Costume Designers Guild to Margaret

Total Page:16

File Type:pdf, Size:1020Kb

Costume Designers Guild to Margaret PRESIDENT .;,0;;"'';:;;0 in Paris with news for her comrades of the in Moscow, Ninotchka famously announced at "There are going to be fewer but better Russians." As the result of a new approach to membership insti­ tuted this spring, the Academy is moving toward a similar declaration. Before anyone becomes too alarmed, though, I should make clear that there won't be any purges. This is a Fabian revolution, in which time is going to be allowed to do most of the heavy lifting. And the new system won't really give us "fewer" Academy members; it will only rein in the organization's rapid and somewhat unstructured growth in recent decades. Basically, what we began doing this year is to give each branch or other subsection of membership a target number of candidates to accept for membership. The numbers will vary from year to year, because they will be based on the number of active members we lose through death, the selection of retired status, etc. Some deliberate slack in the system will allow for (but not mandate) a mod­ est growth in membership each year. In the past, we've essentially asked the various member­ ship committees to endorse as many candidates for member­ ship as they cared to, so long as those candidates met the min­ imum requirements in their areas. Now we're asking the committees to give us only their very strongest candidates. Tllis year's 127 new invitees (most of whom will have accepted their invitation by the time you read this) are list­ RAY HARRYHAUSEN WITH ed on page 20. I think you'll find it an impressive roster CHARACTERS HE CREATED - diverse, youngish and fornlidably talented. You will rec­ FOR "THE TORTOISE AND ognize the names of all the inductees who work in your THE HARE." THE MODELS WERE ON DISPLAY IN THE own area, and most of those who've made their marks in ACADEMY'S GRAND LOBBY other parts of the industry. WHEN HARRYHAUSEN Another 25 years like this one and we'll all have even DELIVERED THE PAL more reasons to be proud to identify ourselves as mem­ LECTURE IN APRIL. bers of the Academy. SEE STORY ON PAGE 7. -FRANK PIERSON ACADEMY QUARTERLY REPORT Published by the Academy of Motion Picture Arts and Sciences 8949 Wilshire Boulevard , Beverly Hills, California 90211-1972 (310) 247-3000 • www.oscars.org PRESIDENT . Frank R. Pierson FIRST VICE PRESIDENT ...... Sid Ganis VICE PRESIDENT ........ .. • . • . Gilbert Cates VICE PRESIDENT . Cheryl Boone Isaacs TREASURER . • . • . • . • . • . • . • . • . Kathy Bates SECRETARY . Donald C. Rogers EXECUTIVE DIRECTOR ........................................... Bruce DaviS Photos: unless otherwise identified, by Long Photography Design: Lisa Carlsson, Carlsson & Company, Inc. Oscare, Oscars· , Academy Awards· , Academy Award" , A.M.P.AS· , and Oscar Nigh are the trademarks, and the Oscar statuette is the registered design mark and copyrighted property of the Academy of Motion Picture Arts and Sciences. 2 A C ADEMY QUARTERLY REPORT· VOL U ME 1 6 Thirteen winning ceremony in the Samuel Goldwyn Theater on Sunday students from nine evening. colleges and universi­ At the ceremony, the 1 ,012-seat Goldwyn was filled. ties (the fourteenth win­ Clips from the bronze and silver medal-winning films were ner was in Europe on shown and the gold medal films and the foreign student her honeymoon) partici­ film were screened in their entirety - a chance to see, as pated in five days of Academy President Frank Pierson said, "astonishing industry-related activities work by these people who are sneaking up on us to take WINNERS MARK RESERVED SEAT CARDS FOR THEIR GUESTS PRIOR and social events that our jobs away." TO THE CEREMONY. culminated in the 31 st For the students, it was, as animation silver winner Annual Student Academy Awards presentation in the Sukwon Shin said, "the greatest moment of my life." Samuel Goldwyn Theater, the Academy's annual "I've lost all bodily functions," said alternative gold June highlight. winner Robert Castillo. "I can't feel my hands." When they got to town , only one of the students, But sensation came back. Castillo accepted as one Laurits Munch-Petersen from the National Film School of of "the little guys out there Denmark, the winner of the Honorary Foreign Student Film who didn't get picked for Award, knew what he'd won. The U. S. students knew the basketball team or they'd won something, but they didn't know the level of their couldn't get a date to the award - gold, silver or bronze - until it was revealed at prom - that's me. the ceremony. "But now here I am! I feel That kept them humble while they met with each other, ten feet taiL" members of the Student Academy Awards Executive The American students Committee, Academy Governors, cinematographers and first competed in one of three regional com- others during their whirlwind five days in Hollywood. petitions, with each region permitted to send up to three They got a bird's-eye view of Beverly Hills from atop films in each of the four categories for Academy members the Loew's Beverly Hills Hotel the Wednesday they arrived, to watch and vote to select the winners. greeted by members of the executive committee and "This really is an amazing thing the Academy does," Academy staff with whom they would interact over the next said presenter Pete Docter. "You don't see the Student few days; saw each other's films Thursday morning and Nobel Prizes, do ya?" toured Warner Bros. Studios in the afternoon; hobnobbed Besides trophies, gold medalists receive $5,000, with cinematographers during a Friday morning visit to the silver medalists are awarded $3,000 and bronze medal American Society of Cinematographers; passed out busi­ recipients are presented with $2,000. ness cards with abandon at the Governors Dinner at the The Honorary Foreign Film winner was picked, Beverly Hills Hotel on Friday evening, and got the skinny again by members of the Academy, from a on the changing face of image capture at Eastman Kodak record pool of 39 submissions from 23 on Saturday. That left them with countries. This was the fourth time that a one afternoon and evening student film from Denmark won the award. free before the presentation GOVERNOR JUNE FORAY, CHAIR OFTHE STUDENT ACADEMY AWARD EXECUTIVE COMMITIEE, WITH PRE­ SENTER (AND 1992 SAA WINNER) PETE DOCTER AT THE CEREMONY RECEPTION. ALTERNATIVE Gold: "S.PI.C.: The Storyboard ~ GOVERNOR OWEN ROIZMAN (AND SUNDAY of My Life," Robert Castillo, NIGHT AWARDS School of Visual Arts, New York CEREMONY PRESENTER) WITH NARRATIVE CATE­ Silver: "Focus," GORY SILVER MEDAL Bill Ridlehoover and Nilanjan (Neil) Lahiri, WINNER DANA BUNING, CENTER, AND GUEST Savannah College of Art and Design, Georgia IVETTE GARCIA DAVILA (No Bronze medal was awarded.) AT THE FRIDAY NIGHT GOVERNORS DINNER. ANIMATION Gold: "Rex Steele: Nazi Smasher," New York University 'Y ACADEMY PRESIDENT FRANK PIERSON WITH Alexander Woo, NARRATIVE GOLD MEDAL WINNER RANDALL DOTTIN AT THE PRESENTATION CEREMONY RECEPTION. Silver: "Rock the World," ~ MICHAEL BARKER, Sukwon Shin, School of Visual Arts, New York CO-PRESIDENT OF SONY PICTURES Bronze: "Lemmings," CLASSICS, CENTER, Craig Van Dyke, WHO PRESENTED CERTIFICATES AT THE Brigham Young University, Provo, Utah NEW YORK REGIONAL FINALS, WITH FINAL­ ISTS JOE TURNER DOCUMENTARY LIN, LEFT, AND JULIE Gold: "Cheerleader," ANNE MEERSCHWAM. Kimberlee Bassford, University of California, Berkeley Silver: "When the Storm Came," Shilpi Gupta, University of California, Berkeley .. GOVERNOR J. PAUL HUNTSMAN, LEFT, AND Bronze: "Cuba: Illogical Temple," 'Y GOVERNOR (AND PRESENTER) ARTHUR DONG WITH HIS WIFE, JESSICA DOCUMENTARY SILVER WINNER SHILPI GUPTA. David Pittock and Lindsey Kealy, GALLAVAN, WITH University of Nebraska, Lincoln NILANJAN LAHIRI, SILVER MEDAL WINNER IN THE NARRATIVE ALTERNATIVE CATEGORY AT THE Gold: "A-Alike," GOVERNORS DINNER. Randall Dottin, Columbia University Silver: "Zeke," Dana Buning, Florida State University, Tallahassee Bronze: "The Plunge," Todd Schulman, Florida State University, Tallahassee HONORARY FOREIGN STUDENT FILM AWARD "Between Us," Laurits Munch-Petersen, National Film School of Denmark UARTE R LY REPORT - SECOND QUA RTE R 2004 5 "The Secret Life of Sets: Set Decorators at ork," a unique exhibition celebrating the art of contemporary set decoration, was featured in the Grand Lobby and Fourth Floor galleries of the Academy, May through August. Eight distinct areas in the Fourth Floor Gallery contained the set dressing and prop items created for their respective mms. These interactive environments included video clips from the fllms and interview footage with the set decorators. Also in the Fourth Floor Gallery were a photographic tour of the profession of set dec­ oration shot by Ken Haber, a three-dimensional "decorator's work space" and an area dedicated to the numerous craftspeople with whom set decorators regularly collaborate. The Grand Lobby Gallery featured two­ dimensional production materials, such as set photographs, production drawings and other process materials, for over a dozen recent titles. A history pavilion, featuring photographs and a specially created short film, showcased many landmark achievements in production design and set decoration. "The Secret Life of Sets" was organized in association with the Set Decorators' Society of America and presented with the support of ArclJitectural Digest and ShdfP. SET DECORATORS WHO ATTENDED THE EXHIBITION'S OPENING RECEPTION IN MAY INCLUDED, TOP TO BOTTOM, LAURI GAFFIN ("CHARLIE'S ANGELS: FULL THROTTLE"), K.C. FOX ("CHEAPER BY THE DOZEN"), AND ROSEMARY BRANDENBURG ("THE HAU NTED MANSION"). 6 ACA D EMY QUA RTE RLY R EPO RT · VOLUME 16 13 Y,ars Old? W,I(om, to th, 60ldwyn The Board of Governors has The minimum age does not apply dropped the minimum age of attendees to "fami ly screenings" of appropriate at the Academy's theaters from 16 to 13.
Recommended publications
  • 2018-19 SEASON Celebrating 30 Years
    2018-19 SEASON Celebrating 30 Years OPENING NIGHT Proving Up NEW YORK PREMIERE MUSIC BY Missy Mazzoli LIBRETTO BY Royce Vavrek Adapted from the short story “Proving Up” by Karen Russell Co-commissioned by Washington National Opera, Opera Omaha, and Miller Theatre at Columbia University © 2018 G. Schirmer Inc. IN A NEW PRODUCTION BY OPERA OMAHA Wednesday, September 26, 8 p.m. | Friday, September 28, 8 p.m. Click on a section to learn more OVERVIEW SYNOPSIS CREATIVE TEAM CAST PRODUCTION PHOTOS OVERVIEW Proving Up Wednesday, September 26, 8 p.m. | Friday, September 28, 8 p.m. The performance runs approximately 75 minutes with no intermission. Composer Missy Mazzoli and librettist Royce Vavrek thrilled audiences and critics alike in 2016 with the premiere of their opera Breaking the Waves. This dynamic creative duo reunites for Proving Up, a harrow- ing tale of a family’s pursuit of the American Dream set in post-Civil War Nebraska. Miller’s 30th Anniver- sary Season opens with the New York premiere of this chamber opera that is by turns optimistic, exultant, and menacing. Major support for Proving Up is provided by Francis Goelet Charitable Lead Trusts and H.F. Lenfest Fund of The Philadelphia Foundation Introducing Proving Up A CONVERSATION WITH MISSY MAZZOLI AND ROYCE VAVREK Tuesday, September 25, 6:30 p.m. | Lenfest Center for the Arts On the eve of the New York premiere of their newest opera, Proving Up, the dynamic creative duo sits down with Associate Dean and Executive Director Melissa Smey to talk about the project, their creative process, and their inspiration.
    [Show full text]
  • El Star System Y La Moda La Influencia De Los Idolos Y Las Estrellas De Cine En La Moda
    PROYECTO DE GRADUACION Trabajo Final de Grado El Star System y la Moda La influencia de los idolos y las estrellas de cine en la moda Camila Souse Cuerpo B del PG 16-12-2010 Diseño Textil y de Indumentaria Facultad de Diseño y Comunicación Universidad de Palermo 1 Agradecimientos Se agradece profundamente la colaboración del profesor e historiador de moda Claudio Martínez, quien, aunque hoy ya no nos acompaña, fue un gran apoyo tanto para elección del tema como para la construcción de este Proyecto de Graduación. También se agradece al profesor Gustavo Valdés de León por las tantas correcciones a lo largo del Proyecto de Grado. 2 Pregunta del PG: ¿Qué cambios, tanto sociológicos como en la industria de la moda se logran ver en el vestuario del cine entre la década del ’30 y la actualidad? Índice: Introducción……………………………………………………………………………………………………………………………………p.5 Capítulo 1. Star System en Estados Unidos………………………………………………………p.9 1.1 La moda 1.2 Comienzos del Star System 1.3 Star System 1.4 Fin del Star System Capítulo 2. Las estrellas, los Ídolos y la Moda…………………………………p.20 2.1 Las Estrellas 2.1.1 Joan Crawford 2.1.2 Greta Garbo 2.1.3 La Segunda Guerra Mundial y el cine 2.1.4 El Pret-a-Porter en el cine 2.2 Los ídolos 2.2.1 Clark Gable 2.2.2 Humphrey Bogart 2.2.3 James Dean 3 2.2.4 Marlon Brando 2.3 Diseñadores relacionados Capítulo 3. Accesorios………………………………………………………………………………………………………p.39 3.1 Los zapatos 3.2 Los sombreros 3.3 Otros accesorios 3.3.1 El guante 3.3.2 El perfume 3.3.2 Las joyas Capítulo 4.
    [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]
  • September-0Ctober 2013
    september-0ctober 2013 On September 10, 1988, Museum of the As we enter our 25th anniversary year, I while doing the rounds through the Moving Image opened its doors to the can tell you that it has been a thrilling ride galleries, and then repair a video arcade public. At the time, years before the for the Museum, at least as action-packed game. He was a true professional, but will promise of the Internet and digital media as The Great Train Robbery. We have be best remembered as a great husband, were captured in the now-quaint phrase transformed and expanded over the years father, and friend, and he will be missed. “Information Superhighway,” the idea of a to serve a growing audience and to offer an We will pay tribute to Richie on October Museum, built on an historic site for movie increasingly ambitious slate of exhibitions, 4 at an event to mark the opening of a production, that would take a unified view screenings, and education programs. wonderful photo exhibit, The Booth, about of the disparate worlds of film, television, Our film programs range from the best projectionists and their workspaces. and video games, seemed as audacious as of classic Hollywood—as in our complete it was unprecedented. There was, simply, Howard Hawks retrospective—to the best Richie was a great showman; more than no museum like it in the world. It was an of contemporary world cinema—as in our anything at the Museum, he was obsessed innovative blend of a science museum, focus on the great French director Claire with making sure that we put on the best an art museum, a technology museum, Denis.
    [Show full text]
  • Academy Administration Chief Executive Officer Dawn Hudson Administrator, Office of the CEO Cheryl Marshall Chief Operating Offi
    Academy Administration Director, Science and Committees 2010-2011 General Membership Committee Music Branch Executive Committee Headquarters Chief Executive Officer Technology Council Actors Branch Executive Committee Sid Ganis, Chair Bruce Broughton, Chair 8949 Wilshire Boulevard Dawn Hudson Andrew Maltz Annette Bening, Chair Beverly Hills, California 90211 Subcommittee on Agents New York Events Committee Administrator, Office of the CEO Director, Nicholl Fellowships Art Directors Branch Executive Lawrence Mirisch, Chair Bud Rosenthal, Chair Phone: (310) 247-3000 Cheryl Marshall Greg Beal Committee E-mail: [email protected] Rosemary Brandenburg, Chair Subcommittee on Nicholl Fellowships Committee Website: www.oscars.org Chief Operating Officer Director of Educational Programs Casting Directors Gale Anne Hurd, Chair Academy Awards website: Ric Robertson and Special Projects Audit Committee David Rubin, Chair www.oscar.com Randy Haberkamp Robert Rehme, Chair Producers Branch Executive Chief Marketing Officer Subcommittee on Music Committee Christina Kounelias Director of Exhibitions and Awards Review Committee Supervisors Mark Johnson, Chair Fairbanks Center for Motion Special Events Sid Ganis, Chair Bruce Broughton, Chair Picture Study Controller Ellen M. Harrington Public Relations Branch Executive 333 South La Cienega Boulevard Andy Horn Awards Rules Committee Subcommittee on Stunt Committee Beverly Hills, California 90211 Director of Information Technology Phil Robinson, Chair Coordinators Marvin Levy, Chair Managing Director of Membership
    [Show full text]
  • The Good German the DEPARTED
    SDSA_cover_&inside.qxd:Layout 1 12/8/06 11:50 AM Page 1 SET DECOR Winter Set Decorators Society of America Winter 2006 2006 stranger than fiction www.setdecor.com The Good German $5.95 www.setdecor.com THE DEPARTED SDSA_cover_&inside.qxd:Layout 1 12/8/06 11:51 AM Page 2 Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 1 Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 2 This event is not affiliated with, or endorsed by, the Academy of Motion Pictures Arts and Sciences. The Alex Theatre is non-pr Alex The Arts and Sciences. Academy of Motion Pictures the with, or endorsed by, This event is not affiliated ofit, 501 (c) organization. Photo courtesy Ken Haber The Set Decorators Society of America and the Alex Theatre are proud to present the RED CARPET GALA: For People who Make Movies and People who Watch Them Please join us on our Red Carpet for an evening of Academy Awards® viewing and celebrating! Hors d’Oeuvres & Desserts 4:30 pm February 25th 2007 Alex Theatre 216 North Brand Boulevard Glendale CA Box Office 818.243.2539 • Online ticketing: www.alextheatre.org Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 3 Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 4 Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 5 Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 6 contents Set Decorators Society of America Winter 2006 48 26 30 16 56 38 60 Film decor 16 THE GOOD SHEPHERD Gretchen Rau Elaine O’Donnell SDSA, Leslie E Rollins SDSA, Alyssa Winter A glimpse of the art of giving behind the art of storytelling 26 BOBBY Lisa Fisher SDSA In its final performance the
    [Show full text]
  • The Designers of Herman Miller
    the designers of herman miller book design proposal It is clear through a careful examination of the Herman Miller The design of this book seeks to utilize the same philosophies Company’s history and body of work, the astute attention that and ideologies that the designers of Herman Miller ap- is paid to detail in everything that they design. The unique fo- proached their work with. To reflect the simplicity, modernism cus on both function and form is what initially set the Herman and attention to detail that they exhibit in their work in the de- Miller Company apart form other furniture manufacturers. Un- sign and handling of the book. The book should pay homage der the direction of George Nelson, brilliant designers— to the work and careers of the famous Herman Miller designers Charles and Ray Eames, Isamu Noguchi, Alexander Girard and and reflect their personalities and approach to the problem of others, were able to bring modernism to the forefront of the creating something both functional and visually appealing. design world while creating beautiful and lasting pieces of fur- The book will utilize ample white space and simple, consis- niture. As Nelson said in during his final project, “the aim of the tent layouts, letting the furniture and the rich history of the Her- design process is always to produce an object that does some- man Miller Company become the focus of the piece. The de- thing. In problem solving, the limitations are far more impor- sign should reflect the openness of the Herman Miller tant than the freedoms… The only creative freedom that is designers.
    [Show full text]
  • Evangelical Christian Higher Education, Culture, and Social Conflict: a Niebuhrian Analysis of Three Colleges in the 1960'S
    Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1992 Evangelical Christian Higher Education, Culture, and Social Conflict: A Niebuhrian Analysis of Three Colleges in the 1960's David Larsen Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the Education Commons Recommended Citation Larsen, David, "Evangelical Christian Higher Education, Culture, and Social Conflict: A Niebuhrian Analysis of Three Colleges in the 1960's" (1992). Dissertations. 3231. https://ecommons.luc.edu/luc_diss/3231 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1992 David Larsen LOYOLA UNIVERSITY CHICAGO EVANGELICAL CHRISTIAN HIGHER EDUCATION, CULTURE, AND SOCIAL CONFLICT: A NIEBUHRIAN ANALYSIS OF THREE COLLEGES IN THE 1960S A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF EDUCATION IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF EDUCATIONAL LEADERSHIP AND POLICY STUDIES BY DAYID LARSEN CHICAGO, ILLINOIS MAY, 1992 ACKNOWLEDGMENTS The author gratefully acknowledges the encouragement and insights offered by the director of this dissertation and the members of the committee, people who embody in their scholarship, teaching, and conversation both wit and wisdom. The staff members of the archive collections at Calvin, Goshen, and Wheaton Colleges were always ready and willing to converse and assist. They clearly love their work. My friends and colleagues at Trinity Christian College were supportive through their prayers, interest, and willingness to read whatever I gave them.
    [Show full text]
  • ACADEMY MUSEUM of MOTION PICTURES Collection Highlights
    ACADEMY MUSEUM OF MOTION PICTURES Collection Highlights OVERVIEW The Academy Museum will draw from the unparalleled collection of the Academy of Motion Picture Arts & Sciences, which contains a vast range of motion picture production and history-related objects and technology, works on paper, still and moving images covering the history of motion picture in the United States and throughout the world. The collections include more than 12 million photographs, 190,000 film and video assets, 80,000 screenplays, 61,000 posters, and 104,000 pieces of production art. The collection also includes more than 1,600 special collections of film legends such as Cary Grant, Katharine Hepburn, Alfred Hitchcock, and John Huston. These special collections contain production files, personal correspondence, clippings, contracts, manuscripts, scrapbooks, storyboards, and more. The Academy’s collecting divisions work collaboratively to acquire, preserve, digitize, and exhibit the broad range of materials entrusted to their care by generations of filmmakers and collectors. The Academy Museum has actively been acquiring three-dimensional motion picture objects since 2008. Its holdings now number approximately 2,500 items representing motion picture technology, costume design, production design, makeup and hairstyling, promotional materials and memorabilia, and awards. MOTION PICTURE TECHNOLOGY The collection includes examples of pre-cinema devices, early and modern motion picture cameras and projectors, sound, editing and lighting equipment, and other landmark
    [Show full text]
  • Inside the Office of Charles and Ray Eames L E C T U
    LECTURE MAX UNDERWOOD INSIDE THE OFFICE OF CHARLES AND RAY EAMES “ o not seek to follow in the footsteps of Eames legacy, it is important to examine the masters. Seek what they sought.” 1 what occurred inside the Office of Charles D MATSUO BASHO, ZEN POET (1644–1694). and Ray Eames, for it is primarily the incu- bation itself, enshrined by Charles and Ray The mere mention of CHARLES and R AY Eames, that gave birth to such as plethora EAMES delivers to an older generation an of ideas, innovative processes, profound in- immediate, collective smile. Countless of sights, and landmark creative works. us from a not-so-distant era remember with fondness our first experiences of their in- Charles and Ray: the formative years “I don’t novative designs, or “gifts,” as the Eameses believe in this ‘gifted few’ concept, just in affectionately referred to their creative people doing things they are really interest- works.2 We lovingly recall relaxing within ed in doing. They have a way of getting good the embrace of an Eames Lounge Chair and at whatever it is.” 4 Ottoman (1956), vividly remember watch- CHARLES EAMES. ing with childlike wonder the exponential journey in the film, Powers of Ten (1977), or As we look back on the formative years of fondly relive the silent approach, through a Charles and Ray’s lives, prior to the founding flowering meadow and a magically-lifting of their office in 1941, we are immediately coastal fog, to the mythical Eames House struck not only by the wealth of their lived itself (Arts and Architecture Case Study experiences, but by their perseverance and House #8, 1949).
    [Show full text]
  • PRESS Graphic Designer
    © 2021 MARVEL CAST Natasha Romanoff /Black Widow . SCARLETT JOHANSSON Yelena Belova . .FLORENCE PUGH Melina . RACHEL WEISZ Alexei . .DAVID HARBOUR Dreykov . .RAY WINSTONE Young Natasha . .EVER ANDERSON MARVEL STUDIOS Young Yelena . .VIOLET MCGRAW presents Mason . O-T FAGBENLE Secretary Ross . .WILLIAM HURT Antonia/Taskmaster . OLGA KURYLENKO Young Antonia . RYAN KIERA ARMSTRONG Lerato . .LIANI SAMUEL Oksana . .MICHELLE LEE Scientist Morocco 1 . .LEWIS YOUNG Scientist Morocco 2 . CC SMIFF Ingrid . NANNA BLONDELL Widows . SIMONA ZIVKOVSKA ERIN JAMESON SHAINA WEST YOLANDA LYNES Directed by . .CATE SHORTLAND CLAUDIA HEINZ Screenplay by . ERIC PEARSON FATOU BAH Story by . JAC SCHAEFFER JADE MA and NED BENSON JADE XU Produced by . KEVIN FEIGE, p.g.a. LUCY JAYNE MURRAY Executive Producer . LOUIS D’ESPOSITO LUCY CORK Executive Producer . VICTORIA ALONSO ENIKO FULOP Executive Producer . BRAD WINDERBAUM LAUREN OKADIGBO Executive Producer . .NIGEL GOSTELOW AURELIA AGEL Executive Producer . SCARLETT JOHANSSON ZHANE SAMUELS Co-Producer . BRIAN CHAPEK SHAWARAH BATTLES Co-Producer . MITCH BELL TABBY BOND Based on the MADELEINE NICHOLLS MARVEL COMICS YASMIN RILEY Director of Photography . .GABRIEL BERISTAIN, ASC FIONA GRIFFITHS Production Designer . CHARLES WOOD GEORGIA CURTIS Edited by . LEIGH FOLSOM BOYD, ACE SVETLANA CONSTANTINE MATTHEW SCHMIDT IONE BUTLER Costume Designer . JANY TEMIME AUBREY CLELAND Visual Eff ects Supervisor . GEOFFREY BAUMANN Ross Lieutenant . KURT YUE Music by . LORNE BALFE Ohio Agent . DOUG ROBSON Music Supervisor . DAVE JORDAN Budapest Clerk . .ZOLTAN NAGY Casting by . SARAH HALLEY FINN, CSA Man In BMW . .MARCEL DORIAN Second Unit Director . DARRIN PRESCOTT Mechanic . .LIRAN NATHAN Unit Production Manager . SIOBHAN LYONS Mechanic’s Wife . JUDIT VARGA-SZATHMARY First Assistant Director/ Mechanic’s Child . .NOEL KRISZTIAN KOZAK Associate Producer .
    [Show full text]
  • Constructs of Gender and Female Sexuality in Post WWII American and European Cinema
    City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 6-2021 Sartorial Semiotics: Constructs of Gender and Female Sexuality in Post WWII American and European Cinema Patricia Cabral The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4392 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SARTORIAL SEMIOTICS: CONSTRUCTS OF GENDER AND FEMALE SEXUALITY IN POST WWII AMERICAN AND EUROPEAN CINEMA by PATRICIA CABRAL A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2021 ii © 2021 PATRICIA CABRAL All Rights Reserved iii SARTORIAL SEMIOTICS: CONSTRUCTS OF GENDER AND FEMALE SEXUALITY IN POST WWII AMERICAN AND EUROPEAN CINEMA by Patricia Cabral This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts _____________________________ _________________________________________ Date Eugenia Paulicelli Thesis Advisor _____________________________ _________________________________________ Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iv Abstract Sartorial Semiotics: Constructs of Gender and Female Sexuality in Post WWII American and European Cinema By Patricia Cabral Advisor: Dr. Eugenia Paulicelli Cinematic costume design functions as a system of visually-perceived, material and indexical signifiers, an effective and compelling language further informed by styling and embodiment.
    [Show full text]