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Stop Motion Horrorgeschichten Für Kinder Ab 10 Jahren
MATERIALIEN No 58 Untote Puppen Stop-Motion-Horrorgeschichten für Kinder ab 10 Jahren BEGLEITENDES UNTERRICHTSMATERIAL FÜR LEHRERINNEN UND LEHRER filmABC MATERIALIEN No 58 1 Untote Puppen Stop-Motion-Horrorgeschichten für Kinder ab 10 Jahren: „Coraline“, „ParaNorman“ und „Frankenweenie“ Inhalt 1. Animierte Zombies und Monster im Kinderprogramm 1 1.1 Zum Hintergrund des Unterrichtsmaterials 1 1.2 Didaktische Vorbemerkungen 1 2. Die dunklen Seiten der Kindheit 3 3. Filmbeispiele 7 3.1 Coraline 7 3.2 ParaNorman 9 3.3 Frankenweenie 10 4. Literatur, Links, Impressum 11 5. filmABC Unterrichtsmaterialien 13 Anhang: Arbeitsblätter 1. Animierte Zombies und Monster im Kinderprogramm 1.1 Zum Hintergrund des Unterrichtsmaterials Es ist verblüffend: Ausgerechnet in Puppentrickfilmen, die auf den ersten Blick so niedlich aus- sehen und an klassische Kinderprogramme erinnern, tauchen seit ein paar Jahren mit Zombies, Monstern und Mutanten immer wieder die alten Schreckgespenster des Horror- und Gruselki- nos auf. Filme wie „Coraline“ (2009) von Henry Selick, „ParaNorman“ (2012) von Chris Butler und Sam Fell sowie „Frankenweenie“ (2012) von Tim Burton erzählen Geschichten über die Begeg- nungen ihrer etwa zehnjährigen Protagonist/inn/en mit jenen Ungeheuern – und sind doch trotz ihres unheimlichen, teils Furcht erregenden Figurenpersonals auch stimmige Filme für ein gleichaltriges junges Publikum. Was aber macht den Reiz dieser Filme aus? Welche für ältere Kinder relevanten Themen filtern die Filmemacher aus dem Horrorfilmgenre heraus? Und weshalb kann gerade die wagemutige Mischung aus Kinder-, Coming-of-Age- und Gruselfilm die Gefühlslage junger Zuschauer/innen so gut treffen? Exemplarisch geht dieses Unterrichtsmaterial anhand von „Coraline“, „ParaNor- man“ und „Frankenweenie“ diesen Fragen nach. Ein Überblicksartikel führt filmübergreifend in dieT hematik ein und analysiert anhand von Standfotos wiederkehrende Gestaltungsmuster und die ästhetischen Besonderheiten. -
The Eddie Awards Issue
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE EDDIE AWARDS ISSUE IN THIS ISSUE Golden Eddie Honoree GUILLERMO DEL TORO Career Achievement Honorees JERROLD L. LUDWIG, ACE and CRAIG MCKAY, ACE PLUS ALL THE WINNERS... FEATURING DUMBO HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD AND MUCH MORE! US $8.95 / Canada $8.95 QTR 1 / 2019 / VOL 69 Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. All other trademarks are the property of their respective owners. Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. -
Frankenweenie, États-Unis, 2012, 1 H 27 André Caron
Document generated on 09/29/2021 8:38 p.m. Séquences La revue de cinéma --> See the erratum for this article Pour que le courant passe, il faut être au courant ! Frankenweenie, États-Unis, 2012, 1 h 27 André Caron Number 281, November–December 2012 URI: https://id.erudit.org/iderudit/67894ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Caron, A. (2012). Review of [Pour que le courant passe, il faut être au courant ! / Frankenweenie, États-Unis, 2012, 1 h 27]. Séquences, (281), 50–51. Tous droits réservés © La revue Séquences Inc., 2012 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 50 LES FILMS | Gros plan Frankenweenie Pour que le courant passe, il faut être au courant ! Tim Burton a toujours eu un faible pour les films d’animation. Adolescent, il fabrique déjà des courts métrages d’animation. Dans la vingtaine, il devient animateur pour Disney et, depuis, presque tous ses films comportent des séquences animées. Il a même produit deux œuvres de Henry Selick, The Nightmare Before Christmas et James and the Giant Peach, avant de coréaliser The Corpse Bride avec Mike Johnson. -
10700990.Pdf
The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date. -
TESIS: El Recurso Narrativo De Grabación Encontrada En El Cine De
UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO FACULTAD DE CIENCIAS POLÍTICAS Y SOCIALES El Recurso Narrativo de Grabación Encontrada en el Cine de Terror del Nuevo Milenio T E S I S QUE PARA OBTENER EL TÍTULO DE: LICENCIADO EN CIENCIAS DE LA COMUNICACIÓN PRESENTA OSCAR ALBERTO ORTIZ MERCADO DIRECTOR DE TESIS: PROF. RUBEN SANTAMARÍA VÁZQUEZ MÉXICO, D.F. DICIEMBRE DE 2013 UNAM – Dirección General de Bibliotecas Tesis Digitales Restricciones de uso DERECHOS RESERVADOS © PROHIBIDA SU REPRODUCCIÓN TOTAL O PARCIAL Todo el material contenido en esta tesis esta protegido por la Ley Federal del Derecho de Autor (LFDA) de los Estados Unidos Mexicanos (México). El uso de imágenes, fragmentos de videos, y demás material que sea objeto de protección de los derechos de autor, será exclusivamente para fines educativos e informativos y deberá citar la fuente donde la obtuvo mencionando el autor o autores. Cualquier uso distinto como el lucro, reproducción, edición o modificación, será perseguido y sancionado por el respectivo titular de los Derechos de Autor. Dedicatorias A mis Padres: me han dado todo y gracias a ustedes este capítulo llega a su fin; sin su apoyo no podría ser lo que soy ni contar con lo necesario para crear mi futuro. Con todo mi corazón les doy las gracias infinitamente. Con todo mi corazón, para Rufino y Teresa. A Cesar, por acompañarme en la vida, por aventurarse conmigo en este viaje de locos, por ayudarme a investigar e intercambiar opiniones, porque qué sería de este Sherlock sin un buen Watson. Te quiero hermano. A Camila por iluminar la vida de sus abuelos y ayudar a que la mía sea un poco más divertida que antes. -
Music Editor
DEL SPIVA MUSIC EDITOR FILM: The Old Guard Studio: Netflix Director: Gena Prince-Bythewood Editor: Terylin A. Shropshire Composer: Volker Bertelmann & Dustin O’Halloran Top Gun Meverick Studio: Paramount Pictures Director: Joseph Kosinsky Editor: Chris Lebenzon Composer: Harold Faltermeyer & Hans Zimmer Just Mercy Studio: Warner Bros Director: Destin Daniel Cretton Editor : Nat Sanders Composer: Joel P West DeadPool 2 Studio: Twentieth Century Fox Director: David Leach Editor : Craig Alpert, Elisabet Ronaldsdóttir Composer: Tyler Bates The Defiant Ones Studio: HBO Director: Allen Hughes Editor : Doug Pray Composer: Atticus Ross Blade Runner 2049 Studio: Alcon entertainment Director: Denis Villenueve Editor : Joe Walker Composer: Johann Johannson Roman J. Israel, Esq. Studio: Sony Director: Dan Gilroy Editor : John Gilroy Composer: James Newton-Howard The Glass Castle Studio: Lionsgate Entertainment Director: Destin Daniel Cretton Editor : Nat Sanders Composer: Joel P West Gold Studio: The Weinstein Company, Black Bear Pictures Director: Stephen Gaghan Editor : Rick Grayson Composer: Daniel Pemberton Shots Fired (TV Series) Studio: Twentieth Century Fox Directors: Gina Prince—Bythewood, Jonathon Demme, Malcom D. Lee, Millicent Shelton, Reggie Bythewood Editors Teri Shropshire, Micky Blythe, Jacques Gravett, Nancy Richardso Composer: Terence Blanchard DEL SPIVA MUSIC EDITOR C oco Studio: Lions Gate Director: RZA Editor : Yon Van Kline Keanu Studio: New Line Director: Peter Atencio Editor : Nicholas Mansour Composer: Steve Jablonsky Saints & Strangers (TV Mini-Series) Studio: Sony/NatGeo Director: Gina Mathews Editor : Colby Parker, Jr. Composer: Lorne Balfe Won, Golden Reel: Best Music Editing, TV Long Form Pete’s Dragon Studio: Disney Director: david Lowery Editor : Lisa Zeno Churgin Deepwater Horizon Studio: Lionsgate Director: Peter Berg Editor : Colby Parker, Jr. -
Product Guide
AFM PRODUCTPRODUCTwww.thebusinessoffilmdaily.comGUIDEGUIDE AFM AT YOUR FINGERTIPS – THE PDA CULTURE IS HAPPENING! THE FUTURE US NOW SOURCE - SELECT - DOWNLOAD©ONLY WHAT YOU NEED! WHEN YOU NEED IT! GET IT! SEND IT! FILE IT!© DO YOUR PART TO COMBAT GLOBAL WARMING In 1983 The Business of Film innovated the concept of The PRODUCT GUIDE. • In 1990 we innovated and introduced 10 days before the major2010 markets the Pre-Market PRODUCT GUIDE that synced to the first generation of PDA’s - Information On The Go. • 2010: The Internet has rapidly changed the way the film business is conducted worldwide. BUYERS are buying for multiple platforms and need an ever wider selection of Product. R-W-C-B to be launched at AFM 2010 is created and designed specifically for BUYERS & ACQUISITION Executives to Source that needed Product. • The AFM 2010 PRODUCT GUIDE SEARCH is published below by regions Europe – North America - Rest Of The World, (alphabetically by company). • The Unabridged Comprehensive PRODUCT GUIDE SEARCH contains over 3000 titles from 190 countries available to download to your PDA/iPhone/iPad@ http://www.thebusinessoffilm.com/AFM2010ProductGuide/Europe.doc http://www.thebusinessoffilm.com/AFM2010ProductGuide/NorthAmerica.doc http://www.thebusinessoffilm.com/AFM2010ProductGuide/RestWorld.doc The Business of Film Daily OnLine Editions AFM. To better access filmed entertainment product@AFM. This PRODUCT GUIDE SEARCH is divided into three territories: Europe- North Amerca and the Rest of the World Territory:EUROPEDiaries”), Ruta Gedmintas, Oliver -
Big Fish Histoire De Pêche Big Fish : La Légende Du Gros Poisson, États-Unis 2003, 125 Minutes Claire Valade
Document généré le 27 sept. 2021 00:26 Séquences La revue de cinéma Big Fish Histoire de pêche Big Fish : la légende du gros poisson, États-Unis 2003, 125 minutes Claire Valade Numéro 230, mars–avril 2004 URI : https://id.erudit.org/iderudit/59097ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Valade, C. (2004). Compte rendu de [Big Fish : histoire de pêche / Big Fish : la légende du gros poisson, États-Unis 2003, 125 minutes]. Séquences, (230), 49–49. Tous droits réservés © La revue Séquences Inc., 2004 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ BIG FISH Histoire de pêche im Burton est sans contredit l'un des cinéastes les plus T intéressants du cinéma américain d'aujourd'hui. Ses films sont à l'image de ses personnages généralement plus grands que nature : originaux, iconoclastes et flamboyants, débordants d'imagination et bénis d'un souffle de folie, de fantaisie et de naïveté, souvent populaires et appréciés malgré une certaine marginalité, parfois même traversés d'un éclair de génie. -
Sherron Kean 056406 Edits Logo SHERRON
Blood, Guts and Becoming: The Evolution of the Final Girl. Sherron Kean, B.A. (Hons). Submitted in fulfilment of the requirements for the degree of Doctorate of Philosophy. University of Tasmania May, 2016. "This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of my knowledge and belief no material previously published or written by another person except where due acknowledgement is made in the text of the thesis, nor does the thesis contain any material that infringes copyright.” 11/05/2016 This thesis may be made available for loan and limited copying and communication in accordance with the Copyright Act 1968. 11/05/2016 ii Acknowledgments Thank you to my supervisor, Imelda Whelehan, for all her help and support, this certainly wouldn’t have been what it is without you. Also thank you for our weekly meetings and our chats about movies. My sincere gratitude and many thanks to Tony Simoes da Silva for his ongoing support and assistance throughout the everlasting editing process. My sincere thanks and appreciation to my mum, Kath, for listening and talking through every single idea I had. Also for sitting through countless horror films, even the ones that weren’t very enjoyable. Also, a thank you and deep appreciation to my ever-supportive partner who has been through this with me and who has read countless drafts and taken part in numerous conversations about this endeavour. -
WARNER BROS. PICTURES Präsentiert in Zusammenarbeit Mit VILLAGE ROADSHOW PICTURES Eine INFINITUM NIHIL/GK FILMS/ZANUCK COMPANY Produktion Ein TIM BURTON Film
WARNER BROS. PICTURES präsentiert in Zusammenarbeit mit VILLAGE ROADSHOW PICTURES eine INFINITUM NIHIL/GK FILMS/ZANUCK COMPANY Produktion ein TIM BURTON Film JOHNNY DEPP MICHELLE PFEIFFER HELENA BONHAM CARTER EVA GREEN JACKIE EARLE HALEY JONNY LEE MILLER CHLO Ë GRACE MORETZ BELLA HEATHCOTE Regie TIM BURTON Produzenten RICHARD D. ZANUCK, GRAHAM KING, JOHNNY DEPP, CHRISTI DEMBROWSKI, DAVID KENNEDY Drehbuch SETH GRAHAME-SMITH Story JOHN AUGUST und SETH GRAHAME-SMITH nach der TV-Serie von DAN CURTIS Executive Producers CHRIS LEBENZON, TIM HEADINGTON und BRUCE BERMAN Kamera BRUNO DELBONNEL, A.F.C., A.S.C. Schnitt CHRIS LEBENZON, A.C.E. Kostümdesign COLLEEN ATWOOD Co-Produzentin KATTERLI FRAUENFELDER Musik DANNY ELFMAN Deutscher Filmstart: 10. Mai 2012 im Verleih von Warner Bros. Pictures Germany a division of Warner Bros. Entertainment GmbH www.DarkShadows.de 2 INHALT Tim Burton inszeniert diese Gruselkomödie nach der klassischen Kultserie „Dark Shadows“ – zur hochkarätigen Besetzung zählen Johnny Depp, Michelle Pfeiffer und Helena Bonham Carter. Im Jahr 1752 stechen Joshua und Naomi Collins mit ihrem kleinen Sohn Barnabas im englischen Liverpool in See, um in Amerika ein neues Leben zu beginnen. Doch selbst auf den Weiten des Ozeans gelingt es ihnen nicht, dem geheimnisvollen Fluch der Familie zu entkommen. Zwei Jahrzehnte später: Barnabas (Johnny Depp) erobert die Welt – oder doch zumindest das Städtchen Collinsport/Maine. Als Herr von Collinwood Manor verfügt Barnabas über Reichtum und Macht … bis der unverbesserliche Frauenheld den gravierenden Fehler begeht, Angelique Bouchards (Eva Green) Herz zu brechen. Angelique ist eine Hexe im wahrsten Sinne des Wortes und beschert ihm ein Schicksal, das schlimmer ist als der Tod: Sie verwandelt ihn in einen Vampir, um ihn dann lebendig zu begraben. -
Sofia Weum Tim Burton Och Fantasifabriken
Växjö universitet FMC160 Institutionen för humaniora VT08 C-uppsats i filmvetenskap Handledare: Olof Hedling Sofia Weum Tim Burton och fantasifabriken INNEHÅLLSFÖRTECKNING 1 Inledning.........................................................................................................................3 1.1 Syfte och Metod...........................................................................................................3 2 Tim Burton......................................................................................................................4 2.2 Mannen med barnasinnet...........................................................................................5 3 Tematisk näranalys........................................................................................................5 3.1 Sagor, filmmanuskript och produktionsdesign........................................................6 3.2 Tragedi ......................................................................................................................11 3.3 Gotik...........................................................................................................................13 3.4 Skådespelare..............................................................................................................15 3.5 Danny Elfman............................................................................................................16 4 Sammanfattning...........................................................................................................18 -
Tim Burton and the Sublime
The Hidden Face of Hollywood: Tim Burton and the Sublime Lorenzo Bianchi [email protected] If you analyze Tim Burton’s filmography, the relationship between his entire work and the philosophical sublime could appear clear. First of all the use of darkness as the symbol of your inner being and also the concept of expressionism seen as the union between dark and light, shadows and brightness, the double nature of the sublime. Moreover, women in Tim Burton’s movies are savior angels, and the sublime is seen as the elevation of the soul, which is the thought we can find in Immanuel Kant, Baldine Saint Girons or Edmund Burke’s works. Another important element is Danny Elfamn´s music, which is played in all Tim Burton´s movies, which is able to magnify the idea of the sublime in all his works. La faccia nascosta di Hollywood: Tim Burton e il sublime di Lorenzo Bianchi [email protected] Pensare a Tim Burton e al sublime filosofico senza dubbio è un’operazione che risulta tutt’altro che spontanea, ad un primo sguardo, anche perché, soprattutto negli ultimi anni, c’è chi ha accusato il regista di essersi commercializzato troppo e di non avere più una poetica personale. Accuse spazzate via dall’ultimo capolavoro, Frankenweenie1, in cui emerge tutta la nostalgica violenza espressiva che da sempre ha permesso a Burton di entrare tra i più grandi. Eppure, tra il regista di Edward mani di forbice2 e il sublime esiste un rapporto molto forte, benché probabilmente involontario3. Tim Burton fa dell’emozione e dell’aspetto visionario il punto di forza della sua opera, che però non ha nessun esplicito manifesto di poetica, e ancora meno di ispirazione filosofica.