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Film, Photojournalism, and the Public Sphere in Brazil and Argentina, 1955-1980
ABSTRACT Title of Document: MODERNIZATION AND VISUAL ECONOMY: FILM, PHOTOJOURNALISM, AND THE PUBLIC SPHERE IN BRAZIL AND ARGENTINA, 1955-1980 Paula Halperin, Doctor of Philosophy, 2010 Directed By: Professor Barbara Weinstein Department of History University of Maryland, College Park My dissertation explores the relationship among visual culture, nationalism, and modernization in Argentina and Brazil in a period of extreme political instability, marked by an alternation of weak civilian governments and dictatorships. I argue that motion pictures and photojournalism were constitutive elements of a modern public sphere that did not conform to the classic formulation advanced by Jürgen Habermas. Rather than treating the public sphere as progressively degraded by the mass media and cultural industries, I trace how, in postwar Argentina and Brazil, the increased production and circulation of mass media images contributed to active public debate and civic participation. With the progressive internationalization of entertainment markets that began in the 1950s in the modern cities of São Paulo, Rio de Janeiro, and Buenos Aires there was a dramatic growth in the number of film spectators and production, movie theaters and critics, popular magazines and academic journals that focused on film. Through close analysis of images distributed widely in international media circuits I reconstruct and analyze Brazilian and Argentine postwar visual economies from a transnational perspective to understand the constitution of the public sphere and how modernization, Latin American identity, nationhood, and socio-cultural change and conflict were represented and debated in those media. Cinema and the visual after World War II became a worldwide locus of production and circulation of discourses about history, national identity, and social mores, and a space of contention and discussion of modernization. -
Farias, Priscila L. Et Wilke, Regina C. BORDERLINE GRAPHICS AN
BORDERLINE GRAPHICS: AN ANALYSIS OF CINEMA MARGINAL POSTERS REGINA C. WILKE PRISCILA L. FARIAS SENAC-SP / BRAZIL USP & SENAC-SP / BRAZIL [email protected] [email protected] ABSTRACT INTRODUCTION This paper presents a study on Brazilian Cinema The study of Cinema Marginal posters aims to Marginal film posters. It identifies the political and gathering information for a better understanding cultural context of the posters production, and of Brazilian design history. The posters selected considers their graphic, communicative and for this study are those designed for the films meaningful aspects. listed by Puppo (2008), in his catalogue for an In 1968, the Institutional Act #5 (AI-5) comes into exhibition of Cinema Marginal movies. force in Brazil, and, for the next ten years, the Initially, we describe the political and cultural country is haunted by the most violent period of context influencing Cinema Marginal , and military dictatorship. Cinema Marginal has its summarize the concepts that determine its heyday between 1968 and 1973, a period marked language. We then introduce the Brazilian graphic by the military regime (1964-1985). Such films arts environment of the era, and present the portray the spirit of that era in dissimilar ways identified authors of the posters. Finally, based on that alternate between eroticism, horror, an organization of the posters by affinity groups, romance and suspense, often with political we discuss the posters’ relation to the audiovisual messages in subtext. Its main shared language of the films, proposing a reflection on characteristics are the subversion of cinematic the visual, communicative and meaningful aspects language and experimental attitude. -
Black and White Conversion
From www.adobe.com/designcenter Product used Adobe Photoshop CS2 Black and White Conversion “One sees differently with color photography than black and white...in short, visualization must be modified by the specific nature of the equipment and materials being used.” –Ansel Adams The original color image. (left) The adjusted black and white conversion. (center) The final color toned black and white image. (right) Seeing in black and white Black and white conversions are radical transformations of images. They’re about reestablishing the tonal founda- tions of an image. That’s quite different than dodging and burning, or lightening and darkening locally, which is a matter of accentuating existing tonal relationships. The Channels palette shows the red, green, and blue components of a color image. Each channel offers a useful black and white interpretation of the color image that you can use to adjust the color. The key concept is for you to use the color channels as black and white layers. 2 Conversion methods There are almost a dozen ways to convert an image from color to black and white; and you can probably find at least one expert to support each way as the best conversion method. The bottom line is that most conversion methods work reasonably well. The method that works best for you depends on your particular workflow and the tools that you’re comfortable with. The following method isn’t necessarily the best and it isn’t the fastest—it generates a larger file—but it offers you the most control and flexibility. Creating layers from channels offers you more control than any other conversion method. -
Kristina Reed Joins the Madison Square Garden Company As Senior Vice President, Creative Development and Strategy
Kristina Reed Joins the Madison Square Garden Company as Senior Vice President, Creative Development and Strategy July 22, 2019 NEW YORK, July 22, 2019 (GLOBE NEWSWIRE) -- The Madison Square Garden Company (NYSE:MSG) today announced that Academy Award- winning producer and creator, Kristina Reed, has joined MSG as Senior Vice President, Creative Development and Strategy. In this newly-created position, Ms. Reed will drive the development of creative content for the Company’s state-of-the-art MSG Sphere venues, which will utilize cutting-edge, immersive technology and compelling, multi-sensory storytelling to revolutionize the entertainment experience. Kristina Reed Joins The Madison Square Garden Company As Senior Vice President, Creative Development And Strategy Ms. Reed will be responsible for developing and implementing a slate of content for MSG Sphere venues, from conception to execution. She will work closely with internal and external teams to identify, evaluate and oversee creative development prospects; greenlight content to production; and establish and develop a sustainable digital pipeline for content delivery. Ms. Reed will be charged with developing these projects for both MSG Sphere, as well as other commercial clients. MSG anticipates that the first MSG Sphere, which is currently under construction in Las Vegas, will be completed during calendar year 2021, followed by the second MSG Sphere in London, which is expected approximately a year later, pending necessary approvals. Ms. Reed will report to Jennifer Vogt, President, Creative Content and Production, who recently joined MSG to oversee MSG’s overall content strategy and development for MSG Sphere and other production assets. Ms. Vogt joined MSG from Walt Disney Imagineering after successfully spearheading show design and production for Star Wars, “Galaxy’s Edge,” Disney’s largest single-themed land expansion in its history. -
Public Advocate Runoff Election on Tuesday
Twitter.com Facebook.com/ Volume 59, No. 121 TUESDAY, OCTOBER 1, 2013 w BrooklynEagle.com BrooklynEagle @BklynEagle 50¢ BROOKLYN TODAY DUMBO Arts OCT.1 Fest: Arts From Good morning. Today is the 284th day of the year. The Brooklyn Daily Eagle Many Cultures, of Oct. 1, 1899, carried an advertisement from J. Con- klin and Sons, a Brooklyn high-end retailer. Adver- And Zany Fun tised were “rich black ART IN ITS MYRIAD FORMS silks,” “colored novelty silks,” plaids, broadcloths, took over DUMBO’s streets, camel hair fabric and “the garages, galleries and stu- latest McCall’s patterns for dios this weekend at the 10 and 15 cents.” DUMBO Arts Festival, and thousands visited the Well-known people who neighborhood to take in were born today include the sights and sounds. A singer-actress Julie Andrews joyous Bubbles of Hope (“Mary Poppins”), Hall of procession spilled over the Fame baseball player Rod entire neighborhood, and Carew, former President Jimmy Carter, former base- local artists opened their ball player Mark McGwire seldom-seen studios to and actor Randy Quaid the public. See more pho- (“Brokeback Mountain,” tos, page 5. “Independence Day”). Photo by Mary Frost BOOK BEAT Public Advocate Runoff Election on Tuesday By Mary Frost position can be a powerful one: Brooklyn Daily Eagle the public advocate is second On Tuesday Democrats in line should the mayor be- are voting in the runoff elec- come sick or incapacitated, and tion primary for New York the position is seen as a step- City public advocate. pingstone for a future run for Leticia James, (currently the Mayor’s office. -
An Analysis of the Character Animation in Disney's Tangled
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Carter, Chris (2013) An analysis of the character animation in Disney’s Tangled. Senses of Cinema, 2013(67), pp. 1-16. This file was downloaded from: https://eprints.qut.edu.au/61227/ c Copyright 2013 Senses of Cinema Inc and the author As under the Copyright Act 1968 (Australia), no part of this journal may be reproduced by any process without the written permission of the editors except for the purposes of private study, research, criticism or review. These works may be read online, downloaded and copied for the above purposes but must not be copied for any other individuals or organisations. The work itself must not be published in either print or electronic form, be edited or otherwise altered or used as a teaching resource without the express permission of the author. Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. http:// sensesofcinema.com/ 2013/ feature-articles/ an-analysis-of-the-character-animation-in-disneys-tangled/ An Analysis of the Character Animation in Disney’s Tangled Title: Tangled (Greno and Howard 2010) Studio: Walt Disney Animation Studios Release: BLU-RAY and DVD - Australia Type: Animated Feature Film Directors: Nathan Greno, Byron Howard Animation Supervisors: Glen Keane, John Kahrs, Clay Kaytis Introduction: In the short time since PIXAR Animation created the first 3D computer animated feature film, Toy Story (John Lasseter 1995), 3D computer graphics (CG) have replaced the classical 2D realist styling of Disney Animation to become the dominant aesthetic form of mainstream animation, (P. -
To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. -
MONSTERS INC 3D Press Kit
©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor . -
Tangled Film Production Notes
FINAL PRODUCTION NOTES October 20, 2010 RELEASE DATE: 6 JANUARY, 2011 Rated : (PG) Consumer Advice : Mild animated violence. Running Time : 100mins PRODUCTION NOTES 1 FINAL PRODUCTION NOTES October 20, 2010 Walt Disney Pictures presents “Tangled,” one of the most hilarious, hair-raising tales ever told. When the kingdom’s most wanted—and most charming—bandit, Flynn Rider (voice of Zachary Levi), hides out in a mysterious tower, he’s taken hostage by Rapunzel (voice of Mandy Moore), a beautiful and feisty tower-bound teen with 70 feet of magical, golden hair. Flynn’s curious captor, who’s looking for her ticket out of the tower where she’s been locked away for years, strikes a deal with the handsome thief, and the unlikely duo sets off on an action-packed escapade, complete with a super-cop horse (named Maximus), an over-protective chameleon (named Pascal), and a gruff gang of pub thugs. Also featured in the talented vocal ensemble is two-time Tony® Award winner Donna Murphy as Mother Gothel. Ron Perlman lends his voice to a Stabbington Brother, one of Flynn’s double-crossed partners in crime, and Jeffrey Tambor and Brad Garrett provide the voices of two of the thugs Flynn and Rapunzel encounter along the way. “‘Tangled’ is so full of hilarious characters, but it also has tremendous action and a lot of heart,” says John Lasseter, chief creative officer for Walt Disney and Pixar Animation Studios. “We wanted to create a unique world and story that evoke the rich, dramatic feeling that is classically Disney, but is also fresh and humorous, and that gives the audience something it has never seen before in computer animation. -
©2014 Disney ©2014 Disney Enterprises, Inc
©2014 Disney ©2014 Disney Enterprises, Inc. All Rights Reserved. Disney.com/Neverbeast STORY Story Artists TROY ADOMITIS JOHN D. ANDERSON TOM BERNARDO EMMANUEL DELIGIANNIS RYAN GREEN DAVID KNOTT JIHYUN PARK ROBB PRATT LYNDON RUDDY SEUNG-HYUN OH SHANE ZALVIN Creative Development ............................VICKI LETIZIA PRODUCTION Production Managers ..................... JARED HEISTERKAMP JASON I. STRAHS Directed by ........................................ STEVE LOTER Production Coordinators ........................JILLIAN GOMEZ Produced by ...........................MICHAEL WIGERT, p.g.a. AMY PIJANOWSKI Executive Producer .............................JOHN LASSETER BARBRA PUSHIES Story by ........................................... STEVE LOTER ALLIE RUSSELL and TOM ROGERS Production Finance Lead ........................ TANYA SELLERS Screenplay by .................................... TOM ROGERS Production Secretary ....................... BRIAN MCMENAMIN and ROBERT SCHOOLEY & MARK MCCORKLE DESIGN and KATE KONDELL Original Score Composed by ..................... JOEL MCNEELY Character Design .............................RITSUKO NOTANI Editor ..........................................MARGARET HOU ELSA CHANG Art Director .....................................ELLEN JIN OVER DAVID COLMAN Animation Supervisor .................... MICHAEL GREENHOLT BOBBY CHIU Head of Story ................................. LAWRENCE GONG KEI ACEDERA CG Supervisor ...................................... MARC ELLIS Associate Producer ......................TIMOTHY -
4. Reconfigurations of Screen Borders: the New Or Not-So-New Aspect Ratios
4. Reconfigurations of Screen Borders: The New or Not-So-New Aspect Ratios Miriam Ross Abstract The ubiquity of mobile phone cameras has resulted in many videos foregoing the traditional horizontal (landscape) frame in favour of a vertical (portrait) mode. While vertical framing is often derided as amateur practice, these new framing techniques are part of a wider contemporary screen culture in which filmmakers and artists are using unconventional aspect ratios and/or expanding and contracting aspect ratios over the course of their audio-visual work. This chapter briefly outlines historical contexts in which the border of the screen has been more flexible and open to changing configurations than is widely acknowledged. It then uses recent case studies to consider how our understanding of on-screen and off-screen space is determined by these framing configurations. Keywords: Aspect ratios, embodiment, framing, cinema In recent years, the increasing ubiquity of mobile phone videos has drawn attention to a radical challenge to traditional screen culture. It is not just that a wide variety of amateur users now have a filmmaking device at their fingertips—rather, that many of them are foregoing the more than a century- long norm for shooting with a horizontal frame. Appearing on social media sites such as YouTube, Facebook, and Twitter as well as in commercial news broadcasts, their footage stands tall in a vertical format. When replayed on horizontal screens, the startling strangeness of wide black bands on either side of the content focuses attention on the border of the frame as well as seem- ingly absent screen space. -
Critical Study on History of International Cinema
Critical Study on History of International Cinema *Dr. B. P. Mahesh Chandra Guru Professor, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri Karnataka India ** Dr.M.S.Sapna ***M.Prabhudevand **** Mr.M.Dileep Kumar India ABSTRACT The history of film began in the 1820s when the British Royal Society of Surgeons made pioneering efforts. In 1878 Edward Muybridge, an American photographer, did make a series of photographs of a running horse by using a series of cameras with glass plate film and fast exposure. By 1893, Thomas A. Edison‟s assistant, W.K.L.Dickson, developed a camera that made short 35mm films.In 1894, the Limiere brothers developed a device that not only took motion pictures but projected them as well in France. The first use of animation in movies was in 1899, with the production of the short film. The use of different camera speeds also appeared around 1900 in the films of Robert W. Paul and Hepworth.The technique of single frame animation was further developed in 1907 by Edwin S. Porter in the Teddy Bears. D.W. Griffith had the highest standing among American directors in the industry because of creative ventures. The years of the First World War were a complex transitional period for the film industry. By the 1920s, the United States had emerged as a prominent film making country. By the middle of the 19th century a variety of peephole toys and coin machines such as Zoetrope and Mutoscope appeared in arcade parlors throughout United States and Europe. By 1930, the film industry considerably improved its technical resources for reproducing sound.