Joesph Gordon – Levitt was born on February 17th, 1981, to Jane Gordon and Dennis Levitt. At an early age, Levitt starred in many shows and movies, such as Angels in the Outfield and The Dark Shadows. As he grew older, he took on more mature roles and became fascinated with film making. After his work on 3rd Rock from the Sun, a sitcom, he took a break from acting and attended Columbia University. Here, he studied history, literature and French poetry. After 4 years of college, Levitt left Columbia in 2004, in order to try acting once again. Recently, Gordon-Levitt chose to pursue filmmaking, following his grandfather Michael Gordon. His grandfather was a Hollywood film director between the 1940s and 1970s and directed the 1959 Doris Day/Rock Hudson film Pillow Talk. His first short film Sparks, was based off of an Elmore Leonards story of the same name, however JGL took a creative license with the film due to low budget funds. His other short films, are inspired by previous relationships that he has been through, but with a touch of fantasy and humor in them. His new movie, Don Jon, was inspired by the short films he had made with his company HitRECord. It also was inspired by his growing up and the lessons he learned as a child, as his mother raised him and his brother with the “ideals of the feminist movement of the 60’s and 70’s.” Finally, the movie’s storyline also gained inspiration from the death of his brother, Daniel Gordon-Levitt, 2010, who passed away due to a drug overdose. Through this he spread awareness of the dangers of drug use and the emotions of the character Esther in the movie, emulate the feelings Joesph Gordon-Levitt felt after his brother's death.
The movies or short films that Levitt directed and wrote...
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...has just started producing major films, he stated that as of December of 2013, that he would produce a film based on the critically acclaimed graphic novel series The Sandman created by Neil Gaiman. His success has yet to come, we will wait to see what the future holds for Joesph Gordon-Levitt.
Works Cited
“Joseph Gordon-Levitt.” Bio. A&E media. n.d. Web. 23 May 2014.
“Sparks.” HitRECord. n.p. n.d. Web. 23 May 2014.
“Joseph Gordon-Levitt.” IMDB.n.d. Web. 23 May 2014
“10 Surprising Influences on Joseph Gordon-Levitt's Don Jon.” Den of Geek. n.p. 30 Sept. 2013. Web. 23 May 2014.
Huffington Post. Interview with Jospeh Gordon-Levitt. Huffington Post. 19 Oct. 2013. Web. 23 May 2014.
“ Joseph Gordon-Levitt on Don Jon.” Film. n.p. n.d. Web. 23 May 2014.
“ Joseph Gordon-Levitt's "Sparks" Fires Up Wholphin Screening.” Indiewire. 16 Dec 2009. Web. 23 May 2014.
November 1998, written for FILM 220: Aspects of Criticism. This is a 24-week course for second-year students, examining methods of critical analysis, interpretation and evaluation. The final assignment was simply to write a 1000-word critical essay on a film seen in class during the final six-weeks of the course. Students were expected to draw on concepts they had studied over the length of the course.
He has served as director in over 40 public companies and also serves as a
In closing Dennis Dugan has had a very successful career. His movies have grossed over 1 billion dollars. He continues to look for the next project. I am sure we will see more movie directed by him . Dennis Dugan has many years ahead to
Petrie, Dennis and Boggs, Joseph. The Art of Watching Films. New York: McGraw Hill, 2012.
McFarlaine, Peter and Ryan, Tom. “Peter Weir: Towards the Centre”. Cinema Papers 16:4 (1981): 6-22. Web. 2 May 2014.
Kuhns, William. “The Movie Columnists.” Movies in America. London: The Tantivy Press, 1975. 142-73. Print.
Andrew Adamson, Ann Peacock, Christopher Markus, Stephen McFeely, Liam Neeson, Ray Winstone, and Dawn French. Prod. Mark Johnson and Philip Steuer. Perf. William Mosley, Anna Popplewell, Georgie Henley, and Skandar Keynes. Buena Vista Pictures, 2005. DVD.
Spike Lee, through his undoubtedly inventive yet obtrusive camerawork, embodies emotional impact. From lateral panning and jumpy camera sequences to his use of perspective, Lee inspires intensity and apprehension. An odd synchronicity between the camerawork and subject matter fosters these emotional reactions and inspires inquisition; the viewer conceptualizes the camerawork to uncover a significance the narrative cannot deliver. The cop sequence retains suspense and effortlessly transfers Flipper’s anxiety; a “voyeuristic” perspective stimulates the former while rapid camera shifts and altering points of view maintain the latter. The scene in which Flipper asks for a promotion illustrates Lee’s emphasis on viewer impact and impression, sometimes at the cost
Jacob Lawrence Jacob Lawrence's unique career has earned him a National Medal of Arts, election to the National Academy of Arts and Letters and the National Academy of Design, a National Council of the Arts commisionership, and dozens of honorary degrees and awards, including the NAACP's Spingarn Medal. His paintings have been featured in several major art exhibitions and many different museums. Lawrence's parents came from the south, but they moved to Harlem, where Lawrence grew up. Lawrence was born in 1917 and grew up in Harlem during the Great Depression. He had many extraordinary educational opportunities as well as his first employment as an artist.
Sterritt, David. “HOLLYWOOD'S HOLOCAUST”. Tikkun 24.3 (2009): 60-62. Literary Reference Center. Web. 10 Oct. 2013.
Adam Sandler has been a box-office draw for a decade now, with hardly a dip in fortunes since he first parlayed his break on TV's Saturday Night Live into a string of hit films. From the get-go Sandler was good on jokes about sports, six-packs and the need to stop goofing off and start playing nice with women. He made his success without any support from critics, many of whom seemed to find the frat-house element of his shtick so ghastly as to inoculate them against its sweet and silly aspects. It is unlikely that Sandler cares much for the views of festival-going connoisseurs, though he served notice on their carps by his seamless crossover into Paul Thomas Anderson's Punch-Drunk Love (2002). "I wanted to work with Sandler so much," Anderson said. "I love him… He's always made me laugh."
The Classical Hollywood style, according to David Bordwell remains “bound by rules that set stringent limits on individual innovation; that telling a story is the basic formal concern.” Every element of the film works in the service of the narrative, which should be ideally comprehensible and unambiguous to the audience. The typical Hollywood film revolves around a protagonist, whose struggle to achieve a specific goal or resolve a conflict becomes the foundation for the story. André Bazin, in his “On the politique des auteurs,” argues that this particular system of filmmaking, despite all its limitations and constrictions, represented a productive force creating commercial art. From the Hollywood film derived transnational and transcultural works of art that evoked spectatorial identification with its characters and emotional investment into its narrative. The Philadelphia Story, directed by George Cukor in 1940, is one of the many works of mass-produced art evolving out of the studio system. The film revolves around Tracy Lord who, on the eve of her second wedding, must confront the return of her ex-husband, two newspaper reporters entering into her home, and her own hubris. The opening sequence of The Philadelphia Story represents a microcosm of the dynamic between the two protagonists Tracy Lord and C.K. Dexter Haven, played by Katherine Hepburn and Cary Grant. Through the use of costume and music, the opening sequence operates as a means to aesthetically reveal narrative themes and character traits, while simultaneously setting up the disturbance that must be resolved.
At 23 years of age, Rodriguez knew he wanted to get started working on a film that would open doors for him. He knew the big directors such as Orson Welles and Steven Spielberg started in their twenties. Rodriguez states, “I’m twenty-three years old. Orson Welles made Citizen Kane when he was twenty-five. Spielberg made Jaws at twenty-six. So I’ve only got about two or three years to make by breakthrough film” (Rodriguez 23). The only problem was money. To earn the money to make his first film, Rodriguez became a human lab rat for Pharmaco Research Hospital in Austin, TX. There, he would lay the foundation for his trilogy of movies.
Gainor, J. Ellen., Stanton B. Garner, and Martin Puchner. The Norton Anthology of Drama, Shorter Edition. New York: W. W. Norton &, 2010. Print.
Piper, Jim. Get the Picture? The Movie Lover’s Guide to Watching Films. 2nd ed. New York, New York: Allworth, 2008. Print.