DOCSLIB.ORG

Film M315-001 Directing for Camera

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Film M315-001 Directing for Camera FILM M315-001 DIRECTING FOR CAMERA Course Term: SPRING 2021 Course Location: CM Building, Rm 422/402 Class hours: MW, 3:30-4:45 Screening: W, 4:55-7:35 Instructor: Miles Doleac, PhD Office Location: CM Building 412 Phone: 504-865-3430 Email: [email protected] Office hours: Tu/Th, 11:15-1:00, M-W 2:00-3:15 or by appointment “To make a film is easy; to make a good film is war. To make a very good film is a miracle.” -Alejandro Gonzalez Inarritu REQUIRED TEXTS: Lumet, Sidney. Making Movies. New York: Vintage Books, 1996. Rabiger, Michael and Hurbis-Cherrier, Mick. Directing: Film Techniques and Aesthetics, 6th edition. London: Routledge Press, 2020. Weston, Judith. Directing Actors: Creating Memorable Performances for Film & Television. Studio City: Michael Wiese Books, 1999 COURSE AIM: This course aspires to answer seemingly simple questions: What does a director do? What is the director’s relationship and responsibility to the film? How should a director talk to actors and achieve the desired performance from said actors? How should they communicate their vision to cinematographers? In addition, the course screens and examines films from directors, who have been considered influential and/or pathbreaking in the medium and seeks to unpack, understand, and analyze the reasons for their significance. Directors are often likened to conductors. The best of them are able to deliver a clear, consistent vision, while enlisting cast and crew members to contribute their own unique talents and perspectives to serving that vision. We will cover every element of the directing process from script analysis to the editing room as we try to uncover the secrets to that elusive brand of direction that leads to the telling of coherent, entertaining, surprising, and inevitable stories. GRADE BREAKDOWN: READING, VIEWING, PARTICIPATION, AND DISCUSSION: 25% ATTENDANCE: 10% SCENEWORK: 25% IN-CLASS QUIZZES/ASSIGNMENTS: 20% FINAL PAPER: 20% READING, VIEWING, PARTICIPATION, AND DISCUSSION: 25% of your grade will be based on your responses to readings, screenings, and participation in class discussions and in-class assignments. Another 10% is just showing up. You are expected to have read and considered the reading assignments BEFORE coming to class to have reasoned responses to them. If you fail to read the assignments and to participate in class discussions, your participation grade will reflect as much. Do the reading, watch the films, be present, and contribute to the discussion in class and you’re on your way to a 35% A. SCREENINGS: You are REQUIRED to attend screenings for this class in the Wednesday block. Most (but likely not all) screenings will begin at 3:30 pm, followed by a short break and discussion. As such, please hold open the ENTIRE window between 3:30-7:35 on Wednesdays for this class. If you are unable to attend a screening, it is YOUR responsibility to screen the film on your own. First screening: 1/20, 3:30 pm, CASABLANCA, 1942, dir. Michael Curtiz, 4:55 COMPLETE SCREENING LIST: 1/20: CASABLANCA, 1942, dir. Michael Curtiz 1/27: THE SEVEN SAMURAI, 1954, dir. Akira Kurosawa 2/3: REAR WINDOW, 1954, dir. Alfred Hitchcock 2/10: THE SEARCHERS, 1956, dir. John Ford 2/17: BREATHLESS, 1960, dir. Jean-Luc Goddard 2/24: THE APARTMENT, 1960, dir. Billy Wilder 3/3: DR. STRANGELOVE, 1963, dir. Stanley Kubrick 3/10: DOG DAY AFTERNOON, 1975, dir. Sidney Lumet 3/17: RAIDERS OF THE LOST ARK, 1981, dir. Steven Spielberg 3/24: THE LAST TEMPTATION OF CHRIST, 1988, dir. Martin Scorsese 3/31: DAUGHTERS OF THE DUST, 1991, dir. Julie Dash 4/7: THE PIANO, 1993, dir. Jane Campion 4/21: PULP FICTION, 1994, dir. Quentin Tarantino 4/28: Y TU MAMA TAMBIEN, 2001, dir. Alfonso Cuaron 5/5: 25th HOUR, 2002, dir. Spike Lee PAPER: This assignment will require a five to seven page (that means the paper must take up at least five FULL pages, double-spaced, with font size of 12 pt, in Times New Roman font, bibliography does not figure into page count) paper that provides a detailed analysis of the direction of a film we have screened or discussed in class during the semester. You will be expected to discuss casting, performance, camera angles, lighting, editing, score and other elements that fall under the director’s charge and why the director’s choices made for a successful (or unsuccessful) film. CHEATING is BAD, primarily because it hurts YOU. If you must cheat to be successful in this course, you are wasting your time and your instructor’s. Cheating will not be tolerated. This includes the offense of plagiarism. All work you do for this class is expected to be your own, and academic dishonesty (including, but not limited to, plagiarism on papers or cheating on exams) will be punished. A summary of the University’s definitions and procedures concerning academic integrity can be found in the Undergraduate Bulletin (pp. 46-47 of the 2003-5 Bulletin). If you are uncertain how to use and cite the work of others within your own work, consult reference works such as The Chicago Manual of Style, 17th Ed., The University of Chicago Press Editorial Staff, eds (Chicago: University of Chicago Press, 2017) or Kate L. Turabian, A Manual for Writers of Term Papers, Theses, and Dissertations, 6th ed., revised and by John Grossman and Alice Bennett, Chicago Guides to Writing, Editing, and Publishing (Chicago: University of Chicago Press, 1996), or see the instructor. Offenses will be penalized to the full extent university policy allows—a failing grade for the course. SCENEWORK/COVID TESTING: 25% of your grade will entail directing and (separately) acting in a scene in studio with cameras/monitors, a shot list etc. On the week your scene is assigned, you and everyone in your group must receive and present a negative CoVid test taken no more than 48 hours before you are due to present. Consider this part of the assignment. These tests are readily available at the student health center on campus. You will also be required to act in your classmates’ scenes. I expect you to take this charge seriously. Directors oftentimes fall down because they don’t know how to talk to actors. It will be of significant benefit for you to understand, at least briefly, what it’s like to stand in the actor’s shoes. ATTENDANCE/ENGAGEMENT POLICY: Attendance is mandatory and the expectation is that this course will meet on-the-ground whenever possible. If you cannot meet the class on-the-ground, you need to get with me immediately so we can discuss whether or not it’s advisable for you to remain in class. Missing class, of course, is never advised, but things happen and we live in complicated times. As such, you will be allowed TWO unexcused absences before absences begin to affect your grade. Thereafter, with each unexcused absence, two points will be deducted from your attendance grade. After four unexcused absences, I will begin to deduct points from your FINAL GRADE. For your absence to be excused it must be cleared with me before the class in question. This includes formal Loyola commitments (which will be excused if you let me know before the class in question). Exceptions to this rule will be made only in the case of dire circumstances such as INCAPACITATING personal illness or injury, death in the family, natural disasters, or other circumstances deemed legitimate by the instructor. Communication and engagement is key. If you let me know what’s going on and talk with me, we can often work it out. CAMPUS CLEAR/MASKS: You may be asked to show your clearance to be on campus via the Campus Clear app at any time. Masks must be worn (over the nose and mouth) for the duration of class, and you are expected to remain six feet apart, unless you receive special dispensation for scene work. Further, you are expected to adhere to all other university-related CoVid guidelines. LATENESS: If you are more than TEN minutes late to class and you have not cleared it with me beforehand, you will be counted absent. CELL PHONES: Please turn OFF or silence cell phones during class. COMPUTERS: You may bring computers to class for the express purpose of reference reading and taking notes. That means computers should not be used for social networking, shopping, streaming, etc. I reserve the right to revoke computer privileges for individuals (or the entire class) if this becomes a problem. MAKE-UP QUIZZES, TESTS, LATE ASSIGNMENTS: No make-up quizzes or tests will be given except in the case of dire circumstances (as noted in the attendance policy). Late assignments will not be accepted unless cleared with instructor in writing beforehand. SPECIAL ACCOMMODATIONS: If you have a disability and wish to receive accommodations, please contact Disability Services at 504-865-2990. If you wish to receive test accommodations (e.g., extended test time), you will need to give the course instructor an official Accommodation Form from Disability Services. The Office of Disability Services is located in Marquette Hall 112. .
Load more

Recommended publications
  • 1 Evolving Authorship, Developing Contexts: 'Life Lessons'
    Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009).
    [Show full text]
  • Judy Turns the Objectifying Male Gaze Back on Itself
    JUDY O’BRIEN [Maureen O’Hara] (dancing onstage, dress straps rip-male audience members taunt) Go ahead and stare. I'm not ashamed. Go on, laugh; get your money's worth. Nobody's going to hurt you. I know you want me to tear my clothes off so you can look your 50 cents' worth. Fifty cents for the privilege of staring at a girl the way your wives won't let you. What do you suppose we think of you up here? (camera pans l to r well-heeled and ashamed male in tuxedos and reproving female audience members) With your silly smirks your mothers would be ashamed of. It's a thing of the moment for the dress suits to come and laugh at us too. We'd laugh right back at you, only we're paid to let you sit there...and roll your eyes, and make your screamingly clever remarks. What's it for? So you can go home when the show's over, strut before your wives and sweethearts... and play at being the stronger sex for a minute? I'm sure they see through you just like we do. From Dance, Girl, Dance (Dorothy Arzner,1940) Tess Slesinger & Frank Davis (screenplay) Vicki Baum (story) Judy turns the objectifying male gaze back on itself. First 4 have a Hollywood/family connection: Dorothy Arzner’s family owned a Hollywood restaurant frequented by actors and directors Ida Lupino came from a family of British actors Penny Marshall’s Mom was a tap dance teacher, her Dad a director of industrial films and older brother Gary, a TV series creator and successful film director.
    [Show full text]
  • 2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
    2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter
    [Show full text]
  • Overview of Exhibitions and Programs, June–July 2021
    CALENDAR ADVISORY (JUNE–JULY 2021) MUSEUM OF THE MOVING IMAGE PRESENTS JUNETEENTH CELEBRATION, SETS FIRST LOOK FESTIVAL DATES, CONTINUES COMPLETE KUBRICK AND SEE IT BIG! SERIES, AND MORE Summer Media Camp registrations are open for in-person and virtual sessions for youth ages 8–14 in July and August Queens Drive-In continues through June with summer classics and free community screening series presented by the Queens Borough President’s office Astoria, New York, May 19, 2021 — Museum of the Moving Image, the nation’s only museum devoted to the art, history, technique, and technology of film, TV, and digital media, is currently presenting exhibitions and screenings at the Museum in Astoria; tours, workshops, and Virtual Cinema presentations online via movingimage.us; and screenings at the Queens Drive-In, in partnership with Rooftop Films and New York Hall of Science. Please see below for an overview of June and July programming. Additional programs will be announced as they are confirmed. For all visits to the Museum’s building in Astoria, please note that Covid-19 health and security measures continue to be in place. These include social distancing, mask requirements, physical barriers to minimize contact, and additional measures. While the Museum is closely monitoring the changes to CDC, State, and City guidelines, we kindly require all visitors to wear their masks while in the Museum, until further notice. Learn more about Museum protocols here. Summer Media Camp: Registration is open for children and teens ages 8–14 to participate in the Museum’s popular camps. In-person camps run July 12–August 20 with weeklong sessions devoted to animation, filmmaking, video game design, and puppetry for the screen.
    [Show full text]
  • BFI Film Quiz – August 2015
    BFI Film Quiz – August 2015 General Knowledge 1 The biographical drama Straight Outta Compton, released this Friday, is an account of the rise and fall of which Los Angeles hip hop act? 2 Only two films have ever won both the Palme D’Or at the Cannes Film Festival and the Academy Award for Best Picture. Name them. 3 Which director links the films Terms of Endearment, Broadcast News & As Good as it Gets, as well as TV show The Simpsons? 4 Which Woody Allen film won the 1978 BAFTA Award for Best Film, beating fellow nominees Rocky, Net- work and A Bridge Too Far? 5 The legendary Robert Altman was awarded a BFI Fellowship in 1991; but which British director of films including Reach for the Sky, Educating Rita and The Spy Who Loved Me was also honoured that year? Italian Film 1 Name the Italian director of films including 1948’s The Bicycle Thieves and 1961’s Two Women. 2 Anna Magnani became the first Italian woman to win the Best Actress Academy Award for her perfor- mance as Serafina in which 1955 Tennessee Williams adaptation? 3 Name the genre of Italian horror, popular during the 1960s and ‘70s, which includes films such as Suspiria, Black Sunday and Castle of Blood. 4 Name Pier Paolo Pasolini’s 1961 debut feature film, which was based on his previous work as a novelist. 5 Who directed and starred in the 1997 Italian film Life is Beautiful, which won the Academy Award for Best Foreign Language Film and the Grand Prix at the Cannes Film Festival, amongst other honours.
    [Show full text]
  • A Critical Companion to Jane Campion
    H-Film Call for chapters: A Critical Companion to Jane Campion Discussion published by Elif Sendur on Monday, July 26, 2021 deadline for submissions: October 30, 2021 full name / name of organization: Elsa Colombani / Independant Scholar ; Eurydice Da Silva, Associate Professor / Sorbonne Nouvelle University Paris 3 contact email: [email protected] A Critical Companion to Jane Campion Edited by Elsa Colombani and Eurydice Da Silva Part of the Critical Companion to Popular Directors series edited by Adam Barkman and Antonio Sanna 2021 marks the triumphant return of filmmaker Jane Campion. After a twelve-year absence from movie screens and a foray into television with the much-acclaimed series Top of the Lake (2014), Campion returns with a new film, The Power of the Dog, an adaptation of Thomas Savage’s 1967 novel, which will be distributed by Netflix and released next fall. In addition, the director will receive the prestigious Lumière Award, to honor a career which is marked by outstanding achievements and a diverse body of work with a distinct poetic style and cohesive themes. Over the past 35 years, Jane Campion directed 8 feature films, a number of shorts, and helmed two seasons of a TV series. From Sweetie (1989) to Bright Star (2009), she explored femininity through a gallery of female characters at odds with the world they inhabit. Focusing on the female psyche and sexuality, she delved into different film genres, from the road movie (Holy Smoke, 1999) to the thriller (In the Cut, 2003), often finding her inspiration in great literary works (An Angel at my Table, 1990 ; The Portrait of a Lady, 1996).
    [Show full text]
  • 101 Films for Filmmakers
    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
    [Show full text]
  • MARK RUFFALO Biography
    MARK RUFFALO Biography Academy Award nominee Mark Ruffalo is one of Hollywood’s most sought-after actors, easily moving between stage and screen and working with directors including Ang Lee, Martin Scorsese, Michael Mann, Spike Jonze, David Fincher, Fernando Meirelles and Michael Gondry. Ruffalo earned nominations for an Academy Award, Screen Actors Guild Award, BAFTA Award and Independent Spirit Award for his performance in Focus Features’ “The Kids Are All Right,” directed by Lisa Cholodenko. He was also honored with the Best Supporting Actor Award by the New York Film Critics Circle. The film premiered at the Sundance Film Festival in January 2010 and opened to rave reviews in July 2010. He was recently seen in “Thanks for Sharing,” which follows three people who become friends while undergoing a 12-step treatment for sex addiction. The film, written and directed by Stuart Blumberg, also stars Gwyneth Paltrow and Tim Robbins. “Thanks for Sharing” premiered at the 2012 Toronto International Film Festival. Ruffalo was also recently seen in Marvel Enterprises’ international box office hit, “The Avengers,” in which he portrayed ‘Bruce Banner,’ and ‘The Incredible Hulk.’ The film also stars Samuel L. Jackson, Robert Downey Jr., Scarlett Johansson, Jeremy Renner, Chris Hemsworth and Chris Evans, and is directed by Joss Whedon. Ruffalo will next be seen in “Now You See Me,” in which he stars opposite Morgan Freeman, Woody Harrelson and Jessie Eisenberg. The film, directed by Louis Leterrier, follows a team of FBI agents as they track a squad of the world’s greatest illusionists, who pull off bank heists during their performances.
    [Show full text]
  • International & Festivals
    COMPANY CV – INTERNATIONAL & FESTIVALS INTERNATIONAL CAMPAIGNS / JUNKETS / TOURS (selected) Below we list the key elements of the international campaigns we have handled, but our work often also involves working closely with the local distributors and the film-makers and their representatives to ensure that all publicity opportunities are maximised. We have set up face-to-face and telephone interviews for actors and film-makers, working around their schedules to ensure that the key territories in particular are given as much access as possible, highlighting syndication opportunities, supplying information on special photography, incorporating international press into UK schedules that we are running, and looking at creative ways of scheduling press. THE AFTERMATH / James Kent / Fox Searchlight • International campaign support COLETTE / Wash Westmoreland / HanWay Films • International campaign BEAUTIFUL BOY / Felix van Groeningen / FilmNation • International campaign THE FAVOURITE / Yorgos Lanthimos / Fox Searchlight • International campaign support SUSPIRIA / Luca Guadagnino / Amazon Studios • International campaign LIFE ITSELF / Dan Fogelman / FilmNation • International campaign DISOBEDIENCE / Sebastián Lelio / FilmNation • International campaign THE CHILDREN ACT / Richard Eyre / FilmNation • International campaign DON’T WORRY, HE WON’T GET FAR ON FOOT / Gus Van Sant / Amazon Studios & FilmNation • International campaign ISLE OF DOGS / Wes Anderson / Fox Searchlight • International campaign THREE BILLBOARDS OUTSIDE EBBING, MISSOURI /
    [Show full text]
  • This Document Is for Planning Purposes, We Kindly Ask That You Do Not Link out to This Document in Your ​ Coverage**
    **This document is for planning purposes, we kindly ask that you do not link out to this document in your ​ coverage** Netflix 2021 Film Preview | Official Trailer YouTube Link (in order of appearance) Red Notice (Ryan Reynolds, Gal Gadot, Dwayne Johnson) The Harder They Fall (Regina King, Jonathan Majors) Thunder Force (Octavia Spencer, Melissa McCarthy) Bruised (Halle Berry) tick, tick… BOOM! (Lin-Manuel Miranda) The Kissing Booth 3 (Joey King) To All The Boys: Always And Forever (Lana Condor, Noah Centineo) The Woman in the Window (Amy Adams) Escape from Spiderhead (Chris Hemsworth) YES DAY(Jennifer Garner) Sweet Girl (Jason Momoa) Army of the Dead (Dave Bautista) Outside the Wire Bad Trip O2 The Last Mercenary Kate Fear Street Night Teeth Malcolm and Marie Monster Moxie The White Tiger Double Dad Back to the Outback Beauty Red Notice Don't Look Up 2 2021 NETFLIX FILMS (A-Z) 8 Rue de l'Humanité* O2* A Boy Called Christmas Outside the Wire (January 15) A Castle for Christmas Penguin Bloom (January 27)​** Afterlife of the Party Pieces of a Woman (January 7) Army of the Dead Red Notice Awake Rise of the Teenage Mutant Ninja Turtles A Week Away Robin Robin A Winter’s Tale from Shaun the Sheep​** Skater Girl Back to the Outback Stowaway​** Bad Trip Sweet Girl Beauty The Dig (January 29) Blonde The Guilty Blood Red Sky* The Hand of God* Bombay Rose The Harder They Fall Beckett The Kissing Booth 3 Bruised The Last Letter from Your Lover​** Concrete Cowboy The Last Mercenary* Don't Look Up The ​Loud House​ Movie Double Dad* The Power of the
    [Show full text]
  • Thad-Lawrence-CV-2020.Pdf
    THAD LAWRENCE - GAFFER BACKGROUND Gaffer Thirty plus years of experience on leading international film and television productions. Australian born, and trained in lighting in both Australia and New Zealand. Experience in Europe and extensively through the Pacific. Best known recent work as gaffer includes International Feature and Television productions such as The Power of the Dog (2021), Only Cloud Knows (2019), The Luminaries (2019) , Meg (2018), American Playboy (2017) The Light Between Oceans (2016), Chronicles of Shannara (2016), and the Emmy award winning Top of the Lake. In addition Local feature films such as The Dark Horse, and Siones Wedding 2. Also, gaffered thousands of television commercials both international and local small and large budget productions. Extensive gaffering experience internationally and locally with a renowned eye and friendly approach ensuring reliably outstanding results throughout the entire film making process. A level of local knowledge capable of making the seemingly impossible possible. CONTACT +64 27 270 4456 [email protected] REFEREES Adam Arkapaw ACS DOP Michael Bonvillain ASC DOP Nigel Bluck DOP Tom Karnowski Producer Tim Coddington Producer (for privacy reasons please contact us and we will provide referee contact details) Warehouse: 7/489 Rosebank Road, Avondale, Auckland, New Zealand. Ph + 64 27 274 7753 2 THAD LAWRENCE - GAFFER FEATURE AND DRAMA EXPERIENCE Gaffer Main Unit 2020 POWER OF THE DOG Director: Jane Campion DOP: Ari Wegner BAD GIRL PRODUCTIONS LTD Gaffer Main Unit 2019 BLACK
    [Show full text]
  • Cinema Studies: the Key Concepts
    Cinema Studies: The Key Concepts This is the essential guide for anyone interested in film. Now in its second edition, the text has been completely revised and expanded to meet the needs of today’s students and film enthusiasts. Some 150 key genres, movements, theories and production terms are explained and analysed with depth and clarity. Entries include: • auteur theory • Black Cinema • British New Wave • feminist film theory • intertextuality • method acting • pornography • Third World Cinema • War films A bibliography of essential writings in cinema studies completes an authoritative yet accessible guide to what is at once a fascinating area of study and arguably the greatest art form of modern times. Susan Hayward is Professor of French Studies at the University of Exeter. She is the author of French National Cinema (Routledge, 1998) and Luc Besson (MUP, 1998). Also available from Routledge Key Guides Ancient History: Key Themes and Approaches Neville Morley Cinema Studies: The Key Concepts (Second edition) Susan Hayward Eastern Philosophy: Key Readings Oliver Leaman Fifty Eastern Thinkers Diané Collinson Fifty Contemporary Choreographers Edited by Martha Bremser Fifty Key Contemporary Thinkers John Lechte Fifty Key Jewish Thinkers Dan Cohn-Sherbok Fifty Key Thinkers on History Marnie Hughes-Warrington Fifty Key Thinkers in International Relations Martin Griffiths Fifty Major Philosophers Diané Collinson Key Concepts in Cultural Theory Andrew Edgar and Peter Sedgwick Key Concepts in Eastern Philosophy Oliver Leaman Key Concepts in
    [Show full text]