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Film As Text: Reading Hamlet Breen O’Reilly
Film as Text: Reading Hamlet Breen O’Reilly First published on Academia.org An analysis of how different film directors use the language of film to create different interpretations of the same material is a great way to build the skills required for your DP Film Textual Analysis and Comparative Study. Students of DP Language and Literature can apply these ideas to their Visual Literacy comparative analysis. View this on Academia.org: https://www.academia.edu/37576209/Film_as_Text_HAMLET_Breen_OReilly_201 1 One of the great ways to hone your film analysis skills is to examine how different directors handle the same scene, either as an interpretation of a scene from literature or as a re-make of an earlier film. Re-makes often allow you to examine an updating of the original socio-cultural context – something you need to include in your textual analysis and comparative study. William Shakespeare’s Hamlet has been adapted for the screen over 40 times, and each interpretation allows film directors, art directors and screenwriters to bring their own creative touches to this classic tragedy. By examining the filmic presentation of a single soliloquy from the play, we can see how different directors use the language of film to bring different meaning to Shakespeare’s text. The iconic “To be or not to be” soliloquy contains the lines with which a movie audience is probably most familiar. As a student examining these three adaptations by Lawrence Olivier (1948), Franco Zeffirelli (1990), and Kenneth Brannagh (1996), you should focus on “the usual suspects” of film language analysis: camera movement, camera angles, setting, sound design, script, costume and composition. -
Park Road Post Production Wins an IBC2013 Innovation Award with Leading Technology Partner SGO
Press Release Park Road Post Production wins an IBC2013 Innovation Award with leading Technology Partner SGO SGO Mistika's Unique workflow helped to produce world's first HFR Stereo 3D in The Hobbit Trilogy IBC2013, Amsterdam, 20th September 2013 - SGO is thrilled to announce that Park Road Post Production won an IBC2013 Innovation Award for their pioneering work on “The Hobbit: An Unexpected Journey”, a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM) – the world’s first High Frame Rate Stereoscopic 3D feature film – directed by Peter Jackson. Arguably one of the most significant developments in the last 80 years of cinema, Park Road - with technology partner SGO - spearheaded innovation throughout the acquisition and post production pipeline that provides new creative opportunities to all filmmakers, and a new exciting experience for film audiences. The IBC Innovation Awards recognise those who have made a real contribution to the industry and whose expertise has had a positive impact on its future direction. The award goes to the end user who has brought together a technology partner and collaborator to realise a creative, commercial or technical goal. The project was selected from over 200 entries, winning in the Content Creation category. In addition, the 2013 IBC International Honour for Excellence was presented to movie director Sir Peter Jackson. Miguel Angel Doncel, SGO's CEO outlines his company's participation in the delivery of The Hobbit: An Unexpected Journey by stating, “We are aware that a post production company of Park Road’s stature, when making a film with a world-class director like Peter Jackson, could choose any technology partner they wanted. -
Film Reviews Jonathan Lighter
Film Reviews Jonathan Lighter Lebanon (2009) he timeless figure of the raw recruit overpowered by the shock of battle first attracted the full gaze of literary attention in Crane’s Red Badge of Courage (1894- T 95). Generations of Americans eventually came to recognize Private Henry Fleming as the key fictional image of a young American soldier: confused, unprepared, and pretty much alone. But despite Crane’s pervasive ironies and his successful refutation of genteel literary treatments of warfare, The Red Badge can nonetheless be read as endorsing battle as a ticket to manhood and self-confidence. Not so the First World War verse of Lieutenant Wilfred Owen. Owen’s antiheroic, almost revolutionary poems introduced an enduring new archetype: the young soldier as a guileless victim, meaninglessly sacrificed to the vanity of civilians and politicians. Written, though not published during the war, Owen’s “Strange Meeting,” “The Parable of the Old Man and the Young,” and “Anthem for Doomed Youth,” especially, exemplify his judgment. Owen, a decorated officer who once described himself as a “pacifist with a very seared conscience,” portrays soldiers as young, helpless, innocent, and ill- starred. On the German side, the same theme pervades novelist Erich Maria Remarque’s All Quiet on the Western Front (1928): Lewis Milestone’s film adaptation (1930) is often ranked among the best war movies of all time. Unlike Crane, neither Owen nor Remarque detected in warfare any redeeming value; and by the late twentieth century, general revulsion of the educated against war solicited a wide acceptance of this sympathetic image among Western War, Literature & the Arts: an international journal of the humanities / Volume 32 / 2020 civilians—incomplete and sentimental as it is. -
The Film Music Label Partners with the Golden State Pops Orchestra for Another 'Music of the 'Star Wars' Universe' Concert
7:20 PM PDT 6/19/2013 by Austin Siegemund-Broka The Golden State Pops Orchestra The film music label partners with the Golden State Pops Orchestra for another 'Music of the 'Star Wars' Universe' concert. Film music label Varèse Sarabande Records is celebrating its 35th anniversary at home and abroad. The Golden State Pops Orchestra’s June 15 concert Music of the 'Star Wars' Universe commemorated the milestone with a performance of Joel McNeely’s score, released on Varèse, for the 1996 multimedia project Star Wars: Shadows of the Empire, alongside pieces from John Williams’ iconic Star Wars film scores -- not released on Varèse, though the label has distributed other orchestras’ renditions of Williams’ Star Wars compositions. Hans Zimmer, Danny Elfman, Michael Giacchino, John Powell and other guest composers came out for the GSPO’s previous concert, a Varèse Sarabande 35th anniversary revue on May 11. Varèse executive producer Robert Townson, who hosted the revue, says he opted to work with the GSPO to bring Varèse’s anniversary festivities back to the label’s Los Angeles roots. “I sent an email to the conductor and said, ‘we’d like to do something locally. To be honest, your orchestra came to mind because of the attitude and the degree to which you’re making a point of celebrating the aspects of film music I really appreciate, the artistry,’” Townson says. Two more concerts will partner the GSPO with Varèse: the orchestra’s annual Halloween and winter holiday performances, held October 19 and December 21. Plans for a single revue concert grew into a yearlong Varèse celebration when GSPO conductor Steven Allen Fox realized how much Varèse-released music was already on the GSPO season’s programs. -
New Zealand Meets South Korea: Strategies for Film Co-Productions Between Two Countries
http://researchcommons.waikato.ac.nz/ Research Commons at the University of Waikato Copyright Statement: The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). The thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person. Authors control the copyright of their thesis. You will recognise the author’s right to be identified as the author of the thesis, and due acknowledgement will be made to the author where appropriate. You will obtain the author’s permission before publishing any material from the thesis. New Zealand meets South Korea: Strategies for film co-productions between two countries A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Screen and Media Studies Department at The University of Waikato by JuHee Kim Year of submission 2017 Abstract This study investigates the state of international film co-productions between New Zealand and South Korea and whether such co-productions are possible, and if so, which modes or types of film co-productions are likely to succeed. The study is framed in the context of the two countries as well as the rapidly changing global marketplace. Increasingly, international film co-productions have gained importance in the film industry paralleling a growing tendency towards cross- border filmmaking. However, the phenomenon of international film co- productions, specifically between New Zealand and South Korea, has not been fully investigated to date. -
100% Print Rights Administered by ALFRED 633 SQUADRON MARCH
100% Print Rights administered by ALFRED 633 SQUADRON MARCH (Excluding Europe) Words and Music by RON GOODWIN *A BRIDGE TO THE PAST (from “ Harry Potter and the Prisoner of Azkaban ”) Words and Music by JOHN WILLIAMS A CHANGE IS GONNA COME (from “ Malcolm X”) Words and Music by SAM COOKE A CHI (HURT) (Excluding Europe) Words and Music by JIMMIE CRANE and AL JACOBS A CHICKEN AIN’T NOTHING BUT A BIRD Words and Music by EMMETT ‘BABE’ WALLACE A DARK KNIGHT (from “ The Dark Knight ”) Words and Music by HANS ZIMMER and JAMES HOWARD A HARD TEACHER (from “ The Last Samurai ”) Words and Music by HANS ZIMMER A JOURNEY IN THE DARK (from “ The Lord of the Rings: The Fellowship of the Ring”) Music by HOWARD SHORE Lyrics by PHILIPPA BOYENS A MOTHER’S PRAYER (from “ Quest for Camelot ”) Words and Music by CAROLE BAYER SAGER and DAVID FOSTER *A WINDOW TO THE PAST (from “ Harry Potter and the Prisoner of Azkaban ”) Words and Music by JOHN WILLIAMS ACCORDION JOE Music by CORNELL SMELSER Lyrics by PETER DALE WIMBROW ACES HIGH MARCH (Excluding Europe) Words and Music by RON GOODWIN AIN'T GOT NO (Excluding Europe) Music by GALT MACDERMOT Lyrics by JAMES RADO and GEROME RAGNI AIN’T MISBEHAVIN’ (from “ Ain’t Misbehavin’ ) (100% in Scandinavia, including Finland) Music by THOMAS “FATS” WALLER and HARRY BROOKS Lyrics by ANDY RAZAF ALL I DO IS DREAM OF YOU (from “ Singin’ in the Rain ”) (Excluding Europe) Music by NACIO HERB BROWN Lyrics by ARTHUR FREED ALL TIME HIGH (from “ Octopussy ”) (Excluding Europe) Music by JOHN BARRY Lyrics by TIM RICE ALMIGHTY GOD (from “ Sacred Concert No. -
West of Memphis
Mongrel Media Presents WEST OF MEMPHIS A film by Amy Berg (146 min., USA, 2012) Language: English Official Selection Sundance Film Festival 2012 Toronto Film Festival 2012 Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html WEST OF MEMPHIS Synopsis A new documentary written and directed by Academy Award nominated filmmaker, Amy Berg (DELIVER US FROM EVIL) and produced by first time filmmakers Damien Echols and Lorri Davis, in collaboration with the multiple Academy Award winning team of Peter Jackson and Fran Walsh, WEST OF MEMPHIS tells the untold story behind an extraordinary and desperate fight to bring the truth to light; a fight to stop the State of Arkansas from killing an innocent man. Starting with a searing examination of the police investigation into the 1993 murders of three, eight year old boys Christopher Byers, Steven Branch and Michael Moore in the small town of West Memphis, Arkansas, the film goes on to uncover new evidence surrounding the arrest and conviction of the other three victims of this shocking crime – Damien Echols, Jason Baldwin and Jessie Misskelley. All three were teenagers when they became the target of the police investigation; all three went on to lose 18 years of their lives - imprisoned for crimes they did not commit. How the documentary came to be, is in itself a key part of the story of Damien Echols’ fight to save his own life. -
Aesthetics of the Motion Picture Soundtrack Columbia College, Chicago Spring 2014 – Section 01 – Pantelis N
Aesthetics of the Motion Picture Soundtrack Columbia College, Chicago Spring 2014 – Section 01 – Pantelis N. Vassilakis Ph.D. http://lms.colum.edu Course # / Section 43-2410 / 01 Credits 3 hours Class time / place Thursday 12:30 – 3:20 p.m. 33 E. Congress Ave., Room LL18 (Lower Level – Control Room C) Course Site On MOODLE http://lms.colum.edu Instructor Pantelis N. Vassilakis, Ph.D. Phone Office: 312-369-8821 – Cell: 773-750-4874 e-mail / web [email protected] / http://www.acousticslab.org Office hours By appointment; Preferred mode of Communication: email Pre-requisites 52-1152 “Writing and Rhetoric II” (C or better) AND 43-2420 “Audio for Visual Media I” OR 24-2101 “Post Production Audio I” OR 43-2310 “Psychoacoustics” INTRODUCTION During the filming of Lifeboat, composer David Raksin was told that Hitchcock had decided against using any music. Since the action took place in a boat on the open sea, where would the music come from? Raksin reportedly responded by asking Hitchcock where the cameras came from. This course examines film sound practices, focusing on cross-modal perception and cognition: on ways in which sounds influence what we “see” and images influence what we “hear.” Classes are conducted in a lecture format and involve multimedia demonstrations. We will be tackling the following questions: • How and why does music and sound effects work in films? • How did they come to be paired with the motion picture? • How did film sound conventions develop and what are their theoretical, socio-cultural, and cognitive bases? • How does non-speech sound contribute to a film’s narrative and how can such contribution be creatively explored? Aesthetics of the Motion Picture Soundtrack – Spring 2014 – Section 01 Page 1 of 12 COURSE DESCRIPTION & OBJECTIVES Course examines Classical Hollywood as well as more recent film soundtrack practices, focusing on the interpretation of film sound relative to ‘expectancy’ theories of meaning and emotion. -
Adventures in Film Music Redux Composer Profiles
Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017). -
Elmer Bernstein Elmer Bernstein
v7n2cov 3/13/02 3:03 PM Page c1 ORIGINAL MUSIC SOUNDTRACKS FOR MOTION PICTURES AND TV V OLUME 7, NUMBER 2 OSCARmania page 4 THE FILM SCORE HISTORY ISSUE RICHARD RODNEY BENNETT Composing with a touch of elegance MIKLMIKLÓSÓS RRÓZSAÓZSA Lust for Life in his own words DOWNBEAT DOUBLE John Q & Frailty PLUS The latest DVD and CD reviews HAPPY BIRTHDAY ELMER BERNSTEIN 50 years of film scores, 80 years of exuberance! 02> 7225274 93704 $4.95 U.S. • $5.95 Canada v7n2cov 3/13/02 3:03 PM Page c2 composers musicians record labels music publishers equipment manufacturers software manufacturers music editors music supervisors music clear- Score with ance arrangers soundtrack our readers. labels contractors scoring stages orchestrators copyists recording studios dubbing prep dubbing rescoring music prep scoring mixers Film & TV Music Series 2002 If you contribute in any way to the film music process, our four Film & TV Music Special Issues provide a unique marketing opportunity for your talent, product or service throughout the year. Film & TV Music Spring Edition: April 23, 2002 Film & TV Music Summer Edition: August 20, 2002 Space Deadline: April 5 | Materials Deadline: April 11 Space Deadline: August 1 | Materials Deadline: August 7 Film & TV Music Fall Edition: November 5, 2002 Space Deadline: October 18 | Materials Deadline: October 24 LA Judi Pulver (323) 525-2026, NY John Troyan (646) 654-5624, UK John Kania +(44-208) 694-0104 www.hollywoodreporter.com v7n02 issue 3/13/02 5:16 PM Page 1 CONTENTS FEBRUARY 2002 departments 2 Editorial The Caviar Goes to Elmer. 4News Williams Conducts Oscar, More Awards. -
The Science Behind Special Effects
ALPHA 130 ααThe science behind special e ects The science behind special e ects With today’s technology, imagination is the only limit to what can be created on a movie screen. And nowhere in the world is the imagination more unlimited than at New Zealand’s own WETA Workshop and WETA Digital. Weta Workshop makes models, props and miniatures, whereas Weta Digital creates virtual characters and computer generated special eff ects. Audiences around the world were awestruck when the Lord of the Rings trilogy hit the big screen. Trees walked, massive armies of men and elves battled evil Orcs, and through it all marched an unlikely fellowship of brave little hobbits, a tall wizard, brave men, an elf and a dwarf and of course the lurking Gollum (aka Smeagol). e special eff ects were quite simply amazing, and creating them is not only an art but an exact science. Gothmog, Richard Taylor and Peter Jackson on set Weta Digital is an Academy Award® winning visual eff ects facility based in Wellington, New Zealand. e company was formed in 1997 by a number of directors – including Academy Award winners Peter Jackson, Jamie Selkirk and Richard Taylor. Weta Digital off ers world class visual eff ects for international feature fi lms and commercials. e company is best known for its visual eff ects work on e Lord of the Rings trilogy (New Line Cinema), and more recently for its work on King Kong (Universal) all of which were directed by Peter Jackson. Most recently, Weta Digital has completed work on the eatrical Film and Extended DVD Version of King Kong (Universal) and has completed visual eff ects work for I,Robot (20th Century Fox) and X-Men – e Last Stand (20th Century Fox). -
Programmheft Zum Konzert Sounds of Cinema 2014
Donnerstag, 26. Juni 2014 Circus-Krone-Bau 20.00 Uhr – Ende ca. 22.45 Uhr Sounds of Cinema »MAGIC!« MARJUKKA TEPPONEN Sopran GÖTZ ALSMANN Moderation CHOR DES BAYERISCHEN RUNDFUNKS MÜNCHNER RUNDFUNKORCHESTER ULF SCHIRMER Leitung MATTHIAS KELLER Programmgestaltung und Dramaturgie GUSTAF SJÖKVIST Choreinstudierung AUSZUBILDENDE MEDIENGESTALTER/-INNEN BILD UND TON / DIGITAL UND PRINT DUALES STUDIUM MEDIENDESIGN (Projektleitung: Beatrix Rottmann / Erich Höpfl) Projektionen Video-Livestream über www.br-klassik.de Das Konzert kann anschließend ein halbes Jahr lang im Internet abgerufen werden. Direktübertragung des Konzerts im Hörfunk auf BR-KLASSIK in Surround. In der Pause: PausenZeichen. »Zwischen Shakespeare und Disney-Cartoon.« Matthias Keller im Gespräch mit Patrick Doyle (als Podcast verfügbar) Übertragung im Bayerischen Fernsehen: So., 29. Juni 2014, um 22.00 Uhr PROGRAMM ALFRED NEWMAN (1901–1970) »20th Century Fox Fanfare« Arr.: Matthias Keller JOHN WILLIAMS (* 1932) »Harry Potter and the Sorcerer’s Stone« Harry’s Wondrous World Film: 2001; Regie: Chris Columbus DANNY ELFMAN (* 1953) »Alice in Wonderland« Alice’s Theme Arr.: Steve Bartek Film: 2010; Regie: Tim Burton Frauenchor des Chores des Bayerischen Rundfunks ROBERT B. SHERMAN (1925–2012) RICHARD M. SHERMAN (* 1928) TERRY GILKYSON (1916–1999) »The Jungle Book« Medley Arr.: Ken Whitcomb Film: 1967; Regie: Wolfgang Reitherman MOON YUNG OH Tenor ANDREW LEPRI MEYER Tenor CHRISTOF HARTKOPF Bariton WOLFGANG KLOSE Bass Chor des Bayerischen Rundfunks HAROLD ARLEN (1905–1986) »The Wizard