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Oscar-Winning 'Slumdog Millionaire:' a Boost for India's Global Image?
ISAS Brief No. 98 – Date: 27 February 2009 469A Bukit Timah Road #07-01, Tower Block, Singapore 259770 Tel: 6516 6179 / 6516 4239 Fax: 6776 7505 / 6314 5447 Email: [email protected] Website: www.isas.nus.edu.sg Oscar-winning ‘Slumdog Millionaire’: A Boost for India’s Global Image? Bibek Debroy∗ Culture is difficult to define. This is more so in a large and heterogeneous country like India, where there is no common language and religion. There are sub-cultures within the country. Joseph Nye’s ‘soft power’ expression draws on a country’s cross-border cultural influences and is one enunciated with the American context in mind. Almost tautologically, soft power implies the existence of a relatively large country and the term is, therefore, now also being used for China and India. In the Indian case, most instances of practice of soft power are linked to language and literature (including Indians writing in English), music, dance, cuisine, fashion, entertainment and even sport, and there is no denying that this kind of cross-border influence has been increasing over time, with some trigger provided by the diaspora. The film and television industry’s influence is no less important. In the last few years, India has produced the largest number of feature films in the world, with 1,164 films produced in 2007. The United States came second with 453, Japan third with 407 and China fourth with 402. Ticket sales are higher for Bollywood than for Hollywood, though revenue figures are much higher for the latter. Indian film production is usually equated with Hindi-language Bollywood, often described as the largest film-producing centre in the world. -
Issue 15 Inspired by L.A
OTIS COLLEGE OF ART AND DESIGN MAGAZINE SPRING 2014 in this issue: 04 - ALUMNI AND FACULTY ISSUE 15 INSPIRED BY L.A. 06 - KEEPING IT SIMPLE AND FRESH: MEG CRANSTON 18 - OTIS REPORT ON THE CREATIVE ECONOMY: 1 IN 10 JOBS IN CA I remember L.A. as blackety-black shadows cast from brutalist blocks that take the history of architecture and reduce and contain it silently, like lunary tombs or Aztec temples morphed into Fome-Cor® cartoons. This kind of light makes decisions easier, more black and white. Good-vs-bad, pure-vs- impure, aspiration-vs-collapse, determined grim optimism-vs-self-indulgent despair. The suggestion of an old Hollywood mono- lithic black-and-white movie set encourages self-invention and self-consciousness as you make your way down an imaginary long white staircase. There’s not another living soul on the set and the spotlight is on you, wiping out any flaw or imperfection, hallucinating yourself into who you wanna be … exactly how I remember it … forward Fashion designer Rick Owens (’81) moved from L.A. to Paris in 2003. 01 03 05 06 1. George Maitland Stanley (’24) 2. Kent Twitchell (’77 MFA) 3. Judithe Hernández (’74 MFA) 4. Insung Kim (’97) 5. Robert Irwin (’50) 6. Hillary Jaye (’90) Muses Fountain, Hollywood Bowl Harbor Freeway Overture mural, New Spring, mural for the Expo Line for Hunt Design Associates The Central Garden, The Getty for Sussman/Prezja & Co. 1938 1993 Terminus Station in Santa Monica, Identity and wayfinding program Center, 1997 Wayfinding and bus graphics Photo courtesy: Hollywood Bowl opening in 2016 for downtown L.A. -
THTR 433A/ '16 CD II/ Syllabus-9.Pages
USCSchool of Costume Design II: THTR 433A Thurs. 2:00-4:50 Dramatic Arts Fall 2016 Location: Light Lab/PDE Instructor: Terry Ann Gordon Office: [email protected]/ floating office Office Hours: Thurs. 1:00-2:00: by appt/24 hr notice Contact Info: [email protected], 818-636-2729 Course Description and Overview This course is designed to acquaint students with the requirements, process and expectations for Film/TV Costume Designers, supervisors and crew. Emphasis will be placed on all aspects of the Costume process; Design, Prep: script analysis,“scene breakdown”, continuity, research, and budgeting; Shooting schedules, and wrap. The supporting/ancillary Costume Arts and Crafts will also be discussed. Students will gain an historical overview, researching a variety of designers processes, aesthetics and philosophies. Viewing films and film clips will support critique and class discussion. Projects focused on specific design styles and varied media will further support an overview of techniques and concepts. Current production procedures, vocabulary and technology will be covered. We will highlight those Production departments interacting closely with the Costume Department. Time permitting, extra-curricular programs will include rendering/drawing instruction, select field trips, and visiting TV/Film professionals. Students will be required to design a variety of projects structured to enhance their understanding of Film/TV production, concept, style and technique . Learning Objectives The course goal is for students to become familiar with the fundamentals of costume design for TV/Film. They will gain insight into the protocol and expectations required to succeed in this fast paced industry. We will touch on the multiple variations of production formats: Music Video, Tv: 4 camera vs episodic, Film, Commercials, Styling vs Costume Design. -
Best Picture Best Director Best Actor Best Actress Best Supporting
Best picture Black Panther BlacKkKlansman Bohemian Rhapsody The Favourite Green Book – WINNER! Roma A Star is Born Vice Best director Alfonso Cuarón (Roma) – WINNER! Adam McKay (Vice) Yorgos Lanthimos (The Favourite) Spike Lee (BlacKkKlansman) Pawel Pawlikowski (Cold War) Best actor Rami Malek (Bohemian Rhapsody) – WINNER! Christian Bale (Vice) Viggo Mortensen (Green Book) Bradley Cooper (A Star Is Born) Willem Dafoe (At Eternity’s Gate) Best actress Glenn Close (The Wife) Lady Gaga (A Star Is Born) Olivia Colman (The Favourite) – WINNER! Melissa McCarthy (Can You Ever Forgive Me?) Yalitza Aparicio (Roma) Best supporting actress Emma Stone (The Favourite) Rachel Weisz (The Favourite) Amy Adams (Vice) Regina King (If Beale Street Could Talk) – WINNER! Marina De Tavira (Roma) Best supporting actor Mahershala Ali (Green Book) – WINNER! Richard E Grant (Can You Ever Forgive Me?) Sam Elliott (A Star Is Born) Adam Driver (BlacKkKlansman) Sam Rockwell (Vice) Best original song Shallow (A Star Is Born) – WINNER! All the Stars (Black Panther) I’ll Fight (RBG) The Place Where Lost Things Go (Mary Poppins Returns) When a Cowboy Trades his Spurs for Wings (The Ballad of Buster Scruggs) Best documentary Free Solo – WINNER! Minding the Gap RBG Hale County This Morning, This Evening Of Fathers and Sons Best costume design Black Panther (Ruth E Carter) – WINNER! The Favourite (Sandy Powell) Mary Poppins Returns (Sandy Powell) Mary Queen of Scots (Alexandra Byrne) The Ballad of Buster Scruggs (Mary Zophres) Best makeup and hair Border Mary Queen of Scots -
Glitter Text
All That Glitters – Spark and Dazzle from the Permananent Collection co-curated by Janine LeBlanc and Roger Manley Randy and Susan Woodson Gallery January 23 – July 12, 2020 Through the ages, every human society has demonstrated a fascination with shiny objects. Necklaces made of glossy marine snail shells have been dated back nearly 135,000 years, while shiny crystals have been found in prehistoric burials, suggesting the allure they once held for their original owners. The pageantry of nearly every religion has long been enhanced by dazzling displays, from the gilded statues of Buddhist temples and the gleaming mosaics of Muslim mosques and Byzantine churches, to the bejeweled altarpieces and reliquaries of Gothic cathedrals. As both kings and gods, Hawaiian and Andean royalty alike donned garments entirely covered with brilliant feathers to proclaim their significance, while their counterparts in other cultures wore crowns of gold and gems. High status and desirability have always been signaled by the transformative effects of reflected light. Recent research indicates that our brains may be hard-wired to associate glossy surfaces with water (tinyurl.com/glossy-as-water). If so, the impulse drawing us toward them may have evolved as a survival mechanism. There may also be subconscious associations with other survival necessities. Gold has been linked to fire or the sun, the source of heat, light, and plant growth. The glitter of beads or sequins may evoke nighttime stars needed for finding one’s way. The flash of jewels may recall an instinctive association with eyes. In jungles as well as open grasslands, both prey and predator can be so well camouflaged that only the glint of an eye might reveal a lurking presence. -
A Tribute to Marcia Dale Weary and the Central Pennsylvania Youth Ballet
Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College GingrichNOTICE: Library The copyright law of the United States (Title 17, United States Code) governs the making of reproductions of copyrighted material. One specified condition is that the reproduction is not to be than private study, or later uses a reproduction for purposes in excess of Albright College Gingrich Library Albright College Gingrich Library Albrightmay College be liable Gingrich for copyright Library infringement. RESTRICTIONS: This student work may be read, quoted from, cited, and reproduced for purp Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library scholarship, or research. by the author. oses of research. It may not be published in full except by permission Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library “used ” If a user makes a request for, Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library for any purpose other “fair use, Albright College Gingrich Library Albright College Gingrich -
Master Class with Monique Prudhomme: Selected Bibliography
Master Class with Monique Prudhomme: Selected Bibliography 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. Film Costume Design (History and Theory) Annas, Alicia. “The Photogenic Formula: Hairstyles and Makeup in Historical Style.” in Hollywood and History: Costume Design in Film. Edward Maeder (ed). Los Angeles: Los Angeles County Museum of Art, 1987. 52-77. Chierichetti, David, and Edith Head. Edith Head: The Life and Times of Hollywood's Celebrated Designer. New York: Harper Collins Publishers, 2003. Coppola, Francis Ford, Eiko Ishioka, and Susan Dworkin. Coppola and Eiko on Bram Stoker's Dracula. San Francisco: Collins Publishers, 1992. Gutner, Howard. Gowns by Adrian: The MGM Years 1928-1941. New York: Harry N. Abrams, 2001. Jorgensen, Jay. Edith Head: The Fifty-Year Career of Hollywood's Greatest Costume Designer. Philadelphia: Running Press, 2010. Landis, Deborah N. Dressed: A Century of Hollywood Costume Design. New York: Collins Design, 2007. ---. Film Craft: Costume Design. New York: Focal Press, 2012. Laver, James, Amy De La Haye, and Andrew Tucker. Costume and Fashion: A Concise History. New York: Thames & Hudson, 2002. Leese, Elizabeth. Costume Design in the Movies: An Illustrated Guide to the Work of 157 Great Designers. -
NATO Feb 05 NL.Indd
February 2005 NANATOTO of California/NevadaCalifornia/Nevada Information for the California and Nevada Motion Picture Theatre Industry THE CALIFORNIA POPCORN TAX CALENDAR By Duane Sharpe, Hutchinson and Bloodgood LLP of EVENTS & The California State Board of Equalization (the Board) recently issued an Opinion on a refund HOLIDAYS of sales tax to a local theatre chain (hereafter, the Theatre). The detail of the refund wasn’t discussed in the opinion, but the Board did focus on two specifi c issues that affected the refund. February 6 California tax law requires the assessment of sales tax on the sale of all food products when sold Super Bowl Sunday for consumption within a place that charges admission. The Board noted that in all but one loca- tion, the Theatre had changed their operations regarding admissions to its theatre buildings. Instead February 12 of requiring customers to fi rst purchase tickets to enter into the theatre building lobby in which all Lincoln’s Birthday food and drinks were sold, the Theatre opened each lobby to the general public without requiring tickets. The Theatre only required tickets for the customers to enter further into the inside movie February 14 viewing areas of the theatres. This admission policy allowed the Theatre not to charge sales tax on Valentine’s Day “popcorn sales.” California tax law requires the assessment of sales tax on the sale of “hot prepared food products.” The issue before the Board was whether the popcorn sold by the Theatre was a hot February 21 prepared food product. President’s Day From the Opinion: “Claimant’s process for making popcorn starts with a popper. -
SYBAMMC Corporate Communication & Public
SYBAMMC_Corporate Communication & Public Relations_Sem III_odd Sem 1) Appropriation of a person’s name or likeness for commercial or trade purposes without permission is ____and may be a violation of a person’s right to publicity a) Libel b) Copyright c) Slander d) Invasion of privacy 2) Public relations is a deliberate, planned and sustained effort to establish and maintain mutual understanding between an organization and its______ a) Media b) Economy c) Publics d) Society 3) ____are the two most important public relations tools for maintaining good stockholder relations. a) Annual reports & stockholder meetings b) Annual reports & press release c) House journals & stock holder meetings d) Newsletter & house journals 4) ______is the oldest form of public relations. a) Two-way asymmetrical b) Two-way symmetrical c) Press agentry d) Public information 5) ____are the two most important public relations tools for maintaining good stockholder relations. e) Annual reports & stockholder meetings f) Annual reports & press release g) House journals & stock holder meetings h) Newsletter & house journals 6) ______acts as watchdog for society. a) Management b) Technology c) Employees d) Media 7) A company that is “responsibly addressing _____of key publics and communities’ increase the public admiration of the organizations. a) Technological concerns b) Information sharing c) Profit sharing d) Environmental concerns 8) ________is a commanding force in managing the attitude of the general public towards organizations. a) Management b) Employees c) Technology d) Media 9) _____messages helps make lasting impact and favourable impression of an organizations and its products on stakeholders. a) Consistent b) Inconsistent c) Incoherent d) Irrational 10) Corporate communication is ___in nature a) Simple b) Complex c) Plain d) Symmetric 11) Shareholders, board members and employees are______stakeholders. -
View Printable Playbill
As Time Goes By Fall Ballet George Balanchine Sasha Janes THEATER 16/17 Twyla Tharp One Hundred Thirty-Third Program of the 2016-17 Season _______________________ Indiana University Ballet Theater presents Fall Ballet Divertimento No. 15 Choreography by George Balanchine Staged by Elyse Borne Music by Wolfgang Amadeus Mozart Saudade Choreography by Sasha Janes Music by Arvo Pärt As Time Goes By Choreography by Twyla Tharp Staged by Richard Colton Music by Joseph Haydn Patrick Mero, Lighting Designer _________________ Musical Arts Center Friday Evening, September Thirtieth, Seven Thirty O’Clock Saturday Afternoon, October First, Two O’Clock Saturday Evening, October First, Seven Thirty O’Clock music.indiana.edu Friday | September 30, 2016 | 7:30 p.m. Divertimento No. 15 Choreography by George Balanchine* ©The George Balanchine Trust Music by Wolfgang Amadeus Mozart Original Lighting by Mark Stanley Original Costumes by Barbara Karinska Scenery and costumes courtesy of Ballet West Adam Sklute, Artistic Director Costume Design by David Heuvel Premiere: May 31, 1956 | New York City Ballet Mozart Festival, Stratford, Connecticut Staged by Elyse Borne Tal Samuel, Conductor Shawn Stevens, Ballet Mistress Christian Claessens, Ballet Master Allegro Danielle Cesanek, Georgia Dalton, Anna Grunewald Emily Smith, Raffaella Stroik Andrew Copeland, Tyler Dowdy, Glenn Kelich and Caroline Atwell, Colleen Buckley, Leah Gaston, Natalia Mieczykowski Lily Overmyer, Ginabel Peterson-Padilla, Lauren Smolka, Anna Lisa Wilkins Theme and Variations Theme Tyler -
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. -
For Immediate Release
‘HEALING HANDS’ CAST BIOS EDDIE CIBRIAN (Buddy Hoyt) – A versatile actor who continues to expand his career in television and film, Eddie Cibrian is fast becoming one of the leading young actors in the business today. Born and raised in California, Cibrian began his acting career at the age of 12, landing a Coca-Cola commercial on his very first audition. Following the success of that spot, Cibrian appeared in numerous other national commercials. Upon entering high school, Cibrian decided to put his acting career on hold to pursue his other passion: Sports. He excelled in every sport he competed in – football, baseball, soccer and volleyball – and graduated high school with several All-State honors. Cibrian continued his successful athletic career when he entered UCLA’s football program in the fall of 1991. Unfortunately, an injury during his first year on the team left Cibrian sidelined, so he decided to return to acting. Cibrian immediately landed several national commercials and soon after, starred in Malcolm- Jamal Warner’s Emmy® Award winning television special “Kids Killing Kids.” The attention Cibrian garnered for his appearance on Warner’s special led to several soap opera auditions, including one for “The Young and the Restless.” The show’s producers were impressed with Cibrian’s acting abilities and created a character for him on the show, that of the conniving Matt Clark. Within three months, Cibrian had received so much fan mail that CBS signed him to a three-year contract. After appearing on “The Young and the Restless” for two years, Cibrian starred in several television shows including “The Bold and the Beautiful,” “Baywatch Nights,” “Beverly Hills, 90210,” “Sabrina The Teenage Witch” and “Saved by the Bell: The College Years.” It was not long before Aaron Spelling offered Cibrian the starring role of Cole Deschanel on the NBC daytime drama, “Sunset Beach.” Just five months after his debut, TV Guide named Cibrian one of Daytime’s 12 Hottest Stars.