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Jesse McLean Department of Cinematic Arts, University of Iowa 2012 B.A.
ASH ENG 225 Week 4 DQ The Cinematic Auteur Theory NEW Check this A+ tutorial guideline at h http://www.assignmentcloud.com/eng-225-ash/eng225-week-4-dq-the-cinematic-auteur-theory-new For more classes visit http://www.assignmentcloud.com he Cinematic Auteur.
d(o'lL(ooJ(oocao) BcoJollo @,1, oDooDocm orer4llLo) Grailcdod zoro rergpCor oilecrrlo Iury Report We are pleased to inform you that we have completed the exercise of evaluating the merit of cinematic excellence for the STATE AWARD.
GEMS DECK 2015 87%
Our four-day fall film event, GEMS, features las joyas de la corona (the crown jewels) of the season’s finest new cinematic works.
Literature and film is a medium that is widely viewed by a mainstream audience, therefore, the average American will get their information about American Indians from either A film they watched A book they read A combination of movies and books Today’s Objectives 1) Students will receive a brief introduction to three cinematic eras of film The Early Western Era The Revisionist Western Era Contemporary AI Film Students will be able to understand how the landscape and environment plays into each cinematic era Students will connect film clips and lecture material back to the assigned reading this week Hollywood’s Indian Edited by Peter C.
Bradley Sanchez Herin Zhao Shelly Zevlever Sam Natale Rishi Sripathan •Popularity •The Marvel Cinematic Universe • Tells a single story but fits into a larger cinematic universe
p) is the fraction of the ̅̅̅̅̅ is snorlax’s average dps over a cycle (the “–“ stands for average) 𝑑𝑝𝑠 Fdmg is the damage done by snorlax’s fast move(to dragonite) Fduration is the damage done by snorlax’s fast move(to dragonite) Cdmg is the damage done by snorlax’s charge move(to dragonite), or “cinematic move” as titled in niantic’s GAMEMASTER file.
October 16, 2015 78%
www.cbc.ca/independentproducers/genres/cbc_do cs_digital_originals SFIFF59 Call for Entries The San Francisco International Film Festival (SFIFF), recognized throughout the world as an extraordinary showcase of cinematic discovery in one of the country's most beautiful cities, is accepting submissions to SFIFF59 (April 21-May 5, 2016).
Ryan Moore Women’s Literature Critical Roundtable Witches & The Maternal “Misogyny & Matrophobia in Cinematic Witchcraft” The Crucible (1996) Directed by Nicholas Hytner Essay: “Re(dis)covering the Witches in Arthur Miller’s The Crucible ” Written by Wendy Schissel The Blair Witch Project (1999) Directed by Daniel Myrick, Eduardo Sanchez Essay: “Gendered Imagination in The Blair Witch Project ” Written by Deneka C. MacDonald Rosemary’s Baby (1968) Directed by Roman Polanski Essay: “ Rosemary’s Baby , Gothic Pregnancy, and Fetal Subjects” Written by Karyn Valerius Horror movies have certain antagonists that appear frequently in the genre. Examples of such antagonists include vampires, zombies, and the presence of the Antichrist through witches and black magic. There are three classic horror movies that feature one of the oldest and most wellknown movie antagonists of all time: the ageold concept of the Satanic witch. The Crucible , The Blair Witch Project , and Rosemary’s Baby all showcase witches as evil villains in some form or another. The Crucible details the violent madness of the witch hunts that took place in Puritan New England around the 1690s; The Blair Witch Project depicts a film crew running through a forest trying to hunt down and film an evil witch rumored to reside in the area; and Rosemary’s Baby tells the story of a coven of witches seeking to impregnate an unsuspecting women with the child of the Antichrist. To the untrained viewer, these movies seem to be a harmless cinematic rendition of a typical horror movie plot: the good guys look for the bad guys, the bad guys scare the daylights out of the good guys as well as the audience, and the good guys try to bring down the bad guys. This plot that we have watched unfold so many times before is just a scratch on the surface of what the movie is subconsciously portraying. Through further scrutiny, one can theorize that these witches in movies tend to perpetuate misogyny and matrophobia in the minds of viewers who are uneducated in areas like Women’s Gender and Sexuality Studies. The Crucible is a movie that tends to perpetuate misogyny and matrophobia through the concept of witchcraft because the main conflict of the movie lies in whether or not a few female characters are witches. The plot of the movie is entirely devoted to this conflict. Wendy Schissel writes that, “In forty years of criticism very little has been said about the ways in which The Crucible reinforces stereotypes of femme fatales and cold and unforgiving wives in order to assert apparently universal virtues” (1). The idea of a femme fatale was originated in the movie genre called film noir ; the femme fatale is a female character that is often cold, emotionless, and usually seduces the male protagonist, leading to the male protagonist’s downfall. This concept is damaging to women because it makes women seem like they’re not trustworthy, or just using their looks and charm to get ahead in life. In The Crucible , the character of John Proctor is viewed as a “tragically heroic common man” and “a just man in a universe gone mad” while the innocent character of Elizabeth does not receive nearly the same treatment (1). The Crucible accurately portrays the Puritan values of the movie’s time period, which held men in a higher position of respect than women, thus perpetuating more misogyny and mistrust. Schissel goes on to define a key term that relates to this movie: “Implicit in Puritan theology, in [Arthur] Miller’s version of the Salem witch trials, and all too frequent in the society which has produced Miller’s critics is gynecophobia fear and distrust of women” (1). Similarly, in the Malleus Maleficarum written in 1486, it is written that “All witchcraft comes from carnal lust which in women is insatiable” (1). It seems that The Crucible portrays a pattern of womanblaming for the problems of the society in which they live, possibly out of need for a scapegoat for that society’s problems.
1 The EOSHD 5D Mark III Raw Shooter’s Guide By Andrew Reid First Edition A guide to recording cinematic raw video on the 5D Mark III with Magic Lantern Return to index Return to contents Jump to chapter - 1 2 3 4 5 6 7 8 9 10 11 Appendix!
• Press – Wrote scripts and directed the cinematic trailer and ‘Making Of’ videos for trade shows.
Liquid Cinema 73%
A Drop of the Infinite//A Shard of the Immanent// A Drop of the Immanent// A Shard of the Infinite An investigation of Liquid (in) Cinema Conference, Spring 2017 5/5/17 Arlen Levy an enormous undifferentiated object. Everything stops dead for a moment, everything freezes in place-and then the whole process will begin all over again. From a certain point of view it would be much better if nothing worked, if nothing functioned. Never being born, escaping the wheel of continual birth and rebirth, no mouth to suck with, no anus to shit through. Will the machines run so badly, their component pieces fall apart to such a point that they will return to nothingness and thus allow us to return to nothingness? It would seem, however, that the flows of energy are still too closely connected, the partial objects still too organic, for this to happen. What would be required is a pure fluid in a free state, flowing without interruption, streaming over the surface of a full body.1 Diagram of a ‘mutual image’ forming in liquid as it flows across the Full Body Without Organs, Arlen Levy, 2017 Deleuze, G., & Guattari, F. (1983). Anti-Oedipus: Capitalism and schizophrenia. Minneapolis: University of Minnesota Press.7-8 1 What freezes what flows? In Cinema 2, The Time-Image, Deleuze writes, ”To think is to learn what a non-thinking body is capable of, its capacity, its postures. It is through the body (and no longer through the intermediary of the body) that cinema forms its alliance with the spirit, with thought.”(Deleuze, 189) In Deleuze’s invocation of ‘the body’ there materializes a foundational link between the cinematic mechanism and Real material. This motivates an inquiry into what occurs when a ‘pure fluid’ is introduced into the diegetic space of cinema. What is ‘the body’ in its most embodied form, but Deleuze’s Body Without Organs-“In order to resist organ-machines, the body without organs presents its smooth, opaque surface as a barrier. In order to resist linked, connected, and interrupted flows, it sets up a counterflow of amorphous, undifferentiated fluid.”2 What does it mean when we see this primordial substance acting within a film? What are the implications of goo, ooze, water, mist? ‘Pure fluid in a free state’ as it is present within cinema allows one to approach the recursive material Reality embedded in a ‘liquid’ film. It is necessary to consider the Real implication of the earthly materials invoked in a film, and to follow the effects of their properties as they extend past the cinematic machine. In liquid swims Bachelard’s ‘mutual image’, the most intimate possible coupling of the virtual and the actual, in which the limpid image is nose to nose with the opaque image; each a reflection of the other in clear and muddy waters respectively. It is only through liquid material that it is possible to complicate the uni-directionality of Kant’s ‘phenomenon’ in relation to the noumenal object. The object and the phenomenon, real and Deleuze, G., & Guattari, F. (1983). Anti-Oedipus: Capitalism and schizophrenia. Minneapolis: University of Minnesota Press.8 2 virtual, crystalline and opaque are continuously switching by association when mediated through the liquid mirror. Diagram of ‘miraculation’ as it functions through a ‘falling back upon’ the Body Without Organs, Arlen Levy, 2017 “Heaven above, heaven below, stars above, stars below, know this and rejoice.”3 Jung, C. G., Hinkle, B. M., & Jung, C. G. (1931). Psychology of the unconscious: A study of the transformations and symbolisms of the libido : a contribution to the history of the evolution of thought. New York: Dodd, Mead. 50 3 In Tarkovsky’s Solaris, we are always surrounded by the mysteriously, “plasmatic” sentient ocean of the planet Solaris. Anywhere that we are confronted with an ocean, of any kind, an image of the infinite is approached; the ocean causes the horizon; it causes the horizon-forever, offering the potential of ‘seeing forever’. The ocean presents the eye with a vector towards the immanent infinite, that which animates objects, that which allows a shadowed glimpse of the noumenal object. Solaris pivots around a problem of ‘visitors’; revenants who appear to those who have repressed their memories. Kelvin, the the psychologist who we follow on his journey from earth to the planet Solaris is visited by his deceased wife, Hari. Terrified by this simulacra, Kelvin lures the Hari-Thing into a rocket capsule and launches her into space. However, Hari soon materializes at his side, the visitors cannot be avoided, cannot be killed. It is Solaris itself, which animates the visitors-- flowing into the space typically occupied by the unconscious, it replaces it in the assembly line of desiring production, and produces the Real. The ocean; the place where one can see forever, perceive the edge of immanence, God. At this intensive space of bleeding between sea and skyline we may imagine we see the animate and inanimate transfused into one another, this is where Hari emerges, at the point where the ocean of Solaris touches sky, flickering... It is at this seam, this place of exchange between plasmatic ocean and sky, that we may begin to unfold the true spirituality of Solaris, what type of God it proposes, what vector its God runs along. In Psychology and Alchemy, Jung examines the nigredo [blackness]; a state in alchemical practice in which all ingredients are cleansed and cooked to a uniform black matter in order to
Cinematic Narrative and Racial Injustice In Birth of a Nation (Epoch Pictures, 1915), frequently cited as a milestone in the history of American motion pictures, D.W.
122 minutes This film expands the Marvel Cinematic Universe into the cosmos, where brash adventurer Peter Quill finds himself the object of an unrelenting bounty hunt after stealing a mysterious orb coveted by Ronan, a powerful villain with ambitions that threaten the entire universe.
expands the Marvel Cinematic Universe into the cosmos, where brash adventurer Peter Quill finds himself the object of an unrelenting bounty hunt after stealing a mysterious orb coveted by Ronan, a powerful villain with ambitions that threaten the entire universe.
EPK Final 68%
LINK HQ IMAGE (1334 x 1333) _______________________________________________________ About “all I want.” Just like the cinematic opening, coming to terms with this song concept was a slow, but beautiful process.
EPK Final2 68%
LINK HQ IMAGE (1334 x 1333) _______________________________________________________ About “all I want.” + me Just like the cinematic opening, coming to terms with this song concept was a slow, but beautiful process.
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This is eye-opening when considering cinematic representations of bisexuality.
ASH ENG 225 Complete Course NEW Check this A+ tutorial guideline at http://www.assignmentcloud.com/eng-225-ash/eng-225entire-course For more classes visit http://www.assignmentcloud.com ENG 225 Week 1 DQ Effective Use of Aesthetic Choices ENG 225 Week 2 Assignment Genres and Genre Film ENG 225 Week 2 DQ Genre Theory ENG 225 Week 3 Assignment Establishing Theme ENG 225 Week 3 DQ The Impact of Cinematography and Editing Optionsdocx ENG 225 Week 4 Assignment Final Film Critique Preparation ENG 225 Week 4 DQ The Cinematic Auteur Theory ENG 225 Week 5 DQ 1 The Impact of Evolving Technologies ENG 225 Week 5 DQ 2 Film Analysis and Its Applications ENG 225 Week 5 Film Critique Final Paper
And with the addition of a drop-down screen, your room becomes a private home theater with cinematic surround sound, immersing you in epic movies.