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Digital Dialectics: the Paradox of Cinema in a Studio Without Walls', Historical Journal of Film, Radio and Television , Vol
Scott McQuire, ‘Digital dialectics: the paradox of cinema in a studio without walls', Historical Journal of Film, Radio and Television , vol. 19, no. 3 (1999), pp. 379 – 397. This is an electronic, pre-publication version of an article published in Historical Journal of Film, Radio and Television. Historical Journal of Film, Radio and Television is available online at http://www.informaworld.com/smpp/title~content=g713423963~db=all. Digital dialectics: the paradox of cinema in a studio without walls Scott McQuire There’s a scene in Forrest Gump (Robert Zemeckis, Paramount Pictures; USA, 1994) which encapsulates the novel potential of the digital threshold. The scene itself is nothing spectacular. It involves neither exploding spaceships, marauding dinosaurs, nor even the apocalyptic destruction of a postmodern cityscape. Rather, it depends entirely on what has been made invisible within the image. The scene, in which actor Gary Sinise is shown in hospital after having his legs blown off in battle, is noteworthy partly because of the way that director Robert Zemeckis handles it. Sinise has been clearly established as a full-bodied character in earlier scenes. When we first see him in hospital, he is seated on a bed with the stumps of his legs resting at its edge. The assumption made by most spectators, whether consciously or unconsciously, is that the shot is tricked up; that Sinise’s legs are hidden beneath the bed, concealed by a hole cut through the mattress. This would follow a long line of film practice in faking amputations, inaugurated by the famous stop-motion beheading in the Edison Company’s Death of Mary Queen of Scots (aka The Execution of Mary Stuart, Thomas A. -
Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected]
Clemson University TigerPrints Presentations University Libraries 5-2017 Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/lib_pres Part of the Library and Information Science Commons Recommended Citation Mason Smith, Maggie, "Blockbusters: Films and the Books About Them Display" (2017). Presentations. 105. https://tigerprints.clemson.edu/lib_pres/105 This Display is brought to you for free and open access by the University Libraries at TigerPrints. It has been accepted for inclusion in Presentations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Blockbusters: Films and the Books About Them Display May 2017 Blockbusters: Films and the Books About Them Display Photograph taken by Micki Reid, Cooper Library Public Information Coordinator Display Description The Summer Blockbuster Season has started! Along with some great films, our new display features books about the making of blockbusters and their cultural impact as well as books on famous blockbuster directors Spielberg, Lucas, and Cameron. Come by Cooper throughout the month of May to check out the Star Wars series and Star Wars Propaganda; Jaws and Just When you thought it was Safe: A Jaws Companion; The Dark Knight trilogy and Hunting the Dark Knight; plus much more! *Blockbusters on display were chosen based on AMC’s list of Top 100 Blockbusters and Box Office Mojo’s list of All Time Domestic Grosses. - Posted on Clemson University Libraries’ Blog, May 2nd 2017 Films on Display • The Amazing Spider-Man. Dir. Marc Webb. Perf. Andrew Garfield, Emma Stone, Rhys Ifans. -
Trenz-2013-Leveraging-The-Hobbit.Pdf
The Opportunity • The world’s eyes have been on us • The Hobbit movies highlight New Zealand as: – a great place to visit – a great place to do business – a great place for film production • Take the attention and use it to our advantage We’re starting from a good base In 2004... • 87% of visitors were aware The Lord of The • Rings trilogy was made in New Zealand. • 6% cite The Lord of the Rings as being one of the main reasons for visiting • 1% cite the Lord of the Rings as their main or only reason for visiting equating to $33m in spend MIDDLE-EARTH IS NEW ZEALAND Paid Earned TV & IMP CINEMA Partnerships Opinion Leaders Content distribution Print Display Idea Premiere Media Programme newzealand.com Owned Social Assets: Pre-premiere IMP Key media hosted through IMP in the lead up to the premiere produced strong results including: Lonely Planet, The Daily Telegraph, The Telegraph Online and Mezamashi Doyoubi The premiere programme The media: - 40+ broadcast media – including NBC, TF1, Prosebien, CTV, T4, Channel 7, 9, 10 - 30+ print and online – NZ and AU - 100s of millions - estimate reach hundreds of viewers worldwide - NZ$24.7million AVE Germany – Pro7 Hobbit Special (45min) Audience: 1,190,000 AVE: NZ$6,236,527 USA - NBC TODAY Show & Rock Center Canada - etalk on CTV Audience: avg 4.5 million Audience: 610,900 AVE: NZ$4.3 million (total for 6 AVE: NZ$473,330 segments) Hobbiton event - Over 80 International and NZ media attended - Guided tour of the Hobbiton movie set - Cast interviews with dwarves – global exclusive - Press conference -
Guillermo Del Toro’S Bleak House
GuillermoAt Home With Monstersdel Toro By James Balestrieri Guillermo del Toro’s Bleak House. Photo ©Josh White/ JWPictures.com. LOS ANGELES, CALIF. — The essence of “Guillermo del Toro: At Home With Monsters,” the strange and wonderful exhibition at the Los Angeles County Museum of Art (LACMA) through November 27, is this: Guillermo del Toro, born in 1964, is a major writer and director whose films include Cronos (1993), The Devil’s Backbone (2001), Hellboy (2004), Pan’s Labyrinth (2006), Pacific Rim (2013) and Crimson Peak (2015). He is a master who creates worlds that embrace horror, science fiction, fantasy and fairy tales. He insists that, as fantastic as they are, these worlds are located and grounded beside, beneath and in the real world, our world — a world, he might argue, that we merely imagine as real. The membrane separating these worlds is thin, porous and portal-ridden. The worlds are distorted reflections of one another. This distortion becomes the occasion for his ideas and art. Page from Notebook 2 by Guillermo del Toro. Leather-bound notebook, ink on paper, 8 by 10 by 1½ inches. Collection of Guillermo del Toro. ©Guillermo del Toro. Photo courtesy Insight Editions. Jointly organized by LACMA with the Minneapolis Institute of Art and the Art Gallery of Ontario, this first retrospective of the filmmaker’s work arrays sculpture, paintings, prints, photography, costumes, ancient artifacts, books, maquettes and film to create a complex portrait of a creative genius. Roughly 60 of the 500 objects on view are from LACMA’s collection. More belong to the artist. -
'James Cameron's Story of Science Fiction' – a Love Letter to the Genre
2 x 2" ad 2 x 2" ad April 27 - May 3, 2018 A S E K C I L S A M M E L I D 2 x 3" ad D P Y J U S P E T D A B K X W Your Key V Q X P T Q B C O E I D A S H To Buying I T H E N S O N J F N G Y M O 2 x 3.5" ad C E K O U V D E L A H K O G Y and Selling! E H F P H M G P D B E Q I R P S U D L R S K O C S K F J D L F L H E B E R L T W K T X Z S Z M D C V A T A U B G M R V T E W R I B T R D C H I E M L A Q O D L E F Q U B M U I O P N N R E N W B N L N A Y J Q G A W D R U F C J T S J B R X L Z C U B A N G R S A P N E I O Y B K V X S Z H Y D Z V R S W A “A Little Help With Carol Burnett” on Netflix Bargain Box (Words in parentheses not in puzzle) (Carol) Burnett (DJ) Khaled Adults Place your classified ‘James Cameron’s Story Classified Merchandise Specials Solution on page 13 (Taraji P.) Henson (Steve) Sauer (Personal) Dilemmas ad in the Waxahachie Daily Merchandise High-End (Mark) Cuban (Much-Honored) Star Advice 2 x 3" ad Light, Midlothian1 x Mirror 4" ad and Deal Merchandise (Wanda) Sykes (Everyday) People Adorable Ellis County Trading Post! Word Search (Lisa) Kudrow (Mouths of) Babes (Real) Kids of Science Fiction’ – A love letter Call (972) 937-3310 Run a single item Run a single item © Zap2it priced at $50-$300 priced at $301-$600 to the genre for only $7.50 per week for only $15 per week 6 lines runs in The Waxahachie Daily2 x Light,3.5" ad “AMC Visionaries: James Cameron’s Story of Science Fiction,” Midlothian Mirror and Ellis County Trading Post premieres Monday on AMC. -
The Comforts: the Image of Home in <I>The Hobbit</I>
Volume 14 Number 1 Article 6 Fall 10-15-1987 All the Comforts: The Image of Home in The Hobbit & The Lord of the Rings Wayne G. Hammond Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Hammond, Wayne G. (1987) "All the Comforts: The Image of Home in The Hobbit & The Lord of the Rings," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 14 : No. 1 , Article 6. Available at: https://dc.swosu.edu/mythlore/vol14/iss1/6 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Examines the importance of home, especially the Shire, as metaphor in The Hobbit and The Lord of the Rings. Relates it to the importance of change vs. permanence as a recurring theme in both works. -
Tolkien's Creative Technique: <I>Beowulf</I> and <I>The Hobbit</I>
Volume 15 Number 3 Article 1 Spring 3-15-1989 Tolkien's Creative Technique: Beowulf and The Hobbit Bonniejean Christensen Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Christensen, Bonniejean (1989) "Tolkien's Creative Technique: Beowulf and The Hobbit," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 15 : No. 3 , Article 1. Available at: https://dc.swosu.edu/mythlore/vol15/iss3/1 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Asserts that “The Hobbit, differing greatly in tone, is nonetheless a retelling of the incidents that comprise the plot and the digressions in both parts of Beowulf.” However, his retelling is from a Christian point of view. Additional Keywords Beowulf—Influence on The Hobbit; olkien,T J.R.R. -
Character Biography Radagast the Brown
Character Biography: Radagast the Brown 1 ____ Character Biography Radagast the Brown By Oshun ___ Radagast the Brown is one of the Istari (Wizards) who were sent from Aman to assist the peoples of Middle-earth in their struggle against Sauron. His Quenya name is Aiwendil, which means 'lover of birds.' Unfinished Tales contains a section entitled The Istari,which is an excellent source for Tolkien's conceptions of these emissaries from the land of the gods and their roles in the continuing struggle against darkness in Middle-earth. (We will explore this resource in more detail below.) Before we saw Radagast with bird droppings in his hair and driving a sled pulled by giant bunnies in Peter Jackson's film-stylings of The Hobbit, the majority of readers were probably all but unaware of this blink-and-one-misses-him character. I knew him, of course, and cringed—appalled, offended, and grudgingly entertained—every time he appeared on the screen. (I realize some viewers actually like Radagast in the film, but I'd like to reserve that discussion for another time and another venue.) There are, more importantly, some fascinating threads to chase about Radagast in the published texts. Radagast is identified in the novels, but not developed or exploited fully: In The Hobbit, Gandalf actually leans on Radagast's (local) reputation to get himself, and his dwarvish and hobbit charges, accepted by Beorn. In The Lord of the Rings, Radagast plays a key, intermediary role in communications between Gandalf and Saruman. Yet Radagast disappears from The Lord of the Rings after the Council of Elrond. -
Jim Jannard, Founder of RED
“We work harder. We stay up later. We dream higher. So pay attention.” Jim Jannard, Founder of RED. We are a cutting edge creative production company with the sole mission of creating top quality content – primarily focusing on comedy/drama and documentaries. We’re all about developing great ideas, and then finding the right people to get them off the paper and onto a screen. As a company, we provide the tools and resources to help our team establish their ideas in a friendly, exciting and manageable environment. We pride ourselves on utilising the very best in technology, in all aspects of production and also have an extensive network of friendly experts to call upon whenever we run into any kind of problem. We’re all about team work, sharing knowledge, having fun, pushing boundaries and just making truly entertaining, ground breaking films! We understand that “content is key” – but at the same time, you need to ensure that the production values are solid so that audiences don’t get distracted by the format. Following the lead of industry innovators such as Peter Jackson, Francis Ford Coppola, Edgar Wright, James Cameron, George Lucas and Robert Rodriguez the ultimate mission of LateNite Films is to help revive the Australian film industry by bringing together a team of some of the most talented up-and- coming people in the industry and providing them with the tools they need to just get out there and make top quality films. Just like Peter Jackson has created so many amazing opportunities for New Zealand film-makers, we want to get to a point were we can offer the same kind of incredible experiences for like-minded and inspired Aussies. -
Tolkien's Unnamed Deity Orchestrating the Lord of the Rings Lisa Hillis This Research Is a Product of the Graduate Program in English at Eastern Illinois University
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1992 Tolkien's Unnamed Deity Orchestrating the Lord of the Rings Lisa Hillis This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Hillis, Lisa, "Tolkien's Unnamed Deity Orchestrating the Lord of the Rings" (1992). Masters Theses. 2182. https://thekeep.eiu.edu/theses/2182 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for i,\1.clusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for iqclusion in that institution's library or research holdings. Date I respectfully request Booth Library of Ef\i.stern Illinois University not allow my thes~s be reproduced because --------------- Date Author m Tolkien's Unnamed Deity Orchestrating the Lord of the Rings (TITLE) BY Lisa Hillis THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DECREE OF Master .of Arts 11': THE GRADUATE SCHOOL. -
Co-Writer Philippa Boyens to Write Young Merlin Movie by Mike Fleming Jr November 17, 2015 1:24Pm
From: The T. A. Barron Official Website, www.tabarron.com Film Disney Sets ‘Lord Of The Rings’ Co-Writer Philippa Boyens To Write Young Merlin Movie by Mike Fleming Jr November 17, 2015 1:24pm EXCLUSIVE: Disney has set Philippa Boyens to script an adaptation of The Merlin Saga, based on the series of books written by T.A. Barron. Life Of Pi‘s Gil Netter is producing. It’s a coup for the studio to land Boyens, who hasn’t really worked outside her long collaboration with Peter Jackson and Fran Walsh, with whom she shared the Oscar for Best Adapted Screenplay in 2002 for the Best Picture winner The Return Of The King. She has teamed with Jackson and Walsh on The Lord Of The Rings and The Hobbit trilogies, as well as King Kong and The Lovely Bones. It turned out that when Sean Bailey’s Disney division called, it was a fortuitous moment, and the formative story of the iconic wizard was the right subject matter. Boyens came from New Zealand to meet with Bailey and supervising execs Tendo Nagenda and Foster Driver, and Merlin was a character and a world that appealed to her. Also, Jackson and Walsh are only 1 From: The T. A. Barron Official Website, www.tabarron.com just beginning to figure out what next after finally being able to poke their heads out of Middle Earth. So there is time. Boyens has a good relationship with Alan Horn, who at Warner Bros greenlit The Hobbit and was an exec producer on the trilogy. -
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