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(2020). Pinewood Studios, the Independent Frame, and Innovation
Street, S. (2020). Pinewood Studios, the Independent Frame, and Innovation. In B. R. Jacobson (Ed.), In the Studio: Visual Creation and Its Material Environments (1 ed., pp. 103-121). University of California Press. Peer reviewed version Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available via University of California Press at https://www.ucpress.edu/book/9780520297609/in-the-studio . Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Pinewood Studios, the Independent Frame, and Innovation Sarah Street, University of Bristol British director Darrel Catling reported to the British trade press in February 1948 on the Independent Frame (IF), a new system of film production that had been launched at Pinewood Studios. Catling had recently used it to make Under the Frozen Falls, a short children’s film that had benefited from the IF’s aim to “rationalize that which is largely irrational in film making.”1 He described how his film had been very carefully pre-planned in terms of script, storyboards, and technical plans. Several scenes were pre-staged and filmed without the main cast who were later incorporated into scenes by means of rear projection. Special effects were of paramount importance in reducing the number of sets that needed to be built. -
HP0221 Teddy Darvas
BECTU History Project - Interview No. 221 [Copyright BECTU] Transcription Date: Interview Dates: 8 November 1991 Interviewer: John Legard Interviewee: Teddy Darvas, Editor Tape 1 Side A (Side 1) John Legard: Teddy, let us start with your early days. Can you tell us where you were born and who your parents were and perhaps a little about that part of your life? The beginning. Teddy Darvas: My father was a very poor Jewish boy who was the oldest of, I have forgotten how many brothers and sisters. His father, my grandfather, was a shoemaker or a cobbler who, I think, preferred being in the cafe having a drink and seeing friends. So he never had much money and my father was the one brilliant person who went to school and eventually to university. He won all the prizes at Gymnasium, which is the secondary school, like a grammar school. John Legard: Now, tell me, what part or the world are we talking about? Teddy Darvas: This is Budapest. He was born in Budapest and whenever he won any prizes which were gold sovereigns, all that money went on clothes and things for brothers and sisters. And it was in this Gymnasium that he met Alexander Korda who was in a parallel form. My father was standing for Student's Union and he found somebody was working against him and that turned out to be Alexander Korda, of course the family name was Kelner. They became the very, very greatest of friends. Alex was always known as Laci which is Ladislav really - I don't know why. -
Toronto's Postproduction Sound Industry, 1968 to 2005
Wilfrid Laurier University Scholars Commons @ Laurier Theses and Dissertations (Comprehensive) 2016 The Struggle To Be Heard: Toronto's Postproduction Sound Industry, 1968 to 2005 Katherine E. Quanz Wilfrid Laurier University, [email protected] Follow this and additional works at: https://scholars.wlu.ca/etd Part of the Audio Arts and Acoustics Commons, Canadian History Commons, and the Film and Media Studies Commons Recommended Citation Quanz, Katherine E., "The Struggle To Be Heard: Toronto's Postproduction Sound Industry, 1968 to 2005" (2016). Theses and Dissertations (Comprehensive). 1866. https://scholars.wlu.ca/etd/1866 This Dissertation is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in Theses and Dissertations (Comprehensive) by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. The Struggle To Be Heard: Toronto's Postproduction Sound Industry, 1968 to 2005 by Katherine Elizabeth Quanz B.F.A., in Film and Video Production, York University, 2005 M.A., in English and Film Studies, Wilfrid Laurier University, 2008 THESIS Submitted to the Department of English and Film Studies in partial fulfillment of the requirements for Doctor of Philosophy Wilfrid Laurier University © 2016 Abstract This dissertation examines how economic and technological changes shaped the sounds of Canadian cinema, from the modern industry’s founding in the late 1960s to the widespread adoption of digital editing software in the early 2000s. By focusing on the labour and craft practices that coalesced in Toronto’s postproduction companies, I argue that such practices engendered a critical shift in the sonic style of Canadian film sound. -
NOVEMBER 1986 on Occasion, Special-Interest Publications Like Interfacing Equipment, and So On
in this issue . VOL. 10, NO. 11 Features Cover Photo by Rick Mattingly Columns EDUCATION ELECTRONIC INSIGHTS Midi And The Electronic Drummer: Part 2 by Jim Fiore 40 IN THE STUDIO Working With Arrangers/Producers Mattingly by Ndugu Chancler 42 Rick THE MACHINE SHOP by Living With The Machine by Simon Goodwin 56 Photo BASICS Working With A Metronome by Kenny Zail..... 64 ROCK 'N' JAZZ CLINIC Playing Around With Time by Rod Morgenstein 72 JAZZ DRUMMERS' WORKSHOP JOE MORELLO A Melodic Approach To Soloing When it comes to technique, Joe Morello is in a class by by Stanley Ellis 80 himself, and his work with the Dave Brubeck Quartet proved that he knew how to use that technique musically. Now, as a ROCK CHARTS teacher, Morello is passing down his expertise to a new Mel Gaynor: "Alive And Kicking" generation of drummers. by Andy Rankin 96 by Rick Mattingly 16 CONCEPTS Getting Unstuck DAVID UOSIKKINEN by Roy Burns . 110 CLUB SCENE Although the Hooters seemed to suddenly come out of nowhere, drummer David Uosikkinen explains the years of Hearing Aid development that led to the group's unique sound. by Rick Van Horn 112 by Robert Santelli 22 EQUIPMENT STAYING IN SHAPE: SETUP UPDATE Terry Bozzio And Rick Marotta 74 ELECTRONIC REVIEW TIPS FROM THE PROS Simmons SDS1000 And Rack PART 2 by Bob Saydlowski, Jr 114 The finest drummers in the business share the exercises, diets, JUST DRUMS 118 and warm-ups that keep them in top physical condition. by Ron Spagnardi 26 PROFILES UP AND COMING BARRIEMORE Marillion's Ian Mosley BARLOW by Susan Alexander 38 His experiences with such artists as Jethro Tull, Yngwie Malmsteem, and Robert Plant have given Barrie Barlow some NEWS strong opinions about the current state of music—opinions UPDATE 6 that he's happy to share without pulling punches, INDUSTRY HAPPENINGS 116 by Teri Saccone 30 DEPARTMENTS EDITOR'S OVERVIEW 2 GENE CHRISMAN READERS' PLATFORM 4 His name might not be on the tip of every drummer's tongue, but the list of artists that Gene Chrisman has recorded with is ASK A PRO 10 a virtual Who's Who of the music business. -
1. Raymond Williams, the Long Revolution (Harmondsworth: Pelican, 1965)
Notes Introduction Creativity: The Theoretical Context 1. Raymond Williams, The Long Revolution (Harmondsworth: Pelican, 1965). 2. Williams argues that while Plato and Aristotle shared the conception of art as essentially mimetic they drew different conclusions from it. Plato regarded art as a pale and worthless imitation of reality while Aristotle saw art as reflecting an idealised or higher reality. In The Creativity Question (Durham, NC: Duke University Press, 1976), Albert Rothenberg and Carl Hausman identify the differences be- tween Plato and Aristotle's conception of creativity. Plato saw creativ- ity as divine inspiration, the intervention of the Gods, while Aristotle tended to regard creativity as a productive activity following natural laws. 3. M. H. Abrams, The Mirror and the Lamp (London: Oxford University Press, 1953). 4. Colin Campbell, The Romantic Ethic and the Spirit of Consumerism (Oxford: Basil Blackwell, 1987), p. 182. 5. The phrase is borrowed from the seminal work by Mario Praz, The Romantic Agony (Oxford: Oxford University Press, 1933). 6. Frank Kermode, Romantic Image (London: Routledge & Kegan Paul, 1957). 7. Karl Miller examines numerous literary examples of 'the dynamic metaphor of the second self' in Doubles: Studies in Literary History (New York: Oxford University Press, 1985). 8. Williams, p. 44. 9. Warren Steinkraus, 'Artistic Creativity and Pain' in M. Mitias (ed.), Creativity in Art, Religion and Culture (Amsterdam, 1985), talks about various aspects of pain associated with the creative process including the pain of making a selection from limitless material, the pain of personal exposure; of having one's innermost feelings made transpa- rent through the art-work, and the pain of suppressed emotion. -
William Stephenson Died in Paget, Bermuda at the Age of 93
6/11/2019 Honorary Members Home Hall of Fame Hall of Fame Members Honoraries Nomination Guidance Memorial Wall MI Corps Awards Links Photos Search The Honorary Members of the Military Intelligence Corps are those special individuals who have made a contribution to the MI Corps but who are otherwise ineligible for induction into the Hall of Fame. Their tenure as Honorary Members is indefinite. HONORARY MEMBERS OF THE MI CORPS * Deceased 1993 BG Adams, Ronald 2008 Ms. Hineman, Guadalupe 2008 Sir Stephenson, William 1995 MAJ Boggs, John 1992 Mrs. Howard, Nina COL Summers, Harry 1993 President Bush, George 1991 COL Johnson, Alex GEN Thurman, Maxwell Mr. DeConcini, Dennis 1991 Mr. Kuhn, Thomas 2019 Ms. Tubman, Harriet * GEN Franks, Frederick 1991 COL Nabb, Richard 2014 Mrs. Weinstein, Pauline 1993 MG Garner, Jay MG Onodera, Hiramasa 1992 Mr. Wickersham, Barry 1996 MAJ Goodall, John GEN Ross, Jimmy Mr. Woolsey, James Contact KMO Privacy Act Minimum resolution is 1280x1024 https://www.ikn.army.mil/apps/MIHOF/Home/HonoraryMembers 1/1 SUPPLEMENT TO THE LONDON GAZETTE, i JANUARY, 1945 Commander Aylmer Newton George Firebrace, Reginald Edward Stradling, Esq., C.B., M.C., C.B.E., R.N. (Retired), Chief of the Fire X>.Sc., Ph.D., M.Inst.C.E., F.R.S., Chief Staff and Inspector-in-Chief of the Fire Ser- Adviser, Research and Experiments Depart- vices, Home Office. ment; Ministry of Home Security. Arthur Percy Morris Fleming, Esq., C.B.E., Herbert Alker Tripp, Esq., C.B.E., Assistant D.Eng., M.Sc., M.I.E.E., M.I.Mech.E., Commissioner, Metropolitan Police. -
The Ballad of Buster Scruggs
Presenta Una Produzione Annapurna Un film di Joel e Ethan Coen The Ballad of Buster Scruggs Con : Tyne Daly, James Franco, Brendan Gleeson, Bill Heck, Grainger Hines, Zoe Kazan, Harry Melling, Liam Neeson, Tim Blake Nelson, Jonjo O’Neill, Chelcie Ross, Saul Rubinek, Tom Waits, Clancy Brown, Jefferson Mays, Stephen Root, Willie Watson Durata: 132 minuti Ufficio Stampa Studio Lucherini Pignatelli Via A. Secchi, 8 – 00197 Roma Tel. 06/8084282 - Fax 06/80691712 email: [email protected] www.studiolucherinipignatelli.it Contatti Stampa US : Cynthia Arntzen [email protected] Europe Stuart Gurr [email protected] 1 CREDITS SCRITTO, PRODOTTO E DIRETTO DA JOEL COEN & ETHAN COEN PRODOTTO DA MEGAN ELLISON SUE NAEGLE ROBERT GRAF PRODUTTORE ESECUTIVO JILLIAN LONGNECKER DIRETTORE DELLA FOTOGRAFIA BRUNO DELBONNEL SCENOGRAFIA JESS GONCHOR MONTAGGIO RODERICK JAYNES COSTUMI MARY ZOPHRES SUPERVISIONE AL MONTAGGIO SONORO SKIP LIEVSAY MUSICA CARTER BURWELL PRODUTTORE ASSOCIATO CATHERINE FARRELL SUPERVISIONE AGLI EFFETTI VISIVI ALEX LEMKE MICHAEL HUBER CASTING ELLEN CHENOWETH DIRETTORI UNITÀ DI PRODUZIONE KAREN RUTH GETCHELL ROBERT GRAF PRIMO ASSISTENTE ALLA REGIA BETSY MAGRUDER SECONDO ASSISTENTE ALLA REGIA KEVIN LUM 2 IL CAST TYNE DALY LA SIGNORA JAMES FRANCO IL COWBOY BRENDAN GLEESON L’IRLANDESE BILL HECK BILLY KNAPP GRAINGER HINES MR. ARTHUR ZOE KAZAN ALICE LONGABAUGH HARRY MELLING L’ARTISTA LIAM NEESON L’IMPRESARIO TIM BLAKE NELSON BUSTER SCRUGGS JONJO O’NEILL L’INGLESE CHELCIE ROSS IL CACCIATORE DI PE LLICCE SAUL RUBINEK IL FRANCESE TOM WAITS IL PROSPETTORE WILLIE WATSON THE KID CLANCY BROWN JEFFERSON MAYS STEPHEN ROOT 3 SI NOSSI The Ballad of Buster Scruggs è un Western antologico in sei parti , una serie di rac conti sulla front iera ame ricana narrati dalle voci uniche e in imitab ili di Joel e Ethan Coen. -
'Life' Starring Jake Gyllenhaal
PRODUCTION BEGINS ON THE DANIEL ESPINOSA-DIRECTED ‘LIFE' STARRING JAKE GYLLENHAAL, REBECCA FERGUSON AND RYAN REYNOLDS Shepperton Studios, London, UK – July 19, 2016 – Principal photography has begun on Skydance and Sony Pictures’ original feature film LIFE. Directed by Daniel Espinosa, the film stars Jake Gyllenhaal ('Nightcrawler'), Rebecca Ferguson ('Mission: Impossible - Rogue Nation') and Ryan Reynolds ('Deadpool'), with Olga Dihovichnaya, Hiroyuki Sanada and Ariyon Bakare making up the other crew members aboard the International Space Station. The screenplay is written by 'Deadpool' duo Paul Wernick & Rhett Reese. Skydance’s David Ellison and Dana Goldberg along with Bonnie Curtis and Julie Lynn produce the film, which is scheduled for worldwide release on March 24, 2017. LIFE tells the story of the six-member crew of the International Space Station who are tasked with studying a sample from Mars that may be the first proof of extraterrestrial life. And that life proves more intelligent than ever expected. Swedish born film director Espinosa's breakout picture was ‘Snabba Cash’, which Martin Scorsese introduced to the American audience, followed by English language directing credits that include 'Safe House', with Ryan Reynolds alongside Denzel Washington, and 'Child 44' with Tom Hardy and Gary Oldman. “It is both humbling and a dream come true for me to have the opportunity to delve into a genre that so many of my cinematic heroes have mastered,” said Espinosa. “Additionally, working with these brave actors to unveil their characters through such visceral cinema is what drives me to make movies.” “We are so excited to bring visionary director, Daniel Espinosa, together with such an amazing cast from around the globe to immerse audiences into an intensely thrilling new world in LIFE,” said David Ellison. -
Notes and References
NOTES AND REFERENCES PREFACE AND ACKNOWLEDGEMENTS I. Broadcasting (HMSO, 1978) (Cmnd. 7294). 2. Report oj the Committee pn the Future ojBroadcasting (HMSO, 1977) (Cmnd. 6753) para. 4.3. 3. Ibid. para. 13.46. 4. Broadcasting, p. 21. 5. Report oj the Committee on Broadcasting rg60 (HMSO) (Cmnd. 1753) para. 20g. 6. Lord Windlesham, Broadcasting in a Free Society (Basil Blackwell, 1980) pp. 71-2. 7. B. Paulu, British Broadcasting in Transition (Macmillan, 1961). 8. B. Paulu, British Broadcasting: Radio and Teleuision in the United Kingdom (University of Minneapolis Press, 1956). 9. P. Black, The Mirror in the Corner: People'S Tel,ujsion (Hutchinson, 1972). 10. N. Swallow, Factual Teleuision (Focal Press, 1966). II. J. Gable, The Tuppen'lY Punch and Judy Show (Michael Joseph, 1980). CHAPTER I: BEVERIDGE I. H. H. Wilson, Pressure Group (Seeker and Warburg, 1961) p. 23. 2. Report oj the Broadcasting Committee 1949 (HMSO) (Cmd. 8116). 3. Ibid. pp. 201-10. CHAPTER 2: BEYOND BEVERIDGE I. A. Briggs, History oj Broadcasting in the United Kingdom Vol. IV Sound and Vision (Oxford University Press, 1979) P.424· CHAPTER 3: WHITE PAPER: 1952 I. Broadcasting: Memorandum on the Report oj the Broadcasting Committee 1949 (HMSO) (Cmd. 8550) para. 7. 2. Ibid. para. 9. 3. House of Lords, Hansard, (HMSO) 23 and 26 May 1952. 4. House of Commons, Hansard, (HMSO) J I June 1952. 375 NOTES AND REFERENCES CHAPTER 4: INTERLUDE 195~/3 I. A. Seldon, Churchill's Indian Summer (Hodder and Stoughton, 1981). CHAPTER 5: WHITE PAPER: 1953 I. (HMIO) Cmd. 9005. CHAPTER 6: FIELD DAYS IN PARLIAMENT: 1953 I. -
To Academy Oral Histories Donald C.Rogers
Index to Academy Oral Histories Donald C.Rogers Donald C. Rogers (Post-production executive) Call number: OH133 Aalberg, John, 63–64, 124 ABC Films, 238, 309 ABSENCE OF MALICE, 314 THE ABYSS, 403 Academy Awards, 25–26, 31, 34, 41–56, 61–64, 67–70, 96, 98, 117–119, 122–124, 133–134, 158–159, 166, 175–176, 179, 190, 196, 211–224, 227, 249, 256, 259–261, 271, 282, 286, 294, 301, 310, 314–315, 320, 324, 334–336, 340, 342–345, 348–349, 358, 360–362, 364–379, 382, 388–390, 393–395, 397, 407–408, 410, 412, 414–416, 418, 428–433 Academy Awards -- Best Sound, 219–222, 259–261, 315, 344, 358, 407–408, 414, 416, 428 Academy Awards -- Best Sound Editing, 212–219, 259–261, 334–335, 429 Academy Awards -- Irving G. Thalberg Memorial Award, 45, 397 Academy Awards -- Jean Hersholt Humanitarian Award, 45 Academy Awards -- nominations, 117–119, 122–123, 176, 211–212, 216, 218, 220–223, 260, 282, 301, 310, 317–331, 343, 345, 348, 360–361, 388–390, 393, 410, 412, 415, 428–429 Academy Awards -- Scientific and Technical Awards, 46, 61–64, 67, 69–70, 133–134, 159, 166, 175, 213, 227, 364–379, 382, 429–433, 41–52, 56, 45, 52–55, 48–50 Academy Awards -- Gordon E. Sawyer Award, 45–46, 50, 52, 62–64, 67, 175, 227, 372, 379, 429–430 Academy Awards -- John A. Bonner Medal of Commendation, 45, 50–52, 371 Academy Awards -- Special Award of Commendation, 165–166 Academy Awards -- Special Achievement Award, 212–213, 217, 260, 395, 407 Academy of Motion Picture Arts and Sciences (AMPAS), 45–46, 48, 50–51, 54, 56–57, 59, 68, 121, 124, 179, 204, 208, 212–213, 216–219, 233–234, -
WARNER BROS. PICTURES Presents an ESPERANTO FILMOJ
WARNER BROS. PICTURES Presents An ESPERANTO FILMOJ Produktado A HEYDAY FILMS Production An ALFONSO CUARÓN Film SANDRA BULLOCK GEORGE CLOONEY Music by STEVEN PRICE Costume designer JANY TEMIME Effects Supervisor TIM WEBBER Editors ALFONSO CUARÓN MARK SANGER Production designer ANDY NICHOLSON Director of photography EMMANUEL LUBEZKI, A.S.C., A.M.C. Executive producers NIKKI PENNY CHRIS deFARIA STEPHEN JONES Written by ALFONSO CUARÓN & JONÁS CUARÓN Produced by ALFONSO CUARÓN DAVID HEYMAN Directed by ALFONSO CUARÓN Academy Award® winners Sandra Bullock (“The Blind Side”) and George Clooney (“Syriana”) star in “Gravity,” a heart-pounding thriller that pulls you into the infinite and unforgiving realm of deep space. The film was directed by Oscar® nominee Alfonso Cuarón (“Children of Men”). Bullock plays Dr. Ryan Stone, a brilliant medical engineer on her first shuttle mission, with veteran astronaut Matt Kowalsky (Clooney). But on a seemingly routine spacewalk, disaster strikes. The shuttle is destroyed, leaving Stone and Kowalsky completely alone— tethered to nothing but each other and spiraling out into the blackness. The deafening silence tells them they have lost any link to Earth…and any chance for rescue. As fear turns to panic, every gulp of air eats away at what little oxygen is left. But the only way home may be to go further out into the terrifying expanse of space. “Gravity” was written by Alfonso Cuarón & Jonás Cuarón, and produced by Alfonso Cuarón and David Heyman (the “Harry Potter” films). Chris deFaria, Nikki Penny and Stephen Jones served as executive producers. The behind-the-scenes team includes multiple Oscar®-nominated director of photography Emmanuel Lubezki (“Children of Men,” “The New World”); production designer Andy Nicholson; editors Alfonso Cuarón and Mark Sanger; and costume designer Jany Temime (the “Harry Potter” films). -
Shepperton Studios Application for Approval of Reserved Matters And
Shepperton Studios Application for approval of Reserved Matters and the phased approval of details reserved by condition – Shepperton South Planning Statement December 2020 Contents 1. Introduction 3 2. Site Context 4 3. The Outline Permission 7 4. Reserved Matters Approval: Proposed Development – Shepperton South 10 5. Assessment of the Reserved Matters Proposals 14 6. Discharge of Planning Conditions 18 7. Summary and Conclusions 20 Appendix 1: Planning Conditions Contact Sara Dutfield Taylor Cherrett [email protected] [email protected] 4th December 2020 1. Introduction 1.1 This Statement accompanies a reserved matters application package submitted to Spelthorne Borough Council (‘SBC’) on behalf of Shepperton Studios Ltd (‘SSL’) in relation to the land to the South of the existing studios (known as Shepperton South). The package includes: Approval of reserved matters (layout, appearance, scale and landscape) pursuant to the outline planning permission (planning ref. 18/01212/OUT) granted 4th July 2019 for Shepperton South; and Corresponding phased discharge of conditions. 1.2 The statement is submitted to assist the Local Planning Authority and third parties to fully understand the format and content of the applications and how they comply and satisfy the requirements of the outline planning permission. 1.3 The submission follows pre-application discussions with SBC officers on 19th November 2020 to agree the interpretation and requirements of the outline planning permission and to discuss the applications content