Academy Award for Best Cinematography
The Academy Award for Best Cinematography is an Academy Award awarded each year to a cinematographer for work on one particular motion picture. In its first film season, 1927–28, this award was not tied to a specific film; the problem with this system became obvious the first year, since Karl Struss and Charles Rosher were nominated for their work together on Sunrise but three other films shot individually by either Rosher or Struss were listed as part of the nomination. The second year, 1929, there were no nominations at all, although the Academy has a list of unofficial titles which were under consideration by the Board of Judges. In the third year, 1930, not cinematographers, were nominated, the final award did not show the cinematographer's name. For the 1931 awards, the modern system in which individuals are nominated for a single film each was adopted in all profession-related categories. From 1939 to 1967 with the exception of 1957, there were separate awards for color and for black-and-white cinematography.
Since the only black-and-white films to win are Schindler's List and Roma. Floyd Crosby won the award for Tabu in 1931, the last silent film to win in this category. Hal Mohr won the only write-in Academy Award in 1935 for A Midsummer Night's Dream. Mohr was the first person to win for both black-and-white and color cinematography. No winners are lost, although some of the earliest nominees are lost, including The Devil Dancer, The Magic Flame, Four Devils; the Right to Love is incomplete, Sadie Thompson is incomplete and reconstructed with stills. The first nominees shot on digital video were The Curious Case of Benjamin Button and Slumdog Millionaire in 2009, with Slumdog Millionaire the first winner; the following year Avatar was the first nominee and winner to be shot on digital video. In 2018, Rachel Morrison became the first woman to receive a nomination. Prior to that it had been the last gender-neutral Academy Award category. In 2019, Alfonso Cuarón became the first winner of this category to have served as director on the film, for his film Roma.
Winners are listed first followed by the other nominees. BAFTA Award for Best Cinematography Independent Spirit Award for Best Cinematography Critics' Choice Movie Award for Best Cinematography American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Theatrical Releases Academy of Motion Picture Arts and Sciences official site The Official Academy Awards Database, listing all past nominees and winners
20th Century Fox
Twentieth Century Fox Film Corporation is an American film studio, a subsidiary of Walt Disney Studios, a division of The Walt Disney Company. The studio is located on its namesake studio lot in the Century City area of Los Angeles. For over 84 years, it was one of the "Big Six" major American film studios. In 1985, the studio was acquired by News Corporation, succeeded by 21st Century Fox in 2013 following the spin-off of its publishing assets. In 2019, The Walt Disney Company acquired 20th Century Fox through its merger with 21st Century Fox. Starting with Breakthrough, all studio releases will be distributed by Walt Disney Studios Motion Pictures. Disney now owns the rights to the studio's pre-merger film library. Twentieth Century Pictures' Joseph Schenck and Darryl F. Zanuck left United Artists over a stock dispute, began merger talks with the management of financially struggling Fox Film, under President Sidney Kent. Spyros Skouras manager of the Fox West Coast Theaters, helped make it happen.
The company had been struggling since founder William Fox lost control of the company in 1930. The new company, 20th Century-Fox Film Corporation, began trading on May 31, 1935. Kent remained at the company, joining Zanuck. Zanuck replaced Winfield Sheehan as the company's production chief; the company established a special training school. Lynn Bari, Patricia Farr and Anne Nagel were among 14 young women "launched on the trail of film stardom" on August 6, 1935, when they each received a six-month contract with 20th Century Fox after spending 18 months in the school; the contracts included a studio option for renewal for as long as seven years. For many years, 20th Century Fox claimed to have been founded in 1915, the year Fox Film was founded. For instance, it marked 1945 as its 30th anniversary. However, in recent years it has claimed the 1935 merger as its founding though most film historians agree it was founded in 1915; the company's films retained the 20th Century Pictures searchlight logo on their opening credits as well as its opening fanfare, but with the name changed to 20th Century-Fox.}
After the merger was completed, Zanuck signed young actors to help carry 20th Century-Fox: Tyrone Power, Linda Darnell, Carmen Miranda, Don Ameche, Henry Fonda, Gene Tierney, Sonja Henie, Betty Grable. Fox hired Alice Faye and Shirley Temple, who appeared in several major films for the studio in the 1930's. Higher attendance during World War II helped Fox overtake RKO and Metro-Goldwyn-Mayer to become the third most profitable film studio. In 1941, Zanuck was commissioned as a lieutenant colonel in the U. S. Signal Corps and assigned to supervise production of U. S. Army training films, his partner, William Goetz, filled in at Fox. In 1942, Spyros Skouras succeeded Kent as president of the studio. During the next few years, with pictures like The Razor's Edge, Gentleman's Agreement, The Snake Pit and Pinky, Zanuck established a reputation for provocative, adult films. Fox specialized in adaptations of best-selling books such as Ben Ames Williams' Leave Her to Heaven, starring Gene Tierney, the highest-grossing Fox film of the 1940s.
Fox produced film versions of Broadway musicals, including the Rodgers and Hammerstein films, beginning with the musical version of State Fair, the only work that the partnership wrote for films. After the war, with the advent of television, audiences drifted away. 20th Century-Fox held on to its theaters until a court-mandated "divorce". That year, with attendance at half the 1946 level, 20th Century-Fox gambled on an unproven gimmick. Noting that the two film sensations of 1952 had been Cinerama, which required three projectors to fill a giant curved screen, "Natural Vision" 3D, which got its effects of depth by requiring the use of polarized glasses, Fox mortgaged its studio to buy rights to a French anamorphic projection system which gave a slight illusion of depth without glasses. President Spyros Skouras struck a deal with the inventor Henri Chrétien, leaving the other film studios empty-handed, in 1953 introduced CinemaScope in the studio's groundbreaking feature film The Robe. Zanuck announced in February 1953.
To convince theater owners to install this new process, Fox agreed to help pay conversion costs. Seeing the box-office for the first two CinemaScope features, The Robe and How to Marry a Millionaire, Warner Bros. MGM, Universal Pictures, Columbia Pictures and Disney adopted the process. In 1956 Fox engaged Robert Lippert to establish a subsidiary company, Regal Pictures Associated Producers Incorporated to film B pictures in CinemaScope. Fox produced new musicals using the CinemaScope process including Carousel and The King and I. CinemaScope brought a brief upturn in attendance; that year Darryl Zanuck announced his resignation as head of production. Zanuck moved to Paris, setting up as an independent producer being in the United States for many years. Zanuck's successor, producer Buddy Adler, died a year later. President Spyros Skouras brought in a series of production executives, but none had Zanuck's success. By the early 1960s, Fox was in trouble. A new version of Cleopatra had begun in 1959 with Joan Collins in the
Webb Parmelee Hollenbeck, known professionally as Clifton Webb, was an American actor and singer remembered for his roles in such films as Laura, The Razor's Edge, Sitting Pretty. Webb was Oscar-nominated for all three, he was known for his stage appearances in the plays of Noël Coward, including Blithe Spirit, as well as appearances on Broadway in a number of successful musical revues. Webb was born Webb Parmelee Hollenbeck in Indiana, he was the only child of Jacob Grant Hollenbeck, the ticket-clerk son of a grocer from an Indiana farming family, his wife, the former Mabel A. Parmelee, the daughter of David Parmelee, a railroad conductor; the couple married in Kankakee, Illinois, on January 18, 1888, separated in 1891, shortly after their son's birth. According to Marion County, marriage records, they married in Indianapolis on January 18, 1888. In 1892, Webb's mother, now called "Mabelle", moved to New York City with her beloved "little Webb", as she called him for the remainder of her life.
She dismissed questions about her husband, who like her father, worked for the Indianapolis-St. Louis Railroad, by saying, "We never speak of him, he didn't care for the theatre." The couple divorced, since by 1900, Mabelle was married to Green B. Raum, Jr. New York City's 1900 U. S. census indicates Mabelle and her son were using the surname Raum and living on West 77th Street with Green Berry Raum, Jr. a copper-foundry worker, who gave his position in the household as Mabel's husband. Raum was the son of General Green Berry Raum, former U. S. Commissioner of Internal Revenue and former U. S. Commissioner of Pensions. Webb's father, married, as his second wife, Ethel Brown, died in 1939. In 1909, using his new stage name, 19-year-old Clifton Webb had become a professional ballroom dancer partnering with "exceedingly decorative" star dancer Bonnie Glass, his debut on Broadway began when The Purple Road opened at the Liberty Theatre on April 7, 1913. His mother was listed in the program as a member of the opening-night cast.
His next musical was an Al Jolson vehicle, Sigmund Romberg's Dancing Around, which opened at the Winter Garden Theatre on October 10, 1914, ran for 145 performances, closed in the following February. In 1915, Webb was cast in the all-star revue Ned Wayburn's Town Topics, which boasted 117 famous performers, including Will Rogers, as listed in the Century Theatre opening-night program for September 23, 1915, it closed 68 performances on November 20, 1915. In 1916, he had another short run with Cole Porter's comic opera See America First, which opened at the Maxine Elliott Theatre on March 28, 1916, closed after 15 performances on April 8, 1916; the year 1917 proved to be better, with a 233-performance run of Jerome Kern's Love O' Mike, opening on January 15 at the Shubert Theatre. After moving to Maxine Elliott's Theatre, the Casino Theatre, it closed on September 29, 1917. Webb appeared that year with other Broadway stars in the National Red Cross Pageant a 50-minute film of a stage production held to benefit the American Red Cross.
Webb's final show of the 1910s, the musical Listen Lester, had 272 performances. It opened at the Knickerbocker Theatre on December 23, 1918, closed in August 1919. In the 1920s, Webb played in eight Broadway shows and made numerous other stage appearances, including vaudeville, a handful of silent films; the revue As You Were, with additional songs by Cole Porter, opened at the Central Theatre on January 29, 1920, running 143 performances until May 29, 1920. Webb was busy with films, an appearance at the London Pavilion in 1921 as Mr. St. Louis in Fun of the Fayre and in 1922 in Phi-Phi – he did not return to Broadway until 1923, he played in the musical Jack and Jill at the Globe Theatre for 92 performances between March 22 and June 9 of 1923, followed by Lynn Starling's comic play Meet the Wife, which opened on November 26, 1923, ran through the summer of 1924. One of the play's leads was 24-year-old Humphrey Bogart. In 1925, Webb appeared on stage in a dance act with vaudeville star and silent film actress Mary Hay.
That year, when her husband, Tol'able David star Richard Barthelmess and she decided to produce and star the film New Toys, they chose Webb to be second lead. The film proved to be financially successful, but 19 more years would pass before Webb appeared in another feature film. Webb's mainstay was Broadway theatre. Between 1913 and 1947, the tall, slender performer with the clear, gentle tenor appeared in 23 Broadway shows, starting with major supporting roles and progressing to leads, he introduced Irving Berlin's "Easter Parade" and George and Ira Gershwin's "I've Got a Crush on You" in Treasure Girl in 1928. One of his stage sketches, performed with co-star Fred Allen, was filmed by Vitaphone as a short subject entitled The Still Alarm in 1930. Allen's experiences. Most of Webb's Broadway shows were musicals, but he starred in Oscar Wilde's The Importance of Being Earnest, his longtime friend Noël Coward's plays Blithe Spirit and Present Laughter. Webb was in his mid-fifties when act
Ann-Margret Olsson, known as Ann-Margret, is a Swedish-American actress and dancer. As an actress, Ann-Margret is best known for her roles in Bye Bye Birdie, Viva Las Vegas, The Cincinnati Kid, Carnal Knowledge, The Train Robbers,Tommy, Grumpy Old Men, Grumpier Old Men, All's Faire in Love, she has won five Golden Globe Awards and been nominated for two Academy Awards, two Grammy Awards, a Screen Actors Guild Award, six Emmy Awards. In 2010, she won an Emmy Award for her guest appearance on Order: Special Victims Unit, her singing and acting careers span five decades, starting in 1961. She has a sultry vibrant contralto voice, she had a minor hit in 1961 and a charting album in 1964, scored a disco hit in 1979. In 2001, she recorded a critically acclaimed gospel album, an album of Christmas songs in 2004. Ann-Margret Olsson was born in Valsjöbyn, Jämtland County, the daughter of Anna Regina and Carl Gustav Olsson, a native of Örnsköldsvik, she described Valsjöbyn as a small town of "lumberjacks and farmers high up near the Arctic Circle".
Her father worked in the United States during his youth and moved there again in 1942, working with the Johnson Electrical Company, while his wife and daughter stayed behind. Ann-Margret and her mother joined her father in the United States in November 1946, her father took her to Radio City Music Hall on the day they arrived, they settled in Illinois. She became a naturalized citizen of the United States in 1949. Ann-Margret took her first dance lessons at the Marjorie Young School of Dance, showing natural ability from the start mimicking all the steps, her parents were supportive, her mother handmade all of her costumes. To support the family, Ann-Margret's mother became a funeral parlor receptionist after her husband suffered a severe injury on his job. While a teenager, Ann-Margret appeared on the Morris B. Sachs Amateur Hour, Don McNeill's Breakfast Club, Ted Mack's Amateur Hour, she attended New Trier High School in Winnetka and continued to star in theater. In 1959, she enrolled at Northwestern University, where she was a member of the sorority Kappa Alpha Theta, but did not graduate.
As part of a group known as the Suttletones, she performed at the Mist nightclub in Chicago and went to Las Vegas for a promised club date which fell through after the group arrived. They moved on to Los Angeles, through agent Georgia Lund, secured club dates in Newport Beach and Reno, Nevada; the group arrived at the Dunes in Las Vegas, which headlined Tony Bennett and Al Hirt at that time. George Burns heard of her performance, she auditioned for his annual holiday show, in which she and Burns performed a softshoe routine. Variety proclaimed that "George Burns has a gold mine in Ann-Margret... she has a definite style of her own, which can guide her to star status". Ann-Margret began recording for RCA Victor in 1961, her first RCA Victor recording was "Lost Love" from her debut album And Here She Is: Ann-Margret, produced in Nashville with Chet Atkins on guitar, the Jordanaires, the Anita Kerr Singers, with liner notes by mentor George Burns. She had a sexy, throaty contralto singing voice, RCA Victor attempted to capitalize on the'female Elvis' comparison by having her record a version of "Heartbreak Hotel" and other songs stylistically similar to Presley's.
She scored the minor hit "I Just Don't Understand", which entered the Billboard Top 40 in the third week of August 1961 and stayed six weeks, peaking at number 17. The song was covered in live performances by The Beatles and was recorded during a live performance at the BBC, her only charting album was The Beauty and the Beard, on which she was accompanied by trumpeter Al Hirt. Ann-Margret appeared on The Jack Benny Program in 1961, she sang at the Academy Awards presentation in 1962, singing the Oscar-nominated song "Theme from Bachelor in Paradise." Her contract with RCA Victor ended in 1966. In the late 1970s and early 1980s, she had hits on the dance charts, the most successful being 1979's "Love Rush," which peaked at number eight on the disco/dance charts. In 2001, working with Art Greenhaw, she recorded; the album went on to earn a Grammy nomination and a Dove nomination for best album of the year in a gospel category. Her album Ann-Margret's Christmas Carol Collection produced and arranged by Greenhaw, was recorded in 2004.
In 1961, she was signed to a seven-year contract. Ann-Margret made her film debut in a loan-out to United Artists in Pocketful of Miracles, with Bette Davis, it was a remake of the 1933 movie Lady for a Day. Both versions were directed by Frank Capra. Came a 1962 remake of Rodgers and Hammerstein's musical State Fair, playing the "bad girl" role of Emily opposite Bobby Darin and Pat Boone, she had tested for the part of Margie, the "good girl", but seemed too seductive to the studio bosses, who decided on the switch. The two roles represented two sides of her real-life personality — shy and reserved offstage, but wildly exuberant and sensuous onstage. In her autobiography, the actress wrote that she changed "from Little Miss Lollipop to Sexpot-Banshee" once the music began, her next starring role, as the all-American teenager Kim from Sweet Apple, Ohio, in Bye Bye Birdie, made her a major star. The premiere at Radio City Music Hall, 16 years after her first visit to the famed theater, was a smash hit: the highest first-week grossing film to date at the Music Hall.
Life put her on the cove
Milton R. Krasner, A. S. C. was a cinematographer. Working in films since the 1930s, Krasner is remembered for his work in the 1950s at 20th Century-Fox, where he photographed many of the studio's technicolor films, including Demetrius and the Gladiators, Désirée, The Rains of Ranchipur, others, his last film was Beneath the Planet of the Apes. Some of his memorable films include A Double Life, The Set-Up, All About Eve and The Seven Year Itch. Source: Wins Cannes Film Festival: Best Cinematography, for The Set-Up. Academy Awards: Oscar, Best Color Cinematography, for: Three Coins in the Fountain. Nominations Academy Awards: Oscar, Best Color Cinematography, for Arabian Nights. Milton R. Krasner on IMDb. Milton Krasner at AllMovie. Milton Krasner at Film Reference. Photo of Krasner at Find a Grave
Louis Jourdan was a French film and television actor. He was known for his suave roles in several Hollywood films, including Alfred Hitchcock's The Paradine Case, Letter from an Unknown Woman, The Best of Everything, The V. I. P.s and Octopussy. He played Dracula in the 1977 BBC television production Count Dracula. Jourdan was born Louis Robert Gendre in Marseille, France, in 1921, one of three sons of Yvonne and Henry Gendre, a hotel owner, he was educated in France and the UK, studied acting at the École Dramatique. While there, he began acting on the professional stage, where he was brought to the attention of director Marc Allégret, who hired him to work as an assistant camera operator on Entrée des Artistes. Allegret cast Jourdan in what should have been his first movie, Le Corsaire in 1939 opposite Charles Boyer. Filming was never resumed. Jourdan was too young for army service and was hired by Marcel L'Herbier to appear in La Comédie du bonheur in Rome, he was making Untel Fils in that city when Italy declared war on France.
He returned to France, appeared in Premier rendez-vous with Danielle Darrieux, shot in Paris. He spent a year on a work gang. Jourdan was ordered to make German propaganda films, which he refused to do, fled to join his family in unoccupied France. There he started making movies again, ten films in two years, they included several for Allegret: Parade en sept nuits. He was in The Heart of a Nation with Raimu, his father was arrested by the Gestapo. "I was given work to do and I did it", said Jourdan of his time in the resistance. "I worked on illegal leaflets, helping to print and distribute them." After the liberation of France in 1945, he returned to Paris with his childhood sweetheart, Berthe Frédérique. Cited by author James McKay as the "epitome of the suave Continental", Jourdan was spotted in a French film by a talent scout working for David O. Selznick, who offered the actor a contract in March 1946, his first American film was The Paradine Case starring Gregory Peck. The movie is a drama directed by Alfred Hitchcock, who did not want Jourdan cast as the valet in the film.
He appeared in a theatre production of Ghosts in Los Angeles. Jourdan argued with Selznick, who put him on suspension a number of times for refusing roles. Selznick announced Jourdan and Alida Valli for Rupert of Hentzau but the film was not made. Neither was Trilby which Selznick said Jourdan would appear in with Valli and Rossano Brazzi or If This Be My Heart with Valli and Robert Mitchum. With Joan Fontaine, Jourdan starred in the Max Ophüls film Letter from an Unknown Woman. David Thomson in 2010 observed how his performance as Stefan Brand altered as the character aged over the extended period of the film's narrative: "I notice how his way of talking has changed; the younger Stefan was boyish and open. Ten years the man is filled with self-loathing and fake ironies." It was a "signature performance" from Jourdan, Thomson wrote in Have You Seen?, he was "handsome yet a touch empty. John Houseman, the film's producer, "felt he lacked sex appeal, but that shortcoming serves well as his defect of memory," a significant element of the film's plot.
In Hollywood, Jourdan became friends with several stars. Enterprise borrowed him for a box office flop, it was released by MGM. Selznick announced him for The Frenchman and the Bobbysoxer a sequel to The Bachelor and the Bobby-Soxer but it was not made. Selznick sold his interest in Jourdan for one film to Warner Bros. All Jourdan's Hollywood films had lost money, he decided to buy out his contract with Selznick for $50,000. At 20th Century Fox, Jourdan played the lead in a remake of Bird of Paradise; the studio kept him on to appear in Anne of the Indies. He was announced for the romantic male lead in the Fox remake of Les Miserables but ended up not appearing in the film, he was in The Happy Time. He was reunited with Joan Fontaine for Decameron Nights returned home to France to make Rue de l'Estrapade. After appearing in Three Coins in the Fountain, Jourdan made his Broadway début in the lead role in the Billy Rose stage adaptation of André Gide's novel, The Immoralist, he returned to the Great White Way for a short run in 1955, that year he made his American TV début as Inspector Beaumont in the TV series Paris Precinct.
In 1956, he appeared in the film The Swan playing the role of "Dr Nicholas Agi" along with Grace Kelly and Sir Alec Guinness for MGM. This was Kelly's last film, lost money at the box office. More popular was Julie a thriller where Jourdan tormented Doris Day, he returned to France to play the male lead in The Bride Is Much Too Beautiful with Brigitte Bardot as the lead actress, Escapade. In Britain he appeared in Dangerous Exile. Jourdan appeared in his biggest hit to date playing the romantic lead alongside Leslie Caron and Maurice Chevalier in the film version of the novella by Colette, Gigi; this film won nine Academy Awards, including Best Picture. He enjoyed another hit with The Best of Everything, an all star romance in the vein of Three Coins in the Fountain, he appeared in a variety show on
Hollywood on the Tiber
Hollywood on the Tiber is a phrase used to describe the period in the 1950s and 1960s when the Italian capital of Rome emerged as a major location for international filmmaking attracting a large number of foreign productions to the Cinecittà studios. By contrast to the native Italian film industry, these movies were made in English for global release. Although the primary markets for such films were American and British audiences, they enjoyed widespread popularity in other countries, including Italy; the commercial success of Quo Vadis led to a stream of blockbusters produced in Italy by Hollywood studios, which reached its height with 20th Century Fox's Cleopatra in 1963. The phrase "Hollywood on Tiber", a reference to the river that runs through Rome, was coined in 1950 by Time Magazine during the making of Quo Vadis. Following World War II, Hollywood studios shifted production abroad both to take advantage of lower costs and to use frozen funds; these films, known as runaway productions, could benefit from local subsidies.
By the early 1950s, some of the largest-budget American films were being shot in European countries in Britain and Italy. In both countries newly arrived American companies worked alongside continuing large-scale domestic film industries. In Italy, the film-makers used the vast Cinecittà complex, built in the 1930s by Benito Mussolini's Fascist regime, aiming to rebuild Italian cinema. Following Mussolini's overthrow in 1943, production at Cinecittà was suspended and no new films were made until 1948. Although American companies had shot in Italy before, the scale of the post-war investment was unprecedented. Many of the films were sword and sandal epics set in Ancient Rome which required large film sets and location filming. Other films included contemporary-set romances Roman Three Coins in the Fountain; the companies imported actors from a variety of countries, who appeared alongside Italians who played smaller, supporting roles or extras. Sophia Loren was a notable Italian star with sufficient international appeal to be cast in a leading role.
In 1962, the lengthy and troubled production of Cleopatra brought further media attention to the city. The delays led to a spiraling budget, making it the most expensive film made at the time. Far from leading to a decline in Italian cinema, the native industry boomed during the era. In 1960, Italian films outperformed American imports to Italy for the first time since 1946. However, there was a growing influence of Hollywood-style productions, as popular Italian genres such as the Sword-and-sandal and Spaghetti Western attempted to imitate successful Hollywood productions. Italian actors and directors adopted English-sounding names. Cinecittà was at the peak of its international fame between the production of Ben Cleopatra; as the 1960s drew on, the fashion for classical epics began to decline following the commercial failure of The Fall of the Roman Empire, although films in other genres such as David Lean's Doctor Zhivago continued to be profitable. In 2009 a documentary film Hollywood on the Tiber was released.
It portrays Cinecittà and the various stars who worked there between 1950 and 1970. Quo Vadis Roman Holiday Three Coins in the Fountain The Barefoot Contessa War and Peace Trapeze Helen of Troy Boy on a Dolphin Ben-Hur It Started in Naples Cleopatra Jason and the Argonauts The Pink Panther The Fall of the Roman Empire The Agony and the Ecstasy Balio, Tino; the Foreign Film Renaissance on American Screens, 1946–1973. Univ of Wisconsin Press, 5 Nov 2010. Bondanella, Peter. A History of Italian Cinema. Continuum, 2009. Gundle, Stephen. Mussolini's Dream Factory: Film Stardom in Fascist Italy. Berghahn Books, 2013. McElhaney, Joe; the Death of Classical Cinema: Hitchcock, Minnelli. SUNY Press, 2012. Torriglia, Anna Maria. Broken Time, Fragmented Space: A Cultural Map for Postwar Italy. University of Toronto Press, 2002. Wrigley, Richard Cinematic Rome. Troubador Publishing, 2008