DOCSLIB.ORG

Program Notes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Program Notes MFS Members-only Screenings 2016 Program Notes Our films for 2016, chosen at a meeting of members, span nearly 90 years of cinema and includes Australian, American and European productions with diverse styles and subjects. What follows provides some context for each film, indicating where it fits in cinema history. Important common themes are outlined. These allow us to make connections between films that might seem quite different. Why would we want to do so? Well, it means we look more closely at a film than we otherwise might have done. There can be enjoyment in analysing a film even if it is not quite ‘our cup of tea’. We also take away a heightened awareness of certain themes. When they crop up again in later films, including those we see at home, we will be more alert and discerning viewers. While our discussion sessions following each screening can and will consider other aspects too, these concepts provide a framework to which each movie can be related. SCREENING SCHEDULE Our films for 2016 will be screened in this order: February Casablanca August The Jazz Singer March Dead Poets Society September The Wild Duck April Bornholmer St October The Leopard May For The Term of His Natural November Singin' In The Rain Life June Persona December My Life as A Dog July Breaker Morant LOCATING OUR FILMS IN TIME These are our films in order of when they were made: Film Year Significance For the Term of His 1927 Silent film based on the Australian novel by Marcus Clarke Natural Life first published 1870. The Jazz Singer 1927 First feature film with spoken dialogue Casablanca 1942 Set in Vichy-controlled Morocco. USA entered war in 1941. 1 Singin’ in the Rain 1952 Colour. Reflects postwar optimism (?) though set in 1920s. Makes fun of silent movie era (mentions The Jazz Singer) The Leopard 1962 Mid-career film by Italian director Luchino Visconti. Set in Sicily 1860 Persona 1966 Mid-career experimental film by Swedish director Ingmar Bergman. By this time some directors are confident about departing from conventional realism and trying more subjective approaches. Breaker Morant 1980 Dir. Peter Weir. One of the ‘new wave’ of Australian films that began in 1970s. Set in Boer War when Australia was on the brink of nationhood. The Wild Duck 1984 Dir. Henri Safran (French-born Australian). Based on 1884 Norwegian play. Set in 1913 Tasmania but by now no longer a need to stridently assert ‘Australianness’. My Life as a Dog 1985 Dir. Lasse Hallstrom (Swedish). Set in late 1950s. Dead Poets Society 1989. Also directed by Weir though set in USA in late 1950s. Bornholmer St. 2014 German TV movie about events of late 1980s Note that from The Leopard on all the films are known for their directors, who have distinctive styles (though the director of Bornholmer St may not be known outside Germany). The prominence given to directors (taken to an extreme in auteur theory) has not always applied in the history of cinema. Only three, The Jazz Singer, Casablanca and Persona have stories that can be imagined as happening close to the time they were made. All the others look back at least a few decades. THEMES 1. Defiance of authority This is an important theme in at least five of the films. For the Term of His Natural Life -- the wrongly-accused Rufus Dawes is up against the brutal British convict system. Casablanca. Rick (Humphrey Bogart) contends with the tinpot local authorities but he can do that comfortably enough. The real power to be confronted is the Nazis in Europe who Victor is in a position to fight. This sets up the moral choice Rick has to make at the end. 2 Breaker Morant. Like Dawes, Morant is a prisoner of the British. Note how both Dawes (temporarily escaped) and Morant (who helps fight off an attack on the base) are allowed to demonstrate their courage, resourcefulness and selflessness as free men. This reinforces our sense that they have been wronged. Dead Poets Society. Boys encouraged to resist the repressive power of an elite boarding school. This is largely at the level of values and emotions, not physical restraint, though the stakes are high. In a more general sense the film indicts the conformist values of the 1950s more generally. It includes defiance of parental power—see ‘Family’ below. Like Rick, the boys face a moral choice at the end: will or won’t they endorse the values of Keating (Robin Williams)? Bornholmer St. Confronting the power of communist East Germany. A whole society imprisoned but with freedom getting closer. The situation treated with humour (comic ineptitude of the guards and so on) but basically a serious situation. The Jazz Singer. The Al Jolson character defies his father and Jewish cultural heritage to pursue the dream of singing jazz rather than being a cantor in synagogue. With all these films we can look for the way visuals contribute to the idea of powerful forces being confronted. What (apart from the plot itself) invites us to see power as villainous or illegitimate or excessive? What are ways in which exuberant resistance is shown? (Examples: the singing of ‘La Marsellaise’ in Casablanca and the improbable ripping out of pages from poetry books in Dead Poets Society. Neither are required by the plot but they provide compelling images of defiance.) 2. Personal identity For the Term of His Natural Life – part of the suffering of the hero is being deprived of his true identity. At the outset he feels forced to assume another name to protect his father and throughout the story others take credit for his good deeds or ensure he is blamed for their bad deeds. The Jazz Singer—Al Jolson’s character changes his name and forges a new identity for himself in the course of pursuing his ambitions. A further complication is the frequent use of ‘blackface’ as he adopts the appearance of a Negro minstrel in his performances. This becomes a literal ‘mask’, a visual element relevant to the concept of hiding or changing who you are. My Life as a Dog—the title itself signals the significance of identity. The troubled boy identifies with the lonely and doomed dog sent into orbit in a Russian sputnik. The Wild Duck—the character Harold constructs for himself the identity of a good provider for his family who is on the brink of great success as an inventor. Dr Roland suggests most people comfort themselves with a false self-image and are best allowed to do so. Gregory sees his role in life as a truth-teller. (I’m assuming film follows the play faithfully.) Persona—explores the question of identity in profound and complex ways. The patient (Liv Ullman) is unable to make a coherent self out of her experiences. Her identity is at times appropriated by her look-alike nurse (Bibi Andersson). The word ‘persona’ was the Greek word for the masks used by actors. Singin’ in the Rain—in a lighter vein, the plot turns on a partial adoption of substituted identity in that the voice of Kathy is dubbed for that of Lina, the silent movie star who can’t sing. This reflects Kathy’s identity as the true object of Gene 3 Kelly’s affections, whereas the studio bosses want to maintain the pretence of his romantic links with Lina. See also Family. 3. National Identity / history Works of art generally reflect the needs and biases of the time when they are produced, even if they have a historical subject. For the Term of His Natural Life—when the novel was written the Australian colonies had to come to terms with the stigma of the convict past. Hence a story about a framed innocent. The fact that it was an Australian novel known overseas may have been enough reason to film the story but it still had to suit what Australians in 1927 wanted to say about their origins. It accords with the general pioneer myth-making (across various arts) about Australia as a place requiring physical endurance, a place of struggle against a hostile environment, where mere survival is a heroic achievement. Breaker Morant—reflects the surge in Australian national pride and new attempts at self-definition in the 1970s, also seen in movies like Gallipoli, Sunday Too Far Away, etc. The emphasis is still on outdoor action, resourceful practicality rather than intellect, and capacity to endure. The British are portrayed negatively, reflecting the baby boomers’ rejection of the earlier deference to the ‘mother country’. The Leopard—again a famous novel as source. Postwar Italy needing to reflect on its history? Perhaps more a matter of Visconti’s own preoccupations. A number of his films involve eras coming to an end (The Damned, Death in Venice). Bornholmer St.—made for the 25th anniversary of the fall of the Berlin Wall. Doubtful if quite the same film could have been made just ten years after the event. Casablanca—The USA had only been in the war for eleven months when it was released and before Pearl Harbour many Americans did not want to get involved. The film’s anti-fascist sympathies are clear but it is less gung-ho than it might have been (e.g. Rick doesn’t resolve to go home and join the army). Attention can be paid to how far films do or don’t try to recreate the past accurately. However hard they try, it is impossible to avoid selecting and emphasising some aspects and ignoring others; i.e.
Load more

Recommended publications
  • International Casting Directors Network Index
    International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy.
    [Show full text]
  • Film Reviews Jonathan Lighter
    Film Reviews Jonathan Lighter Lebanon (2009) he timeless figure of the raw recruit overpowered by the shock of battle first attracted the full gaze of literary attention in Crane’s Red Badge of Courage (1894- T 95). Generations of Americans eventually came to recognize Private Henry Fleming as the key fictional image of a young American soldier: confused, unprepared, and pretty much alone. But despite Crane’s pervasive ironies and his successful refutation of genteel literary treatments of warfare, The Red Badge can nonetheless be read as endorsing battle as a ticket to manhood and self-confidence. Not so the First World War verse of Lieutenant Wilfred Owen. Owen’s antiheroic, almost revolutionary poems introduced an enduring new archetype: the young soldier as a guileless victim, meaninglessly sacrificed to the vanity of civilians and politicians. Written, though not published during the war, Owen’s “Strange Meeting,” “The Parable of the Old Man and the Young,” and “Anthem for Doomed Youth,” especially, exemplify his judgment. Owen, a decorated officer who once described himself as a “pacifist with a very seared conscience,” portrays soldiers as young, helpless, innocent, and ill- starred. On the German side, the same theme pervades novelist Erich Maria Remarque’s All Quiet on the Western Front (1928): Lewis Milestone’s film adaptation (1930) is often ranked among the best war movies of all time. Unlike Crane, neither Owen nor Remarque detected in warfare any redeeming value; and by the late twentieth century, general revulsion of the educated against war solicited a wide acceptance of this sympathetic image among Western War, Literature & the Arts: an international journal of the humanities / Volume 32 / 2020 civilians—incomplete and sentimental as it is.
    [Show full text]
  • Australian Content on Broadcast, Radio and Streaming Services Submission 7
    © Screen Australia 2016 The text in this report is rel eased subject to a Crea tive Commons BY licence {Licence). This means, in summar y, that you may reproduce, tra nsmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia's Screen Currency: Valuing our screen industry. You must not alter, t ransform or build upon the text in this report. Your ri ghts under the Licence are in addition to any fa ir dealing ri ghts which you have under the Copyright Act 1968 (Cwlth) . For further terms of the Licence, pl ease see crea tivecommons.org/licenses/ by nc nd/3.0/ All figures in Australian dollars. Cover: {clockwise) Wolf Creek 2, Jack Irish, The Sapphires, Red Dag and The Katering Show. Australian Government • Contents Introduction 4 Economic value 5 Audience value 7 Cultural value 9 Screen Currency: Valuing our screen industry I Screen Australia 3 Introduction Screen Australia has engaged two companies - Deloitte Access Economics and Olsberg SPI - to comprehensively measure the economic and cultural value of the Australian screen sector. The studies quantify and articulate what Australian screen content contributes to the economy, and to Australian cu lture and society. Screen Currency comprises the key findings of the two studies. The government supports the screen industry primarily because of the cultural benefits it delivers to Australian audiences and taxpayers. But the existence of a local industry also delivers significant economic benefits through the activity and employment it generates during the creation of Australian content.
    [Show full text]
  • The Films of Peter Weir by Jonathan Rayner, New York
    The Films of Peter Weir By Jonathan Rayner, New York: Continuum, 2004, 288 pages, paperback, US$19.95. Reviewed by Andrew Mason in the September 2005 issue. Those readers who are expecting a film history or handy taxonomy of Australian director Peter Weir's work will not find it in Jonathan Rayner's The Films of Peter Weir (Second Edition). Rayner teaches Media Studies within the School of English at the University of Sheffield and released the first edition of this book in 1998. Rayner is also the author of Contemporary Australian Cinema. (2000) Whilst overall Rayner's The Films of Peter Weir breaks Weir's body of work into groupings of years, within each discussion of a particular film Rayner is not restricted to a sequential or chronological approach. Nor does Rayner provide extensive insight into Weir's biography or draw conclusions about the experiential influences on his art. Instead Rayner provides a wide ranging critique of Weir's work and in discussing one film may leap to another, or others, produced years apart to make a comparative point. Rayner also discusses Weir's work in the context of other films of their day, for example, discussing the hallmarks of films such as The Cars That Ate Paris and Homesdale in opposition to the gregarious comedies of Barry McKenzie films or Miller's Mad Max. In pursuing this critique of Weir's films, Rayner demonstrates not only his interest in auteur theory by searching for themes and motifs in this large body of cinema, but also does some sterling work in terms of both genre analysis and in plotting the psychological aspects of character.
    [Show full text]
  • Mad Max» Series 147-151
    236 Δόξα / Докса.– 2015. – Вип. 2 (24). Δόξα / Докса.– 2015. – Вип. 2 (24). 237 5. Hardashchuk T. V. (2001) Suchasnyi ekolohizm: teoretychni zasady ta UDC 1-929.1/.3)+778.5 Konstantin Rayhert praktychni implikatsii [Modern environmentalism: the theoretical THE SOCIAL CRITICISM OF AUSTRALIAN ROADKILL foundations and practical implications], Praktychna filosofiia, № 1, pp. CULTURE IN GEORGE MILLER’S «MAD MAX» SERIES 147-151. Film series “Mad Max” is the George Miller’s social critical statement about 6. Ivanenko I. (2002) Pryroda yak zasib konstruiuvannia konfliktu v drami- the Australian car culture that is based on auto-fetishism. The Australian car feierii «Lisova pisnia» Lesi Ukrainky [Nature as a means of constructing culture is a kind of consumerism. The car murder culture, within what car is the conflict in Lesya Ukrainka’s fйerie «Forest Song»], Slobozhanshchyna, considered as a weapon of murder, is embedded into the Australian car culture. № 22, pp. 136–145. Keywords: Australia, culture, car, murder, consumerism. 7. Kontseptualni vymiry ekolohichnoi svidomosti: monohrafiia (2003) [Conceptual dimensions of environmental awareness: Monograms] / George Miller’s Mad Maxis a bright representative of Ozploitation1and [Kyselov M. M., Derkach V. L., Tolstoukhov A. V. ta in.], K., Vyd-vo the significant and emblematic film series in the history of Western popular „Parapan”, 312 p. culture. In particular the second film of the series influenced violently on Post- 8. Meterlink M. (2006) Synii ptakh: kazka [The Blue Bird: Tale] / perekazav apocalyptic thematic in cinema (for example: Lance Hool’s Steel Dawn(1987) z fr. L. Yakhnin ; per. z ros. Iu. Nadzbruchanets ; khudozh. I. Bodrova. K., starring Patrick Swayze, Lee H.
    [Show full text]
  • February/March 2019 At
    February/March 2019 at BAM Since November 1998, film has had a dedicated and permanent home at the Brooklyn Academy of Music, with our curated series branded primarily under the banner of BAMcinématek. As BAM continues to screen boundary-expanding work that reflects the vitality and diversity of our community, all cinema programming – curated series, first run films and special cinema events – will now unite under one umbrella: BAM, a name that reflects the Film department’s place within the varied, vibrant whole that is the Brooklyn Academy of Music. Feb 4 Horror Noire (2018) + Tales from the Hood (1995) UCLA Professor Tananarive Due, who has taught a class on racism and the aesthetics of black horror, hosts a double bill of the new documentary Horror Noire, produced by Shudder, followed by Tales from the Hood. Delving into a century of genre films that by turns utilized, caricatured, exploited, sidelined, and finally embraced them, Horror Noire traces a secret history of Black Americans in Hollywood through their connection to the horror genre. Tales from the Hood is an anthology film directed by Rusty Cundieff and executive produced by Spike Lee, comprising four political, urban-set horror stories. Feb 6—14 Race, Sex & Cinema: The World of Marlon Riggs Marlon Riggs (1957–94) created vibrantly expressive, innovative works that broke down the divide between documentary and personal essay to explore often taboo issues of race, sexuality, identity, and representation. Even as his health failed due to complications from HIV/AIDS, Riggs worked tirelessly to bring the richness of the queer African-American experience to the screen.
    [Show full text]
  • Works Cited – Films
    Works cited – films Ali (Michael Mann, 2001) All the President’s Men (Alan J Pakula, 1976) American Beauty (Sam Mendes, 1998) American History X (Tony Kaye, 1998) American Psycho (Mary Harron, 2000) American Splendor (Shari Springer Berman and Robert Pulcini, 2003) Arlington Road (Mark Pellington, 1999) Being There (Hal Ashby, 1980) Billy Elliott (Stephen Daldry, 2000) Black Christmas (Bob Clark, 1975) Blow Out (Brian De Palma, 1981) Bob Roberts (Tim Robbins, 1992) Bowling for Columbine (Michael Moore, 2002) Brassed Off (Mark Herman, 1996) The Brood (David Cronenberg, 1979) Bulworth (Warren Beatty, 1998) Capturing the Friedmans (Andrew Jarecki, 2003) Control Room (Jehane Noujaim, 2004) The China Syndrome (James Bridges, 1979) Chinatown (Roman Polanski, 1974) Clerks (Kevin Smith, 1994) Conspiracy Theory (Richard Donner, 1997) The Conversation (Francis Ford Coppola, 1974) The Corporation (Jennifer Abbott and Mark Achbar, 2004) Crumb (Terry Zwigoff, 1994) Dave (Ivan Reitman, 1993) The Defector (Raoul Lévy, 1965) La Dolce Vita (Federico Fellini, 1960) Dr Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick, 1964) Evil Dead II (Sam Raimi, 1987) 201 Executive Action (David Miller, 1973) eXistenZ (David Cronenberg, 1999) The Exorcist (William Friedkin, 1973) Fahrenheit 9/11 (Michael Moore, 2004) Falling Down (Joel Schumacher, 1993) Far From Heaven (Todd Haynes, 2002) Fight Club (David Fincher, 1999) The Firm (Sydney Pollack, 1993) The Fly (David Cronenberg, 1986) The Forgotten (Joseph Ruben, 2004) Friday the 13th
    [Show full text]
  • 101 Films for Filmmakers
    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
    [Show full text]
  • 12YAS Notes FINALX
    ABOUT THE FILMMAKERS STEVE M cQUEEN (Directed by, Produced by) is a British artist and filmmaker. In 2008, M cQueen’s critically acclaimed first feature HUNGER won the Camera d’Or at the Cannes Film Festival among countless other international prizes. He followed with 2011’s incendiary film experience, SHAME, a provocative drama about addiction and secrecy in the modern world. The film received numerous accolades and awards with M cQueen winning the CinemAvvenire Award and FIPRESCI Prize at the Venice Film Festival as well as nominations from BAFTA, the British Independent Film Awards, the London Film Festival, Evening Standard British Film Awards and the Independent Spirit Awards. In 1996, M cQueen was the recipient of an ICA Futures Award, in 1998 he won a DAAD artist’s scholarship to Berlin and in 1999 - besides exhibiting at the ICA and at the Kunsthalle in Zürich - he also won the Turner Prize. McQueen has exhibited at the Art Institute of Chicago, the Musee d’Art Moderne de la Ville de Paris, Documenta (2002 and 2007) and at the 53rd Venice Biennale in 2009 where he represented Britain. His work is held in museum collections around the world including Tate, the Museum of Modern Art, and the Centre Pompidou. In 2003, he was appointed Official War Artist for the Iraq war by the Imperial War Museum and subsequently produced the poignant and controversial project Queen and Country, which commemorated the deaths of British soldiers who died in the Iraq War by presenting their portraits as a sheet of stamps. In 2002, he was awarded the OBE and the CBE in 2011.
    [Show full text]
  • Publications Editor Prized Program Contributors Tribute Curator
    THE NATIONAL FILM PRESERVE LTD. presents the Julie Huntsinger Directors Tom Luddy Gary Meyer Michael Ondaatje Guest Director Muffy Deslaurier Director of Support Services Brandt Garber Production Manager Bonnie Luftig Events Manager Bärbel Hacke Hosts Manager Shannon Mitchell Public Relations Manager Marc McDonald Theatre Operations Manager Lucy Lerner ShowCorps Manager Erica Gioga Housing/Travel Manager Kate Sibley Education Programs Dean Elizabeth Temple V.P., Filmanthropy Melissa DeMicco Development Manager Kirsten Laursen Executive Assistant to the Directors Technical Direction Russell Allen Sound, Digital Cinema Jon Busch Projection Chapin Cutler Operations Ross Krantz Chief Technician Jim Bedford Technical Coordinator Annette Insdorf Moderator Pierre Rissient Resident Curators Peter Sellars Paolo Cherchi Usai Godfrey Reggio Publications Editor Jason Silverman (JS) Prized Program Contributors Larry Gross (LG), Lead Writer Sheerly Avni (SA), Serge Bromberg (SB), Meredith Brody (MB), Paolo Cherchi Usai (PCU), Jesse Dubus (JD), Roger Ebert (RE), Scott Foundas (SF), Kirk Honeycutt (KH), Tom Luddy (TL), Jonathan Marlow (JM), Greil Marcus (GM), Gary Meyer (GaM), Michael Ondaatje (MO), Milos Stehlik (MS) Tribute Curator Chris Robinson 1 Shows The National Film Preserve, Ltd. A Colorado 501(c)(3) non-profit, tax-exempt educational corporation 1a S/Fri 6:30 PM - G/Sat 9:30 AM - 1b L/Sun 6:45 PM Founded in 1974 by James Card, Tom Luddy and Bill & Stella Pence 1 A Tribute to Peter Weir Directors Emeriti Bill & Stella Pence Board of Governors Peter Becker, Ken Burns, Peggy Curran, Michael Fitzgerald, Julie Huntsinger, Linda Lichter, Tom Luddy, Gary Meyer, Elizabeth Redleaf, Milos Stehlik, Shelton g. Stanfill (Chair), Joseph Steinberg, Linda C.
    [Show full text]
  • Visual Effects Supervisor Sam Edwards
    Visual Effects Supervisor Sam Edwards Visual Effects Supervisor Credits 9-1-1 (TV Series, 2018-2019, 4 Episodes) VFX Supervisor (FuseFX -Present) Colony Season 3 (TV Series, 2018, 13 Episodes) VFX Supervisor (Legacy Entertainment) Cloak and Dagger (TV Pilot, 2017, 1 Episode) VFX Supervisor (Marvel) Good Girls Revolt (TV Series, 2016, 12 Episodes) VFX Supervisor (FuseFX and On Set) Sleepy Hollow (TV Series, 2015, 9 Episodes) VFX Supervisor (Origin DS) Limitless (TV Series, 2015, 4 Episodes) VFX Supervisor (Origin DS) Shameless (TV Series, 2012-15, 14 Episodes) On Set and VFX Supervisor (ShowTime) The Newsroom (TV Series, 2012, 10 Episodes) On Set and VFX Supervisor (HBO) Game of Thrones (TV Series, 2012, 1 Episode) Visual Effects Supervisor, Additional VFX (MFX) Prime Suspect (TV Series, 2012, 10 Episodes) On Set and VFX Supervisor (MFX) Final Destination 5 (2011, Steve Quale) On Set and VFX Supervisor, Stereoscopic Title Sequence (Prologue) Compositing Supervisor Credits Cosmos: A Space Time Odyssey (TV Series, 2014, 12 Episodes) Compositing Supervisor (Awards) Flame Artist (Credits) Iron Man 3 (2013, Shane Black) Compositing Supervisor: Prologue Avatar (2009, James Cameron) Stereoscopic Compositing Supervisor at Hydraulx 4929 Wilshire Blvd., Ste. 259 Los Angeles, CA 90010 ph 323.782.1854 fx 323.345.5690 [email protected] Journey to the Center of the Earth 3D (2008, Erik Brevig) Compositing Supervisor at Meteor Studio Awards Highlights Primetime Emmy Award Nominee 2014 - Cosmos: A Space Time Odyssey Flame Award Nominee 2014 Flame
    [Show full text]
  • Luminous: the Spiritual Life on Film - Sixty Must-See Films for the Spiritual Life 1
    Luminous: The Spiritual Life on Film - Sixty Must-See Films for the Spiritual Life 1 Luminous: The Spiritual Life on Film Appendix: Sixty Must-See Films for the Spiritual Life 1 Agnes of God. Norman Jewison, 1985. 5 Bad Lieutenant. Abel Ferrara, 1992. A materialist-minded lawyer is hired to defend a young A corrupt officer is confronted with a nun whose for- nun accused of killing her baby, but is soon confronted giveness of her rapists jolts him out of his comfortable with a religiosity she cannot so easily dismiss. In her assumptions. A shocking drama that shows how layers of encounter with the determined Mother Superior the habitual corruption can be suddenly peeled back to chain-smoking lawyer pits science and Freud against discover integrity and the ability to act decisively for good. religion, but is deeply affected by the young nun’s piety and 6 Baraka. Ron Fricke, 1992. the older nun’s wisdom. Richly beautiful nature film with a debt to Reggio’sQatsi 2 American Beauty. Sam Mendes, 2000. trilogy, but taken several steps further in its direct A satire on affluent suburban America, in which a man’s references to the spiritual life, and the contrasts with midlife crisis provokes not a nihilism but a rhapsodical industrialized society. appreciation of the beauty of ordinary life. 7 Cave of the Yellow Dog. Byambasuren Davaa, 2005. 3 Anchoress. Chris Newby, 1993. Gentle portrayal of the life of nomadic herdsmen in Stunning black and white cinematography conveys Mongolia, the film is shot in stunning landscape. A girl something of Nature and “goddess” spiritualities, though wants a dog as pet but the ramifications for the family are its setting is medieval Christianity.
    [Show full text]