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Volume 31, Number 50 Thursday, December 24, 2015
VVolumeolume 331,1, NNumberumber 5500 TThursday,hursday, DDecemberecember 224,4, 22015015 HHappyappy HolidaysHolidays THE Page 2 December 24, 2015 THE 911 Franklin Street • Michigan City, IN 46360 219/879-0088 • FAX 219/879-8070 In Case Of Emergency, Dial e-mail: News/Articles - [email protected] email: Classifieds - [email protected] http://www.thebeacher.com/ PRINTED WITH Published and Printed by TM Trademark of American Soybean Association THE BEACHER BUSINESS PRINTERS Delivered weekly, free of charge to Birch Tree Farms, Duneland Beach, Grand Beach, Hidden 911 Shores, Long Beach, Michiana Shores, Michiana MI and Shoreland Hills. The Beacher is also delivered to public places in Michigan City, New Buffalo, LaPorte and Sheridan Beach. Home Sweet Home For Golf Pro, Long Beach is Where He Always Wanted to Be by Kayla Weiss When Brian God- “When he came to frey left Long Beach Chesterton for the after fi nishing college, fi rst interview, he had he didn’t quite know some extra time to kill, where life would take so he decided to drive him...nor that it would around the area, to get bring him back to the a feel for the kind of only place he’s truly environment he could called home. be bringing his family Today, the resident into...and he just fell PGA Head Golf Profes- in love with the area, sional at Long Beach so much so that he de- Country Club for al- cided to accept the job most 13 years has cre- in Chesterton with- ated a life for himself out even interviewing that not only involves out in California,” he his wife, Julie, and said. -
Creed - Nato Per Combattere
Creed - Nato per combattere Creed - Nato per combattere (Creed) è un film del 2015 co-scritto e diretto da Ryan Coogler, con protagonisti Michael B. Jordan e Sylvester Stallone. Si tratta di uno spin-off della saga di Rocky, la cui storia si svolge dopo il sesto film della serie. 1 Trama Sylvester Stallone, Tessa Thompson e Michael B. Jordan durante la promozione del film al Philadelphia Art Museum. Adonis, figlio di Apollo Creed (deceduto prima della sua nascita), viaggia per Filadelfia, dove incontra Rocky Bal- boa (ex campione dei pesi massimi) nella speranza di tro- 2.1 Riprese varlo e chiedergli di essere suo allenatore e mentore, per poter diventare un pugile professionista e vincere il titolo Le riprese sono iniziate il 19 gennaio 2015 in Inghilterra, di campione con il nome del padre. dove la prima scena del film è stata girata durante l'intervallo della partita di calcio tra Everton FC e West Bromwich Albion FC al Goodison Park di Liverpool.[8][9] Le restanti riprese si sono svolte a Filadelfia.[10][11] Nei primi di febbraio, un negozio vuoto di Philadelphia viene 2 Produzione trasformato in una palestra di boxe, dove sono state girate alcune scene di allenamento.[12][13] Il 24 luglio 2013, viene annunciato che la Metro- Il 13 febbraio, la troupe del film è avvistata al The Vic- Goldwyn-Mayer ha firmato un contratto con il regista di tor Café per altre riprese.[14] Il café è stato trasformato Prossima fermata Fruitvale Station, Ryan Coogler, per di- nell'Adrian’s Restaurant, e la troupe è nuovamente avvi- rigere uno spin-off della serie di film di Rocky, che Coo- stata per le riprese lì il 16 febbraio.[15] Stallone e Jor- [1] gler co-scrive insieme a Aaron Covington. -
Cinematicambix: Cinematic Sound in Virtual Reality Adam Schwartz B.S., Audio Technology from American University, 2003 Thesis Su
CinematicAmbiX: Cinematic Sound in Virtual Reality Adam Schwartz B.S., Audio Technology from American University, 2003 Thesis submitted in partial satisfaction of the requirements for the degree of Master of Fine Art in Art & Technology in the Welch Center for Graduate and Professional Studies of Goucher College November 25, 2020 X Andrew Bernstein Capstone Advisor Schwartz 1 I authorize Goucher College to lend this thesis, or reproductions of it, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Copyright ©2020 by Adam Schwartz All rights reserved Schwartz 2 ACKNOWLEDGEMENTS I would like to thank the members of my Capstone Committee – Andrew Bernstein, Mary Helena Clark, and Damian Catera. Your thoughtful advice and guidance have made it possible for me to complete this work during my Capstone and throughout my time in the Art and Technology MFA program. Thanks also to my wife Lindsay whose love and support made this work possible. And of course, thanks to my incredible, brilliant daughter Millie for putting a smile on my face, regardless of my level of stress. Thanks to Ryan Murray for being my technical advisor while getting up and running in VR and for being my only trusted beta tester. Thanks to Elsa Lankford for your encouragement and support to pursue this degree. Finally, thank you to all my Goucher College Art and Technology classmates whose talent and creativity inspired me throughout this journey. Schwartz 3 ABSTRACT CinematicAmbiX is a three-movement piece of virtual reality art that is focused on sound for film. -
Michael B. Jordan Sylvester Stallone
METRO-GOLDWYN-MAYER PICTURES e WARNER BROS. PICTURES Presentano In Associazione con NEW LINE CINEMA Una Produzione CHARTOFF WINKLER Michael B. Jordan Sylvester Stallone Tessa Thompson Phylicia Rashad Anthony Bellew Costumi Emma Potter Antoinette Messam Supervisione Musicale di Gabe Hilfer Colonna Sonora Originale e Brani di Ludwig Goransson Montaggio di Michael P. Shawver Claudia Castello Scenografie di Hannah Beachler Direttore della Fotografia Maryse Alberti 1 Produttore Esecutivo Nicolas Stern Prodotto da Irwin Winkler, p.g.a Robert Chartoff, p.g.a Charles Winkler William Chartoff David Winkler Kevin King-Templeton, p.g.a. Sylvester Stallone, p.g.a Soggetto di Ryan Coogler Sceneggiatura di Ryan Coogler & Aaron Covington Diretto da Ryan Coogler Distribuzione WARNER BROS. PICTURES Durata: 132 minuti Uscita italiana: 14 Gennaio 2016 I materiali sono a disposizione sul sito “Warner Bros. Media Pass”, al seguente indirizzo: https://mediapass.warnerbros.com sito: www.warnerbros.it/scheda-film/genere-azione/creed-nato-combattere FB: www.facebook.com/CreedIlFilm Ufficio Stampa Warner Bros. Entertainment Italia US Ufficio Stampa Riccardo Tinnirello Alessandro Russo [email protected] [email protected] Emanuela Semeraro Valerio Roselli [email protected] [email protected] Cinzia Fabiani [email protected] Antonio Viespoli [email protected] Egle Mugno [email protected] 2 Metro-Goldwyn-Mayer Pictures, Warner Bros. Pictures e New Line Cinema presentano “Creed”, del regista pluripremiato Ryan Coogler, che torna a lavorare con la star del suo “Prossima fermata Fruitvale Station”, Michael B. Jordan, nel ruolo del figlio di Apollo Creed, ed esplora un nuovo capitolo della storia di “Rocky”, con il candidato agli Oscar Sylvester Stallone nel suo ruolo storico. -
Ben Burtt - Wikipedia, the Free Encyclopedia 10/26/10 10:43 AM
Ben Burtt - Wikipedia, the free encyclopedia 10/26/10 10:43 AM Ben Burtt From Wikipedia, the free encyclopedia Benjamin "Ben" Burtt, Jr. (born July 12, 1948) is an Ben Burtt American sound designer for the films Star Wars Born Benjamin Burtt, Jr. (1977), Invasion of the Body Snatchers (1978), Raiders of the Lost Ark (1981), E.T. The Extra-Terrestrial July 12, 1948 (1982), Indiana Jones and the Last Crusade (1989) and Jamesville, New York, United WALL-E (2008). He is also a film editor and director; States screenwriter; and voice actor. Occupation Film editor, film director, sound designer and screenwriter He is most notable for creating many of the iconic sound effects heard in the Star Wars film franchise, Years 1975 - Present including the "voice" of R2-D2, the lightsaber hum and active the heavy-breathing sound of Darth Vader. Contents 1 Early life, education and early career 1.1 Sound designer 1.2 Director, editor and writer 1.3 Cameo appearances 2 Awards 2.1 Academy Awards 2.2 Honorary awards 3 References 4 External links Early life, education and early career Burtt was born in Jamesville, New York, and graduated with a major in physics from Allegheny College in Meadville, Pennsylvania. In 1970, he won the National Student Film Festival with a war film Yankee Squadron, reputedly after following exposure to classic aviation drama through making an amateur film at the Old Rhinebeck Aerodrome, a living aviation museum in Red Hook, New York, under guidance from its founder, Cole Palen.[1] For his work on the special-effects film Genesis, Burtt won a scholarship to the University of Southern California in Los Angeles, California, where he earned a master's degree in film production. -
Film Sound Cliches 9/29/10 4:16 PM
Film Sound Cliches 9/29/10 4:16 PM Learning Space dedicated to FilmSound.org the Art and Analyses of Film Sound Design Sections What's new? Site Map About Site Search Sound Article List Guestbook Links New Books Film Sound Cliches Film Sound Stereotypes and Common Logic Flaws ANIMALS Animals are never ever silent - dogs whine/bark/yip, cats meow or purr, cows moo, even in cases where most animals wouldn't be making a sound. Rats, mice, squirels and other vermin always make the tiny little squeeky noises constantly while they are on screen. Dolphins always make that same "dolphin chatter" sound when spinning, jumping, etc. Snakes are always rattling Crickets in winter and peepers in the fall Dogs always know who's bad, and bark at them. Insects always sound wet It's the same Cat scream over & over. Sound effects editor Peter Steinbach once tried to record his own cat scream by stepping on it's tail. His advice: - You only have one take. Step hard! (and dont wear shorts) BIRDS Red-tailed hawk screeching - [Listen to and read about Red-tailed hawks!] Whenever we see a hawk or a bald eagle, the sound is always that same red-tailed hawk screeching sound that's been around since the 50's! Always just before/or after some dramatic part of an adventure flick, you will here the screeching of a red-tailed hawk. Whenever a cliff or mountain is shown, especially if it's high, the Red-tailed hawk will screech. The Red-Tailed Hawk scree signifies outdoors and a big, lonely place http://www.filmsound.org/cliche/ Page 1 of 12 Film Sound Cliches 9/29/10 4:16 PM Owls sound like Great Horned Owl. -
A Supercut of Supercuts: Aesthetics, Histories, Databases
A Supercut of Supercuts: Aesthetics, Histories, Databases PRACTICE RESEARCH MAX TOHLINE ABSTRACT CORRESPONDING AUTHOR: Max Tohline The genealogies of the supercut, which extend well past YouTube compilations, back Independent scholar, US to the 1920s and beyond, reveal it not as an aesthetic that trickled from avant-garde [email protected] experimentation into mass entertainment, but rather the material expression of a newly-ascendant mode of knowledge and power: the database episteme. KEYWORDS: editing; supercut; compilation; montage; archive; database TO CITE THIS ARTICLE: Tohline, M. 2021. A Supercut of Supercuts: Aesthetics, Histories, Databases. Open Screens, 4(1): 8, pp. 1–16. DOI: https://doi.org/10.16995/os.45 Tohline Open Screens DOI: 10.16995/os.45 2 Full Transcript: https://www.academia.edu/45172369/Tohline_A_Supercut_of_Supercuts_full_transcript. Tohline Open Screens DOI: 10.16995/os.45 3 RESEARCH STATEMENT strong patterning in supercuts focuses viewer attention toward that which repeats, stoking uncritical desire for This first inklings of this video essay came in the form that repetition, regardless of the content of the images. of a one-off blog post I wrote seven years ago (Tohline While critical analysis is certainly possible within the 2013) in response to Miklos Kiss’s work on the “narrative” form, the supercut, broadly speaking, naturally gravitates supercut (Kiss 2013). My thoughts then comprised little toward desire instead of analysis. more than a list; an attempt to add a few works to Armed with this conclusion, part two sets out to the prehistory of the supercut that I felt Kiss and other discover the various roots of the supercut with this supercut researchers or popularizers, like Tom McCormack desire-centered-ness, and other pragmatics, as a guide. -
The Scream in 1950S American Science Fiction Film
MA MAJOR RESEARCH PAPER The Voice and the Void: The Scream in 1950s American Science Fiction Film Melissa Hergott Murray Pomerance The Major Research Paper is submitted in partial fulfillment of the requirements for the degree of Master of Arts Joint Graduate Program in Communication & Culture Ryerson University - York University Toronto, Ontario, Canada 5 May2010 Table of Contents Chapter One: American Science Fiction Film and the 1950s ......................................................... 2 Chapter Two: Theorizing the Scream ........................................................................................... 20 Chapter Three: The Screaming Woman ....................................................................................... 35 Chapter Four: The Screaming Nlan ............................................................................................... 51 Conclusion: The Voice and the Void ............................................................................................ 67 \Vorks Cited .................................................................................................................................. 71 Filmography .................................................................................................................................. 74 . I - Chapter One: American Science Fiction Film and the 1950s In the United States, science fiction film rose to prominence as a critically recognized genre in the 1950s, a decade fraught with cultural complications and contradictions and also inspired -
Michael B. Jordan Sylvester Stallone
METRO-GOLDWYN-MAYER PICTURES e WARNER BROS. PICTURES Presentano In Associazione con NEW LINE CINEMA Una Produzione CHARTOFF WINKLER Michael B. Jordan Sylvester Stallone Tessa Thompson Phylicia Rashad Anthony Bellew Costumi Emma Potter Antoinette Messam Supervisione Musicale di Gabe Hilfer Colonna Sonora Originale e Brani di Ludwig Goransson Montaggio di Michael P. Shawver Claudia Castello Scenografie di Hannah Beachler Direttore della Fotografia Maryse Alberti 1 Produttore Esecutivo Nicolas Stern Prodotto da Irwin Winkler, p.g.a Robert Chartoff, p.g.a Charles Winkler William Chartoff David Winkler Kevin King-Templeton, p.g.a. Sylvester Stallone, p.g.a Soggetto di Ryan Coogler Sceneggiatura di Ryan Coogler & Aaron Covington Diretto da Ryan Coogler Distribuzione WARNER BROS. PICTURES Durata: 132 minuti Uscita italiana: 14 Gennaio 2016 I materiali sono a disposizione sul sito “Warner Bros. Media Pass”, al seguente indirizzo: https://mediapass.warnerbros.com sito: www.warnerbros.it/scheda-film/genere-azione/creed-nato-combattere FB: www.facebook.com/CreedIlFilm Ufficio Stampa Warner Bros. Entertainment Italia US Ufficio Stampa Riccardo Tinnirello Alessandro Russo [email protected] [email protected] Emanuela Semeraro Valerio Roselli [email protected] [email protected] Cinzia Fabiani [email protected] Antonio Viespoli [email protected] Egle Mugno [email protected] 2 Metro-Goldwyn-Mayer Pictures, Warner Bros. Pictures e New Line Cinema presentano “Creed”, del regista pluripremiato Ryan Coogler, che torna a lavorare con la star del suo “Prossima fermata Fruitvale Station”, Michael B. Jordan, nel ruolo del figlio di Apollo Creed, ed esplora un nuovo capitolo della storia di “Rocky”, con il candidato agli Oscar Sylvester Stallone nel suo ruolo storico. -
Space Sound Maker (Pew Pew Blaster SFX)
Space Sound Maker (Pew Pew Blaster SFX) Objective: Be Han Solo with a homemade blaster sound effect. Difficulty Level: Easy (ages 8-14)/Medium (ages 6-8) Materials: ● Large paper or plastic Slinky ● Scissors ● String Procedure: 1. Cut two lengths of string about 2 feet long, and tie them to either side of one end of the Slinky (one on each side of the same end). 2. Hold the Slinky by the strings and let it dangle, then stick the foam cup between two of the coils. 3. Lightly pull the Slinky back and let it go. The cup will amplify the sound and you can make great sound effects! What happens if you use a different size of cup? What happens if you put the cup at different places on the Slinky? What’s the Science? When an object vibrates, it causes tiny air molecules to move. These tiny invisible particles bump into each other, traveling until they reach our ears. The outside part of our ear, called the pinna, is shaped so it funnels the air molecules down into the ear, where they bounce off the stretchy membrane we call the eardrum. When the membrane bounces, it also vibrates, making the tiny bones in your inner ear vibrate as well. This helps send the vibrations into a curvy organ sort of shaped like a seashell, called the cochlea, where they are turned into electrical impulses that go to your brain, and we process them as sounds. #ScienceWorksOnline ScienceWorksMuseum.org © 2020 Not all sounds move at the same speed! When the end of the Slinky hit the floor, vibrations traveled back up it and were amplified, or made more powerful, by the cup. -
Cinema, Computers, and War
CINEMA, COMPUTERS, AND WAR By BRENDAN PATRICK RILEY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2004 Copyright 2004 By Brendan Patrick Riley ACKNOWLEDGMENTS I thank my family and friends for their support during my years in Florida. In particular, my mother’s support has meant a lot to me. Deep thanks go to Gregory Ulmer for his wise mentorship; I shall seek what the masters sought. Robert Ray also provided excellent guidance; his thinking and advice have proven invaluable to me. I thank Nora Alter and Roger Beebe, who provided insightful comments that helped shape this project and my plans for its future. John Sabin was a great boss; I thank him for both my time in his employ and his work on my committee. C Bradley Dilger deserves thanks for his friendship and advice in things both technical and academic. Finally, I thank Jenny for her love and support in everything. iii TABLE OF CONTENTS page ACKNOWLEDGEMENTS………………………………………………………………iii LIST OF TABLES………………...……………………………………………………... vi LIST OF FIGURES………………………………………………………………………vii ABSTRACT………………………………………………………………………………ix CHAPTER 1 FILM STUDIES IN THE AGE OF ELECTRACY………………………………. 1 A Crossroads in Film Studies……………………………………………………...1 Grammatology……………………………………………………………………..5 Electrate Method from Electrate Technology…………………………………….. 7 Cinema, Computers, and War…………………………………………………… 11 Technological Innovations and Electracy……………………………………….. 21 2 MODULARITY AND MONSTERS FROM THE DEEP……………………….24 Modularity in Programming……………………………………………………...24 Creature from the Black Lagoon (1)…………………………………………….. 25 Ford/Taylor……………………………………………………………………… 29 Creature from the Black Lagoon (2)…………………………………………….. 30 Jaws (1)………………………………………………………………………….. 33 Sergei Eisenstein………………………………………………………………… 35 Jaws (2)…………………………………………………………………………. -
Catches on Quickly
BEVERLYPRESS.COM INSIDE • L.A. looks to crack down on Partly cloudy, PPE litter pg. 3 with highs in • Hit-and-run on the 70s La Cienega pg. 4 Volume 30 No. 22 Serving the Beverly Hills, West Hollywood, Hancock Park and Wilshire Communities May 28, 2020 West Hollywood holds BH retail reopens, restaurants may follow n Council in support, Pride celebration online but Mirisch has health n This year’s event to focus on LGBT artwork and safety concerns BY JOSE HERRERA the city and manager of the One BY CAMERON KISZLA City One Pride LGBTQ Arts The city of West Hollywood cel- Festival, said “Pride and art have Last week, with many business- ebrates the artistic achievements of always been closely linked.” Many es closed or operating only for the LGBTQ community with its newsletters and magazines pro- takeout, curbside pick-up and One City One Pride LGBTQ Arts duced by early gay rights organiza- delivery, multiple members of the Festival. This year, due to the coro- tions included a mix of fiction, Beverly Hills COVID-19 navirus pandemic, the community poetry and visual art, he added, Business Recovery Assistance is turning to online events to substi- such as Lisa Ben’s magazine “Vice Task Force expressed their frustra- tute in-person gatherings and cele- Versa,” the first lesbian magazine in tion with the regulations put in brations. place by the state and county. Michael Che, arts coordinator for See LGBT page 22 “[Reopening] is imperative. The hotels are in dire straits. I can’t stress enough how critical this is, photo by Cameron Kiszla and we need to do it now.