Prepared by Evan Brown Studio Co
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Translating Music: Dubbing and Musical Strategies in Italian Cinema of the Early Sound Period Luca Battioni
ARTICLES Translating Music: Dubbing and Musical Strategies in Italian Cinema of the Early Sound Period Luca Battioni Throughout the 1930s, the large majority of films distributed and eventu- ally screened in Italy were dubbed. Dubbing practices inevitably had an impact not only on the way sound was experienced in film but also the configuration of the emerging Italian film industry following the introduc- tion of synchronized sound on the one hand, and the consolidation of the Fascist regime on the other. In fact, drawing on the work of Andrew Hig- son, among others, I wish to argue that dubbing complicates the notion of national cinema in the Italian context of the 1930s. Higson was among the first scholars to theorize the concept of national cinema. In his work, he argues against production-centric conceptualizations, pointing out that a full understanding of national cinema begins from the assumption that it is a complex cultural aggregate, and that at its core lies the reception of films by popular audiences. Higson’s approach “lay[s] much greater stress on the point of consumption, and on the use of films (sounds, images, narratives, fantasies), than on the point of production.” This, in turn, encourages “an analysis of how actual audiences construct their cultural identity in relation to the various products of the national and international film and television industries, and the conditions under which this is achieved.”1 The pervasiveness of dubbing in the 1930s needs to be addressed in these terms, and a film’s dubbed soundtrack must be considered as a channel through which audiences construct their own identities—regardless of the geographical provenance of the film screened. -
The Speed of the VCR
Edinburgh Research Explorer The speed of the VCR Citation for published version: Davis, G 2018, 'The speed of the VCR: Ti West's slow horror', Screen, vol. 59, no. 1, pp. 41-58. https://doi.org/10.1093/screen/hjy003 Digital Object Identifier (DOI): 10.1093/screen/hjy003 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Screen Publisher Rights Statement: This is a pre-copyedited, author-produced PDF of an article accepted for publication in Screen following peer review. The version of record Glyn Davis; The speed of the VCR: Ti West’s slow horror, Screen, Volume 59, Issue 1, 1 March 2018, Pages 41–58 is available online at: https://doi.org/10.1093/screen/hjy003. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 The speed of the VCR: Ti West’s slow horror GLYN DAVIS In Ti West’s horror film The House of the Devil (2009), Samantha (Jocelin Donahue), a college student short of cash, takes on a babysitting job. -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit „Filmmake Yourself: Film - und medienspezifische Erzählstile der Independent Movie Community im Web 2.0 - Zeitalter“ Verfasser Georg Csarmann angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2014 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Univ.-Prof. Mag. Dr. habil. Ramón Reichert 2 Danksagung Die vorliegende Diplomarbeit wäre ohne der Hilfe diverser Menschen nicht möglich gewesen: Ich möchte mich bei meinen Eltern bedanken, die mir mein Studium ermöglicht haben, sowie bei meinen Freunden, speziell meinen Mitbewohnern und meiner Freundin, die immer ein offenes Ohr hatten wenn ich ihnen meine verschiedensten Theorieansätze und Herangehensweisen an diese Arbeit präsentiert habe. Die Gespräche mit ihnen waren mindestens genauso wichtig wie die Recherchearbeit im Laufe des Schreibprozesses. Weiters danke ich meinem Betreuer Univ.-Prof. Mag. Dr. habil. Ramón Reichert, dessen Expertise im Bereich neuer Medien ein ständiger Ansporn war, ihm die bestmögliche Auseinandersetzung mit dem von mir gewählten Thema vorzulegen. Zu guter Letzt möchte ich noch einmal festhalten, wie wichtig das Medium des bewegten Bilds für mich ist, sei es nun als Zuseher oder als Filmemacher. Die Möglichkeit, in diesem Feld zu arbeiten und neue Wege zu erkunden, hat mir oft dabei geholfen, meinem Leben einen Sinn zu geben. 3 4 Inhaltsverzeichnis 1. Einleitung S. 9 2. American Independent Film S. 15 2.1 Was ist „Independent Film“? S. 15 2.2 Eine kurze Geschichte des „American Independent Film“ S. 17 3. Inszenierte Authentizität anhand Steven Soderberghs The Girlfriend Experience S. 21 3.1 Pornografische Internet – Videos als Parallele zu Film- und medienspezifischen Erzählstilen im Web 2.0 – Zeitalter S. -
What Is a Lighting Director?
What is a lighting director by Martin Kempton What is a lighting director? Simply put - a lighting director designs the lighting for multi-camera television productions. He or she instructs the crew of electricians in their work in addition to guiding the team of operators who usually sit with the LD in the lighting control room. All this while working closely with the director and the rest of the production team to deliver the best possible pictures. However, there's rather more to it than that, and on this page on the website I explain where LDs work, what kinds of shows LDs work on and give some of the background to what we do. It's important to point out right away that simple 'illumination' is actually a relatively unimportant part of our work. Current TV cameras are capable of operating in very low light levels so it would be quite possible to see what was going on in most studios simply by switching on the houselights. Fortunately, producers and directors realise that the result would look pretty awful. Another thing is also worth making clear – a lighting director is not an electrician. He or she might have been once, but an LD is not another name for a crew chief or gaffer. Most television LDs do not have electrical qualifications, although some may have. In any case, this is not a requirement of the job. The electrical supervisor (gaffer) is in charge of realising the LD’s design in the studio from the rigging and electrical point of view. -
2013 Conference Program
DODGE COLLEGE OF FILM AND MEDIA ARTS Degrees Hallmarks of the • B.A., Film Studies, Public Relations Chapman Program and Advertising, Screenwriting • Students get a camera in their • B.F.A., Film Production, Television hands day one and Broadcast Journalism, Digital • Focus on discovery of one’s own Arts, Screen Acting, Creative storytelling voice Producing • Small classes/personalized education • M.A., Film Studies • Direct contact with mentoring faculty • M.F.A., Screenwriting, Film and • Collaborative environment Television Producing, Film Production (with specializations in directing, Student Body editing, cinematography and • More than 1,500 students; sound design), Production Design international students from 30 • Joint Degrees M.B.A./M.F.A.; countries and numerous Fulbright J.D./M.F.A. Scholars • Admission is highly selective; one in Location five applicants is offered admission • Orange, California; 40 miles south to film production of Los Angeles Faculty University Statistics • 41 full-time, 71 adjuncts • Founded in 1861 • Faculty are working professionals • An independent, 4-year liberal arts- who have won Oscars, Emmys and based university with 7,000 students Clios. Full-time faculty have a • 51 undergraduate majors and 42 combined filmography of more than graduate programs, including 300 feature films business and law Unique Characteristics Educational Focus • Facilities are open for student use 24/7 • Primary focus on storytelling in • Each student makes a film or a mainstream Hollywood feature films creative reel, writes -
Walpole Public Library DVD List A
Walpole Public Library DVD List [Items purchased to present*] Last updated: 9/17/2021 INDEX Note: List does not reflect items lost or removed from collection A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Nonfiction A A A place in the sun AAL Aaltra AAR Aardvark The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.1 vol.1 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.2 vol.2 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.3 vol.3 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.4 vol.4 ABE Aberdeen ABO About a boy ABO About Elly ABO About Schmidt ABO About time ABO Above the rim ABR Abraham Lincoln vampire hunter ABS Absolutely anything ABS Absolutely fabulous : the movie ACC Acceptable risk ACC Accepted ACC Accountant, The ACC SER. Accused : series 1 & 2 1 & 2 ACE Ace in the hole ACE Ace Ventura pet detective ACR Across the universe ACT Act of valor ACT Acts of vengeance ADA Adam's apples ADA Adams chronicles, The ADA Adam ADA Adam’s Rib ADA Adaptation ADA Ad Astra ADJ Adjustment Bureau, The *does not reflect missing materials or those being mended Walpole Public Library DVD List [Items purchased to present*] ADM Admission ADO Adopt a highway ADR Adrift ADU Adult world ADV Adventure of Sherlock Holmes’ smarter brother, The ADV The adventures of Baron Munchausen ADV Adverse AEO Aeon Flux AFF SEAS.1 Affair, The : season 1 AFF SEAS.2 Affair, The : season 2 AFF SEAS.3 Affair, The : season 3 AFF SEAS.4 Affair, The : season 4 AFF SEAS.5 Affair, -
Life Episode Guide Episodes 001–032
Life Episode Guide Episodes 001–032 Last episode aired Wednesday April 8, 2009 www.nbc.com c c 2009 www.tv.com c 2009 www.nbc.com The summaries and recaps of all the Life episodes were downloaded from http://www.tv.com and processed through a perl program to transform them in a LATEX file, for pretty printing. So, do not blame me for errors in the text ^¨ This booklet was LATEXed on December 31, 2011 by footstep11 with create_eps_guide v0.31 Contents Season 1 1 1 Merit Badge . .3 2 Tear Asunder . .7 3 Let Her Go . .9 4 What They Saw . 11 5 The Fallen Woman . 13 6 Powerless . 15 7 A Civil War . 17 8 Farthingale . 19 9 Serious Control Issues . 21 10 Dig a Hole . 23 11 Fill It Up . 25 Season 2 27 1 Find Your Happy Place . 29 2 Everything... All the Time . 31 3 The Business of Miracles . 35 4 Not For Nothing . 39 5 Crushed . 43 6 Did You Feel That? . 47 7 Jackpot . 51 8 Black Friday . 55 9 Badge Bunny . 59 10 Evil...and his brother Ziggy . 63 11 Canyon Flowers . 67 12 Trapdoor . 71 13 Re-Entry . 75 14 Mirror Ball . 79 15 I Heart Mom . 81 16 Hit Me Baby . 85 17 Shelf Life . 89 18 3Women ............................................ 93 19 5 Quarts . 97 20 Initiative 38 . 101 21 One ............................................... 105 Actor Appearances 109 Life Episode Guide II Season One Life Episode Guide Merit Badge Season 1 Episode Number: 1 Season Episode: 1 Originally aired: Wednesday September 26, 2007 on NBC Writer: Rand Ravich Director: David Semel Show Stars: Damian Lewis (Charlie Crews), Brooke Langton (Constance), Brent Sexton (Bobby Starks), Adam Arkin (Ted Early), Sarah Shahi (Dani Reese), Robin Weigert (Lt. -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243 -
SYLLABUS and COURSE OUTLINE for FTV 122D FILM EDITING: OVERVIEW of HISTORY, TECHNIQUE, and PRACTICE UCLA Film and Television Film Production Summer Institute
SYLLABUS AND COURSE OUTLINE FOR FTV 122D FILM EDITING: OVERVIEW OF HISTORY, TECHNIQUE, AND PRACTICE UCLA Film and Television Film Production Summer Institute Example Syllabus. The syllabi posted are general syllabi for students and alumni who wish to find out the topics generally covered in these courses. INSTRUCTOR: TBD Email: TBD OFFICE HOURS: TBD TA: TBD Email: TBD COURSE DESCRIPTION: FTV 122D offers an overview of “the invisible art”: Film and Digital Editing. An editor’s job is to decide, twenty-four times a second, where the audience needs to be. Do we stay in a shot or transition to another, and if so, what shot and how do we get there? Working side-by-side with the director to craft the movie that ultimately hits the screen – or your phone – editing is really about manipulating the audience, in the best possible way, all in the service of storytelling. In this class, we will study terminology and concepts, learning both the rules and how to break them, as we look at the aesthetic choices and technological workflow for both picture and sound editing. As part of the Summer Institute, FTV-122D includes “hands-on” editing projects and labs which provide students with a practical application of theory and the opportunity to experiment, collaborate and ultimately gain the skills to empower their personal artistic visions. ASSIGNMENTS AND GRADING ATTENDANCE AND PARTICIPATION: 20% QUIZ 20% FILM CLIP ANALYSIS (1-2 pages) 25% FINAL SCENE EDITING PROJECT 20% FINAL SCENE PROJECT FILES / 15% ORGANIZATION p1 REQUIRED TEXT: Grammar of the Edit Roy Thompson, Christopher J. -
Uw Cinematheque Presents Three Nights of Indie Horror Actor Pat Healy in Person Feb
CINEMATHEQUE PRESS RELEASE -- FOR IMMEDIATE RELEASE FEBRUARY 6, 2012 UW CINEMATHEQUE PRESENTS THREE NIGHTS OF INDIE HORROR ACTOR PAT HEALY IN PERSON FEB. 17 & FILMMAKER JOE SWANBERG IN PERSON FEB. 24 In Februray, the UW Cinematheque will offer the first Madison-area theatrical screenings of three acclaimed new works by American independent filmmakers, The Innkeepers, Silver Bullets and The Oregonian. Each film offers its own unique contribution to the horror genre. In Ti West’s The Innkeepers, the modern ghost story is played as much for laughs as scares: a pair of misfit concierges (Sara Paxton and Pat Healy) stuck covering a decrepit hotel’s final weekend with round-the-clock shifts kill time by idly hunting the hotel’s legendary ghost. But the arrival of increasingly mysterious guests (including a psychic played by Top Gun pinup Kelly McGillis) suggests that the duo is in danger of becoming ghosts themselves. “The Innkeepers astonishingly creates characters who are not only specter-prey….Ghost movies like this, depending on imagination and craft, are much more entertaining than movies that scare you by throwing a cat at the camera.” (Roger Ebert, Chicago Sun-Times) Just announced: Actor Pat Healy will appear in person at the screening of The Innkeepers at 7 p.m. on Friday, February 17 in 4070 Vilas Hall. Healy’s career has included appearances in such major studio films as Paul Thomas Anderson’s Magnolia, Michael Bay’s Pearl Harbor, Terry Zwigoff’s Ghost World, David Gordon Green’s Undertow, Werner Herzog’s Rescue Dawn, and Andrew Dominik’s The Assassination of Jesse James By the Coward Robert Ford. -
PRESS NOTES March 2019
PRESS NOTES March 2019 INFORMION 114 Minutes Ratio: 2:35 color Red Dragon DCP • AUDIO: 5.1 PRESS Emma Griffiths [email protected] PRODUCERS Larry Fessenden [email protected] Chadd Harbold [email protected] Jenn Wexler [email protected] PRINT TRAFFIC GLASS EYE PIX 172 East 4th Street #5F New York, NY 10009 WEBSITES A film by Larry Fessenden glasseyepix.com depravedfilm.com GLASS EYE PIX & FORAGER FILM COMPANY present DAVID CALL JOSHUA LEONARD and ALEX BREAUX "DEPRAVED" ANA KAYNE MARIA DIZZIA CHLOË LEVINE OWEN CampBELL and ADDISON TIMLIN cinematography CHRIS SKOTCHDOPOLE James SIEWERT production design APRIL LASKY costume design SARA ELISABETH LOTT makeup effects GERNER & SPEARS EFFECTS visual effects james SIEWERT music WILL bates sound design JOHN MOROS mix TOM EFINGER executive producers JOE SWANBERG EDWIN LINKER PETER GILBERT co-executive producerS andrew MER SIG DE MIGUEL STEPHEN VINCENT co-producer LIZZ ASTOR producers CHADD HARBOLD JENN WEXLER writer director editor producer LARRY FESSENDEN (c) 2019 DEPRAVED PRODUCTIONS INC. ALL RIGHTS RESERVED. A Glass Eye Pix COSTUME Lucy Double POST PICTURE "depRAVEd" Forager Film Company assistant costume designer ASHLEY MORGAN BLOOM Finishing Written and Performed by production ARIS BORDO Polidori Double CONTACT POST UNWANTED HOUSEGUEST wardrobe supervisor COLIN VAN WYE colorist publisher Tavistock Records CREW ALANNA GOODMAN Child Singers BLASE THEODORE BELLA MAGGIO "Wheels on the Bus" writer director editor Uniforms Edit and Online Facilities LARRY FESSENDEN KAUFMAN’S ARMY & NAVY JOEY MAGGIO THE STATION Performed by NIA AMALIA MOROS UNWANTED HOUSEGUEST producers additional animation LARRY FESSENDEN MAKEUP TV Voices BEN DUFF JAMES LE GROS "Pleasant Street" CHADD HARBOLD hair and makeup dept. -
Academy Invites 774 to Membership
MEDIA CONTACT [email protected] June 28, 2017 FOR IMMEDIATE RELEASE ACADEMY INVITES 774 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 774 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitations will be the only additions to the Academy’s membership in 2017. 30 individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2017 invitees are: Actors Riz Ahmed – “Rogue One: A Star Wars Story,” “Nightcrawler” Debbie Allen – “Fame,” “Ragtime” Elena Anaya – “Wonder Woman,” “The Skin I Live In” Aishwarya Rai Bachchan – “Jodhaa Akbar,” “Devdas” Amitabh Bachchan – “The Great Gatsby,” “Kabhi Khushi Kabhie Gham…” Monica Bellucci – “Spectre,” “Bram Stoker’s Dracula” Gil Birmingham – “Hell or High Water,” “Twilight” series Nazanin Boniadi – “Ben-Hur,” “Iron Man” Daniel Brühl – “The Zookeeper’s Wife,” “Inglourious Basterds” Maggie Cheung – “Hero,” “In the Mood for Love” John Cho – “Star Trek” series, “Harold & Kumar” series Priyanka Chopra – “Baywatch,” “Barfi!” Matt Craven – “X-Men: First Class,” “A Few Good Men” Terry Crews – “The Expendables” series, “Draft Day” Warwick Davis – “Rogue One: A Star Wars Story,” “Harry Potter” series Colman Domingo – “The Birth of a Nation,” “Selma” Adam