Podcasts about hollywood cinema

Send us a textWelcome to Season 3, Episode 3 of The Fixate & Binge Podcast!This week's episode, I was honored to have Harry Marks of Lobby Intros drop by to discuss his recent viral TikTok review of Robert Eggers' NOSFERATU -- which has received (to date) over 1-million views!Harry also offers his insight on why classic cinema matters, where to get started for anyone hoping to start broadening their cinematic understanding with classic films from the past, and the worrying trend of so many incurious film students today are overlooking what made cinema so great.You can access Harry's content in a variety of ways -- from his classic cinema introductions available on his YouTube Channel (and also available on the free-to-stream app Mometu), as well as his Instagram HERE -- and especially on his TikTok account available HERE.Thank you for listening! You can find and follow us with the links below!Read our Letterboxd reviews at:https://letterboxd.com/fixateandbinge/Follow us on Instagram at:https://www.instagram.com/fixateandbingepodcast/?hl=msFollow us on TikTok at:https://www.tiktok.com/@fixateandbingepodcastVisit our website at:https://fixateandbingepodcast.com/

The crew sits down in the deer shop to discuss famous deer, their impact on hunting, and the importance and ramifications of shooting a 200" typical whitetail deer. We also discuss hunting as portrayed in Hollywood cinema and give a list of our favorite films with deer hunting content.

Join this channel to get access to perks:https://www.youtube.com/channel/UCu93zN6Q_ygmzRcIa8elTTw/joinROBERT SULLIVAN IV WEBSITE:http://www.robertwsullivan4.com/You want the best merch in the podcast game? Click this link and scroll through all the typical skeptic podcast merch and Support the Podcast, and represent in style! https://my-store-d53dc3.creator-spring.com/support the podcasthttps://paypal.me/typicalskepticmediacashapp $kalil1121 venmo @robert-kalilor buy me a coffee at https://buymeacoffee.com/typicalskeptichttps://youtube.com/c/typicalskeptichttps://www.spreaker.com/show/typical-skeptic-podcast_1https://www.rumble.com/typicalskeptichttps://www.rokfin.com/typicalskepticJoin the patreon to support for a small amount or on a long term basishttps://patreon.com/typicalskepticSocial Mediafacebook.com/robert.kalil.7instagam.com/kalilroberttwitter.com/robertkalil1121Affiliates:--Happy Hippo Kratom Use code skeptic for 15 percent off --https://happyhippo.com/r?id=00tjf5--Natural Shilajit and Monoatomic Gold from Healthy Nutrition LLC.usecode: ROBhttps://naturalshilajit.com/discount/ROB--https://mn-nice-ethnobotanicals.com/?ref=kz9qe0iv Use this Link andCode TypicalSkepticP at MN Nice Botanicals for 10 percent off for legal amanita mushroom, dream herb, and blue lotus and much moreBecome a supporter of this podcast: https://www.spreaker.com/podcast/typical-skeptic-podcast--5897400/support.

On film and left-wing terrorism.   [Patreon Exclusive]   We talk about Uli Edel's 2008 film The Baader Meinhof Complex, which tells the story of the Red Army Faction in 1960s and 70s Germany. What sorts of myths do films create? Is the attempt to break down myths in fact a way of re-making those myths? Is a Red Army Faction response possible today - and what does terrorism at the End of the End of History look like?   We also discuss the image-sausage-grinder theory of film and reflect on six years of podcast urban guerilla activity. Links: Episode on Berlusconi biopic, Loro: UNLOCKED /87/ Berluscoming   Symptom of the post-political – Terrorism in Contemporary German, British and Hollywood Cinema, Maren Thom (pdf) "The State I Am In", Christian Petzold (2000)

3 nights of fabulous music and moments from iconic Hollywood Cinema, presented at the Aula Max of UCC Hosted on Acast. See acast.com/privacy for more information.

In the midst of a year that saw pandemic disease, social unrest, and bare-knuckled politics, Hollywood churned out a tremendous body of work—even while theaters closed, and films created for the big screen streamed directly to our homes. Pete Hammond says this year's Academy Awards reflect the issues facing Americans.   Hammond, chief film critic for Deadline Hollywood, is widely considered to be one of the most distinguished awards analysts for both film and television. In addition to being chief film critic at Deadline, he has also been Awards Editor and Columnist for the past eight years. In his past he has reviewed films for MovieLine, Boxoffice magazine, Backstage, Hollywood.com and Maxim, as well as frequently contributing to Variety. Outside of writing, Pete is also in his seventeenth year as host of the year-round KCET Cinema Series in Los Angeles, where he screens a selection of films prior to their theatrical release and interviews filmmakers. He is also host of UCLA extension's Sneak Preview for the past ten years, and has hosted panels at AFI Fest, the Santa Barbara Film Festival, Palm Springs International Film Festival, Los Angeles Film Festival, Mill Valley Film Festival, CineVegas, San Francisco Film Festival, and Cannes Film Festival. He has interviewed prestigious filmmakers and stars from groups such as SAG, DGA, BAFTA, and WGA. He previously held producing positions at Entertainment Tonight, Extra, Access Hollywood, The Arsenio Hall Show, The Martin Short Show and AMC Network. He is the winner of both the 1996 and 2013 Publicists Guild of America's Press Award, making him only the second journalist in the 50-year history of the organization to receive the award twice. He served on the Board of Governors for the Academy of Television Arts & Sciences for six years and is the recipient of five Emmy nominations for writing. See omnystudio.com/listener for privacy information.

The 2022 Fantasy/Animation Christmas special is here, with Chris and Alex well and truly ‘walking in the air' (!) for Episode 110 of the podcast as they wonder at the delights of The Snowman (Dianne Jackson, 1982), the 26-minute television special released on Channel 4 in the early 1980s and based on Raymond Briggs' picture book. Joining them for this tale of festive fantasy and to celebrate the film's 40th anniversary is Dr James Walters, who is Reader in Film and Television Studies in the Department of Film and Creative Writing at the University of Birmingham. James' work embraces film and television aesthetics, and he is the author of two monographs regularly cited on the podcast - Fantasy Film: A Critical Introduction (2011) and Alternative Worlds in Hollywood Cinema (2008) - among other recent work on television comedy and performance. Listen as they discuss the relationship between British and Hollywood fantasy cinema in the 1980s; the contribution of Channel 4 to the evolution of British television animation; depth, energy, movement, and sincerity in The Snowman's cosy construction of fantasy, and the spectators' ability to ‘take off' with its defining images of flight; childhood and the power of snow as an enchanting (if always fleeting) force; texture, detail, and stillness in Brigg's original drawings; divisions between interior/order and exterior/chaos; and the way that fantasy - like Christmas - can mean different things to different people. Oh, and there's a bit about David Bowie too. Happy holidays! **Fantasy/Animation theme tune composed by Francisca Araujo**

Hans Petrovic and guests review three films currently showing in Christchurch

 Ninety-one-year-old Lang Masters is one of Christchurch's biggest movie buffs, and the former owner of the much-loved Hollywood Cinema in the suburb of Sumner. 

John, Peter, and Luis play an epic game of 20 questions, in this hilariously saucy episode of the Weekly Peel! --- Send in a voice message: https://anchor.fm/the-weekly-peel4/message

Nationally recognized film critic "Titan" Shawn Edwards dishes out Hollywood cinema life and the grind it takes to stay relevant! --- Support this podcast: https://anchor.fm/miss-thunder/support

In this episode, we discuss the book "Tyrone Power: Gender, Genre, and Image in Classic Hollywood Cinema" with author Dr. Gillian Kelly. We discuss his 25 year career and some of his 50 plus movies. Doug Hess is the host!

CinePunked break rules 1 and 2 as they talk about David Fincher's 1999 film Fight Club - an iconic piece that challenged our ideas of masculinity and perceptions of reality. Robert and Rachael meander through its imagery, meaning and legacy.

Paying their respects to critic, actor and filmmaker Peter Bogdanovich, CinePunked explores his debut feature - Targets (1968) - a bold and arresting story that combines the stories of a mass shooting with the retirement of a cinematic legend, played by Boris Karloff

This week, we're kicking off our November Nostalgia month with a look back on some well-worn creature features. We go deep inside Jeff Goldblum's wormhole with 1986's The Fly, as our horror correspondent Mikey P Jr. introduces us to the topic of nostalgia in horror and we discuss the triumph and tragedy of the Cronenberg remake. Then, we bust out of our shells and get infestedddd! by Brandon Boler's choice for grossest throwback movie, Ticks (1993). Check out Mikey P Jr.'s horror bandanas on the Etsy shop DescentIntoHorror and follow him on social media @MikeyPeraltaJr Follow Brandon Boler's upcoming shows at brandonboler.com, and if you're in Chicago, check out Wellesley Girl in January 2022. Or visit him on Instagram @brandboler Follow our show on social media @CallsInsidePod Referenced in this episode: Mikey P Jr. - The Fly (1986) — The Tragedy of Aging. Ghoulish Media. Cronenberg on Cronenberg (Ed. Chris Rodley) Helen W. Robbins - “‘More Human Than I Am Alone': Womb envy in David Cronenberg's The Fly and Dead Ringers.” In Cohan and Hark (Eds.), Screening the Male: Exploring Masculinities in the Hollywood Cinema. Drew Dietsch - [We Love ‘90s Horror] Gory, Gooey ‘Ticks' Will Make Your Skin Crawl. Bloody Disgusting. --- Send in a voice message: https://anchor.fm/calls-inside-pod/message

Following a free-form narrative thread centred around our seeking of pleasure and catharsis within entertainment, Episode 12 of The Mirror is the strongest manifesto yet of my beliefs about art, the current cultural and material conditions we find ourselves in, and the alternatives available to us. I speak about the political cooptation of art by commercial interests, and the way this limits our imagination of the forms that art can take, as well as how our lives have become completely mediated by the frictionless fantasies offered to us by the Internet. Touching on the film work of Bela Tarr and Michael Haneke, which form a counterpoint to the dominant commercial format and language of Hollywood Cinema, I return to the necessity of needing to develop your own craft, beyond the reach and influence of the monoculture.Support the project at www.justinreid.com.au/support.Become a sustaining member, and support independent art and film for as little as $40 a year.The Mirror looks at cultural production through a critical and philosophical lens, emphasising the importance of historical understanding, deep reflection, and true situational awareness for developing higher levels of craftsmanship and discipline in artistic practice.Episode Links:How TV Became Respectable Without Getting Better - Matt Christman (Current Affairs)Forward Left: An Interview with Matt Christman of Chapo Trap House - Lucy Schiller (Counterpunch)The Turin Horse - Bela Tarr (2011) - Complete FilmFunny Games - Michael Haneke (1997) - Complete FilmSubscribe to my YouTube channel for full episodes and exclusive segments featuring original, meditative imagery: Justin Reid - YouTubeBecome a sustaining member and support the creation of compelling works of art and film, while receiving a range of great benefits, including:Access to exclusive films, artworks and behind the scenes material on my Membership platform that you can't experience anywhere elseA 10% discount across my store, including all of the premium films I produce, andHigher tier subscribers even get free access to all of my premium films before anyone elseSign up now at www.justinreid.com.au/support.The Mirror Theme is written, produced and performed by Annalisa Vetrugno, with drums contributed by Giacomo Greco.You can find their work here:Annalisa Vetrugno - Commissions | InstagramGiacomo Greco - InstagramView my portfolio, get in touch or enquire about commissions via my website: www.justinreid.com.au Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

In today's episode, I welcome Giovanna Salas! Giovanna likes to create, and she has dabbled in and become proficient in multiple medias, including art, literature, and film. She is the founder and owner of Heart of Hollywood Magazine and Motion Pictures, and in this episode, she shares about the importance of making opportunities more accessible for artists along with her heart and passion for helping others' succeed. (Double fun fact: the cover image for this week's episode is not only a recent cover of Giovanna's Heart of Hollywood magazine, but it also featured Sandy Rodriguez, one of our former guests!)    Get in touch with Giovanna Salas: https://www.heartofhollywoodmagazine.com/ | https://www.hohmp.com/ Enroll in Lindsey's dance and wellness courses: www.elevateart.thinkific.com  Support Artfully Told: www.paypal.me/elevateart Artfully Told links: www.facebook.com/artfullytold | www.artfullytold.podbean.com | elevateartskc@gmail.com Get a free audiobook through Audible!  http://www.audibletrial.com/ArtfullyTold Schedule your own interview as a featured guest with Artfully Told! https://calendly.com/artfullytold/podcast-interview   Episode 72 - Giovanna Salas [00:00:00] Lindsey Dinneen: Hello, and welcome to Artfully Told, where we share true stories about meaningful encounters with art. [00:00:06] Krista: I think artists help people have different perspectives on every aspect of life. [00:00:12] Roman: All I can do is put my part in to the world. [00:00:15] Elizabeth: It doesn't have to be perfect the first time. It doesn't have to be perfect ever really. I mean, as long as you, and you're enjoying doing it and you're trying your best, that can be good enough. [00:00:23] Elna: Art is something that you can experience with your senses and that you just experiences as so beautiful. [00:00:31] Lindsey Dinneen: Hi friends, whether you are just getting started or you're a seasoned professional looking to up your game, I have an exciting opportunity for you. Did you know that I am actually the creator of 10 different courses online that range from ballet, jazz, tap. They also include a mindset detox course and two Stretch and Tone courses. So if you're looking to start a new hobby or get a little bit fitter, or you're looking to do a deep dive into your mindset, really perform a true detox, I have the course for you, and I would love to help you out with that. So if you go to elevateart.thinkific.com, you will see all of the different courses I've created. [00:01:26] You don't have to step in a classroom to take your first dance class. I teach a signature 20 Moves in 20 Days course that allows you to learn 20 steps in just 20 days. It's a lot of fun. We have a great time together. And I think you're going to absolutely love the different courses. And Artfully Told listeners get a little something from me. So if you go, you'll sign up and use the promo code "artfullytold," all one word, and when you do so you'll get 15% off the purchase of any and all your favorite courses. All right, listeners, enjoy that. Again, it's elevateart.thinkific.com. See you there. [00:02:11] Hello, and welcome back to another episode of Artfully Told. I'm your host Lindsey and I am very excited to have as my guest today, Giovanna Salas. She likes to create, and she has dabbled in and become proficient in many multiple medias, including art, literature, and film. She also is the founder and owner of Heart of Hollywood Magazine and Motion Pictures. And she also has a streaming platform that is in development, I believe. And I can't wait to dive in and hear all about the different things that you are up to. So thank you so much for being here. I really look forward to our conversation today. [00:02:57] Giovanna Salas: Hi Lindsey! [00:03:00] Lindsey Dinneen: Hi! Well, I was wondering if you don't mind just starting us off by telling us maybe a little bit about your background, how you got involved in art and kind of go from there. [00:03:11] Giovanna Salas: Absolutely. Well, first of all, I want to thank you for inviting me to your podcast. It's a pleasure for me to be here and well to make a story short, I started as a painter. You know, I, I love art. I use that oil media. That's that's my favorite. And one thing take to the other, I am visual person. And so I dive into learning photography and video. And so I have an interest later on into becoming a filmmaker. And so that's how everything is. [00:03:43] Lindsey Dinneen: Wow. Yeah. Okay. And so then you decided to become a filmmaker, which is a huge endeavor and undertaking. So can you tell us about that and what led you to that interest in that passion to create even your own company? [00:03:59] Giovanna Salas: Well, I wanted to become a film director. And so once I came to Hollywood, I saw there was very difficult. It's a lot of difficulties. And in word, it was not going to be easy. And the best way was to learn the business and learn what happened behind the scenes. So I began working with a couple productions and after that, I decided it was time to open my own company because I wanted to bring opportunities for people, they just started. Artists are underground, I feel. They, also people that were foreigner. Okay. And so for everyone, I just wanted to make it a place they have a door open for everyone that they need. It. [00:04:47] Lindsey Dinneen: That's amazing. And so now with your company, and I realized that there are three sort of branches to it. Can you tell us a little bit about each one and sort of who you, you serve as a result of the different branches and, and how that all works together? [00:05:04] Giovanna Salas: Sure. So, well, the company is called Heart of Hollywood Motion Pictures. And from that we had three different divisions. The first division, that's how we started in post-production. So the services that we offer was like color corrections, you know, edit of scoring. We've put together different individuals working in the industry and sometimes here and there, you know, behind the scenes, maybe a project that was already done, but they needed to do something where we can help with some of those services. And also giving consultations such as like screenplays, you know, like a script doctor, I had different consultants. So sometimes I do consultations, but it's more like a producer restructure. And we have a modern consultant. So it's along, all the kind of what it takes to, to get your, your project or package in a, in a better format. I think that's, that's the first one. [00:06:01] The second one is that the vision for the Heart of Hollywood Magazine. And this has started because we want, we have members within the company and we're gonna, we want it to give more exposure to the members. Well, when we published the first magazine, everybody was very positive about and now that became three years of publications. So we are very happy of what we're going. And I believe that the magazine is like a car for everyone to share the stories, get into the car and get more exposure. But also the purpose of this magazine is for our to get inspiration and motivated. [00:06:43] Lindsey Dinneen: Yeah, absolutely. And then the third branch is something you're still in development for, or is that also live? [00:06:51] Giovanna Salas: No, we, well, I mean, working the third is a, an a streaming platform of Heart of Hollywood Cinema, and I been working with my engineer team. And it's not easy. It's been for a couple of years, like I say, but we have tested. We created last year. We tested with production. The, I was a producer for a, the Brain 19 Fashion Films. Okay. We did it virtually during COVID and we use the streaming platform to for, for the films. So I think it would take us a little bit longer to, to make it available for all the public, but the finally will be an option for all the filmmakers. They need to put their films in other platform. It's good to have different platforms such as, you know, Amazon and Netflix and all of that other ones that we already know. But it's also good to have another option and where you can put your films as well. [00:07:52] Lindsey Dinneen: Yeah, that's amazing. Well, it sounds like you are making such a difference for so many different people in so many areas, so yeah. Kudos to you for doing that. That's just amazing. And, you know, you mentioned at the beginning that you personally felt like it was, and I'm sure you're not alone, that it was really difficult to to kind of get into that world. Do you mind telling us a little bit more about your own story of how, you know, some of the challenges that you faced as you were starting off in Hollywood? [00:08:27] Giovanna Salas: Well, I will say one of my first challenges was the language because my first language is not English. It's a Spanish. And so I think the not, I didn't grow in the US, like I came here and I start, you know, working here in the entertainment. And one thing that I know is, is if you don't have connections in LA or people working in the industry, it's very difficult. And a lot of those connections are not easy to build. You have to be in the right place, meet the right people that have family members sometimes. And sometimes you don't, you don't have, you know, family members, so you don't have any connection. So, and then you have the problem with an artist trying to showcase but nobody wants to listen. So I think the why, because people pay more attention. I go rather with a person that has 30 more years experience or 20 years experience, or how are they going to get the experience if they don't get the chance to showcase what they can do or what they can bring to the table? [00:09:34] And so my, I don't, I feel there is not many companies that perhaps are really seriously approaching this issue. And at the beginning of my company, my number one priority was to approach this issue, was to make an statement that this company, it was going to be for the artist that needed. Yes, we're welcoming everyone. There is very well-known, you know, celebrity or a producer, but I think that we all, as artists, we have a responsibility and especially with work in the entertainment about helping all of them, it's about bringing that talent. Otherwise, we cannot move forward. [00:10:20] Lindsey Dinneen: Yeah, I think that's incredible. Thank you for sharing that story. And I love what you're doing because I've not personally been in that particular world, but, you know, as an artist, as well, I certainly understand some of that initial struggle of kind of getting basically getting your, especially your first job, because that can be, you know, the most challenging and because you know, you're new and I understand that. So yeah, no, that's incredible what you all do. And so congratulations on all of your success and the fact that it just keeps growing and growing is, is huge. That's so exciting. [00:11:01] Giovanna Salas: Yes. I feel very happy about what everything that has been developing and working. And I can tell you how many times I, I thought about quitting, closing the company, not pursuing because it was so many challenges. So the beginning, I just was myself and my ideas and my beliefs, and if what's going to work or not, and my personal finances. So it was a lot of the things to take into consideration. Also to make sure the, I, I do not fit all. There are people, you know, you have family members, you have things all around there, and sometimes all those things can work against you. But if you truly have the passion and that desire to see a three-year vision and you want to pursue that. Don't give that, that don't, don't stop. You have to, to make it happen because otherwise I don't think they, eh, we can end up truly happy. And every, every morning when I wake up, I feel very happy or what I'm doing. [00:12:09] I feel happy that through the years I am developing a team, you know, a more people and I had to train them. I had to explain, and I had to, for example, with the magazine, it's a thing behind it. And then I have a graphic designer. Sometimes it's new. Sometimes I had to explain a lot of things. Sometimes I had to train a customer representative that share, you know, who we are, but in a way, not of we are selling our market. And we, I just tried to tell him, you know, we are dealing with relationships with, with people. And, and I think that, that it has to be community. And so I never taught the, I will be sending magazines in another state, so, or even in another countries. And so that to me is incredible because the first time that I decided to make the magazine, I made the first magazine and it took me seven months just to plan, to get to the first draft in order to communicate my ideas to a graphic designer. And then looking for a team is not an easy challenge. You had to see many people strive to see who sees this issue and who just wants a job for a job, you know, who really cares or not. [00:13:27] And so I would say that in my theme, everyone is not this. My magazine editor is amazing. The contributors are, you know what I can say. They have seen something in the magazine. They wanted to be part of it. We just did a cover shoot in the Netherlands with a whole production team. We have the videos behind the scenes. So you guys want to watch it on the website. Is there any, so other, other things coming along. And so I'm constantly working. I think that would be one of the first ones say I would like to get a clone. But anyway. So I think my one thing that is very important to me right now is my time. I believe the time is very precious. You have to be very careful. You have to think about who you were spending your time with, who you are given your time, and make sure that that time is viable because sometimes people think that what we have time and the truth is that we don't, what we don't have is time. [00:14:28] And so every second, and every minute and you know, doing hours. I think we should try to enjoy ourselves. We should try to do those simple things about walking outside, you know, create an art. And when I started in the entertainment, I, I quit painting pretty much. I mean, not completely. I would make a painting once in a while or once every three months and not long ago because of the COVID and everything that has happened. I was feeling, I am very positive person. I always encouraging the people to do things and helping them in the projects, giving consultations. And then not long ago, like three months ago I started feeling depressed. I started feeling, what am I doing, where my life is going, like what I need to do, you know? [00:15:21] And so I started to paint again and I started to write as well, and I felt I gained a life and this is important for me because if I'm okay, and I can be a creative person as well, and then I can be more productive for my clients, I can be more productive for the team and for the company. And so, because I'm a workaholic, so I saw marriage my time, like working all the time and, and just lately I'm also beginning to learn and understand to take some time for me for, I can be more productive for all. [00:15:57] Lindsey Dinneen: Yes. And that is such an important realization to come to. I'm so glad that you're prioritizing yourself because you're absolutely right. You can't pour into someone else's life with an empty cup, so you have to start full yourself and, and so I'm so glad that you're doing that and prioritizing. That is so, so important. And again, you are just doing such amazing things for people. And so I'm, I'm curious, do any stories in particular come to mind of maybe people that you've helped, clients that you've helped that, you know, really may not have had a different opportunity had you not been there? [00:16:39] Giovanna Salas: Yes. I, I, I feel very happy with the, with the people that I have work. So one of the, in our, my team members, I think, eh, they sometimes when people come in and work for my company and things like that, I always tell them, you know, you have other opportunities or, or, or job opportunities and they can, you can you know, at that. Yes. So let me know, you know, and some in that happen and I feel very bad, you know, but at the same time, if they can grow better, you know, I I'm happy with that. That's, that's part of the team members. I always feel very sentimental when, you know, someone goes to another company. It is like that. And the reason is perhaps because one day I will be able to have their resources for my team. Right. And sometimes so they're big, big, big companies, you know, they, they do have those resources, but that's all about timing and about we, we maintain very good communication. [00:17:35] I like to, you know, be be in contact with, with everyone that has been part of the company, because I see them as family. For, for my clients, I have helped different people, like all the way from like models, I have helped. Well, one of them that I remember, I I was working with an actress and she wanted to have a manager, and at the time I was working with, with a talent, talent and management company. So I was helping her and, but I was producing something else. And then she got curious about that. And so I trained her to be a casting director. Lately I was working with a client and when he asks for consultations, you know, kind of personal coaching and his personality is great and he can do multiple, multiple things, but sometimes when you do multiple things, it's hard to focus and one thing, right. [00:18:30] Or what it will make you some type of income or how the finances. So he found me on LinkedIn and he approached me. And I go, look, yes, I can, I will do a consultation, but I had to charge a fee because right now my time is very important. So I sent in an email is very, very professional, and oh, my! Well, I was surprised he did took the consultations. We worked for a couple months together and he organized his acting career. He, I helped him to do an structure for a podcast. I thought I helped him to do the structure of the memberships, how to, you know, get the, his packages and all of that and making company. So I'm not, I like to develop structures and business models. And so he was very happy. He's, he really just became a big supporter of my company telling all their people how they, he feels great about, about the consultation. That those were his words. Yeah. Yeah. For the magazine. Yes, this is a producer, eh, they told me that his, that his film, his documentary film, it was getting better and more publicity after he was published in our magazine. [00:19:49] So the local newspaper from his state decided to do an interview with, with him and, you know, sales are going up and things like that. So we hear a lot of good feedback from clients, eh, besides to, you know, get a publication in our magazine. And that makes me very happy because one thing that I want is also the advertisement that we put there. I always suggest, you know, make sure that whatever, even in our own articles there, the information is clear. It's focused, it's inspirational and is useful because if it is not useful, people not going to pay attention. [00:20:24] Lindsey Dinneen: Yes. Yes. Yes. Well, like you said, you have to choose how to spend your time and you have to be wise about it. I mean, like you said, until you have your clone, you're just one person. I'm so glad that you have a team to, to help support you now, though, that that's such a, what, what a relief. [00:20:42] Giovanna Salas: Oh, and that was very hard. It was very hard to find a theme and it was very hard to find the consultants. It, it just, it took me probably like a year, a year and a half to, to put that together because people comes and goes and, but if someone shares they, and they are, they are good in what they do and they want to pursue what they want to do best as a part of a team is incredible. Magic happens, things happen, and everybody is happy. Yeah. And I, I'm very trying to be very social, fun, you know, I always ask, "how do you feel, how do you feel working with me? What would you suggest? Can you brainstorm?" So I like to have that interaction with, with the thing that I have, because there is not better way to know if you are doing something proper or offering good services to the audience, your own team doesn't like it or like it, right? [00:21:46] Lindsey Dinneen: Yeah, absolutely. Absolutely. Well, that's, that's good. Again, I'm glad you have, you have good people to cheer you on. I am curious-- is, are there any moments that kind of stand out to you, that have an encounter with art, whether it was, you know, you experiencing someone else's art or watching somebody experience something that you've created that really kind of is a moment to remember? [00:22:15] Giovanna Salas: Yes. Yes. Well, several moments to remember. [00:22:19] Lindsey Dinneen: Oh, for sure. [00:22:21] Giovanna Salas: To be honest with you, but the, I have I guess was when someone requests me to paint something for them. That's a very special moment for me because I started as a painter and, I, at that time years ago, my dream was just to become an oil painter, go to France and live like an artist. But all the things change it and I wanted to now being the entertainment and I'm doing this because I know I can do it. I know I can help others. And that's very important in, but I think that going back it, when someone see something and my artwork, that's very special to me, that means something. [00:23:12] Lindsey Dinneen: Yeah, absolutely. Well, I I'm sure that there are going to be some of our listeners who would love to reach out to you or get involved with your work or, or at least follow what you do. Is there a way for us to connect with you? [00:23:28] Giovanna Salas: They can go to the Heart of Hollywood Magazine dot com. They can go also to H O H M P, which is our productions for production. One of the, one of the things that I want to mention now that we're talking about art, it's been eight years probably that I have not make a proper, eh, exhibition, art, art exhibition. So, and I'm preparing, I'm painting new artwork is completely different from what I have painted in the past and I'm going to make an art exhibition, in Los Angeles on 2022 in March and the location, we're looking for a location and all of that. But I would like to invite everyone to go to the art show. [00:24:13] Lindsey Dinneen: Oh, how exciting. That is so exciting. And you said in March is when you want to do that? [00:24:19] Giovanna Salas: Yes, I am planning to, well, you will be the first one. I'm going to send you a link for that in a yes, because this it's so much, it's so much that I'm being, I'm keeping for myself during this time. And it has been a very challenges years. And I will like to share not just my mind, but also my heart with people and with the with those ones, they have a love for. [00:24:50] Lindsey Dinneen: I love that. That's, that's really special. Good. Well, I'm excited about that too. So thank you for all of those links that we can go and check out. And I do have a couple of questions that I like to ask my guests if you're okay with that? [00:25:04] Giovanna Salas: Of course. [00:25:06] Lindsey Dinneen: Perfect. So my first question is what is a change that you would like to see happen in the art world? Whether that's, you know, about creating art or displaying art or or making it available to people or basically what's, what's one thing that you would love to change about the art world? [00:25:30] Giovanna Salas: Hmm. That's a difficult one. I think there, I would like to see more united platforms of artists where they can come together. I'm trying to, we, we added a section in our magazine for artists they will like to sell their paintings or their sculptures or some sort of art, okay, media in the magazine. And so, but I would like to know. I think it needs to be more opinions for, for artists where they can display their artwork besides being in the galleries. But through that a little bit more with respect, because sometimes when you see our work in restaurants or see artwork in coffee shops, you really don't get an appreciation for the art. Sometimes you really pay attention. But I don't think that the public is, has information. So I, I, one thing that I would change I guess, is if it is a coffee shop, if it is a place or a location where there is not the, the location is not a gallery, but you want to exhibitit artwork, I think that there is a way to do it and it can be helpful for the artist and it can be helpful for the business. [00:26:56] So I believe that that can be something that is possible and to be done, but I think that those businesses that have those artwork in the locations, they should do like kind a spotlight on the, on the artist or make it a little bit more visual for the clients to see that in half of their operation. Because I think the ones that are they so powerful, the ones that you are in that, that they are in the wall of the restaurant, the coffee shop, boutique, or anything like that, it, you think that it's just part of the wall. You think they're just part of that, because it just kind of belongs in. I don't know how to explain it. It just was meant to be there or something like that. [00:27:43] Lindsey Dinneen: Right. [00:27:44] Giovanna Salas: But it's, but it has a, so that's why another is bad. It's actually very good, but that's why I believe there needs to be more on spotlight of the artwork and say, "Hey, you know, we do have these, you know, feature or something, you know, a newsletter." Because I don't see that much. The other day I enter into a coffee shop. I saw some paintings from a local artist here in Hollywood. He was doing more like an, a street artwork. It was painting people crossing the street, Hollywood signs, things like that. But I thought it was pretty cool. And I didn't see like an expo, like of the artists in that location. And so anyway, I know it took me a while, but I was thinking I have to give you a better response. And I think that, that w that would be the one I think, I think they, the locations can do much better. [00:28:35] Lindsey Dinneen: I think that's a great response and I absolutely agree with you. Okay. And then my second question is, is there a form of art that you have personally not tried yet either just because you haven't had time or you felt intimidated or whatever reason but that you would love to explore at some point? [00:28:57] Giovanna Salas: Yes, it is one form of art that I would like to explore and that would be sculpture. And I think it would be more of that time if I had the time to do it. But that always interests me. [00:29:11] Lindsey Dinneen: Yeah, absolutely. Nice. Okay. And then my final question is at the end of your life, what is the one art related experience that you would want to experience for the last time? [00:29:25] Giovanna Salas: The smell of the art supplies, the smell of the paint. [00:29:29] Lindsey Dinneen: Yeah. I like that. Yeah, it's possibility, right? That's like, what's going to come out today. I love that. That's a great answer. Well, oh my goodness. This has been amazing. I'm so just so amazed by you and what you bring to the world and your, your company and how much impact it has. Thank you so much for doing what you do. I'm really excited that you're still painting and you're going to be exhibiting. I think all of that is just fantastic. So it was amazing to talk with you today. Thank you so much. I really appreciate your time. [00:30:09] Giovanna Salas: I appreciate your time because without you and you know people they have contacted also somehow, at least in about the Heart of Hollywood Magazine, all the company, without, without you Lindsey, we really cannot go far because, eh, there is so many people, so many company, entertainment companies in LA, you know, so it's it's not easy, but with your help, you know, we are letting people know about Heart of Hollywood motion pictures, Heart of Hollywood Magazine. And I'm very, very thankful they you're taking the time to interview. [00:30:46] Lindsey Dinneen: Oh, of course it's been an absolute pleasure. Well, and thank you so much again to everyone who has listened to this episode. And if you're feeling as inspired as I am, I would love if you would share this with a friend or two and we will catch you next time. [00:31:04] If you have a story to share with us, we would love that so much. And I hope your day has been Artfully Told. [00:31:13] Hi friends. I wanted to share with you another podcast that I think you're going to fall in love with just as I have. It's called Harlem with a View, and it is hosted by Harlem Lennox, who was a previous guest of mine on Artfully Told and a dear friend. Just because it looks easy doesn't mean it is. There is so much that goes into the work of your creative. She wants to know how the artists got into their line of work, what inspires them, but most importantly, what keeps them going? She'd asked them about how they make it through the blood, sweat, and tears. She wants to know what it's like to live this creative life: the good, the bad, the ugly, and even the magical. So she goes behind the scenes with creatives, from different genres and she explores their history, their take on life and talks about the business of art and the dedication of making art. She has a brilliant, brilliant platform. I think you will fall in love. I highly recommend that you search for Harlem with a View. Thanks!

THE CIA AND HOLLYWOOD, ELECTRIC BOOGALOO, THE SEQUEL, THE MUSICAL, THE MOVIE Links: Chris Evans' A Starting Point Middle East Video Series In The Works With Former CIA Operative And Rep Will Hurd Hosting, Deadline The Pentagon and the World's Biggest Film Franchises, Spy Culture Pentagon Quit the Avengers Because of Its ‘Unreality', Wired Military-entertainment complex, Wikipedia WATCH: How the CIA Helped Make ‘Zero Dark Thirty' , PBS Jennifer Garner CIA Recruitment Video, YouTube CIA Enlists Jennifer Garner to help recruit spies, EW The Jennifer Garner CIA Recruitment Video, Spy Culture Book Review; In Secrecy's Shadow: The OSS and CIA in Hollywood Cinema, 1941-1979 by Simon Willmetts, http://eprints.lse.ac.uk/67462/1/Review_In_Secrecys_Shadow.pdf Jim From ‘The Office' Was Always a Cop, MEL About: Obsessive about the dark underworld of Instagram influencers, celebrity-induced conspiracy theories, and modern media shenanigans? You're in the right place! Hosted by Joan Summers and Matthew Lawson, Eating For Free is a weekly investigative podcast reporting live from the absolute edge of the internet. We're a new wave of gossip sleuths at a time when our culture is increasingly chaotic and mass media lacks the talent or clarity to make sense of our shared capitalist nightmare! You can also find us on our website, Twitter, and Instagram. Any personal, business, or general inquires can be sent to eatingforfreepodcast@gmail.com  Joan Summers: Twitter: @laracroftbarbie Matthew Lawson: Twitter: @_matthewlawson

Recomendações de material Aparelhos Ideológicos do Estado de Louis Althusser Cadernos do cárcere (Vol. 3) de Antonio Gramsci A esquerda ausente de Domenico Losurdo Balas de Washington de Vijay Prashad Cinema e Guerra: Da celebração estadunidense à condenação soviética: https://traduagindo.com/2021/05/15/ci... A Propagação Hegemônica: como as agências globais e a mídia ocidental cobrem a geopolítica (parte 1): https://revistaopera.com.br/2019/04/2... Coca-Colonização da cultura: Como o Natal se americanizou em todo o mundo: https://revistaopera.com.br/2019/12/1... Histórias que a História qualquer dia contará: Crítica de “Marighella”: https://revistaopera.com.br/2021/05/1...

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Quando si pensa al grande cinema la mente corre subito a Hollywood, considerata a tutti gli effetti la Mecca del Cinema Internazionale. Le frasi su Hollywood tentano di catturare lo spirito di questo luogo. A Los Angeles sono stati girati veri e propri Kolossal che hanno sbancato i botteghini di tutto il mondo e oggi, oltre ad essere sede di set cinematografici, Hollywood è diventata una delle mete turistiche più apprezzate soprattutto dai più appassionati cinefili. La nascita di un mito Guardando oggi Hollywood si stenta a credere che questo luccicante quartiere occidentale di Los Angeles in California qualche secolo fa fosse una sorta di ranch: fu grazie a Daeida e Horace Wilcox che qui nacque nel 1887 una comunità dove chiunque poteva avere una proprietà assolutamente gratis a patto che vi costruisse una piccola chiesa. Dove oggi gli eccessi sono la norma, in passato c’era rigore e morigeratezza: il proibizionismo nell’antica Hollywood arrivò ben prima degli anni 30 in quanto era assolutamente vietata la vendita e il consumo di alcol. La Hollywood cinematografica nasce nel 1910 quando D.W.Griffith vi girò, in appena due giorni, la pellicola “In Old California”: da allora la produzione di film non si è praticamente mai fermata e innumerevoli attori hanno girato scene a Hollywood, a partire da Rodolfo Valentino e Charlie Chaplin. Qui nacquero le più importanti case cinematografiche del mondo, a partire dalla Paramount Pictures. Cosa vedere a Hollywood Visitando Hollywood si ha l’impressione di trovarsi all’interno di un film: ci si ritrova ad esempio a percorrere la Walk of Fame, tra Vine Street e Hollywood Boulevard, districandosi tra le varie targhe dedicate alle più grandi celebrità del cinema, comprese quelle immaginarie come Godzilla e Topolino. Qui sorgono i Paramount Pictures Stusios, i Warner Bros. Studios e gli Universal Studios: questi ultimi comprendono anche un parco tematico e un cinema IMAX. In questo eclettico quartiere della Città degli Angeli sorgono poi il leggendario TLC Chinese Theatre, tra i più antichi della città fuori dal quale si trovano le firme e le impronte di molte star Hollywoodiane, e il Dolby Theatre: è presso quest’ultimo che si tiene la famosa cerimonia per la consegna degli Oscar, con tanto di sfilata delle celebrities sul tappeto rosso. Persino l’Hollywood Forever Park Cemetery è un luogo da visitare e non solo per omaggiare coloro che qui riposano come Judy Garland e Rodolfo Valentino, ma anche per godersi un film all’aperto nel corso delle calde serate estive.

Part 2 of Discussion about Hollywood Cinema...

Sejam bem-vindos a mais um episódio do Pod-RI!! Neste novo episódio especial sobre cinema, recebemos a professora Drª Cristine Zanella para conversar sobre cinema alternativo e sua conexão e também importância com as RI! Siga a gente nas nossas Redes Sociais: Instagram: https://www.instagram.com/podr_i/ Twitter: https://twitter.com/podr_i Facebook: https://www.facebook.com/podcastRI LinkedIn: https://www.linkedin.com/company/pod-ri/?viewAsMember=true

This week Mtume (@sirccoregant) and Adam (@TheHonorableAT) are ecstatic to have Dr. Jared Ball (@imixwhatilike) who is a father and husband and after that, he is a professor of Media and Africana Studies and produces multimedia for imixwhatilike.org. He joins Within Our Gates this week to discuss his Vernon Philosophy of Black Media Avoidance, and we discuss how and why Black people need to consider this particular lens when looking at Hollywood Cinema and media in general when Black people or Blackness is the subject. We go A LOT of places! Check it!

We've got an appointment with the doctor - Dr. Moreau, that is! We're discussing the H.G. Wells novella The Island of Dr. Moreau, the 1932 adaptation Island of Lost Souls, and the disaster-plagued 1996 remake! Sources: The Island of Dr. Moreau by H.G. Wells (pub. 1896) "The Many Futuristic Predictions of H.G. Wells That Came True" by Brian Handwerk, Smithsonian Magazine "H.G. Wells: A Visionary Who Should Be Remembered for His Social Predictions Not Just His Scientific Ones" by Simon John James, The Independent "In the Name of Darwin" by Daniel Kevles, PBS "America's First Climate Debate" by Gordon S. Wood, HistoryNet   Island of Lost Souls (1932) Film historian commentary with Gregory Mank, Criterion "A Conversation with John Landis, Rick Baker, and Bob Burns", Criterion featurette "David J. Skal Interview", Criterion featurette "Richard Stanley Interview", Criterion featurette "Island of Lost Souls: The Beast Flesh Creeping Back" by Christine Smallwood, Criterion "Charlie Gemora: Hollywood's Famous Gorilla Man" by Nick Thomas, The Spectrum "Island of Lost Souls" by Jeff Stafford, TCM Censoring Science in 1930s and 1940s Hollywood Cinema by David Kirby, et al. (pgs 235-236) "Charles Laughton in the 1932 Horror Classic, Island of Lost Souls" by Glenn Erickson, TCM   The Island of Dr. Moreau (1996) Lost Soul: The Doomed Journey of Richard Stanley, documentary

Happy Oral History day, loves! Hedy Lamarr was “the most beautiful woman in the world,” but that beauty was her curse. A genius inventor, she was hardly recognized for her contribution to the scientific field. In this week's episode of Oral History, Arielle restores her legacy. This episode is especially important to me, Arielle, because like the rest of her audience, I am head over heels in love with Hedy Lamarr. A Jewish woman on the run from Nazi Europe, she fled to the States and struck gold as the exotic Hollywood seductress of her time. As glamorous as she was, her life is filled with toxicity, lawsuits, bad plastic surgery — she was totally a victim of the industry that made her. Known as the first woman to display a female orgasm on screen, I hope you enjoy my telling of Hollywood's ultimate seductress, Hedy Lamarr. Love, Arielle Follow us on Instagram @oralhistorypod Send all love, episode suggestions, and sexy stories to oralhistorypod@gmail.com Written and edited by: Arielle Produced by Dollhouse Media --- Support this podcast: https://anchor.fm/oral-history-pod/support

Vinte e cinco filmes. Essa é a marca que a franquia James Bond bateria com “007 — Sem tempo para morrer”, se tivesse sido lançado em abril de 2020. Com a pandemia do novo coronavírus, o filme foi adiado para novembro. Será a quinta vez, e provavelmente última, que Daniel Craig encarna o espião mais famoso do cinema. Antes dele, cinco outros atores deram vida às aventuras internacionais do agente, que começaram na década de 1950 a partir dos livros de Ian Fleming. Bond enfrentou dezenas de vilões, em especial russos, levantando a bandeira do anticomunismo no cinema num momento em que EUA e União Soviética rivalizavam na Guerra Fria. Contava, para isso, com gadgets, carros, roupas e bebidas caras. Flertava também com diversas mulheres que cruzavam seu caminho. Neste podcast, o Nexo conta a trajetória do espião e como ela se relaciona com a história do cinema e do mundo. Ao longo desses quase 60 anos, a franquia precisou se reinventar, especialmente na caracterização feminina e racial. Mas as mudanças extrapolam as demandas de representatividade. Marcos Kontze, jornalista e criador do site James Bond Brasil, há nove anos no ar; Raphaela Ximenes, jornalista, pesquisadora e crítica de cinema membro do coletivo Elvira de mulheres críticas; e Roberto Sadovski, jornalista e crítico de cinema do site Uol, ajudam a fazer esse resgate histórico. // Filmes citados Filmes da franquia 007 “007 — Nunca mais outra vez” (Irvin Kershner, 1983) “Tom Jones” (Tony Richardson, 1963) “A hard day’s night” (Richard Lester, 1964) “A identidade Bourne” (Doug Liman, 2002) “Batman begins” (Christopher Nolan, 2005) “Austin Powers” (Jay Roach, 1997) // Músicas do programa Dr. No’s theme — Monty Norman (trilha “Dr. No”) James Bond theme — Monty Norman (trilha “Dr. No”) Dr. No’s fantasy — Monty Norman (trilha “Dr. No”) Dum di-di dum dum — Monty Norman Misirlou — Dick Dale and the Del-Tones Skyfall — Adele (trilha “Skyfall”) No time to die — Billie Eilish (trilha “Sem tempo para morrer”) Thunderball — Tom Jones (trilha “007 contra a chantagem atômica”) Live and let die — Wings (trilha “Com 007 viva e deixe morrer”) Die another day — Madonna (trilha “Um novo dia para morrer”) The Living Daylights — A-ha (trilha “007 Marcado para morte”) Goldfinger — Shirley Bassey (trilha “Goldfinger”) Diamonds are forever — Shirley Bassey (trilha “Diamantes são eternos”) Fatal Weakness — Eric Serra (trilha “Goldeneye”) Another way to die — Alicia Keys e Jack White (trilha “Quantum of Solace”) A hard day’s night — The Beatles (trilha “A hard day’s night”) Theme from Shaft — Isaac Hayes (trilha “Shaft”) Terminator 2 Theme — Brad Fiedel (trilha “Exterminador do futuro 2”) Extreme Ways — Moby (trilha “Identidade Bourne”) // Referências teóricas “Why does James Bond sound like James Bond”, Dan Golding https://www.youtube.com/watch?v=cL31rRUMRUY International Journal of James Bond Studies https://jamesbondstudies.ac.uk/articles “Beyond Bond: Spies in Fiction and Film”, Wesley Britton https://bit.ly/2Yglugh “The Case of Mr. Fleming”, Bernard Bergonzi, à revista The Twentieth Century https://www.theguardian.com/theguardian/from-the-archive-blog/2012/oct/01/ian-fleming-james-bond-1958-archive “Hollywood Cinema: An Introduction”, Ian Craven e Richard Maltby https://books.google.com.br/books/about/Hollywood_Cinema.html?id=EGgengEACAAJ&source=kp_cover&redir_esc=y “Sex, sadism and snobbery”, Paul Johnson, à revista New Statesman: https://www.independent.co.uk/voices/commentators/sarah-churchwell-the-enduring-thrill-of-sex-sadism-and-snobbery-835155.html “Shaken Not Stirred: The Cold War Politics of James Bond, From Novel to Film”, Noah Jacoby Lewis https://ojs.lib.uwo.ca/index.php/lajur/article/download/7267/5946/

Hans Petrovic and guests review three films currently showing in Christchurch

CinePunked explores the 1947 Orson Welles noir The Lady From Shanghai, the screen image of Rita Hayworth and the mythology of Welles.

WE'RE BACK!! Coming back from Christmas break has made me long for the "good ol' days" of media. When you could sit down with your family and watch some classic television cowboy save a small town from a gang of bandits. Well this week I'm talking about Once Upon A Time in Hollywood, a film focused not only on that very era of entertainment, but also the tragic death of Sharon Tate, and the divergent change Hollywood Cinema went through. Later, I venture back to 1917 to witness the master-class film first hand. I've got thoughts on what worked...and what didn't. Also, what's Nicholas Cage up to? And aren't the Oscar's coming up? All this and more... In My Own Words. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Join Robert JE Simpson, Dr Rachael Kelly, Dr Aaron Hunter and Conor Smyth for a discussion on cult classic Harold and Maude - the genius of Hal Ashby, representations of May to December romances, and the counter-cultural clashes with the film. Recorded in front of a live audience!

The CinePunked crew get obsessive over Alfred Hitchcock's classic thriller Vertigo... Robert, Rachael and Ben debate its merits as the best film ever made (according to the BFI), and the chilling appeal of San Francisco. © 2020 Avalard / CinePunked

Dr. Gary Bettinson, a lecturer in film studies from Lancaster University in the UK is with me to talk about an era of film history that is often overlooked, especially by someone like me because -- this the era of cinema I grew up in. It's called the New Hollywood Cinema, and stretches from the late 60's into the 70's. These were the days before the age of the blockbuster, and it's a very interesting period that made significant contributions to the history of cinema. You might consider it to be the American response to the French New Wave. The key directors of the period include Sidney Lumet, Richard Donner, Arthur Penn, Martin Scorsese, Hal Ashby, Francis Ford Coppola, Roman Polanski, Steven Spielberg, and even George Lucas.

We took a trip to the cinema to catch the latest Tarantino release, Once Upon A Time In Hollywood! In this episode we discuss the "Golden Age" of cinema, The Manson Family and whether this film stands up alongside Tarantino's classics. Follow us on Twitter: @RequiemStream Like us on Facebook: Requiem For A Stream Visit our website: RequiemForAStream.co.uk

*Green Grove* Durham Fenwick's Green Grove began in early 2018 with the Night Music EP, written and recorded on borrowed and bought synthesisers during the 2017; With influences based in exotica, lounge and electronic library music, The focus has since moved towards bringing the music to the a live setting, transforming it into a spooky, surreal and immersive show with a full band. They're currently finishing their second record due for a release towards the end of the year. The recording for the FP show is taken from the desk at a live show at the Hollywood Cinema in Avondale. Big thanks to Leonard McMullen for the desk recording. Check out their music at http://greengrove.bandcamp.com *Tash van Schaardenburg* Tash van Schaardenburg has racked up more hours on the dance floor than playing music but credits their inexperience with the unbridled playfulness and raw enthusiastic energy channelled into their electronic music duo Bib Kids, which recently completed a tour of NZ to celebrate their debut EP. The band is now on hiatus while Tash gets stuck into their solo music project Citacsy, which promises to emerge soon with some 'cool and clubworthy' sounds. Tash also plays with experimental-electronic-environmental-sound trio VSSL. TL *Green Grove* Live at the Hollywood Avondale *Harmony Mix* Murray McNabb / E-Music - Ebony [Sarang Bang Records] Low Profile - Ice to Vapour [Jayrem] Obscure Desire - Obscure Desire (extended mix)[Pagan] Koo De Tah - Body Talk (Body Mix) [Polygram] Low Profile - Elephunk [Flamewave Music] Mole Männe - Snapshots [Jayrem] The Bats - Joe’s Again [Flying Nun] Working with Walt - The Prophet [Jayrem] Paras - Heaven [Kiwi] John O’Connor - Lounge Lizard [Ode] Rob Skiffington - Walking In The Mud [WEA] Murray McNabb / E-Music - Christo [Sarang Bang Records] *Tash van Schaardenburg Mix* Sollem Den - Carapace Bliss [self released] Phil Spectre - Track 33 [self released] Totems - Hen To Pan [Prison Tapes / self released] Ursula le Sin - the fanta size of you [self released] Strange Stains - your on the wrong road [self released] Big Fat Raro - Pyramid 7 Side 1 [self released] Ex-Partner - Paradoxxxing [self released] (sample) crowd chatter recorded at a bib kids gig Big Flip the Massive - I CHEATED ON YOU TOO [self released] Department of Labour - A P O C A L Y P S E W H E N? [self released] Mapili - WHAT THE FUCK IS GOING ON [self released] Sheep - Fuck the Matrix [self released] (sample) the fin anal spot cam Mapili - OKAY [self released] Body Beat Ritual - Instinct Primitive (VTSS Remix)[Haven] Duo Alias - Stabber (Keepsakes Remix) [MARGINS] Keepsakes - State Of It [Haven] The All Seeing Hand - Mutations [Sonorous Circle] Lucky Jim - -04+94 [self released] (sample) bib kids hang by a river

In a special episode Barney Taylor guest reviewer on our most successful episode ('Trolls'), interviews us for his Hollywood Cinema class. (We love talking about ourselves)

Anna Biller's The Love Witch prompts a rare unified praise from the CinePunked team as they explore feminism, the male gaze, auteurs, and more present in one of the most distinctive and provocative films of the last few years. With Robert JE Simpson, Dr Rachael Kelly and Ben Simpson.

While most every live-action film takes place in a specific location, the role of these places has not often been studied. In his new book The Imaginary Geography of Hollywood Cinema 1960-2000 (Intellect, 2017), Christian B. Long examines American films in the late 20th century to get a better understanding of locales to filmmaking. From Burt Reynolds’ use of the southern United States to the role of cities and suburbs, he shows why location can often add to the understanding of a movie. Learn more about your ad choices. Visit megaphone.fm/adchoices

While most every live-action film takes place in a specific location, the role of these places has not often been studied. In his new book The Imaginary Geography of Hollywood Cinema 1960-2000 (Intellect, 2017), Christian B. Long examines American films in the late 20th century to get a better understanding of locales to filmmaking. From Burt Reynolds’ use of the southern United States to the role of cities and suburbs, he shows why location can often add to the understanding of a movie. Learn more about your ad choices. Visit megaphone.fm/adchoices

While most every live-action film takes place in a specific location, the role of these places has not often been studied. In his new book The Imaginary Geography of Hollywood Cinema 1960-2000 (Intellect, 2017), Christian B. Long examines American films in the late 20th century to get a better understanding of locales to filmmaking. From Burt Reynolds’ use of the southern United States to the role of cities and suburbs, he shows why location can often add to the understanding of a movie. Learn more about your ad choices. Visit megaphone.fm/adchoices

While most every live-action film takes place in a specific location, the role of these places has not often been studied. In his new book The Imaginary Geography of Hollywood Cinema 1960-2000 (Intellect, 2017), Christian B. Long examines American films in the late 20th century to get a better understanding of locales to filmmaking. From Burt Reynolds’ use of the southern United States to the role of cities and suburbs, he shows why location can often add to the understanding of a movie. Learn more about your ad choices. Visit megaphone.fm/adchoices

While most every live-action film takes place in a specific location, the role of these places has not often been studied. In his new book The Imaginary Geography of Hollywood Cinema 1960-2000 (Intellect, 2017), Christian B. Long examines American films in the late 20th century to get a better understanding of locales to filmmaking. From Burt Reynolds’ use of the southern United States to the role of cities and suburbs, he shows why location can often add to the understanding of a movie. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on TBP podcast Nate and Bobby talk about all the craziness that's going on in the world today, along with sharing films like Jackie Brown(1997), Alligator(1980),Dead poets society(1989),Fail Safe(1964),My Beautiful Broken Brain(2014) and a lastly war of the Gargantuas(1966) which Nate and Bobby watched at a local Hollywood Cinema known as the New Beverly Cinema.

Popcorn Talk Network proudly presents The Unproduced Table Read, a weekly vodcast series featuring Hollywood's best unproduced pilot and movie scripts read by professional actors, accompanied exclusive writer interviews and insight! The first movie to screen at Grauman's Chinese Theater was 1922's Robin Hood, and since then, Swashbucklers have been a staple in Hollywood Cinema. Today's rousing feature, DREAMSHIP, follows in that tradition with an adventurous, family friendly romp through the stars. It's good guys v. bad guys in this page turner, and we're so honored to feature the script on The Unproduced Table Read. Make sure to subscribe to Popcorn Talk! - http://youtube.com/popcorntalknetwork HELPFUL LINKS: Website - http://popcorntalk.com Follow us on Twitter - https://twitter.com/thepopcorntalk Merch - http://shop.spreadshirt.com/PopcornTalk/ ABOUT POPCORN TALK: Popcorn Talk Network is the o

Sharing the movie experience with a theater full of people can be exhilarating or frightening—sometimes both.  You put yourself in the hands of the filmmaker to take that ride, not knowing where or how it’s going to end.  In rare cases a movie can provide an audience with an ecstatic, transcendent experience, almost religious in its power that leaves you walking on air afterward and running back to grasp that experience again.  Sometimes the audience isn’t ready for that story or style and the shared experience with the audience is much darker and marked with disapproval…and sometimes outright hatred.  It’s as if the film has committed sacrilege against your expectations for it.  When that happens in a horror film is it the fault of the film or filmmaker, or the audience not prepared for the “horrible-beautiful” imagery and storytelling that challenges the comfort zone?  In this episode we discuss religious and sacrilegious experiences in movie theaters, and the unwritten pacts that audiences make with filmmakers, and how the shared experience in a theater affects your own experience of the film   Movies Discussed: In 1895, the Lumiere Brothers showed their film “Arrival of a Train at La Ciotat Station”. Lumiere Brothers The Blackboad Jungle The Exorcist the Journal of Nervous and Mental Disease discuss The Exorcist http://mindhacks.com/2008/05/25/mental-illness-following-the-exorcist/ Rocky 1970’s, The golden Age of Hollywood Cinema http://www.theguardian.com/film/filmblog/2007/jul/13/the70swasthegoldenageof Jaws John Carpenter’s The Thing Examining the critical reaction to The Thing http://www.denofgeek.com/movies/the-thing/28921/examining-the-critical-reaction-to-the-thing   “First Kiss” Fan Recommendations: Friday the 13th Part 6 Twilight Zone Twilight Zone (It’s a Good Life w/ Billy Mumy) Nightmare On Elm Street Fright Night “Death’s Other Dominion” from Space: 1999 A Cauldron of Witches Anne Rice The Wolfman The Wolfman makeup: https://latimesherocomplex.files.wordpress.com/2010/02/6a00d8341c630a53ef0128775c636b970c-600wi.jpg Famous Monsters of Filmland comic books issue 54 The Crestwood House Monster Series Alfred Hitchcock's Spellbinders in Suspense   This is S.A. Bradley, and I’m a life-long horror lover. This podcast combines horror history, personal observations, common themes, and cultural trends to tell a story with each episode.  Here we talk about all things horror. Horror movies, books, comics, hosts, conventions.  The door swings wide here, and all types of horror are welcome.  Each episode covers some aspect of horror with lots of viewing or reading suggestions for you to check out.  I want to start conversations with people about all types of horror.  I’ve been a fan all my life, and I love all the different styles: Classic Universal Monsters, Slasher Films, Found Footage, French Extreme, Asian Extreme, Korean Ghost Stories, J-Horror, Hammer Horror Films, Amicus Films, Glass Eye Pix, EC Horror Comics, Creature Features, Horror Hosts, Italian Zombie movies, Spanish Zombie movies, George Romero Zombie movies, Giallo, Silent Horror Films, Nature Run Amok, Atomic Age Horror, Roughies, Exploitation, Horror Literature, Serial Killer, Halloween, B-Movie, Splatter films, ghost stories, Folk Horror, supernatural, body horror, torture porn, VHS, Psycho

The names of the French New Wave have become staples for both French Cinema and beyond. The critics of Cahiers Du Cinema like Jean-Luc Godard, Francois Truffaut, and Eric Rohmer all turned to filmmaking to put into practice the meanings they had pulled from their valorization of Hollywood Cinema. But the most passionaite of those critics, and perhaps the most creative of those filmmakers was Jacques Rivette, who passed away on January 29th at the age of 87. In this new podcast, former guests of the show (Ignatiy Vishnevetsky, Miriam Bale, and Matt Prigge) join in a roundtable discussion of the critic and filmmaker. They analyze his films, his writings, and his attention to collaboration, all of which made him a wholly unique individual in the history of cinema. Torn between his obsessions with realism and fantasy, Rivette captured the essence of the medium's paradoxical specificity. 0:00-3:33 Opening3:33-28:18 Rivette Discussion Part 129:00-33:09 Sponsorship Section33:47-1:02:30 Rivette Discussion Part 21:02:34-1:05:07 Close / Outtakes

Nathan and Kory discuss which movie stole the show during the Super Bowl commercial breaks. They also review Joel and Ethan Coen's new film Hail, Caesar, a love (and hate) letter to the Golden Age of Hollywood Cinema.

Join us as we challenge the hosts on their knowledge of Hollywood Cinema. The hosts will compete against one another for Hollywood bragging rights! Join the fun and see how much they really know! ******************************* Join Roger "The Dictator" Noriega as he regales us with his "Only in America" segments, Daily Joke, Current Events, Stupid News, Collateral Damage, Stuck on Stupid and other stuff! Don't be afraid to call in, don't be afraid to be lose your mind, brain cells, etc and join the fun. YOU HAVE BEEN WARNED: you will lose your common sense.

UNL Film Studies professor Wheeler Winston Dixon examines the history Hollywood's portrayal of gays and lesbians.

The study of non-heteronormative sexualities in the academy continues to be remarkably dynamic. Despite the usual attempts to harden the frame around this scholarship, it remains consistently exciting and surprising. Robert J. Corber is one of the reasons why. His books In the Name of National Security: Hitchcock, Homophobia, and... Learn more about your ad choices. Visit megaphone.fm/adchoices

The study of non-heteronormative sexualities in the academy continues to be remarkably dynamic. Despite the usual attempts to harden the frame around this scholarship, it remains consistently exciting and surprising. Robert J. Corber is one of the reasons why. His books In the Name of National Security: Hitchcock, Homophobia, and... Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

The study of non-heteronormative sexualities in the academy continues to be remarkably dynamic. Despite the usual attempts to harden the frame around this scholarship, it remains consistently exciting and surprising. Robert J. Corber is one of the reasons why. His books In the Name of National Security: Hitchcock, Homophobia, and the Political Construction of Gender in Postwar America (Duke University Press, 1996) and Homosexuality in Cold War America: Resistance and the Crisis of Masculinity (Duke University Press, 1997) are recognized as important contributions to the field. In his new book Cold War Femme: Lesbianism, National Identity, and Hollywood Cinema (Duke University Press, 2011), Corber expands earlier arguments about the places of homophobia in the Cold War to include anxieties about the feminine lesbian. Corber emphasizes the ways in which Hollywood representations aligned with shifting understandings of the lesbian in American political culture, while acknowledging the extent to which the Production Code limited and complicated a full realization of that shift onscreen. In films ranging from Nicholas Ray’s to Hitchcock’s, the collision of new and old models of lesbianism enabled ambivalent and often bizarre portrayals of female desire. At once a companion to and an implicit critique of his earlier work, Corber opens a new and provocative discussion of some of Hollywood’s most famous films and stars. Learn more about your ad choices. Visit megaphone.fm/adchoices

The study of non-heteronormative sexualities in the academy continues to be remarkably dynamic. Despite the usual attempts to harden the frame around this scholarship, it remains consistently exciting and surprising. Robert J. Corber is one of the reasons why. His books In the Name of National Security: Hitchcock, Homophobia, and... Learn more about your ad choices. Visit megaphone.fm/adchoices

The study of non-heteronormative sexualities in the academy continues to be remarkably dynamic. Despite the usual attempts to harden the frame around this scholarship, it remains consistently exciting and surprising. Robert J. Corber is one of the reasons why. His books In the Name of National Security: Hitchcock, Homophobia, and the Political Construction of Gender in Postwar America (Duke University Press, 1996) and Homosexuality in Cold War America: Resistance and the Crisis of Masculinity (Duke University Press, 1997) are recognized as important contributions to the field. In his new book Cold War Femme: Lesbianism, National Identity, and Hollywood Cinema (Duke University Press, 2011), Corber expands earlier arguments about the places of homophobia in the Cold War to include anxieties about the feminine lesbian. Corber emphasizes the ways in which Hollywood representations aligned with shifting understandings of the lesbian in American political culture, while acknowledging the extent to which the Production Code limited and complicated a full realization of that shift onscreen. In films ranging from Nicholas Ray’s to Hitchcock’s, the collision of new and old models of lesbianism enabled ambivalent and often bizarre portrayals of female desire. At once a companion to and an implicit critique of his earlier work, Corber opens a new and provocative discussion of some of Hollywood’s most famous films and stars. Learn more about your ad choices. Visit megaphone.fm/adchoices

The study of non-heteronormative sexualities in the academy continues to be remarkably dynamic. Despite the usual attempts to harden the frame around this scholarship, it remains consistently exciting and surprising. Robert J. Corber is one of the reasons why. His books In the Name of National Security: Hitchcock, Homophobia, and the Political Construction of Gender in Postwar America (Duke University Press, 1996) and Homosexuality in Cold War America: Resistance and the Crisis of Masculinity (Duke University Press, 1997) are recognized as important contributions to the field. In his new book Cold War Femme: Lesbianism, National Identity, and Hollywood Cinema (Duke University Press, 2011), Corber expands earlier arguments about the places of homophobia in the Cold War to include anxieties about the feminine lesbian. Corber emphasizes the ways in which Hollywood representations aligned with shifting understandings of the lesbian in American political culture, while acknowledging the extent to which the Production Code limited and complicated a full realization of that shift onscreen. In films ranging from Nicholas Ray’s to Hitchcock’s, the collision of new and old models of lesbianism enabled ambivalent and often bizarre portrayals of female desire. At once a companion to and an implicit critique of his earlier work, Corber opens a new and provocative discussion of some of Hollywood’s most famous films and stars. Learn more about your ad choices. Visit megaphone.fm/adchoices

The study of non-heteronormative sexualities in the academy continues to be remarkably dynamic. Despite the usual attempts to harden the frame around this scholarship, it remains consistently exciting and surprising. Robert J. Corber is one of the reasons why. His books In the Name of National Security: Hitchcock, Homophobia, and the Political Construction of Gender in Postwar America (Duke University Press, 1996) and Homosexuality in Cold War America: Resistance and the Crisis of Masculinity (Duke University Press, 1997) are recognized as important contributions to the field. In his new book Cold War Femme: Lesbianism, National Identity, and Hollywood Cinema (Duke University Press, 2011), Corber expands earlier arguments about the places of homophobia in the Cold War to include anxieties about the feminine lesbian. Corber emphasizes the ways in which Hollywood representations aligned with shifting understandings of the lesbian in American political culture, while acknowledging the extent to which the Production Code limited and complicated a full realization of that shift onscreen. In films ranging from Nicholas Ray’s to Hitchcock’s, the collision of new and old models of lesbianism enabled ambivalent and often bizarre portrayals of female desire. At once a companion to and an implicit critique of his earlier work, Corber opens a new and provocative discussion of some of Hollywood’s most famous films and stars. Learn more about your ad choices. Visit megaphone.fm/adchoices