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THTR 433A/ '16 CD II/ Syllabus-9.Pages
USCSchool of Costume Design II: THTR 433A Thurs. 2:00-4:50 Dramatic Arts Fall 2016 Location: Light Lab/PDE Instructor: Terry Ann Gordon Office: [email protected]/ floating office Office Hours: Thurs. 1:00-2:00: by appt/24 hr notice Contact Info: [email protected], 818-636-2729 Course Description and Overview This course is designed to acquaint students with the requirements, process and expectations for Film/TV Costume Designers, supervisors and crew. Emphasis will be placed on all aspects of the Costume process; Design, Prep: script analysis,“scene breakdown”, continuity, research, and budgeting; Shooting schedules, and wrap. The supporting/ancillary Costume Arts and Crafts will also be discussed. Students will gain an historical overview, researching a variety of designers processes, aesthetics and philosophies. Viewing films and film clips will support critique and class discussion. Projects focused on specific design styles and varied media will further support an overview of techniques and concepts. Current production procedures, vocabulary and technology will be covered. We will highlight those Production departments interacting closely with the Costume Department. Time permitting, extra-curricular programs will include rendering/drawing instruction, select field trips, and visiting TV/Film professionals. Students will be required to design a variety of projects structured to enhance their understanding of Film/TV production, concept, style and technique . Learning Objectives The course goal is for students to become familiar with the fundamentals of costume design for TV/Film. They will gain insight into the protocol and expectations required to succeed in this fast paced industry. We will touch on the multiple variations of production formats: Music Video, Tv: 4 camera vs episodic, Film, Commercials, Styling vs Costume Design. -
Homage to Piero Tosi (Costume Designer)
The Scenographer presents Homage to Piero Tosi (costume designer) When I arrive at the Gino Carlo Sensani costume department accompanied by a student of the National School of Cinema, it does not in the least surprise me that Tosi receives me whilst keeping his back to me, intent on making some adjustment to a student’s problematic sketch. He pronounces a rapid greeting then lets pass a perfect lapse of time, neither too extended nor too brief, before turning to face me. Thoroughbred of the stage and screen, director of himself and in part an incorrigible actor, with an acknowledged debt to Norma Desmond and to those who still know how to descend a staircase with an outstretched arm on the banister, prompting those in attendance to take off their hat. I have known Pierino for many years, less in person, more through the words and the verbal accounts of Fellini, which almost never coincided with those of Tosi, yet traced a portrait with indelible colours. There is also a vague suggestion of witchcraft, from the moment in which the man ceased to change, neither from within nor from without. No sign of ageing, of the passing of time, preserved in a bubble of glass. Immutable, this is how Pierino Tosi appears to me, though he has no need of these compliments, neither does he fish for them, with always a foot placed on that shadowy line beyond which it is so easy to vanish, to fade away. Our mutual long-term acquaintance with Fellini draws us inevitably back to that climate. -
Master Class with Monique Prudhomme: Selected Bibliography
Master Class with Monique Prudhomme: Selected Bibliography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Film Costume Design (History and Theory) Annas, Alicia. “The Photogenic Formula: Hairstyles and Makeup in Historical Style.” in Hollywood and History: Costume Design in Film. Edward Maeder (ed). Los Angeles: Los Angeles County Museum of Art, 1987. 52-77. Chierichetti, David, and Edith Head. Edith Head: The Life and Times of Hollywood's Celebrated Designer. New York: Harper Collins Publishers, 2003. Coppola, Francis Ford, Eiko Ishioka, and Susan Dworkin. Coppola and Eiko on Bram Stoker's Dracula. San Francisco: Collins Publishers, 1992. Gutner, Howard. Gowns by Adrian: The MGM Years 1928-1941. New York: Harry N. Abrams, 2001. Jorgensen, Jay. Edith Head: The Fifty-Year Career of Hollywood's Greatest Costume Designer. Philadelphia: Running Press, 2010. Landis, Deborah N. Dressed: A Century of Hollywood Costume Design. New York: Collins Design, 2007. ---. Film Craft: Costume Design. New York: Focal Press, 2012. Laver, James, Amy De La Haye, and Andrew Tucker. Costume and Fashion: A Concise History. New York: Thames & Hudson, 2002. Leese, Elizabeth. Costume Design in the Movies: An Illustrated Guide to the Work of 157 Great Designers. -
THE FABRIC of DREAMS Master in Costume Design for Movies, TV and Stage
MDC MANIFATTURE DIGITALI CINEMA PRATO ASC ASSOCIAZIONE ITALIANA COSTUMISTI E SCENOGRAFI PIN POLO UNIVERSITARIO CITTA’ DI PRATO THE FABRIC OF DREAMS Master in Costume Design for Movies, TV and Stage 24 FEBRUARY – 2 MAY 2020 About the course The Italian tradition of Costume Design for Movies, TV and Stage structured as an intensive course taught by top Italian experts: Gabriella Pescucci, Carlo Poggioli and Alessandro Lai. “The Fabric of Dreams” Master in Costume Design for Movies, TV and Stage is an educational program for costume design. The aim is to offer a unique experience working with experts, exploring the history of costume through movies, interpreting historical costume as a means of designing contemporary costume, and making extraordinary garments with a view to opening a new museum. A top-tier program consisting of learning and hands-on experience under the guidance of leading professionals, expert craftspeople and internationally renowned companies. Tuscany has a history of thriving in the field of costume design, thanks to the first Grand Duke of Tuscany Cosimo I and his spouse Eleanor of Toledo, icons of the Florentine Renaissance. 500 hours, 64 days and a few weekends in which to learn to observe, design, cut, sew and organise. An intensive lab to achieve your dream to become a costume designer. The teachers Gabriella Pescucci, Carlo Poggioli and Alessandro Lai lead the course. Three renowned costume designers on the Italian and international film scene who vary in their styles and approaches, all conveying Italy’s exceptional flair for costume design. This course is their brainchild, an educational experience aimed at emerging professionals wishing to learn more about the theory and practice of costume design. -
Sydämellisesti Sinun 2/2020
SERLACHIUS Sydämellisesti Sinun 2/2020 RODNEY GRAHAM TAITEILIJOITA JA MALLEJA s. 6 GLAMOUR VALKOKANKAAN PUKULOISTOA GUSTAF-MUSEOSSA s. 10 SIMON PATTERSON HISTORIAN MAALAAMINEN KIINNOSTAA s. 18 SERLACHIUS Sydämellisesti Sinun 1 MEDIASSA SERLACHIUS SISÄLLYS 6 Tervehdys teille Mäntästä! Kylläpä me ilahduimme kun kuulimme, että olette siellä hyvissä voimissa. Mekin olemme täällä pysyneet terveinä, sillä niin kovin ahkerasti on hushållerskamme Sydämellisesti Sinun desinfieerannut kaiken mihin kätemme saatamme vain laskea. Kankaiset nenä- 2 / 2020 liinamme ovat joutaneet paperikoriin, käytämme nyt vallan paperisia nästyykejä, saamme ne suoraan fabriikista. Tämä kaikki on niin kovin hygieenillistä. 3 TERVEHDYS TEILLE MÄNTÄSTÄ Voitteko kuvitella, Gustaf oli tilannut meille Italiasta joukon filmitähtien kostyy- meja näyttääkseen todellista loistoa ja käsityötaitoa. Luotettu ompelijamme 4–5 KUULUMISIA 18 onkin rouvasväen iloksi alkanut kopioida pukujen glamoröösejä tyylejä. 6–8 RODNEY GRAHAM, Göstan kaukainen vieras saapuu vihdoin uudelta mantereelta, Kanadasta asti. TAITEILIJOITA JA MALLEJA Herra Rodney Grahamin visiitti estyi kesällä kulkutautiepidemian vuoksi, mutta nyt kaikki on kunnossa ja vierailu järjestyy. Hän ei ole koskaan ennen käynyt 9 UUDET JULKAISUT maassamme. Kuulemma herra on mielenlaadultaan rahtusen verran nostalgiaan ja melankoliaan taipuvainen, muttei sentään millään tavalla synkkämielinen. 10–13 GLAMOUR – VALKOKANKAAN 14 PUKULOISTOA GUSTAF-MUSEOSSA Kuulitteko jo syvästä harrastuneisuudestamme kirjallisuuden alalla? Me emme täällä -
DRAWING COSTUMES, PORTRAYING CHARACTERS Costume Sketches and Costume Concept Art in the Filmmaking Process
Laura Malinen 2017 DRAWING COSTUMES, PORTRAYING CHARACTERS Costume sketches and costume concept art in the filmmaking process MA thesis Aalto University School of Arts, Design and Architecture Department of Film, Television and Scenography Master’s Degree Programme in Design for Theatre, Film and Television Major in Costume Design 30 credits Acknowledgements I would like to thank my supervisors Sofia Pantouvaki and Satu Kyösola for the invaluable help I got for this thesis. I would also like to thank Nick Keller, Anna Vilppunen and Merja Väisänen, for sharing their professional expertise with me. Author Laura Malinen Title of thesis Drawing Costumes, Portraying Characters – Costume sketches and costume concept art in the filmmaking process Department Department of Film, Television and Scenography Degree programme Master’s Degree Programme in Design for Theatre, Film and Television. Major in Costume Design Year 2017 Number of pages 85 Language English Abstract This thesis investigates the various types of drawing used in the process of costume design for film, focusing on costume sketches and costume concept art. The research question for this thesis is ‘how and why are costume sketches and costume concept art used when designing costumes for film?’ The terms ‘costume concept art’ and ‘costume sketch’ have largely been used interchangeably. My hypothesis is that even though costume sketch and costume concept art have similarities in the ways of usage and meaning, they are, in fact, two separate, albeit interlinked and complementary terms as well as two separate types of professional expertise. The focus of this thesis is on large-scale film productions, since they provide the most valuable information regarding costume sketches and costume concept art. -
Deborah Nadoolman Landis V&A Publishing Contents
HOLLYWOOD Edited by DEBORAH NADOOLMAN LANDIS V&A PUBLISHING CONTENTS 1 THE ART OF BECOMING 2 DEFINING THE CHARACTER Sponsor's foreword 8 What is costume design? 48 The costume of silent comedy Deborah Nadoolman Landis David Robinson Preface n Debbie Reynolds Moving pictures, silent movies Sound comedy: louder and funnier and the art of William Hogarth 56 John Landis Setting the scene: A ileen Ribeiro Silhouettes of seduction 110 a short history of Designing The Last Emperor 68 Jean L. Druesedow Hollywood costume James Acheson design 1912-2012 12 Hollywood and history 126 Deborah Nadoolman Landis The process of transformation 72 Edward Maeder Kristin M. Burke Banton's beauties 132 Designing for the Coen Brothers 76 Deborah Nadoolman Landis Mary Zophres Costume and fashion 138 Transformations: Johnny Depp 80 Valerie Steele Keith Lodwick Beaton's Fair Lady 146 Creative collaborations 84 Keith Lodwick Edith Head and Alfred Hitchcock Unfashioning costume design 150 Martin Scorsese and Sandy Powell Booth Moore Mike Nichols and Ann Roth Tim Burton and Colleen Atwood Transformations: an interview with Robert De Niro 158 Deborah Nadoolman Landis Transformations: an interview with Meryl Streep 162 Deborah Nadoolman Landis Ann Roth in conversation 168 Peter Biskind 3 COLLECTORS & COLLECTING 4 NEW FRONTIERS The exhibition odyssey 178 Afterlife: ensuring the enduring interest Notes 306 Deborah Nadoolman Landis of a web audience 264 Further reading 309 Chris Laverty Looking behind the wizard's curtain 188 Christopher Frayling Why design? 272 Filmography 310 Jeffrey Kurland The treasure hunt 202 Picture credits 314 Keith Lodwick Fantasy, sci-fi and superheroes 280 Acknowledgements Jacob McMurray 315 Showcasing the talent 212 Index Sam Catley The challenges of Mocap and CGI 294 316 Joanna Johnston A collectors'tale 216 Larry McQueen The collecting imperative: a studio perspective 228 Deidre Thieman Actress and collector 236 Debbie Reynolds Blades 242 Christopher Frayling Gunslingers 246 Christopher Frayling 90027, Hollywood is a zip code: the LA connection 252 Beth Werling . -
Kleidung / Mode / Couture / Kostümdesign Im Film: Eine Erste Bibliographie 2011
Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie 2011 https://doi.org/10.25969/mediarep/12753 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2011 (Medienwissenschaft: Berichte und Papiere 122). DOI: https://doi.org/10.25969/mediarep/12753. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0122_11.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 122, 2011: Mode im Film. Redaktion und Copyright dieser Ausgabe: Ludger Kaczmarek, Hans J. Wulff. ISSN 1613-7477. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0122_11.html Letzte Änderung: 20.2.2011. Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie. Zusammengest. v. Hans J. Wulff u. Ludger Kaczmarek Inhalt: da, wo die Hobos sind, er riecht wie einer: Also ist er Einleitung einer. Warum sollte man jemanden für einen anderen Bibliographien halten als den, der er zu sein scheint? In Nichols’ Direktoria Working Girl (1988) nimmt eine Sekretärin heimlich Texte für eine Zeit die Rolle ihrer Chefin an, und sie be- nutzt auch deren Garderobe und deren Parfüm. -
Adaptations, Heritage Film & Costume Dramas
source guides adaptations, heritage film & costume dramas National Library adaptations, heritage film and costume drama 16 + Source Guide contents THE CONTENTS OF THIS PDF CAN BE VIEWED QUICKLY BY USING THE BOOKMARKS FACILITY INFORMATION GUIDE STATEMENT . .i BFI NATIONAL LIBRARY . .ii ACCESSING RESEARCH MATERIALS . .iii APPROACHES TO RESEARCH, by Samantha Bakhurst . .iv Introduction...........................................................................................................................................................1 E.M. FORSTER: MERCHANT IVORY ADAPTATIONS.........................................................................................2 A Room With a View.............................................................................................................................................3 Maurice...................................................................................................................................................................5 Howards End..........................................................................................................................................................8 JANE AUSTEN Pride and Prejudice.............................................................................................................................................12 Sense and Sensibility .........................................................................................................................................13 Emma....................................................................................................................................................................14 -
NOMINEES WINNING ALL / NONE [Updated Thru 88Th Awards (2/16)]
NOMINEES WINNING ALL / NONE [Updated thru 88th Awards (2/16)] WINNING ALL [Nominees with 2 or more competitive nominations, winning all] 4 Mark Berger 2 Mark Harris 4 Glen Robinson [plus 2 Sci/Tech Awards] 2 Helen Hayes 3 James Acheson 2 Rabbi Marvin Hier 3 Cecil Beaton 2 David Hildyard 3 Randall William Cook 2 Thomas Howard 3 Jacques-Yves Cousteau 2 Sarah Kernochan 3 Vernon Dixon 2 Barbara Kopple 3 Alex Funke 2 Ring Lardner, Jr. 3 Winton Hoch [plus 1 Sci/Tech Award] 2 Vivien Leigh 3 David MacMillan 2 Andrew Lockley 3 John Meehan (Art Director) 2 Branko Lustig 3 Giorgio Moroder 2 John Mollo 3 Carlo Rambaldi 2 Marc Norman 3 Jim Rygiel 2 Sharmeen Obaid-Chinoy 3 United States Navy 2 Paramount Publix Studio Sound Dept. 3 Saul Zaentz [plus 1 Thalberg Award] 2 Paramount Studio [plus 1 Sci/Tech Award] 2 Ben Affleck 2 Mario Puzo 2 Robert Amram 2 Luise Rainer 2 Manuel Arango 2 Tony Richardson 2 Richard Attenborough 2 Stephen Rosenbaum 2 Karen Baker Landers 2 Albert S. Ruddy 2 Frank Borzage 2 Denis Sanders 2 Simon Chinn 2 Gustavo Santaolalla 2 Pierre Collings 2 Tom Scott 2 Mark Coulier 2 Robert Skotak 2 Michael Douglas 2 Kenneth Smith 2 Robert Epstein 2 Kevin Spacey 2 Freddie Francis 2 John Stears 2 Roger K. Furse 2 Hilary Swank 2 Harry Gerstad 2 John Truscott 2 Sheridan Gibney 2 Marcel Vertes 2 Mel Gibson 2 Christoph Waltz 2 Benjamin Glazer 2 Paul Weatherwax 2 William Goldman 2 Russell Williams II 2 Elizabeth Haffenden 2 Peter Young WINNING NONE [Nominees with 8 or more competitive nominations, winning none] 20 Kevin O'Connell 9 Ingmar Bergman [1 Thalberg Award] 16 Greg P. -
Cross-Pollination and Shifting Research and Practice Trajectories; Expanding the Field in Costume Research
This is an electronic reprint of the original article. This reprint may differ from the original in pagination and typographic detail. Barbieri, Donatella; Pantouvaki, Sofia Cross-pollination and Shifting Research and Practice Trajectories; Expanding the Field in Costume Research Published in: Studies in Costume and Performance DOI: 10.1386/scp.3.1.3_2 Published: 01/06/2018 Document Version Peer reviewed version Please cite the original version: Barbieri, D., & Pantouvaki, S. (2018). Cross-pollination and Shifting Research and Practice Trajectories; Expanding the Field in Costume Research. Studies in Costume and Performance, 3(1), 3-10. https://doi.org/10.1386/scp.3.1.3_2 This material is protected by copyright and other intellectual property rights, and duplication or sale of all or part of any of the repository collections is not permitted, except that material may be duplicated by you for your research use or educational purposes in electronic or print form. You must obtain permission for any other use. Electronic or print copies may not be offered, whether for sale or otherwise to anyone who is not an authorised user. Powered by TCPDF (www.tcpdf.org) SCP 3 (1) pp. 3–10 Intellect Limited 2018 Studies in Costume & Performance Volume 3 Number 1 scp © 2018 Intellect Ltd Editorial. English language. doi: 10.1386/scp.3.1.3_2 Studies in Costume & Performance Intellect 10.1386/scp.3.1.3_2 3 EDITORIAL 1 3 DONATELLA BARBIERI London College of Fashion, University of the Arts London 10 SOFIA PANTOUVAKI Aalto University © 2018 Intellect Ltd 2018 Cross-pollination and shifting research and practice trajectories: Expanding the field in costume research The connecting threads between the texts in issue 3.1 of Studies in Costume and Performance are not found solely through their content. -
Gli Allestimenti Scenografici Di Mario Ceroli
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Storia delle Arti e Conservazione dei Beni Artistici – Facoltà di Lettere e Filosofia Tesi di Laurea GLI ALLESTIMENTI SCENOGRAFICI DI MARIO CEROLI Relatore Ch. Prof. MARIA IDA BIGGI Correlatore Ch. Prof. NICO STRINGA Laureanda MANUELA DEI CAS Matricola 825003 Anno Accademico 2011 / 2012 1 GLI ALLESTIMENTI SCENOGRAFICI DI MARIO CEROLI 1. INTRODUZIONE pag. 4 2. LA SCENOGRAFIA ITALIANA DAL SECONDO DOPOGUERRA AD OGGI 2.1 IL RINNOVAMENTO DELLA SCENOGRAFIA TEATRALE pag. 7 2.1.1 Gli scenografi a teatro pag. 8 2.1.2 I pittori a teatro pag. 14 2.1.3 Gli scultori a teatro pag. 18 2.2 IL RINNOVAMENTO DELLA SCENOGRAFIA CINEMATOGRAFICA pag. 23 2.2.1 I film e le opere d’arte: dalla citazione, alla allusione, alla ripresa diretta pag. 23 2.2.2 Il cinema d’artista: le esperienze pre-underground pag. 26 2.2.3 Il cinema underground pag. 27 3. MARIO CEROLI: UNO SCULTORE DALL’ANIMA SCENOGRAFICA 3.1 Cenni biografici pag. 30 3.2 Ceroli, scultore tra tradizione e innovazione pag. 36 3.3 La scultura di Ceroli tra arte e spettacolo pag. 39 3.4 1968 o del teatro pag. 47 3.5 Mario Ceroli e il teatro pag. 48 3.6 Mario Ceroli e il cinema pag. 53 4. CRONOLOGIA DEGLI SPETTACOLI 4.1 Cronologia delle prime rappresentazioni pag. 56 4.2 Cronologia per tipologie di spettacolo pag. 57 4.3 Cronologia delle riprese e delle repliche documentate pag. 59 5. ANALISI DEGLI ALLESTIMENTI SCENOGRAFICI PER IL TEATRO, IL CINEMA, LA TELEVISIONE.