Let us not forget one of the most important things about the Universal Monsters era: The Creature From The Black Lagoon was created by a woman, Milicent Patrick.
Nearly unheard of at the time, ms Patrick is responsible for creating one of the single most recognizable characters, not only in Universal history but in all of film history. She was an incredible talent and she should be honored as such.
When light travels through areas of different air density, it bends. You’ve probably noticed the way distant pavement seems to shimmer on a hot day, or the way stars appear to twinkle. You’re seeing light that has been distorted as it passes through varying air densities, which are in turn created by varying temperatures and pressures.
Schlieren Flow Visualization can be used to visually capture these changes in density: the rising heat from a candle, the turbulence around an airplane wing, the plume of a sneeze … even sound. Special thanks to Mike Hargather, a professor of mechanical engineering at New Mexico Tech, who kindly provided a lot of these videos.
I’m totally Schlieren right now. Amazing sights of sounds.
The Evil Dead - Sam Raimi’s low budget camera rigs
Alien, Prometheus & Flash Gordon Flash Gordon’s Trip to Mars by Martin Ansin
This is why I want to be a librarian for Laika.
The Boxtrolls - another movie to which I am greatly looking forward
I didn’t know that this was a thing. But I do want to say I love how intricate each piece is, and how much love and work goes into these types of films.
Wes Anderson has become a film genre. The great folks at Way Too Indie explore his visual themes from his work in ‘Rushmore,’ ‘Bottle Rocket,’ ‘Royal Tenenbaums,’ ‘Moonrise Kingdom,’ ‘Darjeeling Limited,’ to his latest work in ‘The Grand Budapest Hotel.’
“The tracking camera, moving from room to room, examining the bourgeoisie and upper class in the films of Luis Buñuel (e.g. ‘El Angel Exterminador’) laid the groundwork for the dolly and tracking shots in Anderson’s ‘Rushmore,’ ‘The Royal Tenenbaums’ and early sections of ‘The Life Aquatic with Steve Zissou.’ The frenetic energy and overall zeal found in François Truffaut’s ‘Jules et Jim’ serves also as the celluloid backbone of most of Anderson’s works, specifically ‘Bottle Rocket,’ ‘The Royal Tenenbaums,’ and ‘Fantastic Mr. Fox.’ The melancholic swoons of the silver screen’s longing romantics permeate ‘Moonrise Kingdom,’ ‘Hotel Chevalier’/‘The Darjeeling Limited’ and in the romance subplot of ‘Bottle Rocket.’ These films share the same sort of beautiful yet honest moments found in Jean-Luc Godard’s ‘Pierrot Le Fou.’” —Nelson Carvajal, Way Too Indie
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