DOCSLIB.ORG

P36-40Spe Layout 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
P36-40Spe Layout 1 lifestyle THURSDAY, FEBRUARY 19, 2015 DS Podium GMT Chronograph - Aluminum Light, bright and delightfully sporty ith a case sculpted in aluminum-a material almost scratch-resistant anodization surface treatment. The perfect twice as light as titanium, the new DS Podium GMT colors to match the discerning preferences of every watch WChronograph brings colorful new options to the lover. Certina line of sporty, original timepieces. Dressed in bright Behind the black bezel with green tachymeter scale and the Certina green and light enough to accompany the most active resistant, sport-ready sapphire crystal with anti-reflective coat- of lifestyles, it carries the well-known, supremely accurate ETA ing on both faces, the black dial wears chronograph hands in Precidrive movement with GMT function (for a second time contrasting green. The hour, minute and 24 h/GMT hands are zone) and full 12-hour, 60-minute and 60-second timing. treated with Superluminova, as are the timepiece’s indices and The DS Podium GMT Aluminum unites the finest in both Arabic numerals. The protected crown is monogrammed with original design and cutting-edge technology. Its highly-precise the letters “DS”, also in green, for a stylish touch that underlines ETA Precidrive GMT quartz movement is housed inside a light- Certina’s well-known attention to detail. weight 42 mm aluminum case which, thanks to an innovative The DS Podium GMT Aluminum is water-resistant to a pres- surface-finishing process, wears the bright new Certina green sure of 10 bar (100 m) and is equipped with the Certina DS color. Inside, the GMT movement offers tracking of a second Concept, for maximum reliability. Its ETA Precidrive movement time zone, standard timing functions such as 60 minute and 60 carries a practical EOL (end-of-life) warning system. Both the second, as well as full 12-hour timing with Start-Stop and green and red models come equipped with a molded black Add/Split functions. A date window is placed at 6 o’clock for rubber strap with pin clasp, while the sand-colored version is optimal legibility. delivered with a white strap. An aluminum case is not only extremely lightweight but it opens up new and exciting design options. The primary model in this product line is bright green but red and sand-colored versions are also available, with the same highly-durable, Fact vs fiction: Can doubts ‘Birdman’, ‘Into torpedo an Oscar movie? the Woods’ o filmgoers care if a movie takes liberties rival in the crucial final stages of an Oscars cam- with facts? More critically in awards season, paign. “Your competition is often responsible for Dcan doubts about the truth of a film torpe- pulling the tapestry out from under your feet,” he top Costume do Academy hopes? Or do Oscars voters not really told AFP. Tom O’Neil, of the award season ranking mind as long as they get a good story? For several and analysis website Goldderby.com, is more of the pictures eyeing Oscars glory on Sunday, in nuanced. Members of the Academy of Motion Designers Guild theory based on real events, those are vital ques- Picture Arts and Sciences “are very tolerant of liber- tions. ties screenwriters take and of the fact that a role Director Ava DuVernay’s Martin Luther King Jr can get sanitized,” he said. “I don’t think the Awards movie “Selma” is accused of misrepresenting presi- ‘American Sniper’ controversy could hurt Bradley dent Lyndon Johnson as an enemy of the civil Cooper,” its main star, he added, saying: “It could rights icon. Some critics have slammed “American even help him. Voters might want to help an Sniper,” Clint Eastwood’s movie about elite US American hero if they feel he’s under attack.” sharpshooter Chris Kyle-credited with killing at least 160 people in Iraq-for allegedly glorifying a mass murderer. Other recent films which generated ‘Help viewers escape’ Mindy Kaling arrives at the polemics included “Zero Dark Thirty,” which com- “The Theory of Everything,” about British astro- 17th Costume Designers Guild peted for the Oscars in 2013. Some accused it of physicist Stephen Hawking, is another accused of Awards at the Beverly Hilton making a heroine out of a CIA agent who practiced taking liberties-this time with chronology and mis- Hotel. — AP torture, while others said it helped re-elect portraying his relationship with his first wife Jane. President Barack Obama. That was the year that the O’Neil said: “It’s a love story that’s being told, peo- Best Picture Oscar went to “Argo,” about a bold CIA ple are rooting for this story,” so it probably didn’t he Costume Designers Guild Awards may come costume designers: We’re all pretty full of ourselves, operation to rescue six US diplomats trapped in impact the movie’s awards season prospects. But too late to influence the Oscars race, but they we think we can do everything, but I don’t know one Iran by the 1979 hostage crisis. he added: “The controversy over Lyndon Johnson Tmanaged to confirm what already seems to be director who thinks he can be a costume designer. in ‘Selma’ may have hurt that film. clear: “Birdman” is the film to beat. Albert Wolsky won We’re in awe of your talents.” He finished with a thank American hero attacked “They can tinker with facts but you need to know the contemporary film category for Alejandro you to his regular costume designer, Kari Perkins, not- The film, directed by Ben Affleck, was accused of who’s the hero and who’s the villain.” Oscars voters Gonzalez Inarritu’s backstage tale, while legends ing that “Boyhood” was a period story that was con- playing fast and loose with the facts, notably failing don’t like it when a character’s historical role or per- Colleen Atwood and Milena Canonero took prizes for temporary when it was shot. “It’s a very inexpensive to give credit for the major role Canada had in sonality is transformed from one to the other, he “Into the Woods” (fantasy film) and “The Grand way to do a period piece,” he quipped. “You just shoot securing the US diplomats’ freedom. In earlier years said. But Nunan said that some playing with the Budapest Hotel” (period film). it and wait a long time.”Deborah Nadoolman Landis Oliver Stone’s “JFK” in 1991 and Ron Howard’s 2001 facts-though not too much-was inevitable. “A “Birdman” has a broad swath of awards support received the inaugural Edith Head Award for the movie “A Beautiful Mind” also fueled controversy. motion picture has to take some liberties, otherwise from numerous guilds, but “The Grand Budapest Advancement and Education of the Art of Costume “It doesn’t help a movie to have controversy it won’t win the viewers emotionally,” he said. “The Hotel” is hot on its heels among design orgs. In the TV Design. Her husband of 40 years, director John Landis, over it,” said Tom Nunan, who produced the Oscar cinema experience is meant to entertain and help categories, oft-honored “American Horror Story: Freak introduced her and recounted how in 1997 she invit- Best Picture “Crash” and who teaches at the UCLA viewers escape the real world,” he added. — AFP Show” took honors for made-for/miniseries. “True ed a group of designers to their home and suggested School of Theatre, Film and Television. Moreover, “it Detective” was honored as top contemporary TV an annual dinner for costume designers, reasoning is not a coincidence that those controversies are series, and Michele Clapton won for “Game of costume designers rarely see each other and the happening now,” when it could help to eliminate a Thrones” in the period/fantasy TV series category. event would build solidarity. That was the genesis of Colleen Atwood, winner for “Into the Woods” in the the CDGA Awards banquet. fantasy film category, recounted a fitting the day Before the show, Deborah Landis told Variety she before where an actor was complaining in front of the relished the chance to see old friends such as “The mirror, saying “I was thinking it would be more color- Grand Budapest Hotel” designer Milena Canonero, ful.” “I told him ‘I was thinking it would be for a 32-inch who spends much of her time in Europe nowadays. waist, not a 38,’” she said, sending the audience into a Said Landis, “It’s really about having a drink and a roar of laughter-and approval. But she also thanked good laugh with your friends and professional col- her director Rob Marshall for making her feel appreci- leagues.” At the podium, she thanked a long list of ated and valued on the film-something that doesn’t supporters and influencers, including “Angie Jones at always happen. the NBC costume department. who co-signed a car Harrison Ford gave a heartfelt presentation of San loan one week after I started because I’d be working Francisco-based designer Aggie Guerard Rodgers, the somewhere in three years.” She reminded the gather- 2015 career achievement honoree, with whom he did ing that Edith Head was a founder of the Guild, and five films. He quoted her saying “I am very interested said “When you are negotiating for your next project, in the common man.” “As a common man, I am very be brave. Consider: What would Edith do?” glad for that interest,” said Ford. “She said ‘My movies Naomi Watts, Lacoste Spotlight honoree, was the last do look like me.’ So it’s not surprising her movies have to the podium. “Just watching the clips,” she quipped, “I such genuine beauty and resonance.” Ford recounted am really glad I have it in my contract I get to keep all the how on “The Conversation,” he didn’t get the part he clothes.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 2018-19 SEASON Celebrating 30 Years
    2018-19 SEASON Celebrating 30 Years OPENING NIGHT Proving Up NEW YORK PREMIERE MUSIC BY Missy Mazzoli LIBRETTO BY Royce Vavrek Adapted from the short story “Proving Up” by Karen Russell Co-commissioned by Washington National Opera, Opera Omaha, and Miller Theatre at Columbia University © 2018 G. Schirmer Inc. IN A NEW PRODUCTION BY OPERA OMAHA Wednesday, September 26, 8 p.m. | Friday, September 28, 8 p.m. Click on a section to learn more OVERVIEW SYNOPSIS CREATIVE TEAM CAST PRODUCTION PHOTOS OVERVIEW Proving Up Wednesday, September 26, 8 p.m. | Friday, September 28, 8 p.m. The performance runs approximately 75 minutes with no intermission. Composer Missy Mazzoli and librettist Royce Vavrek thrilled audiences and critics alike in 2016 with the premiere of their opera Breaking the Waves. This dynamic creative duo reunites for Proving Up, a harrow- ing tale of a family’s pursuit of the American Dream set in post-Civil War Nebraska. Miller’s 30th Anniver- sary Season opens with the New York premiere of this chamber opera that is by turns optimistic, exultant, and menacing. Major support for Proving Up is provided by Francis Goelet Charitable Lead Trusts and H.F. Lenfest Fund of The Philadelphia Foundation Introducing Proving Up A CONVERSATION WITH MISSY MAZZOLI AND ROYCE VAVREK Tuesday, September 25, 6:30 p.m. | Lenfest Center for the Arts On the eve of the New York premiere of their newest opera, Proving Up, the dynamic creative duo sits down with Associate Dean and Executive Director Melissa Smey to talk about the project, their creative process, and their inspiration.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • SETDECOR Magazine – Online 2015 Nominations
    SETDECOR Magazine – Online 2015 Nominations NOMINATIONS FOR THE 20th ANNUAL CRITICS’ CHOICE MOVIE AWARDS BEST PICTURE BEST YOUNG ACTOR/ACTRESS Birdman Ellar Coltrane – Boyhood Boyhood Ansel Elgort – The Fault in Our Stars Gone Girl Mackenzie Foy – Interstellar The Grand Budapest Hotel Jaeden Lieberher – St. Vincent The Imitation Game Tony Revolori – The Grand Budapest Hotel Nightcrawler Quvenzhane Wallis – Annie Selma Noah Wiseman – The Babadook The Theory of Everything Unbroken BEST ACTING ENSEMBLE Whiplash Birdman Boyhood BEST ACTOR The Grand Budapest Hotel Benedict Cumberbatch – The Imitation The Imitation Game Game Into the Woods Ralph Fiennes – The Grand Budapest Hotel Selma Jake Gyllenhaal – Nightcrawler Michael Keaton – Birdman BEST DIRECTOR David Oyelowo – Selma Wes Anderson – The Grand Budapest Hotel Eddie Redmayne – The Theory of Ava DuVernay – Selma Everything David Fincher – Gone Girl Alejandro G. Inarritu – Birdman BEST ACTRESS Angelina Jolie – Unbroken Jennifer Aniston – Cake Richard Linklater – Boyhood Marion Cotillard – Two Days, One Night Felicity Jones – The Theory of Everything BEST ORIGINAL SCREENPLAY Julianne Moore – Still Alice Birdman – Alejandro G. Inarritu, Nicolas Rosamund Pike – Gone Girl Giacobone, Alexander Dinelaris, Jr., Reese Witherspoon – Wild Armando Bo Boyhood – Richard Linklater BEST SUPPORTING ACTOR The Grand Budapest Hotel – Wes Josh Brolin – Inherent Vice Anderson, Hugo Guinness Robert Duvall – The Judge Nightcrawler – Dan Gilroy Ethan Hawke – Boyhood Whiplash – Damien Chazelle Edward Norton – Birdman
    [Show full text]
  • Introduction
    THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS THE OLIVE WONG PROJECT PERFORMANCE COSTUME DESIGN RESEARCH GUIDE INTRODUCTION COSTUME DESIGN AND PERFORMANCE WRITTEN AND EDITED BY AILEEN ABERCROMBIE The New York Public Library for the Perform- newspapers, sketches, lithographs, poster art ing Arts, located in Lincoln Center Plaza, is and photo- graphs. In this introduction, I will nestled between four of the most infuential share with you some of Olive’s selections from performing arts buildings in New York City: the NYPL collection. Avery Fisher Hall, Te Metropolitan Opera, the Vivian Beaumont Teater (home to the Lincoln There are typically two ways to discuss cos- Center Teater), and David H. Koch Teater. tume design: “manner of dress” and “the history Te library matches its illustrious location with of costume design”. “Manner of dress” contextu- one of the largest collections of material per- alizes the way people dress in their time period taining to the performing arts in the world. due to environment, gender, position, economic constraints and attitude. Tis is essentially the The library catalogs the history of the perform- anthropological approach to costume design. ing arts through collections acquired by notable Others study “the history of costume design”, photographers, directors, designers, perform- examining the way costume designers interpret ers, composers, and patrons. Here in NYC the the manner of dress in their time period: where so many artists live and work we have the history of the profession and the profession- an opportunity, through the library, to hear als. Tis discussion also talks about costume sound recording of early flms, to see shows designers’ backstory, their process, their that closed on Broadway years ago, and get to relationships and their work.
    [Show full text]
  • Middleburg Film Festival to Honor Colleen Atwood With
    FOR IMMEDIATE RELEASE: MIDDLEBURG FILM FESTIVAL TO HONOR COLLEEN ATWOOD WITH COSTUME DESIGNER AWARD AND MARCO BELTRAMI WITH FILM COMPOSER AWARD Celebrations will include in‐depth conversations and career retrospectives for the Oscar‐winning costume designer and Oscar‐nominated composer Middleburg, VA, September 2, 2014 – The Middleburg Film Festival announced today Colleen Atwood and Marco Beltrami as this year’s Distinguished Costume Designer and Distinguished Film Composer, respectively. The Distinguished Costume Designer Award will be presented to Atwood on Friday, October 31. The event will feature an in‐depth conversation with Atwood with a retrospective of her most memorable costumes, followed by a Masquerade Ball in her honor. Beltrami will receive the Distinguished Film Composer Award on Saturday, November 1. The Shenandoah Conservatory Symphony Orchestra will perform world premieres of concert suites from Marco Beltrami’s scores including THE GIVER, THE HOMESMAN and WORLD WAR Z. In addition, in honor of Halloween, his score for SCREAM will be performed. The Middleburg Film Festival, now in its second year, will run from Thursday, October 30 to Sunday, November 2 in Virginia’s historic wine country, located one hour from our nation’s capital and attracting filmmakers and filmgoers from all over the world. “The Middleburg Film Festival is committed to recognizing creative artists who make movies memorable,” said Executive Director Susan Koch. “Colleen Atwood is a long‐time collaborator with director Tim Burton on his dark and quirky films such as SWEENEY TODD: THE DEMON BARBER OF FLEET STREET and SLEEPY HOLLOW. Marco Beltrami is known for his horror and thriller scores, including the SCREAM movies.
    [Show full text]
  • Cinematic Fashionability and Images Politics
    Journalism and Mass Communication, Mar.-Apr. 2021, Vol. 11, No. 2, 73-80 doi: 10.17265/2160-6579/2021.02.002 D DAVID PUBLISHING Cinematic Fashionability and Images Politics Chan Ka Lok Sobel Hong Kong Baptist University, Hong Kong SAR, China The marriage of cinema and fashion? When, where and how their interaction and origin is begun? There should be no glamor and red carpet when The Lumière brothers short films like Workers leaving the Lumière factory, The Gardener, Baby’s Breakfast on the birth of cinema in 1895. However, we notice that artificially costumes are tailor-made for A Trip to the Moon in Georges Méliès and D. W. Griffith’s Intolerance. Suddenly, it adds the aesthetical and modernist elements into the blood of cinema beside the raw-realism of how the daily life of the common people is represented on the silver screen. Some kinds of bourgeois ideology and middle class value is enhanced. It is so unbelievable that some ordinary actress like Mary Pickford transforming into a movie star after beautifully dressing up. Not only the audience feel the power of movie magic but also the fashion magic. This paper explores the different perspective of movie and fashion in terms of fashion and film costumes, movie stars icon, fashion trends influenced by movies, and how fashion designers changes the look of cinema as well, etc. Keywords: ideology, movie images, stardom, fashionability Introduction Cinema is somehow like a showcase of fashion. General audiences are fans of movie stars not just because of their personal charisma, but because of the fashion they wear.
    [Show full text]
  • Desenho E Cinema
    Faculdade de Belas Artes da Universidade do Porto Mestrado em Desenho e Técnicas de Impressão Dissertação de: Elisa Almeida Trindade Orientado por: Doutora Cristina Mateus 2013 Desenho e Cinema Agradecimentos: À minha orientadora Doutora Cristina Mateus, à minha família, aos meus amigos e a todos que tornaram possível este trabalho. Índice Resumo/Abstract 9 3.1. Storyboards 93 Introdução: Breve enquadramento histórico. 3.2. Cenários 99 Projeto e método 11 O gabinete do Dr. Caligari 103 Capítulo 1 Metropolis 104 Realizadores desenhadores 17 A Casa Encantada 106 George Méliès 19 Ken Adam 107 Alfred Hitchcock 21 Fritz Lang 25 3.2.1. Desenhos técnicos e Sergei Eisenstein 28 desenhos concetuais 109 Akira Kurosawa 31 Orson Welles 36 3.2.2. Desenhos de Artefactos 115 Saul Bass 37 Federico Fellini 41 3.3. Desenho de Guarda-roupa 119 Satyajit Ray 45 Collen Atwood 122 Roman Polanski 47 Ngila Dickson 124 Ridley Scott 49 Sandy Powell 125 Martin Scorsese 52 Jacqueline Durran 127 Peter Greenaway 55 Eiko Ishiola 128 Tim Burton 56 3.3.1. Outros Figurinos 129 1.1. Storyboards e outros realizadores 59 F.W. Murnau 61 Jonh Huston 62 3.3.2. Desenhos de outros personagens 133 Terry Gillian 63 Jane Campion 65 Capítulo 4 Told Haynes 66 Outros processos 137 Capítulo 2 Carlos Saura 139 O desenho como parte integrante do filme 67 Pedro Costa 141 Voyage dans la Lune 69 Peter Greenaway 142 A invenção de Hugo 70 Sang d’un poète 71 Capítulo 5 O contrato do desenhador 72 Do Cinema ao Desenho 143 A walk through H 72 Gustav Deutsch 145 O sol do marmeleiro 74 William Kentridge 147 American Splendor 74 Quentin Tarantino 148 Quem tramou Roger Rabbit? 75 Kill Bill 75 Harry Potter e os Talismãs da Morte 76 Detachment 76 Reflexões finais 149 Tabu 77 Argo 78 Bibliografia 153 Culpados por suspeita 80 Capítulo 3 Índice de imagens 158 Função do desenhador de produção e do diretor artístico 81 Henry Bumstead 85 Dante Ferretti 87 Stuart Craig 90 7 8 Resumo: Esta dissertação dá uma pequena contribuição para a análise da utilidade do desenho na arte do cinema, em algumas das suas vertentes.
    [Show full text]
  • Nominations by Film and Distributor
    EE BRITISH ACADEMY FILM AWARDS IN 2015 NOMINATIONS BY FILM/DISTRIBUTOR BY FILM (40 films) ‘71 2 Into the Woods 2 20 Feet From Stardom 1 Kajaki: The True Story 1 20,000 Days on Earth 1 The Lego Movie 1 American Sniper 2 Leviathan 1 Big Eyes 2 Lilting 1 Big Hero 6 1 The Lunchbox 1 Birdman 10 Mr. Turner 4 The Boxtrolls 1 Nightcrawler 4 Boyhood 5 Northern Soul 1 Citzenfour 1 Paddington 2 Dawn of the Planet of the Apes 1 Pride 3 Finding Vivian Maier 1 Still Alice 1 Foxcatcher 2 The Theory of Everything 10 Gone Girl 2 Trash 1 The Grand Budapest Hotel 11 Two Days, One Night 1 Guardians of the Galaxy 2 Under the Skin 2 The Hobbit: The Battle of the Five Armies 1 Virunga 1 Ida 2 Whiplash 5 The Imitation Game 9 Wild 1 Interstellar 4 X-Men:Days of Future Past 1 BY DISTRIBUTOR Alchemy (1) Soda Pictures (1) Kajaki: The True Story 1 Finding Vivian Maier 1 Altitude (1) Sony Pictures (5) 20 Feet From Stardom 1 Whiplash 5 Artificial Eye (8) Studio Canal (15) Citizenfour 1 ‘71 2 Ida 2 The Imitation Game 9 Leviathan 1 Paddington 2 Lilting 1 Under the Skin 2 The Lunchbox 1 Twentieth Century Fox (26) Still Alice 1 Birdman 10 Two Days, One Night 1 Dawn of the Planet of the Apes 1 Disney (5) Gone Girl 2 Big Hero 6 1 The Grand Budapest Hotel 11 Guardians of the Galaxy 2 Wild 1 Into the Woods 2 X-Men: Days of Future Past 1 Entertainment Film (2) Universal (17) Big Eyes 2 The Boxtrolls 1 Entertainment One (10) Boyhood 5 Foxcatcher 2 The Theory of Everything 10 Mr.
    [Show full text]
  • ACADEMY MUSEUM of MOTION PICTURES Collection Highlights
    ACADEMY MUSEUM OF MOTION PICTURES Collection Highlights OVERVIEW The Academy Museum will draw from the unparalleled collection of the Academy of Motion Picture Arts & Sciences, which contains a vast range of motion picture production and history-related objects and technology, works on paper, still and moving images covering the history of motion picture in the United States and throughout the world. The collections include more than 12 million photographs, 190,000 film and video assets, 80,000 screenplays, 61,000 posters, and 104,000 pieces of production art. The collection also includes more than 1,600 special collections of film legends such as Cary Grant, Katharine Hepburn, Alfred Hitchcock, and John Huston. These special collections contain production files, personal correspondence, clippings, contracts, manuscripts, scrapbooks, storyboards, and more. The Academy’s collecting divisions work collaboratively to acquire, preserve, digitize, and exhibit the broad range of materials entrusted to their care by generations of filmmakers and collectors. The Academy Museum has actively been acquiring three-dimensional motion picture objects since 2008. Its holdings now number approximately 2,500 items representing motion picture technology, costume design, production design, makeup and hairstyling, promotional materials and memorabilia, and awards. MOTION PICTURE TECHNOLOGY The collection includes examples of pre-cinema devices, early and modern motion picture cameras and projectors, sound, editing and lighting equipment, and other landmark
    [Show full text]
  • Scene II. Creative Contexts All Hollywood Feature Films Are The
    Scene II. Creative Contexts All Hollywood feature films are the product of creative teamwork. Production designers define the ‘where’ – the place and setting of the story. Cinematographers create the visual mood and tone of the narrative. Directors tell the story, making the final decision about everything that appears on-screen. Together with the costume designer, this creative team makes a world – and the people in it – come alive. Scene Two of Hollywood Costume examines creative collaborations between costume designers, directors and actors. In this gallery, you will also see how costume designers work within specific contexts of production: cinematic genres, new technologies and censorship. The first gallery of the exhibition explored the perspective of the costume designer. This gallery is about the situations in which costume designers do their work. Collaborating with Directors The creative relationship between director and costume designer is an essential part of film-making. The four partnerships featured here are among the greatest collaborations in the history of Hollywood. Edith Head is the most famous costume designer of all time. Her career spanned the entire history of the Hollywood studio system, from her first film Wings in 1929 through 11 films designed for Alfred Hitchcock between 1946 and 1976. London-based Sandy Powell began her career working with Derek Jarman before going on to design costumes for such Hollywood directors as Martin Scorsese. Ann Roth has forged a creative partnership with director Mike Nichols over four decades, on both stage and screen. Colleen Atwood has been instrumental in realising Tim Burton’s artistic vision, creating costumes for Johnny Depp in Edward Scissorhands, Ed Wood and Sweeney Todd.
    [Show full text]