Filmmaking Program Northwest College Filmmaking Aric Nitzberg
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ANNE FRANK REMEMBERED by Anna Schafer Most of Us Have Read
ANNE FRANK REMEMBERED by Anna Schafer Most of us have read the story of Anne Frank and her diary. In much of the world it has been part of the school curriculum ever since the book's first publication in 1947. Anne’s main message has always been seen as one of optimism and conciliation in the face of the utter barbarism of her time. At the age of 14, in her diary entrance of the 15th of July, 1944. she makes her famous statement: “Still, I keep my ideals, because, in spite of everything I still believe that people are really good at heart.“ (p.237) Anne was born July 12 1929 in Frankfurt. Because of rising Anti-Semitism the family left Germany in 1933 and settled in the Netherlands. I myself was born ten years later, in April 1939 in Vienna, a year after the annexation of Austria and six months before the German attack on Poland. When I was three I was sent by train to North Germany to non-Jewish relatives, who lived in the small village of Andorf, near the Dutch border. Anne and I shared our first names, Anne. We also shared two languages and cultures, German and Dutch. However, Anne knew that her family was in hiding because they were Jews. I did not discover my Jewishness until I was an adult. We both lived through all six years of WWII. They were Anne’s last and my first years of life. There are barely 200 km between Amsterdam and Andorf and the Bergen- Belsen camp where Anne died in early March 1945 is only 150 km east of Andorf. -
Videography and Photography: Critical Thinking, Ethics and Knowledge-Based Practice in Visual Media
Videography and photography: Critical thinking, ethics and knowledge-based practice in visual media Storytelling through videography and photography can form the basis for journalism that is both consequential and high impact. Powerful images can shape public opinion and indeed change the world, but with such power comes substantial ethical and intellectual responsibility. The training that prepares journalists to do this work, therefore, must meaningfully integrate deep analytical materials and demand rigorous critical thinking. Students must not only have proficient technical skills but also must know their subject matter deeply and understand the deeper implications of their journalistic choices in selecting materials. This course gives aspiring visual journalists the opportunity to hone critical-thinking skills and devise strategies for addressing multimedia reporting’s ethical concerns on a professional level. It instills values grounded in the best practices of traditional journalism while embracing the latest technologies, all through knowledge-based, hands-on instruction. Learning objectives This course introduces the principles of critical thinking and ethical awareness in nonfiction visual storytelling. Students who take this course will: Learn the duties and rights of journalists in the digital age. Better understand the impact of images and sound on meaning. Develop a professional process for handling multimedia reporting’s ethical challenges. Generate and translate ideas into ethically sound multimedia projects. Understand how to combine responsible journalism with entertaining and artistic storytelling. Think and act as multimedia journalists, producing accurate and balanced stories — even ones that take a point of view. Course design This syllabus is built around the concept of groups of students going through the complete process of producing a multimedia story and writing journal entries about ethical concerns that surface during its development and execution. -
Documentary Film/TV
Documentary Film/TV Form-Evolution-Approaches The EXPLOSION of the Documentary Form 1. Tools of Creation: a. Editing Systems: Adobe, Final Cut, Vegas, Avid, iMovie, MovieMaker b. Cameras: • Digital Video TapeCardStream • DSLR • 4K-Black Magic, RED • GoPro • Drones, DJI Phantom 2. Distribution Outlets: – TV: HBO, NatGeo, Discovery, TLC, PBS, Animal Planet, Food Network, etc. – YouTube – Vimeo – Netflix-Amazon-Hulu – Social Media—FB, INSTAGRAM, – Festivals: Toronto, Amsterdam, Tribeca, Sundance, Banff, Telluride, 3. Funding: Kickstarter, et.al. 4. Marketing and Crowd-sourcing options: 5. Hi Profits vs. low cost of Production (small crews) Highest Grossing Documentaries of ALL TIME Market Share of Documentary Films (1995-2016) Movies Inflation- Market Year in Gross Tickets Sold Adjusted Top-Grossing Movie Gross that Year Share Release Gross 1995 9 1.54% $81,994,311 18,849,263 $158,899,287 Hoop Dreams $5,758,625 1996 6 0.11% $6,549,634 1,481,814 $12,491,692 Snowriders $2,035,470 1997 9 0.16% $10,372,500 2,259,800 $19,050,114 When We Were Kings $2,666,118 1998 12 1.27% $85,954,501 18,327,179 $154,498,119 Everest $66,877,098 1999 24 1.20% $88,091,366 17,340,810 $146,183,028 Mysteries of Egypt $27,042,366 2000 39 1.68% $126,503,895 23,470,090 $197,852,859 Dolphins $54,000,000 2001 21 0.26% $21,741,633 3,841,268 $32,381,889 Shackleton's Antarctic Adventure $6,683,025 2002 24 0.78% $71,043,258 12,227,743 $103,079,873 Space Station $30,460,417 2003 47 0.99% $90,795,051 15,057,198 $126,932,179 Space Station $15,713,110 2004 89 2.54% $235,480,966 -
My Scientology Movie
BBC FILMS & BBC WORLDWIDE Present A RED BOX FILMS PRODUCTION Directed by: John Dower Presented by: Louis Theroux Written by: John Dower & Louis Theroux Produced by: Simon Chinn MY SCIENTOLOGY MOVIE U.K. production R/T: 99 minutes Shot on Sony F55 and Canon CS00-PL (Panasonic HE120 and Flip Mino HD) TFF 2016- For further publicity information please contact: Emma Griffiths EMMA GRIFFITHS PR [email protected] www.eg-pr.com TIFF 2016: US Sales Contact: Josh Braun-Submarine [email protected] International Sales Contact: Mark Lane- HanWay Select- [email protected] SHORT SYNOPSIS Not your typical exposé. BBC doc-maker and journalist Louis Theroux teams up with director John Dower and double Academy Award winning producer Simon Chinn (Searching for Sugar, Man On Wire) to explore the self-mythologizing Church of Scientology. Following a long fascination with the religion and with much experience in dealing with eccentric, unpalatable and unexpected human behavior, the beguilingly unassuming Theroux won’t take no for an answer when his request to enter the Church’s headquarters is turned down. Inspired by the Church’s use of filming techniques, and aided by ex-members of the organization, Theroux uses actors to replay some incidents people claim they experienced as members in an attempt to better understand the way it operates. In a bizarre twist, it becomes clear that the Church is also making a film about Louis Theroux. Suffused with a good dose of humor and moments worthy of a Hollywood script, MY SCIENTOLOGY MOVIE is as outlandish as it is revealing. -
Muhammad Ali: an Unusual Leader in the Advancement of Black America
Muhammad Ali: An Unusual Leader in the Advancement of Black America The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Voulgaris, Panos J. 2016. Muhammad Ali: An Unusual Leader in the Advancement of Black America. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797384 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Muhammad Ali: An Unusual Leader in the Advancement of Black America Panos J. Voulgaris A Thesis in the Field of History for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 © November 2016, Panos John Voulgaris Abstract The rhetoric and life of Muhammad Ali greatly influenced the advancement of African Americans. How did the words of Ali impact the development of black America in the twentieth century? What role does Ali hold in history? Ali was a supremely talented artist in the boxing ring, but he was also acutely aware of his cultural significance. The essential question that must be answered is how Ali went from being one of the most reviled people in white America to an icon of humanitarianism for all people. He sought knowledge through personal experience and human interaction and was profoundly influenced by his own upbringing in the throes of Louisville’s Jim Crow segregation. -
The People's Champion O
ABSTRACT WILLIAMS, SHAWN L. B.A. UNIVERSITY OF PITTSBURGH, 1989 M.A. CLARK ATLANTA UNIVERSITY, 1991 “The People’s Champion”: Folk Heroism and the Oral Artistry of Muhammad Au. Advisor: Professor David F. Dorsey Dissertation dated July 2000 Long after a career that was as much marred by criticism as marked by accomplishment, Muhammad Au receives considerable public acclaim for his athletic accomplishments and his humanitarianism. However, no scholarly attention has been given to this man as a literary force who, through the power of his word, impacted the consciousness of this nation and world. This dissertation examines Ali as an artist operating within the context of African and African American oral literary traditions and will explore the impact of his oratory on the sociopolitical consciousness of this country. The analysis of the oral literature of 1 Muhammad Au, which consists of his lectures, interviews, and poetry, will involve an assessment of those aspects that make it a manifestation of the verbal culture of Africa and African America. Moreover, the study illustrates the degree to which the rhetoric and verse reflects both African American national consciousness (i.e., black nationalism) and African folkioric tradition. In his creation of himself Au utilizes traditional African and African American mythoforms like the trickster, the Badman, and the culture hero. In this respect, Muhammad Au is the only athlete to emerge as an Afrocentric cultural hero. This subject encompasses matter of literature, African American studies, speech communications, and popular culture. 2 “THE PEOPLE’S CHAMPION”: FOLK HEROISM AND THE ORAL ARTISTRY OF MUHAMMAD ALl A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN THE HUMANTITIES BY SHAWN LAMAR WILLIAMS DEPARTMENT OF ENGLISH ATLANTA, GEORGIA JULY 2000 © 2000 SHAWN L. -
Anne Frank in Historical Perspective: a Teaching Guide for Secondary Schools
DOCUMENT RESUME ED 391 710 SO 025 758 AUTHOR Grobman, Alex; Fishman, Joel TITLE Anne Frank in Historical Perspective: A Teaching Guide for Secondary Schools. INSTITUTION Martyrs Memorial and Museum of the Holocaust of the Jewish Federation, Los Angeles, CA. PUB DATE 95 NOTE 89p.; Some pictures may not photocopy well. For related item, see SO 025 756. Funding for this publication received from Ore-Ida Foods, Inc. AVAILABLE FROMMartyrs Memorial and Museum of the Holocaust, 6505 Wilshire Boulevard, Los Angeles, CA 90048-4906. PUB TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS Adolescent Literature; *Anti Semitism; Attitudes; Bias; Ethnic Bias; Ethnic Discrimination; History Instruction; Interdisciplinary Approach; *Jews; *Judaism; *Nazism; Reading Materials; Secondary Education; Social Bias; Social Studies; Values; World History; *World War II IDENTIFIERS Diary of Anne Frank; *Frank (Anne); *Holocaust; Holocaust Literatue ABSTRACT This guide helps secondary students to understand "The Diary of Anne Frank" through a series of short essays, maps, and photographs. In view of new scholarship, the historical context in which Anne Frank wrote may be studied to improve the student's perspective of recent history and of the present. A drawing shows the hiding place in the home where the Frank family lived. The essays include:(1) "The Need for Broader Perspective in Understanding Anne Frank's Diary" (Joel S. Fishman); (2) "The Uniqueness of the Holocaust" (Alex Grobman);(3) "Anne Frank's World" (Elma Verhey); (4) "Anne Frank and the Dutch Myth" (Elma Verhey);(5) "A New Perspective on Helpers of Jews During the Holocaust: The Case of Miep and Jan Gies" (Dienke Hondius);(6) "Teaching the Holocaust through the Diary of Anne Frank" (Judith Tydor Baumel);(7) "Examining Optimism: Anne Frank's Place in Postwar Culture" (Alex Sagan);(8) "Dutch Jewry: An Historical Overview"; and (9) "Chronology of the Frank Family and the Families in the Secret Annex." A selected bibliography accompanies the text. -
U·M·I University Microfilms International a Bell & Howeluntormanon Company 300 North Zeeb Road
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. 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 bleedthrough, substandard margins, and improper alignment can adverselyaffect reproduction. In the unlikely. event that the author did not send UMI 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. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sectionswith small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I University Microfilms International A Bell & Howeluntormanon Company 300 North Zeeb Road. Ann Arbor. M148106-1346 USA 313/761-4700 800: 521·0600 ----- ------------------------------- Order Number 9506216 Hidden in plain sight: The metaphysics of gender and death Kane, Kathleen Osborne, Ph.D. University of Hawaii, 1994 Copyright @1994 by Kane, Kathleen Osborne. -
Index to Volume 26 January to December 2016 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background -
PDF Anne Frank Remembered (Library Edition)
PDF Anne Frank Remembered (Library Edition) Barbara Rosenblat, Alison Leslie Gold, Miep Gies - pdf free book book pdf Anne Frank Remembered (Library Edition), Read Online Anne Frank Remembered (Library Edition) Book, PDF Anne Frank Remembered (Library Edition) Full Collection, Anne Frank Remembered (Library Edition) PDF read online, Anne Frank Remembered (Library Edition) PDF Download, by Barbara Rosenblat, Alison Leslie Gold, Miep Gies Anne Frank Remembered (Library Edition), PDF Anne Frank Remembered (Library Edition) Full Collection, book pdf Anne Frank Remembered (Library Edition), Read Online Anne Frank Remembered (Library Edition) Ebook Popular, I Was So Mad Anne Frank Remembered (Library Edition) Barbara Rosenblat, Alison Leslie Gold, Miep Gies Ebook Download, Read Anne Frank Remembered (Library Edition) Books Online Free, Anne Frank Remembered (Library Edition) pdf read online, Download Anne Frank Remembered (Library Edition) PDF, Download PDF Anne Frank Remembered (Library Edition) Free Online, pdf Barbara Rosenblat, Alison Leslie Gold, Miep Gies Anne Frank Remembered (Library Edition), PDF Download Anne Frank Remembered (Library Edition) Free Collection, Anne Frank Remembered (Library Edition) Ebook Download, Anne Frank Remembered (Library Edition) Book Download, Read Online Anne Frank Remembered (Library Edition) E-Books, Anne Frank Remembered (Library Edition) Free Read Online, CLICK TO DOWNLOAD azw, kindle, mobi, epub Description: When I did stop watching some of the episode with her dad during an interview yesterday about -
Mediated Meetings in Grizzly Man
An Argument across Time and Space: Mediated Meetings in Grizzly Man TRENT GRIFFITHS, Deakin University, Melbourne ABSTRACT In Werner Herzog’s 2005 documentary Grizzly Man, charting the life and tragic death of grizzly bear protectionist Timothy Treadwell, the medium of documentary film becomes a place for the metaphysical meeting of two filmmakers otherwise separated by time and space. The film is structured as a kind of ‘argument’ between Herzog and Treadwell, reimagining the temporal divide of past and present through the technologies of documentary filmmaking. Herzog’s use of Treadwell’s archive of video footage highlights the complex status of the filmic trace in documentary film, and the possibilities of documentary traces to create distinct affective experiences of time. This paper focuses on how Treadwell is simultaneously present and absent in Grizzly Man, and how Herzog’s decision to structure the film as a ‘virtual argument’ with Treadwell also turns the film into a self-reflexive project in which Herzog reconsiders and re-presents his own image as a filmmaker. With reference to Herzog’s notion of the ‘ecstatic truth’ lying beneath the surface of what the documentary camera records, this article also considers the ethical implications of Herzog’s use of Treadwell’s archive material to both tell Treadwell’s story and work through his own authorial identity. KEYWORDS Documentary time, self-representation, digital film, trace, authorship, Werner Herzog. Introduction The opening scene of Grizzly Man (2005), Werner Herzog’s documentary about the life and tragic death of grizzly bear protectionist and amateur filmmaker Timothy Treadwell, shows Treadwell filming himself in front of bears grazing in a pasture, addressing the camera as though a wildlife documentary presenter. -
On Werner Herzog's Documentary Grizzly
Fast Capitalism ISSN 1930-014X Volume 4 • Issue 1 • 2008 doi:10.32855/fcapital.200801.014 On Werner Herzog’s Documentary Grizzly Man: Psychoanalysis, Nature, and Meaning John W. White Introduction Few documentaries in recent years have received as much acclaim as Werner Herzog’s film Grizzly Man (2005), a narrative exploration of the life and death of amateur grizzly bear expert and wildlife preservationist Timothy Treadwell, who supposedly lived unarmed among grizzlies for 13 summers before being eaten alive by one. It won the Alfred P. Sloan award at the 2005 Sundance Film Festival and was awarded Best Feature Documentary at the Mountain Film in Telluride Festival. Ebert and Roper have given it “two thumbs way up” and J. Hoberman of The New York Times has called it “one of the most remarkable documentaries produced by any filmmaker in recent years.” However, like many of Herzog’s previous films, it has also generated a certain uneasiness and even minor controversy, as reflected in several online reviews. One critic, commenting on the “myth of objectivity” which surrounds the genre of documentary, prefaced his review by noting that it was personal movie making rather than “the typical PBS/Discovery Channel sort of informational objectivity.”[2] Another commented that he had mixed feelings and was left with the impression of opportunism rather than inspiration on Herzog’s part and felt “somewhat manipulated.”[3] Herzog’s filmmaking has always been controversial (Bachman 1977; Gitlin 1983; Cronin 2002; Prager 2007), but the subject matter of this particular feature may well stir more interest among members of the American public than his past films.