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Congressional Record—Senate S4965
June 4, 2002 CONGRESSIONAL RECORD — SENATE S4965 IN MEMORY OF RICHARD SYLBERT To the Congress of the United States: ticide Tolerance’’ (FRL7178–5) received on ∑ In accordance with the provisions of May 30, 2002; to the Committee on Agri- Mrs. BOXER. Mr. President, I rise to culture, Nutrition, and Forestry. reflect on the rich life and memory of section 13, Public Law 806, 80th Con- gress (15 U.S.C. 714k), I transmit here- EC–7282. A communication from the Prin- Richard Sylbert, an admired and tal- cipal Deputy Associate Administrator of the ented production designer, whose work with the report of the Commodity Environmental Protection Agency, transmit- made a tremendous impact on the en- Credit Corporation for the fiscal year ting, pursuant to law, the report of a rule en- tertainment industry and on the lives ending September 30, 2000. titled ‘‘Change in Disease Status of Estonia with Regard to Rinderpest and Foot-and- of so many. GEORGE W. BUSH. THE WHITE HOUSE, June 4, 2002. Mouth Disease’’ (Doc. No. 01–041–2) received At the age of 73, Richard Sylbert died on May 31, 2002; to the Committee on Agri- f on March 23, 2002 of cancer in Woodland culture, Nutrition, and Forestry. Hills, CA. Richard, through his re- MEASURE REFERRED EC–7283. A communication from the Acting markable creativity and imagination, General Counsel of the Department of De- The Committee on Armed Services fense, transmitting, a draft of proposed legis- helped bring more than 40 stories to was discharged from further consider- the screen, including ‘‘Chinatown,’’ lation relative to interest payments on stu- ation of the following measure which dent loans for service in the Armed Forces; ‘‘Dick Tracy,’’ ‘‘The Graduate’’ and was referred to the Committee on Com- to the Committee on Armed Services. -
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. -
Sound: Eine Arbeitsbibliographie 2003
Repositorium für die Medienwissenschaft Hans Jürgen Wulff Sound: Eine Arbeitsbibliographie 2003 https://doi.org/10.25969/mediarep/12795 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Sound: Eine Arbeitsbibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2003 (Medienwissenschaft: Berichte und Papiere 17). DOI: https://doi.org/10.25969/mediarep/12795. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0017_03.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Kiel: Berichte und Papiere 17, 1999: Sound. ISSN 1615-7060. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 21.9.2008. URL der Hamburger Ausgabe: .http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0017_03.pdf Sound: Eine Arbeitsbibliographie Hans J. Wulff Stille und Schweigen. Themenheft der: Navigatio- Akemann, Walter (1931) Tontechnik und Anwen- nen: Siegener Beiträge zur Medien- und Kulturwis- dung des Tonkoffergerätes. In: Kinotechnik v. 5.12. senschaft 3,2, 2003. 1931, pp. 444ff. Film- & TV-Kameramann 57,9, Sept. 2008, pp. 60- Aldred, John (1978) Manual of sound recording. 85: „Originalton“. 3rd ed. :Fountain Press/Argus Books 1978, 372 pp. Aldred, John (1981) Fifty years of sound. American Cinematographer, Sept. 1981, pp. 888-889, 892- Abbott, George (1929) The big noise: An unfanati- 897. -
Nosferatu. Revista De Cine (Donostia Kultura)
Nosferatu. Revista de cine (Donostia Kultura) Título: Filmografía Autor/es: Devesa, Dolores; Potes, Alicia Citar como: Devesa, D.; Potes, A. (2006). Filmografía. Nosferatu. Revista de cine. (51):71- 87. Documento descargado de: http://hdl.handle.net/10251/41447 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: Filmografía Dolores Devesa y Alicia Potes DlRF:CCI Ó N ,1/ar /rm~, Sydno:y G n::cnst reet (Dr. Loren=), Charles llalton (A. V. Smith), Sen Young (Joe Totsuiko), Roland Gut (Sugi), El halcón maltés (The Maltese Fa/con, 194 1) Lec Tung Foo (Sam IJ'ing On), Frank Wilcox (capitán ,\/o rrison), Paul Stanton (comnel flan) , Lcstcr l\ latthews (ma Dirección: John Huston. Producción: Warner Bros. Pro yor Cl/1/(/diense), John Hamilton (¡m:sidellle del consejo de ductor ejecutivo: llal B. Wa llis. P•·oductor nsoriado: Hen ¡.:uerm) , Tom Stevcnson (homhre sin identi.ficm), Roland ry Blankc. Guión: John Jluston. Basado en la nove la The Drew (capitán Harkuess), l\ lonte Bluc (Dan ,\fomm), Ches ,\fa/tese Fa/con (El lw/cán maltés) de Oashiell Hammctl. -
PAYSAGES DE FORÊTS À Propos Du Rôle De La Forêt Dans Nos Imaginaires
PAYSAGES DE FORÊTS à propos du rôle de la forêt dans nos imaginaires Mémoire de fin d’étude - Décor Youri SZLAMKA, promotion 2019 1 REMERCIEMENTS Tania Press et Myriam Gannagé, Barbara Turquieret Caroline San Martin Téo Sizun, Côme Debray, Christian Bigirimana et, Marion Durin PAYSAGE DE FORÊT À propos du rôle de la forêt dans nos imaginaires Youri SZLAMKA - Décor - promotion 2019 Sous la direction d’Anne Seibel et Laurent Ott 3 Introduction Dans cette étude, j’aborde les différents aspects que peuvent prendre la forêt et le rôle qu’elle peut jouer à l’écran. D’un paysage commun, la dimension de spectacle du cinéma prend vite le dessus et les grands espaces sont sublimés, offrant au spectateurs des vi- sions fantastiques. Des décors naturels extraordinaires, nous avons désormais les outils pour sublimer cette nature, fabriquant ainsi des paysages irréels. Le message écologique présent derrière une production cinématographique peut treê absorbé par une réalité économique plus grande. La forêt a été représentée de différentes manières, selon le rôle qu’elle jouait dans la société et son importance pour ses contemporains. Ainsi, on peut lier le contexte histo- rique à la représentation. D’une forêt minimisée, écrasée au moyen âge, on arrive à des représentations inversées, où l’homme prend conscience de son environnement et ne le considère plus de la même façon. La forêt est aujourd’hui un domaine de questionne- ment et d’inquiétude depuis les années 70 et émergence d’une conscience écologique. Ainsi, le cinéma qui reflète notre société et ses préoccupations apportent une place d’im- portance à cet écosystème naturel, source d’inspiration, fantasme ou expression d’un message politique. -
Desenho E Cinema
Faculdade de Belas Artes da Universidade do Porto Mestrado em Desenho e Técnicas de Impressão Dissertação de: Elisa Almeida Trindade Orientado por: Doutora Cristina Mateus 2013 Desenho e Cinema Agradecimentos: À minha orientadora Doutora Cristina Mateus, à minha família, aos meus amigos e a todos que tornaram possível este trabalho. Índice Resumo/Abstract 9 3.1. Storyboards 93 Introdução: Breve enquadramento histórico. 3.2. Cenários 99 Projeto e método 11 O gabinete do Dr. Caligari 103 Capítulo 1 Metropolis 104 Realizadores desenhadores 17 A Casa Encantada 106 George Méliès 19 Ken Adam 107 Alfred Hitchcock 21 Fritz Lang 25 3.2.1. Desenhos técnicos e Sergei Eisenstein 28 desenhos concetuais 109 Akira Kurosawa 31 Orson Welles 36 3.2.2. Desenhos de Artefactos 115 Saul Bass 37 Federico Fellini 41 3.3. Desenho de Guarda-roupa 119 Satyajit Ray 45 Collen Atwood 122 Roman Polanski 47 Ngila Dickson 124 Ridley Scott 49 Sandy Powell 125 Martin Scorsese 52 Jacqueline Durran 127 Peter Greenaway 55 Eiko Ishiola 128 Tim Burton 56 3.3.1. Outros Figurinos 129 1.1. Storyboards e outros realizadores 59 F.W. Murnau 61 Jonh Huston 62 3.3.2. Desenhos de outros personagens 133 Terry Gillian 63 Jane Campion 65 Capítulo 4 Told Haynes 66 Outros processos 137 Capítulo 2 Carlos Saura 139 O desenho como parte integrante do filme 67 Pedro Costa 141 Voyage dans la Lune 69 Peter Greenaway 142 A invenção de Hugo 70 Sang d’un poète 71 Capítulo 5 O contrato do desenhador 72 Do Cinema ao Desenho 143 A walk through H 72 Gustav Deutsch 145 O sol do marmeleiro 74 William Kentridge 147 American Splendor 74 Quentin Tarantino 148 Quem tramou Roger Rabbit? 75 Kill Bill 75 Harry Potter e os Talismãs da Morte 76 Detachment 76 Reflexões finais 149 Tabu 77 Argo 78 Bibliografia 153 Culpados por suspeita 80 Capítulo 3 Índice de imagens 158 Função do desenhador de produção e do diretor artístico 81 Henry Bumstead 85 Dante Ferretti 87 Stuart Craig 90 7 8 Resumo: Esta dissertação dá uma pequena contribuição para a análise da utilidade do desenho na arte do cinema, em algumas das suas vertentes. -
The Big Goodbye
Robert Towne, Edward Taylor, Jack Nicholson. Los Angeles, mid- 1950s. Begin Reading Table of Contents About the Author Copyright Page Thank you for buying this Flatiron Books ebook. To receive special offers, bonus content, and info on new releases and other great reads, sign up for our newsletters. Or visit us online at us.macmillan.com/newslettersignup For email updates on the author, click here. The author and publisher have provided this e-book to you for your personal use only. You may not make this e-book publicly available in any way. Copyright infringement is against the law. If you believe the copy of this e-book you are reading infringes on the author’s copyright, please notify the publisher at: us.macmillanusa.com/piracy. For Lynne Littman and Brandon Millan We still have dreams, but we know now that most of them will come to nothing. And we also most fortunately know that it really doesn’t matter. —Raymond Chandler, letter to Charles Morton, October 9, 1950 Introduction: First Goodbyes Jack Nicholson, a boy, could never forget sitting at the bar with John J. Nicholson, Jack’s namesake and maybe even his father, a soft little dapper Irishman in glasses. He kept neatly combed what was left of his red hair and had long ago separated from Jack’s mother, their high school romance gone the way of any available drink. They told Jack that John had once been a great ballplayer and that he decorated store windows, all five Steinbachs in Asbury Park, though the only place Jack ever saw this man was in the bar, day-drinking apricot brandy and Hennessy, shot after shot, quietly waiting for the mercy to kick in. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
CED Digest, Vol. 7
************************************************************************ ************************************************************************ CED Digest Vol. 7 No. 1 1/5/2002 ------------------------------------------------------------------------ 20 Years Ago In CED History: January 6, 1982: * Archbishop Jozef Glemp, the Roman Catholic primate of Poland, tells a congregation in Warsaw's St. John's Cathedral that those who signed oaths renouncing Solidarity were coerced by the government and the oaths have no validity. January 7, 1982: * Presidential counselor Edwin Meese III reads a statement that reverses President Reagan's pre-election stand against the registration of 18-year-old males for a possible future military draft. * The Winter 1982 Consumer Electronics Show begins in Las Vegas, Nevada. While a year earlier the RCA VideoDisc system had been one of the most prominent introductions, at the 1982 show the VHD VideoDisc holds the spotlight with a large display space sporting the slogan "There's More to See on VHD." Other notable video-related introductions include the Technicolor CVC mini-cassette VCR system, the first tubeless consumer video camera, and the first Pioneer LaserDisc player with CX noise reduction. A picture of the VHD booth at the Winter 1982 CES can be seen at this URL: http://www.cedmagic.com/history/vhd-1982-ces.jpg January 8, 1982: * Spokesmen for the American Telephone & Telegraph Company (AT&T) and the U.S. Department of Justice announce the settlement of a seven-year-old antitrust case which will result in AT&T divesting itself of 22 telephone companies, effectively breaking up the monopoly. * Future CED title in widespread theatrical release: Four Friends. January 9, 1982: * A frigid blast of artic air arrives in the United States bringing with it a week of record low temperatures. -
THTR 363 Syl-Fall
THTR 363: Introduction to Sound Design INSTRUCTOR: Richard K. Thomas, 494-8050 [email protected] OFFICE HOURS: Tuesday: 2:30 – 3:30 p.m., Thursday, 1:30 – 2:30 p.m. PAO 2184 CLASS SCHEDULE: Fall 2011 August 23 Intro to Course (Music As a Foundation, pp. 1 - 6) 25 Lecture: Music Language and Theatre (Music As a Foundation, pp. 6 - 25) 30 Music as a Foundation of Theatre: Origins September 1 Lecture: Primal Elements of Music (Music As a Foundation, pp. 25 – 45) 6 Lecture: Primal Elements of Music (Cont.) 8 Lecture: Primal Elements of Music (Cont.) 13 Lecture: Dramatic Time and Space 17 Lecture: The Function of the Soundscape 20 Group Presentations: General Overview of Design Elements 22 Group Presentations: General Overview of Design Elements (cont.) 27 Watch “More to Live For” in studio (No Rick) 29 No Class: Rick at IRT October 4 Color DVDʼs DUE 6 Color Projects DUE 11 Color (Cont) 13 Octoberbreak 18 Color Composition DUE 20. Time DVDʼs Due 25 Time Projects DUE 27 Time (Cont.) November 1 Time Composition DUE 3 Mass DVDʼs DUE 8 Mass Projects DUE 10 Mass (Cont.) 15 Mass Composition DUE THTR 363 Syllabus: Fall, 2011 Page 2 17 Space DVDʼs DUE 22 Space Projects DUE 24 THANKSGIVING BREAK 29 Space Compositions DUE December 1 Line DVDʼs DUE 6 Line Projects DUE 8 Line (Cont) Final Exam Period: Sonnet Projects Due NOTE: THIS SYLLABUS SUBJECT TO CHANGE!! Course Objectives: The purpose of this course is to introduce students to an aesthetic vocabulary of design elements that is useful in both visual and auditory design. -
Stephen Andriano-Moore
The Rise of the Sound Designer: Northern California Film Sound in the 1960s and 1970s Stephen Andriano-Moore School of International Communications, University of Nottingham Ningbo China, Ningbo, China School of International Communications, University of Nottingham Ningbo China, 199 Taikang East Road, University Park, Ningbo, 315100, Zhejiang Province, China. Email: [email protected] Telephone: +86 (0) 574 8818 0271 ORCID ID: 0000-0001-9686-6578 Notes on contributor Stephen Andriano-Moore teaches media and cultural studies in the School of International Communications at the University of Nottingham Ningbo China. His research explores production cultures of the film and television industries with particular focus in the area of Hollywood film sound. Correspondence to: Stephen Andriano-Moore, School of International Communications, University of Nottingham Ningbo China, 199 Taikang East Road, Ningbo, China, 315100. Email: [email protected] 1 THE RISE OF THE SOUND DESIGNER: Northern California Film Sound In The 1960s And 1970s Northern California based filmmakers in the late 1960s and 1970s pushed the traditional boundaries of filmmaking practices in ways that have been adopted and reworked into contemporary Hollywood filmmaking practices. The article examines labour issues and conditions and politics of film sound work during this era, some of which continue to be applicable today. The development of new production practices pushed filmmakers including George Lucas, Francis Ford Coppola, and Walter Murch to produce films outside the traditional Hollywood studio production paradigm. This new generation of filmmakers held sound with a higher status and popularized non- traditional ways of working with sound. They created the new job title of sound designer to signify a person who supervises and collaborates with the director, department heads, and screenwriter on the use and function of sound through all of the filmmaking phases from the writing stage through the final mix. -
31. Oktober 1994 COOL POP • POLITICS • HOLLYWOOD 1960-68
Retrospektive GESTE R R EI CHISCHES Viennale 1994 FILMMUSEUM 1.-31. Oktober 1994 COOL POP • POLITICS • HOLLYWOOD 1960-68 MIT FILMEN VON ROBERT ALDRICH WILLIAM ASHER • GEORGE AXELROD ALLEN BARON • JOHN BOORMAN • MARLON B RAN DO RICHARD BROOKS WILLIAM CONRAD • ROGER CORMAN EDWARD DMYTRYK • BLAKE EDWARDS • RICHARD FLEISCHER THEODORE FLICKER ROBERT FLOREY JOHN FORD JOHN FRANKENHEIMER SAMUEL FÜLLER • GUY HAMILTON • HARVEY HART HOWARD HAWKS MONTE HELLMAN DOUGLAS HEYES • ALFRED HITCHCOCK JOHN HUSTON • NORMAN JEWISON ■ ELIA KAZAN • STANLEY KUBRICK • IRVIN LERNER • RICHARD LESTER JERRY LEWIS • SIDNEY LUMET LESLIE MARTINSON RUSS MEYER • JOSEPH M. NEWMAN • SAM PECKINPAH • ARTHUR PENN ■ FRANK PERRY • ROMAN POLANSKI OTTO PREMINGER • ROBERT ROSSEN FRANKLIN J. SCHAFFNER • GEORGE SIDNEY DON SIEGEL • ALEXANDER SINGER • JOHN STURGES PETER USTINOV ROGER VADIM • PAUL WENDKOS BILLY WILDER RON WINSTON Samstag, 1. Oktober 1994, 17.00 Uhr Montag. 3. Oktober 1994, 17.00 Uhr Mittwoch. 5. Oktober 1994. 17.00 Uhr Freitag. 7. Oktober 1994, 17.00 Uhr Sonntag, 9. Oktober 1994, 17.00 Uhr Dienstag, 11. Oktober 1994, 17 00 Uhr Twilight Zone: IN PRAISE OF PIP (1963) FATHOM (1967) THE BELLBOY (1960) Joseph M. Newman SEVEN DAYS IN MAY (1964) ANGEL BABY (1961) FAIL SAFE (1964) Regie: Leslie H. Martinson; Drehbuch: Lorenzo Regie und Drehbuch: Jerry Lewis; Kamera THE KILLERS (1964) Regie: John Frankenheimer; Drehbuch: Rod Ser- Semple, Jr.; Kamera: Douglas Slocombe; Bauten: Regie: Paul Wendkos; Drehbuch: Orin Borsten, Regie: Sidney Lumet; Drehbuch: Walter Bern¬ Haskell Boggs; Bauten: Hai Pereira, Henry ling; Kamera: Ellsworlh Fredricks; Bauten: Cary Maurice Carter; Musik: John Dankworth; Schnitt: Paul Mason. Samuel Roeca; Kamera. Haskell stein; Kamera: Gerald Hirschfeld; Bauten: Albert Bumstead; Musik: Walter Scharf, Schnitt Stanley Regie: Don Siegel; Drehbuch: Gene L.