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Transatlantica, 1 | 2018 Le Regard Impossible 2
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2018 Slavery on Screen / American Women Writers Abroad: 1849-1976 Le regard impossible Réflexions sur les présupposés et les mécanismes idéologiques des images de synthèse photoréalistes dans le blockbuster hollywoodien contemporain Mathias Kusnierz Édition électronique URL : http://journals.openedition.org/transatlantica/11812 DOI : 10.4000/transatlantica.11812 ISSN : 1765-2766 Éditeur AFEA Référence électronique Mathias Kusnierz, « Le regard impossible », Transatlantica [En ligne], 1 | 2018, mis en ligne le 01 septembre 2019, consulté le 29 avril 2021. URL : http://journals.openedition.org/transatlantica/11812 ; DOI : https://doi.org/10.4000/transatlantica.11812 Ce document a été généré automatiquement le 29 avril 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Le regard impossible 1 Le regard impossible Réflexions sur les présupposés et les mécanismes idéologiques des images de synthèse photoréalistes dans le blockbuster hollywoodien contemporain Mathias Kusnierz 1 Dans son livre de 1966 intitulé Special Effects in Motion Pictures, Frank P. Clark expose, à destination des techniciens d’Hollywood, les différentes manières d’élaborer les effets spéciaux d’un film. Son inventaire s’étend du trucage le plus simple – un écran de fumée, par exemple (40-43) – aux effets spéciaux les plus élaborés, comme l’animation image par image (108-109) ou la construction de maquettes animées complexes (89, 146, 152). Le livre de Clark se veut un exposé technique, sans parti pris, et appuyé sur une solide connaissance pratique du métier de concepteur d’effets spéciaux. -
Discourse, Gender, and the Orient in Zack Snyder's
“THIS IS SPARTA!” DISCOURSE, GENDER, AND THE ORIENT IN ZACK SNYDER’S 300 Jeroen Lauwers, Marieke Dhont and Xanne Huybrecht Zack Snyder’s 2006 film 300, which is based on Frank Miller’s 1998 graphic novel,1 tells the heroic story of the Spartan king Leonidas and his three hundred men. Because Leonidas is forbidden by the oracle and her priests from leading the Spartan army against the mighty Persian god-king Xerxes, he decides to head north himself with a “personal bodyguard” of three hundred of his finest men. This relatively small number of soldiers, joined by an auxiliary Arcadian force, holds the countless number of Persian soldiers back for no fewer than three days. Meanwhile in Sparta, Queen Gorgo works to have the Spartans send additional men to Thermopylae to rescue her husband and his Three Hundred, but her efforts are thwarted by the treason of the politician Theron.2 Ever since the movie’s release, critical and popular opinions have advanced many different perspectives. A rather large number of people have found diverse reasons for considering 300 offensive. One aspect of this critique revolves around its so-called homophobia,3 for example, in the scene in which Leonidas arrogantly calls the Athenians “those phi- losophers and boy-lovers.” Others vituperate the movie for its supposed fascist ideals, pointing out uncanny parallels between the Spartan society and the “Third Reich”: the extreme nationalism, the mutual equality of the Spartiates and their superiority to the helots, the (primitive) genetic selec- tion, and considering women as breeding machines for an ideal fighting 1 The movie quite strictly follows the design and the perspective of the graphic novel. -
PGIP Programme in Detail Rev 3 20
!1 of !6 Giles Foreman Centre" for Acting A LEADING PROFESSIONAL ACTING STUDIO, "BASED IN THE HEART OF SOHO " " " ACTOR TRAINING | FILM & TV PRODUCTION | CORPORATE" COMMUNICATION LONDON | NEW" YORK | PARIS "" What" makes the GFCA 16-month advanced Professional Intensive " Acting/Acting-Directing Programme unique? Our Advanced course is equivalent in level to Post Graduate study. However, the training is designed for those creative individuals - from any background - who have the capacity, ability and motivation to enter the Industry. The programme involves 30+ hours of intensive classes and rehearsal exercises per week, taught by top- level specialist coaches, each with extensive professional experience. There are in-house showings throughout the course, and plays are presented to the public and Industry during the final two terms. During the final term, as well as advanced-level classes, students may join the Spotlight Casting Graduate scheme; scenes are filmed for showreel, there are Industry events, and a range of further performance opportunities. These continue after the conclusion of the formal training. We take only a single cohort of Intensive-Route acting students each year, to provide a focussed training designed to bring out individual strengths, and we welcome applications from people from a wide variety of previous backgrounds and experience. The programme is tailored towards the unique mix of talent drawn to our centrally-located Studio from across the UK, Europe and beyond. We have excellent links with UK and European Casting Directors, as well as a base in New York, and ofer many opportunities to showcase talent to European casting directors, largely due to the strong connections formed by our Director, Giles Foreman and his extensive work as a film acting-coach. -
Filozofická Fakulta Univerzity Palackého V Olomouci
FILOZOFICKÁ FAKULTA UNIVERZITY PALACKÉHO V OLOMOUCI KATEDRA SLAVISTIKY RUSKÁ KLASICKÁ LITERATURA OČIMA ZAHRANIČNÍCH FILMAŘŮ (NA PŘÍKLADU ROMÁNU A. S. PUŠKINA „EVŽEN ONĚGIN“ A FILMU „ONĚGIN“) CLASSIC RUSSIAN LITERATURE THROUGH THE EYES OF FOREIGN FILM PRODUCERS (FOR EXAMPLE: NOVEL OF A. S. PUSKIN „EUGENE ONEGIN“ AND THE MOVIE „ONEGIN“) Bakalářská práce Vypracovala: Dita Marešová Vedoucí práce: Mgr. Jekatěrina Mikešová, Ph.D. OLOMOUC 2014 Prohlašuji, že jsem práci vypracovala samostatně a uvedla všechny použité prameny. V Olomouci, 10. 4. 2013 Dita Marešová Poděkování Děkuji Mgr. Jekatěrině Mikešové, Ph.D. za konzultace, rady a připomínky, které mi během psaní bakalářské práce poskytla. Obsah ÚVOD ................................................................................................................................. 5 1. FILM A ROMÁN ........................................................................................................ 7 1.1. JAZYK FILMU.................................................................................................... 8 1.1.1. JAZYK FILMU ONĚGIN ................................................................................ 9 1.1.2. VÝZNAM FILMU ONĚGIN ........................................................................... 9 2. O FILMU ONĚGIN (1999) ....................................................................................... 11 2.2. FILMOVÁ LOKACE ........................................................................................ 13 2.2.1. EXTERIÉRY A INTERIÉRY ................................................................... -
Copy of Copy of Copy of Streetwear Creative Wide Presentation
"Life's most persistent and urgent question is; what are you doing for others?" -MLK OUR VISION For over a decade, MDC has helped establish rewarding relationships between thousands of individuals, businesses and charities who care deeply about the well-being of others and the community. Through our work (video production, event planning & consulting) we want to share stories that matter, organize events that build bridges, highlight extraordinary individuals, create simple and effective ways of giving back, and act as professional matchmakers. Our mission has always been to connect the people who want to help with the people who need help the most. From the start, we've witnessed heartbreaking scenarios where trauma and hardship causes a child or family to feel isolated and hopeless. Despite what we're taught, time is more precious than gold and we strive to make every day, hour and minute count. The world does not stop when tragedy strikes; but good people can and do. We enlist the help of caregivers across every business sector around the globe and rely on them to help us create special moments in time that bring hope and joy to those suffering through hardship. We've created an Active Response Team; an unofficial team of do-gooders who are willing to step up to the plate when needed. And just like the word "team" signifies, together everyone achieves more. MDC works by cause, not by client -- and in doing so, it allows us to foster collaboration and look after the interests of all involved. The impact we make by working together is more powerful and far-reaching than most individuals can achieve on their own. -
“Game of Thrones” Season 5 One Line Cast List NO
“Game of Thrones” Season 5 One Line Cast List NO. CHARACTER ARTIST 1 TYRION LANNISTER PETER DINKLAGE 3 CERSEI LANNISTER LENA HEADEY 4 DAENERYS EMILIA CLARKE 5 SER JAIME LANNISTER NIKOLAJ COSTER-WALDAU 6 LITTLEFINGER AIDAN GILLEN 7 JORAH MORMONT IAIN GLEN 8 JON SNOW KIT HARINGTON 10 TYWIN LANNISTER CHARLES DANCE 11 ARYA STARK MAISIE WILLIAMS 13 SANSA STARK SOPHIE TURNER 15 THEON GREYJOY ALFIE ALLEN 16 BRONN JEROME FLYNN 18 VARYS CONLETH HILL 19 SAMWELL JOHN BRADLEY 20 BRIENNE GWENDOLINE CHRISTIE 22 STANNIS BARATHEON STEPHEN DILLANE 23 BARRISTAN SELMY IAN MCELHINNEY 24 MELISANDRE CARICE VAN HOUTEN 25 DAVOS SEAWORTH LIAM CUNNINGHAM 32 PYCELLE JULIAN GLOVER 33 MAESTER AEMON PETER VAUGHAN 36 ROOSE BOLTON MICHAEL McELHATTON 37 GREY WORM JACOB ANDERSON 41 LORAS TYRELL FINN JONES 42 DORAN MARTELL ALEXANDER SIDDIG 43 AREO HOTAH DEOBIA OPAREI 44 TORMUND KRISTOFER HIVJU 45 JAQEN H’GHAR TOM WLASCHIHA 46 ALLISER THORNE OWEN TEALE 47 WAIF FAYE MARSAY 48 DOLOROUS EDD BEN CROMPTON 50 RAMSAY SNOW IWAN RHEON 51 LANCEL LANNISTER EUGENE SIMON 52 MERYN TRANT IAN BEATTIE 53 MANCE RAYDER CIARAN HINDS 54 HIGH SPARROW JONATHAN PRYCE 56 OLENNA TYRELL DIANA RIGG 57 MARGAERY TYRELL NATALIE DORMER 59 QYBURN ANTON LESSER 60 MYRCELLA BARATHEON NELL TIGER FREE 61 TRYSTANE MARTELL TOBY SEBASTIAN 64 MACE TYRELL ROGER ASHTON-GRIFFITHS 65 JANOS SLYNT DOMINIC CARTER 66 SALLADHOR SAAN LUCIAN MSAMATI 67 TOMMEN BARATHEON DEAN-CHARLES CHAPMAN 68 ELLARIA SAND INDIRA VARMA 70 KEVAN LANNISTER IAN GELDER 71 MISSANDEI NATHALIE EMMANUEL 72 SHIREEN BARATHEON KERRY INGRAM 73 SELYSE -
MDC 2018 Newsletter
H A P P Y H O L I D A Y S F R O M M D C To our esteemed colleagues, partners, and friends: Happy Holidays from our family to yours! 2018 was a busy year as we strived to break new ground, establIisNh n TewH paIrStn eIrSshSipUs aEnd continue to create unique and exciting opportunities for businesses and individuals who want to make a positive difference. It's impossible to see the suffering of so many people and do nothing; which is why we created this platform to give them a voiSceT.U ADsI Oa mSoNtEheArK t oP aE EyoKuSng daughter, I know if I ever found myself in any of these heartbreaking circumstances I'd be praying someone out there would care enough to fight for me because I'd be too busy fighting to save my child. This is why I've built this company; to foster a sCtrEoLngEeBrR sIeTnYs e of community and provide trustworthy direction and resources for those who wRanEtS toP OheNlpD.E TRhSe re are many ways to give back...whether it's donating time, money or your voice in support of those in need. We lost many precious young friends this year and during those RtiEmSePs OI'mN DeEaRsiSly IoNv erwhelmed, but then someone steps in with a random act of kindness and I'mA CbTacIOk Nto feeling hopeful and optimistic. It's so important to bring moments of lightness in times of darkness or heaviness. While these happy times won't cure anyone physically, they can bring mental and emotional healing and serve as a much-needed reminder to others that theVy'IrDe EnOot CalAoMneP iAnI tGhNeiSr battles. -
2824 Amphora Fall 05
® A publication of the American Philological Association Vol. 4 • Issue 2 • Fall 2005 WHAT’S NEW AT POMPEII Book Review: AREIOS POTER kai he tou AND HERCULANEUM? philosophou lithos RESEARCH, EXCAVATION, EXHIBITIONS, by Diane L. Johnson AND BOOKS Andrew Wilson, trans. AREIOS POTER kai by Ann Olga Koloski-Ostrow he tou philosophou lithos. The ancient Greek edition of J. K. Rowling’s Harry he volcanic eruption of Mount Potter and the Philosopher’s Stone. Blooms- Vesuvius (see Fig. 1) in A.D. 79 T bury Publishing (http://www.bloomsbury. affected the psyche of the Romans for a long time after the event, com), 2004. Pp. 250. Hardcover $21.95. and the memory of the explosion with ISBN 1-58234-826-x. its large loss of life was perpetuated by a variety of imperial and later Roman fter the much-anticipated release of writers. Martial, Valerius Flaccus, Silius Italicus, Tacitus, Pliny the Younger Athe sixth book in the Harry Potter (whose two famous letters to Tacitus series this past summer and the release of have helped us understand the pyroclas- the fourth film, Harry Potter and the Goblet tics – the nature of the volcanic rock of Fire, in November, few people these ejections of the eruption), Suetonius, days are unacquainted with the Harry Pot- Cassius Dio, Marcus Aurelius, Florus, ter phenomenon. Readers who are both and later Christian writers like Tertul- lian all mentioned the calamity of Vesu- Hellenists and Harry Potter enthusiasts will, Fig. 1. View of Mount Vesuvius from vius in various contexts in their works. of course, need no encouragement to Naples harbor, August 2005. -
Actores Transnacionales: Un Estudio En Cinema Internacional
Illinois Wesleyan University Digital Commons @ IWU Honors Projects Hispanic Studies 2016 Actores transnacionales: un estudio en cinema internacional Lydia Hartlaub Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/hispstu_honproj Part of the Spanish Literature Commons Recommended Citation Hartlaub, Lydia, "Actores transnacionales: un estudio en cinema internacional" (2016). Honors Projects. 11. https://digitalcommons.iwu.edu/hispstu_honproj/11 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty in the Hispanic Studies department at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Hartlaub 1 Actores transnacionales: un estudio en cinema internacional Lydia Hartlaub con Prof. Carmela Ferradáns Hartlaub 2 Tabla de contenidos Introducción…………………………………………………………………………………………………………………………….. 4 Cine de España…………………………………………………………………………………………………………………………. 8 Pedro Almodóvar…………………………………………………………………………………………………………. -
DRAWING COSTUMES, PORTRAYING CHARACTERS Costume Sketches and Costume Concept Art in the Filmmaking Process
Laura Malinen 2017 DRAWING COSTUMES, PORTRAYING CHARACTERS Costume sketches and costume concept art in the filmmaking process MA thesis Aalto University School of Arts, Design and Architecture Department of Film, Television and Scenography Master’s Degree Programme in Design for Theatre, Film and Television Major in Costume Design 30 credits Acknowledgements I would like to thank my supervisors Sofia Pantouvaki and Satu Kyösola for the invaluable help I got for this thesis. I would also like to thank Nick Keller, Anna Vilppunen and Merja Väisänen, for sharing their professional expertise with me. Author Laura Malinen Title of thesis Drawing Costumes, Portraying Characters – Costume sketches and costume concept art in the filmmaking process Department Department of Film, Television and Scenography Degree programme Master’s Degree Programme in Design for Theatre, Film and Television. Major in Costume Design Year 2017 Number of pages 85 Language English Abstract This thesis investigates the various types of drawing used in the process of costume design for film, focusing on costume sketches and costume concept art. The research question for this thesis is ‘how and why are costume sketches and costume concept art used when designing costumes for film?’ The terms ‘costume concept art’ and ‘costume sketch’ have largely been used interchangeably. My hypothesis is that even though costume sketch and costume concept art have similarities in the ways of usage and meaning, they are, in fact, two separate, albeit interlinked and complementary terms as well as two separate types of professional expertise. The focus of this thesis is on large-scale film productions, since they provide the most valuable information regarding costume sketches and costume concept art. -
Restaruants Culture and Entertainment
Cormac McCarthy and the Texas The 2017 Literary Tradition The Keynote Talk by Cormac Don Graham Cormac McCarthy Don Graham, Professor of English at the University of Texas at Austin, is McCarthy an authority on Texas literature and culture. His books include Cowboys and Cadillacs: How Hollywood Looks at Texas (1983), No Name on the Bullet: A Biogra- Journal Society phy of Audie Murphy (1989); Giant Country: Essays on Texas; Lone Star Literature: A Texas Anthology (2003); Kings of Texas: The 150-Year Saga of an American Ranching Empire (2004), which won the T.I.L. Carr P. Collins Prize for Best Nonfiction Book; stacey peebles, editor Conference and State of Minds: Texas Culture and Its Discontents (2011). He has published often in Texas Monthly and has won numerous teaching awards, including The Cormac McCarthy Journal Alcalde’s Top Ten Professors Ever Award in 2014. He has been teaching UT’s famous is a peer-reviewed journal course on “Life and Literature of the Southwest” for decades. His newest book is ISSN 2333-3073 | E-ISSN 2333-3065 Giant: Elizabeth Taylor, Rock Hudson, James Dean, Edna Ferber and the Making of a focusing on the works and Biannual | Available in print or online Legendary American Film. It will be published by St. Martin’s Press in Spring 2018. influence of Cormac McCarthy. The journal publishes articles, Individuals (2018 prices) 1 Year (2 issues): $49 (print or online) notes, and reviews related to 1 Year (2 issues): $70 (print and online) Cormac McCarthy’s novels, Here’s what folks in-the-know know.. -
Pescucci: Vi Svelo La Mia Filosofia Il Premio Oscar Ripercorre La Sua Carriera E Le Passioni Nascoste Di Valentina Grazzini
TEATRO E MODA Pescucci: vi svelo la mia filosofia Il premio Oscar ripercorre la sua carriera e le passioni nascoste di Valentina Grazzini “La cosa più faticosa è che c’è sempre meno tempo: non è sufficiente avere un buon budget se non si ha il tempo per realizzare un progetto come si deve. Ormai il tempo è considerato come fosse denaro... in passato per fare un film c’erano tre mesi di preparazione, oggi quando si parte già si deve pensare alla fine...”. Di tempo, Gabriella Pescucci, ne ha passato tanto a disegnare, disegnare costumi. Costumi per il teatro di prosa, la lirica, la televisione e naturalmente il cinema. Grazie a quest’ultimo si è aggiudicata nel 1994 il premio Oscar. Un Oscar fatto di corpetti e cuffiette che incorniciavano corpo e volto di Michelle Pfeiffer ne L’età dell’innocenza di Martin Scorsese. I nomi con cui ha lavorato la costumista toscana sono da vertigine: Sergio Leone, Terry Gilliam, Ettore Scola, fino a Federico Fellini, col quale il suo stile abbandonò per sempre la prevedibilità. Ed ancora il teatro, con Visconti, Ronconi, Patroni Griffi. Semplice, spontanea e pure simpatica, questa titolata signora dei costumi (oltre all’Oscar vinto ci sono anche due candidature, a cui si aggiungono quattro Nastri d’argento e due David di Donatello), non si è mai montata la testa. Lavora, viaggia, è presente ai cambiamenti della sua professione e del mondo con l’intelligenza illuminata di chi non sta a guardare. Ci chiama da L’Italia degli Oscar Dublino, puntuale e di buon umore.