KY Costume Design Resume 11.05.2020
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2018-19 SEASON Celebrating 30 Years
2018-19 SEASON Celebrating 30 Years OPENING NIGHT Proving Up NEW YORK PREMIERE MUSIC BY Missy Mazzoli LIBRETTO BY Royce Vavrek Adapted from the short story “Proving Up” by Karen Russell Co-commissioned by Washington National Opera, Opera Omaha, and Miller Theatre at Columbia University © 2018 G. Schirmer Inc. IN A NEW PRODUCTION BY OPERA OMAHA Wednesday, September 26, 8 p.m. | Friday, September 28, 8 p.m. Click on a section to learn more OVERVIEW SYNOPSIS CREATIVE TEAM CAST PRODUCTION PHOTOS OVERVIEW Proving Up Wednesday, September 26, 8 p.m. | Friday, September 28, 8 p.m. The performance runs approximately 75 minutes with no intermission. Composer Missy Mazzoli and librettist Royce Vavrek thrilled audiences and critics alike in 2016 with the premiere of their opera Breaking the Waves. This dynamic creative duo reunites for Proving Up, a harrow- ing tale of a family’s pursuit of the American Dream set in post-Civil War Nebraska. Miller’s 30th Anniver- sary Season opens with the New York premiere of this chamber opera that is by turns optimistic, exultant, and menacing. Major support for Proving Up is provided by Francis Goelet Charitable Lead Trusts and H.F. Lenfest Fund of The Philadelphia Foundation Introducing Proving Up A CONVERSATION WITH MISSY MAZZOLI AND ROYCE VAVREK Tuesday, September 25, 6:30 p.m. | Lenfest Center for the Arts On the eve of the New York premiere of their newest opera, Proving Up, the dynamic creative duo sits down with Associate Dean and Executive Director Melissa Smey to talk about the project, their creative process, and their inspiration. -
DRAWING COSTUMES, PORTRAYING CHARACTERS Costume Sketches and Costume Concept Art in the Filmmaking Process
Laura Malinen 2017 DRAWING COSTUMES, PORTRAYING CHARACTERS Costume sketches and costume concept art in the filmmaking process MA thesis Aalto University School of Arts, Design and Architecture Department of Film, Television and Scenography Master’s Degree Programme in Design for Theatre, Film and Television Major in Costume Design 30 credits Acknowledgements I would like to thank my supervisors Sofia Pantouvaki and Satu Kyösola for the invaluable help I got for this thesis. I would also like to thank Nick Keller, Anna Vilppunen and Merja Väisänen, for sharing their professional expertise with me. Author Laura Malinen Title of thesis Drawing Costumes, Portraying Characters – Costume sketches and costume concept art in the filmmaking process Department Department of Film, Television and Scenography Degree programme Master’s Degree Programme in Design for Theatre, Film and Television. Major in Costume Design Year 2017 Number of pages 85 Language English Abstract This thesis investigates the various types of drawing used in the process of costume design for film, focusing on costume sketches and costume concept art. The research question for this thesis is ‘how and why are costume sketches and costume concept art used when designing costumes for film?’ The terms ‘costume concept art’ and ‘costume sketch’ have largely been used interchangeably. My hypothesis is that even though costume sketch and costume concept art have similarities in the ways of usage and meaning, they are, in fact, two separate, albeit interlinked and complementary terms as well as two separate types of professional expertise. The focus of this thesis is on large-scale film productions, since they provide the most valuable information regarding costume sketches and costume concept art. -
Kleidung / Mode / Couture / Kostümdesign Im Film: Eine Erste Bibliographie 2011
Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie 2011 https://doi.org/10.25969/mediarep/12753 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2011 (Medienwissenschaft: Berichte und Papiere 122). DOI: https://doi.org/10.25969/mediarep/12753. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0122_11.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 122, 2011: Mode im Film. Redaktion und Copyright dieser Ausgabe: Ludger Kaczmarek, Hans J. Wulff. ISSN 1613-7477. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0122_11.html Letzte Änderung: 20.2.2011. Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie. Zusammengest. v. Hans J. Wulff u. Ludger Kaczmarek Inhalt: da, wo die Hobos sind, er riecht wie einer: Also ist er Einleitung einer. Warum sollte man jemanden für einen anderen Bibliographien halten als den, der er zu sein scheint? In Nichols’ Direktoria Working Girl (1988) nimmt eine Sekretärin heimlich Texte für eine Zeit die Rolle ihrer Chefin an, und sie be- nutzt auch deren Garderobe und deren Parfüm. -
Marilyn Vance Costume Designer
Marilyn Vance Costume Designer Selected Television Series: HAWAII FIVE-0 (Season 9) – CBS – various directors OUTLAW PROPHET: WARREN JEFFS (MOW) – Sony Pictures/Lifetime Television – Gabriel Range, director LIZZIE BORDEN TOOK AN AX (MOW) – Sony Pictures/Lifetime Television – Nick Gomez, director BONNIE & CLYDE (Mini-Series) – Sony Pictures/A+E Networks – Bruce Beresford, director PACIFIC BLUE (Season 1, 2, 3, 4, 5) – USA Networks – various directors Selected Feature Films: MOTHER’S DAY – Open Road Films – Garry Marshall, director MY BEST FRIEND’S GIRL – Lionsgate – Howard Deutch, director MYSTERY MEN – Universal Pictures – Kinka Usher, director TROJAN WAR – Warner Bros. – George Huang, director G.I. JANE – Buena Vista Pictures – Ridley Scott, director JADE – Paramount Pictures – William Friedkin, director THE GETAWAY – Universal Pictures – Roger Donaldson, director JUDGEMENT NIGHT – Universal Pictures – Stephen Hopkins, director SOMMERSBY – Warner Bros. – Jon Amiel, director MEDICINE MAN – Buna Vista Pictures – John McTiernan, director THE LAST BOY SCOUT – Geffen Pictures – Tony Scott, director THE ROCKETEER – Walt Disney Pictures/Buena Vista Pictures – Joe Johnston, director THE ADVENTURES OF FORD FAIRLANE – 20th Century FOX – Renny Harlin, director DIE HARD 2 – 20th Century FOX – Renny Harlin, director PRETTY WOMAN – Touchstone Pictures/Buena Vista Pictures – Garry Marshall, director DIE HARD – 20th Century FOX – John McTiernan THROW MOMMA FROM THE TRAIN – Orion Pictures – Danny DeVito, director PREDATOR – 20th Century FOX – John McTiernan, director THE UNTOUCHABLES – Paramount Pictures – Brian De Palma, director FERRIS BUELLER’S DAY OFF – Paramount Pictures – John Hughes, director PRETTY IN PINK – Paramount Pictures – Howard Deutch, director THE BREAKFAST CLUB – Universal Pictures – John Hughes, director ROMANCING THE STONE – 20th Century FOX – Robert Zemeckis, director 48 HRS. -
Catching Fire. the Impressive Lineup Is Joined by the Hunger Games
Cast: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Julianne Moore, Philip Seymour Hoffman, Jeffrey Wright, Willow Shields, Sam Claflin, Jena Malone, Natalie Dormer, with Stanley Tucci, and Donald Sutherland Directed by: Francis Lawrence Screenplay by: Peter Craig and Danny Strong Based upon: The novel “Mockingjay” by Suzanne Collins Produced by: Nina Jacobson, Jon Kilik SYNOPSIS The blockbuster Hunger Games franchise has taken audiences by storm around the world, grossing more than $2.2 billion at the global box office. The Hunger Games: Mockingjay – Part 2 now brings the franchise to its powerful final chapter in which Katniss Everdeen [Jennifer Lawrence] realizes the stakes are no longer just for survival – they are for the future. With the nation of Panem in a full scale war, Katniss confronts President Snow [Donald Sutherland] in the final showdown. Teamed with a group of her closest friends – including Gale [Liam Hemsworth], Finnick [Sam Claflin] and Peeta [Josh Hutcherson] – Katniss goes off on a mission with the unit from District 13 as they risk their lives to liberate the citizens of Panem, and stage an assassination attempt on President Snow who has become increasingly obsessed with destroying her. The mortal traps, enemies, and moral choices that await Katniss will challenge her more than any arena she faced in The Hunger Games. The Hunger Games: Mockingjay – Part 2 is directed by Francis Lawrence from a screenplay by Peter Craig and Danny Strong and features an acclaimed cast including Academy Award®-winner Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Academy Award®-winner Philip Seymour Hoffman, Jeffrey Wright, Willow Shields, Sam Claflin, Jena Malone with Stanley Tucci and Donald Sutherland reprising their original roles from The Hunger Games and The Hunger Games: Catching Fire. -
ACADEMY MUSEUM of MOTION PICTURES Collection Highlights
ACADEMY MUSEUM OF MOTION PICTURES Collection Highlights OVERVIEW The Academy Museum will draw from the unparalleled collection of the Academy of Motion Picture Arts & Sciences, which contains a vast range of motion picture production and history-related objects and technology, works on paper, still and moving images covering the history of motion picture in the United States and throughout the world. The collections include more than 12 million photographs, 190,000 film and video assets, 80,000 screenplays, 61,000 posters, and 104,000 pieces of production art. The collection also includes more than 1,600 special collections of film legends such as Cary Grant, Katharine Hepburn, Alfred Hitchcock, and John Huston. These special collections contain production files, personal correspondence, clippings, contracts, manuscripts, scrapbooks, storyboards, and more. The Academy’s collecting divisions work collaboratively to acquire, preserve, digitize, and exhibit the broad range of materials entrusted to their care by generations of filmmakers and collectors. The Academy Museum has actively been acquiring three-dimensional motion picture objects since 2008. Its holdings now number approximately 2,500 items representing motion picture technology, costume design, production design, makeup and hairstyling, promotional materials and memorabilia, and awards. MOTION PICTURE TECHNOLOGY The collection includes examples of pre-cinema devices, early and modern motion picture cameras and projectors, sound, editing and lighting equipment, and other landmark -
The Queen of Costuming: Meet Marilyn Vance, the Woman Who
them for their store. They thought, ‘that was pretty good, she can explain stuff’,” she says with a laugh. One thing led to another: “I came out to L.A. and I said ‘I’m here to design for you!’… I was so naïve about it.” She started taking assistant jobs, feeling a sense of frustration familiar to those ‘THE UNTOUCHABLES,’ FOR WHICH VANCE working their way up in any industry: “I EARNED AN OSCAR NOMINATION thought so much of myself and there I was answering phones and getting lunch.” THE QUEEN OF her work has come to define an era of But paying her dues ultimately paid off: film while still feeling fresh. “I got to see how things worked.” COSTUMING: Her designs are accessible — even Vance’s first credit as an assistant was MEET MARILYN viewers who aren’t specifically into on the 1980 camp-fest Xanadu. From there, VANCE, THE fashion can recognize the characters Universal put her through the Costume WOMAN WHO in the films she’s worked on as innately Designer’s Guild, and she started picking stylish — and eye-catching. Talking to up projects. CLOTHED THE Vance, it’s clear that she’s always been “I was very fortunate. I didn’t realize REBELLER driven by the desire to create. Costume how lucky I was that they put me CANON design may be a job at the end of the day, through the union,” she acknowledges. but a lot of thought and creative energy She started working “for real” before - ABBEY BENDER goes into every stitch of clothing. -
PRESS Graphic Designer
© 2021 MARVEL CAST Natasha Romanoff /Black Widow . SCARLETT JOHANSSON Yelena Belova . .FLORENCE PUGH Melina . RACHEL WEISZ Alexei . .DAVID HARBOUR Dreykov . .RAY WINSTONE Young Natasha . .EVER ANDERSON MARVEL STUDIOS Young Yelena . .VIOLET MCGRAW presents Mason . O-T FAGBENLE Secretary Ross . .WILLIAM HURT Antonia/Taskmaster . OLGA KURYLENKO Young Antonia . RYAN KIERA ARMSTRONG Lerato . .LIANI SAMUEL Oksana . .MICHELLE LEE Scientist Morocco 1 . .LEWIS YOUNG Scientist Morocco 2 . CC SMIFF Ingrid . NANNA BLONDELL Widows . SIMONA ZIVKOVSKA ERIN JAMESON SHAINA WEST YOLANDA LYNES Directed by . .CATE SHORTLAND CLAUDIA HEINZ Screenplay by . ERIC PEARSON FATOU BAH Story by . JAC SCHAEFFER JADE MA and NED BENSON JADE XU Produced by . KEVIN FEIGE, p.g.a. LUCY JAYNE MURRAY Executive Producer . LOUIS D’ESPOSITO LUCY CORK Executive Producer . VICTORIA ALONSO ENIKO FULOP Executive Producer . BRAD WINDERBAUM LAUREN OKADIGBO Executive Producer . .NIGEL GOSTELOW AURELIA AGEL Executive Producer . SCARLETT JOHANSSON ZHANE SAMUELS Co-Producer . BRIAN CHAPEK SHAWARAH BATTLES Co-Producer . MITCH BELL TABBY BOND Based on the MADELEINE NICHOLLS MARVEL COMICS YASMIN RILEY Director of Photography . .GABRIEL BERISTAIN, ASC FIONA GRIFFITHS Production Designer . CHARLES WOOD GEORGIA CURTIS Edited by . LEIGH FOLSOM BOYD, ACE SVETLANA CONSTANTINE MATTHEW SCHMIDT IONE BUTLER Costume Designer . JANY TEMIME AUBREY CLELAND Visual Eff ects Supervisor . GEOFFREY BAUMANN Ross Lieutenant . KURT YUE Music by . LORNE BALFE Ohio Agent . DOUG ROBSON Music Supervisor . DAVE JORDAN Budapest Clerk . .ZOLTAN NAGY Casting by . SARAH HALLEY FINN, CSA Man In BMW . .MARCEL DORIAN Second Unit Director . DARRIN PRESCOTT Mechanic . .LIRAN NATHAN Unit Production Manager . SIOBHAN LYONS Mechanic’s Wife . JUDIT VARGA-SZATHMARY First Assistant Director/ Mechanic’s Child . .NOEL KRISZTIAN KOZAK Associate Producer . -
Tihanyi Ildikó Dla Házi Védés 2019.04.10
Színház- és Filmművészeti Egyetem Doktori Iskola FELÖLTÖZTETETT MOZGÓKÉP Alkotói szempontok a játékfilmes jelmeztervezésben DOKTORI DISSZERTÁCIÓ Tihanyi Ildikó Rita Témavezető: M. Tóth Géza 2019 Hét kis véletlen című film (Gothár Péter, 2019) – werkfotó: Halas István !2 Bevezetés 5 Tézisek 6 I. A játékfilmes jelmeztervezés alapkérdései 10 I.1. Ruhák térben és időben 11 I.1.1. Viselettörténet 15 I.1.2. Divatszociológia 20 I.1.3. Szemiotika 24 I.2. A ruha fizikai jellemzői 28 I.2.1. Szín 32 I.2.2. Forma 37 I.2.3. Anyag 40 I.3. A karakterábrázolás eszközei 43 I.3.1. A szerep életre kel 43 I.3.1.1. Testkép és maszk 44 I.3.1.2. Jelmez 51 I.3.2. Viszonyrendszer és tipizálás 54 II. Jelmeztervezési szisztémák a viselettörténeti korszakok tükrében 60 II.1. Múlt 65 II.1.1. A szuperkópiák realizmusa 66 II.1.2. A stilizáció fokozatai 72 II.1.2.1. A korhűség látszata 73 II.1.2.2. Stilizáció a valósághűség határain belül 77 II.1.2.3. Tudatosan más kor beemelése 80 II.1.4. Ruhák a közelmúlt távlatában 87 II.3. Jelen 93 II.3.1. Dokumentarista és fikciós elemek 94 II.3.2. Generációs filmek 101 II.3.3. A valóságábrázolás szélső határai 110 !3 II.3. Jövő 114 II.3.1. Múltban rekedt világok 115 II.3.2. A jövő jelene 122 II.3.2.1. Mainstream divat 122 II.3.2.2. Marginális irányzatok 127 II.3.3. Jövővíziók 131 II.3.3.1. Stíluspluralizmus 132 II.3.3.2. Uniformizálódás 136 II.3.3.2. -
Honduras Heats Up
Safes. 643-4165 M. T, W A F 9 ,10 lo B 00. Ih 9 30 lo 6 00 Sal 9 30 tu 4 00 Service— 643-51 50 Parts-649-1013 M thru F 8 00 lo 5 00 anrhpBtpr Mpralfi Saturday, April 9, 1988 Manchester, Conn. — A City of Village Charm 30 Cents HONDURAS ORMIER! entra Standard Ian with lill-up sunroof, reo w/eleclronic tuning o reverse cassette, ac cent striping, body side Holdings, cnrome deck HEATS UP rack, halogen fog lights Slock iV6173; M S R P $8>4!S Hobale -700 Rebate $ 7,814 37 Kingcab SE State of emergency j. full Sport and Power e incl. factory sunroof, 'indows and doorlocks, jise, dual pwr. mirrors, reo cassetle/radio with c tuning, alloy wheels, declared after riots chrome rear bumper. *5993 $1 1 ,999 By Freddy Cuevas sped through the downtown area The Associated Press Friday, picking up young people. The government, the principal TEGUCIGALPA. Honduras — U.S. ally in Central America, said President Jose Azcona Hoyo would "w ill take all necessary declared a state of eniergency actions to maintain order and Friday in the country’s two major tranquility” cities after students smashed Earlier, officials forced coun shop windows and overturned try’s 140 radio stations into a cars in new anti-American riots. nationwide hookup Friday con The presidential press office trolled by the presidential press said the emergency gives police office. and security agencies wide pow In a communique repeatedly ers to search premises, make being read over the new network, arrests and hold people without the government urged people to trials in Tegucigalpa, the capital, "repudiate violence” and "re and San Pedro Sula, 120 miles to main calm,” claiming the vio the north. -
Puttin' on the Glitz: Hollywood's Influence on Fashion
SPRING EXHIBIT | LANGSON LIBRARY Puttin' on the Glitz Hollywood's Influence o n Fashion OCTOBER 2010 - APRIL 2011 MURIEL ANSLEY REYNO- 1 -LDS EXHIBIT GALLERY Puttin’ on the Glitz Hollywood’s Influence on Fashion An exhibit in the UC Irvine Langson Library Muriel Ansley Reynolds Exhibit Gallery October 2010 - April 2011 Curated by Becky Imamoto, Research Librarian for History THE UC IRVINE LIBRARIES • IRVINE, CALIFORNIA • 2010 Welcome to the UCI Libraries’ Fall 2010 exhibition. Puttin’ on the Glitz: Hollywood’s Influence on Fashion examines the major impact that Hollywood had and continues to have over fashion. This exciting exhibit highlights films and designers from Hollywood’s golden years through the 20th century, all presented within a historical context. Items on display include significant books, journals, images, videos, and movie posters from the Libraries’ collections, and stunning costumes from UCI’s drama department. The curator is Becky Imamoto, Research Librarian for History. I hope you enjoy the exhibit and return to view others in the future. Gerald L. Lowell Interim University Librarian - 3 - this exhibit examines the history of Hollywood costume design from its inception to the end of the 20th century. In the early 1910s, costume design was little more than an afterthought, with silent screen actresses providing costumes from their personal wardrobes. However, during the Golden Age (1930- 1959), Hollywood realized how much publicity and money could be generated through its promotion of new fashion designs, and so set to work building an image of splendor, luxury, and endless consumption. Hollywood was, and is, a powerful social force that determines what is considered by the rest of the world to be beautiful and glamorous. -
“The Creative Producer”: John Hughes, Synergy and Late 1980S Hollywood
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 MAINSTREAM MAVERICK? JOHN HUGHES AND NEW HOLLYWOOD CINEMA HOLLY CHARD SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF SUSSEX MAY 2014 2 I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another university for the award of any other degree. Signature:……………………………………… 3 UNIVERSITY OF SUSSEX HOLLY CHARD SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY MAINSTREAM MAVERICK? JOHN HUGHES AND NEW HOLLYWOOD CINEMA SUMMARY My thesis explores debates on the commercial and textual priorities of New Hollywood cinema through examination of the career of John Hughes. I argue that scrutiny of Hughes’ career and the products associated with him expose the inadequacy of established approaches to cinematic authorship and New Hollywood cinema. By mounting a historically grounded investigation of Hughes’ career, his status within the cinema industry, and his work as a commercially successful and agenda-setting filmmaker, I aim to reevaluate existing perspectives on post-1970s mainstream popular U.S.