DOCSLIB.ORG

1 All Work Copyright 2007 by Spellblade Studios Daniela Castillo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 All Work Copyright 2007 by Spellblade Studios Daniela Castillo All work Copyright 2007 by Spellblade Studios Daniela Castillo Developed for SCAD ITGM-706 Original document written by Chris Taylor Revised by Greg Johnson Version # 4.06 March 16, 2007 1 15: MUSICAL SCORES AND SOUND EFFECTS Atonement will have a multi-layered sound score that will include intro cues, area- specific themes, generic ambient music, cut-scene themes, creature-specific loops and various sound effects. In order to avoid monotonous repetition and tediousness in the sounds, the score will have various layers that will integrate the different sounds. The genre of the musical score will include a mix of medieval secular dance styles, mixed with lively percussions and flutes. The general soundtrack will include acoustic simple versions of the themes, as well as more complex, looped and less obtrusive versions to play as ambient. The sound effects will be event triggered but will be designed to blend with the ambient music. Ambient and environmental sounds will be added to enhance and give depth to the sound track. The player will have some control over system sound settings through the preferences interface. There will also be an audio icon to access this menu on the HUD and can be a configurable hotkey. An example of these customizable options would be: background music volume, effects volume, vocals and dialogue volume. Atonement will include a varied collection of Voiceovers done by professional voice actors. The voiceovers will be used for both main character, NPC and plot enhancing monologue. During intro and cut-scenes voiceovers will be one of the primary methods of conveying information. Each character type/gender will have a distinguishing voice, tone, personality and attitude traits. The dialogue and voice acting will be an important element of the game in general. General Sound Detail #1 Swampy cave intro and ambient sounds. As the character enters the Swampy Cave the music track goes down an octave or two and gets lower in volume. The tempo slows down as well and the percussions become deeper and further apart. The environment sounds will shift and evolve as the landscape, adding layers of water effects from the swamp, trickling drips from the cave walls and eerie fauna that inhabits the area. Any ambient sound that involves, breeze, wind or foliage will not be part of this level. The swamp has no air currents and thus is strangely still, giving the sound a sort of heaviness that will complement the wet musty environment. During combat the pitch will rise and the tempo will speed up to enhance the mini- climaxes. The harder the combat level is, the louder and faster the music will get, drawing the player further into the action. General Sound Detail #2 Gale Sphere Gardens. Airy and light angelic-sounding choirs and a smooth new-age-y sounding track will be heard in the background. The sounds of water fountains and gentle streams will fade in and out as the character approaches and gets farther from these features. The foliage will make a glassy musical ripple when touched by the breeze and beautiful creatures will have melodic voices when approached… that is, until they attack. At the time of the attack the beasts will voice their rage in screeching cries and angry hisses. 66 16: MISCELLANEOUS STUFF Appendix A: Notes -The HUD will be composed of floating shelves that can be positioned and resized on the screen as needed. The HUD settings will be stored for each player with his/her saved games. This is so different kind of magic casters can have a custom HUD that will better serve their needs. -The text will have size settings in the general preferences. Players can choose what size of HUD text and other in-game text will appear. The reason for this is so players can have a text size that allows them to read letters on the screen comfortably, or choose to minimize it to allow for maximum game area. -There will be an option to optimize the complex hardware-intensive processes for players who prefer speed over eye-candy. This option will be very limited but still included to support top-end previous generation computers. Appendix B: Online community and hidden content access Atonement will have a dedicated web portal, that, in addition to the traditional information regarding game strategies, world overview, production notes and goodies, will contain a forum that will allow players to communicate with each other, find game tips and tricks, etc. As the player advances in the game, there will be some items that will include hidden tips on how to access information online that will open secret levels and bonus sections of the game. Some of these bonus sections include: A. Hidden room in the Arcane Library that will include an obscure tome on elemental magic that will provide the person who finds it with valuable and rare spells that could help solve quests and beat certain enemies more efficiently. B. Directions to find a temple room through one of the catacombs in Quietus Temple. The tomb marking the entrance will blend in with the rest of the other tombs and thus will not be obvious to the player that there’s something there. The temple room will have a contraption that gathers energy that can be harnessed to cast a powerful resurrection spell, once per adventure. C. A hard-to-find floating island that appears in the Gale Sphere Gardens with a fountain that emanates a magical liquid that can be used as a spell component to cast magic against demons. The potions gathered from this fountain are one-shot items. D. Pointers to find an herbalism tome in the Mage Academy that specifies how to mix certain mushroom spores with ale to create an invisibility potion. Such mushrooms only exist in the Swampy Cave. E. An additional NPC encounter in which the character finds out about a magical wand held by a statue. The wand holds 10 charges of a powerful illusion spell that causes fear to the most potent of enemies. F. A secret hand-combat encounter with a rogue in the market at Anker. By defeating the rogue, the player will acquire a magical knife that is especially effective when killing vermin (training level) Appendix C: Art Resources 67 The Swamp Cave The following four images are details from the Swamp Cave level. They depict the general tone of the level in which complete darkness will be offset by very bright and toxic looking flora and fauna. In some instances such as the mushrooms and the acid the objects will glow and pulse. In the case of the acid, it will be glowing for a short period of time and then slowly go dark. Mushrooms will glow until killed. The toads come in different sizes, from a few inches to about the size of a small dog. The bigger they are, the tougher they get to kill. Their color resembles and oil slick that shifts with the light. Their tongue is also very dangerous and long. The ferns have lashing tendrils that will attack the character. They are blue- green and grow in clusters. Some of the ferns are tree-sized and some small next to rocks. They all have the same attack style but with different level of effect depending on size of the fern and the cluster itself. The mushrooms in the cave, besides oozing acid, have healing powers once processed into a potion. Different mushrooms and fungi have different qualities. The character can collect these for sale or for processing later taking care not to take damage from the acid and spores. The floor of the cave is swampy and smelly. Much decayed plant and animal material litters the puddles and dry ground. The colors were chosen because of the impact they will have inside the game engine. They will capitalize in the volumetric particle processing and lighting capabilities of the engine itself to make them stand out. Bright greens and purples are often associated with evil and toxic. That’s the idea in this cave. Anything that glows is dangerous. The Arcane Library The following set of images are details of different characters and views of the Arcane library. Inside the library there will be several NPC characters, but the most important are the Master Librarian and the Demon Scholar Angoth-kel. They will both aid the character and will provide quests, information and opportunities to learn for the character. The Librarian has been further developed because she will be a recurring NPC with an important role in the story. The color scheme for her has been chosen because she’s elegant, practical and ageless. Her hair is gray naturally and not necessarily due to age. Her eyes are deep pools of black with no detail to them, making her even more mysterious. The library building itself is an upside-down castle growing straight out of the under side of a cliff in a gigantic cave. The only way to access the library is through magic portals located at the bottom of the spires. There is also one tunnel that connects the library to the Mage Academy of Anker, but this tunnel is secret. The outside of the library is pitch black, but it’s obvious that the building is made out of the same stone as the cliff side where it grows. The spires at the bottom of the towers and turrets are green. Quietus Temple The color scheme for the Quietus temple has been chosen to reflect a dead, dilapidated and grim environment. The area surrounding the temple is a vast graveyard, going as far as the eye can see.
Load more

Recommended publications
  • BFI CELEBRATES BRITISH FILM at CANNES British Entry for Cannes 2011 Official Competition We’Ve Got to Talk About Kevin Dir
    London May 10 2011: For immediate release BFI CELEBRATES BRITISH FILM AT CANNES British entry for Cannes 2011 Official Competition We’ve Got to Talk About Kevin dir. Lynne Ramsay UK Film Centre supports delegates with packed events programme 320 British films for sale in the market A Clockwork Orange in Cannes Classics The UK film industry comes to Cannes celebrating the selection of Lynne Ramsay’s We Need to Talk About Kevin for the official competition line-up at this year’s festival, Duane Hopkins’s short film, Cigarette at Night, in the Directors’ Fortnight and the restoration of Stanley Kubrick’s A Clockwork Orange, restored by Warner Bros; in Cannes Classics. Lynne Ramsay’s We Need To Talk About Kevin starring Tilda Swinton was co-funded by the UK Film Council, whose film funding activities have now transferred to the BFI. Duane Hopkins is a director who was supported by the UK Film Council with his short Love Me and Leave Me Alone and his first feature Better Things. Actor Malcolm McDowell will be present for the screening of A Clockwork Orange. ITV Studios’ restoration of A Night to Remember will be screened in the Cinema on the Beach, complete with deckchairs. British acting talent will be seen in many films across the festival including Carey Mulligan in competition film Drive, and Tom Hiddleston & Michael Sheen in Woody Allen's opening night Midnight in Paris The UK Film Centre offers a unique range of opportunities for film professionals, with events that include Tilda Swinton, Lynne Ramsay and Luc Roeg discussing We Need to Talk About Kevin, The King’s Speech producers Iain Canning and Gareth Unwin discussing the secrets of the film’s success, BBC Film’s Christine Langan In the Spotlight and directors Nicolas Winding Refn and Shekhar Kapur in conversation.
    [Show full text]
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar
    WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
    [Show full text]
  • Contemporary Film Music
    Edited by LINDSAY COLEMAN & JOAKIM TILLMAN CONTEMPORARY FILM MUSIC INVESTIGATING CINEMA NARRATIVES AND COMPOSITION Contemporary Film Music Lindsay Coleman • Joakim Tillman Editors Contemporary Film Music Investigating Cinema Narratives and Composition Editors Lindsay Coleman Joakim Tillman Melbourne, Australia Stockholm, Sweden ISBN 978-1-137-57374-2 ISBN 978-1-137-57375-9 (eBook) DOI 10.1057/978-1-137-57375-9 Library of Congress Control Number: 2017931555 © The Editor(s) (if applicable) and The Author(s) 2017 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.
    [Show full text]
  • The Musical Contexts GCSE Music Study and Revision Guide For
    GCSE MUSIC – FILM MUSIC S T U D Y A N D REVISION GUIDE The Musical Contexts GCSE Music Study and Revision Guide for Film Music Designed to support: Eduqas GCSE Music – Area of Study 3: Film Music OCR GCSE Music – Area of Study 4: Film Music Pearson Edexcel GCSE Music – Area of Study: Music for Stage and Screen P a g e 1 o f 32 © WWW.MUSICALCONTEXTS.CO.UK GCSE MUSIC – FILM MUSIC S T U D Y A N D REVISION GUIDE The Purpose of Film Music Film Music is a type of DESCRIPTIVE MUSIC that represents a mood, story, scene or character through music; it is designed to support the action and emotions of the film on screen. Film music serves many different purposes including: 1. To create or enhance a mood 2. To function as a LEITMOTIF 3. To link one scene to another providing continuity 4. To emphasise a gesture (known as MICKEY-MOUSING) 5. To give added commercial impetus 6. To provide unexpected juxtaposition or to provide irony 7. To illustrate geographic location or historical period 8. To influence the pacing of a scene 1. To create or enhance a mood Music aids (and is sometimes essential to effect) the suspension of our disbelief: film attempts to convince us that what we are seeing is really happening and music can help break down any resistance we might have. It can also comment directly on the film, telling us how to respond to the action. Music can also enhance a dramatic effect: the appearance of a monster in a horror film, for example, rarely occurs without a thunderous chord! Sound effects (like explosions and gunfire) can be incorporated into the film soundtrack to create a feeling of action and emotion, particularly in war films.
    [Show full text]
  • Contemporary Film Music
    Edited by LINDSAY COLEMAN & JOAKIM TILLMAN CONTEMPORARY FILM MUSIC INVESTIGATING CINEMA NARRATIVES AND COMPOSITION Contemporary Film Music Lindsay Coleman • Joakim Tillman Editors Contemporary Film Music Investigating Cinema Narratives and Composition Editors Lindsay Coleman Joakim Tillman Melbourne, Australia Stockholm, Sweden ISBN 978-1-137-57374-2 ISBN 978-1-137-57375-9 (eBook) DOI 10.1057/978-1-137-57375-9 Library of Congress Control Number: 2017931555 © The Editor(s) (if applicable) and The Author(s) 2017 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.
    [Show full text]
  • The Effects of Projected Films on Singers' Expressivity in Choral
    THE EFFECTS OF PROJECTED FILMS ON SINGERS’ EXPRESSIVITY IN CHORAL PERFORMANCE A DISSERTATION IN Music Education And Curriculum and Instruction Presented to the faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY by DANIEL J. KEOWN BM, University of Wisconsin-Oshkosh, 2001 MM, Indiana State University, 2004 Kansas City, Missouri 2013 © 2013 DANIEL JAMES KEOWN ALL RIGHTS RESERVED THE EFFECTS OF PROJECTED FILMS ON SINGERS’ EXPRESSIVITY IN CHORAL PERFORMANCE Daniel James Keown, Candidate for the Doctor of Philosophy Degree University of Missouri-Kansas City, 2013 ABSTRACT The purpose of this study was to investigate the effects of projected film visuals on singers’ expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments. In Phase Two, a different group of university choir singers (N = 116) rehearsed and prepared both of the selected choral etudes referred to as “Doh” and “Noo.” Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition.
    [Show full text]
  • Approved Movie List 10-9-12
    APPROVED NSH MOVIE SCREENING COMMITTEE R-RATED and NON-RATED MOVIE LIST Updated October 9, 2012 (Newly added films are in the shaded rows at the top of the list beginning on page 1.) Film Title ALEXANDER THE GREAT (1968) ANCHORMAN (2004) APACHES (also named APACHEN)(1973) BULLITT (1968) CABARET (1972) CARNAGE (2011) CINCINNATI KID, THE (1965) COPS CRUDE IMPACT (2006) DAVE CHAPPEL SHOW (2003–2006) DICK CAVETT SHOW (1968–1972) DUMB AND DUMBER (1994) EAST OF EDEN (1965) ELIZABETH (1998) ERIN BROCOVICH (2000) FISH CALLED WANDA (1988) GALACTICA 1980 GYPSY (1962) HIGH SCHOOL SPORTS FOCUS (1999-2007) HIP HOP AWARDS 2007 IN THE LOOP (2009) INSIDE DAISY CLOVER (1965) IRAQ FOR SALE: THE WAR PROFITEERS (2006) JEEVES & WOOSTER (British TV Series) JERRY SPRINGER SHOW (not Too Hot for TV) MAN WHO SHOT LIBERTY VALANCE, THE (1962) MATA HARI (1931) MILK (2008) NBA PLAYOFFS (ESPN)(2009) NIAGARA MOTEL (2006) ON THE ROAD WITH CHARLES KURALT PECKER (1998) PRODUCERS, THE (1968) QUIET MAN, THE (1952) REAL GHOST STORIES (Documentary) RICK STEVES TRAVEL SHOW (PBS) SEX AND THE SINGLE GIRL (1964) SITTING BULL (1954) SMALLEST SHOW ON EARTH, THE (1957) SPLENDER IN THE GRASS APPROVED NSH MOVIE SCREENING COMMITTEE R-RATED and NON-RATED MOVIE LIST Updated October 9, 2012 (Newly added films are in the shaded rows at the top of the list beginning on page 1.) Film Title TAMING OF THE SHREW (1967) TIME OF FAVOR (2000) TOLL BOOTH, THE (2004) TOMORROW SHOW w/ Tom Snyder TOP GEAR (BBC TV show) TOP GEAR (TV Series) UNCOVERED: THE WAR ON IRAQ (2004) VAMPIRE SECRETS (History
    [Show full text]
  • NEW RELEASE GUIDE October 2 October 9 ORDERS DUE AUGUST 28 ORDERS DUE SEPTEMBER 4
    ada–music.com @ada_music NEW RELEASE GUIDE October 2 October 9 ORDERS DUE AUGUST 28 ORDERS DUE SEPTEMBER 4 2020 ISSUE 21 October 2 ORDERS DUE AUGUST 28 ALOE BLACC ALL LOVE EVERYTHING In the years since Aloe Blacc’s last album, The Grammy nominated “Lift Your Spirit”, the global superstar spent time working on an even dearer project: his family. All Love Everything, his upcoming album, is the singer-songwriter’s first collection of material written as a father, a journey that’s expanded Blacc’s already heartfelt artistic palette. “Becoming a father made me want to share those experiences in music,” he says, admitting it’s a challenge to translate such a powerful All Love Everything is a generous addition to the thing into lyrics and melody. But the listeners who have A.I.M. catalog. It fulfills Blacc’s ambition to express the followed Blacc over the course of his career know that richness of familial love on songs like “Glory Days” and his facility with language and sound is deep – if anyone “Family,” while also making room for anthems about was up to the task, it’s him. perseverance and support like “My Way” and “Corner.” Working with producers Jonas Jeberg, Jugglerz, Jon Across three albums, his sound evolved and grew, Levine, and Matt Prime, Blacc has crafted his most finding a pocket that reflects the long and beautiful open-hearted album to date. Generous and warm, history of American soul with timeless, descriptive All Love Everything draws on soul, folk, and songwriting that speaks to the broad range of human contemporary pop, reminding listeners that there’s experience, from platonic love to love for humanity, from no pigeonholing the human experience.
    [Show full text]
  • Suggested Fashion Films and TV
    Suggested Fashion Films and TV: • 1800-1850 o Dinner at Eight (1933) o Beau Brumell: This Charming Man (2008) o Letty Lynton (1932) • 1850-1890 o Grand Hotel (1932) o Little Women (1994) o Baby Face (1933) o The Young Victoria (2009) o Atonement (2007, also 1940s) o Mrs. Brown (1997, Netflix) o The Women (1939) o Possession (2002) • 1940s o Gone with the Wind (1939) o Land Girls (Netflix) • 1890s o Home Fires o The Paradise (Netflix) o Mildred Pierce (1945) • 1900s o His Girl Friday (1940, Netflix) Double Indemnity (1944) o Mr. Selfridge o The Big Sleep (1946) o My Fair Lady (1964) o Ball of Fire (1941) o A Room with a View (1986, Netflix) o Key Largo (1948) o Wings of the Dove (1997, Netflx) o Casablanca (1942) o Daughters of the Dust (1991) o o The Philadelphia Story (1940) • 1910s o Now, Voyager (1942) o Downton Abbey (Netflix)-also 1920s o Zoot Suit Riots (documentary, 2002) o Tillie’s Punctured Romance (1914, YouTube) o Malcolm X (1992, also 1950s, 1960s) o The House of Mirth (2000) • 1950s • 1920s o Velvet (Netflix) o Miss. Fisher’s Murder Mysteries (Netflix) o Call the Midwife (Netflix) o Coco Chanel & Igor Stravinsky o How to Marry a Millionaire (1953, Netflix) o Cold Comfort Farm (1995) o An Affair to Remember (1957, Netflix) o The Great Gatsby (2013) o Roman Holiday (1953, Netflix) o The Cat’s Meow (2001) o All that Heaven Allows (1955) o Salome (1923, YouTube) o Far From Heaven (2002) o The House of Elliot o Imitation of Life (1959) o The Wild Party (1929) o Carol (2015) o It (1927) o Funny Face (1957) o Why Change Your Wife (1920, YouTube) o Sabrina (1954) o Our Dancing Daughters (1928) o The Wild One (1953) o Our Modern Maidens (1929) o Rebel Without a Cause (1955) • 1930s o Gentlemen Prefer Blondes (1953) Dancing on the Edge (Netflix) o o All about Eve (1950) o Mildred Pierce (HBO Miniseries, 2011) o Rear Window (1954) o The Divorcee (1930) o Carol (1952) o Madam Satan (1930) • 1960s o Christopher Strong (1933) o Mad Men (Netflix) o Holiday (1938) o The Marvelous Mrs.
    [Show full text]
  • EBU Offer No: SM/13/11/01/01-12 Creation: 05/11/2013 Organization Offer No: CHEUR-316586 Despatch: 05/11/2013 Computerized Offer No: 316586 Initials: Sf
    21/11/2013 Print EBU offer No: SM/13/11/01/01-12 Creation: 05/11/2013 Organization offer No: CHEUR-316586 Despatch: 05/11/2013 Computerized offer No: 316586 Initials: sf EURORADIO Offer to Active and Associate Members from CHEUR EUROVISION and EURORADIO Film Week A Special Project Conditions: - Available via M2M on a deferred basis. - Recordings may not be given to any third party. - Please notify the offering organization of your broadcast date. - Availability: see each concert. - Deadline for broadcast: one year from file transfer date to the M2M except the concert offered by NLNPO which is available for six months from file transfer date. The concerts are offered for: Deferred *** C O R R I G E N D U M as of: 19/11/2013 20/11/2013 21/11/2013 A week devoted to European cinema EUROVISION Film Week will be the largest, most ambitious, multimedia film festival ever staged. In the week leading up to the European Film Awards (7 December 2013), EBU Members - Europe's public service broadcasters - will showcase feature-length films on public television and online platforms. In addition, radio and television channels will air debates, documentaries about films and interviews with stars, directors and writers. EURORADIO Film Music Exchange In collaboration with EUROVISION Film Week, EURORADIO's extensive archive of music and film soundtracks is being made available to EBU Member radio broadcasters. Please find more information on the following websites: http://www3.ebu.ch/cms/en/calendar/eurovision-film-week?jsite=c49010fa-a809-4b28-a2c8- 7363e32879c5 http://www.youtube.com/watch?v=m-YwGcGFF5g http://www3.ebu.ch/cms/en/sites/ebu/contents/news/2013/10/eurovision-film-week- ambassador.html Volker Schlöndorff, Jirí Menzel, Agniezska Holland and Costa Gavras are Ambassadors for the Eurovision Film Week.
    [Show full text]
  • Ian Mcewan's Atonement
    UNIVERZITA PALACKÉHO V OLOMOUCI PEDAGOGICKÁ FAKULTA Ústav cizích jazyků Bakalářská práce Žaneta Havelková Ian McEwan’s ATONEMENT: Comparison of the Novel and Film Adaptation Olomouc 2016 Vedoucí práce: Mgr. Josef Nevařil, Ph.D. Prohlašuji, že jsem závěrečnou práci vypracovala samostatně a použila jen uvedených pramenů a literatury. V Olomouci 20. 4. 2016 ………………………………………………………………… podpis I would like to thank Mgr. Josef Nevařil, Ph.D. for his guidance and valuable comments on the content and style of my final project. ABSTRACT My Bachelor Project deals with the novel by Ian McEwan, Atonement, and the adaptation of the same name directed by Joe Wright. This project contains chapters about the novel and the film focusing on characterisation and the main themes. It also discusses adaptation theories and describes the adaptation of Atonement in particular. Practical Part deals with the main characters and their interpretation, the usage of light and soundtrack in film and particular scenes are also described. TABLE OF CONTENTS ACKNOWLEDGEMENTS ABSTRACT INTRODUCTION ........................................................................................................................ 6 THEORETICAL PART ............................................................................................................... 7 1. The Novel Atonement .......................................................................................................... 7 1.1. Author ..........................................................................................................................
    [Show full text]
  • Illustrations of the Atonement, Medical Substitution, and New Humanity Mako A
    Illustrations of the Atonement, Medical Substitution, and New Humanity Mako A. Nagasawa Last modified: February 4, 2020 Illus of atonement, medical substitution, healing, transformation Coronavirus in China: Dr. Lee is the doctor who became the patient. This is a touching story of heroism which serves to illustrate Jesus contracting the disease in human nature (via his incarnation), his suffering on our behalf (via his life and death), and vindication (resurrection and mission) - the major elements of medical substitutionary atonement. A key detail is present in this story that is not typically present in other illustrations: a government that tried to cover up the seriousness of the disease, which parallels fallen Adam’s blame-shifting and denial. CNN, Coronavirus whistleblower doctor is online hero in China: https://www.youtube.com/watch?v=eEUqCxP5Lvc Illus of atonement, medical substitution, healing, transformation By January of 2007, my brother-in-law was at a crossroads. His kidneys were failing. Healthy kidneys normally filter out toxins from your bloodstream. The lactic acid that your muscles give off when you’re sore after a workout was not leaving his body, so he felt tired and sore. Potassium, which we need in small quantities, was building up in his bloodstream, and unfortunately potassium is what is injected into death sentence prisoners in large quantities to send their hearts into cardiac arrest. But my brother-in-law’s kidneys weren’t filtering those toxins out. Although dialysis was an option, it wasn’t a good one in his case. His dad wasn’t eligible because he had had heart surgery before.
    [Show full text]