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PLEASE READ THESE DIRECTIONS in FULL: Spreckels Theatre
PLEASE READ THESE DIRECTIONS IN FULL: Spreckels Theatre Company announces it's Youth in Arts Summer Youth Program Disney's Sleeping Beauty, KIDS Music and Lyrics by Pyotr Ilyich Tchaikovsky George Bruns and Tom Adair, Winston Hibler and Ted Sears, Sammy Fain and Jack Lawrence Music Adapted and Arranged and Additional Music by Bryan Louiselle Book Adapted and Additional Lyrics by Marcy Heisler Based on the 1959 Disney film "Sleeping Beauty" and the story "Sleeping Beauty in the Wood" by Charles Perrault Stage Direction by Denise Elia-Yen Music Direction by Lucas Sherman Choreography by Michella Snider Performances on the Main Stage at Spreckels Performing Arts Center ********************************************************************* AUDITIONS: FRIDAY, June 16th, 5:00 p.m. – 8:30 p.m. *See below to arrange your audition slot if you are aged 10-17! CALLBACKS: SATURDAY, June 17th, 10:00 a.m. – 2:00 p.m. at director's discretion Auditions and Callbacks in the Condiotti Theater at Spreckels Performing Arts Center ********************************************************************* REHEARSAL SCHEDULE (please read carefully): July 16th, 17th and 18th: 6:00 p.m. - 9:00 p.m. Monday, July 24th thru Friday, July 28th: 9:00 a.m. - 3:00 p.m. Monday, July 31st thru Friday, August 4th: 9:00 a.m. - 3:00 p.m. Saturday, August 5th: Tech with cast 12:30 p.m. - 3:30 p.m. Sunday, August 6th: Cast and orchestra 12:30 - 6:00 p.m. Monday, August 7th, Tuesday, August 8th, Wednesday, August 9th and Thursday August 10th - 6:00 - 9:00 p.m. Friday, August 11th: actors prep at 4:00 p.m. -
The Human Voice and the Silent Cinema. PUB DATE Apr 75 NOTE 23P.; Paper Presented at the Society Tor Cinema Studies Conference (New York City, April 1975)
i t i DOCUMENT RESUME ED 105 527 CS 501 036 AUTHOR Berg, Charles M. TITLE The Human Voice and the Silent Cinema. PUB DATE Apr 75 NOTE 23p.; Paper presented at the Society tor Cinema Studies Conference (New York City, April 1975) EDRS PRICE MF-$0.76 HC-$1.58 PLUS POSTAGE DESCRIPTORS *Audiovisual Communication; Communication (Thought Transfer); *Films; *Film Study; Higher Education; *History; *Sound Films; Visual Literacy ABSTRACT This paper traces the history of motion pictures from Thomas Edison's vision in 1887 of an instrument that recorded body movements to the development cf synchronized sound-motion films in the late 1920s. The first synchronized sound film was made and demonstrated by W. K. L. Dickson, an assistant to Edison, in 1889. The popular acceptance of silent films and their contents is traced. through the development of film narrative and the use of music in the early 1900s. The silent era is labeled as a consequence of technological and economic chance and this chance is made to account for the accelerated development of the medium's visual communicative capacities. The thirty year time lapse between the development of film and the -e of live human voices can therefore be regarded as the critical stimuli which pushed the motion picture into becoming an essentially visual medium in which the audial channel is subordinate to and supportive of the visual channel. The time lapse also aided the motion picture to become a medium of artistic potential and significance. (RB) U SOEPARTME NT OF HEALTH. COUCATION I. WELFARE e NATIONAL INSTITUTE OF 4 EOUCATION D, - 1'HA. -
Thematic, Moral and Ethical Connections Between the Matrix and Inception
Thematic, Moral and Ethical Connections Between the Matrix and Inception. Modern Day science and technology has been crucial in the development of the modern film industry. In the past, directors have been confined by unwieldy, primitive cameras and the most basic of special effects. The contemporary possibilities now available has enabled modern film to become more dynamic and versatile, whilst also being able to better capture the performance of actors, and better display scenes and settings using special effects. As the prevalence of technology in society increases, film makers have used their medium to express thematic, moral and ethical concerns of technology in human life. The films I will be looking at: The Matrix, directed by the Wachowskis, and Inception, directed by Christopher Nolan, both explore strong themes of technology. The theme of technology is expanded upon as the directors of both films explore the use of augmented reality and its effects on the human condition. Through the use of camera angles, costuming and lighting, the Witkowski brothers represent the idea that technology is dangerous. During the sequence where neo is unplugged from the Matrix, the directors have cleverly combines lighting, visual and special effects to craft an ominous and unpleasant setting in which the technology is present. Upon Neo’s confrontation with the spider drone, the use of camera angles to establishes the dominance of technology. The low-angle shot of the drone places the viewer in a subordinate position, making the drone appear powerful. The dingy lighting and poor mis-en-scene in the set further reinforces the idea that technology is dangerous. -
The Sound Effect
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright The Sound Effect: a Study in Radical Sound Design Ian Robert Stevenson A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Faculty of Architecture, Design & Planning The University of Sydney 2015 ABSTRACT ABSTRACT This research project combines a theoretical intervention into sound ontology, with an empirical investigation into listening experience, in parallel with two technologically focused, research-led creative practice projects. -
Why YOU Should Be an English Major
Why YOU should be an English Major You’ll be able to communicate your ideas effectively. This is what employers want the most – people who can communicate clearly. Impress your employer with your ability to communicate, and you’ll get promoted. You’ll also sound smarter than everybody else. You’ll be able to learn new tasks and ideas. A liberal arts education teaches you how to learn, not how to do a specific job. Your employer will provide on-the-job training. Besides, the hot jobs of 20 years from now haven’t even been thought of yet; major in English, learn how to learn new job skills, and stay employed. You’ll be prepared for med school, law school, business school… Being an English major teaches you how to think critically. Graduate schools in every field are more interested in your ability to analyze situations and make connections between concepts than in your ability to memorize lists. You’ll get a good job. Major scientific, technological, industrial, and financial companies like to hire English majors. They want employees who can analyze problems, think up creative answers, and communicate those answers to coworkers. And an English degree teaches you to do all these things. You’ll earn lots of money. Well, maybe not as much as science graduates, but the 201 201 Payscale College Salary Report listed salaries for popular careers for English majors that ranged from $ to $ . 5- 6 40,000 76,000 You’ll move up the company ladder. Your English major taught you how to analyze problems, think creatively, synthesize intelligent solutions, and communicate those solutions to your bosses and coworkers. -
1 the Work of an Invisible Body: the Contribution of Foley Artists to On
1 The Work of an Invisible Body: The Contribution of Foley Artists to On-Screen Effort Lucy Fife Donaldson, University of Reading Abstract: On-screen bodies are central to our engagement with film. As sensory film theory seeks to remind us, this engagement is sensuous and embodied: our physicality forms sympathetic, kinetic and empathetic responses to the bodies we see and hear. We see a body jump, run and crash and in response we tense, twitch and flinch. But whose effort are we responding to? The character’s? The actor’s? This article explores the contribution of an invisible body in shaping our responsiveness to on-screen effort, that of the foley artist. Foley artists recreate a range of sounds made by the body, including footsteps, breath, face punches, falls, and the sound clothing makes as actors walk or run. Foley is a functional element of the filmmaking process, yet accounts of foley work note the creativity involved in these performances, which add to characterisation and expressivity. Drawing on detailed analysis of sequences in Cabaret (Bob Fosse, 1972) and Die Hard (John McTiernan, 1988) which foreground exertion and kinetic movement through dance and physical action, this article considers the affective contribution of foley to the physical work depicted on-screen. In doing so, I seek to highlight the extent to which foley constitutes an expressive performance that furthers our sensuous perception and appreciation of film. On-screen bodies are central to our engagement with film; the ways they are framed and captured by the camera guides our attention to character and action, while their physical qualities invite a range of engagement from admiration, appreciation and desire to awe, fear and repugnance. -
A Sound Selection
Alexander Horwath A Sound Selection Film Curatorship, Canonization, and a Film Program I am aware that the sort of wordplay represented by the title of this two-part program only works in English. Nevertheless, I would like to hope that even for non-English readers more than one wave of meaning will spill back and forth between the title and the films I have selected. The act of looking at and listening to these works will be the sounding board for what I have in mind. For one thing, the title not only relates to the films I have chosen, but also to the mission I’ve been given as a participant in this year’s Film Mutations festival: to contribute in a more general manner to a discussion about the ethics, aesthetics and politics of (film) curatorship. Considering how rarely curators have to justify or legitimate their choices (compared to other professions such as doctors, judges, politicians – or artists), one might ask by which standards a sound selection should be measured. To list only a few equivalents for the adjective sound : When is a selection of films ever “proper” or “solid” or “healthy” or “substantiated” or, of all things, “curative”? As far as I’m concerned, taking language seriously (including, of course, its playful uses) is the first step towards taking film and film curatorship seriously as well (including their playful uses). I have therefore tried to make a solid, substantiated and curative selection. One of several issues in the (still relatively small) field of film curatorial studies is the question of the combined program – that “feature-length” entity which consists of several “short” films. -
A Timeless Introduction in MOTION PICTURE SOUND RECORDING
File: Dyetrack.pm6 a b Motion Picture DYE TRACKS Application A Timeless Introduction in MOTION PICTURE SOUND RECORDING. By Jean Burtin THE SUMMARY IN BRIEF. ound is a 360-degree experience and whether we are attending a Sconcert hall or a motion picture theatre, the full emotional impact of the presentation is the result of a wide variety of sonic vibrations that arrive from every direction. We are now entering the Third Age of reproduced sound. The monophonic era was the first, which lasted from Edison’s invention of the phonograph in 1877 until the 1950s. During that time the goal was simply to reproduce the timbre of the original sound. No attempts were made to reproduce directional properties or spatial realism. Based on inventions from the 1930s, reaching the public in the mid ‘50s, the stereo era was the Second Age. This stereo sound added two dimensions of Jean Burtin space and has provided great listening pleasure for four decades. The Application manager introduction of digital multi-channel surround systems was the beginning Motion Picture Products of the Third Age, offering the public the opportunity to almost “feel” the Tel. (+ 32 ) (0)3 444 8054 sound. Fax. (+32) (0)3 444 8052 [email protected] These surround systems can provide this involving presence in a way that is robust, reliable and consistent. The only constant INSIDE... throughout the complete history of recorded sound, is the physical - Sound recording 4 way by which the analogue soundtrack is recorded on the filmmedium - The analogue track 6 itself. Up to now silver containing soundtracks are used to produce - Cross-modulation 8 - Quality 12 the necessary density for the reproduction equipment. -
The Arrival of the First Film Sound Systems in Spain (1895-1929)
Journal of Sound, Silence, Image and Technology 27 Issue 1 | December 2018 | 27-41 ISSN 2604-451X The arrival of the first film sound systems in Spain (1895-1929) Lidia López Gómez Universitat Autònoma de Barcelona [email protected] Date received: 10-01-2018 Date of acceptance: 31-03-2018 PALABRAS CLAVE: CINE MUDO | SONIDO | RecepcIÓN | KINETÓFONO | CHRONOPHONE | PHONOFILM KEY WORDS: SILENT FILM | SOUND | RecepTION | KINETOPHONE | CHRONOPHONE | PHONOFILM Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018. 28 The arrival of the first film sound systems in spain (1895-1929) ABSTracT During the final decade of the 19th century, inventors such as Thomas A. Edison and the Lumière brothers worked assiduously to find a way to preserve and reproduce sound and images. The numerous inventions conceived in this period such as the Kinetophone, the Vitascope and the Cinematograph are testament to this and are nowadays consid- ered the forerunners of cinema. Most of these new technologies were presented at public screenings which generated a high level of interest. They attracted people from all social classes, who packed out the halls, theatres and hotels where they were held. This paper presents a review of the newspa- per and magazine articles published in Spain at the turn of the century in order to study the social reception of the first film equip- ment in the country, as well as to understand the role of music in relation to the images at these events and how the first film systems dealt with sound. Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018. -
Hollywood Movie Stars California History Section Display
CALIFORNIA STATE LIBRARY NOVEMBER-DECEMBER 2016 HOLLYWOOD MOVIE STARS CALIFORNIA HISTORY SECTION DISPLAY VISIT OUR CURRENT DISPLAY: MINING IN CALIFORNIA California History Section 900 N Street Room 200 9:30-4 Monday-Friday INTRODUCTION California has been a moviemaking powerhouse for over a century now! Get star- struck, and relive the glory days of yesteryear’s actors through our carefully curated selection of images, ephemera and books. If you want more infor- mation about our movie history resources, you can find them in the fol- lowing places: California State Library Catalog: Subject Searches: Motion picture actors and actresses California motion picture* Hollywood history California Information File II: Subject Searches: Motion picture actors and actresses California Motion picture* Hollywood history California Information File (In-house use): Subject Searches: Moving Pictures Counties: Los Angeles: Hollywood Drama: Actor Names California Image File (In-house use): Subject searches: Portraits: Actor Names Motion Pictures Contacting us: Web-form: Ask us a Question Email: [email protected] Enjoy our display! VISUALS Hoover, Art Company. 192AD. [Lena Basquette] (7 Views). Silent Movie Scene. 192AD. Hartsook, Photo. 192AD. Mary Pickford. VISUALS Blake, Orville T. 1929. Grauamaus [Sic] Chinese, Hollywood, CA. Graphic. Arthur Wenzel at Theater in Oakland. 1916. Graphic. Hoover, Art Company. 192AD. [Alice Terry] (2 Views). A Cecil B. DeMille Production: Fredric March in “The Buccaneer.” 1937. Graphic. VISUALS Farrell Collection. 1916. Mary Pickford in Hulda from Holland. Graphic. T&D. N.D. [Actor]. Graphic. Dobbins Collection. N.D. [Actress]. Graphic. VISUALS Portraits. N.D. Graphic. [Actors]. 1916. Graphic. Garrick Theater (Philadelphia, Penn.). c1913. [Advertisement]. Philadelphia: Garrick Theater. -
An Asymptote of Reality: an Analysis of Nolan's "Inception" Carson Ratliff Grand Valley State University
Cinesthesia Volume 1 | Issue 1 Article 4 12-1-2012 An Asymptote of Reality: An Analysis of Nolan's "Inception" Carson Ratliff Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/cine Part of the Film and Media Studies Commons Recommended Citation Ratliff, Carson (2012) "An Asymptote of Reality: An Analysis of Nolan's "Inception"," Cinesthesia: Vol. 1 : Iss. 1 , Article 4. Available at: http://scholarworks.gvsu.edu/cine/vol1/iss1/4 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Cinesthesia by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Ratliff: An Asymptote of Reality An Asymptote of Reality: An Analysis of Nolan’s Inception In the first act of Inception (Christopher Nolan, 2010), dream invaders Thomas Cobb (Leonardo DiCaprio) and Ariadne (Ellen Page) are walking through the world of a dream. This being her first time in the alternate reality, Ariadne is in awe of the realism of the world. Cobb explains to her that it will be her job, as a dream architect, to design the dream world to make it accurately reflect real life. Ariadne seems intrigued by this challenge and inquires, “…What happens when you start messing with the physics of it all?” At this, the pair stop in their tracks as Ariadne starts to reshape the world of the dream, folding the horizon up into the sky until it comes to rest upside down, one hundred yards above the two protagonists’ heads. -
The Performance and Materiality of the Processes, Spaces and Labor of VFX Production
Sarah Atkinson Interactive ‘making-of’ machines: The performance and materiality of the processes, spaces and labor of VFX production Abstract This article analyzes and interrogates two interactive museum installations designed to reveal behind-the-scenes visual effects (VFX) materials from Inception (2010) and Gravity (2013). The multi-screen, interactive, and immersive installations were both created in direct collaboration with the VFX supervisors who were responsible for pioneering the new and innovative creative solutions in each of the films. The installations translate these processes for a wider audience and as such they not only provide rich sites for textual analysis as new ancillary forms of paratextual access, but they also provide insights into the way that VFX sector presents itself, situated within the wider context of the current global VFX industry. The article draws together critical production studies, textual analysis, and reflections from the industry which, combined, provide new understandings of these interactive forms of ancillary film “making-of ” content, their performative dimensions, and the labor processes that they reveal. Context their conception and presentation within the wider context of the current global VFX industry. This article analyzes and interrogates two interactive The decadent displays of VFX excess and access museum installations that were designed to reveal presented in both installations are representative of behind-the-scenes materials from Inception (2010) the currently flourishing VFX industry within the and Gravity (2013) in order to showcase the UK which has been boosted in recent years, by a acclaimed, breakthrough visual effects (VFX) of system of tax incentives which have been in place 3 each of the films.