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Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
10700990.Pdf
The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to 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 http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date. -
Once Upon a Time in Hollywood
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE SUMMER MOVIE ISSUE IN THIS ISSUE Once Upon a Time in Hollywood PLUS John Wick: Chapter 3 – Parabellum Rocketman Toy Story 4 AND MUCH MORE! US $8.95 / Canada $8.95 QTR 2 / 2019 / VOL 69 FOR YOUR EMMY ® CONSIDERATION OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A DRAMA SERIES - STEVE SINGLETON FYC.NETFLIX.COM CINEMA EDITOR MAGAZINE COVER 2 ISSUE: SUMMER BLOCKBUSTERS EMMY NOMINATION ISSUE NETFLIX: BODYGUARD PUB DATE: 06/03/19 TRIM: 8.5” X 11” BLEED: 8.75” X 11.25” PETITION FOR EDITORS RECOGNITION he American Cinema Editors Board of Directors • Sundance Film Festival T has been actively pursuing film festivals and • Shanghai International Film Festival, China awards presentations, domestic and international, • San Sebastian Film Festival, Spain that do not currently recognize the category of Film • Byron Bay International Film Festival, Australia Editing. The Motion Picture Editors Guild has joined • New York Film Critics Circle with ACE in an unprecedented alliance to reach out • New York Film Critics Online to editors and industry people around the world. • National Society of Film Critics The organizations listed on the petition already We would like to thank the organizations that have recognize cinematography and/or production design recently added the Film Editing category to their Annual Awards: in their annual awards presentations. Given the essential role film editors play in the creative process • Durban International Film Festival, South Africa of making a film, acknowledging them is long • New Orleans Film Festival overdue. We would like to send that message in • Tribeca Film Festival solidarity. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
The Companion Film to the EDITED by Website, Womenfilmeditors.Princeton.Edu)
THE FULL LIST OF ALL CLIPS in the film “Edited By” VERSION #2, total running time 1:53:00 (the companion film to the EDITED BY website, WomenFilmEditors.princeton.edu) 1 THE IRON HORSE (1924) Edited by Hettie Gray Baker Directed by John Ford 2 OLD IRONSIDES 1926 Edited by Dorothy Arzner Directed by James Cruze 3 THE FALL OF THE ROMANOV DYNASTY (PADENIE DINASTII ROMANOVYKH) (1927) Edited by Esfir Shub Directed by Esfir Shub 4 MAN WITH A MOVIE CAMERA (CHELOVEK S KINO-APPARATOM) (1929) Edited by Yelizaveta Svilova Directed by Dziga Vertov 5 CLEOPATRA (1934) Edited by Anne Bauchens Directed by Cecil B. De Mille 6 CAMILLE (1936) Edited by Margaret Booth Directed by George Cukor 7 ALEXANDER NEVSKY (ALEKSANDR NEVSKIY) (1938) Edited by Esfir Tobak Directed by Sergei M. Eisenstein and Dmitriy Vasilev 8 RULES OF THE GAME (LA RÈGLE DU JEU) (1939) Edited by Marguerite Renoir Directed by Jean Renoir 9 THE WIZARD OF OZ (1939) Edited by Blanche Sewell Directed by Victor Fleming 10 MESHES OF THE AFTERNOON (1943) Edited by Maya Deren Directed by Maya Deren and Alexander Hammid 11 IT’S UP TO YOU! (1943) Edited by Elizabeth Wheeler Directed by Henwar Rodakiewicz 12 LIFEBOAT (1944) Edited by Dorothy Spencer Directed by Alfred Hitchcock 13 ROME, OPEN CITY (ROMA CITTÀ APERTA) (1945) Edited by Jolanda Benvenuti Directed by Roberto Rossellini 14 ENAMORADA (1946) Edited by Gloria Schoemann Directed by Emilio Fernández 15 THE LADY FROM SHANGHAI (1947) Edited by Viola Lawrence Directed by Orson Welles 16 LOUISIANA STORY (1948) Edited by Helen van Dongen Directed by Robert Flaherty 17 ALL ABOUT EVE (1950) Edited by Barbara “Bobbie” McLean Directed by Joseph L. -
Digital Light Contributors Digital Light Sean Cubitt Edited by Terry Flaxton Sean Cubitt Jon Ippolito Daniel Palmer Stephen Jones Nathaniel Tkacz Carolyn L
Fibreculture Books Art/Digital digital light contributors digital light sean cubitt edited by terry flaxton sean cubitt jon ippolito daniel palmer stephen jones nathaniel tkacz carolyn l. kane scott mcquire daniel palmer christiane paul alvy ray smith darren tofts cathryn vasseleu Digital Light Fibreculture Books Series Editor: Andrew Murphie Digital and networked media are now very much the established media. They still hold the promise of a new world, but sometimes this new world looks as much like a complex form of neofeudalism as a celebration of a new communality. In such a situation the question of what ‘media’ or ‘communications’ are has become strange to us. It demands new ways of thinking about fundamental conceptions and ecologies of practice. This calls for something that traditional media disciplines, even ‘new media’ disciplines, cannot always provide. The Fibreculture book series explores this contemporary state of things and asks what comes next. Digital Light Edited by Sean Cubitt, Daniel Palmer and Nathaniel Tkacz OPEN HUMANITIES PRESS London 2015 First edition published by Open Humanities Press 2015 Copyright © the authors 2015 This is an open access book, licensed under Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy their work so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license. No permission is required from the authors or the publisher. Statutory fair use and other rights are in no way affected by the above. Read more about the license at http://creativecommons.org/licenses/by-sa/4.0 Figures, and other media included with this book may have different copyright restrictions. -
A Cultural Study of Disney's Star Wars : Theorizing Circuit of Culture
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. A cultural study of Disney's Star Wars : theorizing circuit of culture Vaidya, Ruta 2019 Vaidya, R. (2019). A cultural study of Disney's Star Wars : theorizing circuit of culture. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/97807 https://doi.org/10.32657/10220/48571 Downloaded on 27 Sep 2021 12:18:59 SGT A CULTURAL STUDY OF DISNEY’S STAR WARS: THEORIZING CIRCUIT OF CULTURE RUTA VAIDYA SCHOOL OF SOCIAL SCIENCES 2019 i A CULTURAL STUDY OF DISNEY’S STAR WARS: THEORIZING CIRCUIT OF CULTURE RUTA VAIDYA School of Social Sciences A thesis submitted to the Nanyang Technological University in partial fulfilment of the requirement for the degree of Doctor of Philosophy 2019 ii Statement of Originality I hereby certify that the work embodied in this thesis is the result of original research, is free of plagiarised materials, and has not been submitted for a higher degree to any other University or Institution. 16/03/2019 . Date Ruta Vaidya iii Supervisor Declaration Statement I have reviewed the content and presentation style of this thesis and declare it is free of plagiarism and of sufficient grammatical clarity to be examined. To the best of my knowledge, the research and writing are those of the candidate except as acknowledged in the Author Attribution Statement. I confirm that the investigations were conducted in accord with the ethics policies and integrity standards of Nanyang Technological University and that the research data are presented honestly and without prejudice. -
USC School of Cinema-Television
USC School of Cinema-Television he USC School of Cinema-Television offers undergraduate and graduate-level programs in production, critical studies, animation, writing for screen and television and producing. TThe school educates students in the aesthetic and technical values of the medium through course work, production activities and research. All members of the full-time cinema-television faculty have been or are working professionals in their respective fields; most have years of full-time professional experience. Each year a number of adjunct faculty from the Los Angeles film and television industries participate in all programs. Students at the USC School of Cinema-Television produce over 234 hours of motion pictures each year and complete approximately 100 full-length screenplays. USC films made by students receive 150 awards annually from festivals around the world. USC cinema-television alumni are among the most successful filmmakers and scholars working today. Since 1951, there have been only two years when no members of the Trojan Family were nominated for Academy Awards for their work USC’s School of Cinema-Television is number one according to the rankings published in America’s in documentary or fiction film. Best Graduate Schools issue of U.S. News and World Report (1998). The Cinema-Television Library offers a comprehensive collection of books in English and substantial holdings in other languages. The vast collection of journals, unpublished screenplays and manu- script materials includes personal papers of industry figures from the silent years to the present and studio records from Warner Bros., MGM, Universal and other producing companies. The study cen- ter also provides student access to the school’s large collection of film and television materials in all film and video formats as well as to several thousand recent screenplays. -
KUDOS for MAYER- Film Pioneer Arthur Mayer Gets Congratulatory Hugs from Wife
KUDOS FOR MAYER- Film pioneer Arthur Mayer gets congratulatorY hugs from wife. Lillie, and namesake Arthur Bridges after being honored by USC'RJJ•b· KAppt •,ph• , honorary cinema fraternity. Little Arthur's father, Joe, was Mayer's teaching assistant i~ the cinema di\dsion. The 92-year-old Mayer has been teaching at the Univei*ity since 1966. Cinema fraternity honors winning filin editor · The university'sDelta Kap~ Alpha honorary cinema fraternity will honor Vema Fields, an Aca emy Award-winning flim editor, and Robert Gottschalk, the founder of Paravision Inc., at its 41st annual awards banquet, to be held at 7 p.m. Sunday, in Town and Gown. Fields, an executive creative consultant and vice-president of Uni versal Pictures, has· won an Oscar for her work on Jaws. She has also served as editor of such films as What's Up Doc?, Paper Moon, Daisy Miller and Ameriazn Graffiti. She previously taught editing courses at the university's division of cinema and television. Among her former students were George Lucas, director, and Marcia Lucas, editor. The camera and lens manufacturing and rental company's founder, Robert Gottschalk, will be presented with the Pioneer in Film Award. The banquet's chairwoman will be Michelle Manning, a cinema student. Tickets are $35 per person. More information may be obtained by calling 741-2235. Classics series features 'Sleeping Beauty' discu~.., For the first time In 20 years, there will be a special university screening in 70 millimeter stereophonic sound of Walt Dimey's production on the animated Sleeping Beauty . The fu U-Iength animation is a part of th ~lassics series, and the film will be screened at 7 and 9:45 p .m. -
Return-Of-The-Jedi-Press-Kit2.Pdf
www.knowitalljoe.com "THE STAR WARS SAGA ON LOCATION" Feature -2- British production designer Norman Reynolds, a double Oscar winner for STAR WARS ana RAIDERS OF THE LOST ARK, was given a million dollar budget to clear the valley of vegetation and construct a four acre stockade to house his 30,000 square foot platform which is topped by a sixty foot, fully-rigged, anti-gravity Sail Barge. The true significance of this set will remain a closely kept secret until RETURN OF THE JEDI opens on May 25, 1983. The JEDI crew was in the area for six months, employing more than fifty local residents ana pumping more than two million dollars into the local economy. Associate to the Producer Louis Friedman was relieved to discover that, almost without exception, "I could find anything we needed locally. I just had to look a bit longer ana harder." Assistant art director Chris Campbell concurs: "The merchants here really helped us a lot. They realized that with an operation of this size, when we ord~red a product, we needed it all-- not just a gallon or two." Some of the things they needed were two million gallons of water (drawn from the All American Canal) to continually dampen down and grade the only possible access road and sixteen thousand pounds of nails to keep the massiv~ Sail Barge structure steady. (More) "THE STAR WARS SAGA ON LOCATION" ... Featur e -3- The filming of the compl ex action and special effects sequence was completed in two weeks, exactly as planned despite daytime temper qtures of 120° and two days of intermittent sandstorms with sixty mile per hour winds which sent the one hundred twenty-five member cast and crew running for cover. -
From Anakin Skywalker to Darth Vader: Understanding «Star Wars» Based on Theodore Millon´S Theory of Personality Pathology =
RMC Original JMM From Anakin Skywalker to Darth Vader: understanding Star Wars based on Theodore Millon´s theory of personality pathology Lucas de Francisco CARVALHO Department of Psychology, Universidade São Francisco, Itatiba, São Paulo (Brazil). Corresponding author: Lucas de Francisco Carvalho. E‐mail address: [email protected] Received 24 January 2017; accepted 17 February 2017. How to cite this paper: Carvalho LF. From Anakin Skywalker to Darth Vader: understanding Star Wars based on Theodore Millon´s theory of personality pathology. J Med Mov [Internet] 2017;13(3): 121‐126. Summary The aim of this work was to psychologically investigate Anakin Skywalker (also known as Darth Vader), using a non sistematic idiographic clinic analysis, based on Thedore Millon theory, with solid theoretical and empirical bases for personality pathological traits and personality disorders. The character Anakin Skywalker allows this analysis, since in the films it is possible to observe fragments of his childhood, adolescence and adult life, making viable an analysis of his psychological development. According to Millon´s theory and the information from the movies, we present as a conclusion a possible pathological personality funtioning for the character. Keywords: Personality disorders; Borderline personality disorder; Personality development; Cinema. De Anakin Skywalker a Darth Vader: comprendiendo Star Wars en base a la teoría de la personalidad y su patología de Theodore Millon Resumen El objetivo de este trabajo fue investigar a Anakin Skywalker (también conocido como Darth Vader) psicológica‐ mente, utilizando un análisis clínico idiográfico no sistemático basado en la teoría de Theodore Millon, con sólidas bases teóricas y empíricas sobre rasgos patológicos y desórdenes de personalidad. -
AFI Conservatory
AMERICAN FILM INSTITUTE 2018 IMPACT REPORT 2019 The American Film Institute champions the moving image as an art form. | We believe in the revolutionary EDUCATE INSPIRE power of visual storytelling to share perspectives, inspire empathy and drive culture forward. 1 AMERICAN FILM INSTITUTE –IMPACT REPORT A MESSAGE FROM THE PRESIDENT & CEO TABLE OF CONTENTS We all have a story to tell. AFI Conservatory ...................................................................................... 5 This simple yet powerful idea is one AFI believes passionately. Whether it is a story of triumph or AFI Alumni And Honorary Degrees ...................................................... 11 trial, hope or despair, AFI is dedicated to ensuring that great stories bring audiences together — and that the moving image reflects the diverse perspectives of our nation and world. AFI Directing Workshop For Women ..................................................... 19 And so, throughout the past year we championed talented storytellers from around the globe, AFI Cinematography Intensive For Women ........................................... 21 helping their stories soar across screens of all sizes. AFI-supported artists took our breath away — and made us leap to our feet with pride at their monumental achievements. Young Women In Film ............................................................................ 23 Just as importantly, people from many backgrounds joined together around the glow AFI FEST Presented By Audi ................................................................