolick has been alternating picketing shifts with crafting "Paws & Wires" (he signed a non-disclosure agreement, so all he will say is that it "involves talking animals"). His first draft is due in a few weeks. His readjustment to the writer's status here in Hollywood may take a bit longer. !3