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SXSWCinematicVRMeetup Final PDF 100%

Cinematic Virtual Reality Meetup @ SXSW 2017 Speaker:


14/03/2017 www.pdf-archive.com

Curriculum Vitae [Josh Yates] 97%

Jesse McLean Department of Cinematic Arts, University of Iowa 2012 B.A.


22/06/2017 www.pdf-archive.com

ASH ENG 225 Week 4 DQ The Cinematic 96%

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.


30/08/2017 www.pdf-archive.com

SFA 2016 - Award Declaration 90%

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.


08/03/2017 www.pdf-archive.com

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.


25/09/2015 www.pdf-archive.com

Boyer Michelle AIS160 FilmPresentation 87%

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.


28/04/2016 www.pdf-archive.com

Guardians of the Galaxy vol. 2 Presentation 87%

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


22/11/2017 www.pdf-archive.com

derivation2 80%

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.


03/07/2017 www.pdf-archive.com

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).


16/10/2015 www.pdf-archive.com

WitchesMaternalEssay 76%

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.


30/11/2015 www.pdf-archive.com

5Dmark III RAW guide 74%

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!


17/02/2016 www.pdf-archive.com

ShawnPitmanProfile 74%

• Press – Wrote scripts and directed the cinematic trailer and ‘Making Of’ videos for trade shows.


07/02/2018 www.pdf-archive.com

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 


10/12/2017 www.pdf-archive.com

15LegalStudF243 72%

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.


06/04/2017 www.pdf-archive.com

Guardians of the Galaxy 68%

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.


19/09/2014 www.pdf-archive.com

Guardians of the Galaxy 68%

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.


20/09/2014 www.pdf-archive.com

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.


29/09/2016 www.pdf-archive.com

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.


29/09/2016 www.pdf-archive.com

Wedding Photography Sydney 68%

A2Z'S MULTI AWARD WINNING WEDDING PACKAGES ABOUT A2Z WEDDINGS From using the latest digital equipment to stunning high definition shots, A2Z weddings are number one for wedding services including wedding photography, Cinematic video and Wedding cars.


26/04/2017 www.pdf-archive.com

Looking Awry - Bisexual Representation Talk 68%

This is eye-opening when considering cinematic representations of bisexuality.


02/07/2017 www.pdf-archive.com

ASH ENG 225 Complete Course NEW 68%

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


30/08/2017 www.pdf-archive.com


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.


22/11/2018 www.pdf-archive.com

Misc Resume PDF 68%

Holding the office of President, I led weekly lunch meetings on cinematic topics.


25/09/2015 www.pdf-archive.com