Visual Absurdity in Raging Bull
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Shot Types Identified Refer To: There Is a Convention in Video and Filmmaking That Assi
Shot Types identified; Camera angles and movement 1 Info Sheet Shot Types Identified Refer to: http://www.mediacollege.com/video/shots/ There is a convention in video and filmmaking that assign names and guidelines to common types of shots, framing and picture composition. The list below briefly describes the most common shot types. The exact terminology often varies between production environments but the basic principles are the same. Shots are usually described in relation to a particular SUBJECT. 1. EWS (Extreme Wide Shot) / Establishing Shot The view is often on the level of showing the entire landscape. The view is so far from a human subject, for example, that s/he isn't even visible. Often used as an establishing shot. 2. An establishing shot is used to show the location or environmental context of the action shot that follows. 3. VWS (Very Wide Shot) / Wide Angle The human subject is visible, but barely noticeable in the frame. The emphasis is on placing him/her in context/environment. 4. WS (Wide Shot) The subject takes up the full frame, or at least as much as comfortably possible. AKA: long shot, or full shot. The subject is shown from head to toe. 5. MS (Medium Shot) Shows some part of the subject in more detail while still giving an impression of the whole subject. Usually shows the subject from the hips or waist to the top of the head. 6. MCU (Medium Close Up) Half way between a MS and a CU. 7. CU (Close Up) A certain feature or part of the subject takes up the whole frame. -
Contemporary Films Related to Content in a Course on Death And
Contemporary Films Related to Content in a Course on Death and Grief Barbara Head, PhD, CHPN, ACSW, FPCN University of Louisville, Kent School of Social Work [email protected] Title Year Leading Actor(s) Brief Synopsis Related Course Content Amour 2012 Jean-Louis Trintignant An elderly, loving couPle struggles to Grief and loss in later life (French) Emmanuelle Riva maintain their indePendence after the Euthanasia wife suffers a Paralyzing stroke. Caregiver stress Anticipatory grief A Single Man 2009 Colin Firth A gay university Professor struggles Disenfranchised grief Julianne Moore with his grief after the sudden death of Suicide risk in bereavement his partner. Story is set in the early Historical/cultural imPacts on grief and 1960’s. loss Beyond Belief 2007 Susan Retik Two women (both Pregnant at the time) Meaning reconstruction (Documentary) Patti Quigley who lost their husbands on 911 find Resiliency meaning in their loss. Sudden, traumatic loss The Descendants 2011 George Clooney A family struggles with the imPending Children and grief Beau Bridges death and infidelity of the mother/wife Disenfranchised grief who is rendered brain dead after a Families and grief boating accident. Discontinuation of life suPPort 50/50 2011 JosePh Gordon-Levitt A young radio journalist faces treatment Counseling the seriously ill Patient Seth Rogan for a serious malignancy with a 50/50 Professional boundaries chance of survival. Grief and loss related to serious illness in a young person Social suPPort during illness Grace is Gone 2007 John Cusack The father of two young daughters Families and grief reacts to the news of the death of his Sudden, traumatic loss wife who was killed during a tour of duty Stages and tasks of grieving in Iraq. -
Robert De Niro's Raging Bull
003.TAIT_20.1_TAIT 11-05-12 9:17 AM Page 20 R. COLIN TAIT ROBERT DE NIRO’S RAGING BULL: THE HISTORY OF A PERFORMANCE AND A PERFORMANCE OF HISTORY Résumé: Cet article fait une utilisation des archives de Robert De Niro, récemment acquises par le Harry Ransom Center, pour fournir une analyse théorique et histo- rique de la contribution singulière de l’acteur au film Raging Bull (Martin Scorcese, 1980). En utilisant les notes considérables de De Niro, cet article désire montrer que le travail de cheminement du comédien s’est étendu de la pré à la postproduction, ce qui est particulièrement bien démontré par la contribution significative mais non mentionnée au générique, de l’acteur au scénario. La performance de De Niro brouille les frontières des classes de l’auteur, de la « star » et du travail de collabo- ration et permet de faire un portrait plus nuancé du travail de réalisation d’un film. Cet article dresse le catalogue du processus, durant près de six ans, entrepris par le comédien pour jouer le rôle du boxeur Jacke LaMotta : De la phase d’écriture du scénario à sa victoire aux Oscars, en passant par l’entrainement d’un an à la boxe et par la prise de soixante livres. Enfin, en se fondant sur des données concrètes qui sont restées jusqu’à maintenant inaccessibles, en raison de la modestie et du désir du comédien de conserver sa vie privée, cet article apporte une nouvelle perspective pour considérer la contribution importante de De Niro à l’histoire américaine du jeu d’acteur. -
The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film. -
Mcconkey on Thailand Jour, Supplanting Any and All Spurious History Continued on Page 8
NEWS FOR OPERA TORS AND OWNERS olume 1, number 3 Dec. '88 Ancient History "The Brown Stabilizer" That's what I wanted to call it. It wasn't just ego (that came later!). I thought it needed a simple, honest, "70's" kind of natural name, a pure name, not a stupid, gimmicky name like "Steadicam." It was Ed DiGiulio's suggestion, which I hated immediately. Of course, as he predicted, the word has now become simply a word, a noble word, meaning exactly what it says, and in fact , I am daily (well, yearly...), grateful that he prevailed and that we didn't call it the bloody Brown Stabilizer! In any event, I recently unearthed some early pictures, and have been inspired to relate the one-and-only true version of the birth of our noble gadget. So here it is: the truth du McConkey on Thailand jour, supplanting any and all spurious History continued on page 8 For three months in the Spring of McCONKEY: The first day it 1988, Larry McConkey worked on was 1200 in the sun, and the humidity Brian De Palma's new feature, made it feel like it was virtually "Casualties ofWar." Thefilm is raining all the time. I had a long coming out in early 1989. tracking shot down a dirt street in the Vietnamese village set. Now, I tend to be very careful not to wear myself LEITER: Was it any fun? out during a shoot, and I get as much McCONKEY: Yes. I had never rest as possible between takes and as been to Southeast Asia before, and much help from the crew as I can, but Thailand is now one of my favorite even so, after four or five takes I was places in the world. -
Win, Lose, Or Draw
Robinson to Spot LaMotta Only Six Pounds in Tomorrow s Fight Ray Will Weigh 154, Ohio's Coaching Snarl \vashington, D. C., Tuesday, Feb. 13, 1951— A-17 ** 4 Pounds More Than Due to Stay That Way In Any Previous Bout Until Next Sunday or Draw By th® Associated Press By the Associated Press Win, Lose, CHICAGO, Feb. 13.—Heavily COLUMBUS, Ohio, Feb. 13.— By FRANCIS STANN favored in his five previous fights Ohio State’s football coaching Star Staff Correspondent with Jake LaMotta, Sugar Ray problem—supposed to have been Robinson again is being backed solved still all mixed CHICAGO, FEB. 13.—Those 3-to-l odds favoring Sugar Ray yesterday—is from 3-1 to 4-1 to snare the Bronx and will Robinson to become the middleweight champion tomorrow on up probably stay that Bull’s title tomor- Channel 9 aren’t flattering to Jake LaMotta. Indeed, a case middleweight way until next Sunday, at least. row night. might be made for LaMotta, despite the fact Robinson has Just when the two-month hunt The welterweight champion, ini for a successor to Wes Fesler thrashed him four times in five bouts. the of and La- peak condition, j seemed about over, the univer- With LaMotta a licking doesn’t stick. The Motta battle scales at a.m. the 10 sity’s oBard of Trustees tossed first Jake ever lost was his 16th as a (CST) in the official to- fight pro. weigh-in everything into a turmoil again, Back in 1941 a guy named Jimmy Reeves beat morrow. -
Saturday Eastern Connecticut State University October 28, 2017 Willimantic, CT
Saturday Eastern Connecticut State University October 28, 2017 Willimantic, CT Fall Conference Program All sessions will be held in the Student Center (SC) 8:00-8:30 Registration & Continental Breakfast SC Betty Tipton Room First Morning Sessions, 8:30-10:00 Session 1: Law and Community in New England and Beyond SC 223 Chair/Comment: Robert J. Imholt, Albertus Magnus College “The Qualities for Common Sense: County Court Judges in Colonial Connecticut” Dominic DeBrincat, Missouri Western State University “'The Moral Treatment': On the Institutionalization of People with Disabilities in the Anglophone Atlantic, 1660- 1860” Miles Wilkerson, Windham Textile & History Museum “The Choctaw and petit marronage during the Removal Crisis” Christian Gonzales, University of Rhode Island Session 2: Exceptions to feme covert: Colonial Women as Heirs and Property Owners SC 217 Chair/Comment: Nicole Breault, University of Connecticut (graduate student) “Perceived Equality: Women, Ethnicity, and Inheritance in Late 18th-Century Lunenburg County, Nova Scotia” Kenneth S. Paulsen, Bunker Hill Community College “Margaret Brent: Feme Covert Outlier – Executor to Lord Calvert of Maryland” Lynn Byall Benson, University of Massachusetts, Boston Session 3: Liberty for Whom? Perspectives on Slavery and the American Civil War SC 115 Chair/Comment: Barbara Tucker, Eastern Connecticut State University “Children of the Revolution: Lydia Maria Child and the Pedagogy of Revolt” Lila Teeters, University of New Hampshire (graduate student) “A Class For Themselves: The -
Film Terminology
Film Terminology Forms of Fiction English 12 Camera SHOTS camera shot is the amount of space that is seen in one shot or frame. Camera shots are used to demonstrate different aspects of a film's setting, characters and themes. As a result, camera shots are very important in shaping meaning in a film. Extreme long shot A framing in which the scale of the object shown is very small; a building, landscape, or crowd of people would fill the screen. Extreme long shot/Establishing shot This shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene. Long Shot A framing in which the scale of the object shown is very small A standing human figure would appear nearly half the height of the screen. It is often used to show scenes of action or to establish setting - Sometimes called an establishing shot Medium long shot A framing at a distance that makes an object about four or five feet high appear to fill most of the screen vertically Medium Shot A framing in which the scale of the object shown is of moderate size A human figure seen from the waist up would fill most of the screen Over the shoulder This shot is framed from behind a person who is looking at the subject This shot helps to establish the position of each person and get the feel of looking at one person from the other’s point of view It is common to cut between these shots during conversation Medium close up A framing in which the scale of the object is fairly large a human figure seen from the chest up would fill most the screen Close-up Shot A framing in which the scale of the object shown is relatively large; most commonly a person’s head seen from the neck up, or an object of a comparable size that fills most of the screen. -
The-Wall-Street-Bookie.Pdf
Introduction Options trading firm blows up amid natural gas volatility (source: FT) One millennial options trader was killing it, then Facebook cost him $180,000 (source: MarketWatch) Trader says he has “no money at risk,” then promptly loses almost 2,000% (source: MarketWatch) The headlines above are some of the reasons why financial advisors recommend that their clients stay away from options. Heck, for the majority of my trading career, I dabbled with them, with almost NO success. However, that all changed once I decided to switch my approach. Instead of buying like the sucker… like those folks who play slot machines at the casino… I began taking the other side— in turn, becoming the HOUSE. The casino strategy that I also call Weekly Windfalls puts you in the driver’s seat, as you’ll learn after reading this eBook. After reading it, you’ll learn: ● How to easily position yourself for success on a week-to-week basis utilizing the casino strategy. Even if you’ve never placed a single option trade in your life before. ● The No. 1 reason why traders fail at options trading. And how a switch in mindset can turn you from ready to give up to consistently profitable. ● How to stack the odds in your favor. Why put on a trade with one possible way to win when you can have THREE? ● The ultimate set it and forget it strategy. Decision fatigue is a real thing. I’ll teach you how to take the stress out of options trading. WALLST BOOKIE JASON BOND 2 ● How to profit in any market condition. -
Scorses by Ebert
Scorsese by Ebert other books by An Illini Century roger ebert A Kiss Is Still a Kiss Two Weeks in the Midday Sun: A Cannes Notebook Behind the Phantom’s Mask Roger Ebert’s Little Movie Glossary Roger Ebert’s Movie Home Companion annually 1986–1993 Roger Ebert’s Video Companion annually 1994–1998 Roger Ebert’s Movie Yearbook annually 1999– Questions for the Movie Answer Man Roger Ebert’s Book of Film: An Anthology Ebert’s Bigger Little Movie Glossary I Hated, Hated, Hated This Movie The Great Movies The Great Movies II Awake in the Dark: The Best of Roger Ebert Your Movie Sucks Roger Ebert’s Four-Star Reviews 1967–2007 With Daniel Curley The Perfect London Walk With Gene Siskel The Future of the Movies: Interviews with Martin Scorsese, Steven Spielberg, and George Lucas DVD Commentary Tracks Beyond the Valley of the Dolls Casablanca Citizen Kane Crumb Dark City Floating Weeds Roger Ebert Scorsese by Ebert foreword by Martin Scorsese the university of chicago press Chicago and London Roger Ebert is the Pulitzer The University of Chicago Press, Chicago 60637 Prize–winning film critic of the Chicago The University of Chicago Press, Ltd., London Sun-Times. Starting in 1975, he cohosted © 2008 by The Ebert Company, Ltd. a long-running weekly movie-review Foreword © 2008 by The University of Chicago Press program on television, first with Gene All rights reserved. Published 2008 Siskel and then with Richard Roeper. He Printed in the United States of America is the author of numerous books on film, including The Great Movies, The Great 17 16 15 14 13 12 11 10 09 08 1 2 3 4 5 Movies II, and Awake in the Dark: The Best of Roger Ebert, the last published by the ISBN-13: 978-0-226-18202-5 (cloth) University of Chicago Press. -
Oscars and America 2011
AMERICA AND THE MOVIES WHAT THE ACADEMY AWARD NOMINEES FOR BEST PICTURE TELL US ABOUT OURSELVES I am glad to be here, and honored. I spent some time with Ben this summer in the exotic venues of Oxford and Cambridge, but it was on the bus ride between the two where we got to share our visions and see the similarities between the two. I am excited about what is happening here at Arizona State and look forward to seeing what comes of your efforts. I’m sure you realize the opportunity you have. And it is an opportunity to study, as Karl Barth once put it, the two Bibles. One, and in many ways the most important one is the Holy Scripture, which tells us clearly of the great story of Creation, Fall, Redemption and Consummation, the story by which all stories are measured for their truth, goodness and beauty. But the second, the book of Nature, rounds out that story, and is important, too, in its own way. Nature in its broadest sense includes everything human and finite. Among so much else, it gives us the record of humanity’s attempts to understand the reality in which God has placed us, whether that humanity understands the biblical story or not. And that is why we study the great novels, short stories and films of humankind: to see how humanity understands itself and to compare that understanding to the reality we find proclaimed in the Bible. Without those stories, we would have to go through the experiences of fallen humanity to be able to sympathize with them, and we don’t want to have to do that, unless we have a screw loose somewhere in our brain. -
Complaint Against Trevor R. Milton
Case 1:21-cv-06445 Document 1 Filed 07/29/21 Page 1 of 65 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK ---------------------------------------------------------------x : UNITED STATES SECURITIES AND : EXCHANGE COMMISSION, : : Plaintiff, : : Civil Action No. 1:21-cv-6445 v. : : JURY TRIAL DEMANDED TREVOR R. MILTON, : : Defendant. : : ---------------------------------------------------------------x COMPLAINT Plaintiff United States Securities and Exchange Commission (the “Commission”), for its Complaint against Defendant Trevor R. Milton (“Milton”), alleges as follows: SUMMARY 1. Trevor R. Milton, the founder, largest stockholder, and former Chief Executive Officer and Executive Chairman of Nikola Corporation (“Nikola”), a publicly traded company, engaged in a fraudulent scheme to deceive retail investors about Nikola’s products, technical advancements, and commercial prospects for his own personal benefit in violation of the federal securities laws. Milton did so primarily by leveraging his social media presence and frequent appearances on television and podcasts to flood the market with false and misleading information about Nikola. 2. Milton founded Nikola in 2015 with the primary goals of manufacturing semi- trucks that run on alternative fuels with low or zero emissions and building an alternative fuel station infrastructure to support those vehicles. To accomplish these goals, Nikola needed to Case 1:21-cv-06445 Document 1 Filed 07/29/21 Page 2 of 65 raise billions of dollars to develop vehicles and infrastructure that had never before been developed or adopted on a commercial scale. Over the course of several private offerings, and then in connection with a business combination with a special purpose acquisition company (“SPAC”), Nikola raised more than $1 billion dollars, most of it from institutional investors.