DOCSLIB.ORG

Blockbuster. Ästhetik, Ökonomie Und Geschichte Des Postklassischen Hollywoodkinos 2003

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Blockbuster. Ästhetik, Ökonomie Und Geschichte Des Postklassischen Hollywoodkinos 2003 Repositorium für die Medienwissenschaft Robert Blanchet Blockbuster. Ästhetik, Ökonomie und Geschichte des postklassischen Hollywoodkinos 2003 https://doi.org/10.25969/mediarep/13841 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Blanchet, Robert: Blockbuster. Ästhetik, Ökonomie und Geschichte des postklassischen Hollywoodkinos. Marburg: Schüren 2003. DOI: https://doi.org/10.25969/mediarep/13841. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.17192/ep2004.3.1773 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Weitergabe unter gleichen Bedingungen 4.0/ Attribution - Share Alike 4.0/ License. For more information see: Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz https://creativecommons.org/licenses/by-sa/4.0/ finden Sie hier: https://creativecommons.org/licenses/by-sa/4.0/ Robert Blanchet Blockbuster sthetik, Ökonomie und Geschichte des postklassischen Hollywoodkinos Die Deutsche Bibliothek – CIP-Einheitsaufnahme Die deutsche Bibliothek verzeichnet diese Publikation in der deutschen Nationalbibliographie; detaillierte bibliografische Daten sind im Internet unter http://dnd.ddb.de abrufbar. Schüren Verlag Universitätsstraße 55 · D-35037 Marburg www.schueren-verlag.de © Schüren 2003 Alle Rechte vorbehalten Gestaltung: Erik Schüßler Druck:฀WB-Druck,฀Rieden Videostills: Robert Blanchet Covermotiv: Carrie-Ann Moss in THE MATRIX von Andy und Larry Wachowski, Quelle: cinetext Bild- und Textarchiv Printed in Germany ISBN฀3-89472-342-4 Inhalt Einleitung 7 1 ฀sthetik 13 1.1 Der neoformalistische Ansatz: Grundlagen und Begriffe 13 1.1.1 Devices 16 1.1.2 Motivation 17 1.1.3 Syuzhet und Fabula 18 1.1.4 Style 19 1.1.5 Narration 19 1.2 Damals wie heute: Klassischer Erzählstil im kontemporären Hollywoodkino 21 1.2.1 Narrative Organisationsprinzipien des klassischen Hollywoodstils 22 1.2.2 Zeitliche Organisationsprinzipien des klassischen Hollywoodstils 46 1.2.3 Räumliche Organisationsprinzipien des klassischen Hollywoodstils 60 1.3 Resümee 76 2 Ökonomie 79 2.1 Makrostruktur der amerikanischen Filmindustrie 79 2.2 Das Package-Unit-System 89 2.2.1 Der Produzent 90 2.2.2 Studiodeals und Negative Pick-ups 92 2.2.3 Unabhängige Filmfinanzierung 94 2.3 „Hollywood Accounting“: Kino und Nebenmärkte, Geschäftspraktiken und Finanzpolitik der Majorstudios 96 2.3.1 Die Auswertungskette 97 2.3.2 Kino 97 2.3.3 Video 105 2.3.4 Fernsehen 113 117 2.3.5 Merchandise, Tie-ins und Product Placement 120 2.4 Resümee: Kostenexplosion und der globale Markt 3 Geschichte 127 3.1 „Boom and Bust“: Krise und Reformierung des Studiosystems nach 1945 127 3.1.1 Die Consent Decrees von 1949 127 6 Inhalt 3.1.2 Der große und der kleine Bildschirm 130 2.1.3 Konglomeration und Globalisierung 134 3.1.4 „Violence ... Sex ... Art“: New Hollywood und der Fall des Production Codes 135 3.1.5 THE GODFATHER –JAWS –STAR WARS: Von der Kunst zum Kassenschlager 143 3.2 High Concept: Film und Marketing in den Achtzigerjahren 153 3.2.1 „25 words or less“: High Concept und „Marketing Hooks“ 154 3.2.2 Differenz und Wiederholung: High Concept und „Recycle-Kino“ 160 3.2.3 Blitzkrieg-Marketing und Phantomfilme: Der Saturation Release und seine Folgen 165 3.2.4 Designerlook und Videoclips 176 3.3 Ereigniskino, Attraktionen, Ironie: Hollywood in den Neunzigerjahren 184 3.3.1 Film als Event 184 3.3.2 Visual Effects und CGI 186 3.3.3 Digitaler Mehrkanalton 194 3.3.4 Deep Impact: Schnitt, Kameraführung und die „performative“ Achse der Kinoerfahrung 204 3.3.5 „A ride you’ll never forget“: Die Rückkehr des „Kinos der Attraktionen“ 212 3.3.6 „It’s all one great big movie“: Postmoderne, Intertextualität, Selbstreferenz und Doppelcodierung 226 3.4 Resümee und Ausblick 242 Bibliographie 247 Glossar 253 Index 266 Einleitung Am 19 Mai. 1999 war es endlich soweit. 22 Original-Trilogie auf Fernsehsendern wie Jahre nach dem bahnbrechenden Erfolg ProSieben oder dem amerikanischen Fox- des ersten Teils wurde das lang erwartete Network wiederholt, ebenso wie THE „Prequel“ zu George Lucas’ STAR WARS-Tri- PHANTOM MENACE, für den Fox die Pay- logie (1977 ff) auf dem amerikanischen TV-Rechte gleich mit erworben hatte, um Markt lanciert. Fast 3000 Kinos und eine sich und seinen Werbekunden eine exklu- weitaus größere Zahl an Multiplex-Sälen sive Premiere zu sichern. standen bereit, um den zu erwartenden Wie 20th Century Fox, der weltweite Ansturm auf EPISODE I: THE PHANTOM Verleiher des Films, gehört auch das Fox- MENACE (1999) in Empfang zu nehmen. Network zu Rupert Murdochs globalem Wie kaum zuvor hatten Fansites und Me- Medien-Imperium News Corporation. dien über die Rückkehr der Jedi-Ritter be- Von den mit STAR WARS generierten richtet. Auf den Online-Trailer soll nach Einnahmen, wird das australische Unter- Angaben von Apple über 10 Millionen nehmen in diesem Fall aber dennoch nur mal zugegriffen worden sein. Und um wenig profitieren können: Trotz ihres un- ganz auf Nummer Sicher zu gehen, hatte verhohlen kommerziellen Charakters manch einer schon Wochen vor dem Start handelt es sich bei EPISODE I um eine Inde- seinen Campingstuhl in einer der von pendent-Produktion, die nicht von einem Countingdown.com organisierten Warte- der Major-Hollywoodstudios, sondern mit schlangen฀aufgestellt. Lucas’ eigenen Mitteln finanziert wurde. Bereits am ersten Wochenende spielte Grundlage dafür bildet Lucas’ eigenes klei- THE PHANTOM MENACE fast 65 Mio. US-$ nes Filmimperium, zu dem neben Lucas und damit mehr als die Hälfte seiner auf Sound und THX vor allem das weltweit 115 Millionen geschätzten Produktions- führende Visual-Effects-Haus „Industrial kosten ein. Mittlerweile hat der Film über Light and Magic“ gehört. 925 Mio. US-$ an der Kinokasse einge- Wie bei den meisten Hollywoodfilmen nommen und steht damit hinter TITANIC basiert der Appeal von STAR WARS auf einer (1997) und HARRY POTTER AND THE SORCE- einfachen, universell verständlichen und RER’S STONE (2001) auf Platz drei der welt- in diesem Fall ausgesprochen infantilen weiten Box-Office-Charts. Am Ende wird Geschichte, die nach den klassischen Er- dieses Ergebnis aber nur einen Bruchteil zählprinzipien des amerikanischen Main- des Umsatzes ausmachen, der in Verbin- streamkinos arrangiert worden ist – vor al- dung mit dem Film generiert worden ist. lem aber auch einer Fülle von visuellen Abgestimmt auf den Filmstart wurden und in akustischen Special Effects: Ameri- der Soundtrack und eine kaum übersehba- kanische Kinobetreiber, die sich Lucas’ re Flut von Merchandise-Artikeln in Kauf- Film sichern wollten, mussten sich nicht häusern und den Filialen von Tie-in-Part- nur zu einem außergewöhnlich strengen nern wie Pizza Hut und Taco Bell platziert. Reglement verpflichten, das sie zwang, Seit April 2000 gibt es EPISODE I auch auf den Film zwölf Wochen in ihren Top-Sälen Video und seit Oktober 2001 auch auf zu spielen, sondern auch dazu, ihre digita- DVD. Just vor dem Kinostart von EPISODE len Mehrkanaltonanlagen auf ein von II: ATTACK OF THE CLONES (2002) wurde die THX und Dolby neu entwickeltes Zusatz- 8 Einleitung system aufzurüsten, um der Klangqualität se Phase wohl kaum möglich gewesen wä- des Films und seinen dynamischen Sur- ren. roundsound-Effekten gerecht zu werden. Unsicherheit herrscht vor allem über Lediglich 250 der 2200 Einstellungen von die Frage, was denn das wirklich Neue am THE PHANTOM MENACE wurden nicht mit- neuen Hollywoodkino sei, beziehungswei- tels digitaler Bildbearbeitung manipuliert se ob die zahlreichen und zum Teil sicher- und wie seine Vorgänger enthält auch der lich nachhaltigen Veränderungen, die die neue, erste Teil der STAR WARS-Saga mit amerikanische Filmindustrie und ihre Pro- dem so genannten „pod race“ eine der für dukte seit Ende des zweiten Weltkriegs er- Lucas typischen Geschwindigkeitssimula- fahren haben, tatsächlich einen funda- tionssequenzen, die nicht nur bereits vor- mentalen Bruch mit den Prinzipien der weg für ein gleichnamiges Computerspiel klassischen Studioära darstellen. adaptiert wurde und sich bestens für die Postklassisches Hollywoodkino, so Einrichtung einer Themenparkattraktion eine der häufigst wiederholten Thesen, wie „Star Tours“ eignet, sondern auch hat die Kunst des Geschichten-Erzählens schon das Kinoerlebnis des Films selbst in verlernt und versucht gar nicht mehr je- die Nähe derart immersiver Unterhal- nen narrativen „Realismuseffekt“ herzu- tungsformen rückt. stellen, der für die klassische Periode prä- All dies macht THE PHANTOM MENACE gend und viele Kritiker eines der Haupt- zu einem idealen Beispiel für die ästheti- übel des kommerziellen Unterhaltungski- schen, ökonomischen, technologischen nos war. Statt dessen haben wir es heute und historischen Veränderungen, die das mit Filmen zu tun, die bar jeder narrativen amerikanische Mainstreamkino in der Logik und Motivation aus einer mehr oder zweiten Hälfte des letzten Jahrhunderts weniger losen Ansammlung von Special und seit der Auflösung des alten Studiosys- Effects und spektakulären Actionsequen- tems Ende der Vierzigerjahre erfahren hat zen bestehen.1 und damit für das, was von Filmwissen- Zurecht hat Kristin Thompson, die schaftlern mitunter als das postklassische, sich gemeinsam mit David Bordwell seit neue oder auch einfach zeitgenössische Hol- jeher für ein anderes Verständnis von klas- lywoodkino bezeichnet wird. sisch narrativem Kino eingesetzt hat, in Bereits hier fangen aber die ersten ihrem Buch Storytelling in the New Holly- Schwierigkeiten
Load more

Recommended publications
  • Marty Kline Storyboards
    http://oac.cdlib.org/findaid/ark:/13030/c88k7d82 No online items Marty Kline storyboards Special Collections Margaret Herrick Library© 2014 Marty Kline storyboards 535 1 Descriptive Summary Title: Marty Kline storyboards Date (inclusive): 1989-1993 Collection number: 535 Creator: Kline, Marty Extent: 1.3 linear feet of papers. Repository: Margaret Herrick Library. Academy of Motion Picture Arts and Sciences. Languages: English Access Available by appointment only. Publication rights Property rights to the physical object belong to the Margaret Herrick Library. Researchers are responsible for obtaining all necessary rights, licenses, or permissions from the appropriate companies or individuals before quoting from or publishing materials obtained from the library. Preferred Citation Marty Kline storyboards, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Biography Martin A. Kline is an American storyboard artist, production and concept illustrator, and visual effects art director active in film since the 1980s. He served as a storyboard artist on several films directed by Robert Zemeckis. Collection Scope and Content Summary The Marty Kline storyboards span the years 1989-1993 and encompass 1.3 linear feet. There are photocopies of storyboards for three films directed by Robert Zemeckis, BACK TO THE FUTURE PART II (1989), DEATH BECOMES HER (1992), and FORREST GUMP (1993); and one directed by Steven Spielberg, JURASSIC PARK (1993). While the drawings are primarily by Kline, some are drawn by other storyboard artists. Arrangement Arranged in the following series: 1. Production files. Indexing Terms Kline, Marty--Archives. storyboard artists Marty Kline storyboards 535 2.
    [Show full text]
  • Table of Contents
    Table of Contents PART I. Introduction 5 A. Overview 5 B. Historical Background 6 PART II. The Study 16 A. Background 16 B. Independence 18 C. The Scope of the Monitoring 19 D. Methodology 23 1. Rationale and Definitions of Violence 23 2. The Monitoring Process 25 3. The Weekly Meetings 26 4. Criteria 27 E. Operating Premises and Stipulations 32 PART III. Findings in Broadcast Network Television 39 A. Prime Time Series 40 1. Programs with Frequent Issues 41 2. Programs with Occasional Issues 49 3. Interesting Violence Issues in Prime Time Series 54 4. Programs that Deal with Violence Well 58 B. Made for Television Movies and Mini-Series 61 1. Leading Examples of MOWs and Mini-Series that Raised Concerns 62 2. Other Titles Raising Concerns about Violence 67 3. Issues Raised by Made-for-Television Movies and Mini-Series 68 C. Theatrical Motion Pictures on Broadcast Network Television 71 1. Theatrical Films that Raise Concerns 74 2. Additional Theatrical Films that Raise Concerns 80 3. Issues Arising out of Theatrical Films on Television 81 D. On-Air Promotions, Previews, Recaps, Teasers and Advertisements 84 E. Children’s Television on the Broadcast Networks 94 PART IV. Findings in Other Television Media 102 A. Local Independent Television Programming and Syndication 104 B. Public Television 111 C. Cable Television 114 1. Home Box Office (HBO) 116 2. Showtime 119 3. The Disney Channel 123 4. Nickelodeon 124 5. Music Television (MTV) 125 6. TBS (The Atlanta Superstation) 126 7. The USA Network 129 8. Turner Network Television (TNT) 130 D.
    [Show full text]
  • Incidents in the Life of a Slave Girl Philemon Isaiah Amos
    ENGL 4384: Senior Seminar Student Anthology Fall 2012 Dr. Rebecca Harrison, Professor Department of English & Philosophy Printed on campus by UWG Publications and Printing. A Culture of Captivity: Subversive Femininity and Literary Landscapes Introduction 5 Dr. Rebecca L. Harrison I. Captive Women/Colonizing Texts “Heathenish, Indelicate and Indecent”: Male Authorship, 13 Narration, and the Transculturated, Mutable Female in James T. DeShields Cynthia Ann Parker, James Seaver’s A Narrative of the Life of Mrs. Mary Jemison, and Royal B. Stratton’s Captivity of the Oatman Girls Mary Catherine Lyons American Colonization and the Death of the Female 34 Captive Hannah Barnes Mitchell The Comfortable Captive: Applying Double-Voice 49 Discourse to Cotton Mather’s and John Greenleaf Whittier’s Depictions of Hannah Dustan’s Captivity to Ultimately Reveal Potential Female Agency Michelle Guinn II. Captive Others: Cutting through Sentimental Scripts “Lors, Chile! What’s You Crying ’Bout?”: Sympathy & Tears 62 in Harriet Jacobs’ Incidents in the Life of a Slave Girl Philemon Isaiah Amos The Absolutely Real Ramifications of a Full-Time Genocide: 79 Exploring Mary Rowlandson’s Role in Alexie’s “Captivity” and True Diary Gina Riccobono III. Generic Adaptations & Dislodging the Narrative Tradition Transgressing the “bloody old hag”: Gender in Nathaniel 93 Hawthorne’s “The Duston Family” Michele Drane Creating the Autonomous Early American Woman: Angela 112 Carter and Caroline Gordon (Re) Employ the Female Captivity Narrative Genre Wayne Bell Death Becomes Her: The American Female Victim-Hero 125 Legacy Wes Shelton IV. Crossing the Borders of Captivity Capturing Dorinda Oakley 143 Dorinda Purser Unknowable and Thereby Unconquerable: Examining Ada 157 McGrath’s Resistance in The Piano Brett Hill ‘Bonds of Land and Blood’: Communal Captivity and 171 Subversive Femininity in Woodrell’s Winter’s Bone Jason Cole Contributors 190 A Culture of Captivity: Subversive Femininity and Literary Landscapes Dr.
    [Show full text]
  • Cowboys, Postmodern Heroes, and Anti-Heroes: the Many Faces
    COWBOYS, POSTMODERN HEROES, AND ANTI-HEROES: THE MANY FACES OF THE ALTERIZED WHITE MAN Hyon Joo Yoo Murphree, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2000 APPROVED: Diane Negra, Major Professor Olaf Hoerschelmann, Committee Member Diana York Blaine, Committee Member C. Melinda Levin, Graduate Coordinator of the Department of Radio, TV and Film Steve Craig, Chair of the Department of Radio, TV and Film C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Murphree, Hyon Joo Yoo, Cowboys, Postmodern Heroes, and Anti-heroes: The Many Faces of the Alterized White Man. Master of Arts (Radio, Television and Film), August 2000, 131 pp., references, 48 titles. This thesis investigates how hegemonic white masculinity adopts a new mode of material accumulation by entering into an ambivalent existence as a historical agent and metahistory at the same time and continues to function as a performative identity that offers a point of identification for the working class white man suggesting that bourgeois identity is obtainable through the performance of bourgeois ethics. The thesis postulates that the phenomenal transitions brought on by industrialization and deindustrialization of 50’s through 90’s coincide with the representational changes of white masculinity from paradigmatic cowboy incarnations to the postmodern action heroes, specifically as embodied by Bruce Willis. The thesis also examines how postmodern heroes’ “intero-alterity” is further problematized by antiheroes in Tim Burton’s films. TABLE OF CONTENTS INTRODUCTION...........................................................................................................................................3 1. Reading a Dynamic Connection between the 1950’s and 1990’s..........................................................6 2.
    [Show full text]
  • An Experiment in Comedy, Stunts, and Visual Effects
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Fall 12-16-2016 “Down to the Last:” An experiment in comedy, stunts, and visual effects Margaret Ann Broach University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Film Production Commons Recommended Citation Broach, Margaret Ann, "“Down to the Last:” An experiment in comedy, stunts, and visual effects" (2016). University of New Orleans Theses and Dissertations. 2246. https://scholarworks.uno.edu/td/2246 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. “Down to the Last:” An experiment in comedy, stunts, and visual effects A Thesis Submitted to the Graduate Faculty of the University of New Orleans In partial fulfillment of the Requirements of the degree of Master of Fine Arts In Film and Theatre With a concentration in Film Production By Margaret Broach B.F.A.
    [Show full text]
  • Hartford Public Library DVD Title List
    Hartford Public Library DVD Title List # 24 Season 1 (7 Discs) 2 Family Movies: Family Time: Adventures 24 Season 2 (7 Discs) of Gallant Bess & The Pied Piper of 24 Season 3 (7 Discs) Hamelin 24 Season 4 (7 Discs) 3:10 to Yuma 24 Season 5 (7 Discs) 30 Minutes or Less 24 Season 6 (7 Discs) 300 24 Season 7 (6 Discs) 3-Way 24 Season 8 (6 Discs) 4 Cult Horror Movies (2 Discs) 24: Redemption 2 Discs 4 Film Favorites: The Matrix Collection- 27 Dresses (4 Discs) 40 Year Old Virgin, The 4 Movies With Soul 50 Icons of Comedy 4 Peliculas! Accion Exploxiva VI (2 Discs) 150 Cartoon Classics (4 Discs) 400 Years of the Telescope 5 Action Movies A 5 Great Movies Rated G A.I. Artificial Intelligence (2 Discs) 5th Wave, The A.R.C.H.I.E. 6 Family Movies(2 Discs) Abduction 8 Family Movies (2 Discs) About Schmidt 8 Mile Abraham Lincoln Vampire Hunter 10 Bible Stories for the Whole Family Absolute Power 10 Minute Solution: Pilates Accountant, The 10 Movie Adventure Pack (2 Discs) Act of Valor 10,000 BC Action Films (2 Discs) 102 Minutes That Changed America Action Pack Volume 6 10th Kingdom, The (3 Discs) Adventure of Sherlock Holmes’ Smarter 11:14 Brother, The 12 Angry Men Adventures in Babysitting 12 Years a Slave Adventures in Zambezia 13 Hours Adventures of Elmo in Grouchland, The 13 Towns of Huron County, The: A 150 Year Adventures of Ichabod and Mr. Toad Heritage Adventures of Mickey Matson and the 16 Blocks Copperhead Treasure, The 17th Annual Lane Automotive Car Show Adventures of Milo and Otis, The 2005 Adventures of Pepper & Paula, The 20 Movie
    [Show full text]
  • Hartford Public Library DVD Title List
    Hartford Public Library DVD Title List # 20 Wild Westerns: Marshals & Gunman 2 Days in the Valley (2 Discs) 2 Family Movies: Family Time: Adventures 24 Season 1 (7 Discs) of Gallant Bess & The Pied Piper of 24 Season 2 (7 Discs) Hamelin 24 Season 3 (7 Discs) 3:10 to Yuma 24 Season 4 (7 Discs) 30 Minutes or Less 24 Season 5 (7 Discs) 300 24 Season 6 (7 Discs) 3-Way 24 Season 7 (6 Discs) 4 Cult Horror Movies (2 Discs) 24 Season 8 (6 Discs) 4 Film Favorites: The Matrix Collection- 24: Redemption 2 Discs (4 Discs) 27 Dresses 4 Movies With Soul 40 Year Old Virgin, The 400 Years of the Telescope 50 Icons of Comedy 5 Action Movies 150 Cartoon Classics (4 Discs) 5 Great Movies Rated G 1917 5th Wave, The 1961 U.S. Figure Skating Championships 6 Family Movies (2 Discs) 8 Family Movies (2 Discs) A 8 Mile A.I. Artificial Intelligence (2 Discs) 10 Bible Stories for the Whole Family A.R.C.H.I.E. 10 Minute Solution: Pilates Abandon 10 Movie Adventure Pack (2 Discs) Abduction 10,000 BC About Schmidt 102 Minutes That Changed America Abraham Lincoln Vampire Hunter 10th Kingdom, The (3 Discs) Absolute Power 11:14 Accountant, The 12 Angry Men Act of Valor 12 Years a Slave Action Films (2 Discs) 13 Ghosts of Scooby-Doo, The: The Action Pack Volume 6 complete series (2 Discs) Addams Family, The 13 Hours Adventure of Sherlock Holmes’ Smarter 13 Towns of Huron County, The: A 150 Year Brother, The Heritage Adventures in Babysitting 16 Blocks Adventures in Zambezia 17th Annual Lane Automotive Car Show Adventures of Dally & Spanky 2005 Adventures of Elmo in Grouchland, The 20 Movie Star Films Adventures of Huck Finn, The Hartford Public Library DVD Title List Adventures of Ichabod and Mr.
    [Show full text]
  • Visual Effects Society Names Ken Ralston Recipient of VES Lifetime Achievement Award
    SIGGRAPH 2017 (http://s2017.siggraph.org/) Menu s SIGGRAPH Asia 2016 (http://sa2016.siggraph.org) (/) Home (/) » Discover » Discover If you study, create, or use digital tools and media, you might be a SIGGRAPH person. » News (/discover/news) Visual Effects Society Names Ken Ralston Recipient of VES Lifetime Achievement Award PAGES WITHIN DISCOVER VISUAL EFFECTS (/TAGS/VISUAL-EFFECTS), FILM (/TAGS/FILM), GRAPHICS (/TAGS/GRAPHICS) 21 Oct 2016 Source: VES Press Release On October 20, 2016, the Visual Effects Society (VES), the industry’s professional global honorary society, named multiple Academy Award®-winning visual effects pioneer Ken Ralston as the recipient of the VES Lifetime Achievement Award in recognition of his enormous contributions to filmed entertainment. The award will be presented at the 15th Annual VES Awards on February 7, 2017 at the Beverly Hilton Hotel. The VES Lifetime Achievement Award, bestowed by the VES Board of Directors, recognizes an outstanding body of work that has significantly contributed to the art and/or science of the visual effects industry. VES will honor Ralston for his intuitive vision and unparalleled mastery of visual effects. Ralston’s creative vision and fierce technical expertise have earned him an impressive five Academy Awards®. His groundbreaking work has built a rich legacy, one that has profoundly impacted future generations of artists and innovators. "Ken Ralston is an amazing force and a defining voice of the visual effects community,” said Mike Chambers, VES Board Chair. “His creativity, leadership, and ability to use technologies to enhance the art of storytelling have brought us some of the most memorable films of all time.
    [Show full text]
  • Alan Silvestri
    ALAN SILVESTRI AWARDS/NOMINATIONS THE SOCIETY OF COMPOSERS AND AVENGERS: ENDGAME LYRICISTS NOMINATION (2020) Outstanding Original Score for a Studio Film 67th ANNUAL GRAMMY AWARDS AVENGERS: ENDGAME NOMINATION (2020) Best Score Soundtrack for Visual Media 66th ANNUAL GRAMMY AWARDS AVENGERS: INFITINTY WAR NOMINATION (2019) Best Instrumental Composition ACADEMY OF SCIENCE FICTION, READY PLAYER ONE FANTASY & HORROR FILMS AWARD NOMINATION (2019) Best Music ACADEMY OF SCIENCE FICTION, AVENGERS: ENDGAME FANTASY & HORROR FILMS AWARD NOMINATION (2019) Best Music HOLLYWOOD MUSIC IN MEDIA (2019) AVENGERS: ENDGAME Original Score – Sci-fi/Fantasy INTERNATIONAL FILM MUSIC CRITICS READY PLAYER ONE ASSOCIATION NOMINATION (2019) Best Original Score for a Fantasy/Science Fiction/Horror Film INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION NOMINATION (2019) Film Composer of the Year WORLD SOUNDTRACK AWARD WELCOME TO MARWEN NOMINATION (2019) AVENGERS: ENDGAME Film Composer of the Year HOLLYWOOD MUSIC IN MEDIA READY PLAYER ONE NOMINATION (2018) Original Score-Sci-Fi/Fantasy/Horror Film 1 The Gorfaine/Schwartz Agency (818) 260-8500 ALAN SILVESTRI INTERNATIONAL FILM MUSIC CRITICS ALAN SILVESTRI: WORLD SOUNDTRACK ASSOCIATION NOMINATION (2016) AWARDS Best Archival Release of an Existing Score – Compilation HOLLYWOOD MUSIC IN MEDIA THE WALK NOMINATION (2015) Original Score-Feature Film EMMY AWARD (2014) COSMOS: A SPACETIME ODYSSEY Outstanding Music Composition for a Series / Original Dramatic Score and Outstanding Original Main Title Music INTERNATIONAL FILM MUSIC
    [Show full text]
  • Flight of the Navigator Digital Booklet
    ……uly 4th, 1978 and silver saucers sail over the Miami skyline. J…… For young David Freeman (Joey Cramer), the day began like any other holiday with a family outing at the park and a frisbee pet catching contest (Main Title). His disappointment with his dog Bruiser's inability to perform is compounded only by the further taunts of his irascible kid brother, Jeff. That night, David is told to escort his younger brother home from a friend's house (David In The Woods). David accidentally falls into a ravine, knocking himself out. When he awakens, David is terrified to discover his family no longer living at the house. In fact, the house has been entirely redecorated. Taken to the police station, the officer in charge discovers David has been declared legally dead! Eventually the boy is taken to a house where he is reunited with his mother (Veronica Cartwright) and father (Cliff DeYoung), only to discover that they're much older than when he saw them only hours before. Meanwhile, NASA scientist Lewis Faraday (Howard Hesseman) discovers an alien spacecraft, seemingly floating as if lighter than air, entangled in a high tension tower. He orders it taken away to the space center (Transporting The Ship). David is taken to a hospital for tests where he meets his “little” brother, Jeff, who now appears several years older than himself. Jeff reveals that it's 8 years later from the night David fell into the ravine. That night as the silver vehicle is being examined in a NASA hanger, David hears a voice calling out to him.
    [Show full text]
  • DVD Laser Disc Newsletter DVD Reviews Complete Index June 2008
    DVD Laser Disc Newsletter DVD Reviews Complete Index June 2008 Title Issue Page *batteries not included May 99 12 "10" Jun 97 5 "Weird Al" Yankovic: The Videos Feb 98 15 'Burbs Jun 99 14 1 Giant Leap Nov 02 14 10 Things I Hate about You Apr 00 10 100 Girls by Bunny Yaeger Feb 99 18 100 Rifles Jul 07 8 100 Years of Horror May 98 20 1000 Eyes of Dr. Mabuse Sep 00 2 101 Dalmatians Jan 00 14 101 Dalmatians Apr 08 11 101 Dalmatians (remake) Jun 98 10 101 Dalmatians II Patch's London Adventure May 03 15 10:30 P.M. Summer Sep 07 6 10th Kingdom Jul 00 15 11th Hour May 08 10 11th of September Moyers in Conversation Jun 02 11 12 Monkeys May 98 14 12 Monkeys (DTS) May 99 8 123 Count with Me Jan 00 15 13 Ghosts Oct 01 4 13 Going on 30 Aug 04 4 13th Warrior Mar 00 5 15 Minutes Sep 01 9 16 Blocks Jul 07 3 1776 Sep 02 3 187 May 00 12 1900 Feb 07 1 1941 May 99 2 1942 A Love Story Oct 02 5 1962 Newport Jazz Festival Feb 04 13 1979 Cotton Bowl Notre Dame vs. Houston Jan 05 18 1984 Jun 03 7 1998 Olympic Winter Games Figure Skating Competit May 99 7 1998 Olympic Winter Games Figure Skating Exhib. Sep 98 13 1998 Olympic Winter Games Hockey Highlights May 99 7 1998 Olympic Winter Games Overall Highlights May 99 7 2 Fast 2 Furious Jan 04 2 2 Movies China 9 Liberty 287/Gone with the West Jul 07 4 Page 1 All back issues are available at $5 each or 12 issues for $47.50.
    [Show full text]
  • Los Beowulfs De Robert Zemeckis Y Caitlín R
    Miscelánea Medieval Murciana 2009, XXXIII; pp. 9-31 ESTRATEGIAS Y RECURSOS PARA LA REELABORACIÓN DE UN POEMA HEROICO MEDIEVAL EN EL SIGLO XXI: LOS BEOWULFS DE ROBERT ZEMECKIS Y CAITLÍN R. KIERNAN Juan Camilo Conde Silvestre1 RESUMEN La presencia de la Edad Media como uno de los marcos privilegiados por la cultura popular contemporánea es fácilmente constatable en la cantidad de películas, novelas, cómics e incluso juguetes, videojuegos y hasta parques temáticos inspirados en distintos aspectos de este periodo de la historia europea. El poema anglo-sajón Beowulf no es ajeno a esta ‘apropiación’ y cuenta con decenas de (re)creaciones y adaptaciones en distintos for- matos. Entre las más recientes destacan la película Beowulf de Robert Zemeckis (2007) y la novela homónima de Cailtlín R. Kiernan (2007), ambas basadas en el guión firmado por Neil Gaiman y Roger Avary (2007). En este trabajo se analizan estas dos propuestas, tanto desde los parámetros de la cultura popular, como en su relación con el poema medieval del que parten. De este modo, se detectan algunas estrategias literarias y culturales que remiten con cierta fidelidad al original y añaden así un componente intelectual o culto a estas dos versiones populares. Palabras clave: Literatura medieval, literatura anglo-sajona, Beowulf, adaptación litera- ria, adaptación cinematográfica, cultura popular, intertextualidad. ABSTRACT The Middle Ages has been privileged in countless adaptations within popular culture. The number of movies, novels, graphic novels, toys, computer games and even amusement parks based on different aspects related to this historical period is indeed very high. The anglo-saxon poem Beowulf is not an exception and there are dozens of adaptations or re- creations which ‘appropiate’ the poem in different formats.
    [Show full text]