Filmproduktion: teknik og tekniske discipliner

Bachelorarbeit aus dem Jahr 2015 im Fachbereich Filmwissenschaft, Note: 1,0, Ludwig-Maximilians-Universität München (Theaterwissenschaft), Sprache: Deutsch, Abstract: Die Arbeit unternimmt eine Kostümanalyse der Serie Downton Abbey und hat das Ziel, Charaktereigenschaften der Figuren herauszuarbeiten und das Kostüm als dramaturgisches Mittel zu prüfen.Downton Abbey gilt als eine der erfolgreichsten britischen Serien der vergangenen Jahre, die durch ihren enormen Ausstattungswert besticht. Das Klassensystem am Beginn des 20. Jahrhunderts wird mit detailgetreuer Sorgfalt heraufbeschworen, vor allem Liebhaber von Kostümfilmen finden in Downton Abbey ihr Mekka. Jedes Produkt der filmischen Unterhaltungsindustrie wird mittlerweile einer Prüfung auf historische Akkuratesse - vor allem im Bereich Kostüm - unterzogen. Doch Kostüme agieren nicht ausschließlich als Anzeiger der Epoche, sondern beinhalten weit mehr Bedeutung, die durch Farbe, Form, Stoff und Verhalten des Kleidungsstücks entschlüsselt werden kann.

Directoire Revival Fashions 1888-1889: 57 Patterns with Fashion Plates and Suggestions for Adaptation contains an in-depth selection of high-quality women's clothing patterns from the end of the bustle era. This book contains practical patterns for undergarments and morning wear; wrappers and tea gowns; skirts and overskirts; ensembles consisting of a bodice, a skirt, and an overskirt or draperies; ensembles consisting of a polonaise and a skirt; house, street, and evening dresses; sports outfits; and outer jackets, coats, and wraps. The patterns are drawn from rare original issues of The Voice of Fashion magazine. They were used by both amateur and professional dressmakers to make up the mainstream styles of the day, and are very similar to patterns published by Butterick. These patterns are enlarged with apportioning scales, printed versions of which are provided in this book, along with step-by-step instructions. Apportioning scales are special rulers that enable you to draft custom sizes, from queen size to doll size, without doing arithmetic. Many patterns in this book are accompanied by supplementary illustrations with detailed descriptions, drawn from Butterick's Delineator magazine. Each supplement shows optional style variations that can be produced by using flat pattern alteration techniques, or merely by substituting a garment section from a different pattern in this book or draping an overskirt pattern differently. The descriptions include information on construction and fabrics. Edited selections from fashion columns in The Delineator and Harper's Bazar, and from a circa 1890 dressmaking manual, add information on construction and on style trends. Also drawn from The Delineator are instructions and illustrations for 34 trimmings and 85 accessories. The book's glossary explains period fabric names and dressmaking terms.

Just as Star Wars: Episode VI Return of the Jedi completed the most successful cinematic trilogy of its generation, perhaps of all time, this splendid thirtieth-anniversary tribute completes New York Times bestselling author J. W. Rinzler's trio of fascinating behind-the-scenes books celebrating George Lucas's classic films. Once again, the author's unprecedented access to the formidable Lucasfilm Archives has yielded a mother lode of extremely informative, vastly entertaining, and often unexpected stories, anecdotes, recollections, and revelations straight from the closely guarded set of a big-screen blockbuster in the making. Brimming with previously unpublished photos, production artwork, script excerpts, exclusive intel, vintage on-set interviews, and present-day commentary, The Making of Star Wars: Return of the Jedi chronicles "how George Lucas and his crew of extroverted artists, misfits, and expert craftspeople roused themselves to great heights for a third time" to create the next unforgettable chapter in one of the most beloved sagas of all time. Get up close to the action and feel like a studio insider as • creator George Lucas, Oscar-nominated screenwriter Lawrence Kasdan, and director Richard Marquand huddle in a script conference to debate the destinies of iconic Star Wars characters, as well as plot twists and turns for the epic final showdown between the Rebel Alliance and the Empire • artists and craftspeople at the groundbreaking Industrial Light & Magic facility top their own revolutionary innovations-despite the infamous Black Friday-with boundary-pushing new analog visual effects • a crack team of sculptors, puppeteers, actors, and "monster-makers" bring Jabba the Hutt and his cohorts to startling, slobbering life from the inside out • a Who's Who of heavyweight directors-from such films as Superman, Gremlins, Halloween, Dune, Scanners, and Time Bandits-are considered for the coveted job of bringing a new Star Wars adventure to the silver screen • actors and crew race to the finish line at Elstree Studios, in a fiery desert, and beneath the trees of a dense redwood forest-before money runs out-to answer the questions that audiences had waited three years to find out: Is Darth Vader really Luke's father, who is the "other"-and who or what is the Emperor? Star Wars' stars from both sides of the camera-including Mark Hamill, Harrison Ford, Carrie Fisher, Anthony Daniels, Peter Mayhew, David Prowse, Alec Guinness, director Richard Marquand, producer Howard Kazanjian, Ralph McQuarrie, Joe Johnston, Dennis Muren, Phil Tippett, and mastermind George Lucas-weigh in with candid insights on everything from technical challenges, character design, Ewoks, the Empire's galactic city planet, and the ultimate challenge of bringing the phenomenal space fantasy to a dramatic close. The Making of Star Wars: Return of the Jedi gives a spectacular subject its just due, with more than five hundred images and many, many new interviews.Praise for The Making of Star Wars: Return of the Jedi "Just like Rinzler's 2010 volume about Empire Strikes Back, The Making of Star Wars: The Return of the Jedi is an indispensible volume that will add tons of insight to your appreciation of George Lucas' Original Trilogy. Rinzler has gone through masses of production documents at Lucasfilm and interviewed tons of people, and come up with a portrait of Lucas struggling to find a fitting ending to his ambitious, heroic saga."-io9

Fachbuch aus dem Jahr 2012 im Fachbereich Medien / Kommunikation - Film und Fernsehen, Note: 1,3, Carl von Ossietzky Universität Oldenburg, Veranstaltung: Mit den Ohren sieht man besser, Sprache: Deutsch, Abstract: In meiner Arbeit möchte ich auf die Geschichte des Sounddesigns, das moderne Sounddesign mit seinen 3 wesentlichen Arten und die Phasen des Sounddesigns eingehen.Der Begriff des Sound Designs ist heute viel diskutiert und umstritten. Im Prozess des Sound Designs für einen Film tauchen verschiedene Personen auf, die für die einzelnen Bereiche des Sound Designs verantwortlich sind. Deshalb ist es sinnvoll den Begriff des Sound Designs nicht an einen einzelnen Sound Designer zu binden, vielmehr ist darunter ein Prozess zu verstehen, der mehrere Instanzen beinhaltet, die durch ihre Zusammenarbeit ein Gesamtgebilde, also das Sound Design eines Films, entstehen lassen.Übersetzt steht der Begriff Sound für Geräusch, Klang oder Klangbild. Unter Design verstehen wir eine Anordnung, Aufbau oder Gestaltung. Ins Deutsche übertragen, könnten wir somit vom Begriff der Klanggestaltung sprechen.

Das Buch vermittelt einen Uberblick uber die Arbeit eines Herstellungleiters/einer Hestellungsleiterin von fiktionalen Filmprojekten. Von der ersten Idee, uber die Projektentwicklung und die Dreharbeiten hinaus bis hin zur Ablieferung des finalen Films wird der Leser/die Leserin in das Handwerk der Herstellungsleitung eingefuhrt.Neben dem Herzstuck der Herstellungsleitung, den kaufmannisch-vertraglichen Themen, werden strategische und zwischenmenschliche Aspekte im Rahmen der tagtaglichen Arbeit erlautert. Nach dieser eher theoretischen Betrachtung, garniert mit Anekdoten aus der Praxis, fuhrt der Autor den Leser/die Leserin gemeinsam durch das fiktive Filmprojekt Mord in Studio 1"e;. Dabei wird schnell klar, dass es bei der Arbeit als Herstellungsleiter/Herstellungsleiterin um deutlich mehr geht, als um Zahlen: Man muss uber ein kaufmannisch-kunstlerisches Doppelverstandnis verfugen, strategisch denken und dabei neben dem Zahlenwerk vor allem viele weiche Faktoren berucksichtigen. 

Studienarbeit aus dem Jahr 2016 im Fachbereich Medien / Kommunikation - Film und Fernsehen, Note: 1,3, Friedrich-Alexander-Universität Erlangen-Nürnberg, Sprache: Deutsch, Abstract: Die vorliegende Arbeit beschäftigt sich mit einer Form des Betrugs und zwar mit dem unzuverlässigen Erzählen im Film. Im Fokus steht hierbei der Film Gone Girl von David Fincher aus dem Jahre 2014.Unzuverlässiges Erzählen ist eine sehr populäre Art und Weise des filmischen Erzählens, welche in immer mehr Filmen vorkommt, weshalb sie zunehmend an Bedeutung gewinnt. Um einen generellen Einblick darüber zu verschaffen, worum es sich hierbei konkret handelt, soll im Rahmen dieser Arbeit zunächst der Versuch einer Definition des unzuverlässigen Erzählens im Film gegeben werden. Anschließend werden die filmischen Signale behandelt werden, durch welche ein derartiger Film vom Rezipienten als solcher erkannt werden kann. Schließlich setzt sich diese Arbeit zum Ziel, den Film Gone Girl zu analysieren und herauszufinden, inwiefern dieser unzuverlässig ist. Zu diesem Zweck werden die im Film vorkommenden falsifizierten Analepsen, das unzuverlässige voice-over sowie die Thematik der Opferrolle behandelt und näher betrachtet werden.

Studienarbeit aus dem Jahr 2016 im Fachbereich Kunst - Fotografie und Film, Note: 1,0, Universität Koblenz-Landau, Veranstaltung: Bildermenschen/ Menschenbilder: Dokumentarische und künstlerische Annäherungen an die Bestimmung des eigenen Wesens, Sprache: Deutsch, Abstract: Die vorliegende Arbeit beschäftigt sich mit den Werken der inszenierenden Fotografie Jeff Walls. Dabei wird dem Verhältnis von Wirklichkeit und Illusion in Walls Arbeit besondere Aufmerksamkeit gewidmet. Im Zuge der Arbeit soll zum einen auf die entstehungstechnischen Hintergründe von Walls Arbeit eingegangen werden, um deren Bezug und Relevanz für die Vermittlung und Aufdeckung eines tieferen Symbolismus in den Aufnahmen scheinbar trivialer Alltagsszenen aufzuzeigen. Zum anderen soll ebenfalls die Rolle des Rezipienten für Walls Spiel mit dessen Wahrnehmung dargestellt werden.Im Fokus der Arbeit steht dabei, mit welchen Mitteln es Wall in seinen fotografischen Arbeiten gelingt, die Grundstrukturen menschlicher Gesellschaft und deren archetypische Verhaltensmuster darzustellen und nicht zuletzt Kritik an diesen zu üben. Daher muss im Zuge dieser Arbeit auf eine Darstellung Walls früherer konzeptueller und fotojournalistischer Werke verzichtet werden, da es sich bei diesen nicht um Inszenierungen handelt und sie somit für die Beantwortung der Fragestellung nicht relevant sind.

The Student Filmmaker Survival Guide familiarizes readers with the critical concepts and processes involved in the production of a film or television show. The handbook helps budding filmmakers better understand the operations of a film set, develop valuable work habits, and contribute meaningfully to a production. The book begins with a foreword from Stephen Broussard, a producer with Marvel Studios, as well as a preface and introduction by the author. Each chapter features four sections that guide and enhance the student learning experience: Picture is Up!-an introduction to the chapter topic; Rolling!-an overview of the history or background of the subject; Action!-tips for taking action and getting things done; and That's a Wrap!-a conclusion. Individual chapters cover time management, feeding your crew, securing necessary permits, scouting locations, conducting rehearsals, and slating shots. Readers learn the importance of filling out camera and sound reports, getting safety takes, obtaining proper clearances, backing up data, and more. Featuring short, easy-to-read chapters written in a conversational tone, The Student Filmmaker Survival Guide is a practical and essential resource for filmmaking students and novice film professionals.

“The finest filmmaker of my lifetime . . . Bergman was a born spinner of tales.” —Woody AllenIn this new paperback edition, Ingmar Bergman presents an intimate view of his own unique body of work in film. His career spanned forty years and produced more than fifty films, many of which are considered classics: The Seventh Seal, The Virgin Spring, Persona, Smiles of a Summer Night, Wild Strawberries, and Fanny and Alexander, to name but a few. When he began this book, Bergman had not seen most of his movies since he made them. Resorting to scripts and working notebooks, and especially to memory, he comments brilliantly and always cogently on his failures as well as his successes; on the themes that bind his work together; on his concerns, anxieties, and moments of happiness; on the relationship between his life and art.Readers are allowed a glimpse of the inner workings behind his well-known masterpieces: his anxiety and pain as he edited a 312 minute Fanny and Alexander for a three-hour feature film release; his attempt to reconcile the towering figures of his parents with Wild Strawberries. He relates his own starkly honest view of his great triumphs and quiet failures. More clearly than ever before, Images allows us to listen to his “voice of genius” (Woody Allen, New York Times Book Review).

Newly revised and updated, Film Lighting is an indispensible sourcebook for the aspiring and practicing cinematographer, based on extensive interviews with leading cinematographers and gaffers in the film industry.Film lighting is a living, dynamic art influenced by new technologies and the changing styles of leading cinematographers. A combination of state-of-the-art technology and in-depth interviews with industry experts, Film Lighting provides an inside look at how cinematographers and film directors establish the visual concept of the film and use the lighting to create a certain atmosphere.Kris Malkiewicz uses firsthand material from the experts he interviewed while researching this book. Among these are leading cinematographers Dion Beebe, Russell Carpenter, Caleb Deschanel, Robert Elswit, Mauro Fiore, Adam Holender, Janusz Kaminski, Matthew Libatique, Rodrigo Prieto, Harris Savides, Dante Spinotti, and Vilmos Zsigmond. This updated version of Film Lighting fills a growing need in the industry and will be a perennial, invaluable resource.

Robert Evans's The Kid Stays in the Picture is universally recognized as the greatest, most outrageous, most unforgettable show business memoir ever written. The basis of a groundbreaking, award-winning documentary film, it remains the gold standard of Hollywood storytelling.The only actor ever to run a Hollywood studio, Evans emerged from near-obscurity in the mid-1960s to rescue Paramount, one of the great studios of the Golden Age, from near-bankruptcy. A self-confessed "half-assed actor," Evans proved a genius producer and studio chief, drawing on his irresistible combination of instinct, smarts, showmanship, and bravado to take Paramount from the basement to the penthouse with such films as The Odd Couple, Rosemary's Baby, Love Story, The Godfather, and Chinatown. He lived a swashbuckling life, partying with lifetime friends like Jack Nicholson, Warren Beatty, and Dustin Hoffman, consulting with power players like Henry Kissinger, and squiring a host of dazzling women including his wives Ali McGraw, Catherine Oxenberg, and Phyllis George. After a decade of triumph, he lost everything in a spectacular flameout of cocaine and bad business decisions, yet survived it all?and lived to tell the tale.An extraordinary raconteur, Evans spares no one, least of all himself. Filled with starring roles for everyone from Ava Gardner to Marlon Brando to Sharon Stone, The Kid Stays in the Picture is sharp, witty, and self-aggrandizing and self-lacerating in equal measure. This new It Books edition, the first in more than a decade, will feature a new foreword by the author. And simultaneous with this edition will come a first-ever ebook rollout?including both a regular edition and an enhanced ebook with clips from Evans's celebrated, Grammy-nominated audiobook and the famous 2002 documentary.

Die Drehbuchforschung ist ein junges, sich rasch entwickelndes internationales Forschungsfeld. Der Sammelband führt Forschungen aus dem deutschsprachigen Raum zusammen, die sich mit dem Drehbuch als schriftliches Artefakt und als Teil des Produktionsprozesses auseinandersetzen. Neben grundlegenden theoretischen Konzepten der Drehbuchforschung stehen historische und archivbasierte Analysen sowie gegenwartsbezogene Problemstellungen im Vordergrund. Praxisnah finden außerdem Akteure und Abläufe der Drehbuchentwicklung sowie Fragen der Dramaturgie Beachtung. Der Sammelband verschafft somit einen Überblick über die Bandbreite interdisziplinärer Ansätze des Forschungsfeldes und veranschaulicht das Erkenntnispotential der aktuellen Drehbuchforschung.

"With today's proliferation of nine-figure film budgets, filmmaking may seem more out of reach than ever for the average person. In fact, making a movie for next to nothing has never been easier. In Movies Without Baggage, longtime filmmakers Alain Silver, Obren Bokich, and sundry others recount their experiences in the micro-budget arena and detail how 21st-century technology makes it possible to produce high-quality, full-length features for less than $50,000, $25,000, or even $10,000. Through this book's in-the-trenches tales detailing the making of a dozen micro-budget features, all aspects of making movies without baggage are covered: finding/creating the right script, budgeting, casting, deal-making with actors and crew, scheduling, shooting, post-production, and finally marketing and securing distribution. This entertainingly illustrated volume also includes samples of the paperwork from five of the ultra-low-budget films it profiles"--

Lucid Dreaming is an unprecedented global collection of discussions with documentary and experimental filmmakers, giving film and video its rightful place alongside the written word as an essential medium for conveying the most urgent concerns in contemporary arts and politics.In these long-form conversations, film curator and arts journalist Cohn draws out the thinking of some of the most intriguing creators behind the rapidly developing movement of moving-image nonfiction. The collection features individuals from a variety of backgrounds who encounter the world, as Cohn says, "through a creative lens based in documentary practice." Their inspirations encompass queer politics, racism, identity politics, and activism.The featured artists come from a multiplicity of countries and cultures including the U.S., Finland, Serbia, Syria, Kosovo, China, Iran, and Australia. Among those Cohn profiles and converses with are Karim Aïnouz, Khalik Allah, Maja Borg, Ramona Diaz, Samira Elagoz, Sara Fattahi, Dónal Foreman, Ja'Tovia Gary, Ognjen Glavonic, Barbara Hammer, Sky Hopinka, Gürcan Keltek, Adam and Zack Khalil, Khavn, Kaltrina Krasniqi, Roberto Minervini, Terence Nance, Orwa Nyrabia, Chico Pereira, Michael Robinson, J. P. Sniadecki, Brett Story, Deborah Stratman, Maryam Tafakory, Mila Turajlic, Lynette Wallworth, Travis Wilkerson, and Shengze Zhu.Can nonfiction film be defined? How close to reality can or should documentary storytelling be, and is film and video in its less restrictive iterations "truer" than traditional narratives? How can a story be effectively conveyed? As they consider these and many other questions, these passionate, highly articulate filmmakers will inspire not only cinema enthusiasts, but activists and artists of all stripes.

Underneath Jim Piddock's lighthearted, irreverent romp through the worlds of film, television, theatre lie the deeper reflections of an ordinary man who has led an extraordinary life.

Film production veteran Tom Reilly has worked on the sets of critically praised films and commercial blockbusters for more than three decades?including seventeen years alongside director Woody Allen. In The Big Picture, he explores the art and the craft of filmmaking from the vantage point of someone actually running the movie set. Using examples unlike any of those in other books on film, Reilly exposes not only the power and the personalities, but the secrets of the pros. He shares the insights he gleaned while working with more than sixty Oscar-winning professionals?from Al Pacino, Robert De Niro, and Vanessa Redgrave to Sydney Pollack, Sven Nykvist, and Barbra Streisand. In these fifty entertaining, illuminating short essays, Reilly invites you to join him on the film set. What is it like to shoot a love scene? How do you do a full body burn? What is it like to film in the Everglades or in a morgue? What is blocking or matching, and how long should a script be? How do you decide when to build a set? Why is the color palette so critical? Is night shooting worth the suffering? The Big Picture delivers the surprising answers to these and other fascinating questions about what it takes to make a feature film, offering a glimpse into what it's like when the lights are bright, the camera is rolling, and the moviemakers are calling the shots.

A guided tour through the nuanced politics of architectural illusion, »The Vatican to Vegas« takes the reader from lavish Baroque fantasies of the seventeenth century to the Electronic Baroque of today. The >scripted spaces< described by Norman Klein are punctuated with devices widely used in special effects since 1500: shocks, surprise twists, grand fakes and copies. Since its publication 2004, »The Vatican To Vegas« has emerged as a classic across many fields, from media, architecture, to the fine arts and urban planning. Its timing was ironic: Klein assumed in 2004 that the future of scripted illusion was about to radically shift. This new edition brings the ironic story up to the present, and into the digitally overwhelmed >scripted spaces< of the future.

Greenlighting Yourself is chock-full of practical advice about choosing, preparing for, getting your foot in the door of, and succeeding at writing, producing, acting, and directing for film and television. Throughout the book, the author's advice is illustrated with anecdotes about many of his notable friends, such as Ray Bradbury and Guillermo del Toro. The myriad topics it covers include committing yourself to a career, developing sound work habits, being creative, interesting others in your work, finding work, finding an agent, coping with rejection, dealing with the various personalities one inevitably encounters in Hollywood, and giving your career longevity.

Bustle Fashions 1885-1887 contains a wide selection of high-quality women's clothing patterns from the height of the bustle era. This book contains practical patterns for undergarments and nightgowns; wrappers and tea gowns; bodices, skirts, and overskirts; complete ensembles for street and house wear; and outer jackets, coats, dolmans, and cloaks. The patterns are drawn from rare original issues of the magazine The Voice of Fashion and 1885 to 1887 editions of the pattern book The National Garment Cutter. They were used by both amateur and professional dressmakers to make up the mainstream styles of the day, and are very similar to patterns published by Butterick. These patterns are enlarged with apportioning scales, printed versions of which are provided in this book, along with step-by-step instructions. Apportioning scales are special rulers that enable you to draft custom sizes, from queen size to doll size, without doing arithmetic. Most patterns in this book are accompanied by supplementary illustrations with detailed descriptions, drawn from Butterick's Delineator magazine. Each supplement shows optional style variations that can be produced by using flat pattern alteration techniques, or merely by substituting a garment section from a different pattern in this book or draping an overskirt pattern differently. The descriptions include information on construction and fabrics. Edited selections from fashion columns in The Delineator, Harper's Bazar, and other publications add information on style trends. Also drawn from The Delineator are instructions and illustrations for 208 trimmings and 91 accessories. In addition, a substantial chapter on dressmaking, assembled from articles in Godey's Lady's Book, gives detailed information on making garments for the second half of the 1880s. The book's glossary explains period fabric names and dressmaking terms.

Studienarbeit aus dem Jahr 2014 im Fachbereich Medien / Kommunikation - Film und Fernsehen, Note: 1,3, Europa-Universität Viadrina Frankfurt (Oder), Veranstaltung: Filmsynchronisation, Sprache: Deutsch, Abstract: "Yippie Yah Yeah Schweinebacke" gehört wohl zu den berühmtesten Sätzen in der Geschichte der Filmsynchronisation. Diese Alternative für den originalen Satz "Yippie Yah Yeah Motherfucker" grenzt an Absurdität, da das Wort "Schweinebacke" in keiner Weise zum fiesen Charakter von John McClane (gespielt von Bruce Willis) passt.Diese Arbeit untersucht solche Stilpannen in Bezug auf die Frage "Wie wörtlich muss, wie frei darf Synchronisation sein?". Ziel ist es, die verschiedenen Arten von Stilbrüchen anhand von Beispielen darzustellen und mögliche Gründe zu erläutern, wie es zu diesen Synchronisationsfehlern kommt.

Purgatory Pictures have made a number of profitable feature films now, all for less than £5,000. Within this book, one of the driving forces behind Purgatory Pictures shares all the tips and tricks you need to be able to do the same for yourself. Sometimes it's less about making the biggest film possible but - instead - just getting a film made and, better yet, without landing yourself in mountains of debt! Perfect reading material for independent filmmakers looking to break into the film industry.