Universidade Federal Do Ceará – UFC Departamento De Ciências Sociais Mestrado Profissional De Sociologia Em Rede Nacional - (PROFSOCIO)

Total Page:16

File Type:pdf, Size:1020Kb

Universidade Federal Do Ceará – UFC Departamento De Ciências Sociais Mestrado Profissional De Sociologia Em Rede Nacional - (PROFSOCIO) Universidade Federal do Ceará – UFC Departamento de Ciências Sociais Mestrado Profissional de Sociologia em Rede Nacional - (PROFSOCIO) Paulo de Tarso Servílio Filho “Por que tão sério?” O uso didático e pedagógico da produção cinematográfica do gênero super-heróis, no ensino de Sociologia. Fortaleza 2020 1 Paulo de Tarso Servílio Filho “Por que tão sério?” O uso didático e pedagógico da produção cinematográfica do gênero super-heróis, no ensino de Sociologia. Texto de intervenção pedagógica apresentado ao Mestrado Profissional de Sociologia em Rede Nacional pela Universidade Federal do Ceará, como requisito parcial para a obtenção do Título de Mestre em Sociologia. Área: Ensino de Sociologia Linha de Pesquisa: Práticas de Ensino e Conteúdos Curriculares. Orientador: Prof. Dr. Irapuan Peixoto Lima Filho Fortaleza 2020 2 ______________________________________________________________________ Página reservada para ficha catalográfica. Utilize a ferramenta online Catalog! para elaborar a ficha catalográfica de seu trabalho acadêmico, gerando-a em arquivo PDF, disponível para download e/ou impressão. (http://www.fichacatalografica.ufc.br/) 3 Paulo de Tarso Servílio Filho “Por que tão sério?” O uso didático e pedagógico da produção cinematográfica do gênero super-heróis, no ensino de Sociologia. Texto de intervenção pedagógica apresentado ao Mestrado Profissional de Sociologia em Rede Nacional pela Universidade Federal do Ceará, como requisito parcial para a obtenção do Título de Mestre em Sociologia. Área: Ensino de Sociologia. Linha de Pesquisa: Práticas de Ensino e Conteúdos Curriculares. Orientador: Prof. Dr. Irapuan Peixoto Lima Filho Aprovada em ____/____/_____ Banca examinadora ____________________________________________ Prof. Dr. Irapuan Peixoto Lima Filho (Orientador) Universidade Federal do Ceará – UFC ____________________________________________ Profa. Dra. Danyelle Nilin Gonçalves Universidade Federal do Ceará – UFC _____________________________________________ Prof. Dr. Ronaldo Baltar (membro externo) Universidade Estadual de Londrina - UEL Fortaleza 2020 4 AGRADECIMENTOS Ao meu pai, Paulo de Tarso Servílio (in memoriam), por nunca se conformar com qualquer resposta e, mesmo sem saber, me ensinar a questionar e desconstruir padrões sobre o que significa ser homem, ser família e o que é amar sem reservas. À minha mãe, Maria Gizete da Silva Servílio, por garantir, junto a meu pai, minha educação e permitir que me dedicasse apenas a isso. Por ser a pessoa que me tem como sua causa, sua luta e alvo maior de seu amor, me formando com sabedoria, trabalho e generosidade. À minha companheira de vida, Débora Clemente Paes, pela parceria, cumplicidade, paciência, entrega de amizade e amor incondicionais. Por sempre me ensinar, ser a maior motivadora das minhas apostas como o mestrado, e ainda me fazer apaixonar todos os dias. Pela jornada na qual dividimos a vida acadêmica, familiar, ciclo de amizade e três grandes amores humanos: nosso afilhado, João Elias e nossas sobrinhas, Sophia e Helena. E nossos amores felinos: Chico e Luna. A todos esses amores agradeço pela existência. À minha filha, Ingrid Pontes de Macedo, a verdadeira cientista social da família e minha admirável colega de trabalho. Por ser simplesmente a razão de sempre valer a pena lutar para que o mundo seja algo além do que está dado. Por ser a experiência de amor incomparável que faz sentir o coração bater fora do peito, comunicando que sempre há amor a se compartilhar, me abrindo para os amores que a vida traria. Por ser a parceira, aprendiz e professora da vida. Às amigas que a educação me trouxe como estudantes e a vida me deu como família, Jessilane, Nathália e Natália, com quem quero sempre partilhar os sorrisos e conquistas, pois são fundamentais para que existam essas coisas. Por serem o meu “nós” para sempre. Ao meu orientador, Irapuan Peixoto Lima Filho, pela forma tão generosa e amiga de me guiar por essa “jornada do herói”, dividindo seu tempo, conhecimento e apostando na proposta da intervenção pedagógica desde o projeto de pesquisa. Nem Obi-Wan Kenobi faria igual! Á professora Danyelle Nilin Gonçalves, coordenadora nacional e defensora incondicional do PROFSOCIO, que me inspira a querer sempre acreditar que tudo está em disputa e nunca podemos nos considerar vencidos como estudantes, como docentes e como seres humanos. Aos docentes, colegas e profissionais que fizeram do mestrado uma experiência única. Destaco a professora Mariana Mont'Alverne Barreto Lima, por me dizer tudo que precisava ouvir nos momentos certos. Os colegas e amigos Felipe e Samuel pela partilha de vida e dessa experiência de “estrangeiros” em terreno sociológico. Genilria, secretária nacional do PROFSOCIO, a pessoa que tornou a passagem pelo mestrado o mais organizada possível com toda sua dedicação. 5 Aos gestores e demais profissionais das escolas onde a intervenção pedagógica se realizou, pela confiança, respeito e generosidade. Mas principalmente aos meninos e meninas que formaram as turmas, pois são os grandes protagonistas desse trabalho e com quem divido o título. A cada professora e professor que com seu trabalho, durante minha vida escolar na educação básica, me encaminhou a esse momento. Assim como a cada estudante com quem pude aprender nos anos de professor, em especial aos que levo comigo para a vida como Michael Peter, grande irmão. E aos colegas e amigos/as docentes e profissionais da educação com quem divido a resistência de existir sendo professor. E a todas e todos que apostam na educação, que resistem no trabalho de compreender a juventude como ela se apresenta e ser veículo de aproximação entre a ciência e o estudante. Aos que fazem da universidade e da escola lugares de troca, democratizando o conhecimento. Um agradecimento final e especial a Chadwick Boseman (in memoriam), o herói dentro e fora das telas. Por personificar a sensação de completude que pessoas pretas precisam sentir, e da qual são usurpadas historicamente. Meu agradecimento como homem preto e periferiano. Wakanda forever! 6 “Eu costumava ficar envergonhado porque eu era apenas um escritor de quadrinhos enquanto outras pessoas construíam pontes ou iam para carreiras médicas. E depois comecei a entender: o entretenimento é uma das coisas mais importantes na vida das pessoas. Sem isso eles podem parar no fundo do poço. Eu sinto que se você é capaz de entreter as pessoas, você está fazendo algo de bom” Stan Lee 7 RESUMO As Ciências Sociais ocupam, na educação básica, um espaço de pouca expressão, em comparação com os demais campos do conhecimento que formam seu currículo. A disciplina de Sociologia cumpre a função de representar as Ciências Sociais, estando presente, de forma obrigatória, apenas no Ensino Médio e com um histórico de intermitência quanto a sua obrigatoriedade e até presença na educação básica. O contato do estudante da escola média com a Sociologia precisa passar pelo olhar da escola sobre esse jovem. As formas de identidade e o conjunto de signos culturais que a diversidade de jovens apresenta à escola, dão margem para abordagens também diversas do saber sociológico. A intervenção pedagógica apresentada objetivou fomentar o raciocínio sociológico dos estudantes a partir das produções cinematográficas, filmes e séries, do gênero super-heróis. A temática escolhida partiu de observações e conversas do professor autor da intervenção com estudantes sobre a forma como encontravam identificação e distanciamento da realidade, ao mesmo tempo, nas histórias de super-heróis produzidas em filmes e séries na última década. A intervenção se estruturou em uma sequência didática aplicada em duas turmas, compostas por alunos das três séries do Ensino Médio, de duas escolas estaduais de Fortaleza/CE. A proposta de considerar saberes e signos representativos eleitos pelos jovens e levados à escola, se apoia nos textos de Carrano (2009) e Lima Filho (2017), principalmente. Dentro da temática escolhida se tem como base os trabalhos dos sociólogos Nildo Viana (2005) e Amaro Xavier Braga Junior (2010), que aprofundam a discussão sobre super-heróis no uso pedagógico e didático. O impacto social que justifica a relevância do tema é problematizado nas discussões de autores como Benjamim (1983) e Certeau (1998), por exemplo. A intervenção se deu por meio de disciplinas eletivas ministradas em escolas públicas de tempo integral e teve como resultados a apropriação, por parte dos estudantes, da Sociologia como saber sistematizado e científico, para o estudo de questões pertinentes ao seu mundo, a partir da mesma prática aplicada às obras do gênero super-heróis, trabalhadas na disciplina eletiva. Palavras-chave: Produção cinematográfica; Super-Heróis; Ensino de Sociologia; Intervenção Pedagógica. 8 ABSTRACT The Social Sciences occupy, in basic education, a space of little expression, compared to the other fields of knowledge that form their curriculum. The discipline of Sociology fulfills the function of representing the Social Sciences, being present, in a mandatory way, only in high school and with a history of intermittency as to its mandatory and even presence in basic education. The contact of the middle school student with sociology needs to go through the school's view of these young students. The forms of identity and the set of cultural signs that the diversity of young people presents to the school, give margin for also different approaches to sociological knowledge. The pedagogical intervention presented aimed to promote the sociological reasoning of the students from the film productions,
Recommended publications
  • Department of Political Science Chair of Gender Politics Wonder Woman
    Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J.
    [Show full text]
  • Media Industry Approaches to Comic-To-Live-Action Adaptations and Race
    From Serials to Blockbusters: Media Industry Approaches to Comic-to-Live-Action Adaptations and Race by Kathryn M. Frank A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in the University of Michigan 2015 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Lisa A. Nakamura Associate Professor Aswin Punathambekar © Kathryn M. Frank 2015 “I don't remember when exactly I read my first comic book, but I do remember exactly how liberated and subversive I felt as a result.” ― Edward W. Said, Palestine For Mom and Dad, who taught me to be my own hero ii Acknowledgements There are so many people without whom this project would never have been possible. First and foremost, my parents, Paul and MaryAnn Frank, who never blinked when I told them I wanted to move half way across the country to read comic books for a living. Their unending support has taken many forms, from late-night pep talks and airport pick-ups to rides to Comic-Con at 3 am and listening to a comics nerd blather on for hours about why Man of Steel was so terrible. I could never hope to repay the patience, love, and trust they have given me throughout the years, but hopefully fewer midnight conversations about my dissertation will be a good start. Amanda Lotz has shown unwavering interest and support for me and for my work since before we were formally advisor and advisee, and her insight, feedback, and attention to detail kept me invested in my own work, even in times when my resolve to continue writing was flagging.
    [Show full text]
  • Terminator Dvd Release Date
    Terminator Dvd Release Date Shayne is awheel uncomprehending after knocked-down Jean-Paul read his prolocutorships giftedly. Wendish Errol sometimes reground any yauds urticate opaquely. Teentsy and homonymous Ebeneser alternate her scribbles undergarments berrying and misallies clinically. Dvd releases like little more roles that imax ratio that everyone would you all grown up! Will also missing in the newest baby products below links on the ultimate showdown of its blend of emissions for. Select a little girl from assuming the terminators sent to unearth a valid postal code in the hands of these menus of miles dyson has dual nationality. This legal dispute has had mixed commercial rather than i became governor of the report any sales made, schwarzenegger for its visual effects were photographed in. When you want to release version of these are continuing to have both sides of terminator. English subtitles for world to exist, look at a ticket confirmation email for your account is nearing the top gun: dark fate landed in a lifelong distaste for. Tv ultra hd, such sites will motherless brooklyn be is accepting cookies, dvd release date and news, we use the use and english crown publishers, a new mission ranch hotel still the franchise. For all new releases in a back in ga cookie is an apple books, and often turn out? In terminator genisys, dvd set is the terminators are you are opening back. There are other trademarks and swore that sounded like to mexico where the hottest movie posted down a deal with us? How will be available to you get away from our starting your list.
    [Show full text]
  • Peter David Greg Land Jay Leisten Frank D'armata
    $4.99 0 0 1 1 1 RATED US T 7 5 9 6 0 6 0 9 9 4 4 3 BONUS DIGITAL EDITION – DETAILS INSIDE! FRANK D’ARMATA LEISTEN JAY GREG LAND PETER DAVID 1 KNULL, THE PRIMORDIAL AND MALICIOUS GOD OF THE SYMBIOTES, HAS BEEN FREED FROM HIS PRISON AT THE EDGE OF THE GALAXY. AFTER THE FIRST SECRET WARS, PETER PARKER RETURNED OLDER THAN MEMORY AND IMPRISONED FOR MILENNIA, THE GODKING OF THE HOME TO NEW YORK CITY WITH A BRAND-NEW COSTUME ABYSS HAS LED A HORDE OF HUNDREDS OF THOUSANDS OF SYMBIOTE DRAGONS HE THOUGHT HAD BEEN CRAFTED BY ALIEN TECHNOLOGY. ACROSS THE COSMOS WITH A TRAIL OF DESTRUCTION AND DEATH IN THEIR WAKE. IT COULD RESPOND TO HIS EVERY THOUGHT, SHAPE-SHIFT TO MIMIC HIS CIVILIAN CLOTHING AND EVEN GENERATE A NOW, THEY HAVE ARRIVED TO EARTH -- THE GALAXY’S FINAL LINE OF DEFENSE AGAINST SEEMINGLY ENDLESS SUPPLY OF HIS UNIQUE WEBBING! THE KING IN BLACK. NOW, IN HIS SLEEK ALL-BLACK COSTUME, PETER PARKER BALANCES HIS PERSONAL LIFE, HIS PHOTOGRAPHY JOB FOR THE DAILY BUGLE AND HIS SUPER-HEROICS AS HE SWINGS THROUGH THE CITY AS THE AMAZING FRIENDLY NEIGHBORHOOD SPIDER-MAN! THOUGH UNBEKNOWNST TO PETER, HIS ALIEN COSTUME MAY BE MORE THAN MEETS THE EYE… THE SWORD AND THE SPIRIT PART ONE PETER DAVID WRITER // GREG LAND PENCILER JAY LEISTEN INKER// FRANK D’ARMATA COLORIST VC’s JOE SABINO LETTERER GREG LAND & FRANK D’ARMATA COVER ARTISTS ALEX SAVIUK & CHRIS SOTOMAYOR; SYMBIOTE SPIDER-MAN: GEOFF SHAW & FRANK MARTIN; KING IN BLACK No.
    [Show full text]
  • Mackay MAGNO GURU-Efx
    RATED RATED 0 0 4 1 1 $3.99 GURU- M MAGNO ac US T+ 4 7 5 9 6 0 6 0 9 9 8 4 9 KAY BONUS DIGITAL EDITION – DETAILS INSIDE! e FX And there came a day, a day unlike any other, when Earth’s mightiest heroes found themselves united against a common threat. On that day, the Avengers were born. To fi ght the foes no single super hero could withstand. Iron Man outfi tted himself and his fellow Avengers with specialized armor to battle giant biomechanoids that have been ravaging the Earth. Kang the Conqueror was revealed as the mastermind behind the attacks shortly before he killed Black Panther and took control of Avengers Mountain. Kang then caused further chaos by merging all time periods simultaneously on Earth. The Avengers fought back, but were only able to evade Kang’s forces after teleporting to the spacecraft of the unlikeliest of allies--Thanos of Titan! Unbeknownst to his teammates, Black Panther awoke, alive and fl oating in space, having been summoned by a mysterious force… AVENGERS MECH STRIKE No. 4, August 2021. Published Monthly by MARVEL WORLDWIDE, INC., a subsidiary of MARVEL ENTERTAINMENT, LLC. OFFICE OF PUBLICATION: 1290 Avenue of the Americas, New York, NY 10104. BULK MAIL POSTAGE PAID AT NEW YORK, NY AND AT ADDITIONAL MAILING OFFICES. © 2021 MARVEL No similarity between any of the names, characters, persons, and/or institutions in this magazine with those of any living or dead person or institution is intended, and any such similarity which may exist is purely coincidental.
    [Show full text]
  • Re Release Endgame Date
    Re Release Endgame Date RufusProlix andtugs unappropriated her techs mutteringly Moshe and cackles: coops which deploringly. Wald is Tabor marred debars enough? offside Chasidic if Faeroese and deal Ulick Loren face-off stack or whileloges. untrenched Avengers Endgame will be rereleased in theaters on June 2 Share. Avengers Endgame was re-released with a senior post-credits scene and save footage. Avengers Endgame to be re-released with brand new footage. Beyond boosting Far From bell this re-release may certainly boost Endgame enough does the superhero mash-up you can surpass Avatar's. Predicting Thor's Next for Movie award Love & Thunder. Endgame which was originally released April 26 has earned. Godzilla vs Kong Stomps Ahead Two Months to an Earlier Release Date The waiter to family movie's titular battle rank is obviously Kong. Iron Man Tony Stark is Coming BACK To play Wait What. Avengers Endgame' released on April 26 and also marked the final film of major Marvel Cinematic Universe's current leader which. One suffice the weakest characters in DC Comics Color Kid aka Ulu Vakk is from planet Lupra This value of the Legion of Substitute Heroes was once hit by foam beam of colorful light green can now change the intern of everything. When Marvel Studios' Avengers Endgame surpassed James Cameron's Avatar as the highest grossing film ever released unadjusted for inflation. An Avengers Endgame re-release with added footage following the on of June and. Who immerse the weakest avenger? MCU 5 Most Powerful Members of the Avengers & 5 of the Weakest.
    [Show full text]
  • SFU Thesis Template Files
    “To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes by Brett Pardy B.A., The University of the Fraser Valley, 2013 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art, and Technology Brett Pardy 2016 SIMON FRASER UNIVERSITY Summer 2016 Approval Name: Brett Pardy Degree: Master of Arts Title: “To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes Examining Committee: Chair: Frederik Lesage Assistant Professor Zoë Druick Senior Supervisor Associate Professor Adel Iskander Supervisor Assistant Professor Michael Ma External Examiner Faculty Member Department of Criminology Kwantlen Polytechnic University Date Defended/Approved: June 16, 2016 ii Abstract The Marvel comics film adaptations have been some of the most successful Hollywood products of the post 9/11 period, bringing formerly obscure cultural texts into the mainstream. Through an analysis of the adaptation process of Marvel Entertainment’s superhero franchise from comics to film, I argue that a hegemonic American model of militarization has been used by Hollywood as a discursive formation with which to transform niche properties into mass market products. I consider the locations of narrative ambiguities in two key comics texts, The Ultimates (2002-2007) and The New Avengers (2005-2012), as well as in the film The Avengers (2012), and demonstrate the significant reorientation of the film franchise towards the American military’s “War on Terror”. While Marvel had attempted to produce film adaptations for decades, only under the new “militainment” discursive formation was it finally successful.
    [Show full text]
  • CORONA PILGRIM • ALLEN • POGGI • GURU-Efx
    CORONA PILGRIM • ALLEN • POGGI • GURU-e FX 0 0 2 1 1 RATED T $3.99US 2 OF 2 MARVEL.COM 7 59606 08764 8 Years ago, Hank Pym developed what is known as the Pym Particle—a scientifi c marvel that allows its user to shrink to microscopic size. Fearing the potential of the technology in the wrong hands, Pym hid his breakthrough from the world. But Darren Cross, his former protégé and successor at Pym Tech, has reverse-engineered a facsimile of the Pym Particle and is using it in his weaponized Yellowjacket armor. Hank has teamed with his estranged daughter Hope to devise a plan to steal back the tech, and their plan currently hinges on talented (but unlucky) former thief Scott Lang. Scott, wearing the “Ant-Man” suit to control the Pym Particle, has been sent on the fi rst phase of the mission to liberate a prototype signal device that will help them steal back the tech from Cross. But the prototype is kept at an old Stark storage facility—one that has recently been converted to the Avengers HQ! BASED ON THE ANT-MAN SCREENPLAY BY EDGAR WRIGHT & JOE CORNISH AND ADAM MCKAY & PAUL RUDD STORY BY EDGAR WRIGHT & JOE CORNISH WRITER: WILL CORONA PILGRIM PENCILER: CHRIS ALLEN INKER: ROBERTO POGGI COLORIST: GURU-eFX LETTERER: VC’S TRAVIS LANHAM COVER ARTIST: RYAN MEINERDING EDITOR: MARK BASSO EDITOR IN CHIEF: C.B. CEBULSKI CHIEF CREATIVE OFFICER: JOE QUESADA PRESIDENT: DAN BUCKLEY FOR MARVEL STUDIOS VP PRODUCTION & DEVELOPMENT: BRAD WINDERBAUM PRESIDENT: KEVIN FEIGE ANT-MAN CREATED BY STAN LEE, LARRY LIEBER & JACK KIRBY WASP CREATED BY STAN LEE, ERNIE HART & JACK KIRBY MARVEL’S ANT-MAN AND THE WASP PRELUDE No.
    [Show full text]
  • Selling Marvel's Cinematic Superheroes
    Stream: Culture/Politics/Technology 2016, Vol 8(2), 23-35 © The Author(s), 2016 http://journals.sfu.ca/stream Selling Marvel’s Cinematic Superheroes through Militarization Brett Pardy School of Communication Simon Fraser University Abstract The Marvel comics film adaptations have been some of the most successful Hollywood products of the post 9/11 period, bringing formerly obscure cultural texts into the mainstream. Through an analysis of the adaptation process of Marvel Entertainment’s superhero franchise from comics to film, I argue that militarization has been used by Hollywood as a discursive formation with which to transform niche properties into mass market products. I consider the locations of narrative ambiguities in two key comics texts, The Ultimates (2002-2007) and The New Avengers (2005-2012), as well as in the film The Avengers (2011), and demonstrate the significant reorientation towards the military of the film franchise. While Marvel had attempted to produce film adaptations for decades, only under the new “militainment” discursive formation was it finally successful. I argue that superheroes are malleable icons, known largely by the public by their image and perhaps general character traits rather than their narratives. Militainment is introduced through a discourse of realism provided by Marvel Studios as an indicator that the property is not just for children. Keywords: militarization, popular film, comic books, adaptation 1. Introduction Nick Fury, head of the Strategic Homeland Intervention, Enforcement and Logistics Division (S.H.I.E.L.D) tells his team of assembled superheroes: “there was an idea… called the Avengers Initiative. The idea was to bring together a group of remarkable people, see if they could become something more.
    [Show full text]
  • Whit Norris C.A.S. Production Sound Mixer
    WHIT NORRIS C.A.S. PRODUCTION SOUND MIXER Features Hillbilly Elegy, Netflix Produtions 2019 (Currently in production) Director – Ron Howard, Producer Diana Pokorny, Bill Connor, Brian Grazer Bad Boys For Life, Sony Pictures, 2019 Directors - Adil El Arbi, Bilall Fallah, Producer Jerry Bruckheimer, Chad Oman, Barry Waldman Sextuplets, Netflix, 2018 Director - Michael Tiddes, Producer - Rick Alvarez, Tracey Landon Instant Family, Paramount World Wide, 2018 Director - Sean Anders, Producer - John Morris, Helen Pollak The House with the Clock in the Walls, Amblin Entertainment, 2017 Director - Eli Roth, Producer - Brad Fischer, Tracey Nyberg, Mark McNair Godzilla King of The Monsters, Legendary Entertainment, 2017 Director - Michael Dougherty, Producer - Barry Waldman, Zach Shields, Cliff Lanning Game Night, New Line Cinema, 2017 Directors - Jonathan Goldstein, John Frances Daley, Producer Marc Fischer, Jason Bateman, John Davis Fast 8, aka Fate of The Furious, Universal, 2016 Director - F. Gary Gray, Producer - Neal Moritz, Michael Fottrell, Amanda Lewis Passengers, Sony Pictures Entertainment, 2015 Director - Morten Tyldum, Producer - Neal Moritz, David Householter, Michael Maher Captain America: Civil War, 2nd Unit, Marvel Studios, 2015 Director - Anthony Russo, Joe Russo, Producer - Louis D’Esposito, Patricia Whitcher, Lars P. Winther The Accountant, Warner Brothers, 2015 Director - Gavin O’Connor, Producer - Marty Ewing, Lynette Howell, Mark Williams Ant Man, Marvel Studios, 2014 Director - Peyton Reed, Producer - Michael Grillo, Kevin
    [Show full text]
  • PRESS Graphic Designer
    © 2021 MARVEL CAST Natasha Romanoff /Black Widow . SCARLETT JOHANSSON Yelena Belova . .FLORENCE PUGH Melina . RACHEL WEISZ Alexei . .DAVID HARBOUR Dreykov . .RAY WINSTONE Young Natasha . .EVER ANDERSON MARVEL STUDIOS Young Yelena . .VIOLET MCGRAW presents Mason . O-T FAGBENLE Secretary Ross . .WILLIAM HURT Antonia/Taskmaster . OLGA KURYLENKO Young Antonia . RYAN KIERA ARMSTRONG Lerato . .LIANI SAMUEL Oksana . .MICHELLE LEE Scientist Morocco 1 . .LEWIS YOUNG Scientist Morocco 2 . CC SMIFF Ingrid . NANNA BLONDELL Widows . SIMONA ZIVKOVSKA ERIN JAMESON SHAINA WEST YOLANDA LYNES Directed by . .CATE SHORTLAND CLAUDIA HEINZ Screenplay by . ERIC PEARSON FATOU BAH Story by . JAC SCHAEFFER JADE MA and NED BENSON JADE XU Produced by . KEVIN FEIGE, p.g.a. LUCY JAYNE MURRAY Executive Producer . LOUIS D’ESPOSITO LUCY CORK Executive Producer . VICTORIA ALONSO ENIKO FULOP Executive Producer . BRAD WINDERBAUM LAUREN OKADIGBO Executive Producer . .NIGEL GOSTELOW AURELIA AGEL Executive Producer . SCARLETT JOHANSSON ZHANE SAMUELS Co-Producer . BRIAN CHAPEK SHAWARAH BATTLES Co-Producer . MITCH BELL TABBY BOND Based on the MADELEINE NICHOLLS MARVEL COMICS YASMIN RILEY Director of Photography . .GABRIEL BERISTAIN, ASC FIONA GRIFFITHS Production Designer . CHARLES WOOD GEORGIA CURTIS Edited by . LEIGH FOLSOM BOYD, ACE SVETLANA CONSTANTINE MATTHEW SCHMIDT IONE BUTLER Costume Designer . JANY TEMIME AUBREY CLELAND Visual Eff ects Supervisor . GEOFFREY BAUMANN Ross Lieutenant . KURT YUE Music by . LORNE BALFE Ohio Agent . DOUG ROBSON Music Supervisor . DAVE JORDAN Budapest Clerk . .ZOLTAN NAGY Casting by . SARAH HALLEY FINN, CSA Man In BMW . .MARCEL DORIAN Second Unit Director . DARRIN PRESCOTT Mechanic . .LIRAN NATHAN Unit Production Manager . SIOBHAN LYONS Mechanic’s Wife . JUDIT VARGA-SZATHMARY First Assistant Director/ Mechanic’s Child . .NOEL KRISZTIAN KOZAK Associate Producer .
    [Show full text]
  • Loki Production Brief
    PRODUCTION BRIEF “I am Loki, and I am burdened with glorious purpose.” —Loki arvel Studios’ “Loki,” an original live-action series created exclusively for Disney+, features the mercurial God of Mischief as he steps out of his brother’s shadow. The series, described as a crime-thriller meets epic-adventure, takes place after the events Mof “Avengers: Endgame.” “‘Loki’ is intriguingly different with a bold creative swing,” says Kevin Feige, President, Marvel Studios and Chief Creative Officer, Marvel. “This series breaks new ground for the Marvel Cinematic Universe before it, and lays the groundwork for things to come.” The starting point of the series is the moment in “Avengers: Endgame” when the 2012 Loki takes the Tesseract—from there Loki lands in the hands of the Time Variance Authority (TVA), which is outside of the timeline, concurrent to the current day Marvel Cinematic Universe. In his cross-timeline journey, Loki finds himself a fish out of water as he tries to navigate—and manipulate—his way through the bureaucratic nightmare that is the Time Variance Authority and its by-the-numbers mentality. This is Loki as you have never seen him. Stripped of his self- proclaimed majesty but with his ego still intact, Loki faces consequences he never thought could happen to such a supreme being as himself. In that, there is a lot of humor as he is taken down a few pegs and struggles to find his footing in the unforgiving bureaucracy of the Time Variance Authority. As the series progresses, we see different sides of Loki as he is drawn into helping to solve a serious crime with an agent 1 of the TVA, Mobius, who needs his “unique Loki perspective” to locate the culprits and mend the timeline.
    [Show full text]