Father of the Beast
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Complicated Views: Mainstream Cinema's Representation of Non
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e. -
Pseudoscience and Science Fiction Science and Fiction
Andrew May Pseudoscience and Science Fiction Science and Fiction Editorial Board Mark Alpert Philip Ball Gregory Benford Michael Brotherton Victor Callaghan Amnon H Eden Nick Kanas Geoffrey Landis Rudi Rucker Dirk Schulze-Makuch Ru€diger Vaas Ulrich Walter Stephen Webb Science and Fiction – A Springer Series This collection of entertaining and thought-provoking books will appeal equally to science buffs, scientists and science-fiction fans. It was born out of the recognition that scientific discovery and the creation of plausible fictional scenarios are often two sides of the same coin. Each relies on an understanding of the way the world works, coupled with the imaginative ability to invent new or alternative explanations—and even other worlds. Authored by practicing scientists as well as writers of hard science fiction, these books explore and exploit the borderlands between accepted science and its fictional counterpart. Uncovering mutual influences, promoting fruitful interaction, narrating and analyzing fictional scenarios, together they serve as a reaction vessel for inspired new ideas in science, technology, and beyond. Whether fiction, fact, or forever undecidable: the Springer Series “Science and Fiction” intends to go where no one has gone before! Its largely non-technical books take several different approaches. Journey with their authors as they • Indulge in science speculation—describing intriguing, plausible yet unproven ideas; • Exploit science fiction for educational purposes and as a means of promoting critical thinking; • Explore the interplay of science and science fiction—throughout the history of the genre and looking ahead; • Delve into related topics including, but not limited to: science as a creative process, the limits of science, interplay of literature and knowledge; • Tell fictional short stories built around well-defined scientific ideas, with a supplement summarizing the science underlying the plot. -
20100 Plummer Street Chatsworth, CA 91311 818-882-8638 Www
20100 Plummer Street Chatsworth, CA 91311 818‐882‐8638 www.studioadi.com TOM WOODRUFF ‐ BIOGRAPHY Born in Williamsport, Pennsylvania in 1959, much of Tom's early interest in movies and monsters was a result of late‐night broadcasts of the now classic Universal monster movies and the stop‐motion effects of Ray Harryhausen. Finally, seeing one of the Planet of the Apes films in a theater focused his attention on the craft of make‐up, while getting his hands on his father's 8mm home movie camera at 13 years old simultaneously encouraged his interest in filmmaking. While living so far from Hollywood, Tom's only professional contact was through the mail, writing letters to the artists who's work he admired most, like John Chambers, who created the Planet of the Apes make‐ups. Early in high school, he began to crank out his own Super 8 movies, using friends as cast members and saving money for his own camera equipment. Later, in college, Tom was allowed to adapt an independent studies curriculum in Theater to focus on filmmaking and writing and continued to work on his own make‐up creations and film work, story ideas, and screenplays. Tom finally made his move to Los Angeles in 1982. After a year of working with small make‐up effects houses, Tom joined Stan Winston's team on Terminator. That was the beginning of a five‐year period that saw Tom become a key coordinator under Winston, with the opportunity to work on such features as Aliens and Predator as well as TV shows such as Amazing Stories. -
Once Upon a Time: Fairy Tales and Special Effects Makeup in Pop Culture
Once Upon a Time: Fairy Tales and Special Effects Makeup in Pop Culture Lauren Melody Shell Florence, South Carolina Master of Fine Arts, Mary Baldwin College, 2009 Master of Letters, Mary Baldwin College, 2008 Bachelor of Arts in English and Theatre, Anderson University, 2006 A Thesis presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Master of Fine Arts Department of Drama University of Virginia May, 2014 ii Approval Name: Lauren Melody Shell Degree: Master of Fine Arts (Technical Direction) Title of Thesis: Once Upon a Time: Fairy Tales and Special Effects Makeup in Pop Culture Review Committee: ________________________________________ LaVahn Hoh, MFA; M.A Supervisor and Department Head Professor of Technical Direction ________________________________________ Michael Rasbury Graduate Faculty Associate Professor of Sound Design ________________________________________ Steven Warner, MFA Technical Director/Lecturer University of Virginia Technical Director Date Defended/Approved: _________________________ iii Table of Contents Part I: Introduction……………………………………………………………………… 1 Part II: The Movement and Evolution of Fairy Tales…………………………………... 3 Part III: Special Effects Makeup Throughout Time…………………………………….. 11 Part IV: Fairy Tales Found in TV and Film…………………………………………….. 19 Part V: Conclusion……………………………………………………………………… 32 Appendix A: Materials and Construction Glossary…………………………………….. 33 Appendix B: Step-by-Step Process of Fairy Tale Makeup Creation……………………. 36 Appendix C: Character Flowchart for Once Upon a Time……………………………… 50 Works Cited……………………………………………………………………………... 51 Works Consulted………………………………………………………………………... 54 1 Part I: Introduction “Once upon a time…” These words create a formula that signifies the beginning of a tale. This tale will inevitably contain any number of the following constructs: acts of heroism, a maiden in peril, an evil queen, a magical kiss, an impish trickster, an epic duel, and/or a happily ever after. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
Starlog Magazine Issue
'ne Interview Mel 1 THE SCIENCE FICTION UNIVERSE Brooks UGUST INNERSPACE #121 Joe Dante's fantastic voyage with Steven Spielberg 08 John Lithgow Peter Weller '71896H9112 1 ALIENS -v> The Motion Picture GROUP, ! CANNON INC.*sra ,GOLAN-GLOBUS..K?mEDWARO R. PRESSMAN FILM CORPORATION .GARY G0D0ARO™ DOLPH LUNOGREN • PRANK fANGELLA MASTERS OF THE UNIVERSE the MOTION ORE ™»COURTENEY COX • JAMES TOIKAN • CHRISTINA PICKLES,* MEG FOSTERS V "SBILL CONTIgS JULIE WEISS Z ANNE V. COATES, ACE. SK RICHARD EDLUND7K WILLIAM STOUT SMNIA BAER B EDWARD R PRESSMAN»™,„ ELLIOT SCHICK -S DAVID ODEll^MENAHEM GOUNJfOMM GLOBUS^TGARY GOODARD *B«xw*H<*-*mm i;-* poiBYsriniol CANNON HJ I COMING TO EARTH THIS AUGUST AUGUST 1987 NUMBER 121 THE SCIENCE FICTION UNIVERSE Christopher Reeve—Page 37 beJohn Uthgow—Page 16 Galaxy Rangers—Page 65 MEL BROOKS SPACEBALLS: THE DIRECTOR The master of genre spoofs cant even give the "Star wars" saga an even break Karen Allen—Page 23 Peter weller—Page 45 14 DAVID CERROLD'S GENERATIONS A view from the bridge at those 37 CHRISTOPHER REEVE who serve behind "Star Trek: The THE MAN INSIDE Next Generation" "SUPERMAN IV" 16 ACTING! GENIUS! in this fourth film flight, the Man JOHN LITHGOW! of Steel regains his humanity Planet 10's favorite loony is 45 PETER WELLER just wild about "Harry & the CODENAME: ROBOCOP Hendersons" The "Buckaroo Banzai" star strikes 20 OF SHARKS & "STAR TREK" back as a cyborg centurion in search of heart "Corbomite Maneuver" & a "Colossus" director Joseph 50 TRIBUTE Sargent puts the bite on Remembering Ray Bolger, "Jaws: -
Close Encounters of the Third Kind (Warren Publishing)
" - - tews «. ratffiMH voyage thru the void 1 The price of belief — Roy Bathed by orange rays, young Bar- Hidden from view, Jillian Gui- Neary, mercilessly grilled ry looks upon the Unknown and re- ler witnesses with wide-eyed about his encounter of the acts with childlike innocence. wonder the landing of the ce- Second kind. lestial spaceship. OF THE THIRD KIND CONTENTS FORREST J ACKERMAN Editor & Writer CAST OF CHARACTERS & W.R.MOHALLEY MAJOR CREATORS Your Guide Managing Editor to the Contactees & the Doubting Thomases, the Master Effectsman,the Musical Maestro, the KIM McQUAlTE Inspired Scripter & the Genius Director, the Prod- JIM COE A TRIBUTE TO SPIELBERG PETER SOREL A Modern Merlin of Magic Movie Making. Only BOB VIUARD 29, yet already he has dazzled us with DUEL and Photo Credits unnerved us with JAWS. Now: a Cinemiracle, a Cinema ster piece. ELIZABETH ALOMAR DENNIS BILLOWS PAT BARNUM ROSIEPABON Project Coordinators THE FILMBOOK REVIEW t„ p encoun- MICHAEL SCHNEIDER Science Fiction personalities and fans Circulation Director ter the fabulous film for the first time. Read these luminaries' thought provoking comments! DAN TUNICK Administrative Director COLOR ENCOUNTERS o, Best Kind. Dramatic, Chromatic Souvenirs t DONATO VELEZ you will groove on now and treasure for years. JACINTO SOTO Marvelous Moments from the Film in Living Color. Traffic Department ALIEN ENCOUNTERS >i , lishing Co., division ol Warren Communications Her Kind. The War of the Worlds Martian . The Corp., Editorial. Business & Subscription offices Fell to Earth . Gort ... the Metalu- at 145 E. 32nd Street, New York, N.Y, 10016 Man Who na Mutant . Harryhausen's SaucpH*"* Printed in U.S.A. -
En Busca Del Arca Perdida
En busca del Arca Perdida (Colección Guías para ver y analizar cine) CARLOS LÓPEZ OLANO Valencia, Enero 2.001 1 Índice 1. Ficha técnica 2. Introducción a la película 2.1 Spielberg y Lucas: una unión inevitable 2.2 El nacimiento de un mito 2.3 El autor e Indiana Jones 2.4 Una película de género 2.5 Incongruencias en la lógica narrativa 2.6 Indiana Jones y su contexto 3. Sinopsis argumental 4. Estructura del film 5. Análisis textual 6. Recursos expresivos 6.1 La dirección de fotografía 6.2 La dirección artística (escenografía y efectos especiales) 6.3 La música 6.4 El sonido 6.5 El montaje 6.6 La interpretación de los actores 6.7 El guión: del papel al celuloide 7. Apéndices 7.1 ¿El Rey Midas de Hollywood? 7.2 Condiciones de producción 7.3 La saga de Indiana Jones 7.4 Una película cinefílica 7.5 El cine después de Indiana 7.6 La mujer y el sexo en Indiana Jones 8. Equipo de producción Director: Steven Spielberg Productor: George Lucas Guionista: Lawrence Kasdan Compositor: John Williams Efectos especiales: Industrial Light & Magic Protagonista: Harrison Ford 9. Bibliografía 2 1. FICHA TÉCNICA: Título original Raiders of the Lost Ark Año de producción 1.981 Nacionalidad Estados Unidos Dirección Steven Spielberg Producción Lucas Films para Paramount Productores ejecutivos George Lucas y Howard Kazanjian Productor Frank Marshall Argumento George Lucas y Philip Kaufman Guión Lawrence Kasdan Fotografía Douglas Slocombe (En Panavision y metrocolor) Supervisor de los efectos visuales Richard Edlund Efectos especiales Industrial Light & Magic Dir. -
The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication. -
Der Computeranimierte Spielfilm
Klaus Kohlmann Der computeranimierte Spielfilm Klaus Kohlmann (Dr. phil.) arbeitet als 3-D-Artist für mehrere Agen- turen sowie als Autor für Fachmagazine. Er ist Universitätslehrbe- auftragter für 3-D-Computergrafik. (www.klauskohlmann.de) Klaus Kohlmann Der computeranimierte Spielfilm. Forschungen zur Inszenierung und Klassifizierung des 3-D-Computer-Trickfilms Das Buch ist eine von der Philosophischen Fakultät der Universität zu Köln angenommene Dissertation zur Erlangung des Doktorgrades Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.ddb.de abrufbar. © 2007 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Umschlaggestaltung & Innenlayout: Kordula Röckenhaus, Bielefeld Lektorat & Satz: Klaus Kohlmann Druck: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-635-9 Gedruckt auf alterungsbeständigem Papier mit chlorfrei gebleichtem Zellstoff. Besuchen Sie uns im Internet: http://www.transcript-verlag.de Bitte fordern Sie unser Gesamtverzeichnis und andere Broschüren an unter: [email protected] INHALT Einleitung 13 1. Portrait des konventionellen Trickfilms 21 1.1 Ausprägungen und Gattungen 22 1.2 Anfänge der Animation 25 1.3 Stationen des Zeichentrickfilms 26 1.4 Inszenierungsforschung des konventionellen Trickfilms 29 1.5 Der Puppentrickfilm 33 2. Historie und Disposition der 3-D-computerbasierten Bilderzeugung 37 2.1 Computergrafik 37 2.2 3-D-Computergrafik 38 2.3 3-D-Computeranimation 44 2.4 Entwicklungsgeschichtlicher Zusammenhang von Film und Computer 45 2.5 Der vollständig computergenerierte Trickfilm 52 2.6 Der abendfüllende computergenerierte Spielfilm 55 3. Disposition des Computers in der Trickfilmproduktion 57 3.1 CGI im filmwissenschaftlichen Diskurs 57 3.2 Algorithmisierung 58 3.3 Stationen der CG-Produktionslinie 61 3.4 Exkurs: Die 3-D-Applikation 3ds max 71 4. -
Race to Witch Mountain
THIS MATERIAL IS ALSO AVAILABLE ONLINE AT http://www.wdsfilmpr.com © Disney Enterprises, Inc. All Rights Reserved. disney.com/RaceToWitchMountain Dr. Donald Harlan. GARRY MARSHALL WALT DISNEY PICTURES Tina. KIM RICHARDS Sheriff Antony . IAKE EISSINMANN CREDITS Presents Siphon . TOM WOODRUFF, JR. Siphon Stunt Double . PAUL DARNELL Frank . JOHN DUFF RACE TO Marty . BOB KOHERR Matt. KEVIN CHRISTY WITCH MOUNTAIN Lloyd . BOB CLENDENIN Imperial A Stormtrooper Ciardi . SAM WOLFSON GUNN FILMS Imperial Stormtrooper Gray. BRYAN FOGEL Production Dominick . ROBERT TORTI Chuck. JOHN KASSIR Stenftenagel . BETH KENNEDY Directed by . ANDY FICKMAN Gallagher . JONATHAN SLAVIN Screen Story by. MATT LOPEZ Analyst D. Pleasence. HARRY S. MURPHY Screenplay by . MATT LOPEZ Four-Star and MARK BOMBACK General V. Lewton . TED HARTLEY Based on the Book by . ALEXANDER KEY General E. Albert. JACK EASTLAND Produced by. ANDREW GUNN Natalie Gann . MEREDITH SALENGER Executive Producers . MARIO ISCOVICH Casey Taylor. ANDREW SHAIFER ANN MARIE SANDERLIN Gail Ross . SUZANNE KRULL Director of Photography . GREG GARDINER Oren Bergman . STEVE ROSENBAUM Production Designer. DAVID J. BOMBA Sunday. CHRISTINE LAKIN Edited by. DAVID RENNIE, A.C.E. Brokedown Cadillac . CORRI ENGLISH Costume Designer . GENEVIEVE TYRRELL RANDY DUNHAM Special Character Effects DON IAN Designed and Created by . ALEC GILLIS JEFF LEGORE and TOM WOODRUFF, JR. DANNY REULAND Music by. TREVOR RABIN Iscovich. DAVE ENGFER Music Supervisor . LISA BROWN Police Officer Hough . OMAR DORSEY Casting by. RANDI HILLER, C.S.A. Frankie Valet . JOSEPH LEO BWARIE and SARA FINN, C.S.A. Teddy Tentacles . PAUL NYGRO Hendricks. BRANDON MILLER Unit Production Manager . PAUL MOEN Repola. ANDREW T. JANEY First Assistant Director . GEOFF HANSEN Ray. -
Sci-Fi Invasion! the Science Fiction Magazine SUMMER 1998 EDITION
sci-fi Invasion! The Science Fiction Magazine SUMMER 1998 EDITION Father of the Beast While learning his trade, he began developing a When Giger created The Alien over 20 new art style that incorporated his technical skills with his love of skulls and bones. Called years ago, he spawned the one nightmare “biomechanics” by Giger, it was a mixture of he couldn’t control: His own biological, mechanical, sensual and technological By Patrick Sauriol shapes fused into a form of dark beauty, a look that movie audiences today readily associate with the How many people would want to take credit for two Alien. “[Biomechanics] is already in the world- decades of murder, terror and mayhem? Giger, for biologic and mechanic, these two things together,” one, is not only willing to take credit, but he’s willing explains Giger. “Maybe little cells are already parts to fight for it. For more than 20 years, movie of a machine. I did the paintings I couldn’t find. I audiences have been frightened by the creations of invented things, or I wrote on paper what I could the Swiss-born painter, sculptor and visionary via see or feel.” the Alien movies. But for Giger, the two decades Once he completed his degree, Giger put his have included a bumpy relationship with Twentieth education to use in a steady job designing office Century Fox. He says that when Sigourney Weaver furniture-but he’d stay up all night doing his own and the crew of the Nostromo encountered death paintings, sculptures and sketchings. After three in 1979 in the first of four Alien films, he began a years, his passion for art made him quit his steady relationship with 20th Century Fox that included job and pursue his dream of becoming a full-time snubs, unfair practices and a lack of fair crediting.