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Archive for October, 2013

Sabrina_1954_film_posterToday there was an elegantly designed Google Doodle about one of the most celebrated costume designers in moviemaking history: Edith Head.  Here is an article from the Christian Science Monitor that features an excellent embedded video in which Edith Head discusses her work with Audrey Hepburn, one of the most stylish actresses of Hollywood history.  Edith Head’s story provides intensely interesting insights into the workings of the studio system — in her case, it was primarily at Paramount Studios (including numerous Hitchcock pictures).  In fact, to check out her work at Paramount, I would recommend to go right to one example of a black and white movie and another in color.  For B&W, check out the delightful Sabrina, directed by Billy Wilder and starring Hepburn, Humprey Bogart, and William Holden, and in color, the s’wonderful Funny Face, directed by Stanley Donen and starring Hepburn and Fred Astaire.

It should also be noted that Edith Head was certainly one of the inspirations for the unforgettable Edna Mode from The Incredibles, directed by Brad Bird (and who also voiced Ms. Mode).  She is quite an appropriate character all about design in a movie that is so seamlessly designed while brimming with the energy and spontaneity of the best creations that Hollywood craftspeople labor to bring to life.

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Annual13At this year’s National Council of Teachers of English annual convention in Boston, I will be taking part in a panel presentation and discussion with media literacy scholars Frank Baker (Media Literacy in the K-12 Classroom) and William Kist (The Global School and The Socially Networked Classroom: Teaching in the New Media Age).  The session on Saturday, November 23 is titled Film: A 21st Century Common Core Literacy, and in it we will be engaging participants in an investigation that places media literacy in the context of core 21st century literacy.  Film has been integrated into the English classroom over the last century, and this session builds on that work; including multiple lesson ideas and examples that situate motion picture communications squarely in the center of what it means to be an effective reader and writer within a screen-based society.  

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Cuarón (left) and Lubezki (center) working with digital techniques on Gravity set

Cuarón (left) and Lubezki (center) working with digital techniques on Gravity set

In an earlier post, I highlighted the work of cinematographer Emmanuel Lubezki and director Alfonso Cuarón, featured artists in Moving Images, whose collaboration has generated many of the most powerful and provocative movies of recent decades.  Their current film, Gravity, is sure to offer strong opportunities for studies of the art of moviemaking, as it weaves together technology, visual communication, storytelling, and the artistry of directing, acting, sound design, and many other departments to craft its narrative and build its thematic and emotional resonance.  A number of thorough and insightful pieces on this movie and Cuarón’s career have appeared in recent weeks.  I highly recommend this article from the Directors Guild of America.  In addition, if you have not visited the DGA site, you will find that it is an unequaled resource, particularly for its extensive interviews with dozens of directors.  Also, New York Magazine published a superb piece by Dan P. Lee – The Camera’s Cusp: Alfonso Cuarón Takes Filmmaking to a New Extreme with Gravity in its September 22 issue.    

George Clooney, Sandra Bullock, and Alfonso Cuarón making Gravity

George Clooney, Sandra Bullock, and Alfonso Cuarón making Gravity

For an initial investigation into some of the science in Gravity, here is a video in which Cuarón and space.com’s @DavidSkyBrody discuss scientific aspects of the creation of this movie.

It is my plan to return to this post with more links to lessons associated with this movie or material that emerges once it is released.  Stay tuned.  And maybe I’ll see you at the movies on the day of its release.

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