DROIDMAKER George Lucas and the Digital Revolution
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Transatlantica, 1 | 2018 Le Regard Impossible 2
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2018 Slavery on Screen / American Women Writers Abroad: 1849-1976 Le regard impossible Réflexions sur les présupposés et les mécanismes idéologiques des images de synthèse photoréalistes dans le blockbuster hollywoodien contemporain Mathias Kusnierz Édition électronique URL : http://journals.openedition.org/transatlantica/11812 DOI : 10.4000/transatlantica.11812 ISSN : 1765-2766 Éditeur AFEA Référence électronique Mathias Kusnierz, « Le regard impossible », Transatlantica [En ligne], 1 | 2018, mis en ligne le 01 septembre 2019, consulté le 29 avril 2021. URL : http://journals.openedition.org/transatlantica/11812 ; DOI : https://doi.org/10.4000/transatlantica.11812 Ce document a été généré automatiquement le 29 avril 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Le regard impossible 1 Le regard impossible Réflexions sur les présupposés et les mécanismes idéologiques des images de synthèse photoréalistes dans le blockbuster hollywoodien contemporain Mathias Kusnierz 1 Dans son livre de 1966 intitulé Special Effects in Motion Pictures, Frank P. Clark expose, à destination des techniciens d’Hollywood, les différentes manières d’élaborer les effets spéciaux d’un film. Son inventaire s’étend du trucage le plus simple – un écran de fumée, par exemple (40-43) – aux effets spéciaux les plus élaborés, comme l’animation image par image (108-109) ou la construction de maquettes animées complexes (89, 146, 152). Le livre de Clark se veut un exposé technique, sans parti pris, et appuyé sur une solide connaissance pratique du métier de concepteur d’effets spéciaux. -
Digital Dialectics: the Paradox of Cinema in a Studio Without Walls', Historical Journal of Film, Radio and Television , Vol
Scott McQuire, ‘Digital dialectics: the paradox of cinema in a studio without walls', Historical Journal of Film, Radio and Television , vol. 19, no. 3 (1999), pp. 379 – 397. This is an electronic, pre-publication version of an article published in Historical Journal of Film, Radio and Television. Historical Journal of Film, Radio and Television is available online at http://www.informaworld.com/smpp/title~content=g713423963~db=all. Digital dialectics: the paradox of cinema in a studio without walls Scott McQuire There’s a scene in Forrest Gump (Robert Zemeckis, Paramount Pictures; USA, 1994) which encapsulates the novel potential of the digital threshold. The scene itself is nothing spectacular. It involves neither exploding spaceships, marauding dinosaurs, nor even the apocalyptic destruction of a postmodern cityscape. Rather, it depends entirely on what has been made invisible within the image. The scene, in which actor Gary Sinise is shown in hospital after having his legs blown off in battle, is noteworthy partly because of the way that director Robert Zemeckis handles it. Sinise has been clearly established as a full-bodied character in earlier scenes. When we first see him in hospital, he is seated on a bed with the stumps of his legs resting at its edge. The assumption made by most spectators, whether consciously or unconsciously, is that the shot is tricked up; that Sinise’s legs are hidden beneath the bed, concealed by a hole cut through the mattress. This would follow a long line of film practice in faking amputations, inaugurated by the famous stop-motion beheading in the Edison Company’s Death of Mary Queen of Scots (aka The Execution of Mary Stuart, Thomas A. -
Celebrations Press PO BOX 584 Uwchland, PA 19480
Enjoy the magic of Walt Disney World all year long with Celebrations magazine! Receive 1 year for only $29.99* *U.S. residents only. To order outside the United States, please visit www.celebrationspress.com. Subscribe online at www.celebrationspress.com, or send a check or money order to: Celebrations Press PO BOX 584 Uwchland, PA 19480 Be sure to include your name, mailing address, and email address! If you have any questions about subscribing, you can contact us at [email protected] or visit us online! Cover Photography © Garry Rollins Issue 67 Fall 2019 Welcome to Galaxy’s Edge: 64 A Travellers Guide to Batuu Contents Disney News ............................................................................ 8 Calendar of Events ...........................................................17 The Spooky Side MOUSE VIEWS .........................................................19 74 Guide to the Magic of Walt Disney World by Tim Foster...........................................................................20 Hidden Mickeys by Steve Barrett .....................................................................24 Shutters and Lenses by Mike Billick .........................................................................26 Travel Tips Grrrr! 82 by Michael Renfrow ............................................................36 Hangin’ With the Disney Legends by Jamie Hecker ....................................................................38 Bears of Disney Disney Cuisine by Erik Johnson ....................................................................40 -
Broadcasting Taste: a History of Film Talk, International Criticism, and English-Canadian Media a Thesis in the Department of Co
Broadcasting Taste: A History of Film Talk, International Criticism, and English-Canadian Media A Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication Studies) at Concordia University Montreal, Quebec, Canada December 2016 © Zoë Constantinides, 2016 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Zoë Constantinides Entitled: Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media and submitted in partial fulfillment of the requirements for the degree of PhD in Communication Studies complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: __________________________________________ Beverly Best Chair __________________________________________ Peter Urquhart External Examiner __________________________________________ Haidee Wasson External to Program __________________________________________ Monika Kin Gagnon Examiner __________________________________________ William Buxton Examiner __________________________________________ Charles R. Acland Thesis Supervisor Approved by __________________________________________ Yasmin Jiwani Graduate Program Director __________________________________________ André Roy Dean of Faculty Abstract Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media Zoë Constantinides, -
Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections. -
Joining the Evil Galactic Empire a Review of Star Wars: Tie Fighter by Brennan Movius STS 145
Joining the Evil Galactic Empire A Review of Star Wars: Tie Fighter By Brennan Movius STS 145 Publisher: LucasArts Project Leads and Design: Lawrence Holland and Edward Kilham Very Special Thanks: George Lucas “The Emperor welcomes you intohis Imperial Fleet.. ..” As soon as I read those first words in ‘Tie Fighter’s Starfghter Pilot Manual, I was hooked. Fresh off the experience of ‘X-Wing’ ’, I was ready for its sequel. And with ‘Tie Fighter’,LucasArts promised to delivera very different gaming experience. While previously my exploits in the Star Wars universe had been limited to the perspective of the benevolent Rebel Alliance, this time, I was joining the ranks of the Evil Galactic Empire. And I was very excited to finally be playing the role of a bad-guy. So much so, in fact, that not ten seconds into the opening crawl I had already embraced the Empire’s ‘proactive’ stance on Galactic defense. And while it’s important to realize that there are two sides to every conflict (the Empire can’tbe all bad, can it?), somehow I sensed that my concerns we no longer with the unalienable rights of the galactic inhabitants. My allegiance was to law and order now and the Rebels,I was told, were tryingto undermine it. So let’s crush that traitorous Rebel scum! Serve the Emperor! Building on a Giant When LucasArts went about creating ‘Tie Fighter’ (the definitive, single-player, space- combat simulator) they had the enormous success of ‘X-Wing’ to build on. Indeed, ‘X- Wing’ combined many features that have now become standardon like-genre games, like pre-renderedcut-scenes, multiple crafts and weapons, 3D shadedgraphics, mission objectives, and in-game training. -
Supertrooper/Boba Fett Presentation Footage
Supertrooper/Boba Fett Presentation Footage This document is a stenogram, with text and images that represents the unveiling of the Supertrooper (Boba Fett) prototype in 28th June, 1978 at George Lucas' house. Ben Burtt - OK! We like to introduce BOBA FETT. And here he is. A new character... Aaaa, can you speak to us, Boba? Duwayne Dunham - Fair enough! Ben Burtt - Boba has sort of a radio voice, there is a speaker built into him here... And also there's a certain amount of telemetry going on... And some amount of feedback... it's no reason. And why don't you turn around and we take a look at you... Ben Burtt - In between Star Wars and The Empire Strikes Back... Of course there a lot of a... you know, other... but it was a Star Wars TV show, I mean... aaa... Holiday Special that was made and Boba Fett was designed... and was in progress in that time period, this is between Star Wars and Empire and aaa... you know, Joe Johnston had designed him and George had approved the designs, and they build a temporary costume to see what it would look like, so aaa... we had the costume there in George's house and we put it on Duwayne right here, Duwayne Dunham the editor... Reporter - Duwayne, do you recall being Boba Fett? Duwayne Dunham - Yeah, I was! I faint it that... Ben Burtt - ...I think they might found the footage... Duwayne Dunham - ...footage of Boba Fett! 1 Ben Burtt - This is only in black and white tape and he looks totally white, the concept of Boba now is going to be a multi-colored.. -
Short Film Programme
SHORT FILM PROGRAMME If you’d like to see some of the incredible short films produced in Canada, please check out our description of the Short Film Programme on page 50, and contact us for advice and assistance. IM Indigenous-made films (written, directed or produced by Indigenous artists) Films produced by the National Film Board of Canada NFB CLASSIC ANIMATIONS BEGONE DULL CARE LA FAIM / HUNGER THE STREET Norman McLaren, Evelyn Lambart Peter Foldès 1973 11 min. Caroline Leaf 1976 10 min. 1949 8 min. Rapidly dissolving images form a An award-winning adaptation of a An innovative experimental film satire of self-indulgence in a world story by Canadian author Mordecai consisting of abstract shapes and plagued by hunger. This Oscar- Richler about how families deal with colours shifting in sync with jazz nominated film was among the first older relatives, and the emotions COSMIC ZOOM music performed by the Oscar to use computer animation. surrounding a grandmother’s death. Peterson Trio. THE LOG DRIVER’S WALTZ THE SWEATER THE BIG SNIT John Weldon 1979 3 min. Sheldon Cohen 1980 10 min. Richard Condie 1985 10 min. The McGarrigle sisters sing along to Iconic author Roch Carrier narrates A wonderfully wacky look at two the tale of a young girl who loves to a mortifying boyhood experience conflicts — global nuclear war and a dance and chooses to marry a log in this animated adaptation of his domestic quarrel — and how each is driver over more well-to-do suitors. beloved book The Hockey Sweater. resolved. Nominated for an Oscar. -
American Graffiti (George Lucas, 1973)
American Graffiti (George Lucas, 1973) Entrevista a George Lucas (...) Sus primeros proyectos nunca fueron comerciales, desde 'THX 1138' hasta 'Apocalypse now', que iba a dirigir usted. ¿Cree que el tremendo éxito de 'La guerra de las galaxias' le ha forzado a convertirse en un cineasta más popular de lo que quizá hubiera sido de no producirse este fenómeno? No, no lo creo. Mi naturaleza está en hacer películas excéntricas y poco convencionales. Cuando hice American graffiti era algo muy desligado de los gustos imperantes. Nadie quería financiarla, y me llevó una eternidad conseguir apoyo para levantar el proyecto por muy poco dinero. Me decían que no era una película de verdad, que no tenía argumento, que era muy abstracta, con demasiada música. ¿Cómo podía hacerse una película que tuviera música constantemente de principio a fin? Había muchos aspectos que los distribuidores sencillamente no entendían. Por entonces era una película extrañísima. Ahora, ¡pfff!, ahora es la película más convencional que puedes imaginarte. De hecho pensé que aquello sería lo más popular que nunca iba a hacer. (...) Pero yo nunca pretendí hacer películas comerciales, y nadie creyó que lo fuesen hasta que se estrenaron. American graffiti estuvo a punto de no ser estrenada. Nadie pensaba que fuera a tener éxito hasta la segunda semana de estreno, en que empezaron a decir: esto va a ser grande, y aun así nadie imaginaba lo grande que iba a acabar siendo. ¿Es entonces accidental el hecho de que se haya convertido en el mayor cineasta independiente -y el de mayor éxito- de la historia y que crease su propio mundo aquí, lejos de Hollywood, o ya lo tenía en mente? Eso es algo que yo ya intentaba hacer desde THX 1138. -
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. -
10700990.Pdf
The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date. -
Public Taste: a Comparison of Movie Popularity and Critical Opinion
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1982 Public taste: A comparison of movie popularity and critical opinion R. Claiborne Riley College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the Film and Media Studies Commons Recommended Citation Riley, R. Claiborne, "Public taste: A comparison of movie popularity and critical opinion" (1982). Dissertations, Theses, and Masters Projects. Paper 1539625207. https://dx.doi.org/doi:10.21220/s2-hqz7-rj05 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. PUBLIC TASTE: A COMPARISON OF MOVIE u POPULARITY AND CRITICAL OPINION A Thesis Presented to The Faculty of the Department of Sociology The College of William, and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by R. Claiborne Riley 1982 APPROVAL SHEET This thesis is submitted in partial fulfillment the requirements for the degree of Master of Arts R. Claiborne Riley Approved, September 1982 r**1. r i m f Satoshi Ito JL R. Wayne Kernodle Marion G. Vanfossen TABLE OF CONTENTS Page ACKNOWLEDGMENTS .......... iv LIST OF TABLES . ..... .... ..................... v ABSTRACT .......... '......... vi INTRODUCTION .......... ...... 2 Chapter I. THE MOVIES: AN HISTORICAL PERSPECTIVE .............. 6 Chapter II. THE AUDIENCE ........................................ 51 Chapter III. THE C R I T I C ............ 61 Chapter IV. THE WANDERER STUDY AND DUMAZEDIER ON MOVIES AND LEISURE .......