"The Drama," set to film in Boston throughout the fall, is seeking extras with "distinctive faces" now through the end of November.

The post The new Zendaya and Robert Pattinson movie filming in Boston needs extras appeared first on Boston.com.

Awarded to a charity and/or agency that has produced the most inspiring awareness-raising or fundraising film of the year

SÜDPACK and industrial printing specialist LEIBINGER have joined forces test the suitability of continuous inkjet (CIJ) inks for printing on recyclable films for packaging food that is sterilized following the packaging process.

Heat seal coating specialist Sappi Rockwell Solutions has launched a recyclable, lightweight, heat seal lidding film designed for the fresh produce market.

Innovia Films latest development is Propacast KF a clear cast polypropylene film that has been specifically designed as a lamination solution for HFFS, VFFS and lidding applications.

Comedian Stef Dag shared her amazement when she found out that the TV show she was watching was actually filmed inside her apartment.

Filmmaker Daren Jannace compiled and animated 10,946 doodles that he made on sticky notes, starting with 30 sticky notes per day in 2016.

While there’s been no shortage of reactions to the recent Joe Rogan interview with former President Donald Trump, filmmaker and Blaze TV host Steve Deace says he believes the podcast will prove to be nothing short of historic. 

Grammy Award-winning artist Lauren Daigle has written and recorded a powerful end-title track for the new film “Bonhoeffer: Pastor. Spy. Assassin” declaring obedience to God’s calling, even in the face of death. 

In a world fractured by deep ideological divisions, Nicholas Ma’s new documentary, “Leap of Faith,” seeks to answer the question of whether love can bridge seemingly unbridgeable divides. 

University of South Australia PhD student Belinda Lees has explored how screenwriters could create more nuanced and complex child-free women protagonists in biopics, after uncovering the barrage of often negative portrayals in existing media.

[Sports] :
Prosecutors are seeking a four-year prison term for football forward Hwang Ui-jo, who has admitted to filming sexual encounters without his partners’ consent. The 32-year-old footballer, who plays for the Turkish Süper Lig club Alanyaspor, entered the guilty plea Wednesday at the Seoul Central District ...

[more...]

[Culture] :
The Busan International Film Festival(BIFF) is set to start its ten-day run Wednesday.  Asia’s largest film festival will kick off with a grand opening ceremony at 7 p.m. at Busan Cinema Center in the southern port city of Busan, featuring 224 films from 63 countries. The 29th BIFF will open with ...

[more...]

[Culture] :
KBS hit drama "Winter Sonata" which led the Korean Wave in the 2000s will be released as a theatrical film in Japan next year. Pan Entertainment, which produced the show, announced Monday that it had decided to release a film version after receiving continuous requests from Japanese distributors and ...

[more...]

[Culture] :
Two South Korean films, "Exhuma" and "Handsome Guys," won prizes at the 57th Sitges International Fantastic Film Festival of Catalonia, Spain. According to the South Korean film distributor Showbox on Tuesday, director Jang Jae-hyun's occult thriller "Exhuma," which was invited to the official competition ...

[more...]

Direct measurements have been taken of nanoscale domain structure in ferroelectric lead zirconate titanate around a grain boundary. Characterizing the evolution of this structure under an electric field is critical for predicting dielectric and piezoelectric response.

We present a demonstration of high-pressure grazing-incidence small-angle neutron scattering for soft matter thin films. The results suggest changes in water reorganization at different pressures.

Combined 100 ms resolved grazing-incidence small/wide-angle X-ray scattering and optical interferometry reveal that the additive diiodooctane can significantly double the solvent evaporation rate, thereby effectively suppressing the rapid spinodal decomposition process in the early stage of spin-coasting, favouring slow phase segregation kinetics with nucleation and growth.

For the first time, a multimodal reconstruction of a magnetic thin-film structure has been found using polarised neutron reflectivity. This has been achieved by implementing the Bayesian approach in combination with error correction based on the maximum likelihood method and instrument function optimization.

Grazing-incidence small-angle neutron scattering (GISANS) under pressure (HP-GISANS) at the solid (Si)–liquid (D2O) interface is demonstrated for the pressure-induced lateral morphological characterization of the nanostructure in thin (<100 nm) soft matter films. We demonstrate feasibility by investigating a hydrophobic {poly[(2,2,3,3,4,4,5,5-octafluoro)pentyl methacrylate]} (POFPMA)–hydrophilic {poly[2-(dimethylamino)ethyl methacrylate]} (PDMAEMA) brush mixture of strong incompatibility between the homopolymers, anchored on Si, at T = 45°C for two pressures, P = 1 bar and P = 800 bar. Our GISANS results reveal nanostructural rearrangements with increasing P, underlining P-induced effects in tethered polymer brush layers swollen with bulk solvent.

The effect of an electric field on local domain structure near a 24° tilt grain boundary in a 200 nm-thick Pb(Zr0.2Ti0.8)O3 bi-crystal ferroelectric film was probed using synchrotron nanodiffraction. The bi-crystal film was grown epitaxially on SrRuO3-coated (001) SrTiO3 24° tilt bi-crystal substrates. From the nanodiffraction data, real-space maps of the ferroelectric domain structure around the grain boundary prior to and during application of a 200 kV cm−1 electric field were reconstructed. In the vicinity of the tilt grain boundary, the distributions of densities of c-type tetragonal domains with the c axis aligned with the film normal were calculated on the basis of diffracted intensity ratios of c- and a-type domains and reference powder diffraction data. Diffracted intensity was averaged along the grain boundary, and it was shown that the density of c-type tetragonal domains dropped to ∼50% of that of the bulk of the film over a range ±150 nm from the grain boundary. This work complements previous results acquired by band excitation piezoresponse force microscopy, suggesting that reduced nonlinear piezoelectric response around grain boundaries may be related to the change in domain structure, as well as to the possibility of increased pinning of domain wall motion. The implications of the results and analysis in terms of understanding the role of grain boundaries in affecting the nonlinear piezoelectric and dielectric responses of ferroelectric materials are discussed.

The use of hard X-ray transmission nano- and microdiffraction to perform in situ stress and strain measurements during deformation has recently been demonstrated and used to investigate many thin film systems. Here a newly commissioned sample environment based on a commercially available nanoindenter is presented, which is available at the NanoMAX beamline at the MAX IV synchrotron. Using X-ray nanoprobes of around 60–70 nm at 14–16 keV and a scanning step size of 100 nm, we map the strains, stresses, plastic deformation and fracture during nanoindentation of industrial coatings with thicknesses in the range of several micrometres, relatively strong texture and large grains. The successful measurements of such challenging samples illustrate broad applicability. The sample environment is openly accessible for NanoMAX beamline users through the MAX IV sample environment pool, and its capability can be further extended for specific purposes through additional available modules.

The damage threshold of an Au-coated flat mirror, one of the reflective optics installed on the FEL-2 beamline of the Dalian Coherent Light Source, China, upon far-UV free-electron laser irradiation is evaluated. The surface of the coating is characterized by profilometer and optical microscope. A theoretical approach of the phenomenon is also presented, by application of conventional single-pulse damage threshold calculations, a one-dimensional thermal diffusion model, as well as finite-element analysis with ANSYS.

Errors in variable subscripts, equations and Fig. 8 in Section 3.2 of the article by Lotze et al. [(2024). J. Synchrotron Rad. 31, 42–52] are corrected.

Historically, knowledge of the mol­ecular packing within the crystal structures of organic semi­con­duc­tors has been instrumental in understanding their solid-state electronic properties. Nowadays, crystal structures are thus becoming increasingly important for enabling engineering properties, understanding poly­mor­phism in bulk and in thin films, exploring dynamics and elucidating phase-transition mech­a­nisms. This review article introduces the most salient and recent results of the field.

The formation of a vitrified thin film embedded with randomly oriented macromolecules is an essential prerequisite for cryogenic sample electron microscopy. Most commonly, this is achieved using the plunge-freeze method first described nearly 40 years ago. Although this is a robust method, the behaviour of different macromolecules shows great variation upon freezing and often needs to be optimized to obtain an isotropic, high-resolution reconstruction. For a macromolecule in such a film, the probability of encountering the air–water interface in the time between blotting and freezing and adopting preferred orientations is very high. 3D reconstruction using preferentially oriented particles often leads to anisotropic and uninterpretable maps. Currently, there are no general solutions to this prevalent issue, but several approaches largely focusing on sample preparation with the use of additives and novel grid modifications have been attempted. In this study, the effect of physical and chemical factors on the orientations of macromolecules was investigated through an analysis of selected well studied macromolecules, and important parameters that determine the behaviour of proteins on cryo-EM grids were revealed. These insights highlight the nature of the interactions that cause preferred orientations and can be utilized to systematically address orientation bias for any given macromolecule and to provide a framework to design small-molecule additives to enhance sample stability and behaviour.

The application of grazing-incidence total X-ray scattering (GITXS) for pair distribution function (PDF) analysis using >50 keV X-rays from synchrotron light sources has created new opportunities for structural characterization of supported thin films with high resolution. Compared with grazing-incidence wide-angle X-ray scattering, which is only useful for highly ordered materials, GITXS/PDFs expand such analysis to largely disordered or nanostructured materials by examining the atomic pair correlations dependent on the direction relative to the surface of the supporting substrate. A characterization of nanocrystalline In2O3-derived thin films is presented here with in-plane-isotropic and out-of-plane-anisotropic orientational ordering of the atomic structure, each synthesized using different techniques. The atomic orientations of such films are known to vary based on the synthetic conditions. Here, an azimuthal orientational analysis of these films using GITXS with a single incident angle is shown to resolve the markedly different orientations of the atomic structures with respect to the planar support and the different degrees of long-range order, and hence, the terminal surface chemistries. It is anticipated that orientational analysis of GITXS/PDF data will offer opportunities to extend structural analyses of thin films by providing a means to qualitatively determine the major atomic orientation within nanocrystalline and, eventually, non-crystalline films.

Time-resolved high-energy X-ray diffraction was used during growth of ultrathin NixFe3−xO4 films with varying Ni content (0 ≤ x ≤ 1.5) deposited on MgO(001) substrates by reactive molecular beam epitaxy, providing an insight into the growth dynamics of these films. In order to obtain structural information, reciprocal-space maps were recorded and the temporal evolution of the Bragg peaks specific to the octahedral and tetrahedral lattice sites of the inverse spinel structure of NixFe3−xO4 was observed during growth of the films. A time delay, corresponding to a coverage of 1.2–1.8 nm, between the appearance of the Bragg reflections originating from octahedral sites and reflections originating exclusively from tetrahedral sites indicates that the ferrite films grow in two stages. In the initial growth phase, a rock salt interface layer is formed. Afterwards, a structural transition occurs and the films grow in an inverse spinel structure. The thickness of the initial rock salt phase was found to increase with Ni content and to be responsible for atypical strain in the thin films. Films with Ni contents x > 1 do not show a structural transition. These films remain in a (deficient) rock salt structure consisting of a mixed Ni–Fe oxide and do not form a spinel structure at all. They show an increased number of NiO clusters as detected by X-ray photoelectron spectroscopy of the valence band, accompanied by a significant roughening of the films.

X-ray diffraction from dislocation half-loops consisting of a misfit segment with two threading arms extending from it to the surface is calculated by the Monte Carlo method. The diffraction profiles and reciprocal space maps are controlled by the ratio of the total lengths of the misfit and the threading segments of the half-loops. A continuous transformation from the diffraction characteristic of misfit dislocations to that of threading dislocations with increasing thickness of epitaxial film is studied. Diffraction from dislocations with edge- and screw-type threading arms is considered and the contributions of the two types of dislocations are compared.

This article demonstrates the feasibility of obtaining accurate pair distribution functions of thin amorphous films down to 80 nm, using modern laboratory-based X-ray sources. The pair distribution functions are obtained using a single diffraction scan without the requirement of additional scans of the substrate or of the air. By using a crystalline substrate combined with an oblique scattering geometry, most of the Bragg scattering of the substrate is avoided, rendering the substrate Compton scattering the primary contribution. By utilizing a discriminating energy filter, available in the latest generation of modern detectors, it is demonstrated that the Compton intensity can further be reduced to negligible levels at higher wavevector values. Scattering from the sample holder and the air is minimized by the systematic selection of pixels in the detector image based on the projected detection footprint of the sample and the use of a 3D-printed sample holder. Finally, X-ray optical effects in the absorption factors and the ratios between the Compton intensity of the substrate and film are taken into account by using a theoretical tool that simulates the electric field inside the film and the substrate, which aids in planning both the sample design and the measurement protocol.

Benedict Cumberbatch in “The Courier”; Credit: LIAM DANIEL / LIONSGATE / ROADSIDE ATTRACTIONS

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Tina Turner performing, used in the documentary "Tina." ; Credit: Dave Hogan/Getty Images/HBO

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Still from "Godzilla vs. Kong"; Credit: Courtesy of Warner Bros. Entertainment Inc. All Rights Reserved.

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MELISSA MCCARTHY and OCTAVIA SPENCER in "Thunder Force."; Credit: HOPPER STONE/NETFLIX © 2021 

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William Jackson Harper and Aya Cash in “We Broke Up.”; Credit: Vertical Entertainment

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Archival still from the documentary "Street Gang: How We Got to Sesame Street"; Credit: HBO

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Tadanobu Asano (L) and Chin Han (R) in "Mortal Kombat."; Credit: Warner Bros. Pictures

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Jason Statham's character H in the film "Wrath of Man"; Credit: Metro Goldwyn Mayer Pictures

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Chris Rock as Detective Zeke Banks in the film "Spiral."; Credit: Lionsgate

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Toni Collette (center) in the film "Dream Horse."

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Millicent Simmonds, Noah Jupe and Emily Blunt return in “A Quiet Place, Part II.”; Credit: Paramount Pictures

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Vera Farmiga and Patrick Wilson in "The Conjuring: The Devil Made Me Do It"; Credit: Warner Bros. Pictures

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ANTHONY RAMOS as Usnavi and MELISSA BARRERA as Vanessa in “IN THE HEIGHTS.”; Credit: Macall Polay/Warner Bros. Pictures’

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Still of Rita Moreno in the documentary “Rita Moreno: Just a Girl Who Decided to Go for It.”; Credit: Roadside Attractions

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Sung Kang (L) and Vin Diesel (R) in the film “F9: The Fast Saga"; Credit: Giles Keyte/Universal Pictures

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The back cover photo splash from Ruth Batchelor's album "Songs for Women's Liberation: Reviving a Dream"; Credit:

I’ve been a member of the LA Film Critics Association since 1999. LAFCA is a good group - collegial and filled with real movie lovers. But it has a problem.

It's a professional organization, meaning a baseline for membership is you have to have a job, and film criticism is overwhelmingly white and male. 78 percent of the top critics listed on RottenTomatoes are male, and women write only 18 percent of the major reviews. So LAFCA is like the profession itself: overwhelmingly a platform for white men.

It's trying to diversify. It has been for years. But how do you do that when the pool you draw from has a huge institutional bias? According to film critic Claudia Puig, "Criticism has been a white male dominated field for very long. And it continues to be. And not just white males, but middle aged."

Claudia is the current LAFCA president - and a legendary critic, who wrote lead reviews for 14 years at USA Today, and now appears regularly on KPCC’s Film Week.

"Very few movies pass the Bechdel Test. Women are often just girlfriends, wives, mothers. They don't get to have a story arc of their own. But if you had more women reviewing these movies, they would point out certain things that people might not notice as potentially offensive. Because we have been harassed, or we have experienced any number of things. It's something I've grappled with through my entire career." - Claudia Puig

I'm on a committee with Claudia for the LA Film Critics. The concept is to mentor young writers - to generate diversity, from the ground up. One idea is to have a scholarship for aspiring female film critics. We thought it would be good to name it after a prominent woman from the group's past.

So I went to Myron Meisel, who joined LAFCA in 1979, just four years after it formed, and I asked him, "Is there a woman you can think of who played an especially prominent role in the history of the LA Film Critics Association?" "Oh!," Myron said. "Ruth Batchelor was the founder and driving force..." "Wait, what?" I asked. "LAFCA was founded by a woman?"

"We weren't shocked. You had Ruth, who was very much concerned with creating a Los Angeles equivalent to the New York Film Critics Association. Which she largely pulled together by force of will. While Ruth was the moving force, you really can't discount her ability to martial the enthusiastic support of Charles Champlin as a co-founder, and the imprimatur of the Los Angeles Times behind him. Ruth had an enviable ability to make everything she undertook seem inevitable." - Myron Meisel

It's poignant, isn't it? And a little creepy. A prestigious group commits to gender diversity, and somehow, it doesn't have the institutional memory to know that the pivotal figure in its history was a woman.

How could we forget Ruth? Batchelor was nothing if not memorable. Before she became a pundit, she was a successful pop songwriter in the style of Neil Sedaka, or Goffin and King. She wrote dozens of songs, recorded by everybody from Phil Spector to the Partridge Family. She wrote Elvis Presley numbers, including "Cotton Candy Land," which might be the most hated track in the Presley catalogue.

But Batchelor also wrote "Where Do You Come From?", which is beautiful.

Elvis Presley performing Ruth Batchelor's "Where do you come from?"

Where do you come from, Ruth?

It wasn't easy to find out.

Batchelor's New York Times obituary was full of false leads. It said she was a critic for National Public Radio. She wasn't, but when NPR searched their archives, they unearthed a lead: a Film Comment article from 1982, where Batchelor is described as "Ruth Batchelor of National Public Radio's 'As it Happens.'" "As It Happens" airs on Canada's CBC.

So I placed a call. And I waited.

Meanwhile, I found a blog post about Batchelor as a songwriter on an excellent site called "Zero to 180 - 3 Minute Magic." The title of the post was riveting: "First 'Women's Liberation LP.'"

It turns out in 1971, Ruth Batchelor self-produced and financed a concept album called "Songs for Women's Liberation: Reviving a Dream." 

Myron Meisel told me about Ruth's earthy sense of humor, and it's right there in the first write-up's, where her working title is "A Quarter for the Ladies Room." A Billboard article from August 1971 quotes Batchelor about the album: "Right now I have an album of dirty Women's Liberation poems recorded, and I'm trying to sell the master." Then she laughs. "The last record company I recorded for folded."

Batchelor shopped her record. There were no takers.

But Batchelor proved unstoppable. She created her own record company and called it Femme Records. Then she put out what the leftist journal Broadside called "the first feminist record album," all by herself. "Reviving a Dream" is forgotten, bordering on lost. It's never been available for streaming, or released on CD.

Batchelor's record is a pastiche of radio styles from her era. There's Joan Baez folk, two drawling country laments, even some call and response stuff Batchelor probably learned from Phil Spector and his girl groups.

Are Batchelor's songs any good? They're amazing. Amazing just because they exist.

She fits into the churning sea of anonymous faces so seamlessly it takes awhile to realize: She's Ruth Batchelor. The woman who founded the LA Film Critics. A group currently struggling with gender diversity.

LAFCA prez Claudia Puig agreed to an interview knowing it had to do with LAFCA, but not what it was about. I played her Batchelor's song "Drop the Mop." Batchelor intended it as an anthem, scored to a tempo of marching feet.

The listen was awkward - like force feeding a roommate your iTunes playlist. Claudia took notes the whole time, to occupy her critical mind, but I could see when it ended that she was moved.

 "Yeah, it's a really interesting song," Claudia said. "My reaction is sort of...ummm..."

Claudia hesitated, looking for words.

"And this was the origin of the group. Yeah. It really kind of... It is really interesting. I'd never heard of her. She was right there, fighting that fight." 

"And here, we were looking for an avatar," I said.

"Right. Right. It means something. This is a really important discovery that you made."

A piece of the portrait was missing - an essential one. It came courtesy of Kevin Robertson, a producer for "As It Happens" at the CBC. Batchelor had been the show's "Hollywood Correspondent" in the early 1980s. There was audio in the archives. Kevin provided me with five MP3s.

Batchelor's CBC brand was gender traditional. She was the tinseltown gadfly, a niche created by Hedda Hopper and Louella Parsons in the 1930s. There was gossip about Burt Reynolds and Loni Anderson. Richard Burton's widow. Marvin Hamlisch. TV's "Gomer Pyle."

It was kitsch heaven, so I wasn't disappointed. Not exactly. But it was still a bit like listening to Wonder Woman try to be ordinary, because hey, we all gotta eat.

Ruth Batchelor's "Mr. Principal"

The LA Film Critics get a cameo in Batchelor's Oscar season broadcast, when she mentions her LAFCA Awards vote. For awhile, I thought that would be the only audio connecting the "As It Happens" Ruth Batchelor to the feminist fireball she wanted to be.

Then Batchelor starts riffing on "Partners," a buddy cop farce about a straight cop who goes undercover as a gay man. The film had sparked protests from the gay community. Batchelor is unsympathetic, which is surprising in a civil rights pioneer. Her reasoning is devastating.

"You know if women got angry every time there was a movie against women," Batchelor says, "there wouldn't be any movies."

Batchelor died of cancer early - she was just 58. 25 years later, men still direct most mainstream movies - 93 percent as of 2015. They have 70 percent of the speaking parts, and play 88 percent of the leads.

While women get to be naked twice as often in American movies.

Men review almost all movies too. Maybe that's why Ruth Batchelor founded the LA Film Critics. Because she lived in that world. She covered it. Spoke to it. Fought hard against it.

And then left behind a hidden legacy.

"She is our avatar," Claudia says, as our interview time runs out. "It sort of makes me want to redouble our efforts to honor her spirit."

This content is from Southern California Public Radio. View the original story at SCPR.org.

Still from the film "Dream Horse" starring Toni Collette.

Larry Mantle and KPCC film critics Angie Han, Wade Major and Peter Rainer review this weekend’s new movie releases.

• "Dream Horse," in wide release & VOD (including Google Play & iTunes June 11)

• "The Dry," in select theaters (check your local listings) & VOD (including Apple TV & VUDU)

• "Milkwater," on VOD platforms (including VUDU & FandangoNow)

• "Blast Beat," in select theaters (check local listings) & VOD (including iTunes, Google Play)

• "Into The Darkness," Laemmle’s Virtual Cinema; VOD (including FandangoNow, iTunes, Google Play) 

• "New Order," in select theaters (check your local listings)

• "The New Deal For Artists," at virtual cinemas, Laemmle's Virtual Cinema June 18

• "When Hitler Stole Pink Rabbit," at Laemmle theaters (Town Center 5, Royal, Playhouse 7); Laemmle’s Virtual Cinema

• "Two Lottery Tickets," at Laemmle’s Virtual Cinema 

• "Final Account," Laemmle Theaters (Claremont 5, Playhouse 7, Town Center 5, Newhall), Century Stadium 25 and XD (Orange); in select theaters

• "The Last Days (Remastered)," on Netflix

• "Spring Blossom," at Laemmle's Virtual Cinema and Royal

• "Tomorrow’s Hope," at Laemmle’s Virtual Cinema

• "The Penny Black," at Laemmle's Virtual Cinema

• "Seance," in select theaters (check your local listings); VOD (including FandangoNow, Vudu, iTunes, Google Play)

DURING COVID: Our FilmWeek critics have been curating personal lists of their favorite TV shows and movies to binge-watch during self-quarantine. You can see recommendations from each of the critics and where you can watch them here.

Guests:

Angie Han, film critic for KPCC and deputy entertainment editor at Mashable; she tweets @ajhan

Wade Major, film critic for KPCC and CineGods.com

Peter Rainer, film critic for KPCC and the Christian Science Monitor

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Comedian Paul Mooney takes part in a discussion panel after the world premiere screening of "That's What I'm Talking About" at The Museum of Television & Radio January 30, 2006 in New York City.; Credit: Paul Hawthorne/Getty Images

In the past couple of weeks, we’ve lost several industry icons, including Paul Mooney, Charles Grodin and Norman Lloyd. 

Actor and comedian Paul Mooney was a boundary-pushing comedian who was Richard Pryor’s longtime writing partner and whose bold, incisive musings on racism and American life made him a revered figure in stand-up. He was 79. Charles Grodin was an offbeat actor and writer who scored as a caddish newlywed in “The Heartbreak Kid” and later had roles ranging from Robert De Niro’s counterpart in the comic thriller “Midnight Run” to the bedeviled father in the “Beethoven” comedies. He was 86. Norman Lloyd’s role as kindly Dr. Daniel Auschlander on TV’s “St. Elsewhere” was a single chapter in a distinguished stage and screen career that put him in the company of Orson Welles, Alfred Hitchcock, Charlie Chaplin and other greats. He was 106. Lloyd’s son, Michael Lloyd, said his father died at his home in the Brentwood neighborhood of Los Angeles. Today on FilmWeek, our critics reflect on their work. Plus they share a couple of their favorite films of the 2021 so far. 

With files from the Associated Press

Guests:

Angie Han, film critic for KPCC and deputy entertainment editor at Mashable; she tweets @ajhan

Wade Major, film critic for KPCC and CineGods.com

Peter Rainer, film critic for KPCC and the Christian Science Monitor

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Actor Dwayne Johnson (L) and Simone Alexandra Johnson attend the People's Choice Awards 2017 at Microsoft Theater on January 18, 2017 in Los Angeles, California. ; Credit: Christopher Polk

When Dwayne "The Rock" Johnson debuted his Hollywood persona in World Wrestling Entertainment in 2003, he was two years removed from his first successful protagonist role in "The Scorpion King" and on the heels of more film success with roles in "The Rundown" and "Walking Tall." 

Little did anyone foresee that "Hollywood" Rock would buoy the overall representation for Asian and Pacific Islanders in popular film for the next 20 years.

Last week, the USC Annenberg Inclusion Initiative released a report documenting the prevalence of Asian and Pacific Islanders both on-and off-screen across the top-grossing films each year from 2007 to 2019.  Of the 1,300 films examined, only 44 featured API actors playing lead roles, nearly a third of which were played by Johnson. 

The report offers more staggering statistics:

• In 2019, over a quarter of API characters in the top-grossing films died. Most died by drowning, explosions, stabbing or suicides

• Of the over 51,000 speaking characters in the 1,300 films examined, only 6% were Asian, Asian American or Native Hawaiian/Pacific Islanders

• Only 50 of the 1,447 directors in the 1,300 films examined were of API heritage.

• In 2019, 67% of API characters played stereotyped roles

The release of this report comes at a time of rising anti-Asian hate crimes nationally, and the authors of the report believe the portrayal of Asian and Pacific Islanders in mass media contributes to that. Today on FilmWeek, we delve into the study's findings and discuss the history of API filmmakers and actors in Hollywood.

Guests: 

Nancy Wang Yuen, professor of sociology at Biola University in La Mirada; she is co-author of “The Prevalence and Portrayal of Asian and Pacific Islanders Across 1,300 Popular Films”; she tweets @nancywyeun

Justin Chang, film critic for the Los Angeles Times and NPR’s Fresh Air; he tweets @JustinCChang

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Still of Emily Blunt and Noah Jupe in the film “A Quiet Place Part II.”; Credit: Paramount Pictures

Larry Mantle and KPCC film critics Lael Loewenstein, Christy Lemire and Charles Solomon review this weekend’s new movie releases on streaming and on demand platforms.

• "A Quiet Place Part II," in wide release

• "Cruella," in wide release & Disney+

• "Dog Gone Trouble," on Netflix

• "Pretty Guardian Sailor Moon Eternal The Movie," on Netflix June 3

• "Moby Doc," In Select Theaters (check your local listings); VOD (including FandangoNow, iTunes, Vudu); Laemmle’s Virtual Cinema June 4

• "Changing The Game," on Hulu June 1

• "Port Authority," Cinelounge Sunset Hollywood; Laemmle’s Virtual Cinema; Digital/VOD (including Vudu, Google Play, FandangoNow) June 1

• "Plan B," on Hulu

• "Borat Supplemental Reportings," on Amazon Prime Video

• "Dead Pigs," on Laemmle’s Virtual Cinema

Our FilmWeek critics have been curating personal lists of their favorite TV shows and movies to binge-watch during self-quarantine. You can see recommendations from each of the critics and where you can watch them here.

Guests:

Christy Lemire, film critic for KPCC, RogerEbert.com and co-host of the ‘Breakfast All Day’ podcast; she tweets @christylemire

Lael Loewenstein, film critic for KPCC and film columnist for the Santa Monica Daily Press; she tweets @LAELLO

Charles Solomon, film critic for KPCC, Animation Scoop and Animation Magazine

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