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Spring Film Showcase ‘21Presents TheThe FilmmakersFilmmakers Parker Nicely is a filmmaker who enjoys telling funny stories. He writes, directs, and dabbles in everything else. His favorite films put characters in awkward situations that they have to find a way out of. His goal is to make movies like those from his favorite director, Edgar Wright. Parker Parker Kirkland Kirkland Judd is a cinematographer, director, Kirkland and gaffer, with a passion for thriller and horror films. His first film was in 2008 when he was seven years old. Kirkland has now been a part of over sixty films and has directed four of his own. Dempsey Lee Birmingham III is an actor and director, with a love for story, film, and God. He plans on working on documentaries for National Geographic, making many more movies, and perfecting his craft in the future. Tyler Williams is a cinematographer and gaffer Dempsey Dempsey who always gives 100 percent. Tyler fell in love with Tyler cinematography as soon as he started studying film; Tyler it allows him to be in control of the image and to make every frame one that he is proud of. Logan Moseler is a video editor with a passion for telling heartfelt stories and changing minds through the medium of film. Throughout his time as a student, he has worked on many different student films and won Best Editor at Logan the Fire Film Festival 2021. Logan Delany Delany Rose is a writer and director, with a Delany passion for production design. She loves all the meticulous details and the power of visuals in telling a story. She plans to continue making films in the future and expand her knowledge of design. Evgenia Williams was born and raised in Russia and at 19 made the bold decision to move to America, following her passion for film. She loves film for the opportunity to put different kinds of art together to create a story that is able to touch people. She believes that when a Evgenia Evgenia story changes the heart of even one person, it becomes a masterpiece. Spring Film Showcase ‘21Presents FireFire FilmsFilms Boom Box Danny’s chance with the girl of his dreams is put on the line when a cassette ends up in the wrong place. Blank Canvas When a struggling artist gets the opportunity of a lifetime, what lengths will he go to in order to get what he wants and achieve his dreams? A Fistful of Lead 20 years after a ruthless bandit murders his parents in cold blood, Jesse Morgan, an orphan-turned-Bounty Cinematography Hunter, seeks vengeance on Reel the one behind it all. Tyler Williams Editing Reel Logan Moseler Sour Candy After one rotten Halloween as a kid, Robin is fearful of all things spooky. When the unexpected occurs, will she step up or let her fear hold her back? A Bicycle Ride for Two Amy enters a poetry slam, hoping to win some money to pay for her LSAT. Her plan faces some changes when she meets Tim - a guy with a bike..

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PLEASE READ THESE DIRECTIONS in FULL: Spreckels Theatre
PLEASE READ THESE DIRECTIONS IN FULL: Spreckels Theatre Company announces it's Youth in Arts Summer Youth Program Disney's Sleeping Beauty, KIDS Music and Lyrics by Pyotr Ilyich Tchaikovsky George Bruns and Tom Adair, Winston Hibler and Ted Sears, Sammy Fain and Jack Lawrence Music Adapted and Arranged and Additional Music by Bryan Louiselle Book Adapted and Additional Lyrics by Marcy Heisler Based on the 1959 Disney film "Sleeping Beauty" and the story "Sleeping Beauty in the Wood" by Charles Perrault Stage Direction by Denise Elia-Yen Music Direction by Lucas Sherman Choreography by Michella Snider Performances on the Main Stage at Spreckels Performing Arts Center ********************************************************************* AUDITIONS: FRIDAY, June 16th, 5:00 p.m. – 8:30 p.m. *See below to arrange your audition slot if you are aged 10-17! CALLBACKS: SATURDAY, June 17th, 10:00 a.m. – 2:00 p.m. at director's discretion Auditions and Callbacks in the Condiotti Theater at Spreckels Performing Arts Center ********************************************************************* REHEARSAL SCHEDULE (please read carefully): July 16th, 17th and 18th: 6:00 p.m. - 9:00 p.m. Monday, July 24th thru Friday, July 28th: 9:00 a.m. - 3:00 p.m. Monday, July 31st thru Friday, August 4th: 9:00 a.m. - 3:00 p.m. Saturday, August 5th: Tech with cast 12:30 p.m. - 3:30 p.m. Sunday, August 6th: Cast and orchestra 12:30 - 6:00 p.m. Monday, August 7th, Tuesday, August 8th, Wednesday, August 9th and Thursday August 10th - 6:00 - 9:00 p.m. Friday, August 11th: actors prep at 4:00 p.m.
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Why YOU Should Be an English Major
Why YOU should be an English Major You’ll be able to communicate your ideas effectively. This is what employers want the most – people who can communicate clearly. Impress your employer with your ability to communicate, and you’ll get promoted. You’ll also sound smarter than everybody else. You’ll be able to learn new tasks and ideas. A liberal arts education teaches you how to learn, not how to do a specific job. Your employer will provide on-the-job training. Besides, the hot jobs of 20 years from now haven’t even been thought of yet; major in English, learn how to learn new job skills, and stay employed. You’ll be prepared for med school, law school, business school… Being an English major teaches you how to think critically. Graduate schools in every field are more interested in your ability to analyze situations and make connections between concepts than in your ability to memorize lists. You’ll get a good job. Major scientific, technological, industrial, and financial companies like to hire English majors. They want employees who can analyze problems, think up creative answers, and communicate those answers to coworkers. And an English degree teaches you to do all these things. You’ll earn lots of money. Well, maybe not as much as science graduates, but the 201 201 Payscale College Salary Report listed salaries for popular careers for English majors that ranged from $ to $ . 5- 6 40,000 76,000 You’ll move up the company ladder. Your English major taught you how to analyze problems, think creatively, synthesize intelligent solutions, and communicate those solutions to your bosses and coworkers.
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Hollywood Movie Stars California History Section Display
CALIFORNIA STATE LIBRARY NOVEMBER-DECEMBER 2016 HOLLYWOOD MOVIE STARS CALIFORNIA HISTORY SECTION DISPLAY VISIT OUR CURRENT DISPLAY: MINING IN CALIFORNIA California History Section 900 N Street Room 200 9:30-4 Monday-Friday INTRODUCTION California has been a moviemaking powerhouse for over a century now! Get star- struck, and relive the glory days of yesteryear’s actors through our carefully curated selection of images, ephemera and books. If you want more infor- mation about our movie history resources, you can find them in the fol- lowing places: California State Library Catalog: Subject Searches: Motion picture actors and actresses California motion picture* Hollywood history California Information File II: Subject Searches: Motion picture actors and actresses California Motion picture* Hollywood history California Information File (In-house use): Subject Searches: Moving Pictures Counties: Los Angeles: Hollywood Drama: Actor Names California Image File (In-house use): Subject searches: Portraits: Actor Names Motion Pictures Contacting us: Web-form: Ask us a Question Email: [email protected] Enjoy our display! VISUALS Hoover, Art Company. 192AD. [Lena Basquette] (7 Views). Silent Movie Scene. 192AD. Hartsook, Photo. 192AD. Mary Pickford. VISUALS Blake, Orville T. 1929. Grauamaus [Sic] Chinese, Hollywood, CA. Graphic. Arthur Wenzel at Theater in Oakland. 1916. Graphic. Hoover, Art Company. 192AD. [Alice Terry] (2 Views). A Cecil B. DeMille Production: Fredric March in “The Buccaneer.” 1937. Graphic. VISUALS Farrell Collection. 1916. Mary Pickford in Hulda from Holland. Graphic. T&D. N.D. [Actor]. Graphic. Dobbins Collection. N.D. [Actress]. Graphic. VISUALS Portraits. N.D. Graphic. [Actors]. 1916. Graphic. Garrick Theater (Philadelphia, Penn.). c1913. [Advertisement]. Philadelphia: Garrick Theater.
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In ACTING for FILM
Two-Year Degree Program ASSOCIATE OF FINE ARTS in ACTING FOR FILM AFA Acting students prepare to perform a scene in collaboration with Filmmaking students. 222 LOCATION LOS ANGELES, CALIFORNIA Location is subject to change. For start dates and tuition, please visit nyfa.edu 223 AFA Acting for Film OVERVIEW here are numerous elements and skills that go into making a critically acclaimed flm that viewers will appreciate. Yet an audience’s connection to an actor’s performance is often the most immediate and intimate relationship one makes with a movie. A good performance must appear efortless, yet still convey a rich tapestry of emotion and depth to create a T convincing character. Unlike acting in the theater, when performing on a flm or television set, an actor must contend with a far more chaotic environment where numerous crew members are running about, high wattage lights are aimed directly at the actor, and one is expected to give a believable and engaging performance take after take. Regardless of an actor’s inherent talent, he or she must learn how to efectively handle the countless variables at work on a flm or television production. The Associate of Fine Arts (AFA) Degree Program in Acting for Film provides students with the opportunity to exclusively focus on their professional and artistic development as actors. Over the course of the four- semester, two-year program, students gain a strong foundation in acting principles through such classes as Scene Study, Acting for Film, Voice and Movement, Improvisation, and Audition Technique. Please Note: curriculum and projects are subject to change and may vary depending on location.
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Basic Actor Combatant Glossary 2012
= BASIC ACTOR COMBATANT GLOSSARY March 2, 2012 This is a living document and while Fight Directors Canada seeks to keep this glossary up to date it is simply impossible to list all terms or techniques. Individual teachers may add to what is listed or suggest an alternative meaning or explanation for a particular term or technique. If there is a disagreement between what is written and what is taught in class the written test will err on side of the instructor. Section 1: General Stage Combat Terms Section 2: Footwork, Stance and Posture Section 2: Unarmed Section 3: Quarterstaff Section 4: Single Sword Section 5: Weapons and Accoutrements Section 6: Theatrical & Performance Section 7: Alternate Terms Section 8: Diagrams All references and definitions originally taken from, ‘The Complete Encyclopedia of Arms and Armour’ Claude Blair & Leonid Tarassuk, ‘The Martini A-Z of Fencing’ E.D. Morton, ‘The Art and History of Personal Combat’ Arthur Wise. They were subsequently edited by Todd Campbell, Siobhán Richardson, Kevin Robinson, Casey Hudecki, Daniel Levinson, Paul Gelieanu, Ian Rose, Simon Fon and Kirsten Gundlack Fight Directors, Canada wishes to express their gratitude to the above named authors and editors for their invaluable assistance. FDC Basic Actor Combatant Glossary – 02 25 2012 page 1 of 18 SECTION 1: GENERAL STAGE COMBAT TERMS SECTION 1: GENERAL STAGE COMBAT TERMS aikido roll: A roll that resembles the shoulder roll but rather than using both hand and arms to lower the body to the floor the dominate arm is curved and used to guide the upper body to the floor.
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Duties of a Cinematographer in Creating a Film
Journal of Literature and Art Studies, July 2016, Vol. 6, No. 7, 824-827 doi: 10.17265/2159-5836/2016.07.013 D DAVID PUBLISHING Duties of a Cinematographer in Creating a Film Ikboljon Melikuziev State Institute of Arts and Culture, Tashkent, Uzbekistan The present article deals with the duties, role and methodical peculiarities of a cinematographer in creating a feature film. The development of creating artistic works in the high creative level and its process is comparatively analyzed within the progress of the Uzbek cinematography. Keywords: cinematographer, film director, critic, image, lightness, recurs, production, picture, plastics, rhythm, composition, editing, scenario, method Introduction The art of cinematography has not been studied widely. It is very difficult to express the description of a film by words. One must see the picture and just for this case a cinematographer’s artistic activity of many years needs careful study. They say, it is not written much about a cameraman’s work yet. In our opinion, the essence of their creativity involves expressing the method, plastics and descriptive decision of a ready feature film. The film supposedly is connected only with the name of a director as a single filmmaker. While criticizing a film they usually speak just about a director and leading actors. You can hardly find anything about a cameraman’s work. Naturally, it is not enough. However, a cameraman’s work spent for artistic picture demands a serious analyses and careful study. Undoubtedly, the right stylistics, artistically completeness of the form which strengthens the effective power of a feature film and accepting the film by the audience depends on the cinematographer’s skills.
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General Guidelines for Auditioning Check the Play's Rehearsal and Production Schedule
General Guidelines for Auditioning Check the play's rehearsal and production schedule Be quite certain you re available throughout. If you have conflicts, put them on your audition sheet. If you get cast, and then tell the director you have additional scheduling conflicts, you'll damage the production and--don't ignore this--give yourself a rotten reputation! Avoid looking for "your role" or casting yourself Instead, keep yourself open to any role. The Audition Don't worry about nerves Everyone gets nervous at auditions, even the old pros, and having a few butterflies can be a good thing. It is best to avoid worrying excessively about messing up or about what others auditioning might think of you. If you do happen to "mess up", don't get upset or walk off, just keep on going until you are finished. Dress comfortably Avoid costumes, but don't dress completely out of character either. Avoid big clunky shoes or jewelry that may impede your movement. Choose clothing that is simple, professional, and comfortable. Arrive early Get there well in advance so that you can check in and take time to warm up and fill out forms. Be professional in your attitude and actions Remember that your audition begins the moment you step into the theatre. Be confident, pleasant, respectful, and positive with everyone. NEVER apologize for your audition Unless you let us know it, we will assume that's exactly what you meant to do. Just in case we thought it was brilliant, don't telegraph that you think you blew it.
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Translation and Film: Slang, Dialects, Accents and Multiple Languages Allison M
Comparative Humanities Review Volume 3 Translation: Comparative Perspectives Article 1 (Spring 2009) 2009 Translation and Film: Slang, Dialects, Accents and Multiple Languages Allison M. Rittmayer Bucknell University Follow this and additional works at: http://digitalcommons.bucknell.edu/chr Recommended Citation Rittmayer, Allison M. (2009) "Translation and Film: Slang, Dialects, Accents and Multiple Languages," Comparative Humanities Review: Vol. 3, Article 1. Available at: http://digitalcommons.bucknell.edu/chr/vol3/iss1/1 This Article is brought to you for free and open access by Bucknell Digital Commons. It has been accepted for inclusion in Comparative Humanities Review by an authorized administrator of Bucknell Digital Commons. For more information, please contact [email protected]. Translation and Film: Slang, Dialects, Accents and Multiple Languages Allison M. Rittmayer Bucknell University The birth of the cinema was initially regarded with great promise as a universal method of communication. This was partially true in the era of silent films as there was no need for translation before the introduction of inter-titles. The images filmed may have contained distinct cultural markers, thus rendering them somewhat foreign to spectators outside of the source culture; however, these markers could be absorbed in the way a painting is absorbed. Without linguistic intrusion, it was possible for spectators of foreign films to simply identify characters in regards to their appearance. This identification could also be made easier if the spectator knew what culture the film was coming from, in the way that paintings are understood by virtue of the culture that produced them. More often than not though, early silent films portrayed subjects that did not need any cultural translation.
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Glossary of Filmmaker Terms
Above the Line Clapboard Generally the portion of a film's budget that covers A small black or white board with a hinged stick on the costs associated with major creative talent: the top that displays identifying information for each shot stars, the director, the producer(s) and the writer(s). in the movie. Assists with organizing shots during (See also Below the Line) editing process; the clap of the stick allows easier Art Director synchronization of sound and video within each shot. The crew member responsible for the design, look Construction Coordinator and feel of a film's set. Includes props, furniture, sets, Also known as the construction manager, this person etc. Reports to the production designer. supervises and manages the physical construction of Assistant Director (A.D.) sets and reports to the art director and production Carries out the director’s instructions and runs the set. designer. The first A.D. is responsible for preparing the Dailies production schedule and script breakdown, making The rough shots viewed immediately after shooting sure shooting stays on schedule and on budget. The each day by the director, along with the second A.D. is responsible for distributing information cinematographer or editor. Used to help ensure and cast notifications, keeping track of hours worked proper coverage and the quality of the shots gathered. by cast and crew, management of extras, signing Director actors in and out and preparing call sheets. The The person in charge of the overall cinematic vision of second A.D. is also in charge of the production the film and the performance of the actors.
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Stage Combat Character Analysis
Marshall University Marshall Digital Scholar Theatre Faculty Research Theatre 3-2009 A Violent Character: Stage Combat Character Analysis T. Fulton Burns Follow this and additional works at: https://mds.marshall.edu/theatre_faculty Part of the Acting Commons Stage Combat Character Analysis By T. Fulton Burns It is so deceptively easy stating who your character is but it is over looked more often than you may think. A good character analysis is important in the actor/character relationship and here we will look at the key elements of character research and their specific relationships to the stage combatant. If you want a great source to consider I highly recommend Uta Hagen’s Respect for Acting because it has one of the most concise research options available. She lists her character analysis as follows: • Who am I? Character Characters in Romeo and Juliet have • What time is it? Century, year, season, day, minute training in combative techniques and this • Where am I? Country, city, neighborhood, level of expertise even reveals social status. Tybalt is a wonderful example because he house, room, area of room prides himself on his fighting abilities. One • What surrounds? Animate and inanimate objects could even argue that fighting and pride are all that he knows. The hatred he holds • What are the given circumstances? Past, present, future, and the towards another family (Montagues) based events upon principle and/or teaching, also molds him as a character. Also, how he fights is • What is my relationship? Relation to total events, other based upon the training he has received in characters, and to things his formative years.
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Moss Has Training in Fencing and Stage Combat, and He Regularly Attends
or as long as you’ve been teaching, the students to be safe. They’ll know Moss has training in fencing and you’ve had in your mind that perfect how to make it a part of the show, stage combat, and he regularly attends play to direct—a Shakespearean trag- rather than a fight that interrupts the workshops to keep his skills sharp. “For edy, say. Maybe Romeo and Juliet. acting. They can teach the students me,” he says, “the reality of being in a Now you have the actors who can things the teacher might not know. small school where you’re a one-stop carry it. The administration is behind “We don’t teach you how to fight. shop anyway is when I have money, I you. Your students are thrilled. We teach you how to act with vio- would rather spend it on an expertise I There’s just one problem. Almost lence. You want to learn how to fight, don’t have myself.” before you can bite your thumb, you can go watch wrestling,” says Both Martin and Rodgers hire chore- there’s a brawl with naked blades in New York-based fight director ographers, but they’ve also gained Act I, scene one. The year might be Michael Chin, who recently earned enough experience to teach or choreo- right for Shakespeare, but you have the title of fight master from the Soci- graph some of the basics without out- better things to do than face disas- ety of American Fight Directors. (He’s side help.
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Nogodsland Nogodsland
NOGODSLAND NOGODSLAND Laurent BARIOHAY Éric KAILEY Louis CONILH de BEYSSAC Claire BOUCTOT Valérie GASSE Tessa REMISE Isabelle LOUET Nordine El BOUKILI Mathieu BESNIER Alain BERT Alexa RUTHERFORD Hervé CAULERY Distribution : en cours 2011 Press :PROD2DEMAIN Duration 80 min · Format 1,85 · Sound Dolby Alain L’Éveillé 06 59 24 32 49 [email protected] There are two ways to be wrong, one is to believe what is not, the other, to refuse to believe that is. — soren kierkegaard A young man disillusioned and socially destructive, provoked the hatred of his sole friend before being called to faith by the uncle of the latter. synopsis Stan and Dion, are struggling in their jobs. The lat- ter only believes in the absurdity of life and exerts a certain inﬂuence on Stan. When Dion’s father suddenly passes away, Stan inadvertently excludes Dion from his place as a son, setting a terrible ha- tred. To make matters worse, Dion’s uncle, Glavkos, hires Stan as a watchmaker assistant. Stan is initiated to watchmaking, and while working there Glavkos re- veals him a reality that he is far from imagining, a world from which he is completely closed off: that of the Faith. Dion will be after Stan till he causes him to stumble. After this, Stan will begin to understand that every- thing is hidden in his own eyes. Certainties shaken, Stan is taken to the threshold of the intangible. a bet A project is of course, a bet before anything else. That of an autodidact refusing to bow to consequent pressures, to the several difﬁculties that cinema sets, to young direc- tors in France.
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