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Sundance Institute and Skywalker Sound Announce Independent Filmmakers and Film Composers for July Music and Sound Design Labs
FOR IMMEDIATE RELEASE Media Contact: June 30, 2015 Emel Shaikh 310.360.1981 [email protected] Stephen Kenneally Industrial Light & Magic / Skywalker Sound 415.746.2306 [email protected] Sundance Institute and Skywalker Sound Announce Independent Filmmakers and Film Composers for July Music and Sound Design Labs Fellows Include Kris Bowers, Germaine Franco, Danielle Eva Schwob and Jeremy Turner Creative Advisors Include Academy Award Winner Todd Boekelheide and Emmy Award Winner Laura Karpman Los Angeles, CA — Sundance Institute and Skywalker Sound today announced the independent narrative and documentary directors and composers selected for the Sundance Institute Music and Sound Design Labs at Skywalker Sound. This will be the third year the Music and Sound Design Labs take place at the Skywalker Ranch in northern California. The Labs are part of 24 residential labs the Institute hosts annually to discover and foster the talent of emerging independent artists in film, theatre, new media and episodic content. The Music and Sound Design Labs provide a space for composers, directors and sound designers to collaborate on the process of designing a soundtrack for film. Fellows participate in workshops and creative exercises under the guidance of leading film composers and film music professionals acting as Creative Advisors.The Music and Sound Design Lab for narrative feature films (July 7-21) is a joint initiative of the Institute’s Film Music Program and Feature Film Program, and the Music and Sound Design Lab for documentaries (July 22-30) is a joint initiative of the Film Music Program and Documentary Film Program. Peter Golub, Director of the Sundance Institute Film Music Program, said, "This year’s fellows include an outstanding group of composers whose work will deepen and enrich the experience of the diverse personal stories being told by these fiction and documentary filmmakers. -
Env & Society/F-10.Cwk
SOCI–X235-001 ENVIRONMENT AND SOCIETY (Fall, 2010) Class Time: 3:30-4:45pm, T/R, MO 535 Professor: Dr. Anthony E. Ladd Office: The Department of Sociology, MO 537-D Office Hours: MWR 1:00-3:00pm & by appt. Phone: 865-3640 Email: [email protected] “ Only when the last tree had died and the last river been poisoned and the last fish been caught will we realize that we cannot eat money.” -- Old Cree Indian saying “If we do not change the direction we are going, we will end up where we are headed.” -- Old Chinese Proverb “The price one pays for an environmental education is to live in a world of wounds.” -- Aldo Leopold COURSE DESCRIPTION Environmental Sociology, as a subfield within the larger discipline of sociology, is concerned with the study of the interactions between human societies and the natural environment. As an elective in both the Advanced Common Curriculum and the Environmental Studies Program, this class will help introduce you to the study of environmental history, problems, policies, and controversies from a sociological perspective, but it will also incorporate a number of other academic viewpoints as well. Overall, the readings, lectures, films, and discussion for this class will enable you to become a more informed and critical thinker regarding your relationship to the nature and the future of life on this planet. My aim is to increase not just your knowledge about the world you share, but develop in you the wisdom to envision and practice a way of life which can help to ensure its sustainability. -
Radical Action and a National Antiwar Movement: the Vietnam Day Committee
Western Illinois Historical Review © 2012 Vol. IV, Spring 2012 ISSN 2153-1714 Radical Action and a National Antiwar Movement: The Vietnam Day Committee By Michael Lowe1 In August 1965, a few hundred demonstrators marched from the University of California, Berkeley campus to a provocative, dangerous antiwar demonstration. Flanked by policemen and flash bulbs, demonstrators stood on a Berkeley train track, carrying signs and chanting. A train carrying troops bound for the Oakland Army Terminal headed straight for them. Suspenseful seconds passed while many stayed put. The train let out an immense rush of steam, confusing demonstrators as a shrill, piercing conductor’s whistle rendered everything else chaotic but silent. One woman was pulled from the tracks moments before a collision, but other activists scrambling to escape the train’s path could not see through clouds of steam; the train to Oakland soon advanced forward, carrying troops closer to war. Throughout most of 1965 and the early months of 1966, Berkeley’s Vietnam Day Committee (VDC), an early antiwar organization which sought to build a nationwide consensus against the war, held rallies and supported the quick withdrawal of U.S. military forces in Vietnam. The group formed on the University of California, Berkeley campus while the Free Speech Movement (FSM) trials were reaching their conclusions; the VDC gained a great deal of attention among the general public and respect among the growing minority of antiwar students because of its connections with the FSM, which had recently achieved victories for student rights 1 Michael Lowe completed his research under the mentorship of Dr. -
Ballets Russes Press
A ZEITGEIST FILMS RELEASE THEY CAME. THEY DANCED. OUR WORLD WAS NEVER THE SAME. BALLETS RUSSES a film by Dayna Goldfine and Dan Geller Unearthing a treasure trove of archival footage, filmmakers Dan Geller and Dayna Goldfine have fashioned a dazzlingly entrancing ode to the rev- olutionary twentieth-century dance troupe known as the Ballets Russes. What began as a group of Russian refugees who never danced in Russia became not one but two rival dance troupes who fought the infamous “ballet battles” that consumed London society before World War II. BALLETS RUSSES maps the company’s Diaghilev-era beginnings in turn- of-the-century Paris—when artists such as Nijinsky, Balanchine, Picasso, Miró, Matisse, and Stravinsky united in an unparalleled collaboration—to its halcyon days of the 1930s and ’40s, when the Ballets Russes toured America, astonishing audiences schooled in vaudeville with artistry never before seen, to its demise in the 1950s and ’60s when rising costs, rock- eting egos, outside competition, and internal mismanagement ultimately brought this revered company to its knees. Directed with consummate invention and infused with juicy anecdotal interviews from many of the company’s glamorous stars, BALLETS RUSSES treats modern audiences to a rare glimpse of the singularly remarkable merger of Russian, American, European, and Latin American dancers, choreographers, composers, and designers that transformed the face of ballet for generations to come. — Sundance Film Festival 2005 FILMMAKERS’ STATEMENT AND PRODUCTION NOTES In January 2000, our Co-Producers, Robert Hawk and Douglas Blair Turnbaugh, came to us with the idea of filming what they described as a once-in-a-lifetime event. -
Earth Day 1970-1995: an Information Perspective
UCLA Electronic Green Journal Title Earth Day 1970-1995: An Information Perspective Permalink https://escholarship.org/uc/item/8nt2x0xk Journal Electronic Green Journal, 1(3) Author Stoss, Frederick Publication Date 1995 DOI 10.5070/G31310193 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Earth Day 1970-1995: An Information Perspective Fred Stoss <[email protected]> Energy, Environment, and Resources Center, University of Tennessee, Knoxville, TN 37932, USA. TEL: 615- 675-9510. "Earth Day is a commitment to make life better, not just bigger and faster; to provide real rather than rhetorical solutions. It is a day to re-examine the ethic of individual progress at mankind's expense. It is a day to challenge the corporate and government leaders who promise change, but who shortchange the necessary programs. It is a day for looking beyond tomorrow. April 22 seeks a future worth living. April 22 seeks a future." Environmental Teach-In Advertisement New York Times January 18, 1970 (1) The celebratory event known as "Earth Day," created in 1969 and 1970, found its initial inspiration in the 1950s and 1960s, decades marked by tremendous social and cultural awareness, times of activism and change. One cultural concept around which millions of people began to rally was the environment. The legacy of environmental thought in the decades prior to the first Earth Day gave birth to the event in 1970. A body of environmental literature emerged in the United States which traced its roots to the colonial and post-Revolutionary War periods. The writings of Henry David Thoreau, John Muir, and George Perkins in the latter half of the 19th and in the 20th century stimulated and created a philosophy and ethic for the environment and concerns for nature and the wilderness. -
Farley Resume 2013
William N. Farley EDUCATION 1971 M.F.A. California College of Arts and Crafts, Oakland, California. major: Sculpture; minor: Filmmaking. 1969 B.F.A. Maryland Institute College of Art, Baltimore, Maryland. major: Sculpture. 1968 Skowhegan School of Painting and Sculpture, Skowhegan, Maine. 1961-64 Vesper George School of Art, Boston, Massachusetts. PHOTOGRAPHY EXHIBITIONS 2013 SFMoMA Artist Gallery, Fort Mason, CA 2011 Outlandish, Contemporary Depictions of Nature, Bedford Gallery, Walnut Creek, CA 2011 LandsCApes: Glimpses of Everyday California, de Saisset Museum, Santa Clara, CA FILM EXHIBITIONS Shadow & Light, The Life and Art of Elaine Badgley Arnoux 2009 Ventura Film Festival, Ventura, California. 2009 Mendocino Film Festival, Mendocino, California. 2009 Mill Valley Film Festival, Mill Valley, California. 2009 Santa Fe Film Festival, Santa Fe, New Mexico. Walt Whitman’s Song Of Myself 2008 Mendocino Film Festival, Mendocino, California. 2008 FIAAP 08 Festival Internacional Audiovisual de Artes Performativas Museu Nacional do Teatro Lisboa, Portugal. Darryl Henriques Is In Show Business 2007 Yerba Buena Center for the Arts, San Francisco, California. 2006 Mendocino Film Festival, Mendocino, California. 2006 Mill Valley Film Festival, Mill Valley, California. Arianna’s Journey 2007 Yerba Buena Center for the Arts, San Francisco, California. The Stories 2007 Mendocino Film Festival, Mendocino, California. 2007 Rhode Island International Film Festival, Providence, Rhode Island. 2007 Cleveland Cinematheque, Cleveland, Ohio. 2006 Mill Valley Film Festival, Mill Valley, California. 2006 Southern Exposure Mayhem Film Festival, San Francisco, California. The Old Spaghetti Factory 2009 Cinema By The Bay, San Francisco International Film Festival, San Francisco, California. 2001 PBS national broadcast, 90 cities in the U.S. -
La Bande Son De La Guerre Du Vietnam – Annexe 1 Musique Rock/Pop En Jaune Musique Classique En Magenta 1
La bande son de la guerre du Vietnam – Annexe 1 musique rock/pop en jaune musique classique en magenta 1. Fictions et documentaires américains sur la guerre du Vietnam ou films sur des vétérans du Vietnam. Par ordre chronologique. 1. China Gate (Samuel Fuller, 1957), guerre d'Indochine; musique: Victor Young, Max Steiner (chanson China Gate chantée par Nat King Cole qui joue dans le film) http://en.wikipedia.org/wiki/China_Gate_%281957_film%29 2. The Quiet American / fr. Un Américain bien tranquille (Joseph L. Mankiewicz, février 1958), adaptation du best-seller du même nom de Graham Greene; musique: Mario Nascimbene + La Cathédrale engloutie (Claude Debussy) http://en.wikipedia.org/wiki/The_Quiet_American_%281958_film%29 3. Brushfire (Jack Warner, Jr., février 1962); musique: Irving Gertz http://en.wikipedia.org/wiki/Brushfire_%28film%29 4. The Ugly American / fr. Le Vilain Américain (George Englund, 1963); musique: Frank Skinner + America the beautiful (chanson patriotique publiée en 1895) http://en.wikipedia.org/wiki/The_Ugly_American http://en.wikipedia.org/wiki/America_the_Beautiful 5. A Yank In Viet-Nam (Marshall Thompson, février 1964); musique: Richard LaSalle http://en.wikipedia.org/wiki/A_Yank_in_Viet-Nam 6. Motorpsycho / fr. Le gang sauvage (Russ Meyer, août 1965), premier film qui met en scène un vétéran du Vietnam, un sadique, leader d'un gang en moto; musique: Paul Sawtell (non crédité), Bert Shefter (non crédité), Sidney Cutner (stock music, non crédité) http://en.wikipedia.org/wiki/Motorpsycho_%28film%29 7. Operation C.I.A. (Christian Nyby, septembre 1965); musique: Paul Dunlap http://en.wikipedia.org/wiki/Operation_C.I.A. sur YouTube: http://www.youtube.com/watch?v=hIMO-51VZxw 8. -
Documentary Movies
Libraries DOCUMENTARY MOVIES The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 10 Days that Unexpectedly Changed America DVD-2043 56 Up DVD-8322 180 DVD-3999 60's DVD-0410 1-800-India: Importing a White-Collar Economy DVD-3263 7 Up/7 Plus Seven DVD-1056 1930s (Discs 1-3) DVD-5348 Discs 1 70 Acres in Chicago: Cabrini Green DVD-8778 1930s (Discs 4-5) DVD-5348 Discs 4 70 Acres in Chicago: Cabrini Green c.2 DVD-8778 c.2 1964 DVD-7724 9/11 c.2 DVD-0056 c.2 1968 with Tom Brokaw DVD-5235 9500 Liberty DVD-8572 1983 Riegelman's Closing/2008 Update DVD-7715 Abandoned: The Betrayal of America's Immigrants DVD-5835 20 Years Old in the Middle East DVD-6111 Abolitionists DVD-7362 DVD-4941 Aboriginal Architecture: Living Architecture DVD-3261 21 Up DVD-1061 Abraham and Mary Lincoln: A House Divided DVD-0001 21 Up South Africa DVD-3691 Absent from the Academy DVD-8351 24 City DVD-9072 Absolutely Positive DVD-8796 24 Hours 24 Million Meals: Feeding New York DVD-8157 Absolutely Positive c.2 DVD-8796 c.2 28 Up DVD-1066 Accidental Hero: Room 408 DVD-5980 3 Times Divorced DVD-5100 Act of Killing DVD-4434 30 Days Season 3 DVD-3708 Addicted to Plastic DVD-8168 35 Up DVD-1072 Addiction DVD-2884 4 Little Girls DVD-0051 Address DVD-8002 42 Up DVD-1079 Adonis Factor DVD-2607 49 Up DVD-1913 Adventure of English DVD-5957 500 Nations DVD-0778 Advertising and the End of the World DVD-1460 -
Berkeley-In-The-60S-Transcript.Pdf
l..J:J __J -- '-' ... BERKELEY IN THE SIXITES Transcript House n-American Activities Committee Demonstration, May 196(J (Music. "Ke a Knockin") T Narrator: y In the 1960s y generation set out on a journey of change. Coming out of an atmosphere f conformity a new spirit began to appear. One of the first signs was a demo tration, organized by Berkeley students in May of 1960 against .;')~u.P -'- the House -American Activities Committee. Archival/Co gressman Willis, HUAC Chairman: \ ' .., iJ' ,o-, «\' What we are ere to do is to gather information as we are ordered to by an act of Congress ith respect to the general operation of the communist conspiracy. Chairman W lis (off camera): Proceed to th next question. Archival/Un entified Witness: I'm not in the habit of being intimidated and I don't expect to start now. Now what was yo_ question? "{/\Thatwas your question. C Lawyer (off camera): Are you now n this instant a member of the communist party. BITS TRAN RIPT 2 t,...J-,,i._l-.. } 'Li..- Narrator: We came out 0 protest because we were against HUAC's suppression of political free m. In the 50s HUAC created a climate of fear by putting people on trial for t ir political beliefs. Any views left of center were labeled subversive. e refused to go back to McCarthyism. Archival/Wi liam Mandel: )/",'; 0 ~ If you think am going to cooperate with this collection of Judases, of men who sit ther in violation of the United States Constitution, if you think I will cooperat with you in any way, you are insane. -
THTR 363 Syl-Fall
THTR 363: Introduction to Sound Design INSTRUCTOR: Richard K. Thomas, 494-8050 [email protected] OFFICE HOURS: Tuesday: 2:30 – 3:30 p.m., Thursday, 1:30 – 2:30 p.m. PAO 2184 CLASS SCHEDULE: Fall 2011 August 23 Intro to Course (Music As a Foundation, pp. 1 - 6) 25 Lecture: Music Language and Theatre (Music As a Foundation, pp. 6 - 25) 30 Music as a Foundation of Theatre: Origins September 1 Lecture: Primal Elements of Music (Music As a Foundation, pp. 25 – 45) 6 Lecture: Primal Elements of Music (Cont.) 8 Lecture: Primal Elements of Music (Cont.) 13 Lecture: Dramatic Time and Space 17 Lecture: The Function of the Soundscape 20 Group Presentations: General Overview of Design Elements 22 Group Presentations: General Overview of Design Elements (cont.) 27 Watch “More to Live For” in studio (No Rick) 29 No Class: Rick at IRT October 4 Color DVDʼs DUE 6 Color Projects DUE 11 Color (Cont) 13 Octoberbreak 18 Color Composition DUE 20. Time DVDʼs Due 25 Time Projects DUE 27 Time (Cont.) November 1 Time Composition DUE 3 Mass DVDʼs DUE 8 Mass Projects DUE 10 Mass (Cont.) 15 Mass Composition DUE THTR 363 Syllabus: Fall, 2011 Page 2 17 Space DVDʼs DUE 22 Space Projects DUE 24 THANKSGIVING BREAK 29 Space Compositions DUE December 1 Line DVDʼs DUE 6 Line Projects DUE 8 Line (Cont) Final Exam Period: Sonnet Projects Due NOTE: THIS SYLLABUS SUBJECT TO CHANGE!! Course Objectives: The purpose of this course is to introduce students to an aesthetic vocabulary of design elements that is useful in both visual and auditory design. -
Stephen Andriano-Moore
The Rise of the Sound Designer: Northern California Film Sound in the 1960s and 1970s Stephen Andriano-Moore School of International Communications, University of Nottingham Ningbo China, Ningbo, China School of International Communications, University of Nottingham Ningbo China, 199 Taikang East Road, University Park, Ningbo, 315100, Zhejiang Province, China. Email: [email protected] Telephone: +86 (0) 574 8818 0271 ORCID ID: 0000-0001-9686-6578 Notes on contributor Stephen Andriano-Moore teaches media and cultural studies in the School of International Communications at the University of Nottingham Ningbo China. His research explores production cultures of the film and television industries with particular focus in the area of Hollywood film sound. Correspondence to: Stephen Andriano-Moore, School of International Communications, University of Nottingham Ningbo China, 199 Taikang East Road, Ningbo, China, 315100. Email: [email protected] 1 THE RISE OF THE SOUND DESIGNER: Northern California Film Sound In The 1960s And 1970s Northern California based filmmakers in the late 1960s and 1970s pushed the traditional boundaries of filmmaking practices in ways that have been adopted and reworked into contemporary Hollywood filmmaking practices. The article examines labour issues and conditions and politics of film sound work during this era, some of which continue to be applicable today. The development of new production practices pushed filmmakers including George Lucas, Francis Ford Coppola, and Walter Murch to produce films outside the traditional Hollywood studio production paradigm. This new generation of filmmakers held sound with a higher status and popularized non- traditional ways of working with sound. They created the new job title of sound designer to signify a person who supervises and collaborates with the director, department heads, and screenwriter on the use and function of sound through all of the filmmaking phases from the writing stage through the final mix. -
E Pluribus Unum: the Berkeley Free Speech Movement of 1964 Madeleine Riskin-Kutz
E pluribus unum: The Berkeley Free Speech Movement of 1964 Madeleine Riskin-Kutz Free Speech Movement march through Sather Gate, Mona Hutchin on the extreme right (marchers’ perspective) and Mario Savio on the extreme left. From Warshaw p.56, photo credit: Ron Enfield, Nov. 20, 1964 Madeleine R-K, E pluribus unum, cont. During the academic year of 1964-65, a political movement took place at the University of California (UC), Berkeley bringing together students and faculty from across the political spectrum — from communists to campaigners for right-wing Republican presidential candidate Barry Goldwater. Members of the movement united in their demand for free speech on campus and specifically, to be allowed to set up tables on campus to campaign for political causes. Their movement took place through demonstrations and sit-ins, ultimately achieving success in December 1964, when the academic senate voted unanimously to approve a resolution that there would henceforth be no restrictions on the content of speech or political advocacy on campus, except in regard to time, place and manner. Histories of the Free Speech Movement (FSM) have represented it as left wing and have therefore overlooked one of its essential features: it was a broad coalition operating largely by consensus among people with widely differing political views. By restoring the center-to-right wing side of the history of the FSM, we can first of all recognize this broad coalition’s existence, then also understand it was possible because of a form of universalism among students. A universal principle united the members of the Free Speech Movement.