Descargar El Ejemplar
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Transatlantica, 1 | 2018 Le Regard Impossible 2
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2018 Slavery on Screen / American Women Writers Abroad: 1849-1976 Le regard impossible Réflexions sur les présupposés et les mécanismes idéologiques des images de synthèse photoréalistes dans le blockbuster hollywoodien contemporain Mathias Kusnierz Édition électronique URL : http://journals.openedition.org/transatlantica/11812 DOI : 10.4000/transatlantica.11812 ISSN : 1765-2766 Éditeur AFEA Référence électronique Mathias Kusnierz, « Le regard impossible », Transatlantica [En ligne], 1 | 2018, mis en ligne le 01 septembre 2019, consulté le 29 avril 2021. URL : http://journals.openedition.org/transatlantica/11812 ; DOI : https://doi.org/10.4000/transatlantica.11812 Ce document a été généré automatiquement le 29 avril 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Le regard impossible 1 Le regard impossible Réflexions sur les présupposés et les mécanismes idéologiques des images de synthèse photoréalistes dans le blockbuster hollywoodien contemporain Mathias Kusnierz 1 Dans son livre de 1966 intitulé Special Effects in Motion Pictures, Frank P. Clark expose, à destination des techniciens d’Hollywood, les différentes manières d’élaborer les effets spéciaux d’un film. Son inventaire s’étend du trucage le plus simple – un écran de fumée, par exemple (40-43) – aux effets spéciaux les plus élaborés, comme l’animation image par image (108-109) ou la construction de maquettes animées complexes (89, 146, 152). Le livre de Clark se veut un exposé technique, sans parti pris, et appuyé sur une solide connaissance pratique du métier de concepteur d’effets spéciaux. -
The Eddie Awards Issue
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE EDDIE AWARDS ISSUE IN THIS ISSUE Golden Eddie Honoree GUILLERMO DEL TORO Career Achievement Honorees JERROLD L. LUDWIG, ACE and CRAIG MCKAY, ACE PLUS ALL THE WINNERS... FEATURING DUMBO HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD AND MUCH MORE! US $8.95 / Canada $8.95 QTR 1 / 2019 / VOL 69 Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. All other trademarks are the property of their respective owners. Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
10700990.Pdf
The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date. -
Looking Forward to 2013 …And Beyond Page 3
www.PaloAltoOnline.com Vol. XXXIV, Number 14 N January 4, 2013 Looking forward to 2013 …and beyond Page 3 Donate to the HOLIDAY FUND page 26 Transitions 12 Spectrum 14 Eating Out 19 Movies 21 Puzzles 30 NArts Previews of coming attractions: 2013 Page 17 NSports Stanford moves on from Rose Bowl win Page 23 NHome January: Time for pruning, cleaning up Page 32 My home has 128,180 bedrooms and 72,086 baths. I call it Palo Alto. ! " ! ! ! Follow us to Brian Chancellor ChancellorHomes.com Brian Chancellor 650.303.5511 BrianCSerenoGroup.com AHF>LI:EH:EMH DRE # 01174998 Page 2ÊUÊ>Õ>ÀÞÊ{]ÊÓä£ÎÊUÊ*>ÊÌÊ7iiÞÊUÊÜÜܰ*>Ì"i°V Goal $350,000 See who’s already contributed to the As of Dec. 28 Holiday Fund 362 donors on page 26 $225,990 Donate online at PaloAltoOnline.com with matching UpfrontLocal news, information and analysis funds 2013: The Year of the Future Palo Alto looks decades ahead as it tackles that could have dramatic implica- ambitious studies and master plans ter? And how can the city enhance tions for local parks, downtown that seek to answer complex ques- its stock of street trees? problems of today residents, street trees and the city’s tions near and dear to the hearts of by Gennady Sheyner housing. With the post-recession residents. These include: Does down- Unfinished business triage now in the past and local town have room for more buildings aster plans in Palo Alto Palo Alto “year” rarely fol- looking well beyond 12 months. So sales-tax revenues climbing, 2013 and workers? What should be done come in all shapes and siz- lows the standard calendar. -
Academy Awards En
81st ACADEMY EN AWARDS Ganadores Mejor Actor Richard Jenkins en “The Visitor” (Overture Films) Frank Langella en “Frost/Nixon” (Universal) Sean Penn en “Milk” (Focus Features) Brad Pitt en "El Curioso Caso de Benjamin Button" (“The Curious Case of Benjamin Button”) (Paramount y Warner Bros.) Mickey Rourke en "El Luchador" (“The Wrestler”) (Fox Searchlight) Mejor Actor de Reparto Josh Brolin en “Milk” (Focus Features) Robert Downey Jr. en "Una Guerra de Película" (“Tropic Thunder”) (DreamWorks, Distribuida por DreamWorks/Paramount) Philip Seymour Hoffman en "La Duda" (“Doubt”) (Miramax) Heath Ledger en "Batman: El Caballero de la Noche" (“The Dark Knight”) (Warner Bros.) Michael Shannon en "Sólo un Sueño" (“Revolutionary Road”) (DreamWorks, Distribuida por Paramount Vantage) Mejor Actriz Anne Hathaway en "La Boda de Rachel" (“Rachel Getting Married”) (Sony Pictures Classics) Angelina Jolie en "El Sustituto" (“Changeling”) (Universal) Melissa Leo en “Frozen River” (Sony Pictures Classics) Meryl Streep en "La Duda" (“Doubt”) (Miramax) Kate Winslet en "El Lector" (“The Reader”) (The Weinstein Company) Mejor Actriz de Reparto Amy Adams en "La Duda" (“Doubt”) (Miramax) Penélope Cruz en “Vicky Cristina Barcelona” (The Weinstein Company) Viola Davis en "La Duda" (“Doubt”) (Miramax) Taraji P. Henson en "El Curioso Caso de Benjamin Button" (“The Curious Case of Benjamin Button”) (Paramount y Warner Bros.) Marisa Tomei en "El Luchador" (“The Wrestler”) (Fox Searchlight) Mejor Película Animada “Bolt” (Walt Disney), Chris Williams and Byron Howard “Kung Fu Panda” (DreamWorks Animation, Distribuida por Paramount), John Stevenson y Mark Osborne “WALL-E” (Walt Disney), Andrew Stanton Mejor Dirección de Arte “El Sustituto” (“Changeling”) (Universal), Dirección de Arte: James J. -
2013 HPA Awards Announce Craft Category Nominees and Special Award Winners
Sponsors 2013 HPA Awards Announce Craft Category Nominees and Special Award Winners HPA Engineering Excellence Award Sponsor Judges Award for Creativity & Innovation and Engineering Excellence Winners Revealed BRONZE September 4, 2013 (Los Angeles, CA) Today in a special on-line press event, the Hollywood Post Alliance® - the trade association for the post production community - announced the nominees for the craft categories of the 8th Annual HPA Awards and winners of several special awards. The HPA Awards honor SUPPORTING excellence in post production and bring recognition to the achievements of individuals and companies who are engaged in significant and revolutionary work in post production. The HPA Awards will take place on the evening of November 7th, 2013 at the Skirball Cultural Center in Los Angeles, CA. The number of entries in all categories and for special awards topped every year to date for this year's honors. The nominees in the 12 craft categories were chosen from a field of talented and innovative entries in color grading, editing, sound, and visual effects for motion pictures, commercials and television. Nominees for the 2013 HPA Awards are: Outstanding Color Grading – Feature Film “Star Trek Into Darkness” Stefan Sonnenfeld // Company 3 “Oblivion” Mike Sowa // Technicolor “Anna Karenina” Adam Glasman // Company 3 (more) 846 S. Broadway, Suite 601 • Los Angeles, CA 90014 • Ph: 213-614-0860 • Fax: 213-614-0890 • www.hpaawards.net Outstanding Color Grading – Feature Film (continued) “Life of Pi” David Cole // Technicolor -
CMSI Journey to the Academy Awards -- Race and Gender in a Decade of Documentary 2008-2017 (2-20-17)
! Journey to the Academy Awards: A Decade of Race & Gender in Oscar-Shortlisted Documentaries (2008-2017) PRELIMINARY KEY FINDINGS Caty Borum Chattoo, Nesima Aberra, Michele Alexander, Chandler Green1 February 2017 In the Best Documentary Feature category of the Academy Awards, 2017 is a year of firsts. For the first time, four of the five Oscar-nominated documentary directors in the category are people of color (Roger Ross Williams, for Life, Animated; Ezra Edelman, for O.J.: Made in America; Ava DuVernay, for 13th; and Raoul Peck, for I Am Not Your Negro). In fact, 2017 reveals the largest percentage of Oscar-shortlisted documentary directors of color over at least the past decade. Almost a third (29%) of this year’s 17 credited Oscar-shortlisted documentary directors (in the Best Documentary Feature category) are people of color, up from 18 percent in 2016, none in 2015, and 17 percent in 2014. The percentage of recognized women documentary directors, while an increase from last year (24 percent of recognized shortlisted directors in 2017 are women, compared to 18 percent in 2016), remains at relatively the same low level of recognition over the past decade. In 2016, as a response to widespread criticism and negative media coverage, the Academy of Motion Picture Arts & Sciences welcomed a record number of new members to become part of the voting class to bestow Academy Awards: 683 film professionals (46 percent women, 41 percent people of color) were invited in.2 According to the Academy, prior to this new 2016 class, its membership was 92 percent white and 75 percent male.3 To represent the documentary category, 42 new documentary creative professionals (directors and producers) were invited as new members. -
Language of Film: Editing
Language of Film: Editing Timely News: 10 Genius Editing Decisions (video) Thelma Schoonmaker Discusses The Irishman Editing The Irishman Parasite Editors Discusses the Film Not Much Need for an Editor Here Just Mercy: Editing for Emotion Bohemian Rhapsody Editor Hates This Scene Inside an Editor & Negative Cutter’s Journey: Orson Welles Final Film Dark Knight Chase Scene: Did Chris Nolan Break The Biggest Film Editing Rule? Dissecting Editing of “Get Out,” “I, Tonya,” “Blade Runner” Obit: Thomas Stanford, editor “West Side Story” Behind the Scenes: Editing “Baby Driver” Dunkirk, Post Editors On Creating Tension in Editing Cutting ‘Baby Driver” on Location In Real Time Editing: The Room The Big Short Editor Talks Montage and Fast Cuts Walter Murch On Editing and more Cut Here, Cut There, but It’s Still 3 Hours Editors: On The Journeys of Survival & Reinvention David Fincher, the director of “The Girl With the Dragon Tattoo,” and Kirk Baxter and Angus Wall, the film’s editors, break down a four-minute sequence that occurs early in the film. The narrative set-up: The journalist Mikael Blomkvist (Daniel Craig) is visiting the aging industrialist Henrik Vanger (Christopher Plummer), who is asking him to investigate a decades-old mystery involving his niece Harriet. Recommended Resources: Apps For Video Editing Best Film Editing Sequences Of All Time The Cutting Edge: The Magic of Movie Editing (also via YouTube) The Cutting Room Editing (Film Analysis Guide) Editing (infographic) Editing (MyMedia Module 5) Editing (Thinking Film) Editing (Lesson -
Alba Perez Huertas T
FACULTAD DE CIENCIAS DE LA COMUNICACIÓN REPRESENTACIÓN DE CONFLICTOS BÉLICOS EN EL CINE ESTADOUNIDENSE Grado en Comunicación Audiovisual Autor Alba Pérez Huertas Tutor Alicia Arroyo Morcillo Madrid, octubre 2013 Representación de conflictos bélicos en el cine estadounidense Índice CONTENIDO 1 Introducción ............................................................................................................................. 1 2 Planteamiento de la investigación .......................................................................................... 3 2.1 Objetivos de estudio ........................................................................................................ 3 2.1.1 Objetivo Principal .................................................................................................... 3 2.1.2 Objetivos Específicos .............................................................................................. 3 2.2 Justificación ....................................................................................................................... 3 2.3 Aportaciones esperadas ................................................................................................... 4 3 Marco de referencia ................................................................................................................. 5 3.1 Importancia del 11-S ........................................................................................................ 5 3.2 Cine y propaganda ........................................................................................................... -
Makemake Entertainment Executive Angus Wall
THE ACCIDENTAL PRESIDENT Trump won. That’s a fact. How did he do it? INTERVENTION MEDIA PRESENTS IN ASSOCIATION WITH MAKEMAKE ENTERTAINMENT ASSOCIATE EXECUTIVE A JAMES FLETCHERFILM ‘THE ACCIDENTAL PRESIDENT’ PRODUCER TED GUARD PRODUCER KENT KUBENA EXECUTIVE CREATIVE MUSIC DIRECTOR OF PRODUCER ANGUS WALL DIRECTOR GRAHAM CLARKIN BY DOMINIC LEWIS PHOTOGRAPHY JEZ THIERRY EDITOR NOAH BENEZRA THIS FILM IS PRODUCED PRODUCED & NOT YET RATED BY EVE KORNBLUM DIRECTED BY JAMES FLETCHER © 2020 Intervention Media LLC. All rights reserved COMING SOON PUBLICITY CONTACT JIM DOBSON Indie PR [email protected] SYNOPSIS As America began to try and come to terms with the surprising (and for many voters, horrifying) results of the presidential race of 2016, the subsequent rapid-fire speed of events and jam-packed news cycles meant that nobody would ever have the opportunity to truly and properly reflect on what exactly just happened -- and how did it? THE ACCIDENTAL PRESIDENT is British filmmaker/journalist James Fletcher’s quest for those answers. In it, he not only uncovers a detailed play-by-play from all angles on how it all went down, but also the state of America that led to the results, what the electorate was really motivated by, and how a former game show host with an elevated understanding of the media and entertainment was able to connect with voters from all walks of life and stage a takeover of Washington D.C. -- whether he meant to or not. Featuring an impressively diverse and balanced set of fascinating interviews from both sides of the aisle, Fletcher has taken what could have simply been a “Trump-bashing” film and has instead created something for a much larger audience: everyone. -
Newsletter 03/09 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 03/09 DIGITAL EDITION Nr. 245 - Februar 2009 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 03/09 (Nr. 245) Februar 2009 editorial Hallo Laserdisc- und DVD-Fans, Best Motion Picture of the Year Nominees: Best Achievement in Makeup Nominees: liebe Filmfreunde! The Curious Case of Benjamin Button (2008): Ceán Chaffin, The Curious Case of Benjamin Button (2008): Greg Cannom In wenigen Tagen heisst es wieder Kathleen Kennedy, Frank Marshall The Dark Knight (2008): John Caglione Jr., Conor O’Sullivan Frost/Nixon (2008): Brian Grazer, Ron Howard, Eric Fellner Hellboy II: The Golden Army (2008): Mike Elizalde, Thomas “And the Oscar goes to...”. Am 22. Milk (2008/I): Bruce Cohen, Dan Jinks Floutz The Reader (2008): Anthony Minghella, Sydney Pollack, Februar 2009 werden in Los Angeles Donna Gigliotti, Redmond Morris Best Achievement in Music Written for Motion Pictures, zum 81. Male die begehrten Film- Slumdog Millionaire (2008): Christian Colson Original Score Nominees: The Curious Case of Benjamin Button (2008): Alexandre trophäen verliehen – und das in 24 Best Performance by an Actor in a Leading Role Nominees: Desplat Richard Jenkins for The Visitor (2007/I) Defiance (2008): James Newton Howard Kategorien. Da ist dann für hartge- Frank Langella for Frost/Nixon (2008) Milk (2008/I): Danny Elfman sottene deutsche Filmfans eine Sean Penn for Milk (2008/I) Slumdog Millionaire (2008): A.R.