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BRICE DELLSPERGER Solitaires
**click here to access to the french version** BRICE DELLSPERGER Solitaires Exhibition from June 20 to July 30, 2020 43, rue de la Commune de Paris F-93230 Romainville For his new solo sow at Air de Paris, Brice Dellsperger presents two new films «Body Double 36» and «Body Double 37». «My Body Double videos are like doubles of movie sequences from the 70s or 80s: the title refers to Brian de Palma’s film (Body Double, 1984). To this day the series includes forty films with various running times, where the obsessive motif is the body of the double in mainstream movies. Following a rigorous but emancipating process, each selected scene is re-enacted by a single transvestite actor or actress, a super character who interprets all the parts by becoming double.» By appropriating the linear/ authoritarian form of a movie, the Body Double films aim at disrupting normative sexual genres through the means of a camp aesthetic.» Body Double 36 (2019) After Perfect (James Bridges, 1985) with Jean Biche. Aerobics were the fashion in the 80s! James Bridges’ Perfect was released in 1985. The film superficially describes human relationships in a gym club in Los Angeles, seen through the eyes of a journalist (John Travolta) who is beguiled by an androgynous gym coach (Jamie Lee Curtis). Studies on the postmodern body in contemporary American society are linked to the context of the 80s, a period which recognized an ideal body-object caught up by the AIDS epidemic. The identification of the HIV virus had a major influence on the perception and representation of bodies and sexuality. -
ABSTRACTS of the International Congress on Wax Modelling Madrid, June 29Th-30Th, 2017 School of Medicine
JOURNAL INFORMATION Eur. J. Anat. 21 (3): 241-260 (2017) ABSTRACTS of the International Congress on Wax Modelling Madrid, June 29th-30th, 2017 School of Medicine. Complutense University Madrid, Spain 241 Abstracts HONORIFIC COMMITTEE Carlos Andradas, Chancellor of the Complutense University of Madrid María Nagore, Vice chancellor of Culture and Sports of the Complutense University of Madrid José Luis Álvarez-Sala, Dean of the Faculty of Medicine of the Complutense University of Madrid Elena Blanch, Dean of the Faculty of Fine Arts of the Complutense University of Madrid José Luis Gonzalo, Dean of the Faculty of Library and Information Science of the Complutense University of Madrid Pedro Luis Lorenzo, Dean of the Faculty of Veterinary of the Complutense University of Madrid SCIENTIFIC COMMITTEE Elena Blanch (Complutense University of Madrid) Raffaele de Caro (University of Padova) Isabel García (Complutense University of Madrid) Xabier Mas-Barberà (Polytechnic University of Valencia) Luis Montiel (Complutense University of Madrid) María Isabel Morente (Complutense University of Madrid) Javier Moscoso (Spanish National Research Council) Juan Francisco Pastor (University of Valladolid) Margarita San Andrés (Complutense University of Madrid) Alicia Sánchez (Complutense University of Madrid) Pedro Terrón (Complutense University of Madrid) Tomas Bañuelos (Complutense University of Madrid) Carmen Marcos (Polytechnic University of Valencia) ORGANISING COMMITTEE Presidents Elena Blanch (Complutense University of Madrid) Jose Ramón Sañudo (Complutense -
Brice Dellsperger Body Double
Brice Dellsperger Body Double Curated by Selva Barni - Fantom Oct 24th — Nov 30th, 2018 Marsèlleria Via Paullo, 12/A Milan GROUND FLOOR 1. Body Double 10 Reprise of Brian de Palma's Obsession, 1997 1’ 27’’, loop With Dominique, Jean-luc Verna, Joy Falquet 2. Love/pursuit Body Double 3 Reprise of Brian de Palma's Body Double, 1995 1 1’50’’, loop With Brice Dellsperger Body Double 28 Reprise of Thomas Carter's Miami Vice Pilot (Brother's Keeper), 2013 2’46’’, loop With Brice Dellsperger 5 4 2 3. Despair 3 Body Double 21 Reprise of Roger Avary's The Rules of Attractions featuring V/VM's GROUND FLOOR sound design, 2005 19’56’’, loop With Lili Laxenaire, Joy Falquet, Sophie Lesné, Jean-Luc Verna, Carey Jeffries, William Carnimolla, Morgane Rousseau, Eva Carlton, Mercedes, Gwen Roch', Denis d'Arcangelo 4. Chases Body Double 4 Reprise of Alfred Hitchcock's Psycho as Donna Summer in Bad Girls, 1996 6’4’’, loop With Brice Dellsperger Body Double 5 Reprise of Brian de Palma's Dressed To Kill in Disneyland, 1996 5’40’’, loop With Brice Dellsperger Body Double 15 Reprise of Brian de Palma's Dressed to Kill, 2001 8’37’’, loop With Brice Dellsperger 5. Dead Star Body Double 26 Adaptation of Kenneth Anger's Hollywood Babylon I/II with Dead Can Dance's The Host Of Seraphim as a soundtrack, 2011 6’8’’, loop With Constance Legeay, Charleyne Boyer, Anita Gauran marselleria.org/body_double BASEMENT 6. Body Double 32 Reprise of Brian De Palma's Carrie, 2017 10’11’’ ca., loop 6 Music Didier Blasco With Alex Wetter BASEMENT FIRST FLOOR 7. -
S K I N S ! Techniques of Lifecasting Blood and More
Instructional Videos Special Effect Supply Corporation “Proudly Serving the Entertainment Industry Since Last Weekend” 164 East Center • North Salt Lake UT 84054 • Phone (801) 936-9762 www.fxsupply.com [email protected] Fax (801) 936-9763 Makeup Effects: Mask Making: Advanced Appliance Makeup with Gelatin Latex Mask Making from Start to Finish with Brian Penikas with Steve Kalman New gelatin appliance technique is taking Hollywood by storm! Don’t confuse this with Learn how to make Halloween type masks using liquid latex. This informative video burn and scar makeup, this is serious character transformation using sculpting and mold takes you through basic armatures, the sculpting process, mold making, slip casting and techniques much like hot foam. Gelatin is easy to make and apply. Features the translu- finishing. Well-presented information that is difficult to find anywhere else. Don't con- cency of silicone without the hassle. This video is about 28 minutes long. fuse this method with makeup prosthetics. 1993, 87 mins., VHS VIDEO34 Advanced Appliance Makeup with Gelatin.....................................$29.95 VIDEO20 Latex Mask from Start to Finish..........................................................29.95 Introduction to Make-up Effects The Art of Special Make-up Effects Volume One Finishing: with Michael Burnett Creative Creature Painting Demonstrates gelatin makeup, cotton and latex makeup, and wax build-up makeup. First with Brian Penikas video in the Michael Burnett Series. Features Hollywood airbrush and painting technique exclusive to the entertainment indus- 1989, 30 min., VHS try as taught by Brian Penikas. Learn basic airbrush setup and painting and learn how to VIDEO12 Art of Special MU Efx/Burnett...........................................................$24.95 make your own PAX paint. -
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. -
Brief History of Special/Visual Effects in Film
Brief History of Special/Visual Effects in Film Early years, 1890s. • Birth of cinema -- 1895, Paris, Lumiere brothers. Cinematographe. • Earlier, 1890, W.K.L .Dickson, assistant to Edison, developed Kinetograph. • One of these films included the world’s first known special effect shot, The Execution of Mary, Queen of Scots, by Alfred Clarke, 1895. Georges Melies • Father of Special Effects • Son of boot-maker, purchased Theatre Robert-Houdin in Paris, produced stage illusions and such as Magic Lantern shows. • Witnessed one of first Lumiere shows, and within three months purchased a device for use with Edison’s Kinetoscope, and developed his own prototype camera. • Produced one-shot films, moving versions of earlier shows, accidentally discovering “stop-action” for himself. • Soon using stop-action, double exposure, fast and slow motion, dissolves, and perspective tricks. Georges Melies • Cinderella, 1899, stop-action turns pumpkin into stage coach and rags into a gown. • Indian Rubber Head, 1902, uses split- screen by masking areas of film and exposing again, “exploding” his own head. • A Trip to the Moon, 1902, based on Verne and Wells -- 21 minute epic, trompe l’oeil, perspective shifts, and other tricks to tell story of Victorian explorers visiting the moon. • Ten-year run as best-known filmmaker, but surpassed by others such as D.W. Griffith and bankrupted by WW I. Other Effects Pioneers, early 1900s. • Robert W. Paul -- copied Edison’s projector and built his own camera and projection system to sell in England. Produced films to sell systems, such as The Haunted Curiosity Shop (1901) and The ? Motorist (1906). -
The Western Screenwriter in Japan: Screenwriting Considerations in Transnational Cinema
The Western Screenwriter in Japan: Screenwriting Considerations in Transnational Cinema by Alexander McAulay Submitted in partial fulfillment of the requirements for a Doctor of Philosophy Faculty of Media and Communication Bournemouth University May 2017 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must always be made of the use of any material contained in, or derived from, this thesis. 2 Alexander McAulay The Western Screenwriter in Japan: Screenwriting Considerations in Transnational Cinema Abstract This PhD investigates the writing of a feature film screenplay for mainstream Japanese-language cinema by a British screenwriter. As a long-term resident of Japan with production credits in Japanese cinema, I have for many years been interested in how to write stories set in Japan that will appeal to domestic and international audiences. The study examines the challenges I face as a Western screenwriter writing a screenplay for Japanese cinema, and how those challenges inform my creative practice, bringing into being a screenplay that is intended to enhance screenwriting craft in mainstream Japanese cinema and provide new knowledge to transnational cinema and screenwriting research. The critical commentary that accompanies the screenplay takes a dialogic approach in practice-led research to explore how various issues emerge for the Western screenwriter in Japanese cinema. These problems are examined with regard to relevant theory, and contextualised in considerations of various films in Japanese-language cinema written by non-Japanese screenwriters. One salient issue is the application of the Hollywood ‘universal’ model of screenwriting to stories about Japan. -
Brice Dellsperger Exhibitions Come with a Built-In Paradox: Everything Is Repetition and Reprise, but at the Same Time Exhilaratingly New
Brice Dellsperger exhibitions come with a built-in paradox: everything is repetition and reprise, but at the same time exhilaratingly new. Postcards from the Edge comprises new additions to the cult series Body Double, with the artist reworking sequences from art and mainstream movies to create already fantasised scenes that lend themselves to further fantasising. Memory effect has an immediate impact on each of these scenes, the most frequent feature of the Body Double works being the playing of all the parts by the same actor transformed into an actress. The re-enacted scenes are anticipated mises en abyme of the artist's strategy: the sexual ambiguity of the main character (BD 27), the presence of the main character and his/her body double (BD 29), the reflexive construction of the scene (BD 30), a plot hinging on a montage of sequences (BD 28), and sometimes stills the artist brings back to life with the sheer force of legend they embody (BD 26). What the viewer is witnessing in this use of reprise and recursiveness is nothing less than the infinite multiplication of forms of desire confronting its object, and this in its purest state: a projection. Room 1 Beginning with Fassbinder's In a Year with 13 Moons (1978), Dellsperger multiplies the scene showing the main character, the transsexual Elvira, sobbing in an amusement arcade: using three screenings and 24 characters, Body Double 27 tests out the solitary, shameless aspect of the original. Body Double 27, 2010, 8’15’’ In Body Double 28 the artist takes a scene from the pilot of the TV series Miami Vice (1984), whose action – a pursuit filmed in poor light – hinges solely on a classic camera movement; reduplicated in reverse here, it is enriched via a very simple stratagem. -
Detective and Mystery Fiction in the Age of Photography
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Transparent Interiors: Detective and Mystery Fiction in the Age of Photography Melissa D. Dunn Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/712 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Transparent Interiors: Detective and Mystery Fiction in the Age of Photography by MELISSA D. DUNN A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy; The Graduate Center, The City University of New York 2016 © 2016 MELISSA D. DUNN All Rights Reserved ii Transparent Interiors: Detective and Mystery Fiction in the Age of Photography by Melissa D. Dunn This manuscript has been read and accepted for the Graduate Faculty in English to satisfy the dissertation requirement for the degree of Doctor of Philosophy Wayne Koestenbaum _______________________________________________ _______________________ _______________________________________________ Date Chair of Examining Committee Mario DiGangi _______________________________________________ _______________________ _______________________________________________ Date Executive Officer Wayne Koestenbaum Nancy K. Miller Anne Humphreys Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract TRANSPARENT INTERIORS: DETECTIVE AND MYSTERY FICTION IN THE AGE OF PHOTOGRAPHY By Melissa D. Dunn Adviser: Wayne Koestenbaum This dissertation is a meditation on the mutable boundaries that define interior life in the age of photography. I probe these boundaries through selected readings in two literary genres that share conceptual links with photography—detective fiction and mystery fiction. -
BREAKING Bread
Oxford American BREAKING Bread Who is welcome at the welcome table? Fifty years after restaurant desegregation, why do we continue to dine apart? A special section on the dynamics of hospitality, exclusion, and food justice. Edited by John T. Edge - 100 - SPRING 2015 Photo by Ben Couvillion OxfordAmerican.org - 101 - taught the ‘value of discretion’ had never let on class like me, or you’re black and of any class and to make of Highlands, he says. “Fine dining was what became of some of the bills pressed into his aware of the South’s peculiar history, you can’t all about flounder with beurre blanc. And filets palm after he flambéed the baked Alaska tableside, help but glance over Goren Avery’s shoulder into wrapped in bacon, held together with toothpicks. lowering the lights so that his white gloves and our shared past. When Highlands opened in 1982, we had a line shirt stood out against the fire: The tips would out the door on the first day for shrimp and grits be donated to the cause of Martin Luther King.” unch with Goren Avery is comparable to din- with meunière and cherry tomatoes. For smoked GOING DEEPER WITH RED DOG Even then, some waiters defined their own terms ner served by Goren Avery. At every turn, trout with cappellini.” BY JOHN T. EDGE of engagement. L he exerts control like a munificent dictator. Thirty-three years into Avery’s tenure, most This past fall, during the symposium where Red Soon after we take a seat at Bottega Café, a casu- diners comport themselves in a manner he appre- Dog was first screened, the SFA also premiered an al Stitt-owned Italian restaurant up the hill from ciates. -
Migrating the Margins
MIGRATING THE MARGINS MIGRATING THE MARGINS CIRCUMLOCATING THE FUTURE OF TORONTO ART BY EMELIE CHHANGUR & PHILIP MONK Published by the Art Gallery of York University (AGYU) © 2019 Art Gallery of York University, the writers, and the artists Art Gallery of York University 4700 Keele St, Toronto ON (Canada) M3J 1P3 Designed by Sameer Farooq Edited by Michael Maranda Printed and bound in Canada by Flash Reproductions, Toronto This publication has been funded generously by the RBC Foundation. Migrating the Margins received a 2017 Project Support Award from the Toronto Friends of the Visual Arts. In addition, the Ladies Who Launch financially contributed to the production of new work for the exhibition. The Art Gallery of York University is supported by York University, the Canada Council for the Arts, the Ontario Arts Council, and the City of Toronto through the Toronto Arts Council. Library and Archives Canada Cataloguing in Publication Title: Migrating the margins : circumlocating the future of Toronto art / Philip Monk & Emelie Chhangur. Other titles: Circumlocating the future of Toronto art Names: Monk, Philip, 1950- author. | Chhangur, Emelie, author. | York University (Toronto, Ont.). Art Gallery, publisher. Description: Includes bibliographical references. Identifiers: Canadiana 20190058366 | ISBN 9780921972785 (softcover) Subjects: LCSH: Art, Canadian—Ontario—Toronto—21st century. | LCSH: Artists—Ontario—Toronto. Classification: LCC N6547.T67 M66 2019 | DDC 709.713/541—dc23 Contents 06 The Exhibition 25 Migrating the Margins 33 Artists and Works 99 Neighbouring Zones: Going Farther Afield 133 Why We are Glissantian … and How Toronto is, Too 139 An Aesthetics of Amalgamation? 163 Toronto: The Location of Culture 184 List of Works 187 Biographies Pages 6–22 Installation images of MIGRATING THE MARGINS MIGRATING THE MARGINS MIGRATING THE MARGINS 26 Migrating the Margins was neither a survey exhibition of recent Toronto art nor a showcase of new trends in its production. -
Guidelines for an Actor's Resume
GUIDELINES FOR AN ACTOR’S RESUME Compiled by Elizabeth Abbott (UofU) with information contributed by Frank Gerrish (SLCC), Anna Adams (UofU, and Monte Marshall (BYU). --- For additional information, contact: Heidi Vogeler, Career Counselor (801) 422-6535 The actor’s resume—coupled with the actor’s headshot—is the calling card an actor takes to each audition. Please remember that your headshot/resume is your bayonet. It is marketing you. You are the product. Package the product well!! GENERAL RESUME TIPS: LENGTH: Always limit your resume to one page. It needs to fit on the back of your 8x10 headshot. PAPER: Use plain paper (white, light cream, or pale gray). You may wish to print the resume on the back of your headshot. Please note that headshots are 8x10 photographs, but standard sized paper is 8½x11. You will need to specify that the document size is 8x10 when you create it. FONT: Use a standard font for the main text of your resume (e.g., Times New Roman, Arial, Garamond, Georgia). Text size should be 10-12 points. Section headings can be a little larger and can use funkier fonts (as long as they are readable). Fully utilize a variety of design tools, including bolding, italics, underlining and ALL CAPITALS. DO NOT use icky, bizarre, or day-glo font colors—black is best. ORDER: In English, we read from top to bottom and from left to right. Readers lose interest as they read down and across the page. Thus, within each resume section, prioritize information in order of importance. ABBREVIATIONS: Minimize use of abbreviations.