PDF Archive search engine
Last database update: 26 January at 23:02 - Around 76000 files indexed.
Jesse McLean Department of Cinematic Arts, University of Iowa 2012 B.A.
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.
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.
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.
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.
• Press – Wrote scripts and directed the cinematic trailer and ‘Making Of’ videos for trade shows.
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
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.
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.
This is eye-opening when considering cinematic representations of bisexuality.
The book — along with the Department of Defense’s Hollywood database of collaborations that the authors also released — reports that a number of movies, including James Bond, the Transformers franchise, and movies from the Marvel and DC cinematic universes, have been modiﬁed or otherwise inﬂuenced by the U.S.
Lighting, Digital Photography, Character Rigging, Computer Modeling II and III, Advance Special Effects, Film Production Studio, Cinematic Tech, Advanced Digital, Graphics Programming, Digital 2D, 3D Animation.
LEX RHODES GAME DEV / NARRATIVE DESIGNER C: 412-977-8518 Los Angeles, CA 90007 email@example.com | lexrhodes.com WORK EXPERIENCE - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Tender Claws / Writer & Narrative Designer MAY 2017 - Present . tenderclaws.com Narrative design, writing, and art for Virtual Virtual Reality, winner of the 2017 Google Play award for Best VR Experience Concepted, wrote, and workshopped pitch decks and prototypes for several unannounced VR and AR projects From Light / Narrative Lead OCT 2015 - MAY 2017 . from-light.com Extensive writing and worldbuilding for From Light, 2015 PAX 10 Selection Facilitated casting and voice direction for all NPC dialogue MidBoss / Writing Intern OCT 2016 - FEB 2017 . midboss.com Script supervision, voice direction, and narrative design for Read Only Memories, IndieCade 2015 Official Selection USC School of Cinematic Arts Public Relations / Event Producer APR 2016 - Present Coordinator and VIP liaison for USC Games Demo Day showcase, hosting over 500 university and industry guests per event Event management and volunteer coordination, lights/basecamp operator for stage show portion EDUCATION - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - University of Southern California / Interactive Media and Game Design AUG 2014 - MAY 2018 Themed Entertainment Design Minor, National Merit Scholar GAMES / OTHER PROJECTS - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - My Electric Heart (MEH) / Director & Narrative Lead JUL 2017 - Present USC Games Narrative Directed Research, exploring new modes of interactive storytelling Grassdancer / Art Lead APR 2016 - FEB 2017 . grassdancer.garden Dare to Be Digital Selection 2017, SXSW Student Showcase 2017 CHAMBARA / Quality Assurance & TRC APR 2016 - JUN 2016 . chambaragame.com BAFTA Ones To Watch Award 2015 SPACE-SHIPPED / Creative Director & Emcee OCTOBER 2015 - OCTOBER 2016, waywardcrew.com IndieCade Night Games Selection, 2016 SKILLS / TOOLS - - - - - - - - - - - - - - - - - - - - - - Authoring for Interactive Fiction Twine, PlayWrite, Custom Tools Creative Writing, Worldbuilding Game Development Unity 3D, C#, HTML/CSS Version Control Perforce, Sourcetree, Git Leadership & Production Public Speaking Team & Project Management Slack, Trello, Asana, HacknPlan, JIRA Event Management & Operations Digital Illustration & Graphic Design Photoshop, Illustrator, PaintTool Sai, InDesign 3D Modeling & Animation Maya, SketchUp Social Media Twitter, Instagram, Facebook, Tumblr and other blogging platforms Drafting & Fabrication Architectural drawing, model construction, sewing, merch and prop development SPECIAL INTERESTS - - - - - - - - - - - - - - - - - - - - - - North American Cryptozoology Alternate Reality Games Themed Entertainment Design Transmedia Marketing Gender & Sexuality in Games Brand Writing Brand Management
WUXIA : A CINEMATIC RECONFIGURATION OF KUNG FU FIGHTING IN THE ERA OF GLOBALIZATION Lawson Jiang Film 132B: International Cinema, 1960present March 8, 2016 TA: Isabelle Carbonell Section D Wuxia , sometimes commonly known as kung fu , has been a distinctive genre in the history of Chinese cinema. Actors such as Bruce Lee, Jet Li, and Donnie Yen have become noticeable figures in popularizing this genre internationally for the past couple decades. While the eyecatching action choreographies provide the major enjoyment, the reading of the ideas—which are usually hidden beneath the fights and are often culturally associated—is critical to understand wuxia ; the stunning fight scenes are always the vehicles that carry these important messages. The ideas of a wuxia film should not be only read textually but also contextually—one to scrutinize any hidden ideas as a character of the film, and as a spectator to associate the acquired ideas with the context of the film. One would then think about “what makes up the Chineseness of the film?” “Any ideology the director trying to convey?” And, ultimately, “does every wuxia film necessarily functions the exact same way?” After the worldwide success of Ang Lee’s Crouching Tiger, Hidden Dragon in 2000, the film has intrigued many scholars around the globe in developing new—cultural and political—readings of the text. As of the nature that it is a very cultural product, the different perceptions of Western and local Chinese audience, and the accelerating globalization has led to a cinematic reconfiguration of wuxia from its original form of fiction. Therefore, a contextual analysis of the genre is crucial to understand what wuxia really is beyond a synonym of action, how has it been interpreted and what has it been reconfigured to be. First, it is important to define wuxia and its associated terms jiang hu before an indepth analysis of the genre. The two terms do not simply outline the visual elements, but also implying the core ideas of the genre. The title of this essay should be treated as a play on words, because the meaning of the two terms does not necessarily interweave. The action genre with kung fu involved—such as the Rush Hour series starring Jackie Chan—does not equal to wuxia . Wuxia itself is consist of wu and xia in its Chinese context, in which wu equates to martial arts, and the latter bears a more complex meaning. Xia , as Kenfang Lee notes, is “seen as a heroic figure who possesses the martial arts skills to conduct his/her righteous and loyal acts;” a figure that is “similar to the character Robin Hood in the western popular imagination. Both aiming to fight against social injustice and right wrongs in a feudal society.1” The world where the xia live, act and fight is called jiang hu , a term that can hardly be translated, yet it refers to the ancient outcast world that exists as an alternative universe in opposition to the disciplined reality;2 a world where the government or the authoritative figures are underrepresented, weaken or even omitted. Wuxia can thus be seen as a genre that provides a “Cultural China” where “different schools of martial arts, weaponry, period costumes and significant cultural references are portrayed in great detail to satisfy the Chinese popular imagination and to some degree represent Chineseness;3” an idealised and glorified alternate history that reflects and criticizes the present through its heroic proxy. The Chineseness here should not be read as a selfOrientalist product as wuxia had been a very specific genre in Chinese popular culture that originated in the form of fiction (and had later developed to comics or other visual entertainments such as TV series4) before entering the international market with Ang Lee’s Crouching Tiger, Hidden Dragon in the form of cinema. Ang Lee’s cultural masterpiece can be seen as an adaptation of the contemporary wuxia fiction that later inspires many productions including Zhang Yimou’s Hero 1 Kenfang Lee, “Far away, so close: cultural translation in Ang Lee's Crouching Tiger, Hidden Dragon,” InterAsia Cultural Studies 4, no. 2 (2003): 284. 2 Ibid. 3 Ibid., 282. 4 Ibid. (2002). Although the first wuxia fiction, The Water Margin , was written by Shih Nai’an (12961372) roughly 650 years ago in the Ming dynasty, it was not until the postwar era from 1950s to 1970s had the genre reached its maturity. Since then, the contemporary fiction has become popular in Hong Kong and Taiwan with notable authors such as Louis Cha and Gu Long, respectively.5 The two authors has reshaped and defined the contemporary wuxia to their Chinesespeaking readers and audience till today.6 The original wuxia as a form of fiction was malecentric. The xia were mostly male that a great heroine was rarely featured as the sole protagonist in the story; female characters were usually the wives or sidekicks of the protagonists in Louis Cha’s various novels, or sometimes appeared as femme fatale. Although most of the female characters were richly developed and positively portrayed, it is inevitable to see such a fact that the nature of wuxia is masculine. Like hero and heroine in the English context, xia refers to hero while the equivalence of heroine is xianü ( nü suggests female; the female hero). It was not until Ang Lee’s worldwide success of Crouching Tiger, Hidden Dragon , had the global audience—casual moviegoer, film theorists and scholars—noticed the rise of the genre since the film “was the first foreign language film ever to make more than $127.2 million in North America.7 ” Apart from being a huge success in Taiwan, Crouching Tiger is a hit from Thailand and Singapore to Korea but not in mainland China or Hong Kong. Kenfang Lee observes that “many viewers in Hong Kong consider this film boring, slow and without much action” in which “nothing new compared to other movies in the wuxia tradition in the Hong 5 Ibid., 284. The contemporary fiction written by the two authors mentioned previously have also provided the fundamental sites to many film and TV adaptations, such as Wong Karwai’s Ashes of Time (Hong Kong, 1994), an art film that is loosely based on the popular novel Eagleshooting Heroes , and the TV series The Return of the Condor Heroes (Mainland China, 2006) is based on The Legend of the Condor Heroes . Both novel were authored by Louis Cha. 7 Lee, “Far away, so close: cultural translation in Ang Lee's Crouching Tiger, Hidden Dragon,” 282. 6 Kong film industry… [they] claimed that seeing people running across roofs and trees might be novel for Americans, but they have seen it all before.8” Moreover, some of them rebuke the film for “pandering to the Western audience” in which “the success of this film results from its appeal to a taste for cultural diversity that mainly satisfies the craving for the exotic;” denouncing the film as a selfOrientalist work that “most foreign audiences are attracted by the improbable martial art skills and the romances between the two pairs of lovers.9 ” Lee concludes that the exoticized Chineseness and romantic elements “betray the tradition of wuxia movies and become Hollywoodized;10 ” that is, Crouching Tiger represents an inauthentic China. Kenneth Chan considers such negative reactions toward the film as an “ambivalence” that is “marked by a nationalist/antiOrientalist framework” in which the Chinese and Hong Kong audience’s claims of inauthenticity “reveal a cultural anxiety about identity and Chineseness in a globalized, postcolonial, and postmodern world order.11” Such an ambivalence and anxiety toward the inauthenticity are caused by the production itself as Crouching Tiger is funded mostly by Hollywood.12 Through studying Fredric Jameson’s investigations of the postmodernism, Chan declares that “postmodernist aesthetics and cultural production are implicated and shaped by the global forces of late capitalist logic. By extension, one could presumably argue that popular cinema can be considered postmodern by virtue of its aesthetic configurations.
It’s these deeply cinematic moments that allow Quiet Friend to transcend the sum of its parts, able to move nimbly between meticulously polished dance pop (“Breathplay,” “Playgrounds”) and murkier experimentation, often heavily inspired by vintage new age and ambient music.
in Business Administration School of Cinematic Arts, Minor in Digital Studies Los Angeles, CA Class of 2015 3.33 GPA HONORS Dean’s List of Marshall School of Business Los Angeles, CA WORK EXPERIENCE FOX Sports Network Los Angeles, CA Intern—Advertising Sept 2014 – Dec 2014 Researched and presented marketing analysis for several FOX Sports projects, including the Daytona 500 weekend, FOX Sports Girls social media strategy &
- Up to 12 hours prenup video session - Full HD video cameras - MTV style or cinematic short film - Edited video in DVD - 3 to 10 minutes AVP Basic 6 – Wedding Photo book – Php 10,000.00 Inclusions: