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Bullet Time As Microgenre Author(S): Bob Rehak Source: Film Criticism, Vol
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Works The Migration of Forms: Bullet Time as Microgenre Author(s): Bob Rehak Source: Film Criticism, Vol. 32, No. 1, Special Issue on Digital Visual Effects and Popular Cinema (Fall, 2007), pp. 26-48 Published by: Allegheny College Stable URL: https://www.jstor.org/stable/24777382 Accessed: 08-05-2019 16:36 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Allegheny College is collaborating with JSTOR to digitize, preserve and extend access to Film Criticism This content downloaded from 130.58.107.157 on Wed, 08 May 2019 16:36:11 UTC All use subject to https://about.jstor.org/terms The Migration of Forms: Bullet Time as Microgenre Bob Rehak Only minutes into The Matrix (Lany and Andy Wachowski, 1999), the movie unveils its money shot, as though aware the audience is impatient for it. Trinity (Carrie-Anne Moss), clad in skintight black leather, punctuates a brief, violent hotel room fight by spreading her arms, rising into the air, and lashing out in a kick that sends one of her policeman attackers flying. She moves with an impossible fluid weightlessness, as does the camera, which revolves around her while the hapless cops remain frozen. -
John Gaeta and "The Matrix" by Debra Kaufman for Vfxpro Apr 01 1999 08:11:22:000AM
John Gaeta and "The Matrix" by Debra Kaufman for VFXPro Apr 01 1999 08:11:22:000AM ------------------------------------------------------------------------ John Gaeta was the visual effects supervisor on the Warner Bros. film, "The Matrix," directed by Andy and Larry Wachowski ("Bound"). Gaeta, who is one of the two visual effects directors at Manex Entertainment (MVFX), is a graduate of the NYU Film School, and got his start in the industry working as a production assistant on "Saturday Night Live" in the film unit that created commercial parodies. His first jobs in visual effects were learning stop-motion animation for commercials at Peter Wallach Productions. That's where he got his first glimpse of feature film effects when he was chief lighting technician for Wallach's miniature work on "Star Trek V." At Doug Trumbull's Berkshire Motion Picture in Massachusetts, Gaeta was camera operator on the "Back to the Future" theme park ride and assistant visual effects supervisor on the "Luxor" project. Joining Mass.Illusion (now Manex), Gaeta worked as the facility's associate visual effects supervisor on "Judge Dredd," one of the two visual effects supervisors on "Eraser" and Manex's visual effects supervisor on "Starship Troopers." "The Matrix" is his first solo outing as a visual effects supervisor. ------------------------------------------------------------------------ When did Manex get involved with "The Matrix?" The job was awarded in November 1997 just as Mass Illusions (M.I) was at its twilight. M.I then expired and morphed into Manex VFX which moved the core talent and technology west to San Francisco. Our CGI department, which eventually ramped up to 65 digital artists, began on the first day the job was awarded. -
Student Academy Awards, Nicholl Fellowships
ACADEMY OFFICERS 1999-2000 President Robert Rehme First Vice President Alan Bergman Vice President Sid Ganis Vice President Kathy Bates Treasurer Donn Cam bern Secretary Donald C. Rogers Executive Director Bruce Davis Oscar<', Oscars Academy Awards". Academy AWQrd A.M.PAS.«> and OeW!" ~'91 t are the trademarks and the Oscar statuet/e IS Ihe regiStered design marK and copyrighled propArty of the Academy of Motion Picture Arts and Sciences. Dear Academy Member Some years are more susceptible than others to characterization with a glib phrase. For some, for example, this will be "The Year the Oscars were Stolen." Those of us who were involved, of course, will always remember that week, and we'll probably even refer to the year that way. But the 12 months were too filled with expanded programs, new programs and planned programs for that one event to characterize it. It truly was a transitional year. The switch from the 1900s to the 2000s, which fell midway in our fiscal accounting, is an excellent metaphor for this Academy year, firmly grounded in a tradition of excellence but looking forward to a blossoming future. We began to see the effects of our improved financial position. We tripled the funding of our grants program, announced the creation of an Academy Film Scholars competition and launched the first of what will be an ongoing series of membership forums. Membership committees worked diligently throughout the year on questions of awards categori es and branch makeup, while the staff searched for physical space into which some of the expanded and new programs can move. -
The Text and Its Additions, Additions and Text – from Entertainment Supersystem to Cultural Universe Konrad Dominas
26 fall 2016 The Text And Its Additions, Additions And Text – From Entertainment Supersystem To Cultural Universe Konrad Dominas A literary text seems in contemporary culture to be endlessly mediated by new media, as well as popular literature and pop culture. These spaces change the tone of relations between a text and its environment, creating a new perspective on the question of what constitutes an addi- tion to the text and what function it performs. As a result of these changes, a peculiar system of varied elements– literature, film, animation, internet services, social media, comics, etc. – has arisen, whose signature factor is the gradual effacement of borders between its constitu- ent parts. The text is ceasing to be a point of reference in this system and is instead becoming, for example, an addition to a film or to a sequence of computerized animation. Describing such relationships is not only a difficult task, but also a risky one. The most impor- tant problem we face in tackling it is the interdisciplinary nature of the phenomenon and the lack of a suitable methodology. Furthermore, representatives of various scholarly disciplines have attempted to develop a theory connecting literary texts, new media and popular culture and to endow them with a uniform character using various research tools. A typical feature of such theoretical endeavours is a certain kind of unification based on a terminology developed in order to cover the entire, complicated problem in its range. We thus have Marsha Kinder, who in her 1991 book Playing with Power in Movies, Television, and Video Games. -
Case Study: Metro Screen
Sydney International Film School Sydney International Film School is an independent film school which aims to train exceptionally skilled and talented individuals for careers in the global film industry. The two year intensive training course teaches through a hands-on creative process that emulates worldwide industry practice. Students are encouraged to produce up to 8 films during their two year study, as well as collaborating with other students on their work. The school provides equipment, software and sophisticated production facilities. "ASED IN 2OSEBERY IN CENTRAL 3YDNEY THE )NTERNATIONAL &ILM 3CHOOL 3YDNEY IS A 2EGISTERED 4RAINING /RGANISATION PROVIDING training and assessment services in filmmaking, 86H:HIJ9N/B:IGDH8G::C Metro Screen has over 27 years’ experience in the screen industry, serving the professional and production development needs of screen practitioners in NSW across film, television, online and portable media. Metro Screen’s primary focus is on screen skills development and the production of quality screen works. Each year Metro Screen supports the production of over 140 screen works across all genres. In 2009 Metro Screen productions won both Tropfest and Trop Jr 1st prize awards, with many of the short film works going on to screen and win awards at numerous national and international festivals. Metro Screen, located in the Paddington Town Hall, attracts a wide range of people passionate about film, from school children who participate in short school holiday programs to seasoned professionals who need to learn advanced techniques on the latest software. Metro Screen’s program includes a regular series of professional development seminars on areas like pitching, marketing & distribution, speed networking, career advice and copyright & legal matters. -
Proquest Dissertations
Licensed to shill: How video and computer games tarnished the silver screen Item Type text; Dissertation-Reproduction (electronic) Authors Ruggill, Judd E. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 07:23:18 Link to Item http://hdl.handle.net/10150/280772 LICENSED TO SHILL: HOW VIDEO AND COMPUTER GAMES TARNISHED THE SILVER SCREEN by Judd Ethan Ruggill Copyright © Judd Ethan Ruggill 2005 A Dissertation Submitted to the Faculty of the GRADUATE INTERDISCIPLINARY PROGRAM IN COMPARATIVE CULTURAL AND LITERARY STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN MEDIA ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2 00 5 UMI Number: 3158216 Copyright 2005 by Ruggill, Judd Ethan All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3158216 Copyright 2005 by ProQuest Information and Learning Company. All rights reserved. -
PLAYING the WAVES JAN SIMONS Critics Praised the Directors’ Low Budgets and Team Work, and Film Fans Appreciated the Bold Look at Contemporary FILM FILM Life
Dogma 95 has been hailed as the European renewal of independent and innovative film-making, in the tradition of Italian neo-realism and the French nouvelle vague. SIMONS JAN THE WAVES PLAYING Critics praised the directors’ low budgets and team work, and film fans appreciated the bold look at contemporary FILM FILM life. Lars von Trier – the movement’s founder and guiding spirit – however, also pursued another agenda. His CULTURE CULTURE approach to filmmaking takes cinema well beyond the IN TRANSITION IN TRANSITION traditional confines of film aesthetics and radically trans- poses the practice of film making and film itself right into what has become the paramount genre of new media: games and gaming. Dogma 95, this book argues, is not an exceptional phase in Von Trier’s career – as it was for PLAYINGPLAYING his co-founders – but the most explicit formulation of a cinematic games aesthetics that has guided the concep- tion and production of all of his films. Even the launching of Dogma 95 and the infamous THETHE WAVESWAVES Dogma Manifesto were conceived as a game, and ever since Von Trier has redefined the practice of film making as a rule bound activity, bringing forms and structures of games to bear on his films, and draw- ing some surprising lessons from economic and evolutionary game theory. This groundbreaking study argues that Von Trier’s films can be better understood from the per- spective of games studies and game theory than from the point of view of traditional film theory and film aesthetics. Jan Simons is Associate Professor of New Media Studies at the University of Amsterdam. -
You've Seen the Movie, Now Play The
“YOU’VE SEEN THE MOVIE, NOW PLAY THE VIDEO GAME”: RECODING THE CINEMATIC IN DIGITAL MEDIA AND VIRTUAL CULTURE Stefan Hall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2011 Committee: Ronald Shields, Advisor Margaret M. Yacobucci Graduate Faculty Representative Donald Callen Lisa Alexander © 2011 Stefan Hall All Rights Reserved iii ABSTRACT Ronald Shields, Advisor Although seen as an emergent area of study, the history of video games shows that the medium has had a longevity that speaks to its status as a major cultural force, not only within American society but also globally. Much of video game production has been influenced by cinema, and perhaps nowhere is this seen more directly than in the topic of games based on movies. Functioning as franchise expansion, spaces for play, and story development, film-to-game translations have been a significant component of video game titles since the early days of the medium. As the technological possibilities of hardware development continued in both the film and video game industries, issues of media convergence and divergence between film and video games have grown in importance. This dissertation looks at the ways that this connection was established and has changed by looking at the relationship between film and video games in terms of economics, aesthetics, and narrative. Beginning in the 1970s, or roughly at the time of the second generation of home gaming consoles, and continuing to the release of the most recent consoles in 2005, it traces major areas of intersection between films and video games by identifying key titles and companies to consider both how and why the prevalence of video games has happened and continues to grow in power. -
Bibliography
Bibliography Albrecht, Thomas D. and Helen J. Neville. 2001. ‘Neurosciences’. In The MIT Encyclopedia of The Cognitive Sciences, eds Robert Wilson and Frank Keil, li–lxxii. Cambridge, MA: MIT Press. Allmendinger, Ulli. 2001. ‘One small hop for Alba, one large hop for mankind’. Eduardo Kac’s website (Originally published in New York Arts Magazine 6, no. 6, June 2001) http://www.ekac.org/ulli.html, accessed 20 August 2005. Althusser, Louis. 1971. ‘Ideology and Ideological State Apparatuses’. In Lenin and Philosophy and Other Essays, trans. Ben Brewster, 136–70. New York: Monthly Review Press. Andrews, Lori B. 1999. ‘Genetic Predictions and Social Responses’. In Ars Electronica 99: Life Sciences, eds Gerfried Stocker and Christine Schopf, pp. 86–92. New York: Springer Wein. Auslander, Philip. 2006. ‘An Afterword: Is There Life after Liveness?’ In Performance and Technology: Practices of Virtual Embodiment and Interactivity, eds Susan Broadhurst and Josephine Machon, 292–9. London: Palgrave Macmillan. Ballora, Mark. 2004. ‘Get with the Interation’. Electronic Musician (Feb 1) http://emusician.com/mag/square_one/emusic_interaction/index.html, accessed 6 March 6. Batson, Quinn. 2004. ‘Seamless Surfaces’. Offoffoff Dance. http://www.offoffoff.com/ dance/2004/surfacing.php, accessed 20 May 2005. Baudrillard, Jean.1983. Simulations. Trans. Paul Foss and Paul Patton. New York: Semiotext(e). ———. 1988. ‘Fatal Strategies’. In Jean Baudrillard: Selected Writings, ed. Mark Poster, 185–206. California: Stanford University Press. ———. 1990. Cool Memories. Trans. Chris Turner. London: Verso. ———. 1994. Simulacra and Simulation. Trans. Sheila Glaser. Ann Arbor, MI: University of Michigan Press. ———. 2004. ‘The Matrix Decoded: Le Nouvel Observateru Interview with Jean Baudrillard’. Trans. -
LIFF 2016 Catalogue
Leeds International Film Festival NOV 3 - 17, 2016 INTRODUCTION INTRODUCTION LIFF is as much about exploring the city of Leeds as about discovering films from around the world. For our 30th anniversary year, Leeds International Film Festival we’re presenting over 300 events in a record 30 venues citywide, taking the LIFF experience into cinemas, music halls, churches, community venues, pubs, bars, clubs, museums, colleges, Millennium Square, Kirkgate Market, Leeds Station, and even onto boats. In partnership with Bruntwood, we’ve also commissioned a virtual reality short starring the city itself: Welcome to Leeds, a City in Bloom NOV 3 - 17, 2016 takes you on a 360° tour of new and historic sites in the company of poetry from Leeds Young Authors. We’ve collaborated with so many more organisations and individuals based in the city to produce LIFF30, including with Leeds Inspired and four artists on the creation of our anniversary posters that appear on this page. LIFF30 is an epic celebration of Leeds and film, and a huge thank you to everyone who has made it possible. LIFF30 POSTERS CONTENTS commissioned by Leeds Inspired Official Selection 11 Opening & Closing Films 12 Programme 13 Cinema Versa 31 Underground Voices 32 Music on Film 41 Forum 45 Fanomenon 51 Fanathons: Day of the Dead, Night of the Dead, Animation Day 52 Fanorama 58 Mountain Film 67 Retros 67 Fanomenon Short FIlms: Dark Owl International Fantasy 70 Short Film Award, Dead Shorts Competition, Future Shock: Sci-Fi Shorts Panorama Retrospectives 75 Andrzej Zulawski 76 Hal -
Master of Dramatic Art by Course Work
MASTER OF DRAMATIC ART BY COURSE WORK RESEARCH REPORT DRAA 504 THE IMPACT OF DIGITAL TECHNOLOGY ON FILM PRODUCTION AND THE CONCEPT OF CINEMA: A CASE STUDY OF THE TERMINATOR TRILOGY SPANNING 1984-2003 KAREN SARAH BOTHA STUDENT NO. 0413875G UNIVERSITY OF THE WITWATERSRAND JOHANNESBURG 2008 II ABSTRACT Using the Terminator trilogy as a case study (spanning the period 1984 to 2004), this thesis will analyse the impact of digital technologies on live-action film production. The focus will be on the changing production techniques in the three films and the progressive implementation of increasingly powerful digital effects. This paper will endeavour to show that, as a consequence of these changes, the concept of cinema should be reconsidered. Cinema in this new digital form should be redefined as: “a particular case of animation that uses live action footage as one of its many elements” (Manovich). III DECLARATION I declare that this research report is my own unaided work. It is submitted towards the degree of Master of Dramatic Art by Course Work in the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination. KAREN BOTHA_________________________________________________ ON THIS THE ___________ DAY OF____________________________2008. IV ACKNOWLEDGEMENTS I would like to start by thanking Christo Doherty, my supervisor, for his ongoing guidance and encouragement throughout the production of this paper. To my parents and siblings, who love unconditionally and support selflessly, I love you and could not have come so far without you. To Steven, thank you for everything you had to endure while I was completing my studies. -
The Core Skills of Vfx Student Primer 25 Gems of Vfx Advice from the Industry Itself
WELCOME TO THE CORE SKILLS OF VFX STUDENT PRIMER 25 GEMS OF VFX ADVICE FROM THE INDUSTRY ITSELF What’s the Primer for? In our conversations with the brightest and best of Whilst there’s an abundance of information available the VFX industry, we found whatever aspect of VFX nowadays about visual effects, from online video clips skills were being discussed, a series of common core to websites and books, our advisors told us there’s skills and attitudes that every new entrant should be precious little that helps prepare learners for a career armed with always popped up. So we gathered these in the industry, or gives an insight into how you might together into this VFX Core Skills Student Primer. be able to fit into the culture of professional VFX. Our VFX industry advisors wanted to give you the At first the Primer might seem daunting – 25 gems best head start to get into the VFX industry. of advice from top experts – but these aren’t a series of demands or prescriptions, they are helpful tips to You can see the Primer as a companion to your the work culture of VFX from people who remember studies, whatever they might be. Our advisors how hard it was to get guidance when they started. wanted this to be a helpful dose of reality, but Internalise, live and breathe these guides to ensure a also to inspire and encourage you. rewarding career in VFX. Taking the time to read this will repay you many times over in the years ahead.