DOCSLIB.ORG

THE ART of the SCORE ALEC BALDWIN, Artistic Advisor

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE ART of the SCORE ALEC BALDWIN, Artistic Advisor FOR IMMEDIATE RELEASE August 1, 2018 Contact: Deirdre Roddin (212) 875-5700; [email protected] THE ART OF THE SCORE ALEC BALDWIN, Artistic Advisor SCORES PERFORMED LIVE TO COMPLETE FILMS THERE WILL BE BLOOD Conducted by HUGH BRUNT September 12–13, 2018 2001: A SPACE ODYSSEY in Its 50th Anniversary Conducted by ANDRÉ DE RIDDER September 14–15, 2018 The New York Philharmonic will present the sixth season of The Art of the Score, September 12–15, 2018, featuring complete screenings of two films with their acclaimed scores — both incorporating classical music — performed live to the films: There Will Be Blood, with Jonny Greenwood’s score conducted by Hugh Brunt in his Philharmonic debut, and 2001: A Space Odyssey, with André de Ridder conducting works by Richard Strauss, Ligeti, Johann Strauss II, and Khachaturian. There Will Be Blood director / writer Paul Thomas Anderson said of 2001: A Space Odyssey, celebrating its 50th anniversary this year: “It’s so hard to do anything that doesn’t owe some kind of debt to what Stanley Kubrick did with music in movies.” Actor and Philharmonic Board Member Alec Baldwin returns as Artistic Advisor of The Art of the Score, which explores some of the most distinctive uses of music in film. “The Art of the Score demonstrates how scoring illuminates film,” said Alec Baldwin, the series’ Artistic Advisor. “Just take the opening sequence of 2001, ‘The Dawn of Man,’ which never ceases to amaze and unsettle me — apes on the verge of the Homo sapiens era experience God or ‘Genius’ or some such inspiration. There is no dialogue; instead, Kubrick’s musical choice brings awe to their discovery of tools, and their subsequent decision to use them to kill. That scene is evoked in There Will Be Blood, with Jonny Greenwood’s score — combining classical music with his own works — adding a chilling layer to the moment when the protagonist uses a bowling pin to deadly purpose.” (more) The Art of the Score / 2 THERE WILL BE BLOOD The Art of the Score will open September 12–13, 2018, with a complete screening of There Will Be Blood with Jonny Greenwood’s Grammy-nominated score performed live to the film, conducted by Hugh Brunt in his Philharmonic debut. Jonny Greenwood’s score for There Will Be Blood incorporates the third movement of Brahms’s Violin Concerto and Arvo Pärt’s Fratres, as well as Mr. Greenwood’s previously composed classical works: Popcorn Superhet Receiver, for string orchestra, and smear, for two ondes Martenots and ensemble. Assistant Concertmaster Michelle Kim will be the soloist in the third movement of Brahms’s Violin Concerto, and Principal Cello Carter Brey will be featured in Arvo Pärt’s Fratres. The lead guitarist of the rock band Radiohead, Jonny Greenwood grew up studying viola and counts Ligeti, Messiaen, Krzysztof Penderecki, and Paul Lansky among his primary influences. Hugh Brunt is the co-founder / co-artistic director of the London Contemporary Orchestra (LCO), which recorded There Will Be Blood as well as Jonny Greenwood’s scores for Paul Thomas Anderson’s The Master (conducted by Hugh Brunt) and Phantom Thread. He also conducted the premieres of seven short works by Jonny Greenwood with the LCO Soloists. Daniel Day-Lewis stars in writer / director Paul Thomas Anderson’s 2007 drama about a ruthless oilman during California’s oil boom at the turn of the 20th century, inspired by Upton Sinclair’s novel Oil! The film was nominated for eight Academy Awards and won two, Best Actor (Daniel Day-Lewis) and Best Cinematography. 2001: A SPACE ODYSSEY The Art of the Score’s second program, September 14–15, 2018, will feature a complete screening of 2001: A Space Odyssey with the score — featuring music by Richard Strauss, Ligeti, J. Strauss II, and Khachaturian — performed live to the film, conducted by André de Ridder and featuring Musica Sacra, directed by Kent Tritle. This year marks the 50th anniversary of 2001: A Space Odyssey. Early in the production for 2001: A Space Odyssey, director Stanley Kubrick commissioned an original score, only to discard the score and use pre-existing classical music exclusively. The score features Ligeti’s complete Atmosphères and excerpts from Richard Strauss’s Also sprach Zarathustra; Johann Strauss II’s On the Beautiful Blue Danube; Khachaturian’s Gayane; and Ligeti’s Requiem, Lux aeterna, and Aventures in an electronic manipulation. Silence is also a key component; the Orchestra will remain onstage for the entire screening, highlighting Kubrick’s strategic use of both music and silence in storytelling. Director / writer Stanley Kubrick’s 1968 influential science fiction classic 2001: A Space Odyssey, inspired by Arthur C. Clarke’s short story The Sentinel, examines themes of evolution, existentialism, artificial intelligence, and extra-terrestrial life. Nominated for four Academy (more) The Art of the Score / 3 Awards (winning for Best Visual Effects), it is ranked as the American Film Institute’s best science fiction film of all time. This program is presented in association with Warner Bros., Southbank Centre, and the British Film Institute. The New York Philharmonic inaugurated The Art of the Score in September 2013 with the U.S. Premiere screening of 2001: A Space Odyssey. The New York Times wrote of that performance: “Kubrick used the pieces to evoke mystery, evolutionary forces and the cosmos itself during extended stretches of the film in which there is no dialogue. So, having the great New York Philharmonic and the excellent Musica Sacra choristers (directed by Kent Tritle) performing this music live made the evening the ultimate way to experience ‘2001.’” The New Yorker commented: “Kubrick’s movie … came to immediate life, as if it were a painting stripped of darkened varnish and rendered contemporary again. It was the music that effected this change.” Biographies Hugh Brunt, André de Ridder, Michelle Kim, Musica Sacra directed by Kent Tritle, Alec Baldwin, New York Philharmonic Tickets Single tickets start at $45. (Ticket prices subject to change.) Tickets may be purchased online at nyphil.org or by calling (212) 875-5656, 10:00 a.m. to 6:00 p.m. Monday through Friday; 1:00 p.m. to 6:00 p.m. Saturday; and noon to 5:00 p.m. Sunday. Tickets may also be purchased at the David Geffen Hall Box Office. The Box Office opens at 10:00 a.m. Monday through Saturday, and at noon on Sunday. On performance evenings, the Box Office closes one-half hour after performance time; other evenings it closes at 6:00 p.m. For press tickets, call Lanore Carr at the New York Philharmonic at (212) 875-5714, or email her at [email protected]. (more) The Art of the Score / 4 Event Listing New York Philharmonic The Art of the Score Alec Baldwin, Artistic Advisor David Geffen Hall at Lincoln Center Wednesday, September 12, 2018, 7:30 p.m. Thursday, September 13, 2018, 7:30 p.m. Hugh Brunt*, conductor Michelle Kim, violin Jonny GREENWOOD There Will Be Blood (score performed live to complete film) New York Philharmonic The Art of the Score Alec Baldwin, Artistic Advisor David Geffen Hall at Lincoln Center Friday, September 14, 2018, 8:00 p.m. Saturday, September 15, 2018, 8:00 p.m. André de Ridder, conductor Musica Sacra, chorus Kent Tritle, director VARIOUS 2001: A Space Odyssey (score performed live to complete film) (includes selections from works by Ligeti, R. Strauss, J. Strauss II, and Khachaturian) * New York Philharmonic debut ALL PROGRAMS SUBJECT TO CHANGE (more) The Art of the Score / 5 * * * Citi. Preferred Card of the New York Philharmonic. * * * Emirates is the Official Airline of the New York Philharmonic. * * * Programs are made possible, in part, by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Follow Us Photography and video are available in the New York Philharmonic’s online newsroom, nyphil.org/newsroom, or by contacting the Communications Department at (212) 875-5700 or [email protected]. # # # .
Load more

Recommended publications
  • LCO Jonny Greenwood Feb FINAL HB
    For immediate release Jonny Greenwood and the London Contemporary Orchestra Soloists in concert Sunday 23 February 2014 Wapping Hydraulic Power Station, E1W PerFormance at 7:30pm Tickets: £28 (incl. booking fee) www.lcorchestra.co.uk Guitarist and acclaimed composer Jonny Greenwood is once again joining forces with the London Contemporary Orchestra (LCO) to present a special one-off performance featuring music from his catalogue of film scores as well as a showcase of new material by Greenwood, at the Wapping Hydraulic Power Station in East London, Sunday 23 February 2014. Greenwood will appear alongside the LCO Soloists playing guitar, electronics and the Ondes Martenot. In addition to music by Greenwood, which includes cues from his scores for the Oscar and BAFTA-nominated films There Will Be Blood and The Master, and Japanese film Norwegian Wood based on the book by Haruki Murakami, the concert features works by J.S. Bach, Henry Purcell and contemporary British composer Edmund Finnis. This performance will mark a continued creative relationship between the London Contemporary Orchestra and Jonny Greenwood. The LCO has been performing Greenwood’s orchestral works since 2008 and this concert, curated by Greenwood and the LCO’s Artistic Directors Hugh Brunt and Robert Ames, will be the second major collaboration between the composer and orchestra since the LCO performed and recorded the score for the lauded 2012 film The Master, directed by Paul Thomas Anderson and starring Philip Seymour Hoffman and Joaquin Phoenix. Since 2003 Greenwood has become well known for his work as a film composer, and has scored five major films, including Bodysong, There Will Be Blood, We Need To Talk About Kevin, Norwegian Wood and The Master.
    [Show full text]
  • Extreme Leadership Leaders, Teams and Situations Outside the Norm
    JOBNAME: Giannantonio PAGE: 3 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 Extreme Leadership Leaders, Teams and Situations Outside the Norm Edited by Cristina M. Giannantonio Amy E. Hurley-Hanson Associate Professors of Management, George L. Argyros School of Business and Economics, Chapman University, USA NEW HORIZONS IN LEADERSHIP STUDIES Edward Elgar Cheltenham, UK + Northampton, MA, USA Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 1 / Date: 30/10 JOBNAME: Giannantonio PAGE: 4 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 © Cristina M. Giannantonio andAmy E. Hurley-Hanson 2013 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical or photocopying, recording, or otherwise without the prior permission of the publisher. Published by Edward Elgar Publishing Limited The Lypiatts 15 Lansdown Road Cheltenham Glos GL50 2JA UK Edward Elgar Publishing, Inc. William Pratt House 9 Dewey Court Northampton Massachusetts 01060 USA A catalogue record for this book is available from the British Library Library of Congress Control Number: 2013946802 This book is available electronically in the ElgarOnline.com Business Subject Collection, E-ISBN 978 1 78100 212 4 ISBN 978 1 78100 211 7 (cased) Typeset by Columns Design XML Ltd, Reading Printed and bound in Great Britain by T.J. International Ltd, Padstow Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 2 / Date: 30/10 JOBNAME: Giannantonio PAGE: 1 SESS: 5 OUTPUT: Wed Oct 30 14:57:46 2013 14. Extreme leadership as creative leadership: reflections on Francis Ford Coppola in The Godfather Charalampos Mainemelis and Olga Epitropaki INTRODUCTION How do extreme leadership situations arise? According to one view, they are triggered by environmental factors that have nothing or little to do with the leader.
    [Show full text]
  • CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and Counting…
    5 JAN 18 1 FEB 18 1 | 5 JAN 18 - 1 FEB 18 88 LOTHIAN ROAD | FILMHOUSECinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and counting… As you’ll spot deep within this programme (and hinted at on the front cover) January 2018 sees the start of a series of films that lead up to celebrations in October marking the 40th birthday of Filmhouse as a public cinema on Lothian Road. We’ve chosen to screen a film from every year we’ve been bringing the very best cinema to the good people of Edinburgh, and while it is tremendous fun looking back through the history of what has shown here, it was quite an undertaking going through all the old programmes and choosing what to show, and a bit of a personal journey for me as one who started coming here as a customer in the mid-80s (I know, I must have started very young...). At that time, I’d no idea that Filmhouse had only been in existence for less than 10 years – it seemed like such an established, essential institution and impossible to imagine it not existing in a city such as Edinburgh. My only hope is that the cinema is as important today as I felt it was then, and that the giants on whose shoulders we currently stand feel we’re worthy of their legacy. I hope you can join us for at least some of the screenings on this trip down memory lane... And now, back to the now.
    [Show full text]
  • London Contemporary Orchestra: Other Worlds Wednesday 31 October 2018 8Pm, Hall
    London Contemporary Orchestra: Other Worlds Wednesday 31 October 2018 8pm, Hall Giacinto Scelsi Uaxuctum: The Legend of the Maya City, destroyed by the Maya people themselves for religious reasons UK premiere interval 20 minutes John Luther Adams Become Ocean London Contemporary Orchestra and Choir Robert Ames conductor Universal Assembly Unit art direction Artrendex artificial intelligence London Contemporary Orchestra and Universal Assembly Unit are grateful to Arts Council England for their support for the visual elements of this concert Part of Barbican Presents 2018–19 Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. Please remember that to use our induction loop you should switch your hearing aid to T setting on entering the hall. If your hearing aid is not correctly set to T it may cause high-pitched feedback which can spoil the enjoyment of your fellow audience members. We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. The City of London If anything limits your enjoyment please let us know Corporation is the founder and during your visit. Additional feedback can be given principal funder of online, as well as via feedback forms or the pods the Barbican Centre located around the foyers.
    [Show full text]
  • Tourism's Final Frontier
    Perspectıve THE BREWIN DOLPHIN MAGAZINE SPRING 2018 China’s century How China will shape the next 100 years A richer later life Why people are choosing to reject retirement Grand designs The restoration of Wentworth Woodhouse Tourism’s THE BREWIN DOLPHIN MAGAZINE final frontier Is space tourism just around the corner? SPRING 2018 COMPETITION BRAIN FOOD Complete our latest crossword to win an amazing National Geographic Newtonian telescope to help you see the solar system. It’s the perfect mirror telescope for beginners and amateur astronomers, and comes with a tripod and numerous lenses. Simply solve the crossword and rearrange the letters in the yellow squares to find a space-related word. Email the mystery word to us and we’ll pick the winner at random. Across Down 1. Extraordinary natural wonder 2. Deep, inarticulate sound in 1 2 3 4 56 situated on the border between response to pain or despair (5) 7 8 Brazil and Argentina (6,5) 3. Bow and arrow sport (7) 9. Small Italian dumplings (7) 4. Football soap opera, which 9 10 10. In Cajun cooking, a spicy appeared on BBC between chicken soup thickened with 1965 and 1967 (6) okra or rice (5) 5. Simple, non-flowering plants 11 12 11. In weight, one-sixteenth of a of a large group, which pound (5) includes seaweeds (5) 12. Mountain scaled by Hillary and 6. Scot who replaced Mark 13 14 15 16 Tenzing in 1953 (7) Hughes as Stoke City 13. Allison Janney has won many manager (7) 17 awards for her performance 7.
    [Show full text]
  • Phantom Thread (2017)
    PHANTOM THREAD (2017) ● Released on January 18th, 2018 ● Released on December 25th, 2017 (Limited) ● 2 Hours 10 minutes ● $35,000,000 (estimated) ● Directed by Paul Thomas Anderson ● Written by Paul Thomas Anderson ● Annapurna Pictures, Focus Features, Ghoulardi Film Company ● Rated R for language QUICK THOUGHTS ● Marisa Serafini ● Phil Svitek ● Demetri Panos DEVELOPMENT ● “I remember that I was very sick, just with the flu, and I looked up and my wife (Maya Rudolph) looked at me with tenderness that made me think, “I wonder if she wants to keep me this way, maybe for a week or two.” I was watching the wrong movies when I was in bed, during this illness. I was watching Rebecca, The Story of Adele H., and ​ ​ ​ ​ Beauty and the Beast, and I really started to think that maybe she was poisoning me. ​ So, that kernel of an idea, I had in my mind when I started working on writing something.” ● “Paul will talk about the project early on,” says Sellar. “He’ll show me rough drafts. He’ll show me scenes. I’ll comment. We’ll go back and forth on stuff. We’ll start doing research together. And when he’s got a draft we all feel is good enough to send out to financiers, usually between him and his agent we’ll come up with where we’re going to send it.” - JoAnne Sellar WRITING (Paul Thomas Anderson) ​ ● National Board of Review award for best original screenplay ● Anderson was especially intrigued by a photograph of Dior in a workroom of women dressed in white coats.
    [Show full text]
  • The American Film Institute and TV Land Announce the Benefit Committee for AFI Life Achievement Award: a Tribute to Morgan Freeman
    The American Film Institute and TV Land Announce the Benefit Committee for AFI Life Achievement Award: A Tribute to Morgan Freeman Gala To Be Held On The Historic Sony Lot In Culver City On June 9, 2011 Show Premieres On TV Land On Sunday, June 26, 2011 At 8:00 p.m. ET/PT LOS ANGELES, April 26, 2011 /PRNewswire via COMTEX/ -- American film's finest have confirmed their participation on the American Film Institute (AFI) Gala Benefit Committee honoring 39th Life Achievement Award recipient, Morgan Freeman. Members of this year's benefit committee are Ben Affleck, Jim Carrey, Clint Eastwood, Tom Hanks, Ashley Judd, Helen Mirren, Mike Nichols, Jack Nicholson, Brad Pitt, Sidney Poitier, Robert Redford, Tim Robbins, Steven Spielberg, Hilary Swank, Denzel Washington and Alfre Woodard. AFI will present the 39th AFI Life Achievement Award - America's highest honor for a career in film - to Freeman on June 9th. "TV Land Presents: The AFI Life Achievement Award Honoring Morgan Freeman" will air on TV Land on Sunday, June 26, 2011 at 8:00 p.m. ET/PT. The black-tie event will take place on historic Stage 15 at Sony Pictures Studios, where "The Wizard of Oz," "Grand Hotel," "Spiderman" and other classic movies were filmed. The stage will be transformed into an elegant ballroom to honor the storied career of Morgan Freeman. Proceeds from the AFI Life Achievement Award Gala directly support the Institute's national educational programs and the preservation of American film history. "Morgan Freeman has embodied characters that range from prisoner to president, from gumshoe to God," said Bob Gazzale, AFI President and CEO.
    [Show full text]
  • CLAY GRIFFITH Production Designer Claygriffith.Com
    CLAY GRIFFITH Production Designer claygriffith.com PROJECTS DIRECTORS STUDIOS/PRODUCERS HARVEST MOON Mark Waters MIRAMAX FILMS Mark Waters, Paul Bettany NATIONAL CHAMPIONS Ric Roman Waugh THUNDER ROAD Jeffrey Stott, Basil Iwanyk, Brendon Boyea GREENLAND Ric Roman Waugh THUNDER ROAD Carsten Lorenz CITY OF LIES Brad Furman FILMNATION ENT. / SABAN FILMS Bruce Wayne Gillies DOLEMITE IS MY NAME Craig Brewer NETFLIX Michael Beugg, John Davis John Fox TRIAL BY FIRE Ed Zwick THE BEDFORD FALLS COMPANY Kate Dean, Allyn Stewart, Kipp Nelson ROADIES Cameron Crowe BAD ROBOT / WB / SHOWTIME Pilot & Series Iain Paterson, Peter Schindler JACK REACHER: NEVER GO BACK Edward Zwick SKYDANCE / PARAMOUNT Herb Gains, Don Granger ALOHA Cameron Crowe NEW REGENCY / SONY Ilona Herzberg WE BOUGHT A ZOO Cameron Crowe FOX Ilona Herzberg, Julie Yorn LUCKY YOU Curtis Hanson WARNER BROS. Mari Jo Winkler, Carol Fenelon ELIZABETHTOWN Cameron Crowe PARAMOUNT Don Lee, Paula Wagner RADIO Mike Tollin SONY REVOLUTION Herb Gains SWEET HOME ALABAMA Andy Tennant ORIGINAL FILMS / DISNEY Michael Fottrell DOMESTIC DISTURBANCE Harold Becker PARAMOUNT Jim Dyer, Donald De Line ALMOST FAMOUS Cameron Crowe DREAMWORKS Nomination, Best Production Design – Ian Bryce ADG Winner, Best Picture – AFI AS GOOD AS IT GETS James L. Brooks TRISTAR PICTURES / GRACIE FILMS Set Decorator JERRY MAGUIRE Cameron Crowe TRISTAR PICTURES Set Decorator James L. Brooks SEVEN David Fincher NEW LINE Set Decorator Dan Kolsrud, Arnold Kopelson JUNIOR Ivan Reitman UNIVERSAL PICTURES Set Decorator Joe Medjuck SLEEPLESS IN SEATTLE Nora Ephron TRISTAR PICTURES Set Decorator Gary Foster, Linda Obst SINGLES Cameron Crowe WARNER BROS. Set Decorator Art Linson In addition to Los Angeles, Mr.
    [Show full text]
  • Introduction
    Introduction Christopher B. Barnett and Clark J. Elliston That Martin Scorsese is one of finest directors in the history of cinema is certain. Indeed, one could reach this conclusion in any number of ways. Scors- ese has received eight Academy Award nominations for Best Director—top among living directors and tied for second (with Billy Wilder) among all direc- tors since the Academy of Motion Picture Arts and Sciences began presenting the award in 1929. Such accolades situate Scorsese at the head of the cinematic establishment, but he is equally venerated among the avant-garde. In 2007, the British periodical Total Film named Scorsese the second greatest director of all time (behind only Alfred Hitchcock),1 and the American Film Institute listed three of Scorsese’s films among the 100 best American films, including Rag- ing Bull (1980) in fourth place.2 Already in 1998, well before Scorsese released recent classics such as The Departed (2006) and The Wolf of Wall Street (2013), the celebrated critic Roger Ebert professed, “There is no greater American film- maker right now than Martin Scorsese, and hasn’t been for some time, perhaps since Welles and Hitchcock and Ford died.”3 Yet, despite all of Scorsese’s accomplishments, “surprisingly few books have been written on his work.”4 Revered by cinephiles, he has been less popular among academics. Moreover, when Scorsese has received scholarly attention, there has been an understandable if exaggerated accent on certain aspects of his background and interests, whether his upbringing in Manhattan’s Lit- tle Italy or his attraction to stories about organized crime.
    [Show full text]
  • The American Film Institute: Institute: Film American The
    by October 16, 2017 16, October by x247 6800 777 718 [email protected] RSVP THE AMERICAN FILM INSTITUTE: CELEBRATING 50 YEARS An Afternoon with Jean Picker Firstenberg and special guests SATURDAY, OCTOBER 21, 2017 at 2:00 P.M. Museum of the Moving Image 36-01 35th Avenue, Astoria, NY 11106 Attendees at AFI’s Back to the Rose Garden gala in 1989. Photo: Joan Marcus / Courtesy of AFI Jean Picker Firstenberg, who was the president and CEO of the American Film Institute for more than half of its 50 years, has written (with James Hindman) the definitive story—an engaging and insightful memoir—BECOMING AFI: 50 Years Inside the American Film Institute. To celebrate the publication of the book by Santa Monica Press, this special program will feature a panel discussion with notable AFI alumni followed by a book signing and reception. Guests include: Marsha Mason, actress Barbara Schock, chair of the NYU Graduate Film program Fred Elmes, cinematographer Paul Warner, director Terry Lawler, executive director of New York Women in Film and James Hindman, co-writer, former AFI Television and former director of the co-director, COO, and provost. Directing Workshop for Women The discussion, moderated by Chief Curator David Schwartz, will include clips highlighting AFI’s remarkable history. Celebrating its 50th anniversary, the American Film Institute, born in 1967 at the dawn of the New Hollywood, has since established itself as one of the nation’s most respected cultural and educational entities, including a world-class graduate film school; publications; unique, state-of-the art programming; film festivals; and the Life Achievement Award.
    [Show full text]
  • London Contemporary Orchestra Textures Spitfire Audio User Manual Congratulations
    LONDON CONTEMPORARY ORCHESTRA TEXTURES SPITFIRE AUDIO USER MANUAL CONGRATULATIONS Thank you for purchasing Spitfire Audio - London Contemporary Orchestra Textures. Our second collaborative venture with the internationally-acclaimed London Contemporary Orchestra took us to an awe-inspiring aircraft hangar for a re- cording process like no other. Together we have created a completely unique, never-before-sampled sound palette — a sophisticated collection of constantly evolving organic textures, formed by layering unexpected combinations of instru- ments (from tuned wine glasses, to felt piano to voices). In applying the signature workshopping, performance styles and innovative techniques that have made the LCO so sought after, we have produced textures made up of indefinable, fas- cinating sounds. To capture these textures, we needed a space with unparalleled acoustics, which led us to the most un- conventional recording space in Spitfire’s eleven year sampling history — a cavernous aircraft hangar in Suffolk, England, with a remarkable 10 second reverb tail — adding incredible resonance to each note. Enhanced with our unique Evo Grid technology and mixed by renowned mix engineer, Joe Rubel, we give you access to a cutting edge, inspiring collection of instantly playable, spellbinding textures which will add incredible depth and colour to your composition. Quick Specs Table Of Contents CONGRATULATIONS 2 • 3468 samples WELCOME 3 • 28.52 GB Uncompressed WAV DOWNLOADING & INSTALLING 5 • 14.29 GB Disk space required THE SPITFIRE APP PREFERENCES
    [Show full text]
  • "It's Aimed at Kids - the Kid in Everybody": George Lucas, Star Wars and Children's Entertainment by Peter Krämer, University of East Anglia, UK
    "It's aimed at kids - the kid in everybody": George Lucas, Star Wars and Children's Entertainment By Peter Krämer, University of East Anglia, UK When Star Wars was released in May 1977, Time magazine hailed it as "The Year's Best Movie" and characterised the special quality of the film with the statement: "It's aimed at kids - the kid in everybody" (Anon., 1977). Many film scholars, highly critical of the aesthetic and ideological preoccupations of Star Wars and of contemporary Hollywood cinema in general, have elaborated on the second part in Time magazine's formula. They have argued that Star Wars is indeed aimed at "the kid in everybody", that is it invites adult spectators to regress to an earlier phase in their social and psychic development and to indulge in infantile fantasies of omnipotence and oedipal strife as well as nostalgically returning to an earlier period in history (the 1950s) when they were kids and the world around them could be imagined as a better place. For these scholars, much of post-1977 Hollywood cinema is characterised by such infantilisation, regression and nostalgia (see, for example, Wood, 1985). I will return to this ideological critique at the end of this essay. For now, however, I want to address a different set of questions about production and marketing strategies as well as actual audiences: What about the first part of Time magazine's formula? Was Star Wars aimed at children? If it was, how did it try to appeal to them, and did it succeed? I am going to address these questions first of all by looking forward from 1977 to the status Star Wars has achieved in the popular culture of the late 1990s.
    [Show full text]