mhalachai:

jenniferrpovey:

deadmomjokes:

A story for all you Jurassic Park loving peeps out there. I learned about
this in my Disaster Response and Emergency Preparedness course that I
just started.
In 1992, Jurassic Park was finishing filming on the
island of Kaua’i in Hawai’i. The final day was scheduled for September
11. However, brewing out in the Pacific and headed straight for Hawai’i
was Category 4 Hurricane Iniki. The crew had been keeping an eye on it,
but it was expected that Iniki would turn its course slightly. The
afternoon of September 10, however they were informed that it was going
to make landfall in a few hours, impacting Kaua’i with the main brunt of
it. The crew of hundreds was ordered into the basement of the hotel
they were staying in, and they waited it out that night. (Rather
hilariously, Richard Attenborough slept through the whole ordeal where
others were awake, huddled together and fearing for their lives. When
Spielberg asked him about it, he answered, “My dear boy, I survived the
blitz!” I guess after that, a little hurricane is just pleasant white
noise.)
The next day, after the storm had passed, the whole island
was in shambles. Infrastructure was totally destroyed, electricity was
entirely knocked out, and radio service was down. The crew had escaped
harm, luckily, though the sets were totally destroyed. That’s actually
why we don’t see any of Ray Arnold’s journey to the power shed, because
that set was ruined during the storm. Anyway, I digress.
The crew
comes out of their basement shelter to find total devastation and a city
in disarray. Even though help would be arriving soon, since the
National Weather Service had been monitoring the storm and knew the
island was hit, there would be no way for the relief efforts to begin
with the infrastructure so heavily damaged. Airstrips and landing pads
had also been demolished in the storm, and hospitals were without power.
There was also no (rather, just severely limited) way to move the
debris that was keeping citizens from aid.
EXCEPT a gigantic, highly
skilled and intelligent film crew with lots of industrial equipment and
literally nothing better to do.
Within hours of the storm’s
passing, the film crew personnel had dug out their bulldozers and
cranes, jury rigged up whatever else they needed from the animatronics,
and began blazing a path through the wreckage to the air strip where
they cleared the whole landing site, then began working on major city
streets. They also used their set generators to help restore power to
critical city functions, and their satellite phones to call for extra
assistance from the mainland (after they had evacuated their cast, of
course).
Even though the ships and helicopters arrived to take the
crew home that day, as planned, many (if not most) of the crew stayed on
Kaua’i to assist in cleanup and relief efforts.
It’s estimated by
Emergency Management officials and experts that if the crew had not been
there, the recovery efforts would have been delayed by as much as 3
weeks, as little as 3 days, and several hundred people would have died
in the aftermath of Hurricane Iniki.

Hollywood gets a bad rep for being selfish, but they can save lives and I think that’s really cool.

Crew guys are awesome.

the folks in a tv/movie crew are probably the most creative, innovative and resourceful people you’ll find – they can make miracles happen with a roll of duct tape, a bit of wire, and a 9-volt battery. 

oh and I found a Storm Stories about it on Youtube too.

https://www.youtube.com/watch?v=DP_drlbBpRM

mhalachai:

jenniferrpovey:

deadmomjokes:

A story for all you Jurassic Park loving peeps out there. I learned about
this in my Disaster Response and Emergency Preparedness course that I
just started.
In 1992, Jurassic Park was finishing filming on the
island of Kaua’i in Hawai’i. The final day was scheduled for September
11. However, brewing out in the Pacific and headed straight for Hawai’i
was Category 4 Hurricane Iniki. The crew had been keeping an eye on it,
but it was expected that Iniki would turn its course slightly. The
afternoon of September 10, however they were informed that it was going
to make landfall in a few hours, impacting Kaua’i with the main brunt of
it. The crew of hundreds was ordered into the basement of the hotel
they were staying in, and they waited it out that night. (Rather
hilariously, Richard Attenborough slept through the whole ordeal where
others were awake, huddled together and fearing for their lives. When
Spielberg asked him about it, he answered, “My dear boy, I survived the
blitz!” I guess after that, a little hurricane is just pleasant white
noise.)
The next day, after the storm had passed, the whole island
was in shambles. Infrastructure was totally destroyed, electricity was
entirely knocked out, and radio service was down. The crew had escaped
harm, luckily, though the sets were totally destroyed. That’s actually
why we don’t see any of Ray Arnold’s journey to the power shed, because
that set was ruined during the storm. Anyway, I digress.
The crew
comes out of their basement shelter to find total devastation and a city
in disarray. Even though help would be arriving soon, since the
National Weather Service had been monitoring the storm and knew the
island was hit, there would be no way for the relief efforts to begin
with the infrastructure so heavily damaged. Airstrips and landing pads
had also been demolished in the storm, and hospitals were without power.
There was also no (rather, just severely limited) way to move the
debris that was keeping citizens from aid.
EXCEPT a gigantic, highly
skilled and intelligent film crew with lots of industrial equipment and
literally nothing better to do.
Within hours of the storm’s
passing, the film crew personnel had dug out their bulldozers and
cranes, jury rigged up whatever else they needed from the animatronics,
and began blazing a path through the wreckage to the air strip where
they cleared the whole landing site, then began working on major city
streets. They also used their set generators to help restore power to
critical city functions, and their satellite phones to call for extra
assistance from the mainland (after they had evacuated their cast, of
course).
Even though the ships and helicopters arrived to take the
crew home that day, as planned, many (if not most) of the crew stayed on
Kaua’i to assist in cleanup and relief efforts.
It’s estimated by
Emergency Management officials and experts that if the crew had not been
there, the recovery efforts would have been delayed by as much as 3
weeks, as little as 3 days, and several hundred people would have died
in the aftermath of Hurricane Iniki.

Hollywood gets a bad rep for being selfish, but they can save lives and I think that’s really cool.

Crew guys are awesome.

the folks in a tv/movie crew are probably the most creative, innovative and resourceful people you’ll find – they can make miracles happen with a roll of duct tape, a bit of wire, and a 9-volt battery. 

claudiaboleyn:

What I hate about heteronormativity is that you will get the most mind-blowing, realistic, palpable chemistry between two characters of the same gender in a show and the writer/cast will bend over backwards to pretend it’s in the fans heads or make out it’s some amusing and impossible joke, yet you’ll get the dullest, most rubbish, forced, stilted ‘romance’ shoved in your face and be expected to just go with it because hey, it’s a man and a lady who are white and moderately attractive, of course it’s true love. Of bloody course. 

In case anyone is wondering why film is marketed and packaged the way it is, here’s the general rules that film companies have followed for fifty years:

a) a younger child will watch anything an older child will watch;
b) an older child will not watch anything a younger child will watch;
c) a girl will watch anything a boy will watch
d) a boy will not watch anything a girl will watch;
therefore-to catch your greatest audience you zero in on the 19-year old male

So there you have it. Exactly why big Hollywood companies still make films the way they do. [x] [x]

jaclcfrost:

[imagines a character in the hands of better writers]

[imagines a scenario in the hands of better writers]

[imagines a whole show and concept in the hands of better writers]

And this is why I’m a film and media major with an eye towrds screenwriting…

Majoring in Film and Media like I am now just makes me all the more aware of the importance of looking at the media you consume critically. All media is a product of people and the time it was created, and their biases. That doesn’t necessarily make it good or bad, but being aware of the messages it’s sending you can’t hurt.

Visual Pleasure and Narrative Sherlock pt. 2: Objectifying The Woman

professorfangirl:

(Pt. 1, Watching the Detective)

So if your detective’s too pretty and all the girls & boys & others are looking at him a bit too much and a bit too wrong, then you gotta straighten things out. You better bring in a woman, sexualize the fuck out of her, and make clear that she’s the object of a desiring gaze that is obviously male—a gaze that is, at least in part, Sherlock’s. This gives the show a heterosexual object and tries to make Sherlock a heterosexual subject (that is, she’s the object that’s wanted, and he’s the subject who wants). I say “tries”: Sherlock looks at Irene, naked and clothed, intimately and not, but I see no sign that he ever takes erotic pleasure in it. I know what a sexual gaze looks like (like other women, I have to), and I see no sexuality here. For Sherlock, Irene is not the object of desire but the object of deduction: it’s not pleasure he takes from the looking, it’s knowledge. And of course knowledge is power. This is the project of “A Scandal in Belgravia”: to bring in Irene Adler, align her with Sherlock and his deductive power, and then disempower her by making her the erotic object and him the knowing subject. In other words, she’s the source of visual pleasure, and he’s the source of narrative power. 

The episode identifies Sherlock with Irene with a long series of jump-cuts, camera angles, framing, and plot devices. These audacious mirrorings and doublings link them in a complex exchange of power and knowledge. They are paired, and at first Irene’s on top, visually and in terms of her power to move the plot along by temporarily beating Sherlock at the information game. But in the end, he outsmarts her and wins. The upshot is fairly simple and very traditional: Irene = sexual female body, Sherlock = rational male mind, with sexuality less powerful than rationality. So much, so obvious. But the episode just works so damn hard to do this—why? I think it’s because to this point in the series, Sherlock, in his beauty, his visual centrality, and most of all in his relation to John, has presented an unusual model of masculinity, complicated and perhaps contradictory—and ever so queer. This episode tries to straighten that out; in the end, however, it doesn’t fully succeed.

The first glimpse we have of Irene is her hand on her phone, where she keeps all that dangerous information, and then her negligéed ass walking toward a certain royal female person.

image

image

So this is Irene’s power at the start: information, and sexual agency. (To wit: information about sex.) In this she challenges Sherlock: in an early image we look at a photo of him in his fame and deductive power, and at her hand in its beauty and sensuality, covering up his face.

image

“I’m going to get you,” that hand says. (Yep, it’s a gorgeous object—but note that hands are also symbols of selfhood and agency, for they are how we manipulate, use tools, and touch.)

Read More

Visual Pleasure and Narrative Sherlock

professorfangirl:

(These are notes from a lecture I gave a year ago to an intro media class, part of an introduction to the concept of the cinematic gaze. We were working with the basic ideas from Laura Mulvey’s “Visual Pleasure and Narrative Cinema,” specifically, that women are the erotic objects of the gaze in cinema, both of the audience and the characters on screen, and that men are the bearers of the gaze, owners of the pleasure, knowledge, and power it gives. Men look, women are looked at: the camera looks with the eyes of a het man, and the audience looks with the eyes of the camera. Sherlock turns out to be an interesting test case for these ideas. As both the object of the erotic gaze and the subject of the knowing one, he puts a spin on Mulvey’s model. Please note that people have critiqued and developed these ideas a whoooole lot since she wrote; again, this was an explanation and illustration of the basic questions. And I’m pretty sure mid0nz has made similar observations; check her metas for more.)

Part One: Watching the Detective

Like any detective story, Sherlock is all about looking: “you see, but you do not observe.” It’s all about the knowing gaze, the desiring gaze—the gaze that desires to know. Within the story, Sherlock’s the bearer of this observant look, and it’s his searching scrutiny that moves the narrative along. But the most frequent object of the viewer’s gaze isn’t the crime or the criminal, it’s Sherlock himself. The camera almost begs us to look at him, especially when he’s deducing. In “A Study in Pink,” Paul McGuigan uses a great many of the techniques that have traditionally been used to make women the object of visual pleasure in film to focus us on Sherlock and make us enjoy the view. The camera makes sure we take pleasure in looking at him.  He’s continually foregrounded, beautifully dressed and lit, looked at by others (mostly men) on screen, and sometimes just straight-up sexualized.

image

image

image

As we see in the last image, McGuigan also cues us to look at him with others on screen. In one of his favorite framings, we look at Sherlock with John, over John’s shoulder. (John, like ACD’s narrator Watson, is our point of identification within the story, the mediator between us and Sherlock. We see—and love—Sherlock along with John.)

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Read More

I have officially switched my major to Film and Media studies at ASU.

So, tumblr, you guys have really changed my life. I want to thank all of you for the love and encouragement. You folks know who you are.