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WTC SUMMER HOMEWORK Read Charting the History of British Music Video (MM66), by Emily Caston. (BELOW) Answer the Following Quest
WTC SUMMER HOMEWORK Read Charting the History of British Music Video (MM66), by Emily Caston. (BELOW) Answer the following questions, drawing on the article for information and ideas. 1. According to the article’s writer, Emily Caston, how significant was MTV in the development of British music video production? 2. What criteria did Emily Caston and her team use for selecting music videos for their 6-DVD box set? What are your thoughts about the criteria? What music videos do you know that you would include in such a selection? 3. Bohemian Rhapsody is often quoted as being the first British music video. The article argues otherwise. Why is that? Why was ‘Bo-Rhap’ not included in the box set? 4. The box set is made up of six different categories: performance; concept; dance; stories; wit; portraits. If you were putting together a selection of videos, what categories would you choose to use? 5. The article ends by noting that videos are now consumed by millions globally, ‘uncurated on mobile platforms’. What might be the significance of a curated collection in light of these consumption patterns? Curating your own collection Imagine that you have been given the chance to curate a selection of music videos to represent your experience of secondary school, from the moment you joined until the end of Year 11. Select five videos that you want to include in your selection. Outline in writing what is significant about each video, both as an art form in its own right, and in relation to your time at secondary school. -
Bridging Resources for Year 11 Applicants: Media Studies St John Rigby College Gathurst Rd, Orrell, Wigan WN5 0LJ 01942 214797
Bridging Resources for Year 11 Applicants: MEDIA STUDIES St John Rigby College Media Studies In Media, you will study a range of print and audio-visual products, including advertising, television, radio, film, newspapers and magazines, games and online media. The tasks below focus on some of these media types to give you some knowledge of them before beginning the course. We also have an online learning area with lots of fun and interesting tasks. If you would like access to this, please email us for login information. If you have any questions or would like more information about the course, please do get in touch! Simon Anten- Head of Media - [email protected] Catherine Strong- Media Teacher - [email protected] Music Video From its beginnings, music video has been an innovative and experimental form. Many a successful film director has either made their name as a music video director or still uses the form to experiment with editing, photography and post production effects. Watch the following two videos by British film directors: Radiohead’s “Street Spirit” (Jonathan Glazer 1995) and FKA Twigs’ “tw-ache” (Tom Beard 2014). What are your thoughts about both videos? In what ways might they be seen as experimental (as well as weird, intriguing and exciting)? How do they create an impact? How do they complement or challenge the music? Who is the target audience for each video? (It can be useful to read the comments on YouTube to get a sense of people’s reactions to them, but don’t do this if you’re sensitive to bad language!) Is there anything distinctly British about either or both of them? Comparing a director’s video and film output Jonathan Glazer directed Radiohead’s “Street Spirit” just a few years before directing his first feature, the brilliant Sexy Beast (2000), starring Ben Kingsley and Ray Winstone. -
Empathy and Becoming Human in Jonathan Glazer's Under the Skin
Special Issue – Philosophy of Film Without Theory ‘The flesh is weak.’ Empathy and becoming human in Jonathan Glazer’s Under the Skin Author Affiliation Colin Heber-Percy United Kingdom Abstract: Jonathan Glazer’s 2013 film Under the Skin offers an unsettling med- itation on humanness through the eyes of an alien predator. This essay reflects on Glazer’s film by drawing it into conversation with the later phenomenology of Maurice Merleau-Ponty, with Heidegger, Martin Buber, and with a number of earlier Greek thinkers who together point us towards a more complex and shared definition of ‘contemplation’ or theory. The paper asks: do films watch us as much as we watch films? Through an ex- ploration of the notion of the mask as a means both of disguise and of disclosure, the paper questions to what extent all human relations are masked, screened. So, Glazer’s film can be viewed as an exercise in re-imagining the role of the screen, © Aesthetic Investigations Vol 3, No 2 (2021), 347-364 ‘The flesh is weak.’ turning us from viewers to viewed. This implication of the audience in the film’s scope leads to a concluding focus on empathy as the essential sharedness of human (and therefore of cinematic) experience. In 1909 in Paris, a poet and artist by the name of Max Jacob struggles to make ends meet by giving piano lessons, earning just enough to make the rent and buy bread. Max attends classes at the École Coloniale where the other students mistake him for someone who comes there to sell pencils. -
Embargoed Until 12:00PM ET / 9:00AM PT on Tuesday, April 23Rd, 2019
Embargoed Until 12:00PM ET / 9:00AM PT on Tuesday, April 23rd, 2019 FOR IMMEDIATE RELEASE 24th ANNUAL NANTUCKET FILM FESTIVAL ANNOUNCES FEATURE FILM LINEUP DANNY BOYLE’S YESTERDAY TO OPEN FESTIVAL ALEX HOLMES’ MAIDEN TO CLOSE FESTIVAL LULU WANG’S THE FAREWELL TO SCREEN AS CENTERPIECE DISNEY•PIXAR’S TOY STORY 4 PRESENTED AS OPENING FAMILY FILM IMAGES AVAILABLE HERE New York, NY (April 23, 2019) – The Nantucket Film Festival (NFF) proudly announced its feature film lineup today. The opening night selection for its 2019 festival is Universal Pictures’ YESTERDAY, a Working Title production written by Oscar nominee Richard Curtis (Four Weddings and a Funeral, Love Actually, and Notting Hill) from a story by Jack Barth and Richard Curtis, and directed by Academy Award® winner Danny Boyle (Slumdog Millionaire, Trainspotting, 28 Days Later). The film tells the story of Jack Malik (Himesh Patel), a struggling singer-songwriter in a tiny English seaside town who wakes up after a freak accident to discover that The Beatles have never existed, and only he remembers their songs. Sony Pictures Classics’ MAIDEN, directed by Alex Holmes, will close the festival. This immersive documentary recounts the thrilling story of Tracy Edwards, a 24-year-old charter boat cook who became the skipper of the first ever all-female crew to enter the Whitbread Round the World Yacht Race. The 24th Nantucket Film Festival runs June 19-24, 2019, and celebrates the art of screenwriting and storytelling in cinema. A24’s THE FAREWELL, written and directed by Lulu Wang, will screen as the festival’s Centerpiece film. -
CANDY L. WALKEN Hair Design/Stylist IATSE 706
CANDY L. WALKEN Hair Design/Stylist IATSE 706 FILM UNTITLED DAVID CHASE PROJECT Department Head, Los Angeles Aka TWYLIGHT ZONES Director: David Chase THE BACK-UP PLAN Department Head Director: Alan Poul Cast: Alex O’Loughlin, Melissa McCarthy, Michaela Watkins NAILED Department Head Director: David O. Russell Cast: Jessica Biel, Jake Gyllenhaal, Catherine Keener, James Marsden THE MAIDEN HEIST Department Head Director: Peter Hewitt Cast: Christopher Walken, Marcia Gay Harden, William H. Macy THE HOUSE BUNNY Hair Designer/Department Head Personal Hair Stylist to Anna Faris Director: Fred Wolf Cast: Emma Stone, Kat Dennings, Katharine McPhee, Rumer Willis DISTURBIA Department Head Director: D.J. Caruso Cast: Shia LaBeouf, Carrie-Anne Moss, David Morse, Aaron Yoo FREEDOM WRITERS Department Head Director: Richard La Gravenese Cast: Imelda Staunton, Scott Glenn, Robert Wisdom MUST LOVE DOGS Personal Hair Stylist to Diane Lane Director: Gary David Goldberg A LOT LIKE LOVE Department Head Director: Nigel Cole Cast: Ashton Kutcher, Amanda Peet CELLULAR Personal Hair Stylist to Kim Basinger Director: David R. Ellis ELVIS HAS LEFT THE BUILDING Personal Hair Stylist to Kim Basinger Director: Joel Zwick UNDER THE TUSCAN SUN Personal Hair Stylist to Diane Lane Director: Audrey Wells THE MILTON AGENCY Candy L. Walken 6715 Hollywood Blvd #206, Los Angeles, CA 90028 Hair Telephone: 323.466.4441 Facsimile: 323.460.4442 IATSE 706 [email protected] www.miltonagency.com Page 1 of 3 SUSPECT ZERO Department Head Director: Elias Merhige Cast: Aaron -
Actores Transnacionales: Un Estudio En Cinema Internacional
Illinois Wesleyan University Digital Commons @ IWU Honors Projects Hispanic Studies 2016 Actores transnacionales: un estudio en cinema internacional Lydia Hartlaub Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/hispstu_honproj Part of the Spanish Literature Commons Recommended Citation Hartlaub, Lydia, "Actores transnacionales: un estudio en cinema internacional" (2016). Honors Projects. 11. https://digitalcommons.iwu.edu/hispstu_honproj/11 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty in the Hispanic Studies department at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Hartlaub 1 Actores transnacionales: un estudio en cinema internacional Lydia Hartlaub con Prof. Carmela Ferradáns Hartlaub 2 Tabla de contenidos Introducción…………………………………………………………………………………………………………………………….. 4 Cine de España…………………………………………………………………………………………………………………………. 8 Pedro Almodóvar…………………………………………………………………………………………………………. -
JERI BAKER Hair Stylist IATSE 706
JERI BAKER Hair Stylist IATSE 706 FILM FATALE Personal Hair Stylist to Hillary Swank Director: Deon Taylor ANT-MAN AND THE WASP Department Head Director: Peyton Reed Cast: Hannah John-Karmen, Paul Rudd, Judy Greer DEN OF THEIVES Department Head; Personal Hair Stylist to Gerard Butler Director: Christian Gudegast Cast: Gerard Butler, Dawn Olivieri SUBURBICON Personal Hair Stylist to Julianne Moore Director: George Clooney SPIDER-MAN: HOMECOMING Department Head Director: Jon Watts Cast: Tom Holland, Michael Keaton, Marisa Tomei, Gwyneth Paltrow, Jon Favreau, Laura Harrier, Tyne Daley KEEP WATCHING Department Head Director: Sean Carter Cast: Bella Thorne GHOST IN THE SHELL Personal Hair Stylist to Scarlett Johansson Director: Rupert Saunders CAPTAIN AMERICA: CIVIL WAR Personal Hair Stylist to Scarlett Johansson Directors: Anthony Russo, Joe Russo CAPTAIN AMERICA: THE WINTER Personal Hair Stylist to Scarlett Johansson SOLDIER Directors: Anthony Russo, Joe Russo CHEF Personal Hair Stylist to Scarlett Johansson Director: Jon Favreau WISH I WAS HERE Department Head Director: Zach Braff Cast: Zach Braff, Kate Hudson, Ashley Greene, Josh Gad, Mandy Patinkin, Joey King DON JON Personal Hair Stylist to Scarlett Johansson Director: Joseph Gordon-Levitt THE MILTON AGENCY Jeri Baker 6715 Hollywood Blvd #206, Los Angeles, CA 90028 Hair Stylist Telephone: 323.466.4441 Facsimile: 323.460.4442 IATSE 706 [email protected] www.miltonagency.com Page 1 of 4 WE BOUGHT A ZOO Assistant Department Head Director: Cameron Crowe Cast: Thomas Haden Church, Elle Fanning BUTTER Assistant Department Head Director: Jim Field Smith Cast: Hugh Jackman, Alicia Silverstone, Ty Burrell SUPER 8 Assistant Department Head Director: J.J. Abrams Cast: Kyle Chandler, Jessica Tuck PEEP WORLD Department Head Director: Barry W. -
THE WHITE STRIPES – the Hardest Button to Button (2003) ROLLING STONES – Like a Roling Stone (1995) I AM – Je Danse Le
MICHEL GONDRY DIRECTORS LABEL DVD http://www.director-file.com/gondry/dlabel.html DIRECTOR FILE http://www.director-file.com/gondry/ LOS MEJORES VIDEOCLIPS http://www.losmejoresvideoclips.com/category/directores/michel-gondry/ WIKIPEDIA http://es.wikipedia.org/wiki/Michel_Gondry PARTIZAN http://www.partizan.com/partizan/home/ MIRADAS DE CINE 73 http://www.miradas.net/2008/n73/actualidad/gondry/gondry.html MIRADAS DE CINE 73 http://www.miradas.net/2008/n73/actualidad/gondry/rebobineporfavor1.html BACHELORETTE - BJORK http://www.director-file.com/gondry/bjork6.html THE WHITE STRIPES – The hardest button to button (2003) http://www.director-file.com/gondry/stripes3.html ROLLING STONES – Like a Roling Stone (1995) http://www.director-file.com/gondry/stones1.html I AM – Je danse le mia (1993) http://www.director-file.com/gondry/iam.html JEAN FRANÇOISE COHEN – La tour de Pise (1993) http://www.director-file.com/gondry/coen.html LUCAS - Lucas With the Lid off (1994) http://www.director-file.com/gondry/lucas.html CHRIS CUNNINGHAM DIRECTORS LABEL DVD http://www.director-file.com/cunningham/dlabel.html LOS MEJORES VIDEOCLIPS http://www.losmejoresvideoclips.com/category/directores/chris-cunningham/ POP CHILD http://www.popchild.com/Covers/video_creators/chris_cunningham.htm WEB PERSONAL AUTOR http://chriscunningham.com/ WIKIPEDIA http://es.wikipedia.org/wiki/Chris_Cunningham ARTFUTURA http://www.artfutura.org/02/arte_chris.html APHEX TWIN – Come to Daddy (1997) http://www.director-file.com/cunningham/aphex1.html SPIKE JONZE WEB PERSONAL http://spikejonze.net/ -
DOUG HEMPHILL Re-Recording Mixer
DOUG HEMPHILL Re-Recording Mixer DUNE Denis Villeneuve Warner Bros. RRM GEMINI MAN Ang Lee Paramount Pictures RRM US Jordan Peele Universal RRM CHRISTMAS CHRONICLES Clay Kaytis Netflix RRM ROBIN HOOD Otto Bathhurst Lionsgate RRM OPERATION FINALE Chris Weitz MGM RRM MY DINNER WITH HERVÉ Sacha Gervasi HBO RRM THE MEG Jon Turteltaub Warner Bros. RRM BLADE RUNNER 2049 Denis Villeneuve Sony RRM WONDER Stephen Chbosky Lionsgate RRM BATTLE OF THE SEXES Jonathan Dayton, Valerie Fox Searchlight RRM Faris LIFE Daniel Espinosa Sony Pictures RRM XXX: THE RETURN OF XANDER D.J. Caruso Paramount RRM CAGE BILLY LYNN’S LONG HALFTIME Ang Lee Sony Pictures RRM WALK X-MEN: APOCALYPSE Bryan Singer 20th Century Fox RRM KUNG FU PANDA 3 Jennifer Yuh DreamWorks Animation RRM MAZE RUNNER: SCORCH TRIALS Wes Ball 20th Century Fox RRM X-MEN: DAYS OF FUTURE PAST Bryan Singer 20th Century Fox RRM PERCY JACKSON: SEA OF Thor Freudenthal Fox 2000 RRM MONSTERS THE OTHER WOMAN Nick Cassavetes 20th Century Fox RRM THE WOLVERINE James Mangold 20th Century Fox RRM A GOOD DAY TO DIE HARD John Moore 20th Century Fox RRM HITCHCOCK Sacha Gervasi Fox Searchlight RRM LIFE OF PI Ang Lee Fox 2000 RRM ABRAHAM LINCOLN: VAMPIRE Timur Bekmambetov 20th Century Fox RRM HUNTER PROMETHEUS Ridley Scott 20th Century Fox RRM Formosa Features www.FormosaGroup.com/Features 323.850.2800 [email protected] Page 1 THE CABIN IN THE WOODS Drew Goddard Lionsgate RRM THIS MEANS WAR McG 20th Century Fox RRM WE BOUGHT A ZOO Cameron Crowe 20th Century Fox RRM PEARL JAM TWENTY Cameron Crowe Tremolo Productions RRM RISE OF THE PLANETS OF THE Rupert Wyatt 20th Century Fox RRM APES CRAZY STUPID LOVE Glenn Ficarra, John Requa Warner Bros RRM MR. -
The Mind-Game Film Thomas Elsaesser
9781405168625_4_001.qxd 8/10/08 11:58 AM Page 13 1 The Mind-Game Film Thomas Elsaesser Playing Games In December 2006, Lars von Trier’s The Boss of It All was released. The film is a comedy about the head of an IT company hiring a failed actor to play the “boss of it all,” in order to cover up a sell-out. Von Trier announced that there were a number of (“five to seven”) out-of-place objects scattered throughout, called Lookeys: “For the casual observer, [they are] just a glitch or a mistake. For the initiated, [they are] a riddle to be solved. All Lookeys can be decoded by a system that is unique. [. .] It’s a basic mind game, played with movies” (in Brown 2006). Von Trier went on to offer a prize to the first spectator to spot all the Lookeys and uncover the rules by which they were generated. “Mind-game, played with movies” fits quite well a group of films I found myself increasingly intrigued by, not only because of their often weird details and the fact that they are brain-teasers as well as fun to watch, but also because they seemed to cross the usual boundaries of mainstream Hollywood, independent, auteur film and international art cinema. I also realized I was not alone: while the films I have in mind generally attract minority audiences, their appeal manifests itself as a “cult” following. Spectators can get passionately involved in the worlds that the films cre- ate – they study the characters’ inner lives and back-stories and become experts in the minutiae of a scene, or adept at explaining the improbabil- ity of an event. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Alien Flytrap
Out of Hours film alien flytRap loose adaptation of Michel Faber’s cult love, sampling the delights humanity has to Under the Skin novel Under The Skin invites us to do just offer (ok, cake, sex, and Scarlett Johansson Directed by Jonathan Glazer that, to look dispassionately at humanity in exploring her nude body at any rate) before all our bestial savagery and loving, glorious patriarchal society brutally reasserts its “O wad some Pow’r the giftie gie us, To see compassion from the perspective of Scarlett power over her. oursels as ithers see us!” Johansson’s alien siren as she hunts and In almost every scene, Johansson is To A Louse — Robert Burns, 1786 renders into meat any man foolish enough wonderful, her alien Venus Flytrap a sexy, to follow her home thinking he’s in for the almost serene presence, an unfeeling, There’s just not enough poetry in these night of his life. We see ourselves as she remote ideal of voluptuous femininity, pages so it’s appropriate, given Under The sees us and what she sees is often as self- capable of great cruelty (though never Skin’s west of Scotland setting and its deluded as the young woman Burns’ louse through malice) and compassion, whose subject matter — in the guise of a beautiful, has chosen for its nest. exposure to humanity baffles and infects enigmatic woman, an extraterrestrial Inducing an almost trance-like state her, her flowering sense of self ultimately (Scarlett Johansson) cruises the streets of of creeping horror and wonder through pruned as she gropes towards discovery.