#kinetic cinema

[zippocreed501]

The French Connection (1971)

#the french connection #car chase #scene #movie locations #kinetic cinema

[rrrauschen]

Henri-Georges Clouzot, {1968} La Prisonnière

#film #gif #henri-georges clouzot #la prisonnière #la prisonniere #1968 #kinetic art #art in cinema #taking pictures #subtitles #people #1960s #colour #male filmmakers #feature length #eyes #cameras #france #italy

[blacknarcissus]

La Prisonnière (1968)

#la prisonnière #la prisonnière 1968 #woman in chains #woman in chains 1968 #henri georges clouzot #kinetic art #psychedelic art #cinéma français #french cinema #1960s #1960s movies #1960s films

[kolbisneat]

MONTHLY MEDIA: March 2024

……….FILM……….

Dune: Part Two (2024) Every piece of technology felt and looked so tangible. The baby worm too! Love the tactile nature of this whole production and I hope studios take note that CG can't be the only tool in your belt. So much bigger than I imagined and just enjoyed the whole thing.

Forgetting Sarah Marshall (2008) Ages surprisingly well and a script that lets the main quartet be both funny and layered.

……….TELEVISION……….

Columbo (1.01 to 1.03) Hey I'm starting Columbo! Love that each episode is feature-length and Columbo appears fully formed right out of the gate. The sets and costumes are all so glamorous and L.A. Very excited to keep going.

Succession (2.05 to 3.04) The Kendall play at the end of season 2 felt very much like the Kendall play at the end of season 1 and while I'm still a huge fan of this series, I just hope it's not the same going into season 3 and 4.

Delicious in Dungeon (Episode 1.09 to 1.13) Great adaptation that isn't just a straight recreation of the artwork in the manga. The more kinetic/frantic moments in the animation are a nice departure and while they don't pop up in each episode, now that I'm 13 eps deep I can appreciate how they're sprinkled throughout.

Love is Blind (Episode 6.02 to 6.13) It still amazes me that anyone goes on reality tv.

……….YOUTUBE……….

Twilight | ContraPoints by ContraPoints Yes I did watch a nearly 3-hour essay on Twilight, sexual expression, and all that comes with that. And you should too. VIDEO

Instagram fatigue and the rise of 'Resentment Reels' by Taylor Lorenz While I haven't noticed this specific phenomenon, I have noticed Instagram declining as an app (both as a user trying to see anything other than ads, and a creator trying to get my work seen in between those ads). It's a bummer. VIDEO

Saltburn: The Tumblr-ification of Cinema by Broey Deschanel Every since I saw Saltburn, I've been thinking about what wasn't quite sitting right with me. This unlocked a lot of what I couldn't describe and most of it stems from the writer/director's upper class upbringing. Saltburn isn't a "take down the rich" movie, it's a horror story from the perspective of a wealthy family. VIDEO

Why Is It So Hard To Cross The Street? (& What You Can Do To Help) by Strong Towns Accidents where drivers hit a pedestrian are going up in my area so this really hit home. And for those feeling like there's nothing you can do at ground level, consider taking their course (not a paid sponsorship I'm just in real support of community-lead initiatives). VIDEO

……….READING……….

Elric of Melniboné by Michael Moorcock (Complete) After picking up the last book in this series (which I've yet to read) I figured I'd start at the beginning. Love the fast pace pulpy action and I can see how this influenced the creation of D&D.

The Man in the Brown Suit by Agatha Christie (Complete) This one would lose me for stretches but the final quarter of the book is stronger. A lot less cozy and a lot more action than I was expecting but skimming other reviews it sounds like this was written during her more...adventure-focused era. Three books deep and I have to give Christie credit that each has been a completely different experience.

Adventures of a Japanese Business Man by Jose Domingo (Complete) Always love going back to this nearly wordless epic that follows the titular Japanese business man. I love the complexity of the earliest panels and wish that could carry throughout more of the book, but it's always such a treat to discover just where each new panel will go.

Delicious in Dungeon Volume 5 by Ryoko Kui (Complete) Enjoying rereading this with shorter breaks between volumes as I certainly missed/forgot details on my first read. It's here that the story and tone shifts from light romp to a more dramatic and dangerous affair but it never loses its spot-on humour. Love those dryad pumpkins.

Ultimate Spider-Man HC Volume 11 by Brian Michael Bendis, Stuart Immonen, David Lafuente, and more (Complete) Going from some of my other comics back to this, I'm struck by just how wordy it can get. Now knowing where the story goes, it was a great idea to prime readers to the idea of Peter Parker dying even if it's not from this event.

……….AUDIO……….

Blank Check with Griffin & David (Podcast) Late to the game on this but really enjoying burning through their back catalog. Obviously started with their episode on Speed Racer as it's a near perfect film that you should watch right now.

……….GAMING……….

Oz: A Fantasy Role-Playing Setting (Andrews McMeel Publishing) The Tuesday group just killed a mayor! So the aftermath of that is going to play out over the next couple of sessions. And the Mof1 crew is investigating the aftermath of their own district-wide catastrophe and it's all looking rather suspicious!

Spot It (Blue Orange Games) I can't recommend this game enough. It's so easy to learn, rounds last maybe 5 minutes, it plays well with small or large groups of any age, and all it requires is pattern recognition and quick reflexes. Every time I've played this someone says they're going to buy a copy for themselves.

And that's it. See you in April!

#Monthly Media #Kolbisneat #Andrew Kolb

[the-mushroom-faerie]

bestieeeeeeeeee i would like some Info Dumping about the asteroid field scene in sga pls and thank yooooooooooooou gimme all the Fun Facts

omg ok ok ok SO im gonna go full mckay here alright so just keep that in mind just listen listen asteroid fields? not that densely packed. at all. theyre so far apart from each other theyre barely in each others gravity fields theyre just atlantis was not in peril in that way the big asteroids can't- its not physically possible for them to be that close together the gravity would cause them to collide with each other please cinema stop making densely packed asteroid fields you're making my heart sad

HOWEVER

the micro asteroids are entirely accurate everything in space is moving incredibly fast and speed equals kinetic energy and we all know e=mc² tiny amount of mass incredible amount of energy those teeny tiny asteroids WOULD be like bullets same devastating effect same or faster speeds why couldnt THAT be the entire peril those little whizzing space pebbles couldve knocked out systems it happens all the time on the iss AND to top it all off the tiny ones ARE that densely packed so they could be knocking out systems left and right they could be breaking windows cracking crystals severing wires you name it theyd break it

matter of fact, John's predictable solution of blowing up the big asteroids in their way was actually possibly making matters worse because ✨️shrapnel✨️ while yes you can shoot a bazooka at a chair and it'll get out of your way, there will be splinters in everything in a 50 foot (or more) radius thats just how explosives work

#stargate #stargate atlantis #sga adrift #technobabble button #thanks for the ask bestie ily #stargate is usually so GOOD about the science so this was just hard to swallow #and actually david hewlett himself has gone on many rants on the subject in his podcasts and on his yt channel #so it did bother the real astronomers and astrophysicists in the cast lol

[kingstylesdaily]

The cast of Don’t Worry Darling will be attending the world premiere at the Venice Film Festival. 

In tandem with the announcement, Wilde—who will attend the Festival, along with co-stars Florence Pugh, Harry Styles, Gemma Chan and Chris Pine—stated, “I am honored and thrilled that ‘Don’t Worry Darling’ will have its world premiere at the Venice Film Festival. When we dreamed of making this movie, we imagined Venice as our ultimate goal, and we can hardly believe it’s really happening! From our cast —led by the formidable Florence Pugh and Harry Styles—to the design of this world and the kinetic cinematography, the film was crafted for viewing in the collective setting of the theatrical experience. For this first screening to take place in the jewel-like surroundings of the Venice Lido and in the presence of some of international cinema’s most accomplished artists is beyond exciting. I look forward to sharing the visceral ride of ‘Don’t Worry Darling’ with the world, beginning with the Venice Film Festival, and I wish to thank Alberto Barbera and the Biennale for the selection. This is truly a dream come true.”

Venice Film Festival runs from August 31st to September 10th, 2022

via New Line Cinema/WB press release

#kingstylesdaily #Harry Styles #hs: don't worry darling

[warningsine]

Marzieh Meshkini’s three-part film, “The Day I Became a Woman,” from 2000, is a masterwork of symbolic cinema; it depicts, with vast imagination, the ordeals faced by women in modern Iranian society. Meshkini reportedly made it as three separate short films, in order to elude the system of official censorship that governed features but not shorts. The result is a trio of tightly composed and lyrically filmed episodes, titled by the name of their protagonists, that offer images of enormous psychological power—images that ought to haunt both the memory and the subconscious of anyone who sees them.

The film set on Kish Island, in the Persian Gulf, and all three episodes take place largely by the sea, making use of both its photogenic and its metaphorical aspects. The first story, “Hava,” features a girl on the day of her ninth birthday—the day, according to her grandmother, that she becomes a woman, and, as a result, the day that she must cover her hair with a head scarf, and that she can no longer play with her best friend, a boy named Hassan. After Hassan is sadly turned away and Hava, bewildered, protests, Hava’s mother finds a rather ingenious loophole, allowing her one last brief outing with her friend—but, by the time Hava arrives at Hassan’s home, he’s virtually imprisoned there, forced to do homework for fear that his teacher will hit him. Instead, the two forlorn friends share a snack, through the jail-like bars of his window, that evokes both the submission to religious law and the power of yet another law—the one of unintended consequences—that gives rise to surprising behavior and knowledge and reverberates with scriptural overtones regarding forbidden fruit and the power of temptation. (It also delivers, in a subplot involving Hava’s head scarf, a notable metaphorical suggestion of whom society’s rules empower and whom they restrict.)

The second story, “Ahoo,” features a man on a galloping horse, loudly calling the name of the protagonist and scaring away the animals and birds on the scruffy plain. The creatures get the idea; striking fear is his intention. He aggressively gallops toward a large group of female cyclists who are pedalling urgently along a narrow seaside road and rides menacingly close to one biker, Ahoo, whom he orders off her bike and back home. (Looking straight ahead, without even wasting a glance at him, she whispers, “No,” in a cinematic moment of sublime defiance and freedom.) He leaves—and then returns with another horseman, a mullah who’s there to perform a divorce on the spot if she won’t give up her bike (which the clergyman calls “the devil’s mount”). She blankly intones, “Go ahead, divorce me.” As Ahoo speeds ahead through the pack of bikers and then slows down and falls behind, the number of horsemen showing up to coerce her off the bike and back to the family and the tribe successively increases. It’s a fablelike mechanism of poetic repetition that Meshkini’s direction emphasizes, in a series of simple, swift, majestic, and recurring (or rhyming) images that follow Ahoo, from the side in tracking shots, from the front in closeups, and from behind in her virtual point of view, as she makes her way among the crowd of other women cyclists and away from her oppressive male pursuers. What’s clear is that the black-clad group ride is actually a horde of women fleeing their husbands, families, and clans—it’s a ride of freedom with a funereal tone, a simple yet spectacular fusion of kinetic ecstasy and tragedy.

The third story, “Hoora,” features an elderly woman, stooped and limping, disembarking from an airplane at the Kish airport. There, a boy working as a porter pushes her, in a wheelchair-like cart, on her peculiar errands: he takes her to one shopping mall after another, where, pulling cash from her stocking, she spends enormous amounts of money buying a wide variety of household goods that she has always lacked, including a refrigerator (all her life, she says, she wanted cold water), an ironing board, a bathtub, a washing machine, a stereo, makeup, and a batch of pots and pans. As the boxes full of her treasures accumulate, she’s followed by a line of young porters towing them on their carts, until she orders the workers to spread her possessions on the beach. What results is an amazing precursor to Agnès Varda’s film “The Beaches of Agnès,” in which Hoora virtually moves onto the beach, with her most important new possession as the centerpiece of the display: a bedroom featuring a big bed and a wedding gown. No less than in Varda’s film, this scene stages the passions of a lifetime in terms of a first-person reckoning. Meshkini’s breathtaking tableaux suggest a double absence, rendering Hoora in the split guise of a merry widow and a Miss Havisham, even as she prepares for another, perhaps final, and similarly symbolized journey (one that nonetheless unites the three tales in a deft and bittersweet flourish).

Stream “The Day I Became a Woman” on Vimeo.

#marzieh Meshkini #the day i became a woman

[sloshed-cinema]

Everything Everywhere All at Once (2022)

Daniels reach far beyond the remotest scope of possibility when crafting their multiverse. Rocks stare out over a canyon through googly eyes. People with hot dog fingers jizz ketchup and mustard from their fingertips. An everything bagel is the nexus of existential annihilation. Yet this goofiness is balanced with sincerity. The rocks contemplate the peacefulness of a static, contemplative existence, and there is poignancy when they overcome inertia to pursue or escape one another. The hot dog people find dexterity in their toes enough to conjure up Claire de lune as a gesture of love. Within these broad extremes are more understandable alternative possibilities, primarily used to send up various genres of action films. A rule set is swiftly established, our characters needing to commit improbable acts to jump into the skill sets of alternate personalities. It’s a fun gimmick, Michelle Yeoh slathering herself with hand sanitizer or blowing up someone’s nose to unlock kung fu, or guys dueling to take IRS trophies which look suspiciously like butt plugs up the ass. But they commit to the bit and every scene is a fountain of creativity, action and reaction unfolding in kinetic action scenes. But this is just a foundation for the usage of the multiverse.

I don’t want my love letters to cinema to be circle-jerky statutory pieces like Licorice Pizza or lazy nonsense like The Artist. I want them to be goofy, loving, earnest, and sincere, paired off with an immaculate eye for detail and a very particular technical style. The hotdog people are introduced in a brief but immaculate sendup of 2001: A Space Odyssey, and Evelyn’s movie star persona enters into a world envisioned by Wong Kar-wai, all neon light and blurry movement in the background. Who knew that Ke Huy Quan could look so fucking handsome in Tony Leung mode. Ang Lee’s Wuxia films inform much of the action, and there are perhaps even inflections of Todd Haynes’ soft focus in the hot dog lesbian scenes. This is The Matrix and Scott Pilgrim vs the World on club drugs, but still with an identity of its own. Hell, we even get some Wes Anderson meets Pixar action in the bizarre Beni Hana raccoon Ratatouille mashup. Here. For. It.

But there still has to be an emotional core to this whole piece. Daniels paint in broad strokes here, adopting the common trope of the family drama writ large in operatic strokes. The daughter wants to break away, her mother is in conflict with her, but learns to see herself in her offspring and recognize her autonomy.   They conflict with one another, and they find common ground.  There is an abrasiveness to everything, but also a deep abiding affection.  Nothing groundbreaking, but the movie is so cathartic in its editing and energy that I’m beaten into submission of loving it. It entertains but doesn’t fully enter into dialogue generational phobias about queer love, and similar racial microaggressions these immigrants face. Evelyn makes off-tone comments about her daughter’s girlfriend, and her auditor thinks that “her people” were supposed to be good at math. It’s all batted at but never really substantiated. All the same. This is fantasy, we want the broad beats. And lord knows the film had craft to spare.

THE RULES

SIP

Someone says ‘universe’ or ‘kung fu’.

The audit gets mentioned.

Evelyn verse-jumps.

Jobu Topaki outfit change.

BIG DRINK

Part intertitle.

Googly eyes in a scene.

A montage sequence starts to stretch on just a liiiittle bit too long.

#drinking game #everything everywhere all at once #eeaao #michelle yeoh #ke huy quan #stephanie hsu #james wong #daniels #drama #comedy #sci fi #sci fi & fantasy

[bitter69uk]

“What a formidable presence she is -- tall and kinetic, with a drawling, raspy contralto, kohl-rimmed cat eyes, and a strong, sharp nose that turns her face into a work of sculpture. Monica Vitti makes today's Hollywood actresses look like callow fruit flies.” / Camille Paglia rhapsodizing about Monica Vitti /

In Memoriam: sensitive, radiantly beautiful Italian actress Monica Vitti (née Maria Luisa Ceciarelli, 3 November 1931 - 2 February 2022) - one of the great feminine presences in 1960s European art cinema and muse to visionary Italian director Michelangelo Antonioni - died two years ago today. Like Camille Paglia, I’ve had a crush on this woman since watching L’Avventura (1960) in my Film Theory course at university! After her personal and professional liaison with Antonioni ended, Vitti triumphantly re-invented herself as Italy’s most popular female comedic star.  I’d love to explore Vitti’s later Italian comedies more, but it’s tricky to find them streaming anywhere (and with English subtitles) in the UK. (So far, I’ve only seen La ragazza con la pistola (1968), aka The Girl with the Pistol). It’s heart-breaking that the last two decades of Vitti’s life were blighted by dementia. Damn, she was magnificent. Pictured: portrait of Vitti by Karen Radkai, wearing Bulgari jewelry, for the June 1963 issue of US Vogue.

#monica vitti #michelangelo antonioni #european art cinema #italian cinema #italian art cinema #italian actress #lobotomy room #camille paglia #karen radkai #vogue magazine

[fadecinema]

Violet Brinson Nascida em 27 de fevereiro de 2004 é uma atriz Estados Unidos Norte-americana, ganhou fama pela sua carreira na televisão e no cinema, ela é mais conhecida por interpretar Stella Walker na série de televisão Walker de 2021'' e como Abby Comey na série The Comey Rule em 2020.

Violet fez várias curtas-metragens e comerciais de televisão antes de entrar na Indústria no Brasil cinematográfica, o mundo veio gradualmente a saber sobre ela, e os perfis de Violet Brinson têm milhares de seguidores. Seus filmes e séries de televisão incluem:

Filmes:

• Four Good Days

• Quatro Dias Com Ela

• Sharp Objects

• The Veil

• O Guerreiro

• Kinetic

• Cagney and Lacey

Séries:

• Walker

• The Comey Rule

Vida Pessoal: Violet é uma pessoa bastante reservada, muitas pessoas gostariam de ter metade do que ela possui, e os fãs da estrela de cinema estão esperando ansiosamente por mais filmes dela.

Violent foi namorada do ator Thales Egidio e tem uma irmã chamada April Brinson, e em sua família. April também é atriz e sua conta verificada no Instagram tem 3403 seguidores. Ela é mais conhecida por seu papel no programa de Televisão no Brasil Sharp Objects (2018), no qual é co-estrelando como Amy Adams.

Antes da fama: Ela ganhou o seu primeiro crédito no tela em 2017 no filme The Veil.

#cinema #série #streaming #fadecinema #filme #fã de cinema #séries #filmes #netflix #entrevista #thales Egidio #violet brinson #thalesegidio #violetbrinson #violetethales #Violet Brinson é Thales Egidio #Wikipedia #fandom wiki #biografia #namorados #Brasil #EUA #cinemas #spoilers #matéria #artista #trailer #fãdecinema #walker

[stewblog]

Mission: Impossible - Dead Reckoning, Part One

It’s time to fully acknowledge the Mission: Impossible series as one of the great achievements in action cinema, and with it Christopher McQuarrie as one of the medium’s great action directors.

Knowing what little I do about McQuarrie as a person (via podcasts and various interviews), it’s a label he would likely brush off, content to merely cast himself as still a novice. And while such modesty might be expected given he only has five directing credits to his name, the visible results of his talent and proficiency at the art of crafting kinetic, white-knuckle action sequences speaks for itself. He might claim he’s merely paying homage to the works that inspired him and standing on the shoulders of the cinematic giants who came before him (and he wouldn’t be wrong), but the ways in which he has raised the bar for blockbuster action filmmaking simply cannot be ignored. His latest opus, Mission: Impossible - Dead Reckoning, Part One, all but sets this in stone.

Before Dead Reckoning, I was certain John Wick Chapter 4 would run away with the title of “The Year’s Best Action Movie.” Now I’m not so sure. Because while Wick 4 unquestionably contains a cornucopia of stunts, shootouts and car chases (sometimes in the same scene), it lacks the grandness and the overall scope of Dead Reckoning, which also is no slouch when it comes to punching, shooting and driving. Wick 4 lacks a jaw-dropping fight atop a speeding, runaway train in the Swiss Alps. Nor does it have one of the most creatively handicapped vehicle chases since Tomorrow Never Dies. And while Keanu Reeves has proven himself beyond capable at being a fully convincing action hero, there’s truly something to be said for the raw audacity of Tom Cruise’s death-defying antics as he quite literally throws himself into the wind to perform stunts that few people in the world (much less in their right mind) would do.

All of that to say, Dead Reckoning Part One is a symphony of action filmmaking that has nearly everything you could want out of a four-quadrant crowd-pleasing blockbuster as this now-familiar team of secret agents trots across the globe and does what they do best: Navigate their way through white-knuckle mayhem and save the world. And they do it with the flavor of classic action cinema fully spread across its surface. This is McQuarrie once more pushing the boundaries of practical stunt work while keeping his mind set firmly on the genre-defining works that came before. There are moments here that would make John Frankenheimer, Buster Keaton, Steven Spielberg and William Friedkin equally proud.

But for as much as its action is rooted in the past, the thematic core of the film has its gaze dead-set on the near future. If Top Gun: Maverick was Tom Cruise’s defiant stance against the aloofness of digital visual effects and its proliferation in the medium, then Dead Reckoning Part One is him standing against the threatened onslaught of artificial intelligence usurping the role of writing and design. And it does so in a much more blatant manner. Top Gun: Maverick communicated this stance through a few lines of dialogue. Dead Reckoning makes it the entire plot.

Dead Reckoning is less a spy movie and more an international chase sequence. It’s not unusual for Ethan Hunt (Tom Cruise) and his crew to be chased by agents of his own government, but it’s a little different this time since they’re not just out to keep him from doing something crazy. They’re out to stop him because the people at the top of the food chain want control over the very fabric of truth. The artificial intelligence entity known as, you guessed it, The Entity, threatens to eradicate the lines between fact and fiction, throwing the world into chaos unless it can be controlled. It probably can’t, but that’s not stopping the U.S. government from trying and they’re not about to let Ethan Hunt get in their way. The twist, though, is that The Entity has become self-aware and has enthralled an acolyte to serve its interests: Gabriel (Esai Morales).

Gabriel is one of nearly half a dozen newcomers and he almost immediately establishes himself as Ethan’s most formidable nemesis of the series. This is augmented by Morales’ confident performance, making Gabriel suave and slick and charismatic, but in a subdued, dangerous manner. Hayley Atwell’s fast-fingered thief, Grace, is the other major standout. She quickly finds she’s in way over her head after stealing and re-stealing the film’s MacGuffin: A key that grants access to The Entity. She becomes entangled with Ethan and the team, who are then pursued by a pair of government enforcers played by Top Gun: Maverick’s Greg Tarzan Davis and consummate “That Guy” character actor Shea Wigham.

The ensuing mayhem is, effectively, a nearly three-hour long chase that spans the sands of Abu Dhabi to the canals of Venice to the mountains of Switzerland. It’s breathless and exhilarating and moves so fast I was actually shocked to find out its actual runtime. McQuarrie has paced this one to near-perfection, transferring the blistering momentum he so superbly captures in his chase sequences and infuses it into the film writ large.

If there’s a chink in the armor of the film, it’s that the freewheeling process that McQuarrie and Cruise employ in crafting these films threatens to buckle under the weight of the approach. The pair are notorious for rewriting characters on the fly as filming goes on, often abandoning whole arcs or concepts entirely in favor of a new approach inspired by a cast member’s comment or line delivery. The collaborative nature of the approach is laudable, and on the whole it works far better than it should given how roundly entertaining McQuarrie’s entries have been thus far. But there are specifics at play here that can feel muddled, particularly in regards to when certain characters know what or how, that is either confusing or outright nonsensical. Thankfully, McQuarrie, the cast and crew are nimble enough to never fall through the cracks, but the cracks show perhaps more than in past entries.

But for however many cracks do show, the strength of what is accomplished far outweighs nits to be picked from the details. In a macro sense, this is one of the most impressive, thoroughly entertaining tentpole blockbusters of the last decade, easily, and I can’t wait to see how it all comes to a final head in Part Two.

#tom cruise #mission impossible #christopher mcquarrie #hayley atwell

[aureliadebae603]

History of Kinetic Type animation

Kinetic typography is the art of animating text to increase it impact on readers through the emotive and interactive qualities of the text. Text is presented overtime, becoming temporal rather than static.

The ability to communicate emotion greatly contributes to achieving a successful and impactful design. the use of pacing to express a greater or lesser degree of urgency or bolding to convey tone.

There are two categories of kinetic typography, motion and fluid, the classification depends on the behaviour of the text. In motion typography, elements move in relation to one another while in fluid typography the letter forms themselves change even while remaining stationary.

The first two films that utilised kinetic type were "North by Northwest" in 1959 and "Psycho" in 1960, designed by Saul Bass.

There are more movies and tv shows than ever, which means more title design and more animated typography sequences. With the rise of the internet, it has led to motion typography being used on websites, apps and social media.

Kinetic typography is an animation technique that integrates motion with text. There is no fixed way that the text should be animated and the lettering can shrink and expand, move around the page, change colour, undergo distortion or be subject to any kind of creative technique. They can be short or long, elaborate or complex.

Its main focus is to capture the audience's attention. Manipulating and transforming text with movement can achieve a wide variety of effects—it can create emphasis where it is desired, it can convey emotion and conjure up ideas, and it can transform simple text into a powerful message. 

#grad603 #graphic design #kinetic type #history

[muznew]

Apple Music danceXL May 2024

  DATE CREATED: 2024-05-21 Tracklist : Addicted (feat. Ink) - ZERB & The Chainsmokers.mp3 All the Things She Said - Robin Schulz, Timmy Trumpet & KOPPY.mp3 Always (Me & You) - CHANEY.mp3 Another - Camden Cox.mp3 back2u - Disco Lines & GUDFELLA.mp3 By Now (feat. Laura Welsh) - Armin van Buuren & D.O.D.mp3 COME BACK HOME - OddKidOut, Angrybaby & Nina Sung.mp3 Delirious - Leftwing _ Kody & Raphi.mp3 Different Worlds - Hayden James & Anabel Englund.mp3 Down Low - it's murph & Sorana.mp3 Feel It - ayokay.mp3 Fever - Jerro & Running Touch.mp3 Find A Way - Vintage Culture.mp3 Go Back - John Summit, Sub Focus & Julia Church.mp3 Happier (feat. Clementine Douglas) - The Blessed Madonna.mp3 Heaven Or Not (feat. Kareen Lomax) - Diplo & Riva Starr.mp3 I Wanna Go - Autograf.mp3 If U Like Me (Edit) - DJ Seinfeld.mp3 If U Need It - Sammy Virji.mp3 Insomnia - Eli & Fur.mp3 Kinetic Cinema - Gabriel & Dresden.mp3 Lifetime - Tobiahs.mp3 Lovers In A Past Life (LP Read the full article

[djmusicbest]

Apple Music danceXL May 2024

  DATE CREATED: 2024-05-21 Tracklist : Addicted (feat. Ink) - ZERB & The Chainsmokers.mp3 All the Things She Said - Robin Schulz, Timmy Trumpet & KOPPY.mp3 Always (Me & You) - CHANEY.mp3 Another - Camden Cox.mp3 back2u - Disco Lines & GUDFELLA.mp3 By Now (feat. Laura Welsh) - Armin van Buuren & D.O.D.mp3 COME BACK HOME - OddKidOut, Angrybaby & Nina Sung.mp3 Delirious - Leftwing _ Kody & Raphi.mp3 Different Worlds - Hayden James & Anabel Englund.mp3 Down Low - it's murph & Sorana.mp3 Feel It - ayokay.mp3 Fever - Jerro & Running Touch.mp3 Find A Way - Vintage Culture.mp3 Go Back - John Summit, Sub Focus & Julia Church.mp3 Happier (feat. Clementine Douglas) - The Blessed Madonna.mp3 Heaven Or Not (feat. Kareen Lomax) - Diplo & Riva Starr.mp3 I Wanna Go - Autograf.mp3 If U Like Me (Edit) - DJ Seinfeld.mp3 If U Need It - Sammy Virji.mp3 Insomnia - Eli & Fur.mp3 Kinetic Cinema - Gabriel & Dresden.mp3 Lifetime - Tobiahs.mp3 Lovers In A Past Life (LP Read the full article

[frankles]

The Clearing By Gabriel & Dresden From the album Kinetic Cinema EP Added to Ben is Listening playlist by Ben Allen on May 5, 2024 at 10:46AM Listen on Spotify https://ift.tt/MSNtyO2

#IFTTT #Spotify #benislistening

[shreyakaushal04]

Bollywood choreographers

Bollywood choreographers are the unsung heroes behind the mesmerizing dance sequences that captivate audiences worldwide. With their innovative choreography, they infuse life and energy into Bollywood films, elevating them from mere entertainment to cultural phenomena. In this comprehensive exploration, we delve into the rich history, evolving trends, and notable figures within the realm of Bollywood choreography.

The Evolution of Bollywood Dance

Bollywood dance has undergone a remarkable evolution over the decades, reflecting the changing tastes, influences, and societal norms of Indian cinema. In its early years, Bollywood drew inspiration from classical Indian dance forms such as Kathak, Bharatanatyam, and Odissi, incorporating their graceful movements and intricate footwork into film sequences. Legendary choreographers like B. Sohanlal, who choreographed iconic dances in classics like "Mughal-e-Azam" (1960), laid the foundation for the fusion of traditional and contemporary dance styles in Bollywood.

As Bollywood entered the 1970s and 1980s, the dance landscape began to shift, with choreographers like Saroj Khan and Chinni Prakash introducing bold, expressive movements that reflected the changing cultural zeitgeist. This era witnessed the rise of the "filmi" dance style, characterized by dramatic gestures, vibrant costumes, and elaborate sets, as seen in blockbuster hits like "Disco Dancer" (1982) and "Sholay" (1975).

The 1990s marked a period of experimentation and innovation in Bollywood dance, with choreographers like Farah Khan and Shiamak Davar pushing boundaries and introducing Western influences into their choreography. The advent of MTV and the globalization of pop culture brought hip hop, jazz, and contemporary dance styles to the forefront, leading to the emergence of a more eclectic and dynamic dance aesthetic in Bollywood films.

The Pioneers: Legendary Bollywood Choreographers

Saroj Khan: Fondly known as the "Masterji" of Bollywood, Saroj Khan was a trailblazing choreographer who revolutionized dance in Indian cinema. With her impeccable sense of rhythm and expression, she created some of Bollywood's most iconic dance sequences, including "Ek Do Teen" from "Tezaab" (1988) and "Dola Re Dola" from "Devdas" (2002). Her choreography seamlessly blended classical Indian dance forms with contemporary movements, earning her numerous accolades and awards throughout her illustrious career.

Farah Khan: A powerhouse of creativity and innovation, Farah Khan is renowned for her larger-than-life dance spectacles and signature choreographic style. From the high-energy dance numbers in "Om Shanti Om" (2007) to the whimsical sequences in "Main Hoon Na" (2004), Farah Khan's choreography is characterized by its infectious energy, precision, and storytelling prowess. As one of the most sought-after choreographers in Bollywood, she has left an indelible mark on the industry with her groundbreaking work.

Shiamak Davar: Often credited with introducing contemporary dance to Bollywood, Shiamak Davar is a visionary choreographer whose innovative style has reshaped the landscape of Indian dance. His fusion of Indian classical, jazz, and ballet techniques has brought a fresh and dynamic aesthetic to Bollywood films, earning him acclaim both nationally and internationally. From the graceful movements in "Dil To Pagal Hai" (1997) to the kinetic energy of "Dhoom Again" from "Dhoom 2" (2006), Shiamak Davar's choreography embodies a seamless blend of tradition and modernity.

Vaibhavi Merchant: As a fourth-generation member of the esteemed Merchant family, Vaibhavi Merchant is a choreographic prodigy whose talent and lineage have firmly established her as a force to be reckoned with in Bollywood. Known for her intricate choreography and meticulous attention to detail, Vaibhavi has crafted some of Bollywood's most memorable dance sequences, including the sensuous "Kajra Re" from "Bunty Aur Babli" (2005) and the exuberant "Dholi Taro" from "Hum Dil De Chuke Sanam" (1999). Her ability to blend traditional Indian dance forms with contemporary movements has earned her widespread acclaim and recognition.

Contemporary Trends and Emerging Talents

In recent years, Bollywood dance has continued to evolve, embracing new trends, technologies, and influences from around the world. Young choreographers like Remo D'Souza, Bosco Martis, and Terence Lewis have risen to prominence, bringing their own unique styles and sensibilities to the forefront of Indian cinema. From the gravity-defying stunts in "ABCD" (Any Body Can Dance) (2013) to the dynamic choreography of "Gully Boy" (2019), these choreographers are redefining the boundaries of Bollywood dance and pushing the art form to new heights.

Moreover, the advent of social media and digital platforms has democratized access to dance education and training, empowering aspiring choreographers to showcase their talent and connect with audiences on a global scale. Online dance communities, viral dance challenges, and dance-based reality shows have provided platforms for emerging talents to shine, fostering a new generation of dancers and choreographers who are shaping the future of Bollywood dance.

Conclusion

In conclusion, Bollywood choreographers play a pivotal role in shaping the visual and cultural landscape of Indian cinema. From the classical elegance of Saroj Khan to the contemporary flair of Farah Khan, these visionary artists have left an indelible mark on Bollywood dance, inspiring generations of dancers and filmmakers alike. As Bollywood continues to evolve and embrace new influences, the role of choreographers remains as crucial as ever, ensuring that dance remains an integral and enduring aspect of Indian cinema's rich tapestry.