My Family Cinema is a personal media player whose sole purpose is to provide cinematic information. This means that it is not responsible for uploading any content to the platform, nor for monitoring the availability of such content. Therefore, users are responsible for uploading their own content, if they wish. For this reason, MFC is exempt from any liability in the event that such content is of an illegal nature.

The Jeanine Basinger Center for Film Studies has state-of-the-art screening facilities with over 37 years of experience in running a film series, and a nationally recognized faculty who have first-hand knowledge of domestic and foreign cinema.


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Kick back on the couch this holiday week and stream a FREE family virtual cinema, packed with one of a kind short-films for the whole family curated by Boston International Kids Film Festival. Stream for free on the ICA website for a limited time, starting on Wednesday, November 23, and ending after Sunday night, November 27. Films for all ages and a roughly one hour in total length. Please note there is no on-site Play Date this month.

While providing an ideal space for film viewing, the cinema is also specifically designed to accommodate the active study and discussion of film. A podium is equipped to permit speakers to control sound, lighting, microphones, and the screen curtains. Also there is an integrated computer panel to permit the use of peripheral equipment such as laptop computers and other devices.

The following is an installment in an ongoing series of blog posts analyzing contemporary family films that the author has previously resisted seeing. This series is a sequel of sorts to a previous series called Finding Pixar: A Skeptics Journey, which applied the same treatment to the films of the Pixar Animation Studio.

In another letter, superintendent Edwards said the school board only has three auditoriums, and committing to the family cinema prevents other school or community groups from using the space. At other schools, student plays or art shows often run on both Friday and Saturday nights, with the set remaining in place, he said.

Designed with our youngest moviegoers in mind, our $5 Family Film series is a kid-friendly program with the goals of cultivating an early love of cinema, reducing financial barriers to theatrical experiences and supporting the wellness of our community. Research shows that access to culture across all ages can encourage physical activity and reduce stress and isolation.

The ChampionsGate Resort includes the fabulous Oasis Clubhouse cinema for guests to enjoy during their stay. Each guest staying at one of our vacation rental homes has free access to all of the amenities and features included within the Oasis clubhouse. The Oasis clubhouse at ChampionsGate includes a this full-size family cinema, with theater seating for up to 28 guests.

Family Cinema Club is an opportunity for grown ups and their little ones to enjoy fabulous family films together, meeting on the fourth Saturday of each month at 2pm. Everyone is welcome.

MDC board members will vote Monday at their board meeting to execute a letter of intent between the MDC, City of Midland and Hodges Development Services to develop the project. The project will consist of a lot for 60,000-square-foot family cinema and entertainment center, complete with an outdoor music and event stage; a lot to be occupied by a nationally recognized retailer and comprised of at about 60,000 square feet; and platted lots for other general retailers and restaurants. Non-disclosure agreements prevent the disclosure of the specific names involved in the development

The letter of intent also includes city property tax abatements over a period of 10 years, dropping from 100% the first two years to 20% the final two years. It also includes a city sales tax rebate of 50% generated by the cinema and entertainment center and the retailer as well as the general retailers and restaurants for the first seven years they are open to the public.

The cinema is primarily used for university Film Studies course screenings, but is also home to the Wesleyan Film Series, which screens new, classic, and restored films on 35mm and DCP throughout the academic year and is open to the public.

Introduction:  Cinema has been defined in many different ways, but most of them agree that it should be considered both a technique and an art. Although films often depict fantasy stories, in many cases they also reflect day-to-day realities. In its earliest days cinema was already attracted to the world of health and sickness, and frequently addressed topics like medical practice, how patients lived with their illnesses, bioethical issues, the relationship between physician and patient or research.

Aim:  To review the presence of neurological pathologies in the cinema with a view to identifying the main neurological disorders that have been portrayed in films. Likewise it also intends to describe the medical praxis that is employed, the relationship between physician and patient, how the experiences of the patient and the family are represented, the adaptation to social and occupational situations, and the intervention of other health care professionals related with neurological patients.

Conclusions:  Cinema has helped to shape certain ways of thinking about the health care professionals who work with neurological patients, the importance of support from the family and the social role, among other things. This confirms that resorting to cinematographic productions is a fruitful tool for stimulating a critical interest in the past and present of medical practice.

The aim of this panel is to discuss the ethnographic possibilities for approaching the relevant fields of "vernacular" audiovisual practices and archives. Beginning with family cinema, the panel will explore different fields such as videos commissioned by ethnic organizations, institutions or political networks and other amateur videos.

Production companies today specialize in recording specific moments of social life. The example of the so-called family cinema phenomenon is probably one of the most relevant, in which videos turn family events into memories. These films often use highly sophisticated cinema languages and continuous aesthetic experimentation coupled with ingenious distribution strategies, often through social networks. These videos result from interesting processes of negotiation and interaction between clients and video makers. If, in many cases, these audiovisuals incorporated ethnographic approaches, contemporary ethnography reveals how those sources can be gateways to fields that had been difficult to enter.

Considered to be residual productions by film critics, so-called social- or family-films have become an emblematic object of anthropological research, as well as a consistent field of audio-visual production. From a commercial perspective, the production of videos about weddings, birthdays or other moments considered to be significant to families or social groups have become an important market segment, where professional skills are constantly called upon and new formal modals regularly developed. This important field of study, which from a perspective of the social sciences and cinematographic criticism only becomes relevant though the lens of time, is essential for reflecting on how future memories are produced.

The objective of this study is to explore the practice of family film production. Two principal perspectives mark the study and are intimately connected: the first is related to the choice of the ritual moment to be analysed and the second delimits the social group examined. Considering that this study was conducted in the metropolitan region of Recife, one of the largest state capital cities in Brazil's Northeast, which suffers great inequality of wealth and power, it became fundamental to focus the study on urban elites. The family film thus became a window to enter this world, where access by anthropologists is normally restricted. e24fc04721

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