Allianz Global Insurance Report 2020: Skyfall
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Thematic, Moral and Ethical Connections Between the Matrix and Inception
Thematic, Moral and Ethical Connections Between the Matrix and Inception. Modern Day science and technology has been crucial in the development of the modern film industry. In the past, directors have been confined by unwieldy, primitive cameras and the most basic of special effects. The contemporary possibilities now available has enabled modern film to become more dynamic and versatile, whilst also being able to better capture the performance of actors, and better display scenes and settings using special effects. As the prevalence of technology in society increases, film makers have used their medium to express thematic, moral and ethical concerns of technology in human life. The films I will be looking at: The Matrix, directed by the Wachowskis, and Inception, directed by Christopher Nolan, both explore strong themes of technology. The theme of technology is expanded upon as the directors of both films explore the use of augmented reality and its effects on the human condition. Through the use of camera angles, costuming and lighting, the Witkowski brothers represent the idea that technology is dangerous. During the sequence where neo is unplugged from the Matrix, the directors have cleverly combines lighting, visual and special effects to craft an ominous and unpleasant setting in which the technology is present. Upon Neo’s confrontation with the spider drone, the use of camera angles to establishes the dominance of technology. The low-angle shot of the drone places the viewer in a subordinate position, making the drone appear powerful. The dingy lighting and poor mis-en-scene in the set further reinforces the idea that technology is dangerous. -
The James Bond Quiz Eye Spy...Which Bond? 1
THE JAMES BOND QUIZ EYE SPY...WHICH BOND? 1. 3. 2. 4. EYE SPY...WHICH BOND? 5. 6. WHO’S WHO? 1. Who plays Kara Milovy in The Living Daylights? 2. Who makes his final appearance as M in Moonraker? 3. Which Bond character has diamonds embedded in his face? 4. In For Your Eyes Only, which recurring character does not appear for the first time in the series? 5. Who plays Solitaire in Live And Let Die? 6. Which character is painted gold in Goldfinger? 7. In Casino Royale, who is Solange married to? 8. In Skyfall, which character is told to “Think on your sins”? 9. Who plays Q in On Her Majesty’s Secret Service? 10. Name the character who is the head of the Japanese Secret Intelligence Service in You Only Live Twice? EMOJI FILM TITLES 1. 6. 2. 7. ∞ 3. 8. 4. 9. 5. 10. GUESS THE LOCATION 1. Who works here in Spectre? 3. Who lives on this island? 2. Which country is this lake in, as seen in Quantum Of Solace? 4. Patrice dies here in Skyfall. Name the city. GUESS THE LOCATION 5. Which iconic landmark is this? 7. Which country is this volcano situated in? 6. Where is James Bond’s family home? GUESS THE LOCATION 10. In which European country was this iconic 8. Bond and Anya first meet here, but which country is it? scene filmed? 9. In GoldenEye, Bond and Xenia Onatopp race their cars on the way to where? GENERAL KNOWLEDGE 1. In which Bond film did the iconic Aston Martin DB5 first appear? 2. -
An Asymptote of Reality: an Analysis of Nolan's "Inception" Carson Ratliff Grand Valley State University
Cinesthesia Volume 1 | Issue 1 Article 4 12-1-2012 An Asymptote of Reality: An Analysis of Nolan's "Inception" Carson Ratliff Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/cine Part of the Film and Media Studies Commons Recommended Citation Ratliff, Carson (2012) "An Asymptote of Reality: An Analysis of Nolan's "Inception"," Cinesthesia: Vol. 1 : Iss. 1 , Article 4. Available at: http://scholarworks.gvsu.edu/cine/vol1/iss1/4 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Cinesthesia by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Ratliff: An Asymptote of Reality An Asymptote of Reality: An Analysis of Nolan’s Inception In the first act of Inception (Christopher Nolan, 2010), dream invaders Thomas Cobb (Leonardo DiCaprio) and Ariadne (Ellen Page) are walking through the world of a dream. This being her first time in the alternate reality, Ariadne is in awe of the realism of the world. Cobb explains to her that it will be her job, as a dream architect, to design the dream world to make it accurately reflect real life. Ariadne seems intrigued by this challenge and inquires, “…What happens when you start messing with the physics of it all?” At this, the pair stop in their tracks as Ariadne starts to reshape the world of the dream, folding the horizon up into the sky until it comes to rest upside down, one hundred yards above the two protagonists’ heads. -
The Performance and Materiality of the Processes, Spaces and Labor of VFX Production
Sarah Atkinson Interactive ‘making-of’ machines: The performance and materiality of the processes, spaces and labor of VFX production Abstract This article analyzes and interrogates two interactive museum installations designed to reveal behind-the-scenes visual effects (VFX) materials from Inception (2010) and Gravity (2013). The multi-screen, interactive, and immersive installations were both created in direct collaboration with the VFX supervisors who were responsible for pioneering the new and innovative creative solutions in each of the films. The installations translate these processes for a wider audience and as such they not only provide rich sites for textual analysis as new ancillary forms of paratextual access, but they also provide insights into the way that VFX sector presents itself, situated within the wider context of the current global VFX industry. The article draws together critical production studies, textual analysis, and reflections from the industry which, combined, provide new understandings of these interactive forms of ancillary film “making-of ” content, their performative dimensions, and the labor processes that they reveal. Context their conception and presentation within the wider context of the current global VFX industry. This article analyzes and interrogates two interactive The decadent displays of VFX excess and access museum installations that were designed to reveal presented in both installations are representative of behind-the-scenes materials from Inception (2010) the currently flourishing VFX industry within the and Gravity (2013) in order to showcase the UK which has been boosted in recent years, by a acclaimed, breakthrough visual effects (VFX) of system of tax incentives which have been in place 3 each of the films. -
Inception and Ibn 'Arabi Oludamini Ogunnaike Harvard University, [email protected]
Journal of Religion & Film Volume 17 Article 10 Issue 2 October 2013 10-2-2013 Inception and Ibn 'Arabi Oludamini Ogunnaike Harvard University, [email protected] Recommended Citation Ogunnaike, Oludamini (2013) "Inception and Ibn 'Arabi," Journal of Religion & Film: Vol. 17 : Iss. 2 , Article 10. Available at: https://digitalcommons.unomaha.edu/jrf/vol17/iss2/10 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Inception and Ibn 'Arabi Abstract Many philosophers, playwrights, artists, sages, and scholars throughout the ages have entertained and developed the concept of life being a "but a dream." Few works, however, have explored this topic with as much depth and subtlety as the 13thC Andalusian Muslim mystic, Ibn 'Arabi. Similarly, few works of art explore this theme as thoroughly and engagingly as Chistopher Nolan's 2010 film Inception. This paper presents the writings of Ibn 'Arabi and Nolan's film as a pair of mirrors, in which one can contemplate the other. As such, the present work is equally a commentary on the film based on Ibn 'Arabi's philosophy, and a commentary on Ibn 'Arabi's work based on the film. The ap per explores several points of philosophical significance shared by the film and the work of the Sufi as ge, and their relevance to contemporary conversations in philosophy, religion, and art. Keywords Ibn 'Arabi, Sufism, ma'rifah, world as a dream, metaphysics, Inception, dream within a dream, mysticism, Christopher Nolan Author Notes Oludamini Ogunnaike is a PhD candidate at Harvard University in the Dept. -
Representations and Caricatures of Spanish Fascism in the Films El Espiritú De La Colmena, Cría Cueros and El Laberinto Del Fauno
Syracuse University SURFACE Syracuse University Honors Program Capstone Syracuse University Honors Program Capstone Projects Projects Winter 12-15-2014 Making Fun of Franco: Representations and Caricatures of Spanish Fascism in the films El espiritú de la colmena, Cría cueros and El laberinto del fauno Elizabeth Pruchnicki Follow this and additional works at: https://surface.syr.edu/honors_capstone Part of the Other Film and Media Studies Commons, and the Other Spanish and Portuguese Language and Literature Commons Recommended Citation Pruchnicki, Elizabeth, "Making Fun of Franco: Representations and Caricatures of Spanish Fascism in the films El espiritú de la colmena, Cría cueros and El laberinto del fauno" (2014). Syracuse University Honors Program Capstone Projects. 866. https://surface.syr.edu/honors_capstone/866 This Honors Capstone Project is brought to you for free and open access by the Syracuse University Honors Program Capstone Projects at SURFACE. It has been accepted for inclusion in Syracuse University Honors Program Capstone Projects by an authorized administrator of SURFACE. For more information, please contact [email protected]. Making Fun of Franco: Representations and Caricatures of Spanish Fascism in the Films El espiritú de la colmena, Cría cueros and El laberinto del fauno A Capstone Project Submitted in Partial Fulfillment of the Requirements of the Renée Crown University Honors Program at Syracuse University Elizabeth Pruchnicki Candidate for Bachelor of Arts and Renée Crown University Honors May 2015 Honors Capstone Project in Spanish Capstone Project Advisor: Catherine M. Nock Capstone Project Reader: Kathryn Everly Honors Director: Stephen Kuusisto, Director Date: December 12, 2014 Making Fun of Franco: Representations and Caricatures of Spanish Fascism in the Films El espiritú de la colmena, Cría cueros and El laberinto del fauno. -
The Canberra Gazette Our Favourite Movies
The Canberra Gazette Our favourite movies I liked the film"Skyfall" because it is a spy film. In this James Bond film, the action is very realistic. The director is Sam Mendes and the screenwriters are Neal Purvis, Robert Wade and John Logan. The main actors are Daniel Craig, Judi Dench, Javier Bardem, Bérénice Marlohe, Naomie Harris and Ralph Fiennes. Daniel Craig plays the leading role of secret agent James Bond and Judi Dench acts the role of M. During his mission in Istanbul and covered by his agent Eve, Bond tries to catch a man. Eve accidentally shoots Bond who falls into the river and is believed to be dead. A few months later, there is an attack against the MI6. In the meantime,James Bond who is not dead, decides to return to London. When the MI6 is threatened his mission leads him to a former agent named Silva. He is determined to kill M for high treason. Bond and M hide in Bond’s family manor in Scotland. Silva finds their tracks. James Bond kills him. Later, M dies from her wounds. In 2013, the film "Skyfall" won a BAFTA Award for best British film. The same year, the singer Adèle won an Oscar for the best song . Daniel Craig is the greatest actor in Britain. He is so talented. I'm crazy about him. The film knows an international success. Léa Courbe « Edward Scissorhands » is my favourite film. It vas directed and produced by Tim Burton, who is the best director in the world but he has got crazy ideas! Jonnhy Depp plays the role of Edward. -
Ground Into Sky: the Topology of Interstellar
The Avery Review Fred scharmen – Ground into Sky: The Topology of Interstellar Christopher Nolan’s Interstellar was nominated for five Oscars. The Citation: Fred Scharmen, “Ground Into Sky: The Topology of Interstellar,” in The Avery Review, no. 6 movie won the Oscar for Best Visual Effects, many of which were created with (March 2015), http://averyreview.com/issues/6/ analog camera techniques. It has been controversial for its use of emotional ground-into-sky. themes, and its scientific accuracy. The physics in the film is either shockingly sloppy, or accurate enough to generate new peer-reviewed research, depend- ing on which review you read. [1] [2] But the best and most curious thing about [1] Phil Plait, “Interstellar Science: What the movie gets wrong and really wrong about black Interstellar is its topology. holes, relativity, plot, and dialogue,” Slate, http:// Again and again, in different ways, we see the ground lifting up to www.slate.com/articles/health_and_science/ space_20/2014/11/interstellar_science_review_ become the sky. The first appearance of this effect is early in the movie—the the_movie_s_black_holes_wormholes_relativity.html, horizon-obliterating dust storms that sweep across the American Midwest. accessed February 24, 2015. Cooper (the main character) and his family are at a baseball game when a dust [2]: Adam Rogers, “Wrinkles in Spacetime: The Warped Astrophysics of Interstellar,” Wired, http:// storm rises, looming like a growing mountain. Drought and blight have killed the www.wired.com/2014/10/astrophysics-interstellar- plant life that binds the soil, the near-future world of the movie has become a black-hole/, accessed February 24, 2015. -
Set in Scotland a Film Fan's Odyssey
Set in Scotland A Film Fan’s Odyssey visitscotland.com Cover Image: Daniel Craig as James Bond 007 in Skyfall, filmed in Glen Coe. Picture: United Archives/TopFoto This page: Eilean Donan Castle Contents 01 * >> Foreword 02-03 A Aberdeen & Aberdeenshire 04-07 B Argyll & The Isles 08-11 C Ayrshire & Arran 12-15 D Dumfries & Galloway 16-19 E Dundee & Angus 20-23 F Edinburgh & The Lothians 24-27 G Glasgow & The Clyde Valley 28-31 H The Highlands & Skye 32-35 I The Kingdom of Fife 36-39 J Orkney 40-43 K The Outer Hebrides 44-47 L Perthshire 48-51 M Scottish Borders 52-55 N Shetland 56-59 O Stirling, Loch Lomond, The Trossachs & Forth Valley 60-63 Hooray for Bollywood 64-65 Licensed to Thrill 66-67 Locations Guide 68-69 Set in Scotland Christopher Lambert in Highlander. Picture: Studiocanal 03 Foreword 03 >> In a 2015 online poll by USA Today, Scotland was voted the world’s Best Cinematic Destination. And it’s easy to see why. Films from all around the world have been shot in Scotland. Its rich array of film locations include ancient mountain ranges, mysterious stone circles, lush green glens, deep lochs, castles, stately homes, and vibrant cities complete with festivals, bustling streets and colourful night life. Little wonder the country has attracted filmmakers and cinemagoers since the movies began. This guide provides an introduction to just some of the many Scottish locations seen on the silver screen. The Inaccessible Pinnacle. Numerous Holy Grail to Stardust, The Dark Knight Scottish stars have twinkled in Hollywood’s Rises, Prometheus, Cloud Atlas, World firmament, from Sean Connery to War Z and Brave, various hidden gems Tilda Swinton and Ewan McGregor. -
Reading for Fictional Worlds in Literature and Film
Reading for Fictional Worlds in Literature and Film Danielle Simard Doctor of Philosophy University of York English and Related Literature March, 2020 2 Abstract The aim of this thesis is to establish a critical methodology which reads for fictional worlds in literature and film. Close readings of literary and cinematic texts are presented in support of the proposition that the fictional world is, and arguably should be, central to the critical process. These readings demonstrate how fictional world-centric readings challenge the conclusions generated by approaches which prioritise the author, the reader and the viewer. I establish a definition of independent fictional worlds, and show how characters rather than narrative are the means by which readers access the fictional world in order to analyse it. This interdisciplinary project engages predominantly with theoretical and critical work on literature and film to consider four distinct groups of contemporary novels and films. These texts demand readings that pose potential problems for my approach, and therefore test the scope and viability of my thesis. I evaluate character and narrative through Fight Club (novel, Chuck Palahniuk [1996] film, David Fincher [1999]); genre, context, and intertextuality in Solaris (novel, Stanisław Lem [1961] film, Andrei Tarkovsky [1974] film, Steven Soderbergh [2002]); mythic thinking and character’s authority with American Gods (novel, Neil Gaiman [2001]) and Anansi Boys (novel, Neil Gaiman [2005]); and temporality and nationality in Cronos (film, Guillermo -
A Level Film Studies Candidate Style Answers
Qualification Accredited A LEVEL Candidate Style Answers FILM STUDIES H410 For first teaching in 2017 H410/02 Critical approaches to film Version 1 www.ocr.org.uk/filmstudies A Level Film Studies Candidate Style Answers Contents Introduction 3 Section A Question 2: Level 5 answer 4 Commentary 6 Section A Question 2: Level 3 answer 7 Commentary 7 Section B Question 4: Level 5 answer 8 Commentary 10 Section B Question 4: Level 3 answer 11 Commentary 11 Section C Question 5: Level 5 answer 12 Commentary 14 Section C Question 5: Level 3 answer 15 Commentary 16 Section C Question 7: Level 5 answer 17 Commentary 19 Section C Question 7: Level 3 answer 20 Commentary 21 Section C Question 10: Level 5 answer 22 Commentary 24 Section C Question 10: Level 3 answer 25 Commentary 25 2 © OCR 2018 A Level Film Studies Candidate Style Answers Introduction Please note that this resource is provided for advice and guidance only and does not in any way constitute an indication of grade boundaries or endorsed answers. Whilst a senior examiner has provided a possible level for each Assessment Objective when marking these answers, in a live series the mark a response would get depends on the whole process of standardisation, which considers the big picture of the year’s scripts. Therefore the level awarded here should be considered to be only an estimation of what would be awarded. How levels and marks correspond to grade boundaries depends on the Awarding process that happens after all/most of the scripts are marked and depends on a number of factors, including candidate performance across the board. -
MADE in HOLLYWOOD, CENSORED by BEIJING the U.S
MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence 1 MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence TABLE OF CONTENTS EXECUTIVE SUMMARY I. INTRODUCTION 1 REPORT METHODOLOGY 5 PART I: HOW (AND WHY) BEIJING IS 6 ABLE TO INFLUENCE HOLLYWOOD PART II: THE WAY THIS INFLUENCE PLAYS OUT 20 PART III: ENTERING THE CHINESE MARKET 33 PART IV: LOOKING TOWARD SOLUTIONS 43 RECOMMENDATIONS 47 ACKNOWLEDGEMENTS 53 ENDNOTES 54 Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence MADE IN HOLLYWOOD, CENSORED BY BEIJING EXECUTIVE SUMMARY ade in Hollywood, Censored by Beijing system is inconsistent with international norms of Mdescribes the ways in which the Chinese artistic freedom. government and its ruling Chinese Communist There are countless stories to be told about China, Party successfully influence Hollywood films, and those that are non-controversial from Beijing’s warns how this type of influence has increasingly perspective are no less valid. But there are also become normalized in Hollywood, and explains stories to be told about the ongoing crimes against the implications of this influence on freedom of humanity in Xinjiang, the ongoing struggle of Tibetans expression and on the types of stories that global to maintain their language and culture in the face of audiences are exposed to on the big screen. both societal changes and government policy, the Hollywood is one of the world’s most significant prodemocracy movement in Hong Kong, and honest, storytelling centers, a cinematic powerhouse whose everyday stories about how government policies movies are watched by millions across the globe.