DOCSLIB.ORG

Spring 2017 Course Catalog FILM & MEDIA STUDIES Spring 2017 Preliminary Course List (Updated 1/5/17)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Spring 2017 Course Catalog FILM & MEDIA STUDIES Spring 2017 Preliminary Course List (Updated 1/5/17) Film and media studies Spring 2017 Course Catalog FILM & MEDIA STUDIES Spring 2017 Preliminary Course List (updated 1/5/17) Required Courses Core Course: FMS 21/ILVS 52. Global History of Cinema (requirement for FMS majors) Core Course: FMS 23/Sociology 40. Media and Society FMS 199. FMS Senior Project (requirement for FMS majors taking two-semester Senior Thesis/ Project capstone) Elective Courses THEORY FMS 40. Media Theory FMS 94-05/EXP 53 Documentary: History, Theory and New Directions ILVS 70. Intro to Visual Studies PRACTICE Drama 15. Makeup Design and Application EXP 51. Advanced Documentary Practice EXP 150. The Future of Magazines (This is a five week, half-credit course that runs from March 28 through April 25, 2017. ) FMS 31. Film/Media Production II (formerly Filmmaking 2) FMS 33/Drama 77. Screenwriting I FMS 39/Dance 77. Dance on Camera FMS 41/English 7. Creative Writing/Journalism FMS 42/English 11. Intermediate Journalism FMS 94-02/CSHD 143-08. Creating Children’s Media FMS 94-04/EXP 58. Special Topics: Social Marketing FMS 134/Drama 178. Screenwriting II FMS 136/Drama 158. Directing for Film FMS 138. Advanced Filmmaking (By consent only. Contact [email protected]) Studio Art: Selected courses at the SMFA in Video/Film, Computer Graphics, Photography, etc. (requires approval of FMS Director) NON-U.S. FMS 76/Arabic 57. Arab and Middle Eastern Cinemas FMS 77/Italian 75. Italian Film FMS 78/Japanese 80. Japanese Film FMS 83/Drama 51. Latino Theater and Film FMS 84/JS 142/ILVS 103. Jewish Experience on Film FMS 175/Arabic 155. Visualizing Colonialism FMS 194-01/Spanish 192 A. Literature and Film of Post-Civil War Spain Spring 2017 Complete FMS Course List FMS 94-01/German 92-01/192-01. Special Topics: Kafka and Film FMS 194-02/Japanese 191-01. Special Topics: The World of Hayao Miyazaki French 92. Love and War in French Cinema UPPER LEVEL ENV 150. Environment, Communication and Culture FMS 84/JS 142/ILVS 103. Jewish Experience on Film FMS 134/Drama 178. Screenwriting II FMS 136/Drama 158. Directing for Film FMS 138. Advanced Filmmaking (By consent only. Contact [email protected], x73384.) FMS 161/Sociology 185. Seminar in Mass Media Studies: Digital Hate FMS 163/Political Science 104. New Media, New Politics FMS 175/Arabic 155. Visualizing Colonialism FMS 177/Religion 100. Religion and Film FMS 186. How Films Think FMS 194-01/Spanish 192 A. Literature and Film of Post-Civil War Spain FMS 194-02/Japanese 191-01. Special Topics: The World of Hayao Miyazaki FMS 194-03/Music 0197-03. Dark Places: Sound and Music in SciFi and Noir FMS 194-04/Psychology 196-03. Media and Early Childhood Development FMS 194-05/EXP 102. Advanced Digital Media (By consent only. Contact [email protected], x73384.) Music 0193-01. 1960s Spies in Music and Media Political Science 118-05. How Campaigns, Communications, and Organizing Can Impact Our World ADDITIONAL ELECTIVES Dance 92-06. Special Topics: Dance and the Hollywood Musical ENG 84-01. Black Comedy FMS 52/Child Development 167. Children and Mass Media FMS 94-03/EXP 56. From 'Why Not' to Wi-Fi: a History of American Broadcasting FMS 99. Internship (By consent only. Contact [email protected], x72007.) FMS 195. Directed Study (By consent only. Contact [email protected] or [email protected]) Music 151/FMS 176. Video Game Music VISC 1006 (SMFA). Histories of Film/Part Two—1955 to present VISC 2022 (SMFA). Neo-Noir and Its Contexts VISC 2025 (SMFA). History and Aesthetics in Hitchcock VISC 2028 (SMFA). Theorizing Film and Gender FMS Spring 2017 Course Descriptions FMS 21 Global History of Cinema Malcolm Turvey MW 1:30 to 2:45 p.m. (screening) W 6 to 10 p.m. or F 9 to 1 p.m. (Cross-listed w/ ILVS 52) History of cinema beginning with the emergence of the technologies for making and exhibiting films around 1894 and the major genres of early cinema (1895-1904); the development of "classical" narrative film in the US in the 1900s and 1910s; the creation of alternatives to classical cinematic storytelling in the 1920s in France, Germany, the Soviet Union and elsewhere; the rise of documentary and experimental film; and the coming of synchronized sound in the late 1920s. European responses to the increasing political turmoil in the lead-up to WWII in the 1930s; Japanese popular traditions of filmmaking, the impact of WWII on film history; the emergence of Italian Neo-Realism and "modernist" art cinema in the late 1940s and 1950s; the New Waves of the late 1950s; and political modernist, post-colonial, feminist and other radical forms of filmmaking that arose in response to the political crises of the 1960s. Survey of world cinema since the 1970s, focusing on the changes that have occurred in mainstream Hollywood filmmaking and the work of filmmakers in Hong Kong and other non-western countries. (Required for majors. This course counts toward the Arts distribution requirement.) FMS 23 Media and Society Sarah Sobieraj TUTH 1:30 to 2:45 p.m. (Cross-listed w/ SOC 40) Social and economic organization of the mass media of communication. Effects on content. Themes of mass culture. Social composition of the audience. Effects of the media on the audience. Topics such as television, films, the press, books, magazines, and advertising. (This course counts toward the Social Sciences distribution requirement.) FMS 31 Film and Media Production II (formally Filmmaking 2) Don Schechter TH 10:30 a.m. to 12 p.m. TU 10:30 to 1 p.m. Howard Woolf TH 10:30 a.m. to 12 p.m. M 6 to 8:30 p.m. Collaborative work to develop skills in producing, casting, directing, cinematography, and finishing by making their own short features. Prerequisite: FMS 30 or permission of the instructor. (This course counts toward the Arts distribution requirement.) FMS 33 Screenwriting I Khary Jones TU 6 to 9 p.m. (Cross-listed w/ DR 77) An introduction to the craft of screenwriting with an emphasis on story, structure, character development, dialogue, visuals, genre, and the language of film. Films and produced screenplays will be analyzed to illustrate the aforementioned topics. Students will workshop their materials weekly and are expected to provide insightful analysis of their classmates' work. By the end of the course, students will be required to complete the first act of a feature-length screenplay and an outline of Acts II and III. (This course counts toward the Arts distribution requirement.) FMS 39 Dance on Camera Jaclyn Waguespack TU/TH 1:30 to 2:45 p.m. (Cross-listed w/DNC 77) Inter-disciplinary course designed for any dancer, artist or student interested in film & video production with dance or movement as a medium. Participants will take dance and movement concepts outside of studio walls and into the community through site-specific collaborative video projects. Through storyboarding, shooting, editing, and choreographing/directing, students will learn basic video production techniques and advanced camera work in this hands-on course. Development of movement ideas as well as non-linear editing skills will be explored. Work culminates in end of semester public screen- ing and online video sharing. Open to all. No dance or film/video experience necessary. FMS 40 Media Theory Todd Holden TU 6:30 to 9 p.m. Examination of traditional mass media theories and exploration of the extent to which they apply to newer digital and social communication platforms and research. Consideration of social reality theories including agenda setting and para-social interaction, functional theories including theories about media violence, cultivation and the diffusion of innovation, and theories about mass media and mass culture. Use of theory to understand research and as well as media practice. FMS 41 Creative Writing/Journalism Neil Miller M/W 1:30 to 2:45 p.m. M/W 4:30 to 5:45 p.m. (Cross-listed with ENG 07) A course open to all interested students who want practice and instruction in journalism in a workshop situation. Open to all who have completed the College Writing Requirement. Each section is limited to fifteen students. Pre-requisites: Completion of the College Writing Requirement. FMS 42 Intermediate Journalism Nan Levinson TU/TH 3 to 4:15 p.m. (Cross-listed w/ ENG 11) Intensive practice and critical guidance in journalistic writing. Emphasis on weekly papers and on class discussion of student work, but with some reading and study of classical rhetoric. Opportunities to write papers on subjects in fields of personal and academic interest. Pre-requisites: Completion of the College Writing Requirement FMS 52 Children and Mass Media Julie Dobrow F 9 to 11:30 a.m. (Cross-listed w/ CDHS 167) Why educators, broadcasters, advertisers, and politicians consider children a special audience of the mass media. Examination of children's media content (television, video, computers, film, and print) and the effects of media on children and adolescents. Regulations that govern children's media use, including V-chip, ratings systems, and Internet access. Student projects on media literacy and other topics. (This course counts toward the Arts distribution requirement.) FMS 76 Arab and Middle Eastern Cinemas Somy Kim TU 4:30 to 7 p.m. (Cross-listed w/ARB57/ILVS 87). An overview of the social role of cinema in the Arab world and the broader Middle East focusing on a historical perspective on the development and expansion of cinema in these parts of the world, as well as several thematic windows through which the relationship of cinema to these societies is examined.
Load more

Recommended publications
  • 1997 Sundance Film Festival Awards Jurors
    1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J.
    [Show full text]
  • The Honorable Mentions Movies – LIST 3
    The Honorable mentions Movies – LIST 3: 1. Modern Times by Charles Chaplin (1936) 2. Pinocchio by Hamilton Luske et al. (1940) 3. Late Spring by Yasujirō Ozu (1949) 4. The Virgin Spring by Ingmar Bergman (1960) 5. Charade by Stanley Donen (1963) 6. The Soft Skin by François Truffaut (1964) 7. Who's Afraid of Virginia Woolf? by Mike Nichols (1966) 8. Dog Day Afternoon by Sidney Lumet (1975) 9. Love Unto Death by Alain Resnais (1984) 10. Kiki's Delivery Service by Hayao Miyazaki (1989) 11. Bram Stoker's Dracula by Francis Ford Coppola (1992) 12. Léon: The Professional by Luc Besson (1994) 13. Princess Mononoke by Hayao Miyazaki (1997) 14. Fight Club by David Fincher (1999) 15. Rosetta by Jean-Pierre Dardenne, Luc Dardenne (1999) 16. The Ninth Gate by Roman Polanski (1999) 17. O Brother, Where Art Thou? by Ethan Coen, Joel Coen (2000) 18. The Return Andrey Zvyagintsev (2003) 19. The Sea Inside by Alejandro Amenábar (2004) 20. Broken Flowers by Jim Jarmusch (2005) 21. Climates by Nuri Bilge Ceylan (2006) 22. The Prestige by Christopher Nolan (2006) 23. The Class by Laurent Cantet (2008) 24. Mother by Bong Joon-ho (2009) 25. Shutter Island by Martin Scorsese (2010) 26. The Tree of Life by Terrence Malick (2011) 27. The Artist by Michel Hazanavicius (2011) 28. Melancholia by Lars von Trier (2011) 29. Hugo by Martin Scorsese (2011) 30. Twice Born by Sergio Castellitto (2012) 31. August Osage county by John Wells (2013) 32. 12 Years a Slave by Steve McQueen (2013) 33. The Best Offer by Giuseppe Tornatore (2013) 34.
    [Show full text]
  • 80S 90S Hand-Out
    FILM 160 NOIR’S LEGACY 70s REVIVAL Hickey and Boggs (Robert Culp, 1972) The Long Goodbye (Robert Altman, 1973) Chinatown (Roman Polanski, 1974) Night Moves (Arthur Penn, 1975) Farewell My Lovely (Dick Richards, 1975) The Drowning Pool (Stuart Rosenberg, 1975) The Big Sleep (Michael Winner, 1978) RE- MAKES Remake Original Body Heat (Lawrence Kasdan, 1981) Double Indemnity (Billy Wilder, 1944) Postman Always Rings Twice (Bob Rafelson, 1981) Postman Always Rings Twice (Garnett, 1946) Breathless (Jim McBride, 1983) Breathless (Jean-Luc Godard, 1959) Against All Odds (Taylor Hackford, 1984) Out of the Past (Jacques Tourneur, 1947) The Morning After (Sidney Lumet, 1986) The Blue Gardenia (Fritz Lang, 1953) No Way Out (Roger Donaldson, 1987) The Big Clock (John Farrow, 1948) DOA (Morton & Jankel, 1988) DOA (Rudolf Maté, 1949) Narrow Margin (Peter Hyams, 1988) Narrow Margin (Richard Fleischer, 1951) Cape Fear (Martin Scorsese, 1991) Cape Fear (J. Lee Thompson, 1962) Night and the City (Irwin Winkler, 1992) Night and the City (Jules Dassin, 1950) Kiss of Death (Barbet Schroeder 1995) Kiss of Death (Henry Hathaway, 1947) The Underneath (Steven Soderbergh, 1995) Criss Cross (Robert Siodmak, 1949) The Limey (Steven Soderbergh, 1999) Point Blank (John Boorman, 1967) The Deep End (McGehee & Siegel, 2001) Reckless Moment (Max Ophuls, 1946) The Good Thief (Neil Jordan, 2001) Bob le flambeur (Jean-Pierre Melville, 1955) NEO - NOIRS Blood Simple (Coen Brothers, 1984) LA Confidential (Curtis Hanson, 1997) Blue Velvet (David Lynch, 1986) Lost Highway (David
    [Show full text]
  • MADE in HOLLYWOOD, CENSORED by BEIJING the U.S
    MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence 1 MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence TABLE OF CONTENTS EXECUTIVE SUMMARY I. INTRODUCTION 1 REPORT METHODOLOGY 5 PART I: HOW (AND WHY) BEIJING IS 6 ABLE TO INFLUENCE HOLLYWOOD PART II: THE WAY THIS INFLUENCE PLAYS OUT 20 PART III: ENTERING THE CHINESE MARKET 33 PART IV: LOOKING TOWARD SOLUTIONS 43 RECOMMENDATIONS 47 ACKNOWLEDGEMENTS 53 ENDNOTES 54 Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence MADE IN HOLLYWOOD, CENSORED BY BEIJING EXECUTIVE SUMMARY ade in Hollywood, Censored by Beijing system is inconsistent with international norms of Mdescribes the ways in which the Chinese artistic freedom. government and its ruling Chinese Communist There are countless stories to be told about China, Party successfully influence Hollywood films, and those that are non-controversial from Beijing’s warns how this type of influence has increasingly perspective are no less valid. But there are also become normalized in Hollywood, and explains stories to be told about the ongoing crimes against the implications of this influence on freedom of humanity in Xinjiang, the ongoing struggle of Tibetans expression and on the types of stories that global to maintain their language and culture in the face of audiences are exposed to on the big screen. both societal changes and government policy, the Hollywood is one of the world’s most significant prodemocracy movement in Hong Kong, and honest, storytelling centers, a cinematic powerhouse whose everyday stories about how government policies movies are watched by millions across the globe.
    [Show full text]
  • Oscar Ballot
    OFFICIAL 2020 OSCAR BALLOT NAME SCORE /24 BEST PICTURE ADAPTED SCREENPLAY SOUND EDITING Ford v Ferrari The Irishman, Steven Zaillian Ford v Ferrari The Irishman Jojo Rabbit, Taika Waititi Joker Jojo Rabbit Joker, Todd Phillips & Scott Silver 1917 Joker Little Women, Greta Gerwig Once Upon a Time In... Hollywood Little Women The Two Popes, Anthony McCarten Star Wars: The Rise of Skywalker Marriage Story 1917 ORIGINAL SCREENPLAY SOUND MIXING Once Upon a Time In... Hollywood Knives Out, Rian Johnson Ad Astra Parasite Marriage Story, Noah Baumbach Ford v Ferrari 1917, Sam Mendes & Krysty Wilson-Cairns Joker LEAD ACTOR Once Upon a Time In... Hollywood, 1917 Antonio Banderas, Pain and Glory Quentin Tarantino Once Upon a Time In... Hollywood Leonardo DiCaprio, Parasite, Bong Joon Ho & Han Jin Won Once Upon a Time In... Hollywood PRODUCTION DESIGN Adam Driver, Marriage Story CINEMATOGRAPHY The Irishman Joaquin Phoenix, Joker Jojo Rabbit The Irishman, Rodrigo Prieto Jonathan Pryce, The Two Popes 1917 Joker, Lawrence Sher Once Upon a Time In... Hollywood The Lighthouse, Jarin Blaschke Parasite LEAD ACTRESS 1917, Roger Deakins Cynthia Erivo, Harriet Once Upon a Time In... Hollywood, ORIGINAL SCORE Scarlett Johansson, Marriage Story Robert Richardson Saoirse Ronan, Little Women Joker, Hildur Guðnadóttir Charlize Theron, Bombshell Little Women, Alexandre Desplat Renée Zellweger, Judy DOCUMENTARY FEATURE Marriage Story, Randy Newman American Factory 1917, Thomas Newman SUPPORTING ACTOR The Cave Star Wars: The Rise of Skywalker, The Edge of Democracy John Williams Tom Hanks, A Beautiful Day in the Neighborhood For Sama Anthony Hopkins, The Two Popes Honeyland Al Pacino, The Irishman ORIGINAL SONG Joe Pesci, The Irishman “I Can’t Let You Throw Yourself Away” from Brad Pitt, Once Upon a Time In..
    [Show full text]
  • 2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
    2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter
    [Show full text]
  • Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode.
    [Show full text]
  • Credits – Km Effects
    CREDITS – KM EFFECTS LTD Directors Credit 2020 Louis Wain Will Sharpe Prosthetic Makeup Designer The Witches Robert Zemeckis Prosthetics Designer Jolt Tanya Wexla Prosthetics Supervisor Venom 2 Andy Serkis VFX/Prosthetics Outside the Wire Mikael Hafstrom Prosthetics Designer A Boy Called Christmas Gil Kenan Prosthetics Designer The Gentlemen Guy Ritchie Prosthetics Designer The Host Andy Newbery Prosthetics Designer Artemis Fowl Kenneth Branagh Prosthetics Supervisor Eurovision David Dobkin Prosthetics Supervisor 2019 The Informer Andrea Di Stefano Prosthetics & Tattoo Supplier 47 Meters Down: Uncaged Johannes Roberts Prosthetic Makeup Designer Pokemon: Detective Pikachu Rob Letterman VFX Creature Designer The Good Liar Bill Condon Prosthetics Supervisor The Festival Iain Morris Prosthetics Three Seconds Andrea Di Stefano Prosthetics & Tattoo Supplier MI6 – Mission Impossible Christopher McQuarrie Prosthetics Designer 2018 Star Wars: The Last Jedi Rian Johnson Prosthetics Designer Justice League Zack Snyder Prosthetics Paddington 2 Paul King Prosthetics Ghost Stories Jeremy Dyson & Andy Nyman Prosthetic Makeup Designer 47 Meters Down Johannes Roberts Prosthetic Makeup Designer The Current War Alfonso Gomez-Rejon Prosthetics Supervisor Benedict Cumberbatch 2017 The Death of Stalin Armando Iannucci Prosthetics On Chesil Beach Dominic Cooke Prosthetic Makeup Designer Transformers: The Last Knight Michael Bay Prosthetics (uncredited) The Mummy Alex Kurtzman Key Prosthetics (Tom Cruise) Wonder Woman Patty Jenkins Prosthetics Supervisor King
    [Show full text]
  • Download Download
    Unbound: A Journal of Digital Scholarship Realizing Resistance: An Interdisciplinary Conference on Star Wars, Episodes VII, VIII & IX Issue 1, No. 1, Fall 2019 USING THE FORCE OF REPRESENTATION The New Hope Against the Rise of White Nationalism Casey Walker Abstract: Christine Cornea’s article “From Isolationism to Globalism: An Overview of Politics and Ethics in the Hollywood Science Fiction Film” discusses the discourse on nationalism, isolationism, and the fear of globalization in Hollywood’s science fiction films beginning in the 1930s. Cornea concludes these films have an “overwhelming concern with the defence [sic] of the nation throughout this period” and notes “the frequent narrative emphasis on confrontation (whether competitive, threatening, or violent) across circumscribed borderlines.” These filmic manifestations of normative anxiety concerning migration and the immigrant "Other" create a space in which nativism and annihilation of immigrants are celebrated. However, in the most recent installments of the Star Wars franchise, Episodes VII & VIII, the films advocate a more global, borderless society where humans and aliens coexist in a united front of resistance against the Empire. The racial diversity of the human characters further accentuates this conscious effort on the part of the studio and filmmakers to make inclusion and diversity the heart of the resistance against an Empire, which itself is emblematic of the mostly white, mostly male hierarchy of nativism and exclusion. This paper will use previous literature (such as the article mentioned above) to launch a discussion of the ways in which the latest installments in the Star Wars canon subvert the tradition of nationalist and nativist tendencies in science fiction films, creating a diverse resistance, while also serving as fertile ground for a response to the rise of nationalism (specifically white nationalism) in our nation today.
    [Show full text]
  • The Dysphoric Style in Contemporary American Independent Cinema David C
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 The Dysphoric Style in Contemporary American Independent Cinema David C. Simmons Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES THE DYSPHORIC STYLE IN CONTEMPORARY AMERICAN INDEPENDENT CINEMA By DAVID C. SIMMONS A Dissertation submitted to the Program in the Humanities in partial fulfillment of the requirements for the degree of Doctorate of Philosophy Degree Awarded: Spring Semester, 2005 Copyright (c) 2005 David C. Simmons All Rights Reserved The members of the Committee approve the dissertation of David C. Simmons defended on April 11, 2005. ____________________________________ Karen L. Laughlin Professor Co-Directing Dissertation ____________________________________ Mark Garrett Cooper Professor Co-Directing Dissertation ____________________________________ Valliere Richard Auzenne Outside Committee Member ____________________________________ William J. Cloonan Committee Member Approved: ___________________________________ David F. Johnson Director, Program in the Humanities The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS This dissertation would not have been possible without the assistance of Sandefur Schmidt and my mother, Rita Simmons. I gratefully acknowledge both of them for the immense kindness and help they’ve provided me. iii TABLE OF CONTENTS Abstract ................................................................... v INTRODUCTION: THE DYSPHORIC STYLE IN CONTEMPORARY AMERICAN INDEPENDENT CINEMA ................. 1 1. TRYING TO HOLD ONTO A PIECE OF PI: THE DYSPHORIC STYLE’S STRUCTURING OF CAUSAL RELATIONS ......... 7 2. FACT OR PULP FICTION: THE DYSPHORIC STYLE AND TEMPORAL RELATIONS .................... 26 3. “THE COOKIE STAND IS NOT PART OF THE FOOD COURT”: THE DYSPHORIC STYLE AND SPATIAL RELATIONS ......................
    [Show full text]
  • Current Cinema
    Touch Each Picture to Read the Story INK TALES Star Wars: Captain Phasma The brilliant Kelly Thompson brings Issue 30 Cover: the famed First Order leader to life Illustration by in a Marvel miniseries that leads up Michael Koelsch to the events of The Last Jedi. By Danny Munso Letter from the Publisher BLOODLIST TALES Contributors Killing Time Jose Prendes combines horror, comedy Masthead and time travel into a script that landed him on the 2017 compendium Art and of the best dark scripts in Hollywood. Photo Credits By Danny Munso RETRO Reservoir Dogs: 25th-Anniversary Q&A Writer-director Quentin Tarantino, actor Michael Madsen and producer Lawrence Bender reminisce about the iconic heist flick, which emerged from a Sundance filmmakers lab. By Jeremy Smith q TV DVR’D Drunk History Derek Waters talks about the progression and process behind his hit Comedy Central series. By Danny Munso TV STREAMED Godless Writer-director Scott Frank on wrangling his beloved film script into an epic Netflix miniseries. By Jeremy Smith TV STREAMED The Punisher Steve Lightfoot on capturing the returning-vet experience and writing the tortured character at the heart of Netflix’s latest Marvel series. By Danny Munso INSIDE THE ACADEMY’S 2017 NICHOLL COMPETITION Goodfellows Meet this year’s Nicholl Fellowship recipients, rewarded for writing their labors of love by the Academy of Motion Picture Arts and Sciences. By Claude Chung q COVER STORY Star Wars: The Last Jedi The Writer/Director Rian Johnson discusses his film’s biggest moments and what it took to fly the space opera saga into uncharted territory.
    [Show full text]
  • KELVIN R. TRAHAN Hair Stylist IATSE 706 & 798
    KELVIN R. TRAHAN Hair Stylist IATSE 706 & 798 FILM KNIVES OUT Department Head FilmNation Entertainment Director: Rian Johnson GEMENI MAN Department Head Jerry Bruckheimer Director: Ang Lee Cast: Mary Elizabeth Winstead, Clive Owen BUMBLEBEE Department Head Allspark Pictures Director: Travis Knight Cast: Hailee Steinfeld OPHELIA Department Head/ Covert Media Personal Hairstylist to Naomi Watts and Clive Owen Director: Claire McCarthy SUBURBICON Personal Hair Stylist to Matt Damon Black Bear Pictures Director: George Clooney THE KILLING OF A SACRED DEER Department Head/ Element Pictures Personal Hair Stylist to Nicole Kidman and Colin Farrell Director: Yorgos Lanthimos Cast: Nicole Kidman, Colin Farrell BABY DRIVER Department Head TriStar Pictures Director: Edgar Wright Cast: Ansel Elgort, Lily James, Jon Hamm BILLY LYNN’S LONG HALFTIME WALK Department Head Bona Film Group Director: Ang Lee Cast: Kristen Stewart, Garrett Hedlund, Joe Alwyn, Makenzie Leigh, Mason Lee TRUMBO Department Head Bleecker Street Films Director: Jay Roach Cast: Bryan Cranston, Helen Mirren, Diane Lane TRIPLE NINE Department Head Worldview Entertainment Director: John Hillcoat Cast: Chiwetel Ejiofor, Casey Affleck, Woody Harrelsen, Aaron Paul Gal Gadot, Clifton Collins ENDLESS LOVE Department Head Bluegrass Films Director: Shana Feste Cast: Alex Pettyfer, Gabriella Wilde, Bruce Greenwood, Rhys Wakefield THE MILTON AGENCY Kelvin R. Trahan 6715 Hollywood Blvd #206, Los Angeles, CA 90028 Hair Stylist Telephone: 323.466.4441 Facsimile: 323.460.4442 IATSE 706 & 798 [email protected] www.miltonagency.com Page 1 of 6 SABOTAGE Department Head Open Road Films (II) Director: David Ayer Cast: Arnold Schwarzenegger, Sam Worthington, Mireille Enos, Terrance Howard, Joe Manganiello 42 Department Head Open Road Films (II) Director: Brian Helgeland Cast: Christopher Meloni, Chadwick Boseman, Nicole Beharie ARGO Department Head Warner Bros.
    [Show full text]