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5.3 Post-Cinematic Atavism
5.3 Post-Cinematic Atavism BY RICHARD GRUSIN In June 2002, for a plenary lecture in Montreal at the biennial Domitor conference on early cinema, I took the occasion of the much-hyped digital screening of Star Wars: Episode II–Attack of the Clones (George Lucas, 2002) to argue that in entering the 21st century we found ourselves in the “late age of early cinema,” the more than century-long historical coupling of cinema with the sociotechnical apparatus of publicly projected celluloid film (“Remediation”). Two years later, in a lecture at a conference in Exeter on Multimedia Histories, I developed this argument in terms of what I called a “cinema of interactions,” arguing that cinema in the age of digital remediation could no longer be identified with its theatrical projection but must be understood in terms of its distribution across a network of other digitally-mediated formats like DVDs, websites, games, and so forth—an early call for something like what now goes under the name of “platform studies” (“DVDs”). In his recent book on “post-cinematic affect” Steven Shaviro has picked up on this argument in elaborating his own extremely powerful reading of the emergence of a post-cinematic aesthetic (70). I want to return the favor here to take up what I would characterize as a kind of “post-cinematic atavism” that has been emerging in the early 21st century as a counterpart to the aesthetic of post-cinematic affectivity that Shaviro so persuasively details. Sometimes considered under the name of “slow cinema” or “the new silent cinema” (or, as | 1 5.3 Post-Cinematic Atavism Selmin Kara puts it, “primordigital cinema”), post-cinematic atavism is not limited to art- house or independent films. -
Superman-The Movie: Extended Cut the Music Mystery
SUPERMAN-THE MOVIE: EXTENDED CUT THE MUSIC MYSTERY An exclusive analysis for CapedWonder™.com by Jim Bowers and Bill Williams NOTE FROM JIM BOWERS, EDITOR, CAPEDWONDER™.COM: Hi Fans! Before you begin reading this article, please know that I am thrilled with this new release from the Warner Archive Collection. It is absolutely wonderful to finally be able to enjoy so many fun TV cut scenes in widescreen! I HIGHLY recommend adding this essential home video release to your personal collection; do it soon so the Warner Bros. folks will know that there is still a great deal of interest in vintage films. The release is only on Blu-ray format (for now at least), and only available for purchase on-line Yes! We DO Believe A Man Can Fly! Thanks! Jim It goes without saying that one of John Williams’ most epic and influential film scores of all time is his score for the first “Superman” film. To this day it remains as iconic as the film itself. From the Ruby- Spears animated series to “Seinfeld” to “Smallville” and its reappearance in “Superman Returns”, its status in popular culture continues to resonate. Danny Elfman has also said that it will appear in the forthcoming “Justice League” film. When word was released in September 2017 that Warner Home Video announced plans to release a new two-disc Blu-ray of “Superman” as part of the Warner Archive Collection, fans around the world rejoiced with excitement at the news that the 188-minute extended version of the film - a slightly shorter version of which was first broadcast on ABC-TV on February 7 & 8, 1982 - would be part of the release. -
A Producer's Handbook
DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice. -
Freeze Frame by Lydia Rypcinski 8 Victoria Tahmizian Bowling and Other [email protected] Fun at 45 Below Zero
THE WORLD'S ONLY MAGAZINE DEVOTED EXCLUSIVELY TO THE BUSINESS OF BOWLING CONTENTS VOL 18.1 PUBLISHER & EDITOR Scott Frager [email protected] Skype: scottfrager 6 20 MANAGING EDITOR THE ISSUE AT HAND COVER STORY Fred Groh More than business Positively negative [email protected] Take a close look. You want out-of-the-box OFFICE MANAGER This is a brand new IBI. marketing? You want Tom Patty Heath By Scott Frager Clark. How his tactics at [email protected] PBA are changing the CONTRIBUTORS way the media, the public 8 Gregory Keer and the players look Lydia Rypcinski COMPASS POINTS at bowling. ADMINISTRATIVE ASSISTANT Freeze frame By Lydia Rypcinski 8 Victoria Tahmizian Bowling and other [email protected] fun at 45 below zero. By Gregory Keer 28 ART DIRECTION & PRODUCTION THE LIGHTER SIDE Designworks www.dzynwrx.com A feather in your 13 (818) 735-9424 cap–er, lane PORTFOLIO Feather bowling’s the FOUNDER Allen Crown (1933-2002) What was your first game where the balls job, Cathy DeSocio? aren’t really balls, there are no bowling shoes, 13245 Riverside Dr., Suite 501 Sherman Oaks, CA 91423 and the lanes aren’t even 13 (818) 789-2695(BOWL) flat. But people come What was your first Fax (818) 789-2812 from miles around, pay $40 job, John LaSpina? [email protected] an hour, and book weeks in advance. www.BowlingIndustry.com 14 HOTLINE: 888-424-2695 What Bowling 32 Means to Me THE GRAPEVINE SUBSCRIPTION RATES: One copy of Two bowling International Bowling Industry is sent free to A tattoo league? every bowling center, independently owned buddies who built a lane 20 Go ahead and laugh but pro shop and collegiate bowling center in of their own when their the U.S., and every military bowling center it’s a nice chunk of and pro shop worldwide. -
South Africa's Official Selection for the Foreign Film Oscars 2006
Production Notes The UK Film & TV Production Company plc The Industrial Development Corporation of South Africa The National Film & Video Foundation of South Africa in association with Moviworld present A UK/South African Co-production TSOTSI Starring Presley Chweneyagae, Terry Pheto, Kenneth Nkosi, Mothusi Magano, Zenzo Ngqobe and ZOLA Written and Directed by Gavin Hood Based on the novel by Athol Fugard Co-produced by Paul Raleigh Produced by Peter Fudakowski WINNER – EDINBURGH FILM FESTIVAL 2005 THE STANDARD LIFE AUDIENCE AWARD THE MICHAEL POWELL AWARD FOR BEST BRITISH FILM South Africa’s official selection for the Foreign Film Oscars 2006 For all press inquiries please contact: Donna Daniels Public Relations 1375 Broadway, Suite 403, New York, NY 10018 Ph: 212-869-7233 Email: [email protected] and [email protected] IN TORONTO: contact Melissa or Donna c/o The Sutton Place Hotel, Hospitality Suite 606, 955 Bay Street, Toronto, on M5S 2A2 main #: 416.924.9221 fax: 416.324.5617 FOR ALL PRESS MATERIALS/INFO : www.tsotsi.com A message from the playwright and author of the novel TSOTSI ATHOL FUGARD 2 CONTENTS: LETTER FROM AUTHOR OF 'TSOTSI' THE NOVEL 2 UK AND TRADE PRESS QUOTE BANK 4 SHORT SYNOPSIS 6 LONGER SYNOPSIS 6 MAKING “TSOTSI” - BACKGROUND NOTES and QUOTES 8 THE TERM “TSOTSI” - ORIGINS AND MEANINGS 13 KWAITO MUSIC - ORIGINS 15 BIOGRAPHIES: ATHOL FUGARD - AUTHOR OF THE NOVEL “TSOTSI” 17 GAVIN HOOD - SCREENWRITER / DIRECTOR 18 PETER FUDAKOWSKI - PRODUCER 19 PAUL RALEIGH - CO-PRODUCER 20 PRESLEY CHWENEYAGAE - TSOTSI 21 ZOLA – FELA 21 TERRY PHETO - MIRIAM 21 KENNETH NKOSI - AAP 21 MOTHUSI MAGANO - BOSTON 22 ZENZO NGQOBE - BUTCHER 22 CAST, CREW AND MUSIC CREDITS 23-31 CONTACT INFO 32 3 TSOTSI “Tsotsi” literally means “thug” or “gangster” in the street language of South Africa’s townships and ghettos. -
Mcconkey on Thailand Jour, Supplanting Any and All Spurious History Continued on Page 8
NEWS FOR OPERA TORS AND OWNERS olume 1, number 3 Dec. '88 Ancient History "The Brown Stabilizer" That's what I wanted to call it. It wasn't just ego (that came later!). I thought it needed a simple, honest, "70's" kind of natural name, a pure name, not a stupid, gimmicky name like "Steadicam." It was Ed DiGiulio's suggestion, which I hated immediately. Of course, as he predicted, the word has now become simply a word, a noble word, meaning exactly what it says, and in fact , I am daily (well, yearly...), grateful that he prevailed and that we didn't call it the bloody Brown Stabilizer! In any event, I recently unearthed some early pictures, and have been inspired to relate the one-and-only true version of the birth of our noble gadget. So here it is: the truth du McConkey on Thailand jour, supplanting any and all spurious History continued on page 8 For three months in the Spring of McCONKEY: The first day it 1988, Larry McConkey worked on was 1200 in the sun, and the humidity Brian De Palma's new feature, made it feel like it was virtually "Casualties ofWar." Thefilm is raining all the time. I had a long coming out in early 1989. tracking shot down a dirt street in the Vietnamese village set. Now, I tend to be very careful not to wear myself LEITER: Was it any fun? out during a shoot, and I get as much McCONKEY: Yes. I had never rest as possible between takes and as been to Southeast Asia before, and much help from the crew as I can, but Thailand is now one of my favorite even so, after four or five takes I was places in the world. -
List of Non-Exhaustive Crew Titles That Will Be Considered for Funding
List of non-exhaustive crew titles that will be considered for funding: Director Best boy (lighting) Key make-up artist Producer Lighting technician / Electrics Special make-up effects Artist Line producer Grips (SFX makeup) Production assistant Key grip Make-up supervisor Production managements Best boy/Best Babe (grip) Make-up artist Production manager Dolly grip Key hair Assistant production Production sound Hair stylist manager Production sound mixer Special effects Unit manager Boom operator Special effects supervisor Production coordinator Second assistant sound Stunts First assistant director Art department Stunt coordinator Second assistant director Production designer Film editor Accounting Art director Editorial[edit] Production accountant Line Standby art director Negative cutter Producer Assistant art director Colorist Location manager Set designer Telecine colorist Assistant location manager Illustrator Visual effects[edit] Location scout Graphic artist Visual effects Unit publicist Set decorator Visual effects producer System administrator Buyer Visual effects creative Continuity Leadman director Script supervisor Set dresser Visual effects supervisor Script Writers Greensman Visual effects editor Casting Construction Compositor Casting director Construction coordinator Matte painter Cast PA Head carpenter Sound and music Drivers Carpenters Sound designer Camera and lighting Studio hands Dialogue editor Director of photography Propmaker Sound editor Camera Scenic Re-recording mixer Camera operator Key scenic Music supervisor First assistant camera Property Foley artist Second assistant camera Propmaster Conductor/ orchestrator Film loader Weapons master Score recorder/ mixer Digital imaging technician Costume department Music preparation Steadicam operator Costume supervisor Music editor Motion control Key costumer Previs technician/Operator Breakdown artist Animation Lighting Costume buyer Gaffer Cutter . -
Cinematographer As Storyteller How Cinematography Conveys the Narration and the Field of Narrativity Into a Film by Employing the Cinematographic Techniques
Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. This page intentionally left blank. 4 The alteration Note: The alteration of my MPhil thesis has been done as was asked for during the viva for “Cinematographer as Storyteller: How cinematography conveys narration and a field of narrativity into a film by employing cinematographic techniques.” The revised thesis contains the following. 1- The thesis structure had been altered to conform more to an academic structure as has been asked for by the examiners. -
THE PHILOSOPHY of STEVEN SODERBERGH the Philosophy of Popular Culture
THE PHILOSOPHY OF STEVEN SODERBERGH The Philosophy of Popular Culture Th e books published in the Philosophy of Popular Culture series will illuminate and explore philosophical themes and ideas that occur in popular culture. Th e goal of this series is to demonstrate how philosophical inquiry has been reinvigorated by increased scholarly interest in the intersection of popular culture and philosophy, as well as to explore through philosophical analysis beloved modes of entertainment, such as movies, TV shows, and music. Philosophical concepts will be made accessible to the general reader through examples in popular culture. Th is series seeks to publish both established and emerging scholars who will engage a major area of popular culture for philosophical interpretation and examine the philosophical underpinnings of its themes. Eschewing ephemeral trends of philosophical and cultural theory, authors will establish and elaborate on connections between traditional philosophical ideas from important thinkers and the ever-expanding world of popular culture. Series Editor Mark T. Conard, Marymount Manhattan College, NY Books in the Series Th e Philosophy of Stanley Kubrick, edited by Jerold J. Abrams Football and Philosophy, edited by Michael W. Austin Tennis and Philosophy, edited by David Baggett Th e Philosophy of the Coen Brothers, edited by Mark T. Conard Th e Philosophy of Film Noir, edited by Mark T. Conard Th e Philosophy of Martin Scorsese, edited by Mark T. Conard Th e Philosophy of Neo-Noir, edited by Mark T. Conard Th e Philosophy of Horror, edited by Th omas Fahy Th e Philosophy of Th e X-Files, edited by Dean A. -
John Barzelay [email protected] (407) 761-1899
John Barzelay [email protected] (407) 761-1899 Education University of Central Florida, Orlando, FL Bachelor of Arts, May 2008, Radio/Television. Minors in Film, Sociology. Recent Freelance Sound Mixer/Recordist, Camera Op, Steadicam (current) Work SOUND DEPARTMENT “Glendale Arts” - TV Spots – Sound Mixer (April 2012) Tegan Summer “Blue Lagoon” - Behind the scenes – Sound Mixer/Recordist (March 2012) Lifetime “Google Apps” - Commercial web-spots – Sound Mixer (September 2011) Google “Zombie Burst” iPhone Video Game –Sound Director (September 2011) “2012 Ford Fiesta” – Commercials – Sound Mixer (September 2011) Ford “Puss N Boots” – Live-action Commercial – Boom Op (September 2011) Dreamworks “Grabriel Iglesias” Commercials – Sound mixer (August 2011) Comedy Central “Prophets of Science Fiction” TV Show – Sound Mixer (July-August 2011) Discovery “Cee-Lo Green – Cry Baby” music video – Sound Mixer (July 2011) “Rango” Live-action commercial – Boom Op (June 2011) Nickelodeon. “Kids Choice Awards 2011” – Commercial Spots – Boom Op (May 2011) Nickelodeon “American Idol” TV Show – Sound Mixer/boom (March 2011) Fox “The Sorrow” Feature Film – Sound Mixer (March 2011) LapBand Commercial TV Spots – Sound mixer (Jan 2011) Tegan Summer “The Block” BET Pilot – Sound Mixer/Boom (Oct 2010) BET “Tony Hawk Pro Skater: Shred” Video game – Boom Op (April 2010) PCB. “Hatchet II” Feature film – Boom Operator (Jan-Feb 2010) Ariescope. CAMERA DEPARTMENT “YG – Get money and fuck” Music Video – Steadicam Op (April 2012) 55 Mill “My Indonesian Adventure” -
A GLOSSARY of THEATRE TERMS © Peter D
A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam. -
2015/2016 WGSA Council V
2015/2016 WGSA Council v Chairperson - Theoline Maphutha THEOLINE MAPHUTHA CHAIRPERSON Theoline Maphutha is a self-employed writer with over five years’ experience in the film and television industry. Before pursuing a career as a writer, she studied and worked in the information and communications technology (ICT) industry for almost 10 years as a support administrator, systems implementer, and project manager. Although skilled in lifestyle/magazine program writing, she’s a published poet, lyricist, and blogger, passionate about kaizen, constant self-improvement. Contribution is one of her highest values (ever since she was a Brownie in the girl scouts). Her life’s goal is to empower people to follow their purpose using the knowledge, experience, and resources available to her. Theoline is an independent soul with nimble flexibility, and a deliberate, succinct style of communication, who delivers autonomously creative ideas and solutions. Vice Chair - Peter Goldsmid PETER GOLDSMID LEGAL SERVICES Writer-director-producer Peter Goldsmid has a background in legal philosophy and politics and a keen interest in the interface between morality, justice, crime, social issues – and drama. This would his final year on Council where, if elected, he would continue to giving advice to writers in their dealings with producers. This includes advising on legal issues (such as contracts), helping writers access professional legal help if necessary, and mediating in disputes. Having worked both as producer and writer for hire, he has a balanced perspective on the issues that affect writers and brings this to bear in his contributions to Council. He is currently nominated for a 2015 writing SAFTA (as part of the “Traffic” writing team) and a Muse Award for documentary writing on Dance up from the street.