#Francis Wilson Photography

[mscoyditch]

"The onset of Winter".

Castleton. Derbyshire. England.

Photo by Francis Wilson Photography.

[ulkaralakbarova]

Veteran catcher Crash Davis is brought to the minor league Durham Bulls to help their up and coming pitching prospect, “Nuke” Laloosh. Their relationship gets off to a rocky start and is further complicated when baseball groupie Annie Savoy sets her sights on the two men. Credits: TheMovieDb. Film Cast: Crash Davis: Kevin Costner Annie Savoy: Susan Sarandon Ebby Calvin ‘Nuke’ LaLoosh: Tim Robbins Skip: Trey Wilson Larry: Robert Wuhl Jimmy: William O’Leary Bobby: David Neidorf Deke: Danny Gans Tony: Tom Silardi Millie: Jenny Robertson Jose: Rick Marzan Nuke’s Father: George Buck Mickey: Lloyd T. Williams Self: Max Patkin Doc: Gregory Avellone Teddy (Radio Announcer): Garland Bunting Whitey: Robert Dickman Ed: Timothy Kirk Scared Batter: Don Davis Umpire: Stephen Ware Bat Boy: Tobi Eshelman Mayor: C.K. Bibby Sandy: Henry G. Sanders Ballpark Announcer: Antoinette Forsyth Cocktail Waitress: Shirley Anne Ritter Minister: Pete Bock Chu Chu: Alan Mejia Core Baseball Player: Sid Aikens Core Baseball Player: Craig Brown Core Baseball Player: Wes Currin Core Baseball Player: Butch Davis Core Baseball Player: Paul Devlin Core Baseball Player: Jeff Greene Core Baseball Player: Kelly Heath Core Baseball Player: Mo Johnson Core Baseball Player: Tim Kirk Core Baseball Player: Todd Kopeznski Core Baseball Player: John Lovingood Core Baseball Player: Eddie Matthews Core Baseball Player: Alan Paternoster Core Baseball Player: Bill Robinson Core Baseball Player: Dean Robinson Core Baseball Player: Tom Schultz Core Baseball Player: Sam Veraldi Core Baseball Player: ElChico Williams Film Crew: Editor: Adam Weiss Producer: Thom Mount Set Decoration: Kris Boxell Writer: Ron Shelton Executive Producer: David V. Lester Editor: Robert Leighton Original Music Composer: Michael Convertino Costume Design: Louise Frogley Producer: Mark Burg Casting: Bonnie Timmermann Production Design: Armin Ganz Art Direction: David Lubin Director of Photography: Bobby Byrne Stunt Coordinator: Webster Whinery Construction Coordinator: Jim Hill Makeup Artist: Cynthia Barr Music Supervisor: Danny Bramson Sound Re-Recording Mixer: Bob Minkler Sound Recordist: Steven B. Cohen Script Supervisor: Karen Golden Camera Operator: Richard Craig Meinardus Foley Artist: Paul Holzborn Sound Re-Recording Mixer: Robert Thirlwell First Assistant Camera: Robert Allan Guernsey Additional Photography: Charles Minsky Gaffer: John Ferguson Supervising Sound Editor: Larry Kemp Camera Operator: Eric Engler Sound Recordist: Larry Boudry Still Photographer: Joel David Warren Sound Re-Recording Mixer: Robert W. Glass Jr. Hairstylist: Leslie Ann Anderson Costume Supervisor: Deborah Latham Scenic Artist: John A. Kelly Music Editor: Ellen Segal Supervising Sound Editor: Lon Bender Title Designer: Dan Perri Poem: Walt Whitman Associate Producer: Charles Hirschhorn First Assistant Director: Ric Kidney Second Assistant Director: Nina K. Noble Key Dresser: Dwain Wilson Set Dresser: Polar Bear Shaw Set Dresser: Kim McClees Set Dresser: Robert Beck Set Dresser: Ron Servicky Second Assistant Camera: Perry Adleman Costumer: Alonzo Wilson Costumer: Robin Hill Seamstress: Selma F. Hill Assistant Makeup Artist: Doreen Van Tyne Assistant Editor: Steven Nevius Assistant Editor: Margaret Goodspeed Assistant Editor: Celeste Beard Production Coordinator: Janice F. Sperling Second Second Assistant Director: Donald J. Lee Jr. Sound Mixer: Kirk Francis Boom Operator: Mychal D. Smith Special Effects Technician: Vern Hyde Special Effects Technician: Jeff Hyde Local Casting: Karen Standard Sound Recordist: Michael Boudry Sound Editor: Neal Burger Sound Editor: Kevin Hearst Sound Editor: Lou Kleinman Sound Editor: Dan M. Rich Sound Editor: Jeff Watts Sound Editor: Lorna Anderson Sound Editor: Wylie Stateman ADR Supervisor: Devon Heffley Curry ADR Editor: Stan Gilbert ADR Editor: Frank Smathers Assistant Sound Editor: William Dotson Assistant Sound Editor: Scott Warner Foley Recordist: David W. Alstadter Foley Recordist: Steve Cohen ADR Mixer: Alan Holly Foley Mixer: Richard L. Morrison Foley Mixer:...

[accesaucinemainvisible]

THE KEEP - LA FORTERESSE NOIRE, le film fantastique maudit de Michael Mann en projection gratuite en haute définition.

Le mercredi 19 juin à Pol-n, nous vous proposerons The Keep (connu en France sous le nom de La forteresse noire), le film fantastique maudit de Michael Mann, jamais réédité en vidéo depuis sa sortie au début des années 1980.

Le futur réalisateur du Dernier des Mohicans, de Heat et de Deux flics à Miami, est alors jeune et son premier long-métrage (Thief - Le solitaire, un film de cambriolage sorti en 1981) eut un joli succès critique. La Paramount va donc le contacter pour piloter l’adaptation de l’étrange roman d’horreur fantastique de Francis Paul Wilson, The Keep (titré Le donjon dans sa première publication française), roman qui narre la confrontation entre des unités nazies et un golem piégé dans une forteresse antédiluvienne en Europe de l’Est en 1943.

Marqué par l’histoire de son père, un vétéran de la Seconde Guerre Mondiale fils d’immigrés juifs ukrainiens, Mann souhaite utiliser cette intrigue comme support d’un grand conte philosophique sur la nature du Mal, avec une approche stylistique inspirée de l’expressionnisme allemand.

The Keep arbore une distribution internationale et exceptionnelle vu d’aujourd’hui : Ian McKellen (vingt ans avant son rôle de Gandalf dans Le seigneur des anneaux), Gabriel Byrne (Usual Suspects), Alberta Watson (Nikita), Jurgën Prochnow (Das Boot - Le bateau) ou encore Scott Glenn (L’étoffe des héros). Tapissé par l’électro du groupe allemand Tangerine Dream, le film, dont le design de la créature est signé Enki Bilal, bénéficie également de l’expertise aux effets spéciaux et maquillages de Nick Maley (Star Wars,Superman), des effets visuels de Wally Veevers (The Rocky Horror Picture Show, 2001 l’Odyssée de l’espace) ainsi que de la photographie féérique d’Alex Thomson (Excalibur, Labyrinthe et Legend).

Mais malgré son équipe en or massif, les catastrophes s’accumulent : Le décor construit au Pays de Galles est détruit par des intempéries, causant des retards aggravant les tensions entre Mann et la Paramount, et Wally Veevers, le superviseur des effets visuels, décède au début de la post-production, emportant dans la tombe ses secrets de prestidigitation alors qu’il reste 260 plans à truquer.

La première version du film que propose Mann dure 3h30, et est en adéquation avec sa vision fantastique, horrifique, romantique et épique. Cependant la Paramount, qui n’a pas payé pour distribuer Autant en emporte le vent, n’est pas de cet avis et ordonne de raccourcir le film. Mann s’exécute, mais la nouvelle version de 2h ne convainc toujours pas le studio qui décide de raccourcir encore. Cette fois, Mann quitte dégoûté la production, et c’est au reste de l’équipe que revient la tâche, à grand renfort d’ellipses, de tout condenser en 1h36, donnant l’impression de parcourir un songe aux airs de cadavre exquis.

Première et dernière incursion dans le genre fantastique de Michael Mann à ce jour, The Keep est un échec commercial et divise la critique lors de sa sortie en 1983. Edité par la suite en VHS puis en Laserdisc avant de gagner le statut d’énigmatique film culte au fil des ans, il n’a pourtant depuis jamais été réédité ni en DVD, ni en Blu-ray, et n’est disponible nulle part en haute définition (la plupart des plateformes VOD l’ayant à leur catalogue ne proposant que des versions issues des copies vidéo).

Accès au cinéma invisible vous proposera, le 19 juin prochain à Pol-n, de découvrir gratuitement ce film torturé et fascinant dans une version numérique en haute définition issue d’une copie 35mm. La séance sera précédée à 21h d’un quiz cinéma.

Séance prévue à Pol-n (11 rue des Olivettes) le mercredi 19 juin à 21h45.

Début des quiz à 21h.

Prix d’entrée libre. Séance gratuite et ouverte à toutes et tous.

[abcnewspr]

CYNTHIA NIXON, WANDA SYKES, MATTHEW BRODERICK AND DERMOT MULRONEY JOIN THE CONVERSATION ON AMERICA’S MOST-WATCHED DAYTIME TALK SHOW, ‘THE VIEW,’ JUNE 19-23

‘The View’ Celebrates Juneteenth With Keke Palmer, Melba Wilson, CeCe Peniston, Robin S. and Deborah Cox, June 19

The Political View With 2024 Republican Presidential Candidate Miami Mayor Francis Suarez, June 23

ABC/Jeff Lipsky*

Called “the most important political TV show in America” by The New York Times, “The View” is a priority destination for our guests and must-see viewing for our loyal fans with up-to-the-minute Hot Topics and invaluable conversations with live broadcasts five days a week. The Daytime Emmy® Award-winning talk show concluded season 25 as the most-watched daytime talk show, ranking No. 1 in Households and Total Viewers among the daytime network and syndicated talk shows and news programs for the second consecutive year. “The View” is executive produced by Brian Teta and is directed by Sarah de la O. For breaking news and updated videos, follow “The View” (@theview) and Whoopi Goldberg (@whoopigoldberg), Joy Behar (@joyvbehar), Sunny Hostin (@sunny), Sara Haines (@sarahaines), Alyssa Farah Griffin (@alyssafarah) and Ana Navarro (@ananavarro) on Twitter.

Scheduled guests for the week of June 19-23 are as follows (subject to change):

Monday, June 19 — “The View” celebrates Juneteenth; Keke Palmer (KeyTV; “Big Boss”); Melba Wilson; performance from CeCe Peniston, Robin S. and Deborah Cox

Tuesday, June 20 — Cynthia Nixon (“And Just Like That”)

Wednesday, June 21 — Matthew Broderick (“No Hard Feelings”)

Thursday, June 22 — Wanda Sykes (‘Wanda Sykes: I’m an Entertainer”); Co-hosts Favorite Things Under $50: Summer Edition

Friday, June 23 — The Political View with 2024 Republican presidential candidate Miami Mayor Francis Suarez (R-FL); Dermot Mulroney (“Marvel’s Secret Invasion”)

COPYRIGHT ©2023 American Broadcasting Companies, Inc. All photography is copyrighted material and is for editorial use only. Images are not to be archived, altered, duplicated, resold, retransmitted or used for any other purposes without written permission of ABC. Images are distributed to the press in order to publicize current programming. Any other usage must be licensed. 

Follow “The View” (#theview) on Instagram, Twitter and Facebook.

“The View” is now available on a podcast. Listen to the full show for free on Apple Podcasts or on your favorite podcast app every weekday afternoon. 

“The View” can be streamed on ABC News Live weekdays at 5 p.m. EDT.

For more information, follow ABC News PR on Facebook, Twitter and Instagram.

[lesterplatt]

Pennies From Heaven from Sandy Honig on Vimeo.

special jury award, SXSW 2023 directed by Sandy Honig written by Sandy Honig, Annabel Meschke, and Sabina Meschke starring Annabel Meschke and Sabina Meschke produced by Jake Honig executive producers Ashok Kondabolu, Ajay Mehta, and James Rodenhouse

director of photography: Ben Mullen production designer: Phillip Steiger editor: Jonathan Kramer costume designer: Tory Simons sound mixer: Justin Fox original score: Steve Pardo

robbers/male twins: Tyler & Tevin Bailey waitress: Bernadette Pérez dust bowl father: Gilbert Reynoso dust bowl mother: Jo Scott dust bowl sons: Coleman & Guy Scott twin lounge patrons: Ava & Loretta Minett, Cathy & Airialle Le, Lynn & Ermila Carlin, Chrystal & Chrystian Brooks, Darius & Cyrus Kay

1st AC: Felipe Larrondo 2nd AC: Darrell Ham & Jake Dugger gaffer: Ryan Oppedisano key grip: Bevis Tran best boy electric: Kane Katubig best boy grip: Daniel Kang

on set dresser: Cait Wilson shopper: Andy Casillas graphics: Alyssa Stonoha assistant costume designer Alyssa Stonoha

production manager: Jack Forbes 1st AD: Jesse Hays production assistants: Miguel Orozco, Dariana Buchatska, Joel Dishman, Sarah Handler, Joey Rosenberg hair: Theresa Reish, Emily Mefford makeup: Megan Williams choreography consultant: Andrea Brixius assistant editor: Ashley Sengstaken colorist: Andrew Francis sound design: Bobb Barito main title design: Peter Smith special thanks: Alex Plapinger, Haley Rawson, Mitra Jouhari, Kate Banford, Ben Gauthier, Zoe Rosenberg, Rod's Grill, River's End RV Park, The Overpass, Anthony Giancola, Darwin Vanko, Char Bessette Produced by God's Children & Seventh Floor Films

[filmsposts]

"The only thing more dangerous than a person that can't get what they want... is a person that gets whatever they want."

The Room (2019) dir. Christian Volckman.

[lsmithart]

Huma’s ‘Making Meaning’ Lecture 19/11/20

Sometimes Making Something Leads to Nothing

By Francis Alys https://vimeo.com/130838361

Labour:

Ai Wei Wei ‘Sunflower Seeds’ - hand painted, fired and glazed porcelain sunflower seeds that filled the Tate’s turbine hall. Symbolic of the mass production reminiscent of China. Gave 1600 Chinese people jobs to create and paint the seeds. “The intensity of labour that the world doesn’t see”. Excess and excruciating labour. Each seed was different from the other, symbolic of the human population. Embedded meanings which add complication. The seeds started to emit dust from people walking over them which caused a health and safety issue. Reminiscent of the pollution caused within mass production.

‘I Am Not Your Negro’ film - nothing can be changed until it is faced.

The work is released into the world and it no longer belongs to the artist.

Xu Bing ‘1st Class’ - rug-style sculpture made from cigarettes. Made on carpet. ‘Light as Smoke’ tobacco block which was lit. ’Travelling Down the River’, ‘Match Flower’ (2011)

Santiago Sierra

Francis Alys - Exodus (2014-2018) - Futility of repeating action

Power / Gender:

Janine Antoni ‘Loving Care’ 1993. Abstract expressionism was very male centred. Used the same gestures that they used in a domestic way (by mopping the floor with her hair). Shifting vulnerability and power.

Mona Hatoum ‘Mat’ (1995). Welcome mat made from pins. ‘No Way (Sin Salida)’ (1996). A refusal to do what you are asked to do. Altering objects to change their functions to something unusable. ‘Keffieh’ (1993-9) copies the design of the headdress that Arab men typically wear and weaves it with women’s hair.

Adeela Suleman - creates headdresses from crockery and objects.

History / Borders:

Fred Wilson ‘Cabinetmaking’ (1820-1960). Narrative of an action that has taken place in history. ‘Metalwork’ (1793-1880). ‘Mining the Museum’ (1992-93). ‘Guarded View’ (1991). Juxtaposition of objects, understanding the context of the place in which the objects are housed. He then chooses certain ones in order to create a narrative exhibition from the collection in order to tell a story from within history and the museum.

Kara Walker: Fountain that she made for the Tate. Best known for doing paper silhouettes. ‘A Subtlety or the Marvellous Sugar Baby’ - symbolic of slave labour and the sexualisation of the black woman’s body. https://www.nybooks.com/articles/2020/02/27/kara-walker-what-do-we-want-history-to-do-to-us

Bani Abidi ‘Memorial to Lost Words’ (2017) - Letter written to a soldier translated into poetry and then made into songs and played in an abandoned parliamentary space. Multiple iterations of the work that means something else each time depending on what language it is in. Bani Abidi Memorial to Lost Words

https://vimeo.com/202765092

Khalid Jarrar ‘Football’ (2012) - A concrete football made from scraping the wall that encloses Palestine. Where the material comes from is really important.

Marina Hashmi ‘Dividing Line’ (2001)

Emily Jacir and Anton Sinkewich ‘Untitled’ (2003) - squeezed books between two walls all about Palestinian history.

Fiction / Documentary or the Unreliable Narrator:

Francis Alys ‘The Loop’ (1997); ‘When Faith Moves Mountains’

Basir Mahmood ‘Practicing Procedures of Killing’ (2016) - actors acted out how they thought Osama Bin Laden died.

Thomas Demand ‘Room’ (1994) - Recreated the 1944 assassination attempt of Hitler, questioning public and private memory. Blurring the boundaries of sculpture and photography. ‘Kitchen’ (2004) - Recreates the hideout of Saddam Hussein before his capture in 2003. Recreates images from the media. ‘Archive’

Walid Raad

[aion-rsa]

How The Haunting of Bly Manor Pays Tribute to 1961’s The Innocents

https://ift.tt/3iQv1Tn

The first day at work for The Haunting of Bly Manor’s writers started with a field trip. Mike Flanagan’s team went out to the Amblin Entertainment screening room to watch a movie. “We did the same thing in [The Haunting of Hill House] with Robert Wise’s The Haunting,” Flanagan tells Den of Geek and other press outlets. “It’s a great way to start … to put up a really beautifully realized adaptation of the same source material, and to start talking to the writers about the things that I love about it and hear the things they love about it.” 

For Bly Manor, the version of the same source material chosen was Jack Clayton’s The Innocents, released in 1961 and starring Deborah Kerr. It’s a film that Flanagan wanted to celebrate in his own adaptation of Henry James’ The Turn of the Screw. 

“It’s a movie, I think, that isn’t talked about for whatever reason,” says Flanagan. “It doesn’t come up as often as The Haunting does. Though it employs a lot of the same technique and came out two years prior. So, it’s one of those films that cinephiles love and horror fans love, but a lot of people don’t know it. We were actively always looking for ways to tip our hat to it.”

And they found plenty. Though The Innocents cleaves more closely to The Turn of the Screw than Flanagan’s version does (the Netflix series is a mini anthology of James’ work, blending two of the writer’s other stories in with the events of the novella), the 1961 film invented several elements that reappeared in Flanagan’s series. The first is its ‘O Willow Waly’ song motif. The Innocents memorably starts with an entirely dark screen as a child’s voice sings Paul Dehn’s lyrics to a melody by composer George Auric:

We lay my love and I beneath the weeping willow. But now alone I lie and weep beside the tree.

‘O Willow Waly’ does not feature in The Turn of the Screw and was composed for the 1961 film where it’s heard several times: hummed by young Flora (Pamela Franklin), played on the piano by Miles (Martin Stephens), and as the tune to which a toy ballerina dances inside a musical jewellery box. As a tribute to The Innocents, the Netflix series borrows the same motif. Its opening lines are recited as a poem by the narrator in the very first scene, it’s sung and hummed by Flora a number of times – including when she’s playing hide-and-seek in the attic in the company of one of the faceless ghosts – and is once again the tune to which the toy ballerina dances in Miss Jessel’s jewellery box. That jewellery box (see below), and the photograph of Peter Quint discovered inside it, is another invention of The Innocents borrowed for the Netflix show.

A major tribute comes in the name of Victoria Pedretti’s Bly Manor character. In James’ original novella, the young woman who takes the position at Bly is known only as ‘the Governess’. In The Innocents, the governess character played by Deborah Kerr is called Miss Giddens. And in The Haunting of Bly Manor, she’s Danielle Clayton – her surname a nod to the 1961 film’s director, Jack Clayton.

Flanagan tells press that the hat-tips were meant to go further than character names; he also wanted members of The Innocents cast to cameo in Bly Manor. It’s a trick the team pulled off in The Haunting of Hill House, when actor Russ Tamblyn (who played Luke Sanderson in 1963 film The Haunting) was hired to cameo as Nell Crain’s psychologist Dr Montague. 

“We didn’t have the benefit of being able to bring Russ Tamblyn in this time, but we went looking. We went looking for anyone on the cast that we could find from The Innocents to see if we could get them back.” Were they successful? Child actors Pamela Franklin and Mark Stephens appear to be the film’s only two surviving castmembers, the former now running a family-owned bookshop on Sunset Boulevard and the latter now a UK-based architect with his own Ted Talk. If you spot either of them in Bly Manor, be sure to let us know.

Read more

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The Haunting of Bly Manor: The Poignant Tale of Hannah Grose

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The Haunting of Bly Manor: Mike Flanagan Discusses Standout Eighth Episode

By Alec Bojalad

Castmembers notwithstanding, there are countless echoes of The Innocents across the Netflix show’s nine episodes. In the novella, the Governess is driven by coach to Bly’s front door, where she’s greeted by housekeeper Mrs Grose holding Flora’s hand. In The Innocents and Bly Manor, she asks the driver to stop early and let her walk the remainder of the way to the house, letting her drink in the paradisiacal grounds and stumble upon Flora playing by the lake. There are other shared links that don’t appear in the original story: The statue garden, Flora’s bath on Dani/Miss Giddens’ first night at Bly, the game of hide-and-seek, the children’s dress-up and ‘story time’ performance, Miles choking Dani/Miss Giddens, Miles killing a dove… (in The Innocents, he kills one of the birds he feeds on the tower and hides its under his pillow; in The Haunting of Bly Manor, he breaks the neck of his teacher’s classroom pet dove). And while it’s never confirmed how Miss Jessel died in The Turning of the Screw, the Netflix series adopts The Innocents’ explanation that she drowned in the house’s lake, following the death of her lover Peter Quint (the circumstances of which are quite different in the Netflix show). 

The design of the Netflix series also takes inspiration from The Innocents. In The Turn of the Screw, the Governess first sees the ghost of her predecessor Miss Jessel across the lake when she’s sitting on a bench, sewing, with Flora playing nearby. In the 1961 film, Miss Giddens is sitting in a lakeside Gothic folly when she sees the apparition, and a very similar Gothic folly appears in the Netflix series. 

The influence doesn’t stop at sets, props and plot points. The style of filmmaking is carried over from the film to the TV series. The Innocents’ director of photography Freddie Francis made clever use of the sides of the frame to show glimpses of the film’s ghosts. Francis used specially made lenses to blur the edge of shot, in some cases painting directly onto the lens to create a foggy effect with a channel of light in the centre. In this interview, Bly Manor cinematographer James Kniest tells Den of Geek he aimed for the same effect with the ghosts in the series. “They were always meant to be very subtle and not on the nose,” Kniest says. “And that was probably some of our biggest conversations, how bright to light the ghosts in the background and then how to deal with them in post. Sometimes they’re in reflections. Look in the dark corners.”

There are major differences too, of course. With almost nine hours of story versus The Innocents‘ 90 minutes, Bly Manor delves much deeper into Dani’s backstory, and fleshes out the barely mentioned characters of the Manor’s gardener and cook. While the ending of The Innocents is faithful to the final lines of the James story, Bly Manor goes in an altogether different direction. 

The chief difference though, is Bly Manor’s unambiguous stance on the haunting. There’s no question in the series that the ghosts are real, but Clayton’s film dances beautifully around the ambiguity that Flora and Miles’ possession might only be happening inside Miss Giddens’ head. Revisit the moments in the film in which Miss Giddens sees Quint and Jessell, and almost every time, we first see her face reacting before we see the ghost itself – a suggestion that they only exist in her imagination. Director Jack Clayton was intrigued by the argument made by literary critic Edmund Wilson in his now-famous 1934 essay ‘The Ambiguity of Henry James’ that the original story is not a ghostly tale at all, but a Freudian fantasy in which a frustrated governess projects her repressed sexuality onto the lurid story of two children possessed by lustful adults. According to film historian Sir Christopher Frayling, when Deborah Kerr asked her director if the hauntings were all in Miss Giddens’ head, she was told to make up her own mind.

The Innocents was not adapted directly from James’ novella, but instead from a 1950 stage play by William Archibald that shares the film’s title. Jack Clayton worked with Archibald on the screenplay, and then brought in the successive help of playwrights and screenwriters John Mortimer, Harold Pinter and Truman Capote (with whom Clayton had worked on 1953 John Huston movie Beat the Devil) to fine tune the screenplay. It was Capote who gave the script its Southern Gothic and Freudian elements, says Sir Christopher Frayling in this video essay. The spider eating a butterfly (like the one Miles tries to scare Miss Clayton with in episode one of the Netflix show), the beetle crawling from the mouth of a statue … Capote’s preoccupation in the script, says Frayling, was to reveal “the skull beneath the skin.” 

The result is both disturbing and beautiful. Clayton’s film is drenched in a Victorian horror of Peter Quint and Miss Jessel’s sexuality, and doesn’t shy from the novella’s unsettling hints towards the sexual dynamic between the adult Miss Giddens and the child-possessed-by-an-adult Miles. It’s a captivating, intense treatment of a story James himself described as a plaything, or an “amusette to catch those not easily caught”. French New Wave filmmaker Francois Truffaut was a fan, and according to one anecdote, praised The Innocents to its director as the greatest English film since Alfred Hitchcock’s 1938 The Lady Vanishes. 

As remarked by Frayling, Clayton coincidentally appears to pay tribute to Hitchcock in The Innocents, visually quoting from 1958’s Vertigo in his shot of the winding staircase leading up to the house’s haunted tower (see below). He also included a nod to Orson Welles’ Citizen Kane in the shot of Miss Giddens leaning over a jigsaw, swamped by the vast stately house, and saluted Jean Cocteau’s 1946 La Belle et la Bête in the house’s ghostly, billowing curtains. Tributes all to the work of filmmakers Clayton admired. 

Left: Vertigo (Hitchcock, 1958) Right: The Innocents (Clayton, 1961)

And so the game continues, with Bly Manor saluting Clayton’s work in turn. It’s a secret language, says Mike Flanagan. “One of the coolest things about being people who love movies is that we get to share that with each other, and there’s these little unspoken secret languages we develop just being fans of the same thing. … We’ve created telepathy, just based on our own shared love of something.”

“That to me is what an Easter egg is. It’s the opposite of a dog whistle. It’s a quiet and secret communication that’s meant to just awaken just a little moment of joy in people who see the same thing you see and like the same thing you like, and to invite other people into it.”

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The Haunting of Bly Manor is streaming now on Netflix.

The post How The Haunting of Bly Manor Pays Tribute to 1961’s The Innocents appeared first on Den of Geek.

from Den of Geek https://ift.tt/358tljB

[myhouseidea]

Thunderbird Heights Residence is a project designed by Stuart Silk Architects and is located in Rancho Mirage, California. Originally built in the 1960s, the challenge for this project was how to update a mid-century modern house without sacrificing its charm. Situated on a 1.3-acre site perched on a plateau above Coachella Valley, the rugged, inhospitable Santa Rosa Mountains rise immediately from the back yard; bighorn sheep can often be seen wandering on the rocks above. The 6,357-square-foot house sits roughly in the middle of the property; entry is off the driveway and through a private courtyard. Photography by David Papazian

.

The client’s goals were to create an open and light filled home that maximized views of the Coachella Valley below and the Santa Rosa mountains to the south and west. They also wanted to create a fluid connection between the primary indoor rooms and the outdoor terraces both for entertaining and for casual outdoor living with their young children.

“The horizontality of this one-story, flat roof home provides an elegant response to the site and a counterpoint to the drama of the surrounded Santa Rosa mountains,” notes architect Stuart Silk. By further integrating the house with its desert context, this home has captured a sense of place by making the best possible use of light and landscape. Its rich palette of materials and textures banishes any feeling of austerity, and awakens the senses to provide a wonderful living experience. “The concept was to contrast the rocky terrain by keeping the materials bright and crisp while also complimenting the desert palette by maintaining warmth and human scale,” notes architect David Marchetti.

The original design was closed-in and compartmentalized, and though the house was remodeled in the 1980s, it suffered from deferred maintenance. This new remodel eventually encompassed 90% of the existing house, including reconfiguring the entire floor plan and the exterior elevations. Portions of the existing foundation and roof structure were repurposed. New brick walls, delicate cruciform-shaped columns, and steel trellises were introduced, as well as large roof overhangs to limit exposure to the harsh sun. “Walls of floor-to-ceiling glass provide intimate views of the dramatic desert surroundings. The glass extends each room, blurring the line between interior and exterior—the experience is one of living in nature,” notes Silk. Among the most significant changes was opening the living room and kitchen to two, open-air terraces, and adding a generous pantry and combined mud/laundry room. Several bedrooms were also added to accommodate the growing family (for a total of five bedrooms). The master bedroom was re-envisioned to open out to a private garden featuring a statue of St. Francis. The master bathroom has its own private outdoor shower that is accessible from the main shower. The swimming pool, previously located in the courtyard, has been relocated and paired with a spa in the spacious rear yard at the base of the rising mountains.

Inside, the design departs from the typical monochromatic color schemes of many mid-century homes by introducing unique design elements, rich textures, and bold colors. These elements include the custom designed decorative metal screens at the front gate and entry hall, the custom-designed cruciform-shaped columns, the white terrazzo floor, a bright yellow wall of tile in the kitchen, and the custom-designed aqua blue front door. The bedroom wing is accessed via a corridor lined with white brick, which functions as a gallery for the client’s art collection. The opposite glass wall allows the art to be seen prominently from the adjoining courtyard. Other surprising ideas are evident in the treatment of the kitchen backsplash and bathroom showers. Furnishings reinforce this feeling of delight and complement the architecture. The floor is white terrazzo with amber accents to pick up the warmth of the earth tones found in the landscape.

Stuart Silk Architects team Stuart Silk, David Marchetti, Brittney Wilson-Davis

Project team Stuart Silk Architects (architecture) Maison Inc. (interior design) RA Structural Engineer (structural engineering) Anne Attinger (landscape architecture) West Coast Builders (contractor)

Thunderbird Heights Residence by Stuart Silk Architects Thunderbird Heights Residence is a project designed by Stuart Silk Architects and is located in Rancho Mirage, California.

[ml2338]

Ksenia Pavlenko

Ksenia Pavlenko, a Russian woman who immigrated to Queens, New York in the United States, influenced her research by applying her historical past experiences and her geographical self identity.

In her lecture, Pavlenko introduced to us daguerrotypes of several artists: Alexander Wilson, Nicephore Niepce, and Edward Curtis, where she explains how these daguerrotypes can be manipulated in order to control the stereotypical views of different categories of people. An example of a daguerrotypes Pavlenko presented to us would be “From Type to Composite Portrait” by Francis Galton which has a strong link to the podcast: “Skull and Skin” because they both they put an emphasis on people’s physical appearances, the only slight difference is Galton focuses on their facial measurements whereas the podcast prioritizes any physical characteristics. Both research are done in order to anticipate how well individuals are integrated into society when they are always being categorized and labelled. Pavlenko made us aware of that this is a serious issue that needs raising awareness.

Russia’s photography background and culture plays a big influence on Pavlenko’s research on the conventional eastern Russian and slavic culture. She made a comparison between two photos: one of Andrei Karelin and one of Ivan Raoult. She indicates that although they are portrayed with a religious minority look, but they’re looks are different. The way theses people are portrayed in the photos are different as their expressions, composition, postures are all staged

In terms of the bigger picture, Pavlenko has made me ponder over I interpret and look at things presented to me, whether they are in the form of pictures, art, news articles, advertisements, etc. Everyone should pay more careful attention to the details in order to not be carried away or manipulated to what the author or creator only wants us to see. We shouldn’t just straight up believe exactly what we see, we need to keep reminding ourselves that any work produced is staged in order to satisfy the creator’s mindset and views which can be very manipulative.

[mscoyditch]

"Dickensian Dreams".

Elm Hill. Norwich. England.

Photo by Francis Wilson Photography

[ulkaralakbarova]

Two street basketball hustlers try to con each other, then team up for a bigger score. Credits: TheMovieDb. Film Cast: Sidney Deane: Wesley Snipes Billy Hoyle: Woody Harrelson Gloria Clement: Rosie Perez Rhonda Deane: Tyra Ferrell Robert: Cylk Cozart Junior: Kadeem Hardison George: Ernest Harden Jr. Walter: John Marshall Jones Raymond: Marques Johnson T.J.: David Roberson Zeke: Kevin Benton Dwight ‘The Flight’ McGhee: Nigel Miguel Willie Lewis: Duane Martin Self: Bill Henderson Self: Sonny Craver Self: Jon Hendricks Tony Stucci: Eloy Casados Frank Stucci: Frank Rossi Duck Johnson: Freeman Williams Eddie ‘The King’ Faroo: Louis Price Himself: Alex Trebek Reggie: Reggie Leon Etiwanda: Sarah Stavrou Tad: Reynaldo Rey Lanei: Lanei Chapman Real Estate Agent: Irene Nettles Tanya: Torri Whitehead Alisa: Lisa McDowell The Bank: Dion B. Vines Malcolm: David Maxwell Tournament Announcer: Bill Caplan Tournament Referee: Richard James Baker Big Guy’s Girlfriend: Amy Golden Little Guy’s Girlfriend: Jeanette Srubar Sponsor: Zandra Hill Sponsor: Fred P. Gregory Pickup Truck Driver: Carl E. Hodge Ruben: Ruben Martinez Oki-Dog Businessman: Gary Lazer Yolanda: Donna Howell Jake: Don Fullilove Jeopardy! Announcer: Johnny Gilbert Dr. Leonard Allen: Leonard A. Oakland Rocket Scientist: Allan Malamud Dressing Room Staffer: Jeanne McCarthy Cop: John Charles Sheehan Leon: Gregg Daniel Gambler: Carl A. McGee NBA Announcer: Chick Hearn NBA Announcer: Stu Lantz Ballplayer: Ronald Beals Ballplayer: Joe Metcalf Ballplayer: Mahcoe Moore Ballplayer: Mark Hill Ballplayer: Eric Kizzie Ballplayer: Chalmer Maddox Ballplayer: Leroy Michaux Ballplayer: Joseph Duffy Ballplayer: Pete Duffy Ballplayer: Gary Moeller Ballplayer: Daniel Porto Ballplayer: Lester Hawkins Ballplayer: Jeffrey Todd Film Crew: Producer: Don Miller Director: Ron Shelton Producer: David V. Lester Editor: Kimberly Ray Director of Photography: Russell Boyd Editor: Paul Seydor Costume Design: Francine Jamison-Tanchuck Production Design: J. Dennis Washington Art Direction: Roger G. Fortune Executive Producer: Michele Rappaport Casting: Victoria Thomas Unit Production Manager: Ed Milkovich Set Decoration: Robert R. Benton Sound Re-Recording Mixer: Gregg Rudloff Makeup Department Head: Stephanie Cozart Burton Hair Department Head: Sterfon Demings Makeup Artist: Patricia Messina Hairstylist: Kenneth Walker Second Assistant Director: Robert J. Metoyer First Assistant Director: Richard Alexander Wells Sound Editor: Patrick Bietz ADR Editor: Barbara J. Boguski Sound Editor: Robert Bradshaw Sound Re-Recording Mixer: David E. Campbell Sound Editor: Larry Carow Foley Editor: Bill Dannevik Foley Editor: Michael Dressel Supervising Sound Editor: Gordon Ecker Supervising Sound Editor: Bruce Fortune Sound Mixer: Kirk Francis Foley Editor: Leslie Gaulin Sound Editor: Howell Gibbens ADR Editor: Holly Huckins ADR Mixer: Doc Kane Sound Editor: John Kwiatkowski Sound Editor: Kimberly Lowe Voigt Sound Editor: Anthony Milch ADR Editor: Michele Perrone Sound Re-Recording Mixer: John T. Reitz Foley Editor: Steve Richardson Sound Editor: Steve Schwalbe Foley Editor: Shawn Sykora Sound Editor: Richard E. Yawn Stunts: Gary Baxley Stunts: Simone Boisseree Stunts: Mike Johnson Stunt Coordinator: Julius LeFlore Stunts: Scott Leva Casting Associate: Jory Weitz Costume Supervisor: Betty Jean Slater Camera Operator: Mike Benson Steadicam Operator: Michael Meinardus Gaffer: Patrick Murray Grip: Mark Pearson Grip: Ty Suehiro Grip: Clay H. Wilson Grip: Edmond Wright Movie Reviews:

[inclusiveexcellencecca]

Working Together: Louis Draper and the Kamoinge Workshop

Working Together accompanies the exhibition of African American photography to be presented by the Virginia Museum of Fine Arts in January 2020. Both the exhibition and catalogue draw heavily on the museum’s complete archives of papers and photographs of Virginia artist Louis Draper (1935–2002)—a key founding member, who chronicled the Kamoinge Workshop’s formation and development. Focusing on the collective’s first twenty years, this catalogue includes more than 140 photographs by fourteen of the early members, including Draper, Anthony Barboza, Adger Cowens, Danny Dawson, Al Fennar, Ray Francis, Herman Howard, Jimmie Mannas, Herb Randall, Herb Robinson, Beuford Smith, Ming Smith, Shawn Walker, and Calvin Wilson. The preface by Deborah Willis is followed by essays that explore Draper’s life and work; the history of The Black Photographers Annual; Kamoinge’s position in contemporary studies of the history of photography; the notion of collectivity among African American artists in the 1960s and 1970s; the social and political context of Kamoinge’s formation, with special attention to the civil rights movement and the Black Arts Movement; jazz; and Kamoinge’s influence on contemporary African American photographers.

[architectnews]

Gallatin High School, Montana Building

Gallatin High School, USA Educational Facility, Bozeman Real Estate Development, American Architecture Photos

Gallatin High School in Montana

Jun 30, 2021

Architects: Cushing Terrell

Location: Bozeman, Montana, USA

Gallatin High School, Bozeman

Gallatin High School was designed around the concept of a town center — a place where people come together for a variety of purposes aligned with creating a unified, supportive, interactive community. Central to the design is the “commons” where students and staff gather for assemblies, speakers, small group meetings, and individual study time. The grand staircase offers a “wow” factor but is also highly functional with a coffee bar and café tucked beneath.

The team infused the design with the ideas of cross-pollination and discovery, creating greater visibility into other learning areas to spur interest in trying something new. Incorporating wider hallways and an abundance of natural light support a learning environment that feels accessible and full of opportunity.

Rather than spreading the 300,000-square-foot school across two levels, the team designed a more compact solution: a combination of stacked one-, two-, and three-story wings. This layout helps reduce travel distances from one side of the school to the other, creates opportunities for key spaces to make physical and visual connections to the commons, and enhances efficiency in the building’s footprint, systems, and energy use.

These factors combined with an irrigation system designed to high water-efficiency standards resulted in the project meeting CHPS (collaborative for high performing schools) design standards.

The 70-acre site comprises athletic fields, trail system, and parking areas, as well as competition track, softball field, and tennis courts

Gallatin High School in Montana, USA – Building Information

Architects: Cushing Terrell Cushing Terrell Services Architecture* Bond Planning Community Outreach Cost Estimating Electrical Engineering Interior Design Landscape Architecture Mechanical Engineering Programming Site Design

Project Consultants:

Civil Engineer: TD&H Engineering Structural Engineer: DCI Engineers Acoustical Engineer: Big Sky Acoustics Auditorium: Schuler Shook Client name: Bozeman Public Schools

*Cushing Terrell Design Team Stephanie Ray (PM); Robert Franzen (PM); Scott Wilson (PIC); John Bolton (Arch); Lesley Gilmore (Historic Preservation Arch); Cheryl Bicknell (Arch); Skyann Cook (Arch); Nathan Helfrich (Arch); Tyler Mortenson (Arch); Adam Talbert (Arch); Ross Hamand (Arch); Chelsea Holling (Arch); Mallory Johnson (Arch); James Talarico (Arch); Kasey Welles (Arch); Sawyer Arneson-Nelson (CADD Tech); Jeannie Dresch (CADD Tech); Jan Ericksen (CADD Tech); Ryan Schreibeis (CADD Tech); Debbie Schueler (CADD Tech); Michael Kaufman (CADD Tech)

Products 1. Armstrong Acoustical Ceiling Tile 2. Patcraft LV Plank 3. Milliken Carpet 4. 3M Vapor Barrier 5. Sherwin Williams Paint

Photographer: Karl Neumann

Gallatin High School, Montana images / information received 300621

Location: Bozeman, Montana, USA

Montana Buildings

Montana Buildings

Contemporary Homes in Montana

Yellowstone Residence, Big Sky Architects: Stuart Silk Architects photo © Aaron Leitz Yellowstone Residence in Big Sky, Montana

Big Timber Riverside House Design: Hughesumbanhowar Architects photograph : Gibeon Photography Big Timber Riverside House in Montana

Montana Modern House, Kalispell city, Flathead County Architects: Cushing Terrell photograph : Heidi A. Long Montana Modern House

Contemporary Architecture in Montana

Domo, designed by Ensamble Studio, installed at Tippet Rise Art Center: photo by Erik Petersen. Courtesy of Tippet Rise Art Center Tippet Rise Art Center Buildings in Montana

Tippet Rise Art Center Montana

Tippet Rise Art Center Building Design by Francis Kéré architect

American Houses – Selection

American Architecture

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Comments / photos for the Gallatin High School, Montana page welcome

The post Gallatin High School, Montana Building appeared first on e-architect.

[rebeccaroberts-photography]

Structure - My Chosen Structure

13/05/21

The National Museum of Scotland, Edinburgh

The building I have chosen to photograph for the Structure project brief is the National Museum of Scotland, which is located on Chambers Street in Edinburgh, just off the Royal Mile. The building has had multiple renovations and extensions added to it between 1861, originally designed by Captain Francis Fowke and Robert Matheson. Secondary renovations designed by Benson and Forsythe Architects in 1998, with the most recent developments by architect Gareth Hoskins in 2004 who reopened the museum in 2011.

I have chosen this particular building as the focal point for this project because of the contrast in architectural style and designs, the original architects were heavily influenced by the Italian Renaissance and the building was constructed during the Victorian Era. Whereas recent renovations by Benson and Forsyth drew inspiration from a modernist architect named Le Corbusier with influence from Scottish medieval turrets and towers. Visually, the modern half of the building is more geometric and made from Morayshire Sandstone which is beige colour, next to the original half of the building made from stone and brick with more intricate carving detail. The interior of the museum is like a labyrinth, with three floors full of exhibits and artifacts but the architecture includes metal balconies with vertical poles, there is also a 80x24 meter glass roof which supplies the space with streams of direct sun light. The basement level of the building has a completed different atmosphere as it is the cellar, with low lighting and arched ceilings that itself contrasts against the first to 4th floors of balconies and spiral staircases. There is also access to the roof with a view of the city.

Overall, I think this structure has so many features with strong Scottish influences for its form and functions that I will have to select specific areas to capture that portray the architecture’s vision successfully and enhances each detail. I have also spent a lot of time growing up visiting this museum as it is close by and there is so much to see and learn about. As for photography permissions, the exterior and interior of the structure can be photographed.

Architectural Background

The development of the museum from the Industrial Museum of Scotland to the National Museum of Scotland begins in 1697, where Roberts Sibbald presented the University of Edinburgh with a collection of historic natural artifacts along with Andrew Balfour. This lead to the University opening a museum residing on the campus that would soon lead to the development of a larger independent building being developed in 1854 as the collection of artifacts grew.

Between 1854 and 1859, Dr George Wilson was the first director of the museum when it was known as the Industrial Museum of Scotland and at the time he worked as a professor of technology at the University of Edinburgh. After his death, Tomas Croxen Archer took over as director alongside Captain Francis Fowke who was initially an inspector at the museum where it resided in the university, he was known for designing parts of the South Kensington Museum in 1858 which inspired his designs for the Industrial Museum.

Watercolour Sketch by Francis Fowke 1850s:

In 1861, construction bean on the architectural designs created by Fowke accompanied by Robert Matheson and the first foundation brick was placed by Prince Albert. Between 1861 and 1866, the two separate museum sectors of Natural History and the Industrial Arts were brought together into this new building, known to the public as the Edinburgh Museum of Science and Art that was officially opened in 1866 by Prince Alfred.  With further expansions of the great hall in 1871, the University and Museum severed ties and the bridge between the buildings was closed off. This expansion was to be completed by 1874 and reopened to the public in 1875 as an independent museum out-with the University.

Photograph captured on daguerreotype of interior in 1980s:

In 1904, the museum was renamed from the Edinburgh Museum of Science and Art to the Royal Scottish Museum then again after another extension it was renamed The Royal Museum of Scotland. In 1998, the Museum of Scotland opened adjacent to the Royal Museum of Scotland and it was at this time where Benson and Forsythe Architects created a master plan to redevelop the building and combine the two.  The new sectors of the building were inspired by Le Corbusier, an architect with a modernist take, as well as being heavily influenced of Scottish medieval structures and the form of turrets and spiraling staircases that were included throughout the design.

Benson and Forsythe Architects Design for Redevelopment, 1998:

In 2004, Gareth Hoskins Architects came forward with ideas for an interior renovation of the museum that opened back up in 2006, now known as the National Museum of Scotland now the two previous museums had been merged together. It was in 2008 that the building was closed for redevelopment and underwent the changes made by Hoskins to expand the museum to street level, meaning that the cellar or basement level became an access point to the public and now it is the main entrance. The basement level was designed with arched ceilings and pillars for support as there were concerns for the strength of the structure by working on lower levels. As of 2011, there have been no further exterior developments but exhibition spaces are being updated and changed to offer the public more insight into Scottish history.

basement redevelopments by Gareth Hoskins, 2011:

https://manchesterhistory.net/architecture/1990/museumscotland.html

Edinburgh Museum of Science and Art c.1900 | The Foundation … | Flickr

https://www.nms.ac.uk/explore-our-collections/resources/architecture-trail-of-the-national-museum-of-scotland/

[frankdeath]

Royal Blood - Out of The Black �⛄️�❤️� from David Wilson on Vimeo.

Directed by David Wilson & Christy Karacas

Production Company: Colonel Blimp Head of Music Videos: Nathan James Producer: Corin Taylor Exec. Producer: Paul Weston Service Company: The Directors Bureau Line Producer: Benjamin Gilovitz

Director of Photography: Michael Berlucchi 1st AD: Mike Hart Steadicam Operator: Ari Robbins Production Designer: Greg Allen Lang Stylist: Francis & Pereira

Editor: Max Windows Editing Company: Stitch

Post Company: Finish Colourist: Julien Biard Flame: Judy Roberts and Andy Copping Nuke: Kayley Fernandes Post Producer: Cheryl Payne

Animation: Mike Carlo, Ian Miller, Yuri Fain, Sachio Cook, Alex Kwan, Sam Marlo Backgrounds: Sam Marlo & Rachel Gitlevich Color/ Clean Up: Josh Howell & Justin Irizarry After Effects Editor: David Eber

Sound Engineers: Sam Robson & James Cobbold at 750MPH

Commissioner: Sam Seager Label: Warner Music

Cast:

Gas Station Attendant: Mac Hines Bunny Mascot: Aaron Groben and John Lyke Snowman Mascot: John Lyke Ice-Cream Mascot: Kyle Garrity Heart Mascot: Mark Rosen Pumpkin Mascot: Mike Dempsey Customer 1: Sue Yeon Ahn Customer 2: Billy Chew Special Agent: Leo Matchett Special Agent: Jeremy Lingvall Special Agent: Andy Price Special Agent: Kent McGuire Dead Girl: Stephania Silveira Police Officer: Ace Underhill Police Officer: Heather Charles Police Officer: Bruce Van Patten