PAUL TURANO [email protected]
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Roger Savage Some Mainland Chinese Work
did you get that soundtrack?’ and the answer was, ‘in Australia’. is because often the actors they use can’t speak very good Soon after that we started doing a lot of low-budget films and Mandarin – their native tongue is often Cantonese, Korean or Roger Savage some Mainland Chinese work. One of these low-budget films even Japanese. In House of Flying Daggers, for instance, some of was directed by Zhang Yimo, who directed Hero in 2004. It the main actors were Korean and Japanese whose Mandarin was So many international awards… so little cupboard space. was through this previous association that we found ourselves unacceptable to the Mainland Chinese audience. To satisfy the working on that film as well. Hero was quite an unusual Chinese audiences the production hired voice artists to come in Andy Stewart talks to Australia’s most decorated film soundtrack, not your typical Hollywood soundtrack. and redo the voice at our studio in Beijing. The Chinese editors mixer about operating Soundfirm and what’s involved in AS: In what way was the Hero soundtrack different? then expertly cut the voice back into the film – they did an RS: The Chinese directors don’t bow down to the studio system, amazing job. Neither House of Flying Daggers nor Hero sound or delivering great sound to a cinema audience. they don’t have to, so they make their films the way they want. look like a dubbed film at all. Often the films themselves are way out there, which often means AS: What’s involved in good ADR in your experience and how the soundtrack is as well. -
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM Open Feedback Dialog About : Wallpapers Newsletter Sign Up 8226 films, 13750 profiles, and counting FOLLOW US ON RECENT Sync Sound and Indian Cinema Tere Naal Love Ho Gaya The lead pair of the film, in their real life, went in the The recent success of the film Lagaan has brought the question of Sync Sound to the fore. Sync Sound or Synchronous opposite direction as Sound, as the name suggests, is a highly precise and skilled recording technique in which the artist's original dialogues compared to the pair of the are used and eliminates the tedious process of 'dubbing' over these dialogues at the Post-Production Stage. The very first film this f... Indian talkie Alam Ara (1931) saw the very first use of Sync Feature Jodi Breakers Sound film in India. Since then Indian films were regularly shot I'd be willing to bet Sajid Khan's modest personality and in Sync Sound till the 60's with the silent Mitchell Camera, until cinematic sense on the fact the arrival of the Arri 2C, a noisy but more practical camera that the makers of this 'new particularly for outdoor shoots. The 1960s were the age of age B... Colour, Kashmir, Bouffants, Shammi Kapoor and Sadhana Ekk Deewana Tha and most films were shot outdoors against the scenic beauty As I write this, I learn that there are TWO versions of this of Kashmir and other Hill Stations. It made sense to shoot with film releasing on Friday. -
Videos in Motion
Università degli Studi di Napoli “L’Orientale” Dipartimento di Studi e Ricerche su Africa e Paesi Arabi Tesi di Dottorato di Ricerca in Africanistica, IX ciclo - Nuova Serie VIDEOS IN MOTION Processes of transnationalization in the southern Nigerian video industry: Networks, Discourses, Aesthetics Candidate: Alessandro Jedlowski Supervisor: Prof. Alessandro Triulzi (University of Naples “L’Orientale”) Co-supervisor: Prof. Jonathan Haynes (Long Island University – New York) Academic Year 2010/211 Università degli Studi di Napoli “L’Orientale” Dipartimento di Studi e Ricerche su Africa e Paesi Arabi Tesi di Dottorato di Ricerca in Africanistica, IX ciclo - Nuova Serie VIDEOS IN MOTION Processes of transnationalization in the southern Nigerian video industry: Networks, Discourses, Aesthetics Candidate: Alessandro Jedlowski Supervisor: Prof. Alessandro Triulzi (University of Naples “L’Orientale”) Co-supervisor: Prof. Jonathan Haynes (Long Island University – New York) Academic Year 2010/2011 2 TABLE OF CONTENTS P. 5 INTRODUCTION. Videos in motion P. 16 CHAPTER I. Defining the field of enquiry: History, concepts and questions P. 40 SECTION I. Beyond the video boom: Informal circulation, crisis of production and processes of transnationalization in the southern Nigerian video industry P. 45 CHAPTER II. Regulating mobility, reshaping accessibility: The production crisis and the piracy scapegoat. P. 67 CHAPTER III. From Nollywood to Nollyworld: Paths of formalization of the video industry’s economy and the emergence of a new wave in Nigerian cinema P. 87 SECTION II. The “Nollywoodization” of the Nigerian video industry: Discursive constructions, processes of commoditization and the industry’s transformations. P. 93 CHAPTER IV. When the Nigerian video industry became “Nollywood”: Naming and branding in the videos’ discursive mobility. -
The Conference Brochure
The Many Lives of Indian Cinema: 1913-2013 and beyond Centre for the Study of Developing Societies, Delhi 9-11 January 2014 1 Credits Concept: Ravi Vasudevan Production: Ishita Tiwary Operations: Ashish Mahajan Programme coordinator: Tanveer Kaur Infrastructure: Sachin Kumar, Vikas Chaurasia Consultant: Ravikant Audio-visual Production: Ritika Kaushik Print Design: Mrityunjay Chatterjee Cover Image: Mrityunjay Chatterjee Back Cover Image: Shahid Datawala, Sarai Archive Staff of the Centre for the Study of Developing Societies We gratefully acknowledge support from the following institutions: Indian Council for Social Science Research; Arts and Humanities Research Council; Research Councils UK; Goethe Institute, Delhi; Indian Council for Historical Research; Sage Publishing. Doordarshan have generously extended media partnership to the conference. Images in the brochure are selected from Sarai Archive collections. Sponsors Media Partner 2 The Idea Remembering legendary beginnings provides us the occasion to redefine and make contemporary the history we set out to honour. We need to complicate the idea of origins and `firsts’ because they highlight some dimensions of film culture and usage over others, and obscure the wider network of media technologies, cultural practices, and audiences which made cinema possible. In India, it is a matter of debate whether D.G. Phalke's Raja Harishchandra (1913), popularly referred to as the first Indian feature film, deserves that accolade. As Rosie Thomas has shown, earlier instances of the story film can be identified, includingAlibaba (Hiralal Sen, 1903), an Arabian Nights fantasy which would point to the presence of a different cultural universe from that provided by Phalke's Hindu mythological film. Such a revisionary history is critical to our research agenda. -
3¢EH 6Hy9 PERFORMANCE, DANCE & MUSIC
A AForum Forum on on Cultural Cultural Practices Practices g¤AckD' jc31cµ'31cµ'99IwhEIwhE g¦¦~hD'Q ¤D g¦FcdD' g¦´' The Lebanese Association for Plastic Arts '¢D#' c4#' Ashkal Alwan g¤.'/ c4#' HOME WORKS 5 g¦AckD' jc31c·' 9 IwhE A FORUM ON CULTURAL PRACTICES g¦&'/#' 6Hy9 j'HwF j'z6c¼ 61cE Exhibitions, Lectures, Panels, ¤Jw¦ ÌA#' ¥¦3¤E sz}E B1 Performance, Dance, Theatre, Music, j'1¤~E Film, Video, Publications 1cJ#' – c{¤F jHÍ( Beirut, April 21 – May 1, 2010 j'HwD'H j'z6cq·' D gE$¤E gJ1¤D' g,ÉD' Simultaneous translation will be available for g¦}FyD'H g¦(yD'H gJ{¦F%³' jcDc( all lectures and panel discussions in English, Arabic and French. cFc»K ¦nD g-¤hE )¤9wD' Attendance is open to all and free of charge. f¤E ¦n}hD' Registration required. www.ashkalalwan.org www.ashkalalwan.org £¤3¢EH }B1 6Hy9 PERFORMANCE, DANCE & MUSIC ....... 5 j'HwF PANELS .............................................. 13 j'y6cº LECTURES ...........................................17 ÎFcA j'y6cº ARTIST TALKS .....................................25 g¤A J1c|E ARTIST PROJECTS ...............................29 ¢Jw¤H ÊA#' FILM & VIDEO ..................................... 31 61cE EXHIBITIONS ...................................... 37 )HwFH 9 g41H WORKSHOP & COLLOQUIUM ............. 47 j'1¢|E PUBLICATIONS ...................................49 lq( Hy|E RESEARCH PROJECT ........................... 51 g¤*'0 Í3 BIOGRAPHIES .....................................53 £¤3¢EH }B1 6Hy9 PERFORMANCE, DANCE & MUSIC /yE Solo cDc: J'12%' Israel Galvàn g¦B/ B'1 6y9 Dance Performance; 45’; 2008 w¦3 c: J'12%' I¤h}E ² cFcAK #' ¡*Ç.#' Ð- g¦q·' ¤EÌD' g9c, ² w-#' §BwJ ¸ No one in the local flamenco community believed me when I told them that an artist Q Q Q of the caliber of Israel Galvàn would be performing for free, June 17 on the Audubon §h(%'H cF#' c¦E#' 'yJ{- ² Ц¦*ÌD' ЦCÏE#ÌD Z3'y*Q ¤dJ/H#'[ sz}E ¥9 c¦Fc»K cK 6y9 Terrace of the Hispanic Society of America. -
SYNC EVENT the Ethnographic Allegory of Unsere Afrikareise
SYNC EVENT The Ethnographic Allegory of Unsere Afrikareise Erik Rosshagen Department of Media Studies Master’s Thesis 30 HE credits Cinema Studies Master’s Programme in Cinema Studies Spring 2016 Supervisor: Associate Professor Malin Wahlberg SYNC EVENT The Ethnographic Allegory of Unsere Afrikareise Erik Rosshagen ABSTRACT The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audio- vision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly. Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes as a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film. KEYWORDS Experimental Ethnography, Film Sound, Audio-Vision, Experimental Cinema, Documentary, Ethnographic Film CONTENTS INTRODUCTION 1 Demarcation 6 Survey of the field 7 Background 12 Disposition 15 I. -
Directors Lounge Contemporary Art and Media
Directors Lounge contemporary art and media how to submit Directors Lounge contemporary art and media www.directorslounge.net Deadline: 25 December 2013! Read the FAQ You would like to be part of DL[X]? Great! First, submit your work by using our submission form (required). Feel free to e-mail us additional info along with a few words about your person. In order to make selection possible, we will need a screenable copy, preferably a H264 encoded .mp4 or QT (.mov) file. You may also send DVD-compatible mpeg or VOB files. Please include at least two stills of the film or photographs of the work (min. width 700px). If you work with unusable codecs or would like to send us uncompressed files, please get in touch before doing so. .wmv is not acceptable. AC3 is not acceptable. No preview-copies, no watermarks. Due to the short time frame, we must insist to provide screen versions from the onset. • Youtube / Vimeo / download links or filesharing services are fine as long as they do not need any registration/login and down- loading is enabled. Only direct download links. As with other ways of submitting, we need screenable versions, SD (640 x 360) files are not aceptable. We will disregard any submission that does not fit this criteria without further notice! • Animated gifs can be sent by e-mail or by using this page. (You´ll need to be on tumblr.) Make sure it is no larger than 1MB and no more than 500 pixels wide. • Videos can be uploaded via FTP to our servers. -
What We Once Were
PRESS RELEASE MURATCENTOVENTIDUE ARTECONTEMPORANEA WHAT WE ONCE WERE Rita Casdia, Cristiano De Gaetano, Elisabetta Di Sopra, Lello Gelao, Kaia Hugin, Kaja Leijon, Cristina Pavesi Galleria Muratcentoventidue Artecontemporanea is pleased to present What we once were , a group exhibition featuring works by Rita Casdia, Cristiano De Gaetano, Elisabetta Di Sopra, Lello Gelao, Kaia Hugin, Kaja Leijon, Cristina Pavesi. The exhibition proposes an original comparison of works which, through different languages, address a common theme, childhood, representing the spirit, the vulnerability, the playfulness, the unpredictability, the restlessness and the dignity of children. Rita Casdia’s work studies the basic mechanisms that govern feelings, focusing mainly on the dynamics generated by emotional connections and sexuality. The artist explores emotional worlds that evolve through a broken and uninhibited narrative structure in which she mixes references from classic iconography, random elements, everyday banality, but also from her experience and her dreams. Video animation, drawing, and sculpture co-exist in her installations and articulate an expressive universe rooted in the complex emotional and symbolic content she brings to it. The artist presents a series of extremely synthetic drawings , done with gel ink on paper, essential in the lines and contents where elements of the child's imagination appear, easy to read, and presented with multiple stratifications of meaning. There is a work by Cristiano De Gaetano, one of the most interesting talents of the new generations of Apulian artists, who unfortunately passed away in 2013, and to whom the Pascali Museum recently dedicated a tribute through an anthology exhibition. His wide production ranged from sculpture to photography, and from painting to video. -
Sound: Eine Arbeitsbibliographie 2003
Repositorium für die Medienwissenschaft Hans Jürgen Wulff Sound: Eine Arbeitsbibliographie 2003 https://doi.org/10.25969/mediarep/12795 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Sound: Eine Arbeitsbibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2003 (Medienwissenschaft: Berichte und Papiere 17). DOI: https://doi.org/10.25969/mediarep/12795. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0017_03.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Kiel: Berichte und Papiere 17, 1999: Sound. ISSN 1615-7060. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 21.9.2008. URL der Hamburger Ausgabe: .http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0017_03.pdf Sound: Eine Arbeitsbibliographie Hans J. Wulff Stille und Schweigen. Themenheft der: Navigatio- Akemann, Walter (1931) Tontechnik und Anwen- nen: Siegener Beiträge zur Medien- und Kulturwis- dung des Tonkoffergerätes. In: Kinotechnik v. 5.12. senschaft 3,2, 2003. 1931, pp. 444ff. Film- & TV-Kameramann 57,9, Sept. 2008, pp. 60- Aldred, John (1978) Manual of sound recording. 85: „Originalton“. 3rd ed. :Fountain Press/Argus Books 1978, 372 pp. Aldred, John (1981) Fifty years of sound. American Cinematographer, Sept. 1981, pp. 888-889, 892- Abbott, George (1929) The big noise: An unfanati- 897. -
Roger Warren Beebe Home Address Departmental Address 1385 Hamlet St
Roger Warren Beebe home address departmental address 1385 Hamlet St. Department of Art Columbus, OH 43201 258 Hopkins Hall (805) 471-2055 128 N. Oval Mall email: [email protected] Columbus, OH 43210 EMPLOYMENT Professor, Department of Art, The Ohio State University (June 2017-present) Graduate Chair (January 2018-Present) Associate Professor, Department of Art, The Ohio State University (January 2014-June 2017) Associate Professor, Film and Media Studies, English Department, The University of Florida (August 2006-December 2013) Assistant Professor, Film and Media Studies, English Department, The University of Florida (August 2000-July 2006) EDUCATION graduate Duke University, Ph.D. in Literature/Film and Media Studies, Durham, NC (1994-2000) University of California at Berkeley, Berkeley, California (Summer 1994, Summer 1993) The Ecole Normale Supérieure, Paris, France (1993-1994) undergraduate Amherst College, Amherst, Massachusetts (1989-1993) B.A. in Romance Languages. Magna cum laude. Phi Beta Kappa. Université de Grenoble, Grenoble, France (1990-1991) FILMS and VIDEOS Lineage (for Norman McLaren) (2019, 4-projector 16mm film performance, duration variable) de rerum natura (2019, iPhone video and 3 x 16mm projectors, 18:00) Amazonia (2018/9, super 8mm, 16mm, and found video, 25:00) The Comic Sans Video (2018, HD video, 8:00) A Metaphor for the End of Just About Everything (2016, HD video, 3:00) Tiger, Tiger (music video) (2016, 16mm on HD video, 4:45) SOUNDFILM coda (2016, 6-projector 16mm film performance, 6:30) Needle in the Sway -
Download Pdf of CV
May 22, 2020 Joshua Mosley (215) 429-9845 • [email protected] 3618 Hamilton Street Philadelphia, PA 19104 http://www.joshuamosley.com EDUCATION 1998 The School of the Art Institute of Chicago, M.F.A. in Art and Technology, Chicago, IL 1996 The School of the Art Institute of Chicago, B.F.A., Chicago, IL 1994 Christ Church College, study abroad program, Canterbury, England 1994 St. Louis Community College at Florissant Valley, A.A. Fine Art, St. Louis, MO TEACHING 2016–Present Professor of Fine Arts. University of Pennsylvania, Weitzman School of Design 2011–2016 Professor and Chair of Fine Arts Department. The dept. includes M.F.A. and B.A. programs, as well as joint-degrees in Visual Studies and Digital Media Design, University of Pennsylvania, School of Design 2008–2011 Acting Chair, Fine Arts Department. University of Pennsylvania, School of Design 2006–2011 Associate Professor of Fine Arts, courses in Animation and Digital Media, MFA Advisor University of Pennsylvania, School of Design 2010 Visiting Associate Professor of Landscape Architecture, Harvard University Graduate School of Design 2000–06 Assistant Professor of Fine Arts, courses in Animation and Digital Media, MFA Advisor University of Pennsylvania, School of Design 1998–00 Instructor, Advanced 3D Animation, Interactive Multimedia, Introduction to Computer Animation, and The Fundamentals of Art and Technology. Taught graduate and undergraduate courses in animation and interac- tive multi-sensory installation. The School of the Art Institute of Chicago Advisor, Cooperative Education Internship Program. Advising of students, coordination with employers, and site visits. SAIC Instructor, Multimedia I, Division of Continuing Studies. -
Fritz Stolberg Artist, Filmmaker
KOMMUNIKATIONDESIGNKONZEPTKUNST Fritz Stolberg Artist, Filmmaker Biography Fritz Stolberg was born in Frankfurt, Germany and lives in Londonfrom where he operates as an artist and filmmaker. His practice follows a process-based approach situated in a dialogue with it’s immediate surroundings often using systems of divination as the main creative agent. Through the use of photo-sensitive media, performance, participatory event-based work, moving image and sound, his practice looks at the nature of light and a discussion around the origin of the visible world. Often seemingly lightheartedly flirting with serious philosophical notions, his films, installations, performances and event-based work gently highlight the thin boundaries between fact and fiction, myth and mystery in the imagination of his audience. His research is informed by a mixture of contemporary continental philosophy, new science, western occultism, eastern philosophies, ideas of utopia and explorations along the thin line that divides the world’s existence from its immanent non-existence. Parallel to his art practice he produces and directs Music- videos and Fashion-films. His work has been shown internationally in exhibitions and film festivals. Education 1994 Apprenticeship in organic farming, Rauer Berg, Gelnhaar, Germany 1995 Introduction to photography through Marc and Alex Hungerbuehler, Brooklyn, N.Y. 1996 Philosophy, Theatre, Film and Media Studies, J.W. Goethe Universität, Frankfurt 1997 Media Foundation course, London College of Printing (now LCC,University of