ScreenShot - 12/12/2014

14 Future Stars

On screen fame is not exclusive to cinema and television

Photo: news.com.au

9

Cover

Who was your favourite bromance of the year?

Features 8

Strong Female Characters

9

Bromance On Screen

I need a hero-ine!

Ladies that rocked our screen in 2014

There’s nothing wrong with a bit of guy on guy action!

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Round Up

12

Dips & Peaks of 2014

Reviews and lists

Contents

Taking you through the highs and lows of this year

18 Norwich Film Locations

Our fine city has been host to many a blockbuster in its time @ScreenShotUEA

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19 UEA Media Collective

We caught up with comittee members from UEA TV, Film Making Society and Cinema Society

ScreenShot Magazine

screenshotuea

I am groot

Extras

22 The Future of Cinema

2D... Old news! 3D... Done that! But 4D... Take a look!

23 Sound Bites of 2014

12

It’s all about the he said, she said bull****

Front

4 Flashbacks, DVD’s & Readers

The final chapter of the unexpected journey is here!

Photo: Hulldailymail.co.uk

Input

5

Out and About at UEA

Find out more about the Media Societies at UEA

6 Superhero Quiz Are you brave? Strong? Smart? Find out which superhero you would be, here!

7 50 Shades of Grey Do we like the film adaptation? Yay or Nay?

Photo: Jamie Lovett: comicbook.com

How to get the most out of your unwanted DVD gifts this Christmas

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Internet fame: How did it all happen?

Comment

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’ve always loved magazines. I’ve also got a bit of a thing for film and tele ision shows especially i they e ot yan oslin in them so the idea o takin on a role that combines the three was an absolute no-brainer for me.

De elopin and producin creen hot o er the last ew months has been a cra y e citin and e tremely in ormati e e perience and e en oyed pretty much e ery minute o it he team and ha e compiled some o the most unusual and interestin content our deadline ra led brains would allow in the hopes o satis yin all your film and tele ision needs ithin these pa es you ll find a bit o e erythin rom re iews o some o the year s bi est blockbusters to inter iews with up and comin stars that we think you really need to know about. particular hi hli ht o the process or me was the un had chattin with internet sensation ary ate iles one o the stars o the brilliant ride and re udice You ube adaptation he i ie ennet Diaries to read the ull inter iew find out more about the show and learn how she kick started her career head on o er to pa e and check out our One s to atch eature piece that also profiles s ery own immy ill ook back o er the best films and tele ision shows o lau h at some o the unniest moments but most importantly enjoy reading the issue!

Courtney Pochin, Editor

ScreenShot

“Creating a magazine is hard work, but turns out its also quite good fun!

Considering our level of e perience think we e made something quite e citin that we can be proud o

had ne er e perienced bein in ol ed in a production that was so time-sensiti e t really pushed me to work with and be mindful o others and their opinions O erall it was hard work, but also unbelievably rewarding to have been a part o creen hot

he meettheteam series was the most enjoyable e perience or me eryone amazed me with what they’d got to say and I’ve never gotten to know my riends in such a un way. Couldn’t have been more proud to be a part o creen hot

Olivia, Editorial

Jessica, Production

Mai Vi, Digital

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FRONT The ‘Re-Gift’ Shift During the Christmas season, we all receive gifts from loved ones that we might not love so much. Here are some DVD swapsies decisions made easy, courtesy of ScreenShot.

#readersreactions

Made in Chelsea 1 – 5 box set (£16.40) hanks mum yeah we can definitely start watching MIC together! I can’t wait,’ you exclaim whilst rustling through the bin for a receipt. Keep Photo: Flickr; calm and trade it for…

The Walking Dead Season 1 (£10.00) With Season 5 having started in autumn 2014, there’s a bit of catching up to do with AMC’s award-winning zombie horror drama. And you’ll make £6 so it’s happy days all round.

The Seriously? A Sequel? Swap The Inbetweeners Movie: 2 (£10.00) Whilst the television show was greatly entertainin and the no elty o the first film carried the weight of an arguably weak plot, perhaps coming back for round two could be better Photo: Flickr; Rocor replaced with… Begin Again (£10.00) Mark Ruffalo and Keira Knightly bring to life the trials and tribulations of the music industry in New York. Who can resist a rom-com with a cool indie twist?

FL S H B CKS Our favourite moments of film and TV in 2014

Gotham City gets a small screen makeover in the Batman television adaptation Gotham

The I Can’t Watch a Whole 90 Minutes of This Swap Mrs. Brown’s Boys D’Movie (£10.00) As forward thinking and mildly entertaining as Brandon O’Carrol taking on the persona of Mrs. Brown is, after an hour and half of slapstick comedy the film may ne er resurface from the DVD box again. Why not swap it in for… The Lego Movie (£9.99) Although seemingly targeted for children, the satirical undertones of The Lego Movie are actually uite entertainin he film also features an all-star cast, including Liam Neeson and Morgan Freeman, to whom a person should never say no.

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Will Graham transforming from a misunderstood FBI profiler to a criminal ‘bad boy’ in Hannibal.

he end o he ault in Our Stars - even if it did mean spending more money on tissues than popcorn

The reunion of Hollywood’s favourite romantic comedy duo Adam Sandler and Drew Barrymore in Blended

Think we’ve missed something out? Give us a shout on Twitter @ScreenShotUEA to get involved and let us know what you think.

Turn to the round-up section on page for a more thorough look back at the highs and lows of film and TV in 2014

Out & About at UEA

Photo: Evelyn Dias

James, Third Year Chemistry a ourite film o Darcula ntold a ourite hristmas film Die ard east a ourite hristmas film o es them all!

Photo: Evelyn Dias

Jonty, Fourth Year Business Studies a ourite film o piderman a ourite hristmas film Ni htmare Before Christmas east a ourite hristmas film ome Alone

Photo: Georgina Carpenter

Hannah, Third Year Psychology Favourite Film of 2014: Guardians of the Galaxy a ourite hristmas film he rinch east a ourite hristmas film iracle on 34th Street

Top 3: Least Favourite Christmas Films Christmas with the Cranks 18.75% Santa Clause: The Movie 16.25% The Snowman 12.5%

Graphic: Olivia Grosvenor

Photo: Evelyn Dias

Sam, Third Year Law a ourite film o he nbetweeners 2 a ourite hristmas film o e ctually east a ourite hristmas film he Grinch

Photo: Evelyn Dias

Sam, Third Year Chemistry Favourite Film of 2014: The Inbetweeners 2 a ourite hristmas film he rinch east a ourite hristmas film ack rost

â…“

of you said you were excited for the Dr. Who Christmas special!

Graphic: Olivia Grosvenor

Photo: Georgina Carpenter

Ellie, Third Year History Favourite Film of 2014: The Inbetweeners 2 a ourite hristmas film he uppet Christmas Carol east a ourite hristmas film he rinch

Top 3: Least Favourite Christmas Films The Nightmare Before Christmas 11.25% Love Actually 25% Elf 17.5

Graphic: Olivia Grosvenor

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YAY

by Olivia Grosvenor

Fifty Shades of Grey is about the relationship between a virginal woman and mysterious business mogul with situations involving BDSM (bondage, discipline, and sadomasochism). It has become a worldwide sensation due to its highly erotic nature as well as its passionate fan base. To say that Fifty Shades is controversial would be an understatement. Here, we have two differing perspectives on this divisive piece of work.

It would appear as though the controversy over Fifty Shades of Grey in its literature form has passed in time for its on-screen adaptation to start facing criticism. Erotic fiction aimed at women is one thing, but now they can watch it in a cinema? It’s feminism gone mad.

Of course, this case should never be thought of as such. Men have benefited from sexually pleasing imagery on screen for years and no one thinks twice about it. From the subtlety of Bond girls to the less subtle Lesbian Vampire Killers, it’s about time that women’s pleasures are catered to explicitly on the big screen. Naturally, feminists criticize the narrative’s questionable gender relations and how it still caters predominantly to males but Fifty Shades of Grey should act as a catalyst for the sexual liberation of women. Is it so horrifying to imagine women as the target audience for erotic imagery? Women should be as catered to in a market of visual and erotic pleasures as men

are. If an Ann Summer’s store can be publicly placed in a mall with no fanfare, then one should be able to walk into a cinema to see Fifty Shades of Grey without feeling any shame. Whilst the film is targeted at women, men could also benefit from watching something that isn’t predominantly produced for their sexual satisfaction. Aside from the sense of emancipation that will comefrom Fifty Shades playing in the cinema, it’s also possible that it’ll be a good film. The book has been victim to criticisms not only over its ‘appropriateness,’ but its poor litierary qualities. But perhaps since Samantha Taylor Johnson and Kelly Marcel are at the reins, the film will be stylishly written and directed. But won’t a cinematic adaptation be just as inappropriate.

Probably, yes. But it will be no different to the subjects of male gaze mentioned above, the only contrast being a more direct approach. If Fifty Shades of Grey is the main point of contention, let’s remember the paradox of media and society—where sexuality can be a commodity but not an embodiment.Instead of being a spectacle, maybe Fifty Shades can allow for sex and the sexual nature of women to move away from being a taboo and toward being a respectable, natural subject of discussion.

50 Shades of Grey Would you watch it?

by Tim Robinson

NAY

In recent years, many films have sought to exploit sexuality’s appeal to attract audiences. From romantic comedy’s subtle tones to the unabashed sledgehammer that is American Pie, open sexuality is much more commonplace now. The upcoming film adaptation of Fifty Shades of Grey should come as no surprise, then. Or perhaps it should. Fifty Shades of Grey champions itself as being revolutionary by leveling the playing field for film sexuality—giving females pleasing on-screen imagery that males have always enjoyed. However, pleasing imagery for women is nothing new. Does anyone remember Magic Mike? So why does Fifty Shades garner such attention? If you’ve read the book, you likely know the answer. Fifty Shades isn’t your typical steamy romantic tale—‘raunchy’ would be a complete understatement. To put it simply, a direct adaptation would essentially be pornography. This is what separates it from genuine films like Magic Mike. Thus, the film will have to straighten up to be suitable for the public, right? It might not be that easy. The book rests on the premise of sexually depraved act involving cable ties and sex toys. Strip those away from the story and there’s nothing left. The character’s sexual relationship is the entire story—the only reason why the book performed well. The inability to separate sex from the story is reflected in the film’s production. Initially, producers were confident in acquiring a suitable rating but as time passed, Fifty Shades’ author E.L. James confirmed that the film wasn’t being ‘watered down,’ and the rating rose to being an adult-only film. And given the subject matter, maybe it’s a good thing. Fifty Shades of Grey isn’t sexual liberation or sexual freedom—it’s a pornographic story that producers obtained due to its wild success. A trilogy has already been confirmed—a trilogy that’s nothing short of a pornographic cash cow. Pornographic material of that extent isn’t something that should be screened for the public and it’s definitely not a film designed for a respectable cinemagoer. If you do go and see it, please don’t forget to pick up your complimentary cable ties on the way out.

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Words: Courtney Pochin

R

egardless of your gender, sexual preference or taste in television shows, it’s safe to say that a strong female character is something that everyone can appreciate hrou hout film and tele ision history grown women have predominantly been portrayed as the stereotypical ‘damsel in distress’, a victim who needs to be saved by a man. This depiction began to change most drastically in the 90’s when ground-breaking television shows such as Buffy the Vampire Slayer and Charmed stormed onto our screens and gave us brilliant examples of women doing it for themselves.

Today, the likes of Buffy Summers and the Halliwell sisters have been ‘replaced’ so to speak, by an array of characters that are just as awesome and kick-ass but sadly, less well known in popular culture. Take for example Once Upon a Time’s leading lady, Emma Swan (portrayed by Jennifer Morrison). The daughter of two famous fairy tale fi ures a sin le mother and the town sheriff, Swan is exactly the kind of character you just can’t help but like. Growing up as an orphan, she was hardened to the ways of the world at a young age, and lived a somewhat lonely existence until a magical curse and a kooky child awakened her destiny. She’s also known as the ‘saviour,’ a powerful term that sums up how special this character really is s or the other residents o wan s fictional hometown o torybrooke they definitely don’t need a knight in shining armour to save them either. Aside from Emma, the town is filled with amiliar aces rom fiction such as Snow White, the Evil Queen, Frozen’s Elsa, Little Red Riding Hood and Belle from Beauty and the Beast, all of whom seem to have been able to fabulously overshadow the male protagonists of the show;

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Prince Charming, Rumpelstiltskin and Captain Hook, who rarely have to come to the rescue of their loved ones.

Similarly on ABC’s hit drama, Revenge, women run the show. Protagonist Emily Thorne (played by Emily Van Camp) has been dubbed as a modern female version of Edmond Dantes, the lead character from The Count of Monte Cristo by Alexandre Dumas (the novel that inspired the series). This is because Thorne is shown as a sort of ‘avenging angel’, who seeks revenge against a group of privileged elites for the false imprisonment and murder of her father. Thorne has a brilliantly deceptive ‘girl next door’ appearance, which successfully masks her underlying lethal nature. Skilfully trained in martial arts, fluent in both Japanese and French and adept in ruining lives, this is one character you really don’t want to mess with. Neither is her archenemy, Victoria Grayson, who is seen as ‘the queen of the Hamptons’. Victoria is glamorous, ruthless and will stop at nothing to protect the two most important things in her life – her social status and her children.

While she relies on hiring people to do her work for her, Mrs Grayson is certainly not above getting her own hands dirty and jumping into the action. Starting life in a state of poverty and getting pregnant at a young age, Victoria had to overcome hurdle after hurdle to work her way to the top of the Hamptons hierarchy, an act which reflects her powerful determination and cunning mind. While Victoria may be the villain of the show and thus isn’t exactly a great role model for our generation, there’s no denying that she’s one heck of a strong female and deserves notable recognition for that.

Perhaps the best example of a show that

2014 Photo: Flickr;The Gender Society

strong FEMALE characters

promotes strong female characters is BBC America’s critically-acclaimed Orphan Black, in which Tatiana Maslany expertly plays a roup o fi e identical women who are revealed to be clones, the result of a mysterious scientific e periment he inno ati e series, co-created by Graeme Manson and John Fawcett, earned a Peabody Award this year and is the first e er ad supported drama series to double its ratings from season one to season two in adults 25-54 and 1849 in Live+7. The show’s genius premise and brilliant writing allows for the coverage of a multitude of archetypal female strength in the characters. This can be seen in the mothering instinct, wiliness and brawn which is exerted by Sarah, the sheer intelligence presented by Cosima, Alison’s heightened femininity, Rachel’s ruthless ambition and lest we not forget Helena’s extremely feral nature. Through all of these character traits, Tatiana Maslany is essentially providing us with an example of every woman, allowing the show to be entirely relatable or the audience despite its sci fi roots While there are an abundance of other excellent examples, it seems that well written, strong female characters are still somewhat of a rare and precious gem within tele ision and e en more so in the film industry. Think for a moment of the powerful superhero filled ar el uni erse that we all know and lo e the films that brin in the bi bucks at the bo o fice where are the Wonder Woman and Black Widow movies?

That’s right, they don’t exist. So while the aforementioned television success stories give us hope for the future of strong females on-screen, it seems there is still a long way to go before we can truly experience anything close to where we rightfully should be.

B

romances are nothing new, but they have become more ubiquitous in media in the past couple of years. What is it about a genuine, loving relationship between two males that warms the soul?

Whether you’re in the mood for something silly and light-hearted, or you’ve had a rough day and desperately need to unwind; there’s nothing like the heart-warming drama (and often comical antics) of a classic bromance.

Duos of loveable lads have been teaming up to make buddy films e er since aurel and ardy first stepped in ront o the camera together. From the platonic respect between Starsky and Hutch to the endearing love between Scrubs’ J.D. and Turk, bromances ha e always had its place in both and film This year is no different.

One o the most prolific bromances to grace the cinema screens in 2014 was none other than 22 Jump Street. If you’ve seen the prequel, then you’ll know what the score is—Jonah Hill and Channing Tatum have returned for some more buddy cop action. The pair are known for their ‘bromantic chemistry’ and 22 Jump Street doesn’t disappoint t s ot what e ery buddy cop film wants to have – chemistry, comedy, carnage and cops. Their bromantic relationship may be put to the test, but what are a few good laughs, witty jokes and stray bullets between bros? And if you liked 22 Jump Street, then you’d better gear up, because there are whisperings of another sequel in the works.

If you enjoyed Ice Cube’s performance

as the police captain in Jump Street, then it might not be such a large leap of logic that you d en oy the film Ride Along. Ride Along, as you may have guessed, features Ice Cube, once a ain in the role o a police o ficer e in Hart realises that in order to gain Ice Cube’s blessing for the marriage of his sister, he needs to prove himself to him. The detective takes Hart for a ride along to do just that. In classic bromantic fashion, the duo team up to defeat the bad guys and learn to love each other in the process. It’s heart-warming, action-packed and funny—a bromance at its finest uddy films starrin police o ficers aren t new to the cinema screen, either. In et s e Cops, Jake Johnson and Damon Wayans Jr. try their best to bring you just that. When these two old friends realise that their lives aren’t quite going the way they had hoped, a pair of fake police uniforms used in a failed presentation serves to give their lives the kick-start that it needs. Of course, once they’ve donned the uniforms, they get entanled in attemptin to be real police o ficers and fi htin crime t may not technically be a buddy cop film but it is certainly a solid bromance between the two. lthou h so ar it s been police o ficers guns and the occasional witty one-liner, bromances can also take shape without police being involved. Sometimes bromances are at their best when they are reduced to silliness, comedy and mutual love between the pair. If you re lookin or such a film then Dumb and Dumber To fits the bill tarrin im arrey and e Daniels the film re ol es entirely around the al love and friendship between the two as they travel across the country, at-

tempting not to let their lack of intelligence impede their progress. Set twenty years after the ori inal film Dumb and Dumber To is proof that a true bromance is long-lasting and it certainly isn’t complicated.

Bromance isn’t restricted just to the big screen, TV shows are well-acquainted to the concept as well. One of the most well-known examples of a TV bromance is that of Dean and Sam in the U.S. show, Supernatural. The two brothers spend all of their time hunting the demons, ghosts and monsters plaguing our world. Played by Jensen Ackles and ared adalecki respecti ely they are the fi ureheads of bromance across all social media outlets, to the point that you often can’t avoid them.

Of course, bromance isn’t restricted to U.S. television either, one of the other biggest bromances brewing on our televisions this year is the award-winning British crime drama, Sherlock. With Benedict Cumberbatch as Sherlock and Martin Freeman as Watson, the two make an excellent pair of crime solvers as they work together to get the job done.

Each new season seemingly brings the two closer together, and helps the bromance to blossom further.

Although it is by no means present in e ery show and film when there is a bromance involved, it is almost guaranteed a pivotal role. It breathes life into a friendship, fosters teamwork and co-operation, and warms our hearts. As we’ve seen, bromances are here to stay in our a ourite films and TV shows. Bromantic, isn’t it?

Words: Tim Robinson

Photo: barefootonbakerstreet.wordpress

Bromance

On Screen ScreenShot 9

ScreenShot 2014 Round Up

Top 5 Box Office Blockbusters of 2014 The Lego Movie

1.

The Inbetweeners 2

Photo: Flickr; TheGlobalPanorama

2.

Dawn of the Planet of the Apes

3.

Guardians of the Galaxy

4.

5.

Guardians of the Galaxy Director: James Gunn Starring: Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Bradley Cooper A look at the UK’s top grossing films of 2014 will show many brilliant films, but one movie in particular has stood out. It’s perhaps one of the lesser-known comics within the Marvel universe, but Guardians of the Galaxy was arguably summer’s biggest hit. It is centred on a group of space criminals, Gamora (Saldana), Drax the Destroyer (Bautista), and the duo of Rocket (Cooper) and Groot (Diesel), led

by Peter Quill (Pratt) in order to work together to stop Guardian’s villain, Ronan, from destroying the galaxy. It’s the rare action film that doesn’t skimp on plot or witty dialogue, and it’s fun without straying into the ridiculous. Pratt commands the screen with an overwhelming ease and charisma to his performance—carrying the action as well as expertly delivering in comedic moments. The three words stuck in every person’s head as they leave the cinema? I. Am. Groot.

Many would argue this was Diesel’s easiest role to date, but one must keep in mind the hundreds of times those three words had to be said in English and other languages as well to maintain authenticity.

His character struck a chord with many despite the fact that Groot never strayed away from that phrase. It was a succinct performance that made an otherwise forgettable character one of the film’s most memorable and likeable elements. Something that can’t be overlooked about this film was its incredible soundtrack, which included songs from 10cc, The Jackson 5, David Bowie and Marvine Gaye. It’s no surprise that Awesome Mix Vol. 1 reached the top of the charts.

Each song fits perfectly within its respective scene and fits the vibe of a child who left Earth in the 1980s with a mixtape of his mum’s favourite songs from the late 1970s.

The film’s potential for success was so certain that a sequel was confirmed before the film even came out. There are already murmurs of the sequel in the works with James Gunn returning to write and direct. Due to Guardians’ wild success, a sequel will no doubt be eagerly awaited.

4.5/5

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X-Men: Days of Future Past

Top 5 Comedies of 2014 1. The Lego Movie 2.

Bad Neighbours

3.

22 Jump Street Horrible Bosses 2

4.

5.

Ride Along

Top 5 Soundtracks of 2014 1. Guardians of the Galaxy Mixtape Vol. 1 2. The Fault in our Stars 3. Divergent 4.

5.

Begin Again The Best of Me

Photo: Flickr; Vynsane

The Lego Movie Director: Phil Lord and Christopher Miller Cast: Chris Pratt, Elizabeth Banks, Will Ferrell, Will Arnett, Morgan Freeman, Liam Neeson, Alison Brie (voices) When Emmet Brickowski, a normal Lego construction worker, is suddenly thought to be the prophesised ‘Special’, he goes from a life of near invisibility to a man tasked with saving the universe. This film could have easily been no more than a mere high-profile, incredibly expensive advert for the colourful Danish building blocks, but The Lego Movie, thankfully, is much more than that. This film brings an incredible attention to detail—Lego bricks coming scratched and fingerprint-smudged just like those in toy boxes—and an uproariously funny script that will make you glad you were dragged along to this movie. At first glance, it could be dismissed as just a family film, but it goes beyond that by being gloriously colourful and fast-paced—a truly great film. Parents can take comfort in taking their kids to see it, as well as being incredibly entertained with pop culture references that fly straight over the heads of younger viewers. There are a plethora of

characters are voiced by Hollywood’s best; a highlight is Will Arnett’s brilliantly serious Batman and Morgan Freeman’s sage Vitruvius.

Directors Christopher Miller and Phil Lord have had two previous hits with 21 Jump Street and Cloudy with a Chance of Meatballs. Those two films were almost guaranteed to succeed at the box office; but The Lego Movie shattered any scepticism when its hilariously witty script and stunning visuals propelled it to becoming one of the year’s biggest and best films. The message is particularly heart-warming. Emmet’s triumph demonstrates that everyone is special, creative, and innovative if given the chance, no matter how insignificant one may feel. Another message is the importance of working as a team to succeed. The film may essentially be, at its very core, a 100-minute long marketing ploy for colourful plastic bricks, but as the film progresses, the engaging story and the well-compiled group of characters will no doubt help you forget that completely. Everything about this film is awesome.

4/5

The Best of Me: Original Motion Picture Soundtrack Featuring: Lady Antebellum, Hunter Hayes, Eli Young Band, Kip Moore and Thompson Square.

The Best of Me, a movie based on the novel of the same name by romantic genius and best-selling author Nicholas Sparks, is an American drama that stars Michelle Monaghan and James Marsden as former high school sweethearts who reunite twenty-one years later at a mutual friend's funeral and find it difficult to resist the spark that still remains between them. It’s a heart-breaking and intense tale of self-discovery and romance that keeps you gripped until the very end, and this is due in part to the beautiful 14-song soundtrack that accompanies it. Heavily featuring an abundance of country music talents such as Lady Antebellum, Hunter Hayes and Kip Moore, the soundtrack really brings the southern setting of the movie to life, whilst playing with all of the key themes of the film. The first track “I Did With You” by Lady Antebellum (a song based entirely on Sparks’ novel and featured in the film’s trailer) perfectly captures the central plotline of the film about a tragic lost love by including lyrics such as “I never knew another love timeless and true, oh but I did, yeah I did with you.” Similarly, on track 4, Colbie Caillat tugs at your heartstrings

as she croons silkily alongside a pretty piano tune that she “wants to fall in love again, but this time with no regrets.”

On a more uplifting note, Kacey Musgraves and Hunter Hayes bring an element of catchiness to the album with their songs “Love is a Liar” and “Dream Girl”, which sounds much more like mainstream pop music than anything else on the compilation. However, it’s the tracks from Kip Moore and Eric Paslay that shine the brightest.

Paslay’s acoustic “Rain From Heaven” allows the singer/songwriter to showcase his talent for painting vivid imagery across his lyrics, while the slower tempo of Moore’s “Lead Me” provides him with the opportunity for his naturally raw and raspy voice to remain the focal point, which subsequently carries the song to a higher level. Overall, the soundtrack works as a helpful who’s who guide to today’s generation of country music superstars. It successfully manages to contain all of the varying emotions one may feel when falling in and out of love and does so whilst telling a story that nicely accompanies the movie.

4/5

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Peaks

Mila Kunis announces she is having a baby with Ashton Kutcher

Nun turned singer Cristina Scuccia won The Voice of Italy on June 6

The Wolf of Wall Street is released on January 17

Photo: Flickr; Micheal Howard

aleficent is released on May 28 and made a whopping $757,152,487

Photo: Flickr; Goksan Ozman

ill rnett files or divorce from Amy Poehler

Philip Seymour Hoffman lost his battle with drug addiction, died from an overdose February 2

January ScreenShot 12

February

Photo: Flickr; David Shakbone

March

April

May

June

&

of 2014 Dips

The Hobbit: The Battle of the Five Armies premiered on December 1 in London

Thriller Gone Girl is released on October 2

Strictly beats The X factor in ratings battle.

The Hunger Games: Mockingjay, Part 1 is released on November 10

Photo: Flickr; Erin

Photo: Flickr; Mingle MediaTV Photo: Flickr;Hot Gossip Italia

Robbin Williams dies at age 63 on August 11 Joan Rivers dies at age 81 on September 4 Actor James Garner dies at age 86 on July 19

July

August

September

October

November

December ScreenShot 13

Future Stars From YouTube to the silver screen and back, with Jimmy Hill and Mary Kate Wiles.

ScreenShot 14

Photo: pixabay.com/ITAK_Studio

The Ones to

Watch

A

mongst the abundance of cat videos, silly animations, and surprise reminders that Rick Astley somehow scraped together a pop career, something more profound is happening in the age of digital media. Cast your minds back to the 1990s, when ITV launched a platform for ordinary people to show off their homemade videotapes in the form of ‘You’ve Been Framed!’ The idea that anyone could send in a video of their child doing something clumsy with the potential for it to be seen by thousands of people was a big deal. Being on television was starting to become something more than appearing on game shows and makeover programs; the public now had, in some sense, a creative freedom on national television, all be it just a clip of them falling over a brick wall.

Fast-forward to 2005, the beginning of online and digital media receiving a real youth following, and of course, the launch of online video clip phenomenon YouTube. MySpace had appeared on the scene two years earlier, and personalizing an area of the web for all to see was starting to catch on. The launch of YouTube now meant that anyone could grab

a video recorder and create anything they like for the entirety of the internet to behold. Of course You ube ideos had si nificantly less iewin fi ures at its launch than it does in 2014, but the idea of having a creative platform with such accessibility was exciting indeed. We take this for granted today. Clearly, anyone can upload anything they like online.

But what happens when YouTube and other online video platforms merge with television media? In a way, we’re currently experiencing a next level You’ve Been Framed situation. Instead of home videos appearing on our television screens, it’s more widely the case that online clips are making a move to TV. Anyone who has watched the clip show Rude Tube will be aware of the evidence. And it’s not just silly YouTube clips either – real young people who have showcased their talent online are being handpicked by media co-operations to mo e rom the di ital screen to film and television shows. ScreenShot managed to grab interviews with two shining examples of how expressing your creativity online can lead to much bigger, better things.

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Jimmy

Our features editor Olivia Grosvenor had a chat with young British YouTube star Jimmy Hill about Vlogs (video blogs), the BBC, and the exciting times that come with a career in television.

‘Can you hear me properly?’ I’m sitting in my car with my loudspeaker on, about to have a telephone conversation with Jimmy Hill – the dark horse of YouTube success stories.

Having attended university in York, Jimmy tells me he’s calling from his flat in East London, where he now lives. At the age of 24, moving to London to pursue a career in television and entertainment is a fairly big deal, but Jimmy is considerably modest. Followers of the UK YouTube vlogging scene are likely to be aware of Jimmy’s early videos, but for those who aren’t, he gave me a bit of a run down of how he got to where he is today. ‘I can remember watching a guy who used to make video diaries on YouTube thinking it was so cool that people all over the world were watching his stuff,’ he says. At the time, YouTube was still fairly new and although it was quickly gaining internet ground, Jimmy tells me that he remembers being impressed that one person could obtain 1,000 online views. This also inspired him to have a go at doing something similar, and it turns out he was pretty good at it.

‘People started to watch my stuff and it kind of began to spiral. I found it quite exciting, so I stuck with it and it became quite a serious hobby, I guess’. So serious that Jimmy soon found himself with 20,000 YouTube subscribers. This is the point where internet fame opened a new avenue for Jimmy’s creativity. Having gained such a large following, a BBC producer got in touch with him and asked if Jimmy would be interested in being involved in BBC Switch – a youth content brand broadcast on BBC 2’s Saturday afternoon schedule.

I tell Jimmy he’d ventured into exactly what I wanted to talk to him about, and we begin to discuss how a television career differs from being an online star. He explains to me how making vlogs and becoming a television presenter are two very different things; ‘I think in the past, producers have tried to put vloggers on telly and it’s not really worked ‘cause that’s not their natural environment’. Of course, there’s a huge difference between sitting alone in your bedroom infront of a webcam and being in a TV studio surrounded by an entire team of experts. But being on television suited Jimmy perfectly, as he goes on to say, ‘I actually prefer doing the TV stuff because I like having people around me. I’m not very good at the whole ‘lock myself away in my bedroom and make a video’ kind of thing. I’d rather actually be there with people helping me out’. As we chat about the BBC cuts and the general media landscape of the UK, I can tell that Jimmy is passionate about his presenting career and takes a lot of pride in having worked for the BBC. He tells me that his work with BBC Switch was an incredible experience that occurred whilst he was still in university and if another opportunity arose, he would consider doing it again – ‘Just the prestige of saying that you work for the BBC as well. There’s a lot of pride there that you don’t get with other broadcasting places’. I attempt to get a bit of information on when Jimmy might be making a comeback to our television screens, but it appears that in the business of film and TV, it’s difficult to know whether or not projects are going ahead, which makes spoilers more difficult to give out. He does tell me, however, that there may be an upcoming project in which Jimmy travels around Europe. Other than this, everything is currently on the down low. But with companies such as the BBC, Capital Radio and Hat Trick productions under his belt, it looks like Jimmy will continue to make waves on television in the future. Our telephone conversation ends and Jimmy tells me he hopes the interview went well, in spite of him feeling slightly drowsy due to a problematic wisdom tooth.

With such a busy schedule, it’s difficult to find time to book in a dentist appointment – especially when the excitement of work in the media outweighs the unpleasantness of pulling teeth. ‘I can’t have a big swollen mouth on telly!’ he tells me. I tell him to go and rest his mouth, so that he’s fighting fit when we next see him on TV. Keep your eyes peeled for Jimmy Hill – he is absolutely one to watch.

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Photo: Jimmy Hill

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Mary Kate Wiles Editor in Chief Courtney Pochin cha ts with Internet sensation Mary Kat e Wiles about the pressures of being an actor, YouTub e adaptations, and the future.

In the duration of my discussion with Mary Kate Wiles, I couldn’t help but feel surprised. Surprised that she’s so well spoken, has got such a wise view of the world, and that she isn’t already an international acting sensation, because she clearly should be. Best known for her role as Lydia Bennet in the popular web adaptation of Jane Austen’s Pride and Prejudice, entitled The Lizzie Bennet Diaries (which sees the classic story brought forward into present day America), Wiles has had a very exciting few years and has gained some valuable experience, all of which she was more than happy to share.

We began our conversation by going back to the very beginning of her career, ‘I owe all my web experience to Squaresville, which was the first web series I ever got cast in, back in 2010,’ she states fondly. ‘We shot a few small episodes to pitch the show with, and then didn't end up actually shooting the show for over a year. But in that time, the creator Matt Enlow encouraged me to go to web mixers and meet other web creators, and through that I met Bernie Su and Jenni Powell, who created The Lizzie Bennet Diaries (LBD). They brought me in for that in late 2011, and I think if I hadn't known them already I might not have ever been called in to audition. There are a ton of people who submit for every project so it's very easy to get lost in the shuffle.’

The thought of losing Mary Kate in a shuffle seems almost impossible, with her fiery hair and bright personality, she definitely stands out from the crowd, something the LBD creators clearly took note of. ‘I got cast as Lydia, and LBD and Squaresville started airing on YouTube essentially at the same time. That then led to School of Thrones, Kissing in the Rain, and eventually to me creating content on my own YouTube channel.’

But YouTube isn’t the only medium that Wiles has worked within, she’s also starred in several films, such as Dark Woods (2010) and Dreamworld (2012), but she isn’t disillusioned by any of it. ‘In anything you do, there's so much luck involved,’ she says honestly, when asked whether it was more difficult to get involved in a film or a YouTube project. ‘So much of being an actor is going to the right audition, or having the right look, or being in the right place. If I hadn't booked Squaresville, my life today would be completely different because nearly everything I've done since then resulted directly or indirectly from my involvement in that. The thing about films is that you shoot it all at once, out of order, and then you usually wait months or years before anyone sees it. I had done quite a lot of work before LBD – films, shorts, music videos, video games, etc., but none of them brought me the acclaim that LBD did because nothing else gives you the direct connection to your audience like the web does. People can watch an episode of my show, click the next tab, and then tweet directly at me.

So much of our lives are online now, and so being in a series that's online gives you a more direct connection with your audience than film

or even TV. The turn around is usually quicker, which means you're more invested in your work because it's all still fresh in your mind and you can interact with the people watching your work in real time, much more intimately than you can in other mediums. I have really enjoyed having so much of my work be on the web because I want to make things that people enjoy and don't get me wrong, I love doing other types of work too, but you just don't get that same connection with your audience like you do on the Internet. But I wouldn't say it's easier to get started in web than it is on film. There are a lot of film projects going on constantly, but a lot of them just don't get the same popularity that web series do. I think thousands of people auditioned for LBD, so really it's just as competitive now to get into good web projects as it is good films.’

The Lizzie Bennet Diaries has cropped up several times in our conversation and rightly so, as it’s just won big at the 2014 Streamy Awards and has spawned several successful spin off shows based on other classic novels, like Frankenstein and Jane Eyre. Web series adaptations seem to be the way forward, but would Mary Kate consider working on another? Surely there’s a book out there that could be adapted for her? ‘I don't know that I want to be in another similar book adaptation, actually. I've been approached about a couple and turned them down because with the success that LBD has had and the extent to which I'm known as Lydia, I don't really want to go back there again in another vlog-style adaptation. That's not to say I don't love literature adaptations and wouldn't love to be in another style of production, but that style specifically is one that I don't think I'll do again. I'm very proud of LBD and what we accomplished and I'm happy that it's inspired many others to create their own literature adaptations for the web, but I'm not looking to do another like that for a while. I'm looking for other sorts of projects, which is why doing things like Squaresville and Kissing in the Rain has been so cool and exciting.’

A very wise answer, especially as the overly hyper, stereotypical teen Lydia Bennet (and Mary Kate too), has made a special place for herself in the hearts of LBD fans everywhere. She’s also inspired many people to pursue their own dreams. Acting is a profession that thousands of people wish to break into, but often struggle with knowing where to start. So before she goes, I ask whether she could impart some words of wisdom for the sake of every aspiring future YouTube/Film/TV star out there, and thankfully she does. ‘I think the main things to remember when you are pursuing acting as a career are to work hard, be kind and easy to work with, know that it's going to be very, very hard, and don't do it if at the end of the day it's not worth it to you. Also surround yourself with good people that inspire you to make better work and be a better person.’

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Norwich Film Locations We all know and love Norwich for its charm and quaintness, but did you know Hollywood does too?

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By Evelyn Dias

araway lands, enchanting towns, and bustling cities are just some settings of films. The setting is a vital part of any film and it is the location scout’s duty to search high and low for critical shots that are unable to be filmed in a studio. Independent films have chosen Norwich as their backdrop over the years, but this summer, a true Hollywood blockbuster was filmed here. Marvel’s Avengers: Age of Ultron, sequel to the box-office behemoth, The Avengers,was filmed at University of East Anglia’s Sainsbury Centre for Visual Arts this past summer. Scene details were kept under lock and key, but Avengers logos were seen all around the building and it is speculated that the centre is being depicted as Stark Tower’s replacement. Some of the cast was also seen on location, such as Robert Downey Jr., Scarlett Johansson, and Elizabeth Olsen. When you are watching the new Avengers, prepare to see a certain familiar building on screen.

Norwich has also been home to other Hollywood films. The adaptation of Neil Gaiman’s Stardust in 2007 by Matthew Vaughn saw the transformation of Elm Street. Starring Claire Danes, Michelle Pfeiffer, and Robert De Niro, this film is a medieval adventure involving witches and magic. One scene in particular transformed The Briton’s Arm Tea House into Stardust’s Slaughtered Prince Public House. In 2008, the film won the Hugo Award for Best Dramatic Presentation, Long Form. Norwich Cathedral has also been used in feature films and television shows.

A notable film to feature the cathedral is 2013’s Jack the Giant Slayer. The film is based on the English fairytales of “Jack and the Beanstalk” and “Jack and the Giant Killer”. The precise part of the cathedral used is unknown, but the centre labyrinth around the cloisters is speculated as being the root of the beanstalk. Different areas around Norfolk have also been featured as film backdrops, such as a James Bond film and the Academy Award-winning Shakespeare in Love. Die Another Day was filmed in a farm in Northwest Norfolk, to mimic a rice paddy in Asia. As for Shakespeare in Love,the final scene features a Gwyneth Paltrow walking along Holkham Beach. In addition to the aforementioned films, many others have been shot around Norwich and Norfolk.

Maybe more Hollywood films will be set here in the future due to the success of The Avengers. Who knows, Norwich might become the Hollywood of England.

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Introducing the

UEA

MEDIA COLLECTIVE It’s difficult to walk around UEA’s campus without encountering the presence of visual media. From the weekly film screenings in lecture theatres to external companies using our university for video projects; one thing is for sure—University of East Anglia is certainly not camera shy. The success of our student media societies is proof of this. The upstairs of Union House is the home of television production society, UEA: TV. A wander over to Congregation Hall might lead you to one of the weekly meetings held by the UEA Filmmaking Society. For those more interested in the pleasures of viewing and discussing cinema, the UEA Cinema Society offers students screenings on campus.

With a keen interest in discovering what film and television gems our school has to offer, ScreenShot embarked on a UEA media mission. We caught up with the society committees and this is what they had to say.

Photo: Tequila Trang

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UEA FILMMAKING SOCIETY The UEA Filmmaking Society provides exciting opportunities for students to get involved in producing, editing and even starring in all genres of films. We caught up with President Jonny Cross, for an interview about what students get up to in the society.

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Tell me a bit about the filmmaking society?

Basically, we put together groups of people every two weeks, to produce a film he roups are usually ormed with around si to ei ht people t s deliberately kept around that fi ure so that e eryone ets a key role which include director assistant director editin cinemato raphy location scoutin ut o ten when it comes to roles the lines are blurred or e ample two people mi ht direct as opposed to one e encoura e e eryone to oin whate er his or her e perience o filmmakin is e want people to learn throu h error filmmakin is completely sub ecti e e then screen the films e ery two weeks and we talk about what worked about the film and what perhaps didn t work as well he short films o online too also in orm the members about any filmmakin competitions which mi ht be o interest What genres of films have been produced, and are there any which have stood out? e e had a ran e o films rom stop motion films to silent films t s reat because we want ersatility t the society we encoura e learnin throu h error You can really see the proression o the filmmakin rom the be innin o year to the end o the year he films created are usually ery ima inati e Are the films shot locally?

Yes most o the films are based locally lot o people use campus as settin and students as characters mainly because it s ust easier e collaborate a lot with drama in terms o ettin actors too What are you currently in the process of making? ery ew weeks we ha e a enre this week is romance ut there is no obli ation to stick to it he ways students interpret it is massi e One roup are makin a film about how uni ersity can be a lonely e perience another are makin a film about a lo e trian le hen the society started we had ery specific enres i e black comedy but we e chan ed it so the enres are more eneral and amiliar to the members

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Are members studying Film or Media Studies? ost people who oin ha en t e er done filmmakin be ore and aren t necessarily rom n act about o members are rom and the rest are rom all di erent aculties e inners tend to team up with more e perienced filmmakers howe er it aries who people are rouped with Do a lot of the members want a career in filmmaking? embers either ha e filmmakin as a hobby or as a career option owe er those who want to take it urther are usually more e perienced Do you provide equipment for the filmmakers? e pro ide basic e uipment but usually people ha e their own e uipment too uite a lot o people use cameras owe er we do emphasise it s about the story and not about the uality When did the society start? he society started in here used to be a society called o ie rats but when oined the uni ersity it wasn t any lon er a ailable to oin t took a semester to et undin and interest oin e e had about si n ups and we ha e around re ular members he committee has rown too we now ha e a social secretary which is reat What else happens in the society? e sometimes ha e speakers come in e had a writer producer earlier talkin about the process o independent filmmakin n the last meetin a small business wantin promotional ideos made came in How can students get involved in the filmmaking society? tudents can si n up online e meet in congregation hall, room 01.12 on a Thursday at 5 p.m where we alternate screenin s and meetin s eople are ery welcome whate er ability they are and e en i ust interested in the actin side o it

CINEMA SOCIETY

TV SOCIETY

The UEA Cinema Society is an active society that screens many fantastic films and aims to give its members a uni ue society experience. Here, president of UEA Cinema Society, Josh Arnfield tells us about his future plans for the society.

Perhaps the most public of the visual media societies, you may have recently seen UEA: TV out and about on campus filming both nion run activities and the society s own live events. creen hot grabbed s Rob Drury for a quick chat about what goes on in the minds and television offices of young creative media producers.

How does the society work?

It’s quite simple. We’re a society of cinephiles: we meet and screen films twice a week on uesday and hursday e enin s ach screenin is preceded by a short film selected by a committee member and followed by an informal discussion. We try to go to Cinema City as often as possible too. Once or twice, we e mana ed to persuade the bo o fice to reduce the prices of tickets for society members, and this always helps to increase turnout.

What genres of films are screened? t s di ficult to put a enre ta on the films we screen sually we try to show films that ha en t recei ed e cessi e financial backing, or are less mainstream. This is sometimes problematic, and the society has been criticised in the past for being exclusively focused on independent cinema, but we really are trying to screen films that are accessible t is also important or the inema Society to represent its members. There are many attendees of different nationalities and cultures, so we try to ensure that the films we show are not strictly ritish n lish lan ua e or e en uropean e like to show films rom e ery corner o the world and therefore, the genre would probably be ‘World Cinema’. We do not necessarily show films that will incite positi e responses too e ery now and then we ll throw in a film we e pect to be destroyed in the discussion. If it becomes evident that members ha e responded to a film in any way then m satisfied Are there films that have stood out?

Since I’ve been involved with the society, there are three moments I recollect that stand out above the rest. Each moment stands out specifically because o the members shared responses he first film was Holy Motors, this crazy French-German feature-length where the protagonist changes his identity so frequently whilst remaining, more or less, inside his limousine.

Then Kylie Minogue appears and starts singing in an abandoned tower-block, and later, a family of limousines start speaking with each other. It was hilariously confusing and generated an ample silence o er the post film pint he second moment was one o a collective awe after Vittorio de Sica’s timeless classic The Bicycle Thieves, which details the struggles of an impoverished family in post-World War II Rome. The third and most recent, was when inema ociety went to inema ity to catch the first showin o the 2013 Palme d’Or winner, Blue is the Warmest Colour. Nearly e eryone was so enthused by how e ecti ely the film captured the essences of adolescent infatuations and break-ups.

What are some future plans for the A cinema society?

We’re forever attempting to make Cinema Society more exciting and enjoyable. One recent plan is to have some of our future screenings introduced by UEA graduate students (please get in contact with us and increase attendance fi ures or those o you who are interested in joining, our Tuesday and Thursday night screenings are always in ongregation Hall - the room changes weekly. Probably the best way to keep track of all of our goings-on is by visiting our Facebook page (UEA Cinema Society but i you re not on acebook you can email me at rnfield uea ac uk e d also lo e to screen films made by students or Norwich residents - but you have to get in contact with us!

What does the society do?

We regularly produce relevant programming across campus.

We have different departments, from factual which covers news and sport, to music programming. We get live bands in. We’re startin more and more to host e ents which we then film so that we have more presence on campus. And we also do our best to train any member so that they’re a bit more equipped if they want to go into the industry. We use the TV studio regularly, and that is sort of industry standard. So if we can teach people to use that, then we’re contributing towards employability. And it’s lots of fun as well!

Can you tell me a little bit about how UEA: TV started up?

UEA: TV is one of the oldest societies on campus; we’re about years old think we were one o the first societies and it also makes us one of the oldest student TV stations in the country.

But after a bit of a quiet patch, we’ve sort of started to make a come back in quite a big way in the last few years. It sort of tailed off, but we’re starting to bring it back and be as big as we can. Which is going quite well!

Photo:ueatv.com What has the society already produced anything that you’re particularly proud of?

I’m particularly proud of Reverb; I think that’s something we do really well. It’s our music show where we get local bands in to have a chat and perform a couple of songs. That works really well for us. Another thing I’m really proud of is how we cover events, especially Derby Day. The last few years when we’ve covered it has gone really well. I was really proud of our work with that in 2014 especially.

How can students get involved with UEA: TV? Students can get involved by joining at www.ueastudent.com website where all of the media societies are listed. And then once you’ve paid to join, you can join the Facebook groups and emailing list for updates on what’s going on. Roles can vary from writing television, to helping with marketing and publicity, to acting and presenting. We are literally happy for anyone to do anything, and bring their own skills and experiences with them.

You can literally get involved with any aspect - it’s not just about filmin editin and directin

Photo: geograph.org.uk

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Cinema 2.0 The Future of Cinema With the recent launch of the 3D glasses-free TV, Georgina Carpenter takes a look at the evolution of the cinema and where it’s headed next.

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n 1 0 , the first theatre in the world devoted to showing motion pictures was opened in ittsburgh, merica. Since then, the new forms of cinematography, theatre spaces and the introduction of new technologies have changed the theatrical cinematic e perience. So, looking forward to the future, what can be said for the future of cinema rguably, new technologies have provided filmmakers with endless opportunities for storytelling and production companies with new ways to entice the modern audience. rom 2 to and even 4 films, the cinematic e perience has a lot more to offer the public today.

Though the first film was aired in 1 1 , the film cra e really took off in the early noughties when the I camera and the eality amera System began to be used by filmmakers. ames ameron’s Ghosts of the Abyss was released in 200 as a full length feature. films that followed include Star Trek: The Experience and the animated I feature The Polar Express in 2004. In 200 , ames ameron produced another successful

Photo: Flickr; indi.ca

film, Avatar, which cost around 2 ,000,000 to produce.

This feature proved to be e tremely popular, bragging nine scars, as well as being the highest grossing film ever produced. ow, the three dimensional e perience can be enjoyed without the goofy glasses in the comfort of your own home. apanese electric manufacturer S was the first company to offer the glasses free e perience with manufacturers like and Samsung soon following. ew technologies also offer 4 cinema, which incorporates cinema in addition to physical effects that occur in conjunction with the film. Some common 4 effects include wind, rain, and smoke effects. This e citing film format is a favourite with theme parks including isney parks, where films such as Honey I

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Shrunk the Audience and Star Tours II can be e perienced in 4 .

So, what are the major production companies doing ne t to ensure they offer something new and e citing to the modern film audience It could be argued that the and 4 film e perience is outdated now. The film e perience only launched a few years ago and is still a relatively new concept. incorporates cinema and 4 special effects with the fifth dimension audience interactivity. The ondon ungeon opened Vengeance in 2011 and was the ungeon’s biggest financial investment.

In 201 , aramount ark in urcia, Spain will launch their e perience of The Spiderwick Chronicles. The film will feature fantasy cinematography and audience interactivity, including a point scoring game using a remote control.

So, will cinema be the ne t big trend amongst major production companies ill audiences soon tire of the e tra dimension, which could become distracting and prefer the traditional

“With less people going to the cinema each year and more people screening content online, is the future of cinema bleak?” inema storytelling e perience In more recent years, new technologies have enabled audiences to watch films anytime and often for free on smart phones, tablets, laptops and other forms of new media devices. ith less people going to the cinema each year and more people streaming content online, is the future of cinema bleak In the , the average price of a cinema ticket in 2000 was 4.40. In 201 , the average ticket price has risen considerably to . . If this fare continues to increase over the ne t few years, will even less people find the cinema appealing, especially when audiences can enjoy films from the comfort of their own home ut it’s not just audiences who are favouring new media technologies. ilmmakers are also taking full advantage of the limitless opportunities that new media technologies offer. any directors today are filming entire films on mobile devices. Olive, which was released in 2011, was the first feature to be filmed entirely on a mobile phone. It was filmed using a okia smartphone and was also entirely independently financed. Impressively, it managed to be screened in over 2,000 cinemas across merica. It is debatable whether this new form of creating film is something a lot of filmmakers will adopt, however it does offer an ine pensive way to capture content which will arguably be appealing to a lot of new filmmakers who don’t have the backing of major production companies. hat will audiences favour – low budget films created on mobile phones or the major ollywood film e perience

Tell us what you think, send us a tweet @ScreenShotUEA.

“I fell in love the way you fall asleep.

Slowly, then all at once.”

- Hazel (Shailene Woodley, The Fault in Our Stars)

“I’m your best…I’m your worst nightmare.”

–Jenko (Channing Tatum, 22 Jump Street)

“Hey! You’re white!

You’re white! You don’t fight.”

–Ben Barber (Kevin Hart, Ride Along)

“I don’t shave for Sherlock Holmes.”

–Doctor John Watson (Martin Freeman, Sherlock)

Sound Bites of 2014 Some of the most memorable and funniest quotes from this year!

Photo: Flickr; The CosmopolitanOfLasVegas

“Fire is catching. If we burn, you burn with us!”

–Katniss Everdeen (Jennifer Lawrence, The Hunger Games: Mockingjay, Part 1)

“The last time I trusted someone, I lost an eye.”

–Nick Fury (Samuel L. Jackson, Captain America: The Winter Soldier)

“Hey, that’s federal property!”

“Well now I’m standing.

Happy? We’re all standing now. Bunch of jackasses, standing in a circle.”

– Rocket (Bradley Cooper, Guardians of the Galaxy)

“You’re federal property.”

–Piper Chapman (Taylor Schilling, Orange Is the New Black)

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Your local cinema The best in art-house, independent and quality mainstream films H Free freshers’ Membership including a free ticket, beer and popcorn H Invitations to a free film every month with Slackers Club H Orange Wednesdays accepted H Cheapest ticket in town

St Andrew’s Street, NR2 4AD

CinemaCityNorwich

0871 902 5724

@CinemaCityNRW

www.picturehouses.co.uk