text:
After the Sunset
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After the Sunset
International poster
Directed by
Brett Ratner
Produced by
Beau Flynn
Jay Stern
Tripp Vinson
Screenplay by
Paul Zbyszewski
Craig Rosenberg
Story by
Paul Zbyszewski
Starring
Pierce Brosnan
Salma Hayek
Woody Harrelson
Don Cheadle
Music by
Lalo Schifrin
Cinematography
Dante Spinotti
Edited by
Mark Helfrich
Distributed by
New Line Cinema
Release date
November 12, 2004 (2004-11-12)
Running time
97 minutes
Country
United States
Language
English
Budget
$59 million
Box office
$61,347,797
After the Sunset is a 2004 action comedy film starring Pierce Brosnan as Max Burdett, a master thief caught in a pursuit with FBI agent Stan Lloyd, played by Woody Harrelson. The film was directed by Brett Ratner and shot in the Bahamas.
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Reception
4.1 Box office
4.2 Critical response
5 References
6 External links
Plot[edit]
Master thief Max Burdett (Pierce Brosnan) and his beautiful accomplice, Lola Cirillo (Salma Hayek), steal the second of three famous diamonds, known as the Napoleon diamonds, from FBI Agent Stanley P. Lloyd (Woody Harrelson). But Lloyd shoots Max before passing out from being gassed by the thieves. Max survives and tells Lola to get the diamond. She does, leaving in its place the one-dollar bill that she had received as a tip for washing the agents' windshield (while in disguise). Max and Lola then fly to Paradise Island in The Bahamas.
Agent Lloyd shows up 6 months later and accuses Burdett of planning to steal the third Napoleon diamond, which is on a cruise ship that will be docking for a week on the island. He denies this, and unwittingly turns the tables and befriends the frustrated detective Lloyd, showing him the pleasures that Paradise Island has to offer, even paying for the most expensive suite, the bridge suite, for as long as Lloyd is there. Lloyd, out of his element, adapts quickly to the easy-going Caribbean lifestyle and partners up with Sophia, a local constable, to try to capture Max at last when he steals the diamond, which Max visits and later gives in to the temptation to steal. Henri Mooré, a powerful, popular tycoon thought of by some as a gangster, learns of Burdett's impressive history as a thief and offers him additional island-life benefits and pleasures in return for stealing the diamond.
Burdett, still wanting the diamond for himself, pretends to work with Mooré, and gives him a fake plan as to how he would steal the diamond (which he had earlier related to Stan), having no trouble keeping ahead of his nemesis in the meantime. Lola kicks Max out after he breaks his promise to spend their first sunset on her new deck she had been working on and after she finds out he lied about writing his vows to her. Max is forced to bunk with Stan, and they share their thoughts about each other's lives. The next morning, the authorities and Sophie discover them, revealing that Stan's FBI license is suspended. They team up to win back Sophia and Lola, but Max still gives in and uses the dive trip as a distraction to steal the diamond, which works perfectly when Mooré's man tries at the same time is a caught after the fake plan doesn't work. After the fallout, Lola leaves Max after Lloyd shoots Mooré dead when he comes for the diamond. He realizes his error, writes his vows, and manages to win back Lola at the airport before she leaves, proposing to her with "the first diamond he ever bought".
The next day, Max is met by Stan while celebrating, who reveals he set him up and let Max do all the work while he later recovered the diamond. Max concedes that his nemesis has won this time, and is simply happy to live out his life with Lola, watching sunsets. However, he has fun with Stan when he tries to leave by remote controlling his car again, promising Lola it is the last time.
Cast[edit]
Pierce Brosnan as Max Burdett
Salma Hayek as Lola Cirillo
Woody Harrelson as Stan Lloyd
Don Cheadle as Henri Mooré
Naomie Harris as Sophie
Rex Linn as Agent Kowalski, a fellow FBI agent.
Mykelti Williamson as Agent Stafford
Troy Garity as Luc
Obba Babatundé as Zacharias
Michael Bowen as FBI Driver
Russell Hornsby as Jean-Paul, Mooré's bodyguard
Mark Moses as Lakers FBI Agent
Chris Penn as Rowdy Fan
Joel McKinnon Miller as Wendell
Alan Dale as Security Chief
Noémie Lenoir as Mooré's Girl
John Michael Higgins as Hotel Manager (uncredited)
The film also features several cameos, including Gary Payton, Karl Malone, Phil Jackson, Jeff Garlin, Dyan Cannon, Edward Norton and Shaquille O'Neal as themselves.
Production[edit]
Paul Zbyszewski's original screenplay for After the Sunset was discovered by producers Beau Flynn and Tripp Vinson, both known for producing movies such as Tigerland (2000) and Requiem for a Dream (2000). The script was purchased by New Line Cinema and the producers hired Australian screenwriter Craig Rosenberg to create a re-write. Both the studio and the producers agreed that their first choice for the role of master thief Max Burdett was Pierce Brosnan.[1] Salma Hayek, Oscar-nominated for her role in Frida (2002), was the next to join the cast.[2]
Next to join the cast was director Brett Ratner.[3] The film had originally been scheduled to be directed by John Stockwell but Stockwell dropped out due to creative differences.[4] Talking about joining the movie, Ratner said: "I love caper films. There are so many great films in this genre, but what makes After the Sunset different is that it's a heist movie that has a combination of great relationships, heart and comedy."
Chris Tucker and Jackie Chan were both offered film cameos as American police officers (a nod to the Rush Hour series which Brett Ratner also directed) but turned them down.
With the two leads set, Woody Harrelson was cast in the role of Burdett’s nemesis, FBI agent Stanley Lloyd.[5] Harrelson said during promotion: "When this movie came along, I loved it right away." Don Cheadle's casting marked a third collaboration with Ratner, following The Family Man (2000) and Rush Hour 2 (2001). The role of Sophie, the Bahamian cop, was the next role to be cast. British actress Naomie Harris landed the role.[6]
With the majority of the script set on an island in the Caribbean, the filmmakers decided to shoot in The Bahamas, Basing their production out of the Atlantis resort in Nassau, cast and crew flew in from Los Angeles, Miami and New York City to commence filming.
Reception[edit]
Box office[edit]
The film opened at #3 in the North American box office, earning $11,100,392 in its opening weekend, with its widest release in 2,819 theaters. It grossed $28,331,233 domestically and $33,016,564 in international markets, adding up to a worldwide gross of $61,347,797.[7]
Critical response[edit]
After the Sunset has an 18% approval rating based on 139 reviews from critics at the review aggregator website Rotten Tomatoes,[8] with the critical consensus "A slick but bland thriller." At the website Metacritic, which utilizes a normalized rating system, the film earned a rating of 38/100 based on 32 reviews.[9]
References[edit]
Jump up ^ "NL catches Brosnan for 'Sunset' sail". The Hollywood Reporter (subscription only). 2003-03-26. Retrieved 2007-04-27.
Jump up ^ "Salma Hayek Sits in Sunset with Pierce Brosnan". Variety. 2003-07-03. Archived from the original on 2007-09-30. Retrieved 2007-04-27.
Jump up ^ Rowe, Vincent (2003-08-11). "Brett Ratner Sails to Sunset". FilmStew.com. Retrieved 2007-04-27.
Jump up ^ "Brett Ratner Goes in After the Sunset". ComingSoon.net. 2003-08-05. Archived from the original on 2007-09-30. Retrieved 2007-04-27.
Jump up ^ " Woody Harrelson a Nemesis After the Sunset". ComingSoon.net. 2003-07-23. Archived from the original on 2007-09-30. Retrieved 2007-04-27.
Jump up ^ "Harris sailing into Sunset with New Line". The Hollywood Reporter (subscription only). 2003-10-03. Retrieved 2007-04-27.
Jump up ^ "After the Sunset (2004)". Box Office Mojo. Retrieved 2008-12-19.
Jump up ^ "After the Sunset at Rottentomatoes.com". Rotten Tomatoes. Retrieved December 19, 2008.
Jump up ^ "After the Sunset". Metacritic. Retrieved December 19, 2008.
External links[edit]
"Official website". Archived from the original on 2004-10-12. Retrieved 2007-05-06.
After the Sunset on IMDb
After the Sunset at AllMovie
After the Sunset at Box Office Mojo
After the Sunset at Rotten Tomatoes
[hide]
v
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Films directed by Brett Ratner
Money Talks (1997)
Rush Hour (1998)
The Family Man (2000)
Rush Hour 2 (2001)
Red Dragon (2002)
After the Sunset (2004)
X-Men: The Last Stand (2006)
Rush Hour 3 (2007)
Tower Heist (2011)
Hercules (2014)
Retrieved from "https://en.wikipedia.org/w/index.php?title=After_the_Sunset&oldid=838301043"
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F-test
From Wikipedia, the free encyclopedia
Jump to: navigation, search
An F-test is any statistical test in which the test statistic has an F-distribution under the null hypothesis. It is most often used when comparing statistical models that have been fitted to a data set, in order to identify the model that best fits the population from which the data were sampled. Exact "F-tests" mainly arise when the models have been fitted to the data using least squares. The name was coined by George W. Snedecor, in honour of Sir Ronald A. Fisher. Fisher initially developed the statistic as the variance ratio in the 1920s.[1]
Contents
[hide]
1 Common examples of F-tests
1.1 F-test of the equality of two variances
2 Formula and calculation
2.1 Multiple-comparison ANOVA problems
2.2 Regression problems
3 References
4 Further reading
5 External links
Common examples of F-tests[edit]
Common examples of the use of F-tests include the study of the following cases:
The hypothesis that the means of a given set of normally distributed populations, all having the same standard deviation, are equal. This is perhaps the best-known F-test, and plays an important role in the analysis of variance (ANOVA).
The hypothesis that a proposed regression model fits the data well. See Lack-of-fit sum of squares.
The hypothesis that a data set in a regression analysis follows the simpler of two proposed linear models that are nested within each other.
In addition, some statistical procedures, such as Scheffé's method for multiple comparisons adjustment in linear models, also use F-tests.
F-test of the equality of two variances[edit]
Main article: F-test of equality of variances
The F-test is sensitive to non-normality.[2][3] In the analysis of variance (ANOVA), alternative tests include Levene's test, Bartlett's test, and the Brown–Forsythe test. However, when any of these tests are conducted to test the underlying assumption of homoscedasticity (i.e. homogeneity of variance), as a preliminary step to testing for mean effects, there is an increase in the experiment-wise Type I error rate.[4]
Formula and calculation[edit]
Most F-tests arise by considering a decomposition of the variability in a collection of data in terms of sums of squares. The test statistic in an F-test is the ratio of two scaled sums of squares reflecting different sources of variability. These sums of squares are constructed so that the statistic tends to be greater when the null hypothesis is not true. In order for the statistic to follow the F-distribution under the null hypothesis, the sums of squares should be statistically independent, and each should follow a scaled χ²-distribution. The latter condition is guaranteed if the data values are independent and normally distributed with a common variance.
Multiple-comparison ANOVA problems[edit]
The F-test in one-way analysis of variance is used to assess whether the expected values of a quantitative variable within several pre-defined groups differ from each other. For example, suppose that a medical trial compares four treatments. The ANOVA F-test can be used to assess whether any of the treatments is on average superior, or inferior, to the others versus the null hypothesis that all four treatments yield the same mean response. This is an example of an "omnibus" test, meaning that a single test is performed to detect any of several possible differences. Alternatively, we could carry out pairwise tests among the treatments (for instance, in the medical trial example with four treatments we could carry out six tests among pairs of treatments). The advantage of the ANOVA F-test is that we do not need to pre-specify which treatments are to be compared, and we do not need to adjust for making multiple comparisons. The disadvantage of the ANOVA F-test is that if we reject the null hypothesis, we do not know which treatments can be said to be significantly different from the others, nor, if the F-test is performed at level α, can we state that the treatment pair with the greatest mean difference is significantly different at level α.
The formula for the one-way ANOVA F-test statistic is
F = explained variance unexplained variance , {\displaystyle F={\frac {\text{explained variance}}{\text{unexplained variance}}},}
or
F = between-group variability within-group variability . {\displaystyle F={\frac {\text{between-group variability}}{\text{within-group variability}}}.}
The "explained variance", or "between-group variability" is
∑ i = 1 K n i ( Y ¯ i ⋅ − Y ¯ ) 2 / ( K − 1 ) {\displaystyle \sum _{i=1}^{K}n_{i}({\bar {Y}}_{i\cdot }-{\bar {Y}})^{2}/(K-1)}
where Y ¯ i ⋅ {\displaystyle {\bar {Y}}_{i\cdot }} denotes the sample mean in the i-th group, n i {\displaystyle n_{i}} is the number of observations in the i-th group, Y ¯ {\displaystyle {\bar {Y}}} denotes the overall mean of the data, and K {\displaystyle K} denotes the number of groups.
The "unexplained variance", or "within-group variability" is
∑ i = 1 K ∑ j = 1 n i ( Y i j − Y ¯ i ⋅ ) 2 / ( N − K ) , {\displaystyle \sum _{i=1}^{K}\sum _{j=1}^{n_{i}}\left(Y_{ij}-{\bar {Y}}_{i\cdot }\right)^{2}/(N-K),}
where Y i j {\displaystyle Y_{ij}} is the jth observation in the ith out of K groups and N is the overall sample size. This F-statistic follows the F-distribution with K-1, N-K degrees of freedom under the null hypothesis. The statistic will be large if the between-group variability is large relative to the within-group variability, which is unlikely to happen if the population means of the groups all have the same value.
Note that when there are only two groups for the one-way ANOVA F-test, F = t 2 {\displaystyle F=t^{2}} where t is the Student's t statistic.
Regression problems[edit]
Further information: Stepwise regression
Consider two models, 1 and 2, where model 1 is 'nested' within model 2. Model 1 is the restricted model, and Model 2 is the unrestricted one. That is, model 1 has p1 parameters, and model 2 has p2 parameters, where p2 > p1, and for any choice of parameters in model 1, the same regression curve can be achieved by some choice of the parameters of model 2. The model with more parameters will always be able to fit the data at least as well as the model with fewer parameters. Thus typically model 2 will give a better (i.e. lower error) fit to the data than model 1. But one often wants to determine whether model 2 gives a significantly better fit to the data. One approach to this problem is to use an F-test.
If there are n data points to estimate parameters of both models from, then one can calculate the F statistic, given by
F = ( RSS 1 − RSS 2 p 2 − p 1 ) ( RSS 2 n − p 2 ) , {\displaystyle F={\frac {\left({\frac {{\text{RSS}}_{1}-{\text{RSS}}_{2}}{p_{2}-p_{1}}}\right)}{\left({\frac {{\text{RSS}}_{2}}{n-p_{2}}}\right)}},}
where RSSi is the residual sum of squares of model i. If the regression model has been calculated with weights, then replace RSSi with χ2, the weighted sum of squared residuals. Under the null hypothesis that model 2 does not provide a significantly better fit than model 1, F will have an F distribution, with (p2−p1, n−p2) degrees of freedom. The null hypothesis is rejected if the F calculated from the data is greater than the critical value of the F-distribution for some desired false-rejection probability (e.g. 0.05). The F-test is a Wald test.
References[edit]
Jump up ^ Lomax, Richard G. (2007). Statistical Concepts: A Second Course. p. 10. ISBN 0-8058-5850-4.
Jump up ^ Box, G. E. P. (1953). "Non-Normality and Tests on Variances". Biometrika. 40 (3/4): 318–335. JSTOR 2333350. doi:10.1093/biomet/40.3-4.318.
Jump up ^ Markowski, Carol A; Markowski, Edward P. (1990). "Conditions for the Effectiveness of a Preliminary Test of Variance". The American Statistician. 44 (4): 322–326. JSTOR 2684360. doi:10.2307/2684360.
Jump up ^ Sawilowsky, S. (2002). "Fermat, Schubert, Einstein, and Behrens–Fisher: The Probable Difference Between Two Means When σ12 ≠ σ22". Journal of Modern Applied Statistical Methods. 1 (2): 461–472.
Further reading[edit]
Fox, Karl A. (1980). Intermediate Economic Statistics (Second ed.). New York: John Wiley & Sons. pp. 290–310. ISBN 0-88275-521-8.
Johnston, John (1972). Econometric Methods (Second ed.). New York: McGraw-Hill. pp. 35–38.
Kmenta, Jan (1986). Elements of Econometrics (Second ed.). New York: Macmillan. pp. 147–148. ISBN 0-02-365070-2.
Maddala, G. S.; Lahiri, Kajal (2009). Introduction to Econometrics (Fourth ed.). Chichester: Wiley. pp. 155–160. ISBN 978-0-470-01512-4.
External links[edit]
Testing utility of model – F-test
Table of F-test critical values
FTEST in Microsoft Excel which is different
Free calculator for F-testing
The F-test for Linear Regression
The F distribution and the basic principle behind ANOVAs
Econometrics lecture (topic: hypothesis testing) on YouTube by Mark Thoma
[hide]
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Statistics
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[show]
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[hide]
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[show]
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[show]
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[show]
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Jerry Dandrige
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Jerry Dandrige
Chris Sarandon as Jerry Dandrige
Created by
Tom Holland
Portrayed by
Chris Sarandon (1985)
Colin Farrell (2011)
Information
Species
Vampire
Gender
Male
Spouse(s)
Gabriella Dandridge
Relatives
Regine Dandridge (sister)
Jerry Dandrige is a fictional vampire. He first appears in the 1985 film Fright Night portrayed by Chris Sarandon, which was later spun-off into a comic book series that utilized Sarandon's likeness. Dandrige, portrayed by Colin Farrell, also appears in the 2011 remake both of which he is the main antagonist. The original screenplay[1] and film credits spell his last name "Dandrige", but some secondary sources, including the makers of the tie-in comics, use the spelling, "Dandridge" (with a third "d").
Contents
[hide]
1 Fright Night (1985)
2 Fright Night (Comics)
3 Fright Night (2011)
4 In other media
5 Interpretations
6 Notes
7 References
Fright Night (1985)[edit]
Jerry Dandrige moves in next door to teenager Charley Brewster (William Ragsdale) and his divorced mother. Charley begins to suspect Dandrige is a killer after seeing a news report about a murdered woman whom Charley had seen in Dandrige's house, and the boy later makes the horrifying discovery that Dandrige is a vampire while spying on him through a window. Danridge soon learns about Charley's investigation of him and threatens his life, which leads Charley to seek out a TV host named Peter Vincent (Roddy McDowall) to help him find a way to kill Dandrige.
Fright Night (Comics)[edit]
Aside from using the alternate spelling of his name, the comics remain consistent with the original film. After his death, Dandridge's ashes are collected by The Legion of the Endless night, a powerful vampire organization. With the aid of a witch and using the body of an all-star NBA player named Moves Wilson, the Legion are able to resurrect Dandridge, who is now blessed with the ability to withstand the rays of the sun. As the Legion falls apart, Dandridge flees to France and begins to amass his own legion of vampires, beginning with a Parisian prostitute named Lili.
Fright Night (2011)[edit]
The character also appears in the 2011 remake of the film, also called Fright Night. Neighbor Charley Brewster (Anton Yelchin) comes to suspect that Dandrige is a vampire and responsible for the disappearances of several neighborhood residents.
In other media[edit]
An arcade-style computer game was released in 1988 for Amiga computers. In the game, players assume the role of Jerry Dandrige as he attempts to turn his victims into vampires before sunrise.[2]
Jerry Dandridge is a minor character in the 1995 Kim Newman novel The Bloody Red Baron.
Fright Night 2: New Blood features Elisabeth Bathory (played by Jaime Murray), a vampire using the alias "Gerri Dandridge", but the characters are otherwise apparently unrelated.
Interpretations[edit]
Jerry Dandrige is portrayed as classic-type vampire who drifts from town to town to feed on the blood of living human victims. In both 1985 and 2011 film versions, he has all the ordinary powers that vampires in both contemporary literature and screen have which includes super-human strength and speed, sleeping in a coffin by day, not being able to enter a person's private house without an invite, turning into a vampire bat, being repelled by crosses, holy water, and can be killed by either sunlight or a wooden stake through his heart. In the 1985 version, Dandridge is said to be over 1,000 years old and comes from a long-extinct vampire clan based in Europe. In the 2011 version, Dandridge is said to be at least 400 years old and belongs to a similar extinct vampire clan based on an island in the Mediterranean Sea. In both versions, he has a vampire form of grey scaly skin, red-colored eyes, and rows of sharp teeth and sharpened fingernails that he hides with handsome human features. In the 1985 version, he has a part-human part-ghoul companion and daytime protector named Billy Cole who travels with him. In both versions, Dandridge appears reluctant to kill and feed off human blood, but seems to accept it as his means of survival. On top of that, Dandridge will do anything, including committing murder, to protect his secret. In one scene of the 1985 film, when Dandridge confronts Charley Brewster about him spying on and investigating him, Dandridge offers Charley a one-time choice to keep silent about his being a vampire and of his recent kills—a lifestyle that Dandridge claims not to have a choice in the matter himself. The 2011 version portrays Dandridge in a more sinister and less sympathetic light than in the 1985 version, as the Dandridge in the 2011 film keeps his victims alive in a secret section of his house where he feeds on their blood on a nightly basis.
In the original film, Jerry Dandrige has been variously interpreted as gay, bisexual, and "metrosexual". Literary critic John Kenneth Muir noted instances in the original film in which Dandrige and his human-slave protector are posed in potentially sexual positions. These include a scene in which Dandrige's male companion and daytime protector, Billy Cole, kneels before Dandrige. Cole is dressing a wound Dandrige has received, but Muir found the position reminiscent of fellatio. Dandrige's speech to "Evil" Ed Thompson, in which Dandrige convinces Ed to become a vampire, is also cast in the language of homosexual seduction. Ed is placed in a physically submissive stance, and Dandrige speaks of Ed's outsider status in language that echoes the outsider status of homosexuals in the 1980s.[3]
Anthropologist Paul Clough and cultural critic Jon P. Mitchell characterized Dandrige as "beautiful but strange" and a man interested in seeking out relationships with young boys and young girls. Dandrige introduces Charley to homosexuality, bisexuality and, through his victims, prostitution. They called Dandrige's actions a metaphor for sexually transmitted diseases in general and HIV in particular.[4]
According to Fright Night editor Kent Beyda, writer-director Tom Holland deliberately set out to insert homosexual imagery and themes into the film. He confirmed that the scene in which Cole goes to his knees in front of Dandrige was intended to evoke homosexuality as part of Holland's intent to explore every sexual aspect of the vampire myth.[5]
Notes[edit]
Jump up ^ Scribd - Fright Night (1985) Script
Jump up ^ Moby Games: Fright Night
Jump up ^ Muir, p. 445
Jump up ^ Clough and Mitchell, p. 198
Jump up ^ Muir, pp. 445–46
References[edit]
Clough, Paul and Jon P. Mitchell (2001). Powers of Good and Evil: Moralities, Commodities, and Popular Belief. Berghahn Books. ISBN 1571813136.
Muir, John Kenneth (2013). Horror Films of the 1980s. Mcfarland. ISBN 0786455012.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Jerry_Dandrige&oldid=807643840"
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Jeepers Creepers 3
From Wikipedia, the free encyclopedia
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Jeepers Creepers 3
Directed by
Victor Salva
Produced by
Michael Ohoven
Jake Seal
Victor Salva
Written by
Victor Salva
Starring
Jonathan Breck
Meg Foster
Gabrielle Haugh
Chester Rushing
Stan Shaw
Brandon Smith
Gina Philips
Music by
Andrew Morgan Smith
Cinematography
Don E. FauntLeRoy
Edited by
Misty Talley
Production
company
Infinity Films
Myriad Pictures
Distributed by
Screen Media Films
Release date
September 26, 2017 (2017-09-26)
Running time
100 minutes
Country
United States
Language
English
Box office
US$3.2 million[1]
Jeepers Creepers 3 is a 2017 American horror film written and directed by Victor Salva, and the third Jeepers Creepers film, taking place in between Jeepers Creepers and Jeepers Creepers 2. Jonathan Breck reprises his role as the Creeper. Gina Philips returns in a cameo as her character Trish Jenner, her first time returning to the series since the original film.
The film was shown in theaters on September 26, 2017, in what was originally announced as a one-night-only showing, and was then shown again on October 4, 2017.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Filming
4 Release
4.1 Home media
5 Marketing
6 Controversy
7 Reception
7.1 Box office
7.2 Critical response
8 Sequel
9 See also
10 References
11 External links
Plot[edit]
The film opens with a shuriken flying through the air and hitting a wooden post as a man runs for his life. When the man reaches the road, the Creeper drops from the sky and flies off with him, while another man watches from his truck. When he gets out to investigate he looks up in the air and sees a severed hand fall from the sky.
Twenty-three years later, shortly after the events of the first film, the police discover the Creeper's truck filled with dead bodies. The truck has been rigged with several booby-traps, including spikes that emerge from the bed of the truck, and a spear that shoots out from the tail-pipe. When Sheriff Dan Tashtego arrives, Sergeant Davis Tubbs tells him what happened and Tashtego informs him that the Creeper has been around for thousands of years and must be stopped. They then rush to get the Creeper's truck back after learning it is headed for the impound.
As Frank and Deputy Lang transport the vehicle, the Creeper lands on the tow truck and severs the cables. They then watch as the truck drives off seemingly on its own, while the Creeper stands on top of it. When the truck returns, the Creeper abducts Frank while Lang stands frozen in fear. The next day, Gaylen Brandon sees a vision of her son Kenny, who was killed by the Creeper twenty-three years earlier. He warns her that the Creeper will return soon to uncover something buried on the property and will kill anyone who is still there, including her and her granddaughter, Addison, when it does.
Meanwhile, Tashtego informs Tubbs that he has put together a small team to hunt down the Creeper and kill it once and for all. Later, a group of teenagers discover the Creeper's truck in a field. After finding the bodies, they take off on dirt bikes, but Kirk is shot in the leg with the spear. As two of the other boys try to free him, the Creeper returns and kills them both with another spear. The last boy is abducted by the Creeper as he tries to escape after peeing on the Creeper's truck.
Later, Addison goes into town to buy hay for her horse. When she can't pay for it, her friend Buddy helps her out and the two drive to a plantation house to deliver more hay. There they find the owner and a couple other men hiding under cars, but before they can get help the Creeper arrives and abducts Addison, leaving Buddy traumatized. Gaylen discovers a sack containing the Creeper's severed hand buried in her front yard, and when she touches it she goes into a hypnotic state.
When Tashtego and Tubbs arrive with the team, she reveals that the hand contains secrets about the Creeper's origins, and Tashtego decides to touch it to uncover a way to kill it. Addison wakes up in the Creeper's truck with Kirk, and together they try to find a way out, but when Kirk reaches for the door handle a metal pipe shoots out and impales him in the head.
Meanwhile, Tashtego and Tubbs discover the Creeper's location, and they head off to find him, along with Michael (who has a machine gun attached to his truck). They find the Creeper driving down the highway in his truck, but when they shoot at it, the bullets deflect, and Michael is killed. A small explosive is ejected from the bottom of the Creeper's truck, and when it goes off, Tashtego and Tubbs' car lands in a field. Tubbs gets out and tries to shoot the Creeper, but all of his attempts fail. However, before the Creeper can kill Tubbs, Tashtego calls him and he goes for him instead. When the Creeper jumps into the air, Tashtego shoots him several times with the machine gun, but the bullets have no effect and he is tackled to the ground and struck in the head with an axe.
That night, the Creeper discovers that Addison is still alive, but before he can kill her, she causes the metal pipe to shoot out and impale him in the head. She quickly escapes and runs through a field, and the Creeper throws a shuriken which barely misses her head. He then throws a spear at her, which also barely misses her. He tries one last time to hit her with an axe, but he is hit by a truck and Addison runs away. When the truck driver gets out to see what happened, he is killed by the Creeper. Addison runs and hides in a field where she is found by Gaylen and Buddy and the three leave together. The Creeper later returns to Gaylen's house where he finds a sign that says 'We know what you are', along with the hand, and yells out in anger.
The next day, Addison says goodbye to Buddy before he leaves for a high school basketball game in the same bus that is attacked by the Creeper in the second movie. Twenty-three years later, Trish Jenner is seen reading a letter she presumably wrote on a computer calling for people to fight against the Creeper when it returns, and vows to get revenge on the Creeper for the death of her brother, Darry.
Cast[edit]
Stan Shaw as Sheriff Dan Tashtego
Gabrielle Haugh as Addison Brandon
Brandon Smith as Sergeant Davis Tubbs
Meg Foster as Gaylen Brandon
Ryan Moore as Kirk Mathers
Chester Rushing as Buddy Hooks
Michael Sirow as Michael Miller
Joyce Giraud as Deputy Dana Lang
Jordan Salloum as Kenny Brandon
Gina Philips as Patricia “Trish” Jenner
Jonathan Breck as The Creeper
Jason Bayle as Cal Hooks
Michael Papajohn as Frank
Thomas Francis Murphy as Mr. Bernardi
Patrick Thomas Cragin as Luke
Justin Dwayne Hall as Red
Frankie Smith as Jody
Cade Burke as Jessie
Carrie Lazar as Beth Mathers
Megan Wright as Gracie Mathers
Mark Chavarria as Jenkins
David R. Davis as SWAT Team One
Don Yesso as SWAT Team Leader
Production[edit]
The third film was in talks even before Jeepers Creepers 2 was released back in 2003. In 2006, the movie was "announced" and was tentatively called Jeepers Creepers 3: The Creeper Walks Among Us. MGM had originally planned to release the movie direct to DVD, but was unable to find proper financing. The movie's script was written by director Victor Salva, with the new title Jeepers Creepers 3: Cathedral, with Gina Philips returning as Trish Jenner from the first film. For nine more years, the film faced many false starts and setbacks, with Victor Salva saying "the film has come close many times to going before the cameras, and I hope someone sees the wisdom in shooting this".[2]
Officially on September 11, 2015, the movie got the green light to start filming from Myriad Pictures, and was to begin filming in early 2016. However, before filming could begin in Vancouver, British Columbia, Canadian talent agencies sent out an alert to warn others about Victor Salva's criminal past, and then the casting calls were removed, which halted the production. However, producer Stan Spry assured a fan on Twitter that the movie was not cancelled.[3]
On the special edition Blu-ray release of Jeepers Creepers 2, Victor Salva stated that he has written a new script for Jeepers Creepers 3 set between the days of Jeepers Creepers and Jeepers Creepers 2, where the Creeper terrorizes a farming community. Plans changed yet again, as Gina Philips was brought in to reprise her role as Trish in a cameo. The film's plot is set in between the first two films, in the year 2001, although the original Cathedral storyline had the film take place 23 years after the first two films. Actor Stan Shaw, who plays a sheriff in this film, confirmed to a fan on Twitter that the Cathedral storyline was scrapped as that material was more than 12 years old.[4]
Filming[edit]
In January 2017, it was confirmed the film was back in pre-production and that filming would begin in February 2017 in Louisiana, instead of Canada as originally planned (more closely duplicating the Florida setting of the original film). Principal photography finally began on February 15, 2017 in Baton Rouge, Louisiana. On April 4, one of the cameras of the production revealed in their social networks that the filming was already finished.[5]
Release[edit]
During an interview for the Edmond Sun, Justin Hall specifically revealed that the film would be released on September 4, but nothing was confirmed by Victor Salva or the movie studio.[6] On August 16, the AMC Theatres website stated Jeepers Creepers 3 opens on September 26, 2017. On August 29, selected theaters began selling tickets along with the official poster, revealing that the film would be on display for only one night. Fathom Events then announced that the film's premiere would also feature never-before-seen bonus pictures and an interview with Jonathan Breck, who plays the Creeper in all three franchise films.[7] A second showing in theaters on October 4 was later added.[8] Fandango updated the brief film synopsis shortly after, "this Fall, the Creeper returns. See the next film in the iconic horror franchise when Jeepers Creepers 3 returns for a special encore event in movie theaters nationwide for only one night on Wednesday, October 4."[9] Other participating theaters included Marcus Theaters[10] and Galaxy Theaters[11]
The film's Facebook account announced that the film would have its television premiere on the Syfy network on October 28, 2017.[12] The channel aired an encore showing on October 29.[citation needed]
Home media[edit]
The film was released on DVD and Blu-ray on December 26, 2017.[13]
Marketing[edit]
Since the announcement of the final filming, several photos began to appear on the internet implying that they were photos leaked from the post-production of Jeepers Creepers 3, mainly for presenting the actor Stan Shaw that had already been confirmed in the film. The photos ended up being confirmed and shortly after it was released a Behind the Scenes video of the film in social networks.[14]
The first teaser trailer for 30 seconds was released on September 6 and the official trailer for the movie was released on September 15 on various YouTube trailer channels.[15]
Controversy[edit]
Jeepers Creepers 3 sparked controversy over using child molestation as a plotline, which resulted in criticism of the film due to director Victor Salva's 1988 incarceration for sexual abuse of a 12-year-old and possesion of child pornography.[16] The dialogue “Can you blame him though? I mean look at her, the heart wants what it wants, am I right?”, in reference to the film's character of a sexual abuse victim, was singled out for criticism, ultimately being removed from the theatrical cut, although it was present in the screener version delivered to critics.[16][17]
Reception[edit]
Box office[edit]
During its limited two-day run, Jeepers Creepers 3 grossed US$2.3 million in the United States and US$997,710 in other territories for a worldwide total of US$3.2 million. The film opened in 635 theaters for one day and debuted in #3 in Tuesday box office rankings, alongside Kingsman: The Golden Circle and It.[18]
Critical response[edit]
On Rotten Tomatoes, the film holds a negative approval rating of 20% based on 5 reviews, with a weighted average rating of 4.1/10.[19]
Film critic Steve Pulaski gave the film a mixed review, saying that "through all its shortcomings, some admittedly due to what the wonders the passing of time does to one's expectations, I did find some enjoyment in Jeepers Creepers 3. All of these films have been a tad different from their predecessor, and this one is no exception. It clearly wants to give fans something they can appreciate, it just doesn't always know the best route."[20] Steve Barton in review to Dread Central gave the film three and a half out of five stars and said, "at the end of the day if you're a fan of the franchise, you'll be happy with this latest entry… which for my tastes is better than the second but just falls short of the goodness and quality of the original experience. The door has been left open for Jeepers Creepers 4, and whether or not that will happen remains to be seen".[21]
However, Robert Yaniz, Jr. from We Got This Covered said that "lacking in imagination or genuine scares, Jeepers Creepers 3 falls tragically short on just about every front".[22] Adam Dileo from IGN gave his verdict saying that being "an unremarkable entry in a cult favorite franchise, Jeepers Creepers 3 offers fans too little to get excited about. While the monster still rules its slice of country highway and the skies above it, the rest of the film crashes in the cornfields".[23] Ernie Trinidad gave the film two out of five stars, stating that the film "didn't deliver the story fans were anticipating nor provide enough incentive to want to return for the inevitable sequel". Trinidad also felt that the film's daytime setting only managed to draw attention to its low quality CGI and make-up effects.[24]
Sequel[edit]
In an interview for Diabolique, actress Gina Philips revealed that Victor Salva has a plot ready for a fourth installment. She said "Victor has written what happens from the second after the conclusion of Jeepers Creepers 3. I think that's all I'm allowed to say about it, but he wrote in such detail and he had a lot of flashbacks to what happened over the years that it made it very easy for me. I got to see what will eventually happen to the character and he put enough flashbacks in there that I got to see what happened to her over the last 15 years. Let's just say, there's more to come."[25]
See also[edit]
Jeepers Creepers
Jeepers Creepers 2
References[edit]
Jump up ^ "Jeepers Creepers 3 (2017)". Box Office Mojo. Retrieved October 5, 2017.
Jump up ^ "'Jeepers Creepers 3' Is Happening…Soon". November 14, 2013. Retrieved September 15, 2017.
Jump up ^ "Jeepers Creepers 3 Casting Notice Removed". March 28, 2016. Retrieved September 15, 2017.
Jump up ^ "Is 'Jeepers Creepers 3' Gina Philips' Story?!". January 30, 2017. Retrieved September 15, 2017.
Jump up ^ Miska, Brad. "'Jeepers Creepers 3' Started Filming Today (Exclusive) - Bloody Disgusting!". Bloody Disgusting.com. Brad Miska. Retrieved 14 March 2017.
Jump up ^ "Jeepers Creepers 3 possible release date revealed". May 7, 2017. Retrieved September 15, 2017.
Jump up ^ "Jeepers Creepers in Theaters". August 29, 2017. Retrieved September 15, 2017.
Jump up ^ "Jeepers Creepers 3, 2nd showing in Theaters". September 24, 2017. Retrieved September 24, 2017.
Jump up ^ "Fandango 2nd showing of Jeepers Creepers 3". October 4, 2017. Retrieved September 24, 2017.
Jump up ^ "2nd Showing October 4th, 2017". September 24, 2017. Retrieved September 24, 2017.
Jump up ^ "2nd Showing October 4 2017". September 24, 2017. Retrieved September 24, 2017.
Jump up ^ Wegotthiscovered.com
Jump up ^ Dvdreleasedates.com
Jump up ^ "Here's Stan Shaw in 'Jeepers Creepers 3'". June 27, 2017. Retrieved September 15, 2017.
Jump up ^ "Jeepers Creepers 3 gets full trailer w/ tons of new footage". September 15, 2017. Retrieved September 17, 2017.
^ Jump up to: a b http://www.indiewire.com/2017/09/jeepers-creepers-3-victor-salva-pedophile-molestation-plot-details-1201881375/
Jump up ^ http://www.ign.com/articles/2017/09/27/jeepers-creepers-3-review
Jump up ^ "Jeepers Creepers 3 (2017)". Box Office Mojo. Retrieved September 27, 2017.
Jump up ^ "Jeepers Creepers 3 (2017) - Rotten Tomatoes". Rotten Tomatoes.com. Rotten Tomatoes. Retrieved 3 January 2018.
Jump up ^ Pulaski, Steve. "Jeepers Creepers 3". The Steve Pulaski Message Board.
Jump up ^ "Jeepers Creepers 3 (2017)". Dread Central. Retrieved September 27, 2017.
Jump up ^ "Jeepers Creepers 3 (2017)". We Got This Covered. Retrieved September 27, 2017.
Jump up ^ "Jeepers Creepers 3 Review". IGN. Retrieved September 27, 2017.
Jump up ^ Trinidad, Ernie. "Jeepers Creepers 3 FILM REVIEW". Ernie Trinidad.com. Ernie Trinidad. Retrieved 3 January 2018.
Jump up ^ "'Jeepers Creepers 4' Confirmed — Before 'Jeepers Creepers 3' Is Even Released!". June 1, 2017. Retrieved September 15, 2017.
External links[edit]
Jeepers Creepers 3 on IMDb
Jeepers Creepers 3 at Rotten Tomatoes
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Clownhouse (1989)
The Nature of the Beast (1995)
Powder (1995)
Rites of Passage (1999)
Jeepers Creepers (2001)
Jeepers Creepers 2 (2003)
Peaceful Warrior (2006)
Rosewood Lane (2011)
Dark House (2014)
Jeepers Creepers 3 (2017)
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Auteur
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An auteur (/oʊˈtɜːr/; French: [o.tœʁ], lit. 'author') is a singular artist who controls all aspects of a collaborative creative work, a person equivalent to the author of a novel or a play.[1] The term is commonly used to refer to film directors with a recognizable style or thematic preoccupation.[2]
Auteurism originated in the French film criticism of the late 1940s as a value system[3] that derives from the cinematic theories of André Bazin and Alexandre Astruc—dubbed auteur theory by the American critic Andrew Sarris.[4][5] The concept was invented to distinguish French New Wave filmmakers from studio-system directors that were part of the Hollywood establishment,[1] and has since been applied to producers of popular music as well as to video-game creators.
Contents
[hide]
1 Film
1.1 Origin
1.2 Truffaut's development
1.3 Hollywood changes
1.4 Criticism
1.5 Law
2 Popular music
3 Video games
4 See also
5 References
6 Bibliography
7 Further reading
8 External links
Film[edit]
See also: List of film auteurs
This section possibly contains inappropriate or misinterpreted citations that do not verify the text. Please help improve this article by checking for citation inaccuracies. (August 2016) (Learn how and when to remove this template message)
Origin[edit]
Film director and critic François Truffaut in 1965
The definition of an auteur has been debated since the 1940s. André Bazin and Roger Leenhardt presented the theory that it is the director that brings the film to life and uses the film to express their thoughts and feelings about the subject matter as well as a worldview as an auteur. An auteur can use lighting, camerawork, staging and editing to add to their vision.[6]
Truffaut's development[edit]
In François Truffaut's 1954 essay "Une certaine tendance du cinéma français" ("A certain tendency in French cinema"), he coined the phrase "la politique des Auteurs", asserting that the worst of Jean Renoir's movies would always be more interesting than the best of the movies of Jean Delannoy. "Politique" might very well be translated as "policy" or "program"; it involves a conscious decision to value and look at films in a certain way. One might see it as the policy of treating any director who uses a personal style or a unique worldview as an Auteur. Truffaut criticized the Cinema of Quality as "Scenarists' films", which are works that lack originality and rely on literary classics. According to Truffaut, this means that the director is only a metteur en scene, a "stager". This tradition suggests that the screenwriter hands the script to the director and the director simply adds the performers and pictures.[7] Truffaut said: "[t]here are no good and bad movies, only good and bad directors".[citation needed]
Hollywood changes[edit]
From 1960, with his first self-directed film The Bellboy, Jerry Lewis was one of the earliest Hollywood studio-system actor-turned-director to be critiqued as an auteur. His attention to both the business and creative sides of production: writing, directing, lighting, editing and art direction coincided with the rise of auteur theory. He earned consistent praise by French critics in both Cahiers du Cinéma and Positif. His singular mis-en-scene, and skill behind the camera, was aligned with Howard Hawks, Alfred Hitchcock and Satyajit Ray. Jean-Luc Godard said, “Jerry Lewis...is the only one in Hollywood doing something different, the only one who isn’t falling in with the established categories, the norms, the principles. ...Lewis is the only one today who’s making courageous films. He’s been able to do it because of his personal genius”.[8]
Criticism[edit]
Even before auteur theory became clearly defined, the director was considered to be the most important among the people working on a film. Early German film theorist Walter Julius Bloem credited this to film being an art for the masses, and the masses being accustomed to regard someone who gives the final product (in this case, the director) as an artist, and those who contribute before (i.e. screenwriters) as apprentices.[9]
Starting in the 1960s, some film critics began criticising auteur theory's focus on the authorial role of the director. Pauline Kael and Andrew Sarris feuded in the pages of The New Yorker and various film magazines.[10][11] One reason for the backlash is the collaborative aspect of shooting a film, and in the theory's privileging of the role of the director (whose name, at times, has become more important than the movie itself). In Kael's "Raising Kane" (1971), an essay written on Orson Welles' Citizen Kane, she points out how the film made extensive use of the distinctive talents of co-writer Herman J. Mankiewicz and cinematographer Gregg Toland.[12]
Some screenwriters have publicly balked at the idea that directors are more authorial than screenwriters, while film historian Aljean Harmetz, referring to the creative input of producers and studio executives in classical Hollywood, argues that the auteur theory "collapses against the reality of the studio system".[13] In 2006, David Kipen coined the term Schreiber theory to refer to the theory of the screenwriter as the principal author of a film.[14][better source needed]
Film historian Georges Sadoul pointed out that the main author of a film is not necessarily the director, but can be main actor, screenwriter, producer, or even the author of the original story (in case of literary adaptations). Also, he argued that the film can only be seen as a work of collective and not as a work of a single person.[15]
Some criticize Auteur theory, and the practice of praising Auteurs, for being male-dominated. Specifically in the U.S., no woman director has ever been invited to join the pantheon of international auteur directors. Kathryn Bigelow, a potential contender for recognition as an Auteur, had to leave the U.S. for financial security, and is still not included as an Auteur.[16] In fact, on the List of film auteurs, there are only five women out of a list of 133. Some point to the lack-of women directors. In 2016, just 7% of all directors for the top 250 grossing movies were women.[17] Others point to the lack of women in film schools, which has since changed. Now, Professor Martha Lauzen of San Diego State University says that women are represented in film schools.[18] The under-representation of women in film has been called celluloid ceiling.
Law[edit]
In law,[vague] the film is treated as a work of art and the auteur, as the creator of the film, is the original copyright holder. Under European Union law, the film director is considered the author or one of the authors of a film, largely as a result of the influence of auteur theory.[19]
Popular music[edit]
This section is missing information about the artistic recognition of popular music genres, music stars as "auteurs", and comparisons to auteur theory as applied to film (see Shuker in "Further reading") . Please expand the section to include this information. Further details may exist on the talk page. (August 2016)
Record producer Phil Spector in 1964
From the 1960s, Phil Spector is considered the first auteur among producers of popular music.[20][21] Author Matthew Bannister named him the first "star" producer.[21] Journalist Richard Williams wrote: "Spector created a new concept: the producer as overall director of the creative process, from beginning to end. He took control of everything, he picked the artists, wrote or chose the material, supervised the arrangements, told the singers how to phrase, masterminded all phases of the recording process with the most painful attention to detail, and released the result on his own label.".[22][23]
Another early pop music auteur was the Beach Boys' multi-tasking leader Brian Wilson,[24] who himself was mentored by Spector.[25] Before the progressive pop of the late 1960s, performers were typically unable to decide on the artistic content of their music.[26] Wilson became the first rock producer to use the studio as a discrete instrument,[25] thus making the Beach Boys one of the first rock groups to exert studio control.[27] Music producers after the mid 1960s would draw on his influence, setting a precedent that allowed bands and artists to enter a recording studio and act as producers, either autonomously, or in conjunction with other like minds.[24] The Atlantic's Jason Guriel wrote that Wilson "paved the way for auteurs like Kanye West ... anticipat[ing] the rise of the producer ... [and] the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art. ... Anytime a band or musician disappears into a studio to contrive an album-length mystery, the ghost of Wilson is hovering near."[28]
Video games[edit]
See also: Art game and Video games as an art form
This section needs expansion. You can help by adding to it. (July 2016)
Japanese developer Hideo Kojima (Metal Gear series) is considered to be the first auteur of video games.[29] Other auters include Tetsuya Nomura (Final Fantasy series), Fumito Ueda (Ico, Shadow of the Colossus, The Last Guardian), Yoko Taro (Drakengard, NieR, NieR: Automata), Jon Van Caneghem (Might and Magic), Ken Levine (BioShock, BioShock Infinite, System Shock 2), Tetsuya Takahashi (Xeno series), Hidetaka Miyazaki (Souls series),[30] and Ragnar Tornquist.[31]
See also[edit]
Authenticity in art
List of film auteurs
Philosophy of film
Studio system
Vulgar auteurism
References[edit]
^ Jump up to: a b Santas 2002, p. 18.
Jump up ^ Min, Joo & Kwak 2003, p. 85.
Jump up ^ Caughie 2013, pp. 22–34, 62–66.
Jump up ^ The Editors of Encyclopædia Britannica (n.d.). "Auteur theory". Encyclopædia Britannica.
Jump up ^ Sarris, Andrew (Winter 1962–1963). "Notes on the Auteur Theory in 1962" (PDF). Film Culture. 27: 1–8.
Jump up ^ Thompson & Bordwell 2010, pp. 381–383.
Jump up ^ Thompson & Bordwell 2010, p. 382.
Jump up ^ Jim Hillier, ed. (1987). Cahiers du Cinema 1960–1968 New Wave, New Cinema, Re-evalutating Hollywood (Godard in interview with Jacques Bontemps, Jean-Louis Comolli, Michel Delahaye, and Jean Narboni). Harvard University Press. p. 295. ISBN 9780674090620. CS1 maint: Extra text: authors list (link)
Jump up ^ Bloem 1924.
Jump up ^ A Survivor of Film Criticism’s Heroic Age
Jump up ^ Pauline and Me: Farewell, My Lovely
Jump up ^ Kael, Pauline, "Raising Kane", The New Yorker, February 20, 1971.
Jump up ^ Aljean Harmetz, Round up the Usual Suspects, p. 29.
Jump up ^ Kipen 2006.
Jump up ^ Sadoul 1972.
Jump up ^ Giese, Maria (2013-12-09). "Auteur Directors: Any American Women?". IndieWire. Retrieved 2018-04-25.
Jump up ^ "Study: Female Filmmakers Lost Ground in 2016". The Hollywood Reporter. Retrieved 2018-04-25.
Jump up ^ Cochrane, Kira (2010-01-31). "Why are there so few female film-makers?". the Guardian. Retrieved 2018-04-25.
Jump up ^ Kamina 2002, p. 153.
Jump up ^ Eisenberg 2005, p. 103.
^ Jump up to: a b Bannister 2007, p. 38.
Jump up ^ Williams 2003, pp. 15–16.
Jump up ^ Williams 2003, pp. 15-16.
^ Jump up to: a b Edmondson 2013, p. 890.
^ Jump up to: a b Cogan & Clark 2003, pp. 32–33.
Jump up ^ Willis 2014, p. 217.
Jump up ^ Miller 1992, p. 193.
Jump up ^ Guriel, Jason (May 16, 2016). "How Pet Sounds Invented the Modern Pop Album". The Atlantic.
Jump up ^ "Hideo Kojima - video gaming's first auteur - Screen Robot". Screen Robot. Retrieved 7 April 2016.
Jump up ^ Fahey, Rob (9 December 2016). "Final Fantasy XV and The Last Guardian: The Last of their Kind". GamesIndustry.biz. Retrieved 9 December 2016.
Jump up ^ "How the creator of Dreamfall got back to his roots - Polygon". Retrieved 6 April 2017.
Bibliography[edit]
Bannister, Matthew (2007). White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock. Ashgate Publishing, Ltd. ISBN 978-0-7546-8803-7.
Bloem, Walter Julius (1924). The Soul of the Moving Picture. E.P. Dutton.
Caughie, John (2013). Theories of Authorship. Routledge. ISBN 978-1-136-10268-4.
Cogan, Jim; Clark, William (2003). Temples of Sound: Inside the Great Recording Studios. Chronicle Books. ISBN 978-0-8118-3394-3.
Edmondson, Jacqueline, ed. (2013). "Producers". Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture [4 volumes]: An Encyclopedia of the Songs, Styles, Stars, and Stories That Shaped Our Culture. ABC-CLIO. ISBN 978-0-313-39348-8.
Eisenberg, Evan (2005). The Recording Angel: Music, Records and Culture from Aristotle to Zappa. Yale University Press. ISBN 978-0-300-09904-1.
Kipen, David (2006). The Schreiber Theory: A Radical Rewrite of American Film History. Melville House Pub. ISBN 978-0-9766583-3-7.
Miller, Jim (1992). "The Beach Boys". In DeCurtis, Anthony; Henke, James; George-Warren, Holly. The Rolling Stone Illustrated History of Rock & Roll: The Definitive History of the Most Important Artists and Their Music. New York: Random House. ISBN 9780679737285.
Min, Eungjun; Joo, Jinsook; Kwak, Han Ju (2003). Korean Film: History, Resistance, and Democratic Imagination. Greenwood Publishing Group. ISBN 978-0-275-95811-4.
Sadoul, Georges; Morris, Peter (1972). Dictionary of Film Makers. University of California Press. ISBN 978-0-520-02151-8.
Thompson, Kristin; Bordwell, David (2010). Film History: An Introduction. McGraw-Hill Higher Education. ISBN 978-0-07-126794-6.
Kamina, Pascal (2002). Film Copyright in the European Union. Cambridge University Press. ISBN 978-1-139-43338-9.
Santas, Constantine (2002). Responding to Film: A Text Guide for Students of Cinema Art. Rowman & Littlefield. ISBN 978-0-8304-1580-9.
Williams, Richard (2003). Phil Spector: Out of His Head. Music Sales Group. ISBN 978-0-7119-9864-3.
Willis, Paul E. (2014). Profane Culture. Princeton University Press. ISBN 978-1-4008-6514-7.
Further reading[edit]
Ashby, Arved, ed. (2013). Popular Music and the New Auteur: Visionary Filmmakers After MTV. Oxford University Press. ISBN 978-0-19-982734-3.
Diver, Mike (October 8, 2014). "The Return of the Video Game Auteur". Vice.
Maule, Rosanna (2008). Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy and Spain Since the 1980s. Intellect Books. ISBN 978-1-84150-204-5.
Shuker, Roy (2013). "Auteurs, Stars, and Music History". Understanding Popular Music. Routledge. ISBN 978-1-134-56479-8.
External links[edit]
Look up auteur in Wiktionary, the free dictionary.
BBC guide Auteur Theory in Film Criticism
Teachers guide to auteur theory pdf
16+ source guides: Auteur Theory/Auteurs at the British Film Institute
[show]
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French New Wave
Cahiers du Cinéma Directors
François Truffaut
Jean-Luc Godard
Éric Rohmer
Claude Chabrol
Jacques Rivette
Left Bank
Henri Colpi
Marguerite Duras
Armand Gatti
Chris Marker
Alain Resnais
Alain Robbe-Grillet
Agnès Varda
Other filmmakers
Philippe de Broca
Jacques Demy
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Adieu Philippine (1962)
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