DOCSLIB.ORG

Read Book Filmosophy Ebook, Epub

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Read Book Filmosophy Ebook, Epub FILMOSOPHY PDF, EPUB, EBOOK Daniel Frampton | 256 pages | 12 Dec 2006 | WALLFLOWER PRESS | 9781904764847 | English | London, United Kingdom Filmosophy PDF Book Close mobile search navigation Article Navigation. Cinema initiates a different ordering of space, time and subjectivity. Preview — Filmosophy by Daniel Frampton. He made Other editions. An often very engaging, always passionate attempt to get to grips with film problems that aren't going to go away. Sebastian Gonzalez rated it it was amazing Mar 31, It is an example of the film playing with our perceptual faculties, giving us a sense of filmic immediacy that leaves us not thinking of the broken rules, but feeling the rush of risk. Every reader will appreciate the energy, force and breadth of the author's appreciation of cinema. In that case, we can't New Korean Cinema: Breaking the Waves. Remember this Halloween night if a friend shows up to trick-or-treat in a ridiculous costume! It's a creative way of thinking, but it won't catch and fire if you ask me. Daniel Rich rated it it was amazing Sep 11, More filters. Filmind 6. New issue alert. Google Scholar. Frampton could do worse than produce a further volume concerning criticism — either an anthology or a summarising account — where critics have pushed film language into the creative, poetic and subjective, as the Thomson quote above suggests. Khaled alShaibani rated it liked it Sep 22, Details if other :. It's a book about a new film- approach based on how we percieve the films. Frampton's expansive rhetoric is refreshing, his film references eclectic and his prose a pleasure to read. According to the writer, each viewer has it's own understanding about the film, and this creates a film-mind, you become a film-being, and the beings within your understanding become film-entities. Badem rated it really liked it Jul 02, Here he captures perfectly the technical and the poetic. Ibraheem rated it really liked it Aug 02, Screenplay by Steve Kloves. Related Searches. Overview Filmosophy is a provocative new manifesto for a radically philosophical way of understanding cinema. Select Format Select format. If the project of Film Theory was pronounced dead a little over a decade ago, then these books offer the challenge of bringing it back to life. In theaters everywhere! Through evocation and provocation Daney himself would bring films to life, and would cheerfully offer partial knowledge because he knew film was an intensely subjective experience. So it seems the fates want to make sure it is shared with you. I am he as You are me rated it really liked it Dec 06, In this comprehensive study, Michael Barnett explores the relationships between Arab identity, the meaning of Arabism, and desired regional order It coalesces twentieth-century ideas of film as thought from Hugo MUnsterberg to Gilles Deleuze into a practical theory of "film-thinking," arguing that film style conveys poetic ideas through a constant dramatic "intent" about the characters, spaces, and events of film. Dorian rated it really liked it Dec 24, To ask other readers questions about Filmosophy , please sign up. Megan rated it really liked it Aug 30, Filmosophy, a sprightly treatment of the ways that cinema make us think, tells us why cinephilia is deeply rooted in perception and reflection. They engender trauma that echoes for generations, in the experiences of those on both sides of the act. Sign In. Perhaps the more critics use film terms with an affective dimension, the easier it will be for both the language to evolve and for terminology to be adapted accordingly. Filmosophy Writer Show More. But what he would have had to say about the image he wound up with might well have mattered more than whether it was accurate or not. Ibraheem rated it really liked it Aug 02, This new work offers a clear and thorough account of the threats posed by bioterrorism from the perspective of biologists. Tom Conley,, Harvard University. He only has half the picture. Preview — Filmosophy by Daniel Frampton. Select Format Select format. There are no discussion topics on this book yet. Richard Mactough rated it really liked it Mar 04, When he learns the truth about the existence of The Matrix, the film returns to full image. Richard Rushton Richard Rushton. An excellent book on how to understand film differently than the technicist language which has grown up around film studies over the past 50 years. Frieze Masters. Rather, in a lucid and clear style, Daniel Frampton argues that film is philosophy; it is itself, aesthetical and philosophical expression - a medium for thinking-with or an accompaniment to thought. It's a book about a new film-approach based on how we percieve the films. Cinema initiates a different ordering of space, time and subjectivity. At London's Cell Project Space, the artists' timely new commissions explore the potency of intimate gestures and simple actions. An exhibition in Edinburgh honouring Ray Harryhausen gives film historians the chance to see Medusa, the Kraken, dinosaurs and giant sea creatures. View 1 comment. Film Writing But that is a secondary, analytic function…Taking it apart is far less important than seeing it whole. We do not need to apply philosophical language or terms to comprehend the film; film itself is a philosophical problematic working itself out. Other Editions 6. Feb 11, Matthew Holtmeier rated it it was amazing. Error rating book. Film Phenomenology 4. Home 1 Books 2. It is the difference between enacting a crime and sitting in a court of law judging it. In conceptualising film as an 'organic intelligence', Frampton draws from the lessons of both Gilles Deleuze and Stanley Cavell to propose one of the most original film philosophies of the last thirty years. Khaled alShaibani rated it liked it Sep 22, Members save with free shipping everyday! Jacques Tati is widely regarded as one of the greatest postwar European filmmakers. How do states distinguish friends from enemies, partners from competitors, and communities from outsiders? The wine takes all the influences in life all around it; it absorbs them and it gets its personality. Oxford University Press is a department of the University of Oxford. Permissions Icon Permissions. Stay tuned for more Filmosophy memes! Sign in to Purchase Instantly. Sign up for emails at: FilmosophyAdvice gmail. Screenplay by Steve Kloves. Filmosophy is representative of this Postmodernist dethroning. Through evocation and provocation Daney himself would bring films to life, and would cheerfully offer partial knowledge because he knew film was an intensely subjective experience. Filmosophy Reviews This new work offers a clear and thorough account of the threats posed by bioterrorism from the perspective of biologists. Filmind 6. In this comprehensive study, Michael Barnett explores the relationships between Arab identity, the meaning of Arabism, and desired regional order New Korean Cinema charts the dramatic transformation of South Korea's film industry from the democratization movement of the late s to the s new generation of directors. Welcome back. Add to Wishlist. Butler engages Jewish philosophical positions to articulate a critique of Escape the Present with These 24 Historical Romances. Subscribe to Senses of Cinema to receive news of our latest cinema journal. Search Menu. Want to Read Currently Reading Read. Article Contents. Show More. Javascript is not enabled in your browser. Sweary Knitter rated it it was amazing Aug 07, Filmosophy, a sprightly treatment of the ways that cinema make us think, tells us why cinephilia is deeply rooted in perception and reflection. For decades, Arab states and societies have been involved in an ongoing conflict over the View Metrics. Columbia University Press. Issue But that is a secondary, analytic function…Taking it apart is far less important than seeing it whole. Screenplay by Francis Ford Coppola. It is inspiring to see theories as audacious as those presented by McGowan and Frampton making their way into film studies, for each of the books promises new ways of approaching the study Open Preview See a Problem? The U. Overview Filmosophy is a provocative new manifesto for a radically philosophical way of understanding cinema. Screenplay by John Lee Hancock. Jeremy Moon Takes a Rectangle for a Walk. Faisal Alzhrani rated it liked it Jul 14, Friend Reviews. Jacques Tati is widely regarded as one of the greatest postwar European filmmakers. So it seems the fates want to make sure it is shared with you. Stay tuned for more Filmosophy memes! Film Minds 2. He only has half the picture. Enter your email address below:. Issue How do states distinguish friends from enemies, partners from competitors, and communities from outsiders? Inspiration for a Monday morning! Jun 08, Steen Ledet rated it really liked it Shelves: academics , affect , film , theory. He takes off from the brilliant effort by Gilles Deleuze to reinvent philosophy through a rigorous analysis of the technology of cinema. An exhibition in Edinburgh honouring Ray Harryhausen gives film historians the chance to see Medusa, the Kraken, dinosaurs and giant sea creatures. Filmosophy Read Online Get A Copy. Now, with books such as Daniel Frampton's boldly argued Filmosophy appearing, hard-line cinephilia and hardline philosophy have merged'. Screenplay by Francis Ford Coppola. Judith Butler follows Edward Said's late suggestion that through a consideration of Palestinian dispossession in relation to Jewish diasporic traditions a new ethos can be forged for a one-state solution. In short, the actual meta becomes seperated from you, the viewer and what you understand becomes a third being, and this can only be handled as a seperate discipline called filmosophy. Film is immediate. Like so many things, it is not what is outside, but what is inside that counts.
Load more

Recommended publications
  • Dark Matter #4
    Cover Page DarkIssue Four Matter July 2011 SF, Fantasy & Art [email protected] Dark Matter Issue Four July 2011 SF, Fantasy & Art [email protected] Dark Matter Contents: Issue 4 Dark Matter Stuff 1 News & Articles 7 Gun Laws & Cosplay 7 Troopertrek 2011 8 Hugo Award Nominees 10 2010 Aurealis Awards 14 2011 Aurealis Awards to be held in Sydney again 15 2011 Ditmar Awards 16 2011 Chronos Awards 20 Renovation WorldCon 22 Iron Sky update 28 Art by Ben Grimshaw 30 Ebony Rattle as Electra, Art by Ben Grimshaw 31 The Girl in the Red Hood is Back … But She’s a Little Different 32 Launching & Gaining Velocity 34 Geek and Nerd 35 Peacemaker - A Comic Book 36 Continuum 7 Report 38 Starcraft 2 - Prae.ThorZain 46 Good Friday Appeal 50 FAQ about the writing of Machine Man, by Max Barry 65 J. Michael Straczynski says... 67 Interviews 69 Kevin J. Anderson talks to Dark Matter 69 Tom Taylor and Colin Wilson talk to Dark Matter 78 Simon Morden talks to Dark Matter 106 Paul Bedford talks to Dark Matter 115 Cathy Larsen talks to Dark Matter 131 Madeleine Roux talks to Daniel Haynes 142 Chewbacca is Coming 146 Greg Gates talks to Dark Matter 153 Richard Harland talks to Dark Matter 165 Letters 173 Anime/Animation 176 The Sacred Blacksmith Collection 176 Summer Wars 177 Evangelion 1.11 You are [not] alone 178 Evangelion 2.22 You can [not] advance 179 Book Reviews 180 The Razor Gate 180 Angelica 181 2 issue four The Map of Time 182 Die for Me 183 The Gathering 184 The Undivided 186 the twilight saga: the official illustrated guide 188 Rivers
    [Show full text]
  • Directed by Henry Selick; Based on the Novel by Neil Gaiman
    Directed by Henry Selick; Based on the novel by Neil Gaiman Production Notes 2 Table of Contents I. Synopsis page 3 II. The Genesis of Coraline page 4 III. Screen Vision page 6 IV. Stop Starts page 7 V. With the Voice Talents of… page 9 VI. Two Worlds, One Studio page 14 VII. On the Set page 23 VIII. Two Worlds, Three Dimensions page 24 IX. Fast Facts page 27 X. Trivia Tips page 28 XI. About the Cast page 29 XII. About the Moviemakers page 33 3 Synopsis Combining the visionary imaginations of two premier fantasists, director Henry Selick (The Nightmare Before Christmas) and author Neil Gaiman (Sandman), Coraline is a wondrous and thrilling, fun and suspenseful adventure that honors and redefines two moviemaking traditions. It is a stop-motion animated feature – and, as the first one to be conceived and photographed in stereoscopic 3-D, unlike anything moviegoers have ever experienced before. Coraline Jones (voiced by Dakota Fanning) is a girl of 11 who is feisty, curious, and adventurous beyond her years. She and her parents (Teri Hatcher, John Hodgman) have just relocated from Michigan to Oregon. Missing her friends and finding her parents to be distracted by their work, Coraline tries to find some excitement in her new environment. She is befriended – or, as she sees it, is annoyed – by a local boy close to her age, Wybie Lovat (Robert Bailey Jr.); and visits her older neighbors, eccentric British actresses Miss Spink and Forcible (Jennifer Saunders and Dawn French) as well as the arguably even more eccentric Russian Mr.
    [Show full text]
  • Asfacts July13.Pub
    ASFACTS 2013 JULY “H EAT WAVE & H UMIDITY ” I SSUE NEBULA WINNERS ANNOUNCED The 2012 Nebula Awards were presented May 18, 2013, in a ceremony at SFWA’s 48th Annual Nebula Awards Weekend in San Jose, CA. Gene Wolfe was hon- ored with the 2012 Damon Knight Grand Master Award for his lifetime contributions and achievements in the field. A list of winners follows: First Novel: Throne of the Crescent Moon by Saladin Novel: 2312 by Kim Stanley Robinson, Novella: Ahmed, Young Adult Book: Railsea by China Miéville, After the Fall, Before the Fall, During the Fall by Nancy Novella: After the Fall, Before the Fall, During the Fall Kress, Novelette: “Close Encounters” by Andy Duncan, by Nancy Kress, Novelette: “The Girl-Thing Who Went Short Story: “Immersion” by Aliette de Bodard, Ray Out for Sushi” by Pat Cadigan, Short Story: “Immersion” Bradbury Award for Outstanding Dramatic Presentation: by Aliette de Bodard, Anthology: Edge of Infinity edited Beasts of the Southern Wild , and Andre Norton Award by Jonathan Strahan, and Collection: Shoggoths in Bloom for Young Adult Science Fiction and Fantasy Book: Fair by Elizabeth Bear. Coin by E.C. Myers. Non-Fiction: Distrust That Particular Flavor by Carl Sagan and Ginjer Buchanan received Solstice William Gibson, Art Book: Spectrum 19: The Best in Awards, and Michael H. Payne was given the Kevin Contemporary Fantastic Art edited by Cathy Fenner & O’Donnell Jr. Service to SFWA Award. Arnie Fenner, Artist: Michael Whelan, Editor: Ellen Dat- low, Magazine: Asimov’s , and Publisher: Tor. ROGERS & D ENNING HOSTING PRE -CON PARTY RICHARD MATHESON DEAD Patricia Rogers and Scott Denning will uphold a local fannish tradition when they host the Bubonicon 45 LOS ANGELES (Associated Press) -- Richard Pre-Con Party 7:30-10:30 pm Thursday, August 22, at Matheson, the prolific sci-fi and fantasy writer whose I their home in Bernalillo – located at 909 Highway 313.
    [Show full text]
  • A.S. Approves Budget For' 85-86 by Mariann Hansen the Board Had to Make Cuts in Other Daily Staff Writer Areas in Order to Fund the RAFI Groups
    Stories to be told, Trade lessons to be learned surplus Remembering Vietnam through others' tales Basketball coaches import talent FEATURE PAGE 3 SPORTS PAGE 6 Serving the San Jose State University Community Since 1934 Volume 84, No. 57 Friday, Apri126, 1985 A.S. approves budget for' 85-86 By Mariann Hansen The board had to make cuts in other Daily staff writer areas in order to fund the RAFI groups. The Associated Students Board of Direc- Coughlan read a cover letter of the proposed tors approved a $484,000 budget for 1985-86 $484,000 allocated for next fiscal year budget to the board. which funds RAFI groups and leaves nine "Our proposed budget represents the campus groups without funds. best alternative for both following the student The board upheld the Revised Automatic mandate on RAFI and maintaining an accep- Funding Initiative, which students passed approved within 15 minutes by a 9-o-1 vole. This is the most fair budget I've ever "This budget is more a reflection of the table level of service for the student body as a three years ago. RAFI is designed to auto- John Stipicevich, director of Non-Traditional seen," A.S. President Michael Schneider current administration's attempt to restrict whole," Coughlan read. "It has been said that matically fund seven campus organizations Minority Affairs, abstained. said. "Everyone was cut, even the A.S. Busi- the incoming board's effectiveness rather the perfect compromise is one with which ev- 25 percent of the A.S. budget. "I abstained because I'm not in total ag- ness Office." than a well thought out and well devised bud- eryone is displeased we believe we have reement with the budget," Stipicevich said.
    [Show full text]
  • The Hollywood Cinema Industry's Coming of Digital Age: The
    The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication.
    [Show full text]
  • 0001 Title Page 9780240811628.Indd
    Spencer Drate & Judith Salavetz VFXA VISUAL TOURARTISTRY OF HOW THE STUDIOS CREATE THEIR MAGIC AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier any injury and/or damage to persons or property as a matter 30 Corporate Drive, Suite 400, Burlington, MA 01803, of product liability, negligence, or otherwise, or from any USA use or operation of any methods, products, instructions, or Linacre House, Jordan Hill, Oxford OX2 8DP, UK ideas contained in the material herein. © 2010 Elsevier, Inc. All rights reserved. Library of Congress Cataloging-in-Publication Data Drate, Spencer. No part of this publication may be reproduced or trans- VFX artistry : a visual tour of how the studios create their mitted in any form or by any means, electronic or mechani- magic / Spencer Drate, Judith Salavetz. cal, including photocopying, recording, or any information p. cm. storage and retrieval system, without permission in writing ISBN 978-0-240-81162-8 (pbk. : alk. paper) from the publisher. Details on how to seek permission, 1. Cinematography—Special eff ects. 2. Computer drawing— further information about the Publisher ’ s permissions poli- Special eff ects. 3. Digital video. I. Salavetz, Jütka. cies, and our arrangements with organizations such as the II. Title. Copyright Clearance Center and the Copyright Licensing TR858.D73 2009 Agency can be found at our website: www.elsevier.com/ 778.5 ′ 3—dc22 permissions . 2009027186 Th is book and the individual contributions contained in it British Library Cataloguing-in-Publication Data are protected under copyright by the Publisher (other than A catalogue record for this book is available from the British as may be noted herein).
    [Show full text]
  • A Pictorial History of Comic-Con
    A PICTORIAL HISTORY OF COMIC-CON THE GOLDEN AGE OF COMIC-CON The 1970s were the formative years of Comic-Con. After finding its home in the El Cortez Hotel in downtown San Diego, the event continued to grow and prosper and build a national following. COMIC-CON 50 www.comic-con.org 1 OPPOSITE PAGE:A flier for the Mini-Con; the program schedule for the event. THIS PAGE: The Program Book featured a pre-printed cover of Balboa Park; photos from the Mini-Con, which were published in the Program Book for the first three-day MINI-CON Comic-Con held in August (clockwise MINI-CON from left): Forry Ackerman speaking; Mike Royer with some of his art; Comic-Con founding committee member Richard Alf NOTABLE MARCH 21, 1970 at his table; Ackerman at a panel discus- sion and with a fan; and Royer sketching GUESTS live on stage. The basement of the U.S. Grant Hotel, Downtown San Diego Attendance: 100+ Officially known as “San Diego’s Golden State Comic-Minicon” (the hyphen in Minicon comes and goes), this one-day event was held in March to raise funds for the big show in August, and FORREST J ACKERMAN was actually the first-ever West Coast comic convention. Most Comic-Con’s first-ever guest was the popular editor of Famous of those on the organizing com- Monsters of Filmland, the favorite mittee were teenagers, with the movie magazine of many of the major exceptions of Shel Dorf (a fans of that era. He paid his own recent transplant from Detroit way and returned to Comic-Con who had organized the Triple numerous times over the years.
    [Show full text]
  • Orson Welles
    ART THE ART OF NEIL GAIMAN AND NEW CHARLES VESS’ STARDUST NEIL GAIMAN & CHARLES VESS INTRODUCTION BY NEIL GAIMAN SEPTEMBER 2021, 176PP 310mm x 228mm, HB £34.99, full colour throughout From Charles Vess’s personal archive, a breathtaking collection of his illustrations, from sketches to stunning paintings, for the acclaimed masterwork Stardust written by Neil Gaiman. This elegant and lavish book reveals the art and the story of the collaboration between Neil Gaiman and Charles Vess as they worked together to create Stardust, charting the whole process from the moment Gaiman asked Vess to join him on the project, the detail of how they worked together and featuring the layouts, concept illustrations, pen-and-ink drawings, and breathtaking final paintings. The book includes works produced by Vess for all the different editions of Stardust including the ultra-rare portfolio A Fall of Stardust with contributions from many famous cartoonists and illustrators including Mike Mignola (Hellboy), William Stout, Stan Sakai (Usagi Yojimbo), and Sergio Aragones (Mad). The Art of Neil Gaiman and Charles Vess’ Stardust contains over 140 high quality illustrations from Charles Vess’s archive, as well as samples of Neil Gaiman’s handwritten manuscript from multiple editions of the novel. Charles Vess is an multi award-winning American fantasy and comics artist who has specialized in the illustration of myths and fairy tales. • From Charles Vess’s personal archive, a breathtaking collection of his illustrations, from sketches to beautiful paintings, for the acclaimed masterwork written by Neil Gaiman. • Stardust began as a ground-breaking illustrated saga, then became an acclaimed novel, and finally an award- winning film directed by Matthew Vaughn and starring Claire Danes, Rupert Everett, Peter O’Toole, Michelle Pfeiffer and Robert De Niro.
    [Show full text]
  • Beam Aboard the Star Trektm Set Tour!
    Let’s roll, Kato! Spring 2019 No. 4 $8.95 The Green Hornet in Hollywood Thunderbirds Are GO! Creature Creator RAY HARRYHAUSEN SAM J. JONES Brings The Spirit to Life Saturday Morning’s 8 4 5 TM 3 0 0 8 5 Beam Aboard the Star Trek Set Tour! 6 2 Martin Pasko • Andy Mangels • Scott Saavedra • and the Oddball World of Scott Shaw! 8 1 Shazam! TM & © DC Comics, a division of Warner Bros. Green Hornet © The Green Hornet, Inc. Thunderbirds © ITV Studios. The Spirit © Will Eisner Studios, Inc. All Rights Reserved. The crazy cool culture we grew up with Columns and Special Departments Features 3 2 CONTENTS Martin Pasko’s Retrotorial Issue #4 | Spring 2019 Pesky Perspective The Green Hornet in 11 3 Hollywood RetroFad 49 King Tut 12 Retro Interview 29 Jan and Dean’s Dean Torrence Retro Collectibles Shazam! Seventies 15 Merchandise Andy Mangels’ Retro Saturday Mornings 36 Shazam! Too Much TV Quiz 15 38 65 Retro Interview Retro Travel 41 The Spirit’s Sam Jones Star Trek Set Tour – Ticonderoga, New York 41 Retro Television 71 Thunderbirds Are Still Go! Super Collector The Road to Harveyana, by 49 Jonathan Sternfeld Ernest Farino’s Retro Fantasmagoria 78 Ray Harryhausen: The Man RetroFanmail Behind the Monsters 38 80 59 59 ReJECTED The Oddball World of RetroFan fantasy cover by Scott Shaw! Scott Saavedra Pacific Ocean Park RetroFan™ #4, Spring 2019. Published quarterly by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. Michael Eury, Editor-in-Chief. John Morrow, Publisher. Editorial Office: RetroFan, c/o Michael Eury, Editor-in-Chief, 112 Fairmount Way, New Bern, NC 28562.
    [Show full text]
  • Download Booklet
    570183bk Son of Kong 2/6/06 9:10 PM Page 12 important film music re-recordings with conductor William Stromberg and reconstructionist John Morgan for Marco Polo. Fanfare critic Royal S. Brown, reviewing the complete recording of Hans J. Salter and Paul Dessau’s landmark House of Frankenstein score, saluted the CD as a “valuable document on the kind of craftsmanship and daring in film scoring that passed by all but unnoticed because of the nature of the films.” Film Score Monthly praised the orchestra’s recording of Korngold’s Another Dawn score, adding that “Stromberg, Morgan and company could show some classical concert conductors a thing or two on how Korngold should be played and recorded.” The same magazine described a recording of suites from Max Steiner’s music for Virginia City and The Beast With Five Fingers as “full-blooded and emphatic.” And Rad Bennett of The Absolute Sound found so much to praise in the orchestra’s film music series he voiced a fervent desire that Marco Polo stay put in Moscow and “record film music for ever”. Many of these recordings are now being reissued in the Naxos Film Music Classics series. William Stromberg Film composer, conductor and arranger, William Stromberg is widely viewed as a rising talent on Hollywood’s busy film music scene, especially for his work in the challenging realm of film music restoration. Along with colleague John Morgan, Stromberg has rescued many classic film scores from oblivion. This digital recording of Max Steiner’s scores for The Son of Kong and The Most Dangerous Game was originally released on Marco Polo and is now being reissued on Naxos.
    [Show full text]
  • Special Effects and the Fantastic Transmedia Franchise Book Author(S): Bob Rehak Published By: NYU Press
    NYU Press Chapter Title: Introduction: Seeing Past the State of the Art Book Title: More Than Meets the Eye Book Subtitle: Special Effects and the Fantastic Transmedia Franchise Book Author(s): Bob Rehak Published by: NYU Press. (2018) Stable URL: https://www.jstor.org/stable/j.ctvf3w4fp.3 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms NYU Press is collaborating with JSTOR to digitize, preserve and extend access to More Than Meets the Eye This content downloaded from 130.58.34.230 on Tue, 14 Apr 2020 20:20:18 UTC All use subject to https://about.jstor.org/terms Introduction Seeing Past the State of the Art At first glance, the relationship between special effects and contempo- rary Hollywood blockbusters might seem so straightforward as to go without saying. As of 2017, the top ten movies enjoying domestic U.S. grosses in the $500 million to $1 billion range were all pointedly spec- tacular productions, such as the dinosaur theme- park adventure Jurassic World (Colin Trevorrow, 2015) and Christopher Nolan’s IMAX Batman epic The Dark Knight (2007); spots two and three belonged to Avatar (2009) and Titanic (1997), brainchildren of writer- director James Cam- eron, a “technological auteur” renowned for his cutting- edge use of visual effects technologies;1 and two others, The Avengers (Joss Whedon, 2012) and Avengers: Age of Ultron (Joss Whedon, 2015), assembled teams of amazing superheroes to combat world- destroying villains.
    [Show full text]
  • Introduction
    Notes Introduction 1 . Kristina Jaspers, ‘Zur Entstehungsgeschichte und Funktion des Storyboards’, in Katharina Henkel, Kristina Jaspers, and Peter Mänz (eds), Zwischen Film und Kunst: Storyboards von Hitchcock bis Spielberg (Bielefeld: Kerber, 2012), p. 15. We are indebted to Julia Knaus for all translations from the original German of this book. 2 . Jean-Claude Carrière, The Secret Language of Film , trans. Jeremy Leggatt (London: Faber, 1995), p. 150. 3 . Nathalie Morris, ‘Unpublished Scripts in BFI Special Collections: A Few Highlights’, Journal of Screenwriting 1.1 (2010), pp. 197–198. 4 . Fionnuala Halligan, Movie Storyboards: The Art of Visualizing Screenplays (San Francisco: Chronicle, 2013), p. 9. 5 . Alan David Vertrees, Selznick’s Vision: Gone with the Wind and Hollywood Filmmaking (Austin: University of Texas Press, 1997), pp. 67, 117. 6 . See Steven Price, A History of the Screenplay (Basingstoke: Palgrave, 2013). 7 . Katharina Henkel and Rainer Rother, ‘Vorwort’, in Katharina Henkel, Kristina Jaspers, and Peter Mänz (eds), Zwischen Film und Kunst: Storyboards von Hitchcock bis Spielberg (Bielefeld: Kerber, 2012), p. 8. 8 . Vincent LoBrutto, The Filmmaker’s Guide to Production Design (New York: Allworth, 2002), p. 62. 9 . Halligan, p. 8. 10 . John Hart, The Art of the Storyboard: Storyboarding for Film, TV, and Animation (Boston: Focal Press, 1999), p. 5. 11 . Steven Maras, Screenwriting: History, Theory and Practice (London: Wallflower, 2009), p. 120. 12 . Maras, p. 123. 13 . Kathryn Millard, ‘The Screenplay as Prototype’, in Jill Nelmes (ed.), Analysing the Screenplay (London: Routledge, 2011), p. 156. Millard develops related arguments in ‘After the Typewriter: The Screenplay in a Digital Era’, Journal of Screenwriting 1.1 (2010), pp.
    [Show full text]