The Hurt Locker
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Pietro Scalia
Pietro Scalia Pietro Scalia werd op 17 maart 1960 geboren in Catania. Terwijl hij binnen de Amerikaanse film actief was vermengde hij tijden van filmmontage met de visuele en geluidsritmes van andere moderne media (videoclips, nieuws, digitaal) daarbij de natuurlijkheid benadrukkend van het acteerspel van de acteurs en in zijn vak een bewustere blik introducerend die dicht(er)bij het gezichtspunt van de regie ligt. Hij werd opgeleid in de werkgroep van Oliver Stone en werkte vervolgens voornamelijk samen met Ridley Scott. Hij won twee Oscars, in 1992 (samen met Joe Hutshing) voor Stone's JFK (1991; JFK - A Case Still Open) en 2002 voor Scott's Black hawk down (2001) en twee nominaties, in 1998 voor Good Will Hunting (1997) van Gus Van Sante en in 2001 voor Scott's Gladiator (2000). Hij won ook twee keer de BAFTA Award en drie keer de Eddie Award, uitgereikt door American Cinema Editors. Op éénjarige leeftijd verhuisde hij met zijn familie naar Zwitserland, waar hij zijn basis- en middelbare school volgde. In 1978 ging hij naar de Verenigde Staten om film te studeren; na twee jaar aan de State University of New York in Albany volgde hij regie- en productiecursussen aan de University of California in Los Angeles waar hij in 1985 zijn master in Film and Theatre Arts behaalde. Hij maakte zijn filmdebuut als assistent van filmmonteur Alain Jakubowicz in de postproductie van Andrei Michalkov Končalovskij's Shy people (1987). Gefascineerd als hij was door de films van Oliver Stone's voegde hij zich bij diens postproductieteam en werkte zo als assistent van Claire Simpson in Wall Street (1987) en van David Brenner en Joe Hutshing voor Talk radio (1988). -
The “Genre Bender”: the Creative Leadership of Kathryn Bigelow
THE “GENRE BENDER”: THE CREATIVE LEADERSHIP OF KATHRYN BIGELOW Olga Epitropaki and Charalampos Mainemelis ABSTRACT In the present chapter, we present the case study of the only woman film director who has ever won an Academy Award for Best Director, Kathryn Bigelow. We analyzed 43 written interviews of Kathryn Bigelow that have appeared in the popular press in the period 1988 2013 and outlined eight main themes emerging regarding her exercise ofÀ leadership in the cinematic context. We utilize three theoretical frameworks: (a) paradoxical leadership theory (Lewis, Andriopoulos, & Smith, 2014; Smith & Lewis, 2012); (b) ambidextrous leadership theory (Rosing, Frese, & Bausch, 2011), and (c) role congruity theory (Eagley & Karau, 2002) and show how Bigelow, as a woman artist/leader working in a complex organizational system that emphasizes radical innovation, exercised paradoxical and ambidextrous leadership and challenged Downloaded by Doctor Charalampos Mainemelis At 07:19 09 March 2016 (PT) Leadership Lessons from Compelling Contexts Monographs in Leadership and Management, Volume 8, 275 300 À Copyright r 2016 by Emerald Group Publishing Limited All rights of reproduction in any form reserved ISSN: 1479-3571/doi:10.1108/S1479-357120160000008009 275 276 OLGA EPITROPAKI AND CHARALAMPOS MAINEMELIS existing conventions about genre, gender, and leadership. The case study implications for teaching and practice are discussed. Keywords: Creative leadership; ambidextrous leadership; paradoxical leadership; role congruity theory; director; film industry She’s acting out desires. She represents what people want to see, and it’s upsetting, because they don’t know exactly what to do with it. Cultural theorist Sylve´ re Lotringer INTRODUCTION Organizations are abounding with tensions and conflicting demands (e.g., flexibility vs. -
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. -
The Hurt Locker
VIDEA - C.D.E. WARNER PICTURES ITALIA VOLTAGE PICTURES PRESENTANO IN ASSOCIAZIONE CON GROSVENOR PARK MEDIA, LP & F.C.E.F. S.A. UNA PRODUZIONE VOLTAGE PICTURES / FIRST LIGHT / KINGSGATE FILMS The Hurt Locker Prodotto da Kathryn Bigelow, Mark Boal, Nicolas Chartier, and Greg Shapiro Scritto da Mark Boal Regia Kathryn Bigelow Copyright © 2008 Hurt Locker, LLC 1 The Hurt Locker SINOSSI Se la guerra è l’inferno, perché sono in tanti a scegliere di combattere? In un’epoca in cui gli eserciti non sono formati da militari di leva ma da volontari, e gli uomini si lanciano di buon grado nell’azione militare, a volte la guerra corteggia in maniera potente e seducente fin quasi a diventare dipendenza. THE HURT LOCKER è il ritratto intenso di un’unità speciale di soldati con il compito più pericoloso del mondo: disarmare bombe nel mezzo dell’azione. Quando il nuovo sergente, James (Jeremy Renner), assume il comando dell’unità speciale esperta in disarmo delle bombe nel bel mezzo di un violento conflitto, sorprende i due sottoposti, Sanborn ed Eldridge (Anthony Mackie e Brian Geraghty), lanciandosi inesorabilmente in un gioco mortale di guerriglia urbana. James sembra essere indifferente alla morte. Mentre i soldati lottano per controllare la follia del loro nuovo capo, in città esplode il caos, e salta fuori il vero carattere di James, cambiando ogni uomo per sempre. Con la visionaria regia di Kathryn Bigelow, THE HURT LOCKER è il frutto dell’osservazione diretta del reporter e sceneggiatore Mark Boal. Con Jeremy Renner (Dahmer, il Cannibale di Milwaukee, L’assassinio di Jesse James per mano del codardo Robert Ford), Anthony Mackie (Half Nelson, We Are Marshall) e Brian Geraghty (We Are Marshall, Jarhead), il film associa l’avvincente azione realistica al dramma umano più intimo per mostrare la psicologia di un soldato durante azioni ad altissimo rischio, fra uomini che scelgono di affrontare mortali avversità. -
Music Editor
DEL SPIVA MUSIC EDITOR FILM: The Old Guard Studio: Netflix Director: Gena Prince-Bythewood Editor: Terylin A. Shropshire Composer: Volker Bertelmann & Dustin O’Halloran Top Gun Meverick Studio: Paramount Pictures Director: Joseph Kosinsky Editor: Chris Lebenzon Composer: Harold Faltermeyer & Hans Zimmer Just Mercy Studio: Warner Bros Director: Destin Daniel Cretton Editor : Nat Sanders Composer: Joel P West DeadPool 2 Studio: Twentieth Century Fox Director: David Leach Editor : Craig Alpert, Elisabet Ronaldsdóttir Composer: Tyler Bates The Defiant Ones Studio: HBO Director: Allen Hughes Editor : Doug Pray Composer: Atticus Ross Blade Runner 2049 Studio: Alcon entertainment Director: Denis Villenueve Editor : Joe Walker Composer: Johann Johannson Roman J. Israel, Esq. Studio: Sony Director: Dan Gilroy Editor : John Gilroy Composer: James Newton-Howard The Glass Castle Studio: Lionsgate Entertainment Director: Destin Daniel Cretton Editor : Nat Sanders Composer: Joel P West Gold Studio: The Weinstein Company, Black Bear Pictures Director: Stephen Gaghan Editor : Rick Grayson Composer: Daniel Pemberton Shots Fired (TV Series) Studio: Twentieth Century Fox Directors: Gina Prince—Bythewood, Jonathon Demme, Malcom D. Lee, Millicent Shelton, Reggie Bythewood Editors Teri Shropshire, Micky Blythe, Jacques Gravett, Nancy Richardso Composer: Terence Blanchard DEL SPIVA MUSIC EDITOR C oco Studio: Lions Gate Director: RZA Editor : Yon Van Kline Keanu Studio: New Line Director: Peter Atencio Editor : Nicholas Mansour Composer: Steve Jablonsky Saints & Strangers (TV Mini-Series) Studio: Sony/NatGeo Director: Gina Mathews Editor : Colby Parker, Jr. Composer: Lorne Balfe Won, Golden Reel: Best Music Editing, TV Long Form Pete’s Dragon Studio: Disney Director: david Lowery Editor : Lisa Zeno Churgin Deepwater Horizon Studio: Lionsgate Director: Peter Berg Editor : Colby Parker, Jr. -
The Companion Film to the EDITED by Website, Womenfilmeditors.Princeton.Edu)
THE FULL LIST OF ALL CLIPS in the film “Edited By” VERSION #2, total running time 1:53:00 (the companion film to the EDITED BY website, WomenFilmEditors.princeton.edu) 1 THE IRON HORSE (1924) Edited by Hettie Gray Baker Directed by John Ford 2 OLD IRONSIDES 1926 Edited by Dorothy Arzner Directed by James Cruze 3 THE FALL OF THE ROMANOV DYNASTY (PADENIE DINASTII ROMANOVYKH) (1927) Edited by Esfir Shub Directed by Esfir Shub 4 MAN WITH A MOVIE CAMERA (CHELOVEK S KINO-APPARATOM) (1929) Edited by Yelizaveta Svilova Directed by Dziga Vertov 5 CLEOPATRA (1934) Edited by Anne Bauchens Directed by Cecil B. De Mille 6 CAMILLE (1936) Edited by Margaret Booth Directed by George Cukor 7 ALEXANDER NEVSKY (ALEKSANDR NEVSKIY) (1938) Edited by Esfir Tobak Directed by Sergei M. Eisenstein and Dmitriy Vasilev 8 RULES OF THE GAME (LA RÈGLE DU JEU) (1939) Edited by Marguerite Renoir Directed by Jean Renoir 9 THE WIZARD OF OZ (1939) Edited by Blanche Sewell Directed by Victor Fleming 10 MESHES OF THE AFTERNOON (1943) Edited by Maya Deren Directed by Maya Deren and Alexander Hammid 11 IT’S UP TO YOU! (1943) Edited by Elizabeth Wheeler Directed by Henwar Rodakiewicz 12 LIFEBOAT (1944) Edited by Dorothy Spencer Directed by Alfred Hitchcock 13 ROME, OPEN CITY (ROMA CITTÀ APERTA) (1945) Edited by Jolanda Benvenuti Directed by Roberto Rossellini 14 ENAMORADA (1946) Edited by Gloria Schoemann Directed by Emilio Fernández 15 THE LADY FROM SHANGHAI (1947) Edited by Viola Lawrence Directed by Orson Welles 16 LOUISIANA STORY (1948) Edited by Helen van Dongen Directed by Robert Flaherty 17 ALL ABOUT EVE (1950) Edited by Barbara “Bobbie” McLean Directed by Joseph L. -
Read Ebook {PDF EPUB} Lion by D.S. Sage Sylvester Stallone's Tragic Real-Life Story
Read Ebook {PDF EPUB} Lion by D.S. Sage Sylvester Stallone's Tragic Real-Life Story. Much like Rocky Balboa came up from nothing to become one of the world's best boxers, Sylvester Stallone came from an underprivileged upbringing to become one of the planet's biggest blockbuster stars. It was a difficult and often traumatic road to fame and fortune for the New York City-born actor, director, screenwriter and producer, and even when Stallone was on top and no longer the underdog, he still suffered losses that few others can imagine. That's part of why Stallone feels so close to the Rocky Balboa character he created. He told Variety of Rocky (1976) in summer 2019, "It is really a metaphor for life. This was a love story. He happens to box for a living, but the story is about his love for [wife Adrian]. You root for the underdog, and he had something to fight for — her." Stallone has become beyond adept at rolling with the (metaphorical) punches, and he's gotten back up from blows that would knock even some of the strongest men out. Here's Sylvester Stallone's tragic real-life story. The tragic reason behind Sylvester Stallone's 'snarl' Sylvester Stallone's trademark "snarl" and sometimes marble-mouthed speech are occasionally the target of mockery. However, the star's curled lip and vocal delivery aren't a tough guy act — they're actually the result of a traumatic childbirth. According to the Chicago Tribune , an accident during Stallone's delivery resulted in a severed facial nerve, causing his lower lip to droop, and paralyzing part of his tongue and chin. -
The Gulf War Aesthetic? Certain Tendencies in Image, Sound and the Construction of Space in Green Zone and the Hurt Locker
The Gulf War Aesthetic? Certain Tendencies in Image, Sound and the Construction of Space in Green Zone and The Hurt Locker Kingsley Marshall Submitted to the University of East Anglia as a thesis for the degree of Doctor of Philosophy in Film. University of East Anglia School of Art, Media & American Studies January 2018 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Word Count: 84983 Abstract This thesis argues that the perception of realism and ‘truth’ within narrative feature films set within the Gulf War (1990-1991) and Iraq War (2003-2011) is bound up in other transmedia representations of these conflicts. I identify and define what I describe as the Gulf War Aesthetic, and argue that an understanding of the ‘real life’ of the war film genre through its telling in news reportage, documentary and combatant-originated footage serves as a gateway through which the genre of fictional feature films representing the conflicts and their aftermath is constructed. I argue that the complexity of the Iraq War, coupled with technological shifts in the acquisition and distribution of video and audio through online video-sharing platforms including YouTube, further advanced the Gulf War Aesthetic. I identify The Hurt Locker (Bigelow, 2009) and Green Zone (Greengrass, 2010) as helpful case studies to evidence these changes, and subject both to detailed analysis. -
It Ain't Rocket Science
www.StudentFilmmakers.com Workshops | Forums | Network| Showcase | Tech Focus 2012, Vol. 7, No. 4 The #1 Educational Resource for Film and Video Makers US$5.95 It Ain’t Rocket Science 3D Filming Wild Horses in the Gobi Desert Spider-Man is Amazing Again It's a Great Time to Write for Television Canon EOS C300 on the Run Publisher’s Desk Table of Contents 2012, Vol. 7, No. 4 The summer continues to be filled The # 1 Educational Resource for Film and Video Makers with exciting back-to-back industry Publisher / Editor-in-Chief Kim Edward Welch tradeshows and conferences, Senior Editor Jody Michelle Solis Camerawork workshops and seminars, and other 4 Law # 1: It Ain’t Rocket Science Contributing Writers 10 Composition is Brain Surgery great educational, networking Thomas Ackerman, ASC, Jack Anderson, Anthony Q. Artis, by David Lent and inspirational opportunities. John Badham, Charlie Balch, Christopher Ball, CSC, Karl Bardosh, Students, Teachers & Faculty, and Adam Biddle, Joe Brewster, Terence Brody, Kevin Burke, 3D Documentary Schools, are you ready for Back to Julia Camenisch, John Carrico, Steve Carlson, Al Caudullo, Chris Cavallari, Pete Chatmon, Nash Choudhury, Vicky Collins, 10 Filming Wild Horses in the Gobi Desert School? The Back to School section Michael Corbett, Sky Crompton, Vanessa Daniels, Carsten Dau, by Al Caudullo in this issue gives you a preview Todd Debreceni, Jeff Deel, Christina DeHaven, Zachary Steven of new film and video making Houp, William Donaruma, Dana Dorrity, Pamela Douglas, Directing Scott Eggleston, David E. Elkins, SOC, Scott Essman, Bryant solutions. Falk, Carl Filoreto, Jon Firestone, Jacqueline B. -
Eine Dokumentvorlage Für Abschlussarbeiten Und Andere
Naturmaterialien im Kinofilm: Entwicklung einer interdisziplinären Analysemethodik am Beispiel des Naturmaterials Erde im Kriegsfilm Dissertation zur Erlangung der Würde des Doktors der Philosophie (Dr. phil.) Im Fach Medienwissenschaft an der Fakultät für Geisteswissenschaften am Insitut für Medien und Kommunikation an der Universität Hamburg vorgelegt von Gun Kaja Röttgers aus Hamburg 2017 2 Vorsitzende der Prüfungskommission: Prof. Dr. Kathrin Fahlenbrach Erstgutachterin: Prof. Dr. Kathrin Fahlenbrach Zweitgutachterin: Prof. Dr. Judith Ellenbürger Drittgutachter: Prof. Dr. Frank Fehrenbach Disputation am 11.10.2017 Kurzfassung 3 Kurzfassung Untersuchungsgegenstand dieser Arbeit sind im Film gezeigte Naturmaterialien. Um sich der Wirklichkeit der visuellen Wahrnehmung von Artefakten zu nähern, wird so- wohl das Zeichenpotential als auch das präsentische Potential dieser Filmbilder unter- sucht. In den theoretischen Grundlagen der Arbeit wird mit Bezug zu Cassirer formu- liert, dass in fast jedem Erlebnis präsente und repräsentative Momente in einer unlös- lichen Einheit miteinander verbunden sind. Diese Arbeit geht dementsprechend von einem komplexen Bedeutungs- und Wirkpotential der im Filmbild abgebildeten Na- turmaterialien aus. Untersucht werden also zum einen die vielschichtigen Konnotatio- nen, die diesen Materialien durch kulturelle Kommunikation eingeschrieben sind. Zum anderen wird Naturmaterialien in dieser Arbeit eine relevante Rolle im Rahmen des Präsenz- und Immersionserlebens von Film zugesprochen. Ziel dieser Arbeit ist es, eine umfassende Strategie zur Analyse des visuellen Potentials von Filmmotiven zur Verfü- gung zu stellen und dabei Zusammenhänge und Potentiale von symbolischer, auf Zei- chen beruhender Bildsprache und sinnlicher Wahrnehmung zu bedenken. Die Arbeit ist dazu interdisziplinär angelegt, da sich bildende Künstler_innen und in Folge auch die Kunstgeschichte intensiv mit der Inszenierung von Naturmaterialien im künstlerischen und kommunikativen Kontext auseinandergesetzt haben. -
BEST PICTURE O up Director Actor in a Leading Role ACTRESS in a Leading Role Actor in a Supporting Role ACTRESS in a Supporting
Up–to–the–minute Oscar news and wrap-up on vulture.com 2010 OSCAR PooL BALLOT BEST PICTURE FOreiGN LANGuaGE FilM DOcuMENtarY Feature Avatar Ajami Burma VJ Anders Østergaard and Lise Lense-Møller The Blind Side Israel | Directed by Scandar Copti and Yaron Shani The Cove Louie Psihoyos and Fisher Stevens District 9 The Milk of Sorrow (La Teta Asustada) Food, Inc. Robert Kenner and Elise Pearlstein Peru | Directed by Claudia Llosa An Education The Most Dangerous Man in America: A Prophet (Un Prophète) The Hurt Locker Daniel Ellsberg and the Pentagon Papers France | Directed by Jacques Audiard Judith Ehrlich and Rick Goldsmith Inglourious Basterds The Secret in Their Eyes (El Secreto de Sus Ojos) Which Way Home Rebecca Cammisa Precious Argentina | Directed by Juan José Campanella A Serious Man The White Ribbon (Das Weisse Band) DOcuMENtarY SHOrt SubJect Up Germany | Directed by Michael Haneke China’s Unnatural Disaster: The Tears of Up in the Air Sichuan Province Jon Alpert and Matthew O’Neill OriGINal SCOre The Last Campaign of Governor Booth Gardner DirectOR Avatar James Horner Daniel Junge and Henry Ansbacher James Cameron Avatar Fantastic Mr. Fox Alexandre Desplat The Last Truck: Closing of a GM Plant Kathryn Bigelow The Hurt Locker The Hurt Locker Marco Beltrami and Buck Sanders Steven Bognar and Julia Reichert Quentin Tarantino Inglourious Basterds Sherlock Holmes Hans Zimmer Music by Prudence Roger Ross Williams and Lee Daniels Precious Up Michael Giacchino Elinor Burkett Jason Reitman Up in the Air Rabbit à la Berlin Bartek Konopka and Anna Wydra OriGINal SONG ActOR IN A LeadiNG ROle The Princess and the Frog “Almost There” ANIMated SHOrt FilM Jeff Bridges Crazy Heart Music and Lyric by Randy Newman French Roast Fabrice O. -
2010 George Eastman House Exhibitions
2010 George Eastman House Exhibitions What We're Collecting Now: Colorama The Family Photographed Curated by Jessica Johnston Curated by George Eastman House/Ryerson June 19–October 17 University Photographic Preservation & Collections Management students Jennie McInturff, Rick What We're Collecting Now: Art/Not-Art Slater, Jacob Stickann, Emily Wagner, and Andrew Curated by George Eastman House/Ryerson Youngman University Photographic Preservation & Collections September 5, 2009-July 18, 2010 Management students Jami Guthrie, Emily McKibbon, Loreto Pinochet, Paul Sergeant, D’arcy Where We Live White, and Soohyun Yang Curated by Alison Nordström, Todd Gustavson, July 24–October 24 Kathy Connor, Joseph R. Struble, Caroline Yeager, Jessica Johnston, and Jamie M. Allen Taking Aim: Unforgettable Rock ’n’ Roll October 3, 2009-February 14, 2010 Photographs Selected by Graham Nash October 30–January 30, 2011 How Do We Look Curated by Alison Nordström and Jessica Johnston All Shook Up: Hollywood and the Evolution of October 17, 2009-March 14, 2010 Rock ’n’ Roll Curated by Caroline Frick Page Roger Ballen: Photographs 1982–2009 October 30–January 16, 2011 Curated by Anthony Bannon February 27–June 6 Machines of Memory: Cameras from the Technology Collection Portrait Curated by Todd Gustavson Curated by Jamie M. Allen Ongoing February 27–October 17 The Remarkable George Eastman Persistent Shadow: Curated by Kathy Connor and Rick Hock Considering the Photographic Negative Ongoingz Curated by Jessica Johnston and Alison Nordström March 20–October