September 1997 the Uvgbird (Issn 0023- 1606)
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Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
10700990.Pdf
The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date. -
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. -
Kathleen Kennedy, Frank Marshall
PARAMOUNT PICTURES Présente Une production LUCASFILM Ltd Un fi lm de STEVEN SPIELBERG (Indiana Jones and the Kingdom of the Crystal Skull) Avec HARRISON FORD CATE BLANCHETT, KAREN ALLEN, RAY WINSTONE, JOHN HURT, JIM BROADBENT et SHIA LaBEOUF Scénario de DAVID KOEPP Produit par GEORGE LUCAS, KATHLEEN KENNEDY, FRANK MARSHALL Un fi lm PARAMOUNT Distribué par PARAMOUNT PICTURES FRANCE SORTIE : 21 MAI 2008 Durée : 2h03 DISTRIBUTION PRESSE Michèle Abitbol-Lasry Séverine Lajarrige 184, bld Haussmann – 75008 Paris 1, rue Meyerbeer – 75009 Paris Tél. : 01 45 62 45 62 Tél. : 01 40 07 38 86 [email protected] Fax : 01 40 07 38 39 [email protected] SYNOPSIS Ses exploits sont légendaires, son nom est synonyme d'aventure… Indiana Jones, l'archéologue au sourire conquérant et aux poings d'acier, est de retour, avec son blouson de cuir, son grand fouet, son chapeau… et son incurable phobie des serpents. Sa nouvelle aventure débute dans un désert du sud- ouest des États-Unis. Nous sommes en 1957, en pleine Guerre Froide ; Indy et son copain Mac viennent tout juste d'échapper à une bande d'agents soviétiques à la recherche d'une mystérieuse relique surgie du fond des temps. De retour au Marshall College, le Professeur Jones apprend une très mauvaise nouvelle : ses récentes ac- tivités l'ont rendu suspect aux yeux du gouvernement américain. Le doyen Stanforth, qui est aussi un proche ami, se voit contraint de le licencier. À la sortie de la ville, Indiana fait la connaissance d'un jeune motard rebelle, Mutt, qui lui fait une pro- position inattendue. -
Ben Burtt - Wikipedia, the Free Encyclopedia 10/26/10 10:43 AM
Ben Burtt - Wikipedia, the free encyclopedia 10/26/10 10:43 AM Ben Burtt From Wikipedia, the free encyclopedia Benjamin "Ben" Burtt, Jr. (born July 12, 1948) is an Ben Burtt American sound designer for the films Star Wars Born Benjamin Burtt, Jr. (1977), Invasion of the Body Snatchers (1978), Raiders of the Lost Ark (1981), E.T. The Extra-Terrestrial July 12, 1948 (1982), Indiana Jones and the Last Crusade (1989) and Jamesville, New York, United WALL-E (2008). He is also a film editor and director; States screenwriter; and voice actor. Occupation Film editor, film director, sound designer and screenwriter He is most notable for creating many of the iconic sound effects heard in the Star Wars film franchise, Years 1975 - Present including the "voice" of R2-D2, the lightsaber hum and active the heavy-breathing sound of Darth Vader. Contents 1 Early life, education and early career 1.1 Sound designer 1.2 Director, editor and writer 1.3 Cameo appearances 2 Awards 2.1 Academy Awards 2.2 Honorary awards 3 References 4 External links Early life, education and early career Burtt was born in Jamesville, New York, and graduated with a major in physics from Allegheny College in Meadville, Pennsylvania. In 1970, he won the National Student Film Festival with a war film Yankee Squadron, reputedly after following exposure to classic aviation drama through making an amateur film at the Old Rhinebeck Aerodrome, a living aviation museum in Red Hook, New York, under guidance from its founder, Cole Palen.[1] For his work on the special-effects film Genesis, Burtt won a scholarship to the University of Southern California in Los Angeles, California, where he earned a master's degree in film production. -
Recording Star Wars Phantom Menace Issue 6
Richard Buskin talks with co-supervising sound editor Tom Bellfort, scoring and re-recording mixer Sean Murphy, Foley artist Dennie Thorpe, effects mixer Gary Rydstrom, and assistant supervising sound editor Matt Wood about their work on the new Star Wars prequel. long time ago, in a galaxy far, far away...’ As these seemingly innocuous words moved purposefully onto cinema screens 22 years ago, few predicted the ‘A Star Wars phenomenon that would ensue. Two follow up films, The Empire Strikes Back and Return of the Jedi, and a trio of Special Editions have set the bench mark from which all the numerous effects-based extravaganzas that resulted would be judged. Now, over two decades and a couple of generations later, director George Lucas has decided to dig deeper into the goldmine by way of a series of three prequels. The Phantom Menace takes us back [even longer ago in a galaxy even further away? – CH], reacquainting us with a unnervingly fresh faced Darth Vader, and a youthful knight by the name of Obi-Wan Kenobi, while involving us in more pan-galactic feuding. Ah yes, for fans of the series this new instalment certainly amounts to another dose of the usual fun. Screen Rolls Shot during the summer of 1997 at Leavesden Studios – a former Rolls-Royce factory in England which was converted to 10 sound stages and 60 sets – Episode 1: The Phantom Menace also made use of locations such as the Caserta Royal Palace near Naples and the Tunisian Sahara Desert before returning to Leavesden in the early autumn. -
Space Sound Maker (Pew Pew Blaster SFX)
Space Sound Maker (Pew Pew Blaster SFX) Objective: Be Han Solo with a homemade blaster sound effect. Difficulty Level: Easy (ages 8-14)/Medium (ages 6-8) Materials: ● Large paper or plastic Slinky ● Scissors ● String Procedure: 1. Cut two lengths of string about 2 feet long, and tie them to either side of one end of the Slinky (one on each side of the same end). 2. Hold the Slinky by the strings and let it dangle, then stick the foam cup between two of the coils. 3. Lightly pull the Slinky back and let it go. The cup will amplify the sound and you can make great sound effects! What happens if you use a different size of cup? What happens if you put the cup at different places on the Slinky? What’s the Science? When an object vibrates, it causes tiny air molecules to move. These tiny invisible particles bump into each other, traveling until they reach our ears. The outside part of our ear, called the pinna, is shaped so it funnels the air molecules down into the ear, where they bounce off the stretchy membrane we call the eardrum. When the membrane bounces, it also vibrates, making the tiny bones in your inner ear vibrate as well. This helps send the vibrations into a curvy organ sort of shaped like a seashell, called the cochlea, where they are turned into electrical impulses that go to your brain, and we process them as sounds. #ScienceWorksOnline ScienceWorksMuseum.org © 2020 Not all sounds move at the same speed! When the end of the Slinky hit the floor, vibrations traveled back up it and were amplified, or made more powerful, by the cup. -
The Syracuse Chemist Volume 104/Issue 4 September 2012
The Syracuse Chemist Volume 104/Issue 4 September 2012 Education Night – a Councilor‟s Corner Science Coaching Page 4 lecture recreated Molecule puzzle Pages 2 and 3 Page 6 NERM in Rochester Chemistry and… Call for Nominations Career Seminar Page 3 Page 5 Page 7 ChemLuminary Award Winners- 3rd Year in a Row! For the third year in a row, our Syracuse Section won ChemLuminary Awards for our National Chemistry Week activities. At the 14th ChemLuminary Awards Celebration during the ACS National Meeting in Philadelphia this past August we received ChemLuminary Awards for Best Chemistry Club National Chemistry Week Event and Best Local Section Partnership. Congratulations to our proud section volunteers! Celebrating National Chemistry Week last October, the Syracuse Section joined the Carol M. Baldwin Foundation‟s „A Run for THEIR Life‟ fundraising event for breast cancer research. Over 1,000 runners, their families and friends were presented with health-themed demonstrations, activities, and information guides after the race. Section Past-Chair Sally Mitchell and Section Councilor Alyssa Thomas were on hand to present our Section‟s activities and to accept our awards. Thank you to everyone in the Section who made this achievement possible. Join us this year with the team Syracuse Section ACS for the Carol Baldwin's " A Run for Their Life" on Sunday, October 14, 2012 at Manley Field House. If you are interested in walking or running 5K or 15 K, please register at http://www.cmbarunfortheirlife.com/ and sign up during the registration to represent the Syracuse Section ACS. Education Night – One Last “Water Lecture” Jamie Cucinotta and Sally Mitchell This past June the Syracuse Section of the American Chemical Society and several of Dr. -
Université De Montréal Poïétique De La Création Sonore Au Cinéma
Université de Montréal Poïétique de la création sonore au cinéma : La figure de l’artiste-poïéticien Pierre-Olivier Forest Département d’histoire de l’art et d’études cinématographiques Mémoire présenté à la Faculté des arts et science Département d’Histoire de l’art et d’études cinématographiques en vue de l’obtention du grade de maîtrise en études cinématographiques Janvier 2013 © Pierre-Olivier Forest janvier 2013 i « I had always been interested, perhaps obsessed, in that seemingly uncrossable gulf between an early draft of a book or film and a finished product. How does one make that journey from there to here? » (Ondaatje, 2002, XII). « La pensée avant d’être œuvre est trajet » (Michaux, 1971, p.22). « Va jusqu’au bout de tes erreurs, au moins de quelques-unes, de façon à bien pouvoir observer le type. Sinon, t’arrêtant à mi-chemin, tu iras toujours aveuglément reprenant le même genre d’erreurs, de bout en bout de ta vie, ce que certains appelleront ta « destinée ». L’ennemie, qui est ta structure, force-le à se découvrir. Si tu n’as pas pu gauchir ta destinée, tu n’auras été qu’un appartement loué » (Michaux, 1981, p.12). « Oui, une nouvelle image de l’acte de penser, de son fonctionnement, de sa genèse dans la pensée elle-même, c’est bien ce que nous cherchons » (Deleuze, 2002a, p.193). i Remerciement Nous voudrions remercier notre directeur Serge Cardinal et l’ensemble de nos compères du laboratoire de recherche-création La création sonore : cinéma, arts médiatiques, arts du son. ii Table des matières Introduction ............................................................................................................................... -
Academy Awards En
81st ACADEMY EN AWARDS Ganadores Mejor Actor Richard Jenkins en “The Visitor” (Overture Films) Frank Langella en “Frost/Nixon” (Universal) Sean Penn en “Milk” (Focus Features) Brad Pitt en "El Curioso Caso de Benjamin Button" (“The Curious Case of Benjamin Button”) (Paramount y Warner Bros.) Mickey Rourke en "El Luchador" (“The Wrestler”) (Fox Searchlight) Mejor Actor de Reparto Josh Brolin en “Milk” (Focus Features) Robert Downey Jr. en "Una Guerra de Película" (“Tropic Thunder”) (DreamWorks, Distribuida por DreamWorks/Paramount) Philip Seymour Hoffman en "La Duda" (“Doubt”) (Miramax) Heath Ledger en "Batman: El Caballero de la Noche" (“The Dark Knight”) (Warner Bros.) Michael Shannon en "Sólo un Sueño" (“Revolutionary Road”) (DreamWorks, Distribuida por Paramount Vantage) Mejor Actriz Anne Hathaway en "La Boda de Rachel" (“Rachel Getting Married”) (Sony Pictures Classics) Angelina Jolie en "El Sustituto" (“Changeling”) (Universal) Melissa Leo en “Frozen River” (Sony Pictures Classics) Meryl Streep en "La Duda" (“Doubt”) (Miramax) Kate Winslet en "El Lector" (“The Reader”) (The Weinstein Company) Mejor Actriz de Reparto Amy Adams en "La Duda" (“Doubt”) (Miramax) Penélope Cruz en “Vicky Cristina Barcelona” (The Weinstein Company) Viola Davis en "La Duda" (“Doubt”) (Miramax) Taraji P. Henson en "El Curioso Caso de Benjamin Button" (“The Curious Case of Benjamin Button”) (Paramount y Warner Bros.) Marisa Tomei en "El Luchador" (“The Wrestler”) (Fox Searchlight) Mejor Película Animada “Bolt” (Walt Disney), Chris Williams and Byron Howard “Kung Fu Panda” (DreamWorks Animation, Distribuida por Paramount), John Stevenson y Mark Osborne “WALL-E” (Walt Disney), Andrew Stanton Mejor Dirección de Arte “El Sustituto” (“Changeling”) (Universal), Dirección de Arte: James J. -
Cineeco2008 XIV Festival Internacional De Cinema E Vídeo De Ambiente Serra Da Estrela Seia Portugal
cineeco2008 XIV festival internacional de cinema e vídeo de ambiente serra da estrela seia_portugal PRÉMIO NACIONAL DO AMBIENTE 2006 atribuido pela Confederação Portuguesa de Associações de Defesa do Ambiente membro fundador da ASSOCIAÇÃO DE FESTIVAIS DE CINEMA DE MEIO AMBIENTE (EFFN - ENVIRONMENTAL FILM FESTIVAL NETWORK) juntamente com cinemambiente . environmental film festival . turim . itália festival internacional del medi ambient sant feliu de guíxols . barcelona . espanha ecocinema . festival internacional de cinema ambiental . grécia parceiro dos festival internacional de cinema e vídeo ambiental goiás . brasil festival internacional de cinema do ambiente washington . eua vizionária . international video festival . siena . itália wild and scenic environmental film festival . nevada city . eua em formação plataforma atlântica de festivais de ambiente de colaboração com festival internacional de cinema e vídeo ambiental goiás . brasil festival internacional de cinema e vídeo ambiental do mindelo . cabo verde extensões do cineeco centro das artes . casa das mudas . calheta . madeira dep. ambiente da câmara municipal de lisboa sec. regional do ambiente . ponta delgada . horta . praia da vitória . açores inatel . albufeira . vidigueira. quarteira . beja teatro aveirense . mercado negro . cine clube . aveiro biblioteca municipal . braga centro de ciência viva . bio blitz . semana de cultura cientifica . tavira quinzena do comércio justo . Almada fnac . porto teatro cine . torres vedras Edição: CineEco Título: Programa do CineEco’2008