Costumes and Makeup Activites Guide
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A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z MARCH 2021 Ho u The 39 Steps (1935) 3/5 c Blondie of the Follies (1932) 3/2 Czechoslovakia on Parade (1938) 3/27 a ADVENTURE u 6,000 Enemies (1939) 3/5 u Blood Simple (1984) 3/19 z Bonnie and Clyde (1967) 3/30, 3/31 –––––––––––––––––––––– D ––––––––––––––––––––––– –––––––––––––––––––––– ––––––––––––––––––––––– c COMEDY A D Born to Love (1931) 3/16 m Dancing Lady (1933) 3/23 a Adventure (1945) 3/4 D Bottles (1936) 3/13 D Dancing Sweeties (1930) 3/24 z CRIME a The Adventures of Huckleberry Finn (1960) 3/23 P c The Bowery Boys Meet the Monsters (1954) 3/26 m The Daughter of Rosie O’Grady (1950) 3/17 a The Adventures of Robin Hood (1938) 3/9 c Boy Meets Girl (1938) 3/4 w The Dawn Patrol (1938) 3/1 o DOCUMENTARY R The Age of Consent (1932) 3/10 h Brainstorm (1983) 3/30 P D Death’s Fireworks (1935) 3/20 D All Fall Down (1962) 3/30 c Breakfast at Tiffany’s (1961) 3/18 m The Desert Song (1943) 3/3 D DRAMA D Anatomy of a Murder (1959) 3/20 e The Bridge on the River Kwai (1957) 3/27 R Devotion (1946) 3/9 m Anchors Aweigh (1945) 3/9 P R Brief Encounter (1945) 3/25 D Diary of a Country Priest (1951) 3/14 e EPIC D Andy Hardy Comes Home (1958) 3/3 P Hc Bring on the Girls (1937) 3/6 e Doctor Zhivago (1965) 3/18 c Andy Hardy Gets Spring Fever (1939) 3/20 m Broadway to Hollywood (1933) 3/24 D Doom’s Brink (1935) 3/6 HORROR/SCIENCE-FICTION R The Angel Wore Red (1960) 3/21 z Brute Force (1947) 3/5 D Downstairs (1932) 3/6 D Anna Christie (1930) 3/29 z Bugsy Malone (1976) 3/23 P u The Dragon Murder Case (1934) 3/13 m MUSICAL c April In Paris -
9781474451062 - Chapter 1.Pdf
Produced by Irving Thalberg 66311_Salzberg.indd311_Salzberg.indd i 221/04/201/04/20 66:34:34 PPMM 66311_Salzberg.indd311_Salzberg.indd iiii 221/04/201/04/20 66:34:34 PPMM Produced by Irving Thalberg Theory of Studio-Era Filmmaking Ana Salzberg 66311_Salzberg.indd311_Salzberg.indd iiiiii 221/04/201/04/20 66:34:34 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Ana Salzberg, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13 Monotype Ehrhardt by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 5104 8 (hardback) ISBN 978 1 4744 5106 2 (webready PDF) ISBN 978 1 4744 5107 9 (epub) The right of Ana Salzberg to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66311_Salzberg.indd311_Salzberg.indd iivv 221/04/201/04/20 66:34:34 PPMM Contents Acknowledgments vi 1 Opening Credits 1 2 Oblique Casting and Early MGM 25 3 One Great Scene: Thalberg’s Silent Spectacles 48 4 Entertainment Value and Sound Cinema -
Bibliography Filmography
Blanche Sewell Lived: October 27, 1898 - February 2, 1949 Worked as: editor, film cutter Worked In: United States by Kristen Hatch Blanche Sewell entered the ranks of negative cutters shortly after graduating from Inglewood High School in 1918. She assisted cutter Viola Lawrence on Man, Woman, Marriage (1921) and became a cutter in her own right at MGM in the early 1920s. She remained an editor there until her death in 1949. See also: Hettie Grey Baker, Anne Bauchens, Margaret Booth, Winifred Dunn, Katherine Hilliker, Viola Lawrence, Jane Loring, Irene Morra, Rose Smith Bibliography The bibliography for this essay is included in the “Cutting Women: Margaret Booth and Hollywood’s Pioneering Female Film Editors” overview essay. Filmography A. Archival Filmography: Extant Film Titles: 1. Blanche Sewell as Editor After Midnight. Dir. Monta Bell, sc.: Lorna Moon, ed.: Blanche Sewell (Metro-Goldwyn-Mayer Corp. US 1927) cas.: Norma Shearer, Gwen Lee, si., b&w. Archive: Cinémathèque Française [FRC]. Man, Woman, and Sin. Dir. Monta Bell, sc.: Alice D. G. Miller, Monta Bell, ed.: Blanche Sewell (Metro-Goldwyn-Mayer Corp. US 1927) cas.: John Gilbert, Jeanne Eagels, Gladys Brockwell, si., b&w. Archive: George Eastman Museum [USR]. Tell It to the Marines. Dir.: George Hill, sc.: E. Richard Schayer, ed.: Blanche Sewell (Metro- Goldwyn-Mayer Corp. US 1927) cas.: Lon Chaney, William Haines, si, b&w, 35mm. Archive: George Eastman Museum [USR], UCLA Film and Television Archive [USL]. The Cossacks. Dir.: George Hill, adp.: Frances Marion, ed.: Blanche Sewell (Metro-Goldwyn- Mayer Corp. US 1928) cas.: John Gilbert, Renée Adorée, si, b&w. -
EXPLORING IDENTITY Emilio Sosa L Costume Designer Michael Griffo L
EXPLORING IDENTITY Emilio Sosa l Costume Designer Michael Griffo l Author/Educator ELA, Life Skills, Character Studies Grades l 5, 6, 7, 8, 9, 10 FEATURING EMILIO SOSA • FASHION & BROADWAY COSTUME DESIGNER EXPLORING IDENTITY BACKGROUND ARTIST INSIGHT As a Latino, I’m influenced by the bright colors that’s evident in my Latin culture. I also grew up listening to great Latin music and being surrounded by aunts and uncles in their Sunday best. I can now look back and use those influences in a modern way. I think that style comes from within, not just the clothing you wear. Style doesn’t come with a price tag; it comes from knowing yourself and what works for you. I have a strong belief that hard work and dedication are the keys to success and that talent rises to the top. Any challenges I come across I’ve been able to overcome because of my strong will to succeed. My advice to anyone who aspires to work on Broadway or in the fashion field is to gain as much knowledge as possible. Whether it’s through formal education or internships knowledge is power. —Emilio Sosa, Fashion and theatrical costumer designer ABOUT THE EXPERTS SPECIAL GUEST: Emilio Sosa is a first-generation immigrant from the Santo Domingo, Dominican Republic, and a graduate of the Pratt Institute. He discovered his passion for design when he was 14 years old and has since achieved his goal of becoming an award- winning fashion and costume designer. In 2006 he was the recipient of the TDF’s Irene Sharaff Young Master Award and named Design Virtuoso by American Theatre Magazine in 2003. -
Is There a Doctor at the Beach ?
l) BEAUTE 1l,y a un homme derriere les peaux radieuses des habituees du tapis rouge. Rencontre aJ Vew York avec le Dr Colbert dermatologue de renom etfidele de Saint-BarthJ dont beaucoup revent dJavoir fa ligne directe. There is a man behind the glowing complexions of red carpet stars. In New Yor( we make an appointment with acclaimed dermatologist and St Barth regular Dr. Colbert, whom many dream of having on speed dial. TEXTE KARE ROUACH IS THERE A DOCTOR AT THE BEACH ? lateau de tournage, casting creur de Manhattan. "Mes patients doivent - Is this a film set, a model casting, or a de defile de mode, ou centre rester naturels, simplement une meilleure doctor's office? It can all get a bit confusing, medical? Dans le cabinet du version d 'eux-m emes." Le fameux soin but pleasantly so. In Dr. Colbert's Fifth Ave Dr Colbert, sur Ia s• Avenue, "Triad", qui lui vaut sa notoriete, est un nue office, you could easily brush shoulders on peut facilement croiser traitement laser specialise, en 30 minutes with Karen Elson in the elevator, Naomi KarPen Elson dans l'ascenseur, Naomi chrono, qui commence par un lissage tres \1\'atts in the waiting room, or Alessandra Watts en salle d'attente ou Alessandra Ieger, puis un laser tonifiant, et enfin une Ambrosio leaning on the reception desk, Ambrosio accoudee au comptoir de l'ac exfoliation aux acides de fleurs. Dans son all of them there to undergo the signature cueil, toutes venues abuser du soin signa premier livre, Th e High School Reunion "Triad" treatment of this skincare star, or ture de ce dermato-star, le "Triad", ou bien Diet, Dr Colbert demontre le lien direct to covertly beat the signs of aging (well, se rajeunir incognito (enfin presque). -
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. -
Before Night Falls
Before Night Falls Dir: Julian Schnabel, 2000 A review by A. Mary Murphy, Memorial University of Newfoundland, Canada There are two remarkable things about Before Night Falls, based on Reinaldo Arenas's homonymous memoir, and one remarkable reason for them. First, director Julian Schnabel maintains a physically-draining tension throughout much of the film; and second, he grants a centrality to writing that Arenas himself demands. He is able to accomplish these things because his Arenas is Javier Bardem. The foreknowledge that this is a film about a man in Castro's Cuba, and a man in prison there for a time, prepares an audience for explicit tortures that never come. The expectation persists, as it must have for the imprisoned and persecuted man, so that the emotional tension experienced by the audience provides a tiny entry into the overpowering and relentless tension of daily life for Arenas and everyone else who is not a perfect fit for the Revolutionary mold. In the midst of this the writer finds refuge in his writing. Before Night Falls is the story of a writer who has been persecuted even for being a writer, never mind for what he wrote or how he lived, and who writes regardless of the risks and costs. In the childhood backgrounding segment of the film, Schnabel clearly establishes this foundation by showing a grandfather who is so opposed to having a poet in his house that he relocates the family in order to remove young Reinaldo from the influence of a teacher who dares to speak of the boy's gift. -
Bugsy Siegel Part 30 of 32
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Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Costume Designer Costume Designer
COSTUME DESIGNER A Costume Designer creates the clothes and costumes for theatre, film, dance, concerts, television and other types of stage productions. The role of the Costume Designer in the professional theatre industry is to design garments and accessories for actors to wear in a production. In this industry the majority of designers, specialise in both set and costume design, although they often have a particular strength in one or the other. READING THE SCRIPT The first step is to read this script, which can give direction as to what the characters are wearing. The script also gives an indication through the character’s personality and behaviour. The designer should consider the time period, the location, as well as the social status of each character. The designer would then liaise with the director to determine the time period and location (as they may change this from the script) and if there is any other style or element they want to achieve. It is imperative that the costume and set design have a cohesive look. BUDGET As a designer you will need to know your budget as this has a big impact upon the design of a production. It is cheaper to produce a contemporary show, so you can op shop costumes or buy them from a retail outlet. Often actors will provide bits and pieces from their own wardrobe on smaller budget shows. Period shows are expensive as most costumes will need to be made. These costs include fabric and trims and employing people to draft patterns, cut and sew them, all of which are labour and time intensive. -
Sasquatch and the Law: the Implications of Bigfoot Preservation Laws in Washington State
Ilacqua 1 Joan Ilacqua HGSA Conference Paper Sasquatch and the Law: The Implications of Bigfoot Preservation Laws in Washington State The American Pacific Northwest is characterized and recognized by its lush wilderness, mountain ranges, salmon, Starbucks coffee, and most recently, by “Portlandia”esque hipsters. The Pacific Northwest is also the home of the elusive, and presumed bogus, Sasquatch. Although the Sasquatch has its roots in Native American lore, the word “Sasquatch” is an anglicized Salish word, the first Bigfoot story was published by pioneer missionary Elkanah Walker in 1840 and a long tradition of publishing Bigfoot stories has proliferated since. Bigfoot searches and stories culminated in the 1967 PattersonGimlin film of a supposed female Sasquatch, although the myth has found resurgence in modern Bigfoot hunting television shows. Whether or not the elusive Sasquatch exists, ultimately the stories serve as a cautionary tale to act pragmatically in the wilderness. The myth and subsequent stories have become a symbol of the Pacific Northwest region. Bigfoot fervor also resulted in two Sasquatch preservation laws: the 1969 Skamania County Ordinance no. 6901, later amended in 1984, and the 1991 Whatcom County Resolution No. 92043. Each law purports to protect a creature that, if it does exist, is obviously endangered. The laws have a secondary purpose of protecting unsuspecting wilderness seekers from Bigfoot hunters, on their own the laws seem superfluous but they fit into a larger narrative about wilderness conservation and preservation in Washington state. Skamania County is in southeastern Washington state, just south of Mount Rainier, Ilacqua 2 and includes Gifford Pinchot National Forest and Mount Saint Helens. -
October 2016
October 2016 9:00 PM ET/6:00 PM PT 7:20 PM ET/4:20 PM PT 11:15 PM ET/8:15 PM PT 8:00 PM CT/7:00 PM MT 6:20 PM CT/5:20 PM MT 10:15 PM CT/9:15 PM MT Guns of the Magnificent Seven The Forgotten I.Q. 10:35 PM ET/7:35 PM PT 9:00 PM ET/6:00 PM PT SATURDAY, OCTOBER 1 9:35 PM CT/8:35 PM MT 8:00 PM CT/7:00 PM MT SUNDAY, OCTOBER 2 12:20 AM ET/9:20 PM PT The X-Files Great Balls Of Fire 11:20 PM CT/10:20 PM MT 1:05 AM ET/10:05 PM PT 12:05 AM CT/11:05 PM MT 10:50 PM ET/7:50 PM PT 9:50 PM CT/8:50 PM MT Die Hard The Magnificent Seven MONDAY, OCTOBER 3 2:40 AM ET/11:40 PM PT 12:40 AM ET/9:40 PM PT Sixteen Candles 1:40 AM CT/12:40 AM MT 3:15 AM ET/12:15 AM PT 11:40 PM CT/10:40 PM MT 2:15 AM CT/1:15 AM MT The Deer Hunter Guns of the Magnificent Seven The Forgotten TUESDAY, OCTOBER 4 5:50 AM ET/2:50 AM PT 2:15 AM ET/11:15 PM PT 12:25 AM ET/9:25 PM PT 4:50 AM CT/3:50 AM MT 5:05 AM ET/2:05 AM PT 1:15 AM CT/12:15 AM MT 11:25 PM CT/10:25 PM MT 4:05 AM CT/3:05 AM MT The Trailer Show Ravenous The X-Files Great Balls Of Fire 6:00 AM ET/3:00 AM PT 4:25 AM ET/1:25 AM PT 2:15 AM ET/11:15 PM PT 5:00 AM CT/4:00 AM MT 6:50 AM ET/3:50 AM PT 3:25 AM CT/2:25 AM MT 1:15 AM CT/12:15 AM MT 5:50 AM CT/4:50 AM MT Harry and the Hendersons Arthur and the Invisibles 2: The Legend Sixteen Candles 7:55 AM ET/4:55 AM PT 6:00 AM ET/3:00 AM PT 3:50 AM ET/12:50 AM PT 6:55 AM CT/5:55 AM MT Revenge of Maltazard 5:00 AM CT/4:00 AM MT 2:50 AM CT/1:50 AM MT 8:30 AM ET/5:30 AM PT The Magnificent Seven 7:30 AM CT/6:30 AM MT The Legend of Zorro Dazed and Confused 10:10 AM ET/7:10 AM PT 8:15 AM ET/5:15 AM PT 5:35 AM ET/2:35 AM PT 9:10 AM CT/8:10 AM MT The Trailer Show 7:15 AM CT/6:15 AM MT 4:35 AM CT/3:35 AM MT 8:40 AM ET/5:40 AM PT Guns of the Magnificent Seven 7:40 AM CT/6:40 AM MT The Mask of Zorro Robots 12:00 PM ET/9:00 AM PT 10:40 AM ET/7:40 AM PT 7:10 AM ET/4:10 AM PT 11:00 AM CT/10:00 AM MT Reservoir Dogs 9:40 AM CT/8:40 AM MT 6:10 AM CT/5:10 AM MT 10:25 AM ET/7:25 AM PT Harry and the Hendersons 9:25 AM CT/8:25 AM MT E.T.