HARRY YOON, ACE Editor

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HARRY YOON, ACE Editor SHANG-CHI – Marvel/Disney – Destin Daniel Cretton, director MINARI – A24/Plan B – Lee Isaac Chung, director Academy Awards, Best Motion Picture Nomination ACE Eddie Awards, Best Edited Feature Film Dramatic Nomination Golden Globes, Best Motion Picture Foreign Language Winner Satellite Awards, Best Film Editing Nomination EUPHORIA (Season One) – HBO/A24 – Augustine Frizzell & Sam Levinson, directors THE LAST BLACK MAN IN SAN FRANCISCO (Add’l Editor) – A24/Plan B – Joe Talbot, director Sundance Film Festival, World Premiere FIRST MAN (Additional Editor) – Universal – Damien Chazelle, director Toronto International Film Festival, Gala Presentation Screening THE BEST OF ENEMIES – STX Entertainment – Robin Bissell, director DETROIT – Annapurna Pictures – Kathryn Bigelow, director MISSION CONTROL (Pilot) – CBS – Jeremy Podeswa, director EPs: Simon Kinberg & Andy Weir OUTPOST (Pilot) – Kennedy-Marshall/CBS – Bharat Nalluri, director EPs: Doris Egan, Frank Marshall & Robert Zotnowski THE NEWSROOM (Season Two & Three) – HBO – Aaron Sorkin, creator EPs: Aaron Sorkin, Alan Poul, Scott Rudin & Paul Lieberstein DRUNKTOWN’S FINEST – Indion Entertainment – Sydney Freeland, director Sundance Film Festival, World Premiere ISA – Fluency/Telemundo – Jose N. Marquez, director WELCOME TO THE JUNGLE – The Salt Company – Rob Meltzer, director MOSQUITA Y MARI (Consulting Editor) – Indion Entertainment – Aurora Guerrero, director HALF-LIFE – Lane Street Pictures – Jennifer Phang, director Sundance Film Festival, World Premiere SXSW Film Festival, Official Selection DETROIT 1-8-7 (Pilot) – Mandeville/ABC – Jeffrey Nachmanoff, director EP: Jason Richman MR. MAGORIUM’S WONDER EMPORIUM (Add’l Editor) – Mandate Pictures – Zach Helm, director As VFX Editor: THE REVENANT – New Regency – Alejandro G. Iñárritu, director Editor: Stephen Mirrione ZERO DARK THIRTY – Columbia Pictures – Kathryn Bigelow, director Editors: Billy Goldenberg, Dylan Tichenor THE HUNGER GAMES (VFX Assistant Editor) – Lionsgate – Gary Ross, director Editors: Stephen Mirrione, Juliette Welfling 9465 Wilshire Blvd. 6th Floor 41 Madison Ave. 29th Floor Beverly Hills, CA 90212 New York, NY 10010 Main 310.274.6611 Main 212.997.1818 .

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See It Big! Action Features More Than 30 Action Movie Favorites on the Big
FOR IMMEDIATE RELEASE ‘SEE IT BIG! ACTION’ FEATURES MORE THAN 30 ACTION MOVIE FAVORITES ON THE BIG SCREEN April 19–July 7, 2019 Astoria, New York, April 16, 2019—Museum of the Moving Image presents See It Big! Action, a major screening series featuring more than 30 action films, from April 19 through July 7, 2019. Programmed by Curator of Film Eric Hynes and Reverse Shot editors Jeff Reichert and Michael Koresky, the series opens with cinematic swashbucklers and continues with movies from around the world featuring white- knuckle chase sequences and thrilling stuntwork. It highlights work from some of the form's greatest practitioners, including John Woo, Michael Mann, Steven Spielberg, Akira Kurosawa, Kathryn Bigelow, Jackie Chan, and much more. As the curators note, “In a sense, all movies are ’action’ movies; cinema is movement and light, after all. Since nearly the very beginning, spectacle and stunt work have been essential parts of the form. There is nothing quite like watching physical feats, pulse-pounding drama, and epic confrontations on a large screen alongside other astonished moviegoers. See It Big! Action offers up some of our favorites of the genre.” In all, 32 films will be shown, many of them in 35mm prints. Among the highlights are two classic Technicolor swashbucklers, Michael Curtiz’s The Adventures of Robin Hood and Jacques Tourneur’s Anne of the Indies (April 20); Kurosawa’s Seven Samurai (April 21); back-to-back screenings of Mad Max: Fury Road and Aliens on Mother’s Day (May 12); all six Mission: Impossible films
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The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date.
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