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Political Ecology in Large Format Films: Analyzing
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Political Ecology in Large-Format Films: Analyzing Environmental Representation & Audience Reception of Imax Nature Documentaries Jason Kemmitt Smith Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION POLITICAL ECOLOGY IN LARGE-FORMAT FILMS: ANALYZING ENVIRONMENTAL REPRESENTATION & AUDIENCE RECEPTION OF IMAX NATURE DOCUMENTARIES By JASON KEMMITT SMITH A Dissertation submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2007 The members of the Committee approve the dissertation of Jason Kemmitt Smith defended on November 13, 2006. ___________________________________ Andy Opel Professor Co-Directing Dissertation ___________________________________ Stephen McDowell Professor Co-Directing Dissertation ___________________________________ Phil Steinberg Outside Committee Member ___________________________________ Donna Nudd Committee Member Approved: _______________________________________________ Stephen McDowell, Chair, Department of Communication _______________________________________________ John Mayo, Dean, College of Communications The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS There are so many people I need to thank because of their support throughout my graduate career. Without their love, understanding, guidance, financial assistance and advice, I would not have been able to complete this project and receive my doctorate. First and foremost, I must express my gratitude for my faith in God, recovery, and the fellowship of Alcoholics Anonymous. Then, I must thank my mother, Suzanne P. Smith. Your undying devotion to your children over the years, while experiencing the loss of your husband and debilitating health has been nothing less than awe-inspiring. -
GEITF Programme 2010.Pdf
MediaGuardian Edinburgh International Television Festival 27–29 August 2010 Programme of Events ON TV Contents Welcome to Edinburgh 02 Schedule at a Glance 28 Social Events 06 Friday Sessions 20 Friday Night Opening Reception / Saturday Meet Highlights include: TV’s Got to Dance / This is England and Greet / Saturday Night Party / Channel of the ‘86 plus Q&A / The Richard Dunn Memorial Lecture: Year Awards Jimmy Mulville / The James MacTaggart Memorial Lecture: Mark Thompson Sponsors 08 Saturday Sessions 30 Information 13 Extras 14 Workshops 16 EICC Orientation Guide 18 Highlights include: 50 Years of Coronation Street: A Masterclass / The Alternative MacTaggart: Paul Abbott / Venues 19 The Futureview: Sandy Climan / EastEnders at 25: A Masterclass The Network 44 Sunday Sessions 40 Fast Track 46 Executive Committee 54 Advisory Committee 55 Festival Team 56 Highlights include: Doctor Who: A Masterclass / Katie Price: Shrink Rap / The Last Laugh Keynote Speaker Biographies 52 Mark Thompson / Paul Abbott / Jimmy Mulville / Sandy Climan Welcome to Edinburgh man they call “Hollywood’s Mr 3D” Sandy Climan bacon sarnies. The whole extravaganza will be for this year's Futureview keynote to answer the hosted by Mark Austin who will welcome guests DEFINING question Will it Go Beyond Football, Films and onto his own Sunday morning sofa. Michael Grade F****ng?. In a new tie-up between the TV Festival will give us his perspective on life in his first public and the Edinburgh Interactive Festival we’ve appearance since leaving ITV. Steven Moffat will THE YEAR’S brought together the brightest brains from the be in conversation in a Doctor Who Masterclass. -
RENTRAK Worldwide Film Distributors
RENTRAK Worldwide Film Distributors ABBREVIATED NAME FULL NAME 518 518 Media 757 7-57 Releasing 1211 1211 Entertainment 2020 2020 Films @ENT At Entertainment @MOV @MOVIE JAPAN +me +me 01 DIST 01 Distribution 104 FLM 104 Films 11ARTS Eleven Arts 120D 120 Degree Films 13DIST Les Films 13 Distribution 1A FLM 1A Films 1CUT 1st Cut 1M60FILM 1meter60 Film 1MRFM 1 More Film 1ST INDP First Independent 1stRUN First Run 21ST 21st Century 21ST CENT Twenty First Century Films 24BD 24 Bilder 24FRMS 24 Frames 2Corzn Dos Corazones 2GN 2nd Generation 2MN Two Moon 2ND GEN Second Generation Films 2RIVES Les Films des Deux Rives 2SR 2 Silks Releasing 35MI 35 Milim Filmcilik 360 DEGREE 360 Degrees Film 3DE 3D Entertainment 3ETAGE Productions du 3e Etage 3L 3L 3MONDE La Médiathèque des Trois Mondes 3RD WINDOW Third Window Fims 3ROS 3Rosen 41Inc 41 Inc 42FILM 42film 45RDLC 45 RDLC 4DIGITAL 4Digital Media Ltd 4STFM Four Star Film 4TH 4th & Broadway 4TH DIG 4TH Digital Asia 5&2 Five & Two Pictures 50TH 50th Street 5PM Five Points Media 5STR Five Star Trading 5STRET Five Star Entertainment 6PCK Sixpack-Film 791C 791 Cine 7ARTS Seven Arts Distribution 7FLR The 7th Floor 7PP 7th Planet Prods 7TH ART Seventh Art Production 8X 8X Entertainment A B FILM A.B. Film Distributors A. LEONE Andrea Leone Films A3DIST A3 Distribution AA AA Films AAA Acteurs Auteurs Associés (AAA) AAAM Arts Alliance America AAC Alliance Atlantis Communications AAM Arts Alliance Media Aanna Aanna Films AARDMAN Aardman Animations AB&GO AB & GO ABBEY Abbey Home Entertainment ABCET ABC Entertainment ABCF ABC-Films ABFI Absinthe Films ABH Abhi Films ABKCO ABKCO Films ABLO Ablo ABR Abramorama Entertainment ABS ABS-CBN ABSOLUT Absolut media ACADRA ACADRA Distribution ACAF Acacia Films Acajou Acajou Films ACCDIS Accatone Distribution ACCTN Accatone ACD Academy ACE Ace Films ACHAB Achab Film AchimHae Achim Hae Nori ACM Access Motion Picture Group ACME ACME ACOMP A Company ACONTRA A contracorriente ACROB Acrobate Films ACT/TDT Actions Cinémas/Théâtre du Temple ACTAEON Actaeon Film Ltd. -
Actm Produdctions Presents a Jeremy Kagan Film Shot
ACTM PRODUDCTIONS PRESENTS A JEREMY KAGAN FILM SHOT Starring Noah Wyle, Sharon Leal, and Jorge Lendeborg, Jr. “Absorbing and profounds!” “Visually extraordinary…mesmerizing” LA TIMES FILM SHOWCASE “Wonderfully atmospheric, convincingly detailed” WALL STREET JOURNAL “Compelling real-life drama… with a terrific performance by Noah Wyle.” LEONARD MALTIN “Visually extraordinary. mesmerizing” “Sobering, suspenseful and exemplary.” FILM SHOWCASE REX REED – OBSERVER 1 www.shotmovie.org SHOT IS AVAILABLE NOW FOR THEATRICAL ON DEMAND Via http://shotmovie.org/home/#gathr Now on iTunes and Amazon iTunes at apple.co/2nn0Goc and Amazon at amzn.to/2zWrscY Runtime: 89 minutes Country of Origin: USA Language: English Genre: Drama MEDIA CONTACT: ACTM [email protected] A gripping drama about three lives irrevocably changed when a gun is accidentally fired on a busy Los Angeles street, SHOT is a visceral roller coaster ride unflinchingly exploring the consequences of gun violence in America. SYNOPSIS Sound mixer Mark pumps up the volume on a bloody shootout scene in an action film. After an argument with his wife Phoebe, Mark is suddenly felled by an actual random bullet accidently fired by teenager Miguel, who got the gun from his cousin to protect him from bullies. In real time on multiple screens, the couple encounters police, EMT and ER teams trying save Mark's life, at the same time as Miguel avoids getting caught. 5 months later their lives turned upside down, the three of them meet where Miguel asks for forgiveness and Mark, paralyzed and embittered, seeks revenge. ABOUT THE STORY From the moment the shot rings out, Kagan's camera in real time daringly follows Mark from the street, to stretcher, to gurney, to examining table, as we watch the paramedics and medical teams in full life-saving mode. -
3D Here and Now…
Entertainment & Media 3D Here and Now… a goose that lays a golden egg? s we continue to analyze the 3D Entertainment markets, we interview players around the world in A the different industries, including film studios, video game companies, broadcasters, pay-TV operators, network operators, theater exhibitors, technical equipment providers, start-ups and consumer equipment manufacturers, in the main video entertainment formats (films, live TV, home entertainment, games, user generated content) and main entertainment screens (movie theaters, TV, PC, mobile phones). Summary A Year of Progress 2 3D Movies 3 3D Television 12 3D Video Games 18 Overview of 3D R&D Programs 23 So What Lies Ahead? 24 3D Movies 26 3D Television 28 3D PC 30 3D Mobile Phones 32 Key Questions 34 A Year of Progress A Year of Progress A year ago we reported on the uncertainties about the future of the 3D entertainment market. Two tipping points for 3D that we identified then have since been resolved: standardization and the commercial success of high-profile projects, specifically Avatar. Standardization has made significant step forward with the definition of a 3D Bluray standard and the progress on HDMI1.4a specification. At the box office, Avatar ’s record-breaking success created a mass awareness of 3D movies and had a broad halo effect on 3D. So we can say unequivocally that substantial progress has been made. Many people were skeptical about 3D. Now, many people are over-excited by it. The danger is that industry players risk killing a golden goose by overselling and, in some cases, overpricing the 3D experience – and by providing too much mediocre content that doesn’t do justice to the technology. -
The Current State of the Consumer 3D Experience
The Current State of the Consumer 3D Experience By Philip Lelyveld Program Manager, Consumer 3D Experience Lab / Program USC Entertainment Technology Center June 7, 2012 Table of Contents Introduction 3 Theatrical 3D 4 3D TVs 7 3D Cameras, Laptops, Phones, Tablets 12 3D Gaming 13 Head Mounted Displays 15 Theme Parks 15 Other Markets for 3D 16 Conclusion: Looking Backward, Looking Forward 18 Appendix 1 – 3D Lab Presentation / Tour Log 20 Appendix 2 – 3D Lab Event Speaker / Moderator Log 21 Appendix 3 – 3D Audio 22 Appendix 4 – 3D Printers 24 2 The Current State of the Consumer 3D Experience Introduction The introduction of non-anaglyph, digital S3D as a consumer experience started with Disney’s Chicken Little in 2005. But the 2009 theatrical release of Avatar, with James Cameron’s strong marketing of the 3D aspect of the feature, was the benchmark event that defined consumer expectations for a 3D experience. Mr. Cameron and company also laid the groundwork for the rapid decent into the trough of disillusionment by telegraphing what consumers should expect before those expectations could be adequately met. At that moment the production, theatrical exhibition, distribution, and consumer electronics technologies infrastructures were still being developed, and content creation was just ramping up. The ETC’s Consumer 3D Experience Lab and Program has ridden the heart of the Hype Cycle; from a few years after digital stereoscopic 3D’s (S3D’s) launch in cinemas through the peak of inflated expectations, down to the trough of disillusionment, and now upward along the slope of enlightenment. We are approaching, but not yet at, the plateau of productivity for 3D. -
NBAY 6120 March 29, 2017 Donald P
Animation & Entertainment Case Studies/Conclusion NBAY 6120 March 29, 2017 Donald P. Greenberg Lecture 10 Complete Computer Animation Computer Animation Theater Gross Revenues (U.S.) March 2017 Boxofficemojo.com Movies with Special Effects Special Effects Bring in $$$$ (U.S. only) 2015 Of top 10 grossing movies ever, 2 nominated for Oscars, 2 won, 3 won Best Visual Effects 1. Avatar ($760M) - 2009 nominated for 9 Oscars, including 3 wins 2. Titanic ($660M) – 1997 Best Visual Effects winner 3. Jurassic World ($649M) 4. Marvel’s The Avengers ($623M) - 2013 nominated for Oscar, Best Achievement in Visual Effects 5. The Dark Knight ($535M) - 2008 nominated for 8 Oscars, including 2 wins 6. Star Wars: Episode I – The Phantom Menace ($475M) – 1999 nominated for 3 Oscars 7. Star Wars ($460M) – 1977 – 1999 nominated for Oscar, Best Visual Effects 8. Avengers: Age of Ultron ($458M) 9. The Dark Knight Rises ($448M) – 2013 AFI Award Movie of the Year 10. Shrek 2 ($441M) – 2004 Nominee for Best Animated Feature Film of the Year Compositing: the blue screen Advanced blue screen algorithm can produce fantastic results. Observe in the image below that important details, such as the reflections in the window, and the fine edges of the hair are maintained. “The Saint” (1997) A naïve observer would have a hard time identifying that the above image was not an original photograph. Compositing: Putting it all together, “A Perfect Storm” The boat is computer generated. base geometry textured model Final Composite “The Perfect Storm” (2000) Compositing: Putting it all together, “A Perfect Storm” These simple techniques are used in production situations, only on a much larger scale. -
Conference Program
Conference Program www.giantscreencinema.com twitter.com/gsca #GSCA2014 $50 million film fund. The One Company Investing in Production and Technology only for the Giant Screen. GT and GT Dome laser systems. Contact: Mike Lutz, Institutional Sales & Client Services phone: (310)-255-5505 | email: [email protected] Thomas Wyss, Vice President, Film Distribution phone: (310)-255-5679 | email: [email protected] FOR MORE INFORMATION PLEASE CONTACT YOUR REPRESENTATIVE IMAX® is a registered trademark of IMAX Corporation. IOLM_GSCA2014_Ad.indd 1 7/31/14 9:12 AM TABLE OF CONTENTS THANK YOU! 3 Thanks to our sponsors WITH THANKS TO OUR CONFERENCE SPONSORS Premier Level Sponsors 4 Schedule 7 Map of conference event venues 8 Map of Sheraton meeting rooms 12 Professional development GSCA CONTACTS 16 Technical session Giant Screen Cinema 20 New films Association 34 Films in production 624 Holly Springs Road, Suite 243 Holly Springs, NC 27540 U.S. 46 Projects in development giantscreencinema.com Director Level Sponsor Trade show exhibitors facebook.com/giantscreencinema 52 twitter.com/gsca 57 Presenter biographies Find our group on LinkedIn Tammy Seldon Executive Director Office: 1-919-346-1123 ADVERTISING INDEX Mobile: 1-703-855-3699 Theater Level Sponsors 3D Entertainment Distribution 29 [email protected] American Museum of Natural History 25 Christie / Electrosonic 17 Kelly Germain Director of Membership and Doremi Labs Inc. 43 Communications Evans & Sutherland 19 Office: 1-651-917-1080 FotoKem/GSCA Party 49 Mobile: 1-651-270-4915 GSCA 64 [email protected] -
2011 Conference Program Broaden Your Sphere of Knowledge
2011 CONFERENCE PROGRAM BROADEN YOUR SPHERE OF KNOWLEDGE 2011 International CES® | January 6–9, 201 1 | Las Vegas, Nevada CESweb.org The 2011 Conference Program is the most robust ever, with 300+ sessions conducted by 900+ subject–matter experts. Pick up smart, age–based marketing strategies, or discover the new Hollywood paradigms around content, media and branding. Get your head into the Cloud, or Flash back to earth for some plain talk on storage. Absorb the implications of just–released research, or let the kid in you shine through with the latest toys for the next gen of technophiles. The virtual gym, digital hospitals, cars with central nervous systems, social media in unexpected places … all this, plus peer networking opportunities, makes the Conference Program an invaluable part of your CES experience. Some sessions fill quickly, so scan your options and register today. Session material as of November 15, 2010. Visit CESweb.org/sessions for current program updates. Table of Contents Conference Overview . 2 Conference Pricing . 3 Conference Tracks . 4 Broadband Unlimited. 5 Cable Conference at CES. 7 CEA Research Summit at International CES . 9 CES Government 2011 . 10 CONNECTIONSTM Summit at CES . 11 Content in the Cloud . 13 Digital Health Summit . 16 Digital Hollywood. 18 Emerging Technology . 22 Flash Forward: Flash Memory Storage Solutions for Mobile Devices and Data-Hungry Applications. 24 HigherEd Tech Summit . 26 Home Entertainment and Lifestyle Technologies . 28 IEEE: International Conference on Consumer Electronics (ICCE) . 30 In-Vehicle Technology . 36 Issues and Attitudes . 37 Just the Facts: Research, Reports and Revelation . 39 Kids@Play and MommyTech . -
News Release for Immediate Release
News Release For Immediate Release The First Territory in the World For National Theatrical Roll-out of a Digital 3D Film First commercial 3D screening of its scale across all major exhibitors Lead-up from the 3DX: 3D Film & Entertainment Technology Festival to grow Singapore’s 3D sector Singapore, 4 December 2008 – Following rising consumer interest in 3D movies at the recently concluded 3DX: 3D Film & Entertainment Technology Festival, Disney’s animated “Bolt” lights up the screens of major exhibitors in Singapore this week – making Singapore the first territory in the world to have national theatrical roll-out of a digital 3D film across Cathay Cineplexes, Eng Wah Cinemas, Golden Village Multiplex and Shaw Organisation theatres. 3D Developments in Singapore Hosted by the Media Development Authority of Singapore (MDA), the recent 3DX Festival created unprecedented buzz and excitement for the advent of 3D in Singapore. 3DX opened with a stellar cast of 22 international media luminaries and speakers including Jeffrey Katzenberg (CEO, DreamWorks Animation), Jim Gianopulous (Chairman & CEO, 20th Century Fox Filmed Entertainment), Dan Glickman (Chairman & CEO, the Motion Picture Association of America) and Jon Landau (Producer, “Avatar”) amongst others. Festival attendees and the public also got to experience 3D and snapped up tickets for the slate of 12 3D Festival movies, which were screened at Golden Village Vivocity and the Singapore Discovery Centre. The movies included Disney’s “Bolt” which was exclusively screened at the Festival -
5-11-16 G3DD Business Plan
BUSINESS PLAN Contact: 818-456-3858 [email protected] The information contained herein is subject to change based on information not known or not available at this time. This document is intended for informational purposes only and is not a solicitation for investment. - 2 - DISCLOSURE The information contained in this business plan is confidential and proprietary to Stereo Vision, Inc. (the “Company”) and is intended only for the persons to whom it is transmitted by the Company or its representatives. Any reproduction of this document, in whole or in part, or the divulgence of any of its contents without the prior written consent of the Company, is prohibited. This is a business plan. It does not imply and shall not be construed as an offering of securities. Prospective investors are not to construe the contents of this document as investment, legal or tax advice from either the Company or the preparers of this document. Any prospective investor should consult with professional investment advisors and gain professional legal and tax advice. Each potential investor specifically understands and agrees that any estimates, projections, revenue models, forecasts or assumptions are by definition uncertain and thus possibly unreliable. Any party considering a transaction with the Company agrees to look solely to its own due diligence. Business Plan Copy No. The information contained herein is subject to change based on information not known or not available at this time. This document is intended for informational purposes only and is not a solicitation for investment. - 3 - Confidentiality Agreement The undersigned reader acknowledges that the information provided by Stereo Vision, Inc. -
From Celluloid Realities to Binary Dreamscapes: Cinema and Perceptual Experience in the Age of Digital Immersion
University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2012 FROM CELLULOID REALITIES TO BINARY DREAMSCAPES: CINEMA AND PERCEPTUAL EXPERIENCE IN THE AGE OF DIGITAL IMMERSION Edwin Lloyd McGuy Lohmeyer University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Lohmeyer, Edwin Lloyd McGuy, "FROM CELLULOID REALITIES TO BINARY DREAMSCAPES: CINEMA AND PERCEPTUAL EXPERIENCE IN THE AGE OF DIGITAL IMMERSION" (2012). Theses and Dissertations--Art & Visual Studies. 2. https://uknowledge.uky.edu/art_etds/2 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.