Filmmaker in the context of "George Tomasini"

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⭐ Core Definition: Filmmaker

Filmmaking or film production, is the process of creating a motion picture. Traditionally filmmaking is thought of as a process specific for the creation of feature films, however its iconic methodology has been used in the creation of other types of filmed products including movies and episodic series for streaming and network broadcasting, commercials and advertisements, animations, music videos, documentaries. It involves a number of distinct stages, including an initial story idea or commission, followed by screenwriting, casting, pre-production, shooting, sound recording, post-production, and screening the finished product before an audience, which may result in a film release distribution and exhibition. The process is nonlinear, in that the filmmaker typically shoots the script out of sequence, repeats shots as needed, and puts them together through editing later. Filmmaking takes place in a variety of economic, social, and political contexts around the world, and uses a wide range of technologies and cinematic techniques. While originally films were recorded on photographic film, most modern filmmaking is now digital.

The production of a film typically consists of five major stages. The first is development, where the initial idea for the film is explored, rights to intellectual property may be secured, the screenplay is written, and financing is obtained. This is followed by pre-production, where all the arrangements and preparations for the shoot are made, including hiring cast and crew, scouting and securing locations, and constructing sets. The third stage is production, which is when the raw footage and other elements of the film are recorded.

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👉 Filmmaker in the context of George Tomasini

George Tomasini (April 20, 1909 – November 22, 1964) was an American film editor, born in Springfield, Massachusetts, who had a decade-long collaboration with director Alfred Hitchcock, editing nine of his movies between 1954 and 1964. Tomasini edited many of Hitchcock's best-known works, such as Rear Window (1954), Vertigo (1958), North by Northwest (1959), Psycho (1960), and The Birds (1963), as well as other well-received films such as Cape Fear (1962). On a 2012 listing of the 75 best-edited films of all time, compiled by the Motion Picture Editors Guild based on a survey of its members, four films edited by Tomasini for Hitchcock appear. No other editor appeared more than three times on this listing. The listed films were Psycho, Vertigo, Rear Window, and North by Northwest.

George Tomasini was known for his innovative film editing, which together with Hitchcock's stunning techniques, redefined cinematic language. Tomasini's cutting was always stylish and experimental, all the while pursuing the focus of the story and the characters. Hitchcock and Tomasini's editing of Rear Window has been treated at length in Valerie Orpen's monograph, Film Editing: The Art of the Expressive. His dialogue overlapping and use of jump cuts for exclamation points was dynamic and innovative (such as in the scene in The Birds where the car blows up at the gas station and Tippi Hedren's character watches from a window, as well as the infamous "shower scene" in Psycho). George Tomasini's techniques would influence many subsequent film editors and filmmakers.

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Filmmaker in the context of Tone (literature)

In literature, the tone of a literary work expresses the writer's attitude toward or feelings about the subject matter and audience.

The concept of a work's tone has been argued in the academic context as involving a critique of one's innate emotions: the creator or creators of an artistic piece deliberately push one to rethink the emotional dimensions of one's own life due to the creator or creator's psychological intent, which whoever comes across the piece must then deal with.

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Filmmaker in the context of Georges Méliès

Marie-Georges-Jean Méliès (/mlˈjɛs/ mayl-YES, French: [maʁi ʒɔʁʒ ʒɑ̃ meljɛs]; 8 December 1861 – 21 January 1938) was a French filmmaker, actor, magician, and toymaker. He led many technical and narrative developments in the early days of cinema, primarily in the fantasy and science fiction genres. Méliès rose to prominence creating "trick films" and became well known for his innovative use of special effects, popularizing such techniques as substitution splices, multiple exposures, time-lapse photography, dissolves, and hand-painted colour. He was also one of the first filmmakers to use storyboards in his work. His most important films include A Trip to the Moon (1902) and The Impossible Voyage (1904).

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Filmmaker in the context of Eugène Pirou

Louis Eugène Pirou (26 September 1841 – 30 September 1909) was a French photographer and filmmaker, known primarily for his portraits of celebrities and scenes from the Paris Commune. He was awarded a gold medal at the Exposition Universelle of 1889.

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Filmmaker in the context of Russ Meyer

Russell Albion Meyer (March 21, 1922 – September 18, 2004) was an American filmmaker. He was primarily known for writing and directing a successful series of sexploitation films featuring campy humor, sly satire and large-breasted women, which have attracted a considerable cult following. His best-known works include Faster, Pussycat! Kill! Kill! (1965), Vixen! (1968), Supervixens (1975), Beneath the Valley of the Ultra-Vixens (1979), and the film he considered to be his definitive work, Beyond the Valley of the Dolls (1970).

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Filmmaker in the context of Francis Picabia

Francis Picabia (French: [fʁɑ̃sis pikabja]: born Francis-Marie Martinez de Picabia; 22 January 1879 – 30 November 1953) was a French avant-garde painter, writer, filmmaker, magazine publisher, poet, and typographist closely associated with Dada.

When considering the many styles that Picabia painted in, observers have described his career as "shape-shifting" or "kaleidoscopic". After experimenting with Impressionism and Pointillism, Picabia became associated with Cubism. His highly abstract planar compositions were colourful and rich in contrasts. He was one of the early major figures of the Dada movement in the United States and in France before denouncing it in 1921. He was later briefly associated with Surrealism, but would soon turn his back on the art establishment.

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Filmmaker in the context of Michael Nyman

Michael Laurence Nyman, CBE (born 23 March 1944) is an English composer, pianist, librettist, musicologist, and filmmaker. He is known for numerous film scores (many written during his lengthy collaboration with the filmmaker Peter Greenaway), and his multi-platinum soundtrack album to Jane Campion's The Piano. He has written a number of operas, including The Man Who Mistook His Wife for a Hat; Letters, Riddles and Writs; Noises, Sounds & Sweet Airs; Facing Goya; Man and Boy: Dada; Love Counts; and Sparkie: Cage and Beyond. He has written six concerti, five string quartets, and many other chamber works, many for his Michael Nyman Band. He is also a performing pianist. Nyman prefers to write opera over other forms of music.

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Filmmaker in the context of Meredith Monk

Meredith Jane Monk (born November 20, 1942) is an American composer, performer, director, vocalist, filmmaker, and choreographer. From the 1960s onwards, Monk has created multi-disciplinary works which combine music, theatre, and dance, recording extensively for ECM Records. In 1991, Monk composed Atlas, an opera, commissioned and produced by the Houston Opera and the American Music Theater Festival. Her music has been used in films by the Coen Brothers (The Big Lebowski, 1998) and Jean-Luc Godard (Nouvelle Vague, 1990 and Notre musique, 2004). Trip hop musician DJ Shadow sampled Monk's "Dolmen Music" on the song "Midnight in a Perfect World". In 2015, she was awarded the National Medal of Arts by Barack Obama.

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Filmmaker in the context of Leslie McFarlane

Charles Leslie McFarlane (October 25, 1902 – September 6, 1977) was a Canadian journalist, novelist, screenwriter, and filmmaker, who is most famous for ghostwriting many of the early books in the very successful Hardy Boys series, using the pseudonym Franklin W. Dixon.

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