DOCSLIB.ORG

Bakalářská Práce

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bakalářská Práce Tvorba, reflexe a poučení z vytváření bakalářského filmu na téma Anděl Jan Bobáň Bakalářská práce 2007 ABSTRAKT Tato práce zahrnuje procesy tvorby mého bakalá řského projektu. M ůj p říb ěh je velmi jednoduchý a filmovaný jako videoklip. Technologií byla animace po okn ě a použity byly loutky. Ve své práci popisuji p řípravou část (výrobu loutek, kulis, pozadí, atd.), natá- čení (osv ětlení, práci s kamerou, atd.)a postprodukci (st řih, hudební stránku, atd.). Vizuální stránka byla vytvo řena tak, aby vyzdvihla náladu hudby od kapely Massive Attack. Klí čová slova: kamera, prost ředí, atmosféra, postava, and ěl, videoklip, natá čení, st řih, ani- mace, nálada, kontrast ABSTRACT This paper covers the process of making my bachelor project.My the story is very simple and filmed as videoclip. Technique is stop motion animation and i use puppets. I describe my work on pre production (creation puppets, scene, background, sets.), filming (lighting, working with cameras …)and post production (editing, music side). The visual side created enhance the mood of the music, which is by Massive Attack. Keywords: camera, background, atmosphere, figure, angel, videopclip, filming, animation, mood, contrast Rád bych pod ěkoval mému pedagogickému vedení za velký p řínos k tomuto pro- jektu. Mé díky pat ří také všem t ěm, kte ří se mnou spolupracovali a pomáhali mi. Prohlašuji, že jsem na této bakalá řské práci pracoval samostatn ě. Ve Zlín ě dne 8. 5. 2007 …………………………… Jan Bobá ň OBSAH ÚVOD………………………………………………………………………………............9 I TEORETICKÁ ČÁST .............................................................................................10 1 PRO Č ANIMOVANÝ VIDEOKLIP ......................................................................11 2 FIGURY ....................................................................................................................12 2.1 BOUDA …………………………………………………………………............…12 2.2 ČERNÁ POSTAVA ……………………………………………………….…………13 2.3 AND ĚL………………………………………………………….…………………13 3 PROST ŘEDÍ A ATMOSFÉRA……...……………………………………………14 3.1 DEPRESE Z HUDBY = DEPRESE Z PROST ŘEDÍ ………………………………………14 3.2 BAREVNOST ………………………………………………………………………14 3.3 OSV ĚTLENÍ SCÉNY ………………………………………………………………...15 4 PŘÍB ĚH……………………………………………………………………….……16 4.1 DEMOLICE CHATY ………………………………………………….……………..16 4.2 ZÁV ĚRE ČNÉ GESTO …………………………………………………………….….16 5 VÝB ĚR ANIMA ČNÍ TECHNOLOGIE ................................................................17 5.1 KRESLENÁ ANIMACE …………………………………………………………..….17 5.2 PLOŠKOVÁ ANIMACE ……………………………………………………………...17 5.3 POČÍTA ČOVÁ ANIMACE …………………………………………………….…...…17 6 FORMÁT…………………………………………………………………..…….…18 7 PRO Č MASSIVE ATTACK………………………………………………………19 8 O KAPELE MASSIVE ATTACK……………………………………………...…20 8.1 HISTORIE A VZNIK …………………………………………..………………….…20 8.2 MEZZANINE ……………………………………………………………………....21 8.3 JINÉ KLIPY ………………………………………………………………………...22 8.4 TEXT PÍSN Ě ANGEL ……………………………………………………………….22 9 VÝTVARNO…………………………………………………………………….…23 10 JINÉ VARIANTY………………………………………………………………….24 10.1 PROST ŘEDÍ ……….……………………………...……………….……………….24 10.2 MOTOROVÁ PILA A SEKERA………………………...…………………….……….24 10.3 MÍSTO PRO KLADIVO ……………………………...……………………….……...24 10.4 BOUDA ………………………………………...…………………...….………….25 10.5 LOUTKY ………………………………………...…………………………….…..25 10.6 SCÉNA ……...…………….……………………..……………….……….……….25 II PRAKTICKÁ ČÁST................................................................................................26 11 SCÉNÁRISTICKÁ ČÁST…………………………………………………………27 11.1 NÁM ĚT………………………………………………………………….………...27 11.2 SYNOPSE …………………………………………………………………….……27 11.3 STORYBOARD ……………………………………………………………….…….27 11.4 FINÁLNÍ STORYBOARD ………………………………………………………..…... 28 12 VÝTVARNÁ PŘÍPRAVA……………………………………………………...29 12.1 VÝTVARNÉ NÁVRHY ………………………………………………….……....…..29 12.2 VÝROBA LOUTEK ………………………………………………….……................30 12.3 VÝROBA KULIS …………………………………………………………................31 12.4 VÝROBA POZADÍ ………………………………………………………….……....31 12.5 VÝROBA REKVIZIT ………………………………………………….…….……….32 12.5.1 Molo………………………………………………………………………..32 12.5.2 Bouda………………………………………………………………………32 12.5.3 Jezero………………………………………………………………………33 12.5.4 Další rekvizity………………………………………………...…….……...33 13 NATÁ ČENÍ……………………………………………………………………….34 13.1 VÝB ĚR ANIMA ČNÍHO STANOVIŠT Ě ( PLACU )…………………………….………...34 13.2 POSTAVENÍ SCÉNY ……………………………………………………….….…….34 13.3 KAMERA ………………………………………………………………….….……34 14 POSTPRODUKCE……………………………………………………………….35 14.1 HRUBÝ ST ŘIH ……………………………………………………….…………….35 14.2 ČISTÝ ST ŘIH …………………………………………………………….………...35 14.3 SPOLUPRÁCE S VŠMU V BRATISLAV Ě…………………………………..………..35 ZÁV ĚR……………………………………………………………………………….…...36 SEZNAM POUŽITÉ LITERATURY..............................................................................37 SEZNAM POUŽITÝCH SYMBOL Ů A ZKRATEK .....................................................38 UTB ve Zlín ě, Fakulta multimediálních komunikací 9 ÚVOD Úvodem bych se rád zmínil o n ěkterých p říčinách, které m ě vedly k vytvo ření ná- mětu a práci na mém bakalá řském projektu. Zprvu jsem nem ěl ani tušení jaké téma a jakou metodu animace si zvolím. Když mě a celé t říd ě vedoucí oboru oznámil zadání bakalá řského projektu, respektive to, že si máme témata zvolit sami, byl jsem velice rád. Nemusel jsem se tudíž snažit vejít do ur čitých kri- térii, abych u činil za dost tématu. To je n ěkdy poněkud ošemetné a vždy dosti svazující. Byla v tom, ale jiná potíž, v ůbec nic m ě nenapadalo. P ři zadání tématu se má člov ěk ale- spo ň čeho chytit. N ěco na čem sv ůj p říb ěh postaví a od čeho se m ůže odrazit. V moment ě kdy nemá zadáno nic, musí si sám zvolit co je lepší. Je neustále vystaven své vlastní sebe- kritice, zda práv ě ten či onen nám ět je ten pravý a vhodný pro záv ěre čný projekt. Toto byl i můj problém, i když je pravdou, že tento stav netrval p říliš dlouho. Během n ěkolika málo dn ů byl na sv ětě nám ět a hned poté jsem za čal pracovat na jednoduchém storyboardu. Videoklip jsem si vybral zcela zám ěrn ě. Nechci svým snímkem d ělat n ějakou revo- luci na poli videoklip a ani umrav ňovat jiné tv ůrce, avšak u dnešních animovaných video- klip ů postrádám rozmanitost a r ůznorodost. Vezm ěme si kup říkladu takový klasický lout- kový videoklip. Marn ě pátrám v pam ěti, kdy jsem naposledy vid ěl n ějaký p ěkný snímek tohoto typu. Posledním, na který si jen matně pamatuji, b ěžel v televizi kolem roku 1999. Byl to klip kapely Sepultura a skladba Ratamatahatta. V dnešní dob ě se spíše uplat ňují vi- deoklipy ploškové, n ěkdy neum ěle vytvo řené v po číta či. Další jsou pak z kategorie kresle- né animace (nap ř. klip Pavly Dudové pro kapelu Gaia Mesia). Drtivá v ětšina je avšak ud ě- lána na po číta či v různých 3D anima čních programech. Zárove ň jsem se cht ěl tímto snímkem vyjád řit své výtvarné vnímání. Cht ěl jsem divákovy jasn ě ukázat, jak to vidím já. To co m ě vedlo k práv ě takovým a ne jiným myš- lenkám p ři tvorb ě, bych rád popsal v dalších částech této práce. Naleznete zde pro č, jak a co m ě vedlo, k vytvo ření animovaného videoklipu And ěl. Také se zmíním o scénáristické stránce projektu a nezapomenu popsat samotné vznikání projektu od výtvarné p řípravy, přes natáčení až k postprodukci. UTB ve Zlín ě, Fakulta multimediálních komunikací 10 I. TEORETICKÁ ČÁST UTB ve Zlín ě, Fakulta multimediálních komunikací 11 1. PRO Č ANIMOVANÝ VIDEOKLIP Pro č animovaný videoklip? Proto, že to byla a stále je pro animátora ur čitá výzva. Myslím, že to je jedna z nejt ěžších anima čních disciplín. Pro č? Na tuto otázku mám hned několik odpov ědí. Za prvé. Animace na danou hudbu je v zásad ě oklešt ěná rytmem nebo ur čitým hudebním akcentem. V mém p řípad ě to bylo hned n ěkolik podstatných d ůraz ů za sebou. Už jen vymyslet jak na ten či onen akcent bude anima čně nebo d ějov ě reagovat mi připadá dost složité. Jako p říklad uvedu dva stejné momenty. Byli to refrény nebo snad hudební zvraty v celkové kompozici skladby. Ten první, který za číná slovy „LOVE YOU, LOVE YOU, LOVE YOU“ ve mn ě evokoval snahu po zm ěně celkového rytmu p říb ěhu. Mluvím o p řechodu z poklidného“šourání“ po scén ě až demolici d řev ěné boudy. Domnívám se, oním p řecho- dem byla 2 minuta 25 vte řina. Tento zlom jsem vyjád řil úderem kladiva do prken. Druhý akcent, nemén ě d ůležitý jak pro hudbu tak i pro d ěj klipu, byl v 5 minut ě 8 vte řin ě. Prudký záblesk sv ětla, který pozd ěji doznívá, tak jako doznívají tóny hudebního motivu. Za druhé. Samotná animace je složit ější. Na ur čitou scénu, smyk či záb ěr je již p ře- dem vymezený časový úsek. Toto je velmi svazující a musí se tomu p řizp ůsobit i scéná ř. Jako p říklad uvedu záb ěr číslo 8., dlouhý nájezd na chatu. P ři tvorb ě scény jsem po čítal s velkým celkem a v ětším panoramatickým dojmem. Na tento záb ěr bylo však vymezeno pouze sedm vte řin. Záb ěr m ěl kon čit detailem škvíry mezi prkny. To znamená, že kdybych vzal v potaz všechny tyto t ři aspekty, záb ěr, respektive nájezd, by byl p říliš rychlý. To by nekorespondovalo s celkovým rytmem hudby, potažmo videoklipu. Velikost záb ěru jsem proto tedy volil menší, abych se jednoduše „vešel“ do on ěch sedmy vte řin. Tento fakt jsem samoz řejm ě nemohl tušit p ředem a proto někdy ona odchylka od kresleného scéná ře, story- boardu. A kone čně za t řetí. Najít rytmus v hudb ě a tomu potom pod řídit naprosto vše. Ohýbání trávy ve v ětru, rychlost pojezd ů, nájezdy a kone čně, u videoklipu velice d ůležitý, st řih. Myslím, že je to téma velmi zajímavé a lákavé. UTB ve Zlín ě, Fakulta multimediálních komunikací 12 2. FIGURY Pro celkové vyjád ření p říb ěhu jsem vybral p ět prvk
Load more

Recommended publications
  • Angriff Der Melancholie Malen, Anti-Kriegs-Demos, Fußball: Für Musik Haben Die Einst So Coolen Futuristen Von Massive Attack Nur Noch Wenig Zeit
    Angriff der Melancholie Malen, Anti-Kriegs-Demos, Fußball: Für Musik haben die einst so coolen Futuristen von Massive Attack nur noch wenig Zeit. VON CHRISTOPH DALLACH Dummerweise hat das neue Album jede nur mögliche Werbung nötig. Denn so hoch die Erwartungen an das einstige Pop-Avantgarde-Genie wa- rfolg im Pop ist auch immer eine Frage des ren, so bitter werden sie nun enttäuscht: neun Moll-Electro-Hop-Balladen, Timings. Und was das betrifft, hat das pa- die grau und bedeutungsschwanger ohne jeden Pep dahinwummern. Auch Ezifistische britische Musiker-Kollektiv, das die üblichen Gastsänger wie Reggae-Veteran Horace Andy und die kurz- sich ganz martialisch Massive Attack nennt, kei- haarige Heulsuse Sinéad O’Connor helfen da nichts mehr. ne glückliche Hand. Als Anfang der neunziger Der Aussetzer der Bristoler Elektro-Stars zeigt, wie schwierig es ist, im Mu- Jahre die erste Single seines Debüt-Albums ãBlue sikgeschäft über mehrere Jahre innovativ zu bleiben. Das ist umso trauri- Lines“ erschien, verscheuchten die Amerikaner ger, als es der ganzen Branche derzeit an Innovationen mangelt. Dabei gerade Saddam Hussein aus Kuweit. Die Musiker waren Massive Attack mal eine Institution, die Ma§stäbe für die moderne beschlossen, zeitweilig die Attacke aus ihrem Na- Popmusik gesetzt hat. Ende der achtziger Jahre, hervorgegangen aus der men zu streichen. HipHop-DJ-Künstler-Gang Wild Bunch in der britischen Hafenstadt Bristol, In diesem Monat erscheint mit ã100th Window“ hatten Massive Attack prägenden Anteil an der Entstehung des so genann- (Virgin) das vierte Werk von Massive Attack, wie- ten TripHop. Einem Sound, der von gebremsten HipHop-Beats und ge- der gibt’s Krach zwischen dem Chef der Iraker pflegter Melancholie bestimmt wurde und bis heute in Cafés, Clubs und und den Vereinigten Staaten von Amerika, und Boutiquen nachhallt.
    [Show full text]
  • ''I've Got This Feeling That He's Everywhere, Watching Me'' - a Victim Speaks After the Trial
    ' ''I've got this feeling that he's everywhere, watching me'' - a victim speaks after the trial hooded rapist who inflicted a lack of repentance. r eign of terror on Leeds By Rosa Prince "There's times when I want to students was jailed for 12 take a knife to him and shout 'It's A my turn now'," she continued. "I years this week after a jury at Leeds Offenses such as these should be Crown Court convicted him of a punished by a substantial period of don't think there will ever be a man series of sexual assaults. imprisonment." I could trust now." David Martin Jackson, who over Jackson remained expressionless Jackson continues to deny he is the course of a year and a half came as, watched by family and friends,, the Moor rapist, and is backed by to be known as 'The Woodhouse be was found guilty of the rape and his family and friends who Moor Rapist', was described after series of assaults, four of which were supported him in court throughout the case as "evil" by one of the made on students from Leeds the fourteen day trial. Jennifer senior police officers in charge of the University and Leeds Metropolitan Jackson, who married the convicted man two weeks before the final hunt. University. David Jackson, who wore a Jackson, who taunted the police attack, provided her husband with balaclava as he attacked his victims, with a letter signed ' Jack the alibis for the nights of four of the targeted lone females as they walked Stripper', was later described by a five attacks.
    [Show full text]
  • Raja Mohan 21M.775 Prof. Defrantz from Bronx's Hip-Hop To
    Raja Mohan 21M.775 Prof. DeFrantz From Bronx’s Hip-Hop to Bristol’s Trip-Hop As Tricia Rose describes, the birth of hip-hop occurred in Bronx, a marginalized city, characterized by poverty and congestion, serving as a backdrop for an art form that flourished into an international phenomenon. The city inhabited a black culture suffering from post-war economic effects and was cordoned off from other regions of New York City due to modifications in the highway system, making the people victims of “urban renewal.” (30) Given the opportunity to form new identities in the realm of hip-hop and share their personal accounts and ideologies, similar to traditions in African oral history, these people conceived a movement whose worldwide appeal impacted major events such as the Million Man March. Hip-hop’s enormous influence on the world is undeniable. In the isolated city of Bristol located in England arose a style of music dubbed trip-hop. The origins of trip-hop clearly trace to hip-hop, probably explaining why artists categorized in this genre vehemently oppose to calling their music trip-hop. They argue their music is hip-hop, or perhaps a fresh and original offshoot of hip-hop. Mushroom, a member of the trip-hop band Massive Attack, said, "We called it lover's hip hop. Forget all that trip hop bullshit. There's no difference between what Puffy or Mary J Blige or Common Sense is doing now and what we were doing…” (Bristol Underground Website) Trip-hop can abstractly be defined as music employing hip-hop, soul, dub grooves, jazz samples, and break beat rhythms.
    [Show full text]
  • Pablo Moses INTERVIEW
    MAGAZINE #3 - December 2010 Rootz Underground Live in Kingston Horace Andy & Scientist Tippy Lloyd Brown Don Chandler Glen Washington Duane Stephenson Pablo Moses INTERVIEW * Israel Vibration * Sadiki * Cornadoor * Clinark * Alpheus * * Trojan * Buju Banton * Gappy Ranks * Special Delivery * J Boog * * Lloyd Brown * Frenchie * Pow Pow * Konshens * United Reggae Mag #3 - December 2010 Want to read United Reggae as a paper magazine? In addition to the latest United Reggae news, views andNow videos you online can... each month you can now enjoy a free pdf version packed with most of United Reggae content from the last month.. SUMMARY 1/ NEWS •Lloyd Brown - Special Delivery - Own Mission Records - Calabash J Boog - Konshens - Trojan - Alpheus - Racer Riddim - Everlasting Riddim London International Ska Festival - Jamaican-roots.com - Buju Banton, Gappy Ranks, Irie Ites, Sadiki, Tiger Records 3 - 9 2/ INTERVIEWS •Interview: Tippy 11 •Interview: Pablo Moses 15 •Interview: Duane Stephenson 19 •Interview: Don Chandler 23 •Interview: Glen Washington 26 3/ REVIEWS •Voodoo Woman by Laurel Aitken 29 •Johnny Osbourne - Reggae Legend 30 •Cornerstone by Lloyd Brown 31 •Clinark - Tribute to Michael Jackson, A Legend and a Warrior •Without Restrictions by Cornadoor 32 •Keith Richards’ sublime Wingless Angels 33 •Reggae Knights by Israel Vibration 35 •Re-Birth by The Tamlins 36 •Jahdan Blakkamoore - Babylon Nightmare 37 4/ ARTICLES •Is reggae dying a slow death? 38 •Reggae Grammy is a Joke 39 •Meet Jah Turban 5/ PHOTOS •Summer Of Rootz 43 •Horace Andy and Scientist in Paris 49 •Red Strip Bold 2010 50 •Half Way Tree Live 52 All the articles in this magazine were previously published online on http://unitedreggae.com.This magazine is free for download at http://unitedreggae.com/magazine/.
    [Show full text]
  • Order Form Order Form
    CD: £9.49 (Samplers marked* £6.49) LP: £9.49 ORDER FORM Postage &Packing: Jamaican Recording/ Kingston Sounds 1 x CD = 0.95p + 0.35p for every additional item PO BOX 32691 London W14 OWH 1 x LP = £1.95 + .85p for every additional item JAMAICAN www.jamaicanrecordings.com Total x 2 for Europe Total x 3 for Rest of the World (ROTW) RECORDINGS [email protected] If mixed please contact us. CAT NO. TITLE VINLY (QTY) CD (QTY) SUB TOTAL £ JR001 KING TUBBY 'LOST TREASURES' £ JR002 AUGUSTUS PABLO 'DUBBING WITH THE DON' £ JR003 THE REVOLUTIONARIES AT CHANNEL 1 £ JR004 LEE PERRY 'SKANKING WITH THE UPSETTER' £ JR005 THE AGGROVATORS 'DUBBING IT STUDIO STYLE' £ JR006 SLY & ROBBIE MEET BUNNY LEE AT DUB STATION £ JR007 HORACE ANDY'S DUB BOX 1973 - 1976 £ JR008 JAMAICAN RECORDINGS 'DUB SAMPLER' £ JR009 'DUBBING AT HARRY J'S 1970-1975 £ JR010 LINVAL THOMPSON 'DUB STORY' £ JR011 NINEY THE OBSERVER AT KING TUBBY'S £ JR012 BARRY BROWN 'STEPPIN UP DUB WISE' £ JR013 DJ DUBCUTS 'DUBBING WITH THE DJS' £ JR014 RANDY’S VINTAGE DUB SELECTION £ JR015 TAPPA ZUKIE ‘DUB EM ZUKIE’ £ JR016 KING TUBBY ‘DUB MIX UP’ £ JR017 DON CARLOS ‘INNA DUB STYLE’RARE DUBS 1979 - 1980 £ JR018 JAMAICAN RECORDINGS 'DUB SAMPLER' VOL 2 * £ JR019 TREASURE ISLE IN DUB – RARE DUBS £ JR020 LEROY SMART – MR SMART IN DUB £ JR021 MAX ROMEO – CRAZY WORLD OF DUB £ JR022 SOUL SYNDICATE – DUB CLASSICS £ JR023 AUGUSTUS PABLO MEETS LEE PERRY/WAILERS £ JR024 RONNIE DAVIS – ‘JAMMIN IN DUB’ £ JR025 KING JAMMY’S DUB EXPLOSION £ JR026 PROFESSIONALS MEETS THE AGGRAVATORS AT JOE GIBBS £ JR027 DYNAMIC ‘DUBBING AT DYNAMIC SOUNDS’ £ JR028 DJ JAMAICA ‘INNA FINE DUB STYLE’ £ JR029 SCIENTIST - AT THE CONTROLS OF DUB ‘RARE DUBS 1979 - 1980’ £ JR030 JAMAICAN RECORDINGS ‘DUB SAMPLE VOL.
    [Show full text]
  • View the Redux Book Here
    1 Photo: Alex Hurst REDUX This Redux box set is on the 30 Hertz Records label, which I started in 1997. Many of the tracks on this box set originated on 30 Hertz. I did have a label in the early eighties called Lago, on which I released some of my first solo records. These were re-released on 30 Hertz Records in the early noughties. 30 Hertz Records was formed in order to give me a refuge away from the vagaries of corporate record companies. It was one of the wisest things I have ever done. It meant that, within reason, I could commission myself to make whatever sort of record took my fancy. For a prolific artist such as myself, it was a perfect situation. No major record company would have allowed me to have released as many albums as I have. At the time I formed the label, it was still a very rigid business; you released one album every few years and ‘toured it’ in the hope that it became a blockbuster. On the other hand, my attitude was more similar to most painters or other visual artists. I always have one or two records on the go in the same way they always have one or two paintings in progress. My feeling has always been to let the music come, document it by releasing it then let the world catch up in its own time. Hopefully, my new partnership with Cherry Red means that Redux signifies a new beginning as well as documenting the past.
    [Show full text]
  • Mike Peden Producer/Composer/Mixer
    Mike Peden Producer/Composer/Mixer British Producer and Composer Mike Peden began his career as a bass player for the Scottish dance music trio The Chimes. Since then, he has produced albums for the likes of David Bowie, The Smashing Pumpkins and Shakira. Mike has also retained a longstanding collaboration with the Lighthouse Family and has produced a number of their albums. He has currently just finished producing Jay Picton’s debut album for Decca. Jay James Picton Forthcoming Album Produce/Mix/Co-Write Emma Bunton ‘Free Me’ / Album Co-Write/Produce Lighthouse Family ‘Ocean Drive’ / Album Produce/Mix Lighthouse Family ‘Postcards From Heaven’ / Album Produce/Mix Shara Nelson ‘What Silence Knows’ / Album Produce/Mix Shara Nelson ‘Friendly Fire’ / Album Produce/Mix Will Young ‘From Now On’ / Album Co-Write/Produce/Mix Lucie Silvas ‘Breathe In’ / Album Co-Writes/Produce Daryl Hall ‘Soul Alone’ / Album Co-Writes/Produce/Mix The Chimes ‘The Chimes’ / Album Co-Writes/Produce/Mix/Remixes Estelle ‘The 18th Day’ / Album Co-Writes/Produce/Mix Smoke City ‘Underwater Love’ / Album Produce Des’ree ‘Supernatural’ / Album Produce/Mix Mica Pais ‘One’ / Album Produce David Bowie ‘Outside’ / Album Produce/Mix/Remix Shakira ‘Donde Estan Los Ladrones’ Remix Yoyo Honey Voodoo Soul’ / Album Co-Writes/Produce/Mix/Remixes Gareth Gates ‘Sunshine’ / Single Produce Liberty X ‘Jumping’ / Album Co-Write/Produce Angel Lee ‘What's Your Name’ / Album Produce For further information, please contact Sandy Dworniak or Laura Jones. Tel: +44 (0)208 2085660 (ext 2) Email: [email protected] .
    [Show full text]
  • 1 the Driver Mr Tahsin Cilekbileckli
    F.html 07/12/2009 11:44 1 the driver Mr Tahsin Cilekbileckli Outward appearance Like Antonio Banderas in Interview with the Vampire, down to the long black hair. Neatly pressed London Underground uniform, except for the jacket, which is slung over the back of his chair. Unshaven, baggy-eyed. His Hush Puppy shoes are worn along one edge. Inside information A qualified [[136]] Turkish political scientist living in Britain with a British wife. He walks splay footedly because his feet were beaten while he was in prison. His name means Perfection With Steel Wrists. Turkish surnames are new this century, added under the rule of Ataturk -- Father Turk. Such names sound beautiful to them. What he is doing or thinking The train pulls out, Tahsin sighs with despair and exhaustion. Last night he argued with his two best friends about Islamic fundamentalism. Tunc teaches at the [[ftnt1]] School of Oriental and African Studies and is from an old Ottoman family. "There are only a million modern Turks, but we have all the power," Tunc said, heavy lidded with superiority. Tahsin's other friend Umut is a failed actor, drinking himself to death. "There would be no more wine," Umut complained. "Umut" means Hope. Tahsin lost his temper with both of them. Tahsin is from Marash, a town famous only for its rubbery ice cream. His mother and father are illiterate and faithful. "My modern son," sighs his father on the phone with pride when told Tahsin is writing a book on a computer. After all the other isms, Islam at least feels native.
    [Show full text]
  • Wolfgang Tillmans Bibliography
    WOLFGANG TILLMANS BIBLIOGRAPHY Selected Monographs: 2021 Holert, Tom, and Klaus Pollmeier, Saturated Light: Wolfgang Tillmans, Silver Works, published by Galerie Buchholz, Berlin, and Verlag der Buchhandlung Franz und Walther König, Cologne, Germany, 2021 2020 Tillmans, Wolfgang, Wolfgang Tillmans: Today Is The First Day, published by Irish Museum of Modern Art, Dublin, WIELS, Brussels, and Koenig Books, London, UK, 2020 2018 Biswas, Allie, and Wolfgang Tillmans, Wolfgang Tillmans: DZHK Book 2018, published by David Zwirner Books, New York, NY, 2018 Eyene, Christine, N’Goné Fall, Bart van der Heide, and Ashraf Jamal, Wolfgang Tillmans: Fragile, published by Institut für Auslandsbeziehungen, Stuttgart, Germany, 2018 2017 Tillmans, Wolfgang, and Brigitte Oetker, eds., Was ist anders? Jahresring 64, published by Sternberg Press, Berlin, Germany, 2017 Tillmans, Wolfgang, and Theodora Vischer, Wolfgang Tillmans, published by Hatje Cantz, Ostfildern, Germany, 2017 Tillmans, Wolfgang, Hamburg Süd / Nee IYaow Eow Eow, CD Digipack + artist booklet, published by Fragile, and Kunstverein Hamburg, Hamburg, Germany, 2017 Dercon, Chris, Mark Godfrey, Tom Holert, and Helen Sainsbury, Wolfgang Tillmans: 2017, published by Tate Publishing, London, UK, 2017 2016 Needham, Alex, Conor Donlon, published by Verlag der Buchhandlung Walther König, Cologne, Germany, 2016 Cotter, Suzanne, Wolfgang Tillmans: On the Verge of Visibility, published by Serralves Foundation, Porto, Portugal, 2016 McDonough, Tom, What’s wrong with redistribution?, published by Verlag
    [Show full text]
  • Goethe Lieder. Dawn Upshaw, Richard Goode
    musicweek STOCKING GUIDE and contributions from Dame édition features an equally VARIOUS; Goethe Lieder. VeraChurchill. Lynn Thereand Winston is a two- unreleasedstrong line-up tunes. of previously The value- DawnGoode Upshaw,(Elektra Richard butweek the campaign main promotion on Classic is FM for-money192-page book package with combinesfour LPs a 79317-2).Nonesucli/Warner Upshaw gets 7559 star magazines.through tourism-orientated WH Smith is or two CDs or tapes. 2223 billingGorecki's as Symphony"the voice of No 3" and linkingnew releases its displays in Decca's with World flve LONDON;FUTURE SOUND Lifeforms OF much-acclairaedGoode is riding high Beethoven on his Of British Classics budget ambitions(Virgin V2722). FSOL haveThe ever excelled willpaino be sonata strong cycle, interest so there in this Phil Sommerich themselvesthinking album with which this forward- collectionSchumann, of Schubert songs by Mozart,and embracesthèmes in ambientits broad and panoramic techno Itothers is supported setting Goethe's by ads in poems. the BackBRAND To NEWLove HEAVIES:(ffrr BNX4). plentysweep. ofAlready press attention, attracting it Juneand Classic issues CDof Gramophone plus POS Thisthe second breezy single and catchy to be tune is should be a strong seller. 12223 posters and browser cards. Brotherplucked fromSister the album. gold-selling The JEANtELove (Puise TRACE 8 12LOSE63). Y: If This Is PART: Fratres Auid Other obligatorykeep most remixespunters happy:should DJ Theup her ex-Weather popular It's Girl My follows Time Works.Martin TasminRoscoe, Little, provideDuke and highly Graeme effective Park houseboth powerfullysingle with deliveanother red,catchy BournemouthStudt (Classics Sinfonietta/ for Brand New Heavies: breezy and catchy Back To Love treatments,and Guru opt while for more Ray Hayden thehouse Playboys song.
    [Show full text]
  • Wavelength (December 1984)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1984 Wavelength (December 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1984) 50 https://scholarworks.uno.edu/wavelength/50 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. UNIVERSITY OF NEW ORLEANS EARL K LONG LIBRARY ACQUISITIONS DEPT NEW ORLEANS. LA 70148 1101 S.PETERS PHVSALIA PRODUCTION PRESENTATION NOONE UNOER18 ADMITTED ISSUE NO. 50 e DECEMBER 1984 "''m not sure, but I'm almost she1o's positive, that all music came from New Orleans." -Ernie K-Doe, 1979 D EPARTMENTS LIVE BANDS EVERY December News .... .... .. .. ... 4 Golden Moments . ........... ..... 8 NIGHT OF THE WEEK Flip City . ......... ............. 8 (NO COVER EVER!!!) New Bands ....... ..... .. ... 10 Caribbean . .. .. ........ ... .. .. 12 ENTRANCE ON SOUTH PETERS BETWEEN JULIA & ST. JOSEPH Dinette Set . ......... ............ 14 Rare Record . .. .... .. .. ... ... 16 Reviews . .. ...... ..... ... ... 16 shei Ia's features local, national, Listings . .. ........... .. .. .. 23 and international groups such as ... Last Page . ....................... 30 FEATURES Number 50 . 19 Dear Santa .. .... .. .. .. .. 22 Lady Rae New Orleans 1984 .... .. .. .. ... 25 Neville Brothers The Cold Records .. ........ ... .. ...... 31 One-Stops . .. .. ..... .. .. .. 35 Radia!ors HooDoo Guru's Hanoi Rocks Tim Shaw Cover design by Steve St. Germam. For informa­ Belfegore Java tion on purchasing cover art, ca/1 504/895-2342. John Fred & The Playboys Mrolberof f Habit JD & The Jammers Force o .
    [Show full text]
  • Music Genres and Corporate Cultures
    Music Genres and Corporate Cultures Music Genres and Corporate Cultures explores the workings of the music industry, tracing the often uneasy relationship between entertainment cor- porations and the artists they sign. Keith Negus examines the contrasting strategies of major labels like Sony and Universal in managing different genres, artists and staff, and assesses the various myths of corporate cul- ture. How do takeovers affect the treatment of artists? Why was Poly- Gram perceived as too European to attract US artists? Why and how did EMI Records attempt to change their corporate culture? Through a study of three major genres—rap, country and salsa—Negus investigates why the music industry recognises and rewards certain sounds, and how this influences both the creativity of musicians and their audiences. He explores why some artists get international promotion while others are neglected, and how performers are packaged as ‘world music’. Negus examines the tension between rap’s image as a spontaneous ‘music of the streets’ and the practicalities of the market, asks why execu- tives from New York feel uncomfortable when they visit the country music business in Nashville, and explains why the lack of soundscan sys- tems in Puerto Rican record shops affects salsa’s position on the US Bill- board chart. Drawing on extensive research and interviews with music industry per- sonnel in Britain, the United States and Japan, Music Genres and Corpo- rate Cultures shows how the creation, circulation and consumption of popular music is shaped by record companies and corporate business style while stressing that music production takes place within a broader cul- ture, not totally within the control of large corporations.
    [Show full text]