Made in Heaven (1987 film)
Made in Heaven is a 1987 fantasy-comedy film directed by Alan Rudolph, script from Bruce A. Evans and Raynold Gideon, produced by Lorimar Productions; the film stars Timothy Hutton and Kelly McGillis and has cameos by Tom Petty, Ric Ocasek, Ellen Barkin and Neil Young. An additional character known only as "Emmett" in the film was played by Debra Winger, who acted as a chain-smoking male angel; the original music score was composed by Mark Isham. The film was marketed with the tagline "How in Heaven did they meet? How on Earth will they find each other?" Made in Heaven concerns two souls who cross paths in Heaven and attempt to reconnect once they are reborn on Earth. In 1988, the film was released on VHS format as well as digital stereo LaserDisc format. In 2009, the film made its DVD debut as part of the Warner Archive Collection. In a small Pennsylvania town in 1957, Mike Shea dreams of escaping small town life and moving to California with his girlfriend Brenda Carlucci, but Brenda leaves him with his motor running and Mike takes off alone.
Along the way, he perishes himself. He finds himself in Heaven, where his Aunt Lisa greets him, explains the rules and regulations. Once in the ethereal realm, Mike falls in love with a heavenly guide named Annie Packert, their love is abruptly interrupted. Mike is beside himself with despair, but the heavenly powers, in the form of Emmett Humbird, chain-smoking and sporting an orange crew-cut, offer him a deal. Mike can return with the stipulation neither he nor Annie will remember each other, he has thirty years in which they must find each other again. Made in Heaven: Original Motion Picture Soundtrack was released through Elektra Records on LP and cassette, but not on CD. Martha Davis - "We Never Danced" R. E. M. - "Romance" Ric Ocasek - "I Still Want You" Luther Vandross - "There's Only You" The Nylons - "Up the Ladder to the Roof" Buffalo Springfield - "Mr. Soul" Buffalo Springfield - "I Am a Child" Mark Isham - "Same Time, Another Place" Mark Isham - "Beyond the Frames" Mark Isham - "Instead of Floating"Pre-recorded songs from the film that were not on the soundtrack album: Sly and the Family Stone - "If You Want Me to Stay" Buffalo Springfield - "For What It's Worth" Alberta Hunter - "Long May We Love" Hank Williams - "Why Should We Try Anymore" Ernest Tubb and Red Foley - "Goodnight, Irene" Made in Heaven on IMDb Made in Heaven at AllMovie Made in Heaven at Box Office Mojo Made in Heaven at Rotten Tomatoes
Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012
Cinema of France
Cinema of France refers to the film industry based in France. The French cinema comprises the art of film and creative movies made within the nation of France or by French filmmakers abroad. France is the birthplace of cinema and was responsible for many of its significant contributions to the art form and the film-making process itself. Several important cinematic movements, including the Nouvelle Vague, began in the country, it is noted for having a strong film industry, due in part to protections afforded by the French government. Apart from its strong and innovative film tradition, France has been a gathering spot for artists from across Europe and the world. For this reason, French cinema is sometimes intertwined with the cinema of foreign nations. Directors from nations such as Poland, Russia and Georgia are prominent in the ranks of French cinema. Conversely, French directors have had prolific and influential careers in other countries, such as Luc Besson, Jacques Tourneur, or Francis Veber in the United States.
Another element supporting this fact is that Paris has the highest density of cinemas in the world, measured by the number of movie theaters per inhabitant, that in most "downtown Paris" movie theaters, foreign movies which would be secluded to "art houses" cinemas in other places are shown alongside "mainstream" works. Philippe Binant realized, on 2 February 2000, the first digital cinema projection in Europe, with the DLP CINEMA technology developed by Texas Instruments, in Paris. Paris boasts the Cité du cinéma, a major studio north of the city, Disney Studio, a theme park devoted to the cinema and the third theme park near the city behind Disneyland and Parc Asterix. France is the most successful film industry in Europe in terms of number of films produced per annum, with a record-breaking 300 feature-length films produced in 2015. France is one of the few countries where non-American productions have the biggest share: American films only represented 44.9% of total admissions in 2014.
This is due to the commercial strength of domestic productions, which accounted for 44,5% of admissions in 2014. The French film industry is closer to being self-sufficient than any other country in Europe, recovering around 80–90% of costs from revenues generated in the domestic market alone. In 2013, France was the 2nd largest exporter of films in the world after the United States. A study in April 2014 showed the positive image which French cinema maintains around the world, being the most appreciated cinema after American cinema. Les frères Lumière released the first projection with the Cinematograph, in Paris on 28 December 1895; the French film industry in the late 19th century and early 20th century was the world's most important. Auguste and Louis Lumière invented the cinématographe and their L'Arrivée d'un train en gare de La Ciotat in Paris in 1895 is considered by many historians as the official birth of cinematography; the early days of the industry, from 1896 to 1902, saw the dominance of four firms: Pathé Frères, the Gaumont Film Company, the Georges Méliès company, the Lumières.
Méliès invented many of the techniques of cinematic grammar, among his fantastic, surreal short subjects is the first science fiction film A Trip to the Moon in 1902). In 1902 the Lumières abandoned everything but the production of film stock, leaving Méliès as the weakest player of the remaining three. From 1904 to 1911 the Pathé Frères company led the world in film distribution. At Gaumont, pioneer Alice Guy-Blaché was made head of production and oversaw about 400 films, from her first, La Fée aux Choux, in 1896, through 1906, she continued her career in the United States, as did Maurice Tourneur and Léonce Perret after World War I. In 1907 Gaumont owned and operated the biggest movie studio in the world, along with the boom in construction of "luxury cinemas" like the Gaumont-Palace and the Pathé-Palace, cinema became an economic challenger to legitimate theater by 1914. Among the most prolific film scholars on French Cinema in the English-speaking world is Dr Catherine O'Brien, former Senior Lecturer in Film Studies and French at Kingston University, London who obtained a Bachelor of Arts as well as a Doctor of Philosophy both in French and German from the University of Hull.
After World War I, the French film industry suffered because of a lack of capital, film production decreased as it did in most other European countries. This allowed the United States film industry to enter the European cinema market, because American films could be sold more cheaply than European productions, since the studios had recouped their costs in the home market; when film studios in Europe began to fail, many European countries began to set import barriers. France installed an import quota of 1:7, meaning for every seven foreign films imported to France, one French film was to be produced and shown in French cinemas. During the period between World War I and World War II, Jacques Feyder and Jean Vigo became two of the founders of poetic realism in French cinema, they dominated French impressionist cinema, along with Abel Gance, Germaine Dulac and Jean Epstein. In 1931, Marcel Pagnol filmed the first of his great trilogy Marius, César, he followed this with other films including The Baker's Wife.
Other notable films of the 1930s included René Clair's Under the Roofs of Paris, Jean Vigo's L'Atalante, Jacques Feyder's Carnival in Flanders
Kevin Michael Costner is an American actor, director and musician. His accolades include two Academy Awards, three Golden Globe Awards, one Primetime Emmy Award, two Screen Actors Guild Awards. Costner began his acting career with Sizzle Beach, U. S. A.. Following a few minor supporting parts, he rose to prominence with his portrayal of Eliot Ness in The Untouchables; this was followed by a successful period in his career with starring roles in such films as. In 1995, Costner co-produced Waterworld; the most expensive film made at the time, it was a major box office disappointment which marked a significant downturn in his career. His second directorial feature The Postman was another disappointment which marked a massive downfall of his career as a leading man, he has since starred in numerous films to rejuvenate his leading man status, including Message in a Bottle, For Love of the Game, Thirteen Days, 3000 Miles to Graceland, Rumor Has It, The Guardian, Mr. Brooks, 3 Days to Kill, McFarland, USA, Draft Day, Criminal.
All of these films however have been either critical or commercial failures, failing to reboot his status. In recent years he has had supporting parts in critically favored films including The Upside of Anger, Man of Steel, Hidden Figures, Molly's Game. On television, Costner portrayed Devil Anse Hatfield in the miniseries Hatfields & McCoys, winning the Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie. Since 2018, he stars as John Dutton on drama series Yellowstone. Costner was born on January 18, 1955 in Lynwood and grew up in Compton, California, he is the youngest of the middle of whom died at birth. His mother, Sharon Rae, was a welfare worker, his father, William Costner, was an electrician and utilities executive at Southern California Edison, his father's heritage originates with German immigrants to North Carolina in the 1700s, Costner has English, Irish and Welsh ancestry. Costner was raised Baptist, he was not academically inclined. He enjoyed sports, took piano lessons, wrote poetry, sang in the First Baptist Choir.
He has stated that a viewing of the 1962 film How the West Was Won at the age of seven had "formed" his childhood. He has described spending his teenage years in various parts of California as his father's career progressed, as a period when he "lost a lot of confidence", having to make new friends often. Costner lived in Ventura in Visalia, he earned a BA in marketing and finance from California State University, Fullerton in 1978. While at CSUF, he became a brother in the Delta Chi Fraternity. Costner became interested in acting while in his last year of college, upon graduation he married Cindy Silva, who worked at Disneyland as Cinderella; the couple honeymooned in Puerto Vallarta. Burton agreed to speak to Costner. Costner, taking acting classes but had not told his wife about his desire to be an actor, watched Burton and approached when Burton gestured. Costner told Burton that he would prefer to avoid the drama that followed Burton and asked if he would have to tolerate that if he became an actor.
Burton replied, "You have blue eyes, I have blue eyes. I think you'll be fine." After the plane landed, Burton's limousine pulled up to the curb where Costner and his wife were waiting for a taxi. Burton wished Costner good luck, the two never met again. Costner credits Burton with contributing to his career. Having agreed to undertake a job as a marketing executive, Costner began taking acting lessons five nights a week, with the support of his wife, his marketing job lasted 30 days. He took work which allowed him to develop his acting skills via tuition, including working on fishing boats, as a truck driver, giving tours of stars' Hollywood homes to support the couple while he attended auditions Costner made his film debut in the film Sizzle Beach, U. S. A.. Filmed in the winter of 1978–79, the film was not released until 1981 and re-released in 1986; the release complications and lack of documentation lead many to believe that Costner's debut was in The Touch known as, in 1983 with Eve Lilith and Andra Millian.
Costner made a brief appearance in the Ron Howard film Night Shift. He is listed in the credits as'Frat Boy No. 1' and appears at the climax of a frat-style, blow-out party in the New York City morgue, when the music is stopped by a frantic Henry Winkler. Costner can be seen looking surprised at the sudden halt of celebration. Costner appeared in a commercial for the Apple Lisa and Table for Five in 1983, the same year, had a small role in the nuclear holocaust film Testament, he was cast in The Big Chill and filmed several scenes that were planned as flashbacks, but they were removed from the final cut. His role was that of Alex, the friend who committed suicide, the event that brings the rest of the cast together. Costner was a friend of director Lawrence Kasdan, who promised the actor a role in a futur
Un indien dans la ville
Un indien dans la ville is a 1994 French film by Hervé Palud. The film had a limited English language release under Big City. Part of the movie was shot in Miami, United States, it was adapted for an American audience under the title Jungle 2 Jungle, set in Manhattan and starring Tim Allen and Martin Short. A tie in game for the Game Boy was released only in France. Steph, a commodities broker living in Paris, wants a divorce from his wife Patricia to marry another woman: Charlotte. However, Patricia has been living among the Venezuelan Amazonas Indians for the past 13 years, so Steph travels to the Indian village to meet her and ask her to sign the divorce papers; when they meet, Patricia tells Steph that they have a teenage son, Mimi-Siku, raised as an Amazonas Indian. Patricia tells Steph she will not sign the divorce papers unless Steph takes Mimi-Siku on a visit to Paris, which he agrees to. In Paris, Mimi-Siku meets the children of Steph's colleague Richard and falls in love with his daughter Sophie.
Shortly after its release in France in December 1994, Disney saw this film as a possibility to attract a family audience in the United States and considered giving it a limited release in select cities. Before releasing it in select cities Disney decided to release it under their Touchstone Pictures label as they felt this film had some mature themes for an ordinary Disney film; as opposed to releasing it in the United States with subtitles leaving the original French dialogue in, Disney hired many cartoon voice-over actors to dub the original French dialogue out and substitute it with an English language format. They gave the film an American name, Little Indian, Big City. Under its new Americanized title and language dubbing, Touchstone released it to a select American audience on March 22, 1996. Upon its original American release many American critics had an harsh reaction to the film. Roger Ebert awarded Little Indian, Big City a rare "Zero Stars" rating claiming that he was annoyed by the awful dubbing as well as the writing and what he perceived as terrible humor.
He ended his original Chicago Sun Times newspaper review by saying "If you under any circumstances see Little Indian, Big City I will never let you read one of my reviews again". Ebert's colleague Gene Siskel deplored the film saying that it was to be a candidate for the year's worst film, he said that if the word for the film got big enough in the United States family audiences would have been "hoodwinked into paying to see a unprofessional movie." When Siskel and Ebert viewed the film during its original theatrical release, one of the film reels broke out and the third reel of film was missing. A film executive informed Siskel and Ebert that they were allowed to come back the following week and view the particular reel. Siskel and Ebert came back to view the third reel, by the time they had concluded viewing the whole film Siskel was quoted as saying, "If it was the legendary missing footage from The Magnificent Ambersons, this movie would still suck." Both Siskel and Ebert went on to claim this as one of the worst motion pictures they had seen, in January 1997, on Siskel and Ebert's "Worst of the Year" program for 1996, Ebert went on to call "Little Indian, Big City" the second worst film of the year, just behind Mad Dog Time.
Peter Stack of the San Francisco Chronicle said that the dub "lends tackiness to an inept comedy." A critic from the rival San Francisco Examiner newspaper stated that "the real trouble with this movie is that it isn't funny. As directed by Herve Palud and written by Palud and Igor Aptekman, it's a feathery thing that does not show off Lhermitte's considerable allure and gifts as a comic. In this movie, he looks like a dope whose mouth is moving in a distinctly French manner, inexplicably spouting the words of some uninspired American goof." Janet Maslin of The New York Times further brutalized the production: "Whatever may have been funny - nothing - about the popular French comedy American audiences can watch it vanish before their eyes. This film has been dubbed into English so dreadfully. Though the actors, including Thierry Lhermitte, Arielle Dombasle and Miou Miou, show faint visual signs of gentleness and civility, they now have now become crassly Americanized boors on the film's painful audio track."
James Berardinelli opened his review with a paragraph which read, "Little Indian, Big City, the American name given to Herve Palud's 1995 French fish-out-of-water comedy, L'Indian dans la Ville, is one of the most tedious viewing experiences of 1996. I came as close to walking out of this movie as anything I have watched. No one, no matter how desperate they are for family entertainment, should be subjected to the indignity of sitting through this ninety-minute excuse for a motion picture."As of today, Rotten Tomatoes gives this film a score of 13% based on 8 reviews. The film flopped during its American release, it was released on home video under the VHS format in early 1997 and was re-issued one other time on VHS in mid-1998. The film has not been released on any other video formats in the United States. Thierry Lhermitte as Stéphane Marchadot Patrick Timsit as Richard Montignac Ludwig Briand as Mimi-Siku Miou-Miou as Patricia Marchadot Arielle Dombasle as Charlotte Tolsty as Pavel Sonia Vollereaux as Marie Jackie Berroyer as Lawyer Joanovici Marc de Jonge as Rossberg Louba Guertchikoff as Mrs. Godette Philippe Bruneau as Mr. Maréchal Dominique Besnehard as Maître Dong Cheik
Festival du Film Policier de Cognac
The Festival du Film policier de Cognac was an annual film festival that took place in Cognac, France from 1982 to 2007. The festival focused on the police/crime genre and featured a short and a television film competition after 1993. Capitalizing on the notoriety of the film festival, an unrelated crime book convention named Polar: Le Festival was inaugurated in 1996. In 2007, the wine syndicate Bureau National Interprofessionel du Cognac announced that it was withdrawing its support of the 25-year-old film event. Without its main backer, the festival's days in Cognac came to an end; however another famed wine city, Beaune, Côte d'Or, saw value in the format and launched a successor in 2009, the Festival international du Film policier de Beaune. Since 2010, the Cognac-based Polar: Le Festival - a literary event - has incorporated a film competition, albeit on a much smaller scale, to compensate for the loss of the original film festival to Beaune. 1982: Beyond Reasonable Doubt 1983: 48 Hrs. 1984: L'Addition 1985: No habrá más penas ni olvido 1986: The Hitcher 1987: The Big Easy 1988: Die Katze 1989: True Believer 1990: Kill Me Again 1992: The Hand That Rocks the Cradle 1993: One False Move 1994: The Escort 1995: Shallow Grave 1996: The Last Supper 1997: Freeway 1998: Face 1999: Another Day in Paradise 2000: Une affaire de goût 2001: Chopper 2002: Nueve reinas 2003: La caja 507 2004: Salinui chueok 2005: Crimen ferpecto 2006: Silentium 2007: A Very British Gangster Cognac Festival du Film Policier Official web site
A serial killer is a person who murders three or more people in service of abnormal psychological gratification, with the murders taking place over more than a month and including a significant period of time between them. Different authorities apply different criteria. While most set a threshold of three murders, others lessen it to two; the Federal Bureau of Investigation defines serial killing as "a series of two or more murders, committed as separate events but not always, by one offender acting alone". Although psychological gratification is the usual motive for serial killing, most serial killings involve sexual contact with the victim, the FBI states that the motives of serial killers can include anger, thrill-seeking, financial gain, attention seeking; the murders may be completed in a similar fashion. The victims may have something in common, for example, demographic profile, gender or race. A serial killer is neither a mass murderer, nor a spree killer, although there may be conceptual overlaps between serial killers and spree killers.
The English term and concept of serial killer are attributed to former FBI Special agent Robert Ressler who used the term serial homicide in 1974 in a lecture at Bramshill Police Academy in Britain. Author Ann Rule postulates in her book, Kiss Me, Kill Me, that the English-language credit for coining the term goes to LAPD detective Pierce Brooks, who created the Violent Criminal Apprehension Program system in 1985. There is ample evidence the term was used in the United States earlier; the German term and concept were coined by criminologist Ernst Gennat, who described Peter Kürten as a Serienmörder in his article "Die Düsseldorfer Sexualverbrechen". The earliest usage attested of the specific term serial killer listed in the Oxford English Dictionary was from a 1960s German film article written by Siegfried Kracauer, about the German expressionist film M, portraying a pedophilic Serienmörder. In his book, Serial Killers: The Method and Madness of Monsters, criminal justice historian Peter Vronsky notes that while Ressler might have coined the English term "serial homicide" within law in 1974, the terms serial murder and serial murderer appear in John Brophy's book The Meaning of Murder.
The Washington DC newspaper Evening Star, in a 1967 review of the book: There is the mass murderer, or what he calls the "serial" killer, who may be actuated by greed, such as insurance, or retention or growth of power, like the Medicis of Renaissance Italy, or Landru, the "bluebeard" of the World War I period, who murdered numerous wives after taking their money. This use of "serial" killer to paraphrase Brophy's serial murderer does not appear to have been influential at the time. In his more recent study, Vronsky states that the term serial killing first entered into broader American popular usage when published in The New York Times in the spring of 1981, to describe Atlanta serial killer Wayne Williams. Subsequently, throughout the 1980s, the term was used again in the pages of The New York Times, one of the major national news publication of the United States, on 233 occasions. By the end of the 1990s, the use of the term had escalated to 2,514 instances in the paper; when defining serial killers, researchers use "three or more murders" as the baseline, considering it sufficient to provide a pattern without being overly restrictive.
Independent of the number of murders, they need to have been committed at different times, are committed in different places. The lack of a cooling-off period marks the difference between a serial killer; the category has, been found to be of no real value to law enforcement, because of definitional problems relating to the concept of a "cooling-off period". Cases of extended bouts of sequential killings over periods of weeks or months with no apparent "cooling off period" or "return to normality" have caused some experts to suggest a hybrid category of "spree-serial killer". In 2005, the FBI hosted a multi-disciplinary symposium in San Antonio, which brought together 135 experts on serial murder from a variety of fields and specialties with the goal of identifying the commonalities of knowledge regarding serial murder; the group settled on a definition of serial murder which FBI investigators accept as their standard: "The unlawful killing of two or more victims by the same offender in separate events."
The definition does not consider motivation for define a cooling-off period. Historical criminologists have suggested that there may have been serial murders throughout history, but specific cases were not adequately recorded; some sources suggest that legends such as werewolves and vampires were inspired by medieval serial killers. In Africa, there have been periodic outbreaks of murder by Leopard men. Liu Pengli of China, nephew of the Han Emperor Jing, was made Prince of Jidong in the sixth year of the middle period of Jing's reign. According to the Chinese historian Sima Qian, he would "go out on marauding expeditions with 20 or 30 slaves or with young men who were in hiding from the law, murdering people and seizing their belongings for sheer sport". Although many of his subjects knew about these murders, it was not until the 29th year of his reign that the son of one of his victims sent a report to the Emperor, it was discovered that he had murdered at least 100 people. The officials of the court requested.
In the 15th