#cinemation industries

[acmeoop]

Rare Production Art “Fritz The Cat” (1972)

[schlock-luster-video]

On July 20, 2004, I Drink Your Blood was released on VHS by Cinemation Industries.

[theomenmedia]

Marco Rewrites Box Office History1

Discover the cinematic dark horse 'Marco,' the Malayalam action-thriller starring Unni Mukundan and Yukti Thareja that's rewriting box office history! From a humble start to over ���100 crore worldwide, see how it's winning hearts across India and beyond.

Take a deep dive into the film's explosive trajectory with us right here: https://www.theomenmedia.com/post/marco-mania-how-unni-mukundan-yukti-thareja-s-action-thriller-exploded-at-the-box-office

[ondessiderales]

Fritz le chat

« Fritz the Cat (en français, Fritz le chat) est un personnage de comics américain créé par Robert Crumb en 1959.

Figure marquante des « comics underground », cette bande dessinée pour adulte fut adaptée au cinéma à deux reprises, notamment par Ralph Bakshi en 1972. Fritz connaît un regain de popularité avec la sortie du film. Réalisé par Ralph Bakshi et produit par Steve Krantz, c'est le premier film d'animation classé X.

Durant la production, Warner Bros. Pictures qui devait initialement distribuer le film, se retira du projet après avoir visionné quelques minutes de la version de travail, tout comme Crumb rejeta lui aussi l'adaptation. Finalement distribué par Cinemation Industries, le film remporte contre toute attente un grand succès critique et public, avant de devenir un phénomène générationnel.

Le film met en scène Fritz, un chat anthropomorphe dans le New York du milieu des années 1960, explorant les idéaux hédonistes et la conscience socio-politique de son temps. Le film est une satire de la vie universitaire de l'époque, des relations interraciales, du mouvement pour l'amour libre, des extrémismes de gauche et de droite.

Avec son registre satirique et ses thèmes matures, le film a ouvert la voie à des futures œuvres d'animation pour le public adulte comme Les Simpson, Ren et Stimpy, South Park ou Les Griffin. »

[bradleyenfield]

Overmodeled Solomon (Horror Soundtrack / Ambient Industrial / Dark Cinem...

[videoreligion]

I Eat Your Skin (1971)

[oldshowbiz]

Cinemation Industries

[mhdiaries]

Frights, Camera, Action! – Hauntlywood Honey Swamp Diary

2 April

Mama Swamp has always said that navigating the waters of New Goreleans gentility is tougher than a cypress stump, but looking at what’s waiting for me this year, I’ll swear high society has nothing on high school! What with advanced film studies, the school newspaper, Fearbook photography, and all those lil’ social engagements a lady must keep, my calendar is filling up faster than a cistern in a hurricane. Nothing to fret about though, as I’ve formulated a ghoul-proof plan to make this year a success;

Create a student film that simply overflows with passion and originality

Impress Mr. Rougarou, my film teacher, so very much that he enters it into the annual Bayou Boovie Fest

Win accolades galore from the judges for my breakout cinema-togre-phy

Get discovered by Hauntlywood and move out west to work with the  monstrously talented SoFeara Gorepola. We'll make a divine boovie-making scream team!

My student flick last year—"Lurking on the Levees"—scared a major coup thanks to my expert eye for film decomposition, but the script was... well, just a teensy bit lacking, I must confess. Visually I'm always top of my class, but I'll be honest; cryptwriting is not my forte. That's why this time I'm going with a much more "cinéma scarité" approach—my neck of the woods is fairly alive with true stories to tell! Now I just have to find a subject that screeches "Hauntlywood", and I'll be all set.

10 April

Creeping kudzu, I do wish my hair would behave! I've been so busy dealing with the humidity I've hardly had time to think about anything else. Monsters outside this little soggy neck of the world don't know how lucky they have it with the weather; I may have been born here, but my lovely locks have not adapted. Lately they've been either limp as a wet noodle or more ornery than an itchy gator. I should whip up a batch of my famous smoothing marsh mud and see if that helps. A ghoul has to look her best, even if I'm more comfortable spending time behind the camera than in front of it.

19 April

My mama has, at least to my mind, a particularly unusual fascination with vampire royalty. She can tell you all the queens and their names and who their families were down to their 20th generation. She also has a whole bookshelf just stuffed full of stories about the "missing vampire queen" and who she is and where she may be hiding, and if the current jewel they use to detect who the true queen should be is real or a fake. There have been supposed sightings of her all over the world. One ghoul even wrote a whole book that says the missing queen has actually been unliving her life as a high school student. Now I know some drop dead debutante divas in my class that would give any royal highness a run for her money when it comes to acting like a queen but none with the pedigree for it. So, although I don't pay much mind to it, I have to say it has been rather interesting here lately, especially since now the news is saying that the new vampire queen has been found at... a high school. Now there's something you might be able to turn into a film or a book.

25 April

Today in film studies we had to give a presentation about our industry scream job. Most of my ghoulmates talked about being cryptwriters, directors, and boovie stars, of course; I was the only cinema-togre-pher in the class. Not that I'm all that surprised, mind. Most monsters get into booviemaking to see their names in lights, but cinema-togre-phy is a lot of responsibility without nearly as much recognition. A cineme-togre-pher defines the "look" of a boovie; she's a director's right-hand-monster for everything that you see on screen. The lighting, the camera movement, the special effects—everything has to look its beast if she wants an audience to lose themselves in the film. If she does it right, it's almost undetectable—but if she does it wrong, it's all anymonster will be able to see! I must have made a convincing case, because when I'd finished my presentation, half the class wanted to change their focus. Mr. Rougarou was impressed (all according to plan!) and said he'd be "very interested" to see my finished film, which makes me as nervous as a long-tailed werecat in a room full of rocking chairs! I gotta find a subject, and soon.

2 May

Still lurking for the perfect subject for my documentary. So far I've rejected half a dozen concepts, from an exposé on Mardi Claw (too cliché) to a search for the perfect gum-boo recipe (mine, of course, so it'd be a hideously short film). So far, nothing quite has that spark of inspiration I crave. My friends, bless their scary-sweet hearts, call me a perfectionist. Which I absolutely am! But unlike them I don't think of it as a weakness. After all, being a perfectionist doesn't mean you do it right the first time, every time—it just means never giving up until you're satisfied, even if that means you have to do it a hundreds times. That's how truly great art is made. Rotten Scaresese or Alfeared Hitchshock never would have given up after trying just one measly lil' time, and neither will I. Besides, I still have a hundred other ideas I have yet to give a fair shake—a little more time and screesearch should have me in the pink.

5 May

It was club picture day; always a busy one for the Fearbook team. I'm still learning about film, but photography will always be my first and dearest love—even when it's just snapping shots of my ghoulmates making freaky faces. The only fangup was a couple of vampires sneaking into every photo—of course, their faces didn't show up, but the out-there accessories they were wearing sure did! It was so funny I about fell out laughing... and then I realized we'd have to do all the shots again. Sigh... so not scare.

10 May

I took some time this weekend to haunt around Jackson Scare, looking for inspiration for my boovie. The deadline is still far off, but time is flying by and I have to admit I'm getting a lil' bit nervous—what if inspiration doesn't strike in time? I've got a half-dozen half-shot films, but nothing I can really call a boovie yet. And I want it to be good enough to blow away not just Mr. Rougarou, but all the judges at the Bayou Boovie Fest. I had some coffee and boue-uiets at the Cafe du Moau, watching the tourists stroll by, but still nothing came to me. If fangtastic southern cooking can't make your brain give up the ghost, what can? I clearly need to shake the ol' idea tree a little harder and see if something else falls out.

14 May

Last night, Mama hosted a dinner for some visiting digniscaries and asked me to lend a claw with the cooking. Entertaining is a big part of a Southern gentleghoul's repertoire, and you gotta be good at it. Photography isn't my only skill! I come from a long line of excellent cooks on both sides—Mama's always said one of the reasons she married my daddy was for his dead beans and rice! It's hard work, but between the two of us Mama and I kept the ladies and gents grinning all evening. Eventually talk turned to famous New Goreleans legends. It's an old town, and hauntings and happenings are all around. Our frights are famous and our mausoleums are second-to-none! One of the monsters in attendance mentioned the legend of the Bayou Bijou, and I sat right up. I'd heard of her, of course, but had no idea she was still floating. I should mention, "she's" a ghost ship, rising from the waters and floating across the bogs in the dead of night, with the famous plays and performers that appeared there still echoing on her stage. I asked the gentlemonster why this information wasn't better-known, and he said it was because the Bijou is so deep in the swamp that sightings are rare, and information rarer still. But nowhere in the bayou is unreachable for a Honey Swamp. Finally, an idea with bite!

15 May

There are advantages to being born and raised in the bayou—you get to know the lay of the land like your own scales. It was the work of just a few hours tracking through the swamp to find where the ghost ship rises. Seems she only appears on the full moon—so I had to lie in wait for a bit, but patience is one of my many, many virtues. Pretty soon I had the first-ever footage of the Bayou Bijou in all her beauty! It'll take a few more stakeouts, but I think I can finish my boovie in time for the festival—and with a subject so unique and fabulous, it won't be hard at all to make a film worthy of recognition. Just wait, Hauntlywood... Honey's comin'!

[twentiethcenturymoviesandtv]

12 Angry Men: Facets of Filmmaking

For every movie ever made, there is a story of the making.  Everything from the creation of the story, to finding a director, writing a script, getting a cast, and much, much more is all part of the road to a finished film, and it is not, by any means, an easy road to take.

And in the case of 12 Angry Men, the road was a little more unusual than most.

The original screenplay for 12 Angry Men wasn’t actually a screenplay at all.  It was a stage one.  Writer Reginald Rose (Say that five times fast) originally wrote the script for a television play, broadcast live on CBS in 1954, three years before the film would be released.  Rose actually based the script on his own experiences as a juror a few years prior, describing the inspiration: “I was on a jury for a manslaughter case, and we got into this terrific, furious, eight-hour argument in the jury room. I was writing one-hour dramas for Studio One then, and I thought, wow, what a setting for a drama”

As it turns out, Rose was right, as the screenplay produced from this inspiration would earn him a nomination for Best Screenplay at the 1957 Oscars (although he wouldn’t win it).  The success of the teleplay led Henry Fonda (Juror #8 and co-producer of the film) to approach Rose, asking him to assist with making it a film.  Rose agreed, joining the project as co-producer, and the film was on its way.  But first, they had to find a director.

While today, Sidney Lumet is well known for his contributions to cinema (Dog Day Afternoon, Network, The Verdict, Murder on the Orient Express and The Wiz), in 1957, he was a total unknown to the movie industry.  Having previously done only television work, 12 Angry Men was his first feature film, starting a career in film directing that would end in over 50 films to his name, 14 nominations, and an Honorary Academy Award.  Even in 1957, pieces of his directing expertise were showing, demonstrated by his masterful use of the camera to intensify the action and drama via tighter closeup shots.  (More detail in the previous article!)

The film wasn’t produced on much of a budget ($340,000), and production wasn’t easy (it was the first and only film produced by Fonda or Rose).  Fonda and Lumet even gave up a salary in order to help the film’s budget along, and in the end, it did get made.

The history of 12 Angry Men could be summed up as a giant gamble, one that, in the end, unfortunately flopped.  The film didn’t perform well at the box office at all, only becoming known as a classic on television and rentals later.  There wasn’t a lot of behind-the-scenes drama or nightmares, no exciting last-minute reshoots.  The film went off without too much fuss, and just happened to not do well at the time.  It’s a sad story for sure, but one with a happy ending.

In the years that followed 12 Angry Men’s theater debut, more and more people discovered this movie and realized that they had a great movie on their hands.  Soon enough, it was hailed as one of the greatest films of the 1950s, and indeed, movies in general.  This game-changing courtroom drama may not have seemed like anything special at the time, but the years have been good to it, with more people realizing the brilliance of this simple, but heartfelt, movie.

The rags-to-riches story may be one we’ve heard before, but it’s still nice to hear again, especially for a movie as deserving as this.

Join us next time for our final look and personal thoughts on 12 Angry Men, where we’ll be wrapping our discussion up on this movie.  Don’t forget my ask box is always open for discussions, questions, suggestions, or conversations!  Thank you so much for reading, and I hope to see you in the next article.

[monsterhighdiaries]

Honey’s Hauntlywood Diary - 25 April

Today in film studies we had to give a presentation about our industry scream job. Most of my ghoulmates talked about being cryptwriters, directors, and boovie stars, of course; I was the only cinema-togre-pher in the class. Not that I'm all that surprised, mind. Most monsters get into booviemaking to see their names in lights, but cinema-togre-phy is a lot of responsibility without nearly as much recognition. A cineme-togre-pher defines the "look" of a boovie; she's a director's right-hand-monster for everything that you see on screen. The lighting, the camera movement, the special effects—everything has to look its beast if she wants an audience to lose themselves in the film. If she does it right, it's almost undetectable—but if she does it wrong, it's all any monster will be able to see! I must have made a convincing case because when I'd finished my presentation, half the class wanted to change their focus. Mr. Rougarou was impressed (all according to plan!) and said he'd be "very interested" to see my finished film, which makes me as nervous as a long-tailed werecat in a room full of rocking chairs! I gotta find a subject, and soon.

[fuwushiguro]

Nickname: Luxe 💞

Zodiac Sign: Capricorn

Last Movie I Saw: Black Swan... I I remembered hating after I watched it for the first time when I was twelve. I thought I'd give it another chance now that I'm an adult and more appreciative of cinem but I still didn't much care for it ��

Last Thing I Googled: "Lydia Hart Hollyoaks" I was explaining some British soap lore to @twicesbrat lmaoooo

Favorite Musician: Tyler, The Creator or Foals

Song Stuck In My Head: Industry Baby by Lil Nas X

Other Blogs: I have a personal one for aesthetic things I've had since I was 12. I've got @rosegarden-jin and @fuwushiguro-tags too

Blogs Following: I'm following 184 blogs ✨

Sleep Patterns: my bed time ranges from 11pm - 1am (sometimes 2/3am on weekends) and I can wake up from any time between 6am and 9am!

Lucky Numbers: 23 bc it's my birthday number hehe

What Am I Wearing: baby pink loungewear (very thick and fluffy on the insides so I'm nice 'n toasty)

What Would I Do If Capitalism Didn’t Exist?: quit my job :))))

Favorite Food: pizza but I am a sucker for cheesy chips too (with garlic dip of course)

Instruments I Play: I know how to play London Bridge on piano and I play men like fiddles 🤪

Languages I speak: Just English :( I used to be fluent in French but I unfortunately forgot it all!

Favorite Songs: At the minute I'm loving the Sad Girlz Luv Money Remix and Deja Vu by Beyonce

Random Facts About Me: I have an obsession with collecting small hangbags 🥺

thanks for the tag Kitty!!

I'll tag: @httptamaki @chaos-night @toyomitsus @twicesbrat @themotherofmoons @cyancherub @stigandr-the-cat @kissjudas and whoever else wants to play (no pressure of course!)

20 questions tag

hello!! i was tagged in this by @aqua-girl-4ever so thank you for the tag!

Nickname: ezzy! or banana if yall are into that ig

Zodiac Sign: cancer. i am crabbo

Height: 5'10" i think?? maybe 5'9"??

Last Movie I Saw: in theaters i think was Frozen 2 but in general the last movie i watched was Vertigo

Last Thing I Googled: ‘how to sleep’ for my friend so they stop texting me at fucking one in the morning about their insomnia

Favorite Musician: don’t have one! i don’t listen to a whole lot of music other than show tunes or disney songs but i think just about every song i hear is a good song. but also Freddie Mercury.

Song Stuck In My Head: surprisingly it’s actually kinda quiet in my head right now, but Maybe This Time from Cabaret and Maybe from Annie are both kind of floating around somewhere in the back

Other Blogs: none babeyyy y’all get everything here. one stop shop.

Blogs Following: i just follow back people who follow me. so. y’all can check that list if you’re interested.

Sleep Patterns: as of now it’s usually about 3-4am to 2pm. i always wake up at 2 because i have an alarm but i can fall asleep basically anywhere between 3 and 5 am

Lucky Numbers: 8 and 28 but not 18. also i hate the numbers 7 and 10

What Am I Wearing: my jammies! which aren’t actually jammies just comfy clothes. kk slider socks, black leggings, undies, and a big t-shirt

What Would I Do If Capitalism Didn’t Exist?: fucking live man. go places. be happy. but if we’re talking careers i would kill to be, like, a mattress tester or smth. i just like to rest

Dream Trip: y’all i live in ohio just get me out of here and i’m happy. but i’ve always wanted to go to norway, or somewhere in south america

Favorite Food: nearest. but also strawberries and pasta. not together tho

Instruments I Play: uh… i was a percussionist in band in middle school so… drums, and i also play handbells and sing. and also i played piano for like two years but i never practiced so i don’t know how to play piano

Languages I speak: English. and i studied Spanish for like four years but it was also in the american public school system so we all know what kind of quality that had, and i’ve tried duolingo just so many times and never gotten past a certain point

Favorite Songs: pretty much anything i listen to! i’m not big on rap and things like that bc i have auditory processing issues and can’t understand what they’re saying but if i can understand it i usually like it

Random Facts About Me: ooh um… i have chronic hiccups, i just chopped off a lot of my hair for charity, i have a cat, and i have a lot of weird ancestors/relatives

tagging @etchedstars @primordialsoupy @imperatrixtumby

[lastbaff]

Bluetooth Home Theater Price in Nigeria [current_date format='Y']

Nigerians are lovers of music, especially thumping, bassy, and heavy beat music. You can see this in the kind of music the artistes churn out and how Nigerians react when such tracks are played in parties and clubs. Another thing Nigerians love is movies; you see Nigerians going to the cinemas to watch movies every weekend. This isn't much of a surprise as Nollywood is one of the largest movie industries in the world, alongside Hollywood and Bollywood. Imagine if the thumping music in the club and quality of sound in the cinema can be replicated in your home, that would be just great, won't it? It’s like bringing some of the appeals of the club and the movie theatre into the house. That’s what the home theatre system does. As the name implies, it is a home system. It is one of the very important gadgets music or movie lovers can have in their living room. Some people even equate its importance with that of the TV. That is arguable though. In fact, some people believe that no living room is complete without a great sound system. Apart from the functionality of home theatres, they come with lots of aesthetic value and can actually make a good design piece in your home. They come in various shapes, sizes, functionalities and features. Some of the latest ones come with both Bluetooth and wifi capabilities. With Bluetooth, you can play music from your devices without having to connect cords. And for those who love to stream music, you can stream online. Some home theatre systems are literally wireless. They only come with a power cord, and every other connection is done either through Bluetooth or other wireless means. Basically, a home theatre sound system comes with a set of speakers. It usually has a subwoofer which is often times the biggest and deepest as per sound quality production. And then there are the smaller speakers that usually come in threes or fives. This article focuses on the prices of some popular brands of Bluetooth home theatres in Nigeria.   Price of LG Home Theatre System with Bluetooth LG is one of the most popular electronic makers in Nigeria. The company was formerly known as Goldstar until sometime in the early 2000s. LG is short for Life’s Good.  Apart from home theatres, it also manufactures other home appliances ranging from Ac to refrigerators, televisions and kitchen appliances. Below is the price list of LG home theatre systems in Nigeria. Bluetooth LHG LG sound system: N80,000 – N90,000 Bluetooth AUD 547 LG sound system: N60,000 – N65,000 Audio 5ARX LG Sound System: N105,000 – N120,000 Bluetooth ARX LG sound system: N100,000 – N110,000 Hifi sound system: N55,000 – N60,000 DH750TW Wireless LG sound system: N230,000 – N250,000 Party Audio DJ98 LG Sound System: N160,000 – N180,0000 LG 330 WTS sound system: N65,000 – N70,000 Bluetooth HT358BI LG sound system : N24,000 – N40,000 AUD 5500 ARX LG sound system: N183,000 – N200,000   Bose Bluetooth Home Theatre Price Bose is not very popular in Nigeria, however, it does have an okay market in the U.S, especially in the portable and wireless soundbar range. A major challenge many Nigerians will have with this brand is that it's quite expensive. Not many Nigerians can afford it. However, it is very durable and the sound projection is just excellent. Bose Acoustimass 5 series home theatre: N240,000 – N300,000 Bose Sound System V35: 1,200,000 – N1,500,000 Bose Home Theatre 738516-1100 Lifestyle: 1,500,000 – N2,000,000 Bose Cinemate 120 wireless home theatre: N1,000,000 – N1,200,000 Bose 20 series Home theatre: N150,0000 – N200,000   Samsung Home Theatre Sound System This company has its hands in several pies of the Nigerian market.  From construction to haulage, safety and, of course, electronics. Not just household electronics but also gadgets like phones and other handhelds. Samsung has a reputation for excellence in its products, and the home theatre systems are no different. Here are some of the Samsung Bluetooth home theatre systems and their prices. MX-HS 9000 Giga Sound System: N270,000 – N300,000 Samsung DVD Home Theatre system HT-F453B: N110,000 – N120,000 Samsung HW-MS 550 Samsung Premium Stereo: N110,000 – N130,000 Samsung Theatre MX – FS8000: N520,000 – N550,000 Samsung Karaoke Entertainment System: N105,000 – N110,000 Samsung DVD Home Theatre HT-E330K: N70,00 0 – N75,000 Samsung Wireless 200W Audio Soundbar: N180,000 – N200,000   Sony Home Theatre Prices In Nigeria Sony is quite an old brand that has been in the Nigerian tech market for a long time. Sony products are predominant among electronic products sellers in all parts of the country. Below is a list of Sony Bluetooth home theatre systems and their price. Sony Home Theatre Blu – Ray 3D 1200W: N465,000 – N480,000 Bluetooth High Power Sony home theatre: N90,000 – N130,000 DAV-TV 160 Sony home theatre: N82,000 – N110,000 X10D Sony home theatre: N235,000 – N250,000 Blu –Ray premium Sony home theatre: N340,000 – 400,000   Polystar Home Theatre Price This is not a very popular brand in Nigeria. Some have even avoided the brand thinking that it is “China”. Whatever it is shouldn’t be a problem. Polystar has a target market and that’s in the lower end of the spectrum. So, those who can’t afford the premium products can still enjoy home theatre sound. Here are some of their offerings. Bluetooth Home Theater with USB, HDMI, & DVD Player N57,000 - N70,000 PV-VT607 5.1Ch Home theatre System: N26,000 – N28,000 Bluetooth Home Theater System PV-BK722B DVD/5.1Ch, With HDMI: N31,000 – N36,000 DVD Tallboy Home Theatre System (PV-BK615): N41,000 – N45,000 PV-EL616 DVD Home Theatre System: N52,000 – N55,000 5.1CH Polystar Home Theatre System With HDMI: N28,000 – N30,000 v5.1 inch Powerful Bluetooth Home theatre system PV-BK722B: N34,850 – N38,000   Other Bluetooth Home Theater Prices Djack Bluetooth Home Theater System with DVD Player - N23,000 - N30,000 Gway Bluetooth Home Theater Shock System Mark 11 - N14,900 - N26,000 LG Bluetooth Home Theatre (330 Watts) N67,000 N80,000 Hisonic Bluetooth Home Theater System MS-6030 N16,500 - N18,000 Homeflower Bluetooth Home Theater System HF8800/4.1 BT and DVD Player- N30,000 - N35,000 Havit Powerful v2.1 Bluetooth  MultiMedia Sub-Woofer N12,000 - N15,000   Final Words This is not an exhaustive list of Bluetooth home theatre systems in Nigeria. There are other brands like Panasonic, Sharp, Hitachi, Casio and many more. Although the price, features and design of many of the home theatres vary, there are two things they have in common; they are all Bluetooth enabled and they improve the sound quality of your audio. Read the full article

[portofolio-of-ajengpandansari]

(Tugas III Mata Kuliah Media Relation) Contoh Press Release

MAVI CINEM-ART – HOW TO BE A FILM MAKER FROM UNIVERSITAS PEMBANGUNAN NASIONAL JAWA TIMUR

 Surabaya, 29 Februari 2019

Dalam rangka mempertingati Hari Film Nasional pada tanggal 30 Maret 2019, mahasiswa Media Komunikasi Film Dari Program Jurusan Ilmu Komunikasi Univeristas Pembangunan Nasional Jawa Timur akan menyelenggarakan kegiatan event MAVI CINEM-ART yang ditujukan kepada seluruh mahasiswa-mahasiswi serta pelajar SMA dari Surabaya dan daerah sekitarnya.

Kegiatan yang mengusung tema ‘Studio Art’ ini diselenggarakan pada 28 Februari 2019 di Exhibition Convetion Hall Galaxy Mall Surabaya. Bentuk kegiatan yang dilaksanakan adalah dengan memberikan kesempatan kepada seluruh pelajar dan mahasiswa aktif dari Jawa Timur untuk mengikuti kompetisi membuat film pendek, lalu dengan agenda utama yaitu talkshow bersama Joko Anwar, serta ditutup dengan music perfomance dari HIV!. Melalui talkshow ini audiens bisa mengerti bagaimana proses membuat film, cara-cara yang tepat, tips n trick serta sharing pengalaman bersama guru perfilman Indonesia, yaitu Joko Anwar.

Sekitar 150 orang turut hadir di acara ini, terdiri dari kurang lebih 60 pelajar dari SMA, 80 mahasiswa-mahasiswi dari Univeristas, 10 dosen dan para petinggi dari Univeristas Pembangunan Nasional Jawa Timur, serta 40 panitia dari Ilmu Komunikasi Univeristas Pembangunan Nasional Jawa Timur yang terlibat dalam kegiatan ini. Audiens sangat antusias pada acara talkshow bersama Joko Anwar ditambah special perfomance menjelang penutupan acara dari HIV!.

“Menurut saya kegiatan ini sangat positif ya, karena dari sini mahasiswa dari Ilmu Komunikasi Univeristas Pembangunan Nasional Jawa Timur dapat belajar bagaimana cara membuat sebuah kegiatan event dengan baik dan lancar, selain itu event ini sangat bermanfaat khususnya pada para anak muda jaman sekarang karena disini mereka bisa mendapatkan banyak ilmu, belajar kreatif, serta mengasah skill dalam industri kreatif saat ini,” ungkap Bapak Catur selaku Ketua Program Studi Ilmu Komunikasi Univeristas Pembangunan Nasional Jawa Timur.

Kegiatan ini mendapat dukungan penuh dari segenap akademika Univeristas Pembangunan Nasional Jawa Timur, Program studi Ilmu Komunikasi, pihak yang meberikan materi dalam talkshow dan mengisi acara music performance, Media Partner dari yesonline, genfm, akupnradio, xphose, creating, upntelevisi, himakom upnvjt, serta Sponsorship dari cheers.

Contact Person :

Sarava Andriana (Sara)

Ketua Panitia MAVI CINEM-ART

08154283990

saravandriana@yahoo.com

[mrmichaelchadler]

CinemAbility: The Art of Inclusion

"CinemAbility: The Art of Inclusion" is dedicated to the memory of nine of its participants. That nine of those who were interviewed for the documentary have died by the time it is released is an indication of how many years its director, Jenni Gold, has worked to bring it to the screen. Her efforts have paid off. Gold is one of the few disabled people, and the first wheelchair-using woman, in the Directors Guild of America and her film has two obvious aims: to look to the past, and provide an overview of 120 years of portrayals of disability onscreen, and to look to the future and discuss how they can be improved. It succeeds in both.

"CinemAbility" is the most entertaining and comprehensive history of disability in American film and television ever filmed. In that sense it is the onscreen equivalent of Matthew F. Norden's classic book Cinema Of Isolation: A History Of Physical Disability In The Movies, and Norden is prominent in the film's opening scenes, explaining the early and generally disheartening history of Hollywood's ideas about disability. 

Due prominence is given to Lon Chaney, an able-bodied actor notorious in the disabled community for making a career out of grotesque and exploitative parodies of disability. He often did so in partnership with director Tod Browning, who in 1932 made "Freaks" with a cast of disabled actors. Norden uses "Freaks" to make an important point about audience attitudes to disability then that is still relevant now: "Audiences couldn't handle ['Freaks']. People supposedly went screaming down the aisles because what they were seeing on the screen were not able-bodied actors wearing tricky makeup ... They were seeing authentic disabled people."

But "CinemaAbility" never feels like a lecture. It is structured like a conversation, with contributions from an array of industry heavyweights, including Marlee Matlin, Ben Affleck, Geena Davis, William H. Macy, Ben Lewin, Peter Bogdanovich and R.J. Mitte. At times this structure works well. When the creator of "Happy Days," Garry Marshall, suggests that the problem with getting "minorities" to play themselves onscreen is "talent" and that it is often better to cast "regular people" instead, he is immediately answered by a clip of the producer Janis Hirsch, who points out that if Hollywood really wanted to find disabled talent all it would have to do is hold wide auditions searching for it. At other times "CinemAbility" would benefit from being less even-handed and more obviously the work of a single, determined filmmaker with a single, determined vision.

The publicity materials for the film include a long and impassioned statement by Gold. The opening paragraph includes the following:

"Growing up as a wheelchair-user I found many of the representations of people with disabilities onscreen to be confusing ... The person in the wheelchair was always syrupy sweet or angry and bitter. It wasn’t until 'Friday The 13th Part 2' came out that I saw a wheelchair-user the way I wanted to be seen. He was a cool teenager hanging out in the cabin in the woods just like everyone else, he had a girlfriend just like everyone else, and right before he was about to have the night of his life, he got killed by Jason, just like everyone else. His disability was not the topic and was not a factor in his storyline."

This passage is not in the movie but I wish it was. It says more in a few sentences about the reality of Hollywood's attitudes to disabled people, and the importance of representation to disabled audiences, than most of the film's able-bodied interviewees manage in the whole film. None of the able-bodied contributors come across as bad people, and all are experts on the film business as a whole, but there is a limit to how much insight any able-bodied person can have into what it means to be disabled, just as there is a limit to how much insight a man can have into what it means to be a woman or a white person can have into what it means to be black.

At one point, the sighted Taylor Hackford talks about the "helplessness" of being blind and Jamie Foxx, who Hackford directed in "Ray," stresses that being blind was difficult for Ray Charles because, unlike Foxx, he could not remove the prosthetic makeup from his eyes at the end of the working day and go back to being able to see. As a disabled person with a rare eye disease who has had transplant surgery to save my sight, I did not find this especially insightful. 

But when the camera turns to Tom Sullivan, a blind actor whose break came playing a disabled serviceman opposite Alan Alda in "M*A*S*H," the insights it captures are electrifying. The same occurs whenever a disabled actor talks after an able-bodied one, and the cumulative, perhaps intentional, effect of this suggests that actors who have played disabled roles gain little insight into the disabilities they have portrayed and probably shouldn't have been portraying them to begin with.   

The poster for "CinemAbility" features the faces of six contributors. Five of them are able-bodied. It's a dispiriting sight, especially for a disabled viewer looking to watch a film about disability subtitled "The Art Of Inclusion." But that isn't the film's fault. The movie's failings—chiefly an over-reliance on able-bodied opinion over disabled expertise—reflect the failings of the society in which it was made. The team behind "CinemAbility" know that documentaries about disability are a hard sell to studios, to distributors, to film festivals, to publications with space for reviews, and ultimately to audiences. To get people to watch they need to push their film's A-List able-bodied stars. My hope is that the success of "CinemAbility" will make that less of a necessity for the next generation of disabled filmmakers making films about disability.

"CinemAbility: The Art of Inclusion" is now available on VOD

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I Eat Your Skin (1971)