AmericasMart, Atlanta, John Portman Architects (Building 3, 1979)
More than 80 movies, television shows and music videos have been filmed in John Portman's neofuturist buildings. The most frequently used are the Peachtree Centre, which appeared in ANT MAN AND THE WASP (2018), BABY DRIVER (2017), and dozens of other productions, and Westin Bonaventure, where INTERSTELLAR (2014) and MISSION IMPOSSIBLE III (2006) were shot. The AmericasMart complex can be seen in DIVERGENT: INSURGENT (2014), FUTURAMA (EP.16) (2000). Photo by Isaiah King on Flickr
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Hollywood’s film director Dorothy Arzner: the first, the first, the first
the only woman director during the "Golden Age" of Hollywood's studio system
the only woman filmmaker directing top level studio pictures
the first woman in Hollywood who directed a sound film, Paramount’s first talking movie The Wild Party
the first female member of the Directors Guild of America
In the golden age of Hollywood, Dorothy Arzner was the only woman in a male-dominated space of film directoring. Started as an editor and writer Dorothy Arzner became a successful Hollywood director.
With the ambition to become a doctor, she went abroad during World War I to work in the ambulance corp. When she returned, however, she decided she wanted to become a film director.
Dorothy Arzner directed around 20 films over the course of her 24 years in film industry. She taught Francis Ford Coppola and with directing her feature films she launched the careers of actresses Clara Bow, Katherine Hepburn and Lucille Ball.
Dorothy Arzner was a shorthaired, boyish director, preferred to wear mostly pants. The way the mother goddess of women’s film-making was described by those who knew her:
"Sometimes, during the direction of a scene, she speaks so softly that it is necessary for her assistant to echo her orders in his chesty baritone. For the most part, she dresses in sport clothes and flat heels and eye-shading felt hats. There is something about her that commands immediate attention—and respect. It is an open secret on the Paramount lot that Miss Arzner's company is the best disciplined in the studio—and that it is self-disciplined."
"The only woman director in the 'movies' pondered gravely before answering. Shc sat quietly— a slight, almost frail figure. Black, short hair, with here and there a thread of gray, was brushed smoothly back from her wide, thoughtful forehead, and blue eyes under heavy brows looked at one steadily and directly. The face mobile and sensitive, harbored a strength and power for some reason rather surprising."
"Hers is a very satisfying face, brilliantly alive; her skin is clear and healthy, without aid of cosmetics; her eyes arc a deep, violet-blue, shadowed with long lashes, and I should hate to be the one to double-cross or try to fool those eyes. . she wears a severely tailored tweed suit, with mannish shirt and tie, when working. She orders her shirts by the dozen from a New York firm and says she feels this is the only sort of costume suited to her job."
"The case of Dorothy Arzner, Hollywood's lone woman director, illustrates two tenets of present-day industry. The first is that an intelligent woman can do pretty much any kind of work she sets her mind on doing, and the second is that she didn’t need to sacrifice her femininity in doing it. ... Hollywood's maverick woman megaphone wielder has dark brown hair brushed back from a high forehead in a short bob, and gray-blue eyes. She wears tailored suits on the set and all her clothes, tailored or evening, are in combinations of black and white or gray ..."
Can’t believe I never heard of Dorothy Arzner before.
source: Directed by Dorothy Arzner (Women Artists in Film) | Mayne, Judith. 1994, https://www.womeninblog.com/
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I enjoyed Barbie! It is a fun movie with a good story and excellent writing, directing and acting!
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Motion Graphics vs. Animation
Are you confused about the difference between motion graphics and animation? Learn the distinctions between the two and discover which one is right for you.
Motion graphics and animation are two terms often used interchangeably, but they are not the same thing. Both have their unique characteristics and uses, and understanding the differences between the two is crucial for anyone involved in the…
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Three hundred twenty-one feature films are eligible for the 2023 Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today. There are 265 feature films eligible for consideration in the Best Picture category
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Japanese film. 2022. Vol. 49
New item:
Introduction of around 80 Japanese films selected out of those officially released in theaters within Japan during previous year. The presented films are chosen by the Selection Committee. Also includes statistical data on Japanese film industry and contact details of Japanese film related companies and organizations. The same content is presented at JFDB (a UNIJAPAN managed Japanese film Database).
Shelf: 778.059 UNI 2022
Japanese film. 2022. Vol. 49.
Tōkyō : UniJapan, 2022.
203 pages : colour illustrations ; 21 cm.
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"Below are ten of the best horror movie remakes with scripts that you can find in our expansive screenplay library."
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The villa of Commandant Höss: a "paradise" which shared a wall with Auschwitz.
ARCHITECTURE OF GENOCIDE: THE ZONE OF INTEREST (2023)
Before I saw this film, I'd assumed that it would illustrate the way architecture can be used to facilitate denial or self-deception. Like PARASITE (2019), in which one - in that case wholly fictional - family creates a lavish domestic retreat from which they can't see the overcrowding, poverty and suffering that surrounds them. But although Hedwig Höss speaks of planting vines to cover the wall they share with Auschwitz, there's no pretending this neighbour isn't there. The Höss's live in a pristine 1937 villa, with a manicured garden where they have parties and their children swim in a pool, and this juxtaposition is chilling. But they can still see the chimneys, and hear the screams, and nobody is denying what's next door.
This is one of the most horrifying movies I've seen, and that's due to the banality of the domestic scenes. We aren't watching a stereotypically deranged mass murderer, or even a psychopathic commandant at work inside the camp. Instead we see a comfortable house, a beautiful garden, two parents who love one another and their children. And who've somehow been able to assimilate the fact that millions are being murdered behind their garden wall.
The film is based loosely on a novel, but also on research into the lives of the real Höss's. A replica was built of their villa and garden, only metres from where the real home still stands. It's suggested that the real Rudolf and Hedwig considered themselves homesteaders, reclaiming rural territory for the 'master race', as was the Nazi ideal. In the film, Hedwig repeatedly emphasises the role of building and grounds as a status symbol. Their villa had been taken from its Polish owners and architecturally altered to fit the Höss's image. Most of the items inside would have been plundered from Jewish homes, and others, such as stools, and the wheelbarrow full of smaller seized items, would have been custom-made by prisoners. This isnt a home that is genteel in spite of the camp next door. On the contrary, everything about it, down to the fur coat on Hedwig's back, exists as a result of persecution and genocide.
The Zone was an exclusion area of over 40 sq. km around the camp, created after Poles and Jews were expelled from nearby villages. It's jarring how idyllic it appears in the film, with meadows, birdsong, a gently babbling river. While obviously not as horrifying as human apathy, the indifference of a place to the evil it houses is disconcerting, especially if you're in a profession like architecture or urban design, where places are thought to be somehow expressive of what occurs within them. We do see the horror occasionally seep beyond camp walls - a practiced scramble to leave sun loungers as crematoria smoke seeps into the garden, a wash of ash infiltrating the picturesque river.
It's likely that the filmmakers were using the extreme example of this family to remind us of our own ability to become apathetic and desensitised to the suffering of strangers, particularly when we feel our personal safety and comfort may be threatened. (Current campaigns to essentially criminalise poverty in the form of homelessness in certain cities, come to mind). Obviously the murder of millions is an evil on a completely different scale, and I have to believe that 99% of us wouldnt be capable of the Höss's actions, but it's a chilling and worthwhile reminder nonetheless.
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In this publicity still for 1968's Destroy All Monsters, it seems like Godzilla is pausing for a moment to decide which building he’ll demolish first.
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