Supertrooper/Boba Fett Presentation Footage
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
From Sidious to Nixon: the Parallels Between Star Wars and Vietnam
From Sidious to Nixon: The Parallels Between Star Wars and Vietnam A Senior Project presented to the Faculty of the History Department California Polytechnic State University – San Luis Obispo In Partial Fulfillment of the Requirements for the Degree Bachelor of Liberal Arts By Brennan Simpson March, 2021 © 2021 Brennan Simpson 1 In the case of a film franchise that features twelve movies, five television series, and various other forms of media by the time this paper was written, many people may be surprised to hear that Star Wars was actually inspired by one of the most questionable moments in American history. However, the time period in which Star Wars creator George Lucas first wrote what became this world’s ‘‘first step into a larger world’’ actually greatly reflected what ended up on the big screen. Even though the Star Wars movies take place ‘‘a long time ago in a galaxy far, far away….,’’ it has been publicly stated in interviews that Lucas based both Star Wars media on the Vietnam War and their main villain, Darth Sidious, on former U.S. President Richard Nixon. Though there have been a few scholarly works since the first Star Wars movie was released in theaters in 1977 that have attempted to explore these parallels, none of them has directly explored how Lucas’s long-standing views on the Vietnam War affected certain key moments of the first six Star Wars movies. This thesis explores George Lucas’ antiwar activism before creating Star Wars to demonstrate how remarkably similar the films and related media of this franchise truly are to both various aspects of the Vietnam War and Richard Nixon’s rise to power. -
Return-Of-The-Jedi-Press-Kit2.Pdf
www.knowitalljoe.com "THE STAR WARS SAGA ON LOCATION" Feature -2- British production designer Norman Reynolds, a double Oscar winner for STAR WARS ana RAIDERS OF THE LOST ARK, was given a million dollar budget to clear the valley of vegetation and construct a four acre stockade to house his 30,000 square foot platform which is topped by a sixty foot, fully-rigged, anti-gravity Sail Barge. The true significance of this set will remain a closely kept secret until RETURN OF THE JEDI opens on May 25, 1983. The JEDI crew was in the area for six months, employing more than fifty local residents ana pumping more than two million dollars into the local economy. Associate to the Producer Louis Friedman was relieved to discover that, almost without exception, "I could find anything we needed locally. I just had to look a bit longer ana harder." Assistant art director Chris Campbell concurs: "The merchants here really helped us a lot. They realized that with an operation of this size, when we ord~red a product, we needed it all-- not just a gallon or two." Some of the things they needed were two million gallons of water (drawn from the All American Canal) to continually dampen down and grade the only possible access road and sixteen thousand pounds of nails to keep the massiv~ Sail Barge structure steady. (More) "THE STAR WARS SAGA ON LOCATION" ... Featur e -3- The filming of the compl ex action and special effects sequence was completed in two weeks, exactly as planned despite daytime temper qtures of 120° and two days of intermittent sandstorms with sixty mile per hour winds which sent the one hundred twenty-five member cast and crew running for cover. -
Attila Szalay
DUWAYNE DUNHAM EDITOR FEATURES THE TURNING Amblin Entertainment Prod: Scott Bernstein, Roy Lee, John Middleton Dir: Floria Sigismondi IMPRISONED Equitas Entertainment Prod: Anisi Tannaz, Walter Josten Dir: Paul Kampf K-11 Libertine Fims Prod: Tom Wright Dir: Jules Stewart WILD AT HEART The Samuel Goldwyn Company Prod: Monty Montgomery, Steve Golin, Dir: David Lynch *Winner Palm D’Or Cannes Film Festival Joni Sighvattson BILL AND TED’S EXCELLENT Orion Pictures Prod: Scott Kroopf, Rober Cort Dir: Stephen Herek ADVENTURE *Additional Editor CHERRY 2000 Orion Pictures Prod: Ed Pressman, Caldecott Chub Dir: Steve Dejarnatt THROW MAMA FROM THE TRAIN Orion Picutres Prod: Arne Schmidt, Larry Brezner Dir: Danny DeVito *Additional Editor BLUE VELVET De Laurentiis Entertainment Group Prod: Dino De Laurentiis, Fred Caruso Dir: David Lynch THE MEAN SEASON Orion Pictures Prod: David Foster, Larry Turman Dir: Philip Borsos STAR WARS: RETURN OF THE JEDI Lucasfilm Prod: George Lucas, Howard Kazanjian Dir: Richard Marquand DRAGONSLAYER Paramount Pictures Prod: Hal Barwood, Howard W. Koch Dir: Matthew Robbins *Assistant Editor RAIDERS OF THE LOST ARK Paramount Pictures Prod: George Lucas, Howard Kazanjian Dir: Steven Spielberg *Assistant Editor *Academy Award Winner Best Film Editing STAR WARS: THE EMPIRE STRIKES Lucasfilm Prod: George Lucas, Howard Kazanjian Dir: Irvin Kershner BACK *Assistant Editor MORE AMERICAN GRAFFITI Lucasfilm Prod: George Lucas, Howard Kazanjian Dir: Bill Norton *Assistant Editor THE BLACK STALLION United Artists Prod: Fred Roos, -
Common-Sense-Media-Best-Family
INSIDE FRONT COVER This guide was funded through the generous support of First Republic Bank, a proud sponsor of Common Sense. First Republic Bank is a full-service private bank specializing in personal banking and lending, business banking, and wealth advisory services. Its mission is simple: to provide extraordinary service on a one-to-one basis, with decisions made quickly and solutions customized to meet individual needs. ©2016 Common Sense Media. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information-storage-and- retrieval systems, without permission from Common Sense Media. Common Sense 650 Townsend Street, Suite 435 San Francisco, CA 94103 www.commonsense.org First Edition. Printed in U.S.A. ISBN 978-0-692-60552-3 Common Sense Media is the nation’s leading independent organization dedicated to helping kids thrive in a world of media and technology. We help families make smart media choices by offering the largest, most trusted library of independent age-based and educational ratings and reviews for movies, games, apps, TV shows, websites, and books. Our parent resources and advice help families understand and navigate the challenges and possibilities of raising children in the digital age. www.commonsense.org Dear Friends, At Common Sense Media, we know every family and every kid is different — but all families need trustworthy information to make great media choices. Because media profoundly affects our kids’ social, emotional, and physical development, Common Sense Media rates media based on both age-appropriateness and quality. We rely on child-development criteria from some of the nation’s leading authorities to determine what content is appropriate for which ages. -
DROIDMAKER George Lucas and the Digital Revolution
DROIDMAKER George Lucas and the Digital Revolution DROIDMAKER George Lucas and the Digital Revolution Michael Rubin Triad Publishing Company Gainesville, Florida Copyright © 2006 by Michael Rubin All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, digital, mechanical, photocopying, recording, or otherwise, without the written permission of the publisher. For information on permission for reprints and excerpts, contact Triad Publishing Company: PO Box 13355, Gainesville, FL 32604 http://www.triadpublishing.com To report errors, please email: [email protected] Trademarks Throughout this book trademarked names are used. Rather than put a trademark symbol in every occurrence of a trademarked name, we state we are using the names in an editorial fashion and to the benefit of the trademark owner with no intention of infringement. Library of Congress Cataloging-in-Publication Data Rubin, Michael. Droidmaker : George Lucas and the digital revolution / Michael Rubin.-- 1st ed. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-937404-67-6 (hardcover) ISBN-10: 0-937404-67-5 (hardcover) 1. Lucas, George, 1944—Criticism and interpretation. 2. Lucasfilm, Ltd. Computer Division — History. I. Title. PN1998.3.L835R83 2005 791.4302’33’092—dc22 2005019257 9 8 7 6 5 4 3 2 1 Printed and bound in the United States of America Contents Author’s Introduction: High Magic. vii Act One 1 The Mythology of George. .3 2 Road Trip . .19 3 The Restoration. 41 4 The Star Wars. 55 5 The Rebirth of Lucasfilm . 75 6 The Godfather of Electronic Cinema. .93 Act Two 7 The Visionary on Long Island. -
12 Years a Slave (Steve Mcqueen, 2013): Redefining the Contours of the Classic Biopic? Anne-Marie Paquet-Deyris
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2018 Slavery on Screen / American Women Writers Abroad: 1849-1976 Electronic version URL: http://journals.openedition.org/transatlantica/11425 DOI: 10.4000/transatlantica.11425 ISSN: 1765-2766 Publisher AFEA Electronic reference Transatlantica, 1 | 2018, “Slavery on Screen / American Women Writers Abroad: 1849-1976” [Online], Online since 27 August 2018, connection on 29 April 2021. URL: http://journals.openedition.org/ transatlantica/11425; DOI: https://doi.org/10.4000/transatlantica.11425 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. 1 TABLE OF CONTENTS L’esclavage à l’écran / Slavery on Screen Dirigé par Michaël Roy et Philip Kaisary / Edited by Michaël Roy and Philip Kaisary Introduction« A hole in the canon of cinema » ? L’esclavage nord-américain à l’écran Michaël Roy From Uncle Tom to Nat Turner: An Overview of Slavery in American Film, 1903-2016 Melvyn Stokes « Spirit of the dead, rise up! […] and claim your story ». Représentation de l’esclavage et esthétique de la résistance dans Sankofa (Haile Gerima, 1993) Claire Dutriaux Confronting Race Head-on in 12 Years a Slave (Steve McQueen, 2013): Redefining the Contours of the Classic Biopic? Anne-Marie Paquet-Deyris “Queen of the fields”: Slavery’s Graphic Violence and the Black Female Body in 12 Years a Slave (Steve McQueen, 2013) Hélène Charlery The Birth of a Nation (Nate Parker, 2016): The Tale of Nat Turner’s Rebellion Delphine Letort American Women Writers Abroad: 1849-1976 Edited by Stéphanie Durrans American Women Writers Abroad: Myth and Reality Stéphanie Durrans In, Out, and Beyond: Dislocation, Contamination and the Redemptive Power of Womanhood in California, In-doors and Out by Eliza W. -
Vom Film Noir Zur Méthode Noir. Die Evolution Filmischer Schwarzmalerei
Burkhard Röwekamp Vom film noir zur méthode noir Die Evolution filmischer Schwarzmalerei Für Raja Valerie Burkhard Röwekamp Vom film noir zur méthode noir Die Evolution filmischer Schwarzmalerei Die Deutsche Bibliothek – CIP-Einheitsaufnahme Die deutsche Bibliothek verzeichnet diese Publikation in der deutschen Nationalbibliographie; detaillierte bibliografische Daten sind im Internet unter http://dnd.ddb.de abrufbar. Schüren Verlag Universitätsstraße 55 · D-35037 Marburg www.schueren-verlag.de © Schüren 2002 Alle Rechte vorbehalten Gestaltung: Erik Schüßler Druck: WB-Druck Rieden Printed in Germany ISBN 3-89472-344-0 Inhalt Vorwort Einleitung 7 1 Film noir – Eine Erfindung 15 1.1 Erste Annäherungen 19 1.1.1 Frankreich 19 1.1.2 USA 20 1.1.3 Filmkritik und Filmwissenschaft 23 1.1.4 Exkurs: Subjektivität, Film und subjektivierendes Verfahren 26 1.1.5 Post Scriptum Ante 36 1.2 Kontexte 36 1.2.1 Moderne Krisen 36 1.2.2 Moderne Filmwirtschaft I: USA 38 1.2.3 Moderne Filmwirtschaft II: Europa und Frankreich 42 1.3 Beispiele 45 1.3.1 Reflexion: A BOUT DE SOUFFLE und TIREZ SUR LE PIANISTE 45 1.3.2 Hommage: CHINATOWN 51 1.3.3 Re-Vision: TAXI DRIVER 53 1.3.4 Stilisierung: BLADE RUNNER 56 1.3.5 Selbstreflexivität: PULP FICTION 60 1.4 Filmwissenschaft 64 1.5 Grenzüberschreitung 68 1.5.1 Funktion und Bedeutung 69 2 Film noir – Eine Umschrift 75 2.1 Stil 75 2.1.1 Film noir: Wille oder Vorstellung? 76 2.1.2 Stilistische Optionen 77 2.1.3 Film noir als oppositionelle Methode 79 2.1.4 Captain Future? 81 2.1.5 Vom Chiaroscuro zum Farbdesign 82 2.1.6 Die