In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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Контент предоставлен Steve Hullfish, ACE, Steve Hullfish, and ACE. Весь контент подкастов, включая эпизоды, графику и описания подкастов, загружается и предоставляется непосредственно компанией Steve Hullfish, ACE, Steve Hullfish, and ACE или ее партнером по платформе подкастов. Если вы считаете, что кто-то использует вашу работу, защищенную авторским правом, без вашего разрешения, вы можете выполнить процедуру, описанную здесь https://ru.player.fm/legal.
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Manage episode 439532788 series 3485936
Контент предоставлен Steve Hullfish, ACE, Steve Hullfish, and ACE. Весь контент подкастов, включая эпизоды, графику и описания подкастов, загружается и предоставляется непосредственно компанией Steve Hullfish, ACE, Steve Hullfish, and ACE или ее партнером по платформе подкастов. Если вы считаете, что кто-то использует вашу работу, защищенную авторским правом, без вашего разрешения, вы можете выполнить процедуру, описанную здесь https://ru.player.fm/legal.
Today on Art of the Cut we are talking about Tim Burton’s Beetlejuice Beetlejuice with editor Jay Prychidny, CCE.
This is Jay’s fourth time on Art of the Cut. He previously joined us to talk about Snowpiercer, Wednesday, Scream VI, and now, Beetlejuice Beetlejuice.
Jay’s won a BAFTA and been nominated for and won numerous Canadian Cinema Editor’s Awards for his work on Orphan Black, The Alienist, The Amazing Race Canada, and many others.
Today we’re going to be discussing re-structuring a film to blend disparate elements, trying to create a mashup of MacArthur Park that tells a story while remaining musically cohesive, and turning a simple montage into a nostalgic, emotional journey.
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Manage episode 439532788 series 3485936
Контент предоставлен Steve Hullfish, ACE, Steve Hullfish, and ACE. Весь контент подкастов, включая эпизоды, графику и описания подкастов, загружается и предоставляется непосредственно компанией Steve Hullfish, ACE, Steve Hullfish, and ACE или ее партнером по платформе подкастов. Если вы считаете, что кто-то использует вашу работу, защищенную авторским правом, без вашего разрешения, вы можете выполнить процедуру, описанную здесь https://ru.player.fm/legal.
Today on Art of the Cut we are talking about Tim Burton’s Beetlejuice Beetlejuice with editor Jay Prychidny, CCE.
This is Jay’s fourth time on Art of the Cut. He previously joined us to talk about Snowpiercer, Wednesday, Scream VI, and now, Beetlejuice Beetlejuice.
Jay’s won a BAFTA and been nominated for and won numerous Canadian Cinema Editor’s Awards for his work on Orphan Black, The Alienist, The Amazing Race Canada, and many others.
Today we’re going to be discussing re-structuring a film to blend disparate elements, trying to create a mashup of MacArthur Park that tells a story while remaining musically cohesive, and turning a simple montage into a nostalgic, emotional journey.
137 эпизодов
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Похожие на Art of the Cut
In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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continue reading
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