The Blood Diamond
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Blood Diamond 2006
Blood Diamond 2006 To an extent, Blood Diamond is a victim of its own length. While the film includes a number of disturbing political and sociological insights, the adventure story is tepid and loses momentum as the storyline bogs down. The main character, played by Leonardo DiCaprio, has an effective arc that is believable because it does not force him to act contrary to his nature, but it takes a long time for Blood Diamond to get us to DiCaprio's moment of recognition. Pacing issues aside, this is a well constructed movie - clearly the product of a director who understands how to make a top- notch motion picture. It looks great and sounds great. If only Edward Zwick's mastery of the medium had extended to pruning the screenplay and editing the final result, Blood Diamond might have been a tremendous film rather than one worthy of only a lukewarm recommendation. The story takes place in 1999 Sierra Leone, when the country is embroiled in a civil war. In this struggle, it's hard to determine which side is worse: the government or the rebels. As is often the case in this sort of bloodbath, atrocities abound and it's the innocent farmers and villagers caught in between who pay the price. Diamonds, one of the country's largest exportable commodities, are being smuggled out and purchased on the open market despite a supposed international ban on the purchase of so-called "conflict diamonds" or "blood diamonds." This historical background (which is more complicated as presented in the movie) is accurate, although the three primary characters embroiled in events are fictional. -
The End of the Loudness War?
The End Of The Loudness War? By Hugh Robjohns As the nails are being hammered firmly into the coffin of competitive loudness processing, we consider the implications for those who make, mix and master music. In a surprising announcement made at last Autumn's AES convention in New York, the well-known American mastering engineer Bob Katz declared in a press release that "The loudness wars are over.” That's quite a provocative statement — but while the reality is probably not quite as straightforward as Katz would have us believe (especially outside the USA), there are good grounds to think he may be proved right over the next few years. In essence, the idea is that if all music is played back at the same perceived volume, there's no longer an incentive for mix or mastering engineers to compete in these 'loudness wars'. Katz's declaration of victory is rooted in the recent adoption by the audio and broadcast industries of a new standard measure of loudness and, more recently still, the inclusion of automatic loudness-normalisation facilities in both broadcast and consumer playback systems. In this article, I'll explain what the new standards entail, and explore what the practical implications of all this will be for the way artists, mixing and mastering engineers — from bedroom producers publishing their tracks online to full-time music-industry and broadcast professionals — create and shape music in the years to come. Some new technologies are involved and some new terminology too, so I'll also explore those elements, as well as suggesting ways of moving forward in the brave new world of loudness normalisation. -
Blood Diamond
Blood Diamond Synopsis This story is about an ex-mercenary turned smuggler Danny Archer (Leonard DiCaprio) and a Mende fisherman Soloman Vandy (Djimon Hounsou). Amid the explosive civil war overtaking 1999 Sierra Leone, these men join for two desperate missions: recovering a rare pink diamond of immense value and rescuing the fisherman's son, conscripted as a child soldier into the brutal rebel forces ripping a swath of torture and bloodshed across the alternately beautiful and ravaged countryside. Introduction This resource is aimed at GCSE, AS, A2 and Highers students. The questions and points of discussion raised throughout this resource are connected to the official website for the film. Clip references refer to sequences that can be found on the official website: http://blooddiamondmovie.warnerbros.com/ In addition to the questions and discussion points raised, there is an existing Amnesty Resource (see link at the end of this document) developed to accompany the film and covers in-depth context and tasks. These materials combined touch on topics that teachers may find useful for Film and Media Studies, Citizenship, Politics and Business Studies. www.filmeducation.org 1 ©Film Education 2007. Film Education is not responsible for the content of external sites. Trailer Analysis How is the setting established? Think about the types of shots that are used. The structure of the trailer shows us the credentials of the director. What does this tell us about the film’s potential audience? How important is this to you as a cinemagoer? Does it affect your choice? The trailer is designed to establish a sense of the story for the widest potential audience. -
Making Defiance Where He Built a Trucking Business with His Wife Lilka, (Played in the Film by Alexa Davalos)
24 | Lexington’s Colonial Times Magazine MARCH | APRIL 2009 a book, and a book is not a movie. So it has to be different. I cannot put everything that comes from years of work into two hours.’” “Did you actually talk to Tuvia?” prompted Leon Tec. His wife introduced him to the audience as “The troublemaker, my husband.” After the war Tuvia Bielski moved first to Israel and then to New York, Making Defiance where he built a trucking business with his wife Lilka, (played in the film by Alexa Davalos). Nechama Tec had spoken with him by telephone while researching her book “In the Lion’s Den,” but all attempts to meet in person had been stymied by Lilka Bielski’s excuses. Finally, Tec secured a meeting at the Bielskis’ Brooklyn home in May 1987. She hired a driver for the two-hour drive from Westport, Conn., and was greeted by Lilka, who told her that Tuvia had had a bad night, was very sick, and could not see her as planned. Tec said that she was leaving for Israel the next day on a research trip, and was politely insistent. “I want to get a sense of the man before I go,” she told Lilka. “So we’re going back and forth on the doorstep and she doesn’t let me in, and we hear a voice from the other room, ‘Let her in,’” recalled Tec. Tuvia Bielski, clearly weak and very sick, came out to meet her, dismissed the hovering Lilka, and sat down with Tec and her tape recorder. -
Sunday Edition
day three edition | map and exhibitor listings begin on page 20 day3 From the editors of Pro Sound News & Pro Audio Review sunday edition the AES SERVING THE 131STDA AES CONVENTION • october 20-23, I 2011 jacob k. LY javits convention center new york, ny Analog AES State Tools Still Of Mind By Clive Young While the AES Convention has always attracted audio professionals from Rule On around the country—and increasingly, the world—when the show lands in New York City, it naturally draws more visi- The Floor tors from the East Coast. That, in turn, By Strother Bullins is a benefit for both exhibitors looking Though “in the box” (ITB), fully to reach specific markets that call the digital audio production is increas- Big Apple home, and regional audio ingly the rule rather than the excep- pros who want to take advantage of the tion, the creative professionals show’s proximity. The end result is a attending the Convention are clearly win-win situation for everyone involved. seeking out analog hardware, built Back by popular demand, yesterday the P&E Wing presented a “AES is a good way for us to meet to (and, in many cases, beyond) the second iteration of “Sonic Imprints: Songs That Changed My Life” different types of dealers and custom- now-classic standards of the 1960s, that explored the sounds that have inspired and shaped careers of ers that we don’t normally meet, as we ‘70s and ‘80s, as these types of prod- influencers in the field. The event featured a diverse, New York- have five different product lines and ucts largely populate our exhibition centric, group of panelists including producers/engineers (from left): five different customer groups, so it’s a floor. -
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arcade II Annie Jones Little Miss Sunshine: Thi5. staff writer film's very talented en emble ca t won a SAG award for their col- It's that time of year again - エ ゥ ュ セ for Holly- lectively heartfelt performances. wood hunks and silver screen starlets to squeeze Two of its actors, Alan Arkin and into designer eveningwear and pile into limos to the adorable Abagail Brc lin, arc gather and congratulate them elves yet again at nominated for their supporting the pinnacle of the wards season - the Oscars. roles. Little Miss Sunshine, a semi- ety of characters ranging from Ryan Go ling's tum as Arguably the most important night of the year for comcdy, is the underdog, but an Oscar win would a drug-addicted middle school teacher in HalfNelson the film industry, the Academy Awards has come cement the hopeful message of the movie itself. to Hollywood veteran Peter O'Toole's performance to represent the glamour of movies and provides The Departed: This crime drama set in Boston as an aging actor in Venus. The oft- nubbcd Leonardo us common folk with an oppor- DiCaprio received a nod for his tunity to drool over and dream work in Blood Diamond, but not about our favorite stars, ju t m for The Departed, a wa widely case there wasn't enough celeb- expected. The frontrunner here, rity worship already. This year's however, is Fore. t Whitaker, who ceremony should prove to be an portrays a Ugandan dictator in The especially exciting one, thanks Last King ofScotland. -
Teaching Social Studies Through Film
Teaching Social Studies Through Film Written, Produced, and Directed by John Burkowski Jr. Xose Manuel Alvarino Social Studies Teacher Social Studies Teacher Miami-Dade County Miami-Dade County Academy for Advanced Academics at Hialeah Gardens Middle School Florida International University 11690 NW 92 Ave 11200 SW 8 St. Hialeah Gardens, FL 33018 VH130 Telephone: 305-817-0017 Miami, FL 33199 E-mail: [email protected] Telephone: 305-348-7043 E-mail: [email protected] For information concerning IMPACT II opportunities, Adapter and Disseminator grants, please contact: The Education Fund 305-892-5099, Ext. 18 E-mail: [email protected] Web site: www.educationfund.org - 1 - INTRODUCTION Students are entertained and acquire knowledge through images; Internet, television, and films are examples. Though the printed word is essential in learning, educators have been taking notice of the new visual and oratory stimuli and incorporated them into classroom teaching. The purpose of this idea packet is to further introduce teacher colleagues to this methodology and share a compilation of films which may be easily implemented in secondary social studies instruction. Though this project focuses in grades 6-12 social studies we believe that media should be infused into all K-12 subject areas, from language arts, math, and foreign languages, to science, the arts, physical education, and more. In this day and age, students have become accustomed to acquiring knowledge through mediums such as television and movies. Though books and text are essential in learning, teachers should take notice of the new visual stimuli. Films are familiar in the everyday lives of students. -
Understanding the Loudness Penalty
How To kick into overdrive back then, and by the end of the decade was soon a regular topic of discussion in online mastering forums. There was so much interest in the topic that in 2010 I decided to set up Dynamic Range Day — an online event to further raise awareness of the issue. People loved it, and it got a lot of support from engineers like Bob Ludwig, Steve Lillywhite and Guy Massey plus manufacturers such as SSL, TC Electronic, Bowers & Wilkins and NAD. But it didn’t work. Like the TurnMeUp initiative before it, the event was mostly preaching to the choir, while other engineers felt either unfairly criticised for honing their skills to achieve “loud but good” results, or trapped by their clients’ constant demands to be louder than the next act. The Loudness Unit At the same time though, the world of loudness was changing in three important ways. Firstly, the tireless efforts of Florian Camerer, Thomas Lund, Eelco Grimm and many others helped achieve the official adoption of the Loudness Unit (LU, or LUFS). Loudness standards for TV and radio broadcast were quick to follow, since sudden changes in loudness are the main Understanding the source of complaints from listeners and users. Secondly, online streaming began to gain significant traction. I wrote back in 2009 about Spotify’s decision to include loudness Loudness Penalty normalisation from the beginning, and sometime in 2014 YouTube followed suit, with TIDAL and Deezer soon afterwards. And How to make your mix sound good on Spotify — crucially, people noticed. This is the third IAN SHEPHERD explains the loudness disarmament process important change I mentioned — people were paying attention. -
Time to Rethink the Kimberley Process: the Zimbabwe Case - International Crisis Group
Time to Rethink the Kimberley Process: The Zimbabwe Case - International Crisis Group English Français Regions / Countries Browse by Publication Type Key Issues About Crisis Group Support Crisis Group ••••••• Other emailtwitter alerts Press Sitemap Text only RSS Login facebook Register Regions / Countries Homepage > Regions / Countries > Africa > Southern Africa > Zimbabwe > Time to Rethink the Kimberley Process: The Zimbabwe Case ● Africa ❍ Time to Rethink the Kimberley Process: The Zimbabwe Case Central Africa Thierry Vircoulon, On the African Peacebuilding Agenda | 4 Nov 2010 ❍ Horn of Africa On 11-12 September 2010, Zimbabwe auctioned diamonds from the controversial Marange mines. There was ❍ Southern Africa little international condemnation, especially compared to the controversy over the first sale of Marange diamonds in August. Since an export ban was imposed on diamonds from Marangein November 2009, the Kimberley ■ Angola Process (KP)[1] has permitted Zimbabwe to hold two auctions, although the country has not been able to guarantee that widespread human rights violations in the mines and smuggling have stopped. Criticised by both ■ Madagascar those who favour and those who oppose the ban, this unusual compromise demonstrates that the KP’s narrow ■ Zimbabwe definition of conflict diamonds is inadequate, and that the body must expand its authority if it is not to loose its credibility and legitimacy as the diamond-trade watchdog. ❍ West Africa A. Zimbabwe: Still Trying for Democracy Zimbabwe, a landlocked country of some 12.5 million inhabitants, is stuck in a decade-long political crisis and ● Asia struggling to move from dictatorship to democracy. For 28 years from independence in 1980, Robert Mugabe ● Europe ruled uninterrupted. -
Column by Renzo Van Riemsdijk (Masterenzo): Dynamics!
Column by Renzo van Riemsdijk (Masterenzo): Dynamics! Dynamics are a strange thing. When we look at the sixties and seventies our view on dynamics nowadays has changed dramatically. Our hearing has become used to listening to compressed music. This is a process that gradually evolved over the years. By the end of the nineties the loudness war added an extra dimension to our hearing experience by introducing a phenomenon called hypercompression. Because of this dreadful war music was mastered at continuously higher levels and contained less and less dynamics. Imagine being in a closed room that’s slowly filled with water. The ceiling is getting closer and your sense of space is reduced greatly. By the turn of the century and the following years the dynamic range (difference between the loudest and softest passages) was reduced greatly. Have a listen to the Metallica album ‘Death Magnetic’, released in 2008. Listen to a vinyl record coming from the seventies after the Metallica album. You can also listen to these albums on Spotify but you have to make sure that loudness normalization is turned off (advanced settings: something like ‘equal playback volume for every track’). You’ll probably notice a couple of differences in sound between the two albums. The first thing you’ll notice is a huge difference in volume, followed by differences in energy, impact and placement of vocals and instruments. Pay attention to the space every instrument has and in particular the snare drum. Limiting, a technique used by mastering engineers to make tracks louder, can cause a change in the impact a song has. -
Bachelor Thesis
BACHELOR THESIS Perceived Sound Quality of Dynamic Range Reduced and Loudness Normalized Popular Music Jakob Lalér Bachelor of Arts Audio Engineering Luleå University of Technology Department of Business, Administration, Technology and Social Sciences Perceived sound quality of dynamic range reduced and loudness normalized popular music Lalér Jakob Lalér Jakob 1 S0038F ABSTRACT The lack of a standardized method for controlling perceived loudness within the music industry has been a contributory cause to the level increases that emerged in popular music at the beginning of the 1990s. As a consequence, discussions about what constitutes sound quality have been raised. This paper investigates to what extent dynamic range reduction affects perceived sound quality of popular music when loudness normalized in accordance with ITU-R BS. 1770-2. The results show that perceived sound quality was not affected by as much as -9 dB of average gain reduction. Lalér Jakob 2 S0038F TABLE OF CONTENTS ABSTRACT...........................................................................................................................................2 INTRODUCTION...................................................................................................................................4 Aim, Objectives and Limitations............................................................................................................4 Background..........................................................................................................................................4 -
The Kimberley Process: Conflict Diamonds, WTO Obligations, and the Universality Debate Tracey Michelle Price
University of Minnesota Law School Scholarship Repository Minnesota Journal of International Law 2003 The Kimberley Process: Conflict Diamonds, WTO Obligations, and the Universality Debate Tracey Michelle Price Follow this and additional works at: https://scholarship.law.umn.edu/mjil Part of the Law Commons Recommended Citation Price, Tracey Michelle, "The Kimberley Process: Conflict Diamonds, WTO Obligations, and the Universality Debate" (2003). Minnesota Journal of International Law. 115. https://scholarship.law.umn.edu/mjil/115 This Article is brought to you for free and open access by the University of Minnesota Law School. It has been accepted for inclusion in Minnesota Journal of International Law collection by an authorized administrator of the Scholarship Repository. For more information, please contact [email protected]. Articles The Kimberley Process: Conflict Diamonds, WTO Obligations, and the Universality Debate Tracey Michelle Price" "Diamondsare forever, it is often said. But lives are not. We must spare people the ordeal of war, mutilations and death for the sake of conflict diamonds."' INTRODUCTION At the hands of rebels, dictators, and terrorists, diamonds have crystallized into a source of financing for conflict and civil wars, which have caused the deaths of more than two million people.2 These "conflict" diamonds have additionally threatened to tarnish the legitimate diamond trade by associating dia- monds with hardened brutality. The international community has attempted to curb the trade of conflict diamonds and pro- mote peace and stability in Angola, the Mano River Union states,3 and the Great Lakes region 4 of Africa. In the last two * LL.M. Candidate, Georgetown University Law Center; J.D., 1997, University of Baltimore School of Law; B.A., University of Georgia.