Cinema: Reframed, Restored & Rediscovered, 26
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations
Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel -
Animação Em Stop-Motion
THIAGO FRANCO RIBEIRO Animação em stop-motion : Tecnologia de produção através da história Belo Horizonte Escola de Belas Artes 2009 THIAGO FRANCO RIBEIRO Animação em stop-motion : Tecnologia de produção através da história Dissertação apresentada ao Curso de Mestrado da Escola de Belas Artes da Universidade Federal de Minas Gerais como requisito parcial de obtenção do título de Mestre em Artes. Área de concentração: Arte e tecnologia da imagem. Orientador: Prof. Dr. Heitor Capuzzo Filho. Belo Horizonte Escola de Belas Artes 2009 i Dedico este trabalho a Antônio Franco, que por muitas vezes me deu asas através de suas histórias e eu não soube quão valorosas e saudosas estas seriam. ii AGRADECIMENTOS A Deus, sempre presente nos momentos mais questionáveis. Aos meus pais Luiz Carlos (In Memoriam) e Marisa, pelo incontestável apoio ao passar dos anos. Aos amados, Thaís, Luizinho e Lara. À Juliana Carolina, minha querida amada. Ao meu orientador Heitor Capuzzo, pela cumplicidade, competência, amizade e admiração a mim transmitida. À Ana Lúcia Andrade, pelos fundamentais apontamentos e apoio a este trabalho. Ao meu revisor Ruzembergue Carvalho Jr., pela atenção e carinho com as minhas frases desconexas. Aos amigos, eternos, cujo trabalho tem nos afastado. À Marcela Simões Nascimento, por tudo que você representa. Aos colegas e amigos de trabalho no Centro Pedagógico – UFMG, pelo ensinamento e paciência adquirida e compartilhada. À Geuva, Wagner e D. Zina, pelo apoio nas horas mais difíceis. Aos colegas animadores, pelo estímulo e troca de experiências, especialmente a Willian Salvador ( In Memoriam ), cujos sonhos ainda nos matem tão próximos. À FUMP, por tanto apoio ao longo destes seis anos, que acredito ser impossível eu estar onde estou sem vocês. -
James Ivory in France
James Ivory in France James Ivory is seated next to the large desk of the late Ismail Merchant in their Manhattan office overlooking 57th Street and the Hearst building. On the wall hangs a large poster of Merchant’s book Paris: Filming and Feasting in France. It is a reminder of the seven films Merchant-Ivory Productions made in France, a source of inspiration for over 50 years. ....................................................Greta Scacchi and Nick Nolte in Jefferson in Paris © Seth Rubin When did you go to Paris for the first time? Jhabvala was reading. I had always been interested in Paris in James Ivory: It was in 1950, and I was 22. I the 1920’s, and I liked the story very much. Not only was it my had taken the boat train from Victoria Station first French film, but it was also my first feature in which I in London, and then we went to Cherbourg, thought there was a true overall harmony and an artistic then on the train again. We arrived at Gare du balance within the film itself of the acting, writing, Nord. There were very tall, late 19th-century photography, décor, and music. apartment buildings which I remember to this day, lining the track, which say to every And it brought you an award? traveler: Here is Paris! JI: It was Isabelle Adjani’s first English role, and she received for this film –and the movie Possession– the Best Actress You were following some college classmates Award at the Cannes Film Festival the following year. traveling to France? JI: I did not want to be left behind. -
2017 Producers Book Finalists
PRODUCERS BOOK & PRINT SOURCE LIST Pre-Festival Edition THE 2017 PRODUCERS BOOK A LETTER FROM THE SCREENPLAY & FILM COMPETITION DIRECTORS Hello! Each year, we prepare our annual Producers Book which contains loglines and contact information for the year’s top scripts in our various Script Competitions. Please feel free to reach out to any of the writers listed here to request a copy of their scripts. Also included is our Print Source List containing information for all films selected for the 2017 Festival. This year’s Semifinalists and Finalists were chosen from a field of 9,487 scripts entered in our Screenplay, Digital Series, Playwriting, and Fiction Podcast Competitions. Each year we are amazed by the professional quality and talent that we receive and this year wasn’t any different. The Competition is open to feature-length scripts in the genres of drama, comedy, sci-fi, and horror; teleplay pilots and specs, short scripts, stage plays, fiction podcast scripts, and digital series scripts. Year after year, our strive in programming the Austin Film Festival film slate is to discover and champion the writers and those who can translate amazing stories to the screen. We received over 5,000 film submissions this year and had the task of whittling it down to 182 films that embody our mission and passion for storytelling. It was a harrowing task, but it led to our strongest year of film yet. We’re so proud of this year’s diverse group of filmmakers and unique voices and can’t wait for these works to be seen, shared, and loved. -
The Importance and Achievements of Luca Guadagnino's Call Me By
To Speak or to Die: The Importance and Achievements of Luca Guadagnino’s Call Me by Your Name (2017) Treball de Fi de Grau/ BA dissertation Author: Alex Dalmau Barreal Supervisor: Dr. Sara Martín Alegre Departament de Filologia Anglesa i de Germanística Grau d‘Estudis Anglesos June 2020 CONTENTS 0. Introduction .................................................................................................................. 1 0.1 Luca Guadagnino‘s Life and Work ........................................................................ 1 0.2 Guadagnino‘s Call Me by Your Name .................................................................... 2 1. Adapting a Novel: A Work of Respect ......................................................................... 6 1.1 Differences and similarities .................................................................................... 6 1.2 Controversies while Adapting .............................................................................. 12 2. A Film with a Legacy ................................................................................................. 17 2.1 Importance within the LGBT community ............................................................ 17 2.2 Impact within the film industry ............................................................................ 21 3. Conclusions and further research ............................................................................... 27 Works Cited ................................................................................................................... -
Call Me by Your Name
Presents CALL ME BY YOUR NAME A film by Luca Guadagnino (131 min., USA/Italy/France/Brazil, 2017) Languages: English, Italian, French, German w/ English subtitles Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com @MongrelMedia MongrelMedia CALL ME BY YOUR NAME The Cast Oliver ARMIE HAMMER Elio TIMOTHÉE CHALAMET Mr. Perlman MICHAEL STUHLBARG Annella AMIRA CASAR Marzia ESTHER GARREL Chiara VICTOIRE DU BOIS Mafalda VANDA CAPRIOLO Anchise ANTONIO RIMOLDI Art Historian 1 ELENA BUCCI Art Historian 2 MARCO SGROSSO Mounir ANDRÉ ACIMAN Isaac PETER SPEARS 2 CALL ME BY YOUR NAME The Filmmakers Director LUCA GUADAGNINO Screenplay JAMES IVORY Based on the Novel Call Me By Your Name by ANDRÉ ACIMAN Producers PETER SPEARS LUCA GUADAGNINO EMILIE GEORGES RODRIGO TEIXERA MARCO MORABITO JAMES IVORY HOWARD ROSENMAN Executive Producers DEREK SIMONDS TOM DOLBY MARGARETHE BAILLOU FRANCESCO MELZI D’ERIL NAIMA ABED NICHOLAS KAISER SOPHIE MAS LOURENÇO SANT’ANNA Director of Photography SAYOMBHU MUKDEEPROM Editor WALTER FASANO Production Designer SAMUEL DESHORS Costume Designer GIULIA PIERSANTI Songs “Mystery of Love” and “Visions of Gideon” Written and Performed by SUFJAN STEVENS Production Sound Mixer YVES-MARIE OMNES Re-Recording Mixer JEAN-PIERRE LAFORCE Music Supervisor ROBIN URDANG Music Consultant GERRY GERSHMAN Casting / Line Producer STELLA SAVINO Main Titles -
Berkeley Art Museum·Pacific Film Archive W Inte R 2 0 18 – 19
WINTER 2018–19 BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE 100 YEARS OF COLLECTING JAPANESE ART ARTHUR JAFA MASAKO MIKI HANS HOFMANN FRITZ LANG & GERMAN EXPRESSIONISM INGMAR BERGMAN JIŘÍ TRNKA MIA HANSEN-LØVE JIA ZHANGKE JAMES IVORY JAPANESE FILM CLASSICS DOCUMENTARY VOICES OUT OF THE VAULT IN FOCUS: WRITING FOR CINEMA 1 / 2 / 3 / 4 CALENDAR DEC 9/SUN 21/FRI JAN 2:00 A Midsummer Night’s Dream 4:00 The Price of Everything P. 15 Introduction by Jan Pinkava 7:00 Fanny and Alexander BERGMAN P. 15 1/SAT TRNKA P. 12 3/THU 7:00 Full: Home Again—Tapestry 1:00 Making a Performance 1:15 Exhibition Highlights Tour P. 6 4:30 The Cabinet of Dr. Caligari P. 5 WORKSHOP P. 6 Reimagined Judith Rosenberg on piano 4–7 Five Tables of the Sea P. 4 5:30 The Good Soldier Švejk TRNKA P. 12 LANG & EXPRESSIONISM P. 16 22/SAT Free First Thursday: Galleries Free All Day 7:30 Persona BERGMAN P. 14 7:00 The Price of Everything P. 15 6:00 The Firemen’s Ball P. 29 5/SAT 2/SUN 12/WED 8:00 The Apartment P. 19 6:00 Future Landscapes WORKSHOP P. 6 12:30 Scenes from a 6:00 Arthur Jafa & Stephen Best 23/SUN Marriage BERGMAN P. 14 CONVERSATION P. 6 9/WED 2:00 Boom for Real: The Late Teenage 2:00 Guided Tour: Old Masters P. 6 7:00 Ugetsu JAPANESE CLASSICS P. 20 Years of Jean-Michel Basquiat P. 15 12:15 Exhibition Highlights Tour P. -
HJR 23.1 Sadoff
38 The Henry James Review Appeals to Incalculability: Sex, Costume Drama, and The Golden Bowl By Dianne F. Sadoff, Miami University Sex is the last taboo in film. —Catherine Breillat Today’s “meat movie” is tomorrow’s blockbuster. —Carol J. Clover When it was released in May 2001, James Ivory’s film of Henry James’s final masterpiece, The Golden Bowl, received decidedly mixed reviews. Kevin Thomas calls it a “triumph”; Stephen Holden, “handsome, faithful, and intelligent” yet “emotionally distanced.” Given the successful—if not blockbuster—run of 1990s James movies—Jane Campion’s The Portrait of a Lady (1996), Agniezka Holland’s Washington Square (1997), and Iain Softley’s The Wings of the Dove (1997)—the reviewers, as well as the fans, must have anticipated praising The Golden Bowl. Yet the film opened in “selected cities,” as the New York Times movie ads noted; after New York and Los Angeles, it showed in university towns and large urban areas but not “at a theater near you” or at “theaters everywhere.” Never mind, however, for the Merchant Ivory film never intended to be popular with the masses. Seeking a middlebrow audience of upper-middle-class spectators and generally intelligent filmgoers, The Golden Bowl aimed to portray an English cultural heritage attractive to Anglo-bibliophiles. James’s faux British novel, however, is paradoxically peopled with foreigners: American upwardly mobile usurpers, an impoverished Italian prince, and a social-climbing but shabby ex- New York yentl. Yet James’s ironic portrait of this expatriate culture, whose characters seek only to imitate their Brit betters—if not in terms of wealth and luxury, at least in social charm and importance—failed to seem relevant to viewers The Henry James Review 23 (2002): 38–52. -
Reading in the Dark: Using Film As a Tool in the English Classroom. INSTITUTION National Council of Teachers of English, Urbana, IL
DOCUMENT RESUME ED 456 446 CS 217 685 AUTHOR Golden, John TITLE Reading in the Dark: Using Film as a Tool in the English Classroom. INSTITUTION National Council of Teachers of English, Urbana, IL. ISBN ISBN-0-8141-3872-1 PUB DATE 2001-00-00 NOTE 199p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 38721-1659: $19.95, members; $26.95, nonmembers). Tel: 800-369-6283 (Toll Free); Web site http://www.ncte.org. PUB TYPE Books (010) Guides Non-Classroom (055) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Classroom Techniques; *Critical Viewing; *English Instruction; *Film Study; *Films; High Schools; Instructional Effectiveness; Language Arts; *Reading Strategies; Units of Study IDENTIFIERS *Film Viewing; *Textual Analysis ABSTRACT To believe that students are not using reading and analytical skills when they watch or "read" a movie is to miss the power and complexities of film--and of students' viewing processes. This book encourages teachers to harness students' interest in film to help them engage critically with a range of media, including visual and printed texts. Toward this end, the book provides a practical guide to enabling teachers to ,feel comfortable and confident about using film in new and different ways. It addresses film as a compelling medium in itself by using examples from more than 30 films to explain key terminology and cinematic effects. And it then makes direct links between film and literary study by addressing "reading strategies" (e.g., predicting, responding, questioning, and storyboarding) and key aspects of "textual analysis" (e.g., characterization, point of view, irony, and connections between directorial and authorial choices) .The book concludes with classroom-tested suggestions for putting it all together in teaching units on 11 films ranging from "Elizabeth" to "Crooklyn" to "Smoke Signals." Some other films examined are "E.T.," "Life Is Beautiful," "Rocky," "The Lion King," and "Frankenstein." (Contains 35 figures. -
Wallace and Gromit: Anoraknophobia Pdf, Epub, Ebook
WALLACE AND GROMIT: ANORAKNOPHOBIA PDF, EPUB, EBOOK Tristan Davies | none | 01 Sep 2000 | Hodder & Stoughton General Division | 9781840323016 | English | London, United Kingdom Wallace and Gromit: Anoraknophobia PDF Book The name derives from the Dutch phrase "aard man" meaning Nature Man, when joined together, "aardman" becomes "Earthman" more commonly translated to: "goblin"[citation needed]. A series of 5-minute films showcasing Wallace's latest wacky inventions. Nice tight copy, no names or marks inside. Published by Boxtree More information about this seller Contact this seller 4. I Agree This site uses cookies to deliver our services, improve performance, for analytics, and if not signed in for advertising. Gromit becomes increasingly suspicious of Preston, who is the sheep rustler, along with Gwendolene. Log in or register to write something here or to contact authors. This listing has ended. Retrieved on 2 November So begins the first compelling story. Home Groups Talk More Zeitgeist. Park also developed the clay modelled shorts featuring the adventures of Wallace and Gromit , a comical pair of friends: Wallace being a naive English inventor with a love of cheese, and Gromit his best friend, the intelligent but silent dog. A good rule of thumb is that series have a conventional name and are intentional creations , on the part of the author or publisher. Avoid series that cross authors, unless the authors were or became aware of the series identification eg. Wallace is the human of the pair and mostly the leader. Joy Bechtold added it Mar 15, Universal Conquest Wiki. Comic book art illustrator. This wiki All wikis. -
Shaun the Sheep's Creator
PRODUCTION NOTES STUDIOCANAL RELEASE DATES: UK – OCTOBER 18th 2019 SOCIAL MEDIA: Facebook - https://www.facebook.com/shaunthesheep Twitter - https://twitter.com/shaunthesheep Instagram - https://www.instagram.com/shaunthesheep/ YouTube - https://www.youtube.com/user/aardmanshaunthesheep For further information please contact STUDIOCANAL: UK ENQUIRIES [email protected] [email protected] 1 Synopsis Strange lights over the quiet town of Mossingham herald the arrival of a mystery visitor from far across the galaxy… For Shaun the Sheep’s second feature-length movie, the follow-up to 2015’s smash hit SHAUN THE SHEEP MOVIE, A SHAUN THE SHEEP MOVIE: FARMAGEDDON takes the world’s favourite woolly hero and plunges him into an hilarious intergalactic adventure he will need to use all of his cheekiness and heart to work his way out of. When a visitor from beyond the stars – an impish and adorable alien called LU-LA – crash-lands near Mossy Bottom Farm, Shaun soon sees an opportunity for alien-powered fun and adventure, and sets off on a mission to shepherd LU-LA back to her home. Her magical alien powers, irrepressible mischief and galactic sized burps soon have the flock enchanted and Shaun takes his new extra-terrestrial friend on a road-trip to Mossingham Forest to find her lost spaceship. Little do the pair know, though, that they are being pursued at every turn by a mysterious alien- hunting government agency, spearheaded by the formidable Agent Red and her bunch of hapless, hazmat-suited goons. With Agent Red driven by a deep-seated drive to prove the existence of aliens and Bitzer unwittingly dragged into the haphazard chase, can Shaun and the flock avert Farmageddon on Mossy Bottom Farm before it’s too late? 2 Star Power The creative team behind the world’s favourite woolly wonder explain how, in Farmageddon, they’ve boldly gone where no sheep has gone before.. -
Film Culture in Transition
FILM CULTURE IN TRANSITION Figuring the Past Period Film and the Mannerist Aesthetic belén vidal Amsterdam University Press Figuring the Past Figuring the Past Period Film and the Mannerist Aesthetic Belén Vidal The publication of this book is made possible by a grant from the British Academy. Front cover illustration: Bright Star (© BBC Films / The Kobal Collection) Cover design: Kok Korpershoek, Amsterdam Lay-out: JAPES, Amsterdam isbn (paperback) isbn (hardcover) e-isbn nur © B. Vidal / Amsterdam University Press, All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustra- tions reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Table of Contents Acknowledgements Introduction – Period Film and the Mannerist Moment Fragments and Figures An International Genre Mannerism: The Possibilities of a Conservative Aesthetic Chapter 1 – A Poetics of Figuration The Belated Moment of Mannerism Pastiche and the Reality Effect From the Figurative to the Figural Classical/Post-classical: Adaptation, Film Writing and the Technological Narrative Credits Roll: The Figure as