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SUSIE ALEGRIA 4123 Manila Ave, Oakland , CA 94609 (H) 510 595-8640 (C) 415 640-4366 Email: Susiealegria@Gmail
SUSIE ALEGRIA 4123 Manila Ave, Oakland , CA 94609 (H) 510 595-8640 (C) 415 640-4366 email: susiealegria@gmail FILM / TV Zoey's Extraordinary Playlist, NBC, pilot, SF—Art Director 2019 Women is Losers, Over the moon production, Film- Production Designer 2019 All Day and a Night, Netflix, Film, Oakland, CA— Art Director 2018 Antman & the Wasp, Walt Disney studios, Film. San Francisco, CA—Assistant Art Director 2018 Bumble Bee, Paramount Pictures, Film. San Francisco, CA—Assistant Art Director 2017 Blindspotting, Lionsgate, Oakland, CA—Art Director 2017 When We Rise, Film. San Francisco, CA—Art Director 2016 Summertime, Chaz Productions, Film. San Francisco, CA—Art Director 2015 Steve Jobs, Universal Pictures, Film. San Francisco, CA—Assistant Art Director 2015 San Andreas, Warner Brothers. Film. San Francisco, CA—Assistant Art Director 2014 Ant Man, Marvel, Film. San Francisco, CA—Assistant Art Director 2014 The Diary of a Teenage Girl, Caviar Films. San Francisco, CA—Decorator 2013–2014 Looking, HBO, TV. San Francisco, CA—Decorator 2013 Pulling, ABC, TV. San Francisco, CA—Props 2013 Shademaker, Pixar, Film. San Francisco, CA—Lead Set Decorator 2011–2012 Contagion, Warner Brothers, Film. San Francisco, CA (memorials)—Set Dresser 2011 On the Road, SPAD Films, Film. San Francisco, CA—Assistant Art Director 2011 Trauma, NBC, TV. San Francisco, CA—Assistant Art Director 2009–2010 Parenthood Pilot, NBC, TV. San Francisco, CA—Art Director 2009 The Butler’s in Love, Short. San Francisco, CA—Decorator 2009 Drag Me to Hell, Tippett Studio, Film. Berkeley, CA—Model Maker 2009 MILK, Focus Features, Film. San Francisco, CA—Assistant Art Director 2008 th Journeyman, 20 Century Fox, TV. -
Complicated Views: Mainstream Cinema's Representation of Non
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e. -
Women in Film Time: Forty Years of the Alien Series (1979–2019)
IAFOR Journal of Arts & Humanities Volume 6 – Issue 2 – Autumn 2019 Women in Film Time: Forty Years of the Alien Series (1979–2019) Susan George, University of Delhi, India. Abstract Cultural theorists have had much to read into the Alien science fiction film series, with assessments that commonly focus on a central female ‘heroine,’ cast in narratives that hinge on themes of motherhood, female monstrosity, birth/death metaphors, empire, colony, capitalism, and so on. The films’ overarching concerns with the paradoxes of nature, culture, body and external materiality, lead us to concur with Stephen Mulhall’s conclusion that these concerns revolve around the issue of “the relation of human identity to embodiment”. This paper uses these cultural readings as an entry point for a tangential study of the Alien films centring on the subject of time. Spanning the entire series of four original films and two recent prequels, this essay questions whether the Alien series makes that cerebral effort to investigate the operations of “the feminine” through the space of horror/adventure/science fiction, and whether the films also produce any deliberate comment on either the lived experience of women’s time in these genres, or of film time in these genres as perceived by the female viewer. Keywords: Alien, SF, time, feminine, film 59 IAFOR Journal of Arts & Humanities Volume 6 – Issue 2 – Autumn 2019 Alien Films that Philosophise Ridley Scott’s 1979 S/F-horror film Alien spawned not only a remarkable forty-year cinema obsession that has resulted in six specific franchise sequels and prequels till date, but also a considerable amount of scholarly interest around the series. -
Aliens” (1986) – Superior Sequel to the Original Source
“Aliens” (1986) – Superior Sequel to the Original Source Retrospective by Dr. John L. Flynn Introduction At first glance, the notion of a sequel to “Alien” (1979) must have seemed like such a forgone conclusion. Next to “Star Wars” (1977) and “Close Encounters of the Third Kind” (1977), Ridley Scott’s stylish thriller had been one of the most popular films of the decade. But in the six years since its release, the motion picture had also spawned a rash of forgettable clones. And in a period filled with sequels to almost every successful and popular Hollywood movie that rarely succeeded on their own merit as original entertainment, the new production appeared to be more of a tremendous gamble than a sure thing. Besides the challenge to bring something familiar and new under budget and on time to the screen, the project also had to deal with its share of preconceptions. The most obvious problem writer and director James Cameron faced in developing a sequel to “Alien,” he said, was, “How do you beat a classic? You really have to dig deep into the bag of tricks and come up with some good ideas. And you have to do a proper homage to the original without being a mindless fan, something which is a piece of entertainment and a story in its own right.” Spawning the Sequel In the wake of “Alien’s” success, many similar films soon began appearing at the local multi-plex. Just as it had been influenced by low budget science fiction films of the Fifties and Sixties, like “It! The Terror from Beyond Space” (1958) and “Planet of the Vampires” (1965), the critically-acclaimed motion picture inspired its own collection of imitators, including “Inseminoid” (1980), ‘The Creature Wasn’t Nice” (1981), “Galaxina” (1981), “Galaxy of Terror” (1981) and many others. -
Master Class with Douglas Trumbull: Selected Filmography 1 the Higher Learning Staff Curate Digital Resource Packages to Complem
Master Class with Douglas Trumbull: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. * mentioned or discussed during the master class ^ special effects by Douglas Trumbull Early Special Effects Films (Pre-1968) The Execution of Mary, Queen of Scots. Dir. Alfred Clark, 1895, U.S.A. 1 min. Production Co.: Edison Manufacturing Company. The Vanishing Lady (Escamotage d’une dame au théâtre Robert Houdin). Dir. Georges Méliès, 1896, France. 1 min. Production Co.: Théâtre Robert-Houdin. A Railway Collision. Dir. Walter R. Booth, 1900, U.K. 1 mins. Production Co.: Robert W. Paul. A Trip to the Moon (Le voyage dans la lune). Dir. Georges Méliès, 1902, France. 14 mins. Production Co.: Star-Film. A Trip to Mars. Dir. Ashley Miller, 1910, U.S.A. 5 mins. Production Co.: Edison Manufacturing Company. The Conquest of the Pole (À la conquête de pôle). Dir. Georges Méliès, 1912, France. 33 mins. Production Co.: Star-Film. *Intolerance: Love’s Struggle Throughout the Ages. Dir. D.W. Griffith, 1916, U.S.A. 197 mins. Production Co.: Triangle Film Corporation / Wark Producing. The Ten Commandments. -
2020 04 27 Quinn Jockey Accepted
UWS Academic Portal Beyond the space jockey Quinn, John Published in: Cinephile Published: 10/06/2020 Document Version Peer reviewed version Link to publication on the UWS Academic Portal Citation for published version (APA): Quinn, J. (2020). Beyond the space jockey: YouTube, morphogenetic paratexts and the alien universe. Cinephile, 14(1), 34-39. General rights Copyright and moral rights for the publications made accessible in the UWS Academic Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25 Sep 2021 CINEPHILE 14.1 Beyond the Space Jockey: YouTube, Morphogenetic Paratexts and the Alien Universe The Alien cinematic franchise has been subject to much critical scrutiny within the academy. From the moment the first installment burst onto our movie screens in 1979, scholars have attempted to unpack and decode the latent and manifest sociocultural meanings embedded within this seminal series of cinematic horror. Studies have built a rich tapestry of understanding, exploring the franchise via lenses such as the monstrous mother (Creed; Kember; Newton); abjection (Kristeva); dreadful architectures (Benson-Allott); infertility (Grech et al.); gender inversions, male-birthing and the feminization of the hero (Greenberg; Kavanagh; Luckhurst); a- sexuality (Dervin); post-humanism and sexual violence (Hurley); as well as human, technological and environmental hybridity (Littau). -
Curriculum Vitae William C Carruth
Curriculum Vitae William C Carruth June 10, 2013 General Information University address: College of Motion Picture Arts College of Motion Picture Arts University Center Building A3100 Florida State University Tallahassee, Florida 32306-2350 Phone: 888/644-7728 E-mail address: [email protected] Professional Preparation 1969 Master's Degree, LONG BEACH CITY COLLEGE. Major: Psychology. 1967 Bachelor's Degree, Los Angeles City College. Major: Psychology. Postdegree Education and Training 2005 Pro Tools Version 9.0 for Tiger and Version 9.4 for Tiger. 2003 Post Production Techniques, Version 6.4. 2003 Pro Tools Productions Essentials, Version 6.4. 2003 Introduction to Pro Tools, Version 6.4. 1994 Avid Medial Composer 101. Professional Experience 2012–present Laboratory Assistant, College of Motion Picture Arts, Florida State University. 2009–2012 Assistant In (OPS), College of Motion Picture Arts, Florida State University. Vita for William C Carruth 2010–2011 Assistant In, College of Motion Picture Arts, Florida State University. 2005–2008 Assistant In, College of Motion Picture Arts, Florida State University. Teaching Courses Taught MFA Qualifying Project (FIL5962) Thesis Film Support (FIL3971) Advanced Workshop in Area of Specialization (FIL5636-L) Thesis Film (FIL4973) Preproduction and Production Planning (FIL5408) Film Editing (FIL5555-L) Production: Advanced Editing (FIL4567) MFA Thesis Production (FIL5977) Advanced Editing (FIL5568-L) Film Editing (FIL2552) Special Topics (FIL3932) Documentary Filmmaking (FIL3363) Documentary Filmmaking (FIL3231) Film Editing (FIL5257-L) Production: Advanced Editing (FIL4213) Research and Original Creative Work Original Creative Works Films Carruth, W. C. (Sound Editor). (2005). Into The West [TV Movie]. DreamWorks Television. Carruth, W. C. (Sound Editor). (2005). Suzanne's Dairy for Nicholas [TV Movie]. -
The Future: the Fall and Rise of the British Film Industry in the 1980S
THE FALL AND RISE OF THE BRITISH FILM INDUSTRY IN THE 1980S AN INFORMATION BRIEFING National Library Back to the Future the fall and rise of the British Film Industry in the 1980s an information briefing contents THIS PDF IS FULLY NAVIGABLE BY USING THE “BOOKMARKS” FACILITY IN ADOBE ACROBAT READER SECTION I: REPORT Introduction . .1 Britain in the 1980s . .1 Production . .1 Exhibition . .3 TV and Film . .5 Video . .7 “Video Nasties” & Regulation . .8 LEADING COMPANIES Merchant Ivory . .9 HandMade Films . .11 BFI Production Board . .12 Channel Four . .13 Goldcrest . .14 Palace Pictures . .15 Bibliography . .17 SECTION II: STATISTICS NOTES TO TABLE . .18 TABLE: UK FILM PRODUCTIONS 1980 - 1990 . .19 Written and Researched by: Phil Wickham Erinna Mettler Additional Research by: Elena Marcarini Design/Layout: Ian O’Sullivan © 2005 BFI INFORMATION SERVICES BFI NATIONAL LIBRARY 21 Stephen Street London W1T 1LN ISBN: 1-84457-108-4 Phil Wickham is an Information Officer in the Information Services of the BFI National Library. He writes and lectures extensively on British film and television. Erinna Mettler worked as an Information Officer in the Information Services of the BFI National Library from 1990 – 2004. Ian O’Sullivan is also an Information Officer in the Information Services of the BFI National Library and has designed a number of publications for the BFI. Elena Marcarini has worked as an Information Officer in the Information Services Unit of the BFI National Library. The opinions contained within this Information Briefing are those of the authors and are not expressed on behalf of the British Film Institute. Information Services BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel: + 44 (0) 20 7255 1444 Fax: + 44 (0) 20 7436 0165 Try the BFI website for film and television information 24 hours a day, 52 weeks a year… Film & TV Info – www.bfi.org.uk/filmtvinfo - contains a range of information to help find answers to your queries. -
Materials and Movement in Stop Motion Animation
MATERIALS AND MOVEMENT IN STOP MOTION ANIMATION Thomas Steven Fyfe Abertay University School of Arts, Media and Computer Games APRIL 2016 Abertay University Declaration Author: Thomas Steven Fyfe Title: Materials and Movement in Stop Motion Animation Qualification sought: BA (Hons) Computer Arts Year: 2016 I. I certify that the above mentioned project is my original work II. I agree that this dissertation may be reproduced, stored or transmitted, in any form and by any means without the prior written consent of the undersigned. Signature ………………………………………………………………………………………………… Date …………………………………………………………………………………………………29/04/2016 ……… i ABSTRACT Stop motion animation first evolved from the visual effects in live action filmmaking. Stopping the camera to move, add or remove something created an illusion that fooled the audience into seeing something possess its own motion. Early animations often considered as performances of visual trickery with an emphasis on movement. Animation has evolved over the last century from its early beginnings as trick films, developing as a central element to live action visual effects in the first few decades of the 20th century and as a form of animation in its own right. Throughout this evolution, stop motion has developed to utilise clay models and complex puppets in addition to everyday objects as a means to tell rich and compelling stories. With the rise of computer generated imagery (CGI), stop motion is no longer used as often for visual effects. However it continues to be explored for its visual qualities and artistic possibilities in feature films and animated shorts and these qualities help to make the case for the longevity of stop motion for years to come. -
“Rabbit! Rabbit!”, “Watt”, “The Curtains” an Interpretation
“RABBIT! RABBIT!”, “WATT”, “THE CURTAINS” AN INTERPRETATION OF CINEMATIC STORYTELLING THROUGH THREE DIFFERENT MEDIA (3D ANIMATION, STOP-MOTION ANIMATION AND LIVE-ACTION) by BURAK N. KURT Submitted to the Graduate School of Arts and Social Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Visual Arts & Visual Communication Design Sabancı University Spring 2009 © Burak N. Kurt 2009 All Rights Reserved Anneme/ For my mother… iv “RABBIT! RABBIT!”, “WATT”, “THE CURTAINS” AN INTERPRETATION OF CINEMATIC STORYTELLING THROUGH THREE DIFFERENT MEDIA (3D ANIMATION, STOP-MOTION ANIMATION AND LIVE-ACTION) by Burak N. Kurt Visual Arts and Communication Design, M.A., Thesis, 2009 ABSTRACT This three short-film project tries to comparatively evaluate the visual storytelling properties of three film techniques, live-action, 3D Computer Animation and Stop- motion (clay-mation). All of the three films aim to tell a different enjoyable story adapted to the strengths and weaknesses of each technique. To be able to establish an internal consistency and better comparability, the films are based on a common theme which is ‘solitude’ and a common genre which is ‘supernatural horror’. This paper discusses the features of visual storytelling on each of those techniques comparatively and tries to evaluate their strengths in creating feeling and emotions. To provide a basis, this paper also examines the mythical and archetypal story behind and functions of storytelling in addition to its essentials. It also discusses the importance and necessity of ‘solitude’ in the context of storytelling. Solitude’s role in fear is discussed as well. Eventually it blends the research and discussion material with the short-films “Rabbit! Rabbit!,”, “The Curtains”, and “Watt” in an attempt to better understand the technical aspects of the three techniques as well as their conceptual and semantic projections on and of the story. -
Alien, Le Huitième Passager
Alien, le huitième passager un film de Ridley Scott Le dispositif et ses Partenaires Lycéens et apprentis au cinéma est un dispositif national d’éducation artistique au cinéma initié par le Centre National du Cinéma et de l’image animée destiné aux élèves des lycées d’enseignement général, technique, professionnel, agricole, et des Centres de Formation des Apprentis. Mis en place en septembre 2001, il est l’un des points forts de la convention de développement cinématographique, audiovisuel et multimédia signée en janvier 2001 entre l’Etat (DRAC), le CNC et la Région des Pays de la Loire. Ce projet est développé en partenariat avec le Rectorat de l’Académie de Nantes et la DRAAF. Il associe les établissements scolaires et leurs enseignants volontaires, les partenaires culturels et artistiques de la région, et particulièrement les salles de cinéma. Il propose aux élèves et apprentis de découvrir des oeuvres cinématographiques lors de projections en salle de cinéma et de se constituer, grâce au travail pédagogique conduit par les enseignants et les partenaires culturels les bases d’une culture cinématographique. L’objectif poursuivi est ainsi de développer le regard et le sens critique face à l’image et de parfaire les pratiques culturelles et civiques de ce jeune public. La coordination régionale du dispositif a été confiée à l’association Premiers Plans. Fiche technique Alien, le huitième passager GB/USA | 1979 | 1 h 57 Réalisation : Ridley Scott Scénario : Dan O’Bannon, David Giler et Walter Hill Direction artistique : Roger Christian et Leslie Dilley Décors : Michael Seymour Costumes : John Mollo Maquillage : Tommie Manderson Design conceptuel : Ian Whittaker Effets spéciaux : Nick Allder et Brian Johnson Son : Derrick Leather Photographie : Derek Vanlint Montage : Terry Rawlings, Peter Weatherley, David Crowther Musique : Jerry Goldsmith Production : Gordon Carroll, David Giler, Walter Hill, Ivor Powell, Ronald Shusett Sociétés de production : Brandywine Productions, Twentieth Century Fox Film Corp Interprétation Le lieutenant Ellen L. -
(Walt Disney Pictures & Pixar Animation
Cast Crew Hanham Players Hanham Players Youth Group Act 2 – Creatures to Animals Frozen… (Walt Disney Animation Studios, Walt Disney Pictures, Walt Disney Studio Motion Pictures (2013)) Minions… (Illumination Entertainment & Universal Pictures International (2015)) The Nightmare Before Christmas… (Touchstone Pictures, Skellington Productions Inc., Tim Burton Productions & Walt Disney Pictures (1993)) Monsters Inc.… (Walt Disney Pictures, Pixar Animation Studios & Buena Vista International (2001)) Shrek… (DreamWorks Animation, DreamWorks SKG, Pacific Data Images & United International Pictures (2001)) There will be a 20 minute interval between the two acts. The use of photography and filming equipment is strictly prohibited. Aladdin… (Walt Disney Pictures, Silver Screen Partner, Walt Disney Feature Animation & Buena Vista International Monsters vs. Aliens… (DreamWorks Animation (2009)) (1992)) Despicable Me… (Universal Pictures, Illumination Entertainment & Universal Studios (2010)) Brave… (Walt Disney Pictures, Pixar Animation Studios & Walt Disney Studio Motion Pictures (2012)) Anastasia… (Twentieth Century Fox Film Corporation, Fox Animation Studios, Fox Family Films, The Big Gun Project, Little Wolf Entertainment & 20th Centure Fox (1997)) Toy Story… (Pixar Animation Studios, Walt Disney Pictures & Buena Vista International (1995)) Cars… (Walt Disney Pictures & Pixar Animation Studios (2006)) The Polar Express… (Castle Rock Entertainment, Shangri-La Entertainment, Playtone, ImageMovers, Golden Mean, Universal CGI, Warner Bros. & Park