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The Eddie Awards Issue
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE EDDIE AWARDS ISSUE IN THIS ISSUE Golden Eddie Honoree GUILLERMO DEL TORO Career Achievement Honorees JERROLD L. LUDWIG, ACE and CRAIG MCKAY, ACE PLUS ALL THE WINNERS... FEATURING DUMBO HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD AND MUCH MORE! US $8.95 / Canada $8.95 QTR 1 / 2019 / VOL 69 Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. All other trademarks are the property of their respective owners. Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. -
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. -
Avid Customers Stand out Among 2005 Academy Award Nominees
Avid Customers Stand Out Among 2005 Academy Award Nominees TEWKSBURY, Mass.--(BUSINESS WIRE)--Feb. 1, 2005-- Creators use one or more Avid solutions on films nominated in the Best Picture, Directing, Film Editing, Sound Editing, Sound Mixing, Visual Effects, and Best Animated Feature categories Avid Technology, Inc. (NASDAQ: AVID) today announced that solutions from its Avid®, Digidesign®, and Softimage® product families were used in the creation of every film nominated in the Best Picture, Directing, Film Editing, Sound Editing, Sound Mixing, Visual Effects, and Best Animated Feature categories of the 77th Annual Academy Awards®. The widespread use of Avid's systems among films nominated for Academy Awards this year confirms the company's continuing leadership position in the digital content creation industry. "We're delighted that our products continue to be the preferred postproduction tools for the creative storytellers behind so many of this year's Academy Award nominees," said David Krall, president and chief executive officer of Avid. "Because many of our engineers and product designers are filmmakers themselves, we're able to innovate new products - and entire production workflows - that address the complex needs of the filmmaking process. Our product development scope not only includes building world-class nonlinear editing systems, but encompasses audio editing, sound design, visual effects creation, finishing, and asset management capabilities into a powerful workflow. We then make all these capabilities transparent - so our -
Once Upon a Time in Hollywood
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE SUMMER MOVIE ISSUE IN THIS ISSUE Once Upon a Time in Hollywood PLUS John Wick: Chapter 3 – Parabellum Rocketman Toy Story 4 AND MUCH MORE! US $8.95 / Canada $8.95 QTR 2 / 2019 / VOL 69 FOR YOUR EMMY ® CONSIDERATION OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A DRAMA SERIES - STEVE SINGLETON FYC.NETFLIX.COM CINEMA EDITOR MAGAZINE COVER 2 ISSUE: SUMMER BLOCKBUSTERS EMMY NOMINATION ISSUE NETFLIX: BODYGUARD PUB DATE: 06/03/19 TRIM: 8.5” X 11” BLEED: 8.75” X 11.25” PETITION FOR EDITORS RECOGNITION he American Cinema Editors Board of Directors • Sundance Film Festival T has been actively pursuing film festivals and • Shanghai International Film Festival, China awards presentations, domestic and international, • San Sebastian Film Festival, Spain that do not currently recognize the category of Film • Byron Bay International Film Festival, Australia Editing. The Motion Picture Editors Guild has joined • New York Film Critics Circle with ACE in an unprecedented alliance to reach out • New York Film Critics Online to editors and industry people around the world. • National Society of Film Critics The organizations listed on the petition already We would like to thank the organizations that have recognize cinematography and/or production design recently added the Film Editing category to their Annual Awards: in their annual awards presentations. Given the essential role film editors play in the creative process • Durban International Film Festival, South Africa of making a film, acknowledging them is long • New Orleans Film Festival overdue. We would like to send that message in • Tribeca Film Festival solidarity. -
Le Dossier De Presse
Focus Features présente une production American Zoetrope et Elemental Films Lost in translation un film de Sofia Coppola Bill Murray Scarlett Johansson Giovanni Ribisi Anna Faris sortie le 7 janvier 2004 DISTRIBUTION : PRESSE : Pathé Distribution Laurence Granec et Karine Ménard 10, rue Lincoln 75008 Paris 5bis, rue Kepler 75116 Paris durée : 1heure 42 Tel : 01 40 76 91 00 Tel : 01 47 20 36 66 Fax : 01 45 63 35 74 Fax : 01 47 20 35 44 www.lostintranslation-lefilm.com Lost in TranslationSynopsis Bob Harris, star de cinéma dont la carrière décline, arrive à Tokyo pour tourner une publicité. Bob a conscience qu'il se trompe - il devrait être chez lui avec sa famille, jouer au théâtre ou encore chercher un rôle dans un film -, mais il a besoin d'argent. Du haut de son hôtel de luxe, il regarde la ville, mais ne voit rien. Il est ailleurs, détaché de tout, incapable de s'intégrer à la réalité qui l'entoure, incapable aussi, à cause du décalage horaire, de dormir. Dans ce même hôtel, Charlotte, une jeune américaine tout juste sortie de l'université, accompagne son mari, photographe de mode de la jet set. Ce dernier semble s'intéresser davantage à son travail qu'à sa femme. Se sentant délaissée, Charlotte cherche un peu d'attention. Elle va en trouver auprès de Bob. Entre le comédien d'âge mûr et la toute jeune femme se noue alors une étrange relation : perdus dans cet univers où tout leur est étranger, ils rêvent de changement affectif, mais craignent de s'y risquer. -
The Instrument Ofchoice
The instrument of choice. As an editor at the keys, you need a system that helps make every session a fine performance: The Grass ValleyGroup Editing System. Designed to take the best from your production system to the screen. Built to grow as you grow. So if you demand an instrument with capabilities equal to your own, there's only one choice: The Grass Valley Group Editing System. Grass Valley Grou-@ ~'r'V""t'\lAt)"'l..IV \,IIJIIiI From the Editor used to be common agreement that twO things were certain for everyone _ death and taxes. Now you can't be certain IChange.of WHICHMy dictionarytaxes. rambles for approximately 700 words explaining what you can do with that single word, "change." you can run dailies late at night with a director, or habits can change, and the director can take a video cassette home for relaxed viewing after a 12 hour day. For easier viewing some editors are changing from the use of an 8 plate Kem to the use of tWO4 plate models interlocked together. A f¡\m editor works in a cutting room, but when the editing on the sarne show is changed to video tape, he or she is then working in an editing bay. Change is obvious in some (hings, such as more dialogue TV series going to video tape editing. Some change is not so obvious, such s as the faster delivery of difficult film optical because computer camera controls can prograrn so many things with the sarne pass throughIf RiptheVanopticalWinklecamera.had been an editor before his "big sleep," one drowsy glance at a 1986cutting schedulewould snap him awake. -
The Anchor Newspapers
Rhode Island College Digital Commons @ RIC The Anchor Newspapers 12-13-1967 The Anchor (1967, Volume 40 Issue 11) Rhode Island College Follow this and additional works at: https://digitalcommons.ric.edu/the_anchor Recommended Citation Rhode Island College, "The Anchor (1967, Volume 40 Issue 11)" (1967). The Anchor. 524. https://digitalcommons.ric.edu/the_anchor/524 This Book is brought to you for free and open access by the Newspapers at Digital Commons @ RIC. It has been accepted for inclusion in The Anchor by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. ESTABLISHED STMAS 1928 The ANCH 21 "FREE ACCESS TO IDEAS AND P.ULL FREEDOM OF VOL XL No. 11 RHODE ISLAND COLLEGE DECEMBER 13, 1967 Students Have Opportunity RIC·Dance Company Well Received To- Work In Washif!,gton In HighSchools Throughout TheState The Rhode island College Dance Comany completed its annual tour of several Rhode Island High Schools Friday. The host high schools included Chariho, We,;terly and East Greenwich. The ' program was varied and showed several kinds of dances beginning with the history of so cial dance - the waltz, foxtrot and cha-cha and ending with a suite of three dances choreographed .by Ed "Legs" Ortiz including the Cross fire, Skate and Sloe Gin Fizz. From a dance based on rhythm and loud music, the program ad vanced to a dance based on breath rhythm and no musical accompa niment. This was Water Study. The six dancers performing in the Senator Claiborne Pell \ shortened version of Water Study Undergraduates from the vari Program. -
Gaze Data for the Analysis of Attention in Feature Films
1 Gaze Data for the Analysis of Aention in Feature Films KATHERINE BREEDEN, Stanford University PAT HANRAHAN, Stanford University 30% 20% Convex Hull Area 10% One Face Mult. Faces Dolly Pan/Tilt Edits 0 50 100 150 200 250 300 350 400 Frame Fig. 1. Ensemble gaze behavior for one of the film clips in our data set. Top: Example frames with recorded gaze points colored by participant. Dashed boundary shows convex hull. Middle: Convex hull area varies over time. Smaller values indicate increased aentional synchrony. Boom: Colored bars indicate the presence of hand coded features, e.g. a single face (dark green) or camera motion such as pans and tilts (light blue). Film: Unforgiven (Warner Bros., 1992). Film directors are masters at controlling what we look at when we watch a lm. However, there have been few quantitative studies of how gaze responds to cinematographic conventions thought to inuence attention. We have collected and are releasing a data set designed to help investigate eye movements in response to higher level features such as faces, dialogue, camera movements, image composition, and edits. The data set, which will be released to the community, includes gaze information for 21 viewers watching 15 clips from live action 2D lms, which have been hand annotated for high level features. This work has implications for the media studies, display technology, immersive reality, and human cognition. CCS Concepts: • Computing methodologies → Perception; • Applied computing → Media arts; • Human-centered computing → Empirical studies in HCI; Additional Key Words and Phrases: Eye tracking, gaze behavior, gaze direction, psychophysics, lm studies This work was supported by Stanford’s Google Graduate Fellowship Fund and the National Science Foundation, Grant CCF-1111943. -
Scms 2017 Conference Program
SCMS 2017 CONFERENCE PROGRAM FAIRMONT CHICAGO MILLENNIUM PARK March 22–26, 2017 Letter from the President Dear Friends and Colleagues, On behalf of the Board of Directors, the Host and Program Committees, and the Home Office staff, let me welcome everyone to SCMS 2017 in Chicago! Because of its Midwestern location and huge hub airport, not to say its wealth of great restaurants, nightlife, museums, shopping, and architecture, Chicago is always an exciting setting for an SCMS conference. This year at the Fairmont Chicago hotel we are in the heart of the city, close to the Loop, the river, and the Magnificent Mile. You can see the nearby Millennium Park from our hotel and the Art Institute on Michigan Avenue is but a short walk away. Included with the inexpensive hotel rate, moreover, are several amenities that I hope you will enjoy. I know from previewing the program that, as always, it boasts an impressive display of the best, most stimulating work presently being done in our field, which is at once singular in its focus on visual and digital media and yet quite diverse in its scope, intellectual interests and goals, and methodologies. This year we introduced our new policy limiting members to a single role, and I am happy to say that we achieved our goal of having fewer panels overall with no apparent loss of quality in the program or member participation. With this conference we have made presentation abstracts available online on a voluntary basis, and I urge you to let them help you navigate your way through the program. -
Click Here to Continue
Premieres Sunday September 28 at 9pm on This interactive document contains printable pages, downloadable photography, a video sample, music samples, and a link to The Blues Web site at www.pbs.org/theblues. Note that you can elcome navigate this document using the table of contents and the navigation buttons on each page. W Click here to continue. This document automatically adjusts to the size of your screen. The view may be adjusted under the View menu. Click below to navigate What is the Blues? Series Release Fact Sheet About the Films Director and Producer Biographies Performances in The Blues Quotes for The Blues Volkswagen “Celebrates the Arts” Release Contents Photography Index Video Sample Music Samples www.pbs.org/theblues Home pbs.org/theblues By Jason Emmons and edited by Robert Santelli, Blues Historian and Director & CEO of Experience Music Project In 1903 W. C. Handy, the African American leader of a dance orchestra, got stuck one night waiting for a train in the hamlet of Tutwiler, Mississippi. With hours to kill and nowhere else to go, Handy fell asleep at the empty depot on a hard wooden bench. When he woke, a ragged black man was sitting next to him, singing about “goin’ where the Southern cross the Dog” and sliding a knife against the strings of a guitar. The musician repeated the line three times and answered it with his guitar. Intrigued, Handy asked what the line meant. It turned out that the tracks of the Yazoo & Mississippi Valley Railroad, which locals called the Yellow Dog, crossed the tracks of the Southern Railroad in the town of Moorehead, where the musician was headed, and he’d put it into a song. -
UNIVERSITY of CALIFORNIA, IRVINE Allegories of Industry And
UNIVERSITY OF CALIFORNIA, IRVINE Allegories of Industry and the Limits of Reflexivity in Hollywood, 1992-2006 DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Visual Studies by Erik Watschke Dissertation Committee: Associate Professor Catherine L. Benamou, Chair Associate Professor Kristen Hatch Associate Professor Bliss Cua Lim 2014 © 2014 Erik Watschke DEDICATION To my dad who introduced me to the movies ii TABLE OF CONTENTS Page LIST OF TABLES iv ACKNOWLEDGMENTS v CURRICULUM VITAE vi ABSTRACT OF THE DISSERTATION vii INTRODUCTION 1 CHAPTER ONE: “He Made the Whole World Laugh and Cry”: 23 The Mythologization of the Film Artist in Chaplin CHAPTER TWO: “Love Never Dies”: The Status of the Image and 65 Cinephilic Reaction in Bram Stoker's Dracula CHAPTER THREE: “There Are No Boundaries”: The Status of Sound 109 and the Transnational in The English Patient CHAPTER FOUR: “From the Creator of Being John Malkovich, Comes the 171 Story of the Creator of Being John Malkovich”: Adaptation. CHAPTER FIVE: “Are You Watching Closely?”: The Status of Story in 223 The Prestige CONCLUSION 277 BIBLIOGRAPHY 310 FILMOGRAPHY 324 APPENDIX: Industrial Chronology of the New New Hollywood 337 iii LIST OF TABLES Page Table 5.1 Narrative Structure of The Prestige 235 iv ACKNOWLEDGMENTS I wish to thank my committee chair, Professor Catherine Benamou, who encouraged me to pursue a film historical project in the first place, and whose guidance and tireless support helped transform and strengthen my study at every stage. I am also indebted to Professor Bliss Cua Lim and Professor Kristen Hatch, who served on the committee and contributed important advice and encouragement throughout my research and writing. -
COMING SOON COMMUNICATION • Design : Fabrication Maison / TROÏKA
Textes : COMING SOON COMMUNICATION • Design : Fabrication Maison / TROÏKA METROPOLITAN FILMEXPORT présente un film ROGUE PICTURES et BOB YARI PRODUCTIONS Une production PILOT BOY/KABUKI BROTHERS FILMS En association avec PARTIZAN FILMS un film de MICHEL GONDRY (DAVE CHAPPELLE’S BLOCK PARTY) Avec KANYE WEST, MOS DEF, TALIB KWELI, COMMON, THE FUGEES, DEAD PREZ, ERYKAH BADU, JILL SCOTT, THE ROOTS, DAVE CHAPPELLE Superviseur de la musique : COREY SMYTH Montage : SARAH FLACK, JEFF BUCHANAN Décors : LAURI FAGGIONI Directrice de la photographie : ELLEN KURAS, A.S.C. Un film produit par MUSTAFA ABUELHIJA, JULIE FONG et DAVE CHAPPELLE & BOB YARI Durée : 1 h 43 min SORTIE NATIONALE LE 6 SEPTEMBRE DISTRIBUTION RELATIONS PRESSE METROPOLITAN FILMEXPORT MICHEL BURSTEIN / BOSSA NOVA 29, rue Galilée - 75116 Paris 32, boulevard Saint Germain - 75005 Paris Tél.: 01 56 59 23 25 E-mail : [email protected] Fax : 01 53 57 84 02 Tél.. : 01 43 26 26 26 - www.bossa-nova.info PROGRAMMATION PARTENARIATS RÉGION PARIS GRP-EST-NORD ET PROMOTION Tél.: 01 56 59 23 25 AGENCE MERCREDI RÉGION MARSEILLE LYON-BORDEAUX Tél.: 01 56 59 66 66 Tél. : 05 56 44 04 04 www.metrofilms.com Fax : 01 56 59 66 67 Vous allez vivre une journée à part. BLOCK PARTY est un événement musical unique autour d'une personnalité hors norme, dans un contexte historique filmé par l'un des visionnaires les plus atypiques de notre époque. Vous vous dites que ça fait beaucoup et pourtant, c'est vrai ! BLOCK PARTY est l'histoire d'un concert caméras sur les répétitions privées des mémorable organisé à Brooklyn à l'initiative musiciens, et suivi Dave Chappelle dans sa de l'humoriste américain Dave Chappelle.